LilyPond — Snippets
This document shows a selected set of LilyPond snippets from the
LilyPond Snippet Repository
(LSR). It is in the public domain.
We would like to address many thanks to Sebastiano Vigna for maintaining
LSR web site and database, and the University of Milano for hosting LSR.
Please note that this document 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 2.20.0.
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.
|
For more information about how this manual fits with the other
documentation, or to read this manual in other formats, see
Manuals.
If you are missing any manuals, the complete documentation can be
found at http://lilypond.org/.
|
Pitches
Pitches
Adding ambitus per voice
Ambitus can be added per voice. In this case, the ambitus must be moved
manually to prevent collisions.
| \new Staff <<
\new Voice \with {
\consists "Ambitus_engraver"
} \relative c'' {
\override Ambitus.X-offset = #2.0
\voiceOne
c4 a d e
f1
}
\new Voice \with {
\consists "Ambitus_engraver"
} \relative c' {
\voiceTwo
es4 f g as
b1
}
>>
|
Adding an ottava marking to a single voice
If you have more than one voice on the staff, setting octavation in one
voice will transpose the position of notes in all voices for the
duration of the ottava bracket. If the ottavation is only intended to
apply to one voice, the middleCPosition and ottava bracket may be set
explicitly. In this snippet, the bass clef usually has middleCPosition
set to 6, six positions above the center line, so in the 8va portion
middleCPosition is 7 positions (one octave) higher still.
| {
\clef bass
<< { <g d'>1~ q2 <c' e'> }
\\
{
r2.
\set Staff.ottavation = #"8vb"
\once \override Staff.OttavaBracket.direction = #DOWN
\set Voice.middleCPosition = #(+ 6 7)
<b,,, b,,>4 ~ |
q2
\unset Staff.ottavation
\unset Voice.middleCPosition
<c e>2
}
>>
}
|
Altering the length of beamed stems
Stem lengths on beamed notes can be varied by overriding the
beamed-lengths
property of the details
of the
Stem
. If a single value is used as an argument, the length
applies to all stems. When multiple arguments are used, the first
applies to eighth notes, the second to sixteenth notes and so on. The
final argument also applies to all notes shorter than the note length
of the final argument. Non-integer arguments may also be used.
| \relative c'' {
\override Stem.details.beamed-lengths = #'(2)
a8[ a] a16[ a] a32[ a]
\override Stem.details.beamed-lengths = #'(8 10 12)
a8[ a] a16[ a] a32[ a] r8
\override Stem.details.beamed-lengths = #'(8)
a8[ a]
\override Stem.details.beamed-lengths = #'(8.5)
a8[ a]
\revert Stem.details
a8[ a] a16[ a] a32[ a] r16
}
|
Ambitus with multiple voices
Adding the Ambitus_engraver
to the Staff
context creates
a single ambitus per staff, even in the case of staves with multiple
voices.
| \new Staff \with {
\consists "Ambitus_engraver"
}
<<
\new Voice \relative c'' {
\voiceOne
c4 a d e
f1
}
\new Voice \relative c' {
\voiceTwo
es4 f g as
b1
}
>>
|
Ambitus
Ambitus indicate pitch ranges for voices.
Accidentals only show up if they are not part of the key signature.
AmbitusNoteHead
grobs also have ledger lines.
| \layout {
\context {
\Voice
\consists "Ambitus_engraver"
}
}
<<
\new Staff {
\relative c' {
\time 2/4
c4 f'
}
}
\new Staff {
\relative c' {
\time 2/4
\key d \major
cis4 as'
}
}
>>
|
Applying note head styles depending on the step of the scale
The shapeNoteStyles
property can be used to define various note
head styles for each step of the scale (as set by the key signature or
the tonic
property). This property requires a set of symbols,
which can be purely arbitrary (geometrical expressions such as
triangle
, cross
, and xcircle
are allowed) or based
on old American engraving tradition (some latin note names are also
allowed).
That said, to imitate old American song books, there are several
predefined note head styles available through shortcut commands such as
\aikenHeads
or \sacredHarpHeads
.
This example shows different ways to obtain shape note heads, and
demonstrates the ability to transpose a melody without losing the
correspondence between harmonic functions and note head styles.
| fragment = {
\key c \major
c2 d
e2 f
g2 a
b2 c
}
\new Staff {
\transpose c d
\relative c' {
\set shapeNoteStyles = ##(do re mi fa
#f la ti)
\fragment
}
\break
\relative c' {
\set shapeNoteStyles = ##(cross triangle fa #f
mensural xcircle diamond)
\fragment
}
}
|
Automatically changing the stem direction of the middle note based on the melody
LilyPond can alter the stem direction of the middle note on a staff so
that it follows the melody, by adding the Melody_engraver
to the
Voice context and overriding the neutral-direction
of Stem.
| \relative c'' {
\time 3/4
a8 b g f b g |
c b d c b c |
}
\layout {
\context {
\Voice
\consists "Melody_engraver"
\autoBeamOff
\override Stem.neutral-direction = #'()
}
}
|
Changing ottava text
Internally, \ottava
sets the properties ottavation
(for
example, to 8va
or 8vb
) and middleCPosition
. To
override the text of the bracket, set ottavation
after invoking
\ottava
.
Short text is especially useful when a brief ottava is used.
| {
c'2
\ottava #1
\set Staff.ottavation = #"8"
c''2
\ottava #0
c'1
\ottava #1
\set Staff.ottavation = #"Text"
c''1
}
|
Changing the ambitus gap
It is possible to change the default gap between the ambitus noteheads
and the line joining them.
| \layout {
\context {
\Voice
\consists "Ambitus_engraver"
}
}
\new Staff {
\time 2/4
% Default setting
c'4 g''
}
\new Staff {
\time 2/4
\override AmbitusLine.gap = #0
c'4 g''
}
\new Staff {
\time 2/4
\override AmbitusLine.gap = #1
c'4 g''
}
\new Staff {
\time 2/4
\override AmbitusLine.gap = #1.5
c'4 g''
}
|
Changing the interval of lines on the stave
staffLineLayoutFunction
is used to change the position of notes.
This snippet shows setting its value to ly:pitch-semitones
in
order to produce a chromatic scale with the distance between each space
and line of the stave equal to one semitone.
| scale = \relative c' {
a4 ais b c
cis4 d dis e
f4 fis g gis
a1
}
\new Staff \with {
\remove "Accidental_engraver"
staffLineLayoutFunction = #ly:pitch-semitones
}
{
<<
\scale
\context NoteNames {
\set printOctaveNames = ##f
\scale
}
>>
}
|
Clefs can be transposed by arbitrary amounts
Clefs can be transposed by arbitrary amounts, not just by octaves.
| \relative c' {
\clef treble
c4 c c c
\clef "treble_8"
c4 c c c
\clef "treble_5"
c4 c c c
\clef "treble^3"
c4 c c c
}
|
Coloring notes depending on their pitch
It is possible to color note heads depending on their pitch and/or
their names: the function used in this example even makes it possible
to distinguish enharmonics.
| %Association list of pitches to colors.
#(define color-mapping
(list
(cons (ly:make-pitch 0 0 NATURAL) (x11-color 'red))
(cons (ly:make-pitch 0 0 SHARP) (x11-color 'green))
(cons (ly:make-pitch 0 1 FLAT) (x11-color 'green))
(cons (ly:make-pitch 0 2 NATURAL) (x11-color 'red))
(cons (ly:make-pitch 0 2 SHARP) (x11-color 'green))
(cons (ly:make-pitch 0 3 FLAT) (x11-color 'red))
(cons (ly:make-pitch 0 3 NATURAL) (x11-color 'green))
(cons (ly:make-pitch 0 4 SHARP) (x11-color 'red))
(cons (ly:make-pitch 0 5 NATURAL) (x11-color 'green))
(cons (ly:make-pitch 0 5 FLAT) (x11-color 'red))
(cons (ly:make-pitch 0 6 SHARP) (x11-color 'red))
(cons (ly:make-pitch 0 1 NATURAL) (x11-color 'blue))
(cons (ly:make-pitch 0 3 SHARP) (x11-color 'blue))
(cons (ly:make-pitch 0 4 FLAT) (x11-color 'blue))
(cons (ly:make-pitch 0 5 SHARP) (x11-color 'blue))
(cons (ly:make-pitch 0 6 FLAT) (x11-color 'blue))))
%Compare pitch and alteration (not octave).
#(define (pitch-equals? p1 p2)
(and
(= (ly:pitch-alteration p1) (ly:pitch-alteration p2))
(= (ly:pitch-notename p1) (ly:pitch-notename p2))))
#(define (pitch-to-color pitch)
(let ((color (assoc pitch color-mapping pitch-equals?)))
(if color
(cdr color))))
#(define (color-notehead grob)
(pitch-to-color
(ly:event-property (event-cause grob) 'pitch)))
\score {
\new Staff \relative c' {
\override NoteHead.color = #color-notehead
c8 b d dis ees f g aes
}
}
|
Creating a sequence of notes on various pitches
In music that contains many occurrences of the same sequence of notes
at different pitches, the following music function may prove useful.
It takes a note, of which only the pitch is used. This example
creates the rhythm used throughout Mars, from Gustav Holst’s The
Planets.
| rhythm =
#(define-music-function (p) (ly:pitch?)
"Make the rhythm in Mars (the Planets) at the given pitch"
#{ \tuplet 3/2 { $p 8 8 8 } 4 4 8 8 4 #})
\new Staff {
\time 5/4
\rhythm c'
\rhythm c''
\rhythm g
}
|
Creating custom key signatures
LilyPond supports custom key signatures. In this example, print for D
minor with an extended range of printed flats.
| \new Staff \with {
\override StaffSymbol.line-count = #8
\override KeySignature.flat-positions = #'((-7 . 6))
\override KeyCancellation.flat-positions = #'((-7 . 6))
% presumably sharps are also printed in both octaves
\override KeySignature.sharp-positions = #'((-6 . 7))
\override KeyCancellation.sharp-positions = #'((-6 . 7))
\override Clef.stencil = #
(lambda (grob)(grob-interpret-markup grob
#{ \markup\combine
\musicglyph "clefs.C"
\translate #'(-3 . -2)
\musicglyph "clefs.F"
#}))
clefPosition = #3
middleCPosition = #3
middleCClefPosition = #3
}
{
\key d\minor
f bes, f bes,
}
|
Forcing a clef symbol to be displayed
When a clef sign has already been displayed and it has not been changed
to a different clef, then repeating the \clef
command will be
ignored by LilyPond, since it is not a change of clef. It is possible
to force the clef to be redisplayed using the command \set
Staff.forceClef = ##t
.
| \relative c' {
\clef treble
c1
\clef treble
c1
\set Staff.forceClef = ##t
c1
\clef treble
c1
}
|
Generating random notes
This Scheme-based snippet generates 24 random notes (or as many as
required), based on the current time (or any randomish number specified
instead, in order to obtain the same random notes each time): i.e., to
get different random note patterns, just change this number.
| \score {
{
$(let ((random-state (seed->random-state (current-time))))
(make-sequential-music
(map (lambda (x)
(let ((idx (random 12 random-state)))
(make-event-chord
(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))))
}
}
|
Hiding accidentals on tied notes at the start of a new system
This shows how to hide accidentals on tied notes at the start of a new
system.
| \relative c'' {
\override Accidental.hide-tied-accidental-after-break = ##t
cis1~ cis~
\break
cis
}
|
Keep change clefs full sized
When a clef is changed, the clef sign displayed is smaller than the
initial clef. This can be overridden with full-size-change
.
| \relative c' {
\clef "treble"
c1
\clef "bass"
c1
\clef "treble"
c1
\override Staff.Clef.full-size-change = ##t
\clef "bass"
c1
\clef "treble"
c1
\revert Staff.Clef.full-size-change
\clef "bass"
c1
\clef "treble"
c1
}
|
Makam example
Makam is a type of melody from Turkey using 1/9th-tone microtonal
alterations. Consult the initialization file ‘ly/makam.ly’ for
details of pitch names and alterations.
| % Initialize makam settings
\include "makam.ly"
\relative c' {
\set Staff.keyAlterations = #`((6 . ,(- KOMA)) (3 . ,BAKIYE))
c4 cc db fk
gbm4 gfc gfb efk
fk4 db cc c
}
|
Modifying the Ottava spanner slope
It is possible to change the slope of the Ottava spanner.
| \relative c'' {
\override Staff.OttavaBracket.stencil = #ly:line-spanner::print
\override Staff.OttavaBracket.bound-details =
#`((left . ((Y . 0) ; Change the integer here
(attach-dir . ,LEFT)
(padding . 0)
(stencil-align-dir-y . ,CENTER)))
(right . ((Y . 5) ; Change the integer here
(padding . 0)
(attach-dir . ,RIGHT)
(text . ,(make-draw-dashed-line-markup (cons 0 -1.2))))))
\override Staff.OttavaBracket.left-bound-info =
#ly:line-spanner::calc-left-bound-info-and-text
\override Staff.OttavaBracket.right-bound-info =
#ly:line-spanner::calc-right-bound-info
\ottava #1
c1
c'''1
}
|
Non-traditional key signatures
The commonly used \key
command sets the keyAlterations
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.keyAlterations = #`(((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.
Alternatively, using the more concise format for each item in the list,
(step . alter)
specifies the same alteration holds in all
octaves. For microtonal scales where a “sharp” is not 100 cents,
alter
refers to the proportion of a 200-cent whole tone.
| \include "arabic.ly"
\relative do' {
\set Staff.keyAlterations = #`((0 . ,SEMI-FLAT)
(1 . ,SEMI-FLAT)
(2 . ,FLAT)
(5 . ,FLAT)
(6 . ,SEMI-FLAT))
%\set Staff.extraNatural = ##f
re reb \dwn reb resd
dod dob dosd \dwn dob |
dobsb dodsd do do |
}
|
Numbers as easy note heads
Easy notation note heads use the note-names
property of the
NoteHead
object to determine what appears inside the note head.
By overriding this property, it is possible to print numbers
representing the scale-degree.
A simple engraver can be created to do this for every note head object
it sees.
| #(define Ez_numbers_engraver
(make-engraver
(acknowledgers
((note-head-interface engraver grob source-engraver)
(let* ((context (ly:translator-context engraver))
(tonic-pitch (ly:context-property context 'tonic))
(tonic-name (ly:pitch-notename tonic-pitch))
(grob-pitch
(ly:event-property (event-cause grob) 'pitch))
(grob-name (ly:pitch-notename grob-pitch))
(delta (modulo (- grob-name tonic-name) 7))
(note-names
(make-vector 7 (number->string (1+ delta)))))
(ly:grob-set-property! grob 'note-names note-names))))))
#(set-global-staff-size 26)
\layout {
ragged-right = ##t
\context {
\Voice
\consists \Ez_numbers_engraver
}
}
\relative c' {
\easyHeadsOn
c4 d e f
g4 a b c \break
\key a \major
a,4 b cis d
e4 fis gis a \break
\key d \dorian
d,4 e f g
a4 b c d
}
|
Orchestra choir and piano template
This template demonstrates the use of nested StaffGroup
and
GrandStaff
contexts to sub-group instruments of the same type
together, and a way to use \transpose
so that variables hold
music for transposing instruments at concert pitch.
| #(set-global-staff-size 17)
\paper {
indent = 3.0\cm % add space for instrumentName
short-indent = 1.5\cm % add less space for shortInstrumentName
}
fluteMusic = \relative c' { \key g \major g'1 b }
% Pitches as written on a manuscript for Clarinet in A
% are transposed to concert pitch.
clarinetMusic = \transpose c' a
\relative c'' { \key bes \major bes1 d }
trumpetMusic = \relative c { \key g \major g''1 b }
% Key signature is often omitted for horns
hornMusic = \transpose c' f
\relative c { d'1 fis }
percussionMusic = \relative c { \key g \major g1 b }
sopranoMusic = \relative c'' { \key g \major g'1 b }
sopranoLyrics = \lyricmode { Lyr -- ics }
altoIMusic = \relative c' { \key g \major g'1 b }
altoIIMusic = \relative c' { \key g \major g'1 b }
altoILyrics = \sopranoLyrics
altoIILyrics = \lyricmode { Ah -- ah }
tenorMusic = \relative c' { \clef "treble_8" \key g \major g1 b }
tenorLyrics = \sopranoLyrics
pianoRHMusic = \relative c { \key g \major g''1 b }
pianoLHMusic = \relative c { \clef bass \key g \major g1 b }
violinIMusic = \relative c' { \key g \major g'1 b }
violinIIMusic = \relative c' { \key g \major g'1 b }
violaMusic = \relative c { \clef alto \key g \major g'1 b }
celloMusic = \relative c { \clef bass \key g \major g1 b }
bassMusic = \relative c { \clef "bass_8" \key g \major g,1 b }
\score {
<<
\new StaffGroup = "StaffGroup_woodwinds" <<
\new Staff = "Staff_flute" \with { instrumentName = "Flute" }
\fluteMusic
\new Staff = "Staff_clarinet" \with {
instrumentName = \markup { \concat { "Clarinet in B" \flat } }
}
% Declare that written Middle C in the music
% to follow sounds a concert B flat, for
% output using sounded pitches such as MIDI.
%\transposition bes
% Print music for a B-flat clarinet
\transpose bes c' \clarinetMusic
>>
\new StaffGroup = "StaffGroup_brass" <<
\new Staff = "Staff_hornI" \with { instrumentName = "Horn in F" }
% \transposition f
\transpose f c' \hornMusic
\new Staff = "Staff_trumpet" \with { instrumentName = "Trumpet in C" }
\trumpetMusic
>>
\new RhythmicStaff = "RhythmicStaff_percussion"
\with { instrumentName = "Percussion" }
<<
\percussionMusic
>>
\new PianoStaff \with { instrumentName = "Piano" }
<<
\new Staff { \pianoRHMusic }
\new Staff { \pianoLHMusic }
>>
\new ChoirStaff = "ChoirStaff_choir" <<
\new Staff = "Staff_soprano" \with { instrumentName = "Soprano" }
\new Voice = "soprano"
\sopranoMusic
\new Lyrics \lyricsto "soprano" { \sopranoLyrics }
\new GrandStaff = "GrandStaff_altos"
\with { \accepts Lyrics } <<
\new Staff = "Staff_altoI" \with { instrumentName = "Alto I" }
\new Voice = "altoI"
\altoIMusic
\new Lyrics \lyricsto "altoI" { \altoILyrics }
\new Staff = "Staff_altoII" \with { instrumentName = "Alto II" }
\new Voice = "altoII"
\altoIIMusic
\new Lyrics \lyricsto "altoII" { \altoIILyrics }
>>
\new Staff = "Staff_tenor" \with { instrumentName = "Tenor" }
\new Voice = "tenor"
\tenorMusic
\new Lyrics \lyricsto "tenor" { \tenorLyrics }
>>
\new StaffGroup = "StaffGroup_strings" <<
\new GrandStaff = "GrandStaff_violins" <<
\new Staff = "Staff_violinI" \with { instrumentName = "Violin I" }
\violinIMusic
\new Staff = "Staff_violinII" \with { instrumentName = "Violin II" }
\violinIIMusic
>>
\new Staff = "Staff_viola" \with { instrumentName = "Viola" }
\violaMusic
\new Staff = "Staff_cello" \with { instrumentName = "Cello" }
\celloMusic
\new Staff = "Staff_bass" \with { instrumentName = "Double Bass" }
\bassMusic
>>
>>
\layout { }
}
|
Ottava text
Internally, \ottava
sets the properties ottavation
(for
example, to 8va
or 8vb
) and middleCPosition
. To
override the text of the bracket, set ottavation
after invoking
\ottava
.
| {
\ottava #1
\set Staff.ottavation = #"8"
c''1
\ottava #0
c'1
\ottava #1
\set Staff.ottavation = #"Text"
c''1
}
|
Preventing extra naturals from being automatically added
In accordance with traditional typesetting rules, a natural sign is
printed before a sharp or flat if a previous double sharp or flat on
the same note is canceled. To change this behavior to contemporary
practice, set the extraNatural
property to f
in the
Staff
context.
| \relative c'' {
aeses4 aes ais a
\set Staff.extraNatural = ##f
aeses4 aes ais a
}
|
Preventing natural signs from being printed when the key signature changes
When the key signature changes, natural signs are automatically printed
to cancel any accidentals from previous key signatures. This may be
prevented by setting to f
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
}
|
Quoting another voice with transposition
Quotations take into account the transposition of both source and
target. In this example, all instruments play sounding middle C; the
target is an instrument in F. The target part may be transposed using
\transpose
. In this case, all the pitches (including the
quoted ones) are transposed.
| \addQuote clarinet {
\transposition bes
\repeat unfold 8 { d'16 d' d'8 }
}
\addQuote sax {
\transposition es'
\repeat unfold 16 { a8 }
}
quoteTest = {
% french horn
\transposition f
g'4
<< \quoteDuring "clarinet" { \skip 4 } s4^"clar." >>
<< \quoteDuring "sax" { \skip 4 } s4^"sax." >>
g'4
}
{
\new Staff \with {
instrumentName = \markup { \column { Horn "in F" } }
}
\quoteTest
\transpose c' d' << \quoteTest s4_"up a tone" >>
}
|
Separating key cancellations from key signature changes
By default, the accidentals used for key cancellations are placed
adjacent to those for key signature changes. This behavior can be
changed by overriding the 'break-align-orders
property of the
BreakAlignment
grob.
The value of 'break-align-orders
is a vector of length 3, with
quoted lists of breakable items as elements. This example only
modifies the second list, moving key-cancellation
before
staff-bar
; by modifying the second list, break alignment
behavior only changes in the middle of a system, not at the beginning
or the end.
| \new Staff {
\override Score.BreakAlignment.break-align-orders =
##((left-edge ambitus breathing-sign clef staff-bar
key-cancellation key-signature time-signature custos)
(left-edge ambitus breathing-sign clef key-cancellation
staff-bar key-signature time-signature custos)
(left-edge ambitus breathing-sign clef key-cancellation
key-signature staff-bar time-signature custos))
\key des \major
c'1
\bar "||"
\key bes \major
c'1
}
|
Transposing pitches with minimum accidentals ("Smart" transpose)
This example uses some Scheme code to enforce enharmonic modifications
for notes in order to have the minimum number of accidentals. In this
case, the following rules apply:
Double accidentals should be removed
B sharp -> C
E sharp -> F
C flat -> B
F flat -> E
In this manner, the most natural enharmonic notes are chosen.
| #(define (naturalize-pitch p)
(let ((o (ly:pitch-octave p))
(a (* 4 (ly:pitch-alteration p)))
;; alteration, a, in quarter tone steps,
;; for historical reasons
(n (ly:pitch-notename p)))
(cond
((and (> a 1) (or (eqv? n 6) (eqv? n 2)))
(set! a (- a 2))
(set! n (+ n 1)))
((and (< a -1) (or (eqv? n 0) (eqv? 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 naturalize 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 (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 { }
}
|
Tweaking clef properties
Changing the Clef glyph, its position, or the ottavation does not
change the position of subsequent notes on the staff. To get key
signatures on their correct staff lines middleCClefPosition
must
also be specified, with positive or negative values moving middle
C
up or down respectively, relative to the staff’s center line.
For example, \clef "treble_8"
is equivalent to setting the
clefGlyph
, clefPosition
(the vertical position of the
clef itself on the staff), middleCPosition
and
clefTransposition
. Note that when any of these properties
(except middleCPosition
) are changed a new clef symbol is
printed.
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
\key f \major
c'1
% The standard bass clef
\set Staff.clefGlyph = #"clefs.F"
\set Staff.clefPosition = #2
\set Staff.middleCPosition = #6
\set Staff.middleCClefPosition = #6
\key g \major
c'1
% The baritone clef
\set Staff.clefGlyph = #"clefs.C"
\set Staff.clefPosition = #4
\set Staff.middleCPosition = #4
\set Staff.middleCClefPosition = #4
\key f \major
c'1
% The standard choral tenor clef
\set Staff.clefGlyph = #"clefs.G"
\set Staff.clefPosition = #-2
\set Staff.clefTransposition = #-7
\set Staff.middleCPosition = #1
\set Staff.middleCClefPosition = #1
\key f \major
c'1
% A non-standard clef
\set Staff.clefPosition = #0
\set Staff.clefTransposition = #0
\set Staff.middleCPosition = #-4
\set Staff.middleCClefPosition = #-4
\key g \major
c'1 \break
% The following clef changes do not preserve
% the normal relationship between notes, key signatures
% 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.clefTransposition = #7
c'1
\set Staff.clefTransposition = #0
\set Staff.clefPosition = #0
c'1
% Return to the normal clef:
\set Staff.middleCPosition = #0
c'1
}
|
Using autochange with more than one voice
Using autochange
with more than one voice.
| \score
{
\new PianoStaff
<<
\new Staff = "up" {
<<
\set Timing.beamExceptions = #'()
\set Timing.beatStructure = #'(4)
\new Voice {
\voiceOne
\autochange
\relative c' {
g8 a b c d e f g
g,8 a b c d e f g
}
}
\new Voice {
\voiceTwo
\autochange
\relative c' {
g8 a b c d e f g
g,,8 a b c d e f g
}
}
>>
}
\new Staff = "down" {
\clef bass
}
>>
}
|
Rhythms
Rhythms
Adding beams slurs ties etc. when using tuplet and non-tuplet 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 \tuplet 3/2 { r16 e'8] }
g16( a \tuplet 3/2 { b d e') }
g8[( a \tuplet 3/2 { b d') e'] ~ }
\time 2/4
\tuplet 5/4 { e'32\( a b d' e' } a'4.\)
}
|
Adding drum parts
Using the powerful pre-configured tools such as the \drummode
function and the DrumStaff
context, inputting drum parts is
quite easy: drums are placed at their own staff positions (with a
special clef symbol) and have note heads according to the drum.
Attaching an extra symbol to the drum or restricting the number of
lines is possible.
| drh = \drummode {
cymc4.^"crash" hhc16^"h.h." hh hhc8 hho hhc8 hh16 hh
hhc4 r4 r2
}
drl = \drummode {
bd4 sn8 bd bd4 << bd ss >>
bd8 tommh tommh bd toml toml bd tomfh16 tomfh
}
timb = \drummode {
timh4 ssh timl8 ssh r timh r4
ssh8 timl r4 cb8 cb
}
\score {
<<
\new DrumStaff \with {
instrumentName = "timbales"
drumStyleTable = #timbales-style
\override StaffSymbol.line-count = #2
\override BarLine.bar-extent = #'(-1 . 1)
}
<<
\timb
>>
\new DrumStaff \with { instrumentName = "drums" }
<<
\new DrumVoice { \stemUp \drh }
\new DrumVoice { \stemDown \drl }
>>
>>
\layout { }
\midi { \tempo 4 = 120 }
}
|
Adjusting grace note spacing
The space given to grace notes can be adjusted using the
spacing-increment
property of Score.GraceSpacing
.
| graceNotes = {
\grace { c4 c8 c16 c32 }
c8
}
\relative c'' {
c8
\graceNotes
\override Score.GraceSpacing.spacing-increment = #2.0
\graceNotes
\revert Score.GraceSpacing.spacing-increment
\graceNotes
}
|
Aligning bar numbers
Bar numbers by default are right-aligned to their parent object. This
is usually the left edge of a line or, if numbers are printed within a
line, the left hand side of a bar line. The numbers may also be
positioned directly over the bar line or left-aligned to the bar line.
| \relative c' {
\set Score.currentBarNumber = #111
\override Score.BarNumber.break-visibility = #all-visible
% Increase the size of the bar number by 2
\override Score.BarNumber.font-size = #2
% Print a bar number every second measure
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
c1 | c1
% Center-align bar numbers
\override Score.BarNumber.self-alignment-X = #CENTER
c1 | c1
% Left-align bar numbers
\override Score.BarNumber.self-alignment-X = #LEFT
c1 | c1
}
|
Alternative breve notes
Breve notes are also available with two vertical lines on each side of
the notehead instead of one line and in baroque style.
| \relative c'' {
\time 4/2
c\breve |
\override Staff.NoteHead.style = #'altdefault
b\breve
\override Staff.NoteHead.style = #'baroque
b\breve
\revert Staff.NoteHead.style
a\breve
}
|
Automatic beam subdivisions
Beams can be subdivided automatically. By setting the property
subdivideBeams
, beams are subdivided at beat positions (as
specified in baseMoment
).
| \new Staff {
\relative c'' {
<<
{
\voiceOne
\set subdivideBeams = ##t
b32[ a g f c' b a g
b32^"subdivide beams" a g f c' b a g]
}
\new Voice {
\voiceTwo
b32_"default"[ a g f c' b a g
b32 a g f c' b a g]
}
>>
\oneVoice
\set baseMoment = #(ly:make-moment 1/8)
\set beatStructure = 2,2,2,2
b32^"baseMoment 1 8"[ a g f c' b a g]
\set baseMoment = #(ly:make-moment 1/16)
\set beatStructure = 4,4,4,4
b32^"baseMoment 1 16"[ a g f c' b a g]
}
}
|
Automatically change durations
shiftDurations
can be used to change the note lengths of a piece
of music. It takes two arguments - the scaling factor as a power of
two, and the number of dots to be added as a positive integer.
| \paper { indent = 0 }
music = \relative c'' { a1 b2 c4 d8 r }
\score {
\new Voice {
\time 4/2
\music
\time 4/4
\shiftDurations #1 #0 { \music }
\time 2/4
\shiftDurations #2 #0 { \music }
\time 4/1
\shiftDurations #-1 #0 { \music }
\time 8/1
\shiftDurations #-2 #0 { \music }
\time 6/2
\shiftDurations #0 #1 { \music }
\time 7/2
\shiftDurations #0 #2 { \music }
}
}
|
Avoiding collisions with chord fingerings
Fingerings and string numbers applied to individual notes will
automatically avoid beams and stems, but this is not true by default
for fingerings and string numbers applied to the individual notes of
chords. The following example shows how this default behavior can be
overridden.
| \relative c' {
\set fingeringOrientations = #'(up)
\set stringNumberOrientations = #'(up)
\set strokeFingerOrientations = #'(up)
% Default behavior
r8
<f c'-5>8
<f c'\5>8
<f c'-\rightHandFinger #2 >8
% No tweak needed
r8
<f c'-5>8
<f c'\5>8
% Corrected to avoid collisions
\override StrokeFinger.add-stem-support = ##t
<f c'-\rightHandFinger #2 >8
}
|
Beam endings in Score context
Beam-ending rules specified in the Score
context apply to all
staves, but can be modified at both Staff
and Voice
levels:
| \relative c'' {
\time 5/4
% Set default beaming for all staves
\set Score.baseMoment = #(ly:make-moment 1/8)
\set Score.beatStructure = 3,4,3
<<
\new Staff {
c8 c c c c c c c c c
}
\new Staff {
% Modify beaming for just this staff
\set Staff.beatStructure = 6,4
c8 c c c c c c c c c
}
\new Staff {
% Inherit beaming from Score context
<<
{
\voiceOne
c8 c c c c c c c c c
}
% Modify beaming for this voice only
\new Voice {
\voiceTwo
\set Voice.beatStructure = 6,4
a8 a a a a a a a a a
}
>>
}
>>
}
|
Beams across line breaks
Line breaks are normally forbidden when beams cross bar lines. This
behavior can be changed as shown:
| \relative c'' {
\override Beam.breakable = ##t
c8 c[ c] c[ c] c[ c] c[ \break
c8] c[ c] c[ c] c[ c] c
}
|
Changing beam knee gap
Kneed beams are inserted automatically when a large gap is detected
between the note heads. This behavior can be tuned through the
auto-knee-gap
property. A kneed beam is drawn if the gap is
larger than the value of auto-knee-gap
plus the width of the
beam object (which depends on the duration of the notes and the slope
of the beam). By default auto-knee-gap
is set to 5.5 staff
spaces.
| {
f8 f''8 f8 f''8
\override Beam.auto-knee-gap = #6
f8 f''8 f8 f''8
}
|
Changing form of multi-measure rests
If there are ten or fewer measures of rests, a series of longa and
breve rests (called in German “Kirchenpausen” - church rests) is
printed within the staff; otherwise a simple line is shown. This
default number of ten may be changed by overriding the
expand-limit
property.
| \relative c'' {
\compressMMRests {
R1*2 | R1*5 | R1*9
\override MultiMeasureRest.expand-limit = #3
R1*2 | R1*5 | R1*9
}
}
|
Changing the number of augmentation dots per note
The number of augmentation dots on a single note can be changed
indepently of the dots placed after the note.
| \relative c' {
c4.. a16 r2 |
\override Dots.dot-count = #4
c4.. a16 r2 |
\override Dots.dot-count = #0
c4.. a16 r2 |
\revert Dots.dot-count
c4.. a16 r2 |
}
|
Changing the tempo without a metronome mark
To change the tempo in MIDI output without printing anything, make the
metronome mark invisible.
| \score {
\new Staff \relative c' {
\tempo 4 = 160
c4 e g b
c4 b d c
\set Score.tempoHideNote = ##t
\tempo 4 = 96
d,4 fis a cis
d4 cis e d
}
\layout { }
\midi { }
}
|
Changing the tuplet number
By default, only the numerator of the tuplet number is printed over the
tuplet bracket, i.e., the numerator of the argument to the
\tuplet
command.
Alternatively, num:den of the tuplet number may be printed, or the
tuplet number may be suppressed altogether.
| \relative c'' {
\tuplet 3/2 { c8 c c }
\tuplet 3/2 { c8 c c }
\override TupletNumber.text = #tuplet-number::calc-fraction-text
\tuplet 3/2 { c8 c c }
\omit TupletNumber
\tuplet 3/2 { c8 c c }
}
|
Changing time signatures inside a polymetric section using \scaleDurations
The measureLength
property, together with
measurePosition
, determines when a bar line is needed. However,
when using \scaleDurations
, the scaling of durations makes it
difficult to change time signatures. In this case,
measureLength
should be set manually, using the
ly:make-moment
callback. The second argument must be the same
as the second argument of \scaleDurations
.
| \layout {
\context {
\Score
\remove "Timing_translator"
\remove "Default_bar_line_engraver"
}
\context {
\Staff
\consists "Timing_translator"
\consists "Default_bar_line_engraver"
}
}
<<
\new Staff {
\scaleDurations 8/5 {
\time 6/8
\set Timing.measureLength = #(ly:make-moment 6/5)
b8 b b b b b
\time 2/4
\set Timing.measureLength = #(ly:make-moment 4/5)
b4 b
}
}
\new Staff {
\clef bass
\time 2/4
c2 d e f
}
>>
|
Chant or psalms notation
This form of notation is used for Psalm chant, where verses aren’t
always the same length.
| stemOff = \hide Staff.Stem
stemOn = \undo \stemOff
\score {
\new Staff \with { \remove "Time_signature_engraver" }
{
\key g \minor
\cadenzaOn
\stemOff a'\breve bes'4 g'4
\stemOn a'2 \bar "||"
\stemOff a'\breve g'4 a'4
\stemOn f'2 \bar "||"
\stemOff a'\breve^\markup { \italic flexe }
\stemOn g'2 \bar "||"
}
}
|
Compound time signatures
Odd 20th century time signatures (such as "5/8") can often be played
as compound time signatures (e.g. "3/8 + 2/8"), which combine two or
more inequal metrics.
LilyPond can make such music quite easy to read and play, by explicitly
printing the compound time signatures and adapting the automatic
beaming behavior.
| \relative c' {
\compoundMeter #'((2 8) (3 8))
c8 d e fis gis
c8 fis, gis e d
c8 d e4 gis8
}
|
Conducting signs measure grouping signs
Beat grouping within a measure is controlled by the context property
beatStructure
. Values of beatStructure
are established
for many time signatures in scm/time-signature-settings.scm
.
Values of beatStructure
can be changed or set with \set
.
Alternatively, \time
can be used to both set the time signature
and establish the beat structure. For this, you specify the internal
grouping of beats in a measure as a list of numbers (in Scheme syntax)
before the time signature.
\time
applies to the Timing
context, so it will not
reset values of beatStructure
or baseMoment
that are set
in other lower-level contexts, such as Voice
.
If the Measure_grouping_engraver
is included in one of the
display contexts, measure grouping signs will be created. Such signs
ease reading rhythmically complex modern music. In the example, the 9/8
measure is grouped in two different patterns using the two different
methods, while the 5/8 measure is grouped according to the default
setting in scm/time-signature-settings.scm
:
| \score {
\new Voice \relative c'' {
\time 9/8
g8 g d d g g a( bes g) |
\set Timing.beatStructure = 2,2,2,3
g8 g d d g g a( bes g) |
\time 4,5 9/8
g8 g d d g g a( bes g) |
\time 5/8
a4. g4 |
}
\layout {
\context {
\Staff
\consists "Measure_grouping_engraver"
}
}
}
|
Consistently left aligned bar numbers
When left aligning bar numbers, overlapping problems may occur with
Staves brackets. The snippet solves this by keeping right aligned the
first bar number following line breaks.
| consistentlyLeftAlignedBarNumbers = {
\override Score.BarNumber.break-visibility = #end-of-line-invisible
\override Score.BarNumber.self-alignment-X =
#(lambda (grob)
(let ((break-dir (ly:item-break-dir grob)))
(if (= break-dir RIGHT) RIGHT LEFT)))
}
\new ChoirStaff <<
\new Staff {
\relative c' {
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 3)
\bar ""
\consistentlyLeftAlignedBarNumbers
\set Score.currentBarNumber = #112
\repeat unfold 8 { R1 }
\break
\repeat unfold 9 { R1 }
\break
\repeat unfold 7 { R1 }
}
}
\new Staff {
\relative c' {
\repeat unfold 24 { R1 }
}
}
>>
\layout {
indent = #0
ragged-right = ##t
ragged-last = ##t
}
|
Controlling tuplet bracket visibility
The default behavior of tuplet-bracket visibility is to print a bracket
unless there is a beam of the same length as the tuplet. To control the
visibility of tuplet brackets, set the property
'bracket-visibility
to either #t
(always print a
bracket), #f
(never print a bracket) or #'if-no-beam
(only print a bracket if there is no beam).
| music = \relative c'' {
\tuplet 3/2 { c16[ d e } f8]
\tuplet 3/2 { c8 d e }
\tuplet 3/2 { c4 d e }
}
\new Voice {
\relative c' {
<< \music s4^"default" >>
\override TupletBracket.bracket-visibility = #'if-no-beam
<< \music s4^"'if-no-beam" >>
\override TupletBracket.bracket-visibility = ##t
<< \music s4^"#t" >>
\override TupletBracket.bracket-visibility = ##f
<< \music s4^"#f" >>
%% v2.18 :
\omit TupletBracket
<< \music s4^"omit" >>
}
}
|
Creating metronome marks in markup mode
New metronome marks can be created in markup mode, but they will not
change the tempo in MIDI output.
| \relative c' {
\tempo \markup {
\concat {
(
\smaller \general-align #Y #DOWN \note #"16." #1
" = "
\smaller \general-align #Y #DOWN \note #"8" #1
)
}
}
c1
c4 c' c,2
}
|
Engraving ties manually
Ties may be engraved manually by changing the tie-configuration
property of the TieColumn
object. The first number indicates the
distance from the center of the staff in half 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>2~ <c e g>
}
|
Engraving tremolos with floating beams
If a tremolo’s total duration is less than a quarter-note, or exactly a
half-note, or between a half-note and a whole-note, it is normally
typeset with all beams touching the stems. Certain engraving styles
typeset some of these beams as centered floating beams that do not
touch the stems. The number of floating beams in this type of tremolo
is controlled with the 'gap-count
property of the Beam
object, and the size of the gaps between beams and stems is set with
the 'gap
property.
| \relative c'' {
\repeat tremolo 8 { a32 f }
\override Beam.gap-count = #1
\repeat tremolo 8 { a32 f }
\override Beam.gap-count = #2
\repeat tremolo 8 { a32 f }
\override Beam.gap-count = #3
\repeat tremolo 8 { a32 f }
\override Beam.gap-count = #3
\override Beam.gap = #1.33
\repeat tremolo 8 { a32 f }
\override Beam.gap = #1
\repeat tremolo 8 { a32 f }
\override Beam.gap = #0.67
\repeat tremolo 8 { a32 f }
\override Beam.gap = #0.33
\repeat tremolo 8 { a32 f }
}
|
Entering several tuplets using only one \tuplet command
The property tupletSpannerDuration
sets how long each of the
tuplets contained within the brackets after \tuplet
should
last. Many consecutive tuplets can then be placed within a single
\tuplet
expression, thus saving typing.
There are several ways to set tupletSpannerDuration
. The
command \tupletSpan
sets it to a given duration, and clears it
when instead of a duration \default
is specified. Another way
is to use an optional argument with \tuplet
.
| \relative c' {
\time 2/4
\tupletSpan 4
\tuplet 3/2 { c8^"\\tupletSpan 4" c c c c c }
\tupletSpan \default
\tuplet 3/2 { c8^"\\tupletSpan \\default" c c c c c }
\tuplet 3/2 4 { c8^"\\tuplet 3/2 4 {...}" c c c c c }
}
|
Flat flags and beam nibs
Flat flags on lone notes and beam nibs at the ends of beamed figures
are both possible with a combination of stemLeftBeamCount
,
stemRightBeamCount
and paired []
beam indicators.
For right-pointing flat flags on lone notes, use paired []
beam
indicators and set stemLeftBeamCount
to zero (see Example 1).
For left-pointing flat flags, set stemRightBeamCount
instead
(Example 2).
For right-pointing nibs at the end of a run of beamed notes, set
stemRightBeamCount
to a positive value. And for left-pointing
nibs at the start of a run of beamed notes, set
stemLeftBeamCount
instead (Example 3).
Sometimes it may make sense for a lone note surrounded by rests to
carry both a left- and right-pointing flat flag. Do this with paired
[]
beam indicators alone (Example 4).
(Note that \set stemLeftBeamCount
is always equivalent to
\once \set
. In other words, the beam count settings are not
“sticky”, so the pair of flat flags attached to the lone
16[]
in the last example have nothing to do with the
\set
two notes prior.)
| \score {
<<
% Example 1
\new RhythmicStaff {
\set stemLeftBeamCount = #0
c16[]
r8.
}
% Example 2
\new RhythmicStaff {
r8.
\set stemRightBeamCount = #0
16[]
}
% Example 3
\new RhythmicStaff {
16 16
\set stemRightBeamCount = #2
16 r r
\set stemLeftBeamCount = #2
16 16 16
}
% Example 4
\new RhythmicStaff {
16 16
\set stemRightBeamCount = #2
16 r16
16[]
r16
\set stemLeftBeamCount = #2
16 16
}
>>
}
|
Forcing rehearsal marks to start from a given letter or number
This snippet demonstrates how to obtain automatic ordered rehearsal
marks, but from the letter or number desired.
| \relative c'' {
c1 \mark \default
c1 \mark \default
c1 \mark \default
c1 \mark #14
c1 \mark \default
c1 \mark \default
c1 \mark \default
c1
\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
}
|
Generating custom flags
The stencil
property of the Flag
grob can be set to a
custom scheme function to generate the glyph for the flag.
| #(define-public (weight-flag grob)
(let* ((stem-grob (ly:grob-parent grob X))
(log (- (ly:grob-property stem-grob 'duration-log) 2))
(is-up? (eqv? (ly:grob-property stem-grob 'direction) UP))
(yext (if is-up? (cons (* log -0.8) 0) (cons 0 (* log 0.8))))
(flag-stencil (make-filled-box-stencil '(-0.4 . 0.4) yext))
(stroke-style (ly:grob-property grob 'stroke-style))
(stroke-stencil (if (equal? stroke-style "grace")
(make-line-stencil 0.2 -0.9 -0.4 0.9 -0.4)
empty-stencil)))
(ly:stencil-add flag-stencil stroke-stencil)))
% Create a flag stencil by looking up the glyph from the font
#(define (inverted-flag grob)
(let* ((stem-grob (ly:grob-parent grob X))
(dir (if (eqv? (ly:grob-property stem-grob 'direction) UP) "d" "u"))
(flag (retrieve-glyph-flag "" dir "" grob))
(line-thickness (ly:staff-symbol-line-thickness grob))
(stem-thickness (ly:grob-property stem-grob 'thickness))
(stem-width (* line-thickness stem-thickness))
(stroke-style (ly:grob-property grob 'stroke-style))
(stencil (if (null? stroke-style)
flag
(add-stroke-glyph flag stem-grob dir stroke-style "")))
(rotated-flag (ly:stencil-rotate-absolute stencil 180 0 0)))
(ly:stencil-translate rotated-flag (cons (- (/ stem-width 2)) 0))))
snippetexamplenotes =
{
\autoBeamOff c'8 d'16 c'32 d'64 \acciaccatura {c'8} d'64
}
{
\override Score.RehearsalMark.self-alignment-X = #LEFT
\time 1/4
\mark "Normal flags"
\snippetexamplenotes
\mark "Custom flag: inverted"
\override Flag.stencil = #inverted-flag
\snippetexamplenotes
\mark "Custom flag: weight"
\override Flag.stencil = #weight-flag
\snippetexamplenotes
\mark "Revert to normal"
\revert Flag.stencil
\snippetexamplenotes
}
|
Guitar strum rhythms
For guitar music, it is possible to show strum rhythms, along with
melody notes, chord names and fret diagrams.
| \include "predefined-guitar-fretboards.ly"
<<
\new ChordNames {
\chordmode {
c1 | f | g | c
}
}
\new FretBoards {
\chordmode {
c1 | f | g | c
}
}
\new Voice \with {
\consists "Pitch_squash_engraver"
} {
\relative c'' {
\improvisationOn
c4 c8 c c4 c8 c
f4 f8 f f4 f8 f
g4 g8 g g4 g8 g
c4 c8 c c4 c8 c
}
}
\new Voice = "melody" {
\relative c'' {
c2 e4 e4
f2. r4
g2. a4
e4 c2.
}
}
\new Lyrics {
\lyricsto "melody" {
This is my song.
I like to sing.
}
}
>>
|
Heavily customized polymetric time signatures
Though the polymetric time signature shown was not the most essential
item here, it has been included to show the beat of this piece (which
is the template of a real Balkan song!).
| melody = \relative c'' {
\key g \major
\compoundMeter #'((3 8) (2 8) (2 8) (3 8) (2 8) (2 8)
(2 8) (2 8) (3 8) (2 8) (2 8))
c8 c c d4 c8 c b c b a4 g fis8 e d c b' c d e4-^ fis8 g \break
c,4. d4 c4 d4. c4 d c2 d4. e4-^ d4
c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 \break
c4. d4 c4 d4. c4 d c2 d4. e4-^ d4
c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 \break
}
drum = \new DrumStaff \drummode {
\bar ".|:" bd4.^\markup { Drums } sn4 bd \bar ";" sn4.
bd4 sn \bar ";" bd sn bd4. sn4 bd \bar ":|."
}
\new Staff \with {
instrumentName = \markup { \concat { "B" \flat " Sop." } }
}
{
\melody
\drum
}
|
Making an object invisible with the ’transparent property
Setting the transparent
property will cause an object to be
printed in “invisible ink”: the object is not printed, but all its
other behavior is retained. The object still takes up space, it takes
part in collisions, and slurs, ties and beams can be attached to it.
This snippet demonstrates how to connect different voices using ties.
Normally, ties only connect two notes in the same voice. By
introducing a tie in a different voice, and blanking the first up-stem
in that voice, the tie appears to cross voices.
| \relative {
\time 2/4
<<
{
\once \hide Stem
\once \override Stem.length = #8
b'8 ~ 8\noBeam
\once \hide Stem
\once \override Stem.length = #8
g8 ~ 8\noBeam
}
\\
{
b8 g g e
}
>>
}
|
Making slurs with complex dash structure
Slurs can be made with complex dash patterns by defining the
dash-definition
property. dash-definition
is a list of
dash-elements
. A dash-element
is a list of parameters
defining the dash behavior for a segment of the slur.
The slur is defined in terms of the bezier parameter t which ranges
from 0 at the left end of the slur to 1 at the right end of the slur.
dash-element
is a list (start-t stop-t dash-fraction
dash-period)
. The region of the slur from start-t
to
stop-t
will have a fraction dash-fraction
of each
dash-period
black. dash-period
is defined in terms of
staff spaces. dash-fraction
is set to 1 for a solid slur.
| \relative c' {
\once \override
Slur.dash-definition = #'((0 0.3 0.1 0.75)
(0.3 0.6 1 1)
(0.65 1.0 0.4 0.75))
c4( d e f)
\once \override
Slur.dash-definition = #'((0 0.25 1 1)
(0.3 0.7 0.4 0.75)
(0.75 1.0 1 1))
c4( d e f)
}
|
Manually controlling beam positions
Beam positions may be controlled manually, by overriding the
positions
setting of the Beam
grob.
| \relative c' {
\time 2/4
% from upper staff-line (position 2) to center (position 0)
\override Beam.positions = #'(2 . 0)
c8 c
% from center to one above center (position 1)
\override Beam.positions = #'(0 . 1)
c8 c
}
|
Merging multi-measure rests in a polyphonic part
When using multi-measure rests in a polyphonic staff, the rests will be
placed differently depending on the voice they belong to. However they
can be printed on the same staff line, using the following setting.
| normalPos = \revert MultiMeasureRest.direction
{
<<
{
c''1
R1
c''1
\normalPos
R1
}
\\
{
c'1
R1
c'1
\normalPos
R1
}
>>
}
|
Modifying tuplet bracket length
Tuplet brackets can be made to run to prefatory matter or the next
note. Default tuplet brackets end at the right edge of the final note
of the tuplet; full-length tuplet brackets extend farther to the right,
either to cover all the non-rhythmic notation up to the following note,
or to cover only the whitespace before the next item of notation, be
that a clef, time signature, key signature, or another note. The
example shows how to switch tuplets to full length mode and how to
modify what material they cover.
| \new RhythmicStaff {
% Set tuplets to be extendable...
\set tupletFullLength = ##t
% ...to cover all items up to the next note
\set tupletFullLengthNote = ##t
\time 2/4
\tuplet 3/2 { c4 4 4 }
% ...or to cover just whitespace
\set tupletFullLengthNote = ##f
\time 4/4
\tuplet 5/4 { 4 1 }
\time 3/4
2.
}
|
Moving dotted notes in polyphony
When a dotted note in the upper voice is moved to avoid a collision
with a note in another voice, the default is to move the upper note to
the right. This behaviour can be over-ridden by using the
prefer-dotted-right
property of NoteCollision
.
| \new Staff \relative c' <<
{
f2. f4
\override Staff.NoteCollision.prefer-dotted-right = ##f
f2. f4
\override Staff.NoteCollision.prefer-dotted-right = ##t
f2. f4
}
\\
{ e4 e e e e e e e e e e e }
>>
|
Multi-measure length control
Multi-measure rests have length according to their total duration which
is under the control of MultiMeasureRest.space-increment
. Note
the default value is 2.0
.
| \relative c' {
\compressFullBarRests
R1*2 R1*4 R1*64 R1*16
\override Staff.MultiMeasureRest.space-increment = 2.5
R1*2 R1*4 R1*64 R1*16
}
|
Multi-measure rest markup
Markups attached to a multi-measure rest will be centered above or
below it. Long markups attached to multi-measure rests do not cause
the measure to expand. To expand a multi-measure rest to fit the
markup, use an empty chord with an attached markup before the
multi-measure rest.
Text attached to a spacer rest in this way is left-aligned to the
position where the note would be placed in the measure, but if the
measure length is determined by the length of the text, the text will
appear to be centered.
| \relative c' {
\compressMMRests {
\textLengthOn
<>^\markup { [MAJOR GENERAL] }
R1*19
<>_\markup { \italic { Cue: ... it is yours } }
<>^\markup { A }
R1*30^\markup { [MABEL] }
\textLengthOff
c4^\markup { CHORUS } d f c
}
}
|
Non-default tuplet numbers
LilyPond also provides formatting functions to print tuplet numbers
different than the actual fraction, as well as to append a note value
to the tuplet number or tuplet fraction.
| \relative c'' {
\once \override TupletNumber.text =
#(tuplet-number::non-default-tuplet-denominator-text 7)
\tuplet 3/2 { c4. c4. c4. c4. }
\once \override TupletNumber.text =
#(tuplet-number::non-default-tuplet-fraction-text 12 7)
\tuplet 3/2 { c4. c4. c4. c4. }
\once \override TupletNumber.text =
#(tuplet-number::append-note-wrapper
(tuplet-number::non-default-tuplet-fraction-text 12 7) "8")
\tuplet 3/2 { c4. c4. c4. c4. }
\once \override TupletNumber.text =
#(tuplet-number::append-note-wrapper
tuplet-number::calc-denominator-text "4")
\tuplet 3/2 { c8 c8 c8 c8 c8 c8 }
\once \override TupletNumber.text =
#(tuplet-number::append-note-wrapper
tuplet-number::calc-fraction-text "4")
\tuplet 3/2 { c8 c8 c8 c8 c8 c8 }
\once \override TupletNumber.text =
#(tuplet-number::fraction-with-notes "4." "8")
\tuplet 3/2 { c4. c4. c4. c4. }
\once \override TupletNumber.text =
#(tuplet-number::non-default-fraction-with-notes 12 "8" 4 "4")
\tuplet 3/2 { c4. c4. c4. c4. }
}
|
Partcombine and autoBeamOff
The function of \autoBeamOff
when used with
\partcombine
can be difficult to understand.
It may be preferable to use
\set Staff.autoBeaming = ##f
instead, to ensure that autobeaming will be turned off for the entire
staff.
\partcombine
apparently works with 3 voices – stem up single,
stem down single, stem up combined.
An \autoBeamOff
call in the first argument to partcombine will
apply to the voice that is active at the time the call is processed,
either stem up single or stem up combined. An \autoBeamOff
call
in the second argument will apply to the voice that is stem down single.
In order to use \autoBeamOff
to stop all autobeaming when used
with \partcombine
, it will be necessary to use three calls to
\autoBeamOff
.
| {
%\set Staff.autoBeaming = ##f % turns off all autobeaming
\partcombine
{
\autoBeamOff % applies to split up stems
\repeat unfold 4 a'16
%\autoBeamOff % applies to combined up stems
\repeat unfold 4 a'8
\repeat unfold 4 a'16
}
{
\autoBeamOff % applies to down stems
\repeat unfold 4 f'8
\repeat unfold 8 f'16 |
}
}
|
Permitting line breaks within beamed tuplets
This artificial example shows how both manual and automatic line breaks
may be permitted to within a beamed tuplet. Note that such off-beat
tuplets have to be beamed manually.
| \layout {
\context {
\Voice
% Permit line breaks within tuplets
\remove "Forbid_line_break_engraver"
% Allow beams to be broken at line breaks
\override Beam.breakable = ##t
}
}
\relative c'' {
a8
\repeat unfold 5 { \tuplet 3/2 { c[ b a] } }
% Insert a manual line break within a tuplet
\tuplet 3/2 { c[ b \bar "" \break a] }
\repeat unfold 5 { \tuplet 3/2 { c[ b a] } }
c8
}
|
Positioning grace note beams at the height of normal note beams
When notes are placed on ledger lines, their beams are usually centred
on the stave. Grace notes beams are shorter and grace notes on ledger
lines may well have beams outside the stave. You can override this
beaming for grace notes.
| \relative c {
f8[ e]
\grace {
f8[ e]
\override Stem.no-stem-extend = ##f
f8[ e]
\revert Stem.no-stem-extend
}
f8[ e]
}
|
Positioning grace notes with floating space
Setting the property 'strict-grace-spacing
makes the musical
columns for grace notes ’floating’, i.e., decoupled from the non-grace
notes: first the normal notes are spaced, then the (musical columns of
the) graces are put left of the musical columns for the main notes.
| \relative c'' {
<<
\override Score.SpacingSpanner.strict-grace-spacing = ##t
\new Staff \new Voice {
\afterGrace c4 { c16[ c8 c16] }
c8[ \grace { b16 d } c8]
c4 r
}
\new Staff {
c16 c c c c c c c c4 r
}
>>
}
|
Positioning multi-measure rests
Unlike ordinary rests, there is no predefined command to change the
staff position of a multi-measure rest symbol of either form by
attaching it to a note. However, in polyphonic music multi-measure
rests in odd-numbered and even-numbered voices are vertically
separated. The positioning of multi-measure rests can be controlled as
follows:
| \relative c'' {
% Multi-measure rests by default are set under the fourth line
R1
% They can be moved using an override
\override MultiMeasureRest.staff-position = #-2
R1
\override MultiMeasureRest.staff-position = #0
R1
\override MultiMeasureRest.staff-position = #2
R1
\override MultiMeasureRest.staff-position = #3
R1
\override MultiMeasureRest.staff-position = #6
R1
\revert MultiMeasureRest.staff-position
\break
% In two Voices, odd-numbered voices are under the top line
<< { R1 } \\ { a1 } >>
% Even-numbered voices are under the bottom line
<< { a1 } \\ { R1 } >>
% Multi-measure rests in both voices remain separate
<< { R1 } \\ { R1 } >>
% Separating multi-measure rests in more than two voices
% requires an override
<< { R1 } \\ { R1 } \\
\once \override MultiMeasureRest.staff-position = #0
{ R1 }
>>
% Using compressed bars in multiple voices requires another override
% in all voices to avoid multiple instances being printed
\compressMMRests
<<
\revert MultiMeasureRest.direction
{ R1*3 }
\\
\revert MultiMeasureRest.direction
{ R1*3 }
>>
}
|
Preventing final mark from removing final tuplet
The addition of a final mark
can result in the loss of a final
tuplet marking. This can be overcome by setting TupletBracket
#'full-length-to-extent
to false
.
| \new Staff {
\set tupletFullLength = ##t
\time 1/8
\tuplet 3/2 { c'16 c'16 c'16 }
\tuplet 3/2 { c'16 c'16 c'16 }
\tuplet 3/2 { c'16 c'16 c'16 }
\override Score.RehearsalMark.break-visibility = ##(#t #t #t)
\override Score.RehearsalMark.direction = #DOWN
\override Score.RehearsalMark.self-alignment-X = #RIGHT
% due to issue 2362 the following line is commented
% \mark "Composed Feb 2007 - Feb 2008"
% and a shorter mark is used.
\mark "1234"
}
\new Staff {
\set tupletFullLength = ##t
\override TupletBracket.full-length-to-extent = ##f
\time 1/8
\tuplet 3/2 { c'16 c'16 c'16 }
\tuplet 3/2 { c'16 c'16 c'16 }
\tuplet 3/2 { c'16 c'16 c'16 }
\override Score.RehearsalMark.break-visibility = ##(#t #t #t)
\override Score.RehearsalMark.direction = #DOWN
\override Score.RehearsalMark.self-alignment-X = #RIGHT
% due to issue 2362 the following line is commented
% \mark "Composed Feb 2007 - Feb 2008"
% and a shorter mark is used.
\mark "1234"
}
|
Printing bar numbers at regular intervals
Bar numbers can be printed at regular intervals by setting the property
barNumberVisibility
. Here the bar numbers are printed every two
measures except at the end of the line.
| \relative c' {
\override Score.BarNumber.break-visibility = #end-of-line-invisible
\set Score.currentBarNumber = #11
% Permit first bar number to be printed
\bar ""
% Print a bar number every second measure
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
c1 | c | c | c | c
\break
c1 | c | c | c | c
}
|
Printing bar numbers inside boxes or circles
Bar numbers can also be printed inside boxes or circles.
| \relative c' {
% Prevent bar numbers at the end of a line and permit them elsewhere
\override Score.BarNumber.break-visibility = #end-of-line-invisible
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 4)
% Increase the size of the bar number by 2
\override Score.BarNumber.font-size = #2
% Draw a box round the following bar number(s)
\override Score.BarNumber.stencil
= #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
\repeat unfold 5 { c1 }
% Draw a circle round the following bar number(s)
\override Score.BarNumber.stencil
= #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
\repeat unfold 4 { c1 } \bar "|."
}
|
Printing bar numbers with changing regular intervals
The bar number interval can be changed by changing the context function
{set-bar-number-visibility}
.
| \relative c' {
\override Score.BarNumber.break-visibility = #end-of-line-invisible
\context Score \applyContext #(set-bar-number-visibility 4)
\repeat unfold 10 c'1
\context Score \applyContext #(set-bar-number-visibility 2)
\repeat unfold 10 c
}
|
Printing metronome and rehearsal marks below the staff
By default, metronome and rehearsal marks are printed above the staff.
To place them below the staff simply set the direction
property
of MetronomeMark
or RehearsalMark
appropriately.
| \layout {
indent = 0
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
}
|
Printing music with different time signatures
In the following snippet, two parts have a completely different time
signature, yet remain synchronized. The bar lines can no longer be
printed at the Score
level; to allow independent bar lines in
each part, the Default_barline_engraver
and
Timing_translator
are moved from the Score
context to the
Staff
context.
If bar numbers are required, the Bar_number_engraver
should also
be moved, since it relies on properties set by the
Timing_translator
; a \with
block can be used to add bar
numbers to the relevant staff.
| \paper {
indent = #0
ragged-right = ##t
}
global = { \time 3/4 { s2.*3 } \bar "" \break { s2.*3 } }
\layout {
\context {
\Score
\remove "Timing_translator"
\remove "Default_bar_line_engraver"
\remove "Bar_number_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"
}
\context {
\Voice
\remove "Forbid_line_break_engraver"
tupletFullLength = ##t
}
}
Bassklarinette = \new Staff \with {
\consists "Bar_number_engraver"
barNumberVisibility = #(every-nth-bar-number-visible 2)
\override BarNumber.break-visibility = #end-of-line-invisible
} <<
\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
\tuplet 3/2 { ees''4 r4 d''4 ~ }
\bar "|"
\time 3/8
\tupletUp
\tuplet 4/3 { 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
>>
}
|
Printing the bar number for the first measure
By default, the first bar number in a score is suppressed if it is less
than or equal to ‘1’. By setting barNumberVisibility
to
all-bar-numbers-visible
, any bar number can be printed for the
first measure and all subsequent measures. Note that an empty bar line
must be inserted before the first note for this to work.
| \layout {
indent = 0
ragged-right = ##t
}
\relative c' {
\set Score.barNumberVisibility = #all-bar-numbers-visible
\bar ""
c1 | d | e | f \break
g1 | e | d | c
}
|
Redefining grace note global defaults
The global defaults for grace notes are stored in the identifiers
startGraceMusic
, stopGraceMusic
,
startAcciaccaturaMusic
, stopAcciaccaturaMusic
,
startAppoggiaturaMusic
and stopAppoggiaturaMusic
, which
are defined in the file ly/grace-init.ly
. By redefining them
other effects may be obtained.
| startAcciaccaturaMusic = {
<>(
\override Flag.stroke-style = #"grace"
\slurDashed
}
stopAcciaccaturaMusic = {
\revert Flag.stroke-style
\slurSolid
<>)
}
\relative c'' {
\acciaccatura d8 c1
}
|
Removing bar numbers from a score
Bar numbers can be removed entirely by removing the
Bar_number_engraver
from the Score
context.
| \layout {
\context {
\Score
\omit BarNumber
% or:
%\remove "Bar_number_engraver"
}
}
\relative c'' {
c4 c c c \break
c4 c c c
}
|
Removing connecting bar lines on StaffGroup PianoStaff or GrandStaff
By default, bar lines in StaffGroup, PianoStaff, or GrandStaff groups
are connected between the staves. This behaviour can be overridden on
a staff-by-staff basis.
| \relative c' {
\new StaffGroup <<
\new Staff {
e1 | e
\once \override Staff.BarLine.allow-span-bar = ##f
e1 | e | e
}
\new Staff {
c1 | c | c
\once \override Staff.BarLine.allow-span-bar = ##f
c1 | c
}
\new Staff {
a1 | a | a | a | a
}
>>
}
|
Rest styles
Rests may be used in various styles.
| \new Staff \relative c {
\omit Score.TimeSignature
\cadenzaOn
\override Staff.Rest.style = #'mensural
r\maxima^\markup \typewriter { mensural }
r\longa r\breve r1 r2 r4 r8 r16 s32 s64 s128 s128
\bar ""
\break
\override Staff.Rest.style = #'neomensural
r\maxima^\markup \typewriter { neomensural }
r\longa r\breve r1 r2 r4 r8 r16 s32 s64 s128 s128
\bar ""
\break
\override Staff.Rest.style = #'classical
r\maxima^\markup \typewriter { classical }
r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128
\bar ""
\break
\override Staff.Rest.style = #'z
r\maxima^\markup \typewriter { z-style }
r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128
\bar ""
\break
\override Staff.Rest.style = #'default
r\maxima^\markup \typewriter { default }
r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128
}
|
Reverting default beam endings
To typeset beams grouped 3-4-3-2
in 12/8 it is necessary first
to override the default beam endings in 12/8, and then to set up the
new beaming endings:
| \relative c'' {
\time 12/8
% Default beaming
a8 a a a a a a a a a a a
% Set new values for beam endings
\set Score.beatStructure = 3,4,3,2
a8 a a a a a a a a a a a
}
|
Rhythmic slashes
In “simple” lead-sheets, sometimes no actual notes are written,
instead only “rhythmic patterns” and chords above the measures are
notated giving the structure of a song. Such a feature is for example
useful while creating/transcribing the structure of a song and also
when sharing lead sheets with guitarists or jazz musicians. The
standard support for this using \repeat percent
is unsuitable
here since the first beat has to be an ordinary note or rest. This
example shows two solutions to this problem, by redefining ordinary
rests to be printed as slashes. (If the duration of each beat is not a
quarter note, replace the r4
in the definitions with a rest of
the appropriate duration).
| % Macro to print single slash
rs = {
\once \override Rest.stencil = #ly:percent-repeat-item-interface::beat-slash
\once \override Rest.thickness = #0.48
\once \override Rest.slope = #1.7
r4
}
% Function to print a specified number of slashes
comp = #(define-music-function (count) (integer?)
#{
\override Rest.stencil = #ly:percent-repeat-item-interface::beat-slash
\override Rest.thickness = #0.48
\override Rest.slope = #1.7
\repeat unfold $count { r4 }
\revert Rest.stencil
#}
)
\score {
\relative c' {
c4 d e f |
\rs \rs \rs \rs |
\comp #4 |
}
}
|
Skips in lyric mode (2)
Although s
skips cannot be used in \lyricmode
(it is
taken to be a literal “s”, not a space), double quotes (""
)
or underscores (_
) are available.So for example:
| <<
\relative c'' { a4 b c d }
\new Lyrics \lyricmode { a4 "" _ gap }
>>
|
Skips in lyric mode
The s
syntax for skips is only available in note mode and chord
mode. In other situations, for example, when entering lyrics, using the
\skip
command is recommended.
| <<
\relative c'' { a1 | a }
\new Lyrics \lyricmode { \skip 1 bla1 }
>>
|
Stemlets
In some notational conventions beams are allowed to extend over rests.
Depending on preference, these beams may drop ’stemlets’ to help the
eye appreciate the rhythm better, and in some modern music the rest
itself is omitted and only the stemlet remains.
This snippet shows a progression from traditional notation, to beams
over the rest, to stemlets over the rest, to stemlets alone. Stemlets
are generated by overriding the 'stemlet-length
property of
Stem
, while rests are hidden by setting 'transparent =
##t
.
Some \markup
elements are included in the source to highlight
the different notations.
| \paper { ragged-right = ##f }
{
c'16^\markup { traditional } d' r f'
g'16[^\markup { beams over rests } f' r d']
% N.B. use Score.Stem to set for the whole score.
\override Staff.Stem.stemlet-length = #0.75
c'16[^\markup { stemlets over rests } d' r f']
g'16[^\markup { stemlets and no rests } f'
\once \hide Rest
r16 d']
}
|
Strict beat beaming
Beamlets can be set to point in the direction of the beat to which they
belong. The first beam avoids sticking out flags (the default); the
second beam strictly follows the beat.
| \relative c'' {
\time 6/8
a8. a16 a a
\set strictBeatBeaming = ##t
a8. a16 a a
}
|
Subdividing beams
The beams of consecutive 16th (or shorter) notes are, by default, not
subdivided. That is, the three (or more) beams stretch unbroken over
entire groups of notes. This behavior can be modified to subdivide the
beams into sub-groups by setting the property subdivideBeams
.
When set, multiple beams will be subdivided at intervals defined by the
current value of baseMoment
by reducing the multiple beams to
the number of beams that indicates the metric value of the subdivision.
If the group following the division is shorter than the current metric
value (usually because the beam is incomplete) the number of beams
reflects the longest possible subdivision group. However, if there is
only one note left after the division this restriction isn’t applied.
Note that baseMoment
defaults to one over the denominator of the
current time signature if not set explicitly. It must be set to a
fraction giving the duration of the beam sub-group using the
ly:make-moment
function, as shown in this snippet. Also, when
baseMoment
is changed, beatStructure
should also be
changed to match the new baseMoment
:
| \relative c'' {
c32[ c c c c c c c]
\set subdivideBeams = ##t
c32[ c c c c c c c]
% Set beam sub-group length to an eighth note
\set baseMoment = #(ly:make-moment 1/8)
\set beatStructure = 2,2,2,2
c32[ c c c c c c c]
% Set beam sub-group length to a sixteenth note
\set baseMoment = #(ly:make-moment 1/16)
\set beatStructure = 4,4,4,4
c32[ c c c c c c c]
% Shorten beam by 1/32
\set baseMoment = #(ly:make-moment 1/8)
\set beatStructure = 2,2,2,2
c32[ c c c c c c] r32
% Shorten beam by 3/32
\set baseMoment = #(ly:make-moment 1/8)
\set beatStructure = 2,2,2,2
c32[ c c c c] r16.
r2
}
|
Three-sided box
This example shows how to add a markup command to get a three sided box
around some text (or other markup).
| % New command to add a three sided box, with sides north, west and south
% Based on the box-stencil command defined in scm/stencil.scm
% Note that ";;" is used to comment a line in Scheme
#(define-public (NWS-box-stencil stencil thickness padding)
"Add a box around STENCIL, producing a new stencil."
(let* ((x-ext (interval-widen (ly:stencil-extent stencil X) padding))
(y-ext (interval-widen (ly:stencil-extent stencil Y) 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 LEFT y-rule padding))
(set! stencil (ly:stencil-combine-at-edge stencil Y UP x-rule 0.0))
(set! stencil (ly:stencil-combine-at-edge stencil Y DOWN 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?)
#:properties ((thickness 0.1) (font-size 0) (box-padding 0.2))
"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 ((pad (* (magstep font-size) box-padding))
(m (interpret-markup layout props arg)))
(NWS-box-stencil m thickness pad)))
% Test it:
\relative c' {
c1^\markup { \NWS-box ABCD }
c1^\markup { \NWS-box \note "4" #1.0 }
}
|
Time signature in parentheses - method 3
Another way to put the time signature in parenthesis
| \relative c'' {
\override Staff.TimeSignature.stencil = #(lambda (grob)
(parenthesize-stencil (ly:time-signature::print grob) 0.1 0.4 0.4 0.1 ))
\time 2/4
a4 b8 c
}
|
Time signature in parentheses
The time signature can be enclosed within parentheses.
| \relative c'' {
\override Staff.TimeSignature.stencil = #(lambda (grob)
(bracketify-stencil (ly:time-signature::print grob) Y 0.1 0.2 0.1))
\time 2/4
a4 b8 c
}
|
Time signature printing only the numerator as a number (instead of the fraction)
Sometimes, a time signature should not print the whole fraction (e.g.
7/4), but only the numerator (7 in this case). This can be easily done
by using \override Staff.TimeSignature.style = #'single-digit
to change the style permanently. By using \revert
Staff.TimeSignature.style
, this setting can be reversed. To apply the
single-digit style to only one time signature, use the
\override
command and prefix it with a \once
.
| \relative c'' {
\time 3/4
c4 c c
% Change the style permanently
\override Staff.TimeSignature.style = #'single-digit
\time 2/4
c4 c
\time 3/4
c4 c c
% Revert to default style:
\revert Staff.TimeSignature.style
\time 2/4
c4 c
% single-digit style only for the next time signature
\once \override Staff.TimeSignature.style = #'single-digit
\time 5/4
c4 c c c c
\time 2/4
c4 c
}
|
Tweaking grace layout within music
The layout of grace expressions can be changed throughout the music
using the functions add-grace-property
and
remove-grace-property
. The following example undefines the
Stem
direction for this grace, so that stems do not always point
up, and changes the default note heads to crosses.
| \relative c'' {
\new Staff {
$(remove-grace-property 'Voice 'Stem 'direction)
$(add-grace-property 'Voice 'NoteHead 'style 'cross)
\new Voice {
\acciaccatura { f16 } g4
\grace { d16 e } f4
\appoggiatura { f,32 g a } e2
}
}
}
|
User defined time signatures
New time signature styles can be defined. The time signature in
the second measure should be upside down in both staves.
| #(add-simple-time-signature-style 'topsy-turvy
(lambda (fraction)
(make-rotate-markup 180 (make-compound-meter-markup fraction))))
<<
\new Staff {
\time 3/4 f'2.
\override Score.TimeSignature.style = #'topsy-turvy
\time 3/4 R2. \bar "|."
}
\new Staff {
R2. e''
}
>>
|
Using alternative flag styles
Alternative styles of flag on eighth and shorter notes can be displayed
by overriding the stencil
property of Flag
. Valid values
are modern-straight-flag
, old-straight-flag
and
flat-flag
.
| testnotes = {
\autoBeamOff
c8 d16 c32 d64 \acciaccatura { c8 } d64 r4
}
\score {
\relative c' {
\time 2/4
\testnotes
\override Flag.stencil = #modern-straight-flag
\testnotes
\override Flag.stencil = #old-straight-flag
\testnotes
\override Flag.stencil = #flat-flag
\testnotes
\revert Flag.stencil
\testnotes
}
\layout {
indent = 0
\context {
\Score
\override NonMusicalPaperColumn.line-break-permission = ##f
}
}
}
|
Using grace note slashes with normal heads
The slash through the stem found in acciaccaturas can be applied in
other situations.
| \relative c'' {
\override Flag.stroke-style = #"grace"
c8( d2) e8( f4)
}
|
Using ties with arpeggios
Ties are sometimes used to write out arpeggios. In this case, two tied
notes need not be consecutive. This can be achieved by setting the
tieWaitForNote
property to #t
. The same feature is also
useful, for example, to tie a tremolo to a chord, but in principle, it
can also be used for ordinary consecutive notes.
| \relative c' {
\set tieWaitForNote = ##t
\grace { c16[ ~ e ~ g] ~ } <c, e g>2
\repeat tremolo 8 { c32 ~ c' ~ } <c c,>1
e8 ~ c ~ a ~ f ~ <e' c a f>2
\tieUp
c8 ~ a
\tieDown
\tieDotted
g8 ~ c g2
}
|
Expressive marks
Expressive marks
Adding beams slurs ties etc. when using tuplet and non-tuplet 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 \tuplet 3/2 { r16 e'8] }
g16( a \tuplet 3/2 { b d e') }
g8[( a \tuplet 3/2 { b d') e'] ~ }
\time 2/4
\tuplet 5/4 { e'32\( a b d' e' } a'4.\)
}
|
Adding parentheses around an expressive mark or chordal note
The \parenthesize
function is a special tweak that encloses
objects in parentheses. The associated grob is ParenthesesItem
.
| \relative c' {
c2-\parenthesize ->
\override ParenthesesItem.padding = #0.1
\override ParenthesesItem.font-size = #-4
<d \parenthesize f a>2
}
|
Adding timing marks to long glissandi
Skipped beats in very long glissandi are sometimes indicated by timing
marks, often consisting of stems without noteheads. Such stems can
also be used to carry intermediate expression markings.
If the stems do not align well with the glissando, they may need to be
repositioned slightly.
| glissandoSkipOn = {
\override NoteColumn.glissando-skip = ##t
\hide NoteHead
\override NoteHead.no-ledgers = ##t
}
glissandoSkipOff = {
\revert NoteColumn.glissando-skip
\undo \hide NoteHead
\revert NoteHead.no-ledgers
}
\relative c'' {
r8 f8\glissando
\glissandoSkipOn
f4 g a a8\noBeam
\glissandoSkipOff
a8
r8 f8\glissando
\glissandoSkipOn
g4 a8
\glissandoSkipOff
a8 |
r4 f\glissando \<
\glissandoSkipOn
a4\f \>
\glissandoSkipOff
b8\! r |
}
|
Adjusting the shape of falls and doits
The shortest-duration-space
property may 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 #-4.75
c2-\bendAfter #8.5
c2-\bendAfter #-6
}
|
Alternative breve notes
Breve notes are also available with two vertical lines on each side of
the notehead instead of one line and in baroque style.
| \relative c'' {
\time 4/2
c\breve |
\override Staff.NoteHead.style = #'altdefault
b\breve
\override Staff.NoteHead.style = #'baroque
b\breve
\revert Staff.NoteHead.style
a\breve
}
|
Asymmetric slurs
Slurs can be made asymmetric to match an asymmetric pattern of notes
better.
| slurNotes = { d,8( a' d f a f' d, a) }
\relative c' {
\stemDown
\slurUp
\slurNotes
\once \override Slur.eccentricity = #3.0
\slurNotes
}
|
Breathing signs
Breathing signs are available in different tastes: commas (default),
ticks, vees and “railroad tracks” (caesura).
| \new Staff \relative c'' {
\key es \major
\time 3/4
% this bar contains no \breathe
<< { g4 as g } \\ { es4 bes es } >> |
% Modern notation:
% by default, \breathe uses the rcomma, just as if saying:
% \override BreathingSign.text = #(make-musicglyph-markup "scripts.rcomma")
<< { g4 as g } \\ { es4 \breathe bes es } >> |
% rvarcomma and lvarcomma are variations of the default rcomma and lcomma
% N.B.: must use Staff context here, since we start a Voice below
\override Staff.BreathingSign.text =
\markup { \musicglyph "scripts.rvarcomma" }
<< { g4 as g } \\ { es4 \breathe bes es } >> |
% vee
\override BreathingSign.text = \markup { \musicglyph "scripts.upbow" }
es8[ d es f g] \breathe f |
% caesura
\override BreathingSign.text =
\markup { \musicglyph "scripts.caesura.curved" }
es8[ d] \breathe es[ f g f] |
es2 r4 \bar "||"
}
|
Broken Crescendo Hairpin
In order to make parts of a crescendo hairpin invisible, the following
method is used: A white rectangle is drawn on top of the respective
part of the crescendo hairpin, making it invisible. The rectangle is
defined as postscript code within a text markup.
The markup command with-dimensions
tells LilyPond to consider
only the bottom edge of the rectangle when spacing it against the
hairpin. The property staff-padding
prevents the rectangle from
fitting between the hairpin and staff.
Make sure the hairpin is in a lower layer than the text markup to draw
the rectangle over the hairpin.
| \relative c' {
<<
{
\dynamicUp
r2 r16 c'8.\pp r4
}
\\
{
\override DynamicLineSpanner.layer = #0
des,2\mf\< ~
\override TextScript.layer = #2
\once\override TextScript.staff-padding = #6
\once\override TextScript.vertical-skylines = #'()
des16_\markup \with-dimensions #'(2 . 7) #'(0 . 0)
\with-color #white
\filled-box #'(2 . 7) #'(0 . 2) #0
r8. des4 ~ des16->\sff r8.
}
>>
}
|
Caesura ("railtracks") with fermata
A caesura is sometimes denoted by a double “railtracks” breath mark
with a fermata sign positioned above. This snippet shows an optically
pleasing combination of railtracks and fermata.
| \relative c'' {
c2.
% construct the symbol
\override BreathingSign.text = \markup {
\override #'(direction . 1)
\override #'(baseline-skip . 1.8)
\dir-column {
\translate #'(0.155 . 0)
\center-align \musicglyph "scripts.caesura.curved"
\center-align \musicglyph "scripts.ufermata"
}
}
\breathe c4
% set the breathe mark back to normal
\revert BreathingSign.text
c2. \breathe c4
\bar "|."
}
|
Center text below hairpin dynamics
This example provides a function to typeset a hairpin (de)crescendo
with some additional text below it, such as “molto” or “poco”.
The added text will change the direction according to the direction of
the hairpin. The Hairpin is aligned to DynamicText.
The example also illustrates how to modify the way an object is
normally printed, using some Scheme code.
| hairpinWithCenteredText =
#(define-music-function (text) (markup?)
#{
\once \override Voice.Hairpin.after-line-breaking =
#(lambda (grob)
(let* ((stencil (ly:hairpin::print grob))
(par-y (ly:grob-parent grob Y))
(dir (ly:grob-property par-y 'direction))
(new-stencil (ly:stencil-aligned-to
(ly:stencil-combine-at-edge
(ly:stencil-aligned-to stencil X CENTER)
Y dir
(ly:stencil-aligned-to
(grob-interpret-markup grob text) X CENTER))
X LEFT))
(staff-space (ly:output-def-lookup
(ly:grob-layout grob) 'staff-space))
(staff-line-thickness
(ly:output-def-lookup (ly:grob-layout grob) 'line-thickness))
(par-x (ly:grob-parent grob X))
(dyn-text (grob::has-interface par-x 'dynamic-text-interface))
(dyn-text-stencil-x-length
(if dyn-text
(interval-length
(ly:stencil-extent (ly:grob-property par-x 'stencil) X))
0))
(x-shift
(if dyn-text
(-
(+ staff-space dyn-text-stencil-x-length)
(* 0.5 staff-line-thickness)) 0)))
(ly:grob-set-property! grob 'Y-offset 0)
(ly:grob-set-property! grob 'stencil
(ly:stencil-translate-axis
new-stencil
x-shift X))))
#})
hairpinMolto =
\hairpinWithCenteredText \markup { \italic molto }
hairpinMore =
\hairpinWithCenteredText \markup { \larger moltissimo }
\layout { ragged-right = ##f }
\relative c' {
\hairpinMolto
c2\< c\f
\hairpinMore
c2\ppppp\< c\f
\break
\hairpinMolto
c2^\< c\f
\hairpinMore
c2\ppppp\< c\f
}
|
Changing \flageolet mark size
To make the \flageolet
circle smaller use the following Scheme
function.
| smallFlageolet =
#(let ((m (make-articulation "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
}
|
Changing text and spanner styles for text dynamics
The text used for crescendos and decrescendos can be changed by
modifying the context properties crescendoText
and
decrescendoText
.
The style of the spanner line can be changed by modifying the
'style
property of DynamicTextSpanner
. The default value
is 'dashed-line
, and other possible values include 'line
,
'dotted-line
and 'none
.
| \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
}
|
Changing the appearance of a slur from solid to dotted or dashed
The appearance of slurs may be changed from solid to dotted or dashed.
| \relative c' {
c4( d e c)
\slurDotted
c4( d e c)
\slurSolid
c4( d e c)
\slurDashed
c4( d e c)
\slurSolid
c4( d e c)
}
|
Changing the breath mark symbol
The glyph of the breath mark can be tuned by overriding the text
property of the BreathingSign
layout object with any markup
text.
| \relative c'' {
c2
\override BreathingSign.text =
\markup { \musicglyph "scripts.rvarcomma" }
\breathe
d2
}
|
Changing the number of augmentation dots per note
The number of augmentation dots on a single note can be changed
indepently of the dots placed after the note.
| \relative c' {
c4.. a16 r2 |
\override Dots.dot-count = #4
c4.. a16 r2 |
\override Dots.dot-count = #0
c4.. a16 r2 |
\revert Dots.dot-count
c4.. a16 r2 |
}
|
Combining dynamics with markup texts
Some dynamics may involve text indications (such as “più forte” or
“piano subito”). These can be produced using a \markup
block.
| piuF = \markup { \italic più \dynamic f }
\layout { ragged-right = ##f }
\relative c'' {
c2\f c-\piuF
}
|
Contemporary glissando
A contemporary glissando without a final note can be typeset using a
hidden note and cadenza timing.
| \relative c'' {
\time 3/4
\override Glissando.style = #'zigzag
c4 c
\cadenzaOn
c4\glissando
\hideNotes
c,,4
\unHideNotes
\cadenzaOff
\bar "|"
}
|
Controlling spanner visibility after a line break
The visibility of spanners which end on the first note following a line
break is controlled by the after-line-breaking
callback
ly:spanner::kill-zero-spanned-time
.
For objects such as glissandos and hairpins, the default behaviour is
to hide the spanner after a break; disabling the callback will allow
the left-broken span to be shown.
Conversely, spanners which are usually visible, such as text spans, can
be hidden by enabling the callback.
| \paper { ragged-right = ##t }
\relative c'' {
\override Hairpin.to-barline = ##f
\override Glissando.breakable = ##t
% show hairpin
\override Hairpin.after-line-breaking = ##t
% hide text span
\override TextSpanner.after-line-breaking =
#ly:spanner::kill-zero-spanned-time
e2\<\startTextSpan
% show glissando
\override Glissando.after-line-breaking = ##t
f2\glissando
\break
f,1\!\stopTextSpan
}
|
Controlling the vertical ordering of scripts
The vertical ordering of scripts is controlled with the
'script-priority
property. The lower this number, the closer it
will be put to the note. In this example, the TextScript
(the
sharp symbol) first has the lowest priority, so it is put lowest in the
first example. In the second, the prall trill (the Script
) has
the lowest, so it is on the inside. When two objects have the same
priority, the order in which they are entered determines which one
comes first.
| \relative c''' {
\once \override TextScript.script-priority = #-100
a2^\prall^\markup { \sharp }
\once \override Script.script-priority = #-100
a2^\prall^\markup { \sharp }
}
|
Creating a delayed turn
Creating a delayed turn, where the lower note of the turn uses the
accidental, requires several overrides. The
outside-staff-priority
property must be set to #f
, as
otherwise this would take precedence over the avoid-slur
property
. Changing the fractions 2/3
and 1/3
adjusts
the horizontal position.
| \relative c'' {
c2*2/3 ( s2*1/3\turn d4) r
<<
{ c4.( d8) }
{ s4 s\turn }
>>
\transpose c d \relative c'' <<
{ c4.( d8) }
{
s4
\once \set suggestAccidentals = ##t
\once \override AccidentalSuggestion.outside-staff-priority = ##f
\once \override AccidentalSuggestion.avoid-slur = #'inside
\once \override AccidentalSuggestion.font-size = -3
\once \override AccidentalSuggestion.script-priority = -1
\single \hideNotes
b8-\turn \noBeam
s8
}
>>
}
|
Creating arpeggios across notes in different voices
An arpeggio can be drawn across notes in different voices on the same
staff if the Span_arpeggio_engraver
is added 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 }
>>
}
|
Creating cross-staff arpeggios in a piano staff
In a PianoStaff
, it is possible to let an arpeggio cross between
the staves by setting the property PianoStaff.connectArpeggios
.
| \new PianoStaff \relative c'' <<
\set PianoStaff.connectArpeggios = ##t
\new Staff {
<c e g c>4\arpeggio
<g c e g>4\arpeggio
<e g c e>4\arpeggio
<c e g c>4\arpeggio
}
\new Staff {
\clef bass
\repeat unfold 4 {
<c,, e g c>4\arpeggio
}
}
>>
|
Creating cross-staff arpeggios in other contexts
Cross-staff arpeggios can be created in contexts other than
GrandStaff
, PianoStaff
and StaffGroup
if the
Span_arpeggio_engraver
is included in the Score
context.
| \score {
\new ChoirStaff {
\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"
}
}
}
|
Creating double-digit fingerings
Creating fingerings larger than 5 is possible.
| \relative c' {
c1-10
c1-50
c1-36
c1-29
}
|
Creating "real" parenthesized dynamics
Although the easiest way to add parentheses to a dynamic mark is to use
a \markup
block, this method has a downside: the created
objects will behave like text markups, and not like dynamics.
However, it is possible to create a similar object using the equivalent
Scheme code (as described in the Notation Reference), 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
.
| paren =
#(define-event-function (dyn) (ly:event?)
(make-dynamic-script
#{ \markup \concat {
\normal-text \italic \fontsize #2 (
\pad-x #0.2 #(ly:music-property dyn 'text)
\normal-text \italic \fontsize #2 )
}
#}))
\relative c'' {
c4\paren\f c c \dynamicUp c\paren\p
}
|
Creating simultaneous rehearsal marks
Unlike text scripts, rehearsal marks cannot be stacked at a particular
point in a score: only one RehearsalMark
object is created.
Using an invisible measure and bar line, an extra rehearsal mark can be
added, giving the appearance of two marks in the same column. This
method may also prove useful for placing rehearsal marks at both the
end of one system and the start of the following system.
| {
\key a \major
\set Score.markFormatter = #format-mark-box-letters
\once \override Score.RehearsalMark.outside-staff-priority = #5000
\once \override Score.RehearsalMark.self-alignment-X = #LEFT
\once \override Score.RehearsalMark.break-align-symbols = #'(key-signature)
\mark \markup { \bold { Senza denti } }
% the hidden measure and bar line
% \cadenzaOn turns off automatic calculation of bar numbers
\cadenzaOn
\once \override Score.TimeSignature.stencil = ##f
\time 1/16
s16 \bar ""
\cadenzaOff
\time 4/4
\once \override Score.RehearsalMark.self-alignment-X = #LEFT
\mark \markup { \box \bold Intro }
d'1
\mark \default
d'1
}
|
Creating slurs across voices
In some situations, it may be necessary to create slurs between notes
from different voices.
The solution is to add invisible notes to one of the voices, using
\hideNotes
.
This example is measure 235 of the Ciaconna from Bach’s 2nd Partita for
solo violin, BWV 1004.
| \relative c' {
<<
{
d16( a') s a s a[ s a] s a[ s a]
}
\\
{
\slurUp
bes,16[ s e](
\hideNotes a)
\unHideNotes f[(
\hideNotes a)
\unHideNotes fis](
\hideNotes a)
\unHideNotes g[(
\hideNotes a)
\unHideNotes gis](
\hideNotes a)
}
>>
}
|
Creating text spanners
The \startTextSpan
and \stopTextSpan
commands allow the
creation of text spanners as easily as pedal indications or
octavations. Override some properties of the TextSpanner
object
to modify its output.
| \paper { ragged-right = ##f }
\relative c'' {
\override TextSpanner.bound-details.left.text = #"bla"
\override TextSpanner.bound-details.right.text = #"blu"
a4 \startTextSpan
b4 c
a4 \stopTextSpan
\override TextSpanner.style = #'line
\once \override TextSpanner.bound-details.left.stencil-align-dir-y = #CENTER
a4 \startTextSpan
b4 c
a4 \stopTextSpan
\override TextSpanner.style = #'dashed-line
\override TextSpanner.bound-details.left.text =
\markup { \draw-line #'(0 . 1) }
\override TextSpanner.bound-details.right.text =
\markup { \draw-line #'(0 . -2) }
\once \override TextSpanner.bound-details.right.padding = #-2
a4 \startTextSpan
b4 c
a4 \stopTextSpan
\set Staff.middleCPosition = #-13
\override TextSpanner.dash-period = #10
\override TextSpanner.dash-fraction = #0.5
\override TextSpanner.thickness = #10
a4 \startTextSpan
b4 c
a4 \stopTextSpan
}
|
Double glissando
To connect chords with glissando lines, attach a second glissando to a
hidden voice.
| \relative c {
\clef bass
<<
{
% new voice ( = \voiceOne), hidden
\hideNotes
% attach glissando to note heads
e2\glissando g
}
\\
{
% original voice with chords rearranged so that
% glissando is attached to a & c
<e a,>2\glissando <g c,>
}
>>
}
|
Dynamics custom text spanner postfix
Postfix functions for custom crescendo text spanners. The spanners
should start on the first note of the measure. One has to use
-\mycresc, otherwise the spanner start will rather be assigned to the
next note.
| % Two functions for (de)crescendo spanners where you can explicitly give the
% spanner text.
mycresc =
#(define-music-function (mymarkup) (markup?)
(make-music 'CrescendoEvent
'span-direction START
'span-type 'text
'span-text mymarkup))
mydecresc =
#(define-music-function (mymarkup) (markup?)
(make-music 'DecrescendoEvent
'span-direction START
'span-type 'text
'span-text mymarkup))
\relative c' {
c4-\mycresc "custom cresc" c4 c4 c4 |
c4 c4 c4 c4 |
c4-\mydecresc "custom decresc" c4 c4 c4 |
c4 c4\! c4 c4
}
|
Dynamics text spanner postfix
Custom text spanners can be defined and used with hairpin and text
crescendos. \<
and \>
produce hairpins by default,
\cresc
etc. produce text spanners by default.
| % Some sample text dynamic spanners, to be used as postfix operators
crpoco =
#(make-music 'CrescendoEvent
'span-direction START
'span-type 'text
'span-text "cresc. poco a poco")
\relative c' {
c4\cresc d4 e4 f4 |
g4 a4\! b4\crpoco c4 |
c4 d4 e4 f4 |
g4 a4\! b4\< c4 |
g4\dim a4 b4\decresc c4\!
}
|
Glissandi can skip grobs
NoteColumn
grobs can be skipped over by glissandi.
| \relative c' {
a2 \glissando
\once \override NoteColumn.glissando-skip = ##t
f''4 d,
}
|
Hairpins with different line styles
Hairpins can take any style from line-interface
- dashed-line,
dotted-line, line, trill or zigzag.
| \relative c' {
c2\< c\!
\override Hairpin.style = #'dashed-line
c2\< c\!
\override Hairpin.style = #'dotted-line
c2\< c\!
\override Hairpin.style = #'line
c2\< c\!
\override Hairpin.style = #'trill
c2\< c\!
\override Hairpin.style = #'zigzag
c2\< c\!
\revert Hairpin.style
c2\< c\!
}
|
Hiding the extender line for text dynamics
Text style dynamic changes (such as cresc. and dim.) are printed with a
dashed line showing their extent. This line can be suppressed in the
following way:
| \relative c'' {
\override DynamicTextSpanner.style = #'none
\crescTextCresc
c1\< | d | b | c\!
}
|
Horizontally aligning custom dynamics (e.g. "sempre pp" "piu f" "subito p")
Some dynamic expressions involve additional text, like “sempre pp”.
Since dynamics are usually centered under 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 detection!). 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.
| \paper {
ragged-right = ##f
indent = 2.5\cm
}
% 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 & 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 at 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 '(-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")))
\new StaffGroup <<
\new Staff = "s" \with { instrumentName = \markup \column { Normal } }
<<
\relative c'' {
\key es \major
c4\pp c\p c c | c\ff c c\pp c
}
>>
\new Staff = "sMarkup" \with {
instrumentName = \markup \column { Normal markup }
}
<<
\relative c'' {
\key es \major
c4-\semppMarkup c\p c c | c\ff c c-\semppMarkup c
}
>>
\new Staff = "sK" \with {
instrumentName = \markup \column { Explicit shifting }
}
<<
\relative c'' {
\key es \major
\once \override DynamicText.X-offset = #-9.2
c4\semppK c\p c c
c4\ff c
\once \override DynamicText.X-offset = #-9.2
c4\semppK c
}
>>
\new Staff = "sT" \with {
instrumentName = \markup \column { Right padding }
}
<<
\relative c'' {
\key es \major
c4\semppT c\p c c | c\ff c c\semppT c
}
>>
\new Staff = "sM" \with {
instrumentName = \markup \column { Set dimension "to zero" }
}
<<
\relative c'' {
\key es \major
c4\semppM c\p c c | c\ff c c\semppM c
}
>>
\new Staff = "sG" \with {
instrumentName = \markup \column { Shift inside dynamics}
}
<<
\relative c'' {
\key es \major
c4\semppG c\p c c | c\ff c c\semppG c
}
>>
\new Staff = "sMII" \with {
instrumentName = \markup \column { Alignment inside dynamics }
}
<<
\relative c'' {
\key es \major
% Setting to ##f (false) gives the same result
\override DynamicText.X-offset = #0
c4\semppMII c\p c c | c\ff c c\semppMII c
}
>>
>>
\layout { \override Staff.InstrumentName.self-alignment-X = #LEFT }
|
How to print two rehearsal marks above and below the same barline (method 1)
This method prints two ’rehearsal marks’, one on top of the other. It
shifts the lower rehearsal mark below the staff and then adds padding
above it in order to place the upper rehearsal mark above the staff.
By adjusting the extra-offset and baseline-skip values you can increase
or decrease the overall space between the rehearsal mark and the staff.
Because nearly every type of glyph or string can be made to behave like
a rehearsal mark it is possible to centre those above and below a bar
line.
Adding the appropriate ’break visibility’ as shown in snippet 1 will
allow you to position two marks at the end of a line as well.
Note: Method 1 is less complex than Method 2 but does not really allow
for fine tuning of placement of one of the rehearsal marks without
affecting the other. It may also give some problems with vertical
spacing, since using extra-offset
does not change the bounding
box of the mark from its original value.
| \relative c'{
c d e f |
\once \override Score.RehearsalMark.extra-offset = #'(0 . -8.5)
\once \override Score.RehearsalMark.baseline-skip = #9
\mark \markup \center-column { \circle 1 \box A }
g f e d |
\once \override Score.RehearsalMark.extra-offset = #'(0 . -8.5)
\once \override Score.RehearsalMark.baseline-skip = #9
\mark \markup \center-column { \flat { \bold \small \italic Fine. } }
g f e d |
\once \override Score.RehearsalMark.extra-offset = #'(0 . -8.5)
\once \override Score.RehearsalMark.baseline-skip = #9
\override Score.RehearsalMark.break-visibility = #begin-of-line-invisible
\mark \markup \center-column { \fermata \box z }
}
|
How to print two rehearsal marks above and below the same barline (method 2)
This method prints two ’rehearsal marks’ - one above the stave and one
below, by creating two voices, adding the Rehearsal Mark engraver to
each voice - without this no rehearsal mark is printed - and then
placing each rehearsal mark UP and DOWN in each voice respectively.
This method (as opposed to method 1) is more complex, but allows for
more flexibility, should it be needed to tweak each rehearsal mark
independently of the other.
| \score {
\relative c'
<<
\new Staff {
<<
\new Voice \with {
\consists Mark_engraver
\consists "Staff_collecting_engraver"
}
{ c4 d e f
\mark \markup { \box A }
c4 d e f
}
\new Voice \with {
\consists Mark_engraver
\consists "Staff_collecting_engraver"
\override RehearsalMark.direction = #DOWN
}
{ s4 s s s
\mark \markup { \circle 1 }
s4 s s s
}
>>
}
>>
\layout {
\context {
\Score
\remove "Mark_engraver"
\remove "Staff_collecting_engraver"
}
}
}
|
Inserting a caesura
Caesura marks can be created by overriding the 'text
property of
the BreathingSign
object. A curved caesura mark is also
available.
| \relative c'' {
\override BreathingSign.text = \markup {
\musicglyph "scripts.caesura.straight"
}
c8 e4. \breathe g8. e16 c4
\override BreathingSign.text = \markup {
\musicglyph "scripts.caesura.curved"
}
g8 e'4. \breathe g8. e16 c4
}
|
Laissez vibrer ties
Laissez vibrer ties have a fixed size. Their formatting can be tuned
using 'tie-configuration
.
| \relative c' {
<c e g>4\laissezVibrer r <c f g>\laissezVibrer r
<c d f g>4\laissezVibrer r <c d f g>4.\laissezVibrer r8
<c d e f>4\laissezVibrer r
\override LaissezVibrerTieColumn.tie-configuration
= #`((-7 . ,DOWN)
(-5 . ,DOWN)
(-3 . ,UP)
(-1 . ,UP))
<c d e f>4\laissezVibrer r
}
|
Line arrows
Arrows can be applied to text-spanners and line-spanners (such as the
Glissando).
| \relative c'' {
\override TextSpanner.bound-padding = #1.0
\override TextSpanner.style = #'line
\override TextSpanner.bound-details.right.arrow = ##t
\override TextSpanner.bound-details.left.text = #"fof"
\override TextSpanner.bound-details.right.text = #"gag"
\override TextSpanner.bound-details.right.padding = #0.6
\override TextSpanner.bound-details.right.stencil-align-dir-y = #CENTER
\override TextSpanner.bound-details.left.stencil-align-dir-y = #CENTER
\override Glissando.bound-details.right.arrow = ##t
\override Glissando.arrow-length = #0.5
\override Glissando.arrow-width = #0.25
a8\startTextSpan gis a4 b\glissando b,
g'4 c\stopTextSpan c2
}
|
Making slurs with complex dash structure
Slurs can be made with complex dash patterns by defining the
dash-definition
property. dash-definition
is a list of
dash-elements
. A dash-element
is a list of parameters
defining the dash behavior for a segment of the slur.
The slur is defined in terms of the bezier parameter t which ranges
from 0 at the left end of the slur to 1 at the right end of the slur.
dash-element
is a list (start-t stop-t dash-fraction
dash-period)
. The region of the slur from start-t
to
stop-t
will have a fraction dash-fraction
of each
dash-period
black. dash-period
is defined in terms of
staff spaces. dash-fraction
is set to 1 for a solid slur.
| \relative c' {
\once \override
Slur.dash-definition = #'((0 0.3 0.1 0.75)
(0.3 0.6 1 1)
(0.65 1.0 0.4 0.75))
c4( d e f)
\once \override
Slur.dash-definition = #'((0 0.25 1 1)
(0.3 0.7 0.4 0.75)
(0.75 1.0 1 1))
c4( d e f)
}
|
Modifying default values for articulation shorthand notation
The shorthands are defined in ‘ly/script-init.ly’, where the
variables dashHat
, dashPlus
, dashDash
,
dashBar
, dashLarger
, dashDot
, and
dashUnderscore
are assigned default values. The default values
for the shorthands can be modified. For example, to associate the
-+
(dashPlus
) shorthand with the trill symbol instead of
the default + symbol, assign the value trill
to the variable
dashPlus
:
| \relative c'' { c1-+ }
dashPlus = "trill"
\relative c'' { c1-+ }
|
Moving slur positions vertically
The vertical position of a slur can be adjusted using the
positions
property of Slur
. The property has 2
parameters, the first referring to the left end of the slur and the
second to the right. The values of the parameters are not used by
LilyPond to make an exact movement of the slur - instead it selects
what placement of the slur looks best, taking into account the
parameter values. Positive values move the slur up, and are
appropriate for notes with stems down. Negative values move downward
slurs further down.
| \relative c' {
\stemDown
e4( a)
\override Slur.positions = #'(1 . 1)
e4( a)
\override Slur.positions = #'(2 . 2)
e4( a)
\override Slur.positions = #'(3 . 3)
e4( a)
\override Slur.positions = #'(4 . 4)
e4( a)
\override Slur.positions = #'(5 . 5)
e4( a)
\override Slur.positions = #'(0 . 5)
e4( a)
\override Slur.positions = #'(5 . 0)
e4( a)
\stemUp
\override Slur.positions = #'(-5 . -5)
e4( a)
\stemDown
\revert Slur.positions
e4( a)
}
|
Moving the ends of hairpins
The ends of hairpins may be offset by setting the shorten-pair
property of the Hairpin
object. Positive values move endpoints
to the right, negative to the left. Unlike the minimum-length
property, this property only affects the appearance of the hairpin; it
does not adjust horizontal spacing (including the position of bounding
dynamics). This method is thus suitable for fine-tuning a hairpin
within its allotted space.
| {
c'1~\<
c'2~ c'\!
\once \override Hairpin.shorten-pair = #'(2 . 2)
c'1~\<
c'2~ c'\!
\once \override Hairpin.shorten-pair = #'(-2 . -2)
c'1~\<
c'2~ c'\!
c'1~\p-\tweak shorten-pair #'(2 . 0)\<
c'2~ c'\ffff
}
|
Positioning arpeggios
If you need to extend or shorten an arpeggio, you can modify the upper
and lower start positions independently.
| \relative c' {
<c e g b>1\arpeggio
\once \override Arpeggio.positions = #'(-5 . 0)
<c e g b>1\arpeggio
\once \override Arpeggio.positions = #'(0 . 5)
<c e g b>1\arpeggio
\once \override Arpeggio.positions = #'(-5 . 5)
<c e g b>1\arpeggio
}
|
Positioning text markups inside slurs
Text markups need to have the outside-staff-priority
property
set to false in order to be printed inside slurs.
| \relative c'' {
\override TextScript.avoid-slur = #'inside
\override TextScript.outside-staff-priority = ##f
c2(^\markup { \halign #-10 \natural } d4.) c8
}
|
Printing hairpins in various styles
Hairpin dynamics may be created in a variety of styles.
| \relative c'' {
\override Hairpin.stencil = #flared-hairpin
a4\< a a a\f
a4\p\< a a a\ff
a4\sfz\< a a a\!
\override Hairpin.stencil = #constante-hairpin
a4\< a a a\f
a4\p\< a a a\ff
a4\sfz\< a a a\!
\override Hairpin.stencil = #flared-hairpin
a4\> a a a\f
a4\p\> a a a\ff
a4\sfz\> a a a\!
\override Hairpin.stencil = #constante-hairpin
a4\> a a a\f
a4\p\> a a a\ff
a4\sfz\> a a a\!
}
|
Printing hairpins using al niente notation
Hairpin dynamics 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\!
}
|
Printing metronome and rehearsal marks below the staff
By default, metronome and rehearsal marks are printed above the staff.
To place them below the staff simply set the direction
property
of MetronomeMark
or RehearsalMark
appropriately.
| \layout {
indent = 0
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
}
|
Setting hairpin behavior at bar lines
If the note which ends a hairpin falls on a downbeat, the hairpin stops
at the bar line immediately preceding. This behavior can be controlled
by overriding the 'to-barline
property.
| \relative c'' {
e4\< e2.
e1\!
\override Hairpin.to-barline = ##f
e4\< e2.
e1\!
}
|
Setting the minimum length of hairpins
If hairpins are too short, they can be lengthened by modifying the
minimum-length
property of the Hairpin
object.
| \relative c'' {
c4\< c\! d\> e\!
<< f1 { s4 s\< s\> s\! } >>
\override Hairpin.minimum-length = #5
<< f1 { s4 s\< s\> s\! } >>
}
|
Showing the same articulation above and below a note or chord
By default, LilyPond does not allow the same articulation (e.g., an
accent, a fermata, a flageolet, etc.) to be displayed above and below a
note. For example, c4_\fermata^\fermata will only show a fermata
below. The fermata above will simply be ignored. However, one can stick
scripts (just like fingerings) inside a chord, which means it is
possible to have as many articulations as desired. This approach has
the advantage that it ignores the stem and positions the articulation
relative to the note head. This can be seen in the case of the
flageolets in the snippet. To mimic the behaviour of scripts outside a
chord, ’add-stem-support would be required. So, the solution is to
write the note as a chord and add the articulations inside the <...>.
The direction will always be above, but one can tweak this via a
\tweak: <c-\tweak direction #DOWN-\fermata^\fermata>
| % The same as \flageolet, just a little smaller
smallFlageolet =
#(let ((m (make-articulation "flageolet")))
(set! (ly:music-property m 'tweaks)
(acons 'font-size -2
(ly:music-property m 'tweaks)))
m)
\relative c' {
s4^"Wrong:"
c4_\fermata^\fermata % The second fermata is ignored!
<e d'>4^\smallFlageolet_\smallFlageolet
s4^"Works if written inside a chord:"
<e_\smallFlageolet d'^\smallFlageolet>4
<e_\flageolet d'^\flageolet>4
<e_\smallFlageolet^\smallFlageolet>4
<e_\fermata^\fermata>4
}
|
Snap-pizzicato or Bartok pizzicato
A snap-pizzicato (also known as “Bartok pizzicato”) is a “strong
pizzicato where the string is plucked vertically by snapping and
rebounds off the fingerboard of the instrument” (Wikipedia). It is
denoted by a circle with a vertical line going from the center upwards
outside the circle.
| \relative c' {
c4\snappizzicato
<c' e g>4\snappizzicato
<c' e g>4^\snappizzicato
<c, e g>4_\snappizzicato
}
|
Using a tick as the breath mark symbol
Vocal and wind music frequently uses a tick mark as a breathing sign.
This indicates a breath that subtracts a little time from the previous
note rather than causing a short pause, which is indicated by the comma
breath mark. The mark can be moved up a little to take it away from
the stave.
| \relative c'' {
c2
\breathe
d2
\override BreathingSign.Y-offset = #2.6
\override BreathingSign.text =
\markup { \musicglyph "scripts.tickmark" }
c2
\breathe
d2
}
|
Using arpeggioBracket to make divisi more visible
The arpeggioBracket
can be used to indicate the division of
voices where there are no stems to provide the information. This is
often seen in choral music.
| \include "english.ly"
\score {
\relative c'' {
\key a \major
\time 2/2
<<
\new Voice = "upper"
<<
{ \voiceOne \arpeggioBracket
a2( b2
<b d>1\arpeggio)
<cs e>\arpeggio ~
<cs e>4
}
\addlyrics { \lyricmode { A -- men. } }
>>
\new Voice = "lower"
{ \voiceTwo
a1 ~
a
a ~
a4 \bar "|."
}
>>
}
\layout { ragged-right = ##t }
}
|
Using double slurs for legato chords
Some composers write two slurs when they want legato chords. This can
be achieved by setting doubleSlurs
.
| \relative c' {
\set doubleSlurs = ##t
<c e>4( <d f> <c e> <d f>)
}
|
Using the whiteout property
Any graphical object can be printed over a white background to mask
parts of objects that lie beneath. This can be useful to improve the
appearance of collisions in complex situations when repositioning
objects is impractical. It is necessary to explicitly set the
layer
property to control which objects are masked by the white
background.
In this example the collision of the tie with the time signature is
improved by masking out the part of the tie that crosses the time
signature by setting the whiteout
property of
TimeSignature
. To do this TimeSignature
is moved to a
layer above Tie
, which is left in the default layer of 1, and
StaffSymbol
is moved to a layer above TimeSignature
so it
is not masked.
| {
\override Score.StaffSymbol.layer = #4
\override Staff.TimeSignature.layer = #3
b'2 b'~
\once \override Staff.TimeSignature.whiteout = ##t
\time 3/4
b' r4
}
|
Vertical line as a baroque articulation mark
This short vertical line placed above the note is commonly used in
baroque music. Its meaning can vary, but generally indicates notes
that should be played with more “weight”. The following example
demonstrates how to achieve such a notation.
| upline =
#(let ((m (make-articulation "stopped")))
(set! (ly:music-property m 'tweaks)
(acons 'font-size 3
(acons 'stencil (lambda (grob)
(grob-interpret-markup
grob
(make-draw-line-markup '(0 . 1))))
(ly:music-property m 'tweaks))))
m)
\relative c' {
a'4^\upline a( c d')_\upline
}
|
Vertically aligning dynamics across multiple notes
Dynamics that occur at, begin on, or end on the same note will be
vertically aligned. To ensure that dynamics are aligned when they do
not occur on the same note, increase the staff-padding
property
of the DynamicLineSpanner
object.
| \relative c' {
\override DynamicLineSpanner.staff-padding = #4
c2\p f\mf
g2\< b4\> c\!
}
|
Repeats
Repeats
Adding volta brackets to additional staves
The Volta_engraver
by default resides in the Score
context, and brackets for the repeat are thus normally only printed
over the topmost staff. This can be adjusted by adding the
Volta_engraver
to the Staff
context where the brackets
should appear; see also the “Volta multi staff” snippet.
| <<
\new Staff { \repeat volta 2 { c'1 } \alternative { c' } }
\new Staff { \repeat volta 2 { c'1 } \alternative { c' } }
\new Staff \with { \consists "Volta_engraver" } { c'2 g' e' a' }
\new Staff { \repeat volta 2 { c'1 } \alternative { c' } }
>>
|
Centered measure numbers
Scores of large ensemble works often have bar numbers placed beneath
the system, centered horizontally on the measure’s extent. This
snippet shows how the Measure_counter_engraver
may be used to
simulate this notational practice. Here, the engraver has been added
to a Dynamics
context.
| \layout {
\context {
\Dynamics
\consists #Measure_counter_engraver
\override MeasureCounter.direction = #DOWN
\override MeasureCounter.font-encoding = #'latin1
\override MeasureCounter.font-shape = #'italic
% to control the distance of the Dynamics context from the staff:
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing.padding = #2
}
\context {
\Score
\remove "Bar_number_engraver"
}
}
pattern = \repeat unfold 7 { c'4 d' e' f' }
\new StaffGroup <<
\new Staff {
\pattern
}
\new Staff {
\pattern
}
\new Dynamics {
\startMeasureCount
s1*7
\stopMeasureCount
}
>>
|
Changing the default bar lines
Default bar lines can be changed when re-defined in a score context.
| % http://lsr.di.unimi.it/LSR/Item?id=964
%%=> http://lists.gnu.org/archive/html/lilypond-user/2014-03/msg00126.html
%%=> http://lilypond.1069038.n5.nabble.com/Changing-the-default-end-repeat-bracket-tc169357.html
\layout {
\context {
\Score
%% Changing the defaults from engraver-init.ly
defaultBarType = #"!"
startRepeatType = #"[|:"
endRepeatType = #":|]"
doubleRepeatType = #":|][|:"
}
}
%% example:
{
c'1
\repeat volta 2 { \repeat unfold 2 c' }
\repeat volta 2 { \repeat unfold 2 c' }
\alternative {
{ c' }
{
%% v2.18 workaround
\once\override Score.VoltaBracket.shorten-pair = #'(1 . -1)
c'
}
}
\bar "|."
}
|
Cross-staff tremolos
Since \repeat tremolo
expects exactly two musical arguments for
chord tremolos, the note or chord which changes staff within a
cross-staff tremolo should be placed inside curly braces together with
its \change Staff
command.
| \new PianoStaff <<
\new Staff = "up" \relative c'' {
\key a \major
\time 3/8
s4.
}
\new Staff = "down" \relative c'' {
\key a \major
\time 3/8
\voiceOne
\repeat tremolo 6 {
<a e'>32
{
\change Staff = "up"
\voiceTwo
<cis a' dis>32
}
}
}
>>
|
Engraving tremolos with floating beams
If a tremolo’s total duration is less than a quarter-note, or exactly a
half-note, or between a half-note and a whole-note, it is normally
typeset with all beams touching the stems. Certain engraving styles
typeset some of these beams as centered floating beams that do not
touch the stems. The number of floating beams in this type of tremolo
is controlled with the 'gap-count
property of the Beam
object, and the size of the gaps between beams and stems is set with
the 'gap
property.
| \relative c'' {
\repeat tremolo 8 { a32 f }
\override Beam.gap-count = #1
\repeat tremolo 8 { a32 f }
\override Beam.gap-count = #2
\repeat tremolo 8 { a32 f }
\override Beam.gap-count = #3
\repeat tremolo 8 { a32 f }
\override Beam.gap-count = #3
\override Beam.gap = #1.33
\repeat tremolo 8 { a32 f }
\override Beam.gap = #1
\repeat tremolo 8 { a32 f }
\override Beam.gap = #0.67
\repeat tremolo 8 { a32 f }
\override Beam.gap = #0.33
\repeat tremolo 8 { a32 f }
}
|
Isolated percent repeats
Isolated percents can also be printed.
| makePercent =
#(define-music-function (note) (ly:music?)
"Make a percent repeat the same length as NOTE."
(make-music 'PercentEvent
'length (ly:music-length note)))
\relative c'' {
\makePercent s1
}
|
Measure counter
This snippet provides a workaround for emitting measure counters using
transparent percent repeats.
| <<
\context Voice = "foo" {
\clef bass
c4 r g r
c4 r g r
c4 r g r
c4 r g r
}
\context Voice = "foo" {
\set countPercentRepeats = ##t
\hide PercentRepeat
\override PercentRepeatCounter.staff-padding = #1
\repeat percent 4 { s1 }
}
>>
|
Numbering groups of measures
This snippet demonstrates the use of the
Measure_counter_engraver
to number groups of successive
measures. Any stretch of measures may be numbered, whether consisting
of repetitions or not.
The engraver must be added to the appropriate context. Here, a
Staff
context is used; another possibility is a Dynamics
context.
The counter is begun with \startMeasureCount
and ended with
\stopMeasureCount
. Numbering will start by default with
1
, but this behavior may be modified by overriding the
count-from
property.
When a measure extends across a line break, the number will appear
twice, the second time in parentheses.
| \layout {
\context {
\Staff
\consists #Measure_counter_engraver
}
}
\new Staff {
\startMeasureCount
\repeat unfold 7 {
c'4 d' e' f'
}
\stopMeasureCount
\bar "||"
g'4 f' e' d'
\override Staff.MeasureCounter.count-from = #2
\startMeasureCount
\repeat unfold 5 {
g'4 f' e' d'
}
g'4 f'
\bar ""
\break
e'4 d'
\repeat unfold 7 {
g'4 f' e' d'
}
\stopMeasureCount
}
|
Percent repeat count visibility
Percent repeat counters can be shown at regular intervals by setting
the context property repeatCountVisibility
.
| \relative c'' {
\set countPercentRepeats = ##t
\set repeatCountVisibility = #(every-nth-repeat-count-visible 5)
\repeat percent 10 { c1 } \break
\set repeatCountVisibility = #(every-nth-repeat-count-visible 2)
\repeat percent 6 { c1 d1 }
}
|
Percent repeat counter
Measure repeats of more than two repeats can get a counter when the
convenient property is switched, as shown in this example:
| \relative c'' {
\set countPercentRepeats = ##t
\repeat percent 4 { c1 }
}
|
Positioning segno and coda (with line break)
If you want to place an exiting segno sign and add text like “D.S.
al Coda” next to it where usually the staff lines are you can use this
snippet. The coda will resume in a new line. There is a variation
documented in this snippet, where the coda will remain on the same
line.
| {
\clef treble
\key g \major
\time 4/4
\relative c'' {
\repeat unfold 4 {
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 )
% | <>^\markup { D.S. al Coda } }
% text center-aligned
% ====================
% Move text to the desired position
% \once \override TextScript.extra-offset = #'( 6 . -5.0 )
% | <>^\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
\repeat unfold 1 {
s1
\bar ""
}
\once \override TextScript.extra-offset = #'( 0 . -3.0 )
\once \override TextScript.word-space = #1.5
<>^\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 3 {
s1
\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 on top of the (treble-)clef
% depending 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 = #'( -5 . .5 )
\once \override Score.RehearsalMark.font-size = #5
\mark \markup { \musicglyph "scripts.coda" }
% The coda
\repeat unfold 6 {
c4 c c c
}
\bar"|."
}
}
|
Setting the double repeat default for volte
There are three different styles of double repeats for volte, that can
be set using doubleRepeatType
.
| \relative c'' {
\repeat volta 1 { c1 }
\set Score.doubleRepeatType = #":..:"
\repeat volta 1 { c1 }
\set Score.doubleRepeatType = #":|.|:"
\repeat volta 1 { c1 }
\set Score.doubleRepeatType = #":|.:"
\repeat volta 1 { c1 }
}
|
Shortening volta brackets
By default, the volta brackets will be drawn over all of the
alternative music, but it is possible to shorten them by setting
voltaSpannerDuration
. In the next example, the bracket only
lasts one measure, which is a duration of 3/4.
| \relative c'' {
\time 3/4
c4 c c
\set Score.voltaSpannerDuration = #(ly:make-moment 3/4)
\repeat volta 5 { d4 d d }
\alternative {
{
e4 e e
f4 f f
}
{ g4 g g }
}
}
|
Volta below chords
By adding the Volta_engraver
to the relevant staff, volte can be
put under chords.
| \score {
<<
\chords {
c1
c1
}
\new Staff \with {
\consists "Volta_engraver"
}
{
\repeat volta 2 { c'1 }
\alternative { c' }
}
>>
\layout {
\context {
\Score
\remove "Volta_engraver"
}
}
}
|
Volta multi staff
By adding the Volta_engraver
to the relevant staff, volte can be
put over staves other than the topmost one in a score.
| voltaMusic = \relative c'' {
\repeat volta 2 {
c1
}
\alternative {
d1
e1
}
}
<<
\new StaffGroup <<
\new Staff \voltaMusic
\new Staff \voltaMusic
>>
\new StaffGroup <<
\new Staff \with { \consists "Volta_engraver" }
\voltaMusic
\new Staff \voltaMusic
>>
>>
|
Volta text markup using repeatCommands
Though volte are best specified using \repeat volta
, the
context property repeatCommands
must be used in cases where the
volta text needs more advanced formatting with \markup
.
Since repeatCommands
takes a list, the simplest method of
including markup is to use an identifier for the text and embed it in
the command list using the Scheme syntax #(list (list 'volta
textIdentifier))
. Start- and end-repeat commands can be added as
separate list elements:
| voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } }
\relative c'' {
c1
\set Score.repeatCommands = #(list (list 'volta voltaAdLib) 'start-repeat)
c4 b d e
\set Score.repeatCommands = #'((volta #f) (volta "4.") end-repeat)
f1
\set Score.repeatCommands = #'((volta #f))
}
|
Simultaneous notes
Simultaneous notes
Additional voices to avoid collisions
In some instances of complex polyphonic music, additional voices are
necessary to prevent collisions between notes. If more than four
parallel voices are needed, additional voices can be added by defining
a variable using the Scheme function context-spec-music
.
| voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
\relative c'' {
\time 3/4
\key d \minor
\partial 2
<<
\new Voice {
\voiceOne
a4. a8
e'4 e4. e8
f4 d4. c8
}
\new Voice {
\voiceTwo
d,2
d4 cis2
d4 bes2
}
\new Voice {
\voiceThree
f'2
bes4 a2
a4 s2
}
\new Voice {
\voiceFive
s2
g4 g2
f4 f2
}
>>
}
|
Changing a single note’s size in a chord
Individual note heads in a chord can be modified with the
\tweak
command inside a chord, by altering the font-size
property.
Inside the chord (within the brackets < >
), before the note to
be altered, place the \tweak
command, followed by
#'font-size
and define the proper size like #-2
(a tiny
note head).
| \relative c' {
<\tweak font-size #+2 c e g c
\tweak font-size #-2 e>1
^\markup { A tiny e }_\markup { A big c }
}
|
Changing partcombine texts
When using the automatic part combining feature, the printed text for
the solo and unison sections may be changed:
| \new Staff <<
\set Staff.soloText = #"girl"
\set Staff.soloIIText = #"boy"
\set Staff.aDueText = #"together"
\partcombine
\relative c'' {
g4 g r r
a2 g
}
\relative c'' {
r4 r a( b)
a2 g
}
>>
|
Clusters
Clusters are a device to denote that a complete range of notes is to be
played.
| 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
>>
|
Combining two parts on the same staff
The part combiner tool ( \partcombine
command ) allows the
combination of several different parts on the same staff. Text
directions such as “solo” or “a2” are added by default; to remove
them, simply set the property printPartCombineTexts
to f
.
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.
| %% Combining pedal notes with clef changes
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 \with { instrumentName = "Standard polyphony" }
<< \musicUp \\ \musicDown >>
\new Staff \with {
instrumentName = "PartCombine without text"
printPartCombineTexts = ##f
}
\partcombine \musicUp \musicDown
\new Staff \with { instrumentName = "PartCombine with text" }
\partcombine \musicUp \musicDown
>>
\layout {
indent = 6.0\cm
\context {
\Score
\override SystemStartBar.collapse-height = #30
}
}
}
|
Displaying complex chords
Here is a way to display a chord where the same note is played twice
with different accidentals.
| fixA = {
\once \override Stem.length = #11
}
fixB = {
\once \override NoteHead.X-offset = #1.7
\once \override Stem.length = #7
\once \override Stem.rotation = #'(45 0 0)
\once \override Stem.extra-offset = #'(-0.1 . -0.2)
\once \override Flag.style = #'no-flag
\once \override Accidental.extra-offset = #'(4 . -.1)
}
\relative c' {
<< { \fixA <b d!>8 } \\ { \voiceThree \fixB dis } >> s
}
|
Double glissando
To connect chords with glissando lines, attach a second glissando to a
hidden voice.
| \relative c {
\clef bass
<<
{
% new voice ( = \voiceOne), hidden
\hideNotes
% attach glissando to note heads
e2\glissando g
}
\\
{
% original voice with chords rearranged so that
% glissando is attached to a & c
<e a,>2\glissando <g c,>
}
>>
}
|
Forcing horizontal shift of notes
When the typesetting engine cannot cope, the following syntax can be
used to override typesetting decisions. The units of measure used here
are staff spaces.
| \relative c' <<
{
<d g>2 <d g>
}
\\
{
<b f'>2
\once \override NoteColumn.force-hshift = #1.7
<b f'>2
}
>>
|
Making an object invisible with the ’transparent property
Setting the transparent
property will cause an object to be
printed in “invisible ink”: the object is not printed, but all its
other behavior is retained. The object still takes up space, it takes
part in collisions, and slurs, ties and beams can be attached to it.
This snippet demonstrates how to connect different voices using ties.
Normally, ties only connect two notes in the same voice. By
introducing a tie in a different voice, and blanking the first up-stem
in that voice, the tie appears to cross voices.
| \relative {
\time 2/4
<<
{
\once \hide Stem
\once \override Stem.length = #8
b'8 ~ 8\noBeam
\once \hide Stem
\once \override Stem.length = #8
g8 ~ 8\noBeam
}
\\
{
b8 g g e
}
>>
}
|
Moving dotted notes in polyphony
When a dotted note in the upper voice is moved to avoid a collision
with a note in another voice, the default is to move the upper note to
the right. This behaviour can be over-ridden by using the
prefer-dotted-right
property of NoteCollision
.
| \new Staff \relative c' <<
{
f2. f4
\override Staff.NoteCollision.prefer-dotted-right = ##f
f2. f4
\override Staff.NoteCollision.prefer-dotted-right = ##t
f2. f4
}
\\
{ e4 e e e e e e e e e e e }
>>
|
Suppressing warnings for clashing note columns
If notes from two voices with stems in the same direction are placed at
the same position, and both voices have no shift or the same shift
specified, the error message ‘warning: ignoring too many clashing
note columns’ will appear when compiling the LilyPond file. This
message can be suppressed by setting the 'ignore-collision
property of the NoteColumn
object to #t
. Please note that
this does not just suppress warnings but stops LilyPond trying to
resolve collisions at all and so may have unintended results unless
used with care.
| ignore = \override NoteColumn.ignore-collision = ##t
\relative c' {
\new Staff <<
\new Voice{ \ignore \stemDown f2 g }
\new Voice{ c2 \stemDown c, }
>>
}
|
Two \partcombine pairs on one staff
The \partcombine
function takes two music expressions each
containing a part, and distributes them among four Voice
s named
“two” “one” “solo” and “chords” depending on when and how
the parts merged into a common voice. The voices output from
\partcombine
can have their layout properties adjusted in the
usual way. Here we define extensions of \partcombine
to make
it easier to put four voices on a staff.
soprano = { d’4 | cis’ b e’ d’8 cis’ | cis’2 b } alto = { fis4 |
e8 fis gis ais b4 b | b ais fis2 } tenor = { a8 b | cis’ dis’ e’4 b8
cis’ d’4 | gis cis’ dis’2 } bass = { fis8 gis | a4 gis g fis | eis
fis b,2 }
\new Staff <<
\key b\minor
\clef alto
\partial 4
\transpose b b’
\partcombineUp \soprano \alto
\partcombineDown \tenor \bass >>
| \layout {
\context {
\Staff
\accepts "VoiceBox"
}
\context {
\name "VoiceBox"
\type "Engraver_group"
\defaultchild "Voice"
\accepts "Voice"
}
}
partcombineUp =
#(define-music-function (partOne partTwo)
(ly:music? ly:music?)
"Take the music in @var{partOne} and @var{partTwo} and return
a @code{VoiceBox} named @q{Up} containing @code{Voice}s
that contain @var{partOne} and @var{partTwo} merged into one
voice where feasible. This variant sets the default voicing
in the output to use upward stems."
#{
\new VoiceBox = "Up" <<
\context Voice = "one" { \voiceOne }
\context Voice = "two" { \voiceThree }
\context Voice = "shared" { \voiceOne }
\context Voice = "solo" { \voiceOne }
\partcombine #partOne #partTwo
>>
#})
partcombineDown = #
(define-music-function (partOne partTwo)
(ly:music? ly:music?)
"Take the music in @var{partOne} and @var{partTwo} and return
a @code{VoiceBox} named @q{Down} containing @code{Voice}s
that contain @var{partOne} and @var{partTwo} merged into one
voice where feasible. This variant sets the default voicing
in the output to use downward stems."
#{
\new VoiceBox = "Down" <<
\set VoiceBox.soloText = #"Solo III"
\set VoiceBox.soloIIText = #"Solo IV"
\context Voice ="one" { \voiceFour }
\context Voice ="two" { \voiceTwo }
\context Voice ="shared" { \voiceFour }
\context Voice ="solo" { \voiceFour }
\partcombine #partOne #partTwo
>>
#})
soprano = { d'4 | cis' b e' d'8 cis' | cis'2 b }
alto = { fis4 | e8 fis gis ais b4 b | b ais fis2 }
tenor = { a8 b | cis' dis' e'4 b8 cis' d'4 | gis cis' dis'2 }
bass = { fis8 gis | a4 gis g fis | eis fis b,2 }
\new Staff <<
\key b\minor
\clef alto
\partial 4
\transpose b b'
\partcombineUp \soprano \alto
\partcombineDown \tenor \bass
>>
|
Staff notation
Staff notation
Adding ambitus per voice
Ambitus can be added per voice. In this case, the ambitus must be moved
manually to prevent collisions.
| \new Staff <<
\new Voice \with {
\consists "Ambitus_engraver"
} \relative c'' {
\override Ambitus.X-offset = #2.0
\voiceOne
c4 a d e
f1
}
\new Voice \with {
\consists "Ambitus_engraver"
} \relative c' {
\voiceTwo
es4 f g as
b1
}
>>
|
Adding an extra staff at a line break
When adding a new staff at a line break, some extra space is
unfortunately added at the end of the line before the break (to fit in
a key signature change, which will never be printed anyway). The
workaround is to add a setting of
Staff.explicitKeySignatureVisibility
as is shown in the example.
| \score {
\new StaffGroup \relative c'' {
\new Staff
\key f \major
c1 c^"Unwanted extra space" \break
<< { c1 | c }
\new Staff {
\key f \major
\once \omit Staff.TimeSignature
c1 | c
}
>>
c1 | c^"Fixed here" \break
<< { c1 | c }
\new Staff {
\once \set Staff.explicitKeySignatureVisibility = #end-of-line-invisible
\key f \major
\once \omit Staff.TimeSignature
c1 | c
}
>>
}
}
|
Adding an extra staff
An extra staff can be added (possibly temporarily) after the start of a
piece.
| \score {
<<
\new Staff \relative c'' {
c1 | c | c | c | c
}
\new StaffGroup \relative c'' {
\new Staff {
c1 | c
<<
{
c1 | d
}
\new Staff {
\once \omit Staff.TimeSignature
c1 | b
}
>>
c1
}
}
>>
}
|
Adding indicators to staves which get split after a break
This snippet defines the \splitStaffBarLine
,
convUpStaffBarLine
and convDownStaffBarLine
commands.
These add arrows at a bar line, to denote that several voices sharing a
staff will each continue on a staff of their own in the next system, or
that voices split in this way recombine.
| #(define-markup-command (arrow-at-angle layout props angle-deg length fill)
(number? number? boolean?)
(let* (
(PI-OVER-180 (/ (atan 1 1) 34))
(degrees->radians (lambda (degrees) (* degrees PI-OVER-180)))
(angle-rad (degrees->radians angle-deg))
(target-x (* length (cos angle-rad)))
(target-y (* length (sin angle-rad))))
(interpret-markup layout props
(markup
#:translate (cons (/ target-x 2) (/ target-y 2))
#:rotate angle-deg
#:translate (cons (/ length -2) 0)
#:concat (#:draw-line (cons length 0)
#:arrow-head X RIGHT fill)))))
splitStaffBarLineMarkup = \markup \with-dimensions #'(0 . 0) #'(0 . 0) {
\combine
\arrow-at-angle #45 #(sqrt 8) ##t
\arrow-at-angle #-45 #(sqrt 8) ##t
}
splitStaffBarLine = {
\once \override Staff.BarLine.stencil =
#(lambda (grob)
(ly:stencil-combine-at-edge
(ly:bar-line::print grob)
X RIGHT
(grob-interpret-markup grob splitStaffBarLineMarkup)
0))
\break
}
convDownStaffBarLine = {
\once \override Staff.BarLine.stencil =
#(lambda (grob)
(ly:stencil-combine-at-edge
(ly:bar-line::print grob)
X RIGHT
(grob-interpret-markup grob #{
\markup\with-dimensions #'(0 . 0) #'(0 . 0) {
\translate #'(0 . -.13)\arrow-at-angle #-45 #(sqrt 8) ##t
}#})
0))
\break
}
convUpStaffBarLine = {
\once \override Staff.BarLine.stencil =
#(lambda (grob)
(ly:stencil-combine-at-edge
(ly:bar-line::print grob)
X RIGHT
(grob-interpret-markup grob #{
\markup\with-dimensions #'(0 . 0) #'(0 . 0) {
\translate #'(0 . .14)\arrow-at-angle #45 #(sqrt 8) ##t
}#})
0))
\break
}
\paper {
ragged-right = ##t
short-indent = 10\mm
}
separateSopranos = {
\set Staff.instrumentName = "AI AII"
\set Staff.shortInstrumentName = "AI AII"
\splitStaffBarLine
\change Staff = "up"
}
convSopranos = {
\convDownStaffBarLine
\change Staff = "shared"
\set Staff.instrumentName = "S A"
\set Staff.shortInstrumentName = "S A"
}
sI = {
\voiceOne
\repeat unfold 4 f''2
\separateSopranos
\repeat unfold 4 g''2
\convSopranos
\repeat unfold 4 c''2
}
sII = {
s1*2
\voiceTwo
\change Staff = "up"
\repeat unfold 4 d''2
}
aI = {
\voiceTwo
\repeat unfold 4 a'2
\voiceOne
\repeat unfold 4 b'2
\convUpStaffBarLine
\voiceTwo
\repeat unfold 4 g'2
}
aII = {
s1*2
\voiceTwo
\repeat unfold 4 g'2
}
ten = {
\voiceOne
\repeat unfold 4 c'2
\repeat unfold 4 d'2
\repeat unfold 4 c'2
}
bas = {
\voiceTwo
\repeat unfold 4 f2
\repeat unfold 4 g2
\repeat unfold 4 c2
}
\score {
<<
\new ChoirStaff <<
\new Staff = up \with {
instrumentName = "SI SII"
shortInstrumentName = "SI SII"
} {
s1*4
}
\new Staff = shared \with {
instrumentName = "S A"
shortInstrumentName = "S A"
} <<
\new Voice = sopI \sI
\new Voice = sopII \sII
\new Voice = altI \aI
\new Voice = altII \aII
>>
\new Lyrics \with {
alignBelowContext = up
}
\lyricsto sopII { e f g h }
\new Lyrics \lyricsto altI { a b c d e f g h i j k l }
\new Staff = men \with {
instrumentName = "T B"
shortInstrumentName = "T B"
} <<
\clef F
\new Voice = ten \ten
\new Voice = bas \bas
>>
\new Lyrics \lyricsto bas { a b c d e f g h i j k l }
>>
>>
\layout {
\context {
\Staff \RemoveEmptyStaves
\override VerticalAxisGroup.remove-first = ##t
}
}
}
|
Adding orchestral cues to a vocal score
This shows one approach to simplify adding many orchestral cues to the
piano reduction in a vocal score. The music function \cueWhile
takes four arguments: the music from which the cue is to be taken, as
defined by \addQuote
, the name to be inserted before the cue
notes, then either #UP
or #DOWN
to specify either
\voiceOne
with the name above the staff or \voiceTwo
with the name below the staff, and finally the piano music in parallel
with which the cue notes are to appear. The name of the cued
instrument is positioned to the left of the cued notes. Many passages
can be cued, but they cannot overlap each other in time.
| cueWhile =
#(define-music-function
(instrument name dir music)
(string? string? ly:dir? ly:music?)
#{
\cueDuring $instrument #dir {
\once \override TextScript.self-alignment-X = #RIGHT
\once \override TextScript.direction = $dir
<>-\markup { \tiny #name }
$music
}
#})
flute = \relative c'' {
\transposition c'
s4 s4 e g
}
\addQuote "flute" { \flute }
clarinet = \relative c' {
\transposition bes
fis4 d d c
}
\addQuote "clarinet" { \clarinet }
singer = \relative c'' { c4. g8 g4 bes4 }
words = \lyricmode { here's the lyr -- ics }
pianoRH = \relative c'' {
\transposition c'
\cueWhile "clarinet" "Clar." #DOWN { c4. g8 }
\cueWhile "flute" "Flute" #UP { g4 bes4 }
}
pianoLH = \relative c { c4 <c' e> e, <g c> }
\score {
<<
\new Staff {
\new Voice = "singer" {
\singer
}
}
\new Lyrics {
\lyricsto "singer"
\words
}
\new PianoStaff <<
\new Staff {
\new Voice {
\pianoRH
}
}
\new Staff {
\clef "bass"
\pianoLH
}
>>
>>
}
|
Adding timing marks to long glissandi
Skipped beats in very long glissandi are sometimes indicated by timing
marks, often consisting of stems without noteheads. Such stems can
also be used to carry intermediate expression markings.
If the stems do not align well with the glissando, they may need to be
repositioned slightly.
| glissandoSkipOn = {
\override NoteColumn.glissando-skip = ##t
\hide NoteHead
\override NoteHead.no-ledgers = ##t
}
glissandoSkipOff = {
\revert NoteColumn.glissando-skip
\undo \hide NoteHead
\revert NoteHead.no-ledgers
}
\relative c'' {
r8 f8\glissando
\glissandoSkipOn
f4 g a a8\noBeam
\glissandoSkipOff
a8
r8 f8\glissando
\glissandoSkipOn
g4 a8
\glissandoSkipOff
a8 |
r4 f\glissando \<
\glissandoSkipOn
a4\f \>
\glissandoSkipOff
b8\! r |
}
|
Alternative bar numbering
Two alternative methods for bar numbering can be set, especially for
when using repeated music.
| \relative c'{
\set Score.alternativeNumberingStyle = #'numbers
\repeat volta 3 { c4 d e f | }
\alternative {
{ c4 d e f | c2 d \break }
{ f4 g a b | f4 g a b | f2 a | \break }
{ c4 d e f | c2 d }
}
c1 \break
\set Score.alternativeNumberingStyle = #'numbers-with-letters
\repeat volta 3 { c,4 d e f | }
\alternative {
{ c4 d e f | c2 d \break }
{ f4 g a b | f4 g a b | f2 a | \break }
{ c4 d e f | c2 d }
}
c1
}
|
Centered measure numbers
Scores of large ensemble works often have bar numbers placed beneath
the system, centered horizontally on the measure’s extent. This
snippet shows how the Measure_counter_engraver
may be used to
simulate this notational practice. Here, the engraver has been added
to a Dynamics
context.
| \layout {
\context {
\Dynamics
\consists #Measure_counter_engraver
\override MeasureCounter.direction = #DOWN
\override MeasureCounter.font-encoding = #'latin1
\override MeasureCounter.font-shape = #'italic
% to control the distance of the Dynamics context from the staff:
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing.padding = #2
}
\context {
\Score
\remove "Bar_number_engraver"
}
}
pattern = \repeat unfold 7 { c'4 d' e' f' }
\new StaffGroup <<
\new Staff {
\pattern
}
\new Staff {
\pattern
}
\new Dynamics {
\startMeasureCount
s1*7
\stopMeasureCount
}
>>
|
Changing the default bar lines
Default bar lines can be changed when re-defined in a score context.
| % http://lsr.di.unimi.it/LSR/Item?id=964
%%=> http://lists.gnu.org/archive/html/lilypond-user/2014-03/msg00126.html
%%=> http://lilypond.1069038.n5.nabble.com/Changing-the-default-end-repeat-bracket-tc169357.html
\layout {
\context {
\Score
%% Changing the defaults from engraver-init.ly
defaultBarType = #"!"
startRepeatType = #"[|:"
endRepeatType = #":|]"
doubleRepeatType = #":|][|:"
}
}
%% example:
{
c'1
\repeat volta 2 { \repeat unfold 2 c' }
\repeat volta 2 { \repeat unfold 2 c' }
\alternative {
{ c' }
{
%% v2.18 workaround
\once\override Score.VoltaBracket.shorten-pair = #'(1 . -1)
c'
}
}
\bar "|."
}
|
Changing the number of lines in a staff
The number of lines in a staff may changed by overriding the
StaffSymbol
property line-count
.
| upper = \relative c'' {
c4 d e f
}
lower = \relative c {
\clef bass
c4 b a g
}
\score {
\context PianoStaff <<
\new Staff {
\upper
}
\new Staff {
\override Staff.StaffSymbol.line-count = #4
\lower
}
>>
}
|
Changing the staff size
Though the simplest way to resize staves is to use
#(set-global-staff-size xx)
, an individual staff’s size can be
changed by scaling the properties 'staff-space
and
fontSize
.
| <<
\new Staff {
\relative c'' {
\dynamicDown
c8\ff c c c c c c c
}
}
\new Staff \with {
fontSize = #-3
\override StaffSymbol.staff-space = #(magstep -3)
} {
\clef bass
c8 c c c c\f c c c
}
>>
|
Creating blank staves
To create blank staves, generate empty measures then remove the
Bar_number_engraver
from the Score
context, and the
Time_signature_engraver
, Clef_engraver
and
Bar_engraver
from the Staff
context.
| #(set-global-staff-size 20)
\score {
{
\repeat unfold 12 { s1 \break }
}
\layout {
indent = 0\in
\context {
\Staff
\remove "Time_signature_engraver"
\remove "Clef_engraver"
\remove "Bar_engraver"
}
\context {
\Score
\remove "Bar_number_engraver"
}
}
}
% uncomment these lines for "letter" size
%{
\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
}
%}
% uncomment these lines for "A4" size
%{
\paper {
#(set-paper-size "a4")
ragged-last-bottom = ##f
line-width = 180
left-margin = 15
bottom-margin = 10
top-margin = 10
}
%}
|
Creating custom key signatures
LilyPond supports custom key signatures. In this example, print for D
minor with an extended range of printed flats.
| \new Staff \with {
\override StaffSymbol.line-count = #8
\override KeySignature.flat-positions = #'((-7 . 6))
\override KeyCancellation.flat-positions = #'((-7 . 6))
% presumably sharps are also printed in both octaves
\override KeySignature.sharp-positions = #'((-6 . 7))
\override KeyCancellation.sharp-positions = #'((-6 . 7))
\override Clef.stencil = #
(lambda (grob)(grob-interpret-markup grob
#{ \markup\combine
\musicglyph "clefs.C"
\translate #'(-3 . -2)
\musicglyph "clefs.F"
#}))
clefPosition = #3
middleCPosition = #3
middleCClefPosition = #3
}
{
\key d\minor
f bes, f bes,
}
|
Creating double-digit fingerings
Creating fingerings larger than 5 is possible.
| \relative c' {
c1-10
c1-50
c1-36
c1-29
}
|
Cross staff stems
This snippet shows the use of the Span_stem_engraver
and
\crossStaff
to connect stems across staves automatically.
The stem length need not be specified, as the variable distance between
noteheads and staves is calculated automatically.
| \layout {
\context {
\PianoStaff
\consists #Span_stem_engraver
}
}
{
\new PianoStaff <<
\new Staff {
<b d'>4 r d'16\> e'8. g8 r\!
e'8 f' g'4 e'2
}
\new Staff {
\clef bass
\voiceOne
\autoBeamOff
\crossStaff { <e g>4 e, g16 a8. c8} d
\autoBeamOn
g8 f g4 c2
}
>>
}
|
Display bracket with only one staff in a system
If there is only one staff in one of the staff types ChoirStaff
or StaffGroup
, by default the bracket and the starting bar line
will not be displayed. This can be changed by overriding
collapse-height
to set its value to be less than the number of
staff lines in the staff.
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.
| \score {
\new StaffGroup <<
% Must be lower than the actual number of staff lines
\override StaffGroup.SystemStartBracket.collapse-height = #4
\override Score.SystemStartBar.collapse-height = #4
\new Staff {
c'1
}
>>
}
\score {
\new PianoStaff <<
\override PianoStaff.SystemStartBrace.collapse-height = #4
\override Score.SystemStartBar.collapse-height = #4
\new Staff {
c'1
}
>>
}
|
Extending a TrillSpanner
For TrillSpanner
, the minimum-length
property becomes
effective only if the set-spacing-rods
procedure is called
explicitly. To do this, the springs-and-rods
property should be
set to ly:spanner::set-spacing-rods
.
| \relative c' {
\key c\minor
\time 2/4
c16( as') c,-. des-.
\once\override TrillSpanner.minimum-length = #15
\once\override TrillSpanner.springs-and-rods = #ly:spanner::set-spacing-rods
\afterGrace es4
\startTrillSpan { d16[( \stopTrillSpan es)] }
c( c' g es c g' es d
\hideNotes
c8)
}
|
Extending glissandi across repeats
A glissando which extends into several \alternative
blocks can
be simulated by adding a hidden grace note with a glissando at the
start of each \alternative
block. The grace note should be at
the same pitch as the note which starts the initial glissando. This is
implemented here with a music function which takes the pitch of the
grace note as its argument.
Note that in polyphonic music the grace note must be matched with
corresponding grace notes in all other voices.
| repeatGliss = #(define-music-function (grace)
(ly:pitch?)
#{
% the next two lines ensure the glissando is long enough
% to be visible
\once \override Glissando.springs-and-rods
= #ly:spanner::set-spacing-rods
\once \override Glissando.minimum-length = #3.5
\once \hideNotes
\grace $grace \glissando
#})
\score {
\relative c'' {
\repeat volta 3 { c4 d e f\glissando }
\alternative {
{ g2 d }
{ \repeatGliss f g2 e }
{ \repeatGliss f e2 d }
}
}
}
music = \relative c' {
\voiceOne
\repeat volta 2 {
g a b c\glissando
}
\alternative {
{ d1 }
{ \repeatGliss c \once \omit StringNumber e1\2 }
}
}
\score {
\new StaffGroup <<
\new Staff <<
\context Voice { \clef "G_8" \music }
>>
\new TabStaff <<
\context TabVoice { \clef "moderntab" \music }
>>
>>
}
|
Flat Ties
The function takes the default Tie.stencil
as an argument,
calculating the result relying on the extents of this default. Further
tweaking is possible by overriding Tie.details.height-limit
or
with \shape
. It’s also possible to change the custom-definition
on the fly.
| %% http://lsr.di.unimi.it/LSR/Item?id=1031
#(define ((flared-tie coords) grob)
(define (pair-to-list pair)
(list (car pair) (cdr pair)))
(define (normalize-coords goods x y dir)
(map
(lambda (coord)
;(coord-scale coord (cons x (* y dir)))
(cons (* x (car coord)) (* y dir (cdr coord))))
goods))
(define (my-c-p-s points thick)
(make-connected-path-stencil
points
thick
1.0
1.0
#f
#f))
;; outer let to trigger suicide
(let ((sten (ly:tie::print grob)))
(if (grob::is-live? grob)
(let* ((layout (ly:grob-layout grob))
(line-thickness (ly:output-def-lookup layout 'line-thickness))
(thickness (ly:grob-property grob 'thickness 0.1))
(used-thick (* line-thickness thickness))
(dir (ly:grob-property grob 'direction))
(xex (ly:stencil-extent sten X))
(yex (ly:stencil-extent sten Y))
(lenx (interval-length xex))
(leny (interval-length yex))
(xtrans (car xex))
(ytrans (if (> dir 0)(car yex) (cdr yex)))
(uplist
(map pair-to-list
(normalize-coords coords lenx (* leny 2) dir))))
(ly:stencil-translate
(my-c-p-s uplist used-thick)
(cons xtrans ytrans)))
'())))
#(define flare-tie
(flared-tie '((0 . 0)(0.1 . 0.2) (0.9 . 0.2) (1.0 . 0.0))))
\layout {
\context {
\Voice
\override Tie.stencil = #flare-tie
}
}
\paper { ragged-right = ##f }
\relative c' {
a4~a
\override Tie.height-limit = 4
a'4~a
a'4~a
<a,, c e a c e a c e>~ q
\break
a'4~a
\once \override Tie.details.height-limit = 14
a4~a
\break
a4~a
\once \override Tie.details.height-limit = 0.5
a4~a
\break
a4~a
\shape #'((0 . 0) (0 . 0.4) (0 . 0.4) (0 . 0)) Tie
a4~a
\break
a4~a
\once \override Tie.stencil =
#(flared-tie '((0 . 0)(0.1 . 0.4) (0.9 . 0.4) (1.0 . 0.0)))
a4~a
a4~a
\once \override Tie.stencil =
#(flared-tie '((0 . 0)(0.06 . 0.1) (0.94 . 0.1) (1.0 . 0.0)))
a4~a
}
|
Forcing measure width to adapt to MetronomeMark’s width
By default, metronome marks do not influence horizontal spacing. This
can be solved through a simple override, as shown in the second half of
the example.
| example = {
\tempo "Allegro"
R1*6
\tempo "Rall."
R1*2
\tempo "A tempo"
R1*8
}
{
\compressMMRests {
\example
R1
R1
\override Score.MetronomeMark.extra-spacing-width = #'(-3 . 0)
\example
}
}
|
Glissandi can skip grobs
NoteColumn
grobs can be skipped over by glissandi.
| \relative c' {
a2 \glissando
\once \override NoteColumn.glissando-skip = ##t
f''4 d,
}
|
How to print two rehearsal marks above and below the same barline (method 1)
This method prints two ’rehearsal marks’, one on top of the other. It
shifts the lower rehearsal mark below the staff and then adds padding
above it in order to place the upper rehearsal mark above the staff.
By adjusting the extra-offset and baseline-skip values you can increase
or decrease the overall space between the rehearsal mark and the staff.
Because nearly every type of glyph or string can be made to behave like
a rehearsal mark it is possible to centre those above and below a bar
line.
Adding the appropriate ’break visibility’ as shown in snippet 1 will
allow you to position two marks at the end of a line as well.
Note: Method 1 is less complex than Method 2 but does not really allow
for fine tuning of placement of one of the rehearsal marks without
affecting the other. It may also give some problems with vertical
spacing, since using extra-offset
does not change the bounding
box of the mark from its original value.
| \relative c'{
c d e f |
\once \override Score.RehearsalMark.extra-offset = #'(0 . -8.5)
\once \override Score.RehearsalMark.baseline-skip = #9
\mark \markup \center-column { \circle 1 \box A }
g f e d |
\once \override Score.RehearsalMark.extra-offset = #'(0 . -8.5)
\once \override Score.RehearsalMark.baseline-skip = #9
\mark \markup \center-column { \flat { \bold \small \italic Fine. } }
g f e d |
\once \override Score.RehearsalMark.extra-offset = #'(0 . -8.5)
\once \override Score.RehearsalMark.baseline-skip = #9
\override Score.RehearsalMark.break-visibility = #begin-of-line-invisible
\mark \markup \center-column { \fermata \box z }
}
|
How to print two rehearsal marks above and below the same barline (method 2)
This method prints two ’rehearsal marks’ - one above the stave and one
below, by creating two voices, adding the Rehearsal Mark engraver to
each voice - without this no rehearsal mark is printed - and then
placing each rehearsal mark UP and DOWN in each voice respectively.
This method (as opposed to method 1) is more complex, but allows for
more flexibility, should it be needed to tweak each rehearsal mark
independently of the other.
| \score {
\relative c'
<<
\new Staff {
<<
\new Voice \with {
\consists Mark_engraver
\consists "Staff_collecting_engraver"
}
{ c4 d e f
\mark \markup { \box A }
c4 d e f
}
\new Voice \with {
\consists Mark_engraver
\consists "Staff_collecting_engraver"
\override RehearsalMark.direction = #DOWN
}
{ s4 s s s
\mark \markup { \circle 1 }
s4 s s s
}
>>
}
>>
\layout {
\context {
\Score
\remove "Mark_engraver"
\remove "Staff_collecting_engraver"
}
}
}
|
Incipit
When transcribing mensural music, an incipit at the beginning of the piece is
useful to indicate the original key and tempo. Musicians today are used
to bar lines, but these were not known during the period of mensural music. As
a compromise, bar lines are often printed between the staves, a layout style
called mensurstriche layout.
| %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% A short excerpt from the Jubilate Deo by Orlande de Lassus
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
global = {
\set Score.skipBars = ##t
\key g \major
\time 4/4
% the actual music
\skip 1*8
% let finis bar go through all staves
\override Staff.BarLine.transparent = ##f
% finis bar
\bar "|."
}
discantusIncipit = {
\clef "neomensural-c1"
\key f \major
\time 2/2
c''1.
}
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 \hide NoteHead
c'1 |
b\breve |
}
}
discantusLyrics = \lyricmode {
Ju -- bi -- la -- te De -- o,
om -- nis ter -- ra, __ om-
"..."
-us.
}
altusIncipit = {
\clef "neomensural-c3"
\key f \major
\time 2/2
r1 f'1.
}
altusNotes = {
\transpose c' c'' {
\clef "treble"
r2 g2. e4 fis g |
a2 g4 e |
fis g4.( fis16 e fis4) |
g1 |
\once \hide NoteHead
g1 |
g\breve |
}
}
altusLyrics = \lyricmode {
Ju -- bi -- la -- te
De -- o, om -- nis ter -- ra,
"..."
-us.
}
tenorIncipit = {
\clef "neomensural-c4"
\key f \major
\time 2/2
r\longa
r\breve
r1 c'1.
}
tenorNotes = {
\transpose c' c' {
\clef "treble_8"
R1 |
R1 |
R1 |
% two measures
r2 d'2. d'4 b e' |
\once \hide NoteHead
e'1 |
d'\breve |
}
}
tenorLyrics = \lyricmode {
Ju -- bi -- la -- te
"..."
-us.
}
bassusIncipit = {
\clef "mensural-f"
\key f \major
\time 2/2
r\maxima
f1.
}
bassusNotes = {
\transpose c' c' {
\clef "bass"
R1 |
R1 |
R1 |
R1 |
g2. e4 |
\once \hide NoteHead
e1 |
g\breve |
}
}
bassusLyrics = \lyricmode {
Ju -- bi-
"..."
-us.
}
\score {
<<
\new StaffGroup = choirStaff <<
\new Voice = "discantusNotes" <<
\set Staff.instrumentName = "Discantus"
\incipit \discantusIncipit
\global
\discantusNotes
>>
\new Lyrics \lyricsto discantusNotes { \discantusLyrics }
\new Voice = "altusNotes" <<
\set Staff.instrumentName = "Altus"
\global
\incipit \altusIncipit
\altusNotes
>>
\new Lyrics \lyricsto altusNotes { \altusLyrics }
\new Voice = "tenorNotes" <<
\set Staff.instrumentName = "Tenor"
\global
\incipit \tenorIncipit
\tenorNotes
>>
\new Lyrics \lyricsto tenorNotes { \tenorLyrics }
\new Voice = "bassusNotes" <<
\set Staff.instrumentName = "Bassus"
\global
\incipit \bassusIncipit
\bassusNotes
>>
\new Lyrics \lyricsto bassusNotes { \bassusLyrics }
>>
>>
\layout {
\context {
\Score
%% no bar lines in staves or lyrics
\hide BarLine
}
%% the next two instructions keep the lyrics between the bar lines
\context {
\Lyrics
\consists "Bar_engraver"
\consists "Separating_line_group_engraver"
}
\context {
\Voice
%% no slurs
\hide Slur
%% 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
}
}
|
Inserting score fragments above a staff as markups
The \markup
command is quite versatile. In this snippet, it
contains a \score
block instead of texts or marks.
| tuning = \markup {
\score {
\new Staff \with { \remove "Time_signature_engraver" }
{
\clef bass
<c, g, d g>1
}
\layout { ragged-right = ##t indent = 0\cm }
}
}
\header {
title = "Solo Cello Suites"
subtitle = "Suite IV"
subsubtitle = \markup { Originalstimmung: \raise #0.5 \tuning }
}
\layout { ragged-right = ##f }
\relative c'' {
\time 4/8
\tuplet 3/2 { c8 d e } \tuplet 3/2 { c d e }
\tuplet 3/2 { c8 d e } \tuplet 3/2 { c d e }
g8 a g a
g8 a g a
}
|
Let TabStaff print the topmost string at bottom
In tablatures usually the first string is printed topmost. If you want
to have it at the bottom change the
stringOneTopmost
-context-property. For a context-wide setting
this could be done in layout
as well.
| %
%\layout {
% \context {
% \Score
% stringOneTopmost = ##f
% }
% \context {
% \TabStaff
% tablatureFormat = #fret-letter-tablature-format
% }
%}
m = {
\cadenzaOn
e, b, e gis! b e'
\bar "||"
}
<<
\new Staff { \clef "G_8" <>_"default" \m <>_"italian (historic)"\m }
\new TabStaff
{
\m
\set Score.stringOneTopmost = ##f
\set TabStaff.tablatureFormat = #fret-letter-tablature-format
\m
}
>>
|
Letter tablature formatting
Tablature can be formatted using letters instead of numbers.
| 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 = #fret-letter-tablature-format
}
{
\music
}
>>
|
Making glissandi breakable
Setting the breakable
property to #t
in combination with
after-line-breaking
allows a glissando to break if it occurs at
a line break:
| glissandoSkipOn = {
\override NoteColumn.glissando-skip = ##t
\hide NoteHead
\override NoteHead.no-ledgers = ##t
}
\relative c'' {
\override Glissando.breakable = ##t
\override Glissando.after-line-breaking = ##t
f1\glissando |
\break
a4 r2. |
f1\glissando
\once \glissandoSkipOn
\break
a2 a4 r4 |
}
|
Making some staff lines thicker than the others
For educational 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'
}
|
Measure counter
This snippet provides a workaround for emitting measure counters using
transparent percent repeats.
| <<
\context Voice = "foo" {
\clef bass
c4 r g r
c4 r g r
c4 r g r
c4 r g r
}
\context Voice = "foo" {
\set countPercentRepeats = ##t
\hide PercentRepeat
\override PercentRepeatCounter.staff-padding = #1
\repeat percent 4 { s1 }
}
>>
|
Mensurstriche layout (bar lines between the staves)
The mensurstriche-layout where the bar lines do not show on the staves
but between staves can be achieved with a StaffGroup
instead of
a ChoirStaff
. The bar line on staves is blanked out using
\hide
.
| global = {
\hide Staff.BarLine
s1 s
% the final bar line is not interrupted
\undo \hide Staff.BarLine
\bar "|."
}
\new StaffGroup \relative c'' {
<<
\new Staff { << \global { c1 c } >> }
\new Staff { << \global { c c } >> }
>>
}
|
Modifying the Ottava spanner slope
It is possible to change the slope of the Ottava spanner.
| \relative c'' {
\override Staff.OttavaBracket.stencil = #ly:line-spanner::print
\override Staff.OttavaBracket.bound-details =
#`((left . ((Y . 0) ; Change the integer here
(attach-dir . ,LEFT)
(padding . 0)
(stencil-align-dir-y . ,CENTER)))
(right . ((Y . 5) ; Change the integer here
(padding . 0)
(attach-dir . ,RIGHT)
(text . ,(make-draw-dashed-line-markup (cons 0 -1.2))))))
\override Staff.OttavaBracket.left-bound-info =
#ly:line-spanner::calc-left-bound-info-and-text
\override Staff.OttavaBracket.right-bound-info =
#ly:line-spanner::calc-right-bound-info
\ottava #1
c1
c'''1
}
|
Nesting staves
The property systemStartDelimiterHierarchy
can be used to make
more complex nested staff groups. The command \set
StaffGroup.systemStartDelimiterHierarchy
takes an alphabetical list of
the number of staves produced. Before each staff a system start
delimiter can be given. It has to be enclosed in brackets and takes as
much staves as the brackets enclose. Elements in the list can be
omitted, but the first bracket takes always the complete number of
staves. The possibilities are SystemStartBar
,
SystemStartBracket
, SystemStartBrace
, and
SystemStartSquare
.
| \new StaffGroup
\relative c'' <<
\set StaffGroup.systemStartDelimiterHierarchy
= #'(SystemStartSquare (SystemStartBrace (SystemStartBracket a
(SystemStartSquare b) ) c ) d)
\new Staff { c1 }
\new Staff { c1 }
\new Staff { c1 }
\new Staff { c1 }
\new Staff { c1 }
>>
|
Non-traditional key signatures
The commonly used \key
command sets the keyAlterations
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.keyAlterations = #`(((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.
Alternatively, using the more concise format for each item in the list,
(step . alter)
specifies the same alteration holds in all
octaves. For microtonal scales where a “sharp” is not 100 cents,
alter
refers to the proportion of a 200-cent whole tone.
| \include "arabic.ly"
\relative do' {
\set Staff.keyAlterations = #`((0 . ,SEMI-FLAT)
(1 . ,SEMI-FLAT)
(2 . ,FLAT)
(5 . ,FLAT)
(6 . ,SEMI-FLAT))
%\set Staff.extraNatural = ##f
re reb \dwn reb resd
dod dob dosd \dwn dob |
dobsb dodsd do do |
}
|
Numbering groups of measures
This snippet demonstrates the use of the
Measure_counter_engraver
to number groups of successive
measures. Any stretch of measures may be numbered, whether consisting
of repetitions or not.
The engraver must be added to the appropriate context. Here, a
Staff
context is used; another possibility is a Dynamics
context.
The counter is begun with \startMeasureCount
and ended with
\stopMeasureCount
. Numbering will start by default with
1
, but this behavior may be modified by overriding the
count-from
property.
When a measure extends across a line break, the number will appear
twice, the second time in parentheses.
| \layout {
\context {
\Staff
\consists #Measure_counter_engraver
}
}
\new Staff {
\startMeasureCount
\repeat unfold 7 {
c'4 d' e' f'
}
\stopMeasureCount
\bar "||"
g'4 f' e' d'
\override Staff.MeasureCounter.count-from = #2
\startMeasureCount
\repeat unfold 5 {
g'4 f' e' d'
}
g'4 f'
\bar ""
\break
e'4 d'
\repeat unfold 7 {
g'4 f' e' d'
}
\stopMeasureCount
}
|
Orchestra choir and piano template
This template demonstrates the use of nested StaffGroup
and
GrandStaff
contexts to sub-group instruments of the same type
together, and a way to use \transpose
so that variables hold
music for transposing instruments at concert pitch.
| #(set-global-staff-size 17)
\paper {
indent = 3.0\cm % add space for instrumentName
short-indent = 1.5\cm % add less space for shortInstrumentName
}
fluteMusic = \relative c' { \key g \major g'1 b }
% Pitches as written on a manuscript for Clarinet in A
% are transposed to concert pitch.
clarinetMusic = \transpose c' a
\relative c'' { \key bes \major bes1 d }
trumpetMusic = \relative c { \key g \major g''1 b }
% Key signature is often omitted for horns
hornMusic = \transpose c' f
\relative c { d'1 fis }
percussionMusic = \relative c { \key g \major g1 b }
sopranoMusic = \relative c'' { \key g \major g'1 b }
sopranoLyrics = \lyricmode { Lyr -- ics }
altoIMusic = \relative c' { \key g \major g'1 b }
altoIIMusic = \relative c' { \key g \major g'1 b }
altoILyrics = \sopranoLyrics
altoIILyrics = \lyricmode { Ah -- ah }
tenorMusic = \relative c' { \clef "treble_8" \key g \major g1 b }
tenorLyrics = \sopranoLyrics
pianoRHMusic = \relative c { \key g \major g''1 b }
pianoLHMusic = \relative c { \clef bass \key g \major g1 b }
violinIMusic = \relative c' { \key g \major g'1 b }
violinIIMusic = \relative c' { \key g \major g'1 b }
violaMusic = \relative c { \clef alto \key g \major g'1 b }
celloMusic = \relative c { \clef bass \key g \major g1 b }
bassMusic = \relative c { \clef "bass_8" \key g \major g,1 b }
\score {
<<
\new StaffGroup = "StaffGroup_woodwinds" <<
\new Staff = "Staff_flute" \with { instrumentName = "Flute" }
\fluteMusic
\new Staff = "Staff_clarinet" \with {
instrumentName = \markup { \concat { "Clarinet in B" \flat } }
}
% Declare that written Middle C in the music
% to follow sounds a concert B flat, for
% output using sounded pitches such as MIDI.
%\transposition bes
% Print music for a B-flat clarinet
\transpose bes c' \clarinetMusic
>>
\new StaffGroup = "StaffGroup_brass" <<
\new Staff = "Staff_hornI" \with { instrumentName = "Horn in F" }
% \transposition f
\transpose f c' \hornMusic
\new Staff = "Staff_trumpet" \with { instrumentName = "Trumpet in C" }
\trumpetMusic
>>
\new RhythmicStaff = "RhythmicStaff_percussion"
\with { instrumentName = "Percussion" }
<<
\percussionMusic
>>
\new PianoStaff \with { instrumentName = "Piano" }
<<
\new Staff { \pianoRHMusic }
\new Staff { \pianoLHMusic }
>>
\new ChoirStaff = "ChoirStaff_choir" <<
\new Staff = "Staff_soprano" \with { instrumentName = "Soprano" }
\new Voice = "soprano"
\sopranoMusic
\new Lyrics \lyricsto "soprano" { \sopranoLyrics }
\new GrandStaff = "GrandStaff_altos"
\with { \accepts Lyrics } <<
\new Staff = "Staff_altoI" \with { instrumentName = "Alto I" }
\new Voice = "altoI"
\altoIMusic
\new Lyrics \lyricsto "altoI" { \altoILyrics }
\new Staff = "Staff_altoII" \with { instrumentName = "Alto II" }
\new Voice = "altoII"
\altoIIMusic
\new Lyrics \lyricsto "altoII" { \altoIILyrics }
>>
\new Staff = "Staff_tenor" \with { instrumentName = "Tenor" }
\new Voice = "tenor"
\tenorMusic
\new Lyrics \lyricsto "tenor" { \tenorLyrics }
>>
\new StaffGroup = "StaffGroup_strings" <<
\new GrandStaff = "GrandStaff_violins" <<
\new Staff = "Staff_violinI" \with { instrumentName = "Violin I" }
\violinIMusic
\new Staff = "Staff_violinII" \with { instrumentName = "Violin II" }
\violinIIMusic
>>
\new Staff = "Staff_viola" \with { instrumentName = "Viola" }
\violaMusic
\new Staff = "Staff_cello" \with { instrumentName = "Cello" }
\celloMusic
\new Staff = "Staff_bass" \with { instrumentName = "Double Bass" }
\bassMusic
>>
>>
\layout { }
}
|
Putting lyrics inside the staff
Lyrics can be moved vertically to place them inside the staff. The
lyrics are moved with \override LyricText.extra-offset = #'(0 .
dy)
and there are similar commands to move the extenders and hyphens.
The offset needed is established with trial and error.
| <<
\new Staff <<
\new Voice = "voc" \relative c' { \stemDown a bes c8 b c4 }
>>
\new Lyrics \with {
\override LyricText.extra-offset = #'(0 . 8.6)
\override LyricExtender.extra-offset = #'(0 . 8.6)
\override LyricHyphen.extra-offset = #'(0 . 8.6)
} \lyricsto "voc" { La la -- la __ _ la }
>>
|
Quoting another voice with transposition
Quotations take into account the transposition of both source and
target. In this example, all instruments play sounding middle C; the
target is an instrument in F. The target part may be transposed using
\transpose
. In this case, all the pitches (including the
quoted ones) are transposed.
| \addQuote clarinet {
\transposition bes
\repeat unfold 8 { d'16 d' d'8 }
}
\addQuote sax {
\transposition es'
\repeat unfold 16 { a8 }
}
quoteTest = {
% french horn
\transposition f
g'4
<< \quoteDuring "clarinet" { \skip 4 } s4^"clar." >>
<< \quoteDuring "sax" { \skip 4 } s4^"sax." >>
g'4
}
{
\new Staff \with {
instrumentName = \markup { \column { Horn "in F" } }
}
\quoteTest
\transpose c' d' << \quoteTest s4_"up a tone" >>
}
|
Quoting another voice
The quotedEventTypes
property determines the music event types
which should be quoted. The default value is (note-event
rest-event tie-event beam-event tuplet-span-event)
, which means that
only the notes, rests, ties, beams and tuplets of the quoted voice will
appear in the \quoteDuring
expression. In the following
example, a 16th rest is not quoted since rest-event
is not in
quotedEventTypes
.
For a list of event types, consult the “Music classes” section of
the Internals Reference.
| 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 \with { instrumentName = "quoteMe" }
\quoteMe
\new Staff \with { instrumentName = "orig" }
\original
\new Staff \with {
instrumentName = "orig+quote"
quotedEventTypes = #'(note-event articulation-event)
}
\relative c''
<<
\original
\new Voice {
s4
\set fontSize = #-4
\override Stem.length-fraction = #(magstep -4)
\quoteDuring "quoteMe" { \skip 2. }
}
>>
>>
|
Removing brace on first line of piano score
This snippet removes the first brace from a PianoStaff
or a
GrandStaff
. It may be useful when cutting and pasting the
engraved image into existing music.
It uses \alterBroken
.
| someMusic = {
\once \override Staff.Clef.stencil = ##f
\once \override Staff.TimeSignature.stencil = ##f
\repeat unfold 3 c1 \break
\repeat unfold 5 c1 \break
\repeat unfold 5 c1
}
\score {
\new PianoStaff
<<
\new Staff = "right" \relative c'' \someMusic
\new Staff = "left" \relative c' { \clef F \someMusic }
>>
\layout {
indent=75
\context {
\PianoStaff
\alterBroken transparent #'(#t) SystemStartBrace
}
}
}
|
Removing the first empty line
The first empty staff can also be removed from the score by setting the
VerticalAxisGroup
property remove-first
. This can be done
globally inside the \layout
block, or locally inside the
specific staff that should be removed. In the latter case, you have to
specify the context (Staff
applies only to the current staff) in
front of the property.
The lower staff of the second staff group is not removed, because the
setting applies only to the specific staff inside of which it is
written.
| \layout {
\context {
\Staff \RemoveEmptyStaves
% 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
}
>>
|
Setting system separators
System separators can be inserted between systems. Any markup can be
used, but \slashSeparator
has been provided as a sensible
default.
| \paper {
system-separator-markup = \slashSeparator
line-width = 120
}
notes = \relative c' {
c1 | c \break
c1 | c \break
c1 | c
}
\book {
\score {
\new GrandStaff <<
\new Staff \notes
\new Staff \notes
>>
}
}
|
Tick bar lines
’Tick’ bar lines are often used in music where the bar line is used
only for coordination and is not meant to imply any rhythmic stress.
| \relative c' {
\set Score.defaultBarType = #"'"
c4 d e f
g4 f e d
c4 d e f
g4 f e d
\bar "|."
}
|
Time signature in parentheses - method 3
Another way to put the time signature in parenthesis
| \relative c'' {
\override Staff.TimeSignature.stencil = #(lambda (grob)
(parenthesize-stencil (ly:time-signature::print grob) 0.1 0.4 0.4 0.1 ))
\time 2/4
a4 b8 c
}
|
Time signature in parentheses
The time signature can be enclosed within parentheses.
| \relative c'' {
\override Staff.TimeSignature.stencil = #(lambda (grob)
(bracketify-stencil (ly:time-signature::print grob) Y 0.1 0.2 0.1))
\time 2/4
a4 b8 c
}
|
Tweaking clef properties
Changing the Clef glyph, its position, or the ottavation does not
change the position of subsequent notes on the staff. To get key
signatures on their correct staff lines middleCClefPosition
must
also be specified, with positive or negative values moving middle
C
up or down respectively, relative to the staff’s center line.
For example, \clef "treble_8"
is equivalent to setting the
clefGlyph
, clefPosition
(the vertical position of the
clef itself on the staff), middleCPosition
and
clefTransposition
. Note that when any of these properties
(except middleCPosition
) are changed a new clef symbol is
printed.
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
\key f \major
c'1
% The standard bass clef
\set Staff.clefGlyph = #"clefs.F"
\set Staff.clefPosition = #2
\set Staff.middleCPosition = #6
\set Staff.middleCClefPosition = #6
\key g \major
c'1
% The baritone clef
\set Staff.clefGlyph = #"clefs.C"
\set Staff.clefPosition = #4
\set Staff.middleCPosition = #4
\set Staff.middleCClefPosition = #4
\key f \major
c'1
% The standard choral tenor clef
\set Staff.clefGlyph = #"clefs.G"
\set Staff.clefPosition = #-2
\set Staff.clefTransposition = #-7
\set Staff.middleCPosition = #1
\set Staff.middleCClefPosition = #1
\key f \major
c'1
% A non-standard clef
\set Staff.clefPosition = #0
\set Staff.clefTransposition = #0
\set Staff.middleCPosition = #-4
\set Staff.middleCClefPosition = #-4
\key g \major
c'1 \break
% The following clef changes do not preserve
% the normal relationship between notes, key signatures
% 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.clefTransposition = #7
c'1
\set Staff.clefTransposition = #0
\set Staff.clefPosition = #0
c'1
% Return to the normal clef:
\set Staff.middleCPosition = #0
c'1
}
|
Two \partcombine pairs on one staff
The \partcombine
function takes two music expressions each
containing a part, and distributes them among four Voice
s named
“two” “one” “solo” and “chords” depending on when and how
the parts merged into a common voice. The voices output from
\partcombine
can have their layout properties adjusted in the
usual way. Here we define extensions of \partcombine
to make
it easier to put four voices on a staff.
soprano = { d’4 | cis’ b e’ d’8 cis’ | cis’2 b } alto = { fis4 |
e8 fis gis ais b4 b | b ais fis2 } tenor = { a8 b | cis’ dis’ e’4 b8
cis’ d’4 | gis cis’ dis’2 } bass = { fis8 gis | a4 gis g fis | eis
fis b,2 }
\new Staff <<
\key b\minor
\clef alto
\partial 4
\transpose b b’
\partcombineUp \soprano \alto
\partcombineDown \tenor \bass >>
| \layout {
\context {
\Staff
\accepts "VoiceBox"
}
\context {
\name "VoiceBox"
\type "Engraver_group"
\defaultchild "Voice"
\accepts "Voice"
}
}
partcombineUp =
#(define-music-function (partOne partTwo)
(ly:music? ly:music?)
"Take the music in @var{partOne} and @var{partTwo} and return
a @code{VoiceBox} named @q{Up} containing @code{Voice}s
that contain @var{partOne} and @var{partTwo} merged into one
voice where feasible. This variant sets the default voicing
in the output to use upward stems."
#{
\new VoiceBox = "Up" <<
\context Voice = "one" { \voiceOne }
\context Voice = "two" { \voiceThree }
\context Voice = "shared" { \voiceOne }
\context Voice = "solo" { \voiceOne }
\partcombine #partOne #partTwo
>>
#})
partcombineDown = #
(define-music-function (partOne partTwo)
(ly:music? ly:music?)
"Take the music in @var{partOne} and @var{partTwo} and return
a @code{VoiceBox} named @q{Down} containing @code{Voice}s
that contain @var{partOne} and @var{partTwo} merged into one
voice where feasible. This variant sets the default voicing
in the output to use downward stems."
#{
\new VoiceBox = "Down" <<
\set VoiceBox.soloText = #"Solo III"
\set VoiceBox.soloIIText = #"Solo IV"
\context Voice ="one" { \voiceFour }
\context Voice ="two" { \voiceTwo }
\context Voice ="shared" { \voiceFour }
\context Voice ="solo" { \voiceFour }
\partcombine #partOne #partTwo
>>
#})
soprano = { d'4 | cis' b e' d'8 cis' | cis'2 b }
alto = { fis4 | e8 fis gis ais b4 b | b ais fis2 }
tenor = { a8 b | cis' dis' e'4 b8 cis' d'4 | gis cis' dis'2 }
bass = { fis8 gis | a4 gis g fis | eis fis b,2 }
\new Staff <<
\key b\minor
\clef alto
\partial 4
\transpose b b'
\partcombineUp \soprano \alto
\partcombineDown \tenor \bass
>>
|
Use square bracket at the start of a staff group
The system start delimiter SystemStartSquare
can be used by
setting it explicitly in a StaffGroup
or ChoirStaff
context.
| \score {
\new StaffGroup { <<
\set StaffGroup.systemStartDelimiter = #'SystemStartSquare
\new Staff { c'4 d' e' f' }
\new Staff { c'4 d' e' f' }
>> }
}
|
Using autochange with more than one voice
Using autochange
with more than one voice.
| \score
{
\new PianoStaff
<<
\new Staff = "up" {
<<
\set Timing.beamExceptions = #'()
\set Timing.beatStructure = #'(4)
\new Voice {
\voiceOne
\autochange
\relative c' {
g8 a b c d e f g
g,8 a b c d e f g
}
}
\new Voice {
\voiceTwo
\autochange
\relative c' {
g8 a b c d e f g
g,,8 a b c d e f g
}
}
>>
}
\new Staff = "down" {
\clef bass
}
>>
}
|
Using marklines in a Frenched score
Using MarkLine
contexts (such as in
LSR1010) in a
Frenched score can be problematic if all the staves between two
MarkLine
s are removed in one system. The
Keep_alive_together_engraver
can be used within each
StaffGroup
to keep the MarkLine
alive only as long
as the other staves in the group stay alive.
| bars = {
\tempo "Allegro" 4=120
s1*2
\repeat unfold 5 { \mark \default s1*2 }
\bar "||"
\tempo "Adagio" 4=40
s1*2
\repeat unfold 8 { \mark \default s1*2 }
\bar "|."
}
winds = \repeat unfold 120 { c''4 }
trumpet = { \repeat unfold 8 g'2 R1*16 \repeat unfold 4 g'2 R1*8 }
trombone = { \repeat unfold 4 c'1 R1*8 d'1 R1*17 }
strings = \repeat unfold 240 { c''8 }
#(set-global-staff-size 16)
\paper {
systems-per-page = 5
ragged-last-bottom = ##f
}
\layout {
indent = 15\mm
short-indent = 5\mm
\context {
\name MarkLine
\type Engraver_group
\consists Output_property_engraver
\consists Axis_group_engraver
\consists Mark_engraver
\consists Metronome_mark_engraver
\override VerticalAxisGroup.remove-empty = ##t
\override VerticalAxisGroup.remove-layer = #'any
\override VerticalAxisGroup.staff-affinity = #DOWN
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing.basic-distance = 1
keepAliveInterfaces = #'()
}
\context {
\Staff
\override VerticalAxisGroup.remove-empty = ##t
\override VerticalAxisGroup.remove-layer = ##f
}
\context {
\StaffGroup
\accepts MarkLine
\consists Keep_alive_together_engraver
}
\context {
\Score
\remove Mark_engraver
\remove Metronome_mark_engraver
}
}
\score {
<<
\new StaffGroup = "winds" \with {
instrumentName = "Winds"
shortInstrumentName = "Winds"
} <<
\new MarkLine \bars
\new Staff \winds
>>
\new StaffGroup = "brass" <<
\new MarkLine \bars
\new Staff = "trumpet" \with {
instrumentName = "Trumpet"
shortInstrumentName = "Tpt"
} \trumpet
\new Staff = "trombone" \with {
instrumentName = "Trombone"
shortInstrumentName = "Tbn"
} \trombone
>>
\new StaffGroup = "strings" \with {
instrumentName = "Strings"
shortInstrumentName = "Strings"
} <<
\new MarkLine \bars
\new Staff = "strings" { \strings }
>>
>>
}
|
Vertical aligned StaffGroups without connecting SystemStartBar
This snippet shows how to achieve vertically aligned StaffGroups with a
SystemStartBar for each StaffGroup, but without connecting them.
| % by Thomas Morley
#(set-global-staff-size 18)
\paper {
indent = 0
ragged-right = ##f
print-all-headers = ##t
}
\layout {
\context {
\Staff
\consists "Mark_engraver"
\override RehearsalMark.self-alignment-X = #LEFT
}
\context {
\StaffGroup
systemStartDelimiterHierarchy =
#'(SystemStartBrace (SystemStartBracket a b))
}
\context {
\Score
\override SystemStartBrace.style = #'bar-line
\omit SystemStartBar
\override SystemStartBrace.padding = #-0.1
\override SystemStartBrace.thickness = #1.6
\remove "Mark_engraver"
\override StaffGrouper.staffgroup-staff-spacing.basic-distance = #15
}
}
%%%% EXAMPLE
txt =
\lyricmode {
Wer4 nur den lie -- ben Gott läßt wal2 -- ten4
und4 hof -- fet auf ihn al -- le Zeit2.
}
% First StaffGroup "exercise"
eI =
\relative c' {
\mark \markup {
\bold Teacher:
This is a simple setting of the choral. Please improve it.
}
\key a \minor
\time 4/4
\voiceOne
\partial 4
e4
a b c b
a b gis2
e4\fermata g! g f
e a a gis
a2.\fermata
\bar ":|."
}
eII =
\relative c' {
\key a \minor
\time 4/4
\voiceTwo
\partial 4
c4
e e e gis
a f e2
b4 b d d
c c d d
c2.
\bar ":|."
}
eIII =
\relative c' {
\key a \minor
\time 4/4
\clef bass
\voiceOne
\partial 4
a4
c b a b
c d b2
gis4 g g b
c a f e
e2.
}
eIV =
\relative c' {
\key a \minor
\time 4/4
\clef bass
\voiceTwo
\partial 4
a,4
a' gis a e
a, d e2
e,4\fermata e' b g
c f d e
a,2.\fermata
\bar ":|."
}
exercise =
\new StaffGroup = "exercise"
<<
\new Staff
<<
\new Voice \eI
\new Voice \eII
>>
\new Lyrics \txt
\new Staff
<<
\new Voice \eIII
\new Voice \eIV
>>
>>
% Second StaffGRoup "simple Bach"
sbI =
\relative c' {
\mark \markup { \bold" Pupil:" Here's my version! }
\key a \minor
\time 4/4
\voiceOne
\partial 4
e4
a b c b
a b gis2
e4\fermata g! g f
e a a gis
a2.\fermata
\bar ":|."
}
sbII =
\relative c' {
\key a \minor
\time 4/4
\voiceTwo
\partial 4
c8 d
e4 e e8 f g4
f f e2
b4 b8 c d4 d
e8 d c4 b8 c d4
c2.
\bar ":|."
}
sbIII =
\relative c' {
\key a \minor
\time 4/4
\clef bass
\voiceOne
\partial 4
a8 b
c4 b a b8 c
d4 d8 c b2
gis4 g g8 a b4
b a8 g f4 e
e2.
}
sbIV =
\relative c' {
\key a \minor
\time 4/4
\clef bass
\voiceTwo
\partial 4
a,4
a' gis a e
f8 e d4 e2
e,4\fermata e' b a8 g
c4 f8 e d4 e
a,2.\fermata
\bar ":|."
}
simpleBach =
\new StaffGroup = "simple Bach"
<<
\new Staff
<<
\new Voice \sbI
\new Voice \sbII
>>
\new Lyrics \txt
\new Staff
<<
\new Voice \sbIII
\new Voice \sbIV
>>
>>
% Third StaffGroup "chromatic Bach"
cbI =
\relative c' {
\mark \markup {
\bold "Teacher:"
\column {
"Well, you simply copied and transposed a version of J.S.Bach."
"Do you know this one?"
}
}
\key a \minor
\time 4/4
\voiceOne
\partial 4
e4
a b c b
a b gis4. fis8
e4\fermata g! g f
e a a8 b gis4
a2.\fermata
\bar ":|."
}
cbII =
\relative c' {
\key a \minor
\time 4/4
\voiceTwo
\partial 4
c8 d
e4 e e8 fis gis4
a8 g! f!4 e2
b4 e e d
d8[ cis] d dis e fis e4
e2.
\bar ":|."
}
cbIII =
\relative c' {
\key a \minor
\time 4/4
\clef bass
\voiceOne
\partial 4
a8 b
c[ b] a gis8 a4 d,
e8[ e'] d c b4. a8
gis4 b c d8 c
b[ a] a b c b b c16 d
c2.
}
cbIV =
\relative c' {
\key a \minor
\time 4/4
\clef bass
\voiceTwo
\partial 4
a4
c, e a, b
c d e2
e4\fermata e a b8 c
gis[ g] fis f e dis e4
a,2.\fermata
\bar ":|."
}
chromaticBach =
\new StaffGroup = "chromatic Bach"
<<
\new Staff
<<
\new Voice \cbI
\new Voice \cbII
>>
\new Lyrics \txt
\new Staff
<<
\new Voice \cbIII
\new Voice \cbIV
>>
>>
% Score
\score {
<<
\exercise
\simpleBach
\chromaticBach
>>
\header {
title = \markup
\column {
\combine \null \vspace #1
"Exercise: Improve the given choral"
" "
}
}
\layout {
\context {
\Lyrics
\override LyricText.X-offset = #-1
}
}
}
|
Volta below chords
By adding the Volta_engraver
to the relevant staff, volte can be
put under chords.
| \score {
<<
\chords {
c1
c1
}
\new Staff \with {
\consists "Volta_engraver"
}
{
\repeat volta 2 { c'1 }
\alternative { c' }
}
>>
\layout {
\context {
\Score
\remove "Volta_engraver"
}
}
}
|
Volta multi staff
By adding the Volta_engraver
to the relevant staff, volte can be
put over staves other than the topmost one in a score.
| voltaMusic = \relative c'' {
\repeat volta 2 {
c1
}
\alternative {
d1
e1
}
}
<<
\new StaffGroup <<
\new Staff \voltaMusic
\new Staff \voltaMusic
>>
\new StaffGroup <<
\new Staff \with { \consists "Volta_engraver" }
\voltaMusic
\new Staff \voltaMusic
>>
>>
|
Editorial annotations
Editorial annotations
Adding fingerings to a score
Fingering instructions can be entered using a simple syntax.
| \relative c'' {
c4-1 d-2 f-4 e-3
}
|
Adding links to objects
To add a link to a grob-stencil you could use add-link
as
defined here. Works with \override
and \tweak
.
Drawback: point-and-click
will be disturbed for the linked grobs.
Limitation: Works for PDF only.
The linked objects are colored with a separate command.
| #(define (add-link url-strg)
(lambda (grob)
(let* ((stil (ly:grob-property grob 'stencil)))
(if (ly:stencil? stil)
(begin
(let* (
(x-ext (ly:stencil-extent stil X))
(y-ext (ly:stencil-extent stil Y))
(url-expr (list 'url-link url-strg `(quote ,x-ext) `(quote ,y-ext)))
(new-stil (ly:stencil-add
(ly:make-stencil url-expr x-ext y-ext) stil)))
(ly:grob-set-property! grob 'stencil new-stil)))
#f))))
%%%% test
urlI =
"http://lilypond.org/doc/v2.14/Documentation/notation/writing-pitches"
urlII =
"http://lilypond.org/doc/v2.14/Documentation/notation/rhythms"
urlIII =
"http://lilypond.org/doc/v2.14/Documentation/notation/note-heads"
urlIV =
"http://lilypond.org/doc/v2.14/Documentation/notation/beams"
urlV =
"http://lilypond.org/doc/v2.14/Documentation/notation/note-head-styles"
\relative c' {
\key cis \minor
\once \override Staff.Clef.color = #green
\once \override Staff.Clef.after-line-breaking =
#(add-link urlI)
\once \override Staff.TimeSignature.color = #green
\once \override Staff.TimeSignature.after-line-breaking =
#(add-link urlII)
\once \override NoteHead.color = #green
\once \override NoteHead.after-line-breaking =
#(add-link urlIII)
cis'1
\once \override Beam.color = #green
\once \override Beam.after-line-breaking =
#(add-link urlIV)
cis8 dis e fis gis2
<gis,
% With 2.17.9 you could use the command below to address the Accidental.
% \tweak Accidental.before-line-breaking #(add-link url)
\tweak color #green
\tweak after-line-breaking #(add-link urlV)
\tweak style #'harmonic
bis
dis
fis
>1
<cis, cis' e>
}
|
Adding markups in a tablature
By default markups does not show in a tablature. To make them appear,
simply use the command \revert TabStaff.TextScript.stencil
| %% http://lsr.di.unimi.it/LSR/Item?id=919
% by P.P.Schneider on June 2014
high = { r4 r8 <g c'> q r8 r4 }
low = { c4 r4 c8 r8 g,8 b, }
pulse = { s8^"1" s^"&" s^"2" s^"&" s^"3" s^"&" s^"4" s^"&" }
\score {
\new TabStaff {
\repeat unfold 2 << \high \\ \low \\ \pulse >>
}
\layout {
\context {
\TabStaff
\clef moderntab
\revert TextScript.stencil
\override TextScript.font-series = #'bold
\override TextScript.font-size = #-2
\override TextScript.color = #red
}
\context {
\Score
proportionalNotationDuration = #(ly:make-moment 1/8)
}
}
}
|
Allowing fingerings to be printed inside the staff
By default, vertically oriented fingerings are positioned outside the
staff. However, this behavior can be canceled. Note: you must use a
chord construct <>, even if it is only a single note.
| \relative c' {
<c-1 e-2 g-3 b-5>2
\override Fingering.staff-padding = #'()
<c-1 e-2 g-3 b-5>4 <g'-0>
}
|
Alternative bar numbering
Two alternative methods for bar numbering can be set, especially for
when using repeated music.
| \relative c'{
\set Score.alternativeNumberingStyle = #'numbers
\repeat volta 3 { c4 d e f | }
\alternative {
{ c4 d e f | c2 d \break }
{ f4 g a b | f4 g a b | f2 a | \break }
{ c4 d e f | c2 d }
}
c1 \break
\set Score.alternativeNumberingStyle = #'numbers-with-letters
\repeat volta 3 { c,4 d e f | }
\alternative {
{ c4 d e f | c2 d \break }
{ f4 g a b | f4 g a b | f2 a | \break }
{ c4 d e f | c2 d }
}
c1
}
|
Analysis brackets above the staff
Simple horizontal analysis brackets are added below the staff by
default. The following example shows a way to place them above the
staff instead.
| \layout {
\context {
\Voice
\consists "Horizontal_bracket_engraver"
}
}
\relative c'' {
\once \override HorizontalBracket.direction = #UP
c2\startGroup
d2\stopGroup
}
|
Analysis brackets with labels
Text may be added to analysis brackets through the text
property
of the HorizontalBracketText
grob. Adding different texts to
brackets beginning at the same time requires the \tweak
command.
Bracket text will be parenthesized after a line break.
| \layout {
\context {
\Voice
\consists "Horizontal_bracket_engraver"
\override HorizontalBracket.direction = #UP
}
}
{
\once\override HorizontalBracketText.text = "a"
c''\startGroup d''\stopGroup
\once\override HorizontalBracketText.text = "a'"
e''\startGroup d''\stopGroup
c''
-\tweak HorizontalBracketText.text \markup \bold \huge "b" \startGroup
-\tweak HorizontalBracketText.text "a" \startGroup
d''\stopGroup
e''-\tweak HorizontalBracketText.text "a'" \startGroup
d''\stopGroup\stopGroup
c''-\tweak HorizontalBracketText.text foo \startGroup d'' e'' f''
\break
g'' a'' b'' c'''\stopGroup
}
|
Applying note head styles depending on the step of the scale
The shapeNoteStyles
property can be used to define various note
head styles for each step of the scale (as set by the key signature or
the tonic
property). This property requires a set of symbols,
which can be purely arbitrary (geometrical expressions such as
triangle
, cross
, and xcircle
are allowed) or based
on old American engraving tradition (some latin note names are also
allowed).
That said, to imitate old American song books, there are several
predefined note head styles available through shortcut commands such as
\aikenHeads
or \sacredHarpHeads
.
This example shows different ways to obtain shape note heads, and
demonstrates the ability to transpose a melody without losing the
correspondence between harmonic functions and note head styles.
| fragment = {
\key c \major
c2 d
e2 f
g2 a
b2 c
}
\new Staff {
\transpose c d
\relative c' {
\set shapeNoteStyles = ##(do re mi fa
#f la ti)
\fragment
}
\break
\relative c' {
\set shapeNoteStyles = ##(cross triangle fa #f
mensural xcircle diamond)
\fragment
}
}
|
Avoiding collisions with chord fingerings
Fingerings and string numbers applied to individual notes will
automatically avoid beams and stems, but this is not true by default
for fingerings and string numbers applied to the individual notes of
chords. The following example shows how this default behavior can be
overridden.
| \relative c' {
\set fingeringOrientations = #'(up)
\set stringNumberOrientations = #'(up)
\set strokeFingerOrientations = #'(up)
% Default behavior
r8
<f c'-5>8
<f c'\5>8
<f c'-\rightHandFinger #2 >8
% No tweak needed
r8
<f c'-5>8
<f c'\5>8
% Corrected to avoid collisions
\override StrokeFinger.add-stem-support = ##t
<f c'-\rightHandFinger #2 >8
}
|
Blanking staff lines using the \whiteout command
The \whiteout
command underlays a markup with a white box.
Since staff lines are in a lower layer than most other grobs, this
white box will not overlap any other grob.
| \layout {
ragged-right = ##f
}
\relative c' {
\override TextScript.extra-offset = #'(2 . 4)
c2-\markup { \whiteout \pad-markup #0.5 "middle C" } c
}
|
Changing a single note’s size in a chord
Individual note heads in a chord can be modified with the
\tweak
command inside a chord, by altering the font-size
property.
Inside the chord (within the brackets < >
), before the note to
be altered, place the \tweak
command, followed by
#'font-size
and define the proper size like #-2
(a tiny
note head).
| \relative c' {
<\tweak font-size #+2 c e g c
\tweak font-size #-2 e>1
^\markup { A tiny e }_\markup { A big c }
}
|
Changing the appearance of a slur from solid to dotted or dashed
The appearance of slurs may be changed from solid to dotted or dashed.
| \relative c' {
c4( d e c)
\slurDotted
c4( d e c)
\slurSolid
c4( d e c)
\slurDashed
c4( d e c)
\slurSolid
c4( d e c)
}
|
Coloring notes depending on their pitch
It is possible to color note heads depending on their pitch and/or
their names: the function used in this example even makes it possible
to distinguish enharmonics.
| %Association list of pitches to colors.
#(define color-mapping
(list
(cons (ly:make-pitch 0 0 NATURAL) (x11-color 'red))
(cons (ly:make-pitch 0 0 SHARP) (x11-color 'green))
(cons (ly:make-pitch 0 1 FLAT) (x11-color 'green))
(cons (ly:make-pitch 0 2 NATURAL) (x11-color 'red))
(cons (ly:make-pitch 0 2 SHARP) (x11-color 'green))
(cons (ly:make-pitch 0 3 FLAT) (x11-color 'red))
(cons (ly:make-pitch 0 3 NATURAL) (x11-color 'green))
(cons (ly:make-pitch 0 4 SHARP) (x11-color 'red))
(cons (ly:make-pitch 0 5 NATURAL) (x11-color 'green))
(cons (ly:make-pitch 0 5 FLAT) (x11-color 'red))
(cons (ly:make-pitch 0 6 SHARP) (x11-color 'red))
(cons (ly:make-pitch 0 1 NATURAL) (x11-color 'blue))
(cons (ly:make-pitch 0 3 SHARP) (x11-color 'blue))
(cons (ly:make-pitch 0 4 FLAT) (x11-color 'blue))
(cons (ly:make-pitch 0 5 SHARP) (x11-color 'blue))
(cons (ly:make-pitch 0 6 FLAT) (x11-color 'blue))))
%Compare pitch and alteration (not octave).
#(define (pitch-equals? p1 p2)
(and
(= (ly:pitch-alteration p1) (ly:pitch-alteration p2))
(= (ly:pitch-notename p1) (ly:pitch-notename p2))))
#(define (pitch-to-color pitch)
(let ((color (assoc pitch color-mapping pitch-equals?)))
(if color
(cdr color))))
#(define (color-notehead grob)
(pitch-to-color
(ly:event-property (event-cause grob) 'pitch)))
\score {
\new Staff \relative c' {
\override NoteHead.color = #color-notehead
c8 b d dis ees f g aes
}
}
|
Controlling the placement of chord fingerings
The placement of fingering numbers can be controlled precisely. For
fingering orientation to apply, you must use a chord construct <> even
if it is a single note.
| \relative c' {
\set fingeringOrientations = #'(left)
<c-1 e-3 a-5>4
\set fingeringOrientations = #'(down)
<c-1 e-3 a-5>4
\set fingeringOrientations = #'(down right up)
<c-1 e-3 a-5>4
\set fingeringOrientations = #'(up)
<c-1 e-3 a-5>4
\set fingeringOrientations = #'(left)
<c-1>2
\set fingeringOrientations = #'(down)
<e-3>2
}
|
Creating a delayed turn
Creating a delayed turn, where the lower note of the turn uses the
accidental, requires several overrides. The
outside-staff-priority
property must be set to #f
, as
otherwise this would take precedence over the avoid-slur
property
. Changing the fractions 2/3
and 1/3
adjusts
the horizontal position.
| \relative c'' {
c2*2/3 ( s2*1/3\turn d4) r
<<
{ c4.( d8) }
{ s4 s\turn }
>>
\transpose c d \relative c'' <<
{ c4.( d8) }
{
s4
\once \set suggestAccidentals = ##t
\once \override AccidentalSuggestion.outside-staff-priority = ##f
\once \override AccidentalSuggestion.avoid-slur = #'inside
\once \override AccidentalSuggestion.font-size = -3
\once \override AccidentalSuggestion.script-priority = -1
\single \hideNotes
b8-\turn \noBeam
s8
}
>>
}
|
Creating blank staves
To create blank staves, generate empty measures then remove the
Bar_number_engraver
from the Score
context, and the
Time_signature_engraver
, Clef_engraver
and
Bar_engraver
from the Staff
context.
| #(set-global-staff-size 20)
\score {
{
\repeat unfold 12 { s1 \break }
}
\layout {
indent = 0\in
\context {
\Staff
\remove "Time_signature_engraver"
\remove "Clef_engraver"
\remove "Bar_engraver"
}
\context {
\Score
\remove "Bar_number_engraver"
}
}
}
% uncomment these lines for "letter" size
%{
\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
}
%}
% uncomment these lines for "A4" size
%{
\paper {
#(set-paper-size "a4")
ragged-last-bottom = ##f
line-width = 180
left-margin = 15
bottom-margin = 10
top-margin = 10
}
%}
|
Creating double-digit fingerings
Creating fingerings larger than 5 is possible.
| \relative c' {
c1-10
c1-50
c1-36
c1-29
}
|
Default direction of stems on the center line of the staff
The default direction of stems on the center line of the staff is set
by the Stem
property neutral-direction
.
| \relative c'' {
a4 b c b
\override Stem.neutral-direction = #up
a4 b c b
\override Stem.neutral-direction = #down
a4 b c b
}
|
Drawing boxes around grobs
The print-function
can be overridden to draw a box around an
arbitrary grob.
| \relative c'' {
\override TextScript.stencil =
#(make-stencil-boxer 0.1 0.3 ly:text-interface::print)
c'4^"foo"
\override Stem.stencil =
#(make-stencil-boxer 0.05 0.25 ly:stem::print)
\override Score.RehearsalMark.stencil =
#(make-stencil-boxer 0.15 0.3 ly:text-interface::print)
b8
\revert Stem.stencil
\revert Flag.stencil
c4. c4
\mark "F"
c1
}
|
Drawing circles around note heads
Here is how to circle a note.
| circle =
\once \override NoteHead.stencil = #(lambda (grob)
(let* ((note (ly:note-head::print grob))
(combo-stencil (ly:stencil-add
note
(circle-stencil note 0.1 0.8))))
(ly:make-stencil (ly:stencil-expr combo-stencil)
(ly:stencil-extent note X)
(ly:stencil-extent note Y))))
{ \circle c'' }
|
Drawing circles around various objects
The \circle
markup command draws circles around various
objects, for example fingering indications. For other objects,
specific tweaks may be required: this example demonstrates two
strategies for rehearsal marks and measure numbers.
| \relative c' {
c1
\set Score.markFormatter =
#(lambda (mark context)
(make-circle-markup (format-mark-numbers mark context)))
\mark \default
c2 d^\markup {
\override #'(thickness . 3) {
\circle \finger 2
}
}
\override Score.BarNumber.break-visibility = #all-visible
\override Score.BarNumber.stencil =
#(make-stencil-circler 0.1 0.25 ly:text-interface::print)
}
|
Embedding native PostScript in a \markup block
PostScript code can be directly inserted inside a \markup
block.
| % PostScript is a registered trademark of Adobe Systems Inc.
\relative c'' {
a4-\markup { \postscript "3 4 moveto 5 3 rlineto stroke" }
-\markup { \postscript "[ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke " }
b4-\markup { \postscript "3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke" }
s2
a'1
}
|
Grid lines: changing their appearance
The appearance of grid lines can be changed by overriding some of their
properties.
| \score {
\new ChoirStaff <<
\new Staff {
\relative c'' {
\stemUp
c'4. d8 e8 f g4
}
}
\new Staff {
\relative c {
% this moves them up one staff space from the default position
\override Score.GridLine.extra-offset = #'(0.0 . 1.0)
\stemDown
\clef bass
\once \override Score.GridLine.thickness = #5.0
c4
\once \override Score.GridLine.thickness = #1.0
g'4
\once \override Score.GridLine.thickness = #3.0
f4
\once \override Score.GridLine.thickness = #5.0
e4
}
}
>>
\layout {
\context {
\Staff
% set up grids
\consists "Grid_point_engraver"
% set the grid interval to one quarter note
gridInterval = #(ly:make-moment 1/4)
}
\context {
\Score
\consists "Grid_line_span_engraver"
% this moves them to the right half a staff space
\override NoteColumn.X-offset = #-0.5
}
}
}
|
Grid lines: emphasizing rhythms and notes synchronization
Regular vertical lines can be drawn between staves to show note
synchronization; however, in case of monophonic music, you may want to
make the second stave invisible, and make the lines shorter like in
this snippet.
| \score {
\new ChoirStaff {
\relative c'' <<
\new Staff {
\time 12/8
\stemUp
c4. d8 e8 f g4 f8 e8. d16 c8
}
\new Staff {
% hides staff and notes so that only the grid lines are visible
\hideNotes
\hide Staff.BarLine
\override Staff.StaffSymbol.line-count = #0
\hide Staff.TimeSignature
\hide Staff.Clef
% dummy notes to force regular note spacing
\once \override Score.GridLine.thickness = #4.0
c8 c c
\once \override Score.GridLine.thickness = #3.0
c8 c c
\once \override Score.GridLine.thickness = #4.0
c8 c c
\once \override Score.GridLine.thickness = #3.0
c8 c c
}
>>
}
\layout {
\context {
\Score
\consists "Grid_line_span_engraver"
% center grid lines horizontally below note heads
\override NoteColumn.X-offset = #-0.5
}
\context {
\Staff
\consists "Grid_point_engraver"
gridInterval = #(ly:make-moment 1/8)
% set line length and positioning:
% two staff spaces above center line on hidden staff
% to four spaces below center line on visible staff
\override GridPoint.Y-extent = #'(2 . -4)
}
ragged-right = ##t
}
}
|
Hammer on and pull off using chords
When using hammer-on or pull-off with chorded notes, only a single arc
is drawn. However “double arcs” are possible by setting the
doubleSlurs
property to #t
.
| \new TabStaff {
\relative c' {
% chord hammer-on and pull-off
\set doubleSlurs = ##t
<g' b>8( <a c> <g b>)
}
}
|
Hammer on and pull off using voices
The arc of hammer-on and pull-off is upwards in voices one and three
and downwards in voices two and four:
| \new TabStaff {
\relative c' {
<< { \voiceOne g2( a) }
\\ { \voiceTwo a,( b) }
>> \oneVoice
}
}
|
Hammer on and pull off
Hammer-on and pull-off can be obtained using slurs.
| \new TabStaff {
\relative c' {
d4( e\2)
a( g)
}
}
|
How to print two rehearsal marks above and below the same barline (method 1)
This method prints two ’rehearsal marks’, one on top of the other. It
shifts the lower rehearsal mark below the staff and then adds padding
above it in order to place the upper rehearsal mark above the staff.
By adjusting the extra-offset and baseline-skip values you can increase
or decrease the overall space between the rehearsal mark and the staff.
Because nearly every type of glyph or string can be made to behave like
a rehearsal mark it is possible to centre those above and below a bar
line.
Adding the appropriate ’break visibility’ as shown in snippet 1 will
allow you to position two marks at the end of a line as well.
Note: Method 1 is less complex than Method 2 but does not really allow
for fine tuning of placement of one of the rehearsal marks without
affecting the other. It may also give some problems with vertical
spacing, since using extra-offset
does not change the bounding
box of the mark from its original value.
| \relative c'{
c d e f |
\once \override Score.RehearsalMark.extra-offset = #'(0 . -8.5)
\once \override Score.RehearsalMark.baseline-skip = #9
\mark \markup \center-column { \circle 1 \box A }
g f e d |
\once \override Score.RehearsalMark.extra-offset = #'(0 . -8.5)
\once \override Score.RehearsalMark.baseline-skip = #9
\mark \markup \center-column { \flat { \bold \small \italic Fine. } }
g f e d |
\once \override Score.RehearsalMark.extra-offset = #'(0 . -8.5)
\once \override Score.RehearsalMark.baseline-skip = #9
\override Score.RehearsalMark.break-visibility = #begin-of-line-invisible
\mark \markup \center-column { \fermata \box z }
}
|
How to print two rehearsal marks above and below the same barline (method 2)
This method prints two ’rehearsal marks’ - one above the stave and one
below, by creating two voices, adding the Rehearsal Mark engraver to
each voice - without this no rehearsal mark is printed - and then
placing each rehearsal mark UP and DOWN in each voice respectively.
This method (as opposed to method 1) is more complex, but allows for
more flexibility, should it be needed to tweak each rehearsal mark
independently of the other.
| \score {
\relative c'
<<
\new Staff {
<<
\new Voice \with {
\consists Mark_engraver
\consists "Staff_collecting_engraver"
}
{ c4 d e f
\mark \markup { \box A }
c4 d e f
}
\new Voice \with {
\consists Mark_engraver
\consists "Staff_collecting_engraver"
\override RehearsalMark.direction = #DOWN
}
{ s4 s s s
\mark \markup { \circle 1 }
s4 s s s
}
>>
}
>>
\layout {
\context {
\Score
\remove "Mark_engraver"
\remove "Staff_collecting_engraver"
}
}
}
|
Making some staff lines thicker than the others
For educational 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'
}
|
Marking notes of spoken parts with a cross on the stem
This example shows how to put crosses on stems. Mark the beginning of
a spoken section with the \speakOn
keyword, and end it with the
\speakOff
keyword.
| speakOn = {
\override Stem.stencil =
#(lambda (grob)
(let* ((x-parent (ly:grob-parent grob X))
(is-rest? (ly:grob? (ly:grob-object x-parent 'rest))))
(if is-rest?
empty-stencil
(ly:stencil-combine-at-edge
(ly:stem::print grob)
Y
(- (ly:grob-property grob 'direction))
(grob-interpret-markup grob
(markup #:center-align #:fontsize -4
#:musicglyph "noteheads.s2cross"))
-2.3))))
}
speakOff = {
\revert Stem.stencil
\revert Flag.stencil
}
\score {
\new Staff {
\relative c'' {
a4 b a c
\speakOn
g4 f r g
b4 r d e
\speakOff
c4 a g f
}
}
}
|
Measure counter
This snippet provides a workaround for emitting measure counters using
transparent percent repeats.
| <<
\context Voice = "foo" {
\clef bass
c4 r g r
c4 r g r
c4 r g r
c4 r g r
}
\context Voice = "foo" {
\set countPercentRepeats = ##t
\hide PercentRepeat
\override PercentRepeatCounter.staff-padding = #1
\repeat percent 4 { s1 }
}
>>
|
Numbering groups of measures
This snippet demonstrates the use of the
Measure_counter_engraver
to number groups of successive
measures. Any stretch of measures may be numbered, whether consisting
of repetitions or not.
The engraver must be added to the appropriate context. Here, a
Staff
context is used; another possibility is a Dynamics
context.
The counter is begun with \startMeasureCount
and ended with
\stopMeasureCount
. Numbering will start by default with
1
, but this behavior may be modified by overriding the
count-from
property.
When a measure extends across a line break, the number will appear
twice, the second time in parentheses.
| \layout {
\context {
\Staff
\consists #Measure_counter_engraver
}
}
\new Staff {
\startMeasureCount
\repeat unfold 7 {
c'4 d' e' f'
}
\stopMeasureCount
\bar "||"
g'4 f' e' d'
\override Staff.MeasureCounter.count-from = #2
\startMeasureCount
\repeat unfold 5 {
g'4 f' e' d'
}
g'4 f'
\bar ""
\break
e'4 d'
\repeat unfold 7 {
g'4 f' e' d'
}
\stopMeasureCount
}
|
Positioning fingering indications precisely
Generally the options available for positioning the fingering of chords
work well by default, but if one of the indications needs to positioned
more precisely the following tweak may be used. This is particularly
useful for correcting the positioning when intervals of a second are
involved.
| \relative c' {
\set fingeringOrientations = #'(left)
<c-1 d-2 a'-5>4
<c-1 d-\tweak extra-offset #'(0 . 0.2)-2 a'-5>4
\set fingeringOrientations = #'(down)
<c-1 d-2 a'-5>4
<c-\tweak extra-offset #'(0 . -1.1)-1
d-\tweak extra-offset #'(-1.2 . -1.8)-2 a'-5>4
\set fingeringOrientations = #'(down right up)
<c-1 d-\tweak extra-offset #'(-0.3 . 0)-2 a'-5>4
<c-1 d-\tweak extra-offset #'(-1 . 1.2)-2 a'-5>4
\set fingeringOrientations = #'(up)
<c-1 d-\tweak extra-offset #'(0 . 1.1)-2
a'-\tweak extra-offset #'(0 . 1)-5>4
<c-1 d-\tweak extra-offset #'(-1.2 . 1.5)-2
a'-\tweak extra-offset #'(0 . 1.4)-5>4
}
|
Positioning text markups inside slurs
Text markups need to have the outside-staff-priority
property
set to false in order to be printed inside slurs.
| \relative c'' {
\override TextScript.avoid-slur = #'inside
\override TextScript.outside-staff-priority = ##f
c2(^\markup { \halign #-10 \natural } d4.) c8
}
|
Printing text from right to left
It is possible to print text from right to left in a markup object, as
demonstrated here.
| {
b1^\markup {
\line { i n g i r u m i m u s n o c t e }
}
f'_\markup {
\override #'(text-direction . -1)
\line { i n g i r u m i m u s n o c t e }
}
}
|
String number extender lines
Make an extender line for string number indications, showing that a
series of notes is supposed to be played all on the same string.
| stringNumberSpanner =
#(define-music-function (StringNumber) (string?)
#{
\override TextSpanner.style = #'solid
\override TextSpanner.font-size = #-5
\override TextSpanner.bound-details.left.stencil-align-dir-y = #CENTER
\override TextSpanner.bound-details.left.text =
\markup { \circle \number $StringNumber }
#})
\relative c {
\clef "treble_8"
\stringNumberSpanner "5"
\textSpannerDown
a8\startTextSpan
b c d e f\stopTextSpan
\stringNumberSpanner "4"
g\startTextSpan a
bes4 a g2\stopTextSpan
}
|
Using PostScript to generate special note head shapes
When a note head with a special shape cannot easily be generated with
graphic markup, PostScript code can be used to generate the shape.
This example shows how a parallelogram-shaped note head is generated.
| parallelogram =
#(ly:make-stencil (list 'embedded-ps
"gsave
currentpoint translate
newpath
0 0.25 moveto
1.3125 0.75 lineto
1.3125 -0.25 lineto
0 -0.75 lineto
closepath
fill
grestore" )
(cons 0 1.3125)
(cons -.75 .75))
myNoteHeads = \override NoteHead.stencil = \parallelogram
normalNoteHeads = \revert NoteHead.stencil
\relative c'' {
\myNoteHeads
g4 d'
\normalNoteHeads
<f, \tweak stencil \parallelogram b e>4 d
}
|
Using the whiteout property
Any graphical object can be printed over a white background to mask
parts of objects that lie beneath. This can be useful to improve the
appearance of collisions in complex situations when repositioning
objects is impractical. It is necessary to explicitly set the
layer
property to control which objects are masked by the white
background.
In this example the collision of the tie with the time signature is
improved by masking out the part of the tie that crosses the time
signature by setting the whiteout
property of
TimeSignature
. To do this TimeSignature
is moved to a
layer above Tie
, which is left in the default layer of 1, and
StaffSymbol
is moved to a layer above TimeSignature
so it
is not masked.
| {
\override Score.StaffSymbol.layer = #4
\override Staff.TimeSignature.layer = #3
b'2 b'~
\once \override Staff.TimeSignature.whiteout = ##t
\time 3/4
b' r4
}
|
Text
Text
Adding markups in a tablature
By default markups does not show in a tablature. To make them appear,
simply use the command \revert TabStaff.TextScript.stencil
| %% http://lsr.di.unimi.it/LSR/Item?id=919
% by P.P.Schneider on June 2014
high = { r4 r8 <g c'> q r8 r4 }
low = { c4 r4 c8 r8 g,8 b, }
pulse = { s8^"1" s^"&" s^"2" s^"&" s^"3" s^"&" s^"4" s^"&" }
\score {
\new TabStaff {
\repeat unfold 2 << \high \\ \low \\ \pulse >>
}
\layout {
\context {
\TabStaff
\clef moderntab
\revert TextScript.stencil
\override TextScript.font-series = #'bold
\override TextScript.font-size = #-2
\override TextScript.color = #red
}
\context {
\Score
proportionalNotationDuration = #(ly:make-moment 1/8)
}
}
}
|
Adding the current date to a score
With a little Scheme code, the current date can easily be added to a
score.
| % first, define a variable to hold the formatted date:
date = #(strftime "%d-%m-%Y" (localtime (current-time)))
% use it in the title block:
\header {
title = "Including the date!"
subtitle = \date
}
\score {
\relative c'' {
c4 c c c
}
}
% and use it in a \markup block:
\markup {
\date
}
|
Adjusting lyrics vertical spacing
This snippet shows how to bring the lyrics line closer to the staff.
| % Default layout:
<<
\new Staff \new Voice = melody \relative c' {
c4 d e f
g4 f e d
c1
}
\new Lyrics \lyricsto melody { aa aa aa aa aa aa aa aa aa }
\new Staff {
\new Voice = melody \relative c' {
c4 d e f
g4 f e d
c1
}
}
% Reducing the minimum space below the staff and above the lyrics:
\new Lyrics \with {
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 1))
}
\lyricsto melody { aa aa aa aa aa aa aa aa aa }
>>
|
Aligning and centering instrument names
The horizontal alignment of instrument names is tweaked by changing the
Staff.InstrumentName #'self-alignment-X
property. The
\layout
variables indent
and short-indent
define
the space in which the instrument names are aligned before the first
and the following systems, respectively.
| \paper { left-margin = 3\cm }
\score {
\new StaffGroup <<
\new Staff \with {
\override InstrumentName.self-alignment-X = #LEFT
instrumentName = \markup \left-column {
"Left aligned"
"instrument name"
}
shortInstrumentName = "Left"
}
{ c''1 \break c''1 }
\new Staff \with {
\override InstrumentName.self-alignment-X = #CENTER
instrumentName = \markup \center-column {
Centered
"instrument name"
}
shortInstrumentName = "Centered"
}
{ g'1 g'1}
\new Staff \with {
\override InstrumentName.self-alignment-X = #RIGHT
instrumentName = \markup \right-column {
"Right aligned"
"instrument name"
}
shortInstrumentName = "Right"
}
{ e'1 e'1 }
>>
\layout {
ragged-right = ##t
indent = 4\cm
short-indent = 2\cm
}
}
|
Aligning objects created with the \mark command
By default the \mark
command centers objects over a bar line.
This behavior can be modified to align at right or left.
| \relative c' {
c1 \mark "(Center)"
c1
\once \override Score.RehearsalMark.self-alignment-X = #LEFT
\mark "(Left)"
c4 c c c
c4 c c c
\once \override Score.RehearsalMark.self-alignment-X = #RIGHT
\mark "(Right)"
c1
}
|
Aligning syllables with melisma
By default, lyrics syllables that start a melisma are left aligned on
their note. The alignment can be altered using the
lyricMelismaAlignment
property.
| \score {
<<
\new Staff {
\relative c''
\new Voice = "vocal" {
c d~^\markup default d e
c d~^\markup "right aligned" d e
c d~^\markup "center aligned" d e
c d~^\markup "reset to default" d e
}
}
\new Lyrics \lyricsto "vocal" {
word word word
\set lyricMelismaAlignment = #RIGHT
word word word
\set lyricMelismaAlignment = #CENTER
word word word
\unset lyricMelismaAlignment
word word word
}
>>
}
|
Blanking staff lines using the \whiteout command
The \whiteout
command underlays a markup with a white box.
Since staff lines are in a lower layer than most other grobs, this
white box will not overlap any other grob.
| \layout {
ragged-right = ##f
}
\relative c' {
\override TextScript.extra-offset = #'(2 . 4)
c2-\markup { \whiteout \pad-markup #0.5 "middle C" } c
}
|
Center text below hairpin dynamics
This example provides a function to typeset a hairpin (de)crescendo
with some additional text below it, such as “molto” or “poco”.
The added text will change the direction according to the direction of
the hairpin. The Hairpin is aligned to DynamicText.
The example also illustrates how to modify the way an object is
normally printed, using some Scheme code.
| hairpinWithCenteredText =
#(define-music-function (text) (markup?)
#{
\once \override Voice.Hairpin.after-line-breaking =
#(lambda (grob)
(let* ((stencil (ly:hairpin::print grob))
(par-y (ly:grob-parent grob Y))
(dir (ly:grob-property par-y 'direction))
(new-stencil (ly:stencil-aligned-to
(ly:stencil-combine-at-edge
(ly:stencil-aligned-to stencil X CENTER)
Y dir
(ly:stencil-aligned-to
(grob-interpret-markup grob text) X CENTER))
X LEFT))
(staff-space (ly:output-def-lookup
(ly:grob-layout grob) 'staff-space))
(staff-line-thickness
(ly:output-def-lookup (ly:grob-layout grob) 'line-thickness))
(par-x (ly:grob-parent grob X))
(dyn-text (grob::has-interface par-x 'dynamic-text-interface))
(dyn-text-stencil-x-length
(if dyn-text
(interval-length
(ly:stencil-extent (ly:grob-property par-x 'stencil) X))
0))
(x-shift
(if dyn-text
(-
(+ staff-space dyn-text-stencil-x-length)
(* 0.5 staff-line-thickness)) 0)))
(ly:grob-set-property! grob 'Y-offset 0)
(ly:grob-set-property! grob 'stencil
(ly:stencil-translate-axis
new-stencil
x-shift X))))
#})
hairpinMolto =
\hairpinWithCenteredText \markup { \italic molto }
hairpinMore =
\hairpinWithCenteredText \markup { \larger moltissimo }
\layout { ragged-right = ##f }
\relative c' {
\hairpinMolto
c2\< c\f
\hairpinMore
c2\ppppp\< c\f
\break
\hairpinMolto
c2^\< c\f
\hairpinMore
c2\ppppp\< c\f
}
|
Changing ottava text
Internally, \ottava
sets the properties ottavation
(for
example, to 8va
or 8vb
) and middleCPosition
. To
override the text of the bracket, set ottavation
after invoking
\ottava
.
Short text is especially useful when a brief ottava is used.
| {
c'2
\ottava #1
\set Staff.ottavation = #"8"
c''2
\ottava #0
c'1
\ottava #1
\set Staff.ottavation = #"Text"
c''1
}
|
Changing the default text font family
The default font families for text can be overridden with
make-pango-font-tree
.
| \paper {
% change for other default global staff size.
myStaffSize = #20
%{
run
lilypond -dshow-available-fonts blabla
to show all fonts available in the process log.
%}
#(define fonts
(make-pango-font-tree "Times New Roman"
"Nimbus Sans,Nimbus Sans L"
"Luxi Mono"
;; "Helvetica"
;; "Courier"
(/ myStaffSize 20)))
}
\relative c'' {
c4^\markup {
roman: foo \bold bla \italic bar \italic \bold baz
}
c'4_\markup {
\override #'(font-family . sans)
{
sans: foo \bold bla \italic bar \italic \bold baz
}
}
c'2^\markup {
\override #'(font-family . typewriter)
{
mono: foo \bold bla \italic bar \italic \bold baz
}
}
}
|
Combining dynamics with markup texts
Some dynamics may involve text indications (such as “più forte” or
“piano subito”). These can be produced using a \markup
block.
| piuF = \markup { \italic più \dynamic f }
\layout { ragged-right = ##f }
\relative c'' {
c2\f c-\piuF
}
|
Combining two parts on the same staff
The part combiner tool ( \partcombine
command ) allows the
combination of several different parts on the same staff. Text
directions such as “solo” or “a2” are added by default; to remove
them, simply set the property printPartCombineTexts
to f
.
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.
| %% Combining pedal notes with clef changes
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 \with { instrumentName = "Standard polyphony" }
<< \musicUp \\ \musicDown >>
\new Staff \with {
instrumentName = "PartCombine without text"
printPartCombineTexts = ##f
}
\partcombine \musicUp \musicDown
\new Staff \with { instrumentName = "PartCombine with text" }
\partcombine \musicUp \musicDown
>>
\layout {
indent = 6.0\cm
\context {
\Score
\override SystemStartBar.collapse-height = #30
}
}
}
|
Creating "real" parenthesized dynamics
Although the easiest way to add parentheses to a dynamic mark is to use
a \markup
block, this method has a downside: the created
objects will behave like text markups, and not like dynamics.
However, it is possible to create a similar object using the equivalent
Scheme code (as described in the Notation Reference), 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
.
| paren =
#(define-event-function (dyn) (ly:event?)
(make-dynamic-script
#{ \markup \concat {
\normal-text \italic \fontsize #2 (
\pad-x #0.2 #(ly:music-property dyn 'text)
\normal-text \italic \fontsize #2 )
}
#}))
\relative c'' {
c4\paren\f c c \dynamicUp c\paren\p
}
|
Creating simultaneous rehearsal marks
Unlike text scripts, rehearsal marks cannot be stacked at a particular
point in a score: only one RehearsalMark
object is created.
Using an invisible measure and bar line, an extra rehearsal mark can be
added, giving the appearance of two marks in the same column. This
method may also prove useful for placing rehearsal marks at both the
end of one system and the start of the following system.
| {
\key a \major
\set Score.markFormatter = #format-mark-box-letters
\once \override Score.RehearsalMark.outside-staff-priority = #5000
\once \override Score.RehearsalMark.self-alignment-X = #LEFT
\once \override Score.RehearsalMark.break-align-symbols = #'(key-signature)
\mark \markup { \bold { Senza denti } }
% the hidden measure and bar line
% \cadenzaOn turns off automatic calculation of bar numbers
\cadenzaOn
\once \override Score.TimeSignature.stencil = ##f
\time 1/16
s16 \bar ""
\cadenzaOff
\time 4/4
\once \override Score.RehearsalMark.self-alignment-X = #LEFT
\mark \markup { \box \bold Intro }
d'1
\mark \default
d'1
}
|
Creating text spanners
The \startTextSpan
and \stopTextSpan
commands allow the
creation of text spanners as easily as pedal indications or
octavations. Override some properties of the TextSpanner
object
to modify its output.
| \paper { ragged-right = ##f }
\relative c'' {
\override TextSpanner.bound-details.left.text = #"bla"
\override TextSpanner.bound-details.right.text = #"blu"
a4 \startTextSpan
b4 c
a4 \stopTextSpan
\override TextSpanner.style = #'line
\once \override TextSpanner.bound-details.left.stencil-align-dir-y = #CENTER
a4 \startTextSpan
b4 c
a4 \stopTextSpan
\override TextSpanner.style = #'dashed-line
\override TextSpanner.bound-details.left.text =
\markup { \draw-line #'(0 . 1) }
\override TextSpanner.bound-details.right.text =
\markup { \draw-line #'(0 . -2) }
\once \override TextSpanner.bound-details.right.padding = #-2
a4 \startTextSpan
b4 c
a4 \stopTextSpan
\set Staff.middleCPosition = #-13
\override TextSpanner.dash-period = #10
\override TextSpanner.dash-fraction = #0.5
\override TextSpanner.thickness = #10
a4 \startTextSpan
b4 c
a4 \stopTextSpan
}
|
Demonstrating all headers
All header fields with special meanings.
| \header {
copyright = "copyright"
title = "title"
subtitle = "subtitle"
composer = "composer"
arranger = "arranger"
instrument = "instrument"
metre = "metre"
opus = "opus"
piece = "piece"
poet = "poet"
texidoc = "All header fields with special meanings."
copyright = "public domain"
enteredby = "jcn"
source = "urtext"
}
\layout {
ragged-right = ##f
}
\score {
\relative c'' { c1 | c | c | c }
}
\score {
\relative c'' { c1 | c | c | c }
\header {
title = "localtitle"
subtitle = "localsubtitle"
composer = "localcomposer"
arranger = "localarranger"
instrument = "localinstrument"
metre = "localmetre"
opus = "localopus"
piece = "localpiece"
poet = "localpoet"
copyright = "localcopyright"
}
}
|
Embedding native PostScript in a \markup block
PostScript code can be directly inserted inside a \markup
block.
| % PostScript is a registered trademark of Adobe Systems Inc.
\relative c'' {
a4-\markup { \postscript "3 4 moveto 5 3 rlineto stroke" }
-\markup { \postscript "[ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke " }
b4-\markup { \postscript "3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke" }
s2
a'1
}
|
Formatting lyrics syllables
Markup mode may be used to format individual syllables in lyrics.
| mel = \relative c'' { c4 c c c }
lyr = \lyricmode {
Lyrics \markup { \italic can } \markup { \with-color #red contain }
\markup { \fontsize #8 \bold Markup! }
}
<<
\new Voice = melody \mel
\new Lyrics \lyricsto melody \lyr
>>
|
How to put ties between syllables in lyrics
This can be achieved by separating those syllables by tildes.
Lyrics alignment
Horizontal alignment for lyrics can 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"
}
|
Markup lines
Text that can spread over pages is entered with the
\markuplines
command.
| %% updated/modified by P.P.Schneider on Feb. 2014
#(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
\markuplist {
\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
\concat { simple \hspace #.3 ; }
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.
}
\vspace #.3
\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
\concat { besoin \hspace #.3 ; }
ses palefreniers étaient ses
\concat { piqueurs \hspace #.3 ; }
le vicaire du village était
son grand-aumônier. Ils l'appelaient tous monseigneur, et ils
riaient quand il faisait des contes.
}
}
}
|
Multi-measure rest markup
Markups attached to a multi-measure rest will be centered above or
below it. Long markups attached to multi-measure rests do not cause
the measure to expand. To expand a multi-measure rest to fit the
markup, use an empty chord with an attached markup before the
multi-measure rest.
Text attached to a spacer rest in this way is left-aligned to the
position where the note would be placed in the measure, but if the
measure length is determined by the length of the text, the text will
appear to be centered.
| \relative c' {
\compressMMRests {
\textLengthOn
<>^\markup { [MAJOR GENERAL] }
R1*19
<>_\markup { \italic { Cue: ... it is yours } }
<>^\markup { A }
R1*30^\markup { [MABEL] }
\textLengthOff
c4^\markup { CHORUS } d f c
}
}
|
Ottava text
Internally, \ottava
sets the properties ottavation
(for
example, to 8va
or 8vb
) and middleCPosition
. To
override the text of the bracket, set ottavation
after invoking
\ottava
.
| {
\ottava #1
\set Staff.ottavation = #"8"
c''1
\ottava #0
c'1
\ottava #1
\set Staff.ottavation = #"Text"
c''1
}
|
Outputting the version number
By putting the output of
lilypond-version
into a lyric, it is possible to print the
version number of LilyPond in a score, or in a document generated
with lilypond-book
. Another possibility is to append the
version number to the doc-string, in this manner:
| \score {
\new Lyrics {
\override Score.RehearsalMark.self-alignment-X = #LEFT
\mark #(string-append "Processed with LilyPond version " (lilypond-version))
s2
}
}
|
Piano template with centered lyrics
Instead of having a full staff for the melody and lyrics, lyrics can be
centered between the staves of a piano staff.
| upper = \relative c'' {
\clef treble
\key c \major
\time 4/4
a4 b c d
}
lower = \relative c {
\clef bass
\key c \major
\time 4/4
a2 c
}
text = \lyricmode {
Aaa Bee Cee Dee
}
\score {
\new PianoStaff <<
\new Staff = upper { \new Voice = "singer" \upper }
\new Lyrics \lyricsto "singer" \text
\new Staff = lower { \lower }
>>
\layout { }
\midi { }
}
|
Printing bar numbers with changing regular intervals
The bar number interval can be changed by changing the context function
{set-bar-number-visibility}
.
| \relative c' {
\override Score.BarNumber.break-visibility = #end-of-line-invisible
\context Score \applyContext #(set-bar-number-visibility 4)
\repeat unfold 10 c'1
\context Score \applyContext #(set-bar-number-visibility 2)
\repeat unfold 10 c
}
|
Printing marks at the end of a line
Marks can be printed at the end of the current line, instead of the
beginning of the following line. In such cases, it might be preferable
to align the right end of the mark with the bar line.
| \relative c'' {
g2 c
d,2 a'
\once \override Score.RehearsalMark.break-visibility = #end-of-line-visible
\once \override Score.RehearsalMark.self-alignment-X = #RIGHT
\mark "D.C. al Fine"
\break
g2 b,
c1 \bar "||"
}
|
Printing marks on every staff
Although text marks are normally only printed above the topmost staff,
they may also be printed on every staff.
| \score {
<<
\new Staff { c''1 \mark "molto" c'' }
\new Staff { c'1 \mark "molto" c' }
>>
\layout {
\context {
\Score
\remove "Mark_engraver"
\remove "Staff_collecting_engraver"
}
\context {
\Staff
\consists "Mark_engraver"
\consists "Staff_collecting_engraver"
}
}
}
|
Printing text from right to left
It is possible to print text from right to left in a markup object, as
demonstrated here.
| {
b1^\markup {
\line { i n g i r u m i m u s n o c t e }
}
f'_\markup {
\override #'(text-direction . -1)
\line { i n g i r u m i m u s n o c t e }
}
}
|
Putting lyrics inside the staff
Lyrics can be moved vertically to place them inside the staff. The
lyrics are moved with \override LyricText.extra-offset = #'(0 .
dy)
and there are similar commands to move the extenders and hyphens.
The offset needed is established with trial and error.
| <<
\new Staff <<
\new Voice = "voc" \relative c' { \stemDown a bes c8 b c4 }
>>
\new Lyrics \with {
\override LyricText.extra-offset = #'(0 . 8.6)
\override LyricExtender.extra-offset = #'(0 . 8.6)
\override LyricHyphen.extra-offset = #'(0 . 8.6)
} \lyricsto "voc" { La la -- la __ _ la }
>>
|
Stand-alone two-column markup
Stand-alone text may be arranged in several columns using
\markup
commands:
| \markup {
\fill-line {
\hspace #1
\column {
\line { O sacrum convivium }
\line { in quo Christus sumitur, }
\line { recolitur memoria passionis ejus, }
\line { mens impletur gratia, }
\line { futurae gloriae nobis pignus datur. }
\line { Amen. }
}
\hspace #2
\column \italic {
\line { O sacred feast }
\line { in which Christ is received, }
\line { the memory of His Passion is renewed, }
\line { the mind is filled with grace, }
\line { and a pledge of future glory is given to us. }
\line { Amen. }
}
\hspace #1
}
}
|
String number extender lines
Make an extender line for string number indications, showing that a
series of notes is supposed to be played all on the same string.
| stringNumberSpanner =
#(define-music-function (StringNumber) (string?)
#{
\override TextSpanner.style = #'solid
\override TextSpanner.font-size = #-5
\override TextSpanner.bound-details.left.stencil-align-dir-y = #CENTER
\override TextSpanner.bound-details.left.text =
\markup { \circle \number $StringNumber }
#})
\relative c {
\clef "treble_8"
\stringNumberSpanner "5"
\textSpannerDown
a8\startTextSpan
b c d e f\stopTextSpan
\stringNumberSpanner "4"
g\startTextSpan a
bes4 a g2\stopTextSpan
}
|
Three-sided box
This example shows how to add a markup command to get a three sided box
around some text (or other markup).
| % New command to add a three sided box, with sides north, west and south
% Based on the box-stencil command defined in scm/stencil.scm
% Note that ";;" is used to comment a line in Scheme
#(define-public (NWS-box-stencil stencil thickness padding)
"Add a box around STENCIL, producing a new stencil."
(let* ((x-ext (interval-widen (ly:stencil-extent stencil X) padding))
(y-ext (interval-widen (ly:stencil-extent stencil Y) 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 LEFT y-rule padding))
(set! stencil (ly:stencil-combine-at-edge stencil Y UP x-rule 0.0))
(set! stencil (ly:stencil-combine-at-edge stencil Y DOWN 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?)
#:properties ((thickness 0.1) (font-size 0) (box-padding 0.2))
"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 ((pad (* (magstep font-size) box-padding))
(m (interpret-markup layout props arg)))
(NWS-box-stencil m thickness pad)))
% Test it:
\relative c' {
c1^\markup { \NWS-box ABCD }
c1^\markup { \NWS-box \note "4" #1.0 }
}
|
UTF-8
Various scripts may be used for texts (like titles and lyrics) by
entering them in UTF-8 encoding, and using a Pango based backend.
Depending on the fonts installed, this fragment will render Bulgarian
(Cyrillic), Hebrew, Japanese and Portuguese.
| % end verbatim - this comment is a hack to prevent texinfo.tex
% from choking on non-European UTF-8 subsets
%% Edit this file using a Unicode aware editor, such as GVIM, GEDIT, Emacs
%{
You may have to install additional fonts.
Red Hat Fedora
linux-libertine-fonts (Latin, Cyrillic, Hebrew)
ipa-mincho-fonts ipa-gothic-fonts (Japanese)
Debian GNU/Linux, Ubuntu
fonts-linuxlibertine (Latin, Cyrillic, Hebrew)
fonts-ipafont (Japanese)
%}
% Font settings for Cyrillic and Hebrew
% Linux Libertine fonts contain Cyrillic and Hebrew glyphs.
\paper {
#(define fonts
(set-global-fonts
#:roman "Linux Libertine O,serif"
#:sans "Linux Biolinum O,sans-serif"
#:typewriter "Linux Libertine Mono O,monospace"
))
}
% Cyrillic font
bulgarian = \lyricmode {
Жълтата дюля беше щастлива, че пухът, който цъфна, замръзна като гьон.
}
hebrew = \lyricmode {
זה כיף סתם לשמוע איך תנצח קרפד עץ טוב בגן.
}
japanese = \lyricmode {
いろはにほへど ちりぬるを
わがよたれぞ つねならむ
うゐのおくや まけふこえて
あさきゆめみじ ゑひもせず
}
% "a legal song to you"
portuguese = \lyricmode {
à vo -- cê uma can -- ção legal
}
\relative c' {
c2 d
e2 f
g2 f
e1
}
\addlyrics { \bulgarian }
\addlyrics { \hebrew }
\addlyrics { \japanese }
\addlyrics { \portuguese }
|
Vocal ensemble template with lyrics aligned below and above the staves
This template is basically the same as the simple “Vocal ensemble”
template, with the exception that here all the lyrics lines are placed
using alignAboveContext
and alignBelowContext
.
| global = {
\key c \major
\time 4/4
}
sopMusic = \relative c'' {
c4 c c8[( b)] c4
}
sopWords = \lyricmode {
hi hi hi hi
}
altoMusic = \relative c' {
e4 f d e
}
altoWords = \lyricmode {
ha ha ha ha
}
tenorMusic = \relative c' {
g4 a f g
}
tenorWords = \lyricmode {
hu hu hu hu
}
bassMusic = \relative c {
c4 c g c
}
bassWords = \lyricmode {
ho ho ho ho
}
\score {
\new ChoirStaff <<
\new Staff = "women" <<
\new Voice = "sopranos" { \voiceOne << \global \sopMusic >> }
\new Voice = "altos" { \voiceTwo << \global \altoMusic >> }
>>
\new Lyrics \with { alignAboveContext = #"women" }
\lyricsto "sopranos" \sopWords
\new Lyrics \with { alignBelowContext = #"women" }
\lyricsto "altos" \altoWords
% we could remove the line about this with the line below, since
% we want the alto lyrics to be below the alto Voice anyway.
% \new Lyrics \lyricsto "altos" \altoWords
\new Staff = "men" <<
\clef bass
\new Voice = "tenors" { \voiceOne << \global \tenorMusic >> }
\new Voice = "basses" { \voiceTwo << \global \bassMusic >> }
>>
\new Lyrics \with { alignAboveContext = #"men" }
\lyricsto "tenors" \tenorWords
\new Lyrics \with { alignBelowContext = #"men" }
\lyricsto "basses" \bassWords
% again, we could replace the line above this with the line below.
% \new Lyrics \lyricsto "basses" \bassWords
>>
}
|
Volta text markup using repeatCommands
Though volte are best specified using \repeat volta
, the
context property repeatCommands
must be used in cases where the
volta text needs more advanced formatting with \markup
.
Since repeatCommands
takes a list, the simplest method of
including markup is to use an identifier for the text and embed it in
the command list using the Scheme syntax #(list (list 'volta
textIdentifier))
. Start- and end-repeat commands can be added as
separate list elements:
| voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } }
\relative c'' {
c1
\set Score.repeatCommands = #(list (list 'volta voltaAdLib) 'start-repeat)
c4 b d e
\set Score.repeatCommands = #'((volta #f) (volta "4.") end-repeat)
f1
\set Score.repeatCommands = #'((volta #f))
}
|
Vocal music
Vocal music
Adding ambitus per voice
Ambitus can be added per voice. In this case, the ambitus must be moved
manually to prevent collisions.
| \new Staff <<
\new Voice \with {
\consists "Ambitus_engraver"
} \relative c'' {
\override Ambitus.X-offset = #2.0
\voiceOne
c4 a d e
f1
}
\new Voice \with {
\consists "Ambitus_engraver"
} \relative c' {
\voiceTwo
es4 f g as
b1
}
>>
|
Adding indicators to staves which get split after a break
This snippet defines the \splitStaffBarLine
,
convUpStaffBarLine
and convDownStaffBarLine
commands.
These add arrows at a bar line, to denote that several voices sharing a
staff will each continue on a staff of their own in the next system, or
that voices split in this way recombine.
| #(define-markup-command (arrow-at-angle layout props angle-deg length fill)
(number? number? boolean?)
(let* (
(PI-OVER-180 (/ (atan 1 1) 34))
(degrees->radians (lambda (degrees) (* degrees PI-OVER-180)))
(angle-rad (degrees->radians angle-deg))
(target-x (* length (cos angle-rad)))
(target-y (* length (sin angle-rad))))
(interpret-markup layout props
(markup
#:translate (cons (/ target-x 2) (/ target-y 2))
#:rotate angle-deg
#:translate (cons (/ length -2) 0)
#:concat (#:draw-line (cons length 0)
#:arrow-head X RIGHT fill)))))
splitStaffBarLineMarkup = \markup \with-dimensions #'(0 . 0) #'(0 . 0) {
\combine
\arrow-at-angle #45 #(sqrt 8) ##t
\arrow-at-angle #-45 #(sqrt 8) ##t
}
splitStaffBarLine = {
\once \override Staff.BarLine.stencil =
#(lambda (grob)
(ly:stencil-combine-at-edge
(ly:bar-line::print grob)
X RIGHT
(grob-interpret-markup grob splitStaffBarLineMarkup)
0))
\break
}
convDownStaffBarLine = {
\once \override Staff.BarLine.stencil =
#(lambda (grob)
(ly:stencil-combine-at-edge
(ly:bar-line::print grob)
X RIGHT
(grob-interpret-markup grob #{
\markup\with-dimensions #'(0 . 0) #'(0 . 0) {
\translate #'(0 . -.13)\arrow-at-angle #-45 #(sqrt 8) ##t
}#})
0))
\break
}
convUpStaffBarLine = {
\once \override Staff.BarLine.stencil =
#(lambda (grob)
(ly:stencil-combine-at-edge
(ly:bar-line::print grob)
X RIGHT
(grob-interpret-markup grob #{
\markup\with-dimensions #'(0 . 0) #'(0 . 0) {
\translate #'(0 . .14)\arrow-at-angle #45 #(sqrt 8) ##t
}#})
0))
\break
}
\paper {
ragged-right = ##t
short-indent = 10\mm
}
separateSopranos = {
\set Staff.instrumentName = "AI AII"
\set Staff.shortInstrumentName = "AI AII"
\splitStaffBarLine
\change Staff = "up"
}
convSopranos = {
\convDownStaffBarLine
\change Staff = "shared"
\set Staff.instrumentName = "S A"
\set Staff.shortInstrumentName = "S A"
}
sI = {
\voiceOne
\repeat unfold 4 f''2
\separateSopranos
\repeat unfold 4 g''2
\convSopranos
\repeat unfold 4 c''2
}
sII = {
s1*2
\voiceTwo
\change Staff = "up"
\repeat unfold 4 d''2
}
aI = {
\voiceTwo
\repeat unfold 4 a'2
\voiceOne
\repeat unfold 4 b'2
\convUpStaffBarLine
\voiceTwo
\repeat unfold 4 g'2
}
aII = {
s1*2
\voiceTwo
\repeat unfold 4 g'2
}
ten = {
\voiceOne
\repeat unfold 4 c'2
\repeat unfold 4 d'2
\repeat unfold 4 c'2
}
bas = {
\voiceTwo
\repeat unfold 4 f2
\repeat unfold 4 g2
\repeat unfold 4 c2
}
\score {
<<
\new ChoirStaff <<
\new Staff = up \with {
instrumentName = "SI SII"
shortInstrumentName = "SI SII"
} {
s1*4
}
\new Staff = shared \with {
instrumentName = "S A"
shortInstrumentName = "S A"
} <<
\new Voice = sopI \sI
\new Voice = sopII \sII
\new Voice = altI \aI
\new Voice = altII \aII
>>
\new Lyrics \with {
alignBelowContext = up
}
\lyricsto sopII { e f g h }
\new Lyrics \lyricsto altI { a b c d e f g h i j k l }
\new Staff = men \with {
instrumentName = "T B"
shortInstrumentName = "T B"
} <<
\clef F
\new Voice = ten \ten
\new Voice = bas \bas
>>
\new Lyrics \lyricsto bas { a b c d e f g h i j k l }
>>
>>
\layout {
\context {
\Staff \RemoveEmptyStaves
\override VerticalAxisGroup.remove-first = ##t
}
}
}
|
Adding orchestral cues to a vocal score
This shows one approach to simplify adding many orchestral cues to the
piano reduction in a vocal score. The music function \cueWhile
takes four arguments: the music from which the cue is to be taken, as
defined by \addQuote
, the name to be inserted before the cue
notes, then either #UP
or #DOWN
to specify either
\voiceOne
with the name above the staff or \voiceTwo
with the name below the staff, and finally the piano music in parallel
with which the cue notes are to appear. The name of the cued
instrument is positioned to the left of the cued notes. Many passages
can be cued, but they cannot overlap each other in time.
| cueWhile =
#(define-music-function
(instrument name dir music)
(string? string? ly:dir? ly:music?)
#{
\cueDuring $instrument #dir {
\once \override TextScript.self-alignment-X = #RIGHT
\once \override TextScript.direction = $dir
<>-\markup { \tiny #name }
$music
}
#})
flute = \relative c'' {
\transposition c'
s4 s4 e g
}
\addQuote "flute" { \flute }
clarinet = \relative c' {
\transposition bes
fis4 d d c
}
\addQuote "clarinet" { \clarinet }
singer = \relative c'' { c4. g8 g4 bes4 }
words = \lyricmode { here's the lyr -- ics }
pianoRH = \relative c'' {
\transposition c'
\cueWhile "clarinet" "Clar." #DOWN { c4. g8 }
\cueWhile "flute" "Flute" #UP { g4 bes4 }
}
pianoLH = \relative c { c4 <c' e> e, <g c> }
\score {
<<
\new Staff {
\new Voice = "singer" {
\singer
}
}
\new Lyrics {
\lyricsto "singer"
\words
}
\new PianoStaff <<
\new Staff {
\new Voice {
\pianoRH
}
}
\new Staff {
\clef "bass"
\pianoLH
}
>>
>>
}
|
Adjusting lyrics vertical spacing
This snippet shows how to bring the lyrics line closer to the staff.
| % Default layout:
<<
\new Staff \new Voice = melody \relative c' {
c4 d e f
g4 f e d
c1
}
\new Lyrics \lyricsto melody { aa aa aa aa aa aa aa aa aa }
\new Staff {
\new Voice = melody \relative c' {
c4 d e f
g4 f e d
c1
}
}
% Reducing the minimum space below the staff and above the lyrics:
\new Lyrics \with {
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 1))
}
\lyricsto melody { aa aa aa aa aa aa aa aa aa }
>>
|
Aligning syllables with melisma
By default, lyrics syllables that start a melisma are left aligned on
their note. The alignment can be altered using the
lyricMelismaAlignment
property.
| \score {
<<
\new Staff {
\relative c''
\new Voice = "vocal" {
c d~^\markup default d e
c d~^\markup "right aligned" d e
c d~^\markup "center aligned" d e
c d~^\markup "reset to default" d e
}
}
\new Lyrics \lyricsto "vocal" {
word word word
\set lyricMelismaAlignment = #RIGHT
word word word
\set lyricMelismaAlignment = #CENTER
word word word
\unset lyricMelismaAlignment
word word word
}
>>
}
|
Ambitus with multiple voices
Adding the Ambitus_engraver
to the Staff
context creates
a single ambitus per staff, even in the case of staves with multiple
voices.
| \new Staff \with {
\consists "Ambitus_engraver"
}
<<
\new Voice \relative c'' {
\voiceOne
c4 a d e
f1
}
\new Voice \relative c' {
\voiceTwo
es4 f g as
b1
}
>>
|
Ambitus
Ambitus indicate pitch ranges for voices.
Accidentals only show up if they are not part of the key signature.
AmbitusNoteHead
grobs also have ledger lines.
| \layout {
\context {
\Voice
\consists "Ambitus_engraver"
}
}
<<
\new Staff {
\relative c' {
\time 2/4
c4 f'
}
}
\new Staff {
\relative c' {
\time 2/4
\key d \major
cis4 as'
}
}
>>
|
Ancient notation template – modern transcription of gregorian music
This example demonstrates how to do modern transcription of Gregorian
music. Gregorian music has no measure, no stems; it uses only half and
quarter note heads, and special marks, indicating rests of different
length.
| \include "gregorian.ly"
chant = \relative c' {
\set Score.timing = ##f
f4 a2 \divisioMinima
g4 b a2 f2 \divisioMaior
g4( f) f( g) a2 \finalis
}
verba = \lyricmode {
Lo -- rem ip -- sum do -- lor sit a -- met
}
\score {
\new Staff <<
\new Voice = "melody" \chant
\new Lyrics = "one" \lyricsto melody \verba
>>
\layout {
\context {
\Staff
\remove "Time_signature_engraver"
\remove "Bar_engraver"
\hide Stem
}
\context {
\Voice
\override Stem.length = #0
}
\context {
\Score
barAlways = ##t
}
}
}
|
Anglican psalm template
This template shows one way of setting out an Anglican psalm chant. It
also shows how the verses may be added as stand-alone text under the
music. The two verses are coded in different styles to demonstrate
more possibilities.
| SopranoMusic = \relative g' {
g1 | c2 b | a1 | \bar "||"
a1 | d2 c | c b | c1 | \bar "||"
}
AltoMusic = \relative c' {
e1 | g2 g | f1 |
f1 | f2 e | d d | e1 |
}
TenorMusic = \relative a {
c1 | c2 c | c1 |
d1 | g,2 g | g g | g1 |
}
BassMusic = \relative c {
c1 | e2 e | f1 |
d1 | b2 c | g' g | c,1 |
}
global = {
\time 2/2
}
dot = \markup {
\raise #0.7 \musicglyph "dots.dot"
}
tick = \markup {
\raise #1 \fontsize #-5 \musicglyph "scripts.rvarcomma"
}
% Use markup to center the chant on the page
\markup {
\fill-line {
\score { % centered
<<
\new ChoirStaff <<
\new Staff <<
\global
\clef "treble"
\new Voice = "Soprano" <<
\voiceOne
\SopranoMusic
>>
\new Voice = "Alto" <<
\voiceTwo
\AltoMusic
>>
>>
\new Staff <<
\clef "bass"
\global
\new Voice = "Tenor" <<
\voiceOne
\TenorMusic
>>
\new Voice = "Bass" <<
\voiceTwo
\BassMusic
>>
>>
>>
>>
\layout {
\context {
\Score
\override SpacingSpanner.base-shortest-duration = #(ly:make-moment 1/2)
}
\context {
\Staff
\remove "Time_signature_engraver"
}
}
} % End score
}
} % End markup
\markup {
\fill-line {
\column {
\left-align {
\null \null \null
\line {
\fontsize #5 O
\fontsize #3 come
let us \bold sing | unto \dot the | Lord : let
}
\line {
us heartily
\concat { re \bold joice }
in the | strength of | our
}
\line {
sal | vation.
}
\null
\line {
\hspace #2.5 8. Today if ye will hear his voice *
}
\line {
\concat { \bold hard en }
\tick not your \tick hearts : as in the pro-
}
\line {
vocation * and as in the \bold day of tempt- \tick
}
\line {
-ation \tick in the \tick wilderness.
}
}
}
}
}
|
Arranging separate lyrics on a single line
Sometimes you may want to put lyrics for different performers on a
single line: where there is rapidly alternating text, for example.
This snippet shows how this can be done with \override
VerticalAxisGroup.nonstaff-nonstaff-spacing.minimum-distance = ##f
.
| \layout {
\context {
\Lyrics
\override VerticalAxisGroup.nonstaff-nonstaff-spacing.minimum-distance = ##f
}
}
aliceSings = \markup { \smallCaps "Alice" }
eveSings = \markup { \smallCaps "Eve" }
<<
\new Staff <<
\new Voice = "alice" {
f'4^\aliceSings g' r2 |
s1 |
f'4^\aliceSings g' r2 |
s1 | \break
% ...
\voiceOne
s2 a'8^\aliceSings a' b'4 |
\oneVoice
g'1
}
\new Voice = "eve" {
s1 |
a'2^\eveSings g' |
s1 |
a'2^\eveSings g'
% ...
\voiceTwo
f'4^\eveSings a'8 g' f'4 e' |
\oneVoice
s1
}
>>
\new Lyrics \lyricsto "alice" {
may -- be
sec -- ond
% ...
Shut up, you fool!
}
\new Lyrics \lyricsto "eve" {
that the
words are
% ...
…and then I was like–
}
>>
|
Changing stanza fonts
Fonts can be changed independently for each stanza, including the font
used for printing the stanza number.
| \relative c'' {
\time 3/4
g2 e4
a2 f4
g2.
}
\addlyrics {
\set stanza = #"1. "
Hi, my name is Bert.
}
\addlyrics {
\override StanzaNumber.font-name = #"DejaVu Sans"
\set stanza = #"2. "
\override LyricText.font-family = #'typewriter
Oh, ché -- ri, je t'aime
}
|
Chant or psalms notation
This form of notation is used for Psalm chant, where verses aren’t
always the same length.
| stemOff = \hide Staff.Stem
stemOn = \undo \stemOff
\score {
\new Staff \with { \remove "Time_signature_engraver" }
{
\key g \minor
\cadenzaOn
\stemOff a'\breve bes'4 g'4
\stemOn a'2 \bar "||"
\stemOff a'\breve g'4 a'4
\stemOn f'2 \bar "||"
\stemOff a'\breve^\markup { \italic flexe }
\stemOn g'2 \bar "||"
}
}
|
Forcing hyphens to be shown
If LilyPond does not think there is space for a hyphen, it will be
omitted. The behaviour can be overridden with the
minimum-distance
property of LyricHyphen
.
| \relative c'' {
c32 c c c
c32 c c c
c32 c c c
c32 c c c
}
\addlyrics {
syl -- lab word word
\override LyricHyphen.minimum-distance = #1.0
syl -- lab word word
\override LyricHyphen.minimum-distance = #2.0
syl -- lab word word
\revert LyricHyphen.minimum-distance
syl -- lab word word
}
|
Formatting lyrics syllables
Markup mode may be used to format individual syllables in lyrics.
| mel = \relative c'' { c4 c c c }
lyr = \lyricmode {
Lyrics \markup { \italic can } \markup { \with-color #red contain }
\markup { \fontsize #8 \bold Markup! }
}
<<
\new Voice = melody \mel
\new Lyrics \lyricsto melody \lyr
>>
|
How to put ties between syllables in lyrics
This can be achieved by separating those syllables by tildes.
Hymn template
This code shows one way of setting out a hymn tune when each line
starts and ends with a partial measure. It also shows how to add the
verses as stand-alone text under the music.
| Timeline = {
\time 4/4
\tempo 4=96
\partial 2
s2 | s1 | s2 \breathe s2 | s1 | s2 \bar "||" \break
s2 | s1 | s2 \breathe s2 | s1 | s2 \bar "||"
}
SopranoMusic = \relative g' {
g4 g | g g g g | g g g g | g g g g | g2
g4 g | g g g g | g g g g | g g g g | g2
}
AltoMusic = \relative c' {
d4 d | d d d d | d d d d | d d d d | d2
d4 d | d d d d | d d d d | d d d d | d2
}
TenorMusic = \relative a {
b4 b | b b b b | b b b b | b b b b | b2
b4 b | b b b b | b b b b | b b b b | b2
}
BassMusic = \relative g {
g4 g | g g g g | g g g g | g g g g | g2
g4 g | g g g g | g g g g | g g g g | g2
}
global = {
\key g \major
}
\score { % Start score
<<
\new PianoStaff << % Start pianostaff
\new Staff << % Start Staff = RH
\global
\clef "treble"
\new Voice = "Soprano" << % Start Voice = "Soprano"
\Timeline
\voiceOne
\SopranoMusic
>> % End Voice = "Soprano"
\new Voice = "Alto" << % Start Voice = "Alto"
\Timeline
\voiceTwo
\AltoMusic
>> % End Voice = "Alto"
>> % End Staff = RH
\new Staff << % Start Staff = LH
\global
\clef "bass"
\new Voice = "Tenor" << % Start Voice = "Tenor"
\Timeline
\voiceOne
\TenorMusic
>> % End Voice = "Tenor"
\new Voice = "Bass" << % Start Voice = "Bass"
\Timeline
\voiceTwo
\BassMusic
>> % End Voice = "Bass"
>> % End Staff = LH
>> % End pianostaff
>>
} % End score
\markup {
\fill-line {
""
{
\column {
\left-align {
"This is line one of the first verse"
"This is line two of the same"
"And here's line three of the first verse"
"And the last line of the same"
}
}
}
""
}
}
\paper { % Start paper block
indent = 0 % don't indent first system
line-width = 130 % shorten line length to suit music
} % End paper block
|
Lyrics alignment
Horizontal alignment for lyrics can 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"
}
|
Marking notes of spoken parts with a cross on the stem
This example shows how to put crosses on stems. Mark the beginning of
a spoken section with the \speakOn
keyword, and end it with the
\speakOff
keyword.
| speakOn = {
\override Stem.stencil =
#(lambda (grob)
(let* ((x-parent (ly:grob-parent grob X))
(is-rest? (ly:grob? (ly:grob-object x-parent 'rest))))
(if is-rest?
empty-stencil
(ly:stencil-combine-at-edge
(ly:stem::print grob)
Y
(- (ly:grob-property grob 'direction))
(grob-interpret-markup grob
(markup #:center-align #:fontsize -4
#:musicglyph "noteheads.s2cross"))
-2.3))))
}
speakOff = {
\revert Stem.stencil
\revert Flag.stencil
}
\score {
\new Staff {
\relative c'' {
a4 b a c
\speakOn
g4 f r g
b4 r d e
\speakOff
c4 a g f
}
}
}
|
Obtaining 2.12 lyrics spacing in newer versions
The vertical spacing engine changed since version 2.14. This can cause
lyrics to be spaced differently.
It is possible to set properties for Lyric
and Staff
contexts to get the spacing engine to behave as it did in version 2.12.
| global = {
\key d \major
\time 3/4
}
sopMusic = \relative c' {
% VERSE ONE
fis4 fis fis | \break
fis4. e8 e4
}
altoMusic = \relative c' {
% VERSE ONE
d4 d d |
d4. b8 b4 |
}
tenorMusic = \relative c' {
a4 a a |
b4. g8 g4 |
}
bassMusic = \relative c {
d4 d d |
g,4. g8 g4 |
}
words = \lyricmode {
Great is Thy faith -- ful -- ness,
}
\score {
\new ChoirStaff <<
\new Lyrics = sopranos
\new Staff = women <<
\new Voice = "sopranos" {
\voiceOne
\global \sopMusic
}
\new Voice = "altos" {
\voiceTwo
\global \altoMusic
}
>>
\new Lyrics = "altos"
\new Lyrics = "tenors"
\new Staff = men <<
\clef bass
\new Voice = "tenors" {
\voiceOne
\global \tenorMusic
}
\new Voice = "basses" {
\voiceTwo \global \bassMusic
}
>>
\new Lyrics = basses
\context Lyrics = sopranos \lyricsto sopranos \words
\context Lyrics = altos \lyricsto altos \words
\context Lyrics = tenors \lyricsto tenors \words
\context Lyrics = basses \lyricsto basses \words
>>
\layout {
\context {
\Lyrics
\override VerticalAxisGroup.staff-affinity = ##f
\override VerticalAxisGroup.staff-staff-spacing =
#'((basic-distance . 0)
(minimum-distance . 2)
(padding . 2))
}
\context {
\Staff
\override VerticalAxisGroup.staff-staff-spacing =
#'((basic-distance . 0)
(minimum-distance . 2)
(padding . 2))
}
}
}
|
Orchestra choir and piano template
This template demonstrates the use of nested StaffGroup
and
GrandStaff
contexts to sub-group instruments of the same type
together, and a way to use \transpose
so that variables hold
music for transposing instruments at concert pitch.
| #(set-global-staff-size 17)
\paper {
indent = 3.0\cm % add space for instrumentName
short-indent = 1.5\cm % add less space for shortInstrumentName
}
fluteMusic = \relative c' { \key g \major g'1 b }
% Pitches as written on a manuscript for Clarinet in A
% are transposed to concert pitch.
clarinetMusic = \transpose c' a
\relative c'' { \key bes \major bes1 d }
trumpetMusic = \relative c { \key g \major g''1 b }
% Key signature is often omitted for horns
hornMusic = \transpose c' f
\relative c { d'1 fis }
percussionMusic = \relative c { \key g \major g1 b }
sopranoMusic = \relative c'' { \key g \major g'1 b }
sopranoLyrics = \lyricmode { Lyr -- ics }
altoIMusic = \relative c' { \key g \major g'1 b }
altoIIMusic = \relative c' { \key g \major g'1 b }
altoILyrics = \sopranoLyrics
altoIILyrics = \lyricmode { Ah -- ah }
tenorMusic = \relative c' { \clef "treble_8" \key g \major g1 b }
tenorLyrics = \sopranoLyrics
pianoRHMusic = \relative c { \key g \major g''1 b }
pianoLHMusic = \relative c { \clef bass \key g \major g1 b }
violinIMusic = \relative c' { \key g \major g'1 b }
violinIIMusic = \relative c' { \key g \major g'1 b }
violaMusic = \relative c { \clef alto \key g \major g'1 b }
celloMusic = \relative c { \clef bass \key g \major g1 b }
bassMusic = \relative c { \clef "bass_8" \key g \major g,1 b }
\score {
<<
\new StaffGroup = "StaffGroup_woodwinds" <<
\new Staff = "Staff_flute" \with { instrumentName = "Flute" }
\fluteMusic
\new Staff = "Staff_clarinet" \with {
instrumentName = \markup { \concat { "Clarinet in B" \flat } }
}
% Declare that written Middle C in the music
% to follow sounds a concert B flat, for
% output using sounded pitches such as MIDI.
%\transposition bes
% Print music for a B-flat clarinet
\transpose bes c' \clarinetMusic
>>
\new StaffGroup = "StaffGroup_brass" <<
\new Staff = "Staff_hornI" \with { instrumentName = "Horn in F" }
% \transposition f
\transpose f c' \hornMusic
\new Staff = "Staff_trumpet" \with { instrumentName = "Trumpet in C" }
\trumpetMusic
>>
\new RhythmicStaff = "RhythmicStaff_percussion"
\with { instrumentName = "Percussion" }
<<
\percussionMusic
>>
\new PianoStaff \with { instrumentName = "Piano" }
<<
\new Staff { \pianoRHMusic }
\new Staff { \pianoLHMusic }
>>
\new ChoirStaff = "ChoirStaff_choir" <<
\new Staff = "Staff_soprano" \with { instrumentName = "Soprano" }
\new Voice = "soprano"
\sopranoMusic
\new Lyrics \lyricsto "soprano" { \sopranoLyrics }
\new GrandStaff = "GrandStaff_altos"
\with { \accepts Lyrics } <<
\new Staff = "Staff_altoI" \with { instrumentName = "Alto I" }
\new Voice = "altoI"
\altoIMusic
\new Lyrics \lyricsto "altoI" { \altoILyrics }
\new Staff = "Staff_altoII" \with { instrumentName = "Alto II" }
\new Voice = "altoII"
\altoIIMusic
\new Lyrics \lyricsto "altoII" { \altoIILyrics }
>>
\new Staff = "Staff_tenor" \with { instrumentName = "Tenor" }
\new Voice = "tenor"
\tenorMusic
\new Lyrics \lyricsto "tenor" { \tenorLyrics }
>>
\new StaffGroup = "StaffGroup_strings" <<
\new GrandStaff = "GrandStaff_violins" <<
\new Staff = "Staff_violinI" \with { instrumentName = "Violin I" }
\violinIMusic
\new Staff = "Staff_violinII" \with { instrumentName = "Violin II" }
\violinIIMusic
>>
\new Staff = "Staff_viola" \with { instrumentName = "Viola" }
\violaMusic
\new Staff = "Staff_cello" \with { instrumentName = "Cello" }
\celloMusic
\new Staff = "Staff_bass" \with { instrumentName = "Double Bass" }
\bassMusic
>>
>>
\layout { }
}
|
Piano template with melody and lyrics
Here is a typical song format: one staff with the melody and lyrics,
with piano accompaniment underneath.
| melody = \relative c'' {
\clef treble
\key c \major
\time 4/4
a b c d
}
text = \lyricmode {
Aaa Bee Cee Dee
}
upper = \relative c'' {
\clef treble
\key c \major
\time 4/4
a4 b c d
}
lower = \relative c {
\clef bass
\key c \major
\time 4/4
a2 c
}
\score {
<<
\new Voice = "mel" { \autoBeamOff \melody }
\new Lyrics \lyricsto mel \text
\new PianoStaff <<
\new Staff = "upper" \upper
\new Staff = "lower" \lower
>>
>>
\layout {
\context { \Staff \RemoveEmptyStaves }
}
\midi { }
}
|
Putting lyrics inside the staff
Lyrics can be moved vertically to place them inside the staff. The
lyrics are moved with \override LyricText.extra-offset = #'(0 .
dy)
and there are similar commands to move the extenders and hyphens.
The offset needed is established with trial and error.
| <<
\new Staff <<
\new Voice = "voc" \relative c' { \stemDown a bes c8 b c4 }
>>
\new Lyrics \with {
\override LyricText.extra-offset = #'(0 . 8.6)
\override LyricExtender.extra-offset = #'(0 . 8.6)
\override LyricHyphen.extra-offset = #'(0 . 8.6)
} \lyricsto "voc" { La la -- la __ _ la }
>>
|
SATB Choir template - four staves
SATB choir template (four staves)
| global = {
\key c \major
\time 4/4
\dynamicUp
}
sopranonotes = \relative c'' {
c2 \p \< d c d \f
}
sopranowords = \lyricmode { do do do do }
altonotes = \relative c'' {
c2\p d c d
}
altowords = \lyricmode { re re re re }
tenornotes = {
\clef "G_8"
c2\mp d c d
}
tenorwords = \lyricmode { mi mi mi mi }
bassnotes = {
\clef bass
c2\mf d c d
}
basswords = \lyricmode { mi mi mi mi }
\score {
\new ChoirStaff <<
\new Staff <<
\new Voice = "soprano" <<
\global
\sopranonotes
>>
\new Lyrics \lyricsto "soprano" \sopranowords
>>
\new Staff <<
\new Voice = "alto" <<
\global
\altonotes
>>
\new Lyrics \lyricsto "alto" \altowords
>>
\new Staff <<
\new Voice = "tenor" <<
\global
\tenornotes
>>
\new Lyrics \lyricsto "tenor" \tenorwords
>>
\new Staff <<
\new Voice = "bass" <<
\global
\bassnotes
>>
\new Lyrics \lyricsto "bass" \basswords
>>
>>
}
|
Single staff template with notes lyrics and chords
This template allows the preparation of a song with melody, words, and
chords.
| melody = \relative c' {
\clef treble
\key c \major
\time 4/4
a4 b c d
}
text = \lyricmode {
Aaa Bee Cee Dee
}
harmonies = \chordmode {
a2 c
}
\score {
<<
\new ChordNames {
\set chordChanges = ##t
\harmonies
}
\new Voice = "one" { \autoBeamOff \melody }
\new Lyrics \lyricsto "one" \text
>>
\layout { }
\midi { }
}
|
Single staff template with notes lyrics chords and frets
Here is a simple lead sheet template with melody, lyrics, chords and
fret diagrams.
| verseI = \lyricmode {
\set stanza = #"1."
This is the first verse
}
verseII = \lyricmode {
\set stanza = #"2."
This is the second verse.
}
theChords = \chordmode {
% insert chords for chordnames and fretboards here
c2 g4 c
}
staffMelody = \relative c' {
\key c \major
\clef treble
% Type notes for melody here
c4 d8 e f4 g
\bar "|."
}
\score {
<<
\context ChordNames { \theChords }
\context FretBoards { \theChords }
\new Staff {
\context Voice = "voiceMelody" { \staffMelody }
}
\new Lyrics = "lyricsI" {
\lyricsto "voiceMelody" \verseI
}
\new Lyrics = "lyricsII" {
\lyricsto "voiceMelody" \verseII
}
>>
\layout { }
\midi { }
}
|
Single staff template with notes and lyrics
This small template demonstrates a simple melody with lyrics. Cut and
paste, add notes, then words for the lyrics. This example turns off
automatic beaming, which is common for vocal parts. To use automatic
beaming, change or comment out the relevant line.
| melody = \relative c' {
\clef treble
\key c \major
\time 4/4
a4 b c d
}
text = \lyricmode {
Aaa Bee Cee Dee
}
\score{
<<
\new Voice = "one" {
\autoBeamOff
\melody
}
\new Lyrics \lyricsto "one" \text
>>
\layout { }
\midi { }
}
|
Skips in lyric mode (2)
Although s
skips cannot be used in \lyricmode
(it is
taken to be a literal “s”, not a space), double quotes (""
)
or underscores (_
) are available.So for example:
| <<
\relative c'' { a4 b c d }
\new Lyrics \lyricmode { a4 "" _ gap }
>>
|
Skips in lyric mode
The s
syntax for skips is only available in note mode and chord
mode. In other situations, for example, when entering lyrics, using the
\skip
command is recommended.
| <<
\relative c'' { a1 | a }
\new Lyrics \lyricmode { \skip 1 bla1 }
>>
|
Using arpeggioBracket to make divisi more visible
The arpeggioBracket
can be used to indicate the division of
voices where there are no stems to provide the information. This is
often seen in choral music.
| \include "english.ly"
\score {
\relative c'' {
\key a \major
\time 2/2
<<
\new Voice = "upper"
<<
{ \voiceOne \arpeggioBracket
a2( b2
<b d>1\arpeggio)
<cs e>\arpeggio ~
<cs e>4
}
\addlyrics { \lyricmode { A -- men. } }
>>
\new Voice = "lower"
{ \voiceTwo
a1 ~
a
a ~
a4 \bar "|."
}
>>
}
\layout { ragged-right = ##t }
}
|
Using tags to produce mensural and modern music from the same source
By using tags, it’s possible to use the same music to produce both
mensural and modern music. In this snippet, a function menrest
is introduced, allowing mensural rests to be pitched as in the
original, but with modern rests in the standard staff position. Tags
are used to produce different types of bar line at the end of the
music, but tags can also be used where other differences are needed:
for example using “whole measure rests” (R1, R\breve etc.) in
modern music, but normal rests (r1, r\breve, etc.) in the mensural
version. Note that converting mensural music to its modern equivalent
is usually referred to as transcription
.
| menrest = #(define-music-function (note)
(ly:music?)
#{
\tag #'mens $(make-music 'RestEvent note)
\tag #'mod $(make-music 'RestEvent note 'pitch '())
#})
MensStyle = {
\autoBeamOff
\override NoteHead.style = #'petrucci
\override Score.BarNumber.transparent = ##t
\override Stem.neutral-direction = #up
}
finalis = {
\once \override BreathingSign.stencil = #ly:breathing-sign::finalis
\once \override BreathingSign.Y-offset = #0
\once \override BreathingSign.minimum-X-extent = #'(-1.0 . 0.0)
\once \override BreathingSign.minimum-Y-extent = #'(-2.5 . 2.5)
\breathe
}
Music = \relative c'' {
\set Score.tempoHideNote = ##t
\key f \major
\time 4/4
g1 d'2 \menrest bes4 bes2 a2 r4 g4 fis2.
\tag #'mens { \finalis }
\tag #'mod { \bar "||" }
}
MenLyr = \lyricmode { So farre, deere life, deare life }
ModLyr = \lyricmode { So far, dear life, dear life }
\score {
\keepWithTag #'mens {
<<
\new MensuralStaff
{
\new MensuralVoice = Cantus \clef "mensural-c1" \MensStyle \Music
}
\new Lyrics \lyricsto Cantus \MenLyr
>>
}
}
\score {
\keepWithTag #'mod {
\new ChoirStaff <<
\new Staff
{
\new Voice = Sop \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
\remove "Rest_engraver"
\consists "Completion_rest_engraver" }
{
\shiftDurations #1 #0 { \autoBeamOff \Music }
}
}
\new Lyrics \lyricsto Sop \ModLyr
>>
}
}
|
Vertically aligning ossias and lyrics
This snippet demonstrates the use of the context properties
alignBelowContext
and alignAboveContext
to control the
positioning of lyrics and ossias.
| \paper {
ragged-right = ##t
}
\relative c' <<
\new Staff = "1" { c4 c s2 }
\new Staff = "2" { c4 c s2 }
\new Staff = "3" { c4 c s2 }
{ \skip 2
<<
\lyrics {
\set alignBelowContext = #"1"
lyrics4 below
}
\new Staff \with {
alignAboveContext = #"3"
fontSize = #-2
\override StaffSymbol.staff-space = #(magstep -2)
\remove "Time_signature_engraver"
} {
\tuplet 6/4 {
\override TextScript.padding = #3
c8[^"ossia above" d e d e f]
}
}
>>
}
>>
|
Vertically centered common lyrics
In a vocal piece where there are several (two, four or more) lines of
lyrics and common lyrics for all voices at some point, the common
lyrics may be made to appear vertically centered, as shown in the
following example:
| dropLyrics = {
\override LyricText.extra-offset = #'(0 . -4.5)
\override LyricHyphen.extra-offset = #'(0 . -4.5)
\override LyricExtender.extra-offset = #'(0 . -4.5)
\override StanzaNumber.extra-offset = #'(0 . -4.5)
}
raiseLyrics = {
\revert LyricText.extra-offset
\revert LyricHyphen.extra-offset
\revert LyricExtender.extra-offset
\revert StanzaNumber.extra-offset
}
skipFour = \repeat unfold 4 { \skip 8 }
lyricsA = \lyricmode {
The first verse has
\dropLyrics
\set stanza = #" All:"
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) d |
c4 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
>>
}
|
Vocal ensemble template with automatic piano reduction
This template adds an automatic piano reduction to the standard SATB
vocal score demonstrated in “Vocal ensemble template”. This
demonstrates one of the strengths of LilyPond – you can use a music
definition more than once. If any changes are made to the vocal notes
(say, tenorMusic
), then the changes will also apply to the piano
reduction.
| \paper {
top-system-spacing.basic-distance = #10
score-system-spacing.basic-distance = #20
system-system-spacing.basic-distance = #20
last-bottom-spacing.basic-distance = #10
}
global = {
\key c \major
\time 4/4
}
sopMusic = \relative {
c''4 c c8[( b)] c4
}
sopWords = \lyricmode {
hi hi hi hi
}
altoMusic = \relative {
e'4 f d e
}
altoWords =\lyricmode {
ha ha ha ha
}
tenorMusic = \relative {
g4 a f g
}
tenorWords = \lyricmode {
hu hu hu hu
}
bassMusic = \relative {
c4 c g c
}
bassWords = \lyricmode {
ho ho ho ho
}
\score {
<<
\new ChoirStaff <<
\new Lyrics = "sopranos" \with {
% This is needed for lyrics above a staff
\override VerticalAxisGroup.staff-affinity = #DOWN
}
\new Staff = "women" <<
\new Voice = "sopranos" { \voiceOne << \global \sopMusic >> }
\new Voice = "altos" { \voiceTwo << \global \altoMusic >> }
>>
\new Lyrics = "altos"
\new Lyrics = "tenors" \with {
% This is needed for lyrics above a staff
\override VerticalAxisGroup.staff-affinity = #DOWN
}
\new Staff = "men" <<
\clef bass
\new Voice = "tenors" { \voiceOne << \global \tenorMusic >> }
\new Voice = "basses" { \voiceTwo << \global \bassMusic >> }
>>
\new Lyrics = "basses"
\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 >>
>>
>>
>>
}
|
Vocal ensemble template with lyrics aligned below and above the staves
This template is basically the same as the simple “Vocal ensemble”
template, with the exception that here all the lyrics lines are placed
using alignAboveContext
and alignBelowContext
.
| global = {
\key c \major
\time 4/4
}
sopMusic = \relative c'' {
c4 c c8[( b)] c4
}
sopWords = \lyricmode {
hi hi hi hi
}
altoMusic = \relative c' {
e4 f d e
}
altoWords = \lyricmode {
ha ha ha ha
}
tenorMusic = \relative c' {
g4 a f g
}
tenorWords = \lyricmode {
hu hu hu hu
}
bassMusic = \relative c {
c4 c g c
}
bassWords = \lyricmode {
ho ho ho ho
}
\score {
\new ChoirStaff <<
\new Staff = "women" <<
\new Voice = "sopranos" { \voiceOne << \global \sopMusic >> }
\new Voice = "altos" { \voiceTwo << \global \altoMusic >> }
>>
\new Lyrics \with { alignAboveContext = #"women" }
\lyricsto "sopranos" \sopWords
\new Lyrics \with { alignBelowContext = #"women" }
\lyricsto "altos" \altoWords
% we could remove the line about this with the line below, since
% we want the alto lyrics to be below the alto Voice anyway.
% \new Lyrics \lyricsto "altos" \altoWords
\new Staff = "men" <<
\clef bass
\new Voice = "tenors" { \voiceOne << \global \tenorMusic >> }
\new Voice = "basses" { \voiceTwo << \global \bassMusic >> }
>>
\new Lyrics \with { alignAboveContext = #"men" }
\lyricsto "tenors" \tenorWords
\new Lyrics \with { alignBelowContext = #"men" }
\lyricsto "basses" \bassWords
% again, we could replace the line above this with the line below.
% \new Lyrics \lyricsto "basses" \bassWords
>>
}
|
Vocal ensemble template with verse and refrain
This template creates a score which starts with a solo verse and
continues into a refrain for two voices. It also demonstrates the use
of spacer rests within the \global
variable to define meter
changes (and other elements common to all parts) throughout the entire
score.
| global = {
\key g \major
% verse
\time 3/4
s2.*2
\break
% refrain
\time 2/4
s2*2
\bar "|."
}
SoloNotes = \relative g' {
\clef "treble"
% verse
g4 g g |
b4 b b |
% refrain
R2*2 |
}
SoloLyrics = \lyricmode {
One two three |
four five six |
}
SopranoNotes = \relative c'' {
\clef "treble"
% verse
R2.*2 |
% refrain
c4 c |
g4 g |
}
SopranoLyrics = \lyricmode {
la la |
la la |
}
BassNotes = \relative c {
\clef "bass"
% verse
R2.*2 |
% refrain
c4 e |
d4 d |
}
BassLyrics = \lyricmode {
dum dum |
dum dum |
}
\score {
<<
\new Voice = "SoloVoice" << \global \SoloNotes >>
\new Lyrics \lyricsto "SoloVoice" \SoloLyrics
\new ChoirStaff <<
\new Voice = "SopranoVoice" << \global \SopranoNotes >>
\new Lyrics \lyricsto "SopranoVoice" \SopranoLyrics
\new Voice = "BassVoice" << \global \BassNotes >>
\new Lyrics \lyricsto "BassVoice" \BassLyrics
>>
>>
\layout {
ragged-right = ##t
\context { \Staff
% these lines prevent empty staves from being printed
\RemoveEmptyStaves
\override VerticalAxisGroup.remove-first = ##t
}
}
}
|
Vocal ensemble template
Here is a standard four-part SATB vocal score. With larger ensembles,
it is often useful to include a section which is included in all parts.
For example, the time signature and key signature are almost always the
same for all parts. Like in the “Hymn” template, the four voices are
regrouped on only two staves.
| \paper {
top-system-spacing.basic-distance = #10
score-system-spacing.basic-distance = #20
system-system-spacing.basic-distance = #20
last-bottom-spacing.basic-distance = #10
}
global = {
\key c \major
\time 4/4
}
sopMusic = \relative {
c''4 c c8[( b)] c4
}
sopWords = \lyricmode {
hi hi hi hi
}
altoMusic = \relative {
e'4 f d e
}
altoWords = \lyricmode {
ha ha ha ha
}
tenorMusic = \relative {
g4 a f g
}
tenorWords = \lyricmode {
hu hu hu hu
}
bassMusic = \relative {
c4 c g c
}
bassWords = \lyricmode {
ho ho ho ho
}
\score {
\new ChoirStaff <<
\new Lyrics = "sopranos" \with {
% this is needed for lyrics above a staff
\override VerticalAxisGroup.staff-affinity = #DOWN
}
\new Staff = "women" <<
\new Voice = "sopranos" {
\voiceOne
<< \global \sopMusic >>
}
\new Voice = "altos" {
\voiceTwo
<< \global \altoMusic >>
}
>>
\new Lyrics = "altos"
\new Lyrics = "tenors" \with {
% this is needed for lyrics above a staff
\override VerticalAxisGroup.staff-affinity = #DOWN
}
\new Staff = "men" <<
\clef bass
\new Voice = "tenors" {
\voiceOne
<< \global \tenorMusic >>
}
\new Voice = "basses" {
\voiceTwo << \global \bassMusic >>
}
>>
\new Lyrics = "basses"
\context Lyrics = "sopranos" \lyricsto "sopranos" \sopWords
\context Lyrics = "altos" \lyricsto "altos" \altoWords
\context Lyrics = "tenors" \lyricsto "tenors" \tenorWords
\context Lyrics = "basses" \lyricsto "basses" \bassWords
>>
}
|
Chords
Chord notation
Adding a figured bass above or below the notes
When writing a figured bass, you can place the figures 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
).
This property can be changed as many times as you wish. Use
\once \override
if you don’t want the override to apply to the
whole score.
| bass = {
\clef bass
g4 b, c d
e d8 c d2
}
continuo = \figuremode {
<_>4 <6>4 <5/>4
\override Staff.BassFigureAlignmentPositioning.direction = #UP
%\bassFigureStaffAlignmentUp
< _+ >4 <6>
\set Staff.useBassFigureExtenders = ##t
\override Staff.BassFigureAlignmentPositioning.direction = #DOWN
%\bassFigureStaffAlignmentDown
<4>4. <4>8 <_+>4
}
\score {
<<
\new Staff = bassStaff \bass
\context Staff = bassStaff \continuo
>>
}
|
Adding bar lines to ChordNames context
To add bar line indications in the ChordNames
context, add the
Bar_engraver
.
| \new ChordNames \with {
\override BarLine.bar-extent = #'(-2 . 2)
\consists "Bar_engraver"
}
\chordmode {
f1:maj7 f:7 bes:7
}
|
Avoiding collisions with chord fingerings
Fingerings and string numbers applied to individual notes will
automatically avoid beams and stems, but this is not true by default
for fingerings and string numbers applied to the individual notes of
chords. The following example shows how this default behavior can be
overridden.
| \relative c' {
\set fingeringOrientations = #'(up)
\set stringNumberOrientations = #'(up)
\set strokeFingerOrientations = #'(up)
% Default behavior
r8
<f c'-5>8
<f c'\5>8
<f c'-\rightHandFinger #2 >8
% No tweak needed
r8
<f c'-5>8
<f c'\5>8
% Corrected to avoid collisions
\override StrokeFinger.add-stem-support = ##t
<f c'-\rightHandFinger #2 >8
}
|
Bar chords notation for Guitar (with Text Spanner)
Here is how to print bar chords (or barre chords) or half-bar chords
(just uncomment the appropriate line for to select either one). The
syntax is : \bbarre #'fret_number' note(s)
| %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%% %%%%%%% Cut here ----- Start 'bbarred.ly'
%% C with slash -------------------------------
cWithSlash = \markup {
\combine \roman C \translate #'(0.6 . -0.4) \draw-line #'(0 . 2.0)
}
%% Span -----------------------------------
%% Syntax: \bbarre #"text" { notes } - text = any number of box
bbarre =
#(define-music-function (barre location str music) (string? ly:music?)
(let ((elts (extract-named-music music '(NoteEvent EventChord))))
(if (pair? elts)
(let ((first-element (first elts))
(last-element (last elts)))
(set! (ly:music-property first-element 'articulations)
(cons (make-music 'TextSpanEvent 'span-direction -1)
(ly:music-property first-element 'articulations)))
(set! (ly:music-property last-element 'articulations)
(cons (make-music 'TextSpanEvent 'span-direction 1)
(ly:music-property last-element 'articulations))))))
#{
\once \override TextSpanner.font-size = #-2
\once \override TextSpanner.font-shape = #'upright
\once \override TextSpanner.staff-padding = #3
\once \override TextSpanner.style = #'line
\once \override TextSpanner.to-barline = ##f
\once \override TextSpanner.bound-details =
#`((left
(text . ,#{ \markup { \draw-line #'( 0 . -.5) } #})
(Y . 0)
(padding . 0.25)
(attach-dir . -2))
(right
(text . ,#{ \markup { \cWithSlash #str } #})
(Y . 0)
(padding . 0.25)
(attach-dir . 2)))
%% uncomment this line for make full barred
% \once \override TextSpanner.bound-details.left.text = \markup{"B" #str}
$music
#})
%% %%%%%%% Cut here ----- End 'bbarred.ly'
%% Copy and change the last line for full barred. Rename in 'fbarred.ly'
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%% Syntaxe: \bbarre #"text" { notes } - text = any number of box
\relative c'{ \clef "G_8" \stemUp \bbarre #"III" { <f a'>16[ c' d c d8] } }
|
Changing chord separator
The separator between different parts of a chord name can be set to any
markup.
| \chords {
c:7sus4
\set chordNameSeparator
= \markup { \typewriter | }
c:7sus4
}
|
Changing the chord names to German or semi-German notation
The english naming of chords (default) can be changed to german
(\germanChords
replaces B and Bes with H and B) or semi-german
(\semiGermanChords
replaces B and Bes with H and Bb).
| scm = \chordmode {
c1/c | cis/cis
b1/b | bis/bis | bes/bes
}
\layout {
ragged-right = ##t
\context {
\ChordNames
\consists "Instrument_name_engraver"
}
}
<<
\new ChordNames {
\set instrumentName = #"default"
\scm
}
\new ChordNames {
\set instrumentName = #"german"
\germanChords \scm
}
\new ChordNames {
\set instrumentName = #"semi-german"
\semiGermanChords \scm
}
\new ChordNames {
\set instrumentName = #"italian"
\italianChords \scm
}
\new ChordNames {
\set instrumentName = #"french"
\frenchChords \scm
}
\context Voice { \scm }
>>
|
Changing the positions of figured bass alterations
Accidentals and plus signs can appear before or after the numbers,
depending on the figuredBassAlterationDirection
and
figuredBassPlusDirection
properties.
| \figures {
<6\+> <5+> <6 4-> r
\set figuredBassAlterationDirection = #RIGHT
<6\+> <5+> <6 4-> r
\set figuredBassPlusDirection = #RIGHT
<6\+> <5+> <6 4-> r
\set figuredBassAlterationDirection = #LEFT
<6\+> <5+> <6 4-> r
}
|
Chord name exceptions
The property chordNameExceptions
can be used to store a list of
special notations for specific chords.
| % modify maj9 and 6(add9)
% Exception music is chords with markups
chExceptionMusic = {
<c e g b d'>1-\markup { \super "maj9" }
<c e g a d'>1-\markup { \super "6(add9)" }
}
% Convert music to list and prepend to existing exceptions.
chExceptions = #( append
( sequential-music-to-chord-exceptions chExceptionMusic #t)
ignatzekExceptions)
theMusic = \chordmode {
g1:maj9 g1:6.9
\set chordNameExceptions = #chExceptions
g1:maj9 g1:6.9
}
\layout {
ragged-right = ##t
}
<< \context ChordNames \theMusic
\context Voice \theMusic
>>
|
chord name major7
The layout of the major 7 can be tuned with majorSevenSymbol
.
| \chords {
c:7+
\set majorSevenSymbol = \markup { j7 }
c:7+
}
|
Clusters
Clusters are a device to denote that a complete range of notes is to be
played.
| 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
>>
|
Controlling the placement of chord fingerings
The placement of fingering numbers can be controlled precisely. For
fingering orientation to apply, you must use a chord construct <> even
if it is a single note.
| \relative c' {
\set fingeringOrientations = #'(left)
<c-1 e-3 a-5>4
\set fingeringOrientations = #'(down)
<c-1 e-3 a-5>4
\set fingeringOrientations = #'(down right up)
<c-1 e-3 a-5>4
\set fingeringOrientations = #'(up)
<c-1 e-3 a-5>4
\set fingeringOrientations = #'(left)
<c-1>2
\set fingeringOrientations = #'(down)
<e-3>2
}
|
Cross-staff chords - beaming problems workaround
Sometimes it is better to use stems from the upper staff for creating
cross-staff chords, because no problems with automatic beam collision
avoidance then arise. If the stems from the lower staff were used in
the following example, it would be necessary to change the automatic
beam collision avoidance settings so that it doesn’t detect collisions
between staves using \override Staff.Beam.collision-voice-only =
##t
| \new PianoStaff <<
\new Staff = up
\relative c' {
<<
{ r4
\override Stem.cross-staff = ##t
\override Stem.length = #19 % this is in half-spaces,
% so it makes stems 9.5 staffspaces long
\override Stem.Y-offset = #-6 % stems are normally lengthened
% upwards, so here we must lower the stem by the amount
% equal to the lengthening - in this case (19 - 7) / 2
% (7 is default stem length)
e e e }
{ s4
\change Staff = "bottom"
\override NoteColumn.ignore-collision = ##t
c, c c
}
>>
}
\new Staff = bottom
\relative c' {
\clef bass
\voiceOne
g8 a g a g a g a
}
>>
|
Displaying complex chords
Here is a way to display a chord where the same note is played twice
with different accidentals.
| fixA = {
\once \override Stem.length = #11
}
fixB = {
\once \override NoteHead.X-offset = #1.7
\once \override Stem.length = #7
\once \override Stem.rotation = #'(45 0 0)
\once \override Stem.extra-offset = #'(-0.1 . -0.2)
\once \override Flag.style = #'no-flag
\once \override Accidental.extra-offset = #'(4 . -.1)
}
\relative c' {
<< { \fixA <b d!>8 } \\ { \voiceThree \fixB dis } >> s
}
|
Manually break figured bass extenders for only some numbers
Figured bass often uses extenders to indicate continuation of the
corresponding step. However, in this case lilypond is in greedy-mode
and uses extenders whenever possible. To break individual extenders,
one can simply use a modifier \! to a number, which breaks any
extender attributed to that number right before the number.
| bassfigures = \figuremode {
\set useBassFigureExtenders = ##t
<6 4>4 <6 4\!> <6 4\!> <6 4\!> | <6\! 4\!> <6 4> <6 4\!> <6 4>
}
<<
\new Staff \relative c'' { c1 c1 }
\new FiguredBass \bassfigures
>>
|
Showing chords at changes
Chord names can be displayed only at the start of lines and when the
chord changes.
| harmonies = \chordmode {
c1:m c:m \break c:m c:m d
}
<<
\new ChordNames {
\set chordChanges = ##t
\harmonies
}
\new Staff {
\relative c' { \harmonies }
}
>>
|
Simple lead sheet
When put together, chord names, a melody, and lyrics form a lead sheet:
| <<
\chords { c2 g:sus4 f e }
\relative c'' {
a4 e c8 e r4
b2 c4( d)
}
\addlyrics { One day this shall be free __ }
>>
|
Single staff template with notes lyrics and chords
This template allows the preparation of a song with melody, words, and
chords.
| melody = \relative c' {
\clef treble
\key c \major
\time 4/4
a4 b c d
}
text = \lyricmode {
Aaa Bee Cee Dee
}
harmonies = \chordmode {
a2 c
}
\score {
<<
\new ChordNames {
\set chordChanges = ##t
\harmonies
}
\new Voice = "one" { \autoBeamOff \melody }
\new Lyrics \lyricsto "one" \text
>>
\layout { }
\midi { }
}
|
Single staff template with notes lyrics chords and frets
Here is a simple lead sheet template with melody, lyrics, chords and
fret diagrams.
| verseI = \lyricmode {
\set stanza = #"1."
This is the first verse
}
verseII = \lyricmode {
\set stanza = #"2."
This is the second verse.
}
theChords = \chordmode {
% insert chords for chordnames and fretboards here
c2 g4 c
}
staffMelody = \relative c' {
\key c \major
\clef treble
% Type notes for melody here
c4 d8 e f4 g
\bar "|."
}
\score {
<<
\context ChordNames { \theChords }
\context FretBoards { \theChords }
\new Staff {
\context Voice = "voiceMelody" { \staffMelody }
}
\new Lyrics = "lyricsI" {
\lyricsto "voiceMelody" \verseI
}
\new Lyrics = "lyricsII" {
\lyricsto "voiceMelody" \verseII
}
>>
\layout { }
\midi { }
}
|
Single staff template with notes and chords
Want to prepare a lead sheet with a melody and chords? Look no further!
| melody = \relative c' {
\clef treble
\key c \major
\time 4/4
f4 e8[ c] d4 g
a2 ~ a
}
harmonies = \chordmode {
c4:m f:min7 g:maj c:aug
d2:dim b4:5 e:sus
}
\score {
<<
\new ChordNames {
\set chordChanges = ##t
\harmonies
}
\new Staff \melody
>>
\layout{ }
\midi { }
}
|
Vertically centering paired figured bass extenders
Where figured bass extender lines are being used by setting
useBassFigureExtenders
to true, pairs of congruent figured bass
extender lines are vertically centered if
figuredBassCenterContinuations
is set to true.
| <<
\relative c' {
c8 c b b a a c16 c b b
c8 c b b a a c16 c b b
c8 c b b a a c c b b
}
\figures {
\set useBassFigureExtenders = ##t
<6+ 4 3>4 <6 4 3>8 r
<6+ 4 3>4 <6 4 3>8 <4 3+>16 r
\set figuredBassCenterContinuations = ##t
<6+ 4 3>4 <6 4 3>8 r
<6+ 4 3>4 <6 4 3>8 <4 3+>16 r
\set figuredBassCenterContinuations = ##f
<6+ 4 3>4 <6 4 3>8 r
<6+ 4 3>4 <6 4 3>8 <4 3+>8
}
>>
|
Volta below chords
By adding the Volta_engraver
to the relevant staff, volte can be
put under chords.
| \score {
<<
\chords {
c1
c1
}
\new Staff \with {
\consists "Volta_engraver"
}
{
\repeat volta 2 { c'1 }
\alternative { c' }
}
>>
\layout {
\context {
\Score
\remove "Volta_engraver"
}
}
}
|
Keyboards
Keyboard and other multi-staff instruments
Accordion-discant symbols
This snippet has been obsoleted by predefined markup commands, see
’Accordion Registers’ in the Notation Reference. It’s still useful as
a simple demonstration of how to combine symbols: the placement of the
symbols added with \markup
can be tweaked by changing the
\translate-scaled
arguments. \translate-scaled
is used
here rather than \translate
in order to let the positioning of
the symbol parts adapt to changes of font-size
.
| discant = \markup {
\musicglyph "accordion.discant"
}
dot = \markup {
\musicglyph "accordion.dot"
}
\layout { ragged-right = ##t }
% 16 voets register
accBasson = ^\markup {
\combine
\discant
\translate-scaled #'(0 . 0.5) \dot
}
% een korig 8 en 16 voets register
accBandon = ^\markup {
\combine
\discant
\combine
\translate-scaled #'(0 . 0.5) \dot
\translate-scaled #'(0 . 1.5) \dot
}
accVCello = ^\markup {
\combine
\discant
\combine
\translate-scaled #'(0 . 0.5) \dot
\combine
\translate-scaled #'(0 . 1.5) \dot
\translate-scaled #'(1 . 1.5) \dot
}
% 4-8-16 voets register
accHarmon = ^\markup {
\combine
\discant
\combine
\translate-scaled #'(0 . 0.5) \dot
\combine
\translate-scaled #'(0 . 1.5) \dot
\translate-scaled #'(0 . 2.5) \dot
}
accTrombon = ^\markup {
\combine
\discant
\combine
\translate-scaled #'(0 . 0.5) \dot
\combine
\translate-scaled #'(0 . 1.5) \dot
\combine
\translate-scaled #'(1 . 1.5) \dot
\translate-scaled #'(-1 . 1.5) \dot
}
% eenkorig 4 en 16 voets register
accOrgan = ^\markup {
\combine
\discant
\combine
\translate-scaled #'(0 . 0.5) \dot
\translate-scaled #'(0 . 2.5) \dot
}
accMaster = ^\markup {
\combine
\discant
\combine
\translate-scaled #'(0 . 0.5) \dot
\combine
\translate-scaled #'(0 . 1.5) \dot
\combine
\translate-scaled #'(1 . 1.5) \dot
\combine
\translate-scaled #'(-1 . 1.5) \dot
\translate-scaled #'(0 . 2.5) \dot
}
accAccord = ^\markup {
\combine
\discant
\combine
\translate-scaled #'(0 . 1.5) \dot
\combine
\translate-scaled #'(1 . 1.5) \dot
\combine
\translate-scaled #'(-1 . 1.5) \dot
\translate-scaled #'(0 . 2.5) \dot
}
accMusette = ^\markup {
\combine
\discant
\combine
\translate-scaled #'(0 . 1.5) \dot
\combine
\translate-scaled #'(1 . 1.5) \dot
\translate-scaled #'(-1 . 1.5) \dot
}
accCeleste = ^\markup {
\combine
\discant
\combine
\translate-scaled #'(0 . 1.5) \dot
\translate-scaled #'(-1 . 1.5) \dot
}
accOboe = ^\markup {
\combine
\discant
\combine
\translate-scaled #'(0 . 1.5) \dot
\translate-scaled #'(0 . 2.5) \dot
}
accClarin = ^\markup {
\combine
\discant
\translate-scaled #'(0 . 1.5) \dot
}
accPiccolo = ^\markup {
\combine
\discant
\translate-scaled #'(0 . 2.5) \dot
}
accViolin = ^\markup {
\combine
\discant
\combine
\translate-scaled #'(0 . 1.5) \dot
\combine
\translate-scaled #'(1 . 1.5) \dot
\translate-scaled #'(0 . 2.5) \dot
}
\relative c'' {
c4 d\accBasson e f
c4 d\accBandon e f
c4 d\accVCello e f
c4 d\accHarmon e f
c4 d\accTrombon e f
\break
c4 d\accOrgan e f
c4 d\accMaster e f
c4 d\accAccord e f
c4 d\accMusette e f
c4 d\accCeleste e f
\break
c4 d\accOboe e f
c4 d\accClarin e f
c4 d\accPiccolo e f
c4 d\accViolin e f
}
|
Accordion register symbols
Accordion register symbols are available as \markup
as well as
as standalone music events (as register changes tend to occur between
actual music events. Bass registers are not overly standardized. The
available commands can be found in ’Accordion Registers’ in the
Notation Reference.
| #(use-modules (scm accreg))
\new PianoStaff
<<
\new Staff \relative {
\clef treble \discant "10" r8 s32 f'[ bes f] s e[ a e] s d[ g d] s16 e32[ a]
<<
{ r16 <f bes> r <e a> r <d g> }
\\
{ d r a r bes r }
>> |
<cis e a>1
}
\new Staff \relative {
\clef treble \freeBass "1" r8 d'32 s16. c32 s16. bes32 s16. a32[ cis] s16
\clef bass \stdBass "Master"
<<
{ r16 <f, bes d>^"b" r <e a c>^"am" r <d g bes>^"gm" |
<e a cis>1^"a" }
\\
{ d8_"D" c_"C" bes_"B" | a1_"A" }
>>
}
>>
|
Changing the text for sustain markings
Staff.pedalSustainStrings
can be used to set the text used for
pedal down and up. Note that the only valid strings are those found in
the list of pedal glyphs - the values used this snippet constitute an
exhaustive list.
| sustainNotes = { c4\sustainOn d e\sustainOff\sustainOn f\sustainOff }
\relative c' {
\sustainNotes
\set Staff.pedalSustainStrings = #'("P" "P-" "-")
\sustainNotes
\set Staff.pedalSustainStrings = #'("d" "de" "e")
\sustainNotes
\set Staff.pedalSustainStrings = #'("M" "M-" "-")
\sustainNotes
\set Staff.pedalSustainStrings = #'("Ped" "*Ped" "*")
\sustainNotes
}
|
Clusters
Clusters are a device to denote that a complete range of notes is to be
played.
| 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
>>
|
Controlling the placement of chord fingerings
The placement of fingering numbers can be controlled precisely. For
fingering orientation to apply, you must use a chord construct <> even
if it is a single note.
| \relative c' {
\set fingeringOrientations = #'(left)
<c-1 e-3 a-5>4
\set fingeringOrientations = #'(down)
<c-1 e-3 a-5>4
\set fingeringOrientations = #'(down right up)
<c-1 e-3 a-5>4
\set fingeringOrientations = #'(up)
<c-1 e-3 a-5>4
\set fingeringOrientations = #'(left)
<c-1>2
\set fingeringOrientations = #'(down)
<e-3>2
}
|
Creating slurs across voices
In some situations, it may be necessary to create slurs between notes
from different voices.
The solution is to add invisible notes to one of the voices, using
\hideNotes
.
This example is measure 235 of the Ciaconna from Bach’s 2nd Partita for
solo violin, BWV 1004.
| \relative c' {
<<
{
d16( a') s a s a[ s a] s a[ s a]
}
\\
{
\slurUp
bes,16[ s e](
\hideNotes a)
\unHideNotes f[(
\hideNotes a)
\unHideNotes fis](
\hideNotes a)
\unHideNotes g[(
\hideNotes a)
\unHideNotes gis](
\hideNotes a)
}
>>
}
|
Cross-staff chords - beaming problems workaround
Sometimes it is better to use stems from the upper staff for creating
cross-staff chords, because no problems with automatic beam collision
avoidance then arise. If the stems from the lower staff were used in
the following example, it would be necessary to change the automatic
beam collision avoidance settings so that it doesn’t detect collisions
between staves using \override Staff.Beam.collision-voice-only =
##t
| \new PianoStaff <<
\new Staff = up
\relative c' {
<<
{ r4
\override Stem.cross-staff = ##t
\override Stem.length = #19 % this is in half-spaces,
% so it makes stems 9.5 staffspaces long
\override Stem.Y-offset = #-6 % stems are normally lengthened
% upwards, so here we must lower the stem by the amount
% equal to the lengthening - in this case (19 - 7) / 2
% (7 is default stem length)
e e e }
{ s4
\change Staff = "bottom"
\override NoteColumn.ignore-collision = ##t
c, c c
}
>>
}
\new Staff = bottom
\relative c' {
\clef bass
\voiceOne
g8 a g a g a g a
}
>>
|
Cross-staff tremolos
Since \repeat tremolo
expects exactly two musical arguments for
chord tremolos, the note or chord which changes staff within a
cross-staff tremolo should be placed inside curly braces together with
its \change Staff
command.
| \new PianoStaff <<
\new Staff = "up" \relative c'' {
\key a \major
\time 3/8
s4.
}
\new Staff = "down" \relative c'' {
\key a \major
\time 3/8
\voiceOne
\repeat tremolo 6 {
<a e'>32
{
\change Staff = "up"
\voiceTwo
<cis a' dis>32
}
}
}
>>
|
Fine-tuning pedal brackets
The appearance of pedal brackets may be altered in different ways.
| \paper { ragged-right = ##f }
\relative c'' {
c2\sostenutoOn c
c2\sostenutoOff c
\once \override Staff.PianoPedalBracket.shorten-pair = #'(-7 . -2)
c2\sostenutoOn c
c2\sostenutoOff c
\once \override Staff.PianoPedalBracket.edge-height = #'(0 . 3)
c2\sostenutoOn c
c2\sostenutoOff c
}
|
Indicating cross-staff chords with arpeggio bracket
An arpeggio bracket can indicate that notes on two different staves are
to be played with the same hand. In order to do this, the
PianoStaff
must be set to accept cross-staff arpeggios and the
arpeggios must be set to the bracket shape in the PianoStaff
context.
(Debussy, Les collines d’Anacapri, m. 65)
| \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.
}
>>
}
}
>>
|
Jazz combo template
This is quite an advanced template, for a jazz ensemble. Note that all
instruments are notated in \key c \major
. This refers to the
key in concert pitch; the key will be automatically transposed if the
music is within a \transpose
section.
| \header {
title = "Song"
subtitle = "(tune)"
composer = "Me"
meter = "moderato"
piece = "Swing"
tagline = \markup {
\column {
"LilyPond example file by Amelie Zapf,"
"Berlin 07/07/2003"
}
}
}
% To make the example display in the documentation
\paper {
paper-width = 130
}
%#(set-global-staff-size 16)
\include "english.ly"
%%%%%%%%%%%% Some macros %%%%%%%%%%%%%%%%%%%
sl = {
\override NoteHead.style = #'slash
\hide Stem
}
nsl = {
\revert NoteHead.style
\undo \hide Stem
}
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
\clef treble
<<
\trpt
>>
}
% ------ Alto Saxophone ------
alto = \transpose c a \relative c' {
\Key
c1 | c | c |
}
altoHarmony = \transpose c' a {
\jazzChords
}
altoSax = {
\global
\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
\clef treble
<<
\bari
>>
}
% ------ Trombone ------
tbone = \relative c {
\Key
c1 | c | c
}
tboneHarmony = \chordmode {
\jazzChords
}
trombone = {
\global
\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
\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
<<
\new Voice = "one" \rhUpper
\new Voice = "two" \rhLower
>>
}
PianoLH = {
\clef bass
\global
<<
\new Voice = "one" \lhUpper
\new Voice = "two" \lhLower
>>
}
piano = {
<<
\new Staff = "upper" \PianoRH
\new Staff = "lower" \PianoLH
>>
}
% ------ Bass Guitar ------
Bass = \relative c {
\Key
c1 | c | c
}
bass = {
\global
\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
<<
\new DrumVoice \up
\new DrumVoice \down
>>
}
%%%%%%%%% It All Goes Together Here %%%%%%%%%%%%%%%%%%%%%%
\score {
<<
\new StaffGroup = "horns" <<
\new Staff = "trumpet" \with { instrumentName = "Trumpet" }
\trumpet
\new Staff = "altosax" \with { instrumentName = "Alto Sax" }
\altoSax
\new ChordNames = "barichords" \with { instrumentName = "Trumpet" }
\bariHarmony
\new Staff = "barisax" \with { instrumentName = "Bari Sax" }
\bariSax
\new Staff = "trombone" \with { instrumentName = "Trombone" }
\trombone
>>
\new StaffGroup = "rhythm" <<
\new ChordNames = "chords" \gtrHarmony
\new Staff = "guitar" \with { instrumentName = "Guitar" }
\guitar
\new PianoStaff = "piano" \with {
instrumentName = "Piano"
midiInstrument = "acoustic grand"
}
\piano
\new Staff = "bass" \with { instrumentName = "Bass" }
\bass
\new DrumStaff \with { instrumentName = "Drums" }
\drumContents
>>
>>
\layout {
\context { \Staff \RemoveEmptyStaves }
\context {
\Score
\override BarNumber.padding = #3
\override RehearsalMark.padding = #2
skipBars = ##t
}
}
\midi { }
}
|
Laissez vibrer ties
Laissez vibrer ties have a fixed size. Their formatting can be tuned
using 'tie-configuration
.
| \relative c' {
<c e g>4\laissezVibrer r <c f g>\laissezVibrer r
<c d f g>4\laissezVibrer r <c d f g>4.\laissezVibrer r8
<c d e f>4\laissezVibrer r
\override LaissezVibrerTieColumn.tie-configuration
= #`((-7 . ,DOWN)
(-5 . ,DOWN)
(-3 . ,UP)
(-1 . ,UP))
<c d e f>4\laissezVibrer r
}
|
Piano template (simple)
Here is a simple piano staff with some notes.
| upper = \relative c'' {
\clef treble
\key c \major
\time 4/4
a4 b c d
}
lower = \relative c {
\clef bass
\key c \major
\time 4/4
a2 c
}
\score {
\new PianoStaff \with { instrumentName = "Piano" }
<<
\new Staff = "upper" \upper
\new Staff = "lower" \lower
>>
\layout { }
\midi { }
}
|
Piano template with centered lyrics
Instead of having a full staff for the melody and lyrics, lyrics can be
centered between the staves of a piano staff.
| upper = \relative c'' {
\clef treble
\key c \major
\time 4/4
a4 b c d
}
lower = \relative c {
\clef bass
\key c \major
\time 4/4
a2 c
}
text = \lyricmode {
Aaa Bee Cee Dee
}
\score {
\new PianoStaff <<
\new Staff = upper { \new Voice = "singer" \upper }
\new Lyrics \lyricsto "singer" \text
\new Staff = lower { \lower }
>>
\layout { }
\midi { }
}
|
Piano template with melody and lyrics
Here is a typical song format: one staff with the melody and lyrics,
with piano accompaniment underneath.
| melody = \relative c'' {
\clef treble
\key c \major
\time 4/4
a b c d
}
text = \lyricmode {
Aaa Bee Cee Dee
}
upper = \relative c'' {
\clef treble
\key c \major
\time 4/4
a4 b c d
}
lower = \relative c {
\clef bass
\key c \major
\time 4/4
a2 c
}
\score {
<<
\new Voice = "mel" { \autoBeamOff \melody }
\new Lyrics \lyricsto mel \text
\new PianoStaff <<
\new Staff = "upper" \upper
\new Staff = "lower" \lower
>>
>>
\layout {
\context { \Staff \RemoveEmptyStaves }
}
\midi { }
}
|
Removing brace on first line of piano score
This snippet removes the first brace from a PianoStaff
or a
GrandStaff
. It may be useful when cutting and pasting the
engraved image into existing music.
It uses \alterBroken
.
| someMusic = {
\once \override Staff.Clef.stencil = ##f
\once \override Staff.TimeSignature.stencil = ##f
\repeat unfold 3 c1 \break
\repeat unfold 5 c1 \break
\repeat unfold 5 c1
}
\score {
\new PianoStaff
<<
\new Staff = "right" \relative c'' \someMusic
\new Staff = "left" \relative c' { \clef F \someMusic }
>>
\layout {
indent=75
\context {
\PianoStaff
\alterBroken transparent #'(#t) SystemStartBrace
}
}
}
|
Using autochange with more than one voice
Using autochange
with more than one voice.
| \score
{
\new PianoStaff
<<
\new Staff = "up" {
<<
\set Timing.beamExceptions = #'()
\set Timing.beatStructure = #'(4)
\new Voice {
\voiceOne
\autochange
\relative c' {
g8 a b c d e f g
g,8 a b c d e f g
}
}
\new Voice {
\voiceTwo
\autochange
\relative c' {
g8 a b c d e f g
g,,8 a b c d e f g
}
}
>>
}
\new Staff = "down" {
\clef bass
}
>>
}
|
Vocal ensemble template with automatic piano reduction
This template adds an automatic piano reduction to the standard SATB
vocal score demonstrated in “Vocal ensemble template”. This
demonstrates one of the strengths of LilyPond – you can use a music
definition more than once. If any changes are made to the vocal notes
(say, tenorMusic
), then the changes will also apply to the piano
reduction.
| \paper {
top-system-spacing.basic-distance = #10
score-system-spacing.basic-distance = #20
system-system-spacing.basic-distance = #20
last-bottom-spacing.basic-distance = #10
}
global = {
\key c \major
\time 4/4
}
sopMusic = \relative {
c''4 c c8[( b)] c4
}
sopWords = \lyricmode {
hi hi hi hi
}
altoMusic = \relative {
e'4 f d e
}
altoWords =\lyricmode {
ha ha ha ha
}
tenorMusic = \relative {
g4 a f g
}
tenorWords = \lyricmode {
hu hu hu hu
}
bassMusic = \relative {
c4 c g c
}
bassWords = \lyricmode {
ho ho ho ho
}
\score {
<<
\new ChoirStaff <<
\new Lyrics = "sopranos" \with {
% This is needed for lyrics above a staff
\override VerticalAxisGroup.staff-affinity = #DOWN
}
\new Staff = "women" <<
\new Voice = "sopranos" { \voiceOne << \global \sopMusic >> }
\new Voice = "altos" { \voiceTwo << \global \altoMusic >> }
>>
\new Lyrics = "altos"
\new Lyrics = "tenors" \with {
% This is needed for lyrics above a staff
\override VerticalAxisGroup.staff-affinity = #DOWN
}
\new Staff = "men" <<
\clef bass
\new Voice = "tenors" { \voiceOne << \global \tenorMusic >> }
\new Voice = "basses" { \voiceTwo << \global \bassMusic >> }
>>
\new Lyrics = "basses"
\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 >>
>>
>>
>>
}
|
Percussion
Percussion
Adding drum parts
Using the powerful pre-configured tools such as the \drummode
function and the DrumStaff
context, inputting drum parts is
quite easy: drums are placed at their own staff positions (with a
special clef symbol) and have note heads according to the drum.
Attaching an extra symbol to the drum or restricting the number of
lines is possible.
| drh = \drummode {
cymc4.^"crash" hhc16^"h.h." hh hhc8 hho hhc8 hh16 hh
hhc4 r4 r2
}
drl = \drummode {
bd4 sn8 bd bd4 << bd ss >>
bd8 tommh tommh bd toml toml bd tomfh16 tomfh
}
timb = \drummode {
timh4 ssh timl8 ssh r timh r4
ssh8 timl r4 cb8 cb
}
\score {
<<
\new DrumStaff \with {
instrumentName = "timbales"
drumStyleTable = #timbales-style
\override StaffSymbol.line-count = #2
\override BarLine.bar-extent = #'(-1 . 1)
}
<<
\timb
>>
\new DrumStaff \with { instrumentName = "drums" }
<<
\new DrumVoice { \stemUp \drh }
\new DrumVoice { \stemDown \drl }
>>
>>
\layout { }
\midi { \tempo 4 = 120 }
}
|
Heavily customized polymetric time signatures
Though the polymetric time signature shown was not the most essential
item here, it has been included to show the beat of this piece (which
is the template of a real Balkan song!).
| melody = \relative c'' {
\key g \major
\compoundMeter #'((3 8) (2 8) (2 8) (3 8) (2 8) (2 8)
(2 8) (2 8) (3 8) (2 8) (2 8))
c8 c c d4 c8 c b c b a4 g fis8 e d c b' c d e4-^ fis8 g \break
c,4. d4 c4 d4. c4 d c2 d4. e4-^ d4
c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 \break
c4. d4 c4 d4. c4 d c2 d4. e4-^ d4
c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 \break
}
drum = \new DrumStaff \drummode {
\bar ".|:" bd4.^\markup { Drums } sn4 bd \bar ";" sn4.
bd4 sn \bar ";" bd sn bd4. sn4 bd \bar ":|."
}
\new Staff \with {
instrumentName = \markup { \concat { "B" \flat " Sop." } }
}
{
\melody
\drum
}
|
Jazz combo template
This is quite an advanced template, for a jazz ensemble. Note that all
instruments are notated in \key c \major
. This refers to the
key in concert pitch; the key will be automatically transposed if the
music is within a \transpose
section.
| \header {
title = "Song"
subtitle = "(tune)"
composer = "Me"
meter = "moderato"
piece = "Swing"
tagline = \markup {
\column {
"LilyPond example file by Amelie Zapf,"
"Berlin 07/07/2003"
}
}
}
% To make the example display in the documentation
\paper {
paper-width = 130
}
%#(set-global-staff-size 16)
\include "english.ly"
%%%%%%%%%%%% Some macros %%%%%%%%%%%%%%%%%%%
sl = {
\override NoteHead.style = #'slash
\hide Stem
}
nsl = {
\revert NoteHead.style
\undo \hide Stem
}
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
\clef treble
<<
\trpt
>>
}
% ------ Alto Saxophone ------
alto = \transpose c a \relative c' {
\Key
c1 | c | c |
}
altoHarmony = \transpose c' a {
\jazzChords
}
altoSax = {
\global
\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
\clef treble
<<
\bari
>>
}
% ------ Trombone ------
tbone = \relative c {
\Key
c1 | c | c
}
tboneHarmony = \chordmode {
\jazzChords
}
trombone = {
\global
\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
\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
<<
\new Voice = "one" \rhUpper
\new Voice = "two" \rhLower
>>
}
PianoLH = {
\clef bass
\global
<<
\new Voice = "one" \lhUpper
\new Voice = "two" \lhLower
>>
}
piano = {
<<
\new Staff = "upper" \PianoRH
\new Staff = "lower" \PianoLH
>>
}
% ------ Bass Guitar ------
Bass = \relative c {
\Key
c1 | c | c
}
bass = {
\global
\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
<<
\new DrumVoice \up
\new DrumVoice \down
>>
}
%%%%%%%%% It All Goes Together Here %%%%%%%%%%%%%%%%%%%%%%
\score {
<<
\new StaffGroup = "horns" <<
\new Staff = "trumpet" \with { instrumentName = "Trumpet" }
\trumpet
\new Staff = "altosax" \with { instrumentName = "Alto Sax" }
\altoSax
\new ChordNames = "barichords" \with { instrumentName = "Trumpet" }
\bariHarmony
\new Staff = "barisax" \with { instrumentName = "Bari Sax" }
\bariSax
\new Staff = "trombone" \with { instrumentName = "Trombone" }
\trombone
>>
\new StaffGroup = "rhythm" <<
\new ChordNames = "chords" \gtrHarmony
\new Staff = "guitar" \with { instrumentName = "Guitar" }
\guitar
\new PianoStaff = "piano" \with {
instrumentName = "Piano"
midiInstrument = "acoustic grand"
}
\piano
\new Staff = "bass" \with { instrumentName = "Bass" }
\bass
\new DrumStaff \with { instrumentName = "Drums" }
\drumContents
>>
>>
\layout {
\context { \Staff \RemoveEmptyStaves }
\context {
\Score
\override BarNumber.padding = #3
\override RehearsalMark.padding = #2
skipBars = ##t
}
}
\midi { }
}
|
Percussion beaters
Graphic symbols for percussion instruments are not natively supported;
however it is possible to include such symbols, either as an external
EPS file or as embedded PostScript code inside a markup, as
demonstrated in this example.
| stick = \markup {
\with-dimensions #'(0 . 5) #'(0 . 5)
\postscript "
0 6 translate
0.8 -0.8 scale
0 0 0 setrgbcolor
[] 0 setdash
1 setlinewidth
0 setlinejoin
0 setlinecap
gsave [1 0 0 1 0 0] concat
gsave [1 0 0 1 -3.5406095 -199.29342] concat
gsave
0 0 0 setrgbcolor
newpath
7.1434065 200.94354 moveto
7.2109628 200.90454 7.2785188 200.86554 7.3460747 200.82654 curveto
8.2056347 202.31535 9.0651946 203.80414 9.9247546 205.29295 curveto
9.8571989 205.33195 9.7896429 205.37095 9.7220864 205.40996 curveto
8.8625264 203.92115 8.0029664 202.43233 7.1434065 200.94354 curveto
closepath
eofill
grestore
gsave
0 0 0 setrgbcolor
newpath
4.9646672 203.10444 moveto
5.0036707 203.03688 5.0426744 202.96933 5.0816777 202.90176 curveto
6.5704792 203.76133 8.0592809 204.6209 9.5480824 205.48045 curveto
9.5090791 205.54801 9.4700754 205.61556 9.4310717 205.68311 curveto
7.94227 204.82356 6.4534687 203.96399 4.9646672 203.10444 curveto
closepath
eofill
grestore
gsave
<<
/ShadingType 3
/ColorSpace /DeviceRGB
/Coords [113.13708 207.87465 0 113.13708 207.87465 16.162441]
/Extend [true true]
/Domain [0 1]
/Function <<
/FunctionType 3
/Functions
[
<<
/FunctionType 2
/Domain [0 1]
/C0 [1 1 1]
/C1 [0.72941178 0.72941178 0.72941178]
/N 1
>>
]
/Domain [0 1]
/Bounds [ ]
/Encode [ 0 1 ]
>>
>>
newpath
7.6422017 200.76488 moveto
7.6505696 201.02554 7.3905363 201.24867 7.1341335 201.20075 curveto
6.8759501 201.16916 6.6949602 200.87978 6.7801462 200.63381 curveto
6.8480773 200.39155 7.1438307 200.25377 7.3728389 200.35861 curveto
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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
}
|
Printing music with different time signatures
In the following snippet, two parts have a completely different time
signature, yet remain synchronized. The bar lines can no longer be
printed at the Score
level; to allow independent bar lines in
each part, the Default_barline_engraver
and
Timing_translator
are moved from the Score
context to the
Staff
context.
If bar numbers are required, the Bar_number_engraver
should also
be moved, since it relies on properties set by the
Timing_translator
; a \with
block can be used to add bar
numbers to the relevant staff.
| \paper {
indent = #0
ragged-right = ##t
}
global = { \time 3/4 { s2.*3 } \bar "" \break { s2.*3 } }
\layout {
\context {
\Score
\remove "Timing_translator"
\remove "Default_bar_line_engraver"
\remove "Bar_number_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"
}
\context {
\Voice
\remove "Forbid_line_break_engraver"
tupletFullLength = ##t
}
}
Bassklarinette = \new Staff \with {
\consists "Bar_number_engraver"
barNumberVisibility = #(every-nth-bar-number-visible 2)
\override BarNumber.break-visibility = #end-of-line-invisible
} <<
\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
\tuplet 3/2 { ees''4 r4 d''4 ~ }
\bar "|"
\time 3/8
\tupletUp
\tuplet 4/3 { 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
>>
}
|
Fretted strings
Fretted string instruments
Adding fingerings to a score
Fingering instructions can be entered using a simple syntax.
| \relative c'' {
c4-1 d-2 f-4 e-3
}
|
Adding fingerings to tablatures
To add fingerings to tablatures, use a combination of \markup
and \finger
.
| one = \markup { \finger 1 }
two = \markup { \finger 2 }
threeTwo = \markup {
\override #'(baseline-skip . 2)
\column {
\finger 3
\finger 2
}
}
threeFour = \markup {
\override #'(baseline-skip . 2)
\column {
\finger 3
\finger 4
}
}
\score {
\new TabStaff {
\tabFullNotation
\stemUp
e8\4^\one b\2 <g\3 e'\1>^>[ b\2 e\4]
<a\3 fis'\1>^>^\threeTwo[ b\2 e\4]
}
}
|
Adding markups in a tablature
By default markups does not show in a tablature. To make them appear,
simply use the command \revert TabStaff.TextScript.stencil
| %% http://lsr.di.unimi.it/LSR/Item?id=919
% by P.P.Schneider on June 2014
high = { r4 r8 <g c'> q r8 r4 }
low = { c4 r4 c8 r8 g,8 b, }
pulse = { s8^"1" s^"&" s^"2" s^"&" s^"3" s^"&" s^"4" s^"&" }
\score {
\new TabStaff {
\repeat unfold 2 << \high \\ \low \\ \pulse >>
}
\layout {
\context {
\TabStaff
\clef moderntab
\revert TextScript.stencil
\override TextScript.font-series = #'bold
\override TextScript.font-size = #-2
\override TextScript.color = #red
}
\context {
\Score
proportionalNotationDuration = #(ly:make-moment 1/8)
}
}
}
|
Allowing fingerings to be printed inside the staff
By default, vertically oriented fingerings are positioned outside the
staff. However, this behavior can be canceled. Note: you must use a
chord construct <>, even if it is only a single note.
| \relative c' {
<c-1 e-2 g-3 b-5>2
\override Fingering.staff-padding = #'()
<c-1 e-2 g-3 b-5>4 <g'-0>
}
|
Bar chords notation for Guitar (with Text Spanner)
Here is how to print bar chords (or barre chords) or half-bar chords
(just uncomment the appropriate line for to select either one). The
syntax is : \bbarre #'fret_number' note(s)
| %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%% %%%%%%% Cut here ----- Start 'bbarred.ly'
%% C with slash -------------------------------
cWithSlash = \markup {
\combine \roman C \translate #'(0.6 . -0.4) \draw-line #'(0 . 2.0)
}
%% Span -----------------------------------
%% Syntax: \bbarre #"text" { notes } - text = any number of box
bbarre =
#(define-music-function (barre location str music) (string? ly:music?)
(let ((elts (extract-named-music music '(NoteEvent EventChord))))
(if (pair? elts)
(let ((first-element (first elts))
(last-element (last elts)))
(set! (ly:music-property first-element 'articulations)
(cons (make-music 'TextSpanEvent 'span-direction -1)
(ly:music-property first-element 'articulations)))
(set! (ly:music-property last-element 'articulations)
(cons (make-music 'TextSpanEvent 'span-direction 1)
(ly:music-property last-element 'articulations))))))
#{
\once \override TextSpanner.font-size = #-2
\once \override TextSpanner.font-shape = #'upright
\once \override TextSpanner.staff-padding = #3
\once \override TextSpanner.style = #'line
\once \override TextSpanner.to-barline = ##f
\once \override TextSpanner.bound-details =
#`((left
(text . ,#{ \markup { \draw-line #'( 0 . -.5) } #})
(Y . 0)
(padding . 0.25)
(attach-dir . -2))
(right
(text . ,#{ \markup { \cWithSlash #str } #})
(Y . 0)
(padding . 0.25)
(attach-dir . 2)))
%% uncomment this line for make full barred
% \once \override TextSpanner.bound-details.left.text = \markup{"B" #str}
$music
#})
%% %%%%%%% Cut here ----- End 'bbarred.ly'
%% Copy and change the last line for full barred. Rename in 'fbarred.ly'
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%% Syntaxe: \bbarre #"text" { notes } - text = any number of box
\relative c'{ \clef "G_8" \stemUp \bbarre #"III" { <f a'>16[ c' d c d8] } }
|
Changing fret orientations
Fret diagrams can be oriented in three ways. By default the top string
or fret in the different orientations will be aligned.
| \include "predefined-guitar-fretboards.ly"
<<
\chords {
c1
c1
c1
}
\new FretBoards {
\chordmode {
c1
\override FretBoard.fret-diagram-details.orientation =
#'landscape
c1
\override FretBoard.fret-diagram-details.orientation =
#'opposing-landscape
c1
}
}
\new Voice {
c'1
c'1
c'
}
>>
|
Chord glissando in tablature
Slides for chords are indicated by default in both Staff
and
TabStaff
. String numbers are necessary for TabStaff
because automatic string calculations are different for chords and for
single notes.
| myMusic = \relative c' {
<c e g>1 \glissando <f a c>
}
\score {
<<
\new Staff {
\clef "treble_8"
\myMusic
}
\new TabStaff \myMusic
>>
}
\score {
<<
\new Staff {
\clef "treble_8"
\myMusic
}
\new TabStaff \with { \override Glissando.style = #'none } {
\myMusic
}
>>
}
|
ChordChanges for FretBoards
FretBoards can be set to display only when the chord changes or at the
beginning of a new line.
| \include "predefined-guitar-fretboards.ly"
myChords = \chordmode {
c1 c1 \break
\set chordChanges = ##t
c1 c1 \break
c1 c1
}
<<
\new ChordNames { \myChords }
\new FretBoards { \myChords }
\new Staff { \myChords }
>>
|
Controlling the placement of chord fingerings
The placement of fingering numbers can be controlled precisely. For
fingering orientation to apply, you must use a chord construct <> even
if it is a single note.
| \relative c' {
\set fingeringOrientations = #'(left)
<c-1 e-3 a-5>4
\set fingeringOrientations = #'(down)
<c-1 e-3 a-5>4
\set fingeringOrientations = #'(down right up)
<c-1 e-3 a-5>4
\set fingeringOrientations = #'(up)
<c-1 e-3 a-5>4
\set fingeringOrientations = #'(left)
<c-1>2
\set fingeringOrientations = #'(down)
<e-3>2
}
|
Customizing fretboard fret diagrams
Fret diagram properties can be set through
'fret-diagram-details
. For FretBoard fret diagrams, overrides
are applied to the FretBoards.FretBoard
object. Like
Voice
, FretBoards
is a bottom level context, therefore
can be omitted in property overrides.
| \include "predefined-guitar-fretboards.ly"
\storePredefinedDiagram #default-fret-table \chordmode { c' }
#guitar-tuning
#"x;1-1-(;3-2;3-3;3-4;1-1-);"
<<
\new ChordNames {
\chordmode { c1 | c | c | d }
}
\new FretBoards {
% Set global properties of fret diagram
\override FretBoards.FretBoard.size = #'1.2
\override FretBoard.fret-diagram-details.finger-code = #'in-dot
\override FretBoard.fret-diagram-details.dot-color = #'white
\chordmode {
c
\once \override FretBoard.size = #'1.0
\once \override FretBoard.fret-diagram-details.barre-type = #'straight
\once \override FretBoard.fret-diagram-details.dot-color = #'black
\once \override FretBoard.fret-diagram-details.finger-code = #'below-string
c'
\once \override FretBoard.fret-diagram-details.barre-type = #'none
\once \override FretBoard.fret-diagram-details.number-type = #'arabic
\once \override FretBoard.fret-diagram-details.orientation = #'landscape
\once \override FretBoard.fret-diagram-details.mute-string = #"M"
\once \override FretBoard.fret-diagram-details.label-dir = #LEFT
\once \override FretBoard.fret-diagram-details.dot-color = #'black
c'
\once \override FretBoard.fret-diagram-details.finger-code = #'below-string
\once \override FretBoard.fret-diagram-details.dot-radius = #0.35
\once \override FretBoard.fret-diagram-details.dot-position = #0.5
\once \override FretBoard.fret-diagram-details.fret-count = #3
d
}
}
\new Voice {
c'1 | c' | c' | d'
}
>>
|
Customizing markup fret diagrams
Fret diagram properties can be set through
'fret-diagram-details
. For markup fret diagrams, overrides can
be applied to the Voice.TextScript
object or directly to the
markup.
| <<
\chords { c1 | c | c | d }
\new Voice = "mel" {
\textLengthOn
% Set global properties of fret diagram
\override TextScript.size = #'1.2
\override TextScript.fret-diagram-details.finger-code = #'in-dot
\override TextScript.fret-diagram-details.dot-color = #'white
%% C major for guitar, no barre, using defaults
% terse style
c'1^\markup { \fret-diagram-terse "x;3-3;2-2;o;1-1;o;" }
%% C major for guitar, barred on third fret
% verbose style
% size 1.0
% roman fret label, finger labels below string, straight barre
c'1^\markup {
% standard size
\override #'(size . 1.0) {
\override #'(fret-diagram-details . (
(number-type . roman-lower)
(finger-code . in-dot)
(barre-type . straight))) {
\fret-diagram-verbose #'((mute 6)
(place-fret 5 3 1)
(place-fret 4 5 2)
(place-fret 3 5 3)
(place-fret 2 5 4)
(place-fret 1 3 1)
(barre 5 1 3))
}
}
}
%% C major for guitar, barred on third fret
% verbose style
% landscape orientation, arabic numbers, M for mute string
% no barre, fret label down or left, small mute label font
c'1^\markup {
\override #'(fret-diagram-details . (
(finger-code . below-string)
(number-type . arabic)
(label-dir . -1)
(mute-string . "M")
(orientation . landscape)
(barre-type . none)
(xo-font-magnification . 0.4)
(xo-padding . 0.3))) {
\fret-diagram-verbose #'((mute 6)
(place-fret 5 3 1)
(place-fret 4 5 2)
(place-fret 3 5 3)
(place-fret 2 5 4)
(place-fret 1 3 1)
(barre 5 1 3))
}
}
%% simple D chord
% terse style
% larger dots, centered dots, fewer frets
% label below string
d'1^\markup {
\override #'(fret-diagram-details . (
(finger-code . below-string)
(dot-radius . 0.35)
(dot-position . 0.5)
(fret-count . 3))) {
\fret-diagram-terse "x;x;o;2-1;3-2;2-3;"
}
}
}
>>
|
Defining predefined fretboards for other instruments
Predefined fret diagrams can be added for new instruments in addition
to the standards used for guitar. This file shows how this is done by
defining a new string-tuning and a few predefined fretboards for the
Venezuelan cuatro.
This file also shows how fingerings can be included in the chords used
as reference points for the chord lookup, and displayed in the fret
diagram and the TabStaff
, but not the music.
These fretboards are not transposable because they contain string
information. This is planned to be corrected in the future.
| % add FretBoards for the Cuatro
% Note: This section could be put into a separate file
% predefined-cuatro-fretboards.ly
% and \included into each of your compositions
cuatroTuning = #`(,(ly:make-pitch 0 6 0)
,(ly:make-pitch 1 3 SHARP)
,(ly:make-pitch 1 1 0)
,(ly:make-pitch 0 5 0))
dSix = { <a\4 b\1 d\3 fis\2> }
dMajor = { <a\4 d\1 d\3 fis \2> }
aMajSeven = { <a\4 cis\1 e\3 g\2> }
dMajSeven = { <a\4 c\1 d\3 fis\2> }
gMajor = { <b\4 b\1 d\3 g\2> }
\storePredefinedDiagram #default-fret-table \dSix
#cuatroTuning
#"o;o;o;o;"
\storePredefinedDiagram #default-fret-table \dMajor
#cuatroTuning
#"o;o;o;3-3;"
\storePredefinedDiagram #default-fret-table \aMajSeven
#cuatroTuning
#"o;2-2;1-1;2-3;"
\storePredefinedDiagram #default-fret-table \dMajSeven
#cuatroTuning
#"o;o;o;1-1;"
\storePredefinedDiagram #default-fret-table \gMajor
#cuatroTuning
#"2-2;o;1-1;o;"
% end of potential include file /predefined-cuatro-fretboards.ly
#(set-global-staff-size 16)
primerosNames = \chordmode {
d:6 d a:maj7 d:maj7
g
}
primeros = {
\dSix \dMajor \aMajSeven \dMajSeven
\gMajor
}
\score {
<<
\new ChordNames {
\set chordChanges = ##t
\primerosNames
}
\new Staff {
\new Voice \with {
\remove "New_fingering_engraver"
}
\relative c'' {
\primeros
}
}
\new FretBoards {
\set Staff.stringTunings = #cuatroTuning
% \override FretBoard
% #'(fret-diagram-details string-count) = #'4
\override FretBoard.fret-diagram-details.finger-code = #'in-dot
\primeros
}
\new TabStaff \relative c'' {
\set TabStaff.stringTunings = #cuatroTuning
\primeros
}
>>
\layout {
\context {
\Score
\override SpacingSpanner.base-shortest-duration = #(ly:make-moment 1 16)
}
}
\midi { }
}
|
Faking a hammer in tablatures
A hammer in tablature can be faked with slurs.
| \score {
\new TabStaff {
\relative c'' {
\tabFullNotation
c4( d) d( d)
d2( c)
}
}
}
|
Fingerings string indications and right-hand fingerings
This example combines left-hand fingering, string indications, and
right-hand fingering.
| #(define RH rightHandFinger)
\relative c {
\clef "treble_8"
<c-3\5-\RH #1 >4
<e-2\4-\RH #2 >4
<g-0\3-\RH #3 >4
<c-1\2-\RH #4 >4
}
|
Flamenco notation
For flamenco guitar, special notation is used:
* a golpe symbol to indicate a slap on the guitar body with the nail of
the ring finger * an arrow to indicate (the direction of) strokes *
different letters for fingering (“p”: thumb, “i”: index finger,
“m”: middle finger, “a”: ring finger and “x”: little finger) *
3- and 4-finger rasgueados; stroke upwards with all fingers, ending
with an up- and down using the index finger * abanicos: strokes (in
tuples) with thumb (down), little and index finger (both up). There’s
also an abanico 2 where middle and ring finger are used instead of the
little finger. * alza pua: fast playing with the thumb
Most figures use arrows in combination with fingering; with abanicos
and rasgueados, noteheads are printed only for the first chord.
This snippet contains some header-like code that can be copied as
‘flamenco.ly’ and included in source files.
| %%%%%%% Cut here ----- Start 'flamenco.ly'
% Text indicators :
abanico = ^\markup\small { \italic Abanico }
rasgueado = ^\markup\small { \italic Ras. }
alzapua = ^\markup\small { \italic Alzapua }
% Finger stroke symbols :
strokeUp = \markup\combine\override #'(thickness . 1.3) \draw-line #'(0 . 2)\raise #2 \arrow-head #Y #UP ##f
strokeDown = \markup\combine\arrow-head #Y #DOWN ##f \override #'(thickness . 1.3) \draw-line #'(0 . 2)
% Golpe symbol :
golpe = \markup {
\filled-box #'(0 . 1) #'(0 . 1) #0
\hspace #-1.6
\with-color #white
\filled-box #'(0.15 . 0.85) #'(0.15 . 0.85) #0
}
% Strokes, fingers and golpe command :
RHp = \rightHandFinger #1
RHi = \rightHandFinger #2
RHm = \rightHandFinger #3
RHa = \rightHandFinger #4
RHx = \rightHandFinger #5
RHu = \rightHandFinger \strokeUp
RHd = \rightHandFinger \strokeDown
RHg = \rightHandFinger \golpe
% Just handy :)
tupletOff = {
\once \omit TupletNumber
\once \omit TupletBracket
}
tupletsOff = {
\omit TupletNumber
\override TupletBracket.bracket-visibility = #'if-no-beam
}
tupletsOn = {
\override TupletBracket.bracket-visibility = #'default
\undo \omit TupletNumber
}
headsOff = {
\hide TabNoteHead
\hide NoteHead
\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' {
\set strokeFingerOrientations = #'(up)
\override StrokeFinger.add-stem-support = ##t
\key a\major
<a, e' a cis e\RHu\RHi>8
<a e' a cis e\RHd\RHi>8
r4
r2^\markup\golpe
<a e' a cis e\RHu\RHi>8
<a e' a cis e\RHd\RHi>8
<a e' a cis e\RHu\RHi\RHg>8
<a e' a cis e\RHd\RHi>8
r2
<a e' a cis e\RHu\RHa>16\rasgueado
\headsOff
<a e' a cis e\RHu\RHm>
<a e' a cis e\RHu\RHi>
<a e' a cis e\RHd\RHi>~
\headsOn
<a e' a cis e>2
r4
\tupletOff
\tuplet 5/4 {
<a e' a cis e\RHu\RHx>16\rasgueado
\headsOff
<a e' a cis e\RHu\RHa>
<a e' a cis e\RHu\RHm>
<a e' a cis e\RHu\RHi>
<a e' a cis e\RHd\RHi>~
\headsOn
}
<a e' a cis e>2
r4
\tupletsOff
\tuplet 3/2 {
<a e' a cis e\RHd\RHp>8\abanico
\headsOff
<a e' a cis e\RHu\RHx>
<a e' a cis e\RHu\RHi>
\headsOn
}
\tuplet 3/2 {
<a e' a cis e\RHd\RHp>8
\headsOff
<a e' a cis e\RHu\RHx>
<a e' a cis e\RHu\RHi>
\headsOn
}
\tuplet 3/2 {
<a e' a cis e\RHd\RHp>8
\headsOff
<a e' a cis e\RHu\RHx>
<a e' a cis e\RHu\RHi>
\headsOn
}
\tuplet 3/2 {
<a e' a cis e\RHd\RHp>8
\headsOff
<a e' a cis e\RHu\RHx>
<a e' a cis e\RHu\RHi>
\headsOn
}
\tupletsOff
\override Beam.positions = #'(2 . 2)
\tuplet 3/2 {
a8\RHp\alzapua
<e' a\RHu\RHg>
<e a\RHd>
}
\tuplet 3/2 {
a,8\RHp
<e' a\RHu\RHg>
<e a\RHd>
}
\tuplet 3/2 {
a,8\RHp
<e' a\RHu\RHg>
<e a\RHd>
}
\tuplet 3/2 {
a,8\RHp
<e' a\RHu\RHg>
<e a\RHd>
}
\tupletsOn
<a, e' a\RHu\RHm>1
\bar "|."
}
\score {
\new StaffGroup <<
\context Staff = "part" <<
\clef "G_8"
{
\part
}
>>
\context TabStaff {
\part
}
>>
\layout {
ragged-right = ##t
}
}
|
Fret diagrams explained and developed
This snippet shows many possibilities for obtaining and tweaking fret
diagrams.
| <<
\chords {
a2 a
\repeat unfold 3 {
c c c d d
}
}
\new Voice = "mel" {
\textLengthOn
% Set global properties of fret diagram
\override TextScript.size = #1.2
\override TextScript.fret-diagram-details.finger-code = #'below-string
\override TextScript.fret-diagram-details.dot-color = #'black
%% A chord for ukulele
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 ukulele, 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;"
}
}
%% These chords will be in normal orientation
%% 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
%% Double barre used to test barre function
% 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")
(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 4 2 5)
(barre 5 1 3))
}
}
}
%% C major for guitar, with capo on third fret
% verbose style
c'2^\markup {
% 110% of default size
\override #'(size . 1.1) {
\override #'(fret-diagram-details . (
(number-type . roman-upper)
(dot-label-font-mag . 0.9)
(finger-code . none)
(fret-label-vertical-offset . 0.5)
(xo-font-magnification . 0.4)
(xo-padding . 0.3))) {
\fret-diagram-verbose #'((mute 6)
(capo 3)
(open 5)
(place-fret 4 5 1)
(place-fret 3 5 2)
(place-fret 2 5 3)
(open 1))
}
}
}
%% simple D chord
d'2^\markup {
\override #'(fret-diagram-details . (
(finger-code . below-string)
(dot-radius . 0.35)
(string-thickness-factor . 0.3)
(dot-position . 0.5)
(fret-count . 3))) {
\fret-diagram-terse "x;x;o;2-1;3-2;2-3;"
}
}
%% simple D chord, large top fret thickness
d'2^\markup {
\override #'(fret-diagram-details . (
(finger-code . below-string)
(dot-radius . 0.35)
(dot-position . 0.5)
(top-fret-thickness . 7)
(fret-count . 3))) {
\fret-diagram-terse "x;x;o;2-1;3-2;2-3;"
}
}
% These chords will be in landscape orientation
\override TextScript.fret-diagram-details.orientation = #'landscape
%% 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
%% Double barre used to test barre function
% 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")
(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 4 2 5)
(barre 5 1 3))
}
}
}
%% C major for guitar, with capo on third fret
% verbose style
c'2^\markup {
% 110% of default size
\override #'(size . 1.1) {
\override #'(fret-diagram-details . (
(number-type . roman-upper)
(dot-label-font-mag . 0.9)
(finger-code . none)
(fret-label-vertical-offset . 0.5)
(xo-font-magnification . 0.4)
(xo-padding . 0.3))) {
\fret-diagram-verbose #'((mute 6)
(capo 3)
(open 5)
(place-fret 4 5 1)
(place-fret 3 5 2)
(place-fret 2 5 3)
(open 1))
}
}
}
%% simple D chord
d'2^\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;"
}
}
%% simple D chord, large top fret thickness
d'2^\markup {
\override #'(fret-diagram-details . (
(finger-code . below-string)
(dot-radius . 0.35)
(dot-position . 0.5)
(top-fret-thickness . 7)
(fret-count . 3))) {
\fret-diagram-terse "x;x;o;2-1;3-2;2-3;"
}
}
% These chords will be in opposing-landscape orientation
\override TextScript.fret-diagram-details.orientation = #'opposing-landscape
%% 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
%% Double barre used to test barre function
% 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")
(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 4 2 5)
(barre 5 1 3))
}
}
}
%% C major for guitar, with capo on third fret
% verbose style
c'2^\markup {
% 110% of default size
\override #'(size . 1.1) {
\override #'(fret-diagram-details . (
(number-type . roman-upper)
(dot-label-font-mag . 0.9)
(finger-code . none)
(fret-label-vertical-offset . 0.5)
(xo-font-magnification . 0.4)
(xo-padding . 0.3))) {
\fret-diagram-verbose #'((mute 6)
(capo 3)
(open 5)
(place-fret 4 5 1)
(place-fret 3 5 2)
(place-fret 2 5 3)
(open 1))
}
}
}
%% simple D chord
d'2^\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;"
}
}
%% simple D chord, large top fret thickness
d'2^\markup {
\override #'(fret-diagram-details . (
(finger-code . below-string)
(dot-radius . 0.35)
(dot-position . 0.5)
(top-fret-thickness . 7)
(fret-count . 3))) {
\fret-diagram-terse "x;x;o;2-1;3-2;2-3;"
}
}
}
>>
|
Fretboards alternate tables
Alternate fretboard tables can be created. These would be used in
order to have alternate fretboards for a given chord.
In order to use an alternate fretboard table, the table must first be
created. Fretboards are then added to the table.
The created fretboard table can be blank, or it can be copied from an
existing table.
The table to be used in displaying predefined fretboards is selected by
the property \predefinedDiagramTable
.
| \include "predefined-guitar-fretboards.ly"
% Make a blank new fretboard table
#(define custom-fretboard-table-one (make-fretboard-table))
% Make a new fretboard table as a copy of default-fret-table
#(define custom-fretboard-table-two (make-fretboard-table default-fret-table))
% Add a chord to custom-fretboard-table-one
\storePredefinedDiagram #custom-fretboard-table-one
\chordmode{c}
#guitar-tuning
"3-(;3;5;5;5;3-);"
% Add a chord to custom-fretboard-table-two
\storePredefinedDiagram #custom-fretboard-table-two
\chordmode{c}
#guitar-tuning
"x;3;5;5;5;o;"
<<
\chords {
c1 | d1 |
c1 | d1 |
c1 | d1 |
}
\new FretBoards {
\chordmode {
\set predefinedDiagramTable = #default-fret-table
c1 | d1 |
\set predefinedDiagramTable = #custom-fretboard-table-one
c1 | d1 |
\set predefinedDiagramTable = #custom-fretboard-table-two
c1 | d1 |
}
}
\new Staff {
\clef "treble_8"
<<
\chordmode {
c1 | d1 |
c1 | d1 |
c1 | d1 |
}
{
s1_\markup "Default table" | s1 |
s1_\markup \column {"New table" "from empty"} | s1 |
s1_\markup \column {"New table" "from default"} | s1 |
}
>>
}
>>
|
Fretted-string harmonics in tablature
Demonstrates fretted-string harmonics in tablature
| pinchedHarmonics = {
\textSpannerDown
\override TextSpanner.bound-details.left.text =
\markup {\halign #-0.5 \teeny "PH" }
\override TextSpanner.style =
#'dashed-line
\override TextSpanner.dash-period = #0.6
\override TextSpanner.bound-details.right.attach-dir = #1
\override TextSpanner.bound-details.right.text =
\markup { \draw-line #'(0 . 1) }
\override TextSpanner.bound-details.right.padding = #-0.5
}
harmonics = {
%artificial harmonics (AH)
\textLengthOn
<\parenthesize b b'\harmonic>4_\markup{ \teeny "AH 16" }
<\parenthesize g g'\harmonic>4_\markup{ \teeny "AH 17" }
<\parenthesize d' d''\harmonic>2_\markup{ \teeny "AH 19" }
%pinched harmonics (PH)
\pinchedHarmonics
<a'\harmonic>2\startTextSpan
<d''\harmonic>4
<e'\harmonic>4\stopTextSpan
%tapped harmonics (TH)
<\parenthesize g\4 g'\harmonic>4_\markup{ \teeny "TH 17" }
<\parenthesize a\4 a'\harmonic>4_\markup{ \teeny "TH 19" }
<\parenthesize c'\3 c''\harmonic>2_\markup{ \teeny "TH 17" }
%touch harmonics (TCH)
a4( <e''\harmonic>2. )_\markup{ \teeny "TCH" }
}
frettedStrings = {
%artificial harmonics (AH)
\harmonicByFret #4 g4\3
\harmonicByFret #5 d4\4
\harmonicByFret #7 g2\3
%pinched harmonics (PH)
\harmonicByFret #7 d2\4
\harmonicByFret #5 d4\4
\harmonicByFret #7 a4\5
%tapped harmonics (TH)
\harmonicByFret #5 d4\4
\harmonicByFret #7 d4\4
\harmonicByFret #5 g2\3
%touch harmonics (TCH)
a4 \harmonicByFret #9 g2.\3
}
\score {
<<
\new Staff
\with { \omit StringNumber } {
\new Voice {
\clef "treble_8"
\harmonics
}
}
\new TabStaff {
\new TabVoice {
\frettedStrings
}
}
>>
}
|
Guitar slides
Unlike glissandos, slides may go from an imprecise point of the
fretboard to a specific fret. A good way to do this is to add a hidden
grace note before the note which is actually played, as demonstrated in
the following example.
| %% Hide fret number: useful to draw slide into/from a casual point of
%% the fretboard.
hideFretNumber = {
\once \hide TabNoteHead
\once \hide NoteHead
\once \hide Stem
\once \override NoteHead.no-ledgers = ##t
\once \override Glissando.bound-details.left.padding = #0.3
}
music= \relative c' {
\grace { \hideFretNumber d8\2 \glissando s2 } g2\2
\grace { \hideFretNumber g8\2 \glissando s2 } d2 |
\grace { \hideFretNumber c,8 \glissando s } f4\5^\markup \tiny { Slide into }
\grace { \hideFretNumber f8 \glissando s } a4\4
\grace { \hideFretNumber e'8\3 \glissando s } b4\3^\markup \tiny { Slide from }
\grace { \hideFretNumber b'8 \glissando s2 } g4 |
}
\score {
<<
\new Staff {
\clef "G_8"
\music
}
\new TabStaff {
\music
}
>>
}
|
Guitar strum rhythms
For guitar music, it is possible to show strum rhythms, along with
melody notes, chord names and fret diagrams.
| \include "predefined-guitar-fretboards.ly"
<<
\new ChordNames {
\chordmode {
c1 | f | g | c
}
}
\new FretBoards {
\chordmode {
c1 | f | g | c
}
}
\new Voice \with {
\consists "Pitch_squash_engraver"
} {
\relative c'' {
\improvisationOn
c4 c8 c c4 c8 c
f4 f8 f f4 f8 f
g4 g8 g g4 g8 g
c4 c8 c c4 c8 c
}
}
\new Voice = "melody" {
\relative c'' {
c2 e4 e4
f2. r4
g2. a4
e4 c2.
}
}
\new Lyrics {
\lyricsto "melody" {
This is my song.
I like to sing.
}
}
>>
|
Hammer on and pull off using chords
When using hammer-on or pull-off with chorded notes, only a single arc
is drawn. However “double arcs” are possible by setting the
doubleSlurs
property to #t
.
| \new TabStaff {
\relative c' {
% chord hammer-on and pull-off
\set doubleSlurs = ##t
<g' b>8( <a c> <g b>)
}
}
|
Hammer on and pull off using voices
The arc of hammer-on and pull-off is upwards in voices one and three
and downwards in voices two and four:
| \new TabStaff {
\relative c' {
<< { \voiceOne g2( a) }
\\ { \voiceTwo a,( b) }
>> \oneVoice
}
}
|
Hammer on and pull off
Hammer-on and pull-off can be obtained using slurs.
| \new TabStaff {
\relative c' {
d4( e\2)
a( g)
}
}
|
How to change fret diagram position
If you want to move the position of a fret diagram, for example, to
avoid collision, or to place it between two notes, you have various
possibilities:
1) modify #’padding or #’extra-offset values (as shown in the first
snippet)
2) you can add an invisible voice and attach the fret diagrams to the
invisible notes in that voice (as shown in the second example).
If you need to move the fret according with a rythmic position inside
the bar (in the example, the third beat of the measure) the second
example is better, because the fret is aligned with the third beat
itself.
| harmonies = \chordmode
{
a8:13
% THE FOLLOWING IS THE COMMAND TO MOVE THE CHORD NAME
\once \override ChordNames.ChordName.extra-offset = #'(10 . 0)
b8:13 s2.
% THIS LINE IS THE SECOND METHOD
s4 s4 b4:13
}
\score
{
<<
\new ChordNames \harmonies
\new 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;" }
}
>>
}
>>
}
|
Jazz combo template
This is quite an advanced template, for a jazz ensemble. Note that all
instruments are notated in \key c \major
. This refers to the
key in concert pitch; the key will be automatically transposed if the
music is within a \transpose
section.
| \header {
title = "Song"
subtitle = "(tune)"
composer = "Me"
meter = "moderato"
piece = "Swing"
tagline = \markup {
\column {
"LilyPond example file by Amelie Zapf,"
"Berlin 07/07/2003"
}
}
}
% To make the example display in the documentation
\paper {
paper-width = 130
}
%#(set-global-staff-size 16)
\include "english.ly"
%%%%%%%%%%%% Some macros %%%%%%%%%%%%%%%%%%%
sl = {
\override NoteHead.style = #'slash
\hide Stem
}
nsl = {
\revert NoteHead.style
\undo \hide Stem
}
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
\clef treble
<<
\trpt
>>
}
% ------ Alto Saxophone ------
alto = \transpose c a \relative c' {
\Key
c1 | c | c |
}
altoHarmony = \transpose c' a {
\jazzChords
}
altoSax = {
\global
\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
\clef treble
<<
\bari
>>
}
% ------ Trombone ------
tbone = \relative c {
\Key
c1 | c | c
}
tboneHarmony = \chordmode {
\jazzChords
}
trombone = {
\global
\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
\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
<<
\new Voice = "one" \rhUpper
\new Voice = "two" \rhLower
>>
}
PianoLH = {
\clef bass
\global
<<
\new Voice = "one" \lhUpper
\new Voice = "two" \lhLower
>>
}
piano = {
<<
\new Staff = "upper" \PianoRH
\new Staff = "lower" \PianoLH
>>
}
% ------ Bass Guitar ------
Bass = \relative c {
\Key
c1 | c | c
}
bass = {
\global
\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
<<
\new DrumVoice \up
\new DrumVoice \down
>>
}
%%%%%%%%% It All Goes Together Here %%%%%%%%%%%%%%%%%%%%%%
\score {
<<
\new StaffGroup = "horns" <<
\new Staff = "trumpet" \with { instrumentName = "Trumpet" }
\trumpet
\new Staff = "altosax" \with { instrumentName = "Alto Sax" }
\altoSax
\new ChordNames = "barichords" \with { instrumentName = "Trumpet" }
\bariHarmony
\new Staff = "barisax" \with { instrumentName = "Bari Sax" }
\bariSax
\new Staff = "trombone" \with { instrumentName = "Trombone" }
\trombone
>>
\new StaffGroup = "rhythm" <<
\new ChordNames = "chords" \gtrHarmony
\new Staff = "guitar" \with { instrumentName = "Guitar" }
\guitar
\new PianoStaff = "piano" \with {
instrumentName = "Piano"
midiInstrument = "acoustic grand"
}
\piano
\new Staff = "bass" \with { instrumentName = "Bass" }
\bass
\new DrumStaff \with { instrumentName = "Drums" }
\drumContents
>>
>>
\layout {
\context { \Staff \RemoveEmptyStaves }
\context {
\Score
\override BarNumber.padding = #3
\override RehearsalMark.padding = #2
skipBars = ##t
}
}
\midi { }
}
|
Laissez vibrer ties
Laissez vibrer ties have a fixed size. Their formatting can be tuned
using 'tie-configuration
.
| \relative c' {
<c e g>4\laissezVibrer r <c f g>\laissezVibrer r
<c d f g>4\laissezVibrer r <c d f g>4.\laissezVibrer r8
<c d e f>4\laissezVibrer r
\override LaissezVibrerTieColumn.tie-configuration
= #`((-7 . ,DOWN)
(-5 . ,DOWN)
(-3 . ,UP)
(-1 . ,UP))
<c d e f>4\laissezVibrer r
}
|
Let TabStaff print the topmost string at bottom
In tablatures usually the first string is printed topmost. If you want
to have it at the bottom change the
stringOneTopmost
-context-property. For a context-wide setting
this could be done in layout
as well.
| %
%\layout {
% \context {
% \Score
% stringOneTopmost = ##f
% }
% \context {
% \TabStaff
% tablatureFormat = #fret-letter-tablature-format
% }
%}
m = {
\cadenzaOn
e, b, e gis! b e'
\bar "||"
}
<<
\new Staff { \clef "G_8" <>_"default" \m <>_"italian (historic)"\m }
\new TabStaff
{
\m
\set Score.stringOneTopmost = ##f
\set TabStaff.tablatureFormat = #fret-letter-tablature-format
\m
}
>>
|
Letter tablature formatting
Tablature can be formatted using letters instead of numbers.
| 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 = #fret-letter-tablature-format
}
{
\music
}
>>
|
Open string harmonics in tablature
This snippet demonstrates open-string harmonics
| openStringHarmonics = {
\textSpannerDown
\override TextSpanner.staff-padding = #3
\override TextSpanner.dash-fraction = #0.3
\override TextSpanner.dash-period = #1
%first harmonic
\override TextSpanner.bound-details.left.text = \markup\small "1st harm. "
\harmonicByFret #12 e,2\6\startTextSpan
\harmonicByRatio #1/2 e,\6\stopTextSpan
%second harmonic
\override TextSpanner.bound-details.left.text = \markup\small "2nd harm. "
\harmonicByFret #7 e,\6\startTextSpan
\harmonicByRatio #1/3 e,\6
\harmonicByFret #19 e,\6
\harmonicByRatio #2/3 e,\6\stopTextSpan
%\harmonicByFret #19 < e,\6 a,\5 d\4 >
%\harmonicByRatio #2/3 < e,\6 a,\5 d\4 >
%third harmonic
\override TextSpanner.bound-details.left.text = \markup\small "3rd harm. "
\harmonicByFret #5 e,\6\startTextSpan
\harmonicByRatio #1/4 e,\6
\harmonicByFret #24 e,\6
\harmonicByRatio #3/4 e,\6\stopTextSpan
\break
%fourth harmonic
\override TextSpanner.bound-details.left.text = \markup\small "4th harm. "
\harmonicByFret #4 e,\6\startTextSpan
\harmonicByRatio #1/5 e,\6
\harmonicByFret #9 e,\6
\harmonicByRatio #2/5 e,\6
\harmonicByFret #16 e,\6
\harmonicByRatio #3/5 e,\6\stopTextSpan
%fifth harmonic
\override TextSpanner.bound-details.left.text = \markup\small "5th harm. "
\harmonicByFret #3 e,\6\startTextSpan
\harmonicByRatio #1/6 e,\6\stopTextSpan
\break
%sixth harmonic
\override TextSpanner.bound-details.left.text = \markup\small "6th harm. "
\harmonicByFret #2.7 e,\6\startTextSpan
\harmonicByRatio #1/7 e,\6\stopTextSpan
%seventh harmonic
\override TextSpanner.bound-details.left.text = \markup\small "7th harm. "
\harmonicByFret #2.3 e,\6\startTextSpan
\harmonicByRatio #1/8 e,\6\stopTextSpan
%eighth harmonic
\override TextSpanner.bound-details.left.text = \markup\small "8th harm. "
\harmonicByFret #2 e,\6\startTextSpan
\harmonicByRatio #1/9 e,\6\stopTextSpan
}
\score {
<<
\new Staff
\with { \omit StringNumber } {
\new Voice {
\clef "treble_8"
\openStringHarmonics
}
}
\new TabStaff {
\new TabVoice {
\openStringHarmonics
}
}
>>
}
|
Placement of right-hand fingerings
It is possible to exercise greater control over the placement of
right-hand fingerings by setting a specific property, as demonstrated
in the following example. Note: you must use a chord construct
| #(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 in tablature
Polyphony is created the same way in a TabStaff
as in a regular
staff.
| upper = \relative c' {
\time 12/8
\key e \minor
\voiceOne
r4. r8 e, fis g16 b g e e' b c b a g fis e
}
lower = \relative c {
\key e \minor
\voiceTwo
r16 e d c b a g4 fis8 e fis g a b c
}
\score {
<<
\new StaffGroup = "tab with traditional" <<
\new Staff = "guitar traditional" <<
\clef "treble_8"
\context Voice = "upper" \upper
\context Voice = "lower" \lower
>>
\new TabStaff = "guitar tab" <<
\context TabVoice = "upper" \upper
\context TabVoice = "lower" \lower
>>
>>
>>
}
|
Slides in tablature
Slides can be typeset in both Staff
and TabStaff
contexts:
| slides = {
c'8\3(\glissando d'8\3)
c'8\3\glissando d'8\3
\hideNotes
\grace { g16\glissando }
\unHideNotes
c'4\3
\afterGrace d'4\3\glissando {
\stemDown \hideNotes
g16 }
\unHideNotes
}
\score {
<<
\new Staff { \clef "treble_8" \slides }
\new TabStaff { \slides }
>>
\layout {
\context {
\Score
\override Glissando.minimum-length = #4
\override Glissando.springs-and-rods =
#ly:spanner::set-spacing-rods
\override Glissando.thickness = #2
\omit StringNumber
% or:
%\override StringNumber.stencil = ##f
}
}
}
|
Stem and beam behavior in tablature
The direction of stems is controlled the same way in tablature as in
traditional notation. Beams can be made horizontal, as shown in this
example.
| \new TabStaff {
\relative c {
\tabFullNotation
g16 b d g b d g b
\stemDown
\override Beam.concaveness = #10000
g,,16 b d g b d g b
}
}
|
String number extender lines
Make an extender line for string number indications, showing that a
series of notes is supposed to be played all on the same string.
| stringNumberSpanner =
#(define-music-function (StringNumber) (string?)
#{
\override TextSpanner.style = #'solid
\override TextSpanner.font-size = #-5
\override TextSpanner.bound-details.left.stencil-align-dir-y = #CENTER
\override TextSpanner.bound-details.left.text =
\markup { \circle \number $StringNumber }
#})
\relative c {
\clef "treble_8"
\stringNumberSpanner "5"
\textSpannerDown
a8\startTextSpan
b c d e f\stopTextSpan
\stringNumberSpanner "4"
g\startTextSpan a
bes4 a g2\stopTextSpan
}
|
Unfretted strings
Unfretted string instruments
Changing \flageolet mark size
To make the \flageolet
circle smaller use the following Scheme
function.
| smallFlageolet =
#(let ((m (make-articulation "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
}
|
Creating slurs across voices
In some situations, it may be necessary to create slurs between notes
from different voices.
The solution is to add invisible notes to one of the voices, using
\hideNotes
.
This example is measure 235 of the Ciaconna from Bach’s 2nd Partita for
solo violin, BWV 1004.
| \relative c' {
<<
{
d16( a') s a s a[ s a] s a[ s a]
}
\\
{
\slurUp
bes,16[ s e](
\hideNotes a)
\unHideNotes f[(
\hideNotes a)
\unHideNotes fis](
\hideNotes a)
\unHideNotes g[(
\hideNotes a)
\unHideNotes gis](
\hideNotes a)
}
>>
}
|
Dotted harmonics
Artificial harmonics using \harmonic
do not show dots. To
override this behavior, set the context property harmonicDots
.
| \relative c''' {
\time 3/4
\key f \major
\set harmonicDots = ##t
<bes f'\harmonic>2. ~
<bes f'\harmonic>4. <a e'\harmonic>8( <gis dis'\harmonic> <g d'\harmonic>)
<fis cis'\harmonic>2.
<bes f'\harmonic>2.
}
|
Snap-pizzicato or Bartok pizzicato
A snap-pizzicato (also known as “Bartok pizzicato”) is a “strong
pizzicato where the string is plucked vertically by snapping and
rebounds off the fingerboard of the instrument” (Wikipedia). It is
denoted by a circle with a vertical line going from the center upwards
outside the circle.
| \relative c' {
c4\snappizzicato
<c' e g>4\snappizzicato
<c' e g>4^\snappizzicato
<c, e g>4_\snappizzicato
}
|
String quartet template (simple)
This template demonstrates a simple string quartet. It also uses a
\global
section for time and key signatures
| global= {
\time 4/4
\key c \major
}
violinOne = \new Voice \relative c'' {
c2 d
e1
\bar "|."
}
violinTwo = \new Voice \relative c'' {
g2 f
e1
\bar "|."
}
viola = \new Voice \relative c' {
\clef alto
e2 d
c1
\bar "|."
}
cello = \new Voice \relative c' {
\clef bass
c2 b
a1
\bar "|."
}
\score {
\new StaffGroup <<
\new Staff \with { instrumentName = "Violin 1" }
<< \global \violinOne >>
\new Staff \with { instrumentName = "Violin 2" }
<< \global \violinTwo >>
\new Staff \with { instrumentName = "Viola" }
<< \global \viola >>
\new Staff \with { instrumentName = "Cello" }
<< \global \cello >>
>>
\layout { }
\midi { }
}
|
String quartet template with separate parts
The “String quartet template” snippet produces a nice string
quartet, but what if you needed to print parts? This new template
demonstrates how to use the \tag
feature to easily split a
piece into individual parts.
You need to split this template into separate files; the filenames are
contained in comments at the beginning of each file. piece.ly
contains all the music definitions. The other files – score.ly
,
vn1.ly
, vn2.ly
, vla.ly
, and vlc.ly
–
produce the appropriate part.
Do not forget to remove specified comments when using separate files!
| %%%%% piece.ly
%%%%% (This is the global definitions file)
global= {
\time 4/4
\key c \major
}
Violinone = \new Voice {
\relative c'' {
c2 d e1
\bar "|."
}
}
Violintwo = \new Voice {
\relative c'' {
g2 f e1
\bar "|."
}
}
Viola = \new Voice {
\relative c' {
\clef alto
e2 d c1
\bar "|."
}
}
Cello = \new Voice {
\relative c' {
\clef bass
c2 b a1
\bar "|."
}
}
music = {
<<
\tag #'score \tag #'vn1
\new Staff \with { instrumentName = "Violin 1" }
<< \global \Violinone >>
\tag #'score \tag #'vn2
\new Staff \with { instrumentName = "Violin 2" }
<< \global \Violintwo>>
\tag #'score \tag #'vla
\new Staff \with { instrumentName = "Viola" }
<< \global \Viola>>
\tag #'score \tag #'vlc
\new Staff \with { instrumentName = "Cello" }
<< \global \Cello >>
>>
}
% These are the other files you need to save on your computer
% score.ly
% (This is the main file)
% uncomment the line below when using a separate file
%\include "piece.ly"
#(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 { }
}
%}
|
Winds
Wind instruments
Changing the size of woodwind diagrams
The size and thickness of woodwind diagrams can be changed.
| \relative c'' {
\textLengthOn
c1^\markup
\woodwind-diagram
#'piccolo
#'()
c^\markup
\override #'(size . 1.5) {
\woodwind-diagram
#'piccolo
#'()
}
c^\markup
\override #'(thickness . 0.15) {
\woodwind-diagram
#'piccolo
#'()
}
}
|
Fingering symbols for wind instruments
Special symbols can be achieved by combining existing glyphs, which is
useful for wind instruments.
| centermarkup = {
\once \override TextScript.self-alignment-X = #CENTER
\once \override TextScript.X-offset =#(lambda (g)
(+ (ly:self-alignment-interface::centered-on-x-parent g)
(ly:self-alignment-interface::x-aligned-on-self g)))
}
\score {
\relative c'{
g\open
\once \override TextScript.staff-padding = #-1.0
\centermarkup
g^\markup {
\combine
\musicglyph "scripts.open"
\musicglyph "scripts.tenuto"
}
\centermarkup
g^\markup {
\combine
\musicglyph "scripts.open"
\musicglyph "scripts.stopped"
}
g\stopped
}
}
|
Flute slap notation
It is possible to indicate special articulation techniques such as a
flute “tongue slap” by replacing the note head with the appropriate
glyph.
| slap =
#(define-music-function (music) (ly:music?)
#{
\temporary \override NoteHead.stencil =
#(lambda (grob)
(grob-interpret-markup grob
(markup #:musicglyph "scripts.sforzato")))
\temporary \override NoteHead.stem-attachment =
#(lambda (grob)
(let* ((thickness (ly:staff-symbol-line-thickness grob))
(stem (ly:grob-object grob 'stem))
(dir (ly:grob-property stem 'direction UP)))
(cons 1 (+ (if (= dir DOWN)
0.5
0)
(/ thickness 2)))))
#music
\revert NoteHead.stencil
\revert NoteHead.stem-attachment
#})
\relative c' {
c4 \slap c d r
\slap { g4 a } b r
}
|
Graphical and text woodwind diagrams
In many cases, the keys other than the central column can be displayed
by key name as well as by graphical means.
| \relative c'' {
\textLengthOn
c1^\markup
\woodwind-diagram
#'piccolo
#'((cc . (one three))
(lh . (gis))
(rh . (ees)))
c^\markup
\override #'(graphical . #f) {
\woodwind-diagram
#'piccolo
#'((cc . (one three))
(lh . (gis))
(rh . (ees)))
}
}
|
Recorder fingering chart
The following example demonstrates how fingering charts for wind
instruments can be realized.
| % range chart for paetzold contrabass recorder
centermarkup = {
\once \override TextScript.self-alignment-X = #CENTER
\once \override TextScript.X-offset =#(lambda (g)
(+ (ly:self-alignment-interface::centered-on-x-parent g)
(ly:self-alignment-interface::x-aligned-on-self g)))
}
\score {
\new Staff \with {
\remove "Time_signature_engraver"
\omit Stem
\omit Flag
\consists "Horizontal_bracket_engraver"
}
{
\clef bass
\set Score.timing = ##f
f,1*1/4 \glissando
\clef violin
gis'1*1/4
\stemDown a'4^\markup{1)}
\centermarkup
\once \override TextScript.padding = #2
bes'1*1/4_\markup{\override #'(baseline-skip . 1.7) \column
{ \fontsize #-5 \slashed-digit #0 \finger 1 \finger 2 \finger 3 \finger 4
\finger 5 \finger 6 \finger 7} }
b'1*1/4
c''4^\markup{1)}
\centermarkup
\once \override TextScript.padding = #2
cis''1*1/4
deh''1*1/4
\centermarkup
\once \override TextScript.padding = #2
\once \override Staff.HorizontalBracket.direction = #UP
e''1*1/4_\markup{\override #'(baseline-skip . 1.7) \column
{ \fontsize #-5 \slashed-digit #0 \finger 1 \finger 2 \finger 4
\finger 5} }\startGroup
f''1*1/4^\markup{2)}\stopGroup
}
}
|
Woodwind diagrams key lists
The snippet below produces a list of all possible keys and key settings
for woodwind diagrams as defined in
scm/define-woodwind-diagrams.scm
. The list will be displayed in
the log file, but not in the music. If output to the console is
wanted, omit the (current-error-port)
from the commands.
| #(print-keys-verbose 'piccolo (current-error-port))
#(print-keys-verbose 'flute (current-error-port))
#(print-keys-verbose 'flute-b-extension (current-error-port))
#(print-keys-verbose 'tin-whistle (current-error-port))
#(print-keys-verbose 'oboe (current-error-port))
#(print-keys-verbose 'clarinet (current-error-port))
#(print-keys-verbose 'bass-clarinet (current-error-port))
#(print-keys-verbose 'low-bass-clarinet (current-error-port))
#(print-keys-verbose 'saxophone (current-error-port))
#(print-keys-verbose 'soprano-saxophone (current-error-port))
#(print-keys-verbose 'alto-saxophone (current-error-port))
#(print-keys-verbose 'tenor-saxophone (current-error-port))
#(print-keys-verbose 'baritone-saxophone (current-error-port))
#(print-keys-verbose 'bassoon (current-error-port))
#(print-keys-verbose 'contrabassoon (current-error-port))
\score {c''1}
|
Woodwind diagrams listing
The following music shows all of the woodwind diagrams currently
defined in LilyPond.
| \layout {
indent = 0
}
\relative c' {
\textLengthOn
c1^
\markup {
\center-column {
'tin-whistle
" "
\woodwind-diagram
#'tin-whistle
#'()
}
}
c1^
\markup {
\center-column {
'piccolo
" "
\woodwind-diagram
#'piccolo
#'()
}
}
c1^
\markup {
\center-column {
'flute
" "
\woodwind-diagram
#'flute
#'()
}
}
c1^\markup {
\center-column {
'oboe
" "
\woodwind-diagram
#'oboe
#'()
}
}
c1^\markup {
\center-column {
'clarinet
" "
\woodwind-diagram
#'clarinet
#'()
}
}
c1^\markup {
\center-column {
'bass-clarinet
" "
\woodwind-diagram
#'bass-clarinet
#'()
}
}
c1^\markup {
\center-column {
'saxophone
" "
\woodwind-diagram
#'saxophone
#'()
}
}
c1^\markup {
\center-column {
'bassoon
" "
\woodwind-diagram
#'bassoon
#'()
}
}
c1^\markup {
\center-column {
'contrabassoon
" "
\woodwind-diagram
#'contrabassoon
#'()
}
}
}
|
Ancient notation
Ancient notation
Adding a figured bass above or below the notes
When writing a figured bass, you can place the figures 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
).
This property can be changed as many times as you wish. Use
\once \override
if you don’t want the override to apply to the
whole score.
| bass = {
\clef bass
g4 b, c d
e d8 c d2
}
continuo = \figuremode {
<_>4 <6>4 <5/>4
\override Staff.BassFigureAlignmentPositioning.direction = #UP
%\bassFigureStaffAlignmentUp
< _+ >4 <6>
\set Staff.useBassFigureExtenders = ##t
\override Staff.BassFigureAlignmentPositioning.direction = #DOWN
%\bassFigureStaffAlignmentDown
<4>4. <4>8 <_+>4
}
\score {
<<
\new Staff = bassStaff \bass
\context Staff = bassStaff \continuo
>>
}
|
Ancient fonts
Shown here are many of the symbols that are included in LilyPond’s
ancient notation.
| upperStaff = \new VaticanaStaff = "upperStaff" <<
\context VaticanaVoice <<
\transpose c c {
\override NoteHead.style = #'vaticana.punctum
\key es \major
\clef "vaticana-fa2"
c1 des e f ges
\override NoteHead.style = #'vaticana.inclinatum
a! b ces'
\bar "|"
\override NoteHead.style = #'vaticana.quilisma
b! des'! ges! fes!
\breathe
\clef "vaticana-fa1"
\override NoteHead.style = #'vaticana.plica
es d
\override NoteHead.style = #'vaticana.reverse.plica
c d
\bar "|"
\override NoteHead.style = #'vaticana.punctum.cavum
es f
\override NoteHead.style = #'vaticana.lpes
g as
\override NoteHead.style = #'vaticana.upes
bes as
\override NoteHead.style = #'vaticana.vupes
g f
\override NoteHead.style = #'vaticana.linea.punctum
\once \override Staff.BarLine.bar-extent = #'(-1 . 1) \bar "|"
es d
\override NoteHead.style = #'vaticana.epiphonus
c d
\override NoteHead.style = #'vaticana.cephalicus
es f
\override Staff.KeySignature.glyph-name-alist =
#alteration-medicaea-glyph-name-alist
\override Staff.Accidental.glyph-name-alist =
#alteration-medicaea-glyph-name-alist
\override Staff.Custos.style = #'medicaea
\override NoteHead.style = #'medicaea.punctum
\clef "medicaea-fa2"
ces des
\bar "|"
e! f! ges
\clef "medicaea-do2"
\override NoteHead.style = #'medicaea.inclinatum
a! b! ces'
\override NoteHead.style = #'medicaea.virga
b! a!
\bar "|"
ges fes
\clef "medicaea-fa1"
\override NoteHead.style = #'medicaea.rvirga
e des ces
\override Staff.KeySignature.glyph-name-alist =
#alteration-hufnagel-glyph-name-alist
\override Staff.Accidental.glyph-name-alist =
#alteration-hufnagel-glyph-name-alist
\override Staff.Custos.style = #'hufnagel
\override NoteHead.style = #'hufnagel.punctum
\clef "hufnagel-fa2"
ces des es
\bar "|"
fes ges
\clef "hufnagel-do2"
\override NoteHead.style = #'hufnagel.lpes
as! bes! ces'
\override NoteHead.style = #'hufnagel.virga
bes! as!
\bar "|"
ges! fes!
\clef "hufnagel-do-fa"
\override NoteHead.style = #'hufnagel.punctum
es! des ces des! es! fes!
\bar "||"
s32*1
}
>>
>>
lowerStaff = \new MensuralStaff = "lowerStaff" <<
\context MensuralVoice <<
\transpose c c {
\key a \major
cis'1 d'\breve gis'\breve e'\breve \[ e'\longa fis'\longa \]
\set Staff.forceClef = ##t
\clef "neomensural-c2"
cis1
\bar "|"
\[ g\breve dis''\longa \]
b\breve \[ a\longa d\longa \]
\clef "petrucci-c2"
fis1 ces1
\clef "petrucci-c2"
r\longa
\set Staff.forceClef = ##t
\clef "mensural-c2"
r\breve
\bar "|"
r2
\clef "mensural-g"
r4 r8 r16 r16
\override NoteHead.style = #'mensural
\override Rest.style = #'mensural
\clef "petrucci-f"
c8 b, c16 b, c32 b, c64 b, c64 b,
d8 e d16 e d32 e d64 e d64 e
r\longa
\set Staff.forceClef = ##t
\clef "petrucci-f"
r\breve
\bar "|"
r\breve
\clef "mensural-f"
r2 r4 r8 r16 r16
\set Staff.forceClef = ##t
\clef "mensural-f"
e\breve f g a1
\clef "mensural-g"
\[ bes'!\longa a'!\longa c''!\longa \]
e'1 d' c' d' \bar "|"
\bar "|"
bes'!\longa fis'!1 as'!1 ges'!\longa % lig
\set Staff.forceClef = ##t
\clef "mensural-g"
e'2 d' c' \bar "|"
\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 "||"
}
>>
>>
\paper {
line-thickness = #(/ staff-space 5.0)
}
\score {
<<
\upperStaff
\lowerStaff
>>
\layout {
indent = 0.0
\context {
\Score
timing = ##f
}
\context {
\MensuralVoice
\override NoteHead.style = #'neomensural
\override Rest.style = #'neomensural
\override Flag.style = #'mensural
\override Stem.thickness = #1.0
}
\context {
\MensuralStaff
\revert BarLine.transparent
\override KeySignature.glyph-name-alist =
#alteration-mensural-glyph-name-alist
clefGlyph = #"clefs.petrucci.c2"
}
\context {
\VaticanaStaff
\revert BarLine.transparent
\override StaffSymbol.thickness = #2.0
\override KeySignature.glyph-name-alist =
#alteration-vaticana-glyph-name-alist
\override Custos.neutral-position = #4
}
}
}
|
Ancient notation template – modern transcription of gregorian music
This example demonstrates how to do modern transcription of Gregorian
music. Gregorian music has no measure, no stems; it uses only half and
quarter note heads, and special marks, indicating rests of different
length.
| \include "gregorian.ly"
chant = \relative c' {
\set Score.timing = ##f
f4 a2 \divisioMinima
g4 b a2 f2 \divisioMaior
g4( f) f( g) a2 \finalis
}
verba = \lyricmode {
Lo -- rem ip -- sum do -- lor sit a -- met
}
\score {
\new Staff <<
\new Voice = "melody" \chant
\new Lyrics = "one" \lyricsto melody \verba
>>
\layout {
\context {
\Staff
\remove "Time_signature_engraver"
\remove "Bar_engraver"
\hide Stem
}
\context {
\Voice
\override Stem.length = #0
}
\context {
\Score
barAlways = ##t
}
}
}
|
Ancient time signatures
Time signatures may also be engraved in an old style.
| {
\override Staff.TimeSignature.style = #'neomensural
s1
}
|
Chant or psalms notation
This form of notation is used for Psalm chant, where verses aren’t
always the same length.
| stemOff = \hide Staff.Stem
stemOn = \undo \stemOff
\score {
\new Staff \with { \remove "Time_signature_engraver" }
{
\key g \minor
\cadenzaOn
\stemOff a'\breve bes'4 g'4
\stemOn a'2 \bar "||"
\stemOff a'\breve g'4 a'4
\stemOn f'2 \bar "||"
\stemOff a'\breve^\markup { \italic flexe }
\stemOn g'2 \bar "||"
}
}
|
Custodes
Custodes may be engraved in various styles.
| \layout { ragged-right = ##t }
\new Staff \with { \consists "Custos_engraver" } \relative c' {
\override Staff.Custos.neutral-position = #4
\override Staff.Custos.style = #'hufnagel
c1^"hufnagel" \break
<d a' f'>1
\override Staff.Custos.style = #'medicaea
c1^"medicaea" \break
<d a' f'>1
\override Staff.Custos.style = #'vaticana
c1^"vaticana" \break
<d a' f'>1
\override Staff.Custos.style = #'mensural
c1^"mensural" \break
<d a' f'>1
}
|
Incipit
When transcribing mensural music, an incipit at the beginning of the piece is
useful to indicate the original key and tempo. Musicians today are used
to bar lines, but these were not known during the period of mensural music. As
a compromise, bar lines are often printed between the staves, a layout style
called mensurstriche layout.
| %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% A short excerpt from the Jubilate Deo by Orlande de Lassus
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
global = {
\set Score.skipBars = ##t
\key g \major
\time 4/4
% the actual music
\skip 1*8
% let finis bar go through all staves
\override Staff.BarLine.transparent = ##f
% finis bar
\bar "|."
}
discantusIncipit = {
\clef "neomensural-c1"
\key f \major
\time 2/2
c''1.
}
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 \hide NoteHead
c'1 |
b\breve |
}
}
discantusLyrics = \lyricmode {
Ju -- bi -- la -- te De -- o,
om -- nis ter -- ra, __ om-
"..."
-us.
}
altusIncipit = {
\clef "neomensural-c3"
\key f \major
\time 2/2
r1 f'1.
}
altusNotes = {
\transpose c' c'' {
\clef "treble"
r2 g2. e4 fis g |
a2 g4 e |
fis g4.( fis16 e fis4) |
g1 |
\once \hide NoteHead
g1 |
g\breve |
}
}
altusLyrics = \lyricmode {
Ju -- bi -- la -- te
De -- o, om -- nis ter -- ra,
"..."
-us.
}
tenorIncipit = {
\clef "neomensural-c4"
\key f \major
\time 2/2
r\longa
r\breve
r1 c'1.
}
tenorNotes = {
\transpose c' c' {
\clef "treble_8"
R1 |
R1 |
R1 |
% two measures
r2 d'2. d'4 b e' |
\once \hide NoteHead
e'1 |
d'\breve |
}
}
tenorLyrics = \lyricmode {
Ju -- bi -- la -- te
"..."
-us.
}
bassusIncipit = {
\clef "mensural-f"
\key f \major
\time 2/2
r\maxima
f1.
}
bassusNotes = {
\transpose c' c' {
\clef "bass"
R1 |
R1 |
R1 |
R1 |
g2. e4 |
\once \hide NoteHead
e1 |
g\breve |
}
}
bassusLyrics = \lyricmode {
Ju -- bi-
"..."
-us.
}
\score {
<<
\new StaffGroup = choirStaff <<
\new Voice = "discantusNotes" <<
\set Staff.instrumentName = "Discantus"
\incipit \discantusIncipit
\global
\discantusNotes
>>
\new Lyrics \lyricsto discantusNotes { \discantusLyrics }
\new Voice = "altusNotes" <<
\set Staff.instrumentName = "Altus"
\global
\incipit \altusIncipit
\altusNotes
>>
\new Lyrics \lyricsto altusNotes { \altusLyrics }
\new Voice = "tenorNotes" <<
\set Staff.instrumentName = "Tenor"
\global
\incipit \tenorIncipit
\tenorNotes
>>
\new Lyrics \lyricsto tenorNotes { \tenorLyrics }
\new Voice = "bassusNotes" <<
\set Staff.instrumentName = "Bassus"
\global
\incipit \bassusIncipit
\bassusNotes
>>
\new Lyrics \lyricsto bassusNotes { \bassusLyrics }
>>
>>
\layout {
\context {
\Score
%% no bar lines in staves or lyrics
\hide BarLine
}
%% the next two instructions keep the lyrics between the bar lines
\context {
\Lyrics
\consists "Bar_engraver"
\consists "Separating_line_group_engraver"
}
\context {
\Voice
%% no slurs
\hide Slur
%% 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
}
}
|
Mensurstriche layout (bar lines between the staves)
The mensurstriche-layout where the bar lines do not show on the staves
but between staves can be achieved with a StaffGroup
instead of
a ChoirStaff
. The bar line on staves is blanked out using
\hide
.
| global = {
\hide Staff.BarLine
s1 s
% the final bar line is not interrupted
\undo \hide Staff.BarLine
\bar "|."
}
\new StaffGroup \relative c'' {
<<
\new Staff { << \global { c1 c } >> }
\new Staff { << \global { c c } >> }
>>
}
|
Rest styles
Rests may be used in various styles.
| \new Staff \relative c {
\omit Score.TimeSignature
\cadenzaOn
\override Staff.Rest.style = #'mensural
r\maxima^\markup \typewriter { mensural }
r\longa r\breve r1 r2 r4 r8 r16 s32 s64 s128 s128
\bar ""
\break
\override Staff.Rest.style = #'neomensural
r\maxima^\markup \typewriter { neomensural }
r\longa r\breve r1 r2 r4 r8 r16 s32 s64 s128 s128
\bar ""
\break
\override Staff.Rest.style = #'classical
r\maxima^\markup \typewriter { classical }
r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128
\bar ""
\break
\override Staff.Rest.style = #'z
r\maxima^\markup \typewriter { z-style }
r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128
\bar ""
\break
\override Staff.Rest.style = #'default
r\maxima^\markup \typewriter { default }
r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128
}
|
Using tags to produce mensural and modern music from the same source
By using tags, it’s possible to use the same music to produce both
mensural and modern music. In this snippet, a function menrest
is introduced, allowing mensural rests to be pitched as in the
original, but with modern rests in the standard staff position. Tags
are used to produce different types of bar line at the end of the
music, but tags can also be used where other differences are needed:
for example using “whole measure rests” (R1, R\breve etc.) in
modern music, but normal rests (r1, r\breve, etc.) in the mensural
version. Note that converting mensural music to its modern equivalent
is usually referred to as transcription
.
| menrest = #(define-music-function (note)
(ly:music?)
#{
\tag #'mens $(make-music 'RestEvent note)
\tag #'mod $(make-music 'RestEvent note 'pitch '())
#})
MensStyle = {
\autoBeamOff
\override NoteHead.style = #'petrucci
\override Score.BarNumber.transparent = ##t
\override Stem.neutral-direction = #up
}
finalis = {
\once \override BreathingSign.stencil = #ly:breathing-sign::finalis
\once \override BreathingSign.Y-offset = #0
\once \override BreathingSign.minimum-X-extent = #'(-1.0 . 0.0)
\once \override BreathingSign.minimum-Y-extent = #'(-2.5 . 2.5)
\breathe
}
Music = \relative c'' {
\set Score.tempoHideNote = ##t
\key f \major
\time 4/4
g1 d'2 \menrest bes4 bes2 a2 r4 g4 fis2.
\tag #'mens { \finalis }
\tag #'mod { \bar "||" }
}
MenLyr = \lyricmode { So farre, deere life, deare life }
ModLyr = \lyricmode { So far, dear life, dear life }
\score {
\keepWithTag #'mens {
<<
\new MensuralStaff
{
\new MensuralVoice = Cantus \clef "mensural-c1" \MensStyle \Music
}
\new Lyrics \lyricsto Cantus \MenLyr
>>
}
}
\score {
\keepWithTag #'mod {
\new ChoirStaff <<
\new Staff
{
\new Voice = Sop \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
\remove "Rest_engraver"
\consists "Completion_rest_engraver" }
{
\shiftDurations #1 #0 { \autoBeamOff \Music }
}
}
\new Lyrics \lyricsto Sop \ModLyr
>>
}
}
|
Vertical line as a baroque articulation mark
This short vertical line placed above the note is commonly used in
baroque music. Its meaning can vary, but generally indicates notes
that should be played with more “weight”. The following example
demonstrates how to achieve such a notation.
| upline =
#(let ((m (make-articulation "stopped")))
(set! (ly:music-property m 'tweaks)
(acons 'font-size 3
(acons 'stencil (lambda (grob)
(grob-interpret-markup
grob
(make-draw-line-markup '(0 . 1))))
(ly:music-property m 'tweaks))))
m)
\relative c' {
a'4^\upline a( c d')_\upline
}
|
World music
World music
Arabic improvisation
For improvisations or taqasim which are temporarily free, the time
signature can be omitted and \cadenzaOn
can be used. Adjusting
the accidental style might be required, since the absence of bar lines
will cause the accidental to be marked only once. Here is an example
of what could be the start of a hijaz improvisation:
| \include "arabic.ly"
\relative sol' {
\key re \kurd
\accidentalStyle forget
\cadenzaOn
sol4 sol sol sol fad mib sol1 fad8 mib re4. r8 mib1 fad sol
}
|
Makam example
Makam is a type of melody from Turkey using 1/9th-tone microtonal
alterations. Consult the initialization file ‘ly/makam.ly’ for
details of pitch names and alterations.
| % Initialize makam settings
\include "makam.ly"
\relative c' {
\set Staff.keyAlterations = #`((6 . ,(- KOMA)) (3 . ,BAKIYE))
c4 cc db fk
gbm4 gfc gfb efk
fk4 db cc c
}
|
Non-traditional key signatures
The commonly used \key
command sets the keyAlterations
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.keyAlterations = #`(((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.
Alternatively, using the more concise format for each item in the list,
(step . alter)
specifies the same alteration holds in all
octaves. For microtonal scales where a “sharp” is not 100 cents,
alter
refers to the proportion of a 200-cent whole tone.
| \include "arabic.ly"
\relative do' {
\set Staff.keyAlterations = #`((0 . ,SEMI-FLAT)
(1 . ,SEMI-FLAT)
(2 . ,FLAT)
(5 . ,FLAT)
(6 . ,SEMI-FLAT))
%\set Staff.extraNatural = ##f
re reb \dwn reb resd
dod dob dosd \dwn dob |
dobsb dodsd do do |
}
|
Printing text from right to left
It is possible to print text from right to left in a markup object, as
demonstrated here.
| {
b1^\markup {
\line { i n g i r u m i m u s n o c t e }
}
f'_\markup {
\override #'(text-direction . -1)
\line { i n g i r u m i m u s n o c t e }
}
}
|
Contexts and engravers
Changing defaults
Contexts and engravers
Adding a figured bass above or below the notes
When writing a figured bass, you can place the figures 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
).
This property can be changed as many times as you wish. Use
\once \override
if you don’t want the override to apply to the
whole score.
| bass = {
\clef bass
g4 b, c d
e d8 c d2
}
continuo = \figuremode {
<_>4 <6>4 <5/>4
\override Staff.BassFigureAlignmentPositioning.direction = #UP
%\bassFigureStaffAlignmentUp
< _+ >4 <6>
\set Staff.useBassFigureExtenders = ##t
\override Staff.BassFigureAlignmentPositioning.direction = #DOWN
%\bassFigureStaffAlignmentDown
<4>4. <4>8 <_+>4
}
\score {
<<
\new Staff = bassStaff \bass
\context Staff = bassStaff \continuo
>>
}
|
Adding an extra staff at a line break
When adding a new staff at a line break, some extra space is
unfortunately added at the end of the line before the break (to fit in
a key signature change, which will never be printed anyway). The
workaround is to add a setting of
Staff.explicitKeySignatureVisibility
as is shown in the example.
| \score {
\new StaffGroup \relative c'' {
\new Staff
\key f \major
c1 c^"Unwanted extra space" \break
<< { c1 | c }
\new Staff {
\key f \major
\once \omit Staff.TimeSignature
c1 | c
}
>>
c1 | c^"Fixed here" \break
<< { c1 | c }
\new Staff {
\once \set Staff.explicitKeySignatureVisibility = #end-of-line-invisible
\key f \major
\once \omit Staff.TimeSignature
c1 | c
}
>>
}
}
|
Adding an extra staff
An extra staff can be added (possibly temporarily) after the start of a
piece.
| \score {
<<
\new Staff \relative c'' {
c1 | c | c | c | c
}
\new StaffGroup \relative c'' {
\new Staff {
c1 | c
<<
{
c1 | d
}
\new Staff {
\once \omit Staff.TimeSignature
c1 | b
}
>>
c1
}
}
>>
}
|
Automatically changing the stem direction of the middle note based on the melody
LilyPond can alter the stem direction of the middle note on a staff so
that it follows the melody, by adding the Melody_engraver
to the
Voice context and overriding the neutral-direction
of Stem.
| \relative c'' {
\time 3/4
a8 b g f b g |
c b d c b c |
}
\layout {
\context {
\Voice
\consists "Melody_engraver"
\autoBeamOff
\override Stem.neutral-direction = #'()
}
}
|
Centered measure numbers
Scores of large ensemble works often have bar numbers placed beneath
the system, centered horizontally on the measure’s extent. This
snippet shows how the Measure_counter_engraver
may be used to
simulate this notational practice. Here, the engraver has been added
to a Dynamics
context.
| \layout {
\context {
\Dynamics
\consists #Measure_counter_engraver
\override MeasureCounter.direction = #DOWN
\override MeasureCounter.font-encoding = #'latin1
\override MeasureCounter.font-shape = #'italic
% to control the distance of the Dynamics context from the staff:
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing.padding = #2
}
\context {
\Score
\remove "Bar_number_engraver"
}
}
pattern = \repeat unfold 7 { c'4 d' e' f' }
\new StaffGroup <<
\new Staff {
\pattern
}
\new Staff {
\pattern
}
\new Dynamics {
\startMeasureCount
s1*7
\stopMeasureCount
}
>>
|
Changing MIDI output to one channel per voice
When outputting MIDI, the default behavior is for each staff to
represent one MIDI channel, with all the voices on a staff amalgamated.
This minimizes the risk of running out of MIDI channels, since there
are only 16 available per track.
However, by moving the Staff_performer
to the Voice
context, each voice on a staff can have its own MIDI channel, as is
demonstrated by the following example: despite being on the same staff,
two MIDI channels are created, each with a different
midiInstrument
.
| \score {
\new Staff <<
\new Voice \relative c''' {
\set midiInstrument = #"flute"
\voiceOne
\key g \major
\time 2/2
r2 g-"Flute" ~
g fis ~
fis4 g8 fis e2 ~
e4 d8 cis d2
}
\new Voice \relative c'' {
\set midiInstrument = #"clarinet"
\voiceTwo
b1-"Clarinet"
a2. b8 a
g2. fis8 e
fis2 r
}
>>
\layout { }
\midi {
\context {
\Staff
\remove "Staff_performer"
}
\context {
\Voice
\consists "Staff_performer"
}
\tempo 2 = 72
}
}
|
Changing time signatures inside a polymetric section using \scaleDurations
The measureLength
property, together with
measurePosition
, determines when a bar line is needed. However,
when using \scaleDurations
, the scaling of durations makes it
difficult to change time signatures. In this case,
measureLength
should be set manually, using the
ly:make-moment
callback. The second argument must be the same
as the second argument of \scaleDurations
.
| \layout {
\context {
\Score
\remove "Timing_translator"
\remove "Default_bar_line_engraver"
}
\context {
\Staff
\consists "Timing_translator"
\consists "Default_bar_line_engraver"
}
}
<<
\new Staff {
\scaleDurations 8/5 {
\time 6/8
\set Timing.measureLength = #(ly:make-moment 6/5)
b8 b b b b b
\time 2/4
\set Timing.measureLength = #(ly:make-moment 4/5)
b4 b
}
}
\new Staff {
\clef bass
\time 2/4
c2 d e f
}
>>
|
Chant or psalms notation
This form of notation is used for Psalm chant, where verses aren’t
always the same length.
| stemOff = \hide Staff.Stem
stemOn = \undo \stemOff
\score {
\new Staff \with { \remove "Time_signature_engraver" }
{
\key g \minor
\cadenzaOn
\stemOff a'\breve bes'4 g'4
\stemOn a'2 \bar "||"
\stemOff a'\breve g'4 a'4
\stemOn f'2 \bar "||"
\stemOff a'\breve^\markup { \italic flexe }
\stemOn g'2 \bar "||"
}
}
|
Creating blank staves
To create blank staves, generate empty measures then remove the
Bar_number_engraver
from the Score
context, and the
Time_signature_engraver
, Clef_engraver
and
Bar_engraver
from the Staff
context.
| #(set-global-staff-size 20)
\score {
{
\repeat unfold 12 { s1 \break }
}
\layout {
indent = 0\in
\context {
\Staff
\remove "Time_signature_engraver"
\remove "Clef_engraver"
\remove "Bar_engraver"
}
\context {
\Score
\remove "Bar_number_engraver"
}
}
}
% uncomment these lines for "letter" size
%{
\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
}
%}
% uncomment these lines for "A4" size
%{
\paper {
#(set-paper-size "a4")
ragged-last-bottom = ##f
line-width = 180
left-margin = 15
bottom-margin = 10
top-margin = 10
}
%}
|
Creating custom key signatures
LilyPond supports custom key signatures. In this example, print for D
minor with an extended range of printed flats.
| \new Staff \with {
\override StaffSymbol.line-count = #8
\override KeySignature.flat-positions = #'((-7 . 6))
\override KeyCancellation.flat-positions = #'((-7 . 6))
% presumably sharps are also printed in both octaves
\override KeySignature.sharp-positions = #'((-6 . 7))
\override KeyCancellation.sharp-positions = #'((-6 . 7))
\override Clef.stencil = #
(lambda (grob)(grob-interpret-markup grob
#{ \markup\combine
\musicglyph "clefs.C"
\translate #'(-3 . -2)
\musicglyph "clefs.F"
#}))
clefPosition = #3
middleCPosition = #3
middleCClefPosition = #3
}
{
\key d\minor
f bes, f bes,
}
|
Cross staff stems
This snippet shows the use of the Span_stem_engraver
and
\crossStaff
to connect stems across staves automatically.
The stem length need not be specified, as the variable distance between
noteheads and staves is calculated automatically.
| \layout {
\context {
\PianoStaff
\consists #Span_stem_engraver
}
}
{
\new PianoStaff <<
\new Staff {
<b d'>4 r d'16\> e'8. g8 r\!
e'8 f' g'4 e'2
}
\new Staff {
\clef bass
\voiceOne
\autoBeamOff
\crossStaff { <e g>4 e, g16 a8. c8} d
\autoBeamOn
g8 f g4 c2
}
>>
}
|
Defining an engraver in Scheme: ambitus engraver
This example demonstrates how the ambitus engraver may be defined on
the user side, with a Scheme engraver.
This is basically a rewrite in Scheme of the code from
lily/ambitus-engraver.cc
.
| #(use-modules (oop goops))
%%%
%%% Grob utilities
%%%
%%% These are literal rewrites of some C++ methods used by the ambitus engraver.
#(define (ly:separation-item::add-conditional-item grob grob-item)
"Add @var{grob-item} to the array of conditional elements of @var{grob}.
Rewrite of @code{Separation_item::add_conditional_item} from @file{lily/separation-item.cc}."
(ly:pointer-group-interface::add-grob grob 'conditional-elements grob-item))
#(define (ly:accidental-placement::accidental-pitch accidental-grob)
"Get the pitch from the grob cause of @var{accidental-grob}.
Rewrite of @code{accidental_pitch} from @file{lily/accidental-placement.cc}."
(ly:event-property (ly:grob-property (ly:grob-parent accidental-grob Y) 'cause)
'pitch))
#(define (ly:accidental-placement::add-accidental grob accidental-grob)
"Add @var{accidental-grob}, an @code{Accidental} grob, to the
list of the accidental grobs of @var{grob}, an @code{AccidentalPlacement}
grob.
Rewrite of @code{Accidental_placement::add_accidental} from @file{lily/accidental-placement.cc}."
(let ((pitch (ly:accidental-placement::accidental-pitch accidental-grob)))
(set! (ly:grob-parent accidental-grob X) grob)
(let* ((accidentals (ly:grob-object grob 'accidental-grobs))
(handle (assq (ly:pitch-notename pitch) accidentals))
(entry (if handle (cdr handle) '())))
(set! (ly:grob-object grob 'accidental-grobs)
(assq-set! accidentals
(ly:pitch-notename pitch)
(cons accidental-grob entry))))))
%%%
%%% Ambitus data structure
%%%
%%% The <ambitus> class holds the various grobs that are created
%%% to print an ambitus:
%%% - ambitus-group: the grob that groups all the components of an ambitus
%%% (Ambitus grob);
%%% - ambitus-line: the vertical line between the upper and lower ambitus
%%% notes (AmbitusLine grob);
%%% - ambitus-up-note and ambitus-down-note: the note head and accidental
%%% for the lower and upper note of the ambitus (see <ambitus-note> class
%%% below).
%%% The other slots define the key and clef context of the engraver:
%%% - start-c0: position of middle c at the beginning of the piece. It
%%% is used to place the ambitus notes according to their pitch;
%%% - start-key-sig: the key signature at the beginning of the piece. It
%%% is used to determine if accidentals shall be printed next to ambitus
%%% notes.
#(define-class <ambitus> ()
(ambitus-group #:accessor ambitus-group)
(ambitus-line #:accessor ambitus-line)
(ambitus-up-note #:getter ambitus-up-note
#:init-form (make <ambitus-note>))
(ambitus-down-note #:getter ambitus-down-note
#:init-form (make <ambitus-note>))
(start-c0 #:accessor ambitus-start-c0
#:init-value #f)
(start-key-sig #:accessor ambitus-start-key-sig
#:init-value '()))
%%% Accessor for the lower and upper note data of an ambitus
#(define-method (ambitus-note (ambitus <ambitus>) direction)
"If @var{direction} is @code{UP}, then return the upper ambitus note
of @var{ambitus}, otherwise return the lower ambitus note."
(if (= direction UP)
(ambitus-up-note ambitus)
(ambitus-down-note ambitus)))
%%% The <ambitus-note> class holds the grobs that are specific to ambitus
%%% (lower and upper) notes:
%%% - head: an AmbitusNoteHead grob;
%%% - accidental: an AmbitusAccidental grob, to be possibly printed next
%%% to the ambitus note head.
%%% Moreover:
%%% - pitch is the absolute pitch of the note
%%% - cause is the note event that causes this ambitus note, i.e. the lower
%%% or upper note of the considered music sequence.
#(define-class <ambitus-note> ()
(head #:accessor ambitus-note-head
#:init-value #f)
(accidental #:accessor ambitus-note-accidental
#:init-value #f)
(cause #:accessor ambitus-note-cause
#:init-value #f)
(pitch #:accessor ambitus-note-pitch
#:init-value #f))
%%%
%%% Ambitus engraving logics
%%%
%%% Rewrite of the code from @file{lily/ambitus-engraver.cc}.
#(define (make-ambitus translator)
"Build an ambitus object: initialize all the grobs and their relations.
The Ambitus grob contain all other grobs:
Ambitus
|- AmbitusLine
|- AmbitusNoteHead for upper note
|- AmbitusAccidental for upper note
|- AmbitusNoteHead for lower note
|- AmbitusAccidental for lower note
The parent of an accidental is the corresponding note head,
and the accidental is set as the 'accidental-grob of the note head
so that is printed by the function that prints notes."
;; make the ambitus object
(let ((ambitus (make <ambitus>)))
;; build the Ambitus grob, which will contain all other grobs
(set! (ambitus-group ambitus) (ly:engraver-make-grob translator 'Ambitus '()))
;; build the AmbitusLine grob (line between lower and upper note)
(set! (ambitus-line ambitus) (ly:engraver-make-grob translator 'AmbitusLine '()))
;; build the upper and lower AmbitusNoteHead and AmbitusAccidental
(for-each (lambda (direction)
(let ((head (ly:engraver-make-grob translator 'AmbitusNoteHead '()))
(accidental (ly:engraver-make-grob translator 'AmbitusAccidental '()))
(group (ambitus-group ambitus)))
;; The parent of the AmbitusAccidental grob is the
;; AmbitusNoteHead grob
(set! (ly:grob-parent accidental Y) head)
;; The AmbitusAccidental grob is set as the accidental-grob
;; object of the AmbitusNoteHead. This is later used by the
;; function that prints notes.
(set! (ly:grob-object head 'accidental-grob) accidental)
;; both the note head and the accidental grobs are added
;; to the main ambitus grob.
(ly:axis-group-interface::add-element group head)
(ly:axis-group-interface::add-element group accidental)
;; the note head and the accidental grobs are added to the
;; ambitus object
(set! (ambitus-note-head (ambitus-note ambitus direction))
head)
(set! (ambitus-note-accidental (ambitus-note ambitus direction))
accidental)))
(list DOWN UP))
;; The parent of the ambitus line is the lower ambitus note head
(set! (ly:grob-parent (ambitus-line ambitus) X)
(ambitus-note-head (ambitus-note ambitus DOWN)))
;; the ambitus line is added to the ambitus main grob
(ly:axis-group-interface::add-element (ambitus-group ambitus) (ambitus-line ambitus))
ambitus))
#(define-method (initialize-ambitus-state (ambitus <ambitus>) translator)
"Initialize the state of @var{ambitus}, by getting the starting
position of middle C and key signature from @var{translator}'s context."
(if (not (ambitus-start-c0 ambitus))
(begin
(set! (ambitus-start-c0 ambitus)
(ly:context-property (ly:translator-context translator)
'middleCPosition
0))
(set! (ambitus-start-key-sig ambitus)
(ly:context-property (ly:translator-context translator)
'keyAlterations)))))
#(define-method (update-ambitus-notes (ambitus <ambitus>) note-grob)
"Update the upper and lower ambitus pithes of @var{ambitus}, using
@var{note-grob}."
;; Get the event that caused the note-grob creation
;; and check that it is a note-event.
(let ((note-event (ly:grob-property note-grob 'cause)))
(if (ly:in-event-class? note-event 'note-event)
;; get the pitch from the note event
(let ((pitch (ly:event-property note-event 'pitch)))
;; if this pitch is lower than the current ambitus lower
;; note pitch (or it has not been initialized yet),
;; then this pitch is the new ambitus lower pitch,
;; and conversely for upper pitch.
(for-each (lambda (direction pitch-compare)
(if (or (not (ambitus-note-pitch (ambitus-note ambitus direction)))
(pitch-compare pitch
(ambitus-note-pitch (ambitus-note ambitus direction))))
(begin
(set! (ambitus-note-pitch (ambitus-note ambitus direction))
pitch)
(set! (ambitus-note-cause (ambitus-note ambitus direction))
note-event))))
(list DOWN UP)
(list ly:pitch<? (lambda (p1 p2)
(ly:pitch<? p2 p1))))))))
#(define-method (typeset-ambitus (ambitus <ambitus>) translator)
"Typeset the ambitus:
- place the lower and upper ambitus notes according to their pitch and
the position of the middle C;
- typeset or delete the note accidentals, according to the key signature.
An accidental, if it is to be printed, is added to an AccidentalPlacement
grob (a grob dedicated to the placement of accidentals near a chord);
- both note heads are added to the ambitus line grob, so that a line should
be printed between them."
;; check if there are lower and upper pitches
(if (and (ambitus-note-pitch (ambitus-note ambitus UP))
(ambitus-note-pitch (ambitus-note ambitus DOWN)))
;; make an AccidentalPlacement grob, for placement of note accidentals
(let ((accidental-placement (ly:engraver-make-grob
translator
'AccidentalPlacement
(ambitus-note-accidental (ambitus-note ambitus DOWN)))))
;; For lower and upper ambitus notes:
(for-each (lambda (direction)
(let ((pitch (ambitus-note-pitch (ambitus-note ambitus direction))))
;; set the cause and the staff position of the ambitus note
;; according to the associated pitch
(set! (ly:grob-property (ambitus-note-head (ambitus-note ambitus direction))
'cause)
(ambitus-note-cause (ambitus-note ambitus direction)))
(set! (ly:grob-property (ambitus-note-head (ambitus-note ambitus direction))
'staff-position)
(+ (ambitus-start-c0 ambitus)
(ly:pitch-steps pitch)))
;; determine if an accidental shall be printed for this note,
;; according to the key signature
(let* ((handle (or (assoc (cons (ly:pitch-octave pitch)
(ly:pitch-notename pitch))
(ambitus-start-key-sig ambitus))
(assoc (ly:pitch-notename pitch)
(ambitus-start-key-sig ambitus))))
(sig-alter (if handle (cdr handle) 0)))
(cond ((= (ly:pitch-alteration pitch) sig-alter)
;; the note alteration is in the key signature
;; => it does not have to be printed
(ly:grob-suicide!
(ambitus-note-accidental (ambitus-note ambitus direction)))
(set! (ly:grob-object (ambitus-note-head (ambitus-note ambitus direction))
'accidental-grob)
'()))
(else
;; otherwise, the accidental shall be printed
(set! (ly:grob-property (ambitus-note-accidental
(ambitus-note ambitus direction))
'alteration)
(ly:pitch-alteration pitch)))))
;; add the AccidentalPlacement grob to the
;; conditional items of the AmbitusNoteHead
(ly:separation-item::add-conditional-item
(ambitus-note-head (ambitus-note ambitus direction))
accidental-placement)
;; add the AmbitusAccidental to the list of the
;; AccidentalPlacement grob accidentals
(ly:accidental-placement::add-accidental
accidental-placement
(ambitus-note-accidental (ambitus-note ambitus direction)))
;; add the AmbitusNoteHead grob to the AmbitusLine grob
(ly:pointer-group-interface::add-grob
(ambitus-line ambitus)
'note-heads
(ambitus-note-head (ambitus-note ambitus direction)))))
(list DOWN UP))
;; add the AccidentalPlacement grob to the main Ambitus grob
(ly:axis-group-interface::add-element (ambitus-group ambitus) accidental-placement))
;; no notes ==> suicide the grobs
(begin
(for-each (lambda (direction)
(ly:grob-suicide! (ambitus-note-accidental (ambitus-note ambitus direction)))
(ly:grob-suicide! (ambitus-note-head (ambitus-note ambitus direction))))
(list DOWN UP))
(ly:grob-suicide! ambitus-line))))
%%%
%%% Ambitus engraver definition
%%%
#(define ambitus-engraver
(lambda (context)
(let ((ambitus #f))
;; when music is processed: make the ambitus object, if not already built
(make-engraver
((process-music translator)
(if (not ambitus)
(set! ambitus (make-ambitus translator))))
;; set the ambitus clef and key signature state
((stop-translation-timestep translator)
(if ambitus
(initialize-ambitus-state ambitus translator)))
;; when a note-head grob is built, update the ambitus notes
(acknowledgers
((note-head-interface engraver grob source-engraver)
(if ambitus
(update-ambitus-notes ambitus grob))))
;; finally, typeset the ambitus according to its upper and lower notes
;; (if any).
((finalize translator)
(if ambitus
(typeset-ambitus ambitus translator)))))))
%%%
%%% Example
%%%
\score {
\new StaffGroup <<
\new Staff { c'4 des' e' fis' gis' }
\new Staff { \clef "bass" c4 des ~ des ees b, }
>>
\layout { \context { \Staff \consists #ambitus-engraver } }
}
|
Displaying a whole GrandStaff system if only one of its staves is alive
In orchestral scores sometimes single or groups of instruments are
silent for a while and their staves can be removed for that time (with
\removeEmptyStaves
).
When they play again it is often preferred to show the staves of all
instruments of such a group. this can be done adding the
Keep_alive_together_engraver
in the grouper (e.g. a GrandStaff
or a StaffGroup)
In the example the violins are silent in the 2nd system and in the 3rd
system. Only the first violin plays the last measure but the staff of
the second violin is also displayed.
| \score {
<<
\new StaffGroup = "StaffGroup_woodwinds"
<<
\new Staff = "Staff_flute" \with {
instrumentName = "Flute"
shortInstrumentName = "Fl"
}
\relative c' {
\repeat unfold 3 { c'4 c c c | c c c c | c c c c | \break }
}
>>
\new StaffGroup = "StaffGroup_Strings"
<<
\new GrandStaff = "GrandStaff_violins"
<<
\new Staff = "StaffViolinI" \with {
instrumentName = "Violin I"
shortInstrumentName = "Vi I"
}
\relative c'' {
a1 \repeat unfold 7 { s1 } \repeat unfold 12 a16 a4
}
\new Staff = "StaffViolinII" \with {
instrumentName = "Violin II"
shortInstrumentName = "Vi II"
}
\relative c' { e1 \repeat unfold 8 { s1 } }
>>
\new Staff = "Staff_cello" \with {
instrumentName = "Cello"
shortInstrumentName = "Ce"
}
\relative c { \clef bass \repeat unfold 9 { c1 }}
>>
>>
}
\layout {
indent = 3.0\cm
short-indent = 1.5\cm
\context {
\GrandStaff
\consists Keep_alive_together_engraver
}
\context {
\Staff
\RemoveEmptyStaves
}
}
|
Engravers one-by-one
The notation problem, creating a certain symbol, is handled by plugins.
Each plugin is called an Engraver. In this example, engravers are
switched on one by one, in the following order:
- note heads,
- staff symbol,
- clef,
- stem,
- beams, slurs, accents,
- accidentals, bar lines, time signature and key signature.
Engravers are grouped. For example, note heads, slurs, beams etc. form
a Voice
context. Engravers for key signature, accidentals, bar
line, etc. form a Staff
context.
| %% 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"
localAlterations = #'()
% explicitly set instrumentName, so we don't get
% weird effects when doing instrument names for
% piano staves
instrumentName = #'()
shortInstrumentName = #'()
\accepts "Voice"
\defaultchild "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."
localAlterations = #'()
\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 "Dynamic_align_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"
}
\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 }
}
}
|
Mensurstriche layout (bar lines between the staves)
The mensurstriche-layout where the bar lines do not show on the staves
but between staves can be achieved with a StaffGroup
instead of
a ChoirStaff
. The bar line on staves is blanked out using
\hide
.
| global = {
\hide Staff.BarLine
s1 s
% the final bar line is not interrupted
\undo \hide Staff.BarLine
\bar "|."
}
\new StaffGroup \relative c'' {
<<
\new Staff { << \global { c1 c } >> }
\new Staff { << \global { c c } >> }
>>
}
|
Nesting staves
The property systemStartDelimiterHierarchy
can be used to make
more complex nested staff groups. The command \set
StaffGroup.systemStartDelimiterHierarchy
takes an alphabetical list of
the number of staves produced. Before each staff a system start
delimiter can be given. It has to be enclosed in brackets and takes as
much staves as the brackets enclose. Elements in the list can be
omitted, but the first bracket takes always the complete number of
staves. The possibilities are SystemStartBar
,
SystemStartBracket
, SystemStartBrace
, and
SystemStartSquare
.
| \new StaffGroup
\relative c'' <<
\set StaffGroup.systemStartDelimiterHierarchy
= #'(SystemStartSquare (SystemStartBrace (SystemStartBracket a
(SystemStartSquare b) ) c ) d)
\new Staff { c1 }
\new Staff { c1 }
\new Staff { c1 }
\new Staff { c1 }
\new Staff { c1 }
>>
|
Numbering groups of measures
This snippet demonstrates the use of the
Measure_counter_engraver
to number groups of successive
measures. Any stretch of measures may be numbered, whether consisting
of repetitions or not.
The engraver must be added to the appropriate context. Here, a
Staff
context is used; another possibility is a Dynamics
context.
The counter is begun with \startMeasureCount
and ended with
\stopMeasureCount
. Numbering will start by default with
1
, but this behavior may be modified by overriding the
count-from
property.
When a measure extends across a line break, the number will appear
twice, the second time in parentheses.
| \layout {
\context {
\Staff
\consists #Measure_counter_engraver
}
}
\new Staff {
\startMeasureCount
\repeat unfold 7 {
c'4 d' e' f'
}
\stopMeasureCount
\bar "||"
g'4 f' e' d'
\override Staff.MeasureCounter.count-from = #2
\startMeasureCount
\repeat unfold 5 {
g'4 f' e' d'
}
g'4 f'
\bar ""
\break
e'4 d'
\repeat unfold 7 {
g'4 f' e' d'
}
\stopMeasureCount
}
|
Removing bar numbers from a score
Bar numbers can be removed entirely by removing the
Bar_number_engraver
from the Score
context.
| \layout {
\context {
\Score
\omit BarNumber
% or:
%\remove "Bar_number_engraver"
}
}
\relative c'' {
c4 c c c \break
c4 c c c
}
|
Use square bracket at the start of a staff group
The system start delimiter SystemStartSquare
can be used by
setting it explicitly in a StaffGroup
or ChoirStaff
context.
| \score {
\new StaffGroup { <<
\set StaffGroup.systemStartDelimiter = #'SystemStartSquare
\new Staff { c'4 d' e' f' }
\new Staff { c'4 d' e' f' }
>> }
}
|
Using marklines in a Frenched score
Using MarkLine
contexts (such as in
LSR1010) in a
Frenched score can be problematic if all the staves between two
MarkLine
s are removed in one system. The
Keep_alive_together_engraver
can be used within each
StaffGroup
to keep the MarkLine
alive only as long
as the other staves in the group stay alive.
| bars = {
\tempo "Allegro" 4=120
s1*2
\repeat unfold 5 { \mark \default s1*2 }
\bar "||"
\tempo "Adagio" 4=40
s1*2
\repeat unfold 8 { \mark \default s1*2 }
\bar "|."
}
winds = \repeat unfold 120 { c''4 }
trumpet = { \repeat unfold 8 g'2 R1*16 \repeat unfold 4 g'2 R1*8 }
trombone = { \repeat unfold 4 c'1 R1*8 d'1 R1*17 }
strings = \repeat unfold 240 { c''8 }
#(set-global-staff-size 16)
\paper {
systems-per-page = 5
ragged-last-bottom = ##f
}
\layout {
indent = 15\mm
short-indent = 5\mm
\context {
\name MarkLine
\type Engraver_group
\consists Output_property_engraver
\consists Axis_group_engraver
\consists Mark_engraver
\consists Metronome_mark_engraver
\override VerticalAxisGroup.remove-empty = ##t
\override VerticalAxisGroup.remove-layer = #'any
\override VerticalAxisGroup.staff-affinity = #DOWN
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing.basic-distance = 1
keepAliveInterfaces = #'()
}
\context {
\Staff
\override VerticalAxisGroup.remove-empty = ##t
\override VerticalAxisGroup.remove-layer = ##f
}
\context {
\StaffGroup
\accepts MarkLine
\consists Keep_alive_together_engraver
}
\context {
\Score
\remove Mark_engraver
\remove Metronome_mark_engraver
}
}
\score {
<<
\new StaffGroup = "winds" \with {
instrumentName = "Winds"
shortInstrumentName = "Winds"
} <<
\new MarkLine \bars
\new Staff \winds
>>
\new StaffGroup = "brass" <<
\new MarkLine \bars
\new Staff = "trumpet" \with {
instrumentName = "Trumpet"
shortInstrumentName = "Tpt"
} \trumpet
\new Staff = "trombone" \with {
instrumentName = "Trombone"
shortInstrumentName = "Tbn"
} \trombone
>>
\new StaffGroup = "strings" \with {
instrumentName = "Strings"
shortInstrumentName = "Strings"
} <<
\new MarkLine \bars
\new Staff = "strings" { \strings }
>>
>>
}
|
Vocal ensemble template with lyrics aligned below and above the staves
This template is basically the same as the simple “Vocal ensemble”
template, with the exception that here all the lyrics lines are placed
using alignAboveContext
and alignBelowContext
.
| global = {
\key c \major
\time 4/4
}
sopMusic = \relative c'' {
c4 c c8[( b)] c4
}
sopWords = \lyricmode {
hi hi hi hi
}
altoMusic = \relative c' {
e4 f d e
}
altoWords = \lyricmode {
ha ha ha ha
}
tenorMusic = \relative c' {
g4 a f g
}
tenorWords = \lyricmode {
hu hu hu hu
}
bassMusic = \relative c {
c4 c g c
}
bassWords = \lyricmode {
ho ho ho ho
}
\score {
\new ChoirStaff <<
\new Staff = "women" <<
\new Voice = "sopranos" { \voiceOne << \global \sopMusic >> }
\new Voice = "altos" { \voiceTwo << \global \altoMusic >> }
>>
\new Lyrics \with { alignAboveContext = #"women" }
\lyricsto "sopranos" \sopWords
\new Lyrics \with { alignBelowContext = #"women" }
\lyricsto "altos" \altoWords
% we could remove the line about this with the line below, since
% we want the alto lyrics to be below the alto Voice anyway.
% \new Lyrics \lyricsto "altos" \altoWords
\new Staff = "men" <<
\clef bass
\new Voice = "tenors" { \voiceOne << \global \tenorMusic >> }
\new Voice = "basses" { \voiceTwo << \global \bassMusic >> }
>>
\new Lyrics \with { alignAboveContext = #"men" }
\lyricsto "tenors" \tenorWords
\new Lyrics \with { alignBelowContext = #"men" }
\lyricsto "basses" \bassWords
% again, we could replace the line above this with the line below.
% \new Lyrics \lyricsto "basses" \bassWords
>>
}
|
Vocal ensemble template with verse and refrain
This template creates a score which starts with a solo verse and
continues into a refrain for two voices. It also demonstrates the use
of spacer rests within the \global
variable to define meter
changes (and other elements common to all parts) throughout the entire
score.
| global = {
\key g \major
% verse
\time 3/4
s2.*2
\break
% refrain
\time 2/4
s2*2
\bar "|."
}
SoloNotes = \relative g' {
\clef "treble"
% verse
g4 g g |
b4 b b |
% refrain
R2*2 |
}
SoloLyrics = \lyricmode {
One two three |
four five six |
}
SopranoNotes = \relative c'' {
\clef "treble"
% verse
R2.*2 |
% refrain
c4 c |
g4 g |
}
SopranoLyrics = \lyricmode {
la la |
la la |
}
BassNotes = \relative c {
\clef "bass"
% verse
R2.*2 |
% refrain
c4 e |
d4 d |
}
BassLyrics = \lyricmode {
dum dum |
dum dum |
}
\score {
<<
\new Voice = "SoloVoice" << \global \SoloNotes >>
\new Lyrics \lyricsto "SoloVoice" \SoloLyrics
\new ChoirStaff <<
\new Voice = "SopranoVoice" << \global \SopranoNotes >>
\new Lyrics \lyricsto "SopranoVoice" \SopranoLyrics
\new Voice = "BassVoice" << \global \BassNotes >>
\new Lyrics \lyricsto "BassVoice" \BassLyrics
>>
>>
\layout {
ragged-right = ##t
\context { \Staff
% these lines prevent empty staves from being printed
\RemoveEmptyStaves
\override VerticalAxisGroup.remove-first = ##t
}
}
}
|
Tweaks and overrides
Changing defaults
Tweaking output
Adding an ottava marking to a single voice
If you have more than one voice on the staff, setting octavation in one
voice will transpose the position of notes in all voices for the
duration of the ottava bracket. If the ottavation is only intended to
apply to one voice, the middleCPosition and ottava bracket may be set
explicitly. In this snippet, the bass clef usually has middleCPosition
set to 6, six positions above the center line, so in the 8va portion
middleCPosition is 7 positions (one octave) higher still.
| {
\clef bass
<< { <g d'>1~ q2 <c' e'> }
\\
{
r2.
\set Staff.ottavation = #"8vb"
\once \override Staff.OttavaBracket.direction = #DOWN
\set Voice.middleCPosition = #(+ 6 7)
<b,,, b,,>4 ~ |
q2
\unset Staff.ottavation
\unset Voice.middleCPosition
<c e>2
}
>>
}
|
Adding links to objects
To add a link to a grob-stencil you could use add-link
as
defined here. Works with \override
and \tweak
.
Drawback: point-and-click
will be disturbed for the linked grobs.
Limitation: Works for PDF only.
The linked objects are colored with a separate command.
| #(define (add-link url-strg)
(lambda (grob)
(let* ((stil (ly:grob-property grob 'stencil)))
(if (ly:stencil? stil)
(begin
(let* (
(x-ext (ly:stencil-extent stil X))
(y-ext (ly:stencil-extent stil Y))
(url-expr (list 'url-link url-strg `(quote ,x-ext) `(quote ,y-ext)))
(new-stil (ly:stencil-add
(ly:make-stencil url-expr x-ext y-ext) stil)))
(ly:grob-set-property! grob 'stencil new-stil)))
#f))))
%%%% test
urlI =
"http://lilypond.org/doc/v2.14/Documentation/notation/writing-pitches"
urlII =
"http://lilypond.org/doc/v2.14/Documentation/notation/rhythms"
urlIII =
"http://lilypond.org/doc/v2.14/Documentation/notation/note-heads"
urlIV =
"http://lilypond.org/doc/v2.14/Documentation/notation/beams"
urlV =
"http://lilypond.org/doc/v2.14/Documentation/notation/note-head-styles"
\relative c' {
\key cis \minor
\once \override Staff.Clef.color = #green
\once \override Staff.Clef.after-line-breaking =
#(add-link urlI)
\once \override Staff.TimeSignature.color = #green
\once \override Staff.TimeSignature.after-line-breaking =
#(add-link urlII)
\once \override NoteHead.color = #green
\once \override NoteHead.after-line-breaking =
#(add-link urlIII)
cis'1
\once \override Beam.color = #green
\once \override Beam.after-line-breaking =
#(add-link urlIV)
cis8 dis e fis gis2
<gis,
% With 2.17.9 you could use the command below to address the Accidental.
% \tweak Accidental.before-line-breaking #(add-link url)
\tweak color #green
\tweak after-line-breaking #(add-link urlV)
\tweak style #'harmonic
bis
dis
fis
>1
<cis, cis' e>
}
|
Adding markups in a tablature
By default markups does not show in a tablature. To make them appear,
simply use the command \revert TabStaff.TextScript.stencil
| %% http://lsr.di.unimi.it/LSR/Item?id=919
% by P.P.Schneider on June 2014
high = { r4 r8 <g c'> q r8 r4 }
low = { c4 r4 c8 r8 g,8 b, }
pulse = { s8^"1" s^"&" s^"2" s^"&" s^"3" s^"&" s^"4" s^"&" }
\score {
\new TabStaff {
\repeat unfold 2 << \high \\ \low \\ \pulse >>
}
\layout {
\context {
\TabStaff
\clef moderntab
\revert TextScript.stencil
\override TextScript.font-series = #'bold
\override TextScript.font-size = #-2
\override TextScript.color = #red
}
\context {
\Score
proportionalNotationDuration = #(ly:make-moment 1/8)
}
}
}
|
Adding timing marks to long glissandi
Skipped beats in very long glissandi are sometimes indicated by timing
marks, often consisting of stems without noteheads. Such stems can
also be used to carry intermediate expression markings.
If the stems do not align well with the glissando, they may need to be
repositioned slightly.
| glissandoSkipOn = {
\override NoteColumn.glissando-skip = ##t
\hide NoteHead
\override NoteHead.no-ledgers = ##t
}
glissandoSkipOff = {
\revert NoteColumn.glissando-skip
\undo \hide NoteHead
\revert NoteHead.no-ledgers
}
\relative c'' {
r8 f8\glissando
\glissandoSkipOn
f4 g a a8\noBeam
\glissandoSkipOff
a8
r8 f8\glissando
\glissandoSkipOn
g4 a8
\glissandoSkipOff
a8 |
r4 f\glissando \<
\glissandoSkipOn
a4\f \>
\glissandoSkipOff
b8\! r |
}
|
Adjusting grace note spacing
The space given to grace notes can be adjusted using the
spacing-increment
property of Score.GraceSpacing
.
| graceNotes = {
\grace { c4 c8 c16 c32 }
c8
}
\relative c'' {
c8
\graceNotes
\override Score.GraceSpacing.spacing-increment = #2.0
\graceNotes
\revert Score.GraceSpacing.spacing-increment
\graceNotes
}
|
Adjusting lyrics vertical spacing
This snippet shows how to bring the lyrics line closer to the staff.
| % Default layout:
<<
\new Staff \new Voice = melody \relative c' {
c4 d e f
g4 f e d
c1
}
\new Lyrics \lyricsto melody { aa aa aa aa aa aa aa aa aa }
\new Staff {
\new Voice = melody \relative c' {
c4 d e f
g4 f e d
c1
}
}
% Reducing the minimum space below the staff and above the lyrics:
\new Lyrics \with {
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 1))
}
\lyricsto melody { aa aa aa aa aa aa aa aa aa }
>>
|
Altering the length of beamed stems
Stem lengths on beamed notes can be varied by overriding the
beamed-lengths
property of the details
of the
Stem
. If a single value is used as an argument, the length
applies to all stems. When multiple arguments are used, the first
applies to eighth notes, the second to sixteenth notes and so on. The
final argument also applies to all notes shorter than the note length
of the final argument. Non-integer arguments may also be used.
| \relative c'' {
\override Stem.details.beamed-lengths = #'(2)
a8[ a] a16[ a] a32[ a]
\override Stem.details.beamed-lengths = #'(8 10 12)
a8[ a] a16[ a] a32[ a] r8
\override Stem.details.beamed-lengths = #'(8)
a8[ a]
\override Stem.details.beamed-lengths = #'(8.5)
a8[ a]
\revert Stem.details
a8[ a] a16[ a] a32[ a] r16
}
|
Alternative bar numbering
Two alternative methods for bar numbering can be set, especially for
when using repeated music.
| \relative c'{
\set Score.alternativeNumberingStyle = #'numbers
\repeat volta 3 { c4 d e f | }
\alternative {
{ c4 d e f | c2 d \break }
{ f4 g a b | f4 g a b | f2 a | \break }
{ c4 d e f | c2 d }
}
c1 \break
\set Score.alternativeNumberingStyle = #'numbers-with-letters
\repeat volta 3 { c,4 d e f | }
\alternative {
{ c4 d e f | c2 d \break }
{ f4 g a b | f4 g a b | f2 a | \break }
{ c4 d e f | c2 d }
}
c1
}
|
Analysis brackets above the staff
Simple horizontal analysis brackets are added below the staff by
default. The following example shows a way to place them above the
staff instead.
| \layout {
\context {
\Voice
\consists "Horizontal_bracket_engraver"
}
}
\relative c'' {
\once \override HorizontalBracket.direction = #UP
c2\startGroup
d2\stopGroup
}
|
Analysis brackets with labels
Text may be added to analysis brackets through the text
property
of the HorizontalBracketText
grob. Adding different texts to
brackets beginning at the same time requires the \tweak
command.
Bracket text will be parenthesized after a line break.
| \layout {
\context {
\Voice
\consists "Horizontal_bracket_engraver"
\override HorizontalBracket.direction = #UP
}
}
{
\once\override HorizontalBracketText.text = "a"
c''\startGroup d''\stopGroup
\once\override HorizontalBracketText.text = "a'"
e''\startGroup d''\stopGroup
c''
-\tweak HorizontalBracketText.text \markup \bold \huge "b" \startGroup
-\tweak HorizontalBracketText.text "a" \startGroup
d''\stopGroup
e''-\tweak HorizontalBracketText.text "a'" \startGroup
d''\stopGroup\stopGroup
c''-\tweak HorizontalBracketText.text foo \startGroup d'' e'' f''
\break
g'' a'' b'' c'''\stopGroup
}
|
Asymmetric slurs
Slurs can be made asymmetric to match an asymmetric pattern of notes
better.
| slurNotes = { d,8( a' d f a f' d, a) }
\relative c' {
\stemDown
\slurUp
\slurNotes
\once \override Slur.eccentricity = #3.0
\slurNotes
}
|
Avoiding collisions with chord fingerings
Fingerings and string numbers applied to individual notes will
automatically avoid beams and stems, but this is not true by default
for fingerings and string numbers applied to the individual notes of
chords. The following example shows how this default behavior can be
overridden.
| \relative c' {
\set fingeringOrientations = #'(up)
\set stringNumberOrientations = #'(up)
\set strokeFingerOrientations = #'(up)
% Default behavior
r8
<f c'-5>8
<f c'\5>8
<f c'-\rightHandFinger #2 >8
% No tweak needed
r8
<f c'-5>8
<f c'\5>8
% Corrected to avoid collisions
\override StrokeFinger.add-stem-support = ##t
<f c'-\rightHandFinger #2 >8
}
|
Caesura ("railtracks") with fermata
A caesura is sometimes denoted by a double “railtracks” breath mark
with a fermata sign positioned above. This snippet shows an optically
pleasing combination of railtracks and fermata.
| \relative c'' {
c2.
% construct the symbol
\override BreathingSign.text = \markup {
\override #'(direction . 1)
\override #'(baseline-skip . 1.8)
\dir-column {
\translate #'(0.155 . 0)
\center-align \musicglyph "scripts.caesura.curved"
\center-align \musicglyph "scripts.ufermata"
}
}
\breathe c4
% set the breathe mark back to normal
\revert BreathingSign.text
c2. \breathe c4
\bar "|."
}
|
Changing a single note’s size in a chord
Individual note heads in a chord can be modified with the
\tweak
command inside a chord, by altering the font-size
property.
Inside the chord (within the brackets < >
), before the note to
be altered, place the \tweak
command, followed by
#'font-size
and define the proper size like #-2
(a tiny
note head).
| \relative c' {
<\tweak font-size #+2 c e g c
\tweak font-size #-2 e>1
^\markup { A tiny e }_\markup { A big c }
}
|
Changing beam thickness and spacing
To make beams thicker or thinner alter the Beam.beam-thickness
property. To adjust the spacing between beams alter the
Beam.length-fraction
property.
| \relative f' {
\time 1/8
\override Beam.beam-thickness = #0.4
\override Beam.length-fraction = #0.8
c32 c c c
\revert Beam.beam-thickness % 0.48 is default thickness
\revert Beam.length-fraction % 1.0 is default spacing
c32 c c c
\override Beam.beam-thickness = #0.6
\override Beam.length-fraction = #1.3
c32 c c c
}
|
Changing form of multi-measure rests
If there are ten or fewer measures of rests, a series of longa and
breve rests (called in German “Kirchenpausen” - church rests) is
printed within the staff; otherwise a simple line is shown. This
default number of ten may be changed by overriding the
expand-limit
property.
| \relative c'' {
\compressMMRests {
R1*2 | R1*5 | R1*9
\override MultiMeasureRest.expand-limit = #3
R1*2 | R1*5 | R1*9
}
}
|
Changing properties for individual grobs
The \applyOutput
command allows the tuning of any layout
object, in any context. It requires a Scheme function with three
arguments.
| #(define (mc-squared grob grob-origin context)
(let ((sp (ly:grob-property grob 'staff-position)))
(ly:grob-set-property!
grob 'stencil
(grob-interpret-markup grob
#{ \markup \lower #0.5
#(case sp
((-5) "m")
((-3) "c ")
((-2) #{ \markup \teeny \bold 2 #})
(else "bla")) #}))))
\relative c' {
<d f g b>2
\applyOutput Voice.NoteHead #mc-squared
<d f g b>2
}
|
Changing text and spanner styles for text dynamics
The text used for crescendos and decrescendos can be changed by
modifying the context properties crescendoText
and
decrescendoText
.
The style of the spanner line can be changed by modifying the
'style
property of DynamicTextSpanner
. The default value
is 'dashed-line
, and other possible values include 'line
,
'dotted-line
and 'none
.
| \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
}
|
Changing the default text font family
The default font families for text can be overridden with
make-pango-font-tree
.
| \paper {
% change for other default global staff size.
myStaffSize = #20
%{
run
lilypond -dshow-available-fonts blabla
to show all fonts available in the process log.
%}
#(define fonts
(make-pango-font-tree "Times New Roman"
"Nimbus Sans,Nimbus Sans L"
"Luxi Mono"
;; "Helvetica"
;; "Courier"
(/ myStaffSize 20)))
}
\relative c'' {
c4^\markup {
roman: foo \bold bla \italic bar \italic \bold baz
}
c'4_\markup {
\override #'(font-family . sans)
{
sans: foo \bold bla \italic bar \italic \bold baz
}
}
c'2^\markup {
\override #'(font-family . typewriter)
{
mono: foo \bold bla \italic bar \italic \bold baz
}
}
}
|
Changing the staff size
Though the simplest way to resize staves is to use
#(set-global-staff-size xx)
, an individual staff’s size can be
changed by scaling the properties 'staff-space
and
fontSize
.
| <<
\new Staff {
\relative c'' {
\dynamicDown
c8\ff c c c c c c c
}
}
\new Staff \with {
fontSize = #-3
\override StaffSymbol.staff-space = #(magstep -3)
} {
\clef bass
c8 c c c c\f c c c
}
>>
|
Changing the tempo without a metronome mark
To change the tempo in MIDI output without printing anything, make the
metronome mark invisible.
| \score {
\new Staff \relative c' {
\tempo 4 = 160
c4 e g b
c4 b d c
\set Score.tempoHideNote = ##t
\tempo 4 = 96
d,4 fis a cis
d4 cis e d
}
\layout { }
\midi { }
}
|
Changing the text for sustain markings
Staff.pedalSustainStrings
can be used to set the text used for
pedal down and up. Note that the only valid strings are those found in
the list of pedal glyphs - the values used this snippet constitute an
exhaustive list.
| sustainNotes = { c4\sustainOn d e\sustainOff\sustainOn f\sustainOff }
\relative c' {
\sustainNotes
\set Staff.pedalSustainStrings = #'("P" "P-" "-")
\sustainNotes
\set Staff.pedalSustainStrings = #'("d" "de" "e")
\sustainNotes
\set Staff.pedalSustainStrings = #'("M" "M-" "-")
\sustainNotes
\set Staff.pedalSustainStrings = #'("Ped" "*Ped" "*")
\sustainNotes
}
|
Controlling spanner visibility after a line break
The visibility of spanners which end on the first note following a line
break is controlled by the after-line-breaking
callback
ly:spanner::kill-zero-spanned-time
.
For objects such as glissandos and hairpins, the default behaviour is
to hide the spanner after a break; disabling the callback will allow
the left-broken span to be shown.
Conversely, spanners which are usually visible, such as text spans, can
be hidden by enabling the callback.
| \paper { ragged-right = ##t }
\relative c'' {
\override Hairpin.to-barline = ##f
\override Glissando.breakable = ##t
% show hairpin
\override Hairpin.after-line-breaking = ##t
% hide text span
\override TextSpanner.after-line-breaking =
#ly:spanner::kill-zero-spanned-time
e2\<\startTextSpan
% show glissando
\override Glissando.after-line-breaking = ##t
f2\glissando
\break
f,1\!\stopTextSpan
}
|
Controlling the vertical ordering of scripts
The vertical ordering of scripts is controlled with the
'script-priority
property. The lower this number, the closer it
will be put to the note. In this example, the TextScript
(the
sharp symbol) first has the lowest priority, so it is put lowest in the
first example. In the second, the prall trill (the Script
) has
the lowest, so it is on the inside. When two objects have the same
priority, the order in which they are entered determines which one
comes first.
| \relative c''' {
\once \override TextScript.script-priority = #-100
a2^\prall^\markup { \sharp }
\once \override Script.script-priority = #-100
a2^\prall^\markup { \sharp }
}
|
Controlling tuplet bracket visibility
The default behavior of tuplet-bracket visibility is to print a bracket
unless there is a beam of the same length as the tuplet. To control the
visibility of tuplet brackets, set the property
'bracket-visibility
to either #t
(always print a
bracket), #f
(never print a bracket) or #'if-no-beam
(only print a bracket if there is no beam).
| music = \relative c'' {
\tuplet 3/2 { c16[ d e } f8]
\tuplet 3/2 { c8 d e }
\tuplet 3/2 { c4 d e }
}
\new Voice {
\relative c' {
<< \music s4^"default" >>
\override TupletBracket.bracket-visibility = #'if-no-beam
<< \music s4^"'if-no-beam" >>
\override TupletBracket.bracket-visibility = ##t
<< \music s4^"#t" >>
\override TupletBracket.bracket-visibility = ##f
<< \music s4^"#f" >>
%% v2.18 :
\omit TupletBracket
<< \music s4^"omit" >>
}
}
|
Creating a delayed turn
Creating a delayed turn, where the lower note of the turn uses the
accidental, requires several overrides. The
outside-staff-priority
property must be set to #f
, as
otherwise this would take precedence over the avoid-slur
property
. Changing the fractions 2/3
and 1/3
adjusts
the horizontal position.
| \relative c'' {
c2*2/3 ( s2*1/3\turn d4) r
<<
{ c4.( d8) }
{ s4 s\turn }
>>
\transpose c d \relative c'' <<
{ c4.( d8) }
{
s4
\once \set suggestAccidentals = ##t
\once \override AccidentalSuggestion.outside-staff-priority = ##f
\once \override AccidentalSuggestion.avoid-slur = #'inside
\once \override AccidentalSuggestion.font-size = -3
\once \override AccidentalSuggestion.script-priority = -1
\single \hideNotes
b8-\turn \noBeam
s8
}
>>
}
|
Creating custom key signatures
LilyPond supports custom key signatures. In this example, print for D
minor with an extended range of printed flats.
| \new Staff \with {
\override StaffSymbol.line-count = #8
\override KeySignature.flat-positions = #'((-7 . 6))
\override KeyCancellation.flat-positions = #'((-7 . 6))
% presumably sharps are also printed in both octaves
\override KeySignature.sharp-positions = #'((-6 . 7))
\override KeyCancellation.sharp-positions = #'((-6 . 7))
\override Clef.stencil = #
(lambda (grob)(grob-interpret-markup grob
#{ \markup\combine
\musicglyph "clefs.C"
\translate #'(-3 . -2)
\musicglyph "clefs.F"
#}))
clefPosition = #3
middleCPosition = #3
middleCClefPosition = #3
}
{
\key d\minor
f bes, f bes,
}
|
Creating double-digit fingerings
Creating fingerings larger than 5 is possible.
| \relative c' {
c1-10
c1-50
c1-36
c1-29
}
|
Creating simultaneous rehearsal marks
Unlike text scripts, rehearsal marks cannot be stacked at a particular
point in a score: only one RehearsalMark
object is created.
Using an invisible measure and bar line, an extra rehearsal mark can be
added, giving the appearance of two marks in the same column. This
method may also prove useful for placing rehearsal marks at both the
end of one system and the start of the following system.
| {
\key a \major
\set Score.markFormatter = #format-mark-box-letters
\once \override Score.RehearsalMark.outside-staff-priority = #5000
\once \override Score.RehearsalMark.self-alignment-X = #LEFT
\once \override Score.RehearsalMark.break-align-symbols = #'(key-signature)
\mark \markup { \bold { Senza denti } }
% the hidden measure and bar line
% \cadenzaOn turns off automatic calculation of bar numbers
\cadenzaOn
\once \override Score.TimeSignature.stencil = ##f
\time 1/16
s16 \bar ""
\cadenzaOff
\time 4/4
\once \override Score.RehearsalMark.self-alignment-X = #LEFT
\mark \markup { \box \bold Intro }
d'1
\mark \default
d'1
}
|
Creating text spanners
The \startTextSpan
and \stopTextSpan
commands allow the
creation of text spanners as easily as pedal indications or
octavations. Override some properties of the TextSpanner
object
to modify its output.
| \paper { ragged-right = ##f }
\relative c'' {
\override TextSpanner.bound-details.left.text = #"bla"
\override TextSpanner.bound-details.right.text = #"blu"
a4 \startTextSpan
b4 c
a4 \stopTextSpan
\override TextSpanner.style = #'line
\once \override TextSpanner.bound-details.left.stencil-align-dir-y = #CENTER
a4 \startTextSpan
b4 c
a4 \stopTextSpan
\override TextSpanner.style = #'dashed-line
\override TextSpanner.bound-details.left.text =
\markup { \draw-line #'(0 . 1) }
\override TextSpanner.bound-details.right.text =
\markup { \draw-line #'(0 . -2) }
\once \override TextSpanner.bound-details.right.padding = #-2
a4 \startTextSpan
b4 c
a4 \stopTextSpan
\set Staff.middleCPosition = #-13
\override TextSpanner.dash-period = #10
\override TextSpanner.dash-fraction = #0.5
\override TextSpanner.thickness = #10
a4 \startTextSpan
b4 c
a4 \stopTextSpan
}
|
Cross-staff chords - beaming problems workaround
Sometimes it is better to use stems from the upper staff for creating
cross-staff chords, because no problems with automatic beam collision
avoidance then arise. If the stems from the lower staff were used in
the following example, it would be necessary to change the automatic
beam collision avoidance settings so that it doesn’t detect collisions
between staves using \override Staff.Beam.collision-voice-only =
##t
| \new PianoStaff <<
\new Staff = up
\relative c' {
<<
{ r4
\override Stem.cross-staff = ##t
\override Stem.length = #19 % this is in half-spaces,
% so it makes stems 9.5 staffspaces long
\override Stem.Y-offset = #-6 % stems are normally lengthened
% upwards, so here we must lower the stem by the amount
% equal to the lengthening - in this case (19 - 7) / 2
% (7 is default stem length)
e e e }
{ s4
\change Staff = "bottom"
\override NoteColumn.ignore-collision = ##t
c, c c
}
>>
}
\new Staff = bottom
\relative c' {
\clef bass
\voiceOne
g8 a g a g a g a
}
>>
|
Cross staff stems
This snippet shows the use of the Span_stem_engraver
and
\crossStaff
to connect stems across staves automatically.
The stem length need not be specified, as the variable distance between
noteheads and staves is calculated automatically.
| \layout {
\context {
\PianoStaff
\consists #Span_stem_engraver
}
}
{
\new PianoStaff <<
\new Staff {
<b d'>4 r d'16\> e'8. g8 r\!
e'8 f' g'4 e'2
}
\new Staff {
\clef bass
\voiceOne
\autoBeamOff
\crossStaff { <e g>4 e, g16 a8. c8} d
\autoBeamOn
g8 f g4 c2
}
>>
}
|
Custodes
Custodes may be engraved in various styles.
| \layout { ragged-right = ##t }
\new Staff \with { \consists "Custos_engraver" } \relative c' {
\override Staff.Custos.neutral-position = #4
\override Staff.Custos.style = #'hufnagel
c1^"hufnagel" \break
<d a' f'>1
\override Staff.Custos.style = #'medicaea
c1^"medicaea" \break
<d a' f'>1
\override Staff.Custos.style = #'vaticana
c1^"vaticana" \break
<d a' f'>1
\override Staff.Custos.style = #'mensural
c1^"mensural" \break
<d a' f'>1
}
|
Customizing fretboard fret diagrams
Fret diagram properties can be set through
'fret-diagram-details
. For FretBoard fret diagrams, overrides
are applied to the FretBoards.FretBoard
object. Like
Voice
, FretBoards
is a bottom level context, therefore
can be omitted in property overrides.
| \include "predefined-guitar-fretboards.ly"
\storePredefinedDiagram #default-fret-table \chordmode { c' }
#guitar-tuning
#"x;1-1-(;3-2;3-3;3-4;1-1-);"
<<
\new ChordNames {
\chordmode { c1 | c | c | d }
}
\new FretBoards {
% Set global properties of fret diagram
\override FretBoards.FretBoard.size = #'1.2
\override FretBoard.fret-diagram-details.finger-code = #'in-dot
\override FretBoard.fret-diagram-details.dot-color = #'white
\chordmode {
c
\once \override FretBoard.size = #'1.0
\once \override FretBoard.fret-diagram-details.barre-type = #'straight
\once \override FretBoard.fret-diagram-details.dot-color = #'black
\once \override FretBoard.fret-diagram-details.finger-code = #'below-string
c'
\once \override FretBoard.fret-diagram-details.barre-type = #'none
\once \override FretBoard.fret-diagram-details.number-type = #'arabic
\once \override FretBoard.fret-diagram-details.orientation = #'landscape
\once \override FretBoard.fret-diagram-details.mute-string = #"M"
\once \override FretBoard.fret-diagram-details.label-dir = #LEFT
\once \override FretBoard.fret-diagram-details.dot-color = #'black
c'
\once \override FretBoard.fret-diagram-details.finger-code = #'below-string
\once \override FretBoard.fret-diagram-details.dot-radius = #0.35
\once \override FretBoard.fret-diagram-details.dot-position = #0.5
\once \override FretBoard.fret-diagram-details.fret-count = #3
d
}
}
\new Voice {
c'1 | c' | c' | d'
}
>>
|
Customizing markup fret diagrams
Fret diagram properties can be set through
'fret-diagram-details
. For markup fret diagrams, overrides can
be applied to the Voice.TextScript
object or directly to the
markup.
| <<
\chords { c1 | c | c | d }
\new Voice = "mel" {
\textLengthOn
% Set global properties of fret diagram
\override TextScript.size = #'1.2
\override TextScript.fret-diagram-details.finger-code = #'in-dot
\override TextScript.fret-diagram-details.dot-color = #'white
%% C major for guitar, no barre, using defaults
% terse style
c'1^\markup { \fret-diagram-terse "x;3-3;2-2;o;1-1;o;" }
%% C major for guitar, barred on third fret
% verbose style
% size 1.0
% roman fret label, finger labels below string, straight barre
c'1^\markup {
% standard size
\override #'(size . 1.0) {
\override #'(fret-diagram-details . (
(number-type . roman-lower)
(finger-code . in-dot)
(barre-type . straight))) {
\fret-diagram-verbose #'((mute 6)
(place-fret 5 3 1)
(place-fret 4 5 2)
(place-fret 3 5 3)
(place-fret 2 5 4)
(place-fret 1 3 1)
(barre 5 1 3))
}
}
}
%% C major for guitar, barred on third fret
% verbose style
% landscape orientation, arabic numbers, M for mute string
% no barre, fret label down or left, small mute label font
c'1^\markup {
\override #'(fret-diagram-details . (
(finger-code . below-string)
(number-type . arabic)
(label-dir . -1)
(mute-string . "M")
(orientation . landscape)
(barre-type . none)
(xo-font-magnification . 0.4)
(xo-padding . 0.3))) {
\fret-diagram-verbose #'((mute 6)
(place-fret 5 3 1)
(place-fret 4 5 2)
(place-fret 3 5 3)
(place-fret 2 5 4)
(place-fret 1 3 1)
(barre 5 1 3))
}
}
%% simple D chord
% terse style
% larger dots, centered dots, fewer frets
% label below string
d'1^\markup {
\override #'(fret-diagram-details . (
(finger-code . below-string)
(dot-radius . 0.35)
(dot-position . 0.5)
(fret-count . 3))) {
\fret-diagram-terse "x;x;o;2-1;3-2;2-3;"
}
}
}
>>
|
Display bracket with only one staff in a system
If there is only one staff in one of the staff types ChoirStaff
or StaffGroup
, by default the bracket and the starting bar line
will not be displayed. This can be changed by overriding
collapse-height
to set its value to be less than the number of
staff lines in the staff.
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.
| \score {
\new StaffGroup <<
% Must be lower than the actual number of staff lines
\override StaffGroup.SystemStartBracket.collapse-height = #4
\override Score.SystemStartBar.collapse-height = #4
\new Staff {
c'1
}
>>
}
\score {
\new PianoStaff <<
\override PianoStaff.SystemStartBrace.collapse-height = #4
\override Score.SystemStartBar.collapse-height = #4
\new Staff {
c'1
}
>>
}
|
Displaying grob ancestry
When working with grob callbacks, it can be helpful to understand a
grob’s ancestry. Most grobs have parents which influence the
positioning of the grob. X- and Y-parents influence the horizontal and
vertical positions for the grob, respectively. Additionally, each
parent may have parents of its own.
Unfortunately, there are several aspects of a grob’s ancestry that can
lead to confusion:
* The types of parents a grob has may depend on context.
* For some grobs, the X- and Y-parents are the same.
* A particular “ancestor” may be related to a grob in multiple ways.
* The concept of “generations” is misleading.
For example, the System
grob can be both parent (on the Y-side)
and grandparent (twice on the X-side) to a VerticalAlignment
grob.
This macro prints (to the console) a textual representation of a grob’s
ancestry.
When called this way:
{ \once \override NoteHead.before-line-breaking =
#display-ancestry c }
The following output is generated:
NoteHead X,Y: NoteColumn
X: PaperColumn
X,Y: System
Y: VerticalAxisGroup
X: NonMusicalPaperColumn
X,Y: System
Y: VerticalAlignment
X: NonMusicalPaperColumn
X,Y: System
Y: System
| %% http://lsr.di.unimi.it/LSR/Item?id=622
%% see also http://www.lilypond.org/doc/v2.18/Documentation/snippets/tweaks-and-overrides#tweaks-and-overrides-displaying-grob-ancestry
%% Remark:
%% grob::name is in the source since 2.19.x could be deleted during next LSR-upgrade
#(define (grob::name grob)
(assq-ref (ly:grob-property grob 'meta) 'name))
#(define (get-ancestry grob)
(if (not (null? (ly:grob-parent grob X)))
(list (grob::name grob)
(get-ancestry (ly:grob-parent grob X))
(get-ancestry (ly:grob-parent grob Y)))
(grob::name grob)))
#(define (format-ancestry lst padding)
(string-append
(symbol->string (car lst))
"\n"
(let ((X-ancestry
(if (list? (cadr lst))
(format-ancestry (cadr lst) (+ padding 3))
(symbol->string (cadr lst))))
(Y-ancestry
(if (list? (caddr lst))
(format-ancestry (caddr lst) (+ padding 3))
(symbol->string (caddr lst)))))
(if (equal? X-ancestry Y-ancestry)
(string-append
(format #f "~&")
(make-string padding #\space)
"X,Y: "
(if (list? (cadr lst))
(format-ancestry (cadr lst) (+ padding 5))
(symbol->string (cadr lst))))
(string-append
(format #f "~&")
(make-string padding #\space)
"X: " X-ancestry
"\n"
(make-string padding #\space)
"Y: " Y-ancestry
(format #f "~&"))))
(format #f "~&")))
#(define (display-ancestry grob)
(format (current-error-port)
"~3&~a~2%~a~&"
(make-string 36 #\-)
(if (ly:grob? grob)
(format-ancestry (get-ancestry grob) 0)
(format #f "~a is not a grob" grob))))
\relative c' {
\once \override NoteHead.before-line-breaking = #display-ancestry
f4
\once \override Accidental.before-line-breaking = #display-ancestry
\once \override Arpeggio.before-line-breaking = #display-ancestry
<f as c>4\arpeggio
}
|
Dotted harmonics
Artificial harmonics using \harmonic
do not show dots. To
override this behavior, set the context property harmonicDots
.
| \relative c''' {
\time 3/4
\key f \major
\set harmonicDots = ##t
<bes f'\harmonic>2. ~
<bes f'\harmonic>4. <a e'\harmonic>8( <gis dis'\harmonic> <g d'\harmonic>)
<fis cis'\harmonic>2.
<bes f'\harmonic>2.
}
|
Drawing boxes around grobs
The print-function
can be overridden to draw a box around an
arbitrary grob.
| \relative c'' {
\override TextScript.stencil =
#(make-stencil-boxer 0.1 0.3 ly:text-interface::print)
c'4^"foo"
\override Stem.stencil =
#(make-stencil-boxer 0.05 0.25 ly:stem::print)
\override Score.RehearsalMark.stencil =
#(make-stencil-boxer 0.15 0.3 ly:text-interface::print)
b8
\revert Stem.stencil
\revert Flag.stencil
c4. c4
\mark "F"
c1
}
|
Drawing circles around various objects
The \circle
markup command draws circles around various
objects, for example fingering indications. For other objects,
specific tweaks may be required: this example demonstrates two
strategies for rehearsal marks and measure numbers.
| \relative c' {
c1
\set Score.markFormatter =
#(lambda (mark context)
(make-circle-markup (format-mark-numbers mark context)))
\mark \default
c2 d^\markup {
\override #'(thickness . 3) {
\circle \finger 2
}
}
\override Score.BarNumber.break-visibility = #all-visible
\override Score.BarNumber.stencil =
#(make-stencil-circler 0.1 0.25 ly:text-interface::print)
}
|
Dynamics custom text spanner postfix
Postfix functions for custom crescendo text spanners. The spanners
should start on the first note of the measure. One has to use
-\mycresc, otherwise the spanner start will rather be assigned to the
next note.
| % Two functions for (de)crescendo spanners where you can explicitly give the
% spanner text.
mycresc =
#(define-music-function (mymarkup) (markup?)
(make-music 'CrescendoEvent
'span-direction START
'span-type 'text
'span-text mymarkup))
mydecresc =
#(define-music-function (mymarkup) (markup?)
(make-music 'DecrescendoEvent
'span-direction START
'span-type 'text
'span-text mymarkup))
\relative c' {
c4-\mycresc "custom cresc" c4 c4 c4 |
c4 c4 c4 c4 |
c4-\mydecresc "custom decresc" c4 c4 c4 |
c4 c4\! c4 c4
}
|
Dynamics text spanner postfix
Custom text spanners can be defined and used with hairpin and text
crescendos. \<
and \>
produce hairpins by default,
\cresc
etc. produce text spanners by default.
| % Some sample text dynamic spanners, to be used as postfix operators
crpoco =
#(make-music 'CrescendoEvent
'span-direction START
'span-type 'text
'span-text "cresc. poco a poco")
\relative c' {
c4\cresc d4 e4 f4 |
g4 a4\! b4\crpoco c4 |
c4 d4 e4 f4 |
g4 a4\! b4\< c4 |
g4\dim a4 b4\decresc c4\!
}
|
Extending a TrillSpanner
For TrillSpanner
, the minimum-length
property becomes
effective only if the set-spacing-rods
procedure is called
explicitly. To do this, the springs-and-rods
property should be
set to ly:spanner::set-spacing-rods
.
| \relative c' {
\key c\minor
\time 2/4
c16( as') c,-. des-.
\once\override TrillSpanner.minimum-length = #15
\once\override TrillSpanner.springs-and-rods = #ly:spanner::set-spacing-rods
\afterGrace es4
\startTrillSpan { d16[( \stopTrillSpan es)] }
c( c' g es c g' es d
\hideNotes
c8)
}
|
Extending glissandi across repeats
A glissando which extends into several \alternative
blocks can
be simulated by adding a hidden grace note with a glissando at the
start of each \alternative
block. The grace note should be at
the same pitch as the note which starts the initial glissando. This is
implemented here with a music function which takes the pitch of the
grace note as its argument.
Note that in polyphonic music the grace note must be matched with
corresponding grace notes in all other voices.
| repeatGliss = #(define-music-function (grace)
(ly:pitch?)
#{
% the next two lines ensure the glissando is long enough
% to be visible
\once \override Glissando.springs-and-rods
= #ly:spanner::set-spacing-rods
\once \override Glissando.minimum-length = #3.5
\once \hideNotes
\grace $grace \glissando
#})
\score {
\relative c'' {
\repeat volta 3 { c4 d e f\glissando }
\alternative {
{ g2 d }
{ \repeatGliss f g2 e }
{ \repeatGliss f e2 d }
}
}
}
music = \relative c' {
\voiceOne
\repeat volta 2 {
g a b c\glissando
}
\alternative {
{ d1 }
{ \repeatGliss c \once \omit StringNumber e1\2 }
}
}
\score {
\new StaffGroup <<
\new Staff <<
\context Voice { \clef "G_8" \music }
>>
\new TabStaff <<
\context TabVoice { \clef "moderntab" \music }
>>
>>
}
|
Fine-tuning pedal brackets
The appearance of pedal brackets may be altered in different ways.
| \paper { ragged-right = ##f }
\relative c'' {
c2\sostenutoOn c
c2\sostenutoOff c
\once \override Staff.PianoPedalBracket.shorten-pair = #'(-7 . -2)
c2\sostenutoOn c
c2\sostenutoOff c
\once \override Staff.PianoPedalBracket.edge-height = #'(0 . 3)
c2\sostenutoOn c
c2\sostenutoOff c
}
|
Flat Ties
The function takes the default Tie.stencil
as an argument,
calculating the result relying on the extents of this default. Further
tweaking is possible by overriding Tie.details.height-limit
or
with \shape
. It’s also possible to change the custom-definition
on the fly.
| %% http://lsr.di.unimi.it/LSR/Item?id=1031
#(define ((flared-tie coords) grob)
(define (pair-to-list pair)
(list (car pair) (cdr pair)))
(define (normalize-coords goods x y dir)
(map
(lambda (coord)
;(coord-scale coord (cons x (* y dir)))
(cons (* x (car coord)) (* y dir (cdr coord))))
goods))
(define (my-c-p-s points thick)
(make-connected-path-stencil
points
thick
1.0
1.0
#f
#f))
;; outer let to trigger suicide
(let ((sten (ly:tie::print grob)))
(if (grob::is-live? grob)
(let* ((layout (ly:grob-layout grob))
(line-thickness (ly:output-def-lookup layout 'line-thickness))
(thickness (ly:grob-property grob 'thickness 0.1))
(used-thick (* line-thickness thickness))
(dir (ly:grob-property grob 'direction))
(xex (ly:stencil-extent sten X))
(yex (ly:stencil-extent sten Y))
(lenx (interval-length xex))
(leny (interval-length yex))
(xtrans (car xex))
(ytrans (if (> dir 0)(car yex) (cdr yex)))
(uplist
(map pair-to-list
(normalize-coords coords lenx (* leny 2) dir))))
(ly:stencil-translate
(my-c-p-s uplist used-thick)
(cons xtrans ytrans)))
'())))
#(define flare-tie
(flared-tie '((0 . 0)(0.1 . 0.2) (0.9 . 0.2) (1.0 . 0.0))))
\layout {
\context {
\Voice
\override Tie.stencil = #flare-tie
}
}
\paper { ragged-right = ##f }
\relative c' {
a4~a
\override Tie.height-limit = 4
a'4~a
a'4~a
<a,, c e a c e a c e>~ q
\break
a'4~a
\once \override Tie.details.height-limit = 14
a4~a
\break
a4~a
\once \override Tie.details.height-limit = 0.5
a4~a
\break
a4~a
\shape #'((0 . 0) (0 . 0.4) (0 . 0.4) (0 . 0)) Tie
a4~a
\break
a4~a
\once \override Tie.stencil =
#(flared-tie '((0 . 0)(0.1 . 0.4) (0.9 . 0.4) (1.0 . 0.0)))
a4~a
a4~a
\once \override Tie.stencil =
#(flared-tie '((0 . 0)(0.06 . 0.1) (0.94 . 0.1) (1.0 . 0.0)))
a4~a
}
|
Forcing horizontal shift of notes
When the typesetting engine cannot cope, the following syntax can be
used to override typesetting decisions. The units of measure used here
are staff spaces.
| \relative c' <<
{
<d g>2 <d g>
}
\\
{
<b f'>2
\once \override NoteColumn.force-hshift = #1.7
<b f'>2
}
>>
|
Fret diagrams explained and developed
This snippet shows many possibilities for obtaining and tweaking fret
diagrams.
| <<
\chords {
a2 a
\repeat unfold 3 {
c c c d d
}
}
\new Voice = "mel" {
\textLengthOn
% Set global properties of fret diagram
\override TextScript.size = #1.2
\override TextScript.fret-diagram-details.finger-code = #'below-string
\override TextScript.fret-diagram-details.dot-color = #'black
%% A chord for ukulele
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 ukulele, 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;"
}
}
%% These chords will be in normal orientation
%% 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
%% Double barre used to test barre function
% 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")
(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 4 2 5)
(barre 5 1 3))
}
}
}
%% C major for guitar, with capo on third fret
% verbose style
c'2^\markup {
% 110% of default size
\override #'(size . 1.1) {
\override #'(fret-diagram-details . (
(number-type . roman-upper)
(dot-label-font-mag . 0.9)
(finger-code . none)
(fret-label-vertical-offset . 0.5)
(xo-font-magnification . 0.4)
(xo-padding . 0.3))) {
\fret-diagram-verbose #'((mute 6)
(capo 3)
(open 5)
(place-fret 4 5 1)
(place-fret 3 5 2)
(place-fret 2 5 3)
(open 1))
}
}
}
%% simple D chord
d'2^\markup {
\override #'(fret-diagram-details . (
(finger-code . below-string)
(dot-radius . 0.35)
(string-thickness-factor . 0.3)
(dot-position . 0.5)
(fret-count . 3))) {
\fret-diagram-terse "x;x;o;2-1;3-2;2-3;"
}
}
%% simple D chord, large top fret thickness
d'2^\markup {
\override #'(fret-diagram-details . (
(finger-code . below-string)
(dot-radius . 0.35)
(dot-position . 0.5)
(top-fret-thickness . 7)
(fret-count . 3))) {
\fret-diagram-terse "x;x;o;2-1;3-2;2-3;"
}
}
% These chords will be in landscape orientation
\override TextScript.fret-diagram-details.orientation = #'landscape
%% 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
%% Double barre used to test barre function
% 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")
(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 4 2 5)
(barre 5 1 3))
}
}
}
%% C major for guitar, with capo on third fret
% verbose style
c'2^\markup {
% 110% of default size
\override #'(size . 1.1) {
\override #'(fret-diagram-details . (
(number-type . roman-upper)
(dot-label-font-mag . 0.9)
(finger-code . none)
(fret-label-vertical-offset . 0.5)
(xo-font-magnification . 0.4)
(xo-padding . 0.3))) {
\fret-diagram-verbose #'((mute 6)
(capo 3)
(open 5)
(place-fret 4 5 1)
(place-fret 3 5 2)
(place-fret 2 5 3)
(open 1))
}
}
}
%% simple D chord
d'2^\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;"
}
}
%% simple D chord, large top fret thickness
d'2^\markup {
\override #'(fret-diagram-details . (
(finger-code . below-string)
(dot-radius . 0.35)
(dot-position . 0.5)
(top-fret-thickness . 7)
(fret-count . 3))) {
\fret-diagram-terse "x;x;o;2-1;3-2;2-3;"
}
}
% These chords will be in opposing-landscape orientation
\override TextScript.fret-diagram-details.orientation = #'opposing-landscape
%% 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
%% Double barre used to test barre function
% 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")
(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 4 2 5)
(barre 5 1 3))
}
}
}
%% C major for guitar, with capo on third fret
% verbose style
c'2^\markup {
% 110% of default size
\override #'(size . 1.1) {
\override #'(fret-diagram-details . (
(number-type . roman-upper)
(dot-label-font-mag . 0.9)
(finger-code . none)
(fret-label-vertical-offset . 0.5)
(xo-font-magnification . 0.4)
(xo-padding . 0.3))) {
\fret-diagram-verbose #'((mute 6)
(capo 3)
(open 5)
(place-fret 4 5 1)
(place-fret 3 5 2)
(place-fret 2 5 3)
(open 1))
}
}
}
%% simple D chord
d'2^\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;"
}
}
%% simple D chord, large top fret thickness
d'2^\markup {
\override #'(fret-diagram-details . (
(finger-code . below-string)
(dot-radius . 0.35)
(dot-position . 0.5)
(top-fret-thickness . 7)
(fret-count . 3))) {
\fret-diagram-terse "x;x;o;2-1;3-2;2-3;"
}
}
}
>>
|
Generating custom flags
The stencil
property of the Flag
grob can be set to a
custom scheme function to generate the glyph for the flag.
| #(define-public (weight-flag grob)
(let* ((stem-grob (ly:grob-parent grob X))
(log (- (ly:grob-property stem-grob 'duration-log) 2))
(is-up? (eqv? (ly:grob-property stem-grob 'direction) UP))
(yext (if is-up? (cons (* log -0.8) 0) (cons 0 (* log 0.8))))
(flag-stencil (make-filled-box-stencil '(-0.4 . 0.4) yext))
(stroke-style (ly:grob-property grob 'stroke-style))
(stroke-stencil (if (equal? stroke-style "grace")
(make-line-stencil 0.2 -0.9 -0.4 0.9 -0.4)
empty-stencil)))
(ly:stencil-add flag-stencil stroke-stencil)))
% Create a flag stencil by looking up the glyph from the font
#(define (inverted-flag grob)
(let* ((stem-grob (ly:grob-parent grob X))
(dir (if (eqv? (ly:grob-property stem-grob 'direction) UP) "d" "u"))
(flag (retrieve-glyph-flag "" dir "" grob))
(line-thickness (ly:staff-symbol-line-thickness grob))
(stem-thickness (ly:grob-property stem-grob 'thickness))
(stem-width (* line-thickness stem-thickness))
(stroke-style (ly:grob-property grob 'stroke-style))
(stencil (if (null? stroke-style)
flag
(add-stroke-glyph flag stem-grob dir stroke-style "")))
(rotated-flag (ly:stencil-rotate-absolute stencil 180 0 0)))
(ly:stencil-translate rotated-flag (cons (- (/ stem-width 2)) 0))))
snippetexamplenotes =
{
\autoBeamOff c'8 d'16 c'32 d'64 \acciaccatura {c'8} d'64
}
{
\override Score.RehearsalMark.self-alignment-X = #LEFT
\time 1/4
\mark "Normal flags"
\snippetexamplenotes
\mark "Custom flag: inverted"
\override Flag.stencil = #inverted-flag
\snippetexamplenotes
\mark "Custom flag: weight"
\override Flag.stencil = #weight-flag
\snippetexamplenotes
\mark "Revert to normal"
\revert Flag.stencil
\snippetexamplenotes
}
|
Glissandi can skip grobs
NoteColumn
grobs can be skipped over by glissandi.
| \relative c' {
a2 \glissando
\once \override NoteColumn.glissando-skip = ##t
f''4 d,
}
|
Hairpins with different line styles
Hairpins can take any style from line-interface
- dashed-line,
dotted-line, line, trill or zigzag.
| \relative c' {
c2\< c\!
\override Hairpin.style = #'dashed-line
c2\< c\!
\override Hairpin.style = #'dotted-line
c2\< c\!
\override Hairpin.style = #'line
c2\< c\!
\override Hairpin.style = #'trill
c2\< c\!
\override Hairpin.style = #'zigzag
c2\< c\!
\revert Hairpin.style
c2\< c\!
}
|
Horizontally aligning custom dynamics (e.g. "sempre pp" "piu f" "subito p")
Some dynamic expressions involve additional text, like “sempre pp”.
Since dynamics are usually centered under 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 detection!). 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.
| \paper {
ragged-right = ##f
indent = 2.5\cm
}
% 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 & 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 at 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 '(-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")))
\new StaffGroup <<
\new Staff = "s" \with { instrumentName = \markup \column { Normal } }
<<
\relative c'' {
\key es \major
c4\pp c\p c c | c\ff c c\pp c
}
>>
\new Staff = "sMarkup" \with {
instrumentName = \markup \column { Normal markup }
}
<<
\relative c'' {
\key es \major
c4-\semppMarkup c\p c c | c\ff c c-\semppMarkup c
}
>>
\new Staff = "sK" \with {
instrumentName = \markup \column { Explicit shifting }
}
<<
\relative c'' {
\key es \major
\once \override DynamicText.X-offset = #-9.2
c4\semppK c\p c c
c4\ff c
\once \override DynamicText.X-offset = #-9.2
c4\semppK c
}
>>
\new Staff = "sT" \with {
instrumentName = \markup \column { Right padding }
}
<<
\relative c'' {
\key es \major
c4\semppT c\p c c | c\ff c c\semppT c
}
>>
\new Staff = "sM" \with {
instrumentName = \markup \column { Set dimension "to zero" }
}
<<
\relative c'' {
\key es \major
c4\semppM c\p c c | c\ff c c\semppM c
}
>>
\new Staff = "sG" \with {
instrumentName = \markup \column { Shift inside dynamics}
}
<<
\relative c'' {
\key es \major
c4\semppG c\p c c | c\ff c c\semppG c
}
>>
\new Staff = "sMII" \with {
instrumentName = \markup \column { Alignment inside dynamics }
}
<<
\relative c'' {
\key es \major
% Setting to ##f (false) gives the same result
\override DynamicText.X-offset = #0
c4\semppMII c\p c c | c\ff c c\semppMII c
}
>>
>>
\layout { \override Staff.InstrumentName.self-alignment-X = #LEFT }
|
How to change fret diagram position
If you want to move the position of a fret diagram, for example, to
avoid collision, or to place it between two notes, you have various
possibilities:
1) modify #’padding or #’extra-offset values (as shown in the first
snippet)
2) you can add an invisible voice and attach the fret diagrams to the
invisible notes in that voice (as shown in the second example).
If you need to move the fret according with a rythmic position inside
the bar (in the example, the third beat of the measure) the second
example is better, because the fret is aligned with the third beat
itself.
| harmonies = \chordmode
{
a8:13
% THE FOLLOWING IS THE COMMAND TO MOVE THE CHORD NAME
\once \override ChordNames.ChordName.extra-offset = #'(10 . 0)
b8:13 s2.
% THIS LINE IS THE SECOND METHOD
s4 s4 b4:13
}
\score
{
<<
\new ChordNames \harmonies
\new 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;" }
}
>>
}
>>
}
|
How to print two rehearsal marks above and below the same barline (method 1)
This method prints two ’rehearsal marks’, one on top of the other. It
shifts the lower rehearsal mark below the staff and then adds padding
above it in order to place the upper rehearsal mark above the staff.
By adjusting the extra-offset and baseline-skip values you can increase
or decrease the overall space between the rehearsal mark and the staff.
Because nearly every type of glyph or string can be made to behave like
a rehearsal mark it is possible to centre those above and below a bar
line.
Adding the appropriate ’break visibility’ as shown in snippet 1 will
allow you to position two marks at the end of a line as well.
Note: Method 1 is less complex than Method 2 but does not really allow
for fine tuning of placement of one of the rehearsal marks without
affecting the other. It may also give some problems with vertical
spacing, since using extra-offset
does not change the bounding
box of the mark from its original value.
| \relative c'{
c d e f |
\once \override Score.RehearsalMark.extra-offset = #'(0 . -8.5)
\once \override Score.RehearsalMark.baseline-skip = #9
\mark \markup \center-column { \circle 1 \box A }
g f e d |
\once \override Score.RehearsalMark.extra-offset = #'(0 . -8.5)
\once \override Score.RehearsalMark.baseline-skip = #9
\mark \markup \center-column { \flat { \bold \small \italic Fine. } }
g f e d |
\once \override Score.RehearsalMark.extra-offset = #'(0 . -8.5)
\once \override Score.RehearsalMark.baseline-skip = #9
\override Score.RehearsalMark.break-visibility = #begin-of-line-invisible
\mark \markup \center-column { \fermata \box z }
}
|
How to print two rehearsal marks above and below the same barline (method 2)
This method prints two ’rehearsal marks’ - one above the stave and one
below, by creating two voices, adding the Rehearsal Mark engraver to
each voice - without this no rehearsal mark is printed - and then
placing each rehearsal mark UP and DOWN in each voice respectively.
This method (as opposed to method 1) is more complex, but allows for
more flexibility, should it be needed to tweak each rehearsal mark
independently of the other.
| \score {
\relative c'
<<
\new Staff {
<<
\new Voice \with {
\consists Mark_engraver
\consists "Staff_collecting_engraver"
}
{ c4 d e f
\mark \markup { \box A }
c4 d e f
}
\new Voice \with {
\consists Mark_engraver
\consists "Staff_collecting_engraver"
\override RehearsalMark.direction = #DOWN
}
{ s4 s s s
\mark \markup { \circle 1 }
s4 s s s
}
>>
}
>>
\layout {
\context {
\Score
\remove "Mark_engraver"
\remove "Staff_collecting_engraver"
}
}
}
|
Inserting a caesura
Caesura marks can be created by overriding the 'text
property of
the BreathingSign
object. A curved caesura mark is also
available.
| \relative c'' {
\override BreathingSign.text = \markup {
\musicglyph "scripts.caesura.straight"
}
c8 e4. \breathe g8. e16 c4
\override BreathingSign.text = \markup {
\musicglyph "scripts.caesura.curved"
}
g8 e'4. \breathe g8. e16 c4
}
|
Keep change clefs full sized
When a clef is changed, the clef sign displayed is smaller than the
initial clef. This can be overridden with full-size-change
.
| \relative c' {
\clef "treble"
c1
\clef "bass"
c1
\clef "treble"
c1
\override Staff.Clef.full-size-change = ##t
\clef "bass"
c1
\clef "treble"
c1
\revert Staff.Clef.full-size-change
\clef "bass"
c1
\clef "treble"
c1
}
|
Line arrows
Arrows can be applied to text-spanners and line-spanners (such as the
Glissando).
| \relative c'' {
\override TextSpanner.bound-padding = #1.0
\override TextSpanner.style = #'line
\override TextSpanner.bound-details.right.arrow = ##t
\override TextSpanner.bound-details.left.text = #"fof"
\override TextSpanner.bound-details.right.text = #"gag"
\override TextSpanner.bound-details.right.padding = #0.6
\override TextSpanner.bound-details.right.stencil-align-dir-y = #CENTER
\override TextSpanner.bound-details.left.stencil-align-dir-y = #CENTER
\override Glissando.bound-details.right.arrow = ##t
\override Glissando.arrow-length = #0.5
\override Glissando.arrow-width = #0.25
a8\startTextSpan gis a4 b\glissando b,
g'4 c\stopTextSpan c2
}
|
Making an object invisible with the ’transparent property
Setting the transparent
property will cause an object to be
printed in “invisible ink”: the object is not printed, but all its
other behavior is retained. The object still takes up space, it takes
part in collisions, and slurs, ties and beams can be attached to it.
This snippet demonstrates how to connect different voices using ties.
Normally, ties only connect two notes in the same voice. By
introducing a tie in a different voice, and blanking the first up-stem
in that voice, the tie appears to cross voices.
| \relative {
\time 2/4
<<
{
\once \hide Stem
\once \override Stem.length = #8
b'8 ~ 8\noBeam
\once \hide Stem
\once \override Stem.length = #8
g8 ~ 8\noBeam
}
\\
{
b8 g g e
}
>>
}
|
Making glissandi breakable
Setting the breakable
property to #t
in combination with
after-line-breaking
allows a glissando to break if it occurs at
a line break:
| glissandoSkipOn = {
\override NoteColumn.glissando-skip = ##t
\hide NoteHead
\override NoteHead.no-ledgers = ##t
}
\relative c'' {
\override Glissando.breakable = ##t
\override Glissando.after-line-breaking = ##t
f1\glissando |
\break
a4 r2. |
f1\glissando
\once \glissandoSkipOn
\break
a2 a4 r4 |
}
|
Manually controlling beam positions
Beam positions may be controlled manually, by overriding the
positions
setting of the Beam
grob.
| \relative c' {
\time 2/4
% from upper staff-line (position 2) to center (position 0)
\override Beam.positions = #'(2 . 0)
c8 c
% from center to one above center (position 1)
\override Beam.positions = #'(0 . 1)
c8 c
}
|
Mensurstriche layout (bar lines between the staves)
The mensurstriche-layout where the bar lines do not show on the staves
but between staves can be achieved with a StaffGroup
instead of
a ChoirStaff
. The bar line on staves is blanked out using
\hide
.
| global = {
\hide Staff.BarLine
s1 s
% the final bar line is not interrupted
\undo \hide Staff.BarLine
\bar "|."
}
\new StaffGroup \relative c'' {
<<
\new Staff { << \global { c1 c } >> }
\new Staff { << \global { c c } >> }
>>
}
|
Modifying the Ottava spanner slope
It is possible to change the slope of the Ottava spanner.
| \relative c'' {
\override Staff.OttavaBracket.stencil = #ly:line-spanner::print
\override Staff.OttavaBracket.bound-details =
#`((left . ((Y . 0) ; Change the integer here
(attach-dir . ,LEFT)
(padding . 0)
(stencil-align-dir-y . ,CENTER)))
(right . ((Y . 5) ; Change the integer here
(padding . 0)
(attach-dir . ,RIGHT)
(text . ,(make-draw-dashed-line-markup (cons 0 -1.2))))))
\override Staff.OttavaBracket.left-bound-info =
#ly:line-spanner::calc-left-bound-info-and-text
\override Staff.OttavaBracket.right-bound-info =
#ly:line-spanner::calc-right-bound-info
\ottava #1
c1
c'''1
}
|
Moving dotted notes in polyphony
When a dotted note in the upper voice is moved to avoid a collision
with a note in another voice, the default is to move the upper note to
the right. This behaviour can be over-ridden by using the
prefer-dotted-right
property of NoteCollision
.
| \new Staff \relative c' <<
{
f2. f4
\override Staff.NoteCollision.prefer-dotted-right = ##f
f2. f4
\override Staff.NoteCollision.prefer-dotted-right = ##t
f2. f4
}
\\
{ e4 e e e e e e e e e e e }
>>
|
Moving slur positions vertically
The vertical position of a slur can be adjusted using the
positions
property of Slur
. The property has 2
parameters, the first referring to the left end of the slur and the
second to the right. The values of the parameters are not used by
LilyPond to make an exact movement of the slur - instead it selects
what placement of the slur looks best, taking into account the
parameter values. Positive values move the slur up, and are
appropriate for notes with stems down. Negative values move downward
slurs further down.
| \relative c' {
\stemDown
e4( a)
\override Slur.positions = #'(1 . 1)
e4( a)
\override Slur.positions = #'(2 . 2)
e4( a)
\override Slur.positions = #'(3 . 3)
e4( a)
\override Slur.positions = #'(4 . 4)
e4( a)
\override Slur.positions = #'(5 . 5)
e4( a)
\override Slur.positions = #'(0 . 5)
e4( a)
\override Slur.positions = #'(5 . 0)
e4( a)
\stemUp
\override Slur.positions = #'(-5 . -5)
e4( a)
\stemDown
\revert Slur.positions
e4( a)
}
|
Nesting staves
The property systemStartDelimiterHierarchy
can be used to make
more complex nested staff groups. The command \set
StaffGroup.systemStartDelimiterHierarchy
takes an alphabetical list of
the number of staves produced. Before each staff a system start
delimiter can be given. It has to be enclosed in brackets and takes as
much staves as the brackets enclose. Elements in the list can be
omitted, but the first bracket takes always the complete number of
staves. The possibilities are SystemStartBar
,
SystemStartBracket
, SystemStartBrace
, and
SystemStartSquare
.
| \new StaffGroup
\relative c'' <<
\set StaffGroup.systemStartDelimiterHierarchy
= #'(SystemStartSquare (SystemStartBrace (SystemStartBracket a
(SystemStartSquare b) ) c ) d)
\new Staff { c1 }
\new Staff { c1 }
\new Staff { c1 }
\new Staff { c1 }
\new Staff { c1 }
>>
|
Overriding articulations of destinct type
Sometimes you may want to affect a single articulation-type. Although
it is always possible to use \tweak
, it might become tedious to
do so for every single sign of a whole score. The following shows how
to tweak articulations with a list of custom-settings. One use-case
might be to create a style-sheet.
With 2.16.2 it is possible to put the proposed function,
\customScripts
, into a \layout
-block.
| % Code by David Nalesnik and Thomas Morley
#(define (custom-script-tweaks ls)
(lambda (grob)
(let* ((type (ly:prob-property
(assoc-ref (ly:grob-properties grob) 'cause)
'articulation-type))
(tweaks (assoc-ref ls type)))
(if tweaks
(for-each
(lambda (x) (ly:grob-set-property! grob (car x) (cdr x)))
tweaks)))))
customScripts =
#(define-music-function (settings)(list?)
#{
\override Script.before-line-breaking =
#(custom-script-tweaks settings)
#})
revertCustomScripts = { \revert Script.before-line-breaking }
%%%%%%%%%%%%%
% Example:
%%%%%%%%%%%%%
% Predefine a list of desired tweaks.
#(define my-settings-1
'(
("staccato" . ((color . (1 0 0))(padding . 0.5)))
("accent" . ((font-size . 0)(color . (1 0 0))))
("tenuto" . ((rotation . (45 0 0)) (padding . 2)(font-size . 10)))
("staccatissimo" . ((padding . 1) (color . (1 0 0))))
("segno" . ((font-size . 0)(color . (1 0 0))))
))
#(define my-settings-2
'(
("staccato" . ((color . (0 1 0))))
("accent" . ((font-size . 4)(color . (0 1 0))(padding . 1.5)))
("tenuto" . ((font-size . 10)))
("staccatissimo" . ((padding . 2) (color . (0 1 0))))
("coda" . ((color . (0 1 0)) (padding . 1)))
))
one =
\relative c'' {
f1--
\customScripts #my-settings-1
f-. f-! f-> f-- f-!\segno
\revertCustomScripts
f-> f-.
}
two =
\relative c' {
f1--
\customScripts #my-settings-2
f-. f-! f-> f---> f-!
f-> f-.\coda
}
\new Staff <<
\new Voice { \voiceOne \one }
\new Voice { \voiceTwo \two }
>>
|
Percent repeat count visibility
Percent repeat counters can be shown at regular intervals by setting
the context property repeatCountVisibility
.
| \relative c'' {
\set countPercentRepeats = ##t
\set repeatCountVisibility = #(every-nth-repeat-count-visible 5)
\repeat percent 10 { c1 } \break
\set repeatCountVisibility = #(every-nth-repeat-count-visible 2)
\repeat percent 6 { c1 d1 }
}
|
Positioning arpeggios
If you need to extend or shorten an arpeggio, you can modify the upper
and lower start positions independently.
| \relative c' {
<c e g b>1\arpeggio
\once \override Arpeggio.positions = #'(-5 . 0)
<c e g b>1\arpeggio
\once \override Arpeggio.positions = #'(0 . 5)
<c e g b>1\arpeggio
\once \override Arpeggio.positions = #'(-5 . 5)
<c e g b>1\arpeggio
}
|
Positioning multi-measure rests
Unlike ordinary rests, there is no predefined command to change the
staff position of a multi-measure rest symbol of either form by
attaching it to a note. However, in polyphonic music multi-measure
rests in odd-numbered and even-numbered voices are vertically
separated. The positioning of multi-measure rests can be controlled as
follows:
| \relative c'' {
% Multi-measure rests by default are set under the fourth line
R1
% They can be moved using an override
\override MultiMeasureRest.staff-position = #-2
R1
\override MultiMeasureRest.staff-position = #0
R1
\override MultiMeasureRest.staff-position = #2
R1
\override MultiMeasureRest.staff-position = #3
R1
\override MultiMeasureRest.staff-position = #6
R1
\revert MultiMeasureRest.staff-position
\break
% In two Voices, odd-numbered voices are under the top line
<< { R1 } \\ { a1 } >>
% Even-numbered voices are under the bottom line
<< { a1 } \\ { R1 } >>
% Multi-measure rests in both voices remain separate
<< { R1 } \\ { R1 } >>
% Separating multi-measure rests in more than two voices
% requires an override
<< { R1 } \\ { R1 } \\
\once \override MultiMeasureRest.staff-position = #0
{ R1 }
>>
% Using compressed bars in multiple voices requires another override
% in all voices to avoid multiple instances being printed
\compressMMRests
<<
\revert MultiMeasureRest.direction
{ R1*3 }
\\
\revert MultiMeasureRest.direction
{ R1*3 }
>>
}
|
Positioning text markups inside slurs
Text markups need to have the outside-staff-priority
property
set to false in order to be printed inside slurs.
| \relative c'' {
\override TextScript.avoid-slur = #'inside
\override TextScript.outside-staff-priority = ##f
c2(^\markup { \halign #-10 \natural } d4.) c8
}
|
Printing bar numbers inside boxes or circles
Bar numbers can also be printed inside boxes or circles.
| \relative c' {
% Prevent bar numbers at the end of a line and permit them elsewhere
\override Score.BarNumber.break-visibility = #end-of-line-invisible
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 4)
% Increase the size of the bar number by 2
\override Score.BarNumber.font-size = #2
% Draw a box round the following bar number(s)
\override Score.BarNumber.stencil
= #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
\repeat unfold 5 { c1 }
% Draw a circle round the following bar number(s)
\override Score.BarNumber.stencil
= #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
\repeat unfold 4 { c1 } \bar "|."
}
|
Printing metronome and rehearsal marks below the staff
By default, metronome and rehearsal marks are printed above the staff.
To place them below the staff simply set the direction
property
of MetronomeMark
or RehearsalMark
appropriately.
| \layout {
indent = 0
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
}
|
Printing note names with and without an octave marker
The NoteNames
context can be used to print the text value of
notes. The printOctaveNames
property turns on or off the
representation of the octave of the note.
| scale = \relative c' {
a4 b c d
e4 f g a
}
\new Staff {
<<
\scale
\context NoteNames {
\set printOctaveNames = ##f
\scale
}
>>
R1
<<
\scale
\context NoteNames {
\set printOctaveNames = ##t
\scale
}
>>
}
|
Proportional strict notespacing
If strict-note-spacing
is set spacing of notes is not influenced
by bars or clefs within a system. Rather, they are placed just before
the note that occurs at the same time. This may cause collisions.
| \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 \tuplet 3/2 { c8 \clef bass cis,, c } c4
c1
}
>>
|
Removing brace on first line of piano score
This snippet removes the first brace from a PianoStaff
or a
GrandStaff
. It may be useful when cutting and pasting the
engraved image into existing music.
It uses \alterBroken
.
| someMusic = {
\once \override Staff.Clef.stencil = ##f
\once \override Staff.TimeSignature.stencil = ##f
\repeat unfold 3 c1 \break
\repeat unfold 5 c1 \break
\repeat unfold 5 c1
}
\score {
\new PianoStaff
<<
\new Staff = "right" \relative c'' \someMusic
\new Staff = "left" \relative c' { \clef F \someMusic }
>>
\layout {
indent=75
\context {
\PianoStaff
\alterBroken transparent #'(#t) SystemStartBrace
}
}
}
|
Removing connecting bar lines on StaffGroup PianoStaff or GrandStaff
By default, bar lines in StaffGroup, PianoStaff, or GrandStaff groups
are connected between the staves. This behaviour can be overridden on
a staff-by-staff basis.
| \relative c' {
\new StaffGroup <<
\new Staff {
e1 | e
\once \override Staff.BarLine.allow-span-bar = ##f
e1 | e | e
}
\new Staff {
c1 | c | c
\once \override Staff.BarLine.allow-span-bar = ##f
c1 | c
}
\new Staff {
a1 | a | a | a | a
}
>>
}
|
Removing the first empty line
The first empty staff can also be removed from the score by setting the
VerticalAxisGroup
property remove-first
. This can be done
globally inside the \layout
block, or locally inside the
specific staff that should be removed. In the latter case, you have to
specify the context (Staff
applies only to the current staff) in
front of the property.
The lower staff of the second staff group is not removed, because the
setting applies only to the specific staff inside of which it is
written.
| \layout {
\context {
\Staff \RemoveEmptyStaves
% 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
}
>>
|
Rest styles
Rests may be used in various styles.
| \new Staff \relative c {
\omit Score.TimeSignature
\cadenzaOn
\override Staff.Rest.style = #'mensural
r\maxima^\markup \typewriter { mensural }
r\longa r\breve r1 r2 r4 r8 r16 s32 s64 s128 s128
\bar ""
\break
\override Staff.Rest.style = #'neomensural
r\maxima^\markup \typewriter { neomensural }
r\longa r\breve r1 r2 r4 r8 r16 s32 s64 s128 s128
\bar ""
\break
\override Staff.Rest.style = #'classical
r\maxima^\markup \typewriter { classical }
r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128
\bar ""
\break
\override Staff.Rest.style = #'z
r\maxima^\markup \typewriter { z-style }
r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128
\bar ""
\break
\override Staff.Rest.style = #'default
r\maxima^\markup \typewriter { default }
r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128
}
|
Rhythmic slashes
In “simple” lead-sheets, sometimes no actual notes are written,
instead only “rhythmic patterns” and chords above the measures are
notated giving the structure of a song. Such a feature is for example
useful while creating/transcribing the structure of a song and also
when sharing lead sheets with guitarists or jazz musicians. The
standard support for this using \repeat percent
is unsuitable
here since the first beat has to be an ordinary note or rest. This
example shows two solutions to this problem, by redefining ordinary
rests to be printed as slashes. (If the duration of each beat is not a
quarter note, replace the r4
in the definitions with a rest of
the appropriate duration).
| % Macro to print single slash
rs = {
\once \override Rest.stencil = #ly:percent-repeat-item-interface::beat-slash
\once \override Rest.thickness = #0.48
\once \override Rest.slope = #1.7
r4
}
% Function to print a specified number of slashes
comp = #(define-music-function (count) (integer?)
#{
\override Rest.stencil = #ly:percent-repeat-item-interface::beat-slash
\override Rest.thickness = #0.48
\override Rest.slope = #1.7
\repeat unfold $count { r4 }
\revert Rest.stencil
#}
)
\score {
\relative c' {
c4 d e f |
\rs \rs \rs \rs |
\comp #4 |
}
}
|
Separating key cancellations from key signature changes
By default, the accidentals used for key cancellations are placed
adjacent to those for key signature changes. This behavior can be
changed by overriding the 'break-align-orders
property of the
BreakAlignment
grob.
The value of 'break-align-orders
is a vector of length 3, with
quoted lists of breakable items as elements. This example only
modifies the second list, moving key-cancellation
before
staff-bar
; by modifying the second list, break alignment
behavior only changes in the middle of a system, not at the beginning
or the end.
| \new Staff {
\override Score.BreakAlignment.break-align-orders =
##((left-edge ambitus breathing-sign clef staff-bar
key-cancellation key-signature time-signature custos)
(left-edge ambitus breathing-sign clef key-cancellation
staff-bar key-signature time-signature custos)
(left-edge ambitus breathing-sign clef key-cancellation
key-signature staff-bar time-signature custos))
\key des \major
c'1
\bar "||"
\key bes \major
c'1
}
|
Setting hairpin behavior at bar lines
If the note which ends a hairpin falls on a downbeat, the hairpin stops
at the bar line immediately preceding. This behavior can be controlled
by overriding the 'to-barline
property.
| \relative c'' {
e4\< e2.
e1\!
\override Hairpin.to-barline = ##f
e4\< e2.
e1\!
}
|
Setting system separators
System separators can be inserted between systems. Any markup can be
used, but \slashSeparator
has been provided as a sensible
default.
| \paper {
system-separator-markup = \slashSeparator
line-width = 120
}
notes = \relative c' {
c1 | c \break
c1 | c \break
c1 | c
}
\book {
\score {
\new GrandStaff <<
\new Staff \notes
\new Staff \notes
>>
}
}
|
Showing the same articulation above and below a note or chord
By default, LilyPond does not allow the same articulation (e.g., an
accent, a fermata, a flageolet, etc.) to be displayed above and below a
note. For example, c4_\fermata^\fermata will only show a fermata
below. The fermata above will simply be ignored. However, one can stick
scripts (just like fingerings) inside a chord, which means it is
possible to have as many articulations as desired. This approach has
the advantage that it ignores the stem and positions the articulation
relative to the note head. This can be seen in the case of the
flageolets in the snippet. To mimic the behaviour of scripts outside a
chord, ’add-stem-support would be required. So, the solution is to
write the note as a chord and add the articulations inside the <...>.
The direction will always be above, but one can tweak this via a
\tweak: <c-\tweak direction #DOWN-\fermata^\fermata>
| % The same as \flageolet, just a little smaller
smallFlageolet =
#(let ((m (make-articulation "flageolet")))
(set! (ly:music-property m 'tweaks)
(acons 'font-size -2
(ly:music-property m 'tweaks)))
m)
\relative c' {
s4^"Wrong:"
c4_\fermata^\fermata % The second fermata is ignored!
<e d'>4^\smallFlageolet_\smallFlageolet
s4^"Works if written inside a chord:"
<e_\smallFlageolet d'^\smallFlageolet>4
<e_\flageolet d'^\flageolet>4
<e_\smallFlageolet^\smallFlageolet>4
<e_\fermata^\fermata>4
}
|
String number extender lines
Make an extender line for string number indications, showing that a
series of notes is supposed to be played all on the same string.
| stringNumberSpanner =
#(define-music-function (StringNumber) (string?)
#{
\override TextSpanner.style = #'solid
\override TextSpanner.font-size = #-5
\override TextSpanner.bound-details.left.stencil-align-dir-y = #CENTER
\override TextSpanner.bound-details.left.text =
\markup { \circle \number $StringNumber }
#})
\relative c {
\clef "treble_8"
\stringNumberSpanner "5"
\textSpannerDown
a8\startTextSpan
b c d e f\stopTextSpan
\stringNumberSpanner "4"
g\startTextSpan a
bes4 a g2\stopTextSpan
}
|
Suppressing warnings for clashing note columns
If notes from two voices with stems in the same direction are placed at
the same position, and both voices have no shift or the same shift
specified, the error message ‘warning: ignoring too many clashing
note columns’ will appear when compiling the LilyPond file. This
message can be suppressed by setting the 'ignore-collision
property of the NoteColumn
object to #t
. Please note that
this does not just suppress warnings but stops LilyPond trying to
resolve collisions at all and so may have unintended results unless
used with care.
| ignore = \override NoteColumn.ignore-collision = ##t
\relative c' {
\new Staff <<
\new Voice{ \ignore \stemDown f2 g }
\new Voice{ c2 \stemDown c, }
>>
}
|
Time signature in parentheses - method 3
Another way to put the time signature in parenthesis
| \relative c'' {
\override Staff.TimeSignature.stencil = #(lambda (grob)
(parenthesize-stencil (ly:time-signature::print grob) 0.1 0.4 0.4 0.1 ))
\time 2/4
a4 b8 c
}
|
Time signature in parentheses
The time signature can be enclosed within parentheses.
| \relative c'' {
\override Staff.TimeSignature.stencil = #(lambda (grob)
(bracketify-stencil (ly:time-signature::print grob) Y 0.1 0.2 0.1))
\time 2/4
a4 b8 c
}
|
Time signature printing only the numerator as a number (instead of the fraction)
Sometimes, a time signature should not print the whole fraction (e.g.
7/4), but only the numerator (7 in this case). This can be easily done
by using \override Staff.TimeSignature.style = #'single-digit
to change the style permanently. By using \revert
Staff.TimeSignature.style
, this setting can be reversed. To apply the
single-digit style to only one time signature, use the
\override
command and prefix it with a \once
.
| \relative c'' {
\time 3/4
c4 c c
% Change the style permanently
\override Staff.TimeSignature.style = #'single-digit
\time 2/4
c4 c
\time 3/4
c4 c c
% Revert to default style:
\revert Staff.TimeSignature.style
\time 2/4
c4 c
% single-digit style only for the next time signature
\once \override Staff.TimeSignature.style = #'single-digit
\time 5/4
c4 c c c c
\time 2/4
c4 c
}
|
Tuplet bracket and change staff
This snippet shows how to set a tuplet starting in a lower staff and
finishing in the upper one.
| aigues = \relative c' {
\time 6/8
s4.
\stemDown
c16[ bes' e]
\stemUp
g c e
\stemDown
g8
}
basses = \relative c {
\time 3/4
\clef F
\tweak positions #'(4.5 . 9.5)
\tweak edge-height #'(1 . -1)
\tuplet 7/6 {
c16[ bes' e]
\change Staff = md
\stemUp
g[ c e g]
}
s4.s8
}
\new PianoStaff
\with { \omit TimeSignature }
<<
\new Staff = md \aigues
\new Staff = mg \basses
>>
|
Tweaking clef properties
Changing the Clef glyph, its position, or the ottavation does not
change the position of subsequent notes on the staff. To get key
signatures on their correct staff lines middleCClefPosition
must
also be specified, with positive or negative values moving middle
C
up or down respectively, relative to the staff’s center line.
For example, \clef "treble_8"
is equivalent to setting the
clefGlyph
, clefPosition
(the vertical position of the
clef itself on the staff), middleCPosition
and
clefTransposition
. Note that when any of these properties
(except middleCPosition
) are changed a new clef symbol is
printed.
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
\key f \major
c'1
% The standard bass clef
\set Staff.clefGlyph = #"clefs.F"
\set Staff.clefPosition = #2
\set Staff.middleCPosition = #6
\set Staff.middleCClefPosition = #6
\key g \major
c'1
% The baritone clef
\set Staff.clefGlyph = #"clefs.C"
\set Staff.clefPosition = #4
\set Staff.middleCPosition = #4
\set Staff.middleCClefPosition = #4
\key f \major
c'1
% The standard choral tenor clef
\set Staff.clefGlyph = #"clefs.G"
\set Staff.clefPosition = #-2
\set Staff.clefTransposition = #-7
\set Staff.middleCPosition = #1
\set Staff.middleCClefPosition = #1
\key f \major
c'1
% A non-standard clef
\set Staff.clefPosition = #0
\set Staff.clefTransposition = #0
\set Staff.middleCPosition = #-4
\set Staff.middleCClefPosition = #-4
\key g \major
c'1 \break
% The following clef changes do not preserve
% the normal relationship between notes, key signatures
% 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.clefTransposition = #7
c'1
\set Staff.clefTransposition = #0
\set Staff.clefPosition = #0
c'1
% Return to the normal clef:
\set Staff.middleCPosition = #0
c'1
}
|
Tweaking grace layout within music
The layout of grace expressions can be changed throughout the music
using the functions add-grace-property
and
remove-grace-property
. The following example undefines the
Stem
direction for this grace, so that stems do not always point
up, and changes the default note heads to crosses.
| \relative c'' {
\new Staff {
$(remove-grace-property 'Voice 'Stem 'direction)
$(add-grace-property 'Voice 'NoteHead 'style 'cross)
\new Voice {
\acciaccatura { f16 } g4
\grace { d16 e } f4
\appoggiatura { f,32 g a } e2
}
}
}
|
Using alternative flag styles
Alternative styles of flag on eighth and shorter notes can be displayed
by overriding the stencil
property of Flag
. Valid values
are modern-straight-flag
, old-straight-flag
and
flat-flag
.
| testnotes = {
\autoBeamOff
c8 d16 c32 d64 \acciaccatura { c8 } d64 r4
}
\score {
\relative c' {
\time 2/4
\testnotes
\override Flag.stencil = #modern-straight-flag
\testnotes
\override Flag.stencil = #old-straight-flag
\testnotes
\override Flag.stencil = #flat-flag
\testnotes
\revert Flag.stencil
\testnotes
}
\layout {
indent = 0
\context {
\Score
\override NonMusicalPaperColumn.line-break-permission = ##f
}
}
}
|
Using ly:grob-object to access grobs with \tweak
Some grobs can be accessed “laterally” from within another grob’s
callback. These are usually listed as “layout objects” in the “Internal
properties” section of a grob-interface. The function ly:grob-object is
used to access these grobs.
Demonstrated below are some ways of accessing grobs from within a
NoteHead callback, but the technique is not limited to NoteHeads.
However, the NoteHead callback is particularly important, since it is
the implicit callback used by the \tweak
command.
The example function defined below ("display-grobs") is probably not
that useful, but it demonstrates that the grobs are indeed being
accessed.
Example console output:
#Grob Accidental () #Grob Stem
| #(define (notehead-get-accidental notehead)
;; notehead is grob
(ly:grob-object notehead 'accidental-grob))
#(define (notehead-get-arpeggio notehead)
;; notehead is grob
(let ((notecolumn (notehead-get-notecolumn notehead)))
(ly:grob-object notecolumn 'arpeggio)))
#(define (notehead-get-notecolumn notehead)
;; notehead is grob
(ly:grob-parent notehead X))
#(define (notehead-get-stem notehead)
;; notehead is grob
(let ((notecolumn (notehead-get-notecolumn notehead)))
(ly:grob-object notecolumn 'stem)))
#(define (display-grobs notehead)
;; notehead is grob
(let ((accidental (notehead-get-accidental notehead))
(arpeggio (notehead-get-arpeggio notehead))
(stem (notehead-get-stem notehead)))
(format (current-error-port) "~2&~a\n" (make-string 20 #\-))
(for-each
(lambda (x) (format (current-error-port) "~a\n" x))
(list accidental arpeggio stem))))
\relative c' {
%% display grobs for each note head:
%\override NoteHead.before-line-breaking = #display-grobs
<c
%% or just for one:
\tweak before-line-breaking #display-grobs
es
g>1\arpeggio
}
|
Using PostScript to generate special note head shapes
When a note head with a special shape cannot easily be generated with
graphic markup, PostScript code can be used to generate the shape.
This example shows how a parallelogram-shaped note head is generated.
| parallelogram =
#(ly:make-stencil (list 'embedded-ps
"gsave
currentpoint translate
newpath
0 0.25 moveto
1.3125 0.75 lineto
1.3125 -0.25 lineto
0 -0.75 lineto
closepath
fill
grestore" )
(cons 0 1.3125)
(cons -.75 .75))
myNoteHeads = \override NoteHead.stencil = \parallelogram
normalNoteHeads = \revert NoteHead.stencil
\relative c'' {
\myNoteHeads
g4 d'
\normalNoteHeads
<f, \tweak stencil \parallelogram b e>4 d
}
|
Using the \tweak command to tweak individual grobs
With the \tweak
command, every grob can be tuned directly.
Here are some examples of available tweaks.
| \relative c' {
\time 2/4
\set fingeringOrientations = #'(right)
<
\tweak font-size #3 c
\tweak color #red d-\tweak font-size #8 -4
\tweak style #'cross g
\tweak duration-log #2 a
>2
}
|
Vertically aligned dynamics and textscripts
All DynamicLineSpanner
objects (hairpins and dynamic texts) are
placed with their reference line at least 'staff-padding
from
the staff, unless other notation forces them to be farther. Setting
'staff-padding
to a sufficiently large value aligns the dynamics.
The same idea, together with \textLengthOn
, is used to align
the text scripts along their baseline.
| music = \relative c' {
a'2\p b\f
e4\p f\f\> g, b\p
c2^\markup { \huge gorgeous } c^\markup { \huge fantastic }
}
{
\music
\break
\override DynamicLineSpanner.staff-padding = #3
\textLengthOn
\override TextScript.staff-padding = #1
\music
}
|
Vertically aligning ossias and lyrics
This snippet demonstrates the use of the context properties
alignBelowContext
and alignAboveContext
to control the
positioning of lyrics and ossias.
| \paper {
ragged-right = ##t
}
\relative c' <<
\new Staff = "1" { c4 c s2 }
\new Staff = "2" { c4 c s2 }
\new Staff = "3" { c4 c s2 }
{ \skip 2
<<
\lyrics {
\set alignBelowContext = #"1"
lyrics4 below
}
\new Staff \with {
alignAboveContext = #"3"
fontSize = #-2
\override StaffSymbol.staff-space = #(magstep -2)
\remove "Time_signature_engraver"
} {
\tuplet 6/4 {
\override TextScript.padding = #3
c8[^"ossia above" d e d e f]
}
}
>>
}
>>
|
Vertically centering paired figured bass extenders
Where figured bass extender lines are being used by setting
useBassFigureExtenders
to true, pairs of congruent figured bass
extender lines are vertically centered if
figuredBassCenterContinuations
is set to true.
| <<
\relative c' {
c8 c b b a a c16 c b b
c8 c b b a a c16 c b b
c8 c b b a a c c b b
}
\figures {
\set useBassFigureExtenders = ##t
<6+ 4 3>4 <6 4 3>8 r
<6+ 4 3>4 <6 4 3>8 <4 3+>16 r
\set figuredBassCenterContinuations = ##t
<6+ 4 3>4 <6 4 3>8 r
<6+ 4 3>4 <6 4 3>8 <4 3+>16 r
\set figuredBassCenterContinuations = ##f
<6+ 4 3>4 <6 4 3>8 r
<6+ 4 3>4 <6 4 3>8 <4 3+>8
}
>>
|
Paper and layout
Spacing issues
Aligning and centering instrument names
The horizontal alignment of instrument names is tweaked by changing the
Staff.InstrumentName #'self-alignment-X
property. The
\layout
variables indent
and short-indent
define
the space in which the instrument names are aligned before the first
and the following systems, respectively.
| \paper { left-margin = 3\cm }
\score {
\new StaffGroup <<
\new Staff \with {
\override InstrumentName.self-alignment-X = #LEFT
instrumentName = \markup \left-column {
"Left aligned"
"instrument name"
}
shortInstrumentName = "Left"
}
{ c''1 \break c''1 }
\new Staff \with {
\override InstrumentName.self-alignment-X = #CENTER
instrumentName = \markup \center-column {
Centered
"instrument name"
}
shortInstrumentName = "Centered"
}
{ g'1 g'1}
\new Staff \with {
\override InstrumentName.self-alignment-X = #RIGHT
instrumentName = \markup \right-column {
"Right aligned"
"instrument name"
}
shortInstrumentName = "Right"
}
{ e'1 e'1 }
>>
\layout {
ragged-right = ##t
indent = 4\cm
short-indent = 2\cm
}
}
|
Arranging separate lyrics on a single line
Sometimes you may want to put lyrics for different performers on a
single line: where there is rapidly alternating text, for example.
This snippet shows how this can be done with \override
VerticalAxisGroup.nonstaff-nonstaff-spacing.minimum-distance = ##f
.
| \layout {
\context {
\Lyrics
\override VerticalAxisGroup.nonstaff-nonstaff-spacing.minimum-distance = ##f
}
}
aliceSings = \markup { \smallCaps "Alice" }
eveSings = \markup { \smallCaps "Eve" }
<<
\new Staff <<
\new Voice = "alice" {
f'4^\aliceSings g' r2 |
s1 |
f'4^\aliceSings g' r2 |
s1 | \break
% ...
\voiceOne
s2 a'8^\aliceSings a' b'4 |
\oneVoice
g'1
}
\new Voice = "eve" {
s1 |
a'2^\eveSings g' |
s1 |
a'2^\eveSings g'
% ...
\voiceTwo
f'4^\eveSings a'8 g' f'4 e' |
\oneVoice
s1
}
>>
\new Lyrics \lyricsto "alice" {
may -- be
sec -- ond
% ...
Shut up, you fool!
}
\new Lyrics \lyricsto "eve" {
that the
words are
% ...
…and then I was like–
}
>>
|
Book parts
\bookpart
can be used to split a book into several parts. Each
part last page can be affected by ragged-last-bottom
. Header and
footer markups can detect a part last page, and make the difference
with the book last page.
| #(set-default-paper-size "a6")
\book {
%% book paper, which is inherited by all children bookparts
\paper {
ragged-last-bottom = ##t
%% Page footer: add a different part-tagline at part last page
oddFooterMarkup = \markup {
\column {
\fill-line {
%% Copyright header field only on book first page.
\on-the-fly #first-page \fromproperty #'header:copyright
}
\fill-line {
%% Part tagline header field only on each part last page.
\on-the-fly #part-last-page \fromproperty #'header:parttagline
}
\fill-line {
%% Tagline header field only on book last page.
\on-the-fly #last-page \fromproperty #'header:tagline
}
}
}
}
%% book header, which is inherited by the first bookpart
\header {
title = "Book title"
copyright = "Copyright line on book first page"
parttagline = "Part tagline"
tagline = "Book tagline"
}
\bookpart {
%% a different page breaking function may be used on each part
\paper { page-breaking = #ly:minimal-breaking }
\header { subtitle = "First part" }
\markup { The first book part }
\markup { a page break }
\pageBreak
\markup { first part last page }
\markup \wordwrap { with ragged-last-bottom (see the space below this text) }
}
\bookpart {
\header { subtitle = "Second part" }
{ c'4 }
}
}
|
Changing the staff size
Though the simplest way to resize staves is to use
#(set-global-staff-size xx)
, an individual staff’s size can be
changed by scaling the properties 'staff-space
and
fontSize
.
| <<
\new Staff {
\relative c'' {
\dynamicDown
c8\ff c c c c c c c
}
}
\new Staff \with {
fontSize = #-3
\override StaffSymbol.staff-space = #(magstep -3)
} {
\clef bass
c8 c c c c\f c c c
}
>>
|
Clip systems
This code shows how to clip (extract) snippets from a full score.
This file needs to be run separately with -dclip-systems
; the
snippets page may not adequately show the results.
The result will be files named
‘base-from-start-to-end[-count].eps’.
If system starts and ends are included, they include extents of the
System grob, e.g., instrument names.
Grace notes at the end point of the region are not included.
Regions can span multiple systems. In this case, multiple EPS files
are generated.
| #(ly:set-option 'clip-systems)
#(define output-suffix "1")
origScore = \score {
\relative c' {
\new Staff \with { instrumentName = "Instrument" }
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))
)
}
}
}
#(ly:set-option 'clip-systems #f)
#(define output-suffix #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)) }
}
}
}
|
Creating blank staves
To create blank staves, generate empty measures then remove the
Bar_number_engraver
from the Score
context, and the
Time_signature_engraver
, Clef_engraver
and
Bar_engraver
from the Staff
context.
| #(set-global-staff-size 20)
\score {
{
\repeat unfold 12 { s1 \break }
}
\layout {
indent = 0\in
\context {
\Staff
\remove "Time_signature_engraver"
\remove "Clef_engraver"
\remove "Bar_engraver"
}
\context {
\Score
\remove "Bar_number_engraver"
}
}
}
% uncomment these lines for "letter" size
%{
\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
}
%}
% uncomment these lines for "A4" size
%{
\paper {
#(set-paper-size "a4")
ragged-last-bottom = ##f
line-width = 180
left-margin = 15
bottom-margin = 10
top-margin = 10
}
%}
|
Demonstrating all headers
All header fields with special meanings.
| \header {
copyright = "copyright"
title = "title"
subtitle = "subtitle"
composer = "composer"
arranger = "arranger"
instrument = "instrument"
metre = "metre"
opus = "opus"
piece = "piece"
poet = "poet"
texidoc = "All header fields with special meanings."
copyright = "public domain"
enteredby = "jcn"
source = "urtext"
}
\layout {
ragged-right = ##f
}
\score {
\relative c'' { c1 | c | c | c }
}
\score {
\relative c'' { c1 | c | c | c }
\header {
title = "localtitle"
subtitle = "localsubtitle"
composer = "localcomposer"
arranger = "localarranger"
instrument = "localinstrument"
metre = "localmetre"
opus = "localopus"
piece = "localpiece"
poet = "localpoet"
copyright = "localcopyright"
}
}
|
Setting system separators
System separators can be inserted between systems. Any markup can be
used, but \slashSeparator
has been provided as a sensible
default.
| \paper {
system-separator-markup = \slashSeparator
line-width = 120
}
notes = \relative c' {
c1 | c \break
c1 | c \break
c1 | c
}
\book {
\score {
\new GrandStaff <<
\new Staff \notes
\new Staff \notes
>>
}
}
|
Table of contents
A table of contents is included using \markuplines
\table-of-contents
. The TOC items are added with the
\tocItem
command.
| #(set-default-paper-size "a6")
\book {
\markuplist \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" }
}
}
|
Vertical aligned StaffGroups without connecting SystemStartBar
This snippet shows how to achieve vertically aligned StaffGroups with a
SystemStartBar for each StaffGroup, but without connecting them.
| % by Thomas Morley
#(set-global-staff-size 18)
\paper {
indent = 0
ragged-right = ##f
print-all-headers = ##t
}
\layout {
\context {
\Staff
\consists "Mark_engraver"
\override RehearsalMark.self-alignment-X = #LEFT
}
\context {
\StaffGroup
systemStartDelimiterHierarchy =
#'(SystemStartBrace (SystemStartBracket a b))
}
\context {
\Score
\override SystemStartBrace.style = #'bar-line
\omit SystemStartBar
\override SystemStartBrace.padding = #-0.1
\override SystemStartBrace.thickness = #1.6
\remove "Mark_engraver"
\override StaffGrouper.staffgroup-staff-spacing.basic-distance = #15
}
}
%%%% EXAMPLE
txt =
\lyricmode {
Wer4 nur den lie -- ben Gott läßt wal2 -- ten4
und4 hof -- fet auf ihn al -- le Zeit2.
}
% First StaffGroup "exercise"
eI =
\relative c' {
\mark \markup {
\bold Teacher:
This is a simple setting of the choral. Please improve it.
}
\key a \minor
\time 4/4
\voiceOne
\partial 4
e4
a b c b
a b gis2
e4\fermata g! g f
e a a gis
a2.\fermata
\bar ":|."
}
eII =
\relative c' {
\key a \minor
\time 4/4
\voiceTwo
\partial 4
c4
e e e gis
a f e2
b4 b d d
c c d d
c2.
\bar ":|."
}
eIII =
\relative c' {
\key a \minor
\time 4/4
\clef bass
\voiceOne
\partial 4
a4
c b a b
c d b2
gis4 g g b
c a f e
e2.
}
eIV =
\relative c' {
\key a \minor
\time 4/4
\clef bass
\voiceTwo
\partial 4
a,4
a' gis a e
a, d e2
e,4\fermata e' b g
c f d e
a,2.\fermata
\bar ":|."
}
exercise =
\new StaffGroup = "exercise"
<<
\new Staff
<<
\new Voice \eI
\new Voice \eII
>>
\new Lyrics \txt
\new Staff
<<
\new Voice \eIII
\new Voice \eIV
>>
>>
% Second StaffGRoup "simple Bach"
sbI =
\relative c' {
\mark \markup { \bold" Pupil:" Here's my version! }
\key a \minor
\time 4/4
\voiceOne
\partial 4
e4
a b c b
a b gis2
e4\fermata g! g f
e a a gis
a2.\fermata
\bar ":|."
}
sbII =
\relative c' {
\key a \minor
\time 4/4
\voiceTwo
\partial 4
c8 d
e4 e e8 f g4
f f e2
b4 b8 c d4 d
e8 d c4 b8 c d4
c2.
\bar ":|."
}
sbIII =
\relative c' {
\key a \minor
\time 4/4
\clef bass
\voiceOne
\partial 4
a8 b
c4 b a b8 c
d4 d8 c b2
gis4 g g8 a b4
b a8 g f4 e
e2.
}
sbIV =
\relative c' {
\key a \minor
\time 4/4
\clef bass
\voiceTwo
\partial 4
a,4
a' gis a e
f8 e d4 e2
e,4\fermata e' b a8 g
c4 f8 e d4 e
a,2.\fermata
\bar ":|."
}
simpleBach =
\new StaffGroup = "simple Bach"
<<
\new Staff
<<
\new Voice \sbI
\new Voice \sbII
>>
\new Lyrics \txt
\new Staff
<<
\new Voice \sbIII
\new Voice \sbIV
>>
>>
% Third StaffGroup "chromatic Bach"
cbI =
\relative c' {
\mark \markup {
\bold "Teacher:"
\column {
"Well, you simply copied and transposed a version of J.S.Bach."
"Do you know this one?"
}
}
\key a \minor
\time 4/4
\voiceOne
\partial 4
e4
a b c b
a b gis4. fis8
e4\fermata g! g f
e a a8 b gis4
a2.\fermata
\bar ":|."
}
cbII =
\relative c' {
\key a \minor
\time 4/4
\voiceTwo
\partial 4
c8 d
e4 e e8 fis gis4
a8 g! f!4 e2
b4 e e d
d8[ cis] d dis e fis e4
e2.
\bar ":|."
}
cbIII =
\relative c' {
\key a \minor
\time 4/4
\clef bass
\voiceOne
\partial 4
a8 b
c[ b] a gis8 a4 d,
e8[ e'] d c b4. a8
gis4 b c d8 c
b[ a] a b c b b c16 d
c2.
}
cbIV =
\relative c' {
\key a \minor
\time 4/4
\clef bass
\voiceTwo
\partial 4
a4
c, e a, b
c d e2
e4\fermata e a b8 c
gis[ g] fis f e dis e4
a,2.\fermata
\bar ":|."
}
chromaticBach =
\new StaffGroup = "chromatic Bach"
<<
\new Staff
<<
\new Voice \cbI
\new Voice \cbII
>>
\new Lyrics \txt
\new Staff
<<
\new Voice \cbIII
\new Voice \cbIV
>>
>>
% Score
\score {
<<
\exercise
\simpleBach
\chromaticBach
>>
\header {
title = \markup
\column {
\combine \null \vspace #1
"Exercise: Improve the given choral"
" "
}
}
\layout {
\context {
\Lyrics
\override LyricText.X-offset = #-1
}
}
}
|
Titles
Titles and headers
Adding the current date to a score
With a little Scheme code, the current date can easily be added to a
score.
| % first, define a variable to hold the formatted date:
date = #(strftime "%d-%m-%Y" (localtime (current-time)))
% use it in the title block:
\header {
title = "Including the date!"
subtitle = \date
}
\score {
\relative c'' {
c4 c c c
}
}
% and use it in a \markup block:
\markup {
\date
}
|
Aligning and centering instrument names
The horizontal alignment of instrument names is tweaked by changing the
Staff.InstrumentName #'self-alignment-X
property. The
\layout
variables indent
and short-indent
define
the space in which the instrument names are aligned before the first
and the following systems, respectively.
| \paper { left-margin = 3\cm }
\score {
\new StaffGroup <<
\new Staff \with {
\override InstrumentName.self-alignment-X = #LEFT
instrumentName = \markup \left-column {
"Left aligned"
"instrument name"
}
shortInstrumentName = "Left"
}
{ c''1 \break c''1 }
\new Staff \with {
\override InstrumentName.self-alignment-X = #CENTER
instrumentName = \markup \center-column {
Centered
"instrument name"
}
shortInstrumentName = "Centered"
}
{ g'1 g'1}
\new Staff \with {
\override InstrumentName.self-alignment-X = #RIGHT
instrumentName = \markup \right-column {
"Right aligned"
"instrument name"
}
shortInstrumentName = "Right"
}
{ e'1 e'1 }
>>
\layout {
ragged-right = ##t
indent = 4\cm
short-indent = 2\cm
}
}
|
Demonstrating all headers
All header fields with special meanings.
| \header {
copyright = "copyright"
title = "title"
subtitle = "subtitle"
composer = "composer"
arranger = "arranger"
instrument = "instrument"
metre = "metre"
opus = "opus"
piece = "piece"
poet = "poet"
texidoc = "All header fields with special meanings."
copyright = "public domain"
enteredby = "jcn"
source = "urtext"
}
\layout {
ragged-right = ##f
}
\score {
\relative c'' { c1 | c | c | c }
}
\score {
\relative c'' { c1 | c | c | c }
\header {
title = "localtitle"
subtitle = "localsubtitle"
composer = "localcomposer"
arranger = "localarranger"
instrument = "localinstrument"
metre = "localmetre"
opus = "localopus"
piece = "localpiece"
poet = "localpoet"
copyright = "localcopyright"
}
}
|
Outputting the version number
By putting the output of
lilypond-version
into a lyric, it is possible to print the
version number of LilyPond in a score, or in a document generated
with lilypond-book
. Another possibility is to append the
version number to the doc-string, in this manner:
| \score {
\new Lyrics {
\override Score.RehearsalMark.self-alignment-X = #LEFT
\mark #(string-append "Processed with LilyPond version " (lilypond-version))
s2
}
}
|
Spacing
Spacing issues
Adjusting lyrics vertical spacing
This snippet shows how to bring the lyrics line closer to the staff.
| % Default layout:
<<
\new Staff \new Voice = melody \relative c' {
c4 d e f
g4 f e d
c1
}
\new Lyrics \lyricsto melody { aa aa aa aa aa aa aa aa aa }
\new Staff {
\new Voice = melody \relative c' {
c4 d e f
g4 f e d
c1
}
}
% Reducing the minimum space below the staff and above the lyrics:
\new Lyrics \with {
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 1))
}
\lyricsto melody { aa aa aa aa aa aa aa aa aa }
>>
|
Allowing fingerings to be printed inside the staff
By default, vertically oriented fingerings are positioned outside the
staff. However, this behavior can be canceled. Note: you must use a
chord construct <>, even if it is only a single note.
| \relative c' {
<c-1 e-2 g-3 b-5>2
\override Fingering.staff-padding = #'()
<c-1 e-2 g-3 b-5>4 <g'-0>
}
|
Page label
Page labels may be placed inside music or at top-level, and referred to
in markups.
| #(set-default-paper-size "a6")
#(define-markup-command (toc-line layout props label text)
(symbol? markup?)
(interpret-markup layout props
(markup #:fill-line (text #:page-ref label "8" "?"))))
\book {
\markup \huge \fill-line { \null Title Page \null }
\pageBreak
\label #'toc
\markup \column {
\large \fill-line { \null Table of contents \null }
\toc-line #'toc "Table of contents"
\toc-line #'firstScore "First Score"
\toc-line #'markA "Mark A"
\toc-line #'markB "Mark B"
\toc-line #'markC "Mark C"
\toc-line #'unknown "Unknown label"
}
\pageBreak
\label #'firstScore
\score {
\new Staff \relative c' {
c2 c
\mark \markup {
A (page \concat { \page-ref #'markA "0" "?" ) }
} \label #'markA
c2 c
\pageBreak
\mark "B" \label #'markB
d2 d
d2 d
\once \override Score.RehearsalMark.break-visibility =
#begin-of-line-invisible
\mark "C" \label #'markC
}
\header { piece = "First score" }
}
}
|
Proportional strict notespacing
If strict-note-spacing
is set spacing of notes is not influenced
by bars or clefs within a system. Rather, they are placed just before
the note that occurs at the same time. This may cause collisions.
| \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 \tuplet 3/2 { c8 \clef bass cis,, c } c4
c1
}
>>
|
Vertically aligned dynamics and textscripts
All DynamicLineSpanner
objects (hairpins and dynamic texts) are
placed with their reference line at least 'staff-padding
from
the staff, unless other notation forces them to be farther. Setting
'staff-padding
to a sufficiently large value aligns the dynamics.
The same idea, together with \textLengthOn
, is used to align
the text scripts along their baseline.
| music = \relative c' {
a'2\p b\f
e4\p f\f\> g, b\p
c2^\markup { \huge gorgeous } c^\markup { \huge fantastic }
}
{
\music
\break
\override DynamicLineSpanner.staff-padding = #3
\textLengthOn
\override TextScript.staff-padding = #1
\music
}
|
Vertically aligning ossias and lyrics
This snippet demonstrates the use of the context properties
alignBelowContext
and alignAboveContext
to control the
positioning of lyrics and ossias.
| \paper {
ragged-right = ##t
}
\relative c' <<
\new Staff = "1" { c4 c s2 }
\new Staff = "2" { c4 c s2 }
\new Staff = "3" { c4 c s2 }
{ \skip 2
<<
\lyrics {
\set alignBelowContext = #"1"
lyrics4 below
}
\new Staff \with {
alignAboveContext = #"3"
fontSize = #-2
\override StaffSymbol.staff-space = #(magstep -2)
\remove "Time_signature_engraver"
} {
\tuplet 6/4 {
\override TextScript.padding = #3
c8[^"ossia above" d e d e f]
}
}
>>
}
>>
|
MIDI
Creating MIDI output
Changing MIDI output to one channel per voice
When outputting MIDI, the default behavior is for each staff to
represent one MIDI channel, with all the voices on a staff amalgamated.
This minimizes the risk of running out of MIDI channels, since there
are only 16 available per track.
However, by moving the Staff_performer
to the Voice
context, each voice on a staff can have its own MIDI channel, as is
demonstrated by the following example: despite being on the same staff,
two MIDI channels are created, each with a different
midiInstrument
.
| \score {
\new Staff <<
\new Voice \relative c''' {
\set midiInstrument = #"flute"
\voiceOne
\key g \major
\time 2/2
r2 g-"Flute" ~
g fis ~
fis4 g8 fis e2 ~
e4 d8 cis d2
}
\new Voice \relative c'' {
\set midiInstrument = #"clarinet"
\voiceTwo
b1-"Clarinet"
a2. b8 a
g2. fis8 e
fis2 r
}
>>
\layout { }
\midi {
\context {
\Staff
\remove "Staff_performer"
}
\context {
\Voice
\consists "Staff_performer"
}
\tempo 2 = 72
}
}
|
Changing the tempo without a metronome mark
To change the tempo in MIDI output without printing anything, make the
metronome mark invisible.
| \score {
\new Staff \relative c' {
\tempo 4 = 160
c4 e g b
c4 b d c
\set Score.tempoHideNote = ##t
\tempo 4 = 96
d,4 fis a cis
d4 cis e d
}
\layout { }
\midi { }
}
|
Creating custom dynamics in MIDI output
The following example shows how to create a dynamic marking, not
included in the default list, and assign it a specific value so that it
can be used to affect MIDI output.
The dynamic mark \rfz
is assigned a value of 0.9
.
| #(define (myDynamics dynamic)
(if (equal? dynamic "rfz")
0.9
(default-dynamic-absolute-volume dynamic)))
\score {
\new Staff {
\set Staff.midiInstrument = #"cello"
\set Score.dynamicAbsoluteVolumeFunction = #myDynamics
\new Voice {
\relative {
a'4\pp b c-\rfz
}
}
}
\layout {}
\midi {}
}
|
Demo MidiInstruments
Problem: How to know which midiInstrument
would be best for your
composition? Solution: A LilyPond demo file.
| \header {
title = "Demo of all midi sounds"
arranger = "Myself "
}
baseMelody = \relative c' {
c4.\mf g c16 b' c d
e16 d e f g4 g'4 r
R1
}
melody = {
\tempo 4 = 150
\baseMelody
}
\score {
\new Staff <<
\new Voice \melody
>>
\layout { }
}
\score {
\new Staff <<
\new Voice {
r\mf
\set Staff.midiInstrument = #"acoustic grand" \melody
\set Staff.midiInstrument = #"bright acoustic" \melody
\set Staff.midiInstrument = #"electric grand" \melody
\set Staff.midiInstrument = #"honky-tonk" \melody
\set Staff.midiInstrument = #"electric piano 1" \melody
\set Staff.midiInstrument = #"electric piano 2" \melody
\set Staff.midiInstrument = #"harpsichord" \melody
\set Staff.midiInstrument = #"clav" \melody
\set Staff.midiInstrument = #"celesta" \melody
\set Staff.midiInstrument = #"glockenspiel" \melody
\set Staff.midiInstrument = #"music box" \melody
\set Staff.midiInstrument = #"vibraphone" \melody
\set Staff.midiInstrument = #"marimba" \melody
\set Staff.midiInstrument = #"xylophone" \melody
\set Staff.midiInstrument = #"tubular bells" \melody
\set Staff.midiInstrument = #"dulcimer" \melody
\set Staff.midiInstrument = #"drawbar organ" \melody
\set Staff.midiInstrument = #"percussive organ" \melody
\set Staff.midiInstrument = #"rock organ" \melody
\set Staff.midiInstrument = #"church organ" \melody
\set Staff.midiInstrument = #"reed organ" \melody
\set Staff.midiInstrument = #"accordion" \melody
\set Staff.midiInstrument = #"harmonica" \melody
\set Staff.midiInstrument = #"concertina" \melody
\set Staff.midiInstrument = #"acoustic guitar (nylon)" \melody
\set Staff.midiInstrument = #"acoustic guitar (steel)" \melody
\set Staff.midiInstrument = #"electric guitar (jazz)" \melody
\set Staff.midiInstrument = #"electric guitar (clean)" \melody
\set Staff.midiInstrument = #"electric guitar (muted)" \melody
\set Staff.midiInstrument = #"overdriven guitar" \melody
\set Staff.midiInstrument = #"distorted guitar" \melody
\set Staff.midiInstrument = #"acoustic bass" \melody
\set Staff.midiInstrument = #"electric bass (finger)" \melody
\set Staff.midiInstrument = #"electric bass (pick)" \melody
\set Staff.midiInstrument = #"fretless bass" \melody
\set Staff.midiInstrument = #"slap bass 1" \melody
\set Staff.midiInstrument = #"slap bass 2" \melody
\set Staff.midiInstrument = #"synth bass 1" \melody
\set Staff.midiInstrument = #"synth bass 2" \melody
\set Staff.midiInstrument = #"violin" \melody
\set Staff.midiInstrument = #"viola" \melody
\set Staff.midiInstrument = #"cello" \melody
\set Staff.midiInstrument = #"contrabass" \melody
\set Staff.midiInstrument = #"tremolo strings" \melody
\set Staff.midiInstrument = #"pizzicato strings" \melody
\set Staff.midiInstrument = #"orchestral harp" \melody
\set Staff.midiInstrument = #"timpani" \melody
\set Staff.midiInstrument = #"string ensemble 1" \melody
\set Staff.midiInstrument = #"string ensemble 2" \melody
\set Staff.midiInstrument = #"synthstrings 1" \melody
\set Staff.midiInstrument = #"synthstrings 2" \melody
\set Staff.midiInstrument = #"choir aahs" \melody
\set Staff.midiInstrument = #"voice oohs" \melody
\set Staff.midiInstrument = #"synth voice" \melody
\set Staff.midiInstrument = #"orchestra hit" \melody
\set Staff.midiInstrument = #"trumpet" \melody
\set Staff.midiInstrument = #"trombone" \melody
\set Staff.midiInstrument = #"tuba" \melody
\set Staff.midiInstrument = #"muted trumpet" \melody
\set Staff.midiInstrument = #"french horn" \melody
\set Staff.midiInstrument = #"brass section" \melody
\set Staff.midiInstrument = #"synthbrass 1" \melody
\set Staff.midiInstrument = #"synthbrass 2" \melody
\set Staff.midiInstrument = #"soprano sax" \melody
\set Staff.midiInstrument = #"alto sax" \melody
\set Staff.midiInstrument = #"tenor sax" \melody
\set Staff.midiInstrument = #"baritone sax" \melody
\set Staff.midiInstrument = #"oboe" \melody
\set Staff.midiInstrument = #"english horn" \melody
\set Staff.midiInstrument = #"bassoon" \melody
\set Staff.midiInstrument = #"clarinet" \melody
\set Staff.midiInstrument = #"piccolo" \melody
\set Staff.midiInstrument = #"flute" \melody
\set Staff.midiInstrument = #"recorder" \melody
\set Staff.midiInstrument = #"pan flute" \melody
\set Staff.midiInstrument = #"blown bottle" \melody
\set Staff.midiInstrument = #"shakuhachi" \melody
\set Staff.midiInstrument = #"whistle" \melody
\set Staff.midiInstrument = #"ocarina" \melody
\set Staff.midiInstrument = #"lead 1 (square)" \melody
\set Staff.midiInstrument = #"lead 2 (sawtooth)" \melody
\set Staff.midiInstrument = #"lead 3 (calliope)" \melody
\set Staff.midiInstrument = #"lead 4 (chiff)" \melody
\set Staff.midiInstrument = #"lead 5 (charang)" \melody
\set Staff.midiInstrument = #"lead 6 (voice)" \melody
\set Staff.midiInstrument = #"lead 7 (fifths)" \melody
\set Staff.midiInstrument = #"lead 8 (bass+lead)" \melody
\set Staff.midiInstrument = #"pad 1 (new age)" \melody
\set Staff.midiInstrument = #"pad 2 (warm)" \melody
\set Staff.midiInstrument = #"pad 3 (polysynth)" \melody
\set Staff.midiInstrument = #"pad 4 (choir)" \melody
\set Staff.midiInstrument = #"pad 5 (bowed)" \melody
\set Staff.midiInstrument = #"pad 6 (metallic)" \melody
\set Staff.midiInstrument = #"pad 7 (halo)" \melody
\set Staff.midiInstrument = #"pad 8 (sweep)" \melody
\set Staff.midiInstrument = #"fx 1 (rain)" \melody
\set Staff.midiInstrument = #"fx 2 (soundtrack)" \melody
\set Staff.midiInstrument = #"fx 3 (crystal)" \melody
\set Staff.midiInstrument = #"fx 4 (atmosphere)" \melody
\set Staff.midiInstrument = #"fx 5 (brightness)" \melody
\set Staff.midiInstrument = #"fx 6 (goblins)" \melody
\set Staff.midiInstrument = #"fx 7 (echoes)" \melody
\set Staff.midiInstrument = #"fx 8 (sci-fi)" \melody
\set Staff.midiInstrument = #"sitar" \melody
\set Staff.midiInstrument = #"banjo" \melody
\set Staff.midiInstrument = #"shamisen" \melody
\set Staff.midiInstrument = #"koto" \melody
\set Staff.midiInstrument = #"kalimba" \melody
\set Staff.midiInstrument = #"bagpipe" \melody
\set Staff.midiInstrument = #"fiddle" \melody
\set Staff.midiInstrument = #"shanai" \melody
\set Staff.midiInstrument = #"tinkle bell" \melody
\set Staff.midiInstrument = #"agogo" \melody
\set Staff.midiInstrument = #"steel drums" \melody
\set Staff.midiInstrument = #"woodblock" \melody
\set Staff.midiInstrument = #"taiko drum" \melody
\set Staff.midiInstrument = #"melodic tom" \melody
\set Staff.midiInstrument = #"synth drum" \melody
\set Staff.midiInstrument = #"reverse cymbal" \melody
\set Staff.midiInstrument = #"guitar fret noise" \melody
\set Staff.midiInstrument = #"breath noise" \melody
\set Staff.midiInstrument = #"seashore" \melody
\set Staff.midiInstrument = #"bird tweet" \melody
\set Staff.midiInstrument = #"telephone ring" \melody
\set Staff.midiInstrument = #"helicopter" \melody
\set Staff.midiInstrument = #"applause" \melody
\set Staff.midiInstrument = #"gunshot" \melody
}
>>
\midi { }
}
|
Replacing default MIDI instrument equalization
The default MIDI instrument equalizer can be replaced by
setting the instrumentEqualizer
property in the Score
context to a user-defined Scheme procedure that uses a MIDI instrument
name as its argument along with a pair of fractions indicating the
minimum and maximum volumes respectively to be applied to that
specific instrument.
The following example sets the minimum and maximum volumes for flute
and clarinet respectively.
| #(define my-instrument-equalizer-alist '())
#(set! my-instrument-equalizer-alist
(append
'(
("flute" . (0.7 . 0.9))
("clarinet" . (0.3 . 0.6)))
my-instrument-equalizer-alist))
#(define (my-instrument-equalizer s)
(let ((entry (assoc s my-instrument-equalizer-alist)))
(if entry
(cdr entry))))
\score {
<<
\new Staff {
\key g \major
\time 2/2
\set Score.instrumentEqualizer = #my-instrument-equalizer
\set Staff.midiInstrument = "flute"
\new Voice \relative {
r2 g''\mp g fis~
4 g8 fis e2~
4 d8 cis d2
}
}
\new Staff {
\key g \major
\set Staff.midiInstrument = "clarinet"
\new Voice \relative {
b'1\p a2. b8 a
g2. fis8 e
fis2 r
}
}
>>
\layout { }
\midi { }
}
|
Templates
Ancient notation template – modern transcription of gregorian music
This example demonstrates how to do modern transcription of Gregorian
music. Gregorian music has no measure, no stems; it uses only half and
quarter note heads, and special marks, indicating rests of different
length.
| \include "gregorian.ly"
chant = \relative c' {
\set Score.timing = ##f
f4 a2 \divisioMinima
g4 b a2 f2 \divisioMaior
g4( f) f( g) a2 \finalis
}
verba = \lyricmode {
Lo -- rem ip -- sum do -- lor sit a -- met
}
\score {
\new Staff <<
\new Voice = "melody" \chant
\new Lyrics = "one" \lyricsto melody \verba
>>
\layout {
\context {
\Staff
\remove "Time_signature_engraver"
\remove "Bar_engraver"
\hide Stem
}
\context {
\Voice
\override Stem.length = #0
}
\context {
\Score
barAlways = ##t
}
}
}
|
Anglican psalm template
This template shows one way of setting out an Anglican psalm chant. It
also shows how the verses may be added as stand-alone text under the
music. The two verses are coded in different styles to demonstrate
more possibilities.
| SopranoMusic = \relative g' {
g1 | c2 b | a1 | \bar "||"
a1 | d2 c | c b | c1 | \bar "||"
}
AltoMusic = \relative c' {
e1 | g2 g | f1 |
f1 | f2 e | d d | e1 |
}
TenorMusic = \relative a {
c1 | c2 c | c1 |
d1 | g,2 g | g g | g1 |
}
BassMusic = \relative c {
c1 | e2 e | f1 |
d1 | b2 c | g' g | c,1 |
}
global = {
\time 2/2
}
dot = \markup {
\raise #0.7 \musicglyph "dots.dot"
}
tick = \markup {
\raise #1 \fontsize #-5 \musicglyph "scripts.rvarcomma"
}
% Use markup to center the chant on the page
\markup {
\fill-line {
\score { % centered
<<
\new ChoirStaff <<
\new Staff <<
\global
\clef "treble"
\new Voice = "Soprano" <<
\voiceOne
\SopranoMusic
>>
\new Voice = "Alto" <<
\voiceTwo
\AltoMusic
>>
>>
\new Staff <<
\clef "bass"
\global
\new Voice = "Tenor" <<
\voiceOne
\TenorMusic
>>
\new Voice = "Bass" <<
\voiceTwo
\BassMusic
>>
>>
>>
>>
\layout {
\context {
\Score
\override SpacingSpanner.base-shortest-duration = #(ly:make-moment 1/2)
}
\context {
\Staff
\remove "Time_signature_engraver"
}
}
} % End score
}
} % End markup
\markup {
\fill-line {
\column {
\left-align {
\null \null \null
\line {
\fontsize #5 O
\fontsize #3 come
let us \bold sing | unto \dot the | Lord : let
}
\line {
us heartily
\concat { re \bold joice }
in the | strength of | our
}
\line {
sal | vation.
}
\null
\line {
\hspace #2.5 8. Today if ye will hear his voice *
}
\line {
\concat { \bold hard en }
\tick not your \tick hearts : as in the pro-
}
\line {
vocation * and as in the \bold day of tempt- \tick
}
\line {
-ation \tick in the \tick wilderness.
}
}
}
}
}
|
Hymn template
This code shows one way of setting out a hymn tune when each line
starts and ends with a partial measure. It also shows how to add the
verses as stand-alone text under the music.
| Timeline = {
\time 4/4
\tempo 4=96
\partial 2
s2 | s1 | s2 \breathe s2 | s1 | s2 \bar "||" \break
s2 | s1 | s2 \breathe s2 | s1 | s2 \bar "||"
}
SopranoMusic = \relative g' {
g4 g | g g g g | g g g g | g g g g | g2
g4 g | g g g g | g g g g | g g g g | g2
}
AltoMusic = \relative c' {
d4 d | d d d d | d d d d | d d d d | d2
d4 d | d d d d | d d d d | d d d d | d2
}
TenorMusic = \relative a {
b4 b | b b b b | b b b b | b b b b | b2
b4 b | b b b b | b b b b | b b b b | b2
}
BassMusic = \relative g {
g4 g | g g g g | g g g g | g g g g | g2
g4 g | g g g g | g g g g | g g g g | g2
}
global = {
\key g \major
}
\score { % Start score
<<
\new PianoStaff << % Start pianostaff
\new Staff << % Start Staff = RH
\global
\clef "treble"
\new Voice = "Soprano" << % Start Voice = "Soprano"
\Timeline
\voiceOne
\SopranoMusic
>> % End Voice = "Soprano"
\new Voice = "Alto" << % Start Voice = "Alto"
\Timeline
\voiceTwo
\AltoMusic
>> % End Voice = "Alto"
>> % End Staff = RH
\new Staff << % Start Staff = LH
\global
\clef "bass"
\new Voice = "Tenor" << % Start Voice = "Tenor"
\Timeline
\voiceOne
\TenorMusic
>> % End Voice = "Tenor"
\new Voice = "Bass" << % Start Voice = "Bass"
\Timeline
\voiceTwo
\BassMusic
>> % End Voice = "Bass"
>> % End Staff = LH
>> % End pianostaff
>>
} % End score
\markup {
\fill-line {
""
{
\column {
\left-align {
"This is line one of the first verse"
"This is line two of the same"
"And here's line three of the first verse"
"And the last line of the same"
}
}
}
""
}
}
\paper { % Start paper block
indent = 0 % don't indent first system
line-width = 130 % shorten line length to suit music
} % End paper block
|
Jazz combo template
This is quite an advanced template, for a jazz ensemble. Note that all
instruments are notated in \key c \major
. This refers to the
key in concert pitch; the key will be automatically transposed if the
music is within a \transpose
section.
| \header {
title = "Song"
subtitle = "(tune)"
composer = "Me"
meter = "moderato"
piece = "Swing"
tagline = \markup {
\column {
"LilyPond example file by Amelie Zapf,"
"Berlin 07/07/2003"
}
}
}
% To make the example display in the documentation
\paper {
paper-width = 130
}
%#(set-global-staff-size 16)
\include "english.ly"
%%%%%%%%%%%% Some macros %%%%%%%%%%%%%%%%%%%
sl = {
\override NoteHead.style = #'slash
\hide Stem
}
nsl = {
\revert NoteHead.style
\undo \hide Stem
}
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
\clef treble
<<
\trpt
>>
}
% ------ Alto Saxophone ------
alto = \transpose c a \relative c' {
\Key
c1 | c | c |
}
altoHarmony = \transpose c' a {
\jazzChords
}
altoSax = {
\global
\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
\clef treble
<<
\bari
>>
}
% ------ Trombone ------
tbone = \relative c {
\Key
c1 | c | c
}
tboneHarmony = \chordmode {
\jazzChords
}
trombone = {
\global
\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
\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
<<
\new Voice = "one" \rhUpper
\new Voice = "two" \rhLower
>>
}
PianoLH = {
\clef bass
\global
<<
\new Voice = "one" \lhUpper
\new Voice = "two" \lhLower
>>
}
piano = {
<<
\new Staff = "upper" \PianoRH
\new Staff = "lower" \PianoLH
>>
}
% ------ Bass Guitar ------
Bass = \relative c {
\Key
c1 | c | c
}
bass = {
\global
\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
<<
\new DrumVoice \up
\new DrumVoice \down
>>
}
%%%%%%%%% It All Goes Together Here %%%%%%%%%%%%%%%%%%%%%%
\score {
<<
\new StaffGroup = "horns" <<
\new Staff = "trumpet" \with { instrumentName = "Trumpet" }
\trumpet
\new Staff = "altosax" \with { instrumentName = "Alto Sax" }
\altoSax
\new ChordNames = "barichords" \with { instrumentName = "Trumpet" }
\bariHarmony
\new Staff = "barisax" \with { instrumentName = "Bari Sax" }
\bariSax
\new Staff = "trombone" \with { instrumentName = "Trombone" }
\trombone
>>
\new StaffGroup = "rhythm" <<
\new ChordNames = "chords" \gtrHarmony
\new Staff = "guitar" \with { instrumentName = "Guitar" }
\guitar
\new PianoStaff = "piano" \with {
instrumentName = "Piano"
midiInstrument = "acoustic grand"
}
\piano
\new Staff = "bass" \with { instrumentName = "Bass" }
\bass
\new DrumStaff \with { instrumentName = "Drums" }
\drumContents
>>
>>
\layout {
\context { \Staff \RemoveEmptyStaves }
\context {
\Score
\override BarNumber.padding = #3
\override RehearsalMark.padding = #2
skipBars = ##t
}
}
\midi { }
}
|
Orchestra choir and piano template
This template demonstrates the use of nested StaffGroup
and
GrandStaff
contexts to sub-group instruments of the same type
together, and a way to use \transpose
so that variables hold
music for transposing instruments at concert pitch.
| #(set-global-staff-size 17)
\paper {
indent = 3.0\cm % add space for instrumentName
short-indent = 1.5\cm % add less space for shortInstrumentName
}
fluteMusic = \relative c' { \key g \major g'1 b }
% Pitches as written on a manuscript for Clarinet in A
% are transposed to concert pitch.
clarinetMusic = \transpose c' a
\relative c'' { \key bes \major bes1 d }
trumpetMusic = \relative c { \key g \major g''1 b }
% Key signature is often omitted for horns
hornMusic = \transpose c' f
\relative c { d'1 fis }
percussionMusic = \relative c { \key g \major g1 b }
sopranoMusic = \relative c'' { \key g \major g'1 b }
sopranoLyrics = \lyricmode { Lyr -- ics }
altoIMusic = \relative c' { \key g \major g'1 b }
altoIIMusic = \relative c' { \key g \major g'1 b }
altoILyrics = \sopranoLyrics
altoIILyrics = \lyricmode { Ah -- ah }
tenorMusic = \relative c' { \clef "treble_8" \key g \major g1 b }
tenorLyrics = \sopranoLyrics
pianoRHMusic = \relative c { \key g \major g''1 b }
pianoLHMusic = \relative c { \clef bass \key g \major g1 b }
violinIMusic = \relative c' { \key g \major g'1 b }
violinIIMusic = \relative c' { \key g \major g'1 b }
violaMusic = \relative c { \clef alto \key g \major g'1 b }
celloMusic = \relative c { \clef bass \key g \major g1 b }
bassMusic = \relative c { \clef "bass_8" \key g \major g,1 b }
\score {
<<
\new StaffGroup = "StaffGroup_woodwinds" <<
\new Staff = "Staff_flute" \with { instrumentName = "Flute" }
\fluteMusic
\new Staff = "Staff_clarinet" \with {
instrumentName = \markup { \concat { "Clarinet in B" \flat } }
}
% Declare that written Middle C in the music
% to follow sounds a concert B flat, for
% output using sounded pitches such as MIDI.
%\transposition bes
% Print music for a B-flat clarinet
\transpose bes c' \clarinetMusic
>>
\new StaffGroup = "StaffGroup_brass" <<
\new Staff = "Staff_hornI" \with { instrumentName = "Horn in F" }
% \transposition f
\transpose f c' \hornMusic
\new Staff = "Staff_trumpet" \with { instrumentName = "Trumpet in C" }
\trumpetMusic
>>
\new RhythmicStaff = "RhythmicStaff_percussion"
\with { instrumentName = "Percussion" }
<<
\percussionMusic
>>
\new PianoStaff \with { instrumentName = "Piano" }
<<
\new Staff { \pianoRHMusic }
\new Staff { \pianoLHMusic }
>>
\new ChoirStaff = "ChoirStaff_choir" <<
\new Staff = "Staff_soprano" \with { instrumentName = "Soprano" }
\new Voice = "soprano"
\sopranoMusic
\new Lyrics \lyricsto "soprano" { \sopranoLyrics }
\new GrandStaff = "GrandStaff_altos"
\with { \accepts Lyrics } <<
\new Staff = "Staff_altoI" \with { instrumentName = "Alto I" }
\new Voice = "altoI"
\altoIMusic
\new Lyrics \lyricsto "altoI" { \altoILyrics }
\new Staff = "Staff_altoII" \with { instrumentName = "Alto II" }
\new Voice = "altoII"
\altoIIMusic
\new Lyrics \lyricsto "altoII" { \altoIILyrics }
>>
\new Staff = "Staff_tenor" \with { instrumentName = "Tenor" }
\new Voice = "tenor"
\tenorMusic
\new Lyrics \lyricsto "tenor" { \tenorLyrics }
>>
\new StaffGroup = "StaffGroup_strings" <<
\new GrandStaff = "GrandStaff_violins" <<
\new Staff = "Staff_violinI" \with { instrumentName = "Violin I" }
\violinIMusic
\new Staff = "Staff_violinII" \with { instrumentName = "Violin II" }
\violinIIMusic
>>
\new Staff = "Staff_viola" \with { instrumentName = "Viola" }
\violaMusic
\new Staff = "Staff_cello" \with { instrumentName = "Cello" }
\celloMusic
\new Staff = "Staff_bass" \with { instrumentName = "Double Bass" }
\bassMusic
>>
>>
\layout { }
}
|
Piano template (simple)
Here is a simple piano staff with some notes.
| upper = \relative c'' {
\clef treble
\key c \major
\time 4/4
a4 b c d
}
lower = \relative c {
\clef bass
\key c \major
\time 4/4
a2 c
}
\score {
\new PianoStaff \with { instrumentName = "Piano" }
<<
\new Staff = "upper" \upper
\new Staff = "lower" \lower
>>
\layout { }
\midi { }
}
|
Piano template with centered lyrics
Instead of having a full staff for the melody and lyrics, lyrics can be
centered between the staves of a piano staff.
| upper = \relative c'' {
\clef treble
\key c \major
\time 4/4
a4 b c d
}
lower = \relative c {
\clef bass
\key c \major
\time 4/4
a2 c
}
text = \lyricmode {
Aaa Bee Cee Dee
}
\score {
\new PianoStaff <<
\new Staff = upper { \new Voice = "singer" \upper }
\new Lyrics \lyricsto "singer" \text
\new Staff = lower { \lower }
>>
\layout { }
\midi { }
}
|
Piano template with melody and lyrics
Here is a typical song format: one staff with the melody and lyrics,
with piano accompaniment underneath.
| melody = \relative c'' {
\clef treble
\key c \major
\time 4/4
a b c d
}
text = \lyricmode {
Aaa Bee Cee Dee
}
upper = \relative c'' {
\clef treble
\key c \major
\time 4/4
a4 b c d
}
lower = \relative c {
\clef bass
\key c \major
\time 4/4
a2 c
}
\score {
<<
\new Voice = "mel" { \autoBeamOff \melody }
\new Lyrics \lyricsto mel \text
\new PianoStaff <<
\new Staff = "upper" \upper
\new Staff = "lower" \lower
>>
>>
\layout {
\context { \Staff \RemoveEmptyStaves }
}
\midi { }
}
|
SATB Choir template - four staves
SATB choir template (four staves)
| global = {
\key c \major
\time 4/4
\dynamicUp
}
sopranonotes = \relative c'' {
c2 \p \< d c d \f
}
sopranowords = \lyricmode { do do do do }
altonotes = \relative c'' {
c2\p d c d
}
altowords = \lyricmode { re re re re }
tenornotes = {
\clef "G_8"
c2\mp d c d
}
tenorwords = \lyricmode { mi mi mi mi }
bassnotes = {
\clef bass
c2\mf d c d
}
basswords = \lyricmode { mi mi mi mi }
\score {
\new ChoirStaff <<
\new Staff <<
\new Voice = "soprano" <<
\global
\sopranonotes
>>
\new Lyrics \lyricsto "soprano" \sopranowords
>>
\new Staff <<
\new Voice = "alto" <<
\global
\altonotes
>>
\new Lyrics \lyricsto "alto" \altowords
>>
\new Staff <<
\new Voice = "tenor" <<
\global
\tenornotes
>>
\new Lyrics \lyricsto "tenor" \tenorwords
>>
\new Staff <<
\new Voice = "bass" <<
\global
\bassnotes
>>
\new Lyrics \lyricsto "bass" \basswords
>>
>>
}
|
Score for diatonic accordion
A template to write a score for a diatonic accordion.
- There is a horizontal staff indicating if the accordion must be
pushed (thick line) or pulled (thin line)
- There is a small rhythmic staff with lyrics that describes the bass
buttons to press. The bar lines are made from gridlines
- The tabulator staff for diatonic accordions shows the geographic
position of the buttons and not (as for every other instrument) the
pitch of the notes; the keys on the melody-side of the accordion are
placed in three columns and about 12 rows
In the tabulator staff notation the outermost column is described with
notes between lines, the innermost column is described with notes
between lines and a cross as accidental, and the middle column is
described with notes on a line, whereby the row in the middle is
represented on the middle line in the staff.
Some words to transpose piano notes to the diatonic accordion:
1. Every diatonic accordion is built for some keys only (for example,
for the keys of C major and F major), so it is important to transpose a
piano melody to match one of these keys. Transpose the source code, not
only the output because this code is required later on to translate it
once more to the tabulator staff. This can be done with the command
displayLilyMusic
.
2. You have to alternate the push- and pull-direction of the accordion
regularly. If the player has a too long part to pull the accordion gets
broken. On the other hand, some harmonies are only available in one
direction. Considering this, decide which parts of the melody are the
push-parts and which the pull-parts.
3. For each pull- or push-part translate the piano notes to the
according tabulature representation.
| 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 = { \hide Stem }
NoNoteHead = \hide NoteHead
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 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 like 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 {
\Score
% The vertical line (simulating a bar-line) in
% the staffBassRhytm is a gridline
\consists "Grid_line_span_engraver"
}
\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" } {
\accidentalStyle 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 (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 "|."
}
}
\score {
\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
>>
}
|
Single staff template with notes lyrics and chords
This template allows the preparation of a song with melody, words, and
chords.
| melody = \relative c' {
\clef treble
\key c \major
\time 4/4
a4 b c d
}
text = \lyricmode {
Aaa Bee Cee Dee
}
harmonies = \chordmode {
a2 c
}
\score {
<<
\new ChordNames {
\set chordChanges = ##t
\harmonies
}
\new Voice = "one" { \autoBeamOff \melody }
\new Lyrics \lyricsto "one" \text
>>
\layout { }
\midi { }
}
|
Single staff template with notes lyrics chords and frets
Here is a simple lead sheet template with melody, lyrics, chords and
fret diagrams.
| verseI = \lyricmode {
\set stanza = #"1."
This is the first verse
}
verseII = \lyricmode {
\set stanza = #"2."
This is the second verse.
}
theChords = \chordmode {
% insert chords for chordnames and fretboards here
c2 g4 c
}
staffMelody = \relative c' {
\key c \major
\clef treble
% Type notes for melody here
c4 d8 e f4 g
\bar "|."
}
\score {
<<
\context ChordNames { \theChords }
\context FretBoards { \theChords }
\new Staff {
\context Voice = "voiceMelody" { \staffMelody }
}
\new Lyrics = "lyricsI" {
\lyricsto "voiceMelody" \verseI
}
\new Lyrics = "lyricsII" {
\lyricsto "voiceMelody" \verseII
}
>>
\layout { }
\midi { }
}
|
Single staff template with notes and chords
Want to prepare a lead sheet with a melody and chords? Look no further!
| melody = \relative c' {
\clef treble
\key c \major
\time 4/4
f4 e8[ c] d4 g
a2 ~ a
}
harmonies = \chordmode {
c4:m f:min7 g:maj c:aug
d2:dim b4:5 e:sus
}
\score {
<<
\new ChordNames {
\set chordChanges = ##t
\harmonies
}
\new Staff \melody
>>
\layout{ }
\midi { }
}
|
Single staff template with notes and lyrics
This small template demonstrates a simple melody with lyrics. Cut and
paste, add notes, then words for the lyrics. This example turns off
automatic beaming, which is common for vocal parts. To use automatic
beaming, change or comment out the relevant line.
| melody = \relative c' {
\clef treble
\key c \major
\time 4/4
a4 b c d
}
text = \lyricmode {
Aaa Bee Cee Dee
}
\score{
<<
\new Voice = "one" {
\autoBeamOff
\melody
}
\new Lyrics \lyricsto "one" \text
>>
\layout { }
\midi { }
}
|
Single staff template with only notes
This very simple template gives you a staff with notes, suitable for a
solo instrument or a melodic fragment. Cut and paste this into a file,
add notes, and you’re finished!
| melody = \relative c' {
\clef treble
\key c \major
\time 4/4
a4 b c d
}
\score {
\new Staff \melody
\layout { }
\midi { }
}
|
String quartet template (simple)
This template demonstrates a simple string quartet. It also uses a
\global
section for time and key signatures
| global= {
\time 4/4
\key c \major
}
violinOne = \new Voice \relative c'' {
c2 d
e1
\bar "|."
}
violinTwo = \new Voice \relative c'' {
g2 f
e1
\bar "|."
}
viola = \new Voice \relative c' {
\clef alto
e2 d
c1
\bar "|."
}
cello = \new Voice \relative c' {
\clef bass
c2 b
a1
\bar "|."
}
\score {
\new StaffGroup <<
\new Staff \with { instrumentName = "Violin 1" }
<< \global \violinOne >>
\new Staff \with { instrumentName = "Violin 2" }
<< \global \violinTwo >>
\new Staff \with { instrumentName = "Viola" }
<< \global \viola >>
\new Staff \with { instrumentName = "Cello" }
<< \global \cello >>
>>
\layout { }
\midi { }
}
|
String quartet template with separate parts
The “String quartet template” snippet produces a nice string
quartet, but what if you needed to print parts? This new template
demonstrates how to use the \tag
feature to easily split a
piece into individual parts.
You need to split this template into separate files; the filenames are
contained in comments at the beginning of each file. piece.ly
contains all the music definitions. The other files – score.ly
,
vn1.ly
, vn2.ly
, vla.ly
, and vlc.ly
–
produce the appropriate part.
Do not forget to remove specified comments when using separate files!
| %%%%% piece.ly
%%%%% (This is the global definitions file)
global= {
\time 4/4
\key c \major
}
Violinone = \new Voice {
\relative c'' {
c2 d e1
\bar "|."
}
}
Violintwo = \new Voice {
\relative c'' {
g2 f e1
\bar "|."
}
}
Viola = \new Voice {
\relative c' {
\clef alto
e2 d c1
\bar "|."
}
}
Cello = \new Voice {
\relative c' {
\clef bass
c2 b a1
\bar "|."
}
}
music = {
<<
\tag #'score \tag #'vn1
\new Staff \with { instrumentName = "Violin 1" }
<< \global \Violinone >>
\tag #'score \tag #'vn2
\new Staff \with { instrumentName = "Violin 2" }
<< \global \Violintwo>>
\tag #'score \tag #'vla
\new Staff \with { instrumentName = "Viola" }
<< \global \Viola>>
\tag #'score \tag #'vlc
\new Staff \with { instrumentName = "Cello" }
<< \global \Cello >>
>>
}
% These are the other files you need to save on your computer
% score.ly
% (This is the main file)
% uncomment the line below when using a separate file
%\include "piece.ly"
#(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 { }
}
%}
|
Vocal ensemble template with automatic piano reduction
This template adds an automatic piano reduction to the standard SATB
vocal score demonstrated in “Vocal ensemble template”. This
demonstrates one of the strengths of LilyPond – you can use a music
definition more than once. If any changes are made to the vocal notes
(say, tenorMusic
), then the changes will also apply to the piano
reduction.
| \paper {
top-system-spacing.basic-distance = #10
score-system-spacing.basic-distance = #20
system-system-spacing.basic-distance = #20
last-bottom-spacing.basic-distance = #10
}
global = {
\key c \major
\time 4/4
}
sopMusic = \relative {
c''4 c c8[( b)] c4
}
sopWords = \lyricmode {
hi hi hi hi
}
altoMusic = \relative {
e'4 f d e
}
altoWords =\lyricmode {
ha ha ha ha
}
tenorMusic = \relative {
g4 a f g
}
tenorWords = \lyricmode {
hu hu hu hu
}
bassMusic = \relative {
c4 c g c
}
bassWords = \lyricmode {
ho ho ho ho
}
\score {
<<
\new ChoirStaff <<
\new Lyrics = "sopranos" \with {
% This is needed for lyrics above a staff
\override VerticalAxisGroup.staff-affinity = #DOWN
}
\new Staff = "women" <<
\new Voice = "sopranos" { \voiceOne << \global \sopMusic >> }
\new Voice = "altos" { \voiceTwo << \global \altoMusic >> }
>>
\new Lyrics = "altos"
\new Lyrics = "tenors" \with {
% This is needed for lyrics above a staff
\override VerticalAxisGroup.staff-affinity = #DOWN
}
\new Staff = "men" <<
\clef bass
\new Voice = "tenors" { \voiceOne << \global \tenorMusic >> }
\new Voice = "basses" { \voiceTwo << \global \bassMusic >> }
>>
\new Lyrics = "basses"
\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 >>
>>
>>
>>
}
|
Vocal ensemble template with lyrics aligned below and above the staves
This template is basically the same as the simple “Vocal ensemble”
template, with the exception that here all the lyrics lines are placed
using alignAboveContext
and alignBelowContext
.
| global = {
\key c \major
\time 4/4
}
sopMusic = \relative c'' {
c4 c c8[( b)] c4
}
sopWords = \lyricmode {
hi hi hi hi
}
altoMusic = \relative c' {
e4 f d e
}
altoWords = \lyricmode {
ha ha ha ha
}
tenorMusic = \relative c' {
g4 a f g
}
tenorWords = \lyricmode {
hu hu hu hu
}
bassMusic = \relative c {
c4 c g c
}
bassWords = \lyricmode {
ho ho ho ho
}
\score {
\new ChoirStaff <<
\new Staff = "women" <<
\new Voice = "sopranos" { \voiceOne << \global \sopMusic >> }
\new Voice = "altos" { \voiceTwo << \global \altoMusic >> }
>>
\new Lyrics \with { alignAboveContext = #"women" }
\lyricsto "sopranos" \sopWords
\new Lyrics \with { alignBelowContext = #"women" }
\lyricsto "altos" \altoWords
% we could remove the line about this with the line below, since
% we want the alto lyrics to be below the alto Voice anyway.
% \new Lyrics \lyricsto "altos" \altoWords
\new Staff = "men" <<
\clef bass
\new Voice = "tenors" { \voiceOne << \global \tenorMusic >> }
\new Voice = "basses" { \voiceTwo << \global \bassMusic >> }
>>
\new Lyrics \with { alignAboveContext = #"men" }
\lyricsto "tenors" \tenorWords
\new Lyrics \with { alignBelowContext = #"men" }
\lyricsto "basses" \bassWords
% again, we could replace the line above this with the line below.
% \new Lyrics \lyricsto "basses" \bassWords
>>
}
|
Vocal ensemble template with verse and refrain
This template creates a score which starts with a solo verse and
continues into a refrain for two voices. It also demonstrates the use
of spacer rests within the \global
variable to define meter
changes (and other elements common to all parts) throughout the entire
score.
| global = {
\key g \major
% verse
\time 3/4
s2.*2
\break
% refrain
\time 2/4
s2*2
\bar "|."
}
SoloNotes = \relative g' {
\clef "treble"
% verse
g4 g g |
b4 b b |
% refrain
R2*2 |
}
SoloLyrics = \lyricmode {
One two three |
four five six |
}
SopranoNotes = \relative c'' {
\clef "treble"
% verse
R2.*2 |
% refrain
c4 c |
g4 g |
}
SopranoLyrics = \lyricmode {
la la |
la la |
}
BassNotes = \relative c {
\clef "bass"
% verse
R2.*2 |
% refrain
c4 e |
d4 d |
}
BassLyrics = \lyricmode {
dum dum |
dum dum |
}
\score {
<<
\new Voice = "SoloVoice" << \global \SoloNotes >>
\new Lyrics \lyricsto "SoloVoice" \SoloLyrics
\new ChoirStaff <<
\new Voice = "SopranoVoice" << \global \SopranoNotes >>
\new Lyrics \lyricsto "SopranoVoice" \SopranoLyrics
\new Voice = "BassVoice" << \global \BassNotes >>
\new Lyrics \lyricsto "BassVoice" \BassLyrics
>>
>>
\layout {
ragged-right = ##t
\context { \Staff
% these lines prevent empty staves from being printed
\RemoveEmptyStaves
\override VerticalAxisGroup.remove-first = ##t
}
}
}
|
Vocal ensemble template
Here is a standard four-part SATB vocal score. With larger ensembles,
it is often useful to include a section which is included in all parts.
For example, the time signature and key signature are almost always the
same for all parts. Like in the “Hymn” template, the four voices are
regrouped on only two staves.
| \paper {
top-system-spacing.basic-distance = #10
score-system-spacing.basic-distance = #20
system-system-spacing.basic-distance = #20
last-bottom-spacing.basic-distance = #10
}
global = {
\key c \major
\time 4/4
}
sopMusic = \relative {
c''4 c c8[( b)] c4
}
sopWords = \lyricmode {
hi hi hi hi
}
altoMusic = \relative {
e'4 f d e
}
altoWords = \lyricmode {
ha ha ha ha
}
tenorMusic = \relative {
g4 a f g
}
tenorWords = \lyricmode {
hu hu hu hu
}
bassMusic = \relative {
c4 c g c
}
bassWords = \lyricmode {
ho ho ho ho
}
\score {
\new ChoirStaff <<
\new Lyrics = "sopranos" \with {
% this is needed for lyrics above a staff
\override VerticalAxisGroup.staff-affinity = #DOWN
}
\new Staff = "women" <<
\new Voice = "sopranos" {
\voiceOne
<< \global \sopMusic >>
}
\new Voice = "altos" {
\voiceTwo
<< \global \altoMusic >>
}
>>
\new Lyrics = "altos"
\new Lyrics = "tenors" \with {
% this is needed for lyrics above a staff
\override VerticalAxisGroup.staff-affinity = #DOWN
}
\new Staff = "men" <<
\clef bass
\new Voice = "tenors" {
\voiceOne
<< \global \tenorMusic >>
}
\new Voice = "basses" {
\voiceTwo << \global \bassMusic >>
}
>>
\new Lyrics = "basses"
\context Lyrics = "sopranos" \lyricsto "sopranos" \sopWords
\context Lyrics = "altos" \lyricsto "altos" \altoWords
\context Lyrics = "tenors" \lyricsto "tenors" \tenorWords
\context Lyrics = "basses" \lyricsto "basses" \bassWords
>>
}
|
Table of Contents
About This Document
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