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LilyPond — 記譜法リファレンス
このマニュアルは LilyPond バージョン 2.14.2 で提供されるすべての記譜法についての参照を提供します。このマニュアルは、読み手が 学習マニュアル で扱っている題材に慣れ親しんでいることを前提としています。 |
1. 音楽記譜法 | ほとんどすべての楽譜作成で使用される記譜法 | |
2. Specialist notation | 特別な目的でのみ使用される記譜法 | |
3. General input and output | LilyPond 入力についての一般的な情報 | |
4. Spacing issues | 出力の表示 | |
5. Changing defaults | 出力の調整 | |
付録 | ||
---|---|---|
A. Notation manual tables | 表と図 | |
B. Cheat sheet | LilyPond 構文についての要約 | |
C. LilyPond 文法 | LilyPond 構文解析プログラムのための構文ダイアグラム | |
D. GNU Free Documentation License | このドキュメントの使用許諾書 | |
E. LilyPond コマンド インデックス | ||
F. LilyPond インデックス |
このマニュアルと他のドキュメントの関係について、あるいは、このマニュアルを他の形式で読む方法についての情報は、 マニュアル を参照してください。 マニュアルのいずれかを見失ってしまった場合、http://www.lilypond.org/ にマニュアルがすべて揃っています。 |
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[ < Top ] | [ 上へ : Top ] | [ ピッチ > ] |
1. 音楽記譜法
この章では音楽表記を作成する方法について説明します。
1.1 ピッチ | 音符のピッチを記述、表示する | |
1.2 リズム | 音符の演奏時間を記述、表示する | |
1.3 発想記号 | 音符に表現を付け加える | |
1.4 繰り返し | 音楽の繰り返し | |
1.5 同時進行する音符 | 同時に複数の音符を演奏する | |
1.6 譜の記譜法 | 譜を表示する | |
1.7 編集者の注釈 | 可読性を良くするための特別な表記 | |
1.8 テキスト | 楽譜にテキストを追加する |
[ << 音楽記譜法 ] | [トップ][目次][インデックス][ ? ] | [ Specialist notation >> ] | ||
[ < 音楽記譜法 ] | [ 上へ : 音楽記譜法 ] | [ ピッチを記述する > ] |
1.1 ピッチ
このセクションでは音符のピッチを指定する方法について議論します。このプロセスには 3 つのステップがあります: 入力、変更、出力です。
1.1.1 ピッチを記述する | ||
1.1.2 複数のピッチを変更する | ||
1.1.3 ピッチを表示する | ||
1.1.4 符頭 |
[ << 音楽記譜法 ] | [トップ][目次][インデックス][ ? ] | [ Specialist notation >> ] | ||
[ < ピッチ ] | [ 上へ : ピッチ ] | [ 絶対オクターブ入力 > ] |
1.1.1 ピッチを記述する
このセクションではピッチを入力する方法について議論します。音符をオクターブの中に置くには 2 つの方法があります: 絶対モードと相対モードです。たいていの場合、相対モードの方が便利です。
絶対オクターブ入力 | ||
相対オクターブ入力 | ||
臨時記号 | ||
他の言語での音符名 |
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[ < ピッチを記述する ] | [ 上へ : ピッチを記述する ] | [ 相対オクターブ入力 > ] |
絶対オクターブ入力
ピッチ名は a
から g
までの小文字を使って指定されます。c
から b
までの音符名はミドル C の下のオクターブに譜刻されます。
{ \clef bass c4 d e f g4 a b c d4 e f g }
他のオクターブはシングル クォート ('
) またはカンマ (,
) 文字で指定されます。各 '
はピッチを 1 オクターブ上げます。一方、各 ,
はピッチを 1 オクターブ下げます。
{ \clef treble c'4 c'' e' g d''4 d' d c \clef bass c,4 c,, e, g d,,4 d, d c }
参照
音楽用語集: Pitch names
コード断片集: ピッチ
[ << 音楽記譜法 ] | [トップ][目次][インデックス][ ? ] | [ Specialist notation >> ] | ||
[ < 絶対オクターブ入力 ] | [ 上へ : ピッチを記述する ] | [ 臨時記号 > ] |
相対オクターブ入力
オクターブが絶対モードで指定されている場合、ピッチを間違ったオクターブに置くことは容易に起こりえます。相対オクターブ モードはそのようなエラーを減らします。なぜなら、相対オクターブ モードでは、たいていの場合、オクターブを指定する必要が無いからです。さらに、絶対モードでは 1 つのミスを見つけることが困難であるかもしれないのに対し、相対モードでは 1 つのミスが楽曲の残りの部分を 1 オクターブずらします。
\relative startpitch musicexpr
相対モードでは、各音符は可能な限り前の音符の近くに配置されます。このことは、musicexp
の中にある各ピッチのオクターブが以下のように算出されるということを意味します:
- 音符に対してオクターブ変更記号が使用されていない場合、その音符のオクターブは前の音符との音程が 5 度よりも小さくなるよう算出されます。この音程は臨時記号を考慮せずに決定されます。
-
オクターブ変更記号
'
や,
を付け加えることによって、オクターブ記号無しの場合のピッチから、ピッチを 1 オクターブ上げ下げすることができます。 -
複数のオクターブ変更記号を使用することができます。例えば、
''
と,,
はピッチを 2 オクターブ変えます。 -
最初の音符のピッチは
startpitch
と相対関係で決定されます。startpitch は絶対オクターブ モードで指定され、c
のオクターブにしておくことを推奨します。
ここで、実際に相対モードの例を挙げます:
\relative c { \clef bass c d e f g a b c d e f g }
オクターブ変更記号は 4 度よりも大きな音程に対して使用されます:
\relative c { \clef bass c d e f g a b c d e f g }
音符の連なりはオクターブ変更記号が無い場合であっても大きな音程に広がる可能性があります:
\relative c { c f b e a d g c }
\relative
ブロックがネストされている場合、最も内側の \relative
ブロックが適用されます。
\relative c' { c d e f \relative c'' { c d e f } }
\relative
は \chordmode
ブロックでは効果を持ちません。
\new Staff { \relative c''' { \chordmode { c1 } } \chordmode { c1 } }
\relative
を \chordmode
ブロックの中で使用することは認められません。
\transpose
ブロックの中では、\relative
を記述しない限り、絶対モードになります。
\relative c' { d e \transpose f g { d e \relative c' { d e } } }
前の要素が和音である場合、その和音の最初の音符が後に続く音符または和音の参照ポイントとして使用されます。和音の内部では、次の音符は常に 1 つ前の音符との相対関係になります。次の例を、c
の音符に気を付けて、注意深く検証してください。
\relative c' { c <c e g> <c' e g'> <c, e, g''> }
上で説明したように、ピッチのオクターブは音符名のみを使って算出され、いかなる変更にも影響を受けません。そのため、B の後の E ダブル シャープは B よりも上に配置され、B の後の F ダブル フラットは B よりも下に配置されます。言い換えると、4 度の 2 重増音の音程は 5 度の 2 重減音の音程よりも小さい – それぞれの音程に含まれる半音の数に関係無く – と見なされます。
\relative c'' { c2 fis c2 ges b2 eisis b2 feses }
参照
音楽用語集: fifth, interval, Pitch names
記譜法リファレンス: オクターブ チェック
コード断片集: ピッチ
内部リファレンス: RelativeOctaveMusic
\relative
に対して startpitch
が指定されていない場合、c'
であると見なされます。しかしながら、これは使用を推奨されなくなったオプションであり、将来のバージョンでは無くなるかもしれないので、startpitch
を指定しないことはお勧めできません。
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[ < 相対オクターブ入力 ] | [ 上へ : ピッチを記述する ] | [ 他の言語での音符名 > ] |
臨時記号
Note: LilyPond を始めたばかりのユーザはしばしば臨時記号と調号のことで混乱します。LilyPond では、音符名は未加工の入力です
– 調号と音部記号がこの未加工の入力をどのように表示するかを決定します。c
のような変更を加えられていない音符は、調号や音部記号とは無関係に、‘C ナチュラル’ を意味します。更なる情報は、
臨時記号と調号 を参照してください。
シャープのピッチは音符名に is
を付け加えることによって作られ、フラットのピッチは es
を付け加えることによって作られます。予想しているかもしれませんが、ダブル シャープやダブル フラットは isis
または eses
を付け加えることによって作られます。この構文はオランダ語の音符命名規約から派生しました。臨時記号に他の名前を使うには、他の言語での音符名 を参照してください。
ais1 aes aisis aeses
ナチュラルは臨時記号や調号の効果をキャンセルします。しかしながら、ナチュラルは接尾辞として音符名構文にエンコードされてはいません。そのため、ナチュラルのピッチは単に音符名で入力されます:
a4 aes a2
4 分音が付け加えられるかもしれません。以下の一連の C は左から順にピッチが増えていっています:
ceseh1 ces ceh c cih cis cisih
通常、臨時記号は自動的に譜刻されますが、手動で譜刻する場合もあるかもしれません。親切の臨時記号はピッチの後にエクスクラメーション記号 !
を付け加えることによって譜刻することができます。忠告の臨時記号 (つまり、括弧で囲まれた臨時記号) はピッチの後にクエスチョン記号 ?
を付け加えることによって譜刻することができます。これら追加の臨時記号を使ってナチュラル記号を作り出すこともできます。
cis cis cis! cis? c c c! c?
タイで結ばれた音符に付ける臨時記号は新しいシステム (訳者: 譜 1 行分のこと) の開始点でのみ譜刻されます:
cis1 ~ cis ~ \break cis
Selected Snippets
Hiding accidentals on tied notes at the beginning of a new system
This shows how to hide accidentals on tied notes at the beginning of a new system.
\relative c'' { \override Accidental #'hide-tied-accidental-after-break = ##t cis1~ cis~ \break cis }
Preventing extra naturals from being automatically added
In accordance with standard typesetting rules, a natural sign is
printed before a sharp or flat if a previous accidental on the same
note needs to be canceled. To change this behavior, set the
extraNatural
property to f
in the Staff
context.
\relative c'' { aeses4 aes ais a \set Staff.extraNatural = ##f aeses4 aes ais a }
参照
音楽用語集: sharp, flat, double sharp, double flat, Pitch names, quarter tone
学習マニュアル: 臨時記号と調号
記譜法リファレンス: 自動臨時記号, Annotational accidentals (musica ficta), 他の言語での音符名
コード断片集: ピッチ.
内部リファレンス: Accidental_engraver, Accidental, AccidentalCautionary, accidental-interface
既知の問題と警告
4 分音臨時記号の表記の仕方で広く認められた標準はないため、LilyPond の記号はいかなる標準にも準拠しません。
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[ < 臨時記号 ] | [ 上へ : ピッチを記述する ] | [ 複数のピッチを変更する > ] |
他の言語での音符名
他のさまざまな言語での音符名と臨時記号名のセットが定義されています。通常、音符名の言語の選択はファイルの先頭で行います。 以下の例はイタリア語の音符名を使用します:
\language "italiano" \relative do' { do re mi sib }
利用可能な言語ファイルとそれらが定義している音符名を挙げます:
言語
音符名
nederlands
c d e f g a bes b
catalan
do re mi fa sol la sib si
deutsch
c d e f g a b h
english
c d e f g a bf b
espanol
do re mi fa sol la sib si
italiano
do re mi fa sol la sib si
norsk
c d e f g a b h
portugues
do re mi fa sol la sib si
suomi
c d e f g a b h
svenska
c d e f g a b h
vlaams
do re mi fa sol la sib si
音符名に加えて、臨時記号の接尾辞も言語によって異なる場合があります:
言語
シャープ
フラット
ダブル シャープ
ダブル フラット
nederlands
-is
-es
-isis
-eses
catalan
-d/-s
-b
-dd/-ss
-bb
deutsch
-is
-es
-isis
-eses
english
-s/-sharp
-f/-flat
-ss/-x/-sharpsharp
-ff/-flatflat
espanol
-s
-b
-ss/-x
-bb
italiano
-d
-b
-dd
-bb
norsk
-iss/-is
-ess/-es
-ississ/-isis
-essess/-eses
portugues
-s
-b
-ss
-bb
suomi
-is
-es
-isis
-eses
svenska
-iss
-ess
-ississ
-essess
vlaams
-k
-b
-kk
-bb
オランダ語では、aes
は縮めて as
となりますが、LilyPond ではどちらの形式も認められます。同様に、es
と ees
の両方が認められます。これはさらに、aeses
/ ases
と
eeses
/ eses
にも適用されます。他の言語ファイルでは短縮名だけが定義されている場合があります。
a2 as e es a ases e eses
音楽の中には ‘通常の’ シャープやフラットの音の変化をさらに細かく分けた微分音を使用するものがあります。さまざまな言語 (ファイル) での 4 分音 (訳者: シャープやフラットの半分の音の変化。4 分音符ではありません) の音符名を以下の表で挙げます。接頭辞 半- と 1.5- はそれぞれ ‘半分’ と ‘1 つ半’ を意味します。表に無い言語では、まだ微分音の名前は定義されていません。
元号
半-シャープ
半-フラット
1.5-シャープ
1.5-フラット
nederlands
-ih
-eh
-isih
-eseh
deutsch
-ih
-eh
-isih
-eseh
english
-qs
-qf
-tqs
-tqf
espanol
-cs
-cb
-tcs
-tcb
italiano
-sd
-sb
-dsd
-bsb
portugues
-sqt
-bqt
-stqt
-btqt
ここに示されている大半の言語は西洋クラシック音楽 – Common Practice Period: 西暦1600年から1900年頃のバロック音楽、クラシック音楽、ロマン派音楽とも言えます – に関係があります。しかしながら、他のピッチやチューニング方法もサポートされています: Common notation for non-Western music を参照してください。
参照
音楽用語集: Pitch names, Common Practice Period.
記譜法リファレンス: Common notation for non-Western music
あらかじめイストールされているファイル: ‘scm/define-note-names.scm’
コード断片集: ピッチ
[ << 音楽記譜法 ] | [トップ][目次][インデックス][ ? ] | [ Specialist notation >> ] | ||
[ < 他の言語での音符名 ] | [ 上へ : ピッチ ] | [ オクターブ チェック > ] |
1.1.2 複数のピッチを変更する
このセクションではピッチを変更する方法について議論します。
オクターブ チェック | ||
移調 | ||
転回 | ||
逆行 | ||
様式的な移調 |
[ << 音楽記譜法 ] | [トップ][目次][インデックス][ ? ] | [ Specialist notation >> ] | ||
[ < 複数のピッチを変更する ] | [ 上へ : 複数のピッチを変更する ] | [ 移調 > ] |
オクターブ チェック
相対モードでは、オクターブ変更記号を付け忘れることが容易に起こり得ます。オクターブ チェックは、予期しないオクターブの音符を見つけた場合に警告を表示してオクターブを修正することによって、そのようなエラーを見つけ出すことをより容易にします。
音符のオクターブをチェックするには、=
の後に絶対オクターブを指定します。以下の例は、2 番目の音符の絶対オクターブがオクターブ チェックによって示される d'
ではなく d''
であるため、警告を発し (そしてピッチを変更し) ます。
\relative c'' { c2 d='4 d e2 f }
音符のオクターブは
\octaveCheck controlpitch
コマンドでもチェックすることができます。controlpitch
は絶対モードで指定されます。これは前の音符と controlpitch
との間の音程が
4 度以内であるかどうかをチェックします
(つまり、通常の相対モードでの算出方法と同じです)。このチェックが失敗した場合、警告が表示されますが、このチェックの前にある音符は変更されません。その後に続く音符は controlpitch
から算出されます。
\relative c'' { c2 d \octaveCheck c' e2 f }
以下の 2 小節を見てください。1 番目と 3 番目の \octaveCheck
は失敗していますが、2 番目のチェックは失敗していません。
\relative c'' { c4 f g f c4 \octaveCheck c' f \octaveCheck c' g \octaveCheck c' f }
参照
コード断片集: ピッチ
内部リファレンス: RelativeOctaveCheck.
[ << 音楽記譜法 ] | [トップ][目次][インデックス][ ? ] | [ Specialist notation >> ] | ||
[ < オクターブ チェック ] | [ 上へ : 複数のピッチを変更する ] | [ 転回 > ] |
移調
音楽表記は \transpose
で移調させることができます。構文は以下の通りです:
\transpose frompitch topitch musicexpr
これは musicexpr
が frompitch
から
topitch
に移調されるということを意味します:
frompitch
のピッチの音符はすべて topitch
に変更され、他の音符もすべて同じ音程で移調されます。frompitch
と topitch
のピッチはどちらも絶対モードで指定されます。
Note: \transpose
ブロックの中にある音符は、そのブロックの中に \relative
が無い限り、絶対モードになります。
D-メジャーの調で書かれた楽曲を思い浮かべてください。この楽曲を E-メジャーに移調することができます。調号も自動的に移調されることに注意してください。
\transpose d e { \relative c' { \key d \major d4 fis a d } }
C (通常の コンサート ピッチ) で書かれたパートを A のクラリネットで演奏する (そのため、A は C として表記され、演奏は表記されたものよりも 3 度低くなります) 場合、そのパート譜は以下のように作り出されます:
\transpose a c' { \relative c' { \key c \major c4 d e g } }
\key c \major
を明示的に指定しているということに注意してください。調号を指定しなかった場合、音符は移調されますが、調号は譜刻されません。
\transpose
は同音異名のピッチを区別します:
\transpose c cis
と \transpose c des
はどちらも半音上に移調します。1 番目の移調はシャープを譜刻し、音符の五線譜上での位置は変わりません。2 番目の移調はフラットを譜刻し、音符の五線譜上での位置は上に上がります。
music = \relative c' { c d e f } \new Staff { \transpose c cis { \music } \transpose c des { \music } }
\transpose
は上記とは異なる方法で用いることもでき、それによって移調楽器のために書かれた音符を入力することができます。前の例では C (またはコンサート ピッチ) でピッチを入力して、それらを移調楽器のために譜刻する方法を示しましたが、それとは正反対のことも可能です
– 例えば、移調楽器のパート譜から指揮譜を譜刻することです。例えば、E で始まる B-フラットのトランペットの音楽
(コンサート ピッチでは D で始まる音楽) を入力している場合に、指揮譜を作り出すには以下のように記述します:
musicInBflat = { e4 … } \transpose c bes, \musicInBflat
この音楽を F で譜刻する (例えば、フレンチ ホルンの楽譜にアレンジし直すために)
には、既存の音楽をもう 1 つの \transpose
で包み込みます:
musicInBflat = { e4 … } \transpose f c' { \transpose c bes, \musicInBflat }
移調楽器についての更なる情報は、楽器の移調 を参照してください。
Selected Snippets
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 (eq? n 6) (eq? n 2))) (set! a (- a 2)) (set! n (+ n 1))) ((and (< a -1) (or (eq? n 0) (eq? n 3))) (set! a (+ a 2)) (set! n (- n 1)))) (cond ((> a 2) (set! a (- a 4)) (set! n (+ n 1))) ((< a -2) (set! a (+ a 4)) (set! n (- n 1)))) (if (< n 0) (begin (set! o (- o 1)) (set! n (+ n 7)))) (if (> n 6) (begin (set! o (+ o 1)) (set! n (- n 7)))) (ly:make-pitch o n (/ a 4)))) #(define (naturalize music) (let ((es (ly:music-property music 'elements)) (e (ly:music-property music 'element)) (p (ly:music-property music 'pitch))) (if (pair? es) (ly:music-set-property! music 'elements (map (lambda (x) (naturalize x)) es))) (if (ly:music? e) (ly:music-set-property! music 'element (naturalize e))) (if (ly:pitch? p) (begin (set! p (naturalize-pitch p)) (ly:music-set-property! music 'pitch p))) music)) naturalizeMusic = #(define-music-function (parser location m) (ly:music?) (naturalize m)) music = \relative c' { c4 d e g } \score { \new Staff { \transpose c ais { \music } \naturalizeMusic \transpose c ais { \music } \transpose c deses { \music } \naturalizeMusic \transpose c deses { \music } } \layout { } }
参照
記譜法リファレンス: 楽器の移調, 転回, 様式的な移調, 相対オクターブ入力, 逆行
コード断片集: ピッチ
内部リファレンス: TransposedMusic
既知の問題と警告
相対変換は
\transpose
, \chordmode
, \transpose
の引数である音楽表記の中にある \relative
セクションには影響を及ぼしません。移調された音楽の中で相対モードを使用するには、\transpose
の中に \relative
を置く必要があります。
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転回
以下で音楽表記を転回することができます:
\inversion from-pitch to-pitch musicexpr
musicexpr
の音程は倒置され、それから from-pitch
が to-pitch
になるよう移調されます。
music = \relative c' { c d e f } \new Staff { \music \inversion d' d' \music \inversion d' ees' \music }
参照
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逆行
音楽表記を後ろから前に演奏する逆行を作り出すことができます:
music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 } \new Staff { \music \retrograde \music }
既知の問題と警告
\retrograde
の中にある手動のタイは壊れて警告を発します。自動音符分割 を有効にすることによって自動的に生成させられるタイもあります。
参照
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様式的な移調
In a musical composition that is based on a scale, a motif is frequently transformed in various ways. It may be transposed to start at different places in the scale or it may be inverted around a pivot point in the scale. It may also be reversed to produce its retrograde, see 逆行.
Note: Any note that does not lie within the given scale will be left untransformed.
Modal transposition
A motif can be transposed within a given scale with:
\modalTranspose from-pitch to-pitch scale motif
The notes of motif are shifted within the scale by the number of scale degrees given by the interval between to-pitch and from-pitch:
diatonicScale = \relative c' { c d e f g a b } motif = \relative c' { c8 d e f g a b c } \new Staff { \motif \modalTranspose c f \diatonicScale \motif \modalTranspose c b, \diatonicScale \motif }
An ascending scale of any length and with any intervals may be specified:
pentatonicScale = \relative c' { ges aes bes des ees } motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> } \new Staff { \motif \modalTranspose ges ees' \pentatonicScale \motif }
When used with a chromatic scale \modalTranspose
has a
similar effect to \transpose
, but with the ability to
specify the names of the notes to be used:
chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b } motif = \relative c' { c8 d e f g a b c } \new Staff { \motif \transpose c f \motif \modalTranspose c f \chromaticScale \motif }
Modal inversion
A motif can be inverted within a given scale around a given pivot note and transposed in a single operation with:
\modalInversion around-pitch to-pitch scale motif
The notes of motif are placed the same number of scale degrees from the around-pitch note within the scale, but in the opposite direction, and the result is then shifted within the scale by the number of scale degrees given by the interval between to-pitch and around-pitch.
So to simply invert around a note in the scale use the same value for around-pitch and to-pitch:
octatonicScale = \relative c' { ees f fis gis a b c d } motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 } \new Staff { \motif \modalInversion fis' fis' \octatonicScale \motif }
To invert around a pivot between two notes in the scale, invert around one of the notes and then transpose by one scale degree. The two notes specified can be interpreted as bracketing the pivot point:
scale = \relative c' { c g' } motive = \relative c' { c c g' c, } \new Staff { \motive \modalInversion c' g' \scale \motive }
The combined operation of inversion and retrograde produce the retrograde-inversion:
octatonicScale = \relative c' { ees f fis gis a b c d } motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 } \new Staff { \motif \retrograde \modalInversion c' c' \octatonicScale \motif }
参照
Notation Reference: 転回, 逆行, 移調.
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1.1.3 ピッチを表示する
このセクションではピッチの出力を変更する方法について議論します。
音部記号 | ||
調号 | ||
オッターバ囲み | ||
楽器の移調 | ||
自動臨時記号 | ||
音域 |
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音部記号
音部記号を変えることができます。以下のそれぞれの例の中にある音符はすべてミドル C です。例の中にある音部名をダブル クォートで囲むことができます (必須ではありません)。
\clef treble c2 c \clef alto c2 c \clef tenor c2 c \clef bass c2 c
他の音部記号もあります:
\clef french c2 c \clef soprano c2 c \clef mezzosoprano c2 c \clef baritone c2 c \break \clef varbaritone c2 c \clef subbass c2 c \clef percussion c2 c \break \clef G % treble と同義です c2 c \clef F % bass と同義です c2 c \clef C % alto と同義です c2 c
音部名に _8
または ^8
を付け加えることによって、音部はそれぞれ 1 オクターブ下/上に移調され、_15
または ^15
によって 2 オクターブ移調されます。音部名にアルファベット以外の文字が含まれる場合、音部名をダブル クォートで囲む必要があります。
\clef treble c2 c \clef "treble_8" c2 c \clef "bass^15" c2 c \clef "alto_2" c2 c \clef "G_8" c2 c \clef "F^5" c2 c
特殊な音部記号については Mensural clefs, Gregorian clefs, Default tablatures, それに Custom tablatures で説明します。
Selected Snippets
Tweaking clef properties
The command \clef "treble_8"
is equivalent to setting
clefGlyph
, clefPosition
(which controls the vertical
position of the clef), middleCPosition
and
clefOctavation
. A clef is printed when any of the properties
except middleCPosition
are changed.
Note that changing the glyph, the position of the clef, or the
octavation does not in itself change the position of subsequent notes
on the staff: the position of middle C must also be specified to do
this. The positional parameters are relative to the staff center line,
positive numbers displacing upwards, counting one for each line and
space. The clefOctavation
value would normally be set to 7, -7,
15 or -15, but other values are valid.
When a clef change takes place at a line break the new clef symbol is
printed at both the end of the previous line and the beginning of the
new line by default. If the warning clef at the end of the previous
line is not required it can be suppressed by setting the Staff
property explicitClefVisibility
to the value
end-of-line-invisible
. The default behavior can be recovered
with \unset Staff.explicitClefVisibility
.
The following examples show the possibilities when setting these properties manually. On the first line, the manual changes preserve the standard relative positioning of clefs and notes, whereas on the second line, they do not.
\layout { ragged-right = ##t } { % The default treble clef c'1 % The standard bass clef \set Staff.clefGlyph = #"clefs.F" \set Staff.clefPosition = #2 \set Staff.middleCPosition = #6 c'1 % The baritone clef \set Staff.clefGlyph = #"clefs.C" \set Staff.clefPosition = #4 \set Staff.middleCPosition = #4 c'1 % The standard choral tenor clef \set Staff.clefGlyph = #"clefs.G" \set Staff.clefPosition = #-2 \set Staff.clefOctavation = #-7 \set Staff.middleCPosition = #1 c'1 % A non-standard clef \set Staff.clefPosition = #0 \set Staff.clefOctavation = #0 \set Staff.middleCPosition = #-4 c'1 \break % The following clef changes do not preserve % the normal relationship between notes and clefs: \set Staff.clefGlyph = #"clefs.F" \set Staff.clefPosition = #2 c'1 \set Staff.clefGlyph = #"clefs.G" c'1 \set Staff.clefGlyph = #"clefs.C" c'1 \set Staff.clefOctavation = #7 c'1 \set Staff.clefOctavation = #0 \set Staff.clefPosition = #0 c'1 % Return to the normal clef: \set Staff.middleCPosition = #0 c'1 }
参照
記譜法リファレンス: Mensural clefs, Gregorian clefs, Default tablatures, Custom tablatures
コード断片集: ピッチ
内部リファレンス: Clef_engraver, Clef, OctavateEight, clef-interface
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調号
Note: LilyPond を始めたばかりのユーザはしばしば臨時記号と調号のことで混乱します。LilyPond では、音符名は未加工の入力です。調号と音部記号がこの未加工の入力をどのように表示するかを決定します。c
のような変更を加えられていない音符は、調号や音部記号とは無関係に、‘C ナチュラル’ を意味します。更なる情報は、
臨時記号と調号 を参照してください。
調号は楽曲を演奏すべき調性を示します。調号は譜の先頭で変更記号 (フラットやシャープ) のセットによって示されます。調号は変更されることがあります:
\key pitch mode
調号を pitch
-メジャーや pitch
-マイナーにするには、mode
をそれぞれ \major
または \minor
にします。さらに標準のモード名
– チャーチ モード とも呼ばれます –
を使うこともできます:
\ionian
, \dorian
, \phrygian
, \lydian
,
\mixolydian
, \aeolian
それに \locrian
です。
\key g \major fis1 f fis
Selected Snippets
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 }
Non-traditional key signatures
The commonly used \key
command sets the keySignature
property, in the Staff
context.
To create non-standard key signatures, set this property directly. The format of this command is a list:
\set Staff.keySignature = #`(((octave . step) . alter) ((octave
. step) . alter) ...)
where, for each element in the list,
octave
specifies the octave (0 being the octave from
middle C to the B above), step
specifies the note within the
octave (0 means C and 6 means B), and alter
is
,SHARP ,FLAT ,DOUBLE-SHARP
etc. (Note the leading comma.)
Alternatively, for each item in the list, using the more concise format
(step . alter)
specifies that the same alteration should hold in all
octaves.
Here is an example of a possible key signature for generating a whole-tone scale:
\relative c' { \set Staff.keySignature = #`(((0 . 6) . ,FLAT) ((0 . 5) . ,FLAT) ((0 . 3) . ,SHARP)) c4 d e fis aes4 bes c2 }
参照
音楽用語集: church mode, scordatura
学習マニュアル: 臨時記号と調号
コード断片集: ピッチ
内部リファレンス: KeyChangeEvent, Key_engraver, Key_performer, KeyCancellation, KeySignature, key-cancellation-interface, key-signature-interface.
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オッターバ囲み
オッターバ囲み は譜をオクターブ単位で移調します:
a2 b \ottava #-2 a2 b \ottava #-1 a2 b \ottava #0 a2 b \ottava #1 a2 b \ottava #2 a2 b
Selected Snippets
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 }
Selected Snippets
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 }
参照
音楽用語集: octavation
コード断片集: ピッチ
内部リファレンス: Ottava_spanner_engraver, OttavaBracket, ottava-bracket-interface
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楽器の移調
楽器の移調を含む楽器を譜刻するとき、いくつかのパートはコンサート ピッチ とは異なるピッチで譜刻される可能性があります。このような場合、移調楽器 の調を指定すべきです。指定しなければ MIDI 出力や他のパートの出だしのピッチは誤ったものになります。引用についての更なる情報は 他のボイスを引用する を参照してください。
\transposition pitch
\transposition
で使用するピッチは、譜に書かれた c'
をその移調楽器で演奏したときに聴こえる実際の音に対応したものであるべきです。このピッチは絶対モードで入力します。ですから、楽譜よりも 1 度高い音を出す楽器は
\transposition d'
を使うべきです。\transposition
は、ピッチがコンサート ピッチでは ない ピッチで入力されている場合に のみ 使用すべきです。
バイオリンと B-フラットのクラリネットのための音符をいくつか挙げます。それぞれのパートは、それぞれが指揮譜に刻譜されるときに使用される音符と調を使って入力されています。2 つの楽器は斉奏で演奏しています。
\new GrandStaff << \new Staff = "violin" { \relative c'' { \set Staff.instrumentName = #"Vln" \set Staff.midiInstrument = #"violin" % not strictly necessary, but a good reminder \transposition c' \key c \major g4( c8) r c r c4 } } \new Staff = "clarinet" { \relative c'' { \set Staff.instrumentName = \markup { Cl (B\flat) } \set Staff.midiInstrument = #"clarinet" \transposition bes \key d \major a4( d8) r d r d4 } } >>
\transposition
は楽曲の途中で変更されることもあります。例えば、クラリネット奏者は A のクラリネットから B-フラットのクラリネットに持ち替えることがあります。
\set Staff.instrumentName = #"Cl (A)" \key a \major \transposition a c d e f \textLengthOn s1*0^\markup { Switch to B\flat clarinet } R1 \key bes \major \transposition bes c2 g
参照
音楽用語集: concert pitch, transposing instrument
記譜法リファレンス: 他のボイスを引用する, 移調
コード断片集: ピッチ
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自動臨時記号
臨時記号の譜刻の仕方には多くの異なる規約があります。LilyPond はどの臨時記号スタイルを使用するのかを指定するための関数を提供します。この関数は以下のように呼び出されます:
\new Staff << #(set-accidental-style 'voice) { … } >>
指定された臨時記号スタイルは、デフォルトでは、カレントの Staff
に適用されます
(スタイル piano
と piano-cautionary
は例外です。これらは以下で説明します)。オプションとして、この関数は 2 つ目の引数をとることができ、それによってスタイルを変更すべき範囲 (スコープ) を指定できます。例えば、カレントの StaffGroup
のすべての譜で同じスタイルを使うには、以下のようにします:
#(set-accidental-style 'voice 'StaffGroup)
サポートされる臨時記号スタイルを以下で示します。それぞれのスタイルを実際に示すために、以下の例を使用します:
musicA = { << \relative c' { cis'8 fis, d'4 <a cis>8 f bis4 | cis2. <c, g'>4 | } \\ \relative c' { ais'2 cis, | fis8 b a4 cis2 | } >> } musicB = { \clef bass \new Voice { \voiceTwo \relative c' { <fis, a cis>8 <fis a cis> \change Staff = up cis' cis \change Staff = down <fis, a> <fis a> \showStaffSwitch \change Staff = up dis'4 | \change Staff = down <fis, a cis>4 gis <f a d>2 | } } } \new PianoStaff { << \context Staff = "up" { #(set-accidental-style 'default) \musicA } \context Staff = "down" { #(set-accidental-style 'default) \musicB } >> }
両方の譜で同じ臨時記号スタイルを使うのなら、この例の最後のブロックを以下で置き換えられます:
\new PianoStaff { << \context Staff = "up" { %%% 次の行を変更したいスタイルに合わせて変更してください: #(set-accidental-style 'default 'Score) \musicA } \context Staff = "down" { \musicB } >> }
-
default
-
これはデフォルトの譜刻の仕方です。これは 18 世紀の一般的な習慣と一致します: 臨時記号が有効なのは、その臨時記号が発生した小節の終わりまでで、かつ、その臨時記号が発生したオクターブの中だけです。そのため以下の例の中では、第 2 小節の
b
や最後のc
の前にはナチュラル記号は譜刻されていません: -
voice
-
通常の臨時記号の付け方では、臨時記号は
Staff
レベルで保持されます。しかしながらこのスタイルでは、臨時記号はそれぞれのボイスで別々に譜刻されます。それを除けば、このスタイルの規則はdefault
と同じです。結果として、あるボイスからの臨時記号は他のボイスでキャンセルされず、これはしばしば望まない結果となります: 以下の例では、2 番目の
a
をナチュラルで演奏するか、シャープで演奏するかを決定するのは困難です。そのため、voice
オプションは、それぞれのボイスが別々の演奏者によって個々に読まれる場合にのみ使用すべきです。譜が 1 人の演奏者によって使用される場合 (例えば、指揮者やピアノ譜の場合)、このスタイルの代わりにmodern
やmodern-cautionary
を使用すべきです。 -
modern
-
この規則は 20 世紀の一般的な臨時記号の付け方と一致します: この規則の臨時記号の付け方は、あいまいさを避けるための 2 つの例外 – 一時的な臨時記号が使われると、その後の小節で (同じオクターブにある音符に対して) キャンセル記号が譜刻され、臨時記号が使われたのと同じ小節では他のオクターブにある音符にもキャンセル記号が譜刻されます – を除いて、
default
と同じです。そのため、上部譜の第 2 小節の中にあるb
とc
の前にはナチュラルが付けられています: -
modern-cautionary
-
この規則は
modern
と似ていますが、忠告的臨時記号として ‘追加の’ 臨時記号が譜刻されます (これはdefault
では譜刻されません)。デフォルトでは、この臨時記号は括弧で囲まれて譜刻されますが、AccidentalSuggestion
のcautionary-style
プロパティを定義することによって小さなサイズで譜刻されることもあり得ます。 -
modern-voice
-
この規則はマルチボイス臨時記号として使用されます。演奏家が複数のボイスの中の 1 つのボイスを演奏する場合にも、すべてのボイスを演奏する場合にも使用されます。臨時記号はそれぞれのボイスに対して譜刻されますが、同じ
Staff
の中であってもボイスをまたいでキャンセルされます。そのため、最後の小節でa
がキャンセルされています – なぜなら、前のキャンセルは異なるボイスで行われたからです。さらに下部譜ではd
がキャンセルされています – その臨時記号は前の小節の異なるボイスで付けられたものだからです: -
modern-voice-cautionary
-
この規則は
modern-voice
と同じですが、追加の臨時記号 (これはvoice
では譜刻されません) は忠告として譜刻されます。たとえdefault
で譜刻されるすべての臨時記号がこの規則でも譜刻されたとしても、それらの臨時記号のいくつかは忠告として譜刻されます。 -
piano
-
この規則は 20 世紀のピアノ譜の臨時記号のつけ方を反映しています。このスタイルは
modern
スタイルと非常によく似ています。しかしながらこのスタイルでは、同じGrandStaff
またはPianoStaff
の中にある譜をまたがって臨時記号はキャンセルされます。そのため、最後の和音ではすべての音符でキャンセルが行われています。この臨時記号スタイルは、デフォルトで、
GrandStaff
やPianoStaff
に適用されます。 -
piano-cautionary
-
この規則は
piano
と同じですが、追加の臨時記号は忠告として譜刻されます。 -
neo-modern
-
この規則は現代音楽での一般的な臨時記号の付け方を再現します: 臨時記号は
modern
と同じように譜刻されますが、同じ小節の中で臨時記号を付けられた音符と同じ音符が再び現れた場合、その音符にも臨時記号が譜刻されます – ただし、臨時記号を付けられた音符の直後に同じ音符が現れる場合は除きます (訳者: 第 1 小節の下部譜にある 2 つのf
には両方とも臨時記号が譜刻されていますが、第 1 小節の上部譜にある 2 つのミドル C は連続しているため、後のミドル C には臨時記号が譜刻されません)。 -
neo-modern-cautionary
-
この規則は
neo-modern
と似ていますが、追加の臨時記号は忠告の臨時記号として譜刻されます。 -
neo-modern-voice
-
この規則は、1 つのボイスを演奏する音楽家とすべてのボイスを演奏する音楽家両方のための複数ボイスの臨時記号に使用されます。
neo-modern
と同様に、臨時記号は各ボイスに譜刻されますが、同じStaff
にあるボイスをまたがるとキャンセルされます。 -
neo-modern-voice-cautionary
-
この規則は
neo-modern-voice
と似ていますが、追加の臨時記号が忠告の臨時記号として譜刻されます。 -
dodecaphonic
-
この規則は 20 世紀初頭の作曲家たちによって導入された臨時記号の付け方を反映しています – ナチュラルの音符と非ナチュラルの音符 (訳者: ピアノの白鍵に対応する音符と黒鍵に対応する音符) 間にある上下関係を無効にしようとする試みです。このスタイルでは、すべて の音符にナチュラル記号を含む臨時記号が付けられます。
-
teaching
-
この規則は学生向けを意図したものであり、自動的に譜刻される忠告の臨時記号によって容易にスケール譜を作ることを容易にします。臨時記号は
modern
と同じように譜刻されます。しかしながら、調号によって指定されたすべてのシャープ音、フラット音に対して忠告の臨時記号が譜刻されます – ただし、前の音符の直後にある同じピッチの音符は例外です。 -
no-reset
-
この規則は
default
と同じですが、臨時記号の保持は小節内に限定されず、‘最後まで’ 保持されます: -
forget
-
この規則は
no-reset
と正反対です: 臨時記号はまったく保持されません – そのため、調号に対応しながら、前にある音楽とは無関係にすべての臨時記号が譜刻されます。dodecaphonic
とは異なり、この規則ではナチュラルが譜刻されることはありません。
Selected Snippets
Dodecaphonic-style accidentals for each note including naturals
In early 20th century works, starting with Schoenberg, Berg and Webern (the “Second” Viennese school), every pitch in the twelve-tone scale has to be regarded as equal, without any hierarchy such as the classical (tonal) degrees. Therefore, these composers print one accidental for each note, even at natural pitches, to emphasize their new approach to music theory and language.
This snippet shows how to achieve such notation rules.
\markup { This snippet is deprecated as of version 2.12 and will be removed from the documentation in 2.14. }
参照
コード断片集: ピッチ
内部リファレンス: Accidental, Accidental_engraver, GrandStaff and PianoStaff, Staff, AccidentalSuggestion, AccidentalPlacement, accidental-suggestion-interface
既知の問題と警告
同時発生する音符はシーケンシャル モードで入力されたものと見なされます。このことが意味するのは、和音の各音符は入力ファイルの中で記述された順に
1 つずつ発生するものとして、和音の臨時記号は譜刻されるということです。これは和音の中の臨時記号が互いに依存関係にある場合に問題となります
– この問題はデフォルトの臨時記号スタイルでは発生しません。この問題は、問題となる音符に !
や ?
を手動で付け加えることによって解決できます。
臨時記号の忠告的なキャンセルは 1 つ前の小節を見て行われます。しかしながら、\repeat volta N
セクションの後にくる
\alternative
ブロックでは、キャンセルの算出はその前に 譜刻された 小節ではなく、その前に 演奏された 小節を見て行われると演奏者は予想します。以下の例では、2 番目の差し替え小節の中にあるナチュラル c
にナチュラル記号は必要ありません。
以下の方法で解決できます:
局部的に臨時記号スタイルを forget
に変更する関数を定義します:
forget = #(define-music-function (parser location music) (ly:music?) #{ #(set-accidental-style 'forget) $music #(set-accidental-style 'modern) #}) { #(set-accidental-style 'modern) \time 2/4 \repeat volta 2 { c'2 } \alternative { cis' \forget c' } }
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音域
用語 音域 (ambitus) は、音楽のある部分の中にあるボイスがとるピッチの範囲を示します。さらに、ある楽器が演奏することができるピッチ範囲を示すこともあるかもしれません。音域をボーカル パートに譜刻することによって、歌い手はそのパートの音域が歌い手の能力と一致するかどうかを容易に見極めることができます。
音域は、楽曲の開始点で、最初の音部記号の近くに記されます。範囲は最低ピッチと最高ピッチを表す 2 つの音符によってグラフィカルに示されます。臨時記号は、その臨時記号が調号の一部でない場合にのみ譜刻されます。
\layout { \context { \Voice \consists "Ambitus_engraver" } } \relative c'' { aes c e2 cis,1 }
Selected Snippets
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 } >>
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 } >>
Changing the ambitus gap
It is possible to change the default gap setting for ambitus.
\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'' }
参照
音楽用語集: ambitus
コード断片集: ピッチ
内部リファレンス: Ambitus_engraver, Voice, Staff, Ambitus, AmbitusAccidental, AmbitusLine, AmbitusNoteHead, ambitus-interface
既知の問題と警告
複数のボイスがある場合にボイスごとに音域をとることによって生じる音域の衝突を処理するシステムはありません。
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[ < 音域 ] | [ 上へ : ピッチ ] | [ 特殊な符頭 > ] |
1.1.4 符頭
このセクションでは符頭を変更する方法について説明します。
特殊な符頭 | ||
演奏を容易にする記譜法の符頭 | ||
シェイプ符頭 | ||
即興 |
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特殊な符頭
符頭を変更することができます:
c4 b \override NoteHead #'style = #'cross c4 b \revert NoteHead #'style a b \override NoteHead #'style = #'harmonic a b \revert NoteHead #'style c4 d e f
すべての符頭スタイルを調べるには、Note head styles を参照してください。
cross
スタイルはさまざまな音楽的意図を表すために使用されます。以下の定義済みコマンドは符頭を譜コンテキストとタブ譜コンテキストで変更し、何らかの音楽的意味を表すために使用することができます:
c4 b \xNotesOn a b c4 b \xNotesOff c4 d
この定義済みコマンドの音楽関数は、譜コンテキストやタブ譜コンテキストの和音の内外で使用して、符頭を×の形にすることができます:
c4 b \xNote { e f } c b < g \xNote c f > b
\xNote
, \xNotesOn
それに \xNotesOff
の同義語として
\deadNote
, \deadNotesOn
それに \deadNotesOff
を使用することができます。dead note という用語はギタリストが一般的に使用します。
また、和音の中でのみ使用できるダイアモンド形のための短縮記法があります:
<c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
定義済みコマンド
\harmonic
,
\xNotesOn
,
\xNotesOff
,
\xNote
.
参照
コード断片集: ピッチ
記譜法リファレンス: Note head styles, 和音の音符, Indicating harmonics and dampened notes
内部リファレンス: note-event, Note_heads_engraver, Ledger_line_engraver, NoteHead, LedgerLineSpanner, note-head-interface, ledger-line-spanner-interface
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演奏を容易にする記譜法の符頭
‘演奏を容易にする’ 符頭は、符頭の中に音符名を含みます。これは、初心者のための楽譜で使用されます。文字を読みやすくするために、大きなフォント サイズで譜刻すべきです。大きなフォントで譜刻する方法は、Setting the staff size を参照してください。
#(set-global-staff-size 26) \relative c' { \easyHeadsOn c2 e4 f g1 \easyHeadsOff c,1 }
定義済みコマンド
\easyHeadsOn
,
\easyHeadsOff
Selected Snippets
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 (list (cons 'acknowledgers (list (cons 'note-head-interface (lambda (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 }
参照
記譜法リファレンス: Setting the staff size
コード断片集: ピッチ
内部リファレンス: note-event, Note_heads_engraver, NoteHead, note-head-interface
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シェイプ符頭
シェイプ ノート記譜法では、符頭の形状は音階の中での音符の位置付けに対応します。この表記は 19 世紀のアメリカの歌集で一般的なものです。シェイプ符頭はセイクリッド ハープ、Southern Harmony、Funk (Harmonica Sacra)、Walker、それに Aiken (Christian Harmony) スタイルで使用されます:
\aikenHeads c, d e f g2 a b1 c \break \sacredHarpHeads c,4 d e f g2 a b1 c \break \southernHarmonyHeads c,4 d e f g2 a b1 c \break \funkHeads c,4 d e f g2 a b1 c \break \walkerHeads c,4 d e f g2 a b1 c \break
符頭の形状は音階の中での位置に対応し、音階のベースは \key
コマンドによって決まります。マイナーで記述している場合、符頭の形状を決定する音階ステップはメジャーの場合との相対関係になります:
\key a \minor \aikenHeads a b c d e2 f g1 a \break \aikenHeadsMinor a,4 b c d e2 f g1 a \break \sacredHarpHeadsMinor a,2 b c d \break \southernHarmonyHeadsMinor a2 b c d \break \funkHeadsMinor a2 b c d \break \walkerHeadsMinor a2 b c d \break
定義済みコマンド
\aikenHeads
,
\aikenHeadsMinor
,
\funkHeads
,
\funkHeadsMinor
,
\sacredHarpHeads
,
\sacredHarpHeadsMinor
,
\southernHarmonyHeads
,
\southernHarmonyHeadsMinor
,
\walkerHeads
,
\walkerHeadsMinor
Selected Snippets
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 } }
すべての符頭スタイルを調べるには、Note head styles を参照してください。
参照
コード断片集: ピッチ
記譜法リファレンス: Note head styles
内部リファレンス: note-event, Note_heads_engraver, NoteHead, note-head-interface
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[ < シェイプ符頭 ] | [ 上へ : 符頭 ] | [ リズム > ] |
即興
即興はしばしばスラッシュ形の符頭で記されます。そのような表記では、演奏者は好みのピッチを選ぶことができますが、指定されたリズムに従って演奏する必要があります。このような符頭は以下のようにして作成することができます:
\new Voice \with { \consists "Pitch_squash_engraver" } { e8 e g a a16( bes) a8 g \improvisationOn e8 ~ e2 ~ e8 f4 f8 ~ f2 \improvisationOff a16( bes) a8 g e }
定義済みコマンド
\improvisationOn
,
\improvisationOff
参照
コード断片集: ピッチ
内部リファレンス: Pitch_squash_engraver, Voice, RhythmicStaff
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[ < 即興 ] | [ 上へ : 音楽記譜法 ] | [ リズムを記述する > ] |
1.2 リズム
このセクションではリズム、休符、演奏時間、連桁、小節について議論します。
1.2.1 リズムを記述する | ||
1.2.2 休符を記述する | ||
1.2.3 リズムを表示する | ||
1.2.4 連桁 | ||
1.2.5 小節 | ||
1.2.6 特殊なリズム関連事項 |
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[ < リズム ] | [ 上へ : リズム ] | [ 演奏時間 > ] |
1.2.1 リズムを記述する
演奏時間 | ||
連符 | ||
演奏時間を変更する | ||
タイ |
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[ < リズムを記述する ] | [ 上へ : リズムを記述する ] | [ 連符 > ] |
演奏時間
演奏時間は数とドットで指定されます。演奏時間はその演奏時間の逆数で入力されます。例えば、4 分音符は 4
で入力され (1/4 の音符だから)、半音符は 2
で入力されます (1/2 の音符だから)。全音符よりも長い音符を入力するには、\longa
コマンド (全音符の 4 倍)
と \breve
コマンド (全音符の 2 倍) を使う必要があります。128 分音符のような短い音符を指定することもできます。それよりも短い音価を指定することも可能ですが、必ず連桁付きの音符となります。
\time 8/1 c\longa c\breve c1 c2 c4 c8 c16 c32 c64 c128 c128
同じ例で自動連桁を off にしてみます。
\time 8/1 \autoBeamOff c\longa c\breve c1 c2 c4 c8 c16 c32 c64 c128 c128
全音符の 8 倍の演奏時間を持つ音符は
\maxima
を使って入力することができます。しかしながら、これは古代音楽表記でのみサポートされます。詳細は Ancient notation を参照してください。
演奏時間を省略した場合、前に入力された演奏時間にセットされます。最初の音符のデフォルト値は 4 分音符です。
a a a2 a a4 a a1 a
付点音符の演奏時間を得るには、演奏時間の後にドット (.
) を置きます。2 重付点音符は 2 つのドットを置き、3 重付点音符は 3 つのドットなどとなります。
a4 b c4. b8 a4. b4.. c8.
演奏時間の中には 2の倍数の演奏時間とドットだけでは表せないものもあります。それらを表すには 2 つかそれ以上の音符をタイでつなげるしかありません。詳細は タイ を参照してください。
歌詞の音節に対して演奏時間を指定する方法、歌詞を音符に揃える方法については Vocal music を参照してください。
オプションとして、音符を音符の演奏時間に厳密に比例させた間隔で配置することができます。このオプションとプロポーショナル表記を制御するその他の設定についての詳細は Proportional notation を参照してください。
通常、多声でない限り、ドットは譜線を避けるために上に移動させられます。ある特定のドットの移動方向を手動で指定するための定義済みコマンドがあります – 詳細は Direction and placement を参照してください。
定義済みコマンド
\autoBeamOn
,
\autoBeamOff
,
\dotsUp
,
\dotsDown
,
\dotsNeutral
Selected Snippets
Changing the number of augmentation dots per note
This code demonstrates how to change the number of augmentation dots on a single 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 | }
参照
音楽用語集: breve, longa, maxima, note value, Duration names notes and rests
記譜法リファレンス: 自動連桁, タイ, リズムを記述する, 休符を記述する, Vocal music, Ancient notation, Proportional notation
コード断片集: リズム
既知の問題と警告
休符の演奏時間には基本的に限界がありません (最大値としても、最小値としても)。しかしながら、図柄の数には限界があります: 128 分から全音符の 8 倍までの休符を譜刻することができます。
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連符
連符はその連符内のすべての音符の演奏時間に分数を掛け合わせる音楽表記によって作られます:
\times fraction { music }
music
の演奏時間には分数 fraction
が掛け合わされます。分数の分母が音符の上または下に譜刻され、オプションで囲みが付きます。最も一般的な連符は 3 連符であり、3 連符では 3 つの音符が音符 2 つ分の演奏時間を持ちます。そのため、3 連符で指定する分数は 2/3 です。
a2 \times 2/3 { b4 b b } c4 c \times 2/3 { b4 a g }
連符囲みは手動で譜の上または下に配置することができます – Direction and placement を参照してください。
連符はネストすることができます:
\autoBeamOff c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4
ネストされた連符の演奏開始点が同時である場合に、それらの連符を変更するには
\tweak
を使う必要があります。
連符囲みを譜刻せずに音符の演奏時間を変更する方法は 演奏時間を変更する を参照してください。
定義済みコマンド
\tupletUp
,
\tupletDown
,
\tupletNeutral
.
Selected Snippets
Entering several tuplets using only one \times command
The property tupletSpannerDuration
sets how long each of the
tuplets contained within the brackets after \times
should last.
Many consecutive tuplets can then be placed within a single
\times
expression, thus saving typing.
In the example, two triplets are shown, while \times
was
entered only once.
Read the relevant sections of the Notation Reference for more
information about ly:make-moment
.
\relative c' { \time 2/4 \set tupletSpannerDuration = #(ly:make-moment 1 4) \times 2/3 { c8 c c c c c } }
Changing the tuplet number
By default, only the numerator of the tuplet number is printed over the
tuplet bracket, i.e., the denominator of the argument to the
\times
command. Alternatively, num:den of the tuplet number may
be printed, or the tuplet number may be suppressed altogether.
\relative c'' { \times 2/3 { c8 c c } \times 2/3 { c8 c c } \override TupletNumber #'text = #tuplet-number::calc-fraction-text \times 2/3 { c8 c c } \override TupletNumber #'stencil = ##f \times 2/3 { c8 c c } }
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) \times 2/3 { c4. c4. c4. c4. } \once \override TupletNumber #'text = #(tuplet-number::non-default-tuplet-fraction-text 12 7) \times 2/3 { c4. c4. c4. c4. } \once \override TupletNumber #'text = #(tuplet-number::append-note-wrapper (tuplet-number::non-default-tuplet-fraction-text 12 7) "8") \times 2/3 { c4. c4. c4. c4. } \once \override TupletNumber #'text = #(tuplet-number::append-note-wrapper tuplet-number::calc-denominator-text "4") \times 2/3 { c8 c8 c8 c8 c8 c8 } \once \override TupletNumber #'text = #(tuplet-number::append-note-wrapper tuplet-number::calc-fraction-text "4") \times 2/3 { c8 c8 c8 c8 c8 c8 } \once \override TupletNumber #'text = #(tuplet-number::fraction-with-notes "4." "8") \times 2/3 { c4. c4. c4. c4. } \once \override TupletNumber #'text = #(tuplet-number::non-default-fraction-with-notes 12 "8" 4 "4") \times 2/3 { c4. c4. c4. c4. } }
Controlling tuplet bracket visibility
The default behavior of tuplet-bracket visibility is to print a bracket
unless there is a beam of the same length as the tuplet. To control the
visibility of tuplet brackets, set the property
'bracket-visibility
to either #t
(always print a
bracket), #f
(never print a bracket) or #'if-no-beam
(only print a bracket if there is no beam).
music = \relative c'' { \times 2/3 { c16[ d e } f8] \times 2/3 { c8 d e } \times 2/3 { c4 d e } } \new Voice { \relative c' { << \music s4^"default" >> \override TupletBracket #'bracket-visibility = #'if-no-beam << \music s4^"'if-no-beam" >> \override TupletBracket #'bracket-visibility = ##t << \music s4^"#t" >> \override TupletBracket #'bracket-visibility = ##f << \music s4^"#f" >> } }
Permitting line breaks within beamed tuplets
This artificial example shows how both manual and automatic line breaks may be permitted to within a beamed tuplet. Note that such off-beat tuplets have to be beamed manually.
\layout { \context { \Voice % Permit line breaks within tuplets \remove "Forbid_line_break_engraver" % Allow beams to be broken at line breaks \override Beam #'breakable = ##t } } \relative c'' { a8 \repeat unfold 5 { \times 2/3 { c[ b a] } } % Insert a manual line break within a tuplet \times 2/3 { c[ b \bar "" \break a] } \repeat unfold 5 { \times 2/3 { c[ b a] } } c8 }
参照
音楽用語集: triplet, tuplet, polymetric
学習マニュアル: 調整手段
記譜法リファレンス:
時間管理,
演奏時間を変更する,
The \tweak
command,
複合拍子記譜法
コード断片集: リズム
内部リファレンス: TupletBracket, TupletNumber, TimeScaledMusic.
既知の問題と警告
譜の先頭に装飾小音符とそれに続く連符を配置する場合でない限り、装飾を連符囲みの中に配置することができます。この特殊な場合では、エラーを避けるためにその装飾小音符を
\times
コマンドの前に置かなければなりません。
\tempo
コマンドを持つ楽曲の先頭で連符を使う場合、
音楽を保持するボイス で説明されているようにその音楽を明示的に \new Voice
ブロックの中に入れる必要があります。
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演奏時間を変更する
*N/M
(または、M
が 1 の場合は *N
) を演奏時間の後に付け加えることによって、単一の音符、休符、和音の演奏時間を分数 N/M
倍
に変更することができます。これは作り出される音符や休符の見た目には影響を与えませんが、変更された演奏時間は小節の中での位置を算出するためと、MIDI 出力での演奏時間を決定するために使用されます。掛け合わせる要素は *L*M/N
などのように組み合わせることができます。
以下の例では、最初の 3 つの音符で 2 拍ですが、連符囲みは譜刻されていません。
\time 2/4 % 演奏時間を変更して 3 連符にします a4*2/3 gis4*2/3 a4*2/3 % 通常の演奏時間 a4 a4 % 和音の演奏時間を 2 倍にします <a d>4*2 % 演奏時間は 4 分音符ですが、見た目は 16 分音符です b16*4 c4
空白音符の演奏時間も掛け算によって変更できます。これは s1*23
のように多くの小節をスキップする場合に役に立ちます。
同様の方法で分数を使うことで、長く伸びた音楽を圧縮することができます。それによりそれぞれの音符、和音、休符には分数が掛け合わせられたかのようになります。これは楽譜要素の見た目をそのままにして、要素の内部演奏時間に分子/分母を掛け合わせます。ドットの両側にはスペースが必要です。ここで、音楽がどのように圧縮され、伸張されるかを示す例を挙げます:
\time 2/4 % 通常の演奏時間 <c a>4 c8 a % 2/3 を掛けます \scaleDurations #'(2 . 3) { <c a f>4. c8 a f } % 2 を掛けます \scaleDurations #'(2 . 1) { <c' a>4 c8 b }
このコマンドの応用例の 1 つは複合拍子表記での使用です。複合拍子記譜法 を参照してください。
参照
記譜法リファレンス: 連符, 不可視の休符, 複合拍子記譜法
コード断片集: リズム
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タイ
タイは同じピッチの隣り合う符頭を結び付けます。タイは音符の演奏時間を伸張する効果があります。
Note: タイを音楽的なフレーズを表す スラー や フレージング スラー と混同しないでください。タイは音符の演奏時間を伸ばす働きを持ち、音価を増やすドットに似ています。
タイはチルド記号 ~
を使って入力します:
a2 ~ a
タイは、音符が小節線をまたがる場合か、リズムを表すためにドットを使うことができない場合に使用されます。さらに、以下の例のように音価が小節の区画をまたがる場合にも使用されます (訳者補足: 4/4 拍子では 1 小節は 1/4, 1/4, 1/4, 1/4 の区画に分けられます。下の例の第 2 小節では半音符が区画をまたがっているので良くない書き方であり、第 1 小節のように書くべきです。):
\relative c' { r8 c8 ~ c2 r4 | r8^"こうすべきではありません" c2 ~ c8 r4 }
小節線をまたいで多くの音符をタイで結び付ける必要がある場合、自動音符分割を使用したほうが簡単かもしれません – 自動音符分割 を参照してください。これは長い音符を自動的に分割して、小節線をまたがる音符をタイで結び付けます。
タイを和音に適用する場合、ピッチが一致する符頭すべてが結ばれます。一致する符頭が無い場合、タイは作成されません。和音の内部にタイを置くことによって、和音の一部だけをタイで結ぶことができます。
<c e g> ~ <c e g> <c~ e g~ b> <c e g b>
繰り返しの 2 回目の差し替え部分はタイで結ばれた音符で始まっています。そのような繰り返し部分でのタイは以下のように指定する必要があります:
\repeat volta 2 { c g <c e>2 ~ } \alternative { % 1 番目の差し替え部分: 後に続く音符は通常通りタイで結ばれます { <c e>2. r4 } % 2 番目の差し替え部分: 後に続く音符にはリピート用のタイを付けます { <c e>2\repeatTie d4 c } }
L.v. タイ (レセ ヴィブレ: laissez vibrer) は音符を終端で途切れさせないということを示します。ピアノ、ハープ、他の弦楽器、それに打楽器のための楽譜で使用されます。L.v. タイは以下のように入力します:
<c f g>1\laissezVibrer
タイを手動で譜の上または下に配置することができます。 Direction and placement を参照してください。
タイを破線、点線、実線と破線の組み合わせにすることができます。
\tieDotted c2 ~ c \tieDashed c2 ~ c \tieHalfDashed c2 ~ c \tieHalfSolid c2 ~ c \tieSolid c2 ~ c
破線パターンのカスタマイズを指定することができます:
\tieDashPattern #0.3 #0.75 c2 ~ c \tieDashPattern #0.7 #1.5 c2 ~ c \tieSolid c2 ~ c
タイの破線パターン定義の構造は、スラーの破線パターン定義と同じです。複雑な破線パターンについての更なる情報は スラー にあるコード断片集を参照してください。
定義済みコマンド
\tieUp
,
\tieDown
,
\tieNeutral
,
\tieDotted
,
\tieDashed
,
\tieDashPattern
,
\tieHalfDashed
,
\tieHalfSolid
,
\tieSolid
Selected Snippets
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 }
Engraving ties manually
Ties may be engraved manually by changing the tie-configuration
property of the TieColumn
object. The first number indicates the
distance from the center of the staff in staff-spaces, and the second
number indicates the direction (1 = up, -1 = down).
\relative c' { <c e g>2 ~ <c e g> \override TieColumn #'tie-configuration = #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1)) <c e g>2 ~ <c e g> }
参照
音楽用語集: tie, laissez vibrer
コード断片集: リズム
内部リファレンス: LaissezVibrerTie, LaissezVibrerTieColumn, TieColumn, Tie
既知の問題と警告
タイがアクティブなときに譜を切り換えても斜めのタイは作られません。
タイの最中に音部記号やオクターブを変更することはきちんと定義されていません。そのような場合には、スラーを用いる方が好ましいです。
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1.2.2 休符を記述する
休符は音楽表記の中の音楽の一部として入力されます。
休符 | ||
不可視の休符 | ||
小節単位の休符 |
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休符
休符は音符名 r
を持つ音符として入力されます。全休符よりも長い演奏時間を持つ休符には以下に示す定義済みコマンドを使用します:
\new Staff { % この 2 本線には意味はありません \time 16/1 \override Staff.TimeSignature #'stencil = ##f % 八全休符を譜刻します。二全休符 4 つと等価です r\maxima % 四全休符を譜刻します。二全休符 2 つと等価です r\longa % 二全休符を譜刻します。 r\breve r1 r2 r4 r8 r16 r32 r64 r128 }
全休符 – 小節の中心に置かれます – は複数小節の休符として入力する必要があります。複数小節の休符は多くの小節に対してと同様に単一の小節に対しても使用することができます。詳細は 小節単位の休符 を参照してください。
休符の垂直方向の位置を明示的に指定するには、音符の後に続けて \rest
を記述します。その音符が譜上で占める位置に、その音符の演奏時間を持つ休符が配置されます。これは多声部音楽を手動で精密にフォーマットすることを考慮したものです。なぜなら、自動休符フォーマットでは多声部音楽の休符の衝突を回避できないからです。
a4\rest d4\rest
Selected Snippets
Rest styles
Rests may be used in various styles.
\layout { indent = 0 \context { \Staff \remove "Time_signature_engraver" } } \new Staff \relative c { \cadenzaOn \override Staff.Rest #'style = #'mensural r\maxima^\markup \typewriter { mensural } r\longa r\breve r1 r2 r4 r8 r16 s32 s64 s128 s128 \bar "" \override Staff.Rest #'style = #'neomensural r\maxima^\markup \typewriter { neomensural } r\longa r\breve r1 r2 r4 r8 r16 s32 s64 s128 s128 \bar "" \override Staff.Rest #'style = #'classical r\maxima^\markup \typewriter { classical } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128 \bar "" \override Staff.Rest #'style = #'default r\maxima^\markup \typewriter { default } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128 }
参照
記譜法リファレンス: 小節単位の休符
コード断片集: リズム
内部リファレンス: Rest
既知の問題と警告
休符の演奏時間には基本的に限界がありません (最大値としても、最小値としても)。しかしながら、図柄の数には限界があります: 128 分から全音符の 8 倍までの休符を譜刻することができます。
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[ < 休符 ] | [ 上へ : 休符を記述する ] | [ 小節単位の休符 > ] |
不可視の休符
不可視の休符 (‘空白休符’ とも呼ばれます) は音符名 s
を持つ音符として入力することができます:
c4 c s c s2 c
空白休符は音符モードと和音モードでのみ利用可能です。他のモードでは、例えば歌詞を入力している場合、音楽モーメントをスキップするには
\skip
を使用します。\skip
は明示的な演奏時間を必要としますが、\addlyrics
や \lyricsto
を使っていて、歌詞が関係するメロディーの音符から演奏時間を得ている場合は無視されます。
<< { a2 \skip2 a2 a2 } \new Lyrics { \lyricmode { foo2 \skip 1 bla2 } } >>
\skip
はコマンドであるため、s
とは異なり後に続く音符のデフォルト演奏時間には影響を与えません。
<< { \repeat unfold 8 { a4 } } { a4 \skip 2 a | s2 a } >>
空白休符は、音符や休符と同様に、Staff
や Voice
が存在しない場合に、それらを暗黙的に作成します:
s1 s s
\skip
はただ音楽的な時間をスキップするだけです。これはいかなる種類の出力も作成しません。
% これは有効な入力ですが、何もしません \skip 1 \skip1 \skip 1
参照
学習マニュアル: オブジェクトの可視性と色
記譜法リファレンス: 隠された音符, Visibility of objects
コード断片集: リズム
内部リファレンス: SkipMusic
[ << 音楽記譜法 ] | [トップ][目次][インデックス][ ? ] | [ Specialist notation >> ] | ||
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小節単位の休符
1 つまたは複数の小節に対する休符は音符名として大文字の R
を持つ音符として入力します:
% 休みの小節は 1 つの小節にまとめられます \compressFullBarRests R1*4 R1*24 R1*4 b2^"Tutti" b4 a4
小節単位の休符の演奏時間は、音符に対する演奏時間と同じ表記を使います。複数小節にまたがる休符の演奏時間は常に小節の長さの整数倍になります。そのため、しばしばドットや分数を使う必要があります:
\compressFullBarRests \time 2/4 R1 | R2 | \time 3/4 R2. | R2.*2 | \time 13/8 R1*13/8 | R1*13/8*12 | \time 10/8 R4*5*4 |
1 小節分の休符は、拍子次第で全休符または二全休符のどちらかとして、小節の中央に譜刻されます。
\time 4/4 R1 | \time 6/4 R1*3/2 | \time 8/4 R1*2 |
デフォルトでは、複数小節にまたがる休符は休みの小節すべてを明示的に示すように譜刻される楽譜に展開されます。そうする代わりに、複数小節にまたがる休符を複数小節の休符記号を持つ単一の小節として譜刻することもできます – 休みの小節数がその小節の上に譜刻されます。
% デフォルトの振る舞い \time 3/4 r2. | R2.*2 | \time 2/4 R2 | \time 4/4 % 休みの小節を 1 つの小節にまとめます \compressFullBarRests r1 | R1*17 | R1*4 | % 休みの小節を展開します \expandFullBarRests \time 3/4 R2.*2 |
マークアップを複数小節にまたがる休符に付け加えることができます。フェルマータを付け加えるための定義済みコマンドとして
\fermataMarkup
が提供されています。
\compressFullBarRests \time 3/4 R2.*10^\markup { \italic "ad lib." } R2.^\fermataMarkup
Note: 複数小節にまたがる休符に付け加えられるマークアップはタイプ
MultiMeasureRestText
のオブジェクトであり、TextScript
ではありません。オーバライドは正しいオブジェクトに対して行わなければなりません。さもないと無視されます。以下の例を見てください。
% この例は誤ったオブジェクト名を指定しているため失敗します \override TextScript #'padding = #5 R1^"wrong" % この例は正しいオブジェクト名が指定されています \override MultiMeasureRestText #'padding = #5 R1^"right"
複数小節にまたがる休符が \partial
設定の直後にある場合、小節チェックの警告が表示されないかもしれません。
定義済みコマンド
\textLengthOn
,
\textLengthOff
,
\fermataMarkup
,
\compressFullBarRests
,
\expandFullBarRests
Selected Snippets
Changing form of multi-measure rests
If there are ten or fewer measures of rests, a series of longa and
breve rests (called in German “Kirchenpausen” - church rests) is
printed within the staff; otherwise a simple line is shown. This
default number of ten may be changed by overriding the
expand-limit
property.
\relative c'' { \compressFullBarRests R1*2 | R1*5 | R1*9 \override MultiMeasureRest #'expand-limit = #3 R1*2 | R1*5 | R1*9 }
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'' { % MMR - Multi-Measure Rest % MMRs by default are set under the fourth line R1 % They can be moved with an override \override MultiMeasureRest #'staff-position = #-2 R1 % A value of 0 is the default position; % the following trick moves the rest to the center line \override MultiMeasureRest #'staff-position = #-0.01 R1 % MMRs in odd-numbered voices are under the top line << { R1 } \\ { a1 } >> % MMRs in even-numbered voices are under the bottom line << { c1 } \\ { R1 } >> % They remain separated even in empty measures << { R1 } \\ { R1 } >> % This brings them together even though there are two voices \compressFullBarRests << \revert MultiMeasureRest #'staff-position { R1*3 } \\ \revert MultiMeasureRest #'staff-position { R1*3 } >> }
Multi-measure rest markup
Markups attached to a multi-measure rest will be centered above or below it. Long markups attached to multi-measure rests do not cause the measure to expand. To expand a multi-measure rest to fit the markup, use a spacer rest with an attached markup before the multi-measure rest.
Note that the spacer rest causes a bar line to be inserted. Text attached to a spacer rest in this way is left-aligned to the position where the note would be placed in the measure, but if the measure length is determined by the length of the text, the text will appear to be centered.
\relative c' { \compressFullBarRests \textLengthOn s1*0^\markup { [MAJOR GENERAL] } R1*19 s1*0_\markup { \italic { Cue: ... it is yours } } s1*0^\markup { A } R1*30^\markup { [MABEL] } \textLengthOff c4^\markup { CHORUS } d f c }
参照
音楽用語集: multi-measure rest
記譜法リファレンス: 演奏時間, テキスト, テキストをフォーマットする, テキスト スクリプト
コード断片集: リズム
内部リファレンス: MultiMeasureRest, MultiMeasureRestNumber, MultiMeasureRestText
既知の問題と警告
複数小節にまたがる休符の上に運指記号を配置すると (例えば、R1*10-4
)、運指の数字が休みの小節数と衝突する可能性があります。
複数の通常の休符を自動的に単一の複数小節休符にまとめる方法はありません。
複数小節にまたがる休符が休符の衝突を引き起こすことはありません。
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[ < 小節単位の休符 ] | [ 上へ : リズム ] | [ 拍子 > ] |
1.2.3 リズムを表示する
拍子 | ||
メトロノーム記号 | ||
上拍 | ||
無韻律の音楽 | ||
複合拍子記譜法 | ||
自動音符分割 | ||
旋律のリズムを示す |
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[ < リズムを表示する ] | [ 上へ : リズムを表示する ] | [ メトロノーム記号 > ] |
拍子
拍子は以下のようにセットします:
\time 2/4 c2 \time 3/4 c2.
拍子は楽曲の始まりと拍子が変更されたときに譜刻されます。行の終わりで変更が起こる場合、警告の拍子が行の終わりに譜刻されます。デフォルトの振る舞いを変更することができます。Visibility of objects を参照してください。
\time 2/4 c2 c \break c c \break \time 4/4 c c c c
2/2 や 4/4 で使用される拍子は数字を使用するスタイルに変更することができます:
% デフォルトのスタイル \time 4/4 c1 \time 2/2 c1 % 数字を使うスタイルに変更します \numericTimeSignature \time 4/4 c1 \time 2/2 c1 % デフォルトのスタイルに戻します \defaultTimeSignature \time 4/4 c1 \time 2/2 c1
定量拍子については Mensural time signatures でカバーされています。
定義済みコマンド
\numericTimeSignature
,
\defaultTimeSignature
譜刻される拍子を設定することに加えて、\time
コマンドは拍子に基づくプロパティ
baseMoment
, beatStructure
, それに beamExceptions
のデフォルト値も設定します。これらのプロパティにあらかじめ定義されているデフォルト値は
‘scm/time-signature-settings.scm’ で見つかります。既存のデフォルト値を変更したり、新しいデフォルト値を変更したりすることができます:
\score { \new Staff { \relative c' { \overrideTimeSignatureSettings #'(4 . 4) % timeSignatureFraction #'(1 . 4) % baseMomentFraction #'(3 1) % beatStructure #'() % beamExceptions \time 4/4 \repeat unfold 8 { c8 } | } } }
\overrideTimeSignatureSettings
は 4 つの引数をとります:
-
timeSignatureFraction
, 拍子を示す Scheme ペア。 -
baseMomentFraction
, 拍子の基本タイミングの単位となる分子と分母を保持する Scheme ペア。 -
beatStructure
, 小節の拍構造を示す Scheme リスト。基本タイミングを単位とします。 -
beamExceptions
, 指定された拍子でそれぞれの拍で終了しない連桁のルールを保持する配列リスト。自動連桁の振る舞いを設定する に説明があります。
\overrideTimeSignatureSettings
を保持するコンテキストは、その \overrideTimeSignatureSettings
呼び出しが実行される前にインスタンス化されている必要があります。このことは、そのようなコンテキストは明示的にインスタンス化するか、そのコンテキスト内で \overrideTimeSignatureSettings
の前に音楽を置いておく必要があるということを意味します:
\score { \relative c' { % コンテキストがまだインスタンス化されていないため、この呼び出しは失敗します \overrideTimeSignatureSettings #'(4 . 4) % timeSignatureFraction #'(1 . 4) % baseMomentFraction #'(3 1) % beatStructure #'() % beamExceptions \time 4/4 c8^\markup {"Beamed (2 2)"} \repeat unfold 7 { c8 } | % この呼び出しは成功します \overrideTimeSignatureSettings #'(4 . 4) % timeSignatureFraction #'(1 . 4) % baseMomentFraction #'(3 1) % beatStructure #'() % beamExceptions \time 4/4 c8^\markup {"Beamed (3 1)"} \repeat unfold 7 { c8 } | } }
デフォルトの拍子プロパティ値の変更を元の値に戻すことができます:
\score{ \relative c' { \repeat unfold 8 { c8 } | \overrideTimeSignatureSettings #'(4 . 4) % timeSignatureFraction #'(1 . 4) % baseMomentFraction #'(3 1) % beatStructure #'() % beamExceptions \time 4/4 \repeat unfold 8 { c8 } | \revertTimeSignatureSettings #'(4 . 4) \time 4/4 \repeat unfold 8 { c8 } | } }
Timing_translator
と Default_bar_line_engraver
をScore
コンテキストから Staff
コンテキストに移動させることにより、異なる譜に対して異なる値のデフォルト拍子プロパティを割り当てることができます。
\score { \new StaffGroup << \new Staff { \overrideTimeSignatureSettings #'(4 . 4) % timeSignatureFraction #'(1 . 4) % baseMomentFraction #'(3 1) % beatStructure #'() % beamExceptions \time 4/4 \repeat unfold 8 {c''8} } \new Staff { \overrideTimeSignatureSettings #'(4 . 4) % timeSignatureFraction #'(1 . 4) % baseMomentFraction #'(1 3) % beatStructure #'() % beamExceptions \time 4/4 \repeat unfold 8 {c''8} } >> \layout { \context { \Score \remove "Timing_translator" \remove "Default_bar_line_engraver" } \context { \Staff \consists "Timing_translator" \consists "Default_bar_line_engraver" } } }
定義済みコマンド
\numericTimeSignature
,
\defaultTimeSignature
Selected Snippets
Changing the time signature without affecting the beaming
The \time
command sets the properties
timeSignatureFraction
, beatLength
, beatGrouping
and measureLength
in the Timing
context, which is
normally aliased to Score
. Changing the value of
timeSignatureFraction
causes the new time signature symbol to be
printed without changing any of the other properties:
\markup { This snippet is deprecated as of 2.13.5 and will be removed in 2.14 }
Compound time signatures
Odd 20th century time signatures (such as "5/8") can often be played as compound time signatures (e.g. "3/8 + 2/8"), which combine two or more inequal metrics. LilyPond can make such music quite easy to read and play, by explicitly printing the compound time signatures and adapting the automatic beaming behavior. (Graphic measure grouping indications can also be added; see the appropriate snippet in this database.)
#(define ((compound-time one two num) grob) (grob-interpret-markup grob (markup #:override '(baseline-skip . 0) #:number (#:line ((#:column (one num)) #:vcenter "+" (#:column (two num))))))) \relative c' { \override Staff.TimeSignature #'stencil = #(compound-time "2" "3" "8") \time 5/8 \set Staff.beatStructure = #'(2 3) c8 d e fis gis c8 fis, gis e d c8 d e4 gis8 }
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 }
参照
音楽用語集: time signature
記譜法リファレンス: Mensural time signatures, 時間管理
コード断片集: リズム
内部リファレンス: TimeSignature, Timing_translator
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メトロノーム記号
基本的なメトロノーム記号は単純に以下のように記述します:
\tempo 4 = 120 c2 d e4. d8 c2
メトロノーム記号を 2 つの数の範囲として譜刻することもできます:
\tempo 4 = 40 ~ 46 c4. e8 a4 g b,2 d4 r
テキストを持つテンポ指示にすこともできます:
\tempo "Allegretto" c4 e d c b4. a16 b c4 r4
メトロノーム記号とテキストを組み合わせると、メトロノーム記号は自動的に括弧で囲まれます:
\tempo "Allegro" 4 = 160 g4 c d e d4 b g2
一般に、テキストを任意のマークアップ オブジェクトにすることができます:
\tempo \markup { \italic Faster } 4 = 132 a8-. r8 b-. r gis-. r a-. r
テキストを伴わないメトロノーム記号を括弧で囲むには、空の文字列を含めて記述します:
\tempo "" 8 = 96 d4 g e c
Selected Snippets
Printing metronome and rehearsal marks below the staff
By default, metronome and rehearsal marks are printed above the staff.
To place them below the staff simply set the direction
property
of MetronomeMark
or RehearsalMark
appropriately.
\layout { ragged-right = ##f } { % Metronome marks below the staff \override Score.MetronomeMark #'direction = #DOWN \tempo 8. = 120 c''1 % Rehearsal marks below the staff \override Score.RehearsalMark #'direction = #DOWN \mark \default c''1 }
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 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 }
詳細は テキストをフォーマットする を参照してください。
参照
音楽用語集: metronome, metronomic indication, tempo indication, metronome mark
記譜法リファレンス: テキストをフォーマットする, MIDI output
コード断片集: Staff notation
内部リファレンス: MetronomeMark
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上拍
弱拍や上拍などのような部分小節またはピックアップ小節は、\partial
コマンドを使って入力します。以下の構文を使用します:
\partial duration
duration
は、最初の完全な長さを持つ小節の前に置かれる小節の長さです:
\partial 4 e4 | a2. c,4 |
部分小節は、完全な長さを持つ小節よりも短い演奏時間なら、どのような長さでも持つことができます:
\partial 4 e4 | a2. c,4 |
部分小節は 1 小節よりも短い任意の演奏時間にすることができます:
\partial 8*3 c8 d e | a2. c,4 |
内部的には、\partial duration
は以下のように翻訳されます:
\set Timing.measurePosition -duration
例えば、\partial 8*3
は以下のようになります:
\set Timing.measurePosition = #(ly:make-moment -3 8)
プロパティ measurePosition
は、ある時点でその小節はどれくらい演奏済みになっているかを示す有理数を保持します。このプロパティは \partial
によって負の数にセットされるということに注意してください:
すなわち、\partial 4
は内部的に -4
に翻訳され、“その小節には 4 分音符が残っている” という意味になります。
参照
音楽用語集: anacrusis
記譜法リファレンス: 装飾小音符
コード断片集: リズム
内部リファレンス: Timing_translator
既知の問題と警告
\partial
コマンドは楽曲の開始時で使用されることだけを意図したものです。楽曲の途中でこのコマンドを使用した場合、奇妙な警告がいくつか発生するかもしれません。曲の途中では \set Timing.measurePosition
を使用してください。
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無韻律の音楽
小節線と小節番号は自動的に算出されます。無韻律の音楽 (例えば、カデンツァの一部) では、この機能は望ましくありません。小節線と小節番号の自動算出を off にするにはコマンド \cadenzaOn
を使用し、再び on にするには \cadenzaOff
を使用します。
c4 d e d \cadenzaOn c4 c d8[ d d] f4 g4. \cadenzaOff \bar "|" d4 e d c
小節の付番は、カデンツァが存在しないかのように、カデンツァの終了点で再開されます:
% すべての小節番号を表示します \override Score.BarNumber #'break-visibility = #all-visible c4 d e d \cadenzaOn c4 c d8[ d d] f4 g4. \cadenzaOff \bar "|" d4 e d c
自動連桁は \cadenzaOn
で off になり、\cadenzaOff
で on になります。このため、カデンツァ内の連桁はすべて手動で入力する必要があります
(手動連桁)。
\repeat unfold 8 { c8 } \cadenzaOn \repeat unfold 5 { c8 } \bar"|" \cadenzaOff \repeat unfold 8 { c8 }
これらの定義済みコマンドは、たとえ Voice
コンテキストの 1 つの中に配置したとしても、楽譜のすべての譜に影響を与えるということに注意してください。これを変更するには、複合拍子記譜法 で示されているように、Timing_translator
を Score
コンテキストから
Staff
コンテキストに移動させます。
定義済みコマンド
\cadenzaOn
,
\cadenzaOff
参照
音楽用語集: cadenza
記譜法リファレンス: Visibility of objects
コード断片集: リズム
既知の問題と警告
LilyPond は改行と改ページを小節線の箇所にのみ挿入します。無韻律の音楽が譜の行の終わりまでに終了しないのならば、以下のように不可視の小節線を挿入して、改行または改ページを起こすことができる場所であることを示す必要があります:
\bar ""
\cadenzaOn
で楽曲を始める場合、Voice
コンテキストを明示的に作成すべきです。さもないと、奇妙なエラーが発生する可能性があります。
\new Voice { \relative c' { \cadenzaOn c16[^"Solo Free Time" d e f] g2. \bar "||" \cadenzaOff } }
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複合拍子記譜法
複合拍子記譜法がサポートされます。明示的な複合拍子と、拍子指定を変更して音符の演奏時間を伸縮することによる複合拍子のどちらもです。
それぞれの譜は異なる拍子を持ち、小節の長さは等価である場合
この記譜を作成するには、各譜に共通の拍子をセットし、timeSignatureFraction
に望みの分数をセットすることによって記号を手動で置き換え、各譜の演奏時間を伸縮させて共通の拍子に合わせます
– 拍子 を参照してください。演奏時間の伸縮は \scaleDurations
で行います。このコマンドの使用方法は \times
と同じですが、連符囲みを作成しません – 演奏時間を変更する を参照してください。
この例では、3/4, 9/8 それに 10/8 の拍子を持つ音楽が並列に並べられています。2 番目の譜では、演奏時間に 2/3 が掛けられ、それによって 2/3 * 9/8 = 3/4 となっています。3 番目の譜では、演奏時間に 3/5 が掛けられ、それによって 3/5 * 10/8 = 3/4 となっています。演奏時間の伸縮は自動連桁の規則に影響を与えるため、しばしば手動で連桁を挿入することが必要になります。
\relative c' << \new Staff { \time 3/4 c4 c c | c c c | } \new Staff { \time 3/4 \set Staff.timeSignatureFraction = #'(9 . 8) \scaleDurations #'(2 . 3) \repeat unfold 6 { c8[ c c] } } \new Staff { \time 3/4 \set Staff.timeSignatureFraction = #'(10 . 8) \scaleDurations #'(3 . 5) { \repeat unfold 2 { c8[ c c] } \repeat unfold 2 { c8[ c] } | c4. c4. \times 2/3 { c8[ c c] } c4 } } >>
それぞれの譜は異なる拍子を持ち、小節の長さは等価ではない場合
Timing_translator
と Default_bar_line_engraver
を
Staff
コンテキストに移すことによって、それぞれの譜に独立した拍子を与えることができます。
\layout { \context { \Score \remove "Timing_translator" \remove "Default_bar_line_engraver" } \context { \Staff \consists "Timing_translator" \consists "Default_bar_line_engraver" } } % 以上で、各譜はそれぞれに拍子を持つようになります \relative c' << \new Staff { \time 3/4 c4 c c | c4 c c | } \new Staff { \time 2/4 c4 c | c4 c | c4 c | } \new Staff { \time 3/8 c4. | c8 c c | c4. | c8 c c | } >>
Selected Snippets
Compound time signatures
Odd 20th century time signatures (such as "5/8") can often be played as compound time signatures (e.g. "3/8 + 2/8"), which combine two or more inequal metrics. LilyPond can make such music quite easy to read and play, by explicitly printing the compound time signatures and adapting the automatic beaming behavior. (Graphic measure grouping indications can also be added; see the appropriate snippet in this database.)
#(define ((compound-time one two num) grob) (grob-interpret-markup grob (markup #:override '(baseline-skip . 0) #:number (#:line ((#:column (one num)) #:vcenter "+" (#:column (two num))))))) \relative c' { \override Staff.TimeSignature #'stencil = #(compound-time "2" "3" "8") \time 5/8 \set Staff.beatStructure = #'(2 3) c8 d e fis gis c8 fis, gis e d c8 d e4 gis8 }
参照
音楽用語集: polymetric, polymetric time signature, meter
コード断片集: リズム
内部リファレンス: TimeSignature, Timing_translator, Default_bar_line_engraver, Staff
既知の問題と警告
異なる拍子を持つ譜が並列に並べられている場合、同時に起こる音符の水平方向の位置は同じになります。しかしながら、それぞれの譜の小節線により、音符の間隔は通常の異なる拍子が無い場合よりも不規則になります。
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自動音符分割
小節線をまたがる長い音符を自動的にタイで結ばれた音符に変換することができます。これを行うには、Note_heads_engraver
を
Completion_heads_engraver
で置き換えます。以下の例では、小節線をまたがる音符が分割され、タイで結ばれています。
\new Voice \with { \remove "Note_heads_engraver" \consists "Completion_heads_engraver" } { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
このエングラーバは進行中の音符をすべて小節線のところで分割して、タイを挿入します。このエングラーバの用途の 1 つに複雑な楽譜のデバッグがあります: 何小節かで音符がきちんと満たされていない場合、このエングラーバで挿入されたタイが、それぞれの小節の狂いを示します。
参照
音楽用語集: tie
学習マニュアル: エングラーバの説明, エングラーバを追加 / 削除する
コード断片集: リズム
内部リファレンス: Note_heads_engraver, Completion_heads_engraver, Forbid_line_break_engraver
既知の問題と警告
すべての演奏時間を通常の音符と付点で正確に表すことはできません
(特に、連符を含んでいる場合) が、Completion_heads_engraver
が連符を挿入することはありません。
Completion_heads_engraver
は音符にだけ作用します。休符を分割することはありません。
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旋律のリズムを示す
しばしば旋律のリズムだけを示したいことがあります。これはリズム譜を使うことで達成できます。そのような譜上にある音符のピッチはすべて破棄され、その譜自体は 1 本の線を持ちます:
<< \new RhythmicStaff { \new Voice = "myRhythm" { \time 4/4 c4 e8 f g2 r4 g g f g1 } } \new Lyrics { \lyricsto "myRhythm" { This is my song I like to sing } } >>
ギター コード表はしばしばつま弾き (ストラム) のリズムを示します。これは Pitch_squash_engraver
と \improvisationOn
を使うことで達成できます。
<< \new ChordNames { \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 } >>
定義済みコマンド
\improvisationOn
,
\improvisationOff
Selected Snippets
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. } } >>
参照
コード断片集: リズム
内部リファレンス: RhythmicStaff, Pitch_squash_engraver
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1.2.4 連桁
自動連桁 | ||
自動連桁の振る舞いを設定する | ||
手動連桁 | ||
羽状の連桁 |
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[ < 連桁 ] | [ 上へ : 連桁 ] | [ 自動連桁の振る舞いを設定する > ] |
自動連桁
デフォルトでは、連桁は自動的に挿入されます:
\time 2/4 c8 c c c \time 6/8 c8 c c c8. c16 c8
自動的に決定される連桁が満足いかないものである場合、明示的に連桁を挿入することが可能です – 手動連桁 を参照してください。連桁を休符の上まで伸ばそうと意図しているのなら、連桁を手動で挿入する 必要があります。
自動連桁を必要としない場合、\autoBeamOff
で off にすることができ、\autoBeamOn
で on にすることができます:
c4 c8 c8. c16 c8. c16 c8 \autoBeamOff c4 c8 c8. c16 c8. \autoBeamOn c16 c8
Note: 歌曲の中でメリスマを表すために連桁を使用する場合、
autoBeamOff
で自動連桁を off にして、手動で連桁を示すべきです。
Note: \partcombine
を \autoBeamOff
と一緒に用いると予期しない結果になる可能性があります。詳細は以下のコード断片を参照してください。
自動的に挿入されるデフォルトの連桁とは異なるパターンの連桁を作成することができます – 自動連桁の振る舞いを設定する を参照してください。
定義済みコマンド
\autoBeamOff
,
\autoBeamOn
Selected Snippets
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 }
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 | } }
参照
記譜法リファレンス: 手動連桁, 自動連桁の振る舞いを設定する
インストールされているファイル: ‘scm/auto-beam.scm’
コード断片集: リズム
内部リファレンス: Auto_beam_engraver, Beam_engraver, Beam, BeamEvent, BeamForbidEvent, beam-interface, unbreakable-spanner-interface
既知の問題と警告
連桁は他のボイスの中にある符頭や臨時記号と衝突する可能性があります。
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[ < 自動連桁 ] | [ 上へ : 連桁 ] | [ 手動連桁 > ] |
自動連桁の振る舞いを設定する
たいていの場合、自動連桁は拍の終わりで終了します。拍の終了点はコンテキスト プロパティ baseMoment
と beatStructure
によって決定されます。beatStructure
は baseMoment
を単位とする小節の各拍の長さを定義する Scheme リストです。デフォルトでは、baseMoment
は「1/拍子の分母」です。デフォルトでは、各拍の長さは baseMoment
です。
\time 5/16 c16^"default" c c c c | \set Timing.beatStructure = #'(2 3) c16^"(2+3)" c c c c | \set Timing.beatStructure = #'(3 2) c16^"(3+2)" c c c c |
連桁の設定変更をある特定のテキストに限定することができます。下位コンテキストに連桁の設定が含まれない場合、そのコンテキストを囲んでいる上位コンテキストの設定が適用されます。
\new Staff { \time 7/8 \set Staff.beatStructure = #'(2 3 2) << \new Voice = one { \relative c'' { a8 a a a a a a } } \new Voice = two { \relative c' { \voiceTwo \set Voice.beatStructure = #'(1 3 3) f8 f f f f f f } } >> }
譜で複数のボイスが使用されている場合に連桁設定を譜のすべてのボイスに適用するには、Staff
コンテキストで設定を行う必要があります:
\time 7/8 % リズム 3-1-1-2 % デフォルトで連桁設定の変更は Voice に適用され、うまくいきません % なぜなら、自動生成されるボイスで、すべての拍は baseMoment (1 . 8) だからです \set beatStructure = #'(3 1 1 2) << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >> % コンテキスト Staff を指定するとうまくいきます \set Staff.beatStructure = #'(3 1 1 2) << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
baseMoment
の値を調整することで、連桁の振る舞いを変更することができます。baseMoment
の値を変更した場合、beatStructure
に新しい baseMoment
と矛盾しない値を設定する必要があります。
\time 5/8 \set Timing.baseMoment = #(ly:make-moment 1 16) \set Timing.beatStructure = #'(7 3) \repeat unfold 10 { a16 }
beatLength
は moment – 演奏時間の単位 – です。タイプ momento の量は
Scheme 関数 ly:make-moment
によって作り出されます。この関数についての更なる情報は 時間管理 を参照してください。
デフォルトでは、baseMoment
には「1/拍子の分母」がセットされています。このデフォルトの例外は ‘scm/time-signature-settings.scm’ で見つかります。
特殊な自動連桁規則 (連桁の終わりが拍に従わないもの) はプロパティ
beamExceptions
に定義します。
\time 3/16 \set Timing.beatStructure = #'(2 1) \set Timing.beamExceptions = #'( ;start of alist (end . ;entry for end of beams ( ;start of alist of end points ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16 ))) %close all entries c16 c c | \repeat unfold 6 { c32 } |
beamExceptions
は規則タイプのキーと連桁規則の値を持つ配列リストです。
現時点で、利用可能な唯一の規則タイプの値は、連桁の終わりのための #'end
です。
連桁規則は、連桁タイプとその連桁タイプの最短演奏時間の音符を保持する連桁に適用されるグループ化の仕方を示す Scheme 配列リスト (あるいはペアのリスト) です。
#'((beam-type1 . grouping-1) (beam-type2 . grouping-2) (beam-type3 . grouping-3))
連桁タイプは、その連桁の演奏時間を示す Scheme ペアであり、例えば (1 . 16)
です。
Note: beamExceptions
の値は 完全な 例外リストである必要があります。つまり、その設定には適用されるべき例外がすべて含まれている必要があります。例外の 1 つだけを追加、削除、変更することはできません。このことは扱い難いように思えるかもしれませんが、新しい連桁パターンを指定する際に現在の連桁設定を知る必要がないということを意味します。
拍子が変更されると、Timing.baseMoment
, Timing.beatStructure
,
それに Timing.beamExceptions
のデフォルト値が設定されます。拍子を設定すると、その Timing
コンテキストの自動連桁設定はデフォルトの振る舞いにリセットされます。
\time 6/8 \repeat unfold 6 { a8 } % (4 + 2) にグループ化します \set Timing.beatStructure = #'(4 2) \repeat unfold 6 { a8 } % デフォルトの振る舞いに戻ります \time 6/8 \repeat unfold 6 { a8 }
ある拍子のデフォルトの自動連桁設定は ‘scm/beam-settings.scm’ の中で決定されます。ある拍子に対する自動連桁のデフォルト設定を変更する方法は 拍子 で説明しています。
ある拍子に対する自動連桁設定の多くには
beamExceptions
が登録されています。例えば、4/4 拍子は 16 分音符しかない小節を 2 つの連桁で囲もうとします。beamExceptions
がリセットされていなければ、beamExceptions
規則は beatStructure
設定をオーバライドすることができます。
\time 4/4 \set Timing.baseMoment = #(ly:make-moment 1 8) \set Timing.beatStructure = #'(3 3 2) % 以下は beamExceptions のため、(3 3 2) の連桁にはなりません \repeat unfold 8 {c8} | % 以下は beamExceptions をクリアするため、(3 3 2) の連桁になります \set Timing.beamExceptions = #'() \repeat unfold 8 {c8}
同様に、デフォルトで 8 分音符のみの 3/4 拍子の小節は 1 つの連桁で囲まれます。3/4 拍子での 8分音符を拍毎に連桁で囲むには、beamExceptions
をリセットします。
\time 3/4 % デフォルトでは beamExceptions のため、(3) の連桁になります \repeat unfold 6 {a8} | % 以下は beatLength のため、(1 1 1) の連桁になります \set Timing.beamExceptions = #'() \repeat unfold 6 {a8}
自動連桁はどのように機能するのか
自動連桁が有効である場合、自動連桁の配置はコンテキスト プロパティ
baseMoment
, beatStructure
, それに beamExceptions
によって決定されます。
連桁の配置を決定する際、以下の規則が並び順の優先度で適用されます:
-
[..]
で手動連桁が指定されている場合、連桁は指定どおりに設定されます。手動連桁が指定されていない場合、 -
その連桁タイプに対する
beamExceptions
に連桁終了規則が定義されている場合、その規則を用いて連桁を終了させる位置を決定します。連桁終了規則が定義されていない場合、 -
もっと長い連桁タイプに対する
beamExceptions
に連桁終了規則が定義されている場合、その規則を用いて連桁を終了させる位置を決定します。連桁終了規則が定義されていない場合、 -
baseMoment
とbeatStructure
の値を用いてその小節での拍の終わりを決定し、拍の終わりで連桁を終了させます。
上記の規則で、連桁タイプは連桁でグループ化された音符の最短演奏時間です。
参考として、デフォルトの連桁規則は ‘scm/time-signature-settings.scm’ の中にあります。
Selected Snippets
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 just one beam between the sub-groups. 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] }
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, the
Scheme function set-time-signature
can be used to both
set the time signature and establish the beat structure.
set-time-signature
, takes three arguments: the
number of beats, the beat length, and the internal grouping of beats in
the measure. \time
and set-time-signature
both apply
to the Timing
context, so they 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) | #(set-time-signature 9 8 '(4 5)) g8 g d d g g a( bes g) | \time 5/8 a4. g4 | } \layout { \context { \Staff \consists "Measure_grouping_engraver" } } }
Beam endings in Score context
Beat structure 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 } >> } >> }
参照
インストールされているファイル: ‘scm/beam-settings.scm’
コード断片集: Rhythms
内部リファレンス: Auto_beam_engraver, Beam, BeamForbidEvent, beam-interface
既知の問題と警告
自動連桁が終了しておらず、まだ音符を受け付けている最中に楽譜が終了する場合、その最後の連桁はまったく譜刻されません。<< … \\ … >>
で入力される多声ボイスでも同様です。自動連桁がまだ音符を受け付けている最中に多声ボイスが終了する場合、その最後の連桁はまったく譜刻されません。ボイスや楽譜の最後の連桁には手動で連桁を付けることにより、これらの問題を回避できます。
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手動連桁
自動連桁アルゴリズムをオーバライドする必要がある場合もあります。例えば、自動連桁は休符や小節線を越えて連桁を配置することはなく、合唱譜では連桁はしばしば音符ではなく歌詞の韻律に従って配置されます。そのような連桁は [
と ]
で開始点と終了点を記すことによって手動で指定することができます:
r4 r8[ g' a r] r g[ | a] r
方向指示子を用いることで、連桁の向きを手動で設定することができます:
c8^[ d e] c,_[ d e f g]
連桁でつながれないようにするために、個々の音符には
\noBeam
が記されるかもしれません:
\time 2/4 c8 c\noBeam c c
装飾小音符の連桁と通常の音符の連桁は同時進行で発生します。通常の音符の連桁の途中に、連桁でつながれない装飾小音符は配置されません。
c4 d8[ \grace { e32[ d c d] } e8] e[ e \grace { f16 } e8 e]
プロパティ stemLeftBeamCount
と stemRightBeamCount
をセットすることによって連桁をさらに厳密に手動制御することが可能です。これらの値はそれぞれ、次の音符の左側と右側に描く連桁の本数を指定します。どちらかのプロパティがセットされている場合、その値は 1 度だけ使用され、それから消去されます。以下の例では、最後の f
は左側に連桁を 1 本だけ持って
– すなわち、グループ全体をつなげている 8 分音符の連桁を持って –
譜刻されています。
a8[ r16 f g a] a8[ r16 \set stemLeftBeamCount = #2 \set stemRightBeamCount = #1 f16 \set stemLeftBeamCount = #1 g16 a]
定義済みコマンド
\noBeam
Selected Snippets
Flat flags and beam nibs
Flat flags on lone notes and beam nibs at the ends of beamed figures
are both possible with a combination of stemLeftBeamCount
,
stemRightBeamCount
and paired []
beam indicators.
For right-pointing flat flags on lone notes, use paired []
beam
indicators and set stemLeftBeamCount
to zero (see Example 1).
For left-pointing flat flags, set stemRightBeamCount
instead
(Example 2).
For right-pointing nibs at the end of a run of beamed notes, set
stemRightBeamCount
to a positive value. And for left-pointing
nibs at the start of a run of beamed notes, set
stemLeftBeamCount
instead (Example 3).
Sometimes it may make sense for a lone note surrounded by rests to
carry both a left- and right-pointing flat flag. Do this with paired
[]
beam indicators alone (Example 4).
(Note that \set stemLeftBeamCount
is always equivalent to
\once \set
. In other words, the beam count settings are not
“sticky”, so the pair of flat flags attached to the lone
c'16[]
in the last example have nothing to do with the
\set
two notes prior.)
\score { << % Example 1 \new RhythmicStaff { \set stemLeftBeamCount = #0 c16[] r8. } % Example 2 \new RhythmicStaff { r8. \set stemRightBeamCount = #0 c16[] } % Example 3 \new RhythmicStaff { c16 c \set stemRightBeamCount = #2 c16 r r \set stemLeftBeamCount = #2 c16 c c } % Example 4 \new RhythmicStaff { c16 c \set stemRightBeamCount = #2 c16 r c16[] r16 \set stemLeftBeamCount = #2 c16 c } >> }
参照
記譜法リファレンス: Direction and placement, 装飾小音符
コード断片集: Rhythms
内部リファレンス: Beam, BeamEvent, Beam_engraver, beam-interface, Stem_engraver
[ << 音楽記譜法 ] | [トップ][目次][インデックス][ ? ] | [ Specialist notation >> ] | ||
[ < 手動連桁 ] | [ 上へ : 連桁 ] | [ 小節 > ] |
羽状の連桁
羽状の連桁は、楽曲全体のテンポを変えることなく、音符の小さなグループをテンポを上げながら (あるいは下げながら) 演奏すべきであることを示すために使用されます。羽状連桁の範囲は [
と ]
を使って手動で指定する必要があり、連桁の羽は Beam
のプロパティ grow-direction
に向きを指定することによって調整することができます。
音符の配置と MIDI 出力での音が羽状連桁によって指示された
ritardando (徐々に緩やかに) や accelerando (次第に速く) を反映すべきであるのなら、音符は波括弧で区切られた音楽表記としてグループ化される必要があり、さらに、そのグループの最初の音符と最後の音符の演奏時間の比率を指定する
featheredDurations
コマンドを前に置く必要があります。
角括弧は連桁の範囲を示し、波括弧は演奏時間を変更される音符はどれなのかを示します。通常これら 2 つは同じ音符のグループを囲みますが、同じであることは必須ではありません: 2 つのコマンドは独立しています。
以下の例では、8 つの 16 分音符は 2 分音符とまったく同じ時間を占めますが、最初の音符の長さは最後の音符の長さの半分であり、中間の音符は徐々に長くなります。最初の 4 つの 32 分音符は徐々にスピード アップしますが、最後の 4 つの 32 分音符は一定のテンポです。
\override Beam #'grow-direction = #LEFT \featherDurations #(ly:make-moment 2 1) { c16[ c c c c c c c] } \override Beam #'grow-direction = #RIGHT \featherDurations #(ly:make-moment 2 3) { c32[ d e f] } % revert to non-feathered beams \override Beam #'grow-direction = #'() { g32[ a b c] }
譜刻される音符の間隔は音符の演奏時間を近似的に表しているだけですが、MIDI 出力での演奏時間は正確です。
定義済みコマンド
\featherDurations
参照
コード断片集: Rhythms
既知の問題と警告
\featherDurations
は非常に短い音楽コード断片に対してだけ、そして分数の数が小さいときにだけ機能します。
参照
コード断片集: リズム
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1.2.5 小節
小節線 | ||
小節番号 | ||
小節と小節番号のチェック | ||
リハーサル記号 |
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[ < 小節 ] | [ 上へ : 小節 ] | [ 小節番号 > ] |
小節線
小節線は小節を区切り、繰り返しを示すためにも使用されます。通常、単線の小節線が拍子に基づいて出力に自動的に挿入されます。
自動的に挿入される単線の小節線は
\bar
コマンドで他のタイプに変更することができます。例えば、通常、2 重線の閉じの小節線が楽曲の最後に配置されます:
e4 d c2 \bar "|."
ある小節の最後の音符が、自動的に挿入される小節線の所で終わっていなくても無効ではありません: その音符は次の小節に持ち越されるものと見なされます。しかしながら、そのような持ち越しのある小節がいくつも続く場合、その音楽は圧縮されて表示される可能性があり、ページからはみ出す可能性さえあります。これは、自動改行は完全な小節 – つまり、小節の終端ですべての音符が終わっている小節 – の終わりでのみ発生するからです。
Note: 誤った演奏時間の指定は改行を抑制し、結果として非常に圧縮された楽譜やページからはみ出す楽譜の原因となります。
手動で挿入された小節線のところでも – たとえ、その小節が不完全であっても – 改行することができます。小節線を譜刻せずに改行を可能にするには、以下を使用します:
\bar ""
これは不可視の小節線を挿入し、そこで改行が発生することを可能にします (強制はしません)。小節番号カウンタは増加しません。強制的に改行を行うには、Line breaking を参照してください。
不可視の小節線と他の特殊な小節線は任意の位置に手動で挿入することができます。それらの小節線の位置がある小節の終わりと一致する場合、それらの小節線はそこに自動で挿入されるはずだった単線の小節線に取って代わります。小節の終わりと一致しない場合、指定された小節線がその位置に挿入されます。
手動の小節線は純粋に視覚的なものです。それらは通常の小節線が影響を与えるプロパティ – 小節番号、臨時記号、改行など – には何の影響も与えません。手動の小節線はその後に続く自動小節線の算出や配置に影響を与えません。自動小節線がすでに存在する場所に手動小節線が配置されても、自動小節線の効果は変更されません。
手動で挿入できる小節線として、単線の小節線は 2 種類あり、2 重線の小節線は 5 種類あります:
f1 \bar "|" f1 \bar "." g1 \bar "||" a1 \bar ".|" b1 \bar ".|." c1 \bar "|.|" d1 \bar "|." e1
さらに、点線と破線の小節線があります:
f1 \bar ":" g1 \bar "dashed" a1
さらに、繰り返しの小節線が 5 種類あります:
f1 \bar "|:" g1 \bar ":|:" a1 \bar ":|.|:" b1 \bar ":|.:" c1 \bar ":|" e1
Additionally, a bar line can be printed as a simple tick:
f1 \bar "'"
However, as such ticks are typically used in Gregorian chant, it is preferable
to use \divisioMinima
there instead, described in the section
Divisiones in Gregorian chant.
行内のセーニョ記号として、3 タイプの小節線があり、改行での振る舞いがそれぞれ異なります:
c4 c c c \bar "S" c4 c c c \break \bar "S" c4 c c c \bar "|S" c4 c c c \break \bar "|S" c4 c c c \bar "S|" c4 c c c \break \bar "S|" c1
繰り返しを表す小節線は手動で挿入される場合がありますが、それらの小節線自体は LilyPond に繰り返されるセクションを認識させることはしません。そのような繰り返されるセクションはさまざまな繰り返しのコマンドを使って入力した方が良いです (繰り返し を参照してください)。繰り返しのコマンドは自動的に適切な小節線を譜刻します。
さらに、"||:"
を使用することができます。これは "|:"
と等価ですが、例外として改行位置では、この小節線は行の終わりに 2 重線の小節線を置き、次の行の始めに繰り返し開始の小節線を置きます。
c4 c c c \bar "||:" c4 c c c \break \bar "||:" c4 c c c
繰り返しとセーニョ記号の組み合わせは 6 種類あります:
c4 c c c \bar ":|S" c4 c c c \break \bar ":|S" c4 c c c \bar ":|S." c4 c c c \break \bar ":|S." c4 c c c \bar "S|:" c4 c c c \break \bar "S|:" c4 c c c \bar ".S|:" c4 c c c \break \bar ".S|:" c4 c c c \bar ":|S|:" c4 c c c \break \bar ":|S|:" c4 c c c \bar ":|S.|:" c4 c c c \break \bar ":|S.|:" c1
多くの譜を持つ楽譜では、ある譜の \bar
コマンドは自動的にすべての譜に適用されます。結果として、StaffGroup
, PianoStaff
, あるいは
GrandStaff
では、小節線は譜をまたがって 1 本に接続されます。
<< \new StaffGroup << \new Staff { e4 d \bar "||" f4 e } \new Staff { \clef bass c4 g e g } >> \new Staff { \clef bass c2 c2 } >>
Selected Snippets
コマンド \bar
bartype は
‘\set Timing.whichBar = bartype’ の短縮記法です。whichBar
プロパティがセットされるといつでも小節線が作成されます。
自動的に挿入される小節線に使用されるデフォルトの小節線タイプは "|"
です。これは ‘\set Timing.defaultBarType = bartype’ でいつでも変更することができます。
参照
記譜法リファレンス: Line breaking, 繰り返し, 譜をグループ化する
コード断片集: リズム
内部リファレンス:
BarLine (
Staff の階層で作成されます),
SpanBar (譜をまたぎます),
Timing_translator (Timing
プロパティ用です)
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小節番号
小節番号は、デフォルトでは、最初の行を除く各行の開始点で譜刻されます。番号自体は currentBarNumber
プロパティに保存されていて、通常は各小節で自動的に更新されます。小節番号を手動で設定することも可能です:
c1 c c c \break \set Score.currentBarNumber = #50 c1 c c c
小節番号は、各行の開始点に配置する代わりに、規則的な間隔で譜刻することができます。このようにするには、小節番号を行の開始点以外の位置に譜刻できるよう、デフォルトの振る舞いをオーバライドする必要があります。これは BarNumber
の break-visibility
プロパティによって制御されます。これは 3 つの値をとります
– 3 つの値は、対応する小節番号を可視にするかしないかを指定するために、#t
または #f
にセットされます。3 つの値の順番は、end of line visible
,
middle of line visible
, beginning of line visible
(行の終了点での可視性、行の途中での可視性、行の開始点での可視性) です。以下の例では、譜刻可能な場所すべてに小節番号を譜刻しています:
\override Score.BarNumber #'break-visibility = #'#(#t #t #t) \set Score.currentBarNumber = #11 % Permit first bar number to be printed \bar "" c1 | c | c | c \break c1 | c | c | c
Selected Snippets
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.
\relative c' { \set Score.barNumberVisibility = #all-bar-numbers-visible \bar "" c1 | d | e | f \break g1 | e | d | c }
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 "|." }
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 }
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 \remove "Bar_number_engraver" } } \relative c'' { c4 c c c \break c4 c c c }
参照
コード断片集: リズム
内部リファレンス: BarNumber, Bar_number_engraver
既知の問題と警告
小節番号は StaffGroup
の左括弧の上端と衝突する可能性があります。これを解決するには、BarNumber
の padding
プロパティを使って小節番号を適切な位置に配置します。詳細は
StaffGroup と
BarNumber を参照してください。
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小節と小節番号のチェック
小節チェックは入力された演奏時間の誤りを検出する手助けをします。小節チェックは、小節線が書き込まれると予想される場所ならどこにでも、小節記号 |
を使うことで挿入できます。他の場所で小節チェックの線に遭遇した場合、警告のリストがログ ファイルに書き込まれ、小節チェックに失敗した行番号と行を示します。次の例では、2 番目の小節チェックがエラーを発します。
\time 3/4 c2 e4 | g2 |
歌詞でも小節チェックを使用することができます。以下に例を挙げます:
\lyricmode { \time 2/4 Twin -- kle | Twin -- kle | }
正しくない演奏時間は滅茶苦茶な楽譜を生成する可能性があります – 特にその楽譜が多声である場合はそうなる可能性があります。入力を修正するには、まずざっと見て失敗した小節チェックと演奏時間の誤りを探すと良いでしょう。
連続する小節チェックは同じ音楽的間隔で off になり、最初の警告メッセージだけが表示されます。これにより、警告の焦点がタイミング エラーの発生源に絞られます。
入力の中で小節チェックあるいはパイプ記号 |
に遭遇した場合にとられるアクションを再定義することも可能です。これにより、小節チェック以外のことを行うことができます。再定義は音楽表記を pipeSymbol
に代入することによって行います。以下の例では、|
は小節の終わりをチェックするのではなく、それが現れた場所に 2 重線の小節線を挿入するようセットされています。
pipeSymbol = \bar "||" { c'2 c' | c'2 c' c'2 | c' c'2 c' }
大きな楽曲をコピーしている場合、LilyPond の小節番号とコピー元のオリジナルの小節番号の対応をチェックすると役に立ちます。この対応は \barNumberCheck
によってチェックすることができます。例えば、
\barNumberCheck #123
を使用すると、currentBarNumber
が処理された時に 123 でなければ、警告が表示されます。
参照
コード断片集: リズム
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[ < 小節と小節番号のチェック ] | [ 上へ : 小節 ] | [ 特殊なリズム関連事項 > ] |
リハーサル記号
リハーサル記号を譜刻するには、\mark
コマンドを使用します:
c1 \mark \default c1 \mark \default c1 \mark \default c1 \mark \default
\mark \default
を使用するとリハーサル記号は自動的に +1 されますが、手動で整数をリハーサル記号にセットすることもできます。セットした値は rehearsalMark
に保存されます。
c1 \mark \default c1 \mark \default c1 \mark #8 c1 \mark \default c1 \mark \default
文字 ‘I’ は、譜刻の慣習に従って、スキップされます。文字 ‘I’ を含めたければ、リハーサル記号のスタイル (文字のみ、四角で囲まれた文字、丸で囲まれた文字) に合わせて以下のコマンドの 1 つを使用します:
\set Score.markFormatter = #format-mark-alphabet \set Score.markFormatter = #format-mark-box-alphabet \set Score.markFormatter = #format-mark-circle-alphabet
\set Score.markFormatter = #format-mark-box-alphabet c1 \mark \default c1 \mark \default c1 \mark #8 c1 \mark \default c1 \mark \default
スタイルはプロパティ markFormatter
によって定義されます。これは引数としてカレントの記号 (整数) とカレントのコンテキストをとる関数です。この関数はマークアップ オブジェクトを返します。以下の例では、markFormatter
には定義済みの手続きがセットされています。数小節後では、四角で囲まれた番号を作り出す手続きがセットされています。
\set Score.markFormatter = #format-mark-numbers c1 \mark \default c1 \mark \default \set Score.markFormatter = #format-mark-box-numbers c1 \mark \default \set Score.markFormatter = #format-mark-circle-numbers c1 \mark \default \set Score.markFormatter = #format-mark-circle-letters c1
ファイル ‘scm/translation-functions.scm’ は
format-mark-numbers
(デフォルトのフォーマット),
format-mark-box-numbers
, format-mark-letters
それに
format-mark-box-letters
の定義を保持しています。これらを参考にして他のフォーマット関数を作り出すこともできます。
加算された数字や文字の代わりに小節番号を取得するために
format-mark-barnumbers
, format-mark-box-barnumbers
, それに
format-mark-circle-barnumbers
を使うことがあります。
リハーサル記号の他のスタイルを手動で指定することができます:
\mark "A1"
Score.markFormatter
はこの方法で指定された記号に影響を与えません。しかしながら、文字列として \markup
使用することができます。
\mark \markup{ \box A1 }
音楽的図柄 (セーニョ記号など) を \mark
の中に譜刻することができます:
c1 \mark \markup { \musicglyph #"scripts.segno" } c1 \mark \markup { \musicglyph #"scripts.coda" } c1 \mark \markup { \musicglyph #"scripts.ufermata" } c1
\musicglyph
を使用して譜刻できる記号のリストは、The Feta font を参照してください。
リハーサル記号の配置の一般的な調整については、テキストをフォーマットする を参照してください。更に細かな制御を行う場合は、Aligning objects の break-alignable-interface
を参照してください。
参照
記譜法リファレンス: The Feta font, テキストをフォーマットする, Aligning objects
インストールされているファイル:
‘scm/translation-functions.scm’ は format-mark-numbers
と
format-mark-letters
の定義を保持しています。ここにある定義を参考にして他のフォーマット関数を作り出すことができます。
コード断片集: リズム
内部リファレンス: MarkEvent, Mark_engraver, RehearsalMark
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[ < リハーサル記号 ] | [ 上へ : リズム ] | [ 装飾小音符 > ] |
1.2.6 特殊なリズム関連事項
装飾小音符 | ||
カデンツァに揃える | ||
時間管理 |
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装飾小音符
装飾小音符は楽譜に書き出される装飾音です。装飾小音符は小さなフォントで譜刻され、小節の中では論理的な時間を持ちません。
c4 \grace c16 c4 \grace { c16[ d16] } c2
Lilypond はさらに 2 つ特殊なタイプの装飾小音符をサポートします: acciaccatura (長さを持たない装飾小音符で、スラッシュ付きの符幹を持つスラーでつなげられる小さな音符) と appoggiatura (一定の比率で主音符から演奏時間をとり、スラッシュを持たない小さな音符で譜刻されます) です。
\grace c8 b4 \acciaccatura d8 c4 \appoggiatura e8 d4 \acciaccatura { g16[ f] } e4
装飾小音符の配置は他の譜と同期されます。以下の例では、8 分の装飾小音符 1 つに対して 2 つの 16 分装飾小音符が割り当てられています:
<< \new Staff { e2 \grace { c16[ d e f] } e2 } \new Staff { c2 \grace { g8[ b] } c2 } >>
装飾小音符で記譜を終えたいのならば、\afterGrace
コマンドを使用します。このコマンドは 2 つの引数をとります:
主音符と主音符の後に続く装飾小音符です。
c1 \afterGrace d1 { c16[ d] } c1
これは主音符の長さの 3/4 のスペースをとった後に装飾小音符を配置しています。デフォルトの分数 3/4 は afterGraceFraction
を設定することにより変更することができます。以下の例では、スペースをデフォルト、主音符の 15/16、最後は 1/2 に設定した結果を示しています。
<< \new Staff { c1 \afterGrace d1 { c16[ d] } c1 } \new Staff { #(define afterGraceFraction (cons 15 16)) c1 \afterGrace d1 { c16[ d] } c1 } \new Staff { #(define afterGraceFraction (cons 1 2)) c1 \afterGrace d1 { c16[ d] } c1 } >>
主音符と装飾小音符の間のスペースは空白音符を使って指定することもできます。以下の例では、主音符の長さの 7/8 のスペースをとった後に装飾小音符を配置しています。
\new Voice { << { d1^\trill_( } { s2 s4. \grace { c16[ d] } } >> c1) }
\grace
音楽表記は特殊な譜刻設定を導入します
– 例えば、小さなフォントを作り出し、向きを設定するためです。それゆえ、装飾小音符の特殊な設定をオーバライドするためにレイアウトの調整を行う場合、調整は装飾小音符の表記の中に置くべきです。さらに、そのオーバライドは装飾小音符の表記の中で元に戻しておくべきです。以下の例では、装飾小音符の符幹のデフォルトの向きがオーバライドされ、それから元に戻されています。
\new Voice { \acciaccatura { \stemDown f16-> \stemNeutral } g4 e c2 }
Selected Snippets
Using grace note slashes with normal heads
The slash through the stem found in acciaccaturas can be applied in other situations.
\relative c'' { \override Stem #'stroke-style = #"grace" c8( d2) e8( f4) }
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 } } }
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 = { s1*0( \override Stem #'stroke-style = #"grace" \slurDashed } stopAcciaccaturaMusic = { \revert Stem #'stroke-style \slurSolid s1*0) } \relative c'' { \acciaccatura d8 c1 }
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 } >> }
参照
音楽用語集: grace notes, acciaccatura, appoggiatura
記譜法リファレンス: 手動連桁
インストールされているファイル: ‘ly/grace-init.ly’
コード断片集: リズム
内部リファレンス: GraceMusic, Grace_beam_engraver, Grace_engraver, Grace_spacing_engraver
既知の問題と警告
複数の音符を連桁でつないだ アッチャカトゥーラ にはスラッシュは付けられず、複数の音符を連桁でつないだ アッポジャトゥーラ とまったく同じに見えます。
装飾小音符の同期は予期しない結果を引き起こす可能性があります。譜の記譜要素 – 拍子、小節線など – も同期をとられます。装飾小音符を持つ譜と持たない譜を混在させる場合は気をつけて下さい。例えば:
<< \new Staff { e4 \bar "|:" \grace c16 d2. } \new Staff { c4 \bar "|:" d2. } >>
これは、他の譜にある装飾小音符の演奏時間に対応した空白の装飾小音符を挿入することによって修正することができます。上の例を以下のように修正します:
<< \new Staff { e4 \bar "|:" \grace c16 d2. } \new Staff { c4 \bar "|:" \grace s16 d2. } >>
装飾小音符セクションはシーケンシャルな音楽表記の中でのみ使用すべきです。装飾小音符セクションのネスト、並置はサポートされておらず、クラッシュや他のエラーを引き起こすかもしれません。
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カデンツァに揃える
オーケストラのコンテキストにおいて、カデンツァは特殊な問題を提起します: 楽譜の構成に演奏時間を持つカデンツァや他のソロ パッセージが含まれる場合、他のすべての楽器は、そのカデンツァの演奏時間の分だけスキップする必要があります。さもなければ、他の楽器はカデンツァの終わりよりも早すぎる (あるいは遅すぎる) タイミングで始まってしまいます。
この問題の解決方法の一つは、関数 mmrest-of-length
と
skip-of-length
を使用することです。これらの Scheme 関数は、引数として定義済みの音楽表記をとり、その音楽表記と同じ長さの複数小節休符または \skip
を生成します。
MyCadenza = \relative c' { c4 d8 e f g g4 f2 g4 g } \new GrandStaff << \new Staff { \MyCadenza c'1 \MyCadenza c'1 } \new Staff { #(ly:export (mmrest-of-length MyCadenza)) c'1 #(ly:export (skip-of-length MyCadenza)) c'1 } >>
参照
音楽用語集: cadenza
コード断片集: リズム
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時間管理
時間は Timing_translator
– これは、デフォルトでは、Socre
コンテキストの中にあります –
によって管理されます。エイリアス Timing
は Timing_translator
が配置されているコンテキストに付け加えられます。
エイリアス Timing
が利用可能であることを保証するため、コンテキスト (Voice
や Staff
など) を明示的にインスタンス化する必要があるかもしれません。
以下の Timing
のプロパティは、楽譜内でのタイミングの経過を追うために使用されます。
-
currentBarNumber
カレントの小節番号。このプロパティの使用例は、小節番号 を参照してください。
-
measureLength
カレントの拍子での小節の長さ。4/4 拍子では 1 であり、6/8 拍子では 3/4 です。この値は小節線を挿入するタイミングと自動連桁の生成の仕方を決定します。
-
measurePosition
カレントで処理している小節内での位置。この値は、
measureLength
に到達するか超過したときに、この値からmeasureLength
を減算されることによって、リセットされます。リセットが起こるときに、currentBarNumber
が +1 されます。-
timing
真にセットされている場合、各タイム ステップごとに上記の変数は更新されます。偽にセットされている場合、エングラーバはカレントの小節に永久に留まります。
タイミングは、上記の値のいずれかを明示的に設定することによって、変更することができます。次の例では、デフォルトの 4/4 拍子が譜刻されていますが、measureLength
は 5/4 にセットされています。第 3 小節の 4/8 の位置で、measurePositoin
は 1/8 進められて
5/8 になり、それによりその小節は 1/8 短くされます。次の小節線は 5/4 ではなく 9/8 の位置で引かれます。
\new Voice \relative c' { \set Timing.measureLength = #(ly:make-moment 5 4) c1 c4 | c1 c4 | c4 c \set Timing.measurePosition = #(ly:make-moment 5 8) b4 b b8 | c4 c1 | }
この例が示すように、ly:make-moment n m
は全音符の n/m の長さの演奏時間を構成します。例えば、ly:make-moment 1 8
は 1 個の 8 分音符の演奏時間であり、ly:make-moment 7 16
は 7 個の 16 分音符の演奏時間です。
参照
コード断片集: リズム
内部リファレンス: Timing_translator, Score
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1.3 発想記号
このセクションでは楽譜の中で作成可能なさまざまな発想記号をリストアップします。
1.3.1 音符に付けられる発想記号 | ||
1.3.2 曲線の発想記号 | ||
1.3.3 直線の発想記号 |
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1.3.1 音符に付けられる発想記号
このセクションでは、音符に添付される発想記号を作成する方法について説明します。音符に添付される発想記号には以下のものがあります: アーティキュレーション、装飾、強弱記号。新たに強弱記号を作成する方法についても議論します。
アーティキュレーションと装飾 | ||
強弱記号 | ||
新たな強弱記号 |
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[ < 音符に付けられる発想記号 ] | [ 上へ : 音符に付けられる発想記号 ] | [ 強弱記号 > ] |
アーティキュレーションと装飾
アーティキュレーション、装飾音それに他の演奏指示を表すさまざまな記号は以下の構文を用いて音符に付けることができます:
note\name
name
に対してとり得る値は
List of articulations でリストアップしています。例えば:
c4\staccato c\mordent b2\turn c1\fermata
これらのアーティキュレーションのいくつかはより容易に入力できるよう短縮記法を持っています。短縮記法は音符名の後ろに付けられ、ダッシュ -
とそれに続くアーティキュレーションを表す記号から成ります。あらかじめ定義されている短縮記法は以下のアーティキュレーションです:
marcato, stopped, tenuto,
staccatissimo, accent, staccato
それに portato。これらの出力は以下のように表示されます:
c4-^ c-+ c-- c-| c4-> c-. c2-_
アーティキュレーションのデフォルトの配置規則はファイル ‘scm/script.scm’ で定義されています。アーティキュレーションと装飾は手動で譜の上または下に配置されることもあります – Direction and placement を参照してください。
アーティキュレーションは Script
オブジェクトです。これらのプロパティについて
Script に説明があります。
アーティキュレーションは音符と同様に休符に付けることもできますが、複数小節の休符に付けることはできません。特殊な定義済みコマンド \fermataMarkup
は複数小節の休符に付けることができます (複数小節の休符にだけ付けることができます)。このコマンドは MultiMeasureRestText
オブジェクトを作成します。
\override Script #'color = #red \override MultiMeasureRestText #'color = #blue a2\fermata r\fermata R1\fermataMarkup
アーティキュレーションに加えて、テキストとマークアップを音符に付けることができます。テキスト スクリプト を参照してください。
音符につけられる Script と TextScript の配置順序についての更なる情報は、 オブジェクトの配置 を参照してください。
Selected Snippets
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-+ }
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
. The value of halign
is used to position the turn
horizontally.
\relative c'' { \once \override TextScript #'avoid-slur = #'inside \once \override TextScript #'outside-staff-priority = ##f c2(^\markup \tiny \override #'(baseline-skip . 1) { \halign #-4 \center-column { \sharp \musicglyph #"scripts.turn" } } d4.) c8 }
参照
音楽用語集: tenuto, accent, staccato, portato
記譜法リファレンス: Direction and placement, List of articulations, トリル
インストールされているファイル: ‘scm/script.scm’
コード断片集: 発想記号
内部リファレンス: Script, TextScript
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[ < アーティキュレーションと装飾 ] | [ 上へ : 音符に付けられる発想記号 ] | [ 新たな強弱記号 > ] |
強弱記号
絶対強弱記号は音符の後にコマンドを用いて
– c4\ff
などのように
– 指定します。
利用可能な強弱記号は
\ppppp
, \pppp
, \ppp
, \pp
, \p
,
\mp
, \mf
, \f
, \ff
, \fff
,
\ffff
, \fffff
, \fp
, \sf
, \sff
,
\sp
, \spp
, \sfz
, それに \rfz
です。
強弱記号を手動で譜の上または下に配置することもできます –
Direction and placement を参照してください。
c2\ppp c\mp c2\rfz c^\mf c2_\spp c^\ff
クレッシェンド 記号は \<
で始まり、\!
、絶対強弱記号あるいは追加のクレッシェンド記号またはデクレッシェンド記号で終わります。デクレッシェンド 記号は \>
で始まり、\!
、絶対強弱記号あるいは次のクレッシェンド記号またはデクレッシェンド記号で終わります。\cr
と \decr
を \<
と \>
の代わりに用いる場合もあります。この記譜法を用いるとデフォルトでは ヘアピン が譜刻されます。
c2\< c\! d2\< d\f e2\< e\> f2\> f\! e2\> e\mp d2\> d\> c1\!
\!
で終了するヘアピンは、\!
が割り当てられた音符の右端で終了します。次の クレッシェンド または デクレッシェンド 記号の開始によってヘアピンが終了する場合、そのヘアピンは次の \<
または \>
が割り当てられた音符の中央で終了します。次のへアピンは、通常通りに音符の左端で始まる代わりに、右端から始まります。
c1\< | c4 a c\< a | c4 a c\! a\< | c4 a c a\!
\!
の代わりに絶対強弱記号で終了するヘアピも同じように譜刻されます。しかしながら、絶対強弱記号の幅によってヘアピンの終了点は変わります。
c1\< | c4 a c\mf a | c1\< | c4 a c\ffff a
1 つの音符に複数の記号を譜刻するには、空白休符を用いる必要があります。これは特に、同じ音符に クレッシェンド と デクレッシェンド を付ける場合に有用です。
c4\< c\! d\> e\! << f1 { s4 s4\< s4\> s4\! } >>
\espressivo
コマンドを用いて、同じ音符にクレッシェンドとデクレッシェンドを付けることができます。しかしながら、これは強弱記号ではなくアーティキュレーションとして実装されているということに注意してください。
c2 b4 a g1\espressivo
テキストのクレッシェンド記号は \cresc
で開始します。テキストのデクレッシェンド記号は \decresc
または
\dim
で開始します。必要に応じて延長線が譜刻されます。
g8\cresc a b c b c d e\mf | f8\decresc e d c e\> d c b | a1\dim ~ | a2. r4\! |
強弱のテキスト符号の変更でヘアピンを置換することもできます:
\crescTextCresc c4\< d e f\! | \dimTextDecresc g4\> e d c\! | \dimTextDecr e4\> d c b\! | \dimTextDim d4\> c b a\! | \crescHairpin \dimHairpin c4\< d\! e\> d\! |
新たに絶対強弱記号や強弱に対応させるテキストを作成するには、新たな強弱記号 を参照してください。
強弱記号の垂直方向の位置は DynamicLineSpanner によって処理されます。
Dynamics
を用いて水平線上に強弱記号を譜刻することができます。タイミングを示すために空白休符を使用します。(Dynamics
コンテキスト内の音符は音楽的時間を取りますが、譜刻されません。)Dynamics
コンテキストはテキスト スクリプト、テキスト スパナ、ピアノ ペダル記号などを保持することができ、有用です。
<< \new Staff \relative c' { c2 d4 e | c4 e e,2 | g'4 a g a | c1 | } \new Dynamics { s1\< | s1\f | s2\dim s2-"rit." | s1\p | } >>
定義済みコマンド
\dynamicUp
,
\dynamicDown
,
\dynamicNeutral
,
\crescTextCresc
,
\dimTextDim
,
\dimTextDecr
,
\dimTextDecresc
,
\crescHairpin
,
\dimHairpin
Selected Snippets
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\! \override Hairpin #'minimum-length = #5 << f1 { s4 s\< s\> s\! } >> }
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\! }
Vertically aligned dynamics and textscripts
By setting the 'Y-extent
property to a suitable value, all
DynamicLineSpanner
objects (hairpins and dynamic texts) can be
aligned to a common reference point, regardless of their actual extent.
This way, every element will be vertically aligned, thus producing a
more pleasing output.
The same idea is used to align the text scripts along their baseline.
music = \relative c' { 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 = #2.0 \override DynamicLineSpanner #'Y-extent = #'(-1.5 . 1.5) \override TextScript #'Y-extent = #'(-1.5 . 1.5) \music }
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\! }
Changing text and spanner styles for text dynamics
The text used for crescendos and decrescendos can be changed by
modifying the context properties crescendoText
and
decrescendoText
. The style of the spanner line can be changed by
modifying the 'style
property of DynamicTextSpanner
. The
default value is 'hairpin
, and other possible values include
'line
, 'dashed-line
and 'dotted-line
.
\relative c'' { \set crescendoText = \markup { \italic { cresc. poco } } \set crescendoSpanner = #'text \override DynamicTextSpanner #'style = #'dotted-line a2\< a a2 a a2 a a2 a\mf }
参照
音楽用語集: al niente, crescendo, decrescendo, hairpin
学習マニュアル: アーティキュレーションと強弱記号
記譜法リファレンス: Direction and placement, 新たな強弱記号, What goes into the MIDI output?, Controlling MIDI dynamics
コード断片集: 発想記号
内部リファレンス: DynamicText, Hairpin, DynamicLineSpanner, Dynamics
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新たな強弱記号
強弱記号を作成する最も容易な方法は、\markup
オブジェクトを使用することです。
moltoF = \markup { molto \dynamic f } \relative c' { <d e>16_\moltoF <d e> <d e>2.. }
マークアップ モードでは、注釈の強弱記号 (括弧や角括弧で囲まれます) を作成することができます。マークアップ モードの構文は テキストをフォーマットする で記述されています。
roundF = \markup { \center-align \concat { \bold { \italic ( } \dynamic f \bold { \italic ) } } } boxF = \markup { \bracket { \dynamic f } } \relative c' { c1_\roundF c1_\boxF }
単純に中央揃えの強弱記号は make-dynamic-script
関数を用いて簡単に作成できます。
sfzp = #(make-dynamic-script "sfzp") \relative c' { c4 c c\sfzp c }
一般に、make-dynamic-script
は引数として何らかのマークアップ オブジェクトをとります。強弱記号のフォントに含まれる文字は f,m,p,r,s
それに z
だけです。このため、テキストや句読点を含む強弱記号を必要とする場合、フォント ファミリとフォント エンコーディングを通常のテキストに戻すためのマークアップ コマンド
– 例えば \normal-text
– を用いる必要があります。通常のマークアップの代わりに make-dynamic-script
を用いる利点は、同じ符頭に付けられるマークアップ オブジェクトとヘアピンが垂直方向に揃うことを保証されている点にあります。
roundF = \markup { \center-align \concat { \normal-text { \bold { \italic ( } } \dynamic f \normal-text { \bold { \italic ) } } } } boxF = \markup { \bracket { \dynamic f } } mfEspress = \markup { \center-align \line { \hspace #3.7 mf \normal-text \italic espress. } } roundFdynamic = #(make-dynamic-script roundF) boxFdynamic = #(make-dynamic-script boxF) mfEspressDynamic = #(make-dynamic-script mfEspress) \relative c' { c4_\roundFdynamic\< d e f g,1~_\boxFdynamic\> g1 g'1~\mfEspressDynamic g1 }
Scheme 形式のマークアップ モードを用いることもできます。マークアップ Scheme の構文は Markup construction in Scheme で説明されています。
moltoF = #(make-dynamic-script (markup #:normal-text "molto" #:dynamic "f")) \relative c' { <d e>16 <d e> <d e>2..\moltoF }
マークアップ モードでのフォント設定は フォントとフォント サイズを選択する で記述されています。
参照
記譜法リファレンス: テキストをフォーマットする, フォントとフォント サイズを選択する, What goes into the MIDI output?, Controlling MIDI dynamics
コード断片集: 発想記号
[ << 音楽記譜法 ] | [トップ][目次][インデックス][ ? ] | [ Specialist notation >> ] | ||
[ < 新たな強弱記号 ] | [ 上へ : 発想記号 ] | [ スラー > ] |
1.3.2 曲線の発想記号
このセクションでは曲線を持つさまざまな発想記号 – 通常のスラー、フレージング スラー、ブレス記号、Fall それに Doit – を作成する方法について説明します。
スラー | ||
フレージング スラー | ||
ブレス記号 | ||
Fall と Doit |
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[ < 曲線の発想記号 ] | [ 上へ : 曲線の発想記号 ] | [ フレージング スラー > ] |
スラー
スラー は括弧を用いて入力します:
Note: 多声音楽では、スラーが始まったボイスでそのスラーを終わらせる必要があります。
f4( g a) a8 b( a4 g2 f4) <c e>2( <b d>2)
スラーを手動で音符の上または下に配置することができます。Direction and placement を参照してください。
同時進行または重なり合うスラーは許可されません。しかしながら、フレージング スラーはスラーと重なり合うことができます。これにより、2 つのスラーを同時に譜刻することができます。詳細は フレージング スラー を参照してください。
スラーは実線、点線あるいは破線のどれかになります。実線がスラーのデフォルト スタイルです:
c4( e g2) \slurDashed g4( e c2) \slurDotted c4( e g2) \slurSolid g4( e c2)
スラーの半分を破線 (前半を破線、後半を実線) にする、あるいは、半分を実線 (前半を実線、後半を破線) にすることもできます:
c4( e g2) \slurHalfDashed g4( e c2) \slurHalfSolid c4( e g2) \slurSolid g4( e c2)
スラーの破線パターンを定義することができます:
c4( e g2) \slurDashPattern #0.7 #0.75 g4( e c2) \slurDashPattern #0.5 #2.0 c4( e g2) \slurSolid g4( e c2)
定義済みコマンド
\slurUp
,
\slurDown
,
\slurNeutral
,
\slurDashed
,
\slurDotted
,
\slurHalfDashed
,
\slurHalfSolid
,
\slurDashPattern
,
\slurSolid
Selected Snippets
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>) }
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 }
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) }
参照
音楽用語集: slur
学習マニュアル: ネストされない括弧とタイ
記譜法リファレンス: Direction and placement, フレージング スラー
コード断片集: 発想記号
内部リファレンス: Slur
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[ < スラー ] | [ 上へ : 曲線の発想記号 ] | [ ブレス記号 > ] |
フレージング スラー
音楽センテンスを示す フレージング スラー (またはフレーズ記号) はコマンド \(
と \)
を用いて記述します:
c4\( d( e) f( e2) d\)
印刷の上では、フレージング スラーは通常のスラーとほとんど同じです。しかしながら、それぞれ異なるオブジェクトとして取り扱われます。\slurUp
はフレージング スラーには影響を与えません。フレージング スラーを手動で音符の上または下に配置することができます。Direction and placement を参照してください。
同時進行あるいは重なり合うフレージング スラーは許可されません。
フレージング スラーを実線、点線あるいは破線にすることができます。実線がフレージング スラーのデフォルト スタイルです:
c4\( e g2\) \phrasingSlurDashed g4\( e c2\) \phrasingSlurDotted c4\( e g2\) \phrasingSlurSolid g4\( e c2\)
フレージング スラーの半分を破線 (前半を破線、後半を実線) にする、あるいは、半分を実線 (前半を実線、後半を破線) にすることもできます:
c4\( e g2\) \phrasingSlurHalfDashed g4\( e c2\) \phrasingSlurHalfSolid c4\( e g2\) \phrasingSlurSolid g4\( e c2\)
フレージング スラーの破線パターンを定義することができます:
c4\( e g2\) \phrasingSlurDashPattern #0.7 #0.75 g4\( e c2\) \phrasingSlurDashPattern #0.5 #2.0 c4\( e g2\) \phrasingSlurSolid g4\( e c2\)
フレージング スラーに対する破線パターンの定義は、スラーに対する破線パターンの定義と同じ構造をとります。複雑な破線パターンについての更なる情報は、スラー のコード断片集を参照してください。
定義済みコマンド
\phrasingSlurUp
,
\phrasingSlurDown
,
\phrasingSlurNeutral
,
\phrasingSlurDashed
,
\phrasingSlurDotted
,
\phrasingSlurHalfDashed
,
\phrasingSlurHalfSolid
,
\phrasingSlurDashPattern
,
\phrasingSlurSolid
参照
学習マニュアル: ネストされない括弧とタイ
記譜法リファレンス: Direction and placement, スラー
コード断片集: 発想記号
内部リファレンス: PhrasingSlur
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[ < フレージング スラー ] | [ 上へ : 曲線の発想記号 ] | [ Fall と Doit > ] |
ブレス記号
ブレス記号は \breathe
を用いて入力します:
c2. \breathe d4
ブレス記号は自動連桁を終わらせます。この振る舞いをオーバライドする方法は、手動連桁 を参照してください。
c8 \breathe d e f g2
古代記譜法でのブレス記号の音楽指示子 – divisiones (ディビジョン: 区切り) がサポートされています。詳細は Divisiones を参照してください。
Selected Snippets
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 }
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 }
参照
音楽用語集: caesura
記譜法リファレンス: Divisiones
コード断片集: 発想記号
内部リファレンス: BreathingEvent, BreathingSign, Breathing_sign_engraver
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[ < ブレス記号 ] | [ 上へ : 曲線の発想記号 ] | [ 直線の発想記号 > ] |
Fall と Doit
\bendAfter
コマンドを用いて、Fall と Doit 音符にを付け加えることができます。Fall あるいは Doit の向きはプラスあるいはマイナス (上あるいは下) で示します。指示の数は Fall あるいは Doit の主音符を展開させるピッチの幅を示します。
c2-\bendAfter #+4 c2-\bendAfter #-4 c2-\bendAfter #+8 c2-\bendAfter #-8
Fall と Doit を記述する際、\bendAfter
コマンドの直前にダッシュ -
を置く必要があります。
Selected Snippets
Adjusting the shape of falls and doits
The shortest-duration-space
property may have to be tweaked to
adjust the shape of falls and doits.
\relative c'' { \override Score.SpacingSpanner #'shortest-duration-space = #4.0 c2-\bendAfter #5 c2-\bendAfter #-4.75 c2-\bendAfter #8.5 c2-\bendAfter #-6 }
参照
コード断片集: 発想記号
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[ < Fall と Doit ] | [ 上へ : 発想記号 ] | [ グリッサンド > ] |
1.3.3 直線の発想記号
このセクションでは直線的な軌道をとるさまざまな発想記号 – グリッサンド、アルペジオそれにトリル – を作成する方法について説明します。
グリッサンド | ||
アルペジオ | ||
トリル |
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[ < 直線の発想記号 ] | [ 上へ : 直線の発想記号 ] | [ アルペジオ > ] |
グリッサンド
グリッサンド は音符に \glissando
を付けることによって作成されます:
g2\glissando g' c2\glissando c,
異なるスタイルのグリッサンドを作成することもできます。詳細は Line styles を参照してください。
Selected Snippets
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 "|" }
参照
音楽用語集: glissando
記譜法リファレンス: Line styles
コード断片集: 発想記号
内部リファレンス: Glissando
既知の問題と警告
線の上にテキストを譜刻する (グリッサンド など) ことはサポートされていません。
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[ < グリッサンド ] | [ 上へ : 直線の発想記号 ] | [ トリル > ] |
アルペジオ
和音の アルペジオ (変則和音とも呼ばれます) は和音構造の後に
\arpeggio
を付けることによって記述されます:
<c e g c>1\arpeggio
異なるタイプのアルペジオを描くこともできます。\arpeggioNormal
は通常のアルペジオに戻します:
<c e g c>2\arpeggio \arpeggioArrowUp <c e g c>2\arpeggio \arpeggioArrowDown <c e g c>2\arpeggio \arpeggioNormal <c e g c>2\arpeggio
特殊な 括弧スタイル のアルペジオ シンボルを作成することができます:
<c e g c>2 \arpeggioBracket <c e g c>2\arpeggio \arpeggioParenthesis <c e g c>2\arpeggio \arpeggioParenthesisDashed <c e g c>2\arpeggio \arpeggioNormal <c e g c>2\arpeggio
括弧スタイルのアルペジオの破線プロパティは 'dash-details
プロパティで制御します。'dash-details
プロパティについては スラー で説明しています。
アルペジオをタイを用いて明示的に描き出すことができます。詳細は タイ を参照してください。
定義済みコマンド
\arpeggio
,
\arpeggioArrowUp
,
\arpeggioArrowDown
,
\arpeggioNormal
,
\arpeggioBracket
,
\arpeggioParenthesis
\arpeggioParenthesisDashed
Selected Snippets
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 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 } >> }
参照
音楽用語集: arpeggio
コード断片集: 発想記号
内部リファレンス: Arpeggio, Slur, PianoStaff
既知の問題と警告
ある PianoStaff
の中の同時点で譜を跨ぐアルペジオと跨がないアルペジオを混在させることはできません。
譜を跨ぐアルペジオに括弧スタイルのアルペジオを適用することはできません。
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[ < アルペジオ ] | [ 上へ : 直線の発想記号 ] | [ 繰り返し > ] |
トリル
延長線を持たない短い トリル は \trill
で譜刻されます。アーティキュレーションと装飾 を参照してください。
延長線を持つ長いトリルは \startTrillSpan
と \stopTrillSpan
で作成されます:
d1\startTrillSpan d1 c2\stopTrillSpan r2
改行を跨ぐトリルは、次行の最初の音符の上から再開されます。
d1\startTrillSpan \break d1 c2\stopTrillSpan r2
連続したトリルには、明示的な \stopTrillSpan
コマンドは必要ありません。なぜなら、自動的に次のトリルが前のトリルの右端となるからです。
d1\startTrillSpan d1 b1\startTrillSpan d2\stopTrillSpan r2
トリルを装飾小音符と組み合わせることもできます。この組み合わせの構文と装飾小音符を正確に配置する方法については、装飾小音符 で説明しています。
d1~\afterGrace d1\startTrillSpan { c32[ d]\stopTrillSpan } c2 r2
明示的なピッチを持つ予備の音符を必要とするトリルは
\pitchedTrill
コマンドを用いて譜刻することができます。最初の引数は主音符です。2 番目の引数は トリル の音符であり、括弧で囲まれた符幹を持たない符頭として譜刻されます。
\pitchedTrill d2\startTrillSpan fis d2 c2\stopTrillSpan r2
同じ小節内で、同一音符のためデフォルトでは譜刻されない臨時記号を譜刻するには手動で譜刻を指定する必要があります。最初の小節では、最初のピッチを持つトリルだけに臨時記号が譜刻されています。
\pitchedTrill eis4\startTrillSpan fis eis4\stopTrillSpan \pitchedTrill eis4\startTrillSpan fis eis4\stopTrillSpan \pitchedTrill eis4\startTrillSpan fis eis4\stopTrillSpan \pitchedTrill eis4\startTrillSpan fis! eis4\stopTrillSpan
定義済みコマンド
\startTrillSpan
,
\stopTrillSpan
参照
音楽用語集: trill
記譜法リファレンス: アーティキュレーションと装飾, 装飾小音符
コード断片集: 発想記号
内部リファレンス: TrillSpanner
[ << 音楽記譜法 ] | [トップ][目次][インデックス][ ? ] | [ Specialist notation >> ] | ||
[ < トリル ] | [ 上へ : 音楽記譜法 ] | [ 長い繰り返し > ] |
1.4 繰り返し
繰り返しは音楽の主要なコンセプトであり、繰り返しのために複数の記譜法が存在します。LilyPond は以下の種類の繰り返しをサポートします:
-
volta
繰り返される音楽は描き出されませんが、繰り返しの小節線で囲まれます。繰り返しが楽曲の先頭にある場合、繰り返しの小節線は繰り返しの終端にのみ譜刻されます。繰り返し時に入れ替えて演奏される部分 (volte) は囲みの右側に譜刻されます。これは入れ替えがある繰り返しの標準的な記譜法です。
-
unfold
繰り返される音楽は、repeatcount によって指定された回数だけ、描き出されます。これは反復の多い音楽を入力するときに有用です。
-
percent
これには拍の繰り返しや小節の繰り返しがあります。スラッシュまたはパーセント記号のような外見をしています。
-
tremolo
これはトレモロの連桁を描くために使用されます。
1.4.1 長い繰り返し | ||
1.4.2 短い繰り返し |
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[ < 繰り返し ] | [ 上へ : 繰り返し ] | [ 通常の繰り返し > ] |
1.4.1 長い繰り返し
このセクションでは長い (通常は複数の小節) 繰り返しを入力する方法について議論します。繰り返しには 2 つの形式があります: 繰り返し記号によって囲まれる繰り返しと、描き出される繰り返し – これは反復の多い音楽を入力するために使用されます – です。繰り返し記号を手動で制御することもできます。
通常の繰り返し | ||
手動の繰り返し記号 | ||
繰り返しを描き出す |
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[ < 長い繰り返し ] | [ 上へ : 長い繰り返し ] | [ 手動の繰り返し記号 > ] |
通常の繰り返し
通常の繰り返しの構文は以下の通りです。
\repeat volta repeatcount musicexpr
ここで、musicexpr
は音楽表記です。
入れ替えを持たない 1 回の繰り返しは以下のようになります:
\repeat volta 2 { c4 d e f } c2 d \repeat volta 2 { d4 e f g }
繰り返し時に入れ替えて演奏する部分は \alternative
を用いて作り出すことができます。入れ替えの各グループを波括弧で囲んで、このブロックの中に配置します。
\repeat volta repeatcount musicexpr \alternative { { musicexpr } }
ここで、musicexpr
は音楽表記です。
繰り返し回数が入れ替え部分の数よりも多い場合、始めの方の繰り返しには最初の入れ替え部分が使用されます。
繰り返しが 1 回で、入れ替えも 1 つの場合は以下のようになります:
\repeat volta 2 { c4 d e f | } \alternative { { c2 e | } { f2 g | } } c1
複数の入れ替え部分を 1 回ずつ演奏する繰り返しは以下のようになります:
\repeat volta 4 { c4 d e f | } \alternative { { c2 e | } { f2 g | } } c1
繰り返し部分を複数回繰り返す場合は以下のようになります:
\repeat volta 3 { c4 d e f | } \alternative { { c2 e | } { f2 g | } { a2 g | } } c1
Note: 入れ替えが複数ある場合、入れ替えの閉じ波括弧と次の入れ替えの開始の波括弧の間に何かを置くべきではありません。さもないと、予期せぬ数の入れ替えが発生します。
Note: Voice
コンテキストを明示的にインスタンス化せずに\relative
を \repeat
の中に配置すると、余計な譜が表示されます。
余計な譜が表示される を参照してください。
繰り返しが小節の途中から始まり、入れ替え部分が無い場合、風通は繰り返しの終わりも小節の途中になります。そのため、1 つ小節に 2 つの終わりが加えられます。そのような場合、繰り返し記号は本来の小節線とは異なります。繰り返し記号を譜刻する場所で \partila
コマンドや小節チェックを使わないで下さい:
% ここで \partial を使わないで下さい c4 e g % ここで小節チェックを行わないで下さい % ここで \partial を使わないで下さい \repeat volta 4 { e4 | c2 e | % ここで \partial を使わないで下さい g4 g g % ここで小節チェックを行わないで下さい } % ここで \partial を使わないで下さい g4 | a2 a | g1 |
同様に、繰り返しが楽譜の先頭の部分小節から始まり、入れ替え部分を持たない場合、楽譜の先頭で \partial
コマンドを配置する必要があることを除いて、上の例と同じ条件が適用されます:
\partial 4 % \partial が必要です \repeat volta 4 { e4 | c2 e | % ここで \partial を使わないで下さい g4 g g % ここで小節チェックを行わないで下さい } % ここで \partial を使わないで下さい g4 | a2 a | g1 |
完全な長さを持たない小節で始まる小節に入れ替え部分を付け加える場合、以下の場所で Timing.measureLength
コンテキスト プロパティを手動で設定する必要があります:
-
\alternative
ブロック内の不完全な小節の開始点。通常、これは (たいていの場合は) 最後の入れ替え部分を除く、各入れ替え部分の最後の小節になります。 - 最初の入れ替え部分を除く、各入れ替え部分の開始点。
\partial 4 \repeat volta 2 { e4 | c2 e | } \alternative { { f2 d | \set Timing.measureLength = #(ly:make-moment 3 4) g4 g g % optional bar check is allowed here } { \set Timing.measureLength = #(ly:make-moment 4 4) a2 a | } } g1 |
measureLength
プロパティについての説明は 時間管理 にあります。
繰り返しの 2 回目の部分にタイを付け加えることもできます:
c1 \repeat volta 2 { c4 d e f~ } \alternative { { f2 d } { f2\repeatTie f, } }
Selected Snippets
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 } } }
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' } } >>
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 } }
参照
記譜法リファレンス: 小節線, Modifying context plug-ins, 時間管理
コード断片集: Repeats
内部リファレンス: VoltaBracket, RepeatedMusic, VoltaRepeatedMusic, UnfoldedRepeatedMusic
既知の問題と警告
\repeat
ブロックから \alternative
ブロックまで続くスラーは、最初の入れ替え部分に対してのみ機能します。さらに、スラーは入れ替え部分の終わりから繰り返しの先頭までをカバーすることはできません。
不完全な小節で始まる繰り返しが measureLength
プロパティの変更を行う\alternative
ブロックを持つ場合、\unfoldRepeats
を使用するとおかしな場所に小節線が引かれ、小節チェック警告が発生します。
以下のようにネストされた繰り返し
\repeat … \repeat … \alternative
はあいまいです。なぜなら、\alternative
がどちらの \repeat
に属するのかはっきりしないからです。このあいまいさは、常に \alternative
を内側の \repeat
に属させることによって解決されます。はっきりとさせるために、そのような状況では波括弧を使用すると賢明です。
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手動の繰り返し記号
Note: 以下の手法は特殊な繰り返し構造を表示するためだけに使用され、予期しない振る舞いをする可能性があります。たいていのケースでは、繰り返しは標準の \repeat
コマンドを用いるか、適切な小節線を譜刻することによって作成すべきです。更なる情報は、小節線 を参照してください。
プロパティ repeatCommands
を用いて繰り返しのレイアウトを制御することができます。このプロパティの値は繰り返しコマンドの Scheme リストです。
-
start-repeat
|:
小節線を譜刻します。c1 \set Score.repeatCommands = #'(start-repeat) d4 e f g c1
標準の譜刻習慣に従い、楽曲の先頭では繰り返し記号は譜刻されません。
-
end-repeat
:|
小節線を譜刻します。c1 d4 e f g \set Score.repeatCommands = #'(end-repeat) c1
-
(volta number) ... (volta #f)
指定された番号を持つ新しい volta を作成します。Volta 囲みは明示的に終了させる必要があります。さもなければ、譜刻されません。
f4 g a b \set Score.repeatCommands = #'((volta "2")) g4 a g a \set Score.repeatCommands = #'((volta #f)) c1
複数の繰り返しコマンドが同時に発生することもあります:
f4 g a b \set Score.repeatCommands = #'((volta "2, 5") end-repeat) g4 a g a c1 \set Score.repeatCommands = #'((volta #f) (volta "95") end-repeat) b1 \set Score.repeatCommands = #'((volta #f))
テキストを volta 囲みに含めることができます。テキストに使用できるのは数字やマークアップ テキストです。テキストをフォーマットする を参照してください。マークアップ テキストを使用するための最も簡単な方法は、最初にマークアップを定義し、それからそのマークアップを Scheme リストに含める方法です。
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)) }
Selected Snippets
Printing a repeat sign at the beginning of a piece
A |:
bar line can be printed at the beginning of a piece, by
overriding the relevant property:
\relative c'' { \once \override Score.BreakAlignment #'break-align-orders = #(make-vector 3 '(instrument-name left-edge ambitus breathing-sign clef key-signature time-signature staff-bar custos)) \once \override Staff.TimeSignature #'space-alist = #'((first-note . (fixed-space . 2.0)) (right-edge . (extra-space . 0.5)) ;; free up some space between time signature ;; and repeat bar line (staff-bar . (extra-space . 1))) \bar "|:" c1 d1 d4 e f g }
参照
記譜法リファレンス: 小節線, テキストをフォーマットする
コード断片集: Repeats
内部リファレンス: VoltaBracket, RepeatedMusic, VoltaRepeatedMusic
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繰り返しを描き出す
unfold
コマンドを用いることにより、繰り返しを単に反復する音楽を描き出すために使用することができます。構文は以下の通りです:
\repeat unfold repeatcount musicexpr
ここで、musicexpr
は音楽表記であり、repeatcount
は
musicexpr
を繰り返す回数です。
\repeat unfold 2 { c4 d e f } c1
入れ替え部分がある繰り返しを展開することもできます。
\repeat unfold 2 { c4 d e f } \alternative { { c2 g' } { c,2 b } } c1
繰り返し回数が入れ替え部分の数よりも多い場合、最初の入れ替え部分が複数回使用して、入れ替え数と繰り返し回数を合わせます。
\repeat unfold 4 { c4 d e f } \alternative { { c2 g' } { c,2 b } { e2 d } } c1
入れ替え部分の数が繰り返し回数よりも多い場合、最初の入れ替え部分が使用され、残りの繰り返し部分は無視され、譜刻されません。
\repeat unfold 2 { c4 d e f } \alternative { { c2 g' } { c,2 b } { e2 d } } c1
複数の unfold
関数をネストすることも可能です。(unfold
は入れ替え部分を持っていても、持っていなくても構いません。)
\repeat unfold 2 { \repeat unfold 2 { c4 d e f } \alternative { { c2 g' } { c,2 b } } } c1
Note: Voice
コンテキストを明示的にインスタンス化せずに\relative
を \repeat
の中に配置すると、余計な譜が表示されます。
余計な譜が表示される を参照してください。
参照
コード断片集: Repeats
内部リファレンス: RepeatedMusic, UnfoldedRepeatedMusic
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1.4.2 短い繰り返し
このセクションでは、短い繰り返しを入力する方法について議論します。短い繰り返しには 2 つの形式があります: 単一の音符、単一の小節あるいは 2 小節の繰り返しを表すスラッシュまたはパーセント記号と、トレモロです。
パーセント繰り返し | ||
トレモロの繰り返し |
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パーセント繰り返し
繰り返される短いパターンは 1 回だけ譜刻され、繰り返しは特殊な記号で置き換えられます。
構文は以下の通りです
\repeat percent number musicexpr
ここで、musicexpr
は音楽表記です。
1 小節よりも短いパターンはスラッシュで置き換えられます。
\repeat percent 4 { c8 d } \repeat percent 4 { c4 } \repeat percent 2 { c2 }
1 または 2 小節のパターンはパーセントのような記号で置き換えられます。
\repeat percent 3 { c4 d e f } \repeat percent 4 { c2 d }
\repeat percent 3 { c4 d e f | c2 g' }
Selected Snippets
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 } }
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 } }
Isolated percent repeats
Isolated percents can also be printed.
makePercent = #(define-music-function (parser location note) (ly:music?) "Make a percent repeat the same length as NOTE." (make-music 'PercentEvent 'length (ly:music-length note))) \relative c'' { \makePercent s1 }
参照
音楽用語集: percent repeat, simile
コード断片集: Repeats
内部リファレンス: RepeatSlash, PercentRepeat, DoublePercentRepeat, DoublePercentRepeatCounter, PercentRepeatCounter, PercentRepeatedMusic
既知の問題と警告
パーセント繰り返しは 3 種類だけサポートされます: 単一の拍を表す単線のスラッシュ (繰り返される音符の演奏時間とは関係ありません)、1 小節を表す単線の付点スラッシュ、それに 2 小節を表す 2 重線の付点スラッシュ – これは小節線の上に譜刻されます – です。16 分音符やそれよりも短い音符から成る単一拍の繰り返しを表す多重線スラッシュや、さまざまな演奏時間の音符から成る単一拍の繰り返しを表す 2 重線の付点スラッシュはサポートされません。
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トレモロの繰り返し
トレモロには 2 つの形式があります: 2 つの和音あるいは 2 つの音符を交互に演奏するものと、単一の音符あるいは和音を素早く繰り返すものです。交互に演奏するトレモロは、音符あるいは和音の間に多重連桁を付け加えることによって示され、一方、単一の音符を素早く繰り返すトレモロは単一の音符に多重連桁あるいは多重スラッシュを付け加えることによって示されます。
2 つの音符の間にトレモロ記号を配置するには、トレモロ スタイルの \repeat
を使用します:
\repeat tremolo 8 { c16 d } \repeat tremolo 6 { c16 d } \repeat tremolo 2 { c16 d }
\repeat tremolo
の構文では、波括弧の中にある音符の数がちょうど 2 つであること、それに、繰り返しの回数が普通の音符あるいは付点音符として表すことができる音価に相当することが必須です。それゆえ、\repeat tremolo 7
は有効であり、2 重付点音符を作り出します。しかしながら、\repeat tremolo 9
は無効です。
トレモロの演奏時間は、波括弧で囲まれた音楽表記の演奏時間に繰り返し回数を掛けたものに等しいです:
\repeat tremolo 8 { c16 d16 }
は全音符のトレモロであり、トレモロの連桁でつながれた 2 つの全音符として譜刻されます。
単一の音符上にトレモロ記号を配置する方法は 2 つあります。\repeat tremolo
構文をここでも使用します
– この場合、音符を波括弧で囲むべきではありません:
\repeat tremolo 4 c'16
音符の後に :N
を付け加えることによって同じ出力を得ることができます。N
は細部の演奏時間を表し、8 以上である必要があります。N
が 8 である場合、音符の符幹に 1 本の連桁が付け加えられます。N
が省略された場合、
最後の値 (tremoloFlags
に保存されています) が使用されます:
c2:8 c:32 c: c:
Selected Snippets
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 } } } >>
参照
コード断片集: Repeats
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[ < トレモロの繰り返し ] | [ 上へ : 音楽記譜法 ] | [ 単一のボイス > ] |
1.5 同時進行する音符
楽譜の中で多声部は楽曲の 1 節の中にある複数のボイスを参照します。LilyPond の中で多声部は同じ譜にある複数のボイスを参照します。
1.5.1 単一のボイス | ||
1.5.2 複数のボイス |
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1.5.1 単一のボイス
このセクションでは同じボイスの中にある同時進行する音符について議論します。
和音の音符 | ||
和音の繰り返し | ||
同時進行表記 | ||
クラスタ |
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[ < 単一のボイス ] | [ 上へ : 単一のボイス ] | [ 和音の繰り返し > ] |
和音の音符
和音は <
と >
で 1 組のピッチを囲むことによって形成されます。和音の後には – 普通の音符と同様に – 演奏時間が続くかもしれません:
<a c e>1 <a c e>2 <f a c e>4 <a c>8. <g c e>16
さらに、和音の後には – 普通の音符と同様に – アーティキュレーションが続くかもしれません:
<a c e>1\fermata <a c e>2-> <f a c e>4\prall <a c>8.^| <g c e>16-.
和音の中にある音符自体にもアーティキュレーションや装飾を付けることができます。
<a c\prall e>1 <a-> c-^ e>2 <f-. a c-. e-.>4 <a-+ c-->8. <g\fermata c e\turn>16
しかしながら、いくつかの記譜要素 – 強弱記号、ヘアピン、それにスラーなど – は和音の中の音符ではなく、和音に付ける必要があります。そうしなければ、譜刻されません。
<a\f c( e>1 <a c) e>\f <a\< c e>( <a\! c e>) <a c e>\< <a c e> <a c e>\!
和音の中のピッチに対して相対モードを使うことができます。各和音の最初の音符は常に、前の和音の最初の音符との相対関係で決まります。前が和音でない場合は、その和音の前にある最後のピッチとの相対関係になります。和音の中にある残りの音符はすべて 同じ和音の中にある 前の音符との相対関係になります。
<a c e>1 <f a c> <a c e> <f' a c> <b, e b,>
和音についての更なる情報は、Chord notation を参照してください。
参照
音楽用語集: chord
学習マニュアル: 音符を組み合わせて和音にする
記譜法リファレンス: Chord notation, アーティキュレーションと装飾, 相対オクターブ入力, 複数のボイス
コード断片集: Simultaneous notes
既知の問題と警告
1 譜スペース内に 3 つ以上のピッチを保持している和音 – ‘<e f! fis!>’ など – では、符頭が重なります。状況に応じて、適切な表記を用います
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和音の繰り返し
入力の手間を省くために、前の和音を繰り返すための短縮記法があります。和音を繰り返すためのシンボルは q
です:
<a c e>1 q <f a c>2 q
前の和音のピッチが複製されているだけなので、 通常の和音と同様に、和音の繰り返しのシンボルにも演奏時間、アーティキュレーション、マークアップ、スラー、連桁などを使うことができます。
<a c e>1\p^"text" q2\<( q8)[-| q8.]\! q16-1-2-3 q8\prall
和音繰り返しのシンボルは常に最後の和音を覚えているため、最後の和音の後に和音ではない音符や休符があったとしても、和音を繰り返すことができます。
<a c e>1 c4 q2 r8 q8
しかしながら、和音繰り返しのシンボルは前の和音の強弱記号、アーティキュレーション、あるいは装飾を持ち越しません。
<a-. c\prall e>1\sfz c4 q2 r8 q8
参照
記譜法リファレンス: Chord notation, アーティキュレーションと装飾
インストールされているファイル: ‘ly/chord-repetition-init.ly’
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同時進行表記
2 重山括弧で囲まれた 1 つあるいは複数の音楽表記は同時進行します。最初の表記が単一の音符で始まる場合、あるいは同時進行する表記全体が明らかに単一のボイスの中にある場合、その表記全体は単一の譜の上に配置されます。そうでない場合、同時進行する表記の要素は別々の譜の上に配置されます。
以下の例は 1 つの譜の上にある同時進行表記を示しています:
\new Voice { % 明らかに単一のボイスです << { a4 b g2 } { d4 g c,2 } >> }
% 単一の音符で始まります a << {a4 b g} {d4 g c,} >>
これは同時進行するセクションが同一のリズムを持つ場合に役に立ちます。しかしながら、異なる演奏時間を持つ音符を同じ符幹に取り付けようとするとエラーとなります。
以下の例は、同時進行する表記が暗黙的に複数の譜を生成する様子を示しています:
% 単一の音符で始まりません << {a4 b g2} {d4 g2 c,4} >>
ここでは、リズムが異なっていても問題ありません。
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クラスタ
クラスタは演奏すべき連続したピッチの範囲を示します。クラスタは 1 組の音符の範囲 (envelope) として表されます。クラスタはひと続きの和音に関数 \makeClusters
を適用することによって入力されます。例えば以下のように:
\makeClusters { <g b>2 <c g'> }
通常の音符とクラスタを同じ譜に一緒にして配置することができます – たとえ、それらが同時進行であってもです。そのようなケースでは、通常の音符とクラスタの衝突を自動的に回避しようとする試みは行われません。
参照
音楽用語集: cluster
コード断片集: Simultaneous notes
内部リファレンス: ClusterSpanner, ClusterSpannerBeacon, Cluster_spanner_engraver
既知の問題と警告
クラスタは少なくとも 2 つの和音を持つ場合にのみうまく譜刻されます。さもなければ、あまりにも狭く譜刻されます。
クラスタは符幹を持たず、それ自体で演奏時間を示すことはできません。しかしながら、譜刻されるクラスタの長さはクラスタを定義する和音の演奏時間によって決定されます。クラスタを分割するには、クラスタとクラスタの間に分割するための休符が必要です。
クラスタは MIDI 出力を作り出しません。
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1.5.2 複数のボイス
このセクションでは複数のボイスあるいは複数の譜の中にある同時進行する音符について議論します。
単一譜の多声 | ||
ボイス スタイル | ||
衝突の解決 | ||
自動パート結合 | ||
音楽を並列に記述する |
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[ < 複数のボイス ] | [ 上へ : 複数のボイス ] | [ ボイス スタイル > ] |
単一譜の多声
明示的にボイスをインスタンス化する
単一の譜の中に複数の独立したボイスを配置するのに必要とされる基本的な構造が以下の例で示されています:
\new Staff << \new Voice = "first" { \voiceOne r8 r16 g e8. f16 g8[ c,] f e16 d } \new Voice= "second" { \voiceTwo d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. } >>
ここでは、ボイスは明示的にインスタンス化されていて、名前を与えられています。\voiceOne
... \voiceFour
コマンドはボイスをセット アップし、それにより、1 番目と 3 番目のボイスは上向きの符幹を持ち、2 番目と 4 番目のボイスは下向きの符幹を持ち、3 番目と 4 番目のボイスの符頭は水平方向にずれて、それぞれのボイスの中の休符は衝突を避けるために自動的に移動させられます。\oneVoice
コマンドはすべてのボイス設定をニュートラルなデフォルトの向きに戻します。
一時的に多声となる楽節 (passage)
一時的に多声となる楽節は以下のような構成で作成することができます:
<< { \voiceOne ... } \new Voice { \voiceTwo ... } >> \oneVoice
ここで、一時多声楽節の中の最初の表記は直前に使われていた
Voice
コンテキストに配置され、その Voice
コンテキストは一時セクションの後も続いていきます。山括弧の中の他の表記は別の一時ボイスに代入されます。これと同様に、歌詞は多声セクションの前、最中、後に続いているボイスに代入されます:
<< \new Voice = "melody" { a4 << { \voiceOne g f } \new Voice { \voiceTwo d2 } >> \oneVoice e4 } \new Lyrics \lyricsto "melody" { This is my song. } >>
ここで、\voiceOne
と \voiceTwo
コマンドはそれぞれのボイスの設定を定義するために必要とされています。
2 重バックスラッシュ構造
<< {...} \\ {...} >>
構造
– この中では 2 つ (あるいはそれ以上) の表記が
2 重バックスラッシュで区切られています –
は、同じような構造だが 2 重バックスラッシュを持たない構造とはまったく異なる振る舞いをします:
この構造の中にある すべての 表記は新たな Voice
コンテキストに代入されます。それらの新しい Voice
コンテキストは暗黙的に作成され、あらかじめ決められた名前 "1"
, "2"
などを与えられます。
最初の例は以下のように書き換えることができます:
<< { r8 r16 g e8. f16 g8[ c,] f e16 d } \\ { d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. } >>
一時ボイスが作成され、それから消去されることが問題にならない場合に、この構文を使用することができます。暗黙的に作成されるボイスには、それらがコードの中で現れる順番に従って、\voiceOne
... \voiceFour
コマンドと同じ設定が与えられます。
以下の例では、真ん中のボイスは上向きの符幹を持ちます。そのため、それを 3 番目に置いて、望みどおりに上向きの符幹を持つボイス 3 にしています。休符が 2 重に譜刻されることを避けるために、空白休符を使用しています。
<< { r8 g g g g f16 ees f8 d } \\ { ees,8 r ees r d r d r } \\ { d'8 s c s bes s a s } >>
簡単なことですが、
コンテキストとエングラーバ と
ボイスを明示的にインスタンス化する で説明されているように、明示的に Voice
コンテキストを作成しておくと賢明です。
ボイスの順序
入力ファイルの中にある複数のボイスを譜刻する時、以下の順序で譜刻されます:
ボイス 1: 最上段 ボイス 2: 最下段 ボイス 3: 上から 2 番目 ボイス 4: 下から 2 番目 ボイス 5: 上から 3 番目 ボイス 6: 下から 3 番目 etc.
これは直感に反するように見えるかもしれませんが、自動レイアウト処理をシンプルにできます。奇数番号のボイスには上向きの符幹が与えられ、偶数番号のボイスには下向きの符幹が与えられるということに注意してください:
\new Staff << \time 2/4 { f''2 } % 1: 最上段 \\ { c'2 } % 2: 最下段 \\ { d''2 } % 3: 上から 2 番 \\ { e'2 } % 4: 下から 2 番 \\ { b'2 } % 5: 上から 2 番 \\ { g'2 } % 6: 下から 3 番 >>
同一のリズム
同じリズムを持ち、並行して進行する音楽を譜刻するという特殊なケースでは、並行する音楽を単一の Voice
の中に組み込み、それにより和音を形成することができます。これを実現するには、並行する音楽を明示的にインスタンス化されたボイス内の同時進行音楽構造の中に置きます:
\new Voice << { e4 f8 d e16 f g8 d4 } { c4 d8 b c16 d e8 b4 } >>
この手法では、音楽が同じリズムを持たない場合に、おかしな連桁と警告を生じます。
定義済みコマンド
\voiceOne
,
\voiceTwo
,
\voiceThree
,
\voiceFour
,
\oneVoice
参照
学習マニュアル: 音楽を保持するボイス, ボイスを明示的にインスタンス化する
記譜法リファレンス: Percussion staves, 不可視の休符, 符幹
コード断片集: Simultaneous notes
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ボイス スタイル
ボイス毎に異なる色と形を与えて、容易に見分けられるようにすることができます:
<< { \voiceOneStyle d4 c2 b4 } \\ { \voiceTwoStyle e,2 e } \\ { \voiceThreeStyle b2. c4 } \\ { \voiceFourStyle g'2 g } >>
\voiceNeutralstyle
コマンドは標準の体裁に戻すために使用されます。
定義済みコマンド
\voiceOneStyle
,
\voiceTwoStyle
,
\voiceThreeStyle
,
\voiceFourStyle
,
\voiceNeutralStyle
参照
学習マニュアル: 私はボイスを聴いている, その他の情報源
コード断片集: Simultaneous notes
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[ < ボイス スタイル ] | [ 上へ : 複数のボイス ] | [ 自動パート結合 > ] |
衝突の解決
同じピッチ、同じ符頭を持ち、符幹の方向が逆で異なるボイスの中にある符頭は自動的に 1 つの符頭にまとめられます – マージされます。しかしながら、音符の符頭が異なっていたり、符幹の方向が同じである場合はマージされません。異なるボイスの中にあり、符幹の方向が逆の休符は垂直方向にずらされます。以下の例は 3 つの異なる状態を示しています – 第 1 小節の 1, 3 拍目、それに第 2 小節の 1 拍目で自動マージが失敗しています。
<< { c8 d e d c d c4 g'2 fis } \\ { c2 c8. b16 c4 e,2 r } \\ { \oneVoice s1 e8 a b c d2 } >>
以下に示すように、異なる符頭を持つ音符をマージすることができます – 例外として、半音符と 4 分音符のマージはできません。第 1 小節の 1 拍目の符頭がマージされました:
<< { \mergeDifferentlyHeadedOn c8 d e d c d c4 g'2 fis } \\ { c2 c8. b16 c4 e,2 r } \\ { \oneVoice s1 e8 a b c d2 } >>
第 1 小節の 3 拍目のように異なる付点を持つ符頭もマージすることができます:
<< { \mergeDifferentlyHeadedOn \mergeDifferentlyDottedOn c8 d e d c d c4 g'2 fis } \\ { c2 c8. b16 c4 e,2 r } \\ { \oneVoice s1 e8 a b c d2 } >>
第 2 小節の最初の版音符と 8 分音符は正しくマージされていません。なぜなら 3 つ以上の音符が同じ列に並ぶ場合、自動マージは正しく機能できないからです。今回のケースでは、マージされた符頭が間違っています。マージが正しい符頭を選択できるようにするため、マージすべきでない符頭に \shift
を適用する必要があります。ここでは、\shiftOn
を適用することで、最上段にある g を列から外し、\mergeDifferentlyHeadedOn
を正しく機能させています。
<< { \mergeDifferentlyHeadedOn \mergeDifferentlyDottedOn c8 d e d c d c4 \shiftOn g'2 fis } \\ { c2 c8. b16 c4 e,2 r } \\ { \oneVoice s1 e8 a b c d2 } >>
\shiftOn
コマンドは、ボイスの中にある音符がずれることを許可します
(強制はしません)。\shiftOn
がボイスに適用されると、そのボイスの中にある音符あるいは和音は、同じ向きの符幹を持つ他のボイスと符幹が衝突する場合にのみ、ずらされます。\shiftOff
コマンドは、適用された時点から、このタイプの音符の移動を禁止します。
デフォルトでは、外側のボイス (通常はボイス 1 と 2) には \shiftOff
が指定されていて、内側のボイス (ボイス 3 以上) には \shiftOn
が指定されています。音符をずらす場合、上向きの符幹を持つボイス (奇数番号のボイス) は右側にずらされ、下向きの符幹を持つボイス (偶数番号のボイス) は左側にずらされます。
簡略化された多声表記が内部的にどのように展開されるかをお見せするための例を挙げます。
Note: 3 つ以上のボイスがある場合、入力ファイルでのボイスの垂直方向の順序は、譜上でのボイスの垂直方向の順序と同じにすべきではありません!
\new Staff \relative c'' { %% 簡略化された入力 << { f2 } % 1: 最上段 \\ { g,2 } % 2: 最下段 \\ { d'2 } % 3: 真ん中の上側 \\ { b2 } % 4: 真ん中の下側 >> %% 上記の内部的な展開 << \new Voice = "1" { \voiceOne \shiftOff f'2 } \new Voice = "2" { \voiceTwo \shiftOff g,2 } \new Voice = "3" { \voiceThree \shiftOn d'2 } % shifts right \new Voice = "4" { \voiceFour \shiftOn b2 } % shifts left >> }
さらに 2 つのコマンド – \shiftOnn
と \shiftOnnn
– は、複雑な状況で衝突を解決するために一時的に指定されるさらに大きなずれを提供します。
実際の音楽からの例 を参照してください。
音符は符幹の向きが反対である場合 (例えば、デフォルトのボイス 1 と 2 である場合や、明示的に符幹の向きが反対になるよう指定されている場合) にのみマージされます。
定義済みコマンド
\mergeDifferentlyDottedOn
,
\mergeDifferentlyDottedOff
,
\mergeDifferentlyHeadedOn
,
\mergeDifferentlyHeadedOff
\shiftOn
,
\shiftOnn
,
\shiftOnnn
,
\shiftOff
Selected Snippets
Additional voices to avoid collisions
In some instances of complex polyphonic music, additional voices are
necessary to prevent collisions between notes. If more than four
parallel voices are needed, additional voices can be added by defining
a variable using the Scheme function context-spec-music
.
voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice) \relative c'' { \time 3/4 \key d \minor \partial 2 << { \voiceOne a4. a8 e'4 e4. e8 f4 d4. c8 } \\ { \voiceThree f,2 bes4 a2 a4 s2 } \\ { \voiceFive s2 g4 g2 f4 f2 } \\ \bar "||"{ \voiceTwo d2 d4 cis2 d4 bes2 } >> }
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 } >>
参照
音楽用語集: polyphony
学習マニュアル: 同時に演奏する複数の音符, 音楽を保持するボイス, オブジェクトの衝突
コード断片集: Simultaneous notes
内部リファレンス: NoteColumn, NoteCollision, RestCollision
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自動パート結合
自動パート結合は 1 つの譜上にある 2 つのパートを 1 つに結合するために使用されます。これはオーケストラ譜を譜刻することを目的としています。ある範囲で 2 つのパートが同一である場合、1 つだけが譜刻されます。2 つのパートが異なる箇所では別々のボイスとして譜刻され、符幹の向きは自動的にセットされます。さらに、デフォルトで、ソロ パートと 二重奏 (due) パートが識別され、デフォルトでマークを付けられます。
パート結合の構文は以下の通りです:
\partcombine musicexpr1 musicexpr2
以下の例はパート結合の基本的な機能を示しています: パートを 1 つの譜に配置し、符幹の向きと多声をセットします。個々のパートと結合譜で同じ変数が使用されています。
instrumentOne = \relative c' { c4 d e f R1 d'4 c b a b4 g2 f4 e1 } instrumentTwo = \relative g' { R1 g4 a b c d c b a g f( e) d e1 } << \new Staff \instrumentOne \new Staff \instrumentTwo \new Staff \partcombine \instrumentOne \instrumentTwo >>
第 3 小節の音符は、両方のパートで指定されているにもかかわらず、1 パート分だけ譜刻されています。符幹、スラーそれにタイの向きは、ソロなのかあるいは斉奏なのかによって、自動的に設定されます。多声が必要になる場合、第 1 パート (one
と呼ばれるコンテキストを持ちます)
は常に上向きの符幹を持ち、一方、第 2 パート (two
と呼ばれるコンテキストを持ちます) は常に下向きの符幹を持ちます。ソロの場合、第 1 パートと第 2 パートにはそれぞれ ‘Solo’ と ‘Solo II’
というマークが付けられます。斉奏 (二重奏) パートには、デフォルトで、テキスト “a2” というマークが付けられます。
\partcombine
の引数は 2 つとも Voice
コンテキストとして解釈されます。相対オクターブを用いる場合、\relative
を両方の音楽表記に対して指定すべきです。すなわち、
\partcombine \relative … musicexpr1 \relative … musicexpr2
\partcombine
の外側にある \relative
セクションは musicexpr1
と musicexpr2 のピッチには影響を与えません。
プロの楽譜では、1, 2 の音符が同時進行していて容易にユニゾンとして譜刻できる場合であっても、
長い間ボイスが分かれていることがしばしばあります。Combining notes into a chord, or showing one voice as solo
is therefore not ideal as the \partcombine
function considers
each note separately.
そのため、以下のコマンドで \partcombine
関数をオーバライドすることができます:
-
\partcombineApart
,\partcombineApartOnce
: 音符を結合させて和音やユニゾンにすることができる場合であっても、音符を 2 つの別個のボイスに分けて譜刻します。 -
\partcombineChords
,\partcombineChordsOnce
: 音符を結合させて、和音として譜刻します。 -
\partcombineUnisono
,\partcombineUnisonoOnce
: 2 つのボイスをユニゾンとして譜刻します。 -
\partcombineSoloI
,\partcombineSoloIOnce
: ボイス 1 だけを譜刻して、ソロのマークを付けます。 -
\partcombineSoloII
,\partcombineSoloIIOnce
: ボイス 2 だけを譜刻して、ソロのマークを付けます。 -
\partcombineAutomatic
,\partcombineAutomaticOnce
: 上記の特殊コマンドの効果を終わらせ、デフォルトのパート結合機能に戻します。
終わりが ...Once
のコマンドはすべて、その後の音符にのみ適用されます。
instrumentOne = \relative c' { \partcombineApart c2^"apart" e | \partcombineAutomatic e^"auto" e | \partcombineChords e'^"chord" e | \partcombineAutomatic c^"auto" c | \partcombineApart c^"apart" \partcombineChordsOnce e^"chord once" | c c | } instrumentTwo = \relative c' { c2 c | e2 e | a,2 c | c2 c' | c2 c | c2 c | } << \new Staff { \instrumentOne } \new Staff { \instrumentTwo } \new Staff { \partcombine \instrumentOne \instrumentTwo } >>
Selected Snippets
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.
musicUp = \relative c'' { \time 4/4 a4 c4.( g8) a4 | g4 e' g,( a8 b) | c b a2. } musicDown = \relative c'' { g4 e4.( d8) c4 | r2 g'4( f8 e) | d2 \stemDown a } \score { << << \new Staff { \set Staff.instrumentName = #"Standard polyphony" << \musicUp \\ \musicDown >> } \new Staff \with { printPartCombineTexts = ##f } { \set Staff.instrumentName = #"PartCombine without texts" \partcombine \musicUp \musicDown } \new Staff { \set Staff.instrumentName = #"PartCombine with texts" \partcombine \musicUp \musicDown } >> >> \layout { indent = 6.0\cm \context { \Score \override SystemStartBar #'collapse-height = #30 } } }
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 } >>
参照
記譜法リファレンス: パートを記述する
コード断片集: Simultaneous notes
内部リファレンス: PartCombineMusic, Voice
既知の問題と警告
\partcombine
が受け取れるボイスは 2 つだけです。
When printPartCombineTexts
is set, if the two voices play
the same notes on and off, the part combiner may typeset a2
more than once in a measure.
\partcombine
を \times
の中に置くことはできません。
\partcombine
を \relative
の中に置くことはできません。
内部的には、\partcombine
は 2 つの引数を Voice
として解釈し、2 つのパートを結合することができるかどうかを決定します。2 つのパートが異なる演奏時間を持つ場合、それらを結合させることはできず、それぞれに one
, two
という名前が与えられます。Consequently, if the arguments switch to
differently named
Voice contexts, the events in those will
be ignored.
同様に、パート結合は歌詞に対して機能するようには設計されていません。ボイスの 1 つが、歌詞を持つために明示的に名前を付けられた場合、パート結合は機能しなくなります。
\partcombine
は \partcombine
の開始後の音符だけを観察します。その前に開始した音符が演奏中であるかどうかを検出することはできません。これはさまざまな問題を引き起こします。
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音楽を並列に記述する
複数のパートを持つ音楽を入力コードの途中に挿入することができます。関数 \parallelMusic
は、作成する変数名をいくつか持つリストと音楽表記を受け付けます。各小節ごとの音楽表記は各変数の値となり、後で音楽を譜刻するために使用することができます。
Note: 小節チェック |
を使用する必要があり、各小節は同じ長さでなければなりません。
\parallelMusic #'(voiceA voiceB voiceC) { % Bar 1 r8 g'16 c'' e'' g' c'' e'' r8 g'16 c'' e'' g' c'' e'' | r16 e'8.~ e'4 r16 e'8.~ e'4 | c'2 c'2 | % Bar 2 r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' | r16 d'8.~ d'4 r16 d'8.~ d'4 | c'2 c'2 | } \new StaffGroup << \new Staff << \voiceA \\ \voiceB >> \new Staff { \clef bass \voiceC } >>
相対モードを使用することができます。\relative
コマンドを \parallelMusic
自体の中では使用しないということに注意してください。音符が前の音符と相対関係になるのはボイスの中であり、入力の中ではありません –
言い換えると、voiceA
の相対音符は voiceB
の音符を無視します。
\parallelMusic #'(voiceA voiceB voiceC) { % Bar 1 r8 g16 c e g, c e r8 g,16 c e g, c e | r16 e8.~ e4 r16 e8.~ e4 | c2 c | % Bar 2 r8 a,16 d f a, d f r8 a,16 d f a, d f | r16 d8.~ d4 r16 d8.~ d4 | c2 c | } \new StaffGroup << \new Staff << \relative c'' \voiceA \\ \relative c' \voiceB >> \new Staff \relative c' { \clef bass \voiceC } >>
これはピアノ譜で非常に良く機能します。以下の例は、4 つの連続する小節を 4 つの変数に割り当てています:
global = { \key g \major \time 2/4 } \parallelMusic #'(voiceA voiceB voiceC voiceD) { % Bar 1 a8 b c d | d4 e | c16 d e fis d e fis g | a4 a | % Bar 2 e8 fis g a | fis4 g | e16 fis g a fis g a b | a4 a | % Bar 3 ... } \score { \new PianoStaff << \new Staff { \global << \relative c'' \voiceA \\ \relative c' \voiceB >> } \new Staff { \global \clef bass << \relative c \voiceC \\ \relative c \voiceD >> } >> }
参照
学習マニュアル: 変数を用いて楽曲を編成する
コード断片集: Simultaneous notes
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1.6 譜の記譜法
このセクションでは、譜の見た目を変える方法、複数の譜を持つ楽譜を譜刻する方法、それに、テンポ指示と演奏指示楽節の音符を譜に付け加える方法について説明します。
1.6.1 譜を表示する | ||
1.6.2 個々の譜を変更する | ||
1.6.3 パートを記述する |
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1.6.1 譜を表示する
このセクションでは、譜を作成する方法と、譜をグループ化する方法をいくつか説明します。
新たに譜をインスタンス化する | ||
譜をグループ化する | ||
ネストされた譜グループ | ||
Separating systems |
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[ < 譜を表示する ] | [ 上へ : 譜を表示する ] | [ 譜をグループ化する > ] |
新たに譜をインスタンス化する
stave: 譜 (staff: 譜 (表) の単称) は
\new
コマンドや \context
コマンドで作成されます。詳細は Creating contexts を参照してください。
基本的な譜コンテキストは Staff
です:
\new Staff { c4 d e f }
DrumStaff
コンテキストは、一般的なドラム セットのための 5 線譜を作成します。各楽器は異なるシンボルで示されます。\drummode
コマンドの後に続けて、楽器をドラム モードで入力します。各楽器は名前によって指定されます。詳細は Percussion staves を参照してください。
\new DrumStaff { \drummode { cymc hh ss tomh } }
RhythmicStaff
は、入力のリズム価だけを表示する単線譜を作成します。(ピッチは無視されますが) 演奏時間が保持されます。詳細は 旋律のリズムを示す を参照してください。
\new RhythmicStaff { c4 d e f }
TabStaff
は、標準のギター チューニングの 6 弦のタブ譜を作成します。詳細は Default tablatures を参照してください。
\new TabStaff { c4 d e f }
古代音楽の記譜法のために 2 つの譜コンテキストが用意されています:
MensuralStaff
と VaticanaStaff
です。これらのことは Pre-defined contexts で説明されています。
GregorianTranscriptionStaff
コンテキストは、現代グレゴリア聖歌を記譜するための譜を作成します。これは小節線を譜刻しません。
\new GregorianTranscriptionStaff { c4 d e f e d }
新たに単一譜コンテキストを定義する場合があります。詳細は Defining new contexts を参照してください。
参照
記譜法リファレンス: Creating contexts, Percussion staves, 旋律のリズムを示す, Default tablatures, Pre-defined contexts, 譜シンボル, Gregorian chant contexts, Mensural contexts, Defining new contexts
コード断片集: Staff notation
内部リファレンス: Staff, DrumStaff, GregorianTranscriptionStaff, RhythmicStaff, TabStaff, MensuralStaff, VaticanaStaff, StaffSymbol
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譜をグループ化する
複数の譜からなるシステムを形成するために譜をグループ化するさまざまなコンテキストが存在します。グループ化を行うコンテキストはそれぞれにシステム開始境界線のスタイルと小節線の振る舞いを設定します。
コンテキストが指定されていない場合、デフォルトのプロパティが使用されます: グループは垂直の線で始まり、小節線はつながりません。
<< \new Staff { c1 c } \new Staff { c1 c } >>
StaffGroup
コンテキストでは、グループは角括弧で始まり、小節線はすべての譜を貫いて刻譜されます。
\new StaffGroup << \new Staff { c1 c } \new Staff { c1 c } >>
ChoirStaff
では、グループは角括弧で始まりますが、小節線はつながりません。
\new ChoirStaff << \new Staff { c1 c } \new Staff { c1 c } >>
GrandStaff
では、グループは波括弧で始まり、小節線はすべての譜を貫きます。
\new GrandStaff << \new Staff { c1 c } \new Staff { c1 c } >>
PianoStaff
は GrandStaff
と同一ですが、例外として楽器名を刻譜することができます。詳細は 楽器名 を参照してください。
\new PianoStaff << \set PianoStaff.instrumentName = #"Piano" \new Staff { c1 c } \new Staff { c1 c } >>
各譜グループ化コンテキストはプロパティ systemStartDelimiter
を以下の値の 1 つにセットします:
SystemStartBar
, SystemStartBrace
あるいは
SystemStartBracket
。4 つ目の境界線 – SystemStartSquare
も利用可能ですが、これは明示的に指定する必要があります。
新たな譜グループ化コンテキストを定義することもできます。詳細は Defining new contexts を参照してください。
Selected Snippets
Use square bracket at the start of a staff group
The system start delimiter SystemStartSquare
can be used by
setting it explicitly in a StaffGroup
or ChoirStaffGroup
context.
\score { \new StaffGroup { << \set StaffGroup.systemStartDelimiter = #'SystemStartSquare \new Staff { c'4 d' e' f' } \new Staff { c'4 d' e' f' } >> } }
Display bracket with only one staff in a system
If there is only one staff in one of the staff types ChoirStaff
or StaffGroup
, the bracket and the starting bar line will not be
displayed as standard behavior. This can be changed by overriding the
relevant properties.
Note that in contexts such as PianoStaff
and GrandStaff
where the systems begin with a brace instead of a bracket, another
property has to be set, as shown on the second system in the example.
\markup \left-column { \score { \new StaffGroup << % Must be lower than the actual number of staff lines \override StaffGroup.SystemStartBracket #'collapse-height = #1 \override Score.SystemStartBar #'collapse-height = #1 \new Staff { c'1 } >> \layout { } } \null \score { \new PianoStaff << \override PianoStaff.SystemStartBrace #'collapse-height = #1 \override Score.SystemStartBar #'collapse-height = #1 \new Staff { c'1 } >> \layout { } } }
Mensurstriche layout (bar lines between the staves)
The mensurstriche-layout where the bar lines do not show on the staves
but between staves can be achieved with a StaffGroup
instead of
a ChoirStaff
. The bar line on staves is blanked out by setting
the transparent
property.
global = { \override Staff.BarLine #'transparent = ##t s1 s % the final bar line is not interrupted \revert Staff.BarLine #'transparent \bar "|." } \new StaffGroup \relative c'' { << \new Staff { << \global { c1 c } >> } \new Staff { << \global { c c } >> } >> }
参照
音楽用語集: brace, bracket, grand staff
記譜法リファレンス: 楽器名, Defining new contexts
コード断片集: Staff notation
内部リファレンス: Staff, StaffGroup, ChoirStaff, GrandStaff, PianoStaff, SystemStartBar, SystemStartBrace, SystemStartBracket, SystemStartSquare
既知の問題と警告
デフォルトでは PianoStaff
は ChordNames
を受け付けません。
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ネストされた譜グループ
譜グループ化コンテキストは任意の深さにネストすることができます。そうした場合、それぞれの子コンテキストは、親グループの角括弧に隣接して新しい角括弧を作成します。
\new StaffGroup << \new Staff { c2 c | c2 c } \new StaffGroup << \new Staff { g2 g | g2 g } \new StaffGroup \with { systemStartDelimiter = #'SystemStartSquare } << \new Staff { e2 e | e2 e } \new Staff { c2 c | c2 c } >> >> >>
新たにネストされた譜グループ化コンテキストを定義することができます。詳細は Defining new contexts を参照してください。
Selected Snippets
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 } >>
参照
記譜法リファレンス: 譜をグループ化する, 楽器名, Defining new contexts
コード断片集: Staff notation
内部リファレンス: StaffGroup, ChoirStaff, SystemStartBar, SystemStartBrace, SystemStartBracket, SystemStartSquare
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[ < ネストされた譜グループ ] | [ 上へ : 譜を表示する ] | [ 個々の譜を変更する > ] |
Separating systems
If the number of systems per page changes from page to page it is
customary to separate the systems by placing a system separator mark
between them. By default the system separator is blank, but can be
turned on with a \paper
option.
\book { \score { \new StaffGroup << \new Staff { \relative c'' { c4 c c c \break c4 c c c } } \new Staff { \relative c'' { c4 c c c \break c4 c c c } } >> } \paper { system-separator-markup = \slashSeparator % following commands are needed only to format this documentation paper-width = 100\mm paper-height = 100\mm tagline = ##f } }
参照
Notation Reference: Page layout.
Snippets: Staff notation.
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[ < Separating systems ] | [ 上へ : 譜の記譜法 ] | [ 譜シンボル > ] |
1.6.2 個々の譜を変更する
このセクションでは、譜の属性を変更する方法について説明します: 例えば、譜線の本数や譜サイズを変更します。譜を開始/終了する方法とオッシア セクションをセットする方法についても記述します。
譜シンボル | ||
オッシア譜 | ||
譜を隠す |
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譜シンボル
譜の線は StaffSymbol
グラフィカル オブジェクトに属します。StaffSymbol
プロパティを変更して、譜の見た目を変えることができます。しかしながら、変更は譜を作成する前に行う必要があります。
譜線の本数を変えることもできます。音部記号の位置とミドル C の位置を、新しい譜にフィットさせるために、変更する必要があるかもしれません。具体例は、音部記号 にあるコード断片集セクションを参照してください。
\new Staff \with { \override StaffSymbol #'line-count = #3 } { d4 d d d }
譜線の太さを変えることができます。加線 (訳者注: ledger line, 譜の上下に突き出た符頭と符幹に付けられる短い譜線) と符幹の太さも影響を受けます。なぜなら、それらの太さは譜線の太さに基づいているからです。
\new Staff \with { \override StaffSymbol #'thickness = #3 } { e4 d c b }
加線の太さを譜線の太さから独立して設定することができます。以下の例では、2 つの数は譜線の太さと譜線の間隔に掛けられる因子です。2 つを足し合わせて加線の太さになります。
\new Staff \with { \override StaffSymbol #'ledger-line-thickness = #'(1 . 0.2) } { e4 d c b }
譜線の間隔を変えることができます。この設定は加線の間隔にも影響を与えます。
\new Staff \with { \override StaffSymbol #'staff-space = #1.5 } { a4 b c d }
StaffSymbol
のプロパティについて更に詳細な説明が
staff-symbol-interface に記述されています。
楽譜の途中で譜プロパティに変更を加えるには、\stopStaff
と \startStaff
の間で行います。
c2 c \stopStaff \override Staff.StaffSymbol #'line-count = #2 \startStaff b2 b \stopStaff \revert Staff.StaffSymbol #'line-count \startStaff a2 a
一般的に言うと、\stopStaff
と \startStaff
を用いることで、楽譜の途中で譜を停止あるいは再開することができます。
c4 b a2 \stopStaff b4 c d2 \startStaff e4 d c2
定義済みコマンド
\startStaff
,
\stopStaff
Selected Snippets
Making some staff lines thicker than the others
For pedagogical purposes, a staff line can be thickened (e.g., the
middle line, or to emphasize the line of the G clef). This can be
achieved by adding extra lines very close to the line that should be
emphasized, using the line-positions
property of the
StaffSymbol
object.
{ \override Staff.StaffSymbol #'line-positions = #'(-4 -2 -0.2 0 0.2 2 4) d'4 e' f' g' }
参照
音楽用語集: line, ledger line, staff
記譜法リファレンス: 音部記号
コード断片集: Staff notation
内部リファレンス: StaffSymbol, staff-symbol-interface
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[ < 譜シンボル ] | [ 上へ : 個々の譜を変更する ] | [ 譜を隠す > ] |
オッシア譜
適切な位置で新しく同時進行の譜を作成することによって、オッシア 譜をセットすることができます:
\new Staff \relative c'' { c4 b d c << { c4 b d c } \new Staff { e4 d f e } >> c4 b c2 }
しかしながら、上の例は通常は望ましいものではありません。オリジナルの譜の上にあり、拍子記号や音部記号を持たず、小さなサイズのフォントを使用するオッシア譜を作成するには調整が必要です。学習マニュアルの 音楽表記をネストする に望ましいオッシア譜を作成するための方法が記述されています。
以下の例は、オッシア譜をオリジナルの譜の上に配置するために
alignAboveContext
プロパティを用いています。この手法は、2, 3 のオッシア譜が必要とされているだけである場合であれば、最も適切な方法です。
\new Staff = main \relative c'' { c4 b d c << { c4 b d c } \new Staff \with { \remove "Time_signature_engraver" alignAboveContext = #"main" fontSize = #-3 \override StaffSymbol #'staff-space = #(magstep -3) \override StaffSymbol #'thickness = #(magstep -3) firstClef = ##f } { e4 d f e } >> c4 b c2 }
多くの別個のオッシア譜が必要である場合、ある特有の コンテキスト ID を持つ空の Staff
コンテキストを作成する方が適切かもしれません:
このコンテキストを 呼び出し、オッシア譜が必要とされる場所で \startStaff
と \stopStaff
を用いることでオッシア譜が作成されます。この手法の利点は、以下の例よりも長い楽曲であれば、明らかです。
<< \new Staff = ossia \with { \remove "Time_signature_engraver" \override Clef #'transparent = ##t fontSize = #-3 \override StaffSymbol #'staff-space = #(magstep -3) \override StaffSymbol #'thickness = #(magstep -3) } { \stopStaff s1*6 } \new Staff \relative c' { c4 b c2 << { e4 f e2 } \context Staff = ossia { \startStaff e4 g8 f e2 \stopStaff } >> g4 a g2 \break c4 b c2 << { g4 a g2 } \context Staff = ossia { \startStaff g4 e8 f g2 \stopStaff } >> e4 d c2 } >>
オッシア譜を作成するための代替手段として、\RemoveEmptyStaffContext
コマンドが用いられるかもしれません。この手法は、オッシア譜が改行の直後に発生する場合、最も便利な手法です。\RemoveEmptyStaffContext
についての更なる情報は、譜を隠す を参照してください。
<< \new Staff = ossia \with { \remove "Time_signature_engraver" \override Clef #'transparent = ##t fontSize = #-3 \override StaffSymbol #'staff-space = #(magstep -3) \override StaffSymbol #'thickness = #(magstep -3) } \relative c'' { R1*3 c4 e8 d c2 } \new Staff \relative c' { c4 b c2 e4 f e2 g4 a g2 \break c4 b c2 g4 a g2 e4 d c2 } >> \layout { \context { \Staff \RemoveEmptyStaves \override VerticalAxisGroup #'remove-first = ##t } }
Selected Snippets
Vertically aligning ossias and lyrics
This snippet demonstrates the use of the context properties
alignBelowContext
and alignAboveContext
to control the
positioning of lyrics and ossias.
\paper { ragged-right = ##t } \relative c' << \new Staff = "1" { c4 c s2 } \new Staff = "2" { c4 c s2 } \new Staff = "3" { c4 c s2 } { \skip 2 << \lyrics { \set alignBelowContext = #"1" lyrics4 below } \new Staff \with { alignAboveContext = #"3" fontSize = #-2 \override StaffSymbol #'staff-space = #(magstep -2) \remove "Time_signature_engraver" } { \times 4/6 { \override TextScript #'padding = #3 c8[^"ossia above" d e d e f] } } >> } >>
参照
音楽用語集: ossia, staff, Frenched staff
学習マニュアル: 音楽表記をネストする, オブジェクトのサイズ, オブジェクトの長さと太さ
記譜法リファレンス: 譜を隠す
コード断片集: Staff notation
内部リファレンス: StaffSymbol
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[ < オッシア譜 ] | [ 上へ : 個々の譜を変更する ] | [ パートを記述する > ] |
譜を隠す
Staff
コンテキストから Staff_symbol_engraver
を削除することによって、譜線を隠すことができます。そうする代わりに、\stopStaff
を用いることもできます。
\new Staff \with { \remove "Staff_symbol_engraver" } \relative c''' { a8 f e16 d c b a2 }
\layout
ブロックの中で
\RemoveEmptyStaffContext
コマンドをセットすることによって、空の譜を隠すことができます。オーケストラ譜では、このようなスタイルの譜は ‘Frenched Score’ として知られています。デフォルトでは、このコマンドは最初のシステム以外のところにあるすべての空の譜を隠して、削除します。
Note: 譜が空であると見なされるのは、それが複数小節にわたる休符、休符、スキップ、空白休符、あるいはそれらの要素の組み合わせだけで構成されている場合です。
\layout { \context { \Staff \RemoveEmptyStaves } } \relative c' << \new Staff { e4 f g a \break b1 \break a4 b c2 } \new Staff { c,4 d e f \break R1 \break f4 g c,2 } >>
譜に対してオッシア セクションを作成するために、\RemoveEmptyStaffContext
を用いることもできます。詳細は オッシア譜 を参照してください。
古代音楽コンテキストの中にある空の譜を隠すために、\VaticanaStaff \RemoveEmptyStaves
コマンドが用いられることがあります。同様に、空の RhythmicStaff
コンテキストを隠すために、\RhythmicStaff \RemoveEmptyStaves
が用いられることがあります。
定義済みコマンド
\Staff \RemoveEmptyStaves
,
\VaticanaStaff \RemoveEmptyStaves
,
\RhythmicStaff \RemoveEmptyStaves
Selected Snippets
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 } >>
参照
音楽用語集: Frenched staff
学習マニュアル: オブジェクトの可視性と色
記譜法リファレンス: Changing context default settings, 譜シンボル, オッシア譜 隠された音符, 不可視の休符, Visibility of objects
コード断片集: Staff notation
内部リファレンス: ChordNames, FiguredBass, Lyrics, Staff, VerticalAxisGroup, Staff_symbol_engraver
既知の問題と警告
Staff_symbol_engraver
を削除すると、小節線も隠されます。小節線が強制的に可視になるよう設定されている場合、フォーマット エラーが発生するかもしれません。そのような場合は、エングラーバを削除する代わりに、以下のオーバライドを使用してください:
\override StaffSymbol #'stencil = ##f \override NoteHead #'no-ledgers = ##t
\Staff \RemoveEmptyStaves
に関連する既知の問題と警告は
Changing context default settings を参照してください。
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[ < 譜を隠す ] | [ 上へ : 譜の記譜法 ] | [ 楽器名 > ] |
1.6.3 パートを記述する
このセクションでは、テンポ指示と楽器名を楽譜に挿入する方法について説明します。他のボイスを引用する方法と、演奏指示音符を譜刻する方法についても記述します。
楽器名 | ||
他のボイスを引用する | ||
合図音符をフォーマットする |
[ << 音楽記譜法 ] | [トップ][目次][インデックス][ ? ] | [ Specialist notation >> ] | ||
[ < パートを記述する ] | [ 上へ : パートを記述する ] | [ 他のボイスを引用する > ] |
楽器名
Staff
, PianoStaff
, StaffGroup
, GrandStaff
それに ChoirStaff
コンテキストの中にある譜の左側に、楽器名を譜刻することができます。instrumentName
の値が最初の行の譜に対して使用され、shortInstrumentName
の値がそれに続くすべての行の譜に対して使用されます。
\set Staff.instrumentName = #"Violin " \set Staff.shortInstrumentName = #"Vln " c4.. g'16 c4.. g'16 \break c1
マークアップ モードを用いて、より複雑な楽器名を作成することができます:
\set Staff.instrumentName = \markup { \column { "Clarinetti" \line { "in B" \smaller \flat } } } c4 c,16 d e f g2
2 つ以上の譜コンテキストが一緒になってグループ化されている場合、デフォルトでは楽器名と短縮楽器名は中央揃えされます。複数行にわたる楽器名を中央揃えするには、\center-column
を用いる必要があります:
<< \new Staff { \set Staff.instrumentName = #"Flute" f2 g4 f } \new Staff { \set Staff.instrumentName = \markup \center-column { Clarinet \line { "in B" \smaller \flat } } c4 b c2 } >>
しかしながら、楽器名が長い場合、indent
設定と short-indent
設定の値を増やさない限り、譜グループの中にある楽器名は中央揃えされません。これらの設定についての詳細は \paper
variables for shifts and indents
を参照してください。
\layout { indent = 3.0\cm short-indent = 1.5\cm } \relative c'' << \new Staff { \set Staff.instrumentName = #"Alto Flute in G" \set Staff.shortInstrumentName = #"Fl." f2 g4 f \break g4 f g2 } \new Staff { \set Staff.instrumentName = #"Clarinet" \set Staff.shortInstrumentName = #"Clar." c,4 b c2 \break c2 b4 c } >>
楽器名を他のコンテキスト (ChordNames
や FiguredBass
など)
に付け加えるには、
そのコンテキストに Instrument_name_engraver
を追加する必要があります。詳細は Modifying context plug-ins を参照してください。
楽曲の途中で楽器名を変更することもできます。しかしながら、instrumentName
は最初の行の譜にしか表示されないため、楽曲の途中では表示されないことを思い出してください:
\set Staff.instrumentName = #"First" \set Staff.shortInstrumentName = #"one" c1 c c c \break c1 c c c \break \set Staff.instrumentName = #"Second" \set Staff.shortInstrumentName = #"two" c1 c c c \break c1 c c c \break
楽器の 切り替え が必要な場合、切り替えのために必要とされる変更の詳細なリストを作成するために、\addInstrumentDefinition
を
\instrumentSwitch
と組み合わせて使用することがあります。\addInstrumentDefinition
コマンドは 2 つの引数をとります:
識別文字列と、楽器で使用されるコンテキスト プロパティと値の連想リストです。このコマンドは最上位のスコープに配置する必要があります。\instrumentSwitch
は音楽表記の中で使用され、楽器の切り替えを宣言します:
\addInstrumentDefinition #"contrabassoon" #`((instrumentTransposition . ,(ly:make-pitch -1 0 0)) (shortInstrumentName . "Cbsn.") (clefGlyph . "clefs.F") (middleCPosition . 6) (clefPosition . 2) (instrumentCueName . ,(make-bold-markup "cbsn.")) (midiInstrument . "bassoon")) \new Staff \with { instrumentName = #"Bassoon" } \relative c' { \clef tenor \compressFullBarRests c2 g' R1*16 \instrumentSwitch "contrabassoon" c,,2 g \break c,1 ~ | c1 }
参照
記譜法リファレンス:
\paper
variables for shifts and indents,
Modifying context plug-ins
コード断片集: Staff notation
内部リファレンス: InstrumentName, PianoStaff, Staff
[ << 音楽記譜法 ] | [トップ][目次][インデックス][ ? ] | [ Specialist notation >> ] | ||
[ < 楽器名 ] | [ 上へ : パートを記述する ] | [ 合図音符をフォーマットする > ] |
他のボイスを引用する
あるボイスが他のボイスの音楽の一部を兼ねることはごく一般的なことです。例えば、第 1 バイオリンと第2バイオリンは、音楽のあるパッセージの間、同じ音符を演奏することがあるかもしれません。LilyPond では、あるボイスに他のボイスを 引用 させることによって実現されます。再入力する必要はありません。
パートを引用するには、\addQuote
コマンドを用いて引用する部分を初期化する必要があります。このコマンドは最上位のスコープで使用しなければなりません。1 番目の引数は識別文字列であり、2 番目の引数は音楽表記です:
flute = \relative c'' { a4 gis g gis } \addQuote "flute" { \flute }
\quoteDuring
コマンドを用いて、引用を開始する位置を示します。このコマンドは 2 つの引数をとります:
\addQuote
で定義した引用するボイスの名前と、引用部分の演奏時間を示す音楽表記
– 通常、これは空白休符か複数小節にわたる休符 – です。引用されるボイスの音楽から該当部分の音楽
(アーティキュレーション、強弱記号、マークアップ等を含みます)
が音楽表記に挿入されます:
flute = \relative c'' { a4 gis g->\f gis^\markup{quoted} } \addQuote "flute" { \flute } \relative c' { c4 cis \quoteDuring #"flute" { s2 } }
\quoteDuring
で使用される音楽表記に空白休符や複数小節休符以外のものが含まれている場合、多声部になります。これは望まない結果であることがしばしばあります:
flute = \relative c'' { a4 gis g->\f gis^\markup{quoted} } \addQuote "flute" { \flute } \relative c' { c4 cis \quoteDuring #"flute" { s2 } }
\transposition
が使用される場合、引用機能はソースとターゲット両方の楽器の楽器移調設定を考慮します。\transposition
についての詳細は 楽器の移調 を参照してください。
clarinet = \relative c'' { \transposition bes a4 gis g gis } \addQuote "clarinet" { \clarinet } \relative c' { c4 cis \quoteDuring #"clarinet" { s2 } }
引用部分に固有名のタグを付けて、引用部分をさまざまな形で処理することができます。この手法についての詳細は Using tags を参照してください。
quotedEventTypes
プロパティを変更することで、オリジナル ボイスからどのオブジェクトを引用するか調節することもできます。デフォルトで、このプロパティの値は #'(StreamEvent)
であり、すべてを引用します。例えば、この値を #'(note-event rest-event tie-event)
に変更すると、LilyPond は音符、休符それにタイを引用し、アーティキュレーション、マーックアップあるいは強弱記号は引用しません。
clarinet = \relative c'' { a4 gis g->\f gis^\markup{quoted} } \addQuote "clarinet" { \clarinet } \relative c' { \set Score.quotedEventTypes = #'(note-event rest-event tie-event) c4 cis \quoteDuring #"clarinet" { s2 } }
Selected Snippets
Quoting another voice with transposition
Quotations take into account the transposition of both source and
target. In this example, all instruments play sounding middle C; the
target is an instrument in F. The target part may be transposed using
\transpose
. In this case, all the pitches (including the
quoted ones) are transposed.
\addQuote clarinet { \transposition bes \repeat unfold 8 { d'16 d' d'8 } } \addQuote sax { \transposition es' \repeat unfold 16 { a8 } } quoteTest = { % french horn \transposition f g'4 << \quoteDuring #"clarinet" { \skip 4 } s4^"clar." >> << \quoteDuring #"sax" { \skip 4 } s4^"sax." >> g'4 } { \set Staff.instrumentName = \markup { \center-column { Horn \line { in F } } } \quoteTest \transpose c' d' << \quoteTest s4_"up a tone" >> }
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 { \set Staff.instrumentName = #"quoteMe" \quoteMe } \new Staff { \set Staff.instrumentName = #"orig" \original } \new Staff \relative c'' << \set Staff.instrumentName = #"orig+quote" \set Staff.quotedEventTypes = #'(note-event articulation-event) \original \new Voice { s4 \set fontSize = #-4 \override Stem #'length-fraction = #(magstep -4) \quoteDuring #"quoteMe" { \skip 2. } } >> >>
参照
記譜法リファレンス: 楽器の移調, Using tags
コード断片集: Staff notation
内部リファレンス: QuoteMusic, Voice
既知の問題と警告
\addQuote
中にある最初の Voice
の内容だけが引用されます。そのため、music
には他の Voice に切り替わる \new
や
\context Voice
を含めることはできません。
装飾小音符を引用しようとしてもうまくいかず、LilyPond がクラッシュする可能性さえあります。
ネストされた連符を引用しようとしてもうまくいきません。
以前のバージョンの LilyPond (2.11 よりも前) では、addQuote
はすべて小文字 – addquote
– で記述されていました。
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[ < 他のボイスを引用する ] | [ 上へ : パートを記述する ] | [ 編集者の注釈 > ] |
合図音符をフォーマットする
前のセクションでは、引用を作成する方法について説明しました。\cueDuring
コマンドは \quoteDuring
コマンドのより特殊な形であり、あるパートに合図音符を挿入する場合に有用です。構文は以下の通りです:
\cueDuring #partname #voice music
このコマンドは partname
の該当する小節から音符と休符だけを
CueVoice
にコピーします。CueVoice
は暗黙的に作成されて music
と同時進行し、結果として多声になります。引数 voice
は合図音符を第 1 ボイスとして記譜すべきか、第 2 ボイスとして記譜すべきかを決定します。UP
は第 1 ボイスに相当し、DOWN
は第 2 ボイスに相当します。
oboe = \relative c'' { r2 r8 d16(\f f e g f a) g8 g16 g g2. } \addQuote "oboe" { \oboe } \new Voice \relative c'' { \cueDuring #"oboe" #UP { R1 } g2 c, }
上の例で、Voice
コンテキストは明示的に宣言されている必要があります。さもなければ、音楽表記全体が CueVoice
コンテキストに属してしまいます。
instrumentCueName
プロパティを設定することによって、\cueDuring
で音楽のどの側面を引用するか調節することができます。このプロパティのデフォルト値は #'(note-event rest-event
tie-event beam-event tuplet-span-event)
であり、音符、休符、タイ、連桁それに連符だけが引用され、アーティキュレーション、強弱記号、マークアップ等は引用されません。
oboe = \relative c'' { r2 r8 d16(\f f e g f a) g8 g16 g g2. } \addQuote "oboe" { \oboe } \new Voice \relative c'' { \set Score.quotedCueEventTypes = #'(note-event rest-event tie-event beam-event tuplet-span-event dynamic-event slur-event) \cueDuring #"oboe" #UP { R1 } g2 c, }
マークアップを使用して引用される楽器の名前を表示することができます。また、合図音符が音部変更を必要とする場合、合図音符の終わりで元の音部に戻す必要があります。
flute = \relative c'' { r2. c4 d8 c d e fis2 g2 d2 } bassoon = \relative c { \clef bass R1 \clef treble s1*0^\markup { \tiny "flute" } \cueDuring #"flute" #UP { R1 } \clef bass g4. b8 d2 } \addQuote "flute" { \flute } \new Staff { \bassoon }
\killCues
コマンドは音楽表記から合図音符を削除します。これにより、同じ音楽表記を使って合図を持つ楽器パートと総譜を作り出すことが可能です。\killCues
コマンドは \cueDuring
によって引用された音符とイベントだけを削除します。合図に関連する他のマークアップ
– 音部変更と引用元の楽器を識別するラベルなど –
にはタグを付けて総譜に含めるかどうかを選択することができます。Using tags を参照してください。
flute = \relative c'' { r2. c4 d8 c d e fis2 g2 d2 } bassoon = \relative c { \clef bass R1 \tag #'part { \clef treble s1*0^\markup { \tiny "flute" } } \cueDuring #"flute" #UP { R1 } \tag #'part \clef bass g4. b8 d2 } \addQuote "flute" { \flute } \new Staff { \bassoon } \new StaffGroup << \new Staff { \flute } \new Staff { \removeWithTag #'part { \killCues { \bassoon } } } >>
あるいはまた、音部変更や楽器ラベルを再利用するために、\addInstrumentDefinition
を用いて楽器の定義に含めることができます。\addInstrumentDefinition
についての説明は
楽器名 を参照してください。
\quoteDuring
と同様に、\cueDuring
は楽器の移調を考慮します。合図音符は、合図を受け取る楽器のピッチで作り出されます。
合図音符を移調させるには \transposedCueDuring
を使用します。このコマンドはコンサート ミドル C の音を表すピッチを (絶対モードで) 指定する追加の引数を取ります。
piccolo = \relative c''' { \clef "treble^8" R1 c8 c c e g2 c4 g g2 } bassClarinet = \relative c' { \key d \major \transposition bes, d4 r a r \transposedCueDuring #"piccolo" #UP d { R1 } d4 r a r } \addQuote "piccolo" { \piccolo } << \new Staff \piccolo \new Staff \bassClarinet >>
小さなサイズの音符が必要な場合、CueVoice
コンテキストを明示的に作成することがあります。例えば、本来の演奏とは異なる音符列をオリジナル ボイスの上または下にセットする場合に適しています。
\time 12/8 \key ees \major g4 ees8 f4 g8 \stemDown << { d4. bes4 c8 } \new CueVoice { g'4. f4 ees8 } >> \stemUp d2. d2.
参照
記譜法リファレンス: 楽器の移調, 楽器名, Musical cues, Using tags
コード断片集: Staff notation
既知の問題と警告
\cueDuring
を使用した場合、Voice
コンテキストと CueVoice
コンテキストの間で休符の衝突が発生する可能性があります。
[ << 音楽記譜法 ] | [トップ][目次][インデックス][ ? ] | [ Specialist notation >> ] | ||
[ < 合図音符をフォーマットする ] | [ 上へ : 音楽記譜法 ] | [ 譜の内部 > ] |
1.7 編集者の注釈
このセクションでは、音符の見た目を変える方法と、分析や教育的な強調を付け加える方法について議論します。
1.7.1 譜の内部 | ||
1.7.2 譜の外部 |
[ << 音楽記譜法 ] | [トップ][目次][インデックス][ ? ] | [ Specialist notation >> ] | ||
[ < 編集者の注釈 ] | [ 上へ : 編集者の注釈 ] | [ 記譜フォント サイズを選択する > ] |
1.7.1 譜の内部
このセクションでは、譜の内部にある要素に強調を付け加える方法について説明します。
記譜フォント サイズを選択する | ||
運指の指示 | ||
隠された音符 | ||
オブジェクトに色を付ける | ||
括弧 | ||
符幹 |
[ << 音楽記譜法 ] | [トップ][目次][インデックス][ ? ] | [ Specialist notation >> ] | ||
[ < 譜の内部 ] | [ 上へ : 譜の内部 ] | [ 運指の指示 > ] |
記譜フォント サイズを選択する
記譜要素のフォント サイズを変更することができます。これは連桁やスラーなどの可変シンボルのサイズは変更しません。
Note: テキストのフォント サイズを変更する方法については フォントとフォント サイズを選択する を参照してください。
\huge c4.-> d8---3 \large c4.-> d8---3 \normalsize c4.-> d8---3 \small c4.-> d8---3 \tiny c4.-> d8---3 \teeny c4.-> d8---3
内部的には、これは fontSize
プロパティを設定します。この設定により font-size
プロパティがすべてのレイアウト オブジェクトにセットされます。font-size
の値は、カレントの譜の高さでの標準フォント サイズからの相対値を表している数字です。1 段階上がる毎にフォント サイズは約 12% 増加します。6 段階でちょうど 2 倍になります。Scheme 関数 magstep
は font-size
数をスケーリング ファクタに変換します。font-size
プロパティを直接設定することも可能です。そうした場合、特定のレイアウト オブジェクトだけが影響を受けます。
\set fontSize = #3 c4.-> d8---3 \override NoteHead #'font-size = #-4 c4.-> d8---3 \override Script #'font-size = #2 c4.-> d8---3 \override Stem #'font-size = #-5 c4.-> d8---3
フォント サイズの変更は、ひな形のサイズが望みのサイズに最も近くなるよう
(一定の割合で) 増減することによって、達成されます標準フォント サイズ (font-size = #0
のフォント サイズ) は標準の譜の高さに基づきます。20pt の譜では、10pt のフォントが選択されます。
font-size
プロパティはフォントを使用するレイアウト オブジェクトだけにセットすることができますそのようなオブジェクトは font-interface
レイアウト インタフェイスをサポートします。
定義済みコマンド
\teeny
,
\tiny
,
\small
,
\normalsize
,
\large
,
\huge
参照
コード断片集: Editorial annotations
内部リファレンス: font-interface
[ << 音楽記譜法 ] | [トップ][目次][インデックス][ ? ] | [ Specialist notation >> ] | ||
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運指の指示
運指の指示は 音符-数字 を用いることで挿入することができます:
c4-1 d-2 f-4 e-3
指の変更のためにマークアップ テキストが使用されることもあります。
c4-1 d-2 f-4 e-3
指の入れ替えのためにマークアップ テキストを使うこともできます。
c4-1 d-2 f-4 c^\markup { \finger "2 - 3" }
ある音符を親指で演奏するよう指示するために、サム-スクリプト (thumb-script) を付け加えることができます (例えば、チェロ音楽で)。
<a_\thumb a'-3>2 <b_\thumb b'-3>
和音の個々の音符の後に運指を付け加えることによって、和音に対する運指法を付け加えることができます。
<c-1 e-2 g-3 b-5>2 <d-1 f-2 a-3 c-5>
運指指示の配置を手動で譜の上または下にすることができます。Direction and placement を参照してください。
Selected Snippets
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 }
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> }
Avoiding collisions with chord fingerings
Fingerings and string numbers applied to individual notes will automatically avoid beams and stems, but this is not true by default for fingerings and string numbers applied to the individual notes of chords. The following example shows how this default behavior can be overridden.
\relative c' { \set fingeringOrientations = #'(up) \set stringNumberOrientations = #'(up) \set strokeFingerOrientations = #'(up) % Default behavior r8 <f c'-5>8 <f c'\5>8 <f c'-\rightHandFinger #2 >8 % Corrected to avoid collisions r8 \override Fingering #'add-stem-support = ##t <f c'-5>8 \override StringNumber #'add-stem-support = ##t <f c'\5>8 \override StrokeFinger #'add-stem-support = ##t <f c'-\rightHandFinger #2 >8 }
参照
記譜法リファレンス: Direction and placement
コード断片集: Editorial annotations
内部リファレンス: FingeringEvent, fingering-event, Fingering_engraver, New_fingering_engraver, Fingering
既知の問題と警告
デフォルトでは、‘note-digit’ は 9 よりも大きな数はサポートしません。
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隠された音符
隠された (または不可視、透明の) 音符は、preparing theory や作曲の演習の際に有用です。
c4 d \hideNotes e4 f \unHideNotes g a \hideNotes b \unHideNotes c
不可視の音符に取り付けられた記譜オブジェクトは可視のままです。
c4( d) \hideNotes e4(\p f)--
定義済みコマンド
\hideNotes
,
\unHideNotes
参照
学習マニュアル: オブジェクトの可視性と色
Notation Reference: 不可視の休符, Visibility of objects, 譜を隠す
コード断片集: Editorial annotations
内部リファレンス: Note_spacing_engraver, NoteSpacing
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オブジェクトに色を付ける
個々のオブジェクトに色を割り振ることができます。有効なカラー名は List of colors でリストアップされています。
\override NoteHead #'color = #red c4 c \override NoteHead #'color = #(x11-color 'LimeGreen) d \override Stem #'color = #blue e
Scheme 関数 x11-color
を用いることによって、X11 のために定義された色の全範囲にアクセスすることができます。この関数は引数を 1 つとります。この引数は 'FooBar
という形式のシンボルであったり、"FooBar"
という形式の文字列であったりします。最初の形式はより素早く記述できて、より効率的です。しかしながら、2 番目の形式を使うと複数単語形式の X11 カラーにアクセスすることができます。
x11-color
がパラメータとして意味をなさない場合、その色はデフォルトの黒になります。
\override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2) \set Staff.instrumentName = \markup { \with-color #(x11-color 'navy) "Clarinet" } gis8 a \override Beam #'color = #(x11-color "medium turquoise") gis a \override Accidental #'color = #(x11-color 'DarkRed) gis a \override NoteHead #'color = #(x11-color "LimeGreen") gis a % 以下は意図的に意味をなさない色を指定しています。符幹が黒のままであることに注意してください \override Stem #'color = #(x11-color 'Boggle) b2 cis
Scheme 関数 rgb-color
を用いることによって、厳密な RGB カラーを指定することができます。
\override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2) \set Staff.instrumentName = \markup { \with-color #(x11-color 'navy) "Clarinet" } \override Stem #'color = #(rgb-color 0 0 0) gis8 a \override Stem #'color = #(rgb-color 1 1 1) gis8 a \override Stem #'color = #(rgb-color 0 0 0.5) gis4 a
参照
記譜法リファレンス:
List of colors,
The \tweak
command
コード断片集: Editorial annotations
既知の問題と警告
X11 カラーは必ずしも同様の名前を持つノーマル カラーとまったく同じとなるわけではありません。
すべての X11 カラーが Web ブラウザで見分けられるわけではありません。つまり、ある Web ブラウザは 'LineGreen
と 'ForestGreen
を同じ色で表示するかもしれません。Web 向けでは、ノーマル カラーを使用することを推奨します
(つまり、#blue
, #green
, #red
)。
和音の中にある音符には \override
で色を付けることはできません。\override
の代わりに \tweak
を使用してください
– The \tweak
command を参照してください。
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括弧
音楽イベントの前に \parenthesize
を置くことによって、そのオブジェクトに括弧を付けることができます。和音の前に \parenthesize
を置くと、和音の音符それぞれに括弧が付けられます。和音内部の音符に個別に括弧を付けることもできます。
c2 \parenthesize d c2 \parenthesize <c e g> c2 <c \parenthesize e g>
音符ではないオブジェクトにも括弧を付けることができます。アーティキュレーションに対して括弧をつける場合、\parenthesize
コマンドの前にハイフンが必要です。
c2-\parenthesize -. d c2 \parenthesize r
参照
コード断片集: Editorial annotations
内部リファレンス: Parenthesis_engraver, ParenthesesItem, parentheses-interface
既知の問題と警告
和音に括弧を付けると、和音全体に単一の大きな括弧が付くのではなく、それぞれの音符に個別に括弧が付きます。
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符幹
音符が見つかった場合はいつでも Stem
オブジェクトが自動的に作成されます。全音符や休符の場合でも Stem
オブジェクトが作成されますが、不可視になります。
符幹の向きを手動で上または下にすることができます – Direction and placement を参照してください。
定義済みコマンド
\stemUp
,
\stemDown
,
\stemNeutral
Selected Snippets
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 }
参照
記譜法リファレンス: Direction and placement
コード断片集: Editorial annotations
内部リファレンス: Stem_engraver, Stem, stem-interface
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[ < 符幹 ] | [ 上へ : 編集者の注釈 ] | [ バルーン ヘルプ > ] |
1.7.2 譜の外部
このセクションでは、譜の外側から譜の中にある要素を強調するための方法について説明します。
バルーン ヘルプ | ||
グリッド ライン | ||
分析の囲み |
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[ < 譜の外部 ] | [ 上へ : 譜の外部 ] | [ グリッド ライン > ] |
バルーン ヘルプ
記譜要素に四角いバルーンで印を付けて、テキストを付け加えることができます。この機能の主目的は記譜法を説明することです。
\new Voice \with { \consists "Balloon_engraver" } { \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" } a8 \balloonGrobText #'Rest #'(-4 . -4) \markup { "I'm a rest" } r <c, g'-\balloonText #'(-2 . -2) \markup { "I'm a note head" } c>2. }
上の例には 2 つの音楽関数が使われています
– balloonGrobText
と balloonText
です。前者は \once \override
のように使用され、任意のグラフィカル オブジェクトにテキストを付加します。後者はたいてい和音の中で \tweak
のように使用され、個々の音符にテキストを付加します。
通常、バルーン ヘルプのテキストは音符の間隔に影響を与えますが、影響を与えないよう変更することもできます:
Balloon text normally influences note spacing, but this can be altered:
\new Voice \with { \consists "Balloon_engraver" } { \balloonLengthOff \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" } a8 \balloonGrobText #'Rest #'(-4 . -4) \markup { "I'm a rest" } r \balloonLengthOn <c, g'-\balloonText #'(-2 . -2) \markup { "I'm a note head" } c>2. }
定義済みコマンド
\balloonLengthOn
,
\balloonLengthOff
参照
コード断片集: Editorial annotations
内部リファレンス: Balloon_engraver, BalloonTextItem, balloon-interface
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グリッド ライン
音符に同期して、譜の間に垂直な線を描くことができます。
線の終点を作成するために Grid_point_engraver
を用いる必要があります。一方、実際に線を描くために Grid_line_span_engraver
を用いる必要があります。デフォルトでは、グリッド ラインは各符頭の左端に揃えられます。グリッド ラインは上の譜の中央線から下の譜の中央線まで引かれます。gridInterval
でグリッド ライン間の演奏時間を指定する必要があります。
\layout { \context { \Staff \consists "Grid_point_engraver" gridInterval = #(ly:make-moment 1 4) } \context { \Score \consists "Grid_line_span_engraver" } } \score { \new ChoirStaff << \new Staff \relative c'' { \stemUp c4. d8 e8 f g4 } \new Staff \relative c { \clef bass \stemDown c4 g' f e } >> }
Selected Snippets
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 } } }
参照
コード断片集: Editorial annotations
内部リファレンス: Grid_line_span_engraver, Grid_point_engraver, GridLine, GridPoint, grid-line-interface, grid-point-interface.
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[ < グリッド ライン ] | [ 上へ : 譜の外部 ] | [ テキスト > ] |
分析の囲み
音楽分析では、囲みを使って楽曲の構造を示します。シンプルな水平な囲みがサポートされています。
\layout { \context { \Voice \consists "Horizontal_bracket_engraver" } } \relative c'' { c2\startGroup d\stopGroup }
Analysis brackets may be nested.
\layout { \context { \Voice \consists "Horizontal_bracket_engraver" } } \relative c'' { c4\startGroup\startGroup d4\stopGroup e4\startGroup d4\stopGroup\stopGroup }
参照
コード断片集: Editorial annotations
内部リファレンス: Horizontal_bracket_engraver, HorizontalBracket, horizontal-bracket-interface, Staff
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[ < 分析の囲み ] | [ 上へ : 音楽記譜法 ] | [ テキストを記述する > ] |
1.8 テキスト
このセクションでは、楽譜に (さまざまなフォーマットの) テキストを含める方法について説明します。
ここでは扱わないいくつかのテキスト要素については他のセクションで説明します: Vocal music, Titles and headers。
1.8.1 テキストを記述する | ||
1.8.2 テキストをフォーマットする | ||
1.8.3 フォント |
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1.8.1 テキストを記述する
このセクションでは、楽譜にテキストを付け加えるいくつかの方法を紹介します。
Note: アクセント付きのテキストや特殊なテキスト (他の言語の文字など) を記述するには、単純にその文字を直接 LilyPond ファイルに挿入します。ファイルは UTF-8 で保存しなければなりません。更なる情報は Text encoding を参照してください。
テキスト スクリプト | ||
テキスト スパナ | ||
テキスト マーク | ||
独立したテキスト |
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テキスト スクリプト
以下の例で示すように、シンプルな “引用符で囲まれたテキスト” 指示を楽譜に付け加えることができます。そのような指示は、Direction and placement で説明する構文を用いて、手動で譜の上または下に配置することができます。
a8^"pizz." g f e a4-"scherz." f
この構文は実際には短縮記法です。テキストをフォーマットする で記述されているように、\markup
ブロックを用いて明示的に、より複雑なテキスト フォーマットを音符に付け加えることができます。
a8^\markup { \italic pizz. } g f e a4_\markup { \tiny scherz. \bold molto } f
デフォルトでは、テキスト指示は音符の間隔に影響を与えません。しかしながら、テキスト指示の幅を考慮に入れることもできます: 以下の例では、最初のテキスト文字列は音符の間隔に影響を与えていませんが、2 番目のテキスト文字列は影響を与えています。
a8^"pizz." g f e \textLengthOn a4_"scherzando" f
テキスト スクリプトだけでなく、アーティキュレーションを音符に付けることもできます。更なる情報は アーティキュレーションと装飾 を参照してください。
テキスト スクリプトとアーティキュレーションの順序についての更なる情報は オブジェクトの配置 を参照してください。
定義済みコマンド
\textLengthOn
,
\textLengthOff
参照
学習マニュアル: オブジェクトの配置
記譜法リファレンス: テキストをフォーマットする, Direction and placement, アーティキュレーションと装飾
コード断片集: Text
内部リファレンス: TextScript
既知の問題と警告
テキスト スクリプトと歌詞がマージンに収まることを保証するためのチェックは計算量を増やします。処理速度を上げる必要がある場合は、以下を用います:
\override Score.PaperColumn #'keep-inside-line = ##f
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テキスト スパナ
いくつかの演奏指示 – 例えば rallentando や accelerando – は、テキストとして記述され、点線で複数の音符の上に伸ばされます。そのようなオブジェクト – “スパナ” と呼ばれます – は、以下の構文を用いることで、ある音符から他の音符までの範囲に作成することができます:
\override TextSpanner #'(bound-details left text) = "rit." b1\startTextSpan e,\stopTextSpan
譜刻される文字列はオブジェクト プロパティを通じてセットされます。デフォルトでは文字列はイタリック体で譜刻されます。しかしながら、テキストをフォーマットする で記述されているように、\markup
ブロックを用いることで他の書体にすることができます。
\override TextSpanner #'(bound-details left text) = \markup { \upright "rit." } b1\startTextSpan c e,\stopTextSpan
テキスト文字列と同様に、線のスタイルもオブジェクト プロパティとして定義することができます。線スタイルの構文は Line styles で記述されています。
定義済みコマンド
\textSpannerUp
,
\textSpannerDown
,
\textSpannerNeutral
.
既知の問題と警告
LilyPond が処理できるテキスト スパナは 1 ボイスにつき、1 つだけです。
Selected Snippets
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\! }
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 (parser location mymarkup) (markup?) (make-music 'CrescendoEvent 'span-direction START 'span-type 'text 'span-text mymarkup)) mydecresc = #(define-music-function (parser location 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 }
参照
記譜法リファレンス: Line styles, 強弱記号, テキストをフォーマットする
コード断片集: Text, Expressive marks
内部リファレンス: TextSpanner
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テキスト マーク
リハーサル記号 で記述されている構文を用いて、さまざまなテキスト要素を楽譜に付け加えることができます:
c4 \mark "Allegro" c c c
この構文を用いることで、任意のテキストを小節線上に配置することが可能です。テキストをフォーマットする で記述されているように、\markup
ブロックを用いてより複雑なテキスト フォーマットを付け加えることもできます:
<c e>1 \mark \markup { \italic { colla parte } } <d f>2 <e g> <c f aes>1
さらに、マークアップ内部での音楽記譜法 で説明されているように、この構文で適切なシンボル名を指定することによって、特殊な記号 – コーダ、セーニョ、フェルマータなど – を譜刻することが可能です:
<bes f>2 <aes d> \mark \markup { \musicglyph #"scripts.ufermata" } <e g>1
このようなオブジェクトを配置できる位置は、楽譜の最上段の譜の上だけです。オブジェクトを小節の終わりで指定するか、途中で指定するか次第で、小節線の上に配置されたり、音符の間に配置されたりします。改行位置で指定した場合、そのマークは次の行の先頭に譜刻されます。
\mark "Allegro" c1 c \mark "assai" \break c c
Selected Snippets
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 "||" }
Aligning marks with various notation objects
If specified, text marks may be aligned with notation objects other
than bar lines. These objects include ambitus
,
breathing-sign
, clef
, custos
, staff-bar
,
left-edge
, key-cancellation
, key-signature
, and
time-signature
.
In such cases, text marks will be horizontally centered above the object. However this can be changed, as demonstrated on the second line of this example (in a score with multiple staves, this setting should be done for all the staves).
\relative c' { e1 % the RehearsalMark will be centered above the Clef \override Score.RehearsalMark #'break-align-symbols = #'(clef) \key a \major \clef treble \mark "↓" e1 % the RehearsalMark will be centered above the TimeSignature \override Score.RehearsalMark #'break-align-symbols = #'(time-signature) \key a \major \clef treble \time 3/4 \mark \markup { \char ##x2193 } e2. % the RehearsalMark will be centered above the KeySignature \override Score.RehearsalMark #'break-align-symbols = #'(key-signature) \key a \major \clef treble \time 4/4 \mark \markup { \char ##x2193 } e1 \break e1 % the RehearsalMark will be aligned with the left edge of the KeySignature \once \override Score.KeySignature #'break-align-anchor-alignment = #LEFT \mark \markup { \char ##x2193 } \key a \major e1 % the RehearsalMark will be aligned with the right edge of the KeySignature \once \override Score.KeySignature #'break-align-anchor-alignment = #RIGHT \key a \major \mark \markup { \char ##x2193 } e1 % the RehearsalMark will be aligned with the left edge of the KeySignature % and then shifted right by one unit. \once \override Score.KeySignature #'break-align-anchor = #1 \key a \major \mark \markup { \char ##x2193 } e1 }
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" } } }
参照
記譜法リファレンス: リハーサル記号, テキストをフォーマットする, マークアップ内部での音楽記譜法, The Feta font
コード断片集: Text
内部リファレンス: MarkEvent, Mark_engraver, RehearsalMark
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独立したテキスト
\markup
ブロックはそれ自体で、すべての \score
ブロックの外側に、“最上位レベルの表記” として存在することができます。この構文は File structure で記述されています。
\markup { Tomorrow, and tomorrow, and tomorrow... }
これによりテキストを音楽から分離して譜刻することが可能になります。これは、Multiple scores in a book で記述されているように、入力ファイルが複数の楽曲を保持している場合に特に有用です。
\score { c'1 } \markup { Tomorrow, and tomorrow, and tomorrow... } \score { c'1 }
独立したテキスト ブロックは複数のページに広がることができます。これにより、テキスト ドキュメントやブック全体を LilyPond の中に譜刻することが可能になります。この機能と、この機能の構文は 複数ページにわたるマークアップ で記述されています。
定義済みコマンド
\markup
,
\markuplines
Selected Snippets
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 { \line { \italic { O sacred feast } } \line { \italic { in which Christ is received, } } \line { \italic { the memory of His Passion is renewed, } } \line { \italic { the mind is filled with grace, } } \line { \italic { and a pledge of future glory is given to us. } } \line { \italic { Amen. } } } \hspace #1 } }
参照
記譜法リファレンス: テキストをフォーマットする, File structure, Multiple scores in a book, 複数ページにわたるマークアップ
コード断片集: Text
内部リファレンス: TextScript
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1.8.2 テキストをフォーマットする
このセクションでは、\markup
モード特有の構文を用いた基本的かつ高度なテキスト フォーマットについて説明します。
テキスト マークアップの導入部 | ||
フォントとフォント サイズを選択する | ||
テキスト揃え | ||
マークアップ内部でのグラフィック記譜法 | ||
マークアップ内部での音楽記譜法 | ||
複数ページにわたるマークアップ |
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テキスト マークアップの導入部
\markup
ブロックは “マークアップ モード” と呼ばれる拡張可能な構文でテキストを譜刻するために用いられます。
マークアップ構文は LilyPond の通常の構文と同様です:
\markup
表記は波括弧 { … }
で囲まれます。単語 1 つが最小の表記と見なされ、その場合は波括弧で囲む必要はありません。
シンプルな “引用符で囲まれたテキスト” 指示とは異なり、\markup
ブロックは、バックスラッシュ \
を用いて挿入されるネストされた表記やマークアップ コマンドを保持することができます。そのようなコマンドは直後の表記にのみ影響を与えます。
a1-\markup intenso a2^\markup { poco \italic più forte } c e1 d2_\markup { \italic "string. assai" } e b1^\markup { \bold { molto \italic agitato } } c
また、\markup
ブロックは引用符で囲まれたテキスト文字列を保持することがあります。そのような文字列は最小のテキスト表記として扱われます。そのため、引用符で囲まれたマークアップ コマンドや特殊文字
(\
や #
など) はテキストのフォーマットに影響を与えず、そのまま (逐語的に) 譜刻されます。ダブル クォーテーション自体は、それ自体の前にバックスラッシュを置くことによって譜刻されます。
a1^"\italic markup..." a_\markup { \italic "... prints \"italic\" letters!" } a a
表記をばらばらなものとして扱うには、単語のリストをダブル クォーテーションで囲むか、前にコマンドを置く必要があります。マークアップ表記の定義の仕方は、表記の配置のされ方
– 垂直に中央揃えして積み重ねられる、水平に並べられる –
に影響を与えます。以下の例では、2 番目の \markup
表記は 1 番目の表記と同じように扱われています:
c1^\markup { \center-column { a bbb c } } c1^\markup { \center-column { a { bbb c } } } c1^\markup { \center-column { a \line { bbb c } } } c1^\markup { \center-column { a "bbb c" } }
マークアップを変数に格納することができます。そのような変数は直接音符にくっつけることができます:
allegro = \markup { \bold \large Allegro } { d''8.^\allegro d'16 d'4 r2 }
Text markup commands に
\markup
特有のコマンドの徹底したリストがあります。
参照
記譜法リファレンス: Text markup commands
コード断片集: Text
インストールされているファイル: ‘scm/markup.scm’
既知の問題と警告
マークアップ モードの構文エラーは混乱しやすいです。
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フォントとフォント サイズを選択する
マークアップ モードでは、基本的なフォント切り替えがサポートされています:
d1^\markup { \bold { Più mosso } \italic { non troppo \underline Vivo } } r2 r4 r8 d,_\markup { \italic quasi \smallCaps Tromba } f1 d2 r
文字のサイズもいくつかの方法で変更することができます:
- フォント サイズをあらかじめ定義されている標準サイズに設定することができます。
- フォント サイズを絶対値で設定することができます。
- さらに、フォント サイズを現在の値からの相対値で設定することができます。
以下の例は、これら 3 つの方法の使用例です:
f1_\markup { \tiny espressivo \large e \normalsize intenso } a^\markup { \fontsize #5 Sinfonia \fontsize #2 da \fontsize #3 camera } bes^\markup { (con \larger grande \smaller emozione \magnify #0.6 { e sentimento } ) } d c2 r8 c bes a g1
テキストを下付き文字あるいは上付き文字として譜刻することができます。デフォルトでは、それらは小さなサイズで譜刻されますが、通常サイズにすることもできます:
\markup { \column { \line { 1 \super st movement } \line { 1 \normal-size-super st movement \sub { (part two) } } } }
マークアップ モードは代わりのフォント ファミリを選択するための簡単な方法を提供します。他を指定しないかぎり、デフォルトの Serif フォント – ローマン体 – が自動的に選択されます。以下の例の最後の行では、最初の単語と 2 番目の単語はまったく同じです。
\markup { \column { \line { Act \number 1 } \line { \sans { Scene I. } } \line { \typewriter { Verona. An open place. } } \line { Enter \roman Valentine and Proteus. } } }
新たな強弱記号 や 手動の繰り返し記号 で言及されているように、番号や強弱記号など特定の項目に用いられるフォント ファミリの中にはすべての文字を提供しないものもあります。
フォント切り替えやフォーマット コマンドの中には、単語の中で使用されると望まない空白を作り出すものがあります。これはテキスト要素をつなげることによって容易に解決できます:
\markup { \column { \line { \concat { 1 \super st } movement } \line { \concat { \dynamic p , } \italic { con dolce espressione } } } }
フォント に フォント切り換えとフォントのカスタム コマンドの徹底したリストがあります。
フォント で説明されているように、カスタム フォント セットを定義することも可能です。
定義済みコマンド
\teeny
,
\tiny
,
\small
,
\normalsize
,
\large
,
\huge
,
\smaller
,
\larger
参照
記譜法リファレンス: フォント, 新たな強弱記号, 手動の繰り返し記号, フォント
コード断片集: Text
内部リファレンス: TextScript
インストールされているファイル: ‘scm/define-markup-commands.scm’
既知の問題と警告
フォントのサイズ コマンド \teeny
, \tiny
, \small
,
\normalsize
, \large
それに \huge
を用いると、\fontsize
を用いた場合と比較して、つじつまの合わない行間になります。
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テキスト揃え
このサブセクションでは、マークアップ モードのテキストを配置する方法について説明します。 オブジェクトを移動させる で記述されている構文を用いて、マークアップ オブジェクト全体を移動させることも可能です。
マークアップ オブジェクトの揃え方はいくつかあります。デフォルトでは、テキスト指示はそのテキストの左端で揃えられます: 以下の例では、最初のマークアップと 2 番目のマークアップの揃えられ方はまったく同じです。
d1-\markup { poco } f d-\markup { \left-align poco } f d-\markup { \center-align { poco } } f d-\markup { \right-align poco }
水平方向の揃え方は、数値を使って、微調整することができます:
a1-\markup { \halign #-1 poco } e' a,-\markup { \halign #0 poco } e' a,-\markup { \halign #0.5 poco } e' a,-\markup { \halign #2 poco }
オブジェクトの中には揃えるためのプロシージャをそれ自身で持っているものがあり、それらは上記のコマンドでは影響を受けません。テキスト マーク の中の例で示されているように、そのようなマークアップ オブジェクト全体を移動させることが可能です。
垂直方向に揃える方法はもう少し複雑です。上で述べたようにマークアップ オブジェクト全体を移動させることが可能ですが、マークアップ ブロックの中にある特定の要素を移動させることも可能です。 特定要素だけをを移動させるには、移動させる要素の前に アンカ ポイント – もう 1 つのオブジェクト要素、あるいは不可視のオブジェクト要素 – を置く必要があります。以下の例では 2 つのケースを示しています。最後のマークアップはアンカ ポイントを持たず、それゆえ移動されません。
d2^\markup { Acte I \raise #2 { Scène 1 } } a' g_\markup { \null \lower #4 \bold { Très modéré } } a d,^\markup { \raise #4 \italic { Une forêt. } } a'4 a g2 a
コマンドの中にはマークアップ モードの中にあるテキスト オブジェクトの水平方向と垂直方向の両方の揃え方に影響を与えることができるものもあります。そのようなコマンドで移動させるオブジェクトの前にはアンカ ポイントを置く必要があります:
d2^\markup { Acte I \translate #'(-1 . 2) "Scène 1" } a' g_\markup { \null \general-align #Y #3.2 \bold "Très modéré" } a d,^\markup { \null \translate-scaled #'(-1 . 2) \teeny "Une forêt." } a'4 a g2 a
マークアップ オブジェクトに何行かのテキストが含まれる場合もあります。以下の例では、それぞれの要素あるいは表記はそれ自体の行に配置され、左揃えあるいは中央揃えされています:
\markup { \column { a "b c" \line { d e f } } \hspace #10 \center-column { a "b c" \line { d e f } } }
同様に、要素あるいは表記のリストの広がりが水平の行幅いっぱいを占めることがあります (要素が 1 つだけの場合、その要素はページの中央に揃えられます)。さらに、そのような表記は複数行にわたるテキストや他の任意の表記を含むことができます:
\markup { \fill-line { \line { William S. Gilbert } \center-column { \huge \smallCaps "The Mikado" or \smallCaps "The Town of Titipu" } \line { Sir Arthur Sullivan } } } \markup { \fill-line { 1885 } }
さらに、長いテキスト指示を自動的に行幅に合わせて折り返すことができます。そのようなテキスト指示は、以下の例で示すように、左揃えされるか両端揃えされます。
\markup { \column { \line \smallCaps { La vida breve } \line \bold { Acto I } \wordwrap \italic { (La escena representa el corral de una casa de gitanos en el AlbaicÃn de Granada. Al fondo una puerta por la que se ve el negro interior de una Fragua, iluminado por los rojos resplandores del fuego.) } \hspace #0 \line \bold { Acto II } \override #'(line-width . 50) \justify \italic { (Calle de Granada. Fachada de la casa de Carmela y su hermano Manuel con grandes ventanas abiertas a través de las que se ve el patio donde se celebra una alegre fiesta) } } }
Align にテキスト揃えコマンドの徹底したリストがあります。
参照
学習マニュアル: オブジェクトを移動させる
コード断片集: Text
内部リファレンス: TextScript
インストールされているファイル: ‘scm/define-markup-commands.scm’.
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マークアップ内部でのグラフィック記譜法
マークアップ コマンドを用いて、さまざまなグラフィック オブジェクトを楽譜に付け加えることができます。
以下の例で示すように、マークアップ コマンドの中にはテキスト要素をグラフィックスで飾り付けることができるものがあります。
\markup \fill-line { \center-column { \circle Jack \box "in the box" \null \line { Erik Satie \hspace #3 \bracket "1866 - 1925" } \null \rounded-box \bold Prelude } }
コマンドの中にはテキストの周りのパディングを増やすことを必要とするものもあります。パティングの増加は Align で徹底的に記述されているマークアップ コマンドを用いて達成できます。
\markup \fill-line { \center-column { \box "Charles Ives (1874 - 1954)" \null \box \pad-markup #2 "THE UNANSWERED QUESTION" \box \pad-x #8 "A Cosmic Landscape" \null } } \markup \column { \line { \hspace #10 \box \pad-to-box #'(-5 . 20) #'(0 . 5) \bold "Largo to Presto" } \pad-around #3 "String quartet keeps very even time, Flute quartet keeps very uneven time." }
テキストを持たないグラフィック要素やシンボルを譜刻することもできます。他のマークアップ表記と同様に、そのようなオブジェクトも組み合わせることができます。
\markup { \combine \draw-circle #4 #0.4 ##f \filled-box #'(-4 . 4) #'(-0.5 . 0.5) #1 \hspace #5 \center-column { \triangle ##t \combine \draw-line #'(0 . 4) \arrow-head #Y #DOWN ##f } }
高度なグラフィック機能として、外部画像ファイルを Encapsulated PostScript フォーマット (eps) に変換してインクルードする機能や、ネイティブの PostScript コードを用いてグラフィックを直接に入力ファイルへ埋め込む機能があります。このような機能を使う場合、以下で示すように、描画サイズを明示的に指定することを推奨します:
c1^\markup { \combine \epsfile #X #10 #"./context-example.eps" \with-dimensions #'(0 . 6) #'(0 . 10) \postscript #" -2 3 translate 2.7 2 scale newpath 2 -1 moveto 4 -2 4 1 1 arct 4 2 3 3 1 arct 0 4 0 3 1 arct 0 0 1 -1 1 arct closepath stroke" } c
Graphic にグラフィック特有のコマンドの徹底したリストがあります。
参照
記譜法リファレンス: Graphic, 編集者の注釈, Align
コード断片集: Text
内部リファレンス: TextScript
インストールされているファイル: ‘scm/define-markup-commands.scm’, ‘scm/stencil.scm’
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マークアップ内部での音楽記譜法
マークアップ オブジェクトの内部で、さまざまな音楽記譜要素を楽譜に付け加えることができます。
音符と臨時記号はマークアップ コマンドを用いて入力することができます:
a2 a^\markup { \note #"4" #1 = \note-by-number #1 #1 #1.5 } b1_\markup { \natural \semiflat \flat \sesquiflat \doubleflat } \glissando a1_\markup { \natural \semisharp \sharp \sesquisharp \doublesharp } \glissando b
他の記譜オブジェクトもマークアップ モードの中で譜刻することができます:
g1 bes ees-\markup { \finger 4 \tied-lyric #"~" \finger 1 } fis_\markup { \dynamic rf } bes^\markup { \beam #8 #0.1 #0.5 } cis d-\markup { \markalphabet #8 \markletter #8 }
より一般的には、以下で示すように、使用可能な音楽シンボルはすべてマークアップ オブジェクトに含めることができます。The Feta font に、音楽シンボルと音楽シンボル名の徹底したリストがあります。
c2 c'^\markup { \musicglyph #"eight" } c,4 c,8._\markup { \musicglyph #"clefs.G_change" } c16 c2^\markup { \musicglyph #"timesig.neomensural94" }
テキストではない図柄を譜刻するもう 1 つの方法が フォントの説明 で記述されています。この方法はさまざまなサイズの波括弧を譜刻する場合に有用です。
さらに、マークアップ モードは特定の楽器のためのダイアグラムをサポートします:
c1^\markup { \fret-diagram-terse #"x;x;o;2;3;2;" } c^\markup { \harp-pedal #"^-v|--ov^" } c c^\markup { \combine \musicglyph #"accordion.discant" \combine \raise #0.5 \musicglyph #"accordion.dot" \raise #1.5 \musicglyph #"accordion.dot" }
そのようなダイアグラムは Instrument Specific Markup でドキュメント化されています。
楽譜全体でさえもマークアップ オブジェクト内部にネストさせることができます。そのような場合、以下で示すように、ネストされる \score
ブロックには
\layout
ブロックを含める必要があります:
c4 d^\markup { \score { \relative c' { c4 d e f } \layout { } } } e f | c d e f
Music に、音楽記譜法関連のコマンドの徹底したリストがあります。
参照
記譜法リファレンス: Music, The Feta font, フォントの説明
コード断片集: Text
内部リファレンス: TextScript
インストールされているファイル: ‘scm/define-markup-commands.scm’, ‘scm/fret-diagrams.scm’, ‘scm/harp-pedals.scm’.
[ << 音楽記譜法 ] | [トップ][目次][インデックス][ ? ] | [ Specialist notation >> ] | ||
[ < マークアップ内部での音楽記譜法 ] | [ 上へ : テキストをフォーマットする ] | [ フォント > ] |
複数ページにわたるマークアップ
標準のマークアップ オブジェクトは分割することができません。しかしながら、 ある特定の構文は複数ページにわたるテキストを入力することを可能にします:
\markuplines { \justified-lines { 両端揃えされた非常に長いテキスト。 ... } \wordwrap-lines { もう 1 つの非常に長いテキスト。 ... } ... }
この構文はマークアップのリストを受け付けます。受け付けるものは以下の通りです:
- マークアップ リスト コマンドの結果
- マークアップのリスト
- マークアップ リストのリスト
Text markup list commands に、マークアップ リスト コマンドの徹底したリストがあります。
参照
記譜法リファレンス: Text markup list commands,
コード断片集: Text
拡張: New markup list command definition
内部リファレンス: TextScript
インストールされているファイル: ‘scm/define-markup-commands.scm’.
定義済みコマンド
\markuplines
[ << 音楽記譜法 ] | [トップ][目次][インデックス][ ? ] | [ Specialist notation >> ] | ||
[ < 複数ページにわたるマークアップ ] | [ 上へ : テキスト ] | [ フォントの説明 > ] |
1.8.3 フォント
このセクションでは、フォントを扱う方法と、楽譜の中でフォントを変更する方法について説明します。
フォントの説明 | ||
個々に登録するフォント | ||
ドキュメント全体のフォント |
[ << 音楽記譜法 ] | [トップ][目次][インデックス][ ? ] | [ Specialist notation >> ] | ||
[ < フォント ] | [ 上へ : フォント ] | [ 個々に登録するフォント > ] |
フォントの説明
フォントはいくつかのライブラリを通じて扱われます。FontConfig はシステムで利用可能なフォントを検出するために使用されます。選択されたフォントは Pango を用いて描かれます。
音楽記譜フォントはいくつかのファミリに分類された特殊な図柄のセットと言うことができます。以下の構文により、さまざまな LilyPond feta
非テキスト フォントをマークアップ モードの中で直接使用することが可能になります:
a1^\markup { \vcenter { \override #'(font-encoding . fetaBraces) \lookup #"brace120" \override #'(font-encoding . fetaText) \column { 1 3 sf } \override #'(font-encoding . fetaMusic) \lookup #"noteheads.s0petrucci" } }
しかしながら、これらの図柄はすべて
– fetaBraces
で保持されているさまざまサイズの波括弧を除いて –
は、マークアップ内部での音楽記譜法 で記述されている、もっと簡単な構文を用いて利用することができます。
fetaBraces
に保持されている図柄を使う場合、波括弧のサイズは図柄名の一部となっている任意の数値によって指定されます。0
から 575
までの整数すべてを指定でき、0
は最小の波括弧を提供します。最適な値はトライ&エラーで決定する必要があります。これらの図柄はすべて左波括弧です。右波括弧は回転によって得ることができます
– Rotating objects を参照してください。
3 ファミリのテキスト フォントが利用可能になっています: roman (serif) フォント – これはデフォルトでは New Century Schoolbook です – と、sans フォントと単一幅の typewriter フォント – これら 2 つのファミリは Pango のインストール時に決定されます – です。
それぞれのファミリには異なる形状とセットのフォントが保持されています。以下の例は、ファミリ、形状、セットそれにサイズを変更する様子を示しています。デフォルト サイズから変更する場合、font-size
に提供する値が必要となります。
\override Score.RehearsalMark #'font-family = #'typewriter \mark \markup "Ouverture" \override Voice.TextScript #'font-shape = #'italic \override Voice.TextScript #'font-series = #'bold d2.^\markup "Allegro" \override Voice.TextScript #'font-size = #-3 c4^smaller
同様の構文をマークアップ モードの中で使用することができます。しかしながら、マークアップ モードの中では、フォントとフォント サイズを選択する で説明されている、もっと簡単な構文を使用するほうが良いでしょう:
\markup { \column { \line { \override #'(font-shape . italic) \override #'(font-size . 4) Idomeneo, } \line { \override #'(font-family . typewriter) { \override #'(font-series . bold) re di } \override #'(font-family . sans) Creta } } }
あらかじめ構成されているフォント間で切り替えを行う方が簡単ですが、他のフォントを使用することも可能です。他のフォントを使用する方法は以下のセクションで説明されています: 個々に登録するフォント と ドキュメント全体のフォント。
参照
記譜法リファレンス: The Feta font, マークアップ内部での音楽記譜法, Rotating objects, フォントとフォント サイズを選択する, フォント
[ << 音楽記譜法 ] | [トップ][目次][インデックス][ ? ] | [ Specialist notation >> ] | ||
[ < フォントの説明 ] | [ 上へ : フォント ] | [ ドキュメント全体のフォント > ] |
個々に登録するフォント
以下の構文を用いることで、オペレーティング システムにインストールされていて、FontConfig に認識されている任意のフォントを楽譜の中で使用することができます:
\override Staff.TimeSignature #'font-name = #"Bitstream Charter" \override Staff.TimeSignature #'font-size = #2 \time 3/4 a1_\markup { \override #'(font-name . "Vera Bold") { Vera Bold } }
以下のコマンドはオペレーティング システムで利用可能なすべてのフォントのリストを表示します:
lilypond -dshow-available-fonts x
参照
記譜法リファレンス: フォントの説明, ドキュメント全体のフォント
コード断片集: Text
[ << 音楽記譜法 ] | [トップ][目次][インデックス][ ? ] | [ Specialist notation >> ] | ||
[ < 個々に登録するフォント ] | [ 上へ : フォント ] | [ Specialist notation > ] |
ドキュメント全体のフォント
以下の例で示す方法に従ってフォント ファミリを指定することにより、roman, sans それに typewriter フォント ファミリとして使用されるデフォルト フォントを変更することができます。フォントについての説明は、フォントの説明 を参照してください。
\paper { myStaffSize = #20 #(define fonts (make-pango-font-tree "Times New Roman" "Nimbus Sans" "Luxi Mono" (/ myStaffSize 20))) } \relative c'{ c1-\markup { roman, \sans sans, \typewriter typewriter. } }
参照
記譜法リファレンス: フォントの説明, 個々に登録するフォント, フォントとフォント サイズを選択する, フォント
[ << 音楽記譜法 ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < ドキュメント全体のフォント ] | [ 上へ : Top ] | [ Vocal music > ] |
2. Specialist notation
This chapter explains how to create musical notation for specific types of instrument or in specific styles.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Specialist notation ] | [ 上へ : Specialist notation ] | [ Common notation for vocal music > ] |
2.1 Vocal music
This section explains how to typeset vocal music, and make sure that the lyrics will be aligned with the notes of their melody.
2.1.1 Common notation for vocal music | ||
2.1.2 Techniques specific to lyrics | ||
2.1.3 Stanzas | ||
2.1.4 Songs | ||
2.1.5 Choral | ||
2.1.6 Opera and stage musicals | ||
2.1.7 Chants psalms and hymns | ||
2.1.8 Ancient vocal music | ||
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Vocal music ] | [ 上へ : Vocal music ] | [ References for vocal music > ] |
2.1.1 Common notation for vocal music
This section discusses issues common to most types of vocal music.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Common notation for vocal music ] | [ 上へ : Common notation for vocal music ] | [ Entering lyrics > ] |
References for vocal music
This section indicates where to find details of notation issues that may arise in any type of vocal music.
- Most styles of vocal music use written text as lyrics. An introduction to this notation is to be found in Setting simple songs.
-
Vocal music is likely to require the use of
markup
mode, either for lyrics or for other text elements (characters’ names, etc.) This syntax is described in テキスト マークアップの導入部. - Ambitus may be added at the beginning of vocal staves, as explained in 音域.
- Dynamic markings by default are placed below the staff, but in choral music they are usually placed above the staff in order to avoid the lyrics, as explained in Score layouts for choral.
参照
Music Glossary: ambitus.
Learning Manual: Setting simple songs.
Notation Reference: テキスト マークアップの導入部, 音域, Score layouts for choral.
Snippets: Vocal music.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < References for vocal music ] | [ 上へ : Common notation for vocal music ] | [ Aligning lyrics to a melody > ] |
Entering lyrics
Lyrics are entered in a special input mode, which can be introduced
by the keyword \lyricmode
, or by using \addlyrics
or
\lyricsto
. In this special input mode, the input d
is not parsed as the pitch D, but rather as a one-letter
syllable of text. In other words, syllables are entered like notes
but with pitches replaced by text.
For example:
\lyricmode { Three4 blind mice,2 three4 blind mice2 }
There are two main methods for specifying the horizontal placement
of the syllables, either by specifying the duration of each syllable
explicitly, as in the example above, or by leaving the lyrics to be
aligned automatically to a melody or other voice of music, using
\addlyrics
or \lyricsto
. The former method is
described below in Manual syllable durations. The latter
method is described in Automatic syllable durations.
A word or syllable of lyrics begins with an alphabetic character (plus some other characters, see below) and is terminated by any white space or a digit. Later characters in the syllable can be any character that is not a digit or white space.
Because any character that is not a digit or white space is regarded
as part of the syllable, a word is valid even if it ends with
}
, which often leads to the following mistake:
\lyricmode { lah lah lah}
In this example, the }
is included in the final syllable, so the
opening brace is not balanced and the input file will probably not
compile. Instead, braces should always be surrounded with white space:
\lyricmode { lah lah lah }
Similarly, in lyric mode, a period will be included in the
alphabetic sequence that it follows. As a consequence, spaces
must be inserted around the period in \override
commands.
Do not write
\override Score.LyricText #'font-shape = #'italic
but instead use
\override Score . LyricText #'font-shape = #'italic
Punctuation, lyrics with accented characters, characters from non-English languages, or special characters (such as the heart symbol or slanted quotes), may simply be inserted directly into the input file, providing it is saved with UTF-8 encoding. For more information, see Text encoding.
\relative c'' { d8 c16 a bes8 f e' d c4 } \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
Normal quotes may be used in lyrics, but they have to be preceded with a backslash character and the whole syllable has to be enclosed between additional quotes. For example,
\relative c' { \time 3/4 e4 e4. e8 d4 e d c2. } \addlyrics { "\"I" am so lone -- "ly,\"" said she }
The full definition of a word start in lyrics mode is somewhat more
complex. A word in lyrics mode is one that begins with an
alphabetic character, _
, ?
, !
, :
,
'
, the control characters ^A
through ^F
,
^Q
through ^W
, ^Y
, ^^
, any 8-bit
character with an ASCII code over 127, or a two-character
combination of a backslash followed by one of `
, '
,
"
, or ^
.
Great control over the appearance of lyrics comes from using
\markup
inside the lyrics themselves. For explanation of many
options, see テキストをフォーマットする.
Selected Snippets
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 >>
参照
Learning Manual: Songs.
Notation Reference: Automatic syllable durations, フォント, テキストをフォーマットする, Input modes, Manual syllable durations, Text encoding.
Internals Reference: LyricText.
Snippets: Text
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Entering lyrics ] | [ 上へ : Common notation for vocal music ] | [ Automatic syllable durations > ] |
Aligning lyrics to a melody
Lyrics are printed by interpreting them in the context called
Lyrics
, see Contexts explained.
\new Lyrics \lyricmode { … }
Lyrics can be aligned with melodies in two main ways:
-
Lyrics can be aligned automatically, with the durations of the
syllables being taken from another voice of music or (in special
circumstances) an associated melody, using
\addlyrics
,\lyricsto
, or by setting theassociatedVoice
property. For more details, see Automatic syllable durations.<< \new Staff << \time 2/4 \new Voice = "one" \relative c'' { \voiceOne c4 b8. a16 g4. r8 a4 ( b ) c2 } \new Voice = "two" \relative c' { \voiceTwo s2 s4. f8 e4 d c2 } >> % takes durations and alignment from notes in "one" \new Lyrics \lyricsto "one" { Life is __ _ love, live __ life. } % takes durations and alignment from notes in "one" initially % then switches to "two" \new Lyrics \lyricsto "one" { No more let \set associatedVoice = "two" % must be set one syllable early sins and sor -- rows grow. } >>
The first stanza shows the normal way of entering lyrics.
The second stanza shows how the voice from which the lyric durations are taken can be changed. This is useful if the words to different stanzas fit the notes in different ways and all the durations are available in Voice contexts. For more details, see Stanzas.
-
Lyrics can be aligned independently of the duration of any notes
if the durations of the syllables are specified explicitly,
and entered with
\lyricmode
.<< \new Voice = "one" \relative c'' { \time 2/4 c4 b8. a16 g4. f8 e4 d c2 } % uses previous explicit duration of 2; \new Lyrics \lyricmode { Joy to the earth! } % explicit durations, set to a different rhythm \new Lyrics \lyricmode { Life4 is love,2. live4 life.2 } >>
The first stanza is not aligned with the notes because the durations were not specified, and the previous value of 2 is used for each word.
The second stanza shows how the words can be aligned quite independently from the notes. This is useful if the words to different stanzas fit the notes in different ways and the required durations are not available in a music context. For more details see Manual syllable durations. This technique is also useful when setting dialogue over music; for examples showing this, see Dialogue over music.
When entered in this way the words are left-aligned to the notes by default, but may be center-aligned to the notes of a melody by specifying an associated voice, if one exists. For details, see Manual syllable durations.
参照
Learning Manual: Aligning lyrics to a melody.
Notation Reference: Contexts explained, Automatic syllable durations. Stanzas, Manual syllable durations, Dialogue over music, Manual syllable durations.
Internals Reference: Lyrics.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Aligning lyrics to a melody ] | [ 上へ : Common notation for vocal music ] | [ Manual syllable durations > ] |
Automatic syllable durations
Lyrics can be automatically aligned to the notes of a melody in three ways:
-
by specifying the named Voice context containing the melody with
\lyricsto
, -
by introducing the lyrics with
\addlyrics
and placing them immediately after the Voice context containing the melody, -
by setting the
associatedVoice
property, the alignment of the lyrics may be switched to a different named Voice context at any musical moment.
In all three methods hyphens can be drawn between the syllables of a word and extender lines can be drawn beyond the end of a word. For details, see Extenders and hyphens.
The Voice
context containing the melody to which the lyrics
are being aligned must not have “died”, or the lyrics after that
point will be lost. This can happen if there are periods when that
voice has nothing to do. For methods of keeping contexts alive, see
Keeping contexts alive.
Using \lyricsto
Lyrics can be aligned under a melody automatically by specifying
the named Voice context containing the melody with
\lyricsto
:
<< \new Voice = "melody" { a4 a a a } \new Lyrics \lyricsto "melody" { These are the words } >>
This aligns the lyrics to the notes of the named Voice
context, which must already exist. Therefore normally the
Voice
context is specified first, followed by the
Lyrics
context. The lyrics themselves follow the
\lyricsto
command. The \lyricsto
command
invokes lyric mode automatically, so the \lyricmode
keyword
may be omitted. By default, the lyrics are placed underneath the
notes. For other placements, see Placing lyrics vertically.
Using \addlyrics
The \addlyrics
command is just a convenient shortcut that
can sometimes be used instead of having to set up the lyrics
through a more complicated LilyPond structure.
{ MUSIC } \addlyrics { LYRICS }
is the same as
\new Voice = "blah" { MUSIC } \new Lyrics \lyricsto "blah" { LYRICS }
Here is an example,
{ \time 3/4 \relative c' { c2 e4 g2. } \addlyrics { play the game } }
More stanzas can be added by adding more
\addlyrics
sections:
{ \time 3/4 \relative c' { c2 e4 g2. } \addlyrics { play the game } \addlyrics { speel het spel } \addlyrics { joue le jeu } }
The command \addlyrics
cannot handle polyphonic settings.
For these cases one should use \lyricsto
.
Using associatedVoice
The melody to which the lyrics are being aligned can be changed by
setting the associatedVoice
property,
\set associatedVoice = #"lala"
The value of the property (here: "lala"
) should be the name
of a Voice
context. For technical reasons, the \set
command must be placed one syllable before the one to which the
change in voice is to apply.
Here is an example demonstrating its use:
<< \new Staff << \time 2/4 \new Voice = "one" \relative c'' { \voiceOne c4 b8. a16 g4. r8 a4 ( b ) c2 } \new Voice = "two" \relative c' { \voiceTwo s2 s4. f8 e8 d4. c2 } >> % takes durations and alignment from notes in "one" initially % then switches to "two" \new Lyrics \lyricsto "one" { No more let \set associatedVoice = "two" % must be set one syllable early sins and sor -- rows grow. } >>
参照
Notation Reference: Extenders and hyphens, Keeping contexts alive, Placing lyrics vertically.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Automatic syllable durations ] | [ 上へ : Common notation for vocal music ] | [ Multiple syllables to one note > ] |
Manual syllable durations
In some complex vocal music, it may be desirable to place lyrics
completely independently of notes. In this case do not use
\lyricsto
or \addlyrics
and do not set
associatedVoice
. Syllables are entered like notes –
but with pitches replaced by text – and the duration of each
syllable is entered explicitly after the syllable.
By default, syllables will be left-aligned to the corresponding musical moment. Hyphenated lines may be drawn between syllables as usual, but extender lines cannot be drawn when there is no associated voice.
Here are two examples:
<< \new Voice = "melody" { \time 3/4 c2 e4 g2 f } \new Lyrics \lyricmode { play1 the4 game4 } >>
<< \new Staff { \relative c'' { c2 c2 d1 } } \new Lyrics { \lyricmode { I2 like4. my8 cat!1 } } \new Staff { \relative c' { c8 c c c c c c c c8 c c c c c c c } } >>
This technique is useful when writing dialogue over music, see Dialogue over music.
To center-align syllables on the notes at the corresponding musical
moments, set associatedVoice
to the name of the Voice context
containing those notes. When associatedVoice
is set, both
double hyphens and double underscores can be used to draw
hyphenated lines and extenders under melismata correctly.
<< \new Voice = "melody" { \time 3/4 c2 e4 g f g } \new Lyrics \lyricmode { \set associatedVoice = #"melody" play2 the4 game2. __ } >>
参照
Notation Reference: Dialogue over music.
Internals Reference: Lyrics, Voice.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Manual syllable durations ] | [ 上へ : Common notation for vocal music ] | [ Multiple notes to one syllable > ] |
Multiple syllables to one note
In order to assign more than one syllable to a single note with
spaces between the syllables, you can surround the phrase with
quotes or use a _
character. Alternatively, you can use
code the tilde symbol (~
) to get a lyric tie. The lyric
tie is implemented with the Unicode character U+203F, so be
sure to use a font for this glyph which actually contains it.
Freely available fonts with a lyric tie are, for example,
‘FreeSerif’ (a Times clone), ‘DejaVuSans’ (but not
‘DejaVuSerif’), or ‘TeXGyreSchola’ (a Century Schoolbook
clone).
{ \time 3/4 \relative c' { c2 e4 g2 e4 } \addlyrics { gran- de_a- mi- go } \addlyrics { pu- "ro y ho-" nes- to } \addlyrics { pu- ro~y~ho- nes- to } }
参照
Internals Reference: LyricCombineMusic.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Multiple syllables to one note ] | [ 上へ : Common notation for vocal music ] | [ Extenders and hyphens > ] |
Multiple notes to one syllable
Sometimes, particularly in Medieval music, several notes are to be sung on one syllable; such vocalises are called melismata, or melismas. The syllable to a melisma is usually left-aligned with the first note of the melisma.
When a melisma occurs on a syllable other that the last one in a
word, that syllable is usually joined to the following one with a
hyphenated line. This is indicated by placing a double hyphen,
--
, immediately after the syllable.
Alternatively, when a melisma occurs on the last or only syllable in
a word an extender line is usually drawn from the end of the syllable
to the last note of the melisma. This is indicated by placing a
double underscore, __
, immediately after the word.
There are five ways in which melismata can be indicated:
-
Melismata are created automatically over notes which are tied
together:
<< \new Voice = "melody" { \time 3/4 f4 g2 ~ | g4 e2 ~ | e8 } \new Lyrics \lyricsto "melody" { Ky -- ri -- e __ } >>
-
Melismata can be created automatically from the music by placing
slurs over the notes of each melisma. This is the usual way of
entering lyrics:
<< \new Voice = "melody" { \time 3/4 f4 g8 ( f e f ) e8 ( d e2 ) } \new Lyrics \lyricsto "melody" { Ky -- ri -- e __ } >>
-
Notes are considered a melisma if they are manually beamed,
providing automatic beaming is switched off. See
自動連桁の振る舞いを設定する.
<< \new Voice = "melody" { \time 3/4 \autoBeamOff f4 g8[ f e f] e2. } \new Lyrics \lyricsto "melody" { Ky -- ri -- e } >>
Clearly this is not suited to melismata over notes which are longer than eighth notes.
-
An unslurred group of notes will be treated as a melisma if they
are bracketed between
\melisma
and\melismaEnd
.<< \new Voice = "melody" { \time 3/4 f4 g8 \melisma f e f \melismaEnd e2. } \new Lyrics \lyricsto "melody" { Ky -- ri -- e } >>
Note that this method cannot be used to indicate two melismata if the first one is immediately followed by another.
-
A melisma can be defined entirely in the lyrics by entering a
single underscore character,
_
, for every extra note that has to be added to the melisma.<< \new Voice = "melody" { \time 3/4 f4 g8 f e f e8 d e2 } \new Lyrics \lyricsto "melody" { Ky -- ri -- _ _ _ e __ _ _ } >>
It is possible to have ties, slurs and manual beams in the melody
without their indicating melismata. To do this, set
melismaBusyProperties
:
<< \new Voice = "melody" { \time 3/4 \set melismaBusyProperties = #'() c4 d ( e ) g8 [ f ] f4 ~ f } \new Lyrics \lyricsto "melody" { Ky -- ri -- e e -- le -- i -- son } >>
Other settings for melismaBusyProperties
can be used to
selectively include or exclude ties, slurs, and beams from the
automatic detection of melismata; see melismaBusyProperties
in
Tunable context properties.
Alternatively, if all melismata indications are to be ignored,
ignoreMelismata
may be set true;
see Stanzas with different rhythms.
If a melisma is required during a passage in which
melismaBusyProperties
is active, it may be indicated by
placing a single underscore in the lyrics for each note which
should be included in the melisma:
<< \new Voice = "melody" { \time 3/4 \set melismaBusyProperties = #'() c4 d ( e ) g8 [ f ] ~ f4 ~ f } \new Lyrics \lyricsto "melody" { Ky -- ri -- _ e __ _ _ _ } >>
定義済みコマンド
\autoBeamOff
,
\autoBeamOn
,
\melisma
,
\melismaEnd
.
参照
Musical Glossary: melisma.
Learning Manual: Aligning lyrics to a melody.
Notation Reference: Aligning lyrics to a melody, Automatic syllable durations, 自動連桁の振る舞いを設定する, Stanzas with different rhythms.
Internals Reference: Tunable context properties.
既知の問題と警告
Extender lines under melismata are not created automatically; they must be inserted manually with a double underscore.
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Extenders and hyphens
In the last syllable of a word, melismata are sometimes indicated with a long horizontal line starting in the melisma syllable, and ending in the next one. Such a line is called an extender line, and it is entered as ‘ __ ’ (note the spaces before and after the two underscore characters).
Note: Melismata are indicated in the score with extender lines, which are entered as one double underscore; but short melismata can also be entered by skipping individual notes, which are entered as single underscore characters; these do not make an extender line to be typeset by default.
Centered hyphens are entered as ‘ -- ’ between syllables of a same word (note the spaces before and after the two hyphen characters). The hyphen will be centered between the syllables, and its length will be adjusted depending on the space between the syllables.
In tightly engraved music, hyphens can be removed. Whether this
happens can be controlled with the minimum-distance
(minimum
distance between two syllables) and the minimum-length
(threshold below which hyphens are removed) properties of
LyricHyphen
.
参照
Internals Reference: LyricExtender, LyricHyphen.
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[ < Extenders and hyphens ] | [ 上へ : Vocal music ] | [ Working with lyrics and variables > ] |
2.1.2 Techniques specific to lyrics
Working with lyrics and variables | ||
Placing lyrics vertically | ||
Placing syllables horizontally | ||
Lyrics and repeats | ||
Divisi lyrics |
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[ < Techniques specific to lyrics ] | [ 上へ : Techniques specific to lyrics ] | [ Placing lyrics vertically > ] |
Working with lyrics and variables
Variables containing lyrics can be created, but the lyrics must be entered in lyric mode:
musicOne = \relative c'' { c4 b8. a16 g4. f8 e4 d c2 } verseOne = \lyricmode { Joy to the world, the Lord is come. } \score { << \new Voice = "one" { \time 2/4 \musicOne } \new Lyrics \lyricsto "one" { \verseOne } >> }
Durations do not need to be added if the variable is to be invoked
with \addlyrics
or \lyricsto
.
For different or more complex orderings, the best way is to define
the music and lyric variables first, then set up the hierarchy of
staves and lyrics, omitting the lyrics themselves, and then add the
lyrics using \context
underneath. This ensures that the
voices referenced by \lyricsto
have always been defined
earlier. For example:
sopranoMusic = \relative c'' { c4 c c c } contraltoMusic = \relative c'' { a4 a a a } sopranoWords = \lyricmode { Sop -- ra -- no words } contraltoWords = \lyricmode { Con -- tral -- to words } \score { \new ChoirStaff << \new Staff { \new Voice = "sopranos" { \sopranoMusic } } \new Lyrics = "sopranos" \new Lyrics = "contraltos" \new Staff { \new Voice = "contraltos" { \contraltoMusic } } \context Lyrics = "sopranos" { \lyricsto "sopranos" { \sopranoWords } } \context Lyrics = "contraltos" { \lyricsto "contraltos" { \contraltoWords } } >> }
参照
Notation Reference: Placing lyrics vertically.
Internals Reference: LyricCombineMusic, Lyrics.
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[ < Working with lyrics and variables ] | [ 上へ : Techniques specific to lyrics ] | [ Placing syllables horizontally > ] |
Placing lyrics vertically
Depending on the type of music, lyrics may be positioned above the staff, below the staff, or between staves. Placing lyrics below the associated staff is the easiest, and can be achieved by simply defining the Lyrics context below the Staff context:
\score { << \new Staff { \new Voice = "melody" { \relative c'' { c4 c c c } } } \new Lyrics { \lyricsto "melody" { Here are the words } } >> }
Lyrics may be positioned above the staff using one of two methods. The simplest (and preferred) method is to use the same syntax as above and explicitly specify the position of the lyrics:
\score { << \new Staff = "staff" { \new Voice = "melody" { \relative c'' { c4 c c c } } } \new Lyrics \with { alignAboveContext = "staff" } { \lyricsto "melody" { Here are the words } } >> }
Alternatively, a two-step process may be used. First the Lyrics
context is declared (without any content) before the Staff and
Voice contexts, then the \lyricsto
command is placed after
the Voice declaration it references by using \context
, as
follows:
\score { << \new Lyrics = "lyrics" \with { % lyrics above a staff should have this override \override VerticalAxisGroup #'staff-affinity = #DOWN } \new Staff { \new Voice = "melody" { \relative c'' { c4 c c c } } } \context Lyrics = "lyrics" { \lyricsto "melody" { Here are the words } } >> }
When there are two voices on separate staves the lyrics may be placed between the staves using either of these methods. Here is an example of the second method:
\score { \new ChoirStaff << \new Staff { \new Voice = "sopranos" { \relative c'' { c4 c c c } } } \new Lyrics = "sopranos" \new Lyrics = "contraltos" \with { % lyrics above a staff should have this override \override VerticalAxisGroup #'staff-affinity = #DOWN } \new Staff { \new Voice = "contraltos" { \relative c'' { a4 a a a } } } \context Lyrics = "sopranos" { \lyricsto "sopranos" { Sop -- ra -- no words } } \context Lyrics = "contraltos" { \lyricsto "contraltos" { Con -- tral -- to words } } >> }
Other combinations of lyrics and staves may be generated by elaborating these examples, or by examining the Vocal ensembles templates in the Learning Manual.
Selected Snippets
Obtaining 2.12 lyrics spacing in newer versions
The vertical spacing engine changed for 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)) } } }
参照
Learning Manual: Vocal ensembles.
Notation Reference: Aligning contexts, Creating contexts.
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[ < Placing lyrics vertically ] | [ 上へ : Techniques specific to lyrics ] | [ Lyrics and repeats > ] |
Placing syllables horizontally
To increase the spacing between lyrics, set the
minimum-distance
property of LyricSpace
.
{ c c c c \override Lyrics.LyricSpace #'minimum-distance = #1.0 c c c c } \addlyrics { longtext longtext longtext longtext longtext longtext longtext longtext }
To make this change for all lyrics in the score, set the property in the
\layout
block.
\score { \relative c' { c c c c c c c c } \addlyrics { longtext longtext longtext longtext longtext longtext longtext longtext } \layout { \context { \Lyrics \override LyricSpace #'minimum-distance = #1.0 } } }
Selected Snippets
Lyrics alignment
Horizontal alignment for lyrics cam be set by overriding the
self-alignment-X
property of the LyricText
object.
#-1
is left, #0
is center and #1
is right;
however, you can use #LEFT
, #CENTER
and #RIGHT
as
well.
\layout { ragged-right = ##f } \relative c'' { c1 c1 c1 } \addlyrics { \once \override LyricText #'self-alignment-X = #LEFT "This is left-aligned" \once \override LyricText #'self-alignment-X = #CENTER "This is centered" \once \override LyricText #'self-alignment-X = #1 "This is right-aligned" }
Checking to make sure that text scripts and lyrics are within the margins requires additional calculations. To speed up processing slightly, this feature can be disabled:
\override Score.PaperColumn #'keep-inside-line = ##f
To make lyrics avoid bar lines as well, use
\layout { \context { \Lyrics \consists "Bar_engraver" \consists "Separating_line_group_engraver" \override BarLine #'transparent = ##t } }
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Lyrics and repeats
Simple repeats
Repeats in music are fully described elsewhere; see 繰り返し. This section explains how to add lyrics to repeated sections of music.
Lyrics to a section of music that is repeated should be surrounded by exactly the same repeat construct as the music, if the words are unchanged.
\score { << \new Staff { \new Voice = "melody" { \relative c'' { a4 a a a \repeat volta 2 { b4 b b b } } } } \new Lyrics { \lyricsto "melody" { Not re -- peat -- ed. \repeat volta 2 { Re -- peat -- ed twice. } } } >> }
The words will then be correctly expanded if the repeats are unfolded.
\score { \unfoldRepeats { << \new Staff { \new Voice = "melody" { \relative c'' { a4 a a a \repeat volta 2 { b4 b b b } } } } \new Lyrics { \lyricsto "melody" { Not re -- peat -- ed. \repeat volta 2 { Re -- peat -- ed twice. } } } >> } }
If the repeated section is to be unfolded and has different words, simply enter all the words:
\score { << \new Staff { \new Voice = "melody" { \relative c'' { a4 a a a \repeat unfold 2 { b4 b b b } } } } \new Lyrics { \lyricsto "melody" { Not re -- peat -- ed. The first time words. Sec -- ond time words. } } >> }
When the words to a repeated volta section are different, the words
to each repeat must be entered in separate Lyrics
contexts,
correctly nested in parallel sections:
\score { << \new Staff { \new Voice = "melody" { \relative c'' { a4 a a a \repeat volta 2 { b4 b b b } } } } \new Lyrics \lyricsto "melody" { Not re -- peat -- ed. << { The first time words. } \new Lyrics { \set associatedVoice = "melody" Sec -- ond time words. } >> } >> }
More verses may be added in a similar way:
\score { << \new Staff { \new Voice = "singleVoice" { \relative c'' { a4 a a a \repeat volta 3 { b4 b b b } c4 c c c } } } \new Lyrics \lyricsto "singleVoice" { Not re -- peat -- ed. << { The first time words. } \new Lyrics { \set associatedVoice = "singleVoice" Sec -- ond time words. } \new Lyrics { \set associatedVoice = "singleVoice" The third time words. } >> The end sec -- tion. } >> }
Repeats with alternative endings
If the words of the repeated section are the same, exactly the same structure can be used for both the lyrics and music.
\score { << \new Staff { \time 2/4 \new Voice = "melody" { \relative c'' { a4 a a a \repeat volta 2 { b4 b } \alternative { { b b } { b c } } } } } \new Lyrics { \lyricsto "melody" { Not re -- peat -- ed. \repeat volta 2 { Re -- peat -- } \alternative { { ed twice. } { ed twice. } } } } >> }
But when the repeated section has different words, a repeat
construct cannot be used around the words and \skip
commands
have to be inserted manually to skip over the notes in the
alternative sections which do not apply.
Note: do not use an underscore, _
, to skip notes – an
underscore indicates a melisma, causing the preceding syllable
to be left-aligned.
Note: The \skip
command must be followed by a number,
but this number is ignored in lyrics which derive their durations
from the notes in an associated melody through addlyrics
or
lyricsto
. Each \skip
skips a single note of any
value, irrespective of the value of the following number.
\score { << \new Staff { \time 2/4 \new Voice = "melody" { \relative c'' { \repeat volta 2 { b4 b } \alternative { { b b } { b c } } c4 c } } } \new Lyrics { \lyricsto "melody" { The first time words. \repeat unfold 2 { \skip 1 } End here. } } \new Lyrics { \lyricsto "melody" { Sec -- ond \repeat unfold 2 { \skip 1 } time words. } } >> }
When a note is tied over into two or more alternative endings a
tie is used to carry the note into the first alternative ending and
a \repeatTie
is used in the second and subsequent endings.
This structure causes difficult alignment problems when lyrics are
involved and increasing the length of the alternative sections so
the tied notes are contained wholly within them may give a more
acceptable result.
The tie creates a melisma into the first alternative, but not into the second and subsequent alternatives, so to align the lyrics correctly it is necessary to disable the automatic creation of melismata over the volta section and insert manual skips.
\score { << \new Staff { \time 2/4 \new Voice = "melody" { \relative c'' { \set melismaBusyProperties = #'() \repeat volta 2 { b4 b ~} \alternative { { b b } { b \repeatTie c } } \unset melismaBusyProperties c4 c } } } \new Lyrics { \lyricsto "melody" { \repeat volta 2 { Here's a __ } \alternative { { \skip 1 verse } { \skip 1 sec } } ond one. } } >> }
Note that if \unfoldRepeats
is used around a section
containing \repeatTie
, the \repeatTie
should be
removed to avoid both types of tie being printed.
When the repeated section has different words a \repeat
cannot be used around the lyrics and \skip
commands need to
be inserted manually, as before.
\score { << \new Staff { \time 2/4 \new Voice = "melody" { \relative c'' { \repeat volta 2 { b4 b ~} \alternative { { b b } { b \repeatTie c } } c4 c } } } \new Lyrics { \lyricsto "melody" { Here's a __ verse. \repeat unfold 2 { \skip 1 } } } \new Lyrics { \lyricsto "melody" { Here's one \repeat unfold 2 { \skip 1 } more to sing. } } >> }
If you wish to show extenders and hyphens into and out of alternative sections these must be inserted manually.
\score { << \new Staff { \time 2/4 \new Voice = "melody" { \relative c'' { \repeat volta 2 { b4 b ~} \alternative { { b b } { b \repeatTie c } } c4 c } } } \new Lyrics { \lyricsto "melody" { Here's a __ verse. \repeat unfold 2 { \skip 1 } } } \new Lyrics { \lyricsto "melody" { Here's "a_" \skip 1 "_" sec -- ond one. } } >> }
参照
Notation Reference: Keeping contexts alive, 繰り返し.
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[ < Lyrics and repeats ] | [ 上へ : Techniques specific to lyrics ] | [ Stanzas > ] |
Divisi lyrics
When just the words and rhythms of the two parts differ with the pitches remaining the same, temporarily turning off the automatic detection of melismata and indicating the melisma in the lyrics may be the appropriate method to use:
\score { << \new Voice = "melody" { \relative c' { \set melismaBusyProperties = #'() \slurDown \slurDashed e4 e8 ( e ) c4 c | \unset melismaBusyProperties c } } \new Lyrics \lyricsto "melody" { They shall not o -- ver -- come } \new Lyrics \lyricsto "melody" { We will _ } >> }
When both music and words differ it may be better to display the differing music and lyrics by naming voice contexts and attaching lyrics to those specific contexts:
\score { << \new Voice = "melody" { \relative c' { << { \voiceOne e4 e8 e } \new Voice = "splitpart" { \voiceTwo c4 c } >> \oneVoice c4 c | c } } \new Lyrics \lyricsto "melody" { They shall not o -- ver -- come } \new Lyrics \lyricsto "splitpart" { We will } >> }
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[ < Divisi lyrics ] | [ 上へ : Vocal music ] | [ Adding stanza numbers > ] |
2.1.3 Stanzas
Adding stanza numbers | ||
Adding dynamics marks to stanzas | ||
Adding singers’ names to stanzas | ||
Stanzas with different rhythms | ||
Printing stanzas at the end | ||
Printing stanzas at the end in multiple columns |
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[ < Stanzas ] | [ 上へ : Stanzas ] | [ Adding dynamics marks to stanzas > ] |
Adding stanza numbers
Stanza numbers can be added by setting stanza
, e.g.,
\new Voice { \time 3/4 g2 e4 a2 f4 g2. } \addlyrics { \set stanza = #"1. " Hi, my name is Bert. } \addlyrics { \set stanza = #"2. " Oh, ché -- ri, je t'aime }
These numbers are put just before the start of the first syllable.
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[ < Adding stanza numbers ] | [ 上へ : Stanzas ] | [ Adding singers' names to stanzas > ] |
Adding dynamics marks to stanzas
Stanzas differing in loudness may be indicated by putting a
dynamics mark before each stanza. In LilyPond, everything coming in
front of a stanza goes into the StanzaNumber
object; dynamics
marks are no different. For technical reasons, you have to set the
stanza outside \lyricmode
:
text = { \set stanza = \markup { \dynamic "ff" "1. " } \lyricmode { Big bang } } << \new Voice = "tune" { \time 3/4 g'4 c'2 } \new Lyrics \lyricsto "tune" \text >>
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[ < Adding dynamics marks to stanzas ] | [ 上へ : Stanzas ] | [ Stanzas with different rhythms > ] |
Adding singers’ names to stanzas
Names of singers can also be added. They are printed at the start of
the line, just like instrument names. They are created by setting
vocalName
. A short version may be entered as
shortVocalName
.
\new Voice { \time 3/4 g2 e4 a2 f4 g2. } \addlyrics { \set vocalName = #"Bert " Hi, my name is Bert. } \addlyrics { \set vocalName = #"Ernie " Oh, ché -- ri, je t'aime }
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Stanzas with different rhythms
Often, different stanzas of one song are put to one melody in slightly
differing ways. Such variations can still be captured with
\lyricsto
.
Ignoring melismata
One possibility is that the text has a melisma in one stanza, but
multiple syllables in another. One solution is to make the faster
voice ignore the melisma. This is done by setting
ignoreMelismata
in the Lyrics context.
<< \relative c' \new Voice = "lahlah" { \set Staff.autoBeaming = ##f c4 \slurDotted f8.[( g16]) a4 } \new Lyrics \lyricsto "lahlah" { more slow -- ly } \new Lyrics \lyricsto "lahlah" { go \set ignoreMelismata = ##t fas -- ter \unset ignoreMelismata still } >>
既知の問題と警告
Unlike most \set
commands, \set ignoreMelismata
does
not work if prefixed with \once
. It is necessary to use
\set
and \unset
to bracket the lyrics where melismata
are to be ignored.
Adding syllables to grace notes
By default, grace notes (e.g. via \grace
) do not get assigned
syllables when using \lyricsto
, but this behavior can be
changed:
<< \new Voice = melody \relative c' { f4 \appoggiatura a32 b4 \grace { f16[ a16] } b2 \afterGrace b2 { f16[ a16] } \appoggiatura a32 b4 \acciaccatura a8 b4 } \new Lyrics \lyricsto melody { normal \set includeGraceNotes = ##t case, gra -- ce case, after -- grace case, \set ignoreMelismata = ##t app. case, acc. case. } >>
既知の問題と警告
Like associatedVoice
, includeGraceNotes
needs to be
set at latest one syllable before the one which is to be put under a
grace note. For the case of a grace note at the very beginning of a
piece of music, consider using a \with
or \context
block:
<< \new Voice = melody \relative c' { \grace { c16[( d e f] } g1) f } \new Lyrics \with { includeGraceNotes = ##t } \lyricsto melody { Ah __ fa } >>
Switching to an alternative melody
More complex variations in setting lyrics to music are possible.
The melody to which the lyrics are being set can be changed from
within the lyrics by setting the associatedVoice
property:
<< \relative c' \new Voice = "lahlah" { \set Staff.autoBeaming = ##f c4 << \new Voice = "alternative" { \voiceOne \times 2/3 { % show associations clearly. \override NoteColumn #'force-hshift = #-3 f8 f g } } { \voiceTwo f8.[ g16] \oneVoice } >> a8( b) c } \new Lyrics \lyricsto "lahlah" { Ju -- ras -- sic Park } \new Lyrics \lyricsto "lahlah" { % Tricky: need to set associatedVoice % one syllable too soon! \set associatedVoice = "alternative" % applies to "ran" Ty -- ran -- no -- \set associatedVoice = "lahlah" % applies to "rus" sau -- rus Rex } >>
The text for the first stanza is set to the melody called
‘lahlah’ in the usual way, but the second stanza is set initally
to the lahlah
context and is then switched to the
alternative
melody for the syllables ‘ran’ to ‘sau’ by
the lines:
\set associatedVoice = "alternative" % applies to "ran" Ty -- ran -- no -- \set associatedVoice = "lahlah" % applies to "rus" sau -- rus Rex
Here, alternative
is the name of the Voice
context
containing the triplet.
Note the placement of the \set associatedVoice
command –
it appears to be one syllable too early, but this is correct.
Note: The set associatedVoice
command must be placed
one syllable before the one at which the switch to the new
voice is to occur. In other words, changing the associated Voice
happens one syllable later than expected. This is for technical
reasons, and it is not a bug.
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Printing stanzas at the end
Sometimes it is appropriate to have one stanza set
to the music, and the rest added in verse form at
the end of the piece. This can be accomplished by adding
the extra verses into a \markup
section outside
of the main score block. Notice that there are two
different ways to force linebreaks when using
\markup
.
melody = \relative c' { e d c d | e e e e | d d e d | c1 | } text = \lyricmode { \set stanza = #"1." Ma- ry had a lit- tle lamb, its fleece was white as snow. } \score{ << \new Voice = "one" { \melody } \new Lyrics \lyricsto "one" \text >> \layout { } } \markup { \column{ \line{ Verse 2. } \line{ All the children laughed and played } \line{ To see a lamb at school. } } } \markup{ \wordwrap-string #" Verse 3. Mary took it home again, It was against the rule." }
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[ < Printing stanzas at the end ] | [ 上へ : Stanzas ] | [ Songs > ] |
Printing stanzas at the end in multiple columns
When a piece of music has many verses, they are often printed in multiple columns across the page. An outdented verse number often introduces each verse. The following example shows how to produce such output in LilyPond.
melody = \relative c' { c c c c | d d d d } text = \lyricmode { \set stanza = #"1." This is verse one. It has two lines. } \score { << \new Voice = "one" { \melody } \new Lyrics \lyricsto "one" \text >> \layout { } } \markup { \fill-line { \hspace #0.1 % moves the column off the left margin; % can be removed if space on the page is tight \column { \line { \bold "2." \column { "This is verse two." "It has two lines." } } \hspace #0.1 % adds vertical spacing between verses \line { \bold "3." \column { "This is verse three." "It has two lines." } } } \hspace #0.1 % adds horizontal spacing between columns; % if they are still too close, add more " " pairs % until the result looks good \column { \line { \bold "4." \column { "This is verse four." "It has two lines." } } \hspace #0.1 % adds vertical spacing between verses \line { \bold "5." \column { "This is verse five." "It has two lines." } } } \hspace #0.1 % gives some extra space on the right margin; % can be removed if page space is tight } }
参照
Internals Reference: LyricText, StanzaNumber.
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[ < Printing stanzas at the end in multiple columns ] | [ 上へ : Vocal music ] | [ References for songs > ] |
2.1.4 Songs
References for songs | ||
Lead sheets |
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[ < Songs ] | [ 上へ : Songs ] | [ Lead sheets > ] |
References for songs
Songs are usually written on three staves with the melody for the singer on the top staff and two staves of piano accompaniment at the bottom. The lyrics of the first stanza are printed immediately underneath the top staff. If there are just a small number of further stanzas these can be printed immediately under the first one, but if there are more stanzas than can be easily accommodated there the second and subsequent stanzas are printed after the music as stand-alone text.
All the notational elements needed to write songs are fully described elsewhere:
- For constructing the staff layout, see 譜を表示する.
- For writing piano music, see Keyboard and other multi-staff instruments.
- For writing the lyrics to a melody line, see Common notation for vocal music.
- For placing the lyrics, see Placing lyrics vertically.
- For entering stanzas, see Stanzas.
- Songs are frequently printed with the chording indicated by chord names above the staves. This is described in Displaying chords.
- To print fret diagrams of the chords for guitar accompaniment or accompaniment by other fretted instruments, see “Fret diagram markups” in Common notation for fretted strings.
参照
Learning Manual: Songs.
Notation Reference: Common notation for vocal music, Displaying chords, 譜を表示する, Keyboard and other multi-staff instruments, Placing lyrics vertically, Stanzas.
Snippets: Vocal music.
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[ < References for songs ] | [ 上へ : Songs ] | [ Choral > ] |
Lead sheets
Lead sheets may be printed by combining vocal parts and ‘chord mode’; this syntax is explained in Chord notation.
Selected Snippets
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 __ } >>
参照
Notation Reference: Chord notation.
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[ < Lead sheets ] | [ 上へ : Vocal music ] | [ References for choral > ] |
2.1.5 Choral
This section discusses notation issues that relate most directly to choral music. This includes anthems, part songs, oratorio, etc.
References for choral | ||
Score layouts for choral | ||
Divided voices |
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[ < Choral ] | [ 上へ : Choral ] | [ Score layouts for choral > ] |
References for choral
Choral music is usually notated on two, three or four staves within
a ChoirStaff
group. Accompaniment, if required, is placed
beneath in a PianoStaff
group, which is usually reduced in
size for a capella choral works. The notes for each vocal
part are placed in a Voice
context, with each staff
being given either a single vocal part (i.e., one Voice
) or
a pair of vocal parts (i.e., two Voice
s).
Words are placed in Lyrics
contexts, either underneath each
corresponding music staff, or one above and one below the music
staff if this contains the music for two parts.
Several common topics in choral music are described fully elsewhere:
- An introduction to creating an SATB vocal score can be found in the Learning Manual, see Four-part SATB vocal score.
- Several templates suitable for various styles of choral music can also be found in the Learning Manual, see Vocal ensembles.
-
For information about
ChoirStaff
andPianoStaff
see 譜をグループ化する. - Shape note heads, as used in Sacred Harp and similar notation, are described in シェイプ符頭.
-
When two vocal parts share a staff the stems, ties, slurs, etc., of
the higher part will be directed up and those of the lower part
down. To do this, use
\voiceOne
and\voiceTwo
. See 単一譜の多声.
定義済みコマンド
\oneVoice
,
\voiceOne
,
\voiceTwo
.
参照
Learning Manual: Four-part SATB vocal score, Vocal ensembles.
Notation Reference: Context layout order, 譜をグループ化する, シェイプ符頭, 単一譜の多声.
Snippets: Vocal music.
Internals Reference: ChoirStaff, Lyrics, PianoStaff.
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[ < References for choral ] | [ 上へ : Choral ] | [ Divided voices > ] |
Score layouts for choral
Choral music containing four staves, with or without piano accompaniment, is usually laid out with two systems per page. Depending on the page size, achieving this may require changes to several default settings. The following settings should be considered:
- The global staff size can be modified to change the overall size of the elements of the score. See Setting the staff size.
- The distances between the systems, the staves and the lyrics can all be adjusted independently. See Vertical spacing.
- The dimensions of the vertical layout variables can be displayed as an aid to adjusting the vertical spacing. This and other possibilities for fitting the music onto fewer pages are described in Fitting music onto fewer pages.
- If the number of systems per page changes from one to two it is customary to indicate this with a system separator mark between the two systems. See Separating systems.
- For details of other page formatting properties, see Page layout.
Dynamic markings by default are placed below the staff, but in
choral music they are usually placed above the staff in order to
avoid the lyrics. The predefined command \dynamicUp
does
this for the dynamic markings in a single Voice
context.
If there are many Voice
contexts this predefined command
would have to be placed in every one. Alternatively its expanded
form can be used to place all dynamic markings in the entire score
above their respective staves, as shown here:
\score { \new ChoirStaff << \new Staff { \new Voice { \relative c'' { g4\f g g g } } } \new Staff { \new Voice { \relative c' { d4 d d\p d } } } >> \layout { \context { \Score \override DynamicText #'direction = #UP \override DynamicLineSpanner #'direction = #UP } } }
定義済みコマンド
\dynamicUp
, \dynamicDown
, \dynamicNeutral
.
参照
Notation Reference: Changing spacing, Displaying spacing, Fitting music onto fewer pages, Page layout, Score layout, Separating systems, Setting the staff size, Using an extra voice for breaks, Vertical spacing.
Internals Reference: VerticalAxisGroup, StaffGrouper.
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[ < Score layouts for choral ] | [ 上へ : Choral ] | [ Opera and stage musicals > ] |
Divided voices
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 } }
参照
Notation Reference: 直線の発想記号.
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[ < Divided voices ] | [ 上へ : Vocal music ] | [ References for opera and stage musicals > ] |
2.1.6 Opera and stage musicals
The music, lyrics and dialogue to opera and stage musicals are usually set out in one or more of the following forms:
- A Conductors’ Score containing the full orchestral and vocal parts, together with libretto cues if there are spoken passages.
- Orchestral Parts containing the music for the individual instruments of the orchestra or band.
- A Vocal Score containing all vocal parts with piano accompaniment. The accompaniment is usually an orchestral reduction, and if so the name of the original orchestral instrument is often indicated. Vocal scores sometimes includes stage directions and libretto cues.
- A Vocal Book containing just the vocal parts (no accompaniment), sometimes combined with the libretto.
- A Libretto containing the extended passages of spoken dialogue usually found in musicals, together with the words to the sung parts. Stage directions are usually included. LilyPond can be used to typeset libretti but as they contain no music alternative methods may be preferable.
The sections in the LilyPond documentation which cover the topics needed to create scores in the styles commonly found in opera and musicals are indicated in the References below. This is followed by sections covering those techniques which are peculiar to typesetting opera and musical scores.
References for opera and stage musicals | ||
Character names | ||
Musical cues | ||
Spoken music | ||
Dialogue over music |
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[ < Opera and stage musicals ] | [ 上へ : Opera and stage musicals ] | [ Character names > ] |
References for opera and stage musicals
- A conductors’ score contains many grouped staves and lyrics. Ways of grouping staves is shown in 譜をグループ化する. To nest groups of staves see ネストされた譜グループ.
- The printing of empty staves in conductors’ scores and vocal scores is often suppressed. To create such a “Frenched score” see 譜を隠す.
- Writing orchestral parts is covered in パートを記述する. Other sections in the Specialist notation chapter may be relevant, depending on the orchestration used. Many instruments are transposing instruments, see 楽器の移調.
- If the number of systems per page changes from page to page it is customary to separate the systems with a system separator mark. See Separating systems.
- For details of other page formatting properties, see Page layout.
-
Dialogue cues and stage directions can be inserted with markup.
See テキスト. Extensive stage directions can be inserted with
a section of stand-alone markup between two
\score
blocks. See 独立したテキスト.
参照
Musical Glossary: Frenched score, Frenched staves, transposing instrument.
Notation Reference: 譜をグループ化する, 譜を隠す, 楽器の移調, ネストされた譜グループ, Page layout, Separating systems, 移調, パートを記述する, テキストを記述する.
Snippets: Vocal music.
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[ < References for opera and stage musicals ] | [ 上へ : Opera and stage musicals ] | [ Musical cues > ] |
Character names
Character names are usually shown to the left of the staff when the staff is dedicated to that character alone:
\score { << \new Staff { \set Staff.vocalName = \markup \smallCaps Kaspar \set Staff.shortVocalName = \markup \smallCaps Kas. \relative c' { \clef "G_8" c4 c c c \break c4 c c c } } \new Staff { \set Staff.vocalName = \markup \smallCaps Melchior \set Staff.shortVocalName = \markup \smallCaps Mel \clef "bass" \relative c' { a4 a a a a4 a a a } } >> }
When two or more characters share a staff the character’s name is usually printed above the staff at the start of every section applying to that character. This can be done with markup. Often a specific font is used for this purpose.
\clef "G_8" c4^\markup \fontsize #1 \smallCaps Kaspar c c c \clef "bass" a4^\markup \fontsize #1 \smallCaps Melchior a a a \clef "G_8" c4^\markup \fontsize #1 \smallCaps Kaspar c c c
Alternatively, if there are many character changes, it may be
easier to set up “instrument” definitions for each character at
the top level so that \instrumentSwitch
can be used to
indicate each change.
\addInstrumentDefinition #"kaspar" #`((instrumentTransposition . ,(ly:make-pitch -1 0 0)) (shortInstrumentName . "Kas.") (clefGlyph . "clefs.G") (clefOctavation . -7) (middleCPosition . 1) (clefPosition . -2) (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar")) (midiInstrument . "voice oohs")) \addInstrumentDefinition #"melchior" #`((instrumentTransposition . ,(ly:make-pitch 0 0 0)) (shortInstrumentName . "Mel.") (clefGlyph . "clefs.F") (clefOctavation . 0) (middleCPosition . 6) (clefPosition . 2) (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior")) (midiInstrument . "voice aahs")) \relative c' { \instrumentSwitch "kaspar" c4 c c c \instrumentSwitch "melchior" a4 a a a \instrumentSwitch "kaspar" c4 c c c }
参照
Notation Reference: 楽器名, Scheme functions, テキスト, Text markup commands.
Extending LilyPond: Markup construction in Scheme.
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[ < Character names ] | [ 上へ : Opera and stage musicals ] | [ Spoken music > ] |
Musical cues
Musical cues can be inserted in Vocal Scores, Vocal Books and Orchestral Parts to indicate what music in another part immediately precedes an entry. Also, cues are often inserted in the piano reduction in Vocal Scores to indicate what each orchestral instrument is playing. This aids the conductor when a full Conductors’ Score is not available.
The basic mechanism for inserting cues is fully explained in the main text, see 他のボイスを引用する and 合図音符をフォーマットする. But when many cues have to be inserted, for example, as an aid to a conductor in a vocal score, the instrument name must be positioned carefully just before and close to the start of the cue notes. The following example shows how this is done.
flute = \relative c'' { s4 s4 e g } \addQuote "flute" { \flute } pianoRH = \relative c'' { c4. g8 % position name of cue-ing instrument just before the cue notes, % and above the staff s1*0^\markup { \right-align { \tiny "Flute" } } \cueDuring "flute" #UP { g4 bes4 } } pianoLH = \relative c { c4 <c' e> e, <g c> } \score { \new PianoStaff << \new Staff { \pianoRH } \new Staff { \clef "bass" \pianoLH } >> }
If a transposing instrument is being quoted the instrument part should
specify its key so the conversion of its cue notes will be done
automatically. The example below shows this transposition for a
B-flat clarinet. The notes in this example are low on the staff so
#DOWN
is specified in \cueDuring
(so the stems are
down) and the instrument name is positioned below the staff. Note
also that the piano right-hand voice is explicitly declared. This
is because the cue notes in this example begin at the start of the
first bar and this would otherwise cause the entire piano right-hand
notes to be placed in a CueVoice
context.
clarinet = \relative c' { \transposition bes fis4 d d c } \addQuote "clarinet" { \clarinet } pianoRH = \relative c'' { \transposition c' % position name of cue-ing instrument below the staff s1*0_\markup { \right-align { \tiny "Clar." } } \cueDuring "clarinet" #DOWN { c4. g8 } g4 bes4 } pianoLH = \relative c { c4 <c' e> e, <g c> } \score { << \new PianoStaff << \new Staff { \new Voice { \pianoRH } } \new Staff { \clef "bass" \pianoLH } >> >> }
From these two examples it is clear that inserting many cues in a Vocal Score would be tedious, and the notes of the piano part would become obscured. However, as the following snippet shows, it is possible to define a music function to reduce the amount of typing and to make the piano notes clearer.
Selected Snippets
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 (parser location 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 s1*0-\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 } >> >> }
参照
Musical Glossary: cue-notes.
Notation Reference: Aligning objects, Direction and placement, 合図音符をフォーマットする, 他のボイスを引用する, Using music functions.
Snippets: Vocal music.
Internals Reference: InstrumentSwitch, CueVoice.
既知の問題と警告
\cueDuring
automatically inserts a CueVoice
context
and all cue notes are placed in that context. This means it is not
possible to have two overlapping sequences of cue notes by this
technique. Overlapping sequences could be entered by explicitly
declaring separate CueVoice
contexts and using
\quoteDuring
to extract and insert the cue notes.
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[ < Musical cues ] | [ 上へ : Opera and stage musicals ] | [ Dialogue over music > ] |
Spoken music
Such effects as ‘parlato’ or ‘Sprechgesang’ require performers to speak without pitch but still with rhythm; these are notated by cross note heads, as demonstrated in 特殊な符頭.
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[ < Spoken music ] | [ 上へ : Opera and stage musicals ] | [ Chants psalms and hymns > ] |
Dialogue over music
Dialogue over music is usually printed over the staves in an italic font, with the start of each phrase keyed in to a particular music moment.
For short interjections a simple markup suffices.
a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a a4 a a a
For longer phrases it may be necessary to expand the music to make the words fit neatly. There is no provision in LilyPond to do this fully automatically, and some manual intervention to layout the page will be necessary.
For long phrases or for passages with a lot of closely packed dialogue, using a Lyrics context will give better results. The Lyrics context should not be associated with a music Voice; instead each section of dialogue should be given an explicit duration. If there is a gap in the dialogue, the final word should be separated from the rest and the duration split between them so that the underlying music spaces out smoothly.
If the dialogue extends for more than one line it will be necessary
to manually insert \break
s and adjust the placing of the
dialogue to avoid running into the right margin. The final word of
the last measure on a line should also be separated out, as above.
Here is an example illustrating how this might be done.
music = \relative c'' { \repeat unfold 3 { a4 a a a } } dialogue = \lyricmode { \markup { \fontsize #1 \upright \smallCaps Abe: "Say this over measures one and" }4*7 "two"4 | \break "and this over measure"4*3 "three"4 | } \score { << \new Lyrics \with { \override LyricText #'font-shape = #'italic \override LyricText #'self-alignment-X = #LEFT } { \dialogue } \new Staff { \new Voice { \music } } >> }
参照
Notation Reference: Manual syllable durations, テキスト.
Internal Reference: LyricText.
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[ < Dialogue over music ] | [ 上へ : Vocal music ] | [ References for chants and psalms > ] |
2.1.7 Chants psalms and hymns
The music and words for chants, psalms and hymns usually follow a well-established format in any particular church. Although the formats may differ from church to church the type-setting problems which arise are broadly similar, and are covered in this section.
References for chants and psalms | ||
Setting a chant | ||
Pointing a psalm | ||
Partial measures in hymn tunes |
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[ < Chants psalms and hymns ] | [ 上へ : Chants psalms and hymns ] | [ Setting a chant > ] |
References for chants and psalms
Typesetting Gregorian chant in various styles of ancient notation is described in Ancient notation.
参照
Notation reference: Ancient notation.
Snippets: Vocal music.
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[ < References for chants and psalms ] | [ 上へ : Chants psalms and hymns ] | [ Pointing a psalm > ] |
Setting a chant
Modern chant settings use modern notation with varying numbers of elements taken from ancient notation. Some of the elements and methods to consider are shown here.
Chants often use quarter notes without stems to indicate the pitch, with the rhythm being taken from the spoken rhythm of the words.
stemOff = { \override Staff.Stem #'transparent = ##t } \relative c' { \stemOff a'4 b c2 | }
Chants often omit the bar lines or use shortened or dotted bar lines to indicate pauses in the music. To omit all bar lines from all staves remove the bar line engraver completely:
\score { \new StaffGroup << \new Staff { \relative c'' { a4 b c2 | a4 b c2 | a4 b c2 | } } \new Staff { \relative c'' { a4 b c2 | a4 b c2 | a4 b c2 | } } >> \layout { \context { \Staff \remove Bar_engraver } } }
Bar lines can also be removed on a staff-by-staff basis:
\score { \new ChoirStaff << \new Staff \with { \remove Bar_engraver } { \relative c'' { a4 b c2 | a4 b c2 | a4 b c2 | } } \new Staff { \relative c'' { a4 b c2 | a4 b c2 | a4 b c2 | } } >> }
To remove bar lines from just a section of music treat it as a
cadenza. If the section is long you may need to insert dummy
bar lines with \bar ""
to show where the line should break.
a4 b c2 | \cadenzaOn a4 b c2 a4 b c2 \bar "" a4 b c2 a4 b c2 \cadenzaOff a4 b c2 | a4 b c2 |
Rests or pauses in chants can be indicated by modified bar lines.
a4 \cadenzaOn b c2 a4 b c2 \bar "'" a4 b c2 a4 b c2 \bar ":" a4 b c2 \bar "dashed" a4 b c2 \bar "||"
Alternatively, the notation used in Gregorian chant for pauses or
rests is sometimes used even though the rest of the notation is
modern. This uses a modified \breathe
mark:
divisioMinima = { \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima \once \override BreathingSign #'Y-offset = #0 \breathe } divisioMaior = { \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior \once \override BreathingSign #'Y-offset = #0 \breathe } divisioMaxima = { \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima \once \override BreathingSign #'Y-offset = #0 \breathe } finalis = { \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis \once \override BreathingSign #'Y-offset = #0 \breathe } \score { \relative c'' { g2 a4 g \divisioMinima g2 a4 g \divisioMaior g2 a4 g \divisioMaxima g2 a4 g \finalis } \layout { \context { \Staff \remove Bar_engraver } } }
Chants usually omit the time signature and often omit the clef too.
\score { \new Staff { \relative c'' { a4 b c2 | a4 b c2 | a4 b c2 | } } \layout { \context { \Staff \remove Bar_engraver \remove Time_signature_engraver \remove Clef_engraver } } }
Chants for psalms in the Anglican tradition are usually either single, with 7 bars of music, or double, with two lots of 7 bars. Each group of 7 bars is divided into two halves, corresponding to the two halves of each verse, usually separated by a double bar line. Only whole and half notes are used. The 1st bar in each half always contains a single chord of whole notes. This is the “reciting note”. Chants are usually centered on the page.
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 } % 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
Some other approaches to setting such a chant are shown in the first of the following snippets.
Selected Snippets
Chant or psalms notation
This form of notation is used for the chant of the Psalms, where verses aren’t always the same length.
stemOn = { \revert Staff.Stem #'transparent } stemOff = { \override Staff.Stem #'transparent = ##t } \score { \new Staff \with { \remove "Time_signature_engraver" } { \key g \minor \cadenzaOn \stemOff a'\breve bes'4 g'4 \stemOn a'2 \bar "||" \stemOff a'\breve g'4 a'4 \stemOn f'2 \bar "||" \stemOff a'\breve^\markup { \italic flexe } \stemOn g'2 \bar "||" } }
Canticles and other liturgical texts may be set more freely, and may use notational elements from ancient music. Often the words are shown underneath and aligned with the notes. If so, the notes are spaced in accordance with the syllables rather than the notes’ durations.
Ancient notation template – modern transcription of gregorian music
This example demonstrates how to do modern transcription of Gregorian music. Gregorian music has no measure, no stems; it uses only half and quarter note heads, and special marks, indicating rests of different length.
\include "gregorian.ly" chant = \relative c' { \set Score.timing = ##f f4 a2 \divisioMinima g4 b a2 f2 \divisioMaior g4( f) f( g) a2 \finalis } verba = \lyricmode { Lo -- rem ip -- sum do -- lor sit a -- met } \score { \new Staff << \new Voice = "melody" \chant \new Lyrics = "one" \lyricsto melody \verba >> \layout { \context { \Staff \remove "Time_signature_engraver" \remove "Bar_engraver" \override Stem #'transparent = ##t } \context { \Voice \override Stem #'length = #0 } \context { \Score barAlways = ##t } } }
参照
Learning Manual: Visibility and color of objects, Vocal ensembles.
Notation Reference: Ancient notation, 小節線, Modifying context plug-ins, Typesetting Gregorian chant, 無韻律の音楽, Visibility of objects.
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[ < Setting a chant ] | [ 上へ : Chants psalms and hymns ] | [ Partial measures in hymn tunes > ] |
Pointing a psalm
The words to an Anglican psalm are usually printed in separate verses centered underneath the chant.
Single chants (with 7 bars) are repeated for every verse. Double chants (with 14 bars) are repeated for every pair of verses. Marks are inserted in the words to show how they should be fitted to the chant. Each verse is divided into two halves. A colon is usually used to indicate this division. This corresponds to the double bar line in the music. The words before the colon are sung to the first three bars of music; the words after the colon are sung to the last four bars.
Single bar lines (or in some psalters an inverted comma or similar
symbol) are inserted between words to indicate where the bar lines
in the music fall. In markup mode a single bar line can be entered
with the bar check symbol, |
.
\markup { \fill-line { \column { \left-align { \line { O come let us sing | unto the | Lord : let } \line { us heartily rejoice in the | strength of | our } \line { sal- | -vation. } } } } }
Other symbols may require glyphs from the fetaMusic
fonts.
For details, see フォント.
tick = \markup { \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma" } \markup { \fill-line { \column { \left-align { \line { O come let us sing \tick unto the \tick Lord : let } \line { us heartily rejoice in the \tick strength of \tick our } \line { sal \tick vation. } } } } }
Where there is one whole note in a bar all the words corresponding to that bar are recited on that one note in speech rhythm. Where there are two notes in a bar there will usually be only one or two corresponding syllables. If there are more that two syllables a dot is usually inserted to indicate where the change in note occurs.
dot = \markup { \raise #0.7 \musicglyph #"dots.dot" } tick = \markup { \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma" } \markup { \fill-line { \column { \left-align { \line { O come let us sing \tick unto \dot the \tick Lord : let } \line { us heartily rejoice in the \tick strength of \tick our } \line { sal \tick vation. } } } } }
In some psalters an asterisk is used to indicate a break in a recited section instead of a comma, and stressed or slightly lengthened syllables are indicated in bold text.
dot = \markup { \raise #0.7 \musicglyph #"dots.dot" } tick = \markup { \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma" } \markup { \fill-line { \column { \left-align { \line { Today if ye will hear his voice * } \line { \concat { \bold hard en } | not your | hearts : as in the pro- } \line { vocation * and as in the \bold day of tempt- | } \line { -ation | in the | wilderness. } } } } }
In other psalters an accent is placed over the syllable to indicate stress.
tick = \markup { \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma" } \markup { \fill-line { \column { \left-align { \line { O come let us \concat { si \combine \tick ng } | unto the | Lord : let } \line { us heartily \concat { rejo \combine \tick ice } in the | strength of | our } \line { sal- | -vation. } } } } }
The use of markup to center text, and arrange lines in columns is described in テキストをフォーマットする.
Most of these elements are shown in one or other of the two verses in the template, see “Psalms” in Vocal ensembles.
参照
Learning Manual: Vocal ensembles.
Notation Reference: フォント, テキストをフォーマットする.
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Partial measures in hymn tunes
Hymn tunes frequently start and end every line of music with
partial measures so that each line of music corresponds exactly
with a line of text. This requires a \partial
command at
the start of the music and \bar "|"
or \bar "||"
commands at the end of each line.
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
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2.1.8 Ancient vocal music
Ancient vocal music is supported, as explained in Ancient notation.
参照
Notation Reference: Ancient notation.
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2.2 Keyboard and other multi-staff instruments
This section discusses several aspects of music notation that are unique to keyboard instruments and other instruments notated on many staves, such as harps and vibraphones. For the purposes of this section this entire group of multi-staff instruments is called “keyboards” for short, even though some of them do not have a keyboard.
2.2.1 Common notation for keyboards | ||
2.2.2 Piano | ||
2.2.3 Accordion | ||
2.2.4 Harp |
2.2.1 Common notation for keyboards
This section discusses notation issues that may arise for most keyboard instruments.
References for keyboards | ||
Changing staff manually | ||
Changing staff automatically | ||
Staff-change lines | ||
Cross-staff stems |
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References for keyboards
Keyboard instruments are usually notated with Piano staves. These
are two or more normal staves coupled with a brace. The same
notation is also used for other keyed instruments.
Organ music is normally written with two staves inside a
PianoStaff
group and third, normal staff for the pedals.
The staves in keyboard music are largely independent, but sometimes voices can cross between the two staves. This section discusses notation techniques particular to keyboard music.
Several common issues in keyboard music are covered elsewhere:
- Keyboard music usually contains multiple voices and the number of voices may change regularly; this is described in 衝突の解決.
- Keyboard music can be written in parallel, as described in 音楽を並列に記述する.
- Dynamics may be placed in a
Dynamics
context, between the twoStaff
contexts to align the dynamic marks on a horizontal line centered between the staves; see 強弱記号. - Fingerings are indicated with 運指の指示.
- Organ pedal indications are inserted as articulations, see List of articulations.
- Vertical grid lines can be shown with グリッド ライン.
- Keyboard music often contains Laissez vibrer ties as well as ties on arpeggios and tremolos, described in タイ.
- Placing arpeggios across multiple voices and staves is covered in アルペジオ.
- Tremolo marks are described in トレモロの繰り返し.
- Several of the tweaks that can occur in keyboard music are demonstrated in Real music example.
- Hidden notes can be used to produce ties that cross voices, as shown in Other uses for tweaks.
参照
Learning Manual: Real music example, Other uses for tweaks.
Notation Reference: 譜をグループ化する, 楽器名, 衝突の解決, 音楽を並列に記述する, 運指の指示, List of articulations, グリッド ライン, タイ, アルペジオ, トレモロの繰り返し.
Internals Reference: PianoStaff.
Snippets: Keyboards.
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Changing staff manually
Voices can be switched between staves manually, using the command
\change Staff = staffname
The string staffname is the name of the staff. It switches
the current voice from its current staff to the staff called
staffname. Typical values for staffname are
"up"
and "down"
, or "RH"
and "LH"
.
The staff to which the voice is being switched must exist at the time of the switch. If necessary, staves should be “kept alive”, see Keeping contexts alive.
Cross-staff notes are beamed automatically:
\new PianoStaff << \new Staff = "up" { <e' c'>8 \change Staff = "down" g8 fis g \change Staff = "up" <g'' c''>8 \change Staff = "down" e8 dis e \change Staff = "up" } \new Staff = "down" { \clef bass % keep staff alive s1 } >>
If the beaming needs to be tweaked, make any changes to the stem directions first. The beam positions are then measured from the center of the staff that is closest to the beam. For a simple example of beam tweaking, see notation Fixing overlapping notation.
Overlapping notation can result when voices cross staves:
\new PianoStaff << \new Staff = "up" { \voiceOne % Make space for fingering in the cross-staff voice \once\override DynamicLineSpanner #'staff-padding = #3.4 e''2\p\< d''\> s1*0\! } \new Staff = "down" << { \clef bass s4. e,8\rest g,2\rest } \\ { c8\( g c' \change Staff = "up" e' g' b'-3 a' g'\) } >> >>
The stem and slur overlap the intervening line of dynamics because automatic collision resolution is suspended for beams, slurs and other spanners that connect notes on different staves, as well as for stems and articulations if their placement is affected by a cross-staff spanner. The resulting collisions must be resolved manually, where necessary, using the methods in Fixing overlapping notation.
既知の問題と警告
Beam collision avoidance does not work for automatic beams that end right before a change in staff. To make the latter work, use manual beaming.
参照
Learning Manual: Fixing overlapping notation.
Notation Reference: 符幹, 自動連桁, Keeping contexts alive.
Snippets: Keyboards.
Internals Reference: Beam, ContextChange.
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Changing staff automatically
Voices can be made to switch automatically between the top and the bottom staff. The syntax for this is
\autochange …music…
This will create two staves inside the current staff group
(usually a PianoStaff
), called "up"
and
"down"
. The lower staff will be in the bass clef by default.
The autochanger switches on the basis of the pitch (middle C is the
turning point), and it looks ahead skipping over rests to switch
in advance.
\new PianoStaff { \autochange { g4 a b c' d'4 r a g } }
A \relative
section that is outside of \autochange
has no effect on the pitches of the music, so if necessary, put
\relative
inside \autochange
.
If additional control is needed over the individual staves, they
can be created manually with the names "up"
and
"down"
. The \autochange
command will then switch
its voice between the existing staves.
Note: If staves are created manually, they must be named
"up"
and "down"
.
For example, staves must be created manually in order to place a key signature in the lower staff:
\new PianoStaff << \new Staff = "up" { \new Voice = "melOne" { \key g \major \autochange \relative c' { g8 b a c b d c e d8 r fis, g a2 } } } \new Staff = "down" { \key g \major \clef bass } >>
参照
Notation Reference: Changing staff manually.
Snippets: Keyboards.
Internals Reference: AutoChangeMusic.
既知の問題と警告
The staff switches may not end up in optimal places. For high quality output, staff switches should be specified manually.
Chords will not be split across the staves; they will be assigned to a staff based on the first note named in the chord construct.
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Staff-change lines
Whenever a voice switches to another staff, a line connecting the notes can be printed automatically:
\new PianoStaff << \new Staff = "one" { \showStaffSwitch c1 \change Staff = "two" b2 a } \new Staff = "two" { \clef bass s1*2 } >>
定義済みコマンド
\showStaffSwitch
,
\hideStaffSwitch
.
参照
Snippets: Keyboards.
Internals Reference: Note_head_line_engraver, VoiceFollower.
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[ < Staff-change lines ] | [ 上へ : Common notation for keyboards ] | [ Piano > ] |
Cross-staff stems
Chords that cross staves may be produced:
\new PianoStaff << \new Staff { \relative c' { f8 e4 d8 d f e4 } } \new Staff { \relative c' { << { \clef bass % stems may overlap the other staff \override Stem #'cross-staff = ##t % extend the stems to reach the other staff \override Stem #'length = #12 % do not print extra flags \override Stem #'flag-style = #'no-flag % prevent beaming as needed a8 g4 f8 f bes\noBeam g4 } \\ { f,2 bes4 c } >> } } >>
Selected Snippets
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. } >> } } >>
参照
Snippets: Keyboards.
Internals Reference: Stem.
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[ < Cross-staff stems ] | [ 上へ : Keyboard and other multi-staff instruments ] | [ Piano pedals > ] |
2.2.2 Piano
This section discusses notation issues that relate most directly to the piano.
Piano pedals |
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[ < Piano ] | [ 上へ : Piano ] | [ Accordion > ] |
Piano pedals
Pianos generally have three pedals that alter the way sound is produced: sustain, sostenuto (sos.), and una corda (U.C.). Sustain pedals are also found on vibraphones and celestas.
c4\sustainOn d e g <c, f a>1\sustainOff c4\sostenutoOn e g c, <bes d f>1\sostenutoOff c4\unaCorda d e g <d fis a>1\treCorde
There are three styles of pedal indications: text, bracket, and mixed. The sustain pedal and the una corda pedal use the text style by default while the sostenuto pedal uses mixed by default.
c4\sustainOn g c2\sustainOff \set Staff.pedalSustainStyle = #'mixed c4\sustainOn g c d d\sustainOff\sustainOn g, c2\sustainOff \set Staff.pedalSustainStyle = #'bracket c4\sustainOn g c d d\sustainOff\sustainOn g, c2 \bar "|."
The placement of the pedal commands matches the physical movement of the sustain pedal during piano performance. Pedalling to the final bar line is indicated by omitting the final pedal off command.
Pedal indications may be placed in a Dynamics
context,
which aligns them on a horizontal line.
参照
Notation Reference: タイ.
Snippets: Keyboards.
Internals Reference: SustainPedal, SustainPedalLineSpanner, SustainEvent, SostenutoPedal, SostenutoPedalLineSpanner, SostenutoEvent, UnaCordaPedal, UnaCordaPedalLineSpanner, UnaCordaEvent, PianoPedalBracket, Piano_pedal_engraver.
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2.2.3 Accordion
This section discusses notation that is unique to the accordion.
Discant symbols |
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[ < Accordion ] | [ 上へ : Accordion ] | [ Harp > ] |
Discant symbols
Accordions are often built with more than one set of reeds that may be in unison with, an octave above, or an octave below the written pitch. Each accordion maker has different names for the shifts that select the various reed combinations, such as oboe, musette, or bandonium, so a system of symbols has come into use to simplify the performance instructions.
Selected Snippets
Accordion-discant symbols
Accordion discant-specific symbols are added using \markup
. The
vertical placement of the symbols can be tweaked by changing the
\raise
arguments.
discant = \markup { \musicglyph #"accordion.discant" } dot = \markup { \musicglyph #"accordion.dot" } \layout { ragged-right = ##t } % 16 voets register accBasson = ^\markup { \combine \discant \raise #0.5 \dot } % een korig 8 en 16 voets register accBandon = ^\markup { \combine \discant \combine \raise #0.5 \dot \raise #1.5 \dot } accVCello = ^\markup { \combine \discant \combine \raise #0.5 \dot \combine \raise #1.5 \dot \translate #'(1 . 0) \raise #1.5 \dot } % 4-8-16 voets register accHarmon = ^\markup { \combine \discant \combine \raise #0.5 \dot \combine \raise #1.5 \dot \raise #2.5 \dot } accTrombon = ^\markup { \combine \discant \combine \raise #0.5 \dot \combine \raise #1.5 \dot \combine \translate #'(1 . 0) \raise #1.5 \dot \translate #'(-1 . 0) \raise #1.5 \dot } % eenkorig 4 en 16 voets register accOrgan = ^\markup { \combine \discant \combine \raise #0.5 \dot \raise #2.5 \dot } accMaster = ^\markup { \combine \discant \combine \raise #0.5 \dot \combine \raise #1.5 \dot \combine \translate #'(1 . 0) \raise #1.5 \dot \combine \translate #'(-1 . 0) \raise #1.5 \dot \raise #2.5 \dot } accAccord = ^\markup { \combine \discant \combine \raise #1.5 \dot \combine \translate #'(1 . 0) \raise #1.5 \dot \combine \translate #'(-1 . 0) \raise #1.5 \dot \raise #2.5 \dot } accMusette = ^\markup { \combine \discant \combine \raise #1.5 \dot \combine \translate #'(1 . 0) \raise #1.5 \dot \translate #'(-1 . 0) \raise #1.5 \dot } accCeleste = ^\markup { \combine \discant \combine \raise #1.5 \dot \translate #'(-1 . 0) \raise #1.5 \dot } accOboe = ^\markup { \combine \discant \combine \raise #1.5 \dot \raise #2.5 \dot } accClarin = ^\markup { \combine \discant \raise #1.5 \dot } accPiccolo = ^\markup { \combine \discant \raise #2.5 \dot } accViolin = ^\markup { \combine \discant \combine \raise #1.5 \dot \combine \translate #'(1 . 0) \raise #1.5 \dot \raise #2.5 \dot } \relative c'' { c4 d\accBasson e f c4 d\accBandon e f c4 d\accVCello e f c4 d\accHarmon e f c4 d\accTrombon e f \break c4 d\accOrgan e f c4 d\accMaster e f c4 d\accAccord e f c4 d\accMusette e f c4 d\accCeleste e f \break c4 d\accOboe e f c4 d\accClarin e f c4 d\accPiccolo e f c4 d\accViolin e f }
参照
Snippets: Keyboards.
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2.2.4 Harp
This section discusses notation issues that are unique to the harp.
References for harps | ||
Harp pedals |
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[ < Harp ] | [ 上へ : Harp ] | [ Harp pedals > ] |
References for harps
Some common characteristics of harp music are covered elsewhere:
- The glissando is the most characteristic harp technique, グリッサンド.
- A bisbigliando is written as a tremelo トレモロの繰り返し.
- Natural harmonics are covered under Harmonics.
- For directional arpeggios and non-arpeggios, see アルペジオ.
参照
Notation Reference: トレモロの繰り返し, グリッサンド, アルペジオ, Harmonics.
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Harp pedals
Harps have seven strings per octave that may be sounded at the natural, flattened, or sharpened pitch. In lever harps, each string is adjusted individually, but in pedal harps every string with the same pitch name is controlled by a single pedal. From the player’s left to right, the pedals are D, C, and B on the left and E, F, G, and A on the right. The position of the pedals may be indicated with text marks:
\textLengthOn cis1_\markup \concat \vcenter { [D \flat C \sharp B|E \sharp F \sharp G A \flat] } c!1_\markup \concat \vcenter { [ C \natural ] }
or pedal diagrams:
\textLengthOn cis1_\markup { \harp-pedal #"^v-|vv-^" } c!1_\markup { \harp-pedal #"^o--|vv-^" }
The \harp-pedal
command accepts a string of characters, where
^
is the highest pedal position (flattened pitch), -
is
the middle pedal position (natural pitch), v
is the lowest pedal
position (sharpened pitch), and |
is the divider. A prefixed
o
will circle the following pedal symbol.
参照
Notation Reference: テキスト スクリプト, Instrument Specific Markup.
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2.3 Unfretted string instruments
This section provides information and references which are helpful when writing for unfretted string instruments, principally orchestral strings.
2.3.1 Common notation for unfretted strings |
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2.3.1 Common notation for unfretted strings
There is little specialist notation for unfretted string instruments. The music is notated on a single staff, and usually only a single voice is required. Two voices might be required for some double-stopped or divisi passages.
References for unfretted strings | ||
Bowing indications | ||
Harmonics | ||
Snap (Bartók) pizzicato |
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[ < Common notation for unfretted strings ] | [ 上へ : Common notation for unfretted strings ] | [ Bowing indications > ] |
References for unfretted strings
Most of the notation which is useful for orchestral strings and other bowed instruments is covered elsewhere:
- Textual indications such as “pizz.” and “arco” are added as simple text – see テキスト スクリプト.
- Fingerings, including the thumb indication, are described in 運指の指示.
- Double stopping is normally indicated by writing a chord, see 和音の音符. Directives for playing chords may be added, see アルペジオ.
- A template for a string quartet can be found in String quartet. Others are shown in the snippets.
参照
Learning Manual: String quartet.
Notation Reference: テキスト スクリプト, 運指の指示, 和音の音符, アルペジオ.
Snippets: Unfretted strings.
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[ < References for unfretted strings ] | [ 上へ : Common notation for unfretted strings ] | [ Harmonics > ] |
Bowing indications
Bowing indications are created as articulations, which are described in アーティキュレーションと装飾.
The bowing commands, \upbow
and \downbow
, are used
with slurs as follows:
c4(\downbow d) e(\upbow f)
and the following example shows three ways in which an open A string on a violin might be indicated:
a4 \open a^\markup { \teeny "II" } a2^\markup { \small "sul A" }
定義済みコマンド
\downbow
,
\upbow
,
\open
.
参照
Notation Reference: アーティキュレーションと装飾, スラー.
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[ < Bowing indications ] | [ 上へ : Common notation for unfretted strings ] | [ Snap (Bartok) pizzicato > ] |
Harmonics
Natural harmonics
Natural harmonics can be notated in several ways. A diamond-shaped note head generally means to touch the string where you would stop the note if it were not a diamond.
d4 e4. \harmonicsOn d8 e e d4 e4. \harmonicsOff d8 e e
Alternatively a normal note head is shown at the pitch to be sounded together with a small circle to indicate it should be played as a harmonic:
d2^\flageolet d_\flageolet
A smaller circle may be created, see the snippet list in References for unfretted strings.
Artificial harmonics
Artificial harmonics are notated with two notes, one with a normal note head indicating the stopped position and one with an open diamond note head to indicate the harmonic position.
Artificial harmonics indicated with \harmonic
do not show the
dots. The context property harmonicDots
should be set if
dots are required.
<e a\harmonic>2. <c g'\harmonic>4 \set harmonicDots = ##t <e a\harmonic>2. <c g'\harmonic>4
Note: \harmonic
must be placed inside a
chord construct even if there is only a single note. Normally
\harmonicsOn
would be used in this situation.
参照
Music Glossary: harmonics.
Notation Reference: 特殊な符頭, References for unfretted strings.
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[ < Harmonics ] | [ 上へ : Common notation for unfretted strings ] | [ Fretted string instruments > ] |
Snap (Bartók) pizzicato
A snap pizzicato (also known as “Bartok pizz”) is a type of pizzicato where the string is deliberately plucked upwards (rather than sideways) such that it hits the fingerboard.
c4\snappizzicato <c' e g>4\snappizzicato <c' e g>4^\snappizzicato <c, e g>4_\snappizzicato
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2.4 Fretted string instruments
This section discusses several aspects of music notation that are unique to fretted string instruments.
2.4.1 Common notation for fretted strings | ||
2.4.2 Guitar | ||
2.4.3 Banjo |
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[ < Fretted string instruments ] | [ 上へ : Fretted string instruments ] | [ References for fretted strings > ] |
2.4.1 Common notation for fretted strings
This section discusses common notation that is unique to fretted string instruments.
References for fretted strings | ||
String number indications | ||
Default tablatures | ||
Custom tablatures | ||
Fret diagram markups | ||
Predefined fret diagrams | ||
Automatic fret diagrams | ||
Right-hand fingerings |
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[ < Common notation for fretted strings ] | [ 上へ : Common notation for fretted strings ] | [ String number indications > ] |
References for fretted strings
Music for fretted string instruments is normally notated on
a single staff, either in traditional music notation or in
tablature. Sometimes the two types are combined, and it is
especially common in popular music to use chord diagrams above
a staff of traditional notation. The guitar and the banjo are
transposing instruments, sounding an octave lower than written.
Scores for these instruments should use the "treble_8"
clef
(or \transposition c
to get correct MIDI output).
Some other elements pertinent to fretted string instruments
are covered elsewhere:
- Fingerings are indicated as shown in 運指の指示.
- Instructions for Laissez vibrer ties as well as ties on arpeggios and tremolos can be found in タイ.
- Instructions for handling multiple voices can be found in 衝突の解決.
- Instructions for indicating harmonics can be found in Harmonics.
参照
Notation Reference: 運指の指示, タイ, 衝突の解決, 楽器名, 音楽を並列に記述する, アルペジオ, List of articulations, 音部記号, 楽器の移調.
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[ < References for fretted strings ] | [ 上へ : Common notation for fretted strings ] | [ Default tablatures > ] |
String number indications
The string on which a note should be played may be indicated by
appending \number
to a note inside a chord construct
<>
.
Note: String numbers must be defined inside a chord construct even if there is only a single note.
\clef "treble_8" <c\5>4 <e\4> <g\3>2 <c,\5 e\4 g\3>1
When fingerings and string indications are used together, their placement is controlled by the order in which the two items appear in the code:
\clef "treble_8" <g\3-0>2 <g-0\3>
Selected Snippets
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 }
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> }
参照
Notation Reference: 運指の指示.
Snippets: Fretted strings.
Internals Reference: StringNumber, Fingering.
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[ < String number indications ] | [ 上へ : Common notation for fretted strings ] | [ Custom tablatures > ] |
Default tablatures
Music for plucked string instruments is frequently notated using a finger/touch notation or tablature. In contrast to traditional notation pitches are not denoted with note heads, but by numbers (or letter-like symbols in historical intavolatura). The staff lines in tablature indicate the string on which the note is to be played, and a number placed on a staff line indicated the fret at which the corresponding string is to be pressed. Notes that are to be played simultaneously are vertically aligned.
By default, string 1 is the highest string, and corresponds to the top
line on the TabStaff
. The tuning of the TabStaff
strings defaults to the
standard guitar tuning (with 6 strings). The notes are printed as
tablature, by using TabStaff
and TabVoice
contexts. A
calligraphic tablature clef is added automatically.
\new TabStaff \relative c' { a,8 a' <c e> a d,8 a' <d f> a }
Default tablatures do not contain any symbols for tone duration nor any other musical symbols such as e.g. expressive marks.
symbols = { \time 3/4 c4-.^"Allegro" d( e) f4-.\f g a^\fermata \mark \default c8_.\<\( c16 c~ c2\! c'2.\prall\) } \score { << \new Staff { \clef "G_8" \symbols } \new TabStaff { \symbols } >> }
If all musical symbols used in traditional notation should also show up
in tablature one has to apply the command \tabFullNotation
in a
TabStaff
-context. Please bear in mind that half notes are
double-stemmed in tablature in order to distinguish them from quarter
notes.
symbols = { \time 3/4 c4-.^"Allegro" d( e) f4-.\f g a^\fermata \mark \default c8_.\<\( c16 c~ c2\! c'2.\prall\) } \score { \new TabStaff { \tabFullNotation \symbols } }
By default pitches are assigned to the lowest playing position on the
fret-board (first position). Open strings are automatically preferred.
If you would like a certain pitch to be played on a specific string
you can add a string number indication to the pitch name. If you
define pitch names and string numbers without a chord construct
(<>
) the string number indications do not appear in traditional
notation. It is much more comfortable to define the playing position
by using the value of minimumFret
. The default value for
minimumFret is 0.
\new StaffGroup << \new Staff \relative c { \clef "treble_8" \time 2/4 c16 d e f g4 c,16\5 d\5 e\4 f\4 g4\4 c,16 d e f g4 } \new TabStaff \relative c { c16 d e f g4 c,16\5 d\5 e\4 f\4 g4\4 \set TabStaff.minimumFret = #5 c,16 d e f g4 } >>
Chord constructs can be repeated by the chord repetition symbol
q
. To use this feature in combination with tablature,
\tabChordRepetition
is provided. It preserves the string
information explicitly given within chord constructs so repeated chords
get identical tablature representations.
\tabChordRepetition guitar = \relative c' { r8 <gis\4 cis\3 b\2>~ q4 q8~ q q4 } \new StaffGroup << \new Staff { \clef "treble_8" \override Voice.StringNumber #'transparent = ##t \guitar } \new TabStaff { \guitar } >>
Ties over a line break are parenthesized by default. The same holds for the second alternative of a repeat.
ties = \relative c' { \repeat volta 2 { e2. f4~ f2 g2~ } \alternative { { g4 f2. } { g4\repeatTie c,2. } } b1~ \break b1 \bar "|." } \score { << \new StaffGroup << \context Staff { \clef "treble_8" \ties } \context TabStaff { \ties } >> >> \layout { indent = #0 ragged-right = ##t } }
The command \hideSplitTiedTabNotes
cancels the behavior of
engraving fret numbers in parentheses:
ties = \relative c' { \repeat volta 2 { e2. f4~ f2 g2~ } \alternative { { g4 f2. } { g4\repeatTie c,2. } } b1~ \break b1 \bar "|." } \score { << \new StaffGroup << \context Staff { \clef "treble_8" \ties } \context TabStaff { \hideSplitTiedTabNotes \ties } >> >> \layout { indent = #0 ragged-right = ##t } }
Harmonic indications can be added to tablature notation as sounding pitches:
firstHarmonic = { <d'\4\harmonic>4 <g'\3\harmonic>4 <b'\2\harmonic>2 } \score { << \new Staff { \firstHarmonic } \new TabStaff { \firstHarmonic } >> }
Note that the command \harmonic
must always be defined
inside a chord construct. It only makes sense for open-string harmonics
in the 12th fret. All other harmonics should be calculated by LilyPond.
This can be achieved by indicating the fret where a finger of the
fretting hand should touch a string.
fretHarmonics = { \harmonicByFret #5 d16\4 \harmonicByFret #4 d16\4 \harmonicByFret #3 d8\4 \harmonicByFret #5 <g\3 b\2>2. } \score { << \new Staff { \fretHarmonics } \new TabStaff { \fretHarmonics } >> }
Alternatively, harmonics can be computed by defining the ratio of string lengths above and below the harmonic fingering.
ratioHarmonics = { \harmonicByRatio #1/2 <g\3 b\2 e'\1>4 \harmonicByRatio #1/3 <g\3 b\2 e'\1>4 \harmonicByRatio #1/4 { g8\3 b8\2 e'4\1 } } \score { << \new Staff { \ratioHarmonics } \new TabStaff { \ratioHarmonics } >> }
Selected Snippets
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 #'damping = #+inf.0 g,,16 b d g b d g b } }
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 >> >> >> }
Reference for open-string harmonics
Reference for open-string harmonics:
openStringHarmonics = { %first harmonic \harmonicByFret #12 e,2\6_\markup{"1st harm."} \harmonicByRatio #1/2 e,\6 %second harmonic \harmonicByFret #7 e,\6_\markup{"2nd harm. - - - -"} \harmonicByRatio #1/3 e,\6 \harmonicByFret #19 e,\6 \harmonicByRatio #2/3 e,\6 %\harmonicByFret #19 < e,\6 a,\5 d\4 > %\harmonicByRatio #2/3 < e,\6 a,\5 d\4 > %third harmonic \harmonicByFret #5 e,\6_\markup{"3rd harm. - - - -"} \harmonicByRatio #1/4 e,\6 \harmonicByFret #24 e,\6 \harmonicByRatio #3/4 e,\6 \break %fourth harmonic \harmonicByFret #4 e,\6_\markup{"4th harm. - - - - - - - - - - - - -"} \harmonicByRatio #1/5 e,\6 \harmonicByFret #9 e,\6 \harmonicByRatio #2/5 e,\6 \harmonicByFret #16 e,\6 \harmonicByRatio #3/5 e,\6 %fifth harmonic \harmonicByFret #3 e,\6_\markup{"5th harm."} \harmonicByRatio #1/6 e,\6 \break %sixth harmonic \harmonicByFret #2.7 e,\6_\markup{"6th harm."} \harmonicByRatio #1/7 e,\6 %seventh harmonic \harmonicByFret #2.3 e,\6_\markup{"7th harm."} \harmonicByRatio #1/8 e,\6 %eighth harmonic \harmonicByFret #2 e,\6_\markup{"8th harm."} \harmonicByRatio #1/9 e,\6 } \score { << \new Staff { \new Voice { \clef "treble_8" \openStringHarmonics } } \new TabStaff { \new TabVoice { \openStringHarmonics } } >> }
Fretted-string harmonics in tablature
Fretted-string harmonics:
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 { \new Voice { \clef "treble_8" \harmonics } } \new TabStaff { \new TabVoice { \frettedStrings } } >> }
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\3\glissando } \unHideNotes c'4\3 \afterGrace d'4\3\glissando { \stemDown \hideNotes g16\3 } \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 } } }
Chord glissando in tablature
Slides for chords can be indicated in both Staff and TabStaff.
String numbers are necessary for TabStaff because automatic
string calculations are different for chords and for single notes,
and \chordGlissando
draws lines between single notes.
myMusic = \relative c' { \chordGlissando <c\3 e\2 g\1>8 <f\3 a\2 c\1> } \score { << \new Staff { \clef "treble_8" \myMusic } \new TabStaff { \myMusic } >> }
参照
Notation Reference: 符幹, Harmonics, グリッサンド.
Snippets: Fretted strings.
Internals Reference: TabNoteHead, TabStaff, TabVoice, Beam.
既知の問題と警告
Chords are not handled in a special way, and hence the automatic string selector may easily select the same string for two notes in a chord.
In order to handle \partcombine
, a TabStaff
must use
specially-created voices:
melodia = \partcombine { e4 g g g } { e4 e e e } << \new TabStaff << \new TabVoice = "one" s1 \new TabVoice = "two" s1 \new TabVoice = "shared" s1 \new TabVoice = "solo" s1 { \melodia } >> >>
Guitar special effects are limited to harmonics and slides.
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Custom tablatures
LilyPond tablature automatically calculates the fret for
a note based on the string to which the note is assigned.
In order to do this, the tuning of the strings must be
specified. The tuning of the strings is given in the
stringTunings
property.
LilyPond comes with predefined string tunings for banjo, mandolin, guitar, bass guitar, ukulele, violin, viola, cello, and double bass. LilyPond automatically sets the correct transposition for predefined tunings. The following example is for bass guitar, which sounds an octave lower than written.
<< \new Staff { \clef "bass_8" \relative c, { c4 d e f } } \new TabStaff { \set TabStaff.stringTunings = #bass-tuning \relative c, { c4 d e f } } >>
The default string tuning is guitar-tuning
, which
is the standard EADGBE tuning. Some other predefined tunings are
guitar-open-g-tuning
, mandolin-tuning
and
banjo-open-g-tuning
. The predefined string tunings
are found in ‘ly/string-tuning-init.ly’.
Any desired string tuning can be created. The
\contextStringTuning
function can be
used to define a string tuning and set it as the
stringTunings
for the current context.
\contextStringTuning
takes two arguments: the
symbol in which the string tuning will be stored,
and a chord construct
that defines the pitches of each string in the tuning.
The chord construct must be in absolute octave mode,
see 絶対オクターブ入力. The string
with the highest number (generally the lowest string) must
come first in the chord. For example, we can
define a string tuning for a four-string instrument with pitches
of a''
, d''
, g'
, and c'
:
mynotes = { c'4 e' g' c'' | e''4 g'' b'' c''' } << \new Staff { \clef treble \mynotes } \new TabStaff { \contextStringTuning #'custom-tuning <c' g' d'' a''> \mynotes } >>
The stringTunings
property is also used by
FretBoards
to calculate automatic fret diagrams.
String tunings are used as part of the hash key
for predefined fret diagrams
(see Predefined fret diagrams). The \makeStringTuning
function is used to create a string tuning without setting the
stringTunings
property in the current context. The
arguments to \makeStringTuning
are the symbol to be
used for the new string tuning and a chord construct used
to define the tuning.
The previous example could also be written as follows:
\makeStringTuning #'custom-tuning <c' g' d'' a''> mynotes = { c'4 e' g' c'' | e''4 g'' b'' c''' } << \new Staff { \clef treble \mynotes } \new TabStaff { \set TabStaff.stringTunings = #custom-tuning \mynotes } >>
Internally, a string tuning is a Scheme list of string pitches, one for each string, ordered by string number from 1 to N, where string 1 is at the top of the tablature staff and string N is at the bottom. This ordinarily results in ordering from highest pitch to lowest pitch, but some instruments (e.g. ukulele) do not have strings ordered by pitch.
A string pitch in a string tuning list is a LilyPond pitch
object. Pitch objects are created with the Scheme function
ly:make-pitch
(see Scheme functions).
If desired, a string tuning can be created as a Scheme literal. The example below recreates the examples above, but the string tuning is not saved as a separate object:
mynotes = { c'4 e' g' c'' | e''4 g'' b'' c''' } << \new Staff { \clef treble \mynotes } \new TabStaff { \set TabStaff.stringTunings = #`(,(ly:make-pitch 1 5 0) ,(ly:make-pitch 1 1 0) ,(ly:make-pitch 0 4 0) ,(ly:make-pitch 0 0 0)) \mynotes } >>
LilyPond automatically calculates the number of lines in the
TabStaff
and the number of strings in an automatically
calculated FretBoard
as the number of elements
in stringTunings
.
A modern tab clef can also be used.
\new TabStaff { \clef moderntab <a, e a>1 \break \clef tab <a, e a>1 }
The modern tab clef supports tablatures from 4 to 7 strings.
参照
Notation Reference: 絶対オクターブ入力, Predefined fret diagrams, Scheme functions.
Installed Files: ‘ly/string-tuning-init.ly’ ‘scm/tablature.scm’.
Snippets: Fretted strings.
Internals Reference: Tab_note_heads_engraver.
既知の問題と警告
Automatic tablature calculations do not work properly in most cases for instruments where string pitches do not vary monotonically with string number, such as ukuleles.
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Fret diagram markups
Fret diagrams can be added to music as a markup to the desired note. The markup contains information about the desired fret diagram. There are three different fret-diagram markup interfaces: standard, terse, and verbose. The three interfaces produce equivalent markups, but have varying amounts of information in the markup string. Details about the syntax of the different markup strings used to define fret diagrams are found at Instrument Specific Markup.
The standard fret diagram markup string indicates the string number and the fret number for each dot to be placed on the string. In addition, open and unplayed (muted) strings can be indicated.
<< \context ChordNames { \chordmode { c1 d:m } } \context Staff { \clef "treble_8" <c e g c' e'>1^\markup { \fret-diagram #"6-x;5-3;4-2;3-o;2-1;1-o;" } <d a d' f'>1^\markup { \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-1;" } } >>
Barre indications can be added to the diagram from the fret-diagram markup string.
<< \context ChordNames { \chordmode { f1 g } } \context Staff { \clef "treble_8" <f, c f a c' f'>1^\markup { \fret-diagram #"c:6-1-1;6-1;5-3;4-3;3-2;2-1;1-1;" } <g, d g b d' g'>1^\markup { \fret-diagram #"c:6-1-3;6-3;5-5;4-5;3-4;2-3;1-3;" } } >>
The size of the fret diagram, and the number of frets in the diagram can be changed in the fret-diagram markup string.
<< \context ChordNames { \chordmode { f1 g } } \context Staff { \clef "treble_8" <f, c f a c' f'>1^\markup { \fret-diagram #"s:1.5;c:6-1-1;6-1;5-3;4-3;3-2;2-1;1-1;" } <g, b, d g b g'>1^\markup { \fret-diagram #"h:6;6-3;5-2;4-o;3-o;2-o;1-3;" } } >>
The number of strings in a fret diagram can be changed to accommodate different instruments such as banjos and ukuleles with the fret-diagram markup string.
<< \context ChordNames { \chordmode { a1 } } \context Staff { % An 'A' chord for ukulele a'1^\markup { \fret-diagram #"w:4;4-2-2;3-1-1;2-o;1-o;" } } >>
Fingering indications can be added, and the location of fingering labels can be controlled by the fret-diagram markup string.
<< \context ChordNames { \chordmode { c1 d:m } } \context Staff { \clef "treble_8" <c e g c' e'>1^\markup { \fret-diagram #"f:1;6-x;5-3-3;4-2-2;3-o;2-1-1;1-o;" } <d a d' f'>1^\markup { \fret-diagram #"f:2;6-x;5-x;4-o;3-2-2;2-3-3;1-1-1;" } } >>
Dot radius and dot position can be controlled with the fret-diagram markup string.
<< \context ChordNames { \chordmode { c1 d:m } } \context Staff { \clef "treble_8" <c e g c' e'>1^\markup { \fret-diagram #"d:0.35;6-x;5-3;4-2;3-o;2-1;1-o;" } <d a d' f'>1^\markup { \fret-diagram #"p:0.2;6-x;5-x;4-o;3-2;2-3;1-1;" } } >>
The fret-diagram-terse markup string omits string numbers; the string number is implied by the presence of semicolons. There is one semicolon for each string in the diagram. The first semicolon corresponds to the highest string number and the last semicolon corresponds to the first string. Mute strings, open strings, and fret numbers can be indicated.
<< \context ChordNames { \chordmode { c1 d:m } } \context Staff { \clef "treble_8" <c e g c' e'>1^\markup { \fret-diagram-terse #"x;3;2;o;1;o;" } <d a d' f'>1^\markup { \fret-diagram-terse #"x;x;o;2;3;1;" } } >>
Barre indicators can be included in the fret-diagram-terse markup string.
<< \context ChordNames { \chordmode { f1 g } } \context Staff { \clef "treble_8" <f, c f a c' f'>1^\markup { \fret-diagram-terse #"1-(;3;3;2;1;1-);" } <g, d g b d' g'>1^\markup { \fret-diagram-terse #"3-(;5;5;4;3;3-);" } } >>
Fingering indications can be included in the fret-diagram-terse markup string.
<< \context ChordNames { \chordmode { c1 d:m } } \context Staff { \override Voice.TextScript #'(fret-diagram-details finger-code) = #'below-string \clef "treble_8" <c e g c' e'>1^\markup { \fret-diagram-terse #"x;3-3;2-2;o;1-1;o;" } <d a d' f'>1^\markup { \fret-diagram-terse #"x;x;o;2-2;3-3;1-1;" } } >>
Other fret diagram properties must be adjusted using
\override
when using the fret-diagram-terse markup.
The fret-diagram-verbose markup string is in the format of a Scheme list. Each element of the list indicates an item to be placed on the fret diagram.
<< \context ChordNames { \chordmode { c1 d:m } } \context Staff { \clef "treble_8" <c e g c' e'>1^\markup { \fret-diagram-verbose #'( (mute 6) (place-fret 5 3) (place-fret 4 2) (open 3) (place-fret 2 1) (open 1) ) } <d a d' f'>1^\markup { \fret-diagram-verbose #'( (mute 6) (mute 5) (open 4) (place-fret 3 2) (place-fret 2 3) (place-fret 1 1) ) } } >>
Fingering indications and barres can be included in a fret-diagram-verbose markup string. Unique to the fret-diagram-verbose interface is a capo indication that can be placed on the fret diagram. The capo indication is a thick bar that covers all strings. The fret with the capo will be the lowest fret in the fret diagram.
<< \context ChordNames { \chordmode { f1 g c } } \context Staff { \clef "treble_8" \override Voice.TextScript #'(fret-diagram-details finger-code) = #'below-string <f, c f a c' f'>1^\markup { \fret-diagram-verbose #'( (place-fret 6 1) (place-fret 5 3) (place-fret 4 3) (place-fret 3 2) (place-fret 2 1) (place-fret 1 1) (barre 6 1 1) ) } <g, b, d g b g'>1^\markup { \fret-diagram-verbose #'( (place-fret 6 3 2) (place-fret 5 2 1) (open 4) (open 3) (open 2) (place-fret 1 3 3) ) } <c e g c' e'>1^\markup { \fret-diagram-verbose #'( (capo 3) (mute 6) (place-fret 4 5 1) (place-fret 3 5 2) (place-fret 2 5 3) ) } } >>
All other fret diagram properties must be adjusted using
\override
when using the fret-diagram-verbose markup.
The graphical layout of a fret diagram can be customized according to
user preference through the properties of the
fret-diagram-interface
. Details are found at
fret-diagram-interface. For a fret diagram
markup, the interface properties belong to Voice.TextScript
.
Selected Snippets
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' } >>
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;" } } } >>
参照
Notation Reference: Instrument Specific Markup.
Snippets: Fretted strings.
Internals Reference: fret-diagram-interface.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Fret diagram markups ] | [ 上へ : Common notation for fretted strings ] | [ Automatic fret diagrams > ] |
Predefined fret diagrams
Fret diagrams can be displayed using the FretBoards
context. By
default, the FretBoards
context will display fret diagrams that
are stored in a lookup table:
\include "predefined-guitar-fretboards.ly" \context FretBoards { \chordmode { c1 d } }
The default predefined fret diagrams are contained in the file
‘predefined-guitar-fretboards.ly’. Fret diagrams are
stored based on the pitches of a chord and the value of
stringTunings
that is currently in use.
‘predefined-guitar-fretboards.ly’ contains predefined
fret diagrams only for guitar-tuning
. Predefined fret
diagrams can be added for other instruments or other tunings
by following the examples found in
‘predefined-guitar-fretboards.ly’.
Fret diagrams for the ukulele are contained in the file ‘predefined-ukulele-fretboards.ly’.
\include "predefined-ukulele-fretboards.ly" myChords = \chordmode { a1 a:m a:aug } \new ChordNames { \myChords } \new FretBoards { \set stringTunings = #ukulele-tuning \myChords }
Fret diagrams for the mandolin are contained in the file ‘predefined-mandolin-fretboards.ly’.
\include "predefined-mandolin-fretboards.ly" myChords = \chordmode { c1 c:m7.5- c:aug } \new ChordNames { \myChords } \new FretBoards { \set stringTunings = #mandolin-tuning \myChords }
Chord pitches can be entered either as simultaneous music or using chord mode (see Chord mode overview).
\include "predefined-guitar-fretboards.ly" \context FretBoards { \chordmode { c1 } <c' e' g'>1 }
It is common that both chord names and fret diagrams are displayed together.
This is achieved by putting a ChordNames
context in parallel with
a FretBoards
context and giving both contexts the same music.
\include "predefined-guitar-fretboards.ly" mychords = \chordmode{ c1 f g } << \context ChordNames { \mychords } \context FretBoards { \mychords } >>
Predefined fret diagrams are transposable, as long as a diagram for the transposed chord is stored in the fret diagram table.
\include "predefined-guitar-fretboards.ly" mychords = \chordmode{ c1 f g } mychordlist = { \mychords \transpose c e { \mychords } } << \context ChordNames { \mychordlist } \context FretBoards { \mychordlist } >>
The predefined fret diagram table for guitar contains eight chords (major, minor, augmented, diminished, dominant seventh, major seventh, minor seventh, dominant ninth) for each of 17 keys. The predefined fret diagram table for ukulele contains these chords plus an additional three chords (major sixth, suspended second, and suspended fourth). A complete list of the predefined fret diagrams is shown in Predefined fretboard diagrams. If there is no entry in the table for a chord, the FretBoards engraver will calculate a fret-diagram using the automatic fret diagram functionality described in Automatic fret diagrams.
\include "predefined-guitar-fretboards.ly" mychords = \chordmode{ c1 c:maj9 } << \context ChordNames { \mychords } \context FretBoards { \mychords } >>
Fret diagrams can be added to the fret diagram table. To add a diagram, you must specify the hash table for the diagram, the chord for the diagram, the tuning to be used, and a definition for the diagram. Normally, the hash table will be default-fret-table. The diagram definition can be either a fret-diagram-terse definition string or a fret-diagram-verbose marking list.
\include "predefined-guitar-fretboards.ly" \storePredefinedDiagram #default-fret-table \chordmode { c:maj9 } #guitar-tuning #"x;3-2;o;o;o;o;" mychords = \chordmode { c1 c:maj9 } << \context ChordNames { \mychords } \context FretBoards { \mychords } >>
Different fret diagrams for the same chord name can be stored using different octaves of pitches. The different octave should be at least two octaves above or below the default octave, because the octaves above and below the default octave are used for transposing fretboards.
\include "predefined-guitar-fretboards.ly" \storePredefinedDiagram #default-fret-table \chordmode { c'' } #guitar-tuning #(offset-fret 2 (chord-shape 'bes guitar-tuning)) mychords = \chordmode { c1 c'' } << \context ChordNames { \mychords } \context FretBoards { \mychords } >>
In addition to fret diagrams, LilyPond stores an internal list of chord shapes. The chord shapes are fret diagrams that can be shifted along the neck to different positions to provide different chords. Chord shapes can be added to the internal list and then used to define predefined fret diagrams. Because they can be moved to various positions on the neck, chord shapes will normally not contain any open strings. Like fret diagrams, chord shapes can be entered as either fret-diagram-terse strings or fret-diagram-verbose marking lists.
\include "predefined-guitar-fretboards.ly" % Add a new chord shape \addChordShape #'powerf #guitar-tuning #"1-1;3-3;3-4;x;x;x;" % add some new chords based on the power chord shape \storePredefinedDiagram #default-fret-table \chordmode { f'' } #guitar-tuning #(chord-shape 'powerf guitar-tuning) \storePredefinedDiagram #default-fret-table \chordmode { g'' } #guitar-tuning #(offset-fret 2 (chord-shape 'powerf guitar-tuning)) mychords = \chordmode{ f1 f'' g g'' } << \context ChordNames { \mychords } \context FretBoards { \mychords } >>
The graphical layout of a fret diagram can be customized according to
user preference through the properties of the
fret-diagram-interface
. Details are found at
fret-diagram-interface. For a predefined fret diagram,
the interface properties belong to FretBoards.FretBoard
.
Selected Snippets
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' } >>
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 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 { } }
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 \break } << \new ChordNames { \myChords } \new FretBoards { \myChords } \new Staff { \myChords } >>
Alternate fretboard 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 | } >> } >>
参照
Notation Reference: Custom tablatures, Automatic fret diagrams, Chord mode overview, Predefined fretboard diagrams.
Installed Files: ‘ly/predefined-guitar-fretboards.ly’, ‘ly/predefined-guitar-ninth-fretboards.ly’, ‘ly/predefined-ukulele-fretboards.ly’, ‘ly/predefined-mandolin-fretboards.ly’.
Snippets: Fretted strings.
Internals Reference: fret-diagram-interface.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Predefined fret diagrams ] | [ 上へ : Common notation for fretted strings ] | [ Right-hand fingerings > ] |
Automatic fret diagrams
Fret diagrams can be automatically created from entered notes using the
FretBoards
context. If no predefined diagram is available for
the entered notes in the active stringTunings
, this context
calculates strings and frets that can be used to play the notes.
<< \context ChordNames { \chordmode { f1 g } } \context FretBoards { <f, c f a c' f'>1 <g,\6 b, d g b g'>1 } \context Staff { \clef "treble_8" <f, c f a c' f'>1 <g, b, d g b' g'>1 } >>
As no predefined diagrams are loaded by default, automatic calculation of fret diagrams is the default behavior. Once default diagrams are loaded, automatic calculation can be enabled and disabled with predefined commands:
\storePredefinedDiagram #default-fret-table <c e g c' e'> #guitar-tuning #"x;3-1-(;5-2;5-3;5-4;3-1-1-);" << \context ChordNames { \chordmode { c1 c c } } \context FretBoards { <c e g c' e'>1 \predefinedFretboardsOff <c e g c' e'>1 \predefinedFretboardsOn <c e g c' e'>1 } \context Staff { \clef "treble_8" <c e g c' e'>1 <c e g c' e'>1 <c e g c' e'>1 } >>
Sometimes the fretboard calculator will be unable to find
an acceptable diagram. This can often be remedied by
manually assigning a note to a string. In many cases, only one
note need be manually placed on a string; the rest of
the notes will then be placed appropriately by the
FretBoards
context.
Fingerings can be added to FretBoard fret diagrams.
<< \context ChordNames { \chordmode { c1 d:m } } \context FretBoards { <c-3 e-2 g c'-1 e'>1 <d a-2 d'-3 f'-1>1 } \context Staff { \clef "treble_8" <c e g c' e'>1 <d a d' f'>1 } >>
The minimum fret to be used in calculating strings and frets for
the FretBoard context can be set with the minimumFret
property.
<< \context ChordNames { \chordmode { d1:m d:m } } \context FretBoards { <d a d' f'>1 \set FretBoards.minimumFret = #5 <d a d' f'>1 } \context Staff { \clef "treble_8" <d a d' f'>1 <d a d' f'>1 } >>
The strings and frets for the FretBoards
context depend
on the stringTunings
property, which has the same meaning
as in the TabStaff context. See Custom tablatures for
information on the stringTunings
property.
The graphical layout of a fret diagram can be customized according to
user preference through the properties of the
fret-diagram-interface
. Details are found at
fret-diagram-interface. For a FretBoards
fret
diagram, the interface properties belong to
FretBoards.FretBoard
.
定義済みコマンド
\predefinedFretboardsOff
,
\predefinedFretboardsOn
.
参照
Notation Reference: Custom tablatures.
Snippets: Fretted strings.
Internals Reference: fret-diagram-interface.
既知の問題と警告
Automatic fretboard calculations do not work properly for instruments with non-monotonic tunings.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Automatic fret diagrams ] | [ 上へ : Common notation for fretted strings ] | [ Guitar > ] |
Right-hand fingerings
Right-hand fingerings p-i-m-a must be entered within a
chord construct <>
for them to be printed in the score,
even when applied to a single note.
Note: There must be a hyphen before
\rightHandFinger
and a space before the closing >
.
\clef "treble_8" <c-\rightHandFinger #1 >4 <e-\rightHandFinger #2 > <g-\rightHandFinger #3 > <c-\rightHandFinger #4 > <c,-\rightHandFinger #1 e-\rightHandFinger #2 g-\rightHandFinger #3 c-\rightHandFinger #4 >1
For convenience, you can abbreviate \rightHandFinger
to something
short, for example RH
,
#(define RH rightHandFinger)
Selected Snippets
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 }
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 }
参照
Snippets: Fretted strings.
Internals Reference: StrokeFinger.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Right-hand fingerings ] | [ 上へ : Fretted string instruments ] | [ Indicating position and barring > ] |
2.4.2 Guitar
Most of the notational issues associated with guitar music are covered sufficiently in the general fretted strings section, but there are a few more worth covering here. Occasionally users want to create songbook-type documents having only lyrics with chord indications above them. Since LilyPond is a music typesetter, it is not recommended for documents that have no music notation in them. A better alternative is a word processor, text editor, or, for experienced users, a typesetter like GuitarTeX.
Indicating position and barring | ||
Indicating harmonics and dampened notes | ||
Indicating power chords |
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Guitar ] | [ 上へ : Guitar ] | [ Indicating harmonics and dampened notes > ] |
Indicating position and barring
This example demonstrates how to include guitar position and barring indications.
\clef "treble_8" b16 d g b e \textSpannerDown \override TextSpanner #'(bound-details left text) = #"XII " g16\startTextSpan b16 e g e b g\stopTextSpan e16 b g d
参照
Notation Reference: テキスト スパナ.
Snippets: Fretted strings, Expressive marks.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Indicating position and barring ] | [ 上へ : Guitar ] | [ Indicating power chords > ] |
Indicating harmonics and dampened notes
Special note heads can be used to indicate dampened notes or harmonics. Harmonics are normally further explained with a text markup.
\relative c' { \clef "treble_8" \override Staff.NoteHead #'style = #'harmonic-mixed d^\markup { \italic { \fontsize #-2 { "harm. 12" }}} <g b>1 }
Dampened notes (also called dead notes) are supported within normal and tablature staves:
music = \relative c' { < a\3 \deadNote c\2 a'\1 >4 < b\3 \deadNote d\2 b'\1 > < c\3 \deadNote e\2 c'\1 > \deadNotesOn \times 2/3 { g8 b e } \deadNotesOff < a,\3 c\2 e\1 >1 } \new StaffGroup << \new Staff { \clef "treble_8" \music } \new TabStaff { \music } >>
Another playing technique (especially used on electric guitars) is called palm mute. The string is hereby partly muted by the palm of the striking hand (hence the name). Lilypond supports the notation of palm mute-style notes by changing the note head to a triangle shape.
\new Voice { % Warning: explicit Voice instantiation is % required to have palmMuteOff work properly % when palmMuteOn comes at the beginning of % the piece. \relative c, { \clef "G_8" \palmMuteOn e8^\markup { \musicglyph #"noteheads.u2do" = palm mute } < e b' e > e \palmMuteOff e e \palmMute e e e | e8 \palmMute { e e e } e e e e | < \palmMute e b' e >8 \palmMute { e e e } < \palmMute e b' e >2 } }
参照
Snippets: Fretted strings.
Notation Reference: 特殊な符頭, Note head styles.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Indicating harmonics and dampened notes ] | [ 上へ : Guitar ] | [ Banjo > ] |
Indicating power chords
Power chords and their symbols can be engraved in chord mode or as chord constructs:
ChordsAndSymbols = { \chordmode { \powerChords e,,1:1.5 a,,1:1.5.8 \set minimumFret = #8 c,1:1.5 f,1:1.5.8 } \set minimumFret = #5 <a, e>1 <g d' g'>1 } \score { << \new ChordNames { \ChordsAndSymbols } \new Staff { \clef "treble_8" \ChordsAndSymbols } \new TabStaff { \ChordsAndSymbols } >> }
Power chord symbols are automatically switched off as soon as one of the other common chord modifier is used:
mixedChords = \chordmode { c,1 \powerChords b,,1:1.5 fis,,1:1.5.8 g,,1:m } \score { << \new ChordNames { \mixedChords } \new Staff { \clef "treble_8" \mixedChords } \new TabStaff { \mixedChords } >> }
参照
Music Glossary: power chord.
Notation Reference: Extended and altered chords, Printing chord names.
Snippets: Fretted strings.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Indicating power chords ] | [ 上へ : Fretted string instruments ] | [ Banjo tablatures > ] |
2.4.3 Banjo
Banjo tablatures |
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Banjo ] | [ 上へ : Banjo ] | [ Percussion > ] |
Banjo tablatures
LilyPond has basic support for the five-string banjo. When making tablatures for five-string banjo, use the banjo tablature format function to get correct fret numbers for the fifth string:
\new TabStaff << \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo \set TabStaff.stringTunings = #banjo-open-g-tuning { \stemDown g8 d' g'\5 a b g e d' | g4 d''8\5 b' a'\2 g'\5 e'\2 d' | g4 } >>
A number of common tunings for banjo are predefined in LilyPond:
banjo-c-tuning
(gCGBD), banjo-modal-tuning
(gDGCD),
banjo-open-d-tuning
(aDF#AD) and banjo-open-dm-tuning
(aDFAD).
These tunings may be converted to four-string banjo tunings using the
four-string-banjo
function:
\set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
参照
Snippets: Fretted strings.
Installed Files: ‘scm/string-tunings-init.scm’ contains predefined banjo tunings.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Banjo tablatures ] | [ 上へ : Specialist notation ] | [ Common notation for percussion > ] |
2.5 Percussion
2.5.1 Common notation for percussion |
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Percussion ] | [ 上へ : Percussion ] | [ References for percussion > ] |
2.5.1 Common notation for percussion
Rhythmic music is primarily used for percussion and drum notation, but it can also be used to show the rhythms of melodies.
References for percussion | ||
Basic percussion notation | ||
Drum rolls | ||
Pitched percussion | ||
Percussion staves | ||
Custom percussion staves | ||
Ghost notes |
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Common notation for percussion ] | [ 上へ : Common notation for percussion ] | [ Basic percussion notation > ] |
References for percussion
- Some percussion may be notated on a rhythmic staff; this is discussed in 旋律のリズムを示す, and 新たに譜をインスタンス化する.
- MIDI output is discussed in a separate section; please see Percussion in MIDI.
参照
Notation Reference: 旋律のリズムを示す, 新たに譜をインスタンス化する. Percussion in MIDI.
Snippets: Percussion.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < References for percussion ] | [ 上へ : Common notation for percussion ] | [ Drum rolls > ] |
Basic percussion notation
Percussion notes may be entered in \drummode
mode, which is
similar to the standard mode for entering notes. The simplest way
to enter percussion notes is to use the \drums
command,
which creates the correct context and entry mode for percussion:
\drums { hihat4 hh bassdrum bd }
This is shorthand for:
\new DrumStaff { \drummode { hihat4 hh bassdrum bd } }
Each piece of percussion has a full name and an abbreviated name, and both can be used in input files. The full list of percussion note names may be found in Percussion notes.
Note that the normal notation of pitches (such as cis4
) in a
DrumStaff
context will cause an error message. Percussion clefs
are added automatically to a DrumStaff
context but they can also
be set explicitly. Other clefs may be used as well.
\drums { \clef treble hh4 hh hh hh \break \clef percussion bd4 bd bd bd }
There are a few issues concerning MIDI support for percussion instruments; for details please see Percussion in MIDI.
参照
Notation Reference: Percussion in MIDI, Percussion notes.
File: ‘ly/drumpitch-init.ly’
Snippets: Percussion.
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[ < Basic percussion notation ] | [ 上へ : Common notation for percussion ] | [ Pitched percussion > ] |
Drum rolls
Drum rolls are indicated with three slashes across the stem. For
quarter notes or longer the three slashes are shown explicitly,
eighth notes are shown with two slashes (the beam being the
third), and drum rolls shorter than eighths have one stem slash to
supplement the beams. This is achieved with the tremolo notation,
:32
, as described in トレモロの繰り返し. Here is an
example of some snare rolls:
\drums { \time 2/4 sn16 sn8 sn16 sn8 sn8:32 ~ sn8 sn8 sn4:32 ~ sn4 sn8 sn16 sn16 sn4 r4 }
Sticking can be indicated by placing ^"R"
or ^"L"
after the note. The staff-padding
property may be
overridden to achieve a pleasing baseline.
\drums { \repeat unfold 2 { sn16 ^"L" sn^"R" sn^"L" sn^"L" sn^"R" sn^"L" sn^"R" sn^"R" } }
参照
Snippets: Percussion.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Drum rolls ] | [ 上へ : Common notation for percussion ] | [ Percussion staves > ] |
Pitched percussion
Certain pitched percussion instruments (e.g. xylophone, vibraphone, and timpani) are written using normal staves. This is covered in other sections of the manual.
参照
Notation Reference: Percussion in MIDI.
Snippets: Percussion.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Pitched percussion ] | [ 上へ : Common notation for percussion ] | [ Custom percussion staves > ] |
Percussion staves
A percussion part for more than one instrument typically uses a
multiline staff where each position in the staff refers to one
piece of percussion. To typeset the music, the notes must be
interpreted in DrumStaff
and DrumVoice
context.
up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat } down = \drummode { bassdrum4 snare8 bd r bd sn4 } \new DrumStaff << \new DrumVoice { \voiceOne \up } \new DrumVoice { \voiceTwo \down } >>
The above example shows verbose polyphonic notation. The short polyphonic notation, described in I'm hearing Voices, can also be used. For example,
\new DrumStaff << \drummode { bd4 sn4 bd4 sn4 << { \repeat unfold 16 hh16 } \\ { bd4 sn4 bd4 sn4 } >> } >>
There are also other layout possibilities. To use these, set the
property drumStyleTable
in context DrumVoice
. The
following variables have been predefined:
-
drums-style
This is the default. It typesets a typical drum kit on a five-line staff:
The drum scheme supports six different toms. When there are fewer toms, simply select the toms that produce the desired result. For example, to get toms on the three middle lines you use
tommh
,tomml
, andtomfh
.-
timbales-style
This typesets timbales on a two line staff:
-
congas-style
This typesets congas on a two line staff:
-
bongos-style
This typesets bongos on a two line staff:
-
percussion-style
To typeset all kinds of simple percussion on one line staves:
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Percussion staves ] | [ 上へ : Common notation for percussion ] | [ Ghost notes > ] |
Custom percussion staves
If you do not like any of the predefined lists you can define your own list at the top of your file.
#(define mydrums '( (bassdrum default #f -1) (snare default #f 0) (hihat cross #f 1) (halfopenhihat cross "halfopen" 1) (pedalhihat xcircle "stopped" 2) (lowtom diamond #f 3))) up = \drummode { hh8 hh hhho hhho hhp4 hhp } down = \drummode { bd4 sn bd toml8 toml } \new DrumStaff << \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums) \new DrumVoice { \voiceOne \up } \new DrumVoice { \voiceTwo \down } >>
Selected Snippets
Here are some examples:
Two Woodblocks, entered with wbh (high woodblock) and wbl (low woodblock)
% These lines define the position of the woodblocks in the stave; % if you like, you can change it or you can use special note heads % for the woodblocks. #(define mydrums '((hiwoodblock default #t 3) (lowoodblock default #t -2))) woodstaff = { % This defines a staff with only two lines. % It also defines the positions of the two lines. \override Staff.StaffSymbol #'line-positions = #'(-2 3) % This is necessary; if not entered, the barline would be too short! \override Staff.BarLine #'bar-extent = #'(-1.5 . 1.5) } \new DrumStaff { \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums) % with this you load your new drum style table \woodstaff \drummode { \time 2/4 wbl8 wbl16 wbl wbh8-> wbl | wbl8 wbl16 wbh-> ~ wbh wbl16 r8 | } }
Note that in this special case the length of the barline must
altered with \override Staff.BarLine #'bar-extent #'(from . to)
.
Otherwise it would be too short. And you have also to define the
positions of the two stafflines. For more information about these
delicate things have a look at 譜シンボル.
A tambourine, entered with ‘tamb’:
#(define mydrums '((tambourine default #t 0))) tambustaff = { \override Staff.StaffSymbol #'line-positions = #'( 0 ) \override Staff.BarLine #'bar-extent = #'(-1.5 . 1.5) \set DrumStaff.instrumentName = #"Tambourine" } \new DrumStaff { \tambustaff \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums) \drummode { \time 6/8 tamb8. tamb16 tamb8 tamb tamb tamb | tamb4. tamb8 tamb tamb | % the trick with the scaled duration and the shorter rest % is neccessary for the correct ending of the trill-span! tamb2.*5/6 \startTrillSpan s8 \stopTrillSpan | } }
Music for Tam-Tam (entered with ‘tt’):
#(define mydrums '((tamtam default #t 0))) tamtamstaff = { \override Staff.StaffSymbol #'line-positions = #'( 0 ) \override Staff.BarLine #'bar-extent = #'(-1.5 . 1.5) \set DrumStaff.instrumentName = #"Tamtam" } \new DrumStaff { \tamtamstaff \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums) \drummode { tt 1 \pp \laissezVibrer } }
Two different bells, entered with ‘cb’ (cowbell) and ‘rb’ (ridebell)
#(define mydrums '((ridebell default #t 3) (cowbell default #t -2))) bellstaff = { \override DrumStaff.StaffSymbol #'line-positions = #'(-2 3) \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums) \override Staff.BarLine #'bar-extent = #'(-1.5 . 1.5) \set DrumStaff.instrumentName = #"Different Bells" } \new DrumStaff { \bellstaff \drummode { \time 2/4 rb8 rb cb cb16 rb-> ~ | rb16 rb8 rb16 cb8 cb | } }
Here a short example taken from Stravinsky’s ‘L’histoire du Soldat’.
#(define mydrums '((bassdrum default #t 4) (snare default #t -4) (tambourine default #t 0))) global = { \time 3/8 s4. \time 2/4 s2*2 \time 3/8 s4. \time 2/4 s2 } drumsA = { \context DrumVoice << { \global } { \drummode { \autoBeamOff \stemDown sn8 \stemUp tamb s8 | sn4 \stemDown sn4 | \stemUp tamb8 \stemDown sn8 \stemUp sn16 \stemDown sn \stemUp sn8 | \stemDown sn8 \stemUp tamb s8 | \stemUp sn4 s8 \stemUp tamb } } >> } drumsB = { \drummode { s4 bd8 s2*2 s4 bd8 s4 bd8 s8 } } \layout { indent = #40 } \score { \new StaffGroup << \new DrumStaff { \set DrumStaff.instrumentName = \markup { \column { "Tambourine" "et" "caisse claire s. timbre" } } \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums) \drumsA } \new DrumStaff { \set DrumStaff.instrumentName = #"Grosse Caisse" \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums) \drumsB } >> }
参照
Snippets: Percussion.
Internals Reference: DrumStaff, DrumVoice.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Custom percussion staves ] | [ 上へ : Common notation for percussion ] | [ Wind instruments > ] |
Ghost notes
Ghost notes for drums and percussion may be created using the
\parenthesize
command detailed in 括弧.
However, the default \drummode
does not include the
Parenthesis_engraver
plugin which allows this.
\new DrumStaff \with { \consists "Parenthesis_engraver" } << \context DrumVoice = "1" { s1 } \context DrumVoice = "2" { s1 } \drummode { << { hh8[ hh] <hh sn> hh16 < \parenthesize sn > hh < \parenthesize sn > hh8 <hh sn> hh } \\ { bd4 r4 bd8 bd r8 bd } >> } >>
Also note that you must add chords (< >
brackets)
around each \parenthesize
statement.
参照
Snippets: Percussion.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Ghost notes ] | [ 上へ : Specialist notation ] | [ Common notation for wind instruments > ] |
2.6 Wind instruments
This section includes elements of music notation that arise when writing specifically for wind instruments.
2.6.1 Common notation for wind instruments | ||
2.6.2 Bagpipes | ||
2.6.3 Woodwinds |
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Wind instruments ] | [ 上へ : Wind instruments ] | [ References for wind instruments > ] |
2.6.1 Common notation for wind instruments
This section discusses notation common to most wind instruments.
References for wind instruments | ||
Fingerings |
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[ < Common notation for wind instruments ] | [ 上へ : Common notation for wind instruments ] | [ Fingerings > ] |
References for wind instruments
Many notation issues for wind instruments pertain to breathing and tonguing:
- Breathing can be specified by rests or ブレス記号.
- Legato playing is indicated by スラー.
- Different types of tonguings, ranging from legato to non-legato to staccato are usually shown by articulation marks, sometimes combined with slurs, see アーティキュレーションと装飾 and List of articulations.
- Flutter tonguing is usually indicated by placing a tremolo mark and a text markup on the note. See トレモロの繰り返し.
Other aspects of musical notation that can apply to wind instruments:
- Many wind instruments are transposing instruments, see 楽器の移調.
- The slide glissando are characteristic of the trombone, but other winds may perform keyed or valved glissandi. See グリッサンド.
- Harmonic series glissandi, which are possible on all brass instruments but common for French Horns, are usually written out as 装飾小音符.
- Pitch inflections at the end of a note are discussed in Fall と Doit.
- Key slaps or valve slaps are often shown by the
cross
style of 特殊な符頭. - Woodwinds can overblow low notes to sound harmonics. These are
shown by the
flageolet
articulation. See List of articulations. - The use of brass mutes is usually indicated by a text markup, but
where there are many rapid changes it is better to use the
stopped
andopen
articulations. See アーティキュレーションと装飾 and List of articulations. - Stopped horns are indicated by the
stopped
articulation. See アーティキュレーションと装飾.
Selected Snippets
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 }
参照
Notation Reference: ブレス記号, スラー, アーティキュレーションと装飾, List of articulations, トレモロの繰り返し, 楽器の移調, グリッサンド, 装飾小音符, Fall と Doit, 特殊な符頭,
Snippets: Winds.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < References for wind instruments ] | [ 上へ : Common notation for wind instruments ] | [ Bagpipes > ] |
Fingerings
All wind instruments other than the trombone require the use of several fingers to produce each pitch. Some fingering examples are shown in the snippets below.
Woodwind diagrams can be produced and are described in Woodwind diagrams.
Selected Snippets
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 =#(ly:make-simple-closure `(,+ ,(ly:make-simple-closure (list ly:self-alignment-interface::centered-on-x-parent)) ,(ly:make-simple-closure (list ly:self-alignment-interface::x-aligned-on-self)))) } \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 } }
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 =#(ly:make-simple-closure `(,+ ,(ly:make-simple-closure (list ly:self-alignment-interface::centered-on-x-parent)) ,(ly:make-simple-closure (list ly:self-alignment-interface::x-aligned-on-self)))) } \score { \new Staff \with { \remove "Time_signature_engraver" \override Stem #'stencil = ##f \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 } }
参照
Notation Reference: Woodwind diagrams.
Snippets: Winds.
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[ < Fingerings ] | [ 上へ : Wind instruments ] | [ Bagpipe definitions > ] |
2.6.2 Bagpipes
This section discusses notation common bagpipes.
Bagpipe definitions | ||
Bagpipe example |
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[ < Bagpipes ] | [ 上へ : Bagpipes ] | [ Bagpipe example > ] |
Bagpipe definitions
LilyPond contains special definitions for Scottish, Highland Bagpipe music; to use them, add
\include "bagpipe.ly"
to the top of your input file. This lets you add the special grace notes
common to bagpipe music with short commands. For example, you could
write \taor
instead of
\grace { \small G32[ d G e] }
‘bagpipe.ly’ also contains pitch definitions for the bagpipe
notes in the appropriate octaves, so you do not need to worry about
\relative
or \transpose
.
\include "bagpipe.ly" { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
Bagpipe music nominally uses the key of D Major (even though that
isn’t really true). However, since that is the only key that can be used,
the key signature is normally not written out. To set this up correctly,
always start your music with \hideKeySignature
. If you for some
reason want to show the key signature, you can use \showKeySignature
instead.
Some modern music use cross fingering on c and f to flatten those notes.
This can be indicated by cflat
or fflat
. Similarly, the
piobaireachd high g can be written gflat
when it occurs in light
music.
参照
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Bagpipe definitions ] | [ 上へ : Bagpipes ] | [ Woodwinds > ] |
Bagpipe example
This is what the well known tune Amazing Grace looks like in bagpipe notation.
\include "bagpipe.ly" \layout { indent = 0.0\cm \context { \Score \remove "Bar_number_engraver" } } \header { title = "Amazing Grace" meter = "Hymn" arranger = "Trad. arr." } { \hideKeySignature \time 3/4 \grg \partial 4 a8. d16 \slurd d2 \grg f8[ e32 d16.] \grg f2 \grg f8 e \thrwd d2 \grg b4 \grG a2 \grg a8. d16 \slurd d2 \grg f8[ e32 d16.] \grg f2 \grg e8. f16 \dblA A2 \grg A4 \grg A2 f8. A16 \grg A2 \hdblf f8[ e32 d16.] \grg f2 \grg f8 e \thrwd d2 \grg b4 \grG a2 \grg a8. d16 \slurd d2 \grg f8[ e32 d16.] \grg f2 e4 \thrwd d2. \slurd d2 \bar "|." }
参照
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Bagpipe example ] | [ 上へ : Wind instruments ] | [ Woodwind diagrams > ] |
2.6.3 Woodwinds
This section discusses notation specifically for woodwind instruments.
2.6.3.1 Woodwind diagrams |
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Woodwinds ] | [ 上へ : Woodwinds ] | [ Chord notation > ] |
2.6.3.1 Woodwind diagrams
Woodwind diagrams can be used to indicate the fingering to be used for specific notes and are available for the following instruments:
- piccolo
- flute
- oboe
- clarinet
- bass clarinet
- saxophone
- bassoon
- contrabassoon
Woodwind diagrams are created as markups:
c1^\markup { \woodwind-diagram #'piccolo #'((lh . (gis)) (cc . (one three)) (rh . (ees))) }
Keys can be open, partially-covered, ring-depressed, or fully covered:
\textLengthOn c1^\markup { \center-column { "one quarter" \woodwind-diagram #'flute #'((cc . (one1q)) (lh . ()) (rh . ())) } } c1^\markup { \center-column { "one half" \woodwind-diagram #'flute #'((cc . (one1h)) (lh . ()) (rh . ())) } } c1^\markup { \center-column { "three quarter" \woodwind-diagram #'flute #'((cc . (one3q)) (lh . ()) (rh . ())) } } c1^\markup { \center-column { "ring" \woodwind-diagram #'flute #'((cc . (oneR)) (lh . ()) (rh . ())) } } c1^\markup { \center-column { "full" \woodwind-diagram #'flute #'((cc . (oneF two)) (lh . ()) (rh . ())) } }
Trills are indicated as shaded keys:
c1^\markup { \woodwind-diagram #'bass-clarinet #'((cc . (threeT four)) (lh . ()) (rh . (b fis))) }
A variety of trills can be displayed:
\textLengthOn c1^\markup { \center-column { "one quarter to ring" \woodwind-diagram #'flute #'((cc . (one1qTR)) (lh . ()) (rh . ())) } } c1^\markup { \center-column { "ring to shut" \woodwind-diagram #'flute #'((cc . (oneTR)) (lh . ()) (rh . ())) } } c1^\markup { \center-column { "ring to open" \woodwind-diagram #'flute #'((cc . (oneRT)) (lh . ()) (rh . ())) } } c1^\markup { \center-column { "open to shut" \woodwind-diagram #'flute #'((cc . (oneT)) (lh . ()) (rh . ())) } } c1^\markup { \center-column { "one quarter to three quarters" \woodwind-diagram #'flute #'((cc . (one1qT3q)) (lh . ()) (rh . ())) } }
The list of all possible keys and settings for a given instrument can be displayed on the console or in the log file, although they will not show up in the music output:
#(print-keys-verbose 'flute)
New diagrams can be created by following the patterns in ‘scm/define-woodwind-diagrams.scm’ and ‘scm/display-woodwind-diagrams.scm’. However, this will require Scheme ability and may not be accessible to all users.
定義済みコマンド
Selected Snippets
Woodwind diagrams listing
The following music shows all of the woodwind diagrams currently defined in LilyPond.
\relative c' { \textLengthOn 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 #'() } } }
Graphical and text woodwind diagrams
In may 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))) } }
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 #'() } }
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 on the console and in the log file, but not in the music.
#(print-keys-verbose 'piccolo) #(print-keys-verbose 'flute) #(print-keys-verbose 'flute-b-extension) #(print-keys-verbose 'oboe) #(print-keys-verbose 'clarinet) #(print-keys-verbose 'bass-clarinet) #(print-keys-verbose 'low-bass-clarinet) #(print-keys-verbose 'saxophone) #(print-keys-verbose 'baritone-saxophone) #(print-keys-verbose 'bassoon) #(print-keys-verbose 'contrabassoon)
参照
Installed Files: ‘scm/define-woodwind-diagrams.scm’, ‘scm/display-woodwind-diagrams.scm’.
Snippets: Winds.
Internals Reference: TextScript, instrument-specific-markup-interface.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Woodwind diagrams ] | [ 上へ : Specialist notation ] | [ Chord mode > ] |
2.7 Chord notation
Chords can be entered either as normal notes or in chord mode and displayed using a variety of traditional European chord naming conventions. Chord names and figured bass notation can also be displayed.
2.7.1 Chord mode | ||
2.7.2 Displaying chords | ||
2.7.3 Figured bass |
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Chord notation ] | [ 上へ : Chord notation ] | [ Chord mode overview > ] |
2.7.1 Chord mode
Chord mode is used to enter chords using an indicator of the chord structure, rather than the chord pitches.
Chord mode overview | ||
Common chords | ||
Extended and altered chords |
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Chord mode ] | [ 上へ : Chord mode ] | [ Common chords > ] |
Chord mode overview
Chords can be entered as simultaneous music, as discussed in 和音の音符.
Chords can also be entered in “chord mode”, which is an input mode that focuses on the structures of chords in traditional European music, rather than on specific pitches. This is convenient for those who are familiar with using chord names to describe chords. More information on different input modes can be found at Input modes.
\chordmode { c1 g a g c }
Chords entered using chord mode are music elements, and can be
transposed just like chords entered using simultaneous music.
\chordmode
is absolute, as \relative
has no effect
on chordmode
blocks. However, in \chordmode
the
absolute pitches are one octave higher than in note mode.
Chord mode and note mode can be mixed in sequential music:
<c e g>2 <g b d> \chordmode { c2 f } <c e g>2 <g' b d> \chordmode { f2 g }
参照
Music Glossary: chord.
Notation Reference: 和音の音符, Input modes.
Snippets: Chords.
既知の問題と警告
Predefined shorthands for articulations and ornaments cannot be used on notes in chord mode, see アーティキュレーションと装飾.
When chord mode and note mode are mixed in sequential music, and
chord mode comes first, the note mode will create a new Staff
context:
\chordmode { c2 f } <c e g>2 <g' b d>
To avoid this behavior, explicitly create the Staff
context:
\new Staff { \chordmode { c2 f } <c e g>2 <g' b d> }
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Chord mode overview ] | [ 上へ : Chord mode ] | [ Extended and altered chords > ] |
Common chords
Major triads are entered by including the root and an optional duration:
\chordmode { c2 f4 g }
Minor, augmented, and diminished triads are entered by placing
:
and a quality modifier string after the duration:
\chordmode { c2:m f4:aug g:dim }
Seventh chords can be created:
\chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }
The table below shows the actions of the quality modifiers on triads and seventh chords. The default seventh step added to chords is a minor or flatted seventh, which makes the dominant seventh the basic seventh chord. All alterations are relative to the dominant seventh. A more complete table of modifier usage is found at Common chord modifiers.
Modifier | Action | Example |
None | The default action; produces a major triad. | |
m, m7 | The minor chord. This modifier lowers the 3rd. | |
dim, dim7 | The diminished chord. This modifier lowers the 3rd, 5th and (if present) the 7th step. | |
aug | The augmented chord. This modifier raises the 5th step. | |
maj, maj7 | The major 7th chord. This modifier adds a raised 7th step. The
|
参照
Notation Reference: Common chord modifiers, Extended and altered chords.
Snippets: Chords.
既知の問題と警告
Only one quality modifier should be used per chord, typically on the highest step present in the chord. Chords with more than quality modifier will be parsed without an error or warning, but the results are unpredictable. Chords that cannot be achieved with a single quality modifier should be altered by individual pitches, as described in Extended and altered chords.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Common chords ] | [ 上へ : Chord mode ] | [ Displaying chords > ] |
Extended and altered chords
Chord structures of arbitrary complexity can be created in chord mode. The modifier string can be used to extend a chord, add or remove chord steps, raise or lower chord steps, and add a bass note or create an inversion.
The first number following the :
is taken to be the extent
of the chord. The chord is constructed by sequentially adding
thirds to the root until the specified number has been reached.
Note that the seventh step added as part of an extended chord will be the
minor or flatted seventh, not the major seventh.
If the extent is not a third (e.g., 6), thirds are added up to the
highest third below the extent, and then the step of the extent is
added. The largest possible value for the extent is 13. Any
larger value is interpreted as 13.
\chordmode { c1:2 c:3 c:4 c:5 c1:6 c:7 c:8 c:9 c1:10 c:11 c:12 c:13 c1:14 }
Note that both c:5
and c
produce a C major triad.
Since an unaltered 11 does not sound good when combined with an
unaltered 13, the 11 is removed from a :13
chord (unless it
is added explicitly).
\chordmode { c1:13 c:13.11 c:m13 }
Individual steps can be added to a chord. Additions follow the
extent and are prefixed by a dot (.
). The basic seventh
step added to a chord is the minor or flatted seventh, rather than
the major seventh.
\chordmode { c1:5.6 c:3.7.8 c:3.6.13 }
Added steps can be as high as desired.
\chordmode { c4:5.15 c:5.20 c:5.25 c:5.30 }
Added chord steps can be altered by suffixing a -
or +
sign to the number. To alter a step that is automatically included
as part of the basic chord structure, add it as an altered step.
\chordmode { c1:7+ c:5+.3- c:3-.5-.7- }
Following any steps to be added, a series of steps to be removed
is introduced in a modifier string with a prefix of ^
.
If more than one step is to be removed, the steps to be
removed are separated by .
following the
initial ^
.
\chordmode { c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7 }
The modifier sus
can be added to the modifier string to
create suspended chords. This removes the 3rd step from the chord.
Append either 2
or 4
to add the 2nd or 4th step to the
chord. sus
is equivalent to ^3
; sus4
is
equivalent to .4^3
.
\chordmode { c1:sus c:sus2 c:sus4 c:5.4^3 }
Inversions (putting a pitch other than the root on the bottom of the
chord) and added bass notes can be specified by appending
/
pitch to the chord.
\chordmode { c1 c/g c/f }
A bass note that is part of the chord can be added, instead of
moved as part of an inversion, by using /+
pitch.
\chordmode { c1 c/g c/+g }
Chord modifiers that can be used to produce a variety of standard chords are shown in Common chord modifiers.
参照
Notation Reference: Common chord modifiers.
Snippets: Chords.
既知の問題と警告
Each step can only be present in a chord once. The following
simply produces the augmented chord, since 5+
is
interpreted last.
\chordmode { c1:5.5-.5+ }
Only the second inversion can be created by adding a bass note. The first inversion requires changing the root of the chord.
\chordmode { c'1: c':/g e:6-3-^5 e:m6-^5 }
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Extended and altered chords ] | [ 上へ : Chord notation ] | [ Printing chord names > ] |
2.7.2 Displaying chords
Chords can be displayed by name, in addition to the standard display as notes on a staff.
Printing chord names | ||
Customizing chord names |
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Displaying chords ] | [ 上へ : Displaying chords ] | [ Customizing chord names > ] |
Printing chord names
Chord names are printed in the ChordNames
context:
\new ChordNames { \chordmode { c2 f4. g8 } }
Chords can be entered as simultaneous notes or through the use of chord mode. The displayed chord name will be the same, regardless of the mode of entry, unless there are inversions or added bass notes:
<< \new ChordNames { <c e g>2 <f bes c> <f c' e g>1 \chordmode { c2 f:sus4 c1:/f } } { <c e g>2 <f bes c> <f, c' e g>1 \chordmode { c2 f:sus4 c1:/f } } >>
Rests passed to a ChordNames
context will cause the
noChordSymbol
markup to be displayed.
<< \new ChordNames \chordmode { c1 r1 g1 c1 } \chordmode { c1 r1 g1 c1 } >>
\chords { ... }
is a shortcut notation for
\new ChordNames { \chordmode { ... } }
.
\chords { c2 f4.:m g8:maj7 }
\new ChordNames { \chordmode { c2 f4.:m g8:maj7 } }
Selected Snippets
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 __ } >>
参照
Music Glossary: chord.
Notation Reference: 音楽を並列に記述する.
Snippets: Chords.
Internals Reference: ChordNames, ChordName, Chord_name_engraver, Volta_engraver, Bar_engraver.
既知の問題と警告
Chords containing inversions or altered bass notes are not named properly if entered using simultaneous music.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Printing chord names ] | [ 上へ : Displaying chords ] | [ Figured bass > ] |
Customizing chord names
There is no unique system for naming chords. Different musical traditions use different names for the same set of chords. There are also different symbols displayed for a given chord name. The names and symbols displayed for chord names are customizable.
The basic chord name layout is a system for Jazz music, proposed by Klaus Ignatzek (see Literature list). The chord naming system can be modified as described below. An alternate jazz chord system has been developed using these modifications. The Ignatzek and alternate Jazz notation are shown on the chart in Chord name chart.
In addition to the different naming systems, different note names
are used for the root in different languages. The predefined
variables \germanChords
, \semiGermanChords
,
\italianChords
and \frenchChords
set these variables.
The effect is demonstrated here:
German songbooks may indicate minor chords as lowercase letters,
without any m suffix. This can be obtained by setting the
chordNameLowercaseMinor
property:
\chords { \set chordNameLowercaseMinor = ##t c2 d:m e:m f }
If none of the existing settings give the desired output, the chord name display can be tuned through the following properties.
-
chordRootNamer
-
The chord name is usually printed as a letter for the root with an optional alteration. The transformation from pitch to letter is done by this function. Special note names (for example, the German ‘H’ for a B-chord) can be produced by storing a new function in this property.
-
majorSevenSymbol
-
This property contains the markup object used to follow the output of
chordRootNamer
to identify a major 7 chord. Predefined options arewhiteTriangleMarkup
andblackTriangleMarkup
. -
chordNoteNamer
-
When the chord name contains additional pitches other than the root (e.g., an added bass note), this function is used to print the additional pitch. By default the pitch is printed using
chordRootNamer
. ThechordNoteNamer
property can be set to a specialized function to change this behavior. For example, the bass note can be printed in lower case. -
chordNameSeparator
-
Different parts of a chord name are normally separated by a slash. By setting
chordNameSeparator
, you can use any desired markup for a separator. -
chordNameExceptions
-
This property is a list of pairs. The first item in each pair is a set of pitches used to identify the steps present in the chord. The second item is a markup that will follow the
chordRootNamer
output to create the chord name. -
chordPrefixSpacer
-
The ‘m’ for minor chords is usually printed immediately to the right of the root of the chord. A spacer can be placed between the root and ‘m’ by setting
chordPrefixSpacer
. The spacer is not used when the root is altered.
定義済みコマンド
\whiteTriangleMarkup
,
\blackTriangleMarkup
,
\germanChords
,
\semiGermanChords
,
\italianChords
,
\frenchChords
.
Selected Snippets
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+ }
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 }
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" } } }
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 }
参照
Notation Reference: Chord name chart, Common chord modifiers.
Essay on automated music engraving: Literature list.
Installed Files: ‘scm/chords-ignatzek.scm’, ‘scm/chord-entry.scm’, ‘ly/chord-modifier-init.ly’.
Snippets: Chords.
既知の問題と警告
Chord names are determined from both the pitches that are present
in the chord and the information on the chord structure that may
have been entered in \chordmode
. If the simultaneous pitches
method of entering chords is used, undesired names result from
inversions or bass notes.
myChords = \relative c' { \chordmode { c1 c/g c/f } <c e g>1 <g c e> <f c' e g> } << \new ChordNames { \myChords } \new Staff { \myChords } >>
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Customizing chord names ] | [ 上へ : Chord notation ] | [ Introduction to figured bass > ] |
2.7.3 Figured bass
Figured bass notation can be displayed.
Introduction to figured bass | ||
Entering figured bass | ||
Displaying figured bass |
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Figured bass ] | [ 上へ : Figured bass ] | [ Entering figured bass > ] |
Introduction to figured bass
LilyPond has support for figured bass, also called thorough bass or basso continuo:
<< \new Voice { \clef bass dis4 c d ais g fis} \new FiguredBass { \figuremode { < 6 >4 < 7\+ >8 < 6+ [_!] > < 6 >4 <6 5 [3+] > < _ >4 < 6 5/>4 } } >>
The support for figured bass consists of two parts: there is an
input mode, introduced by \figuremode
, that accepts
entry of bass figures, and there is a context named
FiguredBass
that takes care of displaying
BassFigure
objects. Figured bass can also be displayed
in Staff
contexts.
\figures{ ... }
is a shortcut notation for
\new FiguredBass { \figuremode { ... } }
.
Although the support for figured bass may superficially resemble chord
support, it is much simpler. \figuremode
mode simply
stores the figures and the FiguredBass
context prints them
as entered. There is no conversion to pitches.
参照
Music Glossary: figured bass.
Snippets: Chords.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Introduction to figured bass ] | [ 上へ : Figured bass ] | [ Displaying figured bass > ] |
Entering figured bass
\figuremode
is used to switch the input mode to figure mode.
More information on different input modes can be
found at Input modes.
In figure mode, a group of bass figures is delimited by
<
and >
. The duration is entered after the >
.
\new FiguredBass { \figuremode { <6 4>2 } }
Accidentals (including naturals) can be added to figures:
\figures { <7! 6+ 4-> <5++> <3--> }
Augmented and diminished steps can be indicated:
\figures { <6\+ 5/> <7/> }
A backward slash through a figure (typically used for raised sixth steps) can be created:
\figures { <6> <6\\> }
Vertical spaces and brackets can be included in figures:
\figures { <[12 _!] 8 [6 4]> }
Any text markup can be inserted as a figure:
\figures { <\markup { \tiny \number 6 \super (1) } 5> }
Continuation lines can be used to indicate repeated figures:
<< { \clef bass e4 d c b, e4 d c b, } \figures { \bassFigureExtendersOn <6 4>4 <6 3> <7 3> <7 3> \bassFigureExtendersOff <6 4>4 <6 3> <7 3> <7 3> } >>
In this case, the extender lines replace existing figures, unless the continuation lines have been explicitly terminated.
<< \figures { \bassFigureExtendersOn <6 4>4 <6 4> <6\! 4\!> <6 4> } { \clef bass d4 d c c } >>
The table below summarizes the figure modifiers available.
Modifier | Purpose | Example |
+, -, ! | Accidentals | |
\+, / | Augmented and diminished steps | |
\\ | Raised sixth step | |
\! | End of continuation line |
定義済みコマンド
\bassFigureExtendersOn
,
\bassFigureExtendersOff
.
Selected Snippets
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 }
参照
Snippets: Chords.
Internals Reference: BassFigure, BassFigureAlignment, BassFigureLine, BassFigureBracket, BassFigureContinuation, FiguredBass.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Entering figured bass ] | [ 上へ : Figured bass ] | [ Contemporary music > ] |
Displaying figured bass
Figured bass can be displayed using the FiguredBass
context,
or in most staff contexts.
When displayed in a FiguredBass
context, the vertical location
of the figures is independent of the notes on the staff.
<< \relative c'' { c4 c'8 r8 c,4 c' } \new FiguredBass { \figuremode { <4>4 <10 6>8 s8 <6 4>4 <6 4> } } >>
In the example above, the FiguredBass
context must be
explicitly instantiated to avoid creating a second (empty) staff.
Figured bass can also be added to Staff
contexts
directly. In this case, the vertical position of the
figures is adjusted automatically.
<< \new Staff = myStaff \figuremode { <4>4 <10 6>8 s8 <6 4>4 <6 4> } %% Put notes on same Staff as figures \context Staff = myStaff { \clef bass c4 c'8 r8 c4 c' } >>
When added in a Staff
context, figured bass can be displayed above
or below the staff.
<< \new Staff = myStaff \figuremode { <4>4 <10 6>8 s8 \bassFigureStaffAlignmentDown <6 4>4 <6 4> } %% Put notes on same Staff as figures \context Staff = myStaff { \clef bass c4 c'8 r8 c4 c' } >>
定義済みコマンド
\bassFigureStaffAlignmentDown
,
\bassFigureStaffAlignmentUp
,
\bassFigureStaffAlignmentNeutral
.
参照
Snippets: Chords.
Internals Reference: BassFigure, BassFigureAlignment, BassFigureLine, BassFigureBracket, BassFigureContinuation, FiguredBass.
既知の問題と警告
To ensure that continuation lines work properly, it is safest to use the same rhythm in the figure line as in the bass line.
<< { \clef bass \repeat unfold 4 { f16. g32 } f8. es16 d8 es } \figures { \bassFigureExtendersOn % The extenders are correct here, with the same rhythm as the bass \repeat unfold 4 { <6 4->16. <6 4->32 } <5>8. r16 <6>8 <6\! 5-> } >> << { \clef bass \repeat unfold 4 { f16. g32 } f8. es16 d8 es } \figures { \bassFigureExtendersOn % The extenders are incorrect here, even though the timing is the same <6 4->4 <6 4->4 <5>8. r16 <6>8 <6\! 5-> } >>
When using extender lines, adjacent figures with the same number in a different figure location can cause the figure positions to invert.
<< { fis4 g g, e' } \figures { \bassFigureExtendersOn <6 5>4 <5\! 4> < 5 _!> <6> } >>
To avoid this problem, simply turn on extenders after the figure that begins the extender line and turn them off at the end of the extender line.
<< { fis4 g g, e' } \figures { <6 5>4 <5 4> \bassFigureExtendersOn < 5 _!>4 <6> \bassFigureExtendersOff } >>
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[ < Displaying figured bass ] | [ 上へ : Specialist notation ] | [ Pitch and harmony in contemporary music > ] |
2.8 Contemporary music
From the beginning of the 20th Century there has been a massive expansion of compositional style and technique. New harmonic and rhythmic developments, an expansion of the pitch spectrum and the development of a wide range of new instrumental techniques have been accompanied by a parallel evolution and expansion of musical notation. The purpose of this section is to provide references and information relevant to working with these new notational techniques.
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[ < Contemporary music ] | [ 上へ : Contemporary music ] | [ References for pitch and harmony in contemporary music > ] |
2.8.1 Pitch and harmony in contemporary music
This section highlights issues that are relevant to notating pitch and harmony in contemporary music.
References for pitch and harmony in contemporary music | ||
Microtonal notation | ||
Contemporary key signatures and harmony |
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[ < Pitch and harmony in contemporary music ] | [ 上へ : Pitch and harmony in contemporary music ] | [ Microtonal notation > ] |
References for pitch and harmony in contemporary music
- Standard quarter-tone notation is addressed in 他の言語での音符名.
- Non-standard key signatures are addressed in 調号.
- Contemporary practises in displaying accidentals are addressed in 自動臨時記号.
Microtonal notation
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[ < Microtonal notation ] | [ 上へ : Pitch and harmony in contemporary music ] | [ Contemporary approaches to rhythm > ] |
Contemporary key signatures and harmony
2.8.2 Contemporary approaches to rhythm
This section highlights issues that are relevant to the notation of rhythm in contemporary music.
References for contemporary approaches to rhythm | ||
Tuplets in contemporary music | ||
Contemporary time signatures | ||
Extended polymetric notation | ||
Beams in contemporary music | ||
Bar lines in contemporary music |
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[ < Contemporary approaches to rhythm ] | [ 上へ : Contemporary approaches to rhythm ] | [ Tuplets in contemporary music > ] |
References for contemporary approaches to rhythm
- Compound time signatures are addressed in 拍子.
- Basic polymetric notation is addressed in 複合拍子記譜法.
- Feathered beams are addressed in 羽状の連桁.
- Mensurstriche bar lines (bar lines between staves only) are addressed in 譜をグループ化する.
Tuplets in contemporary music
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[ < Tuplets in contemporary music ] | [ 上へ : Contemporary approaches to rhythm ] | [ Extended polymetric notation > ] |
Contemporary time signatures
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[ < Contemporary time signatures ] | [ 上へ : Contemporary approaches to rhythm ] | [ Beams in contemporary music > ] |
Extended polymetric notation
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[ < Extended polymetric notation ] | [ 上へ : Contemporary approaches to rhythm ] | [ Bar lines in contemporary music > ] |
Beams in contemporary music
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[ < Beams in contemporary music ] | [ 上へ : Contemporary approaches to rhythm ] | [ Graphical notation > ] |
Bar lines in contemporary music
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[ < Bar lines in contemporary music ] | [ 上へ : Contemporary music ] | [ Contemporary scoring techniques > ] |
2.8.3 Graphical notation
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[ < Graphical notation ] | [ 上へ : Contemporary music ] | [ New instrumental techniques > ] |
2.8.4 Contemporary scoring techniques
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[ < Contemporary scoring techniques ] | [ 上へ : Contemporary music ] | [ Further reading and scores of interest > ] |
2.8.5 New instrumental techniques
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[ < New instrumental techniques ] | [ 上へ : Contemporary music ] | [ Books and articles on contemporary musical notation > ] |
2.8.6 Further reading and scores of interest
This section suggests books, musical examples and other resources useful in studying contemporary musical notation.
Books and articles on contemporary musical notation | ||
Scores and musical examples |
Books and articles on contemporary musical notation
- Music Notation in the Twentieth Century: A Practical Guidebook by Kurt Stone [W. W. Norton, 1980]
- Music Notation: A Manual of Modern Practice by Gardner Read [Taplinger, 1979]
- Instrumentation and Orchestration by Alfred Blatter [Schirmer, 2nd ed. 1997]
Scores and musical examples
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[ < Scores and musical examples ] | [ 上へ : Specialist notation ] | [ Overview of the supported styles > ] |
2.9 Ancient notation
Support for ancient notation includes features for mensural notation and Gregorian chant notation. These features can be accessed either by modifying style properties of graphical objects such as note heads and rests, or by using one of the pre-defined contexts for mensural or Gregorian notation.
Many graphical objects, such as note heads and flags, accidentals,
time signatures, and rests, provide a style
property, which
can be changed to emulate several different styles of ancient
notation. See
- Mensural note heads,
- Mensural accidentals and key signatures,
- Mensural rests,
- Mensural clefs,
- Gregorian clefs,
- Mensural flags,
- Mensural time signatures.
Some notational concepts are introduced specifically for ancient notation,
参照
Music Glossary: custos, ligature, mensural notation.
Notation Reference: Mensural note heads, Mensural accidentals and key signatures, Mensural rests, Gregorian clefs, Mensural flags, Mensural time signatures, Custodes, Divisiones, Ligatures.
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[ < Ancient notation ] | [ 上へ : Ancient notation ] | [ Ancient notation---common features > ] |
2.9.1 Overview of the supported styles
Three styles are available for typesetting Gregorian chant:
- Editio Vaticana is a complete style for Gregorian chant, following the appearance of the Solesmes editions, the official chant books of the Vatican since 1904. LilyPond has support for all the notational signs used in this style, including ligatures, custodes, and special signs such as the quilisma and the oriscus.
- The Editio Medicaea style offers certain features used in the Medicaea (or Ratisbona) editions which were used prior to the Solesmes editions. The most significant differences from the Vaticana style are the clefs, which have downward-slanted strokes, and the note heads, which are square and regular.
- The Hufnagel (“horseshoe nail”) or Gothic style mimics the writing style in chant manuscripts from Germany and Central Europe during the middle ages. It is named after the basic note shape (the virga), which looks like a small nail.
Three styles emulate the appearance of late-medieval and renaissance manuscripts and prints of mensural music:
- The Mensural style most closely resembles the writing style used in late-medieval and early renaissance manuscripts, with its small and narrow, diamond-shaped note heads and its rests which approach a hand-drawn style.
- The Neomensural style is a modernized and stylized version of the former: the note heads are broader and the rests are made up of straight lines. This style is particularly suited, e.g., for incipits of transcribed pieces of mensural music.
- The Petrucci style is named after Ottaviano Petrucci (1466-1539), the first printer to use movable type for music (in his Harmonice musices odhecaton, 1501). The style uses larger note heads than the other mensural styles.
Baroque and Classical are not complete styles but differ from the default style only in some details: certain note heads (Baroque) and the quarter rest (Classical).
Only the mensural style has alternatives for all aspects of the notation. Thus, there are no rests or flags in the Gregorian styles, since these signs are not used in plainchant notation, and the Petrucci style has no flags or accidentals of its own.
Each element of the notation can be changed independently of the others, so that one can use mensural flags, petrucci note heads, classical rests and vaticana clefs in the same piece, if one wishes.
参照
Music Glossary: mensural notation, flag.
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[ < Overview of the supported styles ] | [ 上へ : Ancient notation ] | [ Pre-defined contexts > ] |
2.9.2 Ancient notation—common features
Pre-defined contexts | ||
Ligatures | ||
Custodes | ||
Figured bass support |
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[ < Ancient notation---common features ] | [ 上へ : Ancient notation---common features ] | [ Ligatures > ] |
Pre-defined contexts
For Gregorian chant and mensural notation, there are pre-defined
voice and staff contexts available, which set all the various
notation signs to values suitable for these styles. If one is
satisfied with these defaults, one can proceed directly with note
entry without worrying about the details on how to customize a
context. See one of the pre-defined contexts
VaticanaVoice
, VaticanaStaff
, MensuralVoice
,
and MensuralStaff
. See further
参照
Music Glossary: mensural notation.
Notation Reference: Gregorian chant contexts, Mensural contexts.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Pre-defined contexts ] | [ 上へ : Ancient notation---common features ] | [ Custodes > ] |
Ligatures
A ligature is a graphical symbol that represents at least two distinct notes. Ligatures originally appeared in the manuscripts of Gregorian chant notation to denote ascending or descending sequences of notes on the same syllable. They are also used in mensural notation.
Ligatures are entered by enclosing them in \[
and
\]
. Some ligature styles may need additional input syntax
specific for this particular type of ligature. By default, the
LigatureBracket
engraver just puts a square bracket
above the ligature.
\transpose c c' { \[ g c a f d' \] a g f \[ e f a g \] }
Two other ligature styles are available: the Vaticana for
Gregorian chant, and the Mensural for mensural music (only white
mensural ligatures are supported for mensural music, and with
certain limitations). To use any of these styles, the default
Ligature_bracket_engraver
has to be replaced with one of the
specialized ligature engravers in the Voice
context,
as explained in White mensural ligatures and
Gregorian square neume ligatures.
参照
Music Glossary: ligature.
Notation Reference: White mensural ligatures, Gregorian square neume ligatures.
既知の問題と警告
Ligatures need special spacing that has not yet been implemented. As a result, there is too much space between ligatures most of the time, and line breaking often is unsatisfactory. Also, lyrics do not correctly align with ligatures.
Accidentals must not be printed within a ligature, but instead need to be collected and printed in front of it.
The syntax still uses the deprecated infix style
\[ music expr \]
. For consistency reasons, it will eventually
be changed to postfix style note\[ ... note\]
.
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[ < Ligatures ] | [ 上へ : Ancient notation---common features ] | [ Figured bass support > ] |
Custodes
A custos (plural: custodes; Latin word for “guard”) is a symbol that appears at the end of a staff. It anticipates the pitch of the first note of the following line, thus helping the performer to manage line breaks during performance.
Custodes were frequently used in music notation until the seventeenth century. Nowadays, they have survived only in a few particular forms of musical notation such as contemporary editions of Gregorian chant like the Editio Vaticana. There are different custos glyphs used in different flavors of notational style.
For typesetting custodes, just put a Custos_engraver
into the
Staff
context when declaring the \layout
block,
and change the style of the custos with an \override
if
desired, as shown in the following example:
The custos glyph is selected by the style
property. The styles
supported are vaticana
, medicaea
, hufnagel
, and
mensural
. They are demonstrated in the following fragment.
参照
Music Glossary: custos.
Internals Reference: Custos.
Snippets: Ancient notation.
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[ < Custodes ] | [ 上へ : Ancient notation---common features ] | [ Typesetting mensural music > ] |
Figured bass support
There is limited support for figured bass notation from the Baroque period; see Figured bass.
参照
Music Glossary: figured bass.
Notation Reference: Figured bass.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Figured bass support ] | [ 上へ : Ancient notation ] | [ Mensural contexts > ] |
2.9.3 Typesetting mensural music
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[ < Typesetting mensural music ] | [ 上へ : Typesetting mensural music ] | [ Mensural clefs > ] |
Mensural contexts
The predefined MensuralVoice
and MensuralStaff
contexts can be used to engrave a piece in mensural style. These
contexts initialize all relevant context properties and grob
properties to proper values, so you can immediately go ahead
entering the chant, as the following excerpt demonstrates:
\score { << \new MensuralVoice = "discantus" \transpose c c' { \override Score.BarNumber #'transparent = ##t { c'1\melisma bes a g\melismaEnd f\breve \[ f1\melisma a c'\breve d'\melismaEnd \] c'\longa c'\breve\melisma a1 g1\melismaEnd fis\longa^\signumcongruentiae } } \new Lyrics \lyricsto "discantus" { San -- ctus, San -- ctus, San -- ctus } >> }
参照
Music Glossary: mensural notation.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Mensural contexts ] | [ 上へ : Typesetting mensural music ] | [ Mensural time signatures > ] |
Mensural clefs
The following table shows all mensural clefs that are supported via
the \clef
command. Some of the clefs use the same glyph,
but differ only with respect to the line they are printed on. In
such cases, a trailing number in the name is used to enumerate
these clefs, numbered from the lowest to the highest line. Still,
you can manually force a clef glyph to be typeset on an arbitrary
line, as described in 音部記号. The note printed to the right
side of each clef in the example column denotes the c'
with
respect to that clef.
Petrucci used C clefs with differently balanced left-side vertical beams, depending on which staff line it is printed.
Description | Supported Clefs | Example |
mensural C clef |
| |
mensural F clef |
| |
mensural G clef |
| |
neomensural C clef |
| |
petrucci style C clefs, for use on different staff lines (the example shows the 2nd staff line C clef) |
| |
petrucci style F clefs, for use on different staff lines (the example shows the 3rd staff line F clef) |
| |
petrucci style G clef |
|
参照
Music Glossary: mensural notation, clef.
Notation Reference: 音部記号.
既知の問題と警告
The mensural g clef is mapped to the Petrucci g clef.
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[ < Mensural clefs ] | [ 上へ : Typesetting mensural music ] | [ Mensural note heads > ] |
Mensural time signatures
There is limited support for mensuration signs (which are similar to,
but not exactly the same as time signatures). The glyphs are hard-wired
to particular time fractions. In other words, to get a particular mensuration sign with the \time n/m
command, n
and
m
have to be chosen according to the following table
Use the style
property of grob TimeSignature
to select ancient time signatures. Supported styles are
neomensural
and mensural
. The above table uses the
neomensural
style. The following examples show the
differences in style:
拍子, gives a general introduction to the use of time signatures.
参照
Music Glossary: mensural notation.
Notation Reference: 拍子.
既知の問題と警告
Ratios of note durations cannot change with the time signature, as those are not constant. For example, the ratio of 1 breve = 3 semibreves (tempus perfectum) can be made by hand, by setting
breveTP = #(ly:make-duration -1 0 3 2) … { c\breveTP f1 }
This sets breveTP
to 3/2 times 2 = 3 times a whole note.
The mensural68alt
and neomensural68alt
symbols
(alternate symbols for 6/8) are not addressable with \time
.
Use \markup {\musicglyph #"timesig.mensural68alt" }
instead.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Mensural time signatures ] | [ 上へ : Typesetting mensural music ] | [ Mensural flags > ] |
Mensural note heads
For ancient notation, a note head style other than the
default
style may be chosen. This is accomplished by setting
the style
property of the NoteHead
object to
baroque
, neomensural
, mensural
,
petrucci
, blackpetrucci
or semipetrucci
.
The baroque
style differs from the default
style by:
- Providing a
maxima
note head, and - Using a square shape for
\breve
note heads.
The neomensural
, mensural
, and petrucci
styles
differ from the baroque
style by:
- Using rhomboidal heads for semibreves and all smaller durations, and
- Centering the stems on the note heads.
The blackpetrucci
style produces note heads usable in black
mensural notation or coloratio sections in white mensural notation.
Because note head style does not influence flag count, in
this style a semiminima should be notated as a8*2
, not
a4
, otherwise it will look like a minima.
The multiplyer can be different if coloratio is used e.g. to notate
triplets.
Use semipetrucci
style to draw half-colored
note heads (breves, longas and maximas).
The following example demonstrates the petrucci
style:
\set Score.skipBars = ##t \autoBeamOff \override NoteHead #'style = #'petrucci a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a' \override NoteHead #'style = #'semipetrucci a'\breve*5/6 \override NoteHead #'style = #'blackpetrucci a'8*4/3 a' \override NoteHead #'style = #'petrucci a'\longa
Note head styles, gives an overview of all available note head styles.
参照
Music Glossary: mensural notation, note head.
Notation Reference: Note head styles.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Mensural note heads ] | [ 上へ : Typesetting mensural music ] | [ Mensural rests > ] |
Mensural flags
Use the flag-style
property of grob Stem
to
select ancient flags. Besides the default
flag style,
only the mensural
style is supported.
\override Stem #'flag-style = #'mensural \override Stem #'thickness = #1.0 \override NoteHead #'style = #'mensural \autoBeamOff c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
Note that the innermost flare of each mensural flag always is vertically aligned with a staff line.
There is no particular flag style for neo-mensural or Petrucci notation. There are no flags in Gregorian chant notation.
参照
Music Glossary: mensural notation, flag.
既知の問題と警告
The attachment of ancient flags to stems is slightly off.
Vertically aligning each flag with a staff line assumes that stems always end either exactly on or exactly in the middle between two staff lines. This may not always be true when using advanced layout features of classical notation (which however are typically out of scope for mensural notation).
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Mensural flags ] | [ 上へ : Typesetting mensural music ] | [ Mensural accidentals and key signatures > ] |
Mensural rests
Use the style
property of grob Rest
to select
ancient rests. Supported styles are classical
,
neomensural
, and mensural
. classical
differs
from the default
style only in that the quarter rest looks
like a horizontally mirrored 8th rest. The mensural
and
the neomensural
styles mimic the appearance of rests in
manuscripts and prints up to the 16th century.
The following example demonstrates the mensural
and
neomensural
styles:
\set Score.skipBars = ##t \override Rest #'style = #'classical r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break \override Rest #'style = #'mensural r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break \override Rest #'style = #'neomensural r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
There are no 32th and 64th rests specifically for the mensural or neo-mensural style. Instead, the rests from the default style will be taken.
参照
Music Glossary: mensural notation.
Notation Reference: 休符.
Snippets: Ancient notation.
既知の問題と警告
The glyph for the maxima rest in mensural style is actually a perfect longa rest; use two (or three) longa rests to print a maxima rest. Longa rests are not grouped automatically, so have to be done manually by using pitched rests.
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[ < Mensural rests ] | [ 上へ : Typesetting mensural music ] | [ Annotational accidentals (musica ficta) > ] |
Mensural accidentals and key signatures
The mensural
style provides a sharp and a flat sign
different from the default style. If called for, the natural sign
will be taken from the vaticana
style.
The style for accidentals and key signatures is controlled by the
glyph-name-alist
property of the grobs Accidental
and
KeySignature
, respectively; e.g.:
\override Staff.Accidental #'glyph-name-alist =
#alteration-mensural-glyph-name-alist
参照
Music Glossary: mensural notation, Pitch names, accidental, key signature.
Notation Reference: ピッチ, 臨時記号, 自動臨時記号, 調号.
Internals Reference: KeySignature.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Mensural accidentals and key signatures ] | [ 上へ : Typesetting mensural music ] | [ White mensural ligatures > ] |
Annotational accidentals (musica ficta)
In European music from before about 1600, singers were expected to chromatically alter notes at their own initiative according to certain rules. This is called musica ficta. In modern transcriptions, these accidentals are usually printed over the note.
Support for such suggested accidentals is included, and can be
switched on by setting suggestAccidentals
to true.
fis gis \set suggestAccidentals = ##t ais bis
This will treat every subsequent accidental as
musica ficta until it is unset with
\set suggestAccidentals = ##f
. A more practical way is to
use \once \set suggestAccidentals = ##t
, which can even be
defined as a convenient shorthand:
ficta = { \once \set suggestAccidentals = ##t } \score { \relative c'' \new MensuralVoice { \once \set suggestAccidentals = ##t bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1 } }
参照
Internals Reference: Accidental_engraver, AccidentalSuggestion.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Annotational accidentals (musica ficta) ] | [ 上へ : Typesetting mensural music ] | [ Typesetting Gregorian chant > ] |
White mensural ligatures
There is limited support for white mensural ligatures.
To engrave white mensural ligatures, in the layout block, replace
the Ligature_bracket_engraver
with the
Mensural_ligature_engraver
in the Voice
context:
\layout { \context { \Voice \remove Ligature_bracket_engraver \consists Mensural_ligature_engraver } }
There is no additional input language to describe the shape of a white mensural ligature. The shape is rather determined solely from the pitch and duration of the enclosed notes. While this approach may take a new user a while to get accustomed to, it has the great advantage that the full musical information of the ligature is known internally. This is not only required for correct MIDI output, but also allows for automatic transcription of the ligatures.
At certain places two consecutive notes can be represented either as
two squares or as an oblique parallelogram (flexa shape). In such
cases the default is the two squares, but a flexa can be required by
setting the ligature-flexa
property of the second note
head. The length of a flexa can be set by the note head property
flexa-width
.
For example,
\score { \transpose c c' { \set Score.timing = ##f \set Score.defaultBarType = "empty" \override NoteHead #'style = #'petrucci \override Staff.TimeSignature #'style = #'mensural \clef "petrucci-g" \[ c'\maxima g \] \[ d\longa \override NoteHead #'ligature-flexa = ##t \once \override NoteHead #'flexa-width = #3.2 c\breve f e d \] \[ c'\maxima d'\longa \] \[ e'1 a g\breve \] } \layout { \context { \Voice \remove Ligature_bracket_engraver \consists Mensural_ligature_engraver } } }
Without replacing Ligature_bracket_engraver
with
Mensural_ligature_engraver
, the same music transcribes
to the following
参照
Music Glossary: ligature.
Notation Reference: Gregorian square neume ligatures, Ligatures.
既知の問題と警告
Horizontal spacing of ligatures is poor. Accidentals may collide with previous notes.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < White mensural ligatures ] | [ 上へ : Ancient notation ] | [ Gregorian chant contexts > ] |
2.9.4 Typesetting Gregorian chant
Gregorian chant contexts | ||
Gregorian clefs | ||
Gregorian accidentals and key signatures | ||
Divisiones | ||
Gregorian articulation signs | ||
Augmentum dots (morae) | ||
Gregorian square neume ligatures |
When typesetting a piece in Gregorian chant notation, the
Vaticana_ligature_engraver
automatically selects the
proper note heads, so there is no need to explicitly set the note
head style. Still, the note head style can be set, e.g., to
vaticana_punctum
to produce punctum neumes. Similarly, the
Mensural_ligature_engraver
automatically assembles
mensural ligatures.
参照
Music Glossary: ligature.
Notation Reference: White mensural ligatures, Ligatures.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Typesetting Gregorian chant ] | [ 上へ : Typesetting Gregorian chant ] | [ Gregorian clefs > ] |
Gregorian chant contexts
The predefined VaticanaVoiceContext
and
VaticanaStaffContext
can be used to engrave a piece of
Gregorian chant in the style of the Editio Vaticana. These contexts
initialize all relevant context properties and grob properties to
proper values, so you can immediately go ahead entering the chant, as
the following excerpt demonstrates:
\include "gregorian.ly" \score { << \new VaticanaVoice = "cantus" { \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima \[ f\melisma \pes a c' c' \pes d'\melismaEnd \] c' \divisioMinima \break \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima } \new Lyrics \lyricsto "cantus" { San- ctus, San- ctus, San- ctus } >> }
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Gregorian clefs
The following table shows all Gregorian clefs that are supported via
the \clef
command. Some of the clefs use the same glyph,
but differ only with respect to the line they are printed on. In
such cases, a trailing number in the name is used to enumerate
these clefs, numbered from the lowest to the highest line. Still,
you can manually force a clef glyph to be typeset on an arbitrary
line, as described in 音部記号. The note printed to the right
side of each clef in the example column denotes the c'
with
respect to that clef.
Description | Supported Clefs | Example |
Editio Vaticana style do clef |
| |
Editio Vaticana style fa clef |
| |
Editio Medicaea style do clef |
| |
Editio Medicaea style fa clef |
| |
hufnagel style do clef |
| |
hufnagel style fa clef |
| |
hufnagel style combined do/fa clef |
|
参照
Music Glossary: clef.
Notation Reference: 音部記号.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Gregorian clefs ] | [ 上へ : Typesetting Gregorian chant ] | [ Divisiones > ] |
Gregorian accidentals and key signatures
Accidentals for the three different Gregorian styles are available:
As shown, not all accidentals are supported by each style. When trying to access an unsupported accidental, LilyPond will switch to a different style.
The style for accidentals and key signatures is controlled by the
glyph-name-alist
property of the grobs Accidental
and
KeySignature
, respectively; e.g.:
\override Staff.Accidental #'glyph-name-alist =
#alteration-mensural-glyph-name-alist
参照
Music Glossary: accidental, key signature.
Notation Reference: ピッチ, 臨時記号, 自動臨時記号, 調号.
Internals Reference: KeySignature.
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[ < Gregorian accidentals and key signatures ] | [ 上へ : Typesetting Gregorian chant ] | [ Gregorian articulation signs > ] |
Divisiones
There are no rests in Gregorian chant notation; instead, it uses Divisiones.
A divisio (plural: divisiones; Latin word for ‘division’) is a staff context symbol that is used to indicate the phrase and section structure of Gregorian music. The musical meaning of divisio minima, divisio maior, and divisio maxima can be characterized as short, medium, and long pause, somewhat like the breath marks from ブレス記号. The finalis sign not only marks the end of a chant, but is also frequently used within a single antiphonal/responsorial chant to mark the end of each section.
To use divisiones, include the file ‘gregorian.ly’. It
contains definitions that you can apply by just inserting
\divisioMinima
, \divisioMaior
, \divisioMaxima
,
and \finalis
at proper places in the input. Some editions use
virgula or caesura instead of divisio minima.
Therefore, ‘gregorian.ly’ also defines \virgula
and
\caesura
定義済みコマンド
\virgula
,
\caesura
,
\divisioMinima
,
\divisioMaior
,
\divisioMaxima
,
\finalis
.
参照
Music Glossary: caesura, divisio.
Notation Reference: ブレス記号.
Installed Files: ‘gregorian.ly’.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Divisiones ] | [ 上へ : Typesetting Gregorian chant ] | [ Augmentum dots (morae) > ] |
Gregorian articulation signs
In addition to the standard articulation signs described in section アーティキュレーションと装飾, articulation signs specifically designed for use with notation in Editio Vaticana style are provided.
\include "gregorian.ly" \score { \new VaticanaVoice { \override TextScript #'font-family = #'typewriter \override TextScript #'font-shape = #'upright \override Script #'padding = #-0.1 a\ictus_"ictus " \bar "" \break a\circulus_"circulus " \bar "" \break a\semicirculus_"semicirculus " \bar "" \break a\accentus_"accentus " \bar "" \break \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \] } }
参照
Notation Reference: アーティキュレーションと装飾.
Snippets: Ancient notation.
Internals Reference: Episema, EpisemaEvent, Episema_engraver, Script, ScriptEvent, Script_engraver.
既知の問題と警告
Some articulations are vertically placed too closely to the corresponding note heads.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Gregorian articulation signs ] | [ 上へ : Typesetting Gregorian chant ] | [ Gregorian square neume ligatures > ] |
Augmentum dots (morae)
Augmentum dots, also called morae, are added with the music
function \augmentum
. Note that \augmentum
is
implemented as a unary music function rather than as head prefix. It
applies to the immediately following music expression only. That is,
\augmentum \virga c
will have no visible effect. Instead, say
\virga \augmentum c
or \augmentum {\virga c}
. Also
note that you can say \augmentum {a g}
as a shortcut for
\augmentum a \augmentum g
.
\include "gregorian.ly" \score { \new VaticanaVoice { \[ \augmentum a \flexa \augmentum g \] \augmentum g } }
参照
Notation Reference: ブレス記号.
Internals Reference: BreathingSign.
Snippets: Ancient notation.
Gregorian square neume ligatures
There is limited support for Gregorian square neumes notation (following the style of the Editio Vaticana). Core ligatures can already be typeset, but essential issues for serious typesetting are still lacking, such as (among others) horizontal alignment of multiple ligatures, lyrics alignment, and proper handling of accidentals.
The support for Gregorian neumes is enabled by \include
ing
‘gregorian.ly’ at the beginning of the file. This makes available
a number of extra commands to produce the neume symbols used in
plainchant notation.
Note heads can be modified and/or joined.
- The shape of
the note head can be modified by prefixing the note name
with any of the following commands:
\virga
,\stropha
,\inclinatum
,\auctum
,\descendens
,\ascendens
,\oriscus
,\quilisma
,\deminutum
,\cavum
,\linea
. - Ligatures, properly speaking (i.e. notes joined together), are
produced by placing one of the joining commands
\pes
or\flexa
, for upwards and downwards movement, respectively, between the notes to be joined.
A note name without any qualifiers will produce a punctum.
All other neumes, including the single-note neumes with a
different shape such as the virga, are in principle
considered as ligatures and should therefore be placed
between \[...\]
.
Single-note neumes:
- The punctum is the basic note shape (in the
Vaticana style: a square with some curvation for
typographical finesse). In addition to the regular
punctum, there is also the oblique punctum
inclinatum, produced with the prefix
\inclinatum
. The regular punctum can be modified with\cavum
, which produces a hollow note, and\linea
, which draws vertical lines on either side of the note. - The virga has a descending stem on the right side. It is
produced by the modifier
\virga
.
Ligatures
Unlike most other neumes notation systems, the typographical
appearance of ligatures is not directly dictated by the input
commands, but follows certain conventions dependent on musical
meaning. For example, a three-note ligature with the musical shape
low-high-low, such as \[ a \pes b \flexa g \]
, produces a
Torculus consisting of three Punctum heads, while the shape
high-low-high, such as \[ a \flexa g \pes b \]
, produces a
Porrectus with a curved flexa shape and only a single Punctum
head. There is no command to explicitly typeset the curved flexa
shape; the decision of when to typeset a curved flexa shape is
based on the musical input. The idea of this approach is to
separate the musical aspects of the input from the notation style
of the output. This way, the same input can be reused to typeset
the same music in a different style of Gregorian chant notation.
Liquescent neumes
Another main category of notes in Gregorian chant is the so-called liquescent neumes. They are used under certain circumstances at the end of a syllable which ends in a ‘liquescent’ letter, i.e. the sounding consonants that can hold a tone (the nasals, l, r, v, j, and their diphthong equivalents). Thus, the liquescent neumes are never used alone (although some of them can be produced), and they always fall at the end of a ligature.
Liquescent neumes are represented graphically in two different,
more or less interchangeable ways: with a smaller note or by
‘twisting’ the main note upwards or downwards. The first is
produced by making a regular pes
or flexa
and
modifying the shape of the second note:
\[ a \pes \deminutum b \]
, the second by modifying the shape
of a single-note neume with \auctum
and one of the direction
markers \descendens
or \ascendens
, e.g.,
\[ \auctum \descendens a \]
.
Special signs
A third category of signs is made up of a small number of signs
with a special meaning (which, incidentally, in most cases is only
vaguely known): the quilisma, the oriscus, and the
strophicus. These are all produced by prefixing a note name
with the corresponding modifier, \quilisma
,
\oriscus
, or \stropha
.
Virtually, within the ligature delimiters \[
and \]
,
any number of heads may be accumulated to form a single ligature,
and head prefixes like \pes
, \flexa
, \virga
,
\inclinatum
, etc. may be mixed in as desired. The use of
the set of rules that underlies the construction of the ligatures
in the above table is accordingly extrapolated. This way,
infinitely many different ligatures can be created.
Note that the use of these signs in the music itself follows certain rules, which are not checked by LilyPond. E.g., the quilisma is always the middle note of an ascending ligature, and usually falls on a half-tone step, but it is perfectly possible, although incorrect, to make a single-note quilisma.
In addition to the note signs, ‘gregorian.ly’ also defines the
commands \versus
, \responsum
, \ij
,
\iij
, \IJ
, and \IIJ
, that will produce the
corresponding characters, e.g., for use in lyrics, as section
markers, etc. These commands use special Unicode characters and
will only work if a font is used which supports them.
The following table shows a limited, but still representative pool
of Gregorian ligatures, together with the code fragments that
produce the ligatures. The table is based on the extended neumes
table of the 2nd volume of the Antiphonale Romanum
(Liber Hymnarius), published 1983 by the monks of Solesmes.
The first column gives the name of the ligature, with the main form in
boldface and the liquescent forms in italics. The third column
shows the code fragment that produces this ligature, using
g
, a
, and b
as example pitches.
Single-note neums
Basic and Liquescent forms | Output | LilyPond |
Punctum |
| |
| ||
| ||
Punctum Auctum Ascendens |
| |
Punctum Auctum Descendens |
| |
Punctum inclinatum |
| |
Punctum Inclinatum Auctum |
| |
Punctum Inclinatum Parvum |
| |
Virga |
Two-note ligatures
Clivis vel Flexa |
| |
Clivis Aucta Descendens |
| |
Clivis Aucta Ascendens |
| |
Cephalicus |
| |
Podatus/Pes |
| |
Pes Auctus Descendens |
| |
Pes Auctus Ascendens |
| |
Epiphonus |
| |
Pes Initio Debilis |
| |
Pes Auctus Descendens Initio Debilis |
|
Multi-note ligatures
Torculus |
| |
Torculus Auctus Descendens |
| |
Torculus Deminutus |
| |
Torculus Initio Debilis |
| |
Torculus Auctus Descendens Initio Debilis |
| |
Torculus Deminutus Initio Debilis |
| |
Porrectus |
| |
Porrectus Auctus Descendens |
| |
Porrectus Deminutus |
| |
Climacus |
| |
Climacus Auctus |
| |
Climacus Deminutus |
| |
Scandicus |
| |
Scandicus Auctus Descendens |
| |
Scandicus Deminutus |
|
Special Signs
Quilisma |
| |
Quilisma Pes Auctus Descendens |
| |
Oriscus |
| |
Pes Quassus |
| |
Pes Quassus Auctus Descendens |
| |
Salicus |
| |
Salicus Auctus Descendens |
| |
(Apo)stropha |
| |
Stropha Aucta |
| |
Bistropha |
| |
Tristropha |
| |
Trigonus |
|
定義済みコマンド
The following head prefixes are supported:
\virga
,
\stropha
,
\inclinatum
,
\auctum
,
\descendens
,
\ascendens
,
\oriscus
,
\quilisma
,
\deminutum
,
\cavum
,
\linea
.
Head prefixes can be accumulated, though restrictions apply. For
example, either \descendens
or \ascendens
can be applied
to a head, but not both to the same head.
Two adjacent heads can be tied together with the \pes
and
\flexa
infix commands for a rising and falling line of melody,
respectively.
Use the unary music function \augmentum
to add augmentum dots.
参照
Music Glossary: ligature.
Notation Reference: Gregorian square neume ligatures, White mensural ligatures, Ligatures.
既知の問題と警告
When an \augmentum
dot appears at the end of the last staff
within a ligature, it is sometimes vertically placed wrong. As a
workaround, add an additional skip note (e.g., s8
) as last note
of the staff.
\augmentum
should be implemented as a head prefix rather than a
unary music function, such that \augmentum
can be intermixed
with head prefixes in arbitrary order.
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[ < Gregorian square neume ligatures ] | [ 上へ : Ancient notation ] | [ Incipits > ] |
2.9.5 Working with ancient music—scenarios and solutions
Incipits | ||
Mensurstriche layout | ||
Transcribing Gregorian chant | ||
Ancient and modern from one source | ||
Editorial markings |
Working with ancient music frequently involves particular tasks which differ considerably from the modern notation for which LilyPond is designed. In the rest of this section, a number of typical scenarios are outlined, with suggestions of solutions. These involve:
- how to make incipits (i.e. prefatory material to indicate what the original has looked like) to modern transcriptions of mensural music;
- how to achieve the Mensurstriche layout frequently used for modern transcriptions of polyphonic music;
- how to transcribe Gregorian chant in modern notation;
- how to generate both ancient and modern notation from the same source.
Incipits
TBC
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[ < Incipits ] | [ 上へ : Working with ancient music---scenarios and solutions ] | [ Transcribing Gregorian chant > ] |
Mensurstriche layout
Mensurstriche (‘mensuration lines’) is the accepted term for bar lines that are drawn between the staves of a system but not through the staves themselves. It is a common way to preserve the rhythmic appearance of the original, i.e. not having to break syncopated notes at bar lines, while still providing the orientation aids that bar lines give.
The mensurstriche-layout where the bar lines do not show on the staves
but between staves can be achieved with a StaffGroup
instead of
a ChoirStaff
. The bar line on staves is blanked out by setting
the transparent
property.
global = { \override Staff.BarLine #'transparent = ##t s1 s % the final bar line is not interrupted \revert Staff.BarLine #'transparent \bar "|." } \new StaffGroup \relative c'' { << \new Staff { << \global { c1 c } >> } \new Staff { << \global { c c } >> } >> }
Transcribing Gregorian chant
Gregorian chant can be transcribed into modern notation with a number of simple tweaks.
Stems. Stems can be left out altogether by \remove
-ing
the Stem_engraver
from the Voice context:
\layout { ... \context { \Voice \remove "Stem_engraver" } }
However, in some transcription styles, stems are used
occasionally, for example to indicate the transition from a
single-tone recitative to a fixed melodic gesture. In these cases,
one can use either \override Stem #'transparent = ##t
or
\override Stem #'length = #0
instead, and restore the stem
when needed with the corresponding \once \override Stem
#'transparent = ##f
(see example below).
Timing. For unmetered chant, there are several alternatives.
The Time_signature_engraver can be removed from the Staff context without any negative side effects. The alternative, to make it transparent, will leave an empty space in the score, since the invisible signature will still take up space.
In many cases, \set Score.timing = ##f
will give good
results. Another alternative is to use \CadenzaOn
and
\CadenzaOff
.
To remove the bar lines, the radical approach is to \remove
the Bar_engraver from the Staff context. Again, one may want to
use \override BarLine #'transparent = ##t
instead, if an
occasional barline is wanted.
A common type of transcription is recitativic chant where the repeated notes are indicated with a single breve. The text to the recitation tone can be dealt with in two different ways: either set as a single, left-aligned syllable:
\include "gregorian.ly" chant = \relative c' { \clef "G_8" c\breve c4 b4 a c2 c4 \divisioMaior c\breve c4 c f, f \finalis } verba = \lyricmode { \once \override LyricText #'self-alignment-X = #-1 "Noctem quietam et" fi -- nem per -- fec -- tum \once \override LyricText #'self-alignment-X = #-1 "concedat nobis Dominus" om -- ni -- po -- tens. } \score { \new Staff << \new Voice = "melody" \chant \new Lyrics = "one" \lyricsto melody \verba >> \layout { \context { \Staff \remove "Time_signature_engraver" \remove "Bar_engraver" \override Stem #'transparent = ##t } } }
This works fine, as long as the text doesn’t span a line break. If that is the case, an alternative is to add hidden notes to the score, here in combination with changing stem visibility:
\include "gregorian.ly" chant = \relative c' { \clef "G_8" \set Score.timing = ##f c\breve \override NoteHead #'transparent = ##t c c c c c \revert NoteHead #'transparent \override Stem #'transparent = ##f \stemUp c4 b4 a \override Stem #'transparent = ##t c2 c4 \divisioMaior c\breve \override NoteHead #'transparent = ##t c c c c c c c \revert NoteHead #'transparent c4 c f, f \finalis } verba = \lyricmode { No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens. } \score { \new Staff << \new Voice = "melody" \chant \new Lyrics \lyricsto "melody" \verba >> \layout { \context { \Staff \remove "Time_signature_engraver" \override BarLine #'transparent = ##t \override Stem #'transparent = ##t } } }
Another common situation is transcription of neumatic or
melismatic chants, i.e. chants with a varying number of notes
to each syllable. In this case, one would want to set the
syllable groups clearly apart, usually also the subdivisions of a
longer melisma. One way to achieve this is to use a fixed
\time
, e.g., 1/4, and let each syllable or note group fill
one of these measures, with the help of tuplets or shorter
durations. If the bar lines and all other rhythmical indications
are made transparent, and the space around the bar lines is
increased, this will give a fairly good representation in modern
notation of the original.
To avoid that syllables of different width (such as “-ri” and
“-rum”) spread the syllable note groups unevenly apart, the
#'X-extent
property of the LyricText
object may be
set to a fixed value. Another, more cumbersome way would be to
add the syllables as \markup
elements. If further
adjustments are necessary, this can be easily done with
s
‘notes’.
spiritus = \relative c' { \time 1/4 \override Lyrics.LyricText #'X-extent = #'(0 . 3) d4 \times 2/3 { f8 a g } g a a4 g f8 e d4 f8 g g8 d f g a g f4 g8 a a4 s \times 2/3 { g8 f d } e f g a g4 } spirLyr = \lyricmode { Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _ or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu -- _ ia. } \score { \new Staff << \new Voice = "chant" \spiritus \new Lyrics = "one" \lyricsto "chant" \spirLyr >> \layout { \context { \Staff \remove "Time_signature_engraver" \override BarLine #'X-extent = #'(-1 . 1) \override Stem #'transparent = ##t \override Beam #'transparent = ##t \override BarLine #'transparent = ##t \override TupletNumber #'transparent = ##t } } }
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[ < Transcribing Gregorian chant ] | [ 上へ : Working with ancient music---scenarios and solutions ] | [ Editorial markings > ] |
Ancient and modern from one source
TBC
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[ < Ancient and modern from one source ] | [ 上へ : Working with ancient music---scenarios and solutions ] | [ World music > ] |
Editorial markings
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Editorial markings ] | [ 上へ : Specialist notation ] | [ Common notation for non-Western music > ] |
2.10 World music
The purpose of this section is to highlight musical notation issues that are relevant to traditions outside the Western tradition.
2.10.1 Common notation for non-Western music | ||
2.10.2 Arabic music | ||
2.10.3 Turkish classical music |
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[ < World music ] | [ 上へ : World music ] | [ Extending notation and tuning systems > ] |
2.10.1 Common notation for non-Western music
This section discusses how to enter and print music scores that do not belong to the Western classical tradition, also referred to as Common Practice Period.
Extending notation and tuning systems |
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Common notation for non-Western music ] | [ 上へ : Common notation for non-Western music ] | [ Arabic music > ] |
Extending notation and tuning systems
Standard classical notation (also known as Common Practice Period notation) is commonly used in all sorts of music, not limited to ‘classical’ Western music. This notation is discussed in ピッチを記述する, and the various note names that may be used are explained in 他の言語での音符名.
However, many types of non-Western music (and some types of Western folk and traditional music) employ alternative or extended tuning systems that do not fit readily into standard classical notation.
In some cases standard notation is still used, with the pitch differences being implicit. For example, Arabic music is notated with standard semitone and quarter-tone accidentals, with the precise pitch alterations being determined by context. Italian note names are typically used, while the init file ‘arabic.ly’ provides a suitable set of macros and definitions extending the standard notation. For more details, see Arabic music.
Other types of music require extended or unique notations. Turkish classical music or Ottoman music, for example, employs melodic forms known as makamlar, whose intervals are based on 1/9 divisions of the whole tone. Standard Western staff notes are still used, but with special accidentals unique to Turkish music, that are defined in the file ‘makam.ly’. For further information on Turkish classical music and makamlar, see Turkish classical music.
To locate init files such as ‘arabic.ly’ or ‘makam.ly’ on your system, see Other sources of information.
Selected Snippets
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.keySignature = #`((6 . ,(- KOMA)) (3 . ,BAKIYE)) c4 cc db fk gbm4 gfc gfb efk fk4 db cc c }
参照
Music Glossary: Common Practice Period, makamlar.
Learning Manual: Other sources of information.
Notation Reference: ピッチを記述する, 他の言語での音符名, Arabic music, Turkish classical music.
[ << Specialist notation ] | [トップ][目次][インデックス][ ? ] | [ General input and output >> ] | ||
[ < Extending notation and tuning systems ] | [ 上へ : World music ] | [ References for Arabic music > ] |
2.10.2 Arabic music
This section highlights issues that are relevant to notating Arabic music.
References for Arabic music | ||
Arabic note names | ||
Arabic key signatures | ||
Arabic time signatures | ||
Arabic music example | ||
Further reading for Arabic music |
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[ < Arabic music ] | [ 上へ : Arabic music ] | [ Arabic note names > ] |
References for Arabic music
Arabic music so far has been mainly an oral tradition. When music is transcribed, it is usually in a sketch format, on which performers are expected to improvise significantly. Increasingly, Western notation, with a few variations, is adopted in order to communicate and preserve Arabic music.
Some elements of Western musical notation such as the transcription of chords or independent parts, are not required to typeset the more traditional Arabic pieces. There are however some different issues, such as the need to indicate medium intervals that are somewhere between a semi-tone and a tone, in addition to the minor and major intervals that are used in Western music. There is also the need to group and indicate a large number of different maqams (modes) that are part of Arabic music.
In general, Arabic music notation does not attempt to precisely indicate microtonal elements that are present in musical practice.
Several issues that are relevant to Arabic music are covered elsewhere:
- Note names and accidentals (including quarter tones) can be tailored as discussed in Common notation for non-Western music.
- Additional key signatures can also be tailored as described in 調号.
- Complex time signatures may require that notes be grouped manually as described in 手動連桁.
- Takasim which are rhythmically free improvisations may be written down omitting bar lines as described in 無韻律の音楽.
参照
Notation Reference: Common notation for non-Western music, 調号, 手動連桁.
Snippets: World music.
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Arabic note names
The more traditional Arabic note names can be quite long and are
not suitable for the purpose of music writing, so they are not
used. English note names are not very familiar in Arabic music
education, so Italian or Solfege note names (do, re, mi, fa,
sol, la, si
) are used instead; modifiers (accidentals) can also
be used. Italian note names and accidentals are explained in
他の言語での音符名; the use of standard
Western notation to notate non-Western music is discussed in
Common notation for non-Western music.
For example, this is how the Arabic rast scale can be notated:
\include "arabic.ly" \relative do' { do re misb fa sol la sisb do sisb la sol fa misb re do }
The symbol for semi-flat does not match the symbol which is used
in Arabic notation. The \dwn
symbol defined in
‘arabic.ly’ may be used preceding a flat symbol as a work
around if it is important to use the specific Arabic semi-flat
symbol. The appearance of the semi-flat symbol in the key
signature cannot be altered by using this method.
\include "arabic.ly" \relative do' { \set Staff.extraNatural = ##f dod dob dosd \dwn dob dobsb dodsd do do }
参照
Notation Reference: 他の言語での音符名, Common notation for non-Western music.
Snippets: World music.
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Arabic key signatures
In addition to the minor and major key signatures, the following key signatures are defined in ‘arabic.ly’: bayati, rast, sikah, iraq, and kurd. These key signatures define a small number of maqam groups rather than the large number of maqams that are in common use.
In general, a maqam uses the key signature of its group, or a neighbouring group, and varying accidentals are marked throughout the music.
For example to indicate the key signature of a maqam muhayer piece:
\key re \bayati
Here re is the default pitch of the muhayer maqam, and bayati is the name of the base maqam in the group.
While the key signature indicates the group, it is common for the title to indicate the more specific maqam, so in this example, the name of maqam muhayer should appear in the title.
Other maqams in the same bayati group, as shown in the table below: (bayati, hussaini, saba, and ushaq) can be indicated in the same way. These are all variations of the base and most common maqam in the group, which is bayati. They usually differ from the base maqam in their upper tetrachords, or certain flow details that don’t change their fundamental nature, as siblings.
The other maqam in the same group (Nawa) is related to bayati by modulation which is indicated in the table in parenthesis for those maqams that are modulations of their base maqam. Arabic maqams admit of only limited modulations, due to the nature of Arabic musical instruments. Nawa can be indicated as follows:
\key sol \bayati
In Arabic music, the same term such as bayati that is used to indicate a maqam group, is also a maqam which is usually the most important in the group, and can also be thought of as a base maqam.
Here is one suggested grouping that maps the more common maqams to key signatures:
maqam group | key | finalis | Other maqmas in group (finalis) |
---|---|---|---|
ajam | major | sib | jaharka (fa) |
bayati | bayati | re | hussaini, muhayer, saba, ushaq, nawa (sol) |
hijaz | kurd | re | shahnaz, shad arban (sol), hijazkar (do) |
iraq | iraq | sisb | - |
kurd | kurd | re | hijazkar kurd (do) |
nahawand | minor | do | busalik (re), farah faza (sol) |
nakriz | minor | do | nawa athar, hisar (re) |
rast | rast | do | mahur, yakah (sol) |
sikah | sikah | misb | huzam |
Selected Snippets
Non-traditional key signatures
The commonly used \key
command sets the keySignature
property, in the Staff
context.
To create non-standard key signatures, set this property directly. The format of this command is a list:
\set Staff.keySignature = #`(((octave . step) . alter) ((octave
. step) . alter) ...)
where, for each element in the list,
octave
specifies the octave (0 being the octave from
middle C to the B above), step
specifies the note within the
octave (0 means C and 6 means B), and alter
is
,SHARP ,FLAT ,DOUBLE-SHARP
etc. (Note the leading comma.)
Alternatively, for each item in the list, using the more concise format
(step . alter)
specifies that the same alteration should hold in all
octaves.
Here is an example of a possible key signature for generating a whole-tone scale:
\relative c' { \set Staff.keySignature = #`(((0 . 6) . ,FLAT) ((0 . 5) . ,FLAT) ((0 . 3) . ,SHARP)) c4 d e fis aes4 bes c2 }
参照
Music Glossary: maqam, bayati, rast, sikah, iraq, kurd.
Notation Reference: 調号.
Learning Manual: Accidentals and key signatures.
Internals Reference: KeySignature.
Snippets: World music, Pitches.
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Arabic time signatures
Some Arabic and Turkish music classical forms such as Semai use unusual time signatures such as 10/8. This may lead to an automatic grouping of notes that is quite different from existing typeset music, where notes may not be grouped on the beat, but in a manner that is difficult to match by adjusting automatic beaming. The alternative is to switch off automatic beaming and beam the notes manually. Even if a match to existing typeset music is not required, it may still be desirable to adjust the automatic beaming behaviour and/or use compound time signatures.
Selected Snippets
Compound time signatures
Odd 20th century time signatures (such as "5/8") can often be played as compound time signatures (e.g. "3/8 + 2/8"), which combine two or more inequal metrics. LilyPond can make such music quite easy to read and play, by explicitly printing the compound time signatures and adapting the automatic beaming behavior. (Graphic measure grouping indications can also be added; see the appropriate snippet in this database.)
#(define ((compound-time one two num) grob) (grob-interpret-markup grob (markup #:override '(baseline-skip . 0) #:number (#:line ((#:column (one num)) #:vcenter "+" (#:column (two num))))))) \relative c' { \override Staff.TimeSignature #'stencil = #(compound-time "2" "3" "8") \time 5/8 \set Staff.beatStructure = #'(2 3) c8 d e fis gis c8 fis, gis e d c8 d e4 gis8 }
Arabic improvisation
For improvisations or taqasim which are temporarily free, the time
signature can be omitted and \cadenzaOn
can be used. Adjusting
the accidental style might be required, since the absence of bar lines
will cause the accidental to be marked only once. Here is an example
of what could be the start of a hijaz improvisation:
\include "arabic.ly" \relative sol' { \key re \kurd #(set-accidental-style 'forget) \cadenzaOn sol4 sol sol sol fad mib sol1 fad8 mib re4. r8 mib1 fad sol }
参照
Music Glossary: semai, taqasim.
Notation Reference: 手動連桁, 自動連桁, 無韻律の音楽, 自動臨時記号, 自動連桁の振る舞いを設定する, 拍子.
Snippets: World music.
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Arabic music example
Here is a template that also uses the start of a Turkish Semai that is familiar in Arabic music education in order to illustrate some of the peculiarities of Arabic music notation, such as medium intervals and unusual modes that are discussed in this section.
\include "arabic.ly" \score { \relative re' { \set Staff.extraNatural = ##f \set Staff.autoBeaming = ##f \key re \bayati \time 10/8 re4 re'8 re16 [misb re do] sisb [la sisb do] re4 r8 re16 [misb do re] sisb [do] la [sisb sol8] la [sisb] do [re] misb fa4 fa16 [misb] misb8. [re16] re8 [misb] re [do] sisb do4 sisb8 misb16 [re do sisb] la [do sisb la] la4 r8 } \header { title = "Semai Muhayer" composer = "Jamil Bek" } }
参照
Snippets: World music.
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[ < Arabic music example ] | [ 上へ : Arabic music ] | [ Turkish classical music > ] |
Further reading for Arabic music
-
The music of the Arabs by Habib Hassan Touma [Amadeus Press, 1996],
contains a discussion of maqams and their method of groupings.
There are also various web sites that explain maqams and some provide audio examples such as :
There are some variations in the details of how maqams are grouped, despite agreement on the criteria of grouping maqams that are related through common lower tetra chords, or through modulation.
-
There is not a complete consistency, sometimes even in the same
text on how key signatures for particular maqams should be
specified. It is common, however, to use a key signature per
group, rather than a different key signature for each different
maqam.
Method books by the following authors for the Oud, the Arabic lute, contain examples of mainly Turkish and Arabic compositions.
- Charbel Rouhana
- George Farah
- Ibrahim Ali Darwish Al-masri
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2.10.3 Turkish classical music
This section highlights issues that are relevant to notating Turkish classical music.
References for Turkish classical music | ||
Turkish note names |
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References for Turkish classical music
Turkish classical music developed in the Ottoman Empire in a period roughly contemporaneous with classical music in Europe, and has continued on into the 20th and 21st centuries as a vibrant and distinct tradition with its own compositional forms, theory and performance styles. Among its striking features is the use of microtonal intervals based on ‘commas’ of 1/9 of a tone, from which are constructed the melodic forms known as makam (plural makamlar).
Some issues relevant to Turkish classical music are covered elsewhere:
- Special note names and accidentals are explained in Common notation for non-Western music.
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Turkish note names
Pitches in Turkish classical music traditionally have unique names, and the basis of pitch on 1/9-tone divisions means makamlar employ a completely different set of intervals from Western scales and modes: koma (1/9 of a tone), eksik bakiye (3/9), bakiye (4/9), kücük mücenneb (5/9), büyük mücenneb (8/9), tanîni (a whole tone) and artık ikili (12/9 or 13/9 of a tone).
From a modern notational point of view it is convenient to use the standard Western staff notes (c, d, e, ...) with special accidentals that raise or lower notes by intervals of 1/9, 4/9, 5/9 and 8/9 of a tone. These accidentals are defined in the file ‘makam.ly’.
The following table lists:
- the name of these special accidentals,
- the accidental suffix that must be added to notes,
- and their pitch alteration as a fraction of one whole tone.
Accidental name
suffix
pitch alteration
büyük mücenneb (sharp)
-bm
+8/9
kücük mücenneb (sharp)
-k
+5/9
bakiye (sharp)
-b
+4/9
koma (sharp)
-c
+1/9
koma (flat)
-fc
-1/9
bakiye (flat)
-fb
-4/9
kücük mücenneb (flat)
-fk
-5/9
büyük mücenneb (flat)
-fbm
-8/9
For a more general explanation of non-Western music notation, see Common notation for non-Western music.
参照
Music Glossary: makam, makamlar.
Notation Reference: Common notation for non-Western music.
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3. General input and output
This section deals with general LilyPond input and output issues, rather than specific notation.
3.1 Input structure | ||
3.2 Titles and headers | ||
3.3 Working with input files | ||
3.4 Controlling output | ||
3.5 MIDI output |
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3.1 Input structure
The main format of input for LilyPond are text files. By convention, these files end with ‘.ly’.
3.1.1 Structure of a score | ||
3.1.2 Multiple scores in a book | ||
3.1.3 Multiple output files from one input file | ||
3.1.4 Output file names | ||
3.1.5 File structure |
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3.1.1 Structure of a score
A \score
block must contain a single music expression
delimited by curly brackets:
\score { ... }
Note: There must be only one outer music expression in
a score
block, and it must be surrounded by
curly brackets.
This single music expression may be of any size, and may contain other music expressions to any complexity. All of these examples are music expressions:
{ c'4 c' c' c' }
{ { c'4 c' c' c' } { d'4 d' d' d' } }
<< \new Staff { c'4 c' c' c' } \new Staff { d'4 d' d' d' } >>
{ \new GrandStaff << \new StaffGroup << \new Staff { \flute } \new Staff { \oboe } >> \new StaffGroup << \new Staff { \violinI } \new Staff { \violinII } >> >> }
Comments are one exception to this general rule. (For others see
File structure.) Both single-line comments and comments
delimited by %{ .. %}
may be placed anywhere within an
input file. They may be placed inside or outside a \score
block, and inside or outside the single music expression within a
\score
block.
Remember that even in a file containing only a \score
block, it
is implicitly enclosed in a \book block. A \book block in a source
file produces at least one output file, and by default the name of the
output file produced is derived from the name of the input file, so
‘fandangoforelephants.ly’ will produce
‘fandangoforelephants.pdf’.
(For more details about \book
blocks, see
Multiple scores in a book,
Multiple output files from one input file File structure.)
参照
Learning Manual: Working on input files, Music expressions explained, Score is a (single) compound musical expression.
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3.1.2 Multiple scores in a book
A document may contain multiple pieces of music and text. Examples
of these are an etude book, or an orchestral part with multiple
movements. Each movement is entered with a \score
block,
\score { ..music.. }
and texts are entered with a \markup
block,
\markup { ..text.. }
All the movements and texts which appear in the same ‘.ly’ file will normally be typeset in the form of a single output file.
\score { .. } \markup { .. } \score { .. }
One important exception is within lilypond-book documents,
where you explicitly have to add a \book
block, otherwise only
the first \score
or \markup
will appear in the output.
The header for each piece of music can be put inside the \score
block. The piece
name from the header will be printed before
each movement. The title for the entire book can be put inside the
\book
, but if it is not present, the \header
which is at
the top of the file is inserted.
\header { title = "Eight miniatures" composer = "Igor Stravinsky" } \score { … \header { piece = "Romanze" } } \markup { ..text of second verse.. } \markup { ..text of third verse.. } \score { … \header { piece = "Menuetto" } }
Pieces of music may be grouped into book parts using \bookpart
blocks. Book parts are separated by a page break, and can start with a
title, like the book itself, by specifying a \header
block.
\bookpart { \header { title = "Book title" subtitle = "First part" } \score { … } … } \bookpart { \header { subtitle = "Second part" } \score { … } … }
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3.1.3 Multiple output files from one input file
If you want multiple output files from the same ‘.ly’ file,
then you can add multiple \book
blocks, where each
such \book block will result in a separate output file.
If you do not specify any \book
block in the
input file, LilyPond will implicitly treat the whole
file as a single \book block, see
File structure.
When producing multiple files from a single source file, Lilypond
ensures that none of the output files from any \book
block
overwrites the output file produced by a preceding \book
from
the same input file.
It does this by adding a suffix to the output name for each
\book
which uses the default output file name derived from the
input source file.
The default behaviour is to append a version-number suffix for each name which may clash, so
\book { \score { … } \layout { … } } \book { \score { … } \layout { … } } \book { \score { … } \layout { … } }
in source file ‘eightminiatures.ly’ will produce
- ‘eightminiatures.pdf’,
- ‘eightminiatures-1.pdf’ and
- ‘eightminiatures-2.pdf’.
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3.1.4 Output file names
Lilypond provides facilities to allow you to control what file names are used by the various back-ends when producing output files.
In the previous section, we saw how Lilypond prevents name-clashes when
producing several ouputs from a single source file. You also have the
ability to specify your own suffixes for each \book
block, so
for example you can produce files called
‘eightminiatures-Romanze.pdf’, ‘eightminiatures-Menuetto.pdf’
and ‘eightminiatures-Nocturne.pdf’ by adding a
\bookOutputSuffix
declaration inside each \book
block.
\book { \bookOutputSuffix "Romanze" \score { … } \layout { … } } \book { \bookOutputSuffix "Menuetto" \score { … } \layout { … } } \book { \bookOutputSuffix "Nocturne" \score { … } \layout { … } }
You can also specify a different output filename for book
block,
by using \bookOutputName
declarations
\book { \bookOutputName "Romanze" \score { … } \layout { … } } \book { \bookOutputName "Menuetto" \score { … } \layout { … } } \book { \bookOutputName "Nocturne" \score { … } \layout { … } }
The file above will produce these output files:
- ‘Romanze.pdf’,
- ‘Menuetto.pdf’ and
- ‘Nocturne.pdf’.
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3.1.5 File structure
A ‘.ly’ file may contain any number of toplevel expressions, where a toplevel expression is one of the following:
-
An output definition, such as
\paper
,\midi
, and\layout
. Such a definition at the toplevel changes the default book-wide settings. If more than one such definition of the same type is entered at the top level any definitions in the later expressions have precedence. -
A direct scheme expression, such as
#(set-default-paper-size "a7" 'landscape)
or#(ly:set-option 'point-and-click #f)
. -
A
\header
block. This sets the global header block. This is the block containing the definitions for book-wide settings, like composer, title, etc. -
A
\score
block. This score will be collected with other toplevel scores, and combined as a single\book
. This behavior can be changed by setting the variabletoplevel-score-handler
at toplevel. The default handler is defined in the init file ‘../scm/lily.scm’. -
A
\book
block logically combines multiple movements (i.e., multiple\score
blocks) in one document. If there are a number of\score
s, one output file will be created for each\book
block, in which all corresponding movements are concatenated. The only reason to explicitly specify\book
blocks in a ‘.ly’ file is if you wish to create multiple output files from a single input file. One exception is within lilypond-book documents, where you explicitly have to add a\book
block if you want more than a single\score
or\markup
in the same example. This behavior can be changed by setting the variabletoplevel-book-handler
at toplevel. The default handler is defined in the init file ‘../scm/lily.scm’. -
A
\bookpart
block. A book may be divided into several parts, using\bookpart
blocks, in order to ease the page breaking, or to use different\paper
settings in different parts. -
A compound music expression, such as
{ c'4 d' e'2 }
This will add the piece in a
\score
and format it in a single book together with all other toplevel\score
s and music expressions. In other words, a file containing only the above music expression will be translated into\book { \score { \new Staff { \new Voice { { c'4 d' e'2 } } } } \layout { } \header { } }
This behavior can be changed by setting the variable
toplevel-music-handler
at toplevel. The default handler is defined in the init file ‘../scm/lily.scm’. -
A markup text, a verse for example
\markup { 2. The first line verse two. }
Markup texts are rendered above, between or below the scores or music expressions, wherever they appear.
-
A variable, such as
foo = { c4 d e d }
This can be used later on in the file by entering
\foo
. The name of a variable should have alphabetic characters only; no numbers, underscores or dashes.
The following example shows three things that may be entered at toplevel
\layout { % Don't justify the output ragged-right = ##t } \header { title = "Do-re-mi" } { c'4 d' e2 }
At any point in a file, any of the following lexical instructions can be entered:
-
\version
-
\include
-
\sourcefilename
-
\sourcefileline
-
A single-line comment, introduced by a leading
%
sign. -
A multi-line comment delimited by
%{ .. %}
.
Whitespace between items in the input stream is generally ignored, and may be freely omitted or extended to enhance readability. However, whitespace should always be used in the following circumstances to avoid errors:
- Around every opening and closing curly bracket.
- After every command or variable, i.e. every item that
begins with a
\
sign. - After every item that is to be interpreted as a Scheme
expression, i.e. every item that begins with a
#
sign. - To separate all elements of a Scheme expression.
- In
lyricmode
to separate all the terms in both\override
and\set
commands. In particular, spaces must be used around the dot and the equals sign in commands like\override Score . LyricText #'font-size = #5
and before and after the entire command.
参照
Learning Manual: How LilyPond input files work.
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3.2 Titles and headers
Almost all printed music includes a title and the composer’s name; some pieces include a lot more information.
3.2.1 Creating titles, headers, and footers | ||
3.2.2 Custom headers, footers, and titles | ||
3.2.3 Reference to page numbers | ||
3.2.4 Table of contents |
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[ < Titles and headers ] | [ 上へ : Titles and headers ] | [ Title blocks explained > ] |
3.2.1 Creating titles, headers, and footers
Title blocks explained | ||
Default layout of book and score title blocks | ||
Default layout of headers and footers |
Title blocks explained
There are two types of title blocks: the main title block that appears
above of the first \score
of a book, and individual title
blocks that appear within each \score
block. Text fields for
both types are entered using a \header
block.
If the book only has a single score, the \header
block may be
placed inside or outside of the \score
block.
Note: Remember when adding a \header
block inside a
\score
block, that the music expression must come before the
\header
block.
\header { title = "SUITE I." composer = "J. S. Bach." } \score { \new Staff \relative g, { \clef bass \key g \major \repeat unfold 2 { g16( d' b') a b d, b' d, } | \repeat unfold 2 { g,16( e' c') b c e, c' e, } | } \header { piece = "Prélude." } } \score { \new Staff \relative b { \clef bass \key g \major \partial 16 b16 | <g, d' b'~>4 b'16 a( g fis) g( d e fis) g( a b c) | d16( b g fis) g( e d c) b(c d e) fis( g a b) | } \header { piece = "Allemande." } }
Text fields from the main title block of a book can be displayed in all
\score
blocks, or manually suppressed:
\book { \paper { print-all-headers = ##t } \header { title = "DAS WOHLTEMPERIRTE CLAVIER" subtitle = "TEIL I" % Do not display the tagline for this book tagline = ##f } \markup { \vspace #1 } \score { \new PianoStaff << \new Staff { s1 } \new Staff { \clef "bass" s1 } >> \header { title = "PRAELUDIUM I" opus = "BWV 846" % Do not display the subtitle for this score subtitle = ##f } } \score { \new PianoStaff << \new Staff { s1 } \new Staff { \clef "bass" s1 } >> \header { title = "FUGA I" subsubtitle = "A 4 VOCI" opus = "BWV 846" % Do not display the subtitle for this score subtitle = ##f } } }
参照
Notation Reference: File structure, Custom layout for title blocks.
[ << General input and output ] | [トップ][目次][インデックス][ ? ] | [ Spacing issues >> ] | ||
[ < Title blocks explained ] | [ 上へ : Creating titles headers and footers ] | [ Default layout of headers and footers > ] |
Default layout of book and score title blocks
The layout and formatting of title blocks are controlled by two
\paper
variables; bookTitleMarkup
for the main
\header
title block and scoreTitleMarkup
for individual
\header
blocks within a \score
.
\header { % The following fields are centered dedication = "Dedication" title = "Title" subtitle = "Subtitle" subsubtitle = "Subsubtitle" instrument = "Instrument" % The following fields are left-aligned on the left side poet = "Poet" meter = "Meter" % The following fields are right-aligned on the right side composer = "Composer" arranger = "Arranger" } \score { { s1 } \header { % The following fields are placed at opposite ends of the same line piece = "Piece" opus = "Opus" } }
Text fields left unset in a \header
block are replaced with
\null
markups so that the space is not wasted.
The default settings for scoreTitleMarkup
place the piece
and opus
text fields at opposite ends of the same line.
Use the breakbefore
variable inside a \header
block
that is itself in a \score
block, to make the top-level
\header
block titles appear on the first page on their own, with
the music (defined in the \score
block) starting on the next.
\book { \header { title = "This is my Title" subtitle = "This is my Subtitle" copyright = "This is the bottom of the first page" } \score { \repeat unfold 4 { e'' e'' e'' e'' } \header { piece = "This is the Music" breakbefore = ##t } } }
参照
Learning Manual: How LilyPond input files work,
Notation Reference: File structure.
Installed Files: ‘ly/titling-init.ly’.
Default layout of headers and footers
Headers and footers are lines of text appearing at
the top and bottom of pages, separate from the main text of a book.
They are controlled by the following \paper
variables:
-
oddHeaderMarkup
-
evenHeaderMarkup
-
oddFooterMarkup
-
evenFooterMarkup
These markup variables can only access text fields from top-level
\header
blocks (which apply to all scores in the book) and are
defined in ‘ly/titling-init.ly’. By default:
- page numbers are automatically placed on the top far left (if even) or top far right (if odd), starting from the second page.
-
the
instrument
text field is placed in the center of every page, starting from the second page. -
the
copyright
text is centered on the bottom of the first page. -
the
tagline
is centered on the bottom of the last page, and below thecopyright
text if there is only a single page.
The default tagline can be changed by adding a tagline
in the
top-level \header
block.
\book { \header { tagline = "... music notation for Everyone" } \score { \relative c' { c4 d e f } } }
To remove the tagline
set the value to ##f
.
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[ < Default layout of headers and footers ] | [ 上へ : Titles and headers ] | [ Custom text formatting for title blocks > ] |
3.2.2 Custom headers, footers, and titles
Custom text formatting for title blocks | ||
Custom layout for title blocks | ||
Custom layout for headers and footers |
[ << General input and output ] | [トップ][目次][インデックス][ ? ] | [ Spacing issues >> ] | ||
[ < Custom headers footers and titles ] | [ 上へ : Custom headers footers and titles ] | [ Custom layout for title blocks > ] |
Custom text formatting for title blocks
Standard \markup
commands can be used to customize any header,
footer and title text within the \header
block.
\score { { s1 } \header { piece = \markup { \fontsize #4 \bold "PRAELUDIUM I" } subtitle = \markup { \italic "(Excerpt)" } } }
参照
Notation Reference: テキストをフォーマットする.
Custom layout for title blocks
\markup
commands in the \header
block are useful for
simple text formatting, but they do not allow precise control over the
placement of titles. To customize the placement of the text fields,
use either or both of the following \paper
variables:
-
bookTitleMarkup
-
scoreTitleMarkup
These markup variables are discussed in Default layout of book and score title blocks.
The default settings for scoreTitleMarkup
as defined in
‘ly/titling-init.ly’ are:
scoreTitleMarkup = \markup { \column { \on-the-fly #print-all-headers { \bookTitleMarkup \hspace #1 } \fill-line { \fromproperty #'header:piece \fromproperty #'header:opus } } }
This places the piece
and opus
text fields at opposite
ends of the same line:
\score { { s1 } \header { piece = "PRAELUDIUM I" opus = "BWV 846" } }
This example redefines scoreTitleMarkup
so that the piece
text field is centered and in a large, bold font.
\book { \paper { indent = 0\mm scoreTitleMarkup = \markup { \fill-line { \null \fontsize #4 \bold \fromproperty #'header:piece \fromproperty #'header:opus } } } \header { tagline = ##f } \score { { s1 } \header { piece = "PRAELUDIUM I" opus = "BWV 846" } } }
Text fields normally reserved for the main title block can be included
in individual score title blocks with the print-all-headers
placed inside the \paper
block. A disadvantage of using this
method is that the text fields that are intended specifically for the
top-level \header
block need to be manually suppressed in every
\score
block. See Title blocks explained.
To avoid this, add the desired text field to the scoreTitleMarkup
definition. In the following example, the composer
text field
(normally associated with bookTitleMarkup
) is added to
scoreTitleMarkup
, allowing each score to list a different
composer:
\book { \paper { indent = 0\mm scoreTitleMarkup = \markup { \fill-line { \null \fontsize #4 \bold \fromproperty #'header:piece \fromproperty #'header:composer } } } \header { tagline = ##f } \score { { s1 } \header { piece = "MENUET" composer = "Christian Petzold" } } \score { { s1 } \header { piece = "RONDEAU" composer = "François Couperin" } } }
It is also possible to create your own custom text fields, and refer to them in the markup definition.
\book { \paper { indent = 0\mm scoreTitleMarkup = \markup { \fill-line { \null \override #`(direction . ,UP) { \dir-column { \center-align \fontsize #-1 \bold \fromproperty #'header:mycustomtext %% User-defined field \center-align \fontsize #4 \bold \fromproperty #'header:piece } } \fromproperty #'header:opus } } } \header { tagline = ##f } \score { { s1 } \header { piece = "FUGA I" mycustomtext = "A 4 VOCI" %% User-defined field opus = "BWV 846" } } }
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[ < Custom layout for title blocks ] | [ 上へ : Custom headers footers and titles ] | [ Reference to page numbers > ] |
Custom layout for headers and footers
\markup
commands in the \header
block are useful for
simple text formatting, but they do not allow precise control over the
placement of headers and footers. To customize the placement of
the text fields, use either or both of the following \paper
variables:
-
oddHeaderMarkup
-
evenHeaderMarkup
-
oddFooterMarkup
-
evenFooterMarkup
These markup variables are discussed in Default layout of book and score title blocks.
The following example centers page numbers at the bottom of every
page. First, the default settings for oddHeaderMarkup
and
evenHeaderMarkup
are removed by defining each as a null
markup. Then, oddFooterMarkup
is redefined with the page
number centered. Finally, evenFooterMarkup
is given the
same layout by defining it as \oddFooterMarkup
:
\book { \paper { print-page-number = ##t print-first-page-number = ##t oddHeaderMarkup = \markup \null evenHeaderMarkup = \markup \null oddFooterMarkup = \markup { \fill-line { \on-the-fly #print-page-number-check-first \fromproperty #'page:page-number-string } } evenFooterMarkup = \oddFooterMarkup } \score { \new Staff { s1 \break s1 \break s1 } } }
[ << General input and output ] | [トップ][目次][インデックス][ ? ] | [ Spacing issues >> ] | ||
[ < Custom layout for headers and footers ] | [ 上へ : Titles and headers ] | [ Table of contents > ] |
3.2.3 Reference to page numbers
A particular place of a score can be marked using the \label
command, either at top-level or inside music. This label can then be
referred to in a markup, to get the number of the page where the marked
point is placed, using the \page-ref
markup command.
\header { tagline = ##f } \book { \label #'firstScore \score { { c'1 \pageBreak \mark A \label #'markA c'1 } } \markup { The first score begins on page \page-ref #'firstScore "0" "?" } \markup { Mark A is on page \page-ref #'markA "0" "?" } }
The \page-ref
markup command takes three arguments:
- the label, a scheme symbol, eg.
#'firstScore
; - a markup that will be used as a gauge to estimate the dimensions of the markup;
- a markup that will be used in place of the page number if the label is not known;
The reason why a gauge is needed is that, at the time markups are interpreted, the page breaking has not yet occurred, so the page numbers are not yet known. To work around this issue, the actual markup interpretation is delayed to a later time; however, the dimensions of the markup have to be known before, so a gauge is used to decide these dimensions. If the book has between 10 and 99 pages, it may be "00", ie. a two digit number.
定義済みコマンド
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[ < Reference to page numbers ] | [ 上へ : Titles and headers ] | [ Working with input files > ] |
3.2.4 Table of contents
A table of contents is included using the \markuplines \table-of-contents
command. The elements which should appear in the table of contents are
entered with the \tocItem
command, which may be used either at
top-level, or inside a music expression.
\markuplines \table-of-contents \pageBreak \tocItem \markup "First score" \score { { c'4 % ... \tocItem \markup "Some particular point in the first score" d'4 % ... } } \tocItem \markup "Second score" \score { { e'4 % ... } }
The markups which are used to format the table of contents are defined
in the \paper
block. The default ones are tocTitleMarkup
,
for formatting the title of the table, and tocItemMarkup
, for
formatting the toc elements, composed of the element title and page
number. These variables may be changed by the user:
\paper { %% Translate the toc title into French: tocTitleMarkup = \markup \huge \column { \fill-line { \null "Table des matières" \null } \hspace #1 } %% use larger font size tocItemMarkup = \markup \large \fill-line { \fromproperty #'toc:text \fromproperty #'toc:page } }
Note how the toc element text and page number are referred to in
the tocItemMarkup
definition.
New commands and markups may also be defined to build more elaborated table of contents:
- first, define a new markup variable in the
\paper
block - then, define a music function which aims at adding a toc element using this markup paper variable.
In the following example, a new style is defined for entering act names in the table of contents of an opera:
\paper { tocActMarkup = \markup \large \column { \hspace #1 \fill-line { \null \italic \fromproperty #'toc:text \null } \hspace #1 } } tocAct = #(define-music-function (parser location text) (markup?) (add-toc-item! 'tocActMarkup text))
Dots can be added to fill the line between an item and its page number:
\header { tagline = ##f } \paper { tocItemMarkup = \tocItemWithDotsMarkup } \book { \markuplines \table-of-contents \tocItem \markup { Allegro } \tocItem \markup { Largo } \markup \null }
参照
Init files: ‘../ly/toc-init.ly’.
定義済みコマンド
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[ < Table of contents ] | [ 上へ : General input and output ] | [ Including LilyPond files > ] |
3.3 Working with input files
3.3.1 Including LilyPond files | ||
3.3.2 Different editions from one source | ||
3.3.3 Text encoding | ||
3.3.4 Displaying LilyPond notation |
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[ < Working with input files ] | [ 上へ : Working with input files ] | [ Different editions from one source > ] |
3.3.1 Including LilyPond files
A large project may be split up into separate files. To refer to another file, use
\include "otherfile.ly"
The line \include "otherfile.ly"
is equivalent to pasting the
contents of ‘otherfile.ly’ into the current file at the place
where the \include
appears. For example, in a large
project you might write separate files for each instrument part
and create a “full score” file which brings together the
individual instrument files. Normally the included file will
define a number of variables which then become available
for use in the full score file. Tagged sections can be
marked in included files to assist in making them usable in
different places in a score, see Different editions from one source.
Files in the current working directory may be referenced by
specifying just the file name after the \include
command.
Files in other locations may be included by giving either a full
path reference or a relative path reference (but use the UNIX
forward slash, /, rather than the DOS/Windows back slash, \, as the
directory separator.) For example, if ‘stuff.ly’ is located
one directory higher than the current working directory, use
\include "../stuff.ly"
or if the included orchestral parts files are all located in a subdirectory called ‘parts’ within the current directory, use
\include "parts/VI.ly" \include "parts/VII.ly" ... etc
Files which are to be included can also contain \include
statements of their own. By default, these second-level
\include
statements are not interpreted until they have
been brought into the main file, so the file names they specify
must all be relative to the directory containing the main file,
not the directory containing the included file. However,
this behavior can be changed by passing the option
-drelative-includes
option at the command line
(or by adding #(ly:set-option 'relative-includes #t)
at the top of the main input file). With relative-includes
set, the path for each \include
command will be taken
relative to the file containing that command. This behavior is
recommended and it will become the default behavior in a future
version of lilypond.
Files can also be included from a directory in a search path specified as an option when invoking LilyPond from the command line. The included files are then specified using just their file name. For example, to compile ‘main.ly’ which includes files located in a subdirectory called ‘parts’ by this method, cd to the directory containing ‘main.ly’ and enter
lilypond --include=parts main.ly
and in main.ly write
\include "VI.ly" \include "VII.ly" ... etc
Files which are to be included in many scores may be placed in
the LilyPond directory ‘../ly’. (The location of this
directory is installation-dependent - see
Other sources of information). These files can then
be included simply by naming them on an \include
statement.
This is how the language-dependent files like ‘english.ly’ are
included.
LilyPond includes a number of files by default when you start
the program. These includes are not apparent to the user, but the
files may be identified by running lilypond --verbose
from
the command line. This will display a list of paths and files that
LilyPond uses, along with much other information. Alternatively,
the more important of these files are discussed in
Other sources of information. These files may be
edited, but changes to them will be lost on installing a new
version of LilyPond.
Some simple examples of using \include
are shown in
Scores and parts.
参照
Learning Manual: Other sources of information, Scores and parts.
既知の問題と警告
If an included file is given a name which is the same as one in LilyPond’s installation files, LilyPond’s file from the installation files takes precedence.
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[ < Including LilyPond files ] | [ 上へ : Working with input files ] | [ Using variables > ] |
3.3.2 Different editions from one source
Several mechanisms are available to facilitate the generation of different versions of a score from the same music source. Variables are perhaps most useful for combining lengthy sections of music and/or annotation in various ways, while tags are more useful for selecting one from several alternative shorter sections of music. Whichever method is used, separating the notation from the structure of the score will make it easier to change the structure while leaving the notation untouched.
Using variables | ||
Using tags | ||
Using global settings |
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[ < Different editions from one source ] | [ 上へ : Different editions from one source ] | [ Using tags > ] |
Using variables
If sections of the music are defined in variables they can be reused in different parts of the score, see pieces with variables Organizing pieces with variables. For example, an a cappella vocal score frequently includes a piano reduction of the parts for rehearsal purposes which is identical to the vocal music, so the music need be entered only once. Music from two variables may be combined on one staff, see 自動パート結合. Here is an example:
sopranoMusic = \relative c'' { a4 b c b8( a) } altoMusic = \relative g' { e4 e e f } tenorMusic = \relative c' { c4 b e d8( c) } bassMusic = \relative c' { a4 gis a d, } allLyrics = \lyricmode {King of glo -- ry } << \new Staff = "Soprano" \sopranoMusic \new Lyrics \allLyrics \new Staff = "Alto" \altoMusic \new Lyrics \allLyrics \new Staff = "Tenor" { \clef "treble_8" \tenorMusic } \new Lyrics \allLyrics \new Staff = "Bass" { \clef "bass" \bassMusic } \new Lyrics \allLyrics \new PianoStaff << \new Staff = "RH" { \set Staff.printPartCombineTexts = ##f \partcombine \sopranoMusic \altoMusic } \new Staff = "LH" { \set Staff.printPartCombineTexts = ##f \clef "bass" \partcombine \tenorMusic \bassMusic } >> >>
Separate scores showing just the vocal parts or just the piano part can be produced by changing just the structural statements, leaving the musical notation unchanged.
For lengthy scores, the variable definitions may be placed in separate files which are then included, see Including LilyPond files.
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[ < Using variables ] | [ 上へ : Different editions from one source ] | [ Using global settings > ] |
Using tags
The \tag #'partA
command marks a music expression
with the name partA.
Expressions tagged in this way can be selected or filtered out by
name later, using either \keepWithTag #'name
or
\removeWithTag #'name
. The result of applying these filters
to tagged music is as follows:
Filter | Result |
---|---|
Tagged music preceded by | Untagged music and music tagged with name is included; music tagged with any other tag name is excluded. |
Tagged music preceded by | Untagged music and music tagged with any tag name other than name is included; music tagged with name is excluded. |
Tagged music not preceded by either | All tagged and untagged music is included. |
The arguments of the \tag
, \keepWithTag
and
\removeWithTag
commands should be a symbol
(such as #'score
or #'part
), followed
by a music expression.
In the following example, we see two versions of a piece of music, one showing trills with the usual notation, and one with trills explicitly expanded:
music = \relative g' { g8. c32 d \tag #'trills { d8.\trill } \tag #'expand { \repeat unfold 3 { e32 d } } c32 d } \score { \keepWithTag #'trills \music } \score { \keepWithTag #'expand \music }
Alternatively, it is sometimes easier to exclude sections of music:
music = \relative g' { g8. c32 d \tag #'trills { d8.\trill } \tag #'expand {\repeat unfold 3 { e32 d } } c32 d } \score { \removeWithTag #'expand \music } \score { \removeWithTag #'trills \music }
Tagged filtering can be applied to articulations, texts, etc. by prepending
-\tag #'your-tag
to an articulation. For example, this would define a note with a conditional fingering indication and a note with a conditional annotation:
c1-\tag #'finger ^4 c1-\tag #'warn ^"Watch!"
Multiple tags may be placed on expressions with multiple
\tag
entries:
music = \relative c'' { \tag #'a \tag #'both { a4 a a a } \tag #'b \tag #'both { b4 b b b } } << \keepWithTag #'a \music \keepWithTag #'b \music \keepWithTag #'both \music >>
Multiple \removeWithTag
filters may be applied to a single
music expression to remove several differently named tagged sections:
music = \relative c'' { \tag #'A { a4 a a a } \tag #'B { b4 b b b } \tag #'C { c4 c c c } \tag #'D { d4 d d d } } { \removeWithTag #'B \removeWithTag #'C \music }
Two or more \keepWithTag
filters applied to a single music
expression will cause all tagged sections to be removed, as
the first filter will remove all tagged sections except the one
named, and the second filter will remove even that tagged section.
参照
Learning Manual: Organizing pieces with variables.
Notation Reference: 自動パート結合, Including LilyPond files.
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[ < Using tags ] | [ 上へ : Different editions from one source ] | [ Text encoding > ] |
Using global settings
Global settings can be included from a separate file:
lilypond -dinclude-settings=MY_SETTINGS.ly MY_SCORE.ly
Groups of settings such as page size, font or type face can be stored in separate files. This allows different editions from the same score as well as standard settings to be applied to many scores, simply by specifying the proper settings file.
This technique also works well with the use of style sheets, as discussed in Style sheets.
参照
Learning Manual: Organizing pieces with variables, Style sheets.
Notation Reference: Including LilyPond files.
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[ < Using global settings ] | [ 上へ : Working with input files ] | [ Displaying LilyPond notation > ] |
3.3.3 Text encoding
LilyPond uses the character repertoire defined by the Unicode consortium and ISO/IEC 10646. This defines a unique name and code point for the character sets used in virtually all modern languages and many others too. Unicode can be implemented using several different encodings. LilyPond uses the UTF-8 encoding (UTF stands for Unicode Transformation Format) which represents all common Latin characters in one byte, and represents other characters using a variable length format of up to four bytes.
The actual appearance of the characters is determined by the glyphs defined in the particular fonts available - a font defines the mapping of a subset of the Unicode code points to glyphs. LilyPond uses the Pango library to layout and render multi-lingual texts.
LilyPond does not perform any input-encoding conversions. This means that any text, be it title, lyric text, or musical instruction containing non-ASCII characters, must be encoded in UTF-8. The easiest way to enter such text is by using a Unicode-aware editor and saving the file with UTF-8 encoding. Most popular modern editors have UTF-8 support, for example, vim, Emacs, jEdit, and GEdit do. All MS Windows systems later than NT use Unicode as their native character encoding, so even Notepad can edit and save a file in UTF-8 format. A more functional alternative for Windows is BabelPad.
If a LilyPond input file containing a non-ASCII character is not saved in UTF-8 format the error message
FT_Get_Glyph_Name () error: invalid argument
will be generated.
Here is an example showing Cyrillic, Hebrew and Portuguese text:
To enter a single character for which the Unicode code point is
known but which is not available in the editor being used, use
either \char ##xhhhh
or \char #dddd
within a
\markup
block, where hhhh
is the hexadecimal code for
the character required and dddd
is the corresponding decimal
value. Leading zeroes may be omitted, but it is usual to specify
all four characters in the hexadecimal representation. (Note that
the UTF-8 encoding of the code point should not be used
after \char
, as UTF-8 encodings contain extra bits indicating
the number of octets.) Unicode code charts and a character name
index giving the code point in hexadecimal for any character can be
found on the Unicode Consortium website,
http://www.unicode.org/.
For example, \char ##x03BE
and \char #958
would both
enter the Unicode U+03BE character, which has the Unicode name
“Greek Small Letter Xi”.
Any Unicode code point may be entered in this way and if all special characters are entered in this format it is not necessary to save the input file in UTF-8 format. Of course, a font containing all such encoded characters must be installed and available to LilyPond.
The following example shows Unicode hexadecimal values being entered in four places – in a rehearsal mark, as articulation text, in lyrics and as stand-alone text below the score:
\score { \relative c'' { c1 \mark \markup { \char ##x03EE } c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } } } \addlyrics { O \markup { \concat { Ph \char ##x0153 be! } } } } \markup { "Copyright 2008--2011" \char ##x00A9 }
To enter the copyright sign in the copyright notice use:
\header { copyright = \markup { \char ##x00A9 "2008" } }
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[ < Text encoding ] | [ 上へ : Working with input files ] | [ Controlling output > ] |
3.3.4 Displaying LilyPond notation
Displaying a music expression in LilyPond notation can be
done with the music function \displayLilyMusic
but only when
using the command line. For example,
{ \displayLilyMusic \transpose c a, { c4 e g a bes } }
will display
{ a,4 cis e fis g }
By default, LilyPond will print these messages to the console
along with all the other LilyPond compilation messages. To split
up these messages and save the results of \display{STUFF}
,
redirect the output to a file.
lilypond file.ly >display.txt
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[ < Displaying LilyPond notation ] | [ 上へ : General input and output ] | [ Extracting fragments of music > ] |
3.4 Controlling output
3.4.1 Extracting fragments of music | ||
3.4.2 Skipping corrected music | ||
3.4.3 Alternative output formats | ||
3.4.4 Replacing the notation font |
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[ < Controlling output ] | [ 上へ : Controlling output ] | [ Skipping corrected music > ] |
3.4.1 Extracting fragments of music
It is possible to quote small fragments of a large score directly from the output. This can be compared to clipping a piece of a paper score with scissors.
This is done by defining the measures that need to be cut out separately. For example, including the following definition
\layout { clip-regions = #(list (cons (make-rhythmic-location 5 1 2) (make-rhythmic-location 7 3 4))) }
will extract a fragment starting halfway the fifth measure, ending in
the seventh measure. The meaning of 5 1 2
is: after a 1/2 note
in measure 5, and 7 3 4
after 3 quarter notes in measure 7.
More clip regions can be defined by adding more pairs of rhythmic-locations to the list.
In order to use this feature, LilyPond must be invoked with
-dclip-systems
. The clips are output as EPS files, and are
converted to PDF and PNG if these formats are switched on as well.
For more information on output formats, see Invoking lilypond.
[ << General input and output ] | [トップ][目次][インデックス][ ? ] | [ Spacing issues >> ] | ||
[ < Extracting fragments of music ] | [ 上へ : Controlling output ] | [ Alternative output formats > ] |
3.4.2 Skipping corrected music
When entering or copying music, usually only the music near the end (where you are adding notes) is interesting to view and correct. To speed up this correction process, it is possible to skip typesetting of all but the last few measures. This is achieved by putting
showLastLength = R1*5 \score { ... }
in your source file. This will render only the last 5 measures
(assuming 4/4 time signature) of every \score
in the input
file. For longer pieces, rendering only a small part is often an order
of magnitude quicker than rendering it completely. When working on the
beginning of a score you have already typeset (e.g. to add a new part),
the showFirstLength
property may be useful as well.
Skipping parts of a score can be controlled in a more fine-grained
fashion with the property Score.skipTypesetting
. When it is
set, no typesetting is performed at all.
This property is also used to control output to the MIDI file. Note that it skips all events, including tempo and instrument changes. You have been warned.
c8 d \set Score.skipTypesetting = ##t e8 e e e e e e e \set Score.skipTypesetting = ##f c8 d b bes a g c2
In polyphonic music, Score.skipTypesetting
will affect all
voices and staves, saving even more time.
[ << General input and output ] | [トップ][目次][インデックス][ ? ] | [ Spacing issues >> ] | ||
[ < Skipping corrected music ] | [ 上へ : Controlling output ] | [ Replacing the notation font > ] |
3.4.3 Alternative output formats
The default output formats for the printed score are Portable Document Format (PDF) and PostScript (PS). Scalable Vector Graphics (SVG), Encapsulated PostScript (EPS) and Portable Network Graphics (PNG) output formats are also available through command line options, see lilypond Command line options for lilypond.
[ << General input and output ] | [トップ][目次][インデックス][ ? ] | [ Spacing issues >> ] | ||
[ < Alternative output formats ] | [ 上へ : Controlling output ] | [ MIDI output > ] |
3.4.4 Replacing the notation font
Gonville is an alternative to the Feta font used in LilyPond and can be downloaded from:
http://www.chiark.greenend.org.uk/~sgtatham/gonville/
Here are a few sample bars of music set in Gonville:

Here are a few sample bars of music set in LilyPond’s Feta font:

Installation Instructions for MacOS
Download and extract the zip file. Copy the lilyfonts
directory to ‘SHARE_DIR/lilypond/current’; for more
information, see
Other sources of information.
Move the existing fonts
directory to fonts_orig
and
move the lilyfonts
directory to fonts
. Simply move
fonts_orig
back to fonts
to revert back to Feta.
参照
Learning Manual: Other sources of information.
既知の問題と警告
Gonville cannot be used to typeset ‘Ancient Music’ notation. Please refer to the author’s website for more information on this and other specifics including licensing of Gonville.
[ << General input and output ] | [トップ][目次][インデックス][ ? ] | [ Spacing issues >> ] | ||
[ < Replacing the notation font ] | [ 上へ : General input and output ] | [ Creating MIDI files > ] |
3.5 MIDI output
MIDI (Musical Instrument Digital Interface) is a standard for connecting and controlling digital instruments. A MIDI file is a series of notes in a number of tracks. It is not an actual sound file; you need special software to translate between the series of notes and actual sounds.
Pieces of music can be converted to MIDI files, so you can listen to what was entered. This is convenient for checking the music; octaves that are off or accidentals that were mistyped stand out very much when listening to the MIDI output.
Standard MIDI oputput is somewhat crude; optionally, an enhanced and more realistic MIDI output is available by means of The Articulate script.
The midi output allocates a channel for each staff, and one for global settings. Therefore the midi file should not have more than 15 staves (or 14 if you do not use drums). Other staves will remain silent.
3.5.1 Creating MIDI files | ||
3.5.2 MIDI block | ||
3.5.3 What goes into the MIDI output? | ||
3.5.4 Repeats in MIDI | ||
3.5.5 Controlling MIDI dynamics | ||
3.5.6 Percussion in MIDI | ||
3.5.7 The Articulate script |
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[ < MIDI output ] | [ 上へ : MIDI output ] | [ > ] |
3.5.1 Creating MIDI files
To create a MIDI output file from a LilyPond input file, add a
\midi
block to a score, for example,
\score { ...music... \midi { } }
If there is a \midi
block in a \score
with no
\layout
block, only MIDI output will be produced. When
notation is needed too, a \layout
block must also be
present.
\score { ...music... \midi { } \layout { } }
Pitches, rhythms, ties, dynamics, and tempo changes are interpreted and translated correctly to the MIDI output. Dynamic marks, crescendi and decrescendi translate into MIDI volume levels. Dynamic marks translate to a fixed fraction of the available MIDI volume range. Crescendi and decrescendi make the volume vary linearly between their two extremes. The effect of dynamic markings on the MIDI output can be removed completely, see MIDI block.
The initial tempo and later tempo changes can be specified
with the \tempo
command within the music notation. These
are reflected in tempo changes in the MIDI output. This command
will normally result in the metronome mark being printed, but this
can be suppressed, see メトロノーム記号. An alternative way
of specifying the initial or overall MIDI tempo is described below,
see MIDI block.
Due to some limitations on Windows, the default extension for
MIDI files on Windows is .mid
. Other operating systems still
use the extension .midi
. If a different extension is preferred,
insert the following line at the top-level of the input file,
before the start of any \book
, \bookpart
or \score
blocks:
#(ly:set-option 'midi-extension "midi")
The line above will set the default extension for MIDI files to
.midi
.
Alternatively, this option can also be supplied on the command line:
lilypond … -dmidi-extension=midi lilyFile.ly
[ << General input and output ] | [トップ][目次][インデックス][ ? ] | [ Spacing issues >> ] | ||
[ < Creating MIDI files ] | [ 上へ : Creating MIDI files ] | [ MIDI block > ] |
Instrument names
The MIDI instrument to be used is specified by setting the
Staff.midiInstrument
property to the instrument name.
The name should be chosen from the list in MIDI instruments.
\new Staff { \set Staff.midiInstrument = #"glockenspiel" ...notes... }
\new Staff \with {midiInstrument = #"cello"} { ...notes... }
If the selected instrument does not exactly match an instrument from
the list of MIDI instruments, the Grand Piano ("acoustic grand"
)
instrument is used.
Selected Snippets
Changing MIDI output to one channel per voice
When outputting MIDI, the default behavior is for each staff to represent one MIDI channel, with all the voices on a staff amalgamated. This minimizes the risk of running out of MIDI channels, since there are only 16 available per track.
However, by moving the Staff_performer
to the Voice
context, each voice on a staff can have its own MIDI channel, as is
demonstrated by the following example: despite being on the same staff,
two MIDI channels are created, each with a different
midiInstrument
.
\score { \new Staff << \new Voice \relative c''' { \set midiInstrument = #"flute" \voiceOne \key g \major \time 2/2 r2 g-"Flute" ~ g fis ~ fis4 g8 fis e2 ~ e4 d8 cis d2 } \new Voice \relative c'' { \set midiInstrument = #"clarinet" \voiceTwo b1-"Clarinet" a2. b8 a g2. fis8 e fis2 r } >> \layout { } \midi { \context { \Staff \remove "Staff_performer" } \context { \Voice \consists "Staff_performer" } \context { \Score tempoWholesPerMinute = #(ly:make-moment 72 2) } } }
既知の問題と警告
Changes in the MIDI volume take place only on starting a note, so crescendi and decrescendi cannot affect the volume of a single note.
Not all midi players correctly handle tempo changes in the midi output. Players that are known to work include MS Windows Media Player and timidity.
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[ < ] | [ 上へ : MIDI output ] | [ What goes into the MIDI output? > ] |
3.5.2 MIDI block
A \midi
block must appear within a score block if MIDI output
is required. It is analogous to the layout block, but somewhat
simpler. Often, the \midi
block is left empty, but it
can contain context rearrangements, new context definitions or code
to set the values of properties. For example, the following will
set the initial tempo exported to a MIDI file without causing a tempo
indication to be printed:
\score { ...music... \midi { \context { \Score tempoWholesPerMinute = #(ly:make-moment 72 4) } } }
In this example the tempo is set to 72 quarter note beats per minute. This kind of tempo specification cannot take a dotted note length as an argument. If one is required, break the dotted note into smaller units. For example, a tempo of 90 dotted quarter notes per minute can be specified as 270 eighth notes per minute:
tempoWholesPerMinute = #(ly:make-moment 270 8)
Context definitions follow precisely the same syntax as those
within a \layout
block. Translation modules for sound are
called performers. The contexts for MIDI output are defined in
‘../ly/performer-init.ly’,
see
Other sources of information.
For example, to remove the effect of dynamics
from the MIDI output, insert the following lines in the
\midi{ }
block.
\midi { ... \context { \Voice \remove "Dynamic_performer" } }
MIDI output is created only when a \midi
block is included
within a score block defined with a \score
command.
\score { { …notes… } \midi { } }
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[ < MIDI block ] | [ 上へ : MIDI output ] | [ > ] |
3.5.3 What goes into the MIDI output?
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[ < What goes into the MIDI output? ] | [ 上へ : What goes into the MIDI output? ] | [ > ] |
Supported in MIDI
The following items of notation are reflected in the MIDI output:
- Pitches
- Microtones (See 臨時記号. Rendering needs a player that supports pitch bend.)
- Chords entered as chord names
- Rhythms entered as note durations, including tuplets
- Tremolos entered without ‘
:
[number]’ - Ties
- Dynamic marks
- Crescendi, decrescendi over multiple notes
- Tempo changes entered with a tempo marking
- Lyrics
Using The Articulate script, a number of items are added to the above list:
- Articulations (slurs, staccato, etc)
- Trills, turns
- Rallentando and accelerando
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[ < ] | [ 上へ : What goes into the MIDI output? ] | [ Repeats in MIDI > ] |
Unsupported in MIDI
The following items of notation have no effect on the MIDI output, unless you use The Articulate script:
- Rhythms entered as annotations, e.g. swing
- Tempo changes entered as annotations with no tempo marking
- Staccato and other articulations and ornamentations
- Slurs and Phrasing slurs
- Crescendi, decrescendi over a single note
- Tremolos entered with ‘
:
[number]’ - Figured bass
- Microtonal chords
[ << General input and output ] | [トップ][目次][インデックス][ ? ] | [ Spacing issues >> ] | ||
[ < ] | [ 上へ : MIDI output ] | [ Controlling MIDI dynamics > ] |
3.5.4 Repeats in MIDI
With a few minor additions, all types of repeats can be represented
in the MIDI output. This is achieved by applying the
\unfoldRepeats
music function. This function changes all
repeats to unfold repeats.
\unfoldRepeats { \repeat tremolo 8 { c'32 e' } \repeat percent 2 { c''8 d'' } \repeat volta 2 { c'4 d' e' f' } \alternative { { g' a' a' g' } { f' e' d' c' } } } \bar "|."
In scores containing multiple voices, unfolding of repeats in MIDI output will only occur correctly if each voice contains fully notated repeat indications.
When creating a score file using \unfoldRepeats
for MIDI,
it is necessary to make two \score
blocks: one for MIDI
(with unfolded repeats) and one for notation (with volta, tremolo,
and percent repeats). For example,
\score { ..music.. \layout { .. } } \score { \unfoldRepeats ..music.. \midi { .. } }
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[ < Repeats in MIDI ] | [ 上へ : MIDI output ] | [ > ] |
3.5.5 Controlling MIDI dynamics
MIDI dynamics are implemented by the Dynamic_performer which lives by default in the Voice context. It is possible to control the overall MIDI volume, the relative volume of dynamic markings and the relative volume of different instruments.
[ << General input and output ] | [トップ][目次][インデックス][ ? ] | [ Spacing issues >> ] | ||
[ < Controlling MIDI dynamics ] | [ 上へ : Controlling MIDI dynamics ] | [ > ] |
Dynamic marks
Dynamic marks are translated to a fixed fraction of the available
MIDI volume range. The default fractions range from 0.25 for
ppppp to 0.95 for fffff. The set of dynamic
marks and the associated fractions can be seen in
‘../scm/midi.scm’, see
Other sources of information.
This set of fractions may be changed or extended by providing a
function which takes a dynamic mark as its argument and returns the
required fraction, and setting
Score.dynamicAbsoluteVolumeFunction
to this function.
For example, if a rinforzando dynamic marking,
\rfz
, is required, this will not by default
have any effect on the MIDI volume, as this dynamic marking is not
included in the default set. Similarly, if a new dynamic marking
has been defined with make-dynamic-script
that too will not
be included in the default set. The following example shows how the
MIDI volume for such dynamic markings might be added. The Scheme
function sets the fraction to 0.9 if a dynamic mark of rfz is
found, or calls the default function otherwise.
#(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 c'' { a4\pp b c-\rfz } } } \layout {} \midi {} }
Alternatively, if the whole table of fractions needs to be redefined, it would be better to use the default-dynamic-absolute-volume procedure in ‘../scm/midi.scm’ and the associated table as a model. The final example in this section shows how this might be done.
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[ < ] | [ 上へ : Controlling MIDI dynamics ] | [ > ] |
Overall MIDI volume
The minimum and maximum overall volume of MIDI dynamic markings is
controlled by setting the properties midiMinimumVolume
and
midiMaximumVolume
at the Score
level. These
properties have an effect only on dynamic marks, so if they
are to apply from the start of the score a dynamic mark must be
placed there. The fraction corresponding to each dynamic mark is
modified with this formula
midiMinimumVolume + (midiMaximumVolume - midiMinimumVolume) * fraction
In the following example the dynamic range of the overall MIDI volume is limited to the range 0.2 - 0.5.
\score { << \new Staff { \key g \major \time 2/2 \set Staff.midiInstrument = #"flute" \new Voice \relative c''' { r2 g\mp g fis~ fis4 g8 fis e2~ e4 d8 cis d2 } } \new Staff { \key g \major \set Staff.midiInstrument = #"clarinet" \new Voice \relative c'' { b1\p a2. b8 a g2. fis8 e fis2 r } } >> \layout {} \midi { \context { \Score tempoWholesPerMinute = #(ly:make-moment 72 2) midiMinimumVolume = #0.2 midiMaximumVolume = #0.5 } } }
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[ < ] | [ 上へ : Controlling MIDI dynamics ] | [ > ] |
Equalizing different instruments (i)
If the minimum and maximum MIDI volume properties are set in
the Staff
context the relative volumes of the MIDI
instruments can be controlled. This gives a basic instrument
equalizer, which can enhance the quality of the MIDI output
remarkably.
In this example the volume of the clarinet is reduced relative to the volume of the flute. There must be a dynamic mark on the first note of each instrument for this to work correctly.
\score { << \new Staff { \key g \major \time 2/2 \set Staff.midiInstrument = #"flute" \set Staff.midiMinimumVolume = #0.7 \set Staff.midiMaximumVolume = #0.9 \new Voice \relative c''' { r2 g\mp g fis~ fis4 g8 fis e2~ e4 d8 cis d2 } } \new Staff { \key g \major \set Staff.midiInstrument = #"clarinet" \set Staff.midiMinimumVolume = #0.3 \set Staff.midiMaximumVolume = #0.6 \new Voice \relative c'' { b1\p a2. b8 a g2. fis8 e fis2 r } } >> \layout {} \midi { \context { \Score tempoWholesPerMinute = #(ly:make-moment 72 2) } } }
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[ < ] | [ 上へ : Controlling MIDI dynamics ] | [ Percussion in MIDI > ] |
Equalizing different instruments (ii)
If the MIDI minimum and maximum volume properties are not set LilyPond will, by default, apply a small degree of equalization to a few instruments. The instruments and the equalization applied are shown in the table instrument-equalizer-alist in ‘../scm/midi.scm’.
This basic default equalizer can be replaced by setting
instrumentEqualizer
in the Score
context to a new
Scheme procedure which accepts a MIDI instrument name as its only
argument and returns a pair of fractions giving the minimum and
maximum volumes to be applied to that instrument. This replacement
is done in the same way as shown for resetting the
dynamicAbsoluteVolumeFunction
at the start of this section.
The default equalizer, default-instrument-equalizer, in
‘../scm/midi.scm’ shows how such a procedure might be written.
The following example sets the relative flute and clarinet volumes to the same values as the previous example.
#(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 c''' { r2 g\mp g fis~ fis4 g8 fis e2~ e4 d8 cis d2 } } \new Staff { \key g \major \set Staff.midiInstrument = #"clarinet" \new Voice \relative c'' { b1\p a2. b8 a g2. fis8 e fis2 r } } >> \layout { } \midi { \context { \Score tempoWholesPerMinute = #(ly:make-moment 72 2) } } }
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[ < ] | [ 上へ : MIDI output ] | [ The Articulate script > ] |
3.5.6 Percussion in MIDI
Percussion instruments are generally notated in a DrumStaff
context and when notated in this way they are outputted correctly
to MIDI channel 10, but some pitched percussion instruments,
like the xylophone, marimba, vibraphone, timpani, etc., are
treated like “normal” instruments and music for these instruments
should be entered in a normal Staff
context, not a
DrumStaff
context, to obtain the correct MIDI output.
Some non-pitched percussion sounds included in the general MIDI
standard, like melodic tom, taiko drum, synth drum, etc., cannot
be reached via MIDI channel 10, so the notation for such
instruments should also be entered in a normal Staff
context, using suitable normal pitches.
Many percussion instruments are not included in the general MIDI standard, e.g. castanets. The easiest, although unsatisfactory, method of producing some MIDI output when writing for such instruments is to substitute the nearest sound from the standard set.
既知の問題と警告
Because the general MIDI standard does not contain rim shots, the sidestick is used for this purpose instead.
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[ < Percussion in MIDI ] | [ 上へ : MIDI output ] | [ Spacing issues > ] |
3.5.7 The Articulate script
A more realistic MIDI output is possible when using the Articulate script. It tries to take articulations (slurs, staccato, etc) into account, by replacing notes with sequential music of suitably time-scaled note plus skip. It also tries to unfold trills turns etc., and take rallentando and accelerando into account.
To use the Articulate script, you have to include it at the top of your input file,
\include "articulate.ly"
and in the \score
section do
\unfoldRepeats \articulate << all the rest of the score... >>
After altering your input file this way, the visual output is heavily
altered, but the standard \midi
block will produce a better
MIDI file.
Although not essential for the Articulate script to work, you may want
to insert the \unfoldRepeats
command as it appears in the
example shown above as it enables performing abbreviatures such as
trills.
既知の問題と警告
Articulate shortens chords and some music (esp. organ music) could sound worse.
[ << General input and output ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < The Articulate script ] | [ 上へ : Top ] | [ Page layout > ] |
4. Spacing issues
The global paper layout is determined by three factors: the page layout, the line breaks, and the spacing. These all influence each other. The choice of spacing determines how densely each system of music is set. This influences where line breaks are chosen, and thus ultimately, how many pages a piece of music takes.
Globally speaking, this procedure happens in four steps: first, flexible distances (‘springs’) are chosen, based on durations. All possible line breaking combinations are tried, and a ‘badness’ score is calculated for each. Then the height of each possible system is estimated. Finally, a page breaking and line breaking combination is chosen so that neither the horizontal nor the vertical spacing is too cramped or stretched.
Two types of blocks can contain layout settings:
\paper {…}
and \layout {…}
. The
\paper
block contains page layout settings that are
expected to be the same for all scores in a book, such as the
paper height, or whether to print page numbers, etc. See
Page layout. The \layout
block contains score layout
settings, such as the number of systems to use, or the space
between staff-groups, etc. See Score layout.
4.1 Page layout | ||
4.2 Score layout | ||
4.3 Breaks | ||
4.4 Vertical spacing | ||
4.5 Horizontal spacing | ||
4.6 Fitting music onto fewer pages |
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Spacing issues ] | [ 上へ : Spacing issues ] | [ The \paper block > ] |
4.1 Page layout
This section discusses page layout options for the \paper
block.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Page layout ] | [ 上へ : Page layout ] | [ Paper size and automatic scaling > ] |
4.1.1 The \paper
block
The \paper
block can appear within a \book
block,
but not within a \score
block. Settings in a \paper
block apply to the entire book, which may include multiple scores.
Settings that can appear in a \paper
block include:
-
the
set-paper-size
scheme function, -
\paper
variables used for customizing page layout, and - markup definitions used for customizing the layout of headers, footers, and titles.
The set-paper-size
function is discussed in the next
section, Paper size and automatic scaling. The
\paper
variables that deal with page layout are discussed
in later sections. The markup definitions that deal with headers,
footers, and titles are discussed in
Custom headers, footers, and titles.
Most \paper
variables will only work in a \paper
block. The few that will also work in a \layout
block are
listed in The \layout
block.
Except when specified otherwise, all \paper
variables that
correspond to distances on the page are measured in millimeters,
unless a different unit is specified by the user. For example,
the following declaration sets top-margin
to ten
millimeters:
\paper { top-margin = 10 }
To set it to 0.5
inches, use the \in
unit suffix:
\paper { top-margin = 0.5\in }
The available unit suffixes are \mm
, \cm
,
\in
, and \pt
. These units are simple values for
converting from millimeters; they are defined in
‘ly/paper-defaults-init.ly’. For the sake of clarity, when
using millimeters, the \mm
is typically included in the
code, even though it is not technically necessary.
It is also possible to define \paper
values using Scheme.
The Scheme equivalent of the above example is:
\paper { #(define top-margin (* 0.5 in)) }
参照
Notation Reference:
Paper size and automatic scaling,
Custom headers, footers, and titles,
The \layout
block.
Installed Files: ‘ly/paper-defaults-init.ly’.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < The \paper block ] | [ 上へ : Page layout ] | [ Setting paper size > ] |
4.1.2 Paper size and automatic scaling
Setting paper size | ||
Automatic scaling to paper size |
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[ < Paper size and automatic scaling ] | [ 上へ : Paper size and automatic scaling ] | [ Automatic scaling to paper size > ] |
Setting paper size
Two functions are available for changing the paper size:
set-default-paper-size
and set-paper-size
.
set-default-paper-size
must be placed in the toplevel
scope, and set-paper-size
must be placed in a \paper
block:
#(set-default-paper-size "a4")
\paper { #(set-paper-size "a4") }
In the toplevel scope, the set-default-paper-size
function
can safely be called anywhere before the first \paper
block. Within a \paper
block, the safest place to call
set-paper-size
is at the top, above the list of variable
declarations. The reasons for this are discussed in
Automatic scaling to paper size.
set-default-paper-size
sets the size of all pages, whereas
set-paper-size
only sets the size of the pages that the
\paper
block applies to. For example, if the \paper
block is at the top of the file, then it will apply the paper size
to all pages. If the \paper
block is inside a
\book
, then the paper size will only apply to that book.
Common paper sizes are available, including a4
,
letter
, legal
, and 11x17
(also known as
tabloid). Many more paper sizes are supported by default. For
details, see ‘scm/paper.scm’, and search for the
definition of paper-alist
.
Note: The default paper size is a4
.
Extra sizes may be added by editing the definition of
paper-alist
in the initialization file
‘scm/paper.scm’, however they will be overridden on a
subsequent install.
If the symbol 'landscape
is supplied as an argument to
set-default-paper-size
, pages will be rotated by 90
degrees, and wider line widths will be set accordingly.
#(set-default-paper-size "a6" 'landscape)
参照
Notation Reference: Automatic scaling to paper size.
Installed Files: ‘scm/paper.scm’.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Setting paper size ] | [ 上へ : Paper size and automatic scaling ] | [ Fixed vertical spacing \paper variables > ] |
Automatic scaling to paper size
If the paper size is changed with one of the scheme functions
(set-default-paper-size
or set-paper-size
), the
values of several \paper
variables are automatically scaled
to the new size. To bypass the automatic scaling for a particular
variable, set the variable after setting the paper size. Note
that the automatic scaling is not triggered by setting the
paper-height
or paper-width
variables, even though
paper-width
can influence other values (this is separate
from scaling and is discussed below). The
set-default-paper-size
and set-paper-size
functions
are described in Setting paper size.
The vertical dimensions affected by automatic scaling are
top-margin
and bottom-margin
(see
Fixed vertical spacing \paper
variables). The horizontal
dimensions affected by automatic scaling are left-margin
,
right-margin
, inner-margin
, outer-margin
,
binding-offset
, indent
, and short-indent
(see
Horizontal spacing \paper
variables).
The default values for these dimensions are set in
‘ly/paper-defaults-init.ly’, using internal variables named
top-margin-default
, bottom-margin-default
, etc.
These are the values that result at the default paper size
a4
. For reference, with a4
paper the
paper-height
is 297\mm
and the paper-width
is
210\mm
.
参照
Notation Reference:
Fixed vertical spacing \paper
variables,
Horizontal spacing \paper
variables.
Installed Files: ‘ly/paper-defaults-init.ly’, ‘scm/paper.scm’.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Automatic scaling to paper size ] | [ 上へ : Page layout ] | [ Flexible vertical spacing \paper variables > ] |
4.1.3 Fixed vertical spacing \paper
variables
Note: Some \paper
dimensions are automatically
scaled to the paper size, which may lead to unexpected behavior.
See Automatic scaling to paper size.
Default values (before scaling) are defined in ‘ly/paper-defaults-init.ly’.
-
paper-height
-
The height of the page, unset by default. Note that the automatic scaling of some vertical dimensions is not affected by this.
-
top-margin
-
The margin between the top of the page and the top of the printable area. If the paper size is modified, this dimension’s default value is scaled accordingly.
-
bottom-margin
-
The margin between the bottom of the printable area and the bottom of the page. If the paper size is modified, this dimension’s default value is scaled accordingly.
-
ragged-bottom
-
If set to true, systems will not spread vertically down the page. This does not affect the last page. This should be set to true for pieces that have only two or three systems per page, for example orchestral scores.
-
ragged-last-bottom
-
If set to false, systems will spread vertically down the last page. Pieces that amply fill two pages or more should have this set to true. It also affects the last page of book parts, i.e. parts of a book created with
\bookpart
blocks.
参照
Notation Reference: Automatic scaling to paper size.
Installed Files: ‘ly/paper-defaults-init.ly’.
Snippets: Spacing.
既知の問題と警告
The titles (from the \header
block) are treated as a
system, so ragged-bottom
and ragged-last-bottom
will
add space between the titles and the first system of the score.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Fixed vertical spacing \paper variables ] | [ 上へ : Page layout ] | [ Structure of flexible vertical spacing alists > ] |
4.1.4 Flexible vertical spacing \paper
variables
In most cases, it is preferable for the vertical distances between
certain items (such as margins, titles, systems, and separate
scores) to be flexible, so that they stretch and compress nicely
according to each situation. A number of \paper
variables
(listed below) are available to fine-tune the stretching behavior
of these dimensions.
Note that the \paper
variables discussed in this section do
not control the spacing of staves within individual systems.
Within-system spacing is controlled by grob properties, with
settings typically entered inside a \score
or
\layout
block, and not inside a \paper
block. See
Flexible vertical spacing within systems.
Structure of flexible vertical spacing alists | ||
List of flexible vertical spacing \paper variables |
Structure of flexible vertical spacing alists
Each of the flexible vertical spacing \paper
variables is
an alist (association list) containing four keys:
-
basic-distance
– the vertical distance, measured in staff-spaces, between the reference points of the two items, when no collisions would result, and no stretching or compressing is in effect. The reference point of a (title or top-level) markup is its highest point, and the reference point of a system is the vertical center of the nearestStaffSymbol
– even if a non-staff line (such as aLyrics
context) is in the way. Values forbasic-distance
that are less than eitherpadding
orminimum-distance
are not meaningful, since the resulting distance will never be less than eitherpadding
orminimum-distance
. -
minimum-distance
– the smallest allowable vertical distance, measured in staff-spaces, between the reference points of the two items, when compressing is in effect. Values forminimum-distance
that are less thanpadding
are not meaningful, since the resulting distance will never be less thanpadding.
-
padding
– the minimum required amount of unobstructed vertical whitespace between the bounding boxes (or skylines) of the two items, measured in staff-spaces. -
stretchability
– a unitless measure of the dimension’s relative propensity to stretch. If zero, the distance will not stretch (unless collisions would result). When positive, the significance of a particular dimension’sstretchability
value lies only in its relation to thestretchability
values of the other dimensions. For example, if one dimension has twice thestretchability
of another, it will stretch twice as easily. Values should be non-negative and finite. The value+inf.0
triggers aprogramming_error
and is ignored, but1.0e7
can be used for an almost infinitely stretchable spring. If unset, the default value is set tobasic-distance
. Note that the dimension’s propensity to compress cannot be directly set by the user and is equal to (basic-distance
-minimum-distance
).
If a page has a ragged bottom, the resulting distance is the largest of:
-
basic-distance
, -
minimum-distance
, and -
padding
plus the smallest distance necessary to eliminate collisions.
Specific methods for modifying alists are discussed in Modifying alists. The following example demonstrates the two ways these alists can be modified. The first declaration updates one key-value individually, and the second completely redefines the variable:
\paper { system-system-spacing #'basic-distance = #8 score-system-spacing = #'((basic-distance . 12) (minimum-distance . 6) (padding . 1) (stretchability . 12)) }
List of flexible vertical spacing \paper
variables
The names of these variables follow the format
upper-lower-spacing
, where upper
and lower
are the items to be spaced. Each distance
is measured between the reference points of the two items (see the
description of the alist structure above). Note that in these
variable names, the term ‘markup
’ refers to both
title markups (bookTitleMarkup
or
scoreTitleMarkup
) and top-level markups (see
File structure). All distances are measured in
staff-spaces.
Default settings are defined in ‘ly/paper-defaults-init.ly’.
-
markup-system-spacing
-
the distance between a (title or top-level) markup and the system that follows it.
-
score-markup-spacing
-
the distance between the last system of a score and the (title or top-level) markup that follows it.
-
score-system-spacing
-
the distance between the last system of a score and the first system of the score that follows it, when no (title or top-level) markup exists between them.
-
system-system-spacing
-
the distance between two systems in the same score.
-
markup-markup-spacing
-
the distance between two (title or top-level) markups.
-
last-bottom-spacing
-
the distance from the last system or top-level markup on a page to the bottom of the printable area (i.e. the top of the bottom margin).
-
top-system-spacing
-
the distance from the top of the printable area (i.e. the bottom of the top margin) to the first system on a page, when there is no (title or top-level) markup between the two.
-
top-markup-spacing
-
the distance from the top of the printable area (i.e. the bottom of the top margin) to the first (title or top-level) markup on a page, when there is no system between the two.
参照
Notation Reference: Flexible vertical spacing within systems.
Installed Files: ‘ly/paper-defaults-init.ly’.
Snippets: Spacing.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < List of flexible vertical spacing \paper variables ] | [ 上へ : Page layout ] | [ \paper variables for widths and margins > ] |
4.1.5 Horizontal spacing \paper
variables
Note: Some \paper
dimensions are automatically
scaled to the paper size, which may lead to unexpected behavior.
See Automatic scaling to paper size.
\paper variables for widths and margins | ||
\paper variables for two-sided mode | ||
\paper variables for shifts and indents |
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Horizontal spacing \paper variables ] | [ 上へ : Horizontal spacing \paper variables ] | [ \paper variables for two-sided mode > ] |
\paper
variables for widths and margins
Default values (before scaling) that are not listed here are defined in ‘ly/paper-defaults-init.ly’.
-
paper-width
-
The width of the page, unset by default. While
paper-width
has no effect on the automatic scaling of some horizontal dimensions, it does influence theline-width
variable. If bothpaper-width
andline-width
are set, thenleft-margin
andright-margin
will also be updated. Also seecheck-consistency
. -
line-width
-
The horizontal extent of the staff lines in unindented, non-ragged systems, equal to
(paper-width - left-margin - right-margin)
when unset. Ifline-width
is set, and bothleft-margin
andright-margin
are unset, then the margins will be updated to center the systems on the page automatically. Also seecheck-consistency
. This variable can also be set in a\layout
block. -
left-margin
-
The margin between the left edge of the page and the start of the staff lines in unindented systems. If the paper size is modified, this dimension’s default value is scaled accordingly. If
left-margin
is unset, and bothline-width
andright-margin
are set, thenleft-margin
is set to(paper-width - line-width - right-margin)
. If onlyline-width
is set, then both margins are set to((paper-width - line-width) / 2)
, and the systems are consequently centered on the page. Also seecheck-consistency
. -
right-margin
-
The margin between the right edge of the page and the end of the staff lines in non-ragged systems. If the paper size is modified, this dimension’s default value is scaled accordingly. If
right-margin
is unset, and bothline-width
andleft-margin
are set, thenright-margin
is set to(paper-width - line-width - left-margin)
. If onlyline-width
is set, then both margins are set to((paper-width - line-width) / 2)
, and the systems are consequently centered on the page. Also seecheck-consistency
. -
check-consistency
-
If set to true, print a warning if
left-margin
,line-width
, andright-margin
do not exactly add up topaper-width
, and replace each of these (exceptpaper-width
) with its default value (scaled to the paper size if necessary). If set to false, ignore any inconsistencies and allow systems to run off the edge of the page. -
ragged-right
-
If set to true, systems will not fill the line width. Instead, systems end at their natural horizontal length. Default:
#t
for scores with only one system, and#f
for scores with two or more systems. This variable can also be set in a\layout
block. -
ragged-last
-
If set to true, the last system in the score will not fill the line width. Instead the last system ends at its natural horizontal length. Default:
#f
. This variable can also be set in a\layout
block.
参照
Notation Reference: Automatic scaling to paper size.
Installed Files: ‘ly/paper-defaults-init.ly’.
\paper
variables for two-sided mode
Default values (before scaling) are defined in ‘ly/paper-defaults-init.ly’.
-
two-sided
-
If set to true, use
inner-margin
,outer-margin
andbinding-offset
to determine margins depending on whether the page number is odd or even. This overridesleft-margin
andright-margin
. -
inner-margin
-
The margin all pages have at the inner side if they are part of a book. If the paper size is modified, this dimension’s default value is scaled accordingly. Works only with
two-sided
set to true. -
outer-margin
-
The margin all pages have at the outer side if they are part of a book. If the paper size is modified, this dimension’s default value is scaled accordingly. Works only with
two-sided
set to true. -
binding-offset
-
The amount
inner-margin
is increased to make sure nothing will be hidden by the binding. If the paper size is modified, this dimension’s default value is scaled accordingly. Works only withtwo-sided
set to true.
参照
Notation Reference: Automatic scaling to paper size.
Installed Files: ‘ly/paper-defaults-init.ly’.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < \paper variables for two-sided mode ] | [ 上へ : Horizontal spacing \paper variables ] | [ Other \paper variables > ] |
\paper
variables for shifts and indents
Default values (before scaling) that are not listed here are defined in ‘ly/paper-defaults-init.ly’.
-
horizontal-shift
-
The amount that all systems (including titles and system separators) are shifted to the right. Default:
0.0\mm
. -
indent
-
The level of indentation for the first system in a score. If the paper size is modified, this dimension’s default value is scaled accordingly. This variable can also be set in a
\layout
block. -
short-indent
-
The level of indentation for all systems in a score besides the first system. If the paper size is modified, this dimension’s default value is scaled accordingly. This variable can also be set in a
\layout
block.
参照
Notation Reference: Automatic scaling to paper size.
Installed Files: ‘ly/paper-defaults-init.ly’.
Snippets: Spacing.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < \paper variables for shifts and indents ] | [ 上へ : Page layout ] | [ \paper variables for line breaking > ] |
4.1.6 Other \paper
variables
\paper variables for line breaking | ||
\paper variables for page breaking | ||
\paper variables for page numbering | ||
Miscellaneous \paper variables |
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Other \paper variables ] | [ 上へ : Other \paper variables ] | [ \paper variables for page breaking > ] |
\paper
variables for line breaking
-
max-systems-per-page
-
The maximum number of systems that will be placed on a page. This is currently supported only by the
ly:optimal-breaking
algorithm. Default: unset. -
min-systems-per-page
-
The minimum number of systems that will be placed on a page. This may cause pages to be overfilled if it is made too large. This is currently supported only by the
ly:optimal-breaking
algorithm. Default: unset. -
systems-per-page
-
The number of systems that should be placed on each page. This is currently supported only by the
ly:optimal-breaking
algorithm. Default: unset. -
system-count
-
The number of systems to be used for a score. Default: unset. This variable can also be set in a
\layout
block.
参照
Notation Reference: Line breaking.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < \paper variables for line breaking ] | [ 上へ : Other \paper variables ] | [ \paper variables for page numbering > ] |
\paper
variables for page breaking
Default values not listed here are defined in ‘ly/paper-defaults-init.ly’
-
blank-after-score-page-force
-
The penalty for having a blank page after the end of one score and before the next. By default, this is smaller than
blank-page-force
, so that we prefer blank pages after scores to blank pages within a score. -
blank-last-page-force
-
The penalty for ending the score on an odd-numbered page.
-
blank-page-force
-
The penalty for having a blank page in the middle of a score. This is not used by
ly:optimal-breaking
since it will never consider blank pages in the middle of a score. -
page-breaking
-
The page-breaking algorithm to use. Choices are
ly:minimal-breaking
,ly:page-turn-breaking
, andly:optimal-breaking
. -
page-breaking-system-system-spacing
-
Tricks the page breaker into thinking that
system-system-spacing
is set to something different than it really is. For example, ifpage-breaking-system-system-spacing #'padding
is set to something substantially larger thansystem-system-spacing #'padding
, then the page-breaker will put fewer systems on each page. Default: unset. -
page-count
-
The number of pages to be used for a score, unset by default.
参照
Notation Reference: Page breaking, Optimal page breaking, Optimal page turning, Minimal page breaking.
Installed Files: ‘ly/paper-defaults-init.ly’.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < \paper variables for page breaking ] | [ 上へ : Other \paper variables ] | [ Miscellaneous \paper variables > ] |
\paper
variables for page numbering
Default values not listed here are defined in ‘ly/paper-defaults-init.ly’
-
auto-first-page-number
-
The page breaking algorithm is affected by the first page number being odd or even. If set to true, the page breaking algorithm will decide whether to start with an odd or even number. This will result in the first page number remaining as is or being increased by one. Default:
#f
. -
first-page-number
-
The value of the page number on the first page.
-
print-first-page-number
-
If set to true, a page number is printed on the first page.
-
print-page-number
-
If set to false, page numbers are not printed.
参照
Installed Files: ‘ly/paper-defaults-init.ly’.
既知の問題と警告
Odd page numbers are always on the right. If you want the music to start on page 1 there must be a blank page on the back of the cover page so that page 1 is on the right hand side.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < \paper variables for page numbering ] | [ 上へ : Other \paper variables ] | [ Score layout > ] |
Miscellaneous \paper
variables
-
page-spacing-weight
-
The relative importance of page (vertical) spacing and line (horizontal) spacing. High values will make page spacing more important. Default:
#10
. -
print-all-headers
-
If set to true, this will print all headers for each
\score
in the output. Normally only thepiece
andopus
header variables are printed. Default:#f
. -
system-separator-markup
-
A markup object that is inserted between systems, often used for orchestral scores. Default: unset. The
\slashSeparator
markup, defined in ‘ly/titling-init.ly’, is provided as a sensible default, for example:#(set-default-paper-size "a8") \book { \paper { system-separator-markup = \slashSeparator } \header { tagline = ##f } \score { \relative c'' { c1 \break c1 \break c1 } } }
参照
Installed Files: ‘ly/titling-init.ly’.
Snippets: Spacing.
既知の問題と警告
The default page header puts the page number and the instrument
field from the \header
block on a line.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Miscellaneous \paper variables ] | [ 上へ : Spacing issues ] | [ The \layout block > ] |
4.2 Score layout
This section discusses score layout options for the \layout
block.
4.2.1 The \layout block | ||
4.2.2 Setting the staff size |
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Score layout ] | [ 上へ : Score layout ] | [ Setting the staff size > ] |
4.2.1 The \layout
block
While the \paper
block contains settings that relate to the
page formatting of the whole document, the \layout
block
contains settings for score-specific layout. To set score layout
options globally, enter them in a toplevel \layout
block.
To set layout options for an individual score, enter them in a
\layout
block inside the \score
block, after the
music. Settings that can appear in a \layout
block
include:
- the
layout-set-staff-size
scheme function, - context modifications in
\context
blocks, and -
\paper
variables that affect score layout.
The layout-set-staff-size
function is discussed in the next
section, Setting the staff size. Context modifications are
discussed in a separate chapter; see
Modifying context plug-ins and
Changing context default settings. The \paper
variables that can appear in a \layout
block are:
-
line-width
,ragged-right
andragged-last
(see\paper
variables for widths and margins) -
indent
andshort-indent
(see\paper
variables for shifts and indents) -
system-count
(see\paper
variables for line breaking)
Here is an example \layout
block:
\layout { indent = 2\cm \context { \StaffGroup \override StaffGrouper #'staff-staff-spacing #'basic-distance = #8 } \context { \Voice \override TextScript #'padding = #1 \override Glissando #'thickness = #3 } }
参照
Notation Reference: Changing context default settings.
Snippets: Spacing.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < The \layout block ] | [ 上へ : Score layout ] | [ Breaks > ] |
4.2.2 Setting the staff size
The default staff size is set to 20 points. This may be changed in two ways:
To set the staff size globally for all scores in a file (or
in a book
block, to be precise), use set-global-staff-size
.
#(set-global-staff-size 14)
This sets the global default size to 14pt staff height and scales all fonts accordingly.
To set the staff size individually for each score, use
\score{ … \layout { #(layout-set-staff-size 15) } }
The Feta font provides musical symbols at eight different sizes. Each font is tuned for a different staff size: at a smaller size the font becomes heavier, to match the relatively heavier staff lines. The recommended font sizes are listed in the following table:
font name
staff height (pt)
staff height (mm)
use
feta11
11.22
3.9
pocket scores
feta13
12.60
4.4
feta14
14.14
5.0
feta16
15.87
5.6
feta18
17.82
6.3
song books
feta20
20
7.0
standard parts
feta23
22.45
7.9
feta26
25.2
8.9
These fonts are available in any sizes. The context property
fontSize
and the layout property staff-space
(in
StaffSymbol) can be used to tune the size for individual
staves. The sizes of individual staves are relative to the global size.
参照
Notation Reference: 記譜フォント サイズを選択する.
Snippets: Spacing.
既知の問題と警告
layout-set-staff-size
does not change the distance between the
staff lines.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Setting the staff size ] | [ 上へ : Spacing issues ] | [ Line breaking > ] |
4.3 Breaks
4.3.1 Line breaking | ||
4.3.2 Page breaking | ||
4.3.3 Optimal page breaking | ||
4.3.4 Optimal page turning | ||
4.3.5 Minimal page breaking | ||
4.3.6 Explicit breaks | ||
4.3.7 Using an extra voice for breaks |
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Breaks ] | [ 上へ : Breaks ] | [ Page breaking > ] |
4.3.1 Line breaking
Line breaks are normally determined automatically. They are chosen so that lines look neither cramped nor loose, and consecutive lines have similar density.
To manually force a line break at a bar line, use the
\break
command:
c4 c c c | \break c4 c c c |
By default, a \break
in the middle of a measure is ignored,
and a warning is printed. To force a line break in the middle of
a measure, add an invisible bar line with ‘\bar ""’:
c4 c c \bar "" \break c | c4 c c c |
A \break
occurring at a bar line is also ignored if the
previous measure ends in the middle of a note, such as when a
tuplet begins and ends in different measures. To allow
\break
commands to work in these situations, remove the
Forbid_line_break_engraver
from the Voice
context.
Note that manually forced line breaks have to be added in parallel
with the music:
\new Voice \with { \remove Forbid_line_break_engraver } \relative c'' { << { c2. \times 2/3 { c4 c c } c2. | } { s1 | \break s1 | } >> }
Similarly, line breaks are normally forbidden when beams cross bar
lines. This behavior can be changed by setting
\override Beam #'breakable = ##t
:
\override Beam #'breakable = ##t c2. c8[ c | \break c8 c] c2. |
The \noBreak
command forbids a line break at the bar line
where it is inserted.
The most basic settings influencing line spacing are indent
and line-width
. They are set in the \layout
block.
They control the indentation of the first line of music, and the
lengths of the lines.
If ragged-right
is set to true in the \layout
block,
then systems end at their natural horizontal length, instead of
being spread horizontally to fill the whole line. This is useful
for short fragments, and for checking how tight the natural
spacing is.
The option ragged-last
is similar to ragged-right
,
but affects only the last line of the piece.
\layout { indent = 0\mm line-width = 150\mm ragged-last = ##t }
For line breaks at regular intervals use \break
separated by
skips and repeated with \repeat
. For example, this would
cause the following 28 measures (assuming 4/4 time) to be broken
every 4 measures, and only there:
<< \repeat unfold 7 { s1 \noBreak s1 \noBreak s1 \noBreak s1 \break } { the actual music… } >>
A linebreaking configuration can be saved as a ‘.ly’ file automatically. This allows vertical alignments to be stretched to fit pages in a second formatting run. This is fairly new and complicated. More details are available in Spacing.
定義済みコマンド
参照
Notation Reference:
\paper
variables for line breaking.
Snippets: Spacing.
Internals Reference: LineBreakEvent.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Line breaking ] | [ 上へ : Breaks ] | [ Optimal page breaking > ] |
4.3.2 Page breaking
The default page breaking may be overridden by inserting
\pageBreak
or \noPageBreak
commands. These commands are
analogous to \break
and \noBreak
. They should be
inserted at a bar line. These commands force and forbid a page-break
from happening. Of course, the \pageBreak
command also forces
a line break.
The \pageBreak
and \noPageBreak
commands may also be
inserted at top-level, between scores and top-level markups.
There are also analogous settings to ragged-right
and
ragged-last
which have the same effect on vertical spacing:
ragged-bottom
and ragged-last-bottom
. If set to
##t
the systems on all pages or just the last page
respectively will not be justified vertically. See
Fixed vertical spacing \paper
variables.
Page breaks are computed by the page-breaking
function. LilyPond
provides three algorithms for computing page breaks,
ly:optimal-breaking
, ly:page-turn-breaking
and
ly:minimal-breaking
. The default is ly:optimal-breaking
,
but the value can be changed in the \paper
block:
\paper { page-breaking = #ly:page-turn-breaking }
When a book has many scores and pages, the page breaking problem may be
difficult to solve, requiring large processing time and memory. To ease
the page breaking process, \bookpart
blocks are used to divide
the book into several parts: the page breaking occurs separately on each
part. Different page breaking functions may also be used in different
book parts.
\bookpart { \header { subtitle = "Preface" } \paper { %% In a part consisting mostly of text, %% ly:minimal-breaking may be preferred page-breaking = #ly:minimal-breaking } \markup { … } … } \bookpart { %% In this part, consisting of music, the default optimal %% page breaking function is used. \header { subtitle = "First movement" } \score { … } … }
定義済みコマンド
参照
Notation Reference:
\paper
variables for page breaking.
Snippets: Spacing.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Page breaking ] | [ 上へ : Breaks ] | [ Optimal page turning > ] |
4.3.3 Optimal page breaking
The ly:optimal-breaking
function is LilyPond’s default method of
determining page breaks. It attempts to find a page breaking that minimizes
cramping and stretching, both horizontally and vertically. Unlike
ly:page-turn-breaking
, it has no concept of page turns.
参照
Snippets: Spacing.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Optimal page breaking ] | [ 上へ : Breaks ] | [ Minimal page breaking > ] |
4.3.4 Optimal page turning
Often it is necessary to find a page breaking configuration so that there is
a rest at the end of every second page. This way, the musician can turn the
page without having to miss notes. The ly:page-turn-breaking
function
attempts to find a page breaking minimizing cramping and stretching, but with
the additional restriction that it is only allowed to introduce page turns
in specified places.
There are two steps to using this page breaking function. First, you
must enable it in the \paper
block, as explained in Page breaking. Then you must tell the function where you would like to allow
page breaks.
There are two ways to achieve the second step. First, you can specify each
potential page turn manually, by inserting \allowPageTurn
into your
input file at the appropriate places.
If this is too tedious, you can add a Page_turn_engraver
to a Staff or
Voice context. The Page_turn_engraver
will scan the context for
sections without notes (note that it does not scan for rests; it scans for
the absence of notes. This is so that single-staff polyphony with rests in one
of the parts does not throw off the Page_turn_engraver
). When it finds
a sufficiently long section without notes, the Page_turn_engraver
will
insert an \allowPageTurn
at the final bar line in that section, unless
there is a ‘special’ bar line (such as a double bar), in which case the
\allowPageTurn
will be inserted at the final ‘special’ bar line in
the section.
The Page_turn_engraver
reads the context property
minimumPageTurnLength
to determine how long a note-free section must
be before a page turn is considered. The default value for
minimumPageTurnLength
is #(ly:make-moment 1 1)
. If you want
to disable page turns, you can set it to something very large.
\new Staff \with { \consists "Page_turn_engraver" } { a4 b c d | R1 | % a page turn will be allowed here a4 b c d | \set Staff.minimumPageTurnLength = #(ly:make-moment 5 2) R1 | % a page turn will not be allowed here a4 b r2 | R1*2 | % a page turn will be allowed here a1 }
The Page_turn_engraver
detects volta repeats. It will only allow a page
turn during the repeat if there is enough time at the beginning and end of the
repeat to turn the page back. The Page_turn_engraver
can also disable
page turns if the repeat is very short. If you set the context property
minimumRepeatLengthForPageTurn
then the Page_turn_engraver
will
only allow turns in repeats whose duration is longer than this value.
The page turning commands, \pageTurn
, \noPageTurn
and
\allowPageTurn
, may also be used at top-level, between scores and
top-level markups.
定義済みコマンド
\pageTurn
,
\noPageTurn
,
\allowPageTurn
.
参照
Snippets: Spacing.
既知の問題と警告
There should only be one Page_turn_engraver
in a score. If there is more
than one, they will interfere with each other.
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[ < Optimal page turning ] | [ 上へ : Breaks ] | [ Explicit breaks > ] |
4.3.5 Minimal page breaking
The ly:minimal-breaking
function performs minimal computations to
calculate the page breaking: it fills a page with as many systems as
possible before moving to the next one. Thus, it may be preferred for
scores with many pages, where the other page breaking functions could be
too slow or memory demanding, or a lot of texts. It is enabled using:
\paper { page-breaking = #ly:minimal-breaking }
参照
Snippets: Spacing.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Minimal page breaking ] | [ 上へ : Breaks ] | [ Using an extra voice for breaks > ] |
4.3.6 Explicit breaks
Lily sometimes rejects explicit \break
and \pageBreak
commands. There are two commands to override this behavior:
\override NonMusicalPaperColumn #'line-break-permission = ##f \override NonMusicalPaperColumn #'page-break-permission = ##f
When line-break-permission
is overridden to false, Lily will insert
line breaks at explicit \break
commands and nowhere else. When
page-break-permission
is overridden to false, Lily will insert
page breaks at explicit \pageBreak
commands and nowhere else.
\paper { indent = #0 ragged-right = ##t ragged-bottom = ##t } music = \relative c'' { c8 c c c } \score { \new Staff { \repeat unfold 2 { \music } \break \repeat unfold 4 { \music } \break \repeat unfold 6 { \music } \break \repeat unfold 8 { \music } \pageBreak \repeat unfold 8 { \music } \break \repeat unfold 6 { \music } \break \repeat unfold 4 { \music } \break \repeat unfold 2 { \music } } \layout { \context { \Score \override NonMusicalPaperColumn #'line-break-permission = ##f \override NonMusicalPaperColumn #'page-break-permission = ##f } } }
参照
Snippets: Spacing.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Explicit breaks ] | [ 上へ : Breaks ] | [ Vertical spacing > ] |
4.3.7 Using an extra voice for breaks
Line- and page-breaking information usually appears within note entry directly.
music = \relative c'' { c4 c c c } \score { \new Staff { \repeat unfold 2 { \music } \break \repeat unfold 3 { \music } } }
This makes \break
and \pageBreak
commands easy to enter but mixes
music entry with information that specifies how music should lay out
on the page. You can keep music entry and line- and page-breaking
information in two separate places by introducing an extra voice to
contain the breaks. This extra voice
contains only skips together with \break
, pageBreak
and other
breaking layout information.
music = \relative c'' { c4 c c c } \score { \new Staff << \new Voice { s1 * 2 \break s1 * 3 \break s1 * 6 \break s1 * 5 \break } \new Voice { \repeat unfold 2 { \music } \repeat unfold 3 { \music } \repeat unfold 6 { \music } \repeat unfold 5 { \music } } >> }
This pattern becomes especially helpful when overriding
line-break-system-details
and the other useful but long properties of
NonMusicalPaperColumnGrob
, as explained in Vertical spacing.
music = \relative c'' { c4 c c c } \score { \new Staff << \new Voice { \overrideProperty "Score.NonMusicalPaperColumn" #'line-break-system-details #'((Y-offset . 0)) s1 * 2 \break \overrideProperty "Score.NonMusicalPaperColumn" #'line-break-system-details #'((Y-offset . 35)) s1 * 3 \break \overrideProperty "Score.NonMusicalPaperColumn" #'line-break-system-details #'((Y-offset . 70)) s1 * 6 \break \overrideProperty "Score.NonMusicalPaperColumn" #'line-break-system-details #'((Y-offset . 105)) s1 * 5 \break } \new Voice { \repeat unfold 2 { \music } \repeat unfold 3 { \music } \repeat unfold 6 { \music } \repeat unfold 5 { \music } } >> }
参照
Notation Reference: Vertical spacing.
Snippets: Spacing.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Using an extra voice for breaks ] | [ 上へ : Spacing issues ] | [ Flexible vertical spacing within systems > ] |
4.4 Vertical spacing
Vertical spacing is controlled by three things: the amount of space available (i.e., paper size and margins), the amount of space between systems, and the amount of space between staves inside a system.
4.4.1 Flexible vertical spacing within systems | ||
4.4.2 Explicit staff and system positioning | ||
4.4.3 Vertical collision avoidance |
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Vertical spacing ] | [ 上へ : Vertical spacing ] | [ Within-system spacing properties > ] |
4.4.1 Flexible vertical spacing within systems
Three separate mechanisms control the flexible vertical spacing within systems, one for each of the following categories:
- ungrouped staves,
-
grouped staves (staves within a staff-group such as
ChoirStaff
, etc.), and -
non-staff lines (such as
Lyrics
,ChordNames
, etc.).
The height of each system is determined in two steps. First, all of the staves are spaced according to the amount of space available. Then, the non-staff lines are distributed between the staves.
Note that the spacing mechanisms discussed in this section only
control the vertical spacing of staves and non-staff lines within
individual systems. The vertical spacing between separate
systems, scores, markups, and margins is controlled by
\paper
variables, which are discussed in
Flexible vertical spacing \paper
variables.
Within-system spacing properties | ||
Spacing of ungrouped staves | ||
Spacing of grouped staves | ||
Spacing of non-staff lines |
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Flexible vertical spacing within systems ] | [ 上へ : Flexible vertical spacing within systems ] | [ Spacing of ungrouped staves > ] |
Within-system spacing properties
The within-system vertical spacing mechanisms are controlled by
two sets of grob properties. The first set is associated with the
VerticalAxisGroup
grob, which is created by all staves and
non-staff lines. The second set is associated with the
StaffGrouper
grob, which can be created by staff-groups,
but only if explicitly called. These properties are described
individually at the end of this section.
The names of these properties (except for staff-affinity
)
follow the format item1-item2-spacing
, where
item1
and item2
are the items to be
spaced. Note that item2
is not necessarily below
item1
; for example,
nonstaff-relatedstaff-spacing
will measure upwards from the
non-staff line if staff-affinity
is #UP
.
Each distance is measured between the reference points of
the two items. The reference point for a staff is the vertical
center of its StaffSymbol
(i.e. the middle line if
line-count
is odd; the middle space if line-count
is
even). The reference points for individual non-staff lines are
given in the following table:
Non-staff line | Reference point |
---|---|
| baseline |
| baseline |
| baseline |
| vertical center |
| highest point |
| top line |
In the following image, horizontal lines indicate the positions of these reference points:
Each of the vertical spacing grob properties (except
staff-affinity
) uses the same alist structure as the
\paper
spacing variables discussed in
Flexible vertical spacing \paper
variables. Specific methods
for modifying alists are discussed in Modifying alists.
Grob properties should be adjusted with an \override
inside
a \score
or \layout
block, and not inside a
\paper
block.
The following example demonstrates the two ways these alists can be modified. The first declaration updates one key-value individually, and the second completely re-defines the property:
\new Staff \with { \override VerticalAxisGroup #'default-staff-staff-spacing #'basic-distance = #10 } { … } \new Staff \with { \override VerticalAxisGroup #'default-staff-staff-spacing = #'((basic-distance . 10) (minimum-distance . 9) (padding . 1) (stretchability . 10)) } { … }
To change any spacing settings globally, put them in the
\layout
block:
\layout { \context { \Staff \override VerticalAxisGroup #'default-staff-staff-spacing #'basic-distance = #10 } }
Standard settings for the vertical spacing grob properties are listed in VerticalAxisGroup and StaffGrouper. Default overrides for specific types of non-staff lines are listed in the relevant context descriptions in Contexts.
Properties of the VerticalAxisGroup
grob
VerticalAxisGroup
properties are typically adjusted with an
\override
at the Staff
level (or equivalent).
-
staff-staff-spacing
-
Used to determine the distance between the current staff and the staff just below it in the same system, even if one or more non-staff lines (such as
Lyrics
) are placed between the two staves. Does not apply to the bottom staff of a system.Initially, the
staff-staff-spacing
of aVerticalAxisGroup
is a Scheme function that applies the properties of theStaffGrouper
if the staff is part of a group, or thedefault-staff-staff-spacing
of the staff otherwise. This allows staves to be spaced differently when they are grouped. For uniform spacing regardless of grouping, this function may be replaced by a flexible-spacing alist, using the complete-redefinition form of override shown above. -
default-staff-staff-spacing
A flexible-spacing alist defining the
staff-staff-spacing
used for ungrouped staves, unlessstaff-staff-spacing
has been explicitly set with an\override
.-
staff-affinity
The direction of the staff to use for spacing the current non-staff line. Choices are
UP
,DOWN
, andCENTER
. IfCENTER
, the non-staff line will be placed equidistant between the two nearest staves on either side, unless collisions or other spacing constraints prevent this. Adjacent non-staff lines should have non-increasingstaff-affinity
from top to bottom, e.g. a non-staff line set toUP
should not immediately follow one that is set toDOWN
. Non-staff lines at the top of a system should useDOWN
; those at the bottom should useUP
. Settingstaff-affinity
for a staff causes it to be treated as a non-staff line. Settingstaff-affinity
to#f
causes a non-staff line to be treated as a staff. Settingstaff-affinity
toUP
,CENTER
, orDOWN
causes a staff to be spaced as a non-staff line.-
nonstaff-relatedstaff-spacing
The distance between the current non-staff line and the nearest staff in the direction of
staff-affinity
, if there are no non-staff lines between the two, andstaff-affinity
is eitherUP
orDOWN
. Ifstaff-affinity
isCENTER
, thennonstaff-relatedstaff-spacing
is used for the nearest staves on both sides, even if other non-staff lines appear between the current one and either of the staves. This means that the placement of a non-staff line depends on both the surrounding staves and the surrounding non-staff lines. Setting thestretchability
of one of these types of spacing to a small value will make that spacing dominate. Setting thestretchability
to a large value will make that spacing have little effect.-
nonstaff-nonstaff-spacing
The distance between the current non-staff line and the next non-staff line in the direction of
staff-affinity
, if both are on the same side of the related staff, andstaff-affinity
is eitherUP
orDOWN
.-
nonstaff-unrelatedstaff-spacing
The distance between the current non-staff line and the staff in the opposite direction from
staff-affinity
, if there are no other non-staff lines between the two, andstaff-affinity
is eitherUP
orDOWN
. This can be used, for example, to require a minimum amount of padding between aLyrics
line and the staff to which it does not belong.
Properties of the StaffGrouper
grob
StaffGrouper
properties are typically adjusted with an
\override
at the StaffGroup
level (or equivalent).
-
staff-staff-spacing
The distance between consecutive staves within the current staff-group. The
staff-staff-spacing
property of an individual staff’sVerticalAxisGroup
grob can be overriden with different spacing settings for that staff.-
staffgroup-staff-spacing
The distance between the last staff of the current staff-group and the staff just below it in the same system, even if one or more non-staff lines (such as
Lyrics
) exist between the two staves. Does not apply to the bottom staff of a system. Thestaff-staff-spacing
property of an individual staff’sVerticalAxisGroup
grob can be overriden with different spacing settings for that staff.
参照
Notation Reference:
Flexible vertical spacing \paper
variables,
Modifying alists.
Internals Reference: Contexts, VerticalAxisGroup, StaffGrouper.
Installed Files: ‘ly/engraver-init.ly’, ‘scm/define-grobs.scm’.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Within-system spacing properties ] | [ 上へ : Flexible vertical spacing within systems ] | [ Spacing of grouped staves > ] |
Spacing of ungrouped staves
Staves (such as Staff
, DrumStaff
,
TabStaff
, etc.) are contexts that can contain one or more
voice contexts, but cannot contain any other staves.
The following properties affect the spacing of ungrouped staves:
-
VerticalAxisGroup
properties:-
default-staff-staff-spacing
-
staff-staff-spacing
-
These grob properties are described individually above; see Within-system spacing properties.
Additional properties are involved for staves that are part of a staff-group; see Spacing of grouped staves.
The following example shows how the default-staff-staff-spacing
property can affect the spacing of ungrouped staves.
The same overrides applied to staff-staff-spacing
would
have the same effect, but would also apply in cases where the staves
are combined in a group or groups.
\layout { \context { \Staff \override VerticalAxisGroup #'default-staff-staff-spacing = #'((basic-distance . 8) (minimum-distance . 7) (padding . 1)) } } << % The very low note here needs more room than 'basic-distance % can provide, so the distance between this staff and the next % is determined by 'padding. \new Staff { b,2 r | } % Here, 'basic-distance provides enough room, and there is no % need to compress the space (towards 'minimum-distance) to make % room for anything else on the page, so the distance between % this staff and the next is determined by 'basic-distance. \new Staff { \clef bass g2 r | } % By setting 'padding to a negative value, staves can be made to % collide. The lowest acceptable value for 'basic-distance is 0. \new Staff \with { \override VerticalAxisGroup #'default-staff-staff-spacing = #'((basic-distance . 3.5) (padding . -10)) } { \clef bass g2 r | } \new Staff { \clef bass g2 r | } >>
参照
Installed Files: ‘scm/define-grobs.scm’.
Snippets: Spacing.
Internals Reference: VerticalAxisGroup.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Spacing of ungrouped staves ] | [ 上へ : Flexible vertical spacing within systems ] | [ Spacing of non-staff lines > ] |
Spacing of grouped staves
In orchestral and other large scores, it is common to place staves in groups. The space between groups is typically larger than the space between staves of the same group.
Staff-groups (such as StaffGroup
, ChoirStaff
,
etc.) are contexts that can contain one or more staves
simultaneously.
The following properties affect the spacing of staves inside staff-groups:
-
VerticalAxisGroup
properties:-
staff-staff-spacing
-
-
StaffGrouper
properties:-
staff-staff-spacing
-
staffgroup-staff-spacing
-
These grob properties are described individually above; see Within-system spacing properties.
The following example shows how properties of the
StaffGrouper
grob can affect the spacing of grouped staves:
\layout { \context { \Score \override StaffGrouper #'staff-staff-spacing #'padding = #0 \override StaffGrouper #'staff-staff-spacing #'basic-distance = #1 } } << \new PianoStaff \with { \override StaffGrouper #'staffgroup-staff-spacing #'basic-distance = #20 } << \new Staff { c'1 } \new Staff { c'1 } >> \new StaffGroup << \new Staff { c'1 } \new Staff { c'1 } >> >>
参照
Installed Files: ‘scm/define-grobs.scm’.
Snippets: Spacing.
Internals Reference: VerticalAxisGroup, StaffGrouper.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Spacing of grouped staves ] | [ 上へ : Flexible vertical spacing within systems ] | [ Explicit staff and system positioning > ] |
Spacing of non-staff lines
Non-staff lines (such as Lyrics
, ChordNames
,
etc.) are contexts whose layout objects are engraved like staves
(i.e. in horizontal lines within systems). Specifically,
non-staff lines are non-staff contexts that create the
VerticalAxisGroup
layout object.
The following properties affect the spacing of non-staff lines:
-
VerticalAxisGroup
properties:-
staff-affinity
-
nonstaff-relatedstaff-spacing
-
nonstaff-nonstaff-spacing
-
nonstaff-unrelatedstaff-spacing
-
These grob properties are described individually above; see Within-system spacing properties.
The following example shows how the
nonstaff-nonstaff-spacing
property can affect the spacing
of consecutive non-staff lines. Here, by setting the
stretchability
key to a very high value, the lyrics are
able to stretch much more than usual:
\layout { \context { \Lyrics \override VerticalAxisGroup #'nonstaff-nonstaff-spacing #'stretchability = #1000 } } \new StaffGroup << \new Staff \with { \override VerticalAxisGroup #'staff-staff-spacing = #'((basic-distance . 30)) } { c'1 } \new Lyrics \with { \override VerticalAxisGroup #'staff-affinity = #UP } \lyricmode { up } \new Lyrics \with { \override VerticalAxisGroup #'staff-affinity = #CENTER } \lyricmode { center } \new Lyrics \with { \override VerticalAxisGroup #'staff-affinity = #DOWN } \lyricmode { down } \new Staff { c'1 } >>
参照
Installed Files: ‘ly/engraver-init.ly’, ‘scm/define-grobs.scm’.
Snippets: Spacing.
Internals Reference: Contexts, VerticalAxisGroup.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Spacing of non-staff lines ] | [ 上へ : Vertical spacing ] | [ Vertical collision avoidance > ] |
4.4.2 Explicit staff and system positioning
One way to understand the flexible vertical spacing mechanisms explained above is as a collection of settings that control the amount of vertical padding between staves and systems.
It is possible to approach vertical spacing in a different way
using NonMusicalPaperColumn #'line-break-system-details
.
While the flexible vertical spacing mechanisms specify vertical
padding, NonMusicalPaperColumn #'line-break-system-details
can specify exact vertical positions on the page.
NonMusicalPaperColumn #'line-break-system-details
accepts
an associative list of three different settings:
-
X-offset
-
Y-offset
-
alignment-distances
Grob overrides, including the overrides for NonMusicalPaperColumn
below, can occur in any of three different places in an input file:
- in the middle of note entry directly
- in a
\context
block - in the
\with
block
When we override NonMusicalPaperColumn
, we use the usual
\override
command in \context
blocks and in the
\with
block. On the other hand, when we override
NonMusicalPaperColumn
in the middle of note entry,
use the special \overrideProperty
command. Here are some
example NonMusicalPaperColumn
overrides with the special
\overrideProperty
command:
\overrideProperty NonMusicalPaperColumn #'line-break-system-details #'((X-offset . 20)) \overrideProperty NonMusicalPaperColumn #'line-break-system-details #'((Y-offset . 40)) \overrideProperty NonMusicalPaperColumn #'line-break-system-details #'((X-offset . 20) (Y-offset . 40)) \overrideProperty NonMusicalPaperColumn #'line-break-system-details #'((alignment-distances . (15))) \overrideProperty NonMusicalPaperColumn #'line-break-system-details #'((X-offset . 20) (Y-offset . 40) (alignment-distances . (15)))
To understand how each of these different settings work, we begin by looking at an example that includes no overrides at all.
\header { tagline = ##f } \paper { left-margin = 0\mm } \book { \score { << \new Staff << \new Voice { s1*5 \break s1*5 \break s1*5 \break } \new Voice { \repeat unfold 15 { c'4 c' c' c' } } >> \new Staff { \repeat unfold 15 { d'4 d' d' d' } } >> } }
This score isolates line- and page-breaking information in a dedicated voice. This technique of creating a breaks voice will help keep layout separate from music entry as our example becomes more complicated. See Using an extra voice for breaks.
Explicit \breaks
evenly divide the music into six measures per
line. Vertical spacing results from LilyPond’s defaults. To set
the vertical startpoint of each system explicitly, we can set
the Y-offset
pair in the line-break-system-details
attribute of the NonMusicalPaperColumn
grob:
\header { tagline = ##f } \paper { left-margin = 0\mm } \book { \score { << \new Staff << \new Voice { \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((Y-offset . 0)) s1*5 \break \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((Y-offset . 40)) s1*5 \break \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((Y-offset . 80)) s1*5 \break } \new Voice { \repeat unfold 15 { c'4 c' c' c' } } >> \new Staff { \repeat unfold 15 { d'4 d' d' d' } } >> } }
Note that line-break-system-details
takes an associative list of
potentially many values, but that we set only one value here. Note,
too, that the Y-offset
property here determines the exact vertical
position on the page at which each new system will render.
Now that we have set the vertical startpoint of each system
explicitly, we can also set the vertical distances between staves
within each system manually. We do this using the alignment-distances
subproperty of line-break-system-details
.
\header { tagline = ##f } \paper { left-margin = 0\mm } \book { \score { << \new Staff << \new Voice { \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((Y-offset . 20) (alignment-distances . (15))) s1*5 \break \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((Y-offset . 60) (alignment-distances . (15))) s1*5 \break \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((Y-offset . 100) (alignment-distances . (15))) s1*5 \break } \new Voice { \repeat unfold 15 { c'4 c' c' c' } } >> \new Staff { \repeat unfold 15 { d'4 d' d' d' } } >> } }
Note that here we assign two different values to the
line-break-system-details
attribute of the
NonMusicalPaperColumn
grob. Though the
line-break-system-details
attribute alist accepts many
additional spacing parameters (including, for example, a corresponding
X-offset
pair), we need only set the Y-offset
and
alignment-distances
pairs to control the vertical startpoint of
every system and every staff. Finally, note that alignment-distances
specifies the vertical positioning of staves but not of staff groups.
\header { tagline = ##f } \paper { left-margin = 0\mm } \book { \score { << \new Staff << \new Voice { \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((Y-offset . 0) (alignment-distances . (30 10))) s1*5 \break \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((Y-offset . 60) (alignment-distances . (10 10))) s1*5 \break \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((Y-offset . 100) (alignment-distances . (10 30))) s1*5 \break } \new Voice { \repeat unfold 15 { c'4 c' c' c' } } >> \new StaffGroup << \new Staff { \repeat unfold 15 { d'4 d' d' d' } } \new Staff { \repeat unfold 15 { e'4 e' e' e' } } >> >> } }
Some points to consider:
- When using
alignment-distances
, lyrics and other non-staff lines do not count as a staff. - The units of the numbers passed to
X-offset
,Y-offset
andalignment-distances
are interpreted as multiples of the distance between adjacent staff lines. Positive values move staves and lyrics up, negative values move staves and lyrics down. - Because the
NonMusicalPaperColumn #'line-break-system-details
settings given here allow the positioning of staves and systems anywhere on the page, it is possible to violate paper or margin boundaries or even to print staves or systems on top of one another. Reasonable values passed to these different settings will avoid this.
参照
Snippets: Spacing.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Explicit staff and system positioning ] | [ 上へ : Vertical spacing ] | [ Horizontal spacing > ] |
4.4.3 Vertical collision avoidance
Intuitively, there are some objects in musical notation that belong to the staff and there are other objects that should be placed outside the staff. Objects belonging outside the staff include things such as rehearsal marks, text and dynamic markings (from now on, these will be called outside-staff objects). LilyPond’s rule for the vertical placement of outside-staff objects is to place them as close to the staff as possible but not so close that they collide with another object.
LilyPond uses the outside-staff-priority
property to determine
whether a grob is an outside-staff object: if outside-staff-priority
is a number, the grob is an outside-staff object. In addition,
outside-staff-priority
tells LilyPond in which order the objects
should be placed.
First, LilyPond places all the objects that do not belong outside
the staff. Then it sorts the outside-staff objects according to their
outside-staff-priority
(in increasing order). One by one, LilyPond
takes the outside-staff objects and places them so that they do
not collide with any objects that have already been placed. That
is, if two outside-staff grobs are competing for the same space, the one
with the lower outside-staff-priority
will be placed closer to
the staff.
c4_"Text"\pp r2. \once \override TextScript #'outside-staff-priority = #1 c4_"Text"\pp % this time the text will be closer to the staff r2. % by setting outside-staff-priority to a non-number, % we disable the automatic collision avoidance \once \override TextScript #'outside-staff-priority = ##f \once \override DynamicLineSpanner #'outside-staff-priority = ##f c4_"Text"\pp % now they will collide
The vertical padding between an outside-staff object and the
previously-positioned grobs can be controlled with
outside-staff-padding
.
\once \override TextScript #'outside-staff-padding = #0 a'^"This text is placed very close to the note" \once \override TextScript #'outside-staff-padding = #3 c^"This text is padded away from the previous text" c^"This text is placed close to the previous text"
By default, outside-staff objects are placed only to avoid
a horizontal collision with previously-positioned grobs. This
can lead to situations in which objects are placed very close to each
other horizontally. The vertical spacing between staves can
also be set so that outside staff objects are interleaved.
Setting outside-staff-horizontal-padding
causes an object to be offset vertically so that such a situation
doesn’t occur.
% the markup is too close to the following note c4^"Text" c4 c''2 % setting outside-staff-horizontal-padding fixes this R1 \once \override TextScript #'outside-staff-horizontal-padding = #1 c,,4^"Text" c4 c''2
参照
Snippets: Spacing.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Vertical collision avoidance ] | [ 上へ : Spacing issues ] | [ Horizontal spacing overview > ] |
4.5 Horizontal spacing
4.5.1 Horizontal spacing overview | ||
4.5.2 New spacing area | ||
4.5.3 Changing horizontal spacing | ||
4.5.4 Line length | ||
4.5.5 Proportional notation |
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Horizontal spacing ] | [ 上へ : Horizontal spacing ] | [ New spacing area > ] |
4.5.1 Horizontal spacing overview
The spacing engine translates differences in durations into stretchable
distances (‘springs’) of differing lengths. Longer durations get
more space, shorter durations get less. The shortest durations get a
fixed amount of space (which is controlled by
shortest-duration-space
in the
SpacingSpanner
object). The longer the duration, the more space it gets: doubling a
duration adds a fixed amount (this amount is controlled by
spacing-increment
) of space to the note.
For example, the following piece contains lots of half, quarter, and 8th notes; the eighth note is followed by 1 note head width (NHW). The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
c2 c4. c8 c4. c8 c4. c8 c8 c8 c4 c4 c4
Normally, spacing-increment
is set to 1.2 staff space, which is
approximately the width of a note head, and
shortest-duration-space
is set to 2.0, meaning that the
shortest note gets 2.4 staff space (2.0 times the
spacing-increment
) of horizontal space. This space is counted
from the left edge of the symbol, so the shortest notes are generally
followed by one NHW of space.
If one would follow the above procedure exactly, then adding a single 32nd note to a score that uses 8th and 16th notes, would widen up the entire score a lot. The shortest note is no longer a 16th, but a 32nd, thus adding 1 NHW to every note. To prevent this, the shortest duration for spacing is not the shortest note in the score, but rather the one which occurs most frequently.
The most common shortest duration is determined as follows: in every
measure, the shortest duration is determined. The most common shortest
duration is taken as the basis for the spacing, with the stipulation
that this shortest duration should always be equal to or shorter than
an 8th note. The shortest duration is printed when you run
lilypond
with the --verbose
option.
These durations may also be customized. If you set the
common-shortest-duration
in
SpacingSpanner, then
this sets the base duration for spacing. The maximum duration for this
base (normally an 8th), is set through base-shortest-duration
.
Notes that are even shorter than the common shortest note are followed by a space that is proportional to their duration relative to the common shortest note. So if we were to add only a few 16th notes to the example above, they would be followed by half a NHW:
c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
In the Essay on automated music engraving, it was explained
that stem directions influence spacing (see
Optical spacing). This is controlled with the
stem-spacing-correction
property in the
NoteSpacing, object. These are generated for every
Voice context. The StaffSpacing
object
(generated in
Staff context) contains the same
property for controlling the stem/bar line spacing. The following
example shows these corrections, once with default settings, and
once with exaggerated corrections:
Proportional notation is supported; see Proportional notation.
参照
Snippets: Spacing.
Internals Reference: SpacingSpanner, NoteSpacing, StaffSpacing, NonMusicalPaperColumn.
Essay on automated music engraving: Optical spacing.
既知の問題と警告
There is no convenient mechanism to manually override spacing. The following work-around may be used to insert extra space into a score, adjusting the padding value as necessary.
\override Score.NonMusicalPaperColumn #'padding = #10
No work-around exists for decreasing the amount of space.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Horizontal spacing overview ] | [ 上へ : Horizontal spacing ] | [ Changing horizontal spacing > ] |
4.5.2 New spacing area
New sections with different spacing parameters can be started with
newSpacingSection
. This is useful when there are
sections with a different notions of long and short notes.
In the following example, the time signature change introduces a new section, and hence the 16ths notes are spaced wider.
\time 2/4 c4 c8 c c8 c c4 c16[ c c8] c4 \newSpacingSection \time 4/16 c16[ c c8]
The \newSpacingSection
command creates a new
SpacingSpanner
object, and hence new \override
s
may be used in that location.
参照
Snippets: Spacing.
Internals Reference: SpacingSpanner.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < New spacing area ] | [ 上へ : Horizontal spacing ] | [ Line length > ] |
4.5.3 Changing horizontal spacing
Horizontal spacing may be altered with the
base-shortest-duration
property. Here
we compare the same music; once without altering
the property, and then altered. Larger values
of ly:make-moment
will produce smaller
music. Note that ly:make-moment
constructs
a duration, so 1 4
is a longer duration
than 1 16
.
\score { \relative c'' { g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | d4 d d d | d4 e f2 | e4 e e e | e4 f g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | } }
\score { \relative c'' { g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | d4 d d d | d4 e f2 | e4 e e e | e4 f g2 | g4 e e2 | f4 d d2 | c4 e g g | c,1 | } \layout { \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 16) } } }
Selected Snippets
By default, spacing in tuplets depends on various non-duration
factors (such as accidentals, clef changes, etc). To disregard
such symbols and force uniform equal-duration spacing, use
Score.SpacingSpanner #'uniform-stretching
. This
property can only be changed at the beginning of a score,
\score { << \new Staff { \times 4/5 { c8 c8 c8 c8 c8 } c8 c8 c8 c8 } \new Staff { c8 c8 c8 c8 \times 4/5 { c8 c8 c8 c8 c8 } } >> \layout { \context { \Score \override SpacingSpanner #'uniform-stretching = ##t } } }
When strict-note-spacing
is set, notes are spaced without
regard for clefs, bar lines, and grace notes,
\override Score.SpacingSpanner #'strict-note-spacing = ##t \new Staff { c8[ c \clef alto c \grace { c16[ c] } c8 c c] c32[ c32] }
参照
Snippets: Spacing.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Changing horizontal spacing ] | [ 上へ : Horizontal spacing ] | [ Proportional notation > ] |
4.5.4 Line length
The most basic settings influencing the spacing are indent
and
line-width
. They are set in the \layout
block. They
control the indentation of the first line of music, and the lengths of
the lines.
If ragged-right
is set to true in the \layout
block, then
systems ends at their natural horizontal length, instead of being spread
horizontally to fill the whole line. This is useful for
short fragments, and for checking how tight the natural spacing is.
The normal default setting is false, but if the score has only one
system the default value is true.
The option ragged-last
is similar to ragged-right
, but
only affects the last line of the piece. No restrictions are put on
that line. The result is similar to formatting text paragraphs. In a
paragraph, the last line simply takes its natural horizontal length.
\layout { indent = #0 line-width = #150 ragged-last = ##t }
参照
Snippets: Spacing.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Line length ] | [ 上へ : Horizontal spacing ] | [ Fitting music onto fewer pages > ] |
4.5.5 Proportional notation
LilyPond supports proportional notation, a type of horizontal spacing in which each note consumes an amount of horizontal space exactly equivalent to its rhythmic duration. This type of proportional spacing is comparable to horizontal spacing on top of graph paper. Some late 20th- and early 21st-century scores use proportional notation to clarify complex rhythmic relationships or to facilitate the placement of timelines or other graphics directly in the score.
LilyPond supports five different settings for proportional notation, which may be used together or alone:
-
proportionalNotationDuration
-
uniform-stretching
-
strict-note-spacing
-
\remove Separating_line_group_engraver
-
\override PaperColumn #'used = ##t
In the examples that follow, we explore these five different proportional notation settings and examine how these settings interact.
We start with the following one-measure example, which uses classical spacing with ragged-right turned on.
\score { << \new RhythmicStaff { c'2 c'16 c'16 c'16 c'16 \times 4/5 { c'16 c'16 c'16 c'16 c'16 } } >> }
Notice that the half note which begins the measure takes up far less than half of the horizontal space of the measure. Likewise, the sixteenth notes and sixteenth-note quintuplets (or twentieth notes) which end the measure together take up far more than half the horizontal space of the measure.
In classical engraving, this spacing may be exactly what we want because we can borrow horizontal space from the half note and conserve horizontal space across the measure as a whole.
On the other hand, if we want to insert a measured timeline or other graphic above or below our score, we need proportional notation. We turn proportional notation on with the proportionalNotationDuration setting.
\score { << \new RhythmicStaff { c'2 c'16 c'16 c'16 c'16 \times 4/5 { c'16 c'16 c'16 c'16 c'16 } } >> \layout { \context { \Score proportionalNotationDuration = #(ly:make-moment 1 20) } } }
The half note at the beginning of the measure and the faster notes in the second half of the measure now occupy equal amounts of horizontal space. We could place a measured timeline or graphic above or below this example.
The proportionalNotationDuration
setting is a context setting
that lives in Score
. Remember that context settings can appear
in one of three locations within our input file – in a \with
block, in a \context
block, or directly in music entry preceded
by the \set
command. As with all context settings, users can
pick which of the three different locations they would like to
set proportionalNotationDuration
in to.
The proportionalNotationDuration
setting takes a single argument,
which is the reference duration against that all music will be spaced.
The LilyPond Scheme function make-moment
takes two arguments
– a numerator and denominator which together express some fraction of
a whole note. The call #(ly:make-moment 1 20)
therefore produces
a reference duration of a twentieth note. Values such as
#(ly:make-moment 1 16)
, #(ly:make-moment 1 8)
, and
#(ly:make-moment 3 97)
are all possible as well.
How do we select the right reference duration to pass to
proportionalNotationDuration
? Usually by a process of trial
and error, beginning with a duration close to the fastest (or smallest)
duration in the piece. Smaller reference durations space music loosely;
larger reference durations space music tightly.
\score { << \new RhythmicStaff { c'2 c'16 c'16 c'16 c'16 \times 4/5 { c'16 c'16 c'16 c'16 c'16 } } >> \layout { \context { \Score proportionalNotationDuration = #(ly:make-moment 1 8) } } } \score { << \new RhythmicStaff { c'2 c'16 c'16 c'16 c'16 \times 4/5 { c'16 c'16 c'16 c'16 c'16 } } >> \layout { \context { \Score proportionalNotationDuration = #(ly:make-moment 1 16) } } } \score { << \new RhythmicStaff { c'2 c'16 c'16 c'16 c'16 \times 4/5 { c'16 c'16 c'16 c'16 c'16 } } >> \layout { \context { \Score proportionalNotationDuration = #(ly:make-moment 1 32) } } }
Note that too large a reference duration – such as the eighth note, above – spaces music too tightly and can cause note head collisions. Also that proportional notation in general takes up more horizontal space than classical spacing. Proportional spacing provides rhythmic clarity at the expense of horizontal space.
Next we examine how to optimally space overlapping tuplets.
We start by examining what happens to our original example, with classical spacing, when we add a second staff with a different type of tuplet.
\score { << \new RhythmicStaff { c'2 c'16 c'16 c'16 c'16 \times 4/5 { c'16 c'16 c'16 c'16 c'16 } } \new RhythmicStaff { \times 8/9 { c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8 } } >> }
The spacing is bad because the evenly spaced notes of the bottom staff
do not stretch uniformly. Classical engravings include very few complex
triplets and so classical engraving rules can generate this type of
result. Setting proportionalNotationDuration
fixes this.
\score { << \new RhythmicStaff { c'2 c'16 c'16 c'16 c'16 \times 4/5 { c'16 c'16 c'16 c'16 c'16 } } \new RhythmicStaff { \times 8/9 { c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8 } } >> \layout { \context { \Score proportionalNotationDuration = #(ly:make-moment 1 20) } } }
But if we look very carefully we can see that notes of the second half
of the 9-tuplet space ever so slightly more widely than the notes
of the first half of the 9-tuplet. To ensure uniform stretching, we
turn on uniform-stretching
, which is a property of
SpacingSpanner
.
\score { << \new RhythmicStaff { c'2 c'16 c'16 c'16 c'16 \times 4/5 { c'16 c'16 c'16 c'16 c'16 } } \new RhythmicStaff { \times 8/9 { c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8 c'8 } } >> \layout { \context { \Score proportionalNotationDuration = #(ly:make-moment 1 20) \override SpacingSpanner #'uniform-stretching = ##t } } }
Our two-staff example now spaces exactly, our rhythmic relationships are visually clear, and we can include a measured timeline or graphic if we want.
Note that the LilyPond’s proportional notation package expects that all proportional scores set the SpacingSpanner’s ’uniform-stretching attribute to ##t. Setting proportionalNotationDuration without also setting the SpacingSpanner’s ’uniform-stretching attribute to ##t will, for example, cause Skips to consume an incorrect amount of horizontal space.
The SpacingSpanner is an abstract grob that lives in the Score context. As with our settings of proportionalNotationDuration, overrides to the SpacingSpanner can occur in any of three different places in our input file – in the Score \with block, in a Score \context block, or in note entry directly.
There is by default only one SpacingSpanner
per Score
. This
means that, by default, uniform-stretching
is either turned on for the
entire score or turned off for the entire score. We can, however,
override this behavior and turn on different spacing features at
different places in the score. We do this with the command
\newSpacingSection
. See New spacing area, for more info.
Next we examine the effects of the Separating_line_group_engraver
and
see why proportional scores frequently remove this engraver. The following
example shows that there is a small amount of “prefatory” space
just before the first note in each system.
\paper { indent = #0 } \new Staff { c'1 \break c'1 }
The amount of this prefatory space is the same whether after a time
signature, a key signature or a clef. Separating_line_group_engraver
is responsible for this space. Removing Separating_line_group_engraver
reduces this space to zero.
\paper { indent = #0 } \new Staff \with { \remove Separating_line_group_engraver } { c'1 \break c'1 }
non-musical elements like time signatures, key signatures, clefs and accidentals are problematic in proportional notation. None of these elements has rhythmic duration. But all of these elements consume horizontal space. Different proportional scores approach these problems differently.
It may be possible to avoid spacing problems with key signatures simply by not having any. This is a valid option since most proportional scores are contemporary music. The same may be true of time signatures, especially for those scores that include a measured timeline or other graphic. But these scores are exceptional and most proportional scores include at least some time signatures. Clefs and accidentals are even more essential.
So what strategies exist for spacing non-musical elements in a
proportional context? One good option is the strict-note-spacing
property of SpacingSpanner
. Compare the two scores below:
\new Staff { \set Score.proportionalNotationDuration = #(ly:make-moment 1 16) c''8 c''8 c''8 \clef alto d'8 d'2 } \new Staff { \set Score.proportionalNotationDuration = #(ly:make-moment 1 16) \override Score.SpacingSpanner #'strict-note-spacing = ##t c''8 c''8 c''8 \clef alto d'8 d'2 }
Both scores are proportional, but the spacing in the first score is too loose because of the clef change. The spacing of the second score remains strict, however, because strict-note-spacing is turned on. Turning on strict-note-spacing causes the width of time signatures, key signatures, clefs and accidentals to play no part in the spacing algorithm.
In addition to the settings given here, there are other settings that frequently appear in proportional scores. These include:
-
\override SpacingSpanner #'strict-grace-spacing = ##t
-
tupletFullLength = ##t
-
\override Beam #'breakable = ##t
-
\override Glissando #'breakable = ##t
-
\override TextSpanner #'breakable = ##t
-
\remove Forbid_line_break_engraver in the Voice context
These settings space grace notes strictly, extend tuplet brackets to mark both rhythmic start- and stop-points, and allow spanning elements to break across systems and pages. See the respective parts of the manual for these related settings.
参照
Notation Reference: New spacing area.
Snippets: Spacing.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Proportional notation ] | [ 上へ : Spacing issues ] | [ Displaying spacing > ] |
4.6 Fitting music onto fewer pages
Sometimes you can end up with one or two staves on a second (or third, or fourth...) page. This is annoying, especially if you look at previous pages and it looks like there is plenty of room left on those.
When investigating layout issues, annotate-spacing
is an
invaluable tool. This command prints the values of various layout
spacing variables; for more details see the following section,
Displaying spacing.
4.6.1 Displaying spacing | ||
4.6.2 Changing spacing |
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Fitting music onto fewer pages ] | [ 上へ : Fitting music onto fewer pages ] | [ Changing spacing > ] |
4.6.1 Displaying spacing
To graphically display the dimensions of vertical layout variables
that may be altered for page formatting, set
annotate-spacing
in the \paper
block:
#(set-default-paper-size "a6" 'landscape) \book { \score { { c4 } } \paper { annotate-spacing = ##t } }
All layout dimensions are displayed in staff-spaces, regardless
of the units specified in the \paper
or \layout
block.
In the above example, paper-height
has a value of 59.75
staff-spaces
, and the staff-size
is 20 points (the
default value). Note that:
1 point | = (25.4/72.27) mm |
1 staff-space | = ( |
= ( |
In this case, one staff-space
is approximately equal to
1.757mm. Thus the paper-height
measurement of 59.75
staff-spaces
is equivalent to 105 millimeters, the height
of a6
paper in landscape orientation. The pairs
(a,b) are intervals, where a is the lower
edge and b the upper edge of the interval.
参照
Notation Reference: Setting the staff size.
Snippets: Spacing.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Changing defaults >> ] | ||
[ < Displaying spacing ] | [ 上へ : Fitting music onto fewer pages ] | [ Changing defaults > ] |
4.6.2 Changing spacing
The output of annotate-spacing
reveals vertical dimensions
in great detail. For details about modifying margins and other
layout variables, see Page layout.
Other than margins, there are a few other options to save space:
-
Force systems to move as close together as possible (to fit as
many systems as possible onto a page) while being spaced so that
there is no blank space at the bottom of the page.
\paper { system-system-spacing = #'((basic-distance . 0.1) (padding . 0)) ragged-last-bottom = ##f ragged-bottom = ##f }
-
Force the number of systems. This can help in two ways. Just
setting a value, even the same value as the number of systems
being typeset by default, will sometimes cause more systems to
be fitted onto each page, as an estimation step is then bypassed,
giving a more accurate fit to each page. Also, forcing an actual
reduction in the number of systems may save a further page. For
example, if the default layout has 11 systems, the following
assignment will force a layout with 10 systems.
\paper { system-count = #10 }
-
Avoid (or reduce) objects that increase the vertical size of a
system. For example, volta repeats (or alternate repeats) require
extra space. If these repeats are spread over two systems, they
will take up more space than one system with the volta repeats and
another system without. For example, dynamics that ‘stick out’ of
a system can be moved closer to the staff:
e4 c g\f c e4 c g-\tweak #'X-offset #-2.7 -\tweak #'Y-offset #2.5 \f c
-
Alter the horizontal spacing via
SpacingSpanner
. For more details, see Changing horizontal spacing. The following example illustrates the default spacing:\score { \relative c'' { g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | g4 e e2 | } }
The next example modifies
common-shortest-duration
from a value of1/4
to1/2
. The quarter note is the most common and shortest duration in this example, so by making this duration longer, a ‘squeezing’ effect occurs:\score { \relative c'' { g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 | g4 e e2 | } \layout { \context { \Score \override SpacingSpanner #'common-shortest-duration = #(ly:make-moment 1 2) } } }
The
common-shortest-duration
property cannot be modified dynamically, so it must always be placed in a\context
block so that it applies to the whole score.
参照
Notation Reference: Page layout, Changing horizontal spacing.
Snippets: Spacing.
[ << Spacing issues ] | [トップ][目次][インデックス][ ? ] | [ Notation manual tables >> ] | ||
[ < Changing spacing ] | [ 上へ : Top ] | [ Interpretation contexts > ] |
5. Changing defaults
The purpose of LilyPond’s design is to provide the finest quality output by default. Nevertheless, it may happen that you need to change this default layout. The layout is controlled through a large number of ‘knobs and switches’ collectively called ‘properties’. A tutorial introduction to accessing and modifying these properties can be found in the Learning Manual, see Tweaking output. This should be read first. This chapter covers similar ground, but in a style more appropriate to a reference manual.
The definitive description of the controls available for tuning can be found in a separate document: the Internals Reference. That manual lists all the variables, functions and options available in LilyPond. It is written as a HTML document, which is available on-line, and is also included with the LilyPond documentation package.
Internally, LilyPond uses Scheme (a LISP dialect) to provide
infrastructure. Overriding layout decisions in effect accesses the
program internals, which requires Scheme input. Scheme elements are
introduced in a ‘.ly’ file with the hash mark
#
.1
5.1 Interpretation contexts | ||
5.2 Explaining the Internals Reference | ||
5.3 Modifying properties | ||
5.4 Useful concepts and properties | ||
5.5 Advanced tweaks | ||
5.6 Using music functions |
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[ < Changing defaults ] | [ 上へ : Changing defaults ] | [ Contexts explained > ] |
5.1 Interpretation contexts
This section describes what contexts are, and how to modify them.
参照
Learning Manual: Contexts and engravers.
Installed Files: ‘ly/engraver-init.ly’, ‘ly/performer-init.ly’.
Snippets: Contexts and engravers.
Internals Reference: Contexts, Engravers and Performers.
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[ < Interpretation contexts ] | [ 上へ : Interpretation contexts ] | [ Score - the master of all contexts > ] |
5.1.1 Contexts explained
Contexts are arranged hierarchically:
Score - the master of all contexts | ||
Top-level contexts - staff containers | ||
Intermediate-level contexts - staves | ||
Bottom-level contexts - voices |
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Score - the master of all contexts
This is the top level notation context. No other context can contain a Score context. By default the Score context handles the administration of time signatures and makes sure that items such as clefs, time signatures, and key-signatures are aligned across staves.
A Score context is instantiated implicitly when a
\score {…}
or \layout {…}
block is
processed.
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Top-level contexts - staff containers
StaffGroup
Groups staves while adding a bracket on the left side, grouping
the staves together. The bar lines of the contained staves are
connected vertically. StaffGroup
only consists of a collection
of staves, with a bracket in front and spanning bar lines.
ChoirStaff
Identical to StaffGroup
except that the bar lines of the
contained staves are not connected vertically.
GrandStaff
A group of staves, with a brace on the left side, grouping the staves together. The bar lines of the contained staves are connected vertically.
PianoStaff
Just like GrandStaff
, but with support for instrument names
to the left of each system.
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Intermediate-level contexts - staves
Staff
Handles clefs, bar lines, keys, accidentals. It can contain
Voice
contexts.
RhythmicStaff
Like Staff
but for printing rhythms. Pitches are ignored;
the notes are printed on one line.
TabStaff
Context for generating tablature. By default lays the music expression out as a guitar tablature, printed on six lines.
DrumStaff
Handles typesetting for percussion. Can contain DrumVoice
VaticanaStaff
Same as Staff
, except that it is designed for typesetting
a piece in gregorian style.
MensuralStaff
Same as Staff
, except that it is designed for typesetting
a piece in mensural style.
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Bottom-level contexts - voices
Voice-level contexts initialise certain properties and start appropriate engravers. Being bottom-level contexts, they cannot contain other contexts.
Voice
Corresponds to a voice on a staff. This context handles the conversion of dynamic signs, stems, beams, super- and sub-scripts, slurs, ties, and rests. You have to instantiate this explicitly if you require multiple voices on the same staff.
VaticanaVoice
Same as Voice
, except that it is designed for typesetting
a piece in gregorian style.
MensuralVoice
Same as Voice
, with modifications for typesetting a piece in
mensural style.
Lyrics
Corresponds to a voice with lyrics. Handles the printing of a single line of lyrics.
DrumVoice
The voice context used in a percussion staff.
FiguredBass
The context in which BassFigure
objects are created from
input entered in \figuremode
mode.
TabVoice
The voice context used within a TabStaff
context. Usually
left to be created implicitly.
CueVoice
A voice context used to render notes of a reduced size, intended primarily for adding cue notes to a staff, see 合図音符をフォーマットする. Usually left to be created implicitly.
ChordNames
Typesets chord names.
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[ < Bottom-level contexts - voices ] | [ 上へ : Interpretation contexts ] | [ Keeping contexts alive > ] |
5.1.2 Creating contexts
For scores with only one voice and one staff, contexts are created automatically. For more complex scores, it is necessary to create them by hand. There are three commands that do this.
-
The easiest command is
\new
, and it also the quickest to type. It is prepended to a music expression, for example\new type music expression
where type is a context name (like
Staff
orVoice
). This command creates a new context, and starts interpreting the music expression with that.A practical application of
\new
is a score with many staves. Each part that should be on its own staff, is preceded with\new Staff
.<< \new Staff { c4 c } \new Staff { d4 d } >>
The
\new
command may also give a name to the context,\new type = id music
However, this user specified name is only used if there is no other context already earlier with the same name.
-
Like
\new
, the\context
command also directs a music expression to a context object, but gives the context an explicit name. The syntax is\context type = id music
This form will search for an existing context of type type called id. If that context does not exist yet, a new context with the specified name is created. This is useful if the context is referred to later on. For example, when setting lyrics the melody is in a named context
\context Voice = "tenor" music
so the texts can be properly aligned to its notes,
\new Lyrics \lyricsto "tenor" lyrics
Another possible use of named contexts is funneling two different music expressions into one context. In the following example, articulations and notes are entered separately,
music = { c4 c4 } arts = { s4-. s4-> }
They are combined by sending both to the same
Voice
context,<< \new Staff \context Voice = "A" \music \context Voice = "A" \arts >>
With this mechanism, it is possible to define an Urtext (original edition), with the option to put several distinct articulations on the same notes.
-
The third command for creating contexts is
\context type music
This is similar to
\context
with= id
, but matches any context of type type, regardless of its given name.This variant is used with music expressions that can be interpreted at several levels. For example, the
\applyOutput
command (see Running a function on all layout objects). Without an explicit\context
, it is usually applied toVoice
\applyOutput #'context #function % apply to Voice
To have it interpreted at the
Score
orStaff
level use these forms\applyOutput #'Score #function \applyOutput #'Staff #function
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5.1.3 Keeping contexts alive
Contexts are usually terminated at the first musical moment in
which they have nothing to do. So Voice
contexts die as
soon as they contain no events; Staff
contexts die as soon
as all the Voice
contexts within them contain no events; etc.
This can cause difficulties if earlier contexts which have died
have to be referenced, for example, when changing staves with
\change
commands, associating lyrics with a voice with
\lyricsto
commands, or when adding further musical events to
an earlier context.
There is an exception to this general rule: just one of the
Voice
contexts in a Staff
context or in a
<<...>>
construct will always persist to the end of the
enclosing Staff
context or <<...>>
construct, even
though there may be periods when it has nothing to do. The context
to persist in this way will be the first one encountered in the
first enclosed {...}
construct, ignoring any in enclosed
<<...>>
constructs.
Any context can be kept alive by ensuring it has something to do at
every musical moment. Staff
contexts are kept alive by
ensuring one of their voices is kept alive. One way of doing this
is to add spacer rests to a voice in parallel with the real music.
These need to be added to every Voice
context which needs to
be kept alive. If several voices are to be used sporadically it is
safest to keep them all alive rather than attempting to rely on the
exceptions mentioned above.
In the following example, both voice A and voice B are kept alive in this way for the duration of the piece:
musicA = \relative c'' { d4 d d d } musicB = \relative c'' { g4 g g g } keepVoicesAlive = { << \new Voice = "A" { s1*5 } % Keep Voice "A" alive for 5 bars \new Voice = "B" { s1*5 } % Keep Voice "B" alive for 5 bars >> } music = { \context Voice = "A" { \voiceOneStyle \musicA } \context Voice = "B" { \voiceTwoStyle \musicB } \context Voice = "A" { \musicA } \context Voice = "B" { \musicB } \context Voice = "A" { \musicA } } \score { \new Staff << \keepVoicesAlive \music >> }
The following example shows how a sporadic melody line with lyrics might be written using this approach. In a real situation the melody and accompaniment would consist of several different sections, of course.
melody = \relative c'' { a4 a a a } accompaniment = \relative c' { d4 d d d } words = \lyricmode { These words fol -- low the mel -- o -- dy } \score { << \new Staff = "music" { << \new Voice = "melody" { \voiceOne s1*4 % Keep Voice "melody" alive for 4 bars } { \new Voice = "accompaniment" { \voiceTwo \accompaniment } << \context Voice = "melody" { \melody } \context Voice = "accompaniment" { \accompaniment } >> \context Voice = "accompaniment" { \accompaniment } << \context Voice = "melody" { \melody } \context Voice = "accompaniment" { \accompaniment } >> } >> } \new Lyrics \with { alignAboveContext = #"music" } \lyricsto "melody" { \words } >> }
An alternative way, which may be better in many circumstances, is to keep the melody line alive by simply including spacer notes to line it up correctly with the accompaniment:
melody = \relative c'' { s1 % skip a bar a4 a a a s1 % skip a bar a4 a a a } accompaniment = \relative c' { d4 d d d d4 d d d d4 d d d d4 d d d } words = \lyricmode { These words fol -- low the mel -- o -- dy } \score { << \new Staff = "music" { << \new Voice = "melody" { \voiceOne \melody } \new Voice = "accompaniment" { \voiceTwo \accompaniment } >> } \new Lyrics \with { alignAboveContext = #"music" } \lyricsto "melody" { \words } >> }
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5.1.4 Modifying context plug-ins
Notation contexts (like Score
and Staff
) not only
store properties,
they also contain plug-ins called ‘engravers’ that create notation
elements. For example, the Voice
context contains a
Note_heads_engraver
and the Staff
context contains a
Key_signature_engraver
.
For a full a description of each plug-in, see Engravers and Performers. Every context described in Contexts lists the engravers used for that context.
It can be useful to shuffle around these plug-ins. This is done by
starting a new context with \new
or \context
, and
modifying it,
\new context \with { \consists … \consists … \remove … \remove … etc. } { ..music.. }
where the … should be the name of an engraver. Here is a simple
example which removes Time_signature_engraver
and
Clef_engraver
from a Staff
context,
<< \new Staff { f2 g } \new Staff \with { \remove "Time_signature_engraver" \remove "Clef_engraver" } { f2 g2 } >>
In the second staff there are no time signature or clef symbols. This is a rather crude method of making objects disappear since it will affect the entire staff. This method also influences the spacing, which may or may not be desirable. More sophisticated methods of blanking objects are shown in Visibility and color of objects.
The next example shows a practical application. Bar lines and time
signatures are normally synchronized across the score. This is done
by the Timing_translator
and Default_bar_line_engraver
.
This plug-in keeps an administration of time signature, location
within the measure, etc. By moving these engraver from Score
to
Staff
context, we can have a score where each staff has its own
time signature.
\score { << \new Staff \with { \consists "Timing_translator" \consists "Default_bar_line_engraver" } { \time 3/4 c4 c c c c c } \new Staff \with { \consists "Timing_translator" \consists "Default_bar_line_engraver" } { \time 2/4 c4 c c c c c } >> \layout { \context { \Score \remove "Timing_translator" \remove "Default_bar_line_engraver" } } }
既知の問題と警告
Usually the order in which the engravers are specified does not matter, but in a few special cases the order is important, for example where one engraver writes a property and another reads it, or where one engraver creates a grob and another must process it. The order in which the engravers are specified is the order in which they are called to carry out their processing.
The following orderings are important: the
Bar_engraver
must normally be first, and
the New_fingering_engraver
must come before
the Script_column_engraver
. There may be others
with ordering dependencies.
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5.1.5 Changing context default settings
The context settings which are to be used by default in
Score
, Staff
and Voice
contexts may be specified
in a \layout
block, as illustrated in the following example.
The \layout
block should be placed within the \score
block to which it is to apply, but outside any music.
Note that the \set
command itself and the context must be
omitted when the context default values are specified in this way:
\score { \relative c'' { a4^"Really small, thicker stems, no time signature" a a a a a a a } \layout { \context { \Staff fontSize = #-4 \override Stem #'thickness = #4.0 \remove "Time_signature_engraver" } } }
In this example, the \Staff
command specifies that the
subsequent specifications are to be applied to all staves within
this score block.
Modifications can be made to the Score
context or all
Voice
contexts in a similar way.
既知の問題と警告
It is not possible to collect context changes in a variable and apply
them to a \context
definition by referring to that variable.
The \Staff \RemoveEmptyStaves
will overwrite your current
\Staff
settings. If you wish to change the defaults for a
staff which uses \Staff \RemoveEmptyStaves
, you must do so
after calling \Staff \RemoveEmptyStaves
, ie
\layout { \context { \Staff \RemoveEmptyStaves \override Stem #'thickness = #4.0 } }
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5.1.6 Defining new contexts
Specific contexts, like Staff
and Voice
, are made of
simple building blocks. It is possible to create new types of
contexts with different combinations of engraver plug-ins.
The next example shows how to build a different type of
Voice
context from scratch. It will be similar to
Voice
, but only prints centered slash note heads. It can be used
to indicate improvisation in jazz pieces,
These settings are defined within a \context
block inside a
\layout
block,
\layout { \context { … } }
In the following discussion, the example input shown should go in place of the … in the previous fragment.
First it is necessary to define a name for the new context:
\name ImproVoice
Since it is similar to the Voice
, we want commands that work
on (existing) Voice
s to remain working. This is achieved by
giving the new context an alias Voice
,
\alias Voice
The context will print notes and instructive texts, so we need to add the engravers which provide this functionality,
\consists Note_heads_engraver \consists Text_engraver
but we only need this on the center line,
\consists Pitch_squash_engraver squashedPosition = #0
The
Pitch_squash_engraver modifies note heads (created
by
Note_heads_engraver) and sets their vertical
position to the value of squashedPosition
, in this case 0
,
the center line.
The notes look like a slash, and have no stem,
\override NoteHead #'style = #'slash \override Stem #'transparent = ##t
All these plug-ins have to cooperate, and this is achieved with a
special plug-in, which must be marked with the keyword \type
.
This should always be Engraver_group
.
\type "Engraver_group"
Put together, we get
\context { \name ImproVoice \type "Engraver_group" \consists "Note_heads_engraver" \consists "Text_engraver" \consists Pitch_squash_engraver squashedPosition = #0 \override NoteHead #'style = #'slash \override Stem #'transparent = ##t \alias Voice }
Contexts form hierarchies. We want to hang the ImproVoice
under Staff
, just like normal Voice
s. Therefore, we
modify the Staff
definition with the \accepts
command,
\context { \Staff \accepts ImproVoice }
The opposite of \accepts
is \denies
,
which is sometimes needed when reusing existing context definitions.
Putting both into a \layout
block, like
\layout { \context { \name ImproVoice … } \context { \Staff \accepts "ImproVoice" } }
Then the output at the start of this subsection can be entered as
\relative c'' { a4 d8 bes8 \new ImproVoice { c4^"ad lib" c c4 c^"undress" c c_"while playing :)" } a1 }
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5.1.7 Aligning contexts
New contexts may be aligned above or below existing contexts. This could be useful in setting up a vocal staff ( Vocal ensembles) and in ossia,
Contexts like PianoStaff
can contain other contexts
nested within them. Contexts which are acceptable for nesting
are defined by the “accepts” list of a context. Contexts
which are not in this list are placed below the outer context
in the printed score.
For example, the PianoStaff
context is defined by default
to accept Staff
and FiguredBass
contexts within
it, but not (for example) a Lyrics
context. So in the
following structure the lyrics are placed below the piano staff
rather than between the two staves:
\new PianoStaff << \new Staff { e4 d c2 } \addlyrics { Three blind mice } \new Staff { \clef "bass" { c,1 } } >>
The “accepts” list of a context can be modified to include additional nested contexts, so if we wanted the lyrics to appear between the two staves we could use:
\new PianoStaff \with { \accepts Lyrics } << \new Staff { e4 d c2 } \addlyrics { Three blind mice } \new Staff { \clef "bass" { c,1 } } >>
The opposite of \accepts
is \denies
; this removes a
context from the “accepts” list.
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5.2 Explaining the Internals Reference
5.2.1 Navigating the program reference | ||
5.2.2 Layout interfaces | ||
5.2.3 Determining the grob property | ||
5.2.4 Naming conventions |
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5.2.1 Navigating the program reference
Suppose we want to move the fingering indication in the fragment below:
c-2 \stemUp f
If you visit the documentation on fingering instructions (in 運指の指示), you will notice:
See also
Internals Reference: Fingering.
Follow the link to Fingering. At the top of the page, you will see
Fingering objects are created by: Fingering_engraver and New_fingering_engraver.
By following related links inside the program reference, we can follow the flow of information within the program:
- Fingering: Fingering objects are created by: Fingering_engraver
- Fingering_engraver: Music types accepted: fingering-event
-
fingering-event:
Music event type
fingering-event
is in Music expressions named FingeringEvent
This path goes against the flow of information in the program: it starts from the output, and ends at the input event. You could also start at an input event, and read with the flow of information, eventually ending up at the output object(s).
The program reference can also be browsed like a normal document. It contains chapters on Music definitions, on Translation, and the Backend. Every chapter lists all the definitions used and all properties that may be tuned.
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5.2.2 Layout interfaces
The HTML page that we found in the previous section describes the layout object called Fingering. Such an object is a symbol within the score. It has properties that store numbers (like thicknesses and directions), but also pointers to related objects. A layout object is also called a Grob, which is short for Graphical Object. For more details about Grobs, see grob-interface.
The page for Fingering
lists the definitions for the
Fingering
object. For example, the page says
padding
(dimension, in staff space):
0.5
which means that the number will be kept at a distance of at least 0.5 of the note head.
Each layout object may have several functions as a notational or typographical element. For example, the Fingering object has the following aspects
- Its size is independent of the horizontal spacing, unlike slurs or beams.
- It is a piece of text. Granted, it is usually a very short text.
- That piece of text is typeset with a font, unlike slurs or beams.
- Horizontally, the center of the symbol should be aligned to the center of the note head.
- Vertically, the symbol is placed next to the note and the staff.
- The vertical position is also coordinated with other superscript and subscript symbols.
Each of these aspects is captured in so-called interfaces, which are listed on the Fingering page at the bottom
This object supports the following interfaces: item-interface, self-alignment-interface, side-position-interface, text-interface, text-script-interface, font-interface, finger-interface, and grob-interface.
Clicking any of the links will take you to the page of the respective object interface. Each interface has a number of properties. Some of them are not user-serviceable (‘Internal properties’), but others can be modified.
We have been talking of the Fingering
object, but actually it
does not amount to much. The initialization file (see
Other sources of information)
‘scm/define-grobs.scm’ shows the soul of the ‘object’,
(Fingering . ((padding . 0.5) (avoid-slur . around) (slur-padding . 0.2) (staff-padding . 0.5) (self-alignment-X . 0) (self-alignment-Y . 0) (script-priority . 100) (stencil . ,ly:text-interface::print) (direction . ,ly:script-interface::calc-direction) (font-encoding . fetaText) (font-size . -5) ; don't overlap when next to heads. (meta . ((class . Item) (interfaces . (finger-interface font-interface text-script-interface text-interface side-position-interface self-alignment-interface item-interface))))))
As you can see, the Fingering
object is nothing more than a
bunch of variable settings, and the webpage in the Internals Reference
is directly generated from this definition.
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5.2.3 Determining the grob property
Recall that we wanted to change the position of the 2 in
c-2 \stemUp f
Since the 2 is vertically positioned next to its note, we have to
meddle with the interface associated with this positioning. This is
done using side-position-interface
. The page for this interface
says
side-position-interface
Position a victim object (this one) next to other objects (the support). The property
direction
signifies where to put the victim object relative to the support (left or right, up or down?)
Below this description, the variable padding
is described as
padding
(dimension, in staff space)
Add this much extra space between objects that are next to each other.
By increasing the value of padding
, we can move the
fingering away from the note head. The following command inserts
3 staff spaces of white
between the note and the fingering:
\once \override Voice.Fingering #'padding = #3
Inserting this command before the Fingering object is created,
i.e., before c2
, yields the following result:
\once \override Voice.Fingering #'padding = #3 c-2 \stemUp f
In this case, the context for this tweak is Voice
. This
fact can also be deduced from the program reference, for the page for
the
Fingering_engraver plug-in says
Fingering_engraver is part of contexts: … Voice
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5.2.4 Naming conventions
Another thing that is needed, is an overview of the various naming conventions:
- scheme functions: lowercase-with-hyphens (incl. one-word names)
- scheme functions: ly:plus-scheme-style
- music events, music classes and music properties: as-scheme-functions
- Grob interfaces: scheme-style
- backend properties: scheme-style (but X and Y!)
- contexts (and MusicExpressions and grobs): Capitalized or CamelCase
- context properties: lowercaseFollowedByCamelCase
- engravers: Capitalized_followed_by_lowercase_and_with_underscores
Questions to be answered:
- Which of these are conventions and which are rules?
- Which are rules of the underlying language, and which are LP-specific?
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5.3 Modifying properties
5.3.1 Overview of modifying properties | ||
5.3.2 The \set command | ||
5.3.3 The \override command | ||
5.3.4 The \tweak command | ||
5.3.5 \set vs. \override | ||
5.3.6 Modifying alists |
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5.3.1 Overview of modifying properties
Each context is responsible for creating certain types of graphical objects. The settings used for printing these objects are also stored by context. By changing these settings, the appearance of objects can be altered.
There are two different kinds of properties stored in contexts: context properties and grob properties. Context properties are properties that apply to the context as a whole and control how the context itself is displayed. In contrast, grob properties apply to specific grob types that will be displayed in the context.
The \set
and \unset
commands are used to change values
for context properties. The \override
and \revert
commands are used to change values for grob properties.
参照
Internals: Backend, All layout objects, OverrideProperty, RevertProperty, PropertySet.
既知の問題と警告
The back-end is not very strict in type-checking object properties. Cyclic references in Scheme values for properties can cause hangs or crashes, or both.
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5.3.2 The \set
command
Each context has a set of properties, variables contained
in that context. Context properties are changed with the \set
command, which has the following syntax:
\set context.property = #value
value is a Scheme object, which is why it must be preceded by
the #
character.
Contexts properties are usually named in
studlyCaps
. They mostly control the translation from
music to notation, e.g. localKeySignature
(for determining
whether to print accidentals), or measurePosition
(for
determining when to print a bar line). Context properties can
change value over time while interpreting a piece of music;
measurePosition
is an obvious example of
this. Context properties are modified with \set
.
For example, multimeasure rests will be combined into a single bar
if the context property skipBars
is set to #t
:
R1*2 \set Score.skipBars = ##t R1*2
If the context argument is left out, then the property will be
set in the current bottom context (typically ChordNames
,
Voice
, TabVoice
, or Lyrics
).
\set Score.autoBeaming = ##f << { e8 e e e \set autoBeaming = ##t e8 e e e } \\ { c8 c c c c8 c c c } >>
The change is applied ‘on-the-fly’, during the music, so that the setting only affects the second group of eighth notes.
Note that the bottom-most context does not always contain the property
that you wish to change – for example, attempting to set the
skipBars
property of the default bottom context, in this case
Voice
, will have no effect, because skipBars is a property of
the Score
context.
R1*2 \set skipBars = ##t R1*2
Contexts are hierarchical, so if an enclosing context was specified, for
example Staff
, then the change would also apply to all
Voice
s in the current staff.
The \unset
command:
\unset context.property
is used to remove the definition of property from context. This command removes the definition only if it is set in context. Properties that have been set in enclosing contexts will not be altered by an unset in an enclosed context:
\set Score.autoBeaming = ##t << { \unset autoBeaming e8 e e e \unset Score.autoBeaming e8 e e e } \\ { c8 c c c c8 c c c } >>
Like \set
, the context argument does not have to be
specified for a bottom context, so the two statements
\set Voice.autoBeaming = ##t \set autoBeaming = ##t
are equivalent if the current bottom context is Voice
.
Preceding a \set
command by \once
makes the
setting apply to only a single time-step:
c4 \once \set fontSize = #4.7 c4 c4
A full description of all available context properties is in the internals reference, see Tunable context properties.
参照
Internals Reference:
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[ < The set command ] | [ 上へ : Modifying properties ] | [ The tweak command > ] |
5.3.3 The \override
command
There is a special type of context property: the grob
description. Grob descriptions are named in StudlyCaps
(starting with capital letters). They contain the
‘default settings’ for a particular kind of grob as an
association list. See ‘scm/define-grobs.scm’
to see the settings for each grob description. Grob descriptions
are modified with \override
.
\override
is actually a shorthand;
\override context.GrobName #'property = #value
is more or less equivalent to
\set context.GrobName = #(cons (cons 'property value) <previous value of context.GrobName>)
The value of context
.GrobName
(the alist) is used to initialize
the properties of individual grobs. Grobs have
properties, named in Scheme style, with
dashed-words
. The values of grob properties change
during the formatting process: formatting basically amounts
to computing properties using callback functions.
For example, we can increase the thickness of a note stem by
overriding the thickness
property of the Stem
object:
c4 c \override Voice.Stem #'thickness = #3.0 c4 c
If no context is specified in an \override
, the bottom
context is used:
{ \override Staff.Stem #'thickness = #3.0 << { e4 e \override Stem #'thickness = #0.5 e4 e } \\ { c4 c c c } >> }
The effects of \override
can be undone by \revert
:
c4 \override Voice.Stem #'thickness = #3.0 c4 c \revert Voice.Stem #'thickness c4
The effects of \override
and \revert
apply to all
grobs in the affected context from the current time forward:
{ << { e4 \override Staff.Stem #'thickness = #3.0 e4 e e } \\ { c4 c c \revert Staff.Stem #'thickness c4 } >> }
\once
can be used with \override
to affect only the current time step:
{ << { \override Stem #'thickness = #3.0 e4 e e e } \\ { c4 \once \override Stem #'thickness = #3.0 c4 c c } >> }
参照
Internals Reference: Backend
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5.3.4 The \tweak
command
Changing grob properties
with \override
causes the changes to apply to all of the
given grobs in the context at the moment the change applies.
Sometimes, however, it is desirable to have changes apply to just
one grob, rather than to all grobs in the affected context. This is
accomplished with the \tweak
command, which has the following
syntax:
\tweak #'grob-property
#value
The \tweak
command applies to the object that immediately
follows value
in the music stream.
For an introduction to the syntax and uses of the tweak command see Tweaking methods.
When several similar items are placed at the same musical moment,
the \override
command cannot be used to modify just one of
them – this is where the \tweak
command must be used.
Items which may appear more than once at the same musical moment
include the following:
- note heads of notes inside a chord
- articulation signs on a single note
- ties between notes in a chord
- tuplet brackets starting at the same time
In this example, the color of one note head and the type of another note head are modified within a single chord:
< c \tweak #'color #red d g \tweak #'duration-log #1 a > 4
\tweak
can be used to modify slurs:
c-\tweak #'thickness #5 ( d e f)
For the \tweak
command to work, it must
remain immediately adjacent to the object to which it is
to apply after the input file has been converted to a music stream.
At times, LilyPond may insert additional items into the music stream
during the parsing process. For example, when a note that is not
explicitly part of a chord will be placed in a chord by LilyPond,
so notes to be modified with \tweak
must be placed inside
a chord construct:
\tweak #'color #red c4 <\tweak #'color #red c>4
The \tweak
command cannot be used to modify any item
that does not appear explicitly in the input file. In particular
it cannot be used to modify stems,
beams or accidentals directly, since these are generated later by
note heads, rather than by music elements in the input stream.
Nor can \tweak
be used to modify clefs or time
signatures, since these become separated from any preceding
\tweak
command in the input stream by the automatic
insertion of extra elements required to specify the context.
Several \tweak
commands may be placed before a
notational element – all affect it:
c -\tweak #'style #'dashed-line -\tweak #'dash-fraction #0.2 -\tweak #'thickness #3 -\tweak #'color #red \glissando f'
The music stream which is generated from a section of an input file,
including any automatically inserted elements, may be examined,
see
Displaying music expressions. This may be helpful in
determining what may be modified by a \tweak
command, or
in determining how to adjust the input to make a \tweak
apply.
参照
Learning Manual: Tweaking methods.
Extending: Displaying music expressions.
既知の問題と警告
The \tweak
command cannot be used inside a variable.
The \tweak
commands cannot be used in \lyricmode
.
The \tweak
command will apply to only the first of several
generated ties in a chord.
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5.3.5 \set
vs. \override
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5.3.6 Modifying alists
Some user-configurable properties are internally represented as alists (association lists), which store pairs of keys and values. The structure of an alist is:
'((key1 . value1) (key2 . value2) (key3 . value3) …)
If an alist is a grob property or \paper
variable, its keys
can be modified individually without affecting other keys.
For example, to reduce the space between adjacent staves in a
staff-group, use the staff-staff-spacing
property of the
StaffGrouper
grob. The property is an alist with four
keys: basic-distance
, minimum-distance
,
padding
, and stretchability
. The standard settings
for this property are listed in the “Backend” section of the
Internals Reference (see
StaffGrouper):
'((basic-distance . 9) (minimum-distance . 7) (padding . 1) (stretchability . 5))
One way to bring the staves closer together is by reducing the
value of the basic-distance
key (9
) to match the
value of minimum-distance
(7
). To modify a single
key individually, use a nested declaration:
% default space between staves \new PianoStaff << \new Staff { \clef treble c''1 } \new Staff { \clef bass c1 } >> % reduced space between staves \new PianoStaff \with { % this is the nested declaration \override StaffGrouper #'staff-staff-spacing #'basic-distance = #7 } << \new Staff { \clef treble c''1 } \new Staff { \clef bass c1 } >>
Using a nested declaration will update the specified key (such as
basic-distance
in the above example) without altering any
other keys already set for the same property.
Now suppose we want the staves to be as close as possible without overlapping. The simplest way to do this is to set all four alist keys to zero. However, it is not necessary to enter four nested declarations, one for each key. Instead, the property can be completely re-defined with one declaration, as an alist:
\new PianoStaff \with { \override StaffGrouper #'staff-staff-spacing = #'((basic-distance . 0) (minimum-distance . 0) (padding . 0) (stretchability . 0)) } << \new Staff { \clef treble c''1 } \new Staff { \clef bass c1 } >>
Note that any keys not explicitly listed in the alist definition
will be reset to their default-when-unset values. In the
case of staff-staff-spacing
, any unset key-values would be
reset to zero (except stretchability
, which takes the value
of basic-distance
when unset). Thus the following two
declarations are equivalent:
\override StaffGrouper #'staff-staff-spacing = #'((basic-distance . 7)) \override StaffGrouper #'staff-staff-spacing = #'((basic-distance . 7) (minimum-distance . 0) (padding . 0) (stretchability . 7))
One (possibly unintended) consequence of this is the removal of
any standard settings that are set in an initialization file and
loaded each time an input file is compiled. In the above example,
the standard settings for padding
and
minimum-distance
(defined in ‘scm/define-grobs.scm’)
are reset to their default-when-unset values (zero for both keys).
Defining a property or variable as an alist (of any size) will
always reset all unset key-values to their default-when-unset
values. Unless this is the intended result, it is safer to update
key-values individually with a nested declaration.
Note: Nested declarations will not work for context property
alists (such as beamExceptions
, keySignature
,
timeSignatureSettings
, etc.). These properties can only be
modified by completely re-defining them as alists.
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5.4 Useful concepts and properties
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5.4.1 Input modes
The way in which the notation contained within an input file is interpreted is determined by the current input mode.
Chord mode
This is activated with the \chordmode
command, and causes
input to be interpreted with the syntax of chord notation, see
Chord notation. Chords are rendered as notes on a staff.
Chord mode is also activated with the \chords
command.
This also creates a new ChordNames
context and
causes the following input to be interpreted with the syntax of
chord notation and rendered as chord names in the ChordNames
context, see Printing chord names.
Drum mode
This is activated with the \drummode
command, and causes
input to be interpreted with the syntax of drum notation, see
Basic percussion notation.
Drum mode is also activated with the \drums
command.
This also creates a new DrumStaff
context and causes the
following input to be interpreted with the syntax of drum notation
and rendered as drum symbols on a drum staff, see Basic percussion notation.
Figure mode
This is activated with the \figuremode
command, and causes
input to be interpreted with the syntax of figured bass, see
Entering figured bass.
Figure mode is also activated with the \figures
command.
This also creates a new FiguredBass
context and causes the
following input to be interpreted with the figured bass syntax
and rendered as figured bass symbols in the FiguredBass
context, see Introduction to figured bass.
Fret and tab modes
There are no special input modes for entering fret and tab symbols.
To create tab diagrams, enter notes or chords in note mode and
render them in a TabStaff
context, see
Default tablatures.
To create fret diagrams above a staff, you have two choices.
You can either use the FretBoards
context (see
Automatic fret diagrams or you can enter them as a markup
above the notes using the \fret-diagram
command (see
Fret diagram markups).
Lyrics mode
This is activated with the \lyricmode
command, and causes
input to be interpreted as lyric syllables with optional durations
and associated lyric modifiers, see Vocal music.
Lyric mode is also activated with the \addlyrics
command.
This also creates a new Lyrics
context and an implicit
\lyricsto
command which associates the following lyrics
with the preceding music.
Markup mode
This is activated with the \markup
command, and causes
input to be interpreted with the syntax of markup, see
Text markup commands.
Note mode
This is the default mode or it may be activated with the
\notemode
command. Input is interpreted as pitches,
durations, markup, etc and typeset as musical notation on a staff.
It is not normally necessary to specify note mode explicitly, but it may be useful to do so in certain situations, for example if you are in lyric mode, chord mode or any other mode and want to insert something that only can be done with note mode syntax.
For example, to indicate dynamic markings for the verses of a choral pieces it is necessary to enter note mode to interpret the markings:
{ c4 c4 c4 c4 } \addlyrics { \notemode{\set stanza = \markup{ \dynamic f 1. } } To be sung loudly } \addlyrics { \notemode{\set stanza = \markup{ \dynamic p 2. } } To be sung quietly }
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5.4.2 Direction and placement
In typesetting music the direction and placement of many items is a matter of choice. For example, the stems of notes can be directed up or down; lyrics, dynamics, and other expressive marks may be placed above or below the staff; text may be aligned left, right or center; etc. Most of these choices may be left to be determined automatically by LilyPond, but in some cases it may be desirable to force a particular direction or placement.
Articulation direction indicators
By default some directions are always up or always down (e.g. dynamics or fermata), while other things can alternate between up or down based on the stem direction (like slurs or accents).
The default action may be overridden by prefixing the articulation
by a direction indicator. Three direction indicators are
available: ^
(meaning “up”), _
(meaning “down”)
and -
(meaning “use default direction”). The direction
indicator can usually be omitted, in which case -
is assumed,
but a direction indicator is always required before
-
\tweak
commands -
\markup
commands -
\tag
commands - string markups, e.g. -"string"
- fingering instructions, e.g.
-1
- articulation shortcuts, e.g.
-.
,->
,--
Direction indicators affect only the next note:
c2( c) c2_( c) c2( c) c2^( c)
The direction property
The position or direction of many layout objects is controlled
by the direction
property.
The value of the direction
property may be
set to 1
, meaning “up” or “above”, or to -1
,
meaning “down” or “below”. The symbols UP
and
DOWN
may be used instead of 1
and -1
respectively. The default direction may be specified by setting
direction
to 0
or CENTER
. Alternatively,
in many cases predefined commands
exist to specify the direction. These are all of the form
\xxxUp
, xxxDown
, xxxNeutral
where xxxNeutral
means “use the default direction”.
See
Within-staff objects.
In a few cases, arpeggio being the only common example, the value
of the direction
property specifies whether the object
is to be placed to the right or left of the parent object. In
this case -1
or LEFT
means “to the left” and
1
or RIGHT
means “to the right”. 0
or CENTER
means “use the default” direction, as before.
These indications affect all notes until they are cancelled.
c2( c) \slurDown c2( c) c2( c) \slurNeutral c2( c)
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5.4.3 Context layout order
Contexts are normally positioned in a system from top to bottom in the order in which they are encountered in the input file. When contexts are nested, the outer context will include inner nested contexts as specified in the input file, provided the inner contexts are included in the outer context’s “accepts” list. Nested contexts which are not included in the outer context’s “accepts” list will be repositioned below the outer context rather than nested within it.
Note that a context will be silently created implicitly if a command is encountered when there is no suitable context available to contain it. This can give rise to unexpected new staves or scores.
The default order in which contexts are laid out and the “accepts” list can be changed, see Aligning contexts.
参照
Usage Manual: An extra staff appears.
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[ < Context layout order ] | [ 上へ : Useful concepts and properties ] | [ Staff symbol properties > ] |
5.4.4 Distances and measurements
Distances in LilyPond are of two types: absolute and scaled.
Absolute distances are used for specifying margins, indents, and
other page layout details, and are by default specified in
millimeters. Distances may be specified in other units by
following the quantity by \mm
, \cm
,
\in
(inches), or \pt
(points, 1/72.27 of
an inch). Page layout distances can also be specified in scalable
units (see the following paragraph) by appending
\staff-space
to the quantity. Page layout is described in
detail in Page layout.
Scaled distances are always specified in units of the staff-space
or, rarely, the half staff-space. The staff-space is the distance
between two adjacent staff lines. The default value can be changed
globally by setting the global staff size, or it can be overridden
locally by changing the staff-space
property of
StaffSymbol
. Scaled distances automatically scale with any
change to the either the global staff size or the
staff-space
property of StaffSymbol
, but fonts scale
automatically only with changes to the global staff size.
The global staff size thus enables the overall size of a rendered
score to be easily varied. For the methods of setting the global
staff size see Setting the staff size.
If just a section of a score needs to be rendered to a different
scale, for example an ossia section or a footnote, the global staff
size cannot simply be changed as this would affect the entire score.
In such cases the change in size is made by overriding both the
staff-space
property of StaffSymbol
and the size of
the fonts. A Scheme function, magstep
, is available to
convert from a font size change to the equivalent change in
staff-space
. For an explanation and an example of its use,
see
Length and thickness of objects.
参照
Learning Manual: Length and thickness of objects.
Notation Reference: Page layout, Setting the staff size.
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5.4.5 Staff symbol properties
The vertical position of staff lines and the number of staff lines can be defined at the same time. As the following example shows, note positions are not influenced by the staff line positions.
Note: The 'line-positions
property overrides the
'line-count
property. The number of staff lines is
implicitly defined by the number of elements in the list of values
for 'line-positions
.
\new Staff \with { \override StaffSymbol #'line-positions = #'(7 3 0 -4 -6 -7) } { a4 e' f b | d1 }
The width of a staff can be modified. The units are staff spaces. The spacing of objects inside the staff is not affected by this setting.
\new Staff \with { \override StaffSymbol #'width = #23 } { a4 e' f b | d1 }
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5.4.6 Spanners
Many objects of musical notation extend over several notes or even several bars. Examples are slurs, beams, tuplet brackets, volta repeat brackets, crescendi, trills, and glissandi. Such objects are collectively called “spanners”, and have special properties to control their appearance and behaviour. Some of these properties are common to all spanners; others are restricted to a sub-set of the spanners.
All spanners support the spanner-interface
. A few, essentially
those that draw a straight line between the two objects, support in
addition the line-spanner-interface
.
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Using the spanner-interface
This interface provides two properties that apply to several spanners.
The minimum-length
property
The minimum length of the spanner is specified by the
minimum-length
property. Increasing this usually has the
necessary effect of increasing the spacing of the notes between the
two end points. However, this override has no effect on
many spanners, as their length is determined by other considerations.
A few examples where it is effective are shown below.
a~a a % increase the length of the tie -\tweak #'minimum-length #5 ~a
a1 \compressFullBarRests R1*23 % increase the length of the rest bar \once \override MultiMeasureRest #'minimum-length = #20 R1*23 a1
a \< a a a \! % increase the length of the hairpin \override Hairpin #'minimum-length = #20 a \< a a a \!
This override can also be used to increase the length of slurs and phrasing slurs:
a( a) a -\tweak #'minimum-length #5 ( a) a\( a\) a -\tweak #'minimum-length #5 \( a\)
For some layout objects, 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
. For example,
the minimum length of a glissando has no effect unless the
springs-and-rods
property is set:
% default e \glissando c' % not effective alone \once \override Glissando #'minimum-length = #20 e, \glissando c' % effective only when both overrides are present \once \override Glissando #'minimum-length = #20 \once \override Glissando #'springs-and-rods = #ly:spanner::set-spacing-rods e, \glissando c'
The same is true of the Beam
object:
% not effective alone \once \override Beam #'minimum-length = #20 e8 e e e % effective only when both overrides are present \once \override Beam #'minimum-length = #20 \once \override Beam #'springs-and-rods = #ly:spanner::set-spacing-rods e8 e e e
The to-barline
property
The second useful property of the spanner-interface
is
to-barline
. By default this is true, causing hairpins and
other spanners which are terminated on the first note of a measure to
end instead on the immediately preceding bar line. If set to false,
the spanner will extend beyond the bar line and end on the note
itself:
a \< a a a a \! a a a \break \override Hairpin #'to-barline = ##f a \< a a a a \! a a a
This property is not effective for all spanners. For example,
setting it to #t
has no effect on slurs or phrasing slurs
or on other spanners for which terminating on the bar line would
not be meaningful.
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Using the line-spanner-interface
Objects which support the line-spanner-interface
include
-
DynamicTextSpanner
-
Glissando
-
TextSpanner
-
TrillSpanner
-
VoiceFollower
The routine responsible for drawing the stencils for these spanners is
ly:line-interface::print
. This routine determines the
exact location of the two end points and draws a line
between them, in the style requested. The locations of the two
end points of the spanner are computed on-the-fly, but it is
possible to override their Y-coordinates. The
properties which need to be specified are nested
two levels down within the property hierarchy, but the syntax of
the \override
command is quite simple:
e2 \glissando b \once \override Glissando #'(bound-details left Y) = #3 \once \override Glissando #'(bound-details right Y) = #-2 e2 \glissando b
The units for the Y
property are staff-space
s,
with the center line of the staff being the zero point.
For the glissando, this is the value for Y
at the
X-coordinate corresponding to the center point of each note head,
if the line is imagined to be extended to there.
If Y
is not set, the value is computed from the vertical
position of the corresponding attachment point of the spanner.
In case of a line break, the values for the end points are
specified by the left-broken
and right-broken
sub-lists of bound-details
. For example:
\override Glissando #'breakable = ##t \override Glissando #'(bound-details right-broken Y) = #-3 c1 \glissando \break f1
A number of further properties of the left
and
right
sub-lists of the bound-details
property
may be modified in the same way as Y
:
-
Y
This sets the Y-coordinate of the end point, in
staff-space
s offset from the staff center line. By default, it is the center of the bound object, so a glissando points to the vertical center of the note head.For horizontal spanners, such as text spanners and trill spanners, it is hardcoded to 0.
-
attach-dir
This determines where the line starts and ends in the X-direction, relative to the bound object. So, a value of
-1
(orLEFT
) makes the line start/end at the left side of the note head it is attached to.-
X
This is the absolute X-coordinate of the end point. It is usually computed on the fly, and overriding it has little useful effect.
-
stencil
Line spanners may have symbols at the beginning or end, which is contained in this sub-property. This is for internal use; it is recommended that
text
be used instead.-
text
This is a markup that is evaluated to yield the stencil. It is used to put cresc., tr and other text on horizontal spanners.
\override TextSpanner #'(bound-details left text) = \markup { \small \bold Slower } c2\startTextSpan b c a\stopTextSpan
-
stencil-align-dir-y
-
stencil-offset
Without setting one of these, the stencil is simply put at the end-point, centered on the line, as defined by the
X
andY
sub-properties. Setting eitherstencil-align-dir-y
orstencil-offset
will move the symbol at the edge vertically relative to the end point of the line:\override TextSpanner #'(bound-details left stencil-align-dir-y) = #-2 \override TextSpanner #'(bound-details right stencil-align-dir-y) = #UP \override TextSpanner #'(bound-details left text) = #"ggg" \override TextSpanner #'(bound-details right text) = #"hhh" c4^\startTextSpan c c c \stopTextSpan
Note that negative values move the text up, contrary to the effect that might be expected, as a value of
-1
orDOWN
means align the bottom edge of the text with the spanner line. A value of1
orUP
aligns the top edge of the text with the spanner line.-
arrow
Setting this sub-property to
#t
produces an arrowhead at the end of the line.-
padding
This sub-property controls the space between the specified end point of the line and the actual end. Without padding, a glissando would start and end in the center of each note head.
The music function \endSpanners
terminates the spanner
which starts on the immediately following note prematurely. It
is terminated after exactly one note, or at the following bar line
if to-barline
is true and a bar line occurs before the next
note.
\endSpanners c2 \startTextSpan c2 c2 \endSpanners c2 \< c2 c2
When using \endSpanners
it is not necessary to close
\startTextSpan with \stopTextSpan, nor is it necessary to close
hairpins with \!
.
参照
Internals Reference: TextSpanner, Glissando, VoiceFollower, TrillSpanner, line-spanner-interface.
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[ < ] | [ 上へ : Useful concepts and properties ] | [ Removing the stencil > ] |
5.4.7 Visibility of objects
There are four main ways in which the visibility of layout objects
can be controlled: their stencil can be removed, they can be made
transparent, they can be colored white, or their
break-visibility
property can be overridden. The first
three apply to all layout objects; the last to just a few – the
breakable objects. The Learning Manual introduces these
four techniques, see
Visibility and color of objects.
There are also a few other techniques which are specific to certain layout objects. These are covered under Special considerations.
Removing the stencil | ||
Making objects transparent | ||
Painting objects white | ||
Using break-visibility | ||
Special considerations |
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[ < Visibility of objects ] | [ 上へ : Visibility of objects ] | [ Making objects transparent > ] |
Removing the stencil
Every layout object has a stencil property. By default this is set
to the specific function which draws that object. If this property
is overridden to #f
no function will be called and the object
will not be drawn. The default action can be recovered with
\revert
.
a1 a \override Score.BarLine #'stencil = ##f a a \revert Score.BarLine #'stencil a a a
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[ < Removing the stencil ] | [ 上へ : Visibility of objects ] | [ Painting objects white > ] |
Making objects transparent
Every layout object has a transparent property which by default is
set to #f
. If set to #t
the object still occupies
space but is made invisible.
a4 a \once \override NoteHead #'transparent = ##t a a
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[ < Making objects transparent ] | [ 上へ : Visibility of objects ] | [ Using break-visibility > ] |
Painting objects white
Every layout object has a color property which by default is set
to black
. If this is overridden to white
the object
will be indistinguishable from the white background. However,
if the object crosses other objects the color of the crossing
points will be determined by the order in which they are drawn,
and this may leave a ghostly image of the white object, as shown
here:
\override Staff.Clef #'color = #white a1
This may be avoided by changing the order of printing the objects.
All layout objects have a layer
property which should be set
to an integer. Objects with the lowest value of layer
are
drawn first, then objects with progressively higher values are drawn,
so objects with higher values overwrite objects with lower values.
By default most objects are assigned a layer
value of
1
, although a few objects, including StaffSymbol
and
BarLine
, are assigned a value of 0
. The order of
printing objects with the same value of layer
is indeterminate.
In the example above the white clef, with a default layer
value of 1
, is drawn after the staff lines (default
layer
value 0
), so overwriting them. To change this,
the Clef
object must be given in a lower value of
layer
, say -1
, so that it is drawn earlier:
\override Staff.Clef #'color = #white \override Staff.Clef #'layer = #-1 a1
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[ < Painting objects white ] | [ 上へ : Visibility of objects ] | [ Special considerations > ] |
Using break-visibility
Most layout objects are printed only once, but some like
bar lines, clefs, time signatures and key signatures, may need
to be printed twice when a line break occurs – once at the end
of the line and again at the start of the next line. Such
objects are called breakable, and have a property, the
break-visibility
property to control their visibility
at the three positions in which they may appear – at the
start of a line, within a line if they are changed, and at the
end of a line if a change takes place there.
For example, the time signature by default will be printed at the start of the first line, but nowhere else unless it changes, when it will be printed at the point at which the change occurs. If this change occurs at the end of a line the new time signature will be printed at the start of the next line and a cautionary time signature will be printed at the end of the previous line as well.
This behaviour is controlled by the break-visibility
property, which is explained in
Visibility and color of objects. This property takes
a vector of three booleans which, in order, determine whether the
object is printed at the end of, within the body of, or at the
beginning of a line. Or to be more precise, before a line break,
where there is no line break, or after a line break.
Alternatively, these eight combinations may be specified by pre-defined functions, defined in ‘scm/output-lib.scm’, where the last three columns indicate whether the layout objects will be visible in the positions shown at the head of the columns:
Function | Vector | Before | At no | After |
---|---|---|---|---|
form | form | break | break | break |
| | yes | yes | yes |
| | no | no | yes |
| | no | yes | no |
| | yes | no | no |
| | yes | yes | no |
| | yes | no | yes |
| | no | yes | yes |
| | no | no | no |
The default settings of break-visibility
depend on the
layout object. The following table shows all the layout objects
of interest which are affected by break-visibility
and the
default setting of this property:
Layout object | Usual context | Default setting |
---|---|---|
| | calculated |
| | |
| | |
| | |
| | |
| | |
| | |
| | |
| | |
| | |
The example below shows the use of the vector form to control the visibility of bar lines:
f4 g a b f4 g a b % Remove bar line at the end of the current line \once \override Score.BarLine #'break-visibility = #'#(#f #t #t) \break f4 g a b f4 g a b
Although all three components of the vector used to override
break-visibility
must be present, not all of them are
effective with every layout object, and some combinations may
even give errors. The following limitations apply:
- Bar lines cannot be printed at start of line.
- A bar number cannot be printed at the start of the first line unless it is set to be different from 1.
- Clef – see below
- Double percent repeats are either all printed or all suppressed. Use begin-of line-invisible to print and all-invisible to suppress.
- Key signature – see below
- OctavateEight – see below
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[ < Using break-visibility ] | [ 上へ : Visibility of objects ] | [ Line styles > ] |
Special considerations
Visibility following explicit changes
The break-visibility
property controls the visibility of
key signatures and changes of clef only at the start of lines,
i.e. after a break. It has no effect on the visibility of the
key signature or clef following an explicit key change or an
explicit clef change within or at the end of a line. In the
following example the key signature following the explicit change
to B-flat major is still visible, even though all-invisible
is set.
\key g \major f4 g a b % Try to remove all key signatures \override Staff.KeySignature #'break-visibility = #all-invisible \key bes \major f4 g a b \break f4 g a b f4 g a b
The visibility of such explicit key signature and clef changes is
controlled by the explicitKeySignatureVisibility
and
explicitClefVisibility
properties. These are the equivalent
of the break-visibility
property and both take a vector of
three booleans or the predefined functions listed above, exactly like
break-visibility
. Both are properties of the Staff context,
not the layout objects themselves, and so they are set using the
\set
command. Both are set by default to all-visible
.
These properties control only the visibility of key signatures and
clefs resulting from explicit changes and do not affect key
signatures and clefs at the beginning of lines;
break-visibility
must still be overridden in the appropriate
object to remove these.
\key g \major f4 g a b \set Staff.explicitKeySignatureVisibility = #all-invisible \override Staff.KeySignature #'break-visibility = #all-invisible \key bes \major f4 g a b \break f4 g a b f4 g a b
Visibility of cautionary accidentals
To remove the cautionary accidentals printed at an explicit key
change, set the Staff context property printKeyCancellation
to #f
:
\key g \major f4 g a b \set Staff.explicitKeySignatureVisibility = #all-invisible \set Staff.printKeyCancellation = ##f \override Staff.KeySignature #'break-visibility = #all-invisible \key bes \major f4 g a b \break f4 g a b f4 g a b
With these overrides only the accidentals before the notes remain to indicate the change of key.
Automatic bars
As a special case, the printing of bar lines can also be turned off
by setting the automaticBars
property in the Score context.
If set to #f
, bar lines will not be printed automatically;
they must be explicitly created with a \bar
command. Unlike
the \cadenzaOn
predefined command, measures are still counted.
Bar generation will resume according to that count if this property
is later set to #t
. When set to #f
, line breaks can
occur only at explicit \bar
commands.
Octavated clefs
The small octavation symbol on octavated clefs is produced by the
OctavateEight
layout object. Its visibility is automatically
inherited from the Clef
object, so it is not necessary to apply
any required break-visibility
overrides to the OctavateEight
layout objects to suppress octavation symbols for invisible clefs.
For explicit clef changes, the explicitClefVisibility
property controls both the clef symbol and any octavation symbol
associated with it.
参照
Learning Manual: Visibility and color of objects
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[ < Special considerations ] | [ 上へ : Useful concepts and properties ] | [ Rotating objects > ] |
5.4.8 Line styles
Some performance indications, e.g., rallentando and accelerando and trills are written as text and are extended over many measures with lines, sometimes dotted or wavy.
These all use the same routines as the glissando for drawing the
texts and the lines, and tuning their behavior is therefore also
done in the same way. It is done with a spanner, and the routine
responsible for drawing the spanners is
ly:line-interface::print
. This routine determines the
exact location of the two span points and draws a line
between them, in the style requested.
Here is an example showing the different line styles available, and how to tune them.
d2 \glissando d'2 \once \override Glissando #'style = #'dashed-line d,2 \glissando d'2 \override Glissando #'style = #'dotted-line d,2 \glissando d'2 \override Glissando #'style = #'zigzag d,2 \glissando d'2 \override Glissando #'style = #'trill d,2 \glissando d'2
The locations of the end-points of the spanner are computed on-the-fly for every graphic object, but it is possible to override these:
e2 \glissando f \once \override Glissando #'(bound-details right Y) = #-2 e2 \glissando f
The value for Y
is set to -2
for the right end
point. The left side may be similarly adjusted by specifying
left
instead of right
.
If Y
is not set, the value is computed from the vertical
position of the left and right attachment points of the spanner.
Other adjustments of spanners are possible, for details, see Spanners.
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[ < Line styles ] | [ 上へ : Useful concepts and properties ] | [ Rotating layout objects > ] |
5.4.9 Rotating objects
Both layout objects and elements of markup text can be rotated by any angle about any point, but the method of doing so differs.
Rotating layout objects | ||
Rotating markup |
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[ < Rotating objects ] | [ 上へ : Rotating objects ] | [ Rotating markup > ] |
Rotating layout objects
All layout objects which support the grob-interface
can be
rotated by setting their rotation
property. This takes a
list of three items: the angle of rotation counter-clockwise,
and the x and y coordinates of the point relative to the object’s
reference point about which the rotation is to be performed. The
angle of rotation is specified in degrees and the coordinates in
staff-spaces.
The angle of rotation and the coordinates of the rotation point must be determined by trial and error.
There are only a few situations where the rotation of layout objects is useful; the following example shows one situation where they may be:
g4\< e' d' f\! \override Hairpin #'rotation = #'(20 -1 0) g,,4\< e' d' f\!
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[ < Rotating layout objects ] | [ 上へ : Rotating objects ] | [ Advanced tweaks > ] |
Rotating markup
All markup text can be rotated to lie at any angle by prefixing it
with the \rotate
command. The command takes two arguments:
the angle of rotation in degrees counter-clockwise and the text to
be rotated. The extents of the text are not rotated: they take
their values from the extremes of the x and y coordinates of the
rotated text. In the following example the
outside-staff-priority
property for text is set to #f
to disable the automatic collision avoidance, which would push some
of the text too high.
\override TextScript #'outside-staff-priority = ##f g4^\markup { \rotate #30 "a G" } b^\markup { \rotate #30 "a B" } des^\markup { \rotate #30 "a D-Flat" } fis^\markup { \rotate #30 "an F-Sharp" }
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[ < Rotating markup ] | [ 上へ : Changing defaults ] | [ Aligning objects > ] |
5.5 Advanced tweaks
This section discusses various approaches to fine tuning the appearance of the printed score.
5.5.1 Aligning objects | ||
5.5.2 Vertical grouping of grobs | ||
5.5.3 Modifying stencils | ||
5.5.4 Modifying shapes |
参照
Learning Manual: Tweaking output, Other sources of information.
Notation Reference: Explaining the Internals Reference, Modifying properties.
Installed Files: ‘scm/define-grobs.scm’.
Snippets: Tweaks and overrides.
Extending: Interfaces for programmers.
Internals Reference: All layout objects.
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[ < Advanced tweaks ] | [ 上へ : Advanced tweaks ] | [ Setting X-offset and Y-offset directly > ] |
5.5.1 Aligning objects
Graphical objects which support the self-alignment-interface
and/or the side-position-interface
can be aligned to a previously
placed object in a variety of ways. For a list of these objects, see
self-alignment-interface and
side-position-interface.
All graphical objects have a reference point, a horizontal extent and a vertical extent. The horizontal extent is a pair of numbers giving the displacements from the reference point of the left and right edges, displacements to the left being negative. The vertical extent is a pair of numbers giving the displacement from the reference point to the bottom and top edges, displacements down being negative.
An object’s position on a staff is given by the values of the
X-offset
and Y-offset
properties. The value of
X-offset
gives the displacement from the X coordinate of
the reference point of the parent object, and the value of
Y-offset
gives the displacement from the center line of the
staff. The values of X-offset
and Y-offset
may
be set directly or may be set to be calculated by procedures in order
to achieve alignment with the parent object.
Note: Many objects have special positioning considerations which
cause any setting of X-offset
or Y-offset
to be
ignored or modified, even though the object supports the
self-alignment-interface
. Overriding the X-offset
or Y-offset
properties to a fixed value causes the respective
self-alignment
property to be disregarded.
For example, an accidental can be repositioned vertically by setting
Y-offset
but any changes to X-offset
have no effect.
Rehearsal marks may be aligned with breakable objects such as bar
lines, clef symbols, time signature symbols and key signatures. There
are special properties to be found in the break-aligned-interface
for positioning rehearsal marks on such objects.
参照
Using the break-alignable-interface
,
Callback functions.
Setting X-offset and Y-offset directly | ||
Using the side-position-interface | ||
Using the self-alignment-interface | ||
Using the break-alignable-interface |
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[ < Aligning objects ] | [ 上へ : Aligning objects ] | [ Using the side-position-interface > ] |
Setting X-offset
and Y-offset
directly
Numerical values may be given to the X-offset
and Y-offset
properties of many objects. The following example shows three
notes with the default fingering position and the positions with X-offset
and Y-offset
modified.
a-3 a -\tweak #'X-offset #0 -\tweak #'Y-offset #0 -3 a -\tweak #'X-offset #-1 -\tweak #'Y-offset #1 -3
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[ < Setting X-offset and Y-offset directly ] | [ 上へ : Aligning objects ] | [ Using the self-alignment-interface > ] |
Using the side-position-interface
An object which supports the side-position-interface
can be
placed next to its parent object so that
the specified edges of the two objects touch. The object may be
placed above, below, to the right or to the left of the parent.
The parent cannot be specified; it is determined by the order of
elements in the input stream. Most objects have the associated
note head as their parent.
The values of the side-axis
and direction
properties
determine where the object is to be placed, as follows:
| | |
---|---|---|
property | property | Placement |
| | left |
| | right |
| | below |
| | above |
When side-axis
is 0
, X-offset
should be set to
the procedure ly:side-position-interface::x-aligned-side
.
This procedure will return the correct value of X-offset
to
place the object to the left or right side of the parent according
to value of direction
.
When side-axis
is 1
, Y-offset
should be set to
the procedure ly:side-position-interface::y-aligned-side
.
This procedure will return the correct value of Y-offset
to
place the object to the top or bottom of the parent according
to value of direction
.
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[ < Using the side-position-interface ] | [ 上へ : Aligning objects ] | [ Using the break-alignable-interface > ] |
Using the self-alignment-interface
Self-aligning objects horizontally
The horizontal alignment of an object which supports the
self-alignment-interface
is controlled by the value of
the self-alignment-X
property, provided the object’s
X-offset
property is set to
ly:self-alignment-interface::x-aligned-on-self
.
self-alignment-X
may be given any
real value, in units of half the total X extent of the
object. Negative values move the object to the right, positive
to the left. A value of 0
centers the object on the
reference point of its parent, a value of -1
aligns the
left edge of the object on the reference point of its parent,
and a value of 1
aligns the right edge of the object on the
reference point of its parent. The symbols LEFT
,
CENTER
and RIGHT
may be used instead of the values
-1, 0, 1
respectively.
Normally the \override
command would be used to modify the
value of self-alignment-X
, but the \tweak
command
can be used to separately align several annotations on a single
note:
a' -\tweak #'self-alignment-X #-1 ^"left-aligned" -\tweak #'self-alignment-X #0 ^"center-aligned" -\tweak #'self-alignment-X #RIGHT ^"right-aligned" -\tweak #'self-alignment-X #-2.5 ^"aligned further to the right"
Self-aligning objects vertically
Objects may be aligned vertically in an analogous way to aligning
them horizontally if the Y-offset
property is set to
ly:self-alignment-interface::y-aligned-on-self
. However,
other mechanisms are often involved in vertical alignment: the
value of Y-offset
is just one variable taken into account.
This may make adjusting the value of some objects tricky.
The units are just half the vertical extent of the object, which
is usually quite small, so quite large numbers may be required.
A value of -1
aligns the lower edge of the object with
the reference point of the parent object, a value of 0
aligns the center of the object with the reference point of the
parent, and a value of 1
aligns the top edge of the object
with the reference point of the parent. The symbols DOWN
,
CENTER
, UP
may be substituted for -1, 0, 1
respectively.
Self-aligning objects in both directions
By setting both X-offset
and Y-offset
, an object may
be aligned in both directions simultaneously.
The following example shows how to adjust a fingering mark so that it nestles close to the note head.
a -\tweak #'self-alignment-X #0.5 % move horizontally left -\tweak #'Y-offset #ly:self-alignment-interface::y-aligned-on-self -\tweak #'self-alignment-Y #-1 % move vertically up -3 % third finger
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[ < Using the self-alignment-interface ] | [ 上へ : Aligning objects ] | [ Vertical grouping of grobs > ] |
Using the break-alignable-interface
Rehearsal marks and bar numbers may be aligned with notation
objects other than bar lines. These objects include ambitus
,
breathing-sign
, clef
, custos
, staff-bar
,
left-edge
, key-cancellation
, key-signature
, and
time-signature
.
By default, rehearsal marks and bar numbers will be horizontally centered above the object:
% The rehearsal mark will be centered above the Clef \override Score.RehearsalMark #'break-align-symbols = #'(clef) \key a \major \clef treble \mark "↓" e1 % The rehearsal mark will be centered above the Time Signature \override Score.RehearsalMark #'break-align-symbols = #'(time-signature) \key a \major \clef treble \time 3/4 \mark "↓" e2. % The rehearsal mark will be centered above the Breath Mark \override Score.RehearsalMark #'break-align-symbols = #'(breathing-sign) \key a \major \clef treble \time 4/4 e1 \breathe \mark "↓"
A list of possible target alignment objects may be specified. If
some of the objects are invisible at that point due to the setting
of break-visibility
or the explicit visibility settings for
keys and clefs, the rehearsal mark or bar number is aligned to the
first object in the list which is visible. If no objects in the
list are visible the object is aligned to the bar line. If the bar
line is invisible the object is aligned to the place where the bar
line would be.
% The rehearsal mark will be centered above the Key Signature \override Score.RehearsalMark #'break-align-symbols = #'(key-signature clef) \key a \major \clef treble \mark "↓" e1 % The rehearsal mark will be centered above the Clef \set Staff.explicitKeySignatureVisibility = #all-invisible \override Score.RehearsalMark #'break-align-symbols = #'(key-signature clef) \key a \major \clef bass \mark "↓" gis,,1 % The rehearsal mark will be centered above the Bar Line \set Staff.explicitKeySignatureVisibility = #all-invisible \set Staff.explicitClefVisibility = #all-invisible \override Score.RehearsalMark #'break-align-symbols = #'(key-signature clef) \key a \major \clef treble \mark "↓" e''1
The alignment of the rehearsal mark relative to the notation object can be changed, as shown in the following example. In a score with multiple staves, this setting should be done for all the staves.
% The RehearsalMark will be centered above the Key Signature \override Score.RehearsalMark #'break-align-symbols = #'(key-signature) \key a \major \clef treble \time 4/4 \mark "↓" e1 % The RehearsalMark will be aligned with the left edge of the Key Signature \once \override Score.KeySignature #'break-align-anchor-alignment = #LEFT \mark "↓" \key a \major e1 % The RehearsalMark will be aligned with the right edge of the Key Signature \once \override Score.KeySignature #'break-align-anchor-alignment = #RIGHT \key a \major \mark "↓" e1
The rehearsal mark can also be offset to the right or left of the left edge by an arbitrary amount. The units are staff-spaces:
% The RehearsalMark will be aligned with the left edge of the Key Signature % and then shifted right by 3.5 staff-spaces \override Score.RehearsalMark #'break-align-symbols = #'(key-signature) \once \override Score.KeySignature #'break-align-anchor = #3.5 \key a \major \mark "↓" e1 % The RehearsalMark will be aligned with the left edge of the Key Signature % and then shifted left by 2 staff-spaces \once \override Score.KeySignature #'break-align-anchor = #-2 \key a \major \mark "↓" e1
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[ < Using the break-alignable-interface ] | [ 上へ : Advanced tweaks ] | [ Modifying stencils > ] |
5.5.2 Vertical grouping of grobs
The VerticalAlignment and VerticalAxisGroup grobs work together. VerticalAxisGroup groups together different grobs like Staff, Lyrics, etc. VerticalAlignment then vertically aligns the different grobs grouped together by VerticalAxisGroup. There is usually only one VerticalAlignment per score but every Staff, Lyrics, etc. has its own VerticalAxisGroup.
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[ < Vertical grouping of grobs ] | [ 上へ : Advanced tweaks ] | [ Modifying shapes > ] |
5.5.3 Modifying stencils
All layout objects have a stencil
property which is part of
the grob-interface
. By default, this property is usually
set to a function specific to the object that is tailor-made to
render the symbol which represents it in the output. For example,
the standard setting for the stencil
property of the
MultiMeasureRest
object is ly:multi-measure-rest::print
.
The standard symbol for any object can be replaced by modifying the
stencil
property to reference a different, specially-written,
procedure. This requires a high level of knowledge of the internal
workings of LilyPond, but there is an easier way which can often
produce adequate results.
This is to set the stencil
property to the procedure which
prints text – ly:text-interface::print
– and to add a
text
property to the object which is set to contain the
markup text which produces the required symbol. Due to the
flexibility of markup, much can be achieved – see in particular
マークアップ内部でのグラフィック記譜法.
The following example demonstrates this by changing the note head symbol to a cross within a circle.
XinO = { \once \override NoteHead #'stencil = #ly:text-interface::print \once \override NoteHead #'text = \markup { \combine \halign #-0.7 \draw-circle #0.85 #0.2 ##f \musicglyph #"noteheads.s2cross" } } \relative c'' { a a \XinO a a }
Any of the glyphs in the feta Font can be supplied to the
\musicglyph
markup command – see The Feta font.
参照
Notation Reference: マークアップ内部でのグラフィック記譜法, テキストをフォーマットする, Text markup commands, The Feta font.
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[ < Modifying stencils ] | [ 上へ : Advanced tweaks ] | [ Modifying ties and slurs > ] |
5.5.4 Modifying shapes
Modifying ties and slurs |
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[ < Modifying shapes ] | [ 上へ : Modifying shapes ] | [ Using music functions > ] |
Modifying ties and slurs
Ties, slurs and phrasing slurs are drawn as third-order Bézier curves. If the shape of the tie or slur which is calculated automatically is not optimum, the shape may be modified manually by explicitly specifying the four control points required to define a third-order Bézier curve.
Third-order or cubic Bézier curves are defined by four control points. The first and fourth control points are precisely the starting and ending points of the curve. The intermediate two control points define the shape. Animations showing how the curve is drawn can be found on the web, but the following description may be helpful. The curve starts from the first control point heading directly towards the second, gradually bending over to head towards the third and continuing to bend over to head towards the fourth, arriving there travelling directly from the third control point. The curve is entirely contained in the quadrilateral defined by the four control points.
Here is an example of a case where the tie is not optimum, and
where \tieDown
would not help.
<< { e1 ~ e } \\ { r4 <g c,> <g c,> <g c,> } >>
One way of improving this tie is to manually modify its control points, as follows.
The coordinates of the Bézier control points are specified in units of staff-spaces. The X coordinate is relative to the reference point of the note to which the tie or slur is attached, and the Y coordinate is relative to the staff center line. The coordinates are entered as a list of four pairs of decimal numbers (reals). One approach is to estimate the coordinates of the two end points, and then guess the two intermediate points. The optimum values are then found by trial and error.
It is useful to remember that a symmetric curve requires symmetric control points, and that Bézier curves have the useful property that transformations of the curve such as translation, rotation and scaling can be achieved by applying the same transformation to the curve’s control points.
For the example above the following override gives a satisfactory tie. Note the placement – it has to be immediately before the note to which the start of the tie (or slur) is attached.
<< { \once \override Tie #'control-points = #'((1 . -1) (3 . 0.6) (12.5 . 0.6) (14.5 . -1)) e1 ~ e1 } \\ { r4 <g c,> <g c,> <g c,>4 } >>
既知の問題と警告
It is not possible to modify shapes of ties or slurs by changing
the control-points
property if there are more than one at
the same musical moment, not even by using the \tweak
command. However, the tie-configuration
property of
TieColumn
can be overridden to set start line and direction
of ties as required.
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[ < Modifying ties and slurs ] | [ 上へ : Changing defaults ] | [ Substitution function syntax > ] |
5.6 Using music functions
Where tweaks need to be reused with different music expressions, it is often convenient to make the tweak part of a music function. In this section, we discuss only substitution functions, where the object is to substitute a variable into a piece of LilyPond input code. Other more complex functions are described in Music functions.
5.6.1 Substitution function syntax | ||
5.6.2 Substitution function examples |
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[ < Using music functions ] | [ 上へ : Using music functions ] | [ Substitution function examples > ] |
5.6.1 Substitution function syntax
Making a function that substitutes a variable into LilyPond code is easy. The general form of these functions is
function = #(define-music-function (parser location arg1 arg2 …) (type1? type2? …) #{ …music… #})
where
| nth argument |
| a scheme type predicate for which |
| normal LilyPond input, using |
The parser
and location
arguments are mandatory, and
are used in some advanced situations as described in the
‘Extending’ manual (see
Music functions). For
substitution functions, just be sure to include them.
The list of type predicates is also required. Some of the most common type predicates used in music functions are:
boolean? cheap-list? (use instead of ‘list?’ for faster processing) ly:music? markup? number? pair? string? symbol?
For a list of available type predicates, see Predefined type predicates. User-defined type predicates are also allowed.
参照
Notation Reference: Predefined type predicates.
Extending: Music functions.
Installed Files: ‘lily/music-scheme.cc’, ‘scm/c++.scm’, ‘scm/lily.scm’.
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5.6.2 Substitution function examples
This section introduces some substitution function examples. These are not intended to be exhaustive, but rather to demonstrate some of the possibilities of simple substitution functions.
In the first example, a function is defined that simplifies setting the padding of a TextScript:
padText = #(define-music-function (parser location padding) (number?) #{ \once \override TextScript #'padding = $padding #}) \relative c''' { c4^"piu mosso" b a b \padText #1.8 c4^"piu mosso" d e f \padText #2.6 c4^"piu mosso" fis a g }
In addition to numbers, we can use music expressions such as notes for arguments to music functions:
custosNote = #(define-music-function (parser location note) (ly:music?) #{ \once \override Voice.NoteHead #'stencil = #ly:text-interface::print \once \override Voice.NoteHead #'text = \markup \musicglyph #"custodes.mensural.u0" \once \override Voice.Stem #'stencil = ##f $note #}) \relative c' { c4 d e f \custosNote g }
Substitution functions with multiple arguments can be defined:
tempoPadded = #(define-music-function (parser location padding tempotext) (number? string?) #{ \once \override Score.MetronomeMark #'padding = $padding \tempo \markup { \bold $tempotext } #}) \relative c'' { \tempo \markup { "Low tempo" } c4 d e f g1 \tempoPadded #4.0 #"High tempo" g4 f e d c1 }
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[ < Substitution function examples ] | [ 上へ : Top ] | [ Chord name chart > ] |
A. Notation manual tables
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[ < Notation manual tables ] | [ 上へ : Notation manual tables ] | [ Common chord modifiers > ] |
A.1 Chord name chart
The following charts shows two standard systems for printing chord names, along with the pitches they represent.
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[ < Chord name chart ] | [ 上へ : Notation manual tables ] | [ Predefined string tunings > ] |
A.2 Common chord modifiers
The following table shows chord modifiers that can be used in
\chordmode
to generate standard chord structures.
Chord type | Intervals | Modifier(s) | Example |
Major | Major third, perfect fifth |
| |
Minor | Minor third, perfect fifth |
| |
Augmented | Major third, augmented fifth |
| |
Diminished | Minor third, diminished fifth |
| |
Dominant seventh | Major triad, minor seventh |
| |
Major seventh | Major triad, major seventh |
| |
Minor seventh | Minor triad, minor seventh |
| |
Diminished seventh | Diminished triad, diminished seventh |
| |
Augmented seventh | Augmented triad, minor seventh |
| |
Half-diminished seventh | Diminished triad, minor seventh |
| |
Minor-major seventh | Minor triad, major seventh |
| |
Major sixth | Major triad, sixth |
| |
Minor sixth | Minor triad, sixth |
| |
Dominant ninth | Dominant seventh, major ninth |
| |
Major ninth | Major seventh, major ninth |
| |
Minor ninth | Minor seventh, major ninth |
| |
Dominant eleventh | Dominant ninth, perfect eleventh |
| |
Major eleventh | Major ninth, perfect eleventh |
| |
Minor eleventh | Minor ninth, perfect eleventh |
| |
Dominant thirteenth | Dominant ninth, major thirteenth |
| |
Dominant thirteenth | Dominant eleventh, major thirteenth |
| |
Major thirteenth | Major eleventh, major thirteenth |
| |
Minor thirteenth | Minor eleventh, major thirteenth |
| |
Suspended second | Major second, perfect fifth |
| |
Suspended fourth | Perfect fourth, perfect fifth |
| |
Power chord (two-voiced) | Perfect fifth |
| |
Power chord (three-voiced) | Perfect fifth, octave |
|
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[ < Common chord modifiers ] | [ 上へ : Notation manual tables ] | [ Predefined fretboard diagrams > ] |
A.3 Predefined string tunings
The chart below shows the predefined string tunings.
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[ < Predefined string tunings ] | [ 上へ : Notation manual tables ] | [ MIDI instruments > ] |
A.4 Predefined fretboard diagrams
The chart below shows the predefined fretboard diagrams for guitar.
The chart below shows the predefined fretboard diagrams for ukulele.
The chart below shows the predefined fretboard diagrams for mandolin.
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[ < Predefined fretboard diagrams ] | [ 上へ : Notation manual tables ] | [ List of colors > ] |
A.5 MIDI instruments
The following is a list of names that can be used for the
midiInstrument
property. The order of the instruments
below, starting in the left-hand column moving down, corresponds
to the General MIDI Standard’s 128 Program Numbers.
acoustic grand contrabass lead 7 (fifths) bright acoustic tremolo strings lead 8 (bass+lead) electric grand pizzicato strings pad 1 (new age) honky-tonk orchestral harp pad 2 (warm) electric piano 1 timpani pad 3 (polysynth) electric piano 2 string ensemble 1 pad 4 (choir) harpsichord string ensemble 2 pad 5 (bowed) clav synthstrings 1 pad 6 (metallic) celesta synthstrings 2 pad 7 (halo) glockenspiel choir aahs pad 8 (sweep) music box voice oohs fx 1 (rain) vibraphone synth voice fx 2 (soundtrack) marimba orchestra hit fx 3 (crystal) xylophone trumpet fx 4 (atmosphere) tubular bells trombone fx 5 (brightness) dulcimer tuba fx 6 (goblins) drawbar organ muted trumpet fx 7 (echoes) percussive organ french horn fx 8 (sci-fi) rock organ brass section sitar church organ synthbrass 1 banjo reed organ synthbrass 2 shamisen accordion soprano sax koto harmonica alto sax kalimba concertina tenor sax bagpipe acoustic guitar (nylon) baritone sax fiddle acoustic guitar (steel) oboe shanai electric guitar (jazz) english horn tinkle bell electric guitar (clean) bassoon agogo electric guitar (muted) clarinet steel drums overdriven guitar piccolo woodblock distorted guitar flute taiko drum guitar harmonics recorder melodic tom acoustic bass pan flute synth drum electric bass (finger) blown bottle reverse cymbal electric bass (pick) shakuhachi guitar fret noise fretless bass whistle breath noise slap bass 1 ocarina seashore slap bass 2 lead 1 (square) bird tweet synth bass 1 lead 2 (sawtooth) telephone ring synth bass 2 lead 3 (calliope) helicopter violin lead 4 (chiff) applause viola lead 5 (charang) gunshot cello lead 6 (voice)
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A.6 List of colors
Normal colors
Usage syntax is detailed in オブジェクトに色を付ける.
black white red green blue cyan magenta yellow grey darkred darkgreen darkblue darkcyan darkmagenta darkyellow
X color names
X color names come several variants:
Any name that is spelled as a single word with capitalization (e.g. ‘LightSlateBlue’) can also be spelled as space separated words without capitalization (e.g. ‘light slate blue’).
The word ‘grey’ can always be spelled ‘gray’ (e.g. ‘DarkSlateGray’).
Some names can take a numerical suffix (e.g. ‘LightSalmon4’).
Color Names without a numerical suffix:
snow GhostWhite WhiteSmoke gainsboro FloralWhite OldLace linen AntiqueWhite PapayaWhip BlanchedAlmond bisque PeachPuff NavajoWhite moccasin cornsilk ivory LemonChiffon seashell honeydew MintCream azure AliceBlue lavender LavenderBlush MistyRose white black DarkSlateGrey DimGrey SlateGrey LightSlateGrey grey LightGrey MidnightBlue navy NavyBlue CornflowerBlue DarkSlateBlue SlateBlue MediumSlateBlue LightSlateBlue MediumBlue RoyalBlue blue DodgerBlue DeepSkyBlue SkyBlue LightSkyBlue SteelBlue LightSteelBlue LightBlue PowderBlue PaleTurquoise DarkTurquoise MediumTurquoise turquoise cyan LightCyan CadetBlue MediumAquamarine aquamarine DarkGreen DarkOliveGreen DarkSeaGreen SeaGreen MediumSeaGreen LightSeaGreen PaleGreen SpringGreen LawnGreen green chartreuse MediumSpringGreen GreenYellow LimeGreen YellowGreen ForestGreen OliveDrab DarkKhaki khaki PaleGoldenrod LightGoldenrodYellow LightYellow yellow gold LightGoldenrod goldenrod DarkGoldenrod RosyBrown IndianRed SaddleBrown sienna peru burlywood beige wheat SandyBrown tan chocolate firebrick brown DarkSalmon salmon LightSalmon orange DarkOrange coral LightCoral tomato OrangeRed red HotPink DeepPink pink LightPink PaleVioletRed maroon MediumVioletRed VioletRed magenta violet plum orchid MediumOrchid DarkOrchid DarkViolet BlueViolet purple MediumPurple thistle DarkGrey DarkBlue DarkCyan DarkMagenta DarkRed LightGreen
Color names with a numerical suffix
In the following names the suffix N can be a number in the range 1-4:
snowN seashellN AntiqueWhiteN bisqueN PeachPuffN NavajoWhiteN LemonChiffonN cornsilkN ivoryN honeydewN LavenderBlushN MistyRoseN azureN SlateBlueN RoyalBlueN blueN DodgerBlueN SteelBlueN DeepSkyBlueN SkyBlueN LightSkyBlueN LightSteelBlueN LightBlueN LightCyanN PaleTurquoiseN CadetBlueN turquoiseN cyanN aquamarineN DarkSeaGreenN SeaGreenN PaleGreenN SpringGreenN greenN chartreuseN OliveDrabN DarkOliveGreenN khakiN LightGoldenrodN LightYellowN yellowN goldN goldenrodN DarkGoldenrodN RosyBrownN IndianRedN siennaN burlywoodN wheatN tanN chocolateN firebrickN brownN salmonN LightSalmonN orangeN DarkOrangeN coralN tomatoN OrangeRedN redN DeepPinkN HotPinkN pinkN LightPinkN PaleVioletRedN maroonN VioletRedN magentaN orchidN plumN MediumOrchidN DarkOrchidN purpleN MediumPurpleN thistleN
Grey Scale
A grey scale can be obtained using:
greyN
Where N is in the range 0-100.
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A.7 The Feta font
The following symbols are available in the Emmentaler font and may be
accessed directly using text markup with the name of the glyph
as shown in the tables below,
such as g^\markup {\musicglyph #"scripts.segno" }
or
\markup {\musicglyph #"five"}
. For more information,
see テキストをフォーマットする.
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[ < The Feta font ] | [ 上へ : The Feta font ] | [ Time Signature glyphs > ] |
Clef glyphs
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[ < Clef glyphs ] | [ 上へ : The Feta font ] | [ Number glyphs > ] |
Time Signature glyphs
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[ < Time Signature glyphs ] | [ 上へ : The Feta font ] | [ Accidental glyphs > ] |
Number glyphs
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[ < Number glyphs ] | [ 上へ : The Feta font ] | [ Default Notehead glyphs > ] |
Accidental glyphs
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[ < Accidental glyphs ] | [ 上へ : The Feta font ] | [ Special Notehead glyphs > ] |
Default Notehead glyphs
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[ < Default Notehead glyphs ] | [ 上へ : The Feta font ] | [ Shape-note Notehead glyphs > ] |
Special Notehead glyphs
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[ < Special Notehead glyphs ] | [ 上へ : The Feta font ] | [ Rest glyphs > ] |
Shape-note Notehead glyphs
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[ < Shape-note Notehead glyphs ] | [ 上へ : The Feta font ] | [ Flag glyphs > ] |
Rest glyphs
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[ < Rest glyphs ] | [ 上へ : The Feta font ] | [ Dot glyphs > ] |
Flag glyphs
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[ < Flag glyphs ] | [ 上へ : The Feta font ] | [ Dynamic glyphs > ] |
Dot glyphs
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[ < Dot glyphs ] | [ 上へ : The Feta font ] | [ Script glyphs > ] |
Dynamic glyphs
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[ < Dynamic glyphs ] | [ 上へ : The Feta font ] | [ Arrowhead glyphs > ] |
Script glyphs
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[ < Script glyphs ] | [ 上へ : The Feta font ] | [ Bracket-tip glyphs > ] |
Arrowhead glyphs
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[ < Arrowhead glyphs ] | [ 上へ : The Feta font ] | [ Pedal glyphs > ] |
Bracket-tip glyphs
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[ < Bracket-tip glyphs ] | [ 上へ : The Feta font ] | [ Accordion glyphs > ] |
Pedal glyphs
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[ < Pedal glyphs ] | [ 上へ : The Feta font ] | [ Vaticana glyphs > ] |
Accordion glyphs
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[ < Accordion glyphs ] | [ 上へ : The Feta font ] | [ Medicaea glyphs > ] |
Vaticana glyphs
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[ < Vaticana glyphs ] | [ 上へ : The Feta font ] | [ Hufnagel glyphs > ] |
Medicaea glyphs
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[ < Medicaea glyphs ] | [ 上へ : The Feta font ] | [ Mensural glyphs > ] |
Hufnagel glyphs
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[ < Hufnagel glyphs ] | [ 上へ : The Feta font ] | [ Neomensural glyphs > ] |
Mensural glyphs
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[ < Mensural glyphs ] | [ 上へ : The Feta font ] | [ Petrucci glyphs > ] |
Neomensural glyphs
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[ < Neomensural glyphs ] | [ 上へ : The Feta font ] | [ Solesmes glyphs > ] |
Petrucci glyphs
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[ < Petrucci glyphs ] | [ 上へ : The Feta font ] | [ Note head styles > ] |
Solesmes glyphs
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[ < Solesmes glyphs ] | [ 上へ : Notation manual tables ] | [ Text markup commands > ] |
A.8 Note head styles
The following styles may be used for note heads.
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[ < Note head styles ] | [ 上へ : Notation manual tables ] | [ Font > ] |
A.9 Text markup commands
The following commands can all be used inside \markup { }
.
A.9.1 Font | ||
A.9.2 Align | ||
A.9.3 Graphic | ||
A.9.4 Music | ||
A.9.5 Instrument Specific Markup | ||
A.9.6 Other |
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[ < Text markup commands ] | [ 上へ : Text markup commands ] | [ Align > ] |
A.9.1 Font
-
\abs-fontsize
size (number) arg (markup) -
Use size as the absolute font size to display arg. Adjusts
baseline-skip
andword-space
accordingly.\markup { default text font size \hspace #2 \abs-fontsize #16 { text font size 16 } \hspace #2 \abs-fontsize #12 { text font size 12 } }
-
\bold
arg (markup) -
Switch to bold font-series.
\markup { default \hspace #2 \bold bold }
-
\box
arg (markup) -
Draw a box round arg. Looks at
thickness
,box-padding
andfont-size
properties to determine line thickness and padding around the markup.\markup { \override #'(box-padding . 0.5) \box \line { V. S. } }
Used properties:
-
box-padding
(0.2) -
font-size
(0) -
thickness
(1)
-
-
\caps
arg (markup) -
Copy of the
\smallCaps
command.\markup { default \hspace #2 \caps { Text in small caps } }
-
\dynamic
arg (markup) -
Use the dynamic font. This font only contains s, f, m, z, p, and r. When producing phrases, like ‘più f’, the normal words (like ‘più’) should be done in a different font. The recommended font for this is bold and italic.
\markup { \dynamic { sfzp } }
-
\finger
arg (markup) -
Set arg as small numbers.
\markup { \finger { 1 2 3 4 5 } }
-
\fontCaps
arg (markup) -
Set
font-shape
tocaps
Note:
\fontCaps
requires the installation and selection of fonts which support thecaps
font shape. -
\fontsize
increment (number) arg (markup) -
Add increment to the font-size. Adjusts
baseline-skip
accordingly.\markup { default \hspace #2 \fontsize #-1.5 smaller }
Used properties:
-
baseline-skip
(2) -
word-space
(1) -
font-size
(0)
-
-
\huge
arg (markup) -
Set font size to +2.
\markup { default \hspace #2 \huge huge }
-
\italic
arg (markup) -
Use italic
font-shape
for arg.\markup { default \hspace #2 \italic italic }
-
\large
arg (markup) -
Set font size to +1.
\markup { default \hspace #2 \large large }
-
\larger
arg (markup) -
Increase the font size relative to the current setting.
\markup { default \hspace #2 \larger larger }
-
\magnify
sz (number) arg (markup) -
Set the font magnification for its argument. In the following example, the middle A is 10% larger:
A \magnify #1.1 { A } A
Note: Magnification only works if a font name is explicitly selected. Use
\fontsize
otherwise.\markup { default \hspace #2 \magnify #1.5 { 50% larger } }
-
\medium
arg (markup) -
Switch to medium font-series (in contrast to bold).
\markup { \bold { some bold text \hspace #2 \medium { medium font series } \hspace #2 bold again } }
-
\normal-size-sub
arg (markup) -
Set arg in subscript with a normal font size.
\markup { default \normal-size-sub { subscript in standard size } }
Used properties:
-
baseline-skip
-
-
\normal-size-super
arg (markup) -
Set arg in superscript with a normal font size.
\markup { default \normal-size-super { superscript in standard size } }
Used properties:
-
baseline-skip
-
-
\normal-text
arg (markup) -
Set all font related properties (except the size) to get the default normal text font, no matter what font was used earlier.
\markup { \huge \bold \sans \caps { Some text with font overrides \hspace #2 \normal-text { Default text, same font-size } \hspace #2 More text as before } }
-
\normalsize
arg (markup) -
Set font size to default.
\markup { \teeny { this is very small \hspace #2 \normalsize { normal size } \hspace #2 teeny again } }
-
\number
arg (markup) -
Set font family to
number
, which yields the font used for time signatures and fingerings. This font contains numbers and some punctuation; it has no letters.\markup { \number { 0 1 2 3 4 5 6 7 8 9 . , } }
-
\roman
arg (markup) -
Set font family to
roman
.\markup { \sans \bold { sans serif, bold \hspace #2 \roman { text in roman font family } \hspace #2 return to sans } }
-
\sans
arg (markup) -
Switch to the sans serif font family.
\markup { default \hspace #2 \sans { sans serif } }
-
\simple
str (string) -
A simple text string;
\markup { foo }
is equivalent with\markup { \simple #"foo" }
.Note: for creating standard text markup or defining new markup commands, the use of
\simple
is unnecessary.\markup { \simple #"simple" \simple #"text" \simple #"strings" }
-
\small
arg (markup) -
Set font size to -1.
\markup { default \hspace #2 \small small }
-
\smallCaps
arg (markup) -
Emit arg as small caps.
Note:
\smallCaps
does not support accented characters.\markup { default \hspace #2 \smallCaps { Text in small caps } }
-
\smaller
arg (markup) -
Decrease the font size relative to the current setting.
\markup { \fontsize #3.5 { some large text \hspace #2 \smaller { a bit smaller } \hspace #2 more large text } }
-
\sub
arg (markup) -
Set arg in subscript.
\markup { \concat { H \sub { 2 } O } }
Used properties:
-
baseline-skip
-
font-size
(0)
-
-
\super
arg (markup) -
Set arg in superscript.
\markup { E = \concat { mc \super 2 } }
Used properties:
-
baseline-skip
-
font-size
(0)
-
-
\teeny
arg (markup) -
Set font size to -3.
\markup { default \hspace #2 \teeny teeny }
-
\text
arg (markup) -
Use a text font instead of music symbol or music alphabet font.
\markup { \number { 1, 2, \text { three, four, } 5 } }
-
\tiny
arg (markup) -
Set font size to -2.
\markup { default \hspace #2 \tiny tiny }
-
\typewriter
arg (markup) -
Use
font-family
typewriter for arg.\markup { default \hspace #2 \typewriter typewriter }
-
\underline
arg (markup) -
Underline arg. Looks at
thickness
to determine line thickness, andoffset
to determine line y-offset.\markup \fill-line { \underline "underlined" \override #'(offset . 5) \override #'(thickness . 1) \underline "underlined" \override #'(offset . 1) \override #'(thickness . 5) \underline "underlined" }
Used properties:
-
offset
(2) -
thickness
(1)
-
-
\upright
arg (markup) -
Set
font-shape
toupright
. This is the opposite ofitalic
.\markup { \italic { italic text \hspace #2 \upright { upright text } \hspace #2 italic again } }
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[ < Font ] | [ 上へ : Text markup commands ] | [ Graphic > ] |
A.9.2 Align
-
\center-align
arg (markup) -
Align
arg
to its X center.\markup { \column { one \center-align two three } }
-
\center-column
args (markup list) -
Put
args
in a centered column.\markup { \center-column { one two three } }
Used properties:
-
baseline-skip
-
-
\column
args (markup list) -
Stack the markups in args vertically. The property
baseline-skip
determines the space between markups in args.\markup { \column { one two three } }
Used properties:
-
baseline-skip
-
-
\combine
arg1 (markup) arg2 (markup) -
Print two markups on top of each other.
Note:
\combine
cannot take a list of markups enclosed in curly braces as an argument; the follow example will not compile:\combine { a list }
\markup { \fontsize #5 \override #'(thickness . 2) \combine \draw-line #'(0 . 4) \arrow-head #Y #DOWN ##f }
-
\concat
args (markup list) -
Concatenate args in a horizontal line, without spaces in between. Strings and simple markups are concatenated on the input level, allowing ligatures. For example,
\concat { "f" \simple #"i" }
is equivalent to"fi"
.\markup { \concat { one two three } }
-
\dir-column
args (markup list) -
Make a column of args, going up or down, depending on the setting of the
direction
layout property.\markup { \override #`(direction . ,UP) { \dir-column { going up } } \hspace #1 \dir-column { going down } \hspace #1 \override #'(direction . 1) { \dir-column { going up } } }
Used properties:
-
baseline-skip
-
direction
-
-
\fill-line
args (markup list) -
Put markups in a horizontal line of width line-width. The markups are spaced or flushed to fill the entire line. If there are no arguments, return an empty stencil.
\markup { \column { \fill-line { Words evenly spaced across the page } \null \fill-line { \line { Text markups } \line { \italic { evenly spaced } } \line { across the page } } } }
Used properties:
-
line-width
(#f) -
word-space
(0.6) -
text-direction
(1)
-
-
\fill-with-pattern
space (number) dir (direction) pattern (markup) left (markup) right (markup) -
Put left and right in a horizontal line of width
line-width
with a line of markups pattern in between. Patterns are spaced apart by space. Patterns are aligned to the dir markup.\markup \column { "right-aligned :" \fill-with-pattern #1 #RIGHT . first right \fill-with-pattern #1 #RIGHT . second right \null "center-aligned :" \fill-with-pattern #1.5 #CENTER - left right \null "left-aligned :" \override #'(line-width . 50) \fill-with-pattern #2 #LEFT : left first \override #'(line-width . 50) \fill-with-pattern #2 #LEFT : left second }
Used properties:
-
line-width
-
word-space
-
-
\general-align
axis (integer) dir (number) arg (markup) -
Align arg in axis direction to the dir side.
\markup { \column { one \general-align #X #LEFT two three \null one \general-align #X #CENTER two three \null \line { one \general-align #Y #UP two three } \null \line { one \general-align #Y #3.2 two three } } }
-
\halign
dir (number) arg (markup) -
Set horizontal alignment. If dir is
-1
, then it is left-aligned, while+1
is right. Values in between interpolate alignment accordingly.\markup { \column { one \halign #LEFT two three \null one \halign #CENTER two three \null one \halign #RIGHT two three \null one \halign #-5 two three } }
-
\hcenter-in
length (number) arg (markup) -
Center arg horizontally within a box of extending length/2 to the left and right.
\new StaffGroup << \new Staff { \set Staff.instrumentName = \markup { \hcenter-in #12 Oboe } c''1 } \new Staff { \set Staff.instrumentName = \markup { \hcenter-in #12 Bassoon } \clef tenor c'1 } >>
-
\hspace
amount (number) -
Create an invisible object taking up horizontal space amount.
\markup { one \hspace #2 two \hspace #8 three }
Used properties:
-
word-space
-
-
\justify-field
symbol (symbol) -
Justify the data which has been assigned to symbol.
\header { title = "My title" myText = "Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat." } \paper { bookTitleMarkup = \markup { \column { \fill-line { \fromproperty #'header:title } \null \justify-field #'header:myText } } } \markup { \null }
-
\justify
args (markup list) -
Like
\wordwrap
, but with lines stretched to justify the margins. Use\override #'(line-width . X)
to set the line width; X is the number of staff spaces.\markup { \justify { Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. } }
Used properties:
-
text-direction
(1) -
word-space
-
line-width
(#f) -
baseline-skip
-
-
\justify-string
arg (string) -
Justify a string. Paragraphs may be separated with double newlines
\markup { \override #'(line-width . 40) \justify-string #"Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum" }
Used properties:
-
text-direction
(1) -
word-space
-
line-width
-
baseline-skip
-
-
\left-align
arg (markup) -
Align arg on its left edge.
\markup { \column { one \left-align two three } }
-
\left-column
args (markup list) -
Put
args
in a left-aligned column.\markup { \left-column { one two three } }
Used properties:
-
baseline-skip
-
-
\line
args (markup list) -
Put args in a horizontal line. The property
word-space
determines the space between markups in args.\markup { \line { one two three } }
Used properties:
-
text-direction
(1) -
word-space
-
-
\lower
amount (number) arg (markup) -
Lower arg by the distance amount. A negative amount indicates raising; see also
\raise
.\markup { one \lower #3 two three }
-
\pad-around
amount (number) arg (markup) -
Add padding amount all around arg.
\markup { \box { default } \hspace #2 \box { \pad-around #0.5 { padded } } }
-
\pad-markup
amount (number) arg (markup) -
Add space around a markup object.
\markup { \box { default } \hspace #2 \box { \pad-markup #1 { padded } } }
-
\pad-to-box
x-ext (pair of numbers) y-ext (pair of numbers) arg (markup) -
Make arg take at least x-ext, y-ext space.
\markup { \box { default } \hspace #4 \box { \pad-to-box #'(0 . 10) #'(0 . 3) { padded } } }
-
\pad-x
amount (number) arg (markup) -
Add padding amount around arg in the X direction.
\markup { \box { default } \hspace #4 \box { \pad-x #2 { padded } } }
-
\put-adjacent
axis (integer) dir (direction) arg1 (markup) arg2 (markup) -
Put arg2 next to arg1, without moving arg1.
-
\raise
amount (number) arg (markup) -
Raise arg by the distance amount. A negative amount indicates lowering, see also
\lower
.The argument to
\raise
is the vertical displacement amount, measured in (global) staff spaces.\raise
and\super
raise objects in relation to their surrounding markups.If the text object itself is positioned above or below the staff, then
\raise
cannot be used to move it, since the mechanism that positions it next to the staff cancels any shift made with\raise
. For vertical positioning, use thepadding
and/orextra-offset
properties.\markup { C \small \bold \raise #1.0 9/7+ }
-
\right-align
arg (markup) -
Align arg on its right edge.
\markup { \column { one \right-align two three } }
-
\right-column
args (markup list) -
Put
args
in a right-aligned column.\markup { \right-column { one two three } }
Used properties:
-
baseline-skip
-
-
\rotate
ang (number) arg (markup) -
Rotate object with ang degrees around its center.
\markup { default \hspace #2 \rotate #45 \line { rotated 45° } }
-
\translate
offset (pair of numbers) arg (markup) -
Translate arg relative to its surroundings. offset is a pair of numbers representing the displacement in the X and Y axis.
\markup { * \translate #'(2 . 3) \line { translated two spaces right, three up } }
-
\translate-scaled
offset (pair of numbers) arg (markup) -
Translate arg by offset, scaling the offset by the
font-size
.\markup { \fontsize #5 { * \translate #'(2 . 3) translate \hspace #2 * \translate-scaled #'(2 . 3) translate-scaled } }
Used properties:
-
font-size
(0)
-
-
\vcenter
arg (markup) -
Align
arg
to its Y center.\markup { one \vcenter two three }
-
\vspace
amount (number) -
Create an invisible object taking up vertical space of amount multiplied by 3.
\markup { \center-column { one \vspace #2 two \vspace #5 three } }
-
\wordwrap-field
symbol (symbol) -
Wordwrap the data which has been assigned to symbol.
\header { title = "My title" myText = "Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat." } \paper { bookTitleMarkup = \markup { \column { \fill-line { \fromproperty #'header:title } \null \wordwrap-field #'header:myText } } } \markup { \null }
-
\wordwrap
args (markup list) -
Simple wordwrap. Use
\override #'(line-width . X)
to set the line width, where X is the number of staff spaces.\markup { \wordwrap { Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. } }
Used properties:
-
text-direction
(1) -
word-space
-
line-width
(#f) -
baseline-skip
-
-
\wordwrap-string
arg (string) -
Wordwrap a string. Paragraphs may be separated with double newlines.
\markup { \override #'(line-width . 40) \wordwrap-string #"Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum" }
Used properties:
-
text-direction
(1) -
word-space
-
line-width
-
baseline-skip
-
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[ < Align ] | [ 上へ : Text markup commands ] | [ Music > ] |
A.9.3 Graphic
-
\arrow-head
axis (integer) dir (direction) filled (boolean) -
Produce an arrow head in specified direction and axis. Use the filled head if filled is specified.
\markup { \fontsize #5 { \general-align #Y #DOWN { \arrow-head #Y #UP ##t \arrow-head #Y #DOWN ##f \hspace #2 \arrow-head #X #RIGHT ##f \arrow-head #X #LEFT ##f } } }
-
\beam
width (number) slope (number) thickness (number) -
Create a beam with the specified parameters.
\markup { \beam #5 #1 #2 }
-
\bracket
arg (markup) -
Draw vertical brackets around arg.
\markup { \bracket { \note #"2." #UP } }
-
\circle
arg (markup) -
Draw a circle around arg. Use
thickness
,circle-padding
andfont-size
properties to determine line thickness and padding around the markup.\markup { \circle { Hi } }
Used properties:
-
circle-padding
(0.2) -
font-size
(0) -
thickness
(1)
-
-
\draw-circle
radius (number) thickness (number) filled (boolean) -
A circle of radius radius and thickness thickness, optionally filled.
\markup { \draw-circle #2 #0.5 ##f \hspace #2 \draw-circle #2 #0 ##t }
-
\draw-hline
-
Draws a line across a page, where the property
span-factor
controls what fraction of the page is taken up.\markup { \column { \draw-hline \override #'(span-factor . 1/3) \draw-hline } }
Used properties:
-
span-factor
(1) -
line-width
-
draw-line-markup
-
-
\draw-line
dest (pair of numbers) -
A simple line.
\markup { \draw-line #'(4 . 4) \override #'(thickness . 5) \draw-line #'(-3 . 0) }
Used properties:
-
thickness
(1)
-
-
\epsfile
axis (number) size (number) file-name (string) -
Inline an EPS image. The image is scaled along axis to size.
\markup { \general-align #Y #DOWN { \epsfile #X #20 #"context-example.eps" \epsfile #Y #20 #"context-example.eps" } }
-
\filled-box
xext (pair of numbers) yext (pair of numbers) blot (number) -
Draw a box with rounded corners of dimensions xext and yext. For example,
\filled-box #'(-.3 . 1.8) #'(-.3 . 1.8) #0
creates a box extending horizontally from -0.3 to 1.8 and vertically from -0.3 up to 1.8, with corners formed from a circle of diameter 0 (i.e., sharp corners).
\markup { \filled-box #'(0 . 4) #'(0 . 4) #0 \filled-box #'(0 . 2) #'(-4 . 2) #0.4 \filled-box #'(1 . 8) #'(0 . 7) #0.2 \with-color #white \filled-box #'(-4.5 . -2.5) #'(3.5 . 5.5) #0.7 }
-
\hbracket
arg (markup) -
Draw horizontal brackets around arg.
\markup { \hbracket { \line { one two three } } }
-
\parenthesize
arg (markup) -
Draw parentheses around arg. This is useful for parenthesizing a column containing several lines of text.
\markup { \line { \parenthesize { \column { foo bar } } \override #'(angularity . 2) { \parenthesize { \column { bah baz } } } } }
Used properties:
-
width
(0.25) -
thickness
(1) -
size
(1) -
padding
-
angularity
(0)
-
-
\path
thickness (number) commands (list) -
Draws a path with line thickness thickness according to the directions given in commands. commands is a list of lists where the
car
of each sublist is a drawing command and thecdr
comprises the associated arguments for each command.Line-cap styles and line-join styles may be customized by overriding the
line-cap-style
andline-join-style
properties, respectively. Available line-cap styles are'butt
,'round
, and'square
. Available line-join styles are'miter
,'round
, and'bevel
.The property
filled
specifies whether or not the path is filled with color.There are seven commands available to use in the list
commands
:moveto
,rmoveto
,lineto
,rlineto
,curveto
,rcurveto
, andclosepath
. Note that the commands that begin with r are the relative variants of the other three commands.The commands
moveto
,rmoveto
,lineto
, andrlineto
take 2 arguments; they are the X and Y coordinates for the destination point.The commands
curveto
andrcurveto
create cubic Bézier curves, and take 6 arguments; the first two are the X and Y coordinates for the first control point, the second two are the X and Y coordinates for the second control point, and the last two are the X and Y coordinates for the destination point.The
closepath
command takes zero arguments and closes the current subpath in the active path.Note that a sequence of commands must begin with a
moveto
orrmoveto
to work with the SVG output.samplePath = #'((moveto 0 0) (lineto -1 1) (lineto 1 1) (lineto 1 -1) (curveto -5 -5 -5 5 -1 0) (closepath)) \markup { \path #0.25 #samplePath }
Used properties:
-
filled
(#f) -
line-join-style
(round) -
line-cap-style
(round)
-
-
\postscript
str (string) -
This inserts str directly into the output as a PostScript command string.
ringsps = #" 0.15 setlinewidth 0.9 0.6 moveto 0.4 0.6 0.5 0 361 arc stroke 1.0 0.6 0.5 0 361 arc stroke " rings = \markup { \with-dimensions #'(-0.2 . 1.6) #'(0 . 1.2) \postscript #ringsps } \relative c'' { c2^\rings a2_\rings }
-
\rounded-box
arg (markup) -
Draw a box with rounded corners around arg. Looks at
thickness
,box-padding
andfont-size
properties to determine line thickness and padding around the markup; thecorner-radius
property makes it possible to define another shape for the corners (default is 1).c4^\markup { \rounded-box { Overtura } } c,8. c16 c4 r
Used properties:
-
box-padding
(0.5) -
font-size
(0) -
corner-radius
(1) -
thickness
(1)
-
-
\scale
factor-pair (pair of numbers) arg (markup) -
Scale arg. factor-pair is a pair of numbers representing the scaling-factor in the X and Y axes. Negative values may be used to produce mirror images.
\markup { \line { \scale #'(2 . 1) stretched \scale #'(1 . -1) mirrored } }
-
\triangle
filled (boolean) -
A triangle, either filled or empty.
\markup { \triangle ##t \hspace #2 \triangle ##f }
Used properties:
-
baseline-skip
(2) -
font-size
(0) -
thickness
(0.1)
-
-
\with-url
url (string) arg (markup) -
Add a link to URL url around arg. This only works in the PDF backend.
\markup { \with-url #"http://lilypond.org/web/" { LilyPond ... \italic { music notation for everyone } } }
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A.9.4 Music
-
\customTabClef
num-strings (integer) staff-space (number) -
Draw a tab clef sans-serif style.
-
\doubleflat
-
Draw a double flat symbol.
\markup { \doubleflat }
-
\doublesharp
-
Draw a double sharp symbol.
\markup { \doublesharp }
-
\flat
-
Draw a flat symbol.
\markup { \flat }
-
\musicglyph
glyph-name (string) -
glyph-name is converted to a musical symbol; for example,
\musicglyph #"accidentals.natural"
selects the natural sign from the music font. See The Feta font for a complete listing of the possible glyphs.\markup { \musicglyph #"f" \musicglyph #"rests.2" \musicglyph #"clefs.G_change" }
-
\natural
-
Draw a natural symbol.
\markup { \natural }
-
\note-by-number
log (number) dot-count (number) dir (number) -
Construct a note symbol, with stem. By using fractional values for dir, longer or shorter stems can be obtained.
\markup { \note-by-number #3 #0 #DOWN \hspace #2 \note-by-number #1 #2 #0.8 }
Used properties:
-
style
(’()) -
font-size
(0)
-
-
\note
duration (string) dir (number) -
This produces a note with a stem pointing in dir direction, with the duration for the note head type and augmentation dots. For example,
\note #"4." #-0.75
creates a dotted quarter note, with a shortened down stem.\markup { \override #'(style . cross) { \note #"4.." #UP } \hspace #2 \note #"breve" #0 }
Used properties:
-
style
(’()) -
font-size
(0)
-
-
\score
score (score) -
Inline an image of music.
\markup { \score { \new PianoStaff << \new Staff \relative c' { \key f \major \time 3/4 \mark \markup { Allegro } f2\p( a4) c2( a4) bes2( g'4) f8( e) e4 r } \new Staff \relative c { \clef bass \key f \major \time 3/4 f8( a c a c a f c' es c es c) f,( bes d bes d bes) f( g bes g bes g) } >> \layout { indent = 0.0\cm \context { \Score \override RehearsalMark #'break-align-symbols = #'(time-signature key-signature) \override RehearsalMark #'self-alignment-X = #LEFT } \context { \Staff \override TimeSignature #'break-align-anchor-alignment = #LEFT } } } }
Used properties:
-
baseline-skip
-
-
\semiflat
-
Draw a semiflat symbol.
\markup { \semiflat }
-
\semisharp
-
Draw a semisharp symbol.
\markup { \semisharp }
-
\sesquiflat
-
Draw a 3/2 flat symbol.
\markup { \sesquiflat }
-
\sesquisharp
-
Draw a 3/2 sharp symbol.
\markup { \sesquisharp }
-
\sharp
-
Draw a sharp symbol.
\markup { \sharp }
-
\tied-lyric
str (string) -
Like simple-markup, but use tie characters for ‘~’ tilde symbols.
\markup { \tied-lyric #"Lasciate~i monti" }
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A.9.5 Instrument Specific Markup
-
\fret-diagram
definition-string (string) -
Make a (guitar) fret diagram. For example, say
\markup \fret-diagram #"s:0.75;6-x;5-x;4-o;3-2;2-3;1-2;"
for fret spacing 3/4 of staff space, D chord diagram
Syntax rules for definition-string:
- - Diagram items are separated by semicolons.
- -
Possible items:
-
s:
number – Set the fret spacing of the diagram (in staff spaces). Default: 1. -
t:
number – Set the line thickness (in staff spaces). Default: 0.05. -
h:
number – Set the height of the diagram in frets. Default: 4. -
w:
number – Set the width of the diagram in strings. Default: 6. -
f:
number – Set fingering label type (0 = none, 1 = in circle on string, 2 = below string). Default: 0. -
d:
number – Set radius of dot, in terms of fret spacing. Default: 0.25. -
p:
number – Set the position of the dot in the fret space. 0.5 is centered; 1 is on lower fret bar, 0 is on upper fret bar. Default: 0.6. -
c:
string1-
string2-
fret – Include a barre mark from string1 to string2 on fret. -
string
-
fret – Place a dot on string at fret. If fret is ‘o’, string is identified as open. If fret is ‘x’, string is identified as muted. -
string
-
fret-
fingering – Place a dot on string at fret, and label with fingering as defined by thef:
code.
-
- - Note: There is no limit to the number of fret indications per string.
Used properties:
-
thickness
(0.5) -
fret-diagram-details
-
size
(1.0) -
align-dir
(-0.4)
-
\fret-diagram-terse
definition-string (string) -
Make a fret diagram markup using terse string-based syntax.
Here is an example
\markup \fret-diagram-terse #"x;x;o;2;3;2;"
for a D chord diagram.
Syntax rules for definition-string:
- Strings are terminated by semicolons; the number of semicolons is the number of strings in the diagram.
- Mute strings are indicated by ‘x’.
- Open strings are indicated by ‘o’.
- A number indicates a fret indication at that fret.
- If there are multiple fret indicators desired on a string, they should be separated by spaces.
-
Fingerings are given by following the fret number with a
-
, followed by the finger indicator, e.g. ‘3-2’ for playing the third fret with the second finger. -
Where a barre indicator is desired, follow the fret (or fingering) symbol
with
-(
to start a barre and-)
to end the barre.
Used properties:
-
thickness
(0.5) -
fret-diagram-details
-
size
(1.0) -
align-dir
(-0.4)
-
\fret-diagram-verbose
marking-list (pair) -
Make a fret diagram containing the symbols indicated in marking-list.
For example,
\markup \fret-diagram-verbose #'((mute 6) (mute 5) (open 4) (place-fret 3 2) (place-fret 2 3) (place-fret 1 2))
produces a standard D chord diagram without fingering indications.
Possible elements in marking-list:
-
(mute string-number)
Place a small ‘x’ at the top of string string-number.
-
(open string-number)
Place a small ‘o’ at the top of string string-number.
-
(barre start-string end-string fret-number)
Place a barre indicator (much like a tie) from string start-string to string end-string at fret fret-number.
-
(capo fret-number)
Place a capo indicator (a large solid bar) across the entire fretboard at fret location fret-number. Also, set fret fret-number to be the lowest fret on the fret diagram.
-
(place-fret string-number fret-number [finger-value [color-modifier]])
Place a fret playing indication on string string-number at fret fret-number with an optional fingering label finger-value, and an optional color modifier color-modifier. By default, the fret playing indicator is a solid dot. This can be globally changed by setting the value of the variable dot-color. Setting color-modifier to
inverted
inverts the dot color for a specific fingering. If the finger part of theplace-fret
element is present, finger-value will be displayed according to the setting of the variable finger-code. There is no limit to the number of fret indications per string.
Used properties:
-
thickness
(0.5) -
fret-diagram-details
-
size
(1.0) -
align-dir
(-0.4)
-
-
\harp-pedal
definition-string (string) -
Make a harp pedal diagram.
Possible elements in definition-string:
-
^
pedal is up
-
-
pedal is neutral
-
v
pedal is down
-
|
vertical divider line
-
o
the following pedal should be circled (indicating a change)
The function also checks if the string has the typical form of three pedals, then the divider and then the remaining four pedals. If not it prints out a warning. However, in any case, it will also print each symbol in the order as given. This means you can place the divider (even multiple dividers) anywhere you want, but you’ll have to live with the warnings.
The appearance of the diagram can be tweaked inter alia using the size property of the TextScript grob (
\override Voice.TextScript #'size = #0.3
) for the overall, the thickness property (\override Voice.TextScript #'thickness = #3
) for the line thickness of the horizontal line and the divider. The remaining configuration (box sizes, offsets and spaces) is done by the harp-pedal-details list of properties (\override Voice.TextScript #'harp-pedal-details #'box-width = #1
). It contains the following settings:box-offset
(vertical shift of the box center for up/down pedals),box-width
,box-height
,space-before-divider
(the spacing between two boxes before the divider) andspace-after-divider
(box spacing after the divider).\markup \harp-pedal #"^-v|--ov^"
Used properties:
-
thickness
(0.5) -
harp-pedal-details
(’()) -
size
(1.2)
-
-
\woodwind-diagram
instrument (symbol) user-draw-commands (list) -
Make a woodwind-instrument diagram. For example, say
\markup \woodwind-diagram #'oboe #'((lh . (d ees)) (cc . (five3qT1q)) (rh . (gis)))
for an oboe with the left-hand d key, left-hand ees key, and right-hand gis key depressed while the five-hole of the central column effectuates a trill between 1/4 and 3/4 closed.
The following instruments are supported:
- - piccolo
- - flute
- - oboe
- - clarinet
- - bass-clarinet
- - saxophone
- - bassoon
- - contrabassoon
To see all of the callable keys for a given instrument, include the function
(print-keys 'instrument)
in your .ly file, where instrument is the instrument whose keys you want to print.Certain keys allow for special configurations. The entire gamut of configurations possible is as follows:
- - 1q (1/4 covered)
- - 1h (1/2 covered)
- - 3q (3/4 covered)
- - R (ring depressed)
- - F (fully covered; the default if no state put)
Additionally, these configurations can be used in trills. So, for example,
three3qTR
effectuates a trill between 3/4 full and ring depressed on the three hole. As another example,threeRT
effectuates a trill between R and open, whereasthreeTR
effectuates a trill between open and shut. To see all of the possibilities for all of the keys of a given instrument, invoke(print-keys-verbose 'instrument)
.Lastly, substituting an empty list for the pressed-key alist will result in a diagram with all of the keys drawn but none filled, for example:
\markup \woodwind-diagram #'oboe #'()
Used properties:
-
graphical
(#t) -
thickness
(0.1) -
size
(1)
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A.9.6 Other
-
\backslashed-digit
num (integer) -
A feta number, with backslash. This is for use in the context of figured bass notation.
\markup { \backslashed-digit #5 \hspace #2 \override #'(thickness . 3) \backslashed-digit #7 }
Used properties:
-
thickness
(1.6) -
font-size
(0)
-
-
\char
num (integer) -
Produce a single character. Characters encoded in hexadecimal format require the prefix
#x
.\markup { \char #65 \char ##x00a9 }
-
\eyeglasses
-
Prints out eyeglasses, indicating strongly to look at the conductor.
\markup { \eyeglasses }
-
\footnote
mkup (markup) note (markup) -
Have footnote note act as an annotation to the markup mkup.
-
\fraction
arg1 (markup) arg2 (markup) -
Make a fraction of two markups.
\markup { π ≈ \fraction 355 113 }
Used properties:
-
font-size
(0)
-
-
\fromproperty
symbol (symbol) -
Read the symbol from property settings, and produce a stencil from the markup contained within. If symbol is not defined, it returns an empty markup.
\header { myTitle = "myTitle" title = \markup { from \italic \fromproperty #'header:myTitle } } \markup { \null }
-
\left-brace
size (number) -
A feta brace in point size size.
\markup { \left-brace #35 \hspace #2 \left-brace #45 }
-
\lookup
glyph-name (string) -
Lookup a glyph by name.
\markup { \override #'(font-encoding . fetaBraces) { \lookup #"brace200" \hspace #2 \rotate #180 \lookup #"brace180" } }
-
\markalphabet
num (integer) -
Make a markup letter for num. The letters start with A to Z and continue with double letters.
\markup { \markalphabet #8 \hspace #2 \markalphabet #26 }
-
\markletter
num (integer) -
Make a markup letter for num. The letters start with A to Z (skipping letter I), and continue with double letters.
\markup { \markletter #8 \hspace #2 \markletter #26 }
-
\null
-
An empty markup with extents of a single point.
\markup { \null }
-
\on-the-fly
procedure (symbol) arg (markup) -
Apply the procedure markup command to arg. procedure should take a single argument.
-
\override
new-prop (pair) arg (markup) -
Add the argument new-prop to the property list. Properties may be any property supported by font-interface, text-interface and instrument-specific-markup-interface.
\markup { \line { \column { default baseline-skip } \hspace #2 \override #'(baseline-skip . 4) { \column { increased baseline-skip } } } }
-
\page-link
page-number (number) arg (markup) -
Add a link to the page page-number around arg. This only works in the PDF backend.
\markup { \page-link #2 { \italic { This links to page 2... } } }
-
\page-ref
label (symbol) gauge (markup) default (markup) -
Reference to a page number. label is the label set on the referenced page (using the
\label
command), gauge a markup used to estimate the maximum width of the page number, and default the value to display when label is not found. -
\pattern
count (integer) axis (integer) space (number) pattern (markup) -
Prints count times a pattern markup. Patterns are spaced apart by space. Patterns are distributed on axis.
\markup \column { "Horizontally repeated :" \pattern #7 #X #2 \flat \null "Vertically repeated :" \pattern #3 #Y #0.5 \flat }
-
\right-brace
size (number) -
A feta brace in point size size, rotated 180 degrees.
\markup { \right-brace #45 \hspace #2 \right-brace #35 }
-
\slashed-digit
num (integer) -
A feta number, with slash. This is for use in the context of figured bass notation.
\markup { \slashed-digit #5 \hspace #2 \override #'(thickness . 3) \slashed-digit #7 }
Used properties:
-
thickness
(1.6) -
font-size
(0)
-
-
\stencil
stil (stencil) -
Use a stencil as markup.
\markup { \stencil #(make-circle-stencil 2 0 #t) }
-
\strut
-
Create a box of the same height as the space in the current font.
-
\transparent
arg (markup) -
Make arg transparent.
\markup { \transparent { invisible text } }
-
\verbatim-file
name (string) -
Read the contents of file name, and include it verbatim.
\markup { \verbatim-file #"simple.ly" }
-
\whiteout
arg (markup) -
Provide a white background for arg.
\markup { \combine \filled-box #'(-1 . 10) #'(-3 . 4) #1 \whiteout whiteout }
-
\with-color
color (color) arg (markup) -
Draw arg in color specified by color.
\markup { \with-color #red red \hspace #2 \with-color #green green \hspace #2 \with-color #blue blue }
-
\with-dimensions
x (pair of numbers) y (pair of numbers) arg (markup) -
Set the dimensions of arg to x and y.
-
\with-link
label (symbol) arg (markup) -
Add a link to the page holding label label around arg. This only works in the PDF backend.
\markup { \with-link #"label" { \italic { This links to the page containing the label... } } }
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A.10 Text markup list commands
The following commands can all be used with \markuplines
:
-
\column-lines
args (markup list) -
Like
\column
, but return a list of lines instead of a single markup.baseline-skip
determines the space between each markup in args.Used properties:
-
baseline-skip
-
-
\justified-lines
args (markup list) -
Like
\justify
, but return a list of lines instead of a single markup. Use\override-lines #'(line-width . X)
to set the line width; X is the number of staff spaces.Used properties:
-
text-direction
(1) -
word-space
-
line-width
(#f) -
baseline-skip
-
-
\override-lines
new-prop (pair) args (markup list) -
Like
\override
, for markup lists. -
\table-of-contents
-
\wordwrap-internal
justify (boolean) args (markup list) -
Internal markup list command used to define
\justify
and\wordwrap
.Used properties:
-
text-direction
(1) -
word-space
-
line-width
(#f)
-
-
\wordwrap-lines
args (markup list) -
Like
\wordwrap
, but return a list of lines instead of a single markup. Use\override-lines #'(line-width . X)
to set the line width, where X is the number of staff spaces.Used properties:
-
text-direction
(1) -
word-space
-
line-width
(#f) -
baseline-skip
-
-
\wordwrap-string-internal
justify (boolean) arg (string) -
Internal markup list command used to define
\justify-string
and\wordwrap-string
.Used properties:
-
text-direction
(1) -
word-space
-
line-width
-
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A.11 List of articulations
The following scripts are available in the Feta font and may be attached to notes (eg. ‘c\accent’).
Articulation scripts | ||
Ornament scripts | ||
Fermata scripts | ||
Instrument-specific scripts | ||
Repeat sign scripts | ||
Ancient scripts |
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Articulation scripts
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[ < Articulation scripts ] | [ 上へ : List of articulations ] | [ Fermata scripts > ] |
Ornament scripts
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Fermata scripts
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Instrument-specific scripts
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Repeat sign scripts
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Ancient scripts
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A.12 Percussion notes
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[ < Percussion notes ] | [ 上へ : Notation manual tables ] | [ alist > ] |
A.13 Technical glossary
A glossary of the technical terms and concepts used internally in LilyPond. These terms may appear in the manuals, on mailing lists or in the source code.
alist | ||
callback | ||
closure | ||
glyph | ||
grob | ||
immutable | ||
interface | ||
lexer | ||
mutable | ||
output-def | ||
parser | ||
parser variable | ||
prob | ||
simple closure | ||
smob | ||
stencil |
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alist
An association list or alist for short is a Scheme pair
which associates a value with a key: (key . value)
. For
example, in ‘scm/lily.scm’, the alist
“type-p-name-alist” associates certain type predicates
(e.g. ly:music?
) with names (e.g. “music”) so
that type-check failures can be reported with a console message that
includes the name of the expected type predicate.
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[ < alist ] | [ 上へ : Technical glossary ] | [ closure > ] |
callback
A callback is a routine, function or method whose reference is passed as an argument in a call to another routine, so allowing the called routine to invoke it. The technique enables a lower- level software layer to call a function defined in a higher layer. Callbacks are used extensively in LilyPond to permit user-level Scheme code to define how many low-level actions are performed.
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[ < callback ] | [ 上へ : Technical glossary ] | [ glyph > ] |
closure
In Scheme, a closure is created when a function, usually a lambda expression, is passed as a variable. The closure contains the function’s code plus references to the lexical bindings of the function’s free variables (i.e. those variables used in the expression but defined outside it). When this function is applied to different arguments later, the free variable bindings that were captured in the closure are used to obtain the values of the free variables to be used in the calculation. One useful property of closures is the retention of internal variable values between invocations, so permitting state to be maintained.
A simple closure is a closure whose expression has no free variables and hence no free variable bindings.
A simple closure is represented in LilyPond by a smob containing the expression and a method to apply the expression to a passed list of arguments.
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[ < closure ] | [ 上へ : Technical glossary ] | [ grob > ] |
glyph
A glyph is a particular graphical representation of a typographic character, or a combination of two characters formating a ligature. A set of glyphs with a single style and shape comprise a font, and a set of fonts covering several styles and sizes comprise a typeface.
参照
Notation Reference: フォント, Text encoding.
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[ < glyph ] | [ 上へ : Technical glossary ] | [ immutable > ] |
grob
LilyPond objects which represent items of notation in the printed
output such as note heads, stems, slurs, ties, fingering, clefs,
etc are called ‘Layout objects’, often known as ‘GRaphical
OBjects’, or grobs for short. They are represented by
instances of the Grob
class.
参照
Learning Manual: Objects and interfaces, Naming conventions of objects and properties, Properties of layout objects.
Internals Reference: grob-interface, All layout objects.
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[ < grob ] | [ 上へ : Technical glossary ] | [ interface > ] |
immutable
An immutable object is one whose state cannot be modified after creation, in contrast to a mutable object, which can be modified after creation.
In LilyPond, immutable or shared properties define the default
style and behavior of grobs. They are shared between many objects.
In apparent contradiction to the name, they can be changed using
\override
and \revert
.
参照
Notation Reference: mutable.
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[ < immutable ] | [ 上へ : Technical glossary ] | [ lexer > ] |
interface
Actions and properties which are common to a number of grobs are
grouped together in an object called a grob-interface
, or
just ‘interface’ for short.
参照
Learning Manual: Objects and interfaces, Naming conventions of objects and properties, Properties found in interfaces.
Notation Reference: Layout interfaces.
Internals Reference: Graphical Object Interfaces.
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[ < interface ] | [ 上へ : Technical glossary ] | [ mutable > ] |
lexer
A lexer is a program which converts a sequence of characters into a sequence of tokens, a process called lexical analysis. The LilyPond lexer converts the stream obtained from an input ‘.ly’ file into a tokenized stream more suited to the next stage of processing - parsing, for which see parser. The LilyPond lexer is built with Flex from the lexer file ‘lily/lexer.ll’ which contains the lexical rules. This file is part of the source code and is not included in the LilyPond binary installation.
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[ < lexer ] | [ 上へ : Technical glossary ] | [ output-def > ] |
mutable
A mutable object is one whose state can be modified after creation, in contrast to an immutable object, whose state is fixed at the time of creation.
In LilyPond, mutable properties contain values that are specific to one grob. Typically, lists of other objects or results from computations are stored in mutable properties.
参照
Notation Reference: immutable.
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[ < mutable ] | [ 上へ : Technical glossary ] | [ parser > ] |
output-def
An instance of the Output-def
class contains the methods and
data structures associated with an output block. Instances are
created for midi, layout and paper blocks.
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[ < output-def ] | [ 上へ : Technical glossary ] | [ parser variable > ] |
parser
A parser analyzes the sequence of tokens produced by a lexer to determine its grammatical structure, grouping the tokens progressively into larger groupings according to the rules of the grammar. If the sequence of tokens is valid the end product is a tree of tokens whose root is the grammar’s start symbol. If this cannot be achieved the file is invalid and an appropriate error message is produced. The syntactic groupings and the rules for constructing the groupings from their parts for the LilyPond syntax are defined in ‘lily/parser.yy’ and shown in Backus Normal Form (BNF) in LilyPond 文法. This file is used to build the parser during the program build by the parser generator, Bison. It is part of the source code and is not included in the LilyPond binary installation.
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[ < parser ] | [ 上へ : Technical glossary ] | [ prob > ] |
parser variable
These are variables defined directly in Scheme. Their direct use by users is strongly discouraged, because their scoping semantics can be confusing.
When the value of such a variable is changed in a ‘.ly’ file,
the change is global, and unless explicitly reverted, the new value
will persist to the end of the file, affecting subsequent
\score
blocks as well as external files added with the
\include
command. This can lead to unintended consequences
and in complex typesetting projects the consequent errors can be
difficult to track down.
LilyPond uses the following parser variables:
- afterGraceFraction
- musicQuotes
- mode
- output-count
- output-suffix
- parseStringResult
- partCombineListener
- pitchnames
- toplevel-bookparts
- toplevel-scores
- showLastLength
- showFirstLength
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[ < parser variable ] | [ 上へ : Technical glossary ] | [ simple closure > ] |
prob
PRoperty OBjects, or probs for short, are instances of
the Prob
class, a simple base class for objects which have
mutable and immutable property alists and the methods to manipulate
them. The Music
and Stream_event
classes derive from
Prob
. Instances of the Prob
class are also created
to hold the formatted content of system grobs and titling blocks
during page layout.
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[ < prob ] | [ 上へ : Technical glossary ] | [ smob > ] |
simple closure
See closure.
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[ < simple closure ] | [ 上へ : Technical glossary ] | [ stencil > ] |
smob
Smobs, or ScheMe OBjects, are part of the mechanism used by Guile to export C and C++ objects to Scheme code. In LilyPond, smobs are created from C++ objects through macros. There are two types of smob objects: simple smobs, intended for simple immutable objects like numbers, and complex smobs, used for objects with identities. If you have access to the LilyPond sources, more information can be found in ‘lily/includes/smob.hh’.
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stencil
An instance of the stencil class holds the information required to print a typographical object. It is a simple smob containing a confining box, which defines the vertical and horizontal extents of the object, and a Scheme expression which will print the object when evaluated. Stencils may be combined to form more complex stencils defined by a tree of Scheme expressions formed from the Scheme expressions of the component stencils.
The stencil
property, which connects a grob to its stencil,
is defined in the grob-interface
interface.
参照
Internals Reference: grob-interface.
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A.14 All context properties
-
aDueText
(markup) Text to print at a unisono passage.
-
alignAboveContext
(string) Where to insert newly created context in vertical alignment.
-
alignBassFigureAccidentals
(boolean) If true, then the accidentals are aligned in bass figure context.
-
alignBelowContext
(string) Where to insert newly created context in vertical alignment.
-
associatedVoice
(string) Name of the
Voice
that has the melody for thisLyrics
line.-
autoAccidentals
(list) List of different ways to typeset an accidental.
For determining when to print an accidental, several different rules are tried. The rule that gives the highest number of accidentals is used.
Each entry in the list is either a symbol or a procedure.
- symbol
The symbol is the name of the context in which the following rules are to be applied. For example, if context is Score then all staves share accidentals, and if context is Staff then all voices in the same staff share accidentals, but staves do not.
- procedure
The procedure represents an accidental rule to be applied to the previously specified context.
The procedure takes the following arguments:
-
context
The current context to which the rule should be applied.
-
pitch
The pitch of the note to be evaluated.
-
barnum
The current bar number.
-
measurepos
The current measure position.
The procedure returns a pair of booleans. The first states whether an extra natural should be added. The second states whether an accidental should be printed.
(#t . #f)
does not make sense.-
-
autoBeamCheck
(procedure) A procedure taking three arguments, context, dir [start/stop (-1 or 1)], and test [shortest note in the beam]. A non-
#f
return value starts or stops the auto beam.-
autoBeaming
(boolean) If set to true then beams are generated automatically.
-
autoCautionaries
(list) List similar to
autoAccidentals
, but it controls cautionary accidentals rather than normal ones. Both lists are tried, and the one giving the most accidentals wins. In case of draw, a normal accidental is typeset.-
automaticBars
(boolean) If set to false then bar lines will not be printed automatically; they must be explicitly created with a
\bar
command. Unlike the\cadenzaOn
keyword, measures are still counted. Bar line generation will resume according to that count if this property is unset.-
barAlways
(boolean) If set to true a bar line is drawn after each note.
-
barCheckSynchronize
(boolean) If true then reset
measurePosition
when finding a bar check.-
barNumberVisibility
(procedure) A Procedure that takes an integer and returns whether the corresponding bar number should be printed.
-
baseMoment
(moment) Smallest unit of time that will stand on its own as a subdivided section.
-
bassFigureFormatFunction
(procedure) A procedure that is called to produce the formatting for a
BassFigure
grob. It takes a list ofBassFigureEvent
s, a context, and the grob to format.-
bassStaffProperties
(list) An alist of property settings to apply for the down staff of
PianoStaff
. Used by\autochange
.-
beamExceptions
(list) An alist of exceptions to autobeam rules that normally end on beats.
-
beatStructure
(list) List of
baseMoment
s that are combined to make beats.-
chordChanges
(boolean) Only show changes in chords scheme?
-
chordNameExceptions
(list) An alist of chord exceptions. Contains
(chord . markup)
entries.-
chordNameExceptionsFull
(list) An alist of full chord exceptions. Contains
(chord . markup)
entries.-
chordNameExceptionsPartial
(list) An alist of partial chord exceptions. Contains
(chord . (prefix-markup suffix-markup))
entries.-
chordNameFunction
(procedure) The function that converts lists of pitches to chord names.
-
chordNameLowercaseMinor
(boolean) Downcase roots of minor chords?
-
chordNameSeparator
(markup) The markup object used to separate parts of a chord name.
-
chordNoteNamer
(procedure) A function that converts from a pitch object to a text markup. Used for single pitches.
-
chordPrefixSpacer
(number) The space added between the root symbol and the prefix of a chord name.
-
chordRootNamer
(procedure) A function that converts from a pitch object to a text markup. Used for chords.
-
clefGlyph
(string) Name of the symbol within the music font.
-
clefOctavation
(integer) Add this much extra octavation. Values of 7 and -7 are common.
-
clefPosition
(number) Where should the center of the clef symbol go, measured in half staff spaces from the center of the staff.
-
completionBusy
(boolean) Whether a completion-note head is playing.
-
connectArpeggios
(boolean) If set, connect arpeggios across piano staff.
-
countPercentRepeats
(boolean) If set, produce counters for percent repeats.
-
createKeyOnClefChange
(boolean) Print a key signature whenever the clef is changed.
-
createSpacing
(boolean) Create
StaffSpacing
objects? Should be set for staves.-
crescendoSpanner
(symbol) The type of spanner to be used for crescendi. Available values are ‘hairpin’ and ‘text’. If unset, a hairpin crescendo is used.
-
crescendoText
(markup) The text to print at start of non-hairpin crescendo, i.e., ‘cresc.’.
-
cueClefGlyph
(string) Name of the symbol within the music font.
-
cueClefOctavation
(integer) Add this much extra octavation. Values of 7 and -7 are common.
-
cueClefPosition
(number) Where should the center of the clef symbol go, measured in half staff spaces from the center of the staff.
-
currentBarNumber
(integer) Contains the current barnumber. This property is incremented at every bar line.
-
decrescendoSpanner
(symbol) The type of spanner to be used for decrescendi. Available values are ‘hairpin’ and ‘text’. If unset, a hairpin decrescendo is used.
-
decrescendoText
(markup) The text to print at start of non-hairpin decrescendo, i.e., ‘dim.’.
-
defaultBarType
(string) Set the default type of bar line. See
whichBar
for information on available bar types.This variable is read by Timing_translator at Score level.
-
defaultStrings
(list) A list of strings to use in calculating frets for tablatures and fretboards if no strings are provided in the notes for the current moment.
-
doubleRepeatType
(string) Set the default bar line for double repeats.
-
doubleSlurs
(boolean) If set, two slurs are created for every slurred note, one above and one below the chord.
-
drumPitchTable
(hash table) A table mapping percussion instruments (symbols) to pitches.
-
drumStyleTable
(hash table) A hash table which maps drums to layout settings. Predefined values: ‘drums-style’, ‘timbales-style’, ‘congas-style’, ‘bongos-style’, and ‘percussion-style’.
The layout style is a hash table, containing the drum-pitches (e.g., the symbol ‘hihat’) as keys, and a list
(notehead-style script vertical-position)
as values.-
explicitClefVisibility
(vector) ‘break-visibility’ function for clef changes.
-
explicitCueClefVisibility
(vector) ‘break-visibility’ function for cue clef changes.
-
explicitKeySignatureVisibility
(vector) ‘break-visibility’ function for explicit key changes. ‘\override’ of the
break-visibility
property will set the visibility for normal (i.e., at the start of the line) key signatures.-
extendersOverRests
(boolean) Whether to continue extenders as they cross a rest.
-
extraNatural
(boolean) Whether to typeset an extra natural sign before accidentals changing from a non-natural to another non-natural.
-
figuredBassAlterationDirection
(direction) Where to put alterations relative to the main figure.
-
figuredBassCenterContinuations
(boolean) Whether to vertically center pairs of extender lines. This does not work with three or more lines.
-
figuredBassFormatter
(procedure) A routine generating a markup for a bass figure.
-
figuredBassPlusDirection
(direction) Where to put plus signs relative to the main figure.
-
fingeringOrientations
(list) A list of symbols, containing ‘left’, ‘right’, ‘up’ and/or ‘down’. This list determines where fingerings are put relative to the chord being fingered.
-
firstClef
(boolean) If true, create a new clef when starting a staff.
-
followVoice
(boolean) If set, note heads are tracked across staff switches by a thin line.
-
fontSize
(number) The relative size of all grobs in a context.
-
forbidBreak
(boolean) If set to
##t
, prevent a line break at this point.-
forceClef
(boolean) Show clef symbol, even if it has not changed. Only active for the first clef after the property is set, not for the full staff.
-
fretLabels
(list) A list of strings or Scheme-formatted markups containing, in the correct order, the labels to be used for lettered frets in tablature.
-
glissandoMap
(list) A map in the form of ’((source1 . target1) (source2 . target2) (sourcen . targetn)) showing the glissandi to be drawn for note columns. The value ’() will default to ’((0 . 0) (1 . 1) (n . n)), where n is the minimal number of note-heads in the two note columns between which the glissandi occur.
-
gridInterval
(moment) Interval for which to generate
GridPoint
s.-
handleNegativeFrets
(symbol) How the automatic fret calculator should handle calculated negative frets. Values include
'ignore
, to leave them out of the diagram completely,'include
, to include them as calculated, and'recalculate
, to ignore the specified string and find a string where they will fit with a positive fret number.-
harmonicAccidentals
(boolean) If set, harmonic notes in chords get accidentals.
-
harmonicDots
(boolean) If set, harmonic notes in dotted chords get dots.
-
highStringOne
(boolean) Whether the first string is the string with highest pitch on the instrument. This used by the automatic string selector for tablature notation.
-
ignoreBarChecks
(boolean) Ignore bar checks.
-
ignoreFiguredBassRest
(boolean) Don’t swallow rest events.
-
ignoreMelismata
(boolean) Ignore melismata for this Lyrics line.
-
implicitBassFigures
(list) A list of bass figures that are not printed as numbers, but only as extender lines.
-
implicitTimeSignatureVisibility
(vector) break visibility for the default time signature.
-
includeGraceNotes
(boolean) Do not ignore grace notes for Lyrics.
-
instrumentCueName
(markup) The name to print if another instrument is to be taken.
-
instrumentEqualizer
(procedure) A function taking a string (instrument name), and returning a
(min . max)
pair of numbers for the loudness range of the instrument.-
instrumentName
(markup) The name to print left of a staff. The
instrumentName
property labels the staff in the first system, and theshortInstrumentName
property labels following lines.-
instrumentTransposition
(pitch) Define the transposition of the instrument. Its value is the pitch that sounds like middle C. This is used to transpose the MIDI output, and
\quote
s.-
internalBarNumber
(integer) Contains the current barnumber. This property is used for internal timekeeping, among others by the
Accidental_engraver
.-
keepAliveInterfaces
(list) A list of symbols, signifying grob interfaces that are worth keeping a staff with
remove-empty
set around for.-
keyAlterationOrder
(list) An alist that defines in what order alterations should be printed. The format is
(step . alter)
, where step is a number from 0 to 6 and alter from -2 (sharp) to 2 (flat).-
keySignature
(list) The current key signature. This is an alist containing
(step . alter)
or((octave . step) . alter)
, where step is a number in the range 0 to 6 and alter a fraction, denoting alteration. For alterations, use symbols, e.g.keySignature = #`((6 . ,FLAT))
.-
lyricMelismaAlignment
(direction) Alignment to use for a melisma syllable.
-
majorSevenSymbol
(markup) How should the major 7th be formatted in a chord name?
-
markFormatter
(procedure) A procedure taking as arguments the context and the rehearsal mark. It should return the formatted mark as a markup object.
-
maximumFretStretch
(number) Don’t allocate frets further than this from specified frets.
-
measureLength
(moment) Length of one measure in the current time signature.
-
measurePosition
(moment) How much of the current measure have we had. This can be set manually to create incomplete measures.
-
melismaBusyProperties
(list) A list of properties (symbols) to determine whether a melisma is playing. Setting this property will influence how lyrics are aligned to notes. For example, if set to
#'(melismaBusy beamMelismaBusy)
, only manual melismata and manual beams are considered. Possible values includemelismaBusy
,slurMelismaBusy
,tieMelismaBusy
, andbeamMelismaBusy
.-
metronomeMarkFormatter
(procedure) How to produce a metronome markup. Called with two arguments: a
TempoChangeEvent
and context.-
middleCClefPosition
(number) The position of the middle C, as determined only by the clef. This can be calculated by looking at
clefPosition
andclefGlyph
.-
middleCCuePosition
(number) The position of the middle C, as determined only by the clef of the cue notes. This can be calculated by looking at
cueClefPosition
andcueClefGlyph
.-
middleCOffset
(number) The offset of middle C from the position given by
middleCClefPosition
This is used for ottava brackets.-
middleCPosition
(number) The place of the middle C, measured in half staff-spaces. Usually determined by looking at
middleCClefPosition
andmiddleCOffset
.-
midiChannelMapping
(symbol) How to map MIDI channels: per
instrument
(default),staff
orvoice
.-
midiInstrument
(string) Name of the MIDI instrument to use.
-
midiMaximumVolume
(number) Analogous to
midiMinimumVolume
.-
midiMergeUnisons
(boolean) If true, output only one MIDI note-on event when notes with the same pitch, in the same MIDI-file track, overlap.
-
midiMinimumVolume
(number) Set the minimum loudness for MIDI. Ranges from 0 to 1.
-
minimumFret
(number) The tablature auto string-selecting mechanism selects the highest string with a fret at least
minimumFret
.-
minimumPageTurnLength
(moment) Minimum length of a rest for a page turn to be allowed.
-
minimumRepeatLengthForPageTurn
(moment) Minimum length of a repeated section for a page turn to be allowed within that section.
-
noChordSymbol
(markup) Markup to be displayed for rests in a ChordNames context.
-
noteToFretFunction
(procedure) Convert list of notes and list of defined strings to full list of strings and fret numbers. Parameters: The context, a list of note events, a list of tabstring events, and the fretboard grob if a fretboard is desired.
-
ottavation
(markup) If set, the text for an ottava spanner. Changing this creates a new text spanner.
-
output
(music output) The output produced by a score-level translator during music interpretation.
-
partCombineTextsOnNote
(boolean) Print part-combine texts only on the next note rather than immediately on rests or skips.
-
pedalSostenutoStrings
(list) See
pedalSustainStrings
.-
pedalSostenutoStyle
(symbol) See
pedalSustainStyle
.-
pedalSustainStrings
(list) A list of strings to print for sustain-pedal. Format is
(up updown down)
, where each of the three is the string to print when this is done with the pedal.-
pedalSustainStyle
(symbol) A symbol that indicates how to print sustain pedals:
text
,bracket
ormixed
(both).-
pedalUnaCordaStrings
(list) See
pedalSustainStrings
.-
pedalUnaCordaStyle
(symbol) See
pedalSustainStyle
.-
predefinedDiagramTable
(hash table) The hash table of predefined fret diagrams to use in FretBoards.
-
printKeyCancellation
(boolean) Print restoration alterations before a key signature change.
-
printOctaveNames
(boolean) Print octave marks for the
NoteNames
context.-
printPartCombineTexts
(boolean) Set ‘Solo’ and ‘A due’ texts in the part combiner?
-
proportionalNotationDuration
(moment) Global override for shortest-playing duration. This is used for switching on proportional notation.
-
rehearsalMark
(integer) The last rehearsal mark printed.
-
repeatCommands
(list) This property is a list of commands of the form
(list 'volta x)
, where x is a string or#f
.'end-repeat
is also accepted as a command.-
repeatCountVisibility
(procedure) A procedure taking as arguments an integer and context, returning whether the corresponding percent repeat number should be printed when
countPercentRepeats
is set.-
restCompletionBusy
(boolean) Signal whether a completion-rest is active.
-
restNumberThreshold
(number) If a multimeasure rest has more measures than this, a number is printed.
-
searchForVoice
(boolean) Signal whether a search should be made of all contexts in the context hierarchy for a voice to provide rhythms for the lyrics.
-
shapeNoteStyles
(vector) Vector of symbols, listing style for each note head relative to the tonic (qv.) of the scale.
-
shortInstrumentName
(markup) See
instrumentName
.-
shortVocalName
(markup) Name of a vocal line, short version.
-
skipBars
(boolean) If set to true, then skip the empty bars that are produced by multimeasure notes and rests. These bars will not appear on the printed output. If not set (the default), multimeasure notes and rests expand into their full length, printing the appropriate number of empty bars so that synchronization with other voices is preserved.
{ r1 r1*3 R1*3 \set Score.skipBars= ##t r1*3 R1*3 }
-
skipTypesetting
(boolean) If true, no typesetting is done, speeding up the interpretation phase. Useful for debugging large scores.
-
soloIIText
(markup) The text for the start of a solo for voice ‘two’ when part-combining.
-
soloText
(markup) The text for the start of a solo when part-combining.
-
squashedPosition
(integer) Vertical position of squashing for Pitch_squash_engraver.
-
staffLineLayoutFunction
(procedure) Layout of staff lines,
traditional
, orsemitone
.-
stanza
(markup) Stanza ‘number’ to print before the start of a verse. Use in
Lyrics
context.-
stemLeftBeamCount
(integer) Specify the number of beams to draw on the left side of the next note. Overrides automatic beaming. The value is only used once, and then it is erased.
-
stemRightBeamCount
(integer) See
stemLeftBeamCount
.-
stringNumberOrientations
(list) See
fingeringOrientations
.-
stringOneTopmost
(boolean) Whether the first string is printed on the top line of the tablature.
-
stringTunings
(list) The tablature strings tuning. It is a list of the pitches of each string (starting with the lowest numbered one).
-
strokeFingerOrientations
(list) See
fingeringOrientations
.-
subdivideBeams
(boolean) If set, multiple beams will be subdivided at
baseMoment
positions by only drawing one beam over the beat.-
suggestAccidentals
(boolean) If set, accidentals are typeset as cautionary suggestions over the note.
-
systemStartDelimiter
(symbol) Which grob to make for the start of the system/staff? Set to
SystemStartBrace
,SystemStartBracket
orSystemStartBar
.-
systemStartDelimiterHierarchy
(pair) A nested list, indicating the nesting of a start delimiters.
-
tablatureFormat
(procedure) A function formatting a tablature note head. Called with three arguments: context, string number and, fret number. It returns the text as a markup.
-
tabStaffLineLayoutFunction
(procedure) A function determining the staff position of a tablature note head. Called with two arguments: the context and the string.
-
tempoHideNote
(boolean) Hide the note = count in tempo marks.
-
tempoWholesPerMinute
(moment) The tempo in whole notes per minute.
-
tieWaitForNote
(boolean) If true, tied notes do not have to follow each other directly. This can be used for writing out arpeggios.
-
timeSignatureFraction
(pair of numbers) A pair of numbers, signifying the time signature. For example,
#'(4 . 4)
is a 4/4 time signature.-
timeSignatureSettings
(list) A nested alist of settings for time signatures. Contains elements for various time signatures. The element for each time signature contains entries for
baseMoment
,beatStructure
, andbeamExceptions
.-
timing
(boolean) Keep administration of measure length, position, bar number, etc.? Switch off for cadenzas.
-
tonic
(pitch) The tonic of the current scale.
-
topLevelAlignment
(boolean) If true, the Vertical_align_engraver will create a VerticalAlignment; otherwise, it will create a StaffGrouper
-
trebleStaffProperties
(list) An alist of property settings to apply for the up staff of
PianoStaff
. Used by\autochange
.-
tremoloFlags
(integer) The number of tremolo flags to add if no number is specified.
-
tupletFullLength
(boolean) If set, the tuplet is printed up to the start of the next note.
-
tupletFullLengthNote
(boolean) If set, end at the next note, otherwise end on the matter (time signatures, etc.) before the note.
-
tupletSpannerDuration
(moment) Normally, a tuplet bracket is as wide as the
\times
expression that gave rise to it. By setting this property, you can make brackets last shorter.{ \set tupletSpannerDuration = #(ly:make-moment 1 4) \times 2/3 { c8 c c c c c } }
-
useBassFigureExtenders
(boolean) Whether to use extender lines for repeated bass figures.
-
vocalName
(markup) Name of a vocal line.
-
voltaSpannerDuration
(moment) This specifies the maximum duration to use for the brackets printed for
\alternative
. This can be used to shrink the length of brackets in the situation where one alternative is very large.-
whichBar
(string) This property is read to determine what type of bar line to create.
Example:
\set Staff.whichBar = "|:"
This will create a start-repeat bar in this staff only. Valid values are described in bar-line-interface.
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A.15 Layout properties
-
add-stem-support
(boolean) If set, the
Stem
object is included in this script’s support.-
after-line-breaking
(boolean) Dummy property, used to trigger callback for
after-line-breaking
.-
align-dir
(direction) Which side to align?
-1
: left side,0
: around center of width,1
: right side.-
allow-loose-spacing
(boolean) If set, column can be detached from main spacing.
-
allow-span-bar
(boolean) If false, no inter-staff bar line will be created below this bar line.
-
alteration
(number) Alteration numbers for accidental.
-
alteration-alist
(list) List of
(pitch . accidental)
pairs for key signature.-
annotation
(string) Annotate a grob for debug purposes.
-
annotation-balloon
(boolean) Print the balloon around an annotation.
-
annotation-line
(boolean) Print the line from an annotation to the grob that it annotates.
-
arpeggio-direction
(direction) If set, put an arrow on the arpeggio squiggly line.
-
arrow-length
(number) Arrow length.
-
arrow-width
(number) Arrow width.
-
auto-knee-gap
(dimension, in staff space) If a gap is found between note heads where a horizontal beam fits that is larger than this number, make a kneed beam.
-
average-spacing-wishes
(boolean) If set, the spacing wishes are averaged over staves.
-
avoid-note-head
(boolean) If set, the stem of a chord does not pass through all note heads, but starts at the last note head.
-
avoid-slur
(symbol) Method of handling slur collisions. Choices are
inside
,outside
,around
, andignore
.inside
adjusts the slur if needed to keep the grob inside the slur.outside
moves the grob vertically to the outside of the slur.around
moves the grob vertically to the outside of the slur only if there is a collision.ignore
does not move either. In grobs whose notational significance depends on vertical position (such as accidentals, clefs, etc.),outside
andaround
behave likeignore
.-
axes
(list) List of axis numbers. In the case of alignment grobs, this should contain only one number.
-
base-shortest-duration
(moment) Spacing is based on the shortest notes in a piece. Normally, pieces are spaced as if notes at least as short as this are present.
-
baseline-skip
(dimension, in staff space) Distance between base lines of multiple lines of text.
-
beam-thickness
(dimension, in staff space) Beam thickness, measured in
staff-space
units.-
beam-width
(dimension, in staff space) Width of the tremolo sign.
-
beamed-stem-shorten
(list) How much to shorten beamed stems, when their direction is forced. It is a list, since the value is different depending on the number of flags and beams.
-
beaming
(pair) Pair of number lists. Each number list specifies which beams to make.
0
is the central beam,1
is the next beam toward the note, etc. This information is used to determine how to connect the beaming patterns from stem to stem inside a beam.-
beamlet-default-length
(pair) A pair of numbers. The first number specifies the default length of a beamlet that sticks out of the left hand side of this stem; the second number specifies the default length of the beamlet to the right. The actual length of a beamlet is determined by taking either the default length or the length specified by
beamlet-max-length-proportion
, whichever is smaller.-
beamlet-max-length-proportion
(pair) The maximum length of a beamlet, as a proportion of the distance between two adjacent stems.
-
before-line-breaking
(boolean) Dummy property, used to trigger a callback function.
-
between-cols
(pair) Where to attach a loose column to.
-
bound-details
(list) An alist of properties for determining attachments of spanners to edges.
-
bound-padding
(number) The amount of padding to insert around spanner bounds.
-
bracket-flare
(pair of numbers) A pair of numbers specifying how much edges of brackets should slant outward. Value
0.0
means straight edges.-
bracket-visibility
(boolean or symbol) This controls the visibility of the tuplet bracket. Setting it to false prevents printing of the bracket. Setting the property to
if-no-beam
makes it print only if there is no beam associated with this tuplet bracket.-
break-align-anchor
(number) Grobs aligned to this break-align grob will have their X-offsets shifted by this number. In bar lines, for example, this is used to position grobs relative to the (visual) center of the bar line.
-
break-align-anchor-alignment
(number) Read by
ly:break-aligned-interface::calc-extent-aligned-anchor
for aligning an anchor to a grob’s extent.-
break-align-orders
(vector) Defines the order in which prefatory matter (clefs, key signatures) appears. The format is a vector of length 3, where each element is one order for end-of-line, middle of line, and start-of-line, respectively. An order is a list of symbols.
For example, clefs are put after key signatures by setting
\override Score.BreakAlignment #'break-align-orders = #(make-vector 3 '(span-bar breathing-sign staff-bar key clef time-signature))
-
break-align-symbol
(symbol) This key is used for aligning and spacing breakable items.
-
break-align-symbols
(list) A list of symbols that determine which break-aligned grobs to align this to. If the grob selected by the first symbol in the list is invisible due to break-visibility, we will align to the next grob (and so on). Choices are
left-edge
,ambitus
,breathing-sign
,clef
,staff-bar
,key-cancellation
,key-signature
,time-signature
, andcustos
.-
break-overshoot
(pair of numbers) How much does a broken spanner stick out of its bounds?
-
break-visibility
(vector) A vector of 3 booleans,
#(end-of-line unbroken begin-of-line)
.#t
means visible,#f
means killed.-
breakable
(boolean) Allow breaks here.
-
c0-position
(integer) An integer indicating the position of middle C.
-
circled-tip
(boolean) Put a circle at start/end of hairpins (al/del niente).
-
clip-edges
(boolean) Allow outward pointing beamlets at the edges of beams?
-
collapse-height
(dimension, in staff space) Minimum height of system start delimiter. If equal or smaller, the bracket/brace/line is removed.
-
collision-interfaces
(list) A list of interfaces for which automatic beam-collision resolution is run.
-
collision-voice-only
(boolean) Does automatic beam collsion apply only to the voice in which the beam was created?
-
color
(color) The color of this grob.
-
common-shortest-duration
(moment) The most common shortest note length. This is used in spacing. Enlarging this sets the score tighter.
-
concaveness
(number) A beam is concave if its inner stems are closer to the beam than the two outside stems. This number is a measure of the closeness of the inner stems. It is used for damping the slope of the beam.
-
connect-to-neighbor
(pair) Pair of booleans, indicating whether this grob looks as a continued break.
-
control-points
(list) List of offsets (number pairs) that form control points for the tie, slur, or bracket shape. For Béziers, this should list the control points of a third-order Bézier curve.
-
damping
(number) Amount of beam slope damping.
-
dash-definition
(pair) List of
dash-elements
defining the dash structure. Eachdash-element
has a starting t value, an ending t-value, adash-fraction
, and adash-period
.-
dash-fraction
(number) Size of the dashes, relative to
dash-period
. Should be between0.0
(no line) and1.0
(continuous line).-
dash-period
(number) The length of one dash together with whitespace. If negative, no line is drawn at all.
-
default-direction
(direction) Direction determined by note head positions.
-
default-staff-staff-spacing
(list) The settings to use for
staff-staff-spacing
when it is unset, for ungrouped staves and for grouped staves that do not have the relevantStaffGrouper
property set (staff-staff-spacing
orstaffgroup-staff-spacing
).-
details
(list) Alist of parameters for detailed grob behavior. More information on the allowed parameters for a grob can be found by looking at the top of the Internals Reference page for each interface having a
details
property.-
digit-names
(vector) Names for string finger digits.
-
direction
(direction) If
side-axis
is0
(or#X
), then this property determines whether the object is placed#LEFT
,#CENTER
or#RIGHT
with respect to the other object. Otherwise, it determines whether the object is placed#UP
,#CENTER
or#DOWN
. Numerical values may also be used:#UP
=1
,#DOWN
=-1
,#LEFT
=-1
,#RIGHT
=1
,#CENTER
=0
.-
dot-count
(integer) The number of dots.
-
dot-negative-kern
(number) The space to remove between a dot and a slash in percent repeat glyphs. Larger values bring the two elements closer together.
-
dot-placement-list
(list) List consisting of
(description string-number fret-number finger-number)
entries used to define fret diagrams.-
duration-log
(integer) The 2-log of the note head duration, i.e.,
0
= whole note,1
= half note, etc.-
eccentricity
(number) How asymmetrical to make a slur. Positive means move the center to the right.
-
edge-height
(pair) A pair of numbers specifying the heights of the vertical edges:
(left-height . right-height)
.-
edge-text
(pair) A pair specifying the texts to be set at the edges:
(left-text . right-text)
.-
expand-limit
(integer) Maximum number of measures expanded in church rests.
-
extra-dy
(number) Slope glissandi this much extra.
-
extra-offset
(pair of numbers) A pair representing an offset. This offset is added just before outputting the symbol, so the typesetting engine is completely oblivious to it. The values are measured in
staff-space
units of the staff’sStaffSymbol
.-
extra-spacing-height
(pair of numbers) In the horizontal spacing problem, we increase the height of each item by this amount (by adding the ‘car’ to the bottom of the item and adding the ‘cdr’ to the top of the item). In order to make a grob infinitely high (to prevent the horizontal spacing problem from placing any other grobs above or below this grob), set this to
(-inf.0 . +inf.0)
.-
extra-spacing-width
(pair of numbers) In the horizontal spacing problem, we pad each item by this amount (by adding the ‘car’ on the left side of the item and adding the ‘cdr’ on the right side of the item). In order to make a grob take up no horizontal space at all, set this to
(+inf.0 . -inf.0)
.-
extra-X-extent
(pair of numbers) A grob is enlarged in X dimension by this much.
-
extra-Y-extent
(pair of numbers) A grob is enlarged in Y dimension by this much.
-
flag
(stencil) A function returning the full flag stencil for the
Stem
, which is passed to the function as the only argument. The default ly:stem::calc-stencil function uses theflag-style
property to determine the correct glyph for the flag. By providing your own function, you can create arbitrary flags.-
flag-count
(number) The number of tremolo beams.
-
flag-style
(symbol) A symbol determining what style of flag glyph is typeset on a
Stem
. Valid options include'()
for standard flags,'mensural
and'no-flag
, which switches off the flag.-
font-encoding
(symbol) The font encoding is the broadest category for selecting a font. Currently, only lilypond’s system fonts (Emmentaler) are using this property. Available values are
fetaMusic
(Emmentaler),fetaBraces
,fetaText
(Emmentaler).-
font-family
(symbol) The font family is the broadest category for selecting text fonts. Options include:
sans
,roman
.-
font-name
(string) Specifies a file name (without extension) of the font to load. This setting overrides selection using
font-family
,font-series
andfont-shape
.-
font-series
(symbol) Select the series of a font. Choices include
medium
,bold
,bold-narrow
, etc.-
font-shape
(symbol) Select the shape of a font. Choices include
upright
,italic
,caps
.-
font-size
(number) The font size, compared to the ‘normal’ size.
0
is style-sheet’s normal size,-1
is smaller,+1
is bigger. Each step of 1 is approximately 12% larger; 6 steps are exactly a factor 2 larger. Fractional values are allowed.-
footnote-text
(markup) A footnote for the grob.
-
force-hshift
(number) This specifies a manual shift for notes in collisions. The unit is the note head width of the first voice note. This is used by note-collision-interface.
-
fraction
(pair of numbers) Numerator and denominator of a time signature object.
-
french-beaming
(boolean) Use French beaming style for this stem. The stem stops at the innermost beams.
-
fret-diagram-details
(list) An alist of detailed grob properties for fret diagrams. Each alist entry consists of a
(property . value)
pair. The properties which can be included infret-diagram-details
include the following:-
barre-type
– Type of barre indication used. Choices includecurved
,straight
, andnone
. Defaultcurved
. -
capo-thickness
– Thickness of capo indicator, in multiples of fret-space. Default value 0.5. -
dot-color
– Color of dots. Options includeblack
andwhite
. Defaultblack
. -
dot-label-font-mag
– Magnification for font used to label fret dots. Default value 1. -
dot-position
– Location of dot in fret space. Default 0.6 for dots without labels, 0.95-dot-radius
for dots with labels. -
dot-radius
– Radius of dots, in terms of fret spaces. Default value 0.425 for labeled dots, 0.25 for unlabeled dots. -
finger-code
– Code for the type of fingering indication used. Options includenone
,in-dot
, andbelow-string
. Defaultnone
for markup fret diagrams,below-string
forFretBoards
fret diagrams. -
fret-count
– The number of frets. Default 4. -
fret-label-custom-format
– The format string to be used label the lowest fret number, whennumber-type
equals tocustom
. Default "~a". -
fret-label-font-mag
– The magnification of the font used to label the lowest fret number. Default 0.5. -
fret-label-vertical-offset
– The offset of the fret label from the center of the fret in direction parallel to strings. Default 0. -
label-dir
– Side to which the fret label is attached.-1
,#LEFT
, or#DOWN
for left or down;1
,#RIGHT
, or#UP
for right or up. Default#RIGHT
. -
mute-string
– Character string to be used to indicate muted string. Default"x"
. -
number-type
– Type of numbers to use in fret label. Choices includeroman-lower
,roman-upper
,arabic
andcustom
. In the later case, the format string is supplied by thefret-label-custom-format
property. Defaultroman-lower
. -
open-string
– Character string to be used to indicate open string. Default"o"
. -
orientation
– Orientation of fret-diagram. Options includenormal
,landscape
, andopposing-landscape
. Defaultnormal
. -
string-count
– The number of strings. Default 6. -
string-label-font-mag
– The magnification of the font used to label fingerings at the string, rather than in the dot. Default value 0.6 fornormal
orientation, 0.5 forlandscape
andopposing-landscape
. -
string-thickness-factor
– Factor for changing thickness of each string in the fret diagram. Thickness of string k is given bythickness
* (1+string-thickness-factor
) ^ (k-1). Default 0. -
top-fret-thickness
– The thickness of the top fret line, as a multiple of the standard thickness. Default value 3. -
xo-font-magnification
– Magnification used for mute and open string indicators. Default value 0.5. -
xo-padding
– Padding for open and mute indicators from top fret. Default value 0.25.
-
-
full-length-padding
(number) How much padding to use at the right side of a full-length tuplet bracket.
-
full-length-to-extent
(boolean) Run to the extent of the column for a full-length tuplet bracket.
-
full-measure-extra-space
(number) Extra space that is allocated at the beginning of a measure with only one note. This property is read from the NonMusicalPaperColumn that begins the measure.
-
full-size-change
(boolean) Don’t make a change clef smaller.
-
gap
(dimension, in staff space) Size of a gap in a variable symbol.
-
gap-count
(integer) Number of gapped beams for tremolo.
-
glyph
(string) A string determining what ‘style’ of glyph is typeset. Valid choices depend on the function that is reading this property.
-
glyph-name
(string) The glyph name within the font.
-
glyph-name-alist
(list) An alist of key-string pairs.
-
graphical
(boolean) Display in graphical (vs. text) form.
-
grow-direction
(direction) Crescendo or decrescendo?
-
hair-thickness
(number) Thickness of the thin line in a bar line.
-
harp-pedal-details
(list) An alist of detailed grob properties for harp pedal diagrams. Each alist entry consists of a
(property . value)
pair. The properties which can be included in harp-pedal-details include the following:-
box-offset
– Vertical shift of the center of flat/sharp pedal boxes above/below the horizontal line. Default value 0.8. -
box-width
– Width of each pedal box. Default value 0.4. -
box-height
– Height of each pedal box. Default value 1.0. -
space-before-divider
– Space between boxes before the first divider (so that the diagram can be made symmetric). Default value 0.8. -
space-after-divider
– Space between boxes after the first divider. Default value 0.8. -
circle-thickness
– Thickness (in unit of the line-thickness) of the ellipse around circled pedals. Default value 0.5. -
circle-x-padding
– Padding in X direction of the ellipse around circled pedals. Default value 0.15. -
circle-y-padding
– Padding in Y direction of the ellipse around circled pedals. Default value 0.2.
-
-
head-direction
(direction) Are the note heads left or right in a semitie?
-
height
(dimension, in staff space) Height of an object in
staff-space
units.-
height-limit
(dimension, in staff space) Maximum slur height: The longer the slur, the closer it is to this height.
-
hide-tied-accidental-after-break
(boolean) If set, an accidental that appears on a tied note after a line break will not be displayed.
-
horizontal-shift
(integer) An integer that identifies ranking of
NoteColumn
s for horizontal shifting. This is used by note-collision-interface.-
horizontal-skylines
(pair of skylines) Two skylines, one to the left and one to the right of this grob.
-
ignore-collision
(boolean) If set, don’t do note collision resolution on this
NoteColumn
.-
implicit
(boolean) Is this an implicit bass figure?
-
inspect-index
(integer) If debugging is set, set beam and slur configuration to this index, and print the respective scores.
-
inspect-quants
(pair of numbers) If debugging is set, set beam and slur quants to this position, and print the respective scores.
-
keep-inside-line
(boolean) If set, this column cannot have objects sticking into the margin.
-
kern
(dimension, in staff space) Amount of extra white space to add. For bar lines, this is the amount of space after a thick line.
-
knee
(boolean) Is this beam kneed?
-
knee-spacing-correction
(number) Factor for the optical correction amount for kneed beams. Set between
0
for no correction and1
for full correction.-
labels
(list) List of labels (symbols) placed on a column.
-
layer
(integer) An integer which determines the order of printing objects. Objects with the lowest value of layer are drawn first, then objects with progressively higher values are drawn, so objects with higher values overwrite objects with lower values. By default most objects are assigned a layer value of 1.
-
ledger-line-thickness
(pair of numbers) The thickness of ledger lines. It is the sum of 2 numbers: The first is the factor for line thickness, and the second for staff space. Both contributions are added.
-
left-bound-info
(list) An alist of properties for determining attachments of spanners to edges.
-
left-padding
(dimension, in staff space) The amount of space that is put left to an object (e.g., a lyric extender).
-
length
(dimension, in staff space) User override for the stem length of unbeamed stems.
-
length-fraction
(number) Multiplier for lengths. Used for determining ledger lines and stem lengths.
-
line-break-penalty
(number) Penalty for a line break at this column. This affects the choices of the line breaker; it avoids a line break at a column with a positive penalty and prefers a line break at a column with a negative penalty.
-
line-break-permission
(symbol) Instructs the line breaker on whether to put a line break at this column. Can be
force
orallow
.-
line-break-system-details
(list) An alist of properties to use if this column is the start of a system.
-
line-count
(integer) The number of staff lines.
-
line-positions
(list) Vertical positions of staff lines.
-
line-thickness
(number) The thickness of the tie or slur contour.
-
long-text
(markup) Text markup. See Formatting text.
-
max-beam-connect
(integer) Maximum number of beams to connect to beams from this stem. Further beams are typeset as beamlets.
-
max-stretch
(number) The maximum amount that this
VerticalAxisGroup
can be vertically stretched (for example, in order to better fill a page).-
measure-count
(integer) The number of measures for a multi-measure rest.
-
measure-length
(moment) Length of a measure. Used in some spacing situations.
-
merge-differently-dotted
(boolean) Merge note heads in collisions, even if they have a different number of dots. This is normal notation for some types of polyphonic music.
merge-differently-dotted
only applies to opposing stem directions (i.e., voice 1 & 2).-
merge-differently-headed
(boolean) Merge note heads in collisions, even if they have different note heads. The smaller of the two heads is rendered invisible. This is used in polyphonic guitar notation. The value of this setting is used by note-collision-interface.
merge-differently-headed
only applies to opposing stem directions (i.e., voice 1 & 2).-
minimum-distance
(dimension, in staff space) Minimum distance between rest and notes or beam.
-
minimum-length
(dimension, in staff space) Try to make a spanner at least this long, normally in the horizontal direction. This requires an appropriate callback for the
springs-and-rods
property. If added to aTie
, this sets the minimum distance between noteheads.-
minimum-length-fraction
(number) Minimum length of ledger line as fraction of note head size.
-
minimum-space
(dimension, in staff space) Minimum distance that the victim should move (after padding).
-
minimum-X-extent
(pair of numbers) Minimum size of an object in X dimension, measured in
staff-space
units.-
minimum-Y-extent
(pair of numbers) Minimum size of an object in Y dimension, measured in
staff-space
units.-
neutral-direction
(direction) Which direction to take in the center of the staff.
-
neutral-position
(number) Position (in half staff spaces) where to flip the direction of custos stem.
-
next
(graphical (layout) object) Object that is next relation (e.g., the lyric syllable following an extender).
-
no-alignment
(boolean) If set, don’t place this grob in a
VerticalAlignment
; rather, place it using its ownY-offset
callback.-
no-ledgers
(boolean) If set, don’t draw ledger lines on this object.
-
no-stem-extend
(boolean) If set, notes with ledger lines do not get stems extending to the middle staff line.
-
non-break-align-symbols
(list) A list of symbols that determine which NON-break-aligned interfaces to align this to.
-
non-default
(boolean) Set for manually specified clefs.
-
non-musical
(boolean) True if the grob belongs to a
NonMusicalPaperColumn
.-
nonstaff-nonstaff-spacing
(list) The spacing alist controlling the distance between the current non-staff line and the next non-staff line in the direction of
staff-affinity
, if both are on the same side of the related staff, andstaff-affinity
is eitherUP
orDOWN
. Seestaff-staff-spacing
for a description of the alist structure.-
nonstaff-relatedstaff-spacing
(list) The spacing alist controlling the distance between the current non-staff line and the nearest staff in the direction of
staff-affinity
, if there are no non-staff lines between the two, andstaff-affinity
is eitherUP
orDOWN
. Ifstaff-affinity
isCENTER
, thennonstaff-relatedstaff-spacing
is used for the nearest staves on both sides, even if other non-staff lines appear between the current one and either of the staves. Seestaff-staff-spacing
for a description of the alist structure.-
nonstaff-unrelatedstaff-spacing
(list) The spacing alist controlling the distance between the current non-staff line and the nearest staff in the opposite direction from
staff-affinity
, if there are no other non-staff lines between the two, andstaff-affinity
is eitherUP
orDOWN
. Seestaff-staff-spacing
for a description of the alist structure.-
normalized-endpoints
(pair) Represents left and right placement over the total spanner, where the width of the spanner is normalized between 0 and 1.
-
note-names
(vector) Vector of strings containing names for easy-notation note heads.
-
outside-staff-horizontal-padding
(number) By default, an outside-staff-object can be placed so that is it very close to another grob horizontally. If this property is set, the outside-staff-object is raised so that it is not so close to its neighbor.
-
outside-staff-padding
(number) The padding to place between this grob and the staff when spacing according to
outside-staff-priority
.-
outside-staff-priority
(number) If set, the grob is positioned outside the staff in such a way as to avoid all collisions. In case of a potential collision, the grob with the smaller
outside-staff-priority
is closer to the staff.-
packed-spacing
(boolean) If set, the notes are spaced as tightly as possible.
-
padding
(dimension, in staff space) Add this much extra space between objects that are next to each other.
-
padding-pairs
(list) An alist mapping
(name . name)
to distances.-
page-break-penalty
(number) Penalty for page break at this column. This affects the choices of the page breaker; it avoids a page break at a column with a positive penalty and prefers a page break at a column with a negative penalty.
-
page-break-permission
(symbol) Instructs the page breaker on whether to put a page break at this column. Can be
force
orallow
.-
page-turn-penalty
(number) Penalty for a page turn at this column. This affects the choices of the page breaker; it avoids a page turn at a column with a positive penalty and prefers a page turn at a column with a negative penalty.
-
page-turn-permission
(symbol) Instructs the page breaker on whether to put a page turn at this column. Can be
force
orallow
.-
parenthesized
(boolean) Parenthesize this grob.
-
positions
(pair of numbers) Pair of staff coordinates
(left . right)
, where both left and right are instaff-space
units of the current staff. For slurs, this value selects which slur candidate to use; if extreme positions are requested, the closest one is taken.-
prefer-dotted-right
(boolean) For note collisions, prefer to shift dotted up-note to the right, rather than shifting just the dot.
-
ratio
(number) Parameter for slur shape. The higher this number, the quicker the slur attains its
height-limit
.-
remove-empty
(boolean) If set, remove group if it contains no interesting items.
-
remove-first
(boolean) Remove the first staff of an orchestral score?
-
restore-first
(boolean) Print a natural before the accidental.
-
rhythmic-location
(rhythmic location) Where (bar number, measure position) in the score.
-
right-bound-info
(list) An alist of properties for determining attachments of spanners to edges.
-
right-padding
(dimension, in staff space) Space to insert on the right side of an object (e.g., between note and its accidentals).
-
rotation
(list) Number of degrees to rotate this object, and what point to rotate around. For example,
#'(45 0 0)
rotates by 45 degrees around the center of this object.-
same-direction-correction
(number) Optical correction amount for stems that are placed in tight configurations. This amount is used for stems with the same direction to compensate for note head to stem distance.
-
script-priority
(number) A sorting key that determines in what order a script is within a stack of scripts.
-
self-alignment-X
(number) Specify alignment of an object. The value
-1
means left aligned,0
centered, and1
right-aligned in X direction. Other numerical values may also be specified.-
self-alignment-Y
(number) Like
self-alignment-X
but for the Y axis.-
shorten-pair
(pair of numbers) The lengths to shorten a text-spanner on both sides, for example a pedal bracket. Positive values shorten the text-spanner, while negative values lengthen it.
-
shortest-duration-space
(dimension, in staff space) Start with this much space for the shortest duration. This is expressed in
spacing-increment
as unit. See also spacing-spanner-interface.-
shortest-playing-duration
(moment) The duration of the shortest note playing here.
-
shortest-starter-duration
(moment) The duration of the shortest note that starts here.
-
side-axis
(number) If the value is
#X
(or equivalently0
), the object is placed horizontally next to the other object. If the value is#Y
or1
, it is placed vertically.-
side-relative-direction
(direction) Multiply direction of
direction-source
with this to get the direction of this object.-
size
(number) Size of object, relative to standard size.
-
skyline-horizontal-padding
(number) For determining the vertical distance between two staves, it is possible to have a configuration which would result in a tight interleaving of grobs from the top staff and the bottom staff. The larger this parameter is, the farther apart the staves are placed in such a configuration.
-
skyline-vertical-padding
(number) The amount by which the left and right skylines of a column are padded vertically, beyond the
Y-extent
s andextra-spacing-height
s of the constituent grobs in the column. Increase this to prevent interleaving of grobs from adjacent columns.-
slash-negative-kern
(number) The space to remove between slashes in percent repeat glyphs. Larger values bring the two elements closer together.
-
slope
(number) The slope of this object.
-
slur-padding
(number) Extra distance between slur and script.
-
space-alist
(list) A table that specifies distances between prefatory items, like clef and time-signature. The format is an alist of spacing tuples:
(break-align-symbol type . distance)
, where type can be the symbolsminimum-space
orextra-space
.-
space-to-barline
(boolean) If set, the distance between a note and the following non-musical column will be measured to the bar line instead of to the beginning of the non-musical column. If there is a clef change followed by a bar line, for example, this means that we will try to space the non-musical column as though the clef is not there.
-
spacing-increment
(number) Add this much space for a doubled duration. Typically, the width of a note head. See also spacing-spanner-interface.
-
spacing-pair
(pair) A pair of alignment symbols which set an object’s spacing relative to its left and right
BreakAlignment
s.For example, a
MultiMeasureRest
will ignore prefatory items at its bounds (i.e., clefs, key signatures and time signatures) using the following override:\override MultiMeasureRest #'spacing-pair = #'(staff-bar . staff-bar)
-
spanner-id
(string) An identifier to distinguish concurrent spanners.
-
springs-and-rods
(boolean) Dummy variable for triggering spacing routines.
-
stacking-dir
(direction) Stack objects in which direction?
-
staff-affinity
(direction) The direction of the staff to use for spacing the current non-staff line. Choices are
UP
,DOWN
, andCENTER
. IfCENTER
, the non-staff line will be placed equidistant between the two nearest staves on either side, unless collisions or other spacing constraints prevent this. Settingstaff-affinity
for a staff causes it to be treated as a non-staff line. Settingstaff-affinity
to#f
causes a non-staff line to be treated as a staff.-
staff-padding
(dimension, in staff space) Maintain this much space between reference points and the staff. Its effect is to align objects of differing sizes (like the dynamics p and f) on their baselines.
-
staff-position
(number) Vertical position, measured in half staff spaces, counted from the middle line.
-
staff-space
(dimension, in staff space) Amount of space between staff lines, expressed in global
staff-space
.-
staff-staff-spacing
(list) When applied to a staff-group’s
StaffGrouper
grob, this spacing alist controls the distance between consecutive staves within the staff-group. When applied to a staff’sVerticalAxisGroup
grob, it controls the distance between the staff and the nearest staff below it in the same system, replacing any settings inherited from theStaffGrouper
grob of the containing staff-group, if there is one. This property remains in effect even when non-staff lines appear between staves. The alist can contain the following keys:-
basic-distance
– the vertical distance, measured in staff-spaces, between the reference points of the two items when no collisions would result, and no stretching or compressing is in effect. -
minimum-distance
– the smallest allowable vertical distance, measured in staff-spaces, between the reference points of the two items, when compressing is in effect. -
padding
– the minimum required amount of unobstructed vertical whitespace between the bounding boxes (or skylines) of the two items, measured in staff-spaces. -
stretchability
– a unitless measure of the dimension’s relative propensity to stretch. If zero, the distance will not stretch (unless collisions would result).
-
-
staffgroup-staff-spacing
(list) The spacing alist controlling the distance between the last staff of the current staff-group and the staff just below it in the same system, even if one or more non-staff lines exist between the two staves. If the
staff-staff-spacing
property of the staff’sVerticalAxisGroup
grob is set, that is used instead. Seestaff-staff-spacing
for a description of the alist structure.-
stem-attachment
(pair of numbers) An
(x . y)
pair where the stem attaches to the notehead.-
stem-end-position
(number) Where does the stem end (the end is opposite to the support-head)?
-
stem-spacing-correction
(number) Optical correction amount for stems that are placed in tight configurations. For opposite directions, this amount is the correction for two normal sized stems that overlap completely.
-
stemlet-length
(number) How long should be a stem over a rest?
-
stencil
(stencil) The symbol to print.
-
stencils
(list) Multiple stencils, used as intermediate value.
-
strict-grace-spacing
(boolean) If set, main notes are spaced normally, then grace notes are put left of the musical columns for the main notes.
-
strict-note-spacing
(boolean) If set, unbroken columns with non-musical material (clefs, bar lines, etc.) are not spaced separately, but put before musical columns.
-
stroke-style
(string) Set to
"grace"
to turn stroke through flag on.-
style
(symbol) This setting determines in what style a grob is typeset. Valid choices depend on the
stencil
callback reading this property.-
text
(markup) Text markup. See Formatting text.
-
text-direction
(direction) This controls the ordering of the words. The default
RIGHT
is for roman text. Arabic or Hebrew should useLEFT
.-
thick-thickness
(number) Bar line thickness, measured in
line-thickness
.-
thickness
(number) Line thickness, generally measured in
line-thickness
.-
thin-kern
(number) The space after a hair-line in a bar line.
-
tie-configuration
(list) List of
(position . dir)
pairs, indicating the desired tie configuration, where position is the offset from the center of the staff in staff space and dir indicates the direction of the tie (1
=>up,-1
=>down,0
=>center). A non-pair entry in the list causes the corresponding tie to be formatted automatically.-
to-barline
(boolean) If true, the spanner will stop at the bar line just before it would otherwise stop.
-
toward-stem-shift
(number) Amount by which scripts are shifted toward the stem if their direction coincides with the stem direction.
0.0
means keep the default position (centered on the note head),1.0
means centered on the stem. Interpolated values are possible.-
transparent
(boolean) This makes the grob invisible.
-
uniform-stretching
(boolean) If set, items stretch proportionally to their durations. This looks better in complex polyphonic patterns.
-
used
(boolean) If set, this spacing column is kept in the spacing problem.
-
vertical-skylines
(pair of skylines) Two skylines, one above and one below this grob.
-
when
(moment) Global time step associated with this column happen?
-
whiteout
(boolean) If true, the grob is printed over a white background to white-out underlying material, if the grob is visible. Usually #f by default.
-
width
(dimension, in staff space) The width of a grob measured in staff space.
-
word-space
(dimension, in staff space) Space to insert between words in texts.
-
X-extent
(pair of numbers) Hard coded extent in X direction.
-
X-offset
(number) The horizontal amount that this object is moved relative to its X-parent.
-
Y-extent
(pair of numbers) Hard coded extent in Y direction.
-
Y-offset
(number) The vertical amount that this object is moved relative to its Y-parent.
-
zigzag-length
(dimension, in staff space) The length of the lines of a zigzag, relative to
zigzag-width
. A value of1
gives 60-degree zigzags.-
zigzag-width
(dimension, in staff space) The width of one zigzag squiggle. This number is adjusted slightly so that the glissando line can be constructed from a whole number of squiggles.
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A.16 Available music functions
-
acciaccatura
- music (music) -
Create an acciaccatura from the following music expression
-
addChordShape
- key-symbol (symbol) tuning (pair) shape-definition (string or pair) -
Add chord shape shape-definition to the chord-shape-table hash with the key (cons key-symbol tuning).
-
addInstrumentDefinition
- name (string) lst (list) -
Create instrument name with properties list.
-
addQuote
- name (string) music (music) -
Define music as a quotable music expression named name
-
afterGrace
- main (music) grace (music) -
Create grace note(s) after a main music expression.
-
allowPageTurn
-
Allow a page turn. May be used at toplevel (ie between scores or markups), or inside a score.
-
applyContext
- proc (procedure) -
Modify context properties with Scheme procedure proc.
-
applyMusic
- func (procedure) music (music) -
Apply procedure func to music.
-
applyOutput
- ctx (symbol) proc (procedure) -
Apply function
proc
to every layout object in contextctx
-
appoggiatura
- music (music) -
Create an appoggiatura from music
-
assertBeamQuant
- l (pair) r (pair) -
Testing function: check whether the beam quants l and r are correct
-
assertBeamSlope
- comp (procedure) -
Testing function: check whether the slope of the beam is the same as
comp
-
autochange
- music (music) -
Make voices that switch between staves automatically
-
balloonGrobText
- grob-name (symbol) offset (pair of numbers) text (markup) -
Attach text to grob-name at offset offset (use like
\once
) -
balloonText
- offset (pair of numbers) text (markup) -
Attach text at offset (use like
\tweak
) -
bar
- type (string) -
Insert a bar line of type type
-
barNumberCheck
- n (integer) -
Print a warning if the current bar number is not n.
-
bendAfter
- delta (real number) -
Create a fall or doit of pitch interval delta.
-
bookOutputName
- newfilename (string) -
Direct output for the current book block to newfilename.
-
bookOutputSuffix
- newsuffix (string) -
Set the output filename suffix for the current book block to newsuffix.
-
breathe
-
Insert a breath mark.
-
chordGlissando
- mus1 (music) mus2 (music) -
Make a glissando between the notes of triads
mus1
andmus2
. -
clef
- type (string) -
Set the current clef to type.
-
compoundMeter
- args (pair) -
Create compound time signatures. The argument is a Scheme list of lists. Each list describes one fraction, with the last entry being the denominator, while the first entries describe the summands in the enumerator. If the time signature consists of just one fraction, the list can be given directly, i.e. not as a list containing a single list. For example, a time signature of (3+1)/8 + 2/4 would be created as
\compoundMeter #'((3 1 8) (2 4))
, and a time signature of (3+2)/8 as\compoundMeter #'((3 2 8))
or shorter\compoundMeter #'(3 2 8)
. -
contextStringTuning
- tuning (symbol) chord (music) -
(undocumented; fixme)
-
cueClef
- type (string) -
Set the current cue clef to type.
-
cueClefUnset
-
Unset the current cue clef.
-
cueDuring
- what (string) dir (direction) main-music (music) -
Insert contents of quote what corresponding to main-music, in a CueVoice oriented by dir.
-
cueDuringWithClef
- what (string) dir (direction) clef (string) main-music (music) -
Insert contents of quote what corresponding to main-music, in a CueVoice oriented by dir.
-
deadNote
- note (music) -
Print note with a cross-shaped note head.
-
defaultNoteHeads
-
Revert to the default note head style.
-
displayLilyMusic
- music (music) -
Display the LilyPond input representation of music to the console.
-
displayMusic
- music (music) -
Display the internal representation of music to the console.
-
endSpanners
- music (music) -
Terminate the next spanner prematurely after exactly one note without the need of a specific end spanner.
-
featherDurations
- factor (moment) argument (music) -
Adjust durations of music in argument by rational factor.
-
footnote
- offset (pair of numbers) text (markup) footnote (markup) -
Attach text at offset with text referring to footnote (use like
\tweak
) -
footnoteGrob
- grob-name (symbol) offset (pair of numbers) text (markup) footnote (markup) -
Attach text to grob-name at offset offset, with text referring to footnote (use like
\once
) -
grace
- music (music) -
Insert music as grace notes.
-
harmonicByFret
- fret (number) music (music) -
(undocumented; fixme)
-
harmonicByRatio
- ratio (number) music (music) -
(undocumented; fixme)
-
harmonicNote
- note (music) -
Print note with a diamond-shaped note head.
-
harmonicsOn
-
Set the default note head style to a diamond-shaped style.
-
instrumentSwitch
- name (string) -
Switch instrument to name, which must be predefined with
\addInstrumentDefinition
. -
inversion
- around (music) to (music) music (music) -
Invert music about around and transpose from around to to.
-
keepWithTag
- tag (symbol) music (music) -
Include only elements of music that are tagged with tag.
-
killCues
- music (music) -
Remove cue notes from music.
-
label
- label (symbol) -
Create label as a bookmarking label.
-
language
- language (string) -
Set note names for language language.
-
languageRestore
-
Restore a previously-saved pitchnames alist.
-
languageSaveAndChange
- language (string) -
Store the previous pitchnames alist, and set a new one.
-
makeClusters
- arg (music) -
Display chords in arg as clusters.
-
makeDefaultStringTunings
- default-tuning-alist (list) -
(undocumented; fixme)
-
makeStringTuning
- tuning (symbol) chord (music) -
(undocumented; fixme)
-
modalInversion
- around (music) to (music) scale (music) music (music) -
Invert music about around using scale and transpose from around to to.
-
modalTranspose
- from (music) to (music) scale (music) music (music) -
Transpose music from pitch from to pitch to using scale.
-
musicMap
- proc (procedure) mus (music) -
Apply proc to mus and all of the music it contains.
-
noPageBreak
-
Forbid a page break. May be used at toplevel (i.e., between scores or markups), or inside a score.
-
noPageTurn
-
Forbid a page turn. May be used at toplevel (i.e., between scores or markups), or inside a score.
-
octaveCheck
- pitch-note (music) -
Octave check.
-
ottava
- octave (integer) -
Set the octavation.
-
overrideProperty
- name (string) property (symbol) value (any type) -
Set property to value in all grobs named name. The name argument is a string of the form
"Context.GrobName"
or"GrobName"
. -
overrideTimeSignatureSettings
- time-signature (pair) base-moment (pair) beat-structure (list) beam-exceptions (list) -
Override
timeSignatureSettings
for time signatures of time-signature to have settings of base-moment, beat-structure, and beam-exceptions. -
pageBreak
-
Force a page break. May be used at toplevel (i.e., between scores or markups), or inside a score.
-
pageTurn
-
Force a page turn between two scores or top-level markups.
-
palmMute
- note (music) -
Print note with a triangle-shaped note head.
-
palmMuteOn
-
Set the default note head style to a triangle-shaped style.
-
parallelMusic
- voice-ids (list) music (music) -
Define parallel music sequences, separated by ’|’ (bar check signs), and assign them to the identifiers provided in voice-ids.
voice-ids: a list of music identifiers (symbols containing only letters)
music: a music sequence, containing BarChecks as limiting expressions.
Example:
\parallelMusic #'(A B C) { c c | d d | e e | d d | e e | f f | } <==> A = { c c | d d | } B = { d d | e e | } C = { e e | f f | }
-
parenthesize
- arg (music) -
Tag arg to be parenthesized.
-
partcombine
- part1 (music) part2 (music) -
Take the music in part1 and part2 and typeset so that they share a staff.
-
partcombineForce
- type (symbol-or-boolean) once (boolean) -
Override the part-combiner.
-
phrasingSlurDashPattern
- dash-fraction (number) dash-period (number) -
Set up a custom style of dash pattern for dash-fraction ratio of line to space repeated at dash-period interval.
-
pitchedTrill
- main-note (music) secondary-note (music) -
Print a trill with main-note as the main note of the trill and print secondary-note as a stemless note head in parentheses.
-
pointAndClickOff
-
Suppress generating extra code in final-format (e.g. pdf) files to point back to the lilypond source statement.
-
pointAndClickOn
-
Enable generation of code in final-format (e.g. pdf) files to reference the originating lilypond source statement; this is helpful when developing a score but generates bigger final-format files.
-
quoteDuring
- what (string) main-music (music) -
Indicate a section of music to be quoted. what indicates the name of the quoted voice, as specified in an
\addQuote
command. main-music is used to indicate the length of music to be quoted; usually contains spacers or multi-measure rests. -
removeWithTag
- tag (symbol) music (music) -
Remove elements of music that are tagged with tag.
-
resetRelativeOctave
- reference-note (music) -
Set the octave inside a \relative section.
-
retrograde
- music (music) -
Return music in reverse order.
-
revertTimeSignatureSettings
- time-signature (pair) -
Revert
timeSignatureSettings
for time signatures of time-signature. -
rightHandFinger
- finger (number or string) -
Apply finger as a fingering indication.
-
scaleDurations
- fraction (pair of numbers) music (music) -
Multiply the duration of events in music by fraction.
-
shiftDurations
- dur (integer) dots (integer) arg (music) -
Scale arg up by a factor of 2^dur*(2-(1/2)^dots).
-
slurDashPattern
- dash-fraction (number) dash-period (number) -
(undocumented; fixme)
-
spacingTweaks
- parameters (list) -
Set the system stretch, by reading the ’system-stretch property of the ‘parameters’ assoc list.
-
storePredefinedDiagram
- fretboard-table (hash table) chord (music) tuning (pair) diagram-definition (string or pair) -
Add predefined fret diagram defined by diagram-definition for the chord pitches chord and the stringTuning tuning.
-
styledNoteHeads
- style (symbol) heads (list or symbol) music (music) -
Set heads in music to style.
-
tabChordRepetition
-
Include the string information in a chord repetition.
-
tag
- tag (symbol) arg (music) -
Add tag to the
tags
property of arg. -
tieDashPattern
- dash-fraction (number) dash-period (number) -
(undocumented; fixme)
-
tocItem
- text (markup) -
Add a line to the table of content, using the
tocItemMarkup
paper variable markup -
transposedCueDuring
- what (string) dir (direction) pitch-note (music) main-music (music) -
Insert notes from the part what into a voice called
cue
, using the transposition defined by pitch-note. This happens simultaneously with main-music, which is usually a rest. The argument dir determines whether the cue notes should be notated as a first or second voice. -
transposition
- pitch-note (music) -
Set instrument transposition
-
tweak
- sym (symbol) val (any type) arg (music) -
Add
sym . val
to thetweaks
property of arg. -
unfoldRepeats
- music (music) -
Force any
\repeat volta
,\repeat tremolo
or\repeat percent
commands in music to be interpreted as\repeat unfold
. -
withMusicProperty
- sym (symbol) val (any type) music (music) -
Set sym to val in music.
-
xNote
- note (music) -
Print note with a cross-shaped note head.
-
xNotesOn
-
Set the default note head style to a cross-shaped style.
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A.17 Predefined type predicates
R5RS primary predicates | ||
R5RS secondary predicates | ||
Guile predicates | ||
LilyPond scheme predicates | ||
LilyPond exported predicates |
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R5RS primary predicates
Type predicate | Description |
---|---|
| boolean |
| character |
| number |
| pair |
| port |
| procedure |
| string |
| symbol |
| vector |
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R5RS secondary predicates
Type predicate | Description |
---|---|
| alphabetic character |
| lower-case character |
| numeric character |
| upper-case character |
| whitespace character |
| complex number |
| end-of-file object |
| even number |
| exact number |
| inexact number |
| input port |
| integer |
| list (use |
| negative number |
| null |
| odd number |
| output port |
| positive number |
| rational number |
| real number |
| zero |
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Guile predicates
Type predicate | Description |
---|---|
| hash table |
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LilyPond scheme predicates
Type predicate | Description |
---|---|
| boolean or symbol |
| list (use this instead of
|
| color |
| list of grobs |
| list or symbol |
| markup |
| markup command list |
| markup list |
| pair of moment objects |
| number or grob |
| number or pair |
| number or string |
| pair of numbers |
| rhythmic location |
| any type |
| string or pair |
| string or symbol |
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LilyPond exported predicates
Type predicate | Description |
---|---|
| box |
| context |
| dimension, in staff space |
| direction |
| dispatcher |
| duration |
| font metric |
| graphical (layout) object |
| array of grobs |
| input location |
| item |
| iterator |
| lily-lexer |
| lily-parser |
| listener |
| moment |
| music |
| music function |
| list of music objects |
| music output |
| OpenType font |
| output definition |
| page marker |
| pango font |
| paper book |
| paper-system Prob |
| pitch |
| property object |
| score |
| simple closure |
| skyline |
| pair of skylines |
| source file |
| spanner |
| stencil |
| stream event |
| translator |
| translator group |
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A.18 Scheme functions
- Function: ly:add-context-mod contextmods modification
Adds the given context modification to the list contextmods of context modifications.
- Function: ly:add-interface iface desc props
Add a new grob interface. iface is the interface name, desc is the interface description, and props is the list of user-settable properties for the interface.
- Function: ly:add-listener list disp cl
Add the listener list to the dispatcher disp. Whenever disp hears an event of class cl, it is forwarded to list.
- Function: ly:add-option sym val description
Add a program option sym. val is the default value and description is a string description.
- Function: ly:assoc-get key alist default-value strict-checking
Return value if key in alist, else default-value (or
#f
if not specified). If strict-checking is set to#t
and key is not in alist, a programming_error is output.
- Function: ly:axis-group-interface::add-element grob grob-element
Set grob the parent of grob-element on all axes of grob.
- Function: ly:book-process book-smob default-paper default-layout output
Print book. output is passed to the backend unchanged. For example, it may be a string (for file based outputs) or a socket (for network based output).
- Function: ly:book-process-to-systems book-smob default-paper default-layout output
Print book. output is passed to the backend unchanged. For example, it may be a string (for file based outputs) or a socket (for network based output).
- Function: ly:bracket a iv t p
Make a bracket in direction a. The extent of the bracket is given by iv. The wings protrude by an amount of p, which may be negative. The thickness is given by t.
- Function: ly:chain-assoc-get key achain default-value strict-checking
Return value for key from a list of alists achain. If no entry is found, return default-value or
#f
if default-value is not specified. With strict-checking set to#t
, a programming_error is output in such cases.
- Function: ly:context-events-below context
Return a
stream-distributor
that distributes all events from context and all its subcontexts.
- Function: ly:context-find context name
Find a parent of context that has name or alias name. Return
#f
if not found.
- Function: ly:context-grob-definition context name
Return the definition of name (a symbol) within context as an alist.
- Function: ly:context-id context
Return the ID string of context, i.e., for
\context Voice = "one" …
return the stringone
.
- Function: ly:context-name context
Return the name of context, i.e., for
\context Voice = "one" …
return the symbolVoice
.
- Function: ly:context-property context sym def
Return the value for property sym in context. If def is given, and property value is
'()
, return def.
- Function: ly:context-property-where-defined context name
Return the context above context where name is defined.
- Function: ly:context-pushpop-property context grob eltprop val
Do a single
\override
or\revert
operation in context. The grob definition grob is extended with eltprop (if val is specified) or reverted (if unspecified).
- Function: ly:context-set-property! context name val
Set value of property name in context context to val.
- Function: ly:dimension? d
Return d as a number. Used to distinguish length variables from normal numbers.
- Function: ly:dir? s
Is s a direction? Valid directions are
-1
,0
, or1
, where-1
represents left or down,1
represents right or up, and0
represents a neutral direction.
- Function: ly:encode-string-for-pdf str
Encode the given string to either Latin1 (which is a subset of the PDFDocEncoding) or if that’s not possible to full UTF-16BE with Byte-Order-Mark (BOM).
- Function: ly:engraver-announce-end-grob engraver grob cause
Announce the end of a grob (i.e., the end of a spanner) originating from given engraver instance, with grob being a grob. cause should either be another grob or a music event.
- Function: ly:engraver-make-grob engraver grob-name cause
Create a grob originating from given engraver instance, with given grob-name, a symbol. cause should either be another grob or a music event.
- Function: ly:error str rest
A Scheme callable function to issue the error str. The error is formatted with
format
and rest.
- Function: ly:eval-simple-closure delayed closure scm-start scm-end
Evaluate a simple closure with the given delayed argument. If scm-start and scm-end are defined, evaluate it purely with those start and end points.
- Function: ly:event-property sev sym
Get the property sym of stream event mus. If sym is undefined, return
'()
.
- Function: ly:font-design-size font
Given the font metric font, return the design size, relative to the current output-scale.
- Function: ly:font-get-glyph font name
Return a stencil from font for the glyph named name. If the glyph is not available, return an empty stencil.
Note that this command can only be used to access glyphs from fonts loaded with
ly:system-font-load
; currently, this means either the Emmentaler or Emmentaler-Brace fonts, corresponding to the font encodingsfetaMusic
andfetaBraces
, respectively.
- Function: ly:font-glyph-name-to-charcode font name
Return the character code for glyph name in font.
Note that this command can only be used to access glyphs from fonts loaded with
ly:system-font-load
; currently, this means either the Emmentaler or Emmentaler-Brace fonts, corresponding to the font encodingsfetaMusic
andfetaBraces
, respectively.
- Function: ly:font-glyph-name-to-index font name
Return the index for name in font.
Note that this command can only be used to access glyphs from fonts loaded with
ly:system-font-load
; currently, this means either the Emmentaler or Emmentaler-Brace fonts, corresponding to the font encodingsfetaMusic
andfetaBraces
, respectively.
- Function: ly:font-index-to-charcode font index
Return the character code for index in font.
Note that this command can only be used to access glyphs from fonts loaded with
ly:system-font-load
; currently, this means either the Emmentaler or Emmentaler-Brace fonts, corresponding to the font encodingsfetaMusic
andfetaBraces
, respectively.
- Function: ly:font-magnification font
Given the font metric font, return the magnification, relative to the current output-scale.
- Function: ly:font-sub-fonts font
Given the font metric font of an OpenType font, return the names of the subfonts within font.
- Function: ly:format str rest
LilyPond specific format, supporting
~a
and~[0-9]f
. Basic support for~s
is also provided.
- Function: ly:format-output context
Given a global context in its final state, process it and return the
Music_output
object in its final state.
- Function: ly:get-all-function-documentation
Get a hash table with all LilyPond Scheme extension functions.
- Function: ly:get-context-mods contextmod
Returns the list of context modifications stored in contextmod.
- Function: ly:get-listened-event-classes
Return a list of all event classes that some translator listens to.
- Function: ly:grob-alist-chain grob global
Get an alist chain for grob grob, with global as the global default. If unspecified,
font-defaults
from the layout block is taken.
- Function: ly:grob-chain-callback grob proc sym
Find the callback that is stored as property sym of grob grob and chain proc to the head of this, meaning that it is called using grob and the previous callback’s result.
- Function: ly:grob-common-refpoint grob other axis
Find the common refpoint of grob and other for axis.
- Function: ly:grob-common-refpoint-of-array grob others axis
Find the common refpoint of grob and others (a grob-array) for axis.
- Function: ly:grob-extent grob refp axis
Get the extent in axis direction of grob relative to the grob refp.
- Function: ly:grob-object grob sym
Return the value of a pointer in grob grob of property sym. It returns
'()
(end-of-list) if sym is undefined in grob.
- Function: ly:grob-parent grob axis
Get the parent of grob. axis is 0 for the X-axis, 1 for the Y-axis.
- Function: ly:grob-property grob sym val
Return the value for property sym of grob. If no value is found, return val or
'()
if val is not specified.
- Function: ly:grob-property-data grob sym
Return the value for property sym of grob, but do not process callbacks.
- Function: ly:grob-relative-coordinate grob refp axis
Get the coordinate in axis direction of grob relative to the grob refp.
- Function: ly:grob-robust-relative-extent grob refp axis
Get the extent in axis direction of grob relative to the grob refp, or
(0,0)
if empty.
- Function: ly:grob-set-nested-property! grob symlist val
Set nested property symlist in grob grob to value val.
- Function: ly:grob-set-parent! grob axis parent-grob
Set parent-grob the parent of grob grob in axis axis.
- Function: ly:gulp-file name size
Read size characters from the file name, and return its contents in a string. If size is undefined, the entire file is read. The file is looked up using the search path.
- Function: ly:input-both-locations sip
Return input location in sip as
(file-name first-line first-column last-line last-column)
.
- Function: ly:input-file-line-char-column sip
Return input location in sip as
(file-name line char column)
.
- Function: ly:input-message sip msg rest
Print msg as a GNU compliant error message, pointing to the location in sip. msg is interpreted similar to
format
’s argument, using rest.
- Function: ly:interpret-music-expression mus ctx
Interpret the music expression mus in the global context ctx. The context is returned in its final state.
- Function: ly:interpret-stencil-expression expr func arg1 offset
Parse expr, feed bits to func with first arg arg1 having offset offset.
- Function: ly:item-break-dir it
The break status direction of item it.
-1
means end of line,0
unbroken, and1
beginning of line.
- Function: ly:lexer-keywords lexer
Return a list of
(KEY . CODE)
pairs, signifying the LilyPond reserved words list.
- Function: ly:make-book paper header scores
Make a
\book
of paper and header (which may be#f
as well) containing\scores
.
- Function: ly:make-duration length dotcount num den
length is the negative logarithm (base 2) of the duration: 1 is a half note, 2 is a quarter note, 3 is an eighth note, etc. The number of dots after the note is given by the optional argument dotcount.
The duration factor is optionally given by num and den.
A duration is a musical duration, i.e., a length of time described by a power of two (whole, half, quarter, etc.) and a number of augmentation dots.
- Function: ly:make-global-context output-def
Set up a global interpretation context, using the output block output-def. The context is returned.
- Function: ly:make-global-translator global
Create a translator group and connect it to the global context global. The translator group is returned.
- Function: ly:make-listener callback
Create a listener. Any time the listener hears an object, it will call callback with that object.
callback should take exactly one argument.
- Function: ly:make-moment n d gn gd
Create the rational number with main timing n/d, and optional grace timing gn/gd.
A moment is a point in musical time. It consists of a pair of rationals (m, g), where m is the timing for the main notes, and g the timing for grace notes. In absence of grace notes, g is zero.
- Function: ly:make-music props
Make a C++
Music
object and initialize it with props.This function is for internal use and is only called by
make-music
, which is the preferred interface for creating music objects.
- Function: ly:make-music-function signature func
Make a function to process music, to be used for the parser. func is the function, and signature describes its arguments. signature is a list containing either
ly:music?
predicates or other type predicates.
- Function: ly:make-page-permission-marker symbol permission
Return page marker with page breaking and turning permissions.
- Function: ly:make-pango-description-string chain size
Make a
PangoFontDescription
string for the property alist chain at size size.
- Function: ly:make-paper-outputter port format
Create an outputter that evaluates within
output-
format, writing to port.
- Function: ly:make-pitch octave note alter
octave is specified by an integer, zero for the octave containing middle C. note is a number indexing the global default scale, with 0 corresponding to pitch C and 6 usually corresponding to pitch B. alter is a rational number of 200-cent whole tones for alteration.
- Function: ly:make-scale steps
Create a scale. The argument is a vector of rational numbers, each of which represents the number of 200 cent tones of a pitch above the tonic.
- Function: ly:make-simple-closure expr
Make a simple closure. expr should be form of
(func a1 a2 …)
, and will be invoked as(func delayed-arg a1 a2 …)
.
- Function: ly:make-stencil expr xext yext
Stencils are device independent output expressions. They carry two pieces of information:
- A specification of how to print this object. This specification is processed by the output backends, for example ‘scm/output-ps.scm’.
-
The vertical and horizontal extents of the object, given as pairs. If an extent is unspecified (or if you use
(1000 . -1000)
as its value), it is taken to be empty.
- Function: ly:make-stream-event cl proplist
Create a stream event of class cl with the given mutable property list.
- Function: ly:message str rest
A Scheme callable function to issue the message str. The message is formatted with
format
and rest.
- Function: ly:minimal-breaking pb
Break (pages and lines) the
Paper_book
object pb without looking for optimal spacing: stack as many lines on a page before moving to the next one.
- Function: ly:modules-lookup modules sym def
Look up sym in the list modules, returning the first occurence. If not found, return def or
#f
if def isn’t specified.
- Function: ly:music-length mus
Get the length of music expression mus and return it as a
Moment
object.
- Function: ly:music-mutable-properties mus
Return an alist containing the mutable properties of mus. The immutable properties are not available, since they are constant and initialized by the
make-music
function.
- Function: ly:music-property mus sym val
Return the value for property sym of music expression mus. If no value is found, return val or
'()
if val is not specified.
- Function: ly:note-column-accidentals note-column
Return the
AccidentalPlacement
grob from note-column if any, orSCM_EOL
otherwise.
- Function: ly:note-column-dot-column note-column
Return the
DotColumn
grob from note-column if any, orSCM_EOL
otherwise.
- Function: ly:note-head::stem-attachment font-metric glyph-name
Get attachment in font-metric for attaching a stem to notehead glyph-name.
- Function: ly:optimal-breaking pb
Optimally break (pages and lines) the
Paper_book
object pb to minimize badness in bother vertical and horizontal spacing.
- Function: ly:otf->cff otf-file-name
Convert the contents of an OTF file to a CFF file, returning it as a string.
- Function: ly:otf-font-glyph-info font glyph
Given the font metric font of an OpenType font, return the information about named glyph glyph (a string).
- Function: ly:otf-font-table-data font tag
Extract a table tag from font. Return empty string for non-existent tag.
- Function: ly:output-def-lookup def sym val
Return the value of sym in output definition def (e.g.,
\paper
). If no value is found, return val or'()
if val is undefined.
- Function: ly:page-turn-breaking pb
Optimally break (pages and lines) the
Paper_book
object pb such that page turns only happen in specified places, returning its pages.
- Function: ly:pango-font-physical-fonts f
Return alist of
(ps-name file-name font-index)
lists for Pango font f.
- Function: ly:paper-book-paper pb
Return the paper output definition (
\paper
) inPaper_book
object pb.
- Function: ly:paper-fonts def
Return a list containing the fonts from output definition def (e.g.,
\paper
).
- Function: ly:paper-get-font def chain
Find a font metric in output definition def satisfying the font-qualifiers in alist chain chain, and return it. (An alist chain is a list of alists, containing grob properties.)
- Function: ly:paper-get-number def sym
Return the value of variable sym in output definition def as a double.
- Function: ly:paper-score-paper-systems paper-score
Return vector of
paper_system
objects from paper-score.
- Function: ly:paper-system-minimum-distance sys1 sys2
Measure the minimum distance between these two paper-systems, using their stored skylines if possible and falling back to their extents otherwise.
- Function: ly:parser-include-string parser-smob ly-code
Include the string ly-code into the input stream for parser-smob.
- Function: ly:parser-lookup parser-smob symbol
Look up symbol in parser-smob’s module. Return
'()
if not defined.
- Function: ly:parser-parse-string parser-smob ly-code
Parse the string ly-code with parser-smob. Upon failure, throw
ly-file-failed
key.
- Function: ly:parser-set-note-names parser names
Replace current note names in parser. names is an alist of symbols. This only has effect if the current mode is notes.
- Function: ly:parser-set-repetition-function parser fun
Replace the current repetition function in parser. fun is the new repetition function.
- Function: ly:parser-set-repetition-symbol parser sym
Replace the current repetition symbol in parser. sym is the new repetition symbol.
- Function: ly:pfb->pfa pfb-file-name
Convert the contents of a Type 1 font in PFB format to PFA format.
- Function: ly:pitch-diff pitch root
Return pitch delta such that pitch transposed by delta equals root.
- Function: ly:pitch-transpose p delta
Transpose p by the amount delta, where delta is relative to middle C.
- Function: ly:pointer-group-interface::add-grob grob sym grob-element
Add grob-element to grob’s sym grob array.
- Function: ly:position-on-line? sg spos
Return whether spos is on a line of the staff associated with the grob sg (even on an extender line).
- Function: ly:prob-property prob sym val
Return the value for property sym of Prob object prob. If no value is found, return val or
'()
if val is not specified.
- Function: ly:programming-error str rest
A Scheme callable function to issue the internal warning str. The message is formatted with
format
and rest.
- Function: ly:progress str rest
A Scheme callable function to print progress str. The message is formatted with
format
and rest.
- Function: ly:property-lookup-stats sym
Return hash table with a property access corresponding to sym. Choices are
prob
,grob
, andcontext
.
- Function: ly:relative-group-extent elements common axis
Determine the extent of elements relative to common in the axis direction.
- Function: ly:round-filled-box xext yext blot
Make a
Stencil
object that prints a black box of dimensions xext, yext and roundness blot.
- Function: ly:round-filled-polygon points blot
Make a
Stencil
object that prints a black polygon with corners at the points defined by points (list of coordinate pairs) and roundness blot.
- Function: ly:run-translator mus output-def
Process mus according to output-def. An interpretation context is set up, and mus is interpreted with it. The context is returned in its final state.
Optionally, this routine takes an object-key to to uniquely identify the score block containing it.
- Function: ly:score-embedded-format score layout
Run score through layout (an output definition) scaled to correct output-scale already, returning a list of layout-lines.
- Function: ly:set-default-scale scale
Set the global default scale. This determines the tuning of pitches with no accidentals or key signatures. The first pitch is C. Alterations are calculated relative to this scale. The number of pitches in this scale determines the number of scale steps that make up an octave. Usually the 7-note major scale.
- Function: ly:set-grob-modification-callback cb
Specify a procedure that will be called every time LilyPond modifies a grob property. The callback will receive as arguments the grob that is being modified, the name of the C++ file in which the modification was requested, the line number in the C++ file in which the modification was requested, the name of the function in which the modification was requested, the property to be changed, and the new value for the property.
- Function: ly:set-middle-C! context
Set the
middleCPosition
variable in context based on the variablesmiddleCClefPosition
and middleCOffset.
- Function: ly:set-property-cache-callback cb
Specify a procedure that will be called whenever lilypond calculates a callback function and caches the result. The callback will receive as arguments the grob whose property it is, the name of the property, the name of the callback that calculated the property, and the new (cached) value of the property.
- Function: ly:solve-spring-rod-problem springs rods length ragged
Solve a spring and rod problem for count objects, that are connected by count-1 springs, and an arbitrary number of rods. count is implicitly given by springs and rods. The springs argument has the format
(ideal, inverse_hook)
and rods is of the form(idx1, idx2, distance)
.length is a number, ragged a boolean.
The function returns a list containing the force (positive for stretching, negative for compressing and
#f
for non-satisfied constraints) followed by spring-count+1 positions of the objects.
- Function: ly:spanner-bound spanner dir
Get one of the bounds of spanner. dir is
-1
for left, and1
for right.
- Function: ly:spanner-set-bound! spanner dir item
Set grob item as bound in direction dir for spanner.
- Function: ly:spawn command rest
Simple interface to g_spawn_sync str. The error is formatted with
format
and rest.
- Function: ly:staff-symbol-line-thickness grob
Returns the
line-thickness
of the staff associated with grob.
- Function: ly:staff-symbol-staff-space grob
Returns the
staff-space
of the staff associated with grob.
- Function: ly:start-environment
Return the environment (a list of strings) that was in effect at program start.
- Function: ly:stencil-aligned-to stil axis dir
Align stil using its own extents. dir is a number.
-1
and1
are left and right, respectively. Other values are interpolated (so0
means the center).
- Function: ly:stencil-combine-at-edge first axis direction second padding minimum
Construct a stencil by putting second next to first. axis can be 0 (x-axis) or 1 (y-axis). direction can be -1 (left or down) or 1 (right or up). The stencils are juxtaposed with padding as extra space. If this puts the reference points closer than minimum, they are moved by the latter amount. first and second may also be
'()
or#f
.
- Function: ly:stencil-extent stil axis
Return a pair of numbers signifying the extent of stil in axis direction (
0
or1
for x and y axis, respectively).
- Function: ly:stencil-rotate stil angle x y
Return a stencil stil rotated angle degrees around the relative offset (x, y). E.g. an offset of (-1, 1) will rotate the stencil around the left upper corner.
- Function: ly:stencil-rotate-absolute stil angle x y
Return a stencil stil rotated angle degrees around point (x, y), given in absolute coordinates.
- Function: ly:stencil-scale stil x y
Scale stil using the horizontal and vertical scaling factors x and y.
- Function: ly:stencil-translate stil offset
Return a stil, but translated by offset (a pair of numbers).
- Function: ly:stencil-translate-axis stil amount axis
Return a copy of stil but translated by amount in axis direction.
- Function: ly:string-percent-encode str
Encode all characters in string str with hexadecimal percent escape sequences, with the following exceptions: characters
-
,.
,/
, and_
; and characters in ranges0-9
,A-Z
, anda-z
.
- Function: ly:success str rest
A Scheme callable function to issue a success message str. The message is formatted with
format
and rest.
- Function: ly:system-font-load name
Load the OpenType system font ‘name.otf’. Fonts loaded with this command must contain three additional SFNT font tables called
LILC
,LILF
, andLILY
, needed for typesetting musical elements. Currently, only the Emmentaler and the Emmentaler-Brace fonts fulfill these requirements.Note that only
ly:font-get-glyph
and derived code (like\lookup
) can access glyphs from the system fonts; text strings are handled exclusively via the Pango interface.
- Function: ly:text-interface::interpret-markup
Convert a text markup into a stencil. Takes three arguments, layout, props, and markup.
layout is a
\layout
block; it may be obtained from a grob withly:grob-layout
. props is an alist chain, i.e. a list of alists. This is typically obtained with(ly:grob-alist-chain grob (ly:output-def-lookup layout 'text-font-defaults))
. markup is the markup text to be processed.
- Function: ly:translator-name trans
Return the type name of the translator object trans. The name is a symbol.
- Function: ly:ttf->pfa ttf-file-name idx
Convert the contents of a TrueType font file to PostScript Type 42 font, returning it as a string. The optional idx argument is useful for TrueType collections (TTC) only; it specifies the font index within the TTC. The default value of idx is 0.
- Function: ly:ttf-ps-name ttf-file-name idx
Extract the PostScript name from a TrueType font. The optional idx argument is useful for TrueType collections (TTC) only; it specifies the font index within the TTC. The default value of idx is 0.
- Function: ly:warning str rest
A Scheme callable function to issue the warning str. The message is formatted with
format
and rest.
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B. Cheat sheet
Syntax | Description | Example |
| durations | |
| augmentation dots | |
| scale | |
| alteration | |
| clefs | |
| time signature | |
| rest | |
| tie | |
| key signature | |
note | raise octave | |
note | lower octave | |
| slur | |
| phrasing slur | |
| beam | |
| more staves | |
| articulations | |
| dynamics | |
| crescendo | |
| decrescendo | |
| chord | |
| pickup / upbeat | |
| triplets | |
| grace notes | |
| entering lyrics | twinkle |
| printing lyrics | |
| lyric hyphen | |
| chords | |
| printing chord names | |
| polyphony | |
| spacer rests |
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C. LilyPond 文法
この付録は、構文解析プログラムからの出力である、LilyPond 文法についての記述です。
Grammar 1 lilypond: /* empty */ 2 | lilypond toplevel_expression 3 | lilypond assignment 4 | lilypond error 5 | lilypond "\invalid" 6 toplevel_expression: lilypond_header 7 | book_block 8 | bookpart_block 9 | score_block 10 | composite_music 11 | full_markup 12 | full_markup_list 13 | output_def 14 embedded_scm: SCM_TOKEN 15 | SCM_IDENTIFIER 16 lilypond_header_body: /* empty */ 17 | lilypond_header_body assignment 18 lilypond_header: "\header" '{' lilypond_header_body '}' 19 assignment_id: STRING 20 | LYRICS_STRING 21 assignment: assignment_id '=' identifier_init 22 | assignment_id property_path '=' identifier_init 23 | embedded_scm 24 identifier_init: score_block 25 | book_block 26 | bookpart_block 27 | output_def 28 | context_def_spec_block 29 | music 30 | post_event 31 | number_expression 32 | string 33 | embedded_scm 34 | full_markup 35 | full_markup_list 36 | DIGIT 37 | context_modification 38 context_def_spec_block: "\context" '{' context_def_spec_body '}' 39 context_def_spec_body: /* empty */ 40 | CONTEXT_DEF_IDENTIFIER 41 | context_def_spec_body "\grobdescriptions" embedded_scm 42 | context_def_spec_body context_mod 43 | context_def_spec_body context_modification 44 book_block: "\book" '{' book_body '}' 45 book_body: /* empty */ 46 | BOOK_IDENTIFIER 47 | book_body paper_block 48 | book_body bookpart_block 49 | book_body score_block 50 | book_body composite_music 51 | book_body full_markup 52 | book_body full_markup_list 53 | book_body lilypond_header 54 | book_body error 55 bookpart_block: "\bookpart" '{' bookpart_body '}' 56 bookpart_body: /* empty */ 57 | BOOK_IDENTIFIER 58 | bookpart_body paper_block 59 | bookpart_body score_block 60 | bookpart_body composite_music 61 | bookpart_body full_markup 62 | bookpart_body full_markup_list 63 | bookpart_body lilypond_header 64 | bookpart_body error 65 score_block: "\score" '{' score_body '}' 66 score_body: music 67 | SCORE_IDENTIFIER 68 | score_body lilypond_header 69 | score_body output_def 70 | score_body error 71 paper_block: output_def 72 output_def: output_def_body '}' 73 output_def_head: "\paper" 74 | "\midi" 75 | "\layout" 76 output_def_head_with_mode_switch: output_def_head 77 output_def_body: output_def_head_with_mode_switch '{' 78 | output_def_head_with_mode_switch '{' OUTPUT_DEF_IDENTIFIER 79 | output_def_body assignment 80 | output_def_body context_def_spec_block 81 | output_def_body error 82 tempo_event: "\tempo" steno_duration '=' tempo_range 83 | "\tempo" scalar steno_duration '=' tempo_range 84 | "\tempo" scalar 85 music_list: /* empty */ 86 | music_list music 87 | music_list embedded_scm 88 | music_list error 89 music: simple_music 90 | composite_music 91 alternative_music: /* empty */ 92 | "\alternative" '{' music_list '}' 93 repeated_music: "\repeat" simple_string unsigned_number music alternative_music 94 sequential_music: "\sequential" '{' music_list '}' 95 | '{' music_list '}' 96 simultaneous_music: "\simultaneous" '{' music_list '}' 97 | "<<" music_list ">>" 98 simple_music: event_chord 99 | MUSIC_IDENTIFIER 100 | music_property_def 101 | context_change 103 context_modification: "\with" '{' context_mod_list '}' 104 | "\with" CONTEXT_MOD_IDENTIFIER 105 | CONTEXT_MOD_IDENTIFIER 106 optional_context_mod: /* empty */ 107 | context_modification 108 context_mod_list: /* empty */ 109 | context_mod_list context_mod 110 | context_mod_list CONTEXT_MOD_IDENTIFIER 111 composite_music: prefix_composite_music 112 | grouped_music_list 113 grouped_music_list: simultaneous_music 114 | sequential_music 115 function_scm_argument: embedded_scm 116 | simple_string 117 function_arglist_music_last: EXPECT_MUSIC function_arglist music 118 function_arglist_nonmusic_last: EXPECT_MARKUP function_arglist full_markup 119 | EXPECT_MARKUP function_arglist simple_string 120 | EXPECT_SCM function_arglist function_scm_argument 121 function_arglist_nonmusic: EXPECT_NO_MORE_ARGS 122 | EXPECT_MARKUP function_arglist_nonmusic full_markup 123 | EXPECT_MARKUP function_arglist_nonmusic simple_string 124 | EXPECT_SCM function_arglist_nonmusic function_scm_argument 125 function_arglist: EXPECT_NO_MORE_ARGS 126 | function_arglist_music_last 127 | function_arglist_nonmusic_last 128 generic_prefix_music_scm: MUSIC_FUNCTION function_arglist 129 optional_id: /* empty */ 130 | '=' simple_string 131 prefix_composite_music: generic_prefix_music_scm 132 | "\context" simple_string optional_id optional_context_mod music 133 | "\new" simple_string optional_id optional_context_mod music 134 | "\times" fraction music 135 | repeated_music 136 | "\transpose" pitch_also_in_chords pitch_also_in_chords music 137 | mode_changing_head grouped_music_list 138 | mode_changing_head_with_context optional_context_mod grouped_music_list 139 | relative_music 140 | re_rhythmed_music 141 mode_changing_head: "\notemode" 142 | "\drummode" 143 | "\figuremode" 144 | "\chordmode" 145 | "\lyricmode" 146 mode_changing_head_with_context: "\drums" 147 | "\figures" 148 | "\chords" 149 | "\lyrics" 150 relative_music: "\relative" absolute_pitch music 151 | "\relative" composite_music 153 new_lyrics: "\addlyrics" grouped_music_list 155 new_lyrics: "\addlyrics" MUSIC_IDENTIFIER 157 new_lyrics: new_lyrics "\addlyrics" grouped_music_list 159 new_lyrics: new_lyrics "\addlyrics" MUSIC_IDENTIFIER 160 re_rhythmed_music: grouped_music_list new_lyrics 161 | MUSIC_IDENTIFIER new_lyrics 163 re_rhythmed_music: "\lyricsto" simple_string music 164 context_change: "\change" STRING '=' STRING 165 property_path_revved: embedded_scm 166 | property_path_revved embedded_scm 167 property_path: property_path_revved 168 property_operation: STRING '=' scalar 169 | "\unset" simple_string 170 | "\override" simple_string property_path '=' scalar 171 | "\revert" simple_string embedded_scm 172 context_def_mod: "\consists" 173 | "\remove" 174 | "\accepts" 175 | "\defaultchild" 176 | "\denies" 177 | "\alias" 178 | "\type" 179 | "\description" 180 | "\name" 181 context_mod: property_operation 182 | context_def_mod STRING 183 | context_def_mod embedded_scm 184 context_prop_spec: simple_string 185 | simple_string '.' simple_string 186 simple_music_property_def: "\override" context_prop_spec property_path '=' scalar 187 | "\revert" context_prop_spec embedded_scm 188 | "\set" context_prop_spec '=' scalar 189 | "\unset" context_prop_spec 190 music_property_def: simple_music_property_def 191 | "\once" simple_music_property_def 192 string: STRING 193 | STRING_IDENTIFIER 194 | string '+' string 195 simple_string: STRING 196 | LYRICS_STRING 197 | STRING_IDENTIFIER 198 scalar: string 199 | LYRICS_STRING 200 | bare_number 201 | embedded_scm 202 | full_markup 203 | DIGIT 204 event_chord: simple_chord_elements post_events 205 | CHORD_REPETITION optional_notemode_duration post_events 206 | MULTI_MEASURE_REST optional_notemode_duration post_events 207 | command_element 208 | note_chord_element 209 note_chord_element: chord_body optional_notemode_duration post_events 210 chord_body: "<" chord_body_elements ">" 211 chord_body_elements: /* empty */ 212 | chord_body_elements chord_body_element 213 chord_body_element: pitch exclamations questions octave_check post_events 214 | DRUM_PITCH post_events 215 | music_function_chord_body 216 music_function_identifier_musicless_prefix: MUSIC_FUNCTION 217 music_function_chord_body: music_function_identifier_musicless_prefix EXPECT_MUSIC function_arglist_nonmusic chord_body_element 218 | music_function_identifier_musicless_prefix function_arglist_nonmusic 219 music_function_event: music_function_identifier_musicless_prefix EXPECT_MUSIC function_arglist_nonmusic post_event 220 | music_function_identifier_musicless_prefix function_arglist_nonmusic 221 command_element: command_event 222 | "\skip" duration_length 223 | "\[" 224 | "\]" 225 | "\" 226 | '|' 227 | "\partial" duration_length 228 | "\time" fraction 229 | "\mark" scalar 230 command_event: "\~" 231 | "\mark" "\default" 232 | tempo_event 233 | "\key" "\default" 234 | "\key" NOTENAME_PITCH SCM_IDENTIFIER 235 post_events: /* empty */ 236 | post_events post_event 237 post_event: direction_less_event 238 | script_dir music_function_event 239 | "--" 240 | "__" 241 | script_dir direction_reqd_event 242 | script_dir direction_less_event 243 | string_number_event 244 string_number_event: E_UNSIGNED 245 direction_less_char: '[' 246 | ']' 247 | '~' 248 | '(' 249 | ')' 250 | "\!" 251 | "\(" 252 | "\)" 253 | "\>" 254 | "\<" 255 direction_less_event: direction_less_char 256 | EVENT_IDENTIFIER 257 | tremolo_type 258 direction_reqd_event: gen_text_def 259 | script_abbreviation 260 octave_check: /* empty */ 261 | '=' 262 | '=' sub_quotes 263 | '=' sup_quotes 264 sup_quotes: ''' 265 | sup_quotes ''' 266 sub_quotes: ',' 267 | sub_quotes ',' 268 steno_pitch: NOTENAME_PITCH 269 | NOTENAME_PITCH sup_quotes 270 | NOTENAME_PITCH sub_quotes 271 steno_tonic_pitch: TONICNAME_PITCH 272 | TONICNAME_PITCH sup_quotes 273 | TONICNAME_PITCH sub_quotes 274 pitch: steno_pitch 275 pitch_also_in_chords: pitch 276 | steno_tonic_pitch 277 gen_text_def: full_markup 278 | string 279 | DIGIT 280 script_abbreviation: '^' 281 | '+' 282 | '-' 283 | '|' 284 | ">" 285 | '.' 286 | '_' 287 script_dir: '_' 288 | '^' 289 | '-' 290 absolute_pitch: steno_pitch 291 duration_length: multiplied_duration 292 optional_notemode_duration: /* empty */ 293 | multiplied_duration 294 steno_duration: bare_unsigned dots 295 | DURATION_IDENTIFIER dots 296 multiplied_duration: steno_duration 297 | multiplied_duration '*' bare_unsigned 298 | multiplied_duration '*' FRACTION 299 fraction: FRACTION 300 | UNSIGNED '/' UNSIGNED 301 dots: /* empty */ 302 | dots '.' 303 tremolo_type: ':' 304 | ':' bare_unsigned 305 bass_number: DIGIT 306 | UNSIGNED 307 | STRING 308 | full_markup 309 figured_bass_alteration: '-' 310 | '+' 311 | '!' 312 bass_figure: "_" 313 | bass_number 314 | bass_figure ']' 315 | bass_figure figured_bass_alteration 316 | bass_figure figured_bass_modification 317 figured_bass_modification: "\+" 318 | "\!" 319 | '/' 320 | "\" 321 br_bass_figure: bass_figure 322 | '[' bass_figure 323 figure_list: /* empty */ 324 | figure_list br_bass_figure 325 figure_spec: FIGURE_OPEN figure_list FIGURE_CLOSE 326 optional_rest: /* empty */ 327 | "\rest" 328 simple_element: pitch exclamations questions octave_check optional_notemode_duration optional_rest 329 | DRUM_PITCH optional_notemode_duration 330 | RESTNAME optional_notemode_duration 331 | lyric_element optional_notemode_duration 332 simple_chord_elements: simple_element 333 | new_chord 334 | figure_spec optional_notemode_duration 335 lyric_element: lyric_markup 336 | LYRICS_STRING 337 new_chord: steno_tonic_pitch optional_notemode_duration 338 | steno_tonic_pitch optional_notemode_duration chord_separator chord_items 339 chord_items: /* empty */ 340 | chord_items chord_item 341 chord_separator: ":" 342 | "^" 343 | "/" steno_tonic_pitch 344 | "/+" steno_tonic_pitch 345 chord_item: chord_separator 346 | step_numbers 347 | CHORD_MODIFIER 348 step_numbers: step_number 349 | step_numbers '.' step_number 350 step_number: bare_unsigned 351 | bare_unsigned '+' 352 | bare_unsigned "-" 353 tempo_range: bare_unsigned 354 | bare_unsigned '~' bare_unsigned 355 number_expression: number_expression '+' number_term 356 | number_expression '-' number_term 357 | number_term 358 number_term: number_factor 359 | number_factor '*' number_factor 360 | number_factor '/' number_factor 361 number_factor: '-' number_factor 362 | bare_number 363 bare_number: UNSIGNED 364 | REAL 365 | NUMBER_IDENTIFIER 366 | REAL NUMBER_IDENTIFIER 367 | UNSIGNED NUMBER_IDENTIFIER 368 bare_unsigned: UNSIGNED 369 | DIGIT 370 unsigned_number: bare_unsigned 371 | NUMBER_IDENTIFIER 372 exclamations: /* empty */ 373 | exclamations '!' 374 questions: /* empty */ 375 | questions '?' 376 lyric_markup: LYRIC_MARKUP_IDENTIFIER 378 lyric_markup: LYRIC_MARKUP markup_top 379 full_markup_list: MARKUPLINES_IDENTIFIER 381 full_markup_list: "\markuplines" markup_list 382 full_markup: MARKUP_IDENTIFIER 384 full_markup: "\markup" markup_top 385 markup_top: markup_list 386 | markup_head_1_list simple_markup 387 | simple_markup 388 markup_list: MARKUPLINES_IDENTIFIER 389 | markup_composed_list 390 | markup_braced_list 391 | markup_command_list 392 markup_composed_list: markup_head_1_list markup_braced_list 393 markup_braced_list: '{' markup_braced_list_body '}' 394 markup_braced_list_body: /* empty */ 395 | markup_braced_list_body markup 396 | markup_braced_list_body markup_list 397 markup_command_list: MARKUP_LIST_FUNCTION markup_command_list_arguments 398 markup_command_basic_arguments: EXPECT_MARKUP_LIST markup_command_list_arguments markup_list 399 | EXPECT_SCM markup_command_list_arguments embedded_scm 400 | EXPECT_NO_MORE_ARGS 401 markup_command_list_arguments: markup_command_basic_arguments 402 | EXPECT_MARKUP markup_command_list_arguments markup 403 markup_head_1_item: MARKUP_FUNCTION EXPECT_MARKUP markup_command_list_arguments 404 markup_head_1_list: markup_head_1_item 405 | markup_head_1_list markup_head_1_item 406 simple_markup: STRING 407 | MARKUP_IDENTIFIER 408 | LYRIC_MARKUP_IDENTIFIER 409 | STRING_IDENTIFIER 411 simple_markup: "\score" 0 '{' score_body '}' 412 | MARKUP_FUNCTION markup_command_basic_arguments 413 markup: markup_head_1_list simple_markup 414 | simple_markup Terminals, with rules where they appear "-" (319) 352 "--" (340) 239 "/" (320) 343 "/+" (316) 344 ":" (318) 341 "<" (321) 210 "<<" (323) 97 ">" (322) 210 284 ">>" (324) 97 "\!" (329) 250 318 "\" (325) 225 320 "\(" (331) 251 "\)" (328) 252 "\+" (334) 317 "\<" (333) 254 "\>" (326) 253 "\[" (330) 223 "\]" (332) 224 "\accepts" (261) 174 "\addlyrics" (259) 153 155 157 159 "\alias" (262) 177 "\alternative" (263) 92 "\book" (264) 44 "\bookpart" (265) 55 "\C[haracter]" (327) "\change" (266) 164 "\chordmode" (267) 144 "\chords" (268) 148 "\consists" (269) 172 "\context" (270) 38 132 "\default" (271) 231 233 "\defaultchild" (272) 175 "\denies" (273) 176 "\description" (274) 179 "\drummode" (275) 142 "\drums" (276) 146 "\figuremode" (277) 143 "\figures" (278) 147 "\grobdescriptions" (279) 41 "\header" (280) 18 "\invalid" (281) 5 "\key" (282) 233 234 "\layout" (283) 75 "\lyricmode" (284) 145 "\lyrics" (285) 149 "\lyricsto" (286) 163 "\mark" (287) 229 231 "\markup" (288) 384 "\markuplines" (289) 381 "\midi" (290) 74 "\name" (291) 180 "\new" (315) 133 "\notemode" (292) 141 "\octave" (293) "\once" (294) 191 "\override" (295) 170 186 "\paper" (296) 73 "\partial" (297) 227 "\relative" (298) 150 151 "\remove" (299) 173 "\repeat" (300) 93 "\rest" (301) 327 "\revert" (302) 171 187 "\score" (303) 65 411 "\sequential" (304) 94 "\set" (305) 188 "\simultaneous" (306) 96 "\skip" (307) 222 "\tempo" (308) 82 83 84 "\time" (314) 228 "\times" (309) 134 "\transpose" (310) 136 "\type" (311) 178 "\unset" (312) 169 189 "\with" (313) 103 104 "\~" (335) 230 "^" (317) 342 "_" (339) 312 "__" (336) 240 $end (0) 0 '!' (33) 311 373 ''' (39) 264 265 '(' (40) 248 ')' (41) 249 '*' (42) 297 298 359 '+' (43) 194 281 310 351 355 ',' (44) 266 267 '-' (45) 282 289 309 356 361 '.' (46) 185 285 302 349 '/' (47) 300 319 360 ':' (58) 303 304 '=' (61) 21 22 82 83 130 164 168 170 186 188 261 262 263 '?' (63) 375 '[' (91) 245 322 ']' (93) 246 314 '^' (94) 280 288 '_' (95) 286 287 '{' (123) 18 38 44 55 65 77 78 92 94 95 96 103 393 411 '|' (124) 226 283 '}' (125) 18 38 44 55 65 72 92 94 95 96 103 393 411 '~' (126) 247 354 BOOK_IDENTIFIER (352) 46 57 CHORD_MODIFIER (354) 347 CHORD_REPETITION (355) 205 CHORDMODIFIER_PITCH (353) CHORDMODIFIERS (341) CONTEXT_DEF_IDENTIFIER (356) 40 CONTEXT_MOD_IDENTIFIER (357) 104 105 110 DIGIT (344) 36 203 279 305 369 DRUM_PITCH (358) 214 329 DURATION_IDENTIFIER (359) 295 E_UNSIGNED (345) 244 error (256) 4 54 64 70 81 88 EVENT_IDENTIFIER (360) 256 EXPECT_MARKUP (347) 118 119 122 123 402 403 EXPECT_MARKUP_LIST (350) 398 EXPECT_MUSIC (348) 117 217 219 EXPECT_NO_MORE_ARGS (351) 121 125 400 EXPECT_SCM (349) 120 124 399 FIGURE_CLOSE (337) 325 FIGURE_OPEN (338) 325 FRACTION (361) 298 299 LYRIC_MARKUP (342) 378 LYRIC_MARKUP_IDENTIFIER (363) 376 408 LYRICS_STRING (362) 20 196 199 336 MARKUP_FUNCTION (364) 403 412 MARKUP_IDENTIFIER (366) 382 407 MARKUP_LIST_FUNCTION (365) 397 MARKUPLINES_IDENTIFIER (367) 379 388 MULTI_MEASURE_REST (343) 206 MUSIC_FUNCTION (368) 128 216 MUSIC_IDENTIFIER (369) 99 155 159 161 NOTENAME_PITCH (370) 234 268 269 270 NUMBER_IDENTIFIER (371) 365 366 367 371 OUTPUT_DEF_IDENTIFIER (372) 78 PREC_BOT (260) PREC_TOP (258) REAL (373) 364 366 RESTNAME (374) 330 SCM_IDENTIFIER (375) 15 234 SCM_TOKEN (376) 14 SCORE_IDENTIFIER (377) 67 STRING (378) 19 164 168 182 192 195 307 406 STRING_IDENTIFIER (379) 193 197 409 TONICNAME_PITCH (380) 271 272 273 UNARY_MINUS (381) UNSIGNED (346) 300 306 363 367 368 Nonterminals, with rules where they appear absolute_pitch (240) on left: 290, on right: 150 alternative_music (173) on left: 91 92, on right: 93 assignment (155) on left: 21 22 23, on right: 3 17 79 assignment_id (154) on left: 19 20, on right: 21 22 bare_number (269) on left: 363 364 365 366 367, on right: 200 362 bass_number (248) on left: 305 306 307 308, on right: 313 book_block (159) on left: 44, on right: 7 25 bookpart_block (161) on left: 55, on right: 8 26 48 br_bass_figure (252) on left: 321 322, on right: 324 chord_body (216) on left: 210, on right: 209 chord_body_element (218) on left: 213 214 215, on right: 212 217 chord_body_elements (217) on left: 211 212, on right: 210 212 chord_item (262) on left: 345 346 347, on right: 340 chord_items (260) on left: 339 340, on right: 338 340 chord_separator (261) on left: 341 342 343 344, on right: 338 345 command_event (223) on left: 230 231 232 233 234, on right: 221 composite_music (182) on left: 111 112, on right: 10 50 60 90 151 context_change (202) on left: 164, on right: 101 context_def_spec_block (157) on left: 38, on right: 28 80 context_mod (207) on left: 181 182 183, on right: 42 109 context_mod_list (181) on left: 108 109 110, on right: 103 109 110 context_modification (178) on left: 103 104 105, on right: 37 43 107 context_prop_spec (208) on left: 184 185, on right: 186 187 188 189 direction_less_event (228) on left: 255 256 257, on right: 237 242 direction_reqd_event (229) on left: 258 259, on right: 241 dots (246) on left: 301 302, on right: 294 295 302 duration_length (241) on left: 291, on right: 222 227 event_chord (214) on left: 204 205 206 207 208, on right: 98 exclamations (272) on left: 372 373, on right: 213 328 373 figure_list (253) on left: 323 324, on right: 324 325 figure_spec (254) on left: 325, on right: 334 figured_bass_alteration (249) on left: 309 310 311, on right: 315 figured_bass_modification (251) on left: 317 318 319 320, on right: 316 fraction (245) on left: 299 300, on right: 134 228 full_markup_list (276) on left: 379 381, on right: 12 35 52 62 function_arglist_music_last (185) on left: 117, on right: 126 function_arglist_nonmusic_last (186) on left: 118 119 120, on right: 127 function_scm_argument (184) on left: 115 116, on right: 120 124 gen_text_def (237) on left: 277 278 279, on right: 258 generic_prefix_music_scm (189) on left: 128, on right: 131 lilypond (149) on left: 1 2 3 4 5, on right: 0 2 3 4 5 lilypond_header (153) on left: 18, on right: 6 53 63 68 lilypond_header_body (152) on left: 16 17, on right: 17 18 lyric_element (258) on left: 335 336, on right: 331 lyric_markup (274) on left: 376 378, on right: 335 markup (292) on left: 413 414, on right: 395 402 markup_braced_list (283) on left: 393, on right: 390 392 markup_braced_list_body (284) on left: 394 395 396, on right: 393 395 396 markup_command_list (285) on left: 397, on right: 391 markup_composed_list (282) on left: 392, on right: 389 markup_head_1_item (288) on left: 403, on right: 404 405 markup_head_1_list (289) on left: 404 405, on right: 386 392 405 413 markup_list (281) on left: 388 389 390 391, on right: 381 385 396 398 markup_top (280) on left: 385 386 387, on right: 378 384 mode_changing_head (192) on left: 141 142 143 144 145, on right: 137 multiplied_duration (244) on left: 296 297 298, on right: 291 293 297 298 music_function_chord_body (220) on left: 217 218, on right: 215 music_function_event (221) on left: 219 220, on right: 238 music_list (171) on left: 85 86 87 88, on right: 86 87 88 92 94 95 96 97 music_property_def (210) on left: 190 191, on right: 100 new_chord (259) on left: 337 338, on right: 333 new_lyrics (195) on left: 153 155 157 159, on right: 157 159 160 161 note_chord_element (215) on left: 209, on right: 208 number_expression (266) on left: 355 356 357, on right: 31 355 356 number_factor (268) on left: 361 362, on right: 358 359 360 361 number_term (267) on left: 358 359 360, on right: 355 356 357 octave_check (230) on left: 260 261 262 263, on right: 213 328 optional_context_mod (180) on left: 106 107, on right: 132 133 138 optional_id (190) on left: 129 130, on right: 132 133 optional_rest (255) on left: 326 327, on right: 328 output_def (166) on left: 72, on right: 13 27 69 71 output_def_body (169) on left: 77 78 79 80 81, on right: 72 79 80 81 output_def_head (167) on left: 73 74 75, on right: 76 output_def_head_with_mode_switch (168) on left: 76, on right: 77 78 paper_block (165) on left: 71, on right: 47 58 pitch (235) on left: 274, on right: 213 275 328 pitch_also_in_chords (236) on left: 275 276, on right: 136 post_events (224) on left: 235 236, on right: 204 205 206 209 213 214 236 property_operation (205) on left: 168 169 170 171, on right: 181 property_path (204) on left: 167, on right: 22 170 186 property_path_revved (203) on left: 165 166, on right: 166 167 questions (273) on left: 374 375, on right: 213 328 375 re_rhythmed_music (200) on left: 160 161 163, on right: 140 relative_music (194) on left: 150 151, on right: 139 repeated_music (174) on left: 93, on right: 135 score_block (163) on left: 65, on right: 9 24 49 59 score_body (164) on left: 66 67 68 69 70, on right: 65 68 69 70 411 script_dir (239) on left: 287 288 289, on right: 238 241 242 sequential_music (175) on left: 94 95, on right: 114 simple_chord_elements (257) on left: 332 333 334, on right: 204 simple_element (256) on left: 328 329 330 331, on right: 332 simple_music (177) on left: 98 99 100 101, on right: 89 simultaneous_music (176) on left: 96 97, on right: 113 steno_duration (243) on left: 294 295, on right: 82 83 296 steno_pitch (233) on left: 268 269 270, on right: 274 290 step_number (264) on left: 350 351 352, on right: 348 349 step_numbers (263) on left: 348 349, on right: 346 349 string (211) on left: 192 193 194, on right: 32 194 198 278 string_number_event (226) on left: 244, on right: 243 sub_quotes (232) on left: 266 267, on right: 262 267 270 273 sup_quotes (231) on left: 264 265, on right: 263 265 269 272 tempo_event (170) on left: 82 83 84, on right: 232 tempo_range (265) on left: 353 354, on right: 82 83 toplevel_expression (150) on left: 6 7 8 9 10 11 12 13, on right: 2 tremolo_type (247) on left: 303 304, on right: 257 unsigned_number (271) on left: 370 371, on right: 93
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D. GNU Free Documentation License
Version 1.3, 3 November 2008
Copyright © 2000, 2001, 2002, 2007, 2008 Free Software Foundation, Inc. http://fsf.org/ Everyone is permitted to copy and distribute verbatim copies of this license document, but changing it is not allowed. |
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PREAMBLE
The purpose of this License is to make a manual, textbook, or other functional and useful document free in the sense of freedom: to assure everyone the effective freedom to copy and redistribute it, with or without modifying it, either commercially or noncommercially. Secondarily, this License preserves for the author and publisher a way to get credit for their work, while not being considered responsible for modifications made by others.
This License is a kind of “copyleft”, which means that derivative works of the document must themselves be free in the same sense. It complements the GNU General Public License, which is a copyleft license designed for free software.
We have designed this License in order to use it for manuals for free software, because free software needs free documentation: a free program should come with manuals providing the same freedoms that the software does. But this License is not limited to software manuals; it can be used for any textual work, regardless of subject matter or whether it is published as a printed book. We recommend this License principally for works whose purpose is instruction or reference.
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APPLICABILITY AND DEFINITIONS
This License applies to any manual or other work, in any medium, that contains a notice placed by the copyright holder saying it can be distributed under the terms of this License. Such a notice grants a world-wide, royalty-free license, unlimited in duration, to use that work under the conditions stated herein. The “Document”, below, refers to any such manual or work. Any member of the public is a licensee, and is addressed as “you”. You accept the license if you copy, modify or distribute the work in a way requiring permission under copyright law.
A “Modified Version” of the Document means any work containing the Document or a portion of it, either copied verbatim, or with modifications and/or translated into another language.
A “Secondary Section” is a named appendix or a front-matter section of the Document that deals exclusively with the relationship of the publishers or authors of the Document to the Document’s overall subject (or to related matters) and contains nothing that could fall directly within that overall subject. (Thus, if the Document is in part a textbook of mathematics, a Secondary Section may not explain any mathematics.) The relationship could be a matter of historical connection with the subject or with related matters, or of legal, commercial, philosophical, ethical or political position regarding them.
The “Invariant Sections” are certain Secondary Sections whose titles are designated, as being those of Invariant Sections, in the notice that says that the Document is released under this License. If a section does not fit the above definition of Secondary then it is not allowed to be designated as Invariant. The Document may contain zero Invariant Sections. If the Document does not identify any Invariant Sections then there are none.
The “Cover Texts” are certain short passages of text that are listed, as Front-Cover Texts or Back-Cover Texts, in the notice that says that the Document is released under this License. A Front-Cover Text may be at most 5 words, and a Back-Cover Text may be at most 25 words.
A “Transparent” copy of the Document means a machine-readable copy, represented in a format whose specification is available to the general public, that is suitable for revising the document straightforwardly with generic text editors or (for images composed of pixels) generic paint programs or (for drawings) some widely available drawing editor, and that is suitable for input to text formatters or for automatic translation to a variety of formats suitable for input to text formatters. A copy made in an otherwise Transparent file format whose markup, or absence of markup, has been arranged to thwart or discourage subsequent modification by readers is not Transparent. An image format is not Transparent if used for any substantial amount of text. A copy that is not “Transparent” is called “Opaque”.
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The Document may include Warranty Disclaimers next to the notice which states that this License applies to the Document. These Warranty Disclaimers are considered to be included by reference in this License, but only as regards disclaiming warranties: any other implication that these Warranty Disclaimers may have is void and has no effect on the meaning of this License.
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VERBATIM COPYING
You may copy and distribute the Document in any medium, either commercially or noncommercially, provided that this License, the copyright notices, and the license notice saying this License applies to the Document are reproduced in all copies, and that you add no other conditions whatsoever to those of this License. You may not use technical measures to obstruct or control the reading or further copying of the copies you make or distribute. However, you may accept compensation in exchange for copies. If you distribute a large enough number of copies you must also follow the conditions in section 3.
You may also lend copies, under the same conditions stated above, and you may publicly display copies.
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COPYING IN QUANTITY
If you publish printed copies (or copies in media that commonly have printed covers) of the Document, numbering more than 100, and the Document’s license notice requires Cover Texts, you must enclose the copies in covers that carry, clearly and legibly, all these Cover Texts: Front-Cover Texts on the front cover, and Back-Cover Texts on the back cover. Both covers must also clearly and legibly identify you as the publisher of these copies. The front cover must present the full title with all words of the title equally prominent and visible. You may add other material on the covers in addition. Copying with changes limited to the covers, as long as they preserve the title of the Document and satisfy these conditions, can be treated as verbatim copying in other respects.
If the required texts for either cover are too voluminous to fit legibly, you should put the first ones listed (as many as fit reasonably) on the actual cover, and continue the rest onto adjacent pages.
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It is requested, but not required, that you contact the authors of the Document well before redistributing any large number of copies, to give them a chance to provide you with an updated version of the Document.
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MODIFICATIONS
You may copy and distribute a Modified Version of the Document under the conditions of sections 2 and 3 above, provided that you release the Modified Version under precisely this License, with the Modified Version filling the role of the Document, thus licensing distribution and modification of the Modified Version to whoever possesses a copy of it. In addition, you must do these things in the Modified Version:
- Use in the Title Page (and on the covers, if any) a title distinct from that of the Document, and from those of previous versions (which should, if there were any, be listed in the History section of the Document). You may use the same title as a previous version if the original publisher of that version gives permission.
- List on the Title Page, as authors, one or more persons or entities responsible for authorship of the modifications in the Modified Version, together with at least five of the principal authors of the Document (all of its principal authors, if it has fewer than five), unless they release you from this requirement.
- State on the Title page the name of the publisher of the Modified Version, as the publisher.
- Preserve all the copyright notices of the Document.
- Add an appropriate copyright notice for your modifications adjacent to the other copyright notices.
- Include, immediately after the copyright notices, a license notice giving the public permission to use the Modified Version under the terms of this License, in the form shown in the Addendum below.
- Preserve in that license notice the full lists of Invariant Sections and required Cover Texts given in the Document’s license notice.
- Include an unaltered copy of this License.
- Preserve the section Entitled “History”, Preserve its Title, and add to it an item stating at least the title, year, new authors, and publisher of the Modified Version as given on the Title Page. If there is no section Entitled “History” in the Document, create one stating the title, year, authors, and publisher of the Document as given on its Title Page, then add an item describing the Modified Version as stated in the previous sentence.
- Preserve the network location, if any, given in the Document for public access to a Transparent copy of the Document, and likewise the network locations given in the Document for previous versions it was based on. These may be placed in the “History” section. You may omit a network location for a work that was published at least four years before the Document itself, or if the original publisher of the version it refers to gives permission.
- For any section Entitled “Acknowledgements” or “Dedications”, Preserve the Title of the section, and preserve in the section all the substance and tone of each of the contributor acknowledgements and/or dedications given therein.
- Preserve all the Invariant Sections of the Document, unaltered in their text and in their titles. Section numbers or the equivalent are not considered part of the section titles.
- Delete any section Entitled “Endorsements”. Such a section may not be included in the Modified Version.
- Do not retitle any existing section to be Entitled “Endorsements” or to conflict in title with any Invariant Section.
- Preserve any Warranty Disclaimers.
If the Modified Version includes new front-matter sections or appendices that qualify as Secondary Sections and contain no material copied from the Document, you may at your option designate some or all of these sections as invariant. To do this, add their titles to the list of Invariant Sections in the Modified Version’s license notice. These titles must be distinct from any other section titles.
You may add a section Entitled “Endorsements”, provided it contains nothing but endorsements of your Modified Version by various parties—for example, statements of peer review or that the text has been approved by an organization as the authoritative definition of a standard.
You may add a passage of up to five words as a Front-Cover Text, and a passage of up to 25 words as a Back-Cover Text, to the end of the list of Cover Texts in the Modified Version. Only one passage of Front-Cover Text and one of Back-Cover Text may be added by (or through arrangements made by) any one entity. If the Document already includes a cover text for the same cover, previously added by you or by arrangement made by the same entity you are acting on behalf of, you may not add another; but you may replace the old one, on explicit permission from the previous publisher that added the old one.
The author(s) and publisher(s) of the Document do not by this License give permission to use their names for publicity for or to assert or imply endorsement of any Modified Version.
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COMBINING DOCUMENTS
You may combine the Document with other documents released under this License, under the terms defined in section 4 above for modified versions, provided that you include in the combination all of the Invariant Sections of all of the original documents, unmodified, and list them all as Invariant Sections of your combined work in its license notice, and that you preserve all their Warranty Disclaimers.
The combined work need only contain one copy of this License, and multiple identical Invariant Sections may be replaced with a single copy. If there are multiple Invariant Sections with the same name but different contents, make the title of each such section unique by adding at the end of it, in parentheses, the name of the original author or publisher of that section if known, or else a unique number. Make the same adjustment to the section titles in the list of Invariant Sections in the license notice of the combined work.
In the combination, you must combine any sections Entitled “History” in the various original documents, forming one section Entitled “History”; likewise combine any sections Entitled “Acknowledgements”, and any sections Entitled “Dedications”. You must delete all sections Entitled “Endorsements.”
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COLLECTIONS OF DOCUMENTS
You may make a collection consisting of the Document and other documents released under this License, and replace the individual copies of this License in the various documents with a single copy that is included in the collection, provided that you follow the rules of this License for verbatim copying of each of the documents in all other respects.
You may extract a single document from such a collection, and distribute it individually under this License, provided you insert a copy of this License into the extracted document, and follow this License in all other respects regarding verbatim copying of that document.
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AGGREGATION WITH INDEPENDENT WORKS
A compilation of the Document or its derivatives with other separate and independent documents or works, in or on a volume of a storage or distribution medium, is called an “aggregate” if the copyright resulting from the compilation is not used to limit the legal rights of the compilation’s users beyond what the individual works permit. When the Document is included in an aggregate, this License does not apply to the other works in the aggregate which are not themselves derivative works of the Document.
If the Cover Text requirement of section 3 is applicable to these copies of the Document, then if the Document is less than one half of the entire aggregate, the Document’s Cover Texts may be placed on covers that bracket the Document within the aggregate, or the electronic equivalent of covers if the Document is in electronic form. Otherwise they must appear on printed covers that bracket the whole aggregate.
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TRANSLATION
Translation is considered a kind of modification, so you may distribute translations of the Document under the terms of section 4. Replacing Invariant Sections with translations requires special permission from their copyright holders, but you may include translations of some or all Invariant Sections in addition to the original versions of these Invariant Sections. You may include a translation of this License, and all the license notices in the Document, and any Warranty Disclaimers, provided that you also include the original English version of this License and the original versions of those notices and disclaimers. In case of a disagreement between the translation and the original version of this License or a notice or disclaimer, the original version will prevail.
If a section in the Document is Entitled “Acknowledgements”, “Dedications”, or “History”, the requirement (section 4) to Preserve its Title (section 1) will typically require changing the actual title.
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TERMINATION
You may not copy, modify, sublicense, or distribute the Document except as expressly provided under this License. Any attempt otherwise to copy, modify, sublicense, or distribute it is void, and will automatically terminate your rights under this License.
However, if you cease all violation of this License, then your license from a particular copyright holder is reinstated (a) provisionally, unless and until the copyright holder explicitly and finally terminates your license, and (b) permanently, if the copyright holder fails to notify you of the violation by some reasonable means prior to 60 days after the cessation.
Moreover, your license from a particular copyright holder is reinstated permanently if the copyright holder notifies you of the violation by some reasonable means, this is the first time you have received notice of violation of this License (for any work) from that copyright holder, and you cure the violation prior to 30 days after your receipt of the notice.
Termination of your rights under this section does not terminate the licenses of parties who have received copies or rights from you under this License. If your rights have been terminated and not permanently reinstated, receipt of a copy of some or all of the same material does not give you any rights to use it.
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FUTURE REVISIONS OF THIS LICENSE
The Free Software Foundation may publish new, revised versions of the GNU Free Documentation License from time to time. Such new versions will be similar in spirit to the present version, but may differ in detail to address new problems or concerns. See http://www.gnu.org/copyleft/.
Each version of the License is given a distinguishing version number. If the Document specifies that a particular numbered version of this License “or any later version” applies to it, you have the option of following the terms and conditions either of that specified version or of any later version that has been published (not as a draft) by the Free Software Foundation. If the Document does not specify a version number of this License, you may choose any version ever published (not as a draft) by the Free Software Foundation. If the Document specifies that a proxy can decide which future versions of this License can be used, that proxy’s public statement of acceptance of a version permanently authorizes you to choose that version for the Document.
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RELICENSING
“Massive Multiauthor Collaboration Site” (or “MMC Site”) means any World Wide Web server that publishes copyrightable works and also provides prominent facilities for anybody to edit those works. A public wiki that anybody can edit is an example of such a server. A “Massive Multiauthor Collaboration” (or “MMC”) contained in the site means any set of copyrightable works thus published on the MMC site.
“CC-BY-SA” means the Creative Commons Attribution-Share Alike 3.0 license published by Creative Commons Corporation, a not-for-profit corporation with a principal place of business in San Francisco, California, as well as future copyleft versions of that license published by that same organization.
“Incorporate” means to publish or republish a Document, in whole or in part, as part of another Document.
An MMC is “eligible for relicensing” if it is licensed under this License, and if all works that were first published under this License somewhere other than this MMC, and subsequently incorporated in whole or in part into the MMC, (1) had no cover texts or invariant sections, and (2) were thus incorporated prior to November 1, 2008.
The operator of an MMC Site may republish an MMC contained in the site under CC-BY-SA on the same site at any time before August 1, 2009, provided the MMC is eligible for relicensing.
ADDENDUM: How to use this License for your documents
To use this License in a document you have written, include a copy of the License in the document and put the following copyright and license notices just after the title page:
Copyright (C) year your name. Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.3 or any later version published by the Free Software Foundation; with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. A copy of the license is included in the section entitled ``GNU Free Documentation License''. |
If you have Invariant Sections, Front-Cover Texts and Back-Cover Texts, replace the “with…Texts.” line with this:
with the Invariant Sections being list their titles, with the Front-Cover Texts being list, and with the Back-Cover Texts being list. |
If you have Invariant Sections without Cover Texts, or some other combination of the three, merge those two alternatives to suit the situation.
If your document contains nontrivial examples of program code, we recommend releasing these examples in parallel under your choice of free software license, such as the GNU General Public License, to permit their use in free software.
[ << GNU Free Documentation License ] | [トップ][目次][インデックス][ ? ] | [ LilyPond インデックス >> ] | ||
[ < GNU Free Documentation License ] | [ 上へ : Top ] | [ LilyPond インデックス > ] |
E. LilyPond コマンド インデックス
このインデックスは、すべての LilyPond コマンドとキーワードをリストアップしていて、それらの使い方について説明しているマニュアルのセクションへのリンクがあります。各リンクは 2 つのパートに分かれています。最初のパートは、マニュアルの中でコマンドあるいはキーワードが出現する場所へのリンクです。2 番目のパートは、マニュアルの中でコマンドあるいはキーワードが出現するセクションの先頭へのリンクです。
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[ < LilyPond コマンド インデックス ] | [ 上へ : Top ] | [ > ] |
F. LilyPond インデックス
すべての LilyPond コマンドとキーワードに加えて、このインデックスは、それらに関連する音楽用語や単語をリストアップしていて、そのトピックスについて説明しているマニュアルのセクションへのリンクがあります。各リンクは 2 つのパートに分かれています。最初のパートは、マニュアルの中でトピックスが出現する場所へのリンクです。2 番目のパートは、マニュアルの中でトピックスが出現するセクションの先頭へのリンクです。
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脚注
[1] Scheme tutorial, contains a short tutorial on entering numbers, lists, strings, and symbols in Scheme.
[トップ][目次][インデックス][ ? ] |
目次
- 1. 音楽記譜法
- 2. Specialist notation
- 2.1 Vocal music
- 2.2 Keyboard and other multi-staff instruments
- 2.3 Unfretted string instruments
- 2.4 Fretted string instruments
- 2.5 Percussion
- 2.6 Wind instruments
- 2.7 Chord notation
- 2.8 Contemporary music
- 2.9 Ancient notation
- 2.10 World music
- 3. General input and output
- 3.1 Input structure
- 3.2 Titles and headers
- 3.3 Working with input files
- 3.4 Controlling output
- 3.5 MIDI output
- 4. Spacing issues
- 4.1 Page layout
- 4.2 Score layout
- 4.3 Breaks
- 4.4 Vertical spacing
- 4.5 Horizontal spacing
- 4.6 Fitting music onto fewer pages
- 5. Changing defaults
- 5.1 Interpretation contexts
- 5.2 Explaining the Internals Reference
- 5.3 Modifying properties
- 5.4 Useful concepts and properties
- 5.5 Advanced tweaks
- 5.6 Using music functions
- A. Notation manual tables
- A.1 Chord name chart
- A.2 Common chord modifiers
- A.3 Predefined string tunings
- A.4 Predefined fretboard diagrams
- A.5 MIDI instruments
- A.6 List of colors
- A.7 The Feta font
- Clef glyphs
- Time Signature glyphs
- Number glyphs
- Accidental glyphs
- Default Notehead glyphs
- Special Notehead glyphs
- Shape-note Notehead glyphs
- Rest glyphs
- Flag glyphs
- Dot glyphs
- Dynamic glyphs
- Script glyphs
- Arrowhead glyphs
- Bracket-tip glyphs
- Pedal glyphs
- Accordion glyphs
- Vaticana glyphs
- Medicaea glyphs
- Hufnagel glyphs
- Mensural glyphs
- Neomensural glyphs
- Petrucci glyphs
- Solesmes glyphs
- A.8 Note head styles
- A.9 Text markup commands
- A.10 Text markup list commands
- A.11 List of articulations
- A.12 Percussion notes
- A.13 Technical glossary
- A.14 All context properties
- A.15 Layout properties
- A.16 Available music functions
- A.17 Predefined type predicates
- A.18 Scheme functions
- B. Cheat sheet
- C. LilyPond 文法
- D. GNU Free Documentation License
- E. LilyPond コマンド インデックス
- F. LilyPond インデックス
[トップ][目次][インデックス][ ? ] |
このドキュメントについて
This document was generated by Graham Percival on 7 月 26, 2011 using texi2html 1.82.
ナビゲーション パネルの中にあるボタンには以下のような意味があります:
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[ << ] | 大きく戻る | この章あるいは前の章の先頭 | 1 |
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[トップ] | トップ | ドキュメントの表紙 (先頭) | |
[目次] | 目次 | 目次 | |
[インデックス] | インデックス | インデックス | |
[ ? ] | 情報 | 情報 (ヘルプ) | |
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[ >> ] | 大きく進む | 次の章 | 2 |
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[ < ] | 戻る | 前のセクション | 1.2.2 |
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[ 上へ ] | 上 | 上のセクション | 1.2 |
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[ > ] | 進む | 次のセクション | 1.2.4 |
この表で、 行き先 は、現在の位置が以下のような構造を持つドキュメントの サブサブセクション 1-2-3 であると仮定しています:
- 1. セクション 1
- 1.1 サブセクション 1-1
- ...
- 1.2 サブセクション 1-2
- 1.2.1 サブサブセクション 1-2-1
- 1.2.2 サブサブセクション 1-2-2
- 1.2.3 サブサブセクション 1-2-3 <== 現在の位置
- 1.2.4 サブサブセクション 1-2-4
- 1.3 サブセクション 1-3
- ...
- 1.4 サブセクション 1-4
- 1.1 サブセクション 1-1