This document shows a selected set of LilyPond snippets from the LilyPond Snippet Repository (LSR). It is in the public domain.
Please note that it is not an exact subset of LSR: some snippets come from input/new LilyPond sources directory, and snippets from LSR are converted through convert-ly, as LSR is based on a stable LilyPond version, and this document may be for a newer version (see below).
Snippets are grouped by tags; tags listed in the table of contents match a section of LilyPond notation manual. Snippets may have several tags, and not all LSR tags may appear in this document.
In the HTML version of this document, you can click on the file name or figure for each example to see the corresponding input file.
Ambits can be added per voice. In that 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 } >>
If you have multiple voices in a single staff and you want a single
ambitus per staff rather than per voice, add the
Ambitus_engraver
to the Staff
context rather than to the
Voice
context.
\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 } >>
applying-noteheads-styles-depending-on-the-step-of-the-scale.ly
The shapeNoteStyles property gives you the ability to define various note heads styles for each step of the scale (as defined 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, xcircle etc. are allowed) or based on old American engraving tradition (you can use some latin note names as well).
That said, if you're trying to imitate old American song books, you may also want to try LilyPond's predefined note heads styles, 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 correspondance between harmonic functions and note heads styles.
fragment = { \key c \major c1 d e f g a b c \break } \score { \new Staff { \transpose c d \relative { \set shapeNoteStyles = ##(do re mi fa #f la ti) \fragment \break } \relative { \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond) \fragment } } }
clefs-commonly-tweaked-properties.ly
The command \clef "treble_8"
is equivalent to setting
clefGlyph
, clefPosition
(which controls the Y position of
the clef), middleCPosition
and clefOctavation
. A clef is
printed when any of these properties 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 centre line, positive numbers displacing upwards, counting 1 for each line and space. The clefOctavation value would normally be set to 7, -7, 15 or -15, but other values are not invalid.
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
explicitClefVisibility Staff property to the value
end-of-line-invisible
. The default behaviour can be recovered
with \unset Staff.explicitClefVisibility
.
The following examples show the possibilities when setting these properties manually. On the first line, the manual changes preserve the standard relative positioning of clefs and notes, whereas on the second line, they do not.
{ % The default treble clef c'1 % The standard bass clef \set Staff.clefGlyph = #"clefs.F" \set Staff.clefPosition = #2 \set Staff.middleCPosition = #6 c' % The baritone clef \set Staff.clefGlyph = #"clefs.C" \set Staff.clefPosition = #4 \set Staff.middleCPosition = #4 c' % The standard choral tenor clef \set Staff.clefGlyph = #"clefs.G" \set Staff.clefPosition = #-2 \set Staff.clefOctavation = #-7 \set Staff.middleCPosition = #1 c' % A non-standard clef \set Staff.clefPosition = #0 \set Staff.clefOctavation = #0 \set Staff.middleCPosition = #-4 c' \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' \set Staff.clefGlyph = #"clefs.G" c' \set Staff.clefGlyph = #"clefs.C" c' \set Staff.clefOctavation = #7 c' \set Staff.clefOctavation = #0 \set Staff.clefPosition = #0 c' % Here we go back to the normal clef: \set Staff.middleCPosition = #4 c' }
creating-a-sequence-of-notes-on-various-pitches.ly
In music that contains many occurrences of the same sequence of notes at different pitches, you can use the following music function. It takes a note, of which the pitch is used. The supporting Scheme functions were borrowed from the Tips and Tricks document in the manual.
This example creates the rhythm used throughout Mars, from The Planets, by Gustav Holst.
#(define (make-note-req p d) (make-music 'NoteEvent 'duration d 'pitch p)) #(define (make-note p d) (make-music 'EventChord 'elements (list (make-note-req p d)))) #(define (seq-music-list elts) (make-music 'SequentialMusic 'elements elts)) #(define (make-triplet elt) (make-music 'TimeScaledMusic 'denominator 3 'numerator 2 'element elt)) rhythm = #(define-music-function (parser location note) (ly:music?) "Make the rhythm in Mars (the Planets) at the given note's pitch" (let* ((p (ly:music-property (car (ly:music-property note 'elements)) 'pitch))) (seq-music-list (list (make-triplet (seq-music-list (list (make-note p (ly:make-duration 3 0 2 3)) (make-note p (ly:make-duration 3 0 2 3)) (make-note p (ly:make-duration 3 0 2 3)) ))) (make-note p (ly:make-duration 2 0)) (make-note p (ly:make-duration 2 0)) (make-note p (ly:make-duration 3 0)) (make-note p (ly:make-duration 3 0)) (make-note p (ly:make-duration 2 0)) )))) \score { \new Staff { \time 5/4 \rhythm c' \rhythm c'' \rhythm g } }
dodecaphonic-style-accidentals-for-each-note-including-naturals.ly
In early XXth century works, starting with Schönberg, 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 with LilyPond.
webernAccidentals = { % the 5s are just "a value different from any accidental" \set Staff.keySignature = #'((0 . 5) (1 . 5) (2 . 5) (3 . 5) (4 . 5) (5 . 5) (6 . 5)) \set Staff.extraNatural = ##f #(set-accidental-style 'forget) } \layout { \context { \Staff \remove Key_engraver } } \score { { \webernAccidentals c' dis' cis' cis' c' dis' cis' cis' c' c' dis' des' } }
This Scheme-based snippet allows you to generate 24 random notes (or as many as you want), based on the current time (or any randomish number you might wish to specify instead, so you can obtain the same random notes each time): i.e. to get different random notes patterns, just change this number.
\score { { #(let ((random-state (seed->random-state (current-time)))) (ly:export (make-music 'SequentialMusic 'elements (map (lambda x (let ((idx (random 12 random-state))) (make-music 'EventChord 'elements (list (make-music 'NoteEvent 'duration (ly:make-duration 2 0 1 1) 'pitch (ly:make-pitch (quotient idx 7) (remainder idx 7) 0)))))) (make-list 24))))) } }
Makam is Turkish type of melody that uses 1/9 tone microtonal alterations.
% Define 1/9 alterations. #(define-public KOMA 1/9) #(define-public BAKIYE 4/9) #(define-public KUCUK 5/9) #(define-public BUYUKMUCENNEB 8/9) % Define pitch names makamPitchNames = #`( (c . ,(ly:make-pitch -1 0 NATURAL)) (d . ,(ly:make-pitch -1 1 NATURAL)) (e . ,(ly:make-pitch -1 2 NATURAL)) (f . ,(ly:make-pitch -1 3 NATURAL)) (g . ,(ly:make-pitch -1 4 NATURAL)) (a . ,(ly:make-pitch -1 5 NATURAL)) (b . ,(ly:make-pitch -1 6 NATURAL)) (cc . ,(ly:make-pitch -1 0 KOMA)) (dc . ,(ly:make-pitch -1 1 KOMA)) (ec . ,(ly:make-pitch -1 2 KOMA)) (fc . ,(ly:make-pitch -1 3 KOMA)) (gc . ,(ly:make-pitch -1 4 KOMA)) (ac . ,(ly:make-pitch -1 5 KOMA)) (bc . ,(ly:make-pitch -1 6 KOMA)) (cb . ,(ly:make-pitch -1 0 BAKIYE)) (db . ,(ly:make-pitch -1 1 BAKIYE)) (eb . ,(ly:make-pitch -1 2 BAKIYE)) (fb . ,(ly:make-pitch -1 3 BAKIYE)) (gb . ,(ly:make-pitch -1 4 BAKIYE)) (ab . ,(ly:make-pitch -1 5 BAKIYE)) (bb . ,(ly:make-pitch -1 6 BAKIYE)) (ck . ,(ly:make-pitch -1 0 KUCUK)) (dk . ,(ly:make-pitch -1 1 KUCUK)) (ek . ,(ly:make-pitch -1 2 KUCUK)) (fk . ,(ly:make-pitch -1 3 KUCUK)) (gk . ,(ly:make-pitch -1 4 KUCUK)) (ak . ,(ly:make-pitch -1 5 KUCUK)) (bk . ,(ly:make-pitch -1 6 KUCUK)) (cbm . ,(ly:make-pitch -1 0 BUYUKMUCENNEB)) (dbm . ,(ly:make-pitch -1 1 BUYUKMUCENNEB)) (ebm . ,(ly:make-pitch -1 2 BUYUKMUCENNEB)) (fbm . ,(ly:make-pitch -1 3 BUYUKMUCENNEB)) (gbm . ,(ly:make-pitch -1 4 BUYUKMUCENNEB)) (abm . ,(ly:make-pitch -1 5 BUYUKMUCENNEB)) (bbm . ,(ly:make-pitch -1 6 BUYUKMUCENNEB)) ;; f for flat. (cfc . ,(ly:make-pitch -1 0 (- KOMA))) (dfc . ,(ly:make-pitch -1 1 (- KOMA))) (efc . ,(ly:make-pitch -1 2 (- KOMA))) (ffc . ,(ly:make-pitch -1 3 (- KOMA))) (gfc . ,(ly:make-pitch -1 4 (- KOMA))) (afc . ,(ly:make-pitch -1 5 (- KOMA))) (bfc . ,(ly:make-pitch -1 6 (- KOMA))) (cfb . ,(ly:make-pitch -1 0 (- BAKIYE))) (dfb . ,(ly:make-pitch -1 1 (- BAKIYE))) (efb . ,(ly:make-pitch -1 2 (- BAKIYE))) (ffb . ,(ly:make-pitch -1 3 (- BAKIYE))) (gfb . ,(ly:make-pitch -1 4 (- BAKIYE))) (afb . ,(ly:make-pitch -1 5 (- BAKIYE))) (bfb . ,(ly:make-pitch -1 6 (- BAKIYE))) (cfk . ,(ly:make-pitch -1 0 (- KUCUK))) (dfk . ,(ly:make-pitch -1 1 (- KUCUK))) (efk . ,(ly:make-pitch -1 2 (- KUCUK))) (ffk . ,(ly:make-pitch -1 3 (- KUCUK))) (gfk . ,(ly:make-pitch -1 4 (- KUCUK))) (afk . ,(ly:make-pitch -1 5 (- KUCUK))) (bfk . ,(ly:make-pitch -1 6 (- KUCUK))) (cfbm . ,(ly:make-pitch -1 0 (- BUYUKMUCENNEB))) (dfbm . ,(ly:make-pitch -1 1 (- BUYUKMUCENNEB))) (efbm . ,(ly:make-pitch -1 2 (- BUYUKMUCENNEB))) (ffbm . ,(ly:make-pitch -1 3 (- BUYUKMUCENNEB))) (gfbm . ,(ly:make-pitch -1 4 (- BUYUKMUCENNEB))) (afbm . ,(ly:make-pitch -1 5 (- BUYUKMUCENNEB))) (bfbm . ,(ly:make-pitch -1 6 (- BUYUKMUCENNEB))) ) %% set pitch names. pitchnames = \makamPitchNames #(ly:parser-set-note-names parser makamPitchNames) makamGlyphs = #'((1 . "accidentals.doublesharp") (8/9 . "accidentals.sharp.slashslashslash.stemstem") (5/9 . "accidentals.sharp.slashslashslash.stem") (4/9 . "accidentals.sharp") (1/9 . "accidentals.sharp.slashslash.stem") (0 . "accidentals.natural") (-1/9 . "accidentals.mirroredflat") (-4/9 . "accidentals.flat.slash") (-5/9 . "accidentals.flat") (-8/9 . "accidentals.flat.slashslash") (-1 . "accidentals.flatflat") ) \relative { %{ define alteration <-> symbol mapping. The following glyphs are available. accidentals.sharp accidentals.sharp.slashslash.stem accidentals.sharp.slashslashslash.stemstem accidentals.sharp.slashslashslash.stem accidentals.sharp.slashslash.stemstemstem accidentals.natural accidentals.flat accidentals.flat.slash accidentals.flat.slashslash accidentals.mirroredflat.flat accidentals.mirroredflat accidentals.flatflat accidentals.flatflat.slash accidentals.doublesharp %} \override Accidental #'glyph-name-alist = \makamGlyphs \override Staff.KeySignature #'glyph-name-alist = \makamGlyphs \set Staff.keySignature = #'( (3 . 4/9) (6 . -1/9)) c cc db fk gbm gfc gfb efk dfbm }
non-traditional-key-signatures.ly
The commonly used \key
command sets the keySignature
property, in the Staff
context. However, non-standard key
signatures can be specified by setting 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.)
However, for each item in the list, you can also use the alternative format (step . alter), which specifies that the same alteration should hold in all octaves.
Here is an example of a possible key signature for generating a whole-tone scale:
\relative c' { \set Staff.keySignature = #`(((0 . 3) . ,SHARP) ((0 . 5) . ,FLAT) ((0 . 6) . ,FLAT)) c d e fis aes bes c2 }
Internally, the set-octavation function sets the properties
ottavation
(e.g., to "8va"
or "8vb"
) and
middleCPosition
. To override the text of the bracket, set
ottavation
after invoking set-octavation
, like in the
following example.
{ #(set-octavation 1) \set Staff.ottavation = #"8" c''1 #(set-octavation 0) c'1 #(set-octavation 1) \set Staff.ottavation = #"Text" c''1 }
preventing-extra-naturals-from-being-automatically-added.ly
In accordance with standard typesetting rules, a natural sign is printed before a sharp or flat if a previous accidental on the same note needs to be canceled. To change this behavior, set the extraNatural property to "false" in the Staff context.
\relative { aeses'4 aes ais a \set Staff.extraNatural = ##f aeses4 aes ais a }
preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly
When the key signature changes, natural signs are automatically printed to cancel any accidentals from previous key signatures. This may be altered by setting to "false" the printKeyCancellation property in the Staff context.
\relative { \key d \major a b cis d \key g \minor a bes c d \set Staff.printKeyCancellation = ##f \key d \major a b cis d \key g \minor a bes c d }
quoting-another-voice-with-transposition.ly
Quotations take into account the transposition of both
source and target. In this example, all instruments play sounding
central C, the target is a instrument in F. The target part may be
\transpose
d. In this case, all the pitches (including the
quoted ones) will transposed as well.
\addQuote clarinet { \transposition bes d'16 d'16 d'8 d'16 d'16 d'8 d'16 d'16 d'8 d'16 d'16 d'8 } \addQuote sax { \transposition es' a8 a a a a a a a } quoteTest = { \transposition f % french horn g'4 << \quoteDuring #"clarinet" { \skip 4 } s4^"clar" >> << \quoteDuring #"sax" { \skip 4 } s4^"sax" >> } << \quoteTest \new Staff << \transpose c' d' \quoteTest s4_"up 1 tone" >> >>
transposing-pitches-with-minimum-accidentals-smart-transpose.ly
There is a way to enforce enharmonic modifications for notes in order to have the minimum number of accidentals. In that case, “Double accidentals should be removed, as well as E-sharp (-> F), bC (-> B), bF (-> E), B-sharp (-> C).”, as proposed by a request for a new feature. In this manner, the most natural enharmonic notes are chosen in this example.
#(define (naturalise-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 (naturalise 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) (naturalise x)) es))) (if (ly:music? e) (ly:music-set-property! music 'element (naturalise e))) (if (ly:pitch? p) (begin (set! p (naturalise-pitch p)) (ly:music-set-property! music 'pitch p))) music)) music = \relative c' { c4 d e f g a b c } naturaliseMusic = #(define-music-function (parser location m) (ly:music?) (naturalise m)) \score { \new Staff { \transpose c ais \music \naturaliseMusic \transpose c ais \music \break \transpose c deses \music \naturaliseMusic \transpose c deses \music } \layout { ragged-right = ##t} }
adding-beams,-slurs,-ties-etc.-when-using-tuplet-and-non-tuplet-rythms..ly
LilyPond syntax can involve many unusual placements for parentheses, brackets etc., which might sometimes have to be interleaved.For example, when entering a manual beam, the left square bracket has to be placed after the starting note and its duration, not before. Similarly, the right square bracket should directly follow the note which is to be at the end of the requested beaming, even if this note happens to be inside a tuplet section. This snippet demonstrates how to superpose manual beaming, manual slurs, ties, and phrasing slurs, while using tuplet sections (enclosed with curly braces).
{ r16[ g16 \times 2/3 {r16 e'8] } g16( a \times 2/3 {b d e') } g8[( a \times 2/3 {b d') e'~]} \times 4/5 {e'32\( a b d' e'} a'4.\) }
LilyPond makes drums input quite easy, with powerful pre-configured tools such as the \drummode function and the DrumStaff context: drums are placed to their own staff positions (with a special clef symbol) and have note heads according to the drum. You can easily attach an extra symbol to the drum, and restrict the number of lines.
drh = \drummode { cymc4.^"crash" hhc16^"h.h." hh \repeat "unfold" 5 {hhc8 hho hhc8 hh16 hh} hhc4 r4 r2 } drl = \drummode {\repeat "unfold" 3 {bd4 sn8 bd bd4 << bd ss >> } bd8 tommh tommh bd toml toml bd tomfh16 tomfh } timb = \drummode { \repeat "unfold" 2 {timh4 ssh timl8 ssh r timh r4 ssh8 timl r4 cb8 cb} } \score { \repeat "volta" 2 { << \new DrumStaff \with { drumStyleTable = #timbales-style \override StaffSymbol #'line-count = #2 \override BarLine #'bar-size = #2 } << \set Staff.instrumentName = "timbales" \timb >> \new DrumStaff << \set Staff.instrumentName = "drums" \new DrumVoice {\stemUp \drh } \new DrumVoice {\stemDown \drl } >> >> } \layout {} \midi { \context { \Score tempoWholesPerMinute = #(ly:make-moment 120 4) } } }
altering-the-number-of-stems-in-a-beam.ly
You can alter the number of stems in a beam. In this example, two sets of four 32nds are joined, as if they were 8th notes.
\relative { #(override-auto-beam-setting '(end * * * *) 1 4) f32 g a b b a g f f32 g a \set stemRightBeamCount = #1 b \set stemLeftBeamCount = #1 b a g f }
automatic-beam-subdivisions.ly
Lilypond can subdivide beams automatically. Set the property subdivideBeams, and beams are subdivided at beat positions (as specified in beat length)
\relative{ b'32^"default"[ a g f c' b a g f e d' c b a g f ] \set subdivideBeams = ##t b32^"subdivision enabled"[ a g f c' b a g f e d' c b a g f ] \set Score.beatLength = #(ly:make-moment 1 8) b32^"beatLength 1 8"[ a g f c' b a g f e d' c b a g f ] \set Score.beatLength = #(ly:make-moment 1 16) b32^"beatLength 1 16"[ a g f c' b a g f e d' c b a g f ] }
automatic-beams-two-per-two-in-4-4-or-2-2-time-signature.ly
In time signature 2/2 or 4/4 the beam are _____
_ _ Default | | | | I want | | | |.
Use a "macro" with
#(override-auto-beam-setting '.....
% Automatic beams two per two in 4/4 or 2/2 time signature % _____ % Default | | | | % _ _ % I want | | | | % The good way adapted from David Bobrof % macro for beamed two per two in 2/2 and 4/4 time signature qbeam={ #(override-auto-beam-setting '(end 1 8 * *) 1 4 'Staff) #(override-auto-beam-setting '(end 1 8 * *) 2 4 'Staff) #(override-auto-beam-setting '(end 1 8 * *) 3 4 'Staff) } % other macros timeFractionstyle={ \override Staff.TimeSignature #'style = #'()} textn = ^\markup{ without the macro } texty = ^\markup{ with the macro } \score { << \new Staff << \relative c'' { \timeFractionstyle \time 4/4 g8\textn g g g g g g g g g g g4 g8 g g } >> %Use the macro \new Staff << \relative c'' { \timeFractionstyle \time 4/4 \qbeam g8\texty g g g g g g g g g g g4 g8 g g } >> >> \layout{ raggedright = ##t } }
By default, beams can't be printed across line breaks. Here's a way to
force the line break, by setting the #'breakable
property. See
also in the manual the "Line Breaking" and "Manual beams" sections.
\layout { ragged-right= ##t } \relative c'' { \override Score.Beam #'breakable = ##t \time 3/16 c16-[ d e \break f-] }
changing-time-signatures-inside-a-polymetric-section-using--compressmusic.ly
The measureLength variable, together with measurePosition, determines when a barline is needed. However, when using \compressMusic, the scaling of durations makes it difficult to change time signatures without making a mess of it.
Therefore, measureLength has to be set manually, using the ly:make-moment callback. The second argument has to be the same as the second argument of \compressMusic.
\layout { \context { \Score \remove "Timing_translator" \remove "Default_bar_line_engraver" } \context { \Staff \consists "Timing_translator" \consists "Default_bar_line_engraver" } } << \new Staff { \compressMusic #'( 8 . 5 ) { \time 6/8 \set Timing.measureLength = #(ly:make-moment 3 5) b8 b b b b b \time 2/4 \set Timing.measureLength = #(ly:make-moment 2 5) b4 b } } \new Staff { \clef bass \time 2/4 c2 d e f } >>
This form of notation is used for the chant of the Psalms, where verses aren't always the same length.
stemon = { \override Staff.Stem #'transparent = ##f } stemoff = { \override Staff.Stem #'transparent = ##t } \score { \new Staff \with {\remove "Time_signature_engraver" } { \key g \minor \set Score.timing = ##f \stemoff a'\breve bes'4 g'4 \stemon a'2 \bar "||" \stemoff a'\breve g'4 a'4 \stemon f'2 \bar "||" \stemoff a'\breve^\markup { \italic flexe } \stemon g'2 \bar "||" } \layout { raggedright = ##t} }
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 musics quite easy to read and play, by explicitly printing the compound time signatures and adapting the automatic beaming behaviour. (You can even add graphic measure grouping indications, see the appropriate snippet in this database.)
#(define (compound-time one two num) (markup #:override '(baseline-skip . 0) #:number (#:line ((#:column (one num)) #:vcenter "+" (#:column (two num)))))) \relative { %% compound time signature hack \time 5/8 \override Staff.TimeSignature #'stencil = #ly:text-interface::print \override Staff.TimeSignature #'text = #(compound-time "2" "3" "8" ) #(override-auto-beam-setting '(end 1 8 5 8) 1 4) c8 d e fis gis | c fis, gis e d | c8 d e4 gis8 }
conducting-signs,-measure-grouping-signs.ly
The Scheme function set-time-signature
, in combination with the
Measure grouping engraver, it will create MeasureGrouping signs. Such
signs ease reading rhythmically complex modern music. In the following
example, the 9/8 measure is subdivided in 2, 2, 2 and 3. This is
passed to set-time-signature
as the third argument (2 2 2
3)
\score { \relative c'' { #(set-time-signature 9 8 '(2 2 2 3)) g8[ g] d[ d] g[ g] a8[( bes g]) | #(set-time-signature 5 8 '(3 2)) a4. g4 } \layout { \context { \Staff \consists "Measure_grouping_engraver" } } }
controlling-tuplet-bracket-visibility.ly
Default behaviour 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, you can set the property TupletBracket #'bracket-visibility to either ##t (always print a bracket), ##f (never print a bracket) or #'if-no-beam (only print a bracket if there is no beam).
mus = \relative c'' { \times 2/3 {c16 [ d e } f8] \times 2/3 {c8 d e } \times 2/3 { c4 d e } } \new Voice \relative c'{ << \mus s4^"default" >> \override TupletBracket #'bracket-visibility = #'if-no-beam << \mus s4^"'if-no-beam" >> \override TupletBracket #'bracket-visibility = ##t << \mus s4^"#t" >> \override TupletBracket #'bracket-visibility = ##f << \mus s4^"#f" >> }
entering-several-tuplets-using-only-one--times-command.ly
This example shows how to specify how long each of the tuplets
contained within the bracket after \times
should last. Many
consecutive tuplets can then be contained within a single \times
{ ... }
, thus saving typing.
In the example, two triplets are shown, while \times
was
entered only once.
For more information about make-moment
, see "Time
administration".
\relative { \set tupletSpannerDuration = #(ly:make-moment 1 4) \times 2/3 { c8 c c c c c } }
forcing-rehearsal-marks-to-start-from-a-given-letter-or-number.ly
This snippet demonstrates how to obtain automatic ordered rehearsal marks, but from the letter or number you want.
\relative c''{ c1 \mark \default c1 \mark \default c1 \mark \default c1 \mark #14 c1 \mark \default c1 \mark \default c1 \mark \default c1 \mark \default \break \set Score.markFormatter = #format-mark-numbers c1 \mark #1 c1 \mark \default c1 \mark \default c1 \mark \default c1 \mark #14 c1 \mark \default c1 \mark \default c1 \mark \default c1 \mark \default }
heavily-customized-polymetric-time-signatures.ly
Though the set-time-signature thing was not the most essential here, it has been included to show the beat of this piece (which is a template of a real balkan song!).
#(define (compound-time one two three four five six seven eight nine ten num) (markup #:override '(baseline-skip . 0) #:number (#:line ((#:column (one num)) #:vcenter "+" (#:column (two num)) #:vcenter "+" (#:column (three num)) #:vcenter "+" (#:column (four num)) #:vcenter "+" (#:column (five num)) #:vcenter "+" (#:column (six num)) #:vcenter "+" (#:column (seven num)) #:vcenter "+" (#:column (eight num)) #:vcenter "+" (#:column (nine num)) #:vcenter "+" (#:column (ten num)))))) melody = { \relative c'' { \set Staff.instrumentName = "Bb Sop." \key g \major \time 25/8 \override Staff.TimeSignature #'stencil = #ly:text-interface::print \override Staff.TimeSignature #'text = #(compound-time "3" "2" "2" "3" "2" "2" "2" "3" "2" "2" "8" ) c8[ c c] d4 c8[ c] b[ c b] a4 g fis8[ e d c] b'[ c d] e4-^ fis8[ g] | \break c,4. d4 c4 d4. c4 d c2 d4. e4-^ d4 | c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 | \break c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 | c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 | \break } } drum = { \new DrumStaff \drummode { \bar "|:" bd4. ^\markup { "Drums" } sn4 bd \bar ":" sn4. bd4 sn \bar ":" bd sn bd4. sn4 bd \bar ":|" } } { \melody \drum }
making-an-object-invisible-with-the-transparent-property.ly
Setting the transparent
property will cause an object to be
printed in `invisible ink': the object is not printed, but all its
other behavior is retained. The object still takes up space, it takes
part in collisions, and slurs, and ties and beams can be attached to it.
The snippet demonstrates how to connect different voices using ties. Normally, ties only connect two notes in the same voice. By introducing a tie in a different voice, and blanking the first up-stem in that voice, the tie appears to cross voices.
\relative c'' << { \once \override Stem #'transparent = ##t b8~ b8\noBeam } \\ { b[ g8] } >>
manually-controlling-beam-positions.ly
Beam positions may be controlled manually, by overriding the
positions
setting of the Beam
grob.
\score { \context Voice \relative c { %% from upper staffline (position 4) to centre (position 0) \override Beam #'positions = #'(2 . 0) c'8[ c] %% from center to one above centre (position 2) \override Beam #'positions = #'(0 . 1) c[ c] } }
printing-music-with-different-time-signatures.ly
In the following snippet, two parts have a completely different time signature, and yet keep synchronized.
This can be achieved with the \compressMusic command, as demonstrated here.
The barlines can't be printed at the Score level anymore, so you have to remove the Barline_engraver and put it in the Staff context.
% Thanks to Adam James Wilson for this snippet \paper { indent = #0 ragged-right = ##t } global = { \time 3/4 { s2. * 3 } \bar "" \break { s2. * 3 }} \layout { \context { \Score \remove "Timing_translator" \remove "Time_signature_engraver" \remove "Default_bar_line_engraver" \override SpacingSpanner #'uniform-stretching = ##t \override SpacingSpanner #'strict-note-spacing = ##t proportionalNotationDuration = #(ly:make-moment 1 64) } \context { \Staff \consists "Timing_translator" \consists "Default_bar_line_engraver" \consists "Time_signature_engraver" } \context { \Voice \remove Forbid_line_break_engraver tupletFullLength = ##t } } Bassklarinette = \new Staff << \global { \bar "|" \clef treble \time 3/8 d''4. \bar "|" \time 3/4 r8 des''2( c''8) \bar "|" \time 7/8 r4. ees''2 ~ \bar "|" \time 2/4 \tupletUp \times 2/3 {ees''4 r4 d''4 ~} \bar "|" \time 3/8 \tupletUp \times 3/4 {d''4 r4} \bar "|" \time 2/4 e''2 \bar "|" \time 3/8 es''4. \bar "|" \time 3/4 r8 d''2 r8 \bar "|" } >> Perkussion = \new StaffGroup << \new Staff << \global { \bar "|" \clef percussion \time 3/4 r4 c'2 ~ \bar "|" c'2. \bar "|" R2. \bar "|" r2 g'4 ~ \bar "|" g'2. ~ \bar "|" g'2. } >> \new Staff << \global { \bar "|" \clef percussion \time 3/4 R2. \bar "|" g'2. ~ \bar "|" g'2. \bar "|" r4 g'2 ~ \bar "|" g'2 r4 \bar "|" g'2. } >> >> \score { << \Bassklarinette \Perkussion >> }
Rests may be used in various styles.
\layout { indent = 0.0 raggedright = ##t } \context Staff \relative c { \set Score.timing = ##f \override Staff.Rest #'style = #'mensural r\maxima^\markup \typewriter { mensural } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 \bar "" \override Staff.Rest #'style = #'neomensural r\maxima^\markup \typewriter { neomensural } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 \bar "" \override Staff.Rest #'style = #'classical r\maxima^\markup \typewriter { classical } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 \bar "" \override Staff.Rest #'style = #'default r\maxima^\markup \typewriter { default } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 }
In "simple" lead-sheets, sometimes no actual notes are written, instead only "rhythmic patterns" and chords above the measures are noted giving the structure of a song. Such a feature is for example useful while creating/transcribing the structure of a song and also when sharing lead sheets with guitarists or jazz musicians.
The standard support for this is described in section "Measure repeats", but then the first beat has to be an ordinary note or rest.
This example shows two solutions to this problem, by redefining ordinary rests to be printed as slashes. (If the duration of each beat is not a quarter note, replace the r4 in the definitions by a rest of the appropriate duration).
% Macro to print single slash rs = { \once \override Rest #'stencil = #ly:percent-repeat-item-interface::beat-slash \once \override Rest #'thickness = #'0.48 \once \override Rest #'slope = #'1.7 r4 } % Function to print a specified number of slashes comp = #(define-music-function (parser location count) ( integer?) #{ \override Rest #'stencil = #ly:percent-repeat-item-interface::beat-slash \override Rest #'thickness = #'0.48 \override Rest #'slope = #'1.7 \repeat unfold $count { r4 } \revert Rest #'stencil #} ) \score{ \relative c'{ c d e f | \rs \rs \rs \rs | \comp #4 | } }
Although you can't use `s' in lyric mode (it's taken to be a literal s, not a space) you can use either "" or _.
So for example:
<< \relative c'' { a4 b c d } \new Lyrics \lyricmode { a4 _2 gap4 } >>
The s syntax is only available in note mode and chord mode. In other situations, for example, when entering lyrics, you should use the \skip command.
<< \relative { a'2 a1 } \new Lyrics \lyricmode { \skip 2 bla1 } >>
adding-beams,-slurs,-ties-etc.-when-using-tuplet-and-non-tuplet-rythms..ly
LilyPond syntax can involve many unusual placements for parentheses, brackets etc., which might sometimes have to be interleaved.For example, when entering a manual beam, the left square bracket has to be placed after the starting note and its duration, not before. Similarly, the right square bracket should directly follow the note which is to be at the end of the requested beaming, even if this note happens to be inside a tuplet section. This snippet demonstrates how to superpose manual beaming, manual slurs, ties, and phrasing slurs, while using tuplet sections (enclosed with curly braces).
{ r16[ g16 \times 2/3 {r16 e'8] } g16( a \times 2/3 {b d e') } g8[( a \times 2/3 {b d') e'~]} \times 4/5 {e'32\( a b d' e'} a'4.\) }
adding-parentheses-around-an-expressive-mark.ly
The parenthesize function is a special tweak that encloses objects in parentheses. The associated grob is Score.ParenthesesItem.
\relative { c4 -\parenthesize -. \override ParenthesesItem #'padding = #0.1 <d \parenthesize fis a> }
Breathing signs are available in different tastes: commas (default), ticks, vees and `railroad tracks' (caesura).
{ %% Modern notation: \new Staff { \relative c'' { \key es \major \time 3/4 %% this bar contains no \breathe << { g4 as g } \\ { es4 bes es } >> | %% by default, \breathe uses the rcomma, just as if saying: %% \override BreathingSign #'text = % #(make-musicglyph-markup "scripts.rcomma") << { g4 as g } \\ { es4 \breathe bes es } >> | %% rvarcomma and lvarcomma are variations of the default rcomma %% and lcomma %% N.B.: must use Staff context here, since we start a Voice below \override Staff.BreathingSign #'text = #(make-musicglyph-markup "scripts.rvarcomma") << { g4 as g } \\ { es4 \breathe bes es } >> | %% wedge \override BreathingSign #'text = #(make-musicglyph-markup "scripts.upbow") es8 d es f g8 \breathe f | %% caesura \override BreathingSign #'text = #(make-musicglyph-markup "scripts.caesura.curved") es8[ d] \breathe es[ f g f] | es2 r4 \bar "||" \break } } }
In order to make parts of a crescendo hairpin invisible, the following method is used: A white rectangle is drawn on top of the respective part of the crescendo hairpin, making it invisible. the rectangle is defined as postscript code within a text markup. In order to fine tune the position and size of the markup, the number preceding the "setgray" in the postscript definition can be set to a value <1 making it grey. The two numbes before the "scale" in the postscript code are responsible for the width and height of the rectangle, the two numbers before the "translate" change the x- and y-origin of the rectangle. Make sure to put the Hairpin in a lower layer than the Text Markup to actually draw the rectangle above the hairpin.
\score { \relative c' { << { \dynamicUp \override DynamicLineSpanner #'staff-padding = #4 r2 r16 c'8.\pp r4 } \\ { \override DynamicLineSpanner #'layer = #0 des,2~\mf \< \override TextScript #'layer = #2 des16_\markup { \postscript #"1.9 -4.5 translate 5 4 scale 1 setgray 0 0 moveto 0 1 lineto 1 1 lineto 1 0 lineto 0 0 lineto fill" } r8. des4~ des16-> \sff } >> } \layout { ragged-right = ##t} }
caesura-railtracks-with-fermata.ly
A caesura is sometimes denoted with a double "railtracks" breath mark with a fermata sign positioned over the top of the railtracks. This snippet should present an optically pleasing combination of railtracks and a fermata.
{ \context Voice { c''2. % use some scheme code to construct the symbol \override BreathingSign #'text = #(markup #:line (#:musicglyph "scripts.caesura.curved" #:translate (cons -1.75 1.6) #:musicglyph "scripts.ufermata" )) \breathe c''4 % set the breathe mark back to normal \revert BreathingSign #'text c''2. \breathe c''4 \bar "|." } }
center-text-below-hairpin-dynamics.ly
This example provides a function to typeset hairpin (de)crescendo with some additional text below it, such as "molto" or "poco".
The example also illustrates how to use modify the way an object normally is printed, using some Scheme code.
hairpinWithCenteredText = #(define-music-function (parser location text) (markup?) #{ \override Voice.Hairpin #'stencil = #(lambda (grob) (ly:stencil-aligned-to (ly:stencil-combine-at-edge (ly:stencil-aligned-to (ly:hairpin::print grob) X CENTER) Y DOWN (ly:stencil-aligned-to (ly:text-interface::print grob) X CENTER)) X LEFT)) \override Voice.Hairpin #'text = $text #}) hairpinMolto = \hairpinWithCenteredText \markup {\italic "molto"} hairpinMore = \hairpinWithCenteredText \markup {\bigger "moltissimo"} \new Staff { \hairpinMolto c'2\< c'2\f \hairpinMore c'2\< c'2\f }
changing--flageolet-mark-size.ly
To make the \flageolet circle smaller you can use the following scheme code (found in the Lilypond-user-archive)
F = #(let ((m (make-music 'ArticulationEvent 'articulation-type "flageolet"))) (set! (ly:music-property m 'tweaks) (acons 'font-size -3 (ly:music-property m 'tweaks))) m) \relative c'' { d4^\flageolet_\markup {"orginal \flageolet "} d4_\flageolet c4^\F_\markup {smaller } c4_\F }
changing-the-appearance-of-a-slur-from-solid-to-dotted-or-dashed.ly
The appearance of slurs may be changed from solid to dotted or dashed.
\score{ \relative c'{ c( d e c) | \slurDotted c( d e c) | \slurSolid c( d e c) | \slurDashed c( d e c) | \slurSolid c( d e c) | } \layout{ raggedright=##t } }
combining-dynamics-with-markup-texts.ly
Some dynamics may involve text indications (such as "più forte", "piano subito", etc.). They can be produced using a \markup bloc.
\layout{ragged-right = ##t} piuf = \markup { \italic "molto" \dynamic "f" } \relative c''{ c-\piuf c c2\< c2\! c2\< c2\! }
Use a glissando without final note. Contemporary glissando !
creating-real-parenthesized-dynamics.ly
Although the easiest way to add parenthesis to a dynamic mark is to use a \markup block, this method has a downside: the created objects will behave like text markups, and not like dynamics.
However, it is possible to create a similar object using the equivalent Scheme code (as described in "Markup programmer interface"), combined with the make-dynamic-script function. This way, the markup will be regarded as a dynamic, and therefore will remain compatible with commands such as \dynamicUp or \dynamicDown.
\paper { ragged-right = ##t } parenF = #(make-dynamic-script (markup #:line(#:normal-text #:italic #:fontsize 2 "(" #:hspace -0.8 #:dynamic "f" #:normal-text #:italic #:fontsize 2 ")" ))) \score { { c''\parenF c'' c'' \dynamicUp c''\parenF } }
The <code>\startTextSpan</code> and <code>\stopTextSpan</code> commands give you the ability to create text spanners as easily as pedals indications or octavations. Override some properties of the <code>TextSpanner</code> object to modify its output.
\relative c''{ \override TextSpanner #'edge-text = #'("bla" . "blu") a \startTextSpan b c a \stopTextSpan \override TextSpanner #'dash-period = #2 \override TextSpanner #'dash-fraction = #0.0 a \startTextSpan b c a \stopTextSpan \revert TextSpanner #'style \override TextSpanner #'style = #'dashed-line \override TextSpanner #'bound-details #'left #'text = \markup { \draw-line #'(0 . 1) } \override TextSpanner #'bound-details #'right #'text = \markup { \draw-line #'(0 . -2) } a \startTextSpan b c a \stopTextSpan \set Staff.middleCPosition = #-13 \override TextSpanner #'dash-period = #10 \override TextSpanner #'dash-fraction = #.5 \override TextSpanner #'thickness = #10 a \startTextSpan b c a \stopTextSpan \set Staff.middleCPosition = #-6 }
Arrows can be applied to text-spanners and line-spanners (such as the Glissando)
\relative c'' { \override TextSpanner #'bound-padding = #1.0 \override TextSpanner #'dash-fraction = #'() \override TextSpanner #'bound-details #'right #'arrow = ##t \override TextSpanner #'bound-details #'left #'text = #"fof" \override TextSpanner #'bound-details #'right #'text = #"gag" \override TextSpanner #'bound-details #'right #'padding = #0.6 \override TextSpanner #'bound-details #'right #'stencil-align-dir-y = #CENTER \override TextSpanner #'bound-details #'left #'stencil-align-dir-y = #CENTER \override Glissando #'bound-details #'right #'arrow = ##t \override Glissando #'arrow-length = #0.5 \override Glissando #'arrow-width = #0.25 a8\startTextSpan gis8 a4 b4\glissando b,4 | g' c\stopTextSpan c }
piano-template-with-centered-dynamics.ly
Many piano scores have the dynamics centered between the two staves. This requires a bit of tweaking to implement, but since the template is right here, you don't have to do the tweaking yourself.
upper = \relative c'' { \clef treble \key c \major \time 4/4 a b c d } lower = \relative c { \clef bass \key c \major \time 4/4 a2 c } dynamics = { s2\fff\> s4 s\!\pp } pedal = { s2\sustainDown s2\sustainUp } \score { \new PianoStaff << \new Staff = "upper" \upper \new Dynamics = "dynamics" \dynamics \new Staff = "lower" << \clef bass \lower >> \new Dynamics = "pedal" \pedal >> \layout { \context { \type "Engraver_group" \name Dynamics \alias Voice % So that \cresc works, for example. \consists "Output_property_engraver" \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1) \override DynamicLineSpanner #'Y-offset = #0 pedalSustainStrings = #'("Ped." "*Ped." "*") pedalUnaCordaStrings = #'("una corda" "" "tre corde") \consists "Piano_pedal_engraver" \consists "Script_engraver" \consists "Dynamic_engraver" \consists "Text_engraver" \override TextScript #'font-size = #2 \override TextScript #'font-shape = #'italic \consists "Skip_event_swallow_translator" \consists "Axis_group_engraver" } \context { \PianoStaff \accepts Dynamics } } } \score { \new PianoStaff << \new Staff = "upper" << \upper \dynamics >> \new Staff = "lower" << \lower \dynamics >> \new Dynamics = "pedal" \pedal >> \midi { \context { \type "Performer_group" \name Dynamics \consists "Piano_pedal_performer" } \context { \PianoStaff \accepts Dynamics } } }
positioning-segno-and-coda-with-line-break.ly
If you want to place an exiting segno sign and add text like "D.S. al Coda" next to it where usually the staff lines are you can use this snippet. The coda will resume in a new line. Theres a variation documented in this snippet, where the coda will remain on the same line.
{ \clef treble \key g \major \time 4/4 \relative c'' { \repeat unfold 2 { | c4 c c c } % Set segno sign as rehearsal mark and adjust size if needed % \once \override Score.RehearsalMark #'font-size = #3 \mark \markup { \musicglyph #"scripts.segno" } \repeat unfold 2 { | c4 c c c } % Set coda sign as rehearsal mark and adjust size if needed \once \override Score.RehearsalMark #'font-size = #4 \mark \markup { \musicglyph #"scripts.coda" } \repeat unfold 2 { | c4 c c c } % Should Coda be on anew line? % Coda NOT on new line: use \nobreak % Coda on new line: DON'T use \nobreak % \noBreak \bar "||" % Set segno sign as rehearsal mark and adjust size if needed \once \override Score.RehearsalMark #'break-visibility = #begin-of-line-invisible % \once \override Score.RehearsalMark #'font-size = #3 \mark \markup { \musicglyph #"scripts.segno" } % Here begins the trickery! % \cadenzaOn will suppress the bar count and \stopStaff removes the staff lines. \cadenzaOn \stopStaff % Some examples of possible text-displays % text line-aligned % ================== % Move text to the desired position % \once \override TextScript #'extra-offset = #'( 2 . -3.5 ) % | s1*0^\markup { D.S. al Coda } } % text center-aligned % ==================== % Move text to the desired position % \once \override TextScript #'extra-offset = #'( 6 . -5.0 ) % | s1*0^\markup { \center-align { D.S. "al Coda" } } % text and symbols center-aligned % =============================== % Move text to the desired position and tweak spacing for optimum text alignment \once \override TextScript #'extra-offset = #'( 8 . -5.5 ) \once \override TextScript #'word-space = #1.5 | s1*0^\markup { \center-align { "D.S. al Coda" \line { \musicglyph #"scripts.coda" \musicglyph #"scripts.tenuto" \musicglyph #"scripts.coda"} } } % Increasing the unfold counter will expand the staff-free space \repeat unfold 4 { s4 s4 s4 s4 \bar "" } % Resume bar count and show staff lines again \startStaff \cadenzaOff % Should Coda be on new line? % Coda NOT on new line: DON'T use \break % Coda on new line: use \break \break % Show up, you clef and key! \once \override Staff.KeySignature #'break-visibility = #end-of-line-invisible \once \override Staff.Clef #'break-visibility = #end-of-line-invisible % Set coda sign as rehearsal mark and adjust size and position % Put the coda sign ontop of the (treble-)clef dependend on coda's line-position % Coda NOT on new line, use this: % \once \override Score.RehearsalMark #'extra-offset = #'( -2 . 1.75 ) % Coda on new line, use this: \once \override Score.RehearsalMark #'extra-offset = #'( -8.42 . 1.75 ) \once \override Score.RehearsalMark #'font-size = #5 \mark \markup { \musicglyph #"scripts.coda" } % The coda \repeat unfold 5 { | c4 c c c } \bar"|." } }
By adding Volta_engraver
, repeat brackets
can be put over staves other than the topmost one in a score.
vmus = \relative c'' { \repeat volta 2 c1 \alternative { d e } } << \new StaffGroup << \context Staff \vmus \new Staff \vmus >> \new StaffGroup << \new Staff \with { \consists Volta_engraver } \vmus \new Staff \vmus >> >>
changing-an-individual-notes-size-in-a-chord.ly
Individual noteheads in a chord can be modified with the \tweak
command inside a chord, by altering the 'font-size
property.
Inside the chord (within the brackets < >
), before the note to
be altered, place the \tweak
command, followed by
#'font-size
and define the proper size like #-2
(a tiny
notehead).
The code for the chord example shown:
\header{ title = "Modify an individual notehead's size in a chord" } Notes = \relative { <\tweak #'font-size #+2 c e g c \tweak #'font-size #-2 e>1^\markup{A tiny e}_\markup{A big c} } \score{ \Notes }
Clusters are a device to denote that a complete range of notes is to be played.
\layout { ragged-right = ##t } fragment = \relative c' { c4 f4 <e d'>4 <g a>8 <e a> a4 c2 <d b>4 e4 c4 } << \new Staff \fragment \new Staff \makeClusters \fragment >>
combining-two-parts-on-the-same-staff.ly
The part combiner tool ( \partcombine command ) allows you to combine different parts on a same Staff. You can choose whether you want or don't want to add texts such as "solo" or "a2", by defining the printPartCombineTexts property.
For vocal scores (hymns), there is no need to add "solo"/"a2" texts, so they should be switched off. However, you'd better not use it if there are any solos, as they won't be indicated. In such cases, you may simply want to use standard LilyPond polyphony.
This snippet presents the three ways two parts can be printed on a same staff : standard polyphony, \partcombine whitout texts, and \partcombine with texts.
musicUp = { \time 4/4 \relative c'' { 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 a } } \score{ \new Staff { \set Staff.instrumentName = "Standard polyphony " << \musicUp \\ \musicDown >> } \layout{ indent = 6.0\cm } } \score{ \context Staff { \set Staff.instrumentName = "PartCombine without texts " \partcombine \musicUp \musicDown } \layout{ indent = 6.0\cm \context { \Voice printPartCombineTexts = ##f } } } \score{ \context Staff { \set Staff.instrumentName = "PartCombine with texts " \partcombine \musicUp \musicDown } \layout{ indent = 6.0\cm \context { \Voice printPartCombineTexts = ##t } } }
Ambits can be added per voice. In that 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 } >>
You can add (possibly temporarily) an extra staff after the beginning of a piece.
\score { << \new Staff \relative c''{ c1 c c c c } \new StaffGroup \relative c''{ \new Staff c1 c << c1 \new Staff { c1 } >> c } >> \layout { \context{ \Score } } }
adding-and-extra-staff-at-a-line-break.ly
When adding a new Staff at a line break, LilyPond will unfortunately add some extra space at the end of the line before the break (to fit in a key signature change, which will never be printed anyway). The workaround is to add a setting of Staff.explicitKeySignatureVisibility as is shown in the example. In version 2.10 and earlier, you have to do a similar setting for the time signatures, see the example.
\score { \new StaffGroup \relative c''{ \new Staff \key f \major c1 c^"Unwanted extra space" \break << { c1 c } \new Staff { \key f \major c1 c } >> c1 c^"Fixed here" \break << { c1 c } \new Staff { \once \set Staff.explicitKeySignatureVisibility = #end-of-line-invisible %The next line is not needed in 2.11.x or later: \once \override Staff.TimeSignature #'break-visibility = #end-of-line-invisible \key f \major c1 c } >> } }
changing-the-number-of-lines-in-a-staff.ly
The number of lines in a staff may changed by overriding
line-count
in the properties of StaffSymbol
.
upper = \relative c'' { c1 d e f } lower = \relative c { c1 b a g } \score { \context PianoStaff << \new Staff << \upper >> \new Staff { \override Staff.StaffSymbol #'line-count = #4 \clef bass \lower } >> }
In order to change staff sizes, both staff-space
and
fontSize
must be scaled.
{ \new Staff \relative c'' { \dynamicDown c8 \ff c c c c c c c } } { \new Staff \with { fontSize = #-3 \override StaffSymbol #'staff-space = #(magstep -3) } { \clef bass c8 c c c c c c c } }
clefs-commonly-tweaked-properties.ly
The command \clef "treble_8"
is equivalent to setting
clefGlyph
, clefPosition
(which controls the Y position of
the clef), middleCPosition
and clefOctavation
. A clef is
printed when any of these properties 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 centre line, positive numbers displacing upwards, counting 1 for each line and space. The clefOctavation value would normally be set to 7, -7, 15 or -15, but other values are not invalid.
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
explicitClefVisibility Staff property to the value
end-of-line-invisible
. The default behaviour can be recovered
with \unset Staff.explicitClefVisibility
.
The following examples show the possibilities when setting these properties manually. On the first line, the manual changes preserve the standard relative positioning of clefs and notes, whereas on the second line, they do not.
{ % The default treble clef c'1 % The standard bass clef \set Staff.clefGlyph = #"clefs.F" \set Staff.clefPosition = #2 \set Staff.middleCPosition = #6 c' % The baritone clef \set Staff.clefGlyph = #"clefs.C" \set Staff.clefPosition = #4 \set Staff.middleCPosition = #4 c' % The standard choral tenor clef \set Staff.clefGlyph = #"clefs.G" \set Staff.clefPosition = #-2 \set Staff.clefOctavation = #-7 \set Staff.middleCPosition = #1 c' % A non-standard clef \set Staff.clefPosition = #0 \set Staff.clefOctavation = #0 \set Staff.middleCPosition = #-4 c' \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' \set Staff.clefGlyph = #"clefs.G" c' \set Staff.clefGlyph = #"clefs.C" c' \set Staff.clefOctavation = #7 c' \set Staff.clefOctavation = #0 \set Staff.clefPosition = #0 c' % Here we go back to the normal clef: \set Staff.middleCPosition = #4 c' }
To create blank staves, you must generate empty measures, removing also
from the Score
context the Bar_number_engraver
, and from
the Staff
context the Time_signature_engraver
, the
Clef_engraver
and the Bar_engraver
.
#(set-global-staff-size 20) \score { { \repeat unfold 12 { s1 \break } } \layout { indent = 0\in \context { \Staff \remove Time_signature_engraver \remove Clef_engraver \remove Bar_engraver } \context { \Score \remove Bar_number_engraver } } } \paper { #(set-paper-size "letter") raggedlastbottom = ##f linewidth = 7.5\in leftmargin = 0.5\in bottommargin = 0.25\in topmargin = 0.25\in }
inserting-score-fragments-above-the-staff,-as-markups.ly
The \markup command is quite versatile. In this snippet, it contains a \score bloc instead of texts or marks.
\relative { \time 4/8 \times 2/3 { c'8 d e } \times 2/3 {c d e} \times 2/3 { c8 d e } \times 2/3 {c d e} g8 a8 g8 a g8 a8 g8 a }
non-traditional-key-signatures.ly
The commonly used \key
command sets the keySignature
property, in the Staff
context. However, non-standard key
signatures can be specified by setting 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.)
However, for each item in the list, you can also use the alternative format (step . alter), which specifies that the same alteration should hold in all octaves.
Here is an example of a possible key signature for generating a whole-tone scale:
\relative c' { \set Staff.keySignature = #`(((0 . 3) . ,SHARP) ((0 . 5) . ,FLAT) ((0 . 6) . ,FLAT)) c d e fis aes bes c2 }
quoting-another-voice-with-transposition.ly
Quotations take into account the transposition of both
source and target. In this example, all instruments play sounding
central C, the target is a instrument in F. The target part may be
\transpose
d. In this case, all the pitches (including the
quoted ones) will transposed as well.
\addQuote clarinet { \transposition bes d'16 d'16 d'8 d'16 d'16 d'8 d'16 d'16 d'8 d'16 d'16 d'8 } \addQuote sax { \transposition es' a8 a a a a a a a } quoteTest = { \transposition f % french horn g'4 << \quoteDuring #"clarinet" { \skip 4 } s4^"clar" >> << \quoteDuring #"sax" { \skip 4 } s4^"sax" >> } << \quoteTest \new Staff << \transpose c' d' \quoteTest s4_"up 1 tone" >> >>
With \quote
, fragments of previously entered
music may be quoted. quotedEventTypes
will determines what
things are quoted. In this example, a 16th rest is not quoted, since
rest-event
is not in quotedEventTypes
.
quoteMe = \relative c' { fis4 r16 a8.-> b4-\ff c } \addQuote quoteMe \quoteMe original = \relative c'' { c8 d s2 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. } } >> >>
time-signature-in-parentheses.ly
You may put the time signature in parentheses.
tsMarkup = \markup { \number { \bracket \column { "2" "4" } } } \score { \relative c'' { % FIXME: Gee, it doesn't work with 2.10 -vv %{ \override Staff.TimeSignature #'print-function = #Text_interface::print \override Staff.TimeSignature #'text = #tsMarkup %} \time 2/4 a4 b8 c | } }
By adding Volta_engraver
, repeat brackets
can be put over staves other than the topmost one in a score.
vmus = \relative c'' { \repeat volta 2 c1 \alternative { d e } } << \new StaffGroup << \context Staff \vmus \new Staff \vmus >> \new StaffGroup << \new Staff \with { \consists Volta_engraver } \vmus \new Staff \vmus >> >>
applying-noteheads-styles-depending-on-the-step-of-the-scale.ly
The shapeNoteStyles property gives you the ability to define various note heads styles for each step of the scale (as defined 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, xcircle etc. are allowed) or based on old American engraving tradition (you can use some latin note names as well).
That said, if you're trying to imitate old American song books, you may also want to try LilyPond's predefined note heads styles, 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 correspondance between harmonic functions and note heads styles.
fragment = { \key c \major c1 d e f g a b c \break } \score { \new Staff { \transpose c d \relative { \set shapeNoteStyles = ##(do re mi fa #f la ti) \fragment \break } \relative { \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond) \fragment } } }
blanking-staff-lines-using-the--whiteout-command.ly
The \whiteout command underlays a white box under a markup. Since staff lines are in a lower layer than most other grobs, this white box will not overlap any other grob.
\paper { ragged-right = ##t } { \override TextScript #'extra-offset = #'(2 . 4) c'4-\markup { \whiteout \pad-markup #0.5 foo } c }
changing-an-individual-notes-size-in-a-chord.ly
Individual noteheads in a chord can be modified with the \tweak
command inside a chord, by altering the 'font-size
property.
Inside the chord (within the brackets < >
), before the note to
be altered, place the \tweak
command, followed by
#'font-size
and define the proper size like #-2
(a tiny
notehead).
The code for the chord example shown:
\header{ title = "Modify an individual notehead's size in a chord" } Notes = \relative { <\tweak #'font-size #+2 c e g c \tweak #'font-size #-2 e>1^\markup{A tiny e}_\markup{A big c} } \score{ \Notes }
changing-the-appearance-of-a-slur-from-solid-to-dotted-or-dashed.ly
The appearance of slurs may be changed from solid to dotted or dashed.
\score{ \relative c'{ c( d e c) | \slurDotted c( d e c) | \slurSolid c( d e c) | \slurDashed c( d e c) | \slurSolid c( d e c) | } \layout{ raggedright=##t } }
changing-the-default-text-font-family.ly
The default font families for text can be overridden with
make-pango-font-tree
.
\paper { % change for other default global staff size. myStaffSize = #20 %{ run lilypond -dshow-available-fonts blabla to show all fonts available in the process log. %} #(define fonts (make-pango-font-tree "Times New Roman" "Nimbus Sans" "Luxi Mono" ;; "Helvetica" ;; "Courier" (/ myStaffSize 20))) } \relative { c'^\markup { roman: foo \bold bla \italic bar \italic \bold baz } c'_\markup { \override #'(font-family . sans) { sans: foo \bold bla \italic bar \italic \bold baz } } c'^\markup { \override #'(font-family . typewriter) { mono: foo \bold bla \italic bar \italic \bold baz } } }
clefs-commonly-tweaked-properties.ly
The command \clef "treble_8"
is equivalent to setting
clefGlyph
, clefPosition
(which controls the Y position of
the clef), middleCPosition
and clefOctavation
. A clef is
printed when any of these properties 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 centre line, positive numbers displacing upwards, counting 1 for each line and space. The clefOctavation value would normally be set to 7, -7, 15 or -15, but other values are not invalid.
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
explicitClefVisibility Staff property to the value
end-of-line-invisible
. The default behaviour can be recovered
with \unset Staff.explicitClefVisibility
.
The following examples show the possibilities when setting these properties manually. On the first line, the manual changes preserve the standard relative positioning of clefs and notes, whereas on the second line, they do not.
{ % The default treble clef c'1 % The standard bass clef \set Staff.clefGlyph = #"clefs.F" \set Staff.clefPosition = #2 \set Staff.middleCPosition = #6 c' % The baritone clef \set Staff.clefGlyph = #"clefs.C" \set Staff.clefPosition = #4 \set Staff.middleCPosition = #4 c' % The standard choral tenor clef \set Staff.clefGlyph = #"clefs.G" \set Staff.clefPosition = #-2 \set Staff.clefOctavation = #-7 \set Staff.middleCPosition = #1 c' % A non-standard clef \set Staff.clefPosition = #0 \set Staff.clefOctavation = #0 \set Staff.middleCPosition = #-4 c' \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' \set Staff.clefGlyph = #"clefs.G" c' \set Staff.clefGlyph = #"clefs.C" c' \set Staff.clefOctavation = #7 c' \set Staff.clefOctavation = #0 \set Staff.clefPosition = #0 c' % Here we go back to the normal clef: \set Staff.middleCPosition = #4 c' }
LilyPond gives you the ability to assign different colors to any grob in your score, such as NoteHeads, Alterations, Beams and so on, by simply overriding the #'color property and choosing your color (over 200 colors are available, see the "List of Colors" Appendix in the Manual).
\relative { \override Accidental #'color = #darkgreen \override Beam #'color = #cyan \override NoteHead #'color = #darkyellow c4 \override NoteHead #'color = #red f \override NoteHead #'color = #darkmagenta g \override NoteHead #'color = #darkblue b \override NoteHead #'color = #green \override Stem #'color = #blue e8 es d dis e4 r }
To create blank staves, you must generate empty measures, removing also
from the Score
context the Bar_number_engraver
, and from
the Staff
context the Time_signature_engraver
, the
Clef_engraver
and the Bar_engraver
.
#(set-global-staff-size 20) \score { { \repeat unfold 12 { s1 \break } } \layout { indent = 0\in \context { \Staff \remove Time_signature_engraver \remove Clef_engraver \remove Bar_engraver } \context { \Score \remove Bar_number_engraver } } } \paper { #(set-paper-size "letter") raggedlastbottom = ##f linewidth = 7.5\in leftmargin = 0.5\in bottommargin = 0.25\in topmargin = 0.25\in }
forcing-rehearsal-marks-to-start-from-a-given-letter-or-number.ly
This snippet demonstrates how to obtain automatic ordered rehearsal marks, but from the letter or number you want.
\relative c''{ c1 \mark \default c1 \mark \default c1 \mark \default c1 \mark #14 c1 \mark \default c1 \mark \default c1 \mark \default c1 \mark \default \break \set Score.markFormatter = #format-mark-numbers c1 \mark #1 c1 \mark \default c1 \mark \default c1 \mark \default c1 \mark #14 c1 \mark \default c1 \mark \default c1 \mark \default c1 \mark \default }
formatting-lyrics-syllables.ly
To format single lyrics syllables, you can simply use \markup { .... } on these lyrics!
melody = \relative c'' { c4 c c c } lyr = \lyricmode { Lyrics \markup { \italic can } \markup {\with-color #red contain } \markup {\fontsize #8 \bold "Markup!" } } \context Staff << \context Voice = "mel" << \melody >> \context Lyrics \lyricsto "mel" \lyr >>
inserting-score-fragments-above-the-staff,-as-markups.ly
The \markup command is quite versatile. In this snippet, it contains a \score bloc instead of texts or marks.
\relative { \time 4/8 \times 2/3 { c'8 d e } \times 2/3 {c d e} \times 2/3 { c8 d e } \times 2/3 {c d e} g8 a8 g8 a g8 a8 g8 a }
In "simple" lead-sheets, sometimes no actual notes are written, instead only "rhythmic patterns" and chords above the measures are noted giving the structure of a song. Such a feature is for example useful while creating/transcribing the structure of a song and also when sharing lead sheets with guitarists or jazz musicians.
The standard support for this is described in section "Measure repeats", but then the first beat has to be an ordinary note or rest.
This example shows two solutions to this problem, by redefining ordinary rests to be printed as slashes. (If the duration of each beat is not a quarter note, replace the r4 in the definitions by a rest of the appropriate duration).
% Macro to print single slash rs = { \once \override Rest #'stencil = #ly:percent-repeat-item-interface::beat-slash \once \override Rest #'thickness = #'0.48 \once \override Rest #'slope = #'1.7 r4 } % Function to print a specified number of slashes comp = #(define-music-function (parser location count) ( integer?) #{ \override Rest #'stencil = #ly:percent-repeat-item-interface::beat-slash \override Rest #'thickness = #'0.48 \override Rest #'slope = #'1.7 \repeat unfold $count { r4 } \revert Rest #'stencil #} ) \score{ \relative c'{ c d e f | \rs \rs \rs \rs | \comp #4 | } }
This example shows how to add a markup command to get a three sided box around some text (or other markup).
% New command to add a three sided box, with sides north, west and south % Based on the box-stencil command defined in scm/stencil.scm % Note that you use ";" to comment a line in Scheme #(define-public (NWS-box-stencil stencil thickness padding) "Add a box around STENCIL, producing a new stencil." (let* ((x-ext (interval-widen (ly:stencil-extent stencil 0) padding)) (y-ext (interval-widen (ly:stencil-extent stencil 1) padding)) (y-rule (make-filled-box-stencil (cons 0 thickness) y-ext)) (x-rule (make-filled-box-stencil (interval-widen x-ext thickness) (cons 0 thickness)))) ; (set! stencil (ly:stencil-combine-at-edge stencil X 1 y-rule padding)) (set! stencil (ly:stencil-combine-at-edge stencil X -1 y-rule padding)) (set! stencil (ly:stencil-combine-at-edge stencil Y 1 x-rule 0.0)) (set! stencil (ly:stencil-combine-at-edge stencil Y -1 x-rule 0.0)) stencil)) % The corresponding markup command, based on the \box command defined % in scm/define-markup-commands.scm #(define-markup-command (NWS-box layout props arg) (markup?) "Draw a box round @var{arg}. Looks at @code{thickness}, @code{box-padding} and @code{font-size} properties to determine line thickness and padding around the markup." (let* ((th (chain-assoc-get 'thickness props 0.1)) (size (chain-assoc-get 'font-size props 0)) (pad (* (magstep size) (chain-assoc-get 'box-padding props 0.2))) (m (interpret-markup layout props arg))) (NWS-box-stencil m th pad))) % Test it: \relative c'{ c^\markup{ \NWS-box ABCD } c^\markup{\NWS-box \note #"4" #1.0 } }
adjusting-lyrics-vertical-spacing.ly
This snippets shows you how to bring the lyrics line closer to the Staff.
% Default layout: \score{ << \new Staff \new Voice = m \relative c'{ c4 d e f g f e d c1} \new Lyrics \lyricsto m {aa aa aa aa aa aa aa aa aa } >> } % Reducing the minimum space below the Staff and above the Lyrics: \score { << \new Staff \with { \override VerticalAxisGroup #'minimum-Y-extent = #'(-1. 4)} \new Voice = m \relative c'{ c4 d e f g f e d c1 } \new Lyrics \with { \override VerticalAxisGroup #'minimum-Y-extent = #'(-1.2 . 1)} \lyricsto m {aa aa aa aa aa aa aa aa aa } >> \header { tagline = "" } }
aligning-and-centering-instrument-names.ly
Instrument names are generally printed at the left side of the staves. To align the names of several different intruments, you can put them in a \markup block and use one of the following possibilites:
* Right-aligned instrument names: this is LilyPond's default behavior
* Center-aligned instrument names: with the \hcenter-in #n syntax, you can place the instrument names inside a padded box (n being the width of the box)
* Left-aligned instrument names: you have to print the names on top of an empty box, using the \combine command with a \hspace #n object.
\paper{ indent = #0 left-margin = #30 line-width = #160 } \new StaffGroup \relative << \new Staff { \set Staff.instrumentName = "blabla" c1^"default" c1 \break \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" } c1^"centered" c1 \break \set Staff.instrumentName = \markup {\combine \hspace #8 "blabla" } c1^"left-aligned" c1 } \new Staff { \set Staff.instrumentName = "blo" c1 c1 \break \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" } c1 c1 \break \set Staff.instrumentName = \markup {\combine \hspace #8 "blo" } c1 c1 } >>
You can specify different horizontal alignment for your lyrics, 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.
\relative c'' { c1 c c } \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" }
blanking-staff-lines-using-the--whiteout-command.ly
The \whiteout command underlays a white box under a markup. Since staff lines are in a lower layer than most other grobs, this white box will not overlap any other grob.
\paper { ragged-right = ##t } { \override TextScript #'extra-offset = #'(2 . 4) c'4-\markup { \whiteout \pad-markup #0.5 foo } c }
center-text-below-hairpin-dynamics.ly
This example provides a function to typeset hairpin (de)crescendo with some additional text below it, such as "molto" or "poco".
The example also illustrates how to use modify the way an object normally is printed, using some Scheme code.
hairpinWithCenteredText = #(define-music-function (parser location text) (markup?) #{ \override Voice.Hairpin #'stencil = #(lambda (grob) (ly:stencil-aligned-to (ly:stencil-combine-at-edge (ly:stencil-aligned-to (ly:hairpin::print grob) X CENTER) Y DOWN (ly:stencil-aligned-to (ly:text-interface::print grob) X CENTER)) X LEFT)) \override Voice.Hairpin #'text = $text #}) hairpinMolto = \hairpinWithCenteredText \markup {\italic "molto"} hairpinMore = \hairpinWithCenteredText \markup {\bigger "moltissimo"} \new Staff { \hairpinMolto c'2\< c'2\f \hairpinMore c'2\< c'2\f }
changing-the-default-text-font-family.ly
The default font families for text can be overridden with
make-pango-font-tree
.
\paper { % change for other default global staff size. myStaffSize = #20 %{ run lilypond -dshow-available-fonts blabla to show all fonts available in the process log. %} #(define fonts (make-pango-font-tree "Times New Roman" "Nimbus Sans" "Luxi Mono" ;; "Helvetica" ;; "Courier" (/ myStaffSize 20))) } \relative { c'^\markup { roman: foo \bold bla \italic bar \italic \bold baz } c'_\markup { \override #'(font-family . sans) { sans: foo \bold bla \italic bar \italic \bold baz } } c'^\markup { \override #'(font-family . typewriter) { mono: foo \bold bla \italic bar \italic \bold baz } } }
combining-dynamics-with-markup-texts.ly
Some dynamics may involve text indications (such as "più forte", "piano subito", etc.). They can be produced using a \markup bloc.
\layout{ragged-right = ##t} piuf = \markup { \italic "molto" \dynamic "f" } \relative c''{ c-\piuf c c2\< c2\! c2\< c2\! }
combining-two-parts-on-the-same-staff.ly
The part combiner tool ( \partcombine command ) allows you to combine different parts on a same Staff. You can choose whether you want or don't want to add texts such as "solo" or "a2", by defining the printPartCombineTexts property.
For vocal scores (hymns), there is no need to add "solo"/"a2" texts, so they should be switched off. However, you'd better not use it if there are any solos, as they won't be indicated. In such cases, you may simply want to use standard LilyPond polyphony.
This snippet presents the three ways two parts can be printed on a same staff : standard polyphony, \partcombine whitout texts, and \partcombine with texts.
musicUp = { \time 4/4 \relative c'' { 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 a } } \score{ \new Staff { \set Staff.instrumentName = "Standard polyphony " << \musicUp \\ \musicDown >> } \layout{ indent = 6.0\cm } } \score{ \context Staff { \set Staff.instrumentName = "PartCombine without texts " \partcombine \musicUp \musicDown } \layout{ indent = 6.0\cm \context { \Voice printPartCombineTexts = ##f } } } \score{ \context Staff { \set Staff.instrumentName = "PartCombine with texts " \partcombine \musicUp \musicDown } \layout{ indent = 6.0\cm \context { \Voice printPartCombineTexts = ##t } } }
creating-real-parenthesized-dynamics.ly
Although the easiest way to add parenthesis to a dynamic mark is to use a \markup block, this method has a downside: the created objects will behave like text markups, and not like dynamics.
However, it is possible to create a similar object using the equivalent Scheme code (as described in "Markup programmer interface"), combined with the make-dynamic-script function. This way, the markup will be regarded as a dynamic, and therefore will remain compatible with commands such as \dynamicUp or \dynamicDown.
\paper { ragged-right = ##t } parenF = #(make-dynamic-script (markup #:line(#:normal-text #:italic #:fontsize 2 "(" #:hspace -0.8 #:dynamic "f" #:normal-text #:italic #:fontsize 2 ")" ))) \score { { c''\parenF c'' c'' \dynamicUp c''\parenF } }
The <code>\startTextSpan</code> and <code>\stopTextSpan</code> commands give you the ability to create text spanners as easily as pedals indications or octavations. Override some properties of the <code>TextSpanner</code> object to modify its output.
\relative c''{ \override TextSpanner #'edge-text = #'("bla" . "blu") a \startTextSpan b c a \stopTextSpan \override TextSpanner #'dash-period = #2 \override TextSpanner #'dash-fraction = #0.0 a \startTextSpan b c a \stopTextSpan \revert TextSpanner #'style \override TextSpanner #'style = #'dashed-line \override TextSpanner #'bound-details #'left #'text = \markup { \draw-line #'(0 . 1) } \override TextSpanner #'bound-details #'right #'text = \markup { \draw-line #'(0 . -2) } a \startTextSpan b c a \stopTextSpan \set Staff.middleCPosition = #-13 \override TextSpanner #'dash-period = #10 \override TextSpanner #'dash-fraction = #.5 \override TextSpanner #'thickness = #10 a \startTextSpan b c a \stopTextSpan \set Staff.middleCPosition = #-6 }
All header fields with special meanings.
formatting-lyrics-syllables.ly
To format single lyrics syllables, you can simply use \markup { .... } on these lyrics!
melody = \relative c'' { c4 c c c } lyr = \lyricmode { Lyrics \markup { \italic can } \markup {\with-color #red contain } \markup {\fontsize #8 \bold "Markup!" } } \context Staff << \context Voice = "mel" << \melody >> \context Lyrics \lyricsto "mel" \lyr >>
how-to-put-ties-between-syllables-in-lyrics.ly
This can be achieved by separating those syllables by tildes.
\lyrics { wa~o~a }
Text that can spread over pages is entered with the
\markuplines
command.
#(set-default-paper-size "a6") #(define-markup-list-command (paragraph layout props args) (markup-list?) (interpret-markup-list layout props (make-justified-lines-markup-list (cons (make-hspace-markup 2) args)))) %% Candide, Voltaire \markuplines \override-lines #'(baseline-skip . 2.5) { \paragraph { Il y avait en Westphalie, dans le château de M. le baron de Thunder-ten-tronckh, un jeune garçon à qui la nature avait donné les mœurs les plus douces. Sa physionomie annonçait son âme. Il avait le jugement assez droit, avec l'esprit le plus simple ; c'est, je crois, pour cette raison qu'on le nommait Candide. Les anciens domestiques de la maison soupçonnaient qu'il était fils de la sœur de monsieur le baron et d'un bon et honnête gentilhomme du voisinage, que cette demoiselle ne voulut jamais épouser parce qu'il n'avait pu prouver que soixante et onze quartiers, et que le reste de son arbre généalogique avait été perdu par l'injure du temps. } \paragraph { Monsieur le baron était un des plus puissants seigneurs de la Westphalie, car son château avait une porte et des fenêtres. Sa grande salle même était ornée d'une tapisserie. Tous les chiens de ses basses-cours composaient une meute dans le besoin ; ses palefreniers étaient ses piqueurs; le vicaire du village était son grand-aumônier. Ils l'appelaient tous monseigneur, et ils riaient quand il faisait des contes. } }
Internally, the set-octavation function sets the properties
ottavation
(e.g., to "8va"
or "8vb"
) and
middleCPosition
. To override the text of the bracket, set
ottavation
after invoking set-octavation
, like in the
following example.
{ #(set-octavation 1) \set Staff.ottavation = #"8" c''1 #(set-octavation 0) c'1 #(set-octavation 1) \set Staff.ottavation = #"Text" c''1 }
outputting-the-version-number.ly
By putting the output of lilypond-version
into a lyric or a
text markup, it is possible to print the version number of LilyPond in
a score, or in a document generated with lilypond-book
.
\score { \context Lyrics { \override Score.RehearsalMark #'self-alignment-X = #LEFT \mark #(ly:export (string-append "Processed with LilyPond version " (lilypond-version))) s2 } }
piano-template-with-centered-lyrics.ly
Instead of having a full staff for the melody and lyrics, you can place the lyrics between the piano staff (and omit the separate melody staff).
upper = \relative c'' { \clef treble \key c \major \time 4/4 a b c d } lower = \relative c { \clef bass \key c \major \time 4/4 a2 c } text = \lyricmode { Aaa Bee Cee Dee } \score { \new GrandStaff << \new Staff = upper { \new Voice = "singer" \upper } \new Lyrics \lyricsto "singer" \text \new Staff = lower { \clef bass \lower } >> \layout { \context { \GrandStaff \accepts "Lyrics" } \context { \Lyrics \consists "Bar_engraver" } } \midi { } }
Various scripts may be used for texts (like titles and lyrics) introduced by entering them in UTF-8 encoding, and using a Pango based backend. Depending on the fonts installed, this fragment will render Bulgarian (Cyrillic), Hebrew, Japanese and Portuguese.
% end verbatim - this comment is a hack to prevent texinfo.tex % from choking on non-European UTF-8 subsets % Cyrillic font bulgarian = \lyricmode { Жълтата дюля беше щастлива, че пухът, който цъфна, замръзна като гьон. } hebrew = \lyricmode { זה כיף סתם לשמוע איך תנצח קרפד עץ טוב בגן. } japanese = \lyricmode { いろはにほへど ちりぬるを わがよたれぞ つねならむ うゐのおくや まけふこえて あさきゆめみじ ゑひもせず } % "a legal song to you" portuguese = \lyricmode { à vo -- cê uma can -- ção legal } \paper { ragged-right = ##t } \relative { c2 d e f g f e } \addlyrics { \bulgarian } \addlyrics { \hebrew } \addlyrics { \japanese } \addlyrics { \portuguese }
vocal-ensemble-template-with-lyrics-aligned-below-and-above-the-staves.ly
This template is basically the same as the simple "Vocal ensemble" template, with the exception that here all the lyrics lines are placed using alignAboveContext and alignBelowContext.
global = { \key c \major \time 4/4 } sopMusic = \relative c'' { c4 c c8[( b)] c4 } sopWords = \lyricmode { hi hi hi hi } altoMusic = \relative c' { e4 f d e } altoWords =\lyricmode { ha ha ha ha } tenorMusic = \relative c' { g4 a f g } tenorWords = \lyricmode { hu hu hu hu } bassMusic = \relative c { c4 c g c } bassWords = \lyricmode { ho ho ho ho } \score { \new ChoirStaff << \new Staff = women << \new Voice = "sopranos" { \voiceOne << \global \sopMusic >> } \new Voice = "altos" { \voiceTwo << \global \altoMusic >> } >> \new Lyrics \with {alignAboveContext=women} \lyricsto sopranos \sopWords \new Lyrics \with {alignBelowContext=women} \lyricsto altos \altoWords % we could remove the line about this with the line below, since we want % the alto lyrics to be below the alto Voice anyway. % \new Lyrics \lyricsto altos \altoWords \new Staff = men << \clef bass \new Voice = "tenors" { \voiceOne <<\global \tenorMusic >> } \new Voice = "basses" { \voiceTwo <<\global \bassMusic >> } >> \new Lyrics \with {alignAboveContext=men} \lyricsto tenors \tenorWords \new Lyrics \with {alignBelowContext=men} \lyricsto basses \bassWords % again, we could replace the line above this with the line below. % \new Lyrics \lyricsto basses \bassWords >> \layout { \context { % a little smaller so lyrics % can be closer to the staff \Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) } } } \score { \new ChoirStaff << \new Staff = women << \new Voice = "sopranos" { \voiceOne << \global \sopMusic >> } \new Voice = "altos" { \voiceTwo << \global \altoMusic >> } >> \new Lyrics \with {alignAboveContext=women} \lyricsto sopranos \sopWords \new Lyrics \lyricsto altos \altoWords \new Staff = men << \clef bass \new Voice = "tenors" { \voiceOne <<\global \tenorMusic >> } \new Voice = "basses" { \voiceTwo <<\global \bassMusic >> } >> \new Lyrics \with {alignAboveContext=men} \lyricsto tenors \tenorWords \new Lyrics \lyricsto basses \bassWords >> \layout { \context { % a little smaller so lyrics % can be closer to the staff \Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) } } }
Ambits can be added per voice. In that 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 } >>
adjusting-lyrics-vertical-spacing.ly
This snippets shows you how to bring the lyrics line closer to the Staff.
% Default layout: \score{ << \new Staff \new Voice = m \relative c'{ c4 d e f g f e d c1} \new Lyrics \lyricsto m {aa aa aa aa aa aa aa aa aa } >> } % Reducing the minimum space below the Staff and above the Lyrics: \score { << \new Staff \with { \override VerticalAxisGroup #'minimum-Y-extent = #'(-1. 4)} \new Voice = m \relative c'{ c4 d e f g f e d c1 } \new Lyrics \with { \override VerticalAxisGroup #'minimum-Y-extent = #'(-1.2 . 1)} \lyricsto m {aa aa aa aa aa aa aa aa aa } >> \header { tagline = "" } }
You can specify different horizontal alignment for your lyrics, 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.
\relative c'' { c1 c c } \addlyrics { \once \override LyricText #'self-alignment-X = #LEFT "This is left-aligned" \once \override LyricText #'self-alignment-X = #CENTER "This is centered" \once \override LyricText #'self-alignment-X = #1 "this is right-aligned" }
If you have multiple voices in a single staff and you want a single
ambitus per staff rather than per voice, add the
Ambitus_engraver
to the Staff
context rather than to the
Voice
context.
\new Staff \with { \consists "Ambitus_engraver" } << \new Voice \relative c'' { \voiceOne c4 a d e f1 } \new Voice \relative c' { \voiceTwo es4 f g as b1 } >>
This form of notation is used for the chant of the Psalms, where verses aren't always the same length.
stemon = { \override Staff.Stem #'transparent = ##f } stemoff = { \override Staff.Stem #'transparent = ##t } \score { \new Staff \with {\remove "Time_signature_engraver" } { \key g \minor \set Score.timing = ##f \stemoff a'\breve bes'4 g'4 \stemon a'2 \bar "||" \stemoff a'\breve g'4 a'4 \stemon f'2 \bar "||" \stemoff a'\breve^\markup { \italic flexe } \stemon g'2 \bar "||" } \layout { raggedright = ##t} }
Problem: How to know which MidiInstrument would be best for your composition? Solution: A Lilypond demo file.
\score { \new Staff << \new Voice { \melodie } %Voice >> %Staff \layout { } } %score \score { \new Staff << \tempo 4 = 180 %\set Staff.instrumentName="S/A" %\set Staff.midiMinimumVolume = #0.2 %\set Staff.midiMaximumVolume = #0.4 %\set Voice.dynamicAbsoluteVolumeFunction = #0.6 \new Voice { r \mf \set Staff.midiInstrument="acoustic grand" \melodie \set Staff.midiInstrument="bright acoustic" \melodie \set Staff.midiInstrument="electric grand" \melodie \set Staff.midiInstrument="honky-tonk" \melodie \set Staff.midiInstrument="electric piano 1" \melodie \set Staff.midiInstrument="electric piano 2" \melodie \set Staff.midiInstrument="harpsichord" \melodie \set Staff.midiInstrument="clav" \melodie \set Staff.midiInstrument="celesta" \melodie \set Staff.midiInstrument="glockenspiel" \melodie \set Staff.midiInstrument="music box" \melodie \set Staff.midiInstrument="vibraphone" \melodie \set Staff.midiInstrument="marimba" \melodie \set Staff.midiInstrument="xylophone" \melodie \set Staff.midiInstrument="tubular bells" \melodie \set Staff.midiInstrument="dulcimer" \melodie \set Staff.midiInstrument="drawbar organ" \melodie \set Staff.midiInstrument="percussive organ" \melodie \set Staff.midiInstrument="rock organ" \melodie \set Staff.midiInstrument="church organ" \melodie \set Staff.midiInstrument="reed organ" \melodie \set Staff.midiInstrument="accordion" \melodie \set Staff.midiInstrument="harmonica" \melodie \set Staff.midiInstrument="concertina" \melodie \set Staff.midiInstrument="acoustic guitar (nylon)" \melodie \set Staff.midiInstrument="acoustic guitar (steel)" \melodie \set Staff.midiInstrument="electric guitar (jazz)" \melodie \set Staff.midiInstrument="electric guitar (clean)" \melodie \set Staff.midiInstrument="electric guitar (muted)" \melodie \set Staff.midiInstrument="overdriven guitar" \melodie \set Staff.midiInstrument="distorted guitar" \melodie \set Staff.midiInstrument="acoustic bass" \melodie \set Staff.midiInstrument="electric bass (finger)" \melodie \set Staff.midiInstrument="electric bass (pick)" \melodie \set Staff.midiInstrument="fretless bass" \melodie \set Staff.midiInstrument="slap bass 1" \melodie \set Staff.midiInstrument="slap bass 2" \melodie \set Staff.midiInstrument="synth bass 1" \melodie \set Staff.midiInstrument="synth bass 2" \melodie \set Staff.midiInstrument="violin" \melodie \set Staff.midiInstrument="viola" \melodie \set Staff.midiInstrument="cello" \melodie \set Staff.midiInstrument="contrabass" \melodie \set Staff.midiInstrument="tremolo strings" \melodie \set Staff.midiInstrument="pizzicato strings" \melodie \set Staff.midiInstrument="orchestral strings" \melodie \set Staff.midiInstrument="timpani" \melodie \set Staff.midiInstrument="string ensemble 1" \melodie \set Staff.midiInstrument="string ensemble 2" \melodie \set Staff.midiInstrument="synthstrings 1" \melodie \set Staff.midiInstrument="synthstrings 2" \melodie \set Staff.midiInstrument="choir aahs" \melodie \set Staff.midiInstrument="voice oohs" \melodie \set Staff.midiInstrument="synth voice" \melodie \set Staff.midiInstrument="orchestra hit" \melodie \set Staff.midiInstrument="trumpet" \melodie \set Staff.midiInstrument="trombone" \melodie \set Staff.midiInstrument="tuba" \melodie \set Staff.midiInstrument="muted trumpet" \melodie \set Staff.midiInstrument="french horn" \melodie \set Staff.midiInstrument="brass section" \melodie \set Staff.midiInstrument="synthbrass 1" \melodie \set Staff.midiInstrument="synthbrass 2" \melodie \set Staff.midiInstrument="soprano sax" \melodie \set Staff.midiInstrument="alto sax" \melodie \set Staff.midiInstrument="tenor sax" \melodie \set Staff.midiInstrument="baritone sax" \melodie \set Staff.midiInstrument="oboe" \melodie \set Staff.midiInstrument="english horn" \melodie \set Staff.midiInstrument="bassoon" \melodie \set Staff.midiInstrument="clarinet" \melodie \set Staff.midiInstrument="piccolo" \melodie \set Staff.midiInstrument="flute" \melodie \set Staff.midiInstrument="recorder" \melodie \set Staff.midiInstrument="pan flute" \melodie \set Staff.midiInstrument="blown bottle" \melodie \set Staff.midiInstrument="shakuhachi" \melodie \set Staff.midiInstrument="whistle" \melodie \set Staff.midiInstrument="ocarina" \melodie \set Staff.midiInstrument="lead 1 (square)" \melodie \set Staff.midiInstrument="lead 2 (sawtooth)" \melodie \set Staff.midiInstrument="lead 3 (calliope)" \melodie \set Staff.midiInstrument="lead 4 (chiff)" \melodie \set Staff.midiInstrument="lead 5 (charang)" \melodie \set Staff.midiInstrument="lead 6 (voice)" \melodie \set Staff.midiInstrument="lead 7 (fifths)" \melodie \set Staff.midiInstrument="lead 8 (bass+lead)" \melodie \set Staff.midiInstrument="pad 1 (new age)" \melodie \set Staff.midiInstrument="pad 2 (warm)" \melodie \set Staff.midiInstrument="pad 3 (polysynth)" \melodie \set Staff.midiInstrument="pad 4 (choir)" \melodie \set Staff.midiInstrument="pad 5 (bowed)" \melodie \set Staff.midiInstrument="pad 6 (metallic)" \melodie \set Staff.midiInstrument="pad 7 (halo)" \melodie \set Staff.midiInstrument="pad 8 (sweep)" \melodie \set Staff.midiInstrument="fx 1 (rain)" \melodie \set Staff.midiInstrument="fx 2 (soundtrack)" \melodie \set Staff.midiInstrument="fx 3 (crystal)" \melodie \set Staff.midiInstrument="fx 4 (atmosphere)" \melodie \set Staff.midiInstrument="fx 5 (brightness)" \melodie \set Staff.midiInstrument="fx 6 (goblins)" \melodie \set Staff.midiInstrument="fx 7 (echoes)" \melodie \set Staff.midiInstrument="fx 8 (sci-fi)" \melodie \set Staff.midiInstrument="sitar" \melodie \set Staff.midiInstrument="banjo" \melodie \set Staff.midiInstrument="shamisen" \melodie \set Staff.midiInstrument="koto" \melodie \set Staff.midiInstrument="kalimba" \melodie \set Staff.midiInstrument="bagpipe" \melodie \set Staff.midiInstrument="fiddle" \melodie \set Staff.midiInstrument="shanai" \melodie \set Staff.midiInstrument="tinkle bell" \melodie \set Staff.midiInstrument="agogo" \melodie \set Staff.midiInstrument="steel drums" \melodie \set Staff.midiInstrument="woodblock" \melodie \set Staff.midiInstrument="taiko drum" \melodie \set Staff.midiInstrument="melodic tom" \melodie \set Staff.midiInstrument="synth drum" \melodie \set Staff.midiInstrument="reverse cymbal" \melodie \set Staff.midiInstrument="guitar fret noise" \melodie \set Staff.midiInstrument="breath noise" \melodie \set Staff.midiInstrument="seashore" \melodie \set Staff.midiInstrument="bird tweet" \melodie \set Staff.midiInstrument="telephone ring" \melodie \set Staff.midiInstrument="helicopter" \melodie \set Staff.midiInstrument="applause" \melodie \set Staff.midiInstrument="gunshot" \melodie } %Voice >> %Staff \midi { } } %score
formatting-lyrics-syllables.ly
To format single lyrics syllables, you can simply use \markup { .... } on these lyrics!
melody = \relative c'' { c4 c c c } lyr = \lyricmode { Lyrics \markup { \italic can } \markup {\with-color #red contain } \markup {\fontsize #8 \bold "Markup!" } } \context Staff << \context Voice = "mel" << \melody >> \context Lyrics \lyricsto "mel" \lyr >>
how-to-put-ties-between-syllables-in-lyrics.ly
This can be achieved by separating those syllables by tildes.
\lyrics { wa~o~a }
piano-template-with-melody-and-lyrics.ly
Here is a typical song format: one staff with the melody and lyrics, with piano accompaniment underneath.
melody = \relative c'' { \clef treble \key c \major \time 4/4 a b c d } text = \lyricmode { Aaa Bee Cee Dee } upper = \relative c'' { \clef treble \key c \major \time 4/4 a b c d } lower = \relative c { \clef bass \key c \major \time 4/4 a2 c } \score { << \new Voice = "mel" { \autoBeamOff \melody } \new Lyrics \lyricsto mel \text \new PianoStaff << \new Staff = "upper" \upper \new Staff = "lower" \lower >> >> \layout { \context { \RemoveEmptyStaffContext } } \midi { } }
single-staff-template-with-notes,-lyrics,-and-chords.ly
This template allows you to prepare a song with melody, words, and chords.
melody = \relative c' { \clef treble \key c \major \time 4/4 a b c d } text = \lyricmode { Aaa Bee Cee Dee } harmonies = \chordmode { a2 c2 } \score { << \new ChordNames { \set chordChanges = ##t \harmonies } \new Voice = "one" { \autoBeamOff \melody } \new Lyrics \lyricsto "one" \text >> \layout { } \midi { } }
single-staff-template-with-notes-and-lyrics.ly
This small template demonstrates a simple melody with lyrics. Cut and paste, add notes, then words for the lyrics. This example turns off automatic beaming, which is common for vocal parts. If you want to use automatic beaming, you'll have to change or comment out the relevant line.
melody = \relative c' { \clef treble \key c \major \time 4/4 a4 b c d } text = \lyricmode { Aaa Bee Cee Dee } \score{ << \new Voice = "one" { \autoBeamOff \melody } \new Lyrics \lyricsto "one" \text >> \layout { } \midi { } }
Although you can't use `s' in lyric mode (it's taken to be a literal s, not a space) you can use either "" or _.
So for example:
<< \relative c'' { a4 b c d } \new Lyrics \lyricmode { a4 _2 gap4 } >>
The s syntax is only available in note mode and chord mode. In other situations, for example, when entering lyrics, you should use the \skip command.
<< \relative { a'2 a1 } \new Lyrics \lyricmode { \skip 2 bla1 } >>
vertically-aligning-ossias-and-lyrics.ly
This snippet shows of to use the alignBelowContext
and
alignAboveContext
properties, which may be needed for text
elements (e.g. lyrics) positioning, but also for musical contents such
as ossias.
\paper { ragged-right = ##t } \relative << \new Staff = "1" { c4 c s2 } \new Staff = "2" { c4 c s2 } \new Staff = "3" { c4 c s2 } { \skip 2 << \lyrics { \set alignBelowContext = #"1" below8 first staff } \new Staff { \set Staff.alignAboveContext = #"3" \times 4/6 { \override TextScript #'padding = #3 c8^"this" d_"staff" e^"above" d_"last" e^"staff" f } } >> } >>
vocal-ensemble-template-with-automatic-piano-reduction.ly
This template adds an automatic piano reduction to the standard SATB vocal score demonstrated in "Vocal ensemble template". This demonstrates one of the strengths of LilyPond – you can use a music definition more than once. If you make any changes to the vocal notes (say, tenorMusic), then the changes will also apply to the piano reduction.
global = { \key c \major \time 4/4 } sopMusic = \relative c'' { c4 c c8[( b)] c4 } sopWords = \lyricmode { hi hi hi hi } altoMusic = \relative c' { e4 f d e } altoWords =\lyricmode { ha ha ha ha } tenorMusic = \relative c' { g4 a f g } tenorWords = \lyricmode { hu hu hu hu } bassMusic = \relative c { c4 c g c } bassWords = \lyricmode { ho ho ho ho } \score { << \new ChoirStaff << \new Lyrics = sopranos { s1 } \new Staff = women << \new Voice = "sopranos" { \voiceOne << \global \sopMusic >> } \new Voice = "altos" { \voiceTwo << \global \altoMusic >> } >> \new Lyrics = "altos" { s1 } \new Lyrics = "tenors" { s1 } \new Staff = men << \clef bass \new Voice = "tenors" { \voiceOne <<\global \tenorMusic >> } \new Voice = "basses" { \voiceTwo <<\global \bassMusic >> } >> \new Lyrics = basses { s1 } \context Lyrics = sopranos \lyricsto sopranos \sopWords \context Lyrics = altos \lyricsto altos \altoWords \context Lyrics = tenors \lyricsto tenors \tenorWords \context Lyrics = basses \lyricsto basses \bassWords >> \new PianoStaff << \new Staff << \set Staff.printPartCombineTexts = ##f \partcombine << \global \sopMusic >> << \global \altoMusic >> >> \new Staff << \clef bass \set Staff.printPartCombineTexts = ##f \partcombine << \global \tenorMusic >> << \global \bassMusic >> >> >> >> \layout { \context { % a little smaller so lyrics % can be closer to the staff \Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) } } }
vocal-ensemble-template-with-lyrics-aligned-below-and-above-the-staves.ly
This template is basically the same as the simple "Vocal ensemble" template, with the exception that here all the lyrics lines are placed using alignAboveContext and alignBelowContext.
global = { \key c \major \time 4/4 } sopMusic = \relative c'' { c4 c c8[( b)] c4 } sopWords = \lyricmode { hi hi hi hi } altoMusic = \relative c' { e4 f d e } altoWords =\lyricmode { ha ha ha ha } tenorMusic = \relative c' { g4 a f g } tenorWords = \lyricmode { hu hu hu hu } bassMusic = \relative c { c4 c g c } bassWords = \lyricmode { ho ho ho ho } \score { \new ChoirStaff << \new Staff = women << \new Voice = "sopranos" { \voiceOne << \global \sopMusic >> } \new Voice = "altos" { \voiceTwo << \global \altoMusic >> } >> \new Lyrics \with {alignAboveContext=women} \lyricsto sopranos \sopWords \new Lyrics \with {alignBelowContext=women} \lyricsto altos \altoWords % we could remove the line about this with the line below, since we want % the alto lyrics to be below the alto Voice anyway. % \new Lyrics \lyricsto altos \altoWords \new Staff = men << \clef bass \new Voice = "tenors" { \voiceOne <<\global \tenorMusic >> } \new Voice = "basses" { \voiceTwo <<\global \bassMusic >> } >> \new Lyrics \with {alignAboveContext=men} \lyricsto tenors \tenorWords \new Lyrics \with {alignBelowContext=men} \lyricsto basses \bassWords % again, we could replace the line above this with the line below. % \new Lyrics \lyricsto basses \bassWords >> \layout { \context { % a little smaller so lyrics % can be closer to the staff \Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) } } } \score { \new ChoirStaff << \new Staff = women << \new Voice = "sopranos" { \voiceOne << \global \sopMusic >> } \new Voice = "altos" { \voiceTwo << \global \altoMusic >> } >> \new Lyrics \with {alignAboveContext=women} \lyricsto sopranos \sopWords \new Lyrics \lyricsto altos \altoWords \new Staff = men << \clef bass \new Voice = "tenors" { \voiceOne <<\global \tenorMusic >> } \new Voice = "basses" { \voiceTwo <<\global \bassMusic >> } >> \new Lyrics \with {alignAboveContext=men} \lyricsto tenors \tenorWords \new Lyrics \lyricsto basses \bassWords >> \layout { \context { % a little smaller so lyrics % can be closer to the staff \Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) } } }
Here is a standard four-part SATB vocal score. With larger ensembles, it's often useful to include a section which is included in all parts. For example, the time signature and key signatures are almost always the same for all parts. Like in the "Hymn" template, the four voices are regrouped on only two staves.
global = { \key c \major \time 4/4 } sopMusic = \relative c'' { c4 c c8[( b)] c4 } sopWords = \lyricmode { hi hi hi hi } altoMusic = \relative c' { e4 f d e } altoWords =\lyricmode { ha ha ha ha } tenorMusic = \relative c' { g4 a f g } tenorWords = \lyricmode { hu hu hu hu } bassMusic = \relative c { c4 c g c } bassWords = \lyricmode { ho ho ho ho } \score { \new ChoirStaff << \new Lyrics = sopranos { s1 } \new Staff = women << \new Voice = "sopranos" { \voiceOne << \global \sopMusic >> } \new Voice = "altos" { \voiceTwo << \global \altoMusic >> } >> \new Lyrics = "altos" { s1 } \new Lyrics = "tenors" { s1 } \new Staff = men << \clef bass \new Voice = "tenors" { \voiceOne <<\global \tenorMusic >> } \new Voice = "basses" { \voiceTwo <<\global \bassMusic >> } >> \new Lyrics = basses { s1 } \context Lyrics = sopranos \lyricsto sopranos \sopWords \context Lyrics = altos \lyricsto altos \altoWords \context Lyrics = tenors \lyricsto tenors \tenorWords \context Lyrics = basses \lyricsto basses \bassWords >> \layout { \context { % a little smaller so lyrics % can be closer to the staff \Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) } } }
adding-a-figured-bass-above-or-below-the-notes.ly
When writing a figured bass, here's a way to specify if you want your figures to be placed above or below the bass notes, by defining the BassFigureAlignmentPositioning #'direction property (exclusively in a Staff context). Choices are #UP (or #1), #CENTER (or #0) and #DOWN (or #-1).
As you can see here, this property can be changed as many times as you wish. Use \once \override if you dont want the tweak to apply to the whole score.
bass = { \clef bass g4 b, c d e d8 c d2} continuo = \figuremode { < _ >4 < 6 >8 \once \override Staff.BassFigureAlignmentPositioning #'direction = #CENTER <5/> < _ >4 \override Staff.BassFigureAlignmentPositioning #'direction = #UP < _+ > < 6 > \set Staff.useBassFigureExtenders = ##t \override Staff.BassFigureAlignmentPositioning #'direction = #DOWN < 4 >4. < 4 >8 < _+ >4 } \score { << \new Staff = bassStaff \bass \context Staff = bassStaff \continuo >> }
changing-the-chord-names-to-german-or-semi-german-notation.ly
The english naming of chords (default) can be changed to german
(\germanChords
replaces B and Bes to H and B) or semi-german
(\semiGermanChords
replaces B and Bes to H and Bb).
music = \chordmode { c1/c cis/cis b/b bis/bis bes/bes } %% The following is only here to print the names of the %% chords styles; it can be removed if you do not need to %% print them. \layout { \context {\ChordNames \consists Instrument_name_engraver } } << \new ChordNames { \set ChordNames.instrumentName = #"default" \music } \new ChordNames { \set ChordNames.instrumentName = #"german" \germanChords \music } \new ChordNames { \set ChordNames.instrumentName = #"semi-german" \semiGermanChords \music } \context Voice { \music } >>
The property chordNameExceptions
can used to store a list of
special notations for specific chords.
% 7sus4 denoted with ^7 wahh chExceptionMusic = { <c f g bes>1-\markup { \super "7" "wahh" } } % add to existing exceptions. chExceptions = #(append (sequential-music-to-chord-exceptions chExceptionMusic #t) ignatzekExceptions) theMusic = \chordmode { c:7sus4 c:dim7/+f \set chordNameExceptions = #chExceptions c:7sus4 c:dim7/+f } \layout { ragged-right = ##t } << \context ChordNames \theMusic \context Voice \theMusic >>
Clusters are a device to denote that a complete range of notes is to be played.
\layout { ragged-right = ##t } fragment = \relative c' { c4 f4 <e d'>4 <g a>8 <e a> a4 c2 <d b>4 e4 c4 } << \new Staff \fragment \new Staff \makeClusters \fragment >>
single-staff-template-with-notes,-lyrics,-and-chords.ly
This template allows you to prepare a song with melody, words, and chords.
melody = \relative c' { \clef treble \key c \major \time 4/4 a b c d } text = \lyricmode { Aaa Bee Cee Dee } harmonies = \chordmode { a2 c2 } \score { << \new ChordNames { \set chordChanges = ##t \harmonies } \new Voice = "one" { \autoBeamOff \melody } \new Lyrics \lyricsto "one" \text >> \layout { } \midi { } }
single-staff-template-with-notes-and-chords.ly
Want to prepare a lead sheet with a melody and chords? Look no further!
melody = \relative c' { \clef treble \key c \major \time 4/4 f4 e8[ c] d4 g | a2 ~ a2 | } harmonies = \chordmode { c4:m f:min7 g:maj c:aug d2:dim b:sus } \score { << \new ChordNames { \set chordChanges = ##t \harmonies } \new Staff \melody >> \layout{ } \midi { } }
Clusters are a device to denote that a complete range of notes is to be played.
\layout { ragged-right = ##t } fragment = \relative c' { c4 f4 <e d'>4 <g a>8 <e a> a4 c2 <d b>4 e4 c4 } << \new Staff \fragment \new Staff \makeClusters \fragment >>
Problem: How to know which MidiInstrument would be best for your composition? Solution: A Lilypond demo file.
\score { \new Staff << \new Voice { \melodie } %Voice >> %Staff \layout { } } %score \score { \new Staff << \tempo 4 = 180 %\set Staff.instrumentName="S/A" %\set Staff.midiMinimumVolume = #0.2 %\set Staff.midiMaximumVolume = #0.4 %\set Voice.dynamicAbsoluteVolumeFunction = #0.6 \new Voice { r \mf \set Staff.midiInstrument="acoustic grand" \melodie \set Staff.midiInstrument="bright acoustic" \melodie \set Staff.midiInstrument="electric grand" \melodie \set Staff.midiInstrument="honky-tonk" \melodie \set Staff.midiInstrument="electric piano 1" \melodie \set Staff.midiInstrument="electric piano 2" \melodie \set Staff.midiInstrument="harpsichord" \melodie \set Staff.midiInstrument="clav" \melodie \set Staff.midiInstrument="celesta" \melodie \set Staff.midiInstrument="glockenspiel" \melodie \set Staff.midiInstrument="music box" \melodie \set Staff.midiInstrument="vibraphone" \melodie \set Staff.midiInstrument="marimba" \melodie \set Staff.midiInstrument="xylophone" \melodie \set Staff.midiInstrument="tubular bells" \melodie \set Staff.midiInstrument="dulcimer" \melodie \set Staff.midiInstrument="drawbar organ" \melodie \set Staff.midiInstrument="percussive organ" \melodie \set Staff.midiInstrument="rock organ" \melodie \set Staff.midiInstrument="church organ" \melodie \set Staff.midiInstrument="reed organ" \melodie \set Staff.midiInstrument="accordion" \melodie \set Staff.midiInstrument="harmonica" \melodie \set Staff.midiInstrument="concertina" \melodie \set Staff.midiInstrument="acoustic guitar (nylon)" \melodie \set Staff.midiInstrument="acoustic guitar (steel)" \melodie \set Staff.midiInstrument="electric guitar (jazz)" \melodie \set Staff.midiInstrument="electric guitar (clean)" \melodie \set Staff.midiInstrument="electric guitar (muted)" \melodie \set Staff.midiInstrument="overdriven guitar" \melodie \set Staff.midiInstrument="distorted guitar" \melodie \set Staff.midiInstrument="acoustic bass" \melodie \set Staff.midiInstrument="electric bass (finger)" \melodie \set Staff.midiInstrument="electric bass (pick)" \melodie \set Staff.midiInstrument="fretless bass" \melodie \set Staff.midiInstrument="slap bass 1" \melodie \set Staff.midiInstrument="slap bass 2" \melodie \set Staff.midiInstrument="synth bass 1" \melodie \set Staff.midiInstrument="synth bass 2" \melodie \set Staff.midiInstrument="violin" \melodie \set Staff.midiInstrument="viola" \melodie \set Staff.midiInstrument="cello" \melodie \set Staff.midiInstrument="contrabass" \melodie \set Staff.midiInstrument="tremolo strings" \melodie \set Staff.midiInstrument="pizzicato strings" \melodie \set Staff.midiInstrument="orchestral strings" \melodie \set Staff.midiInstrument="timpani" \melodie \set Staff.midiInstrument="string ensemble 1" \melodie \set Staff.midiInstrument="string ensemble 2" \melodie \set Staff.midiInstrument="synthstrings 1" \melodie \set Staff.midiInstrument="synthstrings 2" \melodie \set Staff.midiInstrument="choir aahs" \melodie \set Staff.midiInstrument="voice oohs" \melodie \set Staff.midiInstrument="synth voice" \melodie \set Staff.midiInstrument="orchestra hit" \melodie \set Staff.midiInstrument="trumpet" \melodie \set Staff.midiInstrument="trombone" \melodie \set Staff.midiInstrument="tuba" \melodie \set Staff.midiInstrument="muted trumpet" \melodie \set Staff.midiInstrument="french horn" \melodie \set Staff.midiInstrument="brass section" \melodie \set Staff.midiInstrument="synthbrass 1" \melodie \set Staff.midiInstrument="synthbrass 2" \melodie \set Staff.midiInstrument="soprano sax" \melodie \set Staff.midiInstrument="alto sax" \melodie \set Staff.midiInstrument="tenor sax" \melodie \set Staff.midiInstrument="baritone sax" \melodie \set Staff.midiInstrument="oboe" \melodie \set Staff.midiInstrument="english horn" \melodie \set Staff.midiInstrument="bassoon" \melodie \set Staff.midiInstrument="clarinet" \melodie \set Staff.midiInstrument="piccolo" \melodie \set Staff.midiInstrument="flute" \melodie \set Staff.midiInstrument="recorder" \melodie \set Staff.midiInstrument="pan flute" \melodie \set Staff.midiInstrument="blown bottle" \melodie \set Staff.midiInstrument="shakuhachi" \melodie \set Staff.midiInstrument="whistle" \melodie \set Staff.midiInstrument="ocarina" \melodie \set Staff.midiInstrument="lead 1 (square)" \melodie \set Staff.midiInstrument="lead 2 (sawtooth)" \melodie \set Staff.midiInstrument="lead 3 (calliope)" \melodie \set Staff.midiInstrument="lead 4 (chiff)" \melodie \set Staff.midiInstrument="lead 5 (charang)" \melodie \set Staff.midiInstrument="lead 6 (voice)" \melodie \set Staff.midiInstrument="lead 7 (fifths)" \melodie \set Staff.midiInstrument="lead 8 (bass+lead)" \melodie \set Staff.midiInstrument="pad 1 (new age)" \melodie \set Staff.midiInstrument="pad 2 (warm)" \melodie \set Staff.midiInstrument="pad 3 (polysynth)" \melodie \set Staff.midiInstrument="pad 4 (choir)" \melodie \set Staff.midiInstrument="pad 5 (bowed)" \melodie \set Staff.midiInstrument="pad 6 (metallic)" \melodie \set Staff.midiInstrument="pad 7 (halo)" \melodie \set Staff.midiInstrument="pad 8 (sweep)" \melodie \set Staff.midiInstrument="fx 1 (rain)" \melodie \set Staff.midiInstrument="fx 2 (soundtrack)" \melodie \set Staff.midiInstrument="fx 3 (crystal)" \melodie \set Staff.midiInstrument="fx 4 (atmosphere)" \melodie \set Staff.midiInstrument="fx 5 (brightness)" \melodie \set Staff.midiInstrument="fx 6 (goblins)" \melodie \set Staff.midiInstrument="fx 7 (echoes)" \melodie \set Staff.midiInstrument="fx 8 (sci-fi)" \melodie \set Staff.midiInstrument="sitar" \melodie \set Staff.midiInstrument="banjo" \melodie \set Staff.midiInstrument="shamisen" \melodie \set Staff.midiInstrument="koto" \melodie \set Staff.midiInstrument="kalimba" \melodie \set Staff.midiInstrument="bagpipe" \melodie \set Staff.midiInstrument="fiddle" \melodie \set Staff.midiInstrument="shanai" \melodie \set Staff.midiInstrument="tinkle bell" \melodie \set Staff.midiInstrument="agogo" \melodie \set Staff.midiInstrument="steel drums" \melodie \set Staff.midiInstrument="woodblock" \melodie \set Staff.midiInstrument="taiko drum" \melodie \set Staff.midiInstrument="melodic tom" \melodie \set Staff.midiInstrument="synth drum" \melodie \set Staff.midiInstrument="reverse cymbal" \melodie \set Staff.midiInstrument="guitar fret noise" \melodie \set Staff.midiInstrument="breath noise" \melodie \set Staff.midiInstrument="seashore" \melodie \set Staff.midiInstrument="bird tweet" \melodie \set Staff.midiInstrument="telephone ring" \melodie \set Staff.midiInstrument="helicopter" \melodie \set Staff.midiInstrument="applause" \melodie \set Staff.midiInstrument="gunshot" \melodie } %Voice >> %Staff \midi { } } %score
Jazz tune for combo (horns, guitar, piano, bass, drums).
Here is a simple piano staff with some notes.
upper = \relative c'' { \clef treble \key c \major \time 4/4 a b c d } lower = \relative c { \clef bass \key c \major \time 4/4 a2 c } \score { \new PianoStaff << \set PianoStaff.instrumentName = "Piano " \new Staff = "upper" \upper \new Staff = "lower" \lower >> \layout { } \midi { } }
piano-template-with-centered-dynamics.ly
Many piano scores have the dynamics centered between the two staves. This requires a bit of tweaking to implement, but since the template is right here, you don't have to do the tweaking yourself.
upper = \relative c'' { \clef treble \key c \major \time 4/4 a b c d } lower = \relative c { \clef bass \key c \major \time 4/4 a2 c } dynamics = { s2\fff\> s4 s\!\pp } pedal = { s2\sustainDown s2\sustainUp } \score { \new PianoStaff << \new Staff = "upper" \upper \new Dynamics = "dynamics" \dynamics \new Staff = "lower" << \clef bass \lower >> \new Dynamics = "pedal" \pedal >> \layout { \context { \type "Engraver_group" \name Dynamics \alias Voice % So that \cresc works, for example. \consists "Output_property_engraver" \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1) \override DynamicLineSpanner #'Y-offset = #0 pedalSustainStrings = #'("Ped." "*Ped." "*") pedalUnaCordaStrings = #'("una corda" "" "tre corde") \consists "Piano_pedal_engraver" \consists "Script_engraver" \consists "Dynamic_engraver" \consists "Text_engraver" \override TextScript #'font-size = #2 \override TextScript #'font-shape = #'italic \consists "Skip_event_swallow_translator" \consists "Axis_group_engraver" } \context { \PianoStaff \accepts Dynamics } } } \score { \new PianoStaff << \new Staff = "upper" << \upper \dynamics >> \new Staff = "lower" << \lower \dynamics >> \new Dynamics = "pedal" \pedal >> \midi { \context { \type "Performer_group" \name Dynamics \consists "Piano_pedal_performer" } \context { \PianoStaff \accepts Dynamics } } }
piano-template-with-centered-lyrics.ly
Instead of having a full staff for the melody and lyrics, you can place the lyrics between the piano staff (and omit the separate melody staff).
upper = \relative c'' { \clef treble \key c \major \time 4/4 a b c d } lower = \relative c { \clef bass \key c \major \time 4/4 a2 c } text = \lyricmode { Aaa Bee Cee Dee } \score { \new GrandStaff << \new Staff = upper { \new Voice = "singer" \upper } \new Lyrics \lyricsto "singer" \text \new Staff = lower { \clef bass \lower } >> \layout { \context { \GrandStaff \accepts "Lyrics" } \context { \Lyrics \consists "Bar_engraver" } } \midi { } }
piano-template-with-melody-and-lyrics.ly
Here is a typical song format: one staff with the melody and lyrics, with piano accompaniment underneath.
melody = \relative c'' { \clef treble \key c \major \time 4/4 a b c d } text = \lyricmode { Aaa Bee Cee Dee } upper = \relative c'' { \clef treble \key c \major \time 4/4 a b c d } lower = \relative c { \clef bass \key c \major \time 4/4 a2 c } \score { << \new Voice = "mel" { \autoBeamOff \melody } \new Lyrics \lyricsto mel \text \new PianoStaff << \new Staff = "upper" \upper \new Staff = "lower" \lower >> >> \layout { \context { \RemoveEmptyStaffContext } } \midi { } }
vocal-ensemble-template-with-automatic-piano-reduction.ly
This template adds an automatic piano reduction to the standard SATB vocal score demonstrated in "Vocal ensemble template". This demonstrates one of the strengths of LilyPond – you can use a music definition more than once. If you make any changes to the vocal notes (say, tenorMusic), then the changes will also apply to the piano reduction.
global = { \key c \major \time 4/4 } sopMusic = \relative c'' { c4 c c8[( b)] c4 } sopWords = \lyricmode { hi hi hi hi } altoMusic = \relative c' { e4 f d e } altoWords =\lyricmode { ha ha ha ha } tenorMusic = \relative c' { g4 a f g } tenorWords = \lyricmode { hu hu hu hu } bassMusic = \relative c { c4 c g c } bassWords = \lyricmode { ho ho ho ho } \score { << \new ChoirStaff << \new Lyrics = sopranos { s1 } \new Staff = women << \new Voice = "sopranos" { \voiceOne << \global \sopMusic >> } \new Voice = "altos" { \voiceTwo << \global \altoMusic >> } >> \new Lyrics = "altos" { s1 } \new Lyrics = "tenors" { s1 } \new Staff = men << \clef bass \new Voice = "tenors" { \voiceOne <<\global \tenorMusic >> } \new Voice = "basses" { \voiceTwo <<\global \bassMusic >> } >> \new Lyrics = basses { s1 } \context Lyrics = sopranos \lyricsto sopranos \sopWords \context Lyrics = altos \lyricsto altos \altoWords \context Lyrics = tenors \lyricsto tenors \tenorWords \context Lyrics = basses \lyricsto basses \bassWords >> \new PianoStaff << \new Staff << \set Staff.printPartCombineTexts = ##f \partcombine << \global \sopMusic >> << \global \altoMusic >> >> \new Staff << \clef bass \set Staff.printPartCombineTexts = ##f \partcombine << \global \tenorMusic >> << \global \bassMusic >> >> >> >> \layout { \context { % a little smaller so lyrics % can be closer to the staff \Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) } } }
LilyPond makes drums input quite easy, with powerful pre-configured tools such as the \drummode function and the DrumStaff context: drums are placed to their own staff positions (with a special clef symbol) and have note heads according to the drum. You can easily attach an extra symbol to the drum, and restrict the number of lines.
drh = \drummode { cymc4.^"crash" hhc16^"h.h." hh \repeat "unfold" 5 {hhc8 hho hhc8 hh16 hh} hhc4 r4 r2 } drl = \drummode {\repeat "unfold" 3 {bd4 sn8 bd bd4 << bd ss >> } bd8 tommh tommh bd toml toml bd tomfh16 tomfh } timb = \drummode { \repeat "unfold" 2 {timh4 ssh timl8 ssh r timh r4 ssh8 timl r4 cb8 cb} } \score { \repeat "volta" 2 { << \new DrumStaff \with { drumStyleTable = #timbales-style \override StaffSymbol #'line-count = #2 \override BarLine #'bar-size = #2 } << \set Staff.instrumentName = "timbales" \timb >> \new DrumStaff << \set Staff.instrumentName = "drums" \new DrumVoice {\stemUp \drh } \new DrumVoice {\stemDown \drl } >> >> } \layout {} \midi { \context { \Score tempoWholesPerMinute = #(ly:make-moment 120 4) } } }
heavily-customized-polymetric-time-signatures.ly
Though the set-time-signature thing was not the most essential here, it has been included to show the beat of this piece (which is a template of a real balkan song!).
#(define (compound-time one two three four five six seven eight nine ten num) (markup #:override '(baseline-skip . 0) #:number (#:line ((#:column (one num)) #:vcenter "+" (#:column (two num)) #:vcenter "+" (#:column (three num)) #:vcenter "+" (#:column (four num)) #:vcenter "+" (#:column (five num)) #:vcenter "+" (#:column (six num)) #:vcenter "+" (#:column (seven num)) #:vcenter "+" (#:column (eight num)) #:vcenter "+" (#:column (nine num)) #:vcenter "+" (#:column (ten num)))))) melody = { \relative c'' { \set Staff.instrumentName = "Bb Sop." \key g \major \time 25/8 \override Staff.TimeSignature #'stencil = #ly:text-interface::print \override Staff.TimeSignature #'text = #(compound-time "3" "2" "2" "3" "2" "2" "2" "3" "2" "2" "8" ) c8[ c c] d4 c8[ c] b[ c b] a4 g fis8[ e d c] b'[ c d] e4-^ fis8[ g] | \break c,4. d4 c4 d4. c4 d c2 d4. e4-^ d4 | c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 | \break c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 | c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 | \break } } drum = { \new DrumStaff \drummode { \bar "|:" bd4. ^\markup { "Drums" } sn4 bd \bar ":" sn4. bd4 sn \bar ":" bd sn bd4. sn4 bd \bar ":|" } } { \melody \drum }
Jazz tune for combo (horns, guitar, piano, bass, drums).
printing-music-with-different-time-signatures.ly
In the following snippet, two parts have a completely different time signature, and yet keep synchronized.
This can be achieved with the \compressMusic command, as demonstrated here.
The barlines can't be printed at the Score level anymore, so you have to remove the Barline_engraver and put it in the Staff context.
% Thanks to Adam James Wilson for this snippet \paper { indent = #0 ragged-right = ##t } global = { \time 3/4 { s2. * 3 } \bar "" \break { s2. * 3 }} \layout { \context { \Score \remove "Timing_translator" \remove "Time_signature_engraver" \remove "Default_bar_line_engraver" \override SpacingSpanner #'uniform-stretching = ##t \override SpacingSpanner #'strict-note-spacing = ##t proportionalNotationDuration = #(ly:make-moment 1 64) } \context { \Staff \consists "Timing_translator" \consists "Default_bar_line_engraver" \consists "Time_signature_engraver" } \context { \Voice \remove Forbid_line_break_engraver tupletFullLength = ##t } } Bassklarinette = \new Staff << \global { \bar "|" \clef treble \time 3/8 d''4. \bar "|" \time 3/4 r8 des''2( c''8) \bar "|" \time 7/8 r4. ees''2 ~ \bar "|" \time 2/4 \tupletUp \times 2/3 {ees''4 r4 d''4 ~} \bar "|" \time 3/8 \tupletUp \times 3/4 {d''4 r4} \bar "|" \time 2/4 e''2 \bar "|" \time 3/8 es''4. \bar "|" \time 3/4 r8 d''2 r8 \bar "|" } >> Perkussion = \new StaffGroup << \new Staff << \global { \bar "|" \clef percussion \time 3/4 r4 c'2 ~ \bar "|" c'2. \bar "|" R2. \bar "|" r2 g'4 ~ \bar "|" g'2. ~ \bar "|" g'2. } >> \new Staff << \global { \bar "|" \clef percussion \time 3/4 R2. \bar "|" g'2. ~ \bar "|" g'2. \bar "|" r4 g'2 ~ \bar "|" g'2 r4 \bar "|" g'2. } >> >> \score { << \Bassklarinette \Perkussion >> }
adding-fingerings-to-tablatures.ly
To add fingerings to tablatures, you can use a combination of
\markup
and \finger
.
one = \markup{ \finger "1" } two = \markup{ \finger "2" } threetwo = \markup{ \column {\finger "3" \finger "2"} } threefour = \markup{ \column {\finger "3" \finger "4"} } \score { \context TabStaff { \stemUp e8\4^\one b\2 < e, g\3 e'\1 >^>[ b\2 e\4] < a\3 fis'\1 >^>^\threetwo[ b\2 e\4] } }
Jazz tune for combo (horns, guitar, piano, bass, drums).
letter-tablature-formatting.ly
You can format a tablature with letters instead of numbers - so that 0->a, 1->b, 2->c, etc.
BROKEN IN 2.11, COMMENTED OUT.
%% Do not edit this file; it is auto-generated from input/new %% This file is in the public domain. \version "2.11.38" \header { doctitle = "Letter tablature formatting" lsrtags = "guitar" texidoc = " You can format a tablature with letters instead of numbers - so that 0->a, 1->b, 2->c, etc. BROKEN IN 2.11, COMMENTED OUT." } { c'4 }
Problem: How to know which MidiInstrument would be best for your composition? Solution: A Lilypond demo file.
\score { \new Staff << \new Voice { \melodie } %Voice >> %Staff \layout { } } %score \score { \new Staff << \tempo 4 = 180 %\set Staff.instrumentName="S/A" %\set Staff.midiMinimumVolume = #0.2 %\set Staff.midiMaximumVolume = #0.4 %\set Voice.dynamicAbsoluteVolumeFunction = #0.6 \new Voice { r \mf \set Staff.midiInstrument="acoustic grand" \melodie \set Staff.midiInstrument="bright acoustic" \melodie \set Staff.midiInstrument="electric grand" \melodie \set Staff.midiInstrument="honky-tonk" \melodie \set Staff.midiInstrument="electric piano 1" \melodie \set Staff.midiInstrument="electric piano 2" \melodie \set Staff.midiInstrument="harpsichord" \melodie \set Staff.midiInstrument="clav" \melodie \set Staff.midiInstrument="celesta" \melodie \set Staff.midiInstrument="glockenspiel" \melodie \set Staff.midiInstrument="music box" \melodie \set Staff.midiInstrument="vibraphone" \melodie \set Staff.midiInstrument="marimba" \melodie \set Staff.midiInstrument="xylophone" \melodie \set Staff.midiInstrument="tubular bells" \melodie \set Staff.midiInstrument="dulcimer" \melodie \set Staff.midiInstrument="drawbar organ" \melodie \set Staff.midiInstrument="percussive organ" \melodie \set Staff.midiInstrument="rock organ" \melodie \set Staff.midiInstrument="church organ" \melodie \set Staff.midiInstrument="reed organ" \melodie \set Staff.midiInstrument="accordion" \melodie \set Staff.midiInstrument="harmonica" \melodie \set Staff.midiInstrument="concertina" \melodie \set Staff.midiInstrument="acoustic guitar (nylon)" \melodie \set Staff.midiInstrument="acoustic guitar (steel)" \melodie \set Staff.midiInstrument="electric guitar (jazz)" \melodie \set Staff.midiInstrument="electric guitar (clean)" \melodie \set Staff.midiInstrument="electric guitar (muted)" \melodie \set Staff.midiInstrument="overdriven guitar" \melodie \set Staff.midiInstrument="distorted guitar" \melodie \set Staff.midiInstrument="acoustic bass" \melodie \set Staff.midiInstrument="electric bass (finger)" \melodie \set Staff.midiInstrument="electric bass (pick)" \melodie \set Staff.midiInstrument="fretless bass" \melodie \set Staff.midiInstrument="slap bass 1" \melodie \set Staff.midiInstrument="slap bass 2" \melodie \set Staff.midiInstrument="synth bass 1" \melodie \set Staff.midiInstrument="synth bass 2" \melodie \set Staff.midiInstrument="violin" \melodie \set Staff.midiInstrument="viola" \melodie \set Staff.midiInstrument="cello" \melodie \set Staff.midiInstrument="contrabass" \melodie \set Staff.midiInstrument="tremolo strings" \melodie \set Staff.midiInstrument="pizzicato strings" \melodie \set Staff.midiInstrument="orchestral strings" \melodie \set Staff.midiInstrument="timpani" \melodie \set Staff.midiInstrument="string ensemble 1" \melodie \set Staff.midiInstrument="string ensemble 2" \melodie \set Staff.midiInstrument="synthstrings 1" \melodie \set Staff.midiInstrument="synthstrings 2" \melodie \set Staff.midiInstrument="choir aahs" \melodie \set Staff.midiInstrument="voice oohs" \melodie \set Staff.midiInstrument="synth voice" \melodie \set Staff.midiInstrument="orchestra hit" \melodie \set Staff.midiInstrument="trumpet" \melodie \set Staff.midiInstrument="trombone" \melodie \set Staff.midiInstrument="tuba" \melodie \set Staff.midiInstrument="muted trumpet" \melodie \set Staff.midiInstrument="french horn" \melodie \set Staff.midiInstrument="brass section" \melodie \set Staff.midiInstrument="synthbrass 1" \melodie \set Staff.midiInstrument="synthbrass 2" \melodie \set Staff.midiInstrument="soprano sax" \melodie \set Staff.midiInstrument="alto sax" \melodie \set Staff.midiInstrument="tenor sax" \melodie \set Staff.midiInstrument="baritone sax" \melodie \set Staff.midiInstrument="oboe" \melodie \set Staff.midiInstrument="english horn" \melodie \set Staff.midiInstrument="bassoon" \melodie \set Staff.midiInstrument="clarinet" \melodie \set Staff.midiInstrument="piccolo" \melodie \set Staff.midiInstrument="flute" \melodie \set Staff.midiInstrument="recorder" \melodie \set Staff.midiInstrument="pan flute" \melodie \set Staff.midiInstrument="blown bottle" \melodie \set Staff.midiInstrument="shakuhachi" \melodie \set Staff.midiInstrument="whistle" \melodie \set Staff.midiInstrument="ocarina" \melodie \set Staff.midiInstrument="lead 1 (square)" \melodie \set Staff.midiInstrument="lead 2 (sawtooth)" \melodie \set Staff.midiInstrument="lead 3 (calliope)" \melodie \set Staff.midiInstrument="lead 4 (chiff)" \melodie \set Staff.midiInstrument="lead 5 (charang)" \melodie \set Staff.midiInstrument="lead 6 (voice)" \melodie \set Staff.midiInstrument="lead 7 (fifths)" \melodie \set Staff.midiInstrument="lead 8 (bass+lead)" \melodie \set Staff.midiInstrument="pad 1 (new age)" \melodie \set Staff.midiInstrument="pad 2 (warm)" \melodie \set Staff.midiInstrument="pad 3 (polysynth)" \melodie \set Staff.midiInstrument="pad 4 (choir)" \melodie \set Staff.midiInstrument="pad 5 (bowed)" \melodie \set Staff.midiInstrument="pad 6 (metallic)" \melodie \set Staff.midiInstrument="pad 7 (halo)" \melodie \set Staff.midiInstrument="pad 8 (sweep)" \melodie \set Staff.midiInstrument="fx 1 (rain)" \melodie \set Staff.midiInstrument="fx 2 (soundtrack)" \melodie \set Staff.midiInstrument="fx 3 (crystal)" \melodie \set Staff.midiInstrument="fx 4 (atmosphere)" \melodie \set Staff.midiInstrument="fx 5 (brightness)" \melodie \set Staff.midiInstrument="fx 6 (goblins)" \melodie \set Staff.midiInstrument="fx 7 (echoes)" \melodie \set Staff.midiInstrument="fx 8 (sci-fi)" \melodie \set Staff.midiInstrument="sitar" \melodie \set Staff.midiInstrument="banjo" \melodie \set Staff.midiInstrument="shamisen" \melodie \set Staff.midiInstrument="koto" \melodie \set Staff.midiInstrument="kalimba" \melodie \set Staff.midiInstrument="bagpipe" \melodie \set Staff.midiInstrument="fiddle" \melodie \set Staff.midiInstrument="shanai" \melodie \set Staff.midiInstrument="tinkle bell" \melodie \set Staff.midiInstrument="agogo" \melodie \set Staff.midiInstrument="steel drums" \melodie \set Staff.midiInstrument="woodblock" \melodie \set Staff.midiInstrument="taiko drum" \melodie \set Staff.midiInstrument="melodic tom" \melodie \set Staff.midiInstrument="synth drum" \melodie \set Staff.midiInstrument="reverse cymbal" \melodie \set Staff.midiInstrument="guitar fret noise" \melodie \set Staff.midiInstrument="breath noise" \melodie \set Staff.midiInstrument="seashore" \melodie \set Staff.midiInstrument="bird tweet" \melodie \set Staff.midiInstrument="telephone ring" \melodie \set Staff.midiInstrument="helicopter" \melodie \set Staff.midiInstrument="applause" \melodie \set Staff.midiInstrument="gunshot" \melodie } %Voice >> %Staff \midi { } } %score
string-quartet-template-simple.ly
This template demonstrates a simple string quartet. It also uses a \global section for time and key signatures
global= { \time 4/4 \key c \major } violinOne = \new Voice { \relative c''{ \set Staff.instrumentName = "Violin 1 " c2 d e1 \bar "|." }} violinTwo = \new Voice { \relative c''{ \set Staff.instrumentName = "Violin 2 " g2 f e1 \bar "|." }} viola = \new Voice { \relative c' { \set Staff.instrumentName = "Viola " \clef alto e2 d c1 \bar "|." }} cello = \new Voice { \relative c' { \set Staff.instrumentName = "Cello " \clef bass c2 b a1 \bar "|."}} \score { \new StaffGroup << \new Staff << \global \violinOne >> \new Staff << \global \violinTwo >> \new Staff << \global \viola >> \new Staff << \global \cello >> >> \layout { } \midi { } }
string-quartet-template-with-separate-parts.ly
The "String quartet template" snippet produces a nice string quartet, but what if you needed to print parts? This new template demonstrates how to use the \tag feature to easily split a piece into individual parts.
You need to split this template into separate files; the filenames are contained in comments at the beginning of each file. piece.ly contains all the music definitions. The other files – score.ly, vn1.ly, vn2.ly, vla.ly, and vlc.ly – produce the appropiate part.
Do not forget to remove specified comments when using separate files!
%%%%% piece.ly %%%%% (This is the global definitions file) global= { \time 4/4 \key c \major } Violinone = \new Voice { \relative c''{ \set Staff.instrumentName = "Violin 1 " c2 d e1 \bar "|." }} %********************************* Violintwo = \new Voice { \relative c''{ \set Staff.instrumentName = "Violin 2 " g2 f e1 \bar "|." }} %********************************* Viola = \new Voice { \relative c' { \set Staff.instrumentName = "Viola " \clef alto e2 d c1 \bar "|." }} %********************************* Cello = \new Voice { \relative c' { \set Staff.instrumentName = "Cello " \clef bass c2 b a1 \bar "|."}} %********************************** music = { << \tag #'score \tag #'vn1 \new Staff { << \global \Violinone >> } \tag #'score \tag #'vn2 \new Staff { << \global \Violintwo>> } \tag #'score \tag #'vla \new Staff { << \global \Viola>> } \tag #'score \tag #'vlc \new Staff { << \global \Cello>> } >> } %%% These are the other files you need to save on your computer %%%%% score.ly %%%%% (This is the main file) %\include "piece.ly" %%% uncomment this line when using a separate file #(set-global-staff-size 14) \score { \new StaffGroup \keepWithTag #'score \music \layout { } \midi { } } %{ Uncomment this block when using separate files %%%%% vn1.ly %%%%% (This is the Violin 1 part file) \include "piece.ly" \score { \keepWithTag #'vn1 \music \layout { } } %%%%% vn2.ly %%%%% (This is the Violin 2 part file) \include "piece.ly" \score { \keepWithTag #'vn2 \music \layout { } } %%%%% vla.ly %%%%% (This is the Viola part file) \include "piece.ly" \score { \keepWithTag #'vla \music \layout { } } %%%%% vlc.ly %%%%% (This is the Cello part file) \include "piece.ly" \score { \keepWithTag #'vlc \music \layout { } } %}
adding-a-figured-bass-above-or-below-the-notes.ly
When writing a figured bass, here's a way to specify if you want your figures to be placed above or below the bass notes, by defining the BassFigureAlignmentPositioning #'direction property (exclusively in a Staff context). Choices are #UP (or #1), #CENTER (or #0) and #DOWN (or #-1).
As you can see here, this property can be changed as many times as you wish. Use \once \override if you dont want the tweak to apply to the whole score.
bass = { \clef bass g4 b, c d e d8 c d2} continuo = \figuremode { < _ >4 < 6 >8 \once \override Staff.BassFigureAlignmentPositioning #'direction = #CENTER <5/> < _ >4 \override Staff.BassFigureAlignmentPositioning #'direction = #UP < _+ > < 6 > \set Staff.useBassFigureExtenders = ##t \override Staff.BassFigureAlignmentPositioning #'direction = #DOWN < 4 >4. < 4 >8 < _+ >4 } \score { << \new Staff = bassStaff \bass \context Staff = bassStaff \continuo >> }
Here are shown many (all?) of the symbols that are included in LilyPond's support of ancient notation.
upperStaff = \context GregorianStaff = "upperStaff" << \context GregorianVoice << \set Score.timing = ##f % \set Score.forceAccidental = ##t %%%%%%%% FIXME: what happened to this property? \override Staff.StaffSymbol #'line-count = #4 \transpose c c { \override Staff.KeySignature #'glyph-name-alist = #alteration-vaticana-glyph-name-alist \override Staff.Accidental #'glyph-name-alist = #alteration-vaticana-glyph-name-alist \override NoteHead #'style = #'vaticana.punctum \key es \major \clef "vaticana-fa2" c!1 des! e! f! ges! \override NoteHead #'style = #'vaticana.inclinatum a! b! ces' \override Staff.BarLine #'bar-size = #3.0 \bar "|" % \break % 1 (8*1) \override NoteHead #'style = #'vaticana.quilisma b! des'! ges! fes! \breathe \clef "vaticana-fa1" \override NoteHead #'style = #'vaticana.plica es d \override NoteHead #'style = #'vaticana.reverse-plica c d \override Staff.BarLine #'bar-size = #3.0 \bar "|" % \break %2 (8*1) \override NoteHead #'style = #'vaticana.punctum-cavum es f \override NoteHead #'style = #'vaticana.lpes g as \override NoteHead #'style = #'vaticana.upes bes as \override NoteHead #'style = #'vaticana.vupes g f \override NoteHead #'style = #'vaticana.linea-punctum \override Staff.BarLine #'bar-size = #2.0 \bar "|" % \break % 3 (8*1) es d \override NoteHead #'style = #'vaticana.epiphonus c d \override NoteHead #'style = #'vaticana.cephalicus es f \override Staff.KeySignature #'glyph-name-alist = #alteration-medicaea-glyph-name-alist \override Staff.Accidental #'glyph-name-alist = #alteration-medicaea-glyph-name-alist \override Staff.Custos #'style = #'medicaea \override NoteHead #'style = #'medicaea.punctum \clef "medicaea-fa2" ces! des! \override Staff.BarLine #'bar-size = #3.0 \bar "|" % \break % 4 (8*1) e! f! ges! \clef "medicaea-do2" \override NoteHead #'style = #'medicaea.inclinatum a! b! ces'! \override NoteHead #'style = #'medicaea.virga b! a! \override Staff.BarLine #'bar-size = #3.0 \bar "|" % \break % 5 (8*1) ges! fes! \clef "medicaea-fa1" \override NoteHead #'style = #'medicaea.rvirga e! des! ces! \override Staff.KeySignature #'glyph-name-alist = #alteration-hufnagel-glyph-name-alist \override Staff.Accidental #'glyph-name-alist = #alteration-hufnagel-glyph-name-alist \override Staff.Custos #'style = #'hufnagel \override NoteHead #'style = #'hufnagel.punctum \clef "hufnagel-fa2" ces! des! es! \override Staff.BarLine #'bar-size = #3.0 \bar "|" % \break % 6 (8*1) fes! ges! \clef "hufnagel-do2" \override NoteHead #'style = #'hufnagel.lpes as! bes! ces'! \override NoteHead #'style = #'hufnagel.virga bes! as! \override Staff.BarLine #'bar-size = #3.0 \bar "|" % \break % 7 (8*1) ges! fes! \clef "hufnagel-do-fa" \override NoteHead #'style = #'hufnagel.punctum es! des! ces! des! es! fes! \bar "||" % \break % 8 (8*1) s32*1 % \break % 12 (32*1) } >> >> lowerStaff = \context MensuralStaff = "lowerStaff" << \context MensuralVoice << % this is broken until further notice -- see refman % \override Staff.StaffSymbol #'line-count = #5 \applyOutput #'Staff #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 5) \transpose c c { \set autoBeaming = ##f \override NoteHead #'style = #'neomensural \override Rest #'style = #'neomensural \key a \major % FIXME: lily crashes on some (invalid?) ligatures with: % ERROR: In procedure gh_scm2int: % ERROR: Wrong type argument in position 1: () % FIXME: lily emits "Programming error: Infinity or NaN encountered" % on many ligatures such as BB. cis'1 d'\breve gis'\breve e'\breve \[ e'\longa fis'\longa \] \set Staff.forceClef = ##t \clef "neomensural-c2" cis1 \bar "|" % \break % 2 (16*1) \[ g\breve dis''\longa \] b\breve \[ a\longa d\longa \] \clef "petrucci-c2" % \break % 4 (16*1) fis1 ces1 \clef "petrucci-c2" r\longa \set Staff.forceClef = ##t \clef "mensural-c2" r\breve \bar "|" % \break % 5 (8*1) r2 \clef "mensural-g" r4 r8 r16 r16 \override NoteHead #'style = #'mensural \override Stem #'flag-style = #'mensural \override Stem #'thickness = #1.0 \override Rest #'style = #'mensural \clef "petrucci-f" c8 b, c16 b, c32 b, c64 b, c64 b, d8 e d16 e d32 e d64 e d64 e r\longa \set Staff.forceClef = ##t \clef "petrucci-f" r\breve \bar "|" % \break % 6 (8*1) r\breve \clef "mensural-f" % FIXME: must set Stem flag-style to #'neomensural to avoid % segmentation fault on r8/r16/r32. (Strange: what has % Stem flag-style to do with mensural rests?) \override Stem #'flag-style = #'neomensural % FIXME: produces warnings about "flag `neomensurald4' (or 3) not found". r2 r4 r8 r16 r16 \override Stem #'flag-style = #'mensural \set Staff.forceClef = ##t \clef "mensural-f" e\breve f g a1 \clef "mensural-g" % \break % 7 (8*1) \[ bes'!\longa a'!\longa c''!\longa \] e'1 d' c' d' \bar "|" \bar "|" % \break % 9 (16*1) bes'!\longa fis'!1 as'!1 ges'!\longa % lig \set Staff.forceClef = ##t \clef "mensural-g" e'2 d' c' \bar "|" % \break % 11 (16*1) \set Staff.forceClef = ##t \clef "petrucci-g" c'2 d' e' f' \clef "petrucci-g" g' as'! bes'! cis''! bes'! as'! gis'! fis'! \set Staff.forceClef = ##t \clef "mensural-g" es'! des'! cis'!1 \bar "||" % \break % 12 (8*1) } >> >> \paper { line-thickness = #(/ staff-space 5.0) } \score { \context Score << \upperStaff \lowerStaff >> \layout { % do we want to keep these settings? -gp line-width = 17.25\cm textheight = 26.0\cm indent = 0.0 \context { \Score \accepts MensuralStaff \accepts GregorianStaff % timing = ##f %%%%%%%% FIXME: this has no effect } \context { \Voice \name MensuralVoice \alias Voice \remove Ligature_bracket_engraver \consists Mensural_ligature_engraver \override NoteHead #'style = #'mensural % \override Stem #'flag-style = #'mensural %%%%%%%% FIXME: this core dumps \override Stem #'thickness = #1.0 \override Rest #'style = #'mensural autoBeaming = ##f } \context { \Voice \name GregorianVoice \alias Voice \remove Ligature_bracket_engraver % \consists Gregorian_ligature_engraver %%%%%%%% TODO: not yet implemented \override NoteHead #'style = #'vaticana.punctum autoBeaming = ##f } \context { \Staff \name MensuralStaff \alias Staff \accepts MensuralVoice \consists Custos_engraver \override TimeSignature #'style = #'mensural \override KeySignature #'glyph-name-alist = #alteration-mensural-glyph-name-alist \override Accidental #'glyph-name-alist = #alteration-mensural-glyph-name-alist \override Custos #'style = #'mensural \override Custos #'neutral-position = #3 \override Custos #'neutral-direction = #-1 clefGlyph = #"clefs.petrucci-c2" clefPosition = #-2 clefOctavation = #0 } \context { \Staff \name GregorianStaff \alias Staff \accepts GregorianVoice \consists Custos_engraver \remove Time_signature_engraver \override StaffSymbol #'thickness = #2.0 \override StaffSymbol #'line-count = #4 \override KeySignature #'glyph-name-alist = #alteration-vaticana-glyph-name-alist \override Accidental #'glyph-name-alist = #alteration-vaticana-glyph-name-alist \override Custos #'style = #'vaticana \override Custos #'neutral-position = #4 \override Custos #'neutral-direction = #-1 clefGlyph = #"clefs.vaticana-do" clefPosition = #1 clefOctavation = #0 } \context { \RemoveEmptyStaffContext \accepts MensuralVoice \accepts GregorianVoice } } }
ancient-notation-template----modern-transcription-of-gregorian-music.ly
This example demonstrates how to do modern transcription of Gregorian music. Gregorian music has no measure, no stems; it uses only half and quarter noteheads, and special marks, indicating rests of different length.
\include "gregorian-init.ly" chant = \relative c' { \set Score.timing = ##f f4 a2 \divisioMinima g4 b a2 f2 \divisioMaior g4( f) f( g) a2 \finalis } verba = \lyricmode { Lo -- rem ip -- sum do -- lor sit a -- met } \score { \new Staff << \new Voice = "melody" { \chant } \new Lyrics = "one" \lyricsto melody \verba >> \layout { \context { \Staff \remove "Time_signature_engraver" \remove "Bar_engraver" \override Stem #'transparent = ##t } \context { \Voice \override Stem #'length = #0 } \context { \Score barAlways = ##t } } }
ancient-notation-template----modern-transcription-of-mensural-music.ly
When transcribing mensural music, an incipit at the beginning of the piece is useful to indicate the original key and tempo. While today musicians are used to bar lines in order to faster recognize rhythmic patterns, bar lines were not yet invented during the period of mensural music; in fact, the meter often changed after every few notes. As a compromise, bar lines are often printed between the staves rather than on the staves.
global = { \set Score.skipBars = ##t % incipit \once \override Score.SystemStartBracket #'transparent = ##t \override Score.SpacingSpanner #'spacing-increment = #1.0 % tight spacing \key f \major \time 2/2 \once \override Staff.TimeSignature #'style = #'neomensural \override Voice.NoteHead #'style = #'neomensural \override Voice.Rest #'style = #'neomensural \set Staff.printKeyCancellation = ##f \cadenzaOn % turn off bar lines \skip 1*10 \once \override Staff.BarLine #'transparent = ##f \bar "||" \skip 1*1 % need this extra \skip such that clef change comes % after bar line \bar "" % main \revert Score.SpacingSpanner #'spacing-increment % CHECK: no effect? \cadenzaOff % turn bar lines on again \once \override Staff.Clef #'full-size-change = ##t \set Staff.forceClef = ##t \key g \major \time 4/4 \override Voice.NoteHead #'style = #'default \override Voice.Rest #'style = #'default % FIXME: setting printKeyCancellation back to #t must not % occur in the first bar after the incipit. Dto. for forceClef. % Therefore, we need an extra \skip. \skip 1*1 \set Staff.printKeyCancellation = ##t \set Staff.forceClef = ##f \skip 1*7 % the actual music % let finis bar go through all staves \override Staff.BarLine #'transparent = ##f % finis bar \bar "|." } discantusNotes = { \transpose c' c'' { \set Staff.instrumentName = "Discantus " % incipit \clef "neomensural-c1" c'1. s2 % two bars \skip 1*8 % eight bars \skip 1*1 % one bar % main \clef "treble" d'2. d'4 | b e' d'2 | c'4 e'4.( d'8 c' b | a4) b a2 | b4.( c'8 d'4) c'4 | \once \override NoteHead #'transparent = ##t c'1 | b\breve | } } discantusLyrics = \lyricmode { % incipit IV- % main Ju -- bi -- | la -- te De -- | o, om -- nis ter -- | ra, __ om- | "..." | -us. | } altusNotes = { \transpose c' c'' { \set Staff.instrumentName = "Altus " % incipit \clef "neomensural-c3" r1 % one bar f1. s2 % two bars \skip 1*7 % seven bars \skip 1*1 % one bar % main \clef "treble" r2 g2. e4 fis g | % two bars a2 g4 e | fis g4.( fis16 e fis4) | g1 | \once \override NoteHead #'transparent = ##t g1 | g\breve | } } altusLyrics = \lyricmode { % incipit IV- % main Ju -- bi -- la -- te | % two bars De -- o, om -- | nis ter -- ra, | "..." | -us. | } tenorNotes = { \transpose c' c' { \set Staff.instrumentName = "Tenor " % incipit \clef "neomensural-c4" r\longa % four bars r\breve % two bars r1 % one bar c'1. s2 % two bars \skip 1*1 % one bar \skip 1*1 % one bar % main \clef "treble_8" R1 | R1 | R1 | r2 d'2. d'4 b e' | % two bars \once \override NoteHead #'transparent = ##t e'1 | d'\breve | } } tenorLyrics = \lyricmode { % incipit IV- % main Ju -- bi -- la -- te | % two bars "..." | -us. | } bassusNotes = { \transpose c' c' { \set Staff.instrumentName = "Bassus " % incipit \clef "bass" r\maxima % eight bars f1. s2 % two bars \skip 1*1 % one bar % main \clef "bass" R1 | R1 | R1 | R1 | g2. e4 | \once \override NoteHead #'transparent = ##t e1 | g\breve | } } bassusLyrics = \lyricmode { % incipit IV- % main Ju -- bi- | "..." | -us. | } \score { \new StaffGroup = choirStaff << \new Voice = "discantusNotes" << \global \discantusNotes >> \new Lyrics = "discantusLyrics" \lyricsto discantusNotes { \discantusLyrics } \new Voice = "altusNotes" << \global \altusNotes >> \new Lyrics = "altusLyrics" \lyricsto altusNotes { \altusLyrics } \new Voice = "tenorNotes" << \global \tenorNotes >> \new Lyrics = "tenorLyrics" \lyricsto tenorNotes { \tenorLyrics } \new Voice = "bassusNotes" << \global \bassusNotes >> \new Lyrics = "bassusLyrics" \lyricsto bassusNotes { \bassusLyrics } >> \layout { \context { \Score % no bars in staves \override BarLine #'transparent = ##t % incipit should not start with a start delimiter \remove "System_start_delimiter_engraver" } \context { \Voice % no slurs \override Slur #'transparent = ##t % Comment in the below "\remove" command to allow line % breaking also at those barlines where a note overlaps % into the next bar. The command is commented out in this % short example score, but especially for large scores, you % will typically yield better line breaking and thus improve % overall spacing if you comment in the following command. %\remove "Forbid_line_break_engraver" } } }
Time signatures may also be engraved in an old style.
\score { { \override Staff.TimeSignature #'style = #'neomensural s1 } \layout {raggedright = ##t} }
This form of notation is used for the chant of the Psalms, where verses aren't always the same length.
stemon = { \override Staff.Stem #'transparent = ##f } stemoff = { \override Staff.Stem #'transparent = ##t } \score { \new Staff \with {\remove "Time_signature_engraver" } { \key g \minor \set Score.timing = ##f \stemoff a'\breve bes'4 g'4 \stemon a'2 \bar "||" \stemoff a'\breve g'4 a'4 \stemon f'2 \bar "||" \stemoff a'\breve^\markup { \italic flexe } \stemon g'2 \bar "||" } \layout { raggedright = ##t} }
Custodes may be engraved in various styles.
\layout { \context { \Staff \consists Custos_engraver } ragged-right = ##t } { \override Staff.Custos #'neutral-position = #4 \override Staff.Custos #'style = #'hufnagel c'1^"hufnagel" \break < d' a' f''>1 \override Staff.Custos #'style = #'medicaea c'1^"medicaea" \break < d' a' f''>1 \override Staff.Custos #'style = #'vaticana c'1^"vaticana" \break < d' a' f''>1 \override Staff.Custos #'style = #'mensural c'1^"mensural" \break < d' a' f''>1 }
Rests may be used in various styles.
\layout { indent = 0.0 raggedright = ##t } \context Staff \relative c { \set Score.timing = ##f \override Staff.Rest #'style = #'mensural r\maxima^\markup \typewriter { mensural } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 \bar "" \override Staff.Rest #'style = #'neomensural r\maxima^\markup \typewriter { neomensural } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 \bar "" \override Staff.Rest #'style = #'classical r\maxima^\markup \typewriter { classical } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 \bar "" \override Staff.Rest #'style = #'default r\maxima^\markup \typewriter { default } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 }
transcription-of-ancient-music-with-incipit.ly
As a workaround to get real incipits which are independent from the main score these are included as a markup into the field normally used for the instrument name. As for now lyrics can only be added as a direct markup. It doesn't unfortunately conform with the spacing of the main lyrics.
global = { \set Score.skipBars = ##t \key g \major \time 4/4 %make the staff lines invisible on staves \override Staff.BarLine #'transparent = ##t \skip 1*8 % the actual music % let finis bar go through all staves \override Staff.BarLine #'transparent = ##f % finis bar \bar "|." } discantusNotes = { \transpose c' c'' { \clef "treble" d'2. d'4 | b e' d'2 | c'4 e'4.( d'8 c' b | a4) b a2 | b4.( c'8 d'4) c'4 | \once \override NoteHead #'transparent = ##t c'1 | b\breve | } } discantusLyrics = \lyricmode { Ju -- bi -- | la -- te De -- | o, om -- nis ter -- | ra, __ om- | "..." | -us. | } altusNotes = { \transpose c' c'' { \clef "treble" r2 g2. e4 fis g | % two bars a2 g4 e | fis g4.( fis16 e fis4) | g1 | \once \override NoteHead #'transparent = ##t g1 | g\breve | } } altusLyrics = \lyricmode { Ju -- bi -- la -- te | % two bars De -- o, om -- | nis ter -- ra, | "..." | -us. | } tenorNotes = { \transpose c' c' { \clef "treble_8" R1 | R1 | R1 | r2 d'2. d'4 b e' | % two bars \once \override NoteHead #'transparent = ##t e'1 | d'\breve | } } tenorLyrics = \lyricmode { Ju -- bi -- la -- te | % two bars "..." | -us. } bassusNotes = { \transpose c' c' { \clef "bass" R1 | R1 | R1 | R1 | g2. e4 | \once \override NoteHead #'transparent = ##t e1 | g\breve | } } bassusLyrics = \lyricmode { Ju -- bi- | "..." | -us. } incipitDiscantus = \markup{ \score{ { \set Staff.instrumentName="Discantus " \override NoteHead #'style = #'neomensural \override Rest #'style = #'neomensural \override Staff.TimeSignature #'style = #'neomensural \cadenzaOn \clef "neomensural-c1" \key f \major \time 2/2 c''1._"IV-" s2 %two bars \skip 1*8 % eight bars } \layout { \context {\Voice \remove Ligature_bracket_engraver \consists Mensural_ligature_engraver } line-width=4.5\cm } } } incipitAltus = \markup{ \score{ { \set Staff.instrumentName="Altus " \override NoteHead #'style = #'neomensural \override Rest #'style = #'neomensural \override Staff.TimeSignature #'style = #'neomensural \cadenzaOn \clef "neomensural-c3" \key f \major \time 2/2 r1 % one bar f'1._"IV-" s2 % two bars \skip 1*7 % seven bars } \layout { \context {\Voice \remove Ligature_bracket_engraver \consists Mensural_ligature_engraver } line-width=4.5\cm } } } incipitTenor = \markup{ \score{ { \set Staff.instrumentName = "Tenor " \override NoteHead #'style = #'neomensural \override Rest #'style = #'neomensural \override Staff.TimeSignature #'style = #'neomensural \cadenzaOn \clef "neomensural-c4" \key f \major \time 2/2 r\longa % four bars r\breve % two bars r1 % one bar c'1._"IV-" s2 % two bars \skip 1 % one bar } \layout { \context {\Voice \remove Ligature_bracket_engraver \consists Mensural_ligature_engraver } line-width=4.5\cm } } } incipitBassus = \markup{ \score{ { \set Staff.instrumentName = "Bassus " \override NoteHead #'style = #'neomensural \override Rest #'style = #'neomensural \override Staff.TimeSignature #'style = #'neomensural \cadenzaOn \clef "bass" \key f \major \time 2/2 % incipit r\maxima % eight bars f1._"IV-" s2 % two bars } \layout { \context {\Voice \remove Ligature_bracket_engraver \consists Mensural_ligature_engraver } line-width=4.5\cm } } } %StaffGroup is used instead of ChoirStaff to get bar lines between systems \score { << \new StaffGroup = choirStaff << \new Voice = "discantusNotes" << \global \set Staff.instrumentName=\incipitDiscantus \discantusNotes >> \new Lyrics = "discantusLyrics" \lyricsto discantusNotes { \discantusLyrics } \new Voice = "altusNotes" << \global \set Staff.instrumentName=\incipitAltus \altusNotes >> \new Lyrics = "altusLyrics" \lyricsto altusNotes { \altusLyrics } \new Voice = "tenorNotes" << \global \set Staff.instrumentName=\incipitTenor \tenorNotes >> \new Lyrics = "tenorLyrics" \lyricsto tenorNotes { \tenorLyrics } \new Voice = "bassusNotes" << \global \set Staff.instrumentName=\incipitBassus \bassusNotes >> >> \new Lyrics = "bassusLyrics" \lyricsto bassusNotes { \bassusLyrics } %Keep the bass lyrics outside of the staff group to avoid bar lines %between the lyrics. >> \layout { \context { \Score % no bars in staves \override BarLine #'transparent = ##t } % the next three instructions keep the lyrics between the barlines \context { \Lyrics \consists "Bar_engraver" \override BarLine #'transparent = ##t } \context { \StaffGroup \consists "Separating_line_group_engraver" } \context { \Voice % no slurs \override Slur #'transparent = ##t % Comment in the below "\remove" command to allow line % breaking also at those barlines where a note overlaps % into the next bar. The command is commented out in this % short example score, but especially for large scores, you % will typically yield better line breaking and thus improve % overall spacing if you comment in the following command. %\remove "Forbid_line_break_engraver" } indent=5\cm } }
adding-a-figured-bass-above-or-below-the-notes.ly
When writing a figured bass, here's a way to specify if you want your figures to be placed above or below the bass notes, by defining the BassFigureAlignmentPositioning #'direction property (exclusively in a Staff context). Choices are #UP (or #1), #CENTER (or #0) and #DOWN (or #-1).
As you can see here, this property can be changed as many times as you wish. Use \once \override if you dont want the tweak to apply to the whole score.
bass = { \clef bass g4 b, c d e d8 c d2} continuo = \figuremode { < _ >4 < 6 >8 \once \override Staff.BassFigureAlignmentPositioning #'direction = #CENTER <5/> < _ >4 \override Staff.BassFigureAlignmentPositioning #'direction = #UP < _+ > < 6 > \set Staff.useBassFigureExtenders = ##t \override Staff.BassFigureAlignmentPositioning #'direction = #DOWN < 4 >4. < 4 >8 < _+ >4 } \score { << \new Staff = bassStaff \bass \context Staff = bassStaff \continuo >> }
You can add (possibly temporarily) an extra staff after the beginning of a piece.
\score { << \new Staff \relative c''{ c1 c c c c } \new StaffGroup \relative c''{ \new Staff c1 c << c1 \new Staff { c1 } >> c } >> \layout { \context{ \Score } } }
adding-and-extra-staff-at-a-line-break.ly
When adding a new Staff at a line break, LilyPond will unfortunately add some extra space at the end of the line before the break (to fit in a key signature change, which will never be printed anyway). The workaround is to add a setting of Staff.explicitKeySignatureVisibility as is shown in the example. In version 2.10 and earlier, you have to do a similar setting for the time signatures, see the example.
\score { \new StaffGroup \relative c''{ \new Staff \key f \major c1 c^"Unwanted extra space" \break << { c1 c } \new Staff { \key f \major c1 c } >> c1 c^"Fixed here" \break << { c1 c } \new Staff { \once \set Staff.explicitKeySignatureVisibility = #end-of-line-invisible %The next line is not needed in 2.11.x or later: \once \override Staff.TimeSignature #'break-visibility = #end-of-line-invisible \key f \major c1 c } >> } }
changing-time-signatures-inside-a-polymetric-section-using--compressmusic.ly
The measureLength variable, together with measurePosition, determines when a barline is needed. However, when using \compressMusic, the scaling of durations makes it difficult to change time signatures without making a mess of it.
Therefore, measureLength has to be set manually, using the ly:make-moment callback. The second argument has to be the same as the second argument of \compressMusic.
\layout { \context { \Score \remove "Timing_translator" \remove "Default_bar_line_engraver" } \context { \Staff \consists "Timing_translator" \consists "Default_bar_line_engraver" } } << \new Staff { \compressMusic #'( 8 . 5 ) { \time 6/8 \set Timing.measureLength = #(ly:make-moment 3 5) b8 b b b b b \time 2/4 \set Timing.measureLength = #(ly:make-moment 2 5) b4 b } } \new Staff { \clef bass \time 2/4 c2 d e f } >>
This form of notation is used for the chant of the Psalms, where verses aren't always the same length.
stemon = { \override Staff.Stem #'transparent = ##f } stemoff = { \override Staff.Stem #'transparent = ##t } \score { \new Staff \with {\remove "Time_signature_engraver" } { \key g \minor \set Score.timing = ##f \stemoff a'\breve bes'4 g'4 \stemon a'2 \bar "||" \stemoff a'\breve g'4 a'4 \stemon f'2 \bar "||" \stemoff a'\breve^\markup { \italic flexe } \stemon g'2 \bar "||" } \layout { raggedright = ##t} }
To create blank staves, you must generate empty measures, removing also
from the Score
context the Bar_number_engraver
, and from
the Staff
context the Time_signature_engraver
, the
Clef_engraver
and the Bar_engraver
.
#(set-global-staff-size 20) \score { { \repeat unfold 12 { s1 \break } } \layout { indent = 0\in \context { \Staff \remove Time_signature_engraver \remove Clef_engraver \remove Bar_engraver } \context { \Score \remove Bar_number_engraver } } } \paper { #(set-paper-size "letter") raggedlastbottom = ##f linewidth = 7.5\in leftmargin = 0.5\in bottommargin = 0.25\in topmargin = 0.25\in }
The notation problem, creating a certain symbol, is handled by plugins. Each plugin is called an Engraver. In this example, engravers are switched on one by one, in the following order:
- note heads
- staff symbol,
- clef,
- stem,
- beams, slurs, accents,
- accidentals, bar lines, time signature, and key signature.
Engravers are grouped. For example, note heads, slurs, beams etc. form a Voice context. Engravers for key, accidental, bar, etc. form a Staff context.
You may only see the first example in this document; please download this snippet and run it from your own computer.
%% sample music topVoice = \relative c' { \key d\major es8([ g] a[ fis]) b4 b16[-. b-. b-. cis-.] d4-> } botVoice = \relative c' { \key d\major c8[( f] b[ a)] es4 es16[-. es-. es-. fis-.] b4-> } hoom = \relative c { \key d \major \clef bass g8-. r r4 fis8-. r8 r4 b'4-> } pah = \relative c' { r8 b-. r4 r8 g8-. r16 g-. r8 \clef treble fis'4-> } % % setup for Request->Element conversion. Guru-only % MyStaff =\context { \type "Engraver_group" \name Staff \description "Handles clefs, bar lines, keys, accidentals. It can contain @code{Voice} contexts." \consists "Output_property_engraver" \consists "Font_size_engraver" \consists "Volta_engraver" \consists "Separating_line_group_engraver" \consists "Dot_column_engraver" \consists "Ottava_spanner_engraver" \consists "Rest_collision_engraver" \consists "Piano_pedal_engraver" \consists "Piano_pedal_align_engraver" \consists "Instrument_name_engraver" \consists "Grob_pq_engraver" \consists "Forbid_line_break_engraver" \consists "Axis_group_engraver" \consists "Pitch_squash_engraver" \override VerticalAxisGroup #'minimum-Y-extent = #'(-6 . 6) extraVerticalExtent = ##f verticalExtent = ##f localKeySignature = #'() % explicitly set instrument, so we don't get % weird effects when doing instrument names for % piano staves instrumentName = #'() shortInstrumentName = #'() \accepts "Voice" } MyVoice = \context { \type "Engraver_group" \name Voice \description " Corresponds to a voice on a staff. This context handles the conversion of dynamic signs, stems, beams, super- and subscripts, slurs, ties, and rests. You have to instantiate this explicitly if you want to have multiple voices on the same staff." localKeySignature = #'() \consists "Font_size_engraver" % must come before all \consists "Output_property_engraver" \consists "Arpeggio_engraver" \consists "Multi_measure_rest_engraver" \consists "Text_spanner_engraver" \consists "Grob_pq_engraver" \consists "Note_head_line_engraver" \consists "Glissando_engraver" \consists "Ligature_bracket_engraver" \consists "Breathing_sign_engraver" % \consists "Rest_engraver" \consists "Grace_beam_engraver" \consists "New_fingering_engraver" \consists "Chord_tremolo_engraver" \consists "Percent_repeat_engraver" \consists "Slash_repeat_engraver" %{ Must come before text_engraver, but after note_column engraver. %} \consists "Text_engraver" \consists "Dynamic_engraver" \consists "Fingering_engraver" \consists "Script_column_engraver" \consists "Rhythmic_column_engraver" \consists "Cluster_spanner_engraver" \consists "Tie_engraver" \consists "Tie_engraver" \consists "Tuplet_engraver" \consists "Note_heads_engraver" \consists "Rest_engraver" \consists "Skip_event_swallow_translator" } \score { \topVoice \layout { \context { \MyStaff } \context { \MyVoice } } } MyStaff = \context { \MyStaff \consists "Staff_symbol_engraver" } \score { \topVoice \layout { \context { \MyStaff } \context { \MyVoice } } } MyStaff = \context { \MyStaff \consists "Clef_engraver" \remove "Pitch_squash_engraver" } \score { \topVoice \layout { \context { \MyStaff } \context { \MyVoice } } } MyVoice = \context { \MyVoice \consists "Stem_engraver" } \score { \topVoice \layout { \context { \MyStaff } \context { \MyVoice } } } MyVoice = \context { \MyVoice \consists "Beam_engraver" } \score { \topVoice \layout { \context { \MyStaff } \context { \MyVoice } } } MyVoice= \context { \MyVoice \consists "Phrasing_slur_engraver" \consists "Slur_engraver" \consists "Script_engraver" } \score { \topVoice \layout { \context { \MyStaff } \context { \MyVoice } } } MyStaff = \context { \MyStaff \consists "Bar_engraver" \consists "Time_signature_engraver" } \score { \topVoice \layout { \context { \MyStaff } \context { \MyVoice } } } MyStaff = \context { \MyStaff \consists "Accidental_engraver" \consists "Key_engraver" } \score { \topVoice \layout { \context { \MyStaff } \context { \MyVoice } } }
vocal-ensemble-template-with-lyrics-aligned-below-and-above-the-staves.ly
This template is basically the same as the simple "Vocal ensemble" template, with the exception that here all the lyrics lines are placed using alignAboveContext and alignBelowContext.
global = { \key c \major \time 4/4 } sopMusic = \relative c'' { c4 c c8[( b)] c4 } sopWords = \lyricmode { hi hi hi hi } altoMusic = \relative c' { e4 f d e } altoWords =\lyricmode { ha ha ha ha } tenorMusic = \relative c' { g4 a f g } tenorWords = \lyricmode { hu hu hu hu } bassMusic = \relative c { c4 c g c } bassWords = \lyricmode { ho ho ho ho } \score { \new ChoirStaff << \new Staff = women << \new Voice = "sopranos" { \voiceOne << \global \sopMusic >> } \new Voice = "altos" { \voiceTwo << \global \altoMusic >> } >> \new Lyrics \with {alignAboveContext=women} \lyricsto sopranos \sopWords \new Lyrics \with {alignBelowContext=women} \lyricsto altos \altoWords % we could remove the line about this with the line below, since we want % the alto lyrics to be below the alto Voice anyway. % \new Lyrics \lyricsto altos \altoWords \new Staff = men << \clef bass \new Voice = "tenors" { \voiceOne <<\global \tenorMusic >> } \new Voice = "basses" { \voiceTwo <<\global \bassMusic >> } >> \new Lyrics \with {alignAboveContext=men} \lyricsto tenors \tenorWords \new Lyrics \with {alignBelowContext=men} \lyricsto basses \bassWords % again, we could replace the line above this with the line below. % \new Lyrics \lyricsto basses \bassWords >> \layout { \context { % a little smaller so lyrics % can be closer to the staff \Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) } } } \score { \new ChoirStaff << \new Staff = women << \new Voice = "sopranos" { \voiceOne << \global \sopMusic >> } \new Voice = "altos" { \voiceTwo << \global \altoMusic >> } >> \new Lyrics \with {alignAboveContext=women} \lyricsto sopranos \sopWords \new Lyrics \lyricsto altos \altoWords \new Staff = men << \clef bass \new Voice = "tenors" { \voiceOne <<\global \tenorMusic >> } \new Voice = "basses" { \voiceTwo <<\global \bassMusic >> } >> \new Lyrics \with {alignAboveContext=men} \lyricsto tenors \tenorWords \new Lyrics \lyricsto basses \bassWords >> \layout { \context { % a little smaller so lyrics % can be closer to the staff \Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) } } }
By setting properties in NonMusicalPaperColumn
, vertical spacing
of alignments can be adjusted per system.
By setting alignment-extra-space
or
fixed-alignment-extra-space
an individual system may be
stretched vertically.
For technical reasons, \overrideProperty
has to be used for
setting properties on individual objects. \override
in a
\context
block may still be used for global overrides.
#(set-global-staff-size 13) \relative c'' \new StaffGroup << \new Staff { c1\break c\break c\break } \new Staff { c1 c c } \new PianoStaff << \new Voice { \set PianoStaff.instrumentName = #"piano" \set PianoStaff.shortInstrumentName = #"pn" c1_"normal" \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((fixed-alignment-extra-space . 15)) c_"fixed-aligment-extra-space" \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((alignment-extra-space . 15)) c_"aligment-extra-space" } { c1 c c } >> >>
altering-the-number-of-stems-in-a-beam.ly
You can alter the number of stems in a beam. In this example, two sets of four 32nds are joined, as if they were 8th notes.
\relative { #(override-auto-beam-setting '(end * * * *) 1 4) f32 g a b b a g f f32 g a \set stemRightBeamCount = #1 b \set stemLeftBeamCount = #1 b a g f }
caesura-railtracks-with-fermata.ly
A caesura is sometimes denoted with a double "railtracks" breath mark with a fermata sign positioned over the top of the railtracks. This snippet should present an optically pleasing combination of railtracks and a fermata.
{ \context Voice { c''2. % use some scheme code to construct the symbol \override BreathingSign #'text = #(markup #:line (#:musicglyph "scripts.caesura.curved" #:translate (cons -1.75 1.6) #:musicglyph "scripts.ufermata" )) \breathe c''4 % set the breathe mark back to normal \revert BreathingSign #'text c''2. \breathe c''4 \bar "|." } }
changing-an-individual-notes-size-in-a-chord.ly
Individual noteheads in a chord can be modified with the \tweak
command inside a chord, by altering the 'font-size
property.
Inside the chord (within the brackets < >
), before the note to
be altered, place the \tweak
command, followed by
#'font-size
and define the proper size like #-2
(a tiny
notehead).
The code for the chord example shown:
\header{ title = "Modify an individual notehead's size in a chord" } Notes = \relative { <\tweak #'font-size #+2 c e g c \tweak #'font-size #-2 e>1^\markup{A tiny e}_\markup{A big c} } \score{ \Notes }
changing-properties-for-individual-grobs.ly
The \applyOutput
command gives you the ability to tune any
layout object, in any context. It requires a Scheme function with three
arguments; advanced users can write it quite easily, whereas new users
may want to use pre-defined functions such as this snippet, or the
example in the manual.
% **************************************************************** % ly snippet: % **************************************************************** \layout { ragged-right = ##t } #(define (mc-squared gr org cur) (let* ( (ifs (ly:grob-interfaces gr)) (sp (ly:grob-property gr 'staff-position)) ) (if (memq 'note-head-interface ifs) (begin (ly:grob-set-property! gr 'stencil ly:text-interface::print) (ly:grob-set-property! gr 'font-family 'roman) (ly:grob-set-property! gr 'text (make-raise-markup -0.5 (case sp ((-5) (make-simple-markup "m")) ((-3) (make-simple-markup "c ")) ((-2) (make-smaller-markup (make-bold-markup "2"))) (else (make-simple-markup "bla")) )))) ))) \context Voice \relative c' { \stemUp \set autoBeaming = ##f { <d f g b>8 \applyOutput #'Voice #mc-squared <d f g b> } } % **************************************************************** % end ly snippet % ****************************************************************
changing-the-default-text-font-family.ly
The default font families for text can be overridden with
make-pango-font-tree
.
\paper { % change for other default global staff size. myStaffSize = #20 %{ run lilypond -dshow-available-fonts blabla to show all fonts available in the process log. %} #(define fonts (make-pango-font-tree "Times New Roman" "Nimbus Sans" "Luxi Mono" ;; "Helvetica" ;; "Courier" (/ myStaffSize 20))) } \relative { c'^\markup { roman: foo \bold bla \italic bar \italic \bold baz } c'_\markup { \override #'(font-family . sans) { sans: foo \bold bla \italic bar \italic \bold baz } } c'^\markup { \override #'(font-family . typewriter) { mono: foo \bold bla \italic bar \italic \bold baz } } }
In order to change staff sizes, both staff-space
and
fontSize
must be scaled.
{ \new Staff \relative c'' { \dynamicDown c8 \ff c c c c c c c } } { \new Staff \with { fontSize = #-3 \override StaffSymbol #'staff-space = #(magstep -3) } { \clef bass c8 c c c c c c c } }
clefs-commonly-tweaked-properties.ly
The command \clef "treble_8"
is equivalent to setting
clefGlyph
, clefPosition
(which controls the Y position of
the clef), middleCPosition
and clefOctavation
. A clef is
printed when any of these properties 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 centre line, positive numbers displacing upwards, counting 1 for each line and space. The clefOctavation value would normally be set to 7, -7, 15 or -15, but other values are not invalid.
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
explicitClefVisibility Staff property to the value
end-of-line-invisible
. The default behaviour can be recovered
with \unset Staff.explicitClefVisibility
.
The following examples show the possibilities when setting these properties manually. On the first line, the manual changes preserve the standard relative positioning of clefs and notes, whereas on the second line, they do not.
{ % The default treble clef c'1 % The standard bass clef \set Staff.clefGlyph = #"clefs.F" \set Staff.clefPosition = #2 \set Staff.middleCPosition = #6 c' % The baritone clef \set Staff.clefGlyph = #"clefs.C" \set Staff.clefPosition = #4 \set Staff.middleCPosition = #4 c' % The standard choral tenor clef \set Staff.clefGlyph = #"clefs.G" \set Staff.clefPosition = #-2 \set Staff.clefOctavation = #-7 \set Staff.middleCPosition = #1 c' % A non-standard clef \set Staff.clefPosition = #0 \set Staff.clefOctavation = #0 \set Staff.middleCPosition = #-4 c' \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' \set Staff.clefGlyph = #"clefs.G" c' \set Staff.clefGlyph = #"clefs.C" c' \set Staff.clefOctavation = #7 c' \set Staff.clefOctavation = #0 \set Staff.clefPosition = #0 c' % Here we go back to the normal clef: \set Staff.middleCPosition = #4 c' }
LilyPond gives you the ability to assign different colors to any grob in your score, such as NoteHeads, Alterations, Beams and so on, by simply overriding the #'color property and choosing your color (over 200 colors are available, see the "List of Colors" Appendix in the Manual).
\relative { \override Accidental #'color = #darkgreen \override Beam #'color = #cyan \override NoteHead #'color = #darkyellow c4 \override NoteHead #'color = #red f \override NoteHead #'color = #darkmagenta g \override NoteHead #'color = #darkblue b \override NoteHead #'color = #green \override Stem #'color = #blue e8 es d dis e4 r }
controlling-tuplet-bracket-visibility.ly
Default behaviour 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, you can set the property TupletBracket #'bracket-visibility to either ##t (always print a bracket), ##f (never print a bracket) or #'if-no-beam (only print a bracket if there is no beam).
mus = \relative c'' { \times 2/3 {c16 [ d e } f8] \times 2/3 {c8 d e } \times 2/3 { c4 d e } } \new Voice \relative c'{ << \mus s4^"default" >> \override TupletBracket #'bracket-visibility = #'if-no-beam << \mus s4^"'if-no-beam" >> \override TupletBracket #'bracket-visibility = ##t << \mus s4^"#t" >> \override TupletBracket #'bracket-visibility = ##f << \mus s4^"#f" >> }
The <code>\startTextSpan</code> and <code>\stopTextSpan</code> commands give you the ability to create text spanners as easily as pedals indications or octavations. Override some properties of the <code>TextSpanner</code> object to modify its output.
\relative c''{ \override TextSpanner #'edge-text = #'("bla" . "blu") a \startTextSpan b c a \stopTextSpan \override TextSpanner #'dash-period = #2 \override TextSpanner #'dash-fraction = #0.0 a \startTextSpan b c a \stopTextSpan \revert TextSpanner #'style \override TextSpanner #'style = #'dashed-line \override TextSpanner #'bound-details #'left #'text = \markup { \draw-line #'(0 . 1) } \override TextSpanner #'bound-details #'right #'text = \markup { \draw-line #'(0 . -2) } a \startTextSpan b c a \stopTextSpan \set Staff.middleCPosition = #-13 \override TextSpanner #'dash-period = #10 \override TextSpanner #'dash-fraction = #.5 \override TextSpanner #'thickness = #10 a \startTextSpan b c a \stopTextSpan \set Staff.middleCPosition = #-6 }
Custodes may be engraved in various styles.
\layout { \context { \Staff \consists Custos_engraver } ragged-right = ##t } { \override Staff.Custos #'neutral-position = #4 \override Staff.Custos #'style = #'hufnagel c'1^"hufnagel" \break < d' a' f''>1 \override Staff.Custos #'style = #'medicaea c'1^"medicaea" \break < d' a' f''>1 \override Staff.Custos #'style = #'vaticana c'1^"vaticana" \break < d' a' f''>1 \override Staff.Custos #'style = #'mensural c'1^"mensural" \break < d' a' f''>1 }
The print-function
can be overridden to draw a box around an
arbitrary grob.
\relative c'' { \override TextScript #'stencil = #(make-stencil-boxer 0.1 0.3 ly:text-interface::print) c'4^"foo" \override Stem #'stencil = #(make-stencil-boxer 0.05 0.25 ly:stem::print) \override Score.RehearsalMark #'stencil = #(make-stencil-boxer 0.15 0.3 ly:text-interface::print) b8 \revert Stem #'stencil c4. c4 \mark "F" c1 }
drawing-circles-around-various-objects.ly
The \circle
command allows you to draw circles around various objects,
for example fingering indications. However, some objects require
specific tweaks: rehearsal marks depend on the Score.markFormatter
context, bar numbers on the Score.BarNumber
context, and so on.
You can tweak the printing of your circles by setting some properties
such as #'thickness
, #'circle-padding
or #'font-size
.
\relative c'{ c1 \set Score.markFormatter = #(lambda (mark context) (make-circle-markup (format-mark-numbers mark context))) \mark \default c2 d^\markup{\circle \finger "2"} \override Score.BarNumber #'break-visibility = #all-visible \override Score.BarNumber #'stencil = #(make-stencil-circler 0.1 0.25 ly:text-interface::print) }
making-an-object-invisible-with-the-transparent-property.ly
Setting the transparent
property will cause an object to be
printed in `invisible ink': the object is not printed, but all its
other behavior is retained. The object still takes up space, it takes
part in collisions, and slurs, and ties and beams can be attached to it.
The snippet demonstrates how to connect different voices using ties. Normally, ties only connect two notes in the same voice. By introducing a tie in a different voice, and blanking the first up-stem in that voice, the tie appears to cross voices.
\relative c'' << { \once \override Stem #'transparent = ##t b8~ b8\noBeam } \\ { b[ g8] } >>
manually-controlling-beam-positions.ly
Beam positions may be controlled manually, by overriding the
positions
setting of the Beam
grob.
\score { \context Voice \relative c { %% from upper staffline (position 4) to centre (position 0) \override Beam #'positions = #'(2 . 0) c'8[ c] %% from center to one above centre (position 2) \override Beam #'positions = #'(0 . 1) c[ c] } }
Objects of the same type, like text, can be moved around by using some Scheme code.
#(define (make-text-checker text) (lambda (grob) (equal? text (ly:grob-property grob 'text)))) \score { \relative c''' { \stemUp \applyOutput #'Voice #(outputproperty-compatibility (make-text-checker (make-simple-markup "m.d.")) 'extra-offset '(-3.5 . -4.5)) a^2^"m.d." } \layout { ragged-right = ##t} }
proportional-strict-notespacing.ly
If strict-note-spacing
is set spacing of notes is not influenced
by bars or clefs part way along the system. Rather, they are put just
before the note that occurs at the same time. This may cause
collisions.
\paper { ragged-right = ##t indent = 0 } \layout { \context { \Score } } \relative c'' << \override Score.SpacingSpanner #'strict-note-spacing = ##t \set Score.proportionalNotationDuration = #(ly:make-moment 1 16) \new Staff { c8[ c \clef alto c c \grace { d16 } c8 c] c4 c2 \grace { c16[ c16] } c2 } \new Staff { c2 \times 2/3 { c8 \clef bass cis,, c } c4 c1 } >>
Rests may be used in various styles.
\layout { indent = 0.0 raggedright = ##t } \context Staff \relative c { \set Score.timing = ##f \override Staff.Rest #'style = #'mensural r\maxima^\markup \typewriter { mensural } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 \bar "" \override Staff.Rest #'style = #'neomensural r\maxima^\markup \typewriter { neomensural } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 \bar "" \override Staff.Rest #'style = #'classical r\maxima^\markup \typewriter { classical } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 \bar "" \override Staff.Rest #'style = #'default r\maxima^\markup \typewriter { default } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 }
In "simple" lead-sheets, sometimes no actual notes are written, instead only "rhythmic patterns" and chords above the measures are noted giving the structure of a song. Such a feature is for example useful while creating/transcribing the structure of a song and also when sharing lead sheets with guitarists or jazz musicians.
The standard support for this is described in section "Measure repeats", but then the first beat has to be an ordinary note or rest.
This example shows two solutions to this problem, by redefining ordinary rests to be printed as slashes. (If the duration of each beat is not a quarter note, replace the r4 in the definitions by a rest of the appropriate duration).
% Macro to print single slash rs = { \once \override Rest #'stencil = #ly:percent-repeat-item-interface::beat-slash \once \override Rest #'thickness = #'0.48 \once \override Rest #'slope = #'1.7 r4 } % Function to print a specified number of slashes comp = #(define-music-function (parser location count) ( integer?) #{ \override Rest #'stencil = #ly:percent-repeat-item-interface::beat-slash \override Rest #'thickness = #'0.48 \override Rest #'slope = #'1.7 \repeat unfold $count { r4 } \revert Rest #'stencil #} ) \score{ \relative c'{ c d e f | \rs \rs \rs \rs | \comp #4 | } }
time-signature-in-parentheses.ly
You may put the time signature in parentheses.
tsMarkup = \markup { \number { \bracket \column { "2" "4" } } } \score { \relative c'' { % FIXME: Gee, it doesn't work with 2.10 -vv %{ \override Staff.TimeSignature #'print-function = #Text_interface::print \override Staff.TimeSignature #'text = #tsMarkup %} \time 2/4 a4 b8 c | } }
transcription-of-ancient-music-with-incipit.ly
As a workaround to get real incipits which are independent from the main score these are included as a markup into the field normally used for the instrument name. As for now lyrics can only be added as a direct markup. It doesn't unfortunately conform with the spacing of the main lyrics.
global = { \set Score.skipBars = ##t \key g \major \time 4/4 %make the staff lines invisible on staves \override Staff.BarLine #'transparent = ##t \skip 1*8 % the actual music % let finis bar go through all staves \override Staff.BarLine #'transparent = ##f % finis bar \bar "|." } discantusNotes = { \transpose c' c'' { \clef "treble" d'2. d'4 | b e' d'2 | c'4 e'4.( d'8 c' b | a4) b a2 | b4.( c'8 d'4) c'4 | \once \override NoteHead #'transparent = ##t c'1 | b\breve | } } discantusLyrics = \lyricmode { Ju -- bi -- | la -- te De -- | o, om -- nis ter -- | ra, __ om- | "..." | -us. | } altusNotes = { \transpose c' c'' { \clef "treble" r2 g2. e4 fis g | % two bars a2 g4 e | fis g4.( fis16 e fis4) | g1 | \once \override NoteHead #'transparent = ##t g1 | g\breve | } } altusLyrics = \lyricmode { Ju -- bi -- la -- te | % two bars De -- o, om -- | nis ter -- ra, | "..." | -us. | } tenorNotes = { \transpose c' c' { \clef "treble_8" R1 | R1 | R1 | r2 d'2. d'4 b e' | % two bars \once \override NoteHead #'transparent = ##t e'1 | d'\breve | } } tenorLyrics = \lyricmode { Ju -- bi -- la -- te | % two bars "..." | -us. } bassusNotes = { \transpose c' c' { \clef "bass" R1 | R1 | R1 | R1 | g2. e4 | \once \override NoteHead #'transparent = ##t e1 | g\breve | } } bassusLyrics = \lyricmode { Ju -- bi- | "..." | -us. } incipitDiscantus = \markup{ \score{ { \set Staff.instrumentName="Discantus " \override NoteHead #'style = #'neomensural \override Rest #'style = #'neomensural \override Staff.TimeSignature #'style = #'neomensural \cadenzaOn \clef "neomensural-c1" \key f \major \time 2/2 c''1._"IV-" s2 %two bars \skip 1*8 % eight bars } \layout { \context {\Voice \remove Ligature_bracket_engraver \consists Mensural_ligature_engraver } line-width=4.5\cm } } } incipitAltus = \markup{ \score{ { \set Staff.instrumentName="Altus " \override NoteHead #'style = #'neomensural \override Rest #'style = #'neomensural \override Staff.TimeSignature #'style = #'neomensural \cadenzaOn \clef "neomensural-c3" \key f \major \time 2/2 r1 % one bar f'1._"IV-" s2 % two bars \skip 1*7 % seven bars } \layout { \context {\Voice \remove Ligature_bracket_engraver \consists Mensural_ligature_engraver } line-width=4.5\cm } } } incipitTenor = \markup{ \score{ { \set Staff.instrumentName = "Tenor " \override NoteHead #'style = #'neomensural \override Rest #'style = #'neomensural \override Staff.TimeSignature #'style = #'neomensural \cadenzaOn \clef "neomensural-c4" \key f \major \time 2/2 r\longa % four bars r\breve % two bars r1 % one bar c'1._"IV-" s2 % two bars \skip 1 % one bar } \layout { \context {\Voice \remove Ligature_bracket_engraver \consists Mensural_ligature_engraver } line-width=4.5\cm } } } incipitBassus = \markup{ \score{ { \set Staff.instrumentName = "Bassus " \override NoteHead #'style = #'neomensural \override Rest #'style = #'neomensural \override Staff.TimeSignature #'style = #'neomensural \cadenzaOn \clef "bass" \key f \major \time 2/2 % incipit r\maxima % eight bars f1._"IV-" s2 % two bars } \layout { \context {\Voice \remove Ligature_bracket_engraver \consists Mensural_ligature_engraver } line-width=4.5\cm } } } %StaffGroup is used instead of ChoirStaff to get bar lines between systems \score { << \new StaffGroup = choirStaff << \new Voice = "discantusNotes" << \global \set Staff.instrumentName=\incipitDiscantus \discantusNotes >> \new Lyrics = "discantusLyrics" \lyricsto discantusNotes { \discantusLyrics } \new Voice = "altusNotes" << \global \set Staff.instrumentName=\incipitAltus \altusNotes >> \new Lyrics = "altusLyrics" \lyricsto altusNotes { \altusLyrics } \new Voice = "tenorNotes" << \global \set Staff.instrumentName=\incipitTenor \tenorNotes >> \new Lyrics = "tenorLyrics" \lyricsto tenorNotes { \tenorLyrics } \new Voice = "bassusNotes" << \global \set Staff.instrumentName=\incipitBassus \bassusNotes >> >> \new Lyrics = "bassusLyrics" \lyricsto bassusNotes { \bassusLyrics } %Keep the bass lyrics outside of the staff group to avoid bar lines %between the lyrics. >> \layout { \context { \Score % no bars in staves \override BarLine #'transparent = ##t } % the next three instructions keep the lyrics between the barlines \context { \Lyrics \consists "Bar_engraver" \override BarLine #'transparent = ##t } \context { \StaffGroup \consists "Separating_line_group_engraver" } \context { \Voice % no slurs \override Slur #'transparent = ##t % Comment in the below "\remove" command to allow line % breaking also at those barlines where a note overlaps % into the next bar. The command is commented out in this % short example score, but especially for large scores, you % will typically yield better line breaking and thus improve % overall spacing if you comment in the following command. %\remove "Forbid_line_break_engraver" } indent=5\cm } }
using-the--tweak-command-to-tweak-individual-grobs.ly
With the weak
command, you can tune every grob directly. Here
are some examples of available tweaks.
{ \set fingeringOrientations = #'(right) < \tweak #'font-size #3 c \tweak #'color #red d-\tweak #'font-size #8 -4 \tweak #'style #'cross g \tweak #'duration-log #1 a >4 }
vertically-aligning-ossias-and-lyrics.ly
This snippet shows of to use the alignBelowContext
and
alignAboveContext
properties, which may be needed for text
elements (e.g. lyrics) positioning, but also for musical contents such
as ossias.
\paper { ragged-right = ##t } \relative << \new Staff = "1" { c4 c s2 } \new Staff = "2" { c4 c s2 } \new Staff = "3" { c4 c s2 } { \skip 2 << \lyrics { \set alignBelowContext = #"1" below8 first staff } \new Staff { \set Staff.alignAboveContext = #"3" \times 4/6 { \override TextScript #'padding = #3 c8^"this" d_"staff" e^"above" d_"last" e^"staff" f } } >> } >>
vertically-centered-dynamics-and-textscripts.ly
By setting the Y-extent property to a fixed value (here -1.5 . 1.5), we force LilyPond to align every elements of the DynamicLineSpanner (text elements and dynamics) to a common reference point, regardless to the actual extent of these objects. This way, every element will be vertically centered, for a nicer output (you can compare the first and the second line in this example; the trick is only applied on the second line).
The same idea is used to align the text scripts along their baseline.
\paper { indent = 0 line-width = 5\in } music = \relative c'' { c2\p^\markup { "gorgeous" } c\f^\markup { "fantastic" } c4\p c \f \> c c \! \p } \score { { \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 } }
aligning-and-centering-instrument-names.ly
Instrument names are generally printed at the left side of the staves. To align the names of several different intruments, you can put them in a \markup block and use one of the following possibilites:
* Right-aligned instrument names: this is LilyPond's default behavior
* Center-aligned instrument names: with the \hcenter-in #n syntax, you can place the instrument names inside a padded box (n being the width of the box)
* Left-aligned instrument names: you have to print the names on top of an empty box, using the \combine command with a \hspace #n object.
\paper{ indent = #0 left-margin = #30 line-width = #160 } \new StaffGroup \relative << \new Staff { \set Staff.instrumentName = "blabla" c1^"default" c1 \break \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" } c1^"centered" c1 \break \set Staff.instrumentName = \markup {\combine \hspace #8 "blabla" } c1^"left-aligned" c1 } \new Staff { \set Staff.instrumentName = "blo" c1 c1 \break \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" } c1 c1 \break \set Staff.instrumentName = \markup {\combine \hspace #8 "blo" } c1 c1 } >>
By setting properties in NonMusicalPaperColumn
, vertical spacing
of alignments can be adjusted per system.
By setting alignment-extra-space
or
fixed-alignment-extra-space
an individual system may be
stretched vertically.
For technical reasons, \overrideProperty
has to be used for
setting properties on individual objects. \override
in a
\context
block may still be used for global overrides.
#(set-global-staff-size 13) \relative c'' \new StaffGroup << \new Staff { c1\break c\break c\break } \new Staff { c1 c c } \new PianoStaff << \new Voice { \set PianoStaff.instrumentName = #"piano" \set PianoStaff.shortInstrumentName = #"pn" c1_"normal" \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((fixed-alignment-extra-space . 15)) c_"fixed-aligment-extra-space" \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((alignment-extra-space . 15)) c_"aligment-extra-space" } { c1 c c } >> >>
In order to change staff sizes, both staff-space
and
fontSize
must be scaled.
{ \new Staff \relative c'' { \dynamicDown c8 \ff c c c c c c c } } { \new Staff \with { fontSize = #-3 \override StaffSymbol #'staff-space = #(magstep -3) } { \clef bass c8 c c c c c c c } }
This code shows how to clip (extracts) snippets from a full score.
This file needs to be run separately with -dclip-systems
; the
snippets page may not adequately show the results.
The result will be files named base-from-start-to-end[-count].eps.
#(ly:set-option 'clip-systems) #(set! output-count 1) origScore = \score{ \relative { \set Staff.instrumentName = #"bla" c1 d \grace c16 e1 \key d\major f \break \clef bass g, fis } } \book { \score { \origScore \layout { %% each clip-region is a (START . END) pair %% where both are rhythmic-locations. %% (make-rhythmic-locations BAR-NUMBER NUM DEN) %% means NUM/DEN whole-notes into bar numbered BAR-NUMBER clip-regions = #(list (cons (make-rhythmic-location 2 0 1) (make-rhythmic-location 4 0 1)) (cons (make-rhythmic-location 0 0 1) (make-rhythmic-location 4 0 1)) (cons (make-rhythmic-location 0 0 1) (make-rhythmic-location 6 0 1)) ) } } } #(set! output-count 0) #(ly:set-option 'clip-systems #f) \book { \score { \origScore } \markup { \bold \fontsize #6 clips } \score { \lyrics { \markup { from-2.0.1-to-4.0.1-clip.eps } \markup { \epsfile #X #30.0 #(format #f "~a-1-from-2.0.1-to-4.0.1-clip.eps" (ly:parser-output-name parser)) } } } }
To create blank staves, you must generate empty measures, removing also
from the Score
context the Bar_number_engraver
, and from
the Staff
context the Time_signature_engraver
, the
Clef_engraver
and the Bar_engraver
.
#(set-global-staff-size 20) \score { { \repeat unfold 12 { s1 \break } } \layout { indent = 0\in \context { \Staff \remove Time_signature_engraver \remove Clef_engraver \remove Bar_engraver } \context { \Score \remove Bar_number_engraver } } } \paper { #(set-paper-size "letter") raggedlastbottom = ##f linewidth = 7.5\in leftmargin = 0.5\in bottommargin = 0.25\in topmargin = 0.25\in }
All header fields with special meanings.
A table of contents is included using
\markuplines \table-of-contents
. The TOC items are added with
the \tocItem
command.
#(set-default-paper-size "a6") \book { \markuplines \table-of-contents \pageBreak \tocItem \markup "The first score" \score { { c'1 \pageBreak \mark "A" \tocItem \markup "Mark A" d' } } \pageBreak \tocItem \markup "The second score" \score { { e' } \header { piece = "Second score" } } }
adding-the-current-date-to-a-score.ly
I often find it useful to include a date on printed music, so that I
can see if I'm using the latest version, or tell someone else that he
should only use the version after a certain date. A simple solution is
to enter the date manually to the .ly
file. But that's very
error prone. It's easy to forget updating the date. So i thought it
would be useful if you can add the date on which the PDF file is
generated automatically. I did't figure it out myself, but I asked on
lilypond-user mailing list. And guess what? Someone came with an
excellent solution! So thank you very much Toine Schreurs for sending
this solution to the user mailing list. I post it here for future
reference.
The solution is to use two scheme functions called strftime
and
localtime
, as shown in the snippet. It is a very flexible
solution, you can format the date just as you like it by adapting the
"%d-%m-%Y"
string. See the Guile documentation for more
details on this format string: Formatting Calendar Time.
\score { \relative c'' { c4 c c c } } % and use it in a \markup block: \markup { \date }
aligning-and-centering-instrument-names.ly
Instrument names are generally printed at the left side of the staves. To align the names of several different intruments, you can put them in a \markup block and use one of the following possibilites:
* Right-aligned instrument names: this is LilyPond's default behavior
* Center-aligned instrument names: with the \hcenter-in #n syntax, you can place the instrument names inside a padded box (n being the width of the box)
* Left-aligned instrument names: you have to print the names on top of an empty box, using the \combine command with a \hspace #n object.
\paper{ indent = #0 left-margin = #30 line-width = #160 } \new StaffGroup \relative << \new Staff { \set Staff.instrumentName = "blabla" c1^"default" c1 \break \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" } c1^"centered" c1 \break \set Staff.instrumentName = \markup {\combine \hspace #8 "blabla" } c1^"left-aligned" c1 } \new Staff { \set Staff.instrumentName = "blo" c1 c1 \break \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" } c1 c1 \break \set Staff.instrumentName = \markup {\combine \hspace #8 "blo" } c1 c1 } >>
All header fields with special meanings.
adjusting-lyrics-vertical-spacing.ly
This snippets shows you how to bring the lyrics line closer to the Staff.
% Default layout: \score{ << \new Staff \new Voice = m \relative c'{ c4 d e f g f e d c1} \new Lyrics \lyricsto m {aa aa aa aa aa aa aa aa aa } >> } % Reducing the minimum space below the Staff and above the Lyrics: \score { << \new Staff \with { \override VerticalAxisGroup #'minimum-Y-extent = #'(-1. 4)} \new Voice = m \relative c'{ c4 d e f g f e d c1 } \new Lyrics \with { \override VerticalAxisGroup #'minimum-Y-extent = #'(-1.2 . 1)} \lyricsto m {aa aa aa aa aa aa aa aa aa } >> \header { tagline = "" } }
By setting properties in NonMusicalPaperColumn
, vertical spacing
of alignments can be adjusted per system.
By setting alignment-extra-space
or
fixed-alignment-extra-space
an individual system may be
stretched vertically.
For technical reasons, \overrideProperty
has to be used for
setting properties on individual objects. \override
in a
\context
block may still be used for global overrides.
#(set-global-staff-size 13) \relative c'' \new StaffGroup << \new Staff { c1\break c\break c\break } \new Staff { c1 c c } \new PianoStaff << \new Voice { \set PianoStaff.instrumentName = #"piano" \set PianoStaff.shortInstrumentName = #"pn" c1_"normal" \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((fixed-alignment-extra-space . 15)) c_"fixed-aligment-extra-space" \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((alignment-extra-space . 15)) c_"aligment-extra-space" } { c1 c c } >> >>
Page labels may be placed inside music or at top-level, and refered to in markups.
#(set-default-paper-size "a6") #(define-markup-command (toc-line layout props label text) (symbol? markup?) (interpret-markup layout props (markup #:fill-line (text #:page-ref label "8" "?")))) \book { \markup \huge \fill-line { \null "Title Page" \null } \pageBreak \label #'toc \markup \column { \large \fill-line { \null "Table of contents" \null } \toc-line #'toc "Table of contents" \toc-line #'firstScore "First Score" \toc-line #'markA "Mark A" \toc-line #'markB "Mark B" \toc-line #'markC "Mark C" \toc-line #'unknown "Unknown label" } \pageBreak \label #'firstScore \score { { c'2 c' \mark \markup { A (page \concat { \page-ref #'markA "0" "?" ) }} \label #'markA c' c' \pageBreak \mark "B" \label #'markB d' d' d' d' \once \override Score . RehearsalMark #'break-visibility = #begin-of-line-invisible \mark "C" \label #'markC } \header { piece = "First score" } } }
proportional-strict-notespacing.ly
If strict-note-spacing
is set spacing of notes is not influenced
by bars or clefs part way along the system. Rather, they are put just
before the note that occurs at the same time. This may cause
collisions.
\paper { ragged-right = ##t indent = 0 } \layout { \context { \Score } } \relative c'' << \override Score.SpacingSpanner #'strict-note-spacing = ##t \set Score.proportionalNotationDuration = #(ly:make-moment 1 16) \new Staff { c8[ c \clef alto c c \grace { d16 } c8 c] c4 c2 \grace { c16[ c16] } c2 } \new Staff { c2 \times 2/3 { c8 \clef bass cis,, c } c4 c1 } >>
vertically-aligning-ossias-and-lyrics.ly
This snippet shows of to use the alignBelowContext
and
alignAboveContext
properties, which may be needed for text
elements (e.g. lyrics) positioning, but also for musical contents such
as ossias.
\paper { ragged-right = ##t } \relative << \new Staff = "1" { c4 c s2 } \new Staff = "2" { c4 c s2 } \new Staff = "3" { c4 c s2 } { \skip 2 << \lyrics { \set alignBelowContext = #"1" below8 first staff } \new Staff { \set Staff.alignAboveContext = #"3" \times 4/6 { \override TextScript #'padding = #3 c8^"this" d_"staff" e^"above" d_"last" e^"staff" f } } >> } >>
vertically-centered-dynamics-and-textscripts.ly
By setting the Y-extent property to a fixed value (here -1.5 . 1.5), we force LilyPond to align every elements of the DynamicLineSpanner (text elements and dynamics) to a common reference point, regardless to the actual extent of these objects. This way, every element will be vertically centered, for a nicer output (you can compare the first and the second line in this example; the trick is only applied on the second line).
The same idea is used to align the text scripts along their baseline.
\paper { indent = 0 line-width = 5\in } music = \relative c'' { c2\p^\markup { "gorgeous" } c\f^\markup { "fantastic" } c4\p c \f \> c c \! \p } \score { { \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 } }
Problem: How to know which MidiInstrument would be best for your composition? Solution: A Lilypond demo file.
\score { \new Staff << \new Voice { \melodie } %Voice >> %Staff \layout { } } %score \score { \new Staff << \tempo 4 = 180 %\set Staff.instrumentName="S/A" %\set Staff.midiMinimumVolume = #0.2 %\set Staff.midiMaximumVolume = #0.4 %\set Voice.dynamicAbsoluteVolumeFunction = #0.6 \new Voice { r \mf \set Staff.midiInstrument="acoustic grand" \melodie \set Staff.midiInstrument="bright acoustic" \melodie \set Staff.midiInstrument="electric grand" \melodie \set Staff.midiInstrument="honky-tonk" \melodie \set Staff.midiInstrument="electric piano 1" \melodie \set Staff.midiInstrument="electric piano 2" \melodie \set Staff.midiInstrument="harpsichord" \melodie \set Staff.midiInstrument="clav" \melodie \set Staff.midiInstrument="celesta" \melodie \set Staff.midiInstrument="glockenspiel" \melodie \set Staff.midiInstrument="music box" \melodie \set Staff.midiInstrument="vibraphone" \melodie \set Staff.midiInstrument="marimba" \melodie \set Staff.midiInstrument="xylophone" \melodie \set Staff.midiInstrument="tubular bells" \melodie \set Staff.midiInstrument="dulcimer" \melodie \set Staff.midiInstrument="drawbar organ" \melodie \set Staff.midiInstrument="percussive organ" \melodie \set Staff.midiInstrument="rock organ" \melodie \set Staff.midiInstrument="church organ" \melodie \set Staff.midiInstrument="reed organ" \melodie \set Staff.midiInstrument="accordion" \melodie \set Staff.midiInstrument="harmonica" \melodie \set Staff.midiInstrument="concertina" \melodie \set Staff.midiInstrument="acoustic guitar (nylon)" \melodie \set Staff.midiInstrument="acoustic guitar (steel)" \melodie \set Staff.midiInstrument="electric guitar (jazz)" \melodie \set Staff.midiInstrument="electric guitar (clean)" \melodie \set Staff.midiInstrument="electric guitar (muted)" \melodie \set Staff.midiInstrument="overdriven guitar" \melodie \set Staff.midiInstrument="distorted guitar" \melodie \set Staff.midiInstrument="acoustic bass" \melodie \set Staff.midiInstrument="electric bass (finger)" \melodie \set Staff.midiInstrument="electric bass (pick)" \melodie \set Staff.midiInstrument="fretless bass" \melodie \set Staff.midiInstrument="slap bass 1" \melodie \set Staff.midiInstrument="slap bass 2" \melodie \set Staff.midiInstrument="synth bass 1" \melodie \set Staff.midiInstrument="synth bass 2" \melodie \set Staff.midiInstrument="violin" \melodie \set Staff.midiInstrument="viola" \melodie \set Staff.midiInstrument="cello" \melodie \set Staff.midiInstrument="contrabass" \melodie \set Staff.midiInstrument="tremolo strings" \melodie \set Staff.midiInstrument="pizzicato strings" \melodie \set Staff.midiInstrument="orchestral strings" \melodie \set Staff.midiInstrument="timpani" \melodie \set Staff.midiInstrument="string ensemble 1" \melodie \set Staff.midiInstrument="string ensemble 2" \melodie \set Staff.midiInstrument="synthstrings 1" \melodie \set Staff.midiInstrument="synthstrings 2" \melodie \set Staff.midiInstrument="choir aahs" \melodie \set Staff.midiInstrument="voice oohs" \melodie \set Staff.midiInstrument="synth voice" \melodie \set Staff.midiInstrument="orchestra hit" \melodie \set Staff.midiInstrument="trumpet" \melodie \set Staff.midiInstrument="trombone" \melodie \set Staff.midiInstrument="tuba" \melodie \set Staff.midiInstrument="muted trumpet" \melodie \set Staff.midiInstrument="french horn" \melodie \set Staff.midiInstrument="brass section" \melodie \set Staff.midiInstrument="synthbrass 1" \melodie \set Staff.midiInstrument="synthbrass 2" \melodie \set Staff.midiInstrument="soprano sax" \melodie \set Staff.midiInstrument="alto sax" \melodie \set Staff.midiInstrument="tenor sax" \melodie \set Staff.midiInstrument="baritone sax" \melodie \set Staff.midiInstrument="oboe" \melodie \set Staff.midiInstrument="english horn" \melodie \set Staff.midiInstrument="bassoon" \melodie \set Staff.midiInstrument="clarinet" \melodie \set Staff.midiInstrument="piccolo" \melodie \set Staff.midiInstrument="flute" \melodie \set Staff.midiInstrument="recorder" \melodie \set Staff.midiInstrument="pan flute" \melodie \set Staff.midiInstrument="blown bottle" \melodie \set Staff.midiInstrument="shakuhachi" \melodie \set Staff.midiInstrument="whistle" \melodie \set Staff.midiInstrument="ocarina" \melodie \set Staff.midiInstrument="lead 1 (square)" \melodie \set Staff.midiInstrument="lead 2 (sawtooth)" \melodie \set Staff.midiInstrument="lead 3 (calliope)" \melodie \set Staff.midiInstrument="lead 4 (chiff)" \melodie \set Staff.midiInstrument="lead 5 (charang)" \melodie \set Staff.midiInstrument="lead 6 (voice)" \melodie \set Staff.midiInstrument="lead 7 (fifths)" \melodie \set Staff.midiInstrument="lead 8 (bass+lead)" \melodie \set Staff.midiInstrument="pad 1 (new age)" \melodie \set Staff.midiInstrument="pad 2 (warm)" \melodie \set Staff.midiInstrument="pad 3 (polysynth)" \melodie \set Staff.midiInstrument="pad 4 (choir)" \melodie \set Staff.midiInstrument="pad 5 (bowed)" \melodie \set Staff.midiInstrument="pad 6 (metallic)" \melodie \set Staff.midiInstrument="pad 7 (halo)" \melodie \set Staff.midiInstrument="pad 8 (sweep)" \melodie \set Staff.midiInstrument="fx 1 (rain)" \melodie \set Staff.midiInstrument="fx 2 (soundtrack)" \melodie \set Staff.midiInstrument="fx 3 (crystal)" \melodie \set Staff.midiInstrument="fx 4 (atmosphere)" \melodie \set Staff.midiInstrument="fx 5 (brightness)" \melodie \set Staff.midiInstrument="fx 6 (goblins)" \melodie \set Staff.midiInstrument="fx 7 (echoes)" \melodie \set Staff.midiInstrument="fx 8 (sci-fi)" \melodie \set Staff.midiInstrument="sitar" \melodie \set Staff.midiInstrument="banjo" \melodie \set Staff.midiInstrument="shamisen" \melodie \set Staff.midiInstrument="koto" \melodie \set Staff.midiInstrument="kalimba" \melodie \set Staff.midiInstrument="bagpipe" \melodie \set Staff.midiInstrument="fiddle" \melodie \set Staff.midiInstrument="shanai" \melodie \set Staff.midiInstrument="tinkle bell" \melodie \set Staff.midiInstrument="agogo" \melodie \set Staff.midiInstrument="steel drums" \melodie \set Staff.midiInstrument="woodblock" \melodie \set Staff.midiInstrument="taiko drum" \melodie \set Staff.midiInstrument="melodic tom" \melodie \set Staff.midiInstrument="synth drum" \melodie \set Staff.midiInstrument="reverse cymbal" \melodie \set Staff.midiInstrument="guitar fret noise" \melodie \set Staff.midiInstrument="breath noise" \melodie \set Staff.midiInstrument="seashore" \melodie \set Staff.midiInstrument="bird tweet" \melodie \set Staff.midiInstrument="telephone ring" \melodie \set Staff.midiInstrument="helicopter" \melodie \set Staff.midiInstrument="applause" \melodie \set Staff.midiInstrument="gunshot" \melodie } %Voice >> %Staff \midi { } } %score
ancient-notation-template----modern-transcription-of-gregorian-music.ly
This example demonstrates how to do modern transcription of Gregorian music. Gregorian music has no measure, no stems; it uses only half and quarter noteheads, and special marks, indicating rests of different length.
\include "gregorian-init.ly" chant = \relative c' { \set Score.timing = ##f f4 a2 \divisioMinima g4 b a2 f2 \divisioMaior g4( f) f( g) a2 \finalis } verba = \lyricmode { Lo -- rem ip -- sum do -- lor sit a -- met } \score { \new Staff << \new Voice = "melody" { \chant } \new Lyrics = "one" \lyricsto melody \verba >> \layout { \context { \Staff \remove "Time_signature_engraver" \remove "Bar_engraver" \override Stem #'transparent = ##t } \context { \Voice \override Stem #'length = #0 } \context { \Score barAlways = ##t } } }
ancient-notation-template----modern-transcription-of-mensural-music.ly
When transcribing mensural music, an incipit at the beginning of the piece is useful to indicate the original key and tempo. While today musicians are used to bar lines in order to faster recognize rhythmic patterns, bar lines were not yet invented during the period of mensural music; in fact, the meter often changed after every few notes. As a compromise, bar lines are often printed between the staves rather than on the staves.
global = { \set Score.skipBars = ##t % incipit \once \override Score.SystemStartBracket #'transparent = ##t \override Score.SpacingSpanner #'spacing-increment = #1.0 % tight spacing \key f \major \time 2/2 \once \override Staff.TimeSignature #'style = #'neomensural \override Voice.NoteHead #'style = #'neomensural \override Voice.Rest #'style = #'neomensural \set Staff.printKeyCancellation = ##f \cadenzaOn % turn off bar lines \skip 1*10 \once \override Staff.BarLine #'transparent = ##f \bar "||" \skip 1*1 % need this extra \skip such that clef change comes % after bar line \bar "" % main \revert Score.SpacingSpanner #'spacing-increment % CHECK: no effect? \cadenzaOff % turn bar lines on again \once \override Staff.Clef #'full-size-change = ##t \set Staff.forceClef = ##t \key g \major \time 4/4 \override Voice.NoteHead #'style = #'default \override Voice.Rest #'style = #'default % FIXME: setting printKeyCancellation back to #t must not % occur in the first bar after the incipit. Dto. for forceClef. % Therefore, we need an extra \skip. \skip 1*1 \set Staff.printKeyCancellation = ##t \set Staff.forceClef = ##f \skip 1*7 % the actual music % let finis bar go through all staves \override Staff.BarLine #'transparent = ##f % finis bar \bar "|." } discantusNotes = { \transpose c' c'' { \set Staff.instrumentName = "Discantus " % incipit \clef "neomensural-c1" c'1. s2 % two bars \skip 1*8 % eight bars \skip 1*1 % one bar % main \clef "treble" d'2. d'4 | b e' d'2 | c'4 e'4.( d'8 c' b | a4) b a2 | b4.( c'8 d'4) c'4 | \once \override NoteHead #'transparent = ##t c'1 | b\breve | } } discantusLyrics = \lyricmode { % incipit IV- % main Ju -- bi -- | la -- te De -- | o, om -- nis ter -- | ra, __ om- | "..." | -us. | } altusNotes = { \transpose c' c'' { \set Staff.instrumentName = "Altus " % incipit \clef "neomensural-c3" r1 % one bar f1. s2 % two bars \skip 1*7 % seven bars \skip 1*1 % one bar % main \clef "treble" r2 g2. e4 fis g | % two bars a2 g4 e | fis g4.( fis16 e fis4) | g1 | \once \override NoteHead #'transparent = ##t g1 | g\breve | } } altusLyrics = \lyricmode { % incipit IV- % main Ju -- bi -- la -- te | % two bars De -- o, om -- | nis ter -- ra, | "..." | -us. | } tenorNotes = { \transpose c' c' { \set Staff.instrumentName = "Tenor " % incipit \clef "neomensural-c4" r\longa % four bars r\breve % two bars r1 % one bar c'1. s2 % two bars \skip 1*1 % one bar \skip 1*1 % one bar % main \clef "treble_8" R1 | R1 | R1 | r2 d'2. d'4 b e' | % two bars \once \override NoteHead #'transparent = ##t e'1 | d'\breve | } } tenorLyrics = \lyricmode { % incipit IV- % main Ju -- bi -- la -- te | % two bars "..." | -us. | } bassusNotes = { \transpose c' c' { \set Staff.instrumentName = "Bassus " % incipit \clef "bass" r\maxima % eight bars f1. s2 % two bars \skip 1*1 % one bar % main \clef "bass" R1 | R1 | R1 | R1 | g2. e4 | \once \override NoteHead #'transparent = ##t e1 | g\breve | } } bassusLyrics = \lyricmode { % incipit IV- % main Ju -- bi- | "..." | -us. | } \score { \new StaffGroup = choirStaff << \new Voice = "discantusNotes" << \global \discantusNotes >> \new Lyrics = "discantusLyrics" \lyricsto discantusNotes { \discantusLyrics } \new Voice = "altusNotes" << \global \altusNotes >> \new Lyrics = "altusLyrics" \lyricsto altusNotes { \altusLyrics } \new Voice = "tenorNotes" << \global \tenorNotes >> \new Lyrics = "tenorLyrics" \lyricsto tenorNotes { \tenorLyrics } \new Voice = "bassusNotes" << \global \bassusNotes >> \new Lyrics = "bassusLyrics" \lyricsto bassusNotes { \bassusLyrics } >> \layout { \context { \Score % no bars in staves \override BarLine #'transparent = ##t % incipit should not start with a start delimiter \remove "System_start_delimiter_engraver" } \context { \Voice % no slurs \override Slur #'transparent = ##t % Comment in the below "\remove" command to allow line % breaking also at those barlines where a note overlaps % into the next bar. The command is commented out in this % short example score, but especially for large scores, you % will typically yield better line breaking and thus improve % overall spacing if you comment in the following command. %\remove "Forbid_line_break_engraver" } } }
Jazz tune for combo (horns, guitar, piano, bass, drums).
Here is a simple piano staff with some notes.
upper = \relative c'' { \clef treble \key c \major \time 4/4 a b c d } lower = \relative c { \clef bass \key c \major \time 4/4 a2 c } \score { \new PianoStaff << \set PianoStaff.instrumentName = "Piano " \new Staff = "upper" \upper \new Staff = "lower" \lower >> \layout { } \midi { } }
piano-template-with-centered-dynamics.ly
Many piano scores have the dynamics centered between the two staves. This requires a bit of tweaking to implement, but since the template is right here, you don't have to do the tweaking yourself.
upper = \relative c'' { \clef treble \key c \major \time 4/4 a b c d } lower = \relative c { \clef bass \key c \major \time 4/4 a2 c } dynamics = { s2\fff\> s4 s\!\pp } pedal = { s2\sustainDown s2\sustainUp } \score { \new PianoStaff << \new Staff = "upper" \upper \new Dynamics = "dynamics" \dynamics \new Staff = "lower" << \clef bass \lower >> \new Dynamics = "pedal" \pedal >> \layout { \context { \type "Engraver_group" \name Dynamics \alias Voice % So that \cresc works, for example. \consists "Output_property_engraver" \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1) \override DynamicLineSpanner #'Y-offset = #0 pedalSustainStrings = #'("Ped." "*Ped." "*") pedalUnaCordaStrings = #'("una corda" "" "tre corde") \consists "Piano_pedal_engraver" \consists "Script_engraver" \consists "Dynamic_engraver" \consists "Text_engraver" \override TextScript #'font-size = #2 \override TextScript #'font-shape = #'italic \consists "Skip_event_swallow_translator" \consists "Axis_group_engraver" } \context { \PianoStaff \accepts Dynamics } } } \score { \new PianoStaff << \new Staff = "upper" << \upper \dynamics >> \new Staff = "lower" << \lower \dynamics >> \new Dynamics = "pedal" \pedal >> \midi { \context { \type "Performer_group" \name Dynamics \consists "Piano_pedal_performer" } \context { \PianoStaff \accepts Dynamics } } }
piano-template-with-centered-lyrics.ly
Instead of having a full staff for the melody and lyrics, you can place the lyrics between the piano staff (and omit the separate melody staff).
upper = \relative c'' { \clef treble \key c \major \time 4/4 a b c d } lower = \relative c { \clef bass \key c \major \time 4/4 a2 c } text = \lyricmode { Aaa Bee Cee Dee } \score { \new GrandStaff << \new Staff = upper { \new Voice = "singer" \upper } \new Lyrics \lyricsto "singer" \text \new Staff = lower { \clef bass \lower } >> \layout { \context { \GrandStaff \accepts "Lyrics" } \context { \Lyrics \consists "Bar_engraver" } } \midi { } }
piano-template-with-melody-and-lyrics.ly
Here is a typical song format: one staff with the melody and lyrics, with piano accompaniment underneath.
melody = \relative c'' { \clef treble \key c \major \time 4/4 a b c d } text = \lyricmode { Aaa Bee Cee Dee } upper = \relative c'' { \clef treble \key c \major \time 4/4 a b c d } lower = \relative c { \clef bass \key c \major \time 4/4 a2 c } \score { << \new Voice = "mel" { \autoBeamOff \melody } \new Lyrics \lyricsto mel \text \new PianoStaff << \new Staff = "upper" \upper \new Staff = "lower" \lower >> >> \layout { \context { \RemoveEmptyStaffContext } } \midi { } }
score-for-diatonic-accordion.ly
A template to write score for a diatonic accordion.
- There is a horizontal staff indicating if the accordion must be pushed (thick line) or pulled (thin line)
- There is a small rhytmic staff with lyrics that describes the bass buttons to press. The bar-lines are made of gridlines ( Gridlines, not a really satisfying solution, but the best I found)
- The tabulator staff for diatonic accordions shows the geographic position of the buttons and not (as for every other instrument) the pitch of the tones. The keys on the melody-side of the accordion are placed in three columns and about 12 rows. In the tabulator staff notation the - most outer column is described with notes between lines - most inner column is described with notes between lines with a cross as accidental - middle column is described with notes on a line, whereby the row in the middle is represented on the middle line in the staff.
Some words to transpose piano note to the diatonic accordion. —————————————————————————————– 1. Every diatonic accordion is built for some keys only. For example for the key of C-major and F-major. So it is important to transpose a piano melody to match one of these keys. Transpose the source code, not only the output because you need this code later on to translate it once more to the tabulator staff. This can be done with the command 'displayLilyMusic'.
2. You have to alternate the push and pull-direction of the accordion regularely. If the player has a too long part to pull the accordion gets broken. At the other hand some harmonies are only available in one direction (push or pull) Considering this decide which parts of the melody are the push-parts and whic the pull-parts.
3. For each pull- / or push-part translate the piano notes to the according tabulatur representation.
This snippet comes with a useful optional macro for the jEdit text editor.
% Created on Sat Aug 17 2007 by ak verse= \lyricmode { Wie gross bist du! Wie gross bist du! } harmonies = \new ChordNames \chordmode { \germanChords \set chordChanges = ##t bes8 bes8 bes8 es2 f bes1 } NoStem = \override Stem #'transparent = ##t NoNoteHead= \override NoteHead #'transparent = ##t ZeroBeam = \override Beam #'positions = #'(0 . 0) staffTabLine = \new Staff \with { \remove "Time_signature_engraver" \remove "Clef_engraver" } { \override Staff.StaffSymbol #'line-positions = #'( 0 ) % Shows one horizontal line. The vertical line (simulating a bar-line) is simulated with a gridline \set Staff.midiInstrument="choir aahs" \key c \major \relative c'' { % disable the following line to see the the noteheads while writing the song \NoNoteHead \override NoteHead #'no-ledgers = ##t % The beam between 8th-notes is used to draw the push-line %How to fast write the push-lines: % 1. write repeatedly 'c c c c c c c c |' for the whole length of the song % 2. uncomment the line \NoNoteHead % 3. compile % 4. Mark the positions on which push/pull changes. % In the score-picture click on the position the push- or pull-part starts % (on the noteHead, the cursor will change to a hand-icon). % The cursor in the source code will jump just at this position. % a) If a push-part starts there, replace the 'c' by an 'e[' % b) If a pull-part starts there, replace the 'c' by an 's' % 5. Switch into 'overwrite-mode' by pressing the 'ins' key. % 6. For the pull-parts overwrite the 'c' with 's' % 7. For every push-part replace the last 'c' with 'e]' % 8. Switch into 'insert-mode' again % 9. At last it should look lik e.g. (s s e[ c | c c c c c c c c | c c c c c c e] s s) % 10. re-enable the line \NoNoteHead \autoBeamOff \ZeroBeam s8 s s | e[ c c c c c c e] | s s s s s } } %{ notePush= { e f fis g a c' c' d' ees' e' f' fis' g' a' bes' c'' c'' d'' ees'' e'' f'' fis'' g'' a'' c''' c''' ees''' e''' f''' g''' a''' } tabPush= { g f e b a d' c' bisis disis' f' e' aisis' a' g' fisis' b' c'' eisis'' cisis'' e'' d'' gisis'' g'' f'' a'' b'' bisis'' d''' c''' f''' e''' } notePull= { g aes bes b c' cis' d' ees' e' f' fis' g' aes' a' bes' b' c'' cis'' d'' ees'' e'' f'' g'' aes'' a'' bes'' b'' c''' cis''' d''' e''' } tabPull= { g e f b a disis' d' bisis c' f' fisis' e' aisis' a' g' c'' b' cisis'' e'' eisis'' d'' g'' f'' gisis'' b'' a'' d''' f''' bisis'' c''' e''' } %} % Accordion melody in tabulator score % 1. Place a copy of the piano melody below % 2. Separate piano melody into pull- and push-parts according to the staffTabLine you've already made % 3. For each line: Double the line. Remark the 1st one (Keeps unchanged as reference) and then change the second line using the transformation paper % or the macros 'conv2diaton push.bsh' and 'conv2diaton pull.bsh' % Tips: % - In jEdit Search & Replace mark the Option 'Keep Dialog' AccordionTabTwoCBesDur= { % pull 1 %<f' bes'>8 <f' a'>8 <d' bes'>8 | <g'' a''>8 <g'' b''>8 <e'' a''>8 | % push 2 %<g' c''>4 <f' d''> <g' ees''> <f' a'> | <g'' a''>4 <d'' eisis''> <g'' bisis''> <d'' f''> | % pull 3 % <f' bes'>2 r8 } <g'' a''>2 r8 } AccordionTab= { \dynamicUp % 1. Place a copy of the piano melody above % 2. Separate piano melody into pull- and push-parts according to the staffTabLine you've already made % 3. For each line: Double the line. Remark the 1st one (Keeps unchanged as reference) and then % change the second line using the transformation paper % Tips: % - In jEdit Search & Replace mark the Option 'Keep Dialog' % - \AccordionTabTwoCBesDur } \layout { \context { \Staff \consists "Grid_point_engraver" gridInterval = #(ly:make-moment 4 4) % 4/4 - tact. How many beats per bar % The following line has to be adjusted O-F-T-E-N. \override GridPoint #'Y-extent = #'(-2 . -21) } \context { \ChoirStaff \remove "System_start_delimiter_engraver" } } staffVoice = \new Staff=astaffvoice { \time 4/4 \set Staff.instrumentName="Voice" \set Staff.midiInstrument="voice oohs" \key bes \major \partial 8*3 \clef treble { \context Voice = "melodyVoi" { <f' bes'>8 <f' a'>8 <d' bes'>8 | <g' c''>4 <f' d''> <g' es''> <f' a'> | <f' bes'>2 r8 } \bar "|." } } staffAccordionMel = \new Staff \with { \remove "Clef_engraver" } { #(set-accidental-style 'forget) %Set the accidentals (Vorzeichen) for each note, %do not remember them for the rest of the measure. \time 4/4 \set Staff.instrumentName="Accordion" \set Staff.midiInstrument="voice oohs" \key c \major \clef treble { \AccordionTab \bar "|." } } AltOn = #(define-music-function (parser location mag) (number?) #{ \override Stem #'length = #$(* 7.0 mag) \override NoteHead #'font-size = #$(inexact->exact (* (/ 6.0 (log 2.0)) (log mag))) #}) AltOff = { \revert Stem #'length \revert NoteHead #'font-size } BassRhytm = {s4 s8 | c2 c2 | c2 s8 } LyricBassRhythmI= \lyricmode { c b | c } staffBassRhytm = \new Staff=staffbass \with { \remove "Clef_engraver" } { % This is not a RhythmicStaff because it must be possible to append lyrics. \override Score.GridLine #'extra-offset = #'( 13.0 . 0.0 ) % x.y \override Staff.StaffSymbol #'line-positions = #'( 0 ) % Shows one horizontal line. The vertical line (simulating a bar-line) is simulated by a grid % Search for 'grid' in this page to find all related functions \time 4/4 { \context Voice = "VoiceBassRhytm" \stemDown \AltOn #0.6 \relative c'' { \BassRhytm } \AltOff \bar "|." } } \new Score \with { \consists "Grid_line_span_engraver" %The vertical line (simulating a bar-line) in the staffBassRhytm is a gridline } \new ChoirStaff << \harmonies \staffVoice \context Lyrics = "lmelodyVoi" \with {alignBelowContext=astaffvoice} { \lyricsto "melodyVoi" \verse } \staffAccordionMel \staffTabLine \staffBassRhytm \context Lyrics = "lBassRhytmAboveI" \with {alignAboveContext=staffbass} \lyricsto VoiceBassRhytm \LyricBassRhythmI >> %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% % APPENDIX % % macro 'macro_conv2diaton_push.bsh' for jedit editor % %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% %{ // original saved in 'Handorg_Adria_Diaton_III.xls' // Save this buffer, to the other recorded macros in the jedit editor // and the macro should appear in the // Macros menu. // /ak 17.8.07 This macro from converts lilypond piano notation into // lilypond tabulator notation for the push-part (at the bottom the pull-part) of a diatonic accordion // It replaces the piano notes of the line where the cursor is by the accordion notation // Known issues: 1) A note at the end of line is not replaced textArea.goToEndOfWhiteSpace(false); textArea.goToStartOfWhiteSpace(true); String firstName, lastName; int ReplaceTextInSelection(String sfind, String sreplace) { //MsgConcat = new StringBuffer(512); //MsgConcat.append("Ha"); //Macros.message(view, "On that line replace \"" + sfind + "\" by \"" + sreplace+ "\""); SearchAndReplace.setSearchString(sfind.toString()); SearchAndReplace.setReplaceString(sreplace.toString()); SearchAndReplace.setBeanShellReplace(false); SearchAndReplace.setIgnoreCase(true); SearchAndReplace.replace(view); SearchAndReplace.setRegexp(true); return 1; } String smainfind; String smainrepl; // Push-part tmp smainfind="(\\s|^|<|\\{)(c,)([^\'^is^es])"; smainrepl="$1tmpd\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(cis,)([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(des,)([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(d,)([^\'^is^es])"; smainrepl="$1tmpbisis-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(dis,)([^\'^is^es])"; smainrepl="$1tmpdisis\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ees,)([^\'^is^es])"; smainrepl="$1tmpdisis\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(e,)([^\'^is^es])"; smainrepl="$1tmpg$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(f,)([^\'^is^es])"; smainrepl="$1tmpf$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(fis,)([^\'^is^es])"; smainrepl="$1tmpe$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ges,)([^\'^is^es])"; smainrepl="$1tmpe$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(g,)([^\'^is^es])"; smainrepl="$1tmpb$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(gis,)([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(aes,)([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(a,)([^\'^is^es])"; smainrepl="$1tmpa$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ais,)([^\'^is^es])"; smainrepl="$1tmpfisis\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(bes,)([^\'^is^es])"; smainrepl="$1tmpfisis\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(b,)([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(c)([^\'^is^es])"; smainrepl="$1tmpd\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(cis)([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(des)([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(d)([^\'^is^es])"; smainrepl="$1tmpbisis$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(dis)([^\'^is^es])"; smainrepl="$1tmpdisis\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ees)([^\'^is^es])"; smainrepl="$1tmpdisis\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(e)([^\'^is^es])"; smainrepl="$1tmpf\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(f)([^\'^is^es])"; smainrepl="$1tmpe\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(fis)([^\'^is^es])"; smainrepl="$1tmpaisis\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ges)([^\'^is^es])"; smainrepl="$1tmpaisis\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(g)([^\'^is^es])"; smainrepl="$1tmpa\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(gis)([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(aes)([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(a)([^\'^is^es])"; smainrepl="$1tmpg\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ais)([^\'^is^es])"; smainrepl="$1tmpfisis\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(bes)([^\'^is^es])"; smainrepl="$1tmpfisis\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(b)([^\'^is^es])"; smainrepl="$1tmpr$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(c\')([^\'^is^es])"; smainrepl="$1tmpb\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(cis\')([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(des\')([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(d\')([^\'^is^es])"; smainrepl="$1tmpeisis\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(dis\')([^\'^is^es])"; smainrepl="$1tmpcisis\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ees\')([^\'^is^es])"; smainrepl="$1tmpcisis\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(e\')([^\'^is^es])"; smainrepl="$1tmpe\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(f\')([^\'^is^es])"; smainrepl="$1tmpd\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(fis\')([^\'^is^es])"; smainrepl="$1tmpgisis\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ges\')([^\'^is^es])"; smainrepl="$1tmpgisis\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(g\')([^\'^is^es])"; smainrepl="$1tmpg\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(gis\')([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(as\')([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(a\')([^\'^is^es])"; smainrepl="$1tmpf\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ais\')([^\'^is^es])"; smainrepl="$1tmpfisis\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(bes\')([^\'^is^es])"; smainrepl="$1tmpfisis\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(b\')([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(c\'\')([^\'^is^es])"; smainrepl="$1tmpa\'\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(cis\'\')([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(des\'\')([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(d\'\')([^\'^is^es])"; smainrepl="$1tmpeisis\'\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(dis\'\')([^\'^is^es])"; smainrepl="$1tmpbisis\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ees\'\')([^\'^is^es])"; smainrepl="$1tmpbisis\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(e\'\')([^\'^is^es])"; smainrepl="$1tmpd\'\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(f\'\')([^\'^is^es])"; smainrepl="$1tmpc\'\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(fis\'\')([^\'^is^es])"; smainrepl="$1tmpgisis\'\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ges\'\')([^\'^is^es])"; smainrepl="$1tmpgisis\'\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(g\'\')([^\'^is^es])"; smainrepl="$1tmpf\'\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(gis\'\')([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(aes\'\')([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(a\'\')([^\'^is^es])"; smainrepl="$1tmpe\'\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ais\'\')([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(bes\'\')([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(b\'\')([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(tmp)()"; smainrepl="$1$3"; ReplaceTextInSelection( smainfind, smainrepl ); */ /* // Pull-part tmp smainfind="(\\s|^|<|\\{)(c,)([^\'^is^es])"; smainrepl="$1tmpa-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(cis,)([^\'^is^es])"; smainrepl="$1tmpdisis\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(des,)([^\'^is^es])"; smainrepl="$1tmpdisis\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(d,)([^\'^is^es])"; smainrepl="$1tmpd\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(dis,)([^\'^is^es])"; smainrepl="$1tmpbisis-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ees,)([^\'^is^es])"; smainrepl="$1tmpbisis-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(e,)([^\'^is^es])"; smainrepl="$1tmpc\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(f,)([^\'^is^es])"; smainrepl="$1tmpf\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(fis,)([^\'^is^es])"; smainrepl="$1tmpfisis\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ges,)([^\'^is^es])"; smainrepl="$1tmpfisis\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(g,)([^\'^is^es])"; smainrepl="$1tmpg$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(gis,)([^\'^is^es])"; smainrepl="$1tmpe$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(aes,)([^\'^is^es])"; smainrepl="$1tmpe$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(a,)([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ais,)([^\'^is^es])"; smainrepl="$1tmpf$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(bes,)([^\'^is^es])"; smainrepl="$1tmpf$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(b,)([^\'^is^es])"; smainrepl="$1tmpb$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(c)([^\'^is^es])"; smainrepl="$1tmpa$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(cis)([^\'^is^es])"; smainrepl="$1tmpdisis\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(des)([^\'^is^es])"; smainrepl="$1tmpdisis\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(d)([^\'^is^es])"; smainrepl="$1tmpd\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(dis)([^\'^is^es])"; smainrepl="$1tmpbisis$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ees)([^\'^is^es])"; smainrepl="$1tmpbisis$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(e)([^\'^is^es])"; smainrepl="$1tmpc\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(f)([^\'^is^es])"; smainrepl="$1tmpf\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(fis)([^\'^is^es])"; smainrepl="$1tmpfisis\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ges)([^\'^is^es])"; smainrepl="$1tmpfisis\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(g)([^\'^is^es])"; smainrepl="$1tmpe\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(gis)([^\'^is^es])"; smainrepl="$1tmpaisis\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(aes)([^\'^is^es])"; smainrepl="$1tmpaisis\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(a)([^\'^is^es])"; smainrepl="$1tmpa\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ais)([^\'^is^es])"; smainrepl="$1tmpg\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(bes)([^\'^is^es])"; smainrepl="$1tmpg\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(b)([^\'^is^es])"; smainrepl="$1tmpc\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(c\')([^\'^is^es])"; smainrepl="$1tmpb\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(cis\')([^\'^is^es])"; smainrepl="$1tmpcisis\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(des\')([^\'^is^es])"; smainrepl="$1tmpcisis\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(d\')([^\'^is^es])"; smainrepl="$1tmpe\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(dis\')([^\'^is^es])"; smainrepl="$1tmpeisis\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ees\')([^\'^is^es])"; smainrepl="$1tmpeisis\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(e\')([^\'^is^es])"; smainrepl="$1tmpd\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(f\')([^\'^is^es])"; smainrepl="$1tmpg\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(fis\')([^\'^is^es])"; smainrepl="$1tmpfisis\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ges\')([^\'^is^es])"; smainrepl="$1tmpfisis\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(g\')([^\'^is^es])"; smainrepl="$1tmpf\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(gis\')([^\'^is^es])"; smainrepl="$1tmpgisis\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(aes\')([^\'^is^es])"; smainrepl="$1tmpgisis\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(a\')([^\'^is^es])"; smainrepl="$1tmpb\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ais\')([^\'^is^es])"; smainrepl="$1tmpa\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(bes\')([^\'^is^es])"; smainrepl="$1tmpa\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(b\')([^\'^is^es])"; smainrepl="$1tmpd\'\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(c\'\')([^\'^is^es])"; smainrepl="$1tmpf\'\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(cis\'\')([^\'^is^es])"; smainrepl="$1tmpbisis\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(des\'\')([^\'^is^es])"; smainrepl="$1tmpbisis\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(d\'\')([^\'^is^es])"; smainrepl="$1tmpc\'\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(dis\'\')([^\'^is^es])"; smainrepl="$1tmpeisis\'\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ees\'\')([^\'^is^es])"; smainrepl="$1tmpeisis\'\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(e\'\')([^\'^is^es])"; smainrepl="$1tmpe\'\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(f\'\')([^\'^is^es])"; smainrepl="$1tmpg\'\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(fis\'\')([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ges\'\')([^\'^is^es])"; smainrepl="$1tmpr-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(g\'\')([^\'^is^es])"; smainrepl="$1tmpf\'\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(gis\'\')([^\'^is^es])"; smainrepl="$1tmpgisis\'\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(aes\'\')([^\'^is^es])"; smainrepl="$1tmpgisis\'\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(a\'\')([^\'^is^es])"; smainrepl="$1tmpb\'\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(ais\'\')([^\'^is^es])"; smainrepl="$1tmpa\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(bes\'\')([^\'^is^es])"; smainrepl="$1tmpa\'\'$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(b\'\')([^\'^is^es])"; smainrepl="$1tmpd\'\'\'-.$3"; ReplaceTextInSelection( smainfind, smainrepl ); smainfind="(\\s|^|<|\\{)(tmp)()"; smainrepl="$1$3"; ReplaceTextInSelection( smainfind, smainrepl ); */ %}
single-staff-template-with-notes,-lyrics,-and-chords.ly
This template allows you to prepare a song with melody, words, and chords.
melody = \relative c' { \clef treble \key c \major \time 4/4 a b c d } text = \lyricmode { Aaa Bee Cee Dee } harmonies = \chordmode { a2 c2 } \score { << \new ChordNames { \set chordChanges = ##t \harmonies } \new Voice = "one" { \autoBeamOff \melody } \new Lyrics \lyricsto "one" \text >> \layout { } \midi { } }
single-staff-template-with-notes-and-chords.ly
Want to prepare a lead sheet with a melody and chords? Look no further!
melody = \relative c' { \clef treble \key c \major \time 4/4 f4 e8[ c] d4 g | a2 ~ a2 | } harmonies = \chordmode { c4:m f:min7 g:maj c:aug d2:dim b:sus } \score { << \new ChordNames { \set chordChanges = ##t \harmonies } \new Staff \melody >> \layout{ } \midi { } }
single-staff-template-with-notes-and-lyrics.ly
This small template demonstrates a simple melody with lyrics. Cut and paste, add notes, then words for the lyrics. This example turns off automatic beaming, which is common for vocal parts. If you want to use automatic beaming, you'll have to change or comment out the relevant line.
melody = \relative c' { \clef treble \key c \major \time 4/4 a4 b c d } text = \lyricmode { Aaa Bee Cee Dee } \score{ << \new Voice = "one" { \autoBeamOff \melody } \new Lyrics \lyricsto "one" \text >> \layout { } \midi { } }
single-staff-template-with-only-notes.ly
This very simple template gives you a staff with notes, suitable for a solo instrument or a melodic fragment. Cut and paste this into a file, add notes, and you're finished!
melody = \relative c' { \clef treble \key c \major \time 4/4 a4 b c d } \score { \new Staff \melody \layout { } \midi {} }
string-quartet-template-simple.ly
This template demonstrates a simple string quartet. It also uses a \global section for time and key signatures
global= { \time 4/4 \key c \major } violinOne = \new Voice { \relative c''{ \set Staff.instrumentName = "Violin 1 " c2 d e1 \bar "|." }} violinTwo = \new Voice { \relative c''{ \set Staff.instrumentName = "Violin 2 " g2 f e1 \bar "|." }} viola = \new Voice { \relative c' { \set Staff.instrumentName = "Viola " \clef alto e2 d c1 \bar "|." }} cello = \new Voice { \relative c' { \set Staff.instrumentName = "Cello " \clef bass c2 b a1 \bar "|."}} \score { \new StaffGroup << \new Staff << \global \violinOne >> \new Staff << \global \violinTwo >> \new Staff << \global \viola >> \new Staff << \global \cello >> >> \layout { } \midi { } }
string-quartet-template-with-separate-parts.ly
The "String quartet template" snippet produces a nice string quartet, but what if you needed to print parts? This new template demonstrates how to use the \tag feature to easily split a piece into individual parts.
You need to split this template into separate files; the filenames are contained in comments at the beginning of each file. piece.ly contains all the music definitions. The other files – score.ly, vn1.ly, vn2.ly, vla.ly, and vlc.ly – produce the appropiate part.
Do not forget to remove specified comments when using separate files!
%%%%% piece.ly %%%%% (This is the global definitions file) global= { \time 4/4 \key c \major } Violinone = \new Voice { \relative c''{ \set Staff.instrumentName = "Violin 1 " c2 d e1 \bar "|." }} %********************************* Violintwo = \new Voice { \relative c''{ \set Staff.instrumentName = "Violin 2 " g2 f e1 \bar "|." }} %********************************* Viola = \new Voice { \relative c' { \set Staff.instrumentName = "Viola " \clef alto e2 d c1 \bar "|." }} %********************************* Cello = \new Voice { \relative c' { \set Staff.instrumentName = "Cello " \clef bass c2 b a1 \bar "|."}} %********************************** music = { << \tag #'score \tag #'vn1 \new Staff { << \global \Violinone >> } \tag #'score \tag #'vn2 \new Staff { << \global \Violintwo>> } \tag #'score \tag #'vla \new Staff { << \global \Viola>> } \tag #'score \tag #'vlc \new Staff { << \global \Cello>> } >> } %%% These are the other files you need to save on your computer %%%%% score.ly %%%%% (This is the main file) %\include "piece.ly" %%% uncomment this line when using a separate file #(set-global-staff-size 14) \score { \new StaffGroup \keepWithTag #'score \music \layout { } \midi { } } %{ Uncomment this block when using separate files %%%%% vn1.ly %%%%% (This is the Violin 1 part file) \include "piece.ly" \score { \keepWithTag #'vn1 \music \layout { } } %%%%% vn2.ly %%%%% (This is the Violin 2 part file) \include "piece.ly" \score { \keepWithTag #'vn2 \music \layout { } } %%%%% vla.ly %%%%% (This is the Viola part file) \include "piece.ly" \score { \keepWithTag #'vla \music \layout { } } %%%%% vlc.ly %%%%% (This is the Cello part file) \include "piece.ly" \score { \keepWithTag #'vlc \music \layout { } } %}
vocal-ensemble-template-with-automatic-piano-reduction.ly
This template adds an automatic piano reduction to the standard SATB vocal score demonstrated in "Vocal ensemble template". This demonstrates one of the strengths of LilyPond – you can use a music definition more than once. If you make any changes to the vocal notes (say, tenorMusic), then the changes will also apply to the piano reduction.
global = { \key c \major \time 4/4 } sopMusic = \relative c'' { c4 c c8[( b)] c4 } sopWords = \lyricmode { hi hi hi hi } altoMusic = \relative c' { e4 f d e } altoWords =\lyricmode { ha ha ha ha } tenorMusic = \relative c' { g4 a f g } tenorWords = \lyricmode { hu hu hu hu } bassMusic = \relative c { c4 c g c } bassWords = \lyricmode { ho ho ho ho } \score { << \new ChoirStaff << \new Lyrics = sopranos { s1 } \new Staff = women << \new Voice = "sopranos" { \voiceOne << \global \sopMusic >> } \new Voice = "altos" { \voiceTwo << \global \altoMusic >> } >> \new Lyrics = "altos" { s1 } \new Lyrics = "tenors" { s1 } \new Staff = men << \clef bass \new Voice = "tenors" { \voiceOne <<\global \tenorMusic >> } \new Voice = "basses" { \voiceTwo <<\global \bassMusic >> } >> \new Lyrics = basses { s1 } \context Lyrics = sopranos \lyricsto sopranos \sopWords \context Lyrics = altos \lyricsto altos \altoWords \context Lyrics = tenors \lyricsto tenors \tenorWords \context Lyrics = basses \lyricsto basses \bassWords >> \new PianoStaff << \new Staff << \set Staff.printPartCombineTexts = ##f \partcombine << \global \sopMusic >> << \global \altoMusic >> >> \new Staff << \clef bass \set Staff.printPartCombineTexts = ##f \partcombine << \global \tenorMusic >> << \global \bassMusic >> >> >> >> \layout { \context { % a little smaller so lyrics % can be closer to the staff \Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) } } }
vocal-ensemble-template-with-lyrics-aligned-below-and-above-the-staves.ly
This template is basically the same as the simple "Vocal ensemble" template, with the exception that here all the lyrics lines are placed using alignAboveContext and alignBelowContext.
global = { \key c \major \time 4/4 } sopMusic = \relative c'' { c4 c c8[( b)] c4 } sopWords = \lyricmode { hi hi hi hi } altoMusic = \relative c' { e4 f d e } altoWords =\lyricmode { ha ha ha ha } tenorMusic = \relative c' { g4 a f g } tenorWords = \lyricmode { hu hu hu hu } bassMusic = \relative c { c4 c g c } bassWords = \lyricmode { ho ho ho ho } \score { \new ChoirStaff << \new Staff = women << \new Voice = "sopranos" { \voiceOne << \global \sopMusic >> } \new Voice = "altos" { \voiceTwo << \global \altoMusic >> } >> \new Lyrics \with {alignAboveContext=women} \lyricsto sopranos \sopWords \new Lyrics \with {alignBelowContext=women} \lyricsto altos \altoWords % we could remove the line about this with the line below, since we want % the alto lyrics to be below the alto Voice anyway. % \new Lyrics \lyricsto altos \altoWords \new Staff = men << \clef bass \new Voice = "tenors" { \voiceOne <<\global \tenorMusic >> } \new Voice = "basses" { \voiceTwo <<\global \bassMusic >> } >> \new Lyrics \with {alignAboveContext=men} \lyricsto tenors \tenorWords \new Lyrics \with {alignBelowContext=men} \lyricsto basses \bassWords % again, we could replace the line above this with the line below. % \new Lyrics \lyricsto basses \bassWords >> \layout { \context { % a little smaller so lyrics % can be closer to the staff \Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) } } } \score { \new ChoirStaff << \new Staff = women << \new Voice = "sopranos" { \voiceOne << \global \sopMusic >> } \new Voice = "altos" { \voiceTwo << \global \altoMusic >> } >> \new Lyrics \with {alignAboveContext=women} \lyricsto sopranos \sopWords \new Lyrics \lyricsto altos \altoWords \new Staff = men << \clef bass \new Voice = "tenors" { \voiceOne <<\global \tenorMusic >> } \new Voice = "basses" { \voiceTwo <<\global \bassMusic >> } >> \new Lyrics \with {alignAboveContext=men} \lyricsto tenors \tenorWords \new Lyrics \lyricsto basses \bassWords >> \layout { \context { % a little smaller so lyrics % can be closer to the staff \Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) } } }
Here is a standard four-part SATB vocal score. With larger ensembles, it's often useful to include a section which is included in all parts. For example, the time signature and key signatures are almost always the same for all parts. Like in the "Hymn" template, the four voices are regrouped on only two staves.
global = { \key c \major \time 4/4 } sopMusic = \relative c'' { c4 c c8[( b)] c4 } sopWords = \lyricmode { hi hi hi hi } altoMusic = \relative c' { e4 f d e } altoWords =\lyricmode { ha ha ha ha } tenorMusic = \relative c' { g4 a f g } tenorWords = \lyricmode { hu hu hu hu } bassMusic = \relative c { c4 c g c } bassWords = \lyricmode { ho ho ho ho } \score { \new ChoirStaff << \new Lyrics = sopranos { s1 } \new Staff = women << \new Voice = "sopranos" { \voiceOne << \global \sopMusic >> } \new Voice = "altos" { \voiceTwo << \global \altoMusic >> } >> \new Lyrics = "altos" { s1 } \new Lyrics = "tenors" { s1 } \new Staff = men << \clef bass \new Voice = "tenors" { \voiceOne <<\global \tenorMusic >> } \new Voice = "basses" { \voiceTwo <<\global \bassMusic >> } >> \new Lyrics = basses { s1 } \context Lyrics = sopranos \lyricsto sopranos \sopWords \context Lyrics = altos \lyricsto altos \altoWords \context Lyrics = tenors \lyricsto tenors \tenorWords \context Lyrics = basses \lyricsto basses \bassWords >> \layout { \context { % a little smaller so lyrics % can be closer to the staff \Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) } } }
This page is for LilyPond-2.11.40 (development-branch).
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