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Fretted strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 Adding fingerings to a score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 Adding fingerings to tablatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 Allowing fingerings to be printed inside the staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 Controlling the placement of chord fingerings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 Customizing fretboard fret diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 Customizing markup fret diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 Defining predefined fretboards for other instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 Faking a hammer in tablatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 Fingerings, string indications, and right-hand fingerings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 Flamenco notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 Fret diagrams explained and developed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 Guitar strum rhythms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 How to change fret diagram position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 Jazz combo template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 Laissez vibrer ties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240 Letter tablature formatting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Modern TAB text clef . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Placement of right-hand fingerings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242 Polyphony in tablature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242 Stem and beam behavior in tablature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 Unfretted strings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 Changing \flageolet mark size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 Creating slurs across voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 Dotted harmonics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 Snap-pizzicato markup ("Bartok pizzicato") . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 String quartet template (simple) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 String quartet template with separate parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 Winds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251 Flute slap notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251 Ancient notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 Adding a figured bass above or below the notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 Ancient fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 Ancient notation template – modern transcription of gregorian music. . . . . . . . . . . . . . . . . . 257 Ancient notation template – modern transcription of mensural music . . . . . . . . . . . . . . . . . . 258 Ancient time signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263 Chant or psalms notation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264 Custodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264 Incipit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265 Mensurstriche layout (bar lines between the staves) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 Rest styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272 Transcription of Ancient music with incipit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 Vertical line as a baroque articulation mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 World music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 Arabic improvisation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 Makam example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 Printing text from right to left. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 vii
Contexts and engravers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 Adding a figured bass above or below the notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 Adding an extra staff at a line break. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 Adding an extra staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283 Changing MIDI output to one channel per voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 Changing time signatures inside a polymetric section using \scaleDurations . . . . . . . . . . . 285 Chant or psalms notation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286 Creating blank staves. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286 Engravers one-by-one . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288 Mensurstriche layout (bar lines between the staves) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294 Nesting staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 Removing bar numbers from a score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 Use square bracket at the start of a staff group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296 Vocal ensemble template with lyrics aligned below and above the staves . . . . . . . . . . . . . . . 296 Tweaks and overrides. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Analysis brackets above the staff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Avoiding collisions with chord fingerings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Caesura ("railtracks") with fermata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 Changing a single note’s size in a chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 Changing form of multi-measure rests. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 Changing properties for individual grobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 Changing the default text font family . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 Changing the staff size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 Controlling the vertical ordering of scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 Controlling tuplet bracket visibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 Creating a delayed turn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304 Creating simultaneous rehearsal marks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304 Creating text spanners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 Custodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306 Customizing fretboard fret diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 Customizing markup fret diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 Display bracket with only one staff in a system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310 Dotted harmonics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 Drawing boxes around grobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 Drawing circles around various objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 Fine-tuning pedal brackets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 Forcing horizontal shift of notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 Fret diagrams explained and developed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313 Horizontally aligning custom dynamics (e.g. "sempre pp", "piu f", "subito p") . . . . . . . . 320 How to change fret diagram position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323 Inserting a caesura . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324 Line arrows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 Making an object invisible with the ’transparent property . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 Manually controlling beam positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326 Mensurstriche layout (bar lines between the staves) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326 Nesting staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 Percent repeat count visibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 Positioning multi-measure rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 Positioning text markups inside slurs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329 Printing a repeat sign at the beginning of a piece . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329 Printing bar numbers inside boxes or circles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329 Printing metronome and rehearsal marks below the staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330 viii
Page 1 and 2: LilyPond Snippets LilyPond Snippet
Page 3 and 4: Modifying tuplet bracket length. .
Page 5 and 6: Making some staff lines thicker tha
Page 7: Vocal ensemble template with lyrics
Page 11 and 12: Templates . . . . . . . . . . . . .
Page 13 and 14: Modifying tuplet bracket length. .
Page 15 and 16: Making some staff lines thicker tha
Page 17 and 18: Vocal ensemble template with lyrics
Page 19 and 20: xviii Contexts and engravers . . .
Page 21 and 22: Templates . . . . . . . . . . . . .
Page 23 and 24: Pitches 2 Ambitus Ambi
Page 25 and 26: Pitches 4 (cons (ly:make-pitch 0 5
Page 27 and 28: Pitches 6 } } } \Staff \remove "Ke
Page 29 and 30: Pitches 8 8 Text Preventing ex
Page 31 and 32: Pitches 10 } c'1 Transpo
Page 33 and 34: Pitches 12 } 6 \set Staff.clefGlyph
Page 35 and 36: Rhythms 14 } \new DrumVoice { \stem
Page 37 and 38: Rhythms 16 } \override StrokeFinger
Page 39 and 40: Rhythms 18 Changing beam knee gap K
Page 41 and 42: Rhythms 20
Page 43 and 44: Rhythms 22 } } 9 8 8 5
Page 45 and 46: Rhythms 24 In the example, two trip
Page 47 and 48: Rhythms 26 A O P B C 18 9
Page 49 and 50: Rhythms 28 melody = \relative c'' {
Page 51 and 52: Rhythms 30 } { c''1 R1 c''1 \normal
Page 53 and 54: Rhythms 32 3 3 P
Page 55 and 56: Rhythms 34 } \override Score.BarNum
Page 57 and 58: Rhythms 36 } >> \bar "|" \time 3/8
Page 59 and 60:
Rhythms 38 Printing the bar number
Page 61 and 62:
Rhythms 40 } \override Staff.Rest #
Page 63 and 64:
Rhythms 42 a gap Skips in lyr
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Rhythms 44 Three-sided box This exa
Page 67 and 68:
Rhythms 46 Using beatLength and bea
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Expressive marks 48 Expressive mark
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Expressive marks 50 scale in the po
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Expressive marks 52 smallFlageolet
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Expressive marks 54 } \cadenzaOn c4
Page 77 and 78:
Expressive marks 56
Page 79 and 80:
Expressive marks 58 The solution is
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Expressive marks 60 Hiding the exte
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Expressive marks 62 \relative c'' {
Page 85 and 86:
Expressive marks 64 \relative c' {
Page 87 and 88:
Expressive marks 66 } } \context {
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Expressive marks 68 Setting hairpin
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Expressive marks 70 \relative c' {
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Repeats 72 } \repeat tremolo 8 { a3
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Repeats 74 } | c4 c c c % Set segno
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Repeats 76 7
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Repeats 78 \new StaffGroup > >>
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Simultaneous notes 80 A tiny e
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Simultaneous notes 82 Standard poly
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Simultaneous notes 84 } } >> b8 g g
Page 107 and 108:
Staff notation 86 } } >> \new Staff
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Staff notation 88 } \dynamicDown c8
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Staff notation 90 Creating metronom
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Staff notation 92 \once \override S
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Staff notation 94 } } g1 | \once \o
Page 117 and 118:
Staff notation 96 } \new Lyrics = "
Page 119 and 120:
Staff notation 98 } subsubtitle = \
Page 121 and 122:
Staff notation 100 Mensurstriche la
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Staff notation 102 Alternatively, f
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Staff notation 104 \set Staff.instr
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Staff notation 106
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Staff notation 108 } >> } Vol
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Editorial annotations 110 Editorial
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Editorial annotations 112 Avoiding
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Editorial annotations 114 (cons (ly
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Editorial annotations 116 } } \pape
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Editorial annotations 118 foo
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Editorial annotations 120 Grid line
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Editorial annotations 122 } } } a4
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Editorial annotations 124 Using Pos
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Text 126 } \new Voice = melody \rel
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Text 128 \relative c' { e1 } % the
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Text 130 hairpinWithCenteredText =
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Text 132 This snippet presents the
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Text 134 } \time 1/16 s16 \bar "" \
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Text 136 } } poet piece copyright
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Text 138 } \once \override LyricTex
Page 161 and 162:
Text 140 Multi-measure rest markup
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Text 142 } } \midi { } Aaa B
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Text 144 } } \line { mens impletur
Page 167 and 168:
Text 146 } . japanese = \lyricmode
Page 169 and 170:
Text 148 } >> \layout { \context {
Page 171 and 172:
Vocal music 150 \new Lyrics \with {
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Vocal music 152 4 3 1. Hi, my
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Vocal music 154 } (is-rest? (ly:gro
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Vocal music 156 } text = \lyricmode
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Vocal music 158 } > \layout { } \mi
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Vocal music 160 Vertically centered
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Vocal music 162 } \new Voice = alto
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Vocal music 164 } ho ho ho ho \scor
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Vocal music 166 } \new Lyrics = "al
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Chords 168 F F 7 B 7 Avoiding colli
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Chords 170 } \set figuredBassAltera
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Chords 172 5 1 3 3 1 5 1 3
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Chords 174 Single staff template wi
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Chords 176 } harmonies = \chordmode
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Keyboards 178 Keyboards These snipp
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Keyboards 180 } \discant \combine \
Page 203 and 204:
Keyboards 182 Controlling the place
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Keyboards 184 } >> { 2.\arpeggio }
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Keyboards 186 % ------ Baritone Sax
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Keyboards 188 piano = { > } % -----
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Keyboards 190 Trumpet Alto Sax Bari
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Keyboards 192 lower = \relative c {
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Keyboards 194 } \context { \Lyrics
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Keyboards 196 g4 a f g } tenorWords
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Percussion 198 Percussion These sni
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Percussion 200 4 6
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Percussion 202 } > % ------ Trombon
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Percussion 204 } \clef bass > % ---
Page 227 and 228:
Percussion 206 Trumpet Alto Sax Bar
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Percussion 208 grestore grestore 0
Page 231 and 232:
Percussion 210 } \Staff \consists "
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Percussion 212 } \Perkussion >> 8
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Fretted strings 214 Allowing finger
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Fretted strings 216 C X O O 1 2 3
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Fretted strings 218 These fretboard
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Fretted strings 220 } } } c4( d) d
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Fretted strings 222 aUp = \markup {
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Fretted strings 224 } \override Bea
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Fretted strings 226 } %% A chord fo
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Fretted strings 228 } } (dot-positi
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Fretted strings 230 } % These chord
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Fretted strings 232 5 1 1 M C 3
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Fretted strings 234 } 2 } >> X
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Fretted strings 236 % ------ Barito
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Fretted strings 238 piano = { > } %
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Fretted strings 240 Trumpet Alto Sa
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Fretted strings 242 } } A B \new Ta
Page 265 and 266:
Unfretted strings 244 Unfretted str
Page 267 and 268:
Unfretted strings 246 } c4^\snapPiz
Page 269 and 270:
Unfretted strings 248 } Violinone =
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Unfretted strings 250 Violin 1 Viol
Page 273 and 274:
Ancient notation 252 Ancient notati
Page 275 and 276:
Ancient notation 254 } >> >> % \bre
Page 277 and 278:
Ancient notation 256 } >> >> g' as'
Page 279 and 280:
Ancient notation 258 \score { \new
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Ancient notation 260 } discantusLyr
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Ancient notation 262 } bassusLyrics
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Ancient notation 264 } \override St
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Ancient notation 266 #}) 'element (
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Ancient notation 268 } % two measur
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Ancient notation 270 } \new Voice =
Page 293 and 294:
Ancient notation 272 } Rest
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Ancient notation 274 altusNotes = {
Page 297 and 298:
Ancient notation 276 } } incipitTen
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Ancient notation 278 } } } Discantu
Page 301 and 302:
World music 280 World music These s
Page 303 and 304:
Contexts and engravers 282 Contexts
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Contexts and engravers 284 } } >>
Page 307 and 308:
Contexts and engravers 286 } b8 b b
Page 309 and 310:
Contexts and engravers 288 Engraver
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Contexts and engravers 290 } \consi
Page 313 and 314:
Contexts and engravers 292 } \score
Page 315 and 316:
Contexts and engravers 294
Page 317 and 318:
Contexts and engravers 296 } c4 c c
Page 319 and 320:
Contexts and engravers 298 hi
Page 321 and 322:
Tweaks and overrides 300 5 5 i
Page 323 and 324:
Tweaks and overrides 302 "Luxi Mono
Page 325 and 326:
Tweaks and overrides 304 } 3 } \o
Page 327 and 328:
Tweaks and overrides 306 } b4 c a4
Page 329 and 330:
Tweaks and overrides 308 } #'(fret-
Page 331 and 332:
Tweaks and overrides 310 } >> } C X
Page 333 and 334:
Tweaks and overrides 312 \relative
Page 335 and 336:
Tweaks and overrides 314 %% C major
Page 337 and 338:
Tweaks and overrides 316 c'2^\marku
Page 339 and 340:
Tweaks and overrides 318 } } } (fin
Page 341 and 342:
Tweaks and overrides 320 Horizontal
Page 343 and 344:
Tweaks and overrides 322 \context S
Page 345 and 346:
Tweaks and overrides 324 \context C
Page 347 and 348:
Tweaks and overrides 326 } >> 4
Page 349 and 350:
Tweaks and overrides 328 } 11 \set
Page 351 and 352:
Tweaks and overrides 330 } % Increa
Page 353 and 354:
Tweaks and overrides 332 } \new Sta
Page 355 and 356:
Tweaks and overrides 334 ) \overrid
Page 357 and 358:
Tweaks and overrides 336 \relative
Page 359 and 360:
Tweaks and overrides 338 } "..." |
Page 361 and 362:
Tweaks and overrides 340 } } } } li
Page 363 and 364:
Tweaks and overrides 342 } } \conte
Page 365 and 366:
Tweaks and overrides 344 } 6 \set S
Page 367 and 368:
Tweaks and overrides 346 } 3 5 4 3
Page 369 and 370:
Tweaks and overrides 348 Vertically
Page 371 and 372:
Paper and layout 350 } } Left align
Page 373 and 374:
Paper and layout 352 The first book
Page 375 and 376:
Paper and layout 354 Second part
Page 377 and 378:
Paper and layout 356 } } } (cons (m
Page 379 and 380:
Paper and layout 358 Creating blank
Page 381 and 382:
Paper and layout 360 } \layout { ra
Page 383 and 384:
Paper and layout 362 4 Second score
Page 385 and 386:
Titles 364 } "Left aligned" "instru
Page 387 and 388:
Titles 366 poet piece title subtit
Page 389 and 390:
Spacing 368 5 5 3 3 2 1 Page
Page 391 and 392:
Spacing 370 3 4 B Music engrav
Page 393 and 394:
Spacing 372 } >> \set alignBelowCon
Page 395 and 396:
MIDI 374 Clarinet Flute
Page 397 and 398:
MIDI 376 \set Staff.midiInstrument
Page 399 and 400:
Templates 378 Templates Ancient not
Page 401 and 402:
Templates 380 discantusNotes = { \t
Page 403 and 404:
Templates 382 bassusNotes = { \tran
Page 405 and 406:
Templates 384 3 8 o, De om
Page 407 and 408:
Templates 386 d4^"Solo" d d d \nsl
Page 409 and 410:
Templates 388 } % ------ Bass Guita
Page 411 and 412:
Templates 390 Trumpet Alto Sax Bari
Page 413 and 414:
Templates 392 \new Staff = "Staff_t
Page 415 and 416:
Templates 394 Flute Oboe Clarinet i
Page 417 and 418:
Templates 396 lower = \relative c {
Page 419 and 420:
Templates 398 } \context { \Lyrics
Page 421 and 422:
Templates 400 This snippet comes wi
Page 423 and 424:
Templates 402 staffVoice = \new Sta
Page 425 and 426:
Templates 404 text = \lyricmode { A
Page 427 and 428:
Templates 406 } \set chordChanges =
Page 429 and 430:
Templates 408 } \clef alto e2 d c1
Page 431 and 432:
Templates 410 %\include "piece.ly"
Page 433 and 434:
Templates 412 } \new Voice = sopran
Page 435 and 436:
Templates 414 } ho ho ho ho \score
Page 437:
Templates 416 } \new Lyrics = "alto
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