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Ancient notation 359 Discantus Altus Tenor Bassus 4 8 nis IV- IV- IV- IV- nis ter ter Ju 8 Ju ra, ra, Vertical line as a baroque articulation mark Ju bi bi Ju la la te bi om- te bi- De la te ... ... ... ... o, De om o, -us. -us. This short vertical line placed above the note is commonly used in baroque music. Its meaning can vary, but generally indicates notes that should be played with more “weight”. The following example demonstrates how to achieve such a notation. upline = #(let ((m (make-articulation "stopped"))) (set! (ly:music-property m 'tweaks) (acons 'font-size 3 (acons 'stencil (lambda (grob) (grob-interpret-markup grob (make-draw-line-markup '(0 . 1)))) (ly:music-property m 'tweaks)))) m) \relative c' { a'4^\upline a( c d')_\upline } -us. -us. om
World music 360 World music Section “World music” in Notation Reference Arabic improvisation For improvisations or taqasim which are temporarily free, the time signature can be omitted and \cadenzaOn can be used. Adjusting the accidental style might be required, since the absence of bar lines will cause the accidental to be marked only once. Here is an example of what could be the start of a hijaz improvisation: \include "arabic.ly" \relative sol' { \key re \kurd \accidentalStyle "forget" \cadenzaOn sol4 sol sol sol fad mib sol1 fad8 mib re4. r8 mib1 fad sol } Makam example Makam is a type of melody from Turkey using 1/9th-tone microtonal alterations. Consult the initialization file ‘ly/makam.ly’ for details of pitch names and alterations. % Initialize makam settings \include "makam.ly" \relative c' { \set Staff.keySignature = #`((6 . ,(- KOMA)) (3 . ,BAKIYE)) c4 cc db fk gbm4 gfc gfb efk fk4 db cc c } Printing text from right to left It is possible to print text from right to left in a markup object, as demonstrated here. { b1^\markup { \line { i n g i r u m i m u s n o c t e } } f'_\markup { \override #'(text-direction . -1) \line { i n g i r u m i m u s n o c t e } }
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LilyPond Snippets The LilyPond deve
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Conducting signs measure grouping s
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Vertical line as a baroque articula
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Text . . . . . . . . . . . . . . .
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Jazz combo template . . . . . . . .
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Tweaks and overrides. . . . . . . .
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Spacing . . . . . . . . . . . . . .
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Pitches 2 Am
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Pitches 4 5 Changing the ambitus
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Pitches 6 Coloring notes depending
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Pitches 8 } } (make-event-chord
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Pitches 10 Numbers as easy n
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Pitches 12 \fluteMusic } \new Staff
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Pitches 14 Flute Clarinet in B Horn
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Pitches 16 quoteTest = { % french h
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Pitches 18 naturalizeMusic = #(defi
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Pitches 20 } \new Staff = "down"
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Rhythms 22 } >> \layout { } \midi {
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Rhythms 24 } } b32^"baseMoment 1 16
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Rhythms 26 } } >> 4 5 { \voiceOn
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Rhythms 28 Changing
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Rhythms 30 } } \stemOn a'2 \bar "|
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Rhythms 32 } } \new Staff { \relati
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Rhythms 34 } Engraving tre
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Rhythms 36
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Rhythms 38 Normal flags 4 1 Cust
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Rhythms 40 3 8 +2 8 +2 8 +3 8 +
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Rhythms 42 } \normalPos R1 } \\ { c
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Rhythms 44 } (tuplet-number::non-de
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Rhythms 46 } } f8[ e] Positi
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Rhythms 48 \override Score.Rehearsa
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Rhythms 50 = 120 Printing mus
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Rhythms 52 \bar "|" g'2. } >> \new
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Rhythms 54 stopAcciaccaturaMusic =
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Rhythms 56 mensural neomensura
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Rhythms 58 Stemlets In some notatio
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Rhythms 60 (chain-assoc-get 'box-pa
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Rhythms 62 Using grace note slashes
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Expressive marks 64 } Alternativ
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Expressive marks 66 } } >> 1 setgr
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Expressive marks 68 Changing text a
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Expressive marks 70 } \bar "|" 3
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Expressive marks 72 } Creat
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Expressive marks 74 10 50 36 C
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Expressive marks 76 } \override Tex
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Expressive marks 78 'span-type 'tex
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Expressive marks 80 #(make-dynamic-
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Expressive marks 82 } >> >> Setting
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Expressive marks 84 } { s4 s s s \m
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Expressive marks 86 } c4( d e f) \o
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Expressive marks 88 Printing hairpi
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Expressive marks 90 Snap-pizzicato
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Expressive marks 92 m) \relative c'
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Repeats 94 } >> } }
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Repeats 96 11 2 Percent repe
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Repeats 98 } 6 9 % Put the coda sig
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Repeats 100 4 3 Volta below chor
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Simultaneous notes 102 Simultaneous
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Simultaneous notes 104
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Simultaneous notes 106 } } >> % ori
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Simultaneous notes 108
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Staff notation 110 } } >> } 3
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Staff notation 112 \paper { ragged-
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Staff notation 114 pianoRH = \relat
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Staff notation 116 Changing the num
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Staff notation 118 Creating double-
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Staff notation 120 \markup \left-co
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Staff notation 122 } g f e d | \onc
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Staff notation 124 #}) %%%%%%%%%%%%
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Staff notation 126 \new Lyrics \lyr
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Staff notation 128 } } \context { \
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Staff notation 130 \new TabStaff \w
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Staff notation 132
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Staff notation 134 \transposition f
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Staff notation 136 Flute Clarinet i
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Staff notation 138 original = \rela
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Staff notation 140 \paper { system-
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Staff notation 142 Tick bar lines
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Staff notation 144 } 6 c'1 % Return
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Staff notation 146 } C C 1.--2.
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Editorial annotations 148 2 2. 3.
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Editorial annotations 150 } \set fi
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Editorial annotations 152 #(define
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Editorial annotations 154 Creating
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Editorial annotations 156 } c4. c4
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Editorial annotations 158 } } \
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Editorial annotations 160 } \once \
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Editorial annotations 162 } \new St
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Editorial annotations 164 stringNum
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Text 166 Text Section “Text” in
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Text 168 } \override Staff.Instrume
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Text 170 5 ↓ Aligning obje
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Text 172 Centering markup on note h
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Text 174 Combining dynamics with ma
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Text 176 mark can be added, giving
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Text 178 \score { \relative c'' { c
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Text 180 } "This is right-aligned"
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Text 182 Multi-measure rest markup
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Text 184 Aaa Bee Cee Dee
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Text 186 } } \line { O sacrum convi
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Text 188 % end verbatim - this comm
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Text 190 \score { \new ChoirStaff
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Vocal music 192 Vocal music Section
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Vocal music 194 } \repeat unfold 4
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Vocal music 196 here's the
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Vocal music 198 \layout { \context
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Vocal music 200 } \time 2/2 dot = \
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Vocal music 202 Changing stanza fon
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Vocal music 204 > Lyrics can c
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Vocal music 206 } } "" \paper { % S
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Vocal music 208 sopMusic = \relativ
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Vocal music 210 2 faith- f
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Vocal music 212 } \new Lyrics \lyri
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Vocal music 214 } a4 b c d lower =
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Vocal music 216 } \new Voice = "ten
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Vocal music 218 \context Voice = "v
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Vocal music 220 } { \voiceTwo a1 ~
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Vocal music 222 } >> \new Lyrics
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Vocal music 224 hi ha
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Vocal music 226 } \time 3/4 s2.*2 \
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Vocal music 228 } system-system-spa
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Chords 230 Chords Section “Chord
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Chords 232 #{ (cons (make-music 'Te
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Chords 234 } r \set figuredBassP
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Chords 236 Cross-staff chords - bea
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Chords 238 3 Cm Simple lead sheet
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Chords 240 X X X C iii X X X G
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Chords 242 C C 1.--2.
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Keyboards 244 } accTrombon = ^\mark
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Keyboards 246 } 6 11 c4 d\accOrgan
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Keyboards 248 This example is measu
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Keyboards 250 Fine-tuning pedal bra
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Keyboards 252 %%%%%%%%%%%% Keys'n't
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Keyboards 254 %% ------ Piano -----
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Keyboards 256 } \new Staff = "bass"
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Keyboards 258 Piano template (simpl
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Keyboards 260 } \key c \major \time
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Keyboards 262 c4 c c8[( b)] c4 } so
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Percussion 264 Percussion Section
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Percussion 266 Jazz combo template
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Percussion 268 % ------ Trombone --
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Percussion 270 % ------ Drums -----
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Percussion 272 stick = \markup { \w
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Percussion 274 } " /Encode [ 0 1 ]
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Percussion 276 } >> \bar "|" \time
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Percussion 278 8 3 4
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Fretted strings 280 Allowing finger
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Fretted strings 282 } >> c'1 c' C
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Fretted strings 284 5 3 1 3
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Fretted strings 286 } >> } } } (pla
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Fretted strings 288 d:6 d a:maj7 d:
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Fretted strings 290 also an abanico
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Fretted strings 292 8^\iDown 8^\iDo
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Fretted strings 294 } } 5
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Fretted strings 296 } } } \fret-dia
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Fretted strings 298 } } } (place-fr
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Fretted strings 300 } >> } } %% C m
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Fretted strings 302 } \set predefin
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Fretted strings 304 8 5
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Fretted strings 306 C X O O F 1
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Page 323 and 324: Fretted strings 310 } %% ------ Pia
Page 325 and 326: Fretted strings 312 } \new PianoSta
Page 327 and 328: Fretted strings 314 Letter tablatur
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Page 331 and 332: Fretted strings 318 8 3 3 3 3
Page 333 and 334: Unfretted strings 320 Unfretted str
Page 335 and 336: Unfretted strings 322 violinOne = \
Page 337 and 338: Unfretted strings 324 c2 b a1 \bar
Page 339 and 340: Winds 326 Winds Section “Wind ins
Page 341 and 342: Winds 328 Graphical and t
Page 343 and 344: Winds 330 #(print-keys-verbose 'tin
Page 345 and 346: Winds 332 6 'piccolo 'saxophone
Page 347 and 348: Ancient notation 334 a! b ces' \bar
Page 349 and 350: Ancient notation 336 fis1 ces1 \cle
Page 351 and 352: Ancient notation 338
Page 353 and 354: Ancient notation 340 } \bar "||" \s
Page 355 and 356: Ancient notation 342 } } % incipit
Page 357 and 358: Ancient notation 344 } } Discantus
Page 359 and 360: Ancient notation 346 2 hufnagel
Page 361 and 362: Ancient notation 348 } } discantusL
Page 363 and 364: Ancient notation 350 } } R1 | R1 |
Page 365 and 366: Ancient notation 352 3 8 o
Page 367 and 368: Ancient notation 354 } \override St
Page 369 and 370: Ancient notation 356 } } } } line-w
Page 371: Ancient notation 358 } \new Voice =
Page 375 and 376: Contexts and engravers 362 Contexts
Page 377 and 378: Contexts and engravers 364 } } >>
Page 379 and 380: Contexts and engravers 366 } g2. fi
Page 381 and 382: Contexts and engravers 368 { \repea
Page 383 and 384: Contexts and engravers 370 %%% %%%
Page 385 and 386: Contexts and engravers 372 |- Ambit
Page 387 and 388: Contexts and engravers 374 ;; accor
Page 389 and 390: Contexts and engravers 376 Engraver
Page 391 and 392: Contexts and engravers 378 } localK
Page 393 and 394: Contexts and engravers 380 } \consi
Page 395 and 396: Contexts and engravers 382 Nesting
Page 397 and 398: Contexts and engravers 384 tenorMus
Page 399 and 400: Contexts and engravers 386 } c4 c |
Page 401 and 402: Tweaks and overrides 388 Tweaks and
Page 403 and 404: Tweaks and overrides 390 Analysis b
Page 405 and 406: Tweaks and overrides 392 (note-colu
Page 407 and 408: Tweaks and overrides 394 Changing t
Page 409 and 410: Tweaks and overrides 396 } c4 b d c
Page 411 and 412: Tweaks and overrides 398 } \times 2
Page 413 and 414: Tweaks and overrides 400 } % \caden
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Page 417 and 418: Tweaks and overrides 404 \override
Page 419 and 420: Tweaks and overrides 406 } >> } }
Page 421 and 422: Tweaks and overrides 408 #f)) #(def
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Tweaks and overrides 410 \relative
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Tweaks and overrides 412 \\ {
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Tweaks and overrides 414 %% C major
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Tweaks and overrides 416 } \overrid
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Tweaks and overrides 418 } >> } }
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Tweaks and overrides 420 } \mark "R
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Tweaks and overrides 422 #:hspace 7
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Tweaks and overrides 424 Normal Nor
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Tweaks and overrides 426 } g f e d
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Tweaks and overrides 428 } \clef "b
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Tweaks and overrides 430 M
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Tweaks and overrides 432 Percent re
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Tweaks and overrides 434 }
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Tweaks and overrides 436 } R1 >
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Tweaks and overrides 438 \new Staff
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Tweaks and overrides 440 ) \overrid
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Tweaks and overrides 442 3 5
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Tweaks and overrides 444 \relative
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Tweaks and overrides 446 global = {
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Tweaks and overrides 448 } } c''1._
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Tweaks and overrides 450 \new Voice
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Tweaks and overrides 452 The follow
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Tweaks and overrides 454 3 2
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Tweaks and overrides 456 } \tweak #
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Tweaks and overrides 458 } >> 3 4
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Paper and layout 460 } } Left align
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Paper and layout 462 Book title Fir
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Paper and layout 464 Book title
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Paper and layout 466 } } } (cons (m
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Paper and layout 468 Creating blank
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Paper and layout 470 } } poet piece
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Paper and layout 472 Table of conte
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Titles 474 Titles Section “Titles
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Titles 476 Left Centered Right 2
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Spacing 478 Spacing Section “Spac
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Spacing 480 2 Table Table of conten
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Spacing 482 3 Verti
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MIDI 484 MIDI Section “MIDI outpu
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MIDI 486 r\mf \set Staff.midiInstru
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MIDI 488 } \set Staff.midiInstrumen
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Templates 490 Ancient notation temp
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Templates 492 } } fis g4.( fis16 e
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Templates 494 } \layout { \context
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Templates 496 \markup { \fill-line
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Templates 498 Hymn template This co
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Templates 500
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Templates 502 } bariSax = { \global
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Templates 504 c1 | c | c } bass = {
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Templates 506 Trumpet Alto Sax Bari
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Templates 508 \set PianoStaff.instr
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Templates 510 } lower = \relative c
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Templates 512 } \time 4/4 a2 c \sco
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Templates 514 p do p re mp
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Templates 516 % - In jEdit Search &
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Templates 518 } } \score { \new Cho
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Templates 520 } \new Staff { \conte
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Templates 522 } \midi { } Str
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Templates 524 g2 f e1 \bar "|." }}
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Templates 526 } score-system-spacin
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Templates 528 Vocal ensemble templa
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Templates 530 } R2*2 | SoloLyrics =
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Templates 532 } altoWords = \lyricm
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