in Snippets - LilyPond

More documents

Recommendations

Info

Expressive marks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Adding beams slurs ties etc. when using tuplet and non-tuplet rhythms . . . . . . . . . . . . . . . . 63 Adding parentheses around an expressive mark or chordal note . . . . . . . . . . . . . . . . . . . . . . . . . 63 Adjusting the shape of falls and doits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Alternative breve note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Asymmetric slurs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Breathing signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Broken Crescendo Hairpin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Caesura ("railtracks") with fermata. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Center text below hairpin dynamics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Changing \flageolet mark size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Changing text and spanner styles for text dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Changing the appearance of a slur from solid to dotted or dashed . . . . . . . . . . . . . . . . . . . . . . 68 Changing the breath mark symbol . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Changing the number of augmentation dots per note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Combining dynamics with markup texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Contemporary glissando . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Controlling spanner visibility after a line break. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Controlling the vertical ordering of scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Creating a delayed turn. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Creating arpeggios across notes in different voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Creating cross-staff arpeggios in a piano staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Creating cross-staff arpeggios in other contexts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Creating double-digit fingerings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Creating "real" parenthesized dynamics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Creating simultaneous rehearsal marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Creating slurs across voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Creating text spanners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Double glissando . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Dynamics custom text spanner postfix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Dynamics text spanner postfix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Glissandi can skip grobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Hairpins with different line styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Hiding the extender line for text dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Horizontally aligning custom dynamics (e.g. "sempre pp" "piu f" "subito p") . . . . . . . . . . 79 How to print two rehearsal marks above and below the same barline (method 1) . . . . . . . . 82 How to print two rehearsal marks above and below the same barline (method 2) . . . . . . . . 83 Inserting a caesura . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Laissez vibrer ties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Line arrows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Making slurs with complex dash structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Modifying default values for articulation shorthand notation . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Moving slur positions vertically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Positioning arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Positioning text markups inside slurs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Printing hairpins using al niente notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Printing metronome and rehearsal marks below the staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Setting hairpin behavior at bar lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Setting the minimum length of hairpins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Showing the same articulation above and below a note or chord . . . . . . . . . . . . . . . . . . . . . . . . 89 Snap-pizzicato or Bartok pizzicato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Using arpeggioBracket to make divisi more visible. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Using double slurs for legato chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Using the whiteout property . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 iii
Vertical line as a baroque articulation mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Vertically aligning dynamics across multiple notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Repeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Adding volta brackets to additional staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Cross-staff tremolos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Engraving tremolos with floating beams. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Isolated percent repeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Measure counter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Percent repeat count visibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Percent repeat counter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Positioning segno and coda (with line break) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Printing a repeat sign at the beginning of a piece . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Setting the double repeat default for volte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Shortening volta brackets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Volta below chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Volta multi staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Volta text markup using repeatCommands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Simultaneous notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Additional voices to avoid collisions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Changing a single note’s size in a chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Changing partcombine texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Clusters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Combining two parts on the same staff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Displaying complex chords. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Double glissando . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Forcing horizontal shift of notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Making an object invisible with the ’transparent property . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Moving dotted notes in polyphony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Suppressing warnings for clashing note columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Staff notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Adding ambitus per voice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Adding an extra staff at a line break. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Adding an extra staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Adding indicators to staves which get split after a break . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Adding orchestral cues to a vocal score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Alternative bar numbering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Changing the number of lines in a staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Changing the staff size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Creating blank staves. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Creating double-digit fingerings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 Cross staff stems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Display bracket with only one staff in a system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Forcing measure width to adapt to MetronomeMark’s width . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Glissandi can skip grobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 How to print two rehearsal marks above and below the same barline (method 1) . . . . . . . 121 How to print two rehearsal marks above and below the same barline (method 2) . . . . . . . 122 Incipit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Inserting score fragments above a staff as markups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 Letter tablature formatting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Making some staff lines thicker than the others . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 iv
Page 1 and 2: LilyPond Snippets The LilyPond deve
Page 3: Conducting signs measure grouping s
Page 7 and 8: Text . . . . . . . . . . . . . . .
Page 9 and 10: Jazz combo template . . . . . . . .
Page 11 and 12: Tweaks and overrides. . . . . . . .
Page 13 and 14: Spacing . . . . . . . . . . . . . .
Page 15 and 16: Pitches 2 Am
Page 17 and 18: Pitches 4 5 Changing the ambitus
Page 19 and 20: Pitches 6 Coloring notes depending
Page 21 and 22: Pitches 8 } } (make-event-chord
Page 23 and 24: Pitches 10 Numbers as easy n
Page 25 and 26: Pitches 12 \fluteMusic } \new Staff
Page 27 and 28: Pitches 14 Flute Clarinet in B Horn
Page 29 and 30: Pitches 16 quoteTest = { % french h
Page 31 and 32: Pitches 18 naturalizeMusic = #(defi
Page 33 and 34: Pitches 20 } \new Staff = "down"
Page 35 and 36: Rhythms 22 } >> \layout { } \midi {
Page 37 and 38: Rhythms 24 } } b32^"baseMoment 1 16
Page 39 and 40: Rhythms 26 } } >> 4 5 { \voiceOn
Page 41 and 42: Rhythms 28 Changing
Page 43 and 44: Rhythms 30 } } \stemOn a'2 \bar "|
Page 45 and 46: Rhythms 32 } } \new Staff { \relati
Page 47 and 48: Rhythms 34 } Engraving tre
Page 49 and 50: Rhythms 36
Page 51 and 52: Rhythms 38 Normal flags 4 1 Cust
Page 53 and 54: Rhythms 40 3 8 +2 8 +2 8 +3 8 +
Page 55 and 56:
Rhythms 42 } \normalPos R1 } \\ { c
Page 57 and 58:
Rhythms 44 } (tuplet-number::non-de
Page 59 and 60:
Rhythms 46 } } f8[ e] Positi
Page 61 and 62:
Rhythms 48 \override Score.Rehearsa
Page 63 and 64:
Rhythms 50 = 120 Printing mus
Page 65 and 66:
Rhythms 52 \bar "|" g'2. } >> \new
Page 67 and 68:
Rhythms 54 stopAcciaccaturaMusic =
Page 69 and 70:
Rhythms 56 mensural neomensura
Page 71 and 72:
Rhythms 58 Stemlets In some notatio
Page 73 and 74:
Rhythms 60 (chain-assoc-get 'box-pa
Page 75 and 76:
Rhythms 62 Using grace note slashes
Page 77 and 78:
Expressive marks 64 } Alternativ
Page 79 and 80:
Expressive marks 66 } } >> 1 setgr
Page 81 and 82:
Expressive marks 68 Changing text a
Page 83 and 84:
Expressive marks 70 } \bar "|" 3
Page 85 and 86:
Expressive marks 72 } Creat
Page 87 and 88:
Expressive marks 74 10 50 36 C
Page 89 and 90:
Expressive marks 76 } \override Tex
Page 91 and 92:
Expressive marks 78 'span-type 'tex
Page 93 and 94:
Expressive marks 80 #(make-dynamic-
Page 95 and 96:
Expressive marks 82 } >> >> Setting
Page 97 and 98:
Expressive marks 84 } { s4 s s s \m
Page 99 and 100:
Expressive marks 86 } c4( d e f) \o
Page 101 and 102:
Expressive marks 88 Printing hairpi
Page 103 and 104:
Expressive marks 90 Snap-pizzicato
Page 105 and 106:
Expressive marks 92 m) \relative c'
Page 107 and 108:
Repeats 94 } >> } }
Page 109 and 110:
Repeats 96 11 2 Percent repe
Page 111 and 112:
Repeats 98 } 6 9 % Put the coda sig
Page 113 and 114:
Repeats 100 4 3 Volta below chor
Page 115 and 116:
Simultaneous notes 102 Simultaneous
Page 117 and 118:
Simultaneous notes 104
Page 119 and 120:
Simultaneous notes 106 } } >> % ori
Page 121 and 122:
Simultaneous notes 108
Page 123 and 124:
Staff notation 110 } } >> } 3
Page 125 and 126:
Staff notation 112 \paper { ragged-
Page 127 and 128:
Staff notation 114 pianoRH = \relat
Page 129 and 130:
Staff notation 116 Changing the num
Page 131 and 132:
Staff notation 118 Creating double-
Page 133 and 134:
Staff notation 120 \markup \left-co
Page 135 and 136:
Staff notation 122 } g f e d | \onc
Page 137 and 138:
Staff notation 124 #}) %%%%%%%%%%%%
Page 139 and 140:
Staff notation 126 \new Lyrics \lyr
Page 141 and 142:
Staff notation 128 } } \context { \
Page 143 and 144:
Staff notation 130 \new TabStaff \w
Page 145 and 146:
Staff notation 132
Page 147 and 148:
Staff notation 134 \transposition f
Page 149 and 150:
Staff notation 136 Flute Clarinet i
Page 151 and 152:
Staff notation 138 original = \rela
Page 153 and 154:
Staff notation 140 \paper { system-
Page 155 and 156:
Staff notation 142 Tick bar lines
Page 157 and 158:
Staff notation 144 } 6 c'1 % Return
Page 159 and 160:
Staff notation 146 } C C 1.--2.
Page 161 and 162:
Editorial annotations 148 2 2. 3.
Page 163 and 164:
Editorial annotations 150 } \set fi
Page 165 and 166:
Editorial annotations 152 #(define
Page 167 and 168:
Editorial annotations 154 Creating
Page 169 and 170:
Editorial annotations 156 } c4. c4
Page 171 and 172:
Editorial annotations 158 } } \
Page 173 and 174:
Editorial annotations 160 } \once \
Page 175 and 176:
Editorial annotations 162 } \new St
Page 177 and 178:
Editorial annotations 164 stringNum
Page 179 and 180:
Text 166 Text Section “Text” in
Page 181 and 182:
Text 168 } \override Staff.Instrume
Page 183 and 184:
Text 170 5 ↓ Aligning obje
Page 185 and 186:
Text 172 Centering markup on note h
Page 187 and 188:
Text 174 Combining dynamics with ma
Page 189 and 190:
Text 176 mark can be added, giving
Page 191 and 192:
Text 178 \score { \relative c'' { c
Page 193 and 194:
Text 180 } "This is right-aligned"
Page 195 and 196:
Text 182 Multi-measure rest markup
Page 197 and 198:
Text 184 Aaa Bee Cee Dee
Page 199 and 200:
Text 186 } } \line { O sacrum convi
Page 201 and 202:
Text 188 % end verbatim - this comm
Page 203 and 204:
Text 190 \score { \new ChoirStaff
Page 205 and 206:
Vocal music 192 Vocal music Section
Page 207 and 208:
Vocal music 194 } \repeat unfold 4
Page 209 and 210:
Vocal music 196 here's the
Page 211 and 212:
Vocal music 198 \layout { \context
Page 213 and 214:
Vocal music 200 } \time 2/2 dot = \
Page 215 and 216:
Vocal music 202 Changing stanza fon
Page 217 and 218:
Vocal music 204 > Lyrics can c
Page 219 and 220:
Vocal music 206 } } "" \paper { % S
Page 221 and 222:
Vocal music 208 sopMusic = \relativ
Page 223 and 224:
Vocal music 210 2 faith- f
Page 225 and 226:
Vocal music 212 } \new Lyrics \lyri
Page 227 and 228:
Vocal music 214 } a4 b c d lower =
Page 229 and 230:
Vocal music 216 } \new Voice = "ten
Page 231 and 232:
Vocal music 218 \context Voice = "v
Page 233 and 234:
Vocal music 220 } { \voiceTwo a1 ~
Page 235 and 236:
Vocal music 222 } >> \new Lyrics
Page 237 and 238:
Vocal music 224 hi ha
Page 239 and 240:
Vocal music 226 } \time 3/4 s2.*2 \
Page 241 and 242:
Vocal music 228 } system-system-spa
Page 243 and 244:
Chords 230 Chords Section “Chord
Page 245 and 246:
Chords 232 #{ (cons (make-music 'Te
Page 247 and 248:
Chords 234 } r \set figuredBassP
Page 249 and 250:
Chords 236 Cross-staff chords - bea
Page 251 and 252:
Chords 238 3 Cm Simple lead sheet
Page 253 and 254:
Chords 240 X X X C iii X X X G
Page 255 and 256:
Chords 242 C C 1.--2.
Page 257 and 258:
Keyboards 244 } accTrombon = ^\mark
Page 259 and 260:
Keyboards 246 } 6 11 c4 d\accOrgan
Page 261 and 262:
Keyboards 248 This example is measu
Page 263 and 264:
Keyboards 250 Fine-tuning pedal bra
Page 265 and 266:
Keyboards 252 %%%%%%%%%%%% Keys'n't
Page 267 and 268:
Keyboards 254 %% ------ Piano -----
Page 269 and 270:
Keyboards 256 } \new Staff = "bass"
Page 271 and 272:
Keyboards 258 Piano template (simpl
Page 273 and 274:
Keyboards 260 } \key c \major \time
Page 275 and 276:
Keyboards 262 c4 c c8[( b)] c4 } so
Page 277 and 278:
Percussion 264 Percussion Section
Page 279 and 280:
Percussion 266 Jazz combo template
Page 281 and 282:
Percussion 268 % ------ Trombone --
Page 283 and 284:
Percussion 270 % ------ Drums -----
Page 285 and 286:
Percussion 272 stick = \markup { \w
Page 287 and 288:
Percussion 274 } " /Encode [ 0 1 ]
Page 289 and 290:
Percussion 276 } >> \bar "|" \time
Page 291 and 292:
Percussion 278 8 3 4
Page 293 and 294:
Fretted strings 280 Allowing finger
Page 295 and 296:
Fretted strings 282 } >> c'1 c' C
Page 297 and 298:
Fretted strings 284 5 3 1 3
Page 299 and 300:
Fretted strings 286 } >> } } } (pla
Page 301 and 302:
Fretted strings 288 d:6 d a:maj7 d:
Page 303 and 304:
Fretted strings 290 also an abanico
Page 305 and 306:
Fretted strings 292 8^\iDown 8^\iDo
Page 307 and 308:
Fretted strings 294 } } 5
Page 309 and 310:
Fretted strings 296 } } } \fret-dia
Page 311 and 312:
Fretted strings 298 } } } (place-fr
Page 313 and 314:
Fretted strings 300 } >> } } %% C m
Page 315 and 316:
Fretted strings 302 } \set predefin
Page 317 and 318:
Fretted strings 304 8 5
Page 319 and 320:
Fretted strings 306 C X O O F 1
Page 321 and 322:
Fretted strings 308 jazzChords = {
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
Page 329 and 330:
Fretted strings 316 10 8 6 6 6
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 and 372:
Ancient notation 358 } \new Voice =
Page 373 and 374:
World music 360 World music Section
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
Page 415 and 416:
Tweaks and overrides 402
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
Page 423 and 424:
Tweaks and overrides 410 \relative
Page 425 and 426:
Tweaks and overrides 412 \\ {
Page 427 and 428:
Tweaks and overrides 414 %% C major
Page 429 and 430:
Tweaks and overrides 416 } \overrid
Page 431 and 432:
Tweaks and overrides 418 } >> } }
Page 433 and 434:
Tweaks and overrides 420 } \mark "R
Page 435 and 436:
Tweaks and overrides 422 #:hspace 7
Page 437 and 438:
Tweaks and overrides 424 Normal Nor
Page 439 and 440:
Tweaks and overrides 426 } g f e d
Page 441 and 442:
Tweaks and overrides 428 } \clef "b
Page 443 and 444:
Tweaks and overrides 430 M
Page 445 and 446:
Tweaks and overrides 432 Percent re
Page 447 and 448:
Tweaks and overrides 434 }
Page 449 and 450:
Tweaks and overrides 436 } R1 >
Page 451 and 452:
Tweaks and overrides 438 \new Staff
Page 453 and 454:
Tweaks and overrides 440 ) \overrid
Page 455 and 456:
Tweaks and overrides 442 3 5
Page 457 and 458:
Tweaks and overrides 444 \relative
Page 459 and 460:
Tweaks and overrides 446 global = {
Page 461 and 462:
Tweaks and overrides 448 } } c''1._
Page 463 and 464:
Tweaks and overrides 450 \new Voice
Page 465 and 466:
Tweaks and overrides 452 The follow
Page 467 and 468:
Tweaks and overrides 454 3 2
Page 469 and 470:
Tweaks and overrides 456 } \tweak #
Page 471 and 472:
Tweaks and overrides 458 } >> 3 4
Page 473 and 474:
Paper and layout 460 } } Left align
Page 475 and 476:
Paper and layout 462 Book title Fir
Page 477 and 478:
Paper and layout 464 Book title
Page 479 and 480:
Paper and layout 466 } } } (cons (m
Page 481 and 482:
Paper and layout 468 Creating blank
Page 483 and 484:
Paper and layout 470 } } poet piece
Page 485 and 486:
Paper and layout 472 Table of conte
Page 487 and 488:
Titles 474 Titles Section “Titles
Page 489 and 490:
Titles 476 Left Centered Right 2
Page 491 and 492:
Spacing 478 Spacing Section “Spac
Page 493 and 494:
Spacing 480 2 Table Table of conten
Page 495 and 496:
Spacing 482 3 Verti
Page 497 and 498:
MIDI 484 MIDI Section “MIDI outpu
Page 499 and 500:
MIDI 486 r\mf \set Staff.midiInstru
Page 501 and 502:
MIDI 488 } \set Staff.midiInstrumen
Page 503 and 504:
Templates 490 Ancient notation temp
Page 505 and 506:
Templates 492 } } fis g4.( fis16 e
Page 507 and 508:
Templates 494 } \layout { \context
Page 509 and 510:
Templates 496 \markup { \fill-line
Page 511 and 512:
Templates 498 Hymn template This co
Page 513 and 514:
Templates 500
Page 515 and 516:
Templates 502 } bariSax = { \global
Page 517 and 518:
Templates 504 c1 | c | c } bass = {
Page 519 and 520:
Templates 506 Trumpet Alto Sax Bari
Page 521 and 522:
Templates 508 \set PianoStaff.instr
Page 523 and 524:
Templates 510 } lower = \relative c
Page 525 and 526:
Templates 512 } \time 4/4 a2 c \sco
Page 527 and 528:
Templates 514 p do p re mp
Page 529 and 530:
Templates 516 % - In jEdit Search &
Page 531 and 532:
Templates 518 } } \score { \new Cho
Page 533 and 534:
Templates 520 } \new Staff { \conte
Page 535 and 536:
Templates 522 } \midi { } Str
Page 537 and 538:
Templates 524 g2 f e1 \bar "|." }}
Page 539 and 540:
Templates 526 } score-system-spacin
Page 541 and 542:
Templates 528 Vocal ensemble templa
Page 543 and 544:
Templates 530 } R2*2 | SoloLyrics =
Page 545 and 546:
Templates 532 } altoWords = \lyricm
show all

in Snippets - LilyPond

Create successful ePaper yourself

Delete template?

Save as template?