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Expressive marks 77 } } >> % original voice with chords rearranged so that % glissando is attached to a & c 2\glissando Dynamics custom text spanner postfix Postfix functions for custom crescendo text spanners. The spanners should start on the first note of the measure. One has to use -\mycresc, otherwise the spanner start will rather be assigned to the next note. % Two functions for (de)crescendo spanners where you can explicitly give the % spanner text. mycresc = #(define-music-function (parser location mymarkup) (markup?) (make-music 'CrescendoEvent 'span-direction START 'span-type 'text 'span-text mymarkup)) mydecresc = #(define-music-function (parser location mymarkup) (markup?) (make-music 'DecrescendoEvent 'span-direction START 'span-type 'text 'span-text mymarkup)) \relative c' { c4-\mycresc "custom cresc" c4 c4 c4 | c4 c4 c4 c4 | c4-\mydecresc "custom decresc" c4 c4 c4 | c4 c4\! c4 c4 } custom cresc Dynamics text spanner postfix custom decresc Custom text spanners can be defined and used with hairpin and text crescendos. \< and \> produce hairpins by default, \cresc etc. produce text spanners by default. % Some sample text dynamic spanners, to be used as postfix operators crpoco = #(make-music 'CrescendoEvent 'span-direction START
Expressive marks 78 'span-type 'text 'span-text "cresc. poco a poco") \relative c' { c4\cresc d4 e4 f4 | g4 a4\! b4\crpoco c4 | c4 d4 e4 f4 | g4 a4\! b4\< c4 | g4\dim a4 b4\decresc c4\! } dim. decresc. cresc. Glissandi can skip grobs cresc. poco a poco NoteColumn grobs can be skipped over by glissandi. \relative c' { a2 \glissando \once \override NoteColumn #'glissando-skip = ##t f''4 d, } Hairpins with different line styles Hairpins can take any style from line-interface - dashed-line, dotted-line, line, trill or zigzag. \relative c' { c2\< c\! \override Hairpin #'style = #'dashed-line c2\< c\! \override Hairpin #'style = #'dotted-line c2\< c\! \override Hairpin #'style = #'line c2\< c\! \override Hairpin #'style = #'trill c2\< c\! \override Hairpin #'style = #'zigzag c2\< c\! \revert Hairpin #'style c2\< c\! }
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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
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: Expressive marks 76 } \override 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
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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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Fretted strings 308 jazzChords = {
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Fretted strings 310 } %% ------ Pia
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Fretted strings 312 } \new PianoSta
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Fretted strings 314 Letter tablatur
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Fretted strings 316 10 8 6 6 6
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Fretted strings 318 8 3 3 3 3
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Unfretted strings 320 Unfretted str
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Unfretted strings 322 violinOne = \
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Unfretted strings 324 c2 b a1 \bar
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Winds 326 Winds Section “Wind ins
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Winds 328 Graphical and t
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Winds 330 #(print-keys-verbose 'tin
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Winds 332 6 'piccolo 'saxophone
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Ancient notation 334 a! b ces' \bar
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Ancient notation 336 fis1 ces1 \cle
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Ancient notation 338
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Ancient notation 340 } \bar "||" \s
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Ancient notation 342 } } % incipit
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Ancient notation 344 } } Discantus
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Ancient notation 346 2 hufnagel
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Ancient notation 348 } } discantusL
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Ancient notation 350 } } R1 | R1 |
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Ancient notation 352 3 8 o
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Ancient notation 354 } \override St
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Ancient notation 356 } } } } line-w
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Ancient notation 358 } \new Voice =
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World music 360 World music Section
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Contexts and engravers 362 Contexts
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Contexts and engravers 364 } } >>
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Contexts and engravers 366 } g2. fi
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Contexts and engravers 368 { \repea
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Contexts and engravers 370 %%% %%%
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Contexts and engravers 372 |- Ambit
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Contexts and engravers 374 ;; accor
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Contexts and engravers 376 Engraver
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Contexts and engravers 378 } localK
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Contexts and engravers 380 } \consi
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Contexts and engravers 382 Nesting
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Contexts and engravers 384 tenorMus
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Contexts and engravers 386 } c4 c |
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Tweaks and overrides 388 Tweaks and
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Tweaks and overrides 390 Analysis b
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Tweaks and overrides 392 (note-colu
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Tweaks and overrides 394 Changing t
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Tweaks and overrides 396 } c4 b d c
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Tweaks and overrides 398 } \times 2
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Tweaks and overrides 400 } % \caden
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Tweaks and overrides 402
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Tweaks and overrides 404 \override
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Tweaks and overrides 406 } >> } }
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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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