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in Snippets - LilyPond

in Snippets - LilyPond

Measure counter. . . . .

Measure counter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 Mensurstriche layout (bar lines between the staves) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Nesting staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Non-traditional key signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Orchestra choir and piano template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Putting lyrics inside the staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 Quoting another voice with transposition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 Quoting another voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 Removing the first empty line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138 Setting system separators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Tick bar lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Time signature in parentheses - method 3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Time signature in parentheses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Tweaking clef properties. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Use square bracket at the start of a staff group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Using autochange with more than one voice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Volta below chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Volta multi staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Editorial annotations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Adding fingerings to a score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Allowing fingerings to be printed inside the staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Alternative bar numbering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Analysis brackets above the staff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Applying note head styles depending on the step of the scale . . . . . . . . . . . . . . . . . . . . . . . . . . 149 Avoiding collisions with chord fingerings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 Blanking staff lines using the \whiteout command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 Changing a single note’s size in a chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 Changing the appearance of a slur from solid to dotted or dashed . . . . . . . . . . . . . . . . . . . . . 151 Coloring notes depending on their pitch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 Controlling the placement of chord fingerings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 Creating a delayed turn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 Creating blank staves. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 Creating double-digit fingerings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154 Default direction of stems on the center line of the staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 Drawing boxes around grobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 Drawing circles around note heads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Drawing circles around various objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Embedding native PostScript in a \markup block . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 Grid lines: changing their appearance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 Grid lines: emphasizing rhythms and notes synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 How to print two rehearsal marks above and below the same barline (method 1) . . . . . . . 159 How to print two rehearsal marks above and below the same barline (method 2) . . . . . . . 160 Making some staff lines thicker than the others . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 Marking notes of spoken parts with a cross on the stem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 Measure counter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Positioning fingering indications precisely . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Positioning text markups inside slurs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Printing text from right to left. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 String number extender lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Using PostScript to generate special note head shapes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164 Using the whiteout property . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165 v

Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 Adding the current date to a score. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 Adjusting lyrics vertical spacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 Aligning and centering instrument names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167 Aligning marks with various notation objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 Aligning objects created with the \mark command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 Aligning syllables with melisma. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 Blanking staff lines using the \whiteout command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Center text below hairpin dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Centering markup on note heads automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172 Changing the default text font family . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 Combining dynamics with markup texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Combining two parts on the same staff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Creating "real" parenthesized dynamics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Creating simultaneous rehearsal marks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Creating text spanners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176 Demonstrating all headers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 Embedding native PostScript in a \markup block . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 Formatting lyrics syllables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 How to put ties between syllables in lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 Lyrics alignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 Markup lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Multi-measure rest markup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Ottava text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Outputting the version number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Piano template with centered lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 Printing marks at the end of a line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Printing marks on every staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Printing text from right to left. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 Putting lyrics inside the staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 Stand-alone two-column markup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 String number extender lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Three-sided box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 UTF-8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 Vocal ensemble template with lyrics aligned below and above the staves . . . . . . . . . . . . . . . 189 Volta text markup using repeatCommands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 Vocal music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192 Adding ambitus per voice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192 Adding indicators to staves which get split after a break . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192 Adding orchestral cues to a vocal score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Adjusting lyrics vertical spacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 Aligning syllables with melisma. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 Ambitus with multiple voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 Ambitus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 Ancient notation template – modern transcription of gregorian music. . . . . . . . . . . . . . . . . . 198 Anglican psalm template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199 Changing stanza fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202 Chant or psalms notation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202 Forcing hyphens to be shown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 Formatting lyrics syllables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 How to put ties between syllables in lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 Hymn template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 vi

  • Page 1 and 2: LilyPond Snippets The LilyPond deve
  • Page 3 and 4: Conducting signs measure grouping s
  • Page 5: Vertical line as a baroque articula
  • 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
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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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    > \new ">Rhythms 52 \bar "|" g'2. } >> \new

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    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

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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

  • Page 91 and 92:

    Expressive marks 78 'span-type 'tex

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    Expressive marks 80 #(make-dynamic-

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    Expressive marks 82 } >> >> Setting

  • Page 97 and 98:

    Expressive marks 84 } { s4 s s s \m

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    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

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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 #}) %%%%%%%%%%%%

  • 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

  • Page 147 and 148:

    Staff notation 134 \transposition f

  • Page 149 and 150:

    Staff notation 136 Flute Clarinet i

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    Staff notation 138 original = \rela

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    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.

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    Editorial annotations 148 2 2. 3.

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    Editorial annotations 150 } \set fi

  • Page 165 and 166:

    Editorial annotations 152 #(define

  • Page 167 and 168:

    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

  • Page 181 and 182:

    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

  • Page 437 and 438:

    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

  • Page 469 and 470:

    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

Section “slur” in Music Glossary - LilyPond
LilyPond Beginnershandleiding
in Contributor's Guide - LilyPond
PDF of regtests for 2.16.2 - LilyPond
PDF of MusicXML regtests for 2.17.24 - LilyPond
Screech and boink - LilyPond
in Music Glossary - LilyPond
in Music Glossary - LilyPond
“Compiling” in Contributor's Guide - LilyPond
OrchestralLily: A Package for Professional Music ... - LilyPond
in General Information - LilyPond
in General Information - LilyPond
Jesu, meine Freude - LilyPond
in General Information - LilyPond
Section “Troubleshooting” in Application Usage - LilyPond
LilyPond Essay on automated music engraving
Section “Manuals” in General Information - LilyPond
Lilypond, a system for automated music engraving - CiteSeerX
Black mensural notation in Lilypond 2.12 - Dr. Lukas Pietsch