LilyPond Beginnershandleiding

More documents

Recommendations

Info

Hoofdstuk 3: Fundamentele concepten 52 \relative c' { noteA ... } ... } \\ \relative g' { noteD ... } >> \relative c' { noteE ... } Let us finally analyze the voices in a more complex piece of music. Here are the notes from the first two bars of the second of Chopin’s Deux Nocturnes, Op 32. This example will be used at later stages in this and the next chapter to illustrate several techniques for producing notation, so please ignore for now anything in the underlying code which looks mysterious and concentrate just on the music and the voices – the complications will all be explained in later sections. The direction of the stems is often used to indicate the continuity of two simultaneous melodic lines. Here the stems of the highest notes are all pointing up and the stems of the lower notes are all pointing down. This is the first indication that more than one voice is required. But the real need for multiple voices arises when notes which start at the same time have different durations. Look at the notes which start at beat three in the first bar. The A-flat is a dotted quarter note, the F is a quarter note and the D-flat is a half note. These cannot be written as a chord as all the notes in a chord must have the same duration. Neither can they be written as sequential notes, as they must start at the same time. This section of the bar requires three voices, and the normal practice would be to write the whole bar as three voices, as shown below, where we have used different note heads and colors for the three voices. Again, the code behind this example will be explained later, so ignore anything you do not understand. Let us try to encode this music from scratch. As we shall see, this encounters some difficulties. We begin as we have learnt, using the > construct to enter the music of the first bar in three voices: \new Staff \relative c'' { \key aes \major
Hoofdstuk 3: Fundamentele concepten 53 the stems in voice 3 should go down in this particular piece of music. We can correct this by skipping voice three and placing the music in voice four. This is done by simply adding another pair of \\. \new Staff \relative c'' { \key aes \major } } is equivalent to \new Staff
Page 1 and 2:
LilyPond Beginnershandleiding Het L
Page 3 and 4:
3.1.4 On the un-nestedness of brack
Page 5 and 6: Hoofdstuk 1: Leerboek 1 1 Leerboek
Page 7 and 8: Hoofdstuk 1: Leerboek 3 Uit de menu
Page 9 and 10: Hoofdstuk 1: Leerboek 5 Stap 3. Bek
Page 11 and 12: Hoofdstuk 1: Leerboek 7 Stap 1. Maa
Page 13 and 14: Hoofdstuk 1: Leerboek 9 Stap 2a. Co
Page 15 and 16: Hoofdstuk 1: Leerboek 11 Het PDF-be
Page 17 and 18: Hoofdstuk 1: Leerboek 13 1.1.4 Comm
Page 19 and 20: Hoofdstuk 1: Leerboek 15 Relatieve
Page 21 and 22: Hoofdstuk 1: Leerboek 17 4 3
Page 23 and 24: Hoofdstuk 1: Leerboek 19 • Uitdru
Page 25 and 26: Hoofdstuk 1: Leerboek 21 • Voorda
Page 27 and 28: Hoofdstuk 2: Algemene muzieknotatie
Page 47 and 48: Hoofdstuk 3: Fundamentele concepten
Page 55: Hoofdstuk 3: Fundamentele concepten
Page 93 and 94: Hoofdstuk 4: Tweaking output 89 The
Page 95 and 96: Hoofdstuk 4: Tweaking output 91 The
Page 97 and 98: Hoofdstuk 4: Tweaking output 93 Zie
Page 99 and 100: Hoofdstuk 4: Tweaking output 95 mak
Page 101 and 102: Hoofdstuk 4: Tweaking output 97 4.2
Page 103 and 104: Hoofdstuk 4: Tweaking output 99 Zie
Page 105 and 106: Hoofdstuk 4: Tweaking output 101 }
Page 107 and 108:
Hoofdstuk 4: Tweaking output 103 }
Page 109 and 110:
Hoofdstuk 4: Tweaking output 105
Page 111 and 112:
Page 113 and 114:
Hoofdstuk 4: Tweaking output 109 In
Page 115 and 116:
Hoofdstuk 4: Tweaking output 111 \o
Page 117 and 118:
Hoofdstuk 4: Tweaking output 113 5
Page 119 and 120:
Hoofdstuk 4: Tweaking output 115 Sl
Page 121 and 122:
Page 123 and 124:
Hoofdstuk 4: Tweaking output 119 si
Page 125 and 126:
Hoofdstuk 4: Tweaking output 121 b2
Page 127 and 128:
Hoofdstuk 4: Tweaking output 123 st
Page 129 and 130:
Hoofdstuk 4: Tweaking output 125 Th
Page 131 and 132:
Page 133 and 134:
Hoofdstuk 4: Tweaking output 129 Th
Page 135 and 136:
Page 137 and 138:
Page 139 and 140:
Hoofdstuk 4: Tweaking output 135 \s
Page 141 and 142:
Hoofdstuk 4: Tweaking output 137 \s
Page 143 and 144:
Page 145 and 146:
Hoofdstuk 4: Tweaking output 141 %%
Page 147 and 148:
Hoofdstuk 4: Tweaking output 143 7)
Page 149 and 150:
Appendix A: Templates 145 \melody }
Page 151 and 152:
Appendix A: Templates 147 \score {
Page 153 and 154:
Appendix A: Templates 149 } \layout
Page 155 and 156:
Appendix A: Templates 151 %%%%% (Th
Page 157 and 158:
Appendix A: Templates 153 Violin 1
Page 159 and 160:
Appendix A: Templates 155 hi
Page 161 and 162:
Appendix A: Templates 157
Page 163 and 164:
Appendix A: Templates 159 altonotes
Page 165 and 166:
Appendix A: Templates 161 } \clef "
Page 167 and 168:
Appendix A: Templates 163 > % End S
Page 169 and 170:
Appendix A: Templates 165 dot = \ma
Page 171 and 172:
Appendix A: Templates 167 A.5 Orche
Page 173 and 174:
Appendix A: Templates 169 } \new St
Page 175 and 176:
Appendix A: Templates 171 } \overri
Page 177 and 178:
Appendix A: Templates 173 tenorNote
Page 179 and 180:
Appendix A: Templates 175 } } } Dis
Page 181 and 182:
Appendix A: Templates 177 \header {
Page 183 and 184:
Appendix A: Templates 179 } trombon
Page 185 and 186:
Appendix A: Templates 181 } down =
Page 187 and 188:
Appendix B: GNU Free Documentation
Page 189 and 190:
Page 191 and 192:
Page 193 and 194:
Page 195 and 196:
Appendix C: LilyPond register 191 \
Page 197 and 198:
Appendix C: LilyPond register 193 L
Page 199:
Appendix C: LilyPond register 195 t
show all

LilyPond Beginnershandleiding

Create successful ePaper yourself

Delete template?

Save as template?