LilyPond Beginnershandleiding

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Hoofdstuk 3: Fundamentele concepten 54 >> Both of the above would produce The \voiceXXX commands set the direction of stems, slurs, ties, articulations, text annotations, augmentation dots of dotted notes, and fingerings. \voiceOne and \voiceThree make these objects point upwards, while \voiceTwo and \voiceFour make them point downwards. These commands also generate a horizontal shift for each voice when this is required to avoid clashes of note heads. The command \oneVoice reverts the settings back to the normal values for a single voice. Let us see in some simple examples exactly what effect \oneVoice, \voiceOne and voiceTwo have on markup, ties, slurs, and dynamics: \relative c' { % Default behavior or behavior after \oneVoice c4 d8~ d e4( f | g4 a) b-> c | } \relative c' { \voiceOne c4 d8~ d e4( f | g4 a) b-> c | \oneVoice c,4 d8~ d e4( f | g4 a) b-> c | } \relative c' { \voiceTwo c4 d8~ d e4( f | g4 a) b-> c | \oneVoice c,4 d8~ d e4( f | g4 a) b-> c | } Now let’s look at three different ways to notate the same passage of polyphonic music, each of which is advantageous in different circumstances, using the example from the previous section. An expression that appears directly inside a > belongs to the main voice (but, note, not in a > construct). This is useful when extra voices appear while the main voice is playing.
Hoofdstuk 3: Fundamentele concepten 55 Here is a more correct rendition of our example. The red diamond-shaped notes demonstrate that the main melody is now in a single voice context, permitting a phrasing slur to be drawn over them. \new Staff \relative c' { \voiceOneStyle % This section is homophonic c16^( d e f % Start simultaneous section of three voices > } More deeply nested polyphony constructs are possible, and if a voice appears only briefly this might be a more natural way to typeset the music: \new Staff \relative c' { c16^( d e f } >> }
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LilyPond Beginnershandleiding Het L
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3.1.4 On the un-nestedness of brack
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Hoofdstuk 1: Leerboek 1 1 Leerboek
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Hoofdstuk 4: Tweaking output 107 }
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Hoofdstuk 4: Tweaking output 109 In
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Hoofdstuk 4: Tweaking output 111 \o
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Hoofdstuk 4: Tweaking output 113 5
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Hoofdstuk 4: Tweaking output 115 Sl
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Hoofdstuk 4: Tweaking output 119 si
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Hoofdstuk 4: Tweaking output 121 b2
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Hoofdstuk 4: Tweaking output 123 st
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Hoofdstuk 4: Tweaking output 125 Th
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Hoofdstuk 4: Tweaking output 129 Th
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Hoofdstuk 4: Tweaking output 135 \s
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Hoofdstuk 4: Tweaking output 137 \s
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Hoofdstuk 4: Tweaking output 141 %%
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Hoofdstuk 4: Tweaking output 143 7)
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Appendix A: Templates 145 \melody }
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Appendix A: Templates 147 \score {
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Appendix A: Templates 149 } \layout
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Appendix A: Templates 151 %%%%% (Th
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Appendix A: Templates 153 Violin 1
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Appendix A: Templates 155 hi
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Appendix A: Templates 157
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Appendix A: Templates 159 altonotes
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Appendix A: Templates 161 } \clef "
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Appendix A: Templates 163 > % End S
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Appendix A: Templates 165 dot = \ma
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Appendix A: Templates 167 A.5 Orche
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Appendix A: Templates 169 } \new St
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Appendix A: Templates 171 } \overri
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Appendix A: Templates 173 tenorNote
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Appendix A: Templates 175 } } } Dis
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Appendix A: Templates 177 \header {
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Appendix A: Templates 179 } trombon
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Appendix A: Templates 181 } down =
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Appendix B: GNU Free Documentation
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Appendix C: LilyPond register 191 \
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Appendix C: LilyPond register 193 L
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Appendix C: LilyPond register 195 t
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