LilyPond Beginnershandleiding

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Hoofdstuk 3: Fundamentele concepten 58 \score { \new ChoirStaff \new Staff > >> } 8 6 8 6 Let flee cy flocks the hills Let a flee cy flocks the dorn, hills adorn, This is the basic structure of all vocal scores. More staves may be added as required, more voices may be added to the staves, more verses may be added to the lyrics, and the variables containing the music can easily be placed in separate files should they become too long. Here is an example of the first line of a hymn with four verses, set for SATB. In this case the words for all four parts are the same. Note how we use variables to separate the music notation and words from the staff structure. See too how a variable, which we have chosen to call ‘keyTime’, is used to hold several commands for use within the two staves. In other examples this is often called ‘global’. keyTime = { \key c \major \time 4/4 \partial 4 } SopMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g } AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e } TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 } BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 } VerseOne = \lyricmode { E -- | ter -- nal fa -- ther, | strong to save, } VerseTwo = \lyricmode { O | Christ, whose voice the | wa -- ters heard, }
Hoofdstuk 3: Fundamentele concepten 59 VerseThree = \lyricmode { O | Ho -- ly Spi -- rit, | who didst brood } VerseFour = \lyricmode { O | Tri -- ni -- ty of | love and pow'r } \score { \new ChoirStaff \new Staff > >> } Zie ook E O O O ter Christ, Ho Tri to ters didst and love nal fa ther, strong save, whose voice the wa heard, ly Spi rit, who brood ni ty of pow'r Notation Reference: Sectie “Vocal music” in Notatie-handleiding. 3.3 Contexts and engravers Contexts and engravers have been mentioned informally in earlier sections; we now must look at these concepts in more detail, as they are important in the fine-tuning of <strong>LilyPond</strong> output. 3.3.1 Contexts explained When music is printed, many notational elements which do not appear explicitly in the input file must be added to the output. For example, compare the input and output of the following example: cis4 cis2. | a4 a2. |
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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 1: Leerboek 3 Uit de menu
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Hoofdstuk 1: Leerboek 5 Stap 3. Bek
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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 117
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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 127 }
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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 139
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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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