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Chapter 3: Fundamental concepts 42 } } > r4 | � � � � � � � � � � � � � � � � � � � � � � Note that the size of the clef is the same as a clef printed following a clef change – slightly smaller than the clef at the beginning of the line. This is usual for clefs printed in the middle of a line. The ossia section may be placed above the staff as follows: \new Staff = "main" { \relative g' { r4 g8 g c4 c8 d | e4 r8 > r4 | } } � � � � � � � � � � � � � � � � � � � � � � This example uses \with, which will be explained more fully later. It is a means of modifying the default behavior of a single Staff. Here it says that the new staff should be placed above the staff called “main” instead of the default position which is below. See also Ossia are often written without clef and without time signature and are usually in a smaller font. These require further commands which have not yet been introduced. See Section 4.3.2 [Size of objects], page 95, and Section “Ossia staves” in Notation Reference. � �
Chapter 3: Fundamental concepts 43 3.1.4 On the un-nestedness of brackets and ties You have already met a number of different types of bracket in writing the input file to <strong>LilyPond</strong>. These obey different rules which can be confusing at first. Before we explain the rules let’s first review the different types of bracket. Bracket Type Function { .. } Encloses a sequential segment of music < .. > Encloses the notes of a chord > Encloses simultaneous music expressions ( .. ) Marks the start and end of a slur \( .. \) Marks the start and end of a phrasing slur [ .. ] Marks the start and end of a manual beam To these we should add other constructs which generate lines between or across notes: ties (marked by a tilde, ~), tuplets written as \times x/y {..}, and grace notes written as \grace{..}. Outside <strong>LilyPond</strong>, the conventional use of brackets requires the different types to be properly nested, like this, >, with the closing brackets being encountered in exactly the opposite order to the opening brackets. This is a requirement for the three types of bracket described by the word ‘Encloses’ in the table above – they must nest properly. However, the remaining brackets, described with the word ‘Marks’ in the table above together with ties and tuplets, do not have to nest properly with any of the brackets. In fact, these are not brackets in the sense that they enclose something – they are simply markers to indicate where something starts and ends. So, for example, a phrasing slur can start before a manually inserted beam and end before the end of the beam – not very musical, perhaps, but possible: { g8\( a b[ c b\) a] } � � � � � � � � In general, different kinds of brackets, and those implied by tuplets, ties and grace notes, may be mixed freely. This example shows a beam extending into a tuplet (line 1), a slur extending into a tuplet (line 2), a beam and a slur extending into a tuplet, a tie crossing two tuplets, and a phrasing slur extending out of a tuplet (lines 3 and 4). { r16[ g16 \times 2/3 {r16 e'8] } g16( a \times 2/3 {b d) e' } g8[( a \times 2/3 {b d') e'~]} \times 4/5 {e'32\( a b d' e'} a'4.\) } 2 � � � � � � 5 � � � � � 3 � �� 3 � � � � 3 � �
Page 1 and 2: LilyPond Learning Manual The LilyPo
Page 3 and 4: 3 Fundamental concepts . . . . . .
Page 5 and 6: Preface 1 Preface It must have been
Page 7 and 8: Chapter 1: Introduction 3 � �
Page 9 and 10: Chapter 1: Introduction 5 How can w
Page 11 and 12: Chapter 1: Introduction 7 This expr
Page 13 and 14: Chapter 1: Introduction 9 About the
Page 15 and 16: Chapter 2: Tutorial 11 2 Tutorial T
Page 17 and 18: Chapter 2: Tutorial 13 This behavio
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Page 27 and 28: Chapter 2: Tutorial 23 See also Not
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Page 31 and 32: Chapter 2: Tutorial 27 \new Staff .
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Chapter 4: Tweaking output 93 �
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Chapter 4: Tweaking output 95 Note
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Chapter 4: Tweaking output 99 the t
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Chapter 4: Tweaking output 101 \dot
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Chapter 4: Tweaking output 103 < c
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Chapter 4: Tweaking output 107 c,,2
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Chapter 4: Tweaking output 109 4.5
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Chapter 4: Tweaking output 111 posi
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Chapter 4: Tweaking output 113 staf
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Chapter 4: Tweaking output 115 r4 \
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Chapter 4: Tweaking output 121 } g2
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Chapter 4: Tweaking output 123 } c4
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Chapter 4: Tweaking output 125 Simu
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Chapter 4: Tweaking output 127 } \n
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Chapter 4: Tweaking output 129 \ove
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Chapter 5: Working on LilyPond proj
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Appendix A: Templates 141 Appendix
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Appendix A: Templates 143 A.1.4 Not
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Appendix A: Templates 145 } \key c
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Appendix A: Templates 147 } dynamic
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Appendix A: Templates 149 cello = \
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Appendix A: Templates 151 %{ Uncomm
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Appendix A: Templates 153 } \new St
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Appendix A: Templates 155 } \new Vo
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Appendix A: Templates 157 } \score
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Appendix A: Templates 159 discantus
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Appendix A: Templates 161 bassusNot
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Appendix A: Templates 163 3 � �
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Appendix A: Templates 165 global =
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Appendix A: Templates 167 \voiceOne
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Appendix A: Templates 169 } >> \lay
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Appendix A: Templates 171 \begin{li
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Appendix B: Scheme tutorial 173 App
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Appendix B: Scheme tutorial 175 TOD
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Appendix C: GNU Free Documentation
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Appendix D: LilyPond index 183 \sto
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Appendix D: LilyPond index 185 H ha
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Appendix D: LilyPond index 187 rest
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mpdolce - LilyPond

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