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Expressive marks
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Adding beams, slurs, ties etc. when using tuplet and non-tuplet rhythms
LilyPond syntax can involve many unusual placements for parentheses, brackets etc., which might sometimes have to be interleaved.
For example, when entering a manual beam, the left square bracket has to be placed after the starting note and its duration, not before. Similarly, the right square bracket should directly follow the note which is to be at the end of the requested beaming, even if this note happens to be inside a tuplet section.
This snippet demonstrates how to combine manual beaming, manual slurs, ties and phrasing slurs with tuplet sections (enclosed within curly braces).
{ r16[ g16 \tuplet 3/2 { r16 e'8] } g16( a \tuplet 3/2 { b d e') } g8[( a \tuplet 3/2 { b d') e'] ~ } \time 2/4 \tuplet 5/4 { e'32\( a b d' e' } a'4.\) }
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Adding parentheses around an expressive mark or chordal note
The \parenthesize
function is a special tweak that encloses
objects in parentheses. The associated grob is ParenthesesItem
.
\relative c' { c2-\parenthesize -> \override ParenthesesItem.padding = #0.1 \override ParenthesesItem.font-size = #-4 <d \parenthesize f a>2 }
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Aggiungere i segni di tempo per i glissandi lunghi
I battiti saltati nei glissandi molto lunghi vengono talvolta segnalati con delle indicazioni di tempo, che consistono solitamente in dei gambi privi di teste di nota. Questi gambi possono essere usati anche per contenere segni di espressione intermedi.
Se i gambi non si allineano bene al glissando, può essere necessario riposizionarli leggermente.
glissandoSkipOn = { \override NoteColumn.glissando-skip = ##t \hide NoteHead \override NoteHead.no-ledgers = ##t } glissandoSkipOff = { \revert NoteColumn.glissando-skip \undo \hide NoteHead \revert NoteHead.no-ledgers } \relative c'' { r8 f8\glissando \glissandoSkipOn f4 g a a8\noBeam \glissandoSkipOff a8 r8 f8\glissando \glissandoSkipOn g4 a8 \glissandoSkipOff a8 | r4 f\glissando \< \glissandoSkipOn a4\f \> \glissandoSkipOff b8\! r | }
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Cambiare la forma dei portamenti indeterminati verso il basso o verso l’alto
La proprietà shortest-duration-space
può essere modificata per cambiare
la forma dei portamenti indeterminati verso il basso o verso l’alto.
\relative c'' { \override Score.SpacingSpanner.shortest-duration-space = #4.0 c2-\bendAfter #5 c2-\bendAfter #-4.75 c2-\bendAfter #8.5 c2-\bendAfter #-6 }
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Note brevi alternative
Le note brevi sono disponibili anche con due linee verticali su ciascun lato della testa invece di una sola e in stile barocco.
\relative c'' { \time 4/2 c\breve | \override Staff.NoteHead.style = #'altdefault b\breve \override Staff.NoteHead.style = #'baroque b\breve \revert Staff.NoteHead.style a\breve }
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Asymmetric slurs
Slurs can be made asymmetric to match an asymmetric pattern of notes better.
slurNotes = { d,8( a' d f a f' d, a) } \relative c' { \stemDown \slurUp \slurNotes \once \override Slur.eccentricity = #3.0 \slurNotes }
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Breathing signs
Breathing signs are available in different tastes: commas (default), ticks, vees and “railroad tracks” (caesura).
\new Staff \relative c'' { \key es \major \time 3/4 % this bar contains no \breathe << { g4 as g } \\ { es4 bes es } >> | % Modern notation: % by default, \breathe uses the rcomma, just as if saying: % \override BreathingSign.text = #(make-musicglyph-markup "scripts.rcomma") << { g4 as g } \\ { es4 \breathe bes es } >> | % rvarcomma and lvarcomma are variations of the default rcomma and lcomma % N.B.: must use Staff context here, since we start a Voice below \override Staff.BreathingSign.text = \markup { \musicglyph "scripts.rvarcomma" } << { g4 as g } \\ { es4 \breathe bes es } >> | % vee \override BreathingSign.text = \markup { \musicglyph "scripts.upbow" } es8[ d es f g] \breathe f | % caesura \override BreathingSign.text = \markup { \musicglyph "scripts.caesura.curved" } es8[ d] \breathe es[ f g f] | es2 r4 \bar "||" }
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Broken Crescendo Hairpin
In order to make parts of a crescendo hairpin invisible, the following method is used: A white rectangle is drawn on top of the respective part of the crescendo hairpin, making it invisible. The rectangle is defined as postscript code within a text markup.
The markup command with-dimensions
tells LilyPond to consider
only the bottom edge of the rectangle when spacing it against the
hairpin. The property staff-padding
prevents the rectangle from
fitting between the hairpin and staff.
Make sure the hairpin is in a lower layer than the text markup to draw the rectangle over the hairpin.
\relative c' { << { \dynamicUp r2 r16 c'8.\pp r4 } \\ { \override DynamicLineSpanner.layer = #0 des,2\mf\< ~ \override TextScript.layer = #2 \once\override TextScript.staff-padding = #6 \once\override TextScript.vertical-skylines = #'() des16_\markup \with-dimensions #'(2 . 7) #'(0 . 0) \with-color #white \filled-box #'(2 . 7) #'(0 . 2) #0 r8. des4 ~ des16->\sff r8. } >> }
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Caesura ("railtracks") with fermata
A caesura is sometimes denoted by a double “railtracks” breath mark with a fermata sign positioned above. This snippet shows an optically pleasing combination of railtracks and fermata.
\relative c'' { c2. % construct the symbol \override BreathingSign.text = \markup { \override #'(direction . 1) \override #'(baseline-skip . 1.8) \dir-column { \translate #'(0.155 . 0) \center-align \musicglyph "scripts.caesura.curved" \center-align \musicglyph "scripts.ufermata" } } \breathe c4 % set the breathe mark back to normal \revert BreathingSign.text c2. \breathe c4 \bar "|." }
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Center text below hairpin dynamics
This example provides a function to typeset a hairpin (de)crescendo with some additional text below it, such as “molto” or “poco”. The added text will change the direction according to the direction of the hairpin. The Hairpin is aligned to DynamicText.
The example also illustrates how to modify the way an object is normally printed, using some Scheme code.
hairpinWithCenteredText = #(define-music-function (text) (markup?) #{ \once \override Voice.Hairpin.after-line-breaking = #(lambda (grob) (let* ((stencil (ly:hairpin::print grob)) (par-y (ly:grob-parent grob Y)) (dir (ly:grob-property par-y 'direction)) (new-stencil (ly:stencil-aligned-to (ly:stencil-combine-at-edge (ly:stencil-aligned-to stencil X CENTER) Y dir (ly:stencil-aligned-to (grob-interpret-markup grob text) X CENTER)) X LEFT)) (staff-space (ly:output-def-lookup (ly:grob-layout grob) 'staff-space)) (staff-line-thickness (ly:output-def-lookup (ly:grob-layout grob) 'line-thickness)) (par-x (ly:grob-parent grob X)) (dyn-text (grob::has-interface par-x 'dynamic-text-interface)) (dyn-text-stencil-x-length (if dyn-text (interval-length (ly:stencil-extent (ly:grob-property par-x 'stencil) X)) 0)) (x-shift (if dyn-text (- (+ staff-space dyn-text-stencil-x-length) (* 0.5 staff-line-thickness)) 0))) (ly:grob-set-property! grob 'Y-offset 0) (ly:grob-set-property! grob 'stencil (ly:stencil-translate-axis new-stencil x-shift X)))) #}) hairpinMolto = \hairpinWithCenteredText \markup { \italic molto } hairpinMore = \hairpinWithCenteredText \markup { \larger moltissimo } \layout { ragged-right = ##f } \relative c' { \hairpinMolto c2\< c\f \hairpinMore c2\ppppp\< c\f \break \hairpinMolto c2^\< c\f \hairpinMore c2\ppppp\< c\f }
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Modifica della dimensione del segno di \flageolet
Per ridurre la dimensione del cerchio di \flageolet
, usare la
seguente funzione Scheme.
smallFlageolet = \tweak font-size -3 \flageolet \layout { ragged-right = ##f } \relative c'' { d4^\flageolet_\markup { default size } d_\flageolet c4^\smallFlageolet_\markup { smaller } c_\smallFlageolet }
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Nascondere la linea di estensione per le dinamiche testuali
Il testo usato per i crescendo e i decrescendo può essere cambiato
modificando le proprietà di contesto crescendoText
e
decrescendoText
.
Lo stile della linea dell’estensore può essere cambiato modificando la
proprietà 'style
di DynamicTextSpanner
. Il valore predefinito
è 'dashed-line
; gli altri valori possibili sono 'line
,
'dotted-line
e 'none
.
\relative c'' { \set crescendoText = \markup { \italic { cresc. poco } } \set crescendoSpanner = #'text \override DynamicTextSpanner.style = #'dotted-line a2\< a a2 a a2 a a2 a\mf }
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Changing the appearance of a slur from solid to dotted or dashed
The appearance of slurs may be changed from solid to dotted or dashed.
\relative c' { c4( d e c) \slurDotted c4( d e c) \slurSolid c4( d e c) \slurDashed c4( d e c) \slurSolid c4( d e c) }
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Cambiare il simbolo del segno di respiro
Il glifo del respiro può essere modificato sovrascrivendo la proprietà
text
dell’oggetto di formattazione BreathingSign
con
qualsiasi testo incluso in un blocco markup.
\relative c'' { c2 \override BreathingSign.text = \markup { \musicglyph "scripts.rvarcomma" } \breathe d2 }
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Modifica del numero di punti di aumentazione per nota
Il numero di punti di aumentazione su una singola nota può essere modificato in modo indipendente dai punti posizionati dopo la nota.
\relative c' { c4.. a16 r2 | \override Dots.dot-count = #4 c4.. a16 r2 | \override Dots.dot-count = #0 c4.. a16 r2 | \revert Dots.dot-count c4.. a16 r2 | }
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Combining dynamics with markup texts
Some dynamics may involve text indications (such as “più forte” or
“piano subito”). These can be produced using a \markup
block.
piuF = \markup { \italic più \dynamic f } \layout { ragged-right = ##f } \relative c'' { c2\f c-\piuF }
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Glissando contemporaneo
Un glissando contemporaneo senza una nota finale può essere creato usando una nota nascosta e un tempo di cadenza.
\relative c'' { \time 3/4 \override Glissando.style = #'zigzag c4 c \cadenzaOn c4\glissando \hideNotes c,,4 \unHideNotes \cadenzaOff \bar "|" }
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Controlling spanner visibility after a line break
The visibility of spanners which end on the first note following a line
break is controlled by the after-line-breaking
callback
ly:spanner::kill-zero-spanned-time
.
For objects such as glissandos and hairpins, the default behaviour is to hide the spanner after a break; disabling the callback will allow the left-broken span to be shown.
Conversely, spanners which are usually visible, such as text spans, can be hidden by enabling the callback.
\paper { ragged-right = ##t } \relative c'' { \override Hairpin.to-barline = ##f \override Glissando.breakable = ##t % show hairpin \override Hairpin.after-line-breaking = ##t % hide text span \override TextSpanner.after-line-breaking = #ly:spanner::kill-zero-spanned-time e2\<\startTextSpan % show glissando \override Glissando.after-line-breaking = ##t f2\glissando \break f,1\!\stopTextSpan }
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Controllo dell’ordine verticale degli script
L’ordine verticale degli script è determinato dalla proprietà
'script-priority
. Più il numero è piccolo, più sarà posto
vicino alla nota. In questo esempio, il simbolo di diesis (oggetto
TextScript
) ha prima la priorità più bassa, dunque è posto più
in basso nel primo esempio. Nel secondo, il trillo (oggetto Script
) ha
la priorità più bassa, quindi si trova all’interno. Quando due oggetti hanno
la stessa priorità, l’ordine in cui sono inseriti determina quale viene
prima.
\relative c''' { \once \override TextScript.script-priority = #-100 a2^\prall^\markup { \sharp } \once \override Script.script-priority = #-100 a2^\prall^\markup { \sharp } }
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Creare un gruppetto ritardato
Creare un gruppetto ritardato, dove la nota più bassa del gruppetto usa
l’alterazione, richiede vari \override. La proprietà
outside-staff-priority
deve essere impostata su #f
, perché
altrimenti questa avrebbe la precedenza sulla proprietà avoid-slur
.
Cambiando le frazioni 2/3
e 1/3
si aggiusta la posizione
orizzontale.
\relative c'' { c2*2/3 ( s2*1/3\turn d4) r << { c4.( d8) } { s4 s\turn } >> \transpose c d \relative c'' << { c4.( d8) } { s4 \once \set suggestAccidentals = ##t \once \override AccidentalSuggestion.outside-staff-priority = ##f \once \override AccidentalSuggestion.avoid-slur = #'inside \once \override AccidentalSuggestion.font-size = -3 \once \override AccidentalSuggestion.script-priority = -1 \single \hideNotes b8-\turn \noBeam s8 } >> }
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Creare degli arpeggi che attraversano note appartenenti a voci diverse
Si può disegnare un arpeggio che attraversa delle note in voci diverse
dello stesso rigo se si aggiunge l’incisore Span_arpeggio_engraver
nel
contesto Staff
:
\new Staff \with { \consists "Span_arpeggio_engraver" } \relative c' { \set Staff.connectArpeggios = ##t << { <e' g>4\arpeggio <d f> <d f>2 } \\ { <d, f>2\arpeggio <g b>2 } >> }
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Creare degli arpeggi che attraversano il rigo del pianoforte
In un rigo per pianoforte (PianoStaff
), è possibile far sì che un
arpeggio attraversi i righi impostando la proprietà PianoStaff.connectArpeggios
.
\new PianoStaff \relative c'' << \set PianoStaff.connectArpeggios = ##t \new Staff { <c e g c>4\arpeggio <g c e g>4\arpeggio <e g c e>4\arpeggio <c e g c>4\arpeggio } \new Staff { \clef bass \repeat unfold 4 { <c,, e g c>4\arpeggio } } >>
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Creare degli arpeggi che attraversano i righi in altri contesti
Si possono creare arpeggi che attraversano i righi in contesti diversi da
GrandStaff
, PianoStaff
e StaffGroup
se l’incisore
Span_arpeggio_engraver
è incluso nel contesto Score
.
\score { \new ChoirStaff { \set Score.connectArpeggios = ##t << \new Voice \relative c' { <c e>2\arpeggio <d f>2\arpeggio <c e>1\arpeggio } \new Voice \relative c { \clef bass <c g'>2\arpeggio <b g'>2\arpeggio <c g'>1\arpeggio } >> } \layout { \context { \Score \consists "Span_arpeggio_engraver" } } }
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Creating double-digit fingerings
Creating fingerings larger than 5 is possible.
\relative c' { c1-10 c1-50 c1-36 c1-29 }
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Creating "real" parenthesized dynamics
Although the easiest way to add parentheses to a dynamic mark is to use
a \markup
block, this method has a downside: the created
objects will behave like text markups, and not like dynamics.
However, it is possible to create a similar object using the equivalent
Scheme code (as described in the Notation Reference), combined with the
make-dynamic-script
function. This way, the markup will be
regarded as a dynamic, and therefore will remain compatible with
commands such as \dynamicUp
or \dynamicDown
.
paren = #(define-event-function (dyn) (ly:event?) (make-dynamic-script #{ \markup \concat { \normal-text \italic \fontsize #2 ( \pad-x #0.2 #(ly:music-property dyn 'text) \normal-text \italic \fontsize #2 ) } #})) \relative c'' { c4\paren\f c c \dynamicUp c\paren\p }
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Creating simultaneous rehearsal marks
Unlike text scripts, rehearsal marks cannot be stacked at a particular
point in a score: only one RehearsalMark
object is
created. Using an invisible measure and bar line, an extra rehearsal
mark can be added, giving the appearance of two marks in the same
column.
This method may also prove useful for placing rehearsal marks at both the end of one system and the start of the following system.
{ \key a \major \set Score.markFormatter = #format-mark-box-letters \once \override Score.RehearsalMark.outside-staff-priority = #5000 \once \override Score.RehearsalMark.self-alignment-X = #LEFT \once \override Score.RehearsalMark.break-align-symbols = #'(key-signature) \mark \markup { \bold { Senza denti } } % the hidden measure and bar line % \cadenzaOn turns off automatic calculation of bar numbers \cadenzaOn \once \override Score.TimeSignature.stencil = ##f \time 1/16 s16 \bar "" \cadenzaOff \time 4/4 \once \override Score.RehearsalMark.self-alignment-X = #LEFT \mark \markup { \box \bold Intro } d'1 \mark \default d'1 }
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Creating slurs across voices
In some situations, it may be necessary to create slurs between notes
from different voices. The solution is to add invisible notes to one of
the voices, using \hideNotes
.
This example is measure 235 of the Ciaconna from Bach’s 2nd Partita for solo violin, BWV 1004.
\relative c' { << { d16( a') s a s a[ s a] s a[ s a] } \\ { \slurUp bes,16[ s e]( \hideNotes a) \unHideNotes f[( \hideNotes a) \unHideNotes fis]( \hideNotes a) \unHideNotes g[( \hideNotes a) \unHideNotes gis]( \hideNotes a) } >> }
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Creating text spanners
The \startTextSpan
and \stopTextSpan
commands allow the
creation of text spanners as easily as pedal indications or
octavations. Override some properties of the TextSpanner
object
to modify its output.
\paper { ragged-right = ##f } \relative c'' { \override TextSpanner.bound-details.left.text = #"bla" \override TextSpanner.bound-details.right.text = #"blu" a4 \startTextSpan b4 c a4 \stopTextSpan \override TextSpanner.style = #'line \once \override TextSpanner.bound-details.left.stencil-align-dir-y = #CENTER a4 \startTextSpan b4 c a4 \stopTextSpan \override TextSpanner.style = #'dashed-line \override TextSpanner.bound-details.left.text = \markup { \draw-line #'(0 . 1) } \override TextSpanner.bound-details.right.text = \markup { \draw-line #'(0 . -2) } \once \override TextSpanner.bound-details.right.padding = #-2 a4 \startTextSpan b4 c a4 \stopTextSpan \set Staff.middleCPosition = #-13 \override TextSpanner.dash-period = #10 \override TextSpanner.dash-fraction = #0.5 \override TextSpanner.thickness = #10 a4 \startTextSpan b4 c a4 \stopTextSpan }
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Estensore testuale della dinamica personalizzato
Funzioni postfix per estensori testuali personalizzati del crescendo. Gli
estensori devono iniziare sulla prima nota della misura; e bisogna usare
-\mycresc
, altrimenti l’inizio dell’estensore viene assegnato alla
nota successiva.
% Two functions for (de)crescendo spanners where you can explicitly % give the spanner text. mycresc = #(define-music-function (mymarkup) (markup?) (make-music 'CrescendoEvent 'span-direction START 'span-type 'text 'span-text mymarkup)) mydecresc = #(define-music-function (mymarkup) (markup?) (make-music 'DecrescendoEvent 'span-direction START 'span-type 'text 'span-text mymarkup)) \relative c' { c4-\mycresc "custom cresc" c4 c4 c4 | c4 c4 c4 c4 | c4-\mydecresc "custom decresc" c4 c4 c4 | c4 c4\! c4 c4 }
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Estensore testuale della dinamica personalizzato
Si possono definire estensori testuali personalizzati che fanno uso delle
forcine e dei crescendo testuali. \<
e \>
generano le
forcine, \cresc
etc. generano gli estensori testuali.
% Some sample text dynamic spanners, to be used as postfix operators crpoco = #(make-music 'CrescendoEvent 'span-direction START 'span-type 'text 'span-text "cresc. poco a poco") \relative c' { c4\cresc d4 e4 f4 | g4 a4\! b4\crpoco c4 | c4 d4 e4 f4 | g4 a4\! b4\< c4 | g4\dim a4 b4\decresc c4\! }
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Glissandi can skip grobs
NoteColumn
grobs can be skipped over by glissandi.
\relative c' { a2 \glissando \once \override NoteColumn.glissando-skip = ##t f''4 d, }
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Hairpins with different line styles
Hairpins can take any style from line-interface
- dashed-line,
dotted-line, line, trill or zigzag.
\relative c' { c2\< c\! \override Hairpin.style = #'dashed-line c2\< c\! \override Hairpin.style = #'dotted-line c2\< c\! \override Hairpin.style = #'line c2\< c\! \override Hairpin.style = #'trill c2\< c\! \override Hairpin.style = #'zigzag c2\< c\! \revert Hairpin.style c2\< c\! }
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Nascondere la linea di estensione per le dinamiche testuali
I cambi di dinamica in stile testuale (come cresc. e dim.) appaiono con una linea tratteggiata che mostra la loro estensione. Questa linea può essere soppressa nel modo seguente:
\relative c'' { \override DynamicTextSpanner.style = #'none \crescTextCresc c1\< | d | b | c\! }
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Horizontally aligning custom dynamics (e.g. "sempre pp" "piu f" "subito p")
Some dynamic expressions involve additional text, like “sempre pp”. Since dynamics are usually centered under the note, the \pp would be displayed way after the note it applies to.
To correctly align the “sempre pp” horizontally, so that it is aligned as if it were only the \pp, there are several approaches:
* Simply use \once\override DynamicText.X-offset = #-9.2
before the note with the dynamics to manually shift it to the correct
position. Drawback: This has to be done manually each time you use that
dynamic markup...
* Add some padding (#:hspace 7.1
) into the definition of your
custom dynamic mark, so that after lilypond center-aligns it, it is
already correctly aligned. Drawback: The padding really takes up that
space and does not allow any other markup or dynamics to be shown in
that position.
* Shift the dynamic script \once\override ... .X-offset = ..
.
Drawback: \once\override
is needed for every invocation!
* Set the dimensions of the additional text to 0 (using
#:with-dimensions '(0 . 0) '(0 . 0)
). Drawback: To LilyPond
“sempre” has no extent, so it might put other stuff there and create
collisions (which are not detected by the collision detection!). Also,
there seems to be some spacing, so it’s not exactly the same alignment
as without the additional text
* Add an explicit shifting directly inside the scheme function for the dynamic-script.
* Set an explicit alignment inside the dynamic-script. By default, this
won’t have any effect, only if one sets X-offset! Drawback: One needs
to set DynamicText.X-offset
, which will apply to all dynamic
texts! Also, it is aligned at the right edge of the additional text,
not at the center of pp.
\paper { ragged-right = ##f indent = 2.5\cm } % Solution 1: Using a simple markup with a particular halign value % Drawback: It's a markup, not a dynamic command, so \dynamicDown % etc. will have no effect semppMarkup = \markup { \halign #1.4 \italic "sempre" \dynamic "pp" } % Solution 2: Using a dynamic script & shifting with % \once \override ...X-offset = .. % Drawback: \once \override needed for every invocation semppK = #(make-dynamic-script (markup #:line (#:normal-text #:italic "sempre" #:dynamic "pp"))) % Solution 3: Padding the dynamic script so the center-alignment % puts it at the correct position % Drawback: the padding really reserves the space, nothing else can be there semppT = #(make-dynamic-script (markup #:line (#:normal-text #:italic "sempre" #:dynamic "pp" #:hspace 7.1))) % Solution 4: Dynamic, setting the dimensions of the additional text to 0 % Drawback: To lilypond "sempre" has no extent, so it might put % other stuff there => collisions % Drawback: Also, there seems to be some spacing, so it's not exactly the % same alignment as without the additional text semppM = #(make-dynamic-script (markup #:line (#:with-dimensions '(0 . 0) '(0 . 0) #:right-align #:normal-text #:italic "sempre" #:dynamic "pp"))) % Solution 5: Dynamic with explicit shifting inside the scheme function semppG = #(make-dynamic-script (markup #:hspace 0 #:translate '(-18.85 . 0) #:line (#:normal-text #:italic "sempre" #:dynamic "pp"))) % Solution 6: Dynamic with explicit alignment. This has only effect % if one sets X-offset! % Drawback: One needs to set DynamicText.X-offset! % Drawback: Aligned at the right edge of the additional text, % not at the center of pp semppMII = #(make-dynamic-script (markup #:line (#:right-align #:normal-text #:italic "sempre" #:dynamic "pp"))) \new StaffGroup << \new Staff = "s" \with { instrumentName = \markup \column { Normal } } << \relative c'' { \key es \major c4\pp c\p c c | c\ff c c\pp c } >> \new Staff = "sMarkup" \with { instrumentName = \markup \column { Normal markup } } << \relative c'' { \key es \major c4-\semppMarkup c\p c c | c\ff c c-\semppMarkup c } >> \new Staff = "sK" \with { instrumentName = \markup \column { Explicit shifting } } << \relative c'' { \key es \major \once \override DynamicText.X-offset = #-9.2 c4\semppK c\p c c c4\ff c \once \override DynamicText.X-offset = #-9.2 c4\semppK c } >> \new Staff = "sT" \with { instrumentName = \markup \column { Right padding } } << \relative c'' { \key es \major c4\semppT c\p c c | c\ff c c\semppT c } >> \new Staff = "sM" \with { instrumentName = \markup \column { Set dimension "to zero" } } << \relative c'' { \key es \major c4\semppM c\p c c | c\ff c c\semppM c } >> \new Staff = "sG" \with { instrumentName = \markup \column { Shift inside dynamics} } << \relative c'' { \key es \major c4\semppG c\p c c | c\ff c c\semppG c } >> \new Staff = "sMII" \with { instrumentName = \markup \column { Alignment inside dynamics } } << \relative c'' { \key es \major % Setting to ##f (false) gives the same result \override DynamicText.X-offset = #0 c4\semppMII c\p c c | c\ff c c\semppMII c } >> >> \layout { \override Staff.InstrumentName.self-alignment-X = #LEFT }
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How to print two rehearsal marks above and below the same barline (method 1)
This method prints two ’rehearsal marks’, one on top of the other. It shifts the lower rehearsal mark below the staff and then adds padding above it in order to place the upper rehearsal mark above the staff.
By adjusting the extra-offset and baseline-skip values you can increase or decrease the overall space between the rehearsal mark and the staff.
Because nearly every type of glyph or string can be made to behave like a rehearsal mark it is possible to centre those above and below a bar line.
Adding the appropriate ’break visibility’ as shown in snippet 1 will allow you to position two marks at the end of a line as well.
Note: Method 1 is less complex than Method 2 but does not really allow
for fine tuning of placement of one of the rehearsal marks without
affecting the other. It may also give some problems with vertical
spacing, since using extra-offset
does not change the bounding
box of the mark from its original value.
\relative c'{ c d e f | \once \override Score.RehearsalMark.extra-offset = #'(0 . -8.5) \once \override Score.RehearsalMark.baseline-skip = #9 \mark \markup \center-column { \circle 1 \box A } g f e d | \once \override Score.RehearsalMark.extra-offset = #'(0 . -8.5) \once \override Score.RehearsalMark.baseline-skip = #9 \mark \markup \center-column { \flat { \bold \small \italic Fine. } } g f e d | \once \override Score.RehearsalMark.extra-offset = #'(0 . -8.5) \once \override Score.RehearsalMark.baseline-skip = #9 \override Score.RehearsalMark.break-visibility = #begin-of-line-invisible \mark \markup \center-column { \fermata \box z } }
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How to print two rehearsal marks above and below the same barline (method 2)
This method prints two ’rehearsal marks’ - one above the stave and one below, by creating two voices, adding the Rehearsal Mark engraver to each voice - without this no rehearsal mark is printed - and then placing each rehearsal mark UP and DOWN in each voice respectively.
This method (as opposed to method 1) is more complex, but allows for more flexibility, should it be needed to tweak each rehearsal mark independently of the other.
\score { \relative c' << \new Staff { << \new Voice \with { \consists Mark_engraver \consists "Staff_collecting_engraver" } { c4 d e f \mark \markup { \box A } c4 d e f } \new Voice \with { \consists Mark_engraver \consists "Staff_collecting_engraver" \override RehearsalMark.direction = #DOWN } { s4 s s s \mark \markup { \circle 1 } s4 s s s } >> } >> \layout { \context { \Score \remove "Mark_engraver" \remove "Staff_collecting_engraver" } } }
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Inserire una cesura
I segni di cesura possono essere creati sovrascrivendo la proprietà 'text
dell’oggetto BreathingSign
. È disponibile anche un segno di cesura
curvo.
\relative c'' { \override BreathingSign.text = \markup { \musicglyph "scripts.caesura.straight" } c8 e4. \breathe g8. e16 c4 \override BreathingSign.text = \markup { \musicglyph "scripts.caesura.curved" } g8 e'4. \breathe g8. e16 c4 }
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Laissez vibrer ties
Laissez vibrer ties have a fixed size. Their formatting can be tuned
using 'tie-configuration
.
\relative c' { <c e g>4\laissezVibrer r <c f g>\laissezVibrer r <c d f g>4\laissezVibrer r <c d f g>4.\laissezVibrer r8 <c d e f>4\laissezVibrer r \override LaissezVibrerTieColumn.tie-configuration = #`((-7 . ,DOWN) (-5 . ,DOWN) (-3 . ,UP) (-1 . ,UP)) <c d e f>4\laissezVibrer r }
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Line arrows
Arrows can be applied to text-spanners and line-spanners (such as the Glissando).
\relative c'' { \override TextSpanner.bound-padding = #1.0 \override TextSpanner.style = #'line \override TextSpanner.bound-details.right.arrow = ##t \override TextSpanner.bound-details.left.text = #"fof" \override TextSpanner.bound-details.right.text = #"gag" \override TextSpanner.bound-details.right.padding = #0.6 \override TextSpanner.bound-details.right.stencil-align-dir-y = #CENTER \override TextSpanner.bound-details.left.stencil-align-dir-y = #CENTER \override Glissando.bound-details.right.arrow = ##t \override Glissando.arrow-length = #0.5 \override Glissando.arrow-width = #0.25 a8\startTextSpan gis a4 b\glissando b, g'4 c\stopTextSpan c2 }
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Legature di portamento con complesse strutture di tratteggio
Le legature di portamento possono avere schemi di tratteggio complessi
definendo la proprietà dash-definition
. dash-definition
è
una lista di dash-elements
. Un dash-element
è una lista
di parametri che definiscono il comportamento del tratteggio per un
segmento della legatura.
La legatura di portamento è definita come il parametro t della curva di
bezier che va da 0 sul margine sinistro della legatura fino a 1 su quello
destro. dash-element
è una lista di (inizio-t fine-t frazione-trattino
punto-trattino)
. La regione della legatura di portamento che va da inizio-t
a
fine-t
avrà una frazione frazione-trattino
di ogni
punto-trattino
nero. punto-trattino
viene definito in spazi
rigo. frazione-trattino
è impostato su 1 per una legatura di portamento
continua.
\relative c' { \once \override Slur.dash-definition = #'((0 0.3 0.1 0.75) (0.3 0.6 1 1) (0.65 1.0 0.4 0.75)) c4( d e f) \once \override Slur.dash-definition = #'((0 0.25 1 1) (0.3 0.7 0.4 0.75) (0.75 1.0 1 1)) c4( d e f) }
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Modificare i valori predefiniti per le abbreviazioni delle articolazioni
Le abbreviazioni sono definite in ‘ly/script-init.ly’, dove sono
assegnati valori predefiniti alle variabili dashHat
, dashPlus
,
dashDash
, dashBang
, dashLarger
, dashDot
e
dashUnderscore
. Questi valori predefiniti possono essere
modificati. Ad esempio, per associare l’abbreviazione -+
(dashPlus
)
al simbolo del trillo invece che al simbolo + predefinito, si assegna il
valore trill
alla variabile dashPlus
:
\relative c'' { c1-+ } dashPlus = "trill" \relative c'' { c1-+ }
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Moving slur positions vertically
The vertical position of a slur can be adjusted using the
positions
property of Slur
. The property has 2
parameters, the first referring to the left end of the slur and the
second to the right. The values of the parameters are not used by
LilyPond to make an exact movement of the slur - instead it selects
what placement of the slur looks best, taking into account the
parameter values. Positive values move the slur up, and are
appropriate for notes with stems down. Negative values move downward
slurs further down.
\relative c' { \stemDown e4( a) \override Slur.positions = #'(1 . 1) e4( a) \override Slur.positions = #'(2 . 2) e4( a) \override Slur.positions = #'(3 . 3) e4( a) \override Slur.positions = #'(4 . 4) e4( a) \override Slur.positions = #'(5 . 5) e4( a) \override Slur.positions = #'(0 . 5) e4( a) \override Slur.positions = #'(5 . 0) e4( a) \stemUp \override Slur.positions = #'(-5 . -5) e4( a) \stemDown \revert Slur.positions e4( a) }
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Spostare le estremità delle forcelle
Le estremità delle forcelle possono essere spostate in modo relativo alla
loro posizione predefinita (offset) impostando la proprietà shorten-pair
dell’oggetto Hairpin
. Valori positivi spostano le estremità a
destra, valori negativi le spostano a sinistra. Diversamente dalla
proprietà minimum-length
, questa proprietà modifica solo l’aspetto
della forcella; non cambia la spaziatura orizzontale (inclusa la posizione
delle dinamiche confinanti). Questo metodo è quindi utile per ritoccare
una forcella entro lo spazio ad essa allocato.
{ c'1~\< c'2~ c'\! \once \override Hairpin.shorten-pair = #'(2 . 2) c'1~\< c'2~ c'\! \once \override Hairpin.shorten-pair = #'(-2 . -2) c'1~\< c'2~ c'\! c'1~\p-\tweak shorten-pair #'(2 . 0)\< c'2~ c'\ffff }
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Positioning arpeggios
If you need to extend or shorten an arpeggio, you can modify the upper and lower start positions independently.
\relative c' { <c e g b>1\arpeggio \once \override Arpeggio.positions = #'(-5 . 0) <c e g b>1\arpeggio \once \override Arpeggio.positions = #'(0 . 5) <c e g b>1\arpeggio \once \override Arpeggio.positions = #'(-5 . 5) <c e g b>1\arpeggio }
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Posizionare il testo a margine dentro le legature di portamento
I testi a margine devono avere la proprietà outside-staff-priority
impostata su false per poter apparire dentro le legature di portamento.
\relative c'' { \override TextScript.avoid-slur = #'inside \override TextScript.outside-staff-priority = ##f c2(^\markup { \halign #-10 \natural } d4.) c8 }
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Stampare le forcelle in vari stili
Il segno di dinamica della forcella può avere diversi stili
\relative c'' { \override Hairpin.stencil = #flared-hairpin a4\< a a a\f a4\p\< a a a\ff a4\sfz\< a a a\! \override Hairpin.stencil = #constante-hairpin a4\< a a a\f a4\p\< a a a\ff a4\sfz\< a a a\! \override Hairpin.stencil = #flared-hairpin a4\> a a a\f a4\p\> a a a\ff a4\sfz\> a a a\! \override Hairpin.stencil = #constante-hairpin a4\> a a a\f a4\p\> a a a\ff a4\sfz\> a a a\! }
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Forcelle con notazione al niente
Le forcelle di dinamica possono essere rappresentate con ua punta
tonda (notazione “al niente”) impostando la proprietà circled-tip
dell’oggetto Hairpin
su #t
.
\relative c'' { \override Hairpin.circled-tip = ##t c2\< c\! c4\> c\< c2\! }
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Posizionare il metronomo e i numeri di chiamata sotto il rigo
Di norma, il metronomo e i numeri di chiamata vengono posizionati sopra il
rigo. Per metterli sotto il rigo basta impostare correttamente la proprietà
direction
di MetronomeMark
o RehearsalMark
.
\layout { indent = 0 ragged-right = ##f } { % Metronome marks below the staff \override Score.MetronomeMark.direction = #DOWN \tempo 8. = 120 c''1 % Rehearsal marks below the staff \override Score.RehearsalMark.direction = #DOWN \mark \default c''1 }
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Impostare il comportamento delle forcelle sulle stanghette
Se la nota che termina una forcella si trova sul primo battito di una
battuta, la forcella si ferma prima della stanghetta che precede la
nota. Si può controllare questo comportamento modificando la
proprietà 'to-barline
.
\relative c'' { e4\< e2. e1\! \override Hairpin.to-barline = ##f e4\< e2. e1\! }
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Impostare la lunghezza minima delle forcelle
Se le forcelle sono troppo corte, possono essere allungate modificando
la proprietà minimum-length
dell’oggetto Hairpin
.
\relative c'' { c4\< c\! d\> e\! << f1 { s4 s\< s\> s\! } >> \override Hairpin.minimum-length = #5 << f1 { s4 s\< s\> s\! } >> }
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Showing the same articulation above and below a note or chord
By default, LilyPond does not allow the same articulation (e.g., an
accent, a fermata, a flageolet, etc.) to be displayed above and below a
note. For example, c4_\fermata^\fermata
will only show a
fermata below. The fermata above will simply be ignored.
However, one can stick scripts (just like fingerings) inside a chord, which means it is possible to have as many articulations as desired. This approach has the advantage that it ignores the stem and positions the articulation relative to the note head. This can be seen in the case of the flageolets in the snippet. To mimic the behaviour of scripts outside a chord, ’add-stem-support would be required.
So, the solution is to write the note as a chord and add the
articulations inside the <...>
. The direction will always be
above, but one can tweak this via a \tweak:
<c-\tweak direction #DOWN-\fermata^\fermata>
% The same as \flageolet, just a little smaller smallFlageolet = \tweak font-size #-2 \flageolet \relative c' { s4^"Wrong:" c4_\fermata^\fermata % The second fermata is ignored! <e d'>4^\smallFlageolet_\smallFlageolet s4^"Works if written inside a chord:" <e_\smallFlageolet d'^\smallFlageolet>4 <e_\flageolet d'^\flageolet>4 <e_\smallFlageolet^\smallFlageolet>4 <e_\fermata^\fermata>4 }
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Snap-pizzicato or Bartok pizzicato
A snap-pizzicato (also known as “Bartok pizzicato”) is a “strong pizzicato where the string is plucked vertically by snapping and rebounds off the fingerboard of the instrument” (Wikipedia). It is denoted by a circle with a vertical line going from the center upwards outside the circle.
\relative c' { c4\snappizzicato <c' e g>4\snappizzicato <c' e g>4^\snappizzicato <c, e g>4_\snappizzicato }
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Usare un segno di spunta come simbolo di respiro
La musica vocale e per fiati usa frequentemente il segno di spunta come segno di respiro. Questo indica un respiro che sottrae un po’ di tempo alla nota precedente invece di prendere una piccola pausa, indicata dal segno di respiro rappresentato dalla virgola. Il segno può essere spostato un po’ su per allontanarlo dal rigo.
\relative c'' { c2 \breathe d2 \override BreathingSign.Y-offset = #2.6 \override BreathingSign.text = \markup { \musicglyph "scripts.tickmark" } c2 \breathe d2 }
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Usare arpeggioBracket per rendere i divisi più visibili
Si può usare arpeggioBracket
per indicare la divisione delle
voci quando non ci sono gambi che forniscano questa informazione. Questo
caso è frequente nella musica corale.
\include "english.ly" \score { \relative c'' { \key a \major \time 2/2 << \new Voice = "upper" << { \voiceOne \arpeggioBracket a2( b2 <b d>1\arpeggio) <cs e>\arpeggio ~ <cs e>4 } \addlyrics { \lyricmode { A -- men. } } >> \new Voice = "lower" { \voiceTwo a1 ~ a a ~ a4 \bar "|." } >> } \layout { ragged-right = ##t } }
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Uso delle doppie legature di portamento per gli accordi legati
Alcuni compositori scrivono due legature di portamento per indicare gli
accordi legati. Si può ottenere questo risultato impostando doubleSlurs
.
\relative c' { \set doubleSlurs = ##t <c e>4( <d f> <c e> <d f>) }
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Using the whiteout property
Any graphical object can be printed over a white background to mask
parts of objects that lie beneath. This can be useful to improve the
appearance of collisions in complex situations when repositioning
objects is impractical. It is necessary to explicitly set the
layer
property to control which objects are masked by the white
background.
In this example the collision of the tie with the time signature is
improved by masking out the part of the tie that crosses the time
signature by setting the whiteout
property of
TimeSignature
. To do this TimeSignature
is moved to a
layer above Tie
, which is left in the default layer of 1, and
StaffSymbol
is moved to a layer above TimeSignature
so it
is not masked.
{ \override Score.StaffSymbol.layer = #4 \override Staff.TimeSignature.layer = #3 b'2 b'~ \once \override Staff.TimeSignature.whiteout = ##t \time 3/4 b' r4 }
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Vertical line as a baroque articulation mark
This short vertical line placed above the note is commonly used in baroque music. Its meaning can vary, but generally indicates notes that should be played with more “weight”. The following example demonstrates how to achieve such a notation.
upline = \tweak stencil #(lambda (grob) (grob-interpret-markup grob #{ \markup \draw-line #'(0 . 1) #})) \stopped \relative c' { a'4^\upline a( c d')_\upline }
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Vertically aligning dynamics across multiple notes
Dynamics that occur at, begin on, or end on the same note will be
vertically aligned. To ensure that dynamics are aligned when they do
not occur on the same note, increase the staff-padding
property
of the DynamicLineSpanner
object.
\relative c' { \override DynamicLineSpanner.staff-padding = #4 c2\p f\mf g2\< b4\> c\! }
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