LilyPond – Snippets

Musical notation

Specialist notation

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Pitches

Pitches

Ambitus pro Stimme hinzufügen

Ambitus können pro Stimme gesetzt werden. In diesem Fall müssen sie manuell verschoben werden, um Zusammenstöße zu verhindern.

\new Staff <<
  \new Voice \with {
    \consists "Ambitus_engraver"
  } \relative c'' {
    \override Ambitus.X-offset = #2.0
    \voiceOne
    c4 a d e
    f1
  }
  \new Voice \with {
    \consists "Ambitus_engraver"
  } \relative c' {
    \voiceTwo
    es4 f g as
    b1
  }
>>

Adding an ottava marking to a single voice

If you have more than one voice on the staff, setting octavation in one voice transposes the position of notes in all voices for the duration of the ottava bracket. If the octavation is only intended to apply to one voice, the Ottava_spanner_engraver should be moved to Voice context.

\layout {
  \context {
    \Staff
    \remove Ottava_spanner_engraver
  }
  \context {
    \Voice
    \consists Ottava_spanner_engraver
  }
}

{
  \clef bass
  << { <g d'>1~ q2 <c' e'> }
  \\
    {
      r2.
      \ottava -1
      <b,,, b,,>4 ~ |
      q2
      \ottava 0
      <c e>2
    }
  >>
}

Aiken head thin variant noteheads

Aiken head white notes get harder to read at smaller staff sizes, especially with ledger lines. Losing interior white space makes them appear as quarter notes.

\score {
  {
    \aikenHeads
    c''2 a' c' a

    % Switch to thin-variant noteheads
    \set shapeNoteStyles = ##(doThin reThin miThin
                              faThin sol laThin tiThin)
    c'' a' c' a
  }
}

Altering the length of beamed stems

Stem lengths on beamed notes can be varied by overriding the beamed-lengths property of the details of the Stem. If a single value is used as an argument, the length applies to all stems. When multiple arguments are used, the first applies to eighth notes, the second to sixteenth notes and so on. The final argument also applies to all notes shorter than the note length of the final argument. Non-integer arguments may also be used.

\relative c'' {
  \override Stem.details.beamed-lengths = #'(2)
  a8[ a] a16[ a] a32[ a]
  \override Stem.details.beamed-lengths = #'(8 10 12)
  a8[ a] a16[ a] a32[ a] r8
  \override Stem.details.beamed-lengths = #'(8)
  a8[ a]
  \override Stem.details.beamed-lengths = #'(8.5)
  a8[ a]
  \revert Stem.details.beamed-lengths
  a8[ a] a16[ a] a32[ a] r16
}

Ambitus

Ambitus indicate pitch ranges for voices.

Accidentals only show up if they are not part of the key signature. AmbitusNoteHead grobs also have ledger lines.

\layout {
  \context {
    \Voice
    \consists "Ambitus_engraver"
  }
}

<<
  \new Staff {
    \relative c' {
      \time 2/4
      c4 f'
    }
  }
  \new Staff {
    \relative c' {
      \time  2/4
      \key d \major
      cis4 as'
    }
  }
>>

Ambitus after key signature

By default, ambitus are positioned at the left of the clef. The \ambitusAfter function allows for changing this placement. Syntax is \ambitusAfter grob-interface (see Graphical Object Interfaces for a list of possible values for grob-interface.)

A common use case is printing the ambitus between key signature and time signature.

\new Staff \with {
  \consists Ambitus_engraver
} \relative {
  \ambitusAfter key-signature
  \key d \major
  es'8 g bes cis d2
}

Ambitus mit vielen Stimmen

Indem man den Ambitus_engraver im Staff-Kontext hinzufügt, erhält man einen einzigen Ambitus pro System, auch in dem Fall, dass mehrere Stimmen sich im gleichen System befinden.

\new Staff \with {
  \consists "Ambitus_engraver"
  }
<<
  \new Voice \relative c'' {
    \voiceOne
    c4 a d e
    f1
  }
  \new Voice \relative c' {
    \voiceTwo
    es4 f g as
    b1
  }
>>

Notenkopfstile basierend auf der Tonleiterstufe erstellen

Die shapeNoteStyles-(NotenFormenStile)-Eigenschaft kann benutzt werden, um verschiedene Notenstile für jeden Schritt der Tonleiter zu definieren (vorgegeben von der Tonart oder der „tonic“ (Tonika)-Eigenschaft. Diese Eigenschaft braucht eine Anzahl von Symbolen, welche beliebig sein können (geometrische Ausdrücke wie triangle (Dreieck), cross (Kreuz) und xcircle (X-Kreis) sind erlaubt) oder basierend auf einer alten amerikanischen Notensatztradition (einige lateinische Notenbezeichnungen sind auch erlaubt).

Um alte amerikanische Liederbücher zu imitieren, gibt es einige vordefinierte Notenstile wie etwa \aikenHeads (im Stil von Aiken) oder \sacredHarpHeads (im Stil der Sacred Harp-Tradition).

Dieses Beispiel zeigt, wie man unterschiedlich geformte Noten erhält und eine Melodie transponieren kann, ohne dass das Verhältnis zwischen den harmonischen Funktionen und dem Notenstil verloren geht.

fragment = {
  \key c \major
  c2 d
  e2 f
  g2 a
  b2 c
}

\new Staff {
  \transpose c d
  \relative c' {
    \set shapeNoteStyles = ##(do re mi fa
                               #f la ti)
    \fragment
  }

  \break

  \relative c' {
    \set shapeNoteStyles = ##(cross triangle fa #f
                               mensural xcircle diamond)
    \fragment
  }
}

Automatically changing the stem direction of the middle note based on the melody

LilyPond can alter the stem direction of the middle note on a staff so that it follows the melody, by adding the Melody_engraver to the Voice context.

The context property suspendMelodyDecisions may be used to turn off this behavior locally.

\relative c'' {
  \time 3/4
  a8 b g f b g |
  \set suspendMelodyDecisions = ##t
  a  b g f b g |
  \unset suspendMelodyDecisions
  c  b d c b c |
}

\layout {
  \context {
    \Voice
    \consists "Melody_engraver"
    \autoBeamOff
  }
}

Changing ottava text

Internally, \ottava sets the properties ottavation (for example, to 8va or 8vb) and middleCPosition. To override the text of the bracket, set ottavation after invoking \ottava.

Short text is especially useful when a brief ottava is used.

{
  c'2
  \ottava #1
  \set Staff.ottavation = #"8"
  c''2
  \ottava #0
  c'1
  \ottava #1
  \set Staff.ottavation = #"Text"
  c''1
}

Changing the ambitus gap

It is possible to change the default gap between the ambitus noteheads and the line joining them.

\layout {
  \context {
    \Voice
    \consists "Ambitus_engraver"
  }
}

\new Staff {
  \time 2/4
  % Default setting
  c'4 g''
}

\new Staff {
  \time 2/4
  \override AmbitusLine.gap = #0
  c'4 g''
}

\new Staff {
  \time 2/4
  \override AmbitusLine.gap = #1
  c'4 g''
}

\new Staff {
  \time 2/4
  \override AmbitusLine.gap = #1.5
  c'4 g''
}

Changing the interval of lines on the stave

staffLineLayoutFunction is used to change the position of notes. This snippet shows setting its value to ly:pitch-semitones in order to produce a chromatic scale with the distance between each space and line of the stave equal to one semitone.

scale = \relative c' {
  a4 ais b c
  cis4 d dis e
  f4 fis g gis
  a1
}

\new Staff \with {
  \remove "Accidental_engraver"
  staffLineLayoutFunction = #ly:pitch-semitones
}
{
  <<
    \scale
    \context NoteNames {
      \set printOctaveNames = ##f
      \scale
    }
  >>
}

Clefs can be transposed by arbitrary amounts

Clefs can be transposed by arbitrary amounts, not just by octaves.

\relative c' {
  \clef treble
  c4 c c c
  \clef "treble_8"
  c4 c c c
  \clef "treble_5"
  c4 c c c
  \clef "treble^3"
  c4 c c c
}

Coloring notes depending on their pitch

It is possible to color note heads depending on their pitch and/or their names: the function used in this example even makes it possible to distinguish enharmonics.

%Association list of pitches to colors.
#(define color-mapping
   (list
    (cons (ly:make-pitch 0 0 NATURAL) (x11-color 'red))
    (cons (ly:make-pitch 0 0 SHARP) (x11-color 'green))
    (cons (ly:make-pitch 0 1 FLAT) (x11-color 'green))
    (cons (ly:make-pitch 0 2 NATURAL) (x11-color 'red))
    (cons (ly:make-pitch 0 2 SHARP) (x11-color 'green))
    (cons (ly:make-pitch 0 3 FLAT) (x11-color 'red))
    (cons (ly:make-pitch 0 3 NATURAL) (x11-color 'green))
    (cons (ly:make-pitch 0 4 SHARP) (x11-color 'red))
    (cons (ly:make-pitch 0 5 NATURAL) (x11-color 'green))
    (cons (ly:make-pitch 0 5 FLAT) (x11-color 'red))
    (cons (ly:make-pitch 0 6 SHARP) (x11-color 'red))
    (cons (ly:make-pitch 0 1 NATURAL) (x11-color 'blue))
    (cons (ly:make-pitch 0 3 SHARP) (x11-color 'blue))
    (cons (ly:make-pitch 0 4 FLAT) (x11-color 'blue))
    (cons (ly:make-pitch 0 5 SHARP) (x11-color 'blue))
    (cons (ly:make-pitch 0 6 FLAT) (x11-color 'blue))))

%Compare pitch and alteration (not octave).
#(define (pitch-equals? p1 p2)
   (and
    (= (ly:pitch-alteration p1) (ly:pitch-alteration p2))
    (= (ly:pitch-notename p1) (ly:pitch-notename p2))))

#(define (pitch-to-color pitch)
   (let ((color (assoc pitch color-mapping pitch-equals?)))
     (if color
         (cdr color))))

#(define (color-notehead grob)
   (pitch-to-color
    (ly:event-property (event-cause grob) 'pitch)))

\score {
  \new Staff \relative c' {
    \override NoteHead.color = #color-notehead
    c8 b d dis ees f g aes
  }
}

Creating a sequence of notes on various pitches

In music that contains many occurrences of the same sequence of notes at different pitches, the following music function may prove useful. It takes a note, of which only the pitch is used.

This example creates the rhythm used throughout Mars, from Gustav Holst’s The Planets.

rhythm =
#(define-music-function (p) (ly:pitch?)
   "Make the rhythm in Mars (the Planets) at the given pitch"
  #{ \tuplet 3/2 { $p 8 8 8 } 4 4 8 8 4 #})

\new Staff {
  \time 5/4
  \rhythm c'
  \rhythm c''
  \rhythm g
}

Creating custom key signatures

LilyPond supports custom key signatures. In this example, print for D minor with an extended range of printed flats.

\new Staff \with {
  \override StaffSymbol.line-count = #8
  \override KeySignature.flat-positions = #'((-7 . 6))
  \override KeyCancellation.flat-positions = #'((-7 . 6))
  % presumably sharps are also printed in both octaves
  \override KeySignature.sharp-positions = #'((-6 . 7))
  \override KeyCancellation.sharp-positions = #'((-6 . 7))

  \override Clef.stencil = #
  (lambda (grob)(grob-interpret-markup grob
  #{ \markup\combine
    \musicglyph "clefs.C"
    \translate #'(-3 . -2)
    \musicglyph "clefs.F"
   #}))
    clefPosition = #3
    middleCPosition = #3
    middleCClefPosition = #3
}

{
  \key d\minor
  f bes, f bes,
}

Direction of merged ’fa’ shape note heads

Using property NoteCollision.fa-merge-direction, the direction of ‚fa‘ shape note heads (‚fa‘, ‚faThin‘, etc.) can be controlled independently of the stem direction if two voices with the same pitch and different stem directions are merged. If this property is not set, the ‚down‘ glyph variant is used.

{
  \clef bass

  << { \aikenHeads
       f2
       \override Staff.NoteCollision.fa-merge-direction = #UP
       f2 }
  \\ { \aikenHeads
       f2
       f2 }
  >>
}

Force a cancellation natural before accidentals

The following example shows how to force a natural sign before an accidental.

\relative c' {
  \key es \major
  bes c des
  \tweak Accidental.restore-first ##t
  eis
}

Forcing a clef symbol to be displayed

When a clef sign has already been displayed and it has not been changed to a different clef, then repeating the \clef command will be ignored by LilyPond, since it is not a change of clef. It is possible to force the clef to be redisplayed using the command \set Staff.forceClef = ##t.

\relative c' {
  \clef treble
  c1
  \clef treble
  c1
  \set Staff.forceClef = ##t
  c1
  \clef treble
  c1
}

Generating random notes

This Scheme-based snippet generates 24 random notes (or as many as required), based on the current time (or any randomish number specified instead, in order to obtain the same random notes each time): i.e., to get different random note patterns, just change this number.

\score {
  {
    $(let ((random-state (seed->random-state (current-time))))
       (make-sequential-music
         (map (lambda (x)
                (let ((idx (random 12 random-state)))
                  (make-event-chord
                   (list
                    (make-music 'NoteEvent
                                'duration (ly:make-duration 2 0 1/1)
                                'pitch (ly:make-pitch
                                        (quotient idx 7)
                                        (remainder idx 7)
                                        0))))))
              (make-list 24))))
  }
}

Hiding accidentals on tied notes at the start of a new system

This shows how to hide accidentals on tied notes at the start of a new system.

\relative c'' {
  \override Accidental.hide-tied-accidental-after-break = ##t
  cis1~ cis~
  \break
  cis
}

Keep change clefs full sized

When a clef is changed, the clef sign displayed is smaller than the initial clef. This can be overridden with full-size-change.

\relative c' {
  \clef "treble"
  c1
  \clef "bass"
  c1
  \clef "treble"
  c1
  \override Staff.Clef.full-size-change = ##t
  \clef "bass"
  c1
  \clef "treble"
  c1
  \revert Staff.Clef.full-size-change
  \clef "bass"
  c1
  \clef "treble"
  c1
}

Makam-Beispiel

Makam ist eine türkische Melodie, in der 1/9-Tonabstände eingesetzt werden. Sehen Sie sich die Initialisierungsdatei ‘makam.ly’ für weiter Information zu Tonhöhenbezeichnungen und Alterationen an (siehe Handbuch zum Lernen 2.23.82, 4.6.3 Weitere Information zu Hinweisen, wo diese Datei gespeichert ist).

% Initialize makam settings
\include "makam.ly"

\relative c' {
  \set Staff.keyAlterations = #`((6 . ,(- KOMA)) (3 . ,BAKIYE))
  c4 cc db fk
  gbm4 gfc gfb efk
  fk4 db cc c
}

Modifying the Ottava spanner slope

It is possible to change the slope of the Ottava spanner.

\relative c'' {
  \override Staff.OttavaBracket.stencil = #ly:line-spanner::print
  \override Staff.OttavaBracket.bound-details =
    #`((left . ((Y . 0)
                (attach-dir . ,LEFT)
                (padding . 0)
                (stencil-align-dir-y . ,CENTER)))
       (right . ((Y . 5.0) ; Change the number here
                 (padding . 0)
                 (attach-dir . ,RIGHT)
                 (text . ,(make-draw-dashed-line-markup
                           (cons 0 -1.2))))))
  \override Staff.OttavaBracket.left-bound-info =
     #ly:horizontal-line-spanner::calc-left-bound-info-and-text
  \override Staff.OttavaBracket.right-bound-info =
     #ly:horizontal-line-spanner::calc-right-bound-info
  \ottava #1
  c1
  c'''1
}

Untypische Tonarten

Der üblicherweise benutzte \key-Befehl setzt die keySignature-Eigenschaft im Staff-Kontext.

Um untypische Tonartenvorzeichen zu erstellen, muss man diese Eigenschaft direkt setzen. Das Format für den Befehl ist eine Liste: \set Staff.keySignature = #`(((Oktave . Schritt) . Alteration) ((Oktave . Schritt) . Alteration) ...) wobei für jedes Element in der Liste Oktave die Oktave angibt (0 ist die Oktave vom eingestrichenen C bis zum eingestrichenen H), Schritt gibt die Note innerhalb der Oktave an (0 heißt C und 6 heißt H), und Alteration ist ,SHARP ,FLAT ,DOUBLE-SHARP usw. (Beachte das beginnende Komma.)

Alternativ kann auch jedes Element der Liste mit dem allgemeineren Format (Schritt . Alteration) gesetzt werden, wobei dann die Einstellungen für alle Oktaven gelten.

Hier ein Beispiel einer möglichen Tonart für eine Ganztonleiter:

\include "arabic.ly"
\relative do' {
  \set Staff.keyAlterations = #`((0 . ,SEMI-FLAT)
                                 (1 . ,SEMI-FLAT)
                                 (2 . ,FLAT)
                                 (5 . ,FLAT)
                                 (6 . ,SEMI-FLAT))
%\set Staff.extraNatural = ##f
  re reb \dwn reb resd
  dod dob dosd \dwn dob |
  dobsb dodsd do do |
}

Numbers as easy note heads

Easy notation note heads use the note-names property of the NoteHead object to determine what appears inside the note head. By overriding this property, it is possible to print numbers representing the scale-degree.

A simple engraver can be created to do this for every note head object it sees.

#(define Ez_numbers_engraver
   (make-engraver
    (acknowledgers
     ((note-head-interface engraver grob source-engraver)
      (let* ((context (ly:translator-context engraver))
	     (tonic-pitch (ly:context-property context 'tonic))
	     (tonic-name (ly:pitch-notename tonic-pitch))
	     (grob-pitch
	      (ly:event-property (event-cause grob) 'pitch))
	     (grob-name (ly:pitch-notename grob-pitch))
	     (delta (modulo (- grob-name tonic-name) 7))
	     (note-names
	      (make-vector 7 (number->string (1+ delta)))))
	(ly:grob-set-property! grob 'note-names note-names))))))

#(set-global-staff-size 26)

\layout {
  ragged-right = ##t
  \context {
    \Voice
    \consists \Ez_numbers_engraver
  }
}

\relative c' {
  \easyHeadsOn
  c4 d e f
  g4 a b c \break

  \key a \major
  a,4 b cis d
  e4 fis gis a \break

  \key d \dorian
  d,4 e f g
  a4 b c d
}

Orchester, Chor und Klavier

Diese Vorlage zeigt die Benutzung von geschachtelten StaffGroup- und GrandStaff-Kontexte, um Instrumente in Untergruppen zu unterteilen, und die Benutzung von \transpose für transponierende Instrumente. Alle Noten werden in C geschrieben. Noten können in C eingegeben werden, oder auch in der Tonart des Instrumentes: dann müssen sie zuerst nach C transponiert werden, bevor sie einer Variable zugewiesen werden.

#(set-global-staff-size 17)
\paper {
  indent = 3.0\cm  % add space for instrumentName
  short-indent = 1.5\cm  % add less space for shortInstrumentName
}

fluteMusic = \relative c' { \key g \major g'1 b }

% Pitches as written on a manuscript for Clarinet in A
% are transposed to concert pitch.

clarinetMusic = \transpose c' a
  \relative c'' { \key bes \major bes1 d }

trumpetMusic = \relative c { \key g \major g''1 b }

% Key signature is often omitted for horns

hornMusic = \transpose c' f
  \relative c { d'1 fis }

percussionMusic = \relative c { \key g \major g1 b }

sopranoMusic = \relative c'' { \key g \major g'1 b }

sopranoLyrics = \lyricmode { Lyr -- ics }

altoIMusic = \relative c' { \key g \major g'1 b }

altoIIMusic = \relative c' { \key g \major g'1 b }

altoILyrics =  \sopranoLyrics

altoIILyrics = \lyricmode { Ah -- ah }

tenorMusic = \relative c' { \clef "treble_8" \key g \major g1 b }

tenorLyrics = \sopranoLyrics

pianoRHMusic = \relative c { \key g \major g''1 b }

pianoLHMusic = \relative c { \clef bass \key g \major g1 b }

violinIMusic = \relative c' { \key g \major g'1 b }

violinIIMusic = \relative c' { \key g \major g'1 b }

violaMusic = \relative c { \clef alto \key g \major g'1 b }

celloMusic = \relative c { \clef bass \key g \major g1 b }

bassMusic = \relative c { \clef "bass_8" \key g \major g,1 b }

\score {
  <<
    \new StaffGroup = "StaffGroup_woodwinds" <<
      \new Staff = "Staff_flute" \with { instrumentName = "Flute" }
      \fluteMusic

      \new Staff = "Staff_clarinet" \with {
        instrumentName = \markup { \concat { "Clarinet in B" \flat } }
      }

      % Declare that written Middle C in the music
      % to follow sounds a concert B flat, for
      % output using sounded pitches such as MIDI.
      %\transposition bes

      % Print music for a B-flat clarinet
      \transpose bes c' \clarinetMusic
    >>

    \new StaffGroup = "StaffGroup_brass" <<
      \new Staff = "Staff_hornI" \with { instrumentName = "Horn in F" }
       % \transposition f
        \transpose f c' \hornMusic

      \new Staff = "Staff_trumpet" \with { instrumentName = "Trumpet in  C" }
      \trumpetMusic

    >>
    \new RhythmicStaff = "RhythmicStaff_percussion"
    \with { instrumentName = "Percussion" }
    <<
      \percussionMusic
    >>
    \new PianoStaff \with { instrumentName = "Piano" }
    <<
      \new Staff { \pianoRHMusic }
      \new Staff { \pianoLHMusic }
    >>
    \new ChoirStaff = "ChoirStaff_choir" <<
      \new Staff = "Staff_soprano" \with { instrumentName = "Soprano" }
      \new Voice = "soprano"
      \sopranoMusic

      \new Lyrics \lyricsto "soprano" { \sopranoLyrics }
      \new GrandStaff = "GrandStaff_altos"
      \with { \accepts Lyrics } <<
        \new Staff = "Staff_altoI"  \with { instrumentName = "Alto I" }
        \new Voice = "altoI"
        \altoIMusic

        \new Lyrics \lyricsto "altoI" { \altoILyrics }
        \new Staff = "Staff_altoII" \with { instrumentName = "Alto II" }
        \new Voice = "altoII"
        \altoIIMusic

        \new Lyrics \lyricsto "altoII" { \altoIILyrics }
      >>

      \new Staff = "Staff_tenor" \with { instrumentName = "Tenor" }
        \new Voice = "tenor"
        \tenorMusic

      \new Lyrics \lyricsto "tenor" { \tenorLyrics }
    >>
    \new StaffGroup = "StaffGroup_strings" <<
      \new GrandStaff = "GrandStaff_violins" <<
        \new Staff = "Staff_violinI" \with { instrumentName = "Violin I" }
        \violinIMusic

        \new Staff = "Staff_violinII" \with { instrumentName = "Violin II" }
        \violinIIMusic
      >>

      \new Staff = "Staff_viola" \with { instrumentName = "Viola" }
      \violaMusic

      \new Staff = "Staff_cello" \with { instrumentName = "Cello" }
      \celloMusic

      \new Staff = "Staff_bass" \with { instrumentName = "Double Bass" }
      \bassMusic
    >>
  >>
  \layout { }
}

Verhindern, dass zusätzliche Auflösungszeichen automatisch

hinzugefügt werden

Den traditionellen Notensatzregeln zufolge wird ein Auflösungszeichen immer dann vor einem Kreuz oder B gesetzt, wenn ein vorheriges Versetzungszeichen der gleichen Note aufgehoben werden soll. Um dieses Verhalten zu ändern, muss die Eigenschaft extraNatural im Staff-Kontext auf "false" gesetzt werden.

\relative c'' {
  aeses4 aes ais a
  \set Staff.extraNatural = ##f
  aeses4 aes ais a
}

Auflösungzeichen nicht setzen, wenn die Tonart wechselt

Wenn die Tonart wechselt, werden automatisch Auflösungszeichen ausgegeben, um Versetzungszeichen der vorherigen Tonart aufzulösen. Das kann verhindert werden, indem die printKeyCancellation-Eigenschaft im Staff-Kontext auf "false" gesetzt wird.

\relative c' {
  \key d \major
  a4 b cis d
  \key g \minor
  a4 bes c d
  \set Staff.printKeyCancellation = ##f
  \key d \major
  a4 b cis d
  \key g \minor
  a4 bes c d
}

Eine Stimme mit Transposition zitieren

Zitate berücksichtigen sowohl die Transposition der Quelle als auch des Zielinstruments. In diesem Beispiel spielen alle Instrumente klingendes C, das Zielinstrument ist in F. Die Noten für das Zielinstrument können mit \transpose transponiert werden, in diesem Fall werden alle Noten (auch die zitierten) transponiert.

\addQuote clarinet {
  \transposition bes
  \repeat unfold 8 { d'16 d' d'8 }
}

\addQuote sax {
  \transposition es'
  \repeat unfold 16 { a8 }
}

quoteTest = {
  % french horn
  \transposition f
  g'4
  << \quoteDuring "clarinet" { \skip 4 } s4^"clar." >>
  << \quoteDuring "sax" { \skip 4 } s4^"sax." >>
  g'4
}

{
  \new Staff \with {
    instrumentName = \markup { \column { Horn "in F" } }
  }
  \quoteTest
  \transpose c' d' << \quoteTest s4_"up a tone" >>
}

Separating key cancellations from key signature changes

By default, the accidentals used for key cancellations are placed adjacent to those for key signature changes. This behavior can be changed by overriding the 'break-align-orders property of the BreakAlignment grob.

The value of 'break-align-orders is a vector of length 3, with quoted lists of breakable items as elements. This example only modifies the second list, moving key-cancellation before staff-bar; by modifying the second list, break alignment behavior only changes in the middle of a system, not at the beginning or the end.

\new Staff {
  \override Score.BreakAlignment.break-align-orders =
    ##((left-edge ambitus breathing-sign clef staff-bar
                   key-cancellation key-signature time-signature custos)

        (left-edge ambitus breathing-sign clef key-cancellation
                   staff-bar key-signature time-signature custos)

        (left-edge ambitus breathing-sign clef key-cancellation
                   key-signature staff-bar time-signature custos))

  \key des \major
  c'1
  \bar "||"
  \key bes \major
  c'1
}

Noten mit minimaler Anzahl an Versetzungszeichen transponieren.

Dieses Beispiel benutzt Scheme-Code, um enharmonische Verwechslungen für Noten zu erzwingen, damit nur eine minimale Anzahl an Versetzungszeichen ausgegeben wird. In diesem Fall gelten die folgenden Regeln:

• Doppelte Versetzungszeichen sollen entfernt werden
• His -> C
• Eis -> F
• Ces -> B
• Fes -> E

Auf diese Art werden am meisten natürliche Tonhöhen als enharmonische Variante gewählt.

#(define (naturalize-pitch p)
   (let ((o (ly:pitch-octave p))
         (a (* 4 (ly:pitch-alteration p)))
         ;; alteration, a, in quarter tone steps,
         ;; for historical reasons
         (n (ly:pitch-notename p)))
     (cond
      ((and (> a 1) (or (eqv? n 6) (eqv? n 2)))
       (set! a (- a 2))
       (set! n (+ n 1)))
      ((and (< a -1) (or (eqv? n 0) (eqv? n 3)))
       (set! a (+ a 2))
       (set! n (- n 1))))
     (cond
      ((> a 2) (set! a (- a 4)) (set! n (+ n 1)))
      ((< a -2) (set! a (+ a 4)) (set! n (- n 1))))
     (if (< n 0) (begin (set! o (- o 1)) (set! n (+ n 7))))
     (if (> n 6) (begin (set! o (+ o 1)) (set! n (- n 7))))
     (ly:make-pitch o n (/ a 4))))

#(define (naturalize music)
   (let ((es (ly:music-property music 'elements))
         (e (ly:music-property music 'element))
         (p (ly:music-property music 'pitch)))
     (if (pair? es)
         (ly:music-set-property!
          music 'elements
          (map naturalize es)))
     (if (ly:music? e)
         (ly:music-set-property!
          music 'element
          (naturalize e)))
     (if (ly:pitch? p)
         (begin
           (set! p (naturalize-pitch p))
           (ly:music-set-property! music 'pitch p)))
     music))

naturalizeMusic =
#(define-music-function (m)
   (ly:music?)
   (naturalize m))

music = \relative c' { c4 d e g }

\score {
  \new Staff {
    \transpose c ais { \music }
    \naturalizeMusic \transpose c ais { \music }
    \transpose c deses { \music }
    \naturalizeMusic \transpose c deses { \music }
  }
  \layout { }
}

Turkish Makam example

This template uses the start of a well-known Turkish Saz Semai that is familiar in the repertoire in order to illustrate some of the elements of Turkish music notation.

\paper { tagline = ##f }

% Initialize makam settings
\include "turkish-makam.ly"

\header {
    title = "Hüseyni Saz Semaisi"
    composer = "Lavtacı Andon"
}

\relative {
  \set Staff.extraNatural = ##f
  \set Staff.autoBeaming = ##f

  \key a \huseyni
  \time 10/8

  a'4 g'16 [fb] e8. [d16] d [c d e] c [d c8] bfc |
  a16 [bfc a8] bfc c16 [d c8] d16 [e d8] e4 fb8 |
  d4 a'8 a16 [g fb e] fb8 [g] a8. [b16] a16 [g] |
  g4 g16 [fb] fb8. [e16] e [g fb e] e4 r8 |
}

Eigenschaften des Schlüssels optimieren

Der Befehl \clef "treble_8" ist gleichbedeutend mit einem expliziten Setzen der Eigenschaften von clefGlyph, clefPosition (welche die vertikale Position des Schlüssels bestimmt), middleCPosition und clefTransposition. Ein Schlüssel wird ausgegeben, wenn eine der Eigenschaften außer middleCPosition sich ändert.

Eine Änderung des Schriftzeichens (Glyph), der Schlüsselposition oder der Oktavierung selber ändert noch nicht die Position der darauf folgenden Noten auf dem System: das geschieht nur, wenn auch die Position des eingestrichenen C (middleCPosition) angegeben wird. Die Positionsparameter sind relativ zur Mittellinie des Systems, dabei versetzen positive Zahlen die Position nach oben, jeweils eine Zahl für jede Linie plus Zwischenraum. Der clefTransposition-Wert ist normalerweise auf 7, -7, 15 oder -15 gesetzt, aber auch andere Werte sind gültig.

Wenn ein Schlüsselwechsel an einem Zeilenwechsel geschieht, wird das neue Symbol sowohl am Ende der alten Zeilen als auch am Anfang der neuen Zeile ausgegeben. Wenn der Warnungs-Schlüssel am Ende der alten Zeile nicht erforderlich ist, kann er unterdrückt werden, indem die explicitClefVisibility-Eigenschaft des Staff-Kontextes auf den Wert end-of-line-invisible gesetzt wird. Das Standardverhalten kann mit \unset Staff.explicitClefVisibility wieder hergestellt werden.

Die folgenden Beispiele zeigen die Möglichkeiten, wenn man diese Eigenschaften manuell setzt. Auf der ersten Zeile erhalten die manuellen Änderungen die ursprüngliche relative Positionierung von Schlüssel und Noten, auf der zweiten Zeile nicht.

{
  % The default treble clef
  \key f \major
  c'1
  % The standard bass clef
  \set Staff.clefGlyph = #"clefs.F"
  \set Staff.clefPosition = #2
  \set Staff.middleCPosition = #6
  \set Staff.middleCClefPosition = #6
  \key g \major
  c'1
  % The baritone clef
  \set Staff.clefGlyph = #"clefs.C"
  \set Staff.clefPosition = #4
  \set Staff.middleCPosition = #4
  \set Staff.middleCClefPosition = #4
  \key f \major
  c'1
  % The standard choral tenor clef
  \set Staff.clefGlyph = #"clefs.G"
  \set Staff.clefPosition = #-2
  \set Staff.clefTransposition = #-7
  \set Staff.middleCPosition = #1
  \set Staff.middleCClefPosition = #1
  \key f \major
  c'1
  % A non-standard clef
  \set Staff.clefPosition = #0
  \set Staff.clefTransposition = #0
  \set Staff.middleCPosition = #-4
  \set Staff.middleCClefPosition = #-4
  \key g \major
  c'1 \break

  % The following clef changes do not preserve
  % the normal relationship between notes, key signatures
  % and clefs:

  \set Staff.clefGlyph = #"clefs.F"
  \set Staff.clefPosition = #2
  c'1
  \set Staff.clefGlyph = #"clefs.G"
  c'1
  \set Staff.clefGlyph = #"clefs.C"
  c'1
  \set Staff.clefTransposition = #7
  c'1
  \set Staff.clefTransposition = #0
  \set Staff.clefPosition = #0
  c'1

  % Return to the normal clef:

  \set Staff.middleCPosition = #0
  c'1
}

Using autochange with more than one voice

Using autochange with more than one voice.

\score
{
  \new PianoStaff
  <<
    \new Staff = "up" {
      <<
        \set Timing.beamExceptions = #'()
        \set Timing.beatStructure = #'(4)
        \new Voice {
          \voiceOne
          \autoChange
          \relative c' {
            g8 a b c d e f g
            g,8 a b c d e f g
          }
        }

        \new Voice {
          \voiceTwo
          \autoChange
          \relative c' {
            g8 a b c d e f g
            g,,8 a b c d e f g
          }
        }
      >>
    }

    \new Staff = "down" {
      \clef bass
    }
  >>
}

Rhythms

Rhythms

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\( a b d' e' } a'4.\)
}

Adding drum parts

Using the powerful pre-configured tools such as the \drummode function and the DrumStaff context, inputting drum parts is quite easy: drums are placed at their own staff positions (with a special clef symbol) and have note heads according to the drum. Attaching an extra symbol to the drum or restricting the number of lines is possible.

drh = \drummode {
        cymc4.^"crash" hhc16^"h.h." hh hhc8 hho hhc8 hh16 hh
        hhc4 r4 r2
      }
drl = \drummode {
        bd4 sn8 bd bd4 << bd ss >>
        bd8 tommh tommh bd toml toml bd tomfh16 tomfh
      }
timb = \drummode {
         timh4 ssh timl8 ssh r timh r4
         ssh8 timl r4 cb8 cb
       }

\score {
  <<
    \new DrumStaff \with {
      instrumentName = "timbales"
      drumStyleTable = #timbales-style
      \override StaffSymbol.line-count = #2
      \override BarLine.bar-extent = #'(-1 . 1)
    }
    <<
      \timb
    >>
    \new DrumStaff \with { instrumentName = "drums" }
    <<
      \new DrumVoice { \stemUp \drh }
      \new DrumVoice { \stemDown \drl }
    >>
  >>
  \layout { }
  \midi { \tempo 4 = 120 }
}

Adjusting grace note spacing

The space given to grace notes can be adjusted using the spacing-increment property of Score.GraceSpacing.

graceNotes = {
  \grace { c4 c8 c16 c32 }
  c8
}

\relative c'' {
  c8
  \graceNotes
  \override Score.GraceSpacing.spacing-increment = #2.0
  \graceNotes
  \revert Score.GraceSpacing.spacing-increment
  \graceNotes
}

Taktnummern ausrichten

Taktnummern sind standardmäßig links an ihrem Ursprungsobjekt ausgerichtet. Das ist normalerweise die linke Ecke einer Linie oder, wenn die Nummern innerhalb einer Zeile gesetzt werden, auf der linken Seite eines Taktstrichs. Die Nummern können auch direkt über dem Taktstrich positioniert werden oder rechts vom Taktstrich gesetzt werden.

\relative c' {
  \set Score.currentBarNumber = #111
  \override Score.BarNumber.break-visibility = #all-visible
  % Increase the size of the bar number by 2
  \override Score.BarNumber.font-size = #2
  % Print a bar number every second measure
  \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
  c1 | c1
  % Center-align bar numbers
  \override Score.BarNumber.self-alignment-X = #CENTER
  c1 | c1
  % Left-align bar numbers
  \override Score.BarNumber.self-alignment-X = #LEFT
  c1 | c1
}