Ottava_spanner_engraver
should be moved to
Voice
context.
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The function copyArticulations
here, automates the job by copying the articulations from a pattern into your music.
As the music is rarely always the same, a few extra functions can give you some flexibility.
The code of the image below is the following:
\copyArticulations
{ c( c) c-. c-. } %% the pattern
{ %% the music
c16 d e f g a b c b8 a g f
\notCA e1
\nSkipArti #2
r8 d16 e f g a b c8 g e g
\notCA c,1
}
Here, \notCA
allows you to keep the music untouched and \nSkipArti #2
skips 2 notes (so 2 articulations) in the pattern.
Download the code of this function here : copyArticulations.ly.
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).
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.