1 \documentclass[a4paper,
10pt,oneside,headinclude,titlepage
]{article
} % la clase article estándar
2 \usepackage[spanish
]{babel
}
4 \usepackage[utf8
]{inputenc}
5 \usepackage[T1]{fontenc}
6 \usepackage[margin=
2cm
]{geometry
}
9 \usepackage[utopia
]{mathdesign
}
10 \parskip=
6pt
\clubpenalty=
10000\widowpenalty=
10000
12 \newcommand{\preLilyPondExample}{\vspace{-
10pt
}}
13 \newcommand{\lpversion}{2.13.4}
14 \newcommand{\defsep}{\textbf{$\|$
}}
15 \newcommand{\software}{\emph{software
}}
16 \newcommand{\negspace}{\vspace{-
10pt
}} %{\vspace{-20pt}}
22 \title{LilyPond por ejemplo: la guía visual
}
23 \author{Francisco Vila
}
26 %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
31 \begin{titlepage
} %%%%%%%%%%%% PORTADA
34 %\textbf{\Large Universidad de Extremadura}\par
36 \includegraphics[width=
60mm
]{lily-logo.png
}\par
38 \textbf{\huge\@title
}\par
39 % \textbf{\large\@subtitle}\par
42 \textbf{\large\@author
}
50 %\begin{singlespace} % los listados van a un espacio. Necesita el paquete setspace
56 % chuleta de texto sencillo
57 %Las entradas con asterisco son complementarias
59 % LilyPond by example -- a visual guide
60 % text-only cheatsheet
62 % *-entries are complementary
64 \section*
{Una nota: La
}
65 \begin{tabular
}{m
{2cm
}m
{2cm
}}
66 %\multicolumn{2}{c}{Una nota: la}\\
71 \begin[fragment,notime
]{lilypond
}
76 \section*
{Un silencio
}
77 \begin{tabular
}{m
{2cm
}m
{2cm
}}
82 \begin[fragment,notime
]{lilypond
}
87 \section*
{Silencio de compás completo:
4/
4}
88 \begin{tabular
}{m
{2cm
}m
{2cm
}}
93 \begin[fragment
]{lilypond
}
98 \section*
{Silencio de compás completo:
3/
4}
99 \begin{tabular
}{m
{2cm
}m
{2cm
}}
104 \begin[fragment
]{lilypond
}
109 \section*
{Una expresión musical
}
110 \begin{tabular
}{m
{2cm
}m
{2cm
}}
115 \begin[fragment
]{lilypond
}
120 \section*
{Una octava más aguda
}
121 \begin{tabular
}{m
{2cm
}m
{2cm
}}
126 \begin[fragment
]{lilypond
}
131 \section*
{Una octava más grave
}
132 \begin{tabular
}{m
{2cm
}m
{2cm
}}
137 \begin[fragment
]{lilypond
}
142 \section*
{Una escala de Do a Si
}
143 \begin{tabular
}{m
{2cm
}m
{2cm
}}
148 \begin[fragment
]{lilypond
}
153 \section*
{Alturas en modo absoluto: una escala de cuatro octavas
}
154 \begin{tabular
}{m
{3cm
}m
{2cm
}}
170 \begin[fragment,staffsize=
15,line-width=
13\cm]{lilypond
}
186 \section*
{Alturas en modo relativo: una escala
}
187 \begin{tabular
}{m
{6cm
}m
{2cm
}}
189 \relative c'
{ c d e f g a b c
}
192 \begin[fragment
]{lilypond
}
193 \relative c'
{ c d e f g a b c
}
197 \section*
{Alteración: do sostenido
}
198 \begin{tabular
}{m
{2cm
}m
{2cm
}}
203 \begin[fragment,relative=
2,notime
]{lilypond
}
208 \section*
{Alteración cuando hay armadura: Si bemol en Fa mayor
}
209 \begin{tabular
}{m
{2cm
}m
{2cm
}}
215 \begin[fragment,relative=
2,notime
]{lilypond
}
221 \section*
{Alteración: La bemol
}
222 \begin{tabular
}{m
{2cm
}m
{2cm
}}
227 \begin[fragment,relative=
2,notime
]{lilypond
}
232 \section*
{Alteración forzada: becuadro
}
233 \begin{tabular
}{m
{2cm
}m
{2cm
}}
238 \begin[fragment,relative=
2,notime
]{lilypond
}
243 \section*
{Alteración de cortesía
}
244 \begin{tabular
}{m
{2cm
}m
{2cm
}}
249 \begin[fragment,relative=
2,notime
]{lilypond
}
254 \section*
{Becuadro de cortesía
}
255 \begin{tabular
}{m
{2cm
}m
{2cm
}}
260 \begin[fragment,relative=
2,notime
]{lilypond
}
265 \section*
{Efecto de las alteraciones: La bemol seguido de La natural
}
266 \begin{tabular
}{m
{2cm
}m
{2cm
}}
271 \begin[fragment,relative=
2,notime
]{lilypond
}
276 \section*
{Escala cromática ascendente con sostenidos
}
277 \begin{tabular
}{m
{6cm
}m
{2cm
}}
279 c cis d dis e f fis g gis a ais b
282 \begin[fragment,relative=
1,notime
]{lilypond
}
283 c cis d dis e f fis g gis a ais b
287 \section*
{Escala cromática descendente con bemoles
}
288 \begin{tabular
}{m
{6cm
}m
{2cm
}}
290 c b bes a aes g ges f e es d des
293 \begin[fragment,relative=
2,notime
]{lilypond
}
294 c b bes a aes g ges f e es d des
298 \section*
{Una corchea
}
299 \begin{tabular
}{m
{2cm
}m
{2cm
}}
304 \begin[fragment,relative=
2,notime
]{lilypond
}
309 \section*
{Varias corcheas
}
310 \begin{tabular
}{m
{2cm
}m
{2cm
}}
315 \begin[fragment,relative=
2,notime
]{lilypond
}
320 \section*
{Todos los valores, de redonda a semifusa
}
321 \begin{tabular
}{m
{6cm
}m
{2cm
}}
323 a1 a2 a4 a8 a16 a32 a64
326 \begin[fragment,relative=
2,notime
]{lilypond
}
327 a1 a2 a4 a8 a16 a32 a64
331 \section*
{Negra con puntillo
}
332 \begin{tabular
}{m
{2cm
}m
{2cm
}}
337 \begin[fragment,relative=
2,notime
]{lilypond
}
342 \section*
{Doble puntillo
}
343 \begin{tabular
}{m
{2cm
}m
{2cm
}}
348 \begin[fragment,relative=
2,notime
]{lilypond
}
353 \section*
{Dos notas unidas por ligadura
}
354 \begin{tabular
}{m
{2cm
}m
{2cm
}}
359 \begin[fragment,relative=
2,notime
]{lilypond
}
365 \begin{tabular
}{m
{2cm
}m
{2cm
}}
370 \begin[fragment,relative=
1,notime
]{lilypond
}
375 \section*
{Duración de un acorde
}
376 \begin{tabular
}{m
{2cm
}m
{2cm
}}
381 \begin[fragment,relative=
1,notime
]{lilypond
}
386 \section*
{Ligadura de expresión: dos notas
}
387 \begin{tabular
}{m
{2cm
}m
{2cm
}}
392 \begin[fragment,relative=
1,notime
]{lilypond
}
397 \section*
{Ligadura de expresión: varias notas
}
398 \begin{tabular
}{m
{2cm
}m
{2cm
}}
403 \begin[fragment,relative=
1,notime
]{lilypond
}
408 \section*
{Ligadura de fraseo
}
409 \begin{tabular
}{m
{2.5cm
}m
{2cm
}}
414 \begin[fragment,relative=
1,notime
]{lilypond
}
419 \section*
{Asignación de una expresión musical a una variable
}
424 \section*
{Uso de una variable
}
425 \begin{tabular
}{m
{2cm
}m
{2cm
}}
431 violin =
\relative c''
{ a b c
}
436 \section*
{Tresillo de corcheas
}
437 \begin{tabular
}{m
{4cm
}m
{2cm
}}
439 \times 2/
3 { a8 a a
}
442 \begin[fragment,relative=
2,notime
]{lilypond
}
443 \times 2/
3 { a8 a a
}
447 \section*
{Clave de Sol en
2ª
}
448 \begin{tabular
}{m
{2cm
}m
{2cm
}}
453 \begin[fragment,notime
]{lilypond
}
458 \section*
{Clave de Fa en
4ª
}
459 \begin{tabular
}{m
{2cm
}m
{2cm
}}
464 \begin[fragment,notime
]{lilypond
}
469 \section*
{Tonalidad: Re mayor
}
470 \begin{tabular
}{m
{2cm
}m
{2cm
}}
475 \begin[fragment
]{lilypond
}
476 \hide Staff.TimeSignature
481 \section*
{Compás:
3/
4}
482 \begin{tabular
}{m
{2cm
}m
{2cm
}}
487 \begin[fragment
]{lilypond
}
493 \begin{tabular
}{m
{3cm
}m
{2cm
}}
498 \begin[fragment
]{lilypond
}
503 \section*
{Indicación metronómica
}
504 \begin{tabular
}{m
{3cm
}m
{2cm
}}
509 \begin[fragment
]{lilypond
}
514 \section*
{Articulación: picado
}
515 \begin{tabular
}{m
{3cm
}m
{2cm
}}
520 \begin[fragment,notime
]{lilypond
}
525 \section*
{Otras articulaciones
}
526 \begin{tabular
}{m
{6cm
}m
{2cm
}}
528 c4-^ c-+ c-- c-| c4-> c2-_
531 \begin[fragment,relative=
1,notime
]{lilypond
}
532 \time 3/
4 c4-^ c-+ c-- c-| c4-> c4-_
536 \section*
{Digitaciones
}
537 \begin{tabular
}{m
{2cm
}m
{2cm
}}
542 \begin[fragment,relative=
1,notime
]{lilypond
}
547 \section*
{Forzar articulación por encima
}
548 \begin{tabular
}{m
{2cm
}m
{2cm
}}
553 \begin[fragment,notime
]{lilypond
}
558 \section*
{Forzar articulación por debajo
}
559 \begin{tabular
}{m
{2cm
}m
{2cm
}}
564 \begin[fragment,notime
]{lilypond
}
569 \section*
{Arco arriba, arco abajo
}
570 \begin{tabular
}{m
{3cm
}m
{2cm
}}
575 \begin[fragment,notime
]{lilypond
}
580 \section*
{Nota con calderón
}
581 \begin{tabular
}{m
{3cm
}m
{2cm
}}
586 \begin[fragment,notime
]{lilypond
}
591 \section*
{Matiz dinámico
}
592 \begin{tabular
}{m
{3cm
}m
{2cm
}}
597 \begin[fragment,notime
]{lilypond
}
602 \section*
{Otros matices
}
603 \begin{tabular
}{m
{3cm
}m
{2cm
}}
608 \begin[fragment,notime
]{lilypond
}
609 s1
\p s1
\mf s1
\f s1
\ff
613 \section*
{Regulador (crescendo), fin de regulador
}
614 \begin{tabular
}{m
{3cm
}m
{2cm
}}
619 \begin[fragment,notime
]{lilypond
}
624 \section*
{Regulador (diminuendo), fin de regulador
}
625 \begin{tabular
}{m
{3cm
}m
{2cm
}}
630 \begin[fragment,notime
]{lilypond
}
635 \section*
{Final implícito de un regulador
}
636 \begin{tabular
}{m
{3cm
}m
{2cm
}}
641 \begin[fragment,notime
]{lilypond
}
646 \section*
{Texto sobre una nota, sin formato
}
647 \begin{tabular
}{m
{3cm
}m
{2cm
}}
652 \begin[fragment,notime
]{lilypond
}
657 \section*
{Texto sobre una nota, con formato (elemento de marcado)
}
658 \begin{tabular
}{m
{6cm
}m
{2cm
}}
660 a-
\markup{ \italic dolce
}
663 \begin[fragment,notime
]{lilypond
}
664 a-
\markup{ \italic dolce
}
668 \section*
{Unir corcheas manualmente con una barra
}
669 \begin{tabular
}{m
{6cm
}m
{2cm
}}
674 \begin[fragment
]{lilypond
}
679 \section*
{Notas de adorno (genéricas)
}
680 \begin{tabular
}{m
{6cm
}m
{2cm
}}
686 \begin[fragment,relative=
1]{lilypond
}
692 \section*
{Notas de adorno: apoyatura
}
693 \begin{tabular
}{m
{6cm
}m
{2cm
}}
699 \begin[fragment,relative=
1]{lilypond
}
705 \section*
{Notas de adorno: mordente de una nota
}
706 \begin{tabular
}{m
{6cm
}m
{2cm
}}
712 \begin[fragment,relative=
1]{lilypond
}
718 \section*
{Dos expresiones en secuencia
}
719 \begin{tabular
}{m
{6cm
}m
{2cm
}}
721 {{ a b c
} { d e f
}}
724 \begin[fragment,relative=
1]{lilypond
}
725 {{ a b c
} { d e f
}}
729 \section*
{Dos expresiones simultáneas
}
730 \begin{tabular
}{m
{6cm
}m
{2cm
}}
732 <<
{ a b c
} { d e f
} >>
735 \begin[fragment,relative=
1]{lilypond
}
736 <<
{ a b c
} { d e f
} >>
741 \section*
{Dos variables en secuencia
}
742 \begin{tabular
}{m
{6cm
}m
{2cm
}}
744 { \parteUno \parteDos }
750 { \parteUno \parteDos }
754 \section*
{Dos variables simultáneas
}
755 \begin{tabular
}{m
{6cm
}m
{2cm
}}
757 <<
\parteUno \parteDos >>
763 <<
\parteUno \parteDos >>
767 \section*
{Un contexto de partitura explícito
}
768 \begin{tabular
}{m
{6cm
}m
{2cm
}}
782 \section*
{Un contexto de pentagrama explícito
}
783 \begin{tabular
}{m
{6cm
}m
{2cm
}}
785 \new Staff
{ a b c'
}
789 \new Staff
{ a b c'
}
793 \section*
{Dos expresiones simultáneas dentro de un pentagrama explícito
}
794 \begin{tabular
}{m
{7cm
}m
{2cm
}}
796 \new Staff <<
{ a b c'
} { d e f
} >>
800 \new Staff <<
{ a b c'
} { d e f
} >>
804 \section*
{Dos voces independientes dentro de un pentagrama explícito
}
805 \begin{tabular
}{m
{7cm
}m
{2cm
}}
807 \new Staff <<
{ a b c'
} \\
{ d e f
} >>
811 \new Staff <<
{ a b c'
} \\
{ d e f
} >>
815 \section*
{Un contexto de voz explícito
}
816 \begin{tabular
}{m
{7cm
}m
{2cm
}}
818 \new Voice
{ a b c'
}
822 \new Voice
{ a b c'
}
826 \section*
{Dos voces explícitas dentro de un pentagrama
}
827 \begin{tabular
}{m
{7cm
}m
{2cm
}}
830 \new Voice
{ a b c'
}
837 \new Voice
{ a b c'
}
843 \section*
{Tres voces explícitas dentro de un pentagrama, con control de las plicas
}
844 \begin{tabular
}{m
{7cm
}m
{2cm
}}
847 \new Voice
{ \voiceOne c' d' e'
}
848 \new Voice
{ \voiceThree a b c'
}
849 \new Voice
{ \voiceTwo f g a
}
855 \new Voice
{ \voiceOne c' d' e'
}
856 \new Voice
{ \voiceThree a b c'
}
857 \new Voice
{ \voiceTwo f g a
}
862 \section*
{Dos pentagramas simultáneos
}
863 \begin{tabular
}{m
{7cm
}m
{2cm
}}
865 <<
\new Staff
{ \parteUno }
866 \new Staff
{ \parteDos } >>
872 <<
\new Staff
{ \parteUno }
873 \new Staff
{ \parteDos } >>
877 \section*
{Sistema de piano: claves de Sol y Fa
}
878 \begin{tabular
}{m
{7cm
}m
{2cm
}}
882 \new Staff
{ \clef bass ...
}
889 \new Staff
{ \clef bass s1
}
894 \section*
{Sistema de coro: SATB
}
895 \begin{tabular
}{m
{7cm
}m
{2cm
}}
898 \new Staff
{ \soprano }
900 \new Staff
{ \clef "G_8"
\tenor }
901 \new Staff
{ \clef bass
\bajo }
911 \new Staff
{ \soprano }
913 \new Staff
{ \clef "G_8"
\tenor }
914 \new Staff
{ \clef bass
\bajo }
919 \section*
{Una breve canción
}
920 \begin{tabular
}{m
{7cm
}m
{2cm
}}
922 { a
} \addlyrics { Aaaah
}
926 { a
} \addlyrics { Aaaah
}
930 \section*
{Una canción con dos letras
}
931 \begin{tabular
}{m
{7cm
}m
{2cm
}}
945 \section*
{Asignar letra a una variable
}
947 letraTenor =
\lyricmode { Aaaah
}
950 \section*
{Uso de una variable de letra
}
951 \begin{tabular
}{m
{7cm
}m
{2cm
}}
953 { a
} \addlyrics { \letraTenor }
957 letraTenor =
\lyricmode { Aaaah
}
958 { a
} \addlyrics { \letraTenor }
962 \section*
{Una canción que usa variables
}
963 \begin{tabular
}{m
{7cm
}m
{2cm
}}
966 letraTenor =
\lyricmode { Aaaah
}
968 { \tenor } \addlyrics { \letraTenor }
973 letraTenor =
\lyricmode { Aaaah
}
974 { \tenor } \addlyrics { \letraTenor }
978 \section*
{Letra: separar sílabas
}
979 \begin{tabular
}{m
{7cm
}m
{2cm
}}
982 \addlyrics { Ky -- ri -- e
}
987 \addlyrics { Ky -- ri -- e
}
991 \section*
{Letra: melisma con ligadura de expresión
}
992 \begin{tabular
}{m
{7cm
}m
{2cm
}}
995 \addlyrics { Ky -- ri -- e
}
999 \relative f
{ a( b c) d e
}
1000 \addlyrics { Ky -- ri -- e
}
1004 \section*
{Letra: melisma sin ligadura de expresión
}
1005 \begin{tabular
}{m
{7cm
}m
{2cm
}}
1008 \addlyrics { Ky -- _ _ ri -- e
}
1012 \relative f
{ a b c d e
}
1013 \addlyrics { Ky -- _ _ ri -- e
}
1017 \section*
{Letra: línea extensora sobre la última sílaba
}
1018 \begin{tabular
}{m
{7cm
}m
{2cm
}}
1021 \addlyrics { son __
}
1025 \relative f
{ a( b c)
}
1026 \addlyrics { son __
}
1030 \section*
{Letra: más de una sílaba por nota, con ligadura de letra
}
1031 \begin{tabular
}{m
{7cm
}m
{2cm
}}
1033 { a
} \addlyrics { e~e
}
1037 { a
} \addlyrics { e~e
}
1041 \section*
{Letra: más de una sílaba por nota, sin ligadura de letra
}
1042 \begin{tabular
}{m
{7cm
}m
{2cm
}}
1044 { a
} \addlyrics { "e e"
}
1048 { a
} \addlyrics { "e e"
}
1052 \section*
{Letra: más de una sílaba por nota, con ligadura de letra (alternativa)
}
1053 \begin{tabular
}{m
{7cm
}m
{2cm
}}
1055 { a
} \addlyrics { e_e
}
1059 { a
} \addlyrics { e_e
}
1063 \section*
{Un contexto de letra explícito
}
1064 \begin{tabular
}{m
{7cm
}m
{2cm
}}
1066 \new Lyrics
{ \letraTenor }
1070 letraTenor =
\lyricmode { Ah
}
1071 \new Lyrics
{ \letraTenor }
1075 \section*
{Una canción que usa contextos con nombre
}
1076 \begin{tabular
}{m
{9cm
}m
{2cm
}}
1079 \new Voice = "vozUno"
{ \musicaUno }
1080 \new Lyrics
\lyricsto "vozUno"
{ \letraUno }
1086 letraUno =
\lyricmode { Ah
}
1087 <<
\new Voice = "vozUno"
{ \musicaUno }
1088 \new Lyrics
\lyricsto "vozUno"
{ \letraUno }
1093 \section*
{Título de la obra
}
1094 \begin{tabular
}{m
{3cm
}m
{9cm
}}
1101 \begin[line-width=
10\cm]{lilypond
}
1108 \section*
{Título y autor
}
1109 \begin{tabular
}{m
{3cm
}m
{9cm
}}
1113 composer = "Beethoven"
1117 \begin[line-width=
10\cm]{lilypond
}
1120 composer = "Beethoven"
