1 \documentclass[10pt,
a4paper,oneside,headinclude,titlepage
]{scrartcl
}
3 \usepackage{polyglossia
}
4 \setdefaultlanguage{spanish
}
6 \usepackage[margin=
2cm
]{geometry
}
11 \parskip=
6pt
\clubpenalty=
10000\widowpenalty=
10000
12 \newcommand{\preLilyPondExample}{\vspace{-
10pt
}}
13 \newcommand{\lpversion}{2.17.15}
14 \newcommand{\defsep}{\textbf{$\|$
}}
15 \newcommand{\software}{\emph{software
}}
16 \newcommand{\negspace}{\vspace{-
10pt
}} %{\vspace{-20pt}}
22 \setmainfont[Ligatures=TeX
]{TeX Gyre Schola
} % or {Century Schoolbook L}
24 \title{LilyPond por ejemplo: la guía visual
}
25 \author{Francisco Vila
}
28 %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
33 \begin{titlepage
} %%%%%%%%%%%% PORTADA
36 %\textbf{\Large Universidad de Extremadura}\par
38 \includegraphics[width=
60mm
]{lily-logo.png
}\par
40 \textbf{\huge\@title
}\par
41 % \textbf{\large\@subtitle}\par
44 \textbf{\large\@author
}
52 %\begin{singlespace} % los listados van a un espacio. Necesita el paquete setspace
58 % chuleta de texto sencillo
59 %Las entradas con asterisco son complementarias
61 % LilyPond by example -- a visual guide
62 % text-only cheatsheet
64 % *-entries are complementary
66 \section*
{Una nota: La
}
67 \begin{tabular
}{m
{2cm
}m
{2cm
}}
68 %\multicolumn{2}{c}{Una nota: la}\\
73 \begin[fragment,notime
]{lilypond
}
78 \section*
{Un silencio
}
79 \begin{tabular
}{m
{2cm
}m
{2cm
}}
84 \begin[fragment,notime
]{lilypond
}
89 \section*
{Silencio de compás completo:
4/
4}
90 \begin{tabular
}{m
{2cm
}m
{2cm
}}
95 \begin[fragment
]{lilypond
}
100 \section*
{Silencio de compás completo:
3/
4}
101 \begin{tabular
}{m
{2cm
}m
{2cm
}}
106 \begin[fragment
]{lilypond
}
111 \section*
{Una expresión musical
}
112 \begin{tabular
}{m
{2cm
}m
{2cm
}}
117 \begin[fragment
]{lilypond
}
122 \section*
{Una octava más aguda
}
123 \begin{tabular
}{m
{2cm
}m
{2cm
}}
128 \begin[fragment
]{lilypond
}
133 \section*
{Una octava más grave
}
134 \begin{tabular
}{m
{2cm
}m
{2cm
}}
139 \begin[fragment
]{lilypond
}
144 \section*
{Una escala de Do a Si
}
145 \begin{tabular
}{m
{2cm
}m
{2cm
}}
150 \begin[fragment
]{lilypond
}
155 \section*
{Alturas en modo absoluto: una escala de cuatro octavas
}
156 \begin{tabular
}{m
{3cm
}m
{2cm
}}
172 \begin[fragment,staffsize=
15,line-width=
13\cm]{lilypond
}
188 \section*
{Alturas en modo relativo: una escala
}
189 \begin{tabular
}{m
{6cm
}m
{2cm
}}
191 \relative c'
{ c d e f g a b c
}
194 \begin[fragment
]{lilypond
}
195 \relative c'
{ c d e f g a b c
}
199 \section*
{Alteración: do sostenido
}
200 \begin{tabular
}{m
{2cm
}m
{2cm
}}
205 \begin[fragment,relative=
2,notime
]{lilypond
}
210 \section*
{Alteración cuando hay armadura: Si bemol en Fa mayor
}
211 \begin{tabular
}{m
{2cm
}m
{2cm
}}
217 \begin[fragment,relative=
2,notime
]{lilypond
}
223 \section*
{Alteración: La bemol
}
224 \begin{tabular
}{m
{2cm
}m
{2cm
}}
229 \begin[fragment,relative=
2,notime
]{lilypond
}
234 \section*
{Alteración forzada: becuadro
}
235 \begin{tabular
}{m
{2cm
}m
{2cm
}}
240 \begin[fragment,relative=
2,notime
]{lilypond
}
245 \section*
{Alteración de cortesía
}
246 \begin{tabular
}{m
{2cm
}m
{2cm
}}
251 \begin[fragment,relative=
2,notime
]{lilypond
}
256 \section*
{Becuadro de cortesía
}
257 \begin{tabular
}{m
{2cm
}m
{2cm
}}
262 \begin[fragment,relative=
2,notime
]{lilypond
}
267 \section*
{Efecto de las alteraciones: La bemol seguido de La natural
}
268 \begin{tabular
}{m
{2cm
}m
{2cm
}}
273 \begin[fragment,relative=
2,notime
]{lilypond
}
278 \section*
{Escala cromática ascendente con sostenidos
}
279 \begin{tabular
}{m
{6cm
}m
{2cm
}}
281 c cis d dis e f fis g gis a ais b
284 \begin[fragment,relative=
1,notime
]{lilypond
}
285 c cis d dis e f fis g gis a ais b
289 \section*
{Escala cromática descendente con bemoles
}
290 \begin{tabular
}{m
{6cm
}m
{2cm
}}
292 c b bes a aes g ges f e es d des
295 \begin[fragment,relative=
2,notime
]{lilypond
}
296 c b bes a aes g ges f e es d des
300 \section*
{Una corchea
}
301 \begin{tabular
}{m
{2cm
}m
{2cm
}}
306 \begin[fragment,relative=
2,notime
]{lilypond
}
311 \section*
{Varias corcheas
}
312 \begin{tabular
}{m
{2cm
}m
{2cm
}}
317 \begin[fragment,relative=
2,notime
]{lilypond
}
322 \section*
{Todos los valores, de redonda a semifusa
}
323 \begin{tabular
}{m
{6cm
}m
{2cm
}}
325 a1 a2 a4 a8 a16 a32 a64
328 \begin[fragment,relative=
2,notime
]{lilypond
}
329 a1 a2 a4 a8 a16 a32 a64
333 \section*
{Negra con puntillo
}
334 \begin{tabular
}{m
{2cm
}m
{2cm
}}
339 \begin[fragment,relative=
2,notime
]{lilypond
}
344 \section*
{Doble puntillo
}
345 \begin{tabular
}{m
{2cm
}m
{2cm
}}
350 \begin[fragment,relative=
2,notime
]{lilypond
}
355 \section*
{Dos notas unidas por ligadura
}
356 \begin{tabular
}{m
{2cm
}m
{2cm
}}
361 \begin[fragment,relative=
2,notime
]{lilypond
}
367 \begin{tabular
}{m
{2cm
}m
{2cm
}}
372 \begin[fragment,relative=
1,notime
]{lilypond
}
377 \section*
{Duración de un acorde
}
378 \begin{tabular
}{m
{2cm
}m
{2cm
}}
383 \begin[fragment,relative=
1,notime
]{lilypond
}
388 \section*
{Ligadura de expresión: dos notas
}
389 \begin{tabular
}{m
{2cm
}m
{2cm
}}
394 \begin[fragment,relative=
1,notime
]{lilypond
}
399 \section*
{Ligadura de expresión: varias notas
}
400 \begin{tabular
}{m
{2cm
}m
{2cm
}}
405 \begin[fragment,relative=
1,notime
]{lilypond
}
410 \section*
{Ligadura de fraseo
}
411 \begin{tabular
}{m
{2.5cm
}m
{2cm
}}
416 \begin[fragment,relative=
1,notime
]{lilypond
}
421 \section*
{Asignación de una expresión musical a una variable
}
426 \section*
{Uso de una variable
}
427 \begin{tabular
}{m
{2cm
}m
{2cm
}}
433 violin =
\relative c''
{ a b c
}
438 \section*
{Tresillo de corcheas
}
439 \begin{tabular
}{m
{4cm
}m
{2cm
}}
441 \times 2/
3 { a8 a a
}
444 \begin[fragment,relative=
2,notime
]{lilypond
}
445 \times 2/
3 { a8 a a
}
449 \section*
{Clave de Sol en
2ª
}
450 \begin{tabular
}{m
{2cm
}m
{2cm
}}
455 \begin[fragment,notime
]{lilypond
}
460 \section*
{Clave de Fa en
4ª
}
461 \begin{tabular
}{m
{2cm
}m
{2cm
}}
466 \begin[fragment,notime
]{lilypond
}
471 \section*
{Tonalidad: Re mayor
}
472 \begin{tabular
}{m
{2cm
}m
{2cm
}}
477 \begin[fragment
]{lilypond
}
478 \hide Staff.TimeSignature
483 \section*
{Compás:
3/
4}
484 \begin{tabular
}{m
{2cm
}m
{2cm
}}
489 \begin[fragment
]{lilypond
}
495 \begin{tabular
}{m
{3cm
}m
{2cm
}}
500 \begin[fragment
]{lilypond
}
505 \section*
{Indicación metronómica
}
506 \begin{tabular
}{m
{3cm
}m
{2cm
}}
511 \begin[fragment
]{lilypond
}
516 \section*
{Articulación: picado
}
517 \begin{tabular
}{m
{3cm
}m
{2cm
}}
522 \begin[fragment,notime
]{lilypond
}
527 \section*
{Otras articulaciones
}
528 \begin{tabular
}{m
{6cm
}m
{2cm
}}
530 c4-^ c-+ c-- c-! c4-> c2-_
533 \begin[fragment,relative=
1,notime
]{lilypond
}
534 \time 3/
4 c4-^ c-+ c-- c-! c4-> c4-_
538 \section*
{Digitaciones
}
539 \begin{tabular
}{m
{2cm
}m
{2cm
}}
544 \begin[fragment,relative=
1,notime
]{lilypond
}
549 \section*
{Forzar articulación por encima
}
550 \begin{tabular
}{m
{2cm
}m
{2cm
}}
555 \begin[fragment,notime
]{lilypond
}
560 \section*
{Forzar articulación por debajo
}
561 \begin{tabular
}{m
{2cm
}m
{2cm
}}
566 \begin[fragment,notime
]{lilypond
}
571 \section*
{Arco arriba, arco abajo
}
572 \begin{tabular
}{m
{3cm
}m
{2cm
}}
577 \begin[fragment,notime
]{lilypond
}
582 \section*
{Nota con calderón
}
583 \begin{tabular
}{m
{3cm
}m
{2cm
}}
588 \begin[fragment,notime
]{lilypond
}
593 \section*
{Matiz dinámico
}
594 \begin{tabular
}{m
{3cm
}m
{2cm
}}
599 \begin[fragment,notime
]{lilypond
}
604 \section*
{Otros matices
}
605 \begin{tabular
}{m
{3cm
}m
{2cm
}}
610 \begin[fragment,notime
]{lilypond
}
611 s1
\p s1
\mf s1
\f s1
\ff
615 \section*
{Regulador (crescendo), fin de regulador
}
616 \begin{tabular
}{m
{3cm
}m
{2cm
}}
621 \begin[fragment,notime
]{lilypond
}
626 \section*
{Regulador (diminuendo), fin de regulador
}
627 \begin{tabular
}{m
{3cm
}m
{2cm
}}
632 \begin[fragment,notime
]{lilypond
}
637 \section*
{Final implícito de un regulador
}
638 \begin{tabular
}{m
{3cm
}m
{2cm
}}
643 \begin[fragment,notime
]{lilypond
}
648 \section*
{Texto sobre una nota, sin formato
}
649 \begin{tabular
}{m
{3cm
}m
{2cm
}}
654 \begin[fragment,notime
]{lilypond
}
659 \section*
{Texto sobre una nota, con formato (elemento de marcado)
}
660 \begin{tabular
}{m
{6cm
}m
{2cm
}}
662 a-
\markup{ \italic dolce
}
665 \begin[fragment,notime
]{lilypond
}
666 a-
\markup{ \italic dolce
}
670 \section*
{Unir corcheas manualmente con una barra
}
671 \begin{tabular
}{m
{6cm
}m
{2cm
}}
676 \begin[fragment
]{lilypond
}
681 \section*
{Notas de adorno (genéricas)
}
682 \begin{tabular
}{m
{6cm
}m
{2cm
}}
688 \begin[fragment,relative=
1]{lilypond
}
694 \section*
{Notas de adorno: apoyatura
}
695 \begin{tabular
}{m
{6cm
}m
{2cm
}}
701 \begin[fragment,relative=
1]{lilypond
}
707 \section*
{Notas de adorno: mordente de una nota
}
708 \begin{tabular
}{m
{6cm
}m
{2cm
}}
714 \begin[fragment,relative=
1]{lilypond
}
720 \section*
{Dos expresiones en secuencia
}
721 \begin{tabular
}{m
{6cm
}m
{2cm
}}
723 {{ a b c
} { d e f
}}
726 \begin[fragment,relative=
1]{lilypond
}
727 {{ a b c
} { d e f
}}
731 \section*
{Dos expresiones simultáneas
}
732 \begin{tabular
}{m
{6cm
}m
{2cm
}}
734 <<
{ a b c
} { d e f
} >>
737 \begin[fragment,relative=
1]{lilypond
}
738 <<
{ a b c
} { d e f
} >>
743 \section*
{Dos variables en secuencia
}
744 \begin{tabular
}{m
{6cm
}m
{2cm
}}
746 { \parteUno \parteDos }
752 { \parteUno \parteDos }
756 \section*
{Dos variables simultáneas
}
757 \begin{tabular
}{m
{6cm
}m
{2cm
}}
759 <<
\parteUno \parteDos >>
765 <<
\parteUno \parteDos >>
769 \section*
{Un contexto de partitura explícito
}
770 \begin{tabular
}{m
{6cm
}m
{2cm
}}
784 \section*
{Un contexto de pentagrama explícito
}
785 \begin{tabular
}{m
{6cm
}m
{2cm
}}
787 \new Staff
{ a b c'
}
791 \new Staff
{ a b c'
}
795 \section*
{Dos expresiones simultáneas dentro de un pentagrama explícito
}
796 \begin{tabular
}{m
{7cm
}m
{2cm
}}
798 \new Staff <<
{ a b c'
} { d e f
} >>
802 \new Staff <<
{ a b c'
} { d e f
} >>
806 \section*
{Dos voces independientes dentro de un pentagrama explícito
}
807 \begin{tabular
}{m
{7cm
}m
{2cm
}}
809 \new Staff <<
{ a b c'
} \\
{ d e f
} >>
813 \new Staff <<
{ a b c'
} \\
{ d e f
} >>
817 \section*
{Un contexto de voz explícito
}
818 \begin{tabular
}{m
{7cm
}m
{2cm
}}
820 \new Voice
{ a b c'
}
824 \new Voice
{ a b c'
}
828 \section*
{Dos voces explícitas dentro de un pentagrama
}
829 \begin{tabular
}{m
{7cm
}m
{2cm
}}
832 \new Voice
{ a b c'
}
839 \new Voice
{ a b c'
}
845 \section*
{Tres voces explícitas dentro de un pentagrama, con control de las plicas
}
846 \begin{tabular
}{m
{7cm
}m
{2cm
}}
849 \new Voice
{ \voiceOne c' d' e'
}
850 \new Voice
{ \voiceThree a b c'
}
851 \new Voice
{ \voiceTwo f g a
}
857 \new Voice
{ \voiceOne c' d' e'
}
858 \new Voice
{ \voiceThree a b c'
}
859 \new Voice
{ \voiceTwo f g a
}
864 \section*
{Dos pentagramas simultáneos
}
865 \begin{tabular
}{m
{7cm
}m
{2cm
}}
867 <<
\new Staff
{ \parteUno }
868 \new Staff
{ \parteDos } >>
874 <<
\new Staff
{ \parteUno }
875 \new Staff
{ \parteDos } >>
879 \section*
{Sistema de piano: claves de Sol y Fa
}
880 \begin{tabular
}{m
{7cm
}m
{2cm
}}
884 \new Staff
{ \clef bass ...
}
891 \new Staff
{ \clef bass s1
}
896 \section*
{Sistema de coro: SATB
}
897 \begin{tabular
}{m
{7cm
}m
{2cm
}}
900 \new Staff
{ \soprano }
902 \new Staff
{ \clef "G_8"
\tenor }
903 \new Staff
{ \clef bass
\bajo }
913 \new Staff
{ \soprano }
915 \new Staff
{ \clef "G_8"
\tenor }
916 \new Staff
{ \clef bass
\bajo }
921 \section*
{Una breve canción
}
922 \begin{tabular
}{m
{7cm
}m
{2cm
}}
924 { a
} \addlyrics { Aaaah
}
928 { a
} \addlyrics { Aaaah
}
932 \section*
{Una canción con dos letras
}
933 \begin{tabular
}{m
{7cm
}m
{2cm
}}
947 \section*
{Asignar letra a una variable
}
949 letraTenor =
\lyricmode { Aaaah
}
952 \section*
{Uso de una variable de letra
}
953 \begin{tabular
}{m
{7cm
}m
{2cm
}}
955 { a
} \addlyrics { \letraTenor }
959 letraTenor =
\lyricmode { Aaaah
}
960 { a
} \addlyrics { \letraTenor }
964 \section*
{Una canción que usa variables
}
965 \begin{tabular
}{m
{7cm
}m
{2cm
}}
968 letraTenor =
\lyricmode { Aaaah
}
970 { \tenor } \addlyrics { \letraTenor }
975 letraTenor =
\lyricmode { Aaaah
}
976 { \tenor } \addlyrics { \letraTenor }
980 \section*
{Letra: separar sílabas
}
981 \begin{tabular
}{m
{7cm
}m
{2cm
}}
984 \addlyrics { Ky -- ri -- e
}
989 \addlyrics { Ky -- ri -- e
}
993 \section*
{Letra: melisma con ligadura de expresión
}
994 \begin{tabular
}{m
{7cm
}m
{2cm
}}
997 \addlyrics { Ky -- ri -- e
}
1001 \relative f
{ a( b c) d e
}
1002 \addlyrics { Ky -- ri -- e
}
1006 \section*
{Letra: melisma sin ligadura de expresión
}
1007 \begin{tabular
}{m
{7cm
}m
{2cm
}}
1010 \addlyrics { Ky -- _ _ ri -- e
}
1014 \relative f
{ a b c d e
}
1015 \addlyrics { Ky -- _ _ ri -- e
}
1019 \section*
{Letra: línea extensora sobre la última sílaba
}
1020 \begin{tabular
}{m
{7cm
}m
{2cm
}}
1023 \addlyrics { son __
}
1027 \relative f
{ a( b c)
}
1028 \addlyrics { son __
}
1032 \section*
{Letra: más de una sílaba por nota, con ligadura de letra
}
1033 \begin{tabular
}{m
{7cm
}m
{2cm
}}
1035 { a
} \addlyrics { e~e
}
1039 { a
} \addlyrics { e~e
}
1043 \section*
{Letra: más de una sílaba por nota, sin ligadura de letra
}
1044 \begin{tabular
}{m
{7cm
}m
{2cm
}}
1046 { a
} \addlyrics { "e e"
}
1050 { a
} \addlyrics { "e e"
}
1054 \section*
{Letra: más de una sílaba por nota, con ligadura de letra (alternativa)
}
1055 \begin{tabular
}{m
{7cm
}m
{2cm
}}
1057 { a
} \addlyrics { e_e
}
1061 { a
} \addlyrics { e_e
}
1065 \section*
{Un contexto de letra explícito
}
1066 \begin{tabular
}{m
{7cm
}m
{2cm
}}
1068 \new Lyrics
{ \letraTenor }
1072 letraTenor =
\lyricmode { Ah
}
1073 \new Lyrics
{ \letraTenor }
1077 \section*
{Una canción que usa contextos con nombre
}
1078 \begin{tabular
}{m
{9cm
}m
{2cm
}}
1081 \new Voice = "vozUno"
{ \musicaUno }
1082 \new Lyrics
\lyricsto "vozUno"
{ \letraUno }
1088 letraUno =
\lyricmode { Ah
}
1089 <<
\new Voice = "vozUno"
{ \musicaUno }
1090 \new Lyrics
\lyricsto "vozUno"
{ \letraUno }
1095 \section*
{Título de la obra
}
1096 \begin{tabular
}{m
{3cm
}m
{9cm
}}
1103 \begin[line-width=
10\cm]{lilypond
}
1110 \section*
{Título y autor
}
1111 \begin{tabular
}{m
{3cm
}m
{9cm
}}
1115 composer = "Beethoven"
1119 \begin[line-width=
10\cm]{lilypond
}
1122 composer = "Beethoven"
