GNU LilyPond

Transposition modale · Non répétition de l’altération après saut de ligne sur liaison de prolongation

{
  \clef bass
  c4 d e f
  g4 a b c
  d4 e f g
}

{
  \clef treble
  c'4 e' g' c''
  c'4 g b c'
  \clef bass
  c,4 e, g, c
  c,4 g,, b,, c,
}

{
  \fixed c' {
    \clef treble
    c4 e g c'
    c4 g, b, c
  }
  \clef bass
  \fixed c, {
    c4 e g c'
    c4 g, b, c
  }
}

\relative hauteur_de_référence expression_musicale

\relative {
  \clef bass
  c d e f
  g a b c
  d e f g
}

\relative {
  c'' g c f,
  c' a, e'' c
}

\relative {
  c f b e
  a d g c
}

\relative {
  c' d e f
  \relative {
    c'' d e f
  }
}

\new Staff {
  \relative c''' {
    \chordmode { c1 }
  }
  \chordmode { c1 }
}

\relative {
  d' e
  \transpose f g {
    d e
    \relative {
      d' e
    }
  }
}

\relative {
  c'
  <c e g>
  <c' e g'>
  <c, e, g''>
}

\relative {
  c''2 fis
  c2 ges
  b2 eisis
  b2 feses
}

\relative {
  <<
    { c''2 d }
    \\
    { e,,2 f }
  >>
  \resetRelativeOctave c''
  c2
}

\relative c'' { ais1 aes aisis aeses }

\relative c'' { a4 aes a2 }

\relative c'' { ceseh1 ces ceh c cih cis cisih }

\relative c'' { cis cis cis! cis? c c c! c? }

\relative c'' {
  cis1 ~ 1 ~
  \break
  cis
}

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

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

\language "italiano"

\relative {
  do' re mi sib
}

\relative c'' { a2 as e es a ases e eses }

\language "deutsch"

\relative c'' { asah2 eh aih eisih }

scm/define-note-names.scm
\relative {
  c''2 d='4 d
  e2 f
}

\relative {
  c''2 d
  \octaveCheck c'
  e2 f
}

\relative {
  c''4 f g f

  c4
  \octaveCheck c'
  f
  \octaveCheck c'
  g
  \octaveCheck c'
  f
}

\transpose note_de_départ note_d_arrivée expression_musicale

\transpose d e {
  \relative {
    \key d \major
    d'4 fis a d
  }
}

\transpose a c' {
  \relative {
    \key c \major
    c'4 d e g
  }
}

music = \relative { c' d e f }
\new Staff {
  \transpose c cis { \music }
  \transpose c des { \music }
}

musiqueEnSiBemol = { e4 … }
\transpose c bes, \musiqueEnSiBemol

musiqueEnSiBemol = { e4 … }
\transpose f c' { \transpose c bes, \musiqueEnSiBemol }

#(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 { }
}

\inversion hauteur-pivot hauteur-arrivée expression_musicale

music = \relative { c' d e f }
\new Staff {
  \music
  \inversion d' d' \music
  \inversion d' ees' \music
}

music = \relative { c'8. ees16( fis8. a16 b8.) gis16 f8. d16 }

\new Staff {
  \music
  \retrograde \music
}

\modalTranspose hauteur-départ hauteur-arrivée gamme motif

diatonicScale = \relative { c' d e f g a b }
motif = \relative { c'8 d e f g a b c }

\new Staff {
  \motif
  \modalTranspose c f \diatonicScale \motif
  \modalTranspose c b, \diatonicScale \motif
}

pentatonicScale = \relative { ges aes bes des ees }
motif = \relative { ees'8 des ges,4 <ges' bes,> <ges bes,> }

\new Staff {
  \motif
  \modalTranspose ges ees' \pentatonicScale \motif
}

chromaticScale = \relative { c' cis d dis e f fis g gis a ais b }
motif = \relative { c'8 d e f g a b c }

\new Staff {
  \motif
  \transpose c f \motif
  \modalTranspose c f \chromaticScale \motif
}

\modalInversion hauteur-pivot hauteur-arrivée gamme motif

octatonicScale = \relative { ees' f fis gis a b c d }
motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 }

\new Staff {
  \motif
  \modalInversion fis' fis' \octatonicScale \motif
}

scale = \relative { c' g' }
motive = \relative { c' c g' c, }

\new Staff {
  \motive
  \modalInversion c' g' \scale \motive
}

octatonicScale = \relative { ees' f fis gis a b c d }
motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 }

\new Staff {
  \motif
  \retrograde \modalInversion c' c' \octatonicScale \motif
}

c'2 c'

\clef treble
c'2 c'
\clef alto
c'2 c'
\clef tenor
c'2 c'
\clef bass
c'2 c'

\clef treble
c'2 c'
\clef "treble_8"
c'2 c'
\clef "bass^15"
c'2 c'
\clef "alto_2"
c'2 c'
\clef "G_8"
c'2 c'
\clef "F^5"
c'2 c'

\clef "treble_(8)"
c'2 c'
\clef "bass^[15]"
c'2 c'

\clef treble { c'2 c' } \break
\clef bass { c'2 c' } \break
\clef alto
  \set Staff.explicitClefVisibility = #end-of-line-invisible
  { c'2 c' } \break
  \unset Staff.explicitClefVisibility
\clef bass { c'2 c' } \break

  \clef treble
  c'1
  \clef treble
  c'1
  \set Staff.forceClef = ##t
  c'1
  \clef treble
  c'1

  \clef "treble"
  c'1
  \clef "bass"
  c'1
  \clef "treble"
  c'1
  \override Staff.Clef.full-size-change = ##t
  \clef "bass"
  c'1
  \clef "treble"
  c'1
  \revert Staff.Clef.full-size-change
  \clef "bass"
  c'1
  \clef "treble"
  c'1

{
  % 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
}

scm/parser-clef.scm
\key hauteur mode

\relative {
  \key g \major
  fis''1
  f
  fis
}

freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL)
    (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT))

\relative {
  \key c \freygish c'4 des e f
  \bar "||" \key d \freygish d es fis g
}

\override Staff.KeySignature.flat-positions = #'((-5 . 5))
\override Staff.KeyCancellation.flat-positions = #'((-5 . 5))
\clef bass \key es \major es g bes d'
\clef treble \bar "||" \key es \major es' g' bes' d''

\override Staff.KeySignature.sharp-positions = #'(2)
\bar "||" \key b \major b' fis' b'2

\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
}

\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 |
}

\relative a' {
  a2 b
  \ottava #-2
  a2 b
  \ottava #-1
  a2 b
  \ottava #0
  a2 b
  \ottava #1
  a2 b
  \ottava #2
  a2 b
}

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

{
  \clef bass
  << { <g d'>1~ q2 <c' e'> }
  \\
    {
      r2.
      \set Staff.ottavation = #"8vb"
      \once \override Staff.OttavaBracket.direction = #DOWN
      \set Voice.middleCPosition = #(+ 6 7)
      <b,,, b,,>4 ~ |
      q2
      \unset Staff.ottavation
      \unset Voice.middleCPosition
      <c e>2
    }
  >>
}

\relative c'' {
  \override Staff.OttavaBracket.stencil = #ly:line-spanner::print
  \override Staff.OttavaBracket.bound-details =
    #`((left . ((Y . 0) ; Change the integer here
                (attach-dir . ,LEFT)
                (padding . 0)
                (stencil-align-dir-y . ,CENTER)))
       (right . ((Y . 5) ; Change the integer here
                 (padding . 0)
                 (attach-dir . ,RIGHT)
                 (text . ,(make-draw-dashed-line-markup (cons 0 -1.2))))))
  \override Staff.OttavaBracket.left-bound-info =
     #ly:line-spanner::calc-left-bound-info-and-text
  \override Staff.OttavaBracket.right-bound-info =
     #ly:line-spanner::calc-right-bound-info
  \ottava #1
  c1
  c'''1
}

\transposition hauteur

\new GrandStaff <<
  \new Staff = "violin" \with {
    instrumentName = "Vln"
    midiInstrument = "violin"
   }
  \relative c'' {
    % not strictly necessary, but a good reminder
    \transposition c'
    \key c \major
    g4( c8) r c r c4
  }
  \new Staff = "clarinet" \with {
    instrumentName = \markup { Cl (B\flat) }
    midiInstrument = "clarinet"
  }
  \relative c'' {
    \transposition bes
    \key d \major
    a4( d8) r d r d4
  }
>>

flute = \relative c'' {
  \key f \major
  \cueDuring "clarinet" #DOWN {
    R1 _\markup\tiny "clarinet"
    c4 f e d
    R1 _\markup\tiny "clarinet"
  }
}
clarinet = \relative c'' {
  \key aes \major
  \transposition a
  aes4 bes c des
  R1^\markup { muta in B\flat }
  \key g \major
  \transposition bes
  d2 g,
}
\addQuote "clarinet" \clarinet
<<
  \new Staff \with { instrumentName = "Flute" }
    \flute
  \new Staff \with { instrumentName = "Cl (A)" }
    \clarinet
>>

\new Staff <<
  \accidentalStyle voice
  { … }
>>

\accidentalStyle StaffGroup.voice

musicA = {
  <<
    \relative {
      cis''8 fis, bes4 <a cis>8 f bis4 |
      cis2. <c, g'>4 |
    }
    \\
    \relative {
      ais'2 cis, |
      fis8 b a4 cis2 |
    }
  >>
}

musicB = {
  \clef bass
  \new Voice {
    \voiceTwo \relative {
      <fis a cis>8[ <fis a cis>
      \change Staff = up
      cis' cis
      \change Staff = down
      <fis, a> <fis a>]
      \showStaffSwitch
      \change Staff = up
      dis'4 |
      \change Staff = down
      <fis, a cis>4 gis <f a d>2 |
    }
  }
}

\new PianoStaff {
  <<
    \new Staff = "up" {
      \accidentalStyle default
      \musicA
    }
    \new Staff = "down" {
      \accidentalStyle default
      \musicB
    }
  >>
}

\new PianoStaff {
  <<
    \new Staff = "haut" {
      %%% voici la ligne à modifier en conséquence :
      \accidentalStyle Score.default
      \musicA
    }
    \new Staff = "bas" {
      \musicB
    }
  >>
}

forget = #(define-music-function (music) (ly:music?) #{
  \accidentalStyle forget
  #music
  \accidentalStyle modern
#})
{
  \accidentalStyle modern
  \time 2/4
  \repeat volta 2 {
    c'2
  }
  \alternative {
     cis'
     \forget c'
  }
}

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

\relative {
  aes' c e2
  cis,1
}

\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
  }
>>

\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
  }
>>

\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''
}

\relative c'' {
  c4 b
  \override NoteHead.style = #'cross
  c4 b
  \revert NoteHead.style
  a b
  \override NoteHead.style = #'harmonic
  a b
  \revert NoteHead.style
  c4 d e f
}

\relative {
  c''4 b
  \xNotesOn
   a b c4 b
  \xNotesOff
  c4 d
}

\relative {
  c''4 b
  \xNote { e f }
  c b < g \xNote c f > b
}

\relative c'' {
  <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic> f\harmonic
}

#(set-global-staff-size 26)
\relative c' {
  \easyHeadsOn
  c2 e4 f
  g1
  \easyHeadsOff
  c,1
}

#(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
}

\relative c'' {
  \aikenHeads
  c, d e f g2 a b1 c \break
  \aikenThinHeads
  c,4 d e f g2 a b1 c \break
  \sacredHarpHeads
  c,4 d e f g2 a b1 c \break
  \southernHarmonyHeads
  c,4 d e f g2 a b1 c \break
  \funkHeads
  c,4 d e f g2 a b1 c \break
  \walkerHeads
  c,4 d e f g2 a b1 c \break
}

\relative c'' {
  \key a \minor
  \aikenHeads
  a b c d e2 f g1 a \break
  \aikenHeadsMinor
  a,4 b c d e2 f g1 a \break
  \aikenThinHeadsMinor
  a,4 b c d e2 f g1 a \break
  \sacredHarpHeadsMinor
  a,2 b c d \break
  \southernHarmonyHeadsMinor
  a2 b c d \break
  \funkHeadsMinor
  a2 b c d \break
  \walkerHeadsMinor
  a2 b c d \break
}

\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
  }
}
% END EXAMPLE

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
  }
}

\new Voice \with {
  \consists "Pitch_squash_engraver"
} \relative {
  e''8 e g a a16( bes) a8 g
  \improvisationOn
  e8 ~
  2 ~ 8 f4 f8 ~
  2
  \improvisationOff
  a16( bes) a8 g e
}

1.1.1 Écriture des hauteurs de note
1.1.2 Modification de plusieurs hauteurs
1.1.3 Gravure des hauteurs
1.1.4 Têtes de note

Hauteurs avec octave absolue
Octaves relatives
Altérations
Nom des notes dans d’autres langues

Lange	Nom des notes
`nederlands`	`c` `d` `e` `f` `g` `a` `bes` `b`
`català` ou `catalan`	`do` `re` `mi` `fa` `sol` `la` `sib` `si`
`deutsch`	`c` `d` `e` `f` `g` `a` `b` `h`
`english`	`c` `d` `e` `f` `g` `a` `bf`/`b-flat` `b`
`español` ou `espanol`	`do` `re` `mi` `fa` `sol` `la` `sib` `si`
`français`	`do` `ré`/`re` `mi` `fa` `sol` `la` `sib` `si`
`italiano`	`do` `re` `mi` `fa` `sol` `la` `sib` `si`
`norsk`	`c` `d` `e` `f` `g` `a` `b` `h`
`português` or `portugues`	`do` `re` `mi` `fa` `sol` `la` `sib` `si`
`suomi`	`c` `d` `e` `f` `g` `a` `b` `h`
`svenska`	`c` `d` `e` `f` `g` `a` `b` `h`
`vlaams`	`do` `re` `mi` `fa` `sol` `la` `sib` `si`

Langue	dièse	bémol	double dièse	double bémol
`nederlands`	`is`	`es`	`isis`	`eses`
`català` ou `catalan`	`d`/`s`	`b`	`dd`/`ss`	`bb`
`deutsch`	`is`	`es`	`isis`	`eses`
`english`	`s`/`-sharp`	`f`/`-flat`	`ss`/`x`/`-sharpsharp`	`ff`/`-flatflat`
`español` ou `espanol`	`s`	`b`	`ss`/`x`	`bb`
`français`	`d`	`b`	`dd`/`x`	`bb`
`italiano`	`d`	`b`	`dd`	`bb`
`norsk`	`iss`/`is`	`ess`/`es`	`ississ`/`isis`	`essess`/`eses`
`português` or `portugues`	`s`	`b`	`ss`	`bb`
`suomi`	`is`	`es`	`isis`	`eses`
`svenska`	`iss`	`ess`	`ississ`	`essess`
`vlaams`	`k`	`b`	`kk`	`bb`

Langue	semi-dièse	semi-bémol	sesqui-dièse	sesqui-bémol
`nederlands`	`ih`	`eh`	`isih`	`eseh`
`català` or `catalan`	`qd`/`qs`	`qb`	`tqd`/`tqs`	`tqb`
`deutsch`	`ih`	`eh`	`isih`	`eseh`
`english`	`qs`	`qf`	`tqs`	`tqf`
`español` or `espanol`	`cs`	`cb`	`tcs`	`tcb`
`français`	`sd`	`sb`	`dsd`	`bsb`
`italiano`	`sd`	`sb`	`dsd`	`bsb`
`norsk`	`ih`	`eh`	`issih`/`isih`	`esseh`/`eseh`
`português` or `portugues`	`sqt`	`bqt`	`stqt`	`btqt`
`suomi`	`ih`	`eh`	`isih`	`eseh`
`svenska`	`ih`	`eh`	`issih`	`esseh`
`vlaams`	`hk`	`hb`	`khk`	`bhb`

Vérifications d’octave
Transposition
Inversion
Rétrogradation
Transformations modales

Clefs
Armure
Marques d’octaviation
Instruments transpositeurs
Altérations accidentelles automatiques
Ambitus

Têtes de note spécifiques
Têtes de note avec nom de note
Têtes de note à forme variable
Improvisation

1.1 Hauteurs

1.1.1 Écriture des hauteurs de note

Hauteurs avec octave absolue

Voir aussi

Octaves relatives

Voir aussi

Altérations

Morceaux choisis

Voir aussi

Problèmes connus et avertissements

Nom des notes dans d’autres langues

Voir aussi

1.1.2 Modification de plusieurs hauteurs

Vérifications d’octave

Voir aussi

Transposition

Morceaux choisis

Voir aussi

Problèmes connus et avertissements

Inversion

Voir aussi

Rétrogradation

Problèmes connus et avertissements

Voir aussi

Transformations modales

Transposition modale

Inversion modale

Voir aussi

1.1.3 Gravure des hauteurs

Clefs

Morceaux choisis

Voir aussi

Problèmes connus et avertissements

Armure

Morceaux choisis

Voir aussi

Marques d’octaviation

Morceaux choisis

Voir aussi

Instruments transpositeurs

Voir aussi

Altérations accidentelles automatiques

Voir aussi

Problèmes connus et avertissements

Ambitus

Morceaux choisis

Voir aussi

Problèmes connus et avertissements

1.1.4 Têtes de note

Têtes de note spécifiques

Commandes prédéfinies

Voir aussi

Têtes de note avec nom de note

Commandes prédéfinies

Morceaux choisis

Voir aussi

Têtes de note à forme variable

Commandes prédéfinies

Morceaux choisis

Voir aussi

Improvisation

Commandes prédéfinies

Voir aussi