@ref{Formatting cue notes}. But when many cues have to be
inserted, for example, as an aid to a conductor in a vocal score,
the instrument name must be positioned carefully just before and
-close to the start of the cued notes. The following example shows
-how this is done. Note that the name of the grob for overriding
-the cued instrument name is @code{InstrumentSwitch}.
+close to the start of the cue notes. The following example shows
+how this is done.
@lilypond[quote,verbatim]
flute = \relative c'' {
pianoRH = \relative c'' {
c4. g8
- % position name of cued instrument just before the cued notes
- \once \override CueVoice.InstrumentSwitch
- #'self-alignment-X = #RIGHT
- % position name of cued instrument above the staff
- \once \override CueVoice.InstrumentSwitch #'direction = #UP
- \set CueVoice.instrumentCueName = "Flute"
+ % position name of cue-ing instrument just before the cue notes,
+ % and above the staff
+ s1*0^\markup { \right-align { \tiny "Flute" } }
\cueDuring "flute" #UP { g4 bes4 }
}
pianoLH = \relative c { c4 <c' e> e, <g c> }
}
@end lilypond
-If a transposing instrument is being cued the instrument part should
-specify its key so the conversion of its cued notes will be done
+If a transposing instrument is being quoted the instrument part should
+specify its key so the conversion of its cue notes will be done
automatically. The example below shows this transposition for a
B-flat clarinet. The notes in this example are low on the staff so
@code{#DOWN} is specified in @code{\cueDuring} (so the stems are
down) and the instrument name is positioned below the staff. Note
also that the piano right-hand voice is explicitly declared. This
-is because the cued notes in this example begin at the start of the
+is because the cue notes in this example begin at the start of the
first bar and this would otherwise cause the entire piano right-hand
notes to be placed in a @code{CueVoice} context.
pianoRH = \relative c'' {
\transposition c'
- % position name of cued instrument just before the cued notes
- \once \override CueVoice.InstrumentSwitch
- #'self-alignment-X = #RIGHT
- % position name of cued instrument below the staff
- \once \override CueVoice.InstrumentSwitch #'direction = #DOWN
- \set CueVoice.instrumentCueName = "Clar."
+ % position name of cue-ing instrument below the staff
+ s1*0_\markup { \right-align { \tiny "Clar." } }
\cueDuring "clarinet" #DOWN { c4. g8 }
g4 bes4
}
@end lilypond
From these two examples it is clear that inserting many cues in a
-Vocal Score would be extremely tedious, and the notes of the piano
-part would be obscured by the many overrides. However, as the
-following snippet shows, it is possible to define a music function
-to reduce the amount of typing and to make the piano notes clearer.
+Vocal Score would be tedious, and the notes of the piano part would
+become obscured. However, as the following snippet shows, it is
+possible to define a music function to reduce the amount of typing
+and to make the piano notes clearer.
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
@knownissues
@code{\cueDuring} automatically inserts a @code{CueVoice} context
and all cue notes are placed in that context. This means it is not
-possible to have two overlapping sequences of cued notes by this
+possible to have two overlapping sequences of cue notes by this
technique. Overlapping sequences could be entered by explicitly
declaring separate @code{CueVoice} contexts and using
-@code{\quoteDuring} to extract and insert the cued notes.
+@code{\quoteDuring} to extract and insert the cue notes.
@node Spoken music
to specify either @code{\\voiceOne} with the name above the staff or
@code{\\voiceTwo} with the name below the staff, and finally the piano
music in parallel with which the cue notes are to appear. The name
-of the cued instrument is positioned to the left of the cued notes.
+of the quoted instrument is positioned to the left of the cue notes.
Many passages can be cued, but they cannot overlap each other in time.
"
doctitle = "Adding orchestral cues to a vocal score"
(string? string? ly:dir? ly:music?)
#{
\cueDuring $instrument #$dir {
- \once \override CueVoice.InstrumentSwitch #'self-alignment-X = #RIGHT
- \once \override CueVoice.InstrumentSwitch #'direction = $dir
- \set CueVoice.instrumentCueName = $name
- { $music }
+ \once \override TextScript #'self-alignment-X = #RIGHT
+ \once \override TextScript #'direction = $dir
+ s1*0-\markup { \tiny $name }
+ $music
}
#}
)
to specify either @code{\voiceOne} with the name above the staff or
@code{\voiceTwo} with the name below the staff, and finally the piano
music in parallel with which the cue notes are to appear. The name
-of the cued instrument is positioned to the left of the cued notes.
+of the quoted instrument is positioned to the left of the cue notes.
Many passages can be cued, but they cannot overlap each other in time.
"
doctitle = "Adding orchestral cues to a vocal score"
(string? string? ly:dir? ly:music?)
#{
\cueDuring $instrument #$dir {
- \once \override CueVoice.InstrumentSwitch #'self-alignment-X = #RIGHT
- \once \override CueVoice.InstrumentSwitch #'direction = $dir
- \set CueVoice.instrumentCueName = $name
- { $music }
+ \once \override TextScript #'self-alignment-X = #RIGHT
+ \once \override TextScript #'direction = $dir
+ s1*0-\markup { \tiny $name }
+ $music
}
#}
)
projects / lilypond.git / commitdiff