@node Displaying staves
@subsection Displaying staves
-This section shows the different possibilities of creating and
+This section describes the different methods of creating and
grouping staves, which are marked at the beginning of each line
with either a bracket or a brace.
music: @code{MensuralStaff} and @code{VaticanaStaff}. They are
described in @ref{Pre-defined contexts}.
-Staves can be started or stopped at any point in the score. The
-commands @code{\startStaff} and @code{\stopStaff} are used for
-this purpose. For details, see @ref{Staff symbol}.
+New single staff contexts may be defined. For details, see
+@ref{Defining new contexts}.
@seealso
@ref{Pre-defined contexts},
@ref{Staff symbol},
@ref{Gregorian chant contexts},
-@ref{Mensural contexts}.
+@ref{Mensural contexts},
+@ref{Defining new contexts}.
Snippets:
@rlsr{Staff notation}.
@code{SystemStartSquare}, is also available, but it must be
explicitly specified.
+New staff group contexts may be defined. For details, see
+@ref{Defining new contexts}.
+
@snippets
@rglos{grand staff}.
Notation Reference:
-@ref{Instrument names}.
+@ref{Instrument names},
+@ref{Defining new contexts}.
Snippets:
@rlsr{Staff notation}.
>>
@end lilypond
+New nested staff group contexts can be defined. For details, see
+@ref{Defining new contexts}.
+
@snippets
Notation Reference:
@ref{Grouping staves},
-@ref{Instrument names}.
+@ref{Instrument names},
+@ref{Defining new contexts}.
Snippets:
@rlsr{Staff notation}.
@warning{The @code{'line-positions} property overrides the
@code{'line-count} property. The number of staff lines is
implicitly defined by the number of elements in the list of values
-for @code{'line-positions}}
+for @code{'line-positions}.}
@lilypond[verbatim,quote,relative=1]
\new Staff \with {
{ e4 d c b }
@end lilypond
-The distance between staff lines can be changed. This setting has
-influence on ledger lines as well.
+The distance between staff lines can be changed. This setting
+affects the spacing of ledger lines as well.
@lilypond[verbatim,quote,relative=1]
\new Staff \with {
@end lilypond
The width of a staff can be modified. The unit is one staff
-space. The spacing of objects inside the staff is not influenced
-by this setting.
+space. The spacing of objects inside the staff is not affected by
+this setting.
@lilypond[verbatim,quote,relative=1]
\new Staff \with {
a2 a
@end lilypond
+@cindex stopping a staff
+
+@noindent
+In general, @code{\startStaff} and @code{\stopStaff} can be used
+to stop or start a staff in the middle of a score.
+
+@lilypond[verbatim,quote,relative=2]
+c4 b a2
+\stopStaff
+b4 c d2
+\startStaff
+e4 d c2
+@end lilypond
+
@predefined
@rglos{staff}.
Notation Reference:
-@ref{Displaying pitches}.
+@ref{Clef}.
Snippets:
@rlsr{Staff notation}.
}
@end lilypond
+@noindent
However, the above example is usually not the desired result. To
create ossia staves that are above the original staff, have no
time signature or clef, and have a smaller font size, tweaks must
>>
@end lilypond
-@c The following is the legacy "ossia.ly" example
-@c
-@c I don't think this method is very efficient.
-@c I'm commenting it out for now. -pm
-
-@ignore
-
-@ lilypond[verbatim,quote]
-<<
- \new Staff \with
- {
- %No time signature in the ossia staff
- \remove "Time_signature_engraver"
- fontSize = #-3
- \override StaffSymbol #'staff-space = #(magstep -3)
- \override StaffSymbol #'thickness = #(magstep -3)
- firstClef = ##f
- }
- \relative c'' {
- \stopStaff
- \skip 2
-
- \startStaff
- \clef treble
- bes8[^"ossia" g bes g]
- \stopStaff
-
- s2
-
- \startStaff
- f8 d g4
- }
- \new Staff \relative c'' {
- \time 2/4
- c4 c g' g a a g2
- }
->>
-@ end lilypond
-
-@end ignore
-
Using the @code{\RemoveEmptyStaffContext} command to create ossia
staves may be used as an alternative. This method is most
convenient when ossia staves occur immediately following a line
@rlearning{Length and thickness of objects}.
Notation Reference:
-@ref{Setting the staff size}.
+@ref{Hiding staves}.
Snippets:
@rlsr{Staff notation}.
Empty staves can be hidden by setting the
@code{\RemoveEmptyStaffContext} command in the @code{\layout}
block. In orchestral scores, this style is known as @q{Frenched
-Score}. By default, this command hides all empty staves in a
-score except for those in the first system.
+Score}. By default, this command hides and removes all empty
+staves in a score except for those in the first system.
@warning{An empty staff may only include multi-measure rests,
-skips, spacer rests, or a combination of these.}
+skips, spacer rests, or a combination of these elements.}
@lilypond[verbatim,quote,ragged-right]
\layout {
\RemoveEmptyStaffContext
}
}
+
\relative c' <<
\new Staff {
e4 f g a \break
@cindex ossia
+@noindent
@code{\RemoveEmptyStaffContext} can also be used to create ossia
sections for a staff. For details, see @ref{Ossia staves}.
@rinternals{FiguredBass},
@rinternals{Lyrics},
@rinternals{Staff},
-@rinternals{VerticalAxisGroup}.
+@rinternals{VerticalAxisGroup},
+@rinternals{Staff_symbol_engraver}.
+
+
+@knownissues
+
+Removing @code{Staff_symbol_engraver} also hides bar lines. If
+bar line visibility is forced, formatting errors may occur. In
+this case, use the following overrides instead of removing the
+engraver:
+
+@example
+\override StaffSymbol #'stencil = ##f
+\override NoteHead #'no-ledgers = ##t
+@end example
@node Writing parts
@cindex instrument names
@cindex instrument names, short
-Instrument names can be printed on the left side of staves for the
+Instrument names can be printed on the left side of staves in the
@code{Staff} and @code{PianoStaff} contexts. The value of
@code{instrumentName} is used for the first staff, and the value
of @code{shortInstrumentName} is used for all succeeding staves.
However, if the instrument names are longer, the instrument names
in a staff group may not be centered unless the @code{indent} and
-@code{short-indent} settings are increased. The @code{indent} and
-@code{short-indent} settings are modified in the @code{\layout}
-block and specify the level of indentation for the first system
-and all succeeding systems, respectively.
+@code{short-indent} settings are increased. For details about
+these settings, see @ref{Page formatting}.
@lilypond[verbatim,quote,ragged-right]
\layout {
c1 c c c \break
@end lilypond
+@cindex instrument switch
+@cindex switching instruments
+
+If an instrument @emph{switch} is needed,
+@code{\addInstrumentDefinition} may be used in combination with
+@code{\instrumentSwitch} to create a detailed list of the
+necessary changes for the switch. The
+@code{\addInstrumentDefinition} command has two arguments: an
+identifying string, and an alist of context properties and values
+to be used for the instrument. It must be placed in the toplevel
+scope. @code{\instrumentSwitch} is used in the music expression
+to declare the instrument switch:
+
+@lilypond[verbatim,quote,ragged-right]
+\addInstrumentDefinition #"contrabassoon"
+ #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
+ (shortInstrumentName . "Cbsn.")
+ (clefGlyph . "clefs.F")
+ (middleCPosition . 6)
+ (clefPosition . 2)
+ (instrumentCueName . ,(make-bold-markup "cbsn."))
+ (midiInstrument . "bassoon"))
+
+\new Staff \with {
+ instrumentName = "Bassoon"
+}
+\relative c' {
+ \clef tenor
+ \compressFullBarRests
+ c2 g'
+ R1*16
+ \instrumentSwitch "contrabassoon"
+ c,,2 g \break
+ c,1 ~ | c1
+}
+@end lilypond
+
@seealso
Notation Reference:
+@ref{Page formatting},
@ref{Modifying context plug-ins}.
Snippets:
@cindex fragments
@cindex cue notes
-Quotations allow fragments of other parts to be inserted directly
-into a music expression. Before a part can be quoted, the
-@code{\addQuote} command must be used to initialize the quoted
-fragment. This command must be used in the toplevel scope. The
-first argument is an identifying string, and the second is a music
-expression:
+Fragments of other parts can be inserted directly into a music
+expression; this is called @emph{quotation}. Before a part can be
+quoted, the @code{\addQuote} command must be used to initialize
+the quoted fragment. This command must be used in the toplevel
+scope. The first argument is an identifying string, and the
+second is a music expression:
@example
-flute = \relative c' @{
- f4 fis g gis
+flute = \relative c'' @{
+ a4 gis g gis
@}
\addQuote "flute" @{ \flute @}
@end example
-The @code{\quoteDuring} command may then be used to indicate when
-the quotation should take place. The corresponding measures from
-the quotation are inserted into the music expression. The syntax
-is similar to @code{\addQuote}:
+The @code{\quoteDuring} command is used to indicate when the
+quotation should take place. The corresponding measures from the
+quotation are inserted into the music expression. The syntax is
+similar to @code{\addQuote}:
@lilypond[verbatim,quote]
-flute = \relative c' {
- f4 fis g gis
+flute = \relative c'' {
+ a4 gis g gis
}
\addQuote "flute" { \flute }
situation is created, which is often not desirable:
@lilypond[verbatim,quote]
-flute = \relative c' {
- f4 fis g gis
+flute = \relative c'' {
+ a4 gis g gis
}
\addQuote "flute" { \flute }
@end lilypond
Quotations recognize instrument transposition settings for both
-the source and target instruments if they are specified using the
-@code{\transposition} command:
+the source and target instruments if the @code{\transposition}
+command is used. For details about @code{\transposition}, see
+@ref{Instrument transpositions}.
@lilypond[verbatim,quote]
-clarinet = \relative c' {
+clarinet = \relative c'' {
\transposition bes
- f4 fis g gis
+ a4 gis g gis
}
\addQuote "clarinet" { \clarinet }
}
@end lilypond
+It is possible to tag quotations with unique names in order to
+process them in different ways. For details about this procedure,
+see @ref{Using tags}.
+
@c add to snippets, possibly. It might already be there. -pm
@c
@c The type of events that are present in the quoted music can be
@seealso
Notation Reference:
-@ref{Instrument transpositions}.
+@ref{Instrument transpositions},
+@ref{Using tags}.
Snippets:
@rlsr{Staff notation}.
@cindex quoting other voices
@cindex cues, formatting
-The previous section explains how to quote other voices. The
+The previous section explains how to create quotations. The
@code{\cueDuring} command is a more specialized form of
@code{\quoteDuring}, being particularly useful for inserting cue
notes into a part. The syntax is as follows:
}
@end lilypond
+@noindent
In the above example, the @code{Voice} context had to be
explicitly declared, or else the entire music expression would
belong to the @code{CueVoice} context.
The name of the cued instrument can be printed by setting the
-@code{instrumentCueName} property.
+@code{instrumentCueName} property in the @code{CueVoice} context.
@lilypond[verbatim,quote]
oboe = \relative c''' {
>>
@end lilypond
-The @code{\killCues} command is used to remove the cue notes from
-a music expression.
+In addition to printing the name of the cued instrument, when cue
+notes end, the name of the original instrument should be printed,
+and any other changes introduced by the cued part should be
+undone. This can be accomplished by using
+@code{\addInstrumentDefinition} and @code{\instrumentSwitch}. For
+an example and explanation, see @ref{Instrument names}.
+
+The @code{\killCues} command removes cue notes from a music
+expression. This can be useful if cue notes need to be removed
+from a part but may be restored at a later time.
@lilypond[verbatim,quote]
flute = \relative c''' {
}
@end lilypond
-When typesetting cue notes, some guidelines should be followed:
-
-@itemize
-@item
-The instrument playing the cue should be clearly marked on the
-score.
-
-@item
-When the cue notes end, the name of the original instrument should
-be indicated.
-
-@item
-Any other changes introduced by the cued part should also be
-undone. For example, if the cued instrument plays in a different
-clef, the original clef should be stated once again.
-
-@end itemize
-
-The @code{\transposedCueDuring} command is useful to add cues for
-instruments in a completely different register. The syntax is
-similar to @code{\cueDuring}, but it requires one more argument to
-specify the transposition of the cued instrument. For more
-information about transposition, see
+The @code{\transposedCueDuring} command is useful for adding
+instrumental cues from a completely different register. The
+syntax is similar to @code{\cueDuring}, but it requires one extra
+argument to specify the transposition of the cued instrument. For
+more information about transposition, see
@ref{Instrument transpositions}.
@lilypond[verbatim,quote]
>>
@end lilypond
+It is possible to tag cued parts with unique names in order to
+process them in different ways. For details about this procedure,
+see @ref{Using tags}.
+
@seealso
Notation Reference:
-@ref{Instrument transpositions}.
+@ref{Instrument transpositions},
+@ref{Instrument names},
+@ref{Using tags}.
Snippets:
@rlsr{Staff notation}.
@knownissues
-Collisions are not checked between @code{Voice} and
-@code{CueVoice} contexts.
+Collisions can occur with rests, when using @code{\cueDuring},
+between @code{Voice} and @code{CueVoice} contexts.
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