@menu
* Text::
-* Even more than notes::
* Preparing parts::
* Orchestral music::
* Contemporary notation::
* Educational use::
* Automatic notation::
+* Other::
@end menu
+
@node Text
@section Text
@node Text scripts
@subsection Text scripts
-@cindex Text scripts
+@cindex Text scripts
@cindex text items, non-empty
@cindex non-empty texts
@cindex @code{\emptyText}
@code{\emptyText}.
+
@seealso
In this manual: @ref{Text markup}.
-Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
+Program reference: @internalsref{TextScript}.
@node Text spanners
@subsection Text spanners
+
@cindex Text spanners
Some performance indications, e.g., @i{rallentando} or @i{accelerando},
@cindex textSpannerNeutral
@code{textSpannerNeutral}.
+
@seealso
-Internals @internalsref{TextSpanEvent},
-@internalsref{TextSpanner}.
+Program reference: @internalsref{TextSpanner}.
Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
@cindex segno on bar line
@cindex fermata on bar line
@cindex bar lines, symbols on
+@cindex @code{\mark}
The @code{\mark} command is primarily used for
@internalsref{Rehearsal marks},
@c IMO this is a bug; hopefully it'll be fixed soon, so I can
@c delete this sentence. -gp
If there is no next line, then the mark will not be printed at all.
+
+
+@commonprop
+
To print the mark at the end of the current line, use
@example
@seealso
-Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
+Program reference: @internalsref{RehearsalMark}.
@node Text markup
@cindex font size, texts
-
In markup mode you can compose expressions, similar to mathematical
expressions, XML documents, and music expressions. You can stack
expressions grouped vertically with the command @code{\column}.
c1^\markup { \line { a b c } }
@end lilypond
-
Markups can be stored in variables and these variables
may be attached to notes, like
@example
@{ a^\allegro b c d @}
@end example
-
Some objects have alignment procedures of their own, which cancel out
any effects of alignments applied to their markup arguments as a
whole. For example, the @internalsref{RehearsalMark} is horizontally
@seealso
-Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
+Program reference: @internalsref{TextScript}.
Init files: @file{scm/@/new@/-markup@/.scm}.
+
@refbugs
Kerning or generation of ligatures is only done when the @TeX{}
Syntax errors for markup mode are confusing.
-@menu
-* Text encoding::
-* Nested scores::
-* Overview of text markup commands::
-* New dynamic marks::
-* Other text markup issues::
-@end menu
-
@node Text encoding
@subsection Text encoding
@lilypondfile[fontload]{utf-8.ly}
-
The @TeX{} backend does not handle encoding specially at all. Strings
in the input are put in the output as-is. Extents of text items in the
@TeX{} backend, are determined by reading a file created via the
suitable LaTeX wrappers to load appropriate La@TeX{} packages for
interpreting non-ASCII strings.
+
@seealso
@inputfileref{input/regression,utf-8.ly}
e f
}
@end lilypond
-
@node Overview of text markup commands
@end example
-@c really bad section name. :(
-@node Even more than notes
-@section Even more than notes
+@node Preparing parts
+@section Preparing parts
+
+This section describes various notation that are useful for preparing
+individual parts.
@menu
-* Transpose::
-* Ottava brackets::
* Multi measure rests::
-* Time administration::
+* Metronome marks::
+* Rehearsal marks::
+* Bar numbers::
+* Instrument names::
+* Instrument transpositions::
+* Ottava brackets::
+* Different editions from one source::
@end menu
-
-@node Transpose
-@subsection Transpose
-@cindex Transpose
-@cindex transposition of pitches
-@cindex @code{\transpose}
-
-A music expression can be transposed with @code{\transpose}. The
-syntax is
-@example
-\transpose @var{from} @var{to} @var{musicexpr}
-@end example
-
-This means that @var{musicexpr} is transposed by the interval between
-the pitches @var{from} and @var{to}: any note with pitch @code{from}
-is changed to @code{to}.
-
-
-For example, consider a piece written in the key of D-major. If
-this piece is a little too low for its performer, it can be
-transposed up to E-major with
-@example
-\transpose d e @dots{}
-@end example
-
-Consider a part written for violin (a C instrument). If
-this part is to be played on the A clarinet, the following
-transposition will produce the appropriate part
-
-@example
-\transpose a c @dots{}
-@end example
-
-@code{\transpose} distinguishes between enharmonic pitches: both
-@code{\transpose c cis} or @code{\transpose c des} will transpose up
-half a tone. The first version will print sharps and the second
-version will print flats
-
-@lilypond[quote,raggedright,verbatim]
-mus = { \key d \major cis d fis g }
-\context Staff {
- \clef "F" \mus
- \clef "G"
- \transpose c g' \mus
- \transpose c f' \mus
-}
-@end lilypond
-
-@code{\transpose} may also be used to input written notes for a
-transposing instrument. Pitches are normally entered into LilyPond
-in C (or ``concert pitch''), but they may be entered in another
-key. For example, when entering music for a B-flat trumpet which
-begins on concert D, one would write
-
-@example
-\transpose c bes @{ e4 @dots{} @}
-@end example
-
-To print this music in B-flat again (ie producing a trumpet part,
-instead of a concert pitch conductor's score) you would wrap the
-existing music with another @code{transpose}
-
-@example
-\transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
-@end example
-
-
-
-@seealso
-
-Program reference: @internalsref{TransposedMusic}, and
-@internalsref{UntransposableMusic}.
-
-@refbugs
-
-If you want to use both @code{\transpose} and @code{\relative},
-you must put @code{\transpose} outside of @code{\relative}, since
-@code{\relative} will have no effect music that appears inside a
-@code{\transpose}.
-
-
-@node Ottava brackets
-@subsection Ottava brackets
-
-`Ottava' brackets introduce an extra transposition of an octave for
-the staff. They are created by invoking the function
-@code{set-octavation}
-
-@cindex ottava
-@cindex 15ma
-@cindex octavation
-
-@lilypond[quote,raggedright,verbatim,fragment]
-\relative c''' {
- a2 b
- #(set-octavation 1)
- a b
- #(set-octavation 0)
- a b
-}
-@end lilypond
-
-The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
-(for 15ma) as arguments. Internally the function sets the properties
-@code{ottavation} (e.g., to @code{"8va"}) and
-@code{centralCPosition}. For overriding the text of the bracket, set
-@code{ottavation} after invoking @code{set-octavation}, i.e.,
-
-@lilypond[quote,raggedright,verbatim]
-{
- #(set-octavation 1)
- \set Staff.ottavation = #"8"
- c'''
-}
-@end lilypond
-
-@seealso
-
-Program reference: @internalsref{OttavaBracket}.
-
-Examples: @inputfileref{input/@/regression,ottava@/.ly},
-@inputfileref{input/@/regression,ottava@/-broken@/.ly}.
-
-@refbugs
-
-@code{set-octavation} will get confused when clef changes happen
-during an octavation bracket.
-
-
@node Multi measure rests
@subsection Multi measure rests
+
@cindex multi measure rests
@cindex Rests, multi measure
-
+@cindex whole rests for a full measure
@cindex @code{R}
Multi-measure rests are entered using `@code{R}'. It is specifically
R1*2 | R1*5 | R1*9
@end lilypond
-
@cindex text on multi-measure rest
@cindex script on multi-measure rest
@cindex fermata on multi-measure rest
@end example
-@cindex whole rests for a full measure
-
@seealso
-Program reference: @internalsref{MultiMeasureRestEvent},
-@internalsref{MultiMeasureTextEvent},
-@internalsref{MultiMeasureRestMusicGroup}, and
+Program reference: @internalsref{MultiMeasureRestMusicGroup},
@internalsref{MultiMeasureRest}.
The layout object @internalsref{MultiMeasureRestNumber} is for the
default number, and @internalsref{MultiMeasureRestText} for user
specified texts.
+
@refbugs
It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
numbering will be off.
-@node Time administration
-@subsection Time administration
-
-Time is administered by the @internalsref{Time_signature_engraver},
-which usually lives in the @internalsref{Score} context.
-The bookkeeping deals with the following variables
-
-@table @code
-@item currentBarNumber
-The measure number.
-
-@item measureLength
-The length of the measures in the current time signature. For a 4/4
-time this is@tie{}1, and for 6/8 it is 3/4.
-
-@item measurePosition
-The point within the measure where we currently are. This quantity
-is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
-happens, @code{currentBarNumber} is incremented.
-
-@item timing
-If set to true, the above variables are updated for every time
-step. When set to false, the engraver stays in the current measure
-indefinitely.
-@end table
-
-Timing can be changed by setting any of these variables explicitly.
-In the next example, the 4/4 time signature is printed, but
-@code{measureLength} is set to 5/4. After a while, the measure is
-shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
-in the measure, so the next bar line will fall at 2/4 + 3/8. The
-3/8 arises because 5/4 normally has 10/8, but we have manually
-set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
-
-@lilypond[quote,raggedright,verbatim,relative,fragment]
-\set Score.measureLength = #(ly:make-moment 5 4)
-c1 c4
-c1 c4
-c4 c4
-\set Score.measurePosition = #(ly:make-moment 7 8)
-b8 b b
-c4 c1
-@end lilypond
-
-
-
-@node Preparing parts
-@section Preparing parts
-
-This section describes various notation that are useful for preparing
-individual parts.
-
-@menu
-* Metronome marks::
-* Rehearsal marks::
-* Bar numbers::
-* Instrument names::
-* Instrument transpositions::
-* Different editions from one source::
-@end menu
-
-
@node Metronome marks
@subsection Metronome marks
\tempo 8.=120 c''1
@end lilypond
+
+@commonprop
+
To change the tempo in the MIDI output without printing anything, make
the metronome marking invisible
@example
@seealso
-Program reference: @internalsref{MetronomeChangeEvent}
-@internalsref{MetronomeMark}.
+Program reference: @internalsref{MetronomeMark}.
+
@refbugs
@node Rehearsal marks
@subsection Rehearsal marks
+
@cindex Rehearsal marks
-@cindex mark
@cindex @code{\mark}
To print a rehearsal mark, use the @code{\mark} command
@noindent
(The letter@tie{}`I' is skipped in accordance with engraving traditions.)
-@c umm, is the manual the right place for feature requests? :) -gp
-@c FIXME - should make that tunable.
The mark is incremented automatically if you use @code{\mark
\default}, but you can also use an integer argument to set the mark
@code{format-mark-letters} and @code{format-mark-box-letters}.
These can be used as inspiration for other formatting functions.
+
@seealso
-Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
+Program reference: @internalsref{RehearsalMark}.
Init files: @file{scm/@/translation@/-functions@/.scm} contains the
definition of @code{format-mark-numbers} and
@node Bar numbers
@subsection Bar numbers
-
@cindex Bar numbers
@cindex measure numbers
@cindex @code{currentBarNumber}
}
@end lilypond
+
@seealso
Program reference: @internalsref{BarNumber}.
@inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
+
@refbugs
Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
@node Instrument transpositions
@subsection Instrument transpositions
+
@cindex transposition, MIDI
@cindex transposition, instrument
@end example
+@node Ottava brackets
+@subsection Ottava brackets
+
+`Ottava' brackets introduce an extra transposition of an octave for
+the staff. They are created by invoking the function
+@code{set-octavation}
+
+@cindex ottava
+@cindex 15ma
+@cindex octavation
+
+@lilypond[quote,raggedright,verbatim,fragment]
+\relative c''' {
+ a2 b
+ #(set-octavation 1)
+ a b
+ #(set-octavation 0)
+ a b
+}
+@end lilypond
+
+The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
+(for 15ma) as arguments. Internally the function sets the properties
+@code{ottavation} (e.g., to @code{"8va"}) and
+@code{centralCPosition}. For overriding the text of the bracket, set
+@code{ottavation} after invoking @code{set-octavation}, i.e.,
+
+@lilypond[quote,raggedright,verbatim]
+{
+ #(set-octavation 1)
+ \set Staff.ottavation = #"8"
+ c'''
+}
+@end lilypond
+
+
+@seealso
+
+Program reference: @internalsref{OttavaBracket}.
+
+Examples: @inputfileref{input/@/regression,ottava@/.ly},
+@inputfileref{input/@/regression,ottava@/-broken@/.ly}.
+
+
+@refbugs
+
+@code{set-octavation} will get confused when clef changes happen
+during an octavation bracket.
+
+
@node Different editions from one source
@subsection Different editions from one source
+@cindex @code{\tag}
@cindex tag
+
The @code{\tag} command marks music expressions with a name. These
tagged expressions can be filtered out later. With this mechanism it
is possible to make different versions of the same music source.
@lilypondfile[raggedright,quote]{tag-filter.ly}
-
The argument of the @code{\tag} command should be a symbol, or a list
of symbols, for example,
@example
@end example
-
@seealso
Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
+
@refbugs
Multiple rests are not merged if you create the score with both tagged
sections.
+
@node Orchestral music
@section Orchestral music
@seealso
-Program reference: @internalsref{PartCombineMusic},
-@internalsref{SoloOneEvent}, and
-@internalsref{SoloTwoEvent}, and
-@internalsref{UnisonoEvent}.
+Program reference: @internalsref{PartCombineMusic}.
@refbugs
Program reference: @internalsref{ClusterSpanner},
@internalsref{ClusterSpannerBeacon},
-@internalsref{Cluster_spanner_engraver}, and
-@internalsref{ClusterNoteEvent}.
+@internalsref{Cluster_spanner_engraver}.
Examples: @inputfileref{input/@/regression,cluster@/.ly}.
@seealso
-Program reference: @internalsref{HorizontalBracket},
-@internalsref{NoteGroupingEvent}.
+Program reference: @internalsref{HorizontalBracket}.
Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
@end lilypond
+@node Other
+@section Other
+
+FIXME:
+It's the dreaded ``what on earth should I do with this stuff'' section! Yay!
+
+@menu
+* Time administration::
+* Transpose::
+@end menu
+
+
+@node Time administration
+@subsection Time administration
+
+Time is administered by the @internalsref{Time_signature_engraver},
+which usually lives in the @internalsref{Score} context.
+The bookkeeping deals with the following variables
+
+@table @code
+@item currentBarNumber
+The measure number.
+
+@item measureLength
+The length of the measures in the current time signature. For a 4/4
+time this is@tie{}1, and for 6/8 it is 3/4.
+
+@item measurePosition
+The point within the measure where we currently are. This quantity
+is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
+happens, @code{currentBarNumber} is incremented.
+
+@item timing
+If set to true, the above variables are updated for every time
+step. When set to false, the engraver stays in the current measure
+indefinitely.
+@end table
+
+Timing can be changed by setting any of these variables explicitly.
+In the next example, the 4/4 time signature is printed, but
+@code{measureLength} is set to 5/4. After a while, the measure is
+shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
+in the measure, so the next bar line will fall at 2/4 + 3/8. The
+3/8 arises because 5/4 normally has 10/8, but we have manually
+set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
+
+@lilypond[quote,raggedright,verbatim,relative,fragment]
+\set Score.measureLength = #(ly:make-moment 5 4)
+c1 c4
+c1 c4
+c4 c4
+\set Score.measurePosition = #(ly:make-moment 7 8)
+b8 b b
+c4 c1
+@end lilypond
+
+
+@node Transpose
+@subsection Transpose
+@cindex Transpose
+@cindex transposition of pitches
+@cindex @code{\transpose}
+
+A music expression can be transposed with @code{\transpose}. The
+syntax is
+@example
+\transpose @var{from} @var{to} @var{musicexpr}
+@end example
+
+This means that @var{musicexpr} is transposed by the interval between
+the pitches @var{from} and @var{to}: any note with pitch @code{from}
+is changed to @code{to}.
+
+
+For example, consider a piece written in the key of D-major. If
+this piece is a little too low for its performer, it can be
+transposed up to E-major with
+@example
+\transpose d e @dots{}
+@end example
+
+Consider a part written for violin (a C instrument). If
+this part is to be played on the A clarinet, the following
+transposition will produce the appropriate part
+
+@example
+\transpose a c @dots{}
+@end example
+
+@code{\transpose} distinguishes between enharmonic pitches: both
+@code{\transpose c cis} or @code{\transpose c des} will transpose up
+half a tone. The first version will print sharps and the second
+version will print flats
+
+@lilypond[quote,raggedright,verbatim]
+mus = { \key d \major cis d fis g }
+\context Staff {
+ \clef "F" \mus
+ \clef "G"
+ \transpose c g' \mus
+ \transpose c f' \mus
+}
+@end lilypond
+
+@code{\transpose} may also be used to input written notes for a
+transposing instrument. Pitches are normally entered into LilyPond
+in C (or ``concert pitch''), but they may be entered in another
+key. For example, when entering music for a B-flat trumpet which
+begins on concert D, one would write
+
+@example
+\transpose c bes @{ e4 @dots{} @}
+@end example
+
+To print this music in B-flat again (ie producing a trumpet part,
+instead of a concert pitch conductor's score) you would wrap the
+existing music with another @code{transpose}
+
+@example
+\transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
+@end example
+
+
+
+@seealso
+
+Program reference: @internalsref{TransposedMusic}, and
+@internalsref{UntransposableMusic}.
+
+@refbugs
+
+If you want to use both @code{\transpose} and @code{\relative},
+you must put @code{\transpose} outside of @code{\relative}, since
+@code{\relative} will have no effect music that appears inside a
+@code{\transpose}.
+
+
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