1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
10 @section Staff notation
12 @lilypondfile[quote,ragged-right,line-width=16\cm,staffsize=16]
15 Notes, dynamic signs, rests, etc., are grouped with a set of horizontal
16 lines, called a staff (plural @q{staves}). In LilyPond, these
17 lines are drawn using a separate layout object called @code{staff
20 Two or more staves can be grouped vertically in a @code{GrandStaff}, a
21 @code{StaffGroup}, or a @code{ChoirStaff}.
30 @node Displaying staves
31 @subsection Displaying staves
34 * System start delimiters::
39 @node System start delimiters
40 @unnumberedsubsubsec System start delimiters
42 @cindex start of system
43 @cindex staff, multiple
44 @cindex bracket, vertical
45 @cindex brace, vertical
51 Many scores consist of more than one staff. These staves can be
52 grouped in several different ways:
56 In a @code{GrandStaff}, the group is started with a brace
57 at the left, and bar lines are connected between the staves.
59 @lilypond[verbatim,ragged-right,quote]
68 In a @code{StaffGroup}, the bar lines will be drawn through
69 all the staves, but the group is started with a bracket.
71 @lilypond[verbatim,ragged-right,quote]
80 In a @code{ChoirStaff}, the group is started with a
81 bracket, but bar lines are not connected.
83 @lilypond[verbatim,ragged-right,quote]
92 If no context is specified, the default properties for the score
93 will be used: the group is started with a vertical line, and the
94 bar lines are not connected.
96 @lilypond[verbatim,ragged-right,quote]
104 @cindex Mensurstriche layout
105 @cindex Renaissance music
107 In addition to these four staff group types, other groupings can
108 be produced by changing various properties. E.g., the
109 @q{Mensurstriche} layout common in Renaissance music, with
110 bar lines running between but not through the staves, can be
111 produced from a @code{StaffGroup} or @code{GrandStaff} context if
112 the bar lines are made transparent in the @code{Staff} itself, with
113 the command @code{\override Staff.BarLine #'transparent = ##t}
115 @cindex staff, nested
117 Staff groups can be nested, using the context
118 @code{InnerStaffGroup} or @code{InnerChoirStaff}; see
119 @lsr{staff,staff-brackets.ly}
124 More complex nesting can be accomplished using the property
125 @code{systemStartDelimiterHierarchy}:
127 @lilypond[quote,ragged-right,verbatim]
130 \set StaffGroup.systemStartDelimiterHierarchy
131 = #'(SystemStartSquare (SystemStartBracket a
132 (SystemStartSquare b)) d)
141 Each staff group context sets the property
142 @code{systemStartDelimiter} to one of the values
143 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace},
144 and @internalsref{SystemStartBracket}. A fourth delimiter,
145 @code{systemStartSquare}, is also available, but must be
146 instantiated manually
148 @c FIXME: Graham will deal with this. -gp
150 To display a bracket even if there is only one staff, see
151 @lsr{staff,display-bracket-with-only-one-staff-in-a
156 Music Glossary: @rglos{brace}, @rglos{staff}, @rglos{staves}
157 @c FIXME add @rglos{bracket}
159 Snippets: @lsrdir{staff}
161 Internals Reference: @internalsref{ChoirStaff},
162 @internalsref{GrandStaff}, @internalsref{StaffGroup},
163 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace},
164 @internalsref{SystemStartBracket},
165 @internalsref{systemStartDelimiterHierarchy}.
169 @unnumberedsubsubsec Staff symbol
171 @cindex adjusting staff symbol
173 The layout object which draws the lines of a staff is called
174 @code{staff symbol}. The staff symbol may be tuned in the number,
175 thickness and distance of lines, using properties. This is
176 demonstrated in the example files
177 @lsr{staff,changing-the-number-of-lines-in-a-staff.ly} and
178 @lsr{staff,changing-the-staff-size.ly}.
180 In addition, staves may be started and stopped at will. This is
181 done with @code{\startStaff} and @code{\stopStaff}.
183 @lilypond[verbatim,relative=2,fragment]
185 \override Staff.StaffSymbol #'line-count = 2
186 \stopStaff \startStaff
188 \revert Staff.StaffSymbol #'line-count
189 \stopStaff \startStaff
193 @cindex staves, Frenched
195 @cindex Frenched staves
197 In combination with Frenched staves, this may be used to typeset
198 @emph{ossia} sections. An example is shown here
200 @lilypond[verbatim,relative=2,quote]
204 \remove "Time_signature_engraver"
206 \override StaffSymbol #'staff-space = #(magstep -2)
215 bes8[^"ossia" g bes g]
232 @cindex staff lines, setting number of
233 @cindex staff lines, setting thickness of
234 @cindex thickness of staff lines, setting
235 @cindex number of staff lines, setting
239 Music Glossary: @rglos{ossia}, @rglos{staff}, @rglos{Frenched staff}.
241 Snippets: @lsrdir{staff}
243 Internals Reference: @internalsref{StaffSymbol},
244 @internalsref{DrumStaff}.
248 @unnumberedsubsubsec Hiding staves
250 @cindex Frenched scores
251 @cindex staves, hiding
253 In orchestral scores, staff lines that only have rests are usually
254 removed; this saves some space. This style is called @q{French
255 Score}. For @internalsref{Lyrics}, @internalsref{ChordNames} and
256 @internalsref{FiguredBass}, this is switched on by default. When
257 the lines of these contexts turn out empty after the line-breaking
258 process, they are removed.
260 For normal staves, a specialized @internalsref{Staff} context is
261 available, which does the same: staves containing nothing (or only
262 multi-measure rests) are removed. The context definition is
263 stored in @code{\RemoveEmptyStaffContext} variable. Observe how
264 the second staff in this example disappears in the second line
266 @lilypond[quote,ragged-right,verbatim]
268 \context { \RemoveEmptyStaffContext }
273 \new Staff { e4 f g a \break c1 }
274 \new Staff { c4 d e f \break R1 }
279 The first system shows all staves in full. If empty staves should
280 be removed from the first system too, set @code{remove-first} to
281 true in @internalsref{VerticalAxisGroup}.
284 \override Score.VerticalAxisGroup #'remove-first = ##t
287 To remove other types of contexts, use
288 @code{\AncientRemoveEmptyStaffContext} or
289 @code{\RemoveEmptyRhythmicStaffContext}.
291 Another application of the @code{\RemoveEmptyStaffContext} is to
292 make ossia sections, i.e., alternative melodies on a separate
293 piece of staff, with help of a Frenched staff. See @ref{Staff
296 You can make the staff lines invisible by removing the
297 @code{Staff_symbol_engraver} from the @code{Staff} context.
300 @lilypond[quote,ragged-right,verbatim]
302 \context Staff \relative c'' { c8 c c16 c c c }
306 \remove Staff_symbol_engraver
314 Snippets: @lsrdir{staff}
317 @subsection Writing parts
322 * Quoting other voices::
323 * Formatting cue notes::
326 @node Metronome marks
327 @unnumberedsubsubsec Metronome marks
330 @cindex beats per minute
331 @cindex metronome marking
333 Metronome settings can be entered as follows
336 \tempo @var{duration} = @var{per-minute}
339 In the MIDI output, they are interpreted as a tempo change. In
340 the layout output, a metronome marking is printed
344 @lilypond[quote,ragged-right,verbatim,fragment]
351 To change the tempo in the MIDI output without printing anything,
352 make the metronome marking invisible @example \once \override
353 Score.MetronomeMark #'transparent = ##t @end example
355 To print other metronome markings, use these markup commands
356 @lilypond[quote,ragged-right,verbatim,relative,fragment]
359 \smaller \general-align #Y #DOWN \note #"16." #1
361 \smaller \general-align #Y #DOWN \note #"8" #1
366 For more details, see @ref{Text markup}.
371 Internals Reference: @internalsref{MetronomeMark}, @ref{MIDI
377 Collisions are not checked. If you have notes above the top line
378 of the staff (or notes with articulations, slurs, text, etc), then
379 the metronome marking may be printed on top of musical symbols.
380 If this occurs, increase the padding of the metronome mark to
381 place it further away from the staff.
384 \override Score.MetronomeMark #'padding = #2.5
387 @c perhaps also an example of how to move it horizontally?
391 Snippets: @lsrdir{staff}
393 @node Instrument names
394 @unnumberedsubsubsec Instrument names
396 In an orchestral score, instrument names are printed at the left
399 This can be achieved by setting
400 @internalsref{Staff}.@code{instrumentName} and
401 @internalsref{Staff}.@code{shortInstrumentName}, or
402 @internalsref{PianoStaff}.@code{instrumentName} and
403 @internalsref{PianoStaff}.@code{shortInstrumentName}. This will
404 print text before the start of the staff. For the first staff,
405 @code{instrumentName} is used. If set, @code{shortInstrumentName}
406 is used for the following staves.
408 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
409 \set Staff.instrumentName = "Ploink "
410 \set Staff.shortInstrumentName = "Plk "
416 You can also use markup texts to construct more complicated
417 instrument names, for example
419 @lilypond[quote,fragment,verbatim,ragged-right]
420 \set Staff.instrumentName = \markup {
421 \column { "Clarinetti"
422 \line { "in B" \smaller \flat } } }
426 If you wish to center the instrument names, you must center all of
429 @lilypond[quote,verbatim,ragged-right]
432 \set Staff.instrumentName = \markup {
433 \center-align { "Clarinetti"
434 \line { "in B" \smaller \flat } } }
438 \set Staff.instrumentName =
439 \markup{ \center-align { Vibraphone }}
446 For longer instrument names, it may be useful to increase the
447 @code{indent} setting in the @code{\layout} block.
449 To center instrument names while leaving extra space to the right,
451 @lilypond[quote,verbatim,ragged-right]
452 \new StaffGroup \relative
455 \set Staff.instrumentName =
456 \markup { \hcenter-in #10 "blabla" }
460 \set Staff.instrumentName =
461 \markup { \hcenter-in #10 "blo" }
467 To add instrument names to other contexts (such as
468 @code{GrandStaff}, @code{ChoirStaff}, or @code{StaffGroup}), the
469 engraver must be added to that context.
473 \context @{\GrandStaff \consists "Instrument_name_engraver"@}
478 More information about adding and removing engravers can be found
479 in @ref{Modifying context plug-ins}.
481 Instrument names may be changed in the middle of a piece,
483 @lilypond[quote,fragment,verbatim,ragged-right]
484 \set Staff.instrumentName = "First"
485 \set Staff.shortInstrumentName = "one"
488 \set Staff.instrumentName = "Second"
489 \set Staff.shortInstrumentName = "two"
497 Snippets: @lsrdir{staff}
499 Internals Reference: @internalsref{InstrumentName}.
502 @node Quoting other voices
503 @unnumberedsubsubsec Quoting other voices
507 With quotations, fragments of other parts can be inserted into a
508 part directly. Before a part can be quoted, it must be marked
509 especially as quotable. This is done with the @code{\addQuote}
513 \addQuote @var{name} @var{music}
518 Here, @var{name} is an identifying string. The @var{music} is any
519 kind of music. Here is an example of @code{\addQuote}
522 \addQuote clarinet \relative c' @{
527 This command must be entered at toplevel, i.e., outside any music
528 blocks. Typically, one would use an already defined music event
532 clarinet = \relative c' @{
535 \addQuote clarinet @{ \clarinet @}
539 After calling @code{\addQuote}, the quotation may then be done
540 with @code{\quoteDuring} or @code{\cueDuring},
543 \quoteDuring #@var{name} @var{music}
546 During a part, a piece of music can be quoted with the
547 @code{\quoteDuring} command.
550 \quoteDuring #"clarinet" @{ s2. @}
553 This would cite three quarter notes (the duration of @code{s2.})
554 of the previously added @code{clarinet} voice.
556 More precisely, it takes the current time-step of the part being
557 printed, and extracts the notes at the corresponding point of the
558 @code{\addQuote}d voice. Therefore, the argument to
559 @code{\addQuote} should be the entire part of the voice to be
560 quoted, including any rests at the beginning.
562 It is possible to use another music expression instead of
563 @code{s}, thus creating a polyphonic section, but this may not
564 always give the desired result.
566 Quotations take into account the transposition of both source and
567 target instruments, if they are specified using the
568 @code{\transposition} command.
570 @lilypond[quote,ragged-right,verbatim]
571 \addQuote clarinet \relative c' {
577 e'8 f'8 \quoteDuring #"clarinet" { s2 }
581 The type of events that are present in the quoted music can be
582 trimmed with the @code{quotedEventTypes} property. The default
583 value is @code{(note-event rest-event)}, which means that only
584 notes and rests of the quoted voice end up in the
585 @code{\quoteDuring}. Setting
588 \set Staff.quotedEventTypes =
589 #'(note-event articulation-event dynamic-event)
593 will quote notes (but no rests), together with scripts and
598 Only the contents of the first @internalsref{Voice} occurring in
599 an @code{\addQuote} command will be considered for quotation, so
600 @var{music} can not contain @code{\new} and @code{\context Voice}
601 statements that would switch to a different Voice.
603 Quoting grace notes is broken and can even cause LilyPond to
606 Quoting nested triplets may result in poor notation.
608 In earlier versions of LilyPond (pre 2.11), @code{addQuote} was
609 written entirely in lower-case letters: @code{\addquote}.
613 Notation Reference: @ref{Instrument transpositions}.
615 Snippets: @lsrdir{staff}
617 Internals Reference: @internalsref{QuoteMusic}.
620 @node Formatting cue notes
621 @unnumberedsubsubsec Formatting cue notes
623 @cindex cues, formatting
625 The previous section deals with inserting notes from another
626 voice. There is a more advanced music function called
627 @code{\cueDuring}, which makes formatting cue notes easier.
632 \cueDuring #@var{name} #@var{updown} @var{music}
635 This will insert notes from the part @var{name} into a
636 @internalsref{Voice} called @code{cue}. This happens
637 simultaneously with @var{music}, which usually is a rest. When
638 the cue notes start, the staff in effect becomes polyphonic for a
639 moment. The argument @var{updown} determines whether the cue
640 notes should be notated as a first or second voice.
643 @lilypond[verbatim,ragged-right]
646 \override Stem #'length-fraction = #0.8
647 \override Beam #'thickness = #0.384
648 \override Beam #'length-fraction = #0.8
651 \addQuote clarinet \relative {
656 \new Staff \relative <<
658 % setup a context for cue notes.
659 \new Voice = "cue" { \smaller \skip 1*21 }
661 \set Score.skipBars = ##t
665 \cueDuring #"clarinet" #UP {
674 Here are a couple of hints for successful cue notes
678 Cue notes have smaller font sizes.
681 the cued part is marked with the instrument playing the cue.
684 when the original part takes over again, this should be marked
685 with the name of the original instrument.
687 Any other changes introduced by the cued part should also be
688 undone. For example, if the cued instrument plays in a different
689 clef, the original clef should be stated once again.
693 The macro @code{\transposedCueDuring} is useful to add cues to
694 instruments which use a completely different octave range (for
695 example, having a cue of a piccolo flute within a contra bassoon
698 @lilypond[verbatim,ragged-right,quote]
699 picc = \relative c''' {
705 \addQuote "picc" { \picc }
707 cbsn = \relative c, {
710 \transposedCueDuring #"picc" #UP c,, { R1 } |
715 \context Staff = "picc" \picc
716 \context Staff = "cbsn" \cbsn
722 Snippets: @lsrdir{staff}