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
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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}
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
252 @cindex staves, empty
254 In orchestral scores, staff lines that only have rests are usually
255 removed; this saves some space. This style is called @q{French
256 Score}. For @code{Lyrics}, @code{ChordNames} and
257 @code{FiguredBass}, this is switched on by default. When
258 the lines of these contexts turn out empty after the line-breaking
259 process, they are removed.
261 For normal staves, a specialized @code{Staff} context is
262 available, which does the same: staves containing nothing (or only
263 multi-measure rests) are removed. The context definition is
264 stored in @code{\RemoveEmptyStaffContext} variable. Observe how
265 the second staff in this example disappears in the second line
267 @lilypond[quote,ragged-right,verbatim]
269 \context { \RemoveEmptyStaffContext }
274 \new Staff { e4 f g a \break c1 }
275 \new Staff { c4 d e f \break R1 }
280 The first system shows all staves in full. If empty staves should
281 be removed from the first system too, set @code{remove-first} to
282 true in @code{VerticalAxisGroup}.
285 \override Score.VerticalAxisGroup #'remove-first = ##t
288 To remove other types of contexts, use
289 @code{\AncientRemoveEmptyStaffContext} or
290 @code{\RemoveEmptyRhythmicStaffContext}.
294 Another application of the @code{\RemoveEmptyStaffContext} is to
295 make ossia sections, i.e., alternative melodies on a separate
296 piece of staff, with help of a Frenched staff. See @ref{Staff
299 You can make the staff lines invisible by removing the
300 @code{Staff_symbol_engraver} from the @code{Staff} context.
303 @lilypond[quote,ragged-right,verbatim]
305 \context Staff \relative c'' { c8 c c16 c c c }
309 \remove Staff_symbol_engraver
317 Notation Reference: @ref{Staff symbol}.
319 Snippets: @lsrdir{staff}
321 Internals Reference: @internalsref{ChordNames},
322 @internalsref{FiguredBass}, @internalsref{Lyrics},
323 @internalsref{Staff}, @internalsref{VerticalAxisGroup}.
326 @subsection Writing parts
331 * Quoting other voices::
332 * Formatting cue notes::
335 @node Metronome marks
336 @unnumberedsubsubsec Metronome marks
339 @cindex beats per minute
340 @cindex metronome marking
342 Metronome settings can be entered as follows
345 \tempo @var{duration} = @var{per-minute}
348 In the MIDI output, they are interpreted as a tempo change. In
349 the layout output, a metronome marking is printed
353 @lilypond[quote,ragged-right,verbatim,fragment]
360 To change the tempo in the MIDI output without printing anything,
361 make the metronome marking invisible @example \once \override
362 Score.MetronomeMark #'transparent = ##t @end example
364 To print other metronome markings, use these markup commands
365 @lilypond[quote,ragged-right,verbatim,relative,fragment]
368 \smaller \general-align #Y #DOWN \note #"16." #1
370 \smaller \general-align #Y #DOWN \note #"8" #1
375 For more details, see @ref{Text markup}.
380 Music Glossary: @rglos{metronome}, @rglos{metronomic indication},
381 @rglos{tempo indication}.
382 @c FIXME : add @rglos{Mälzels Metronome}, @rglos{M.M.}, @rglos{tempo}?
384 Notation Reference: @ref{Text markup}.
386 Snippets: @lsrdir{staff}.
388 Internals Reference: @internalsref{MetronomeMark}, @ref{MIDI
394 Collisions are not checked. If you have notes above the top line
395 of the staff (or notes with articulations, slurs, text, etc), then
396 the metronome marking may be printed on top of musical symbols.
397 If this occurs, increase the padding of the metronome mark to
398 place it further away from the staff.
401 \override Score.MetronomeMark #'padding = #2.5
404 @c perhaps also an example of how to move it horizontally?
407 @node Instrument names
408 @unnumberedsubsubsec Instrument names
410 In an orchestral score, instrument names are printed at the left
413 This can be achieved by setting
414 @internalsref{Staff}.@code{instrumentName} and
415 @internalsref{Staff}.@code{shortInstrumentName}, or
416 @internalsref{PianoStaff}.@code{instrumentName} and
417 @internalsref{PianoStaff}.@code{shortInstrumentName}. This will
418 print text before the start of the staff. For the first staff,
419 @code{instrumentName} is used. If set, @code{shortInstrumentName}
420 is used for the following staves.
422 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
423 \set Staff.instrumentName = "Ploink "
424 \set Staff.shortInstrumentName = "Plk "
430 You can also use markup texts to construct more complicated
431 instrument names, for example
433 @lilypond[quote,fragment,verbatim,ragged-right]
434 \set Staff.instrumentName = \markup {
435 \column { "Clarinetti"
436 \line { "in B" \smaller \flat } } }
440 If you wish to center the instrument names, you must center all of
443 @lilypond[quote,verbatim,ragged-right]
446 \set Staff.instrumentName = \markup {
447 \center-align { "Clarinetti"
448 \line { "in B" \smaller \flat } } }
452 \set Staff.instrumentName =
453 \markup{ \center-align { Vibraphone }}
460 For longer instrument names, it may be useful to increase the
461 @code{indent} setting in the @code{\layout} block.
463 To center instrument names while leaving extra space to the right,
465 @lilypond[quote,verbatim,ragged-right]
466 \new StaffGroup \relative
469 \set Staff.instrumentName =
470 \markup { \hcenter-in #10 "blabla" }
474 \set Staff.instrumentName =
475 \markup { \hcenter-in #10 "blo" }
481 To add instrument names to other contexts (such as
482 @code{GrandStaff}, @code{ChoirStaff}, or @code{StaffGroup}), the
483 engraver must be added to that context.
487 \context @{\GrandStaff \consists "Instrument_name_engraver"@}
492 More information about adding and removing engravers can be found
493 in @ref{Modifying context plug-ins}.
495 Instrument names may be changed in the middle of a piece,
497 @lilypond[quote,fragment,verbatim,ragged-right]
498 \set Staff.instrumentName = "First"
499 \set Staff.shortInstrumentName = "one"
502 \set Staff.instrumentName = "Second"
503 \set Staff.shortInstrumentName = "two"
511 Snippets: @lsrdir{staff}
513 Internals Reference: @internalsref{InstrumentName}.
516 @node Quoting other voices
517 @unnumberedsubsubsec Quoting other voices
521 With quotations, fragments of other parts can be inserted into a
522 part directly. Before a part can be quoted, it must be marked
523 especially as quotable. This is done with the @code{\addQuote}
527 \addQuote @var{name} @var{music}
532 Here, @var{name} is an identifying string. The @var{music} is any
533 kind of music. Here is an example of @code{\addQuote}
536 \addQuote clarinet \relative c' @{
541 This command must be entered at toplevel, i.e., outside any music
542 blocks. Typically, one would use an already defined music event
546 clarinet = \relative c' @{
549 \addQuote clarinet @{ \clarinet @}
553 After calling @code{\addQuote}, the quotation may then be done
554 with @code{\quoteDuring} or @code{\cueDuring},
557 \quoteDuring #@var{name} @var{music}
560 During a part, a piece of music can be quoted with the
561 @code{\quoteDuring} command.
564 \quoteDuring #"clarinet" @{ s2. @}
567 This would cite three quarter notes (the duration of @code{s2.})
568 of the previously added @code{clarinet} voice.
570 More precisely, it takes the current time-step of the part being
571 printed, and extracts the notes at the corresponding point of the
572 @code{\addQuote}d voice. Therefore, the argument to
573 @code{\addQuote} should be the entire part of the voice to be
574 quoted, including any rests at the beginning.
576 It is possible to use another music expression instead of
577 @code{s}, thus creating a polyphonic section, but this may not
578 always give the desired result.
580 Quotations take into account the transposition of both source and
581 target instruments, if they are specified using the
582 @code{\transposition} command.
584 @lilypond[quote,ragged-right,verbatim]
585 \addQuote clarinet \relative c' {
591 e'8 f'8 \quoteDuring #"clarinet" { s2 }
595 The type of events that are present in the quoted music can be
596 trimmed with the @code{quotedEventTypes} property. The default
597 value is @code{(note-event rest-event)}, which means that only
598 notes and rests of the quoted voice end up in the
599 @code{\quoteDuring}. Setting
602 \set Staff.quotedEventTypes =
603 #'(note-event articulation-event dynamic-event)
607 will quote notes (but no rests), together with scripts and
612 Only the contents of the first @internalsref{Voice} occurring in
613 an @code{\addQuote} command will be considered for quotation, so
614 @var{music} can not contain @code{\new} and @code{\context Voice}
615 statements that would switch to a different Voice.
617 Quoting grace notes is broken and can even cause LilyPond to
620 Quoting nested triplets may result in poor notation.
622 In earlier versions of LilyPond (pre 2.11), @code{addQuote} was
623 written entirely in lower-case letters: @code{\addquote}.
627 Notation Reference: @ref{Instrument transpositions}.
629 Snippets: @lsrdir{staff}
631 Internals Reference: @internalsref{QuoteMusic}.
634 @node Formatting cue notes
635 @unnumberedsubsubsec Formatting cue notes
637 @cindex cues, formatting
639 The previous section deals with inserting notes from another
640 voice. There is a more advanced music function called
641 @code{\cueDuring}, which makes formatting cue notes easier.
646 \cueDuring #@var{name} #@var{updown} @var{music}
649 This will insert notes from the part @var{name} into a
650 @internalsref{Voice} called @code{cue}. This happens
651 simultaneously with @var{music}, which usually is a rest. When
652 the cue notes start, the staff in effect becomes polyphonic for a
653 moment. The argument @var{updown} determines whether the cue
654 notes should be notated as a first or second voice.
657 @lilypond[verbatim,ragged-right]
660 \override Stem #'length-fraction = #0.8
661 \override Beam #'thickness = #0.384
662 \override Beam #'length-fraction = #0.8
665 \addQuote clarinet \relative {
670 \new Staff \relative <<
672 % setup a context for cue notes.
673 \new Voice = "cue" { \smaller \skip 1*21 }
675 \set Score.skipBars = ##t
679 \cueDuring #"clarinet" #UP {
688 Here are a couple of hints for successful cue notes
692 Cue notes have smaller font sizes.
695 the cued part is marked with the instrument playing the cue.
698 when the original part takes over again, this should be marked
699 with the name of the original instrument.
701 Any other changes introduced by the cued part should also be
702 undone. For example, if the cued instrument plays in a different
703 clef, the original clef should be stated once again.
707 The macro @code{\transposedCueDuring} is useful to add cues to
708 instruments which use a completely different octave range (for
709 example, having a cue of a piccolo flute within a contra bassoon
712 @lilypond[verbatim,ragged-right,quote]
713 picc = \relative c''' {
719 \addQuote "picc" { \picc }
721 cbsn = \relative c, {
724 \transposedCueDuring #"picc" #UP c,, { R1 } |
729 \context Staff = "picc" \picc
730 \context Staff = "cbsn" \cbsn
736 Snippets: @lsrdir{staff}