@c -*- coding: utf-8; mode: texinfo; -*-
@ignore
    Translation of GIT committish: FILL-IN-HEAD-COMMITTISH

    When revising a translation, copy the HEAD committish of the
    version that you are working on.  See TRANSLATION for details.
@end ignore

@node Staff notation
@section Staff notation

@lilypondfile[quote,ragged-right,line-width=16\cm,staffsize=16]
{staff-headword.ly}


This section explains how to influence the staff appearance, 
print scores with more than one staff, and 
how to apply specific performance marks to single staves.

@menu
* Displaying staves::  
* Modifying single staves::         
* Writing parts::               
@end menu


@node Displaying staves
@subsection Displaying staves

This section shows the different possibilities to create and group
staves into groups, which can be marked in the beginning of each
line with either a bracket or a brace.



@menu
* Initiating new staves::
* Grouping staves::     
* Deeper nested staff groups::  
@end menu

@node Initiating new staves
@subsubsection Initiating new staves

@cindex new staff
@cindex staff initiation
@cindex staff, new

The lines of a staff are produced by a @code{staff symbol} layout object.
LilyPond ensures that all music is printed on staff lines so if you just
type in some notes, the staff symbol is added automatically to the output.
This is just a shortcut to make the program usage more easy, but in most
cases where you want to print more complex music on more than on staff
it is better to create the staff explicitly at the beginning of your
music inside of the @code{\score} environment.

With the command @code{\new Staff @{ ... @}} you actually call a new 
Staff context that has already everything set up to the default 
engraving rules. @ref{Creating contexts} explains how different contexts
are called.

Once a staff is instantiated it can be started or stopped at every point
in the score. This is done with the commands @code{\startStaff} and 
@code{\stopStaff}. How to use it is shown in @ref{Staff symbol}.

Besides the default @code{Staff} context there are also
specialized staff contexts for setting percussion, Guitar music,
and ancient music.
@c No need to mention all the other contexts?
See @ref{Printing chord names}, @ref{Percussion staves}, 
@ref{Tablatures basic}, @ref{Gregorian Chant contexts}, and
@ref{Mensural contexts} for an explanation.

@seealso

Music Glossary: @rglos{staff}, @rglos{staves}

Snippets: @lsrdir{Staff,Staff-notation}

Internals Reference: @internalsref{Staff}



@node Grouping staves
@subsubsection Grouping staves

@cindex start of system
@cindex staff, multiple
@cindex staves, multiple
@cindex system start delimiters
@cindex bracket, vertical
@cindex brace, vertical
@cindex grand staff
@cindex piano staff
@cindex staff group
@cindex staff, choir
@cindex choir staff
@cindex system

LilyPond provides different types of contexts to group single staves 
together. These contexts influence in the first place the appearance
of the system start delimiter, but they have also influence on the
behaviour of the bar lines.


@itemize
@item
If no context is specified, the default properties for the score
will be used: the group is started with a vertical line, and the
bar lines are not connected.  

@lilypond[verbatim,ragged-right,quote,relative=2]
  <<
    \new Staff { c1 c }
    \new Staff { c c }
  >>
@end lilypond

@item
In a @code{StaffGroup}, the bar lines will be drawn through
all the staves, and the group is started with a bracket.

@lilypond[verbatim,ragged-right,quote,relative=2]
  \new StaffGroup
  <<
    \new Staff { c1 c }
    \new Staff { c c }
  >>
@end lilypond

@item
In a @code{ChoirStaff}, the group is 
started with a bracket, but bar lines are not connected. 

@lilypond[verbatim,ragged-right,quote,relative=2]
  \new ChoirStaff
  <<
    \new Staff { c1 c }
    \new Staff { c c }
  >>
@end lilypond

@item
In a @code{GrandStaff}, the group is started with a brace
at the left, and bar lines are connected between the staves. 

@lilypond[verbatim,ragged-right,quote,relative=2]
  \new GrandStaff
  <<
    \new Staff { c1 c }
    \new Staff { c c }
  >>
@end lilypond

@item
The @code{PianoStaff} behaves almost as the @code{GrandStaff} but is
optimized for setting piano music.

@lilypond[verbatim,ragged-right,quote,relative=2]
  \new PianoStaff
  <<
    \new Staff { c1 c }
    \new Staff { c c }
  >>
@end lilypond

@end itemize

According to classic engraver rules an orchestral score consists of
staves connected only with a single line at the beginning of the system.
In LilyPond this is produced grouping the @code{Staff} contexts with
@code{<< ... >>}.

Each instrument family is grouped inside of a @code{StaffGroup} with a 
starting bracket. A group of same instruments or an instrument using
more than one staff is grouped with braces in a @code{GrandStaff}.

Piano music is notated with the @code{PianoStaff} context, that produces
a starting brace and conntects the bar lines between the systems.

Choral music (vocal music for more than one voice) is notated using the
@code{ChoirStaff} context that produces a starting bracket but does not
connect the bar lines between the staves so the lyrics will not collide 
with bar lines.

Here is an example of an orchestral score using groupings. Note that the
instrument names are omited here, see @ref{Instrument names} how to set 
them.

@lilypond[verbatim,ragged-right,quote,relative=2]
  \score{
  <<
    \new StaffGroup %the woodwinds group
    <<
      \new Staff { c1 c }
      \new Staff { c c }
      \new Staff { c c }
    >>
    \new StaffGroup %the brass group
    <<
      \new Staff { c c }
      \new Staff { c c }
      \new GrandStaff %the horns need two staves
      <<
        \new Staff { c c }
        \new Staff {\clef bass c c }
      >>
    >>
    \new ChoirStaff
    <<
      \new Staff { c c }
      \new Staff {\clef alto c c }
      \new Staff {\clef bass c c }
    >>
    \new PianoStaff %for the piano
    <<
      \new Staff { c c }
      \new Staff {\clef bass c c }
    >>
  >>
  }
@end lilypond

@cindex mensurstriche layout
@cindex renaissance music
@cindex transcription of mensural music
@cindex mensural music, transcription of

Other groupings may be achieved by changin various properties.
E.g., the
@q{Mensurstriche} layout common in Renaissance music, with
bar lines running between but not through the staves, can be
produced from a @code{StaffGroup} or @code{GrandStaff} context if
the bar lines are made transparent in the @code{Staff} itself:

@lilypond[verbatim,ragged-right,quote,relative=2]
  global = {\override Staff.BarLine #'transparent = ##t
            s1 s
            %the final bar line is not interupted
            \once \override Staff.BarLine #'transparent = ##f
            \bar "|."}
  \new StaffGroup
  <<
    \new Staff {<< \global { c1 c } >>}
    \new Staff {<< \global { c c } >>}
  >>
@end lilypond


@c FIXME: Graham will deal with this.  -gp
@c snippet 201
To display a bracket even if there is only one staff, see
@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
@c {staff,display-bracket-with-only-one-staff-in-a system.ly}

@seealso

Music Glossary: @rglos{brace}, 
@rglos{bracket}.

Snippets: @lsrdir{Staff,Staff-notation}

Internals Reference: @internalsref{ChoirStaff},
@internalsref{GrandStaff}, @internalsref{StaffGroup},
@internalsref{SystemStartBar}, @internalsref{SystemStartBrace},
@internalsref{SystemStartBracket}.



@node Deeper nested staff groups
@subsubsection Deeper nested staff groups

The last section explained the grouping of staves and also the nesting
of different types of staves together. So the @q{Horn section} in our
example above is contained both in a @code{StaffGroup} and a 
@code{GrandStaff}.

Here about innerChoirStaff and innerStaffGroup

@cindex staff, nested

Staff groups can be nested, using the context
@code{InnerStaffGroup} or @code{InnerChoirStaff}; see
@c @lsr{staff,staff-brackets.ly}
@c snippet 137

@snippets

More complex nesting can be accomplished using the property
@code{systemStartDelimiterHierarchy}: 

@lilypond[quote,ragged-right,verbatim]
\new StaffGroup
\relative <<
  \set StaffGroup.systemStartDelimiterHierarchy
    = #'(SystemStartSquare (SystemStartBracket a
                             (SystemStartSquare b)) d)
  \new Staff { c1 }
  \new Staff { c1 }
  \new Staff { c1 }
  \new Staff { c1 }
  \new Staff { c1 }
>>
@end lilypond

Each staff group context sets the property
@code{systemStartDelimiter} to one of the values
@internalsref{SystemStartBar}, @internalsref{SystemStartBrace},
and @internalsref{SystemStartBracket}.  A fourth delimiter,
@code{systemStartSquare}, is also available, but must be
instantiated manually



Internals Reference: @internalsref{SystemStartBar}, 
@internalsref{SystemStartBrace}, @internalsref{SystemStartBracket},
@internalsref{systemStartDelimiterHierarchy}.











@node Modifying single staves
@subsection Modifying single staves

@menu
* Staff symbol::   
* Ossia staves::             
* Hiding staves::    
@end menu

@node Staff symbol
@subsubsection Staff symbol

@cindex adjusting staff symbol

The layout object which draws the lines of a staff is called
@code{staff symbol}.  The staff symbol may be tuned in the number,
thickness and distance of lines, using properties.  This is
demonstrated in the example files
@c @lsr{staff,changing-the-number-of-lines-in-a-staff.ly} and
@c @lsr{staff,changing-the-staff-size.ly}.

In addition, staves may be started and stopped at will.  This is
done with @code{\startStaff} and @code{\stopStaff}.

@lilypond[verbatim,relative=2,fragment]
b4 b
\override Staff.StaffSymbol #'line-count = 2
\stopStaff \startStaff
b b
\revert Staff.StaffSymbol #'line-count
\stopStaff \startStaff
b b
@end lilypond

@node Ossia staves
@subsubsection Ossia staves

@cindex staves, Frenched
@cindex ossia
@cindex Frenched staves

In combination with Frenched staves, this may be used to typeset
@emph{ossia} sections.  An example is shown here

@lilypond[verbatim,relative=2,quote]
<<
  \new Staff \with
  {
    \remove "Time_signature_engraver"
    fontSize = #-2
    \override StaffSymbol #'staff-space = #(magstep -2)
    firstClef = ##f
  }
  \relative c'' {
    \stopStaff
    \skip 2

    \startStaff
    \clef treble
    bes8[^"ossia" g bes g]
    \stopStaff

    s2

    \startStaff
    f8 d g4 
  }
  \new Staff  \relative
  {
    \time 2/4
    c4 c g' g a a g2
  }

>>
@end lilypond

@cindex staff lines, setting number of
@cindex staff lines, setting thickness of
@cindex thickness of staff lines, setting
@cindex number of staff lines, setting

@seealso

Music Glossary: @rglos{ossia}, @rglos{staff}, @rglos{Frenched staff}.

Snippets: @lsrdir{Staff,Staff-notation}

Internals Reference: @internalsref{StaffSymbol},
@internalsref{DrumStaff}.


@node Hiding staves
@subsubsection Hiding staves

@cindex Frenched scores
@cindex staves, hiding
@cindex staves, empty 

In orchestral scores, staff lines that only have rests are usually
removed; this saves some space.  This style is called @q{French
Score}.  For @code{Lyrics}, @code{ChordNames} and
@code{FiguredBass}, this is switched on by default.  When
the lines of these contexts turn out empty after the line-breaking
process, they are removed.

For normal staves, a specialized @code{Staff} context is
available, which does the same: staves containing nothing (or only
multi-measure rests) are removed.  The context definition is
stored in @code{\RemoveEmptyStaffContext} variable.  Observe how
the second staff in this example disappears in the second line

@lilypond[quote,ragged-right,verbatim]
\layout {
  \context { \RemoveEmptyStaffContext }
}

{
  \relative c' <<
    \new Staff { e4 f g a \break c1 }
    \new Staff { c4 d e f \break R1 }
  >>
}
@end lilypond

The first system shows all staves in full.  If empty staves should
be removed from the first system too, set @code{remove-first} to
true in @code{VerticalAxisGroup}.

@example
\override Score.VerticalAxisGroup #'remove-first = ##t
@end example

To remove other types of contexts, use
@code{\AncientRemoveEmptyStaffContext} or
@code{\RemoveEmptyRhythmicStaffContext}.

@cindex ossia

Another application of the @code{\RemoveEmptyStaffContext} is to
make ossia sections, i.e., alternative melodies on a separate
piece of staff, with help of a Frenched staff.  See @ref{Staff
symbol}. 

You can make the staff lines invisible by removing the
@code{Staff_symbol_engraver} from the @code{Staff} context.


@lilypond[quote,ragged-right,verbatim]
\score {
  \context Staff \relative c'' { c8 c c16 c c c }
  \layout{
    \context {
      \Staff
      \remove Staff_symbol_engraver
    }
  }
}
@end lilypond

@seealso

Notation Reference: @ref{Staff symbol}.

Snippets: @lsrdir{Staff,Staff-notation}

Internals Reference: @internalsref{ChordNames},
@internalsref{FiguredBass}, @internalsref{Lyrics},
@internalsref{Staff}, @internalsref{VerticalAxisGroup}.

@node Writing parts
@subsection Writing parts

@menu
* Metronome marks::             
* Instrument names::            
* Quoting other voices::        
* Formatting cue notes::        
@end menu

@node Metronome marks
@subsubsection Metronome marks

@cindex Tempo
@cindex beats per minute
@cindex metronome marking

Metronome settings can be entered as follows

@example
\tempo @var{duration} = @var{per-minute}
@end example

In the MIDI output, they are interpreted as a tempo change.  In
the layout output, a metronome marking is printed

@funindex \tempo

@lilypond[quote,ragged-right,verbatim,fragment]
\tempo 8.=120 c''1
@end lilypond


@snippets

To change the tempo in the MIDI output without printing anything,
make the metronome marking invisible @example \once \override
Score.MetronomeMark #'transparent = ##t @end example

To print other metronome markings, use these markup commands
@lilypond[quote,ragged-right,verbatim,relative,fragment]
c4^\markup {
  (
  \smaller \general-align #Y #DOWN \note #"16." #1
  =
  \smaller \general-align #Y #DOWN \note #"8" #1
  ) }
@end lilypond

@noindent
For more details, see @ref{Text markup}.


@seealso

Music Glossary: @rglos{metronome}, @rglos{metronomic indication},
@rglos{tempo indication}, @rglos{metronome mark}.

Notation Reference: @ref{Text markup}.

Snippets: @lsrdir{Staff,Staff-notation}.

Internals Reference: @internalsref{MetronomeMark}, @ref{MIDI
output}.


@knownissues

Collisions are not checked.  If you have notes above the top line
of the staff (or notes with articulations, slurs, text, etc), then
the metronome marking may be printed on top of musical symbols.
If this occurs, increase the padding of the metronome mark to
place it further away from the staff.

@example
\override Score.MetronomeMark #'padding = #2.5
@end example

@c perhaps also an example of how to move it horizontally?


@node Instrument names
@subsubsection Instrument names

@cindex instrument names
@cindex instrument names, short

In an orchestral score, instrument names are printed at the left
side of the staves.

This can be achieved by setting @code{Staff}.@code{instrumentName} and
@code{Staff}.@code{shortInstrumentName}, or
@code{PianoStaff}.@code{instrumentName} and
@code{PianoStaff}.@code{shortInstrumentName}.  This will print text
before the start of the staff.  For the first staff,
@code{instrumentName} is used.  If set, @code{shortInstrumentName} is
used for the following staves.

@lilypond[quote,verbatim,ragged-right,relative=1,fragment]
\set Staff.instrumentName = "Ploink "
\set Staff.shortInstrumentName = "Plk "
c1
\break
c''
@end lilypond

You can also use markup texts to construct more complicated
instrument names, for example

@lilypond[quote,fragment,verbatim,ragged-right]
\set Staff.instrumentName = \markup {
  \column { "Clarinetti"
            \line { "in B" \smaller \flat } } }
c''1
@end lilypond

@cindex instrument names, centering

As instrument names are centered by default, multi line names
are better entered using @code{\center-align}:

@lilypond[quote,verbatim,ragged-right]
{ <<
\new Staff {
  \set Staff.instrumentName = \markup \center-align {
    Clarinetti
    \line { "in B" \smaller \flat }
  }
  c''1
}
\new Staff {
  \set Staff.instrumentName = "Vibraphone"
  c''1
}
>>
}
@end lilypond

For longer instrument names, it may be useful to increase the
@code{indent} setting in the @code{\layout} block.

Short instrument names, printed before the systems following the first
one, are also centered by default, in a space which width is given by
the @code{short-indent} variable of the @code{\layout} block.

To add instrument names to other contexts (such as
@code{GrandStaff}, @code{ChoirStaff}, or @code{StaffGroup}), the
engraver must be added to that context.

@example
\layout@{
  \context @{\GrandStaff \consists "Instrument_name_engraver"@}
@}
@end example

@noindent
More information about adding and removing engravers can be found
in @ref{Modifying context plug-ins}.

@cindex instrument names, changing

Instrument names may be changed in the middle of a piece,

@lilypond[quote,fragment,verbatim,ragged-right]
\set Staff.instrumentName = "First"
\set Staff.shortInstrumentName = "one"
c1 c c c \break
c1 c c c \break
\set Staff.instrumentName = "Second"
\set Staff.shortInstrumentName = "two"
c1 c c c \break
c1 c c c \break
@end lilypond


@seealso

Notation Reference: @ref{Modifying context plug-ins}.

Snippets: @lsrdir{Staff,Staff-notation}

Internals Reference: @internalsref{InstrumentName},
@internalsref{PianoStaff}, @internalsref{Staff}.


@node Quoting other voices
@subsubsection Quoting other voices

@cindex cues
@cindex quoting other voices
@cindex fragments
@cindex cue notes

With quotations, fragments of other parts can be inserted into a
part directly.  Before a part can be quoted, it must be marked
especially as quotable.  This is done with the @code{\addQuote}
command.

@example
\addQuote @var{name} @var{music}
@end example


@noindent
Here, @var{name} is an identifying string.  The @var{music} is any
kind of music.  Here is an example of @code{\addQuote}

@example
\addQuote clarinet \relative c' @{
  f4 fis g gis
@}
@end example

This command must be entered at toplevel, i.e., outside any music
blocks.  Typically, one would use an already defined music event
as the @var{music}:

@example
clarinet = \relative c' @{
  f4 fis g gis
@}
\addQuote clarinet @{ \clarinet @}
@end example


After calling @code{\addQuote}, the quotation may then be done
with @code{\quoteDuring} or @code{\cueDuring},

@example
\quoteDuring #@var{name} @var{music}
@end example

During a part, a piece of music can be quoted with the
@code{\quoteDuring} command.

@example
\quoteDuring #"clarinet" @{ s2. @}
@end example

This would cite three quarter notes (the duration of @code{s2.})
of the previously added @code{clarinet} voice.

More precisely, it takes the current time-step of the part being
printed, and extracts the notes at the corresponding point of the
@code{\addQuote}d voice.  Therefore, the argument to
@code{\addQuote} should be the entire part of the voice to be
quoted, including any rests at the beginning.

It is possible to use another music expression instead of
@code{s}, thus creating a polyphonic section, but this may not
always give the desired result.

Quotations take into account the transposition of both source and
target instruments, if they are specified using the
@code{\transposition} command.

@lilypond[quote,ragged-right,verbatim]
\addQuote clarinet \relative c' {
  \transposition bes
  f4 fis g gis
}

{
  e'8 f'8 \quoteDuring #"clarinet" { s2 }
}
@end lilypond

The type of events that are present in the quoted music can be
trimmed with the @code{quotedEventTypes} property.  The default
value is @code{(note-event rest-event)}, which means that only
notes and rests of the quoted voice end up in the
@code{\quoteDuring}.  Setting

@example
\set Staff.quotedEventTypes =
       #'(note-event articulation-event dynamic-event)
@end example

@noindent
will quote notes (but no rests), together with scripts and
dynamics.

@knownissues

Only the contents of the first @code{Voice} occurring in an
@code{\addQuote} command will be considered for quotation, so
@var{music} can not contain @code{\new} and @code{\context Voice}
statements that would switch to a different Voice.

Quoting grace notes is broken and can even cause LilyPond to
crash.

Quoting nested triplets may result in poor notation.

In earlier versions of LilyPond (pre 2.11), @code{addQuote} was
written entirely in lower-case letters: @code{\addquote}.

@seealso

Notation Reference: @ref{Instrument transpositions}.

Snippets: @lsrdir{Staff,Staff-notation}

Internals Reference: @internalsref{QuoteMusic}, @internalsref{Voice}.


@node Formatting cue notes
@subsubsection Formatting cue notes

@cindex cues
@cindex cue notes
@cindex cue notes, formatting
@cindex fragments
@cindex quoting other voices 
@cindex cues, formatting

The previous section deals with inserting notes from another
voice.  There is a more advanced music function called
@code{\cueDuring}, which makes formatting cue notes easier.

The syntax is

@example
  \cueDuring #@var{name} #@var{updown} @var{music}
@end example

This will insert notes from the part @var{name} into a
@code{Voice} called @code{cue}.  This happens
simultaneously with @var{music}, which usually is a rest.  When
the cue notes start, the staff in effect becomes polyphonic for a
moment.  The argument @var{updown} determines whether the cue
notes should be notated as a first or second voice.


@lilypond[verbatim,ragged-right]
smaller = {
  \set fontSize = #-2
  \override Stem #'length-fraction = #0.8
  \override Beam #'thickness = #0.384
  \override Beam #'length-fraction = #0.8
}

\addQuote clarinet \relative {
  R1*20
  r2 r8 c' f f
}

\new Staff \relative  <<

  % setup a context for cue notes.
  \new Voice = "cue" { \smaller \skip 1*21 }

  \set Score.skipBars = ##t

  \new Voice {
    R1*20
    \cueDuring #"clarinet" #UP {
      R1
    }
    g4 g2.
  }
>>
@end lilypond


Here are a couple of hints for successful cue notes:

@itemize
@item
Cue notes have smaller font sizes.

@item
The cued part is marked with the instrument playing the cue.

@item
When the original part takes over again, this should be marked
with the name of the original instrument.

@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 macro @code{\transposedCueDuring} is useful to add cues to
instruments which use a completely different octave range (for
example, having a cue of a piccolo flute within a contra bassoon
part).

@lilypond[verbatim,ragged-right,quote]
picc = \relative c''' {
  \clef "treble^8"
  R1 |
  c8 c c e g2 |
  a4 g g2 |
}
\addQuote "picc" { \picc }

cbsn = \relative c, {
  \clef "bass_8"
  c4 r g r
  \transposedCueDuring #"picc" #UP c,, { R1 } |
  c4 r g r |
}

<<
  \context Staff = "picc" \picc
  \context Staff = "cbsn" \cbsn
>>
@end lilypond

@seealso

Snippets: @lsrdir{Staff,Staff-notation}.

Internals Reference: @internalsref{Voice}.