Merge with master

[lilypond.git] / Documentation / user / advanced-notation.itely

diff --git a/Documentation/user/advanced-notation.itely b/Documentation/user/advanced-notation.itely
index a3f5fdbc7c46c96610de409c908fbda83c6b18e9..42cdb7bdae0f8a670720217f81e0be8b17cc7553 100644 (file)
--- a/Documentation/user/advanced-notation.itely
+++ b/Documentation/user/advanced-notation.itely
@@ -1,5 +1,11 @@
 @c -*- coding: utf-8; mode: texinfo; -*-
 @c This file is part of lilypond.tely
 @c -*- coding: utf-8; mode: texinfo; -*-
 @c This file is part of lilypond.tely

+@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

 
 @c A menu is needed before every deeper *section nesting of @node's; run
 @c     M-x texinfo-all-menus-update
 
 @c A menu is needed before every deeper *section nesting of @node's; run
 @c     M-x texinfo-all-menus-update


@@ -163,7 +169,8 @@ The @code{\mark} command is primarily used for
 @ref{Rehearsal marks},
 but it can also be used to put signs like coda,
 segno, and fermata on a bar line.  Use @code{\markup} to
 @ref{Rehearsal marks},
 but it can also be used to put signs like coda,
 segno, and fermata on a bar line.  Use @code{\markup} to

-access the appropriate symbol
+access the appropriate symbol (symbols are listed in
+@ref{The Feta font})

 
 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
 
 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
 c1 \mark \markup { \musicglyph #"scripts.ufermata" }


@@ -290,7 +297,7 @@ but it can also be used anywhere text is called in lilypond
       #'break-visibility = #begin-of-line-invisible
     \override Score.RehearsalMark #'self-alignment-X = #right
 
       #'break-visibility = #begin-of-line-invisible
     \override Score.RehearsalMark #'self-alignment-X = #right
 

-    \set Staff.instrument = \markup{ \column{ Alto solo } }
+    \set Staff.instrumentName = \markup{ \column{ Alto solo } }

     c2^\markup{ don't be \flat }
     \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
     b2\startTextSpan
     c2^\markup{ don't be \flat }
     \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
     b2\startTextSpan


@@ -302,9 +309,8 @@ but it can also be used anywhere text is called in lilypond
 }
 @end lilypond
 
 }
 @end lilypond
 

-Text can also be placed on its own, away from any @code{\score}
-block.  This is primarily used in a @code{\book} (see
-@ref{Multiple movements}).
+A @code{\markup} command can also be placed on its own, away from any
+@code{\score} block, see @ref{Multiple scores in a book}.

 
 @lilypond[quote,ragged-right,verbatim]
 \markup{ Here is some text. }
 
 @lilypond[quote,ragged-right,verbatim]
 \markup{ Here is some text. }


@@ -504,6 +510,12 @@ then set the
 
 @noindent
 Any font can be used, as long as it is available to Pango/FontConfig.
 
 @noindent
 Any font can be used, as long as it is available to Pango/FontConfig.

+To get a full list of all available fonts, run the command
+@example
+lilypond -dshow-available-fonts blabla
+@end example
+(the last argument of the command can be anything, but has to be present).
+

 
 The size of the font may be set with the @code{font-size}
 property. The resulting size is taken relative to the
 
 The size of the font may be set with the @code{font-size}
 property. The resulting size is taken relative to the


@@ -615,7 +627,7 @@ individual parts.
 @cindex whole rests for a full measure
 @funindex R
 
 @cindex whole rests for a full measure
 @funindex R
 

-Rests for one full measure (or many bars) are entered using `@code{R}'.  It
+Rests for one full measure (or many bars) are entered using @samp{R}.  It

 is specifically meant for full bar rests and for entering parts: the rest
 can expand to fill a score with rests, or it can be printed as a single
 multi-measure rest.  This expansion is controlled by the property
 is specifically meant for full bar rests and for entering parts: the rest
 can expand to fill a score with rests, or it can be printed as a single
 multi-measure rest.  This expansion is controlled by the property


@@ -644,7 +656,7 @@ R1*13/8*12 |
 An @code{R} spanning a single measure is printed as either a whole rest
 or a breve, centered in the measure regardless of the time signature.
 
 An @code{R} spanning a single measure is printed as either a whole rest
 or a breve, centered in the measure regardless of the time signature.
 

-If there are only a few measures of rest, LilyPond prints ``church rests''
+If there are only a few measures of rest, LilyPond prints @q{church rests}

 (a series of rectangles) in the staff.  To replace that with a simple
 rest, use @code{MultiMeasureRest.expand-limit}.
 
 (a series of rectangles) in the staff.  To replace that with a simple
 rest, use @code{MultiMeasureRest.expand-limit}.
 


@@ -798,8 +810,8 @@ c1 \mark \default
 @end lilypond
 
 @noindent
 @end lilypond
 
 @noindent

-The letter@tie{}`I' is skipped in accordance with engraving traditions.
-If you wish to include the letter `I', then use
+The letter@tie{}@q{I} is skipped in accordance with engraving traditions.
+If you wish to include the letter @q{I}, then use

 
 @example
 \set Score.markFormatter = #format-mark-alphabet
 
 @example
 \set Score.markFormatter = #format-mark-alphabet


@@ -836,9 +848,67 @@ You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
 incremented numbers or letters.
 
 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
 incremented numbers or letters.
 

+Other styles of rehearsal mark can be specified manually
+
+@example
+\mark "A1"
+@end example
+
+@noindent
+@code{Score.markFormatter} does not affect marks specified in this manner.
+However, it is possible to apply a @code{\markup} to the string.
+
+@example
+\mark \markup@{ \box A1 @}
+@end example
+
+@cindex segno
+@cindex coda
+@cindex D.S al Fine
+
+Music glyphs (such as the segno sign) may be printed inside
+a @code{\mark}
+
+@lilypond[fragment,quote,ragged-right,verbatim,relative]
+c1 \mark \markup { \musicglyph #"scripts.segno" }
+c1 \mark \markup { \musicglyph #"scripts.coda" }
+c1 \mark \markup { \musicglyph #"scripts.ufermata" }
+c1
+@end lilypond
+
+@noindent
+See @ref{The Feta font} for a list of symbols which may be
+printed with @code{\musicglyph}.
+
+The horizontal location of rehearsal marks can be adjusted by
+setting @code{break-align-symbol}
+
+@lilypond[fragment,quote,ragged-right,verbatim,relative]
+c1
+\key cis \major
+\clef alto
+\override Score.RehearsalMark #'break-align-symbol = #'key-signature
+\mark "on-key"
+cis
+\key ces \major
+\override Score.RehearsalMark #'break-align-symbol = #'clef
+\clef treble
+\mark "on clef"
+ces
+@end lilypond
+
+@code{break-align-symbol} may also accept the following values:
+@code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
+@code{staff-bar}, @code{left-edge}, @code{key-cancellation},
+@code{key-signature}, and @code{time-signature}.  Setting
+@code{break-align-symbol} will only have an effect if the symbol
+appears at that point in the music.
+

 
 @seealso
 
 
 @seealso
 

+This manual: @ref{Text marks}.
+

 Program reference: @internalsref{RehearsalMark}.
 
 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
 Program reference: @internalsref{RehearsalMark}.
 
 Init files: @file{scm/@/translation@/-functions@/.scm} contains the


@@ -862,6 +932,23 @@ Bar numbers are printed by default at the start of the line.  The
 number itself is stored in the @code{currentBarNumber} property, which
 is normally updated automatically for every measure.
 
 number itself is stored in the @code{currentBarNumber} property, which
 is normally updated automatically for every measure.
 

+@lilypond[verbatim,ragged-right,quote,fragment,relative]
+\repeat unfold 4 {c4 c c c} \break
+\set Score.currentBarNumber = #50
+\repeat unfold 4 {c4 c c c}
+@end lilypond
+
+Bar numbers may only be printed at bar lines; to print a bar
+number at the beginning of a piece, an empty bar line must
+be added
+
+@lilypond[verbatim,ragged-right,quote,fragment,relative]
+\set Score.currentBarNumber = #50
+\bar ""
+\repeat unfold 4 {c4 c c c} \break
+\repeat unfold 4 {c4 c c c}
+@end lilypond
+

 Bar numbers can be typeset at regular intervals instead of at the
 beginning of each line.  This is illustrated in the following example,
 whose source is available as
 Bar numbers can be typeset at regular intervals instead of at the
 beginning of each line.  This is illustrated in the following example,
 whose source is available as


@@ -869,17 +956,6 @@ whose source is available as
 
 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
 
 
 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
 

-Bar numbers can be manually changed by setting the
-@code{Staff.currentBarNumber} property
-
-@lilypond[verbatim,ragged-right,quote]
-\relative c' {
-  \repeat unfold 4 {c4 c c c} \break
-  \set Score.currentBarNumber = #50
-  \repeat unfold 4 {c4 c c c}
-}
-@end lilypond
-

 Bar numbers can be removed entirely by removing the Bar number
 engraver from the score.
 
 Bar numbers can be removed entirely by removing the Bar number
 engraver from the score.
 


@@ -920,14 +996,17 @@ used to position the number correctly.
 In an orchestral score, instrument names are printed at the left side
 of the staves.
 
 In an orchestral score, instrument names are printed at the left side
 of the staves.
 

-This can be achieved by setting @internalsref{Staff}.@code{instrument}
-and @internalsref{Staff}.@code{instr}.  This will print a string before
-the start of the staff.  For the first staff, @code{instrument} is
-used, for the following ones, @code{instr} is used.
+This can be achieved by setting @internalsref{Staff}.@code{instrumentName}
+and @internalsref{Staff}.@code{shortInstrumentName}, or
+@internalsref{PianoStaff}.@code{instrumentName} and
+@internalsref{PianoStaff}.@code{shortInstrumentName}.  This will
+print text before
+the start of the staff.  For the first staff, @code{instrumentName} is
+used, for the following ones, @code{shortInstrumentName} is used.

 
 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
 
 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]

-\set Staff.instrument = "Ploink "
-\set Staff.instr = "Plk "
+\set Staff.instrumentName = "Ploink "
+\set Staff.shortInstrumentName = "Plk "

 c1
 \break
 c''
 c1
 \break
 c''


@@ -937,7 +1016,7 @@ You can also use markup texts to construct more complicated instrument
 names, for example
 
 @lilypond[quote,fragment,verbatim,ragged-right]
 names, for example
 
 @lilypond[quote,fragment,verbatim,ragged-right]

-\set Staff.instrument = \markup {
+\set Staff.instrumentName = \markup {

   \column { "Clarinetti"
             \line { "in B" \smaller \flat } } }
 c''1
   \column { "Clarinetti"
             \line { "in B" \smaller \flat } } }
 c''1


@@ -948,13 +1027,13 @@ If you wish to center the instrument names, you must center all of them
 @lilypond[quote,verbatim,ragged-right]
 { <<
 \new Staff {
 @lilypond[quote,verbatim,ragged-right]
 { <<
 \new Staff {

-  \set Staff.instrument = \markup {
+  \set Staff.instrumentName = \markup {

     \center-align { "Clarinetti"
       \line { "in B" \smaller \flat } } }
   c''1
 }
 \new Staff {
     \center-align { "Clarinetti"
       \line { "in B" \smaller \flat } } }
   c''1
 }
 \new Staff {

-  \set Staff.instrument = \markup{ \center-align { Vibraphone }}
+  \set Staff.instrumentName = \markup{ \center-align { Vibraphone }}

   c''1
 }
 >>
   c''1
 }
 >>


@@ -970,32 +1049,48 @@ To center instrument names while leaving extra space to the right,
 \new StaffGroup \relative
 <<
   \new Staff {
 \new StaffGroup \relative
 <<
   \new Staff {

-    \set Staff.instrument
-    = \markup { \hcenter-in #10 "blabla" }
+    \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" }

     c1 c1
   }
   \new Staff {
     c1 c1
   }
   \new Staff {

-    \set Staff.instrument
-    = \markup { \hcenter-in #10 "blo" }
+    \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" }

     c1 c1
   }
 >>
 @end lilypond
 
     c1 c1
   }
 >>
 @end lilypond
 

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

 
 

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

 
 

-Program reference: @internalsref{InstrumentName}.
+@noindent
+More information about adding and removing engravers can
+be found in @ref{Modifying context plug-ins}.

 
 

-@refbugs
+Instrument names may be changed in the middle of a piece,

 
 

-When you put a name on a grand staff or piano staff, the width of the
-brace is not taken into account. The following property setting can be
-used to move the instrument names to the left, in such situations.
+@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
+
+Program reference: @internalsref{InstrumentName}.

 
 

-@example
-\override Score.InstrumentName #'padding = #2.0
-@end example

 
 
 @node Instrument transpositions
 
 
 @node Instrument transpositions


@@ -1056,7 +1151,7 @@ c'4^"in G"
 @node Ottava brackets
 @subsection Ottava brackets
 
 @node Ottava brackets
 @subsection Ottava brackets
 

-`Ottava' brackets introduce an extra transposition of an octave for
+@q{Ottava} brackets introduce an extra transposition of an octave for

 the staff.  They are created by invoking the function
 @code{set-octavation}
 
 the staff.  They are created by invoking the function
 @code{set-octavation}
 


@@ -1074,9 +1169,9 @@ the staff.  They are created by invoking the function
 }
 @end lilypond
 
 }
 @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
+The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
+and -2 (for 15ma bassa) as arguments.  Internally the function sets the properties
+@code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and

 @code{centralCPosition}.  For overriding the text of the bracket, set
 @code{ottavation} after invoking @code{set-octavation}, i.e.,
 
 @code{centralCPosition}.  For overriding the text of the bracket, set
 @code{ottavation} after invoking @code{set-octavation}, i.e.,
 


@@ -1228,8 +1323,8 @@ The first @code{g} appears only once, although it was
 specified twice (once in each part).  Stem, slur, and tie directions are
 set automatically, depending whether there is a solo or unisono.  The
 first part (with context called @code{one}) always gets up stems, and
 specified twice (once in each part).  Stem, slur, and tie directions are
 set automatically, depending whether there is a solo or unisono.  The
 first part (with context called @code{one}) always gets up stems, and

-`Solo', while the second (called @code{two}) always gets down stems and
-`Solo II'.
+@q{Solo}, while the second (called @code{two}) always gets down stems and
+@q{Solo II}.

 
 If you just want the merging parts, and not the textual markings, you
 may set the property @code{printPartCombineTexts} to false
 
 If you just want the merging parts, and not the textual markings, you
 may set the property @code{printPartCombineTexts} to false


@@ -1300,7 +1395,7 @@ will be ignored.
 @cindex Hiding staves
 
 In orchestral scores, staff lines that only have rests are usually
 @cindex Hiding staves
 
 In orchestral scores, staff lines that only have rests are usually

-removed; this saves some space.  This style is called `French Score'.
+removed; this saves some space.  This style is called @q{French Score}.

 For @internalsref{Lyrics},
 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
 switched on by default.  When the lines of these contexts turn out
 For @internalsref{Lyrics},
 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
 switched on by default.  When the lines of these contexts turn out


@@ -1338,27 +1433,29 @@ or @code{\RemoveEmptyRhythmicStaffContext}.
 
 Another application is making ossia sections, i.e., alternative
 melodies on a separate piece of staff, with help of a Frenched
 
 Another application is making ossia sections, i.e., alternative
 melodies on a separate piece of staff, with help of a Frenched

-staff.  See @inputfileref{input/@/test,ossia@/.ly} for an example.
+staff.  

 
 
 @node Quoting other voices
 @subsection Quoting other voices
 
 
 
 @node Quoting other voices
 @subsection Quoting other voices
 

+@cindex cues
+

 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
 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.
+quotable.  This is done with the @code{\addQuote} command.

 
 @example
 
 @example

-\addquote @var{name} @var{music}
+\addQuote @var{name} @var{music}

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

 
 @example
 
 @example

-\addquote clarinet \relative c' @{
+\addQuote clarinet \relative c' @{

   f4 fis g gis
 @}
 @end example
   f4 fis g gis
 @}
 @end example


@@ -1366,7 +1463,7 @@ of music.  Here is an example of @code{\addquote}
 This command must be entered at toplevel, i.e., outside any music
 blocks.
 
 This command must be entered at toplevel, i.e., outside any music
 blocks.
 

-After calling @code{\addquote}, the quotation may then be done with
+After calling @code{\addQuote}, the quotation may then be done with

 @code{\quoteDuring} or @code{\cueDuring},
 
 @example
 @code{\quoteDuring} or @code{\cueDuring},
 
 @example


@@ -1386,7 +1483,7 @@ 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
 
 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}
+@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.
 
 should be the entire part of the voice to be quoted, including any
 rests at the beginning.
 


@@ -1394,7 +1491,7 @@ 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]
 instruments, if they are specified using the @code{\transposition} command.
 
 @lilypond[quote,ragged-right,verbatim]

-\addquote clarinet \relative c' {
+\addQuote clarinet \relative c' {

   \transposition bes
   f4 fis g gis
 }
   \transposition bes
   f4 fis g gis
 }


@@ -1421,12 +1518,15 @@ will quote notes (but no rests), together with scripts and dynamics.
 @refbugs
 
 Only the contents of the first @internalsref{Voice} occurring in an
 @refbugs
 
 Only the contents of the first @internalsref{Voice} occurring in an

-@code{\addquote} command will be considered for quotation, so
+@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.
 
 @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.
+
+

 @seealso
 
 In this manual: @ref{Instrument transpositions}.
 @seealso
 
 In this manual: @ref{Instrument transpositions}.


@@ -1440,6 +1540,8 @@ Program reference: @internalsref{QuoteMusic}.
 @node Formatting cue notes
 @subsection Formatting cue notes
 
 @node Formatting cue notes
 @subsection Formatting cue notes
 

+@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 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.


@@ -1466,7 +1568,7 @@ smaller = {
   \override Beam #'length-fraction = #0.8
 }
 
   \override Beam #'length-fraction = #0.8
 }
 

-\addquote clarinet \relative {
+\addQuote clarinet \relative {

   R1*20
   r2 r8 c f f
 }
   R1*20
   r2 r8 c f f
 }


@@ -1517,6 +1619,34 @@ the original clef should be stated once again.
 
 @end itemize
 
 
 @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
+
+

 
 @node Aligning to cadenzas
 @subsection Aligning to cadenzas
 
 @node Aligning to cadenzas
 @subsection Aligning to cadenzas


@@ -1555,7 +1685,7 @@ cadenza = \relative c' {
 
 In the 20th century, composers have greatly expanded the musical
 vocabulary.  With this expansion, many innovations in musical notation
 
 In the 20th century, composers have greatly expanded the musical
 vocabulary.  With this expansion, many innovations in musical notation

-have been tried.  The book ``Music Notation in the 20th century'' by
+have been tried.  The book @q{Music Notation in the 20th century} by

 Kurt Stone gives a comprehensive overview (see @ref{Literature
 list}).
 
 Kurt Stone gives a comprehensive overview (see @ref{Literature
 list}).
 


@@ -1566,15 +1696,6 @@ that fits into traditional notation categories, such as
 microtones, nested tuplet beams, and unusual fermatas, please
 see those sections of the documentation.
 
 microtones, nested tuplet beams, and unusual fermatas, please
 see those sections of the documentation.
 

-
-@c I don't think we should discourage modern composers who might
-@c want to sponsor new features.  :)
-@c  In general, the use of new, innovative notation makes a piece
-@c harder to understand and perform and its use should therefore be
-@c avoided.  For this reason, support for contemporary notation in
-@c LilyPond is limited.
-
-

 @menu
 * Polymetric notation::         
 * Time administration::         
 @menu
 * Polymetric notation::         
 * Time administration::         


@@ -1583,12 +1704,18 @@ see those sections of the documentation.
 * Special noteheads::           
 * Feathered beams::             
 * Improvisation::               
 * Special noteheads::           
 * Feathered beams::             
 * Improvisation::               

+* Selecting notation font size::  

 @end menu
 
 
 @node Polymetric notation
 @subsection Polymetric notation
 
 @end menu
 
 
 @node Polymetric notation
 @subsection Polymetric notation
 

+@cindex double time signatures
+@cindex signatures, polymetric
+@cindex polymetric signatures
+@cindex meter, polymetric
+

 Double time signatures are not supported explicitly, but they can be
 faked.  In the next example, the markup for the time signature is
 created with a markup text.  This markup text is inserted in the
 Double time signatures are not supported explicitly, but they can be
 faked.  In the next example, the markup for the time signature is
 created with a markup text.  This markup text is inserted in the


@@ -1600,7 +1727,7 @@ created with a markup text.  This markup text is inserted in the
 tsMarkup =\markup {
   \override #'(baseline-skip . 2) \number {
     \column { "2" "4" }
 tsMarkup =\markup {
   \override #'(baseline-skip . 2) \number {
     \column { "2" "4" }

-    \lower #1 "+"
+    \vcenter "+"

     \bracket \column { "5" "8" }
   }
 }
     \bracket \column { "5" "8" }
   }
 }


@@ -1792,7 +1919,7 @@ seven sixteenths notes.
 @subsection Proportional notation
 @cindex Proportional notation
 
 @subsection Proportional notation
 @cindex Proportional notation
 

-Notes can be spaced proportional to their time-difference by
+Notes can be spaced proportionally to their time-difference by

 assigning a duration to @code{proportionalNotationDuration}
 
 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
 assigning a duration to @code{proportionalNotationDuration}
 
 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]


@@ -1803,6 +1930,36 @@ assigning a duration to @code{proportionalNotationDuration}
 >>
 @end lilypond
 
 >>
 @end lilypond
 

+Setting this property only affects the ideal spacing between
+consecutive notes.  For true proportional notation, the following
+settings are also required.
+
+@itemize @bullet
+
+@item True proportional notation requires that symbols are allowed to
+overstrike each other.  That is achieved by removing the
+@internalsref{Separating_line_group_engraver} from
+@internalsref{Staff} context.
+
+@item Spacing influence of  prefatory matter (clefs, bar lines, etc.)
+is removed by setting the @code{strict-note-spacing} property to
+@code{#t} in @internalsref{SpacingSpanner} grob.
+
+@item Optical spacing tweaks are switched by setting 
+@code{uniform-stretching} in @internalsref{SpacingSpanner} to true.
+
+
+@end itemize
+
+@seealso
+
+@inputfileref{input/@/regression,spacing-proportional/.ly}
+@inputfileref{input/@/regression,spacing-strict-notespacing/.ly}
+@inputfileref{input/@/regression,spacing-strict-spacing-grace/.ly}
+
+An example of strict proportional notation is in the
+example file @file{input/proportional.ly}.
+

 
 @node Clusters
 @subsection Clusters
 
 @node Clusters
 @subsection Clusters


@@ -1844,8 +2001,10 @@ accurately.  Use @code{<g a>8 <e a>8} instead.
 @node Special noteheads
 @subsection Special noteheads
 
 @node Special noteheads
 @subsection Special noteheads
 

+@cindex note heads, special
+

 Different noteheads are used by various instruments for various
 Different noteheads are used by various instruments for various

-meanings -- crosses are used for ``parlato'' with vocalists, stopped
+meanings -- crosses are used for @q{parlato} with vocalists, stopped

 notes on guitar; diamonds are used for harmonics on string instruments,
 etc.  There is a shorthand (@code{\harmonic}) for diamond shapes; the
 other notehead styles are produced by tweaking the property
 notes on guitar; diamonds are used for harmonics on string instruments,
 etc.  There is a shorthand (@code{\harmonic}) for diamond shapes; the
 other notehead styles are produced by tweaking the property


@@ -1871,26 +2030,22 @@ Program reference: @internalsref{NoteHead}.
 @node Feathered beams
 @subsection Feathered beams
 
 @node Feathered beams
 @subsection Feathered beams
 

-Feathered beams are not supported natively, but they can be faked by
-forcing two beams to overlap.  Here is an example,
+Feathered beams are printed by setting the @code{grow-direction}
+property of a @code{Beam}.  The @code{\featherDurations} function
+can be used to adjust note durations.

 
 

-@c don't change relative setting witout changing positions!

 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]

-\new Staff <<
-  \new Voice
-  {
-    \stemUp
-    \once \override Voice.Beam #'positions = #'(0 . 0.5)
-    c8[ c c c c ]
-  }
-  \new Voice {
-    \stemUp
-    \once \override Voice.Beam #'positions = #'(0 . -0.5)
-    c[ c c c c]
-  }
->>
+\featherDurations #(ly:make-moment 5 4) 
+{
+  \override Beam #'grow-direction = #LEFT
+  c16[ c c c c c c]
+}

 @end lilypond
 
 @end lilypond
 

+@refbugs
+
+The @code{\featherDuration} command only works with very short
+music snippets.

 
 @node Improvisation
 @subsection Improvisation
 
 @node Improvisation
 @subsection Improvisation


@@ -1924,6 +2079,62 @@ the following example
 @end lilypond
 
 
 @end lilypond
 
 

+@node Selecting notation font size
+@subsection Selecting notation font size
+
+The easiest method of setting the font size of any context is by
+setting the @code{fontSize} property.
+
+@lilypond[quote,fragment,relative=1,verbatim]
+c8
+\set fontSize = #-4
+c f
+\set fontSize = #3
+g
+@end lilypond
+
+@noindent
+It does not change the size of variable symbols, such as beams or
+slurs.
+
+Internally, the @code{fontSize} context property will cause the
+@code{font-size} property to be set in all layout objects.  The value
+of @code{font-size} is a number indicating the size relative to the
+standard size for the current staff height.  Each step up is an
+increase of approximately 12% of the font size.  Six steps is exactly a
+factor two.  The Scheme function @code{magstep} converts a
+@code{font-size} number to a scaling factor.
+
+@lilypond[quote,fragment,relative=1,verbatim]
+c8
+\override NoteHead #'font-size = #-4
+c f
+\override NoteHead #'font-size = #3
+g
+@end lilypond
+
+Font size changes are achieved by scaling the design size that is
+closest to the desired size.  The standard font size (for
+@code{font-size} equals 0), depends on the standard staff height.  For
+a 20pt staff, a 10pt font is selected.
+
+The @code{font-size} property can only be set on layout objects that
+use fonts. These are the ones supporting the
+@internalsref{font-interface} layout interface.
+
+@refcommands
+
+The following commands set @code{fontSize} for the current voice:
+
+@funindex \tiny
+@code{\tiny},
+@funindex \small
+@code{\small},
+@funindex \normalsize
+@code{\normalsize}.
+
+
+

 @node Educational use
 @section Educational use
 
 @node Educational use
 @section Educational use
 


@@ -1939,6 +2150,7 @@ teaching tools in addition to great musical scores.
 * Analysis brackets::           
 * Coloring objects::            
 * Parentheses::                 
 * Analysis brackets::           
 * Coloring objects::            
 * Parentheses::                 

+* Grid lines::                  

 @end menu
 
 @node Balloon help
 @end menu
 
 @node Balloon help


@@ -1950,19 +2162,18 @@ balloon.  The primary purpose of this feature is to explain notation.
 The following example demonstrates its use.
 
 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
 The following example demonstrates its use.
 
 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]

-\new Voice {
-  \applyOutput
-    #(add-balloon-text 'NoteHead "heads, or tails?"
-    '(1 . -3))
-  c8
+\new Voice \with { \consists "Balloon_engraver" }
+{
+  \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
+  <c-\balloonText #'(-2 . -2) \markup { Hello }  >8

 }
 @end lilypond
 
 @noindent
 }
 @end lilypond
 
 @noindent

-The function @code{add-balloon-text} takes the name of a grob, the
-label to print, and the position where to put the label relative to
-the object.  In the above example, the text ``heads or tails?'' ends
-3 spaces below and 1 space to the right of the marked head.
+There are two music functions, @code{balloonText} and
+@code{balloonGrobText}. The latter takes the name of the grob to
+adorn, while the former may be used as an articulation on a note. 
+The other arguments  are the offset and the text of the label.

 
 @cindex balloon
 @cindex notation, explaining
 
 @cindex balloon
 @cindex notation, explaining


@@ -1987,6 +2198,7 @@ removing @code{Bar_number_engraver}.
 
 
 @lilypond[quote,verbatim]
 
 
 @lilypond[quote,verbatim]

+\layout{ indent = #0 }

 emptymusic = {
   \repeat unfold 2 % Change this for more lines.
   { s1\break }
 emptymusic = {
   \repeat unfold 2 % Change this for more lines.
   { s1\break }


@@ -1994,9 +2206,13 @@ emptymusic = {
 }
 \new Score \with {
   \override TimeSignature #'transparent = ##t
 }
 \new Score \with {
   \override TimeSignature #'transparent = ##t

+% un-comment this line if desired
+%  \override Clef #'transparent = ##t

   defaultBarType = #""
   \remove Bar_number_engraver
 } <<
   defaultBarType = #""
   \remove Bar_number_engraver
 } <<

+
+% modify these to get the staves you want

   \new Staff \emptymusic
   \new TabStaff \emptymusic
 >>
   \new Staff \emptymusic
   \new TabStaff \emptymusic
 >>


@@ -2027,6 +2243,8 @@ g4 a
 @node Shape note heads
 @subsection Shape note heads
 
 @node Shape note heads
 @subsection Shape note heads
 

+@cindex note heads, shape
+

 In shape note head notation, the shape of the note head corresponds
 to the harmonic function of a note in the scale.  This notation was
 popular in the 19th century American song books.
 In shape note head notation, the shape of the note head corresponds
 to the harmonic function of a note in the scale.  This notation was
 popular in the 19th century American song books.


@@ -2044,10 +2262,10 @@ Shape note heads can be produced by setting @code{\aikenHeads} or
 Shapes are determined on the step in the scale, where the base of the
 scale is determined by  the @code{\key} command
 
 Shapes are determined on the step in the scale, where the base of the
 scale is determined by  the @code{\key} command
 

-@findex \key
-@findex shapeNoteStyles
-@findex \aikenHeads
-@findex \sacredHarpHeads
+@funindex \key
+@funindex shapeNoteStyles
+@funindex \aikenHeads
+@funindex \sacredHarpHeads

 
 Shape note heads are implemented through the @code{shapeNoteStyles}
 property.  Its value is a vector of symbols.  The k-th element indicates
 
 Shape note heads are implemented through the @code{shapeNoteStyles}
 property.  Its value is a vector of symbols.  The k-th element indicates


@@ -2063,10 +2281,12 @@ combinations are possible, e.g.
 @node Easy Notation note heads
 @subsection Easy Notation note heads
 
 @node Easy Notation note heads
 @subsection Easy Notation note heads
 

+@cindex note heads, practice
+@cindex note heads, easy notation

 @cindex easy notation
 @cindex Hal Leonard
 
 @cindex easy notation
 @cindex Hal Leonard
 

-The `easy play' note head includes a note name inside the head.  It is
+The @q{easy play} note head includes a note name inside the head.  It is

 used in music for beginners
 
 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
 used in music for beginners
 
 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]


@@ -2077,7 +2297,7 @@ used in music for beginners
 The command @code{\setEasyHeads} overrides settings for the
 @internalsref{NoteHead} object.  To make the letters readable, it has
 to be printed in a large font size.  To print with a larger font, see
 The command @code{\setEasyHeads} overrides settings for the
 @internalsref{NoteHead} object.  To make the letters readable, it has
 to be printed in a large font size.  To print with a larger font, see

-@ref{Setting global staff size}.
+@ref{Setting the staff size}.

 
 @refcommands
 
 
 @refcommands
 


@@ -2135,7 +2355,7 @@ e
 @end lilypond
 
 The full range of colors defined for X11 can be accessed by using the
 @end lilypond
 
 The full range of colors defined for X11 can be accessed by using the

-scheme function x11-color.  The function takes one argument that can be a
+Scheme function x11-color.  The function takes one argument that can be a

 symbol
 
 @example
 symbol
 
 @example


@@ -2167,7 +2387,7 @@ deliberate nonsense.
 @lilypond[quote,ragged-right,verbatim]
 {
   \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
 @lilypond[quote,ragged-right,verbatim]
 {
   \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)

-  \set Staff.instrument = \markup {
+  \set Staff.instrumentName = \markup {

     \with-color #(x11-color 'navy) "Clarinet"
   }
   \time 2/4
     \with-color #(x11-color 'navy) "Clarinet"
   }
   \time 2/4


@@ -2224,3 +2444,11 @@ This only functions inside chords, even for single notes
 @end example
 
 
 @end example
 
 

+@node Grid lines
+@subsection Grid lines
+
+Vertical lines can be drawn between staves synchronized with
+the notes.
+
+Examples: @inputfileref{input/@/regression,grid@/-lines@/.ly}.
+