Guide, node Updating translation committishes..
@end ignore
-@c \version "2.14.0"
+@c \version "2.17.6"
@node General input and output
@chapter General input and output
@item
An output definition, such as @code{\paper}, @code{\midi}, and
@code{\layout}. Such a definition at the toplevel changes the default
-book-wide settings. If more than one such definition of
-the same type is entered at the top level any definitions in the later
-expressions have precedence.
+book-wide settings. If more than one such definition of the same type
+is entered at the top level the definitions are combined, but in
+conflicting situations the later definitions take precedence. For
+details of how this affects the @code{\layout} block see
+@ref{The \layout block}.
@item
A direct scheme expression, such as
@code{#(ly:set-option 'point-and-click #f)}.
@item
-A @code{\header} block. This sets the global header block. This
-is the block containing the definitions for book-wide settings, like
-composer, title, etc.
+A @code{\header} block. This sets the global (i.e. the top of
+file) header block. This is the block containing the default
+settings of titling fields like composer, title, etc. for all
+books within the file (see @ref{Titles explained}).
@item
A @code{\score} block. This score will be collected with other
@{ c'4 d' e'2 @}
@}
@}
+ \layout @{ @}
@}
- \layout @{ @}
- \header @{ @}
+ \paper @{ @}
+ \header @{ @}
@}
@end example
@item After every command or variable, i.e. every item that
begins with a @code{\} sign.
@item After every item that is to be interpreted as a Scheme
-expression, i.e. every item that begins with a @code{#} sign.
+expression, i.e. every item that begins with a @code{#}@tie{}sign.
@item To separate all elements of a Scheme expression.
@item In @code{lyricmode} to separate all the terms in both
@code{\override} and @code{\set} commands. In particular, spaces
must be used around the dot and the equals sign in commands like
-@code{\override Score . LyricText #'font-size = #5} and before and
+@code{\override Score.LyricText.font-size = #5} and before and
after the entire command.
@end itemize
-
@seealso
Learning Manual:
@rlearning{How LilyPond input files work}.
+Notation Reference:
+@ref{Titles explained},
+@ref{The \layout block}.
+
@node Titles and headers
@section Titles and headers
@menu
* Creating titles headers and footers::
-* Custom headers footers and titles::
+* Custom titles headers and footers::
+* Creating footnotes::
* Reference to page numbers::
* Table of contents::
@end menu
@subsection Creating titles headers and footers
@menu
-* Title blocks explained::
-* Default layout of book and score title blocks::
+* Titles explained::
+* Default layout of bookpart and score titles::
* Default layout of headers and footers::
@end menu
-@node Title blocks explained
-@unnumberedsubsubsec Title blocks explained
+@node Titles explained
+@unnumberedsubsubsec Titles explained
-@c TODO: figure out how \bookpart titles work
+Each @code{\book} block in a single input file produces a separate
+output file, see @ref{File structure}. Within each output file
+two types of titling areas are provided: @emph{Bookpart Titles} at
+the beginning of each bookpart and @emph{Score Titles} at the
+beginning of each score.
-There are two types of title blocks: the main title block that appears
-above of the first @code{\score} of a book, and individual title
-blocks that appear within each @code{\score} block. Text fields for
-both types are entered using a @code{\header} block.
+Values of titling fields such as @code{title} and @code{composer}
+are set in @code{\header} blocks. (For the syntax of @code{\header}
+blocks and a complete list of the fields available by default see
+@ref{Default layout of bookpart and score titles}). Both Bookpart
+Titles and Score Titles can contain the same fields, although by
+default the fields in Score Titles are limited to @code{piece} and
+@code{opus}.
+
+@code{\header} blocks may be placed in four different places to form
+a descending hierarchy of @code{\header} blocks:
+
+@itemize
-If the book only has a single score, the @code{\header} block may be
-placed inside or outside of the @code{\score} block.
+@item
+At the top of the input file, before all @code{\book},
+@code{\bookpart}, and @code{\score} blocks.
+
+@item
+Within a @code{\book} block but outside all the @code{\bookpart} and
+@code{\score} blocks within that book.
+
+@item
+Within a @code{\bookpart} block but outside all @code{\score} blocks
+within that bookpart.
-@warning{Remember when adding a @bs{}@code{header} block inside a
+@item
+After the music expression in a @code{\score} block.
+
+@end itemize
+
+The values of the fields filter down this hierarchy, with the values
+set higher in the hierarchy persisting unless they are over-ridden
+by a value set lower in the hierarchy, so:
+
+@itemize
+
+@item
+ A Bookpart Title is derived from fields set at the top of the input
+file, modified by fields set in the @code{\book} block, and further
+modified by fields set in the @code{\bookpart} block. The resulting
+values are used to print the Bookpart Title for that bookpart.
+
+@item
+A Score Title is derived from fields set at the top of the input
+file, modified by fields set in the @code{\book} block, further
+modified by fields set in the @code{\bookpart} block and finally
+modified by fields set in the @code{\score} block. The resulting
+values are used to print the Score Title for that score. Note,
+though, that only @code{piece} and @code{opus} fields are printed
+by default in Score Titles unless the @code{\paper} variable,
+@code{print-all-headers}, is set to @code{#t}.
+
+@end itemize
+
+@warning{Remember when placing a @bs{}@code{header} block inside a
@bs{}@code{score} block, that the music expression must come before the
@bs{}@code{header} block.}
+It is not necessary to provide @code{\header} blocks in all four
+places: any or even all of them may be omitted. Similarly, simple
+input files may omit the @code{\book} and @code{\bookpart} blocks,
+leaving them to be created implicitly.
+
+If the book has only a single score, the @code{\header} block should
+normally be placed at the top of the file so that just a Bookpart
+Title is produced, making all the titling fields available for use.
+
+If the book has multiple scores a number of different arrangements
+of @code{\header} blocks are possible, corresponding to the various
+types of musical publications. For example, if the publication
+contains several pieces by the same composer a @code{\header} block
+placed at the top of the file specifying the book title and the
+composer with @code{\header} blocks in each @code{\score} block
+specifying the @code{piece} and/or @code{opus} would be most
+suitable, as here:
+
@lilypond[papersize=a5,quote,verbatim,noragged-right]
\header {
title = "SUITE I."
}
@end lilypond
-Text fields from the main title block of a book can be displayed in all
-@code{\score} blocks, or manually suppressed:
+More complicated arrangements are possible. For example, text
+fields from the @code{\header} block in a book can be displayed in
+all Score Titles, with some fields over-ridden and some manually
+suppressed:
@lilypond[papersize=a5,quote,verbatim,noragged-right]
\book {
@seealso
Notation Reference:
@ref{File structure},
-@ref{Custom layout for title blocks}.
+@ref{Default layout of bookpart and score titles},
+@ref{Custom layout for titles}.
-@node Default layout of book and score title blocks
-@unnumberedsubsubsec Default layout of book and score title blocks
+@node Default layout of bookpart and score titles
+@unnumberedsubsubsec Default layout of bookpart and score titles
-The layout and formatting of title blocks are controlled by two
-@code{\paper} variables; @code{bookTitleMarkup} for the main
-@code{\header} title block and @code{scoreTitleMarkup} for individual
-@code{\header} blocks within a @code{\score}.
+This example demonstrates all @code{\header} variables:
-@lilypond[papersize=a6,quote,verbatim,noragged-right]
-\header {
- % The following fields are centered
- dedication = "Dedication"
- title = "Title"
- subtitle = "Subtitle"
- subsubtitle = "Subsubtitle"
- instrument = "Instrument"
-
- % The following fields are left-aligned on the left side
- poet = "Poet"
- meter = "Meter"
-
- % The following fields are right-aligned on the right side
- composer = "Composer"
- arranger = "Arranger"
-}
-
-\score {
- { s1 }
+@lilypond[papersize=a7,quote,verbatim,noragged-right]
+\book {
\header {
- % The following fields are placed at opposite ends of the same line
- piece = "Piece"
- opus = "Opus"
+ % The following fields are centered
+ dedication = "Dedication"
+ title = "Title"
+ subtitle = "Subtitle"
+ subsubtitle = "Subsubtitle"
+ % The following fields are evenly spread on one line
+ % the field "instrument" also appears on following pages
+ instrument = \markup \with-color #green "Instrument"
+ poet = "Poet"
+ composer = "Composer"
+ % The following fields are placed at opposite ends of the same line
+ meter = "Meter"
+ arranger = "Arranger"
+ % The following fields are centered at the bottom
+ tagline = "tagline goes at the bottom of the last page"
+ copyright = "copyright goes at the bottom of the first page"
+ }
+ \score {
+ { s1 }
+ \header {
+ % The following fields are placed at opposite ends of the same line
+ piece = "Piece 1"
+ opus = "Opus 1"
+ }
+ }
+ \score {
+ { s1 }
+ \header {
+ % The following fields are placed at opposite ends of the same line
+ piece = "Piece 2 on the same page"
+ opus = "Opus 2"
+ }
+ }
+ \pageBreak
+ \score {
+ { s1 }
+ \header {
+ % The following fields are placed at opposite ends of the same line
+ piece = "Piece 3 on a new page"
+ opus = "Opus 3"
+ }
}
}
@end lilypond
-@c Is the bit about \null markups true? -mp
+Note that
+
+@itemize
+@item
+The instrument name will be repeated on every page.
+
+@item
+Only @code{piece} and @code{opus} are printed in a @code{\score}
+when the paper variable @code{print-all-headers} is set to
+@code{##f} (the default).
+@item
+@c Is the bit about \null markups true? -mp
Text fields left unset in a @code{\header} block are replaced with
@code{\null} markups so that the space is not wasted.
+@item
The default settings for @code{scoreTitleMarkup} place the @code{piece}
and @code{opus} text fields at opposite ends of the same line.
+@end itemize
+
+To change the default layout see @ref{Custom layout for titles}.
+
@cindex breakbefore
Use the @code{breakbefore} variable inside a @code{\header} block
@rlearning{How LilyPond input files work},
Notation Reference:
+@ref{Custom layout for titles},
@ref{File structure}.
Installed Files:
@file{ly/titling-init.ly}.
+
@node Default layout of headers and footers
@unnumberedsubsubsec Default layout of headers and footers
To remove the @code{tagline} set the value to @code{##f}.
-@node Custom headers footers and titles
-@subsection Custom headers footers and titles
+@node Custom titles headers and footers
+@subsection Custom titles headers and footers
@c TODO: somewhere put a link to header spacing info
@c (you'll have to explain it more in NR 4).
@menu
-* Custom text formatting for title blocks::
-* Custom layout for title blocks::
+* Custom text formatting for titles::
+* Custom layout for titles::
* Custom layout for headers and footers::
@end menu
-@node Custom text formatting for title blocks
-@unnumberedsubsubsec Custom text formatting for title blocks
+@node Custom text formatting for titles
+@unnumberedsubsubsec Custom text formatting for titles
Standard @code{\markup} commands can be used to customize any header,
footer and title text within the @code{\header} block.
@ref{Formatting text}.
-@node Custom layout for title blocks
-@unnumberedsubsubsec Custom layout for title blocks
+@node Custom layout for titles
+@unnumberedsubsubsec Custom layout for titles
+
+@cindex bookTitleMarkup
+@cindex scoreTitleMarkup
+@funindex bookTitleMarkup
+@funindex scoreTitleMarkup
@code{\markup} commands in the @code{\header} block are useful for
simple text formatting, but they do not allow precise control over the
placement of titles. To customize the placement of the text fields,
-use either or both of the following @code{\paper} variables:
+change either or both of the following @code{\paper} variables:
@itemize
@item @code{bookTitleMarkup}
@item @code{scoreTitleMarkup}
@end itemize
-These markup variables are discussed in
-@ref{Default layout of book and score title blocks}.
+The placement of titles when using the default values of these
+@code{\markup} variables is shown in the examples in
+@ref{Default layout of bookpart and score titles}.
The default settings for @code{scoreTitleMarkup} as defined in
@file{ly/titling-init.ly} are:
}
@end lilypond
-Text fields normally reserved for the main title block can be included
-in individual score title blocks with the @code{print-all-headers}
+Text fields not normally effective in score @code{\header} blocks
+can be printed in the Score Title area if @code{print-all-headers} is
placed inside the @code{\paper} block. A disadvantage of using this
-method is that the text fields that are intended specifically for the
-top-level @code{\header} block need to be manually suppressed in every
-@code{\score} block. See @ref{Title blocks explained}.
+method is that text fields that are intended specifically for the
+Bookpart Title area need to be manually suppressed in every
+@code{\score} block. See @ref{Titles explained}.
To avoid this, add the desired text field to the @code{scoreTitleMarkup}
definition. In the following example, the @code{composer} text field
@seealso
Notation Reference:
-@ref{Title blocks explained}.
+@ref{Titles explained}.
@node Custom layout for headers and footers
@item @code{evenFooterMarkup}
@end itemize
+@cindex markup, conditional
+@cindex on-the-fly
+@funindex \on-the-fly
+
+The @code{\markup} command @code{\on-the-fly} can be used to add
+markup conditionally to header and footer text defined within the
+@code{\paper} block, using the following syntax:
+
+@example
+@code{variable} = @code{\markup} @{
+ ...
+ @code{\on-the-fly} #@var{procedure} @var{markup}
+ ...
+@}
+@end example
+
+The @var{procedure} is called each time the @code{\markup} command
+in which it appears is evaluated. The @var{procedure} should test
+for a particular condition and interpret (i.e. print) the
+@var{markup} argument if and only if the condition is true.
+
+A number of ready-made procedures for testing various conditions are
+provided:
+
+@quotation
+@multitable {print-page-number-check-first-----} {should this page be printed-----}
+
+@headitem Procedure name @tab Condition tested
+
+@item print-page-number-check-first @tab should this page number be printed?
+@item create-page-number-stencil @tab print-page-numbers true?
+@item print-all-headers @tab print-all-headers true?
+@item first-page @tab first page in the book?
+@item (on-page nmbr) @tab page number = nmbr?
+@item last-page @tab last page in the book?
+@item not-first-page @tab not first page in the book?
+@item part-first-page @tab first page in the book part?
+@item part-last-page @tab last page in the book part?
+@item not-single-page @tab pages in book part > 1?
+
+@end multitable
+@end quotation
+
The following example centers page numbers at the bottom of every
page. First, the default settings for @code{oddHeaderMarkup} and
@code{evenHeaderMarkup} are removed by defining each as a @emph{null}
}
@end lilypond
+Several @code{\on-the-fly} conditions can be combined with an
+@q{and} operation, for example,
+
+@example
+ @code{\on-the-fly #first-page}
+ @code{\on-the-fly #last-page}
+ @code{@{ \markup ... \fromproperty #'header: ... @}}
+@end example
+
+determines if the output is a single page.
+
+@seealso
+Notation Reference:
+@ref{Titles explained},
+@ref{Default layout of bookpart and score titles}.
+
+Installed Files:
+@file{../ly/titling-init.ly}.
+
+
+@node Creating footnotes
+@subsection Creating footnotes
+
+@cindex footnotes
+
+Footnotes may be used in many different situations. In all cases,
+a @q{footnote mark} is placed as a reference in text or music, and
+the corresponding @q{footnote text} appears at the bottom of the
+same page.
+
+Footnotes within music expressions and footnotes in stand-alone text
+outside music expressions are created in different ways.
+
+@menu
+* Footnotes in music expressions::
+* Footnotes in stand-alone text::
+@end menu
+
+@node Footnotes in music expressions
+@unnumberedsubsubsec Footnotes in music expressions
+
+@cindex footnotes in music expressions
+@funindex \footnote
+
+@subsubsubheading Music footnotes overview
+
+Footnotes in music expressions fall into two categories:
+
+@table @emph
+@item Event-based footnotes
+are attached to a particular event. Examples
+for such events are single notes, notes inside a chord, articulations
+(like beams, slurs, fingering indications, accents, dynamics) and
+lyrics.
+
+@item Time-based footnotes
+are bound to a particular point of time in a
+musical context. Some commands like @code{\time} and @code{\clef}
+don't actually use events for creating objects like time signatures
+and clefs. Neither does a chord create an event of its own: its
+stem or flag is created at the end of a time step (nominally through
+one of the note events inside). A time-based footnote allows
+annotating such layout objects without referring to an event.
+
+@end table
+
+The full form of a footnote command for both Event- and Time-based
+footnotes is
+
+@example
+[@var{direction}] \footnote [@var{mark}] @var{offset} [@var{grob-name}] @var{footnote} @var{music}
+@end example
+
+The elements are:
+
+@table @var
+
+@item direction
+If (and only if) the @code{\footnote} is being applied to a
+post-event or articulation, it must be preceded with a direction
+indicator (@code{-, _, ^}) in order to attach @var{music} (with
+a footnote mark) to the preceding note or rest.
+
+@item mark
+is a markup or string specifying the footnote mark which is used for
+marking both the reference point and the footnote itself at the
+bottom of the page. It may be omitted (or equivalently replaced with
+@code{\default}) in which case a number in sequence will be generated
+automatically. Such numerical sequences restart on each page
+containing a footnote.
+
+@item offset
+is a number pair such as @samp{#(2 . 1)} specifying the X and
+Y@tie{}offsets in units of staff-spaces from the boundary of the
+object where the mark should be placed. Positive values of the
+offsets are taken from the right/top edge, negative values from the
+left/bottom edge and zero implies the mark is centered on the edge.
+
+@item grob-name
+specifies a type of grob to mark (like @samp{#'Flag}). If it is
+given, a grob of that type associated with the referenced @var{music}
+will be used as the reference point. It can be omitted (or replaced
+with @code{\default}) if the footnote mark is to be attached to the
+directly created grob in @var{music}.
+
+@item footnote
+is the markup or string specifying the footnote text to use at the
+bottom of the page.
+
+@item music
+is the music event or chord constituent or post-event that is being
+annotated. While it cannot be omitted, it can be replaced by
+@code{\default} in which case the footnote is not attached to a music
+expression in particular, but rather to a moment of time. It is
+mandatory in this case to use the @var{grob-name} argument for
+selecting an affected grob type, like @samp{#'TimeSignature}.
+
+@end table
+
+@subsubsubheading Event-based footnotes
+
+@cindex footnotes, event-based
+
+The simplest form of event-based footnotes is just
+
+@example
+\footnote @var{offset} @var{footnote} @var{music}
+@end example
+
+This kind of footnote is attached to a layout object directly caused
+by the event corresponding to @var{music}.
+
+@lilypond[quote,verbatim,papersize=a8landscape]
+\book {
+ \header { tagline = ##f }
+ \relative c'' {
+ \footnote #'(-1 . 3) "A note" a4
+ a4
+ \footnote #'(2 . 2) "A rest" r4
+ a4
+ }
+}
+@end lilypond
+
+If the footnote is to be attached to a post-event or articulation
+the @code{\footnote} command must be preceded by a direction
+indicator, @code{-, _, ^}, and followed by the post-event or
+articulation to be annotated as the @var{music} argument. In this
+form the @code{\footnote} can be considered to be simply a copy of
+its last argument with a footnote mark attached to it.
+
+@lilypond[quote,verbatim,papersize=a8landscape]
+\book {
+ \header { tagline = ##f }
+ \relative c'' {
+ a4_\footnote #'(0 . -1) "A slur forced down" (
+ b8^\footnote #'(1 . 0.5) "A manual beam forced up" [
+ b8 ]
+ c4 )
+ c-\footnote #'(1 . 1) "Tenuto" --
+ }
+}
+@end lilypond
+
+Custom marks can be used as alternatives to numerical marks, and the
+annotation line joining the marked object to the mark can be
+suppressed:
+
+@lilypond[quote,verbatim,papersize=a8landscape]
+\book {
+ \header { tagline = ##f }
+ \relative c' {
+ \footnote "*" #'(0.5 . -2) \markup { \italic "* The first note" }
+ a'4 b8
+ \footnote \markup { \super "$" } #'(0.5 . 1)
+ \markup { \super "$" \italic " The second note" }
+ e c4
+ \once \override Score.FootnoteItem.annotation-line = ##f
+ b-\footnote \markup \tiny "+" #'(0.1 . 0.1)
+ \markup { \super "+" \italic " Editorial" } \p
+ }
+}
+@end lilypond
+
+More examples of custom marks are shown in
+@ref{Footnotes in stand-alone text}.
+
+Marking an entire chord in this manner is not possible since a
+chord does not produce an event separate from that of its chord
+constituents, but the constituents themselves can be marked.
+
+If the layout object being footmarked is @emph{indirectly} caused by
+an event (like an @code{Accidental} or @code{Stem} caused by a
+@code{NoteHead}), an additional symbol argument, the @var{grob-name},
+is required before the footnote text:
+
+@lilypond[quote,verbatim,papersize=a8landscape]
+\book {
+ \header { tagline = ##f }
+ \relative c'' {
+ % footnotes may be added to chord constituents
+ < \single\footnote #'(-1 . -3) "Another flat" Accidental aes
+ c
+ \single\footnote #'(-1 . 0.5) "A flat" Accidental ees
+ >2
+ \single\footnote #'(-1 . 2) "A stem" Stem ees2
+ }
+}
+@end lilypond
+
+@warning {When footnotes are attached to several musical elements at
+the same musical moment, the footnotes are numbered from the higher
+to the lower elements as they appear in the printed output, not in
+the order in which they are written in the input stream.}
+
+@subsubsubheading Time-based footnotes
+
+@cindex footnotes, time-based
+
+Layout objects like clefs and key change signatures are mostly caused
+as a consequence of changed properties rather than actual events.
+Others, like bar lines and bar numbers, are a direct consequence of
+timing. For this reason, footnotes on such objects have to be based
+on their musical timing. Time-based footnotes are also preferable
+when marking features like stems and beams on @emph{chords}: while
+such per-chord features are nominally assigned to @emph{one} event
+inside the chord, relying on a particular choice would be imprudent.
+
+A time-based footnote is written in the same manner as an event-based
+footnote, except that @code{\default} is used in place of music
+indicating an event. The layout object in question should always be
+explicitly specified for time-based footnotes to avoid getting marks
+on unexpected objects.
+
+@lilypond[quote,verbatim,papersize=a8landscape]
+\book {
+ \header { tagline = ##f }
+ \relative c'' {
+ r1 |
+ \footnote #'(-0.5 . -1) "Meter change" Staff.TimeSignature
+ \time 3/4
+ \footnote #'(1 . -1) "Chord stem" Stem
+ <c e g>4 q q
+ \footnote #'(-0.5 . 1) "Bar line" Staff.BarLine
+ q q
+ \footnote #'(0.5 . -1) "Key change" Staff.KeySignature
+ \key c\minor
+ q
+ }
+}
+@end lilypond
+
+
+@node Footnotes in stand-alone text
+@unnumberedsubsubsec Footnotes in stand-alone text
+
+@cindex footnotes in stand-alone text
+
+These are for use in markup outside of music expressions. They do
+not have a line drawn to their point of reference: their marks simply
+follow the referenced markup. Marks can be inserted automatically,
+in which case they are numerical. Alternatively, custom marks can be
+provided manually.
+
+Footnotes to stand-alone text with automatic and custom marks are
+created in different ways.
+
+@subsubsubheading Footnotes in stand-alone text with automatic marks
+
+The syntax of a footnote in stand-alone text with automatic marks is
+
+@example
+\markup @{ ... \auto-footnote @var{text} @var{footnote} ... @}
+@end example
+
+The elements are:
+
+@table @var
+
+@item text
+is the markup or string to be marked.
+
+@item footnote
+is the markup or string specifying the footnote text to use at the bottom
+of the page.
+
+@end table
+
+For example:
+
+@lilypond[verbatim,quote,ragged-right,papersize=a8]
+\book {
+ \header { tagline = ##f }
+ \markup {
+ "A simple"
+ \auto-footnote "tune" \italic " By me"
+ "is shown below. It is a"
+ \auto-footnote "recent" \italic " Aug 2012"
+ "composition."
+ }
+ \relative c' {
+ a'4 b8 e c4 d
+ }
+}
+@end lilypond
+
+@subsubsubheading Footnotes in stand-alone text with custom marks
+
+The syntax of a footnote in stand-alone text with custom marks is
+
+@example
+\markup @{ ... \footnote @var{mark} @var{footnote} ... @}
+@end example
+
+The elements are:
+
+@table @var
+
+@item mark
+is a markup or string specifying the footnote mark which is used for
+marking the reference point. Note that this mark is @emph{not}
+inserted automatically before the footnote itself.
+
+@item footnote
+is the markup or string specifying the footnote text to use at the
+bottom of the page, preceded by the @var{mark}.
+
+@end table
+
+Any easy-to-type character such as * or + may be used as a mark, as
+shown in @ref{Footnotes in music expressions}. Alteratively, ASCII
+aliases may be used (see @ref{ASCII aliases}):
+
+@lilypond[verbatim,quote,ragged-right,papersize=a8]
+\book {
+ \paper { #(include-special-characters) }
+ \header { tagline = ##f }
+ \markup {
+ "A simple tune"
+ \footnote "*" \italic "* By me"
+ "is shown below. It is a recent"
+ \footnote \super † \concat {
+ \super † \italic " Aug 2012"
+ }
+ "composition."
+ }
+ \relative c' {
+ a'4 b8 e c4 d
+ }
+}
+@end lilypond
+
+Unicode character codes may also be used to specify marks
+(see @ref{Unicode}):
+
+@lilypond[verbatim,quote,ragged-right,papersize=a8]
+\book {
+ \header { tagline = ##f }
+ \markup {
+ "A simple tune"
+ \footnote \super \char##x00a7 \concat {
+ \super \char##x00a7 \italic " By me"
+ }
+ "is shown below. It is a recent"
+ \footnote \super \char##x00b6 \concat {
+ \super \char##x00b6 \italic " Aug 2012"
+ }
+ "composition."
+ }
+ \relative c' {
+ a'4 b8 e c4 d
+ }
+}
+@end lilypond
+
@seealso
+Learning Manual:
+@rlearning{Objects and interfaces}.
+
Notation Reference:
-@ref{Title blocks explained},
-@ref{Default layout of book and score title blocks}.
+@ref{ASCII aliases},
+@ref{Balloon help},
+@ref{List of special characters},
+@ref{Text marks},
+@ref{Text scripts},
+@ref{Unicode}.
+
+Internals Reference:
+@rinternals{FootnoteEvent},
+@rinternals{FootnoteItem},
+@rinternals{FootnoteSpanner},
+@rinternals{Footnote_engraver}.
+
+@knownissues
+Multiple footnotes for the same page can only be stacked, one on top
+of the other; they cannot be printed on the same line.
+
+Footnotes cannot be attached to @code{MultiMeasureRests} or
+automatic beams and footnote marks may collide with staves,
+@code{\markup} objects, other footnote marks and annotation lines.
@node Reference to page numbers
referred to in a markup, to get the number of the page where the marked
point is placed, using the @code{\page-ref} markup command.
-@lilypond[verbatim]
+@lilypond[verbatim,papersize=a8landscape]
\header { tagline = ##f }
\book {
\label #'firstScore
@node Table of contents
@subsection Table of contents
-A table of contents is included using the @code{\markuplines \table-of-contents}
+A table of contents is included using the @code{\markuplist \table-of-contents}
command. The elements which should appear in the table of contents are
entered with the @code{\tocItem} command, which may be used either at
top-level, or inside a music expression.
@verbatim
-\markuplines \table-of-contents
+\markuplist \table-of-contents
\pageBreak
\tocItem \markup "First score"
(add-toc-item! 'tocActMarkup text))
@end verbatim
-@lilypond[line-width=11.0\cm]
+@lilypond[line-width=10.0\cm]
\header { tagline = ##f }
\paper {
tocActMarkup = \markup \large \column {
(add-toc-item! 'tocActMarkup text))
\book {
- \markuplines \table-of-contents
+ \markuplist \table-of-contents
\tocAct \markup { Atto Primo }
\tocItem \markup { Coro. Viva il nostro Alcide }
\tocItem \markup { Cesare. Presti omai l'Egizzia terra }
Dots can be added to fill the line between an item and its page number:
-@lilypond[verbatim,quote]
+@lilypond[verbatim,line-width=10.0\cm]
\header { tagline = ##f }
\paper {
tocItemMarkup = \tocItemWithDotsMarkup
}
\book {
- \markuplines \table-of-contents
+ \markuplist \table-of-contents
\tocItem \markup { Allegro }
\tocItem \markup { Largo }
\markup \null
}
@end lilypond
-
@seealso
-Init files: @file{../ly/toc-init.ly}.
-
+Installed Files:
+@file{ly/toc-init.ly}.
@predefined
@funindex \table-of-contents
@menu
* Including LilyPond files::
* Different editions from one source::
-* Text encoding::
+* Special characters::
@end menu
been brought into the main file, so the file names they specify
must all be relative to the directory containing the main file,
not the directory containing the included file. However,
-this behavior can be changed by passing the option
-@code{-drelative-includes} option at the command line
+this behavior can be changed globally by passing the option
+@option{-drelative-includes} option at the command line
(or by adding @code{#(ly:set-option 'relative-includes #t)}
-at the top of the main input file). With @code{relative-includes}
-set, the path for each @code{\include} command will be taken
-relative to the file containing that command. This behavior is
-recommended and it will become the default behavior in a future
-version of lilypond.
+at the top of the main input file).
+
+When @code{relative-includes} is set to @code{#t}, the path for each
+@code{\include} command will be taken relative to the file containing
+that command. This behavior is recommended and it will become the
+default behavior in a future version of lilypond.
+
+Files relative to the main directory and files relative to some other
+directory may both be @code{\include}d by setting
+@code{relative-includes} to @code{#t} or @code{#f} at appropriate
+places in the files. For example, if a general library, libA, has
+been created which itself uses sub-files which are @code{\include}d
+by the entry file of that library, those @code{\include} statements
+will need to be preceded by
+@code{#(ly:set-option #relative-includes #t)} so they are interpreted
+correctly when brought into the main @code{.ly} file, like this:
+
+@example
+libA/
+ libA.ly
+ A1.ly
+ A2.ly
+ ...
+@end example
+
+@noindent
+then the entry file, @code{libA.ly}, will contain
+
+@example
+#(ly:set-option 'relative-includes #t)
+\include "A1.ly"
+\include "A2.ly"
+...
+% return to default setting
+#(ly:set-option 'relative-includes #f)
+@end example
+
+Any @file{.ly} file can then include the entire library simply with
+
+@example
+\include "~/libA/libA.ly"
+@end example
+
+More complex file structures may be devised by switching at
+appropriate places.
Files can also be included from a directory in a search path
specified as an option when invoking LilyPond from the command
Some simple examples of using @code{\include} are shown in
@rlearning{Scores and parts}.
-
@seealso
Learning Manual:
@rlearning{Other sources of information},
@rlearning{Scores and parts}.
-
@knownissues
-
If an included file is given a name which is the same as one in
LilyPond's installation files, LilyPond's file from the
installation files takes precedence.
-
@node Different editions from one source
@subsection Different editions from one source
-Several mechanisms are available to facilitate the generation
-of different versions of a score from the same music source.
-Variables are perhaps most useful for combining lengthy sections
-of music and/or annotation in various ways, while tags are more
-useful for selecting one from several alternative shorter sections
-of music. Whichever method is used, separating the notation from
-the structure of the score will make it easier to change the
-structure while leaving the notation untouched.
+Several methods can be used to generate different versions of a score
+from the same music source. Variables are perhaps the most useful for
+combining lengthy sections of music and/or annotation. Tags are more
+useful for selecting one section from several alternative shorter
+sections of music, and can also be used for splicing pieces of music
+together at different points.
+
+Whichever method is used, separating the notation from the structure of
+the score will make it easier to change the structure while leaving the
+notation untouched.
@menu
* Using variables::
@funindex \tag
@funindex \keepWithTag
@funindex \removeWithTag
+@funindex \pushToTag
+@funindex \appendToTag
@cindex tag
@cindex keep tagged music
@cindex remove tagged music
+@cindex splice into tagged music
The @code{\tag #'@var{partA}} command marks a music expression
with the name @var{partA}.
the first filter will remove all tagged sections except the one
named, and the second filter will remove even that tagged section.
+Sometimes you want to splice some music at a particular place in an
+existing music expression. You can use @code{\pushToTag} and
+@code{\appendToTag} for adding material at the front or end of the
+@code{elements} of an existing music construct. Not every music
+construct has @code{elements}, but sequential and simultaneous music are
+safe bets:
+
+@lilypond[verbatim,quote]
+test = { \tag #'here { \tag #'here <<c''>> } }
+
+{
+ \pushToTag #'here c'
+ \pushToTag #'here e'
+ \pushToTag #'here g' \test
+ \appendToTag #'here c'
+ \appendToTag #'here e'
+ \appendToTag #'here g' \test
+}
+@end lilypond
+
+Both commands get a tag, the material to splice in at every occurence of
+the tag, and the tagged expression. The commands make sure to
+copy everything that they change so that the original @code{\test}
+retains its meaning.
@seealso
Learning Manual:
@ref{Automatic part combining},
@ref{Including LilyPond files}.
-
@ignore
@c This warning is more general than this placement implies.
@c Rests are not merged whether or not they come from tagged sections.
@c Should be deleted? -td
@knownissues
-
Multiple rests are not merged if you create a score with more
than one tagged section at the same place.
@end ignore
+
@node Using global settings
@unnumberedsubsubsec Using global settings
Notation Reference:
@ref{Including LilyPond files}.
+
+@node Special characters
+@subsection Special characters
+
+@cindex special characters
+@cindex non-ASCII characters
+
+@menu
+* Text encoding::
+* Unicode::
+* ASCII aliases::
+@end menu
+
+
@node Text encoding
-@subsection Text encoding
+@unnumberedsubsubsec Text encoding
-@cindex Unicode
@cindex UTF-8
-@cindex non-ASCII characters
LilyPond uses the character repertoire defined by the Unicode
consortium and ISO/IEC 10646. This defines a unique name and
\addlyrics { \portuguese }
@end lilypond
+
+@node Unicode
+@unnumberedsubsubsec Unicode
+
+@cindex Unicode
+
To enter a single character for which the Unicode code point is
known but which is not available in the editor being used, use
either @code{\char ##xhhhh} or @code{\char #dddd} within a
}
\addlyrics { O \markup { \concat { Ph \char ##x0153 be! } } }
}
-\markup { "Copyright 2008--2011" \char ##x00A9 }
+\markup { "Copyright 2008--2012" \char ##x00A9 }
@end lilypond
@cindex copyright sign
@end example
+@node ASCII aliases
+@unnumberedsubsubsec ASCII aliases
+
+A list of ASCII aliases for special characters can be included:
+
+@lilypond[quote,verbatim]
+\paper {
+ #(include-special-characters)
+}
+
+\markup "&flqq; – &OE;uvre incomplète… &frqq;"
+
+\score {
+ \new Staff { \repeat unfold 9 a'4 }
+ \addlyrics {
+ This is al -- so wor -- kin'~in ly -- rics: –_&OE;…
+ }
+}
+
+\markup \column {
+ "The replacement can be disabled:"
+ "– &OE; …"
+ \override #'(replacement-alist . ()) "– &OE; …"
+}
+@end lilypond
+
+You can also make your own aliases, either globally:
+
+@lilypond[quote,verbatim]
+\paper {
+ #(add-text-replacements!
+ '(("100" . "hundred")
+ ("dpi" . "dots per inch")))
+}
+\markup "A 100 dpi."
+@end lilypond
+
+or locally:
+
+@lilypond[quote,verbatim]
+\markup \replace #'(("100" . "hundred")
+ ("dpi" . "dots per inch")) "A 100 dpi."
+@end lilypond
+
+@seealso
+Notation Reference:
+@ref{List of special characters}.
+
+Installed Files:
+@file{ly/text-replacements.ly}.
+
@node Controlling output
@section Controlling output
rhythmic-locations to the list.
In order to use this feature, LilyPond must be invoked with
-@code{-dclip-systems}. The clips are output as EPS files, and are
+@option{-dclip-systems}. The clips are output as EPS files, and are
converted to PDF and PNG if these formats are switched on as well.
For more information on output formats, see @rprogram{Invoking lilypond}.
Document Format (PDF) and PostScript (PS). Scalable Vector
Graphics (SVG), Encapsulated PostScript (EPS) and Portable
Network Graphics (PNG) output formats are also available through
-command line options, see @rprogram{Command line options for
-lilypond}.
+command line options, see
+@rprogram{Basic command line options for LilyPond}.
@node Replacing the notation font
reverse the process.
@seealso
-Learning Manual: @rlearning{Other sources of information}.
+Learning Manual:
+@rlearning{Other sources of information}.
@knownissues
Gonville cannot be used to typeset @q{Ancient Music} notation and it is
that are off or accidentals that were mistyped stand out very much
when listening to the MIDI output.
-Standard MIDI oputput is somewhat crude; optionally, an enhanced and
+Standard MIDI output is somewhat crude; optionally, an enhanced and
more realistic MIDI output is available by means of
@ref{The Articulate script}.
-@c TODO Check this
-The midi output allocates a channel for each staff, and one for global
-settings. Therefore the midi file should not have more than 15 staves
-(or 14 if you do not use drums). Other staves will remain silent.
+The MIDI output allocates a channel for each staff, and reserves channel
+10 for drums. There are only 16 MIDI channels per device, so if the
+score contains more than 15 staves, MIDI channels will be reused.
@menu
* Creating MIDI files::
@unnumberedsubsubsec Instrument names
@cindex instrument names
+@cindex MIDI, instrument
@funindex Staff.midiInstrument
The MIDI instrument to be used is specified by setting the
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{changing-midi-output-to-one-channel-per-voice.ly}
@knownissues
\score @{
@var{...music...}
\midi @{
- \context @{
- \Score
- tempoWholesPerMinute = #(ly:make-moment 72 4)
- @}
+ \tempo 4 = 72
@}
@}
@end example
In this example the tempo is set to 72 quarter note
-beats per minute. This kind of tempo specification cannot take
-a dotted note length as an argument. If one is required, break
-the dotted note into smaller units. For example, a tempo of 90
-dotted quarter notes per minute can be specified as 270 eighth
-notes per minute:
-
-@example
-tempoWholesPerMinute = #(ly:make-moment 270 8)
-@end example
+beats per minute. @code{\tempo} is actually a music command for
+setting properties during the interpretation of music: in the
+context of output definitions like a @code{\midi} block, as a matter of
+courtesy those are reinterpreted as if they were context modifications.
@cindex MIDI context definitions
>>
\layout {}
\midi {
+ \tempo 2 = 72
\context {
\Score
- tempoWholesPerMinute = #(ly:make-moment 72 2)
midiMinimumVolume = #0.2
midiMaximumVolume = #0.5
}
>>
\layout {}
\midi {
- \context {
- \Score
- tempoWholesPerMinute = #(ly:make-moment 72 2)
- }
+ \tempo 2 = 72
}
}
@end lilypond
>>
\layout { }
\midi {
- \context {
- \Score
- tempoWholesPerMinute = #(ly:make-moment 72 2)
- }
+ \tempo 2 = 72
}
}
@end lilypond
@funindex \displayLilyMusic
Displaying a music expression in LilyPond notation can be
-done with the music function @code{\displayLilyMusic} but only when
-using the command line. For example,
+done with the music function @code{\displayLilyMusic}. To see the
+output, you will typically want to call LilyPond using the command
+line. For example,
@example
@{
lilypond file.ly >display.txt
@end example
+@funindex \void
+Note that Lilypond does not just display the music expression, but
+also interprets it (since @code{\displayLilyMusic} returns it in
+addition to displaying it). This is convenient since you can just
+insert @code{\displayLilyMusic} into existing music in order to get
+information about it. If you don't actually want Lilypond to
+interpret the displayed music as well as display it, use @code{\void}
+in order to have it ignored:
+
+@example
+@{
+ \void \displayLilyMusic \transpose c a, @{ c4 e g a bes @}
+@}
+@end example
+
@node Displaying scheme music expressions
@subsection Displaying scheme music expressions
projects / lilypond.git / blobdiff