Guide, node Updating translation committishes..
@end ignore
-@c \version "2.12.0"
+@c \version "2.14.0"
@node Staff notation
@section Staff notation
* Instantiating new staves::
* Grouping staves::
* Nested staff groups::
+* Separating systems::
@end menu
@rinternals{SystemStartBracket},
@rinternals{SystemStartSquare}.
+@knownissues
+@code{PianoStaff} does not, by default, accept @code{ChordNames}.
+
@node Nested staff groups
@unnumberedsubsubsec Nested staff groups
@rinternals{SystemStartBracket},
@rinternals{SystemStartSquare}.
+@node Separating systems
+@unnumberedsubsubsec Separating systems
+
+@cindex system separator mark
+
+If the number of systems per page changes from page to page it is
+customary to separate the systems by placing a system separator mark
+between them. By default the system separator is blank, but can be
+turned on with a @code{\paper} option.
+
+@c \book is required here to display the system separator
+@c ragged-right is required as there are two systems
+@lilypond[verbatim,quote,ragged-right]
+\book {
+ \score {
+ \new StaffGroup <<
+ \new Staff {
+ \relative c'' {
+ c4 c c c
+ \break
+ c4 c c c
+ }
+ }
+ \new Staff {
+ \relative c'' {
+ c4 c c c
+ \break
+ c4 c c c
+ }
+ }
+ >>
+ }
+ \paper {
+ system-separator-markup = \slashSeparator
+ % following commands are needed only to format this documentation
+ paper-width = 100\mm
+ paper-height = 100\mm
+ tagline = ##f
+ }
+}
+@end lilypond
+
+@seealso
+Notation Reference:
+@ref{Page layout}.
+
+Snippets:
+@rlsr{Staff notation}.
+
@node Modifying single staves
@subsection Modifying single staves
@end lilypond
-Using the @code{\RemoveEmptyStaffContext} command to create ossia
+Using the @code{\Staff \RemoveEmptyStaves} command to create ossia
staves may be used as an alternative. This method is most
convenient when ossia staves occur immediately following a line
break. For more information about
-@code{\RemoveEmptyStaffContext}, see @ref{Hiding staves}.
+@code{\Staff \RemoveEmptyStaves}, see @ref{Hiding staves}.
@lilypond[verbatim,quote,ragged-right]
<<
\layout {
\context {
- \RemoveEmptyStaffContext
+ \Staff \RemoveEmptyStaves
\override VerticalAxisGroup #'remove-first = ##t
}
}
@cindex hiding of staves
@cindex empty staves
-@funindex \RemoveEmptyStaffContext
-@funindex RemoveEmptyStaffContext
+@funindex \RemoveEmptyStaves
@funindex Staff_symbol_engraver
@funindex \stopStaff
@funindex stopStaff
Empty staves can be hidden by setting the
-@code{\RemoveEmptyStaffContext} command in the @code{\layout}
+@code{\Staff \RemoveEmptyStaves} command in the @code{\layout}
block. In orchestral scores, this style is known as @q{Frenched
Score}. By default, this command hides and removes all empty
staves in a score except for those in the first system.
@warning{A staff is considered empty when it contains only
-multi-measure rests, skips, spacer rests, or a combination of these
+multi-measure rests, rests, skips, spacer rests, or a combination of these
elements.}
@lilypond[verbatim,quote,ragged-right]
\layout {
\context {
- \RemoveEmptyStaffContext
+ \Staff \RemoveEmptyStaves
}
}
@cindex ossia
@noindent
-@code{\RemoveEmptyStaffContext} can also be used to create ossia
+@code{\Staff \RemoveEmptyStaves} can also be used to create ossia
sections for a staff. For details, see @ref{Ossia staves}.
@cindex hiding ancient staves
@cindex hiding rhythmic staves
-@funindex \RemoveEmptyStaffContext
-@funindex RemoveEmptyStaffContext
-@funindex \AncientRemoveEmptyStaffContext
-@funindex AncientRemoveEmptyStaffContext
-@funindex \RemoveEmptyRhythmicStaffContext
-@funindex RemoveEmptyRhythmicStaffContext
+@funindex \RemoveEmptyStaves
-The @code{\AncientRemoveEmptyStaffContext} command may be used to
+The @code{\VaticanaStaff \RemoveEmptyStaves} command may be used to
hide empty staves in ancient music contexts. Similarly,
-@code{\RemoveEmptyRhythmicStaffContext} may be used to hide empty
+@code{\RhythmicStaff \RemoveEmptyStaves} may be used to hide empty
@code{RhythmicStaff} contexts.
@predefined
-@code{\RemoveEmptyStaffContext},
-@code{\AncientRemoveEmptyStaffContext},
-@code{\RemoveEmptyRhythmicStaffContext}.
+@code{\Staff \RemoveEmptyStaves},
+@code{\VaticanaStaff \RemoveEmptyStaves},
+@code{\RhythmicStaff \RemoveEmptyStaves}.
@endpredefined
@end example
For the Known issues and warnings associated with
-@code{\RemoveEmptyStaffContext} see @ref{Changing context default
-settings}.
+@code{\Staff \RemoveEmptyStaves} see
+@ref{Changing context default settings}.
@node Writing parts
@subsection Writing parts
format cue notes are also described.
@menu
-* Metronome marks::
* Instrument names::
* Quoting other voices::
* Formatting cue notes::
@end menu
-
-@node Metronome marks
-@unnumberedsubsubsec Metronome marks
-
-@cindex tempo
-@cindex beats per minute
-@cindex metronome mark
-@cindex metronome marking with text
-
-@funindex \tempo
-@funindex tempo
-
-A basic metronome mark is simple to write:
-
-@lilypond[verbatim,quote,relative=1]
-\tempo 4 = 120
-c2 d
-e4. d8 c2
-@end lilypond
-
-Tempo indications with text can be used instead:
-
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegretto"
-c4 e d c
-b4. a16 b c4 r4
-@end lilypond
-
-Combining a metronome mark and text will automatically place the
-metronome mark within parentheses:
-
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegro" 4 = 160
-g4 c d e
-d4 b g2
-@end lilypond
-
-In general, the text can be any markup object:
-
-@lilypond[verbatim,quote,relative=2]
-\tempo \markup { \italic Faster } 4 = 132
-a8-. r8 b-. r gis-. r a-. r
-@end lilypond
-
-A parenthesized metronome mark with no textual indication may be
-written by including an empty string in the input:
-
-@lilypond[verbatim,quote,relative=2]
-\tempo "" 8 = 96
-d4 g e c
-@end lilypond
-
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{printing-metronome-and-rehearsal-marks-below-the-staff.ly}
-
-@c perhaps also an example of how to move it horizontally?
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{changing-the-tempo-without-a-metronome-mark.ly}
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{creating-metronome-marks-in-markup-mode.ly}
-
-For more details, see @ref{Formatting text}.
-
-
-@seealso
-Music Glossary:
-@rglos{metronome},
-@rglos{metronomic indication},
-@rglos{tempo indication},
-@rglos{metronome mark}.
-
-Notation Reference:
-@ref{Formatting text},
-@ref{MIDI output}.
-
-Snippets:
-@rlsr{Staff notation}.
-
-Internals Reference:
-@rinternals{MetronomeMark}.
-
-
@node Instrument names
@unnumberedsubsubsec Instrument names
@cindex instrument names, short
Instrument names can be printed on the left side of staves in the
-@code{Staff} and @code{PianoStaff} contexts. The value of
+@code{Staff}, @code{PianoStaff}, @code{StaffGroup}, @code{GrandStaff}
+and @code{ChoirStaff} contexts. The value of
@code{instrumentName} is used for the first staff, and the value
of @code{shortInstrumentName} is used for all succeeding staves.
However, if the instrument names are longer, the instrument names
in a staff group may not be centered unless the @code{indent} and
@code{short-indent} settings are increased. For details about
-these settings, see @ref{Horizontal dimensions}.
+these settings, see @ref{\paper variables for shifts and indents}.
@lilypond[verbatim,quote,ragged-right]
\layout {
@cindex instrument names, adding to other contexts
To add instrument names to other contexts (such as
-@code{GrandStaff}, @code{ChoirStaff}, or @code{StaffGroup}),
+@code{ChordNames} or @code{FiguredBass}),
@code{Instrument_name_engraver} must be added to that context.
For details, see @ref{Modifying context plug-ins}.
@seealso
Notation Reference:
-@ref{Horizontal dimensions},
+@ref{\paper variables for shifts and indents},
@ref{Modifying context plug-ins}.
Snippets:
@node Quoting other voices
@unnumberedsubsubsec Quoting other voices
-@cindex cues
-@cindex quoting other voices
-@cindex fragments
+@cindex quote, voices
+@cindex voices, quoting
+@cindex fragments, quoting
@cindex cue notes
@funindex \addQuote
@funindex \transposition
@funindex transposition
-It is very common for one voice to double some of the music from
-another voice. For example, the first and second violins may play the
-same notes during a passage of music. In LilyPond this is accomplished
-by letting one voice @emph{quote} the other voice without having to
-re-enter it.
+It is very common for one voice to use the same notes as those from
+another voice. For example, first and second violins playing the same
+phrase during a particular passage of the music. This is done by
+letting one voice @emph{quote} the other, without having to re-enter the
+music all over again for the second voice.
-Before a part can be quoted, the @code{\addQuote} command must be used
-to initialize the quoted fragment. This command must be used in the
-toplevel scope. The first argument is an identifying string, and the
-second is a music expression:
-
-@example
-flute = \relative c'' @{
- a4 gis g gis
-@}
-\addQuote "flute" @{ \flute @}
-@end example
+The @code{\addQuote} command, used in the top level scope, defines a
+stream of music from which fragments can be quoted.
The @code{\quoteDuring} command is used to indicate the point where the
quotation begins. It is followed by two arguments: the name of the
quoted voice, as defined with @code{\addQuote}, and a music expression
-that indicates the duration of the quote, usually spacer rests or
-multi-measure rests. The corresponding music (including all articulations,
-dynamics, markup, etc.) from the quoted voice is inserted into the music
-expression:
+for the duration of the quote.
@lilypond[verbatim,quote]
-flute = \relative c'' {
- a4 gis g->\f gis^\markup{quoted}
+fluteNotes = \relative c'' {
+ a4 gis g gis | b4^"quoted" r8 ais\p a4( f)
}
-\addQuote "flute" { \flute }
-\relative c' {
- c4 cis \quoteDuring #"flute" { s2 }
+oboeNotes = \relative c'' {
+ c4 cis c b \quoteDuring #"flute" { s1 }
+}
+
+\addQuote "flute" { \fluteNotes }
+
+\score {
+ <<
+ \new Staff \with { instrumentName = "Flute" } \fluteNotes
+ \new Staff \with { instrumentName = "Oboe" } \oboeNotes
+ >>
}
@end lilypond
-If the music expression used for @code{\quoteDuring} contains
-anything but a spacer rest or multi-measure rest, a polyphonic
-situation is created, which is often not desirable:
+If the music expression used in @code{\quoteDuring} contains notes
+instead of spacer or multimeasure rests then the quote will appear as
+polyphony and may produce unexpected results.
@lilypond[verbatim,quote]
-flute = \relative c'' {
- a4 gis g gis
+fluteNotes = \relative c'' {
+ a4 gis g gis | b4^"quoted" r8 ais\p a4( f)
}
-\addQuote "flute" { \flute }
-\relative c' {
- c4 cis \quoteDuring #"flute" { c4 b }
+oboeNotes = \relative c'' {
+ c4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a }
+}
+
+\addQuote "flute" { \fluteNotes }
+
+\score {
+ <<
+ \new Staff \with { instrumentName = "Flute" } \fluteNotes
+ \new Staff \with { instrumentName = "Oboe" } \oboeNotes
+ >>
}
@end lilypond
-Quotations recognize instrument transposition settings for both
-the source and target instruments if the @code{\transposition}
-command is used. For details about @code{\transposition}, see
-@ref{Instrument transpositions}.
+The @code{\quoteDuring} command uses the @code{\transposition} settings
+of both quoted and quoting parts to produce notes for the quoting part
+that have the same sounding pitch as those in the quoted part.
@lilypond[verbatim,quote]
-clarinet = \relative c'' {
+clarinetNotes = \relative c'' {
\transposition bes
- a4 gis g gis
+ \key d \major
+ b4 ais a ais | cis4^"quoted" r8 bis\p b4( f)
}
-\addQuote "clarinet" { \clarinet }
-\relative c' {
- c4 cis \quoteDuring #"clarinet" { s2 }
+oboeNotes = \relative c'' {
+ c4 cis c b \quoteDuring #"clarinet" { s1 }
}
-@end lilypond
-
-It is possible to tag quotations with unique names in order to
-process them in different ways. For details about this procedure,
-see @ref{Using tags}.
-It is also possible to adjust which objects from the original voice are quoted
-by changing the @code{quotedEventTypes} property. By default, its value is
-@code{#'(StreamEvent)}, which means that everything is quoted. Setting it
-to e.g. @code{#'(note-event rest-event tie-event)} causes lilypond to quote
-only notes, rests and ties, but no articulations, markup or dynamics.
+\addQuote "clarinet" { \clarinetNotes }
-@lilypond[verbatim,quote]
-clarinet = \relative c'' {
- a4 gis g->\f gis^\markup{quoted}
-}
-\addQuote "clarinet" { \clarinet }
-\relative c' {
- \set Score.quotedEventTypes = #'(note-event rest-event tie-event)
- c4 cis \quoteDuring #"clarinet" { s2 }
+\score {
+ <<
+ \new Staff \with { instrumentName = "Clarinet" } \clarinetNotes
+ \new Staff \with { instrumentName = "Oboe" } \oboeNotes
+ >>
}
@end lilypond
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{quoting-another-voice-with-transposition.ly}
-
@cindex note-event
@cindex articulation-event
@cindex dynamic-event
@cindex rest-event
+@cindex slur-event
+@cindex crescendo-event
@funindex quotedEventTypes
@funindex quotedCueEventTypes
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{quoting-another-voice.ly}
+By default quoted music will include all articulations, dynamics,
+markups, etc., in the quoted expression. It is possible to choose which
+of these objects from the quoted music are displayed by using the
+@code{quotedEventTypes} context property.
+
+@lilypond[verbatim,quote]
+fluteNotes = \relative c'' {
+ a2 g2 |
+ b4\<^"quoted" r8 ais a4\f( c->)
+ }
+
+oboeNotes = \relative c'' {
+ c2. b4 |
+ \quoteDuring #"flute" { s1 }
+}
+
+\addQuote "flute" { \fluteNotes }
+
+\score {
+ <<
+ \set Score.quotedEventTypes = #'(note-event articulation-event
+ crescendo-event rest-event
+ slur-event dynamic-event)
+ \new Staff \with { instrumentName = "Flute" } \fluteNotes
+ \new Staff \with { instrumentName = "Oboe" } \oboeNotes
+ >>
+ }
+@end lilypond
+Quotes can also be tagged, see @ref{Using tags}.
@seealso
Notation Reference:
@rlsr{Staff notation}.
Internals Reference:
+@rinternals{Music classes},
@rinternals{QuoteMusic},
@rinternals{Voice}.
+Installed Files:
+@file{scm/define-event-classes.scm}.
-@knownissues
+@knownissues
Only the contents of the first @code{Voice} occurring in an
-@code{\addQuote} command will be considered for quotation, so
-@var{music} cannot 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}.
+@code{\addQuote} command will be considered for quotation, so if the music
+expression contains @code{\new} or @code{\context Voice}
+statements, their contents will not be quoted. Quoting grace notes
+is unsupported and may cause LilyPond to crash whereas quoting nested
+triplets may result in poor notation.
@node Formatting cue notes
@unnumberedsubsubsec Formatting cue notes
-@cindex cues
@cindex cue notes
-@cindex cue notes, formatting
@cindex fragments
-@cindex quoting other voices
-@cindex cues, formatting
+@cindex cue notes, formatting
+@cindex formatting, cue notes
+@cindex voices, quoting
+
@funindex \cueDuring
@funindex cueDuring
+@funindex \cueClef
+@funindex cueClef
+@funindex \cueDuringWithClef
+@funindex cueDuringWithClef
@funindex \quoteDuring
@funindex quoteDuring
-The previous section explains how to create quotations. The
-@code{\cueDuring} command is a more specialized form of
-@code{\quoteDuring}, being particularly useful for inserting cue
-notes into a part. The syntax is as follows:
+@cindex notes, smaller
+@cindex smaller notes
+@cindex CueVoice
+
+The simplest way to format cue notes is to explicitly create a
+@code{CueVoice} context within the part.
+
+@lilypond[verbatim,relative=1]
+R1
+<<
+ { e2\rest r4. e8 }
+ \new CueVoice {
+ \stemUp d'8^"flute" c d e fis2
+ }
+>>
+d,4 r a r
+@end lilypond
+
+The @code{\cueClef} command can also be used with an explict
+@code{CueVoice} context if a change of clef is required and will print
+an appropriately sized clef for the cue notes. The @code{\cueClefUnset}
+command can then be used to switch back to the original clef, again with
+an appropriately sized clef.
+
+@lilypond[verbatim,noragged-right,relative=1]
+\clef "bass"
+R1
+<<
+ { e2\rest r4. \cueClefUnset e,8 }
+ \new CueVoice {
+ \cueClef "treble" \stemUp d''8^"flute" c d e fis2
+ }
+>>
+d,,4 r a r
+@end lilypond
+
+The @code{\cueClef} and @code{\cueClefUnset} command can also be used
+without a @code{CueVoice} if required.
+
+@lilypond[verbatim,noragged-right,relative=1]
+\clef "bass"
+R1
+\cueClef "treble"
+d'8^"flute" c d e fis2
+\cueClefUnset
+d,,4 r a r
+@end lilypond
+
+For more complex cue note placement, e.g including transposition, or
+inserting cue notes from multiple music sources the @code{\cueDuring} or
+@code{\cueDuringWithClef} commands can be used. These are more
+specialized form of @code{\quoteDuring}, see @ref{Quoting other voices}
+in the previous section.
+
+The syntax is:
+
+@example
+\cueDuring #@var{quotename} #@var{direction} #@var{music}
+@end example
+
+and
@example
-\cueDuring #@var{partname} #@var{voice} @var{music}
+\cueDuringWithClef #@var{quotename} #@var{direction} #@var{clef} #@var{music}
@end example
-This command copies only the notes and rests from the corresponding measures
-from @var{partname} into a @code{CueVoice} context. The @code{CueVoice} is
-created implicitly, and occurs simultaneously with @var{music}, which
-creates a polyphonic situation. The @var{voice} argument
-determines whether the cue notes should be notated as a first or
-second voice; @code{UP} corresponds to the first voice, and
-@code{DOWN} corresponds to the second.
+The music from the corresponding measures of the @code{@var{quote name}}
+is added as a @code{CueVoice} context and occurs simultaneously with the
+@code{@var{music}}, which then creates a polyphonic situation. The
+@code{@var{direction}} takes the argument @code{UP} or @code{DOWN}, and
+corresponds to the first and second voices respectively, determining how
+the cue notes are printed in relation to the other voice.
@lilypond[verbatim,quote]
-oboe = \relative c'' {
- r2 r8 d16(\f f e g f a)
- g8 g16 g g2.
+fluteNotes = \relative c'' {
+ r2. c4 | d8 c d e fis2 | g2 d |
}
-\addQuote "oboe" { \oboe }
-\new Voice \relative c'' {
- \cueDuring #"oboe" #UP { R1 }
+oboeNotes = \relative c'' {
+ R1
+ s1*0^\markup { \tiny "flute" }
+ \cueDuring #"flute" #UP { R1 }
g2 c,
}
+
+\addQuote "flute" { \fluteNotes }
+
+\new Staff {
+ \oboeNotes
+}
@end lilypond
@noindent
-In the above example, the @code{Voice} context had to be
-explicitly declared, or else the entire music expression would
-belong to the @code{CueVoice} context.
+
It is possible to adjust which aspects of the music are quoted with
-@code{\cueDuring} by setting the @code{quotedCueEventTypes} property. Its
-default value is @code{#'(note-event rest-event tie-event beam-event
-tuplet-span-event)}, which means that only notes, rest, ties, beams and
-tuplets are quoted, but not articulations, dynamic marks, markup etc.
+@code{\cueDuring} by setting the @code{quotedCueEventTypes}
+property. Its default value is @code{#'(note-event rest-event
+tie-event beam-event tuplet-span-event)}, which means that only
+notes, rests, ties, beams and tuplets are quoted, but not
+articulations, dynamic marks, markup etc.
+
+In this example, the @code{Voice} context must be
+explicitly declared, or else the entire music expression would
+belong to the @code{CueVoice} context.
@lilypond[verbatim,quote]
-oboe = \relative c'' {
+oboeNotes = \relative c'' {
r2 r8 d16(\f f e g f a)
g8 g16 g g2.
}
-\addQuote "oboe" { \oboe }
+\addQuote "oboe" { \oboeNotes }
\new Voice \relative c'' {
\set Score.quotedCueEventTypes = #'(note-event rest-event tie-event
}
@end lilypond
-
-
-The name of the cued instrument can be printed by setting the
-@code{instrumentCueName} property in the @code{CueVoice} context.
+Markup can be used to show the name of the quoted instrument. Also,
+if the cue notes require a change in clef, this can be done manually but
+the original clef should also be restored manually at the end of the cue
+notes.
@lilypond[verbatim,quote]
-oboe = \relative c''' {
- g4 r8 e16 f e4 d
+fluteNotes = \relative c'' {
+ r2. c4 d8 c d e fis2 g2 d2
}
-\addQuote "oboe" { \oboe }
-
-\new Staff \relative c'' <<
- \new CueVoice \with {
- instrumentCueName = "ob."
- }
- \new Voice {
- \cueDuring #"oboe" #UP { R1 }
- g4. b8 d2
- }
->>
-@end lilypond
-@cindex removing cues
-@cindex removing cue notes
-@cindex cue notes, removing
+bassoonNotes = \relative c {
+ \clef bass
+ R1
+ \clef treble
+ s1*0^\markup { \tiny "flute" }
+ \cueDuring #"flute" #UP { R1 }
+ \clef bass
+ g4. b8 d2
+}
-@funindex \killCues
-@funindex killCues
-@funindex \transposedCueDuring
-@funindex transposedCueDuring
+\addQuote "flute" { \fluteNotes }
-In addition to printing the name of the cued instrument, when cue
-notes end, the name of the original instrument should be printed,
-and any other changes introduced by the cued part should be
-undone. This can be accomplished by using
-@code{\addInstrumentDefinition} and @code{\instrumentSwitch}. For
-an example and explanation, see @ref{Instrument names}.
+\new Staff {
+ \bassoonNotes
+}
+@end lilypond
-The @code{\killCues} command removes cue notes from a music
-expression. This can be useful if cue notes need to be removed
-from a part but may be restored at a later time.
+Alternatively, the @code{\cueDuringWithClef} function can be used
+instead. This command takes an extra argument to specify the change of
+clef that needs to be printed for the cue notes but will automatically
+print the original clef once the cue notes have finished.
@lilypond[verbatim,quote]
-flute = \relative c''' {
- r2 cis2 r2 dis2
+fluteNotes = \relative c'' {
+ r2. c4 d8 c d e fis2 g2 d2
}
-\addQuote "flute" { \flute }
-\new Voice \relative c'' {
- \killCues {
- \cueDuring #"flute" #UP { R1 }
- g4. b8 d2
- }
+bassoonNotes = \relative c {
+ \clef bass
+ R1
+ s1*0^\markup { \tiny "flute" }
+ \cueDuringWithClef #"flute" #UP #"treble" { R1 }
+ g4. b8 d2
+}
+
+\addQuote "flute" { \fluteNotes }
+
+\new Staff {
+ \bassoonNotes
}
@end lilypond
-The @code{\transposedCueDuring} command is useful for adding
-instrumental cues from a completely different register. The
-syntax is similar to @code{\cueDuring}, but it requires one extra
-argument to specify the transposition of the cued instrument. For
-more information about transposition, see
-@ref{Instrument transpositions}.
+@funindex \transposedCueDuring
+@funindex transposedCueDuring
+
+Like @code{\quoteDuring}, @code{\cueDuring} takes instrument
+transpositions into account. Cue notes are produced at the
+pitches that would be written for the instrument receiving the cue
+to produce the sounding pitches of the source instrument.
+
+To transpose cue notes differently, use
+@code{\transposedCueDuring}. This command takes an extra argument
+to specify (in absolute mode) the printed pitch that you want to
+represent the sound of a concert middle C. This is useful for
+taking cues from an instrument in a completely different register.
@lilypond[verbatim,quote]
-piccolo = \relative c''' {
+piccoloNotes = \relative c''' {
\clef "treble^8"
R1
c8 c c e g2
- a4 g g2
+ c4 g g2
}
-\addQuote "piccolo" { \piccolo }
-cbassoon = \relative c, {
- \clef "bass_8"
- c4 r g r
- \transposedCueDuring #"piccolo" #UP c,, { R1 }
- c4 r g r
+bassClarinetNotes = \relative c' {
+ \key d \major
+ \transposition bes,
+ d4 r a r
+ \transposedCueDuring #"piccolo" #UP d { R1 }
+ d4 r a r
}
+\addQuote "piccolo" { \piccoloNotes }
+
<<
- \new Staff = "piccolo" \piccolo
- \new Staff = "cbassoon" \cbassoon
+ \new Staff \piccoloNotes
+ \new Staff \bassClarinetNotes
>>
@end lilypond
-It is possible to tag cued parts with unique names in order to
-process them in different ways. For details about this procedure,
-see @ref{Using tags}.
+@cindex removing cue notes
+@cindex cue notes, removing
-@cindex notes, smaller
-@cindex smaller notes
+@funindex \killCues
+@funindex killCues
+@funindex \addInstrumentDefinition
+@funindex addInstrumentDefinition
-A @code{CueVoice} context may be created explicitly if notes of a
-smaller size are required, for example to set an alternative
-sequence of notes more suitable for a higher or lower voice.
+The @code{\killCues} command removes cue notes from a music
+expression, so the same music expression can be used to produce
+the instrument part with cues and the score. The @code{\killCues}
+command removes only the notes and events that were quoted by
+@code{\cueDuring}. Other markup associated with cues, such as clef
+changes and a label identifying the source instrument, can be
+tagged for selective inclusion in the score; see @ref{Using tags}.
-@lilypond[verbatim,relative=2]
-\time 12/8
-\key ees \major
-g4 ees8 f4 g8
-\stemDown
-<<
- { d4. bes4 c8 }
- \new CueVoice
- { g'4. f4 ees8 }
+@lilypond[verbatim,quote]
+fluteNotes = \relative c'' {
+ r2. c4 d8 c d e fis2 g2 d2
+}
+
+bassoonNotes = \relative c {
+ \clef bass
+ R1
+ \tag #'part {
+ \clef treble
+ s1*0^\markup { \tiny "flute" }
+ }
+ \cueDuring #"flute" #UP { R1 }
+ \tag #'part \clef bass
+ g4. b8 d2
+}
+
+\addQuote "flute" { \fluteNotes }
+
+\new Staff {
+ \bassoonNotes
+}
+
+\new StaffGroup <<
+ \new Staff {
+ \fluteNotes
+ }
+ \new Staff {
+ \removeWithTag #'part { \killCues { \bassoonNotes } }
+ }
>>
-\stemUp
-d2. d2.
@end lilypond
+Alternatively, Clef changes and instrument labels can be
+collected into an instrument definition for repeated use, using
+@code{\addInstrumentDefinition} described in @ref{Instrument names}.
+
@seealso
Notation Reference:
+@ref{Quoting other voices},
@ref{Instrument transpositions},
@ref{Instrument names},
+@ref{Clef},
+@ref{Musical cues},
@ref{Using tags}.
Snippets:
@knownissues
Collisions can occur with rests, when using @code{\cueDuring},
-between @code{Voice} and @code{CueVoice} contexts.
+between @code{Voice} and @code{CueVoice} contexts. When using
+@code{\cueDuringWithClef} or @code{\transposedCueDuring} the extra
+argument required for each case must come after the quote and the
+direction.
projects / lilypond.git / blobdiff