@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
your scores.
@cindex Text, other languages
-To write non-ascii text (such as characters from other languages), simply
+To write accented and special text (such as characters from other languages),
+simply
insert the characters directly into the lilypond file. The file must be
saved as UTF-8. For more information, see @ref{Text encoding}.
@menu
* Text scripts::
+* Text and line spanners::
* Text spanners::
* Text marks::
* Text markup::
* Nested scores::
+* Page wrapping text::
* Overview of text markup commands::
+* Overview of text markup list commands::
* Font selection::
* New dynamic marks::
@end menu
@cindex text items, non-empty
@cindex non-empty texts
-It is possible to place arbitrary strings of text or @ref{Text markup}
+It is possible to place arbitrary strings of text or @ref{Text markup},
above or below notes by using a string @code{c^"text"}. By default,
these indications do not influence the note spacing, but by using the
command @code{\fatText}, the widths will be taken into account
Program reference: @internalsref{TextScript}.
+@node Text and line spanners
+@subsection Text and line spanners
+
+Some performance indications, e.g., @i{rallentando} and
+@i{accelerando} and @i{trills} are written as text and are extended
+over many measures with lines, sometimes dotted or wavy.
+
+These all use the same routines as the glissando for drawing the texts
+and the lines, and tuning their behavior is therefore also done in the
+same way. It is done with a spanner, and the routine responsible for
+drawing the spanners is @code{ly:line-interface::print}. This
+routine determines the exact location of the two @i{span
+points} and draws a line in between, in the style requested.
+
+Here is an example of the different line styles available, and how to
+tune them.
+
+@lilypond[relative=2,ragged-right,verbatim,fragment]
+d2 \glissando d'2
+\once \override Glissando #'dash-fraction = #0.5
+d,2 \glissando d'2
+\override Glissando #'style = #'dotted-line
+d,2 \glissando d'2
+\override Glissando #'style = #'zigzag
+d,2 \glissando d'2
+\override Glissando #'style = #'trill
+d,2 \glissando d'2
+@end lilypond
+
+The information that determines the end-points is computed on-the-fly
+for every graphic object, but it is possible to override these.
+
+@lilypond[relative=2,ragged-right,verbatim,fragment]
+e2 \glissando f
+\once \override Glissando #'bound-details #'right #'Y = #-2
+e2 \glissando f
+@end lilypond
+
+The @code{Glissando} object, like any other using the
+@code{ly:line-interface::print} routine, carries a nested
+association list. In the above statement, the value for @code{Y}
+is set to @code{-2} for the association list corresponding to the right
+end point. Of course, it is also possible to adjust the left side with
+@code{left} instead of @code{right}.
+
+If @code{Y} is not set, the value is computed from the vertical
+position of right attachment point of the spanner.
+
+In case of a line break, the values for the span-points are extended
+with contents of the @code{left-broken} and @code{right-broken}
+sublists, for example
+
+@lilypond[relative=2,ragged-right,verbatim,fragment]
+\override Glissando #'breakable = ##T
+\override Glissando #'bound-details #'right-broken #'Y = #-3
+c1 \glissando \break
+f1
+@end lilypond
+
+The following properties can be used for the
+
+@table @code
+@item Y
+This sets the Y-coordinate of the end point, in staff space. By
+default, it is the center of the bound object, so for a glissando it
+points to the vertical center of the note head.
+
+For horizontal spanners, such as text spanner and trill spanners, it
+is hardcoded to 0.
+
+@item attach-dir
+This determines where the line starts and ends in X-direction,
+relative to the bound object. So, a value of @code{-1} (or
+@code{LEFT}) makes the line start/end at the left side of the note
+head it is attached to.
+
+@item X
+This is the absolute coordinate of the end point. It is usually
+computed on the fly, and there is little use in overriding it.
+
+@item stencil
+Line spanners may have symbols at the beginning or end, which is
+contained in this sub-property. This is for internal use, it is
+recommended to use @code{text}.
+
+@item text
+This is a markup that is evaluated to yield stencil. It is
+used to put @i{cresc.} and @i{tr} on horizontal spanners.
+
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+\override TextSpanner #'bound-details #'left #'text
+ = \markup { \small \bold Slower }
+c2\startTextSpan b c a\stopTextSpan
+@end lilypond
+
+@item stencil-align-dir-y
+@item stencil-offset
+Without setting this, the stencil is simply put there at the
+end-point, as defined by the @code{X} and @code{Y} sub properties.
+Setting either @code{stencil-align-dir-y} or @code{stencil-offset}
+will move the symbol at the edge relative to the end point of the line
+
+@lilypond[relative=1,fragment,verbatim]
+\override TextSpanner #'bound-details #'left #'stencil-align-dir-y = #DOWN
+\override TextSpanner #'bound-details #'right #'stencil-align-dir-y = #UP
+
+\override TextSpanner #'bound-details #'left #'text = #"gggg"
+\override TextSpanner #'bound-details #'right #'text = #"hhhh"
+c4^\startTextSpan c c c \stopTextSpan
+@end lilypond
+
+@item arrow
+Setting this sub property to @code{#t} produce an arrowhead at the end
+of the line.
+
+@item padding
+This sub property controls the space between the specified end-point
+of the line and the actual end. Without padding, a glissando would
+start and end in the center of each note head.
+
+@end table
+
+@seealso
+
+Program reference: @internalsref{TextSpanner},
+@internalsref{Glissando}, @internalsref{VoiceFollower},
+@internalsref{TrillSpanner}, @internalsref{line-spanner-interface}.
+
+Examples: @lsr{expressive,line-styles.ly}, @lsr{expressive,line-arrows.ly}
+
+
@node Text spanners
@subsection Text spanners
@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
c1
\textSpannerDown
-\override TextSpanner #'edge-text = #'("rall " . "")
+\override TextSpanner #'bound-details #'left #'text =
+ \markup { \upright "rall" }
c2\startTextSpan b c\stopTextSpan a
\break
\textSpannerUp
-\override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
+\override TextSpanner #'bound-details #'left #'text =
+ \markup { \italic "rit" }
c2\startTextSpan b c\stopTextSpan a
@end lilypond
@refcommands
-@cindex textSpannerUp
-@code{textSpannerUp},
-@cindex textSpannerDown
-@code{textSpannerDown},
-@cindex textSpannerNeutral
-@code{textSpannerNeutral}.
+@funindex textSpannerUp
+@code{\textSpannerUp},
+@funindex textSpannerDown
+@code{\textSpannerDown},
+@funindex textSpannerNeutral
+@code{\textSpannerNeutral}.
@commonprop
Program reference: @internalsref{TextSpanner}.
-Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
-
@node Text marks
@subsection Text 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 (symbols are listed in
-@ref{The Feta font})
+@ref{The Feta font}).
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
c1 \mark \markup { \musicglyph #"scripts.ufermata" }
@end lilypond
@noindent
-See @ref{Overview of text markup commands} for a list of all
+See @ref{Overview of text markup commands}, for a list of all
commands.
@code{\markup} is primarily used for @internalsref{TextScript}s,
\set Staff.instrumentName = \markup{ \column{ Alto solo } }
c2^\markup{ don't be \flat }
- \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
+ \override TextSpanner #'bound-details #'left #'text = \markup{\italic rit }
b2\startTextSpan
a2\mark \markup{ \large \bold Fine }
r2\stopTextSpan
In addition, vertical placement is performed after creating the
text markup object. If you wish to move an entire piece of markup,
-you need to use the #'padding property or create an "anchor" point
+you need to use the #'padding property or create an @q{anchor} point
inside the markup (generally with @code{\hspace #0}).
@lilypond[quote,verbatim,fragment,relative=1]
Some situations (such as dynamic marks) have preset font-related
properties. If you are creating text in such situations, it
is advisable to cancel those properties with
-@code{normal-text}. See @ref{Overview of text markup commands}
+@code{normal-text}. See @ref{Overview of text markup commands},
for more details.
}
@end lilypond
+@node Page wrapping text
+@subsection Page wrapping text
+Whereas @code{\markup} is used to enter a not breakable block of text,
+@code{\markuplines} can be used at top-level to enter lines of text that
+can spread over pages:
+
+@verbatim
+\markuplines {
+ \justified-lines {
+ A very long text of justified lines.
+ ...
+ }
+ \justified-lines {
+ An other very long paragraph.
+ ...
+ }
+ ...
+}
+@end verbatim
+
+@code{\markuplines} accepts a list of markup, that is either the result
+of a markup list command, or a list of markups or of markup lists. The
+built-in markup list commands are described in
+@ref{Overview of text markup list commands}.
+
+@seealso
+
+This manual: @ref{Overview of text markup list commands},
+@ref{New markup list command definition}.
+
+@refcommands
+
+@funindex \markuplines
+@code{\markuplines}
@node Overview of text markup commands
@subsection Overview of text markup commands
@include markup-commands.tely
+@node Overview of text markup list commands
+@subsection Overview of text markup list commands
+
+The following commands can all be used with @code{\markuplines}.
+
+@include markup-list-commands.tely
@node Font selection
@subsection Font selection
@seealso
-Examples: @inputfileref{input/@/regression,font@/-family@/-override.ly}.
+Examples: @lsr{text,font@/-family@/-override.ly}.
@node New dynamic marks
Some situations (such as dynamic marks) have preset font-related
properties. If you are creating text in such situations, it
is advisable to cancel those properties with
-@code{normal-text}. See @ref{Overview of text markup commands}
+@code{normal-text}. See @ref{Overview of text markup commands},
for more details.
@cindex make-dynamic-script
@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
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}.
@end lilypond
@noindent
-See @ref{Text markup} for more details.
+See @ref{Text markup}, for more details.
@seealso
@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
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
@end lilypond
@noindent
-See @ref{The Feta font} for a list of symbols which may be
+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
@seealso
+This manual: @ref{Text marks}.
+
Program reference: @internalsref{RehearsalMark}.
Init files: @file{scm/@/translation@/-functions@/.scm} contains the
@code{format-mark-letters}. They can be used as inspiration for other
formatting functions.
-Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
-
-@inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
+Examples: @lsr{parts,rehearsal-mark-numbers.ly}
@node Bar numbers
More information about adding and removing engravers can
be found in @ref{Modifying context plug-ins}.
+Instrument names may be changed in the middle of a piece,
+
+@lilypond[quote,fragment,verbatim,ragged-right]
+\set Staff.instrumentName = "First"
+\set Staff.shortInstrumentName = "one"
+c1 c c c \break
+c1 c c c \break
+\set Staff.instrumentName = "Second"
+\set Staff.shortInstrumentName = "two"
+c1 c c c \break
+c1 c c c \break
+@end lilypond
+
@seealso
@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}
Program reference: @internalsref{OttavaBracket}.
-Examples: @inputfileref{input/@/regression,ottava@/.ly},
-@inputfileref{input/@/regression,ottava@/-broken@/.ly}.
-
@refbugs
@seealso
-Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
+Examples: @lsr{parts,tag@/-filter@/.ly}
@refbugs
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
@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
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
-\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
-of music. Here is an example of @code{\addquote}
+of music. Here is an example of @code{\addQuote}
@example
-\addquote clarinet \relative c' @{
+\addQuote clarinet \relative c' @{
f4 fis g gis
@}
@end example
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
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.
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
}
@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.
+Quoting nested triplets may result in poor notation.
+
+
@seealso
In this manual: @ref{Instrument transpositions}.
-Examples: @inputfileref{input/@/regression,quote@/.ly}
-@inputfileref{input/@/regression,quote@/-transposition@/.ly}
+Examples: @lsr{parts,quote.ly}, @lsr{parts,quote-transportation.ly}
Program reference: @internalsref{QuoteMusic}.
\override Beam #'length-fraction = #0.8
}
-\addquote clarinet \relative {
+\addQuote clarinet \relative {
R1*20
- r2 r8 c f f
+ r2 r8 c' f f
}
\new Staff \relative <<
- % setup a context for cue notes.
+ % setup a context for cue notes.
\new Voice = "cue" { \smaller \skip 1*21 }
\set Score.skipBars = ##t
\new Voice {
R1*20
- \cueDuring #"clarinet" #1 {
+ \cueDuring #"clarinet" #UP {
R1
}
g4 g2.
@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
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}).
@menu
* Polymetric notation::
* Time administration::
-* Proportional notation::
+* Proportional notation (introduction)::
* Clusters::
* Special noteheads::
* Feathered beams::
@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
tsMarkup =\markup {
\override #'(baseline-skip . 2) \number {
\column { "2" "4" }
- \lower #1 "+"
+ \vcenter "+"
\bracket \column { "5" "8" }
}
}
seven sixteenths notes.
-@node Proportional notation
-@subsection Proportional notation
+@node Proportional notation (introduction)
+@subsection Proportional notation (introduction)
@cindex Proportional notation
+See @ref{Proportional notation}.
+
+
+TODO: remove all this stuff?
+
Notes can be spaced proportionally to their time-difference by
assigning a duration to @code{proportionalNotationDuration}
@seealso
-@inputfileref{input/@/regression,spacing-proportional/.ly}
-@inputfileref{input/@/regression,spacing-strict-notespacing/.ly}
-@inputfileref{input/@/regression,spacing-strict-spacing-grace/.ly}
+Examples: @lsr{spacing,proportional@/-spacing@/.ly},
+@lsr{spacing,proportional@/-strict@/-grace@/-notes@/.ly}, and
+@lsr{spacing,proportional@/-strict@/-notespacing@/.ly}
An example of strict proportional notation is in the
example file @file{input/proportional.ly}.
\makeClusters { <c e > <b f'> }
@end lilypond
-The following example (from
-@inputfileref{input/@/regression,cluster@/.ly}) shows what the result
-looks like
-
-@lilypondfile[ragged-right,quote]{cluster.ly}
-
Ordinary notes and clusters can be put together in the same staff,
even simultaneously. In such a case no attempt is made to
automatically avoid collisions between ordinary notes and clusters.
@internalsref{ClusterSpannerBeacon},
@internalsref{Cluster_spanner_engraver}.
-Examples: @inputfileref{input/@/regression,cluster@/.ly}.
+Examples: @lsr{contemporary,cluster@/.ly}.
@refbugs
@cindex note heads, special
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
@noindent
To see all notehead styles, please see
-@inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
+@ref{Note head styles}.
@seealso
Improvisation is sometimes denoted with slashed note heads. Such note
heads can be created by adding a @internalsref{Pitch_squash_engraver}
-to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
+to the @internalsref{Voice} context. Then, the
following command
@example
the following example
@lilypond[verbatim,ragged-right,quote]
-\new Staff \with {
+\new Voice \with {
\consists Pitch_squash_engraver
} \transpose c c' {
e8 e g a a16(bes)(a8) g \improvisationOn
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.
+@code{font-size} number to a scaling factor. The @code{font-size}
+property can also be set directly, so that only certain layout objects are
+affected.
@lilypond[quote,fragment,relative=1,verbatim]
c8
* Analysis brackets::
* Coloring objects::
* Parentheses::
+* Grid lines::
@end menu
@node Balloon help
Program reference: @internalsref{text-balloon-interface}.
-Examples: @inputfileref{input/@/regression,balloon@/.ly}.
-
}
\new Score \with {
\override TimeSignature #'transparent = ##t
+% un-comment this line if desired
+% \override Clef #'transparent = ##t
defaultBarType = #""
\remove Bar_number_engraver
} <<
@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]
Program reference: @internalsref{HorizontalBracket}.
-Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
-
@node Coloring objects
@subsection Coloring objects
named normal color.
Notes in a chord cannot be colored with @code{\override}; use
-@code{\tweak} instead. See @ref{Objects connected to the input}
+@code{\tweak} instead. See @ref{Objects connected to the input},
for details.
@end example
+@node Grid lines
+@subsection Grid lines
+
+Vertical lines can be drawn between staves synchronized with
+the notes.
+
+@lilypond[ragged-right,quote,verbatim]
+\layout {
+ \context {
+ \Staff
+ \consists "Grid_point_engraver" %% sets of grid
+ gridInterval = #(ly:make-moment 1 4)
+ }
+}
+
+\new Score \with {
+ \consists "Grid_line_span_engraver"
+ %% centers grid lines horizontally below noteheads
+ \override NoteColumn #'X-offset = #-0.5
+}
+
+\new ChoirStaff <<
+ \new Staff {
+ \stemUp
+ \relative {
+ c'4. d8 e8 f g4
+ }
+ }
+ \new Staff {
+ %% centers grid lines vertically
+ \override Score.GridLine #'extra-offset = #'( 0.0 . 1.0 )
+ \stemDown
+ \clef bass
+ \relative c {
+ c4 g' f e
+ }
+ }
+>>
+@end lilypond
+
+Examples: @inputfileref{input/@/regression,grid@/-lines@/.ly}.
+
+
+
projects / lilypond.git / blobdiff