* Contemporary notation::
* Educational use::
* Automatic notation::
-* Other::
@end menu
* Text encoding::
* Nested scores::
* Overview of text markup commands::
+* Selecting font sizes::
+* Font selection::
* New dynamic marks::
* Other text markup issues::
@end menu
@end lilypond
@noindent
+See @ref{Overview of text markup commands} for a list of all
+commands.
+
@code{\markup} is primarily used for @internalsref{TextScript}s,
but it can also be used anywhere text is called in lilypond
\markup @{ is \italic @{ anyone @} home @}
@end example
-@cindex font size, texts
-
In markup mode you can compose expressions, similar to mathematical
expressions, XML documents, and music expressions. You can stack
expressions grouped vertically with the command @code{\column}.
c1^\markup { \line { a b c } }
@end lilypond
+Lists with no previous command are not kept distinct. The expression
+
+@example
+\center-align @{ @{ a b @} @{ c d @} @}
+@end example
+
+@noindent
+
+is equivalent to
+
+@example
+\center-align @{ a b c d @}
+@end example
+
+@noindent
+
+To keep lists of words distinct, please use quotes @code{"} or
+the @code{\line} command
+
+@lilypond[quote,verbatim,fragment,relative=1]
+\fatText
+c4^\markup{ \center-align { on three lines } }
+c4^\markup{ \center-align { "all one line" } }
+c4^\markup{ \center-align { { on three lines } } }
+c4^\markup{ \center-align { \line { on one line } } }
+@end lilypond
+
Markups can be stored in variables and these variables
may be attached to notes, like
@example
@seealso
+This manual: @ref{Overview of text markup commands}.
+
Program reference: @internalsref{TextScript}.
Init files: @file{scm/@/new@/-markup@/.scm}.
@include markup-commands.tely
+@node Selecting font sizes
+@subsection Selecting font sizes
+
+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
+
+LilyPond has fonts in different design sizes. The music fonts for
+smaller sizes are chubbier, while the text fonts are relatively wider.
+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:
+
+@cindex @code{\tiny}
+@code{\tiny},
+@cindex @code{\small}
+@code{\small},
+@cindex @code{\normalsize}
+@code{\normalsize}.
+
+
+@node Font selection
+@subsection Font selection
+
+@cindex font selection
+@cindex font magnification
+@cindex @code{font-interface}
+
+By setting the object properties described below, you can select a
+font from the preconfigured font families. LilyPond has default
+support for the feta music fonts and @TeX{}'s Computer Modern text
+fonts.
+
+@itemize @bullet
+@item @code{font-encoding}
+is a symbol that sets layout of the glyphs. This should only be set to
+select different types of non-text fonts, eg.
+
+@code{fetaBraces} for piano staff braces, @code{fetaMusic} the
+standard music font, including ancient glyphs, @code{fetaDynamic} for
+dynamic signs and @code{fetaNumber} for the number font.
+
+@item @code{font-family}
+is a symbol indicating the general class of the typeface. Supported are
+@code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
+
+@item @code{font-shape}
+is a symbol indicating the shape of the font. There are typically
+several font shapes available for each font family. Choices are
+@code{italic}, @code{caps}, and @code{upright}.
+
+@item @code{font-series}
+is a symbol indicating the series of the font. There are typically
+several font series for each font family and shape. Choices are
+@code{medium} and @code{bold}.
+
+@end itemize
+
+Fonts selected in the way sketched above come from a predefined style
+sheet. If you want to use a font from outside the style sheet,
+then set the
+@code{font-name} property,
+
+@lilypond[fragment,verbatim]
+{
+ \override Staff.TimeSignature #'font-name = #"Times"
+ \override Staff.TimeSignature #'font-size = #2
+ \time 3/4
+ c'1_\markup {
+ \override #'(font-name . "Vera Bold")
+ { This text is in Vera Bold }
+ }
+}
+@end lilypond
+
+@noindent
+Any font can be used, as long as it is available to Pango/FontConfig.
+
+The size of the font may be set with the @code{font-size}
+property. The resulting size is taken relative to the
+@code{text-font-size} as defined in the @code{\paper} block.
+
+@cindex font size
+@cindex font magnification
+
+@seealso
+
+Init files: @file{ly/@/declarations@/-init@/.ly} contains hints how new
+fonts may be added to LilyPond.
+
+
@node New dynamic marks
@subsection New dynamic marks
@end example
+
@node Preparing parts
@section Preparing parts
@menu
* Polymetric notation::
+* Time administration::
* Clusters::
* Special fermatas::
+* Special noteheads::
* Feathered beams::
* Improvisation::
@end menu
+
@node Polymetric notation
@subsection Polymetric notation
each staff but replacing it manually using
@code{timeSignatureFraction} to the desired fraction. Then the printed
durations in each staff are scaled to the common time signature.
-The latter is done with @code{\compressmusic}, which is similar to
+The latter is done with @code{\compressMusic}, which is similar to
@code{\times}, but does not create a tuplet bracket.
\new Staff {
\time 3/4
\set Staff.timeSignatureFraction = #'(9 . 8)
- \compressmusic #'(2 . 3)
+ \compressMusic #'(2 . 3)
\repeat unfold 6 { c8[ c c] }
}
\new Staff {
\time 3/4
\set Staff.timeSignatureFraction = #'(10 . 8)
- \compressmusic #'(3 . 5) {
+ \compressMusic #'(3 . 5) {
\repeat unfold 2 { c8[ c c] }
\repeat unfold 2 { c8[ c] }
| c4. c4. \times 2/3 { c8 c c } c4
aligned vertically, but bar lines distort the regular spacing.
+@node Time administration
+@subsection Time administration
+
+@cindex Time administration
+
+Time is administered by the @internalsref{Time_signature_engraver},
+which usually lives in the @internalsref{Score} context. The
+bookkeeping deals with the following variables
+
+@table @code
+@item currentBarNumber
+The measure number.
+
+@item measureLength
+The length of the measures in the current time signature. For a 4/4
+time this is@tie{}1, and for 6/8 it is 3/4.
+
+@item measurePosition
+The point within the measure where we currently are. This quantity
+is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
+happens, @code{currentBarNumber} is incremented.
+
+@item timing
+If set to true, the above variables are updated for every time
+step. When set to false, the engraver stays in the current measure
+indefinitely.
+@end table
+
+Timing can be changed by setting any of these variables explicitly.
+In the next example, the 4/4 time signature is printed, but
+@code{measureLength} is set to 5/4. After a while, the measure is
+shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
+in the measure, so the next bar line will fall at 2/4 + 3/8. The
+3/8 arises because 5/4 normally has 10/8, but we have manually
+set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
+
+@lilypond[quote,raggedright,verbatim,relative,fragment]
+\set Score.measureLength = #(ly:make-moment 5 4)
+c1 c4
+c1 c4
+c4 c4
+\set Score.measurePosition = #(ly:make-moment 7 8)
+b8 b b
+c4 c1
+@end lilypond
+
+
@node Clusters
@subsection Clusters
See @ref{Articulations} for general instructions how to apply scripts
such as fermatas to notes.
+
+@node Special noteheads
+@subsection Special noteheads
+
+Different noteheads are used by various instruments for various
+meanings -- crosses are used for ``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
+
+@lilypond[raggedright,relative=1,fragment,verbatim,quote]
+c4 d
+\override NoteHead #'style = #'cross
+e f
+\revert NoteHead #'style
+e d <c f\harmonic> <d a'\harmonic>
+@end lilypond
+
+@noindent
+To see all notehead styles, please see
+@inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
+
+
+@seealso
+
+Program reference: @internalsref{NoteHead}.
+
+
@node Feathered beams
@subsection Feathered beams
forcing two beams to overlap. Here is an example,
@c don't change relative setting witout changing positions!
-@lilypond[raggedright,relative=1,fragment,verbatim]
+@lilypond[raggedright,relative=1,fragment,verbatim,quote]
\new Staff <<
\new Voice
{
COLORLIST
+
@node Automatic notation
@section Automatic notation
@menu
* Automatic accidentals::
* Setting automatic beam behavior::
-* Beam formatting::
@end menu
@node Automatic accidentals
>>}. If a polyphonic voice ends while an automatic beam is still
accepting notes, it is not typeset.
-@node Beam formatting
-@subsection Beam formatting
-
-When a beam falls in the middle of the staff, the beams point normally
-down. However, this behaviour can be altered with the
-@code{neutral-direction} property.
-
-@lilypond[quote,raggedright,relative=2,fragment,verbatim]
-{
- b8[ b]
- \override Beam #'neutral-direction = #-1
- b[ b]
- \override Beam #'neutral-direction = #1
- b[ b]
-}
-@end lilypond
-
-
-@node Other
-@section Other
-
-FIXME:
-It's the dreaded ``what on earth should I do with this stuff'' section! Yay!
-
-@menu
-* Time administration::
-* Transpose::
-@end menu
-
-
-@node Time administration
-@subsection Time administration
-
-Time is administered by the @internalsref{Time_signature_engraver},
-which usually lives in the @internalsref{Score} context.
-The bookkeeping deals with the following variables
-
-@table @code
-@item currentBarNumber
-The measure number.
-
-@item measureLength
-The length of the measures in the current time signature. For a 4/4
-time this is@tie{}1, and for 6/8 it is 3/4.
-
-@item measurePosition
-The point within the measure where we currently are. This quantity
-is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
-happens, @code{currentBarNumber} is incremented.
-
-@item timing
-If set to true, the above variables are updated for every time
-step. When set to false, the engraver stays in the current measure
-indefinitely.
-@end table
-
-Timing can be changed by setting any of these variables explicitly.
-In the next example, the 4/4 time signature is printed, but
-@code{measureLength} is set to 5/4. After a while, the measure is
-shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
-in the measure, so the next bar line will fall at 2/4 + 3/8. The
-3/8 arises because 5/4 normally has 10/8, but we have manually
-set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
-
-@lilypond[quote,raggedright,verbatim,relative,fragment]
-\set Score.measureLength = #(ly:make-moment 5 4)
-c1 c4
-c1 c4
-c4 c4
-\set Score.measurePosition = #(ly:make-moment 7 8)
-b8 b b
-c4 c1
-@end lilypond
-
-
-@node Transpose
-@subsection Transpose
-@cindex Transpose
-@cindex transposition of pitches
-@cindex @code{\transpose}
-
-A music expression can be transposed with @code{\transpose}. The
-syntax is
-@example
-\transpose @var{from} @var{to} @var{musicexpr}
-@end example
-
-This means that @var{musicexpr} is transposed by the interval between
-the pitches @var{from} and @var{to}: any note with pitch @code{from}
-is changed to @code{to}.
-
-
-For example, consider a piece written in the key of D-major. If
-this piece is a little too low for its performer, it can be
-transposed up to E-major with
-@example
-\transpose d e @dots{}
-@end example
-
-Consider a part written for violin (a C instrument). If
-this part is to be played on the A clarinet, the following
-transposition will produce the appropriate part
-
-@example
-\transpose a c @dots{}
-@end example
-
-@code{\transpose} distinguishes between enharmonic pitches: both
-@code{\transpose c cis} or @code{\transpose c des} will transpose up
-half a tone. The first version will print sharps and the second
-version will print flats
-
-@lilypond[quote,raggedright,verbatim]
-mus = { \key d \major cis d fis g }
-\context Staff {
- \clef "F" \mus
- \clef "G"
- \transpose c g' \mus
- \transpose c f' \mus
-}
-@end lilypond
-
-@code{\transpose} may also be used to input written notes for a
-transposing instrument. Pitches are normally entered into LilyPond
-in C (or ``concert pitch''), but they may be entered in another
-key. For example, when entering music for a B-flat trumpet which
-begins on concert D, one would write
-
-@example
-\transpose c bes @{ e4 @dots{} @}
-@end example
-
-To print this music in B-flat again (ie producing a trumpet part,
-instead of a concert pitch conductor's score) you would wrap the
-existing music with another @code{transpose}
-
-@example
-\transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
-@end example
-
-
-
-@seealso
-
-Program reference: @internalsref{TransposedMusic}, and
-@internalsref{UntransposableMusic}.
-
-@refbugs
-
-If you want to use both @code{\transpose} and @code{\relative},
-you must put @code{\transpose} outside of @code{\relative}, since
-@code{\relative} will have no effect music that appears inside a
-@code{\transpose}.
projects / lilypond.git / blobdiff