@menu
* Text::
-* Even more than notes::
* Preparing parts::
* Orchestral music::
* Contemporary notation::
@end menu
+
@node Text
@section Text
@menu
* Text scripts::
* Text spanners::
+* Text marks::
* Text markup::
* Text encoding::
* Nested scores::
* Overview of text markup commands::
+* Selecting font sizes::
+* Font selection::
* New dynamic marks::
* Other text markup issues::
@end menu
@node Text scripts
@subsection Text scripts
-@cindex Text scripts
+@cindex Text scripts
@cindex text items, non-empty
@cindex non-empty texts
-It is possible to place arbitrary strings of text or markup text (see
-@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
+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
@lilypond[quote,fragment,raggedright,verbatim,relative=1]
c4^"longtext" \fatText c4_"longlongtext" c4
@cindex @code{\emptyText}
@code{\emptyText}.
+
@seealso
In this manual: @ref{Text markup}.
-Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
+Program reference: @internalsref{TextScript}.
@node Text spanners
@subsection Text spanners
+
@cindex Text spanners
Some performance indications, e.g., @i{rallentando} or @i{accelerando},
@cindex textSpannerNeutral
@code{textSpannerNeutral}.
+
@seealso
-Internals @internalsref{TextSpanEvent},
-@internalsref{TextSpanner}.
+Program reference: @internalsref{TextSpanner}.
Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
+@node Text marks
+@subsection Text marks
+
+@cindex coda on bar line
+@cindex segno on bar line
+@cindex fermata on bar line
+@cindex bar lines, symbols on
+@cindex @code{\mark}
+
+The @code{\mark} command is primarily used for
+@internalsref{Rehearsal marks},
+but it can also be used to put signs like coda,
+segno, and fermata on a bar line. Use @code{\markup} to
+access the appropriate symbol
+
+@lilypond[fragment,quote,raggedright,verbatim,relative=2]
+c1 \mark \markup { \musicglyph #"scripts.ufermata" }
+c1
+@end lilypond
+
+@noindent
+@code{\mark} is only typeset above the top stave of the score. If
+you specify the @code{\mark} command at a bar line, the resulting
+mark is placed above the bar line. If you specify it in the middle
+of a bar, the resulting mark is positioned between notes. If it is
+specified before the beginning of a score line, it is placed
+before the first note of the line. Finally, if the mark occurs at
+a line break, the mark will be printed at the
+beginning of the next line.
+@c IMO this is a bug; hopefully it'll be fixed soon, so I can
+@c delete this sentence. -gp
+If there is no next line, then the mark will not be printed at all.
+
+
+@commonprop
+
+To print the mark at the end of the current line, use
+
+@example
+\override Score.RehearsalMark
+ #'break-visibility = #begin-of-line-invisible
+@end example
+
+@code{\mark} is often useful for adding text to the end of bar. In
+such cases, changing the @code{#'self-alignment} is very useful
+
+@lilypond[fragment,quote,raggedright,verbatim,relative=2]
+\override Score.RehearsalMark
+ #'break-visibility = #begin-of-line-invisible
+c1 c c c4 c c c
+\once \override Score.RehearsalMark #'self-alignment-X = #right
+\mark "D.S. al Fine "
+@end lilypond
+
+
+@seealso
+
+Program reference: @internalsref{RehearsalMark}.
+
+
@node Text markup
@subsection Text markup
+
+@cindex markup
@cindex text markup
@cindex markup text
-
@cindex typeset text
-The internal mechanism to typeset texts is accessed with the keyword
-@code{\markup}. Within markup mode, you can enter texts similar to
-lyrics. They are simply entered, while commands use the backslash @code{\}.
-@cindex markup
+Use @code{\markup} to typeset text. Commands are entered with the
+backslash @code{\}.
@lilypond[quote,verbatim,fragment,relative=1]
c1^\markup { hello }
c1^\markup { hi \bold there, is \italic anyone home? }
@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
+
+@lilypond[quote,verbatim]
+\header{ title = \markup{ \bold { foo \italic { bar! } } } }
+\score{
+ \relative c'' {
+ \override Score.RehearsalMark
+ #'break-visibility = #begin-of-line-invisible
+ \override Score.RehearsalMark #'self-alignment-X = #right
+
+ \set Staff.instrument = \markup{ \column{ Alto solo } }
+ c2^\markup{ don't be \flat }
+ b2
+ a2\mark \markup{ \large \bold Fine }
+ r2
+ \bar "||"
+ }
+ \addlyrics { bar, foo \markup{ \italic bar! } }
+}
+@end lilypond
+
@cindex font switching
The markup in the example demonstrates font switching commands. The
command @code{\bold} and @code{\italic} apply to the first following
-word only; enclose a set of texts with braces to apply a command
-to more words:
+word only; to apply a command to more than one word, enclose the
+words with braces,
+
@example
\markup @{ \bold @{ hi there @} @}
@end example
\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
@{ a^\allegro b c d @}
@end example
-
Some objects have alignment procedures of their own, which cancel out
any effects of alignments applied to their markup arguments as a
whole. For example, the @internalsref{RehearsalMark} is horizontally
@seealso
+This manual: @ref{Overview of text markup commands}.
+
+Program reference: @internalsref{TextScript}.
+
Init files: @file{scm/@/new@/-markup@/.scm}.
@lilypondfile[fontload]{utf-8.ly}
-
The @TeX{} backend does not handle encoding specially at all. Strings
in the input are put in the output as-is. Extents of text items in the
@TeX{} backend, are determined by reading a file created via the
suitable LaTeX wrappers to load appropriate La@TeX{} packages for
interpreting non-ASCII strings.
+
@seealso
@inputfileref{input/regression,utf-8.ly}
e f
}
@end lilypond
-
@node Overview of text markup commands
@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
brackets. These are often used for adding editorial dynamics.
@lilypond[quote,verbatim,raggedright]
-\version "2.4.2"
rndf = \markup{ \center-align {\line { \bold{\italic (}
\dynamic f \bold{\italic )} }} }
boxf = \markup{ \bracket { \dynamic f } }
@end example
-@c really bad section name. :(
-@node Even more than notes
-@section Even more than notes
+
+@node Preparing parts
+@section Preparing parts
+
+This section describes various notation that are useful for preparing
+individual parts.
@menu
-* Transpose::
-* Ottava brackets::
* Multi measure rests::
-* Time administration::
+* Metronome marks::
+* Rehearsal marks::
+* Bar numbers::
+* Instrument names::
+* Instrument transpositions::
+* Ottava brackets::
+* Different editions from one source::
@end menu
-
-@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}.
-
-
-@node Ottava brackets
-@subsection Ottava brackets
-
-`Ottava' brackets introduce an extra transposition of an octave for
-the staff. They are created by invoking the function
-@code{set-octavation}
-
-@cindex ottava
-@cindex 15ma
-@cindex octavation
-
-@lilypond[quote,raggedright,verbatim,fragment]
-\relative c''' {
- a2 b
- #(set-octavation 1)
- a b
- #(set-octavation 0)
- a b
-}
-@end lilypond
-
-The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
-(for 15ma) as arguments. Internally the function sets the properties
-@code{ottavation} (e.g., to @code{"8va"}) and
-@code{centralCPosition}. For overriding the text of the bracket, set
-@code{ottavation} after invoking @code{set-octavation}, i.e.,
-
-@lilypond[quote,raggedright,verbatim]
-{
- #(set-octavation 1)
- \set Staff.ottavation = #"8"
- c'''
-}
-@end lilypond
-
-@seealso
-
-Program reference: @internalsref{OttavaBracket}.
-
-Examples: @inputfileref{input/@/regression,ottava@/.ly},
-@inputfileref{input/@/regression,ottava@/-broken@/.ly}.
-
-@refbugs
-
-@code{set-octavation} will get confused when clef changes happen
-during an octavation bracket.
-
-
@node Multi measure rests
@subsection Multi measure rests
+
@cindex multi measure rests
@cindex Rests, multi measure
-
+@cindex whole rests for a full measure
@cindex @code{R}
Multi-measure rests are entered using `@code{R}'. It is specifically
R1*2 | R1*5 | R1*9
@end lilypond
-
@cindex text on multi-measure rest
@cindex script on multi-measure rest
@cindex fermata on multi-measure rest
Texts can be added to multi-measure rests by using the
-@var{note}-@code{markup} syntax (see @ref{Text markup}).
+@var{note}-@code{markup} syntax @ref{Text markup}.
A variable (@code{\fermataMarkup}) is provided for
adding fermatas
@end example
-@cindex whole rests for a full measure
-
@seealso
-Program reference: @internalsref{MultiMeasureRestEvent},
-@internalsref{MultiMeasureTextEvent},
-@internalsref{MultiMeasureRestMusicGroup}, and
+Program reference: @internalsref{MultiMeasureRestMusicGroup},
@internalsref{MultiMeasureRest}.
The layout object @internalsref{MultiMeasureRestNumber} is for the
default number, and @internalsref{MultiMeasureRestText} for user
specified texts.
+
@refbugs
It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
numbering will be off.
-@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 Preparing parts
-@section Preparing parts
-
-This section describes various notation that are useful for preparing
-individual parts.
-
-@menu
-* Metronome marks::
-* Rehearsal marks::
-* Bar numbers::
-* Instrument names::
-* Instrument transpositions::
-* Different editions from one source::
-@end menu
-
-
@node Metronome marks
@subsection Metronome marks
\tempo 8.=120 c''1
@end lilypond
+
+@commonprop
+
To change the tempo in the MIDI output without printing anything, make
the metronome marking invisible
@example
@seealso
-Program reference: @internalsref{MetronomeChangeEvent}.
+Program reference: @internalsref{MetronomeMark}.
+
@refbugs
@node Rehearsal marks
@subsection Rehearsal marks
+
@cindex Rehearsal marks
-@cindex mark
@cindex @code{\mark}
To print a rehearsal mark, use the @code{\mark} command
@noindent
(The letter@tie{}`I' is skipped in accordance with engraving traditions.)
-@c umm, is the manual the right place for feature requests? :) -gp
-@c FIXME - should make that tunable.
The mark is incremented automatically if you use @code{\mark
\default}, but you can also use an integer argument to set the mark
These can be used as inspiration for other formatting functions.
-@cindex coda on bar line
-@cindex segno on bar line
-@cindex fermata on bar line
-@cindex bar lines, symbols on
-
-The @code{\mark} command can also be used to put signs like coda,
-segno, and fermata on a bar line. Use @code{\markup} to
-access the appropriate symbol
-
-@lilypond[fragment,quote,raggedright,verbatim,relative=2]
-c1 \mark \markup { \musicglyph #"scripts.ufermata" }
-c1
-@end lilypond
-
-If the mark occurs at a line break, the mark will be printed at the
-beginning of the next line.
-@c IMO this is a bug; hopefully it'll be fixed soon, so I can
-@c delete this sentence. -gp
-If there is no next line, then the mark will not be printed at all.
-To print the mark at the end of the current line, use
-
-@example
-\override Score.RehearsalMark
- #'break-visibility = #begin-of-line-invisible
-@end example
-
-@cindex fermatas
-@cindex coda
-@cindex segno
-@cindex bar lines, putting symbols on
-
@seealso
-Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
+Program reference: @internalsref{RehearsalMark}.
Init files: @file{scm/@/translation@/-functions@/.scm} contains the
definition of @code{format-mark-numbers} and
@node Bar numbers
@subsection Bar numbers
-
@cindex Bar numbers
@cindex measure numbers
@cindex @code{currentBarNumber}
}
@end lilypond
+
@seealso
Program reference: @internalsref{BarNumber}.
@inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
+
@refbugs
Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
@node Instrument transpositions
@subsection Instrument transpositions
+
@cindex transposition, MIDI
@cindex transposition, instrument
@end example
+@node Ottava brackets
+@subsection Ottava brackets
+
+`Ottava' brackets introduce an extra transposition of an octave for
+the staff. They are created by invoking the function
+@code{set-octavation}
+
+@cindex ottava
+@cindex 15ma
+@cindex octavation
+
+@lilypond[quote,raggedright,verbatim,fragment]
+\relative c''' {
+ a2 b
+ #(set-octavation 1)
+ a b
+ #(set-octavation 0)
+ a b
+}
+@end lilypond
+
+The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
+(for 15ma) as arguments. Internally the function sets the properties
+@code{ottavation} (e.g., to @code{"8va"}) and
+@code{centralCPosition}. For overriding the text of the bracket, set
+@code{ottavation} after invoking @code{set-octavation}, i.e.,
+
+@lilypond[quote,raggedright,verbatim]
+{
+ #(set-octavation 1)
+ \set Staff.ottavation = #"8"
+ c'''
+}
+@end lilypond
+
+
+@seealso
+
+Program reference: @internalsref{OttavaBracket}.
+
+Examples: @inputfileref{input/@/regression,ottava@/.ly},
+@inputfileref{input/@/regression,ottava@/-broken@/.ly}.
+
+
+@refbugs
+
+@code{set-octavation} will get confused when clef changes happen
+during an octavation bracket.
+
+
@node Different editions from one source
@subsection Different editions from one source
+@cindex @code{\tag}
@cindex tag
+
The @code{\tag} command marks music expressions with a name. These
tagged expressions can be filtered out later. With this mechanism it
is possible to make different versions of the same music source.
@lilypondfile[raggedright,quote]{tag-filter.ly}
-
The argument of the @code{\tag} command should be a symbol, or a list
of symbols, for example,
@example
@end example
-
@seealso
Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
+
@refbugs
Multiple rests are not merged if you create the score with both tagged
sections.
+
@node Orchestral music
@section Orchestral music
@seealso
-Program reference: @internalsref{PartCombineMusic},
-@internalsref{SoloOneEvent}, and
-@internalsref{SoloTwoEvent}, and
-@internalsref{UnisonoEvent}.
+Program reference: @internalsref{PartCombineMusic}.
@refbugs
@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
Program reference: @internalsref{ClusterSpanner},
@internalsref{ClusterSpannerBeacon},
-@internalsref{Cluster_spanner_engraver}, and
-@internalsref{ClusterNoteEvent}.
+@internalsref{Cluster_spanner_engraver}.
Examples: @inputfileref{input/@/regression,cluster@/.ly}.
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
{
@seealso
-Program reference: @internalsref{HorizontalBracket},
-@internalsref{NoteGroupingEvent}.
+Program reference: @internalsref{HorizontalBracket}.
Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
COLORLIST
+
@node Automatic notation
@section Automatic notation
@menu
* Automatic accidentals::
* Setting automatic beam behavior::
-* Beam formatting::
@end menu
@node Automatic accidentals
to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
*)}.
+For example,
+
+@lilypond[quote,raggedright,relative=2,fragment,verbatim]
+\time 5/8
+#(override-auto-beam-setting '(end * * 5 8) 2 8)
+c8 c d d d
+\time 4/4
+e8 e f f e e d d
+\time 5/8
+c8 c d d d
+@end lilypond
+
@cindex automatic beam generation
@cindex autobeam
@cindex @code{autoBeaming}
>>}. 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
projects / lilypond.git / blobdiff