@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
@ref{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
+access the appropriate symbol (symbols are listed in
+@ref{The Feta font})
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
c1 \mark \markup { \musicglyph #"scripts.ufermata" }
#'break-visibility = #begin-of-line-invisible
\override Score.RehearsalMark #'self-alignment-X = #right
- \set Staff.instrument = \markup{ \column{ Alto solo } }
+ \set Staff.instrumentName = \markup{ \column{ Alto solo } }
c2^\markup{ don't be \flat }
\override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
b2\startTextSpan
}
@end lilypond
-Text can also be placed on its own, away from any @code{\score}
-block. This is primarily used in a @code{\book} (see
-@ref{Multiple movements}).
+A @code{\markup} command can also be placed on its own, away from any
+@code{\score} block, see @ref{Multiple scores in a book}.
@lilypond[quote,ragged-right,verbatim]
\markup{ Here is some text. }
@noindent
Any font can be used, as long as it is available to Pango/FontConfig.
+To get a full list of all available fonts, run the command
+@example
+lilypond -dshow-available-fonts blabla
+@end example
+(the last argument of the command can be anything, but has to be present).
+
The size of the font may be set with the @code{font-size}
property. The resulting size is taken relative to the
@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
-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
+
+Music glyphs (such as the segno sign) may be printed inside
+a @code{\mark}
+
+@lilypond[fragment,quote,ragged-right,verbatim,relative]
+c1 \mark \markup { \musicglyph #"scripts.segno" }
+c1 \mark \markup { \musicglyph #"scripts.coda" }
+c1 \mark \markup { \musicglyph #"scripts.ufermata" }
+c1
+@end lilypond
+
+@noindent
+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
+setting @code{break-align-symbol}
+
+@lilypond[fragment,quote,ragged-right,verbatim,relative]
+c1
+\key cis \major
+\clef alto
+\override Score.RehearsalMark #'break-align-symbol = #'key-signature
+\mark "on-key"
+cis
+\key ces \major
+\override Score.RehearsalMark #'break-align-symbol = #'clef
+\clef treble
+\mark "on clef"
+ces
+@end lilypond
+
+@code{break-align-symbol} may also accept the following values:
+@code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
+@code{staff-bar}, @code{left-edge}, @code{key-cancellation},
+@code{key-signature}, and @code{time-signature}. Setting
+@code{break-align-symbol} will only have an effect if the symbol
+appears at that point in the music.
+
@seealso
+This manual: @ref{Text marks}.
+
Program reference: @internalsref{RehearsalMark}.
Init files: @file{scm/@/translation@/-functions@/.scm} contains the
number itself is stored in the @code{currentBarNumber} property, which
is normally updated automatically for every measure.
+@lilypond[verbatim,ragged-right,quote,fragment,relative]
+\repeat unfold 4 {c4 c c c} \break
+\set Score.currentBarNumber = #50
+\repeat unfold 4 {c4 c c c}
+@end lilypond
+
+Bar numbers may only be printed at bar lines; to print a bar
+number at the beginning of a piece, an empty bar line must
+be added
+
+@lilypond[verbatim,ragged-right,quote,fragment,relative]
+\set Score.currentBarNumber = #50
+\bar ""
+\repeat unfold 4 {c4 c c c} \break
+\repeat unfold 4 {c4 c c c}
+@end lilypond
+
Bar numbers can be typeset at regular intervals instead of at the
beginning of each line. This is illustrated in the following example,
whose source is available as
@lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
-Bar numbers can be manually changed by setting the
-@code{Staff.currentBarNumber} property
-
-@lilypond[verbatim,ragged-right,quote]
-\relative c' {
- \repeat unfold 4 {c4 c c c} \break
- \set Score.currentBarNumber = #50
- \repeat unfold 4 {c4 c c c}
-}
-@end lilypond
-
Bar numbers can be removed entirely by removing the Bar number
engraver from the score.
In an orchestral score, instrument names are printed at the left side
of the staves.
-This can be achieved by setting @internalsref{Staff}.@code{instrument}
-and @internalsref{Staff}.@code{instr}. This will print a string before
-the start of the staff. For the first staff, @code{instrument} is
-used, for the following ones, @code{instr} is used.
+This can be achieved by setting @internalsref{Staff}.@code{instrumentName}
+and @internalsref{Staff}.@code{shortInstrumentName}, or
+@internalsref{PianoStaff}.@code{instrumentName} and
+@internalsref{PianoStaff}.@code{shortInstrumentName}. This will
+print text before
+the start of the staff. For the first staff, @code{instrumentName} is
+used, for the following ones, @code{shortInstrumentName} is used.
@lilypond[quote,verbatim,ragged-right,relative=1,fragment]
-\set Staff.instrument = "Ploink "
-\set Staff.instr = "Plk "
+\set Staff.instrumentName = "Ploink "
+\set Staff.shortInstrumentName = "Plk "
c1
\break
c''
names, for example
@lilypond[quote,fragment,verbatim,ragged-right]
-\set Staff.instrument = \markup {
+\set Staff.instrumentName = \markup {
\column { "Clarinetti"
\line { "in B" \smaller \flat } } }
c''1
@lilypond[quote,verbatim,ragged-right]
{ <<
\new Staff {
- \set Staff.instrument = \markup {
+ \set Staff.instrumentName = \markup {
\center-align { "Clarinetti"
\line { "in B" \smaller \flat } } }
c''1
}
\new Staff {
- \set Staff.instrument = \markup{ \center-align { Vibraphone }}
+ \set Staff.instrumentName = \markup{ \center-align { Vibraphone }}
c''1
}
>>
\new StaffGroup \relative
<<
\new Staff {
- \set Staff.instrument
- = \markup { \hcenter-in #10 "blabla" }
+ \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" }
c1 c1
}
\new Staff {
- \set Staff.instrument
- = \markup { \hcenter-in #10 "blo" }
+ \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" }
c1 c1
}
>>
@end lilypond
+To add instrument names to other contexts (such as @code{GrandStaff},
+@code{ChoirStaff}, or @code{StaffGroup}), the engraver must
+be added to that context.
-@seealso
+@example
+\layout@{
+ \context @{\GrandStaff \consists "Instrument_name_engraver"@}
+@}
+@end example
-Program reference: @internalsref{InstrumentName}.
+@noindent
+More information about adding and removing engravers can
+be found in @ref{Modifying context plug-ins}.
-@refbugs
+Instrument names may be changed in the middle of a piece,
-When you put a name on a grand staff or piano staff, the width of the
-brace is not taken into account. The following property setting can be
-used to move the instrument names to the left, in such situations.
+@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
+
+Program reference: @internalsref{InstrumentName}.
-@example
-\override Score.InstrumentName #'padding = #2.0
-@end example
@node Instrument transpositions
@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}
}
@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
+The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
+and -2 (for 15ma bassa) as arguments. Internally the function sets the properties
+@code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and
@code{centralCPosition}. For overriding the text of the bracket, set
@code{ottavation} after invoking @code{set-octavation}, i.e.,
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
Another application is making ossia sections, i.e., alternative
melodies on a separate piece of staff, with help of a Frenched
-staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
+staff.
@node Quoting other voices
@subsection Quoting other voices
+@cindex cues
+
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}.
@node Formatting cue notes
@subsection Formatting cue notes
+@cindex cues, formatting
+
The previous section deals with inserting notes from another voice.
There is a more advanced music function called @code{\cueDuring},
which makes formatting cue notes easier.
\override Beam #'length-fraction = #0.8
}
-\addquote clarinet \relative {
+\addQuote clarinet \relative {
R1*20
r2 r8 c f f
}
@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}).
microtones, nested tuplet beams, and unusual fermatas, please
see those sections of the documentation.
-
-@c I don't think we should discourage modern composers who might
-@c want to sponsor new features. :)
-@c In general, the use of new, innovative notation makes a piece
-@c harder to understand and perform and its use should therefore be
-@c avoided. For this reason, support for contemporary notation in
-@c LilyPond is limited.
-
-
@menu
* Polymetric notation::
* Time administration::
* Special noteheads::
* Feathered beams::
* Improvisation::
+* Selecting notation font size::
@end menu
@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" }
}
}
@subsection Proportional notation
@cindex Proportional notation
-Notes can be spaced proportional to their time-difference by
+Notes can be spaced proportionally to their time-difference by
assigning a duration to @code{proportionalNotationDuration}
@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
>>
@end lilypond
+Setting this property only affects the ideal spacing between
+consecutive notes. For true proportional notation, the following
+settings are also required.
+
+@itemize @bullet
+
+@item True proportional notation requires that symbols are allowed to
+overstrike each other. That is achieved by removing the
+@internalsref{Separating_line_group_engraver} from
+@internalsref{Staff} context.
+
+@item Spacing influence of prefatory matter (clefs, bar lines, etc.)
+is removed by setting the @code{strict-note-spacing} property to
+@code{#t} in @internalsref{SpacingSpanner} grob.
+
+@item Optical spacing tweaks are switched by setting
+@code{uniform-stretching} in @internalsref{SpacingSpanner} to true.
+
+
+@end itemize
+
+@seealso
+
+@inputfileref{input/@/regression,spacing-proportional/.ly}
+@inputfileref{input/@/regression,spacing-strict-notespacing/.ly}
+@inputfileref{input/@/regression,spacing-strict-spacing-grace/.ly}
+
+An example of strict proportional notation is in the
+example file @file{input/proportional.ly}.
+
@node Clusters
@subsection Clusters
@node Special noteheads
@subsection Special noteheads
+@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
@node Feathered beams
@subsection Feathered beams
-Feathered beams are not supported natively, but they can be faked by
-forcing two beams to overlap. Here is an example,
+Feathered beams are printed by setting the @code{grow-direction}
+property of a @code{Beam}. The @code{\featherDurations} function
+can be used to adjust note durations.
-@c don't change relative setting witout changing positions!
@lilypond[ragged-right,relative=1,fragment,verbatim,quote]
-\new Staff <<
- \new Voice
- {
- \stemUp
- \once \override Voice.Beam #'positions = #'(0 . 0.5)
- c8[ c c c c ]
- }
- \new Voice {
- \stemUp
- \once \override Voice.Beam #'positions = #'(0 . -0.5)
- c[ c c c c]
- }
->>
+\featherDurations #(ly:make-moment 5 4)
+{
+ \override Beam #'grow-direction = #LEFT
+ c16[ c c c c c c]
+}
@end lilypond
+@refbugs
+
+The @code{\featherDuration} command only works with very short
+music snippets.
@node Improvisation
@subsection Improvisation
@end lilypond
+@node Selecting notation font size
+@subsection Selecting notation font size
+
+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
+
+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:
+
+@funindex \tiny
+@code{\tiny},
+@funindex \small
+@code{\small},
+@funindex \normalsize
+@code{\normalsize}.
+
+
+
@node Educational use
@section Educational use
* Analysis brackets::
* Coloring objects::
* Parentheses::
+* Grid lines::
@end menu
@node Balloon help
The following example demonstrates its use.
@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
-\new Voice {
- \applyOutput
- #(add-balloon-text 'NoteHead "heads, or tails?"
- '(1 . -3))
- c8
+\new Voice \with { \consists "Balloon_engraver" }
+{
+ \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
+ <c-\balloonText #'(-2 . -2) \markup { Hello } >8
}
@end lilypond
@noindent
-The function @code{add-balloon-text} takes the name of a grob, the
-label to print, and the position where to put the label relative to
-the object. In the above example, the text ``heads or tails?'' ends
-3 spaces below and 1 space to the right of the marked head.
+There are two music functions, @code{balloonText} and
+@code{balloonGrobText}. The latter takes the name of the grob to
+adorn, while the former may be used as an articulation on a note.
+The other arguments are the offset and the text of the label.
@cindex balloon
@cindex notation, explaining
@lilypond[quote,verbatim]
+\layout{ indent = #0 }
emptymusic = {
\repeat unfold 2 % Change this for more lines.
{ s1\break }
}
\new Score \with {
\override TimeSignature #'transparent = ##t
+% un-comment this line if desired
+% \override Clef #'transparent = ##t
defaultBarType = #""
\remove Bar_number_engraver
} <<
+
+% modify these to get the staves you want
\new Staff \emptymusic
\new TabStaff \emptymusic
>>
@node Shape note heads
@subsection Shape note heads
+@cindex note heads, shape
+
In shape note head notation, the shape of the note head corresponds
to the harmonic function of a note in the scale. This notation was
popular in the 19th century American song books.
Shapes are determined on the step in the scale, where the base of the
scale is determined by the @code{\key} command
-@findex \key
-@findex shapeNoteStyles
-@findex \aikenHeads
-@findex \sacredHarpHeads
+@funindex \key
+@funindex shapeNoteStyles
+@funindex \aikenHeads
+@funindex \sacredHarpHeads
Shape note heads are implemented through the @code{shapeNoteStyles}
property. Its value is a vector of symbols. The k-th element indicates
@node Easy Notation note heads
@subsection Easy Notation note heads
+@cindex note heads, practice
+@cindex note heads, easy notation
@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]
The command @code{\setEasyHeads} overrides settings for the
@internalsref{NoteHead} object. To make the letters readable, it has
to be printed in a large font size. To print with a larger font, see
-@ref{Setting global staff size}.
+@ref{Setting the staff size}.
@refcommands
@end lilypond
The full range of colors defined for X11 can be accessed by using the
-scheme function x11-color. The function takes one argument that can be a
+Scheme function x11-color. The function takes one argument that can be a
symbol
@example
@lilypond[quote,ragged-right,verbatim]
{
\override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
- \set Staff.instrument = \markup {
+ \set Staff.instrumentName = \markup {
\with-color #(x11-color 'navy) "Clarinet"
}
\time 2/4
@end example
+@node Grid lines
+@subsection Grid lines
+
+Vertical lines can be drawn between staves synchronized with
+the notes.
+
+Examples: @inputfileref{input/@/regression,grid@/-lines@/.ly}.
+
projects / lilypond.git / blobdiff