@c -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond.tely
+@ignore
+ Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
-@c A menu is needed before every deeper *section nesting of @node's; run
+ 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
@c to automatically fill in these menus before saving changes
* Orchestral music::
* Contemporary notation::
* Educational use::
-* Automatic notation::
@end menu
@menu
* Text scripts::
+* Text and line spanners::
* Text spanners::
* Text marks::
* Text markup::
@refcommands
-@cindex @code{\fatText}
+@funindex \fatText
@code{\fatText},
-@cindex @code{\emptyText}
+@funindex \emptyText
@code{\emptyText}.
@commonprop
-Checking to make sure that text scripts and lyrics are within the margins is a relatively large computational task. To speed up processing, lilypond does not perform such calculations by default; to enable it, use
+Checking to make sure that text scripts and lyrics are within the margins is
+a relatively large computational task. To speed up processing, lilypond does
+not perform such calculations by default; to enable it, use
@example
\override Score.PaperColumn #'keep-inside-line = ##t
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 creates 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 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
+\override Glissando #'bound-details #'left-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:
+@inputfileref{input/@/regression,dynamics@/-text@/-spanner@/-padding.ly}.
+@inputfileref{input/@/regression,glissando@/-broken@/.ly}.
+@inputfileref{input/@/regression,line@/-arrows@/.ly}.
+@inputfileref{input/@/regression,line@/-style@/.ly}.
+@inputfileref{input/@/regression,text@/-spanner@/.ly}.
+@inputfileref{input/@/regression,text@/-spanner@/.ly}.
+
+
@node Text spanners
@subsection Text spanners
@cindex textSpannerUp
@code{textSpannerUp},
-@cindex textSpannerDown
+@cindex textSpannerDown
@code{textSpannerDown},
@cindex textSpannerNeutral
@code{textSpannerNeutral}.
To print a solid line, use
@example
-\override TextSpanner #'dash-fraction = #'()
+\override TextSpanner #'dash-fraction = #'()
@end example
@cindex segno on bar line
@cindex fermata on bar line
@cindex bar lines, symbols on
-@cindex @code{\mark}
+@funindex \mark
The @code{\mark} command is primarily used for
@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" }
@lilypond[quote,verbatim,fragment,relative=1]
c1^\markup { hello }
c1_\markup { hi there }
-c1^\markup { hi \bold there, is \italic anyone home? }
-c1_\markup { "\special #characters" }
+c1^\markup { hi \bold there, is \italic {anyone home?} }
+c1_\markup { "\special {weird} #characters" }
@end lilypond
@noindent
#'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. }
@cindex font switching
The markup in the example demonstrates font switching commands. The
-command @code{\bold} and @code{\italic} apply to the first following
+command @code{\bold} and @code{\italic} apply to the first following
word only; to apply a command to more than one word, enclose the
words with braces,
Lists with no previous command are not kept distinct. The expression
@example
-\center-align @{ @{ a b @} @{ c d @} @}
+\center-align @{ @{ a b @} @{ c d @} @}
@end example
@noindent
@cindex font selection
@cindex font magnification
-@cindex @code{font-interface}
+@funindex font-interface
By setting the object properties described below, you can select a
font from the preconfigured font families. LilyPond has default
@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
@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}.
+@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,
+sheet. If you want to use a font from outside the style sheet,
+then set the
+@code{font-name} property,
@lilypond[fragment,verbatim]
{
@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
@lilypond[verbatim]
\paper {
myStaffSize = #20
-
+
#(define fonts
(make-pango-font-tree "Times New Roman"
"Nimbus Sans"
@end lilypond
@c we don't do Helvetica / Courier, since GS incorrectly loads
-@c Apple TTF fonts
+@c Apple TTF fonts
@cindex Rests, multi measure
@cindex Rests, full measure
@cindex whole rests for a full measure
-@cindex @code{R}
+@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}.
In the MIDI output, they are interpreted as a tempo change. In the
layout output, a metronome marking is printed
-@cindex @code{\tempo}
+@funindex \tempo
@lilypond[quote,ragged-right,verbatim,fragment]
\tempo 8.=120 c''1
@end lilypond
Collisions are not checked. If you have notes above the top line of
the staff (or notes with articulations, slurs, text, etc), then the
metronome marking may be printed on top of musical symbols. If this
-occurs, increase the padding of the metronome mark to place it
+occurs, increase the padding of the metronome mark to place it
further away from the staff.
@example
@subsection Rehearsal marks
@cindex Rehearsal marks
-@cindex @code{\mark}
+@funindex \mark
To print a rehearsal mark, use the @code{\mark} command
@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
@end lilypond
The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
-of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
+of @code{format-mark-numbers} (the default format),
+@code{format-mark-box-numbers},
@code{format-mark-letters} and @code{format-mark-box-letters}.
These can be used as inspiration for other formatting functions.
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
@cindex Bar numbers
@cindex measure numbers
-@cindex @code{currentBarNumber}
+@funindex currentBarNumber
Bar numbers are printed by default at the start of the line. 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 typeset manually by tweaking the
-@code{markFormatter} property
-
-@lilypond[verbatim,ragged-right,quote]
-\relative c' {
- \set Score.markFormatter
- = #(lambda (mark context)
- (make-bold-markup
- (make-box-markup
- (number->string (ly:context-property context
- 'currentBarNumber)))))
-
- c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
-}
-@end lilypond
-
-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.
-@lilypond[verbatim,ragged-right,quote,relative=2]
+@lilypond[verbatim,ragged-right,quote]
\layout {
\context {
\Score
\remove "Bar_number_engraver"
}
}
-{
+\relative c''{
c4 c c c \break
c4 c c c
}
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 #'space-alist = #'((left-edge extra-space . 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.,
@node Different editions from one source
@subsection Different editions from one source
-@cindex @code{\tag}
+@funindex \tag
@cindex tag
The @code{\tag} command marks music expressions with a name. These
Multiple rests are not merged if you create the score with both tagged
sections.
-
+
@node Orchestral music
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
-}
+}
\new Staff \relative <<
% setup a context for cue notes.
\new Voice = "cue" { \smaller \skip 1*21 }
-
+
\set Score.skipBars = ##t
-
+
\new Voice {
R1*20
\cueDuring #"clarinet" #1 {
R1
}
- g4 g2.
+ g4 g2.
}
>>
-@end lilypond
+@end lilypond
Here are a couple of hints for successful cue notes
@c Yes, this is good practice. Otherwise, the start of the original
@c part can only be seen from the font size. This is not good enough
@c for sight-reading. It is possilbe to use other
-@c markers (e.g. a big close-bracket over the staff) to indicate the cue notes are
+@c markers (e.g. a big close-bracket over the staff) to indicate the cue
+@c notes are
@c finished.
@c -hwn
@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
-@internalsref{TimeSignature} grob. See also
+@internalsref{TimeSignature} grob. See also
@inputfileref{input/@/test,compound@/-time@/.ly}).
@lilypond[verbatim,ragged-right]
tsMarkup =\markup {
\override #'(baseline-skip . 2) \number {
\column { "2" "4" }
- \lower #1 "+"
+ \vcenter "+"
\bracket \column { "5" "8" }
}
}
\consists "Timing_translator"
\consists "Default_bar_line_engraver"
@}
-
+
@}
@end example
@noindent
As the example illustrates, @code{ly:make-moment n m} constructs a
-duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is an eighth
+duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
+an eighth
note duration and @code{ly:make-moment 7 16} is the duration of
seven sixteenths notes.
@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
* Balloon help::
* Blank music sheet::
* Hidden notes::
-* Shape note heads ::
+* Shape note heads::
* Easy Notation note heads::
* 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
>>
@cindex Invisible notes
@cindex Transparent notes
-@cindex @code{\hideNotes}
-@cindex @code{\unHideNotes}
+@funindex \hideNotes
+@funindex \unHideNotes
Hidden (or invisible or transparent) notes can be useful in preparing theory
or composition exercises.
@end lilypond
-@node Shape note heads
-@subsection Shape note heads
+@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
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
-@cindex @code{\setEasyHeads}
+@funindex \setEasyHeads
@code{\setEasyHeads}
@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
defaults to black. It should be obvious from the final score that
something is wrong.
-This example, illustrates the use of x11-color. Notice that the stem
+This example illustrates the use of x11-color. Notice that the stem
color remains black after being set to (x11-color 'Boggle), which is
deliberate nonsense.
@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
@refbugs
Not all x11 colors are distinguishable in a web browser. For web use
-normal colors are recommended.
+normal colors are recommended.
An x11 color is not necessarily exactly the same shade as a similarly
-named normal color.
-
-
-@node Automatic notation
-@section Automatic notation
-
-This section describes how to change the way that accidentals and
-beams are automatically displayed.
-
-FIXME: this might get moved into Changing Defaults. Please send
-opinions to lilypond-devel. Thanks! :)
-
-@menu
-* Automatic accidentals::
-* Setting automatic beam behavior::
-@end menu
+named normal color.
-@node Automatic accidentals
-@subsection Automatic accidentals
-@cindex Automatic accidentals
+Notes in a chord cannot be colored with @code{\override}; use
+@code{\tweak} instead. See @ref{Objects connected to the input}
+for details.
-Common rules for typesetting accidentals have been placed in a
-function. This function is called as follows
-@cindex @code{set-accidental-style}
-@example
-#(set-accidental-style 'STYLE #('CONTEXT#))
-@end example
+@node Parentheses
+@subsection Parentheses
-The function can take two arguments: the name of the accidental style,
-and an optional argument that denotes the context that should be
-changed. If no context name is supplied, @code{Staff} is the default,
-but you may wish to apply the accidental style to a single @code{Voice}
-instead.
+@cindex ghost notes
+@cindex notes, ghost
+@cindex notes, parenthesized
-The following accidental styles are supported
-@table @code
-@item default
-This is the default typesetting behavior. It corresponds
-to 18th century common practice: Accidentals are
-remembered to the end of the measure in which they occur and
-only on their own octave.
-
-@item voice
-The normal behavior is to remember the accidentals on
-Staff-level. This variable, however, typesets accidentals
-individually for each voice. Apart from that, the rule is similar to
-@code{default}.
-
-As a result, accidentals from one voice do not get canceled in other
-voices, which is often an unwanted result
-
-@lilypond[quote,ragged-right,relative=1,fragment,verbatim]
-\new Staff <<
- #(set-accidental-style 'voice)
- <<
- { es g } \\
- { c, e }
->> >>
-@end lilypond
+Objects may be parenthesized by prefixing @code{\parenthesize} to the music
+event,
-The @code{voice} option should be used if the voices
-are to be read solely by individual musicians. If the staff is to be
-used by one musician (e.g., a conductor) then
-@code{modern} or @code{modern-cautionary}
-should be used instead.
-
-@item modern
-@cindex @code{modern} style accidentals
-This rule corresponds to the common practice in the 20th century. This rule
-prints the same accidentals as @code{default}, but temporary
-accidentals also are canceled in other octaves. Furthermore,
-in the same octave, they also get canceled in the following
-measure
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-#(set-accidental-style 'modern)
-cis' c'' cis'2 | c'' c'
-@end lilypond
-
-@item @code{modern-cautionary}
-@cindex @code{modern-cautionary}
-This rule is similar to @code{modern}, but the ``extra'' accidentals
-(the ones not typeset by @code{default}) are typeset as cautionary
-accidentals. They are printed in reduced size or with parentheses
-@lilypond[quote,ragged-right,fragment,verbatim]
-#(set-accidental-style 'modern-cautionary)
-cis' c'' cis'2 | c'' c'
-@end lilypond
-
-@cindex @code{modern-voice}
-@item modern-voice
-This rule is used for multivoice accidentals to be read both by musicians
-playing one voice and musicians playing all voices. Accidentals are
-typeset for each voice, but they @emph{are} canceled across voices in
-the same @internalsref{Staff}.
-
-@cindex @code{modern-voice-cautionary}
-@item modern-voice-cautionary
-This rule is the same as @code{modern-voice}, but with the extra
-accidentals (the ones not typeset by @code{voice}) typeset
-as cautionaries. Even though all accidentals typeset by
-@code{default} @emph{are} typeset by this variable,
-some of them are typeset as cautionaries.
-
-@item piano
-@cindex @code{piano} accidentals
-This rule reflects 20th century practice for piano notation. Very similar to
-@code{modern} but accidentals also get canceled
-across the staves in the same @internalsref{GrandStaff} or
-@internalsref{PianoStaff}.
-
-@item piano-cautionary
-@cindex @code{#(set-accidental-style 'piano-cautionary)}
-Same as @code{#(set-accidental-style 'piano)} but with the extra
-accidentals typeset as cautionaries.
-
-@item no-reset
-@cindex @code{no-reset} accidental style
-This is the same as @code{default} but with accidentals lasting
-``forever'' and not only until the next measure
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
-#(set-accidental-style 'no-reset)
-c1 cis cis c
-@end lilypond
-
-@item forget
-This is sort of the opposite of @code{no-reset}: Accidentals
-are not remembered at all---and hence all accidentals are
-typeset relative to the key signature, regardless of what was
-before in the music
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
-#(set-accidental-style 'forget)
-\key d\major c4 c cis cis d d dis dis
-@end lilypond
-@end table
-
-
-@seealso
-
-Program reference: @internalsref{Accidental_engraver},
-@internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
-
-
-@refbugs
-
-Simultaneous notes are considered to be entered in sequential
-mode. This means that in a chord the accidentals are typeset as if the
-notes in the chord happened once at a time - in the order in which
-they appear in the input file.
-
-This is a problem when accidentals in a chord depend on each other,
-which does not happen for the default accidental style. The problem
-can be solved by manually inserting @code{!} and @code{?} for the
-problematic notes.
-
-
-@node Setting automatic beam behavior
-@subsection Setting automatic beam behavior
-
-@cindex @code{autoBeamSettings}
-@cindex @code{(end * * * *)}
-@cindex @code{(begin * * * *)}
-@cindex automatic beams, tuning
-@cindex tuning automatic beaming
-
-@c [TODO: use \applyContext]
-
-In normal time signatures, automatic beams can start on any note but can
-only end in a few positions within the measure: beams can end on a beat,
-or at durations specified by the properties in
-@code{autoBeamSettings}. The properties in @code{autoBeamSettings}
-consist of a list of rules for where beams can begin and end. The
-default @code{autoBeamSettings} rules are defined in
-@file{scm/@/auto@/-beam@/.scm}.
-
-In order to add a rule to the list, use
-@example
-#(override-auto-beam-setting '(be p q n m) a b [context])
-@end example
-
-@itemize @bullet
-
-@item @code{be} is either "begin" or "end".
-
-@item @code{p/q} is the duration of the note for which you want
-to add a rule. A beam is considered to have the duration of its
-shortest note. Set @code{p} and @code{q} to @code{'*'} to
-have this apply to any beam.
-
-@item @code{n/m} is the time signature to which
-this rule should apply. Set @code{n} and @code{m} to @code{'*'}
-to have this apply in any time signature.
-
-@item @code{a/b} is the position in the bar at which the beam should begin/end.
-
-@item @code{context} is optional, and it specifies the context at which
-the change should be made. The default is @code{'Voice}.
-@code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
-@code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
-
-@end itemize
-
-For example, if automatic beams should always end on the first quarter
-note, use
-
-@example
-#(override-auto-beam-setting '(end * * * *) 1 4)
-@end example
-
-You can force the beam settings to only take effect on beams whose shortest
-note is a certain duration
-
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-\time 2/4
-#(override-auto-beam-setting '(end 1 16 * *) 1 16)
-a16 a a a a a a a |
-a32 a a a a16 a a a a a |
-#(override-auto-beam-setting '(end 1 32 * *) 1 16)
-a32 a a a a16 a a a a a |
-@end lilypond
-
-You can force the beam settings to only take effect in certain time
-signatures
-
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-\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
-
-You can also remove a previously set beam-ending rule by using
-
-@example
-#(revert-auto-beam-setting '(be p q n m) a b [context])
-@end example
-
-@noindent
-be, p, q, n, m, a, b and context are the same as above. Note that the
-default rules are specified in @file{scm/@/auto@/-beam@/.scm},
-so you can revert rules that you did not explicitly create.
-
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-\time 4/4
-a16 a a a a a a a a a a a a a a a
-#(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
-a16 a a a a a a a a a a a a a a a
-@end lilypond
-
-The rule in a revert-auto-beam-setting statement must exactly match the
-original rule. That is, no wildcard expansion is taken into account.
-
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-\time 1/4
-#(override-auto-beam-setting '(end 1 16 1 4) 1 8)
-a16 a a a
-#(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
-a a a a
-#(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
-a a a a
+@lilypond[relative=2,fragment,verbatim,ragged-right]
+<
+ c
+ \parenthesize d
+ g
+>4-\parenthesize -.
@end lilypond
+This only functions inside chords, even for single notes
-
-@c TODO: old material -- not covered by above stuff, I think.
-If automatic beams should end on every quarter in 5/4 time, specify
-all endings
@example
-#(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
-#(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
-#(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
-#(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
-@dots{}
+< \parenthesize NOTE>
@end example
-The same syntax can be used to specify beam starting points. In this
-example, automatic beams can only end on a dotted quarter note
-@example
-#(override-auto-beam-setting '(end * * * *) 3 8)
-#(override-auto-beam-setting '(end * * * *) 1 2)
-#(override-auto-beam-setting '(end * * * *) 7 8)
-@end example
-In 4/4 time signature, this means that automatic beams could end only on
-3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
-3/8, has passed within the measure).
-
-@cindex automatic beam generation
-@cindex autobeam
-@cindex @code{autoBeaming}
-@cindex lyrics
-
-If beams are used to indicate melismata in songs, then automatic
-beaming should be switched off with @code{\autoBeamOff}.
-
-
-@refcommands
-
-@cindex @code{\autoBeamOff}
-@code{\autoBeamOff},
-@cindex @code{\autoBeamOn}
-@code{\autoBeamOn}.
-
-
-@refbugs
-If a score ends while an automatic beam has not been ended and is
-still accepting notes, this last beam will not be typeset at all. The
-same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
->>}. If a polyphonic voice ends while an automatic beam is still
-accepting notes, it is not typeset.
+@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