@refcommands
-@findex \fatText
+@funindex \fatText
@code{\fatText},
-@findex \emptyText
+@funindex \emptyText
@code{\emptyText}.
@cindex segno on bar line
@cindex fermata on bar line
@cindex bar lines, symbols on
-@findex \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" }
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}).
+@ref{Multiple scores in a book}).
@lilypond[quote,ragged-right,verbatim]
\markup{ Here is some text. }
@cindex font selection
@cindex font magnification
-@findex 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
@lilypond[fragment,verbatim]
{
- \override Staff.TimeSignature #'font-name = #"Charter"
- \override Staff.TimeSignature #'font-size = #2
+% \override Staff.TimeSignature #'font-name = #"Charter"
+% \override Staff.TimeSignature #'font-size = #2
\time 3/4
c'1_\markup {
- \override #'(font-name . "Vera Bold")
- { This text is in Vera Bold }
+% \override #'(font-name . "Vera Bold")
+% { This text is in Vera Bold }
}
}
@end lilypond
@cindex Rests, multi measure
@cindex Rests, full measure
@cindex whole rests for a full measure
-@findex R
+@funindex R
Rests for one full measure (or many bars) are entered using `@code{R}'. It
is specifically meant for full bar rests and for entering parts: the rest
In the MIDI output, they are interpreted as a tempo change. In the
layout output, a metronome marking is printed
-@findex \tempo
+@funindex \tempo
@lilypond[quote,ragged-right,verbatim,fragment]
\tempo 8.=120 c''1
@end lilypond
@subsection Rehearsal marks
@cindex Rehearsal marks
-@findex \mark
+@funindex \mark
To print a rehearsal mark, use the @code{\mark} command
and @code{format-mark-circle-barnumbers} to get bar numbers instead of
incremented numbers or letters.
+@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
@cindex Bar numbers
@cindex measure numbers
-@findex 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 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.
@node Different editions from one source
@subsection Different editions from one source
-@findex \tag
+@funindex \tag
@cindex tag
The @code{\tag} command marks music expressions with a name. These
@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.
@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.
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 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
notes on guitar; diamonds are used for harmonics on string instruments,
@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
@cindex Invisible notes
@cindex Transparent notes
-@findex \hideNotes
-@findex \unHideNotes
+@funindex \hideNotes
+@funindex \unHideNotes
Hidden (or invisible or transparent) notes can be useful in preparing theory
or composition exercises.
@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
@refcommands
-@findex \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
projects / lilypond.git / blobdiff