@c A menu is needed before every deeper *section nesting of @node's; run
@c M-x texinfo-all-menus-update
@c to automagically fill in these menus before saving changes
-
+@c
@c FIXME: singular vs. plural: Beams/Beam
-@macro refbugs
-@strong{BUGS}
-@end macro
-
-
-@c .{Reference Manual}
-
@node Reference Manual
@chapter Reference Manual
<!--- @@WEB-TITLE@@=Reference Manual --->
@end html
+
This document describes GNU LilyPond and its input format. The last
revision of this document was made for LilyPond 1.7.10. It assumes
that you already know a little bit about LilyPond input (how to
etc). New users are encouraged to study the tutorial before reading
this manual.
-
@menu
* Note entry::
* Easier music entry::
* Tablatures::
* Chords::
* Writing parts::
-* Ancient notation::
-* Contemporary notation::
+* Ancient notation ::
+* Contemporary notation::
* Tuning output::
* Global layout::
* Sound::
@end menu
@c FIXME: Note entry vs Music entry at top level menu is confusing.
-@c . {Note entry}
+
@node Note entry
@section Note entry
@cindex Note entry
* Easy Notation note heads ::
@end menu
-@c . {Notes}
+
@node Notes
@subsection Notes
cis'4 d'8 e'16 c'16
@end lilypond
-@c . {Pitches}
+
@node Pitches
@subsection Pitches
where @var{scmpitch} is a pitch scheme object.
-In Note and Chord mode, pitches may be designated by names. The default
-names are the Dutch note names. The notes are specified by the letters
-@code{a} through @code{g}, while the octave is formed with notes ranging
-from @code{c} to @code{b}. The pitch @code{c} is an octave below
-middle C and the letters span the octave above that C. Here's an example
-which should make things more clear:
+In Note and Chord mode, pitches may be designated by names. The
+default names are the Dutch note names. The notes are specified by
+the letters @code{a} through @code{g}, while the octave is formed with
+notes ranging from @code{c} to @code{b}. The pitch @code{c} is an
+octave below middle C and the letters span the octave above that C.
@lilypond[fragment,verbatim]
\clef bass
@cindex note names, Dutch
In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
-name and a flat is formed by adding @code{-es}. Double sharps and double
-flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
-and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
-both forms are accepted.
+name and a flat is formed by adding @code{-es}. Double sharps and
+double flats are obtained by adding @code{-isis} or @code{-eses}.
+@code{aes} is contracted to @code{as} in Dutch, but both forms are
+accepted. Similarly, both @code{es} and @code{ees} are accepted.
-LilyPond has predefined sets of note names for various other languages.
-To use them, simply include the language specific init file. For
-example: @code{\include "english.ly"}. The available language files and
-the note names they define are:
+There are predefined sets of note names for various other languages.
+To use them, include the language specific init file. For
+example: @code{\include "english.ly"}. The available language files
+and the note names they define are:
@anchor{note name}
@anchor{note names}
c' c'' es' g' as' gisis' ais'
@end lilypond
+
+@seealso
+
+@internalsref{NoteEvent}, @internalsref{NoteHead}
+
@node Chromatic alterations
@subsection Chromatic alterations
The automatic production of accidentals can be tuned in many
ways. For more information, refer to @ref{Accidentals}.
-@c . {Rests}
+
@node Rests
@subsection Rests
@cindex Rests
-Rests are entered like notes, with a ``note name'' of `@code{r}':
+Rests are entered like notes, with the note name @code{r}.
@lilypond[singleline,verbatim]
r1 r2 r4 r8
a'4\rest d'4\rest
@end lilypond
+@internalsref{RestEvent}, @internalsref{Rest}
+
-@c . {Skips}
@c FIXME: naming.
@node Skips
@subsection Skips
a2 s4 a4 \skip 1 a4
@end lilypond
-@c FIXME: in Lyrics mode, we have " " and _
-
-In Lyrics mode, invisible rests are entered using either `@code{" "}'
-or `@code{_}':
-@lilypond[singleline,verbatim]
-<
- \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di }
- \notes\relative c'' { a2 a4 a a2 a4 a }
->
-@end lilypond
-
-Note that the @code{s} syntax is only available in Note mode and Chord
+ The @code{s} syntax is only available in Note mode and Chord
mode. In other situations, you should use the @code{\skip} command,
which will work outside of those two modes:
}
@end lilypond
-The skip command is merely an empty musical placeholder. It doesn't
+The skip command is merely an empty musical placeholder. It does not
produce any output, not even transparent output.
+@seealso
+
+@internalsref{SkipEvent}
+
-@c . {Durations}
@node Durations
@subsection Durations
In Note, Chord, and Lyrics mode, durations are designated by numbers
and dots: durations are entered as their reciprocal values. For example,
-a quarter note is entered using a @code{4} (since it's a 1/4 note), while
-a half note is entered using a @code{2} (since it's a 1/2 note). For notes
+a quarter note is entered using a @code{4} (since it is a 1/4 note), while
+a half note is entered using a @code{2} (since it is a 1/2 note). For notes
longer than a whole you must use identifiers.
-@c FIXME: what's an identifier? I don't think it's been introduced yet.
+@c FIXME: what is an identifier? I do not think it's been introduced yet.
@c and if it has, I obviously skipped that part. - Graham
@example
r1 r2 r4 r8 r16 r32 r64 r64
@end example
-@lilypond[noindent,noquote]
+@lilypond[noindent]
\score {
\notes \relative c'' {
a\breve \autoBeamOff
If the duration is omitted then it is set to the previously entered
-duration. At the start of parsing, a quarter note is assumed. The
-duration can be followed by dots (`@code{.}') in order to obtain dotted
-note lengths:
+duration. Default for the first note is a quarter note. The duration
+can be followed by dots (`@code{.}') in order to obtain dotted note
+lengths:
@cindex @code{.}
@lilypond[fragment,verbatim,center]
You can alter the length of duration by a fraction @var{N/M}
appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
-won't affect the appearance of the notes or rests produced.
+will not affect the appearance of the notes or rests produced.
@lilypond[fragment,verbatim]
a'2*2 b'4*2 a'8*4 a'4*3/2 gis'4*3/2 a'4*3/2 a'4
connected. If you try to tie together chords that have no common pitches,
no ties will be created.
-If you want less ties created for a chord, you can set
-@code{Voice.sparseTies} to true. In this case, a single tie is used
-for every tied chord.
-@lilypond[fragment,verbatim,center]
- \property Voice.sparseTies = ##t
- <<c' e' g'>> ~ <<c' e' g'>>
-@end lilypond
-
In its meaning a tie is just a way of extending a note duration, similar
to the augmentation dot: the following example are two ways of notating
exactly the same concept.
@c
-@lilypond[fragment, singleline]
+@lilypond[fragment, singleline,quote]
\time 3/4 c'2. c'2 ~ c'4
@end lilypond
-If you need to tie notes over bars, it may be easier to use
-@ref{Automatic note splitting}.
+If you need to tie notes over bars, it may be easier to use automatic
+note splitting (See @ref{Automatic note splitting}).
+
+
+@seealso
-See also @seeinternals{Tie}.
+@internalsref{TieEvent}, @internalsref{NewTieEvent},
+@internalsref{Tie}, @ref{Automatic note splitting}.
+If you want less
+ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
@refbugs
-At present, the tie is represented as a separate event, temporally
-located in between the notes. Tying only a subset of the note heads
-of a chord is not supported in a simple way. It can be achieved by
-moving the tie-engraver into the Thread context and turning on and off
-ties per Thread.
+Tieing only a subset of the note heads of a pair of chords is not
+supported in a simple way. It can be achieved by moving the
+tie-engraver into the @internalsref{Thread} context and turning on and
+off ties per @internalsref{Thread}.
+
+Switching staves when a tie is active, will produce a horizontal tie
+on the first note.
+
+
+Formatting of ties is a difficult subject. LilyPond often does not
+give optimal results.
+
-Switching staves when a tie is active will not work.
@node Automatic note splitting
@subsection Automatic note splitting
-@c FIXME: This subsection doesn't belong in @ref{Note entry}.
+@c FIXME: This subsection does not belong in @ref{Note entry}.
LilyPond can automatically converting long notes to tied notes. This
-is done by replacing the @code{Note_heads_engraver} by the
-@code{Completion_heads_engraver}.
+is done by replacing the @internalsref{Note_heads_engraver} by the
+@internalsref{Completion_heads_engraver}.
-@lilypond[verbatim,noindent,noquote]
+@lilypond[verbatim,noindent]
\score{
\notes\relative c'{ \time 2/4
c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
@refbugs
Nested tuplets are not formatted automatically. In this case, outer
-tuplet brackets should be moved automatically.
+tuplet brackets should be moved manually.
@node Easy Notation note heads
@subsection Easy Notation note heads
@cindex easy notation
@cindex Hal Leonard
-A entirely different type of note head is the "easyplay" note head: a
-note head that includes a note name. It is used in some publications by
-Hal-Leonard Inc. music publishers.
+The "easyplay" note head includes a note name inside the head. It is
+used in music aimed at beginners.
@lilypond[singleline,verbatim,26pt]
\score {
}
@end lilypond
-Note that @code{EasyNotation} overrides a @internalsref{Score} context. You
-probably will want to print it with magnification or a large font size to
-make it more readable. To print with magnification, you must create a dvi
-(with @file{ly2dvi}) and then enlarge it with something like @file{dvips -x
-2000 file.dvi}. See @file{man dvips} for details. To print with a larger
-font, see @ref{Font Size}.
+The @code{EasyNotation} identifier overrides a @internalsref{Score}
+context. You probably will want to print it with magnification or a
+large font size to make it more readable. To print with
+magnification, you must create a DVI file (with @file{ly2dvi}) and
+then enlarge it with something like @file{dvips -x 2000 file.dvi}.
+See @file{man dvips} for details. To print with a larger font, see
+@ref{Font Size}.
@cindex Xdvi
@section Easier music entry
@cindex Music entry
@menu
-* Graphical interfaces::
* Relative octaves::
* Bar check::
-* Point and click::
* Skipping corrected music::
@end menu
-When entering music with LilyPond, it is easy to introduce errors. This
-section deals with tricks and features that help you enter music, and
-find and correct mistakes.
-
-@node Graphical interfaces
-@subsection Graphical interfaces
-
-@cindex GUI
-@cindex graphical interface
-@cindex sequencer
-@cindex RoseGarden
-@cindex Denemo
-@cindex NoteEdit
-@cindex MIDI
-
-One way to avoid entering notes using the keyboard is to use a
-graphical user interface. The following programs are known to have
-a lilypond export option:
-
-@itemize @bullet
-@item
-Denemo was once intended as
-a LilyPond graphical user interface. It run on Gnome/GTK.
-
-@quotation
-@uref{http://denemo.sourceforge.net/}
-@end quotation
-
-@item
- Noteedit, a graphical score editor that runs under KDE/Qt.
-@quotation
-@uref{http://rnvs.informatik.tu-chemnitz.de/~jan/noteedit/noteedit.html,}
-@end quotation
-
-@item
-RoseGarden was once the inspiration for naming LilyPond. Nowadays it
-has been rewritten from scratch and supports LilyPond export as of
-version 0.1.6.
-
-@quotation
-@uref{http://rosegarden.sf.net/}
-@end quotation
-@end itemize
+When entering music with LilyPond, it is easy to introduce
+errors. This section deals with tricks and features that help you
+enter music, and find and correct mistakes. It is also possible to
+use external programs to enter or edit music. Refer to the website for
+more information.
-Another option is to enter the music using your favorite
-sequencer/notation editor, and then export it as MIDI or MusicXML.
-You can then import it in lilypond by using either midi2ly or
-@cindex midi2ly
-xml2ly. midi2ly is described in @ref{Invoking midi2ly}. @code{xml2ly}
-@cindex xml2ly
-is a tool to convert from the MusicXML music representation format
-(@uref{http://www.musicxml.org}) to LilyPond format. @code{xml2ly} is
-described at @uref{http://www.nongnu.org/xml2ly/}.
-@c . {Relative}
@node Relative octaves
@subsection Relative octaves
@cindex Relative
additional @code{\relative} inside the @code{\transpose}.
-@c . {Bar check}
@node Bar check
@subsection Bar check
@cindex Bar check
Whenever a bar check is encountered during interpretation, a warning
-message is issued if it doesn't fall at a measure boundary. This can
+message is issued if it does not fall at a measure boundary. This can
help you find errors in the input. Depending on the value of
@code{barCheckSynchronize}, the beginning of the measure will be
relocated, so this can also be used to shorten measures.
-A bar check is entered using the bar symbol, @code{|}:
+A bar check is entered using the bar symbol, `@code{|}'.
@example
\time 3/4 c2 e4 | g2.
@end example
@cindex skipTypesetting
-Failed bar checks are most often caused by entering incorrect
+Failed bar checks are caused by entering incorrect
durations. Incorrect durations often completely garble up the score,
-especially if it is polyphonic, so you should start correcting the score
-by scanning for failed bar checks and incorrect durations. To speed up
-this process, you can use @code{skipTypesetting} (See @ref{Skipping
-corrected music})).
-
-@c . {Point and click}
-@node Point and click
-@subsection Point and click
-@cindex poind and click
-
-Point and click lets you find notes in the input by clicking on them in
-the Xdvi window. This makes it very easy to find input that causes some
-error in the sheet music.
-
-To use it, you need the following software
-@itemize @bullet
-@item A dvi viewer that supports src specials.
-@itemize @bullet
-@item Xdvi, version 22.36 or newer. Available from
-@uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,ftp.math.berkeley.edu}.
-
- Note that most @TeX{} distributions ship with xdvik, which is always
- a few versions behind the official Xdvi. To find out which xdvi you
- are running, try @code{xdvi -version} or @code{xdvi.bin -version}.
-@item KDVI. A dvi viewer for KDE. You need KDVI from KDE 3.0 or
-newer. Enable option @emph{Inverse search} in the menu @emph{Settings}.
-
-@cindex Xdvi
-@cindex KDVI
-@cindex KDE
-
-
-
-@end itemize
-@item An editor with a client/server interface (or a lightweight GUI
-editor).
-
-@cindex editor
-
-@itemize @bullet
-@item Emacs. Emacs is an extensible text-editor. It is available from
-@uref{http://www.gnu.org/software/emacs/}. You need version 21 to use
-column location.
-
-@c move this elsewhere?
-
-LilyPond also comes with support files for emacs: lilypond-mode for
-emacs provides indentation, autocompletion, syntax coloring, handy
-compile short-cuts and reading Info documents of lilypond inside emacs.
-If lilypond-mode is not installed on your platform,
-then refer to the installation instructions for more information.
-
-@cindex emacs
-@cindex emacs mode
-@cindex lilypond-mode for emacs
-@cindex syntax coloring
-
-@item XEmacs. Xemacs is very similar to emacs.
-
-@cindex XEmacs
-
-@item NEdit. NEdit runs under Windows, and Unix.
- It is available from @uref{http://www.nedit.org}.
-
-@cindex NEdit
-
-@item GVim. GVim is a GUI variant of VIM, the popular VI
-clone. It is available from @uref{http://www.vim.org}.
-
-@cindex GVim
-@cindex Vim
-
-@end itemize
-@end itemize
-
-
-Xdvi must be configured to find the @TeX{} fonts and music
-fonts. Refer to the Xdvi documentation for more information.
-
-To use point-and-click, add one of these lines to the top of your .ly
-file.
-@example
-#(ly:set-point-and-click 'line)
-@end example
-@cindex line-location
-
-When viewing, Control-Mousebutton 1 will take you to the originating
-spot in the @file{.ly} file. Control-Mousebutton 2 will show all
-clickable boxes.
-
-If you correct large files with point-and-click, be sure to start
-correcting at the end of the file. When you start at the top, and
-insert one line, all following locations will be off by a line.
-
-@cindex Emacs
-For using point-and-click with emacs, add the following
-In your emacs startup file (usually @file{~/.emacs}),
-@example
-(server-start)
-@end example
-
-Make sure that the environment variable @var{XEDITOR} is set to
-@example
-emacsclient --no-wait +%l %f
-@end example
-@cindex @var{XEDITOR}
-If you use xemacs instead of emacs, you use @code{(gnuserve-start)} in
-your @file{.emacs}, and set @code{XEDITOR} to @code{gnuclient -q +%l %f}
-
-For using Vim, set @code{XEDITOR} to @code{gvim --remote +%l %f}, or
-use this argument with xdvi's @code{-editor} option.
-
-@cindex NEdit
-For using NEdit, set @code{XEDITOR} to @code{nc -noask +%l %f}, or
-use this argument with xdvi's @code{-editor} option.
-
-If can also make your editor jump to the exact location of the note
-you clicked. This is only supported on Emacs and VIM. Users of Emacs version
-20 must apply the patch @file{emacsclient.patch}. Users of version 21
-must apply @file{server.el.patch} (version 21.2 and earlier). At the
-top of the @code{ly} file, replace the @code{set-point-and-click} line
-with the following line,
-@example
-#(ly:set-point-and-click 'line-column)
-@end example
-@cindex line-colomn-location
-and set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}. Vim
-users can set @var{XEDITOR} to @code{gvim --remote +:%l:norm%c| %f}.
-
-
-
-@refbugs
-
-When you convert the @TeX{} file to PostScript using @code{dvips}, it
-will complain about not finding @code{src:X:Y} files. These complaints
-are harmless, and can be ignored.
+especially if it is polyphonic, so you should start correcting the
+score by scanning for failed bar checks and incorrect durations. To
+speed up this process, you can use @code{skipTypesetting}, described
+in the next section.
@node Skipping corrected music
@subsection Skipping corrected music
@node Staff symbol
@subsection Staff symbol
-
@cindex adjusting staff symbol
@cindex StaffSymbol, using \property
@cindex staff lines, setting number of
+Staff is a the general name for Notes, dynamic signs, etc. are grouped
+with a set of horizontal lines, into a staff (plural `staves'). In our
+system, these lines are drawn using a separate graphical object called
+staff symbol.
-The lines of the staff symbol are formed by the
-@internalsref{StaffSymbol} object. This object is created at the moment
-that their context is created. You can not change the appearance of
-the staff symbol by using @code{\override} or @code{\set}. At the
-moment that @code{\property Staff} is interpreted, a Staff context is
-made, and the StaffSymbol is created before any @code{\override} is
+This object is created whenever a @internalsref{Staff} context is
+created. You can not change the appearance of the staff symbol by
+using @code{\override} or @code{\set}. At the moment that
+@code{\property Staff} is interpreted, a Staff context is made, and
+the @internalsref{StaffSymbol} is created before any @code{\override} is
effective. You can deal with this either overriding properties in a
@code{\translator} definition, or by using @code{\outputproperty}.
-
@refbugs
-If you end a staff half way a piece, the staff symbol may not end
+If you end a staff halfway a piece, the staff symbol may not end
exactly on the barline.
-@c . {Key}
@node Key signature
@subsection Key signature
@cindex Key
@cindex @code{\key}
+The key signature indicates the scale in which a piece is played. It
+is denoted by a set of alterations (flats or sharps) at the start of
+the staff.
+
+@syntax
+
Setting or changing the key signature is done with the @code{\key}
command.
@example
@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
@code{\phrygian}, and @code{\dorian} are also defined.
-This command sets the context property @code{Staff.keySignature}.
-Non-standard key signatures can be specified by setting this property
-directly.
+This command sets the context property
+@internalsref{Staff}.@code{keySignature}. Non-standard key signatures
+can be specified by setting this property directly.
-The printed signature is a @internalsref{KeySignature} object, typically
-created in @internalsref{Staff} context.
+
+@seealso
+
+@internalsref{KeyChangeEvent}, @internalsref{KeySignature},
@cindex @code{keySignature}
-@c . {Clef}
+
@node Clef
@subsection Clef
@cindex @code{\clef}
+The clef indicates which lines of the staff correspond to which
+pitches.
+
+@syntax
+
The clef can be set or changed with the @code{\clef} command:
@lilypond[fragment,verbatim]
\key f\major c''2 \clef alto g'2
@end table
By adding @code{_8} or @code{^8} to the clef name, the clef is
-transposed one octave down or up, respectively. Note that you have to
+transposed one octave down or up, respectively. You have to
enclose @var{clefname} in quotes if you use underscores or digits in the
name. For example,
@example
\clef "G_8"
@end example
-The object for this symbol is @internalsref{Clef}.
-
-
This command is equivalent to setting @code{clefGlyph},
@code{clefPosition} (which controls the Y position of the clef),
-@code{centralCPosition} and @code{clefOctavation}. A clef is created
+@code{centralCPosition} and @code{clefOctavation}. A clef is printed
when any of these properties are changed.
+@seealso
+
+The object for this symbol is @internalsref{Clef}.
+
+
+
-@c . {Time signature}
@node Time signature
@subsection Time signature
@cindex Time signature
@cindex meter
@cindex @code{\time}
+Time signature indicates the metrum of a piece: a regular pattern of
+strong and weak beats. It is denoted by a fraction at the start of the
+staff.
+
+@syntax
+
The time signature is set or changed by the @code{\time}
command.
@lilypond[fragment,verbatim]
\time 2/4 c'2 \time 3/4 c'2.
@end lilypond
-The actual symbol that's printed can be customized with the @code{style}
-property. Setting it to @code{#'()} uses fraction style for 4/4 and
-2/2 time.
-
+The actual symbol that is printed can be customized with the
+@code{style} property. Setting it to @code{#'()} uses fraction style
+for 4/4 and 2/2 time. There are many more options for its layout.
+See @inputfileref{input/test,time.ly} for more examples.
-The object for this symbol is @internalsref{TimeSignature}. There are
-many more options for its layout. They are selected through the
-@code{style} object property. See @file{input/test/time.ly} for more
-examples.
This command sets the property @code{timeSignatureFraction},
@code{beatLength} and @code{measureLength} in the @code{Timing}
@lilypond[verbatim]
\score { \notes \relative c'' {
#(set-time-signature 9 8 '(2 2 2 3))
- g8 g d d g g a8-[-( bes g-]-) |
+ g8-[ g-] d-[ d-] g-[ g-] a8-[-( bes g-]-) |
#(set-time-signature 5 8 '(3 2))
a4. g4
}
\paper {
- linewidth = -1.0
+ raggedright = ##t
\translator { \StaffContext
\consists "Measure_grouping_engraver"
}}}
@end lilypond
-@c . {Partial}
+@seealso
+
+@internalsref{TimeSignature}, @internalsref{Timing_engraver}.
+
+
+@refbugs
+
+Automatic beaming does not use measure grouping specified with
+@code{set-time-signature}.
+
+
@subsection Partial
@cindex Partial
@cindex anacrusis
Partial measures, for example in upbeats, are entered using the
@code{\partial} command:
@lilypond[fragment,verbatim]
-\partial 4* 5/16 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
+\partial 16*5 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
@end lilypond
The syntax for this command is
The property @code{measurePosition} contains a rational number
indicating how much of the measure has passed at this point.
-
@node Unmetered music
@subsection Unmetered music
Bar lines and bar numbers are calculated automatically. For unmetered
-music (e.g. cadenzas), this is not desirable. The commands
-@code{\cadenzaOn} and @code{\cadenzaOff} can be used to switch off the
-timing information:
-
-@lilypond[fragment,relative,singleline,verbatim]
-c'2.
-\cadenzaOn
-c2
-\cadenzaOff
-c4 c4 c4
-@end lilypond
+music (e.g. cadenzas), this is not desirable. By setting
+@code{Score.timing} to false, this automatic timing can be switched
+off.
-The property @code{Score.timing} can be used to switch off this
-automatic timing
-
-@c . {Bar lines}
@node Bar lines
@subsection Bar lines
@cindex Bar lines
@cindex measure lines
@cindex repeat bars
+
+Bar lines delimit measures, but are also used to indicate
+repeats. Line breaks may only happen on barlines.
+
+@syntax
+
Bar lines are inserted automatically, but if you need a special type
of barline, you can force one using the @code{\bar} command:
-@lilypond[fragment,verbatim] c4 \bar "|:" c4
+@lilypond[relative=1,fragment,verbatim]
+ c4 \bar "|:" c4
@end lilypond
The following bar types are available
\bar "|."
@end lilypond
-You are encouraged to use @code{\repeat} for repetitions. See
-@ref{Repeats}.
-
In scores with many staves, the barlines are automatically placed at
top level, and they are connected between different staves of a
@internalsref{StaffGroup}:
\context Staff = pedal { \clef bass c2 c2 } >
@end lilypond
-The objects that are created at @internalsref{Staff} level. The name is
-@internalsref{BarLine}.
The command @code{\bar @var{bartype}} is a short cut for
doing @code{\property Score.whichBar = @var{bartype}}
@code{\bar }. These settings take precedence over the automatic
@code{whichBar} settings.
-
-@cindex Bar_line_engraver
@cindex whichBar
@cindex repeatCommands
@cindex defaultBarType
+You are encouraged to use @code{\repeat} for repetitions. See
+@ref{Repeats}.
+
+
+
+@seealso
+
+@ref{Repeats}, @internalsref{RepeatedMusic},
+@internalsref{VoltaRepeatedMusic},
+@internalsref{UnfoldedRepeatedMusic}
+@internalsref{TremoloRepeteadMusic},
+@internalsref{FoldedRepeatedMusic}.
+
+
+The bar line objects that are created at @internalsref{Staff} level
+are called @internalsref{BarLine}, the bar lines that span staffs are
+@internalsref{SpanBar}s.
-@c . {Polyphony}
@node Polyphony
@section Polyphony
@cindex polyphony
-The easiest way to enter such fragments with more than one voice on a
-staff is to split chords using the separator @code{\\}. You can use
-it for small, short-lived voices (make a chord of voices) or for
-single chords:
+The easiest way to enter fragments with more than one voice on a staff
+is to split chords using the separator @code{\\}. You can use it for
+small, short-lived voices (make a chord of voices) or for single
+chords:
@lilypond[verbatim,fragment]
\context Voice = VA \relative c'' {
- c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f \\ d >
+ c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f' \\ d' >
}
@end lilypond
The separator causes @internalsref{Voice} contexts to be instantiated,
-bearing the names @code{"1"}, @code{"2"}, etc.
+bearing the names @code{"1"}, @code{"2"}, etc. In each of these
+contexts, vertical direction of slurs, stems, etc. are set
+appropriately.
-Sometimes, it is necessary to instantiate these contexts by hand: For
-Instantiate a separate Voice context for each part, and use
-@code{\voiceOne}, up to @code{\voiceFour} to assign a stem directions
-and horizontal shift for each part.
+This can also be done by instantiating @internalsref{Voice} contexts
+by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
+a stem directions and horizontal shift for each part.
@c
@lilypond[singleline, verbatim]
\context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
@end lilypond
-The identifiers @code{\voiceOne} to @code{\voiceFour} set directions
-ties, slurs and stems, and set shift directions.
-
-If you want more than four voices, you can also manually set
-horizontal shifts and stem directions, as is shown in the following example:
-@lilypond[fragment, verbatim]
- \context Staff \notes\relative c''<
- \context Voice=one {
- \shiftOff \stemUp e4
- }
- \context Voice=two {
- \shiftOn \stemUp cis
- }
- \context Voice=three {
- \shiftOnn \stemUp ais
- }
- \context Voice=four {
- \shiftOnnn \stemUp fis
- }
- >
-@end lilypond
-
-
Normally, note heads with a different number of dots are not merged, but
if you set the object property @code{merge-differently-dotted}, they are:
@lilypond[verbatim,fragment,singleline]
-\context Voice < {
- g'8 g'8
+\relative c' \context Voice < {
+ g8 g8
\property Staff.NoteCollision \override
#'merge-differently-dotted = ##t
- g'8 g'8
- } \\ { [g'8. f16] [g'8. f'16] }
+ g8 g8
+ } \\ { [g8. f16] [g8. f16] }
>
@end lilypond
\context Voice < c''4 \\ r4 >
@end lilypond
-See also @internalsref{NoteCollision} and @internalsref{RestCollision}
+@seealso
+
+The objects responsible for resolving collisions are
+@internalsref{NoteCollision} and @internalsref{RestCollision}. See
+also example files @inputfileref{input/regression,collision-dots.ly},
+@inputfileref{input/regression,collision-head-chords.ly},
+@inputfileref{input/regression,collision-heads.ly},
+@inputfileref{input/regression,collision-mesh.ly}, and
+@inputfileref{input/regression,collisions.ly}.
+
@refbugs
\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
@end lilypond
-If you're not satisfied with the automatic beaming, you can enter the
+If you are not satisfied with the automatic beaming, you can enter the
beams explicitly. If you have beaming patterns that differ from the
-defaults, you can also set the patterns for automatic beamer.
+defaults, you can also set your own.
See also @internalsref{Beam}.
-@c . {Manual beams}
+
@cindex Automatic beams
@subsection Manual beams
@cindex beams, manual
@cindex @code{]}
@cindex @code{[}
-In some cases it may be necessary to override LilyPond's automatic
-beaming algorithm. For example, the auto beamer will not beam over
-rests or bar lines, If you want that, specify the begin and end point
-manually using a @code{[} before the first beamed note and a @code{]}
-after the last note:
+In some cases it may be necessary to override the automatic beaming
+algorithm. For example, the auto beamer will not beam over rests or
+bar lines, If you want that, specify the begin and end point manually
+using @code{[} and @code{]}.
@lilypond[fragment,relative,verbatim]
\context Staff {
- r4 [r8 g' a r8] r8 [g | a] r8
+ r4 r8-[ g' a r8-] r8 g-[ | a-] r8
}
@end lilypond
@lilypond[fragment,relative,verbatim]
\context Staff {
- [f8 r16 f g a]
- [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
+ f8-[ r16 f g a-]
+ f8-[ r16 \property Voice.stemLeftBeamCount = #1 f g a-]
}
@end lilypond
@cindex @code{stemRightBeamCount}
@code{stemRightBeamCount}, but it take less typing.
-@example
-[c16 c c c c c c c]
-\property Voice.subdivideBeams = ##t
-[c16 c c c c c c c]
-[c32 c c c c c c c c c c c c c c c]
-\property Score.beatLength = #(ly:make-moment 1 8)
-[c32 c c c c c c c c c c c c c c c]
-@end example
-@lilypond[noindent,noquote]
-\score {
- \notes \relative c' {
- [c16 c c c c c c c]
+@lilypond[relative=1,verbatim,noindent]
+ c16-[ c c c c c c c-]
\property Voice.subdivideBeams = ##t
- [c16 c c c c c c c]
- [c32 c c c c c c c c c c c c c c c]
+ c16-[ c c c c c c c-]
+ c32-[ c c c c c c c c c c c c c c c-]
\property Score.beatLength = #(ly:make-moment 1 8)
- [c32 c c c c c c c c c c c c c c c]
- }
-}
+ c32-[ c c c c c c c c c c c c c c c-]
@end lilypond
@cindex subdivideBeams
-Kneed beams are inserted automatically, when a large gap between two
-adjacent beamed notes is detected. This behavior can be tuned through
-the object property @code{auto-knee-gap}.
+Kneed beams are inserted automatically, when a large gap is detected
+between the note heads. This behavior can be tuned through the object
+property @code{auto-knee-gap}.
@cindex beams, kneed
@cindex kneed beams
@cindex auto-knee-gap
-@cindex hara kiri
-@c TODO -> why this ref? Document?
-@cindex @code{neutral-direction}
@refbugs
-Auto knee beams can not be used together with hara kiri staves.
+@cindex hara kiri
+
+Automatically kneed beams can not be used together with Hara Kiri
+staves.
[TODO from bugs]
The Automatic beamer does not put @strong{unfinished} beams on the
last notes of a score.
-Formatting of ties is a difficult subject. LilyPond often does not
-give optimal results.
-
@menu
* Setting automatic beam behavior ::
@end menu
[TODO: some pictures.]
@end ignore
-@c . {Automatic beams}
+
@node Setting automatic beam behavior
@subsection Setting automatic beam behavior
@cindex automatic beams, tuning
@cindex tuning automatic beaming
+[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
durations, that differ from the beaming parameters of all separate
durations, i.e., you'll have to specify manual beams to get:
-@lilypond[singleline,fragment,relative,noverbatim]
+@lilypond[singleline,fragment,relative,noverbatim,quote]
\property Voice.autoBeamSettings
\override #'(end * * * *) = #(ly:make-moment 3 8)
- \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
+ \time 12/8 c'8 c c c16 c c c c c c-[ c c c-] c8 c c4
@end lilypond
It is not possible to specify beaming parameters that act differently in
different parts of a measure. This means that it is not possible to use
@node Accidentals
@section Accidentals
@cindex Accidentals
+
This section describes how to change the way that LilyPond automatically
inserts accidentals before the running notes.
+[TODO: identifier vs. macro]
+
@menu
* Using the predefined accidental macros::
* Defining your own accidental typesettings::
Apart from that the rule is similar to
@code{\defaultAccidentals}.
- Warning: This leads to some weird and often unwanted results
- because accidentals from one voice DO NOT get cancelled in other
+ This leads to some weird and often unwanted results
+ because accidentals from one voice do not get cancelled in other
voices:
-@lilypond[singleline,relative,fragment,verbatim]
+@lilypond[singleline,relative,fragment,verbatim,quote]
\context Staff <
\voiceAccidentals
- \context Voice=va { \voiceOne es g }
- \context Voice=vb { \voiceTwo c, e }
- >
-@end lilypond
- Hence you should only use @code{\voiceAccidentals}
- if the voices are to be read solely by
- individual musicians. if the staff should be readable also
- by one musician/conductor then you should use
- @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
- instead.
+ <
+ { es g } \\
+ { c, e }
+ > >
+@end lilypond
+ Hence you should only use @code{\voiceAccidentals} 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 you use
+@code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
+instead.
@item \modernAccidentals
@cindex @code{\modernAccidentals}
- This rule should correspond to the common practice in the 20th
+ This rule corresponds to the common practice in the 20th
century.
- The rule is a bit more complex than @code{\defaultAccidentals}:
+ The rule is more complex than @code{\defaultAccidentals}.
You get all the same accidentals, but temporary
accidentals also get cancelled in other octaves. Further more,
in the same octave, they also get cancelled in the following measure:
cis' c'' cis'2 | c'' c'
@end lilypond
-@item \modernVoiceAccidentals
@cindex @code{\modernVoiceAccidentals}
- Multivoice accidentals to be read both by musicians playing one voice
- and musicians playing all voices.
-
- Accidentals are typeset for each voice, but they ARE cancelled
- across voices in the same @internalsref{Staff}.
+@item \modernVoiceAccidentals
+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} cancelled across voices in
+the same @internalsref{Staff}.
-@item \modernVoiceCautionaries
@cindex @code{\modernVoiceCautionaries}
- The same as @code{\modernVoiceAccidentals}, but with the
- extra accidentals (the ones not typeset by
- @code{\voiceAccidentals}) typeset as cautionaries.
- Notice that even though all accidentals typeset by
- @code{\defaultAccidentals} ARE typeset by this macro then some
- of them are typeset as cautionaries.
+@item \modernVoiceCautionaries
+is the same as
+@code{\modernVoiceAccidentals}, but with the extra accidentals (the
+ones not typeset by @code{\voiceAccidentals}) typeset as cautionaries.
+Even though all accidentals typeset by @code{\defaultAccidentals}
+@emph{are} typeset by this macro then some of them are typeset as
+cautionaries.
@item \pianoAccidentals
@cindex @code{\pianoAccidentals}
sufficient with a short description of the system and a reference to
the internal documentation.
-The idea of the algorithm is to try several different rules and then
-use the rule that gives the highest number of accidentals.
-Each rule cosists of
-@table @asis
-@item Context:
- In which context is the rule applied. I.e. if context is
- @internalsref{Score} then all staves share accidentals, and if
- context is @internalsref{Staff} then all voices in the same
- staff share accidentals, but staves don't - like normally.
-@item Octavation:
+The algorithm tries several different rules, and uses the rule
+that gives the highest number of accidentals. Each rule consists of
+@table @var
+@item context:
+ In which context is the rule applied. For example, if
+@var{context} is @internalsref{Score} then all staves share
+accidentals, and if @var{context} is @internalsref{Staff} then all
+voices in the same staff share accidentals, but staves do not.
+@item octavation:
Whether the accidental changes all octaves or only the current
octave.
-@item Lazyness:
+@item lazyness:
Over how many barlines the accidental lasts.
- If lazyness is @code{-1} then the accidental is forget
- immidiately, and if lazyness is @code{#t} then the accidental
+ If @var{lazyness} is @code{-1} then the accidental is forget
+ immediately, and if @var{lazyness} is @code{#t} then the accidental
lasts forever.
+
+[TODO: should use +infinity for this case?]
+
@end table
-As described in the internal documentation of
-@reng{Accidental_engraver}, the properties @code{autoAccidentals} and
-@code{autoCautionaries} contain lists of rule descriptions. Notice
-that the contexts must be listed from in to out - that is
-@internalsref{Thread} before @internalsref{Voice},
-@internalsref{Voice} before @internalsref{Staff}, etc.
-see the macros in @file{ly/property-init.ly} for examples of how the
-properties are set.
+@seealso
+
+@internalsref{Accidental_engraver}, @internalsref{Accidental},
+@internalsref{AccidentalPlacement}.
+
@refbugs
typeset as if the notes in the chord happened one at a time - in the
order in which they appear in the input file.
-Of course this is only a problem when you have simultainous notes
-which accidentals should depend on each other.
-Notice that the problem only occurs when using non-default accidentals
-- as the default accidentals only depend on other accidentals on the
-same staff and same pitch and hence cannot depend on other
-simultainous notes.
+This is only a problem when there are simultaneous notes whose
+accidentals depend on each other. The problem only occurs when using
+non-default accidentals. In the default scheme, accidentals only
+depend on other accidentals with the same pitch on the same staff, so
+no conflicts possible.
This example shows two examples of the same music giving different
accidentals depending on the order in which the notes occur in the
@lilypond[singleline,fragment,verbatim]
\property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
-cis'4 <<c'' c'>> r2 | cis'4 <<c' c''>> r2 | <<cis' c''>> r | <<c'' cis'>> r |
+cis'4 <<c'' c'>> r2 | cis'4 <<c' c''>> r2
+| <<cis' c''>> r | <<c'' cis'>> r |
@end lilypond
-The only solution is to manually insert the problematic
-accidentals using @code{!} and @code{?}.
+This problem can be solved by manually inserting @code{!} and @code{?}
+for the problematic notes.
@node Expressive marks
@section Expressive marks
-@c . {Slurs}
+
@menu
* Slurs ::
* Phrasing slurs::
@cindex Slurs
A slur indicates that notes are to be played bound or @emph{legato}.
+
+@syntax
+
They are entered using parentheses:
@lilypond[fragment,verbatim,center]
- f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
+ f'-( g'-)-( a'-) [a'8 b'-(-] a'4 g'2 f'4-)
+ <<c' e'>>2-( <<b d'>>2-)
@end lilypond
-See also @seeinternals{Slur}.
+
+@c TODO: should explain that ^( and _( set directions
+@c should set attachments with ^ and _ ?
Slurs avoid crossing stems, and are generally attached to note heads.
However, in some situations with beams, slurs may be attached to stem
ends. If you want to override this layout you can do this through the
object property @code{attachment} of @internalsref{Slur} in
-@internalsref{Voice} context It's value is a pair of symbols, specifying
+@internalsref{Voice} context. Its value is a pair of symbols, specifying
the attachment type of the left and right end points.
@lilypond[fragment,relative,verbatim]
\slurUp
\property Voice.Stem \set #'length = #5.5
- g'8(g)g4
+ g'8-(g g4-)
\property Voice.Slur \set #'attachment = #'(stem . stem)
- g8(g)g4
+ g8-( g g4-)
@end lilypond
If a slur would strike through a stem or beam, the slur will be moved
@lilypond[fragment,relative,verbatim]
\stemUp \slurUp
- d32( d'4 )d8..
+ d32-( d'4 d8..-)
\property Voice.Slur \set #'attachment = #'(stem . stem)
- d,32( d'4 )d8..
+ d,32-( d'4 d8..-)
@end lilypond
-@ignore
-Similarly, the curvature of a slur is adjusted to stay clear of note
-heads and stems. When that would increase the curvature too much, the
-slur is reverted to its default shape. The threshold for this
-decision is in @internalsref{Slur}'s object property @code{beautiful}.
-It is loosely related to the enclosed area between the slur and the
-notes. Usually, the default setting works well, but in some cases you
-may prefer a curved slur when LilyPond decides for a vertically moved
-one. You can indicate this preference by increasing the
-@code{beautiful} value:
-
-@lilyp ond[verbatim,singleline,relative]
- \stemDown \slurUp
- c16( a' f' a a f a, )c,
- c( a' f' a a f d, )c
- \property Voice.Slur \override #'beautiful = #5.0
- c( a' f' a a f d, )c
-@end lilypond
-@end ignore
+@seealso
+
+@seeinternals{Slur}, @internalsref{SlurEvent}.
+
@refbugs
uses a simple, empiric method to produce slurs. In some cases, the
results of this method are ugly.
-@ignore
-This is reflected by the
-@code{beautiful} property, which it is an arbitrary parameter in the
-slur formatter. Useful values can only be determined by trial and
-error.
-@end ignore
@cindex Adjusting slurs
respectively.
@lilypond[fragment,verbatim,center,relative]
- \time 6/4 c' \( d () e f () e \) d
+ \time 6/4 c'-\( d-( e-) f-( e-) d-\)
@end lilypond
-Typographically, the phrasing slur behaves almost exactly like a normal
-slur. See also @seeinternals{PhrasingSlur}. But although they behave
-similarily to normal slurs, phrasing slurs count as different objects.
-A @code{\slurUp} will have no effect on a phrasing slur; instead, you
-should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
+Typographically, the phrasing slur behaves almost exactly like a
+normal slur. Although they behave similar to normal slurs, phrasing
+slurs count as different objects. A @code{\slurUp} will have no
+effect on a phrasing slur; instead, you should use
+@code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
@code{\phrasingSlurBoth}.
-Note that the commands
-@code{\slurUp}, @code{\slurDown}, and @code{\slurBoth} will only affect
-normal slurs and not phrasing slurs.
+The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
+will only affect normal slurs and not phrasing slurs.
+
+@seealso
+
+See also @internalsref{PhrasingSlur},
+@internalsref{PhrasingSlurEvent}.
+
+@refbugs
+
+Phrasing slurs have the same limitations in their formatting as normal
+slurs.
@node Breath marks
@subsection Breath marks
-Breath marks are entered using @code{\breathe}. See also
-@seeinternals{BreathingSign}.
+Breath marks are entered using @code{\breathe}.
+
@lilypond[fragment,relative]
c'4 \breathe d4
@end lilypond
+The glyph of the breath mark can be tweaked by overriding the
+@code{text} property of the @code{BreathingSign} grob with the name of
+any glyph of @ref{The Feta font}. For example,
+@lilypond[fragment,verbatim,relative]
+c'4
+\property Voice.BreathingSign \override #'text = #"scripts-rvarcomma"
+\breathe
+d4
+@end lilypond
+
+@seealso
+
+@internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
+@inputfileref{input/regression,breathing-sign.ly}.
+
-@c . {Tempo}
@node Tempo
@subsection Tempo
@cindex Tempo
For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
per minute.
+
+@seealso
+
+@internalsref{TempoEvent}
@refbugs
The tempo setting is not printed, but is only used in the MIDI
output. You can trick lily into producing a metronome mark,
though. Details are in @ref{Text markup}.
-
+
+[TODO: make note markup.]
@node Text spanners
@subsection Text spanners
@cindex Text spanners
-Some textual indications, e.g. rallentando or accelerando, often extend
-over many measures. This is indicated by following the text with a
-dotted line. You can create such texts using text spanners. The syntax
-is as follows:
+Some textual indications, e.g. @i{rallentando} or @i{accelerando}, are
+often extended over many measures. This is indicated by following the
+text with a dotted line. You can create such texts using text
+spanners. The syntax is as follows:
@example
\startTextSpan
\stopTextSpan
@end example
-LilyPond will respond by creating a @internalsref{TextSpanner} object (typically
-in @internalsref{Voice} context). The string to be printed, as well as the
-style is set through object properties.
+The string to be printed, as well as the style, is set through object
+properties.
+
+An application is to fake octavation indications.
-An application---or rather, a hack---is to fake octavation indications.
@lilypond[fragment,relative,verbatim]
\relative c' { a''' b c a
\property Voice.TextSpanner \set #'type = #'dotted-line
\property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
\property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
\property Staff.centralCPosition = #-13
- a\startTextSpan b c a \stopTextSpan }
+ a-\startTextSpan b c a-\stopTextSpan }
@end lilypond
+@seealso
+
+@internalsref{TextSpanEvent},
+@internalsref{TextSpanner}, @inputfileref{input/regression,text-spanner.ly}.
+
+
@node Analysis brackets
@subsection Analysis brackets
@cindex brackets
}}}
@end lilypond
-@c . {Ornaments}
+@refbugs
+
+Bracket endings should be angled/slanted. (TODO)
+
+
+
@node Ornaments
@section Ornaments
@cindex Ornaments
+
+[TODO: ornaments vs. expressive marks]
+
@menu
* Articulations::
* Text scripts::
* Dynamics::
@end menu
-@c . {Articulation}
+
@node Articulations
@subsection Articulations
@cindex Articulations
different characteristics of the performance. They are added to a note
by adding a dash and the the character signifying the
articulation. They are demonstrated here.
-@lilypond[singleline]
- \score {
- \notes \context Voice {
- \property Voice.TextScript \set #'font-family = #'typewriter
- \property Voice.TextScript \set #'font-shape = #'upright
- c''4-._"c-." s4
- c''4--_"c-{}-" s4
- c''4-+_"c-+" s4
- c''4-|_"c-|" s4
- c''4->_"c->" s4
- c''4-^_"c-\\^{ }" s4
- c''4-__"c-\_" s4
- }
- }
-@end lilypond
+
+@lilypondfile[notexidoc]{script-abbreviations.ly}
The script is automatically placed, but if you need to force
directions, you can use @code{_} to force them down, or @code{^} to
@var{note}@code{-\}@var{name}. Again, they can be forced up or down
using @code{^} and @code{_}.
-@cindex accent
-@cindex marcato
+@cindex accent
+@cindex marcato
@cindex staccatissimo
-@cindex fermata
-@cindex stopped
+@cindex fermata
+@cindex stopped
@cindex staccato
@cindex portato
-@cindex tenuto
+@cindex tenuto
@cindex upbow
@cindex downbow
@cindex foot marks
@cindex organ pedal marks
-@cindex turn
-@cindex open
+@cindex turn
+@cindex open
@cindex flageolet
-@cindex reverseturn
-@cindex trill
-@cindex prall
+@cindex reverseturn
+@cindex trill
+@cindex prall
@cindex mordent
-@cindex prallprall
-@cindex prallmordent
+@cindex prallprall
+@cindex prallmordent
@cindex prall, up
@cindex prall, down
@cindex mordent
@cindex thumb marking
-@cindex segno
+@cindex segno
@cindex coda
+@cindex varcoda
-@lilypond[]
- \score {
- <
- \property Score.LyricText \override #'font-family =#'typewriter
- \property Score.LyricText \override #'font-shape = #'upright
- \context Staff \notes {
- c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
- c''-\stopped c''-\staccato c''-\tenuto c''-\portato
- c''-\upbow
- c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
- c''-\rtoe c''-\turn c''-\open c''-\flageolet
- c''-\reverseturn c''-\trill c''-\prall c''-\mordent
- c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
- c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
- c''-\lineprall c''-\thumb c''-\segno c''-\coda
- }
- \context Lyrics \lyrics {
- accent__ marcato__ staccatissimo__ fermata
- stopped__ staccato__ tenuto__ portato
- upbow
- downbow__ lheel__ rheel__ ltoe
- rtoe__ turn__ open__ flageolet
- reverseturn__ trill__ prall__ mordent
- prallprall__ prallmordent__ uprall__ downprall
- upmordent__ downmordent__ pralldown__ prallup__
- lineprall__ thumb__ segno__ coda
- }
- >
- \paper {
- linewidth = 5.1\in
- indent = 0.0\mm
- }
- }
-@end lilypond
+@lilypondfile[notexidoc]{script-chart.ly}
@cindex fingering
@c
@lilypond[verbatim, singleline, fragment]
c'4-1 c'4-2 c'4-3 c'4-4
- c^#'(finger "2-3")
+ c'^\markup { \fontsize #-3 \number "2-3" }
@end lilypond
-
+@cindex finger change
@cindex scripts
@cindex superscript
@cindex subscript
-See also @seeinternals{Script} and @seeinternals{Fingering}.
+@lilypond[verbatim,singleline,fragment,relative=1]
+ << c-1 e-2 g-3 b-5 >> 4
+ \property Voice.fingerHorizontalDirection = #LEFT
+ << c-1 es-3 g-5 >> 4
+ \property Voice.fingerHorizontalDirection = #RIGHT
+ << c-1 e-2 g-3 b-5 >> 4-\arpeggio
+ \property Voice.fingerHorizontalDirection = #LEFT
+ << c_1 e-2 g-3 b^5 >> 4
+@end lilypond
+
+@seealso
+
+@internalsref{ScriptEvent},
+@internalsref{Script}, @internalsref{FingerEvent} and @internalsref{Fingering}.
@refbugs
All of these note ornaments appear in the printed output but have no
effect on the MIDI rendering of the music.
-Unfortunately, there is no support for adding fingering instructions or
-ornaments to individual note heads. Some hacks exist, though. See
-@file{input/test/script-horizontal.ly}.
-
-@c . {Text scripts}
@node Text scripts
@subsection Text scripts
@cindex Text scripts
-In addition, 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 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.
@c
@lilypond[fragment,singleline,verbatim] \relative c' {
c4^"longtext" \fatText c4_"longlongtext" c4 }
It is possible to use @TeX{} commands in the strings, but this should be
avoided because it makes it impossible for LilyPond to compute the
exact length of the string, which may lead to collisions. Also, @TeX{}
-commands won't work with direct PostScript output.
-@c (see @ref{PostScript output}).
+commands will not work with direct PostScript output.
-Text scripts are created in form of @internalsref{TextScript} objects, in
-@internalsref{Voice} context.
-@ref{Text markup} describes how to change the font or access
-special symbols in text scripts.
+@seealso
+
+@internalsref{TextScriptEvent}, @internalsref{TextScript},
+@ref{Text markup}.
+
-@c . {Grace notes}
@node Grace notes
@subsection Grace notes
@cindex grace notes
Grace notes are ornaments that are written out
+
@lilypond[relative=2,verbatim,ifragment] c4 \grace c16 c4 \grace {
[c16 d16] } c4
@end lilypond
-In normal notation, grace notes are supposed to take up no logical
+In normal notation, grace notes take up no logical
time in a measure. Such an idea is practical for normal notation, but
is not strict enough to put it into a program. The model that LilyPond
uses for grace notes internally is that all timing is done in two
}
@end lilypond
-The advantage of this approach is that you can use almost any lilypond
-construction together with grace notes, for example slurs and clef
-changes may appear halfway in between grace notes:
-
-@lilypond[relative=2,verbatim,fragment]
- c4 \grace { [ c16 c, \clef bass c, b(] } )c4
-@end lilypond
The placement of these grace notes is synchronized between different
-staves, using this grace timing.
+staves.
@lilypond[relative=2,verbatim,fragment]
-< \context Staff = SA { e4 \grace { c16 d e f } e4 }
- \context Staff = SB { c4 \grace { g8 b } c4 } >
+< \context Staff = SA { e4 \grace { c16-[ d e f-] } e4 }
+ \context Staff = SB { c'4 \grace { g8 b } c4 } >
@end lilypond
[TODO discuss Scheme functionality.]
-Notice how the @code{\override} is carefully matched with a @code{\revert}.
+The @code{\override} is carefully matched with a @code{\revert}.
@cindex slash
@cindex grace slash
use those default values unless you specify otherwise inside the
@code{\grace} section. For example, if you specify \slurUp
@emph{before} your @code{\grace} section, a slur which starts inside
-the @code{\grace} won't be forced up, even if the slur ends outside
+the @code{\grace} will not be forced up, even if the slur ends outside
of the @code{\grace}. Note the difference between the first and
second bars in this example:
@end lilypond
+@seealso
+
+@internalsref{GraceMusic}.
+
@refbugs
Grace notes can not be used in the smallest size (@file{paper11.ly}).
@cindex @code{\glissando}
+A glissando is a smooth change in pitch. It is denoted by a line or a
+wavy line between two notes.
+
+@syntax
+
A glissando line can be requested by attaching a @code{\glissando} to
a note:
c'-\glissando c'
@end lilypond
+@seealso
+
+@internalsref{Glissando}, @internalsref{GlissandoEvent}.
+
+
@refbugs
Printing of an additional text (such as @emph{gliss.}) must be done
-manually. See also @seeinternals{Glissando}.
-
+manually.
-@c . {Dynamics}
@node Dynamics
@subsection Dynamics
@cindex Dynamics
@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
@lilypond[verbatim,singleline,fragment,relative]
- c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
- c2\sf c\rfz
+ c'-\ppp c-\pp c -\p c-\mp c-\mf c-\f c-\ff c-\fff
+ c2-\sf c-\rfz
@end lilypond
@cindex @code{\cr}
@cindex @code{\"!}
+
A crescendo mark is started with @code{\cr} and terminated with
-@code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
-started with @code{\decr} and terminated with @code{\rced}. There are
-also shorthands for these marks. A crescendo can be started with
-@code{\<} and a decrescendo can be started with @code{\>}. Either one
-can be terminated with @code{\!}. Note that @code{\!} must go before
-the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
-after the last note. Because these marks are bound to notes, if you
-want several marks during one note, you have to use spacer notes.
+@code{\endcr}, and decrescendi similarly with @code{\decr} and
+@code{\enddecr}. There are also shorthands for these marks. A
+crescendo can be started with @code{\<} and a decrescendo can be
+started with @code{\>}. Either one can be terminated with @code{\!}.
+Because these marks are bound to notes, if you must use spacer notes
+if marks during one note are needed.
-@lilypond[fragment,verbatim,center]
- c'' \< \! c'' d'' \decr e'' \rced
- < f''1 { s4 s4 \< \! s4 \> \! s4 } >
+@lilypond[fragment,verbatim,center,quote]
+ c''-\< c''-\! d''-\decr e''-\rced
+ < f''1 { s4 s4-\< s4-\! \> s4-\! } >
@end lilypond
+This may give rise to very short hairpins. Use @code{minimum-length}
+in @internalsref{Voice}.@internalsref{HairPin} to lengthen these, e.g.
+
+@example
+ \property Staff.Hairpin \override #'minimum-length = #5
+@end example
You can also use a text saying @emph{cresc.} instead of hairpins. Here
is an example how to do it:
\context Voice {
\property Voice.crescendoText = "cresc. poco"
\property Voice.crescendoSpanner = #'dashed-line
- a'2\mf\< a a \!a
+ a'2-\mf-\< a a a-\!
}
@end lilypond
@cindex diminuendo
+@seealso
+
+@internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent},
+@internalsref{AbsoluteDynamicEvent}.
+
Dynamics are objects of @internalsref{DynamicText} and
@internalsref{Hairpin}. Vertical positioning of these symbols is
-handled by the @internalsref{DynamicLineSpanner} object. If you want to
-adjust padding or vertical direction of the dynamics, you must set
-properties for the @internalsref{DynamicLineSpanner} object. Predefined
-identifiers to set the vertical direction are \dynamicUp and
-\dynamicDown.
+handled by the @internalsref{DynamicLineSpanner} object.
+
+If you want to adjust padding or vertical direction of the dynamics,
+you must set properties for the @internalsref{DynamicLineSpanner}
+object. Predefined identifiers to set the vertical direction are
+\dynamicUp and \dynamicDown.
@cindex direction, of dynamics
@cindex @code{\dynamicDown}
@cindex @code{\dynamicUp}
-@c . {Repeats}
+
@node Repeats
@section Repeats
This is the normal notation: Repeats are not written out, but
alternative endings (voltas) are printed, left to right.
+@ignore
@item fold
Alternative endings are written stacked. This has limited use but may be
used to typeset two lines of lyrics in songs with repeats, see
-@file{input/star-spangled-banner.ly}.
+@inputfileref{input,star-spangled-banner.ly}.
+@end ignore
@item tremolo
Make tremolo beams.
@node Repeat syntax
@subsection Repeat syntax
-The syntax for repeats is
+
+Repetition is a central concept in music, and multiple notations exist
+for repetitions.
+
+@syntax
+
+LilyPond has one syntactic construct for specifying different types of
+repeats. The syntax is
@example
\repeat @var{variant} @var{repeatcount} @var{repeatbody}
@var{alternative2}
@var{alternative3} @dots{} @code{@}}
@end example
-where each @var{alternative} is a music expression.
+where each @var{alternative} is a music expression. If you do not
+give enough alternatives for all of the repeats, then the first
+alternative is assumed to be played more than once.
Normal notation repeats are used like this:
@lilypond[fragment,verbatim]
\alternative { {d'2 d'} {f' f} }
@end lilypond
+@ignore
Folded repeats look like this:
-@lilypond[fragment,verbatim]
+@li lypond[fragment,verbatim]
c'1
\repeat fold 2 {c'4 d' e' f'}
\alternative { {d'2 d'} {f' f} }
@end lilypond
+@end ignore
-If you don't give enough alternatives for all of the repeats, then
-the first alternative is assumed to be repeated often enough to equal
-the specified number of repeats.
@lilypond[fragment,verbatim]
\context Staff {
@cindex expanding repeats
-For instructions on how to unfoldi repeats for MIDI output, see
-the example file @file{input/test/unfold-all-repeats.ly}.
+For instructions on how to unfold repeats for MIDI output, see the
+example file @inputfileref{input/test,unfold-all-repeats.ly}.
@refbugs
-Notice that timing information is not remembered at the start of an
-alternative, so you have to reset timing information after a repeat,
-e.g. using a bar-check (See @ref{Bar check}), setting
-@code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
-are also not repeated.
-
-It is possible to nest @code{\repeat}s, although this probably is only
-meaningful for unfolded repeats.
+Timing information is not remembered at the start of an alternative,
+so you have to reset timing information after a repeat, e.g. using a
+bar-check (See @ref{Bar check}), setting @code{Score.measurePosition}
+or entering @code{\partial}. Slurs or ties are also not repeated.
-Folded repeats offer little more over simultaneous music.
@node Manual repeat commands
@subsection Manual repeat commands
@end lilypond
-Repeats brackets are @internalsref{VoltaBracket} objects.
+@seealso
+
+@internalsref{VoltaBracket}
@node Tremolo repeats
@subsection Tremolo repeats
}
@end lilypond
+@seealso
+
Tremolo beams are @internalsref{Beam} objects. Single stem tremolos are
-@internalsref{StemTremolo}. The single stem tremolo @emph{must} be
-entered without @code{@{} and @code{@}}.
+@internalsref{StemTremolo}. @internalsref{TremoloEvent}.
+
@refbugs
-Only powers of two and undotted notes are supported repeat counts.
+The single stem tremolo @emph{must} be entered without @code{@{} and
+@code{@}}.
@node Tremolo subdivisions
@subsection Tremolo subdivisions
c'2:8 c':32 | c': c': |
@end lilypond
-@refbugs
+[TODO : stok is te kort bij 32en]
+@refbugs
Tremolos in this style do not carry over into the MIDI output.
}
@end lilypond
-The signs are represented by these objects: @internalsref{RepeatSlash} and
-@internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
+@seealso
+
+@internalsref{RepeatSlash}, @internalsref{PercentRepeat},
+@internalsref{PercentRepeatedMusic}, and
+@internalsref{DoublePercentRepeat}.
+
@refbugs
@menu
* Percussion staves::
+* Percussion midi output::
@end menu
@node Percussion staves
@subsection Percussion staves
@cindex percussion
@cindex drums
+
To typeset more than one piece of percussion to be played by the same
musician one typically uses a multiline staff where each staff
position refers to a specific piece of percussion.
-LilyPond is shipped with a bunch of scheme functions which allows you
-to do this fairly easily.
-
-The system is based on the general midi drum-pitches.
-In order to use the drum pitches you include
-@file{ly/drumpitch-init.ly}. This file defines the pitches from the scheme
-variable @code{drum-pitch-names} - which definition can be read in
-@file{scm/drums.scm}. You see that each piece of percussion has a full
-name and an abbreviated name - and you may freely select whether to
-refer to the full name or the abbreviation in your music definition.
-
-To typeset the music on a staff you apply the scheme function
-@code{drums->paper} to the percussion music. This function takes a
-list of percussion instrument names, notehead scripts and staff
-positions (that is: pitches relative to the C-clef) and uses this to
-transform the input music by moving the pitch, changing the notehead
-and (optionally) adding a script:
-@lilypond[singleline,verbatim]
+@syntax
+
+LilyPond is has a set of Scheme functions that can be used to typeset
+percussion staves. The system is based on the general MIDI
+drum-pitches. Include @file{ly/drumpitch-init.ly} to use drum
+pitches. This file defines the pitches from the Scheme variable
+@code{drum-pitch-names}, the definition of which can be read in
+@file{scm/drums.scm}. Each piece of percussion has a full name and an
+abbreviated name, and both the full name or the abbreviation may be
+used in input files.
+
+To typeset the music on a staff apply the function @code{drums->paper}
+to the percussion music. This function takes a list of percussion
+instrument names, notehead scripts and staff positions (that is:
+pitches relative to the C-clef) and transforms the input
+music by moving the pitch, changing the notehead and (optionally)
+adding a script:
+@c
+@lilypond[singleline,verbatim,quote]
\include "drumpitch-init.ly"
up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
down = \notes { bassdrum4 snare8 bd r bd sn4 }
}
@end lilypond
-Notice that the scheme supports six different toms.
-If you are using fewer toms then you simply select the toms that produce
-the desired result - i.e. to get toms on the three middle lines you
-use @code{tommh}, @code{tomml} and @code{tomfh}.
+Scheme supports six different toms. When there fewer toms, simply
+select the toms that produce the desired result, i.e., to get toms on
+the three middle lines you use @code{tommh}, @code{tomml} and
+@code{tomfh}.
-Because the general midi contain no rimshots we use the sidestick for
-this purpose instead.
+Because general MIDI does not contain rimshots the sidestick is used
+for this purpose instead.
@item 'timbales
To typeset timbales on a two line staff.
@lilypond[singleline]
@end lilypond
@end table
-If you don't like any of the predefined lists you can define your own
+If you do not like any of the predefined lists you can define your own
list at the top of your file:
@lilypond[singleline, verbatim]
}
@end lilypond
-To use a modified existing list instead of building your own from
-scratch you can append your modifications to the start of the existing
-list:
+To use a modified existing list, one can prepend modifications to the
+the existing list:
@example
#(define mydrums (append `(
) drums ))
@end example
-@c FIXME: Too many levels of headers when using subsubsections.
-@c Perhaps junk subsection ``Percussion staves''
-@subsubsection Percussion staves with normal staves
-When you include @file{drumpitch-init.ly} then the default pitches
-are overridden so that you after the inclusion cannot use the common
-dutch pitch names anymore. Hence you might wan't to reinclude
-@file{nederlands.ly} after the drum-pattern-definitions:
+The file @file{drumpitch-init.ly} replaces the normal pitch names, so
+you have to reinclude @file{nederlands.ly} after the
+drum-pattern-definitions to enter normal notes.
+@c
@lilypond[singleline,verbatim]
\include "drumpitch-init.ly"
up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
}
@end lilypond
-@subsubsection Percussion midi output
+@node Percussion midi output
+@subsection Percussion midi output
+
In order to produce correct midi output you need to produce two score
-blocks - one for the paper and one for the midi.
-To use the percussion channel you set the property @code{instrument}
-to @code{'drums}. Because the drum-pitches themself are similar to the
+blocks---one for the paper and one for the midi output. To use the
+percussion channel you set the property @code{instrument} to
+@code{'drums}. Because the drum-pitches themself are similar to the
general midi pitches all you have to do is to insert the voices with
none of the scheme functions to get the correct midi output:
\score @{
\apply #(drums->paper 'mydrums) \context Staff <
\clef percussion
- \context Voice = up @{ \voiceOne \up @}
- \context Voice = down @{ \voiceTwo \down @}
+ @{ \up @} \\
+ @{ \down @}
>
\paper@{@}
@}
@refbugs
-This scheme is to be considered a temporary implementation. Even
-though the scheme will probably keep on working then the future might
-bring some other way of typesetting drums, and probably
-there will be made no great efforts in keeping things downwards
-compatible.
+This scheme is to be considered a temporary implementation.
+
-@c . {Piano music}
@node Piano music
@section Piano music
-Piano music is an odd type of notation. Piano staves are two normal
-staves coupled with a brace. The staves are largely independent, but
-sometimes voices can cross between the two staves. The
-@internalsref{PianoStaff} is especially built to handle this cross-staffing
-behavior. In this section we discuss the @internalsref{PianoStaff} and some
-other pianistic peculiarities.
+Piano staves are two normal staves coupled with a brace. The staves
+are largely independent, but sometimes voices can cross between the
+two staves. The same notation is also used for harps and other key
+instruments. The @internalsref{PianoStaff} is especially built to
+handle this cross-staffing behavior. In this section we discuss the
+@internalsref{PianoStaff} and some other pianistic peculiarities.
@menu
There is no support for putting chords across staves. You can get
this result by increasing the length of the stem in the lower stave so
it reaches the stem in the upper stave, or vice versa. An example is
-included with the distribution as @file{input/test/stem-cross-staff.ly}.
+included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
+
+Dynamics are not centered, but kludges do exist. See
+@inputfileref{input/templates,piano-dynamics.ly}.
@cindex cross staff stem
@cindex stem, cross staff
-@c . {Automatic staff changes}
+
@node Automatic staff changes
@subsection Automatic staff changes
@cindex Automatic staff changes
Voices can switch automatically between the top and the bottom
staff. The syntax for this is
@example
- \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
+ \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
@end example
The autochanger switches on basis of pitch (central C is the turning
point), and it looks ahead skipping over rests to switch rests in
advance. Here is a practical example:
-@lilypond[verbatim,singleline]
+@lilypond[verbatim,singleline,quote]
\score { \notes \context PianoStaff <
\context Staff = "up" {
\autochange Staff \context Voice = VA < \relative c' {
terminating too soon.
+@refbugs
+
+The staff switches often do not end up in optimal places. For high
+quality output staff switches should be specified manually.
+
+
+
@node Manual staff switches
@subsection Manual staff switches
@var{staffname}. Typically @var{staffname} is @code{"up"} or
@code{"down"}.
-@c . {Pedals}
+
@node Pedals
@subsection Pedals
@cindex Pedals
-Piano pedal instruction can be expressed using
+Pianos have pedals that alter the way sound are produced. Generally, a
+piano has three pedals, sustain, una corda, and sostenuto.
+
+@syntax
+
+Piano pedal instruction can be expressed by attaching
@code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
-@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
+@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
+note or chord.
The symbols that are printed can be modified by setting
@code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
-Sustain, Sostenuto or UnaCorda. Refer to the generated documentation of
-@internalsref{SustainPedal}, for example, for more information.
+Sustain, Sostenuto or UnaCorda. Refer to the generated documentation
+of @internalsref{SustainPedal} for more information.
Pedals can also be indicated by a sequence of brackets, by setting the
-@code{pedal-type} property of SustainPedal objects:
+@code{pedal-type} property of @internalsref{SustainPedal} objects:
@lilypond[fragment,verbatim]
\property Staff.SustainPedal \override #'pedal-type = #'bracket
-c''4 \sustainDown d''4 e''4 a'4
-\sustainUp \sustainDown
- f'4 g'4 a'4 \sustainUp
+ c''4-\sustainDown d''4 e''4
+ a'4-\sustainUp-\sustainDown
+ f'4 g'4 a'4-\sustainUp
@end lilypond
A third style of pedal notation is a mixture of text and brackets,
@lilypond[fragment,verbatim]
\property Staff.SustainPedal \override #'pedal-type = #'mixed
-c''4 \sustainDown d''4 e''4 c'4
-\sustainUp \sustainDown
- f'4 g'4 a'4 \sustainUp
+c''4-\sustainDown d''4 e''4
+c'4-\sustainUp-\sustainDown
+ f'4 g'4 a'4-\sustainUp
@end lilypond
The default '*Ped' style for sustain and damper pedals corresponds to
for a sostenuto pedal:
@lilypond[fragment,verbatim]
-c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
+c''4-\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4-\sostenutoUp
@end lilypond
For fine-tuning of the appearance of a pedal bracket, the properties
@code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
@code{PianoPedalBracket} objects (see the detailed documentation of
-@rgrob{PianoPedalBracket}) can be modified. For example, the bracket
+@internalsref{PianoPedalBracket}) can be modified. For example, the bracket
may be extended to the end of the note head.
@lilypond[fragment,verbatim]
\property Staff.PianoPedalBracket \override
#'shorten-pair = #'(0 . -1.0)
-c''4 \sostenutoDown d''4 e''4 c'4
-f'4 g'4 a'4 \sostenutoUp
+c''4-\sostenutoDown d''4 e''4 c'4
+f'4 g'4 a'4-\sostenutoUp
@end lilypond
@node Arpeggio
When an arpeggio crosses staves in piano music, you attach an arpeggio
to the chords in both staves, and set
-@code{PianoStaff.connectArpeggios}.
+@internalsref{PianoStaff}.@code{connectArpeggios}.
@lilypond[fragment,relative,verbatim]
\context PianoStaff <
\property PianoStaff.connectArpeggios = ##t
\context Voice = one { <<c' e g c>>-\arpeggio }
- \context Voice = other { \clef bass <<c,, e g>>-\arpeggio}
- >
+ \context Voice = other { \clef bass <<c,, e g>>-\arpeggio }
+ >
@end lilypond
-This command creates @internalsref{Arpeggio} objects. Cross staff arpeggios
-are @code{PianoStaff.Arpeggio}.
+This command creates @internalsref{Arpeggio} objects. Cross staff
+arpeggios are @internalsref{PianoStaff}.@internalsref{Arpeggio}.
-To add an arrow head to explicitly specify the direction of the
-arpeggio, you should set the arpeggio object property
+The direction of the arpeggio is sometimes denoted by adding an
+arrowhead to the wiggly line. This can be typeset by setting
@code{arpeggio-direction}.
@lilypond[fragment,relative,verbatim]
@code{\arpeggio} statements within the chords as before.
@lilypond[fragment,relative,verbatim]
- \context PianoStaff <
- \property PianoStaff.connectArpeggios = ##t
\property PianoStaff.Arpeggio \override
#'molecule-callback = \arpeggioBracket
- \context Voice = one { <<c' e g c>>-\arpeggio }
- \context Voice = other { \clef bass <<c,, e g>>-\arpeggio }
- >
+ <<c' e g c>>-\arpeggio
@end lilypond
@refbugs
It is not possible to mix connected arpeggios and unconnected
-arpeggios in one PianoStaff at the same time.
-
-
+arpeggios in one @internalsref{PianoStaff} at the same time.
@node Voice follower lines
@subsection Voice follower lines
+
+[TODO: invent better name]
+
@cindex follow voice
@cindex staff switching
@cindex cross staff
\translator Staff=two
b2 a
}
- \context Staff=two {\clef bass \skip 1*2 }
+ \context Staff=two { \clef bass \skip 1*2 }
>
@end lilypond
[TODO: Write subsection upon usage of ChoirStaff.]
+For entering quotes in Lyrics mode, use the following
+@example
+"\"God\"" is "`King'"
+@end example
+
+You can use empty syllables, e.g. @code{_4} or @code{" "4} to enter
+lyrics. This can confuse the LilyPond -- for example, this might put
+(empty) lyrics under rests. To remedy this, use @code{\skip}.
+
+
@menu
-* Ambitus::
+* Ambitus::
@end menu
@node Ambitus
notation: they put the range in words in front of the corresponding
staff. Lilypond currently only supports the graphical ambitus notation.
-To apply, simply add the @internalsref{Ambitus_engraver} to the
-@internalsref{Voice} context, as shown in the below example:
+To apply, add the @internalsref{Ambitus_engraver} to the
+@internalsref{Voice} context, i.e.
-@lilypond[singleline,verbatim]
+@example
+ \paper @{ \translator @{
+ \VoiceContext
+ \consists Ambitus_engraver
+ @} @}
+@end example
+
+For example,
+
+@lilypond[singleline]
upper = \notes \relative c {
\clef "treble"
\key c \minor
}
@end lilypond
-The shape of the note heads to use can be changed via the
-@code{note-head-style} property, which holds the glyph name of the note
-head (see also @ref{Ancient note heads}). The vertical line between the
-upper and lower head can be switched on or off via the @code{join-heads}
-property. Example:
-
-@example
-\translator @{
- \VoiceContext
- \consists Ambitus_engraver
- Ambitus \set #'note-head-style = #'noteheads-2mensural
- Ambitus \set #'join-heads = ##f
-@}
-@end example
-By default, the ambitus grob is put before the clef. You can control
-this behaviour through the @code{breakAlignOrder} property of the score
-context by redefining the order, e.g. with the following addition to the
-paper block:
+@seealso
-@example
-\translator @{
- \ScoreContext
- breakAlignOrder = #'(
- instrument-name
- left-edge
- span-bar
- breathing-sign
- clef
- ambitus
- key-signature
- staff-bar
- time-signature
- custos
- )
-@}
-@end example
+@internalsref{Ambitus}, @inputfileref{input/regression,ambitus.ly}.
@node Tablatures
@section Tablatures
@menu
* Tablatures basic::
* Non-guitar tablatures::
-* Tablature in addition to normal staff::
@end menu
@node Tablatures basic
@subsection Tablatures basic
@cindex Tablatures basic
-Tablature can be typeset with Lilypond by using the
-@internalsref{TabStaff} and @internalsref{TabVoice} contexts. As
-tablature is a recent feature in Lilypond, most of the guitar special
-effects such as bend are not yet supported.
-
-With the @internalsref{TabStaff}, the string number associated to a note
-is given as a backslash followed by the string number, e.g. @code{c4\3} for a C
-quarter on the third string. By default, string 1 is the highest one, and the
-tuning defaults to the standard guitar tuning (with 6 strings).
+The string number associated to a note is given as a backslash
+followed by a number, e.g. @code{c4\3} for a C quarter on the third
+string. By default, string 1 is the highest one, and the tuning
+defaults to the standard guitar tuning (with 6 strings). The notes
+are printed as tablature, by using @internalsref{TabStaff} and
+@internalsref{TabVoice} contexts.
@lilypond[fragment,verbatim]
- \context TabStaff <
- \notes {
- a,4\5 c'\2 a\3 e'\1
- e\4 c'\2 a\3 e'\1
- }
- >
+\notes \context TabStaff {
+ a,4\5 c'\2 a\3 e'\1
+ e\4 c'\2 a\3 e'\1
+}
@end lilypond
-If you do not specify a string number then lilypond automatically selects one.
-The selection is controlled by the translator property @code{minimumFret}. -- LilyPond
-simply selects the first string that does not give a fret number less than
-@code{minimumFret}. Default is 0.
+If you do not specify a string number then one is selected
+automatically: the first string that does not give a fret number less
+than @code{minimumFret} is selected. The default value for
+@code{minimumFret} is 0.
-Notice that LilyPond does not handle chords in any special way, and hence
-the automatic string selector may easily select the same string to two notes in a chord.
@example
e8 fis gis a b cis' dis' e'
\property TabStaff.minimumFret = #8
e8 fis gis a b cis' dis' e'
@end example
-@lilypond[noindent,noquote]
+@lilypond[noindent]
frag = \notes {
\key e \major
e8 fis gis a b cis' dis' e'
}
@end lilypond
+@seealso
+
+@internalsref{TabStaff}, @internalsref{TabVoice}, and
+@internalsref{StringNumberEvent}.
+
+@refbugs
+
+Chords are not handled in a special way, and hence the automatic
+string selector may easily select the same string to two notes in a
+chord.
+
+
@node Non-guitar tablatures
@subsection Non-guitar tablatures
@cindex Non-guitar tablatures
-There are many ways to customize Lilypond tablatures.
+ You can change the number of strings, by setting the number of lines
+in the @internalsref{TabStaff} (the @code{line-count} property of
+@internalsref{TabStaff} can only be changed using
+@code{\outputproperty}, for more information, see @ref{Tuning per
+object}.
-First you can change the number of strings, by setting the number of
-lines in the @internalsref{TabStaff} (the @code{line-count} property
-of TabStaff can only be changed using @code{\outputproperty}, for more
-information, see @ref{Tuning per object}. You can change the strings
-tuning. A string tuning is given as a Scheme list with one integer
-number for each string, the number being the pitch of an open string.
-
-(The numbers specified for stringTuning are the numbers of semitons
-to subtract --- or add --- starting the specified pitch by default
-middle C, in string order: thus the notes are e, a, d & g)
+You can change the tuning of the strings. A string tuning is given as
+a Scheme list with one integer number for each string, the number
+being the pitch (measured in semitones relative to central C) of an
+open string. The numbers specified for @code{stringTuning} are the
+numbers of semitones to subtract or add, starting the specified pitch
+by default middle C, in string order: thus the notes are e, a, d, and
+g.
@lilypond[fragment,verbatim]
\context TabStaff <
@end lilypond
Finally, it is possible to change the Scheme function to format the
-tablature note text. The default is @var{fret-number-tablature-format},
-which uses the fret number, but for some instruments that may not use
-this notation, just create your own tablature-format function. This
-function takes three argument: the string number, the string tuning and
-the note pitch.
-
+tablature note text. The default is
+@var{fret-number-tablature-format}, which uses the fret number. For
+some instruments that do not use this notation, you can create a
+special tablature formatting function. This function takes three
+argument: the string number, the string tuning and the note pitch.
-@node Tablature in addition to normal staff
-@subsection Tablature in addition to normal staff
-@cindex Tablature in addition to normal staff
-
-It is possible to typeset both tablature and a "normal" staff, as
-commonly done in many parts.
+@refbugs
-A common trick for that is to put the notes in a variables, and to hide
-the fingering information (which correspond to the string number) for
-the standard staff.
+As tablature is a recent feature, most of the guitar special effects
+such as bend are not yet supported.
-@c FIXME
-@c @lily pond[verbatim]
-@example
- part = \notes @{
- a,4-2 c'-5 a-4 e'-6
- e-3 c'-5 a-4 e'-6
- @}
- \score @{
- \context StaffGroup <
- \context Staff <
- % Hide fingering number
- \property Staff.Fingering \override #'transparent = ##t
-
- \part
- >
- \context TabStaff <
- \property Staff.Stem \override #'direction = #1
-
- \part
- >
- >
- @}
-@end example
-@c @end lilypond
-@c . {Chords}
@node Chords
@section Chords
@cindex Chords
be intelligent. If you enter @code{f bes d}, it does not interpret
this as an inversion.
-As you can see chords really are a set of pitches. They are internally
+Chords are represented as a set of pitches. They are internally
stored as simultaneous music expressions. This means you can enter
chords by name and print them as notes, enter them as notes and print
them as chord names, or (the most common case) enter them by name, and
@menu
* Chords mode::
-* Printing named chords::
+* Printing chord names::
@end menu
-@c . {Chords mode}
+
@node Chords mode
@subsection Chords mode
@cindex Chords mode
Chord mode is a mode where you can input sets of pitches using common
-names. It is introduced by the keyword @code{\chords}. It is similar
-to note mode, but words are also looked up in a chord modifier table
-(containing @code{maj}, @code{dim}, etc). Dashes and carets are used
-to indicate chord additions and subtractions, so articulation scripts
-can not be entered in Chord mode.
-
-Throughout these examples, chords have been shifted around the staff
-using @code{\transpose}.
+names. It is introduced by the keyword @code{\chords}.
+In chords mode, a chord is entered by the root, which is entered
+like a common pitch, for example,
+@lilypond[fragment,verbatim,quote, relative=1]
+\chords { es4. d8 c2 }
+@end lilypond
+@cindex chord entry
+@cindex chord mode
+Other chords may be entered by suffixing a colon, and introducing a
+modifier, and optionally, a number, for example
+@c
+@lilypond[fragment,verbatim,quote]
+\chords { e1:m e1:7 e1:m7 }
+@end lilypond
+The first number following the root is taken to be the `type' of the
+chord, thirds are added to the root until it reaches the specified
+number, for example.
@lilypond[fragment,verbatim]
-\transpose c c' {
- \chords {
- c1 c:3- c:7 c:8
- c:9 c:9-.5+.7+ c:3-.5-
- }
-}
+ \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
+@end lilypond
+
+@cindex root of chord
+@cindex additions, in chords
+@cindex removals, in chords
+
+More complex chords may also be constructed adding separate steps
+to a chord. Additions are added after the number following
+the colon, and are separated by dots. For example
+@c
+@lilypond[verbatim,fragment,quote]
+ \chords { c:5.6 c:3.7.8 c:3.6.13 }
+@end lilypond
+Chord steps can be altered by suffixing a @code{-} or @code{+} sign
+to the number, for example:
+@lilypond[verbatim,fragment,quote]
+ \chords { c:7+ c:5+.3- c:3-.5-.7- }
+@end lilypond
+Removals are specified similarly, and are introduced by a caret. They
+must come after the additions.
+@lilypond[verbatim,fragment]
+ \chords { c^3 c:7^5 c:9^3.5 }
+@end lilypond
+
+Modifiers can be used to change pitches. The following modifiers are
+supported
+@table @code
+@item m
+ is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
+@item dim
+ is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
+ the 7th step
+@item aug
+ is the augmented chord. This modifier raises the 5th step.
+@item maj
+ is the major 7th chord. This modifier raises the 7th step if present.
+@item sus
+ is the suspended 4th or 2nd. This modifier removes the 3rd
+step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
+the chord.
+@end table
+Modifiers can be mixed with additions.
+@lilypond[verbatim,fragment]
+ \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
@end lilypond
+@cindex modifiers, in chords.
@cindex @code{aug}
@cindex @code{dim}
@cindex @code{maj}
@cindex @code{sus}
+@cindex @code{m}
-The second type of modifier that may appear after the @code{:} is a
-named modifier. Named modifiers are listed in the file
-@file{chord-modifiers.ly}. The available modifiers are @code{m} and
-@code{min} which lower the 3rd half a step, `@code{aug}' which
-raises the 5th, `@code{dim}' which lowers the 5th,
-`@code{maj}' which adds a raised 7th, and `@code{sus}'
-which replaces the 5th with a 4th.
-
+Since the unaltered 11 does sound well when combined with the
+unaltered 3, the 11 is removed in this case, unless it is added
+explicitly). For example,
@lilypond[fragment,verbatim]
-\transpose c c' {
- \chords {
- c1:m c:min7 c:maj c:aug c:dim c:sus
- }
-}
-@end lilypond
-
-
-Chord subtractions are used to eliminate notes from a chord. The
-notes to be subtracted are listed after a @code{^} character,
-separated by dots.
-
-@lilypond[fragment,verbatim,center]
- \transpose c c' {
- \chords {
- c1^3 c:7^5.3 c:8^7
- }
- }
+ \chords { c:13 c:13.11 c:m13 }
@end lilypond
-@cindex @code{/}
-Chord inversions can be specified by appending `@code{/}' and the name
-of a single note to a chord. In a chord inversion, the inverted note is
-transposed down until it is the lowest note in the chord. If the note
-is not in the chord, a warning will be printed.
+@cindex @code{/}
+An inversion (putting one pitch of the chord on the bottom), as well
+as bass notes, can be specified by appending
+@code{/}@var{pitch} to the chord.
@lilypond[fragment,verbatim,center]
- \transpose c c'' {
- \chords {
- c1 c/e c/g c:7/e
- }
- }
-
+ \chords { c1 c/g c/f }
@end lilypond
@cindex @code{/+}
-
-Bass notes can be added by `@code{/+}' and
-the name of a single note to a chord. This has the effect of
-adding the specified note to the chord, lowered by an octave,
-so it becomes the lowest note in the chord.
+If you do not want to remove the bass note from the chord, but rather
+add the note, then you can use @code{/+}@var{pitch}.
@lilypond[fragment,verbatim,center]
- \transpose c c'' {
- \chords {
- c1 c/+c c/+g c:7/+b
- }
- }
-
+ \chords { c1 c/+g c/+f }
@end lilypond
-The formal syntax for named chords is as follows:
-@example
- @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
-@end example
+Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
+of the commands continue to work, for example, @code{r} and
+@code{\skip} can be used to insert rests and spaces, and
+@code{\property} may be used to change various settings.
-@var{tonic} should be the tonic note of the chord, and @var{duration} is
-the chord duration in the usual notation. There are two kinds of
-modifiers. One type is formed by @emph{chord additions}. Additions are
-obtained by listing intervals separated by dots. An interval is written
-by its number with an optional @code{+} or @code{-} to indicate raising
-or lowering by half a step. Chord additions have two effects: they adds
-the specified interval and all lower odd numbered intervals to the
-chord, and they may lower or raise the specified interval.
@refbugs
-Implementation details are gory. For example @code{c:4} not only adds
-a fourth, but also removes the third.
+Each step can only be present in a chord once. The following
+simply produces the augmented chord, since @code{5+} is interpreted
+last.
+@cindex clusters
+@lilypond[verbatim,fragment]
+ \chords { c:5.5-.5+ }
+@end lilypond
+
+In chord mode, dashes and carets are used to indicate chord additions
+and subtractions, so articulation scripts can not be entered.
-@c . {Printing named chords}
-@node Printing named chords
-@subsection Printing named chords
+@node Printing chord names
+@subsection Printing chord names
@cindex printing chord names
@cindex chord names
@end lilypond
You can make the chord changes stand out by setting
-@code{ChordNames.chordChanges} to true. This will only display chord
-names when there's a change in the chords scheme and at the start of a
-new line.
+@internalsref{ChordNames}.@code{chordChanges} to true. This will only
+display chord names when there is a change in the chords scheme and at
+the start of a new line.
@lilypond[verbatim]
scheme = \chords {
}
@end lilypond
-LilyPond examines chords specified as lists of notes to determine a name
-to give the chord. LilyPond will not try to identify chord inversions or
-an added bass note, which may result in strange chord names when chords
-are entered as a list of pitches:
+The default chord name layout is a system for Jazz music, proposed by
+Klaus Ignatzek (See @ref{Literature}).
-@lilypond[verbatim,center,singleline]
-scheme = \notes {
- <<c' e' g'>>1
- <<e' g' c''>>
- <<e e' g' c''>>
-}
+[TODO: add description for banter other jazz.]
-\score {
- <
- \context ChordNames \scheme
- \context Staff \scheme
- >
-}
+The Ignatzek chord name formatting can be tuned in a number of ways
+through the following properties:
+@table @code
+@item chordNameExceptions
+This is a list that contains the chords that have special formatting.
+For an example, see
+@inputfileref{input/regression,chord-name-exceptions.ly}.
+
+@item majorSevenSymbol
+This property contains the markup object used for the 7th step, when
+it is major. Predefined options are @code{whiteTriangleMarkup},
+@code{blackTriangleMarkup}. See
+@inputfileref{input/regression,chord-name-major7.ly} for an example.
+
+@item chordNameSeparator
+Different parts of a chord name are normally separated by a
+slash. By setting @code{chordNameSeparator}, you can specify other
+separators, e.g.
+@lilypond[fragment,verbatim]
+\context ChordNames \chords {
+ c:7sus4
+ \property ChordNames.chordNameSeparator
+ = \markup { "|" }
+ c:7sus4 }
@end lilypond
+@item chordRootNamer
+The root of a chord is usually printed as a letter with an optional
+alteration. The transformation from pitch to letter is done by this
+function. An application of setting this function, is providing chord
+names with german notation for the root.
-By default, a chord name system proposed by Harald Banter (See
-@ref{Literature}) is used. The system is very regular and predictable.
-Typical American style chord names may be selected by setting the
-@code{style} property of the @code{ChordNames.ChordName} object to
-@code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
+@item chordNoteNamer
+The default is to print single notes (as for instance the bass note)
+using the chordRootNamer. However, by setting this function to a non-null
+value you can specify a different function. I.e. you could use letters
+in lower case for the base note.
-Routines that determine the names to be printed are written in Scheme,
-and may be customized by the user. The code can be found in
-@file{scm/chord-name.scm}. Here's an example showing the differences in
-chord name styles:
+@end table
+
+@seealso
+
+@inputfileref{input/regression,chord-name-major7.ly},
+@inputfileref{input/regression,chord-name-exceptions.ly},
+@inputfileref{input/test,chord-names-german.ly},
+@file{scm/chords-ignatzek.scm}, @file{scm/chord-entry.scm}
+
+
+@refbugs
+
+Chord names are determined solely from the list of pitches. Chord
+inversions are not identified, and neither are added bass notes. This
+may result in strange chord names when chords are entered with the
+@code{<< .. >>} syntax.
-@c too long?
-@c maybe just junk verbatim option?
-@lilypond[verbatim,singleline,noquote]
-scheme = \chords {
- c1 c:5^3 c:4^3 c:5+
- c:m7+ c:m5-.7
- c:5-.7 c:5+.7
- c:9^7
-}
-\score {
- \notes <
- \context ChordNames = banter \scheme
- \context ChordNames = american {
- \property ChordNames.ChordName \override
- #'style = #'american \scheme }
- \context ChordNames = jazz {
- \property ChordNames.ChordName \override
- #'style = #'jazz \scheme }
- \context Staff \transpose c c' \scheme
- >
-}
-@end lilypond
@node Writing parts
problems in orchestral music.
-@c . {Transpose}
+
@menu
* Rehearsal marks::
* Bar numbers::
* Sound output for transposing instruments::
@end menu
-@c . {Rehearsal marks}
+
@node Rehearsal marks
@subsection Rehearsal marks
@cindex Rehearsal marks
@lilypond[fragment,verbatim]
\relative c'' {
c1 \mark "A"
- c1 \mark \default
- c1 \mark \default
+ c1 \mark "B"
c1 \mark "12"
- c1 \mark \default
+ c1 \mark "13"
c1
}
@end lilypond
-As you can see, the mark is incremented automatically if you use
-@code{\mark \default}. The value to use is stored in the property
-@code{rehearsalMark} is used and automatically incremented. The object
-is @internalsref{RehearsalMark} in @internalsref{Score} context. See
-@code{input/test/boxed-molecule.ly} if you need boxes around the
-marks.
+The mark is incremented automatically if you use @code{\mark
+\default}. The value to use is stored in the property
+@code{rehearsalMark} is used and automatically incremented.
The @code{\mark} command can also be used to put signs like coda,
-segno and fermatas on a barline. The trick is to use the text markup
-mechanism to access the fermata symbol.
+segno and fermatas on a barline. Use @code{\markup} to
+to access the appropriate symbol.
+
@lilypond[fragment,verbatim,relative=1]
- c1 \mark #'(music "scripts-ufermata")
+ c1 \mark \markup { \musicglyph #"scripts-ufermata" }
c1
@end lilypond
-The problem is that marks that occur at a line break are typeset only
-at the beginning of the next line, opposite to what you want for the
-fermata. This can be corrected by the following property setting
+In this case, during line breaks,
+marks must also be printed at the end of the line, and not at the
+beginning. Use the following to force that behavior
@example
\property Score.RehearsalMark \override
#'break-visibility = #begin-of-line-invisible
@end example
+See @inputfileref{input/test,boxed-molecule.ly}. for putting boxes
+around the marks.
+
@cindex fermatas
@cindex coda
@cindex segno
@cindex barlines, putting symbols on
+@seealso
+
+@internalsref{MarkEvent}, @internalsref{RehearsalMark},
+@inputfileref{input/test,boxed-molecule.ly}.
+
@node Bar numbers
@subsection Bar numbers
@cindex currentBarNumber
Bar numbers are printed by default at the start of the line. The
-number itself is a property that can be set by modifying the
-@code{currentBarNumber} property, although that is usually not
-necessary, i.e.
-@example
- \property Score.currentBarNumber = #217
-@end example
+number itself is stored in the
+@code{currentBarNumber} property,
+which is normally updated automatically for every measure.
-To typeset Bar Numbers at regular intervals instead of at the beginning of each line,
-you need to change the grob property @code{break-visibility} as well as the translator
-property @code{barNumberVisibility}, as illustrated in the following example which also
-adds a box around the bar numbers:
-@example
-\property Score.BarNumber \override #'break-visibility =
- #end-of-line-invisible
-\property Score.barNumberVisibility = #(every-nth-bar-number-visible 5)
-\property Score.BarNumber \override #'molecule-callback =
- #(make-molecule-boxer 0.1 0.25 0.25 Text_item::brew_molecule)
-\property Score.BarNumber \override #'font-relative-size = #0
-@end example
-@lilypond[noindent,noquote]
-\score {
- \context Staff \notes \transpose c c'' {
- \property Score.BarNumber \override #'break-visibility = #end-of-line-invisible
- \property Score.barNumberVisibility = #(every-nth-bar-number-visible 5)
- \property Score.BarNumber \override #'molecule-callback =
- #(make-molecule-boxer 0.1 0.25 0.25 Text_item::brew_molecule)
- \property Score.BarNumber \override #'font-relative-size = #0
-
- \repeat unfold 16 c1 \bar "|."
- }
-}
-@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
+@inputfileref{input/test,bar-number-every-fifth.ly}
-If you would like the bar numbers to appear at regular intervals, but
-not starting from measure zero, you can use the context function,
-@code{set-bar-number-visibility}, to automatically set
-@code{barNumberVisibility} so that the bar numbers appear at regular
-intervals, starting from the @code{\applycontext}:
+@lilypondfile[notexidoc]{bar-number-every-fifth.ly}
-@example
-resetBarnum = \context Score \applycontext
- #(set-bar-number-visibility 4)
-...
-\property Score.BarNumber \override #'break-visibility =
- #end-of-line-invisible
-\mark "A" \resetBarnum
-\repeat unfold 10 c1
-\mark \default \resetBarnum
-\repeat unfold 8 c
-@end example
-@lilypond[noindent,noquote]
-resetBarnum = \context Score \applycontext
- #(set-bar-number-visibility 4)
-\score {
- <
- \notes \transpose c c'' {
- \property Score.BarNumber \override #'break-visibility =#end-of-line-invisible
- \property Score.RehearsalMark \override #'padding = #2.5
- \mark "A" \resetBarnum
- \repeat unfold 10 c1
- \mark \default \resetBarnum
- \repeat unfold 8 c
- \bar "|."
- }
- >
-}
-@end lilypond
+The start of that numbering can also be reset, as demonstrated in
+@inputfileref{input/test,bar-number-every-5-reset.ly}.
+
+@lilypondfile[notexidoc]{bar-number-every-5-reset.ly}
-See also @seeinternals{BarNumber}.
+
+@seealso
+
+@internalsref{BarNumber}.
+@inputfileref{input/test,bar-number-every-5-reset.ly}.
+@inputfileref{input/test,bar-number-every-fifth.ly}
@refbugs
-Barnumbers can collide with the StaffGroup, if there is one at the
-top. To solve this, You have to twiddle with the
+Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
+there is one at the top. To solve this, You have to twiddle with the
@internalsref{padding} property of @internalsref{BarNumber} if your
score starts with a @internalsref{StaffGroup}.
@node Instrument names
@subsection Instrument names
-In scores, the instrument name is printed before the staff. This can
-be done by setting @code{Staff.instrument} and
-@code{Staff.instr}. This will print a string before the start of the
-staff. For the first start, @code{instrument} is used, for the next
-ones @code{instr} is used.
+In an orchestral score, instrument names are printed left of the
+staffs.
+
+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 start, @code{instrument} is
+used, for the next ones @code{instr} is used.
@lilypond[verbatim,singleline]
\property Staff.instrument = "ploink " { c''4 }
@end lilypond
You can also use markup texts to construct more complicated instrument
-names:
+names.
-
-@lilypond[verbatim,singleline]
-\score {
+@lilypond[fragment,verbatim,singleline]
\notes \context Staff = treble {
- \property Staff.instrument
- = \markup { \column << "Clarinetti" { "in B" \smaller \musicglyph #"accidentals--1" } >> }
- { c''1 }
+ \property Staff.instrument = \markup {
+ \column << "Clarinetti"
+ { "in B"
+ \smaller \musicglyph #"accidentals--1"
+ }
+ >>
+ }
+ { c''1 }
}
- \paper { linewidth= 8.0\cm }
-}
@end lilypond
+@seealso
+
+@internalsref{InstrumentName}
+
@refbugs
When you put a name on a grand staff or piano staff the width of the
\transpose @var{from} @var{to} @var{musicexpr}
@end example
-This means that @var{musicexpr} is transposed to by the interval
-between @var{from} is @var{to}.
+This means that @var{musicexpr} is transposed by the interval
+between @var{from} and @var{to}.
@code{\transpose} distinguishes between enharmonic pitches: both
@code{\transpose c cis} or @code{\transpose c des} will transpose up
}}
@end lilypond
+@refbugs
+
If you want to use both @code{\transpose} and @code{\relative}, then
-you must use @code{\transpose} first. @code{\relative} will have no
-effect music that appears inside a @code{\transpose}.
+you must put @code{\transpose} outside of @code{\relative}, since
+@code{\relative} will have no effect music that appears inside a
+@code{\transpose}.
+
-@c . {Multi measure rests}
@node Multi measure rests
@subsection Multi measure rests
@cindex Multi measure rests
Multi measure rests are entered using `@code{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 multimeasure
-rest This expansion is controlled by the property
+rest. This expansion is controlled by the property
@code{Score.skipBars}. If this is set to true, Lily will not expand
empty measures, and the appropriate number is added automatically.
The @code{1} in @code{R1} is similar to the duration notation used for
notes. Hence, for time signatures other than 4/4, you must enter other
-durations. This can be done with augmentation dots, or with
-fractions:
+durations. This can be done with augmentation dots or fractions:
@lilypond[fragment,verbatim]
\property Score.skipBars = ##t
R1*13/8
R1*13/8*12
@end lilypond
-Notice that a @code{R} spanning a single measure is printed as a whole
-rest centered in the measure, regardless of the time signature.
-
-[ add note about breves.]
-
-
-@cindex whole rests for a full measure
-The object for this object is @internalsref{MultiMeasureRest}, and
-@internalsref{MultiMeasureRestNumber}.
+A @code{R} spanning a single measure is printed as a whole rest
+centered in the measure (or a breve when the measure lasts longer than
+two whole notes), regardless of the time signature.
-@refbugs
-
-Currently, there is no way to automatically condense multiple rests
-into a single multimeasure rest. Multi measure rests do not take part
-in rest collisions.
-
-Multi-measure rests do not accept @var{note}-@code{text} syntax for
-putting texts and scripts on the rest. This has to be done by setting
-@code{#'text} in @internalsref{MultiMeasureRestNumber}. An identifier is
-provided for a fermata:
+
@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. In this case, the number is
+replaced. If you need both texts and the number, you must add the
+number by hand. An identifier (@code{fermataMarkup}) is provided for
+adding fermatas.
+
+
@lilypond[verbatim,fragment]
\time 3/4
- \setMmRestFermata R2.
+ R2._\markup { "Ad lib" }
+ R2.^\fermataMarkup
@end lilypond
+@cindex whole rests for a full measure
+
+@seealso
+
+@internalsref{MultiMeasureRestEvent},
+@internalsref{MultiMeasureTextEvent},
+@internalsref{MultiMeasureRestMusicGroup},
+@internalsref{MultiMeasureRest}.
+
+The graphical 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
+over multi-measure rests.
+
@cindex condensing rests
+There is no way to automatically condense multiple rests into a single
+multimeasure rest. Multi measure rests do not take part in rest
+collisions.
+
+Be careful when entering multimeasure rests followed by whole notes,
+@example
+ R1*4 cis cis
+@end example
+will enter two notes lasting four measures each. The result will look
+ok, but the bar numbering will be off.
+
@node Automatic part combining
@subsection Automatic part combining
@cindex automatic part combining
Automatic part combining is used to merge two parts of music onto a
-staff in an intelligent way. It is aimed primarily at typesetting
-orchestral scores. When the two parts are identical for a period of
-time, only one is shown. In places where the two parts differ, they
-are typeset as separate voices, and stem directions are set
-automatically. Also, solo and @emph{a due} parts can be identified
-and marked.
+staff. It is aimed at typesetting orchestral scores. When the two
+parts are identical for a period of time, only one is shown. In
+places where the two parts differ, they are typeset as separate
+voices, and stem directions are set automatically. Also, solo and
+@emph{a due} parts are identified and can be marked.
+
+@syntax
The syntax for part combining is
must be interpreted by contexts whose names should start with @code{one}
and @code{two}.
-The most useful function of the part combiner is to combine parts into
-one voice, as common for wind parts in orchestral scores:
+The following example demonstrates the basic functionality of the part
+combiner: putting parts on one staff, and setting stem directions and
+polyphony.
@lilypond[verbatim,singleline,fragment]
\context Staff <
>
@end lilypond
-Notice that the first @code{g} appears only once, although it was
+The first @code{g} appears only once, although it was
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
>
@end lilypond
-There are a number of other properties that you can use to tweak the
-behavior of part combining, refer to the automatically generated
-documentation of @reng{Thread_devnull_engraver} and
-@reng{Voice_devnull_engraver}. Look at the documentation of the
-responsible engravers, @code{Thread_devnull_engraver},
-@code{Voice_devnull_engraver} and @code{A2_engraver}.
+@seealso
+
+@internalsref{PartCombineMusic},
+@internalsref{Thread_devnull_engraver},
+@internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
@refbugs
+The syntax for naming contexts in inconsistent with the syntax for
+combining stanzas.
+
In @code{soloADue} mode, when the two voices play the same notes on and
off, the part combiner may typeset @code{a2} more than once in a
measure.
>
@end lilypond
+The part combiner is slated to be rewritten [TODO: explain why] .
+
@cindex @code{Thread_devnull_engraver}
@cindex @code{Voice_engraver}
@cindex @code{A2_engraver}
@subsection Hara kiri staves
In orchestral scores, staff lines that only have rests are usually removed.
-This saves some space. LilyPond also supports this through the hara
-kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
-the Japanese Samourai warriors.} staff. This staff commits suicide when
-it finds itself to be empty after the line-breaking process. It will
-not disappear when it contains normal rests, you must use multi measure
+This saves some space. This style is called `French Score'.
+
+@syntax
+
+This is supported through the hara kiri@footnote{Hara kiri is the
+vulgar name for Seppuku, is the ritual suicide of the Japanese
+Samourai warriors.} staff. This staff commits suicide when it finds
+itself to be empty after the line-breaking process. It will not
+disappear when it contains normal rests, you must use multi measure
rests.
-The hara kiri staff is specialized version of the @internalsref{Staff}
-context. It is available as the context identifier
+For @internalsref{Lyrics}, @internalsref{LyricsVoice},
+@internalsref{ChordNames} and @internalsref{FiguredBass}, hara-kiri is
+switched on by default. For normal staffs, hara kiri is available as a
+specialized @internalsref{Staff} context, with the name identifier
@code{\HaraKiriStaffContext}. Observe how the second staff in this
example disappears in the second line.
@end example
-
-@c . {Custodes}
@node Ancient notation
@section Ancient notation
@cindex Petrucci
@cindex mensural
+[TODO: write introduction on ancient notation]
+
@menu
* Ancient note heads::
* Ancient clefs ::
* Custodes::
+* Divisiones::
* Ligatures::
* Figured bass::
@end menu
@c Supported clefs:
@c @code{varbaritone}, @code{bass}, @code{F}, @code{subbass}
@c
-@c @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "F" c'}
+@c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "F" c'}
@c
@c @item modern style C clef (glyph: @code{clefs-C})
@c
@c @code{soprano}, @code{mezzosoprano}, @code{alto}, @code{C},
@c @code{tenor}, @code{baritone}
@c
-@c @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "C" c'}
+@c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "C" c'}
@item modern style mensural C clef (glyph: @code{clefs-neo_mensural_c'})
@code{neo_mensural_c1}, @code{neo_mensural_c2},
@code{neo_mensural_c3}, @code{neo_mensural_c4}
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "neo_mensural_c2" c'}
+@lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "neo_mensural_c2" c'}
@item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c1})
@code{petrucci_c1}
for 1st staffline
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c1" c'}
+@lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c1" c'}
@item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c2})
@code{petrucci_c2}
for 2nd staffline
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c2" c'}
+@lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c2" c'}
@item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c3})
@code{petrucci_c3}
for 3rd staffline
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c3" c'}
+@lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c3" c'}
@item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c4})
@code{petrucci_c4}
for 4th staffline
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c4" c'}
+@lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c4" c'}
@item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c5})
@code{petrucci_c5}
for 5th staffline
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c5" c'}
+@lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c5" c'}
@item petrucci style mensural F clef (glyph: @code{clefs-petrucci_f})
Supported clefs:
@code{petrucci_f}
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_f" c'}
+@lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_f" c'}
@item petrucci style mensural G clef (glyph: @code{clefs-petrucci_g})
Supported clefs:
@code{petrucci_g}
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_g" c'}
+@lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_g" c'}
@item historic style mensural C clef (glyph: @code{clefs-mensural_c'})
@code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
@code{mensural_c4}
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "mensural_c2" c'}
+@lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "mensural_c2" c'}
@item historic style mensural F clef (glyph: @code{clefs-mensural_f})
Supported clefs:
@code{mensural_f}
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "mensural_f" c'}
+@lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "mensural_f" c'}
@item historic style mensural G clef (glyph: @code{clefs-mensural_g})
Supported clefs:
@code{mensural_g}
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "mensural_g" c'}
+@lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "mensural_g" c'}
@item Editio Vaticana style do clef (glyph: @code{clefs-vaticana_do})
Supported clefs:
@code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3}
-@lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "vaticana_do2" c'}
+@lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "vaticana_do2" c'}
@item Editio Vaticana style fa clef (glyph: @code{clefs-vaticana_fa})
Supported clefs:
@code{vaticana_fa1}, @code{vaticana_fa2}
-@lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "vaticana_fa2" c'}
+@lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "vaticana_fa2" c'}
@item Editio Medicaea style do clef (glyph: @code{clefs-medicaea_do})
Supported clefs:
@code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3}
-@lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "medicaea_do2" c'}
+@lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "medicaea_do2" c'}
@item Editio Medicaea style fa clef (glyph: @code{clefs-medicaea_fa})
Supported clefs:
@code{medicaea_fa1}, @code{medicaea_fa2}
-@lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "medicaea_fa2" c'}
+@lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "medicaea_fa2" c'}
@item historic style hufnagel do clef (glyph: @code{clefs-hufnagel_do})
Supported clefs:
@code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3}
-@lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "hufnagel_do2" c'}
+@lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "hufnagel_do2" c'}
@item historic style hufnagel fa clef (glyph: @code{clefs-hufnagel_fa})
Supported clefs:
@code{hufnagel_fa1}, @code{hufnagel_fa2}
-@lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "hufnagel_fa2" c'}
+@lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "hufnagel_fa2" c'}
@item historic style hufnagel combined do/fa clef (glyph: @code{clefs-hufnagel_do_fa})
Supported clefs:
@code{hufnagel_do_fa}
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "hufnagel_do_fa" c'}
+@lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "hufnagel_do_fa" c'}
@c --- This should go somewhere else: ---
@c @item modern style percussion clef (glyph: @code{clefs-percussion})
@c Supported clefs:
@c @code{percussion}
@c
-@c @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
+@c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
@c
@c @item modern style tab clef (glyph: @code{clefs-tab})
@c
@c Supported clefs:
@c @code{tab}
@c
-@c @lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
+@c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
@end table
Petrucci used C clefs with differently balanced left-side vertical
beams, depending on which staffline it was printed.
+
@node Custodes
@subsection Custodes
-@cindex Custos
-@cindex Custodes
+@cindex custos
+@cindex custodes
A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
-staff context symbol that appears at the end of a staff line. It
-anticipates the pitch of the first note(s) of the following line and
-thus helps the player or singer to manage line breaks during
-performance, thus enhancing readability of a score.
-
-@lilypond[verbatim,noquote]
-\score {
- \notes { c'1 \break
- \property Staff.Custos \set #'style = #'mensural
- d' }
- \paper {
- \translator {
- \StaffContext
- \consists Custos_engraver
- }
- }
-}
-@end lilypond
+symbol that appears at the end of a staff. It anticipates the pitch
+of the first note(s) of the following line and thus helps the player
+or singer to manage line breaks during performance, thus enhancing
+readability of a score.
Custodes were frequently used in music notation until the 17th century.
There were different appearances for different notation styles.
such as via the @emph{editio vaticana} dating back to the beginning of
the 20th century.
-For typesetting custodes, just put a @code{Custos_engraver} into the
-@internalsref{Staff} context when declaring the @code{\paper} block. In this
-block, you can also globally control the appearance of the custos symbol
-by setting the custos @code{style} property. Currently supported styles
-are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
-@code{mensural}.
+
+For typesetting custodes, just put a @internalsref{Custos_engraver} into the
+@internalsref{Staff} context when declaring the @code{\paper} block,
+as shown in the following example.
@example
\paper @{
\translator @{
@}
@}
@end example
+The result looks like this:
+@lilypond
+\score {
+ \notes { c'1 \break
+ \property Staff.Custos \set #'style = #'mensural
+ d' }
+ \paper {
+ \translator {
+ \StaffContext
+ \consists Custos_engraver
+ }
+ linewidth = 4.0 \cm
+ }
+}
+@end lilypond
-The property can also be set locally, for example in a @code{\notes}
-block:
+The appearance of the custos symbol is controlled by it @code{style}
+property. The styles supported are @code{vaticana}, @code{medicaea},
+@code{hufnagel} and @code{mensural}. They are demonstrated in the
+following fragment:
-@example
-\notes @{
- \property Staff.Custos \override #'style = #'vaticana
- c'1 d' e' d' \break c' d' e' d'
-@}
-@end example
+@lilypond
+\score {
+ \notes {
+ \fatText
+ s
+ ^\markup { \column << "vaticana"
+ { " " \musicglyph #"custodes-vaticana-u0" } >>
+ \column << "medicaea"
+ { " " \musicglyph #"custodes-medicaea-u0" } >>
+ \column << "hufnagel"
+ { " "\musicglyph #"custodes-hufnagel-u0" } >>
+ \column << "mensural"
+ { " " \musicglyph #"custodes-mensural-u0" } >>
+ }
+ }
+ \paper {
+ raggedright = ##t
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator{
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ \remove "Time_signature_engraver"
+ \remove "Staff_symbol_engraver"
+ minimumVerticalExtent = ##f
+ }
+ }
+}
+@end lilypond
+
+If the boolean property @code{adjust-if-on-staffline} is set to
+@code{#t} (which it is by default), lily typesets slightly different
+variants of the custos glyph, depending on whether the custos, is
+typeset on or between stafflines. The idea is that the glyph will
+optically fit well into the staff, with the appendage on the right of
+the custos always ending at the same vertical position between two
+stafflines regardless of the pitch. If you set
+@code{adjust-if-on-staffline} to @code{#f}, then lily takes regardless
+of the pitch always a glyph that is a compromise of the former two
+variants.
+
+Just like stems can be attached to noteheads in two directions
+@emph{up} and @emph{down}, each custos glyph is available with its
+appendage pointing either up or down. If the pitch of a custos is
+above a selectable position, the appendage will point downwards; if
+the pitch is below this position, the appendage will point upwards.
+Use property @code{neutral-position} to select this position. By
+default, it is set to @code{0}, such that the neutral position is the
+center of the staff. Use property @code{neutral-direction} to control
+what happens if a custos is typeset on the neutral position itself.
+By default, this property is set to @code{-1}, such that the appendage
+will point downwards. If set to @code{1}, the appendage will point
+upwards. Other values such as @code{0} are reserved for future
+extensions and should not be used.
+
+@seealso
+
+
+@internalsref{Custos}, @inputfileref{input/test,custos-style.ly} and
+@inputfileref{input/regression,custos.ly}.
+
+
+@node Divisiones
+@subsection Divisiones
+
+@cindex divisio
+@cindex divisiones
+@cindex finalis
+
+A @emph{divisio} (plural: @emph{divisiones}; latin word for
+`division') is a staff context symbol that is used to structure
+Gregorian music into phrases and sections. The musical meaning of
+@emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
+can be characterized as short, medium and long pause, somewhat like
+@ref{Breath marks}. The @emph{finalis} sign not only marks the end of
+a chant, but is also frequently used within a single
+antiphonal/responsorial chant to mark the end of each section.
+
+@syntax
+
+To use divisiones, include the file @code{gregorian-init.ly}. It
+contains definitions that you can apply by just inserting
+@code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
+and @code{\finalis} at proper places in the input. Some editions use
+@emph{virgula} or @emph{caesura} instead of divisio minima.
+Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
+@code{\caesura}.
+
+
+@lilypondfile[notexidoc]{divisiones.ly}
+
+@seealso
+
+@internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
+@inputfileref{input/test,divisiones.ly}, @ref{Breath marks}.
@node Ligatures
@subsection Ligatures
(Gregorian chant) and very soon denoted also the way of performance in
the sense of articulation. With upcoming multiphony, the need for a
metric system arised, since multiple voices of a piece have to be
-synchronized some way. New notation systems were invented, that used
+synchronized some way. New notation systems were invented that used
the manifold shapes of ligatures to now denote rhythmical patterns
(e.g. black mensural notation, mannered notation, ars nova). With the
invention of the metric system of the white mensural notation, the need
century. Still, ligatures have survived in contemporary editions of
Gregorian chant such as the Editio Vaticana from 1905/08.
+@syntax
+
Syntactically, ligatures are simply enclosed by @code{\[} and @code{\]}.
Some ligature styles (such as Editio Vaticana) may need additional input
syntax specific for this particular type of ligature. By default, the
@cindex Mensural ligatures
@cindex White mensural ligatures
-Lilypond has limited support for white mensural ligatures. The
+There is limited support for white mensural ligatures. The
implementation is still experimental; it currently may output strange
warnings or even crash in some cases or produce weird results on more
complex ligatures. To engrave white mensural ligatures, in the paper
-block the @internalsref{MensuralLigature} engraver has to be put into
+block the @internalsref{Mensural_ligature_engraver} has to be put into
the @internalsref{Voice} context (and you probably want to remove the
-@internalsref{LigatureBracket} engraver). There is no additional input
-language to describe the shape of a white mensural ligature. The shape
-is rather determined solely from the pitch and duration of the enclosed
-notes. While this approach may take a new user quite a while to get
-accustomed, it has a great advantage: this way, lily has full musical
-information about the ligature. This is not only required for correct
-MIDI output, but also allows for automatic transcription of the
-ligatures.
+@internalsref{Ligature_bracket_engraver}). There is no additional
+input language to describe the shape of a white mensural ligature.
+The shape is rather determined solely from the pitch and duration of
+the enclosed notes. While this approach may take a new user a while
+to get accustomed, it has the great advantage that the full musical
+information of the ligature is known internally. This is not only
+required for correct MIDI output, but also allows for automatic
+transcription of the ligatures.
Example:
}
@end lilypond
-Without replacing @code{Ligature_bracket_engraver} with
-@code{Mensural_ligature_engraver}, the same music transcribes to the
-following:
+Without replacing @internalsref{Ligature_bracket_engraver} with
+@internalsref{Mensural_ligature_engraver}, the same music transcribes
+to the following:
-@lilypond[singleline,verbatim]
+@lilypond[singleline]
\score {
\notes \transpose c c' {
\property Score.timing = ##f
@cindex Basso continuo
+@c TODO: musicological blurb about FB
+
LilyPond has limited support for figured bass:
@lilypond[verbatim,fragment]
<
+ \context Voice \notes { \clef bass dis4 c d ais}
\context FiguredBass
\figures {
- <_! 3+ 5- >4
- < [4 6] 8 >
+ < 6 >4 < 7 >8 < 6+ [_!] >
+ < 6 >4 <6 5 [3+] >
}
- \context Voice { c4 g8 }
->
+ >
@end lilypond
The support for figured bass consists of two parts: there is an input
@end example
@lilypond[fragment]
\context FiguredBass
-\figures { <4- 6+ 7!> }
+ \figures { <4- 6+ 7!> }
@end lilypond
Spaces or dashes may be inserted by using @code{_}. Brackets are
@end lilypond
Although the support for figured bass may superficially resemble chord
-support, it works much simpler: in figured bass simply stores the
-numbers, and then prints the numbers you entered. There is no
-conversion to pitches, and no realizations of the bass are played in
-the MIDI file.
+support, it works much simpler. The @code{\figures} mode simply
+stores the numbers , and @internalsref{FiguredBass} context prints
+them as entered. There is no conversion to pitches, and no
+realizations of the bass are played in the MIDI file.
+
+Internally, the code produces markup texts. You can use any of the
+markup text properties to override formatting. For example, the
+vertical spacing of the figures may be set with @code{baseline-skip}.
+
+@refbugs
+
+Slash notation for alterations is not supported.
-@c . {Contemporary notation}
@node Contemporary notation
@section Contemporary notation
+In the 20th century, composers have greatly expanded the musical
+vocabulary. With this expansion, many innovations in musical notation
+have been tried. For a comprehensive overview, refer to @cite{Stone
+1980} (see @ref{Literature}). In general, the use of new, innovative
+notation makes a piece harder to understand and perform and its use
+should be avoided if possible. For this reason, support for
+contemporary notation in LilyPond is limited.
+
+
@menu
-* Clusters::
+* Clusters::
+* Fermatas::
@end menu
@node Clusters
(theoretically) may even cover a continuous range of pitches, thus
resulting in coloured noise, such as pink noise.
-Clusters can be notated in the context of ordinary staff notation by
+Clusters can be denoted in the context of ordinary staff notation by
engraving simple geometrical shapes that replace ordinary notation of
notes. Ordinary notes as musical events specify starting time and
duration of pitches; however, the duration of a note is expressed by the
time (horizontal extent). Still, the geometrical shape of a cluster
covers the area in wich any single pitch contained in the cluster would
be notated as an ordinary note. From this point of view, it is
-reasonable to specify a cluster as the envelope of a set of notes. This
-is exactly how to construct a cluster with lilypond.
+reasonable to specify a cluster as the envelope of a set of notes.
-@lilypond[singleline,verbatim]
+@syntax
+
+A cluster is engraved as the envelope of a set of notes. The starting
+note is marked with @code{\startCluster}, and the ending note with
+@code{\stopCluster}, e.g.,
+
+@example
+ c4-\startCluster
+ ...
+ f4-\stopCluster
+@end example
+
+The following example (from
+@inputfileref{input/regression,cluster.ly}) shows what the result
+looks like.
+
+@lilypondfile[notexidoc]{cluster.ly}
+
+By default, @internalsref{Cluster_engraver} is in the
+@internalsref{Voice} context. This allows putting ordinary notes and
+clusters together in the same staff, even simultaneously. In such a
+case no attempt is made to automatically avoid collisions between
+ordinary notes and clusters.
+
+@seealso
+
+@internalsref{Cluster}, @inputfileref{input/regression,cluster.ly},
+@internalsref{Cluster_engraver}, @internalsref{ClusterEvent}.
+
+@refbugs
+
+When a cluster is active, note heads must be switched off manually using
+@code{\hideNotes}.
+
+Music expressions like @code{< @{ g8 e8 @} a4 >} are not printed
+accurately. Use @code{<<g a>>8 <<e a>>8} instead.
+
+
+
+@node Fermatas
+@subsection Fermatas
+
+@cindex fermatas
+
+The following fermata symbols, that are frequently used in contemporary
+music notation, are supported
+
+@lilypond[singleline]
\score {
- \context PianoStaff <
- \context Voice = voiceI { % same as voiceII, but with ordinary notes
- \notes \relative c' {
- c4 f4
- a4 <e4 d'4> | \break
- < g8 a8 > < e8 a8 > a4 c1 < d4 b4 > e4 |
- c4 a4 f4 g4 a4
- }
- }
- \context Voice = voiceII { % same as voiceI, but with cluster notation
- \notes \relative c' {
-
- % hide notes, accidentals, etc.
- \property Thread.NoteHead \set #'transparent = ##t
- \property Voice.Stem \set #'transparent = ##t
- \property Voice.Beam \set #'transparent = ##t
- \property Staff.Accidental \set #'transparent = ##t
-
- \property Voice.Cluster \set #'padding = #0.01
- \property Voice.Cluster \set #'shape = #'ramp
-
- c4 f4
- \startCluster
- a4 <e4 d'4> | \break
- < g8 a8 > < e8 a8 > a4 c1 < d4 b4 > e4 |
- c4 \stopCluster a4 f4 g4 a4
- }
- }
- >
+ \notes {
+ \fatText
+ b'
+ ^\shortfermata
+ _\shortfermata
+ ^\markup { short fermata }
+ r
+ b'
+ ^\fermata
+ _\fermata
+ ^\markup { fermata }
+ r
+ b'
+ ^\longfermata
+ _\longfermata
+ ^\markup { long fermata }
+ r
+ b'
+ ^\verylongfermata
+ _\verylongfermata
+ ^\markup { very long fermata }
+ r
+ }
}
@end lilypond
-Note that the second voice differs from the first one only by the
-additional keywords @code{\startCluster} and @code{\stopCluster} and the
-fact that notes, accidentals, etc. are hidden. A future version of
-lilypond may automatically hide notes, accidentals, etc. within the
-scope of clusters.
-
-Also note that a music expression like @code{< @{ g8 e8 @} a4 >} is
-illegal; in such a case, you can instead use the expression @code{< g8
-a8 > < e8 a8 >}.
-
-By default, cluster engraver is in the voice context. This allows
-putting ordinary notes and clusters together in the same staff, even
-simultaneously. However, in such a case no attempt is made to
-automatically avoid collisions between ordinary notes and clusters.
-
-The geometrical shape can be further controlled with grob properties
-@code{padding} and @code{shape}. @code{padding} adds to the vertical
-extent of the shape (top and bottom) and is expressed in units of
-staffspace. Since the pitch range of a single pitch is infinitely
-small, if padding is set to @code{0.0}, this possibly results in an
-invisible shape, if you,for example, say @code{ \startCluster c d e
-\endCluster}. The default value for @code{padding} therefore is
-@code{0.25}, such that a single pitch roughly shows the same height as a
-note head. Property @code{shape} controls how the overall shape of the
-cluster is constructed from the set of notes. Currently supported
-values are @code{leftsided-stairs}, @code{rightsided-stairs},
-@code{centered-stairs}, and @code{ramp}.
-
-@c . {Tuning output}
+See @ref{Articulations} for general instructions how to apply scripts
+such as fermatas to a @code{\notes@{@}} block.
+
@node Tuning output
@section Tuning output
-LilyPond tries to take as much formatting as possible out of your
-hands. Nevertheless, there are situations where it needs some help, or
-where you want to override its decisions. In this section we discuss
-ways to do just that.
+As much formatting as possible is performed
+automatically. Nevertheless, there are situations where LilyPond needs
+some help, or where you want to override its decisions. In this
+section we discuss ways to do just that.
Formatting is internally done by manipulating so called objects (graphic
objects). Each object carries with it a set of properties (object
object, and set a object property in that object.
@menu
-* Tuning groups of objects ::
* Tuning per object ::
+* Tuning objects ::
+* Outputproperty::
* Font selection::
* Text markup::
@end menu
-@node Tuning groups of objects
-@subsection Tuning groups of objects
-
-@cindex object description
+@node Tuning per object
+@subsection Tuning per object
-A object definition is a Scheme association list, that is stored in a
-context property. By assigning to that property (using plain
-@code{\property}), you can change the resulting objects.
+@cindex \once
+Tuning a single object is most often done with @code{\once \property}. The
+form,
+@example
+ \once \property @dots{}
+@end example
+@c
+@c
-@lilypond[verbatim, fragment]
-c'4 \property Voice.Stem = #'()
-@end lilypond
-The @code{\property} assignment effectively empties the definition of
-the Stem object. One of the effects is that the recipe of how it should be
-printed is erased, with the effect of rendering it invisible. The above
-assignment is available as a standard identifier, for the case that you
-find this useful:
-@example
- \property Voice.Stem = \turnOff
-@end example
-@cindex \override
-@cindex \revert
-@cindex \set
+@node Tuning objects
+@subsection Tuning objects
-This mechanism is fairly crude, since you can only set, but not modify,
-the definition of a object. For this reason, there is a more advanced
-mechanism.
+@cindex object description
-The definition of a object is actually a list of default object
-properties. For example, the definition of the Stem object (available in
-@file{scm/grob-description.scm}), defines the following values for
+The definition of an object is actually a list of default object
+properties. For example, the definition of the Stem object (available
+in @file{scm/grob-description.scm}), includes the following definitions for
@internalsref{Stem}
@example
@var{...}
@end example
-You can add a property on top of the existing definition, or remove a
-property, thus overriding the system defaults:
-@lilypond[verbatim]
-c'4 \property Voice.Stem \override #'thickness = #4.0
-c'4 \property Voice.Stem \revert #'thickness
-c'4
-@end lilypond
-You should balance @code{\override} and @code{\revert}. If that's too
-much work, you can use the @code{\set} shorthand. It performs a revert
-followed by an override. The following example gives exactly the same
-result as the previous one.
-@lilypond[verbatim]
-c'4 \property Voice.Stem \set #'thickness = #4.0
-c'4 \property Voice.Stem \set #'thickness = #0.8
-c'4
-@end lilypond
-If you use @code{\set}, you must explicitly restore the default.
+By adding variables on top of these existing definitions, the system
+defaults is overriden, and the appearance of a graphical objects is
+altered.
+
+@syntax
+
+
+Changing a variable for only one object is commonly achieved with
+@code{\once}:
-Formally the syntax for these constructions is
+@example
+\once \property @var{context}.@var{grobname}
+ \override @var{symbol} = @var{value}
+@end example
+Here @var{symbol} is a Scheme expression of symbol type, @var{context}
+and @var{grobname} is a string and @var{value} is a Scheme expression.
+This command applies a setting only during one moment in the score.
+
+In the following example, only one @internalsref{Stem} object is
+changed from its original setting:
+
+@lilypond[verbatim, fragment, relative=1]
+ c4
+ \once \property Voice.Stem \set #'thickness = #4
+ c4
+ c4
+@end lilypond
+@cindex @code{\once}
+
+For changing more objects, the same command, without @code{\once} can
+be used.
@example
\property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
-\property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
+@end example
+This command adds @code{@var{symbol} = @var{value}} to the definition
+of @var{grobname} in the context @var{context}, and this definition
+stays in place until it is removed.
+
+An existing definition may be removed by the following command
+@c
+@example
\property @var{context}.@var{grobname} \revert @var{symbol}
@end example
-Here @var{symbol} is a Scheme expression of symbol type, @var{context}
-and @var{grobname} are strings and @var{value} is a Scheme expression.
+@c
+All @code{\override} and @code{\revert} commands should be balanced.
+The @code{\set} shorthand, performs a revert followed by an override,
+and is often more convenient to use
+@example
+\property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
+@end example
+
+Some examples:
+@lilypond[verbatim,quote]
+c'4 \property Voice.Stem \override #'thickness = #4.0
+c'4
+c'4 \property Voice.Stem \revert #'thickness
+c'4
+@end lilypond
+
+The following example gives exactly the same result as the previous
+one (assuming the system default for stem thickness is 0.8).
+@c
+@lilypond[verbatim,quote]
+ c'4 \property Voice.Stem \set #'thickness = #4.0
+ c'4
+ c'4 \property Voice.Stem \set #'thickness = #0.8
+ c'4
+@end lilypond
If you revert a setting which was not set in the first place, then it
has no effect. However, if the setting was set as a system default, it
may remove the default value, and this may give surprising results,
-including crashes. In other words, @code{\override} and @code{\revert},
-must be carefully balanced.
+including crashes. In other words, @code{\override} and
+@code{\revert}, must be carefully balanced.
These are examples of correct nesting of @code{\override}, @code{\set},
@code{\revert}.
@end example
For the digirati, the object description is an Scheme association
-list. Since a Scheme list is a singly linked list, we can treat it as a
-stack, and @code{\override} and @code{\revert} are just push and pop
-operations. This pushing and popping is also used for overriding
-automatic beaming settings.
+list. Since a Scheme list is a singly linked list, we can treat it as
+a stack, and @code{\override} and @code{\revert} are push and pop
+operations. The association list is stored in a normal context
+property, hence
+@example
+ \property Voice.NoteHead = #'()
+@end example
+will effectively erase @internalsref{NoteHead}s from the current
+@internalsref{Voice}. However, this mechanism is not guaranteed to
+work, and may cause crashes or other anomalous behavior.
+
+@seealso
+
+@internalsref{OverrideProperty}, @internalsref{RevertProperty},
+@internalsref{PropertySet}, @internalsref{backend properties},
+@internalsref{All Graphical Objects}.
+
@refbugs
LilyPond may crash.
+@node Outputproperty
+@subsection Outputproperty
-
-@node Tuning per object
-@subsection Tuning per object
-
-@cindex \once
-Tuning a single object is most often done with @code{\property}. The
-form,
-@example
- \once \property @dots{}
-@end example
-@c
-applies a setting only during one moment in the score: notice how the
-original setting for stem thickness is restored automatically in the
-following example
-@c
-@lilypond[verbatim, fragment, relative=1]
- c4
- \once \property Voice.Stem \set #'thickness = #4
- c4
- c4
-@end lilypond
-
-@cindex \once
@cindex \outputproperty
A second way of tuning objects is the more arcane @code{\outputproperty}
@example
\outputproperty @var{predicate} @var{symbol} = @var{value}
@end example
-Here @code{predicate} is a Scheme function taking a object argument, and
+Here @code{predicate} is a Scheme function taking an object argument, and
returning a boolean. This statement is processed by the
@code{Output_property_engraver}. It instructs the engraver to feed all
objects that it sees to @var{predicate}. Whenever the predicate returns
true, the object property @var{symbol} will be set to @var{value}.
-This command is only single shot, in contrast to @code{\override} and
-@code{\set}.
-
You will need to combine this statement with @code{\context} to select
the appropriate context to apply this to.
-
-In the following example, all note heads occurring at current staff
-level, are shifted up and right by setting their @code{extra-offset}
-property.
-
-@lilypond[fragment,verbatim,singleline]
-\relative c'' { c4
- \context Staff \outputproperty
- #(make-type-checker 'note-head-interface)
- #'extra-offset = #'(0.5 . 0.75)
- <<c e g>>8 }
-@end lilypond
-
-@cindex @code{extra-offset}
-
-In this example, the predicate checks the @code{text} object property, to
-shift only the `m.d.' text, but not the fingering instruction "2".
-@lilypond[verbatim,singleline]
-#(define (make-text-checker text)
- (lambda (grob) (equal? text (ly:get-grob-property grob 'text))))
-
-\score {
- \notes\relative c''' {
- \property Voice.Stem \set #'direction = #1
- \outputproperty #(make-text-checker "m.d.")
- #'extra-offset = #'(-3.5 . -4.5)
- a^2^"m.d."
- }
-}
-@end lilypond
+@inputfileref{input/regression,output-property.ly} shows an example of
+the use of @code{\outputproperty}.
@refbugs
the syntax and semantics are up for rewrite.
-
-
@node Font selection
@subsection Font selection
The most common thing to change about the appearance of fonts is
-their size. The font size of a @internalsref{Voice},
-@internalsref{Staff} or @internalsref{Thread} context, can be easily
+their size. The font size of any context can be easily
changed by setting the @code{fontSize} property for that context:
-@lilypond[fragment,relative=1]
+@c
+@lilypond[fragment,relative=1,verbatim,quote]
c4 c4 \property Voice.fontSize = #-1
f4 g4
@end lilypond
- This command will not change the size of variable symbols, such as
+ This command will set @code{font-relative-size} (see below),
+ and does not change the size of variable symbols, such as
beams or slurs. You can use this command to get smaller symbol for
cue notes, but that involves some more subtleties. An elaborate
-example of those is in @file{input/test/cue-notes.ly}.
+example of those is in @inputfileref{input/test,cue-notes.ly}.
+
+@cindex magnification
+
+The size of the font may be scaled with the object property
+@code{font-magnification}. For example, @code{2.0} blows up all
+letters by a factor 2 in both directions.
+
@cindex cue notes
@cindex font size
@end example
You may use any font which is available to @TeX{}, such as foreign
fonts or fonts that do not belong to the Computer Modern font family.
+
Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
can also be adjusted with a more fine-grained mechanism. By setting
the object properties described below, you can select a different font.
with 20pt staff height, relative size -1 corresponds to 16pt staff
height, and relative size +1 corresponds to 23 pt staff height.
+ There are small differences in design between fonts designed for
+different sizes, hence font-relative-size is the preferred way to
+change a font size.
+
+
@item font-design-size
A number indicating the design size of the font.
which enhances readability.
@end table
-For any of these properties, the value @code{*} (i.e. the @emph{symbol},
+For any of these properties, the value @code{*} (i.e. the symbol
@code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
to override default setting, which are always present. For example:
@example
@cindex @code{font-style}
-There are also pre-cooked font selection qualifiers. These are
-selected through the object property @code{font-style}. For example,
-the style @code{finger} selects family @code{number} and relative size
-@code{-3}. Styles available include @code{volta}, @code{finger},
-@code{tuplet}, @code{timesig}, @code{mmrest}, @code{script},
-@code{large}, @code{Large} and @code{dynamic}. The style sheets and
-tables for selecting fonts are located in @file{scm/font.scm}. Refer
-to this file for more information.
-
-@cindex magnification
-The size of the font may be scaled with the object property
-@code{font-magnification}. For example, @code{2.0} blows up all
-letters by a factor 2 in both directions.
@refbugs
@cindex font switching
-The line of the example demonstrates font switching commands. Notice
-that the command only apply to the first following word; enclose a set
-of texts with braces to apply a command to more words.
+The line of the example demonstrates font switching commands. The
+command only apply to the first following word; enclose a set of texts
+with braces to apply a command to more words.
@example
\markup @{ \bold @{ hi there @} @}
@end example
@cindex font size, texts
-
The following size commands set abolute sizes
@cindex \teeny
@table @code
@item \dynamic
This changes to the font used for dynamic signs. Note that this font
-doesn't contain all characters of the alphabet.
+does not contain all characters of the alphabet.
@item \number
This changes to the font used for time signatures. It only contains
numbers and a few punctuation marks.
@item \italic
+Changes @code{font-shape} to @code{italic}
@item \bold
+Changes @code{font-series} to @code{bold}
@end table
@cindex raising text
@cindex \raise
If you want to give an explicit amount for lowering or raising, use
-@code{\raise}. This command takes a Scheme valued argument,
-@lilypond[verbatim,fragment,relative=1]
- c1^\markup { C \small \raise #1.0 { "9/7+" }}
+@code{\raise}. This command takes a Scheme valued first argument, and
+a markup object as second argument
+@c
+@lilypond[verbatim,fragment,relative=1,quote]
+ c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
@end lilypond
The argument to @code{\raise} is the vertical displacement amount,
measured in (global) staff spaces.
Other commands taking single arguments include
@table @code
+@item \bracket, \hbracket
+ Bracket the argument markup with normal and horizontal brackets
+respectively.
+
@item \musicglyph
@cindex \musicglyph
This is converted to a musical symbol, e.g. @code{\musicglyph
A \fontsize #2 @{ B C @} D
@end example
+
This will enlarge the B and the C by two steps.
@item \translate #(cons @var{x} @var{y})
@cindex \translate
-This translates an object. It's first argument is a cons of numbers
+This translates an object. Its first argument is a cons of numbers
@example
A \translate #(cons 2 -3) @{ B C @} D
@end example
expressions, XML documents and music expressions. The braces group
notes into horizontal lines. Other types of lists also exist: you can
stack expressions grouped with @code{<<}, and @code{>>} vertically with
-the command @code{\column}.
+the command @code{\column}. Similarly, @code{\center} aligns texts by
+their center lines.
@lilypond[verbatim,fragment,relative=1]
- c1^\markup { \column << a b c >> }
+ c1^\markup { \column << a bbbb c >> }
+ c1^\markup { \center << a bbbb c >> }
c1^\markup { \line << a b c >> }
@end lilypond
@file{scm/new-markup.scm} for more information on extending the markup
mode.
-
@cindex metronome mark
One practical application of complicated markup is to fake a metronome
}
@end lilypond
+@seealso
+
+@internalsref{Markup functions}, @file{scm/new-markup.scm}
+
@refbugs
@cindex kerning
c'4 e''4 e'4 b'4 |
b'4 e''4 b'4 e''4|
}
- \paper { linewidth = -1. } }
+ \paper { raggedright = ##t } }
@end lilypond
+@cindex SpacingSpanner, overriding properties
+
+The @internalsref{SpacingSpanner}, is score wide, so its properties
+must be overriden from the @code{\paper} block, e.g.
+@example
+\paper @{ \translator @{
+ \ScoreContext
+ SpacingSpanner \override #'spacing-increment = #3.0
+@} @}
+@end example
+
+
+@seealso
+@internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
+@internalsref{StaffSpacing}, @internalsref{SeparationItem},
+@internalsref{SeparatingGroupSpanner}.
@refbugs
Spacing is determined on a score wide basis. If you have a score that
-changes its character (measured in durations) half way during the
+changes its character (measured in durations) halfway during the
score, the part containing the longer durations will be spaced too
widely.
\context Staff = down { [c8 c \translator Staff=up <<c d>> c
\translator Staff=down c c c] }
>
- \paper { linewidth = -1 }
+ \paper { raggedright = ##t }
}
@end lilypond
-@c . {Font size}
+
+
@node Font Size
@subsection Font size
@cindex font size, setting
details, see the file @file{scm/font.scm}.
-@c . {Line break}
+
@node Line breaking
@subsection Line breaking
similar density.
Occasionally you might want to override the automatic breaks; you can
-do this by specifying @code{\break}. This will force a line break at
+do this by specifying @code{\break}. This will force a line break at
this point. Line breaks can only occur at places where there are bar
lines. If you want to have a line break where there is no bar line,
you can force an invisible bar line by entering @code{\bar
This makes the following 28 measures (assuming 4/4 time) be broken every
4 measures.
+@seealso
+
+@internalsref{BreakEvent}
+
+
@node Page layout
@subsection Page layout
The most basic settings influencing the spacing are @code{indent} and
@code{linewidth}. They are set in the @code{\paper} block. They
control the indentation of the first line of music, and the lengths of
-the lines. If @code{linewidth} set to a negative value, a single
-unjustified line is produced. A similar effect for scores that are
-longer than one line, can be produced by setting @code{raggedright} to
-true in the @code{\paper} block.
+the lines.
+
+If @code{raggedright} is set to true in the @code{\paper}
+block, then the lines are justified at their natural length. This
+useful for short fragments, and for checking how tight the natural
+spacing is.
@cindex page layout
+@cindex vertical spacing
The page layout process happens outside lilypond. Ly2dvi sets page
layout instructions. Ly2dvi responds to the following variables in the
-@c . {Sound}
+
@node Sound
@section Sound
@cindex Sound
* MIDI instrument names::
@end menu
-@c . {MIDI block}
+
@node MIDI block
@subsection MIDI block
@cindex MIDI block
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