@c FIXME: singular vs. plural: Beams/Beam
-
-
-
-
-
@node Reference Manual
@chapter Reference Manual
* Tablatures::
* Chords::
* Writing parts::
-* Ancient notation::
-* Contemporary notation::
+* Ancient notation ::
+* Contemporary notation::
* Tuning output::
* Global layout::
* Sound::
c' c'' es' g' as' gisis' ais'
@end lilypond
+
+@seealso
+
+@internalsref{NoteEvent}, @internalsref{NoteHead}
+
@node Chromatic alterations
@subsection Chromatic alterations
a'4\rest d'4\rest
@end lilypond
+@internalsref{RestEvent}, @internalsref{Rest}
@c FIXME: naming.
The skip command is merely an empty musical placeholder. It does not
produce any output, not even transparent output.
+@seealso
+
+@internalsref{SkipEvent}
@seealso
-@seeinternals{Tie}, @ref{Automatic note splitting}. If you want less
-ties created for a chord, see @inputfileref{input/test/,tie-sparse.ly}.
+@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
@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]
\score{
@section Easier music entry
@cindex Music entry
@menu
-* Graphical interfaces::
* Relative octaves::
* Bar check::
-* Point and click::
* Skipping corrected music::
@end menu
@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
@code{\phrygian}, and @code{\dorian} are also defined.
-@seealso
-
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}
@seealso
-The object for this symbol is @internalsref{Clef}.
+The object for this symbol is @internalsref{Clef}.
\time 2/4 c'2 \time 3/4 c'2.
@end lilypond
-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.
+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.
+
This command sets the property @code{timeSignatureFraction},
@code{beatLength} and @code{measureLength} in the @code{Timing}
a4. g4
}
\paper {
- linewidth = -1.0
+ raggedright = ##t
\translator { \StaffContext
\consists "Measure_grouping_engraver"
}}}
@seealso
-The object for this symbol is @internalsref{TimeSignature}. There are
-many more options for its layout. See
-@inputfileref{input/test,time.ly} for more examples.
+@internalsref{TimeSignature}, @internalsref{Timing_engraver}.
+
@refbugs
@cindex repeatCommands
@cindex defaultBarType
+You are encouraged to use @code{\repeat} for repetitions. See
+@ref{Repeats}.
+
+
@seealso
-You are encouraged to use @code{\repeat} for repetitions. See
-@ref{Repeats}.
+@ref{Repeats}, @internalsref{RepeatedMusic},
+@internalsref{VoltaRepeatedMusic},
+@internalsref{UnfoldedRepeatedMusic}
+@internalsref{TremoloRepeteadMusic},
+@internalsref{FoldedRepeatedMusic}.
+
-The bar line objects that are created at @internalsref{Staff} are
-called @internalsref{BarLine}, the bar lines that span staffs are
+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.
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}.
+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
@seealso
-@internalsref{Accidental_engraver},
+@internalsref{Accidental_engraver}, @internalsref{Accidental},
+@internalsref{AccidentalPlacement}.
@refbugs
@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-)
<<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
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}.
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
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,
-
-@example
- \property Voice.BreathingSign \override #'text = #"scripts-rvarcomma"
- \breathe
-@end example
-
-gives the following result:
-
-@lilypond[fragment,relative]
+@lilypond[fragment,verbatim,relative]
c'4
\property Voice.BreathingSign \override #'text = #"scripts-rvarcomma"
\breathe
d4
@end lilypond
-The default value for the @code{text} property is
-@code{scripts-rcomma}.
+@seealso
+
+@internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
+@inputfileref{input/regression,breathing-sign.ly}.
@node 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
+@refbugs
+
+Bracket endings should be angled/slanted. (TODO)
+
+
@node Ornaments
@section Ornaments
@cindex Ornaments
+
+[TODO: ornaments vs. expressive marks]
+
@menu
* Articulations::
* Text scripts::
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
@cindex coda
@cindex varcoda
-@lilypond[]
- \score {
- <
- \property Score.LyricText \override #'font-family = #'typewriter
- \property Score.LyricText \override #'font-shape = #'upright
- \context Staff \notes {
- \property Score.timing = ##f
- \property Score.barAlways = ##t
- \property Staff.BarLine \override #'transparent = ##t
- c''-\accent c''-\marcato c''-\staccatissimo
- c''-\staccato c''-\tenuto c''-\portato
- c''-\upbow c''-\downbow c''-\flageolet
- c''-\thumb c''^\lheel c''-\rheel
- c''^\ltoe c''-\rtoe c''-\open
- c''-\stopped c''-\turn 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''-\signumcongruentiae c''-\shortfermata c''-\fermata
- c''-\longfermata c''-\verylongfermata c''-\segno
- c''-\coda c''-\varcoda
- }
- \context Lyrics \lyrics {
- accent__ marcato__ staccatissimo__
- staccato__ tenuto__ portato__
- upbow__ downbow__ flageolet__
- thumb__ lheel__ rheel__
- ltoe__ rtoe__ open__
- stopped__ turn__ reverseturn__
- trill__ prall__ mordent__
- prallprall__ prallmordent__ uprall__
- downprall__ upmordent__ downmordent__
- pralldown__ prallup__ lineprall__
- signumcongruentiae__ shortfermata__ fermata__
- longfermata__ verylongfermata__ segno__
- coda__ varcoda__
- }
- >
- \paper {
- linewidth = 5.1\in
- indent = 0.0\mm
- }
- }
-@end lilypond
+@lilypondfile[notexidoc]{script-chart.ly}
@cindex fingering
@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
-@inputfileref{input/test,script-horizontal.ly}.
-
-
@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 }
avoided because it makes it impossible for LilyPond to compute the
exact length of the string, which may lead to collisions. Also, @TeX{}
commands will not work with direct PostScript output.
-@c (see @ref{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}.
@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
@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
-@refbugs
+@seealso
+
+@internalsref{Glissando}, @internalsref{GlissandoEvent}.
-Printing of an additional text (such as @emph{gliss.}) must be done
-manually. See also @seeinternals{Glissando}.
+@refbugs
+Printing of an additional text (such as @emph{gliss.}) must be done
+manually.
@node Dynamics
@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}
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
@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 do not 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 @inputfileref{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:
+@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 }
}
@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
-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 want 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.
@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
it reaches the stem in the upper stave, or vice versa. An example is
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
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
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
@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
@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
@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'
}
@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.
-
-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.
+ 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}.
-(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.
+@refbugs
-@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.
-
-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.
-
-@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
+As tablature is a recent feature, most of the guitar special effects
+such as bend are not yet supported.
@node 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
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]
- es4. d8 c2
+@lilypond[fragment,verbatim,quote, relative=1]
+\chords { es4. d8 c2 }
@end lilypond
-is the notation for an E-flat major chord.
-
@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
+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
supported
@table @code
@item m
- Minor chord. Lowers the 3rd and (if present) the 7th step.
+ is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
@item dim
- Diminished chord. Lowers the 3rd, 5th and (if present) the 7th step
+ is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
+ the 7th step
@item aug
- Augmented chord. Raises the 5th step.
+ is the augmented chord. This modifier raises the 5th step.
@item maj
- Major 7th chord. Raises the 7th step, if present.
+ is the major 7th chord. This modifier raises the 7th step if present.
@item sus
- 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.
+ 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 { c1 c/+g c/+f }
@end lilypond
-The chords mode 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 spaces, and @code{\property} to
-change various settings.
+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.
and subtractions, so articulation scripts can not be entered.
-
-
-
-
-@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 is 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:
-
-@lilypond[verbatim,center,singleline]
-scheme = \notes {
- <<c' e' g'>>1
- <<e' g' c''>>
- <<e e' g' c''>>
-}
-
-\score {
- <
- \context ChordNames \scheme
- \context Staff \scheme
- >
-}
-@end lilypond
-
The default chord name layout is a system for Jazz music, proposed by
Klaus Ignatzek (See @ref{Literature}).
@table @code
@item chordNameExceptions
This is a list that contains the chords that have special formatting.
-For example.
-@lilypond[verbatim,singleline]
-chExceptionMusic = \notes { <<c f g bes>>1-\markup { \super "7" "wahh" }}
-chExceptions = #(append
- (sequential-music-to-chord-exceptions chExceptionMusic)
- ignatzekExceptions)
-
-\score { \context ChordNames
- \chords {
- c:7sus4 c:dim7
- \property ChordNames.chordNameExceptions = #chExceptions
- c:7sus4 c:dim7 } }
-@end lilypond
-
-Putting the exceptions list encoded as
-@example
- \notes @{ <<c f g bes>>1-\markup @{ \super "7" "wahh" @} @}
-@end example
-into the property takes a little manoeuvring. The following code
-transforms @code{chExceptionMusic} (which is a sequential music)
-into a list of exceptions.
-@example
- (sequential-music-to-chord-exceptions chExceptionMusic)
-@end example
-Then,
-@example
-#(append
- ... ignatzekExceptions)
-@end example
-adds the new exceptions to the default ones, which are defined in
-@file{ly/chord-modifier-init.ly}.
+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}. The following uses another popular shorthand.
-@lilypond[fragment,verbatim]
-\context ChordNames \chords {
- c:7
- \property ChordNames.majorSevenSymbol = \markup { "j7" }
- c:7 }
-@end lilypond
+@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
@lilypond[fragment,verbatim]
\context ChordNames \chords {
c:7sus4
- \property ChordNames.chordNameSeparator = \markup { "|" }
+ \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.
+
+@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.
+
@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.
@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
-@inputfileref{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 \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]
-\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]
-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}
+
+
+@seealso
-See also @seeinternals{BarNumber}.
+@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}.
@node Multi measure rests
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*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.
+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.
-[ add note about breves.]
@cindex text on multi-measure rest
@cindex whole rests for a full measure
-The object for this object is @internalsref{MultiMeasureRest},
-@internalsref{MultiMeasureRestNumber} (for the default number), and
-@internalsref{MultiMeasureRestText} (for user specified texts).
+@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
@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.
+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
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 @internalsref{Thread_devnull_engraver} and
-@internalsref{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 lilypond
-For @internalsref{Lyrics}, @internalsref{LyricsVoice},
-@internalsref{ChordNames} and @internalsref{FiguredBass}, hara-kiri is
-switched on by default.
-
@node Sound output for transposing instruments
@subsection Sound output for transposing instruments
@cindex Petrucci
@cindex mensural
+[TODO: write introduction on ancient notation]
+
@menu
-* Ancient note heads::
-* Ancient clefs::
-* Custodes::
-* Divisiones::
-* Ligatures::
-* Figured bass::
+* 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
@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]
-\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
-Staff context when declaring the @code{\paper} block, as shown in the
-following example. In the @code{\paper} block, you can also globally
-control the appearance of the custos symbol by setting the custos
-@code{style} property.
+
+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:
-
-@example
-\notes @{
- \property Staff.Custos \override #'style = #'vaticana
- c'1 d' e' d' \break c' d' e' d'
-@}
-@end example
-
-Currently, the following styles are supported:
+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:
-@lilypond[26pt]
+@lilypond
\score {
\notes {
\fatText
s
- ^\markup { "vaticana" }
- ^\markup { \musicglyph #"custodes-vaticana-u0" }
- s
- ^\markup { "medicaea" }
- ^\markup { \musicglyph #"custodes-medicaea-u0" }
- s
- ^\markup { "hufnagel" }
- ^\markup { \musicglyph #"custodes-hufnagel-u0" }
- s
- ^\markup { "mensural" }
- ^\markup { \musicglyph #"custodes-mensural-u0" }
+ ^\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 {
- linewidth = -1.0
+ raggedright = ##t
interscoreline = 1
\translator {
\ScoreContext
\remove "Bar_number_engraver"
- TextScript \override #'extra-X-extent = #'(-1 . 1)
}
\translator{
\StaffContext
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 the pitch of the custos,
-i.e. depending on the glyph being typeset either on a staffline or
-between two 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.
+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
upwards. Other values such as @code{0} are reserved for future
extensions and should not be used.
-Example:
+@seealso
-@example
-\notes @{
- \property Staff.Custos \set #'neutral-position = #4
- \property Staff.Custos \set #'neutral-direction = #-1
- \property Staff.Custos \set #'adjust-if-on-staffline = ##t
- ...
+@internalsref{Custos}, @inputfileref{input/test,custos-style.ly} and
+@inputfileref{input/regression,custos.ly}.
-@}
-@end example
@node Divisiones
@subsection Divisiones
a chant, but is also frequently used within a single
antiphonal/responsorial chant to mark the end of each section.
-To use divisiones, just include the file @code{gregorian-init.ly}. It
+@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 into your lilypond files.
+@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}.
-@lilypond[verbatim]
-\include "gregorian-init.ly"
-\score {
- \notes {
- \context Staff = staff \addlyrics \notes \transpose c c' {
- \property Score.timing = ##f
- \property Score.barAlways = ##t
- \property Staff.BarLine \override #'transparent = ##t
- \property Voice.Stem \override #'transparent = ##t
- g4( )a g e( )f e
- ^\markup { "divisio minima" }
- \divisiominima
- g4( )a g e( )f e
- ^\markup { "divisio maior" }
- \divisiomaior
- g4( )a g e( )f e
- ^\markup { "divisio maxima" }
- \divisiomaxima
- g4( )a g e( )f e
- ^\markup { "finalis" }
- \finalis
- g4( )a g e( )f e
- }
- \context Lyrics = lyrics \lyrics {
- Blah blub, blah blam.
- Blah blub, blah blam.
- Blah blub, blah blam.
- Blah blub, blah blam.
- Blah blub, blah blam.
- }
- }
-}
-@end lilypond
-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}
-@lilypond[verbatim]
-\include "gregorian-init.ly"
-\score {
- \notes {
- \context Staff = staff \addlyrics \notes \transpose c c' {
- \property Score.timing = ##f
- \property Score.barAlways = ##t
- \property Staff.BarLine \override #'transparent = ##t
- \property Voice.Stem \override #'transparent = ##t
- g4( )a g e( )f e
- ^\markup { "virgula" }
- \virgula
- g4( )a g e( )f e
- ^\markup { "caesura" }
- \caesura
- g4( )a g e( )f e
- }
- \context Lyrics = lyrics \lyrics {
- Blah blub, blah blam.
- Blah blub, blah blam.
- Blah blub, blah blam.
- }
- }
-}
-@end lilypond
+@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]
@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 internally. You can use any
-of the markup text properties to override formatting. For example, the
+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.
+
@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::
-* Fermatas::
+* 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.
+
+@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.
-@lilypond[singleline,verbatim]
-\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
- }
- }
- >
-}
-@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}.
@node Fermatas
@subsection Fermatas
@cindex fermatas
-Currently, lilypond supports the following fermata symbols that are
-frequently used in contemporary music notation:
+The following fermata symbols, that are frequently used in contemporary
+music notation, are supported
-@lilypond[singleline,verbatim]
+@lilypond[singleline]
\score {
\notes {
\fatText
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
+@node Tuning per object
+@subsection Tuning per object
-@cindex object description
+@cindex \once
+Tuning a single object is most often done with @code{\once \property}. The
+form,
+@example
+ \once \property @dots{}
+@end example
+@c
+@c
-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.
-@lilypond[verbatim, fragment,quote]
-c'4 \property Voice.NoteHead = #'() c'4
-@end lilypond
-This mechanism is fairly crude, since you can only set, but not modify,
-the definition of an object. Also, it will thoroughly confuse LilyPond.
+
+
+@node Tuning objects
+@subsection Tuning objects
+
+@cindex object description
The definition of an object is actually a list of default object
properties. For example, the definition of the Stem object (available
@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,quote]
-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 is 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,quote]
-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:
+@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 @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
@cindex 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
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,
+@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 { "9/7+" }}
+ 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.
@table @code
@item \bracket, \hbracket
- Bracket the argument markup.
+ Bracket the argument markup with normal and horizontal brackets
+respectively.
@item \musicglyph
@cindex \musicglyph
c1^\markup { \line << a b c >> }
@end lilypond
-
-
The markup mechanism is very flexible and extensible. Refer to
@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
@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
\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
+
@node Font Size
@subsection Font size
@cindex font size, setting
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
projects / lilypond.git / blobdiff