* Tablatures::
* Chord names::
* Orchestral music::
-* Ancient notation ::
+* Ancient notation::
* Contemporary notation::
+* Special notation::
* Tuning output::
* Global layout::
* Sound::
* Stems::
* Ties::
* Tuplets::
-* Easy Notation note heads ::
@end menu
Half-flats and half-sharps are formed by adding @code{-eh} and
@code{-ih}; the following is a series of Cs with increasing pitches:
+@cindex quarter tones
+@cindex semi-flats, semi-sharps
+
@lilypond[verbatim,relative 2]
ceses4
ceseh
@seealso
-@noindent
-
-bla
-
-@internalsref{NoteEvent}, and @internalsref{NoteHead}.
+Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
@node Chromatic alterations
@subsection Chromatic alterations
articulations, just like simple notes.
-@node Rests
+@node Rests
@subsection Rests
@cindex Rests
@seealso
-@internalsref{RestEvent}, and @internalsref{Rest}.
+Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
@c FIXME: naming.
@seealso
-@internalsref{SkipEvent}.
+Internals: @internalsref{SkipEvent}.
@seealso
-@internalsref{Dots}, and @internalsref{DotColumn}.
-
-@refbugs
-
-In dense chords, dots can overlap.
+Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
@node Stems
@subsection Stems
@seealso
-@internalsref{TieEvent}, @internalsref{NewTieEvent},
-@internalsref{Tie}, and @ref{Automatic note splitting}.
+In this manual: @ref{Automatic note splitting}.
-If you want less
-ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
+Internals: @internalsref{TieEvent}, @internalsref{NewTieEvent},
+@internalsref{Tie}
-@refbugs
+Examples: if you want less ties created for a chord, see
+@inputfileref{input/test,tie-sparse.ly}.
-Tieing only a subset of the note heads of a pair of chords is not
-supported in a simple way.
+For tying only a subset of the note heads of a pair of chords, see
+@inputfileref{input/regression,tie-chord-partial.ly}.
+
+@refbugs
-@ignore
-It can be achieved by moving the
-tie-engraver into the @internalsref{Thread} context and turning on and
-off ties per @internalsref{Thread}.
-@end ignore
Switching staves when a tie is active will not produce a slanted tie.
@seealso
-@internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
+Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
+
+Examples: @inputfileref{input/regression,tuplet-nest.ly}.
@refbugs
Nested tuplets are not formatted automatically. In this case, outer
-tuplet brackets should be moved manually.
-
-@node Easy Notation note heads
-@subsection Easy Notation note heads
-
-@cindex easy notation
-@cindex Hal Leonard
-
-The `easy play' note head includes a note name inside the head. It is
-used in music aimed at beginners:
-
-@lilypond[singleline,verbatim,26pt]
-\score {
- \notes { c'2 e'4 f' | g'1 }
- \paper { \translator { \EasyNotation } }
-}
-@end lilypond
-
-The @code{EasyNotation} variable overrides a @internalsref{Score} context.
-You probably will want to print it with magnification or a
-large font size to make it more readable. To print with
-magnification, you must create a DVI file (with @file{lilypond}) and
-then enlarge it with something like @file{dvips -x 2000 file.dvi}.
-See the @code{dvips} documentation for more details. To print with a
-larger font, see @ref{Font Size}.
-
-
-@cindex Xdvi
-@cindex ghostscript
+tuplet brackets should be moved manually, which is demonstrated in
+@inputfileref{input/regression,tuplet-nest.ly}.
-If you view the result with Xdvi, then staff lines will show through
-the letters. Printing the PostScript file obtained does produce the
-correct result.
@node Easier music entry
* Octave check::
* Bar check::
* Skipping corrected music::
-* Automatic note splitting ::
+* Automatic note splitting::
@end menu
@subsection Octave check
-Octave checks make octave errors easier to correct.
-The syntax is
+Octave checks make octave errors easier to correct: a note may be
+followed by @code{=}@var{quotes} which indicates what its absolute
+octave should be. In the following example,
+@example
+ \relative c'' @{ c='' b=' d,='' @}
+@end example
+
+@noindent
+@c take care with @code, adds confusing quotes.
+the d will generate a warning, because a d'' is expected, but a d' is
+found. In the output, the octave is corrected this and the following
+notes.
+
+
+
+There is also a syntax that is separate from the notes.
@example
\octave @var{pitch}
@end example
}
@end lilypond
-
-
@node Bar check
@subsection Bar check
@cindex Bar check
\time 3/4 c2 e4 | g2 |
@end example
+Bar checks can also be used in lyrics, for example
+
+@example
+ \lyrics @{
+ \time 2/4
+ Twin -- kle | Twin -- kle
+ @}
+@end example
@cindex skipTypesetting
c d b bes a g c2 }
@end lilypond
-@node Automatic note splitting
+@node Automatic note splitting
@subsection Automatic note splitting
Long notes can be converted automatically to tied notes. This is done
@cindex thickness of staff lines, setting
@cindex number of staff lines, setting
-This object is created whenever a @internalsref{Staff} context is
-created. The appearance of the staff symbol cannot be changed by
-using @code{\override} or @code{\set}. At the moment that
-@code{\property Staff} is interpreted, a @internalsref{Staff} context
-is made, and the @internalsref{StaffSymbol} is created before any
-@code{\override} is effective. Properties can be changed in a
-@code{\translator} definition, or by using @code{\outputproperty}.
+@seealso
+
+Internals: @internalsref{StaffSymbol},
+
+Examples: @inputfileref{input/test,staff-lines.ly},
+@inputfileref{input/test,staff-size.ly}
@refbugs
@seealso
-@internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
+Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
@cindex @code{keySignature}
@seealso
-The object for this symbol is @internalsref{Clef}.
+Internals: the object for this symbol is @internalsref{Clef}.
a b }
@end lilypond
-Internally the @code{set-octavation} function sets the properties
+The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
+(for 15ma) as arguments. Internally the function sets the properties
@code{ottavation} (eg. to @code{"8va"}) and
-@code{centralCPosition}. The function also takes arguments -1 (for 8va
-bassa) and 2 (for 15ma).
+@code{centralCPosition}. For overriding the text of the bracket, set
+@code{ottavation} after invoking @code{set-octavation}, i.e.,
+
+@example
+ #(set-octavation 1)
+ \property Staff.ottavation = #"8"
+@end example
+
+@seealso
-@internalsref{OttavaSpanner}.
+Internals: @internalsref{OttavaBracket}.
+
+Examples: @inputfileref{input/regression,ottava.ly},
+@inputfileref{input/regression,ottava-broken.ly}.
@refbugs
@seealso
-@internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
+Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
@refbugs
\bar ":|" c
\bar ".|" c
\bar ".|." c
-\bar "|."
+\bar ":|:" c
+\bar "|." c
+\bar ":" c
@end lilypond
For allowing linebreaks, there is a special command,
@example
@seealso
-@ref{Repeats}.
+In this manual: @ref{Repeats}.
-The bar line objects that are created at @internalsref{Staff} level
-are called @internalsref{BarLine}, the bar lines that span staves are
-@internalsref{SpanBar}s.
+Internals: the bar line objects that are created at
+@internalsref{Staff} level are called @internalsref{BarLine}, the bar
+lines that span staves are @internalsref{SpanBar}s.
@cindex bar lines at start of system
@cindex start of system
The barlines at the start of each system are
@internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
-@internalsref{SystemStartBracket}. They are spanner objects and
-typically must be tuned from a @code{\translator} block.
+@internalsref{SystemStartBracket}. Only one of these types is created
+in every context, and that type is determined by the property
+@code{systemStartDelimiter}.
+Examples: @inputfileref{input/test,bar-lines.ly},
@node Polyphony
@section Polyphony
}
@end lilypond
-The separator causes @internalsref{Voice} contexts to be
-instantiated. They
-bear the names @code{"1"}, @code{"2"}, etc. In each of these
-contexts, vertical direction of slurs, stems, etc. is set
+The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
+voices are sometimes called "layers" other notation packages}
+@cindex layers
+to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
+each of these contexts, vertical direction of slurs, stems, etc. is set
appropriately.
+@cindex @code{\voiceOne}
+@cindex @code{\voiceFour}
+
This can also be done by instantiating @internalsref{Voice} contexts
by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
a stem directions and horizontal shift for each part:
\new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
@end lilypond
+@noindent
+The command @code{\oneVoice} will revert back to the normal setting.
+@cindex @code{\oneVoice}
+
+
Normally, note heads with a different number of dots are not merged, but
when the object property @code{merge-differently-dotted} is set in
the @internalsref{NoteCollision} object, they are merged:
@cindex @code{\voiceFour}
@code{\voiceFour}.
+
The following commands specify in what chords of the current voice
should be shifted: the outer voice has @code{\shiftOff}, and the inner
voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
@seealso
-The objects responsible for resolving collisions are
-@internalsref{NoteCollision} and @internalsref{RestCollision}. See
-also example files @inputfileref{input/regression,collision-dots.ly},
+Internals: the objects responsible for resolving collisions are
+@internalsref{NoteCollision} and @internalsref{RestCollision}.
+
+Examples: 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
When using @code{merge-differently-headed} with an upstem 8th or a shorter
note, and a downstem half note, the 8th note gets the wrong offset.
+There is no support for clusters where the same note occurs with
+different accidentals in the same chord. In this case, it is
+recommended to use enharmonic transcription, or to use special cluster
+notation (see @ref{Clusters}).
+
@node Beaming
@section Beaming
@seealso
-@internalsref{Beam}.
+Internals: @internalsref{Beam}.
@cindex Automatic beams
@menu
-* Setting automatic beam behavior ::
+* Setting automatic beam behavior::
@end menu
@ignore
@end ignore
-@node Setting automatic beam behavior
+@node Setting automatic beam behavior
@subsection Setting automatic beam behavior
@cindex @code{autoBeamSettings}
@seealso
-@internalsref{Accidental_engraver}, @internalsref{Accidental}, and
-@internalsref{AccidentalPlacement}.
+Internals: @internalsref{Accidental_engraver},
+@internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
@refbugs
@c fingering?
@menu
-* Slurs ::
+* Slurs::
* Phrasing slurs::
* Breath marks::
* Metronome marks::
* Fingering instructions::
* Text scripts::
* Grace notes::
-* Glissando ::
+* Glissando::
* Dynamics::
@end menu
-@node Slurs
+@node Slurs
@subsection Slurs
@cindex Slurs
@seealso
-@seeinternals{Slur}, and @internalsref{SlurEvent}.
+Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
@refbugs
@seealso
-See also @internalsref{PhrasingSlur}, and
+Internals: see also @internalsref{PhrasingSlur}, and
@internalsref{PhrasingSlurEvent}.
@refbugs
@seealso
-@internalsref{BreathingSign}, @internalsref{BreathingSignEvent}, and
-@inputfileref{input/regression,breathing-sign.ly}.
+Internals: @internalsref{BreathingSign},
+@internalsref{BreathingSignEvent}
+
+Examples: @inputfileref{input/regression,breathing-sign.ly}.
@node Metronome marks
@seealso
-@internalsref{MetronomeChangeEvent}.
+Internals: @internalsref{MetronomeChangeEvent}.
@seealso
-@internalsref{TextSpanEvent},
-@internalsref{TextSpanner}, and
-@inputfileref{input/regression,text-spanner.ly}.
+Internals @internalsref{TextSpanEvent},
+@internalsref{TextSpanner}.
+
+Examples: @inputfileref{input/regression,text-spanner.ly}.
@node Analysis brackets
@seealso
-@internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent}, and
-@inputfileref{input/regression,note-group-bracket.ly}.
+Internals: @internalsref{HorizontalBracket},
+@internalsref{NoteGroupingEvent}
+
+Examples: @inputfileref{input/regression,note-group-bracket.ly}.
@node Articulations
@seealso
-@internalsref{ScriptEvent}, and @internalsref{Script}.
+Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
@refbugs
- These note ornaments appear in the printed output but have no
+These note ornaments appear in the printed output but have no
effect on the MIDI rendering of the music.
@seealso
-@internalsref{FingerEvent}, and @internalsref{Fingering}.
+Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
@node Text scripts
@subsection Text scripts
@cindex Text scripts
+@cindex text items, non-empty
+@cindex non-empty texts
+
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
be avoided because the exact dimensions of the string can then no
longer be computed.
+@refcommands
+
+@refcommand{fatText}, @refcommand{emptyText}.
+
@seealso
-@internalsref{TextScriptEvent}, @internalsref{TextScript}, and
-@ref{Text markup}.
+In this manual: @ref{Text markup}.
+
+Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}
+
@seealso
-@internalsref{GraceMusic}.
+Internals: @internalsref{GraceMusic}.
@refbugs
-Grace notes cannot be used in the smallest size (@file{paper11.ly}).
-
A score that starts with an @code{\grace} section needs an explicit
@code{\context Voice} declaration, otherwise the main note and grace
note end up on different staves.
expressions. Nesting or juxtaposing grace sections is not supported,
and might produce crashes or other errors.
-Overriding settings cannot be done in separate styles for appoggiatura
-and acciaccatura.
-
-@node Glissando
+@node Glissando
@subsection Glissando
@cindex Glissando
@seealso
-@internalsref{Glissando}, and @internalsref{GlissandoEvent}.
+Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
@refbugs
@seealso
-@internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
+Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
@internalsref{AbsoluteDynamicEvent}.
Dynamics are objects of @internalsref{DynamicText} and
@inputfileref{input,star-spangled-banner.ly}.
@end ignore
+@c tremolo, beamed
@item tremolo
Make tremolo beams.
@seealso
-@internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
+Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
@internalsref{VoltaRepeatedMusic},
@internalsref{UnfoldedRepeatedMusic}, and
@internalsref{FoldedRepeatedMusic}.
To place tremolo marks between notes, use @code{\repeat} with tremolo
style:
-@lilypond[verbatim,center,singleline]
+@lilypond[verbatim,singleline]
\score {
\context Voice \notes\relative c' {
\repeat "tremolo" 8 { c16 d16 }
\repeat "tremolo" 4 { c16 d16 }
\repeat "tremolo" 2 { c16 d16 }
- \repeat "tremolo" 4 c16
}
}
@end lilypond
-@seealso
+Tremolo marks can also be put on a single note. In this case, the
+note should not be surrounded by braces.
+@lilypond[verbatim,singleline]
+ \repeat "tremolo" 4 c16
+@end lilypond
+
+A similar mechanism is the tremolo subdivision, described in
+@ref{Tremolo subdivisions}.
-Tremolo beams are @internalsref{Beam} objects. Single stem tremolos
-are @internalsref{StemTremolo}s. The music expression is
-@internalsref{TremoloEvent}.
+@seealso
+In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
-@refbugs
+Internals: tremolo beams are @internalsref{Beam} objects. Single stem
+tremolos are @internalsref{StemTremolo}s. The music expression is
+@internalsref{TremoloEvent},
-The single stem tremolo must be entered without @code{@{} and
-@code{@}}.
+Example files: @inputfileref{input/regression,chord-tremolo.ly},
+@inputfileref{input/regression,stem-tremolo.ly}.
@node Tremolo subdivisions
@subsection Tremolo subdivisions
Tremolos in this style do not carry over into the MIDI output.
+@seealso
+
+In this manual: @ref{Tremolo repeats}.
+
+Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
@node Measure repeats
@subsection Measure repeats
@seealso
-@internalsref{RepeatSlash}, @internalsref{PercentRepeat},
+Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
@internalsref{PercentRepeatedMusic}, and
@internalsref{DoublePercentRepeat}.
}
@end lilypond
+@seealso
+
+Internals: @internalsref{RhythmicStaff}.
+
+Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
+
+
@menu
* Percussion staves::
* Percussion MIDI output::
@refbugs
-This scheme is a temporary implementation.
+
+Chords entered with @code{< @dots{} >} do not work. This scheme is a
+temporary implementation.
@node Piano music
There is no support for putting chords across staves. You can get
this result by increasing the length of the stem in the lower stave so
it reaches the stem in the upper stave, or vice versa. An example is
-included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
+included with the distribution as
+@inputfileref{input/test,stem-cross-staff.ly}.
Dynamics are not centered, but kludges do exist. See
@inputfileref{input/template,piano-dynamics.ly}.
@seealso
-@internalsref{AutoChangeMusic}.
+In this manual: @ref{Manual staff switches}
+
+Internals: @internalsref{AutoChangeMusic}.
+
+
@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
Voices can be switched between staves manually, using the following command:
@example
- \translator Staff = @var{staffname} @var{music}
+ \change Staff = @var{staffname} @var{music}
@end example
@noindent
@code{"down"}.
+
@node Pedals
@subsection Pedals
@cindex Pedals
@seealso
-@internalsref{ArpeggioEvent} music expressions lead to
+Internals: @internalsref{ArpeggioEvent} music expressions lead to
@internalsref{Arpeggio} objects. Cross staff arpeggios are
@internalsref{PianoStaff}.@internalsref{Arpeggio}.
It is not possible to mix connected arpeggios and unconnected
arpeggios in one @internalsref{PianoStaff} at the same time.
-@node Staff switch lines
+@node Staff switch lines
@subsection Staff switch lines
\property PianoStaff.followVoice = ##t
\context Staff \context Voice {
c1
- \translator Staff=two
+ \change Staff=two
b2 a
}
\context Staff=two { \clef bass \skip 1*2 }
@seealso
-@internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
+Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
@internalsref{ExtenderEvent}.
@refbugs
@node The Lyrics context
@subsection The Lyrics context
-Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
+Lyrics are printed by interpreting them in @internalsref{LyricsVoice} context:
@example
- \context Lyrics \lyrics @dots{}
+ \context LyricsVoice \lyrics @dots{}
@end example
@cindex automatic syllable durations
-@cindex @code{\addlyrics}
+@cindex @code{\lyricsto}
@cindex lyrics and melodies
This will place the lyrics according to the durations that were
entered. The lyrics can also be aligned under a given melody
automatically. In this case, it is no longer necessary to enter the
correct duration for each syllable. This is achieved by combining the
-melody and the lyrics with the @code{\addlyrics} expression:
+melody and the lyrics with the @code{\lyricsto} expression:
@example
-\addlyrics
- \notes @dots{}
- \context Lyrics @dots{}
+\lyricsto @var{name} \new LyricsVoice @dots{}
@end example
-@cindex staff order, with @code{\addlyrics}
+This aligns the lyrics to the notes of the @internalsref{Voice}
+context called @var{name}, which has to exist. Therefore, normally
+the @code{Voice} is specified first, and then the lyrics are specified
+with @code{\lyricsto}.
-Normally, this will put the lyrics below the staff. For different or
-more complex orderings, the best way is to setup the hierarchy of
-staves and lyrics first, e.g.
+For different or more complex orderings, the best way is to setup the
+hierarchy of staves and lyrics first, e.g.
@example
\context ChoirStaff \notes <<
- \context Lyrics = sopr @{ s1 @}
- \context Staff = soprStaff @{ s1 @}
- \context Lyrics = tenor @{ s1 @}
- \context Staff = tenorStaff @{ s1 @}
+ \context LyricsVoice = sopranoLyrics @{ s1 @}
+ \context Voice = soprano @{ @emph{music} @}
+ \context LyricsVoice = tenor @{ s1 @}
+ \context Voice = tenorLyrics @{ @emph{music} @}
>>
@end example
and then combine the appropriate melodies and lyric lines:
@example
- \addlyrics
- \context Staff = soprStaff @emph{the music}
- \context Lyrics = sopr @emph{the lyrics}
+ \lyricsto "soprano" \new LyricsVoice @emph{the lyrics}
@end example
-putting both together, you would get
-@example
-\context ChoirStaff \notes <<
- \context Lyrics = @dots{}
- \context Staff = @dots{}
- \addlyrics @dots{}
->>
-@end example
+An example is in @inputfileref{input/template,satb.ly}.
+
+When multiple stanzas are put on the same melody, it can happen that
+two stanzas have melismata in different locations. This can be
+remedied by switching off melismata for one
+@internalsref{LyricsVoice}. This is achieved by setting
+the @code{ignoreMelismata} property to @code{#t}. An example is shown
+in @inputfileref{input/regression,lyric-combine-new.ly}.
+
@cindex SATB
@cindex choral score
@seealso
-@internalsref{LyricCombineMusic}, @internalsref{Lyrics}, and
-@inputfileref{input/template,satb.ly}.
+Internals: @internalsref{LyricCombineMusic}, @internalsref{Lyrics}
+Examples: @inputfileref{input/template,satb.ly},
+@inputfileref{input/regression,lyric-combine-new.ly}.
+
@refbugs
-@code{\addlyrics} is not automatic enough: melismata are not detected
-automatically, and melismata are not stopped when they hit a rest. A
-melisma on the last note in a melody is not printed.
+Melismata are not detected automatically, and must be inserted by hand.
@node More stanzas
@subsection More stanzas
-
@cindex phrasing, in lyrics
-When multiple stanzas are printed underneath each other, the vertical
-groups of syllables should be aligned around punctuation. This can be
-done automatically when corresponding lyric lines and melodies are
-marked.
+
+The lyrics should be aligned with the note heads of the melody. To
+achieve this, each line of lyrics should be marked to correspond with
+the melodic line.
To this end, give the @internalsref{Voice} context an identity:
@example
\context LyricsVoice = "duet-2" @{
Ooooo, ch\'e -- ri, je t'aime. @}
@end example
-The convention for naming @internalsref{LyricsVoice} and
-@internalsref{Voice} must also be used to get melismata correct in
-conjunction with rests.
The complete example is shown here:
@lilypond[singleline,verbatim]
\score {
-\addlyrics
- \notes \relative c'' \context Voice = duet { \time 3/4
+ << \notes \relative c'' \context Voice = duet { \time 3/4
g2 e4 a2 f4 g2. }
- \lyrics \context Lyrics <<
- \context LyricsVoice = "duet-1" {
- \property LyricsVoice . stanza = "Bert"
- Hi, my name is bert. }
- \context LyricsVoice = "duet-2" {
- \property LyricsVoice . stanza = "Ernie"
+ \lyrics << \lyricsto "duet" \new LyricsVoice {
+ \property LyricsVoice . stanza = "1"
+ Hi, my name is bert. }
+ \lyricsto "duet" \new LyricsVoice {
+ \property LyricsVoice . stanza = "2"
Ooooo, ch\'e -- ri, je t'aime. }
- >>
+ >> >>
}
@end lilypond
-Stanza numbers, or the names of the singers can be added by setting
-@code{LyricsVoice.Stanza} (for the first system) and
-@code{LyricsVoice.stz} for the following systems. Notice how dots are
-surrounded with spaces in @code{\lyrics} mode:
+@cindex stanza number
+@cindex singer's names
+@cindex name of singer
+
+Stanza numbers can be added by setting @code{LyricsVoice.stanza}, e.g.
@example
\property LyricsVoice . stanza = "Bert"
\property LyricsVoice . stanza = "Ernie"
@end example
+Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
+prevent @code{LyricsVoice.stanza} being interpreted as a single
+string.
+
+Names of the singers should be added using @code{LyricsVoice
+. instrument} and @code{LyricsVoice . instr}, analogous to instrument
+annotations for staves.
+
To make empty spaces in lyrics, use @code{\skip}.
@subsection Ambitus
@cindex ambitus
-The term @emph{ambitus} denotes a range of pitches for a given voice in
-a part of music. It also may denote the pitch range that a musical
-instrument is capable of playing. Most musical instruments have their
-ambitus standardized (or at least there is agreement upon the minimal
-ambitus of a particular type of instrument), such that a composer or
-arranger of a piece of music can easily meet the ambitus constraints of
-the targeted instrument. However, the ambitus of the human voice
-depends on individual physiological state, including education and
-training of the voice. Therefore, a singer potentially has to check for
-each piece of music if the ambitus of that piece meets his individual
-capabilities. This is why the ambitus of a piece may be of particular
-value to vocal performers.
+The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
+for a given voice in a part of music. It also may denote the pitch
+range that a musical instrument is capable of playing. Most musical
+instruments have their ambitus standardized (or at least there is
+agreement upon the minimal ambitus of a particular type of
+instrument), such that a composer or arranger of a piece of music can
+easily meet the ambitus constraints of the targeted instrument.
+However, the ambitus of the human voice depends on individual
+physiological state, including education and training of the voice.
+Therefore, a singer potentially has to check for each piece of music
+if the ambitus of that piece meets his individual capabilities. This
+is why the ambitus of a piece may be of particular value to vocal
+performers.
The ambitus is typically notated on a per-voice basis at the very
beginning of a piece, e.g. nearby the initial clef or time signature of
@internalsref{Ambitus_engraver} to the @internalsref{Staff} context
rather than to the @internalsref{Voice} context.
-It is possible to tune individual ambiti for multiple voices on a
+It is possible to tune individual ambituses for multiple voices on a
single staff, for example by erasing or shifting them horizontally. An
example is in @inputfileref{input/test,ambitus-mixed.ly}
@seealso
-@internalsref{Ambitus}, @inputfileref{input/regression,ambitus.ly},
+Internals: @internalsref{Ambitus}
+
+Examples: @inputfileref{input/regression,ambitus.ly},
@inputfileref{input/test,ambitus-mixed.ly}.
@refbugs
}
@end lilypond
+@cindex minimumFret
+
When no string is specified, the first string that does not give a
fret number less than @code{minimumFret} is selected. The default
value for @code{minimumFret} is 0:
@seealso
-@internalsref{TabStaff}, @internalsref{TabVoice}, and
+Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
@internalsref{StringNumberEvent}.
@refbugs
@cindex Non-guitar tablatures
You can change the number of strings, by setting the number of lines
-in the @internalsref{TabStaff} (the @code{line-count} property of
-@internalsref{TabStaff} can only be changed using
-@code{\outputproperty}, for more information, see @ref{Tuning
-objects}).
+in the @internalsref{TabStaff}.
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
@lilypond[fragment,verbatim]
\context TabStaff <<
-
- \outputproperty #(make-type-checker 'staff-symbol-interface)
- #'line-count = #4
\property TabStaff.stringTunings = #'(-5 -10 -15 -20)
\notes {
@seealso
-@inputfileref{input/regression,chord-name-major7.ly},
+Examples: @inputfileref{input/regression,chord-name-major7.ly},
@inputfileref{input/regression,chord-name-exceptions.ly},
@inputfileref{input/test,chord-names-jazz.ly},
-@inputfileref{input/test,chord-names-german.ly},
-@file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
+@inputfileref{input/test,chord-names-german.ly}.
+
+Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
@refbugs
To print a rehearsal mark, use the @code{\mark} command:
@lilypond[fragment,verbatim]
\relative c'' {
- c1 \mark "A"
- c1 \mark "B"
- c1 \mark "12"
- c1 \mark "13"
- c1
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark #8
+ c1 \mark \default
+ c1 \mark \default
}
@end lilypond
+@noindent
+(The letter I is skipped in accordance with engraving traditions.)
+
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.
+\default}, but you can also use an integer argument to set the mark
+manually. The value to use is stored in the property
+@code{rehearsalMark}.
+
+The style is defined by the property @code{markFormatter}. It is a
+function taking the current mark (an integer) and the current context
+as argument. It should return a markup object. In the following
+example, @code{markFormatter} is set to a canned procedure. After a
+few measures, it is set to function that produces a boxed number.
+
+@lilypond[verbatim,fragment,relative 1]
+ \property Score.markFormatter = #format-mark-numbers
+ c1 \mark \default
+ c1 \mark \default
+ \property Score.markFormatter
+ = #(lambda (mark context)
+ (make-bold-markup (make-box-markup (number->string mark))))
+ c1 \mark \default
+ c1 \mark \default
+@end lilypond
+
+The file @file{scm/translation-functions.scm} contains the definitions
+of @code{format-mark-numbers} (the default format) and
+@code{format-mark-letters}. They can be used as inspiration for other
+formatting functions.
+
+
+@cindex coda on bar line
+@cindex segno on bar line
+@cindex fermata on bar line
+@cindex bar lines, symbols on
The @code{\mark} command can also be used to put signs like coda,
segno and fermatas on a barline. Use @code{\markup} to
c1
@end lilypond
-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:
+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
@seealso
-@internalsref{MarkEvent}, @internalsref{RehearsalMark}, and
-@inputfileref{input/test,boxed-molecule.ly}.
+Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
+
+Init files: @file{scm/translation-functions.scm} contains the
+definition of @code{format-mark-numbers} and
+@code{format-mark-letters}. They can be used as inspiration for other
+formatting functions.
+
+Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
+@inputfileref{input/regression,rehearsal-mark-number.ly}.
@node Bar numbers
@seealso
-@internalsref{BarNumber},
-@inputfileref{input/test,bar-number-every-five-reset.ly}, and
-@inputfileref{input/test,bar-number-regular-interval.ly}.
+Internals: @internalsref{BarNumber}.
+
+Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
+and @inputfileref{input/test,bar-number-regular-interval.ly}.
@refbugs
@seealso
-@internalsref{InstrumentName}.
+Internals: @internalsref{InstrumentName}.
@refbugs
@end example
This means that @var{musicexpr} is transposed by the interval
-between @var{from} and @var{to}.
+between the pitches @var{from} and @var{to}.
+Since @var{from} and @var{to} are pitches, @code{\transpose} must be
+inside a @code{\notes} section.
@code{\transpose} distinguishes between enharmonic pitches: both
@code{\transpose c cis} or @code{\transpose c des} will transpose up
}}
@end lilypond
+
@seealso
-@internalsref{TransposedMusic}, and @internalsref{UntransposableMusic}.
+Internals: @internalsref{TransposedMusic}, and
+@internalsref{UntransposableMusic}.
@refbugs
-@node Multi measure rests
+@node Multi measure rests
@subsection Multi measure rests
@cindex multi measure rests
@cindex Rests, multi measure
R2.^\fermataMarkup
@end lilypond
+If you want to have a text on the left end of a multi-measure rest,
+attach the text to a zero-length skip note, i.e.
+
+@example
+ s1*0^"Allegro"
+ R1*4
+@end example
+
@cindex whole rests for a full measure
@seealso
-@internalsref{MultiMeasureRestEvent},
+Internals: @internalsref{MultiMeasureRestEvent},
@internalsref{MultiMeasureTextEvent},
@internalsref{MultiMeasureRestMusicGroup}, and
@internalsref{MultiMeasureRest}.
@seealso
-@internalsref{PartCombineMusic},
+Internals: @internalsref{PartCombineMusic},
@internalsref{Thread_devnull_engraver}, and
@internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
@seealso
-@inputfileref{input/regression,tag-filter.ly}
+Examples: @inputfileref{input/regression,tag-filter.ly}
@node Sound output for transposing instruments
@end example
-@node Ancient notation
+@node Ancient notation
@section Ancient notation
@cindex Vaticana, Editio
@seealso
-@inputfileref{input/regression,note-head-style.ly} gives an overview
-over all available note head styles.
-
+In this manual:
@ref{Percussion staves} use note head styles of their own that are
frequently used in contemporary music notation.
+Examples: @inputfileref{input/regression,note-head-style.ly} gives an
+overview over all available note head styles.
+
+
@node Ancient accidentals
@subsection Ancient accidentals
@seealso
-@ref{Pitches}, @ref{Chromatic alterations} and @ref{Accidentals} give
-a general introduction into the use of accidentals. @ref{Key
-signature} gives a general introduction into the use of key
-signatures.
+In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
+@ref{Accidentals} give a general introduction into the use of
+accidentals. @ref{Key signature} gives a general introduction into
+the use of key signatures.
+Internals: @internalsref{KeySignature}
+
+Examples: @inputfileref{input/test,ancient-accidentals.ly}.
@node Ancient rests
@subsection Ancient rests
@seealso
-@ref{Rests} gives a general introduction into the use of rests.
+In this manual: @ref{Rests} gives a general introduction into the use of rests.
@node Ancient clefs
Editio Vaticana style do clef @tab
@code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
@lilypond[relative 0, notime]
-\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
+ \property Staff.StaffSymbol \set #'line-count = #4
\property Staff.TimeSignature \set #'transparent = ##t
\clef "vaticana_do2" c
@end lilypond
Editio Vaticana style fa clef @tab
@code{vaticana_fa1}, @code{vaticana_fa2} @tab
@lilypond[relative 0, notime]
-\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
+ \property Staff.StaffSymbol \set #'line-count = #4
\property Staff.TimeSignature \set #'transparent = ##t
\clef "vaticana_fa2" c
@end lilypond
Editio Medicaea style do clef @tab
@code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
@lilypond[relative 0, notime]
-\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
+ \property Staff.StaffSymbol \set #'line-count = #4
\property Staff.TimeSignature \set #'transparent = ##t
\clef "medicaea_do2" c
@end lilypond
Editio Medicaea style fa clef @tab
@code{medicaea_fa1}, @code{medicaea_fa2} @tab
@lilypond[relative 0, notime]
-\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
+ \property Staff.StaffSymbol \set #'line-count = #4
\property Staff.TimeSignature \set #'transparent = ##t
\clef "medicaea_fa2" c
@end lilypond
historic style hufnagel do clef @tab
@code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
@lilypond[relative 0, notime]
-\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
+ \property Staff.StaffSymbol \set #'line-count = #4
\property Staff.TimeSignature \set #'transparent = ##t
\clef "hufnagel_do2" c
@end lilypond
historic style hufnagel fa clef @tab
@code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
@lilypond[relative 0, notime]
-\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
+ \property Staff.StaffSymbol \set #'line-count = #4
\property Staff.TimeSignature \set #'transparent = ##t
\clef "hufnagel_fa2" c
@end lilypond
@seealso
-For modern clefs, see @ref{Clef}. For the percussion clef, see
-@ref{Percussion staves}. For the @code{TAB} clef, see
-@ref{Tablatures}.
+In this manual: for the percussion clef, see @ref{Percussion staves}.
+For the @code{TAB} clef, see @ref{Tablatures}.
+
+Internals: for modern clefs, see @ref{Clef}.
+
@node Ancient flags
\property Score.timing = ##f
\property Score.barAlways = ##t
s_\markup { "$\\backslash$time 4/4" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural4/4" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
s
s_\markup { "$\\backslash$time 2/2" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural2/2" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
s
s_\markup { "$\\backslash$time 6/4" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural6/4" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
s
s_\markup { "$\\backslash$time 6/8" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural6/8" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
\break
s_\markup { "$\\backslash$time 3/2" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural3/2" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
s
s_\markup { "$\\backslash$time 3/4" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural3/4" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
s
s_\markup { "$\\backslash$time 9/4" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural9/4" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
s
s_\markup { "$\\backslash$time 9/8" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural9/8" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
\break
s_\markup { "$\\backslash$time 4/8" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural4/8" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
s
s_\markup { "$\\backslash$time 2/4" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural2/4" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
\break
}
\paper {
@seealso
-@ref{Time signature} gives a general introduction into the use of time
+Internals: @ref{Time signature} gives a general introduction into the use of time
signatures.
@refbugs
@seealso
-@internalsref{Custos} and @inputfileref{input/regression,custos.ly}.
+Internals: @internalsref{Custos}
+
+Examples: @inputfileref{input/regression,custos.ly}.
@node Divisiones
@seealso
-@internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
-@inputfileref{input/test,divisiones.ly}, and @ref{Breath marks}.
+In this manual: @ref{Breath marks}.
+
+Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
+
+Examples: @inputfileref{input/test,divisiones.ly}
@node Ligatures
@subsection Ligatures
@seealso
-@internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
+Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
and @internalsref{FiguredBass} context.
@refbugs
@lilypond[raggedright,verbatim,noindent]
\include "gregorian-init.ly"
\score {
- \addlyrics
+<<
\context VaticanaVoice {
\property Score.BarNumber \set #'transparent = ##t
\notes {
\[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
}
}
- \context Lyrics \lyrics {
+ \lyricsto "" \new LyricsVoice \lyrics {
San- ctus, San- ctus, San- ctus
- }
+ } >>
+
}
@end lilypond
@seealso
-@internalsref{ClusterSpanner}, @internalsref{ClusterSpannerBeacon},
-@inputfileref{input/regression,cluster.ly},
-@internalsref{Cluster_spanner_engraver}, and @internalsref{ClusterNoteEvent}.
+Internals: @internalsref{ClusterSpanner},
+@internalsref{ClusterSpannerBeacon},
+@internalsref{Cluster_spanner_engraver}, and
+@internalsref{ClusterNoteEvent}.
+
+Examples: @inputfileref{input/regression,cluster.ly}.
@refbugs
See @ref{Articulations} for general instructions how to apply scripts
such as fermatas to a @code{\notes@{@}} block.
+
+@node Special notation
+@section Special notation
+
+@menu
+* Balloon help::
+* Easy Notation note heads::
+@end menu
+
+@node Balloon help
+@subsection Balloon help
+
+Elements of notation can be marked and named with the help of a square
+balloon. The primary purpose of this feature is to explain notation.
+
+The following example demonstrates its use.
+
+@lilypond[verbatim,fragment,singleline,relative 1]
+ \context Voice
+ \applyoutput
+ #(add-balloon-text 'NoteHead "heads, or tails?"
+ '(1 . -3))
+ c8
+@end lilypond
+
+@noindent
+The function @code{add-balloon-text} takes the name of a grob, the
+label to print and where to put the label relative to the object. In
+the above example, the text ``heads or tails?'' ends 3 spaces below
+the `balloon.'
+
+@cindex balloon
+@cindex notation, explaining
+
+@seealso
+
+Internals: @internalsref{text-balloon-interface}
+
+Examples: @inputfileref{input/regression,balloon.ly}
+
+@node Easy Notation note heads
+@subsection Easy Notation note heads
+
+@cindex easy notation
+@cindex Hal Leonard
+
+The `easy play' note head includes a note name inside the head. It is
+used in music aimed at beginners:
+
+@lilypond[singleline,verbatim,26pt]
+\score {
+ \notes { c'2 e'4 f' | g'1 }
+ \paper { \translator { \EasyNotation } }
+}
+@end lilypond
+
+The @code{EasyNotation} variable overrides a @internalsref{Score}
+context. To make the letters readable, it has to be printed in a
+large font size. To print with a larger font, see @ref{Font Size}.
+
+@cindex Xdvi
+@cindex ghostscript
+
+If you view the result with Xdvi, then staff lines may show through
+the letters. Printing the PostScript file obtained does produce the
+correct result.
+
+
+
@node Tuning output
@section Tuning output
@example
\property Context.propertyName = @var{value}
@end example
+
Layout properties are use Scheme style variable naming, i.e. lower
case words separated with dashes. They are symbols, and should always
be quoted using @code{#'}. For example, this could be an imaginary
#'layout-property-name
@end example
+@seealso
+
+The introduction of the @ref{Technical manual} gives a more in-depth
+treatment of the difference between translation and layout.
+
@menu
-* Tuning objects ::
+* Tuning objects::
* Constructing a tweak::
* Applyoutput::
* Font selection::
-@node Tuning objects
+@node Tuning objects
@subsection Tuning objects
@cindex object description
@example
(thickness . 1.3)
- (beamed-lengths . (0.0 2.5 2.0 1.5))
+ (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
(Y-extent-callback . ,Stem::height)
@var{...}
@end example
@end example
@end itemize
- 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 push and pop
-operations. The association list is stored in a normal context
-property, hence
+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 push and pop operations. The
+association list is stored in a normal context property, hence
@example
\property Voice.NoteHead = #'()
@end example
@seealso
-@internalsref{OverrideProperty}, @internalsref{RevertProperty},
+Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
@internalsref{PropertySet}, @internalsref{All-backend-properties}, and
@internalsref{All-layout-objects}.
crashes. Reverting properties that are system defaults may also lead
to crashes.
+A property tweak of modifies a local copy of the object definition.
+After such a tweak, the definition is independent of the objects in
+enclosing contexts. For example
+
+@lilypond
+ \property Voice.Stem \set #'neutral-direction = #1
+ b'8
+ \property Staff.Stem \set #'thickness = #4.0
+ b'16
+ \new Voice { b'32 }
+@end lilypond
+
+In this fragment, @code{neutral-direction} is tweaked. As a result,
+the current @internalsref{Voice} gets a private version of the
+@internalsref{Stem} object. The following tweak modifies the
+definition at @internalsref{Staff} level. Since it a different
+definition, the thickness of the @code{b'16} is unaffected. For the
+third note, a new Voice is created, which inherits the new definition,
+including the changed thickness, but excluding the new neutral
+direction.
+
+
+
+@menu
+* Constructing a tweak::
+* Applyoutput::
+* Font selection::
+* Text markup::
+@end menu
+
@node Constructing a tweak
@subsection Constructing a tweak
@quotation
@seealso
-@internalsref{FingerEvent} and @internalsref{Fingering}.
+Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
@end quotation
@seealso
-The program reference also contains alphabetical lists of
+Internals: the program reference also contains alphabetical lists of
@internalsref{Contexts}, @internalsref{All-layout-objects} and
-@internalsref{Music-expressions}, so you can also find which objects to
-tweak by browsing the internals document.
+@internalsref{Music-expressions}, so you can also find which objects
+to tweak by browsing the internals document.
@node Applyoutput
The most common thing to change about the appearance of fonts is their
size. The font size of any context can be easily changed by setting
-the @code{fontSize} property for that context. Its value is an
-integer: negative numbers make the font smaller, positive numbers
-larger. An example is given below:
+the @code{fontSize} property for that context. Its value is a number:
+negative numbers make the font smaller, positive numbers larger. An
+example is given below:
@c
@lilypond[fragment,relative=1,verbatim,quote]
c4 c4 \property Voice.fontSize = #-1
f4 g4
@end lilypond
-This command will set @code{font-relative-size} (see below), and does
+This command will set @code{font-size} (see below), and does
not change the size of variable symbols, such as beams or slurs.
-
-One of the uses of @code{fontSize} is to get smaller symbol for cue
+One of the uses of @code{fontSize} is to get smaller symbols for cue
notes. 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
-@cindex symbol size
-@cindex glyph size
The font used for printing a object can be selected by setting
@code{font-name}, e.g.
@noindent
Any font can be used, as long as it is available to @TeX{}. Possible
fonts include foreign fonts or fonts that do not belong to the
-Computer Modern font family.
+Computer Modern font family. The size of fonts selected in this way
+can be changed with the @code{font-magnification} property. For
+example, @code{2.0} blows up all letters by a factor 2 in both
+directions.
+
+@cindex font size
+@cindex font magnification
Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
can also be adjusted with a more fine-grained mechanism. By setting
all three mechanisms work for every object that supports
@code{font-interface}:
+
@table @code
@item font-family
is a symbol indicating the general class of the typeface. Supported are
font series for each font family and shape. Choices are @code{medium}
and @code{bold}.
-@item font-relative-size
- is a number indicating the size relative the standard size. For example,
- 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 @code{font-relative-size} is preferred over
-@code{font-magnification} for changing font sizes.
-
-
-@item font-design-size
-is a number indicating the design size of the font.
-
-This is a feature of the Computer Modern Font: each point size has a
-slightly different design. Smaller design sizes are relatively wider,
-which enhances readability.
@end table
For any of these properties, the value @code{*} (i.e. the symbol
@cindex @code{font-style}
+The font size is set by modifying the @code{font-size} property. Its
+value is a number indicating the size relative to the standard size.
+Each step up is an increase of approximately 12% of the font size. Six
+steps is exactly a factor two. The Scheme function @code{magstep}
+converts a @code{font-size} number to a scaling factor.
+
+LilyPond has fonts in different design sizes: the music fonts for
+smaller sizes are chubbier, while the text fonts are relatively wider.
+Font size changes are achieved by scaling the design size that is
+closest to the desired size.
+
+The @code{font-size} mechanism does not work for fonts selected
+through @code{font-name}. These may be scaled with
+@code{font-magnification}.
+
@refcommands
The following commands set @code{fontSize} for the current voice.
@cindex @code{\normalsize}
@code{\normalsize},
-@refbugs
+@seealso
-Relative size is not linked to any real size.
+Init files: @file{ly/paper20.ly} contains hints how new fonts may be
+added to LilyPond.
+
+@refbugs
There is no style sheet provided for other fonts besides the @TeX{}
-family, and the style sheet cannot be modified easily.
+Computer Modern family.
@cindex font selection
@cindex font magnification
This is converted to a musical symbol, e.g. @code{\musicglyph
#"accidentals-0"} will select the natural sign from the music font.
See @ref{The Feta font} for a complete listing of the possible glyphs.
+
@item \char
This produces a single character, e.g. @code{\char #65} produces the
letter 'A'.
-@item \note @var{log} @var{dots} @var{dir}
+@item \note @var{duration} @var{dir}
@cindex @code{\note}
This produces a note with a stem pointing in @var{dir} direction, with
-duration log @var{log} and @var{dots} augmentation dots. The duration
-log is the negative 2-logarithm of the duration denominator. For
-example, a quarter note has log 2, an eighth note 3 and a breve has
-log -1.
+the @var{duration} for the note head type and augmentation dots. For
+example, @code{\note #"4." #-0.75} creates a dotted quarter note, with
+a shortened down stem.
@item \hspace #@var{amount}
@cindex @code{\hspace}
@example
A \translate #(cons 2 -3) @{ B C @} D
@end example
-This moves `B C' 2 spaces to the right, and 3 down.
+This moves `B C' 2 spaces to the right, and 3 down, relative to its
+surroundings. This command cannot be used to move isolated scripts
+vertically, for the same reason that @code{\raise} cannot be used for
+that.
@item \magnify #@var{mag}
@cindex @code{\magnify}
c1^\markup { \line < a b c > }
@end lilypond
+
+Markups can be stored in variables, and these variables
+may be attached to notes, like
+@verbatim
+allegro = \markup { \bold \large { Allegro } }
+\notes { a^\allegro b c d }
+@end verbatim
+
The markup mechanism is extensible. Refer to
@file{scm/new-markup.scm} for more information.
+Some objects have alignment procedures of their own, which cancel out
+any effects of alignments applied to their markup arguments as a
+whole. For example, the @internalsref{RehearsalMark} is horizontally
+centered, so using @code{\mark \markup @{ \left-align .. @}} has no
+effect. Similarly, whole texts over notes cannot be moved vertically
+with @code{\raise}. For moving and aligning complete objects, grob
+properties should be used.
@seealso
-@internalsref{Markup-functions}, and @file{scm/new-markup.scm}.
+Internals: @internalsref{Markup-functions} contains a complete list of
+all markup commands.
+
+Init files: @file{scm/new-markup.scm}.
@refbugs
+
+
@node Global layout
@section Global layout
@seealso
-Vertical alignment of staves is handled by the
+Internals: Vertical alignment of staves is handled by the
@internalsref{VerticalAlignment} object.
@seealso
-@internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
+Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
@internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
@internalsref{SeparatingGroupSpanner}.
@cindex staff size, setting
@cindex @code{paper} file
-The Feta font provides musical symbols at seven different sizes.
-These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
-26 point. The point size of a font is the height of the corresponding
-staff (excluding line thicknesses).
-
-Definitions for these sizes are the files @file{paperSZ.ly}, where
-@code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
-of these files, the variables @code{paperEleven},
-@code{paperThirteen}, @code{paperSixteen},
-@code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
-are defined respectively. The default @code{\paper} block is also
-set. These files should be imported at toplevel, i.e.
+The Feta font provides musical symbols at eight seven different
+sizes. Each font is tuned for a different staff size: at smaller sizes
+the font gets heavier, to match the relatively heavier staff lines.
+The recommended font sizes are listed in the following table:
+
+@multitable @columnfractions .25 .25 .25 .25
+
+@item @b{name}
+@tab @b{staff height (pt)}
+@tab @b{staff height (mm)}
+@tab @b{use}
+
+@item feta11
+@tab 11.22
+@tab 3.9
+@tab pocket scores
+
+@item feta13
+@tab 12.60pt
+@tab 4.4mm
+@tab
+
+@item feta14
+@tab 14.14pt
+@tab 5.0mm
+@tab
+
+@item feta16
+@tab 15.87pt
+@tab 5.6mm
+@tab
+
+@item feta18
+@tab 17.82pt
+@tab 6.3mm
+@tab song books
+
+@item feta20
+@tab 17.82pt
+@tab 7.0mm
+@tab standard parts
+
+@item feta23
+@tab 22.45 pt
+@tab 7.9mm
+@tab
+
+@item feta20
+@tab 25.2 pt
+@tab 8.9mm
+@tab
+@c modern rental material ?
+
+@end multitable
+
+These fonts are available in any sizes. The context property
+@code{fontSize} and the layout property @code{staff-space} (in
+@internalsref{StaffSymbol}) can be used to tune size for individual
+staffs. The size of individual staffs are relative to the global size,
+which can be set in the following manner:
+
@example
- \include "paper26.ly"
- \score @{ ... @}
+ #(set-global-staff-size 14)
@end example
-The default font size settings for each staff heights are generated
-from the 20pt style sheet. For more details, see the file
-@file{scm/font.scm}.
+This sets the global default size to 14pt staff height, and scales all
+fonts accordingly.
+
@node Line breaking
For linebreaks at regular intervals use @code{\break} separated by
skips and repeated with @code{\repeat}:
@example
-<< \repeat unfold 7 @{ s1 * 4 \break @}
+<< \repeat unfold 7 @{
+ s1 \noBreak s1 \noBreak
+ s1 \noBreak s1 \break @}
@emph{the real music}
>>
@end example
@noindent
This makes the following 28 measures (assuming 4/4 time) be broken every
-4 measures.
+4 measures, and only there.
+
+@refcommands
+
+@code{\break}, @code{\noBreak}
+@cindex @code{\break}
+@cindex @code{\noBreak}
@seealso
-@internalsref{BreakEvent}.
+Internals: @internalsref{BreakEvent}.
@node Page layout
@cindex page size
@cindex @code{papersize}
-To change the paper size, you must first set the @code{papersize} paper
-variable variable as in the example below. Set it to
-the strings @code{a4}, @code{letter}, or @code{legal}. After this
-specification, you must set the font as described above. If you want
-the default font, then use the 20 point font.
-
+To change the paper size, use the following Scheme code:
@example
- \paper@{ papersize = "a4" @}
- \include "paper16.ly"
+ \paper@{
+ #(set-paper-size "a4")
+ @}
@end example
-The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
-will set the paper variables @code{hsize} and @code{vsize} (used by
-@code{lilypond-book} and @code{lilypond}).
-
@refcommands
@seealso
-@ref{Invoking lilypond},
-@inputfileref{input/regression,between-systems.ly}, and
-@internalsref{NonMusicalPaperColumn}.
+In this manual @ref{Invoking lilypond}
+
+Examples: @inputfileref{input/regression,between-systems.ly}
+
+Internals: @internalsref{NonMusicalPaperColumn}.
@refbugs
@cindex instrument names
@cindex @code{Staff.midiInstrument}
-@cindex @code{Staff.instrument}
The MIDI instrument name is set by the @code{Staff.midiInstrument}
-property or, if that property is not set, the @code{Staff.instrument}
property. The instrument name should be chosen from the list in
@ref{MIDI instruments}.
@refbugs
-If the selected string does not exactly match, then LilyPond uses the
-default (Grand Piano). It is not possible to select an instrument by
-number.
-
+If the selected string does not exactly match, then the default is
+used, which is the Grand Piano.
projects / lilypond.git / blobdiff