@node Notation manual
@chapter Notation manual
+This chapter describes all the different types of notation supported
+by LilyPond. It is intended as a reference for users that are already
+somewhat familiar with using LilyPond.
+
@menu
* Note entry::
* Easier music entry::
* Beaming::
* Accidentals::
* Expressive marks::
-* Articulations::
-* Fingering instructions::
* Repeats::
* Rhythmic music::
* Piano music::
* Tablatures::
* Chord names::
* Orchestral music::
-* Ancient notation ::
+* Ancient notation::
* Contemporary notation::
* Tuning output::
* Global layout::
@section Note entry
@cindex Note entry
-This chapter describes all the different types of notation supported
-by LilyPond. It is intended as a reference for users that are already
-somewhat familiar with using LilyPond.
-
+The basic elements of any piece of music are the notes. This section
+is about basic notation elements notes, rests and related constructs,
+such as stems, tuplets and ties.
@menu
* Notes::
* Stems::
* Ties::
* Tuplets::
-* Easy Notation note heads ::
+* Easy Notation note heads::
@end menu
a flat is formed by adding @code{-es}. Double sharps and double flats
are obtained by adding @code{-isis} or @code{-eses}. These
names are the Dutch note names. In Dutch, @code{aes} is contracted to
-@code{as} in Dutch, but both forms are accepted. Similarly, both
+@code{as}, but both forms are accepted. Similarly, both
@code{es} and @code{ees} are accepted.
+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
+ ces
+ ceh
+ c
+ cih
+ cis
+ cisih
+ cisis
+@end lilypond
+
There are predefined sets of note names for various other languages.
To use them, include the language specific init file. For
example: @code{\include "english.ly"}. The available language files
Note Names sharp flat
nederlands.ly c d e f g a bes b -is -es
english.ly c d e f g a bf b -s/-sharp -f/-flat
+ -x (double)
deutsch.ly c d e f g a b h -is -es
norsk.ly c d e f g a b h -iss/-is -ess/-es
svenska.ly c d e f g a b h -iss -ess
@end lilypond
-There is also a verbose syntax for pitch specification:
-
-@c TODO: junk this?
-@cindex @code{\pitch}
-@example
- \pitch @var{scmpitch}
-@end example
-
-
-where @var{scmpitch} is a Scheme object of the @code{Pitch} type.
-
@refcommands
Notes can be hidden and unhidden with the following commands:
@seealso
-@noindent
-@internalsref{NoteEvent}, and @internalsref{NoteHead}.
+Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
@node Chromatic alterations
@subsection Chromatic alterations
@node Chords
@subsection Chords
-A chord is formed by a enclosing a set of pitches in @code{<<} and
-@code{>>}. A chord may be followed by a duration, and a set of
+A chord is formed by a enclosing a set of pitches in @code{<} and
+@code{>}. A chord may be followed by a duration, and a set of
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.
@lilypond[singleline,verbatim]
\score {
- \context Staff <
+ \new Staff <<
{ \time 4/8 \skip 2 \time 4/4 }
\notes\relative c'' { a2 a1 }
- >
+ >>
}
@end lilypond
@seealso
-@internalsref{SkipEvent}.
+Internals: @internalsref{SkipEvent}.
@cindex duration
-@cindex @code{\duration}
In Note, Chord, and Lyrics mode, durations are designated by numbers
a4
@end lilypond
-Durations can also be produced using the verbose syntax
-@code{\duration @var{Scheme object}}:
-@lilypond[verbatim,fragment]
- c'\duration #(ly:make-duration 4 1)
-@end lilypond
-
-
@refcommands
@seealso
-@internalsref{Dots}, and @internalsref{DotColumn}.
+Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
@refbugs
@node Stems
@subsection Stems
-Whenever a note is found, a
-@internalsref{Stem} object is created automatically. For whole notes
-and rests, stem objects are also created, but in those cases, the stem
-is invisible.
+Whenever a note is found, a @internalsref{Stem} object is created
+automatically. For whole notes and rests, they are also created but
+made invisible.
@refcommands
musical phrasing. A tie is entered using the tilde symbol `@code{~}':
@lilypond[fragment,verbatim,center]
- e' ~ e' <<c' e' g'>> ~ <<c' e' g'>>
+ e' ~ e' <c' e' g'> ~ <c' e' g'>
@end lilypond
When a tie is applied to a chord, all note heads whose pitches match
@seealso
-@internalsref{TieEvent}, @internalsref{NewTieEvent},
-@internalsref{Tie}, and @ref{Automatic note splitting}.
+In this manual: @ref{Automatic note splitting}.
+
+Internals: @internalsref{TieEvent}, @internalsref{NewTieEvent},
+@internalsref{Tie}
-If you want less
-ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
+Examples: if you want less ties created for a chord, see
+@inputfileref{input/test,tie-sparse.ly}.
+
+For tying only a subset of the note heads of a pair of chords, see
+@inputfileref{input/regression,tie-chord-partial.ly}.
@refbugs
-Tieing only a subset of the note heads of a pair of chords is not
-supported in a simple way. It can be achieved by moving the
-tie-engraver into the @internalsref{Thread} context and turning on and
-off ties per @internalsref{Thread}.
-Switching staves when a tie is active, will not produce a slanted tie.
+Switching staves when a tie is active will not produce a slanted tie.
Formatting of ties is a difficult subject. The results are often not
optimal.
\times @var{fraction} @var{musicexpr}
@end example
-The duration of @var{musicexpr} will be multiplied by the fraction.
-In the sheet music, the fraction's denominator will be printed over
-the notes, optionally with a bracket. The most common tuplet is the
-triplet in which 3 notes have the length of 2, so the notes are 2/3
-of their written length:
+@noindent
+The duration of @var{musicexpr} will be multiplied by the fraction.
+The fraction's denominator will be printed over the notes, optionally
+with a bracket. The most common tuplet is the triplet in which 3
+notes have the length of 2, so the notes are 2/3 of their written
+length:
@lilypond[fragment,verbatim,center]
g'4 \times 2/3 {c'4 c' c'} d'4 d'4
@seealso
-@internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
+Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
@refbugs
Nested tuplets are not formatted automatically. In this case, outer
tuplet brackets should be moved manually.
-@node Easy Notation note heads
+@node Easy Notation note heads
@subsection Easy Notation note heads
@cindex easy notation
@cindex Music entry
When entering music it is easy to introduce errors. This section deals
-with tricks and features of the input language that help when entering
-music, and find and correct mistakes. Some features of the input
-language ease entering music, but also have other applications. They
-are not described in this section.
+with tricks and features of the input language that were added solely
+to help entering music, and find and correct mistakes.
It is also possible to use external programs, for example GUI
interfaces, or MIDI transcription programs, to enter or edit
* Octave check::
* Bar check::
* Skipping corrected music::
-* Automatic note splitting ::
+* Automatic note splitting::
@end menu
@lilypond[fragment,verbatim,center]
\relative c' {
- c <<c e g>>
- <<c' e g>>
- <<c, e' g>>
+ c <c e g>
+ <c' e g>
+ <c, e' g>
}
@end lilypond
@cindex @code{\notes}
@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
+the @code{d} will generate a warning, because a @code{d''} is
+expected, but a @code{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
@internalsref{Staff}.@code{keySignature}. Non-standard key signatures
can be specified by setting this property directly.
+Accidentals and key signatures often confuse new users, because
+unaltered notes get natural signs depending on the keysignature. The
+tutorial explains why this is so in @ref{More about pitches}.
+
@refbugs
The ordering of a key cancellation is wrong when it is combined with
@seealso
-@internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
+Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
@cindex @code{keySignature}
@end table
By adding @code{_8} or @code{^8} to the clef name, the clef is
-transposed one octave down or up, respectively. Argument @var{clefname}
+transposed one octave down or up, respectively, and @code{_15} and
+@code{^15} transposes by two octaves. The argument @var{clefname}
must be enclosed in quotes when it contains underscores or digits. For
example,
@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
-@code{ottavation} (eg. to @code{"8va"}) and @code{centralCPosition}.
+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}. 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{OttavaSpanner}.
+
+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
Partial measures, for example in upsteps, are entered using the
@code{\partial} command:
-@lilypond[fragment,verbatim]
-\partial 16*5 c'16 c4 | a'2. ~ a'8. a'16 | g'1
+@lilypond[fragment,verbatim,relative 1]
+\partial 16*5 c16 cis d dis e | a2. c,4 | b2
@end lilypond
The syntax for this command is
Special types
of barlines can be forced with the @code{\bar} command:
+@c
@lilypond[relative=1,fragment,verbatim]
c4 \bar "|:" c4
@end lilypond
\bar ":|" c
\bar ".|" c
\bar ".|." c
-\bar "|."
+\bar ":|:" c
+\bar "|." c
+\bar ":" c
@end lilypond
+For allowing linebreaks, there is a special command,
+@example
+ \bar "empty"
+@end example
+This will insert an invisible barline, and allow linebreaks at this
+point.
In scores with many staves, a @code{\bar} command in one staff is
automatically applied to all staves. The resulting bar lines are
connected between different staves of a @internalsref{StaffGroup}:
@c
@lilypond[fragment, verbatim]
-< \context StaffGroup <
+<< \context StaffGroup <<
\new Staff { e'4 d'
\bar "||"
f' e' }
- \new Staff { \clef bass c4 g e g } >
-\new Staff { \clef bass c2 c2 } >
+ \new Staff { \clef bass c4 g e g } >>
+\new Staff { \clef bass c2 c2 } >>
@end lilypond
@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
@lilypond[verbatim,fragment]
\context Staff \relative c'' {
- c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f' \\ d >
+ c4 << { f d e } \\ { b c2 } >>
+ c4 << g' \\ b, \\ f' \\ d >>
}
@end lilypond
-The separator causes @internalsref{Voice} contexts to be
-instantiated. 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:
@lilypond[singleline, verbatim]
\relative c''
-\context Staff < \new Voice { \voiceOne cis2 b }
+\context Staff << \new Voice { \voiceOne cis2 b }
\new Voice { \voiceThree b4 ais ~ ais4 gis4 }
- \new Voice { \voiceTwo fis4~ fis4 f ~ f } >
+ \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:
@lilypond[verbatim,fragment,singleline]
-\relative c'' \context Voice < {
+\relative c'' \context Voice << {
g8 g8
\property Staff.NoteCollision \override
#'merge-differently-dotted = ##t
g8 g8
} \\ { g8.[ f16] g8.[ f16] }
- >
+ >>
@end lilypond
Similarly, you can merge half note heads with eighth notes, by setting
@code{merge-differently-headed}:
@lilypond[fragment, relative=2,verbatim]
-\context Voice < {
+\context Voice << {
c8 c4.
\property Staff.NoteCollision
\override #'merge-differently-headed = ##t
- c8 c4. } \\ { c2 c2 } >
+ c8 c4. } \\ { c2 c2 } >>
@end lilypond
LilyPond also vertically shifts rests that are opposite of a stem:
@lilypond[singleline,fragment,verbatim]
-\context Voice < c''4 \\ r4 >
+\context Voice << c''4 \\ r4 >>
@end lilypond
@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}
creation of the piano staff:
@example
\score @{
- \notes \relative c'' <
+ \notes \relative c'' <<
\new Staff @{ cis4 d e2 @}
- \context GrandStaff <
+ \context GrandStaff <<
\pianoAccidentals
\new Staff @{ cis4 d e2 @}
\new Staff @{ es2 c @}
- >
+ >>
\new Staff @{ es2 c @}
- >
+ >>
@}
@end example
@lilypond[singleline]
\score {
- \notes \relative c'' <
+ \notes \relative c'' <<
\new Staff { cis4 d e2 }
- \context GrandStaff <
+ \context GrandStaff <<
\pianoAccidentals
\new Staff { cis4 d e2 }
\new Staff { es2 c }
- >
+ >>
\new Staff { es2 c }
- >
+ >>
\paper {
\translator {
\StaffContext
because accidentals from one voice do not get cancelled in other
voices:
@lilypond[singleline,relative,fragment,verbatim,quote]
- \context Staff <
+ \context Staff <<
\voiceAccidentals
- <
+ <<
{ es g } \\
{ c, e }
- > >
+ >> >>
@end lilypond
Hence you should only use @code{\voiceAccidentals} if the voices
are to be read solely by individual musicians. If the staff is to be
@node Customized accidental rules
@subsection Customized accidental rules
-This section must be considered gurus-only, and hence it must be
-sufficient with a short description of the system and a reference to
-the internal documentation.
-
-The algorithm tries several different rules, and uses the rule
-that gives the highest number of accidentals. Each rule consists of
+For determining when to print an accidental, several different rules
+are tried. The rule that gives the highest number of accidentals is
+used. Each rule consists of
@table @var
@item context:
In which context is the rule applied. For example, if
@seealso
-@internalsref{Accidental_engraver}, @internalsref{Accidental}, and
-@internalsref{AccidentalPlacement}.
+Internals: @internalsref{Accidental_engraver},
+@internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
@refbugs
@lilypond[singleline,fragment,verbatim]
\property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
-cis'4 <<c'' c'>> r2 | cis'4 <<c' c''>> r2
-| <<cis' c''>> r | <<c'' cis'>> r |
+cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
+| <cis' c''> r | <c'' cis'> r |
@end lilypond
This problem can be solved by manually inserting @code{!} and @code{?}
@node Expressive marks
@section Expressive marks
+
+@c todo: should change ordering
+@c where to put text spanners, metronome marks,
+@c fingering?
+
@menu
-* Slurs ::
+* Slurs::
* Phrasing slurs::
* Breath marks::
* Metronome marks::
* Text spanners::
* Analysis brackets::
+* Articulations::
+* Fingering instructions::
+* Text scripts::
+* Grace notes::
+* Glissando::
+* Dynamics::
@end menu
-@node Slurs
+@node Slurs
@subsection Slurs
@cindex Slurs
@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)
+@lilypond[relative 1,fragment,verbatim,center]
+ f( g)( a) a8 b( a4 g2 f4)
+ <c e>2( <b d>2)
@end lilypond
@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
@end lilypond
The glyph of the breath mark can be tweaked by overriding the
-@code{text} property of the @code{BreathingSign} layout object with the name of
-any glyph of @ref{The Feta font}. For example,
+@code{text} property of the @code{BreathingSign} layout object with
+any markup text. For example,
@lilypond[fragment,verbatim,relative]
c'4
-\property Voice.BreathingSign \override #'text = #"scripts-rvarcomma"
+\property Voice.BreathingSign \override #'text
+ = #(make-musicglyph-markup "scripts-rvarcomma")
\breathe
d4
@end lilypond
@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
-@section Articulations
+@subsection Articulations
@cindex Articulations
@cindex articulations
@seealso
-@internalsref{ScriptEvent}, and @internalsref{Script}.
+Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
@refbugs
-All of 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.
@node Fingering instructions
-@section Fingering instructions
+@subsection Fingering instructions
@cindex fingering
played with your thumb (used in cello music):
@lilypond[verbatim, singleline, fragment]
- <<a' a''-3>>8(_\thumb[ <<b' b''-3>>)_\thumb
- <<c'' c'''-3>>(_\thumb <<d'' d'''-3>>)_\thumb]
+ <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
+ <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
@end lilypond
Fingerings for chords can also be added to individual notes
of the chord by adding them after the pitches:
@lilypond[verbatim,singleline,fragment,relative=1]
- << c-1 e-2 g-3 b-5 >> 4
+ < c-1 e-2 g-3 b-5 > 4
@end lilypond
Setting @code{fingeringOrientations} will put fingerings next
@lilypond[verbatim,singleline,fragment,relative=1]
\property Voice.fingeringOrientations = #'(left down)
- <<c-1 es-2 g-4 bes-5 >> 4
+ <c-1 es-2 g-4 bes-5 > 4
\property Voice.fingeringOrientations = #'(up right down)
- <<c-1 es-2 g-4 bes-5 >> 4
+ <c-1 es-2 g-4 bes-5 > 4
@end lilypond
@seealso
-@internalsref{FingerEvent}, and @internalsref{Fingering}.
+Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
-@menu
-* Text scripts::
-* Grace notes::
-* Glissando ::
-* Dynamics::
-@end menu
-
@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}
+
@lilypond[relative=2,verbatim,fragment]
b4 \acciaccatura d8 c4 \appoggiatura e8 d4
-\acciaccatura { g16 f } e4
+\acciaccatura { g16[ f] } e4
@end lilypond
Both are special forms of the @code{\grace} command. By prefixing this
keyword to a music expression, a new one is formed, which will be
printed in a smaller font and takes up no logical time in a measure.
@lilypond[relative=2,verbatim,fragment]
- c4 \grace c16 c4 \grace {
- c16[ d16] } c2 c4
+ c4 \grace c16 c4
+ \grace { c16[ d16] } c2 c4
@end lilypond
+
+@noindent
Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
@code{\grace} command does not start a slur.
example is shown here with timing tuples:
@lilypond[singleline]
-<
+<<
\relative c''{
c4 \grace c16 c4 \grace {
- c16[ d16] } c4
+ c16[ d16] } c2 c4
}
\new Lyrics \lyrics {
\markup { (0,0) } 4
\markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
}
\markup { ( \fraction 2 4 , 0 ) }
- } >
+ } >>
@end lilypond
every eighth grace note:
@lilypond[relative=2,verbatim,fragment]
-< \new Staff { e4 \grace { c16[ d e f] } e4 }
- \new Staff { c'4 \grace { g8[ b] } c4 } >
+<< \new Staff { e4 \grace { c16[ d e f] } e4 }
+ \new Staff { c'4 \grace { g8[ b] } c4 } >>
@end lilypond
-If you want to end a note with a grace note, then the standard trick
-is to put the grace notes before a phantom ``space note'', e.g.
+If you want to end a note with a grace, then the standard trick
+is to put the grace notes after a ``space note'', e.g.
@lilypond[fragment,verbatim, relative=2]
\context Voice {
- < { d1^\trill ( }
- { s2 \grace { c16[ d] } } >
+ << { d1^\trill ( }
+ { s2 \grace { c16[ d] } } >>
c4)
}
@end lilypond
for example, to produce smaller type, and set directions. Hence, when
introducing layout tweaks, they should be inside the grace section,
for example,
-@lilypond[fragment,verbatim,relative 2]
+@lilypond[fragment,verbatim,relative 1]
\new Voice {
\acciaccatura {
\property Voice.Stem \override #'direction = #-1
g4
}
@end lilypond
+
+@noindent
The overrides should also be reverted inside the grace section.
If the layout of grace sections must be changed throughout the music,
@seealso
-@internalsref{GraceMusic}.
+Internals: @internalsref{GraceMusic}.
@refbugs
care when you mix staves with grace notes and staves without, for example,
@lilypond[relative=2,verbatim,fragment]
-< \new Staff { e4 \bar "|:" \grace c16 d4 }
- \new Staff { c4 \bar "|:" d4 } >
+<< \new Staff { e4 \bar "|:" \grace c16 d4 }
+ \new Staff { c4 \bar "|:" d4 } >>
@end lilypond
Grace sections should only be used within sequential music
and acciaccatura.
-@node Glissando
+@node Glissando
@subsection Glissando
@cindex Glissando
@seealso
-@internalsref{Glissando}, and @internalsref{GlissandoEvent}.
+Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
@refbugs
-Additional texts (such as @emph{gliss.}) is not supported.
+Adding additional texts (such as @emph{gliss.}) is not supported.
@node Dynamics
@lilypond[fragment,verbatim,center,quote]
c''\< c''\! d''\decr e''\rced
- < f''1 { s4 s4\< s4\! \> s4\! } >
+ << f''1 { s4 s4\< s4\! \> s4\! } >>
@end lilypond
This may give rise to very short hairpins. Use @code{minimum-length}
in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
\context Voice {
\property Voice.crescendoText = \markup { \italic "cresc. poco" }
\property Voice.crescendoSpanner = #'dashed-line
- a'2\mf\< a a a\!
+ a'2\< a a a\!\mf
}
@end lilypond
@seealso
-@internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
+Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
@internalsref{AbsoluteDynamicEvent}.
Dynamics are objects of @internalsref{DynamicText} and
Repetition is a central concept in music, and multiple notations exist
for repetitions. In LilyPond, most of these notations can be captured
-in a uniform syntax. One of the advantages is, all these repetitions
-can be rendered in MIDI accurately.
+in a uniform syntax. One of the advantages is that they can be
+rendered in MIDI accurately.
The following types of repetition are supported:
@inputfileref{input,star-spangled-banner.ly}.
@end ignore
+@c tremolo, beamed
@item tremolo
Make tremolo beams.
alternative is assumed to be played more than once.
Normal notation repeats are used like this:
-@lilypond[fragment,verbatim]
- c'1
- \repeat volta 2 { c'4 d' e' f' }
- \repeat volta 2 { f' e' d' c' }
+@lilypond[fragment,verbatim,relative 1]
+ c1
+ \repeat volta 2 { c4 d e f }
+ \repeat volta 2 { f e d c }
@end lilypond
With alternative endings:
-@lilypond[fragment,verbatim]
- c'1
- \repeat volta 2 {c'4 d' e' f'}
- \alternative { {d'2 d'} {f' f} }
+@lilypond[fragment,verbatim,relative 1]
+ c1
+ \repeat volta 2 {c4 d e f}
+ \alternative { {d2 d} {f f,} }
@end lilypond
-@lilypond[fragment,verbatim]
+@lilypond[fragment,verbatim,relative 1]
\context Staff {
- \relative c' {
\partial 4
\repeat volta 4 { e | c2 d2 | e2 f2 | }
\alternative { { g4 g g } { a | a a a a | b2. } }
- }
}
@end lilypond
stops a running volta bracket:
@end table
-@lilypond[verbatim, fragment]
- c''4
+@lilypond[verbatim, fragment,relative 2]
+ c4
\property Score.repeatCommands = #'((volta "93") end-repeat)
- c''4 c''4
+ c4 c4
\property Score.repeatCommands = #'((volta #f))
- c''4 c''4
+ c4 c4
@end lilypond
@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
-Tremolo beams are @internalsref{Beam} objects. Single stem tremolos
-are @internalsref{StemTremolo}s. The music expression is
-@internalsref{TremoloEvent}.
+A similar mechanism is the tremolo subdivision, described in
+@ref{Tremolo subdivisions}.
+@seealso
-@refbugs
+In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
-The single stem tremolo must be entered without @code{@{} and
-@code{@}}.
+Internals: tremolo beams are @internalsref{Beam} objects. Single stem
+tremolos are @internalsref{StemTremolo}s. The music expression is
+@internalsref{TremoloEvent},
+
+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::
up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
down = \notes { bassdrum4 snare8 bd r bd sn4 }
\score {
- \apply #(drums->paper 'drums) \context Staff <
+ \apply #(drums->paper 'drums) \context Staff <<
\clef percussion
\new Voice { \voiceOne \up }
\new Voice { \voiceTwo \down }
- >
+ >>
}
@end lilypond
In the above example the music was transformed using the list @code{'drums}.
-Currently the following lists are defined in @file{scm/drums.scm}:
+The following lists are defined in @file{scm/drums.scm}:
@table @code
@item 'drums
to typeset a typical drum kit on a five-line staff:
mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
\score {
- <
- \apply #(drums->paper 'drums) \context Staff <
+ <<
+ \apply #(drums->paper 'drums) \context Staff <<
\clef percussion
\mus
- >
+ >>
\context Lyrics \nam
- >
+ >>
\paper {
linewidth = 100.0\mm
\translator {
nam = \lyrics { timh ssh timl ssl cb }
mus = \notes { timh ssh timl ssl cb s16 }
\score {
- <
- \apply #(drums->paper 'timbales) \context Staff <
+ <<
+ \apply #(drums->paper 'timbales) \context Staff <<
\clef percussion
\mus
- >
+ >>
\context Lyrics \nam
- >
+ >>
\paper {
\translator {
\StaffContext
nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
\score {
- <
- \apply #(drums->paper 'congas) \context Staff <
+ <<
+ \apply #(drums->paper 'congas) \context Staff <<
\clef percussion
\mus
- >
+ >>
\context Lyrics \nam
- >
+ >>
\paper {
\translator {
\StaffContext
nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
\score {
- <
- \apply #(drums->paper 'bongos) \context Staff <
+ <<
+ \apply #(drums->paper 'bongos) \context Staff <<
\clef percussion
\mus
- >
+ >>
\context Lyrics \nam
- >
+ >>
\paper {
\translator {
\StaffContext
nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
\score {
- <
- \apply #(drums->paper 'percussion) \context Staff <
+ <<
+ \apply #(drums->paper 'percussion) \context Staff <<
\clef percussion
\mus
- >
+ >>
\context Lyrics \nam
- >
+ >>
\paper {
\translator {
\StaffContext
up = \notes { hh8 hh hh hh hhp4 hhp }
down = \notes { bd4 sn bd toml8 toml }
\score {
- \apply #(drums->paper 'mydrums) \context Staff <
+ \apply #(drums->paper 'mydrums) \context Staff <<
\clef percussion
\new Voice { \voiceOne \up }
\new Voice { \voiceTwo \down }
- >
+ >>
}
@end lilypond
\include "nederlands.ly"
bass = \notes \transpose c c,, { a4. e8 r e g e }
\score {
- <
- \apply #(drums->paper 'drums) \new Staff <
+ <<
+ \apply #(drums->paper 'drums) \new Staff <<
\clef percussion
\new Voice { \voiceOne \up }
\new Voice { \voiceTwo \down }
- >
+ >>
\new Staff { \clef "F_8" \bass }
- >
+ >>
}
@end lilypond
@example
\score @{
- \apply #(drums->paper 'mydrums) \context Staff <
+ \apply #(drums->paper 'mydrums) \context Staff <<
\clef percussion
@{ \up @} \\
@{ \down @}
- >
+ >>
\paper@{@}
@}
\score @{
- \context Staff <
+ \context Staff <<
\property Staff.instrument = #'drums
\up \down
- >
+ >>
\midi@{@}
@}
@end example
@refbugs
-This scheme is a temporary implementation.
+
+Chords entered with @code{< @dots{} >} do not work. This scheme is a
+temporary implementation.
@node Piano music
advance. Here is a practical example:
@lilypond[verbatim,singleline,quote]
-\score { \notes \context PianoStaff <
+\score { \notes \context PianoStaff <<
\context Staff = "up" {
- \autochange Staff \context Voice = VA < \relative c' {
- g4 a b c d r4 a g } > }
+ \autochange Staff \context Voice = VA << \relative c' {
+ g4 a b c d r4 a g } >> }
\context Staff = "down" {
\clef bass
s1*2
-} > }
+} >> }
@end lilypond
@noindent
@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.
+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
For fine-tuning of the appearance of a pedal bracket, the properties
@code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
-@code{PianoPedalBracket} objects (, see the detailed documentation of
-@internalsref{PianoPedalBracket},) can be modified. For example, the bracket
-may be extended to the end of the note head:
+@code{PianoPedalBracket} objects (see
+@internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
+bracket may be extended to the end of the note head:
@lilypond[fragment,verbatim]
\property Staff.PianoPedalBracket \override
@lilypond[fragment,relative,verbatim]
- <<c e g c>>\arpeggio
+ <c e g c>\arpeggio
@end lilypond
When an arpeggio crosses staves, you attach an arpeggio to the chords
@internalsref{PianoStaff}.@code{connectArpeggios}:
@lilypond[fragment,relative,verbatim]
- \context PianoStaff <
+ \context PianoStaff <<
\property PianoStaff.connectArpeggios = ##t
- \new Staff { <<c' e g c>>\arpeggio }
- \new Staff { \clef bass <<c,, e g>>\arpeggio }
- >
+ \new Staff { <c' e g c>\arpeggio }
+ \new Staff { \clef bass <c,, e g>\arpeggio }
+ >>
@end lilypond
The direction of the arpeggio is sometimes denoted by adding an
@lilypond[fragment,relative,verbatim]
\context Voice {
\property Voice.Arpeggio \set #'arpeggio-direction = #1
- <<c e g c>>\arpeggio
+ <c e g c>\arpeggio
\property Voice.Arpeggio \set #'arpeggio-direction = #-1
- <<c e g c>>\arpeggio
+ <c e g c>\arpeggio
}
@end lilypond
@lilypond[fragment,relative,verbatim]
\property PianoStaff.Arpeggio \override
#'molecule-callback = \arpeggioBracket
- <<c' e g c>>\arpeggio
+ <c' e g c>\arpeggio
@end lilypond
@refcommands
@seealso
-@internalsref{ArpeggioEvent} expression 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
@code{PianoStaff.followVoice} is set to true:
@lilypond[fragment,relative,verbatim]
- \context PianoStaff <
+ \context PianoStaff <<
\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 }
- >
+ >>
@end lilypond
The associated object is @internalsref{VoiceFollower}.
@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 <
- \new Lyrics @{ s1 @}
- \new Staff @{ s1 @}
- \new Lyrics @{ s1 @}
- \new Staff @{ s1 @}
->
+\context ChoirStaff \notes <<
+ \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
- \new Staff @emph{the music}
- \new Lyrics @emph{the lyrics}
+ \lyricsto "soprano" \new LyricsVoice @emph{the lyrics}
@end example
-putting both together, you would get
-@example
-\context ChoirStaff \notes <
- \new Lyrics @dots{}
- \new 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.
+@code{\lyricsto} is not automatic enough: melismata are not detected
+automatically, and melismata are not stopped when they hit a rest.
@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
each staff. The range is graphically specified by two noteheads, that
represent the minimum and maximum pitch. Some publishers use a textual
notation: they put the range in words in front of the corresponding
-staff. LilyPond currently only supports the graphical ambitus notation.
+staff. LilyPond only supports the graphical ambitus notation.
To apply, add the @internalsref{Ambitus_engraver} to the
@internalsref{Voice} context, i.e.
@example
- \paper @{ \translator @{
+ \paper @{
+ \translator @{
\VoiceContext
\consists Ambitus_engraver
- @} @}
+ @}
+ @}
@end example
-For example,
-
+This results in the following output:
@lilypond[singleline]
upper = \notes \relative c {
\clef "treble"
}
\score {
\context ChoirStaff {
- <
+ <<
\new Staff { \upper }
\new Staff { \lower }
- >
+ >>
}
\paper {
\translator {
- \VoiceContext
+ \StaffContext
\consists Ambitus_engraver
}
}
}
@end lilypond
+If you have multiple voices in a single staff, and you want a single
+ambitus per staff rather than per each voice, then add the
+@internalsref{Ambitus_engraver} to the @internalsref{Staff} context
+rather than to the @internalsref{Voice} context.
+
+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}, and @inputfileref{input/regression,ambitus.ly}.
+Internals: @internalsref{Ambitus}
+
+Examples: @inputfileref{input/regression,ambitus.ly},
+@inputfileref{input/test,ambitus-mixed.ly}.
+
+@refbugs
+
+There is no collision handling in the case of multiple per-voice
+ambitus.
@node Tablatures
@section Tablatures
}
@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:
e8 fis gis a b cis' dis' e'
}
\score {
- \context StaffGroup <
+ \context StaffGroup <<
\context Staff { \clef "G_8" \frag }
\context TabStaff { \frag }
- >
+ >>
}
@end lilypond
@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
g:
@lilypond[fragment,verbatim]
- \context TabStaff <
-
- \outputproperty #(make-type-checker 'staff-symbol-interface)
- #'line-count = #4
+ \context TabStaff <<
\property TabStaff.stringTunings = #'(-5 -10 -15 -20)
\notes {
a,4 c' a e' e c' a e'
}
- >
+ >>
@end lilypond
It is possible to change the Scheme function to format the tablature
@refbugs
-Most of the guitar special effects such as bend have not been
-implemented yet.
+No guitar special effects have been implemented.
@cindex Chords
LilyPond has support for both printing chord names. Chords may be
-entered in musical chord notation, i.e. @code{<< .. >>}, but they can
+entered in musical chord notation, i.e. @code{< .. >}, but they can
also be entered by name. Internally, the chords are represented as a
set of pitches, so they can be transposed:
\chords {
c1 f:sus4 bes/f
}
- <<c e g>>
- <<f bes c'>>
- <<f bes d'>>
+ <c e g>
+ <f bes c'>
+ <f bes d'>
}
\score {
- < \context ChordNames \twoWays
- \context Voice \twoWays > }
+ << \context ChordNames \twoWays
+ \context Voice \twoWays >> }
@end lilypond
This example also shows that the chord printing routines do not try to
@cindex @code{m}
Since an unaltered 11 does not sound good when combined with an
-unaltered 13, the 11 is removed in this case (, unless it is added
+unaltered 13, the 11 is removed in this case (unless it is added
explicitly):
+@c
@lilypond[fragment,verbatim]
\chords { c:13 c:13.11 c:m13 }
@end lilypond
For displaying printed chord names, use the @internalsref{ChordNames} context.
The chords may be entered either using the notation
-described above, or directly using @code{<<} and @code{>>}:
+described above, or directly using @code{<} and @code{>}:
@lilypond[verbatim,singleline]
scheme = \notes {
- \chords {a1 b c} <<d' f' a'>> <<e' g' b'>>
+ \chords {a1 b c} <d' f' a'> <e' g' b'>
}
\score {
- \notes<
+ \notes<<
\context ChordNames \scheme
\context Staff \scheme
- >
+ >>
}
@end lilypond
c1:m c:m \break c:m c:m d
}
\score {
- \notes <
+ \notes <<
\context ChordNames {
\property ChordNames.chordChanges = ##t
\scheme }
\context Staff \transpose c c' \scheme
- >
+ >>
}
@end lilypond
The default chord name layout is a system for Jazz music, proposed by
-Klaus Ignatzek (see @ref{Literature}). It can be tuned through the
+Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
following properties:
@table @code
function. Special note names (for example, the German ``H'' for a
B-chord) can be produced by storing a new function in this property.
+The pre-defined variables @code{\germanChords},
+@code{\semiGermanChords} set these variables.
+
+
@cindex chordNoteNamer
@item chordNoteNamer
The default is to print single pitch, e.g. the bass note, using the
Jazz chord notation, and a systematic scheme called Banter chords. The
alternate jazz notation is also shown on the chart in @ref{Chord name
chart}. Turning on these styles is described in the input file
-@inputfileref{input/test/,chord-names-jazz.ly}.
+@inputfileref{input/test,chord-names-jazz.ly}.
@cindex Banter
@cindex jazz chords
@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
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.
+@code{< .. >} syntax.
\default}. The value to use is stored in the property
@code{rehearsalMark} is used and automatically incremented.
+@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
to access the appropriate symbol:
@seealso
-@internalsref{MarkEvent}, @internalsref{RehearsalMark}, and
-@inputfileref{input/test,boxed-molecule.ly}.
+Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
+
+Examples: @inputfileref{input/test,boxed-molecule.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
the start of the staff. For the first start, @code{instrument} is
used, for the next ones @code{instr} is used:
+@quotation
@lilypond[verbatim,singleline]
\property Staff.instrument = "ploink " { c''4 }
@end lilypond
+@end quotation
You can also use markup texts to construct more complicated instrument
names:
+@quotation
@lilypond[fragment,verbatim,singleline]
\notes {
\property Staff.instrument = \markup {
- \column << "Clarinetti"
+ \column < "Clarinetti"
{ "in B"
\smaller \musicglyph #"accidentals--1"
}
- >>
+ >
}
{ c''1 }
}
@end lilypond
-
+@end quotation
@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
@cindex @code{R}
Multi measure rests are entered using `@code{R}'. It is specifically
-meant for full bar rests and for entering parts: the rest can expand to
-fill a score with rests, or it can be printed as a single multimeasure
-rest. This expansion is controlled by the property
-@code{Score.skipBars}. If this is set to true, Lily will not expand
-empty measures, and the appropriate number is added automatically:
+meant for full bar rests and for entering parts: the rest can expand
+to fill a score with rests, or it can be printed as a single
+multimeasure rest. This expansion is controlled by the property
+@code{Score.skipBars}. If this is set to true, empty measures will not
+be expanded, and the appropriate number is added automatically:
@lilypond[fragment,verbatim]
\time 4/4 r1 | R1 | R1*2
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}.
multimeasure rest. Multi measure rests do not take part in rest
collisions.
-Be careful when entering multimeasure rests followed by whole notes,
+Be careful when entering multimeasure rests followed by whole
+notes. The following will enter two notes lasting four measures each:
@example
R1*4 cis cis
@end example
-will enter two notes lasting four measures each. When @code{skipBars}
-is set, then the result will look OK, but the bar numbering will be
-off.
+When @code{skipBars} is set, then the result will look OK, but the
+bar numbering will be off.
@node Automatic part combining
@subsection Automatic part combining
polyphony:
@lilypond[verbatim,singleline,fragment]
- \context Staff <
+ \context Staff <<
\context Voice=one \partcombine Voice
\context Thread=one \relative c'' {
g a( b) r
\context Thread=two \relative c'' {
g r4 r f
}
- >
+ >>
@end lilypond
The first @code{g} appears only once, although it was
may set the property @var{soloADue} to false:
@lilypond[verbatim,singleline,fragment]
- \context Staff <
+ \context Staff <<
\property Staff.soloADue = ##f
\context Voice=one \partcombine Voice
\context Thread=one \relative c'' {
\context Thread=two \relative c'' {
d,2 a4 g'
}
- >
+ >>
@end lilypond
@seealso
-@internalsref{PartCombineMusic},
+Internals: @internalsref{PartCombineMusic},
@internalsref{Thread_devnull_engraver}, and
@internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
measure:
@lilypond[fragment,singleline]
- \context Staff <
+ \context Staff <<
\context Voice=one \partcombine Voice
\context Thread=one \relative c'' {
c b c b c a c a
\context Thread=two \relative c'' {
b b b b f a f a
}
- >
+ >>
@end lilypond
The part combiner is rather buggy, and it will be replaced by a better
@lilypond[verbatim]
\score {
- \notes \relative c' <
+ \notes \relative c' <<
\new Staff { e4 f g a \break c1 }
\new Staff { c4 d e f \break R1 }
- >
+ >>
\paper {
linewidth = 6.\cm
\translator { \RemoveEmptyStaffContext }
}
@end lilypond
+The first page shows all staffs in full. If they should be removed
+from the first page too, set @code{remove-first} to false
+in @internalsref{RemoveEmptyVerticalGroup}.
@node Different editions from one source
@subsection Different editions from one source
@example
c1
- \relative c' <
- \tag #'part <
- R1 \\
- @{
- \property Voice.fontSize = #-1
- c4_"cue" f2 g4 @}
- >
- \tag #'score R1
- >
+ \relative c' <<
+ \tag #'part <<
+ R1 \\
+ @{
+ \property Voice.fontSize = #-1
+ c4_"cue" f2 g4 @}
+ >>
+ \tag #'score R1
+ >>
c1
@end example
@example
\simultaneous @{
@var{the music}
- \apply #(remove-tag 'score) @var{the music}
- \apply #(remove-tag 'part) @var{the music}
+ \apply #(remove-tag 'score) @var{the music}
+ \apply #(remove-tag 'part) @var{the music}
@}
@end example
would yield
@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
Support for ancient notation is still under heavy development.
Regardless of all of the current limitations (see the bugs section
-below for details), it currently includes features for mensural
+below for details), it includes features for mensural
notation and Gregorian Chant notation. There is also limited support
for figured bass notation.
Accidentals must not be printed within a ligature, but instead need to
be collected and printed in front of it.
-Augmentum dots within ligatures are currently not handled correctly.
+Augmentum dots within ligatures are not handled correctly.
@node Ancient note heads
@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
@syntax
Use the @code{style} property of grob @internalsref{Accidental} to
-select ancient accidentals. Currently supported styles are
+select ancient accidentals. Supported styles are
@code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
@lilypond[singleline,26pt]
\fatText
s
^\markup {
- \column <<
+ \column <
"vaticana"
{ " " \musicglyph #"accidentals-vaticana-1"
" " \musicglyph #"accidentals-vaticana0" }
- >>
- \column <<
+ >
+ \column <
"medicaea"
- { " " \musicglyph #"accidentals-medicaea-1" }
- >>
- \column <<
+ { " " \musicglyph #"accidentals-medicaea-1" }
+ >
+ \column <
"hufnagel"
- { " " \musicglyph #"accidentals-hufnagel-1" }
- >>
- \column <<
+ { " " \musicglyph #"accidentals-hufnagel-1" }
+ >
+ \column <
"mensural"
{ " " \musicglyph #"accidentals-mensural-1"
" " \musicglyph #"accidentals-mensural1" }
- >>
+ >
}
}
\paper {
- raggedright = ##t
+ raggedright = ##t
interscoreline = 1
\translator {
\ScoreContext
@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
@syntax
Use the @code{style} property of grob @internalsref{Rest} to select
-ancient accidentals. Currently supported styles are @code{classical},
+ancient accidentals. Supported styles are @code{classical},
@code{neo_mensural} and @code{mensural}. @code{classical} differs
from the @code{default} style only in that the quarter rest looks like
a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
@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
Use the @code{flag-style} property of grob @internalsref{Stem} to
select ancient flags. Besides the @code{default} flag style,
-currently only @code{mensural} style is supported:
+ only @code{mensural} style is supported:
@lilypond[fragment,singleline,verbatim]
\property Voice.Stem \set #'flag-style = #'mensural
@syntax
-There is limited support for mensural time signatures. Currently, the
+There is limited support for mensural time signatures. The
glyphs are hard-wired to particular time fractions. In other words,
to get a particular mensural signature glyph with the @code{\time n/m}
command, @code{n} and @code{m} have to be chosen according to the
@lilypond
\score {
\notes {
- \property Score.timing = ##f
- \property Score.barAlways = ##t
- s_\markup { "$\\backslash$time 4/4" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural4/4" }
+ \property Score.timing = ##f
+ \property Score.barAlways = ##t
+ s_\markup { "$\\backslash$time 4/4" }
+ ^\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 {
@end lilypond
Use the @code{style} property of grob @internalsref{TimeSignature} to
-select ancient time signatures. Currently supported styles are
+select ancient time signatures. Supported styles are
@code{neo_mensural} and @code{mensural}. The above table uses the
@code{neo_mensural} style. This style is appropriate e.g. for the
incipit of transcriptions of mensural pieces. The @code{mensural}
@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
-Mensural signature glyphs are currently mapped to time fractions in a
+Mensural signature glyphs are mapped to time fractions in a
hard-wired way. This mapping is sensible, but still arbitrary: given
a mensural time signature, the time fraction represents a modern meter
that usually will be a good choice when transcribing a mensural piece
mapping may be unsatisfactory. In particular, the mapping assumes a
fixed transcription of durations (e.g. brevis = half note in 2/2,
i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
-are currently not at all accessible through the @code{\time} command.
+are not at all accessible through the @code{\time} command.
Mensural time signatures are supported typographically, but not yet
-musically. The internal representation of durations is currently
+musically. The internal representation of durations is
based on a purely binary system; a ternary division such as 1 brevis =
3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
prolatione maiori) is not correctly handled: event times in ternary
\fatText
s
^\markup {
- \column <<
+ \column <
"vaticana"
{ " " \musicglyph #"custodes-vaticana-u0" }
- >>
- \column <<
+ >
+ \column <
"medicaea"
{ " " \musicglyph #"custodes-medicaea-u0" }
- >>
- \column <<
+ >
+ \column <
"hufnagel"
{ " " \musicglyph #"custodes-hufnagel-u0" }
- >>
- \column <<
+ >
+ \column <
"mensural"
{ " " \musicglyph #"custodes-mensural-u0" }
- >>
+ >
}
}
\paper {
@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
@lilypond[singleline,verbatim]
\score {
\notes \transpose c c' {
- \[ g c a f d' \]
- a g f
- \[ e f a g \]
+ \[ g c a f d' \]
+ a g f
+ \[ e f a g \]
}
}
@end lilypond
To select a specific style of ligatures, a proper ligature engraver
has to be added to the @internalsref{Voice} context, as explained in
-the following subsections. Currently, only white mensural ligatures
+the following subsections. Only white mensural ligatures
are supported with certain limitations. Support for Editio Vaticana
will be added in the future.
@cindex White mensural ligatures
There is limited support for white mensural ligatures. The
-implementation is still experimental; it currently may output strange
+implementation is still experimental; it may output strange
warnings or even crash in some cases or produce weird results on more
complex ligatures.
@example
\paper @{
- \translator @{
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
- @}
+ \translator @{
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Mensural_ligature_engraver
+ @}
@}
@end example
For example,
@example
- \property Score.timing = ##f
- \property Score.defaultBarType = "empty"
- \property Voice.NoteHead \set #'style = #'neo_mensural
- \property Staff.TimeSignature \set #'style = #'neo_mensural
- \clef "petrucci_g"
- \[ g\longa c\breve a\breve f\breve d'\longa \]
- s4
- \[ e1 f1 a\breve g\longa \]
+ \property Score.timing = ##f
+ \property Score.defaultBarType = "empty"
+ \property Voice.NoteHead \set #'style = #'neo_mensural
+ \property Staff.TimeSignature \set #'style = #'neo_mensural
+ \clef "petrucci_g"
+ \[ g\longa c\breve a\breve f\breve d'\longa \]
+ s4
+ \[ e1 f1 a\breve g\longa \]
@end example
@lilypond[singleline]
\score {
\notes \transpose c c' {
- \property Score.timing = ##f
- \property Score.defaultBarType = "empty"
- \property Voice.NoteHead \set #'style = #'neo_mensural
- \property Staff.TimeSignature \set #'style = #'neo_mensural
- \clef "petrucci_g"
- \[ g\longa c\breve a\breve f\breve d'\longa \]
- s4
- \[ e1 f1 a\breve g\longa \]
+ \property Score.timing = ##f
+ \property Score.defaultBarType = "empty"
+ \property Voice.NoteHead \set #'style = #'neo_mensural
+ \property Staff.TimeSignature \set #'style = #'neo_mensural
+ \clef "petrucci_g"
+ \[ g\longa c\breve a\breve f\breve d'\longa \]
+ s4
+ \[ e1 f1 a\breve g\longa \]
}
\paper {
- \translator {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
- }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Mensural_ligature_engraver
+ }
}
}
@end lilypond
@lilypond[singleline]
\score {
\notes \transpose c c' {
- \property Score.timing = ##f
- \property Score.defaultBarType = "empty"
- \property Voice.NoteHead \set #'style = #'neo_mensural
- \property Staff.TimeSignature \set #'style = #'neo_mensural
- \clef "petrucci_g"
- \[ g\longa c\breve a\breve f\breve d'\longa \]
- s4
- \[ e1 f1 a\breve g\longa \]
+ \property Score.timing = ##f
+ \property Score.defaultBarType = "empty"
+ \property Voice.NoteHead \set #'style = #'neo_mensural
+ \property Staff.TimeSignature \set #'style = #'neo_mensural
+ \clef "petrucci_g"
+ \[ g\longa c\breve a\breve f\breve d'\longa \]
+ s4
+ \[ e1 f1 a\breve g\longa \]
}
}
@end lilypond
LilyPond has limited support for figured bass:
@lilypond[verbatim,fragment]
-<
+<<
\context Voice \notes { \clef bass dis4 c d ais}
\context FiguredBass
\figures {
- < 6 >4 < 7 >8 < 6+ [_!] >
+ < 6 >4 < 7 >8 < 6+ [_!] >
< 6 >4 <6 5 [3+] >
}
- >
+ >>
@end lilypond
The support for figured bass consists of two parts: there is an input
takes care of making @internalsref{BassFigure} objects.
In figures input mode, a group of bass figures is delimited by
-@code{<} and @code{>}. The duration is entered after the @code{>}:
+@code{<} and @code{>}. The duration is entered after the @code{>>}:
@example
- <4 6>
+ <4 6>
@end example
@lilypond[fragment]
\context FiguredBass
introduced with @code{[} and @code{]}:
@example
- < [4 6] 8 [_! 12]>
+ < [4 6] 8 [_! 12]>
@end example
@lilypond[fragment]
\context FiguredBass
@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
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 therefore be avoided if possible. For this reason, support for
-contemporary notation in LilyPond is limited.
+have been tried. The book by Stone (1980) gives a comprehensive
+overview (see @ref{Literature list}). In general, the use of new,
+innovative notation makes a piece harder to understand and perform and
+its use should therefore be avoided if possible. For this reason,
+support for contemporary notation in LilyPond is limited.
@menu
@code{notes-to-clusters} to a sequence of chords, e.g.
@c
@lilypond[relative 1,verbatim]
- \apply #notes-to-clusters { <<c e >> <<b f'>> }
+ \apply #notes-to-clusters { <c e > <b f'> }
@end lilypond
The following example (from
@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
-Music expressions like @code{< @{ g8 e8 @} a4 >} are not printed
-accurately. Use @code{<<g a>>8 <<e a>>8} instead.
+Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
+accurately. Use @code{<g a>8 <e a>8} instead.
@lilypond[singleline]
\score {
- < \addlyrics \notes {
+ << \addlyrics \notes {
b'
^\shortfermata
_\shortfermata
}
\context Lyrics \lyrics {
"shortfermata" "fermata" "longfermata" "verylongfermata"
- } >
+ } >>
}
@end lilypond
@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::
-* Outputproperty::
* Font selection::
* Text markup::
@end menu
-@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
-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 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
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.
+@internalsref{Voice}. Typically, this will blank the object. However,
+this mechanism should not be used: it may cause crashes or other
+anomalous behavior.
@seealso
-@internalsref{OverrideProperty}, @internalsref{RevertProperty},
+Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
@internalsref{PropertySet}, @internalsref{All-backend-properties}, and
@internalsref{All-layout-objects}.
@refbugs
The backend is not very strict in type-checking object properties.
-Cyclic references in @var{value} cause hangs and/or crashes.
-Similarly, reverting properties that are system defaults may also lead
+Cyclic references in Scheme values for properties cause hangs and/or
+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
included if you installed a binary distribution, typically in
@file{/usr/share/doc/lilypond}. They are also available on the web:
go to the @uref{http://lilypond.org,LilyPond website}, click
-``Documentation'', and then ``Program reference'' on the side bar. It
-is advisable to bookmark either the local HTML files if possible. They
-will load faster than the ones on the web. If you use the version
-from the web, you must check whether the documentation matches the
-program version: the documentation is generated from the definitions
-that the program uses, and therefore it is strongly tied to the
-LilyPond version.
+``Documentation'', select the correct version, and click then
+``Program reference.'' It is advisable to bookmark the local HTML
+files. They will load faster than the ones on the web. If you use the
+version from the web, you must check whether the documentation matches
+the program version: it is generated from the definitions that the
+program uses, and therefore it is strongly tied to the LilyPond
+version.
@c [TODO: revise for new site.]
@quotation
@seealso
-@internalsref{FingerEvent} and @internalsref{Fingering}.
+Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
+
@end quotation
+@separate
+
@noindent
In other words, the fingerings once entered, are internally stored as
@code{FingerEvent} music objects. When printed, a @code{Fingering}
layout object is created for every @code{FingerEvent}.
The Fingering object has a number of different functions, and each of
-those is captured in an interface, when we look up
-@internalsref{Fingering} in the generated documentation.
+those is captured in an interface. The interfaces are listed under
+@internalsref{Fingering} in the program reference.
@code{side-position-interface}
Position a victim object (this one) next to other objects (the
- support). In this case, the direction signifies where to put the
+ support). In this case, the property @code{direction} signifies where to put the
victim object relative to the support (left or right, up or down?)
@end quotation
@code{Voice}, for example, @internalsref{Staff} or
@internalsref{Score}.
-The internals document also contains alphabetical lists of
+@seealso
+
+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
@end example
@noindent
-where @var{proc} is a Scheme function, taking four arguments.
+where @var{proc} is a Scheme function, taking three arguments.
-When interpreted, the function @var{proc} is called for every layout object found
-in the context, with the following arguments:
+When interpreted, the function @var{proc} is called for every layout
+object found in the context, with the following arguments:
@itemize @bullet
@item the layout object itself,
@item the context where the layout object was created, and
@item the context where @code{\applyoutput} is processed.
@end itemize
+
In addition, the cause of the layout object, i.e. the music
expression or object that was responsible for creating it, is in the
object property @code{cause}. For example, for a note head, this is a
@internalsref{NoteHead} event, and for a @internalsref{Stem} object,
this is a @internalsref{NoteHead} object.
-
-@node Outputproperty
-@subsection Outputproperty
-
-@cindex @code{\outputproperty}
-
-Another way of tuning objects is the more arcane @code{\outputproperty}
-feature. The syntax is as follows:
+Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
+center-line:
@example
-\outputproperty @var{predicate} @var{symbol} = @var{value}
-@end example
-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}.
+(define (blanker grob grob-origin context)
+ (if (and (memq (ly:get-grob-property grob 'interfaces)
+ note-head-interface)
+ (eq? (ly:get-grob-property grob 'staff-position) 0))
-You will need to combine this statement with @code{\context} to select
-the appropriate context to apply this to.
-@inputfileref{input/regression,output-property.ly} shows an example of
-the use of @code{\outputproperty}.
-
-@refbugs
+ (ly:set-grob-property! grob 'transparent #t)))
+@end example
-This command is slated for removal. Please use the
-@code{\applyoutput} command, see @ref{Applyoutput}.
@node Font selection
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
+
+Init files: @file{ly/paper20.ly} contains hints how new fonts may be
+added to LilyPond.
-Relative size is not linked to any real size.
+@refbugs
There is no style sheet provided for other fonts besides the @TeX{}
-family, and the style sheet cannot be modified easily.
+family.
@cindex font selection
@cindex font magnification
@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}
In markup mode you can compose expressions, similar to mathematical
expressions, XML documents and music expressions. The braces group
notes into horizontal lines. Other types of lists also exist: you can
-stack expressions grouped with @code{<<}, and @code{>>} vertically with
+stack expressions grouped with @code{<}, and @code{>} vertically with
the command @code{\column}. Similarly, @code{\center} aligns texts by
their center lines:
@lilypond[verbatim,fragment,relative=1]
- c1^\markup { \column << a bbbb c >> }
- c1^\markup { \center << a bbbb c >> }
- c1^\markup { \line << a b c >> }
+ c1^\markup { \column < a bbbb c > }
+ c1^\markup { \center < a bbbb c > }
+ 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
line breaks and the spacing. These all influence each other. The
choice of spacing determines how densely each system of music is set,
which influences where line breaks breaks are chosen, and thus
-ultimately how many pages a piece of music takes. In this section, the
-algorithm for spacing music is explained, and how spacing can be
-tuned.
+ultimately how many pages a piece of music takes. This section
+explains how to tune the algorithm for spacing.
Globally spoken, this procedure happens in three steps: first,
flexible distances (``springs'') are chosen, based on durations. All
@example
\property Staff.minimumVerticalExtent = #'(-4 . 4)
@end example
-This sets the vertical size of the current staff to 4 staff-space on
+This sets the vertical size of the current staff to 4 staff spaces on
either side of the center staff line. The argument of
@code{minimumVerticalExtent} is interpreted as an interval, where the
center line is the 0, so the first number is generally negative. The
@seealso
-Vertical alignment of staves is handled by the
+Internals: Vertical alignment of staves is handled by the
@internalsref{VerticalAlignment} object.
If one would follow the above procedure exactly, then adding a single
32th note to a score that uses 8th and 16th notes, would widen up the
entire score a lot. The shortest note is no longer a 16th, but a 32nd,
-thus adding 2 noteheads of space to every note. To prevent this, the
+thus adding 1 NHW to every note. To prevent this, the
shortest duration for spacing is not the shortest note in the score,
but the most commonly found shortest note. Notes that are even
-shorter this are followed by a space that is proportonial to their
+shorter this are followed by a space that is proportional to their
duration relative to the common shortest note. So if we were to add
only a few 16th notes to the example above, they would be followed by
half a NHW:
@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-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