* Tablatures::
* Chord names::
* Orchestral music::
-* Ancient notation ::
+* Ancient notation::
* Contemporary notation::
+* Special notation::
* Tuning output::
* Global layout::
* Sound::
* Stems::
* Ties::
* Tuplets::
-* Easy Notation note heads ::
@end menu
@seealso
-@noindent
-
-bla
-
-@internalsref{NoteEvent}, and @internalsref{NoteHead}.
+Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
@node Chromatic alterations
@subsection Chromatic alterations
after the pitch. A cautionary accidental
@cindex cautionary accidental
@cindex parenthesized accidental
-(an accidental within parentheses) can be obtained by adding the
+(i.e. an accidental within parentheses) can be obtained by adding the
question mark `@code{?}' after the pitch:
@lilypond[fragment,verbatim]
@seealso
-@internalsref{RestEvent}, and @internalsref{Rest}.
+Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
@c FIXME: naming.
@seealso
-@internalsref{SkipEvent}.
+Internals: @internalsref{SkipEvent}.
@seealso
-@internalsref{Dots}, and @internalsref{DotColumn}.
-
-@refbugs
-
-In dense chords, dots can overlap.
+Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
@node Stems
@subsection Stems
\time 3/4 c'2. c'2 ~ c'4
@end lilypond
If you need to tie a lot of notes over bars, it may be easier to use automatic
-note splitting (See @ref{Automatic note splitting}).
+note splitting (see @ref{Automatic note splitting}).
@refcommands
@seealso
-@internalsref{TieEvent}, @internalsref{NewTieEvent},
-@internalsref{Tie}, and @ref{Automatic note splitting}.
+In this manual: @ref{Automatic note splitting}.
-If you want less
-ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
+Internals: @internalsref{TieEvent}, @internalsref{NewTieEvent},
+@internalsref{Tie}
+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}.
@seealso
-@internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
+Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
+
+Examples: @inputfileref{input/regression,tuplet-nest.ly}.
@refbugs
Nested tuplets are not formatted automatically. In this case, outer
-tuplet brackets should be moved manually.
-
-@node Easy Notation note heads
-@subsection Easy Notation note heads
-
-@cindex easy notation
-@cindex Hal Leonard
-
-The `easy play' note head includes a note name inside the head. It is
-used in music aimed at beginners:
-
-@lilypond[singleline,verbatim,26pt]
-\score {
- \notes { c'2 e'4 f' | g'1 }
- \paper { \translator { \EasyNotation } }
-}
-@end lilypond
-
-The @code{EasyNotation} variable overrides a @internalsref{Score} context.
-You probably will want to print it with magnification or a
-large font size to make it more readable. To print with
-magnification, you must create a DVI file (with @file{lilypond}) and
-then enlarge it with something like @file{dvips -x 2000 file.dvi}.
-See the @code{dvips} documentation for more details. To print with a
-larger font, see @ref{Font Size}.
-
+tuplet brackets should be moved manually, which is demonstrated in
+@inputfileref{input/regression,tuplet-nest.ly}.
-@cindex Xdvi
-@cindex ghostscript
-
-If you view the result with Xdvi, then staff lines will show through
-the letters. Printing the PostScript file obtained does produce the
-correct result.
@node Easier music entry
* Octave check::
* Bar check::
* Skipping corrected music::
-* Automatic note splitting ::
+* Automatic note splitting::
@end menu
@subsection Octave check
-Octave checks make octave errors easier to correct.
-The syntax is
+Octave checks make octave errors easier to correct: a note may be
+followed by @code{=}@var{quotes} which indicates what its absolute
+octave should be. In the following example,
+@example
+ \relative c'' @{ c='' b=' d,='' @}
+@end example
+
+@noindent
+@c take care with @code, adds confusing quotes.
+the d will generate a warning, because a d'' is expected, but a d' is
+found. In the output, the octave is corrected this and the following
+notes.
+
+
+
+There is also a syntax that is separate from the notes.
@example
\octave @var{pitch}
@end example
}
@end lilypond
-
-
@node Bar check
@subsection Bar check
@cindex Bar check
\time 3/4 c2 e4 | g2 |
@end example
+Bar checks can also be used in lyrics, for example
+
+@example
+ \lyrics @{
+ \time 2/4
+ Twin -- kle | Twin -- kle
+ @}
+@end example
@cindex skipTypesetting
Long notes can be converted automatically to tied notes. This is done
by replacing the @internalsref{Note_heads_engraver} by the
-@internalsref{Completion_heads_engraver}:
-
-@example
- \paper @{ \translator @{
- \ThreadContext
- \remove "Note_heads_engraver"
- \consists "Completion_heads_engraver"
- @} @}
-@end example
+@internalsref{Completion_heads_engraver}.
+In the following examples, notes crossing the barline are split and tied.
-which will make long notes tied in the following example:
-@example
- \time 2/4
- c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
-@end example
-@lilypond[noindent]
-\score{
- \notes\relative c'{
- \time 2/4
- c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
- }
- \paper { \translator {
- \ThreadContext
+@lilypond[noindent,verbatim]
+\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
- } }
- }
+} {
+ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
+}
@end lilypond
This engraver splits all running notes at the bar line, and inserts
Not all durations (especially those containing tuplets) can be
represented exactly; the engraver will not insert tuplets.
+@seealso
+
+Examples: @inputfileref{input/regression,completion-heads.ly}
+Internals: @internalsref{Completion_heads_engraver}
@node Staff notation
@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{\applyoutput}.
+@seealso
+
+Internals: @internalsref{StaffSymbol},
+
+Examples: @inputfileref{input/test,staff-lines.ly},
+@inputfileref{input/test,staff-size.ly}
@refbugs
@seealso
-@internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
+Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
@cindex @code{keySignature}
@seealso
-The object for this symbol is @internalsref{Clef}.
+Internals: the object for this symbol is @internalsref{Clef}.
a b }
@end lilypond
-Internally the @code{set-octavation} function sets the properties
+The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
+(for 15ma) as arguments. Internally the function sets the properties
@code{ottavation} (eg. to @code{"8va"}) and
-@code{centralCPosition}. The function also takes arguments -1 (for 8va
-bassa) and 2 (for 15ma).
+@code{centralCPosition}. For overriding the text of the bracket, set
+@code{ottavation} after invoking @code{set-octavation}, i.e.,
+
+@example
+ #(set-octavation 1)
+ \property Staff.ottavation = #"8"
+@end example
+
+@seealso
+
+Internals: @internalsref{OttavaBracket}.
-@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
\bar ":|" c
\bar ".|" c
\bar ".|." c
-\bar "|."
+\bar ":|:" c
+\bar "|." c
+\bar ":" c
@end lilypond
For allowing linebreaks, there is a special command,
@example
@seealso
-@ref{Repeats}.
+In this manual: @ref{Repeats}.
-The bar line objects that are created at @internalsref{Staff} level
-are called @internalsref{BarLine}, the bar lines that span staves are
-@internalsref{SpanBar}s.
+Internals: the bar line objects that are created at
+@internalsref{Staff} level are called @internalsref{BarLine}, the bar
+lines that span staves are @internalsref{SpanBar}s.
@cindex bar lines at start of system
@cindex start of system
The barlines at the start of each system are
@internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
-@internalsref{SystemStartBracket}. They are spanner objects and
-typically must be tuned from a @code{\translator} block.
+@internalsref{SystemStartBracket}. Only one of these types is created
+in every context, and that type is determined by the property
+@code{systemStartDelimiter}.
+Examples: @inputfileref{input/test,bar-lines.ly},
@node Polyphony
@section Polyphony
each of these contexts, vertical direction of slurs, stems, etc. is set
appropriately.
+@cindex @code{\voiceOne}
+@cindex @code{\voiceFour}
+
This can also be done by instantiating @internalsref{Voice} contexts
by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
a stem directions and horizontal shift for each part:
\new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
@end lilypond
+@noindent
+The command @code{\oneVoice} will revert back to the normal setting.
+@cindex @code{\oneVoice}
+
+
Normally, note heads with a different number of dots are not merged, but
when the object property @code{merge-differently-dotted} is set in
the @internalsref{NoteCollision} object, they are merged:
@cindex @code{\voiceFour}
@code{\voiceFour}.
+
The following commands specify in what chords of the current voice
should be shifted: the outer voice has @code{\shiftOff}, and the inner
voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
@seealso
-The objects responsible for resolving collisions are
-@internalsref{NoteCollision} and @internalsref{RestCollision}. See
-also example files @inputfileref{input/regression,collision-dots.ly},
+Internals: the objects responsible for resolving collisions are
+@internalsref{NoteCollision} and @internalsref{RestCollision}.
+
+Examples: See also example files
+@inputfileref{input/regression,collision-dots.ly},
@inputfileref{input/regression,collision-head-chords.ly},
@inputfileref{input/regression,collision-heads.ly},
@inputfileref{input/regression,collision-mesh.ly}, and
When using @code{merge-differently-headed} with an upstem 8th or a shorter
note, and a downstem half note, the 8th note gets the wrong offset.
+There is no support for clusters where the same note occurs with
+different accidentals in the same chord. In this case, it is
+recommended to use enharmonic transcription, or to use special cluster
+notation (see @ref{Clusters}).
+
@node Beaming
@section Beaming
@seealso
-@internalsref{Beam}.
+Internals: @internalsref{Beam}.
@cindex Automatic beams
+@menu
+* Manual beams::
+* Setting automatic beam behavior::
+@end menu
+
+@node Manual beams
@subsection Manual beams
@cindex beams, manual
@cindex @code{]}
-@menu
-* Setting automatic beam behavior ::
-@end menu
-
-@ignore
-@no de Beam typography
-@sub section Beam typography
-
-One of the strong points of LilyPond is how beams are formatted. Beams
-are quantized, meaning that the left and right endpoints beams start
-exactly on staff lines. Without quantization, small wedges of white
-space appear between the beam and staff line, and this looks untidy.
-
-Beams are also slope-damped: melodies that go up or down should also
-have beams that go up or down, but the slope of the beams should be
-less than the slope of the notes themselves.
-
-Some beams should be horizontal. These are so-called concave beams.
-
-[TODO: some pictures.]
-@end ignore
-
@node Setting automatic beam behavior
@subsection Setting automatic beam behavior
whether the rule applies to begin or end-points. The quantity
@var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
*}' designates notes of any length), @var{N}/@var{M} refers to a time
-signature (wildcards, `@code{* *}' may be entered to designate all time
+signature (wildcards `@code{* *}' may be entered to designate all time
signatures).
For example, if automatic beams should end on every quarter note, use
@end example
In 4/4 time signature, this means that automatic beams could end only on
3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
-3/8 has passed within the measure).
+3/8, has passed within the measure).
Rules can also be restricted to specific time signatures. A rule that
should only be applied in @var{N}/@var{M} time signature is formed by
@seealso
-@internalsref{Accidental_engraver}, @internalsref{Accidental}, and
-@internalsref{AccidentalPlacement}.
+Internals: @internalsref{Accidental_engraver},
+@internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
@refbugs
@c fingering?
@menu
-* Slurs ::
+* Slurs::
* Phrasing slurs::
* Breath marks::
* Metronome marks::
* Fingering instructions::
* Text scripts::
* Grace notes::
-* Glissando ::
+* Glissando::
* Dynamics::
@end menu
@seealso
-@seeinternals{Slur}, and @internalsref{SlurEvent}.
+Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
@refbugs
@seealso
-See also @internalsref{PhrasingSlur}, and
+Internals: see also @internalsref{PhrasingSlur}, and
@internalsref{PhrasingSlurEvent}.
@refbugs
@seealso
-@internalsref{BreathingSign}, @internalsref{BreathingSignEvent}, and
-@inputfileref{input/regression,breathing-sign.ly}.
+Internals: @internalsref{BreathingSign},
+@internalsref{BreathingSignEvent}
+
+Examples: @inputfileref{input/regression,breathing-sign.ly}.
@node Metronome marks
@seealso
-@internalsref{MetronomeChangeEvent}.
+Internals: @internalsref{MetronomeChangeEvent}.
@seealso
-@internalsref{TextSpanEvent},
-@internalsref{TextSpanner}, and
-@inputfileref{input/regression,text-spanner.ly}.
+Internals @internalsref{TextSpanEvent},
+@internalsref{TextSpanner}.
+
+Examples: @inputfileref{input/regression,text-spanner.ly}.
@node Analysis brackets
@seealso
-@internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent}, and
-@inputfileref{input/regression,note-group-bracket.ly}.
+Internals: @internalsref{HorizontalBracket},
+@internalsref{NoteGroupingEvent}
+
+Examples: @inputfileref{input/regression,note-group-bracket.ly}.
@node Articulations
@seealso
-@internalsref{ScriptEvent}, and @internalsref{Script}.
+Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
@refbugs
- These note ornaments appear in the printed output but have no
+These note ornaments appear in the printed output but have no
effect on the MIDI rendering of the music.
@cindex subscript
You can use the thumb-script to indicate that a note should be
-played with your thumb (used in cello music):
+played with the thumb (e.g. in cello music):
@lilypond[verbatim, singleline, fragment]
<a' a''-3>8(_\thumb <b' b''-3>)_\thumb
< c-1 e-2 g-3 b-5 > 4
@end lilypond
-Setting @code{fingeringOrientations} will put fingerings next
+@noindent
+In this case, setting @code{fingeringOrientations} will put fingerings next
to note heads:
@lilypond[verbatim,singleline,fragment,relative=1]
\property Voice.fingeringOrientations = #'(up right down)
<c-1 es-2 g-4 bes-5 > 4
@end lilypond
+
+By using single note chords, fingering instructions can be put close
+to note heads in monophonic music.
@seealso
-@internalsref{FingerEvent}, and @internalsref{Fingering}.
+Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
+Examples: @inputfileref{input/regression,finger-chords.ly}
@node Text scripts
@subsection Text scripts
@cindex Text scripts
+@cindex text items, non-empty
+@cindex non-empty texts
+
It is possible to place arbitrary strings of text or markup text (see
@ref{Text markup}) above or below notes by using a string:
@code{c^"text"}. By default, these indications do not influence the
be avoided because the exact dimensions of the string can then no
longer be computed.
+@refcommands
+
+@refcommand{fatText}, @refcommand{emptyText}.
+
@seealso
-@internalsref{TextScriptEvent}, @internalsref{TextScript}, and
-@ref{Text markup}.
+In this manual: @ref{Text markup}.
+
+Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}
+
@seealso
-@internalsref{GraceMusic}.
+Internals: @internalsref{GraceMusic}.
@refbugs
-Grace notes cannot be used in the smallest size (@file{paper11.ly}).
-
A score that starts with an @code{\grace} section needs an explicit
@code{\context Voice} declaration, otherwise the main note and grace
note end up on different staves.
expressions. Nesting or juxtaposing grace sections is not supported,
and might produce crashes or other errors.
-Overriding settings cannot be done in separate styles for appoggiatura
-and acciaccatura.
-
@node Glissando
@subsection Glissando
@seealso
-@internalsref{Glissando}, and @internalsref{GlissandoEvent}.
+Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
@refbugs
@seealso
-@internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
+Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
@internalsref{AbsoluteDynamicEvent}.
Dynamics are objects of @internalsref{DynamicText} and
@inputfileref{input,star-spangled-banner.ly}.
@end ignore
+@c tremolo, beamed
@item tremolo
Make tremolo beams.
@seealso
-@internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
+Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
@internalsref{VoltaRepeatedMusic},
@internalsref{UnfoldedRepeatedMusic}, and
@internalsref{FoldedRepeatedMusic}.
To place tremolo marks between notes, use @code{\repeat} with tremolo
style:
-@lilypond[verbatim,center,singleline]
+@lilypond[verbatim,singleline]
\score {
\context Voice \notes\relative c' {
\repeat "tremolo" 8 { c16 d16 }
\repeat "tremolo" 4 { c16 d16 }
\repeat "tremolo" 2 { c16 d16 }
- \repeat "tremolo" 4 c16
}
}
@end lilypond
-@seealso
+Tremolo marks can also be put on a single note. In this case, the
+note should not be surrounded by braces.
+@lilypond[verbatim,singleline]
+ \repeat "tremolo" 4 c16
+@end lilypond
-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::
@syntax
-Percussion staves are typeset with help of a set of Scheme
-functions. The system is based on the general MIDI drum-pitches.
-Include @file{drumpitch-init.ly} to use drum pitches. This file
-defines the pitches from the Scheme variable @code{drum-pitch-names},
-the definition of which can be read in @file{scm/drums.scm}. Each
-piece of percussion has a full name and an abbreviated name, and either
-the full name or the abbreviation may be used in input files.
-
-To typeset the music on a staff apply the function @code{drums->paper}
-to the percussion music. This function takes a list of percussion
-instrument names, notehead scripts and staff positions (that is:
-pitches relative to the C-clef) and transforms the input
-music by moving the pitch, changing the notehead and (optionally)
-adding a script:
+Percussion notes may be entered in @code{\drums} mode, which is
+similar to @code{notes}. Each piece of percussion has a full name and
+an abbreviated name, and both be used in input files:
+
+@lilypond[singleline]
+ \drums { hihat4 hh4 }
+@end lilypond
+
+To typeset the music, the notes must be interpreted in a
+@internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
+
@c
@lilypond[singleline,verbatim,quote]
-\include "drumpitch-init.ly"
-up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
-down = \notes { bassdrum4 snare8 bd r bd sn4 }
+up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
+down = \drums { bassdrum4 snare8 bd r bd sn4 }
\score {
- \apply #(drums->paper 'drums) \context Staff <<
- \clef percussion
- \new Voice { \voiceOne \up }
- \new Voice { \voiceTwo \down }
- >>
-}
-
+ \new DrumStaff
+ << \new DrumVoice { \voiceOne \up }
+ \new DrumVoice { \voiceTwo \down }
+>> }
@end lilypond
-In the above example the music was transformed using the list @code{'drums}.
-The following lists are defined in @file{scm/drums.scm}:
+
+There are also other layout possibilities. To use these, set the
+property @code{drumStyleTable} in context @internalsref{DrumVoice}.
+The following variables have been predefined:
+
@table @code
-@item 'drums
-to typeset a typical drum kit on a five-line staff:
+@item drums-style
+is the default. It typesets a typical drum kit on a five-line staff
@lilypond[noindent]
-\include "drumpitch-init.ly"
nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
bd sn ss tomh tommh tomml toml tomfh tomfl }
-mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
+mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
\score {
- <<
- \apply #(drums->paper 'drums) \context Staff <<
- \clef percussion
- \mus
- >>
- \context Lyrics \nam
- >>
- \paper {
- linewidth = 100.0\mm
- \translator {
- \StaffContext
+ << \new DrumStaff\with {
\remove Bar_engraver
\remove Time_signature_engraver
+ Stem \set #'transparent = ##t
+ Stem \set #'Y-extent-callback = ##f
minimumVerticalExtent = #'(-4.0 . 5.0)
- }
- \translator {
- \VoiceContext
- \remove Stem_engraver
- }
- }
-}
+ } \mus
+ \context LyricsVoice \nam
+ >>
+ \paper {
+ %% need to do this, because of indented @itemize
+ linewidth= 9 \cm
+ \translator { \ScoreContext
+ BarNumber \set #'transparent =##T
+}}}
@end lilypond
The drum scheme supports six different toms. When there fewer toms, simply
the three middle lines you use @code{tommh}, @code{tomml} and
@code{tomfh}.
-Because general MIDI does not contain rimshots the sidestick is used
-for this purpose instead.
-@item 'timbales
+@item timbales-style
to typeset timbales on a two line staff:
@lilypond[singleline]
-\include "drumpitch-init.ly"
nam = \lyrics { timh ssh timl ssl cb }
-mus = \notes { timh ssh timl ssl cb s16 }
+mus = \drums { timh ssh timl ssl cb s16 }
\score {
<<
- \apply #(drums->paper 'timbales) \context Staff <<
- \clef percussion
- \mus
- >>
- \context Lyrics \nam
- >>
- \paper {
- \translator {
- \StaffContext
+ \context DrumStaff \with {
\remove Bar_engraver
\remove Time_signature_engraver
+ Stem \set #'transparent = ##t
+ Stem \set #'Y-extent-callback = ##f
StaffSymbol \override #'line-count = #2
StaffSymbol \override #'staff-space = #2
minimumVerticalExtent = #'(-3.0 . 4.0)
- }
- \translator {
- \VoiceContext
- \remove Stem_engraver
- }
-
- }
+ drumStyleTable = #timbales-style
+ } \mus
+ \context LyricsVoice \nam
+ >>
}
@end lilypond
-@item 'congas
+@item congas-style
to typeset congas on a two line staff:
@lilypond[singleline]
-\include "drumpitch-init.ly"
nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
-mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
+mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
\score {
<<
- \apply #(drums->paper 'congas) \context Staff <<
- \clef percussion
- \mus
- >>
- \context Lyrics \nam
- >>
- \paper {
- \translator {
- \StaffContext
+ \context DrumStaff\with {
\remove Bar_engraver
\remove Time_signature_engraver
+ drumStyleTable = #congas-style
StaffSymbol \override #'line-count = #2
+
+ %% this sucks; it will lengthen stems.
StaffSymbol \override #'staff-space = #2
- minimumVerticalExtent = #'(-3.0 . 4.0)
- }
- \translator {
- \VoiceContext
- \remove Stem_engraver
- }
- }
+ Stem \set #'transparent = ##t
+ Stem \set #'Y-extent-callback = ##f
+ } \mus
+ \context LyricsVoice \nam
+ >>
}
@end lilypond
-@item 'bongos
+@item bongos-style
to typeset bongos on a two line staff:
@lilypond[singleline]
-\include "drumpitch-init.ly"
nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
-mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
+mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
\score {
<<
- \apply #(drums->paper 'bongos) \context Staff <<
- \clef percussion
- \mus
- >>
- \context Lyrics \nam
- >>
- \paper {
- \translator {
- \StaffContext
+ \context DrumStaff\with {
\remove Bar_engraver
\remove Time_signature_engraver
StaffSymbol \override #'line-count = #2
+ drumStyleTable = #bongos-style
+
+ %% this sucks; it will lengthen stems.
StaffSymbol \override #'staff-space = #2
- minimumVerticalExtent = #'(-3.0 . 4.0)
- }
- \translator {
- \VoiceContext
- \remove Stem_engraver
- }
- }
+ Stem \set #'transparent = ##t
+ Stem \set #'Y-extent-callback = ##f
+ } \mus
+ \context LyricsVoice \nam
+ >>
}
@end lilypond
-@item 'percussion
+
+@item percussion-style
to typeset all kinds of simple percussion on one line staves:
@lilypond[singleline]
-\include "drumpitch-init.ly"
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 }
+mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
\score {
<<
- \apply #(drums->paper 'percussion) \context Staff <<
- \clef percussion
- \mus
- >>
- \context Lyrics \nam
- >>
- \paper {
- \translator {
- \StaffContext
+ \context DrumStaff\with{
\remove Bar_engraver
- \remove Time_signature_engraver
+ drumStyleTable = #percussion-style
StaffSymbol \override #'line-count = #1
- minimumVerticalExtent = #'(-2.0 . 3.0)
- }
- \translator {
- \VoiceContext
- \remove Stem_engraver
- }
- }
+ \remove Time_signature_engraver
+ Stem \set #'transparent = ##t
+ Stem \set #'Y-extent-callback = ##f
+ } \mus
+ \context LyricsVoiceVoice \nam
+ >>
}
@end lilypond
@end table
list at the top of your file:
@lilypond[singleline, verbatim]
-#(set-drum-kit 'mydrums `(
- (bassdrum default #f ,(ly:make-pitch -1 2 0))
- (snare default #f ,(ly:make-pitch 0 1 0))
- (hihat cross #f ,(ly:make-pitch 0 5 0))
- (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
- (lowtom diamond #f ,(ly:make-pitch -1 6 0))
+#(define mydrums '(
+ (bassdrum default #f -1)
+ (snare default #f 0)
+ (hihat cross #f 1)
+ (pedalhihat xcircle "stopped" 2)
+ (lowtom diamond #f 3)
))
-\include "drumpitch-init.ly"
-up = \notes { hh8 hh hh hh hhp4 hhp }
-down = \notes { bd4 sn bd toml8 toml }
-\score {
- \apply #(drums->paper 'mydrums) \context Staff <<
- \clef percussion
- \new Voice { \voiceOne \up }
- \new Voice { \voiceTwo \down }
+up = \drums { hh8 hh hh hh hhp4 hhp }
+down = \drums { bd4 sn bd toml8 toml }
+\score {
+ \new DrumStaff <<
+ \property DrumStaff.drumStyleTable
+ = #(alist->hash-table mydrums)
+ \new DrumVoice { \voiceOne \up }
+ \new DrumVoice { \voiceTwo \down }
>>
}
@end lilypond
-To use a modified existing list, one can prepend modifications to the
-the existing list:
-@example
-#(set-drum-kit 'mydrums (append `(
- (bassdrum default #f ,(ly:make-pitch -1 2 0))
- (lowtom diamond #f ,(ly:make-pitch -1 6 0))
-) (get-drum-kit 'drums)))
-@end example
+@seealso
+
+Init files: @file{ly/drumpitch-init.ly}
+
+@refbugs
+
+Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
+work for @internalsref{DrumVoices}.
+
-You can easily combine percussion notation with pitched notation.
-Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
-names, so you will have to reinclude @file{nederlands.ly} after the
-drum-pattern-definitions to enter normal notes:
-@c
-@lilypond[singleline,verbatim]
-\include "drumpitch-init.ly"
-up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
-down = \notes { bassdrum4 snare8 bd r bd sn4 }
-\include "nederlands.ly"
-bass = \notes \transpose c c,, { a4. e8 r e g e }
-\score {
- <<
- \apply #(drums->paper 'drums) \new Staff <<
- \clef percussion
- \new Voice { \voiceOne \up }
- \new Voice { \voiceTwo \down }
- >>
- \new Staff { \clef "F_8" \bass }
- >>
-}
-@end lilypond
@node Percussion MIDI output
@subsection Percussion MIDI output
+@ignore
+
In order to produce correct MIDI output you need to produce two score
blocks---one for the paper and one for the MIDI output. To use the
percussion channel you set the property @code{instrument} to
@}
@end example
-@refbugs
+Because general MIDI does not contain rimshots the sidestick is used
+for this purpose instead.
+
+@end ignore
-Chords entered with @code{< @dots{} >} do not work. This scheme is a
-temporary implementation.
+@refbugs
+MIDI output for drums is temporarily broken.
@node Piano music
@section Piano music
There is no support for putting chords across staves. You can get
this result by increasing the length of the stem in the lower stave so
it reaches the stem in the upper stave, or vice versa. An example is
-included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
+included with the distribution as
+@inputfileref{input/test,stem-cross-staff.ly}.
Dynamics are not centered, but kludges do exist. See
@inputfileref{input/template,piano-dynamics.ly}.
Voices can switch automatically between the top and the bottom
staff. The syntax for this is
@example
- \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
+ \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
@end example
The two staffs of the piano staff must be named @code{up} and
@code{down}.
@lilypond[verbatim,singleline,quote]
\score { \notes \context PianoStaff <<
\context Staff = "up" {
- \autochange Staff \context Voice = VA << \relative c' {
- g4 a b c d r4 a g } >> }
+ \autochange \new Voice \relative c' {
+ g4 a b c d r4 a g } }
\context Staff = "down" {
\clef bass
s1*2
@seealso
-@internalsref{AutoChangeMusic}.
+In this manual: @ref{Manual staff switches}
+
+Internals: @internalsref{AutoChangeMusic}.
+
+
@refbugs
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
@end lilypond
A third style of pedal notation is a mixture of text and brackets,
-obtained by setting @code{pedal-type} to @code{mixed}:
+obtained by setting the @code{pedalSustainStyle} style property to
+@code{mixed}:
@lilypond[fragment,verbatim]
\property Staff.pedalSustainStyle = #'mixed
@end lilypond
The default `*Ped' style for sustain and damper pedals corresponds to
-@code{\pedal-type = #'text}. However, @code{mixed} is the default style
-for a sostenuto pedal:
+style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
+default.
@lilypond[fragment,verbatim]
c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
@seealso
-@internalsref{ArpeggioEvent} music expressions lead to
+Internals: @internalsref{ArpeggioEvent} music expressions lead to
@internalsref{Arpeggio} objects. Cross staff arpeggios are
@internalsref{PianoStaff}.@internalsref{Arpeggio}.
\property PianoStaff.followVoice = ##t
\context Staff \context Voice {
c1
- \translator Staff=two
+ \change Staff=two
b2 a
}
\context Staff=two { \clef bass \skip 1*2 }
@seealso
-@internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
+Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
@internalsref{ExtenderEvent}.
@refbugs
-The definition of lyrics mode is too complex.
+The definition of lyrics mode is too complex.
+
+
@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 a @internalsref{LyricsVoice} context:
@example
- \context Lyrics \lyrics @dots{}
+ \context LyricsVoiceVoice \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
+@c
+notes of the @internalsref{Voice} context called @var{name}, which has
+to exist. Therefore, normally the @code{Voice} is specified first, and
+then the lyrics are specified with @code{\lyricsto}.
-Normally, this will put the lyrics below the staff. For different or
-more complex orderings, the best way is to setup the hierarchy of
-staves and lyrics first, e.g.
+For different or more complex orderings, the best way is to setup the
+hierarchy of staves and lyrics first, e.g.
@example
\context ChoirStaff \notes <<
- \context Lyrics = sopr @{ s1 @}
- \context Staff = soprStaff @{ s1 @}
- \context Lyrics = tenor @{ s1 @}
- \context Staff = tenorStaff @{ s1 @}
+ \context LyricsVoiceVoice = sopranoLyrics @{ s1 @}
+ \context Voice = soprano @{ @emph{music} @}
+ \context LyricsVoiceVoice = tenor @{ s1 @}
+ \context Voice = tenorLyrics @{ @emph{music} @}
>>
@end example
and then combine the appropriate melodies and lyric lines:
@example
- \addlyrics
- \context Staff = soprStaff @emph{the music}
- \context Lyrics = sopr @emph{the lyrics}
+ \lyricsto "soprano" \new LyricsVoice @emph{the lyrics}
@end example
-putting both together, you would get
+@noindent
+The final input would resemble
+
@example
-\context ChoirStaff \notes <<
- \context Lyrics = @dots{}
- \context Staff = @dots{}
- \addlyrics @dots{}
->>
-@end example
+ << \context ChoirStaff \notes << @emph{setup the music} >>
+ \lyricsto "soprano" @emph{etc}
+ \lyricsto "alto" @emph{etc}
+ @emph{etc}
+ >>
+@end example
+
+
+The @code{\lyricsto} command detects melismata: it only puts one
+syllable under a tied or slurred group of notes. If you want to force
+an unslurred group of notes to be a melisma, then insert
+@code{\melisma} after the first note of the group, and
+@code{\melismaEnd} after the last one, e.g.
+
+@lilypond[relative 1, singleline, fragment,verbatim]
+<< \context Voice = "lala" { \time 3/4
+ f4 g8
+ \melisma
+ f e f
+ \melismaEnd
+ e2 }
+ \lyricsto "lala" \new LyricsVoice \lyrics {
+ la di __ daah
+ } >>
+@end lilypond
+
+In addition, notes are considered a melisma if they are manually
+beamed, and automatic beaming (see @ref{Setting automatic beam
+behavior}) is switched off. The criteria for deciding melismata
+can be tuned with the property @code{melismaBusyProperties}. See
+@internalsref{Melisma_engraver} for more information.
+
+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
A complete example of a SATB score setup is in the file
@inputfileref{input/template,satb.ly}.
+@refcommands
+
+@code{\melisma}, @code{\melismaEnd}
+@cindex @code{\melismaEnd}
+@cindex @code{\melisma}
+
@seealso
-@internalsref{LyricCombineMusic}, @internalsref{Lyrics}, and
-@inputfileref{input/template,satb.ly}.
+Internals: Music expressions: @internalsref{LyricCombineMusic},
+Contexts: @internalsref{LyricsVoice}, @internalsref{Melisma_engraver}.
+Examples: @inputfileref{input/template,satb.ly},
+@inputfileref{input/regression,lyric-combine-new.ly}.
+
@refbugs
-@code{\addlyrics} is not automatic enough: melismata are not detected
-automatically, and melismata are not stopped when they hit a rest. A
-melisma on the last note in a melody is not printed.
+Melismata are not detected automatically, and extender lines must be
+inserted by hand.
+
+For proper processing of extender lines, the
+@internalsref{LyricsVoice} and @internalsref{Voice} should be
+linked. This can be achieved either by using @code{\lyricsto} or by
+setting corresponding names for both contexts. The latter is explained
+in @ref{More stanzas}.
@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. This is done automatically when @code{\lyricsto},
+but it can also be done manually.
To this end, give the @internalsref{Voice} context an identity:
@example
@internalsref{Voice} identity is @code{duet}, so the identities of the
@internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
@example
- \context LyricsVoice = "duet-1" @{
+ \context LyricsVoiceVoice = "duet-1" @{
Hi, my name is bert. @}
- \context LyricsVoice = "duet-2" @{
+ \context LyricsVoiceVoice = "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
string.
Names of the singers should be added using @code{LyricsVoice
-. instrument} and @code{LyricsVoice . instr}, analogous to instrument
+. vocalName} and @code{LyricsVoice . vocNam}, analogous to instrument
annotations for staves.
To make empty spaces in lyrics, use @code{\skip}.
+@seealso
+
+Internals: Layout objects @internalsref{LyricText}
+@internalsref{VocalName}. Music expressions:
+@internalsref{LyricEvent}.
@refbugs
@end example
+
+
@node Ambitus
@subsection Ambitus
@cindex ambitus
@seealso
-@internalsref{Ambitus}, @inputfileref{input/regression,ambitus.ly},
+Internals: @internalsref{Ambitus}
+
+Examples: @inputfileref{input/regression,ambitus.ly},
@inputfileref{input/test,ambitus-mixed.ly}.
@refbugs
}
@end lilypond
+@cindex minimumFret
+
When no string is specified, the first string that does not give a
fret number less than @code{minimumFret} is selected. The default
value for @code{minimumFret} is 0:
@seealso
-@internalsref{TabStaff}, @internalsref{TabVoice}, and
+Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
@internalsref{StringNumberEvent}.
@refbugs
@cindex Non-guitar tablatures
You can change the number of strings, by setting the number of lines
-in the @internalsref{TabStaff} (the @code{line-count} property of
-@internalsref{TabStaff} can only be changed using
-@code{\applyoutput}, for more information, see @ref{Tuning
-objects}).
+in the @internalsref{TabStaff}.
You can change the tuning of the strings. A string tuning is given as
a Scheme list with one integer number for each string, the number
@lilypond[fragment,verbatim]
\context TabStaff <<
-
- \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface)
- 'line-count 4)
\property TabStaff.stringTunings = #'(-5 -10 -15 -20)
\notes {
@seealso
-@inputfileref{input/regression,chord-name-major7.ly},
+Examples: @inputfileref{input/regression,chord-name-major7.ly},
@inputfileref{input/regression,chord-name-exceptions.ly},
@inputfileref{input/test,chord-names-jazz.ly},
-@inputfileref{input/test,chord-names-german.ly},
-@file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
+@inputfileref{input/test,chord-names-german.ly}.
+
+Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
@refbugs
To print a rehearsal mark, use the @code{\mark} command:
@lilypond[fragment,verbatim]
\relative c'' {
- c1 \mark "A"
- c1 \mark "B"
- c1 \mark "12"
- c1 \mark "13"
- c1
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark #8
+ c1 \mark \default
+ c1 \mark \default
}
@end lilypond
+@noindent
+(The letter I is skipped in accordance with engraving traditions.)
+
The mark is incremented automatically if you use @code{\mark
-\default}. The value to use is stored in the property
-@code{rehearsalMark} is used and automatically incremented.
+\default}, but you can also use an integer argument to set the mark
+manually. The value to use is stored in the property
+@code{rehearsalMark}.
+
+The style is defined by the property @code{markFormatter}. It is a
+function taking the current mark (an integer) and the current context
+as argument. It should return a markup object. In the following
+example, @code{markFormatter} is set to a canned procedure. After a
+few measures, it is set to function that produces a boxed number.
+
+@lilypond[verbatim,fragment,relative 1]
+ \property Score.markFormatter = #format-mark-numbers
+ c1 \mark \default
+ c1 \mark \default
+ \property Score.markFormatter
+ = #(lambda (mark context)
+ (make-bold-markup (make-box-markup (number->string mark))))
+ c1 \mark \default
+ c1 \mark \default
+@end lilypond
+
+The file @file{scm/translation-functions.scm} contains the definitions
+of @code{format-mark-numbers} (the default format) and
+@code{format-mark-letters}. They can be used as inspiration for other
+formatting functions.
+
+
+@cindex coda on bar line
+@cindex segno on bar line
+@cindex fermata on bar line
+@cindex bar lines, symbols on
The @code{\mark} command can also be used to put signs like coda,
segno and fermatas on a barline. Use @code{\markup} to
c1
@end lilypond
-In this case, during line breaks,
-marks must also be printed at the end of the line, and not at the
-beginning. Use the following to force that behavior:
+In this case, during line breaks, marks must also be printed at the
+end of the line, and not at the beginning. Use the following to force
+that behavior:
@example
\property Score.RehearsalMark \override
#'break-visibility = #begin-of-line-invisible
@end example
-See @inputfileref{input/test,boxed-molecule.ly} for putting boxes
-around the marks.
-
@cindex fermatas
@cindex coda
@cindex segno
@seealso
-@internalsref{MarkEvent}, @internalsref{RehearsalMark}, and
-@inputfileref{input/test,boxed-molecule.ly}.
+Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
+
+Init files: @file{scm/translation-functions.scm} contains the
+definition of @code{format-mark-numbers} and
+@code{format-mark-letters}. They can be used as inspiration for other
+formatting functions.
+
+Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
+@inputfileref{input/regression,rehearsal-mark-number.ly}.
@node Bar numbers
@seealso
-@internalsref{BarNumber},
-@inputfileref{input/test,bar-number-every-five-reset.ly}, and
-@inputfileref{input/test,bar-number-regular-interval.ly}.
+Internals: @internalsref{BarNumber}.
+
+Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
+and @inputfileref{input/test,bar-number-regular-interval.ly}.
@refbugs
@seealso
-@internalsref{InstrumentName}.
+Internals: @internalsref{InstrumentName}.
@refbugs
\transpose @var{from} @var{to} @var{musicexpr}
@end example
-This means that @var{musicexpr} is transposed by the interval
-between @var{from} and @var{to}.
+This means that @var{musicexpr} is transposed by the interval between
+the pitches @var{from} and @var{to}: any note with pitch @code{from}
+is changed to @code{to}.
+
+
+For example, consider a piece written in the key of D major. If
+this piece is a little too low for its performer, it can be
+transposed up to E major with
+@example
+ \tranpose d e @dots{}
+@end example
+
+Consider a part written for violin (a C instrument). If
+this part is to be played on the A clarinet, the following
+transposition will produce the appropriate part
-@code{\transpose} distinguishes between enharmonic pitches: both
-@code{\transpose c cis} or @code{\transpose c des} will transpose up
-half a tone. The first version will print sharps and the second
-version will print flats:
+@example
+ \transpose a c @dots{}
+@end example
+
+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 half a tone. The first
+version will print sharps and the second version will print flats:
@lilypond[singleline, verbatim]
mus =\notes { \key d \major cis d fis g }
}}
@end lilypond
+
@seealso
-@internalsref{TransposedMusic}, and @internalsref{UntransposableMusic}.
+Internals: @internalsref{TransposedMusic}, and
+@internalsref{UntransposableMusic}.
@refbugs
@seealso
-@internalsref{MultiMeasureRestEvent},
+Internals: @internalsref{MultiMeasureRestEvent},
@internalsref{MultiMeasureTextEvent},
@internalsref{MultiMeasureRestMusicGroup}, and
@internalsref{MultiMeasureRest}.
The syntax for part combining is
@example
- \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
+ \partcombine @var{musicexpr1} @var{musicexpr2}
@end example
-where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
-combined into one context of type @var{context}. The music expressions
-must be interpreted by contexts whose names should start with @code{one}
-and @code{two}.
+
+The music expressions will be interpreted as @internalsref{Voice}
+contexts.
The following example demonstrates the basic functionality of the part
combiner: putting parts on one staff, and setting stem directions and
polyphony:
-@lilypond[verbatim,singleline,fragment]
- \context Staff <<
- \context Voice=one \partcombine Voice
- \context Thread=one \relative c'' {
+@lilypond[verbatim,singleline,fragment,relative 1]
+ \new Staff \partcombine
+ {
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 <<
+ \new Staff <<
\property Staff.soloADue = ##f
- \context Voice=one \partcombine Voice
- \context Thread=one \relative c'' {
- b4 a c g
- }
- \context Thread=two \relative c'' {
- d,2 a4 g'
+ \partcombine
+ {
+ g a( b) r
}
- >>
+ {
+ g r4 r f
+ } >>
@end lilypond
@seealso
-@internalsref{PartCombineMusic},
-@internalsref{Thread_devnull_engraver}, and
-@internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
+Internals: @internalsref{PartCombineMusic},
+@internalsref{SoloOneEvent}, and
+@internalsref{SoloTwoEvent}, and
+@internalsref{UnisonoEvent}.
@refbugs
-The syntax for naming contexts in inconsistent with the syntax for
-combining stanzas.
-
In @code{soloADue} mode, when the two voices play the same notes on and
off, the part combiner may typeset @code{a2} more than once in a
-measure:
+measure.
-@lilypond[fragment,singleline]
- \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
-mechanism in the near future.
-
-@cindex @code{Thread_devnull_engraver}
-@cindex @code{Voice_engraver}
-@cindex @code{A2_engraver}
@node Hiding staves
@subsection Hiding staves
@seealso
-@inputfileref{input/regression,tag-filter.ly}
+Examples: @inputfileref{input/regression,tag-filter.ly}
@node Sound output for transposing instruments
@seealso
-@inputfileref{input/regression,note-head-style.ly} gives an overview
-over all available note head styles.
-
+In this manual:
@ref{Percussion staves} use note head styles of their own that are
frequently used in contemporary music notation.
+Examples: @inputfileref{input/regression,note-head-style.ly} gives an
+overview over all available note head styles.
+
+
@node Ancient accidentals
@subsection Ancient accidentals
@seealso
-@ref{Pitches}, @ref{Chromatic alterations} and @ref{Accidentals} give
-a general introduction into the use of accidentals. @ref{Key
-signature} gives a general introduction into the use of key
-signatures.
+In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
+@ref{Accidentals} give a general introduction into the use of
+accidentals. @ref{Key signature} gives a general introduction into
+the use of key signatures.
+
+Internals: @internalsref{KeySignature}
+Examples: @inputfileref{input/test,ancient-accidentals.ly}.
@node Ancient rests
@subsection Ancient rests
@seealso
-@ref{Rests} gives a general introduction into the use of rests.
+In this manual: @ref{Rests} gives a general introduction into the use of rests.
@node Ancient clefs
Editio Vaticana style do clef @tab
@code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
@lilypond[relative 0, notime]
-\context Staff
-\applyoutput #(outputproperty-compatibility (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
-\applyoutput #(outputproperty-compatibility (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
-\applyoutput #(outputproperty-compatibility (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
-\applyoutput #(outputproperty-compatibility (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
-\applyoutput #(outputproperty-compatibility (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
-\applyoutput #(outputproperty-compatibility (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}.
+
+@refbugs
+
+The mensural g clef is temporarily mapped to the Petrucci g clef,
+until a new mensural g clef will have been implemented.
+
@node Ancient flags
\property Score.timing = ##f
\property Score.barAlways = ##t
s_\markup { "$\\backslash$time 4/4" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural4/4" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
s
s_\markup { "$\\backslash$time 2/2" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural2/2" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
s
s_\markup { "$\\backslash$time 6/4" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural6/4" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
s
s_\markup { "$\\backslash$time 6/8" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural6/8" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
\break
s_\markup { "$\\backslash$time 3/2" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural3/2" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
s
s_\markup { "$\\backslash$time 3/4" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural3/4" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
s
s_\markup { "$\\backslash$time 9/4" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural9/4" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
s
s_\markup { "$\\backslash$time 9/8" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural9/8" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
\break
s_\markup { "$\\backslash$time 4/8" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural4/8" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
s
s_\markup { "$\\backslash$time 2/4" }
- ^\markup { " " \musicglyph #"timesig-neo\_mensural2/4" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
\break
}
\paper {
@seealso
-@ref{Time signature} gives a general introduction into the use of time
+Internals: @ref{Time signature} gives a general introduction into the use of time
signatures.
@refbugs
@seealso
-@internalsref{Custos} and @inputfileref{input/regression,custos.ly}.
+Internals: @internalsref{Custos}
+
+Examples: @inputfileref{input/regression,custos.ly}.
@node Divisiones
@seealso
-@internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
-@inputfileref{input/test,divisiones.ly}, and @ref{Breath marks}.
+In this manual: @ref{Breath marks}.
+
+Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
+
+Examples: @inputfileref{input/test,divisiones.ly}
@node Ligatures
@subsection Ligatures
@seealso
-@internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
+Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
and @internalsref{FiguredBass} context.
@refbugs
@lilypond[raggedright,verbatim,noindent]
\include "gregorian-init.ly"
\score {
- \addlyrics
- \context VaticanaVoice {
+<<
+ \context VaticanaVoice = "cantus" {
\property Score.BarNumber \set #'transparent = ##t
\notes {
- \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
- \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
- \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
+ \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
+ \[ f\melisma \pes a c' c' \pes d'\melismaEnd \] c' \divisioMinima \break
+ \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
}
}
- \context Lyrics \lyrics {
+ \lyricsto "cantus" \new LyricsVoice \lyrics {
San- ctus, San- ctus, San- ctus
- }
+ } >>
+
}
@end lilypond
@seealso
-@internalsref{ClusterSpanner}, @internalsref{ClusterSpannerBeacon},
-@inputfileref{input/regression,cluster.ly},
-@internalsref{Cluster_spanner_engraver}, and @internalsref{ClusterNoteEvent}.
+Internals: @internalsref{ClusterSpanner},
+@internalsref{ClusterSpannerBeacon},
+@internalsref{Cluster_spanner_engraver}, and
+@internalsref{ClusterNoteEvent}.
+
+Examples: @inputfileref{input/regression,cluster.ly}.
@refbugs
_\verylongfermata
r
}
- \context Lyrics \lyrics {
+ \context LyricsVoice \lyrics {
"shortfermata" "fermata" "longfermata" "verylongfermata"
} >>
}
See @ref{Articulations} for general instructions how to apply scripts
such as fermatas to a @code{\notes@{@}} block.
+
+@node Special notation
+@section Special notation
+
+@menu
+* Balloon help::
+* Easy Notation note heads::
+@end menu
+
+@node Balloon help
+@subsection Balloon help
+
+Elements of notation can be marked and named with the help of a square
+balloon. The primary purpose of this feature is to explain notation.
+
+The following example demonstrates its use.
+
+@lilypond[verbatim,fragment,singleline,relative 1]
+ \context Voice
+ \applyoutput
+ #(add-balloon-text 'NoteHead "heads, or tails?"
+ '(1 . -3))
+ c8
+@end lilypond
+
+@noindent
+The function @code{add-balloon-text} takes the name of a grob, the
+label to print and where to put the label relative to the object. In
+the above example, the text ``heads or tails?'' ends 3 spaces below
+the `balloon.'
+
+@cindex balloon
+@cindex notation, explaining
+
+@seealso
+
+Internals: @internalsref{text-balloon-interface}
+
+Examples: @inputfileref{input/regression,balloon.ly}
+
+@node Easy Notation note heads
+@subsection Easy Notation note heads
+
+@cindex easy notation
+@cindex Hal Leonard
+
+The `easy play' note head includes a note name inside the head. It is
+used in music aimed at beginners:
+
+@lilypond[singleline,verbatim,26pt]
+\score {
+ \notes { c'2 e'4 f' | g'1 }
+ \paper { \translator { \EasyNotation } }
+}
+@end lilypond
+
+The @code{EasyNotation} variable overrides a @internalsref{Score}
+context. To make the letters readable, it has to be printed in a
+large font size. To print with a larger font, see @ref{Font Size}.
+
+@cindex Xdvi
+@cindex ghostscript
+
+If you view the result with Xdvi, then staff lines may show through
+the letters. Printing the PostScript file obtained does produce the
+correct result.
+
+
+
@node Tuning output
@section Tuning output
@example
\property Context.propertyName = @var{value}
@end example
+
Layout properties are use Scheme style variable naming, i.e. lower
case words separated with dashes. They are symbols, and should always
be quoted using @code{#'}. For example, this could be an imaginary
#'layout-property-name
@end example
+@seealso
+
+The introduction of the @ref{Technical manual} gives a more in-depth
+treatment of the difference between translation and layout.
+
@menu
-* Tuning objects ::
+* Tuning objects::
* Constructing a tweak::
* Applyoutput::
* Font selection::
@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
@seealso
-@internalsref{OverrideProperty}, @internalsref{RevertProperty},
+Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
@internalsref{PropertySet}, @internalsref{All-backend-properties}, and
@internalsref{All-layout-objects}.
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
+@lilypond[verbatim,fragment]
+ \property Voice.Stem \set #'direction = #UP
+ d''4
\property Staff.Stem \set #'thickness = #4.0
- b'16
- \new Voice { b'32 }
+ d''8
+ \new Voice { d'32 }
@end lilypond
-In this fragment, @code{neutral-direction} is tweaked. As a result,
-the current @internalsref{Voice} gets a private version of the
+In this fragment, @code{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.
+definition, the thickness of the first @code{d'} is unaffected. For
+the third note, a new Voice is created, which inherits the new
+definition, including the changed thickness, but excluding the new
+neutral direction.
+
+@menu
+* Constructing a tweak::
+* Applyoutput::
+* Font selection::
+* Text markup::
+@end menu
+
@node Constructing a tweak
@subsection Constructing a tweak
@quotation
@seealso
-@internalsref{FingerEvent} and @internalsref{Fingering}.
+Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
@end quotation
@seealso
-The program reference also contains alphabetical lists of
+Internals: the program reference also contains alphabetical lists of
@internalsref{Contexts}, @internalsref{All-layout-objects} and
-@internalsref{Music-expressions}, so you can also find which objects to
-tweak by browsing the internals document.
+@internalsref{Music-expressions}, so you can also find which objects
+to tweak by browsing the internals document.
@node Applyoutput
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
-
-
-
@cindex cue notes
The font used for printing a object can be selected by setting
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.
+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.
@cindex @code{\normalsize}
@code{\normalsize},
-@refbugs
+@seealso
+
+Init files: @file{ly/declarations-init.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.
+Computer Modern family.
@cindex font selection
@cindex font magnification
This is converted to a musical symbol, e.g. @code{\musicglyph
#"accidentals-0"} will select the natural sign from the music font.
See @ref{The Feta font} for a complete listing of the possible glyphs.
+
@item \char
This produces a single character, e.g. @code{\char #65} produces the
letter 'A'.
-@item \note @var{log} @var{dots} @var{dir}
+@item \note @var{duration} @var{dir}
@cindex @code{\note}
This produces a note with a stem pointing in @var{dir} direction, with
-duration log @var{log} and @var{dots} augmentation dots. The duration
-log is the negative 2-logarithm of the duration denominator. For
-example, a quarter note has log 2, an eighth note 3 and a breve has
-log -1.
+the @var{duration} for the note head type and augmentation dots. For
+example, @code{\note #"4." #-0.75} creates a dotted quarter note, with
+a shortened down stem.
@item \hspace #@var{amount}
@cindex @code{\hspace}
c1^\markup { \line < a b c > }
@end lilypond
+
Markups can be stored in variables, and these variables
may be attached to notes, like
@verbatim
@file{scm/new-markup.scm} for more information.
+Some objects have alignment procedures of their own, which cancel out
+any effects of alignments applied to their markup arguments as a
+whole. For example, the @internalsref{RehearsalMark} is horizontally
+centered, so using @code{\mark \markup @{ \left-align .. @}} has no
+effect. Similarly, whole texts over notes cannot be moved vertically
+with @code{\raise}. For moving and aligning complete objects, grob
+properties should be used.
+
@seealso
-@internalsref{Markup-functions}, and @file{scm/new-markup.scm}.
+Internals: @internalsref{Markup-functions} contains a complete list of
+all markup commands.
+
+Init files: @file{scm/new-markup.scm}.
@refbugs
+
+
@node Global layout
@section Global layout
@seealso
-Vertical alignment of staves is handled by the
+Internals: Vertical alignment of staves is handled by the
@internalsref{VerticalAlignment} object.
durations get more space, shorter durations get less. The shortest
durations get a fixed amount of space (which is controlled by
@code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
-/The longer the duration, the more space it gets: doubling a
+The longer the duration, the more space it gets: doubling a
duration adds a fixed amount (this amount is controlled by
@code{spacing-increment}) of space to the note.
Normally, @code{shortest-duration-space} is set to 1.2, which is the
width of a note head, and @code{shortest-duration-space} is set to
-2.0, meaning that the shortest note gets 2 NHW (2 times
+2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
@code{shortest-duration-space}) of space. For normal notes, this space
is always counted from the left edge of the symbol, so the shortest
notes are generally followed by one NHW of space.
@seealso
-@internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
+Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
@internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
@internalsref{SeparatingGroupSpanner}.
@cindex staff size, setting
@cindex @code{paper} file
-The Feta font provides musical symbols at seven different sizes.
-These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
-26 point. The point size of a font is the height of the corresponding
-staff (excluding line thicknesses).
-
-Definitions for these sizes are the files @file{paperSZ.ly}, where
-@code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
-of these files, the variables @code{paperEleven},
-@code{paperThirteen}, @code{paperSixteen},
-@code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
-are defined respectively. The default @code{\paper} block is also
-set. These files should be imported at toplevel, i.e.
+The Feta font provides musical symbols at eight seven different
+sizes. Each font is tuned for a different staff size: at smaller sizes
+the font gets heavier, to match the relatively heavier staff lines.
+The recommended font sizes are listed in the following table:
+
+@multitable @columnfractions .25 .25 .25 .25
+
+@item @b{name}
+@tab @b{staff height (pt)}
+@tab @b{staff height (mm)}
+@tab @b{use}
+
+@item feta11
+@tab 11.22
+@tab 3.9
+@tab pocket scores
+
+@item feta13
+@tab 12.60pt
+@tab 4.4mm
+@tab
+
+@item feta14
+@tab 14.14pt
+@tab 5.0mm
+@tab
+
+@item feta16
+@tab 15.87pt
+@tab 5.6mm
+@tab
+
+@item feta18
+@tab 17.82pt
+@tab 6.3mm
+@tab song books
+
+@item feta20
+@tab 17.82pt
+@tab 7.0mm
+@tab standard parts
+
+@item feta23
+@tab 22.45 pt
+@tab 7.9mm
+@tab
+
+@item feta20
+@tab 25.2 pt
+@tab 8.9mm
+@tab
+@c modern rental material ?
+
+@end multitable
+
+These fonts are available in any sizes. The context property
+@code{fontSize} and the layout property @code{staff-space} (in
+@internalsref{StaffSymbol}) can be used to tune size for individual
+staffs. The size of individual staffs are relative to the global size,
+which can be set in the following manner:
+
@example
- \include "paper26.ly"
- \score @{ ... @}
+ #(set-global-staff-size 14)
@end example
-The default font size settings for each staff heights are generated
-from the 20pt style sheet. For more details, see the file
-@file{scm/font.scm}.
+This sets the global default size to 14pt staff height, and scales all
+fonts accordingly.
+
@node Line breaking
For linebreaks at regular intervals use @code{\break} separated by
skips and repeated with @code{\repeat}:
@example
-<< \repeat unfold 7 @{ s1 * 4 \break @}
+<< \repeat unfold 7 @{
+ s1 \noBreak s1 \noBreak
+ s1 \noBreak s1 \break @}
@emph{the real music}
>>
@end example
@noindent
This makes the following 28 measures (assuming 4/4 time) be broken every
-4 measures.
+4 measures, and only there.
+
+@refcommands
+
+@code{\break}, @code{\noBreak}
+@cindex @code{\break}
+@cindex @code{\noBreak}
@seealso
-@internalsref{BreakEvent}.
+Internals: @internalsref{BreakEvent}.
@node Page layout
@cindex page size
@cindex @code{papersize}
-To change the paper size, you must first set the @code{papersize} paper
-variable variable as in the example below. Set it to
-the strings @code{a4}, @code{letter}, or @code{legal}. After this
-specification, you must set the font as described above. If you want
-the default font, then use the 20 point font.
-
+To change the paper size, use the following Scheme code:
@example
- \paper@{ papersize = "a4" @}
- \include "paper16.ly"
+ \paper@{
+ #(set-paper-size "a4")
+ @}
@end example
-The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
-will set the paper variables @code{hsize} and @code{vsize} (used by
-@code{lilypond-book} and @code{lilypond}).
-
@refcommands
@seealso
-@ref{Invoking lilypond},
-@inputfileref{input/regression,between-systems.ly}, and
-@internalsref{NonMusicalPaperColumn}.
+In this manual @ref{Invoking lilypond}
+
+Examples: @inputfileref{input/regression,between-systems.ly}
+
+Internals: @internalsref{NonMusicalPaperColumn}.
@refbugs
Many musically interesting effects, such as swing, articulation,
slurring, etc., are not translated to MIDI.
+Since slurs are not interpreted, @code{\lyricsto} and
+@code{\addlyrics} sections will be interpreted wrongly.
+
@menu
* MIDI block::
projects / lilypond.git / blobdiff