@node Staff notation
@section Staff notation
-Notes, dynamic signs, etc., are grouped
-with a set of horizontal lines, called a staff (plural @q{staves}). In
-LilyPond, these lines are drawn using a separate layout object called
-@code{staff symbol}.
+Notes, dynamic signs, etc., are grouped with a set of horizontal
+lines, called a staff (plural @q{staves}). In LilyPond, these
+lines are drawn using a separate layout object called @code{staff
+symbol}.
Two or more staves can be grouped vertically in a
@internalsref{GrandStaff}, a @internalsref{StaffGroup}, or a
@end lilypond
@item
-In a @internalsref{StaffGroup}, the barlines
-will be drawn through all the staves, but the group is started with a
-bracket.
+In a @internalsref{StaffGroup}, the barlines will be drawn through
+all the staves, but the group is started with a bracket.
@lilypond[verbatim,ragged-right,quote]
\new StaffGroup
@end lilypond
@item
-In a @internalsref{ChoirStaff}, the group is started with a bracket,
-but bar lines are not connected.
+In a @internalsref{ChoirStaff}, the group is started with a
+bracket, but bar lines are not connected.
@lilypond[verbatim,ragged-right,quote]
\new ChoirStaff
@end lilypond
@item
-If no context is specified, the default properties for the score will
-be used: the group is started with a vertical line, and the bar lines are
-not connected.
+If no context is specified, the default properties for the score
+will be used: the group is started with a vertical line, and the
+bar lines are not connected.
@lilypond[verbatim,ragged-right,quote]
\relative <<
@lsr{staff,staff-brackets.ly}
@c snippet 137
-More complex nesting can be accomplished using the property
-@internalsref{systemStartDelimiterHierarchy}:
-
@commonprop
-
-System start delimiters may be deeply nested,
+More complex nesting can be accomplished using the property
+@internalsref{systemStartDelimiterHierarchy}:
@lilypond[quote,ragged-right,verbatim]
\new StaffGroup
\relative <<
\set StaffGroup.systemStartDelimiterHierarchy
- = #'(SystemStartSquare (SystemStartBracket a (SystemStartSquare b)) d)
+ = #'(SystemStartSquare (SystemStartBracket a
+ (SystemStartSquare b)) d)
\new Staff { c1 }
\new Staff { c1 }
\new Staff { c1 }
@lsr{staff,changing-the-number-of-lines-in-a-staff.ly} and
@lsr{staff,changing-the-staff-size.ly}.
-In addition, staves may be started and stopped at will. This is done
-with @code{\startStaff} and @code{\stopStaff}.
+In addition, staves may be started and stopped at will. This is
+done with @code{\startStaff} and @code{\stopStaff}.
@lilypond[verbatim,relative=2,fragment]
b4 b
@cindex staves, Frenched
@cindex ossia
-@lilypondfile{ossia.ly}
+@lilypond[verbatim,relative=2,quote]
+<<
+ \new Staff \with
+ {
+ \remove "Time_signature_engraver"
+ fontSize = #-2
+ \override StaffSymbol #'staff-space = #(magstep -2)
+ firstClef = ##f
+ }
+ \relative c'' {
+ \stopStaff
+ \skip 2
+
+ \startStaff
+ \clef treble
+ bes8[^"ossia" g bes g]
+ \stopStaff
+
+ s2
+
+ \startStaff
+ f8 d g4
+ }
+ \new Staff \relative
+ {
+ \time 2/4
+ c4 c g' g a a g2
+ }
+
+>>
+@end lilypond
@cindex staff lines, setting number of
@cindex staff lines, setting thickness of
@cindex staves, hiding
In orchestral scores, staff lines that only have rests are usually
-removed; this saves some space. This style is called @q{French Score}.
-For @internalsref{Lyrics},
-@internalsref{ChordNames} and @internalsref{FiguredBass}, this is
-switched on by default. When the lines of these contexts turn out
-empty after the line-breaking process, they are removed.
+removed; this saves some space. This style is called @q{French
+Score}. For @internalsref{Lyrics}, @internalsref{ChordNames} and
+@internalsref{FiguredBass}, this is switched on by default. When
+the lines of these contexts turn out empty after the line-breaking
+process, they are removed.
For normal staves, a specialized @internalsref{Staff} context is
available, which does the same: staves containing nothing (or only
-multi-measure rests) are removed. The context definition is stored in
-@code{\RemoveEmptyStaffContext} variable. Observe how the second staff
-in this example disappears in the second line
+multi-measure rests) are removed. The context definition is
+stored in @code{\RemoveEmptyStaffContext} variable. Observe how
+the second staff in this example disappears in the second line
@lilypond[quote,ragged-right,verbatim]
\layout {
}
@end lilypond
-The first system shows all staves in full. If empty staves should be
-removed from the first system too, set @code{remove-first} to true in
-@internalsref{VerticalAxisGroup}.
+The first system shows all staves in full. If empty staves should
+be removed from the first system too, set @code{remove-first} to
+true in @internalsref{VerticalAxisGroup}.
@example
\override Score.VerticalAxisGroup #'remove-first = ##t
@end example
-To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
-or @code{\RemoveEmptyRhythmicStaffContext}.
+To remove other types of contexts, use
+@code{\AncientRemoveEmptyStaffContext} or
+@code{\RemoveEmptyRhythmicStaffContext}.
-Another application of the @code{\RemoveEmptyStaffContext} is to make ossia
-sections, i.e., alternative melodies on a separate piece of staff, with
-help of a Frenched staff. See @ref{Staff symbol}.
+Another application of the @code{\RemoveEmptyStaffContext} is to
+make ossia sections, i.e., alternative melodies on a separate
+piece of staff, with help of a Frenched staff. See @ref{Staff
+symbol}.
You can make the staff lines invisible by removing the
@code{Staff_symbol_engraver} from the @code{Staff} context.
@cindex metronome marking
Metronome settings can be entered as follows
+
@example
\tempo @var{duration} = @var{per-minute}
@end example
-In the MIDI output, they are interpreted as a tempo change. In the
-layout output, a metronome marking is printed
+In the MIDI output, they are interpreted as a tempo change. In
+the layout output, a metronome marking is printed
+
@funindex \tempo
@lilypond[quote,ragged-right,verbatim,fragment]
@commonprop
-To change the tempo in the MIDI output without printing anything, make
-the metronome marking invisible
-@example
-\once \override Score.MetronomeMark #'transparent = ##t
-@end example
+To change the tempo in the MIDI output without printing anything,
+make the metronome marking invisible @example \once \override
+Score.MetronomeMark #'transparent = ##t @end example
To print other metronome markings, use these markup commands
@lilypond[quote,ragged-right,verbatim,relative,fragment]
@seealso
-Program reference: @internalsref{MetronomeMark}.
+Program reference: @internalsref{MetronomeMark}, @ref{MIDI
+output}.
@refbugs
-Collisions are not checked. If you have notes above the top line of
-the staff (or notes with articulations, slurs, text, etc), then the
-metronome marking may be printed on top of musical symbols. If this
-occurs, increase the padding of the metronome mark to place it
-further away from the staff.
+Collisions are not checked. If you have notes above the top line
+of the staff (or notes with articulations, slurs, text, etc), then
+the metronome marking may be printed on top of musical symbols.
+If this occurs, increase the padding of the metronome mark to
+place it further away from the staff.
@example
\override Score.MetronomeMark #'padding = #2.5
@node Instrument names
@unnumberedsubsubsec Instrument names
-In an orchestral score, instrument names are printed at the left side
-of the staves.
+In an orchestral score, instrument names are printed at the left
+side of the staves.
-This can be achieved by setting @internalsref{Staff}.@code{instrumentName}
-and @internalsref{Staff}.@code{shortInstrumentName}, or
+This can be achieved by setting
+@internalsref{Staff}.@code{instrumentName} and
+@internalsref{Staff}.@code{shortInstrumentName}, or
@internalsref{PianoStaff}.@code{instrumentName} and
-@internalsref{PianoStaff}.@code{shortInstrumentName}. This will print text
-before the start of the staff. For the first staff, @code{instrumentName}
-is used. If set, @code{shortInstrumentName} is used for the following
-staves.
+@internalsref{PianoStaff}.@code{shortInstrumentName}. This will
+print text before the start of the staff. For the first staff,
+@code{instrumentName} is used. If set, @code{shortInstrumentName}
+is used for the following staves.
@lilypond[quote,verbatim,ragged-right,relative=1,fragment]
\set Staff.instrumentName = "Ploink "
c''
@end lilypond
-You can also use markup texts to construct more complicated instrument
-names, for example
+You can also use markup texts to construct more complicated
+instrument names, for example
@lilypond[quote,fragment,verbatim,ragged-right]
\set Staff.instrumentName = \markup {
c''1
@end lilypond
-If you wish to center the instrument names, you must center all of them
-individually:
+If you wish to center the instrument names, you must center all of
+them individually:
@lilypond[quote,verbatim,ragged-right]
{ <<
c''1
}
\new Staff {
- \set Staff.instrumentName = \markup{ \center-align { Vibraphone }}
+ \set Staff.instrumentName =
+ \markup{ \center-align { Vibraphone }}
c''1
}
>>
\new StaffGroup \relative
<<
\new Staff {
- \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" }
+ \set Staff.instrumentName =
+ \markup { \hcenter-in #10 "blabla" }
c1 c1
}
\new Staff {
- \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" }
+ \set Staff.instrumentName =
+ \markup { \hcenter-in #10 "blo" }
c1 c1
}
>>
@end lilypond
-To add instrument names to other contexts (such as @code{GrandStaff},
-@code{ChoirStaff}, or @code{StaffGroup}), the engraver must
-be added to that context.
+To add instrument names to other contexts (such as
+@code{GrandStaff}, @code{ChoirStaff}, or @code{StaffGroup}), the
+engraver must be added to that context.
@example
\layout@{
@end example
@noindent
-More information about adding and removing engravers can
-be found in @ref{Modifying context plug-ins}.
+More information about adding and removing engravers can be found
+in @ref{Modifying context plug-ins}.
Instrument names may be changed in the middle of a piece,
@cindex cues
-With quotations, fragments of other parts can be inserted into a part
-directly. Before a part can be quoted, it must be marked especially as
-quotable. This is done with the @code{\addQuote} command.
+With quotations, fragments of other parts can be inserted into a
+part directly. Before a part can be quoted, it must be marked
+especially as quotable. This is done with the @code{\addQuote}
+command.
@example
\addQuote @var{name} @var{music}
@noindent
-Here, @var{name} is an identifying string. The @var{music} is any kind
-of music. Here is an example of @code{\addQuote}
+Here, @var{name} is an identifying string. The @var{music} is any
+kind of music. Here is an example of @code{\addQuote}
@example
\addQuote clarinet \relative c' @{
@end example
This command must be entered at toplevel, i.e., outside any music
-blocks. Typically, one would use an already defined music event as the
-@var{music}:
+blocks. Typically, one would use an already defined music event
+as the @var{music}:
@example
clarinet = \relative c' @{
@end example
-After calling @code{\addQuote}, the quotation may then be done with
-@code{\quoteDuring} or @code{\cueDuring},
+After calling @code{\addQuote}, the quotation may then be done
+with @code{\quoteDuring} or @code{\cueDuring},
@example
\quoteDuring #@var{name} @var{music}
@end example
-During a part, a piece of music can be quoted with the @code{\quoteDuring}
-command.
+During a part, a piece of music can be quoted with the
+@code{\quoteDuring} command.
@example
\quoteDuring #"clarinet" @{ s2. @}
@end example
-This would cite three quarter notes (the duration of @code{s2.}) of
-the previously added @code{clarinet} voice.
+This would cite three quarter notes (the duration of @code{s2.})
+of the previously added @code{clarinet} voice.
More precisely, it takes the current time-step of the part being
printed, and extracts the notes at the corresponding point of the
-@code{\addQuote}d voice. Therefore, the argument to @code{\addQuote}
-should be the entire part of the voice to be quoted, including any
-rests at the beginning.
+@code{\addQuote}d voice. Therefore, the argument to
+@code{\addQuote} should be the entire part of the voice to be
+quoted, including any rests at the beginning.
-It is possible to use another music expression instead of @code{s}, thus
-creating a polyphonic section, but this may not always give the desired
-result.
+It is possible to use another music expression instead of
+@code{s}, thus creating a polyphonic section, but this may not
+always give the desired result.
-Quotations take into account the transposition of both source and target
-instruments, if they are specified using the @code{\transposition} command.
+Quotations take into account the transposition of both source and
+target instruments, if they are specified using the
+@code{\transposition} command.
@lilypond[quote,ragged-right,verbatim]
\addQuote clarinet \relative c' {
}
@end lilypond
-The type of events that are present in the quoted music can be trimmed with
-the @code{quotedEventTypes} property. The default value is
-@code{(note-event rest-event)}, which means that only notes and
-rests of the quoted voice end up in the @code{\quoteDuring}.
-Setting
+The type of events that are present in the quoted music can be
+trimmed with the @code{quotedEventTypes} property. The default
+value is @code{(note-event rest-event)}, which means that only
+notes and rests of the quoted voice end up in the
+@code{\quoteDuring}. Setting
@example
\set Staff.quotedEventTypes =
@end example
@noindent
-will quote notes (but no rests), together with scripts and dynamics.
+will quote notes (but no rests), together with scripts and
+dynamics.
@refbugs
-Only the contents of the first @internalsref{Voice} occurring in an
-@code{\addQuote} command will be considered for quotation, so
+Only the contents of the first @internalsref{Voice} occurring in
+an @code{\addQuote} command will be considered for quotation, so
@var{music} can not contain @code{\new} and @code{\context Voice}
statements that would switch to a different Voice.
-Quoting grace notes is broken and can even cause LilyPond to crash.
+Quoting grace notes is broken and can even cause LilyPond to
+crash.
Quoting nested triplets may result in poor notation.
-In earlier versions of LilyPond (pre 2.11), @code{addQuote} was written
-entirely in lower-case letters: @code{\addquote}.
+In earlier versions of LilyPond (pre 2.11), @code{addQuote} was
+written entirely in lower-case letters: @code{\addquote}.
@seealso
In this manual: @ref{Instrument transpositions}.
-Examples: @lsr{parts,quote.ly}, @lsr{parts,quote-transportation.ly}
+Examples: @lsr{parts,quote.ly},
+@lsr{parts,quote-transportation.ly}
Program reference: @internalsref{QuoteMusic}.
@cindex cues, formatting
-The previous section deals with inserting notes from another voice.
-There is a more advanced music function called @code{\cueDuring},
-which makes formatting cue notes easier.
+The previous section deals with inserting notes from another
+voice. There is a more advanced music function called
+@code{\cueDuring}, which makes formatting cue notes easier.
The syntax is
@end example
This will insert notes from the part @var{name} into a
-@internalsref{Voice} called @code{cue}. This happens simultaneously
-with @var{music}, which usually is a rest. When the cue notes start,
-the staff in effect becomes polyphonic for a moment. The argument
-@var{updown} determines whether the cue notes should be notated as a
-first or second voice.
+@internalsref{Voice} called @code{cue}. This happens
+simultaneously with @var{music}, which usually is a rest. When
+the cue notes start, the staff in effect becomes polyphonic for a
+moment. The argument @var{updown} determines whether the cue
+notes should be notated as a first or second voice.
@lilypond[verbatim,ragged-right]
@itemize @bullet
@item
Cue notes have smaller font sizes.
+
@item
- the cued part is marked with the instrument playing the cue.
+the cued part is marked with the instrument playing the cue.
+
@item
- when the original part takes over again, this should be marked with
- the name of the original instrument.
+when the original part takes over again, this should be marked
+with the name of the original instrument.
Any other changes introduced by the cued part should also be
-undone. For example, if the cued instrument plays in a different clef,
-the original clef should be stated once again.
+undone. For example, if the cued instrument plays in a different
+clef, the original clef should be stated once again.
@end itemize
-The macro @code{\transposedCueDuring} is
-useful to add cues to instruments which use a completely different
-octave range (for example, having a cue of a piccolo flute within
-a contra bassoon part).
+The macro @code{\transposedCueDuring} is useful to add cues to
+instruments which use a completely different octave range (for
+example, having a cue of a piccolo flute within a contra bassoon
+part).
@lilypond[verbatim,ragged-right,quote]
picc = \relative c''' {
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