@node Staff notation
@section Staff notation
-staff = singular, staves = plural
+@lilypondfile[quote]{staff-headword.ly}
+
+
+This section explains how to influence the staff appearance,
+print scores with more than one staff, and
+how to apply specific performance marks to single staves.
@menu
* Displaying staves::
+* Modifying single staves::
* Writing parts::
@end menu
@node Displaying staves
@subsection Displaying staves
+This section shows the different possibilities to create and group
+staves into groups, which can be marked in the beginning of each
+line with either a bracket or a brace.
+
@menu
-* System start delimiters::
-* Staff symbol::
-* Hiding staves::
+* Initiating new staves::
+* Grouping staves::
@end menu
-@node System start delimiters
-@unnumberedsubsubsec System start delimiters
+@node Initiating new staves
+@subsubsection Initiating new staves
+
+@cindex new staff
+@cindex staff initiation
+@cindex staff, new
+
+The lines of a staff (pl. staves) are produced by a @code{staff symbol}
+layout object.
+LilyPond ensures that all music is printed on staff lines so if you just
+type in some notes, the staff symbol is added automatically to the output.
+This is just a shortcut to make the program usage more easy, but in most
+cases where you want to print more complex music on more than on staff
+it is better to create the staff explicitly at the beginning of your
+music inside of the @code{\score} environment.
+
+With the command @code{\new Staff @{ ... @}} you actually call a new
+Staff context that has already everything set up to the default
+engraving rules. @ref{Creating contexts} explains how different contexts
+are called.
+
+Once a staff is instantiated it can be started or stopped at every point
+in the score. This is done with the commands @code{\startStaff} and
+@code{\stopStaff}. How to use it is shown in @ref{Staff symbol}.
+
+Besides the default @code{Staff} context there are also
+specialized staff contexts for setting percussion, Guitar music,
+and ancient music.
+See @ref{Printing chord names}, @ref{Percussion staves},
+@ref{Tablatures basic}, @ref{Gregorian Chant contexts}, and
+@ref{Mensural contexts} for an explanation.
+
+@seealso
+
+Music Glossary: @rglos{staff}, @rglos{staves}.
+
+Notation Reference: @ref{Printing chord names}, @ref{Percussion staves},
+@ref{Tablatures basic}, @ref{Gregorian Chant contexts}, and
+@ref{Mensural contexts}.
+
+Snippets: @lsrdir{Staff,Staff-notation}.
+
+Internals Reference: @internalsref{Staff}.
+
+
+
+@node Grouping staves
+@subsubsection Grouping staves
@cindex start of system
-@cindex Staff, multiple
+@cindex staff, multiple
+@cindex staves, multiple
+@cindex system start delimiters
@cindex bracket, vertical
@cindex brace, vertical
@cindex grand staff
+@cindex piano staff
@cindex staff group
@cindex staff, choir
+@cindex choir staff
+@cindex system
-Many scores consist of more than one staff. These staves can be
-joined in four different ways
+LilyPond provides different types of contexts to group single staves
+together. These contexts influence in the first place the appearance
+of the system start delimiter, but they have also influence on the
+behaviour of the bar lines.
-@itemize @bullet
-@item The group is started with a brace at the left, and bar lines are
-connected. This is done with the @internalsref{GrandStaff} context.
+
+@itemize
+@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.
@lilypond[verbatim,ragged-right,quote]
-\new GrandStaff
-\relative <<
+\relative c'' { <<
\new Staff { c1 c }
\new Staff { c c }
->>
+>> }
@end lilypond
-@item The group is started with a bracket, and bar lines are connected.
-This is done with the
-@internalsref{StaffGroup} context
+@item
+In a @code{StaffGroup}, the bar lines will be drawn through
+all the staves, and the group is started with a bracket.
@lilypond[verbatim,ragged-right,quote]
-\new StaffGroup
-\relative <<
- \new Staff { c1 c }
- \new Staff { c c }
->>
+\new StaffGroup {
+ \relative c'' <<
+ \new Staff { c1 c }
+ \new Staff { c c }
+ >>
+}
@end lilypond
-@item The group is started with a bracket, but bar lines are not
-connected. This is done with the @internalsref{ChoirStaff} context.
+@item
+In a @code{ChoirStaff}, the group is
+started with a bracket, but bar lines are not connected.
@lilypond[verbatim,ragged-right,quote]
-\new ChoirStaff
-\relative <<
- \new Staff { c1 c }
- \new Staff { c c }
->>
+\new ChoirStaff {
+ \relative c'' <<
+ \new Staff { c1 c }
+ \new Staff { c c }
+ >>
+}
@end lilypond
-@item The group is started with a vertical line. Bar lines are not
-connected. This is the default for the score.
+@item
+In a @code{GrandStaff}, the group is started with a brace
+at the left, and bar lines are connected between the staves.
@lilypond[verbatim,ragged-right,quote]
-\relative <<
+\new GrandStaff {
+ \relative c'' <<
+ \new Staff { c1 c }
+ \new Staff { c c }
+ >>
+}
+@end lilypond
+
+@item
+The @code{PianoStaff} behaves almost as the @code{GrandStaff} but is
+optimized for setting piano music.
+
+@lilypond[verbatim,ragged-right,quote]
+\new PianoStaff
+\relative c'' <<
\new Staff { c1 c }
\new Staff { c c }
>>
@end lilypond
+
@end itemize
+According to classic engraver rules an orchestral score consists of
+staves connected only with a single line at the beginning of the system.
+In LilyPond this is produced grouping the @code{Staff} contexts with
+@code{<< ... >>}.
+
+Each instrument family is grouped inside of a @code{StaffGroup} with a
+starting bracket. A group of same instruments or an instrument using
+more than one staff is grouped with braces in a @code{GrandStaff}.
+
+As the context names tell, @code{PianoStaff} is used for notating
+piano music and @code{ChoirStaff} for all kind of vocal ensemble music.
+
+Here is an example of an orchestral score using groupings. Note that the
+instrument names are omited here, see @ref{Instrument names} how to set
+them.
+
+@lilypond[verbatim,ragged-right,quote]
+\score{ \relative c' {
+<<
+ \new StaffGroup %the woodwinds group
+ <<
+ \new Staff { c1 c }
+ \new Staff { c c }
+ \new Staff { c c }
+ >>
+ \new StaffGroup %the brass group
+ <<
+ \new Staff { c c }
+ \new Staff { c c }
+ \new GrandStaff %the horns need a GrandStaff (same instrument)
+ <<
+ \new Staff { c c }
+ \new Staff {\clef bass c c }
+ >>
+ >>
+ \new ChoirStaff %for a vocal part
+ <<
+ \new Staff { c c }
+ \new Staff {\clef alto c c }
+ \new Staff {\clef bass c c }
+ >>
+ \new PianoStaff %for the piano
+ <<
+ \new Staff { c c }
+ \new Staff {\clef bass c c }
+ >>
+>>
+} }
+@end lilypond
+
+The different staff contexts are already nested in this example, as
+the @q{horn section} is contained both in a @code{StaffGroup} and a
+@code{GrandStaff}.
+
+@cindex staff, nested
+
+It is also possible to nest staves of the same type with the contexts
+@code{InnerStaffGroup} and @code{InnerChoirStaffGroup}. These behave like
+the corresponding normal staff groups but can only initiated inside of
+another staff context. Again LilyPond would add a normal @code{StaffGroup}
+to the output, if you would start a score with an @code{InnerStaffGroup}.
+
+Note that @code{GrandStaff} and @code{PianoStaff} do not have any inner
+grouping contexts. They can both be inside an inner staff context, though.
+
+@c snippet staff-brackets.ly
+@lilypond[verbatim,ragged-right,quote]
+\score {
+<<
+ \new StaffGroup <<
+ \new Staff {c' d' e' f'}
+ \new InnerStaffGroup <<
+ \new Staff {c' d' e' f'}
+ \new GrandStaff <<
+ \new Staff {c' d' e' f'}
+ \new Staff {c' d' e' f'}
+ >>
+ \new Staff {c' d' e' f'}
+ >>
+ \new ChoirStaff <<
+ \new Staff {c' d' e' f'}
+ \new InnerStaffGroup <<
+ \new Staff {c' d' e' f'}
+ >>
+ \new Staff {c' d' e' f'}
+ >>
+ >>
+ \new ChoirStaff <<
+ \new Staff {c' d' e' f'}
+ \new InnerChoirStaff <<
+ \new Staff {c' d' e' f'}
+ \new Staff {c' d' e' f'}
+ >>
+ \new Staff {c' d' e' f'}
+ >>
+>> }
+@end lilypond
-@seealso
-The bar lines at the start of each system are
-@internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
-@internalsref{SystemStartBracket}. Only one of these types is created
-in every context, and that type is determined by the property
-@code{systemStartDelimiter}.
+@snippets
+@c FIXME: not yet in master
+@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@c {nesting-staves.ly}
-@commonprop
-System start delimiters may be deeply nested,
+More complex nesting can be accomplished using the property
+@code{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 }
>>
@end lilypond
+Each staff group context sets the property
+@code{systemStartDelimiter} to one of the values
+@internalsref{SystemStartBar}, @internalsref{SystemStartBrace},
+and @internalsref{SystemStartBracket}. A fourth delimiter,
+@code{systemStartSquare}, is also available, but must be
+instantiated manually
+
+
+
+@cindex mensurstriche layout
+@cindex renaissance music
+@cindex transcription of mensural music
+@cindex mensural music, transcription of
+
+
+@c FIXME: not yet in master
+@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@c {mensurstriche-layout.ly}
+
+Other groupings may be achieved by changing various properties.
+E.g., the
+@q{Mensurstriche} layout common in Renaissance music, with
+bar lines running between but not through the staves, can be
+produced from a @code{StaffGroup} or @code{GrandStaff} context if
+the bar lines are made transparent in the @code{Staff} itself:
+
+@lilypond[verbatim,ragged-right,quote]
+global = {\override Staff.BarLine #'transparent = ##t
+ s1 s
+ %the final bar line is not interupted
+ \once \override Staff.BarLine #'transparent = ##f
+ \bar "|."}
+\new StaffGroup
+\relative c'' <<
+ \new Staff {<< \global { c1 c } >>}
+ \new Staff {<< \global { c c } >>}
+>>
+@end lilypond
+
+
+
+@c FIXME: Graham will deal with this. -gp
+@c snippet 201
+To display a bracket even if there is only one staff, see
+@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@c {staff,display-bracket-with-only-one-staff-in-a system.ly}
+
+@seealso
+
+Music Glossary: @rglos{brace},
+@rglos{bracket}.
+
+Snippets: @lsrdir{Staff,Staff-notation}
+
+Internals Reference: @internalsref{ChoirStaff},
+@internalsref{GrandStaff}, @internalsref{PianoStaff},
+@internalsref{StaffGroup},
+@internalsref{SystemStartBar}, @internalsref{SystemStartBrace},
+@internalsref{SystemStartBracket}, @internalsref{SystemStartSquare}.
+
+
+
+@node Modifying single staves
+@subsection Modifying single staves
+
+@menu
+* Staff symbol::
+* Ossia staves::
+* Hiding staves::
+@end menu
@node Staff symbol
-@unnumberedsubsubsec Staff symbol
+@subsubsection Staff symbol
@cindex adjusting 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}.
+The layout object which draws the lines of a staff is called
+@code{staff symbol}. The staff symbol may be tuned in the number,
+thickness and distance of lines, using properties. This is
+demonstrated in the example files
+@c @lsr{staff,changing-the-number-of-lines-in-a-staff.ly} and
+@c @lsr{staff,changing-the-staff-size.ly}.
-The staff symbol may be tuned in the number, thickness and distance
-of lines, using properties. This is demonstrated in the example files
-@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
b b
@end lilypond
-In combination with Frenched staves, this may be used to typeset ossia
-sections. An example is shown here
+@node Ossia staves
+@subsubsection Ossia staves
+@cindex staves, Frenched
@cindex ossia
+@cindex Frenched staves
+
+In combination with Frenched staves, this may be used to typeset
+@emph{ossia} sections. An example is shown here
-@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
@seealso
-Program reference: @internalsref{StaffSymbol}.
+Music Glossary: @rglos{ossia}, @rglos{staff}, @rglos{Frenched staff}.
-Examples: @lsrdir{staff}
+Snippets: @lsrdir{Staff,Staff-notation}
+
+Internals Reference: @internalsref{StaffSymbol},
+@internalsref{DrumStaff}.
@node Hiding staves
-@unnumberedsubsubsec Hiding staves
+@subsubsection Hiding staves
@cindex Frenched scores
-@cindex Hiding staves
+@cindex staves, hiding
+@cindex staves, empty
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 @code{Lyrics}, @code{ChordNames} and
+@code{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
+For normal staves, a specialized @code{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 @code{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}.
+
+@cindex ossia
+
+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.
-Another application is making ossia sections, i.e., alternative
-melodies on a separate piece of staff, with help of a Frenched
-staff.
+@lilypond[quote,ragged-right,verbatim]
+\score {
+ \context Staff \relative c'' { c8 c c16 c c c }
+ \layout{
+ \context {
+ \Staff
+ \remove Staff_symbol_engraver
+ }
+ }
+}
+@end lilypond
+@seealso
+
+Notation Reference: @ref{Staff symbol}.
+
+Snippets: @lsrdir{Staff,Staff-notation}
+
+Internals Reference: @internalsref{ChordNames},
+@internalsref{FiguredBass}, @internalsref{Lyrics},
+@internalsref{Staff}, @internalsref{VerticalAxisGroup}.
@node Writing parts
@subsection Writing parts
@end menu
@node Metronome marks
-@unnumberedsubsubsec Metronome marks
+@subsubsection Metronome marks
@cindex Tempo
@cindex beats per minute
@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]
\tempo 8.=120 c''1
@end lilypond
-@commonprop
+@snippets
-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]
@end lilypond
@noindent
-See @ref{Text markup}, for more details.
+For more details, see @ref{Text markup}.
@seealso
-Program reference: @internalsref{MetronomeMark}.
+Music Glossary: @rglos{metronome}, @rglos{metronomic indication},
+@rglos{tempo indication}, @rglos{metronome mark}.
+
+Notation Reference: @ref{Text markup}.
+Snippets: @lsrdir{Staff,Staff-notation}.
-@refbugs
+Internals Reference: @internalsref{MetronomeMark}, @ref{MIDI
+output}.
-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.
+
+@knownissues
+
+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
@end example
+@c perhaps also an example of how to move it horizontally?
+
@node Instrument names
-@unnumberedsubsubsec Instrument names
+@subsubsection Instrument names
-In an orchestral score, instrument names are printed at the left side
-of the staves.
+@cindex instrument names
+@cindex instrument names, short
-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, for the following ones, @code{shortInstrumentName} is used.
+In an orchestral score, instrument names are printed at the left
+side of the staves.
+
+This can be achieved by setting @code{Staff}.@code{instrumentName} and
+@code{Staff}.@code{shortInstrumentName}, or
+@code{PianoStaff}.@code{instrumentName} and
+@code{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
+@cindex instrument names, centering
+
+As instrument names are centered by default, multi line names
+are better entered using @code{\center-align}:
@lilypond[quote,verbatim,ragged-right]
{ <<
\new Staff {
- \set Staff.instrumentName = \markup {
- \center-align { "Clarinetti"
- \line { "in B" \smaller \flat } } }
+ \set Staff.instrumentName = \markup \center-align {
+ Clarinetti
+ \line { "in B" \smaller \flat }
+ }
c''1
}
\new Staff {
- \set Staff.instrumentName = \markup{ \center-align { Vibraphone }}
+ \set Staff.instrumentName = "Vibraphone"
c''1
}
>>
For longer instrument names, it may be useful to increase the
@code{indent} setting in the @code{\layout} block.
-To center instrument names while leaving extra space to the right,
-
-@lilypond[quote,verbatim,ragged-right]
-\new StaffGroup \relative
-<<
- \new Staff {
- \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" }
- c1 c1
- }
- \new Staff {
- \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" }
- c1 c1
- }
->>
-@end lilypond
+Short instrument names, printed before the systems following the first
+one, are also centered by default, in a space which width is given by
+the @code{short-indent} variable of the @code{\layout} block.
-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}.
+
+@cindex instrument names, changing
Instrument names may be changed in the middle of a piece,
@seealso
-Program reference: @internalsref{InstrumentName}.
+Notation Reference: @ref{Modifying context plug-ins}.
+
+Snippets: @lsrdir{Staff,Staff-notation}
+
+Internals Reference: @internalsref{InstrumentName},
+@internalsref{PianoStaff}, @internalsref{Staff}.
@node Quoting other voices
-@unnumberedsubsubsec Quoting other voices
+@subsubsection Quoting other voices
@cindex cues
+@cindex quoting other voices
+@cindex fragments
+@cindex cue notes
-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.
+blocks. Typically, one would use an already defined music event
+as the @var{music}:
+
+@example
+clarinet = \relative c' @{
+ f4 fis g gis
+@}
+\addQuote clarinet @{ \clarinet @}
+@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.
-Quotations take into account the transposition of both source and target
-instruments, if they are specified using the @code{\transposition} command.
+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.
@lilypond[quote,ragged-right,verbatim]
\addQuote clarinet \relative c' {
}
@end lilypond
-The type of events that are present in cue notes 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 cued 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
+@knownissues
-Only the contents of the first @internalsref{Voice} occurring in an
+Only the contents of the first @code{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}.
@seealso
-In this manual: @ref{Instrument transpositions}.
+Notation Reference: @ref{Instrument transpositions}.
-Examples: @lsr{parts,quote.ly}, @lsr{parts,quote-transportation.ly}
+Snippets: @lsrdir{Staff,Staff-notation}
-Program reference: @internalsref{QuoteMusic}.
+Internals Reference: @internalsref{QuoteMusic}, @internalsref{Voice}.
@node Formatting cue notes
-@unnumberedsubsubsec Formatting cue notes
+@subsubsection Formatting cue notes
+@cindex cues
+@cindex cue notes
+@cindex cue notes, formatting
+@cindex fragments
+@cindex quoting other voices
@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.
+@code{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]
@end lilypond
-Here are a couple of hints for successful cue notes
+Here are a couple of hints for successful cue notes:
-@itemize @bullet
+@itemize
@item
Cue notes have smaller font sizes.
-@item
- 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.
-
-@c really? Are you sure about that last point? I'll check after 3.0 -gp
-@c Yes, this is good practice. Otherwise, the start of the original
-@c part can only be seen from the font size. This is not good enough
-@c for sight-reading. It is possilbe to use other
-@c markers (e.g. a big close-bracket over the staff) to indicate the cue
-@c notes are
-@c finished.
-@c -hwn
+@item
+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.
+@item
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''' {
>>
@end lilypond
+@seealso
+Snippets: @lsrdir{Staff,Staff-notation}.
-
+Internals Reference: @internalsref{Voice}.
projects / lilypond.git / blobdiff