X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnotation%2Fstaff.itely;h=1239a92769fad82dbab30bd6c16e0409fb2d765c;hb=2055f35c47a045a50a01ff4dba8524322cfc3b48;hp=64897821755a72c4804032b3fe60be568a4dbafb;hpb=794dcbdb52faf4292036cd1b0270a956cf4316a3;p=lilypond.git

diff --git a/Documentation/notation/staff.itely b/Documentation/notation/staff.itely
index 6489782175..1239a92769 100644
--- a/Documentation/notation/staff.itely
+++ b/Documentation/notation/staff.itely
@@ -3,10 +3,11 @@
     Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
 
     When revising a translation, copy the HEAD committish of the
-    version that you are working on.  See TRANSLATION for details.
+    version that you are working on.  For details, see the Contributors'
+    Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.12.0"
+@c \version "2.14.0"
 
 @node Staff notation
 @section Staff notation
@@ -34,6 +35,7 @@ grouping staves.
 * Instantiating new staves::
 * Grouping staves::
 * Nested staff groups::
+* Separating systems::
 @end menu
 
 
@@ -87,7 +89,7 @@ For details, see @ref{Percussion staves}.
 
 @code{RhythmicStaff} creates a single-line staff that only
 displays the rhythmic values of the input.  Real durations are
-preserved. For details, see @ref{Showing melody rhythms}.
+preserved.  For details, see @ref{Showing melody rhythms}.
 
 @lilypond[verbatim,quote,relative=2]
 \new RhythmicStaff { c4 d e f }
@@ -272,6 +274,9 @@ Internals Reference:
 @rinternals{SystemStartBracket},
 @rinternals{SystemStartSquare}.
 
+@knownissues
+@code{PianoStaff} does not, by default, accept @code{ChordNames}.
+
 
 @node Nested staff groups
 @unnumberedsubsubsec Nested staff groups
@@ -331,6 +336,55 @@ Internals Reference:
 @rinternals{SystemStartBracket},
 @rinternals{SystemStartSquare}.
 
+@node Separating systems
+@unnumberedsubsubsec Separating systems
+
+@cindex system separator mark
+
+If the number of systems per page changes from page to page it is
+customary to separate the systems by placing a system separator mark
+between them.  By default the system separator is blank, but can be
+turned on with a @code{\paper} option.
+
+@c \book is required here to display the system separator
+@c ragged-right is required as there are two systems
+@lilypond[verbatim,quote,ragged-right]
+\book {
+  \score {
+    \new StaffGroup <<
+      \new Staff {
+        \relative c'' {
+          c4 c c c
+          \break
+          c4 c c c
+        }
+      }
+      \new Staff {
+        \relative c'' {
+          c4 c c c
+          \break
+          c4 c c c
+        }
+      }
+    >>
+  }
+  \paper {
+    system-separator-markup = \slashSeparator
+    % following commands are needed only to format this documentation
+    paper-width = 100\mm
+    paper-height = 100\mm
+    tagline = ##f
+  }
+}
+@end lilypond
+
+@seealso
+Notation Reference:
+@ref{Page layout}.
+
+Snippets:
+@rlsr{Staff notation}.
+
 
 @node Modifying single staves
 @subsection Modifying single staves
@@ -587,11 +641,11 @@ example.
 @end lilypond
 
 
-Using the @code{\RemoveEmptyStaffContext} command to create ossia
+Using the @code{\Staff \RemoveEmptyStaves} command to create ossia
 staves may be used as an alternative.  This method is most
 convenient when ossia staves occur immediately following a line
 break.  For more information about
-@code{\RemoveEmptyStaffContext}, see @ref{Hiding staves}.
+@code{\Staff \RemoveEmptyStaves}, see @ref{Hiding staves}.
 
 @lilypond[verbatim,quote,ragged-right]
 <<
@@ -617,7 +671,7 @@ break.  For more information about
 
 \layout {
   \context {
-    \RemoveEmptyStaffContext
+    \Staff \RemoveEmptyStaves
     \override VerticalAxisGroup #'remove-first = ##t
   }
 }
@@ -661,8 +715,7 @@ Internals Reference:
 @cindex hiding of staves
 @cindex empty staves
 
-@funindex \RemoveEmptyStaffContext
-@funindex RemoveEmptyStaffContext
+@funindex \RemoveEmptyStaves
 @funindex Staff_symbol_engraver
 @funindex \stopStaff
 @funindex stopStaff
@@ -681,19 +734,19 @@ alternative, @code{\stopStaff} may be used.
 
 
 Empty staves can be hidden by setting the
-@code{\RemoveEmptyStaffContext} command in the @code{\layout}
+@code{\Staff \RemoveEmptyStaves} command in the @code{\layout}
 block.  In orchestral scores, this style is known as @q{Frenched
 Score}.  By default, this command hides and removes all empty
 staves in a score except for those in the first system.
 
 @warning{A staff is considered empty when it contains only
-multi-measure rests, skips, spacer rests, or a combination of these
+multi-measure rests, rests, skips, spacer rests, or a combination of these
 elements.}
 
 @lilypond[verbatim,quote,ragged-right]
 \layout {
   \context {
-    \RemoveEmptyStaffContext
+    \Staff \RemoveEmptyStaves
   }
 }
 
@@ -714,29 +767,24 @@ elements.}
 @cindex ossia
 
 @noindent
-@code{\RemoveEmptyStaffContext} can also be used to create ossia
+@code{\Staff \RemoveEmptyStaves} can also be used to create ossia
 sections for a staff.  For details, see @ref{Ossia staves}.
 
 @cindex hiding ancient staves
 @cindex hiding rhythmic staves
 
-@funindex \RemoveEmptyStaffContext
-@funindex RemoveEmptyStaffContext
-@funindex \AncientRemoveEmptyStaffContext
-@funindex AncientRemoveEmptyStaffContext
-@funindex \RemoveEmptyRhythmicStaffContext
-@funindex RemoveEmptyRhythmicStaffContext
+@funindex \RemoveEmptyStaves
 
-The @code{\AncientRemoveEmptyStaffContext} command may be used to
+The @code{\VaticanaStaff \RemoveEmptyStaves} command may be used to
 hide empty staves in ancient music contexts.  Similarly,
-@code{\RemoveEmptyRhythmicStaffContext} may be used to hide empty
+@code{\RhythmicStaff \RemoveEmptyStaves} may be used to hide empty
 @code{RhythmicStaff} contexts.
 
 
 @predefined
-@code{\RemoveEmptyStaffContext},
-@code{\AncientRemoveEmptyStaffContext},
-@code{\RemoveEmptyRhythmicStaffContext}.
+@code{\Staff \RemoveEmptyStaves},
+@code{\VaticanaStaff \RemoveEmptyStaves},
+@code{\RhythmicStaff \RemoveEmptyStaves}.
 @endpredefined
 
 
@@ -754,6 +802,7 @@ Learning Manual:
 @rlearning{Visibility and color of objects}.
 
 Notation Reference:
+@ref{Changing context default settings},
 @ref{Staff symbol},
 @ref{Ossia staves},
 @ref{Hidden notes},
@@ -784,6 +833,9 @@ engraver:
 \override NoteHead #'no-ledgers = ##t
 @end example
 
+For the Known issues and warnings associated with
+@code{\Staff \RemoveEmptyStaves} see
+@ref{Changing context default settings}.
 
 @node Writing parts
 @subsection Writing parts
@@ -793,99 +845,11 @@ instrument names into a score.  Methods to quote other voices and
 format cue notes are also described.
 
 @menu
-* Metronome marks::
 * Instrument names::
 * Quoting other voices::
 * Formatting cue notes::
 @end menu
 
-
-@node Metronome marks
-@unnumberedsubsubsec Metronome marks
-
-@cindex tempo
-@cindex beats per minute
-@cindex metronome mark
-@cindex metronome marking with text
-
-@funindex \tempo
-@funindex tempo
-
-A basic metronome mark is simple to write:
-
-@lilypond[verbatim,quote,relative=1]
-\tempo 4 = 120
-c2 d
-e4. d8 c2
-@end lilypond
-
-Tempo indications with text can be used instead:
-
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegretto"
-c4 e d c
-b4. a16 b c4 r4
-@end lilypond
-
-Combining a metronome mark and text will automatically place the
-metronome mark within parentheses:
-
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegro" 4 = 160
-g4 c d e
-d4 b g2
-@end lilypond
-
-In general, the text can be any markup object:
-
-@lilypond[verbatim,quote,relative=2]
-\tempo \markup { \italic Faster } 4 = 132
-a8-. r8 b-. r gis-. r a-. r
-@end lilypond
-
-A parenthesized metronome mark with no textual indication may be
-written by including an empty string in the input:
-
-@lilypond[verbatim,quote,relative=2]
-\tempo "" 8 = 96
-d4 g e c
-@end lilypond
-
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{printing-metronome-and-rehearsal-marks-below-the-staff.ly}
-
-@c perhaps also an example of how to move it horizontally?
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{changing-the-tempo-without-a-metronome-mark.ly}
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{creating-metronome-marks-in-markup-mode.ly}
-
-For more details, see @ref{Formatting text}.
-
-
-@seealso
-Music Glossary:
-@rglos{metronome},
-@rglos{metronomic indication},
-@rglos{tempo indication},
-@rglos{metronome mark}.
-
-Notation Reference:
-@ref{Formatting text},
-@ref{MIDI output}.
-
-Snippets:
-@rlsr{Staff notation}.
-
-Internals Reference:
-@rinternals{MetronomeMark}.
-
-
 @node Instrument names
 @unnumberedsubsubsec Instrument names
 
@@ -893,7 +857,8 @@ Internals Reference:
 @cindex instrument names, short
 
 Instrument names can be printed on the left side of staves in the
-@code{Staff} and @code{PianoStaff} contexts.  The value of
+@code{Staff}, @code{PianoStaff}, @code{StaffGroup}, @code{GrandStaff}
+and @code{ChoirStaff} contexts.  The value of
 @code{instrumentName} is used for the first staff, and the value
 of @code{shortInstrumentName} is used for all succeeding staves.
 
@@ -944,7 +909,7 @@ default.  To center multi-line instrument names,
 However, if the instrument names are longer, the instrument names
 in a staff group may not be centered unless the @code{indent} and
 @code{short-indent} settings are increased.  For details about
-these settings, see @ref{Horizontal dimensions}.
+these settings, see @ref{\paper variables for shifts and indents}.
 
 @lilypond[verbatim,quote,ragged-right]
 \layout {
@@ -971,14 +936,17 @@ these settings, see @ref{Horizontal dimensions}.
 @cindex instrument names, adding to other contexts
 
 To add instrument names to other contexts (such as
-@code{GrandStaff}, @code{ChoirStaff}, or @code{StaffGroup}),
+@code{ChordNames} or @code{FiguredBass}),
 @code{Instrument_name_engraver} must be added to that context.
 For details, see @ref{Modifying context plug-ins}.
 
 @cindex instrument names, changing
 @cindex changing instrument names
 
-Instrument names may be changed in the middle of a piece:
+Instrument names may be changed in the middle of a piece.
+However, remember that @code{instrumentName} will not be
+displayed in the middle of the piece, as it only appears
+on the first staff:
 
 @lilypond[verbatim,quote,ragged-right,relative=1]
 \set Staff.instrumentName = #"First"
@@ -1036,7 +1004,7 @@ expression to declare the instrument switch:
 
 @seealso
 Notation Reference:
-@ref{Horizontal dimensions},
+@ref{\paper variables for shifts and indents},
 @ref{Modifying context plug-ins}.
 
 Snippets:
@@ -1051,9 +1019,9 @@ Internals Reference:
 @node Quoting other voices
 @unnumberedsubsubsec Quoting other voices
 
-@cindex cues
-@cindex quoting other voices
-@cindex fragments
+@cindex quote, voices
+@cindex voices, quoting
+@cindex fragments, quoting
 @cindex cue notes
 
 @funindex \addQuote
@@ -1063,78 +1031,118 @@ Internals Reference:
 @funindex \transposition
 @funindex transposition
 
-It is very common for one voice to double some of the music from
-another voice.  For example, the first and second violins may play the
-same notes during a passage of music.  In LilyPond this is accomplished
-by letting one voice @emph{quote} the other voice without having to
-re-enter it.
+It is very common for one voice to use the same notes as those from
+another voice.  For example, first and second violins playing the same
+phrase during a particular passage of the music.  This is done by
+letting one voice @emph{quote} the other, without having to re-enter the
+music all over again for the second voice.
 
-Before a part can be quoted, the @code{\addQuote} command must be used
-to initialize the quoted fragment.  This command must be used in the
-toplevel scope.  The first argument is an identifying string, and the
-second is a music expression:
-
-@example
-flute = \relative c'' @{
-  a4 gis g gis
-@}
-\addQuote "flute" @{ \flute @}
-@end example
+The @code{\addQuote} command, used in the top level scope, defines a
+stream of music from which fragments can be quoted.
 
 The @code{\quoteDuring} command is used to indicate the point where the
 quotation begins.  It is followed by two arguments: the name of the
 quoted voice, as defined with @code{\addQuote}, and a music expression
-that indicates the duration of the quote, usually spacer rests or
-multi-measure rests.  The corresponding music from the quoted voice is
-inserted into the music expression:
+for the duration of the quote.
 
 @lilypond[verbatim,quote]
-flute = \relative c'' {
-  a4 gis g gis
+fluteNotes = \relative c'' {
+  a4 gis g gis | b4^"quoted" r8 ais\p a4( f)
 }
-\addQuote "flute" { \flute }
 
-\relative c' {
-  c4 cis \quoteDuring #"flute" { s2 }
+oboeNotes = \relative c'' {
+  c4 cis c b \quoteDuring #"flute" { s1 }
+}
+
+\addQuote "flute" { \fluteNotes }
+
+\score {
+  <<
+    \new Staff \with { instrumentName = "Flute" } \fluteNotes
+    \new Staff \with { instrumentName = "Oboe" } \oboeNotes
+  >>
 }
 @end lilypond
 
-If the music expression used for @code{\quoteDuring} contains
-anything but a spacer rest or multi-measure rest, a polyphonic
-situation is created, which is often not desirable:
+If the music expression used in @code{\quoteDuring} contains notes
+instead of spacer or multimeasure rests then the quote will appear as
+polyphony and may produce unexpected results.
 
 @lilypond[verbatim,quote]
-flute = \relative c'' {
-  a4 gis g gis
+fluteNotes = \relative c'' {
+  a4 gis g gis | b4^"quoted" r8 ais\p a4( f)
 }
-\addQuote "flute" { \flute }
 
-\relative c' {
-  c4 cis \quoteDuring #"flute" { c4 b }
+oboeNotes = \relative c'' {
+  c4 cis c b \quoteDuring #"flute" { e4 r8 ais b4 a }
+}
+
+\addQuote "flute" { \fluteNotes }
+
+\score {
+  <<
+    \new Staff \with { instrumentName = "Flute" } \fluteNotes
+    \new Staff \with { instrumentName = "Oboe" } \oboeNotes
+  >>
 }
 @end lilypond
 
-Quotations recognize instrument transposition settings for both
-the source and target instruments if the @code{\transposition}
-command is used.  For details about @code{\transposition}, see
-@ref{Instrument transpositions}.
+The @code{\quoteDuring} command uses the @code{\transposition} settings
+of both quoted and quoting parts to produce notes for the quoting part
+that have the same sounding pitch as those in the quoted part.
 
 @lilypond[verbatim,quote]
-clarinet = \relative c'' {
+clarinetNotes = \relative c'' {
   \transposition bes
-  a4 gis g gis
+  \key d \major
+  b4 ais a ais | cis4^"quoted" r8 bis\p b4( f)
 }
-\addQuote "clarinet" { \clarinet }
 
-\relative c' {
-  c4 cis \quoteDuring #"clarinet" { s2 }
+oboeNotes = \relative c'' {
+  c4 cis c b \quoteDuring #"clarinet" { s1 }
+}
+
+\addQuote "clarinet" { \clarinetNotes }
+
+
+\score {
+  <<
+    \new Staff \with { instrumentName = "Clarinet" } \clarinetNotes
+    \new Staff \with { instrumentName = "Oboe" } \oboeNotes
+  >>
 }
 @end lilypond
 
-It is possible to tag quotations with unique names in order to
-process them in different ways.  For details about this procedure,
-see @ref{Using tags}.
+By default quoted music will include all articulations, dynamics,
+markups, etc., in the quoted expression.  It is possible to choose which
+of these objects from the quoted music are displayed by using the
+@code{quotedEventTypes} context property.
+
+@lilypond[verbatim,quote]
+fluteNotes = \relative c'' {
+  a2 g2 |
+  b4\<^"quoted" r8 ais a4\f( c->)
+ }
+
+oboeNotes = \relative c'' {
+  c2. b4 |
+  \quoteDuring #"flute" { s1 }
+}
+
+\addQuote "flute" { \fluteNotes }
+
+\score {
+  <<
+    \set Score.quotedEventTypes = #'(note-event articulation-event
+                                     crescendo-event rest-event
+                                     slur-event dynamic-event)
+    \new Staff \with { instrumentName = "Flute" } \fluteNotes
+    \new Staff \with { instrumentName = "Oboe" } \oboeNotes
+  >>
+ }
+@end lilypond
 
+Quotes can also be tagged, see @ref{Using tags}.
 
 @snippets
 
@@ -1147,6 +1155,7 @@ see @ref{Using tags}.
 @cindex rest-event
 
 @funindex quotedEventTypes
+@funindex quotedCueEventTypes
 
 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
 {quoting-another-voice.ly}
@@ -1161,16 +1170,21 @@ Snippets:
 @rlsr{Staff notation}.
 
 Internals Reference:
+@rinternals{Music classes},
 @rinternals{QuoteMusic},
 @rinternals{Voice}.
 
+Installed Files:
+@file{scm/define-event-classes.scm}.
+
 
 @knownissues
 
 Only the contents of the first @code{Voice} occurring in an
 @code{\addQuote} command will be considered for quotation, so
-@var{music} cannot contain @code{\new} and @code{\context Voice}
-statements that would switch to a different Voice.
+@code{@var{music}} cannot 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.
@@ -1205,17 +1219,18 @@ notes into a part.  The syntax is as follows:
 \cueDuring #@var{partname} #@var{voice} @var{music}
 @end example
 
-This command copies the corresponding measures from @var{partname}
-into a @code{CueVoice} context.  The @code{CueVoice} is created
-implicitly, and occurs simultaneously with @var{music}, which
-creates a polyphonic situation.  The @var{voice} argument
-determines whether the cue notes should be notated as a first or
-second voice; @code{UP} corresponds to the first voice, and
-@code{DOWN} corresponds to the second.
+This command copies only the notes and rests from the
+corresponding measures from @code{@var{partname}} into a
+@code{CueVoice} context.  The @code{CueVoice} is created
+implicitly, and occurs simultaneously with @code{@var{music}},
+which creates a polyphonic situation.  The @code{@var{voice}}
+argument determines whether the cue notes should be notated as a
+first or second voice; @code{UP} corresponds to the first voice,
+and @code{DOWN} corresponds to the second.
 
 @lilypond[verbatim,quote]
 oboe = \relative c'' {
-  r2 r8 d16 f e g f a
+  r2 r8 d16(\f f e g f a)
   g8 g16 g g2.
 }
 \addQuote "oboe" { \oboe }
@@ -1231,24 +1246,50 @@ In the above example, the @code{Voice} context had to be
 explicitly declared, or else the entire music expression would
 belong to the @code{CueVoice} context.
 
-The name of the cued instrument can be printed by setting the
-@code{instrumentCueName} property in the @code{CueVoice} context.
+It is possible to adjust which aspects of the music are quoted with
+@code{\cueDuring} by setting the @code{quotedCueEventTypes}
+property.  Its default value is @code{#'(note-event rest-event
+tie-event beam-event tuplet-span-event)}, which means that only
+notes, rests, ties, beams and tuplets are quoted, but not
+articulations, dynamic marks, markup etc.
 
 @lilypond[verbatim,quote]
-oboe = \relative c''' {
-  g4 r8 e16 f e4 d
+oboe = \relative c'' {
+  r2 r8 d16(\f f e g f a)
+  g8 g16 g g2.
 }
 \addQuote "oboe" { \oboe }
 
-\new Staff \relative c'' <<
-  \new CueVoice \with {
-    instrumentCueName = "ob."
-  }
-  \new Voice {
-    \cueDuring #"oboe" #UP { R1 }
-    g4. b8 d2
-  }
->>
+\new Voice \relative c'' {
+  \set Score.quotedCueEventTypes = #'(note-event rest-event tie-event
+                                      beam-event tuplet-span-event
+                                      dynamic-event slur-event)
+  \cueDuring #"oboe" #UP { R1 }
+  g2 c,
+}
+@end lilypond
+
+Markup can be used to show the name of the quoted instrument.  Also,
+if the cue notes require a change in clef, the original clef should
+be restored at the end of the cue notes.
+
+@lilypond[verbatim,quote]
+flute = \relative c'' {
+  r2. c4 d8 c d e fis2 g2 d2
+}
+bassoon = \relative c {
+  \clef bass
+  R1
+  \clef treble
+  s1*0^\markup { \tiny "flute" }
+  \cueDuring #"flute" #UP { R1 }
+  \clef bass
+  g4. b8 d2
+}
+\addQuote "flute" { \flute }
+\new Staff {
+  \bassoon
+}
 @end lilypond
 
 @cindex removing cues
@@ -1257,67 +1298,87 @@ oboe = \relative c''' {
 
 @funindex \killCues
 @funindex killCues
-@funindex \transposedCueDuring
-@funindex transposedCueDuring
-
-In addition to printing the name of the cued instrument, when cue
-notes end, the name of the original instrument should be printed,
-and any other changes introduced by the cued part should be
-undone.  This can be accomplished by using
-@code{\addInstrumentDefinition} and @code{\instrumentSwitch}.  For
-an example and explanation, see @ref{Instrument names}.
 
 The @code{\killCues} command removes cue notes from a music
-expression.  This can be useful if cue notes need to be removed
-from a part but may be restored at a later time.
+expression, so the same music expression can be used to produce
+the instrument part with cues and the score.  The @code{\killCues}
+command removes only the notes and events that were quoted by
+@code{\cueDuring}.  Other markup associated with cues, such as clef
+changes and a label identifying the source instrument, can be
+tagged for selective inclusion in the score; see @ref{Using tags}.
 
 @lilypond[verbatim,quote]
-flute = \relative c''' {
-  r2 cis2 r2 dis2
+flute = \relative c'' {
+  r2. c4 d8 c d e fis2 g2 d2
+}
+bassoon = \relative c {
+  \clef bass
+  R1
+  \tag #'part {
+    \clef treble
+    s1*0^\markup { \tiny "flute" }
+  }
+  \cueDuring #"flute" #UP { R1 }
+  \tag #'part \clef bass
+  g4. b8 d2
 }
 \addQuote "flute" { \flute }
 
-\new Voice \relative c'' {
-  \killCues {
-    \cueDuring #"flute" #UP { R1 }
-    g4. b8 d2
-  }
+\new Staff {
+  \bassoon
 }
+\new StaffGroup <<
+  \new Staff {
+    \flute
+  }
+  \new Staff {
+    \removeWithTag #'part { \killCues { \bassoon } }
+  }
+>>
 @end lilypond
 
-The @code{\transposedCueDuring} command is useful for adding
-instrumental cues from a completely different register.  The
-syntax is similar to @code{\cueDuring}, but it requires one extra
-argument to specify the transposition of the cued instrument.  For
-more information about transposition, see
-@ref{Instrument transpositions}.
+Alternatively, Clef changes and instrument labels can be
+collected into an instrument definition for repeated use, using
+@code{\addInstrumentDefinition} described in
+@ref{Instrument names}.
+
+@funindex \transposedCueDuring
+@funindex transposedCueDuring
+
+Like @code{\quoteDuring}, @code{\cueDuring} takes instrument
+transpositions into account.  Cue notes are produced at the
+pitches that would be written for the instrument receiving the cue
+to produce the sounding pitches of the source instrument.
+
+To transpose cue notes differently, use
+@code{\transposedCueDuring}.  This command takes an extra argument
+to specify (in absolute mode) the printed pitch that you want to
+represent the sound of a concert middle C.  This is useful for
+taking cues from an instrument in a completely different register.
 
 @lilypond[verbatim,quote]
 piccolo = \relative c''' {
   \clef "treble^8"
   R1
   c8 c c e g2
-  a4 g g2
+  c4 g g2
 }
-\addQuote "piccolo" { \piccolo }
-
-cbassoon = \relative c, {
-  \clef "bass_8"
-  c4 r g r
-  \transposedCueDuring #"piccolo" #UP c,, { R1 }
-  c4 r g r
+bassClarinet = \relative c' {
+  \key d \major
+  \transposition bes,
+  d4 r a r
+  \transposedCueDuring #"piccolo" #UP d { R1 }
+  d4 r a r
 }
 
+\addQuote "piccolo" { \piccolo }
+
 <<
-  \new Staff = "piccolo" \piccolo
-  \new Staff = "cbassoon" \cbassoon
+  \new Staff \piccolo
+  \new Staff \bassClarinet
 >>
 @end lilypond
 
-It is possible to tag cued parts with unique names in order to
-process them in different ways.  For details about this procedure,
-see @ref{Using tags}.
-
 @cindex notes, smaller
 @cindex smaller notes
 
@@ -1332,17 +1393,19 @@ g4 ees8 f4 g8
 \stemDown
 <<
   { d4. bes4 c8 }
-  \new CueVoice 
+  \new CueVoice
   { g'4. f4 ees8 }
 >>
 \stemUp
 d2. d2.
 @end lilypond
 
+
 @seealso
 Notation Reference:
 @ref{Instrument transpositions},
 @ref{Instrument names},
+@ref{Musical cues},
 @ref{Using tags}.
 
 Snippets: