@internalsref{GrandStaff}, a @internalsref{StaffGroup}, or a
@internalsref{ChoirStaff}.
-@c It seemed awkward to have the general definition of a stave in the
-@c second section, since it is already used in the first. I have moved it
-@c here.
-
@menu
* Displaying staves::
Many scores consist of more than one staff. These staves can be
grouped in several different ways:
-@c The fourth delimiter, SystemStartSquare, should also be mentioned, with a
-@c reference to the relevant section, and a single line of code here showing
-@c how to achieve it.
-
@itemize @bullet
@item
-In a @internalsref{GrandStaff},
-the group is started with a brace at the left, and bar lines are connected
-between the staves.
-@c Arpeggios can run through several staves of a @code{GrandStaff}
+In a @internalsref{GrandStaff}, the group is started with a brace
+at the left, and bar lines are connected between the staves.
@lilypond[verbatim,ragged-right,quote]
\new GrandStaff
In addition to these four staff group types, other groupings can
be produced by changing various properties. E.g., the
-"Mensurstriche" layout common in Renaissance music, with barlines
-running between but not through the staves, can be produced from a
-@code{StaffGroup} or @code{GrandStaff} context if the barlines are
-made transparent in the @code{Staff} itself, with the command
-@code{\override Staff.BarLine #'transparent = ##t}
+@q{Mensurstriche} layout common in Renaissance music, with
+barlines running between but not through the staves, can be
+produced from a @code{StaffGroup} or @code{GrandStaff} context if
+the barlines are made transparent in the @code{Staff} itself, with
+the command @code{\override Staff.BarLine #'transparent = ##t}
-@seealso
+@cindex staff, nested
-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}.
+Staff groups can be nested, using the context
+@code{InnerStaffGroup} or @code{InnerChoirStaff}; see
+@lsr{staff,staff-brackets.ly}
+@c snippet 137
+More complex nesting can be accomplished using the property
+@internalsref{systemStartDelimiterHierarchy}:
@commonprop
-@c Is it possible to use other headings than this one? It's not very
-@c informative... "Nesting braces and brackets" would be better, imho.
+
System start delimiters may be deeply nested,
>>
@end lilypond
+@seealso
+
+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.
+
+@commonprop
+
+To display a bracket even if there is only one staff, see
+@lsr{staff,display-bracket-with-only-one-staff-in-a
+system.ly}
+@c snippet 201
@node Staff symbol
@unnumberedsubsubsec Staff symbol
@cindex adjusting 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 @lsr{staff,changing-the-number-of-lines-in-a-staff.ly} and
+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
+@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
b b
@end lilypond
-In combination with Frenched staves, this may be used to typeset ossia
-sections. An example is shown here
+In combination with Frenched staves, this may be used to typeset
+@emph{ossia} sections. An example is shown here
+@cindex staves, Frenched
@cindex ossia
@lilypondfile{ossia.ly}
@seealso
-Program reference: @internalsref{StaffSymbol}.
+Program reference: @internalsref{StaffSymbol},
+@internalsref{DrumStaff}.
Examples: @lsrdir{staff}
@unnumberedsubsubsec Hiding staves
@cindex Frenched scores
-@cindex Hiding staves
+@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
To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
or @code{\RemoveEmptyRhythmicStaffContext}.
-Another application is making ossia sections, i.e., alternative
-melodies on a separate piece of staff, with help of a Frenched
-staff.
+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.
+@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
@node Writing parts
@subsection Writing parts
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
@end lilypond
@noindent
-See @ref{Text markup}, for more details.
+For more details, see @ref{Text markup}.
@seealso
\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
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.
+@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 "
@end lilypond
If you wish to center the instrument names, you must center all of them
+individually:
@lilypond[quote,verbatim,ragged-right]
{ <<
@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},
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.
+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.
}
@end lilypond
-The type of events that are present in cue notes can be trimmed with
+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 cued voice end up in the @code{\quoteDuring}.
+rests of the quoted voice end up in the @code{\quoteDuring}.
Setting
@example
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
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
-
-
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.
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