@cindex Pitch names
@cindex pitches
-A pitch name is specified using lowercase letters @code{a} through @code{g}.
-An ascending C-major scale is engraved with
+A pitch name is specified using lowercase letters @code{a} through
+@code{g}. An ascending C-major scale is engraved with
@lilypond[quote,fragment,verbatim,ragged-right]
\clef bass
@funindex ,
The optional octave specification takes the form of a series of
-single quote (@samp{'}) characters or a series of comma
-(@samp{,}) characters. Each @samp{'} raises the pitch by one
-octave; each @samp{,} lowers the pitch by an octave.
+single quote (@samp{'}) characters or a series of comma (@samp{,})
+characters. Each @samp{'} raises the pitch by one octave; each
+@samp{,} lowers the pitch by an octave.
@lilypond[quote,ragged-right,fragment,verbatim]
\clef treble
c, c,, e, g d,, d, d c
@end lilypond
-An alternate method may be used to declare which octave to
-engrave a pitch; this method does not require as many
-octave specifications (@code{'} and @code{,}). See
-@ref{Relative octaves}.
+An alternate method may be used to declare which octave to engrave
+a pitch; this method does not require as many octave
+specifications (@code{'} and @code{,}). See @ref{Relative
+octaves}.
@node Accidentals
@cindex note names, Dutch
@cindex note names, default
-A sharp is formed by adding @code{-is} to the end of a pitch name and
-a flat is formed by adding @code{-es}. Double sharps and double flats
-are obtained by adding @code{-isis} or @code{-eses} to a note name.
+A sharp is formed by adding @code{-is} to the end of a pitch name
+and a flat is formed by adding @code{-es}. Double sharps and
+double flats are obtained by adding @code{-isis} or @code{-eses}
+to a note name.
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
a2 ais a aes
@end lilypond
@noindent
-These are the Dutch note names. In Dutch, @code{aes} is contracted to
-@code{as}, but both forms are accepted. Similarly, both
-@code{es} and @code{ees} are accepted
+These are the Dutch note names. In Dutch, @code{aes} is
+contracted to @code{as}, but both forms are accepted. Similarly,
+both @code{es} and @code{ees} are accepted
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
a2 as e es
@end lilypond
-A natural will cancel the effect of an accidental or key signature.
-However, naturals are not encoded into the note name syntax with a
-suffix; a natural pitch is shown as a simple note name
+A natural will cancel the effect of an accidental or key
+signature. However, naturals are not encoded into the note name
+syntax with a suffix; a natural pitch is shown as a simple note
+name
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
a4 aes a2
@end lilypond
The input @code{d e f} is interpreted as @q{print a D-natural,
-E-natural, and an F-natural,} regardless of the key
-signature. For more information about the distinction between
-musical content and the presentation of that content, see
-@rlearning{Accidentals and key signatures}.
+E-natural, and an F-natural,} regardless of the key signature.
+For more information about the distinction between musical content
+and the presentation of that content, see @rlearning{Accidentals
+and key signatures}.
@lilypond[fragment,quote,ragged-right,verbatim,relative]
\key d \major
@commonprop
-In accordance with standard typesetting rules, a natural sign is printed
-before a sharp or flat if a previous accidental needs to be
-cancelled. To change this behavior, use
-@code{\set Staff.extraNatural = ##f}
+In accordance with standard typesetting rules, a natural sign is
+printed before a sharp or flat if a previous accidental needs to
+be cancelled. To change this behavior, use @code{\set
+Staff.extraNatural = ##f}
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
ceses4 ces cis c
@funindex !
Normally accidentals are printed automatically, but you may also
-print them manually. A reminder accidental
-can be forced by adding an exclamation mark @code{!}
-after the pitch. A cautionary accidental
-(i.e., an accidental within parentheses) can be obtained by adding the
-question mark @samp{?} after the pitch. These extra accidentals
-can be used to produce natural signs, too.
+print them manually. A reminder accidental can be forced by
+adding an exclamation mark @code{!} after the pitch. A cautionary
+accidental (i.e., an accidental within parentheses) can be
+obtained by adding the question mark @samp{?} after the pitch.
+These extra accidentals can be used to produce natural signs, too.
@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
cis cis cis! cis? c c? c! c
@seealso
-The automatic production of accidentals can be tuned in many
-ways. For more information, see @ref{Automatic accidentals}.
+The automatic production of accidentals can be tuned in many ways.
+For more information, see @ref{Automatic accidentals}.
@node Micro tones
@cindex semi-flats, semi-sharps
Half-flats and half-sharps are formed by adding @code{-eh} and
-@code{-ih}; the following is a series of Cs with increasing pitches
+@code{-ih}; the following is a series of Cs with increasing
+pitches
@lilypond[verbatim,ragged-right,quote,relative=2,fragment]
\set Staff.extraNatural = ##f
@node Note names in other languages
@unnumberedsubsubsec Note names in other languages
-There are predefined sets of note names for various other languages.
-To use them, include the language specific init file. For
-example, add @code{\include "english.ly"} to the top of the input
-file. The available language files
-and the note names they define are
+There are predefined sets of note names for various other
+languages. To use them, include the language specific init file.
+For example, add @code{\include "english.ly"} to the top of the
+input file. The available language files and the note names they
+define are
@cindex note names, other languages
@c put the rest of the old table into this new format.
@end example
@c old table
+@ignore
@example
Note Names sharp flat double double
sharp flat
catalan.ly do re mi fa sol la sib si -d/-s -b -dd/-ss -bb
espanol.ly do re mi fa sol la sib si -s -b -ss -bb
@end example
+@end ignore
@noindent
Note that in Dutch, German, Norwegian, and Swedish, the flat
-alterations of @samp{a} like for example @code{aes} and @code{aeses}
-are usually contracted to @code{as} and @code{ases} (or more commonly
-@code{asas}). Sometimes only these contracted names are defined in the
-corresponding language files (this also applies to the suffixes for
-quartertones below).
+alterations of @samp{a} like for example @code{aes} and
+@code{aeses} are usually contracted to @code{as} and @code{ases}
+(or more commonly @code{asas}). Sometimes only these contracted
+names are defined in the corresponding language files (this also
+applies to the suffixes for quartertones below).
@noindent
Some music uses microtones whose alterations are fractions of a
-@q{regular} sharp or flat. The note names for quartertones defined in
-the various language files are listed in the following table. Here the
-prefixes @q{semi-} and @q{sesqui-} mean @q{half} and @q{one and a
-half}, respectively. For Norwegian, Swedish, Catalan and Spanish no
-special names have been defined yet.
+@q{regular} sharp or flat. The note names for quartertones defined
+in the various language files are listed in the following table.
+Here the prefixes @q{semi-} and @q{sesqui-} mean @q{half} and
+@q{one and a half}, respectively. For Norwegian, Swedish, Catalan
+and Spanish no special names have been defined yet.
+
@c What about Turkish Maquam music and similar microtonal systems?
@c
@c Note that the term "three-quarter-sharp/-flat" used in lilypond's source code
@cindex Relative octave specification
@funindex \relative
-Octaves are specified by adding @code{'} and @code{,} to pitch names.
-When you copy existing music, it is easy to accidentally put a pitch
-in the wrong octave and hard to find such an error. The relative
-octave mode prevents these errors by making the mistakes much
-larger: a single error puts the rest of the piece off by one octave
+Octaves are specified by adding @code{'} and @code{,} to pitch
+names. When you copy existing music, it is easy to accidentally
+put a pitch in the wrong octave and hard to find such an error.
+The relative octave mode prevents these errors by making the
+mistakes much larger: a single error puts the rest of the piece
+off by one octave
@example
\relative @var{startpitch} @var{musicexpr}
@noindent
@code{c'} is used as the default if no starting pitch is defined.
-The octave of notes that appear in @var{musicexpr} are calculated as
-follows: if no octave changing marks are used, the basic interval
-between this and the last note is always taken to be a fourth or
-less. This distance is determined without regarding alterations; a
-@code{fisis} following a @code{ceses} will be put above the
-@code{ceses}. In other words, a doubly-augmented fourth is considered
-a smaller interval than a diminished fifth, even though the
-doubly-augmented fourth spans seven semitones while the diminished
-fifth only spans six semitones.
-
-The octave changing marks @code{'} and @code{,} can be added to raise
-or lower the pitch by an extra octave. Upon entering relative mode,
-an absolute starting pitch can be specified that will act as the
-predecessor of the first note of @var{musicexpr}. If no starting pitch
-is specified, then middle C is used as a start.
+The octave of notes that appear in @var{musicexpr} are calculated
+as follows: if no octave changing marks are used, the basic
+interval between this and the last note is always taken to be a
+fourth or less. This distance is determined without regarding
+alterations; a @code{fisis} following a @code{ceses} will be put
+above the @code{ceses}. In other words, a doubly-augmented fourth
+is considered a smaller interval than a diminished fifth, even
+though the doubly-augmented fourth spans seven semitones while the
+diminished fifth only spans six semitones.
+
+The octave changing marks @code{'} and @code{,} can be added to
+raise or lower the pitch by an extra octave. Upon entering
+relative mode, an absolute starting pitch can be specified that
+will act as the predecessor of the first note of @var{musicexpr}.
+If no starting pitch is specified, then middle C is used as a
+start.
Here is the relative mode shown in action
@lilypond[quote,fragment,ragged-right,verbatim]
}
@end lilypond
-If the preceding item is a chord, the first note of the chord is used
-to determine the first note of the next chord
+If the preceding item is a chord, the first note of the chord is
+used to determine the first note of the next chord
@lilypond[quote,ragged-right,fragment,verbatim]
\relative c' {
The pitch after @code{\relative} contains a note name.
The relative conversion will not affect @code{\transpose},
-@code{\chordmode} or @code{\relative} sections in its argument. To use
-relative within transposed music, an additional @code{\relative} must
-be placed inside @code{\transpose}.
+@code{\chordmode} or @code{\relative} sections in its argument.
+To use relative within transposed music, an additional
+@code{\relative} must be placed inside @code{\transpose}.
@node Octave check
@end example
@noindent
-the @code{d} will generate a warning, because a @code{d''} is expected
-(because @code{b'} to @code{d''} is only a third), but a @code{d'} is
-found. In the output, the octave is corrected to be a @code{d''} and
-the next note is calculated relative to @code{d''} instead of @code{d'}.
+the @code{d} will generate a warning, because a @code{d''} is
+expected (because @code{b'} to @code{d''} is only a third), but a
+@code{d'} is found. In the output, the octave is corrected to be
+a @code{d''} and the next note is calculated relative to
+@code{d''} instead of @code{d'}.
-There is also an octave check that produces no visible output. The syntax
+There is also an octave check that produces no visible output.
+The syntax
@example
\octave @var{pitch}
@end example
-This checks that @var{pitch} (without quotes) yields @var{pitch} (with
-quotes) in @code{\relative} mode compared to the note given in the
-@code{\relative} command. If not, a warning is printed, and the
-octave is corrected. The @var{pitch} is not printed as a note.
+This checks that @var{pitch} (without quotes) yields @var{pitch}
+(with quotes) in @code{\relative} mode compared to the note given
+in the @code{\relative} command. If not, a warning is printed,
+and the octave is corrected. The @var{pitch} is not printed as a
+note.
-In the example below, the first check passes without incident, since
-the @code{e} (in @code{relative} mode) is within a fifth of
-@code{a'}. However,
-the second check produces a warning, since the @code{e} is not within
-a fifth of @code{b'}. The warning message is printed, and the octave
-is adjusted so that the following notes are in the correct octave
-once again.
+In the example below, the first check passes without incident,
+since the @code{e} (in @code{relative} mode) is within a fifth of
+@code{a'}. However, the second check produces a warning, since
+the @code{e} is not within a fifth of @code{b'}. The warning
+message is printed, and the octave is adjusted so that the
+following notes are in the correct octave once again.
@example
\relative c' @{
The octave of a note following an octave check is determined with
-respect to the note preceding it. In the next fragment, the last note
-is an @code{a'}, above middle C. That means that the @code{\octave}
-check passes successfully, so the check could be deleted without changing
-the output of the piece.
+respect to the note preceding it. In the next fragment, the last
+note is an @code{a'}, above middle C. That means that the
+@code{\octave} check passes successfully, so the check could be
+deleted without changing the output of the piece.
@lilypond[quote,ragged-right,verbatim,fragment]
\relative c' {
A music expression can be transposed with @code{\transpose}. The
syntax is
+
@example
\transpose @var{from} @var{to} @var{musicexpr}
@end example
-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}.
+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
\transpose 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 (for which an
-A is notated as a C, and which sounds a minor third lower
-than notated), the following
-transposition will produce the appropriate part
+Consider a part written for violin (a C instrument). If this part
+is to be played on the A clarinet (for which an A is notated as a
+C, and which sounds a minor third lower than notated), the
+following transposition will produce the appropriate part
@example
\transpose a c @dots{}
@end example
@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
+@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[quote,ragged-right,verbatim]
mus = { \key d \major cis d fis g }
@end lilypond
@code{\transpose} may also be used to input written notes for a
-transposing instrument. Pitches are normally entered into LilyPond
-in C (or @q{concert pitch}), but they may be entered in another
-key. For example, when entering music for a B-flat trumpet which
-begins on concert D, one would write
+transposing instrument. Pitches are normally entered into
+LilyPond in C (or @q{concert pitch}), but they may be entered in
+another key. For example, when entering music for a B-flat
+trumpet which begins on concert D, one would write
@example
\transpose c bes @{ e4 @dots{} @}
Program reference: @internalsref{TransposedMusic}.
-Example: @lsr{scheme,transpose-pitches-with-minimum-accidentals.ly}.
+Example:
+@lsr{scheme,transpose-pitches-with-minimum-accidentals.ly}.
@refbugs
If you want to use both @code{\transpose} and @code{\relative},
you must put @code{\transpose} outside of @code{\relative}, since
-@code{\relative} will have no effect on music that appears inside a
-@code{\transpose}.
+@code{\relative} will have no effect on music that appears inside
+a @code{\transpose}.
@node Displaying pitches
By adding @code{_8} or @code{^8} to the clef name, the clef is
transposed one octave down or up, respectively, and @code{_15} and
@code{^15} transposes by two octaves. The argument @var{clefname}
-must be enclosed in quotes when it contains underscores or digits. For
-example,
+must be enclosed in quotes when it contains underscores or digits.
+For example,
@cindex choral tenor clef
@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
@commonprop
The command @code{\clef "treble_8"} is equivalent to setting
-@code{clefGlyph},
-@code{clefPosition} (which controls the Y position of the clef),
-@code{middleCPosition} and @code{clefOctavation}. A clef is printed
-when any of these properties are changed. The following example shows
-possibilities when setting properties manually.
+@code{clefGlyph}, @code{clefPosition} (which controls the Y
+position of the clef), @code{middleCPosition} and
+@code{clefOctavation}. A clef is printed when any of these
+properties are changed. The following example shows possibilities
+when setting properties manually.
@lilypond[quote,ragged-right,verbatim]
{
@cindex Key signature
@funindex \key
-The key signature indicates the tonality in which a piece is played. It
-is denoted by a set of alterations (flats or sharps) at the start of the
-staff.
+The key signature indicates the tonality in which a piece is
+played. It is denoted by a set of alterations (flats or sharps)
+at the start of the staff.
Setting or changing the key signature is done with the @code{\key}
command
@cindex church modes
Here, @var{type} should be @code{\major} or @code{\minor} to get
-@var{pitch}-major or @var{pitch}-minor, respectively. You may also
-use the standard mode names (also called @q{church modes}): @code{\ionian},
-@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
-@code{\phrygian}, and @code{\dorian}.
+@var{pitch}-major or @var{pitch}-minor, respectively. You may
+also use the standard mode names (also called @q{church modes}):
+@code{\ionian}, @code{\locrian}, @code{\aeolian},
+@code{\mixolydian}, @code{\lydian}, @code{\phrygian}, and
+@code{\dorian}.
-This command sets the context property
-@code{Staff.keySignature}. Non-standard key signatures
-can be specified by setting this property directly.
+This command sets the context property @code{Staff.keySignature}.
+Non-standard key signatures can be specified by setting this
+property directly.
Accidentals and key signatures often confuse new users, because
-unaltered notes get natural signs depending on the key signature. For
-more information, see @ref{Accidentals}, or @rlearning{Accidentals
-and key signatures}.
+unaltered notes get natural signs depending on the key signature.
+For more information, see @ref{Accidentals}, or
+@rlearning{Accidentals and key signatures}.
@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
\key g \major
@commonprop
-A natural sign is printed to cancel any previous accidentals. This
-can be suppressed by setting the @code{Staff.printKeyCancellation}
-property.
+A natural sign is printed to cancel any previous accidentals.
+This can be suppressed by setting the
+@code{Staff.printKeyCancellation} property.
@lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
\key d \major
@node Ottava brackets
@unnumberedsubsubsec Ottava brackets
-@q{Ottava} brackets introduce an extra transposition of an octave for
-the staff. They are created by invoking the function
+@q{Ottava} brackets introduce an extra transposition of an octave
+for the staff. They are created by invoking the function
@code{set-octavation}
@cindex ottava
}
@end lilypond
-The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
-and -2 (for 15ma bassa) as arguments. Internally the function sets the properties
-@code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and
-@code{centralCPosition}. For overriding the text of the bracket, set
-@code{ottavation} after invoking @code{set-octavation}, i.e.,
+The @code{set-octavation} function also takes -1 (for 8va bassa),
+2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
+Internally the function sets the properties @code{ottavation}
+(e.g., to @code{"8va"} or @code{"8vb"}) and
+@code{centralCPosition}. For overriding the text of the bracket,
+set @code{ottavation} after invoking @code{set-octavation}, i.e.,
@lilypond[quote,ragged-right,verbatim]
{
@cindex transposition, instrument
The key of a transposing instrument can also be specified. This
-applies to many wind instruments, for example, clarinets (B-flat, A, and
-E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
+applies to many wind instruments, for example, clarinets (B-flat,
+A, and E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
The transposition is entered after the keyword @code{\transposition}
@end example
@noindent
-This command sets the property @code{instrumentTransposition}. The value of
-this property is used for MIDI output and quotations. It does not
-affect how notes are printed in the current staff. To change the printed
-output, see @ref{Transpose}.
+This command sets the property @code{instrumentTransposition}.
+The value of this property is used for MIDI output and quotations.
+It does not affect how notes are printed in the current staff. To
+change the printed output, see @ref{Transpose}.
-The pitch to use for @code{\transposition} should correspond to the
-real sound heard when a @code{c'} written on the staff is played by the
-transposing instrument. For example, when entering a score in
-concert pitch, typically all voices are entered in C, so
-they should be entered as
+The pitch to use for @code{\transposition} should correspond to
+the real sound heard when a @code{c'} written on the staff is
+played by the transposing instrument. For example, when entering
+a score in concert pitch, typically all voices are entered in C,
+so they should be entered as
@example
clarinet = @{
The command @code{\transposition} should be used when the music is
entered from a (transposed) orchestral part. For example, in
-classical horn parts, the tuning of the instrument is often changed
-during a piece. When copying the notes from the part, use
+classical horn parts, the tuning of the instrument is often
+changed during a piece. When copying the notes from the part, use
@code{\transposition}, e.g.,
@example
@funindex \breve
@funindex \maxima
-In Note, Chord, and Lyrics mode, durations are designated by numbers and
-dots: durations are entered as their reciprocal values. For example, a
-quarter note is entered using a @code{4} (since it is a 1/4 note), while
-a half note is entered using a @code{2} (since it is a 1/2 note). For
-notes longer than a whole you must use the @code{\longa} and
-@code{\breve} commands
+In Note, Chord, and Lyrics mode, durations are designated by
+numbers and dots: durations are entered as their reciprocal
+values. For example, a quarter note is entered using a @code{4}
+(since it is a 1/4 note), while a half note is entered using a
+@code{2} (since it is a 1/2 note). For notes longer than a whole
+you must use the @code{\longa} and @code{\breve} commands
@example
c'\breve
}
@end lilypond
-If the duration is omitted then it is set to the previously entered
-duration. The default for the first note is a quarter note.
+If the duration is omitted then it is set to the previously
+entered duration. The default for the first note is a quarter
+note.
@lilypond[quote,ragged-right,verbatim,fragment]
{ a a a2 a a4 a a1 a }
@funindex .
-To obtain dotted note lengths, simply add a dot (@samp{.}) to
-the number. Double-dotted notes are produced in a similar way.
+To obtain dotted note lengths, simply add a dot (@samp{.}) to the
+number. Double-dotted notes are produced in a similar way.
@lilypond[quote,ragged-right,fragment,verbatim]
a'4 b' c''4. b'8 a'4. b'4.. c''8.
@refcommands
-Dots are normally moved up to avoid staff lines, except in polyphonic
-situations. The following commands may be used to force a particular
-direction manually
+Dots are normally moved up to avoid staff lines, except in
+polyphonic situations. The following commands may be used to
+force a particular direction manually
@funindex \dotsUp
@code{\dotsUp},
@seealso
-Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
+Program reference: @internalsref{Dots}, and
+@internalsref{DotColumn}.
@node Tuplets
@cindex triplets
@funindex \times
-Tuplets are made out of a music expression by multiplying all durations
-with a fraction
+Tuplets are made out of a music expression by multiplying all
+durations with a fraction
@example
\times @var{fraction} @var{musicexpr}
@end example
@noindent
-The duration of @var{musicexpr} will be multiplied by the fraction.
-The fraction's denominator will be printed over the notes, optionally
-with a bracket. The most common tuplet is the triplet in which 3
-notes have the length of 2, so the notes are 2/3 of their written
-length
+The duration of @var{musicexpr} will be multiplied by the
+fraction. The fraction's denominator will be printed over the
+notes, optionally with a bracket. The most common tuplet is the
+triplet in which 3 notes have the length of 2, so the notes are
+2/3 of their written length
@lilypond[quote,ragged-right,fragment,verbatim]
g'4 \times 2/3 {c'4 c' c'} d'4 d'4
@cindex tuplet formatting
The property @code{tupletSpannerDuration} specifies how long each
-bracket should last. With this, you can make lots of tuplets while
-typing @code{\times} only once, thus saving lots of typing. In the next
-example, there are two triplets shown, while @code{\times} was only
-used once
+bracket should last. With this, you can make lots of tuplets
+while typing @code{\times} only once, thus saving lots of typing.
+In the next example, there are two triplets shown, while
+@code{\times} was only used once
@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
\set tupletSpannerDuration = #(ly:make-moment 1 4)
For more information about @code{make-moment}, see
@ref{Time administration}.
-The format of the number is determined by the property @code{text} in
-@code{TupletNumber}. The default prints only the denominator, but if
-it is set to the function @code{tuplet-number::calc-fraction-text},
-@var{num}:@var{den} will be printed instead.
+The format of the number is determined by the property @code{text}
+in @code{TupletNumber}. The default prints only the denominator,
+but if it is set to the function
+@code{tuplet-number::calc-fraction-text}, @var{num}:@var{den} will
+be printed instead.
To avoid printing tuplet numbers, use
\times 2/3 { c8 c c } \times 2/3 { c8 c c }
@end lilypond
-Use the @code{\tweak} function to override nested tuplets beginning at the
-same music moment. In this example, @code{\tweak} specifies fraction
-text for the
-outer @code{TupletNumber} and denominator text for the @code{TupletNumber}
-of the first of the three inner tuplets.
+Use the @code{\tweak} function to override nested tuplets
+beginning at the same music moment. In this example,
+@code{\tweak} specifies fraction text for the outer
+@code{TupletNumber} and denominator text for the
+@code{TupletNumber} of the first of the three inner tuplets.
@lilypond[quote,ragged-right,verbatim]
\new Staff {
Here @code{\tweak} and @code{\override} work together to specify
@code{TupletBracket} direction. The first @code{\tweak} positions
-the @code{TupletBracket} of the outer
-tuplet above the staff. The second @code{\tweak} positions the
-@code{TupletBracket} of the first of the three inner tuplets below the
-staff. Note that this pair of @code{\tweak} functions affects only
-the outer tuplet and the first of the three inner tuplets because only
-those two tuplets begin at the same music moment. We use @code{\override}
-in the usual way to position the @code{TupletBrackets} of
-the second and third of the inner tuplets below the staff.
+the @code{TupletBracket} of the outer tuplet above the staff. The
+second @code{\tweak} positions the @code{TupletBracket} of the
+first of the three inner tuplets below the staff. Note that this
+pair of @code{\tweak} functions affects only the outer tuplet and
+the first of the three inner tuplets because only those two
+tuplets begin at the same music moment. We use @code{\override}
+in the usual way to position the @code{TupletBrackets} of the
+second and third of the inner tuplets below the staff.
@lilypond[quote,ragged-right,verbatim]
\new Staff {
}
@end lilypond
-Tuplet brackets can be made to run to prefatory matter or
-the next note
+Tuplet brackets can be made to run to prefatory matter or the next
+note
@lilypond[ragged-right]
\new RhythmicStaff {
@unnumberedsubsubsec Scaling durations
You can alter the length of duration by a fraction @var{N/M}
-appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}). This
-will not affect the appearance of the notes or rests produced. These
-may be combined such as @samp{*M*N}.
+appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}).
+This will not affect the appearance of the notes or rests
+produced. These may be combined such as @samp{*M*N}.
-In the following example, the first three notes take up exactly two
-beats, but no triplet bracket is printed.
+In the following example, the first three notes take up exactly
+two beats, but no triplet bracket is printed.
@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
\time 2/4
r1 r2 r4 r8
@end lilypond
-Whole bar rests, centered in middle of the bar,
-must be done with multi-measure rests. They can be used for a
-single bar as well as many bars, and are discussed in
-@ref{Multi measure rests}.
+Whole bar rests, centered in middle of the bar, must be done with
+multi-measure rests. They can be used for a single bar as well as
+many bars, and are discussed in @ref{Multi measure rests}.
To explicitly specify a rest's vertical position, write a note
followed by @code{\rest}. A rest will be placed in the position
@end lilypond
@noindent
-This makes manual formatting of
-polyphonic music much easier, since the automatic rest collision
-formatter will leave these rests alone.
+This makes manual formatting of polyphonic music much easier,
+since the automatic rest collision formatter will leave these
+rests alone.
@seealso
@funindex \skip
@funindex s
-An invisible rest (also called a @q{skip}) can be entered like a note
-with note name @samp{s} or with @code{\skip @var{duration}}
+An invisible rest (also called a @q{skip}) can be entered like a
+note with note name @samp{s} or with @code{\skip @var{duration}}
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
a4 a4 s4 a4 \skip 1 a4
@end lilypond
-The @code{s} syntax is only available in note mode and chord mode. In
-other situations, for example, when entering lyrics, you should use
-the @code{\skip} command
+The @code{s} syntax is only available in note mode and chord mode.
+In other situations, for example, when entering lyrics, you should
+use the @code{\skip} command
@lilypond[quote,ragged-right,verbatim]
<<
>>
@end lilypond
-The skip command is merely an empty musical placeholder. It does not
-produce any output, not even transparent output.
+The skip command is merely an empty musical placeholder. It does
+not produce any output, not even transparent output.
The @code{s} skip command does create @internalsref{Staff} and
@internalsref{Voice} when necessary, similar to note and rest
@cindex whole rests for a full measure
@funindex R
-Rests for one full measure (or many bars) are entered using @samp{R}. It
-is specifically meant for full bar rests and for entering parts: the rest
-can expand to fill a score with rests, or it can be printed as a single
-multi-measure rest. This expansion is controlled by the property
-@code{Score.skipBars}. If this is set to true, empty measures will not
-be expanded, and the appropriate number is added automatically
+Rests for one full measure (or many bars) are entered using
+@samp{R}. It is specifically meant for full bar rests and for
+entering parts: the rest can expand to fill a score with rests, or
+it can be printed as a single multi-measure rest. This expansion
+is controlled by the property @code{Score.skipBars}. If this is
+set to true, empty measures will not be expanded, and the
+appropriate number is added automatically
@lilypond[quote,ragged-right,fragment,verbatim]
\time 4/4 r1 | R1 | R1*2 \time 3/4 R2. \time 2/4 R2 \time 4/4
\set Score.skipBars = ##t R1*17 R1*4
@end lilypond
-The @code{1} in @code{R1} is similar to the duration notation used for
-notes. Hence, for time signatures other than 4/4, you must enter other
-durations. This can be done with augmentation dots or fractions
+The @code{1} in @code{R1} is similar to the duration notation used
+for notes. Hence, for time signatures other than 4/4, you must
+enter other durations. This can be done with augmentation dots or
+fractions
@lilypond[quote,ragged-right,fragment,verbatim]
\set Score.skipBars = ##t
\time 10/8 R4*5*4 |
@end lilypond
-An @code{R} spanning a single measure is printed as either a whole rest
-or a breve, centered in the measure regardless of the time signature.
+An @code{R} spanning a single measure is printed as either a whole
+rest or a breve, centered in the measure regardless of the time
+signature.
-If there are only a few measures of rest, LilyPond prints @q{church rests}
-(a series of rectangles) in the staff. To replace that with a simple
-rest, use @code{MultiMeasureRest.expand-limit}.
+If there are only a few measures of rest, LilyPond prints
+@q{church rests} (a series of rectangles) in the staff. To
+replace that with a simple rest, use
+@code{MultiMeasureRest.expand-limit}.
@lilypond[quote,ragged-right,fragment,verbatim]
\set Score.skipBars = ##t
@cindex fermata on multi-measure rest
Texts can be added to multi-measure rests by using the
-@var{note}-@code{markup} syntax @ref{Text markup}.
-A variable (@code{\fermataMarkup}) is provided for
-adding fermatas
+@var{note}-@code{markup} syntax @ref{Text markup}. A variable
+(@code{\fermataMarkup}) is provided for adding fermatas
@lilypond[quote,ragged-right,verbatim,fragment]
\set Score.skipBars = ##t
@refbugs
-It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
-over multi-measure rests. And the pitch of multi-measure rests (or
-staff-centered rests) can not be influenced.
+It is not possible to use fingerings (e.g., @code{R1-4}) to put
+numbers over multi-measure rests. And the pitch of multi-measure
+rests (or staff-centered rests) can not be influenced.
@cindex condensing rests
-There is no way to automatically condense multiple rests into a single
-multi-measure rest. Multi-measure rests do not take part in rest
-collisions.
+There is no way to automatically condense multiple rests into a
+single multi-measure rest. Multi-measure rests do not take part
+in rest collisions.
Be careful when entering multi-measure rests followed by whole
-notes. The following will enter two notes lasting four measures each
+notes. The following will enter two notes lasting four measures
+each
+
@example
R1*4 cis cis
@end example
-When @code{skipBars} is set, the result will look OK, but the bar
-numbering will be off.
+
+When @code{skipBars} is
+set, the result will look OK, but the bar numbering will be off.
@cindex meter
@funindex \time
-Time signature indicates the metrum of a piece: a regular pattern of
-strong and weak beats. It is denoted by a fraction at the start of the
-staff.
+Time signature indicates the metrum of a piece: a regular pattern
+of strong and weak beats. It is denoted by a fraction at the
+start of the staff.
The time signature is set with the @code{\time} command
@commonprop
The symbol that is printed can be customized with the @code{style}
-property. Setting it to @code{#'()} uses fraction style for 4/4 and
-2/2 time,
+property. Setting it to @code{#'()} uses fraction style for 4/4
+and 2/2 time,
@lilypond[fragment,quote,ragged-right,verbatim]
\time 4/4 c'1
@code{beatLength} and @code{measureLength} in the @code{Timing}
context, which is normally aliased to @internalsref{Score}. The
property @code{measureLength} determines where bar lines should be
-inserted, and how automatic beams should be generated. Changing the
-value of @code{timeSignatureFraction} also causes the symbol to be
-printed.
+inserted, and how automatic beams should be generated. Changing
+the value of @code{timeSignatureFraction} also causes the symbol
+to be printed.
More options are available through the Scheme function
@code{set-time-signature}. In combination with the
@internalsref{Measure_grouping_engraver}, it will create
@internalsref{MeasureGrouping} signs. Such signs ease reading
-rhythmically complex modern music. In the following example, the 9/8
-measure is subdivided in 2, 2, 2 and 3. This is passed to
+rhythmically complex modern music. In the following example, the
+9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
@code{set-time-signature} as the third argument @code{(2 2 2 3)}
@lilypond[quote,ragged-right,verbatim]
@refbugs
-This command does not take into account grace notes at the start of
-the music. When a piece starts with graces notes in the pickup, then
-the @code{\partial} should follow the grace notes
+This command does not take into account grace notes at the start
+of the music. When a piece starts with graces notes in the
+pickup, then the @code{\partial} should follow the grace notes
@lilypond[verbatim,quote,ragged-right,relative,fragment]
\grace f16
@funindex \cadenzaOn
@funindex \cadenzaOff
-Bar lines and bar numbers are calculated automatically. For unmetered
-music (cadenzas, for example), this is not desirable. To turn off
-automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
-and @code{\cadenzaOff}.
+Bar lines and bar numbers are calculated automatically. For
+unmetered music (cadenzas, for example), this is not desirable.
+To turn off automatic bar lines and bar numbers, use the commands
+@code{\cadenzaOn} and @code{\cadenzaOff}.
@lilypond[verbatim,quote,ragged-right,relative=2,fragment]
c4 d e d
@refbugs
LilyPond will only insert line breaks and page breaks at a
-barline. Unless the unmetered music ends before the end of
-the staff line, you will need to insert
-invisible bar lines
+barline. Unless the unmetered music ends before the end of the
+staff line, you will need to insert invisible bar lines
@example
\bar ""
@cindex polymetric signatures
@cindex meter, polymetric
-Double time signatures are not supported explicitly, but they can be
-faked. In the next example, the markup for the time signature is
-created with a markup text. This markup text is inserted in the
-@internalsref{TimeSignature} grob. See also
+Double time signatures are not supported explicitly, but they can
+be faked. In the next example, the markup for the time signature
+is created with a markup text. This markup text is inserted in
+the @internalsref{TimeSignature} grob. See also
@lsr{contemporary,compound-time-signature}.
@lilypond[verbatim,ragged-right]
@end lilypond
Each staff can also have its own time signature. This is done by
-moving the @internalsref{Timing_translator} to the @internalsref{Staff}
-context.
+moving the @internalsref{Timing_translator} to the
+@internalsref{Staff} context.
@example
\layout @{
Now, each staff has its own time signature.
+
@example
<<
\new Staff @{
A different form of polymetric notation is where note lengths have
different values across staves.
-This notation can be created by setting a common time signature for
-each staff but replacing it manually using
-@code{timeSignatureFraction} to the desired fraction. Then the printed
-durations in each staff are scaled to the common time signature.
-The latter is done with @code{\compressMusic}, which is used similar
-to @code{\times}, but does not create a tuplet bracket. The syntax is
-@example
-\compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
-@end example
+This notation can be created by setting a common time signature
+for each staff but replacing it manually using
+@code{timeSignatureFraction} to the desired fraction. Then the
+printed durations in each staff are scaled to the common time
+signature. The latter is done with @code{\compressMusic}, which
+is used similar to @code{\times}, but does not create a tuplet
+bracket. The syntax is @example \compressMusic #'(@var{numerator}
+. @var{denominator}) @var{musicexpr} @end example
-In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
-used in parallel. In the second staff, shown durations are multiplied by
-2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
-multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
+In this example, music with the time signatures of 3/4, 9/8, and
+10/8 are used in parallel. In the second staff, shown durations
+are multiplied by 2/3, so that 2/3 * 9/8 = 3/4, and in the third
+staff, shown durations are multiplied by 3/5, so that 3/5 * 10/8 =
+3/4.
@lilypond[quote,ragged-right,verbatim,fragment]
\relative c' { <<
@node Automatic note splitting
@unnumberedsubsubsec Automatic note splitting
-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}.
-In the following examples, notes crossing the bar line are split and tied.
+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}. In the following
+examples, notes crossing the bar line are split and tied.
@lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
\new Voice \with {
}
@end lilypond
-This engraver splits all running notes at the bar line, and inserts
-ties. One of its uses is to debug complex scores: if the measures are
-not entirely filled, then the ties exactly show how much each measure
-is off.
+This engraver splits all running notes at the bar line, and
+inserts ties. One of its uses is to debug complex scores: if the
+measures are not entirely filled, then the ties exactly show how
+much each measure is off.
If you want to allow line breaking on the bar lines where
@internalsref{Completion_heads_engraver} splits notes, you must
@refbugs
Not all durations (especially those containing tuplets) can be
-represented exactly with normal notes and dots, but the engraver will
-not insert tuplets.
+represented exactly with normal notes and dots, but the engraver
+will not insert tuplets.
-@code{Completion_heads_engraver} only affects notes; it does not split
-rests.
+@code{Completion_heads_engraver} only affects notes; it does not
+split rests.
@seealso
@end lilypond
When these automatic decisions are not good enough, beaming can be
-entered explicitly. It is also possible to define beaming patterns
-that differ from the defaults. See @ref{Setting automatic beam behavior},
-for details.
+entered explicitly. It is also possible to define beaming
+patterns that differ from the defaults. See @ref{Setting
+automatic beam behavior}, for details.
Individual notes may be marked with @code{\noBeam} to prevent them
from being beamed
@funindex ]
@funindex [
-In some cases it may be necessary to override the automatic beaming
-algorithm. For example, the autobeamer will not put beams over rests
-or bar lines. Such beams are specified manually by marking the begin
-and end point with @code{[} and @code{]}
+In some cases it may be necessary to override the automatic
+beaming algorithm. For example, the autobeamer will not put beams
+over rests or bar lines. Such beams are specified manually by
+marking the begin and end point with @code{[} and @code{]}
@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
{
@funindex stemRightBeamCount
-LilyPond can automatically determine beaming patterns within a beam,
-but this automatic behavior can sometimes produce odd results;
-therefore the @code{stemLeftBeamCount} and @code{stemRightBeamCount} properties can
-be used to override the defaults. If
-either property is set, its value will be used only once, and then it
-is erased.
+LilyPond can automatically determine beaming patterns within a
+beam, but this automatic behavior can sometimes produce odd
+results; therefore the @code{stemLeftBeamCount} and
+@code{stemRightBeamCount} properties can be used to override the
+defaults. If either property is set, its value will be used only
+once, and then it is erased.
@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
{
}
@end lilypond
-The property @code{subdivideBeams} can be set in order to subdivide
-all 16th or shorter beams at beat positions, as defined by the
-@code{beatLength} property.
+The property @code{subdivideBeams} can be set in order to
+subdivide all 16th or shorter beams at beat positions, as defined
+by the @code{beatLength} property.
@lilypond[fragment,quote,relative=2,verbatim]
c16[ c c c c c c c]
For more information about @code{make-moment}, see
@ref{Time administration}.
-Line breaks are normally forbidden when beams cross bar lines. This
-behavior can be changed by setting @code{breakable}.
+Line breaks are normally forbidden when beams cross bar lines.
+This behavior can be changed by setting @code{breakable}.
@funindex breakable
@cindex kneed beams
@cindex auto-knee-gap
-Kneed beams are inserted automatically when a large gap is detected
-between the note heads. This behavior can be tuned through the
-@code{auto-knee-gap} object.
+Kneed beams are inserted automatically when a large gap is
+detected between the note heads. This behavior can be tuned
+through the @code{auto-knee-gap} object.
@refbugs
hidden staves. See @ref{Hiding staves}.
@c Is this still true with skyline spacing stuff? -J.Mandereau
-Beams do not avoid collisions with symbols around the notes, such as
-texts and accidentals.
+Beams do not avoid collisions with symbols around the notes, such
+as texts and accidentals.
@node Feathered beams
@funindex |
Bar checks help detect errors in the durations. A bar check is
-entered using the bar symbol, @samp{|}. Whenever it is encountered
-during interpretation, it should fall on a measure boundary. If it
-does not, a warning is printed. In the next example, the second bar
-check will signal an error
+entered using the bar symbol, @samp{|}. Whenever it is
+encountered during interpretation, it should fall on a measure
+boundary. If it does not, a warning is printed. In the next
+example, the second bar check will signal an error
+
@example
\time 3/4 c2 e4 | g2 |
@end example
@}
@end example
-Failed bar checks are caused by entering incorrect
-durations. Incorrect durations often completely garble up the score,
-especially if the score is polyphonic, so a good place to start correcting
-input is by scanning for failed bar checks and incorrect durations.
+Failed bar checks are caused by entering incorrect durations.
+Incorrect durations often completely garble up the score,
+especially if the score is polyphonic, so a good place to start
+correcting input is by scanning for failed bar checks and
+incorrect durations.
@funindex |
@funindex pipeSymbol
-It is also possible to redefine the meaning of @code{|}. This is done
-by assigning a music expression to @code{pipeSymbol},
+It is also possible to redefine the meaning of @code{|}. This is
+done by assigning a music expression to @code{pipeSymbol},
@lilypond[quote,ragged-right,verbatim]
pipeSymbol = \bar "||"
@cindex measure lines
@cindex repeat bars
-Bar lines delimit measures, but are also used to indicate
-repeats. Normally they are inserted automatically. Line
-breaks may only happen on bar lines.
+Bar lines delimit measures, but are also used to indicate repeats.
+Normally they are inserted automatically. Line breaks may only
+happen on bar lines.
Special types of bar lines can be forced with the @code{\bar} command
@lilypondfile[ragged-right,quote]{bar-lines.ly}
-In addition, you can specify @code{"||:"}, which is equivalent to
-@code{"|:"} except at line breaks, where it gives a double bar line at
-the end of the line and a start repeat at the beginning of the next
-line.
+In addition, you can specify @code{"||:"}, which is equivalent to
+@code{"|:"} except at line breaks, where it gives a double bar
+line at the end of the line and a start repeat at the beginning of
+the next line.
To allow a line break where there is no visible bar line, use
@end example
@noindent
-This will insert an invisible bar line and allow line breaks at this
-point (without increasing the bar number counter).
+This will insert an invisible bar line and allow line breaks at
+this point (without increasing the bar number counter).
In scores with many staves, a @code{\bar} command in one staff is
automatically applied to all staves. The resulting bar lines are
@funindex defaultBarType
The command @code{\bar }@var{bartype} is a short cut for doing
-@code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
-is set to a string, a bar line of that type is created.
+@code{\set Timing.whichBar = }@var{bartype}. Whenever
+@code{whichBar} is set to a string, a bar line of that type is
+created.
-A bar line is created whenever the @code{whichBar} property is set.
-At the start of a measure it is set to the contents of
-@code{Timing.defaultBarType}. The contents of @code{repeatCommands} are
-used
-to override default measure bars.
+A bar line is created whenever the @code{whichBar} property is
+set. At the start of a measure it is set to the contents of
+@code{Timing.defaultBarType}. The contents of
+@code{repeatCommands} are used to override default measure bars.
You are encouraged to use @code{\repeat} for repetitions. See
@ref{Repeats}.
In this manual: @ref{Repeats}, @ref{System start delimiters}.
Program reference: @internalsref{BarLine} (created at
-@internalsref{Staff} level), @internalsref{SpanBar} (across staves).
+@internalsref{Staff} level), @internalsref{SpanBar} (across
+staves).
@node Bar numbers
@funindex currentBarNumber
Bar numbers are printed by default at the start of the line. The
-number itself is stored in the @code{currentBarNumber} property, which
-is normally updated automatically for every measure.
+number itself is stored in the @code{currentBarNumber} property,
+which is normally updated automatically for every measure.
@lilypond[verbatim,ragged-right,quote,fragment,relative]
\repeat unfold 4 {c4 c c c} \break
@end lilypond
Bar numbers may only be printed at bar lines; to print a bar
-number at the beginning of a piece, an empty bar line must
-be added
+number at the beginning of a piece, an empty bar line must be
+added
@lilypond[verbatim,ragged-right,quote,fragment,relative]
\set Score.currentBarNumber = #50
@end lilypond
Bar numbers can be typeset at regular intervals instead of at the
-beginning of each line. This is illustrated in the following example,
-whose source is available as
+beginning of each line. This is illustrated in the following
+example, whose source is available as
@lsr{staff,making-bar-numbers-appear-at-regular-intervals.ly}.
@lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
@refbugs
-Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
-there is one at the top. To solve this, the
-@code{padding} property of @internalsref{BarNumber} can be
-used to position the number correctly.
+Bar numbers can collide with the @internalsref{StaffGroup}
+bracket, if there is one at the top. To solve this, the
+@code{padding} property of @internalsref{BarNumber} can be used to
+position the number correctly.
@node Barnumber check
@unnumberedsubsubsec Barnumber check
-When copying large pieces of music, it can be helpful to check that
-the LilyPond bar number corresponds to the original that you are
-entering from. This can be checked with @code{\barNumberCheck}, for
-example,
+When copying large pieces of music, it can be helpful to check
+that the LilyPond bar number corresponds to the original that you
+are entering from. This can be checked with
+@code{\barNumberCheck}, for example,
@verbatim
\barNumberCheck #123
@end verbatim
@noindent
-will print a warning if the @code{currentBarNumber} is not 123 when it
-is processed.
+will print a warning if the @code{currentBarNumber} is not 123
+when it is processed.
@node Rehearsal marks
@end lilypond
@noindent
-The letter@tie{}@q{I} is skipped in accordance with engraving traditions.
-If you wish to include the letter @q{I}, then use
+The letter@tie{}@q{I} is skipped in accordance with engraving
+traditions. If you wish to include the letter @q{I}, then use
@example
\set Score.markFormatter = #format-mark-alphabet
@end example
The mark is incremented automatically if you use @code{\mark
-\default}, but you can also use an integer argument to set the mark
-manually. The value to use is stored in the property
+\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.
+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[fragment,quote,ragged-right,verbatim,relative=2]
\set Score.markFormatter = #format-mark-numbers
c1
@end lilypond
-The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
-of @code{format-mark-numbers} (the default format),
-@code{format-mark-box-numbers},
-@code{format-mark-letters} and @code{format-mark-box-letters}.
-These can be used as inspiration for other formatting functions.
+The file @file{scm/@/translation@/-functions@/.scm} contains the
+definitions of @code{format-mark-numbers} (the default format),
+@code{format-mark-box-numbers}, @code{format-mark-letters} and
+@code{format-mark-box-letters}. These can be used as inspiration
+for other formatting functions.
-You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
-and @code{format-mark-circle-barnumbers} to get bar numbers instead of
+You may use @code{format-mark-barnumbers},
+@code{format-mark-box-barnumbers}, and
+@code{format-mark-circle-barnumbers} to get bar numbers instead of
incremented numbers or letters.
Other styles of rehearsal mark can be specified manually
@end example
@noindent
-@code{Score.markFormatter} does not affect marks specified in this manner.
-However, it is possible to apply a @code{\markup} to the string.
+@code{Score.markFormatter} does not affect marks specified in this
+manner. However, it is possible to apply a @code{\markup} to the
+string.
@example
\mark \markup@{ \box A1 @}
@cindex coda
@cindex D.S al Fine
-Music glyphs (such as the segno sign) may be printed inside
-a @code{\mark}
+Music glyphs (such as the segno sign) may be printed inside a
+@code{\mark}
@lilypond[fragment,quote,ragged-right,verbatim,relative]
c1 \mark \markup { \musicglyph #"scripts.segno" }
See @ref{The Feta font}, for a list of symbols which may be
printed with @code{\musicglyph}.
-For common tweaks to the positioning of rehearsal marks, see @ref{Text marks}.
+For common tweaks to the positioning of rehearsal marks, see
+@ref{Text marks}.
@seealso
Program reference: @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.
+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: @lsr{parts,rehearsal-mark-numbers.ly}
@cindex appoggiatura
@cindex acciaccatura
-Grace notes are ornaments that are written out. The most common ones
-are acciaccatura, which should be played as very short. It is denoted
-by a slurred small note with a slashed stem. The appoggiatura is a
-grace note that takes a fixed fraction of the main note, and is
-denoted as a slurred note in small print without a slash. They
-are entered with the commands @code{\acciaccatura} and
-@code{\appoggiatura}, as demonstrated in the following example
+Grace notes are ornaments that are written out. The most common
+ones are acciaccatura, which should be played as very short. It
+is denoted by a slurred small note with a slashed stem. The
+appoggiatura is a grace note that takes a fixed fraction of the
+main note, and is denoted as a slurred note in small print without
+a slash. They are entered with the commands @code{\acciaccatura}
+and @code{\appoggiatura}, as demonstrated in the following example
@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
b4 \acciaccatura d8 c4 \appoggiatura e8 d4
\acciaccatura { g16[ f] } e4
@end lilypond
-Both are special forms of the @code{\grace} command. By prefixing this
-keyword to a music expression, a new one is formed, which will be
-printed in a smaller font and takes up no logical time in a measure.
+Both are special forms of the @code{\grace} command. By prefixing
+this keyword to a music expression, a new one is formed, which
+will be printed in a smaller font and takes up no logical time in
+a measure.
@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
c4 \grace c16 c4
@cindex timing, internal
-Internally, timing for grace notes is done using a second, @q{grace}
-timing. Every point in time consists of two rational numbers: one
-denotes the logical time, one denotes the grace timing. The above
-example is shown here with timing tuples
+Internally, timing for grace notes is done using a second,
+@q{grace} timing. Every point in time consists of two rational
+numbers: one denotes the logical time, one denotes the grace
+timing. The above example is shown here with timing tuples
@lilypond[quote,ragged-right]
<<
>>
@end lilypond
-The placement of grace notes is synchronized between different staves.
-In the following example, there are two sixteenth grace notes for
-every eighth grace note
+The placement of grace notes is synchronized between different
+staves. In the following example, there are two sixteenth grace
+notes for every eighth grace note
@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
<< \new Staff { e4 \grace { c16[ d e f] } e4 }
@funindex \afterGrace
If you want to end a note with a grace, use the @code{\afterGrace}
-command. It takes two arguments: the main note, and the grace notes
-following the main note.
+command. It takes two arguments: the main note, and the grace
+notes following the main note.
@lilypond[ragged-right, verbatim,relative=2,fragment]
c1 \afterGrace d1 { c16[ d] } c4
@end lilypond
This will put the grace notes after a @q{space} lasting 3/4 of the
-length of the main note. The fraction 3/4 can be changed by setting
-@code{afterGraceFraction}, ie.
+length of the main note. The fraction 3/4 can be changed by
+setting @code{afterGraceFraction}, ie.
@example
#(define afterGraceFraction (cons 7 8))
@end lilypond
@noindent
-By adjusting the duration of the skip note (here it is a half-note),
-the space between the main-note and the grace is adjusted.
+By adjusting the duration of the skip note (here it is a
+half-note), the space between the main-note and the grace is
+adjusted.
-A @code{\grace} music expression will introduce special typesetting settings,
-for example, to produce smaller type, and set directions. Hence, when
-introducing layout tweaks, they should be inside the grace expression,
-for example,
+A @code{\grace} music expression will introduce special
+typesetting settings, for example, to produce smaller type, and
+set directions. Hence, when introducing layout tweaks, they
+should be inside the grace expression, for example,
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\new Voice {
@noindent
The overrides should also be reverted inside the grace expression.
-The layout of grace expressions can be changed throughout the music
-using the function @code{add-grace-property}. The following example
-undefines the @code{Stem} direction for this grace, so that stems do not
-always point up.
+The layout of grace expressions can be changed throughout the
+music using the function @code{add-grace-property}. The following
+example undefines the @code{Stem} direction for this grace, so
+that stems do not always point up.
@example
\new Staff @{
@file{ly/@/grace@/-init@/.ly}.
@noindent
-The slash through the stem in acciaccaturas can be obtained
-in other situations by @code{\override Stem #'stroke-style = #"grace"}.
+The slash through the stem in acciaccaturas can be obtained in
+other situations by @code{\override Stem #'stroke-style =
+#"grace"}.
@commonprop
@refbugs
-A score that starts with a @code{\grace} expression needs an explicit
-@code{\new Voice} declaration, otherwise the main note and the grace
-note end up on different staves.
+A score that starts with a @code{\grace} expression needs an
+explicit @code{\new Voice} declaration, otherwise the main note
+and the grace note end up on different staves.
-Grace note synchronization can also lead to surprises. Staff notation,
-such as key signatures, bar lines, etc., are also synchronized. Take
-care when you mix staves with grace notes and staves without, for example,
+Grace note synchronization can also lead to surprises. Staff
+notation, such as key signatures, bar lines, etc., are also
+synchronized. Take care when you mix staves with grace notes and
+staves without, for example,
@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
<< \new Staff { e4 \bar "|:" \grace c16 d4 }
@end lilypond
Grace sections should only be used within sequential music
-expressions. Nesting or juxtaposing grace sections is not supported,
-and might produce crashes or other errors.
+expressions. Nesting or juxtaposing grace sections is not
+supported, and might produce crashes or other errors.
@node Aligning to cadenzas
@unnumberedsubsubsec Aligning to cadenzas
-In an orchestral context, cadenzas present a special problem:
-when constructing a score that includes a cadenza, all other
+In an orchestral context, cadenzas present a special problem: when
+constructing a score that includes a cadenza, all other
instruments should skip just as many notes as the length of the
cadenza, otherwise they will start too soon or too late.
-A solution to this problem are the functions @code{mmrest-of-length}
-and @code{skip-of-length}. These Scheme functions take a piece of music
-as argument, and generate a @code{\skip} or multi-rest, exactly as
-long as the piece. The use of @code{mmrest-of-length} is demonstrated
-in the following example.
+A solution to this problem are the functions
+@code{mmrest-of-length} and @code{skip-of-length}. These Scheme
+functions take a piece of music as argument, and generate a
+@code{\skip} or multi-rest, exactly as long as the piece. The use
+of @code{mmrest-of-length} is demonstrated in the following
+example.
@lilypond[verbatim,ragged-right,quote]
cadenza = \relative c' {
@cindex Time administration
-Time is administered by the @internalsref{Time_signature_engraver},
-which usually lives in the @internalsref{Score} context. The
-bookkeeping deals with the following variables
+Time is administered by the
+@internalsref{Time_signature_engraver}, which usually lives in the
+@internalsref{Score} context. The bookkeeping deals with the
+following variables
@table @code
@item currentBarNumber
The measure number.
@item measureLength
-The length of the measures in the current time signature. For a 4/4
-time this is@tie{}1, and for 6/8 it is 3/4.
+The length of the measures in the current time signature. For a
+4/4 time this is@tie{}1, and for 6/8 it is 3/4.
@item measurePosition
-The point within the measure where we currently are. This quantity
-is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
-happens, @code{currentBarNumber} is incremented.
+The point within the measure where we currently are. This
+quantity is reset to@tie{}0 whenever it exceeds
+@code{measureLength}. When that happens, @code{currentBarNumber}
+is incremented.
@item timing
If set to true, the above variables are updated for every time
-step. When set to false, the engraver stays in the current measure
-indefinitely.
+step. When set to false, the engraver stays in the current
+measure indefinitely.
+
@end table
-Timing can be changed by setting any of these variables explicitly.
-In the next example, the 4/4 time signature is printed, but
-@code{measureLength} is set to 5/4. After a while, the measure is
-shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
-in the measure, so the next bar line will fall at 2/4 + 3/8. The
-3/8 arises because 5/4 normally has 10/8, but we have manually
-set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
+Timing can be changed by setting any of these variables
+explicitly. In the next example, the 4/4 time signature is
+printed, but @code{measureLength} is set to 5/4. After a while,
+the measure is shortened by 1/8, by setting @code{measurePosition}
+to 7/8 at 2/4 in the measure, so the next bar line will fall at
+2/4 + 3/8. The 3/8 arises because 5/4 normally has 10/8, but we
+have manually set the measure position to be 7/8 and 10/8 - 7/8 =
+3/8.
@lilypond[quote,ragged-right,verbatim,relative,fragment]
\set Score.measureLength = #(ly:make-moment 5 4)
@noindent
As the example illustrates, @code{ly:make-moment n m} constructs a
-duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
-an eighth
-note duration and @code{ly:make-moment 7 16} is the duration of
-seven sixteenths notes.
+duration of n/m of a whole note. For example,
+@code{ly:make-moment 1 8} is an eighth note duration and
+@code{ly:make-moment 7 16} is the duration of seven sixteenths
+notes.
@node Proportional notation (introduction)
@itemize @bullet
-@item True proportional notation requires that symbols are allowed to
-overstrike each other. That is achieved by removing the
+@item True proportional notation requires that symbols are allowed
+to overstrike each other. That is achieved by removing the
@internalsref{Separating_line_group_engraver} from
@internalsref{Staff} context.
-@item Spacing influence of prefatory matter (clefs, bar lines, etc.)
-is removed by setting the @code{strict-note-spacing} property to
-@code{#t} in @internalsref{SpacingSpanner} grob.
-
-@item Optical spacing tweaks are switched by setting
-@code{uniform-stretching} in @internalsref{SpacingSpanner} to true.
+@item Spacing influence of prefatory matter (clefs, bar lines,
+etc.) is removed by setting the @code{strict-note-spacing}
+property to @code{#t} in @internalsref{SpacingSpanner} grob.
+@item Optical spacing tweaks are switched by setting
+@code{uniform-stretching} in @internalsref{SpacingSpanner} to
+true.
@end itemize
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