@seealso
-Snippets:
-@rlsr{Staff notation}.
-
Notation Reference:
@ref{Grouping staves},
@ref{Instrument names}.
+Snippets:
+@rlsr{Staff notation}.
+
Internals Reference:
@rinternals{InnerStaffGroup},
@rinternals{StaffGroup},
Notation Reference:
@ref{Displaying pitches}.
+Snippets:
+@rlsr{Staff notation}.
+
Internals Reference:
@rinternals{StaffSymbol},
@rinternals{staff-symbol-interface}.
@cindex staff, resizing of
@cindex resizing of staves
-Tweaking the staff object allows to resize the staff:
+@notation{Ossia} staves can be set by creating a new simultaneous
+staff in the appropriate location:
@lilypond[verbatim,quote]
-\new Staff \with {
- fontSize = #-3
- \override StaffSymbol #'staff-space = #(magstep -3)
- \override StaffSymbol #'thickness = #(magstep -3)
-}
-\relative c {
- \clef bass
- c8 c c c c c c c
+\new Staff \relative c'' {
+ c4 b d c
+ <<
+ { c4 b d c }
+ \new Staff { e4 d f e }
+ >>
+ c4 b c2
}
@end lilypond
-This involves shrinking the staff spaces, the staff lines and the
-font size by the factor 3. You find a more precise explanation in
-@ref{Setting the staff size}.
+However, the above example is usually not the desired result. To
+create ossia staves that are above the original staff, have no
+time signature or clef, and have a smaller font size, tweaks must
+be used. The Learning Manual describes a specific technique to
+achieve this goal, beginning with
+@rlearning{Nesting music expressions}.
-The @emph{ossia} section in the next example are just put parallel
-to the main staff with @code{<<} and @code{>>} brackets. The
-@emph{ossia} staff is stopped and started explicitely and white
-space is inserted with the @code{\skip} command.
+The following example uses the @code{alignAboveContext} property
+to align the ossia staff. This method is most appropriate when
+only a few ossia staves are needed.
@lilypond[verbatim,quote]
+\new Staff = main \relative c'' {
+ c4 b d c
+ <<
+ { c4 b d c }
+
+ \new Staff \with {
+ \remove "Time_signature_engraver"
+ alignAboveContext = #"main"
+ fontSize = #-3
+ \override StaffSymbol #'staff-space = #(magstep -3)
+ \override StaffSymbol #'thickness = #(magstep -3)
+ firstClef = ##f
+ }
+ { e4 d f e }
+ >>
+ c4 b c2
+}
+@end lilypond
+
+If many isolated ossia staves are needed, creating an empty
+@code{Staff} context with a specific @emph{context id} may be more
+appropriate; the ossia staves may then be created by
+@emph{calling} this context and using @code{\startStaff} and
+@code{\stopStaff} at the desired locations. The benefits of this
+method are more apparent if the piece is longer than the following
+example.
+
+@lilypond[verbatim,quote,ragged-right]
+<<
+ \new Staff = ossia \with {
+ \remove "Time_signature_engraver"
+ \remove "Clef_engraver"
+ fontSize = #-3
+ \override StaffSymbol #'staff-space = #(magstep -3)
+ \override StaffSymbol #'thickness = #(magstep -3)
+ }
+ { \stopStaff s1*6 }
+
+ \new Staff \relative c' {
+ c4 b c2
+ <<
+ { e4 f e2 }
+ \context Staff = ossia {
+ \startStaff e4 g8 f e2 \stopStaff
+ }
+ >>
+ g4 a g2 \break
+ c4 b c2
+ <<
+ { g4 a g2 }
+ \context Staff = ossia {
+ \startStaff g4 e8 f g2 \stopStaff
+ }
+ >>
+ e4 d c2
+ }
+>>
+@end lilypond
+
+@c The following is the legacy "ossia.ly" example
+@c
+@c I don't think this method is very efficient.
+@c I'm commenting it out for now. -pm
+
+@ignore
+
+@ lilypond[verbatim,quote]
<<
\new Staff \with
{
c4 c g' g a a g2
}
>>
+@ end lilypond
+
+@end ignore
+
+Using the @code{\RemoveEmptyStaffContext} 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. In this case, spacer rests do not need to be used at all;
+only @code{\startStaff} and @code{\stopStaff} are necessary. For
+more information about @code{\RemoveEmptyStaffContext}, see
+@ref{Hiding staves}.
+
+@lilypond[verbatim,quote,ragged-right]
+<<
+ \new Staff = ossia \with {
+ \remove "Time_signature_engraver"
+ \remove "Clef_engraver"
+ fontSize = #-3
+ \override StaffSymbol #'staff-space = #(magstep -3)
+ \override StaffSymbol #'thickness = #(magstep -3)
+ }
+ \new Staff \relative c' {
+ c4 b c2
+ e4 f e2
+ g4 a g2 \break
+ <<
+ { c4 b c2 }
+ \context Staff = ossia {
+ c4 e8 d c2 \stopStaff
+ }
+ >>
+ g4 a g2
+ e4 d c2
+ }
+>>
+
+\layout {
+ \context {
+ \RemoveEmptyStaffContext
+ \override VerticalAxisGroup #'remove-first = ##t
+ }
+}
@end lilypond
@cindex Frenched staves
In orchestral scores, staff lines that only have rests are usually
-removed; this saves some space. This style is called @q{French
-Score}. For the @code{Lyrics}, @code{ChordNames}, and
-@code{FiguredBass} contexts, this is switched on by default. When
-the lines of these contexts turn out empty after the line-breaking
-process, they are removed.
+removed in order to save some space. This style is called
+@q{French Score}. For the @code{Lyrics}, @code{ChordNames}, and
+@code{FiguredBass} contexts, this is switched on by default.
-For normal staves this behaviour is called with the
+For other staff contexts, this behavior is set with the
@code{\RemoveEmptyStaffContext} command. It is set in the
-@code{\layout} block. As a result staves containing nothing or
-whole mesure rests are removed after a line break.
+@code{\layout} block. As a result, empty staves or staves
+containing multi-measure rests are removed after a line break.
-@lilypond[verbatim,quote]
+@lilypond[verbatim,quote,ragged-right]
\layout {
\context {
\RemoveEmptyStaffContext
@cindex ossia
-@c FIXME Really? I need to see about this. -pm
-
-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
+Another application of @code{\RemoveEmptyStaffContext} is to make
+ossia sections, i.e., alternative melodies on a separate piece of
+staff, with help of a Frenched staff. For details, see
@ref{Ossia staves}.
-@c FIXME Is this in the right section?
-@c maybe move to Staff symbol -pm
-
-You can make the staff lines invisible by removing the
-@code{Staff_symbol_engraver} from the @code{Staff} context.
+Staff lines can be made invisible by removing the
+@code{Staff_symbol_engraver} from the @code{Staff} context:
@lilypond[verbatim,quote]
-\score {
- \new Staff \relative c'' { c8 c c16 c c c }
- \layout{
- \context {
- \Staff
- \remove Staff_symbol_engraver
- }
- }
+\new Staff \with {
+ \remove "Staff_symbol_engraver"
}
+\relative c'' { c8 c c16 c c c c2 }
@end lilypond
@snippets
-The first empty staff can also be removed from the score with a
-setting in the @code{VerticalAxisGroup} property. This can be
-done globally inside the @code{\layout} block, or locally inside
-the specific staff that should be removed. In the latter case, you
-have to specify the context (@code{Staff} applies only to the
-current staff) in front of the property.
-
-The lower staff of the second staff group is not removed, because
-the setting applies only to the specific staff inside of which it
-is written.
-
-@lilypond[verbatim,quote]
-\layout {
- \context {
- \RemoveEmptyStaffContext
- %To use the setting globally, uncomment the following line:
- %\override VerticalAxisGroup #'remove-first = ##t
- }
-}
-\new StaffGroup
- \relative c'' <<
- \new Staff {
- e4 f g a \break c1 }
- \new Staff {
- %To use the setting globally, comment this line, uncomment the line above
- \override Staff.VerticalAxisGroup #'remove-first = ##t
- R1 \break R1 }
- >>
-\new StaffGroup
- <<
- \new Staff { e4 f g a \break c1 }
- \new Staff { R \break R1 }
- >>
-@end lilypond
-
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{removing-the-first-empty-line.ly}
@node Writing parts
@subsection Writing parts
+This section explains how to insert tempo indications and
+instrument names into a score. Methods to quote other voices and
+format cue notes are also described.
+
@menu
* Metronome marks::
* Instrument names::
@cindex tempo
@cindex beats per minute
@cindex metronome marking
+@cindex metronome marking with text
+@funindex \tempo
-Metronome settings can be entered as follows
+Basic metronome markings can be entered as follows:
-@example
-\tempo @var{duration} = @var{per-minute}
-@end example
+@lilypond[verbatim,quote,relative=2]
+\tempo 2 = 120
+c1
+@end lilypond
-In the MIDI output, they are interpreted as a tempo change. In
-the layout output, a metronome marking is printed
+Textual tempo indications can be used instead:
-@funindex \tempo
+@lilypond[verbatim,quote,relative=2]
+\tempo "Allegretto"
+d2 c
+@end lilypond
+
+The combination of a metronome marking and textual description
+will automatically place the metronome marking within parentheses:
@lilypond[verbatim,quote,relative=2]
-\tempo 8. = 120
-c1
+\tempo "Allegro" 4 = 160
+g4 c d e
+@end lilypond
+
+To write a metronome marking in parentheses without the text,
+include 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?
+
+@c TODO add snippet to LSR -pm
To change the tempo in the MIDI output without printing anything,
-make the metronome marking invisible @example \once \override
-Score.MetronomeMark #'transparent = ##t @end example
+make the metronome marking invisible
+
+@example
+\once \override Score.MetronomeMark #'transparent = ##t
+@end example
+@c TODO add snippet to LSR -pm
To print other metronome markings, use these markup commands
+
@lilypond[verbatim,quote,relative=1]
c4^\markup {
(
@rinternals{MetronomeMark}.
-@knownissues
-
-Collisions are not checked. If you have notes above the top line
-of the staff (or notes with articulations, slurs, text, etc), then
-the metronome marking may be printed on top of musical symbols.
-If this occurs, increase the padding of the metronome mark to
-place it further away from the staff.
-
-@example
-\override Score.MetronomeMark #'padding = #2.5
-@end example
-
-@c perhaps also an example of how to move it horizontally?
-
-
@node Instrument names
@unnumberedsubsubsec Instrument names
@cindex instrument names
@cindex instrument names, short
-In an orchestral score, instrument names are printed at the left
-side of the staves.
-
-This can be achieved by setting @code{Staff}.@code{instrumentName}
-and @code{Staff}.@code{shortInstrumentName}, or
-@code{PianoStaff}.@code{instrumentName} and
-@code{PianoStaff}.@code{shortInstrumentName}. This will print
-text before the start of the staff. For the first staff,
-@code{instrumentName} is used. If set, @code{shortInstrumentName}
-is used for the following staves.
+Instrument names can be printed on the left side of staves for the
+@code{Staff} and @code{PianoStaff} contexts. The value of
+@code{instrumentName} is used for the first staff, and the value
+of @code{shortInstrumentName} is used for all succeeding staves.
-@lilypond[verbatim,quote,relative=1]
-\set Staff.instrumentName = "Ploink "
-\set Staff.shortInstrumentName = "Plk "
+@lilypond[verbatim,quote,ragged-right,relative=1]
+\set Staff.instrumentName = "Violin "
+\set Staff.shortInstrumentName = "Vln "
c1
\break
c''1
@cindex instrument names, centering
-As instrument names are centered by default, multi line names are
-better entered using @code{\center-align}:
+When two or more staff contexts are grouped together, the
+instrument names and short instrument names are centered by
+default. To center multi-line instrument names,
+@code{\center-align} must be used:
@lilypond[verbatim,quote,relative=2]
<<
>>
@end lilypond
-For longer instrument names, it may be useful to increase the
-@code{indent} setting in the @code{\layout} block.
+@cindex indent
+@cindex short-indent
-Short instrument names, printed before the systems following the
-first one, are also centered by default, in a space which width is
-given by the @code{short-indent} variable of the @code{\layout}
-block.
+The @code{indent} and @code{short-indent} settings specify the
+level of indentation for the first system and all succeeding
+systems, respectively. They can be modified in the @code{\layout}
+block. For longer instrument names or short instrument names, it
+may be useful to increase the @code{indent} and
+@code{short-indent} settings:
-To add instrument names to other contexts (such as
-@code{GrandStaff}, @code{ChoirStaff}, or @code{StaffGroup}), the
-engraver must be added to that context.
+@lilypond[verbatim,quote]
+\relative c' <<
+ \new Staff \with {
+ instrumentName = "Oboe"
+ }
+ { c2 d }
+ \new Staff \with {
+ instrumentName = "Glockenspiel"
+ }
+ { c'2 d }
+>>
-@example
-\layout@{
- \context @{\GrandStaff \consists "Instrument_name_engraver"@}
-@}
-@end example
+\layout {
+ indent = 2.5\cm
+}
+@end lilypond
-@noindent
-More information about adding and removing engravers can be found
-in @ref{Modifying context plug-ins}.
+To add instrument names to other contexts (such as
+@code{GrandStaff}, @code{ChoirStaff}, or @code{StaffGroup}),
+@code{Instrument_name_engraver} must be added to that context.
+For details, see @ref{Modifying context plug-ins}.
@cindex instrument names, changing
Instrument names may be changed in the middle of a piece:
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,ragged-right,relative=1]
\set Staff.instrumentName = "First"
\set Staff.shortInstrumentName = "one"
c1 c c c \break
@end lilypond
+@snippets
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{aligning-and-centering-instrument-names.ly}
+
+
@seealso
Notation Reference:
@cindex fragments
@cindex cue notes
-With quotations, fragments of other parts can be inserted into a
-part directly. Before a part can be quoted, it must be marked
-especially as quotable. This is done with the @code{\addQuote}
-command.
-
-@example
-\addQuote @var{name} @var{music}
-@end example
-
-@noindent
-Here, @var{name} is an identifying string. The @var{music} is any
-kind of music. Here is an example of @code{\addQuote}
+Quotations allow fragments of other parts to be inserted directly
+into a music expression. 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
-\addQuote clarinet \relative c' @{
+flute = \relative c' @{
f4 fis g gis
@}
+\addQuote "flute" @{ \flute @}
@end example
-This command must be entered at toplevel, i.e., outside any music
-blocks. Typically, one would use an already defined music event
-as the @var{music}:
+The @code{\quoteDuring} command may then be used to indicate when
+the quotation should take place. The corresponding measures from
+the quotation are inserted into the music expression. The syntax
+is similar to @code{\addQuote}:
-@example
-clarinet = \relative c' @{
+@lilypond[verbatim,quote]
+flute = \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},
-
-@example
-\quoteDuring #@var{name} @var{music}
-@end example
-
-During a part, a piece of music can be quoted with the
-@code{\quoteDuring} command.
+}
+\addQuote "flute" { \flute }
-@example
-\quoteDuring #"clarinet" @{ s2. @}
-@end example
+\relative c' {
+ c4 cis \quoteDuring #"flute" { s2 }
+}
+@end lilypond
-This would cite three quarter notes (the duration of @code{s2.})
-of the previously added @code{clarinet} voice.
+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:
-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.
+@lilypond[verbatim,quote]
+flute = \relative c' {
+ f4 fis g gis
+}
+\addQuote "flute" { \flute }
-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.
+\relative c' {
+ c4 cis \quoteDuring #"flute" { c4 b }
+}
+@end lilypond
-Quotations take into account the transposition of both source and
-target instruments, if they are specified using the
-@code{\transposition} command.
+Quotations recognize instrument transposition settings for both
+the source and target instruments if they are specified using the
+@code{\transposition} command:
-@lilypond[verbatim,quote,relative=1]
-\addQuote clarinet
-{
+@lilypond[verbatim,quote]
+clarinet = \relative c' {
\transposition bes
f4 fis g gis
}
+\addQuote "clarinet" { \clarinet }
-{
- e8 f8 \quoteDuring #"clarinet" { s2 }
+\relative c' {
+ c4 cis \quoteDuring #"clarinet" { s2 }
}
@end lilypond
-The type of events that are present in the quoted music can be
-trimmed with the @code{quotedEventTypes} property. The default
-value is @code{(note-event rest-event)}, which means that only
-notes and rests of the quoted voice end up in the
-@code{\quoteDuring}. Setting
+@c add to snippets, possibly. It might already be there. -pm
+@c
+@c The type of events that are present in the quoted music can be
+@c trimmed with the @code{quotedEventTypes} property. The default
+@c value is @code{(note-event rest-event)}, which means that only
+@c notes and rests of the quoted voice end up in the
+@c @code{\quoteDuring}. Setting
+@c
+@c @example
+@c \set Staff.quotedEventTypes =
+@c #'(note-event articulation-event dynamic-event)
+@c @end example
+@c
+@c @noindent
+@c will quote notes (but no rests), together with scripts and
+@c dynamics.
-@example
-\set Staff.quotedEventTypes =
- #'(note-event articulation-event dynamic-event)
-@end example
-@noindent
-will quote notes (but no rests), together with scripts and
-dynamics.
+@snippets
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{quoting-another-voice-with-transposition.ly}
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{quoting-another-voice.ly}
@seealso
Only the contents of the first @code{Voice} occurring in an
@code{\addQuote} command will be considered for quotation, so
-@var{music} can not contain @code{\new} and @code{\context Voice}
+@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
@cindex quoting other voices
@cindex cues, formatting
-The previous section deals with inserting notes from another
-voice. There is a more advanced music function called
-@code{\cueDuring}, which makes formatting cue notes easier.
-
-The syntax is
+The previous section explains how to quote other voices. The
+@code{\cueDuring} command is a more specialized form of
+@code{\quoteDuring}, being particularly useful for inserting cue
+notes into a part. The syntax is as follows:
@example
- \cueDuring #@var{name} #@var{updown} @var{music}
+ \cueDuring #@var{partname} #@var{voice} @var{music}
@end example
-This will insert notes from the part @var{name} into a
-@code{Voice} called @code{cue}. This happens simultaneously with
-@var{music}, which usually is a rest. When the cue notes start,
-the staff in effect becomes polyphonic for a moment. The argument
-@var{updown} determines whether the cue notes should be notated as
-a first or second voice.
-
-@lilypond[verbatim]
-smaller = {
- \set fontSize = #-2
- \override Stem #'length-fraction = #0.8
- \override Beam #'thickness = #0.384
- \override Beam #'length-fraction = #0.8
-}
+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{DOWN} corresponds to the first voice, and
+@code{UP} corresponds to the second.
-\addQuote clarinet
-\relative c' {
- R1*20
- r2 r8 c' f f
+@lilypond[verbatim,quote]
+oboe = \relative c'' {
+ r2 r8 d16 f e g f a
+ g8 g16 g g2.
}
+\addQuote "oboe" { \oboe }
-\new Staff \relative c' <<
-
- % setup a context for cue notes.
- \new Voice = "cue" { \smaller \skip 1*21 }
+\new Voice \relative c'' {
+ \cueDuring #"oboe" #UP { R1 }
+ g2 c,
+}
+@end lilypond
- \set Score.skipBars = ##t
+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.
- \new Voice {
- R1*20
- \cueDuring #"clarinet" #UP {
- R1
- }
- g4 g2.
- }
->>
-@end lilypond
+@c TODO document \killCues
+@c TODO document instrumentCueName context property
-Here are a couple of hints for successful cue notes:
+When typesetting cue notes, some guidelines should be followed:
@itemize
@item
-Cue notes have smaller font sizes.
-
-@item
-The cued part is marked with the instrument playing the cue.
+The instrument playing the cue should be clearly marked on the
+score.
@item
-When the original part takes over again, this should be marked
-with the name of the original instrument.
+When the cue notes end, the name of the original instrument should
+be indicated.
@item
Any other changes introduced by the cued part should also be
@end itemize
-The macro @code{\transposedCueDuring} is useful to add cues to
-instruments which use a completely different octave range (for
-example, having a cue of a piccolo flute within a contra bassoon
-part).
+The @code{\transposedCueDuring} command is useful to add cues for
+instruments in a completely different register. Having piccolo
+cues within a contrabassoon part is a good example.
@lilypond[verbatim,quote]
-picc = \relative c''' {
+piccolo = \relative c''' {
\clef "treble^8"
- R1 |
- c8 c c e g2 |
- a4 g g2 |
+ R1
+ c8 c c e g2
+ a4 g g2
}
-\addQuote "picc" { \picc }
+\addQuote "piccolo" { \piccolo }
-cbsn = \relative c, {
+cbassoon = \relative c, {
\clef "bass_8"
c4 r g r
- \transposedCueDuring #"picc" #UP c,, { R1 } |
- c4 r g r |
+ \transposedCueDuring #"piccolo" #UP c,, { R1 }
+ c4 r g r
}
<<
- \new Staff = "picc" \picc
- \new Staff = "cbsn" \cbsn
+ \new Staff = "piccolo" \piccolo
+ \new Staff = "cbassoon" \cbassoon
>>
@end lilypond
Internals Reference:
@rinternals{Voice}.
+
+@knownissues
+
+Collisions are not checked between @code{Voice} and
+@code{CueVoice} contexts.
--- /dev/null
+;;;; harp-pedals.scm --
+;;;;
+;;;; source file of the GNU LilyPond music typesetter
+;;;;
+;;;; (c) 2008 Reinhold Kainhofer <reinhold@kainhofer.com>
+
+
+
+(define-builtin-markup-command (harp-pedal layout props definition-string) (string?)
+ instrument-specific-markup ; markup type for the documentation!
+ ((size 1.0)
+ (harp-pedal-details)
+ (thickness 0.5))
+ "Make a harp pedal diagram.
+
+Possible elements in @var{definition-string}:
+
+@table @code
+@item ^
+pedal is up
+@item -
+pedal is neutral
+@item v
+pedal is down
+@item |
+vertical divider line
+@item o
+the following pedal should be circled (indicating a change)
+@end table
+
+The function also checks if the string has the typical form of three
+pedals, then the divider and then the remaining four pedals. If not it
+prints out a warning. However, in any case, it will also print each symbol
+in the order as given. This means you can place the divider (even multiple
+dividers) anywhere you want, but you'll have to live with the warnings.
+
+The appearance of the diagram can be tweaked inter alia using the size property
+of the TextScript grob (@code{\\override Voice.TextScript #'size = #0.3}) for
+the overall, the thickness property
+(@code{\\override Voice.TextScript #'thickness = #3}) for the line thickness of
+the horizontal line and the divider. The remaining configuration (box sizes,
+offsets and spaces) is done by the harp-pedal-details list of properties
+(@code{\\override Voice.TextScript #'harp-pedal-details #'box-width = #1}).
+It contains the following settings: @code{box-offset} (vertical shift of the
+box center for up/down pedals), @code{box-width}, @code{box-height},
+@code{space-before-divider} (the spacing between two boxes before the
+divider) and @code{space-after-divider} (box spacing after the divider).
+
+@lilypond[verbatim,quote]
+\\markup \\harp-pedal #\"^-v|--ov^\"
+@end lilypond
+"
+ (make-harp-pedal layout props (harp-pedals-parse-string definition-string)))
+
+
+;; There is also a \harp-pedal-verbose version, which takes a list of -1/0/1
+;; directions, o and a possible |. It's commented out, because it has some
+;; issues (see below) and does not add any new functionality over \harp-pedal
+;; The caveats:
+;; 1) the | cannot be given as a string "|" but as a character #\| and
+;; the "o" has to be given as #\o.
+;; 2) if one wants to use directions like UP, CENTER or DOWN, one cannot use
+;; '(UP DOWN CENTER #\| ....), because the contents of that list are
+;; never evaluated to -1/0/1. Instead one has to explicitly create a
+;; list like (list UP DOWN CENTER #\| ....)
+;;
+;; (define-builtin-markup-command (harp-pedal-verbose layout props pedal-list) (list?)
+;; instrument-specific-markup ; markup type
+;; ((size 1.0)
+;; (harp-pedal-details)
+;; (thickness 0.5))
+;; "Make a harp pedal diagram containing the directions indicated in @var{pedal-list}."
+;; (make-harp-pedal layout props pedal-list))
+
+
+
+;; Parse the harp pedal definition string into list of directions (-1/0/1), #\o and #\|
+(define (harp-pedals-parse-string definition-string)
+ "Parse a harp pedals diagram string and return a list containing 1, 0, -1, #\\o or #\\|"
+ (map (lambda (c)
+ (case c
+ ((#\^) 1)
+ ((#\v) -1)
+ ((#\-) 0)
+ ((#\| #\o) c)
+ (else c)))
+ (string->list definition-string)))
+
+
+;; Analyze the pedal-list: Return (pedalcount . (divider positions))
+(define (harp-pedal-info pedal-list)
+ (let check ((pedals pedal-list)
+ (pedalcount 0)
+ (dividerpositions '()))
+ (if (null? pedals)
+ (cons pedalcount (reverse dividerpositions))
+
+ (case (car pedals)
+ ((-1 0 1) (check (cdr pedals) (+ pedalcount 1) dividerpositions))
+ ((#\|) (check (cdr pedals) pedalcount (cons pedalcount dividerpositions)))
+ (else (check (cdr pedals) pedalcount dividerpositions))))))
+
+
+;; Sanity checks, spit out warning if pedal-list violates the conventions
+(define (harp-pedal-check pedal-list)
+ "Perform some sanity checks for harp pedals (7 pedals, divider after third)"
+ (let ((info (harp-pedal-info pedal-list)))
+ ; 7 pedals:
+ (if (not (equal? (car info) 7))
+ (ly:warning "Harp pedal diagram contains ~a pedals rather than the usual 7." (car info)))
+ ; One divider after third pedal:
+ (if (null? (cdr info))
+ (ly:warning "Harp pedal diagram does not contain a divider (usually after third pedal).")
+ (if (not (equal? (cdr info) '(3)))
+ (ly:warning "Harp pedal diagram contains dividers at positions ~a. Normally, there is only one divider after the third pedal." (cdr info))))))
+
+
+(define (make-harp-pedal layout props pedal-list)
+ "Make a harp pedals diagram markup"
+
+ (harp-pedal-check pedal-list)
+
+ (let* ((size (chain-assoc-get 'size props 1.2))
+ (details (chain-assoc-get 'harp-pedal-details props '()))
+ (dy (* size (assoc-get 'box-offset details 0.8))) ; offset of the box center from the line
+ (line-width (* (ly:output-def-lookup layout 'line-thickness)
+ (chain-assoc-get 'thickness props 0.5)))
+ (box-width (* size (assoc-get 'box-width details 0.4)))
+ (box-hheight (* size (/ (assoc-get 'box-height details 1.0) 2))) ; half the box-height, saves some divisions by 2
+ (spacebeforedivider (* size (assoc-get 'space-before-divider details 0.8))) ; full space between boxes before the first divider
+ (spaceafterdivider (* size (assoc-get 'space-after-divider details 0.8))) ; full space between boxes
+ ;(spacebeforedivider (/ (+ box-width (* 8 spaceafterdivider)) 8))
+ (box-x-dimensions (lambda (prev-x p space) (cons (+ prev-x space)
+ (+ prev-x space box-width))))
+ (box-y-dimensions (lambda (prev-x p space) (cons (- (* p dy) box-hheight)
+ (+ (* p dy) box-hheight))))
+ (divider-stencil (lambda (xpos) (make-line-stencil line-width xpos (- 0 dy box-hheight) xpos (+ dy box-hheight))))
+ (result (let process-pedal ((remaining pedal-list)
+ (prev-x 0)
+ (stencils '())
+ (circled #f)
+ (space spacebeforedivider))
+ ; Terminal condition of the recursion, return (final-x . stencil-list)
+ (if (null? remaining)
+ (cons (+ prev-x space) (reverse stencils))
+
+ (case (car remaining)
+ ((1 0 -1) ; Pedal up/neutral/down
+ (let* ((p (car remaining))
+ (stencil (make-filled-box-stencil
+ (box-x-dimensions prev-x p space)
+ (box-y-dimensions prev-x p space)))
+ ;(circle-stencil (if circled (rounded-box-stencil stencil 0.05 0.3 0.1 ) stencil))
+ (circle-stencil (if circled (circle-stencil stencil 0.05 0.2 ) stencil))
+ (new-prev-x (+ prev-x space box-width)))
+ (process-pedal (cdr remaining) new-prev-x (cons circle-stencil stencils) #f space)))
+ ((#\|) ; Divider line
+ (let* ((xpos (+ prev-x space))
+ (stencil (divider-stencil xpos))
+ (new-prev-x (+ prev-x space)))
+ (process-pedal (cdr remaining) new-prev-x (cons stencil stencils) circled spaceafterdivider)))
+ ((#\o) ; Next pedal should be circled
+ (process-pedal (cdr remaining) prev-x stencils #t space))
+ (else
+ (ly:warning "Unhandled entry in harp-pedal: ~a" (car remaining))
+ (process-pedal (cdr remaining) prev-x stencils circled space))))))
+ (final-x (car result))
+ (stencils (cdr result)))
+ ; Add the horizontal line and combine all stencils:
+ (apply ly:stencil-add
+ (cons
+ (make-line-stencil line-width 0 0 final-x 0)
+ stencils))))
+
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