CVSROOT: /cvsroot/lilypond
Module name: lilypond
Branch:
Changes by: Graham Percival <[EMAIL PROTECTED]> 05/05/19 16:46:11
Modified files:
. : ChangeLog
Documentation/user: basic-notation.itely
Log message:
Editing.
CVSWeb URLs:
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/ChangeLog.diff?tr1=1.3636&tr2=1.3637&r1=text&r2=text
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/Documentation/user/basic-notation.itely.diff?tr1=1.17&tr2=1.18&r1=text&r2=text
Patches:
Index: lilypond/ChangeLog
diff -u lilypond/ChangeLog:1.3636 lilypond/ChangeLog:1.3637
--- lilypond/ChangeLog:1.3636 Wed May 18 16:03:32 2005
+++ lilypond/ChangeLog Thu May 19 16:46:09 2005
@@ -1,3 +1,7 @@
+2005-05-19 Graham Percival <[EMAIL PROTECTED]>
+
+ * Documentation/user/basic-notaton.itely: editing.
+
2005-05-18 Graham Percival <[EMAIL PROTECTED]>
* Documentation/user/macros.itexi, basic-notation.itely:
Index: lilypond/Documentation/user/basic-notation.itely
diff -u lilypond/Documentation/user/basic-notation.itely:1.17
lilypond/Documentation/user/basic-notation.itely:1.18
--- lilypond/Documentation/user/basic-notation.itely:1.17 Wed May 18
16:03:32 2005
+++ lilypond/Documentation/user/basic-notation.itely Thu May 19 16:46:11 2005
@@ -129,12 +129,6 @@
@end example
[EMAIL PROTECTED]
-
-Program reference: @internalsref{NoteEvent},
[EMAIL PROTECTED], and @internalsref{NoteHead}.
-
-
@commonprop
In accordance with standard typsetting rules, a natural sign is printed
@@ -149,6 +143,12 @@
@end lilypond
[EMAIL PROTECTED]
+
+Program reference: @internalsref{NoteEvent},
[EMAIL PROTECTED], and @internalsref{NoteHead}.
+
+
@node Cautionary accidentals
@subsection Cautionary accidentals
@@ -414,18 +414,6 @@
@code{\tupletNeutral}.
[EMAIL PROTECTED]
-
-Program reference: @internalsref{TupletBracket}, and
@internalsref{TimeScaledMusic}.
-
[EMAIL PROTECTED] FIXME: will be deleted or moved; not suitable for
basic-notation.
[EMAIL PROTECTED]
-Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
-User manual: @ref{Changing context properties on the fly} for the
[EMAIL PROTECTED] command.
[EMAIL PROTECTED] ignore
-
-
@commonprop
@cindex @code{tupletNumberFormatFunction}
@@ -449,6 +437,18 @@
instead.
[EMAIL PROTECTED]
+
+Program reference: @internalsref{TupletBracket}, and
@internalsref{TimeScaledMusic}.
+
[EMAIL PROTECTED] FIXME: will be deleted or moved; not suitable for
basic-notation.
[EMAIL PROTECTED]
+Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
+User manual: @ref{Changing context properties on the fly} for the
[EMAIL PROTECTED] command.
[EMAIL PROTECTED] ignore
+
+
@refbugs
Nested tuplets are not formatted automatically. In this case, outer
@@ -478,6 +478,7 @@
This manual: @ref{Tuplets}
+
@node Easier music entry
@section Easier music entry
@cindex Music entry
@@ -491,7 +492,6 @@
GUI interfaces or MIDI sequencers. Refer to the LilyPond
website for more information.
-
@menu
* Relative octaves::
* Octave check::
@@ -501,12 +501,12 @@
@end menu
-
-
@node Relative octaves
@subsection Relative octaves
+
@cindex Relative
[EMAIL PROTECTED] relative octave specification
[EMAIL PROTECTED] Relative octave specification
[EMAIL PROTECTED] @code{\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
@@ -514,7 +514,6 @@
octave mode prevents these errors by making the mistakes much
larger: a single error puts the rest of the piece off by one octave
[EMAIL PROTECTED] @code{\relative}
@example
\relative @var{startpitch} @var{musicexpr}
@end example
@@ -568,32 +567,32 @@
The pitch after the @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}.
+
@node Octave check
@subsection Octave check
[EMAIL PROTECTED] Octave check
Octave checks make octave errors easier to correct: a note may be
followed by @[EMAIL PROTECTED] which indicates what its absolute
octave should be. In the following example,
+
@example
\relative c'' @{ c='' b=' d,='' @}
@end example
[EMAIL PROTECTED]
@c take care with @code, adds confusing quotes.
[EMAIL PROTECTED]
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
+(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 a syntax that is separate from the notes. The syntax
@example
@@ -622,7 +621,7 @@
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 a @code{a'}, above middle C. That means that the @code{\octave}
+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.
@@ -634,11 +633,11 @@
}
@end lilypond
+
@node Bar check
@subsection Bar check
[EMAIL PROTECTED] Bar check
[EMAIL PROTECTED] bar check
[EMAIL PROTECTED] Bar check
@cindex @code{barCheckSynchronize}
@cindex @code{|}
@@ -660,15 +659,10 @@
@}
@end example
-
[EMAIL PROTECTED] @code{skipTypesetting}
-
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. To
-speed up this process, the @code{skipTypesetting} feature may be
-used. It is described in the next section.
+input is by scanning for failed bar checks and incorrect durations.
@cindex @code{|}
@cindex @code{pipeSymbol}
@@ -679,13 +673,15 @@
@lilypond[quote,raggedright,verbatim]
pipeSymbol = \bar "||"
-{ c'2 c' | c'2 c }
+{ c'2 c' | c'2 c' }
@end lilypond
@node Skipping corrected music
@subsection Skipping corrected music
[EMAIL PROTECTED] @code{skipTypesetting}
+
The property @code{Score.skipTypesetting} can be used to switch on and
off typesetting completely during the interpretation phase. When
typesetting is switched off, the music is processed much more
@@ -704,6 +700,7 @@
In polyphonic music, @code{Score.skipTypesetting} will affect all
voices and staves, saving even more time.
+
@node Automatic note splitting
@subsection Automatic note splitting
@@ -712,7 +709,6 @@
@internalsref{Completion_heads_engraver}.
In the following examples, notes crossing the bar line are split and tied.
-
@lilypond[quote,fragment,verbatim,relative=1,linewidth=12\cm]
\new Voice \with {
\remove "Note_heads_engraver"
@@ -727,6 +723,7 @@
not entirely filled, then the ties exactly show how much each measure
is off.
+
@refbugs
Not all durations (especially those containing tuplets) can be
@@ -746,192 +743,71 @@
Program reference: @internalsref{Completion_heads_engraver}.
-
-
@node Staff notation
@section Staff notation
[EMAIL PROTECTED] Staff notation
+
This section describes music notation that occurs on staff level,
such as key signatures, clefs and time signatures.
[EMAIL PROTECTED] Staff notation
-
@menu
-* Staff symbol::
-* Key signature::
* Clef::
+* Key signature::
* Time signature::
* Partial measures::
-* Unmetered music::
* Bar lines::
+* Unmetered music::
* System start delimiters::
+* Staff symbol::
@end menu
[EMAIL PROTECTED] Staff symbol
[EMAIL PROTECTED] Staff symbol
-
[EMAIL PROTECTED] adjusting staff symbol
-
-Notes, dynamic signs, etc., are grouped
-with a set of horizontal lines, into a staff (plural `staves'). In our
-system, these lines are drawn using a separate layout object called
-staff symbol.
-
-The staff symbol may be tuned in the number, thickness and distannce
-of lines, using properties. This is demonstrated in the example files
[EMAIL PROTECTED]/@/test,staff@/-lines@/.ly},
[EMAIL PROTECTED]/@/test,staff@/-size@/.ly}.
-
-In addition, staves may be started and stopped at will. This is done
-with @code{\startStaff} and @code{\stopStaff}.
-
[EMAIL PROTECTED],relative=2,fragment]
-b4 b
-\override Staff.StaffSymbol #'line-count = 2
-\stopStaff \startStaff
-b b
-\revert Staff.StaffSymbol #'line-count
-\stopStaff \startStaff
-b b
[EMAIL PROTECTED] lilypond
-
-In combination with Frenched staves, this may be used to typeset ossia
-sections. An example is in @inputfileref{input/@/test@/,ossia.ly},
-shown here
-
[EMAIL PROTECTED] ossia
-
[EMAIL PROTECTED]
-
[EMAIL PROTECTED] staff lines, setting number of
[EMAIL PROTECTED] staff lines, setting thickness of
[EMAIL PROTECTED] thickness of staff lines, setting
[EMAIL PROTECTED] number of staff lines, setting
-
[EMAIL PROTECTED]
-
-Program reference: @internalsref{StaffSymbol}, @internalsref{StaffSpanEvent}.
-
-Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
[EMAIL PROTECTED]/@/test@/,ossia.ly},
[EMAIL PROTECTED]/@/test,staff@/-size@/.ly}.
-
-
[EMAIL PROTECTED] Key signature
[EMAIL PROTECTED] Key signature
[EMAIL PROTECTED] Key signature
-
[EMAIL PROTECTED] @code{\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.
-
-
-Setting or changing the key signature is done with the @code{\key}
-command
[EMAIL PROTECTED]
[EMAIL PROTECTED] @var{pitch} @var{type}
[EMAIL PROTECTED] example
-
[EMAIL PROTECTED] @code{\minor}
[EMAIL PROTECTED] @code{\major}
[EMAIL PROTECTED] @code{\minor}
[EMAIL PROTECTED] @code{\ionian}
[EMAIL PROTECTED] @code{\locrian}
[EMAIL PROTECTED] @code{\aeolian}
[EMAIL PROTECTED] @code{\mixolydian}
[EMAIL PROTECTED] @code{\lydian}
[EMAIL PROTECTED] @code{\phrygian}
[EMAIL PROTECTED] @code{\dorian}
-
-Here, @var{type} should be @code{\major} or @code{\minor} to get
[EMAIL PROTECTED] or @var{pitch}-minor, respectively.
-The standard mode names @code{\ionian},
[EMAIL PROTECTED], @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
[EMAIL PROTECTED], and @code{\dorian} are also defined.
-
-This command sets the context property
[EMAIL PROTECTED]@code{keySignature}. Non-standard key signatures
-can be specified by setting this property directly.
-
-A natural sign is printed to cancel any previous accidentals. This
-can be suppressed by setting the @code{Staff.printKeyCancellation}
-property.
-
[EMAIL PROTECTED],raggedright,fragment,verbatim,relative=2]
-{
- \key d \major
- a b cis d
- \key g \minor
- a bes c d
- \set Staff.printKeyCancellation = ##f
- \key d \major
- a b cis d
- \key g \minor
- a bes c d
-}
[EMAIL PROTECTED] lilypond
-
-Accidentals and key signatures often confuse new users, because
-unaltered notes get natural signs depending on the key signature. For
-more information, see @ref{More about pitches}.
-
[EMAIL PROTECTED]
-
-Program reference: @internalsref{KeyChangeEvent},
[EMAIL PROTECTED] and @internalsref{KeySignature}.
-
[EMAIL PROTECTED] @code{keySignature}
-
-
@node Clef
@subsection Clef
+
@cindex @code{\clef}
The clef indicates which lines of the staff correspond to which
-pitches.
+pitches. The clef is set with the @code{\clef} command
-
-The clef can be set with the @code{\clef} command
@lilypond[quote,raggedright,fragment,verbatim]
{ c''2 \clef alto g'2 }
@end lilypond
-Supported clef-names include
[EMAIL PROTECTED] Moved standard clefs to the top /MB
[EMAIL PROTECTED] @code
@cindex treble clef
@cindex violin clef
[EMAIL PROTECTED] alto clef
[EMAIL PROTECTED] tenor clef
[EMAIL PROTECTED] bass clef
[EMAIL PROTECTED] french clef
[EMAIL PROTECTED] soprano clef
[EMAIL PROTECTED] mezzosoprano clef
[EMAIL PROTECTED] baritone clef
[EMAIL PROTECTED] varbaritone clef
[EMAIL PROTECTED] subbass clef
+
+Supported clefs finclude
[EMAIL PROTECTED] @code
@item treble, violin, G, G2
-G clef on 2nd line
+ G clef on 2nd line
@item alto, C
[EMAIL PROTECTED] alto clef
C clef on 3rd line
@item tenor
[EMAIL PROTECTED] tenor clef
C clef on 4th line.
@item bass, F
[EMAIL PROTECTED] bass clef
F clef on 4th line
@item french
[EMAIL PROTECTED] french clef
G clef on 1st line, so-called French violin clef
@item soprano
[EMAIL PROTECTED] soprano clef
C clef on 1st line
@item mezzosoprano
[EMAIL PROTECTED] mezzosoprano clef
C clef on 2nd line
@item baritone
[EMAIL PROTECTED] baritone clef
C clef on 5th line
@item varbaritone
[EMAIL PROTECTED] varbaritone clef
F clef on 3rd line
@item subbass
[EMAIL PROTECTED] subbass clef
F clef on 5th line
@item percussion
percussion clef
@@ -945,13 +821,15 @@
must be enclosed in quotes when it contains underscores or digits. For
example,
-
@cindex choral tenor clef
@lilypond[quote,raggedright,verbatim,fragment,relative=1]
\clef "G_8" c4
@end lilypond
-This command is equivalent to setting @code{clefGlyph},
+
[EMAIL PROTECTED]
+
+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
@@ -978,16 +856,84 @@
}
@end lilypond
+
@seealso
Program reference: @internalsref{Clef}.
[EMAIL PROTECTED] Key signature
[EMAIL PROTECTED] Key signature
+
[EMAIL PROTECTED] Key signature
[EMAIL PROTECTED] @code{\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.
+
+Setting or changing the key signature is done with the @code{\key}
+command
+
[EMAIL PROTECTED]
[EMAIL PROTECTED] @var{pitch} @var{type}
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED] @code{\minor}
[EMAIL PROTECTED] @code{\major}
[EMAIL PROTECTED] @code{\minor}
[EMAIL PROTECTED] @code{\ionian}
[EMAIL PROTECTED] @code{\locrian}
[EMAIL PROTECTED] @code{\aeolian}
[EMAIL PROTECTED] @code{\mixolydian}
[EMAIL PROTECTED] @code{\lydian}
[EMAIL PROTECTED] @code{\phrygian}
[EMAIL PROTECTED] @code{\dorian}
[EMAIL PROTECTED] church modes
+
+Here, @var{type} should be @code{\major} or @code{\minor} to get
[EMAIL PROTECTED] or @var{pitch}-minor, respectively. You may also
+use the standard mode names (also called ``church modes''): @code{\ionian},
[EMAIL PROTECTED], @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
[EMAIL PROTECTED], and @code{\dorian}.
+
+This command sets the context property
[EMAIL PROTECTED] 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{More about pitches}.
+
+
[EMAIL PROTECTED]
+
+A natural sign is printed to cancel any previous accidentals. This
+can be suppressed by setting the @code{Staff.printKeyCancellation}
+property.
+
[EMAIL PROTECTED],fragment,raggedright,fragment,verbatim,relative=2]
+\key d \major
+a b cis d
+\key g \minor
+a bes c d
+\set Staff.printKeyCancellation = ##f
+\key d \major
+a b cis d
+\key g \minor
+a bes c d
[EMAIL PROTECTED] lilypond
[EMAIL PROTECTED]
+
+Program reference: @internalsref{KeyChangeEvent},
[EMAIL PROTECTED] and @internalsref{KeySignature}.
+
@node Time signature
@subsection Time signature
+
@cindex Time signature
@cindex meter
@cindex @code{\time}
@@ -996,13 +942,14 @@
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
-The time signature is set or changed by the @code{\time}
-command
@lilypond[quote,raggedright,fragment,verbatim]
\time 2/4 c'2 \time 3/4 c'2.
@end lilypond
[EMAIL PROTECTED]
+
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,
@@ -1015,13 +962,10 @@
\time 2/2 c'1
@end lilypond
-
-
There are many more options for its layout. See @ref{Ancient time
signatures} for more examples.
-
-This command sets the property @code{timeSignatureFraction},
[EMAIL PROTECTED] sets the property @code{timeSignatureFraction},
@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
@@ -1064,33 +1008,39 @@
Automatic beaming does not use the measure grouping specified with
@code{set-time-signature}.
+
@node Partial measures
@subsection Partial measures
[EMAIL PROTECTED] Partial
+
@cindex anacrusis
[EMAIL PROTECTED] upbeat
@cindex partial measure
@cindex measure, partial
@cindex shorten measures
@cindex @code{\partial}
-Partial measures, for example in upsteps, are entered using the
[EMAIL PROTECTED] command
+Partial measures, such as an anacrusis or upbeat, are entered using the
+
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\partial 16*5 c16 cis d dis e | a2. c,4 | b2
@end lilypond
The syntax for this command is
+
@example
\partial @var{duration}
@end example
+
This is internally translated into
+
@example
\set Timing.measurePosition = [EMAIL PROTECTED] of duration}
@end example
[EMAIL PROTECTED] @code{|}
+
The property @code{measurePosition} contains a rational number
indicating how much of the measure has passed at this point.
+
@refbugs
This command does not take into account grace notes at the start of
@@ -1098,75 +1048,49 @@
the @code{\partial} should follow the grace notes
@lilypond[verbatim,quote,raggedright,relative,fragment]
-{
- \grace f16
- \partial 4
- g4
- a2 g2
-}
+\grace f16
+\partial 4
+g4
+a2 g2
@end lilypond
[EMAIL PROTECTED] Unmetered music
[EMAIL PROTECTED] Unmetered music
-
[EMAIL PROTECTED] @code{\bar}
-
-Bar lines and bar numbers are calculated automatically. For unmetered
-music (cadenzas, for example), this is not desirable. By setting
[EMAIL PROTECTED] to false, this automatic timing can be switched
-off. Empty bar lines,
-
[EMAIL PROTECTED]
-\bar ""
[EMAIL PROTECTED] example
-
[EMAIL PROTECTED]
-indicate where line breaks can occur.
-
[EMAIL PROTECTED]
-
[EMAIL PROTECTED] @code{\cadenzaOn}
[EMAIL PROTECTED],
[EMAIL PROTECTED] @code{\cadenzaOff}
[EMAIL PROTECTED]
-
-
-
-
@node Bar lines
@subsection Bar lines
[EMAIL PROTECTED] Bar lines
[EMAIL PROTECTED] Bar lines
@cindex @code{\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
[EMAIL PROTECTED]
+
@lilypond[quote,raggedright,relative=2,fragment,verbatim]
c4 \bar "|:" c4
@end lilypond
The following bar types are available
+
@lilypondfile[raggedright,quote]{bar-lines.ly}
-For allowing line breaks, there is a special command,
+To allow a line break where there is no visible bar line, use
+
@example
\bar ""
@end example
-This will insert an invisible bar line, and allow line breaks at this
+
[EMAIL PROTECTED]
+This will insert an invisible bar line and allow line breaks at this
point.
In scores with many staves, a @code{\bar} command in one staff is
automatically applied to all staves. The resulting bar lines are
-connected between different staves of a @internalsref{StaffGroup}
[EMAIL PROTECTED]
+connected between different staves of a StaffGroup
+
@lilypond[quote,raggedright,fragment,verbatim]
<<
\context StaffGroup <<
@@ -1181,6 +1105,9 @@
>>
@end lilypond
[EMAIL PROTECTED] @code{whichBar}
[EMAIL PROTECTED] @code{repeatCommands}
[EMAIL PROTECTED] @code{defaultBarType}
The command @code{\bar [EMAIL PROTECTED] is a short cut for doing
@code{\set Timing.whichBar = [EMAIL PROTECTED] Whenever @code{whichBar}
@@ -1191,37 +1118,69 @@
@code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
to override default measure bars.
[EMAIL PROTECTED] @code{whichBar}
[EMAIL PROTECTED] @code{repeatCommands}
[EMAIL PROTECTED] @code{defaultBarType}
-
You are encouraged to use @code{\repeat} for repetitions. See
@ref{Repeats}.
-
@seealso
In this manual: @ref{Repeats}, @ref{System start delimiters}.
-
Program reference: @internalsref{BarLine} (created at
@internalsref{Staff} level), @internalsref{SpanBar} (across staves).
[EMAIL PROTECTED] bar lines at start of system
[EMAIL PROTECTED] start of system
+Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
+
[EMAIL PROTECTED] Unmetered music
[EMAIL PROTECTED] Unmetered music
[EMAIL PROTECTED] cadenza
[EMAIL PROTECTED] @code{\cadenzaOn}
[EMAIL PROTECTED] @code{\cadenzaOff}
-Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
+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}.
+
[EMAIL PROTECTED],quote,raggedright,relative=2,fragment]
+c4 d e d
+\cadenzaOn
+c4 c d8 d d f4 g4.
+\cadenzaOff
+\bar "|"
+d4 e d c
[EMAIL PROTECTED] lilypond
+
+
[EMAIL PROTECTED]
+LilyPond will only insert 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
+
[EMAIL PROTECTED]
+\bar ""
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED]
+to indicate where line breaks can occur.
@node System start delimiters
@subsection System start delimiters
[EMAIL PROTECTED] start of system
[EMAIL PROTECTED] Staff, multiple
[EMAIL PROTECTED] bracket, vertical
[EMAIL PROTECTED] brace, vertical
[EMAIL PROTECTED] grand staff
[EMAIL PROTECTED] staff group
+
Many scores consist of more than one staff. These staves can be
joined in three different ways
+
@itemize @bullet
@item The group is started with a brace at the left, and bar lines are
connected. This is done with the @internalsref{GrandStaff} context.
@@ -1234,7 +1193,6 @@
>>
@end lilypond
-
@item The group is started with a bracket, and bar lines are connected.
This is done with the
@internalsref{StaffGroup} context
@@ -1247,7 +1205,6 @@
>>
@end lilypond
-
@item The group is started with a vertical line. Bar lines are not
connected. This is the default for the score.
@@ -1257,15 +1214,8 @@
\new Staff { c c }
>>
@end lilypond
-
@end itemize
[EMAIL PROTECTED] Staff, multiple
[EMAIL PROTECTED] bracket, vertical
[EMAIL PROTECTED] brace, vertical
[EMAIL PROTECTED] grand staff
[EMAIL PROTECTED] staff group
-
@seealso
@@ -1276,6 +1226,56 @@
@code{systemStartDelimiter}.
[EMAIL PROTECTED] Staff symbol
[EMAIL PROTECTED] Staff symbol
+
[EMAIL PROTECTED] adjusting staff symbol
+
+Notes, dynamic signs, etc., are grouped
+with a set of horizontal lines, called a staff (plural `staves'). In
+LilyPond, these lines are drawn using a separate layout object called
+staff symbol.
+
+The staff symbol may be tuned in the number, thickness and distance
+of lines, using properties. This is demonstrated in the example files
[EMAIL PROTECTED]/@/test,staff@/-lines@/.ly},
[EMAIL PROTECTED]/@/test,staff@/-size@/.ly}.
+
+In addition, staves may be started and stopped at will. This is done
+with @code{\startStaff} and @code{\stopStaff}.
+
[EMAIL PROTECTED],relative=2,fragment]
+b4 b
+\override Staff.StaffSymbol #'line-count = 2
+\stopStaff \startStaff
+b b
+\revert Staff.StaffSymbol #'line-count
+\stopStaff \startStaff
+b b
[EMAIL PROTECTED] lilypond
+
+In combination with Frenched staves, this may be used to typeset ossia
+sections. An example is in @inputfileref{input/@/test@/,ossia.ly},
+shown here
+
[EMAIL PROTECTED] ossia
+
[EMAIL PROTECTED]
+
[EMAIL PROTECTED] staff lines, setting number of
[EMAIL PROTECTED] staff lines, setting thickness of
[EMAIL PROTECTED] thickness of staff lines, setting
[EMAIL PROTECTED] number of staff lines, setting
+
[EMAIL PROTECTED]
+
+Program reference: @internalsref{StaffSymbol}, @internalsref{StaffSpanEvent}.
+
+Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
[EMAIL PROTECTED]/@/test@/,ossia.ly},
[EMAIL PROTECTED]/@/test,staff@/-size@/.ly}.
+
+
@node More than notes
@section More than notes
@c silly title; should change.
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