CVSROOT: /cvsroot/lilypond
Module name: lilypond
Branch:
Changes by: Graham Percival <[EMAIL PROTECTED]> 05/05/20 10:08:28
Modified files:
. : ChangeLog
Documentation/user: basic-notation.itely
Log message:
Finished editing.
CVSWeb URLs:
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/ChangeLog.diff?tr1=1.3641&tr2=1.3642&r1=text&r2=text
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/Documentation/user/basic-notation.itely.diff?tr1=1.18&tr2=1.19&r1=text&r2=text
Patches:
Index: lilypond/ChangeLog
diff -u lilypond/ChangeLog:1.3641 lilypond/ChangeLog:1.3642
--- lilypond/ChangeLog:1.3641 Fri May 20 07:55:51 2005
+++ lilypond/ChangeLog Fri May 20 10:08:28 2005
@@ -3,6 +3,8 @@
* Documentation/user/programming-interface.itely: move
\displayMusic into its own section.
+ * Documentation/user/basic-notation.itely: finish editing.
+
2005-05-20 Han-Wen Nienhuys <[EMAIL PROTECTED]>
* flower/file-path.cc (find): don't throw away file_name.dir, but
Index: lilypond/Documentation/user/basic-notation.itely
diff -u lilypond/Documentation/user/basic-notation.itely:1.18
lilypond/Documentation/user/basic-notation.itely:1.19
--- lilypond/Documentation/user/basic-notation.itely:1.18 Thu May 19
16:46:11 2005
+++ lilypond/Documentation/user/basic-notation.itely Fri May 20 10:08:28 2005
@@ -15,13 +15,14 @@
* Note entry::
* Easier music entry::
* Staff notation::
-* More than notes::
+* Connecting notes::
* Expressive marks::
* Polyphony::
* Repeats::
@end menu
+
@node Note entry
@section Note entry
@cindex Note entry
@@ -145,8 +146,7 @@
@seealso
-Program reference: @internalsref{NoteEvent},
[EMAIL PROTECTED], and @internalsref{NoteHead}.
+Program reference: @internalsref{LedgerLineSpanner}, @internalsref{NoteHead}.
@node Cautionary accidentals
@@ -247,7 +247,7 @@
@seealso
-Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
+Program reference: @internalsref{Rest}.
@node Skips
@@ -292,7 +292,7 @@
@seealso
-Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
+Program reference: @internalsref{SkipMusic}.
@node Durations
@@ -441,13 +441,6 @@
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
@@ -586,7 +579,6 @@
\relative c'' @{ c='' b=' d,='' @}
@end example
[EMAIL PROTECTED] take care with @code, adds confusing quotes.
@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
@@ -743,6 +735,7 @@
Program reference: @internalsref{Completion_heads_engraver}.
+
@node Staff notation
@section Staff notation
@@ -927,8 +920,7 @@
@seealso
-Program reference: @internalsref{KeyChangeEvent},
[EMAIL PROTECTED] and @internalsref{KeySignature}.
+Program reference: @internalsref{KeyCancellation}, @internalsref{KeySignature}.
@node Time signature
@@ -1269,32 +1261,33 @@
@seealso
-Program reference: @internalsref{StaffSymbol}, @internalsref{StaffSpanEvent}.
+Program reference: @internalsref{StaffSymbol}.
Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
@inputfileref{input/@/test@/,ossia.ly},
@inputfileref{input/@/test,staff@/-size@/.ly}.
[EMAIL PROTECTED] More than notes
[EMAIL PROTECTED] More than notes
[EMAIL PROTECTED] silly title; should change.
-This section deals with notation that affects more than one note.
[EMAIL PROTECTED] Connecting notes
[EMAIL PROTECTED] Connecting notes
+
+This section deals with notation that affects groups of notes.
@menu
* Ties::
+* Slurs::
+* Phrasing slurs::
* Automatic beams::
* Manual beams::
* Grace notes::
-* Fingering instructions::
@end menu
+
@node Ties
@subsection Ties
[EMAIL PROTECTED] Tie
[EMAIL PROTECTED] ties
[EMAIL PROTECTED] tie
@cindex @code{~}
A tie connects two adjacent note heads of the same pitch. The tie in
@@ -1312,7 +1305,7 @@
A tie is just a way of extending a note duration, similar to the
augmentation dot. The following example shows two ways of notating
exactly the same concept
[EMAIL PROTECTED]
+
@lilypond[quote,fragment,raggedright]
\time 3/4 c'2. c'2 ~ c'4
@end lilypond
@@ -1333,6 +1326,9 @@
mechanism automatically splits long notes, and ties them across bar
lines.
+
[EMAIL PROTECTED]
+
Ties are sometimes used to write out arpeggios. In this case, two tied
notes need not be consecutive. This can be achieved by setting the
@code{tieWaitForNote} property to true. For example,
@@ -1357,14 +1353,15 @@
@cindex @code{\tieSolid}
@code{\tieSolid}.
+
@seealso
In this manual: @ref{Automatic note splitting}.
-Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
+Program reference: @internalsref{Tie}.
[EMAIL PROTECTED]
[EMAIL PROTECTED]
Switching staves when a tie is active will not produce a slanted tie.
@@ -1372,6 +1369,105 @@
optimal.
[EMAIL PROTECTED] Slurs
[EMAIL PROTECTED] Slurs
+
[EMAIL PROTECTED] Slurs
+
+A slur indicates that notes are to be played bound or
[EMAIL PROTECTED] They are entered using parentheses
+
[EMAIL PROTECTED],raggedright,relative=2,fragment,verbatim]
+f( g a) a8 b( a4 g2 f4)
+<c e>2( <b d>2)
[EMAIL PROTECTED] lilypond
+
+The direction of a slur can be specified with
[EMAIL PROTECTED]@emph{DIR}}, where @[EMAIL PROTECTED] is
+either @code{Up}, @code{Down}, or @code{Neutral} (automatically
+selected).
+
+However, there is a convenient shorthand for forcing slur
+directions. By adding @code{_} or @code{^} before the opening
+parentheses, the direction is also set. For example,
+
[EMAIL PROTECTED],raggedright,quote,verbatim,fragment]
+c4_( c) c^( c)
[EMAIL PROTECTED] lilypond
+
+Only one slur can be printed at once. If you need to print a long
+slur over a few small slurs, please see @ref{Phrasing slurs}.
+
+
[EMAIL PROTECTED]
+
+Some composers write two slurs when they want legato chords. This can
+be achieved in LilyPond by setting @code{doubleSlurs},
+
[EMAIL PROTECTED],raggedright,relative,fragment,quote]
+\set doubleSlurs = ##t
+<c e>4 ( <d f> <c e> <d f> )
[EMAIL PROTECTED] lilypond
+
+
[EMAIL PROTECTED]
+
[EMAIL PROTECTED] @code{\slurUp}
[EMAIL PROTECTED],
[EMAIL PROTECTED] @code{\slurDown}
[EMAIL PROTECTED],
[EMAIL PROTECTED] @code{\slurNeutral}
[EMAIL PROTECTED],
[EMAIL PROTECTED] @code{\slurDashed}
[EMAIL PROTECTED],
[EMAIL PROTECTED] @code{\slurDotted}
[EMAIL PROTECTED],
[EMAIL PROTECTED] @code{\slurSolid}
[EMAIL PROTECTED]
+
[EMAIL PROTECTED]
+
+Program reference: @seeinternals{Slur}.
+
+
[EMAIL PROTECTED] Phrasing slurs
[EMAIL PROTECTED] Phrasing slurs
+
[EMAIL PROTECTED] phrasing slurs
[EMAIL PROTECTED] phrasing marks
+
+A phrasing slur (or phrasing mark) connects notes and is used to
+indicate a musical sentence. It is written using @code{\(} and @code{\)}
+respectively
+
[EMAIL PROTECTED],raggedright,fragment,verbatim,relative=1]
+\time 6/4 c'\( d( e) f( e) d\)
[EMAIL PROTECTED] lilypond
+
+Typographically, the phrasing slur behaves almost exactly like a
+normal slur. However, they are treated as different objects. A
[EMAIL PROTECTED] will have no effect on a phrasing slur; instead, use
[EMAIL PROTECTED], @code{\phrasingSlurDown}, and
[EMAIL PROTECTED]
+
+You cannot have simultaneous phrasing slurs.
+
+
[EMAIL PROTECTED]
+
[EMAIL PROTECTED] @code{\phrasingSlurUp}
[EMAIL PROTECTED],
[EMAIL PROTECTED] @code{\phrasingSlurDown}
[EMAIL PROTECTED],
[EMAIL PROTECTED] @code{\phrasingSlurNeutral}
[EMAIL PROTECTED]
+
+
[EMAIL PROTECTED]
+
+Program reference: @internalsref{PhrasingSlur}.
+
+
@node Automatic beams
@subsection Automatic beams
@@ -1386,7 +1482,7 @@
that differ from the defaults. See @ref{Setting automatic beam behavior}
for details.
-Individual notes may be marked with @code{\noBeam}, to prevent them
+Individual notes may be marked with @code{\noBeam} to prevent them
from being beamed
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
@@ -1401,6 +1497,7 @@
@node Manual beams
@subsection Manual beams
+
@cindex beams, manual
@cindex @code{]}
@cindex @code{[}
@@ -1416,7 +1513,11 @@
}
@end lilypond
+
[EMAIL PROTECTED]
+
@cindex @code{stemLeftBeamCount}
[EMAIL PROTECTED] @code{stemRightBeamCount}
Normally, beaming patterns within a beam are determined automatically.
If necessary, the properties @code{stemLeftBeamCount} and
@@ -1433,14 +1534,11 @@
f g a]
}
@end lilypond
[EMAIL PROTECTED] @code{stemRightBeamCount}
-
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]
\set subdivideBeams = ##t
@@ -1450,38 +1548,27 @@
@end lilypond
@cindex @code{subdivideBeams}
-Normally, line breaks are forbidden when beams cross bar lines. This
+Line breaks are normally forbidden when beams cross bar lines. This
behavior can be changed by setting @code{allowBeamBreak}.
@cindex @code{allowBeamBreak}
@cindex beams and line breaks
-
@cindex beams, kneed
@cindex kneed beams
@cindex auto-knee-gap
[EMAIL PROTECTED]
-
-User manual: @ref{Changing context properties on the fly} for the
[EMAIL PROTECTED] command
-
-
@refbugs
[EMAIL PROTECTED] Frenched staves
-Kneed beams are inserted automatically, when a large gap is detected
+Kneed beams are inserted automatically when a large gap is detected
between the note heads. This behavior can be tuned through the object.
-
Automatically kneed cross-staff beams cannot be used together with
hidden staves. See @ref{Hiding staves}.
Beams do not avoid collisions with symbols around the notes, such as
texts and accidentals.
[EMAIL PROTECTED] FIXME.
-
@node Grace notes
@subsection Grace notes
@@ -1489,6 +1576,8 @@
@cindex @code{\grace}
@cindex ornaments
@cindex grace notes
[EMAIL PROTECTED] appoggiatura
[EMAIL PROTECTED] 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
@@ -1498,10 +1587,6 @@
are entered with the commands @code{\acciaccatura} and
@code{\appoggiatura}, as demonstrated in the following example
-
[EMAIL PROTECTED] appoggiatura
[EMAIL PROTECTED] acciaccatura
-
@lilypond[quote,raggedright,relative=2,verbatim,fragment]
b4 \acciaccatura d8 c4 \appoggiatura e8 d4
\acciaccatura { g16[ f] } e4
@@ -1547,7 +1632,6 @@
>>
@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
@@ -1557,8 +1641,6 @@
\new Staff { c4 \grace { g8[ b] } c4 } >>
@end lilypond
-
-
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.
@@ -1578,10 +1660,8 @@
@noindent
will put the grace note at 7/8 of the main note.
-
The same effect can be achieved manually by doing
-
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\context Voice {
<< { d1^\trill_( }
@@ -1594,9 +1674,6 @@
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} section 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 section,
@@ -1639,6 +1716,7 @@
Program reference: @internalsref{GraceMusic}.
+
@refbugs
A score that starts with a @code{\grace} section needs an explicit
@@ -1666,67 +1744,6 @@
and might produce crashes or other errors.
[EMAIL PROTECTED] Fingering instructions
[EMAIL PROTECTED] Fingering instructions
-
[EMAIL PROTECTED] fingering
-
-Fingering instructions can be entered using
[EMAIL PROTECTED]
[EMAIL PROTECTED]@var{digit}
[EMAIL PROTECTED] example
-For finger changes, use markup texts
-
[EMAIL PROTECTED],verbatim,raggedright,fragment,relative=1]
-c4-1 c-2 c-3 c-4
-c^\markup { \finger "2-3" }
[EMAIL PROTECTED] lilypond
-
[EMAIL PROTECTED] finger change
[EMAIL PROTECTED] scripts
[EMAIL PROTECTED] superscript
[EMAIL PROTECTED] subscript
-
-You can use the thumb-script to indicate that a note should be
-played with the thumb (e.g., in cello music)
[EMAIL PROTECTED],verbatim,raggedright,fragment,relative=2]
-<a_\thumb a'-3>8 <b_\thumb b'-3>
[EMAIL PROTECTED] lilypond
-
-Fingerings for chords can also be added to individual notes
-of the chord by adding them after the pitches
[EMAIL PROTECTED],verbatim,raggedright,fragment,relative=2]
-< c-1 e-2 g-3 b-5 >4
[EMAIL PROTECTED] lilypond
-
[EMAIL PROTECTED]
-In this case, setting @code{fingeringOrientations} will put fingerings next
-to note heads
-
[EMAIL PROTECTED],verbatim,raggedright,fragment,relative=1]
-\set fingeringOrientations = #'(left down)
-<c-1 es-2 g-4 bes-5 > 4
-\set fingeringOrientations = #'(up right down)
-<c-1 es-2 g-4 bes-5 > 4
[EMAIL PROTECTED] lilypond
-
-Using this feature, it is also possible to put fingering instructions
-very close to note heads in monophonic music,
-
[EMAIL PROTECTED],raggedright,quote,fragment]
-\set fingeringOrientations = #'(right)
-<es'-2>4
[EMAIL PROTECTED] lilypond
-
-
[EMAIL PROTECTED]
-
-Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
-
-Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
-
-
-
@node Expressive marks
@section Expressive marks
@@ -1735,9 +1752,8 @@
notes and rhythms.
@menu
-* Slurs::
-* Phrasing slurs::
* Articulations::
+* Fingering instructions::
* Dynamics::
* Breath marks::
* Running trills::
@@ -1746,117 +1762,10 @@
@end menu
[EMAIL PROTECTED] Slurs
[EMAIL PROTECTED] Slurs
[EMAIL PROTECTED] Slurs
-
-A slur indicates that notes are to be played bound or @emph{legato}.
-
-They are entered using parentheses
[EMAIL PROTECTED],raggedright,relative=2,fragment,verbatim]
-f( g a) a8 b( a4 g2 f4)
-<c e>2( <b d>2)
[EMAIL PROTECTED] lilypond
-
-The direction of a slur can be set with the
-generic commands
-
[EMAIL PROTECTED]
-\override Slur #'direction = #UP
-\slurUp % shortcut for the previous line
[EMAIL PROTECTED] example
-
[EMAIL PROTECTED]
-However, there is a convenient shorthand for forcing slur
-directions. By adding @code{_} or @code{^} before the opening
-parentheses, the direction is also set. For example,
-
[EMAIL PROTECTED],raggedright,quote,verbatim,fragment]
-c4_( c) c^( c)
[EMAIL PROTECTED] lilypond
-
-Some composers write two slurs when they want legato chords. This can
-be achieved in LilyPond by setting @code{doubleSlurs},
-
[EMAIL PROTECTED],raggedright,relative,fragment,quote]
-\set doubleSlurs = ##t
-<c e>4 ( <d f> <c e> <d f> )
[EMAIL PROTECTED] lilypond
-
-Only one slur can be printed at once. If you need to print a long
-slur over a few small slurs, please see @ref{Phrasing slurs}.
-
-
[EMAIL PROTECTED]
-
-
[EMAIL PROTECTED] @code{\slurUp}
[EMAIL PROTECTED],
[EMAIL PROTECTED] @code{\slurDown}
[EMAIL PROTECTED],
[EMAIL PROTECTED] @code{\slurNeutral}
[EMAIL PROTECTED],
[EMAIL PROTECTED] @code{\slurDashed}
[EMAIL PROTECTED],
[EMAIL PROTECTED] @code{\slurDotted}
[EMAIL PROTECTED],
[EMAIL PROTECTED] @code{\slurSolid}
[EMAIL PROTECTED]
-
[EMAIL PROTECTED]
-
-Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
-
-
[EMAIL PROTECTED] Phrasing slurs
[EMAIL PROTECTED] Phrasing slurs
-
[EMAIL PROTECTED] phrasing slurs
[EMAIL PROTECTED] phrasing marks
-
-A phrasing slur (or phrasing mark) connects chords and is used to
-indicate a musical sentence. It is written using @code{\(} and @code{\)}
-respectively
-
[EMAIL PROTECTED],raggedright,fragment,verbatim,relative=1]
-\time 6/4 c'\( d( e) f( e) d\)
[EMAIL PROTECTED] lilypond
-
-Typographically, the phrasing slur behaves almost exactly like a
-normal slur. However, they are treated as different objects. A
[EMAIL PROTECTED] will have no effect on a phrasing slur; instead, use
[EMAIL PROTECTED], @code{\phrasingSlurDown}, and
[EMAIL PROTECTED]
-
-The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurNeutral}
-will only affect normal slurs and not phrasing slurs.
-
-You cannot have simultaneous phrasing slurs.
-
[EMAIL PROTECTED]
-
[EMAIL PROTECTED] @code{\phrasingSlurUp}
[EMAIL PROTECTED],
[EMAIL PROTECTED] @code{\phrasingSlurDown}
[EMAIL PROTECTED],
[EMAIL PROTECTED] @code{\phrasingSlurNeutral}
[EMAIL PROTECTED]
-
[EMAIL PROTECTED]
-
-Program reference: see also @internalsref{PhrasingSlur}, and
[EMAIL PROTECTED]
-
[EMAIL PROTECTED]
-
-Putting phrasing slurs over rests leads to spurious warnings.
-
-
@node Articulations
@subsection Articulations
[EMAIL PROTECTED] Articulations
[EMAIL PROTECTED] articulations
[EMAIL PROTECTED] Articulations
@cindex scripts
@cindex ornaments
@@ -1870,12 +1779,10 @@
The meanings of these shorthands can be changed. See
@file{ly/@/script@/-init@/.ly} for examples.
-
The script is automatically placed, but the direction can be forced as
well. Like other pieces of LilyPond code, @code{_} will place them
below the staff, and @code{^} will place them above.
-
@lilypond[quote,raggedright,fragment,verbatim]
c''4^^ c''4_^
@end lilypond
@@ -1889,8 +1796,6 @@
c\fermata c^\fermata c_\fermata
@end lilypond
-
-
@cindex accent
@cindex marcato
@cindex staccatissimo
@@ -1926,6 +1831,8 @@
@lilypondfile[raggedright,quote]{script-chart.ly}
[EMAIL PROTECTED]
+
The vertical ordering of scripts is controlled with the
@code{script-priority} property. The lower this number, the closer it
will be put to the note. In this example, the
@@ -1935,7 +1842,6 @@
inside. When two objects have the same priority, the order in which
they are entered decides which one comes first.
-
@lilypond[verbatim,relative=3,raggedright,fragment,quote]
\once \override TextScript #'script-priority = #-100
a4^\prall^\markup { \sharp }
@@ -1945,11 +1851,10 @@
@end lilypond
-
-
@seealso
-Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
+Program reference: @internalsref{Script}.
+
@refbugs
@@ -1957,12 +1862,68 @@
MIDI rendering of the music.
[EMAIL PROTECTED] Dynamics
[EMAIL PROTECTED] Dynamics
[EMAIL PROTECTED] Dynamics
[EMAIL PROTECTED] Fingering instructions
[EMAIL PROTECTED] Fingering instructions
[EMAIL PROTECTED] fingering
[EMAIL PROTECTED] finger change
+
+Fingering instructions can be entered using
[EMAIL PROTECTED]
[EMAIL PROTECTED]@var{digit}
[EMAIL PROTECTED] example
+For finger changes, use markup texts
[EMAIL PROTECTED],verbatim,raggedright,fragment,relative=1]
+c4-1 c-2 c-3 c-4
+c^\markup { \finger "2 - 3" }
[EMAIL PROTECTED] lilypond
+You can use the thumb-script to indicate that a note should be
+played with the thumb (e.g., in cello music)
[EMAIL PROTECTED],verbatim,raggedright,fragment,relative=2]
+<a_\thumb a'-3>8 <b_\thumb b'-3>
[EMAIL PROTECTED] lilypond
+
+Fingerings for chords can also be added to individual notes
+of the chord by adding them after the pitches
[EMAIL PROTECTED],verbatim,raggedright,fragment,relative=2]
+< c-1 e-2 g-3 b-5 >4
[EMAIL PROTECTED] lilypond
+
+
[EMAIL PROTECTED]
+
+You may exercise greater control over fingering chords by
+setting @code{fingeringOrientations}
+
[EMAIL PROTECTED],verbatim,raggedright,fragment,relative=1]
+\set fingeringOrientations = #'(left down)
+<c-1 es-2 g-4 bes-5 > 4
+\set fingeringOrientations = #'(up right down)
+<c-1 es-2 g-4 bes-5 > 4
[EMAIL PROTECTED] lilypond
+
+Using this feature, it is also possible to put fingering instructions
+very close to note heads in monophonic music,
+
[EMAIL PROTECTED],raggedright,quote,fragment]
+\set fingeringOrientations = #'(right)
+<es'-2>4
[EMAIL PROTECTED] lilypond
+
+
[EMAIL PROTECTED]
+
+Program reference: @internalsref{Fingering}.
+
+Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
+
+
[EMAIL PROTECTED] Dynamics
[EMAIL PROTECTED] Dynamics
+
[EMAIL PROTECTED] Dynamics
@cindex @code{\ppp}
@cindex @code{\pp}
@cindex @code{\p}
@@ -1980,12 +1941,11 @@
@cindex @code{\sfz}
@cindex @code{\rfz}
-
Absolute dynamic marks are specified using a command after a note
@code{c4\ff}. The available dynamic marks are @code{\ppp},
@code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
@code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
[EMAIL PROTECTED], @code{\spp}, @code{\sfz}, and @code{\rfz}
[EMAIL PROTECTED], @code{\spp}, @code{\sfz}, and @code{\rfz}.
@lilypond[quote,verbatim,raggedright,fragment,relative=2]
c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
@@ -1994,9 +1954,7 @@
@cindex @code{\<}
@cindex @code{\>}
[EMAIL PROTECTED] @code{\"!}
-
-
[EMAIL PROTECTED] @code{\!}
A crescendo mark is started with @code{\<} and terminated with
@code{\!} or an absolute dynamic. A decrescendo is started with
@@ -2016,8 +1974,11 @@
\override Staff.Hairpin #'minimum-length = #5
@end example
-You can also use a text saying @emph{cresc.} instead of hairpins. Here
-is an example how to do it
[EMAIL PROTECTED] crescendo
[EMAIL PROTECTED] decrescendo
[EMAIL PROTECTED] diminuendo
+
+You can also use a text saying @emph{cresc.} instead of hairpins
@lilypond[quote,raggedright,fragment,relative=2,verbatim]
\setTextCresc
@@ -2030,9 +1991,6 @@
e\> d c b\!
@end lilypond
[EMAIL PROTECTED] crescendo
[EMAIL PROTECTED] decrescendo
-
You can also supply your own texts
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
\set crescendoText = \markup { \italic "cresc. poco" }
@@ -2040,8 +1998,6 @@
a'2\< a a a\!\mf
@end lilypond
[EMAIL PROTECTED] diminuendo
-
To create new dynamic marks or text that should be aligned
with dynamics, see @ref{New dynamic marks}.
@@ -2055,28 +2011,26 @@
@cindex @code{\dynamicNeutral}
@code{\dynamicNeutral}.
[EMAIL PROTECTED] direction, of dynamics
@seealso
-Program reference: @internalsref{CrescendoEvent},
[EMAIL PROTECTED], and
[EMAIL PROTECTED]
+Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
+Vertical positioning of these symbols is handled by
[EMAIL PROTECTED]
-Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
-objects. Vertical positioning of these symbols is handled by the
[EMAIL PROTECTED] object.
@node Breath marks
@subsection Breath marks
Breath marks are entered using @code{\breathe}
-
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
c'4 \breathe d4
@end lilypond
+
[EMAIL PROTECTED]
+
The glyph of the breath mark can be tuned by overriding the
@code{text} property of the @code{BreathingSign} layout object with
any markup text. For example,
@@ -2090,8 +2044,7 @@
@seealso
-Program reference: @internalsref{BreathingSign},
[EMAIL PROTECTED]
+Program reference: @internalsref{BreathingSign}.
Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
@@ -2102,7 +2055,6 @@
Long running trills are made with @code{\startTrillSpan} and
@code{\stopTrillSpan},
-
@lilypond[verbatim,raggedright,relative=2,quote,fragment]
\new Voice {
<< { c1 \startTrillSpan }
@@ -2110,6 +2062,7 @@
c4 }
@end lilypond
+
@refcommands
@code{\startTrillSpan},
@@ -2117,18 +2070,16 @@
@code{\stopTrillSpan}.
@cindex @code{\stopTrillSpan}
[EMAIL PROTECTED]
-
-Program reference: @internalsref{TrillSpanner},
[EMAIL PROTECTED]
[EMAIL PROTECTED]
+Program reference: @internalsref{TrillSpanner}.
@node Glissando
@subsection Glissando
[EMAIL PROTECTED] Glissando
[EMAIL PROTECTED] Glissando
@cindex @code{\glissando}
A glissando is a smooth change in pitch. It is denoted by a line or a
@@ -2136,17 +2087,19 @@
@code{\glissando} to a note
@lilypond[quote,raggedright,fragment,relative=2,verbatim]
-c\glissando c'
+c2\glissando c'
+\override Glissando #'style = #'zigzag
+c2\glissando c,
@end lilypond
+
@seealso
-Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
+Program reference: @internalsref{Glissando}.
Example files: @file{input/@/regression/@/glissando@/.ly}.
-
@refbugs
Printing text over the line (such as @emph{gliss.}) is not supported.
@@ -2154,29 +2107,24 @@
@node Arpeggio
@subsection Arpeggio
[EMAIL PROTECTED] Arpeggio
[EMAIL PROTECTED] Arpeggio
@cindex broken chord
@cindex @code{\arpeggio}
You can specify an arpeggio sign (also known as broken chord) on a
chord by attaching an @code{\arpeggio} to a chord
-
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
<c e g c>\arpeggio
@end lilypond
-When an arpeggio crosses staves, you attach an arpeggio to the chords
-in both staves, and set
[EMAIL PROTECTED]@code{connectArpeggios}
+A square bracket on the left indicates that the player should not
+arpeggiate the chord
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
-\context PianoStaff <<
- \set PianoStaff.connectArpeggios = ##t
- \new Staff { <c' e g c>\arpeggio }
- \new Staff { \clef bass <c,, e g>\arpeggio }
->>
+\arpeggioBracket
+<c' e g c>\arpeggio
@end lilypond
The direction of the arpeggio is sometimes denoted by adding an
@@ -2191,16 +2139,22 @@
}
@end lilypond
-A square bracket on the left indicates that the player should not
-arpeggiate the chord
[EMAIL PROTECTED] todo: ugh, lousy typography. Look for real example. --hwn
[EMAIL PROTECTED]
+
+When an arpeggio crosses staves, you may attach an arpeggio to the chords
+in both staves and set
[EMAIL PROTECTED]@code{connectArpeggios}
@lilypond[quote,raggedright,fragment,relative=1,verbatim]
-\arpeggioBracket
-<c' e g c>\arpeggio
+\context PianoStaff <<
+ \set PianoStaff.connectArpeggios = ##t
+ \new Staff { <c' e g c>\arpeggio }
+ \new Staff { \clef bass <c,, e g>\arpeggio }
+>>
@end lilypond
+
@refcommands
@code{\arpeggio},
@@ -2213,13 +2167,12 @@
@cindex @code{\arpeggioBracket}
@code{\arpeggioBracket}.
+
@seealso
Notation manual: @ref{Ties}, for writing out arpeggios.
-Program reference: @internalsref{ArpeggioEvent},
[EMAIL PROTECTED]
-
+Program reference: @internalsref{Arpeggio}.
@refbugs
@@ -2242,8 +2195,10 @@
* Collision Resolution::
@end menu
+
@node Basic polyphony
@subsection Basic polyphony
+
@cindex polyphony
The easiest way to enter fragments with more than one voice on a staff
@@ -2254,11 +2209,12 @@
@lilypond[quote,verbatim,fragment]
\new Staff \relative c' {
- c16 d e f
- << { g4 f e | d2 e2 } \\
- { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
- { s2. | s4 b4 c2 }
- >>
+ c16 d e f
+ <<
+ { g4 f e | d2 e2 } \\
+ { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
+ { s2. | s4 b4 c2 }
+ >>
}
@end lilypond
@@ -2272,30 +2228,28 @@
These voices are all seperate from the voice that contains the notes just
outside the @code{<< \\ >>} construct. This should be noted when making
changes at the voice level. This also means that slurs and ties cannot go
-into or out of a @code{<< \\ >>} construct.
-Conversely, parallel voices from separate @code{<< \\ >>} constructs on the
-same staff are the the same voice.
-Here is the same example, with different noteheads for each voice.
-Note that the change to the note-head style in the main voice does not affect
+into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
+from separate @code{<< \\ >>} constructs on the same staff are the the
+same voice. Here is the same example, with different noteheads for each
+voice. Note that the change to the note-head style in the main voice does not
affect
the inside of the @code{<< \\ >>} constructs. Also, the change to the second
voice in the first @code{<< \\ >>} construct is effective in the second
@code{<< \\ >>}, and the voice is tied accross the two constructs.
@lilypond[quote,verbatim,fragment]
\new Staff \relative c' {
- \override NoteHead #'style = #'cross
- c16 d e f
- <<
- { g4 f e } \\
- { \override NoteHead #'style = #'triangle
- r8 e4 d c8 ~
- }
- >> |
- <<
- { d2 e2 } \\
- { c8 b16 a b8 g ~ g2 } \\
- { \override NoteHead #'style = #'slash s4 b4 c2 }
- >>
+ \override NoteHead #'style = #'cross
+ c16 d e f
+ <<
+ { g4 f e } \\
+ { \override NoteHead #'style = #'triangle
+ r8 e4 d c8 ~ }
+ >> |
+ <<
+ { d2 e2 } \\
+ { c8 b16 a b8 g ~ g2 } \\
+ { \override NoteHead #'style = #'slash s4 b4 c2 }
+ >>
}
@end lilypond
@@ -2349,41 +2303,41 @@
@lilypond[quote,raggedright,verbatim]
\new Staff \relative c' {
- \override NoteHead #'style = #'cross
- c16 d e f
- \voiceOne
- <<
- { g4 f e | d2 e2}
- \context Voice="1" { \voiceTwo
- r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
- \oneVoice
- }
- \new Voice { \voiceThree
- s2. | s4 b4 c2
- \oneVoice
- }
- >>
- \oneVoice
+ \override NoteHead #'style = #'cross
+ c16 d e f
+ \voiceOne
+ <<
+ { g4 f e | d2 e2 }
+ \context Voice="1" { \voiceTwo
+ r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
+ \oneVoice
+ }
+ \new Voice { \voiceThree
+ s2. | s4 b4 c2
+ \oneVoice
+ }
+ >>
+ \oneVoice
}
@end lilypond
The correct definition of the voices allows the melody to be slurred.
@lilypond[quote,raggedright,verbatim]
\new Staff \relative c' {
- c16^( d e f
- \voiceOne
- <<
- { g4 f e | d2 e2) }
- \context Voice="1" { \voiceTwo
- r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
- \oneVoice
- }
- \new Voice { \voiceThree
- s2. s4 b4 c2
- \oneVoice
- }
- >>
- \oneVoice
+ c16^( d e f
+ \voiceOne
+ <<
+ { g4 f e | d2 e2) }
+ \context Voice="1" { \voiceTwo
+ r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
+ \oneVoice
+ }
+ \new Voice { \voiceThree
+ s2. s4 b4 c2
+ \oneVoice
+ }
+ >>
+ \oneVoice
}
@end lilypond
@@ -2393,26 +2347,27 @@
@lilypond[quote,raggedright,verbatim]
\new Staff \relative c' {
- c16^( d e f
- \voiceOne
- <<
- { g4 f e | d2 e2) }
- \context Voice="1" { \voiceTwo
- r8 e4 d c8 ~ |
- <<
- {c8 b16 a b8 g ~ g2}
- \new Voice { \voiceThree
- s4 b4 c2
- \oneVoice
- }
- >>
- \oneVoice
- }
- >>
- \oneVoice
+ c16^( d e f
+ \voiceOne
+ <<
+ { g4 f e | d2 e2) }
+ \context Voice="1" { \voiceTwo
+ r8 e4 d c8 ~ |
+ <<
+ {c8 b16 a b8 g ~ g2}
+ \new Voice { \voiceThree
+ s4 b4 c2
+ \oneVoice
+ }
+ >>
+ \oneVoice
+ }
+ >>
+ \oneVoice
}
@end lilypond
+
@node Collision Resolution
@subsection Collision Resolution
@@ -2448,8 +2403,6 @@
@refcommands
-
-
@cindex @code{\oneVoice}
@code{\oneVoice},
@cindex @code{\voiceOne}
@@ -2461,8 +2414,6 @@
@cindex @code{\voiceFour}
@code{\voiceFour}.
-
-
@cindex @code{\shiftOn}
@code{\shiftOn},
@cindex @code{\shiftOnn}
@@ -2476,7 +2427,6 @@
have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
further shift levels.
-
When LilyPond cannot cope, the @code{force-hshift}
property of the @internalsref{NoteColumn} object and pitched rests can
be used to override typesetting decisions.
@@ -2494,7 +2444,6 @@
@end lilypond
-
@seealso
Program reference: the objects responsible for resolving collisions are
@@ -2510,7 +2459,6 @@
@refbugs
-
When using @code{merge-differently-headed} with an upstem eighth or a
shorter note, and a downstem half note, the eighth note gets the wrong
offset.
@@ -2538,6 +2486,7 @@
* Measure repeats::
@end menu
+
@node Repeat types
@subsection Repeat types
@@ -2564,7 +2513,6 @@
@inputfileref{input,star-spangled-banner@/.ly}.
@end ignore
[EMAIL PROTECTED] tremolo, beamed
@item tremolo
Make tremolo beams. These are not played in MIDI output by default.
@@ -2575,10 +2523,10 @@
@end table
+
@node Repeat syntax
@subsection Repeat syntax
-
LilyPond has one syntactic construct for specifying different types of
repeats. The syntax is
@@ -2589,10 +2537,15 @@
If you have alternative endings, you may add
@cindex @code{\alternative}
@example
-\alternative @{ @var{alternative1}
- @var{alternative2}
- @var{alternative3} @dots{} @}
+\alternative @{
+ @var{alternative1}
+ @var{alternative2}
+ @var{alternative3}
+ @dots{}
[EMAIL PROTECTED]
@end example
+
[EMAIL PROTECTED]
where each @var{alternative} is a music expression. If you do not
give enough alternatives for all of the repeats, the first alternative
is assumed to be played more than once.
@@ -2611,7 +2564,6 @@
\alternative { {d2 d} {f f,} }
@end lilypond
-
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\context Staff {
\partial 4
@@ -2624,8 +2576,6 @@
by setting @code{voltaSpannerDuration}. In the next example, the
bracket only lasts one measure, which is a duration of 3/4.
-
-
@lilypond[verbatim,raggedright,quote]
\relative c''{
\time 3/4
@@ -2646,12 +2596,11 @@
staff. This can be adjusted by setting the @code{voltaOnThisStaff}
property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
[EMAIL PROTECTED] not necessary
[EMAIL PROTECTED] @inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}.
-
@refbugs
[EMAIL PROTECTED] repeat, ambiguous
+
A nested repeat like
@example
@@ -2665,9 +2614,6 @@
@code{\alternative} belongs. This ambiguity is resolved by always
having the @code{\alternative} belong to the inner @code{\repeat}.
For clarity, it is advisable to use braces in such situations.
[EMAIL PROTECTED] ambiguity
-
-
Timing information is not remembered at the start of an alternative,
so after a repeat timing information must be reset by hand, for
@@ -2675,12 +2621,11 @@
@code{\partial}. Similarly, slurs or ties are also not repeated.
-
-
@node Repeats and MIDI
@subsection Repeats and MIDI
@cindex expanding repeats
[EMAIL PROTECTED] @code{\unfoldrepeats}
With a little bit of tweaking, all types of repeats can be present
in the MIDI output. This is achieved by applying the
@@ -2690,7 +2635,7 @@
@lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
\unfoldrepeats {
\repeat tremolo 8 {c'32 e' }
- \repeat percent 2 { c''8 d'' }
+ \repeat percent 4 { c''8 d'' }
\repeat volta 2 {c'4 d' e' f'}
\alternative {
{ g' a' a' g' }
@@ -2716,6 +2661,7 @@
@}
@end example
+
@node Manual repeat commands
@subsection Manual repeat commands
@@ -2750,7 +2696,6 @@
@end lilypond
-
@seealso
Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
@@ -2758,8 +2703,10 @@
@internalsref{UnfoldedRepeatedMusic}, and
@internalsref{FoldedRepeatedMusic}.
+
@node Tremolo repeats
@subsection Tremolo repeats
+
@cindex tremolo beams
To place tremolo marks between notes, use @code{\repeat} with tremolo
@@ -2781,19 +2728,20 @@
Similar output is obtained using the tremolo subdivision, described in
@ref{Tremolo subdivisions}.
+
@seealso
In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
-Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
-tremolos are @internalsref{StemTremolo} objects. The music expression is
[EMAIL PROTECTED]
+Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
@inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
+
@node Tremolo subdivisions
@subsection Tremolo subdivisions
+
@cindex tremolo marks
@cindex @code{tremoloFlags}
@@ -2808,19 +2756,18 @@
c'2:8 c':32 | c': c': |
@end lilypond
[EMAIL PROTECTED] [TODO: stok is te kort bij 32en]
[EMAIL PROTECTED] somebody want to translate that into English?
[EMAIL PROTECTED] `Stem is too short for 32nds' (wl)
@refbugs
Tremolos entered in this way do not carry over into the MIDI output.
+
@seealso
In this manual: @ref{Tremolo repeats}.
-Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
+Elsewhere: @internalsref{StemTremolo}.
+
@node Measure repeats
@subsection Measure repeats
@@ -2841,11 +2788,10 @@
}
@end lilypond
+
@seealso
Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
@internalsref{PercentRepeatedMusic}, and
@internalsref{DoublePercentRepeat}.
-
-
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