CVSROOT: /cvsroot/lilypond
Module name: lilypond
Branch:
Changes by: Graham Percival <[EMAIL PROTECTED]> 05/05/20 11:42:13
Modified files:
. : ChangeLog
Documentation/user: instrument-notation.itely
advanced-notation.itely
Log message:
Edit.
CVSWeb URLs:
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/ChangeLog.diff?tr1=1.3643&tr2=1.3644&r1=text&r2=text
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/Documentation/user/instrument-notation.itely.diff?tr1=1.29&tr2=1.30&r1=text&r2=text
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/Documentation/user/advanced-notation.itely.diff?tr1=1.24&tr2=1.25&r1=text&r2=text
Patches:
Index: lilypond/ChangeLog
diff -u lilypond/ChangeLog:1.3643 lilypond/ChangeLog:1.3644
--- lilypond/ChangeLog:1.3643 Fri May 20 10:45:02 2005
+++ lilypond/ChangeLog Fri May 20 11:42:12 2005
@@ -1,3 +1,9 @@
+2005-05-20 Graham Percival <[EMAIL PROTECTED]>
+
+ * Documentation/user/instrument-notation.itely: remove *Engraver.
+
+ * Documentation/user/advanced-notation.itely: edit, rearrange.
+
2005-05-20 Han-Wen Nienhuys <[EMAIL PROTECTED]>
* VERSION (PACKAGE_NAME): release 2.5.25
Index: lilypond/Documentation/user/advanced-notation.itely
diff -u lilypond/Documentation/user/advanced-notation.itely:1.24
lilypond/Documentation/user/advanced-notation.itely:1.25
--- lilypond/Documentation/user/advanced-notation.itely:1.24 Thu May 12
11:08:00 2005
+++ lilypond/Documentation/user/advanced-notation.itely Fri May 20 11:42:13 2005
@@ -13,15 +13,16 @@
@menu
* Text::
-* Even more than notes::
* Preparing parts::
* Orchestral music::
* Contemporary notation::
* Educational use::
* Automatic notation::
+* Other::
@end menu
+
@node Text
@section Text
@@ -43,8 +44,8 @@
@node Text scripts
@subsection Text scripts
[EMAIL PROTECTED] Text scripts
[EMAIL PROTECTED] Text scripts
@cindex text items, non-empty
@cindex non-empty texts
@@ -75,15 +76,17 @@
@cindex @code{\emptyText}
@code{\emptyText}.
+
@seealso
In this manual: @ref{Text markup}.
-Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
+Program reference: @internalsref{TextScript}.
@node Text spanners
@subsection Text spanners
+
@cindex Text spanners
Some performance indications, e.g., @i{rallentando} or @i{accelerando},
@@ -111,10 +114,10 @@
@cindex textSpannerNeutral
@code{textSpannerNeutral}.
+
@seealso
-Internals @internalsref{TextSpanEvent},
[EMAIL PROTECTED]
+Program reference: @internalsref{TextSpanner}.
Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
@@ -126,6 +129,7 @@
@cindex segno on bar line
@cindex fermata on bar line
@cindex bar lines, symbols on
[EMAIL PROTECTED] @code{\mark}
The @code{\mark} command is primarily used for
@internalsref{Rehearsal marks},
@@ -150,6 +154,10 @@
@c IMO this is a bug; hopefully it'll be fixed soon, so I can
@c delete this sentence. -gp
If there is no next line, then the mark will not be printed at all.
+
+
[EMAIL PROTECTED]
+
To print the mark at the end of the current line, use
@example
@@ -171,7 +179,7 @@
@seealso
-Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
+Program reference: @internalsref{RehearsalMark}.
@node Text markup
@@ -234,7 +242,6 @@
@cindex font size, texts
-
In markup mode you can compose expressions, similar to mathematical
expressions, XML documents, and music expressions. You can stack
expressions grouped vertically with the command @code{\column}.
@@ -246,7 +253,6 @@
c1^\markup { \line { a b c } }
@end lilypond
-
Markups can be stored in variables and these variables
may be attached to notes, like
@example
@@ -254,7 +260,6 @@
@{ a^\allegro b c d @}
@end example
-
Some objects have alignment procedures of their own, which cancel out
any effects of alignments applied to their markup arguments as a
whole. For example, the @internalsref{RehearsalMark} is horizontally
@@ -264,10 +269,11 @@
@seealso
-Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
+Program reference: @internalsref{TextScript}.
Init files: @file{scm/@/new@/-markup@/.scm}.
+
@refbugs
Kerning or generation of ligatures is only done when the @TeX{}
@@ -277,14 +283,6 @@
Syntax errors for markup mode are confusing.
[EMAIL PROTECTED]
-* Text encoding::
-* Nested scores::
-* Overview of text markup commands::
-* New dynamic marks::
-* Other text markup issues::
[EMAIL PROTECTED] menu
-
@node Text encoding
@subsection Text encoding
@@ -305,7 +303,6 @@
@lilypondfile[fontload]{utf-8.ly}
-
The @TeX{} backend does not handle encoding specially at all. Strings
in the input are put in the output as-is. Extents of text items in the
@TeX{} backend, are determined by reading a file created via the
@@ -327,6 +324,7 @@
suitable LaTeX wrappers to load appropriate [EMAIL PROTECTED] packages for
interpreting non-ASCII strings.
+
@seealso
@inputfileref{input/regression,utf-8.ly}
@@ -350,7 +348,6 @@
e f
}
@end lilypond
-
@node Overview of text markup commands
@@ -406,152 +403,30 @@
@end example
[EMAIL PROTECTED] really bad section name. :(
[EMAIL PROTECTED] Even more than notes
[EMAIL PROTECTED] Even more than notes
[EMAIL PROTECTED] Preparing parts
[EMAIL PROTECTED] Preparing parts
+
+This section describes various notation that are useful for preparing
+individual parts.
@menu
-* Transpose::
-* Ottava brackets::
* Multi measure rests::
-* Time administration::
+* Metronome marks::
+* Rehearsal marks::
+* Bar numbers::
+* Instrument names::
+* Instrument transpositions::
+* Ottava brackets::
+* Different editions from one source::
@end menu
-
[EMAIL PROTECTED] Transpose
[EMAIL PROTECTED] Transpose
[EMAIL PROTECTED] Transpose
[EMAIL PROTECTED] transposition of pitches
[EMAIL PROTECTED] @code{\transpose}
-
-A music expression can be transposed with @code{\transpose}. The
-syntax is
[EMAIL PROTECTED]
-\transpose @var{from} @var{to} @var{musicexpr}
[EMAIL PROTECTED] 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}.
-
-
-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
[EMAIL PROTECTED]
-\transpose d e @dots{}
[EMAIL PROTECTED] example
-
-Consider a part written for violin (a C instrument). If
-this part is to be played on the A clarinet, the following
-transposition will produce the appropriate part
-
[EMAIL PROTECTED]
-\transpose a c @dots{}
[EMAIL PROTECTED] example
-
[EMAIL PROTECTED] distinguishes between enharmonic pitches: both
[EMAIL PROTECTED] 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
-
[EMAIL PROTECTED],raggedright,verbatim]
-mus = { \key d \major cis d fis g }
-\context Staff {
- \clef "F" \mus
- \clef "G"
- \transpose c g' \mus
- \transpose c f' \mus
-}
[EMAIL PROTECTED] lilypond
-
[EMAIL PROTECTED] may also be used to input written notes for a
-transposing instrument. Pitches are normally entered into LilyPond
-in C (or ``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
-
[EMAIL PROTECTED]
-\transpose c bes @{ e4 @dots{} @}
[EMAIL PROTECTED] example
-
-To print this music in B-flat again (ie producing a trumpet part,
-instead of a concert pitch conductor's score) you would wrap the
-existing music with another @code{transpose}
-
[EMAIL PROTECTED]
-\transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
[EMAIL PROTECTED] example
-
-
-
[EMAIL PROTECTED]
-
-Program reference: @internalsref{TransposedMusic}, and
[EMAIL PROTECTED]
-
[EMAIL PROTECTED]
-
-If you want to use both @code{\transpose} and @code{\relative},
-you must put @code{\transpose} outside of @code{\relative}, since
[EMAIL PROTECTED] will have no effect music that appears inside a
[EMAIL PROTECTED]
-
-
[EMAIL PROTECTED] Ottava brackets
[EMAIL PROTECTED] Ottava brackets
-
-`Ottava' brackets introduce an extra transposition of an octave for
-the staff. They are created by invoking the function
[EMAIL PROTECTED]
-
[EMAIL PROTECTED] ottava
[EMAIL PROTECTED] 15ma
[EMAIL PROTECTED] octavation
-
[EMAIL PROTECTED],raggedright,verbatim,fragment]
-\relative c''' {
- a2 b
- #(set-octavation 1)
- a b
- #(set-octavation 0)
- a b
-}
[EMAIL PROTECTED] lilypond
-
-The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
-(for 15ma) as arguments. Internally the function sets the properties
[EMAIL PROTECTED] (e.g., to @code{"8va"}) and
[EMAIL PROTECTED] For overriding the text of the bracket, set
[EMAIL PROTECTED] after invoking @code{set-octavation}, i.e.,
-
[EMAIL PROTECTED],raggedright,verbatim]
-{
- #(set-octavation 1)
- \set Staff.ottavation = #"8"
- c'''
-}
[EMAIL PROTECTED] lilypond
-
[EMAIL PROTECTED]
-
-Program reference: @internalsref{OttavaBracket}.
-
-Examples: @inputfileref{input/@/regression,ottava@/.ly},
[EMAIL PROTECTED]/@/regression,ottava@/-broken@/.ly}.
-
[EMAIL PROTECTED]
-
[EMAIL PROTECTED] will get confused when clef changes happen
-during an octavation bracket.
-
-
@node Multi measure rests
@subsection Multi measure rests
+
@cindex multi measure rests
@cindex Rests, multi measure
-
[EMAIL PROTECTED] whole rests for a full measure
@cindex @code{R}
Multi-measure rests are entered using [EMAIL PROTECTED]'. It is specifically
@@ -594,7 +469,6 @@
R1*2 | R1*5 | R1*9
@end lilypond
-
@cindex text on multi-measure rest
@cindex script on multi-measure rest
@cindex fermata on multi-measure rest
@@ -620,19 +494,16 @@
@end example
[EMAIL PROTECTED] whole rests for a full measure
-
@seealso
-Program reference: @internalsref{MultiMeasureRestEvent},
[EMAIL PROTECTED],
[EMAIL PROTECTED], and
+Program reference: @internalsref{MultiMeasureRestMusicGroup},
@internalsref{MultiMeasureRest}.
The layout object @internalsref{MultiMeasureRestNumber} is for the
default number, and @internalsref{MultiMeasureRestText} for user
specified texts.
+
@refbugs
It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
@@ -654,68 +525,6 @@
numbering will be off.
[EMAIL PROTECTED] Time administration
[EMAIL PROTECTED] 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
-
[EMAIL PROTECTED] @code
[EMAIL PROTECTED] currentBarNumber
-The measure number.
-
[EMAIL PROTECTED] measureLength
-The length of the measures in the current time signature. For a 4/4
-time this [EMAIL PROTECTED], and for 6/8 it is 3/4.
-
[EMAIL PROTECTED] measurePosition
-The point within the measure where we currently are. This quantity
-is reset [EMAIL PROTECTED] whenever it exceeds @code{measureLength}. When that
-happens, @code{currentBarNumber} is incremented.
-
[EMAIL PROTECTED] 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.
[EMAIL PROTECTED] table
-
-Timing can be changed by setting any of these variables explicitly.
-In the next example, the 4/4 time signature is printed, but
[EMAIL PROTECTED] 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.
-
[EMAIL PROTECTED],raggedright,verbatim,relative,fragment]
-\set Score.measureLength = #(ly:make-moment 5 4)
-c1 c4
-c1 c4
-c4 c4
-\set Score.measurePosition = #(ly:make-moment 7 8)
-b8 b b
-c4 c1
[EMAIL PROTECTED] lilypond
-
-
-
[EMAIL PROTECTED] Preparing parts
[EMAIL PROTECTED] Preparing parts
-
-This section describes various notation that are useful for preparing
-individual parts.
-
[EMAIL PROTECTED]
-* Metronome marks::
-* Rehearsal marks::
-* Bar numbers::
-* Instrument names::
-* Instrument transpositions::
-* Different editions from one source::
[EMAIL PROTECTED] menu
-
-
@node Metronome marks
@subsection Metronome marks
@@ -735,6 +544,9 @@
\tempo 8.=120 c''1
@end lilypond
+
[EMAIL PROTECTED]
+
To change the tempo in the MIDI output without printing anything, make
the metronome marking invisible
@example
@@ -757,8 +569,8 @@
@seealso
-Program reference: @internalsref{MetronomeChangeEvent}
[EMAIL PROTECTED]
+Program reference: @internalsref{MetronomeMark}.
+
@refbugs
@@ -775,8 +587,8 @@
@node Rehearsal marks
@subsection Rehearsal marks
+
@cindex Rehearsal marks
[EMAIL PROTECTED] mark
@cindex @code{\mark}
To print a rehearsal mark, use the @code{\mark} command
@@ -791,8 +603,6 @@
@noindent
(The [EMAIL PROTECTED]' is skipped in accordance with engraving traditions.)
[EMAIL PROTECTED] umm, is the manual the right place for feature requests? :)
-gp
[EMAIL PROTECTED] FIXME - should make that tunable.
The mark is incremented automatically if you use @code{\mark
\default}, but you can also use an integer argument to set the mark
@@ -820,9 +630,10 @@
@code{format-mark-letters} and @code{format-mark-box-letters}.
These can be used as inspiration for other formatting functions.
+
@seealso
-Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
+Program reference: @internalsref{RehearsalMark}.
Init files: @file{scm/@/translation@/-functions@/.scm} contains the
definition of @code{format-mark-numbers} and
@@ -837,7 +648,6 @@
@node Bar numbers
@subsection Bar numbers
-
@cindex Bar numbers
@cindex measure numbers
@cindex @code{currentBarNumber}
@@ -880,6 +690,7 @@
}
@end lilypond
+
@seealso
Program reference: @internalsref{BarNumber}.
@@ -888,6 +699,7 @@
@inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
+
@refbugs
Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
@@ -941,6 +753,7 @@
@node Instrument transpositions
@subsection Instrument transpositions
+
@cindex transposition, MIDI
@cindex transposition, instrument
@@ -992,10 +805,62 @@
@end example
[EMAIL PROTECTED] Ottava brackets
[EMAIL PROTECTED] Ottava brackets
+
+`Ottava' brackets introduce an extra transposition of an octave for
+the staff. They are created by invoking the function
[EMAIL PROTECTED]
+
[EMAIL PROTECTED] ottava
[EMAIL PROTECTED] 15ma
[EMAIL PROTECTED] octavation
+
[EMAIL PROTECTED],raggedright,verbatim,fragment]
+\relative c''' {
+ a2 b
+ #(set-octavation 1)
+ a b
+ #(set-octavation 0)
+ a b
+}
[EMAIL PROTECTED] lilypond
+
+The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
+(for 15ma) as arguments. Internally the function sets the properties
[EMAIL PROTECTED] (e.g., to @code{"8va"}) and
[EMAIL PROTECTED] For overriding the text of the bracket, set
[EMAIL PROTECTED] after invoking @code{set-octavation}, i.e.,
+
[EMAIL PROTECTED],raggedright,verbatim]
+{
+ #(set-octavation 1)
+ \set Staff.ottavation = #"8"
+ c'''
+}
[EMAIL PROTECTED] lilypond
+
+
[EMAIL PROTECTED]
+
+Program reference: @internalsref{OttavaBracket}.
+
+Examples: @inputfileref{input/@/regression,ottava@/.ly},
[EMAIL PROTECTED]/@/regression,ottava@/-broken@/.ly}.
+
+
[EMAIL PROTECTED]
+
[EMAIL PROTECTED] will get confused when clef changes happen
+during an octavation bracket.
+
+
@node Different editions from one source
@subsection Different editions from one source
[EMAIL PROTECTED] @code{\tag}
@cindex tag
+
The @code{\tag} command marks music expressions with a name. These
tagged expressions can be filtered out later. With this mechanism it
is possible to make different versions of the same music source.
@@ -1044,7 +909,6 @@
@lilypondfile[raggedright,quote]{tag-filter.ly}
-
The argument of the @code{\tag} command should be a symbol, or a list
of symbols, for example,
@example
@@ -1052,17 +916,18 @@
@end example
-
@seealso
Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
+
@refbugs
Multiple rests are not merged if you create the score with both tagged
sections.
+
@node Orchestral music
@section Orchestral music
@@ -1158,10 +1023,7 @@
@seealso
-Program reference: @internalsref{PartCombineMusic},
[EMAIL PROTECTED], and
[EMAIL PROTECTED], and
[EMAIL PROTECTED]
+Program reference: @internalsref{PartCombineMusic}.
@refbugs
@@ -1614,8 +1476,7 @@
Program reference: @internalsref{ClusterSpanner},
@internalsref{ClusterSpannerBeacon},
[EMAIL PROTECTED], and
[EMAIL PROTECTED]
[EMAIL PROTECTED]
Examples: @inputfileref{input/@/regression,cluster@/.ly}.
@@ -1926,8 +1787,7 @@
@seealso
-Program reference: @internalsref{HorizontalBracket},
[EMAIL PROTECTED]
+Program reference: @internalsref{HorizontalBracket}.
Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
@@ -2327,3 +2187,140 @@
@end lilypond
[EMAIL PROTECTED] Other
[EMAIL PROTECTED] Other
+
+FIXME:
+It's the dreaded ``what on earth should I do with this stuff'' section! Yay!
+
[EMAIL PROTECTED]
+* Time administration::
+* Transpose::
[EMAIL PROTECTED] menu
+
+
[EMAIL PROTECTED] Time administration
[EMAIL PROTECTED] 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
+
[EMAIL PROTECTED] @code
[EMAIL PROTECTED] currentBarNumber
+The measure number.
+
[EMAIL PROTECTED] measureLength
+The length of the measures in the current time signature. For a 4/4
+time this [EMAIL PROTECTED], and for 6/8 it is 3/4.
+
[EMAIL PROTECTED] measurePosition
+The point within the measure where we currently are. This quantity
+is reset [EMAIL PROTECTED] whenever it exceeds @code{measureLength}. When that
+happens, @code{currentBarNumber} is incremented.
+
[EMAIL PROTECTED] 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.
[EMAIL PROTECTED] table
+
+Timing can be changed by setting any of these variables explicitly.
+In the next example, the 4/4 time signature is printed, but
[EMAIL PROTECTED] 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.
+
[EMAIL PROTECTED],raggedright,verbatim,relative,fragment]
+\set Score.measureLength = #(ly:make-moment 5 4)
+c1 c4
+c1 c4
+c4 c4
+\set Score.measurePosition = #(ly:make-moment 7 8)
+b8 b b
+c4 c1
[EMAIL PROTECTED] lilypond
+
+
[EMAIL PROTECTED] Transpose
[EMAIL PROTECTED] Transpose
[EMAIL PROTECTED] Transpose
[EMAIL PROTECTED] transposition of pitches
[EMAIL PROTECTED] @code{\transpose}
+
+A music expression can be transposed with @code{\transpose}. The
+syntax is
[EMAIL PROTECTED]
+\transpose @var{from} @var{to} @var{musicexpr}
[EMAIL PROTECTED] 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}.
+
+
+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
[EMAIL PROTECTED]
+\transpose d e @dots{}
[EMAIL PROTECTED] example
+
+Consider a part written for violin (a C instrument). If
+this part is to be played on the A clarinet, the following
+transposition will produce the appropriate part
+
[EMAIL PROTECTED]
+\transpose a c @dots{}
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED] distinguishes between enharmonic pitches: both
[EMAIL PROTECTED] 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
+
[EMAIL PROTECTED],raggedright,verbatim]
+mus = { \key d \major cis d fis g }
+\context Staff {
+ \clef "F" \mus
+ \clef "G"
+ \transpose c g' \mus
+ \transpose c f' \mus
+}
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] may also be used to input written notes for a
+transposing instrument. Pitches are normally entered into LilyPond
+in C (or ``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
+
[EMAIL PROTECTED]
+\transpose c bes @{ e4 @dots{} @}
[EMAIL PROTECTED] example
+
+To print this music in B-flat again (ie producing a trumpet part,
+instead of a concert pitch conductor's score) you would wrap the
+existing music with another @code{transpose}
+
[EMAIL PROTECTED]
+\transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
[EMAIL PROTECTED] example
+
+
+
[EMAIL PROTECTED]
+
+Program reference: @internalsref{TransposedMusic}, and
[EMAIL PROTECTED]
+
[EMAIL PROTECTED]
+
+If you want to use both @code{\transpose} and @code{\relative},
+you must put @code{\transpose} outside of @code{\relative}, since
[EMAIL PROTECTED] will have no effect music that appears inside a
[EMAIL PROTECTED]
+
+
Index: lilypond/Documentation/user/instrument-notation.itely
diff -u lilypond/Documentation/user/instrument-notation.itely:1.29
lilypond/Documentation/user/instrument-notation.itely:1.30
--- lilypond/Documentation/user/instrument-notation.itely:1.29 Thu May 12
08:15:42 2005
+++ lilypond/Documentation/user/instrument-notation.itely Fri May 20
11:42:13 2005
@@ -32,7 +32,6 @@
handle this cross-staffing behavior. In this section we discuss the
@internalsref{PianoStaff} and some other pianistic peculiarities.
-
@menu
* Automatic staff changes::
* Manual staff switches::
@@ -41,7 +40,8 @@
* Cross staff stems::
@end menu
[EMAIL PROTECTED]
+@
+refbugs
Dynamics are not centered, but workarounds do exist. See the
``piano centered dynamics'' template in @ref{Piano templates}.
@@ -280,6 +280,7 @@
@end lilypond
+
@node Chord names
@section Chord names
@@ -637,6 +638,7 @@
@code{< .. >} syntax.
+
@node Vocal music
@section Vocal music
@@ -805,8 +807,7 @@
@seealso
-Program reference: events @internalsref{LyricEvent}, and
[EMAIL PROTECTED]
+Program reference: @internalsref{LyricText}.
@refbugs
@@ -876,9 +877,7 @@
@seealso
-Program reference: @internalsref{HyphenEvent},
[EMAIL PROTECTED], @internalsref{LyricHyphen}, and
[EMAIL PROTECTED]
+Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
@@ -1221,9 +1220,7 @@
@seealso
-Program reference: Layout objects @internalsref{LyricText} and
[EMAIL PROTECTED] Music expressions
[EMAIL PROTECTED]
+Program reference: @internalsref{LyricText}, @internalsref{VocalName}.
@@ -1386,6 +1383,7 @@
@end lilypond
+
@node Rhythmic music
@section Rhythmic music
@@ -1663,7 +1661,6 @@
-
@node Guitar
@section Guitar
@@ -1695,8 +1692,7 @@
@seealso
-Program reference: @internalsref{StringNumber},
[EMAIL PROTECTED]
+Program reference: @internalsref{StringNumber}.
@node Tablatures basic
@@ -1750,8 +1746,7 @@
@seealso
-Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
[EMAIL PROTECTED]
+Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
@refbugs
@@ -1859,6 +1854,7 @@
@end lilypond
+
@node Ancient notation
@section Ancient notation
@@ -2653,7 +2649,7 @@
In this manual: @ref{Breath marks}.
-Program reference: @internalsref{BreathingSign},
@internalsref{BreathingSignEvent}.
+Program reference: @internalsref{BreathingSign}.
Examples: @inputfileref{input/@/test,divisiones@/.ly}.
@@ -3866,8 +3862,8 @@
@seealso
-Program reference: @internalsref{BassFigureEvent} music,
[EMAIL PROTECTED] object, and @internalsref{FiguredBass} context.
+Program reference: @internalsref{BassFigure} object,
[EMAIL PROTECTED] context.
@refbugs
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