@refbugs
Dynamics are not centered, but workarounds do exist. See the
-``piano centered dynamics'' template in @ref{Piano templates}.
+@q{piano centered dynamics} template in @ref{Piano templates}.
@cindex cross staff stem
@cindex stem, cross staff
b g \sustainUp a \sustainDown \bar "|."
@end lilypond
-The default `*Ped.' style for sustain and damper pedals corresponds to
+The default @q{*Ped.} style for sustain and damper pedals corresponds to
style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
default.
@lilypond[quote,fragment,verbatim]
\chordmode { e1:m e1:7 e1:m7 }
@end lilypond
-The first number following the root is taken to be the `type' of the
+The first number following the root is taken to be the @q{type} of the
chord, thirds are added to the root until it reaches the specified
number
@lilypond[quote,fragment,verbatim]
@item chordRootNamer
The root of a chord is usually printed as a letter with an optional
alteration. The transformation from pitch to letter is done by this
-function. Special note names (for example, the German ``H'' for a
+function. Special note names (for example, the German @q{H} for a
B-chord) can be produced by storing a new function in this property.
@funindex chordNoteNamer
@funindex chordPrefixSpacer
@item chordPrefixSpacer
-The ``m'' for minor chords is usually printed right after the root of
+The @q{m} for minor chords is usually printed right after the root of
the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
-between the root and ``m''. The spacer is not used when the root
+between the root and @q{m}. The spacer is not used when the root
is altered.
@end table
@cindex hyphens
-Centered hyphens are entered as `@code{--}' between syllables.
+Centered hyphens are entered as @samp{--} between syllables.
The hyphen will have variable length depending on the space between
the syllables and it will be centered between the syllables.
When a lyric is sung over many notes (this is called a melisma), this is
indicated with a horizontal line centered between a syllable and the
next one. Such a line is called an extender line, and it is entered as
-`@code{__}'.
+@samp{__}.
In tighly engraved music, hyphens can be removed. Whether this
happens can be controlled with the @code{minimum-distance} (minimum
@end lilypond
-The @code{ignoreMelismata} applies to the syllable ``fas'', so it
-should be entered before ``go''.
+The @code{ignoreMelismata} applies to the syllable @q{fas}, so it
+should be entered before @q{go}.
The reverse is also possible: making a lyric line slower than the
standard. This can be achieved by insert @code{\skip}s into the
@end lilypond
@noindent
-the text for the first stanza is set to a melody called ``lahlah'',
+the text for the first stanza is set to a melody called @q{lahlah},
@example
\new Lyrics \lyricsto "lahlah" @{
The second stanza initially is set to the @code{lahlah} context, but
-for the syllable ``ran'', it switches to a different melody.
+for the syllable @q{ran}, it switches to a different melody.
This is achieved with
@example
\set associatedVoice = alternative
Here, @code{alternative} is the name of the @code{Voice} context
containing the triplet.
-Again, the command must be one syllable too early, before ``Ty'' in
+Again, the command must be one syllable too early, before @q{Ty} in
this case.
@example
examples, and that might get them more involved in the docs. -gp
@end ignore
-``Parlato'' is spoken without pitch but still with rhythm; it is
+@q{Parlato} is spoken without pitch but still with rhythm; it is
notated by cross noteheads. This is demonstrated in
@ref{Special noteheads}.
-@emph{Modern style} means ``as is typeset in contemporary editions of
-transcribed mensural music''.
+@emph{Modern style} means @qq{as is typeset in contemporary editions of
+transcribed mensural music.}
-@emph{Petrucci style} means ``inspired by printings published by the
-famous engraver Petrucci (1466-1539)''.
+@emph{Petrucci style} means @qq{inspired by printings published by the
+famous engraver Petrucci (1466-1539).}
-@emph{Historic style} means ``as was typeset or written in historic
-editions (other than those of Petrucci)''.
+@emph{Historic style} means @qq{as was typeset or written in historic
+editions (other than those of Petrucci).}
-@emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
+@emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}
Petrucci used C clefs with differently balanced left-side vertical
beams, depending on which staff line it is printed.
@cindex custos
@cindex custodes
-A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
+A @emph{custos} (plural: @emph{custodes}; Latin word for @q{guard}) is a
symbol that appears at the end of a staff. It anticipates the pitch
of the first note(s) of the following line thus helping the performer
to manage line breaks during performance.
@cindex finalis
A @emph{divisio} (plural: @emph{divisiones}; Latin word for
-`division') is a staff context symbol that is used to structure
+@q{division}) is a staff context symbol that is used to structure
Gregorian music into phrases and sections. The musical meaning of
@emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
can be characterized as short, medium, and long pause, somewhat like
In European music from before about 1600, singers were often expected
to chromatically alter notes at their own initiative. This is called
-``Musica Ficta''. In modern transcriptions, these accidentals are
+@q{Musica Ficta}. In modern transcriptions, these accidentals are
usually printed over the note.
@cindex Accidental, musica ficta
projects / lilypond.git / blobdiff