with 32nd notes (and no shorter notes), you would use @code{(end * * 1
32)}.
-[say something about irregular meters. eg 5/8 = 2+3/8, 3+2/8]
+@c not true
+@c Automatic beams can not be put on the last note in a score.
-Automatic beams can not be put on the last note in a score.
+If a score ends while an automatic beam has not been ended and is still
+accepting notes, this last beam will not be typeset at all.
@cindex automatic beam generation
@cindex autobeam
@refbugs
-It is not possible to specify beaming for beams with mixed durations,
-that differs from the beaming of all separate durations, ie, you'll
-have to specify manual beams to get:
+It is not possible to specify beaming parameters for beams with mixed
+durations, that differ from the beaming parameters of all separate
+durations, ie, you'll have to specify manual beams to get:
@lilypond[fragment,singleline,relative]
\property Voice.autoBeamSettings
- \override #'(end * * * *) = #(make-moment 3 8)
- \time 12/8; c'8 c c c16 c c c c c [c c c c] c8 c c4
+ \override #'(end * * * *) = #(make-moment 3 8)
+ \time 12/8; c'8 c c c16 c c c c c [c c c c] c8 c c4
@end lilypond
+It is not possible to specify beaming parameters that act differently in
+different parts of a measure, eg, in irregular meters such as @code{5/8}
+that breaks down to @code{2/8 +3/8} or @code{3/8 + 2/8}, automatic beams
+won't act according to the broken down parts @code{2/8} and @code{3/8}.
@c . {Manual beams}
@cindex Automatic beams
@cindex Pedals
Piano pedal instruction can be expressed using
-@code{\sustainDown}, @code{\sustainUp}, @code{\unaChorda},
-@code{\treChorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
+@code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
+@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
These identifiers are shorthands for spanner commands of the types
-@code{Sustain}, @code{UnaChorda} and @code{Sostenuto}:
+@code{Sustain}, @code{UnaCorda} and @code{Sostenuto}:
@lilypond[fragment,verbatim]
c''4 \spanrequest \start "Sustain" c''4 c''4 \spanrequest \stop "Sustain"
LilyPond examines chords specified as lists of notes to determine a name
to give the chord. LilyPond will not try to identify chord inversions or
-added base, which may result in strange chord names when chords are
-entered as a list of pitches:
-
-[base vs. bass ?]
+an added bass note, which may result in strange chord names when chords
+are entered as a list of pitches:
@lilypond[verbatim,center,singleline]
scheme = \notes {
Routines that determine the names to be printed are written in Scheme,
and may be customized by the user. The code can be found in
-@file{scm/chord-name.scm}.
+@file{scm/chord-name.scm}. Here's an example showing the differences in
+chord name styles:
+
+@c too long?
+@c maybe just junk verbatim option?
+@lilypond[verbatim,singleline]
+scheme = \chords {
+ c1 c:5^3 c:4^3 c:5+
+ c:m7+ c:m5-.7
+ c:5-.7 c:5+.7
+ c:9^7
+}
+
+\score {
+ \notes <
+ \context ChordNames = banter \scheme
+ \context ChordNames = american {
+ \property ChordNames.ChordName \override
+ #'style = #'american \scheme }
+ \context ChordNames = jazz {
+ \property ChordNames.ChordName \override
+ #'style = #'jazz \scheme }
+ \context Staff \transpose c'' \scheme
+ >
+}
+@end lilypond
-[3 short examples showing differences between american, banter and jazz]
@node Writing parts
@section Writing parts
@end example
where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
-combined into one context @var{context}. The names of the music
+combined into one context @var{context}. The context names of the music
expressions must start with the prefixes @code{one} and @code{two}.
-[Name of music expressions? is that context name? ]
-
The most useful function of the part combiner to combining threads into
one voice, as common for wind parts in orchestral scores:
* What to tune?::
* Font selection::
* Text markup::
+* Embedded @TeX{}::
@end menu
@node Tuning groups of grobs
}
@end lilypond
+@node Embedded @TeX{}
+@subsection Embeded @TeX{}
+@cindex embedded tex
+@cindex embedded tex
+
+You can use @TeX{} commands in text scripts, but this should be avoided
+because this makes it impossible for LilyPond to compute the exact
+length of the string, which may lead to collisions. Also, @TeX{}
+commands won't work with direct PostScript output.
+
+@lilypond[fragment,relative,verbatim]
+ a''^"3 $\\times$ \\`a deux"
+@end lilypond
+
+@subsection Embedded PostScript
+@cindex embedded postscript
+@cindex embedded postscript
+
+You can also use raw PostScript commands embedded in text scripts. This
+offers ultimate flexibitily, but you'll have to learn the arcane
+PostScript language. Currently, embedded PostScript will @strong{not}
+work with direct PostScript output. Note that all dimensions that you
+use are in @code{staff-space}s.
+
+@lilypond[verbatim]
+\score {
+ \notes \relative c'' {
+ a-#"\\embeddedps{3 4 moveto 5 3 rlineto stroke}"
+ -#"\\embeddedps{ [ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke}"
+ b-#"\\embeddedps{3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke}"
+ s2
+ a'1
+ }
+ \paper { linewidth = 70 * \staffspace; }
+}
+@end lilypond
@c . {Page layout}
@cindex Sound
LilyPond can produce MIDI output. The performance lacks lots of
-interesting effects, such as swing, articulation, slurring, tieing,
-etc., but it is good enough for proof-hearing the music you enter.
-
-Dynamics and tempo changes are interpreted.
-
-[TODO: mention volume control/Instrument Equaliser]
-
+interesting effects, such as swing, articulation, slurring, etc., but it
+is good enough for proof-hearing the music you have entered. Ties,
+dynamics and tempo changes are interpreted.
+
+The MIDI volume is composed of two elements: the current dynamics of the
+voice and the type of musical instrument.
+
+Dynamic marks, crescendi and decrescendi translate into MIDI volume
+levels. Dynamic marks translate to a fixed fraction of the available
+MIDI volume range, crescendi and decrescendi make the the volume vary
+linearly between their two extremities. The fractions be adjusted by
+overriding the @code{absolute-volume-alist} defined in
+@file{scm/midi.scm}.
+
+For each type of musical instrument (that MIDI supports), a volume range
+can be defined. This gives you basic equaliser control, which can
+enhance the quality of the MIDI output remarkably. You can add
+instruments and ranges or change the default settings by overriding
+the @code{instrument-equaliser-alist} defined in @file{scm/midi.scm}.
@refbugs
projects / lilypond.git / blobdiff