@} @}
@end example
-The result will look like this.
+For example,
+
@lilypond[singleline]
upper = \notes \relative c {
\clef "treble"
@lilypond[fragment,verbatim,quote, relative=1]
\chords { es4. d8 c2 }
@end lilypond
-is the notation for three chords: an E-flat major chord, a D major and
-a C major.
-
@cindex chord entry
@cindex chord mode
-Other chords may be entered
-by suffixing a colon, and introducing a modifier, and optionally, a
-number, for example
+Other chords may be entered by suffixing a colon, and introducing a
+modifier, and optionally, a number, for example
+@c
@lilypond[fragment,verbatim,quote]
\chords { e1:m e1:7 e1:m7 }
@end lilypond
is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
the 7th step
@item aug
- is augmented chord. This modifier raises the 5th step.
+ is the augmented chord. This modifier raises the 5th step.
@item maj
is the major 7th chord. This modifier raises the 7th step if present.
@item sus
@table @code
@item chordNameExceptions
This is a list that contains the chords that have special formatting.
-For example.
-@lilypond[verbatim,singleline]
-chExceptionMusic = \notes { <<c f g bes>>1-\markup { \super "7" "wahh" }}
-chExceptions = #(append
- (sequential-music-to-chord-exceptions chExceptionMusic)
- ignatzekExceptions)
-
-\score { \context ChordNames
- \chords {
- c:7sus4 c:dim7
- \property ChordNames.chordNameExceptions = #chExceptions
- c:7sus4 c:dim7 } }
-@end lilypond
-
-Putting the exceptions list encoded as
-@example
- \notes @{ <<c f g bes>>1-\markup @{ \super "7" "wahh" @} @}
-@end example
-into @code{chordNameExceptions} takes a little manoeuvring. The
-following code transforms @code{chExceptionMusic} (which is a
-sequential music) into a list of exceptions.
-@example
- (sequential-music-to-chord-exceptions chExceptionMusic)
-@end example
-Then,
-@example
-#(append
- ... ignatzekExceptions)
-@end example
-adds the new exceptions to the default ones, which are defined in
-@file{ly/chord-modifier-init.ly}.
+For an example, see
+@inputfileref{input/regression/,chord-name-exceptions.ly}.
@item majorSevenSymbol
This property contains the markup object used for the 7th step, when
it is major. Predefined options are @code{whiteTriangleMarkup},
-@code{blackTriangleMarkup}.
+@code{blackTriangleMarkup}. See
+@inputfileref{input/regression/,chord-name-major7.ly} for an example.
@item chordNameSeparator
Different parts of a chord name are normally separated by a
@seealso
@inputfileref{input/regression/,chord-name-major7.ly},
-@file{scm/chords-ignatzek.scm}, @file{scm/chord-entry.scm}.
+@inputfileref{input/regression/,chord-name-exceptions.ly},
+@file{scm/chords-ignatzek.scm}, @file{scm/chord-entry.scm}
@refbugs
@lilypond[fragment,verbatim]
\relative c'' {
c1 \mark "A"
- c1 \mark \default
- c1 \mark \default
+ c1 \mark "B"
c1 \mark "12"
- c1 \mark \default
+ c1 \mark "13"
c1
}
@end lilypond
-As you can see, the mark is incremented automatically if you use
-@code{\mark \default}. The value to use is stored in the property
-@code{rehearsalMark} is used and automatically incremented. The object
-is @internalsref{RehearsalMark} in @internalsref{Score} context. See
-@inputfileref{input/test,boxed-molecule.ly} if you need boxes around the
-marks.
+The mark is incremented automatically if you use @code{\mark
+\default}. The value to use is stored in the property
+@code{rehearsalMark} is used and automatically incremented.
The @code{\mark} command can also be used to put signs like coda,
-segno and fermatas on a barline. The trick is to use the text markup
-mechanism to access the fermata symbol.
+segno and fermatas on a barline. Use @code{\markup} to
+to access the appropriate symbol.
+
@lilypond[fragment,verbatim,relative=1]
c1 \mark \markup { \musicglyph #"scripts-ufermata" }
c1
@end lilypond
-
-The problem is that marks that occur at a line break are typeset only
-at the beginning of the next line, opposite to what you want for the
-fermata. This can be corrected by the following property setting
+In this case, during line breaks,
+marks must also be printed at the end of the line, and not at the
+beginning. Use the following to force that behavior
@example
\property Score.RehearsalMark \override
#'break-visibility = #begin-of-line-invisible
@cindex segno
@cindex barlines, putting symbols on
+@seealso
+
+The object is @internalsref{RehearsalMark} in @internalsref{Score}
+context. See @inputfileref{input/test,boxed-molecule.ly} for putting
+boxes around the marks.
+
@node Bar numbers
@subsection Bar numbers
@cindex currentBarNumber
Bar numbers are printed by default at the start of the line. The
-number itself is a property that can be set by modifying the
-@code{currentBarNumber} property, although that is usually not
-necessary, i.e.
-@example
- \property Score.currentBarNumber = #217
-@end example
+number itself is stored in the
+@code{currentBarNumber} property,
+which is normally updated automatically for every measure.
-To typeset Bar Numbers at regular intervals instead of at the beginning of each line,
-you need to change the grob property @code{break-visibility} as well as the translator
-property @code{barNumberVisibility}, as illustrated in the following example which also
-adds a box around the bar numbers:
-@example
-\property Score.BarNumber \override #'break-visibility =
- #end-of-line-invisible
-\property Score.barNumberVisibility = #(every-nth-bar-number-visible 5)
-\property Score.BarNumber \override #'molecule-callback =
- #(make-molecule-boxer 0.1 0.25 0.25 Text_item::brew_molecule)
-\property Score.BarNumber \override #'font-relative-size = #0
-@end example
-@lilypond[noindent]
-\score {
- \context Staff \notes \transpose c c'' {
- \property Score.BarNumber \override #'break-visibility = #end-of-line-invisible
- \property Score.barNumberVisibility = #(every-nth-bar-number-visible 5)
- \property Score.BarNumber \override #'molecule-callback =
- #(make-molecule-boxer 0.1 0.25 0.25 Text_item::brew_molecule)
- \property Score.BarNumber \override #'font-relative-size = #0
-
- \repeat unfold 16 c1 \bar "|."
- }
-}
-@end lilypond
+Bar numbers can be typeset at regular intervals instead of at the
+beginning of each line. This is illustrated in the following example,
+whose source is available as
+@inputfileref{input/test/,bar-number-every-fifth.ly}
-If you would like the bar numbers to appear at regular intervals, but
-not starting from measure zero, you can use the context function,
-@code{set-bar-number-visibility}, to automatically set
-@code{barNumberVisibility} so that the bar numbers appear at regular
-intervals, starting from the @code{\applycontext}:
+@lilypondfile[notexidoc]{bar-number-every-fifth.ly}
-@example
-resetBarnum = \context Score \applycontext
- #(set-bar-number-visibility 4)
-...
-\property Score.BarNumber \override #'break-visibility =
- #end-of-line-invisible
-\mark "A" \resetBarnum
-\repeat unfold 10 c1
-\mark \default \resetBarnum
-\repeat unfold 8 c
-@end example
-@lilypond[noindent]
-resetBarnum = \context Score \applycontext
- #(set-bar-number-visibility 4)
-\score {
- <
- \notes \transpose c c'' {
- \property Score.BarNumber \override #'break-visibility =#end-of-line-invisible
- \property Score.RehearsalMark \override #'padding = #2.5
- \mark "A" \resetBarnum
- \repeat unfold 10 c1
- \mark \default \resetBarnum
- \repeat unfold 8 c
- \bar "|."
- }
- >
-}
-@end lilypond
+The start of that numbering can also be reset, as demonstrated in
+@inputfileref{input/test/,bar-number-every-5-reset.ly}.
+
+@lilypondfile[notexidoc]{bar-number-every-5-reset.ly}
-See also @seeinternals{BarNumber}.
+
+@seealso
+
+@internalsref{BarNumber}.
+@inputfileref{input/test/,bar-number-every-5-reset.ly}.
+@inputfileref{input/test/,bar-number-every-fifth.ly}
@refbugs
-Barnumbers can collide with the StaffGroup, if there is one at the
-top. To solve this, You have to twiddle with the
+Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
+there is one at the top. To solve this, You have to twiddle with the
@internalsref{padding} property of @internalsref{BarNumber} if your
score starts with a @internalsref{StaffGroup}.
@node Instrument names
@subsection Instrument names
-In scores, the instrument name is printed before the staff. This can
-be done by setting @code{Staff.instrument} and
-@code{Staff.instr}. This will print a string before the start of the
-staff. For the first start, @code{instrument} is used, for the next
-ones @code{instr} is used.
+In an orchestral score, instrument names are printed left of the
+staffs.
+
+This can be achieved by setting @internalsref{Staff}.@code{instrument}
+and @internalsref{Staff}.@code{instr}. This will print a string before
+the start of the staff. For the first start, @code{instrument} is
+used, for the next ones @code{instr} is used.
@lilypond[verbatim,singleline]
\property Staff.instrument = "ploink " { c''4 }
@end lilypond
You can also use markup texts to construct more complicated instrument
-names:
+names.
-
-@lilypond[verbatim,singleline]
-\score {
+@lilypond[fragment,verbatim,singleline]
\notes \context Staff = treble {
- \property Staff.instrument
- = \markup { \column << "Clarinetti" { "in B" \smaller \musicglyph #"accidentals--1" } >> }
- { c''1 }
+ \property Staff.instrument = \markup {
+ \column << "Clarinetti"
+ { "in B"
+ \smaller \musicglyph #"accidentals--1"
+ }
+ >>
+ }
+ { c''1 }
}
- \paper { linewidth= 8.0\cm }
-}
@end lilypond
\transpose @var{from} @var{to} @var{musicexpr}
@end example
-This means that @var{musicexpr} is transposed to by the interval
-between @var{from} is @var{to}.
+This means that @var{musicexpr} is transposed by the interval
+between @var{from} and @var{to}.
@code{\transpose} distinguishes between enharmonic pitches: both
@code{\transpose c cis} or @code{\transpose c des} will transpose up
}}
@end lilypond
+@refbugs
+
If you want to use both @code{\transpose} and @code{\relative}, then
-you must use @code{\transpose} first. @code{\relative} will have no
-effect music that appears inside a @code{\transpose}.
+you must put @code{\transpose} outside of @code{\relative}, since
+@code{\relative} will have no effect music that appears inside a
+@code{\transpose}.
@node Multi measure rests
The @code{1} in @code{R1} is similar to the duration notation used for
notes. Hence, for time signatures other than 4/4, you must enter other
-durations. This can be done with augmentation dots, or with
-fractions:
+durations. This can be done with augmentation dots or fractions:
@lilypond[fragment,verbatim]
\property Score.skipBars = ##t
@end lilypond
A @code{R} spanning a single measure is printed as a whole rest
-centered in the measure, regardless of the time signature.
+centered in the measure (or a breve when the measure lasts longer than
+two whole notes), regardless of the time signature.
-[ add note about breves.]
@cindex text on multi-measure rest
@cindex whole rests for a full measure
+@seealso
+
The object for this object is @internalsref{MultiMeasureRest},
@internalsref{MultiMeasureRestNumber} (for the default number), and
@internalsref{MultiMeasureRestText} (for user specified texts).
@cindex condensing rests
- There is no way to automatically condense multiple rests
-into a single multimeasure rest. Multi measure rests do not take part
-in rest collisions.
+There is no way to automatically condense multiple rests into a single
+multimeasure rest. Multi measure rests do not take part in rest
+collisions.
Be careful when entering multimeasure rests followed by whole notes,
@example
Automatic part combining is used to merge two parts of music onto a
-staff in an intelligent way. It is aimed primarily at typesetting
-orchestral scores. When the two parts are identical for a period of
-time, only one is shown. In places where the two parts differ, they
-are typeset as separate voices, and stem directions are set
-automatically. Also, solo and @emph{a due} parts can be identified
-and marked.
+staff. It is aimed at typesetting orchestral scores. When the two
+parts are identical for a period of time, only one is shown. In
+places where the two parts differ, they are typeset as separate
+voices, and stem directions are set automatically. Also, solo and
+@emph{a due} parts are identified and can be marked.
+
+@syntax
The syntax for part combining is
must be interpreted by contexts whose names should start with @code{one}
and @code{two}.
-The most useful function of the part combiner is to combine parts into
-one voice, as common for wind parts in orchestral scores:
+The following example demonstrates the basic functionality of the part
+combiner: putting parts on one staff, and setting stem directions and
+polyphony.
@lilypond[verbatim,singleline,fragment]
\context Staff <
>
@end lilypond
-There are a number of other properties that you can use to tweak the
-behavior of part combining, refer to the automatically generated
-documentation of @internalsref{Thread_devnull_engraver} and
-@internalsref{Voice_devnull_engraver}. Look at the documentation of the
-responsible engravers, @code{Thread_devnull_engraver},
-@code{Voice_devnull_engraver} and @code{A2_engraver}.
+@seealso
+
+ Look at the documentation of the responsible engravers,
+@code{Thread_devnull_engraver}, @code{Voice_devnull_engraver} and
+@code{A2_engraver}.
@refbugs
+The syntax for naming contexts in inconsistent with the syntax for
+combining stanzas.
+
In @code{soloADue} mode, when the two voices play the same notes on and
off, the part combiner may typeset @code{a2} more than once in a
measure.
>
@end lilypond
+The part combiner is slated to be rewritten [TODO: explain why] .
+
@cindex @code{Thread_devnull_engraver}
@cindex @code{Voice_engraver}
@cindex @code{A2_engraver}
@subsection Hara kiri staves
In orchestral scores, staff lines that only have rests are usually removed.
-This saves some space. LilyPond also supports this through the hara
-kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
-the Japanese Samourai warriors.} staff. This staff commits suicide when
-it finds itself to be empty after the line-breaking process. It will
-not disappear when it contains normal rests, you must use multi measure
+This saves some space. This style is called `French Score'.
+
+@syntax
+
+This is supported through the hara kiri@footnote{Hara kiri is the
+vulgar name for Seppuku, is the ritual suicide of the Japanese
+Samourai warriors.} staff. This staff commits suicide when it finds
+itself to be empty after the line-breaking process. It will not
+disappear when it contains normal rests, you must use multi measure
rests.
-The hara kiri staff is specialized version of the @internalsref{Staff}
-context. It is available as the context identifier
+For @internalsref{Lyrics}, @internalsref{LyricsVoice},
+@internalsref{ChordNames} and @internalsref{FiguredBass}, hara-kiri is
+switched on by default. For normal staffs, hara kiri is available as a
+specialized @internalsref{Staff} context, with the name identifier
@code{\HaraKiriStaffContext}. Observe how the second staff in this
example disappears in the second line.
}
@end lilypond
-For @internalsref{Lyrics}, @internalsref{LyricsVoice},
-@internalsref{ChordNames} and @internalsref{FiguredBass}, hara-kiri is
-switched on by default.
-
@node Sound output for transposing instruments
@subsection Sound output for transposing instruments
@cindex Petrucci
@cindex mensural
+[TODO: write introduction on ancient notation]
+
@menu
* Ancient note heads::
* Ancient clefs ::
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