When you copy existing music, it is easy to accidentally put a pitch
in the wrong octave and hard to find such an error. The relative
octave mode prevents these errors: a single error puts the rest of the
-piece off by one octave.
+piece off by one octave:
@cindex @code{\relative}
@example
The octave of notes that appear in @var{musicexpr} are calculated as
follows: If no octave changing marks are used, the basic interval
between this and the last note is always taken to be a fourth or less
-(This distance is determined without regarding alterations; a
+(; this distance is determined without regarding alterations: a
@code{fisis} following a @code{ceses} will be put above the
-@code{ceses})
+@code{ceses}).
The octave changing marks @code{'} and @code{,} can be added to raise
or lower the pitch by an extra octave. Upon entering relative mode,
}
@end lilypond
-Octave changing marks are used for intervals greater than a fourth.
+Octave changing marks are used for intervals greater than a fourth:
@lilypond[fragment,verbatim,center]
\relative c'' {
c g c f, c' a, e'' }
@end lilypond
If the preceding item is a chord, the first note of the chord is used
-to determine the first note of the next chord.
+to determine the first note of the next chord:
@lilypond[fragment,verbatim,center]
\relative c' {
@code{barCheckSynchronize}, the beginning of the measure will be
relocated.
-In the next example, the second bar check will signal an error.
+In the next example, the second bar check will signal an error:
@example
\time 3/4 c2 e4 | g2 |
@end example
off typesetting completely during the interpretation phase. When
typesetting is switched off, the music is processed much more quickly.
This can be used to skip over the parts of a score that have already
-been checked for errors.
+been checked for errors:
@lilypond[fragment,singleline,verbatim]
\relative c'' { c8 d
Long notes can be converted automatically to tied notes. This is done
by replacing the @internalsref{Note_heads_engraver} by the
-@internalsref{Completion_heads_engraver}.
+@internalsref{Completion_heads_engraver}:
@example
\paper @{ \translator @{
@} @}
@end example
-For example,
+which will make long notes tied in the following example:
@example
\time 2/4
c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
@syntax
Setting or changing the key signature is done with the @code{\key}
-command.
+command:
@example
@code{\key} @var{pitch} @var{type}
@end example
\key f\major c''2 \clef alto g'2
@end lilypond
-Supported clef-names include
+Supported clef-names include:
@c Moved standard clefs to the top /MB
@table @code
@item treble, violin, G, G2
@end table
By adding @code{_8} or @code{^8} to the clef name, the clef is
-transposed one octave down or up, respectively. @var{clefname} must
-be enclosed in quotes when it contains underscores or digits. For
+transposed one octave down or up, respectively. Argument @var{clefname}
+must be enclosed in quotes when it contains underscores or digits. For
example,
@example
\clef "G_8"
``Ottava'' brackets introduce an extra transposition of an octave for
the staff. They are created by invoking the function
-@code{set-octavation}
+@code{set-octavation}:
@cindex ottava
@cindex 15ma
@syntax
The time signature is set or changed by the @code{\time}
-command.
+command:
@lilypond[fragment,verbatim]
\time 2/4 c'2 \time 3/4 c'2.
@end lilypond
@internalsref{MeasureGrouping} signs. Such signs ease reading
rhythmically complex modern music. In the following example, the 9/8
measure is subdivided in 2, 2, 2 and 3. This is passed to
-@code{set-time-signature} as the third argument @code{(2 2 2 3)}.
+@code{set-time-signature} as the third argument @code{(2 2 2 3)}:
@lilypond[verbatim]
\score { \notes \relative c'' {
@cindex @code{\cadenzaOn }
@code{\cadenzaOn},
@cindex @code{\cadenzaOff }
-@code{\cadenzaOff},
+@code{\cadenzaOff}.
@node Bar lines
@subsection Bar lines
Bar lines delimit measures, but are also used to indicate repeats.
-Normally, tehy are inserted automatically. Line breaks may only
+Normally, they are inserted automatically. Line breaks may only
happen on barlines.
@syntax
c4 \bar "|:" c4
@end lilypond
-The following bar types are available
+The following bar types are available:
@lilypond[fragment, relative, singleline, verbatim]
c4
\bar "|" c
@code{defaultBarType}. The contents of @code{repeatCommands} are used
to override default measure bars.
-@code{whichBar} can also be set directly, using @code{\property} or
-@code{\bar}. These settings take precedence over the automatic
+Property @code{whichBar} can also be set directly, using @code{\property}
+or @code{\bar}. These settings take precedence over the automatic
@code{whichBar} settings.
@cindex whichBar
This can also be done by instantiating @internalsref{Voice} contexts
by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
-a stem directions and horizontal shift for each part.
+a stem directions and horizontal shift for each part:
@c
@lilypond[singleline, verbatim]
Normally, note heads with a different number of dots are not merged, but
when the object property @code{merge-differently-dotted} is set in
-the @internalsref{NoteCollision} object, they are:
+the @internalsref{NoteCollision} object, they are merged:
@lilypond[verbatim,fragment,singleline]
\relative c'' \context Voice < {
g8 g8
c8 c4. } \\ { c2 c2 } >
@end lilypond
-LilyPond also vertically shifts rests that are opposite of a stem.
+LilyPond also vertically shifts rests that are opposite of a stem:
@lilypond[singleline,fragment,verbatim]
@cindex @code{\voiceThree }
@code{\voiceThree},
@cindex @code{\voiceFour }
-@code{\voiceFour},
+@code{\voiceFour}.
The following commands specify in what chords of the current voice
should be shifted: the outer voice has @code{\shiftOff}, and the inner
@cindex @code{\shiftOnnn}
@code{\shiftOnnn},
@cindex @code{\shiftOff}
-@code{\shiftOff},
+@code{\shiftOff}.
property of the @internalsref{NoteColumn} object and pitched rests can
be used to override typesetting decisions.
-When using @code{merge-differently-headed} with upstem 8th or shorter
+When using @code{merge-differently-headed} with an upstem 8th or a shorter
note, and a downstem half note, the 8th note gets the wrong offset.
@node Beaming
projects / lilypond.git / commitdiff