@c -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond.tely
@ignore
- Translation of GIT committish: 23542761090f167ad42dbff7ef11d44a9c1374ac
+ Translation of GIT committish: f6b77b196db5d80b891e133e58659095134424de
When revising a translation, copy the HEAD committish of the
version that you are working on. See TRANSLATION for details.
@c \version "2.11.51"
+@c Translation status: post-GDP
+
@node Introduction
@chapter Introduction
+En este capĆtulo se presentan al lector LilyPond y su documentaciĆ³n.
+
+@menu
+* Background::
+* About the documentation::
+@end menu
+
+@node Background
+@section Background
+
+Esta secciĆ³n se ocupa de las metas principales y la arquitectura de
+LilyPond.
+
@menu
* Engraving::
* What symbols to engrave?::
* Music representation::
* Example applications::
-* About the documentation::
@end menu
@node Engraving
-@section Engraving
-
-El arte de la tipografĆa musical se conoce como @emph{grabado (en plancha)}. El
-tĆ©rmino deriva del proceso tradicional de la impresiĆ³n musical. Hace sĆ³lo unas
-dĆ©cadas, la mĆŗsica impresa se hacĆa estampando la mĆŗsica
-sobre planchas de zinc o estaƱo de forma invertida como en un espejo. DespuƩs la plancha se
-entintaba y las depresiones causadas por los cortes y estampados retenĆan
-la tinta. Al presionar una hoja de papel sobre la plancha, se formaba una imagen. El
-estampado y cortado se hacĆa completamente a mano. Cualquier correcciĆ³n era
-muy fastidiosa de realizar, si es que era posible hacerla siquiera, asĆ que el grabado tenĆa que quedar
-perfecto a la primera. El grabado era una habilidad altamente especializada; un artesano necesitaba
-unos cinco aƱos de preparaciĆ³n antes de poder ostentar el tĆtulo de
-maestro grabador, y se necesitaban otros cinco aƱos de experiencia para
-ser un autƩntico experto.
-
-Hoy en dĆa, toda la mĆŗsica impresa nueva se produce con ordenadores. Esto
-tiene unas ventajas evidentes: las copias son mƔs baratas de producir y el trabajo editorial
-se puede repartir por correo electrĆ³nico. Desgraciadamente la penetrante utilizaciĆ³n de
-ordenadores tambiƩn ha hecho disminuir la calidad grƔfica de las partituras.
-Las impresiones de ordenador tienen un aspecto insulso y mecƔnico, lo que hace que sea desagradable tocar a partir de ellas.
+@unnumberedsubsec Engraving
+
+El arte de la tipografĆa musical se conoce como @emph{grabado (en
+plancha)}. El tĆ©rmino deriva del proceso tradicional de la impresiĆ³n
+musical. Hace sĆ³lo unas dĆ©cadas, la mĆŗsica impresa se hacĆa
+estampando la mĆŗsica sobre planchas de zinc o estaƱo de forma
+invertida como en un espejo. DespuƩs la plancha se entintaba y las
+depresiones causadas por los cortes y estampados retenĆan la tinta.
+Al presionar una hoja de papel sobre la plancha, se formaba una
+imagen. El estampado y cortado se hacĆa completamente a mano.
+Cualquier correcciĆ³n era muy fastidiosa de realizar, si es que era
+posible hacerla siquiera, asĆ que el grabado tenĆa que quedar perfecto
+a la primera. El grabado era una habilidad altamente especializada;
+un artesano necesitaba unos cinco aƱos de preparaciĆ³n antes de poder
+ostentar el tĆtulo de maestro grabador, y se necesitaban otros cinco
+aƱos de experiencia para ser un autƩntico experto.
+
+Hoy en dĆa, toda la mĆŗsica impresa nueva se produce con ordenadores.
+Esto tiene unas ventajas evidentes: las copias son mƔs baratas de
+producir y el trabajo editorial se puede repartir por correo
+electrĆ³nico. Desgraciadamente la penetrante utilizaciĆ³n de
+ordenadores tambiƩn ha hecho disminuir la calidad grƔfica de las
+partituras. Las impresiones de ordenador tienen un aspecto insulso y
+mecƔnico, lo que hace que sea desagradable tocar a partir de ellas.
@c introduce illustrating aspects of engraving, font...
Las imƔgenes siguientes ilustran la diferencia entre el grabado
-tradicional y la salida tĆpica de ordenador, y la tercera imagen muestra cĆ³mo
-LilyPond imita el aspecto tradicional. La imagen de la izquierda presenta el dibujo escaneado
-de un sĆmbolo de bemol sacado de una ediciĆ³n publicada en el aƱo 2000. La del centro
-es un sĆmbolo procedente de una ediciĆ³n de B@"{a}renreiter grabada a mano de la
-misma mĆŗsica. La de la izquierda ilustra los tĆpicos puntos dĆ©biles de la impresiĆ³n por
-ordenador: las lĆneas del pentagrama son muy delgadas, el peso del sĆmbolo del bemol es tambiĆ©n demasiado ligero
-como las lĆneas del pentagrama, y tiene una apariencia rectilĆnea con esquinas afiladas. En
-contraste, el bemol de B@"{a}renreiter tiene una apariencia redonda, pesada, casi
-voluptuosa. Nuestro sĆmbolo del bemol se diseĆ±Ć³ segĆŗn Ć©ste, entre otros.
-Es de forma redondeada y su peso estĆ” en armonĆa con el grosor de
-nuestras lĆneas de pentagrama, que son asimismo mucho mĆ”s gruesas que las de la
-ediciĆ³n por ordenador.
+tradicional y la salida tĆpica de ordenador, y la tercera imagen
+muestra cĆ³mo LilyPond imita el aspecto tradicional. La imagen de la
+izquierda presenta el dibujo escaneado de un sĆmbolo de bemol sacado
+de una ediciĆ³n publicada en el aƱo 2000. La del centro es un sĆmbolo
+procedente de una ediciĆ³n de B@"{a}renreiter grabada a mano de la
+misma mĆŗsica. La de la izquierda ilustra los tĆpicos puntos dĆ©biles
+de la impresiĆ³n por ordenador: las lĆneas del pentagrama son muy
+delgadas, el peso del sĆmbolo del bemol es tambiĆ©n demasiado ligero
+como las lĆneas del pentagrama, y tiene una apariencia rectilĆnea con
+esquinas afiladas. En contraste, el bemol de BƤrenreiter tiene una
+apariencia redonda, pesada, casi voluptuosa. Nuestro sĆmbolo del
+bemol se diseĆ±Ć³ segĆŗn Ć©ste, entre otros. Es de forma redondeada y su
+peso estĆ” en armonĆa con el grosor de nuestras lĆneas de pentagrama,
+que son asimismo mucho mĆ”s gruesas que las de la ediciĆ³n por
+ordenador.
@multitable @columnfractions .125 .25 .25 .25 .125
@item @tab
@cindex equilibrio
@c introduce illustrating aspects of engraving, spacing...
-TratĆ”ndose del espaciado, la distribuciĆ³n del espacio debe reflejar las duraciones
-que hay entre las notas. Sin embargo muchas partituras modernas se ataƱen a las duraciones
-con precisiĆ³n matemĆ”tica, lo que lleva a unos resultados bastante pobres. En el siguiente
-ejemplo se muestra un ejemplo dos veces: una utilizando espaciado matemƔticamente
-exacto, y otra con ciertas correcciones. ĀæPuede adivinar cuĆ”l es cuĆ”l?
+TratĆ”ndose del espaciado, la distribuciĆ³n del espacio debe reflejar
+las duraciones que hay entre las notas. Sin embargo muchas partituras
+modernas se ataƱen a las duraciones con precisiĆ³n matemĆ”tica, lo que
+lleva a unos resultados bastante pobres. En el siguiente ejemplo se
+muestra un ejemplo dos veces: una utilizando espaciado matemƔticamente
+exacto, y otra con ciertas correcciones. ĀæPuede adivinar cuĆ”l es
+cuƔl?
@cindex espaciado Ć³ptico
@c file spacing-optical.
@cindex ritmos regulares
@cindex espaciado regular
-Cada uno de los dos compases de este fragmento tiene solamente notas de duraciĆ³n constante.
-El espaciado deberĆa reflejarlo. Desgraciadamente el ojo
-nos engaƱa un poco; no solamente percibe la distancia entre las
-cabezas de las notas, sino que tiene tambiƩn en cuenta la distancia entre
-las plicas. Como resultado, las notas de una combinaciĆ³n plica arriba/@/plica abajo
-se tendrĆan que separar mĆ”s, y las notas de una combinaciĆ³n
-plica abajo/@/plica arriba deberĆan juntarse, todo ello
-dependiendo de las posiciones combinadas de las notas. Los dos
-compases de arriba estĆ”n impresos con esta correcciĆ³n y los de abajo
-sin ella, formando grupos de notas pegadas con plica abajo/@/plica arriba.
+Cada uno de los dos compases de este fragmento tiene solamente notas
+de duraciĆ³n constante. El espaciado deberĆa reflejarlo.
+Desgraciadamente el ojo nos engaƱa un poco; no solamente percibe la
+distancia entre las cabezas de las notas, sino que tiene tambiƩn en
+cuenta la distancia entre las plicas. Como resultado, las notas de
+una combinaciĆ³n plica arriba/@/plica abajo se tendrĆan que separar
+mĆ”s, y las notas de una combinaciĆ³n plica abajo/@/plica arriba
+deberĆan juntarse, todo ello dependiendo de las posiciones combinadas
+de las notas. Los dos compases de arriba estƔn impresos con esta
+correcciĆ³n y los de abajo sin ella, formando grupos de notas pegadas
+con plica abajo/@/plica arriba.
@cindex tipografĆa
-Los mĆŗsicos estĆ”n normalmente mĆ”s concentrados en tocar que en estudiar
-el aspecto de una partitura, y por ello las pequeƱeces sobre los detalles
-tipogrƔficos pueden parecer acadƩmicas. Pero no lo son. En las partituras mƔs largas con
-ritmos monĆ³tonos, las correcciones de espaciado llevan a sutiles variaciones en
-la disposiciĆ³n de cada una de las lĆneas dĆ”ndoles una especie de firma visual distintiva.
-Sin esta firma, todas las lĆneas parecerĆan iguales, y se convertirĆan en
+Los mĆŗsicos estĆ”n normalmente mĆ”s concentrados en tocar que en
+estudiar el aspecto de una partitura, y por ello las pequeƱeces sobre
+los detalles tipogrƔficos pueden parecer acadƩmicas. Pero no lo son.
+En las partituras mĆ”s largas con ritmos monĆ³tonos, las correcciones de
+espaciado llevan a sutiles variaciones en la disposiciĆ³n de cada una
+de las lĆneas dĆ”ndoles una especie de firma visual distintiva. Sin
+esta firma, todas las lĆneas parecerĆan iguales, y se convertirĆan en
un laberinto. Si un mĆŗsico aparta la mirada o tiene un lapsus de
concentraciĆ³n, las lĆneas podrĆan perder su lugar sobre el papel.
-De forma similar, la fuerza visual de unos sĆmbolos pesados sobre gruesas lĆneas de pentagrama
-se sostiene mejor cuando el lector se aleja del papel, por
-ejemplo cuando estĆ” sobre un atril. Una distribuciĆ³n cuidadosa del espacio
-blanco permite disponer la mĆŗsica muy apretada sin que los sĆmbolos se toquen unos a otros.
-El resultado reduce a un mĆnimo las vueltas de pĆ”gina, lo que es
-una gran ventaja.
-
-Ćsta es una caracterĆstica normal del arte tipogrĆ”fico. La disposiciĆ³n de la pĆ”gina tiene que ser
-bonita, no sĆ³lo por sĆ misma, sino sobre todo porque asĆ ayuda al lector en su tarea.
-Para los materiales destinados a la interpretaciĆ³n, como las partituras, esto es
-de una importancia doble: los mĆŗsicos tienen una capacidad de concentraciĆ³n limitada.
-Cuanta menos atenciĆ³n necesiten para el acto de leer, mĆ”s se pueden dedicar
-al acto de tocar la mĆŗsica. Dicho de otra forma: una mejor tipografĆa se traduce
-en una mejor interpretaciĆ³n.
-
-Estos ejemplos demuestran que la tipografĆa musical es un arte
-sutil y complejo, y que su elaboraciĆ³n requiere una experiencia considerable,
-que los mĆŗsicos no suelen tener. LilyPond representa nuestro
-esfuerzo para llevar la excelencia visual de la mĆŗsica grabada a mano
-a la era de la informĆ”tica, y ponerla a disposiciĆ³n de los mĆŗsicos normales. Hemos
-ido afinando nuestros algoritmos, diseƱos de tipografĆa y preferencias del programa
-para producir una impresiĆ³n cuya calidad se equipara con la de las viejas ediciones
-que tanto nos gusta contemplar y de las que tanto nos gusta tocar.
+De forma similar, la fuerza visual de unos sĆmbolos pesados sobre
+gruesas lĆneas de pentagrama se sostiene mejor cuando el lector se
+aleja del papel, por ejemplo cuando estĆ” sobre un atril. Una
+distribuciĆ³n cuidadosa del espacio blanco permite disponer la mĆŗsica
+muy apretada sin que los sĆmbolos se toquen unos a otros. El
+resultado reduce a un mĆnimo las vueltas de pĆ”gina, lo que es una gran
+ventaja.
+
+Ćsta es una caracterĆstica normal del arte tipogrĆ”fico. La
+disposiciĆ³n de la pĆ”gina tiene que ser bonita, no sĆ³lo por sĆ misma,
+sino sobre todo porque asĆ ayuda al lector en su tarea. Para los
+materiales destinados a la interpretaciĆ³n, como las partituras, esto
+es de una importancia doble: los mĆŗsicos tienen una capacidad de
+concentraciĆ³n limitada. Cuanta menos atenciĆ³n necesiten para el acto
+de leer, mĆ”s se pueden dedicar al acto de tocar la mĆŗsica. Dicho de
+otra forma: una mejor tipografĆa se traduce en una mejor
+interpretaciĆ³n.
+
+Estos ejemplos demuestran que la tipografĆa musical es un arte sutil y
+complejo, y que su elaboraciĆ³n requiere una experiencia considerable,
+que los mĆŗsicos no suelen tener. LilyPond representa nuestro esfuerzo
+para llevar la excelencia visual de la mĆŗsica grabada a mano a la era
+de la informĆ”tica, y ponerla a disposiciĆ³n de los mĆŗsicos normales.
+Hemos ido afinando nuestros algoritmos, diseƱos de tipografĆa y
+preferencias del programa para producir una impresiĆ³n cuya calidad se
+equipara con la de las viejas ediciones que tanto nos gusta contemplar
+y de las que tanto nos gusta tocar.
@node Automated engraving
-@section Automated engraving
-
-ĀæCĆ³mo nos las arreglamos para implementar la tipografĆa? Si un artesano
-necesita mĆ”s de diez aƱos para convertirse en un autĆ©ntico maestro ĀæcĆ³mo vamos
-a poder nosotros, simples Ā«hackersĀ», escribir
-un programa que les quite el trabajo?
-
-La respuesta es: Ā”no podemos! Puesto que la tipografĆa se fundamenta en el juicio humano
-sobre la apariencia, nunca se puede sustituir completamente a las personas.
-Sin embargo, se puede automatizar gran parte del trabajo mƔs duro y repetitivo.
-Si LilyPond resuelve la mayorĆa de las situaciones comunes de forma correcta,
-esto ya serĆ” una tremenda mejorĆa sobre los programas existentes.
-El resto de los casos se podrƔn afinar a mano. Con el transcurso
-de los aƱos, el software se puede refinar para que haga un mayor nĆŗmero
-de cosas de forma automƔtica, de tal forma que los ajustes manuales tienden a ser
+@unnumberedsubsec Automated engraving
+
+ĀæCĆ³mo nos las arreglamos para implementar la tipografĆa? Si un
+artesano necesita mƔs de diez aƱos para convertirse en un autƩntico
+maestro ĀæcĆ³mo vamos a poder nosotros, simples Ā«hackersĀ», escribir un
+programa que les quite el trabajo?
+
+La respuesta es: no podemos. Puesto que la tipografĆa se fundamenta
+en el juicio humano sobre la apariencia, nunca se puede sustituir
+completamente a las personas. Sin embargo, se puede automatizar gran
+parte del trabajo mƔs duro y repetitivo. Si LilyPond resuelve la
+mayorĆa de las situaciones comunes de forma correcta, esto ya serĆ” una
+tremenda mejorĆa sobre los programas existentes. El resto de los
+casos se podrƔn afinar a mano. Con el transcurso de los aƱos, el
+software se puede refinar para que haga un mayor nĆŗmero de cosas de
+forma automƔtica, de tal forma que los ajustes manuales tienden a ser
cada vez menos necesarios.
-Cuando empezamos, escribimos el programa LilyPond completamente en el lenguaje C++;
-la funcionalidad del programa quedaba como esculpida en piedra por los desarrolladores.
-Este esquema resultĆ³ no ser muy satisfactorio por una serie de motivos:
+Cuando empezamos, escribimos el programa LilyPond completamente en el
+lenguaje C++; la funcionalidad del programa quedaba como esculpida en
+piedra por los desarrolladores. Este esquema resultĆ³ no ser muy
+satisfactorio por una serie de motivos:
@itemize
@item Cuando LilyPond comete fallos,
-los usuarios tienen la necesidad de superar las decisiones de formateo. Por
-ello el usuario debe tener acceso
-al motor de formateo. De aquĆ que no podamos dejar establecidas las reglas y valores
-durante la compilaciĆ³n, sino que los usuarios deben poder
-acceder a ellos durante la ejecuciĆ³n del programa.
+los usuarios tienen la necesidad de superar las decisiones de
+formateo. Por ello el usuario debe tener acceso al motor de formateo.
+De aquĆ que no podamos dejar establecidas las reglas y valores durante
+la compilaciĆ³n, sino que los usuarios deben poder acceder a ellos
+durante la ejecuciĆ³n del programa.
@item El grabado de mĆŗsica es cosa de juicio visual y por ello es cuestiĆ³n de gustos.
-A pesar de saber tanto como creemos saber, los usuarios pueden no estar de acuerdo
-con nuestras decisiones personales. Por tanto la definiciĆ³n del estilo tipogrĆ”fico
-tambiƩn debe estar al alcance del usuario.
+A pesar de saber tanto como creemos saber, los usuarios pueden no
+estar de acuerdo con nuestras decisiones personales. Por tanto la
+definiciĆ³n del estilo tipogrĆ”fico tambiĆ©n debe estar al alcance del
+usuario.
@item Por Ćŗltimo, estamos continuamente refinando los algoritmos de formateo y por
-tanto necesitamos un enfoque flexible para las reglas. El lenguaje C++ fuerza un
-cierto mƩtodo para agrupar las reglas que no encaja bien con la manera de funcionar
-de la notaciĆ³n musical.
+tanto necesitamos un enfoque flexible para las reglas. El lenguaje
+C++ fuerza un cierto mƩtodo para agrupar las reglas que no encaja bien
+con la manera de funcionar de la notaciĆ³n musical.
@end itemize
-Estos problemas se han solucionado integrando un intƩrprete del lenguaje
-Scheme y reescribiendo parte del cĆ³digo de LilyPond en Scheme.
-La actual arquitectura de formateo se construye alrededor del concepto de objetos
-grƔficos, descrita por variables y funciones de Scheme. Esta arquitectura puede
-tratar al mismo tiempo con las reglas de formateo, el estilo tipogrƔfico
-y las decisiones de formateo individuales. El usuario tiene acceso directo a la
-mayor parte de estos controles.
-
-Las variables de Scheme controlan las decisiones de formateo. Por ejemplo, muchos
-objetos grĆ”ficos tienen una variable de direcciĆ³n que codifica la elecciĆ³n entre
-arriba y abajo (o izquierda y derecha). AquĆ puede ver dos acordes con acentos y
-signos de arpegio. En el primer acorde los objetos grƔficos tienen todas sus
-direcciones hacia abajo (o hacia la izquierda). El segundo acorde tiene todas las direcciones hacia arriba (o hacia la derecha).
+Estos problemas se han solucionado integrando un intƩrprete del
+lenguaje Scheme y reescribiendo parte del cĆ³digo de LilyPond en
+Scheme. La actual arquitectura de formateo se construye alrededor del
+concepto de objetos grƔficos, descrita por variables y funciones de
+Scheme. Esta arquitectura puede tratar al mismo tiempo con las reglas
+de formateo, el estilo tipogrƔfico y las decisiones de formateo
+individuales. El usuario tiene acceso directo a la mayor parte de
+estos controles.
+
+Las variables de Scheme controlan las decisiones de formateo. Por
+ejemplo, muchos objetos grĆ”ficos tienen una variable de direcciĆ³n que
+codifica la elecciĆ³n entre arriba y abajo (o izquierda y
+derecha). AquĆ puede ver dos acordes con acentos y signos de arpegio.
+En el primer acorde los objetos grƔficos tienen todas sus direcciones
+hacia abajo (o hacia la izquierda). El segundo acorde tiene todas las
+direcciones hacia arriba (o hacia la derecha).
@lilypond[quote,ragged-right]
\new Score \with {
@end lilypond
@noindent
-El proceso de formatear una partitura consiste en leer y escribir las variables
-de los objetos grƔficos. Ciertas variables tienen un valor predefinido. Por
-ejemplo, el grosor de muchas lĆneas (una caracterĆstica del estilo tipogrĆ”fico)
-son variables con un valor preestablecido. Podemos alterar este valor libremente
-dando asĆ a nuestra partitura una impresiĆ³n tipogrĆ”fica distinta.
+El proceso de formatear una partitura consiste en leer y escribir las
+variables de los objetos grƔficos. Ciertas variables tienen un valor
+predefinido. Por ejemplo, el grosor de muchas lĆneas (una
+caracterĆstica del estilo tipogrĆ”fico) son variables con un valor
+preestablecido. Podemos alterar este valor libremente dando asĆ a
+nuestra partitura una impresiĆ³n tipogrĆ”fica distinta.
@lilypond[quote,ragged-right]
fragment = {
>>
@end lilypond
-Las reglas de formateo tambiƩn son variables que estƔn predefinidas: cada objeto tiene
-unas variables que contienen procedimientos. Estos procedimientos realizan el trabajo
-real de formateo y sustituyƩndolos por otros podemos alterar el aspecto de los objetos.
-En el siguiente ejemplo, la regla que define cĆ³mo se dibuja la cabeza de una nota
-se altera durante el transcurso del fragmento musical.
+Las reglas de formateo tambiƩn son variables que estƔn predefinidas:
+cada objeto tiene unas variables que contienen procedimientos. Estos
+procedimientos realizan el trabajo real de formateo y sustituyƩndolos
+por otros podemos alterar el aspecto de los objetos. En el siguiente
+ejemplo, la regla que define cĆ³mo se dibuja la cabeza de una nota se
+altera durante el transcurso del fragmento musical.
@lilypond[quote,ragged-right]
#(set-global-staff-size 30)
@node What symbols to engrave?
-@section What symbols to engrave?
+@unnumberedsubsec What symbols to engrave?
@cindex grabado
@cindex tipografĆa
-El proceso de formateo toma las decisiones sobre dĆ³nde colocar los sĆmbolos.
-Sin embargo esto sĆ³lo se puede hacer una vez que se ha decidido @emph{quĆ©} sĆmbolos
-han de imprimirse, o dicho de otro modo: quĆ© notaciĆ³n utilizar.
-
-La notaciĆ³n musical comĆŗn es un sistema de registro de mĆŗsica que ha venido
-evolucionando desde hace mil aƱos. La forma que se usa en nuestros dĆas data de
-los primeros tiempos del Renacimiento. Aunque la forma bƔsica (es decir: puntos
-sobre una pauta de cinco lĆneas) no ha cambiado, los detalles continĆŗan evolucionando
-para expresar todas las innovaciones de la notaciĆ³n contemporĆ”nea.
-Por tanto abarca unos quinientos aƱos de mĆŗsica. Sus aplicaciones se extienden sobre un
-amplio rango que abarca desde melodĆas monofĆ³nicas hasta monstruosos contrapuntos
-para gran orquesta.
-
-ĀæCĆ³mo podemos tratar con una bestia de tantas cabezas, y obligarla a que se encierre
-dentro de los lĆmites de un programa de ordenador? Nuestra soluciĆ³n es trocear el
-problema de la notaciĆ³n (por oposiciĆ³n al grabado, esto es, a la tipografĆa) en
-fragmentos digeribles y mĆ”s fĆ”ciles de programar: cada tipo de sĆmbolo se maneja por un
-mĆ³dulo separado que recibe el nombre de Ā«plug-inĀ». Cada Ā«plug-inĀ» es completamente modular
-e independiente, de forma que puede desarrollarse y mejorarse por separado. Estos
-Ā«plug-insĀ» se llaman @code{engraver}s (grabadores), por analogĆa con los artesanos que
+El proceso de formateo toma las decisiones sobre dĆ³nde colocar los
+sĆmbolos. Sin embargo esto sĆ³lo se puede hacer una vez que se ha
+decidido @emph{quĆ©} sĆmbolos han de imprimirse, o dicho de otro modo:
+quĆ© notaciĆ³n utilizar.
+
+La notaciĆ³n musical comĆŗn es un sistema de registro de mĆŗsica que ha
+venido evolucionando desde hace mil aƱos. La forma que se usa en
+nuestros dĆas data de los primeros tiempos del Renacimiento. Aunque
+la forma bĆ”sica (es decir: puntos sobre una pauta de cinco lĆneas) no
+ha cambiado, los detalles continĆŗan evolucionando para expresar todas
+las innovaciones de la notaciĆ³n contemporĆ”nea. Por tanto abarca unos
+quinientos aƱos de mĆŗsica. Sus aplicaciones se extienden sobre un
+amplio rango que abarca desde melodĆas monofĆ³nicas hasta monstruosos
+contrapuntos para gran orquesta.
+
+ĀæCĆ³mo podemos tratar con una bestia de tantas cabezas, y obligarla a
+que se encierre dentro de los lĆmites de un programa de ordenador?
+Nuestra soluciĆ³n es trocear el problema de la notaciĆ³n (por oposiciĆ³n
+al grabado, esto es, a la tipografĆa) en fragmentos digeribles y mĆ”s
+fĆ”ciles de programar: cada tipo de sĆmbolo se maneja por un mĆ³dulo
+separado que recibe el nombre de Ā«plug-inĀ». Cada Ā«plug-inĀ» es
+completamente modular e independiente, de forma que puede
+desarrollarse y mejorarse por separado. Estos Ā«plug-insĀ» se llaman
+@code{engraver}s (grabadores), por analogĆa con los artesanos que
traducen las ideas musicales a sĆmbolos grĆ”ficos.
-En el siguiente ejemplo vemos cĆ³mo comenzamos con un plug-in para las cabezas
-de las notas, el @code{Note_heads_engraver}.
+En el siguiente ejemplo vemos cĆ³mo comenzamos con un plug-in para las
+cabezas de las notas, el @code{Note_heads_engraver}.
@lilypond[quote,ragged-right]
\include "engraver-example.ily"
@end lilypond
@noindent
-A continuaciĆ³n un @code{Staff_symbol_engraver} (grabador del pentagrama) aƱade las
-lĆneas de la pauta.
+A continuaciĆ³n un @code{Staff_symbol_engraver} (grabador del
+pentagrama) aƱade la pauta.
@lilypond[quote,ragged-right]
\include "engraver-example.ily"
@end lilypond
@noindent
-El @code{Clef_engraver} (grabador de la clave) define un punto de referencia
-para la altura de las notas en el pentagrama.
+El @code{Clef_engraver} (grabador de la clave) define un punto de
+referencia para el pentagrama.
@lilypond[quote,ragged-right]
\include "engraver-example.ily"
@end lilypond
@noindent
-El @code{Stem_engraver} (grabador de plicas) recibe una notificaciĆ³n cuando llega
-una cabeza. Cada vez que se ve una cabeza (o mƔs, si es un acorde), se crea un objeto
-plica y se conecta a la cabeza. AƱadiendo grabadores para las barras, ligaduras,
-acentos, alteraciones, lĆneas divisorias, indicaciĆ³n de compĆ”s y armadura conseguimos
-una notaciĆ³n completa.
+El @code{Stem_engraver} (grabador de plicas) recibe una notificaciĆ³n
+cuando llega una cabeza. Cada vez que se ve una cabeza (o mƔs, si es
+un acorde), se crea un objeto plica y se conecta a la cabeza.
+AƱadiendo grabadores para las barras, ligaduras, acentos,
+alteraciones, lĆneas divisorias, indicaciĆ³n de compĆ”s y armadura
+conseguimos una notaciĆ³n completa.
@lilypond[quote,ragged-right]
\include "engraver-example.ily"
\score { \topVoice }
@end lilypond
-Este sistema funciona bien para la mĆŗsica monofĆ³nica, pero Āæy con la polifonĆa? En
-notaciĆ³n polifĆ³nica muchas voces pueden compartir el mismo pentagrama.
+Este sistema funciona bien para la mĆŗsica monofĆ³nica, pero Āæy con la
+polifonĆa? En notaciĆ³n polifĆ³nica muchas voces pueden compartir el
+mismo pentagrama.
@lilypond[quote,ragged-right]
\include "engraver-example.ily"
@seealso
-Referencia de funcionamiento interno: @rinternals{Contexts}.
+Referencia de funcionamiento interno:
+@rinternals{Contexts}.
@lilypond[quote,ragged-right]
\include "engraver-example.ily"
@end lilypond
@node Music representation
-@section Music representation
+@unnumberedsubsec Music representation
Idealmente el formato de entrada para cualquier sistema de formateo de
alto nivel es una descripciĆ³n abstracta del contenido. En este caso,
programa sirve como definiciĆ³n formal de un documento musical.
-La sintaxis tambiĆ©n es el interfaz de usuario de LilyPond, asĆ que es fĆ”cil teclear
+La sintaxis tambiĆ©n es el interfaz de usuario de LilyPond, asĆ que es
+fƔcil teclear
@example
-c'4 d'8
+@{
+ c'4 d'8
+@}
@end example
@noindent
-un Do1 (Do central) negra, y un Re1 (el Re por encima del Do central) corchea.
+un Do1 (Do central) negra, y un Re1 (el Re por encima del Do central)
+corchea.
-@lilypond[quote,fragment]
-c'4 d'8
+@lilypond[quote]
+{
+ c'4 d'8
+}
@end lilypond
A una escala microscĆ³pica, dicha sintaxis es fĆ”cil de utilizar. A una
@end lilypond
@noindent
-Los acordes se pueden construir encerrando las notas entre @code{<<} y @code{>>}
+Los acordes se pueden construir encerrando las notas entre @code{<<} y
+@code{>>}
@c < > is not a music expression,
@c so we use <<>> iso. <> to drive home the point of
@c expressions. Don't change this back --hwn.
+
+@c FIXME: change this. I can explain it better. -gp
@example
<<c4 d4 e4>>
@end example
\new Voice { << g2 \\ { f4 <<c d e>> } >> }
@end lilypond
-Las mencionadas estructuras recursivas se pueden especificar de forma nĆtida y formal dentro de una
-gramĆ”tica independiente del contexto. El cĆ³digo de anĆ”lisis tambiĆ©n se genera a partir de esta
-gramƔtica. En otras palabras, la sintaxis de LilyPond estƔ definida
-de una forma clara y sin ambigĆ¼edades.
+Las mencionadas estructuras recursivas se pueden especificar de forma
+nĆtida y formal dentro de una gramĆ”tica independiente del contexto.
+El cĆ³digo de anĆ”lisis tambiĆ©n se genera a partir de esta gramĆ”tica.
+En otras palabras, la sintaxis de LilyPond estĆ” definida de una forma
+clara y sin ambigĆ¼edades.
Los interfaces de usuario y la sintaxis son lo que la persona ve y con
lo que trata principalmente. En parte, son fruto de preferencias
@node Example applications
-@section Example applications
+@unnumberedsubsec Example applications
-Escribimos LilyPond como un experimento de cĆ³mo condensar el arte
-del grabado de mĆŗsica dentro de un programa de ordenador. Gracias a todo este duro
-trabajo, el programa ahora se puede usar para hacer trabajos Ćŗtiles. La
-aplicaciĆ³n mĆ”s sencilla es imprimir notas.
+Escribimos LilyPond como un experimento de cĆ³mo condensar el arte del
+grabado de mĆŗsica dentro de un programa de ordenador. Gracias a todo
+este duro trabajo, el programa ahora se puede usar para hacer trabajos
+Ćŗtiles. La aplicaciĆ³n mĆ”s sencilla es imprimir notas.
@lilypond[quote,relative=1,fragment]
\time 2/4 c4 c g'4 g a4 a g2
@end lilypond
@noindent
-AƱadiendo los nombres de acordes y la letra, obtenemos una hoja guĆa de acordes (lead sheet).
+AƱadiendo los nombres de acordes y la letra, obtenemos una hoja guĆa
+de acordes (lead sheet).
@lilypond[quote,ragged-right]
<<
>>
@end lilypond
-TambiĆ©n se pueden imprimir notaciĆ³n polifĆ³nica y mĆŗsica para piano. El ejemplo
-siguiente combina algunas otras construcciones exĆ³ticas.
+TambiĆ©n se pueden imprimir notaciĆ³n polifĆ³nica y mĆŗsica para piano.
+El ejemplo siguiente combina algunas otras construcciones exĆ³ticas.
@lilypondfile[quote,ragged-right]{screech-boink.ly}
Todos los fragmentos mostrados se han escrito a mano, pero esto no es
-necesariamente asĆ. Puesto que el motor de formateo es casi completamente automĆ”tico,
-puede servir como medio de salida para otros programas que manipulan
-mĆŗsica. Por ejemplo, se puede usar tambiĆ©n para convertir bases de datos de
-fragmentos musicales en imƔgenes con destino a pƔginas web y presentaciones
-multimedia.
+necesariamente asĆ. Puesto que el motor de formateo es casi
+completamente automƔtico, puede servir como medio de salida para otros
+programas que manipulan mĆŗsica. Por ejemplo, se puede usar tambiĆ©n
+para convertir bases de datos de fragmentos musicales en imƔgenes con
+destino a pƔginas web y presentaciones multimedia.
-Este manual tambiĆ©n es un ejemplo de aplicaciĆ³n: el formato de entrada es texto sencillo, y por ello
-se puede empotrar fƔcilmente dentro de otros formatos basados en texto, como
-@LaTeX{}, HTML, o en el caso concreto de este manual, Texinfo. A travƩs de un
-programa especial, los fragmentos de entrada se pueden sustituir por imƔgenes musicales
-dentro de los archivos de salida PDF o HTML resultantes. Esto convierte la tarea de
-mezclar mĆŗsica y texto dentro de los documentos, en algo muy sencillo.
+Este manual tambiĆ©n es un ejemplo de aplicaciĆ³n: el formato de entrada
+es texto sencillo, y por ello se puede empotrar fƔcilmente dentro de
+otros formatos basados en texto, como @LaTeX{}, HTML, o en el caso
+concreto de este manual, Texinfo. A travƩs de un programa especial,
+los fragmentos de entrada se pueden sustituir por imƔgenes musicales
+dentro de los archivos de salida PDF o HTML resultantes. Esto
+convierte la tarea de mezclar mĆŗsica y texto dentro de los documentos,
+en algo muy sencillo.
@node About the documentation
@section About the documentation
+Esta secciĆ³n explica la distintas partes de la documentaciĆ³n.
+
+
+@c leave these lines wrapping around. It's some texinfo 4.12 thing. -gp
+@menu
+* About the Learning Manual (LM):: este manual es una introducciĆ³n a LilyPond que porporciona explicaciones en profundidad sobre cĆ³mo crear notaciĆ³n.
+
+* About the Music Glossary (MG):: este manual explica tƩrminos musicales y aporta traducciones de tƩrminos a otros idiomas.
+
+* About the Notation Reference (NR):: este manual es la porciĆ³n mĆ”s importante de la documentaciĆ³n. Proporciona informaciĆ³n detallada sobre la creaciĆ³n de notaciĆ³n. Este libro da por supuesto que el lector ya conoce el material bĆ”sico cubierto en el MA y que estĆ” familiarizado con los tĆ©rminos musicales ingleses presentados en el GM.
-Hay cuatro manuales de LilyPond: el @emph{Manual de aprendizaje}, la
-@emph{Referencia de la notaciĆ³n}, el manual de @emph{UtilizaciĆ³n del
-programa} y la @emph{Referencia de funcionamiento interno}.
+* About the Application Usage (AU):: trata sobre los programas concretos y los asuntos especĆficos de distintos sistemas operativos.
+
+* About the Snippet List (SL):: es una colecciĆ³n de ejemplos breves de LilyPond.
+
+* About the Internals Reference (IR):: este documento proporciona informaciĆ³n sobre la programaciĆ³n interna de LilyPond, que es necesaria para construir los trucos.
+
+* Other documentation:: existen algunas otras porciones de la documentaciĆ³n, como las Noticias y los archivos histĆ³ricos de las listas de correo.
+
+@end menu
-@subheading Learning Manual (LM)
+@node About the Learning Manual (LM)
+@unnumberedsubsec About the Learning Manual (LM)
Este libro explica cĆ³mo empezar a aprender LilyPond, asĆ como algunos
conceptos clave en tƩrminos sencillos. Se recomienda leer estos
@itemize
@item
-@ifhtml
-El
-@end ifhtml
-@emph{@ref{Tutorial}}
+@ref{Introduction}:
+explica los antecedentes y las metas generales de LilyPond.
+
+@item
+@ref{Tutorial}:
da una amable introducciĆ³n a la tipografĆa musical. Los usuarios que
se acercan por primera vez deben comenzar por aquĆ.
@item
-@emph{@ref{Fundamental concepts}} explica algunos conceptos generales
-sobre el formato de los archivos de entrada de LilyPond. Si no estĆ”
-seguro de dĆ³nde colocar una instrucciĆ³n Ā”lea este capĆtulo!
+@ref{Fundamental concepts}:
+explica algunos conceptos generales sobre el formato de los archivos
+de entrada de LilyPond. Si no estĆ” seguro de dĆ³nde colocar una
+instrucciĆ³n Ā”lea este capĆtulo!
@item
-@emph{@ref{Working on LilyPond projects}}
+@ref{Tweaking output}:
+muestra la manera de cambiar el grabado predeterminado que produce
+LilyPond.
+
+@item
+@ref{Working on LilyPond projects}:
trata los usos prĆ”cticos de LilyPond y cĆ³mo evitar ciertos problemas
-bastante comunes.
+bastante comunes. Ā”LĆ©alo antes de emprender proyectos grandes!
+
+
+@end itemize
+
+El MA contiene tambiƩn apƩndices que no forman parte de la lectura
+lineal recomendada. Pueden ser Ćŗtiles para una mirada posterior:
+
+@itemize
@item
-@emph{@ref{Tweaking output}}
-muestra la manera de cambiar el grabado predeterminado que produce
-LilyPond.
+@ref{Templates}: muestra plantillas de piezas de LilyPond, listas para
+usar. Tan sĆ³lo tiene que cortar y pegar una plantilla en uin archivo,
+excribir las notas, y Ā”habrĆ” terminado!
+
+@item
+@ref{Scheme tutorial}: presenta una breve introducciĆ³n a Scheme, el
+lenguaje de programaciĆ³n que usan las funciones musicales. Se trata
+de material para trucos avanzados; muchos usuarios jamƔs llegan
+siquiera a tocar el Scheme.
@end itemize
-@subheading Notation Reference (NR)
+@node About the Music Glossary (MG)
+@unnumberedsubsec About the Music Glossary (MG)
+
+@cindex frase idiomƔtica
+@cindex jerga
+@cindex terminologĆa
+@cindex idomas extranjeros
+@cindex idiomas
+
+@ref{Top,Music glossary,,music-glossary}: explica tƩrminos musicales e
+incluye traducciones a varios idiomas. Si no estĆ” familiarizado con
+la notaciĆ³n o la terminologĆa musicales (especialmente si no es un
+anglĆ³fono nativo), es muy recomendable que consulte el glosario.
+
+
+@node About the Notation Reference (NR)
+@unnumberedsubsec About the Notation Reference (NR)
Este libro explica todas las instrucciones de LilyPond que producen
notaciĆ³n impresa. Da por supuesto que el lector estĆ” familiarizado
con los conceptos del manual de aprendizaje.
-@c we need to completely rewrite this after GDP. -gp
-@ignore
-@itemize @bullet
-
-@item
-@emph{@r ef{Basic notation}}
-trata ciertos temas agrupados segĆŗn las construcciones de notaciĆ³n. Esta secciĆ³n proporciona
-detalles sobre notaciĆ³n bĆ”sica que probablemente serĆ”n de utilidad en casi cualquier
-proyecto de notaciĆ³n.
-
-@item
-@emph{@r ef{Instrument-specific notation}}
-tambiĆ©n trata los temas agrupados por construcciones de notaciĆ³n. Esta secciĆ³n proporciona
-detalles sobre notaciĆ³n especial que solamente serĆ” Ćŗtil para ciertos
-grupos de instrumentos (o voces).
+@itemize
@item
-@emph{@r ef{Advanced notation}}
-trata temas agrupados por construcciones de notaciĆ³n. Esta secciĆ³n proporciona
-detalles acerca de cierta notaciĆ³n complicada o poco usual.
+@ruser{Musical notation}:
+trata ciertos temas agrupados segĆŗn las construcciones de notaciĆ³n.
+Esta secciĆ³n proporciona detalles sobre notaciĆ³n bĆ”sica que
+probablemente serƔn de utilidad en casi cualquier proyecto de
+notaciĆ³n.
@item
-@emph{@r ef{Changing defaults}}
-explica cĆ³mo hacer un ajuste fino de la presentaciĆ³n.
+@ruser{Specialist notation}:
+tambiĆ©n trata los temas agrupados por construcciones de notaciĆ³n.
+Esta secciĆ³n proporciona detalles sobre notaciĆ³n especial que
+solamente serĆ” Ćŗtil para ciertos grupos de instrumentos (o voces).
@item
-@emph{@r ef{Non-musical notation}}
-trata la salida no musical como los tĆtulos, piezas de varios movimientos,
-y sobre cĆ³mo elegir los instrumentos MIDI.
+@ruser{Input syntax}:
+trata de informaciĆ³n general sobre los archivos de LilyPond y el
+control sobre la salida.
@item
-@emph{@r ef{Spacing issues}}
+@ruser{Spacing issues}:
trata asuntos que afectan a la salida global, como la elecciĆ³n del
tamaƱo del papel o la especificaciĆ³n de los saltos de pĆ”gina.
@item
-@emph{@r ef{Interfaces for programmers}}
-explica cĆ³mo crear funciones musicales.
-
-@end itemize
+@ruser{Changing defaults}:
+explica cĆ³mo hacer los ajustes que permitan a LilyPond producir
+exactamente la notaciĆ³n que desee.
+@item
+@ruser{Interfaces for programmers}:
+explica cĆ³mo crear funciones musicales con Scheme.
+@end itemize
-@subsubheading Appendices
+El manual de RN tambiĆ©n contiene unos apĆ©ndices con Ćŗtiles tablas de
+referencia.
-Este libro contiene unos Ćŗtiles cuadros de referencia.
@itemize
-@item
-@ifhtml
-La
-@end ifhtml
-@emph{@r ef{Literature list}}
-contiene un conjunto de libros de referencia muy Ćŗtiles para aquellas personas que desean saber
-mĆ”s sobre notaciĆ³n y grabado.
@item
-El
-@emph{@r ef{Scheme tutorial}}
-presenta una breve introducciĆ³n a Scheme, el lenguaje de programaciĆ³n
-que utilizan las funciones musicales.
+@ruser{Literature list}:
+contiene un conjunto de libros de referencia muy Ćŗtiles para aquellas
+personas que desean saber mĆ”s sobre notaciĆ³n y grabado.
@item
-@emph{@r ef{Notation manual tables}}
-son un conjunto de tablas que relacionan los nombres de los acordes, instrumentos MIDI,
-nombres de los colores y la tipografĆa Feta.
+@ruser{Notation manual tables}:
+son un conjunto de tablas que relacionan los nombres de los acordes,
+instrumentos MIDI, nombres de los colores y la tipografĆa Feta.
@item
-@emph{@r ef{Templates}}
-de piezas de LilyPond. SĆ³lo tiene que cortar y pegar una
-plantilla en un archivo de texto, escribir las notas y Ā”ya estĆ”!
+@ruser{Cheat sheet}:
+es una manejable referencia de las instrucciones de LilyPond mƔs
+comunes.
@item
-La
-@emph{@r ef{Cheat sheet}}
-es una referencia manejable de las instrucciones de LilyPond mƔs comunes.
+@ruser{LilyPond command index}:
+un Ćŗndice de todas las @code{\instrucciones} de LilyPond.
@item
-El
-@emph{@r ef{LilyPond command index}}
-es un Ćndice de todos los @code{\commands} de LilyPond.
-
-@item
-El
-@emph{@r ef{LilyPond index}}
-es un Ćndice completo.
+@ruser{LilyPond index}:
+un Ćndice completo.
@end itemize
-@subheading Program usage
+@node About the Application Usage (AU)
+@unnumberedsubsec About the Application Usage (AU)
Este libro explica la manera de ejecutar el programa y cĆ³mo integrar
la notaciĆ³n de LilyPond con otros programas.
@itemize
@item
-@emph{@rprogram{Install}}
-explica cĆ³mo instalar LilyPond (incluyendo la compilaciĆ³n, si se desea).
+@rprogram{Install}:
+explica cĆ³mo instalar LilyPond (incluyendo la compilaciĆ³n, si se
+desea).
@item
-@emph{@rprogram{Setup}}
-describe cĆ³mo debe configurar el sistema para una utilizaciĆ³n Ć³ptima de LilyPond,
-como por ejemplo el uso de entornos especiales para determinados editores de texto.
+@rprogram{Setup}:
+describe cĆ³mo debe configurar el sistema para una utilizaciĆ³n Ć³ptima
+de LilyPond, como por ejemplo el uso de entornos especiales para
+determinados editores de texto.
@item
-@emph{@rprogram{Running LilyPond}}
+@rprogram{Running LilyPond}:
trata sobre cĆ³mo ejecutar LilyPond y sus programas de apoyo. AdemĆ”s,
-esta secciĆ³n explica cĆ³mo actualizar las partituras a partir de versiones anteriores
-de LilyPond.
+esta secciĆ³n explica cĆ³mo actualizar las partituras a partir de
+versiones anteriores de LilyPond.
@item
-@emph{@rprogram{LilyPond-book}}
-da los detalles que se encuentran detrĆ”s de la creaciĆ³n de
-documentos con ejemplos de mĆŗsica insertados, como este mismo manual.
+@rprogram{LilyPond-book}:
+da los detalles que se encuentran detrĆ”s de la creaciĆ³n de documentos
+con ejemplos de mĆŗsica insertados, como este mismo manual.
@item
-@emph{@rprogram{Converting from other formats}}
-explica cĆ³mo ejecutar los programas de conversiĆ³n. Estos programas vienen incluidos
-en el mismo paquete que el propio LilyPond, y convierten una amplia variedad de formatos de
-mĆŗsica al formato @code{.ly}.
+@rprogram{Converting from other formats}:
+explica cĆ³mo ejecutar los programas de conversiĆ³n. Estos programas
+vienen incluidos en el mismo paquete que el propio LilyPond, y
+convierten una amplia variedad de formatos de mĆŗsica al formato
+@code{.ly}.
@end itemize
-@end ignore
+@node About the Snippet List (SL)
+@unnumberedsubsec About the Snippet List (SL)
-@subsubheading Other information
+@cindex snippets (fragmentos de cĆ³digo)
+@cindex LSR
-Existen otras fuentes de informaciĆ³n que pueden resultar muy Ćŗtiles.
+@c FIXME: check on kainhofer.
+@ref{Top,LilyPond Snippet List,,lilypond-snippets}:
+presenta un conjunto seleccionado de pfragmentos de cĆ³digo de LilyPond
+procedentes del @uref{http://lsr@/.dsi@/.unimi@/.it,Repositorio de
+Fragmentos de CĆ³digo} (LSR). Se encuentra en el dominio pĆŗblico.
-@itemize
-@cindex frase idiomƔtica
-@cindex jerga
-@cindex terminologĆa
-@cindex idiomas extranjeros
-@cindex idioma
-@item
-@ifnottex
-El @ref{Top,Glosario de mĆŗsica,,music-glossary} explica los tĆ©rminos musicales e
-incluye traducciones a varios idiomas. TambiƩn se encuentra disponible en
-PDF.
-@end ifnottex
-@iftex
-El glosario explica los tƩrminos musicales, e incluye traducciones
-a varios idiomas. Es un documento aparte, disponible en HTML
-y en PDF.
-@end iftex
-Si no estĆ” familiarizado con la notaciĆ³n o la terminologĆa musicales
-(sobre todo si no es un anglĆ³fono nativo), le recomendamos que
-consulte el glosario.
+Observe que este documento no es un subconjunto exacto de LSR. El LSR
+ejecuta una versiĆ³n estable de LilyPond, por lo que cualquier
+fragmento de cĆ³digo que muestre posibilidades nuevas de una versiĆ³n de
+desarrollo se tiene que aƱadir por separado. Ćstas se almacenan en
+@file{input/new/} dentro del Ć”rbol del cĆ³digo fuente de LilyPond.
-@cindex snippets (fragmentos de cĆ³digo)
-@cindex LSR
-@item
-Los
-@ifhtml
-@uref{source/input/lsr/collated-files.html,fragmentos de cĆ³digo (snippets)}
-@end ifhtml
-@ifnothtml
-fragmentos de cĆ³digo (snippets)
-@end ifnothtml
-son una enorme colecciĆ³n de pequeƱos ejemplos que ejemplifican toda clase de consejos, trucos
-y funcionalidades especiales de LilyPond. La mayor parte de estos fragmentos de cĆ³digo tambiĆ©n se pueden
-encontrar en el @uref{http://lsr.dsi.unimi.it/,Archivo de fragmentos de cĆ³digo (snippets)
-de LilyPond}. Este sitio web tambiĆ©n dispone de un manual de LilyPond en el que se pueden realizar bĆŗsquedas.
+La lista de fragmentos de cĆ³digo para cada una de las subsecciones del
+Manual de Referencia de la NotaciĆ³n (RN) tambiĆ©n se encuentran
+enlazados desde la parte @strong{VƩase tambiƩn}.
+@node About the Internals Reference (IR)
+@unnumberedsubsec About the Internals Reference (IR)
+
+@c zzz
+
+@itemize
@item
La
@iftex
-Referencia de funcionamiento interno
+Referencia de Funcionamiento Interno
@end iftex
@ifnottex
-@ref{Top,Referencia de funcionamiento interno,,lilypond-internals}
+@ref{Top,Internals Reference,,lilypond-internals}
@end ifnottex
-es un conjunto de pƔginas HTML con una tupida red de enlaces cruzados, que documentan al detalle el
-meollo de todas y cada una de las clases, objetos y funciones de LilyPond.
-Se produce directamente a partir de las definiciones de formateo que se utilizan.
-
-Casi toda la funcionalidad de formateo que se emplea internamente, se encuentra
-disponible para el usuario de forma directa. Por ejemplo, todas las variables que controlan
-los valores de grosor, distancias, etc., se pueden cambiar dentro de los archivos de entrada.
-Hay un enorme nĆŗmero de opciones de formateo, y todas ellas
-se describen en este documento. Cada secciĆ³n del manual de notaciĆ³n
-tiene una subsecciĆ³n @b{VĆ©ase tambiĆ©n}, que hace referencia a la documentaciĆ³n
-generada. En el documento HTML, estas subsecciones llevan enlaces que se pueden pulsar.
+es un conjunto de pƔginas HTML con una tupida red de enlaces cruzados,
+que documentan al detalle el meollo de todas y cada una de las clases,
+objetos y funciones de LilyPond. Se produce directamente a partir de
+las definiciones de formateo que se utilizan.
+
+Casi toda la funcionalidad de formateo que se emplea internamente, se
+encuentra disponible para el usuario de forma directa. Por ejemplo,
+todas las variables que controlan los valores de grosor, distancias,
+etc., se pueden cambiar dentro de los archivos de entrada. Hay un
+enorme nĆŗmero de opciones de formateo, y todas ellas se describen en
+este documento. Cada secciĆ³n del manual de notaciĆ³n tiene una
+subsecciĆ³n @b{VĆ©ase tambiĆ©n}, que hace referencia a la documentaciĆ³n
+generada. En el documento HTML, estas subsecciones llevan enlaces que
+se pueden seguir, pulsando sobre ellos.
@end itemize
+@node Other documentation
+@unnumberedsubsec Other documentation
-Cuando ya sea un usuario con experiencia podrĆ” usar el manual como referencia:
-hay un Ćndice muy completo@footnote{Si estĆ” buscando algo
-y no lo encuentra en el manual, eso se considera un bug (fallo).
-En este caso le rogamos que envĆe un informe de fallo.}, pero el documento tambiĆ©n estĆ”
-disponible en
+Existen algunos otros lugares que pueden resultar muy valiosos.
+
+Cuando ya sea un usuario con experiencia podrĆ” usar el manual como
+referencia: hay un Ćndice muy completo@footnote{Si estĆ” buscando algo
+y no lo encuentra en el manual, eso se considera un @emph{bug}
+(fallo). En este caso le rogamos que envĆe un informe de fallo.},
+pero el documento tambiƩn estƔ disponible en
@iftex
una sola pƔgina HTML,
@end iftex
incrustados, la entrada de LilyPond que se utilizĆ³ para producir dicha
imagen se puede ver pulsando con el ratĆ³n sobre la imagen.
-La localizaciĆ³n exacta de los archivos de documentaciĆ³n que hemos mencionado puede
-variar de un sistema a otro. En ocasiones este manual hace referencia a
-archivos de inicializaciĆ³n y de ejemplo. A lo largo del manual, nos referimos a
-archivos de entrada por su ruta relativa respecto de directorio de nivel mĆ”s alto de los archivos de cĆ³digo fuente. Por
-ejemplo, @file{input/@/lsr/@/dirname/@/bla@/.ly} puede referirse al archivo
-@file{lilypond@/2.x.y/@/input/@/lsr/@/dirname/@/bla@/.ly}. En los paquetes binarios para
-la plataforma Unix, normalmente la documentaciĆ³n y los ejemplos se encuentran
-en algĆŗn lugar dentro de
-@file{/usr/@/share/@/doc/@/lilypond/}. Los archivos de inicializaciĆ³n, como por
-ejemplo @file{scm/@/lily@/.scm}, o @file{ly/@/engraver@/-init@/.ly},
-se encuentran normalmente en el directorio @file{/usr/@/share/@/lilypond/}.
+La localizaciĆ³n exacta de los archivos de documentaciĆ³n que hemos
+mencionado puede variar de un sistema a otro. En ocasiones este
+manual hace referencia a archivos de inicializaciĆ³n y de ejemplo. A
+lo largo del manual, nos referimos a archivos de entrada por su ruta
+relativa respecto de directorio de nivel mƔs alto de los archivos de
+cĆ³digo fuente. Por ejemplo, @file{input/@/lsr/@/carpeta/@/bla@/.ly}
+puede referirse al archivo
+@file{lilypond@/2.x.y/@/input/@/lsr/@/carpeta/@/bla@/.ly}. En los
+paquetes binarios para la plataforma Unix, normalmente la
+documentaciĆ³n y los ejemplos se encuentran en algĆŗn lugar dentro de
+@file{/usr/@/share/@/doc/@/lilypond/}. Los archivos de inicializaciĆ³n,
+como por ejemplo @file{scm/@/lily@/.scm}, o
+@file{ly/@/engraver@/-init@/.ly}, se encuentran normalmente en el
+directorio @file{/usr/@/share/@/lilypond/}.
@cindex ajustar la salida
@cindex variables
@cindex extender lilypond
@cindex Ćndice
-Por Ćŗltimo, este y el resto de los manuales estĆ”n disponibles en lĆnea tanto como archivos
-PDF como HTML en el sitio web, que encontrarĆ” en
-@uref{http://@/www@/.lilypond@/.org/}.
-
+Por Ćŗltimo, este y el resto de los manuales estĆ”n disponibles en lĆnea
+tanto como archivos PDF como en HTML en el sitio web, que encontrarĆ”
+en @uref{http://@/www@/.lilypond@/.org/}.
@c -*- coding: utf-8; mode: texinfo; -*-
@ignore
- Translation of GIT committish: f5faa0ee5b0bcad6a22d4e7f7267b0f542b8a7a5
+ Translation of GIT committish: 855e78dbe64b0a48a03cea88cde16c15d1af85b0
When revising a translation, copy the HEAD committish of the
version that you are working on. See TRANSLATION for details.
@c \version "2.11.51"
+@c Translation status: post-GDP
+
@node Simultaneous notes
@section Simultaneous notes
@menu
* Chorded notes::
-* Parallel notes::
* Clusters::
@end menu
Fragmentos de cĆ³digo:
@rlsr{Simultaneous notes}.
-@node Parallel notes
-@unnumberedsubsubsec Parallel notes
-
-Se pueden combinar pasajes musicales en un solo contexto de voz,
-formando asĆ acordes si los dos pasajes tienen las mismas nuraciones
-en todas las notas. Para conseguirlo, enciƩrrelos dentro de una
-construcciĆ³n de mĆŗsica simultĆ”nea:
-
-@lilypond[quote,relative=2,verbatim]
-\new Voice <<
- { e4 f8 d e16 f g8 d4 }
- { c4 d8 b c16 d e8 b4 }
->>
-@end lilypond
-
-@seealso
-
-Manual de aprendizaje:
-@rlearning{Voices contain music}.
-
-Fragmentos de cĆ³digo:
-@rlsr{Simultaneous notes}.
-
-@knownissues
-
-Este mƩtodo produce barras extraƱas y advertencias si las notas de los
-dos pasajes no tienen las mismas duraciones.
@node Clusters
@unnumberedsubsubsec Clusters
@node Multiple voices
@subsection Multiple voices
-Esta secciĆ³n trata las notas simultĆ”neas en varias voces o varios pentagramas.
+Esta secciĆ³n trata las notas simultĆ”neas en varias voces o varios
+pentagramas.
@menu
-* Collision resolution::
+* Single-staff polyphony::
* Voice styles::
+* Collision resolution::
* Automatic part combining::
* Writing music in parallel::
@end menu
+@node Single-staff polyphony
+@unnumberedsubsubsec Single-staff polyphony
+
+Para tipografiar fragmentos de mĆŗsica que discurre en paralelo y con
+las mismas duraciones, se pueden combinar en un solo contexto de voz,
+formando asĆ acordes. Para conseguirlo, incorpĆ³relas dentro de una
+construcciĆ³n de mĆŗsica simultĆ”nea:
+
+@lilypond[quote,relative=2,verbatim]
+\new Voice <<
+ { e4 f8 d e16 f g8 d4 }
+ { c4 d8 b c16 d e8 b4 }
+>>
+@end lilypond
+
+Este mƩtodo conduce a barrados extraƱos y advertencias si los
+fragmentos de mĆŗsica no tienen las mismas duraciones exactas. Para
+componer tipogrƔficamente varias voces verdaderamente independientes
+dentro de un Ćŗnico pentagrama se utiliza la construcciĆ³n
+@code{<<@{...@} \\ @{...@}>>}, en que las dos (o mƔs) voces se
+encuentran separadas por dobles barras invertidas.
+
+@lilypond[quote,relative=3,verbatim]
+<<
+ { r8 r16 g e8. f16 g8[ c,] f e16 d }
+ \\
+ { d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. }
+>>
+@end lilypond
+
+Las plicas de las voces primera y tercera se dirigen hacia arriba, y
+las de las voces segunda y cuarta se dirigen hacia abajo; las cabezas
+de las notas en las voces tercera y cuarta se desplazan
+horizontalmente, y los silencios se mueven de manera que eviten las
+colisiones. En el ejemplo siguiente, la voz intermedia tiene las
+plicas hacia arriba, por lo que la introducimos en tercer lugar, de
+forma que se convierte en la voz nĆŗmero tres que tiene las plicas
+hacia arriba tal y como era nuestro propĆ³sito.
+
+@lilypond[quote,relative=3,verbatim]
+<<
+ { r8 g g g g f16 es f8 d }
+ \\
+ { es,8 r es r d r d r }
+ \\
+ { d'8 s c s bes s a s }
+>>
+@end lilypond
+
+A menudo se utilizan silencios espaciadores para evitar la apariciĆ³n
+de un nĆŗmero excesivo de silencios, como se ha podido ver en el
+ejemplo anterior.
+
+El mƩtodo que acabamos de presentar crea dos voces nuevas cuando se
+encuentra la construcciĆ³n @code{<<@{...@} \\ @{...@}>>} en el cĆ³digo
+de entrada; para aƱadir de forma temporal una sola voz adicional a una
+voz ya existente, es necesario instanciar dicha voz de forma
+explĆcita. Para este propĆ³sito, se pueden utilizar las instrucciones
+desde @code{\voiceOne} (voz uno) hasta @code{\voiceFour} (voz cuatro)
+y @code{\oneVoice} (una voz Ćŗnica):
+
+@example
+<< @{ \voiceOne ... @} \new Voice @{ \voiceTwo ... @} >> \oneVoice
+@end example
+
+Esta construcciĆ³n es mĆ”s apropiada para mantener en todo momento el
+control de las voces, por ejemplo para facilitar una asignaciĆ³n
+coherente de la letra al contexto de voz adecuado.
+
+@predefined
+
+@funindex \voiceOne
+@code{\voiceOne},
+@funindex \voiceTwo
+@code{\voiceTwo},
+@funindex \voiceThree
+@code{\voiceThree},
+@funindex \voiceFour
+@code{\voiceFour},
+@funindex \oneVoice
+@code{\oneVoice}.
+
+@seealso
+
+Manual de aprendizaje:
+@rlearning{Voices contain music},
+@rlearning{Explicitly instantiating voices}.
+
+Referencia de la notaciĆ³n:
+@ref{Percussion staves}.
+
+Fragmentos de cĆ³digo:
+@rlsr{Simultaneous notes}.
+
+@node Voice styles
+@unnumberedsubsubsec Voice styles
+
+@cindex voice styles
+@cindex styles, voice
+@cindex coloring voices
+
+Se pueden aplicar colores y formas distintos a las voces para permitir
+identificarlas fƔcilmente:
+
+@lilypond[quote,relative=2,verbatim]
+<<
+ { \voiceOneStyle d4 c2 b4 }
+ \\
+ { \voiceTwoStyle e,2 e }
+ \\
+ { \voiceThreeStyle b2. c4 }
+ \\
+ { \voiceFourStyle g'2 g }
+>>
+@end lilypond
+
+Para recuperar la presentaciĆ³n normal se utiliza la instrucciĆ³n
+@code{\voiceNeutralstyle}.
+
+@predefined
+
+@funindex \voiceOneStyle
+@code{\voiceOneStyle},
+@funindex \voiceTwoStyle
+@code{\voiceTwoStyle},
+@funindex \voiceThreeStyle
+@code{\voiceThreeStyle},
+@funindex \voiceFourStyle
+@code{\voiceFourStyle},
+@funindex \voiceNeutralStyle
+@code{\voiceNeutralStyle}.
+
+@seealso
+
+
+Manual de aprendizaje:
+@rlearning{I'm hearing Voices},
+@rlearning{Other sources of information}.
+
+Fragmentos de cĆ³digo:
+@rlsr{Simultaneous notes}.
+
+
+
@node Collision resolution
@unnumberedsubsubsec Collision resolution
@funindex \mergeDifferentlyHeadedOff
@code{\mergeDifferentlyHeadedOff}.
-@funindex \oneVoice
-@code{\oneVoice},
-@funindex \voiceOne
-@code{\voiceOne},
-@funindex \voiceTwo
-@code{\voiceTwo},
-@funindex \voiceThree
-@code{\voiceThree},
-@funindex \voiceFour
-@code{\voiceFour}.
@funindex \shiftOn
@code{\shiftOn},
No estƔ claro en quƩ circunstancias se pueden combinar cabezas de nota
distintas que tienen tambiƩn distinto puntillo.
-No estƔn contemplados los racimos (clusters) donde la misma nota se
-presenta con diferentes alteraciones accidentales dentro del mismo
-acorde. En este caso se recomienda usar la transcripciĆ³n enarmĆ³nica,
-o usar la notaciĆ³n especial de racimos (vĆ©ase @ref{Clusters}).
-
-@node Voice styles
-@unnumberedsubsubsec Voice styles
-
-@cindex voice styles
-@cindex styles, voice
-@cindex coloring voices
-
-Se pueden aplicar colores y formas distintos a las voces para permitir
-identificarlas fƔcilmente:
-
-@lilypond[quote,relative=2,verbatim]
-<<
- {
- a1
- \voiceOneStyle
- f2 g
- \voiceNeutralStyle
- a1
- } \\ {
- f1
- \voiceTwoStyle
- f4 f2 e4
- \voiceNeutralStyle
- f1
- }
->>
-@end lilypond
-
-@predefined
-
-@funindex \voiceOneStyle
-@code{\voiceOneStyle},
-@funindex \voiceTwoStyle
-@code{\voiceTwoStyle},
-@funindex \voiceThreeStyle
-@code{\voiceThreeStyle},
-@funindex \voiceFourStyle
-@code{\voiceFourStyle},
-@funindex \voiceNeutralStyle
-@code{\voiceNeutralStyle}.
-
-@seealso
-
-Manual de aprendizaje:
-@rlearning{I'm hearing Voices}.
-
-Fragmentos de cĆ³digo:
-@rlsr{Simultaneous notes}.
+No estƔn contemplados los acordes en que la misma nota se presenta con
+diferentes alteraciones accidentales dentro del mismo. En este caso
+se recomienda usar la transcripciĆ³n enarmĆ³nica, o usar la notaciĆ³n
+especial de racimos (vƩase @ref{Clusters}).
@node Automatic part combining
@unnumberedsubsubsec Automatic part combining
@snippets
-Las partes se pueden combinar sin imprimir ningĆŗn texto:
-
-@lilypond[quote,verbatim]
-\new Staff <<
- \set Staff.printPartCombineTexts = ##f
- \partcombine
- \relative g' { g a( b) r }
- \relative g' { g r4 r f }
->>
-@end lilypond
-
-Es posible modificar los textos que se imprimen:
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{combining-two-parts-on-the-same-staff.ly}
-@c KEEP LY
-@lilypond[quote,verbatim]
-\new Staff <<
- \set Score.soloText = #"ellas"
- \set Score.soloIIText = #"ellos"
- \set Score.aDueText = #"todos"
- \partcombine
- \relative g' { g4 g r r a2 g }
- \relative g' { r4 r a( b) a2 g }
->>
-@end lilypond
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{changing-partcombine-texts.ly}
@seealso
los compases deben tener la misma longitud.}
@lilypond[quote,verbatim]
-\parallelMusic #'(voiceA voiceB) {
+\parallelMusic #'(voiceA voiceB voiceC) {
% Bar 1
- r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
- c'2 c'2 |
+ r8 g'16 c'' e'' g' c'' e'' r8 g'16 c'' e'' g' c'' e'' |
+ r16 e'8.~ e'4 r16 e'8.~ e'4 |
+ c'2 c'2 |
% Bar 2
- r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
- c'2 c'2 |
+ r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' |
+ r16 d'8.~ d'4 r16 d'8.~ d'4 |
+ c'2 c'2 |
+
}
\new StaffGroup <<
- \new Staff \voiceA
- \new Staff \voiceB
+ \new Staff << \voiceA \\ \voiceB >>
+ \new Staff { \clef bass \voiceC }
>>
@end lilypond
ignoran a las notas que hay en @code{vozB}.
@lilypond[quote,verbatim]
-\parallelMusic #'(voiceA voiceB) {
+\parallelMusic #'(voiceA voiceB voiceC) {
% Bar 1
r8 g16 c e g, c e r8 g,16 c e g, c e |
+ r16 e8.~ e4 r16 e8.~ e4 |
c2 c |
% Bar 2
r8 a,16 d f a, d f r8 a,16 d f a, d f |
+ r16 d8.~ d4 r16 d8.~ d4 |
c2 c |
+
}
\new StaffGroup <<
- \new Staff \relative c'' \voiceA
- \new Staff \relative c' \voiceB
+ \new Staff << \relative c'' \voiceA \\ \relative c' \voiceB >>
+ \new Staff \relative c' { \clef bass \voiceC }
>>
@end lilypond
Fragmentos de cĆ³digo:
@rlsr{Simultaneous notes}.
-
@c -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond-learning.tely
@ignore
- Translation of GIT committish: e007b6bd3b3328581df4998247fd92d9d66ce07c
+ Translation of GIT committish: cdc64521eae526d00440d0ac9bb5e64fdae97727
When revising a translation, copy the HEAD committish of the
version that you are working on. See TRANSLATION for details.
@ignore
Tutorial guidelines: (different from policy.txt!)
- unless you have a really good reason, use either
- @lilypond[verbatim,quote,ragged-right]
+ @lilypond[verbatim,quote]
or
- @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+ @lilypond[verbatim,quote,relative=2]
Don't use any other relative=X commands (make it a non-fragment
example), and don't use fragment without relative=2.
@end ignore
+@c Translation status: post-GDP
@node Tutorial
@chapter Tutorial
@menu
-* First steps::
-* Single staff notation::
-* Multiple notes at once::
-* Songs::
-* Final touches::
+* First steps::
+* Single staff notation::
+* Multiple notes at once::
+* Songs::
+* Final touches::
@end menu
el resultado tiene este aspecto:
@c in this case we don't want verbatim
-@lilypond[quote,ragged-right]
+@lilypond[quote]
{
c' e' g' e'
}
@cindex sensible a las mayĆŗsculas
-AdemĆ”s la entrada de LilyPond es @strong{sensible a las mayĆŗsculas}.
-@code{ @{ c d e @}} es una entrada vƔlida; @code{@{ C D E @}}
-producirĆ” un mensaje de error.
+AdemĆ”s, la entrada de LilyPond es @strong{sensible a las mayĆŗsculas}.
+@code{ @{ c d e @}} es una entrada vƔlida; @code{@{ C D E @}} produce
+un mensaje de error.
@smallspace
con un mejor apoyo a la ediciĆ³n de texto de LilyPond. Para ver mĆ”s
informaciĆ³n, consulte @rprogram{Text editor support}.
-@warning{la primera vez que ejecute LilyPond, tardarĆ” un minuto o dos
+@warning{La primera vez que ejecute LilyPond, tardarĆ” un minuto o dos
porque todas las tipografĆas del sistema han de ser analizadas
previamente. Ā”DespuĆ©s de esto, LilyPond serĆ” mucho mĆ”s rĆ”pido!}
@example
lilypond prueba.ly
-GNU LilyPond 2.12.0
+GNU LilyPond @version{}
Procesando `prueba.ly'
Analizando...
Interpretando la mĆŗsica...
En el siguiente ejemplo hemos especificado solamente cuatro alturas,
pero LilyPond ha aƱadido la clave, el compƔs y las duraciones.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
{
c' e' g' e'
}
nota estĆ” comprendida dentro de tan sĆ³lo un espacio de pentagrama
desde la nota anterior.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c' { % set the starting point to middle C
c d e f
g a b c
}
@end lilypond
-La nota inicial es @notation{middle C}. Cada nota sucesiva se coloca
-lo mƔs cerca posible de la nota previa (en otras palabras: la primera
-@samp{c} es el Do mƔs cercano al Do central; a Ʃste le sigue el Re mƔs
-cercano a la nota previa, y asĆ sucesivamente). Podemos crear
-melodĆas con intervalos mayores, aĆŗn sin dejar de utilizar el modo
-relativo:
+La nota inicial es el @notation{Do central}. Cada nota sucesiva se
+coloca lo mƔs cerca posible de la nota previa (en otras palabras: la
+primera @samp{c} es el Do mƔs cercano al Do central; a Ʃste le sigue
+el Re mĆ”s cercano a la nota previa, y asĆ sucesivamente). Podemos
+crear melodĆas con intervalos mayores, aĆŗn sin dejar de utilizar el
+modo relativo:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c' {
d f a g
c b f d
}
@end lilypond
+@noindent
No es necesario que la primera nota de la melodĆa comience exactamente
en aquella que especifica la altura de inicio. En el ejemplo
anterior, la primera nota (@code{d}) es el Re mƔs cercano al Do
central.
AƱadiendo (o eliminando) comillas simples @code{'} o comas @code{,} de
-la instrucciĆ³n @code{\relative c' @{}, podemos cambiar la octava de
-inicio:
+la instrucciĆ³n @w{@code{\relative c' @{}}, podemos cambiar la octava
+de inicio:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' { % one octave above middle C
e c a c
}
por encima del Si, mientras que La, Sol o Fa se entenderƔn situados
por debajo.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
b c % c is 1 staff space up, so is the c above
b d % d is 2 up or 5 down, so is the d above
bajar la octava escribiendo una coma @code{,} a continuaciĆ³n del
nombre de la nota.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
a a, c' f,
g g'' a,, f'
Para subir o bajar una nota en dos (Ā”o mĆ”s!) octavas, utilizamos
varias @code{''} Ć³ @code{,,} (pero tenga cuidado de utilizar dos
comillas simples @code{''} Ā”y no una comilla doble @code{"}@tie{}!)
-El valor inicial de @code{\relative c'} tambiƩn puede modificarse de
-esta forma.
+El valor inicial de @w{@code{\relative c'}} tambiƩn puede modificarse
+de esta forma.
+@c " - keeps quotes in order for context-sensitive editor -td
@subheading Durations (rhythms)
nota siguiente. La figura por omisiĆ³n de la primera nota es una
negra.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
a1
a2 a4 a8 a
nĆŗmero de la duraciĆ³n. La duraciĆ³n de una nota con puntillo se debe
especificar de forma explĆcita (es decir: mediante un nĆŗmero).
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
a a a4. a8
a8. a16 a a8. a8 a4.
Un @notation{silencio} se introduce igual que si fuera una nota con el
nombre @code{r}@tie{}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
a r r2
r8 a r4 r4. r8
La @notation{indicaciĆ³n de compĆ”s} se puede establecer con la orden
@code{\time} :
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
\time 3/4
a4 a a
La @notation{clave} se puede establecer utilizando la orden
@code{\clef} :
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c' {
\clef treble
c1
He aquĆ un pequeƱo ejemplo que muestra todos los elementos anteriores
juntos:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c, {
\time 3/4
\clef bass
muchos lenguajes de programaciĆ³n corrientes. Son sensibles a las
mayĆŗsculas e insensibles al nĆŗmero de espacios Las expresiones se
forman con llaves @{ @} y los comentarios se denotan por un signo de
-porcentaje (@code{%}) o por @code{%@{ ... %@}}.
+porcentaje (@code{%}) o por @w{@code{%@{ ... %@}}}.
Si la frase anterior no tiene sentido para usted Ā”no se preocupe! A
continuaciĆ³n explicaremos el significado de todos estos tĆ©rminos:
@itemize
@cindex Sensible a las mayĆŗsculas
-@item @strong{Sensible a las mayĆŗsculas}:
-tiene importancia el hecho de que introduzca una letra en minĆŗsculas
-(p.ej. @code{a, b, s, t}) o en mayĆŗsculas (p.ej. @code{A, B, S, T}).
-Las notas son minĆŗsculas: @code{@{ c d e @}} es una entrada vĆ”lida;
-@code{@{ C D E @}} producirĆa un mensaje de error.
+@item
+@strong{Sensible a las mayĆŗsculas}: tiene importancia el hecho de que
+introduzca una letra en minĆŗsculas (p.ej. @w{@code{a, b, s, t}}) o en
+mayĆŗsculas (p.ej. @w{@code{A, B, S, T}}). Las notas son minĆŗsculas:
+@w{@code{@{ c d e @}}} es una entrada vƔlida; @w{@code{@{ C D E @}}}
+producirĆa un mensaje de error.
-@item @strong{Insensible al nĆŗmero de espacios}:
-no importa cuĆ”ntos espacios (o saltos de lĆnea) aƱada. @code{@{ c d e
-@}} significa lo mismo que @code{@{ c @tie{} @tie{} @tie{} d e @}} y
-que
+@item
+@strong{Insensible al nĆŗmero de espacios}: no importa cuĆ”ntos espacios
+(o saltos de lĆnea) aƱada. @w{@code{@{ c d e @}}} significa lo mismo
+que @w{@code{@{ c @tie{}} @tie{} @tie{} d e @}} y que
@example
@{ c d
lĆnea, para evitar cualquier ambigĆ¼edad.
Una instrucciĆ³n de LilyPond seguida de una expresiĆ³n simple entre
-llaves (como por ejemplo @code{\relative @{ @}}) tambiƩn es una
+llaves (como por ejemplo @w{@code{\relative @{ @}}}) tambiƩn es una
expresiĆ³n musical unitaria.
@cindex comentarios
c4 c g' g a a g2
%@{
- Esta lĆnea y las notas que aparecen mĆ”s abajo
- se ignoran, por estar dentro de un
- comentario de bloque.
+ Esta lĆnea y las notas que aparecen mĆ”s abajo
+ se ignoran, por estar dentro de un
+ comentario de bloque.
- g g f f e e d d c2
+ f f e e d d c2
%@}
@end example
@subsection How to read the manual
Como ya vimos en @ref{Working on input files}, el cĆ³digo de entrada de
-LilyPond debe estar rodeado de llaves @{ @} o de
-@w{@code{\relative c'' @{ ... @}}}. Durante el resto del presente
-manual, la mayor parte de los ejemplos omitirƔn las llaves. Para
-reproducir los ejemplos, deberĆ” copiar y pegar la entrada que se
-muestra, pero @strong{deberĆ”} escribir el
-@w{@code{\relative c'' @{ @}}}, de la siguiente forma:
+LilyPond debe estar rodeado de llaves @{ @} o de @w{@code{\relative
+c'' @{ ... @}}}. Durante el resto del presente manual, la mayor parte
+de los ejemplos omitirƔn las llaves. Para reproducir los ejemplos,
+deberĆ” copiar y pegar la entrada que se muestra, pero @strong{deberĆ”}
+escribir el @w{@code{\relative c'' @{ @}}}, de la siguiente forma:
@example
\relative c'' @{
ĀæPor quĆ© omitir las llaves? Casi todos los ejemplos del presente
manual se pueden insertar en medio de un fragmento mayor de mĆŗsica.
-Para estos ejemplos no tiene ningĆŗn sentido aƱadir @code{\relative c''
-@{ @}} (Ā”no deberĆa poner un @code{\relative} dentro de otro
-@code{\relative}!); si hubiƩsemos incluido @code{\relative c'' @{ @}}
+Para estos ejemplos no tiene ningĆŗn sentido aƱadir @w{@code{\relative
+c'' @{ @}}} (Ā”no deberĆa poner un @code{\relative} dentro de otro
+@code{\relative}!); si hubiƩsemos incluido @w{@code{\relative c'' @{ @}}}
rodeando a cada uno de los ejemplos, usted no podrĆa copiar un ejemplo
pequeƱo procedente de la documentaciĆ³n y pegarlo dentro de su propia
pieza. La mayorĆa querrĆ” insertar el cĆ³digo dentro de una pieza mĆ”s
sobre esta imagen:
@c no verbatim here
-@lilypond[quote,ragged-right]
+@lilypond[quote]
\relative c'' {
c-\markup { \bold \huge { Click here. } }
}
otros nombres para las @notation{alteraciones accidentales}, vƩase
@ruser{Note names in other languages}.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
cis1 ees fisis, aeses
@end lilypond
instrucciĆ³n @code{\key} seguido de una nota y @code{\major} o
@code{\minor}.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\key d \major
a1
\key c \minor
En el siguiente ejemplo:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\key d \major
d cis fis
@end lilypond
Mi natural.} En la tonalidad de La bemol mayor, @emph{lleva} una
alteraciĆ³n accidental:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\key aes \major
e
@end lilypond
Una @notation{tie} se crea adjuntando un carƔcter de tilde curva @code{~}
a la primera nota ligada:
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
g4~ g c2~
c4 ~ c8 a8 ~ a2
@end lilypond
Las notas inicial y final se marcan mediante @code{(} y @code{)}
respectivamente.
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
d4( c16) cis( d e c cis d) e( d4)
@end lilypond
no es posible tener legatos simultĆ”neos o ligaduras de expresiĆ³n
simultƔneas.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a8(\( ais b c) cis2 b'2 a4 cis,\)
@end lilypond
sobre grupos mayores de notas. Las ligaduras de uniĆ³n y de expresiĆ³n
se pueden anidar unas dentro de otras.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c2~( c8 fis fis4 ~ fis2 g2)
@end lilypond
Las @notation{articulaciones} mƔs corrientes se pueden aƱadir a las
notas utilizando un guiĆ³n @code{-} seguido de un carĆ”cter Ćŗnico:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c-. c-- c-> c-^ c-+ c-_
@end lilypond
De manera similar, las @notation{digitaciones} se pueden aƱadir a una
nota utilizando un guiĆ³n (@code{-}) seguido del dĆgito deseado:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c-3 e-5 b-2 a-1
@end lilypond
articulaciones sobre la misma nota. Sin embargo, casi siempre es
mejor dejar que LilyPond determine la direcciĆ³n de las articulaciones.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c_-^1 d^. f^4_2-> e^-_+
@end lilypond
Las expresiones de @notation{matiz} o signos dinƔmicos se hacen
aƱadiendo las marcas (con una barra invertida) a la nota:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c\ff c\mf c\p c\pp
@end lilypond
por ejemplo @code{\f}, darĆ” por terminado el (de)crescendo, o bien se
puede usar la instrucciĆ³n @code{\!}:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c2\< c2\ff\> c2 c2\!
@end lilypond
Es posible aƱadir texto a la partitura:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c1^"espr" a_"legato"
@end lilypond
Se puede aplicar un formateo adicional mediante la instrucciĆ³n @code{\markup}:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c1^\markup{ \bold espr}
a1_\markup{
\dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
Todas las @notation{barras} de las figuras se dibujan automƔticamente:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a8 ais d ees r d c16 b a8
@end lilypond
Marque la primera nota que comprende la barra con @code{[} y la Ćŗltima
con @code{]}.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a8[ ais] d[ ees r d] a b
@end lilypond
+Si quiere desactivar completamente el barrado automƔtico o para una
+secciĆ³n extensa de mĆŗsica, utilice la instrucciĆ³n @code{\autoBeamOff}
+para apagarlo y @code{\autoBeamOn} para activarlo de nuevo.
+@c It will usually be necessary to manually beam music
+@c with lyrics.
+
+@lilypond[verbatim,quote,relative=2]
+\autoBeamOff
+a8 c b4 d8. c16 b4
+\autoBeamOn
+a8 c b4 d8. c16 b4
+@end lilypond
+
@seealso
Referencia de la notaciĆ³n:
@code{\partial}. Va seguida de una duraciĆ³n: @code{\partial 4} es una
anacrusa de negra y @code{\partial 8} de corchea.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\partial 8
f8 c2 d
@end lilypond
fracciĆ³n. Los tresillos hacen que las notas ocupen 2/3 de su duraciĆ³n
expresa, por tanto un @notation{tresillo} lleva una fracciĆ³n de 2/3:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\times 2/3 { f8 g a }
\times 2/3 { c r c }
\times 2/3 { f,8 g16[ a g a] }
expresiĆ³n musical por la palabra clave @code{\appoggiatura} o
@code{\acciaccatura}
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c2 \grace { a32[ b] } c2
c2 \appoggiatura b16 c2
c2 \acciaccatura b16 c2
de una voz en el mismo pentagrama.
@menu
-* Music expressions explained::
-* Multiple staves::
-* Staff groups::
-* Combining notes into chords::
-* Single staff polyphony::
+* Music expressions explained::
+* Multiple staves::
+* Staff groups::
+* Combining notes into chords::
+* Single staff polyphony::
@end menu
mediante @emph{expresiones musicales}. Una sola nota es una expresiĆ³n
musical:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a4
@end lilypond
@emph{expresiĆ³n musical compuesta}. AquĆ hemos creado una expresiĆ³n
musical compuesta con dos notas:
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
{ a4 g4 }
@end lilypond
cada una sigue a la anterior). El resultado es otra expresiĆ³n
musical:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
{ { a4 g } f g }
@end lilypond
una de las cuales contiene dos notas diferentes) se combinan de forma
simultƔnea:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
<<
{ a4 g }
un solo pentagrama; si hay una expresiĆ³n simultĆ”nea, hay mĆ”s de un
pentagrama.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
c2 <<c e>>
<< { e f } { c <<b d>> } >>
de Ʃl. Estos elementos @code{Staff} se combinan despuƩs en paralelo
con @code{<<} y @code{>>}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
<<
\new Staff { \clef treble c }
partituras con instrumentos transpositores son mƔs comunes que las
partituras polirrĆtmicas.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
<<
\new Staff { \clef treble \key d \major \time 3/4 c }
He aquĆ un pequeƱo ejemplo:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
\new PianoStaff <<
\new Staff { \time 2/4 c4 e g g, }
Ɣngulo de cierre.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
r4 <c e g>4 <c f a>2
@end lilypond
con acordes. Tan sĆ³lo debe recordar que se escriben por fuera de los
Ɣngulos.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
r4 <c e g>8[ <c f a>]~ <c f a>2
r4 <c e g>8( <c e g>\> <c e g>4 <c f a>\!)
@end lilypond
abajo.
La introducciĆ³n de estas partes se hace escribiendo cada voz en forma
-de secuencia (con @code{@{...@}}) y combinando Ć©stas de forma
+de secuencia (con @w{@code{@{...@}}}) y combinando Ć©stas de forma
simultƔnea, separando las voces con @code{\\}
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
<<
{ a4 g2 f4~ f4 } \\
{ r4 g4 f2 f4 }
estĆ”n cantando. He aquĆ el mismo ejemplo con un silencio separador
(@code{s}) en vez de un silencio normal (@code{r}):
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
<<
{ a4 g2 f4~ f4 } \\
{ s4 g4 f2 f4 }
@noindent
Una vez mƔs, las expresiones de este tipo se pueden anidar de forma arbitraria.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
<<
\new Staff <<
{ a4 g2 f4~ f4 } \\
@seealso
-Referencia de la notaciĆ³n: @ruser{Simultaneous notes}.
+Referencia de la notaciĆ³n:
+@ruser{Simultaneous notes}.
@node Songs
canciĆ³n sencillas.
@menu
-* Setting simple songs::
-* Aligning lyrics to a melody::
-* Lyrics to multiple staves::
+* Setting simple songs::
+* Aligning lyrics to a melody::
+* Lyrics to multiple staves::
@end menu
Presentamos a continuaciĆ³n el inicio de la melodĆa de una canciĆ³n
infantil, @qq{Girls and boys come out to play}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
\key g \major
\time 6/8
con la palabra clave @code{\addlyrics}. La letra se escribe separando
cada sĆlaba mediante un espacio.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \major
@end lilypond
Observe las llaves rodeando tanto la mĆŗsica como la letra, y los
-Ɣngulos dobles @code{<< ... >>} alrededor del fragmento entero para
-expresar que la mĆŗsica y la letra han de suceder al mismo tiempo.
+Ɣngulos dobles @w{@code{<< ... >>}} alrededor del fragmento entero
+para expresar que la mĆŗsica y la letra han de suceder al mismo tiempo.
@node Aligning lyrics to a melody
@subsection Aligning lyrics to a melody
@cindex guiĆ³n
@cindex guiĆ³n bajo
-La siguiente lĆnea de la canciĆ³n infantil es @q{The moon doth shine as
-bright as day}. A continuaciĆ³n vamos a ampliarla:
+La siguiente lĆnea de la canciĆ³n infantil es @notation{The moon doth
+shine as bright as day}. A continuaciĆ³n vamos a ampliarla:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \major
sĆlaba recaiga sobre varias notas, siendo la mĆ”s sencilla escribir una
ligadura de expresiĆ³n sobre ellas (vĆ©ase @ref{Ties and slurs}):
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \major
\time 6/8
d4 b8 c4 a8 d4 b8 g4
- g8 a4 b8 c([ b)] a d4 b8 g4.
+ g8 a4 b8 c( b) a d4 b8 g4.
}
\addlyrics {
Girls and boys come out to play,
>>
@end lilypond
-AquĆ hemos usado ademĆ”s el barrado manual (los corchetes rectos
-@code{[ ]} ) para producir el barrado que corresponde a la letra por
-convenciĆ³n (vĆ©ase @ref{Automatic and manual beams}).
+Ahora la letra se alinea correctamente con las notas, pero el barrado
+automƔtico de las notas que corresponden a @notation{shine as} no
+parece correcto. Podemos remediarlo insertando instrucciones de
+barrado manual para sobreescribir el barrado automƔtico; para ver mƔs
+detalles consulte @ref{Automatic and manual beams}.
+
+@lilypond[verbatim,quote]
+<<
+ \relative c'' {
+ \key g \major
+ \time 6/8
+ d4 b8 c4 a8 d4 b8 g4
+ g8 a4 b8 c([ b]) a d4 b8 g4.
+ }
+ \addlyrics {
+ Girls and boys come out to play,
+ The moon doth shine as bright as day;
+ }
+>>
+@end lilypond
Como alternativa a la utilizaciĆ³n de ligaduras de expresiĆ³n, los
melismas se pueden indicar solamente en la letra utilizando un guiĆ³n
bajo, @code{_}, para cada nota que queremos incluir dentro del
melisma:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \major
sĆlaba que se extiende y por debajo de todas las notas que
corresponden a dicha sĆlaba. Se escribe como dos guiones bajos
@code{__}. He aquĆ un ejemplo extraĆdo de los primeros tres compases
-del Lamento de Dido, de Dido y Eneas de Purcell:
+del @notation{Lamento de Dido}, de @notation{Dido y Eneas} de Purcell:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \minor
@c no ragged-right here because otherwise the hyphens get lost,
@c but the example is long enough to avoid looking strange.
-@lilypond[verbatim,quote]
+@lilypond[verbatim,quote,noragged-right]
<<
\relative c' {
\key g \major
requieren lo contrario: colocar mĆ”s de una sĆlaba a una Ćŗnica nota.
Esto se consigue enlazando las sĆlabas entre sĆ mediante un guiĆ³n bajo
simple @code{_} (sin ningĆŗn espacio), o bien encerrĆ”ndolas entre
-corchetes. AquĆ aparece un ejemplo procedente del @qq{Barbero de
-Sevilla} de Rossini, donde la sĆlaba @q{al} se canta sobre la misma
-nota que @q{go} de la palabra @q{Largo} en el aria de FĆgaro @q{Largo
-al factotum}:
+corchetes. AquĆ aparece un ejemplo procedente del @notation{Barbero
+de Sevilla} de Rossini, donde la sĆlaba @notation{al} se canta sobre
+la misma nota que la sĆlaba @notation{go} de la palabra @q{Largo} en
+el aria de FĆgaro @notation{Largo al factotum}:
@c no ragged-right here because otherwise the hyphens get lost,
@c but the example is long enough to avoid looking strange.
-@lilypond[verbatim,quote]
+@lilypond[verbatim,quote,noragged-right]
<<
\relative c' {
\clef bass
La soluciĆ³n sencilla que utiliza @code{\addlyrics} se puede usar para
poner letra a mĆ”s de un pentagrama. AquĆ aparece un ejemplo sacado
-del @qq{Judas Macabeo} de Haendel:
+del @notation{Judas Macabeo} de Haendel:
@lilypond[verbatim,quote,ragged-right]
<<
del manual.
@menu
-* Organizing pieces with variables::
-* Version number::
-* Adding titles::
-* Absolute note names::
-* After the tutorial::
+* Organizing pieces with variables::
+* Version number::
+* Adding titles::
+* Absolute note names::
+* After the tutorial::
@end menu
posteriormente colocando una barra invertida delante del nombre
(@code{\musicaConNombre}, igual que una orden normal de LilyPond).
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
violin = \new Staff { \relative c'' {
a4 b c b
}}
Do central, y una @code{g,} significarĆ” siempre la nota que se coloca
en la primera lĆnea del pentagrama en clave de Fa.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
{
\clef bass
c' b g, g,
He aquĆ una escala que abarca cuatro octavas:
-@lilypond[quote,verbatim,ragged-right]
+@lilypond[verbatim,quote]
{
\clef bass
c, d, e, f,
gran cantidad de apĆ³strofes @q{'} . Consideremos este fragmento de
Mozart:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
{
\key a \major
\time 6/8
origen de numerosos errores. Con @code{\relative}, el ejemplo
anterior es mucho mƔs fƔcil de leer:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
\key a \major
\time 6/8
@node After the tutorial
@subsection After the tutorial
+@c FIXME: rewrite slightly after the rest of the LM has been
+@c stabilized. Translators, ignore this section for now.
+
DespuĆ©s de terminar el tutorial, quizĆ” deberĆa probar a escribir una o
dos piezas. Comience con una de las plantillas del @ref{Templates} y
aƱada algunas notas. Si necesita un tipo de notaciĆ³n que no ha sido
is found at @ref{Common chord modifiers}.
@c @table @code
-@multitable @columnfractions .2 .5 .2
+@multitable @columnfractions .2 .4 .3
@item
@b{Modifier}
@end lilypond
@item
-m
+m, m7
@tab
The minor chord. This modifier lowers the 3rd and (if present) the
7th step.
@item
-dim
+dim, dim7
@tab
The diminished chord. This modifier lowers the 3rd, 5th and (if
present) the 7th step.
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{controlling-the-placement-of-chord-fingerings.ly}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{allowing-fingerings-to-be-printed-inside-the-staff.ly}
+
@seealso
@cindex diminuendo
Crescendos and decrescendos can be engraved as textual markings
-instead of hairpins. The built-in commands that enable these text
-modes are @code{\crescTextCresc}, @code{\dimTextDecresc},
+instead of hairpins. Dashed lines are printed to indicate their
+extent. The built-in commands that enable these text modes are
+@code{\crescTextCresc}, @code{\dimTextDecresc},
@code{\dimTextDecr}, and @code{\dimTextDim}. The corresponding
-@code{\crescHairpin} and @code{\dimHairpin} commands will revert to
-hairpins again:
+@code{\crescHairpin} and @code{\dimHairpin} commands will revert
+to hairpins again:
@lilypond[verbatim,quote,relative=2]
-c4\< d e f\!
-e4\> d c b\!
\crescTextCresc
-c4\< d e f\!
+c2\< d | e f\!
\dimTextDecresc
-e4\> d c b\!
+e2\> d | c b\!
\crescHairpin
-c4\< d e f\!
+c2\< d | e f\!
+\dimHairpin
+e2\> d\!
@end lilypond
To create new absolute dynamic marks or text that should be
{printing-hairpins-using-al-niente-notation.ly}
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{vertically-aligning-dynamics-across-multiple-notes.ly}
+{vertically-aligned-dynamics-and-textscripts.ly}
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{hiding-the-extender-line-for-text-dynamics.ly}
moltoF = \markup { molto \dynamic f }
\relative c' {
- <d e>16 <d e>
- <d e>2.._\moltoF
+ <d e>16_\moltoF <d e>
+ <d e>2..
}
@end lilypond
@snippets
-The direction of stems is controlled the same way in tablature as
-in traditional notation. Beams can be made horizontal:
-
-@lilypond[quote,ragged-right,verbatim]
-\new TabStaff {
- \relative c {
- g16 b d g
- b d g b
- \stemDown
- \override Beam #'damping = #100000
- g,,16 b d g
- b d g b
- }
-}
-@end lilypond
-
-Polyphony is created the same way in a @code{TabStaff} as in a
-regular staff.
-
-@lilypond[quote,ragged-right,verbatim]
-upper = \relative c' {
- \time 12/8
- \key e \minor
- \voiceOne
- r4. r8 e, fis g16 b g e e' b c b a g fis e
-}
-
-lower = \relative c {
- \key e \minor
- \voiceTwo
- r16 e d c b a g4 fis8 e fis g a b c
-}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{stem-and-beam-behavior-in-tablature.ly}
-\score {
- <<
- \new StaffGroup = "tab with traditional" <<
- \new Staff = "guitar traditional" <<
- \clef "treble_8"
- \context Voice = "upper" \upper
- \context Voice = "lower" \lower
- >>
- \new TabStaff = "guitar tab" <<
- \context TabVoice = "upper" \upper
- \context TabVoice = "lower" \lower
- >>
- >>
- >>
-}
-@end lilypond
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{polyphony-in-tablature.ly}
@seealso
@snippets
-You may exercise greater control over the placement of right-hand
-fingerings by setting @code{strokeFingerOrientations},
-
-@lilypond[quote,verbatim]
-#(define RH rightHandFinger)
-\relative c {
- \clef "treble_8"
- \set strokeFingerOrientations = #'(up down)
- <c-\RH #1 e-\RH #2 g-\RH #3 c-\RH #4 > 4
- \set strokeFingerOrientations = #'(up right down)
- <c-\RH #1 e-\RH #2 g-\RH #3 c-\RH #4 > 4
- \set strokeFingerOrientations = #'(left)
- <c-\RH #1 e-\RH #2 g-\RH #3 c-\RH #4 > 2
-}
-@end lilypond
-
-This example combines left-hand fingering, string indication, and
-right-hand fingering
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{placement-of-right-hand-fingerings.ly}
-@lilypond[quote,verbatim]
-#(define RH rightHandFinger)
-\relative c {
- \clef "treble_8"
- <c-3\5-\RH #1 >4
- <e-2\4-\RH #2 >
- <g-0\3-\RH #3 >
- <c-1\2-\RH #4 >
-}
-@end lilypond
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{fingerings,-string-indications,-and-right-hand-fingerings.ly}
@seealso
@code{banjo-open-d-tuning} (aDF#AD) and @code{banjo-open-dm-tuning}
(aDFAD).
-These tunings may be converted to four string banjo tunings using the
+These tunings may be converted to four-string banjo tunings using the
@code{four-string-banjo} function:
@example
* About the Notation Reference (NR):: this manual is the main portion of the documentation. It provides detailed information about creating notation. This book assumes that the reader knows basic material covered in the LM and is familiar with the English musical terms presented in the MG.
-* About the Application Usage (AU):: this discusses the actual programs and operation system-specific issues.
+* About the Application Usage (AU):: this discusses the actual programs and operating system-specific issues.
* About the Snippet List (SL):: this is a collection of short LilyPond examples.
@item nederlands.ly
@tab c d e f g a bes b
@tab -is @tab -es @tab -isis @tab -eses
-@item english.ly
- @tab c d e f g a bf b
- @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
- @tab -ff/-flatflat
-@item deutsch.ly
- @tab c d e f g a b h
- @tab -is @tab -es @tab -isis @tab -eses
-@item norsk.ly
- @tab c d e f g a b h
- @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
- @tab -essess/-eses
-@item svenska.ly
- @tab c d e f g a b h
- @tab -iss @tab -ess @tab -ississ @tab -essess
-@item suomi.ly
- @tab c d e f g a b h
- @tab -is @tab -es @tab -isis @tab -eses
-@item italiano.ly
+@item arabic.ly
@tab do re mi fa sol la sib si
@tab -d @tab -b @tab -dd @tab -bb
@item catalan.ly
@tab do re mi fa sol la sib si
@tab -d/-s @tab -b @tab -dd/-ss @tab -bb
+@item deutsch.ly
+ @tab c d e f g a b h
+ @tab -is @tab -es @tab -isis @tab -eses
+@item english.ly
+ @tab c d e f g a bf b
+ @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
+ @tab -ff/-flatflat
@item espanol.ly
@tab do re mi fa sol la sib si
@tab -s @tab -b @tab -ss @tab -bb
+@item italiano.ly
+ @tab do re mi fa sol la sib si
+ @tab -d @tab -b @tab -dd @tab -bb
+@item norsk.ly
+ @tab c d e f g a b h
+ @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
+ @tab -essess/-eses
@item portugues.ly
@tab do re mi fa sol la sib si
@tab -s @tab -b @tab -ss @tab -bb
+@item suomi.ly
+ @tab c d e f g a b h
+ @tab -is @tab -es @tab -isis @tab -eses
+@item svenska.ly
+ @tab c d e f g a b h
+ @tab -iss @tab -ess @tab -ississ @tab -essess
@item vlaams.ly
@tab do re mi fa sol la sib si
@tab -k @tab -b @tab -kk @tab -bb
@item nederlands.ly
@tab c d e f g a bes b
@tab -ih @tab -eh @tab -isih @tab -eseh
-@item english.ly
- @tab c d e f g a bf b
- @tab -qs @tab -qf @tab -tqs @tab -tqf
+@item arabic.ly
+ @tab do re mi fa sol la sib si
+ @tab -sd @tab -sb @tab -dsd @tab -bsb
@item deutsch.ly
@tab c d e f g a b h
@tab -ih @tab -eh @tab -isih @tab -eseh
+@item english.ly
+ @tab c d e f g a bf b
+ @tab -qs @tab -qf @tab -tqs @tab -tqf
@item italiano.ly
@tab do re mi fa sol la sib si
@tab -sd @tab -sb @tab -dsd @tab -bsb
First and third voices get stems up, second and fourth voices get
stems down, third and fourth voice noteheads are horizontally shifted,
-and rests move to avoid collisions.
+and rests move to avoid collisions. In the following example, the
+intermediate voice has stems up, therefore we enter it in the third
+place, so it becomes voice three which has the stems up as desired.
@lilypond[quote,relative=3,verbatim]
<<
>>
@end lilypond
-For these purposes, the @code{\voiceOne} ... @code{\voiceFour}
-commands can be used instead. Spacing rests are often used to avoid
-too many rests, as seen in the example avobe.
+Spacing rests are often used to avoid too many rests, as seen in the
+example above.
+
+The method exposed creates two new voices when the @code{<<@{...@} \\
+@{...@}>>} construction is found in the code; to temporally add only
+one additional voice to an existing one, it is necessary to
+instantiate that voice explicitly. For these purposes, the
+@code{\voiceOne} ... @code{\voiceFour}, and @code{\oneVoice} commands
+can be used:
+
+@example
+<< @{ \voiceOne ... @} \new Voice @{ \voiceTwo ... @} >> \oneVoice
+@end example
+
+This is a better construction to keep the control of the voices, for
+example, to ease a consistent assign of lyrics to the proper voice
+context.
@predefined
@funindex \voiceThree
@code{\voiceThree},
@funindex \voiceFour
-@code{\voiceFour}.
+@code{\voiceFour},
+@funindex \oneVoice
+@code{\oneVoice}.
@seealso
Learning Manual:
-@rlearning{Voices contain music}.
+@rlearning{Voices contain music},
+@rlearning{Explicitly instantiating voices}.
+
+Notation Reference:
+@ref{Percussion staves}.
Snippets:
@rlsr{Simultaneous notes}.
@funindex \mergeDifferentlyHeadedOff
@code{\mergeDifferentlyHeadedOff}.
-@funindex \oneVoice
-@code{\oneVoice}.
-
@funindex \shiftOn
@code{\shiftOn},
@funindex \shiftOnn
so that neither the horizontal nor the vertical spacing is too cramped
or stretched.
+Settings which influence layout may be placed in two blocks.
+The @code{\paper @{...@}} block is placed outside any
+@code{\score @{...@}} blocks and contains settings that
+relate to the entire document. The @code{\layout @{...@}}
+block is placed within a @code{\score @{...@}} block and
+contains settings for that particular score. If you have
+only one @code{\score @{...@}} block the two have the same
+effect. In general the commands shown in this chapter can
+be placed in either.
+
@menu
* Paper and pages::
* Music layout::
* Displaying spacing::
* Breaks::
-* Vertical spacing::
-* Horizontal spacing::
-* Page layout MOVED FROM LM::
+* Vertical spacing::
+* Horizontal spacing::
+* Fitting music onto fewer pages::
@end menu
@section Paper and pages
This section deals with the boundaries that define the area
-that music can be printed inside.
+within which music can be printed.
@menu
* Paper size::
To change the paper size, there are two commands,
@example
#(set-default-paper-size "a4")
+@end example
+@example
\paper @{
#(set-paper-size "a4")
@}
@code{a6}, @code{a5}, @code{a4}, @code{a3}, @code{legal}, @code{letter},
@code{11x17} (also known as tabloid).
+@c TODO Add new paper sizes -td
+
Extra sizes may be added by editing the definition for
@code{paper-alist} in the initialization file @file{scm/paper.scm}.
@funindex paper-width
@item paper-width
The width of the page. The default is taken from the current paper size,
-see @ref{Paper size}.
+see @ref{Paper size}.
@funindex paper-height
@item paper-height
The height of the page. The default is taken from the current paper size,
-see @ref{Paper size}.
+see @ref{Paper size}.
@funindex top-margin
@item top-margin
Margin between the left side of the page and the beginning of the
music. Unset by default, which means that the margins is determined
based on the @code{paper-width} and @code{line-width} to center the
-score on the paper.
+score on the paper.
@funindex line-width
@item line-width
@funindex head-separation
@item head-separation
Distance between the top-most music system and the page header. Default
-is@tie{}4mm.
+is@tie{}4mm.
@funindex foot-separation
@item foot-separation
@item auto-first-page-number
The page breaking algorithm is affected by the first page number being
odd or even. If this variable is set to #t, the page breaking algorithm
-will decide whether to start with an odd or even number. This will
+will decide whether to start with an odd or even number. This will
result in the first page number remaining as is or being increased by one.
@end table
@}
@end example
-This second example centers page numbers at the bottom of every page.
+This second example centers page numbers at the bottom of every page.
@example
\paper @{
evenFooterMarkup = \markup @{ \fill-line @{
\bold \fontsize #3 \on-the-fly #print-page-number-check-first
\fromproperty #'page:page-number-string @} @}
-@}
+@}
@end example
You can also define these values in Scheme. In that case @code{mm},
@section Music layout
@menu
-* Setting the staff size::
-* Score layout::
+* Setting the staff size::
+* Score layout::
@end menu
@cindex staff size, setting
@funindex layout file
+The default @strong{staff size} is set to 20 points.
+This may be changed in two ways:
+
To set the staff size globally for all scores in a file (or
in a @code{book} block, to be precise), use @code{set-global-staff-size}.
This sets the global default size to 14pt staff height and scales all
fonts accordingly.
-To set the staff size individually for each score, use
+To set the staff size individually for each score, use
@example
\score@{
...
@section Breaks
@menu
-* Line breaking::
-* Page breaking::
-* Optimal page breaking::
-* Optimal page turning::
-* Minimal page breaking::
-* Explicit breaks::
-* Using an extra voice for breaks::
+* Line breaking::
+* Page breaking::
+* Optimal page breaking::
+* Optimal page turning::
+* Minimal page breaking::
+* Explicit breaks::
+* Using an extra voice for breaks::
@end menu
@node Line breaking
@cindex line breaks
@cindex breaking lines
-Line breaks are normally computed automatically. They are chosen so
-that lines look neither cramped nor loose, and that consecutive lines
-have similar density.
+Line breaks are normally determined automatically. They are chosen
+so that lines look neither cramped nor loose, and consecutive
+lines have similar density. Occasionally you might want to
+override the automatic breaks; you can do this by specifying
+@code{\break}. This will force a line break at this point. However,
+line breaks can only occur at the end of @q{complete} bars, i.e.,
+where there are no notes or tuplets left @q{hanging} over the bar
+line. If you want to have a line break where there is no bar line,
+you can force an invisible bar line by entering @code{\bar ""},
+although again there must be no notes left hanging over in any of
+the staves at this point, or it will be ignored.
+
+The opposite command, @code{\noBreak}, forbids a line break at the
+bar line where it is inserted.
+
+The most basic settings influencing line spacing are @code{indent}
+and @code{line-width}. They are set in the @code{\layout} block.
+They control the indentation of the first line of music, and the
+lengths of the lines.
+
+If @code{ragged-right} is set to true in the @code{\layout} block,
+then systems end at their natural horizontal length, instead of
+being spread horizontally to fill the whole line. This is useful
+for short fragments, and for checking how tight the natural
+spacing is.
+
+@c TODO Check and add para on default for ragged-right
+
+The option @code{ragged-last} is similar to @code{ragged-right},
+but affects only the last line of the piece.
+
+@example
+\layout @{
+indent = #0
+line-width = #150
+ragged-last = ##t
+@}
+@end example
-Occasionally you might want to override the automatic breaks; you can
-do this by specifying @code{\break}. This will force a line break at
-this point. Line breaks can only occur at places where there are bar
-lines. If you want to have a line break where there is no bar line,
-you can force an invisible bar line by entering @code{\bar
-""}. Similarly, @code{\noBreak} forbids a line break at a
-point.
@cindex regular line breaks
@cindex four bar music.
For line breaks at regular intervals use @code{\break} separated by
-skips and repeated with @code{\repeat}:
+skips and repeated with @code{\repeat}. For example, this would
+cause the following 28 measures (assuming 4/4 time) to be broken
+every 4 measures, and only there:
+
@example
<< \repeat unfold 7 @{
s1 \noBreak s1 \noBreak
>>
@end example
-@noindent
-This makes the following 28 measures (assuming 4/4 time) be broken every
-4 measures, and only there.
-
@predefined
@code{\break}, and @code{\noBreak}.
Internals: @rinternals{LineBreakEvent}.
+@c TODO Check this
A linebreaking configuration can be saved as a @code{.ly} file
automatically. This allows vertical alignments to be stretched to
fit pages in a second formatting run. This is fairly new and
\remove Forbid_line_break_engraver
} {
c4 c2 << c2 {s4 \break } >> % now the break is allowed
- c2 c4
+ c2 c4
}
@end lilypond
Similarly, line breaks are normally forbidden when beams cross bar
-lines. This behavior can be changed by setting
+lines. This behavior can be changed by setting
@code{\override Beam #'breakable = ##t}.
The @code{\pageBreak} and @code{\noPageBreak} commands may also be
inserted at top-level, between scores and top-level markups.
+There are also analogous settings to @code{ragged-right} and
+@code{ragged-last} which have the same effect on vertical spacing:
+@code{ragged-bottom} and @code{ragged-last-bottom}. If set to
+@code{##t} the systems on all pages or just the last page
+respectively will not be justified vertically.
+
+For more details see @ref{Vertical spacing}.
+
Page breaks are computed by the @code{page-breaking} function. LilyPond
provides three algorithms for computing page breaks,
@code{ly:optimal-breaking}, @code{ly:page-turn-breaking} and
@}
@end example
+@c TODO Check this -td
The old page breaking algorithm is called
@code{optimal-page-breaks}. If you are having trouble with the new page
breakers, you can enable the old one as a workaround.
for these related settings.
-
-@node Page layout MOVED FROM LM
-@section Page layout MOVED FROM LM
-
-@menu
-* Introduction to layout::
-* Global sizes::
-* Line breaks::
-* Page breaks::
-* Fitting music onto fewer pages::
-@end menu
-
-@node Introduction to layout
-@subsection Introduction to layout
-
-The global paper layout is determined by three factors:
-the page layout, the line breaks, and the spacing. These all
-influence each other. The choice of spacing determines how
-densely each system of music is set. This influences where line
-breaks are chosen, and thus ultimately, how many pages a piece
-of music takes.
-
-Settings which influence layout may be placed in two blocks.
-The @code{\paper @{...@}} block is placed outside any
-@code{\score @{...@}} blocks and contains settings that
-relate to the entire document. The @code{\layout @{...@}}
-block is placed within a @code{\score @{...@}} block and
-contains settings for that particular score. If you have
-only one @code{\score @{...@}} block the two have the same
-effect. In general the commands shown in this section can
-be placed in either.
-
-Much more detail on the options for tweaking the laying out
-of music are contained in @ref{Spacing issues}.
-
-@node Global sizes
-@subsection Global sizes
-
-TODO Check all these examples
-
-The default @strong{paper size} which LilyPond assumes in laying
-out the music is A4. This may be changed in two ways:
-
-@example
-#(set-default-paper-size "a6")
-
-\paper @{
-#(set-paper-size "letter")
-@}
-@end example
-
-@noindent
-The first command sets the size of all pages. The second command
-sets the size of the pages to which the \paper block applies -- if
-the \paper block is at the top of the file, then it will apply
-to all pages. Support for the following paper sizes is available:
-a6, a5, a4, a3, legal, letter, 11x17 (also known as tabloid).
-Setting the paper size automatically sets suitable margins and
-line length.
-
-If the symbol @code{landscape} is supplied as an argument to
-@code{set-default-paper-size}, the pages will be rotated by 90
-degrees, and wider line widths will be set correspondingly, e.g.
-
-@example
-#(set-default-paper-size "a6" 'landscape)
-@end example
-
-The default @strong{staff size} is set to 20 points.
-This may be changed in two ways:
-
-@example
-#(set-global-staff-size 14)
-
-\paper @{
-#(set-global-staff-size 16)
-@}
-@end example
-
-@noindent
-The first command sets the size in all pages. The second command
-sets the size in the pages to which the \paper block applies -\96 if
-the \paper block is at the top of the file, then it will apply
-to all pages. All the fonts are automatically scaled to suit
-the new value of the staff size.
-
-@node Line breaks
-@subsection Line breaks
-
-Line breaks are normally determined automatically. They are chosen
-so that lines look neither cramped nor loose, and consecutive
-lines have similar density. Occasionally you might want to
-override the automatic breaks; you can do this by specifying
-@code{\break}. This will force a line break at this point. However,
-line breaks can only occur at the end of @q{complete} bars, i.e.,
-where there are no notes or tuplets left @q{hanging} over the bar
-line. If you want to have a line break where there is no bar line,
-you can force an invisible bar line by entering @code{\bar ""},
-although again there must be no notes left hanging over in any of
-the staves at this point, or it will be ignored.
-
-The opposite command, @code{\noBreak}, forbids a line break at the
-bar line where it is inserted.
-
-The most basic settings influencing line spacing are @code{indent}
-and @code{line-width}. They are set in the @code{\layout} block.
-They control the indentation of the first line of music, and the
-lengths of the lines.
-
-If @code{ragged-right} is set to true in the @code{\layout} block,
-then systems end at their natural horizontal length, instead of
-being spread horizontally to fill the whole line. This is useful
-for short fragments, and for checking how tight the natural
-spacing is.
-
-The option @code{ragged-last} is similar to @code{ragged-right},
-but affects only the last line of the piece.
-
-@example
-\layout @{
-indent = #0
-line-width = #150
-ragged-last = ##t
-@}
-@end example
-
-@node Page breaks
-@subsection Page breaks
-
-The default page breaking may be overridden by inserting
-@code{\pageBreak} or @code{\noPageBreak} commands.
-These commands are analogous to the @code{\break} and
-@code{\noBreak} commands discussed above and force or forbid
-a page-break at the point where they are inserted.
-Of course, the @code{\pageBreak} command also forces a line break.
-Like @code{\break}, the @code{\pageBreak} command is effective only
-at the end of a @q{complete} bar as defined above. For more
-details see @ref{Page breaking} and following sections.
-
-There are also analogous settings to @code{ragged-right} and
-@code{ragged-last} which have the same effect on vertical spacing:
-@code{ragged-bottom} and @code{ragged-last-bottom}. If set to
-@code{##t} the systems on all pages or just the last page
-respectively will not be justified vertically.
-
-For more details see @ref{Vertical spacing}.
-
@node Fitting music onto fewer pages
-@subsection Fitting music onto fewer pages
+@section Fitting music onto fewer pages
Sometimes you can end up with one or two staves on a second
(or third, or fourth...) page. This is annoying, especially
always be placed in a @code{\context@{..@}} block so that it applies
to the whole score.
-TODO Add description of using \context in this way earlier if it is
-not already anywhere -td
-
@end itemize
@lilypondfile[quote]{staff-headword.ly}
-
-This section explains how to influence the staff appearance,
-print scores with more than one staff, and
-how to apply specific performance marks to single staves.
+This section explains how to influence the staff appearance, print
+scores with more than one staff, and how to apply specific
+performance marks to single staves.
@menu
* Displaying staves::
@end menu
@node Instantiating new staves
-@subsubsection Instantiating new staves
+@unnumberedsubsubsec Instantiating new staves
@cindex new staff
@cindex staff initiation
@code{\context} commands. For an explanation on these commands,
see @ref{Creating contexts}.
-There are different predefined staff contexts available in LilyPond:
+There are different predefined staff contexts available in
+LilyPond:
@itemize
@item
The default is @code{Staff}:
-@lilypond[verbatim,ragged-right,quote,fragment,relative=2]
-\new Staff { c d e f }
+@lilypond[verbatim,quote,relative=2]
+\new Staff { c4 d e f }
@end lilypond
@item
-@code{DrumStaff} creates a five line staff set up for a typical drum set.
-It uses different names for each instrument. The instrument names have to
-be set using the @code{drummode}. See @ref{Percussion staves}.
+@code{DrumStaff} creates a five line staff set up for a typical
+drum set. It uses different names for each instrument. The
+instrument names have to be set using the @code{drummode}. See
+@ref{Percussion staves}.
-@lilypond[verbatim,ragged-right,quote]
+@lilypond[verbatim,quote]
\new DrumStaff {
\drummode { cymc hh ss tomh }
}
@c FIXME: remove when mentioned in NR 2.8
@item
-@code{GregorianTranscriptionStaff} sets up a staff to notate modern
-Gregorian chant. It does not show bar lines.
+@code{GregorianTranscriptionStaff} sets up a staff to notate
+modern Gregorian chant. It does not show bar lines.
-@lilypond[verbatim,ragged-right,quote,fragment,relative=2]
-\new GregorianTranscriptionStaff { c d e f }
+@lilypond[verbatim,quote,relative=2]
+\new GregorianTranscriptionStaff { c4 d e f }
@end lilypond
@item
-@code{RhythmicStaff} can be used to show the rhythm of some music. The
-notes are printed on one line regardless of their pitch, but the duration
-is preserved. See @ref{Showing melody rhythms}.
+@code{RhythmicStaff} can be used to show the rhythm of some music.
+The notes are printed on one line regardless of their pitch, but
+the duration is preserved. See @ref{Showing melody rhythms}.
-@lilypond[verbatim,ragged-right,quote,fragment,relative=2]
-\new RhythmicStaff { c d e f }
+@lilypond[verbatim,quote,relative=2]
+\new RhythmicStaff { c4 d e f }
@end lilypond
@item
-@code{TabStaff} creates by default a tablature with six strings in
+@code{TabStaff} creates by default a tablature with six strings in
standard guitar tuning. See @ref{Default tablatures}.
-@lilypond[verbatim,ragged-right,quote,fragment,relative=2]
-\new TabStaff { c d e f }
+@lilypond[verbatim,quote,relative=2]
+\new TabStaff { c4 d e f }
@end lilypond
@end itemize
@noindent
-Besides these staves there are two staff contexts specific for the notation
-of ancient music: @code{MensuralStaff} and @code{VaticanaStaff}. They are
-described in @ref{Pre-defined contexts}.
+Besides these staves there are two staff contexts specific for the
+notation of ancient music: @code{MensuralStaff} and
+@code{VaticanaStaff}. They are described in @ref{Pre-defined
+contexts}.
-Once a staff is instantiated it can be started or stopped at every point
-in the score. This is done with the commands @code{\startStaff} and
-@code{\stopStaff}. How to use it is explained in @ref{Staff symbol}.
+Once a staff is instantiated it can be started or stopped at every
+point in the score. This is done with the commands
+@code{\startStaff} and @code{\stopStaff}. How to use it is
+explained in @ref{Staff symbol}.
@seealso
-Music Glossary: @rglos{staff}, @rglos{staves}.
+Music Glossary:
+@rglos{staff},
+@rglos{staves}.
-Notation Reference: @ref{Percussion staves},
-@ref{Default tablatures}, @ref{Gregorian chant contexts},
-@ref{Mensural contexts}.
+Notation Reference:
+@ref{Creating contexts},
+@ref{Percussion staves},
+@ref{Default tablatures},
+@ref{Gregorian chant contexts},
+@ref{Mensural contexts},
+@ref{Staff symbol},
+@ref{Pre-defined contexts},
+@ref{Showing melody rhythms}.
Snippets:
@rlsr{Staff notation}.
-Internals Reference: @rinternals{Staff}, @rinternals{DrumStaff},
-@rinternals{GregorianTranscriptionStaff}, @rinternals{RhythmicStaff},
-@rinternals{TabStaff}, @rinternals{MensuralStaff},
-@rinternals{VaticanaStaff}, @rinternals{StaffSymbol}.
-
+Internals Reference:
+@rinternals{Staff},
+@rinternals{DrumStaff},
+@rinternals{GregorianTranscriptionStaff},
+@rinternals{RhythmicStaff},
+@rinternals{TabStaff},
+@rinternals{MensuralStaff},
+@rinternals{VaticanaStaff},
+@rinternals{StaffSymbol}.
@node Grouping staves
-@subsubsection Grouping staves
+@unnumberedsubsubsec Grouping staves
@cindex start of system
@cindex staff, multiple
@cindex choir staff
@cindex system
-LilyPond provides different types of contexts to group single staves
-together. These contexts influence in the first place the appearance
-of the system start delimiter, but they have also influence on the
-behavior of the bar lines.
+LilyPond provides different types of contexts to group single
+staves together. These contexts influence in the first place the
+appearance of the system start delimiter, but they have also
+influence on the behavior of the bar lines.
@itemize
@item
If no context is specified, the default properties for the score
will be used: the group is started with a vertical line, and the
-bar lines are not connected. The name of the beginning bar line
+bar lines are not connected. The name of the beginning bar line
grob is @code{SystemStartBar}.
-@lilypond[verbatim,ragged-right,quote,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
<<
\new Staff { c1 c }
- \new Staff { c c }
+ \new Staff { c1 c }
>>
@end lilypond
@item
-In a @code{StaffGroup}, the bar lines will be drawn through
-all the staves, and the group is started with a bracket.
+In a @code{StaffGroup}, the bar lines will be drawn through all
+the staves, and the group is started with a bracket.
-@lilypond[verbatim,ragged-right,quote,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\new StaffGroup <<
\new Staff { c1 c }
- \new Staff { c c }
+ \new Staff { c1 c }
>>
@end lilypond
@item
-In a @code{ChoirStaff}, the group is
-started with a bracket, but bar lines are not connected.
+In a @code{ChoirStaff}, the group is started with a bracket, but
+bar lines are not connected.
-@lilypond[verbatim,ragged-right,quote,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\new ChoirStaff <<
\new Staff { c1 c }
- \new Staff { c c }
+ \new Staff { c1 c }
>>
@end lilypond
@item
-In a @code{GrandStaff}, the group is started with a brace
-at the left, and bar lines are connected between the staves.
+In a @code{GrandStaff}, the group is started with a brace at the
+left, and bar lines are connected between the staves.
-@lilypond[verbatim,ragged-right,quote,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\new GrandStaff <<
\new Staff { c1 c }
- \new Staff { c c }
+ \new Staff { c1 c }
>>
@end lilypond
@item
-The @code{PianoStaff} behaves almost as the @code{GrandStaff} but is
-optimized for setting piano music. In particular it supports the printing
-of an instrument name directly, see @ref{Instrument names}.
+The @code{PianoStaff} behaves almost as the @code{GrandStaff} but
+is optimized for setting piano music. In particular it supports
+the printing of an instrument name directly, see @ref{Instrument
+names}.
-@lilypond[verbatim,ragged-right,quote,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\new PianoStaff <<
\new Staff { c1 c }
- \new Staff { c c }
+ \new Staff { c1 c }
>>
@end lilypond
Each staff group context sets the property
@code{systemStartDelimiter} to one of the values
-@code{SystemStartBar}, @code{SystemStartBrace},
-and @code{SystemStartBracket}. A fourth delimiter,
+@code{SystemStartBar}, @code{SystemStartBrace}, and
+@code{SystemStartBracket}. A fourth delimiter,
@code{systemStartSquare}, is also available, but must be
-instantiated manually. The usage of this last delimiter is shown further
-down in the snippet section.
+instantiated manually. The usage of this last delimiter is shown
+further down in the snippet section.
-According to classic engraver rules an orchestral score consists of
-staves connected only with a single line at the beginning of the system.
-In LilyPond this is produced grouping the @code{Staff} contexts with
-@code{<< ... >>}.
+According to classic engraver rules an orchestral score consists
+of staves connected only with a single line at the beginning of
+the system. In LilyPond this is produced grouping the
+@code{Staff} contexts with @code{<< ... >>}.
-Each instrument family is grouped inside of a @code{StaffGroup} with a
-starting bracket. A group of same instruments or an instrument using
-more than one staff is grouped with braces in a @code{GrandStaff}.
+Each instrument family is grouped inside of a @code{StaffGroup}
+with a starting bracket. A group of same instruments or an
+instrument using more than one staff is grouped with braces in a
+@code{GrandStaff}.
As the context names tell, @code{PianoStaff} is used for notating
-piano music and @code{ChoirStaff} for all kind of vocal ensemble music.
+piano music and @code{ChoirStaff} for all kind of vocal ensemble
+music.
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{use-square-bracket-at-the-start-of-a-staff-group.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{display-bracket-with-only-one-staff-in-a-system.ly}
@cindex mensurstriche layout
@cindex transcription of mensural music
@cindex mensural music, transcription of
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{mensurstriche-layout-bar-lines-between-the-staves.ly}
@c FIXME: move to NR 2.8.x when sectioning is ready
+
@seealso
-Music Glossary: @rglos{brace},
-@rglos{bracket}, @rglos{grand staff}.
+Music Glossary:
+@rglos{brace},
+@rglos{bracket},
+@rglos{grand staff}.
+
+Notation Reference:
+@ref{Instrument names}.
Snippets:
@rlsr{Staff notation}.
-Internals Reference: @rinternals{Staff}, @rinternals{ChoirStaff},
-@rinternals{GrandStaff}, @rinternals{PianoStaff},
-@rinternals{StaffGroup}, @rinternals{systemStartDelimiter},
-@rinternals{SystemStartBar}, @rinternals{SystemStartBrace},
-@rinternals{SystemStartBracket}, @rinternals{systemStartSquare}.
+Internals Reference:
+@rinternals{Staff},
+@rinternals{ChoirStaff},
+@rinternals{GrandStaff},
+@rinternals{PianoStaff},
+@rinternals{StaffGroup},
+@rinternals{systemStartDelimiter},
+@rinternals{SystemStartBar},
+@rinternals{SystemStartBrace},
+@rinternals{SystemStartBracket},
+@rinternals{systemStartSquare}.
@node Deeper nested staff groups
-@subsubsection Deeper nested staff groups
-
-There are also two inner staff contexts named @code{InnerStaffGroup}
-and @code{InnerChoirStaffGroup} besides the grouping contexts mentioned
-in @ref{Grouping staves}. They behave in the same way as their simple
-counterparts, except that they are contained in another staff grouping
-context, thus producing one more bracket on top of the existing one.
-Note that @code{GrandStaff} and @code{PianoStaff} do not have any inner
-grouping contexts. They can both be inside any other staff context,
-including inner staff groups, though.
-
-Here is an example of an orchestral score using groupings and nesting
-of these groupings. Note that the instrument names are omitted from the
-source code, for instructions how to set them see @ref{Instrument names}.
+@unnumberedsubsubsec Deeper nested staff groups
+
+There are also two inner staff contexts named
+@code{InnerStaffGroup} and @code{InnerChoirStaffGroup} besides the
+grouping contexts mentioned in @ref{Grouping staves}. They behave
+in the same way as their simple counterparts, except that they are
+contained in another staff grouping context, thus producing one
+more bracket on top of the existing one. Note that
+@code{GrandStaff} and @code{PianoStaff} do not have any inner
+grouping contexts. They can both be inside any other staff
+context, including inner staff groups, though.
+
+Here is an example of an orchestral score using groupings and
+nesting of these groupings. Note that the instrument names are
+omitted from the source code, for instructions how to set them see
+@ref{Instrument names}.
@cindex staff, nested
@cindex staves, nested
@cindex inner staff group
@cindex inner choir staff group
-
@example
-\score @{ <<
+\score @{
+\relative c' <<
\new StaffGroup %woodwinds
<<
- \new Staff @{ c'1 d' @} %flute
+ \new Staff @{ c1 d @} %flute
\new InnerStaffGroup <<
- \new Staff @{ c' d' @} %sax
- \new Staff @{ c' d' @} %oboe
- \new Staff @{ c' d' @} %English horn
+ \new Staff @{ c1 d @} %sax
+ \new Staff @{ c1 d @} %oboe
+ \new Staff @{ c1 d @} %English horn
>>
- \new Staff @{ \clef bass c d @} %bassoon
+ \new Staff @{ \clef bass c,1 d @} %bassoon
>>
\new StaffGroup %the brass group
<<
- \new Staff @{ c' d' @} %trumpet
- \new Staff @{ \clef bass c d @} %trombone
+ \new Staff @{ c'1 d @} %trumpet
+ \new Staff @{ \clef bass c,1 d @} %trombone
\new GrandStaff %the horns need a GrandStaff (same instrument)
<<
- \new Staff @{ c' d' @}
- \new Staff @{ \clef bass c d @}
+ \new Staff @{ c'1 d @}
+ \new Staff @{ \clef bass c,1 d @}
>>
>>
\new ChoirStaff %for setting vocal music
<<
- \new Staff @{ c' d' @}
+ \new Staff @{ c'1 d @}
\new InnerChoirStaff <<
- \new Staff @{ c' d' @}
- \new Staff @{ c' d' @}
+ \new Staff @{ c1 d @}
+ \new Staff @{ c1 d @}
>>
- \new Staff @{ c' d' @}
+ \new Staff @{ c1 d @}
>>
\new PianoStaff %for the piano
<<
- \new Staff @{ c' d' @}
- \new Staff @{\clef bass c d @}
+ \new Staff @{ c1 d @}
+ \new Staff @{ \clef bass c,1 d @}
>>
>> @}
@end example
@c no verbatim so instrument names are only in the music
-@lilypond[ragged-right,quote]
-\score { <<
+@lilypond[quote]
+\score {
+\relative c' <<
\new StaffGroup %woodwinds
<<
- \new Staff {\set Staff.instrumentName = "fl" c'1 d' } %flute
+ \new Staff { \set Staff.instrumentName = "fl" c1 d } %flute
\new InnerStaffGroup <<
- \new Staff { \set Staff.instrumentName = "sax" c' d' } %sax 1
- \new Staff { \set Staff.instrumentName = "ob" c' d' } %sax 2
- \new Staff { \set Staff.instrumentName = "ca" c' d' }
+ \new Staff { \set Staff.instrumentName = "sax" c1 d } %sax 1
+ \new Staff { \set Staff.instrumentName = "ob" c1 d } %sax 2
+ \new Staff { \set Staff.instrumentName = "ca" c1 d }
>>
- \new Staff {\set Staff.instrumentName = "bs" \clef bass c d } %bassoon
+ \new Staff { \set Staff.instrumentName = "bs" \clef bass c,1 d } %bassoon
>>
\new StaffGroup %the brass group
<<
- \new Staff {\set Staff.instrumentName = "tr" c' d' } %trumpet
- \new Staff {\set Staff.instrumentName = "tb" \clef bass c d } %trombone
+ \new Staff { \set Staff.instrumentName = "tr" c'1 d } %trumpet
+ \new Staff { \set Staff.instrumentName = "tb" \clef bass c,1 d } %trombone
\new GrandStaff %the horns need a GrandStaff (same instrument)
<<
- \new Staff {\set Staff.instrumentName = "cor1" c' d' }
- \new Staff {\set Staff.instrumentName = "cor2" \clef bass c d }
+ \new Staff { \set Staff.instrumentName = "cor1" c'1 d }
+ \new Staff { \set Staff.instrumentName = "cor2" \clef bass c,1 d }
>>
>>
\new ChoirStaff %for setting vocal music
<<
- \new Staff {\set Staff.instrumentName = "S" c' d' }
+ \new Staff { \set Staff.instrumentName = "S" c'1 d }
\new InnerChoirStaff <<
- \new Staff {\set Staff.instrumentName = "A1" c' d' }
- \new Staff {\set Staff.instrumentName = "A2" c' d' }
+ \new Staff { \set Staff.instrumentName = "A1" c1 d }
+ \new Staff { \set Staff.instrumentName = "A2" c1 d }
>>
- \new Staff {\set Staff.instrumentName = "T" c' d' }
+ \new Staff { \set Staff.instrumentName = "T" c1 d }
>>
\new PianoStaff %for the piano
<<
- \new Staff { c' d' }
- \new Staff {\clef bass c d }
+ \new Staff { c1 d }
+ \new Staff { \clef bass c,1 d }
>>
>> }
@end lilypond
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{nesting-staves.ly}
Snippets:
@rlsr{Staff notation}.
-Internals Reference: @rinternals{InnerChoirStaffGroup},
-@rinternals{InnerStaffGroup}, @rinternals{SystemStartBar},
-@rinternals{SystemStartBrace}, @rinternals{SystemStartBracket},
-@rinternals{systemStartDelimiterHierarchy}.
+Notation Reference:
+@ref{Grouping staves},
+@ref{Instrument names}.
+Internals Reference:
+@rinternals{InnerChoirStaffGroup},
+@rinternals{InnerStaffGroup},
+@rinternals{SystemStartBar},
+@rinternals{SystemStartBrace},
+@rinternals{SystemStartBracket},
+@rinternals{systemStartDelimiterHierarchy}.
@node Modifying single staves
@subsection Modifying single staves
-This section explains how to change specific attributes of one
-staff like the staff lines, starting and stopping of staves, sizing
-of staves, and setting ossia sections.
+This section explains how to change specific attributes of one
+staff like the staff lines, starting and stopping of staves,
+sizing of staves, and setting ossia sections.
@menu
* Staff symbol::
@end menu
@node Staff symbol
-@subsubsection Staff symbol
+@unnumberedsubsubsec Staff symbol
@cindex adjusting staff symbol
@cindex drawing staff symbol
The layout object which draws the lines of a staff is called
@code{staff symbol}. The staff symbol may be tuned in number,
-thickness and distance of lines, using properties. It may also
-be started and stopped at every point in the score.
+thickness and distance of lines, using properties. It may also be
+started and stopped at every point in the score.
@itemize
@item
-Changing the number of staff lines is done by overriding
-@code{line-count}. You may need to adjust the clef position
-and the position of the middle C to fit to the new staff. For
-an explanation, see the snippet section in @ref{Displaying pitches}.
+Changing the number of staff lines is done by overriding
+@code{line-count}. You may need to adjust the clef position and
+the position of the middle C to fit to the new staff. For an
+explanation, see the snippet section in @ref{Displaying pitches}.
-@lilypond[verbatim,ragged-right,quote]
+@lilypond[verbatim,quote,relative=2]
\new Staff {
- \override Staff.StaffSymbol #'line-count = #3
- d d d d
+ \override Staff.StaffSymbol #'line-count = #3
+ d4 d d d
}
@end lilypond
@item
-The placement and amount of the staff lines can also set totally
-manually by defining their positions explicitly. The middle
-of the staff has the value of 0, each half staff space up and down
+The placement and amount of the staff lines can also set totally
+manually by defining their positions explicitly. The middle of
+the staff has the value of 0, each half staff space up and down
adds an integer. The default values are 4 2 0 -2 -4. Bar lines
are drawn according to the calculated width of the system, but
-they are always centered. As the
-example shows, the positions of the notes are not influenced
-by the position of the staff lines.
+they are always centered. As the example shows, the positions of
+the notes are not influenced by the position of the staff lines.
-@lilypond[verbatim,ragged-right,quote]
+@lilypond[verbatim,quote,relative=1]
\new Staff \with {
- \override StaffSymbol #' line-positions = #' ( 7 3 0 -4 -6 -7 )
- }{
- a e' f' b' d''
+ \override StaffSymbol #'line-positions = #'(7 3 0 -4 -6 -7)
}
+{ a4 e' f b | d1 }
@end lilypond
@item
-The staff line thickness can be set by overriding the @code{thickness}
-property. Note that it gets applied also to ledger lines and stems,
-since they depend on the staff line thickness. The argument of
-@code{thickness} is a factor of @code{line-thickness} which defaults
-to the normal staff line thickness.
-
-@lilypond[verbatim,ragged-right,quote]
+The staff line thickness can be set by overriding the
+@code{thickness} property. Note that it gets applied also to
+ledger lines and stems, since they depend on the staff line
+thickness. The argument of @code{thickness} is a factor of
+@code{line-thickness} which defaults to the normal staff line
+thickness.
+
+@lilypond[verbatim,quote,relative=1]
\new Staff \with {
\override StaffSymbol #'thickness = #3
- }{
- d d d d
}
+{ d4 d d d }
@end lilypond
@item
-The thickness of the ledger lines can also be set independent of the
-settings for staff lines. The setting is calculated from a pair of
-values which will be added for the final thickness. The first value
-is the staff line thickness multiplied by a factor, the second is
-the staff space multiplied by a factor. In the example the ledger
-lines get their thickness from one staff line thickness plus 1/5
-staff space, so they are heavier than a normal staff line.
-
-@lilypond[verbatim,ragged-right,quote]
+The thickness of the ledger lines can also be set independent of
+the settings for staff lines. The setting is calculated from a
+pair of values which will be added for the final thickness. The
+first value is the staff line thickness multiplied by a factor,
+the second is the staff space multiplied by a factor. In the
+example the ledger lines get their thickness from one staff line
+thickness plus 1/5 staff space, so they are heavier than a normal
+staff line.
+
+@lilypond[verbatim,quote,relative=1]
\new Staff \with {
- \override StaffSymbol #' ledger-line-thickness = #' ( 1 . 0.2 ) }
- {
- d d d d
+ \override StaffSymbol #'ledger-line-thickness = #'(1 . 0.2)
}
+{ d4 d d d }
@end lilypond
@item
-The distance of the stafflines can be changed with the
-@code{staff-space} property. Its argument is the amount
-of staff spaces that should be inserted between the lines.
-The default value is 1. Setting the distance has
-influence on the staff lines as well as on ledger lines.
+The distance of the stafflines can be changed with the
+@code{staff-space} property. Its argument is the amount of staff
+spaces that should be inserted between the lines. The default
+value is 1. Setting the distance has influence on the staff lines
+as well as on ledger lines.
-@lilypond[verbatim,ragged-right,quote]
+@lilypond[verbatim,quote,relative=1]
\new Staff \with {
- \override StaffSymbol #' staff-space = #1.5
- }{
- a b c' d'
+ \override StaffSymbol #'staff-space = #1.5
}
+{ a4 b c d }
@end lilypond
@item
-The length of the staff line can also be adjusted
-manually. The unit is one staff space. Spacing
-of the objects inside the staff does not get influenced
-by this setting.
+The length of the staff line can also be adjusted manually. The
+unit is one staff space. Spacing of the objects inside the staff
+does not get influenced by this setting.
-@lilypond[verbatim,ragged-right,quote]
+@lilypond[verbatim,quote,relative=1]
\new Staff \with {
- \override StaffSymbol #' width = #23
- }{
- a e' f' b' d''
+ \override StaffSymbol #'width = #23
}
+{ a4 e' f b | d1 }
@end lilypond
@end itemize
-These properties can only be set before instantiating the staff symbol.
-But it is possible to start and stop staves in the middle of a score,
-so each new setting will be applied to the newly instantiated staff.
+These properties can only be set before instantiating the staff
+symbol. But it is possible to start and stop staves in the middle
+of a score, so each new setting will be applied to the newly
+instantiated staff.
-@lilypond[verbatim,relative=2,fragment]
+@lilypond[verbatim,quote,relative=2]
b4 b
%Set here the overrides for the staff
\override Staff.StaffSymbol #'line-count = 2
b b
@end lilypond
+
@predefined
-@code{\stopStaff}, @code{\startStaff}
+@funindex \startStaff
+@code{\startStaff},
+@funindex \stopStaff
+@code{\stopStaff}.
+
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{making-some-staff-lines-thicker-than-the-others.ly}
@seealso
-Glossary: @rglos{line}, @rglos{ledger line}, @rglos{staff}.
+Music Glossary:
+@rglos{line},
+@rglos{ledger line},
+@rglos{staff}.
-Internals Reference: @rinternals{StaffSymbol}.
+Notation Reference:
+@ref{Displaying pitches}.
+
+Internals Reference:
+@rinternals{StaffSymbol}.
@knownissues
-When setting staff lines manually, bar lines are
-always drawn centered on the position 0, so the
-maximum distance of the bar lines in either direction
-must be equal.
+When setting staff lines manually, bar lines are always drawn
+centered on the position 0, so the maximum distance of the bar
+lines in either direction must be equal.
@node Ossia staves
-@subsubsection Ossia staves
+@unnumberedsubsubsec Ossia staves
@cindex staff, Frenched
@cindex ossia
Tweaking the staff object allows to resize the staff:
-@lilypond[verbatim,ragged-right,quote]
- \new Staff \with {
- fontSize = #-3
- \override StaffSymbol #'staff-space = #(magstep -3)
- \override StaffSymbol #'thickness = # (magstep -3)
- }
- {
- \clef bass
- c8 c c c c c c c
- }
+@lilypond[verbatim,quote]
+\new Staff \with {
+ fontSize = #-3
+ \override StaffSymbol #'staff-space = #(magstep -3)
+ \override StaffSymbol #'thickness = #(magstep -3)
+}
+\relative c {
+ \clef bass
+ c8 c c c c c c c
+}
@end lilypond
@noindent
-This involves shrinking the staff spaces, the staff lines and
-the font size by the factor 3. You find a more precise explanation
-in @ref{Setting the staff size}.
+This involves shrinking the staff spaces, the staff lines and the
+font size by the factor 3. You find a more precise explanation in
+@ref{Setting the staff size}.
The @emph{ossia} section in the next example are just put parallel
-to the main staff with @code{<<} and @code{>>} brackets. The @emph{ossia}
-staff is stopped and started explicitely and white space is inserted
-with the @code{\skip} command.
+to the main staff with @code{<<} and @code{>>} brackets. The
+@emph{ossia} staff is stopped and started explicitely and white
+space is inserted with the @code{\skip} command.
@lilypond[verbatim,quote]
<<
\remove "Time_signature_engraver"
fontSize = #-3
\override StaffSymbol #'staff-space = #(magstep -3)
- \override StaffSymbol #'thickness = # (magstep -3)
+ \override StaffSymbol #'thickness = #(magstep -3)
firstClef = ##f
}
\relative c'' {
\startStaff
f8 d g4
}
- \new Staff \relative c'' {
+ \new Staff \relative c'' {
\time 2/4
c4 c g' g a a g2
}
@snippets
-@c lilypondfile{Making-some-staff-lines-thicker-than-the-others.ly}
+@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@c {making-some-staff-lines-thicker-than-the-others.ly}
@c snippet 277
+
@seealso
-Music Glossary: @rglos{ossia}, @rglos{staff}, @rglos{Frenched staff}.
+Music Glossary:
+@rglos{ossia},
+@rglos{staff},
+@rglos{Frenched staff}.
+
+Notation Reference:
+@ref{Setting the staff size}.
Snippets:
@rlsr{Staff notation}.
-Internals Reference: @rinternals{StaffSymbol}.
+Internals Reference:
+@rinternals{StaffSymbol}.
@node Hiding staves
-@subsubsection Hiding staves
+@unnumberedsubsubsec Hiding staves
@cindex Frenched scores
@cindex staff, hiding
the lines of these contexts turn out empty after the line-breaking
process, they are removed.
-For normal staves this behaviour is called
-with the @code{\RemoveEmptyStaffContext} command. It is set
-in the @code{\layout} block. As a result staves containing
-nothing or whole mesure rests are removed after a line break.
+For normal staves this behaviour is called with the
+@code{\RemoveEmptyStaffContext} command. It is set in the
+@code{\layout} block. As a result staves containing nothing or
+whole mesure rests are removed after a line break.
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote]
\layout {
- \context { \RemoveEmptyStaffContext }
+ \context {
+ \RemoveEmptyStaffContext
+ }
}
\relative c'' {
<<
}
@end lilypond
-
To remove other types of contexts, use
@code{\AncientRemoveEmptyStaffContext} or
@code{\RemoveEmptyRhythmicStaffContext}.
Another application of the @code{\RemoveEmptyStaffContext} is to
make ossia sections, i.e., alternative melodies on a separate
-piece of staff, with help of a Frenched staff. See @ref{Ossia staves}.
+piece of staff, with help of a Frenched staff. See
+@ref{Ossia staves}.
You can make the staff lines invisible by removing the
@code{Staff_symbol_engraver} from the @code{Staff} context.
-
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote]
\score {
\new Staff \relative c'' { c8 c c16 c c c }
\layout{
}
@end lilypond
+
@snippets
-The first empty staff can also be removed from the score with a
-setting in the @code{VerticalAxisGroup} property. This can be done
-globally inside the @code{\layout} block, or locally inside the
-specific staff that should be removed. In the latter case,
-you have to specify the context (@code{Staff} applies only to the
+The first empty staff can also be removed from the score with a
+setting in the @code{VerticalAxisGroup} property. This can be
+done globally inside the @code{\layout} block, or locally inside
+the specific staff that should be removed. In the latter case, you
+have to specify the context (@code{Staff} applies only to the
current staff) in front of the property.
-The lower staff of the second staff group is not removed,
-because the setting applies only to the specific staff inside
-of which it is written.
+The lower staff of the second staff group is not removed, because
+the setting applies only to the specific staff inside of which it
+is written.
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote]
\layout {
\context {
\RemoveEmptyStaffContext
>>
@end lilypond
-@c FIXME not yet in master
-@c lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-@c {remove-the-first-empy-line.ly}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{removing-the-first-empty-line.ly}
+
@predefined
+@funindex \RemoveEmptyStaffContext
@code{\RemoveEmptyStaffContext},
+@funindex \AncientRemoveEmptyStaffContext
@code{\AncientRemoveEmptyStaffContext},
-@code{\RemoveEmptyRhythmicStaffContext},
+@funindex \RemoveEmptyRhythmicStaffContext
+@code{\RemoveEmptyRhythmicStaffContext}.
+
@seealso
-Notation Reference: @ref{Staff symbol}.
+Notation Reference:
+@ref{Staff symbol},
+@ref{Ossia staves}.
Snippets:
@rlsr{Staff notation}.
-Internals Reference: @rinternals{ChordNames},
-@rinternals{FiguredBass}, @rinternals{Lyrics},
-@rinternals{Staff}, @rinternals{VerticalAxisGroup}.
+Internals Reference:
+@rinternals{ChordNames},
+@rinternals{FiguredBass},
+@rinternals{Lyrics},
+@rinternals{Staff},
+@rinternals{VerticalAxisGroup}.
+
@node Writing parts
@subsection Writing parts
* Formatting cue notes::
@end menu
+
@node Metronome marks
-@subsubsection Metronome marks
+@unnumberedsubsubsec Metronome marks
@cindex Tempo
@cindex beats per minute
@funindex \tempo
-@lilypond[quote,ragged-right,verbatim,fragment]
-\tempo 8.=120 c''1
+@lilypond[verbatim,quote,relative=2]
+\tempo 8. = 120
+c1
@end lilypond
Score.MetronomeMark #'transparent = ##t @end example
To print other metronome markings, use these markup commands
-@lilypond[quote,ragged-right,verbatim,relative,fragment]
+@lilypond[verbatim,quote,relative=1]
c4^\markup {
(
\smaller \general-align #Y #DOWN \note #"16." #1
@seealso
-Music Glossary: @rglos{metronome}, @rglos{metronomic indication},
-@rglos{tempo indication}, @rglos{metronome mark}.
+Music Glossary:
+@rglos{metronome},
+@rglos{metronomic indication},
+@rglos{tempo indication},
+@rglos{metronome mark}.
-Notation Reference: @ref{Formatting text}.
+Notation Reference:
+@ref{Formatting text}.
Snippets:
@rlsr{Staff notation}.
-Internals Reference: @rinternals{MetronomeMark}, @ref{MIDI
-output}.
+Internals Reference:
+@rinternals{MetronomeMark},
+@ref{MIDI output}.
@knownissues
@node Instrument names
-@subsubsection Instrument names
+@unnumberedsubsubsec Instrument names
@cindex instrument names
@cindex instrument names, short
In an orchestral score, instrument names are printed at the left
side of the staves.
-This can be achieved by setting @code{Staff}.@code{instrumentName} and
-@code{Staff}.@code{shortInstrumentName}, or
+This can be achieved by setting @code{Staff}.@code{instrumentName}
+and @code{Staff}.@code{shortInstrumentName}, or
@code{PianoStaff}.@code{instrumentName} and
-@code{PianoStaff}.@code{shortInstrumentName}. This will print text
-before the start of the staff. For the first staff,
-@code{instrumentName} is used. If set, @code{shortInstrumentName} is
-used for the following staves.
+@code{PianoStaff}.@code{shortInstrumentName}. This will print
+text before the start of the staff. For the first staff,
+@code{instrumentName} is used. If set, @code{shortInstrumentName}
+is used for the following staves.
-@lilypond[quote,verbatim,ragged-right,relative=1,fragment]
+@lilypond[verbatim,quote,relative=1]
\set Staff.instrumentName = "Ploink "
\set Staff.shortInstrumentName = "Plk "
c1
\break
-c''
+c''1
@end lilypond
You can also use markup texts to construct more complicated
instrument names, for example
-@lilypond[quote,fragment,verbatim,ragged-right]
+@lilypond[verbatim,quote,relative=2]
\set Staff.instrumentName = \markup {
\column { "Clarinetti"
\line { "in B" \smaller \flat } } }
-c''1
+c1
@end lilypond
@cindex instrument names, centering
-As instrument names are centered by default, multi line names
-are better entered using @code{\center-align}:
+As instrument names are centered by default, multi line names are
+better entered using @code{\center-align}:
-@lilypond[quote,verbatim,ragged-right]
-{ <<
-\new Staff {
- \set Staff.instrumentName = \markup \center-align {
- Clarinetti
- \line { "in B" \smaller \flat }
+@lilypond[verbatim,quote,relative=2]
+<<
+ \new Staff {
+ \set Staff.instrumentName = \markup \center-align {
+ Clarinetti
+ \line { "in B" \smaller \flat }
+ }
+ c1
+ }
+ \new Staff {
+ \set Staff.instrumentName = "Vibraphone"
+ c1
}
- c''1
-}
-\new Staff {
- \set Staff.instrumentName = "Vibraphone"
- c''1
-}
>>
-}
@end lilypond
For longer instrument names, it may be useful to increase the
@code{indent} setting in the @code{\layout} block.
-Short instrument names, printed before the systems following the first
-one, are also centered by default, in a space which width is given by
-the @code{short-indent} variable of the @code{\layout} block.
+Short instrument names, printed before the systems following the
+first one, are also centered by default, in a space which width is
+given by the @code{short-indent} variable of the @code{\layout}
+block.
To add instrument names to other contexts (such as
@code{GrandStaff}, @code{ChoirStaff}, or @code{StaffGroup}), the
Instrument names may be changed in the middle of a piece,
-@lilypond[quote,fragment,verbatim,ragged-right]
+@lilypond[verbatim,quote,relative=1]
\set Staff.instrumentName = "First"
\set Staff.shortInstrumentName = "one"
c1 c c c \break
@seealso
-Notation Reference: @ref{Modifying context plug-ins}.
+Notation Reference:
+@ref{Modifying context plug-ins}.
Snippets:
@rlsr{Staff notation}.
-Internals Reference: @rinternals{InstrumentName},
-@rinternals{PianoStaff}, @rinternals{Staff}.
+Internals Reference:
+@rinternals{InstrumentName},
+@rinternals{PianoStaff},
+@rinternals{Staff}.
@node Quoting other voices
-@subsubsection Quoting other voices
+@unnumberedsubsubsec Quoting other voices
@cindex cues
@cindex quoting other voices
\addQuote @var{name} @var{music}
@end example
-
@noindent
Here, @var{name} is an identifying string. The @var{music} is any
kind of music. Here is an example of @code{\addQuote}
\addQuote clarinet @{ \clarinet @}
@end example
-
After calling @code{\addQuote}, the quotation may then be done
with @code{\quoteDuring} or @code{\cueDuring},
target instruments, if they are specified using the
@code{\transposition} command.
-@lilypond[quote,ragged-right,verbatim]
-\addQuote clarinet \relative c' {
+@lilypond[verbatim,quote,relative=1]
+\addQuote clarinet
+{
\transposition bes
f4 fis g gis
}
{
- e'8 f'8 \quoteDuring #"clarinet" { s2 }
+ e8 f8 \quoteDuring #"clarinet" { s2 }
}
@end lilypond
will quote notes (but no rests), together with scripts and
dynamics.
+
+@seealso
+
+Notation Reference:
+@ref{Instrument transpositions}.
+
+Snippets:
+@rlsr{Staff notation}.
+
+Internals Reference:
+@rinternals{QuoteMusic},
+@rinternals{Voice}.
+
+
@knownissues
Only the contents of the first @code{Voice} occurring in an
In earlier versions of LilyPond (pre 2.11), @code{addQuote} was
written entirely in lower-case letters: @code{\addquote}.
-@seealso
-
-Notation Reference: @ref{Instrument transpositions}.
-
-Snippets:
-@rlsr{Staff notation}.
-
-Internals Reference: @rinternals{QuoteMusic}, @rinternals{Voice}.
-
@node Formatting cue notes
-@subsubsection Formatting cue notes
+@unnumberedsubsubsec Formatting cue notes
@cindex cues
@cindex cue notes
@end example
This will insert notes from the part @var{name} into a
-@code{Voice} called @code{cue}. This happens
-simultaneously with @var{music}, which usually is a rest. When
-the cue notes start, the staff in effect becomes polyphonic for a
-moment. The argument @var{updown} determines whether the cue
-notes should be notated as a first or second voice.
+@code{Voice} called @code{cue}. This happens simultaneously with
+@var{music}, which usually is a rest. When the cue notes start,
+the staff in effect becomes polyphonic for a moment. The argument
+@var{updown} determines whether the cue notes should be notated as
+a first or second voice.
-
-@lilypond[verbatim,ragged-right]
+@lilypond[verbatim]
smaller = {
\set fontSize = #-2
\override Stem #'length-fraction = #0.8
\override Beam #'length-fraction = #0.8
}
-\addQuote clarinet \relative {
+\addQuote clarinet
+\relative c' {
R1*20
r2 r8 c' f f
}
-\new Staff \relative <<
+\new Staff \relative c' <<
% setup a context for cue notes.
\new Voice = "cue" { \smaller \skip 1*21 }
>>
@end lilypond
-
Here are a couple of hints for successful cue notes:
@itemize
example, having a cue of a piccolo flute within a contra bassoon
part).
-@lilypond[verbatim,ragged-right,quote]
+@lilypond[verbatim,quote]
picc = \relative c''' {
\clef "treble^8"
R1 |
>>
@end lilypond
+
@seealso
Snippets:
@rlsr{Staff notation}.
-Internals Reference: @rinternals{Voice}.
-
+Internals Reference:
+@rinternals{Voice}.
or
@lilypond[verbatim,quote,relative=2]
- Don't use any other relative=X commands (make it a non-fragment
- example), and don't use fragment without relative=2.
+ Don't use any other relative=X commands.
- use "aes" and "ees" instead of "as" and "es". I know it's not
correct Dutch naming, but let's not confuse people with this
until we get to the Basic notation chapter.
-- Add "Music Glossary: @rglos{foo}" to the _top_ of the relevant
+- Add "Music Glossary: @rglos{foo}" to the *top* of the relevant
portions of the tutorial.
@end ignore
is within just one staff space of the previous note.
@lilypond[verbatim,quote]
-\relative c' { % set the starting point to middle C
+% set the starting point to middle C
+\relative c' {
c d e f
g a b c
}
octave:
@lilypond[verbatim,quote]
-\relative c'' { % one octave above middle C
+% one octave above middle C
+\relative c'' {
e c a c
}
@end lilypond
Music Glossary: @rglos{fingering}.
-
Similarly, @notation{fingering} indications can be added to a note
using a dash (@code{-}) and the digit to be printed:
extended section of music, use the command @code{\autoBeamOff}
to turn off automatic beaming and @code{\autoBeamOn} to turn it
on again.
-@c It will usually be necessary to manually beam music
-@c with lyrics.
@lilypond[verbatim,quote,relative=2]
\autoBeamOff
placing lyrics under more than one staff. Here is an
example from Handel's @notation{Judas MaccabƦus}:
-@c TODO \partial has not been previously explained
-@c Change example or add explanation earlier
-
@lilypond[verbatim,quote]
<<
- {
- \time 6/8
- \partial 8
- }
\relative c'' {
\key f \major
+ \time 6/8
+ \partial 8
c8 c([ bes]) a a([ g]) f f'4. b, c4.~ c4
}
\addlyrics {
}
\relative c' {
\key f \major
+ \time 6/8
+ \partial 8
r8 r4. r4 c8 a'([ g]) f f([ e]) d e([ d]) c bes'4
}
\addlyrics {
>>
@end lilypond
-@noindent
-but scores any more complex than this simple example are
-better produced by separating out the staff structure
-from the notes and lyrics with variables. These are
-discussed in @ref{Organizing pieces with variables}.
+Scores any more complex than this simple example are better
+produced by separating out the staff structure from the notes and
+lyrics with variables. These are discussed in @ref{Organizing
+pieces with variables}.
@seealso
(@code{\namedMusic}, just like a normal LilyPond command).
@lilypond[verbatim,quote]
-violin = \new Staff { \relative c'' {
- a4 b c b
-}}
-cello = \new Staff { \relative c {
- \clef bass
- e2 d
-}}
+violin = \new Staff {
+ \relative c'' {
+ a4 b c b
+ }
+}
+cello = \new Staff {
+ \relative c {
+ \clef bass
+ e2 d
+ }
+}
{
<<
\violin
\aFivePaper
line-width = \width
@}
-@{ c4^\name @}
+@{
+ c4^\name
+@}
@end example
@node After the tutorial
@subsection After the tutorial
-FIXME: rewrite slightly after the rest of the LM has been
-stabilized. Translators, ignore this section for now.
-
After finishing the tutorial, you should probably try writing a
piece or two. Start by adding notes to one of the
@ref{Templates}. If you need any notation that was not covered in
wish to skim these chapters right now, and come back to them after
you have more experience.
-
-
+If you have not done so already, @emph{please} read @ref{About the
+documentation}. There is a lot of information about LilyPond, so
+newcomers often do not know where they should look for help. If
+you spend five minutes reading that section carefully, you might
+save yourself hours of frustration looking in the wrong places!
@node World music
@section World music
-FIXME
+The purpose of this section is to highlight musical notation issues
+that are relevant to traditions outside the Western tradition.
@menu
* Arabic music::
@node Arabic music
@subsection Arabic music
-FIXME
+This section highlights issues that are relevant to notating Arabic
+music.
@menu
-* Arabic music notation overview::
+* References for Arabic music::
* Arabic note names ::
* Arabic key signatures::
* Arabic time signatures::
-* References for Arabic music::
+* Further reading::
@end menu
-@node Arabic music notation overview
-@unnumberedsubsubsec Arabic music notation overview
+@node References for Arabic music
+@unnumberedsubsubsec References for Arabic music
@cindex Arabic music
@cindex medium intervals
@cindex maqam
@cindex maqams
-Arabic music so far has been mainly an oral tradition. When music is
-transcribed, it is usually in a sketch format, on which performers are
-expected to improvise significantly. Increasingly, Western notation,
-with a few variations, is adopted in order to communicate and
-preserve Arabic music.
-
-Some elements of Western musical notation such as the transcription
-of chords or independent parts, are not required to typeset the more
-traditional Arabic pieces. There are however some different issues,
-such as the need to indicate medium intervals that are somewhere
-between a semi-tone and a tone, in addition to the minor and major
-intervals that are used in Western music. There is also the need to
-group and indicate a large number of different maqams (modes) that
-are part of Arabic music.
+Arabic music so far has been mainly an oral tradition. When music
+is transcribed, it is usually in a sketch format, on which
+performers are expected to improvise significantly. Increasingly,
+Western notation, with a few variations, is adopted in order to
+communicate and preserve Arabic music.
+
+Some elements of Western musical notation such as the
+transcription of chords or independent parts, are not required to
+typeset the more traditional Arabic pieces. There are however
+some different issues, such as the need to indicate medium
+intervals that are somewhere between a semi-tone and a tone, in
+addition to the minor and major intervals that are used in Western
+music. There is also the need to group and indicate a large
+number of different maqams (modes) that are part of Arabic music.
In general, Arabic music notation does not attempt to precisely
indicate microtonal elements that are present in musical practice.
+Several issues that are relevant to Arabic music are covered
+elsewhere:
+
+@itemize
+@item Note names and accidentals (including quarter tones) can be
+tailored as discussed in @ref{Note names in other languages}.
+
+@item Additional key signatures can also be tailored as described
+in @ref{Key signature}.
+
+@item Complex time signatures may require that notes be grouped
+manually as described in @ref{Manual beams}.
+
+@end itemize
+
+@seealso
+
+Notation Reference:
+@ref{Note names in other languages},
+@ref{Key signature},
+@ref{Manual beams}.
+
+Snippets:
+@rlsr{World music}.
+
@node Arabic note names
-@unnumberedsubsubsec Arabic note names
+@unnumberedsubsubsec Arabic note names
+
@cindex Arabic note names
The more traditional Arabic note names can be quite long and are
not suitable for the purpose of music writing, so they are not
-defined by the inclusion of "arabic.ly". English note names
-@code{a, b, c, d, e, f, g} are not very familiar in Arabic music
-education. Italian or Solfege note names @code{do, re, mi, fa,
-sol, la, si} are more familiar, and are used when
-@code{"arabic.ly"} is included. Modifiers can also be used, as
-discussed in @ref{Note names in other languages}.
+used. English note names are not very familiar in Arabic music
+education, so Italian or Solfege note names (@code{do, re, mi, fa,
+sol, la, si}) are used instead. Modifiers (accidentals) can also
+be used, as discussed in @ref{Note names in other languages}.
For example, this is how the Arabic @notation{rast} scale can be
notated:
@lilypond[quote,verbatim]
-% TODO: commented out until arabic is included
-%\include "arabic.ly"
-%\relative do' {
-% do re misb fa sol la sisb do sisb la sol fa misb re do
-%}
-\relative c' {
- c
+\include "arabic.ly"
+\relative do' {
+ do re misb fa sol la sisb do sisb la sol fa misb re do
}
@end lilypond
Notation Reference:
@ref{Note names in other languages}.
+Snippets:
+@rlsr{World music}.
+
@node Arabic key signatures
@unnumberedsubsubsec Arabic key signatures
@cindex Arabic key signatures
In addition to the minor and major key signatures, the following
-key signatures are defined in @code{"arabic.ly"}: bayati, rast,
-sikah, iraq, and kurd. These key signatures define a small number
-of maqam groups rather than the large number of maqams that are in
+key signatures are defined in @code{arabic.ly}: @notation{bayati},
+@notation{rast}, @notation{sikah}, @notation{iraq}, and
+@notation{kurd}. These key signatures define a small number of
+maqam groups rather than the large number of maqams that are in
common use.
In general, a maqam uses the key signature of its group, or a
For example to indicate the key signature of a maqam muhayer piece:
- \key re \bayati
-
-Here re is the default pitch of the muhayer maqam, and bayati is the
-name of the base maqam in the group.
-
-While the key signature indicates the group, it is
-common for the title to indicate the more specific maqam, so in this
-example, the name of maqam muhayer should appear in the title.
-
-In Arabic music, the same term such as bayati that is used to indicate
-a maqam group, is also a maqam which is usually the most important
-in the group, and can also be thought of as a base maqam.
-
-Here is one suggested grouping that maps the more common maqams to key
-signatures:
+@example
+\key re \bayati
+@end example
+
+Here @var{re} is the default pitch of the muhayer maqam, and
+@var{bayati} is the name of the base maqam in the group.
+
+While the key signature indicates the group, it is common for the
+title to indicate the more specific maqam, so in this example, the
+name of maqam muhayer should appear in the title.
+
+@c FIXME: what group? bayati?
+@c FIXME: the list is hard to read. Either end the sentence with
+@c the list, or put it in parentheses, or something.
+Other maqams in the same group, as shown in the table below:
+bayati, hussaini, saba, and ushaq can be indicated in the same
+way. These are all variations of the base and most common maqam
+in the group, which is bayati. They usually differ from the base
+maqam in their upper tetrachords, or certain flow details that
+don't change their fundamental nature, as related siblings.
+
+The other maqam in the same group (Nawa) is related to bayati by
+modulation which is indicated in the table in parenthesis for
+those maqams that are modulations of their base maqam. Arabic
+maqams admit of only limited modulations, due to the nature of
+Arabic musical instruments. Nawa can be indicated as follows:
+
+@example
+\key sol \bayati
+@end example
+
+In Arabic music, the same term such as bayati that is used to
+indicate a maqam group, is also a maqam which is usually the most
+important in the group, and can also be thought of as a base
+maqam.
+
+Here is one suggested grouping that maps the more common maqams to
+key signatures:
@multitable @columnfractions 0.1 0.1 0.1 0.6
@headitem maqam group
@tab huzam
@end multitable
+@snippets
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{non-traditional-key-signatures.ly}
-You can also set the key signature using Staff.keySignature as discussed
-in @ref{Key signature}. This offers more flexibility if you don't wish
-to be limited to the key signatures that are defined in "arabic.ly", or if
-you don't wish to use the above method of determining a key signature based
-on the maqam group.
-
-For example, you can set the key signature to do sharp, mi semi-flat, and
-sol flat as follows :
-
-@lilypond[quote,verbatim]
-% TODO: uncomment when arabic is added.
-%\include "arabic.ly"
-%{
-% \set Staff.keySignature = #`( (0 . ,SHARP) (2 . ,SEMI-FLAT) (4 . ,FLAT) )
-% \relative re'
-% {
-% re misb fa solb la si dod re sisb la solb fa misb re
-% }
-%}
-\relative c'{
- c
-}
-@end lilypond
@seealso
Internals Reference:
@rinternals{KeySignature}.
+Snippets:
+@rlsr{World music},
+@rlsr{Pitches}.
+
+
@node Arabic time signatures
@unnumberedsubsubsec Arabic time signatures
@cindex Semai form
@cindex taqasim
+@c FIXME why not just adjust the automatic beaming?
Some Arabic and Turkish music classical forms such as Semai use
unusual time signatures such as 10/8. This may lead to an
automatic grouping of notes that is quite different from existing
-typeset music. You can override this by switching off automatic
+typeset music. You can override this by switching off automatic
beaming, and grouping the notes manually using @code{[ ]} to
surround grouped notes, as described in @ref{Manual beams}.
@ref{Unmetered music},
@ref{Automatic accidentals}.
-@node References for Arabic music
-@unnumberedsubsubsec References for arabic music
+Snippets:
+@rlsr{World music}.
+
+@node Further reading
+@unnumberedsubsubsec Further reading
@enumerate
GRAND DOCUMENTATION PROJECT
Trevor Daniels - Assistant Documentation Editor
-Eyolf Ćstrem - NR Rewriter
-Jay Hamilton - NR Rewriter
-Till Retting - NR Rewriter
-Ralph Palmer - NR Rewriter
-Patrick McCarty - NR Rewriter
-Andrew Hawryluk - NR Rewriter
-Jonathan Kulp - NR Rewriter
-Kurt Kroon - Glossary Updates
+Andrew Hawryluk - NR work
+Carl Sorenseon - NR work
+Eyolf Ćstrem - NR work
+Francisco Vila - NR work
+Jay Hamilton - NR work
+Jonathan Kulp - NR work
+Joseph Harfouch - NR work
+Patrick McCarty - NR work
+Ralph Palmer - NR work
+Till Retting - NR work
+Kurt Kroon - Glossary Updates, NR work
Alard de Boer - Formatting
Michael Rasmussen - Formatting
Trevor Baca - Inspirational Headwords
Reinhold Kainhofer - Technical Aid
-Neil Puttock - Snippet Editor
+Neil Puttock - Snippet Editor, Technical Aid
TRANSLATORS
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "keyboards"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "chords, ancient-notation, contexts-and-engravers"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "pitches, staff-notation, vocal-music"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "staff-notation, contexts-and-engravers, breaks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "staff-notation, contexts-and-engravers"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "chords"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms, expressive-marks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms, percussion"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "editorial-annotations, fretted-strings"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "fretted-strings"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "titles"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "repeats"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "simultaneous-notes"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "text, vocal-music, spacing"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "text, paper-and-layout, titles"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "text, vocal-music"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "text"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "tweaks-and-overrides, paper-and-layout, spacing"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "editorial-annotations, fretted-strings, spacing"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "pitches, vocal-music"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "editorial-annotations, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "ancient-notation"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "ancient-notation, template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "ancient-notation, template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "ancient-notation"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "pitches, editorial-annotations"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms, breaks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "editorial-annotations, text"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "winds"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
texidoces = "
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks, text"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks, unfretted-strings"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "simultaneous-notes, editorial-annotations, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "chords"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
doctitlees = "Cambiar la forma de los silencios multicompƔs"
texidoces = "
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "contexts-and-engravers, midi"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "simultaneous-notes"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
texidoces = "
Se puede modificar el texto empleado para los crescendos y
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks, editorial-annotations"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "chords"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "text, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "staff-notation"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "chords"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "staff-notation, tweaks-and-overrides, paper-and-layout"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
texidoces = "
La propiedad @code{measureLength}, junto con
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms, vocal-music, ancient-notation, contexts-and-engravers"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "chords"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "paper-and-layout" % a new tag like "Mixing text and music" or
% "Special output" might be more adequate -jm
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "simultaneous-notes, chords, keyboards"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks, text"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "simultaneous-notes, text"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "editorial-annotations, chords, keyboards, fretted-strings"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "pitches"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "staff-notation, editorial-annotations, contexts-and-engravers, paper-and-layout"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks, text"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
texidoces = "
A diferencia de las inscripciones de texto, las lestras de ensayo
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks, keyboards, unfretted-strings"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks, text, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "ancient-notation, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "editorial-annotations"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "vocal-music, keyboards, unfretted-strings, midi"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "text, paper-and-layout, titles"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "staff-notation,tweaks-and-overrides"
texidoc = "If there is only one staff in one of the staff types
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "pitches"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "tweaks-and-overrides"
texidoc = "
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "tweaks-and-overrides"
texidoc = "
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "editorial-annotations, text"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "contexts-and-engravers"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "fretted-strings"
"
doctitle = "Faking a hammer in tablatures"
} % begin verbatim
-\score{
+\score {
\new TabStaff {
\relative c'' {
c4( d) d( d)
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "keyboards, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "fretted-strings"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "fretted-strings"
texidoc = "
-For flamenco guitar, special notations are used:
+For flamenco guitar, special notation is used:
-* a golpe symbol to indicate a slap on the guitar body with the nail
-of the ring finger, * an arrow to indicate (the direction of) strokes,
-* different letters for fingering (\"p\": thumb, \"i\": index finger,
-\"m\": middle finger, \"a\": ring finger and \"x\": little finger) *
-3- and 4-finger rasgueados; stroke upwards with all fingers, ending
-with an up- and down using the index finger * abanicos; strokes (in
-tuples) with thumb (down), little and index finger (both up). There's
-also an abanico 2 where middle and ring finger are used instead of the
-little finger. * alza pua fast playing with the thumb
+* a golpe symbol to indicate a slap on the guitar body with the nail of
+the ring finger
+* an arrow to indicate (the direction of) strokes
-Most figures use arrows in combination with fingering and with abanicos
-and rasgueados, noteheads are printed only for the first chord.>This
-snippet contains some header-like code that can be copied as
-@samp{flamenco.ly} and included in your source.
+
+* different letters for fingering (\"p\": thumb, \"i\": index finger,
+\"m\": middle finger, \"a\": ring finger and \"x\": little finger)
+
+
+* 3- and 4-finger rasgueados; stroke upwards with all fingers, ending
+with an up- and down using the index finger
+
+
+* abanicos: strokes (in tuples) with thumb (down), little and index
+finger (both up). There's also an abanico 2 where middle and ring
+finger are used instead of the little finger.
+
+
+* alza pua: fast playing with the thumb
+
+
+Most figures use arrows in combination with fingering; with abanicos
+and rasgueados, noteheads are printed only for the first chord.
+
+This snippet contains some header-like code that can be copied as
+@samp{flamenco.ly} and included in source files.
"
doctitle = "Flamenco notation"
} % begin verbatim
-% This snippet was originally made for LilyPond 2.11.41
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%%%%%%% Cut here ----- Start 'flamenco.ly'
stroke
"}
-
-
% Golpe symbol
golpe = \markup { \postscript #"
0.2 setlinewidth
stroke
"}
-strokeUpGolpe = \markup { \column { \golpe \line { \strokeUp }}}
-iUpGolpe = \markup { \column { \golpe \line { \small i } \line { \strokeUp }}}
+strokeUpGolpe = \markup { \column { \golpe \line { \strokeUp }}}
+iUpGolpe = \markup { \column { \golpe \line { \small i } \line { \strokeUp }}}
-% Stokes for all fingers
+% Strokes for all fingers
pUp = \markup { \column { \small p \line { \strokeUp }}}
pDown = \markup { \column { \small p \line { \strokeDown }}}
iUp = \markup { \column { \small i \line { \strokeUp }}}
\score {
\new StaffGroup <<
- \context Staff = part <<
+ \context Staff = "part" <<
\clef G
\transpose c c'
{
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "simultaneous-notes, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "text, vocal-music"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "pitches"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "editorial-annotations"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "editorial-annotations"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms, percussion"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "fretted-strings, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "text, vocal-music"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
texidoces = "
Los Ā«incipitĀ» se pueden escribir utilizando el grob del nombre del
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "keyboards"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks,tweaks-and-overrides"
texidoc = "
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "staff-notation"
--- /dev/null
+%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
+%% This file is in the public domain.
+\version "2.11.53"
+
+\header {
+ lsrtags = "repeats"
+
+ texidoc = "
+Isolated percents can also be printed. This is done by entering a
+multi-measure rest with a different print function:
+
+"
+ doctitle = "Isolated percent repeats"
+} % begin verbatim
+\relative c'' {
+ \override MultiMeasureRest #'stencil
+ = #ly:multi-measure-rest::percent
+ R1
+}
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "keyboards, percussion, fretted-strings, template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks, keyboards, fretted-strings"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
texidoces = "
Se pueden aplicar puntas de flecha a los elementos de extensiĆ³n de
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
texidoces = "
El Ā«MakamĀ» es un tipo de melodĆa de TurquĆa que
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms,tweaks-and-overrides"
texidoc = "
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "staff-notation, editorial-annotations"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "chords"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "text"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "repeats, staff-notation, editorial-annotations"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "staff-notation, ancient-notation, contexts-and-engravers, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "staff-notation, contexts-and-engravers, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "pitches, staff-notation"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "pitches, text"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "text"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "spacing"
texidoc = "Page labels may be placed inside music or at top-level,
--- /dev/null
+%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
+%% This file is in the public domain.
+\version "2.11.53"
+
+\header {
+ lsrtags = "repeats"
+
+ texidoc = "
+Measure repeats of more than two repeats can get a counter when the
+convenient property is switched, as shown in this example:
+
+"
+ doctitle = "Percent repeat counter"
+} % begin verbatim
+\relative c'' {
+ \set countPercentRepeats = ##t
+ \repeat percent 4 { c1 }
+}
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "percussion"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "keyboards, template"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
texidoces = "
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "text, keyboards, template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "vocal-music, keyboards, template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "fretted-strings"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "fretted-strings"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
doctitlees = "Posicionar los silencios multicompƔs"
texidoces = "
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "repeats, breaks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "pitches"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "pitches"
--- /dev/null
+%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
+%% This file is in the public domain.
+\version "2.11.53"
+
+\header {
+ lsrtags = "repeats, tweaks-and-overrides"
+
+ texidoc = "
+A @code{|:} bar line can be printed at the beginning of a piece, by
+overriding the relevant property:
+
+"
+ doctitle = "Printing a repeat sign at the beginning of a piece"
+} % begin verbatim
+\relative c'' {
+ \once \override Score.BreakAlignment #'break-align-orders =
+ #(make-vector 3 '(instrument-name
+ left-edge
+ ambitus
+ span-bar
+ breathing-sign
+ clef
+ key-signature
+ time-signature
+ staff-bar
+ custos
+ span-bar))
+ \bar "|:"
+ c1
+ d1
+ d4 e f g
+}
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "text"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "text"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms, expressive-marks, staff-notation, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms, percussion"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "tweaks-and-overrides, spacing"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
texidoces = "Los pasajes citados tienen en cuenta la
transposiciĆ³n de la fuente tanto como la del destino. En este
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "staff-notation"
texidoc = "With @code{\\quote}, fragments of previously entered
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "staff-notation, tweaks-and-overrides, breaks"
measure-counter.ly
+adding-volta-brackets-to-additional-staves.ly
+isolated-percent-repeats.ly
+volta-text-markup-using-repeatcommands.ly
+printing-a-repeat-sign-at-the-beginning-of-a-piece.ly
positioning-segno-and-coda-with-line-break.ly
shortening-volta-brackets.ly
volta-multi-staff.ly
+percent-repeat-counter.ly
volta-below-chords.ly
-volta-text-markup-using-repeatcommands.ly
-adding-volta-brackets-to-additional-staves.ly
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms, ancient-notation, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "template"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
texidoces = "
Si la nota que da fin a un regulador cae sobre la primera parte de
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "repeats"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "chords"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "chords"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "vocal-music, chords, template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "vocal-music, chords, template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "chords, template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "vocal-music, template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms, vocal-music"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms, vocal-music"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "fretted-strings"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "unfretted-strings, template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "unfretted-strings, template"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "simultaneous-notes,tweaks-and-overrides"
texidoc = "
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "paper-and-layout"
texidoc = "A table of contents is included using
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms, text"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "staff-notation, tweaks-and-overrides"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
doctitlees = "Transportar mĆŗsica con el menor nĆŗmero de alteraciones"
texidoces = "
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "pitches, staff-notation, tweaks-and-overrides"
drawing-boxes-around-grobs.ly
manually-controlling-beam-positions.ly
custodes.ly
+printing-a-repeat-sign-at-the-beginning-of-a-piece.ly
creating-text-spanners.ly
rest-styles.ly
how-to-change-fret-diagram-position.ly
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "staff-notation, contexts-and-engravers"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "tweaks-and-overrides"
texidoc = "
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "rhythms"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
%% Edit this file using a Unicode aware editor, such as GVIM, GEDIT, Emacs
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "tweaks-and-overrides, spacing"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "expressive-marks"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "vocal-music, tweaks-and-overrides, spacing"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "vocal-music, keyboards, template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "text, vocal-music, contexts-and-engravers, template"
%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "vocal-music, template"
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
texidoces = "
Mediante la adiciĆ³n del grabador @code{Volta_engraver} al
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "repeats,staff-notation"
texidoc = "By adding the @code{Volta_engraver} to the relevant
%% Do not edit this file; it is auto-generated from input/new
%% This file is in the public domain.
-\version "2.11.52"
+\version "2.11.53"
\header {
lsrtags = "repeats"
it in the command list using the Scheme syntax
@w{@code{#(list (list 'volta textIdentifier))}}. Start- and end-repeat commands
can be added as separate list elements:"
-doctitle = "Volta text markup using @code{\\repeatCommands}"
+doctitle = "Volta text markup using @code{repeatCommands}"
} % begin verbatim
voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } }
-
depth = ../..
-STEPMAKE_TEMPLATES=documentation texinfo tex
-LOCALSTEPMAKE_TEMPLATES=lilypond ly lysdoc
-
-## Hmm, would this work? No -- if we really want examples, move
-## to other dir (input/) comes to mind.
-## examples = font20 ancient-font
-## LOCALSTEPMAKE_TEMPLATES += ly mutopia
+STEPMAKE_TEMPLATES=documentation
EXTRA_DIST_FILES= README
+EXTRA_DIST_FILES+=$(call src-wildcard,*.ly)
+EXTRA_DIST_FILES+=$(call src-wildcard,*.ily)
include $(depth)/make/stepmake.make
-
-TITLE=LilyPond Examples from the Manual
\Score
\remove "Bar_number_engraver"
}
- \context {
- \Staff
- \remove "Time_signature_engraver"
- }
}
fermataLong = \markup {
% Movt II, Andante con moto
% Measures 9 - 16
-\layout {
- \context {
- \Staff
- \remove "Time_signature_engraver"
- }
-}
-
\new PianoStaff <<
\new Staff = RH {
#(ly:make-moment 1 40)
%\override SpacingSpanner #'strict-grace-spacing = ##t
}
- \context {
- \Staff
- \remove "Time_signature_engraver"
- }
}
\new PianoStaff <<
it in the command list using the Scheme syntax
@w{@code{#(list (list 'volta textIdentifier))}}. Start- and end-repeat commands
can be added as separate list elements:"
-doctitle = "Volta text markup using @code{\\repeatCommands}"
+doctitle = "Volta text markup using @code{repeatCommands}"
}
voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } }
line_dimensions_int (Output_def *def, int n)
{
Real lw = def->get_dimension (ly_symbol2scm ("line-width"));
- Real ind = n ? 0.0 : def->get_dimension (ly_symbol2scm ("indent"));
+ Real ind = n
+ ? def->get_dimension (ly_symbol2scm ("short-indent"))
+ : def->get_dimension (ly_symbol2scm ("indent"));
return Interval (ind, lw);
}
thickness and padding around the markup; the @code{corner-radius} property
makes possible to define another shape for the corners (default is 1).
-@lilypond[quote,verbatim,fragment,relative=2]
+@lilypond[quote,verbatim,relative=2]
c4^\\markup {
\\rounded-box {
Overtura
@cindex padding text
@cindex putting space around text
-Add space around a markup object."
+Add space around a markup object.
+
+@lilypond[verbatim,quote]
+\\markup {
+ \\box {
+ default
+ }
+ \\hspace #2
+ \\box {
+ \\pad-around #1 {
+ padded
+ }
+ }
+}
+@end lilypond"
(let*
((stil (interpret-markup layout props arg))
(xext (ly:stencil-extent stil X))
Use a stencil as markup.
-@c FIXME works in .ly file, produces empty stencil in docs
@lilypond[verbatim,quote]
\\markup {
- \\stencil #(dimension-arrows '(15 . 0))
+ \\stencil #(make-circle-stencil 2 0 #t)
}
@end lilypond"
stil)
(number? markup?)
align
()
- "Add padding @var{amount} all around @var{arg}."
+ "Add padding @var{amount} all around @var{arg}.
+
+@lilypond[verbatim,quote]
+\\markup {
+ \\box {
+ default
+ }
+ \\hspace #2
+ \\box {
+ \\pad-around #0.5 {
+ padded
+ }
+ }
+}
+@end lilypond"
(let* ((m (interpret-markup layout props arg))
(x (ly:stencil-extent m X))
(y (ly:stencil-extent m Y)))
"
@cindex padding text horizontally
-Add padding @var{amount} around @var{arg} in the X@tie{}direction."
+Add padding @var{amount} around @var{arg} in the X@tie{}direction.
+
+@lilypond[verbatim,quote]
+\\markup {
+ \\box {
+ default
+ }
+ \\hspace #4
+ \\box {
+ \\pad-x #2 {
+ padded
+ }
+ }
+}
+@end lilypond"
(let* ((m (interpret-markup layout props arg))
(x (ly:stencil-extent m X))
(y (ly:stencil-extent m Y)))
(markup? integer? ly:dir? markup?)
align
()
- "Put @var{arg2} next to @var{arg1}, without moving @var{arg1}."
+ "
+@ignore
+This is broken, since there's no parser tag for the signature
+markup_scm_scm_markup. Only works using Scheme markup. -np
+@end ignore
+
+Put @var{arg2} next to @var{arg1}, without moving @var{arg1}."
(let ((m1 (interpret-markup layout props arg1))
(m2 (interpret-markup layout props arg2)))
(ly:stencil-combine-at-edge m1 axis dir m2 0.0)))
(number-pair? number-pair? markup?)
align
()
- "Make @var{arg} take at least @var{x-ext}, @var{y-ext} space."
+ "Make @var{arg} take at least @var{x-ext}, @var{y-ext} space.
+
+@lilypond[verbatim,quote]
+\\markup {
+ \\box {
+ default
+ }
+ \\hspace #4
+ \\box {
+ \\pad-to-box #'(0 . 10) #'(0 . 3) {
+ padded
+ }
+ }
+}
+@end lilypond"
(let* ((m (interpret-markup layout props arg))
(x (ly:stencil-extent m X))
(y (ly:stencil-extent m Y)))
align
()
"Center @var{arg} horizontally within a box of extending
-@var{length}/2 to the left and right."
+@var{length}/2 to the left and right.
+
+@lilypond[quote,verbatim]
+\\new StaffGroup <<
+ \\new Staff {
+ \\set Staff.instrumentName = \\markup {
+ \\hcenter-in #12
+ Oboe
+ }
+ c''1
+ }
+ \\new Staff {
+ \\set Staff.instrumentName = \\markup {
+ \\hcenter-in #12
+ Bassoon
+ }
+ \\clef tenor
+ c'1
+ }
+>>
+@end lilypond"
(interpret-markup layout props
(make-pad-to-box-markup
(cons (/ length -2) (/ length 2))
(ly:modules-lookup (list m) 'right-margin (* 10 mm))))
(module-define! m 'indent (/ w 14))
- (module-define! m 'short-indent (* 5 mm))
+ (module-define! m 'short-indent 0)
;; page layout - what to do with (printer specific!) margin settings?
LAYOUT: {
NOTIME: r'''
\context {
- \Score
- timing = ##f
+ \Score
+ timing = ##f
}
\context {
- \Staff
- \remove Time_signature_engraver
+ \Staff
+ \remove "Time_signature_engraver"
}''',
},
$(MAKE) out=www WWW-post
web-clean:
+ find -name out-www | xargs rm -rf
$(MAKE) out=www clean