(Top): add fragment to

pertinent @lilypond entries.

diff --git a/ChangeLog b/ChangeLog
index 0e27ffba52a8a023841c575873108badcb670e06..092e4da480764a62063b11bce8278456f6f12943 100644 (file)
--- a/ChangeLog
+++ b/ChangeLog
@@ -1,7 +1,10 @@
 2004-07-17  Han-Wen Nienhuys   <hanwen@xs4all.nl>
 
+       * Documentation/user/music-glossary.tely (Top): add fragment to
+       pertinent @lilypond entries.
+
        * scm/define-grobs.scm: switch on new-slur by default.
-g
+
        * lily/scm-option.cc: symbol != string.
 
        * lily/new-slur.cc (set_end_points): handle broken slurs. Doesn't

diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely
index f463344bfd3575a1fdaf9744ba39b1a75eceadcd..bab969414139655943456d4df57d0dd03c7e504b 100644 (file)
--- a/Documentation/user/music-glossary.tely
+++ b/Documentation/user/music-glossary.tely
@@ -205,7 +205,7 @@ by a @aref{whole tone}, a flat lowers it by a semitone and a double
 flat lowers it by a whole tone. A natural cancels the effect of a previous
 accidental.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override TextScript   #'font-style = #'large
 \addlyrics
@@ -312,7 +312,7 @@ FI: luonnollinen molliasteikko.
 
 @aref{diatonic scale} (ancient minor).
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 \notes\relative c'' {
 a1 b c d e f g a }
@@ -548,7 +548,7 @@ FI: palkki.
 Line connecting a series of notes (shorter than a quarter note).
 The number of beams determine the note value of the connected notes.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override TextScript   #'font-style = #'large
 \notes\relative c'' {
@@ -648,7 +648,7 @@ FI: brevis.
 @aref{note value} twice as long as a whole note.  Mainly used
 in pre-1650 music.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 \notes\relative c'' { g\breve }
 @end lilypond
@@ -676,7 +676,7 @@ FI: C-avain.
 Clef symbol indicating the position of the middle C.  Used on all note
 lines.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 \override Score.Clef   #'full-size-change = ##t
 %\override Score.LyricText   #'font-style = #'large
@@ -770,7 +770,7 @@ and five-tone @emph{ninth} major chords are most often used as dominants
 third above the lower notes to define their quality as major or minor.  Such
 chords are denoted open chords
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override TextScript   #'font-style = #'large
 \addlyrics
@@ -801,7 +801,7 @@ FI: kromaattinen asteikko.
 
 A scale consisting of all 12 @aref{semitone}s.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
 @end lilypond
@@ -866,7 +866,7 @@ geometrically describes the development of a range of pitches
 geometrical shape of a cluster covers the area in which any single
 pitch contained in the cluster would be notated as an ordinary note.
 
-@lilypond[relative=2,verbatim]
+@lilypond[fragment,relative=2,verbatim]
     \apply #notes-to-clusters {  <c e > <b f'> <b g'> <c g> <f e>  }
 @end lilypond
 
@@ -972,7 +972,7 @@ also the contrapunctal technique used in the @emph{fugue} which, since the
 music of the baroque era, has been one of the most popular polyphonic
 composition methods.
 
-@lilypond[staffsize=11]
+@lilypond[fragment,staffsize=11]
 \set Score.TimeSignature =\turnOff
 \notes\context PianoStaff <<
   \context Staff = SA \relative c' {
@@ -1183,7 +1183,7 @@ of a piano keybord are diatonic.
 The church modes are used in gregorial chant and in pre baroque early music but
 also to some extent in newer jazz music.
 
-@lilypond[notime,linewidth=110\mm]
+@lilypond[fragment,notime,linewidth=110\mm]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
@@ -1198,7 +1198,7 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
@@ -1213,7 +1213,7 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
@@ -1227,7 +1227,7 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
@@ -1242,7 +1242,7 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
@@ -1256,7 +1256,7 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
@@ -1276,7 +1276,7 @@ compositional music are primarily the major and the minor scales.  In the
 harmonic minor scale type an augmented second (A) occurs between the 6th and
 7th tone.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
@@ -1291,7 +1291,7 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
   }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
@@ -1306,7 +1306,7 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
   }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
@@ -1321,7 +1321,7 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
   }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
@@ -1643,7 +1643,7 @@ FI: enharmoninen.
 Two notes, intervals, or scales are enharmonic if they have different names
 but equal pitch.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
 \addlyrics
@@ -1710,7 +1710,7 @@ an octave higher (for example bass recorder) while 8@w{ }below the clef
 symbol indicates playing an octave lower (for example on double bass
 @aref{strings}).
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 \override Staff.Clef   #'full-size-change = ##t
 %\override Score.LyricText   #'font-style = #'large
@@ -1799,7 +1799,7 @@ Ornament at the end of the stem of a note used for notes with values
 less than a quarter note.  The number of flags determines the
 @aref{note value}.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
 \notes\relative c'' {
@@ -1878,7 +1878,7 @@ first note of the scale), subdominant (S, the chord on the fourth note), and
 dominant (D, the chord on the fifth note).  Other are considered to be
 variants of the base chords.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
@@ -1915,7 +1915,7 @@ the notes must be played an octave higher while 8 below the clef symbol
 indicates playing or singing an octave lower (most tenor parts in choral
 scores are notated like that).
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 \override Staff.Clef   #'full-size-change = ##t
 %\override Score.LyricText   #'font-style = #'large
@@ -2065,7 +2065,7 @@ Tones sounding simultaneously.  Two note harmonies fall into the categories
 
 Consonances:
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
 \context Voice \notes\relative c'' {
@@ -2081,7 +2081,7 @@ Consonances:
 
 Dissonances:
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
 \context Voice  \notes\relative c'' {
@@ -2122,7 +2122,7 @@ identical (@aref{enharmonic}) and are called @emph{tritonus}
 because they consist of three @aref{whole tone}s.  The addition
 of such two forms an octave.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
@@ -2143,7 +2143,7 @@ of such two forms an octave.
 }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
@@ -2164,7 +2164,7 @@ of such two forms an octave.
 }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
@@ -2197,7 +2197,7 @@ FI: k@"a@"anteisintervalli.
 
 The difference between an interval and an octave.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
 \context Staff \notes\relative c'' {
@@ -2285,7 +2285,7 @@ FI: apuviiva.
 
 A ledger line is an extension of the staff.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 \notes\relative c'' { a,1 s c'' }
 @end lilypond
@@ -2304,7 +2304,7 @@ To be performed (a) without any perceptible interruption between the notes,
 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
 (d) @aref{staccato}.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 \addlyrics
 \context Staff \notes\relative c'' {
@@ -2388,7 +2388,7 @@ FI: longa.
 Note value: double length of @aref{breve}.
 @aref{note value}.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 \notes\relative c'' {
   \override NoteHead   #'style = #'mensural
@@ -2579,7 +2579,7 @@ FI: keski-C.
 
 First C below the 440 Hz A.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 \override Staff.Clef   #'full-size-change = ##t
 \notes\relative c' {
@@ -2789,7 +2789,7 @@ higher note value.  The longest duration normally used is called @emph{brevis},
 but sometimes (mostly in pre baroque music) the double length note value
 @emph{longa} is used.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 %\override Score.TextScript   #'font-style = #'large
 \set Score.automaticBars = ##f
 \notes\relative c'' {
@@ -2800,7 +2800,7 @@ but sometimes (mostly in pre baroque music) the double length note value
   g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 %\override Score.TextScript   #'font-style = #'large
 \set Score.automaticBars = ##f
 \notes\relative c'' {
@@ -3150,7 +3150,7 @@ FI: rinnakkaiss@"avellaji.
 @aref{major} and @aref{minor} @aref{key}
 with the same @aref{key signature}.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
 \notes\relative c' {
@@ -3160,7 +3160,7 @@ with the same @aref{key signature}.
 }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
 \notes\relative c' {
@@ -3271,7 +3271,7 @@ Names and symbols used in harmonic analysis to denote tones of the scale as
 roots of chords.  The most important are degrees I = tonic (T), IV =
 sub@-do@-mi@-nant (S) and V = dominant (D).
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\set minVerticalAlign = #8
@@ -3332,7 +3332,7 @@ tones on the piano keyboard -- including black and white keys -- is a
 semitone.  An octave may be divided into 12@w{ }semitones.
 @aref{interval}, @aref{chromatic scale}.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 \notes\relative c'' { g1 gis s a bes s b! c }
 @end lilypond
@@ -3568,7 +3568,7 @@ FI: nuottipalkki.
 Vertical line above or below a @aref{note head} shorter than a
 whole note.  @aref{beam}.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.autoBeaming = ##f
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
@@ -3876,7 +3876,7 @@ A curved line, identical in appearance with the @aref{slur}, which
 connects two succesive notes of the same pitch, and which has the function of
 uniting them into a single sound equal to the combined durations.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 \notes\relative c'' { g2 ~ g4. }
 @end lilypond
@@ -3981,7 +3981,7 @@ the same tone, produced by a rapid up-and-down movement movement of the bow
 a @aref{chord}, usually in the distance of a third
 (@aref{interval}).
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
 \notes\relative c' {

diff --git a/Documentation/user/notation.itely b/Documentation/user/notation.itely
index 54e6efe62a24d6e95f7ba7dad2f1d419b526bf79..730fcfdb1b483bf4289c05724be89434aae95cb0 100644 (file)
--- a/Documentation/user/notation.itely
+++ b/Documentation/user/notation.itely
@@ -4338,7 +4338,7 @@ and @internalsref{Staff}.@code{instr}. This will print a string before
 the start of the staff. For the first start, @code{instrument} is
 used, for the next ones @code{instr} is used.
 
-@lilypond[quote,verbatim,raggedright,relative=1,fragmen]
+@lilypond[quote,verbatim,raggedright,relative=1,fragment]
 \set Staff.instrument = "Ploink "
 \set Staff.instr = "Plk "
 c1
@@ -5045,7 +5045,7 @@ with respect to that clef.
 modern style mensural C clef @tab
 @code{neo_mensural_c1}, @code{neo_mensural_c2},
 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
 \override Staff.TimeSignature   #'transparent = ##t
 \clef "neo_mensural_c2" c
 @end lilypond
@@ -5069,7 +5069,7 @@ petrucci style mensural C clefs, for use  on different  staff lines
 @code{petrucci_c5}
 
 @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
 \override Staff.TimeSignature   #'transparent = ##t
 \clef "petrucci_c2" c
 @end lilypond
@@ -5078,7 +5078,7 @@ petrucci style mensural C clefs, for use  on different  staff lines
 @code{clefs-petrucci_f} @tab
 petrucci style mensural F clef @tab
 @code{petrucci_f} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
 \override Staff.TimeSignature   #'transparent = ##t
 \clef "petrucci_f" c
 @end lilypond
@@ -5087,7 +5087,7 @@ petrucci style mensural F clef @tab
 @code{clefs-petrucci_g} @tab
 petrucci style mensural G clef @tab
 @code{petrucci_g} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
 \override Staff.TimeSignature   #'transparent = ##t
 \clef "petrucci_g" c
 @end lilypond
@@ -5097,7 +5097,7 @@ petrucci style mensural G clef @tab
 historic style mensural C clef @tab
 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
 @code{mensural_c4} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
 \override Staff.TimeSignature   #'transparent = ##t
 \clef "mensural_c2" c
 @end lilypond
@@ -5106,7 +5106,7 @@ historic style mensural C clef @tab
 @code{clefs-mensural_f} @tab
 historic style mensural F clef @tab
 @code{mensural_f} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
 \override Staff.TimeSignature   #'transparent = ##t
 \clef "mensural_f" c
 @end lilypond
@@ -5115,7 +5115,7 @@ historic style mensural F clef @tab
 @code{clefs-mensural_g} @tab
 historic style mensural G clef @tab
 @code{mensural_g} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
 \override Staff.TimeSignature   #'transparent = ##t
 \clef "mensural_g" c
 @end lilypond
@@ -5124,7 +5124,7 @@ historic style mensural G clef @tab
 @code{clefs-vaticana_do} @tab
 Editio Vaticana style do clef @tab
 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
     \override Staff.StaffSymbol   #'line-count = #4
 \override Staff.TimeSignature   #'transparent = ##t
 \clef "vaticana_do2" c
@@ -5134,7 +5134,7 @@ Editio Vaticana style do clef @tab
 @code{clefs-vaticana_fa} @tab
 Editio Vaticana style fa clef @tab
 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[quote,relative=1,notime,fragment]
     \override Staff.StaffSymbol   #'line-count = #4
 \override Staff.TimeSignature   #'transparent = ##t
 \clef "vaticana_fa2" c
@@ -5144,7 +5144,7 @@ Editio Vaticana style fa clef @tab
 @code{clefs-medicaea_do} @tab
 Editio Medicaea style do clef @tab
 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
     \override Staff.StaffSymbol   #'line-count = #4
 \override Staff.TimeSignature   #'transparent = ##t
 \clef "medicaea_do2" c
@@ -5154,7 +5154,7 @@ Editio Medicaea style do clef @tab
 @code{clefs-medicaea_fa} @tab
 Editio Medicaea style fa clef @tab
 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
     \override Staff.StaffSymbol   #'line-count = #4
 \override Staff.TimeSignature   #'transparent = ##t
 \clef "medicaea_fa2" c
@@ -5164,7 +5164,7 @@ Editio Medicaea style fa clef @tab
 @code{clefs-hufnagel_do} @tab
 historic style hufnagel do clef @tab
 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
     \override Staff.StaffSymbol   #'line-count = #4
 \override Staff.TimeSignature   #'transparent = ##t
 \clef "hufnagel_do2" c
@@ -5174,7 +5174,7 @@ historic style hufnagel do clef @tab
 @code{clefs-hufnagel_fa} @tab
 historic style hufnagel fa clef @tab
 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
     \override Staff.StaffSymbol   #'line-count = #4
 \override Staff.TimeSignature   #'transparent = ##t
 \clef "hufnagel_fa2" c
@@ -5184,7 +5184,7 @@ historic style hufnagel fa clef @tab
 @code{clefs-hufnagel_do_fa} @tab
 historic style hufnagel combined do/fa clef @tab
 @code{hufnagel_do_fa} @tab
-@lilypond[quote,relative=1,notime]
+@lilypond[fragment,quote,relative=1,notime]
 \override Staff.TimeSignature   #'transparent = ##t
 \clef "hufnagel_do_fa" c
 @end lilypond
@@ -7544,7 +7544,7 @@ Examples: @inputfileref{input/regression,balloon.ly}.
 The `easy play' note head includes a  name inside the head.  It is
 used in music for beginners
 
-@lilypond[quote,raggedright,verbatim,staffsize=26]
+@lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
 \setEasyHeads
 c'2 e'4 f' | g'1
 @end lilypond