@end example
In the MIDI output, they are interpreted as a tempo change, and in the
-paper output, a metronome marking is printed
+paper output, a metronome marking is printed:
@cindex @code{\tempo}
@lilypond[fragment,verbatim]
\tempo 8.=120 c''1
start and ending note of the spanner.
The string to be printed, as well as the style, is set through object
-properties.
+properties:
@lilypond[fragment,relative,verbatim]
\relative c' { c1
@table @asis
@item the symbol @code{start-repeat},
- which prints a @code{|:} bar line.
-@item The symbol @code{end-repeat},
- which prints a @code{:|} bar line
-@item The list @code{(volta @var{text})}
- which prints a volta bracket saying @var{text}. The text can be specified as
+ which prints a @code{|:} bar line,
+@item the symbol @code{end-repeat},
+ which prints a @code{:|} bar line,
+@item the list @code{(volta @var{text})},
+ which prints a volta bracket saying @var{text}: The text can be specified as
a text string or as a markup text, see @ref{Text markup}. Do not
forget to change the font, as the default number font does not contain
-alphabetic characters.
-@item The list @code{(volta #f)}, which
- stops a running volta bracket
+alphabetic characters. Or,
+@item the list @code{(volta #f)}, which
+ stops a running volta bracket:
@end table
@lilypond[verbatim, fragment]
@internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
@internalsref{VoltaRepeatedMusic},
-@internalsref{UnfoldedRepeatedMusic}
+@internalsref{UnfoldedRepeatedMusic},
@internalsref{FoldedRepeatedMusic}.
@node Tremolo repeats
@cindex tremolo beams
To place tremolo marks between notes, use @code{\repeat} with tremolo
-style.
+style:
@lilypond[verbatim,center,singleline]
\score {
\context Voice \notes\relative c' {
@seealso
Tremolo beams are @internalsref{Beam} objects. Single stem tremolos
-are @internalsref{StemTremolo}. The music expression is
+are @internalsref{StemTremolo}s. The music expression is
@internalsref{TremoloEvent}.
`@code{:}[@var{length}]' after the note. The length must be at least 8.
A @var{length} value of 8 gives one line across the note stem. If the
length is omitted, then then the last value (stored in
-@code{Voice.tremoloFlags}) is used.
+@code{Voice.tremoloFlags}) is used:
@lilypond[verbatim,fragment,center]
c'2:8 c':32 | c': c': |
In the @code{percent} style, a note pattern can be repeated. It is
printed once, and then the pattern is replaced with a special sign.
Patterns of a one and two measures are replaced by percent-like signs,
-patterns that divide the measure length are replaced by slashes.
+patterns that divide the measure length are replaced by slashes:
@lilypond[verbatim,singleline]
\context Voice { \repeat "percent" 4 { c'4 }
piece of percussion has a full name and an abbreviated name, and both
the full name or the abbreviation may be used in input files.
-To typeset the music on a staff apply the function @code{drums->paper}
+to typeset the music on a staff apply the function @code{drums->paper}
to the percussion music. This function takes a list of percussion
instrument names, notehead scripts and staff positions (that is:
pitches relative to the C-clef) and transforms the input
Currently the following lists are defined in @file{scm/drums.scm}:
@table @code
@item 'drums
-To typeset a typical drum kit on a five-line staff.
+to typeset a typical drum kit on a five-line staff:
@lilypond[noindent]
\include "drumpitch-init.ly"
@end lilypond
The drum scheme supports six different toms. When there fewer toms, simply
-select the toms that produce the desired result, i.e., to get toms on
+select the toms that produce the desired result, i.e. to get toms on
the three middle lines you use @code{tommh}, @code{tomml} and
@code{tomfh}.
Because general MIDI does not contain rimshots the sidestick is used
for this purpose instead.
@item 'timbales
-To typeset timbales on a two line staff.
+to typeset timbales on a two line staff:
@lilypond[singleline]
\include "drumpitch-init.ly"
}
@end lilypond
@item 'congas
-To typeset congas on a two line staff.
+to typeset congas on a two line staff:
@lilypond[singleline]
\include "drumpitch-init.ly"
}
@end lilypond
@item 'bongos
-To typeset bongos on a two line staff.
+to typeset bongos on a two line staff:
@lilypond[singleline]
\include "drumpitch-init.ly"
}
@end lilypond
@item 'percussion
-To typeset all kinds of simple percussion on one line staves.
+to typeset all kinds of simple percussion on one line staves:
@lilypond[singleline]
\include "drumpitch-init.ly"
nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
The file @file{drumpitch-init.ly} replaces the normal pitch names, so
you have to reinclude @file{nederlands.ly} after the
-drum-pattern-definitions to enter normal notes.
+drum-pattern-definitions to enter normal notes:
@c
@lilypond[singleline,verbatim]
\include "drumpitch-init.ly"
Piano pedal instruction can be expressed by attaching
@code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
-note or chord.
+note or chord:
@lilypond[fragment,verbatim]
c'4-\sustainDown c'4-\sustainUp
For fine-tuning of the appearance of a pedal bracket, the properties
@code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
-@code{PianoPedalBracket} objects (see the detailed documentation of
-@internalsref{PianoPedalBracket}) can be modified. For example, the bracket
-may be extended to the end of the note head.
+@code{PianoPedalBracket} objects (, see the detailed documentation of
+@internalsref{PianoPedalBracket},) can be modified. For example, the bracket
+may be extended to the end of the note head:
@lilypond[fragment,verbatim]
\property Staff.PianoPedalBracket \override
@cindex @code{\arpeggio}
You can specify an arpeggio sign on a chord by attaching an
-@code{\arpeggio} to a chord.
+@code{\arpeggio} to a chord:
@lilypond[fragment,relative,verbatim]
When an arpeggio crosses staves, you attach an arpeggio to the chords
in both staves, and set
-@internalsref{PianoStaff}.@code{connectArpeggios}.
+@internalsref{PianoStaff}.@code{connectArpeggios}:
@lilypond[fragment,relative,verbatim]
\context PianoStaff <
The direction of the arpeggio is sometimes denoted by adding an
arrowhead to the wiggly line. This can be typeset by setting
-@code{arpeggio-direction}.
+@code{arpeggio-direction}:
@lilypond[fragment,relative,verbatim]
\context Voice {
arpeggiate the chord. To draw these brackets, set the
@code{molecule-callback} property of @code{Arpeggio} or
@code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
-@code{\arpeggio} statements within the chords as before.
+@code{\arpeggio} statements within the chords as before:
@lilypond[fragment,relative,verbatim]
\property PianoStaff.Arpeggio \override
@cindex @code{\arpeggioBracket }
@code{\arpeggioBracket},
@cindex @code{\arpeggio}
-@code{\arpeggio},
+@code{\arpeggio}.
@seealso
@cindex @code{\showStaffSwitch }
@code{\showStaffSwitch},
@cindex @code{\hideStaffSwitch }
-@code{\hideStaffSwitch},
+@code{\hideStaffSwitch}.
@node Vocal music
Subsequent characters of a word can be any character that is not a digit
and not white space. One important consequence of this is that a word
can end with @code{@}}. The following example is usually a bug. The
-syllable includes a @code{@}}, and hence the opening brace is not balanced.
+syllable includes a @code{@}}, and hence the opening brace is not balanced:
@example
\lyrics @{ twinkle@}
@end example
@node The Lyrics context
@subsection The Lyrics context
-Lyrics are printed by interpreting them in @internalsref{Lyrics}
-context:
+Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
@example
\context Lyrics \lyrics @dots{}
@end example
entered. The lyrics can also be aligned under a given melody
automatically. In this case, it is no longer necessary to enter the
correct duration for each syllable. This is achieved by combining the
-melody and the lyrics with the @code{\addlyrics} expression
+melody and the lyrics with the @code{\addlyrics} expression:
@example
\addlyrics
\notes @dots{}
done automatically when corresponding lyric lines and melodies are
marked.
-To this end, give the @internalsref{Voice} context an identity,
+To this end, give the @internalsref{Voice} context an identity:
@example
\context Voice = duet @{
\time 3/4
Then set the @internalsref{LyricsVoice} contexts to names starting with
that identity followed by a dash. In the preceding example, the
@internalsref{Voice} identity is @code{duet}, so the identities of the
-@internalsref{LyricsVoices} are marked @code{duet-1} and @code{duet-2}.
+@internalsref{LyricsVoices} are marked @code{duet-1} and @code{duet-2}:
@example
\context LyricsVoice = "duet-1" @{
Hi, my name is bert. @}
@internalsref{Voice} must also be used to get melismata correct in
conjunction with rests.
-The complete example is shown here.
+The complete example is shown here:
@lilypond[singleline,verbatim]
\score {
\addlyrics
Stanza numbers, or the names of the singers can be added by setting
@code{LyricsVoice.Stanza} (for the first system) and
@code{LyricsVoice.stz} for the following systems. Notice how dots are
-surrounded with spaces in @code{\lyrics} mode.
+surrounded with spaces in @code{\lyrics} mode:
@example
\property LyricsVoice . stanza = "Bert"
string. By default, string 1 is the highest one, and the tuning
defaults to the standard guitar tuning (with 6 strings). The notes
are printed as tablature, by using @internalsref{TabStaff} and
-@internalsref{TabVoice} contexts.
+@internalsref{TabVoice} contexts:
@lilypond[fragment,verbatim]
\notes \context TabStaff {
When no string is specified, the first string that does not give a
fret number less than @code{minimumFret} is selected. The default
-value for @code{minimumFret} is 0.
+value for @code{minimumFret} is 0:
@example
being the pitch (measured in semitones relative to central C) of an
open string. The numbers specified for @code{stringTuning} are the
numbers of semitones to subtract or add, starting the specified pitch
-by default middle C, in string order: thus the notes are e, a, d, and
-g.
+by default middle C, in string order. Thus, the notes are e, a, d, and
+g:
@lilypond[fragment,verbatim]
\context TabStaff <
note text. The default is @code{fret-number-tablature-format}, which
uses the fret number. For instruments that do not use this notation,
you can create a special tablature formatting function. This function
-takes three argument: the string number, the string tuning and the
-note pitch.
+takes three argument: string number, string tuning and note pitch.
@refbugs
LilyPond has support for both printing chord names. Chords may be
entered in musical chord notation, i.e. @code{<< .. >>}, but they can
also be entered by name. Internally, the chords are represented as a
-set of pitches, so they can be transposed.
+set of pitches, so they can be transposed:
@lilypond[verbatim,singleline]
Chord mode is a mode where you can input sets of pitches using common
names. It is introduced by the keyword @code{\chords}.
In chords mode, a chord is entered by the root, which is entered
-like a common pitch, for example,
+like a common pitch:
@lilypond[fragment,verbatim,quote, relative=1]
\chords { es4. d8 c2 }
@end lilypond
@cindex chord mode
Other chords may be entered by suffixing a colon, and introducing a
-modifier, and optionally, a number, for example
+modifier, and optionally, a number:
@c
@lilypond[fragment,verbatim,quote]
\chords { e1:m e1:7 e1:m7 }
@end lilypond
The first number following the root is taken to be the `type' of the
chord, thirds are added to the root until it reaches the specified
-number, for example.
+number:
@lilypond[fragment,verbatim]
\chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
@end lilypond
More complex chords may also be constructed adding separate steps
to a chord. Additions are added after the number following
-the colon, and are separated by dots. For example
+the colon, and are separated by dots:
@c
@lilypond[verbatim,fragment,quote]
\chords { c:5.6 c:3.7.8 c:3.6.13 }
@end lilypond
Chord steps can be altered by suffixing a @code{-} or @code{+} sign
-to the number, for example,
+to the number:
@lilypond[verbatim,fragment,quote]
\chords { c:7+ c:5+.3- c:3-.5-.7- }
@end lilypond
Removals are specified similarly, and are introduced by a caret. They
-must come after the additions.
+must come after the additions:
@lilypond[verbatim,fragment]
\chords { c^3 c:7^5 c:9^3.5 }
@end lilypond
Modifiers can be used to change pitches. The following modifiers are
-supported
+supported:
@table @code
@item m
is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
@item dim
is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
- the 7th step
+ the 7th step.
@item aug
is the augmented chord. This modifier raises the 5th step.
@item maj
step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
the chord.
@end table
-Modifiers can be mixed with additions.
+Modifiers can be mixed with additions:
@lilypond[verbatim,fragment]
\chords { c:sus4 c:7sus4 c:dim7 c:m6 }
@end lilypond
@cindex @code{sus}
@cindex @code{m}
-Since the unaltered 11 does sound well when combined with the
-unaltered 3, the 11 is removed in this case, unless it is added
-explicitly). For example,
+Since an unaltered 11 does not sound good when combined with an
+unaltered 13, the 11 is removed in this case (, unless it is added
+explicitly):
@lilypond[fragment,verbatim]
\chords { c:13 c:13.11 c:m13 }
@end lilypond
An inversion (putting one pitch of the chord on the bottom), as well
as bass notes, can be specified by appending
-@code{/}@var{pitch} to the chord.
+@code{/}@var{pitch} to the chord:
@lilypond[fragment,verbatim,center]
\chords { c1 c/g c/f }
@end lilypond
Each step can only be present in a chord once. The following
simply produces the augmented chord, since @code{5+} is interpreted
-last.
+last:
@cindex clusters
@lilypond[verbatim,fragment]
\chords { c:5.5-.5+ }
@cindex chord names
@cindex chords
-For displaying printed chord names, use the @internalsref{ChordNames}
-context. The chords may be entered either using the notation
-described above, or directly using @code{<<} and @code{>>}.
+For displaying printed chord names, use the @internalsref{ChordNames} context.
+The chords may be entered either using the notation
+described above, or directly using @code{<<} and @code{>>}:
@lilypond[verbatim,singleline]
scheme = \notes {
You can make the chord changes stand out by setting
@internalsref{ChordNames}.@code{chordChanges} to true. This will only
display chord names when there is a change in the chords scheme and at
-the start of a new line.
+the start of a new line:
@lilypond[verbatim, linewidth=9cm]
scheme = \chords {
@end lilypond
The default chord name layout is a system for Jazz music, proposed by
-Klaus Ignatzek (See @ref{Literature}). It can be tuned through the
+Klaus Ignatzek (see @ref{Literature}). It can be tuned through the
following properties:
@table @code
@cindex @code{\germanChords }
@code{\germanChords},
@cindex @code{\semiGermanChords }
-@code{\semiGermanChords},
+@code{\semiGermanChords}.
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