@cindex whole rests for a full measure
@funindex R
-Rests for one full measure (or many bars) are entered using `@code{R}'. It
+Rests for one full measure (or many bars) are entered using @samp{R}. It
is specifically meant for full bar rests and for entering parts: the rest
can expand to fill a score with rests, or it can be printed as a single
multi-measure rest. This expansion is controlled by the property
An @code{R} spanning a single measure is printed as either a whole rest
or a breve, centered in the measure regardless of the time signature.
-If there are only a few measures of rest, LilyPond prints ``church rests''
+If there are only a few measures of rest, LilyPond prints @q{church rests}
(a series of rectangles) in the staff. To replace that with a simple
rest, use @code{MultiMeasureRest.expand-limit}.
@end lilypond
@noindent
-The letter@tie{}`I' is skipped in accordance with engraving traditions.
-If you wish to include the letter `I', then use
+The letter@tie{}@q{I} is skipped in accordance with engraving traditions.
+If you wish to include the letter @q{I}, then use
@example
\set Score.markFormatter = #format-mark-alphabet
@node Ottava brackets
@subsection Ottava brackets
-`Ottava' brackets introduce an extra transposition of an octave for
+@q{Ottava} brackets introduce an extra transposition of an octave for
the staff. They are created by invoking the function
@code{set-octavation}
specified twice (once in each part). Stem, slur, and tie directions are
set automatically, depending whether there is a solo or unisono. The
first part (with context called @code{one}) always gets up stems, and
-`Solo', while the second (called @code{two}) always gets down stems and
-`Solo II'.
+@q{Solo}, while the second (called @code{two}) always gets down stems and
+@q{Solo II}.
If you just want the merging parts, and not the textual markings, you
may set the property @code{printPartCombineTexts} to false
@cindex Hiding staves
In orchestral scores, staff lines that only have rests are usually
-removed; this saves some space. This style is called `French Score'.
+removed; this saves some space. This style is called @q{French Score}.
For @internalsref{Lyrics},
@internalsref{ChordNames} and @internalsref{FiguredBass}, this is
switched on by default. When the lines of these contexts turn out
With quotations, fragments of other parts can be inserted into a part
directly. Before a part can be quoted, it must be marked especially as
-quotable. This is done with the @code{\addquote} command.
+quotable. This is done with the @code{\addQuote} command.
@example
-\addquote @var{name} @var{music}
+\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}
+of music. Here is an example of @code{\addQuote}
@example
-\addquote clarinet \relative c' @{
+\addQuote clarinet \relative c' @{
f4 fis g gis
@}
@end example
This command must be entered at toplevel, i.e., outside any music
blocks.
-After calling @code{\addquote}, the quotation may then be done with
+After calling @code{\addQuote}, the quotation may then be done with
@code{\quoteDuring} or @code{\cueDuring},
@example
More precisely, it takes the current time-step of the part being
printed, and extracts the notes at the corresponding point of the
-@code{\addquote}d voice. Therefore, the argument to @code{\addquote}
+@code{\addQuote}d voice. Therefore, the argument to @code{\addQuote}
should be the entire part of the voice to be quoted, including any
rests at the beginning.
instruments, if they are specified using the @code{\transposition} command.
@lilypond[quote,ragged-right,verbatim]
-\addquote clarinet \relative c' {
+\addQuote clarinet \relative c' {
\transposition bes
f4 fis g gis
}
@refbugs
Only the contents of the first @internalsref{Voice} occurring in an
-@code{\addquote} command will be considered for quotation, so
+@code{\addQuote} command will be considered for quotation, so
@var{music} can not contain @code{\new} and @code{\context Voice}
statements that would switch to a different Voice.
\override Beam #'length-fraction = #0.8
}
-\addquote clarinet \relative {
+\addQuote clarinet \relative {
R1*20
r2 r8 c f f
}
c8 c c e g2 |
a4 g g2 |
}
-\addquote "picc" { \picc }
+\addQuote "picc" { \picc }
cbsn = \relative c, {
\clef "bass_8"
In the 20th century, composers have greatly expanded the musical
vocabulary. With this expansion, many innovations in musical notation
-have been tried. The book ``Music Notation in the 20th century'' by
+have been tried. The book @q{Music Notation in the 20th century} by
Kurt Stone gives a comprehensive overview (see @ref{Literature
list}).
@cindex note heads, special
Different noteheads are used by various instruments for various
-meanings -- crosses are used for ``parlato'' with vocalists, stopped
+meanings -- crosses are used for @q{parlato} with vocalists, stopped
notes on guitar; diamonds are used for harmonics on string instruments,
etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
other notehead styles are produced by tweaking the property
@cindex easy notation
@cindex Hal Leonard
-The `easy play' note head includes a note name inside the head. It is
+The @q{easy play} note head includes a note name inside the head. It is
used in music for beginners
@lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
@funindex ,
The optional octave specification takes the form of a series of
-single quote (`@code{'}') characters or a series of comma
-(`@code{,}') characters. Each @code{'} raises the pitch by one
-octave; each @code{,} lowers the pitch by an octave.
+single quote (@samp{'}) characters or a series of comma
+(@samp{,}) characters. Each @samp{'} raises the pitch by one
+octave; each @samp{,} lowers the pitch by an octave.
@lilypond[quote,ragged-right,fragment,verbatim]
\clef treble
a4 aes a2
@end lilypond
-The input @code{d e f} is interpreted as ``print a D-natural,
-E-natural, and an F-natural,'' regardless of the key
+The input @code{d e f} is interpreted as @q{print a D-natural,
+E-natural, and an F-natural,} regardless of the key
signature. For more information about the distinction between
musical content and the presentation of that content, see
@ref{More about pitches}.
can be forced by adding an exclamation mark @code{!}
after the pitch. A cautionary accidental
(i.e., an accidental within parentheses) can be obtained by adding the
-question mark `@code{?}' after the pitch. These extra accidentals
+question mark @samp{?} after the pitch. These extra accidentals
can be used to produce natural signs, too.
@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
@code{\transpose} may also be used to input written notes for a
transposing instrument. Pitches are normally entered into LilyPond
-in C (or ``concert pitch''), but they may be entered in another
+in C (or @q{concert pitch}), but they may be entered in another
key. For example, when entering music for a B-flat trumpet which
begins on concert D, one would write
@funindex \skip
@funindex s
-An invisible rest (also called a `skip') can be entered like a note
-with note name `@code{s}' or with @code{\skip @var{duration}}
+An invisible rest (also called a @q{skip}) can be entered like a note
+with note name @samp{s} or with @code{\skip @var{duration}}
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
a4 a4 s4 a4 \skip 1 a4
@funindex .
-To obtain dotted note lengths, simply add a dot (`@code{.}') to
+To obtain dotted note lengths, simply add a dot (@samp{.}) to
the number. Double-dotted notes are produced in a similar way.
@lilypond[quote,ragged-right,fragment,verbatim]
@subsection Scaling durations
You can alter the length of duration by a fraction @var{N/M}
-appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
+appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}). This
will not affect the appearance of the notes or rests produced.
In the following example, the first three notes take up exactly two
@funindex |
Bar checks help detect errors in the durations. A bar check is
-entered using the bar symbol, `@code{|}'. Whenever it is encountered
+entered using the bar symbol, @samp{|}. Whenever it is encountered
during interpretation, it should fall on a measure boundary. If it
does not, a warning is printed. In the next example, the second bar
check will signal an error
@end lilypond
The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
-voices are sometimes called ``layers'' in other notation packages}
+voices are sometimes called @q{layers} in other notation packages}
@cindex layers
to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
each of these contexts, vertical direction of slurs, stems, etc., is set
Here, @var{type} should be @code{\major} or @code{\minor} to get
@var{pitch}-major or @var{pitch}-minor, respectively. You may also
-use the standard mode names (also called ``church modes''): @code{\ionian},
+use the standard mode names (also called @q{church modes}): @code{\ionian},
@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
@code{\phrygian}, and @code{\dorian}.
The property @code{measurePosition} contains a rational number
indicating how much of the measure has passed at this point. Note
that this is a negative number; @code{\partial 4} is internally
-translated to mean ``there is a quarter note left in the bar''.
+translated to mean @qq{there is a quarter note left in the bar.}
@refbugs
@cindex adjusting staff symbol
Notes, dynamic signs, etc., are grouped
-with a set of horizontal lines, called a staff (plural `staves'). In
+with a set of horizontal lines, called a staff (plural @q{staves}). In
LilyPond, these lines are drawn using a separate layout object called
@code{staff symbol}.
A tie connects two adjacent note heads of the same pitch. The tie in
effect extends the length of a note. Ties should not be confused with
slurs, which indicate articulation, or phrasing slurs, which indicate
-musical phrasing. A tie is entered using the tilde symbol `@code{~}'
+musical phrasing. A tie is entered using the tilde symbol @samp{~}
@lilypond[quote,ragged-right,fragment,verbatim]
e' ~ e' <c' e' g'> ~ <c' e' g'>
Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
@code{\grace} command does not start a slur.
-Internally, timing for grace notes is done using a second, `grace'
+Internally, timing for grace notes is done using a second, @q{grace}
timing. Every point in time consists of two rational numbers: one
denotes the logical time, one denotes the grace timing. The above
example is shown here with timing tuples
c1 \afterGrace d1 { c16[ d] } c4
@end lilypond
-This will put the grace notes after a ``space'' lasting 3/4 of the
+This will put the grace notes after a @q{space} lasting 3/4 of the
length of the main note. The fraction 3/4 can be changed by setting
@code{afterGraceFraction}, ie.
In the following example, the first ending is not a complete
bar (it only had 3 beats). The beginning of the second ending
-contains the 4th beat from the first ending. This ``extra''
+contains the 4th beat from the first ending. This @q{extra}
beat in the second ending is due to the first time ending,
and has nothing to do with the @code{\partial} at the
beginning of the example.
@funindex tremoloFlags
Tremolo marks can be printed on a single note by adding
-`@code{:}[@var{number}]' after the note. The number indicates the
+@q{@code{:}[@var{number}]} after the note. The number indicates the
duration of the subdivision, and it must be at least 8. A
@var{length} value of 8 gives one line across the note stem. If the
length is omitted, the last value (stored in @code{tremoloFlags}) is
The purpose of LilyPond's design is to provide the finest output
quality as a default. Nevertheless, it may happen that you need to
change this default layout. The layout is controlled through a large
-number of proverbial ``knobs and switches.'' This chapter does not
+number of proverbial @q{knobs and switches.} This chapter does not
list each and every knob. Rather, it outlines what groups of controls
are available and explains how to lookup which knob to use for a
particular effect.
@item @code{modern-cautionary}
@funindex modern-cautionary
-This rule is similar to @code{modern}, but the ``extra'' accidentals
+This rule is similar to @code{modern}, but the @q{extra} accidentals
(the ones not typeset by @code{default}) are typeset as cautionary
accidentals. They are printed in reduced size or with parentheses
@lilypond[quote,ragged-right,fragment,verbatim]
@item no-reset
@funindex no-reset accidental style
This is the same as @code{default} but with accidentals lasting
-``forever'' and not only until the next measure
+@q{forever} and not only until the next measure
@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
#(set-accidental-style 'no-reset)
c1 cis cis c
Contexts are hierarchical, so if a bigger context was specified, for
example @context{Staff}, then the change would also apply to all
@context{Voice}s in the current stave. The change is applied
-`on-the-fly', during the music, so that the setting only affects the
+@q{on-the-fly}, during the music, so that the setting only affects the
second group of eighth notes.
@funindex \unset
Notation contexts (like @code{Score} and @code{Staff}) not only
store properties,
-they also contain plug-ins called ``engravers'' that create notation
+they also contain plug-ins called @q{engravers} that create notation
elements. For example, the @code{Voice} context contains a
@code{Note_head_engraver} and the @code{Staff} context contains a
@code{Key_signature_engraver}.
Here @var{name} is the name of a graphical object, like @code{Stem} or
@code{NoteHead}, and @var{property} is an internal variable of the
-formatting system (`grob property' or `layout property'). The latter is a
+formatting system (@q{grob property} or @q{layout property}). The latter is a
symbol, so it must be quoted. The subsection @ref{Constructing a
tweak} explains what to fill in for @var{name}, @var{property}, and
@var{value}. Here we only discuss the functionality of this command.
\revert Staff.Stem #'thickness
@end example
-Some tweakable options are called ``subproperties'' and reside inside
+Some tweakable options are called @q{subproperties} and reside inside
properties. To tweak those, use commands of the form
@c leave this as a long long
@item a sensible value: here @code{3.0}.
@end itemize
-Some tweakable options are called ``subproperties'' and reside inside
+Some tweakable options are called @q{subproperties} and reside inside
properties. To tweak those, use commands in the form
@example
Clicking any of the links will take you to the page of the respective
object interface. Each interface has a number of properties. Some of
-them are not user-serviceable (``Internal properties''), but others
+them are not user-serviceable (@q{Internal properties}), but others
can be modified.
We have been talking of @emph{the} @code{Fingering} object, but actually it
does not amount to much. The initialization file (see
@ref{Default files})
-@file{scm/@/define@/-grobs@/.scm} shows the soul of the `object',
+@file{scm/@/define@/-grobs@/.scm} shows the soul of the @q{object},
@example
(Fingering
There is a special type of context property: the element
description. These properties are named in @code{StudlyCaps}
(starting with capital letters). They contain the
-``default settings'' for said graphical object as an
+@q{default settings} for said graphical object as an
association list. See @file{scm/@/define@/-grobs@/.scm}
to see what kind of settings there are. Element descriptions
may be modified with @code{\override}.
@uref{http://@/lilypond@/.org,website} for more details.
These are separate programs from lilypond itself, and are run
-on the command-line. By ``command-line'', we mean the command
+on the command-line. By @q{command-line}, we mean the command
line in the operating system. Windows users
-might be more familiar with the terms ``DOS shell'' or
-``command shell''; OSX users might be more familiar with the
-terms ``terminal'' or ``console''. OSX users should also
+might be more familiar with the terms @q{DOS shell} or
+@q{command shell}; OSX users might be more familiar with the
+terms @q{terminal} or @q{console}. OSX users should also
consult @ref{Notes for the MacOS X app}.
Describing how to use
midi2ly [@var{option}]@dots{} @var{midi-file}
@end example
-Note that by ``command-line'', we mean the command line of the
+Note that by @q{command-line}, we mean the command line of the
operating system. See @ref{Converting from other formats} for
more information about this.
etf2ly [@var{option}]@dots{} @var{etf-file}
@end example
-Note that by ``command-line'', we mean the command line of the
+Note that by @q{command-line}, we mean the command line of the
operating system. See @ref{Converting from other formats} for
more information about this.
@command{musicxml2ly} extracts the notes from part-wise MusicXML
files, and writes it to a .ly file. It is invoked from the command-line.
-Note that by ``command-line'', we mean the command line of the
+Note that by @q{command-line}, we mean the command line of the
operating system. See @ref{Converting from other formats} for
more information about this.
%%LY voices \set autoBeaming = ##f
@end example
-This will cause the text following the keyword ``voices'' to be inserted
+This will cause the text following the keyword @q{voices} to be inserted
into the current voice of the LilyPond output file.
Similarly,
%%LY slyrics more words
@end example
-will cause the text following the ``slyrics'' keyword to be inserted
+will cause the text following the @q{slyrics} keyword to be inserted
into the current line of lyrics.
@refbugs
-The ABC standard is not very ``standard''. For extended features
+The ABC standard is not very @q{standard}. For extended features
(e.g., polyphonic music) different conventions exist.
Multiple tunes in one file cannot be converted.
credit for their work, while not being considered responsible for
modifications made by others.
-This License is a kind of ``copyleft'', which means that derivative
+This License is a kind of @q{copyleft}, which means that derivative
works of the document must themselves be free in the same sense. It
complements the GNU General Public License, which is a copyleft
license designed for free software.
This License applies to any manual or other work that contains a
notice placed by the copyright holder saying it can be distributed
-under the terms of this License. The ``Document'', below, refers to any
+under the terms of this License. The @q{Document}, below, refers to any
such manual or work. Any member of the public is a licensee, and is
-addressed as ``you''.
+addressed as @q{you}.
-A ``Modified Version'' of the Document means any work containing the
+A @q{Modified Version} of the Document means any work containing the
Document or a portion of it, either copied verbatim, or with
modifications and/or translated into another language.
-A ``Secondary Section'' is a named appendix or a front-matter section of
+A @q{Secondary Section} is a named appendix or a front-matter section of
the Document that deals exclusively with the relationship of the
publishers or authors of the Document to the Document's overall subject
(or to related matters) and contains nothing that could fall directly
commercial, philosophical, ethical or political position regarding
them.
-The ``Invariant Sections'' are certain Secondary Sections whose titles
+The @q{Invariant Sections} are certain Secondary Sections whose titles
are designated, as being those of Invariant Sections, in the notice
that says that the Document is released under this License.
-The ``Cover Texts'' are certain short passages of text that are listed,
+The @q{Cover Texts} are certain short passages of text that are listed,
as Front-Cover Texts or Back-Cover Texts, in the notice that says that
the Document is released under this License.
-A ``Transparent'' copy of the Document means a machine-readable copy,
+A @q{Transparent} copy of the Document means a machine-readable copy,
represented in a format whose specification is available to the
general public, whose contents can be viewed and edited directly and
straightforwardly with generic text editors or (for images composed of
to text formatters. A copy made in an otherwise Transparent file
format whose markup has been designed to thwart or discourage
subsequent modification by readers is not Transparent. A copy that is
-not ``Transparent'' is called ``Opaque''.
+not @q{Transparent} is called @q{Opaque}.
Examples of suitable formats for Transparent copies include plain
@sc{ascii} without markup, Texinfo input format, La@TeX{} input format,
and the machine-generated @acronym{HTML} produced by some word
processors for output purposes only.
-The ``Title Page'' means, for a printed book, the title page itself,
+The @q{Title Page} means, for a printed book, the title page itself,
plus such following pages as are needed to hold, legibly, the material
this License requires to appear in the title page. For works in
-formats which do not have any title page as such, ``Title Page'' means
+formats which do not have any title page as such, @q{Title Page} means
the text near the most prominent appearance of the work's title,
preceding the beginning of the body of the text.
Include an unaltered copy of this License.
@item
-Preserve the section entitled ``History'', and its title, and add to
+Preserve the section entitled @q{History}, and its title, and add to
it an item stating at least the title, year, new authors, and
publisher of the Modified Version as given on the Title Page. If
-there is no section entitled ``History'' in the Document, create one
+there is no section entitled @q{History} in the Document, create one
stating the title, year, authors, and publisher of the Document as
given on its Title Page, then add an item describing the Modified
Version as stated in the previous sentence.
Preserve the network location, if any, given in the Document for
public access to a Transparent copy of the Document, and likewise
the network locations given in the Document for previous versions
-it was based on. These may be placed in the ``History'' section.
+it was based on. These may be placed in the @q{History} section.
You may omit a network location for a work that was published at
least four years before the Document itself, or if the original
publisher of the version it refers to gives permission.
@item
-In any section entitled ``Acknowledgments'' or ``Dedications'',
+In any section entitled @q{Acknowledgments} or @q{Dedications},
preserve the section's title, and preserve in the section all the
substance and tone of each of the contributor acknowledgments
and/or dedications given therein.
or the equivalent are not considered part of the section titles.
@item
-Delete any section entitled ``Endorsements''. Such a section
+Delete any section entitled @q{Endorsements}. Such a section
may not be included in the Modified Version.
@item
-Do not retitle any existing section as ``Endorsements''
+Do not retitle any existing section as @q{Endorsements}
or to conflict in title with any Invariant Section.
@end enumerate
list of Invariant Sections in the Modified Version's license notice.
These titles must be distinct from any other section titles.
-You may add a section entitled ``Endorsements'', provided it contains
+You may add a section entitled @q{Endorsements}, provided it contains
nothing but endorsements of your Modified Version by various
parties---for example, statements of peer review or that the text has
been approved by an organization as the authoritative definition of a
Make the same adjustment to the section titles in the list of
Invariant Sections in the license notice of the combined work.
-In the combination, you must combine any sections entitled ``History''
+In the combination, you must combine any sections entitled @q{History}
in the various original documents, forming one section entitled
-``History''; likewise combine any sections entitled ``Acknowledgments'',
-and any sections entitled ``Dedications''. You must delete all sections
-entitled ``Endorsements.''
+@q{History}; likewise combine any sections entitled @q{Acknowledgments},
+and any sections entitled @q{Dedications}. You must delete all sections
+entitled @q{Endorsements.}
@item
COLLECTIONS OF DOCUMENTS
and independent documents or works, in or on a volume of a storage or
distribution medium, does not as a whole count as a Modified Version
of the Document, provided no compilation copyright is claimed for the
-compilation. Such a compilation is called an ``aggregate'', and this
+compilation. Such a compilation is called an @q{aggregate}, and this
License does not apply to the other self-contained works thus compiled
with the Document, on account of their being thus compiled, if they
are not themselves derivative works of the Document.
Each version of the License is given a distinguishing version number.
If the Document specifies that a particular numbered version of this
-License ``or any later version'' applies to it, you have the option of
+License @q{or any later version} applies to it, you have the option of
following the terms and conditions either of that specified version or
of any later version that has been published (not as a draft) by the
Free Software Foundation. If the Document does not specify a version
or any later version published by the Free Software Foundation;
with the Invariant Sections being @var{list their titles}, with the
Front-Cover Texts being @var{list}, and with the Back-Cover Texts being @var{list}.
- A copy of the license is included in the section entitled ``GNU
- Free Documentation License''.
+ A copy of the license is included in the section entitled @q{GNU
+ Free Documentation License}.
@end group
@end smallexample
-If you have no Invariant Sections, write ``with no Invariant Sections''
+If you have no Invariant Sections, write @q{with no Invariant Sections}
instead of saying which ones are invariant. If you have no
-Front-Cover Texts, write ``no Front-Cover Texts'' instead of
-``Front-Cover Texts being @var{list}''; likewise for Back-Cover Texts.
+Front-Cover Texts, write @q{no Front-Cover Texts} instead of
+@q{Front-Cover Texts being @var{list}}; likewise for Back-Cover Texts.
If your document contains nontrivial examples of program code, we
recommend releasing these examples in parallel under your choice of
@refbugs
Dynamics are not centered, but workarounds do exist. See the
-``piano centered dynamics'' template in @ref{Piano templates}.
+@q{piano centered dynamics} template in @ref{Piano templates}.
@cindex cross staff stem
@cindex stem, cross staff
b g \sustainUp a \sustainDown \bar "|."
@end lilypond
-The default `*Ped.' style for sustain and damper pedals corresponds to
+The default @q{*Ped.} style for sustain and damper pedals corresponds to
style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
default.
@lilypond[quote,fragment,verbatim]
\chordmode { e1:m e1:7 e1:m7 }
@end lilypond
-The first number following the root is taken to be the `type' of the
+The first number following the root is taken to be the @q{type} of the
chord, thirds are added to the root until it reaches the specified
number
@lilypond[quote,fragment,verbatim]
@item chordRootNamer
The root of a chord is usually printed as a letter with an optional
alteration. The transformation from pitch to letter is done by this
-function. Special note names (for example, the German ``H'' for a
+function. Special note names (for example, the German @q{H} for a
B-chord) can be produced by storing a new function in this property.
@funindex chordNoteNamer
@funindex chordPrefixSpacer
@item chordPrefixSpacer
-The ``m'' for minor chords is usually printed right after the root of
+The @q{m} for minor chords is usually printed right after the root of
the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
-between the root and ``m''. The spacer is not used when the root
+between the root and @q{m}. The spacer is not used when the root
is altered.
@end table
@cindex hyphens
-Centered hyphens are entered as `@code{--}' between syllables.
+Centered hyphens are entered as @samp{--} between syllables.
The hyphen will have variable length depending on the space between
the syllables and it will be centered between the syllables.
When a lyric is sung over many notes (this is called a melisma), this is
indicated with a horizontal line centered between a syllable and the
next one. Such a line is called an extender line, and it is entered as
-`@code{__}'.
+@samp{__}.
In tighly engraved music, hyphens can be removed. Whether this
happens can be controlled with the @code{minimum-distance} (minimum
@end lilypond
-The @code{ignoreMelismata} applies to the syllable ``fas'', so it
-should be entered before ``go''.
+The @code{ignoreMelismata} applies to the syllable @q{fas}, so it
+should be entered before @q{go}.
The reverse is also possible: making a lyric line slower than the
standard. This can be achieved by insert @code{\skip}s into the
@end lilypond
@noindent
-the text for the first stanza is set to a melody called ``lahlah'',
+the text for the first stanza is set to a melody called @q{lahlah},
@example
\new Lyrics \lyricsto "lahlah" @{
The second stanza initially is set to the @code{lahlah} context, but
-for the syllable ``ran'', it switches to a different melody.
+for the syllable @q{ran}, it switches to a different melody.
This is achieved with
@example
\set associatedVoice = alternative
Here, @code{alternative} is the name of the @code{Voice} context
containing the triplet.
-Again, the command must be one syllable too early, before ``Ty'' in
+Again, the command must be one syllable too early, before @q{Ty} in
this case.
@example
examples, and that might get them more involved in the docs. -gp
@end ignore
-``Parlato'' is spoken without pitch but still with rhythm; it is
+@q{Parlato} is spoken without pitch but still with rhythm; it is
notated by cross noteheads. This is demonstrated in
@ref{Special noteheads}.
-@emph{Modern style} means ``as is typeset in contemporary editions of
-transcribed mensural music''.
+@emph{Modern style} means @qq{as is typeset in contemporary editions of
+transcribed mensural music.}
-@emph{Petrucci style} means ``inspired by printings published by the
-famous engraver Petrucci (1466-1539)''.
+@emph{Petrucci style} means @qq{inspired by printings published by the
+famous engraver Petrucci (1466-1539).}
-@emph{Historic style} means ``as was typeset or written in historic
-editions (other than those of Petrucci)''.
+@emph{Historic style} means @qq{as was typeset or written in historic
+editions (other than those of Petrucci).}
-@emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
+@emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}
Petrucci used C clefs with differently balanced left-side vertical
beams, depending on which staff line it is printed.
@cindex custos
@cindex custodes
-A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
+A @emph{custos} (plural: @emph{custodes}; Latin word for @q{guard}) is a
symbol that appears at the end of a staff. It anticipates the pitch
of the first note(s) of the following line thus helping the performer
to manage line breaks during performance.
@cindex finalis
A @emph{divisio} (plural: @emph{divisiones}; Latin word for
-`division') is a staff context symbol that is used to structure
+@q{division}) is a staff context symbol that is used to structure
Gregorian music into phrases and sections. The musical meaning of
@emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
can be characterized as short, medium, and long pause, somewhat like
In European music from before about 1600, singers were often expected
to chromatically alter notes at their own initiative. This is called
-``Musica Ficta''. In modern transcriptions, these accidentals are
+@q{Musica Ficta}. In modern transcriptions, these accidentals are
usually printed over the note.
@cindex Accidental, musica ficta
In this situation, the accidentals and staff are shared, but the stems,
slurs, beams, etc., are private to each voice. Hence, engravers should
be grouped. The engravers for note heads, stems, slurs, etc., go into a
-group called `Voice context', while the engravers for key, accidental,
-bar, etc., go into a group called `Staff context'. In the case of
+group called @q{Voice context,} while the engravers for key, accidental,
+bar, etc., go into a group called @q{Staff context.} In the case of
polyphony, a single Staff context contains more than one Voice context.
Similarly, multiple Staff contexts can be put into a single Score
context. The Score context is the top level notation context.
@node Music fragment options
@section Music fragment options
-In the following, a ``LilyPond command'' refers to any command described
+In the following, a @q{LilyPond command} refers to any command described
in the previous sections which is handled by @command{lilypond-book} to
produce a music snippet. For simplicity, LilyPond commands are only
shown in La@TeX{} syntax.
@item quote
Reduce line length of a music snippet by @math{2*0.4}@dmn{in} and put
-the output into a quotation block. The value `0.4@dmn{in}' can be
+the output into a quotation block. The value @q{0.4@dmn{in}} can be
controlled with the @code{exampleindent} option.
@item exampleindent
@ref{\NAME\,,,music-glossary}
@end macro
+@c to get decent quotes in `foo'
+@macro q{TEXT}
+@html
+‘\TEXT\’
+@end html
+@end macro
+
+@c to get decent quotes in ``foo''
+@macro qq{TEXT}
+@html
+“\TEXT\”
+@end html
+@end macro
+
@end ifhtml
@ref{\NAME\,,,music-glossary}
@end macro
+@c to get decent quotes in `foo'
+@macro q{TEXT}
+@xml
+‘\TEXT\’
+@end xml
+@end macro
+
+@c to get decent quotes in ``foo''
+@macro qq{TEXT}
+@xml
+“\TEXT\”
+@end xml
+@end macro
+
@end ifdocbook
@inforef{\NAME\}
@end macro
+@c to get decent quotes in `foo'
+@macro q{TEXT}
+`\TEXT\'
+@end macro
+
+@c to get decent quotes in ``foo''
+@macro qq{TEXT}
+``\TEXT\''
+@end macro
+
@end ifinfo
user manual, @internalsref{\NAME\}
@end macro
+@c to get decent quotes in `foo'
+@macro q{TEXT}
+`\TEXT\'
+@end macro
+
+@c to get decent quotes in ``foo''
+@macro qq{TEXT}
+``\TEXT\''
+@end macro
+
@end iftex
+
@ifnottex
@c **** not TEX ****
@kindex \WORD\
@end macro
-
+@c EOF
FI: cresendo, voimistuen.
Increasing volume. Indicated by a rightwards opening horizontal wedge or the
-abbreviation ``cresc.''.
+abbreviation @q{cresc.}.
@lilypond[fragment,ragged-right]
\key g \major \time 4/4
FI: da capo, alusta.
The term indicates repetition of the piece from the beginning to the end or
-to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
+to a certain place marked @emph{fine}. Mostly abbreviated as @q{D.C.}.
@node dal segno
@section dal segno
S: dal segno,
FI: dal segno, lähtien merkistä.
-Abbreviated ``d.s.''. Repetition, not from the beginning, but from
+Abbreviated @q{d.s.}. Repetition, not from the beginning, but from
another place frequently near the beginning marked by a sign:
@lilypond[fragment,ragged-right]
FI: decresendo, hiljentyen.
Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
-or the abbreviation ``decresc.''.
+or the abbreviation @q{decresc.}.
@lilypond[fragment,ragged-right]
\relative c'' {
FI: johtosävel.
The seventh @aref{scale degree}, a @aref{semitone} below
-the tonic; so called because of its strong tendency to ``lead up'' (resolve
+the tonic; so called because of its strong tendency to @q{lead up} (resolve
upwards) to the tonic scale degree.
@node ledger line
falls into three sections called @emph{exposition}, @emph{development} and
@emph{recapitulation}. In the exposition the composer introduces some musical
ideas, consisting of a number of themes; in the development section the
-composer `develops' this material, and in the recapitulation the composer
+composer @q{develops} this material, and in the recapitulation the composer
repeats the exposition, with certain modifications. The exposition contains a
number of themes that fall into two groups, often called first and second
subject. Other melodies occurring in each group are considered as
@section Input files
The main format of input for LilyPond are text files. By convention,
-these files end with ``@code{.ly}''.
+these files end with @samp{.ly}.
@menu
* File structure (introduction)::
The line @code{\include "file.ly"} is equivalent to pasting the contents
of file.ly into the current file at the place where you have the
\include. For example, for a large project you might write separate files
-for each instrument part and create a ``full score'' file which brings
+for each instrument part and create a @q{full score} file which brings
together the individual instrument files.
The initialization of LilyPond is done in a number of files that are
finds.
Files placed in directory @file{PATH/TO/share/lilypond/VERSION/ly/} (where
-VERSION is in the form ``2.6.1'') are on the path and available to
+VERSION is in the form @q{2.6.1}) are on the path and available to
@code{\include}. Files in the
current working directory are available to \include, but a file of the same
name in LilyPond's installation takes precedence. Files are
The default footer is empty, except for the first page, where the
@code{copyright} field from @code{\header} is inserted, and the last
page, where @code{tagline} from @code{\header} is added. The default
-tagline is ``Music engraving by LilyPond (@var{version})''.@footnote{Nicely
+tagline is @qq{Music engraving by LilyPond (@var{version})}.@footnote{Nicely
printed parts are good PR for us, so please leave the tagline if you
can.}
X color names come several variants:
Any name that is spelled as a single word with capitalisation
-(e.g. ``LightSlateBlue'') can also be spelled as space separated
-words without capitalisation (e.g. ``light slate blue'').
+(e.g. @q{LightSlateBlue}) can also be spelled as space separated
+words without capitalisation (e.g. @q{light slate blue}).
-The word ``grey'' can always be spelled ``gray'' (e.g. ``DarkSlateGray'').
+The word @q{grey} can always be spelled @q{gray} (e.g. @q{DarkSlateGray}).
-Some names can take a numerical suffix (e.g. ``LightSalmon4'').
+Some names can take a numerical suffix (e.g. @q{LightSalmon4}).
@subsubheading Color Names without a numerical suffix:
and are used in some advanced situations. The @code{parser}
argument is used to access to the value of another LilyPond
variable. The @code{location} argument
-is used to set the ``origin'' of the music expression that is built
+is used to set the @q{origin} of the music expression that is built
by the music function, so that in case of a syntax error LilyPond
can tell the user an appropriate place to look in the input file.
@noindent
is internally converted to a Scheme definition
@example
-(define traLaLa @var{Scheme value of ``@code{... }''})
+(define traLaLa @var{Scheme value of `@code{... }'})
@end example
This means that input variables and Scheme variables may be freely
is executed before @code{traLaLa} is defined, leading to a syntax
error.
-The above example shows how to `export' music expressions from the
+The above example shows how to @q{export} music expressions from the
input to the Scheme interpreter. The opposite is also possible. By
wrapping a Scheme value in the function @code{ly:export}, a Scheme
value is interpreted as if it were entered in LilyPond syntax.
@internalsref{Music expressions}.
@item
-`type' or interface: Each music name has several `types' or
+@q{type} or interface: Each music name has several @q{types} or
interfaces, for example, a note is an @code{event}, but it is also a
@code{note-event}, a @code{rhythmic-event}, and a
@code{melodic-event}. All classes of music are listed in the
A compound music expression is a music object that contains other
music objects in its properties. A list of objects can be stored in
-the @code{elements} property of a music object, or a single `child'
+the @code{elements} property of a music object, or a single @q{child}
music object in the @code{element} object. For example,
@internalsref{SequentialMusic} has its children in @code{elements},
and @internalsref{GraceMusic} has its single argument in
@subsection Doubling a note with slurs (example)
Suppose we want to create a function which translates
-input like ``@code{a}'' into ``@code{a( a)}''. We begin
+input like @samp{a} into @samp{a( a)}. We begin
by examining the internal representation of the music
we want to end up with.
@end example
The bad news is that the @code{SlurEvent} expressions
-must be added ``inside'' the note (or more precisely,
+must be added @q{inside} the note (or more precisely,
inside the @code{EventChord} expression).
Now we examine the input,
(let ((result-event-chord (ly:music-deep-copy event-chord)))
@end example
-`@code{let}' is used to declare local variables. Here we use one local
-variable, named `@code{result-event-chord}', to which we give the value
-@code{(ly:music-deep-copy event-chord)}. `@code{ly:music-deep-copy}' is
+@code{let} is used to declare local variables. Here we use one local
+variable, named @code{result-event-chord}, to which we give the value
+@code{(ly:music-deep-copy event-chord)}. @code{ly:music-deep-copy} is
a function specific to LilyPond, like all functions prefixed by
-`@code{ly:}'. It is use to make a copy of a music
-expression. Here we copy `@code{event-chord} (the parameter of the
+@code{ly:}. It is use to make a copy of a music
+expression. Here we copy @code{event-chord} (the parameter of the
function). Recall that our purpose is to add a marcato to an
@code{EventChord} expression. It is better to not modify the
@code{EventChord} which was given as an argument, because it may be
(ly:music-property result-event-chord 'elements))
@end example
-`@code{cons}' is used to add an element to a list without modifying the
+@code{cons} is used to add an element to a list without modifying the
original list. This is what we
want: the same list as before, plus the new @code{ArticulationEvent}
expression. The order inside the elements property is not important here.
@item argi-type?
a type predicate for the i@var{th} argument
@item layout
-the `layout' definition
+the @q{layout} definition
@item props
a list of alists, containing all active properties.
@end table
Start off with the template that seems closest to what you want to end
up with. Let's say that you want to write something for soprano and
-cello. In this case, we would start with ``Notes and lyrics'' (for the
+cello. In this case, we would start with @q{Notes and lyrics} (for the
soprano part).
@example
@}
@end example
-Now we want to add a cello part. Let's look at the ``Notes only'' example:
+Now we want to add a cello part. Let's look at the @q{Notes only} example:
@example
\version "2.9.13"
This chapter details the technicalities of running LilyPond.
Some of these commands are run from the command-line. By
-``command-line'', we mean the command
+@q{command-line}, we mean the command
line in the operating system. Windows users
-might be more familiar with the terms ``DOS shell'' or
-``command shell''; OSX users might be more familiar with the
-terms ``terminal'' or ``console''. OSX users should also
+might be more familiar with the terms @q{DOS shell} or
+@q{command shell}; OSX users might be more familiar with the
+terms @q{terminal} or @q{console}. OSX users should also
consult @ref{Notes for the MacOS X app}.
Describing how to use
width of staff lines. This makes stems almost twice as thick as their
normal size. To distinguish between variables defined in input files (like
@code{twentyFour} in the example above) and variables of internal
-objects, we will call the latter ``properties'' and the former
-``identifiers.'' So, the stem object has a @code{thickness} property,
+objects, we will call the latter @q{properties} and the former
+@q{identifiers.} So, the stem object has a @code{thickness} property,
while @code{twentyFour} is an identifier.
@cindex properties vs. identifiers
many pages a piece of music takes.
Globally speaking, this procedure happens in four steps: first,
-flexible distances (``springs'') are chosen, based on durations. All
-possible line breaking combinations are tried, and a ``badness'' score
+flexible distances (@q{springs}) are chosen, based on durations. All
+possible line breaking combinations are tried, and a @q{badness} score
is calculated for each. Then the height of each possible system is
estimated. Finally, a page breaking and line breaking combination is chosen
so that neither the horizontal nor the vertical spacing is too cramped
@subsection Horizontal spacing overview
The spacing engine translates differences in durations into stretchable
-distances (``springs'') of differring lengths. Longer durations get
+distances (@q{springs}) of differring lengths. Longer durations get
more space, shorter durations get less. The shortest durations get a
fixed amount of space (which is controlled by
@code{shortest-duration-space} in the @internalsref{SpacingSpanner}
@refbugs
-Line breaks can only occur if there is a ``proper'' bar line. A note
+Line breaks can only occur if there is a @q{proper} bar line. A note
which is hanging over a bar line is not proper, such as
@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
of the parts does not throw off the @code{Page_turn_engraver}). When it finds
a sufficiently long section without notes, the @code{Page_turn_engraver} will
insert an @code{\allowPageTurn} at the final barline in that section, unless
-there is a ``special'' barline (such as a double bar), in which case the
-@code{\allowPageTurn} will be inserted at the final ``special'' barline in
+there is a @q{special} barline (such as a double bar), in which case the
+@code{\allowPageTurn} will be inserted at the final @q{special} barline in
the section.
@funindex minimumPageTurnLength
@end example
@noindent
-The code @samp{d} does not mean `print a black dot just below the
-staff.' Rather, it means: `a note with pitch D-natural.' In the key
+The code @samp{d} does not mean @qq{print a black dot just below the
+staff.} Rather, it means: @qq{a note with pitch D-natural.} In the key
of A-flat major, it does get an accidental
@lilypond[quote,notime,fragment,relative=1,verbatim]
@c better to have this just before the `octaves are bad' snipped
@c but we'd need to remove the ', from \key and tie
-To raise a note by an octave, add a high quote @code{'} (apostrophe) to
-the note name, to lower a note one octave, add a `low quote' @code{,}
+To raise a note by an octave, add a high quote @samp{'} (apostrophe) to
+the note name, to lower a note one octave, add a @q{low quote} @samp{,}
(comma). Middle C is @code{c'}
@lilypond[quote,notime,fragment,verbatim]
@noindent
This example shows that music in a high register needs lots of quotes.
This makes the input less readable, and it is a source of errors. The
-solution is to use `relative octave' mode. This is the
+solution is to use @q{relative octave} mode. This is the
most convenient way to copy existing music.
-In relative mode, a note without octavation quotes (i.e., the @code{'}
-or @code{,} after a note) is chosen so that it is closest to the
+In relative mode, a note without octavation quotes (i.e., the @samp{'}
+or @samp{,} after a note) is chosen so that it is closest to the
previous one. For example, @samp{c f} goes up while @samp{c g} goes
down.
This technique is useful for non-monophonic music. To enter music
with more voices or more staves, we also combine expressions in
parallel. Two voices that should play at the same time, are entered
-as a simultaneous combination of two sequences. A `simultaneous'
+as a simultaneous combination of two sequences. A @q{simultaneous}
music expression is formed by enclosing expressions in @code{<<} and
@code{>>}. In the following example, three sequences (all containing
two separate notes) are combined simultaneously
@end lilypond
-The command @code{\new} introduces a `notation context.' A notation
+The command @code{\new} introduces a @q{notation context.} A notation
context is an environment in which musical events (like notes or
@code{\clef} commands) are interpreted. For simple pieces, such
notation contexts are created automatically. For more complex pieces, it
A comment is a remark for the human reader of the music input; it is
ignored while parsing, so it has no effect on the printed output.
There are two types of comments. The percent symbol @samp{%}
-introduces a line comment; after @code{%} the rest of the line is
+introduces a line comment; after @samp{%} the rest of the line is
ignored. A block comment marks a whole section of music
input. Anything that is enclosed in @code{%@{} and @code{%@}} is
ignored. The following fragment shows possible uses for comments
@cindex melisma
@cindex extender line
@c synonyms?
-This melody ends on a @rglos{melisma}, a single syllable (`free')
+This melody ends on a @rglos{melisma}, a single syllable (@q{free})
sung to more than one note. This is indicated with an @emph{extender
line}. It is entered as two underscores, i.e.,
For polyphonic music typesetting, spacer rests can also be convenient;
these are rests that do not print. They are useful for filling up
voices that temporarily do not play. Here is the same example with a
-spacer rest (@code{s}) instead of a normal rest (@code{r}),
+spacer rest (@samp{s}) instead of a normal rest (@samp{r}),
@lilypond[quote,verbatim,relative=2,fragment]
<< { a4 g2 f4~ f4 } \\
More in-depth information on preparing parts and scores can be found
in the notation manual; see @ref{Orchestral music}.
-Setting run-time variables (`properties') is discussed in
+Setting run-time variables (@q{properties}) is discussed in
@ref{Changing context properties on the fly}.
objects; simply replace @code{TextScript} with the name of
another object.
-To find the object name, look at the ``@strong{see also}'' at
+To find the object name, look at the @q{@strong{see also}} at
bottom of the relevant documentation page. For example, at
the bottom of @ref{Dynamics}, we see
f-5
@end lilypond
- @item
+@item
Setting the @code{transparent} property will cause an object to be printed
-in `invisible ink': the object is not printed, but all its other
+in @q{invisible ink}: the object is not printed, but all its other
behavior is retained. The object still takes up space, it takes part in
collisions, and slurs, ties, and beams can be attached to it.
systems, they will take up more space than one system with
the volta repeats and another system without.
-Another example is moving dynamics which ``stick out'' of
+Another example is moving dynamics which @q{stick out} of
a system.
@lilypond[verbatim,quote,fragment]
@item @strong{Include checks}: @ref{Bar check} and @ref{Octave check}. If
you
include checks every so often, then if you make a mistake, you can pinpoint
-it quicker. How often is ``every so often''? It depends on the complexity
+it quicker. How often is @q{every so often}? It depends on the complexity
of the music. For very simple music, perhaps just once or twice. For
very complex music, perhaps every bar.
either in the music
itself or in the output you desire, it's often good to write only one bar
per line. Saving screen space by cramming eight bars per line just isn't
-worth it if you have to `debug' your files.
+worth it if you have to @q{debug} your files.
@item @strong{Comment your files}. Use either bar numbers (every so often)
or
-references to musical themes (``second theme in violins,'' ``fourth
-variation'', etc). You may not need comments when you're writing the piece
+references to musical themes (@q{second theme in violins,} @q{fourth
+variation,} etc.). You may not need comments when you're writing the piece
for the first time, but if you want to go back to change something two or
three years later, or if you pass the source over to a friend, it will
be much more
This approach can be useful even if you are only producing
one set of parts. I use half a dozen different
-``style sheet'' files for my projects. I begin every music
+@q{style sheet} files for my projects. I begin every music
file with @code{\include "../global.ly"}, which contains
@example
For example, in LilyPond 2.4 and earlier, accents and non-English
letters were entered using LaTeX -- for example,
-"@code{No\"el}" (this would print the French word for
-`Christmas'). In LilyPond 2.6 and above, the special
-"@code{ë}" must be entered directly into the LilyPond file as an
+@samp{No\"el} (this would print the French word for
+@q{Christmas}). In LilyPond 2.6 and above, the special
+@samp{ë} must be entered directly into the LilyPond file as an
UTF-8 character. @code{convert-ly} cannot change all the LaTeX
special characters into UTF-8 characters; you must manually update
your old LilyPond files.
projects / lilypond.git / commitdiff