Guile 1.3.2 is buggy in several respects. Do not use it for LilyPond.
-[LinuxPPC, egcs-1.1b]
-
-Lilypond 1.1.35-1.1.51,...: Wierd errors in guile scm_gc_mark ()
-
-
[Sparc64/Solaris 2.6, make-3.77]
GNU make-3.77 is buggy on this platform, upgrade to 3.78.1 or newer.
+pl 11.uu1
+ - changed debug init code.
+
pl 11.jcn2
- bf: LDFLAGS=foo CFLAGS=bar ./configure
- bf: configure (--disable-printing = default) -DNPRINT
pl 11.jcn1
- gnossiene with new \autochange
+pl 11.jbr1
+ - Tried to get rid of path and switch dependencies in mf
+ build process.
+
+pl 11.hwn1
+ - doco reorganisation: folded glossary and tutorial into manual.
+ - move mudela-book-doc to texinfo
+ - feta.tex to mf/
+ - release.py, package-diff.py now dump into out/
+
+
+****
pl 10.hwn1
- Auto_change_music, Auto_change_iterator: auto staff
switching. 2nd try. See input/test/auto-change.ly
depth = ..
NAME = documentation
-SUBDIRS= tex metadoc bibliography pictures topdocs ntweb
+SUBDIRS= user metadoc bibliography pictures topdocs ntweb
STEPMAKE_TEMPLATES=documentation texinfo
README_TOP_FILES=NEWS DEDICATION TODO AIMS
@subsubsection HELP! I'm stuck!
-Please read this document carefully. If you are still at loss,
-send your subsubsections to the @strong{mailing list}, and not to authors
+Please read this document carefully. If you are still at loss, send
+your questions to the @strong{mailing list}, and not to authors
directly.
Note: relative paths are meant to be relative to the source directory
The NT port is done with the Cygnus GNU/Windows32 port of the GNU utils.
It does @emph{not} work with windows 3.x; you need Windows-NT (95/98?).
-
@subsubsection Where is guile-config
Old RedHat RPMS don't include guile-config. You need guile-config as it
@uref{http://www.prs.co.uk/} (especially "membership") and their links to other
international equivalents.
+@email{wl@@gnu.org} writes:
+
+@quotation
+ I realise that typesetting can be copyright - this is the reason I
+ can't buy a book of Bach's Urtexts (for example), photocopy parts
+ of it and give them away.
+@end quotation
+
+Sorry, but you can (at least in Austria or Germany, but not in
+France)! Typesetting an Urtext edition isn't copyrighted --
+typesetting is a handcraft, not an art. What's copyrighted in an
+Urtext edition is the editor's comment or the revision remarks,
+cadenzas added by the editor, etc.
+
+Glen Prideaux, @email{glenprideaux@@MailAndNews.com}:
+
+One has to be careful. In Australia typesetting IS covered by copyright, but
+only for 25 years (as opposed to 50 years from the death of the
+author/composer/artist for virtually any other copyright). If the
+typesetting originates in a country that does not protect typesetting then
+there may indeed be no copyright protection available to control the use of
+mudela files.
+
+
Juergen Reuter <reuterj@@ira.uka.de>:
+++ /dev/null
-\input texinfo @c -*-texinfo-*-
-@setfilename internals.info
-@settitle LilyPond internals
-
-@node Top, LilyPond internals, (dir), (dir)
-@top
-
-
-@menu
-* LilyPond internals::
-* Overview::
-* mudela::
-* Request_engraver::
-* Items and spanners::
-* Dependencies::
-* Breaking::
-* Coding standards::
-* Making patches::
-@end menu
-
-@node LilyPond internals, , Top, Top
-@menu
-* Overview:: Overview
-* mudela:: mudela
-* Request_engraver:: Request_engraver
-* Items and spanners:: Items and spanners
-* Dependencies:: Dependencies
-* Breaking:: Breaking
-@end menu
-
-@chapter LilyPond internals
-
-
-This documents some aspects of the internals of GNU LilyPond. Some of
-this stuff comes from e-mail I wrote, some from e-mail others wrote,
-some are large comments taken away from the headers. This page may be
-a little incoherent. Unfortunately, it is also quite outdated. A
-more thorough and understandable document is in the works.
-
-You should use @code{doc++} to take a peek at the sources.
-
-@node Overview, mudela, Top, Top
-@section Overview
-
-GNU LilyPond is a "multi-pass" system. The different passes have been
-created so that they do not depend on each other. In a later stage
-some parts may be moved into libraries, or seperate programs, or they
-might be integrated in larger systems.
-
-@table @samp
-
-@item Parsing:
-
-No difficult algorithms. The .ly file is read, and converted to a list
-of @code{Scores}, which each contain @code{Music} and paper/midi-definitions.
-
-@item Interpreting music
-
-The music is walked through in time-order. The iterators which do the
-walking report Music to Translators which use this information to
-create elements, either MIDI or "visual" elements. The translators
-form a hierarchy; the ones for paper output are Engravers, for MIDI
-Performers.
-
-The translators swallow Music (mostly atomic gobs called Requests),
-create elements, broadcast them to other translators on higher or same
-level in the hierarchy:
-
-The stem of a voice A is broadcast to the staff which contains A, but
-not to the stems, beams and noteheads of a different voice (say B) or
-a different staff. The stem and noteheads of A are coupled, because
-the the Note_heads_engraver broadcasts its heads, and the Stem_engraver catches
-these.
-
-The engraver which agrees to handle a request decides whether to to
-honor the request, ignore it, or merge it with other requests. Merging
-of requests is preferably done with other requests done by members of
-the same voicegroups (beams, brackets, stems). In this way you can put
-the voices of 2 instruments in a conductor's score so they make chords
-(the Beam requests of both instruments will be merged).
-
-@item Prebreaking
-
-Breakable stuff (eg. clefs and bars) are copied into pre and
-postbreaks.
-
-@item Preprocessing
-
-Some dependencies are resolved, such as the direction of stems, beams,
-and "horizontal" placement issues (the order of clefs, keys etc,
-placement of chords in multi-voice music),
-
-@item Break calculation:
-
-The lines and horizontal positions of the columns are determined.
-
-@item Breaking
-
-Through some magical interactions with Line_of_score and Super_elem
-(check out the source) the "lines" are produced.
-
-All other spanners can figure across which lines they are spread. If
-applicable, they break themselves into pieces. After this, each piece
-(or, if there are no pieces, the original spanner itself) throws out
-any dependencies which are in the wrong line.
-
-@item Postprocesing:
-
-Some items and all spanners need computation after the Paper_column
-positions are determined. Examples: slurs, vertical positions of
-staffs.
-
-@item Output paper
-
-@end table
-
-@node mudela, Request_engraver, Overview, Top
-@section mudela
-
-Most information is stored in the form of a request. In music
-typesetting, the user might want to cram a lot more symbols on the
-paper than actually fits. To reflect this idea (the user asks more
-than we can do), the container for this data is called Request.
-
-In a lot of other formats this would be called an 'Event'
-
-@table @samp
-@item @code{Barcheck_req}
- Checks during music processing if start of this voice element
- coincides with the start of a measure. Handy to check if you left out
- some voice elts.
-@item @code{Note_req}
- LilyPond has to decide if the ball should be hanging left or
- right. This influences the horizontal dimensions of a column, and this
- is why request processing should be done before horizontal spacing.
- Other voices' frivolities may cause the need for accidentals, so this
- is also for the to decide. The engraver can decide on positioning based on
- ottava commands and the appropriate clef.
-@item @code{Rest_req}
- Typeset a rest.
-@item @code{Span_req}
- This type of request typically results in the creation of a @code{Spanner}
-@item @code{Beam_req}
- Start/stop a beam.
- Engraver has to combine this request with the stem_request, since the
- number of flags that a stem wants to carry will determine the
- number of beams.
-@item @code{Dynamic}
- Each dynamic is bound to one note (a crescendo spanning multiple
- notes is thought to be made of two "dynamics": a start and a stop).
- Dynamic changes can occur in a smaller time than the length of its
- note, therefore fore each @code{Dynamic} request carries a time, measured
- from the start of its note.
-@end table
-
-@node Request_engraver, Items and spanners, mudela, Top
-@section Request_engraver
-
-In the previous section the idea of Request has been explained, but
-this only solves one half of the problem. The other half is deciding
-which requests should be honored, which should merged with other
-requests, and which should be ignored. Consider this input
-
-@example
-
- \type Staff < % chord
- @{ \meter 2/4; [c8 c8] @}
- @{\meter 2/4; [e8 e8] @}
- >
-
-@end example
-
-Both the cs and es are part of a staff (they are in the same
-Voice_group), so they should share meters, but the two [ ] pairs
-should be merged.
-
-The judge in this "allocation" problem a set of brokers: the requests
-are transmitted to so-called engravers which respond if they want to
-accept a request eg, the @code{Notehead_engraver} will accept
-@code{Note_req}s, and turn down @code{Slur_req}s. If the Music_iterator
-cannot find a engraver that wants the request, it is junked (with a
-warning message).
-
-After all requests have been either assigned, or junked, the Engraver
-will process the requests (which usually means creating an @code{Item}
-or @code{Spanner}). If a @code{Request_engraver} creates something, it
-tells the enclosing context. If all items/spanners have been created,
-then each Engraver is notified of any created Score_element, via a
-broadcasting system.
-
-@unnumberedsubsec example:
-
-@example
-
- c4
-
-@end example
-
-produces:
-
-@example
-
- Note_request (duration 1/4)
- Stem_request (duration 1/4)
-
-@end example
-
-Note_request will be taken by a @code{Notehead_engraver}, stem_request
-will be taken by a @code{Stem_beam_engraver}. @code{Notehead_engraver}
-creates a @code{Notehead}, @code{Stem_beam_engraver} creates a
-@code{Stem}. Both announce this to the Staff_engraver. Staff_engraver
-will tell @code{Stem_beam_engraver} about the @code{Notehead}, which
-will add the @code{Notehead} to the @code{Stem} it just created.
-
-To decide on merging, several engravers have been grouped. Please
-check @file{init/engraver.ly}.
-
-@node Items and spanners, Dependencies, Request_engraver, Top
-@section Items and spanners
-
-The symbols that are printed, are generated by items and spanners
-(staff-elements). An item has one horizontal position, whereas a
-spanner spans several columns.
-
-@node Dependencies, Breaking, Items and spanners, Top
-@section Dependencies
-
-In music symbols depend on each other: the stems of a beam should
-point in the same direction as the beam itself, so the stems of a beam
-depend on the beam. In the same way do scripts depend on the direction
-of the stem. To reflect this, LilyPond has the notion of dependency.
-It works in the same fashion that @code{make} uses to build programs:
-before a stem is calculated, its dependencies (the beam) should be
-calculated. Before a slur is calculated, its dependencies (stems,
-noteheads) should be calculated.
-
-@node Breaking, Making patches, Dependencies, Top
-@section Breaking
-
-So what is this PREBREAK and POSTBREAK stuff?
-
-Let's take text as an example. In German some compound
-words change their spelling if they are broken: "backen" becomes
-"bak-ken". TeX has a mechanism to deal with this, you would define
-the spelling of "backen" in TeX in this way
-
- \discretionary@{bak-@}@{ken@}@{backen@}
-
-These 3 arguments are called "prebreak", "postbreak" and "nobreak"
-text.
-
-The same problem exists when typesetting music. If a line of music is
-broken, the next line usually gets a clef. So in TeX terms, the clef
-is a postbreak. The same thing happens with meter signs: Normally the
-meter follows the bar. If a line is broken at that bar, the bar along
-with the meter stays on the "last" line, but the next line also gets a
-meter sign after the clef. Using the previous notation,
-
- \discretionary@{bar meter@}@{clef meter@}@{ bar meter @}
-
-In GNU Lilypond, we have the same concepts (and the same
-terminology). Each (nonrhythmic) symbol is typeset in a nonrhythmic column
-At a breakpoint, multiple symbols are printed; symbols to be printed
-if the line is not broken, symbols to appear on the previous line, and
-on the next line if it is broken.
-
-@node Coding standards, , Top, Top
-
-@chapter CodingStyle - standards while programming for GNU
-LilyPond
-
-We use these standards while doing programming for GNU LilyPond. If
-you do some hacking, we appreciate it if you would follow this rules,
-but if you don't, we still like you.
-
-Functions and methods do not return errorcodes.
-
-@quotation
-
-A program should be light and agile, its subroutines
-connected like a string of pearls. The spirit and intent of
-the program should be retained throughout. There should be
-neither too little nor too much, neither needless loops nor
-useless variables, neither lack of structure nor overwhelming
-rigidity.
-
-A program should follow the 'Law of Least
-Astonishment'. What is this law? It is simply that the
-program should always respond to the user in the way that
-astonishes him least.
-
-A program, no matter how complex, should act as a
-single unit. The program should be directed by the logic
-within rather than by outward appearances.
-
-If the program fails in these requirements, it will be
-in a state of disorder and confusion. The only way to correct
-this is to rewrite the program.
-
--- Geoffrey James, "The Tao of Programming"
-@end quotation
-
-
-@unnumberedsubsec Languages
-
-C++ and Python are preferred. Perl is not. Python code should use an
-indent of 8, using TAB characters.
-
-@unnumberedsubsec Filenames
-
-Definitions of classes that are only accessed via pointers
-(*) or references (&) shall not be included as include files.
-
-filenames
-
-@example
-
- ".hh" Include files
- ".cc" Implementation files
- ".icc" Inline definition files
- ".tcc" non inline Template defs
-
-@end example
-
-in emacs:
-
-@example
-
- (setq auto-mode-alist
- (append '(("\\.make$" . makefile-mode)
- ("\\.cc$" . c++-mode)
- ("\\.icc$" . c++-mode)
- ("\\.tcc$" . c++-mode)
- ("\\.hh$" . c++-mode)
- ("\\.pod$" . text-mode)
- )
- auto-mode-alist))
-
-@end example
-
-
-The class Class_name_abbreviation is coded in @file{class-name-abbr.*}
-
-@unnumberedsubsec Indentation
-
-Standard GNU coding style is used. In emacs:
-
-@example
-
- (add-hook 'c++-mode-hook
- '(lambda() (c-set-style "gnu")
- )
- )
-
-@end example
-
-If you like using font-lock, you can also add this to your @file{.emacs}:
-
-@example
-
- (setq font-lock-maximum-decoration t)
- (setq c++-font-lock-keywords-3
- (append
- c++-font-lock-keywords-3
- '(("\\b\\([a-zA-Z_]+_\\)\\b" 1 font-lock-variable-name-face)
- ("\\b\\([A-Z]+[a-z_]+\\)\\b" 1 font-lock-type-face))
- ))
-
-@end example
-
-@unnumberedsubsec Classes and Types
-
-@example
-
- This_is_a_class
-
-@end example
-
-@unnumberedsubsec Members
-
-@example
-
- Class::member ()
- Type Class::member_type_
- Type Class::member_type ()
-
-@end example
-
-the @code{type} is a Hungarian notation postfix for @code{Type}. See below
-
-@unnumberedsubsec Macros
-
-Macros should be written completely in uppercase
-
-The code should not be compilable if proper macro declarations are not
-included.
-
-Don't laugh. It took us a whole evening/night to figure out one of
-these bugs, because we had a macro that looked like
-@code{DECLARE_VIRTUAL_FUNCTIONS ()}.
-
-@unnumberedsubsec Broken code
-
-Broken code (hardwired dependencies, hardwired constants, slow
-algorithms and obvious limitations) should be marked as such: either
-with a verbose TODO, or with a short "ugh" comment.
-
-@unnumberedsubsec Comments
-
-The source is commented in the DOC++ style. Check out doc++ at
-@uref{http://www.zib.de/Visual/software/doc++/index.html}
-
-@example
-
- /*
- C style comments for multiline comments.
- They come before the thing to document.
- [...]
- */
-
- /**
- short description.
- Long class documentation.
- (Hungarian postfix)
-
- TODO Fix boring_member ()
- */
- class Class @{
- /**
- short description.
- long description
- */
-
- Data data_member_;
-
- /**
- short memo. long doco of member ()
- @@param description of arguments
- @@return Rettype
- */
- Rettype member (Argtype);
-
- /// memo only
- boring_member () @{
- data_member_ = 121; // ugh
- @}
- @};
-
-@end example
-
-
-Unfortunately most of the code isn't really documented that good.
-
-@unnumberedsubsec Members (2)
-
-Standard methods:
-
-@example
-
- ///check that *this satisfies its invariants, abort if not.
- void OK () const
-
- /// print *this (and substructures) to debugging log
- void print () const
-
- /**
- protected member. Usually invoked by non-virtual XXXX ()
- */
- virtual do_XXXX ()
-
- /**add some data to *this.
- Presence of these methods usually imply that it is not feasible to this
- via a constructor
- */
- add (..)
-
- /// replace some data of *this
- set (..)
-
-@end example
-
-@unnumberedsubsec Constructor
-
-Every class should have a default constructor.
-
-Don't use non-default constructors if this can be avoided:
-
-@example
-
- Foo f(1)
-
-@end example
-
-is less readable than
-
-@example
-
- Foo f;
- f.x = 1
-
-@end example
-
-or
-
-@example
-
- Foo f(Foo_convert::int_to_foo (1))
-
-@end example
-
-@unnumberedsec Hungarian notation naming convention
-
-Proposed is a naming convention derived from the so-called
-@emph{Hungarian Notation}. Macros, @code{enum}s and @code{const}s are all
-uppercase, with the parts of the names separated by underscores.
-
-@unnumberedsubsec Types
-
-@table @samp
-@item @code{byte}
- unsigned char. (The postfix _by is ambiguous)
-@item @code{b}
- bool
-@item @code{bi}
- bit
-@item @code{ch}
- char
-@item @code{f}
- float
-@item @code{i}
- signed integer
-@item @code{str}
- string class
-@item @code{sz}
- Zero terminated c string
-@item @code{u}
- unsigned integer
-@end table
-
-@unnumberedsubsec User defined types
-
-@example
-
- /** Slur blah. blah.
- (slur)
- */
- class Slur @{@};
- Slur* slur_p = new Slur;
-
-@end example
-
-@unnumberedsubsec Modifiers
-
-The following types modify the meaning of the prefix.
-These are preceded by the prefixes:
-
-@table @samp
-@item @code{a}
- array
-@item @code{array}
- user built array.
-@item @code{c}
- const. Note that the proper order is @code{Type const}
- i.s.o. @code{const Type}
-@item @code{C}
- A const pointer. This would be equivalent to @code{_c_l}, but since any
- "const" pointer has to be a link (you can't delete a const pointer),
- it is superfluous.
-@item @code{l}
- temporary pointer to object (link)
-@item @code{p}
- pointer to newed object
-@item @code{r}
- reference
-@end table
-
-@unnumberedsubsec Adjective
-
-Adjectives such as global and static should be spelled out in full.
-They come before the noun that they refer to, just as in normal english.
-
-@example
-
-foo_global_i: a global variable of type int commonly called "foo".
-
-@end example
-
-static class members do not need the static_ prefix in the name (the
-Class::var notation usually makes it clear that it is static)
-
-@table @samp
-@item @code{loop_i}
- Variable loop: an integer
-@item @code{u}
- Temporary variable: an unsigned integer
-@item @code{test_ch}
- Variable test: a character
-@item @code{first_name_str}
- Variable first_name: a String class object
-@item @code{last_name_ch_a}
- Variable last_name: a @code{char} array
-@item @code{foo_i_p}
- Variable foo: an @code{Int*} that you must delete
-@item @code{bar_i_l}
- Variable bar: an @code{Int*} that you must not delete
-@end table
-
-Generally default arguments are taboo, except for nil pointers.
-
-The naming convention can be quite conveniently memorised, by
-expressing the type in english, and abbreviating it
-
-@example
-
- static Array<int*> foo
-
-@end example
-
-@code{foo} can be described as "the static int-pointer user-array", so you get
-
-@example
-
- foo_static_l_arr
-
-@end example
-
-
-@unnumberedsec Miscellaneous
-
-
-For some tasks, some scripts are supplied, notably creating patches, a
-mirror of the website, generating the header to put over cc and hh
-files, doing a release.
-
-Use them.
-
-@node Making patches, , Breaking, Top
-
-
-@unnumberedsec name
-
-
-PATCHES - track and distribute your code changes
-
-This page documents how to distribute your changes to GNU lilypond
-
-We would like to have unified context diffs with full pathnames. A
-script automating supplied with Lily.
-
- Distributing a change normally goes like this:
-
-@itemize @bullet
-@item make your fix/add your code
-@item Add changes to NEWS, and add yourself to Documentation/topdocs/AUTHORS.yo
-@item generate a patch,
-@item e-mail your patch to one of the mailing lists
- gnu-music-discuss@@gnu.org or bug-gnu-music@@gnu.org
-@end itemize
-
-Please do not send entire files, even if the patch is bigger than the
-original. A patch makes it clear what is changed, and it won't
-overwrite previous not yet released changes.
-
-@unnumberedsec Generating a patch
-
-
-In @file{VERSION}, set MY_PATCH_LEVEL:
-
-@example
-
- VERSION:
- ...
- MY_PATCH_LEVEL=jcn1
-
-@end example
-
-In @file{CHANGES}, enter a summary of changes:
-
-@example
- pl 0.1.73.jcn1
- - added PATCHES.texi
-@end example
-
-Then, from the top of Lily's source tree, type
-
-@example
-
- make dist
- make diff
-
-@end example
-
-which rolls the tarball @file{../releases/lilypond-0.1.73.tar.gz}
-and leaves your patch as @file{./lilypond-0.1.73.jcn1.diff}.
-@footnote{'Make diff' generates a patch between two tarballs. For
-more info type 'make diff help=='.} We assume that there is a tarball
-@file{lilypond-0.1.73.tar.gz} in the directory @file{../releases}.
-
-If you didn't configure Lily using --srcdir, you can do:
-
-@example
-
- make release
-
- tar-ball: ../patches/lilypond-0.1.73.jcn1.gz
- patch: ../patches/lilypond-0.1.73.jcn1.gz
-@end example
-
-@unnumberedsec Prerequisites
-
-
-For creating a patch you need
-
-@itemize @bullet
-@item All items mentioned in @file{INSTALL}. You're not going to send a patch
- that you haven't even built, right?
-@item GNU diff
-@example
- make distclean
- cd ..
- diff -urN lilypond-0.1.73 lilypond-0.1.73.jcn1 > lilypond-0.1.73.jcn1
-@end example
-
-but there are handy python scripts available. If you're doing development,
-you'll need Python for other LilyPond scripts anyway.
-
-@item The Lily directory structure, which looks like:
-
- @example
-
- doos/ # gnu/windows32 build and binary releases
- harmonia -> harmonia-x.y.z
- harmonia-x.y.z/
- lilypond -> lilypond-x.y.z # symlink to development directory
- lilypond-x.y.z/ # current development
- patches/ # patches between different releases
- RedHat/BUILD # RedHat build and binary releases
- RedHat/RPMS
- RedHat/SPECS
- releases/ # .tar.gz releases
- test/ # tarballs and diffs from current version
-
-
-@end example
-
-with prefix @file{$HOME/usr/src}
-and (for building rpms only) in @file{$HOME/.rpmrc}:
-@example
-
- topdir: /home/fred/usr/src/RedHat
-
-@end example
-
-@end itemize
-
-@unnumberedsec Applying patches
-
-
-If you're following LilyPond development regularly, you probably want to
-download just the patch for each subsequent release.
-After downloading the patch (into the patches directory, of course), simply
-apply it:
-
-@example
-
- gzip -dc ../patches/lilypond-0.1.74.diff.gz | patch -p1 -E
-
-@end example
-
-and don't forget to make automatically generated files:
-
-@example
-
- autoconf footnote(patches don't include automatically generated files,
- i.e. file(configure) and files generated by file(configure).)
-
- configure
-
-@end example
-
-@unnumberedsec Synchronise
-
-
-If you're not very quick with sending your patch, there's a good
-chance that an new release of LilyPond comes available. In such a
-case, the maintainer will probably ask you to make a new patch against
-the latest release. Your best bet is to download the latest release,
-and apply your patch against this new source tree:
-
-@example
-
- cd lilypond-0.1.74
- gzip -dc ../patches/lilypond-0.1.73.jcn1.diff.gz | patch -p1 -E
- autoconf
- configure
-
-@end example
-
-Then, make a patch as shown above.
-
-@unnumberedsec See also
-
-
-@file{stepmake/INSTALL.txt}
-
-@unnumberedsec maintainer
-
-
-@email{hanwen@@cs.uu.nl, Han-Wen Nienhuys}
-
-Just keep on sending those patches!
-
-
-@bye
-
-
@itemize @bullet
@item @uref{TODO.txt,The TODO list}
@item @uref{CHANGES.txt,The Change log}
-@item @uref{hacking.html, About internals and working on lilypond}
@item @uref{../topdocs/out-www/AUTHORS.html,The Authors}
@item @uref{../topdocs/out-www/PATCHES.html,Sending and applying Patches}
@end itemize
HTML_FILES = $(addprefix $(outdir)/, $(TELY_FILES:.tely=.html))
PS_FILES = $(DVI_FILES:.dvi=.ps)
-STEPMAKE_TEMPLATES=tex documentation
+STEPMAKE_TEMPLATES=tex documentation texinfo
LOCALSTEPMAKE_TEMPLATES=lilypond mudela
export BIBINPUTS:=$(shell pwd)//$(PATHSEP)$(BIBINPUTS)
--- /dev/null
+\input texinfo @c -*-texinfo-*-
+@setfilename internals.info
+@settitle LilyPond internals
+
+@node Top, LilyPond internals, (dir), (dir)
+@top
+
+
+@menu
+* LilyPond internals::
+* Overview::
+* mudela::
+* Request_engraver::
+* Graphic elements::
+* Score elements::
+* Items::
+* Spanners::
+* Future work::
+* Coding standards::
+* Making patches::
+
+@end menu
+
+@node LilyPond internals, , Top, Top
+@menu
+* Overview:: Overview
+* mudela:: mudela
+* Request_engraver:: Request_engraver
+@end menu
+
+
+@chapter Help Needed!
+
+[Call for help]
+
+[List tasks:
+
+* Mutopia
+
+* Doco LilyPond
+
+* Straightforward extensions
+
+* GUI editors.
+
+]
+
+@chapter LilyPond internals
+
+
+This documents some aspects of the internals of GNU LilyPond. Some of
+this stuff comes from e-mail I wrote, some from e-mail others wrote,
+some are large comments taken away from the headers. This page may be
+a little incoherent. Unfortunately, it is also quite outdated. A
+more thorough and understandable document is in the works.
+
+You should use @code{doc++} to take a peek at the sources.
+
+@node Overview, mudela, Top, Top
+@section Overview
+
+GNU LilyPond is a "multi-pass" system. The different passes have been
+created so that they do not depend on each other. In a later stage
+some parts may be moved into libraries, or seperate programs, or they
+might be integrated in larger systems.
+
+@table @samp
+
+@item Parsing:
+
+No difficult algorithms. The .ly file is read, and converted to a list
+of @code{Scores}, which each contain @code{Music} and paper/midi-definitions.
+
+@item Interpreting music
+
+The music is walked through in time-order. The iterators which do the
+walking report Music to Translators which use this information to
+create elements, either MIDI or "visual" elements. The translators
+form a hierarchy; the ones for paper output are Engravers, for MIDI
+Performers.
+
+The translators swallow Music (mostly atomic gobs called Requests),
+create elements, broadcast them to other translators on higher or same
+level in the hierarchy:
+
+The stem of a voice A is broadcast to the staff which contains A, but
+not to the stems, beams and noteheads of a different voice (say B) or
+a different staff. The stem and noteheads of A are coupled, because
+the the Note_heads_engraver broadcasts its heads, and the Stem_engraver catches
+these.
+
+The engraver which agrees to handle a request decides whether to to
+honor the request, ignore it, or merge it with other requests. Merging
+of requests is preferably done with other requests done by members of
+the same voicegroups (beams, brackets, stems). In this way you can put
+the voices of 2 instruments in a conductor's score so they make chords
+(the Beam requests of both instruments will be merged).
+
+@item Prebreaking
+
+Breakable stuff (eg. clefs and bars) are copied into pre and
+postbreaks.
+
+@item Preprocessing
+
+Some dependencies are resolved, such as the direction of stems, beams,
+and "horizontal" placement issues (the order of clefs, keys etc,
+placement of chords in multi-voice music),
+
+@item Break calculation:
+
+The lines and horizontal positions of the columns are determined.
+
+@item Breaking
+
+Through some magical interactions with Line_of_score and Super_elem
+(check out the source) the "lines" are produced.
+
+All other spanners can figure across which lines they are spread. If
+applicable, they break themselves into pieces. After this, each piece
+(or, if there are no pieces, the original spanner itself) throws out
+any dependencies which are in the wrong line.
+
+@item Postprocesing:
+
+Some items and all spanners need computation after the Paper_column
+positions are determined. Examples: slurs, vertical positions of
+staffs.
+
+@item Output paper
+
+@end table
+
+@node mudela, Request_engraver, Overview, Top
+@section mudela
+
+Most information is stored in the form of a request. In music
+typesetting, the user might want to cram a lot more symbols on the
+paper than actually fits. To reflect this idea (the user asks more
+than we can do), the container for this data is called Request.
+
+In a lot of other formats this would be called an 'Event'
+
+@table @samp
+@item @code{Barcheck_req}
+ Checks during music processing if start of this voice element
+ coincides with the start of a measure. Handy to check if you left out
+ some voice elts.
+@item @code{Note_req}
+ LilyPond has to decide if the ball should be hanging left or
+ right. This influences the horizontal dimensions of a column, and this
+ is why request processing should be done before horizontal spacing.
+ Other voices' frivolities may cause the need for accidentals, so this
+ is also for the to decide. The engraver can decide on positioning based on
+ ottava commands and the appropriate clef.
+@item @code{Rest_req}
+ Typeset a rest.
+@item @code{Span_req}
+ This type of request typically results in the creation of a @code{Spanner}
+@item @code{Beam_req}
+ Start/stop a beam.
+ Engraver has to combine this request with the stem_request, since the
+ number of flags that a stem wants to carry will determine the
+ number of beams.
+@item @code{Dynamic}
+ Each dynamic is bound to one note (a crescendo spanning multiple
+ notes is thought to be made of two "dynamics": a start and a stop).
+ Dynamic changes can occur in a smaller time than the length of its
+ note, therefore fore each @code{Dynamic} request carries a time, measured
+ from the start of its note.
+@end table
+
+@node Request_engraver, , mudela, Top
+@section Request_engraver
+
+In the previous section the idea of Request has been explained, but
+this only solves one half of the problem. The other half is deciding
+which requests should be honored, which should merged with other
+requests, and which should be ignored. Consider this input
+
+@example
+
+ \type Staff < % chord
+ @{ \meter 2/4; [c8 c8] @}
+ @{\meter 2/4; [e8 e8] @}
+ >
+
+@end example
+
+Both the cs and es are part of a staff (they are in the same
+Voice_group), so they should share meters, but the two [ ] pairs
+should be merged.
+
+The judge in this "allocation" problem a set of brokers: the requests
+are transmitted to so-called engravers which respond if they want to
+accept a request eg, the @code{Notehead_engraver} will accept
+@code{Note_req}s, and turn down @code{Slur_req}s. If the Music_iterator
+cannot find a engraver that wants the request, it is junked (with a
+warning message).
+
+After all requests have been either assigned, or junked, the Engraver
+will process the requests (which usually means creating an @code{Item}
+or @code{Spanner}). If a @code{Request_engraver} creates something, it
+tells the enclosing context. If all items/spanners have been created,
+then each Engraver is notified of any created Score_element, via a
+broadcasting system.
+
+@unnumberedsubsec example:
+
+@example
+
+ c4
+
+@end example
+
+produces:
+
+@example
+
+ Note_request (duration 1/4)
+ Stem_request (duration 1/4)
+
+@end example
+
+Note_request will be taken by a @code{Notehead_engraver}, stem_request
+will be taken by a @code{Stem_beam_engraver}. @code{Notehead_engraver}
+creates a @code{Notehead}, @code{Stem_beam_engraver} creates a
+@code{Stem}. Both announce this to the Staff_engraver. Staff_engraver
+will tell @code{Stem_beam_engraver} about the @code{Notehead}, which
+will add the @code{Notehead} to the @code{Stem} it just created.
+
+To decide on merging, several engravers have been grouped. Please
+check @file{init/engraver.ly}.
+
+
+
+@node Graphic elements, , , Top
+@section Graphic elements
+
+
+Music notation is composed of a sets of interrelated glyphs. In
+Lilypond every glyph usually is represented by one object, a so-called
+Graphic Object. The primary relations between graphic objects involve
+positions:
+
+@itemize
+@item consecutive notes are printed left to right, grouped in a staff
+@item simultaneous notes are horizontally aligned (internally grouped in
+a paper column).
+@item the staccato mark is horizontally centered on the note it applies
+to.
+@end itemize
+
+The abstract encoding of such relations is done with the concept
+@dfn{reference point}. The reference point (in X direction) of the
+staccato mark is the note it applies to. The (X) position of the
+staccato mark is stored relative to the position of the note head. This
+means that the staccato will always maintain a fixed offset wrt to the
+note head, whereever the head is moved to.
+
+In the same vein, all notes on a staff have their Y positions stored
+relative to an abstract object called Axis_group_spanner. If the
+Axis_group_spanner of one staff is moved, the absolute Y positions of
+all objects in that spanner change along, in effect causing the staff
+and all its contents to move as a whole.
+
+Each graphic object stores a pointer and an relative offset for each
+direction: one for the X-axis, one for the Y-axis. For example, the X
+parent of a Note_head usually is a Note_column. The X parent of a
+Note_column usually is either a Collision or a Paper_column. The X
+parent of a Collision usually is a Paper_column. If the Collision
+moves, all Note_heads that have that Collision as parent also move, but
+the absolute position of the Paper_column does not change.
+
+To build a graphical score with Graphic_elements, conceptually, one
+needs to have one Root object (in Lilypond: Line_of_score), and
+recursively attach objects to the Root. However, due to the nature
+of the context selection mechanisms, it turns out to be more
+advantageous to construct the tree the other way around: first small
+trees (note heads, barlines etc.) are created, and these are
+subsequently composed into larger trees, which are finally hung on a
+Paper_column (in X direction) or Line_of_score (in Y direction).
+
+The structure of the X,Y parent relations are determined by the
+engravers and notation contexts:
+
+The most important X-axis parent relation depends on the timing: notes
+that come earlier are attached to Paper_column that will be positioned
+more to the left.
+
+The most important Y-axis relation depends on containment of contexts:
+notes (created in a Thread or Voice context) are put in the staff where
+the originating context lives in.
+
+Graphical_axis_groups are special graphic objects, that are designed to
+function as a parent. The size of a Graphical_axis_groups group is the
+union of its children.
+
+@node Score elements, , , Top
+
+Besides relative positions there are lots of other relations between
+elements. Lilypond does not contain other specialized relation
+management (Like the relative positioning code). In stead, objects can
+be connected through dependencies, which sets the order in which objects
+are to be processed.
+
+Example: the direction of a beamed stem should equal the direction of
+the beam. When the stem is a added to the beam, a dependency on the
+beam is set in the stem: this means that @code{Beam::do_pre_processing
+()} (which does various direction related things) will be called before
+@code{Stem::do_pre_processing ()}.
+
+The code that manages dependencies resides in the class
+@code{Score_element}, a derived class of @code{Graphical_element}. The
+bulk of the code handles line breaking related issues.
+
+To sketch the problems with line breaking: suppose a slur spans a line
+break,
+@example
+
+c4( c'''' c | \break d d )d
+
+@end example
+In this case, the slur will appear as two parts, the first part spanning
+the first three notes (the @code{c}s), the second spanning the last
+three (the @code{d}s). Within Lilypond this is modeled as breaking the
+slur in parts: from the Original slur, two new clones of the old slur
+are made. Initially both clones depend on the six notes. After the
+hairy code in Score_element, Spanner and Item which does substitutions
+in sets of dependencies, the first clone depends on the first three
+notes, the second on the last three.
+
+The major derived classes of Score_element are Item and Spanner.
+An item has one horizontal position. A spanner hangs on two items.
+
+@node Items, , , Top
+@section Items
+
+
+
+An item is a score element that is associated with only one
+Paper_column. Examples are note heads, clefs, sup and superscripts, etc.
+Item is a derived class of Score_element.
+
+The shape of an item is known before the break calculations, and line
+spacing depends on the size of items: very wide items need more space
+than very small ones.
+
+An additional complication is the behavior of items at linebreaks. For
+example, when you do a time signature change, you get only one symbol.
+If it occurs at a linebreak, the new time signature must be printed both
+before and after the linebreak. Other `breakable symbols' such as
+clefs, and bar lines also exhibit this behavior.
+
+if a line of music is broken, the next line usually gets a clef. So in
+TeX terms, the clef is a postbreak. The same thing happens with meter
+signs: Normally the meter follows the bar. If a line is broken at that
+bar, the bar along with the meter stays on the "last" line, but the next
+line also gets a meter sign after the clef. To support this,
+breakable items are generated in the three versions: original
+(unbroken), left (before line break) and right (after line break).
+During the line spacing, these versions are used to try how the spacing
+of a line works out.
+
+Once the definitive spacing is determined, dependencies (and various
+other pointers) are substituted such that all dependencies point at the
+active items: either they point at the original, or they point at left
+and right.
+
+@node Spanners, , , Top
+@section Spanners
+
+Spanners are symbols that are of variable shape, eg. Slurs, beams, etc.
+Spanners is a derived class of Score_element.
+
+The final shape can only be determined after the line breaking process.
+All spanners are spanned on two items, called the left and right
+boundary item. The X reference point is the left boundary item.
+
+
+@node Future work, , , Top
+@section Future work
+
+There are plans to unify Spanner and Item, so there will no longer be
+such a clear distinction between the two. Right now, Score_elements are
+always either Item or either Spanner.
+
+Most of the properties of a graphic object are now member variables of
+the classes involved. To offer configurability, we want to move these
+variables to scheme (GUILE) variables, and no longer use C++ code to
+calculate them, but use Scheme functions.
+
+@node Coding standards, , , Top
+
+@chapter CodingStyle - standards while programming for GNU
+LilyPond
+
+Functions and methods do not return errorcodes.
+
+
+@unnumberedsubsec Languages
+
+C++ and Python are preferred. Perl is not. Python code should use an
+indent of 8, using TAB characters.
+
+@unnumberedsubsec Filenames
+
+Definitions of classes that are only accessed via pointers
+(*) or references (&) shall not be included as include files.
+
+filenames
+
+@example
+ ".hh" Include files
+ ".cc" Implementation files
+ ".icc" Inline definition files
+ ".tcc" non inline Template defs
+@end example
+
+in emacs:
+
+@example
+ (setq auto-mode-alist
+ (append '(("\\.make$" . makefile-mode)
+ ("\\.cc$" . c++-mode)
+ ("\\.icc$" . c++-mode)
+ ("\\.tcc$" . c++-mode)
+ ("\\.hh$" . c++-mode)
+ ("\\.pod$" . text-mode)
+ )
+ auto-mode-alist))
+@end example
+
+
+The class Class_name_abbreviation is coded in @file{class-name-abbr.*}
+
+@unnumberedsubsec Indentation
+
+Standard GNU coding style is used. In emacs:
+
+@example
+ (add-hook 'c++-mode-hook
+ '(lambda() (c-set-style "gnu")
+ )
+ )
+@end example
+
+If you like using font-lock, you can also add this to your @file{.emacs}:
+
+@example
+ (setq font-lock-maximum-decoration t)
+ (setq c++-font-lock-keywords-3
+ (append
+ c++-font-lock-keywords-3
+ '(("\\b\\([a-zA-Z_]+_\\)\\b" 1 font-lock-variable-name-face)
+ ("\\b\\([A-Z]+[a-z_]+\\)\\b" 1 font-lock-type-face))
+ ))
+@end example
+
+@unnumberedsubsec Classes and Types
+
+@example
+ This_is_a_class
+@end example
+
+@unnumberedsubsec Members
+
+@example
+ Class::member ()
+ Type Class::member_type_
+ Type Class::member_type ()
+@end example
+
+the @code{type} is a Hungarian notation postfix for @code{Type}. See below
+
+@unnumberedsubsec Macros
+
+Macros should be written completely in uppercase
+
+The code should not be compilable if proper macro declarations are not
+included.
+
+Don't laugh. It took us a whole evening/night to figure out one of
+these bugs, because we had a macro that looked like
+@code{DECLARE_VIRTUAL_FUNCTIONS ()}.
+
+@unnumberedsubsec Broken code
+
+Broken code (hardwired dependencies, hardwired constants, slow
+algorithms and obvious limitations) should be marked as such: either
+with a verbose TODO, or with a short "ugh" comment.
+
+@unnumberedsubsec Comments
+
+The source is commented in the DOC++ style. Check out doc++ at
+@uref{http://www.zib.de/Visual/software/doc++/index.html}
+
+@example
+
+ /*
+ C style comments for multiline comments.
+ They come before the thing to document.
+ [...]
+ */
+
+ /**
+ short description.
+ Long class documentation.
+ (Hungarian postfix)
+
+ TODO Fix boring_member ()
+ */
+ class Class @{
+ /**
+ short description.
+ long description
+ */
+
+ Data data_member_;
+
+ /**
+ short memo. long doco of member ()
+ @@param description of arguments
+ @@return Rettype
+ */
+ Rettype member (Argtype);
+
+ /// memo only
+ boring_member () @{
+ data_member_ = 121; // ugh
+ @}
+ @};
+
+@end example
+
+
+Unfortunately most of the code isn't really documented that good.
+
+@unnumberedsubsec Members (2)
+
+Standard methods:
+
+@example
+
+ ///check that *this satisfies its invariants, abort if not.
+ void OK () const
+
+ /// print *this (and substructures) to debugging log
+ void print () const
+
+ /**
+ protected member. Usually invoked by non-virtual XXXX ()
+ */
+ virtual do_XXXX ()
+
+ /**add some data to *this.
+ Presence of these methods usually imply that it is not feasible to this
+ via a constructor
+ */
+ add (..)
+
+ /// replace some data of *this
+ set (..)
+
+@end example
+
+@unnumberedsubsec Constructor
+
+Every class should have a default constructor.
+
+Don't use non-default constructors if this can be avoided:
+
+@example
+
+ Foo f(1)
+
+@end example
+
+is less readable than
+
+@example
+
+ Foo f;
+ f.x = 1
+
+@end example
+
+or
+
+@example
+
+ Foo f(Foo_convert::int_to_foo (1))
+
+@end example
+
+@unnumberedsec Hungarian notation naming convention
+
+Proposed is a naming convention derived from the so-called
+@emph{Hungarian Notation}. Macros, @code{enum}s and @code{const}s are all
+uppercase, with the parts of the names separated by underscores.
+
+The hungarian notation is to be used when variables are not declared
+near usage (mostly in member variables and functions).
+
+@unnumberedsubsec Types
+
+@table @samp
+@item @code{byte}
+ unsigned char. (The postfix _by is ambiguous)
+@item @code{b}
+ bool
+@item @code{bi}
+ bit
+@item @code{ch}
+ char
+@item @code{f}
+ float
+@item @code{i}
+ signed integer
+@item @code{str}
+ string class
+@item @code{sz}
+ Zero terminated c string
+@item @code{u}
+ unsigned integer
+@end table
+
+@unnumberedsubsec User defined types
+
+@example
+
+ /** Slur blah. blah.
+ (slur)
+ */
+ class Slur @{@};
+ Slur* slur_p = new Slur;
+
+@end example
+
+@unnumberedsubsec Modifiers
+
+The following types modify the meaning of the prefix.
+These are preceded by the prefixes:
+
+@table @samp
+@item @code{a}
+ array
+@item @code{array}
+ user built array.
+@item @code{c}
+ const. Note that the proper order is @code{Type const}
+ i.s.o. @code{const Type}
+@item @code{C}
+ A const pointer. This would be equivalent to @code{_c_l}, but since any
+ "const" pointer has to be a link (you can't delete a const pointer),
+ it is superfluous.
+@item @code{l}
+ temporary pointer to object (link)
+@item @code{p}
+ pointer to newed object
+@item @code{r}
+ reference
+@end table
+
+@unnumberedsubsec Adjective
+
+Adjectives such as global and static should be spelled out in full.
+They come before the noun that they refer to, just as in normal english.
+
+@example
+
+foo_global_i: a global variable of type int commonly called "foo".
+
+@end example
+
+static class members do not need the static_ prefix in the name (the
+Class::var notation usually makes it clear that it is static)
+
+@table @samp
+@item @code{loop_i}
+ Variable loop: an integer
+@item @code{u}
+ Temporary variable: an unsigned integer
+@item @code{test_ch}
+ Variable test: a character
+@item @code{first_name_str}
+ Variable first_name: a String class object
+@item @code{last_name_ch_a}
+ Variable last_name: a @code{char} array
+@item @code{foo_i_p}
+ Variable foo: an @code{Int*} that you must delete
+@item @code{bar_i_l}
+ Variable bar: an @code{Int*} that you must not delete
+@end table
+
+Generally default arguments are taboo, except for nil pointers.
+
+The naming convention can be quite conveniently memorised, by
+expressing the type in english, and abbreviating it
+
+@example
+
+ static Array<int*> foo
+
+@end example
+
+@code{foo} can be described as "the static int-pointer user-array", so you get
+
+@example
+
+ foo_static_l_arr
+
+@end example
+
+
+@unnumberedsec Miscellaneous
+
+For some tasks, some scripts are supplied, notably creating patches, a
+mirror of the website, generating the header to put over cc and hh
+files, doing a release.
+
+Use them.
+
+@node Making patches, , , Top
+
+
+@unnumberedsec name
+
+
+PATCHES - track and distribute your code changes
+
+This page documents how to distribute your changes to GNU lilypond
+
+We would like to have unified context diffs with full pathnames. A
+script automating supplied with Lily.
+
+Distributing a change normally goes like this:
+
+@itemize @bullet
+@item make your fix/add your code
+@item Add changes to CHANGES, and add yourself to Documentation/topdocs/AUTHORS.texi
+@item generate a patch,
+@item e-mail your patch to one of the mailing lists
+ gnu-music-discuss@@gnu.org or bug-gnu-music@@gnu.org
+@end itemize
+
+Please do not send entire files, even if the patch is bigger than the
+original. A patch makes it clear what is changed, and it won't
+overwrite previous (not yet released) changes.
+
+@unnumberedsec Generating a patch
+
+Simple version: run
+
+@example
+ make -C lilypond-x.y.z/ distclean
+ make -C lilypond-x.y.z.NEW/ distclean
+ diff -urN lilypond-x.y.z/ lilypond-x.y.z.NEW/
+@end example
+
+Complicated (but automated) version:
+
+In @file{VERSION}, set MY_PATCH_LEVEL:
+
+@example
+
+ VERSION:
+ ...
+ MY_PATCH_LEVEL=jcn1
+
+@end example
+
+In @file{CHANGES}, enter a summary of changes:
+
+@example
+ pl 0.1.73.jcn1
+ - added PATCHES.texi
+@end example
+
+Then, from the top of Lily's source tree, type
+
+@example
+ make release
+@end example
+
+These handy python scripts assume a directory structure which looks
+like:
+
+@example
+
+ lilypond -> lilypond-x.y.z # symlink to development directory
+ lilypond-x.y.z/ # current development
+ patches/ # patches between different releases
+ releases/ # .tar.gz releases
+
+@end example
+
+(Some scripts also assume this lives in @file{$HOME/usr/src}).
+
+
+@unnumberedsec Applying patches
+
+
+If you're following LilyPond development regularly, you probably want to
+download just the patch for each subsequent release.
+After downloading the patch (into the patches directory, of course), simply
+apply it:
+
+@example
+
+ gzip -dc ../patches/lilypond-0.1.74.diff.gz | patch -p1 -E
+
+@end example
+
+and don't forget to make automatically generated files:
+
+@example
+
+ autoconf footnote(patches don't include automatically generated files,
+ i.e. file(configure) and files generated by file(configure).)
+
+ configure
+
+@end example
+
+
+@bye
+
+
\begin{document}
\maketitle
-[THIS IS WORK IN PROGRESS. THIS PAPER IS NOT FINISHED]
+[THIS IS WORK IN PROGRESS. THIS IS NOT FINISHED]
% -*-LaTeX-*-
\section{Introduction}
@setfilename programs.info
@settitle Programs
-@node Top, , mudela-book Authors, (dir)
+@node Top, , midi2ly Authors, (dir)
@top
@menu
* Programs:: Your Softs-
* LilyPond:: the GNU Music Typesetter
* Ly2dvi:: Python utility to convert mudela to DVI
* midi2ly:: convert MIDI to -mudela-
-* mudela-book:: integrate LaTeX and mudela
@end menu
The GNU LilyPond music typesetter.
@end table
-@node midi2ly Authors, mudela-book, midi2ly SEE ALSO, midi2ly
+@node midi2ly Authors, Top, midi2ly SEE ALSO, midi2ly
@section Authors
Please consult the documentation file @file{AUTHORS} for more detailed
-@node mudela-book, mudela-book SYNOPSIS, midi2ly Authors, Top
-@menu
-* mudela-book SYNOPSIS:: mudela-book SYNOPSIS
-* mudela-book DESCRIPTION:: mudela-book DESCRIPTION
-* mudela-book OPTIONS:: mudela-book OPTIONS
-* mudela-book FILES:: mudela-book FILES
-* mudela-book BUGS:: mudela-book BUGS
-* mudela-book Authors:: mudela-book Authors
-@end menu
-@chapter mudela-book
-
-@node mudela-book SYNOPSIS, mudela-book DESCRIPTION, mudela-book, mudela-book
-@section SYNOPSIS @strong{mudela-book} [options] inputfile
-
-@node mudela-book DESCRIPTION, mudela-book OPTIONS, mudela-book SYNOPSIS, mudela-book
-@section DESCRIPTION @file{mudela-book} is a script that helps
-integrating mudela and LaTeX. mudela-book runs LilyPond on
-fragments of mudela in your source file, and includes the results into
-document that can be processed with LaTeX. The result is a text
-document with formatted music integrated.
-
-Lilypond will by default create all output files in directory @file{out}.
-The file to give to latex has ext @file{.latex}.
-
-@strong{About the input}
-
-If the file contains the ``block''
-
-@example
-
- \begin@{mudela@}
- CONTENTS
- \end@{mudela@}
-
-@end example
-
-then LilyPond is run on CONTENTS. mudela-book puts the result back,
-surrounded by @code{\preMudelaExample} and @code{\postMudelaExample}
-commands. @code{\preMudelaExample} and @code{posMudelaExample} is
-defined to nothing by default, and the user can redefine them
-to whatever he wants.
-
-@code{\begin} takes the following options:
-
-@table @samp
-@item eps
- the music is created as eps graphics that can be inserted in
- the middle of a text line, not only as a separate paragraph
-@item verbatim
- CONTENTS is copied into the TeX source enclosed in a verbatim block.
-@item 11pt, 13pt, 16pt, 20pt, 26pt
- set the fontsize to use for the music
-@item singleline
- linewidth = -1.
-@item multiline
- linewidth = textwidth
-@item fragment
-@item nonfragment
- Override mudela-book autodetection of what type of code is in the
- mudela block, voice contents or complete code.
-@end table
-
-@node mudela-book OPTIONS, mudela-book FILES, mudela-book DESCRIPTION, mudela-book
-@section OPTIONS
-
-@table @samp
-
-@item --default-mudela-fontsize=??pt
- Set the fontsize to use for mudela if no fontsize is given
- as option.
-@item --force-mudela-fontsize=??pt
- Force all mudela to use this fontsize, overriding options
- given to \begin@{mudela@}
-@item --outname=FILE
- The name of LaTeX file to output. If this option is not given,
-the output name derived from the input name.
-@item --out-www=DIRECTORY
- The name of the directory to output lilypond output and input to.
- This must be a name; the subdirectory will be created in the cwd. [FIXME]
-@item --help
- Print a short help message
-@item --dependencies
- Write dependencies to out-www/filename.dep
-@item --force-verbatim
- Make all mudela verbatim.
-@item --initfile=FILE
- read command definitions from @file{FILE}
-@end table
-
-@node mudela-book FILES, mudela-book BUGS, mudela-book OPTIONS, mudela-book
-@section FILES
- See @file{Documentation/tex/out/mudela-book-doc.dvi} for more info.
- You have to install LaTeX.
- @file{mudela-book} is written in python 1.5, so you have to install
- @uref{http://www.python.org,python}.
-
-@node mudela-book BUGS, mudela-book Authors, mudela-book FILES, mudela-book
-@section BUGS
-
-The LaTeX \includeonly@{...@} command is ignored.
-
-You get trouble if you use the --force-verbatim option and have some
-music in \footnote@{...@} or \marginpar@{...@}.
-
-Ignores almost all LaTeX commands that changes margins and linewidths.
-
-@node mudela-book Authors, Top, mudela-book BUGS, mudela-book
-@section Authors
-
-@email{hanwen@@cs.uu.nl, Han-Wen Nienhuys}, @uref{http://www.cs.uu.nl/people/hanwen}
-
-@email{tomato@@xoommail.com, Tom Cato Amundsen}
-
-
@bye
+++ /dev/null
-# Documentation/tex/Makefile
-
-depth=../..
-
-DATA_FILES = $(wildcard *.data)
-datafiles = $(addprefix $(outdir)/,$(DATA_FILES:.data=.html))
-TEX_FILES = $(wildcard *.tex)
-DOC_FILES = $(wildcard *.doc)
-
-DVI_FILES = $(addprefix $(outdir)/,$(DOC_FILES:.doc=.dvi) $(TELY_FILES:.tely=.dvi))
-
-#OUTDOC_FILES = $(addprefix $(outdir)/, $(DOC_FILES))
-#OUTTEX_FILES = $(addprefix $(outdir)/, $(TEX_FILES))
-
-EXTRA_DIST_FILES= $(DOC_FILES) $(DATA_FILES) $(EL_FILES) $(TEX_FILES) testje.fly
-HTML_FILES = $(addprefix $(outdir)/, $(TELY_FILES:.tely=.html))
-
-PS_FILES = $(DVI_FILES:.dvi=.ps) $(OUTDOC_FILES:.doc=.ps) $(OUTTEX_FILES:.tex=.ps)
-PS_GZ_FILES= $(addsuffix .gz, $(PS_FILES))
-
-STEPMAKE_TEMPLATES=tex texinfo documentation
-LOCALSTEPMAKE_TEMPLATES=lilypond mudela
-
-include $(depth)/make/stepmake.make
-
-
-
-
-
-
-dvi: $(DVI_FILES)
-
-ps: $(PS_FILES)
-
-# urg
-default:
-
-GENHTMLS = engraving colorado glossary computer-notation
-OUTGENHTMLS = $(addprefix $(outdir)/, $(GENHTMLS:%=%.html))
-
-#urg should generalise and move Lilypond -> StepMake
-# URG. Lilypond specific. Move out.
-$(outdir)/%.html: %.data $(depth)/VERSION
- $(PYTHON) $(step-bindir)/table-to-html.py --columns=7 --linesep='\r' -o $@ $<
-
-$(outdir)/%.latex: %.data $(depth)/VERSION
- $(PYTHON) $(step-bindir)/table-to-html.py --columns=7 --linesep='\r' -o $@ --format=latex $<
-
-
-
-
-
-local-WWW: $(HTML_FILES) $(datafiles) $(PS_GZ_FILES)
- $(PYTHON) $(step-bindir)/ls-latex.py --title 'User documentation about LilyPond' \
- $(DOC_FILES) $(TEX_FILES) $(TELY_FILES) \
- | sed "s!$(outdir)/!!g" > $(outdir)/index.html
- $(footify) $(outdir)/index.html
-
-$(outdir)/%.bib: %.bib
- ln -f $< $@
-
-localclean:
- rm -f fonts.aux fonts.log feta*.tfm feta*.*pk
+++ /dev/null
-@comma enharmonique@@@@@
-@doigté de pédale@@@@@
-@doigté@Fingersatz@@@@
-@indication de pédale@@@@@
-@pointillés@@@@@
-A@la@a@@@@
-accent@accent@Akzent@@accent@accento@
-accidental@altération accidentelle@Vorzeichen, Versetzungszeichen, Akzidenz@@toevallig teken@accidento@
-adjacent keys@tons voisins@@@@@
-alto@alto@Alt@@alt@@
-ancient form??? (diatonic minor scale)@forme du mode mineur ancien@@@@@
-appoggiatura@appogiature, ports de voix, notes d'agrèment@langer Vorschlag@@lange voorslag@appogiature@
-arbitrary number of bars' rest)@bâton de pause@@@meermaats rust@@
-arpeggio@arpège, arpègement@Arpeggio, Brechungen@@gebroken akoord@arpeggio@
-artificial measure@mesure artificielle@@@@@
-artificial rest@respiration@@@@@
-ascending interval@intervalle ascendant@@@stijgend interval@@
-augmented (interval)@augmenté (intervalle)@übermäßig (Intervall)@@overmatig interval@@
-B@si@h@@@@
-backfall, forefall@accent, chute, port de voix@Vorschlag@@korte voorslag@appogiature@
-bar line@barre (de mesure)@Taktstrich@@maatstreep@stanghetta@
-bar; measure@mesure@Takt@@maat, maatstreep@@
-baritone@bariton@Bariton@@bariton@@
-@@F-Schlüssel@@F sleutel@@A clef shaped as a curl with two dots. The position between the dots is the\rline of the F below central C.
-bass clef@clé de fa@Bass-Schlüssel@@bas sleutel@chiave di basso@A clef setting with central C on the first top ledger line.
-bass@basse@Bass@@bas@@
-beam@barre@Balken@@waardestreep/balk@barra@
-beat@temps@Takt(-schlag)@@tel@@
-brace@accolade@Klammer@@accolade, haak@accolada@Symbol at the start of a system that connects staffs.
-brass@@Blechbläser@@koper (blazers)@@
-alto clef@clé d'ut@Altschlüssel@@alt sleutel@chiave di tenore@Clef setting that has central C on the middle staff line.
-C clef@@@@C sleutel. @@A clef symbol that looks like a horizontally mirrored 3. It\rindicates the position of the central C. Used in different\rpositions.
-C@do@c@@C@@
-C@ut@c@@@@
-cadence@cadence@Kadenz@@cadens@@
-cadenza@fioriture@Kadenz@@cadens@cadenza@
-cent@@Cent@@cent@@1/1200 of an octave (1/100 of an equally tempered semitone)
-chain of trills@chaîne de trilles@@@triller@@
-character@caractère@@@@@
-chevron@chevron@@@@@
-chord@accord@Akkord@@akkoord@@
-chromatic scale@gamme chromatique@Chromatische Tonleiter@@chromatische toonladder@@
-chromatic semitone@demi-ton chromatique@@@chromatische halve toon@@
-chromatic transposition@transposition chromatique@@@@@
-chromatic type@genre chromatique@@@@@
-church mode, ecclesiastical mode@mode ecclésiastique@Kirchentonart@@kerk toonladder@@
-clef@clé@Notenschlüssel@@sleutel@la chiave (pl. le chiavi)@
-comma@comma@Komma@@komma@@Difference in pitch of a note when the note is derived from a different tuning system.
-compound interval@intervalle composé@Komplementärintervall@@@@
-compound measure@mesure composée@@@samengestelde maat@@
-conjunct movement@mouvement conjoint@@@@@
-consonant interval; consonance@consonance@Konsonanz@@consonant@@
-contralto@contralto@Alt(-stimme), alt-@@@@
-contro-time@contre-temps@@@@@
-crescendo@crescendo@Crescendo@@@crescendo@written with an extended opening angular bracket, indicates increasing volume
-cue-notes@@Stichnoten@@stichnoten@@In an orchestral part, notes for a different instrument that hint when to\rstart playing. Usually printed in smaller type.
-D@ré@d@@@@
-dash over/below@@@@@pizzicato@With plucked strings
-decrescendo@@Decrescendo@@@decrescendo@written with an extended closing angular bracket, indicates decreasing volume
-degree [of the scale]@degré [de la gamme]@Stufe [der Tonleiter]@@trap [van de toonladder]@@
-descending interval@intervalle descendant@@@dalend interval@@
-diatonic major scale@gamme diatonique majeure@Diatonische Durtonleiter@@diatonische majeur toonladder@@
-diatonic minor scale@gamme diatonique mineure@Diatonische Molltonleiter@@@@
-diatonic semitone@demi-ton diatonique@@@diatonische halve toon@@
-diatonic type@genre diatonique@diatonisch@@@@
-diatonic@diatonique@@@diatonisch@@A diatonic scale is a scale consisting of whole and half tones.
-diminished (interval)@diminué (intervalle)@vermindert (Intervall)@@verminderd (interval)@@
-disjunct movement@mouvement disjoint@@@@@
-dissonant interval; dissonance@dissonance@Dissonanz@@dissonant interval; dissonant@@
-dominant ninth chord@accord de neuvième dominante@@@dominant noon akkoord@@
-dominant seventh chord@accord de septième dominante@Dominantseptakkord@@dominant septiem akkoord@@
-dominant@dominante@Dominante@@dominant@@A tone that creates tension;the fifth degree of the scale.
-dorian mode@@Dorische Tonart@@dorische toonladder@@Mode obtained by raising the sixth in minor mode. A Dorian scale can be played from D to D with no sharps or flats.
-dot (augmentation dot) @point@Punkt (Verlängerungspunkt)@@punt@punto@An augmentation dot after note adds multiplies the duration by one and a half.
-dot and curved line combined@point et liaison combinés@@@@@
-dot over/below@@Staccato@@staccato@staccato@Play each note short.
-dot@point@Punkt@@punt@@
-dotted note@note pointée@punktierte Note@@@@
-double appoggiatura@appogiature double@@@@@
-double bar line@double barre@Doppel(takt)strich@@dubbele streep@doppia barra@Indicates the end of a section within a movement.
-double dotted note@note doublement pointée@doppel-punktierte Note@@@@
-double flat@double bémol@Doppel-Be@@dubbelmol@doppio bemolle@
-double sharp@double dièse@Doppelkreuz@@dubbelkruis@doppio diesis@Raise pitch by two semitones
-double trill@trille double@Doppeltriller@@@@A trill on a chord
-double triplet@double triolet@Doppeltriole@@dubbele triool@@
-double whole note@@Brevis@breve@brevis@breve@Note during twice as long as a whole note. Mainly used in pre-1650 music.
-duple meter@temps binaire@@@tweedelige maatsoort@@
-duplet@duolet@Duole@@duool@@
-duration@durée@Dauer, Länge@@duur, lengte@@
-E@mi@e@@@@
-eighth note@croche@Achtelnote@quaver@achtste noot@@
-eighth rest@demi-soupir@Achtelpause@quaver rest@achtste rust@@
-engraving@@Notenstechen@@steken@@The traditional process of music printing: cutting in a plate of metal. Now also the term for the art of music typography.
-enharmonic@enharmonique@enharmonisch@@enharmonisch@@Two notes, intervals, or scales are enharmonic if they have different names but sound the same. Examples: C sharp and D flat, diminished fourth and major third
-equal temperament@tempérament égal@@@getempereerde stemming@@Tuning system in which each semitone is precisely 100 cents.
-essential alteration@altération essentielle@@@@@
-expression mark@signe d'expressoin@Vortragszeichen@@voordrachtsteken@segno d'espressione@
-extension of interval@extension d'intervalle@@@@@
-F@fa@f@@@@
-fermata@pauses@Fermate@@fermate@fermata@Prolonged sound or silence of indefinite duration
-fifth@quinte@Quinte@@kwint@@
-flag, hook, tail, pennant@crochet@Fähnchen@@vlaggetje@coda uncinata@Ornament at the end of the stem of a note. The number of flags determines the lengths of notes shorter than a quarter note.
-flat@bémol@Be@@mol@bemolle@Lower pitch by a semitone
-four-bar rest@bâton de pause@@@@@
-fourth@quarte@Quarte@@kwart@@
-G@sol@g@@@@
-glissando@glissement@Glissando@@glissando@glissando@Letting the pitch slide fluently from one note to the other
-graces@petites notes@Verzierungen, Manieren@@versieringen@appogiature@
-grand staff@@@@piano systeem@@A combination of two staffs with a brace. Usually used for piano music.
-half note@blanche@Halbe Note@minim@halve noot@@
-half rest@demi-pause@Halbe Pause@minim rest@halve rust@@
-harmonic cadence@cadence harmonique@@@harmonische cadens@@Sequence of chords that terminate a musical phrase or section.
-harmonic form (diatonic minor scale)@forme harmonique@@@@@
-harmonic interval@intervalle harmonique@Harmonisches Intervall@@@@
-incomplete measure@mesure incomplète@@@@@
-interval@intervalle@Intervall@@interval@@Difference in pitch between two notes
-inversion of interval@renversement d'intervalle@@@interval inversie@@
-irregular contro-time@contre-temps irrégulier@@@@@
-irregular group@groupe irrégulier@@@@@
-irregular measure@mesure irrégulière@@@@@
-irregular syncopation@syncope irrégulière@@@onregelmatige syncope@@
-just intonation@@@@@@Tuning system in which the notes are obtained by adding and subtracting natural fifths and thirds.
-key signature@armure, armature [de la clé], signes des accidentals@Vorzeichen@@toonsoort (voortekens)@segni di chiave@
-kind of note@figure de note@@@@@
-kind of rest@figure de silence@@@@@
-leading note@sensible@@@@@
-ledger line, leger line@ligne supplémentaire@Hilfslinien, Kopfstriche (?)@@hulplijntje@lineette@A ledger line is an extension of the staff.
-legato curve@liaison rythmique@@@legato boog@@
-lilypond@étang de lis@Lilienteich@lily pond@lelievijver@stagno del giglio@A pond with lilies floating in it, also the name of a music typesetter.
-line@ligne@Linie@@lijn@@
-long appoggiatura@appogiature longue@@@@@
-lower number@chiffre inférieur@@@@@
-major (interval)@majeur (intervalle)@groß (Intervall)@@groot (interval)@@
-major mode@mode majeur@Dur@@@@
-meantone temperament@tempérament mésotonique@@@@@Tuning based on a fifth that is 16 cents smaller than the natural fifth.
-mediant@médiante@@@mediant@@The third degree of a scale
-melodic cadence@cadence mélodique@@@cadens@@A free-form section at the end of a solo-concerto, where the soloist\rcan demonstrate his/her virtuosity.
-melodic form (diatonic minor scale)@forme mélodique@@@@@
-meter, time@mètre@Takt, Metrum@@maatsoort@@A recurring pattern of stress
-metronome@métronome@Metronom@@metronoom@@Device which sounds a steady beat
-metronomic indication@indication métronomique@Metronomangabe@@@@Exact tempo indication (in beats per minute). Also denoted by M.M. (Mälzel's Metronom)
-mezzo-soprano@mezzo-soprano@Mezzosopran@@@@
-middle C@do central@eingestrichenes c@@centrale C@@First C below the 440 Hz A.
-minor (interval)@mineur (intervalle)@klein (Intervall)@@@@
-minor mode@mode mineur@Moll@@@@
-modal note@note modale@@@@@
-mode@mode@Geschlecht@@@@
-modulation@modulation@Modulation@@modulatie@@
-mordent@mordant, pincè@Pralltriller, Mordent@@mordent@mordente@
-motive@incise@Motiv@@motief@@
-musical ladder@échelle musicale@@@@@
-mixolydian mode@@Mixolydische Tonart@@Mixolydische toonladder@@Mode obtained by lowering the seventh in major. A mixolydian scale can be obtained by playing G to G with no sharps or flats.
-natural sign@bécarre@Auflösungszeichen@@herstellingsteken@bequadro@Do not play the following note flat or sharp.
-ninth@@None@@noon@@
-note head@@Notenkopf@@noot balletje@@
-note@note@Note@@noot@nota@
-octave line@échelle d'octave@@@@@
-octave line@clé d'octave@@@@@
-octave sign@octave@Oktave@@@ottava@
-octave@octave@Oktave@@octaaf@@
-ornament, embellishment; accessory@agrèment, ornement@Verzierungen@@@fiorette, fioriture, abbellimenti@
-part@@@@partij@@
-pause@pause@Luftpause@@@@
-pause@point d'orgue@@@@@
-perfect (interval)@juste (intervalle)@rein (Intervall)@@rein (interval)@@
-perfect major chord@accord parfait majeur@@@@@
-perfect minor chord@accord parfait mineur@@@@@
-phrase member@membre de phrase@@@@@
-phrase@phrase@Phrase@@frase, zin@@
-phrasing@phrasé@@@@@
-pitch pipe; tuning fork@diapason@Stimmgabel@@stemfluitje; stemvork@@
-pitch@hauteur@Tonhöhe@@toonhoogte@@
-Pythagorean comma@comma pythagoricien@Pythagoräisches Komma@@komma van Pythagoras@@A sequence of fifths starting on C eventually circles back to C (B sharp), but this B sharp is 24 cents higher than C. This gap is the Pythagorean comma.
-quadruplet@quartolet@@@kwartool@@
-quarter note@noire@Viertelnote@crotchet@kwartnoot@@
-quarter rest@soupir@Viertelpause@crotchet rest@kwart rust@@
-register@registre@Register@@register@@
-regular contro-time@contre-temps régulier@@@@@
-regular syncopation@syncope régulière@@@@@
-relative scales@gammes relatives, tons relatifs@@@@@
-repeat@barre de reprise@Wiederholung@@herhaling@@
-rest@silence@@@@@
-rest@soupir@Pause@@rust@pausa@
-return sign@renvoi@@@herstellingsteken@@
-rhythm@rythme@Rhythmus@@ritme@@
-rhythmic curve@courbe rythmique@@@@@
-scale@gamme@Tonleiter@@toonladder@@
-score@partition@Partitur@@partituur@@
-second@seconde@Sekunde@@@secunde@
-semitone@demi-ton@Halbton@@halve toon@@
-seventh@septième@Septime@@septiem@septime@
-sextuplet@sextolet@Sextole@@sextool@@
-sextuplet@sixain@@@sextool@@
-shading signs@signes indicateurs de nuance@@@@@
-shading@nuance@Nuance@@@@
-sharp@dièse@Kreuz (um Halbton erhöht)@@kruis@@
-short appoggiatura@appogiature brève@@@@@
-simple appoggiatura@appogiature simple@@@@@
-simple interval@intervalle simple@@@@@
-simple measure@mesure simple@@@@@
-sixteenth note@double croche@Sechzehntelnote@semiquaver@zestiende noot@@
-sixteenth rest@quart de soupir@Sechzehntelpause@semiquaver rest@zestiende rust@@
-sixth@sixte@Sexte@@sext@@
-sixty-fourth note@quadruple croche@Vierundsechzigstelnote@hemidemisemiquaver@vierenzestigste noot@@
-sixty-fourth rest@seizième de soupir@Vierundsechzigstelpause@hemidemisemiquaver rest@@@
-slur@liaison, coulé@Bindungszeichen, Bindebogen@@binding, bindingsboog@legatura@
-soprano@soprano@Sopran@@sopraan@@
-space@espace@@@@@
-staff@portée@Noten(linien)system@@(noten)balk; partij@@pl staves or staffs
-stem@queue@Stiel, Hals@@stok@asta, gamba@
-strings@@Streicher@@strijkers@@
-strong beat@temps fort@@@thesis@@
-subdominant@sous-dominante@Subdominante@@@@The fourth degree of the scale
-submediant@@@@@@The sixth scale degree
-subtonic@sous-tonique@Subtonika@@@@The seventh degree of the scale
-superdominant@sus-dominante@@@@@The sixth scale degree
-supertonic@sus-tonique@@@@@The second scale degree
-syncopation; upbeat@syncope@Synkope@@syncope@@
-syntonic comma@comma syntonique@@@komma van Didymos, syntonische komma@@Difference between the natural third and the third obtained by Pythagorean tuning, euqal to 22 cents.
-system@système@System@@systeem@sitema@
-tempo indication@signes de temps@Zeitmaß, Tempobezeichnung@@tempo aanduiding@segno di tempo@
-tempo; movement@mouvement@Tempo@@@@
-tenor@ténor@Tenor@@@@
-tenth@@Dezime@@deciem@decime@
-tetrachord@tétracorde@Vierklang@@@@
-third@tierce@Terz@@terts@@
-thirty-second note@triple croche@Zweiunddreißigstelnote@demisemiquaver@32e noot@@
-thirty-second rest@huitième de soupir@Zweiunddreißigstelpause@demisemiquaver rest@32e rust@@
-tie@liaison@Haltebogen@@overbinding@legatura@A curve that shows the prolongation (as opposed to the repetition fo a note)
-time signature@chiffrage (chiffres indicateurs), signe de valeur@Taktvorzeichnung, Taktvorzeichen@@maatsoort@segni di tempo@
-tonal note@note tonale@@@@@
-tonality@tonalité@Tonalität@@tonaliteit@@
-tone@ton@Ton@@toon@@
-tonic@tonique@Tonika@@tonica@@
-transposition@transposition@Transposition@@transpositie@@Shifting a melody up or down in pitch, while keeping the same relative pitches.
-G clef@@@@G sleutel@@A clef symbol with a loop at the top and a spiral in the center. The center of the spiral indicates the G above central C.
-treble clef@clé de sol@Violinschlüssel@@viool sleutel@chiave di violino@Clef setting where the second lowest line is the G above central C.
-tremolo@trèmolo@Tremolo@@tremolo@tremolo@
-trill; shake@trille, tremblement, battement (cadence)@Triller@@triller@trillo@
-triple meter@temps ternaire@@@driedelige maatsoort@@
-triplet@triolet@Triole@@@@
-tritone@triton@Tritonus@@@@
-turn; gruppetto@brisè, groupe, doublè, grupetto@Doppelschlag@@dubbelslag@grupetto@
-two-bar rest@bâton de pause@@@@@
-underline over/below@portamento@Portato@@@@
-unison@unisson@Unisono@@@unisono@Different instruments playing exactly the same melody.
-unit of beat@unité de temps@@@@@
-unit of measure@unité de mesure@@@@@
-upbeat, arsis@@Auftakt@@@@
-upper number@chiffre supérieur@@@@@
-voice@voix@Stimme@@stem@@
-weak beat@temps faible@@@arsis@@
-whole note@ronde@Ganze Note@semibreve@hele noot@@
-whole rest@pause@Ganze Pause@semibreve rest@@@
-woodwind@@Holzbläser@@houtblazers@@
+++ /dev/null
-% -*-LaTeX-*-
-\documentclass[a4paper, 12pt]{article}
-
-\usepackage{t1enc,isolatin1}
-\usepackage{graphics}
-%\usepackage[dvips]{graphicx}
-\usepackage[rflt]{floatflt}
-%\usepackage{showframe}
-%\sloppy
-\def\postMudelaExample{\setlength{\parindent}{3.25ex}}
-\title{Mudela-book tutorial}
-\author{TCA}
-\begin{document}
-\maketitle
-%\printparam
-
-\section{Introduction}
-
-[TODO: THIS MANUAL IS OUTDATED. FIXME.]
-
-Mudela-book is a script that process your \LaTeX~file and with great
-help from GNU LilyPond it translates blocks of mudela code it finds
-inside \verb|mudela| environments to tex or eps graphics. It then
-creates a new file that can be sendt through \LaTeX~to create a .dvi
-file with lines of music integrated with text.
-
-Mudela-book will do its best to try to align the music to the left and
-right margins. Currently the most used papersizes and one- and
-twocolumn mode is supported, but if you use the geometry-package from
-\LaTeX~or change the margins things will break.
-
-This document assumes you have basic knowledge of GNU LilyPond and
-\LaTeX. If the authors not-so-good english irritates you, please
-send a patch.
-
-So what does this look like? Well, here is an example:
-\begin[veryverbatim, intertext="produces this music:"]{mudela}
-\score{
- \notes\relative c'{
- \time 5/8;
- [e16( g b c a g][e a b d] | )e2 d,8 |
- [e16( g b c a g][e a b d] | )b2 [a16( f] |
- [e a b d] )e4 c8 | [es16( bes a as g es][d c b! )g] |
- [f( a b d b a][f a b d] | )e2
- }
-}
-\end{mudela}
-If you are lucky, the above example show a nice feature of LilyPond
-and \LaTeX. Since LilyPond can output the music as \TeX~graphics,
-\LaTeX~can insert pagebreaks between the lines of music.
-
-Notice that there is no \verb|\paper| statement in the example
-above. Mudela-book will insert some code for you that defines the
-linewidth and the font to use. If you don't want to change the default,
-there is no need to put an empty \verb|\paper{}| inside the \verb|\score|.
-In the example above, something like
-this might be inserted before your code:
-\begin{verbatim}
-\include "paper16.ly"
-\paper{ \paper_sixteen
- linewidth = 390.\pt;
- castingalgorithm = \Gourlay;
-}
-\end{verbatim}
-The actual values for linewidth will differ depending on papersize and
-number of columns. Also, if you use a different fontsize for the
-music, another file than \verb|paper16.ly| will be included.
-
-If you want to make the music not so wide, you can insert a
-\verb|\paper| statement that set the linewidth:
-
-\begin[veryverbatim, intertext="produces this music:"]{mudela}
-\score{
- \notes\relative c'{
- \time 5/8;
- [e16( g b c a g][e a b d] | )e2 d,8 |
- [e16( g b c a g][e a b d] | )b2 [a16( f] |
- [e a b d] )e4 c8 | [es16( bes a as g es][d c b! )g] |
- [f( a b d b a][f a b d] | )e2
- }
- \paper{linewidth = 10.\cm;}
-}
-\end{mudela}
-
-Very often, if you mix music and text, the music is often only a
-few notes or at most a few bars. This music should be as short as
-possible and not stretched to be aligned to the right margin.
-
-If you only write voice-contents in the mudela block, mudela-book
-will set the \verb|linewidth| variable to -1, so Lilypond
-will make the music as short as possible but without breaking the
-line. Here is a well know harmonic progression:
-\begin[veryverbatim, intertext="produce a well known harmonic progression:"]{mudela}
- <c' e g> <b d g> <c2 e g>
-\end{mudela}
-
-If you want to place music examples in the text,
-\begin[eps]{mudela}
- <c' e g> <b d g> <c2 e g>
-\end{mudela}
-, you can use the \verb|eps| option. This will create the music as
-eps graphics and include it into the document with the
-\verb|\includegraphics| command.
-
-The code used look like this:
-\begin{verbatim}
-\begin[eps]{mudela}
- <c' e g> <b d g> <c2 e g>
-\end{mudela}
-\end{verbatim}
-
-You can also use the \verb|eps| option if the block is a complete
-mudela source. This 5 cm long empty line,
-\begin[eps]{mudela}
-\score{
- \notes{s}
- \paper{ linewidth = 5.\cm;}
-}
-\end{mudela}
-was created with this code:
-\begin{verbatim}
-\begin[eps]{mudela}
-\score{
- \notes{s}
- \paper{ linewidth = 5.\cm;}
-}
-\end{mudela}
-\end{verbatim}
-
-To avoid that \LaTeX~places the music on a line of its one, there should
-be no empty lines between the normal text and the mudela
-environment.
-
-You can also use \verb|mudelafile| (on a separate line, FIXME), to
-include another file. Files with name ending with \verb|.sly|
-
-\mudelafile{testje.fly}
-
-\section{Fontsize options}
-You can use all lilypond fontsizes in mudela-book.
-% LONG line just to test multiple \mudela on one line
-The default 16pt fontsize, \mudela{<c' e g>}, is probably to big to be included in the middle of the text. 11pt, \mudela[11pt]{<c' e g>} or 13pt, \mudela[13pt]{<c' e g>} is probably better.
-The code can look like this:
-\begin{verbatim}
-\begin[13pt, eps]{mudela}
-<c' e g>
-\end{mudela}
-\end{verbatim}
-
-The following options set the fontsize:
-\begin{itemize}
-\item \verb|11pt|
-\begin[11pt, eps]{mudela}
- \relative c'{
- r16 [c d e][f d e c] [g'8 c][b-\prall c] |
- [d16 g, a b][c a b g][d'8 g f-\prall g]
- }
-\end{mudela}
-\item \verb|13pt|
-\begin[13pt, eps]{mudela}
- \relative c'{
- r16 [c d e][f d e c] [g'8 c][b-\prall c] |
- [d16 g, a b][c a b g][d'8 g f-\prall g]
- }
-\end{mudela}
-\item \verb|16pt|
-\begin[16pt, eps]{mudela}
- \relative c'{
- r16 [c d e][f d e c] [g'8 c][b-\prall c] |
- [d16 g, a b][c a b g][d'8 g f-\prall g]
- }
-\end{mudela}
-\item \verb|20pt|
-\begin[20pt, eps]{mudela}
- \relative c'{
- r16 [c d e][f d e c] [g'8 c][b-\prall c] |
- [d16 g, a b][c a b g][d'8 g f-\prall g]
- }
-\end{mudela}
-\item \verb|26pt|
-\begin[26pt, eps]{mudela}
- \relative c'{
- r16 [c d e][f d e c] [g'8 c][b-\prall c] |
- [d16 g, a b][c a b g][d'8 g f-\prall g]
- }
-\end{mudela}
-\end{itemize}
-
-\section{User defined commands}
-There is an even shorter way to write small musical fragments. This
-triad, \mudela{<c' e g>}, was created with this code:
-\verb|\mudela{<c' e g>}|
-
-\def\obsolete{
-Mudela-book defines the \verb|\mudela| command, and let you define
-your own commands in a file specified by
-the command line option \verb|--initfile=filename|. The format for the
-file is a definition of a python dictionary:
-
-\begin{verbatim}
-{ 'mudela': r"""
-\begin[eps \fontoptions]{mudela}
- \maininput
-\end{mudela}
-""",
- 'mudelaRhythm': r"""
-\begin[eps \fontoptions]{mudela}
-\score{
- \context RhythmicStaff{
- \notes{\stemup \maininput}
- }
- \paper{linewidth = -1.\cm;}
-}
-\end{mudela}
-"""
-}
-\end{verbatim}
-The above code show how \verb|\mudela| could have been defined, and
-also defines a new command \verb|mudelaRhythm|. Notice that you can
-send fontsize options to the defined commands.
-\verb|\mudelaRhythm[11pt]{c4 c8 [c16 c] c4 c}| produce this music:
-\begin[eps, 11pt]{mudela}
-\score{
- \context RhythmicStaff{
- \notes{ \stemup c4 r8 [c16 c] c4 c }
- }
- \paper{linewidth = -1.\cm;}
-}
-\end{mudela}
-}
-
-\section{More options}
-\begin{itemize}
-\item The \verb|singleline| option set \verb|linewidth| to -1.0.
-\item The \verb|multiline| option set \verb|linewidth| to a value letting
-the music be aligned to the right margin. The music can span several
-lines.
-\end{itemize}
-
-\section{Just in case...}
-The options \verb|fragment| and \verb|nonfragment| will override
-mudela-book when it scans the mudela code to see if it is voice
-contents or complete code. This might be useful if mudela-book choose
-wrong.
-
-Since there is no finder's fee which doubles every year, there is no
-need to wait for the price money to grow. So send a bug report today
-if you need this one of these options.
-
-\section{Examples}
-This was all options to \verb|\begin|. The rest of the{mudela}
-document will show some ways you can use mudela in
-\LaTeX~documents. It will also act as a simple test-suite for
-mudela-book. You
-\marginpar{
-marginpar!
-\begin[eps, 11pt]{mudela}
- \relative c'' {\key c \minor; r4 [g8 g g] es2}
-\end{mudela}
-}can place \verb|eps| mudela in footnotes\footnote{
-footnote!
-\begin[eps, 11pt]{mudela}
- \relative c'' {\key c \minor;r4 [g8 g g] es2}
-\end{mudela}
-}
-and marginspars just as any other included eps graphics.
-
-\begin{floatingfigure}[r]{7cm}
-\begin{mudela}
-\score{
- \notes\relative c'{
- \time 12/8;
- r4-\fermata [b16-.( )b-.] [f'8-- dis16-.( )dis-. gis8--]
- [f16-.( )f-. dis8-- gis16-.( )gis-.] cis4.-\fermata |
-
- r4.-\fermata [cis,16 cis g'8 f16 f b8][g16 g f8 b16 b] dis4.-\fermata
- }
- \paper{linewidth = 7.\cm;}
-}
-\end{mudela}
-\end{floatingfigure}
-
-To the right you can see some bars from the trumpet fanfara from the
-beginning of the fantastic street opera ``Houdini the Great'', by the
-danish composer Andy Pape. The music is put inside a
-\verb|floatingfigure| environment, and the music will be aligned by
-the right marging if you set floatingfigure width and mudela linewidth
-to the same value. The code looks like this:
-
-\verb|\begin{floatingfigure}{7cm}|
-\begin[verbatim]{mudela}
-\score{
- \notes\relative c'{
- \time 12/8;
- r4.-\fermata [b16-.( )b-.] [f'8-- dis16-.( )dis-. gis8--]
- [f16-.( )f-. dis8-- gis16-.( )gis-.] cis8.-\fermata |
-
- r4.-\fermata [cis,16 cis g'8 f16 f b8]
- [g16 g f8 b16 b] dis4.-\fermata
- }
- \paper{linewidth = 7.\cm;}
-}
-\end{mudela}
-\verb|\end{floatingfigure}|
-
-\twocolumn[\large The following is written in two columns just to show
-what mudela-book can do..\normalsize]
-
-Tabulars is also nice. Here you have a chance to learn the norwegian
-names of some triads:
-\vspace{1em}
-
-\begin{tabular}{|l|l|}
-\hline
-
-dur &
-\begin[eps, fragment]{mudela}
-<c' e g>
-\end{mudela}
-\\
-\hline moll &
-\begin[eps]{mudela}
-<c' es g>
-\end{mudela}
-\\
-\hline forminsket &
-\begin[eps]{mudela}
-<c' es ges>
-\end{mudela}
-\\
-\hline forstørret &
-\begin[eps]{mudela}
-<c' e gis>
-\end{mudela}
-\\
-\hline
-\end{tabular}
-
-\vspace{1em}
-If you have a lot of small music examples
-like this in the middle of your text, you might get a nicer look by
-using ``double'' line spacing. Put the \verb|\linespread{1.6}| command
-into the preamble of your document. Then the line spacing will not be
-increased between the lines where you have music printed with the
-smallest font size.
-
-Since the version number is quite low, you should be careful not to
-mix braces that belongs to mudela-book and \LaTeX~on the same
-line. The following code will probably break:
-
-\begin{verbatim}
-\footnote{\begin{mudela}
-\relative c''{ \key es; r8 [g g g] es2}
-\end}{mudela}
-\end{verbatim}
-Mudela-book does know about \verb|\onecolumn| and \verb|\twocolumn|.
-So the music will be adjusted to the new linewith:
-\begin[veryverbatim, intertext="produces"]{mudela}
-\score{
- \notes\relative c'{c d e f | g2 g | a4 a a a | g1 |
- f4 f f f | e2 e | d4 d d d | c1}
-}
-\end{mudela}
-
-Verbatim environments will also ignore the page margins. That is
-a feature of \LaTeX. (But you usually put things inside a verbatim
-environment when you don't want \LaTeX~to do any linebreaking)
-
-
-\end{document}
-
-
-
-
-
-
+++ /dev/null
-\input texinfo @c -*-texinfo-*-
-@setfilename reference-manual.info
-@settitle LilyPond 1-2-0 Reference Manual
-
-@node Top, , Running LilyPond, (dir)
-@top
-@menu
-* LilyPond 1-2-0 Reference Manual::LilyPond 1-2-0 Reference Manual
-@end menu
-
-@macro keyindex {word}
-@cindex \word\
-
-@end macro
-
-@macro indexcode {word}
-@cindex \word\
-
-@end macro
-
-
-
-@node LilyPond 1-2-0 Reference Manual, Overview, , Top
-@menu
-* Overview:: Overview
-* Top level:: Top level
-* notenames:: notenames
-* Lexical conventions:: Lexical conventions
-* notelang:: notelang
-* modes:: modes
-* Types:: Types
-* Music expressions:: Music expressions
-* Atomic music expressions:: Atomic music expressions
-* atomicmusic:: atomicmusic
-* notedesc:: notedesc
-* barlines:: barlines
-* manualbeam:: manualbeam
-* tremolo:: tremolo
-* Compound music expressions:: Compound music expressions
-* compoundmusic:: compoundmusic
-* relative:: relative
-* sec-repeats:: sec-repeats
-* transpose:: transpose
-* Ambiguities:: Ambiguities
-* Notation conversion specifics:: Notation conversion specifics
-* autobeam:: autobeam
-* lyricprint:: lyricprint
-* Notation Contexts:: Notation Contexts
-* contextselection:: contextselection
-* Notation output definitions:: Notation output definitions
-* output:: output
-* paper:: paper
-* papervars:: papervars
-* contextdefs:: contextdefs
-* engravers:: engravers
-* Sound output:: Sound output
-* midilist:: midilist
-* Pre-defined Identifiers:: Pre-defined Identifiers
-* ident:: ident
-* Running LilyPond:: Running LilyPond
-@end menu
-@chapter LilyPond 1.2.0 Reference Manual
-
-
-
-@node Overview, Top level, LilyPond 1-2-0 Reference Manual, LilyPond 1-2-0 Reference Manual
-@section Overview
-
-This document@footnote{This document has been revised for
-LilyPond 1.2.} describes the the GNU LilyPond input format, which is
-a language for defining music. We call this language @emph{Music
-Definition Language} or @emph{Mudela}, for short.@footnote{If anybody
-comes up with a better name, we'd gladly take this. Gourlay already
-uses a ``Musical Description Language,'' ISO standard 10743 defines a
-``Standard Music Description Language.'' We're not being original
-here.}
-
-@emph{Mudela} is a language that allows you to
-
-@itemize @bullet
- @item create musical expressions by combining pitches, durations
- @item output those musical expressions to various formats
- @item give those musical expressions and output definitions names, so
- you can enter them in manageable chunks.
-@end itemize
-
-@emph{Mudela} aims to define a piece of music completely, both from
-typesetting and from a performance point of view.
-
-
-
-@node Top level, notenames, Overview, LilyPond 1-2-0 Reference Manual
-@section Top level
-
-@cindex top level
-
-This section describes what you may enter at top level.
-
-
-
-@cindex score definition
-
-The output is generated combining a music expression with an output
-definition. A score block has the following syntax:
-
-@quotation
-
- @code{\score @{} @var{musicexpr} @var{outputdefs} @code{@}}
-@end quotation
-
-@var{outputdefs} are zero or more output definitions. If no output
-definition is supplied, the default @code{\paper} block will be added.
-
-
-
-@cindex header
-
-@keyindex{header}
-
-The syntax is
-
-@quotation
-
- @code{\header} @code{@{} @var{key1} = @var{val1};
- @var{key2} = @var{val2}; ... @code{@}}
-@end quotation
-
-A header describes the file's contents. It can also appear in a
-@code{\score} block. Tools like @code{ly2dvi}@indexcode{ly2dvi} can use this
-information for generating titles. Key values that are used by
-@code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
-metre, arranger, piece and tagline.
-
-It is customary to put the @code{\header} at the top of the file.
-
-
-@node notenames, Lexical conventions, Top level, LilyPond 1-2-0 Reference Manual
-
-Note name tables can be specified using
-
-@quotation
-
- @code{\notenames}@keyindex{notenames}
- @code{@{} @var{assignmentlist} @code{@}}
-@end quotation
-
-@var{assignmentlist} is a list of definitions of the form
-
-@quotation
-
- @var{name} = @var{pitch}
-@end quotation
-
-Chord modifiers can be set analogously, with
-@code{\chordmodifiers}@keyindex{chordmodifiers}.
-
-
-
-A @code{\paper} block at top level sets the default paper block. A
-@code{\midi} block at top level works similarly.
-
-
-
-LilyPond contains a Scheme interpreter (the GUILE library) for
-internal use. The following commands access the interpreter
-directly.
-
-@quotation
-
- @code{\scm}@keyindex{scm} @var{scheme} @code{;}
-@end quotation
-
-Evaluates the specified Scheme code. The result is discarded.
-
-@quotation
-
- @code{\scmfile}@keyindex{scmfile} @var{filename} @code{;}
-@end quotation
-
-Reads Scheme code from the specified file. The result is discarded.
-
-
-
-Identifier assignments may appear at top level. Semicolons are
-forbidden after top level assignments.
-
-
-
-@node Lexical conventions, notelang, notenames, LilyPond 1-2-0 Reference Manual
-@section Lexical conventions
-
-@cindex lexical conventions
-
-
-
-@cindex comment
-
-@indexcode{%}
-
-
-A one line comment is introduced by a `@code{%}' character.
-Block comments are started by `@code{%@{}' and ended by `@code{%@}}'.
-They cannot be nested.
-
-
-
-@cindex keyword
-
-Keywords start with a backslash, followed by a number of lower case
-alphabetic characters. These are all the keywords.
-
-@quotation
-
- @code{\accepts}
- @code{\addlyrics}
- @code{\alternative}
- @code{\bar}
- @code{\breathe}
- @code{\cadenza}
- @code{\chordmodifiers}
- @code{\chords}
- @code{\clef}
- @code{\cm}
- @code{\consists}
- @code{\consistsend}
- @code{\context}
- @code{\duration}
- @code{\font}
- @code{\grace}
- @code{\header}
- @code{\in}
- @code{\key}
- @code{\keysignature}
- @code{\lyrics}
- @code{\mark}
- @code{\midi}
- @code{\mm}
- @code{\musicalpitch}
- @code{\name}
- @code{\notenames}
- @code{\notes}
- @code{\paper}
- @code{\partial}
- @code{\penalty}
- @code{\property}
- @code{\pt}
- @code{\relative}
- @code{\remove}
- @code{\repeat}
- @code{\repetitions}
- @code{\scm}
- @code{\scmfile}
- @code{\score}
- @code{\script}
- @code{\sequential}
- @code{\shape}
- @code{\simultaneous}
- @code{\skip}
- @code{\spanrequest}
- @code{\tempo}
- @code{\textscript}
- @code{\time}
- @code{\times}
- @code{\translator}
- @code{\transpose}
- @code{\type}
-@end quotation
-
-
-
-
-@cindex integer
-
-Formed from an optional minus sign followed by digits. Arithmetic
-operations cannot be done with integers, and integers cannot be mixed
-with reals.
-
-
-
-@cindex real
-
-
-Formed from an optional minus sign and a sequence of digits followed
-by a @emph{required} decimal point and an optional exponent such as
-@code{-1.2e3}. Reals can be built up using the usual operations:
-`@code{+}@indexcode{+}', `@code{-}@indexcode{-}', `@code{*}@indexcode{*}', and
-`@code{/}@indexcode{/}', with parentheses for grouping.
-
-A real constant can be followed by one of the dimension
-keywords:
-@cindex dimensions
- @code{\mm}@keyindex{mm},
-@code{\pt}@keyindex{pt}, @code{\in}@keyindex{in}, or
-@code{\cm}@keyindex{cm}, for millimeters, points, inches and
-centimeters, respectively. This converts the number to a real that
-is the internal representation of dimensions.
-
-
-
-@cindex string
-
-
-Begins and ends with the `@code{"}' character. To include a `@code{"}'
-character in a string write `@code{\"}'. Various other backslash
-sequences have special interpretations as in the C language. A
-string that contains no spaces can be written without the quotes.
-See section @xref{modes} for details on unquoted strings; their
-interpretation varies depending on the situation. Strings can be
-concatenated with the `@code{+}' operator.
-
-
-
-The tokenizer accepts the following commands. They can appear
-anywhere.
-
-@quotation
-
- @code{\maininput}@keyindex{maininput}
-@end quotation
-
-This command is used in init files to signal that the user file must
-be read. This command cannot be used in a user file.
-
-@quotation
-
- @code{\include}@keyindex{include} @var{file}
-@end quotation
-
-Include @var{file}. The argument @var{file} may be a quoted string (an
-unquoted string will not work here!) or a string identifier. The full
-filename including the @file{.ly} extension must be given,
-
-@quotation
-
- @code{\version}@keyindex{version} @var{string} @code{;}
-@end quotation
-
-Specify the version of LilyPond that a file was written for. The
-argument is a version string in quotes, for example @code{"1.2.0"}.
-This is used to detect invalid input, and to aid
-@code{convert-mudela}, a tool that automatically upgrades input files.
-
-
-
-@cindex other languages
-
-@node notelang, modes, Lexical conventions, LilyPond 1-2-0 Reference Manual
-
-Note name definitions have been provided in various languages.
-Simply include the language specific init file. For example:
-`@code{\include "english.ly"}'. The available language files and the
-names they define are:
-
-@quotation
-
-@example
- Note Names sharp flat
-
-nederlands.ly c d e f g a bes b -is -es
-english.ly c d e f g a bf b -s/-sharp -f/-flat
-deutsch.ly c d e f g a b h -is -es
-norsk.ly c d e f g a b h -iss/-is -ess/-es
-svenska.ly c d e f g a b h -iss -ess
-italiano.ly do re mi fa sol la sid si -d -b
-catalan.ly do re mi fa sol la sid si -d/-s -b
-@end example
-
-@end quotation
-
-Pitch names can be redefined using the
-@code{\notenames}@keyindex{notenames} command, see
-subsection @xref{notenames}.
-
-
-
-@cindex lexical modes
-
-@cindex modes
-
-@node modes, Types, notelang, LilyPond 1-2-0 Reference Manual
-
-To simplify entering notes, lyrics, and chords, @emph{Mudela} has three
-special input modes on top of the default mode. In each mode, words
-are identified on the input. If @code{"word"} is encountered, it is
-treated as a string. If @code{\word} is encountered, it is treated as
-a keyword or as an identifier. The behavior of the modes differs in
-two ways: Different modes treat unquoted words differently, and
-different modes have different rules for deciding what is a word.
-
-@table @samp
- @item Normal mode.
-@cindex mode!normal
-
- At the start of parsing, @emph{Mudela} is in Normal mode. In Normal
- mode, a word is an alphabetic character followed by alphanumeric
- characters. If @code{word} is encountered on the input it is
- treated as a string.
-
- @item Note mode.
-@cindex mode!note
-
- Note mode is introduced by the keyword
- @code{\notes}@keyindex{notes}. In Note mode, words can only
- contain alphabetic characters. If @code{word} is encountered,
- LilyPond first checks for a notename of @code{word}. If no
- notename is found, then @code{word} is treated as a string.
-
- Since combinations of numbers and dots are used for indicating
- durations, it is not possible to enter real numbers in this mode.
-
- @item Chord mode.
-@cindex mode!chord
-
- Chord mode is introduced by the keyword
- @code{\chords}@keyindex{chords}. It is similar to Note mode, but
- words are also looked up in a chord modifier table (containing
- @code{maj}, @code{dim}, etc).
-
- Since combinations of numbers and dots are used for indicating
- durations, you can not enter real numbers in this mode. Dashes
- and carets are used to indicate chord additions and subtractions,
- so scripts can not be entered in Chord mode.
-
- @item Lyrics mode.
-@cindex mode!lyric
-
- Lyrics mode is introduced by the keyword
- @code{\lyrics}@keyindex{lyrics}. This mode has rules that make it
- easy to include punctuation and diacritical marks in words. A
- word in Lyrics mode begins with: an alphabetic character,
- `@code{_}', `@code{?}', `@code{!}', `@code{:}', `@code{'}', the
- control characters @code{^A} through @code{^F}, @code{^Q} through
- @code{^W}, @code{^Y}, @code{^^}, any 8-bit character with ASCII code
- over 127, or a two-character combination of a backslash followed
- by one of `@code{`}', `@code{'}', `@code{"}', or
- `@code{^}'.@footnote{The purpose of Lyrics mode is that you can
- enter lyrics in TeX format or a standard encoding without
- needing quotes. The precise definition of this mode indeed is
- ludicrous. This will remain so until the authors of LilyPond
- acquire a deeper understanding of character encoding, or someone
- else steps up to fix this.}
-
- 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{@}}', which may be confusing if
- you thought the closing brace was going to terminate Lyrics
- mode.@footnote{LilyPond will issue a warning, though.} Any
- `@code{_}' characters which appear in an unquoted word are
- converted to spaces. This provides a mechanism for introducing
- spaces into words without using quotes. Quoted words can also be
- used in Lyrics mode to specify words that cannot be written with
- the above rules. Here are some examples. Not all of these words
- are printable by TeX.
-
-
- @quotation
-
-@example
-Ah! % a word
-2B_||_!2B % not a word because it starts with a digit
-``Hello'' % not a word because it starts with `
-_ _ _ _ % 4 words, each one a space
-@end example
-
- @end quotation
-
- Since combinations of numbers and dots are used for indicating
- durations, you can not enter real numbers in this mode.
-@end table
-
-It is possible to create words that break the rules by prefixing them
-with the dollar sign `@code{$}@indexcode{$}'. Regardless of the context, a
-word beginning with `@code{$}' extends until the next white space
-character. Such words can contain numbers (even in Note mode), or
-other forbidden characters. The dollar sign can be used to create
-and access identifiers that could not otherwise be used.@footnote{Use
-of `@code{$}' hampers readability and portability to future LilyPond
-versions, thus the use of the dollar sign is discouraged.}
-
-
-
-@node Types, Music expressions, modes, LilyPond 1-2-0 Reference Manual
-@section Types
-
-@cindex types and identifiers
-
-@emph{Mudela} has a limited set of types:
-
-@itemize @bullet
- @item integers
- @item reals
- @item strings
- @item music expressions
- @item durations of notes and rests (specified with
- @code{\notenames}@keyindex{notenames})
- @item note name tables
- @item context definitions, part of output definitions. See
- section @xref{contextdefs} for more information
- @item output definitions (like @code{\paper}@keyindex{paper} blocks
- and @code{\midi}@keyindex{midi} blocks)
- @item score definitions (@code{\score}@keyindex{score} blocks)
-@end itemize
-
-Type is a syntactical property: @emph{Mudela} has no real type system,
-so there is no support for generic expressions, functions, or user
-defined types. For the same reason, it is not possible to mix reals
-and integers in arithmetic expressions, and ``type
-errors''
-@cindex type error
- (e.g., using a string identifier to
-initialize a @code{\paper}@keyindex{paper} block) will yield a ``parse
-error''.
-
-Identifiers allow objects to be assigned to names. To assign an
-identifier, you use `@var{name}=@var{value}' and to refer to an
-identifier, you preceed its name with a backslash:
-`@code{\}@var{name}'. Identifier assignments must appear at top level
-in the @emph{Mudela} file. Semicolons are forbidden after assignments
-appearing at top level but they are obligatory after assignments
-appearing in the @code{\paper} block, see Section @xref{paper}.
-
-@var{value} is any of the types listed above.
-
-An identifier can be created with any string for its name, but you
-will only be able to refer to identifiers whose names begin with a
-letter, being entirely alphanumeric. It is impossible to refer to an
-identifier whose name is the same as the name of a keyword.
-
-The right hand side of an identifier assignment is parsed completely
-before the assignment is done, so it is allowed to redefine an
-identifier in terms of its old value, e.g.
-
-@quotation
-
- @code{foo = \foo * 2.0}
-@end quotation
-
-When an identifier is referenced, the information it points to is
-copied. Therefore it only makes sense to put identifiers for
-translators, output definitions, and @code{\score}@keyindex{score}
-blocks as the first item in a block. For this reason, if you
-reference a @code{\foo} variable in a @code{\foo} block, it must be the
-first item in the list following @code{\foo}.@footnote{@code{\paper@{\one
-\two@}} does not make sense, because the information of @code{\two}
-would overwrite the information of @code{\one}, thereby making the
-reference to the first identifier useless.}
-
-
-
-@node Music expressions, Atomic music expressions, Types, LilyPond 1-2-0 Reference Manual
-@section Music expressions
-
-@cindex music expressions
-
-Music in @emph{Mudela} is entered as a music expression. Notes, rests,
-lyric syllables are music expressions (the atomic
-expressions)
-@cindex atomic music expressions
-, and you can combine
-music expressions to form new ones. This example forms a compound
-expressions out of the quarter @code{c} note and a @code{d}
-note:
-
-@quotation
-
- @example
-\sequential @{ c4 d4 @}
-@end example
-
-@end quotation
-
-The meaning of this compound expression is to play the `@code{c}'
-first, and then the `@code{d}' (as opposed to playing them
-simultaneously, for instance).
-
-Atomic music expression are discussed in
-subsection @xref{atomicmusic}. Compound music expressions are
-discussed in subsection @xref{compoundmusic}.
-
-
-
-@node Atomic music expressions, atomicmusic, Music expressions, LilyPond 1-2-0 Reference Manual
-@section Atomic music expressions
-@node atomicmusic, notedesc, Atomic music expressions, LilyPond 1-2-0 Reference Manual
-
-
-
-@cindex pitch
-
-@cindex duration
-
-
-The syntax for pitch specification is
-
-@quotation
-
- @code{\musicalpitch}@keyindex{musicalpitch}
- @code{@{} @var{octave} @var{note} @var{shift} @code{@}}
-@end quotation
-
-@var{octave} is specified by an integer, zero for the octave
-containing middle C. @var{note} is a number from 0 to 7, with 0
-corresponding to C and 7 corresponding to B. The shift is zero for a
-natural, negative to add flats, or positive to add sharps.
-
-In Note and Chord mode, pitches may be designated by names. See
-section @xref{notelang} for pitch names in different languages.
-
-The syntax for duration specification is
-
-@quotation
-
- @code{\duration}@keyindex{duration}
- @code{@{} @var{length} @var{dotcount} @code{@}}
-@end quotation
-
-@var{length} is the negative logarithm (base 2) of the duration:
-1 is a half note, 2 is a quarter note, 3 is an eighth
-note, etc. The number of dots after the note is given by
-@var{dotcount}.
-
-In Note, Chord, and Lyrics mode, durations may be designated by
-numbers and dots. See Section @xref{notelang} for details.
-
-
-@node notedesc, barlines, atomicmusic, LilyPond 1-2-0 Reference Manual
-
-@cindex note specification
-
-@cindex pitches
-
-@cindex entering notes
-
-A note specification has the form
-
-@quotation
-
- @var{pitch}[@var{octavespec}][@code{!}][@code{?}][@var{duration}]
-@end quotation
-
-The pitch of the note is specified by the note's name.
-
-
-The default names are the Dutch note names. The notes are specified
-by the letters `@code{c}' through `@code{b}', where `@code{c}' is an
-octave below middle C and the letters span the octave above that C.
-In Dutchcindex(notenames!Dutch), a sharp is formed by adding
-`@code{-is}' to the end of a pitch name. A flat is formed by adding
-`@code{-es}'. Double sharps and double flats are obtained by adding
-`@code{-isis}' or `@code{-eses}'. `@code{aes}' and `@code{ees}' are
-contracted to `@code{as}' and `@code{es}' in Dutch, but both forms will
-be accepted.
-
-LilyPond has predefined sets of notenames for various languages. See
-section @xref{notelang} for details.
-
-
-The optional octave specification takes the form of a series of
-single quote (`@code{'}@indexcode{'}') characters or a series of comma
-(`@code{,}@indexcode{,}') characters. Each @code{'} raises the pitch by one
-octave; each @code{,} lowers the pitch by an octave.
-
-@mudela[fragment,verbatim,center]
- c' d' e' f' g' a' b' c''
-@end mudela
-
-@mudela[fragment,verbatim,center]
- cis' dis' eis' fis' gis' ais' bis'
-@end mudela
-
-@mudela[fragment,verbatim,center]
- ces' des' es' fes' ges' as' bes'
-@end mudela
-
-@mudela[fragment,verbatim,center]
- cisis' eisis' gisis' aisis' beses'
-@end mudela
-
-@mudela[fragment,verbatim,center]
- ceses' eses' geses' ases' beses'
-@end mudela
-
-Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond
-will determine what accidentals to typeset depending on the key and
-context. A reminder accidental
-@cindex reminder accidental
- can be
-forced by adding an exclamation mark `@code{!}' after the pitch. A
-cautionary accidental,
-@cindex cautionary accidental
- i.e., an
-accidental within parentheses can be obtained by adding the question
-mark `@code{?}@indexcode{?}' after the pitch.
-
-@mudela[fragment,verbatim,center]
- cis' d' e' cis' c'? d' e' c'!
-@end mudela
-
-
-@cindex duration
-
-Durations are entered as their reciprocal values. For notes longer
-than a whole note, use identifiers.
-
-@quotation
-
-@example
-c'\longa c'\breve
-c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
-@end example
-
-@end quotation
-
-@quotation
-
-@mudela[]
-\score {
- \notes \relative c'' {
- a\longa a\breve
- a1 a2 a4 a8 a16 a32 a64 a64
- }
- \paper {
- loose_column_distance = 2.5 * \interline;
- linewidth = -1.0;
- \translator {
- \type "Score_engraver";
- \name "Score";
- \consists "Note_heads_engraver";
- \consists "Stem_engraver";
- \consists "Rhythmic_column_engraver";
- }
- }
-}
-@end mudela
-@end quotation
-
-@quotation
-
-@example
-r\longa r\breve
-r1 r2 r4 r8 r16 r32 r64 r64
-@end example
-
-@end quotation
-
-@quotation
-
-@mudela[]
-\score {
- \notes \relative c'' {
- r\longa r\breve
- r1 r2 r4 r8 r16 r32 r64 r64
- }
- \paper {
- loose_column_distance = 2.5 * \interline;
- linewidth = -1.0;
- \translator {
- \type "Score_engraver";
- \name "Score";
- \consists "Rest_engraver";
- \consists "Stem_engraver";
- \consists "Rhythmic_column_engraver";
- }
- }
-}
-@end mudela
-@end quotation
-
-If the duration is omitted then it is set equal to the previous
-duration. If there is no previous duration, a quarter note is
-assumed. The duration can be followed by a dot (`@code{.}@indexcode{.}')
-to obtain dotted note lengths.
-
-@mudela[fragment,verbatim,center]
- a'4. b'4.
-@end mudela
-
-You can alter the length of duration by writing
-`@code{*}@var{fraction}' after it. This will not affect the
-appearance of note heads or rests.
-
-
-Rests are entered like notes, with note name `@code{r}@indexcode{r}',
-or `@code{R}@indexcode{R}'. There is also a note name `@code{s}@indexcode{s}',
-which produces a space of the specified duration.
-`@code{R}' is specifically meant for entering parts: the @code{R} rest
-can expand to fill a score with rests, or it can be printed as a
-single multimeasure rest.
-
-
-@cindex lyrics expressions
-
-Syllables are entered like notes, with pitches replaced by text. For
-example, `@code{Twin-4 kle4 twin-4 kle4}' enters four syllables, each
-with quarter note duration. Note that the hyphen has no special
-meaning for lyrics, and does not introduce special symbols. See
-section @xref{modes} for a description of what is interpreted as
-lyrics.
-
-Spaces can be introduced into a lyric either by using quotes
-(`@code{"}') or by using an underscore without quotes: `@code{He_could4
-not4}'. All unquoted underscores are converted to spaces. Printing
-lyrics is discussed in section @xref{lyricprint}.
-
-
-
-@cindex properties
-
-@quotation
-
- @code{\property}@keyindex{property}
- @var{contextname}@code{.}@var{propname} @code{=} @var{value}
-@end quotation
-
-Sets the @var{propname} property of the context @var{contextname} to
-the specified @var{value}. All three arguments are strings.
-Depending on the context, it may be necessary to quote the strings or
-to leave space on both sides of the dot.
-
-
-
-@cindex translator switches
-
-@quotation
-
- @code{\translator}@keyindex{translator}
- @var{contexttype} = @var{name}
-@end quotation
-
-A music expression indicating that the context which is a direct
-child of the a context of type @var{contexttype} should be shifted to
-a context of type @var{contexttype} and the specified name.
-
-Usually this is used to switch staffs in Piano music, e.g.
-
-@quotation
-
- @code{\translator Staff = top} @var{Music}
-@end quotation
-
-
-
-@cindex commands
-
-Commands are music expressions that have no duration.
-
-
-@quotation
-
- @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;}
-@end quotation
-
-Change the key signature. @var{type} should be
-@code{\major}@keyindex{major} or @code{\minor}@keyindex{minor} to get
-@var{pitch}-major or @var{pitch}-minor, respectively. The second
-argument is optional; the default is major keys. The @var{\context}
-argument can also be given as an integer, which tells the number of
-semitones that should be added to the pitch given in the subsequent
-@code{\key}@keyindex{key} commands to get the corresponding major key,
-e.g., @code{\minor}@keyindex{minor} is defined as 3. The standard
-mode names @code{\ionian}@keyindex{ionian},
-@code{\locrian}@keyindex{locrian}, @code{\aeolian}@keyindex{aeolian},
-@code{\mixolydian}@keyindex{mixolydian}, @code{\lydian}@keyindex{lydian},
-@code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian}
-are also defined.
-
-@quotation
-
- @code{\keysignature}@keyindex{keysignature} @var{pitchseq} @code{;}
-@end quotation
-
-Specify an arbitrary key signature. The pitches from @var{pitch} will
-be printed in the key signature in the order that they appear on the
-list.
-
-
-@quotation
-
- @code{\mark}@keyindex{mark} @var{unsigned} @code{;} @*
- @code{\mark} @var{string} @code{;}
-@end quotation
-
-Prints a mark over or under (depending on the
-@code{markDirection}@indexcode{markDirection} property) the staff. You must add
-@code{Mark_engraver}@indexcode{Mark_engraver} to either the Score or Staff context for
-this to work.
-
-@node barlines, manualbeam, notedesc, LilyPond 1-2-0 Reference Manual
-
-@quotation
-
- @code{\bar}@keyindex{bar} @var{bartype} @code{;}
-@end quotation
-
-This is a request to print a special bar symbol. It replaces the
-regular bar symbol with a special
-symbol. The argument @var{bartype} is a string which specifies the
-kind of bar to print. Options are @code{":|"}
-@cindex "|A@@@code{:|}
-,
-@code{"|:"}
-@cindex "|B@@@code{|:}
-, @code{":|:"}
-@cindex "|C@@@code{:|:}
-,
-@code{"||"}
-@cindex "|D@@@code{||}
-, @code{"|."}
-@cindex "|E@@@code{|.}
-,
-@code{".|"}
-@cindex "|F@@@code{.|}
-, and @code{".|."}
-@cindex "|G@@@code{.|.}
-.
-These produce, respectively, a right repeat, a left repeat, a double
-repeat, a double bar, a start bar, an end bar, and a thick double
-bar. If @var{bartype} is set to @code{"empty"} then nothing is
-printed, but a line break is allowed at that spot.
-
-You are encouraged to use @code{\repeat} for repetitions.
-See section @xref{sec-repeats}.
-
-
-
-@quotation
-
- @code{\cadenza}@keyindex{cadenza} @var{togglevalue} @code{;}
-@end quotation
-
-Music expression that toggles the automatic generation of bar lines.
-If @var{togglevalue} is 1, bar line generation is turned off. If
-@var{togglevalue} is 0, a bar line is immediately printed and
-automatic bar generation is turned on.
-
-@quotation
-
- @code{\time}@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;}
-@end quotation
-
-Change the time signature. The default time signature is 4/4.
-The time signature is used to generate bar lines.
-
-@quotation
-
- @code{\tempo}@keyindex{tempo} @var{duration} = @var{perminute} @code{;}
-@end quotation
-
-Used to specify the tempo. For example, `@code{\tempo 4 = 76;}'
-requests output with 76 quarter notes per minute.
-
-@quotation
-
- @code{\partial}@keyindex{partial} @var{duration} @code{;}
-@end quotation
-
-@cindex anacrusis
-
-@cindex upstep
-
-This creates an incomplete measure (anacrusis, upbeat) at the start of
-the music, e.g., `@code{\partial 8*2;}' creates a starting measure
-lasting two eighth notes.
-
-@quotation
-
- @code{|}@indexcode{|}
-@cindex bar check
-
-@end quotation
-
-@cindex shorten measures
-
-@cindex upstep
-
-`@code{|}' is a barcheck. Whenever a barcheck is encountered during
-interpretation, a warning message is issued if it doesn't fall at a
-measure boundary. This can help you finding errors in the input.
-The beginning of the measure will be relocated, so this can also
-be used to shorten measures.
-
-
-@quotation
-
- @code{\penalty}@keyindex{penalty} @var{int} @code{;}
-@end quotation
-
-Discourage or encourage line breaks. See identifiers
-@code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in
-section @xref{ident}.
-
-@quotation
-
- @code{\clef}@keyindex{clef} @var{clefname} @code{;}
-@end quotation
-
-Music expression that sets the current clef. The argument is a
-string which specifies the name of the clef. Several clef names are
-supported. If `@code{_8}' or `@code{^8}' is added to the end of a clef
-name, then the clef lowered or raised an octave will be generated.
-Here are the supported clef names with middle C shown in each
-clef:
-
-@quotation
-
-@mudela[]
-\score {
- \notes {
- \cadenza 1;
- %\property Voice.textStyle = typewriter
- \clef subbass; c'4-"\kern -5mm subbass"
- \clef bass; c'4^"\kern -2mm bass"
- \clef baritone; c'4_"\kern -5mm baritone"
- \clef varbaritone; c'4^"\kern -6mm varbaritone"
- \clef tenor; c'4_"\kern -3mm tenor"
- \clef "G_8"; c'4^"\kern -2mm G\\_8"
- }
- \paper {
- linewidth = 4.5 \in;
- }
-}
-@end mudela
-@end quotation
-
-@quotation
-
-@mudela[]
-\score {
- \notes {
- \cadenza 1;
- \clef alto; c'4_"\kern -2mm alto"
- \clef mezzosoprano; c'4^"\kern -9mm mezzosoprano"
- \clef soprano; c'4_"\kern -6mm soprano"
- \clef treble; c'4^"\kern -4mm treble"
- \clef french; c'4_"\kern -4mm french"
- }
- \paper {
- linewidth = 4.5 \in;
- }
-}
-@end mudela
-@end quotation
-
-The three clef symbols can also be obtained using the names `@code{G}',
-`@code{C}' or `@code{F}', optionally followed by an integer which
-indicates at which note line the clef is located. An as example, the
-@code{mezzosoprano} clef can also be given as `@code{C2}'.
-
-@quotation
-
- @code{\skip}@keyindex{skip} @var{duration} @code{;}
-@end quotation
-
-Skips the amount of time specified by @var{duration}. If no other
-music is played, a gap will be left for the skipped time with no
-notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
-this has the same effect as the space rest `@code{s}'.
-
-
-@cindex beams
-
-@node manualbeam, tremolo, barlines, LilyPond 1-2-0 Reference Manual
-
-A beam is specified by surrounding the beamed notes with brackets
-`@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'.
-
-@mudela[fragment,verbatim,center]
- [a'8 a'] [a'16 a' a' a']
-@end mudela
-
-Some more elaborate constructions:
-
-@mudela[fragment,verbatim,center]
- [a'16 <a' c''> c'' <a' c''>]
- \times 2/3 { [e'8 f' g'] }
-@end mudela
-
-Beaming can be generated automatically; see section @xref{autobeam}.
-
-To place tremolo marks
-@cindex tremolo beams
- between two notes, begin
-with `@code{[:}@var{length}' and end with `@code{]}'. Tremolo marks
-will appear instead of beams. Putting more than two notes in such a
-construction will produce odd effects. To create tremolo beams on a
-single note, simply attach `@code{:}@var{length}' to the note itself
-(see also section @xref{tremolo}).
-
-@mudela[fragment,verbatim,center]
- [:16 e'1 g'] [:8 e'4 f']
-@end mudela
-
-@mudela[fragment,verbatim,center]
- c'4:32 [:16 c'8 d'8]
-@end mudela
-
-
-@cindex --@@@code{-}@code{-}
-
-@indexcode{__}
-
-@cindex extender
-
-@cindex hyphen
-
-The syntax for an extender mark is `@code{__}'. This syntax can only
-be used within lyrics mode. The syntax for a spanning hyphen (i.e.,
-a hyphen that will be printed between two lyric syllables) is
-`@code{-}@code{-}'.
-
-
-@cindex ties
-
-A tie connects two adjacent note heads of the same pitch. When used
-with chords, it connects all of the note heads whose pitches match.
-Ties are indicated using the tilde symbol `@code{~}@indexcode{~}'.
-If you try to tie together chords which have no common pitches, a
-warning message will appear and no ties will be created.
-
-@mudela[fragment,verbatim,center]
- e' ~ e' <c' e' g'> ~ <c' e' g'>
-@end mudela
-
-
-
-[TODO: explain Requests]
-
-
-@cindex articulations
-
-@cindex scripts
-
-@cindex ornaments
-
-A variety of symbols can appear above and below notes to indicate
-different characteristics of the performance. These symbols can be
-added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
-are defined in @file{script.ly} and @file{script.scm}. Symbols can be
-forced to appear above or below the note by writing
-`@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
-respectively. Here is a chart showing symbols above notes, with the
-name of the corresponding symbol appearing underneath.
-
-@mudela[]
-
- \score {
- < \notes {
- c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
- c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
- c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
- c''-\rtoe c''-\turn c''-\open c''-\flageolet
- c''-\reverseturn c''-\trill c''-\prall c''-\mordent
- c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
- c''-\thumb c''-\segno c''-\coda
- }
- \context Lyrics \lyrics {
- accent__ marcato__ staccatissimo__ fermata
- stopped__ staccato__ tenuto__ upbow
- downbow__ lheel__ rheel__ ltoe
- rtoe__ turn__ open__ flageolet
- reverseturn__ trill__ prall__ mordent
- prallprall__ prallmordent__ uprall__ downprall
- thumb__ segno__ coda
- }
- >
- \paper {
- linewidth = 5.875\in;
- indent = 0.0;
- }
- }
-
-@end mudela
-
-In addition, it is possible to place arbitrary strings of text or
-TeX above or below notes by using a string instead of an
-identifier: `@code{c^"text"}'. Fingerings
-@cindex fingering
- can be
-placed by simply using digits. All of these note ornaments appear in
-the printed output but have no effect on the MIDI rendering of the
-music.
-
-To save typing, fingering instructions (digits 0 to 9 are
-supported) and single characters shorthands exist for a few
-common symbols
-
-@mudela[]
-
- \score {
- \notes {
- \property Voice.textStyle = typewriter
- c''4-._"c-." s4
- c''4--_"c-{}-" s4
- c''4-+_"c-+" s4
- c''4-|_"c-|" s4
- c''4->_"c->" s4
- c''4-^_"c-\\^{ }" s4
- c''4-1_"c-1" s4
- c''4-2_"c-2" s4
- c''4-3_"c-3" s4
- c''4-4_"c-4" s4
- }
- \paper {
- linewidth = 5.875 \in;
- indent = 0.0;
- }
- }
-
-@end mudela
-
-Dynamic marks are specified by using an identifier after a note:
-`@code{c4-\ff}' (the dash is optional for dynamics: `@code{c4 \ff})'.
-The available dynamic marks are:
-@code{\ppp}@keyindex{ppp},
-@code{\pp}@keyindex{pp}, @code{\p}@keyindex{p}, @code{\mp}@keyindex{mp},
-@code{\mf}@keyindex{mf}, @code{\f}@keyindex{f}, @code{\ff}@keyindex{ff},
-@code{\fff}@keyindex{fff}, @code{\fff}@keyindex{ffff},
-@code{\fp}@keyindex{fp}, @code{\sf}@keyindex{sf},
-@code{\sff}@keyindex{sff}, @code{\sp}@keyindex{sp},
-@code{\spp}@keyindex{spp}, @code{\sfz}@keyindex{sfz}, and
-@code{\rfz}@keyindex{rfz}.
-
-
-@quotation
-
- @code{\textscript}@keyindex{textscript} @var{text} @var{style}
-@end quotation
-
-Defines a text to be printed over or under a note. @var{style} is a
-string that may be one of @code{roman}, @code{italic}, @code{typewriter},
-@code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
-
-You can attach a general textscript request using this syntax:
-
-@quotation
-
-@example
-c4-\textscript "6" "finger"
-c4-\textscript "foo" "normal"
-@end example
-
-@end quotation
-
-This is equivalent to `@code{c4-6 c4-"foo"}'.
-
-
-@cindex scripts
-
-@quotation
-
- @code{\script}@keyindex{script} @var{alias}
-@end quotation
-
-Prints a symbol above or below a note. The argument is a string
-which points into the script-alias table defined in @file{script.scm}.
-The scheme definitions specify whether the symbol follows notes into
-the staff, dependence of symbol placement on staff direction, and a
-priority for placing several symbols over one note. Usually the
-@code{\script}@keyindex{script} keyword is not used directly. Various
-helpful identifier definitions appear in @file{script.ly}.
-
-
-@cindex slur
-
-Slurs connects chords and try to avoid crossing stems. A slur is
-started with `@code{(}' and stopped with `@code{)}'. The
-starting `@code{(}' appears to the right of the first note in
-the slur. The terminal `@code{)}' appears to the left of the
-first note in the slur. This makes it possible to put a note in
-slurs from both sides:
-
-@mudela[fragment,verbatim,center]
- f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
-@end mudela
-
-
-@cindex crescendo
-
-A crescendo mark is started with @code{\cr}@keyindex{cr} and terminated
-with @code{\rc}@keyindex{rc}. A decrescendo mark is started with
-@code{\decr}@keyindex{decr} and terminated with
-@code{\rced}@keyindex{rced}. There are also shorthands for these
-marks. A crescendo can be started with @code{\<}@keyindex{<} and a
-decrescendo can be started with @code{\>}@keyindex{>}. Either one can
-be terminated with @code{\!}@keyindex{"!}. Note that @code{\!}
-must go before the last note of the dynamic mark whereas @code{\rc}
-and @code{\rced} go after the last note. Because these marks are
-bound to notes, if you want to get several marks during one note, you
-must use spacer notes.
-
-@mudela[fragment,verbatim,center]
- c'' \< \! c'' d'' \decr e'' \rced
- < f''1 { s4 \< \! s2 \> \! s4 } >
-@end mudela
-
-
-@quotation
-
- @code{\spanrequest}@keyindex{spanrequest} @var{startstop} @var{type}
-@end quotation
-
-Define a spanning request. The @var{startstop} parameter is either -1
-(@code{\start}@keyindex{start}) or 1 (@code{\stop}@keyindex{stop}) and
-@var{type} is a string that describes what should be started.
-Supported types are @code{crescendo}, @code{decrescendo},
-@code{beam}, @code{slur}. This is an internal command. Users should
-use the shorthands which are defined in the initialization file
-@file{spanners.ly}.
-
-You can attach a (general) span request to a note using
-
-@mudela[fragment,verbatim,center]
- c'4-\spanrequest \start "slur"
- c'4-\spanrequest \stop "slur"
-@end mudela
-
-The slur syntax with parentheses is a shorthand for this.
-
-
-
-@cindex tremolo marks
-
-@node tremolo, Compound music expressions, manualbeam, LilyPond 1-2-0 Reference Manual
-
-Tremolo marks can be printed on a single note by adding
-`@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 the last value is
-used, or the value of the @code{abbrev}@indexcode{abbrev} property if there was
-no last value.
-
-@mudela[verbatim,fragment,center]
- c'2:8 c':32
-@end mudela
-
-
-
-@node Compound music expressions, compoundmusic, tremolo, LilyPond 1-2-0 Reference Manual
-@section Compound music expressions
-
-@cindex compound music expressions
-
-@node compoundmusic, relative, Compound music expressions, LilyPond 1-2-0 Reference Manual
-
-Music expressions are compound data structures. You can nest music
-expressions any way you like. This simple example shows how three
-chords can be expressed in two different ways:
-
-@mudela[fragment,verbatim,center]
- \notes \context Staff {
- \cadenza 1;
- <a c'> <b d' > <c' e' >
- <{a b c'}{c' d' e'}>
- }
-@end mudela
-
-
-
-@cindex context selection
-
-@quotation
-
- @code{\context}@keyindex{context}
- @var{contexttype} [@code{=} @var{contextname}] @var{musicexpr}
-@end quotation
-
-Interpret @var{musicexpr} within a context of type @var{contexttype}.
-If the context does not exist, it will be created. The new context
-can optionally be given a name. See
-section @xref{contextselection} and @xref{contextdefs} for more
-information on interpretation contexts.
-
-
-
-@cindex input modes
-
-@cindex mode switch
-
-Mode switching keywords form compound music expressions: @code{\notes}
-@keyindex{notes} @var{musicexpr}, @code{\chords} @keyindex{chords}
-@var{musicexpr}, and @code{\lyrics} @keyindex{lyrics} @var{musicexpr}.
-These expressions do not add anything to the meaning of their
-arguments. They are just a way to indicate that the arguments should
-be parsed in indicated mode. See section @xref{modes} for more
-information on modes.
-
-More information on context selection can be found in
-section @xref{contextselection}.
-
-
-
-@cindex sequential music
-
-
-
-@quotation
-
- @code{\sequential}@keyindex{sequential}
- @code{@{} @var{musicexprlist} @code{@}}
-@end quotation
-
-This means that list should be played or written in sequence, i.e.,
-the second after the first, the third after the second. The duration
-of sequential music is the the sum of the durations of the elements.
-There is a shorthand, which leaves out the keyword:
-
-@quotation
-
- @code{@{} @var{musicexprlist} @code{@}}
-@end quotation
-
-
-
-@cindex simultaneous music
-
-@indexcode{<}
-@indexcode{>}
-
-@quotation
-
- @code{\simultaneous}@keyindex{simultaneous}
- @code{@{} @var{musicexprlist} @code{@}}
-@end quotation
-
-It constructs a music expression where all of its arguments start at
-the same moment. The duration is the maximum of the durations of the
-elements. The following shorthand is a common idiom:
-
-@quotation
-
- @code{<} @var{musicexprlist} @code{>}
-@end quotation
-
-If you try to use a chord as the first thing in your score, you might
-get multiple staffs instead of a chord.
-
-@mudela[verbatim,center]
- \score {
- \notes <c''4 e''>
- \paper {
- linewidth = -1.;
- }
- }
-@end mudela
-
-This happens because the chord is interpreted by a score context.
-Each time a note is encountered a default Voice context (along with a
-Staff context) is created. The solution is to explicitly instantiate
-a Voice context:
-
-@mudela[verbatim,center]
- \score {
- \notes\context Voice <c''4 e''>
- \paper {
- linewidth = -1.;
- }
- }
-@end mudela
-
-
-
-@cindex relative pitch specification
-
-@node relative, sec-repeats, compoundmusic, LilyPond 1-2-0 Reference Manual
-
-It is easy to get confused by octave changing marks and accidentally
-putting a pitch in the wrong octave. A much better way of entering a
-note's octave is `the relative octave' mode.
-
-@quotation
-
- @code{\relative}@keyindex{relative} @var{startpitch} @var{musicexpr}
-@end quotation
-
-The octave of notes that appear in @var{musicexpr} are calculated as
-follows: If no octave changing marks are used, the basic interval
-between this and the last note is always taken to be a fourth or
-less.@footnote{The interval is determined without regarding
-accidentals. A @code{fisis} following a @code{ceses} will be put above
-the @code{ceses}.} The octave changing marks `@code{'}' and `@code{,}'
-can then be added to raise or lower the pitch by an extra octave.
-Upon entering relative mode, an absolute starting pitch must be
-specified that will act as the predecessor of the first note of
-@var{musicexpr}.
-
-Entering scales is straightforward in relative mode.
-
-@mudela[fragment,verbatim,center]
- \relative c' {
- c d e f g a b c c,
- }
-@end mudela
-
-And octave changing marks are used for intervals greater than a fourth.
-
-@mudela[fragment,verbatim,center]
- \relative c'' {
- c g c f, c' a, e'' }
-@end mudela
-
-If the preceding item is a chord, the first note of the chord is used
-to determine the first note of the next chord. But other notes
-within the second chord are determined by looking at the immediately
-preceding note.
-
-@mudela[fragment,verbatim,center]
- \relative c' {
- c <c e g>
- <c' e g>
- <c, e' g>
- }
-@end mudela
-
-The pitch after the @code{\relative} contains a notename. To parse
-the pitch as a notename, you have to be in note mode, so there must
-be a surrounding @code{\notes}@keyindex{notes} keyword (which is not
-shown here).
-
-The relative conversion will not affect @code{\transpose} or
-@code{\relative} sections in its argument. If you want to use
-relative within transposed music, you must place an additional
-@code{\relative} inside the @code{\transpose}.
-
-It is strongly recommended to use relative pitch mode: less work,
-less error-prone, and more readable.
-
-
-
-Chord names are a way to generate simultaneous music expressions that
-correspond with traditional chord names. It can only be used in
-Chord mode (see section @xref{modes}).
-
-@quotation
-
- @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}].
-@end quotation
-
-@var{tonic} should be the tonic note of the chord, and @var{duration}
-is the chord duration in the usual notation. There are two kinds of
-modifiers. One type is @emph{chord additions}, which are obtained by
-listing intervals separated by dots. An interval is written by its
-number with an optional `@code{+}' or `@code{-}' to indicate raising or
-lowering by half a step. Chord additions has two effects: It adds
-the specified interval and all lower odd numbered intervals to the
-chord, and it may lower or raise the specified interval. Intervals
-must be separated by a dot (`@code{.}').
-
-@quotation
-
-@mudela[fragment,verbatim]
-\transpose c'' {
- \chords {
- c1 c-3- c-7 c-8
- c-9 c-9-.5+.7+ c-3-.5- c-4.6.8
- }
-}
-
-@end mudela
-@end quotation
-
-The second type of modifier that may appear after the `@code{-}' is a
-named modifier. Named modifiers are listed in the file
-@file{chord-modifiers.ly}. The available modifiers are `@code{m}' and
-`@code{min}' which lower the 3rd half a step, `@code{aug}@indexcode{aug}' which
-raises the 5th, `@code{dim}@indexcode{dim}' which lowers the 5th,
-`@code{maj}@indexcode{maj}' which adds a raised 7th, and `@code{sus}@indexcode{sus}'
-which replaces the 5th with a 4th.
-
-@quotation
-
-@mudela[fragment,verbatim]
-\transpose c'' {
- \chords {
- c1-m c-min7 c-maj c-aug c-dim c-sus
- }
-}
-
-@end mudela
-@end quotation
-
-
-Chord subtractions are used to eliminate notes from a chord. The
-notes to be subtracted are listed after a `@code{^}' character,
-separated by dots.
-
-@mudela[fragment,verbatim,center]
- \transpose c'' {
- \chords {
- c1^3 c-7^5.3 c-8^7
- }
- }
-@end mudela
-
-Chord inversions can be specified by appending `@code{/}@indexcode{/}' and
-the name of a single note to a chord. This has the effect of
-lowering the specified note by an octave so it becomes the lowest
-note in the chord. If the specified note is not in the chord, a
-warning will be printed.
-
-@mudela[fragment,verbatim,center]
- \transpose c''' {
- \chords {
- c1 c/e c/g c-7/e
- }
- }
-
-@end mudela
-
-Throughout these examples, chords have been shifted around the staff
-using @code{\transpose}.
-
-You should not combine @code{\relative} with named chords.
-
-
-
-@cindex tuplets
-
-Tuplets are made out of a music expression by multiplying their
-duration with a fraction.
-
-@quotation
-
- @code{\times}@keyindex{times} @var{fraction} @var{musicexpr}
-@end quotation
-
-The duration of @var{musicexpr} will be multiplied by the fraction.
-In print, the fraction's denominator will be printed over the notes,
-optionally with a bracket. The most common tuplet is the triplet in
-which 3 notes have the length of 2, so the notes are 2/3 of
-their written length:
-
-@mudela[fragment,verbatim,center]
- g'4 \times 2/3 {c'4 c' c'} d'4 d'4
-@end mudela
-
-
-
-@cindex grace notes
-
-@quotation
-
- @code{\grace}@keyindex{grace} @var{musicexpr}
-@end quotation
-
-A grace note expression has duration 0; the next real note is
-assumed to be the main note.
-
-You cannot have the grace note after the main note, in terms of
-duration, and main notes, but you can typeset the grace notes to the
-right of the main note using the property
-@code{graceAlignPosition}@indexcode{graceAlignPosition}.
-
-When grace music is interpreted, a score-within-a-score is set up:
-@var{musicexpr} has its own time bookkeeping, and you could (for
-example) have a separate time signature within grace notes. While in
-this score-within-a-score, you can create notes, beams, slurs, etc.
-Unbeamed eighth notes and shorter by default have a slash through the
-stem. This behavior can be controlled with the
-@code{stemStyle}@indexcode{stemStyle} property.
-
-@quotation
-
-@mudela[fragment,verbatim]
-\relative c'' {
- \grace c8 c4 \grace { [c16 c16] } c4
- \grace { \property Grace.stemStyle = "" c16 } c4
-}
-
-@end mudela
-@end quotation
-
-At present, nesting @code{\grace}@keyindex{grace} notes, e.g.
-
-@quotation
-
- @code{\grace @{ \grace c32 c16 @} c4}
-@end quotation
-
-may result in run-time errors of LilyPond. Since the meaning of such
-a construct is unclear, we don't consider this a loss. Similarly,
-juxtaposing two @code{\grace} sections is syntactically valid, but
-makes no sense and may cause runtime errors.
-
-Ending a staff or score with grace notes may also generate a run-time
-error, since there will be no main note to attach the grace notes to.
-
-
-
-@cindex repeats
-
-@node sec-repeats, transpose, relative, LilyPond 1-2-0 Reference Manual
-
-In order to specify repeats, use the @code{\repeat}@keyindex{repeat}
-keyword. Since repeats look and sound differently when played or
-printed, there are a few different variants of repeats.
-
-@table @samp
- @item unfolded @*
- Repeated music is fully written (played) out. Useful for MIDI
- output.
-
- @item volta @*
- This is the normal notation: Repeats are not written out, but
- alternative endings (voltas) are printed, left to right.
-
- @item folded @*
- Alternative endings are written stacked, which is useful for
- lyrics.
-@end table
-
-The syntax for repeats is
-
-@quotation
-
- @code{\repeat} @var{variant} @var{repeatcount} @var{repeatbody}
-@end quotation
-
-If you have alternative endings, you may add
-
-@quotation
-
- @code{\alternative}@keyindex{alternative}
- @code{@{} @var{alternative1}
- @var{alternative2}
- @var{alternative3} ... @code{@}}
-@end quotation
-
-where each @var{alternative} is a Music expression.
-
-Normal notation repeats are used like this:
-
-@quotation
-
-@mudela[fragment,verbatim]
- c'1
- \repeat volta 2 { c'4 d' e' f' }
- \repeat volta 2 { f' e' d' c' }
-
-@end mudela
-@end quotation
-
-With alternative endings:
-
-@quotation
-
-@mudela[fragment,verbatim]
- c'1
- \repeat volta 2 {c'4 d' e' f'}
- \alternative { {d'2 d'} {f' f} }
-
-@end mudela
-@end quotation
-
-Folded repeats look like this:@footnote{Folded repeats offer little
-more over simultaneous music. However, it is to be expected that
-more functionality -- especially for the MIDI backend -- will be
-implemented.}
-
-@quotation
-
-@mudela[fragment,verbatim]
- c'1
- \repeat fold 2 {c'4 d' e' f'}
- \alternative { {d'2 d'} {f' f} }
-
-@end mudela
-@end quotation
-
-@quotation
-
-@mudela[fragment,verbatim]
-\context Staff {
- \relative c' {
- \partial 4;
- \repeat volta 2 { e | c2 d2 | e2 f2 | }
- \alternative { { g4 g g } { a | a a a a | b1 } }
- }
-}
-
-@end mudela
-@end quotation
-
-If you don't give enough alternatives for all of the repeats, then
-the first alternative is assumed to be repeated often enough to equal
-the specified number of repeats.
-
-@quotation
-
-@mudela[fragment,verbatim]
-\context Staff {
- \relative c' {
- \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
- \alternative { { g4 g g }
- {\partial 1; e4 e e }
- {\partial 1; a a a a | b1 } }
- }
-}
-
-@end mudela
-@end quotation
-
-It is possible to nest @code{\repeat}. This is not entirely
-supported: the notes will come be in the right places, but the repeat
-bars will not.
-
-
-
-@cindex transposition of pitches
-
-@node transpose, Ambiguities, sec-repeats, LilyPond 1-2-0 Reference Manual
-
-A music expression can be transposed with
-@code{\transpose}@keyindex{transpose}. The syntax is
-
-@quotation
-
- @code{\transpose} @var{pitch} @var{musicexpr}
-@end quotation
-
-This means that middle C in @var{musicexpr} is transposed to
-@var{pitch}.
-
-@code{\transpose} distinguishes between enharmonic pitches: both
-@code{\transpose cis'} or @code{\transpose des'} will transpose up half
-a tone. The first version will print sharps and the second version
-will print flats.
-
-@quotation
-
-@mudela[fragment,verbatim]
-\context Staff {
- \clef "F";
- { \key e; c d e f }
- \clef "G";
- \transpose des'' { \key e; c d e f }
- \transpose cis'' { \key e; c d e f }
-}
-
-@end mudela
-@end quotation
-
-If you want to use both @code{\transpose} and @code{\relative}, then
-you must use @code{\transpose} first. @code{\relative} will have no
-effect music that appears inside a @code{\transpose}.
-
-
-
-@cindex automatic lyric durations
-
-If you have lyrics that are set to a melody, you can import the
-rhythm of that melody into the lyrics using @code{\addlyrics}.
-@keyindex{addlyrics} The syntax for this is
-
-@quotation
-
- @code{\addlyrics} @var{musicexpr1 musicexpr2}
-@end quotation
-
-This means that both @var{musicexpr1} and @var{musicexpr2} are
-interpreted, but that every non-command atomic music expression
-(``every syllable'') in @var{musicexpr2} is interpreted using timing
-of @var{musicexpr1}.
-
-If the property @code{automaticMelismata}@indexcode{automaticMelismata} is set in the
-context of @var{musicexpr1}, no lyrics will be put on slurred or tied
-notes.
-
-@quotation
-
-@mudela[verbatim,fragment]
-\addlyrics
-\transpose c'' {
- \property Voice.automaticMelismata = "1"
- c8 () cis d8. e16 f2
-}
-\context Lyrics \lyrics {
- do4 re mi fa }
-
-@end mudela
-@end quotation
-
-You should use a single rhythm melody, and single rhythm lyrics (a
-constant duration is the obvious choice). If you do not, you will get
-undesired effects when using multiple stanzas:
-
-@quotation
-
-@mudela[verbatim,fragment]
-\addlyrics
-\transpose c'' {
- c8 () cis d8. e16 f2
-}
-\context Lyrics \lyrics
-< { do4 re mi fa }
- { do8 re mi fa } >
-
-@end mudela
-@end quotation
-
-It is valid (but probably not very useful) to use notes instead of
-lyrics for @var{musicexpr2}.
-
-
-
-
-@node Ambiguities, Notation conversion specifics, transpose, LilyPond 1-2-0 Reference Manual
-@section Ambiguities
-
-@cindex ambiguities
-
-The grammar contains a number of ambiguities.@footnote{The authors
-hope to resolve them at a later time.}
-
-@itemize @bullet
- @item The assignment
-
- @quotation
-
- @example
-foo = bar
-@end example
-
- @end quotation
-
- can be interpreted as making a string identifier @code{\foo}
- containing @code{"bar"}, or a music identifier @code{\foo}
- containing the syllable `bar'.
-
- @item The assignment
-
- @quotation
-
- @example
-foo = -6
-@end example
-
- @end quotation
-
- can be interpreted as making an integer identifier
- containing -6, or a Request identifier containing the
- fingering `6' (with neutral direction).
-
- @item If you do a nested repeat like
-
- @quotation
-
-@example
-\repeat ...
-\repeat ...
-\alternative
-@end example
-
- @end quotation
-
- then it is ambiguous to which @code{\repeat} the
- @code{\alternative} belongs. This is the classic if-then-else
- dilemma. It may be solved by using braces.
-
- @item (an as yet unidentified ambiguity :-)
-@end itemize
-
-
-
-@node Notation conversion specifics, autobeam, Ambiguities, LilyPond 1-2-0 Reference Manual
-@section Notation conversion specifics
-
-
-
-@cindex automatic beam generation
-
-@node autobeam, lyricprint, Notation conversion specifics, LilyPond 1-2-0 Reference Manual
-
-By default, LilyPond will generate beams automatically. This feature
-can be disabled by setting the @code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming}
-property to 1. It can be overridden for specific cases by
-specifying explicit beams as described in
-section @xref{manualbeam}.
-
-A large number of Voice properties are used to decide how to generate
-beams. Their default values appear in @file{auto-beam-settings.ly}.
-In general, beams can begin anywhere, but their ending location is
-significant. Beams can end on a beat, or at durations specified by
-the @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property. To end beams every
-quarter note, for example, you could set
-@code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to `@code{"1/4"}'. To end beams
-at every three eighth notes you would set it to `@code{"3/8"}'. The
-same syntax can be used to specify beam starting points using
-@code{Voice.beamAutoBegin}@indexcode{Voice.beamAutoBegin}.
-
-To allow different settings for different time signatures, these
-property names can start with `@code{time}@var{N}@code{_}@var{M}' to
-restrict the definition to `@var{N}@code{/}@var{M}' time. For example,
-to specify beams ending only for 6/8 time you would use the
-property @code{Voice.time6_8beamAutoEnd}. To allow different endings
-for notes of different durations, the duration can be tacked onto the
-end of the property. To specify beam endings for beams that contain
-32nd notes, you would use @code{Voice.beamAutoEnd_32}.
-
-
-
-@cindex chord names
-
-@cindex chords
-
-@cindex printing!chord names
-
-For displaying printed chord names, use the @code{ChordNames}@indexcode{ChordNames}
-and @code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords may be entered
-either using the notation described above, or directly using
-simultaneous music.
-
-@quotation
-
-@mudela[fragment,verbatim]
-<
- \context ChordNames {
- \chords{a b c} \notes{<d f g> <e g b>}
- }
- \context Staff \notes {
- a b c' d' e'
- }
->
-
-@end mudela
-@end quotation
-
-LilyPond examines chords specified as lists of notes to determine a
-name to give the chord. By default, LilyPond will not try to
-identify chord inversions:
-
-@mudela[fragment,verbatim,center]
- <
- \context ChordNameVoice \notes {
- <e'1 g' c''>
- }
- \context Thread \notes {
- <e'1 g' c''>
- }
- >
-@end mudela
-
-If you want inversions to be recognized, you must set the property
-@code{ChordNames.chordInversion}@indexcode{ChordNames.chordInversion}:
-
-@mudela[fragment,verbatim,center]
- <
- \property Score.chordInversion = 1
- \context ChordNameVoice \notes {
- <e'1 g' c''>
- }
- \context Thread \notes {
- <e'1 g' c''>
- }
- >
-@end mudela
-
-
-
-@cindex lyrics
-
-@cindex printing!lyrics
-
-@node lyricprint, Notation Contexts, autobeam, LilyPond 1-2-0 Reference Manual
-
-Lyric syllables must be interpreted within a @code{Lyrics} context
-
-@cindex context!Lyrics
- for printing them.
-
-Here is a full example:
-
-@quotation
-
-@mudela[verbatim]
-\score {
- <
- \notes \transpose c'' {
- c d e c | c d e c |
- e f g2 | e4 f g2 \bar "|.";
- }
- \context Lyrics \lyrics {
- Va-4 der Ja- cob Va- der Ja- cob
- Slaapt gij nog?2 Slaapt4 gij nog?2
- }
- >
-}
-
-@end mudela
-@end quotation
-
-You may want a continuous line after the syllables to show melismata.
-To achieve this effect, add a `@code{__}' lyric as a separate word
-after the lyric to be extended. This will create an extender, a line
-that extends over the entire duration of the lyric. This line will
-run all the way to the start of the next lyric, so you may want to
-shorten it by using a blank lyric (using `@code{_}').
-
-@quotation
-
-@mudela[verbatim]
-\score {
- <
- \notes \relative c'' {
- a4 () b () c () d | c () d () b () a | c () d () b () a
- }
- \context Lyrics \lyrics {
- foo1 __ | bar2. __ _4 | baz1 __
- }
- >
-}
-
-@end mudela
-@end quotation
-
-
-If you want to have hyphens centered between syllables (rather than
-attached to the end of the first syllable) you can use the special
-`@code{-}@code{-}' lyric as a separate word between syllables. This
-will result in a hyphen which length varies depending on the space
-between syllables, and which will be centered between the syllables.
-For example:
-
-@quotation
-
-@mudela[verbatim]
-\score {
- <
- \notes \transpose c'' {
- c d e c | c d e c |
- e f g2 | e4 f g2 \bar "|.";
- }
- \context Lyrics \lyrics {
- Va4 -- der Ja -- cob | Va -- der Ja -- cob |
- Slaapt gij nog?2 | Slaapt4 gij nog?2
- }
- >
-}
-
-@end mudela
-@end quotation
-
-
-
-@node Notation Contexts, contextselection, lyricprint, LilyPond 1-2-0 Reference Manual
-@section Notation Contexts
-
-@cindex notation contexts
-
-Notation contexts are objects that only exist during a run of
-LilyPond. During the interpretation phase of LilyPond, the Music
-expression contained in a @code{\score} block is interpreted in time
-order. This is the order in which humans read, play, and write
-music.
-
-A context is an object that holds the reading state of the
-expression; it contains information like
-
-@itemize @bullet
- @item What notes are playing at this point?
- @item What symbols will be printed at this point?
- @item In what style will they printed?
- @item What is the current key signature, time signature, point within
- the measure, etc.?
-@end itemize
-
-Contexts are grouped hierarchically: A @code{Voice} context is
-contained in a @code{Staff} context (because a staff can contain
-multiple voices at any point), a @code{Staff} context is contained in
-a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
-these can all contain multiple staffs).
-
-Contexts associated with sheet music output are called @emph{notation
-contexts}, those for sound output are called playing contexts.
-
-Contexts are created either manually or automatically. Initially,
-the top level music expression is interpreted by the top level
-context (the @code{Score} context). When a atomic music expression
-(i.e. a note, a rest, @code{\bar}, or @code{\time} commands), a nested
-set of contexts is created that can process these atomic expressions,
-as in this example:
-
-@quotation
-
- @example
-\score @{ \notes < c4 > @}
-@end example
-
-@end quotation
-
-The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
-context. When the note `@code{c4}' itself is interpreted, a set of
-contexts is needed that will accept notes. The default for this is a
-@code{Voice} context, contained in a @code{Staff} context. Creation of
-these contexts results in the staff being printed.
-
-
-@node contextselection, Notation output definitions, Notation Contexts, LilyPond 1-2-0 Reference Manual
-
-@cindex context
-
-You can also create contexts manually, and you probably have to do so
-if you want to typeset complicated multiple part material. If a
-`@code{\context} @var{name} @var{musicexpr}' expression is encountered
-during the interpretation phase, the @var{musicexpr} argument will be
-interpreted with a context of type @var{name}. If you specify a name,
-the specific context with that name is searched.
-
-If a context of the specified type and name can not be found, a new
-one is created. For example,
-
-@quotation
-
-@mudela[verbatim]
-\score {
- \notes \relative c'' {
- c4 <d4 \context Staff = "another" e4> f
- }
-}
-
-@end mudela
-@end quotation
-
-In this example, the @code{c} and @code{d} are printed on the
-default staff. For the @code{e}, a context Staff called
-`@code{another}' is specified; since that does not exist, a new
-context is created. Within @code{another}, a (default) Voice context
-is created for the @code{e4}. When all music referring to a
-context is finished, the context is ended as well. So after the
-third quarter, @code{another} is removed.
-
-Almost all music expressions inherit their interpretation context
-from their parent. In other words, suppose that the syntax for a
-music expression is
-
-@quotation
-
- @code{\keyword} @var{musicexpr1} @var{musicexpr2} ...
-@end quotation
-
-When the interpretation of this music expression starts, the context
-for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
-expression.
-
-Lastly, you may wonder, why this:
-
-@quotation
-
-@example
-\score @{
- \notes \relative c'' @{
- c4 d4 e4
- @}
-@}
-@end example
-
-@end quotation
-
-doesn't result in this:
-
-@mudela[]
-
- \score {
- \notes \relative c'' {
- <c4> <d4> <e4>
- }
- }
-
-@end mudela
-
-For the @code{c4}, a default @code{Staff} (with a contained
-@code{Voice}) context is created. After the @code{c4} ends, no
-music refers to this default staff, so it would be ended, with the
-result shown. To prevent this inconvenient behavior, the context to
-which the sequential music refers is adjusted during the
-interpretation. So after the @code{c4} ends, the context of the
-sequential music is also the default @code{Voice} context.
-The @code{d4} gets interpreted in the same context
-as @code{c4}.
-
-
-
-These are the contexts supplied with the package. They are defined
-in the initialization file @file{ly/engraver.ly}.
-
-@table @samp
- @item @code{Grace}@indexcode{Grace} @*
- The context for handling grace notes. It is instantiated
- automatically when you use @code{\grace}. Basically, it is an
- `embedded' miniature of the Score context. Since this context
- needs special interaction with the rest of LilyPond, you should
- not explicitly instantiate it.
-
- @item @code{LyricVoice}@indexcode{LyricVoice} @*
- Corresponds to a voice with lyrics. Handles the printing of a
- single line of lyrics.
-
- @item @code{Thread}@indexcode{Thread} @*
- Handles note heads, and is contained in the Voice context. You
- have to instantiate this explicitly if you want to adjust the
- style of individual note heads.
-
- @item @code{Voice}@indexcode{Voice} @*
- Corresponds to a voice on a staff. This context handles the
- conversion of dynamic signs, stems, beams, super- and subscripts,
- slurs, ties, and rests.
-
- You have to instantiate this explicitly if you want to have
- multiple voices on the same staff.
-
- @item @code{ChordNamesVoice}@indexcode{ChordNamesVoice} @*
- A voice with chord names. Handles printing of a line of chord
- names.
-
- @item @code{ChordNames}@indexcode{ChordNames} @*
- Typesets chord names. Can contain @code{ChordNamesVoice}
- contexts.
-
- @item @code{Lyrics}@indexcode{Lyrics} @*
- Typesets lyrics. It can contain @code{LyricVoice} contexts.
-
- @item @code{Staff}@indexcode{Staff} @*
- Handles clefs, bar lines, keys, accidentals. It can contain
- @code{Voice} contexts.
-
- @item @code{RhythmicStaff}@indexcode{RhythmicStaff} @*
- A context like @code{Staff} but for printing rhythms. Pitches are
- ignored; the notes are printed on one line. It can contain
- @code{Voice} contexts.
-
- @item @code{GrandStaff}@indexcode{GrandStaff} @*
- Contains @code{Staff} or @code{RhythmicStaff} contexts. It adds a
- brace on the left side, grouping the staffs together. The bar
- lines of the contained staffs are connected vertically. It can
- contain @code{Staff} contexts.
-
- @item @code{PianoStaff}@indexcode{PianoStaff} @*
- Just like @code{GrandStaff} but with @code{minVerticalAlign} set
- equal to @code{maxVerticalAlign} so that interstaff beaming and
- slurring can be used.
-
- @item @code{StaffGroup}@indexcode{StaffGroup} @*
- Contains @code{Staff} or @code{RhythmicStaff} contexts. Adds a
- bracket on the left side, grouping the staffs together. The bar
- lines of the contained staffs are connected vertically. It can
- contain @code{Staff}, @code{RhythmicStaff}, @code{GrandStaff}, or
- @code{Lyrics} contexts.
-
- @item @code{ChoirStaff}@indexcode{ChoirStaff} @*
- Identical to @code{StaffGroup} except that the contained staffs
- are not connected vertically.
-
- @item @code{Score}@indexcode{Score} @*
- This is the top level notation context. No other context can
- contain a @code{Score} context. This context handles the
- administration of time signatures. It also makes sure that items
- such as clefs, time signatures, and key-signatures are aligned
- across staffs. It can contain @code{Lyrics}, @code{Staff},
- @code{RhythmicStaff}, @code{GrandStaff}, @code{StaffGroup}, and
- @code{ChoirStaff} contexts.
-
- You cannot explicitly instantiate a Score context (since it is
- not contained in any other context). It is instantiated
- automatically when an output definition (a @code{\score} or
- @code{\paper} block) is processed.
-@end table
-
-
-
-Properties that are set in one context are inherited by all of the
-contained contexts. This means that a property valid for the
-@code{Voice} context can be set in the @code{Score} context (for
-example) and thus take effect in all @code{Voice} contexts.
-
-Properties can be preset within the @code{\translator} block
-corresponding to the appropriate context. In this case, the syntax
-is
-
-@quotation
-
- @var{propname} @code{=} @var{value}
-@end quotation
-
-This assignment happens before interpretation starts, so a
-@code{\property} expression will override any predefined settings.
-
-The @code{\property} expression will create any property you specify.
-There is no guarantee that a property will be used. So if you spell
-a property name wrong, there will be no error message.
-
-The property settings are used during the interpretation phase. They
-are read by the LilyPond modules where interpretation contexts are
-built of. These modules are called @emph{translators}. Translators for
-notation are called @emph{engravers}, and translators for sound are
-called @emph{performers}.
-
-The precise result of a property is determined by the implementation
-of the translator that reads them. Therefore, the result of a
-property can vary, since it is implementation and configuration
-dependent.
-
-In order to fully find out what properties are used, you must
-currently search the source code for calls to @code{get_property}.
-The rest of the section is devoted to an (incomplete) overview of
-available properties.
-
-
-@cindex properties!Lyrics
-
-@table @samp
- @item @code{textStyle}@indexcode{textStyle} @*
- Set the font for lyrics. The available font choices are
- @code{roman}, @code{italic}, @code{bold}, @code{large}, @code{Large},
- @code{typewriter}, and @code{finger}. The @code{finger} font can
- only display numbers. Note also that you must be careful when
- using @code{\property} in Lyrics mode, because of the way strings
- are parsed. Either put quotes around the arguments to
- @code{\property} or be sure to leave a space on both sides of the
- dot.
-@end table
-
-
-@cindex properties!Thread
-
-@table @samp
- @item @code{noteheadStyle}@indexcode{noteheadStyle} @*
- Selects type of note head. Choices are @code{cross},
- @code{diamond}, @code{harmonic}, @code{transparent}, and @code{""}.
- They are shown in that order below.
-
- @mudela[center]
-
- \score {
- \notes {
- \property Staff.barNonAuto = 1
- \property Voice.noteHeadStyle = cross
- a'
- \property Voice.noteHeadStyle = diamond
- a'
- \property Voice.noteHeadStyle = harmonic
- a'
- \property Voice.noteHeadStyle = transparent
- a'
- \property Voice.noteHeadStyle = ""
- a'
- }
- \paper {
- linewidth = -1.;
- }
- }
-
-@end mudela
-@end table
-
-@subsubheading Grace properties
-
-@cindex properties!Grace
-
-
-@table @samp
- @item @code{stemStyle}@indexcode{stemStyle} @*
- By default set to @code{"grace"} meaning that all unbeamed
- notes with flags are typeset with a slash through the flag.
- Setting to @code{""} gives standard flags.
-@end table
-
-
-@cindex properties!Voice
-
-@table @samp
- @item @code{abbrev}@indexcode{abbrev} @*
- Set length for tremolo to be used if no length is explicitly
- specified.
-
- @item @code{articulationScriptPadding}@indexcode{articulationScriptPadding}
- @*
- Determines the extra space added between articulation marks, such
- as staccato, tenuto, trill, up/down bow or fermata, and the
- closest staff line or note.
-
- @item @code{articulationScriptVerticalDirection}
- @indexcode{articulationScriptVerticalDirection} @*
- Determines the location of articulation marks. Set to @code{\up}
- to print marks above the staff; set to @code{\down} to print marks
- below the staff. This property does not override explicit
- directions marked with `@code{^}' or `@code{_}' in the mudela file.
-
- @item @code{noAutoBeaming}@indexcode{beamAuto} @*
- If set to 1 then beams are not generated automatically.
-
- @item @code{beamAutoEnd}@indexcode{beamAutoEnd} @*
- Specifies when automatically generated beams can end. See
- section @xref{autobeam}.
-
- @item @code{beamAutoBegin}@indexcode{beamAutoBegin} @*
- Specifies when automatically generated beams can start. See
- section @xref{autobeam}.
-
- @item @code{beamquantisation}@indexcode{beamquantisation} @*
- Set to @code{\none} for no quantization. Set to @code{\normal} to
- quantize position and slope. Set to @code{\traditional} to avoid
- wedges. These three settings are available via
- @code{\beamposfree}@keyindex{beamposfree},
- @code{\beamposnormal}@keyindex{beamposnormal}, and
- @code{\beampostraditional}@keyindex{beampostraditional}.
-
- @item @code{beamslopedamping}@indexcode{beamslopedamping} @*
- Set to @code{\none} for undamped beams. Set to @code{\normal} for
- damped beams. Set to @code{\infinity} for beams with zero slope.
- The identifiers
- @code{\beamslopeproportional}@keyindex{beamslopeproportional},
- @code{\beamslopedamped}@keyindex{beamslopedamped}, and
- @code{\beamslopezero}@keyindex{beamslopezero} each set the
- corresponding value.
-
- @item @code{dynamicDirection}@indexcode{dynamicDirection} @*
- Determines location of dynamic marks. Set to @code{\up} to print
- marks above the staff; set to @code{\down} to print marks below
- the staff.
-
- @item @code{dynamicStyle}@indexcode{dynamicStyle} @*
- Set the text style for dynamics.
-
- @item @code{fontSize}@indexcode{fontSize} @*
- Can be used to select smaller font sizes for music. The normal
- font size is 0, and the two smaller sizes are -1
- and -2.
-
- @item @code{forceHorizontalShift}@indexcode{forceHorizontalShift} @*
- Force horizontal shift for collision resolution. It overrides
- automatic collision resolution. The value is the shift amount
- expressed in @code{note_width}, as set in the paper section.
-
-@ignore
-
-TODO: explain this in refman.
-
-horizontalNoteShift does not set shifting itself.
-
-Notes that are likely to collide, are grouped into a Collision
-object. Colliding notes within the collision are then grouped based
-on their stem direction and horizontalNoteShift setting, like this:
-
- |
- | |
- 0u | |
- 1u |
- 2u
-
-
- 2d
- | 1d
- | | 0d
- | |
- |
-
-(0,1,2, .. = horizontalNoteShift value. u,d = stem up / stem down)
-
-Only then the seperate groups are shifted horizontally. When
-collision is done with this shifting, any forceHorizontalShift
-settings will override the default shifts.
-
-
-This scheme makes sense, because you only have to set
-horizontalNoteShift once in each voice. (Otherwise you'd have to set
-and unset it for each collision in a score.)
-@end ignore
-
-
- @item @code{horizontalNoteShift}@indexcode{horizontalNoteShift} @*
- Enable LilyPond to shift notes horizontally if they collide with
- other notes. This is useful when typesetting many voices on one
- staff. The identifier @code{\shift}@keyindex{shift} is defined to
- enable this. Traditionally, the outer chords (the upmost and
- downmost voices), should have no @code{horizontalNoteShift}.
-
- @item @code{markScriptPadding}@indexcode{markScriptPadding} @*
- Determines the extra space added between the mark and the closest
- staff line or note.
-
- @item @code{markDirection}@indexcode{markDirection} @*
- Determines if marks should be printed above or below the staff.
- Set to @code{\up} to print marks above the staff; set to
- @code{\down} to print marks below the staff.
-
- @item @code{midiInstrument}@indexcode{midiInstrument} @*
- Sets the instrument for MIDI output. If this property is not set
- then LilyPond will use the @code{instrument} property. This must
- be set to one of the strings on the list of MIDI instruments that
- appears in section @xref{midilist}. If you use a string which
- is not listed, LilyPond will silently substitute piano.
-
- @item @code{oldTieBehavior}@indexcode{oldTieBehavior} @*
- Set to 1 in order to get old tie behavior where ties would
- connect unequal pitches. This property is deprecated, and its
- use is not recommended.
-
- @item @code{restStyle}@indexcode{restStyle} @*
- Change the layout of rests shorter than quarter notes.
- Currently, the standard layout @code{""} and mensural notation
- @code{"mensural"} are available. Mensural rests of duration
- 32 or shorter are not available.
-
- @item @code{scriptHorizontal}@indexcode{scriptHorizontal} @*
- Put scripts left or right of note heads. Support for this is
- limited. Accidentals will collide with scripts.
-
- @item @code{slurVerticalDirection}@indexcode{slurVerticalDirection} @*
- Set to @code{\free} for free choice of slur direction, set to
- @code{\up} to force slurs up, set to @code{\down} to force slurs
- down. The shorthands @code{\slurup}@keyindex{slurup},
- @code{\slurdown}@keyindex{slurdown}, and
- @code{\slurboth}@keyindex{slurboth} are available.
-
- @item @code{slurDash}@indexcode{slurDash} @*
- Set to 0 for normal slurs, 1 for dotted slurs, and a
- larger value for dashed slurs. Identifiers
- @code{\slurnormal}@keyindex{slurnormal} and
- @code{\slurdotted}@keyindex{slurdotted} are predefined to set the
- first two settings.
-
-@item @code{stemLength}@indexcode{stemLength} @*
- Set length of stems. Unit is `@code{interline}/2', so
- @code{stemLength} defaults to 7.
-
- @item @code{stemLeftBeamCount}@indexcode{stemLeftBeamCount} @*
- Specify the number of beams to draw on the left side of the next
- note. Overrides automatic beaming. The value is only used once,
- and then it is erased.
-
- @item @code{stemRightBeamCount}@indexcode{stemRightBeamCount} @*
- Specify the number of beams to draw on the right side of the next
- note. Overrides automatic beaming. The value is only used once,
- and then it is erased.
- @item @code{tieVerticalDirection}@indexcode{tieVerticalDirection} @*
- Set to @code{\free} for free choice of tie direction, set to
- @code{\up} to force ties up, set to @code{\down} to force ties
- down.
-
- @item @code{transposing}@indexcode{transposing} @*
- Transpose the MIDI output. Set this property to the number of
- half-steps to transpose by.
-
-
- @item @code{textEmptyDimension}@indexcode{textEmptyDimension} @*
- If set to 1 then text placed above or below the staff is
- assumed to have zero width.
-
- @item @code{textStyle}@indexcode{textStyle} @*
- Set the text style for superscripts and subscripts. See above
- for list of text styles.
-
- @item @code{textScriptPadding}@indexcode{textScriptPadding} @*
- Determines the extra space added between superscripted resp.
- subscripted text and the closest staff line or note.
-
- @item @code{verticalDirection}@indexcode{verticalDirection} @*
- Determines the direction of stems, subscripts, beams, slurs, and
- ties. Set to @code{\down} to force them down, @code{\up} to force
- them up, or @code{\free} to let LilyPond decide. This can be used
- to distinguish between voices on the same staff. The
- @code{\stemdown}@keyindex{stemdown}, @code{\stemup}@keyindex{stemup},
- and @code{\stemboth}@keyindex{stemboth} identifiers set this
- property.
-
-
- @item @code{tupletDirection}@indexcode{tupletDirection} @*
- Determines the direction of triplets and other tuplets. Set to
- @code{\down} to force them below the staff, @code{\up} to force
- them above, or @code{\free} to let LilyPond decide.
-
- @item @code{tupletVisibility}@indexcode{tupletVisibility} @*
- Determines whether tuplets of notes are labelled. Setting
- to 0 shows nothing; setting to 1 shows a number;
- setting to 2 shows a number and a bracket if there is no
- beam; setting to 3 shows a number, and if there is no beam
- it adds a bracket; setting to 4 shows both a number and a
- bracket unconditionally.
-
-@end table
-
-@subsubheading Staff properties
-
-@cindex properties!Staff
-
-@table @samp
-
- @item @code{barNonAuto}@indexcode{barNonAuto} @*
- If set to 1 then bar lines will not be printed
- automatically; they must be explicitly created with @code{\bar}
- keywords. Unlike with the @code{\cadenza} keyword, measures are
- still counted. Bar generation will resume according to that
- count if this property is set to zero.
-
- @item @code{barNumberDirection}@indexcode{barNumberDirection} @*
- Set to @code{\up} or @code{\down} to put bar numbers above or below
- the staff.
-
- @item @code{barNumberHangOnClef}@indexcode{barNumberHangOnClef} @*
- Set to 1 to cause bar numbers to appear above or below the
- clef instead of on the bar line. This property is deprecated.
- Do not use.
-
- @item @code{barNumberScriptPadding}@indexcode{barNumberScriptPadding} @*
- Sets extra space between the bar number and the bar it labels.
-
- @item @code{barSize}@indexcode{barSize} @*
- Specify the height of the bar lines if it should be different
- than the staff height.
-
- @item @code{barAtLineStart}@indexcode{barAtLineStart} @*
- Set to 1 to produce a bar line after the clef at the start
- of each line (but not at the beginning of the music).
-
- @item @code{clefStyle}@indexcode{clefStyle} @*
- Determines how clefs are typeset. If set to @code{transparent},
- the clefs are not printed at all, if set to
- @code{fullSizeChanges}, clef changes in the middle of a line are
- typeset with a full size clef. By default, clef changes are
- typeset in smaller size.
-
- @item @code{createKeyOnClefChange}@indexcode{createKeyOnClefChange} @*
- Set to a nonempty string if you want key signatures to be printed
- when the clef changes. Set to the empty string if you do not
- want key signatures printed.
-
- @item @code{createInitdefaultClef}@indexcode{createInitdefaultClef} @*
- Specify whether clefs are created on default? (Doesn't seem to
- do anything.)
-
- @item @code{defaultClef}@indexcode{defaultClef} @*
- Determines the default clef. See @code{\clef} keyword.
-
- @item @code{markHangOnClef}@indexcode{markHangOnClef} @*
- Set to 1 to cause marks to appear by clefs instead of by bar
- lines. Deprecated, use is not recommended.
-
- @item @code{marginDirection}@indexcode{marginDirection} @*
- Set to @code{\left} or @code{\right} to specify location of
- marginal scripts.
-
- @item @code{marginScriptPadding}@indexcode{marginScriptPadding} @*
- Specify extra space for marginal scripts.
-
- @item @code{forgetAccidentals}@indexcode{forgetAccidentals} @*
- Causes accidentals to be printed at every note instead of
- remembered for the duration of a measure.
-
- @item @code{noResetKey}@indexcode{noResetKey} @*
- Do not reset the key at the start of a measure. Accidentals will
- be printed only once and are in effect until overridden, possibly
- many measures later.
-
- @item @code{staffLineLeading}@indexcode{staffLineLeading} @*
- Specifies the distance (in points) between lines of the staff.
-
- @item @code{numberOfStaffLines}@indexcode{numberOfStaffLines} @*
- Specifies the number of staff lines. The default is 5.
-
- @item @code{postBreakPadding}@indexcode{postBreakPadding} @*
- Extra space in points to be added after the clef, time signature
- and key signature on the staff. Deprecated, do not use.
-
- @item @code{noVoltaBraces}@indexcode{noVoltaBraces} @*
- Set to true to suppress the printing of brackets over alternate
- endings specified by the command @code{\alternative}.
-
- @item @code{numberOfStaffLines}@indexcode{numberOfStaffLines} @*
- Sets the number of lines that the staff has.
-
- @item @code{barAlways}@indexcode{barAlways} @*
- If set to 1 a bar line is drawn after each note.
-
- @item @code{defaultBarType}@indexcode{defaultBarType} @*
- Sets the default type of bar line. See Section @xref{barlines}
- for a list of available bar types.
-
- @item @code{instrument}, @code{instr}
- @indexcode{instrument}@indexcode{instr} @*
- If @code{Staff_margin_engraver}
-@cindex Staff_margin_engraver
- is
- added to the Staff translator, then the @code{instrument} property
- is used to label the first line of the staff and the @code{instr}
- property is used to label subsequent lines. If the
- @code{midiInstrument} property is not set, then @code{instrument}
- is used to determine the instrument for MIDI output.
-
- @item @code{keyOctaviation}@indexcode{keyOctaviation} @*
- If set to 1, then keys are the same in all octaves. If set
- to 0 then the key signature for different octaves can be
- different and is specified independently:
-
- @quotation
-
- @code{\keysignature bes fis'}
- @end quotation
-
- The default value is 1. Can be set to zero with
- @code{\specialkey} or reset to 1 with @code{\normalkey}.
-
- @item @code{timeSignatureStyle}@indexcode{timeSignatureStyle} @*
- Changes the default two-digit layout for time signatures. The
- following values are recognized:
-
- @table @samp
- @item @code{C}@indexcode{C} @*
- 4/4 and 2/2 are typeset as C and struck C, respectively. All
- other time signatures are written with two digits.
-
- @item @code{old}@indexcode{old} @*
- 2/2, 3/2, 2/4, 3/4, 4/4, 6/4, 9/4, 4/8, 6/8 and 9/8 are
- typeset with old-style mensuration marks. All other time
- signatures are written with two digits.
-
- @item @code{1}@indexcode{1} @*
- All time signatures are typeset with a single
- digit, e.g. 3/2 is written as 3.
-
- @item @indexcode{CM/N}@code{C}@var{M}@code{/}@var{N},
- @indexcode{oldM/N}@code{old}@var{M}@code{/}@var{N} or
- @code{old6/8alt}@indexcode{old6/8alt} @*
- Tells LilyPond to use a specific symbol as time signature.
- @end table
-
- The different time signature characters are shown below with its
- names:
-
- @mudela[center]
-
- \score {
- \notes\relative c'' {
- \property Voice.textStyle = typewriter
- \property Staff.timeSignatureStyle = "C2/2"
- \time 2/2; a2^"C2/2" a2
- \property Staff.timeSignatureStyle = "C4/4"
- \time 2/2; a2^"C4/4" a2
- \property Staff.timeSignatureStyle = "old2/2"
- \time 2/2; a2^"old2/2" a2
- \property Staff.timeSignatureStyle = "old3/2"
- \time 2/2; a2^"old3/2" a2
- \property Staff.timeSignatureStyle = "old2/4"
- \time 2/2; a2^"old2/4" a2
- \property Staff.timeSignatureStyle = "old4/4"
- \time 2/2; a2^"old4/4" a2
- \property Staff.timeSignatureStyle = "old6/4"
- \time 2/2; a2^"old6/4" a2
- \property Staff.timeSignatureStyle = "old9/4"
- \time 2/2; a2^"old9/4" a2
- \property Staff.timeSignatureStyle = "old4/8"
- \time 2/2; a2^"old4/8" a2
- \property Staff.timeSignatureStyle = "old6/8"
- \time 2/2; a2^"old6/8" a2
- \property Staff.timeSignatureStyle = "old6/8alt"
- \time 2/2; a2^"old6/8alt" a2
- \property Staff.timeSignatureStyle = "old9/8"
- \time 2/2; a2^"old9/8" a2
- }
- \paper {
- linewidth = 4.5 \in;
- }
- }
-
-@end mudela
-
- @item @code{voltaSpannerDuration}@indexcode{voltaSpannerDuration} @*
- Set to an integer to control the size of the brackets printed by
- @code{\alternative}. The integer specifies the number of whole
- notes duration to use for the brackets. It is rounded to the
- nearest measure. This can be used to shrink the length of
- brackets in the situation where one alternative is very large.
- It may have odd effects if the specified duration is longer than
- the music given in an @code{\alternative}.
-@end table
-
-
-@cindex properties!GrandStaff
-
-@table @samp
- @item @code{alignmentReference}@indexcode{alignmentReference} @*
- Set to @code{\center} for vertical alignment reference point to be
- in the center of the vertical group. Set to @code{\up} to put the
- reference point at the top of the group.
-
- @item @code{maxVerticalAlign}@indexcode{maxVerticalAlign} @*
- Set the maximum vertical distance between staffs.
-
- @item @code{minVerticalAlign}@indexcode{minVerticalAlign} @*
- Set the minimum vertical distance between staffs.
-@end table
-
-
-@cindex properties!Score
-
-@table @samp
- @item @code{skipBars}@indexcode{skipBars} @*
- Set to 1 to skip the empty bars that are produced by
- multimeasure notes and rests. These bars will not appear on the
- printed output. Set to zero (the default) to expand multimeasure
- notes and rests into their full length, printing the appropriate
- number of empty bars so that synchronization with other voices is
- preserved.
-
- @quotation
-
-@mudela[fragment,verbatim,center]
-r1 r1*3 R1*3\property Score.skipBars=1 r1*3 R1*3
-
-@end mudela
- @end quotation
-
-@end table
-
-
-@cindex properties!ChordNamesVoice
-
-@table @samp
- @item @code{chordInversion}@indexcode{chordInversion} @*
- Determines whether LilyPond should look for chord inversions when
- translating from notes to chord names. Set to 1 to find
- inversions. The default is 0 which does not look for
- inversions.
-@end table
-
-
-
-@node Notation output definitions, output, contextselection, LilyPond 1-2-0 Reference Manual
-@section Notation output definitions
-
-@cindex output
-
-@cindex notation output
-
-@cindex output definition
-
-@node output, paper, Notation output definitions, LilyPond 1-2-0 Reference Manual
-
-@node paper, papervars, output, LilyPond 1-2-0 Reference Manual
-
-The most important output definition is the @code{\paper} block, for
-music notation. The syntax is
-
-@quotation
-
- @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
-@end quotation
-
-where each of the items is one of
-
-@itemize @bullet
- @item An assignment. The assignment must be terminated by a
- semicolon. See section @xref{papervars} for information on
- paper variables.
-
- @item A context definition. See section @xref{contextdefs} for
- more information on context definitions.
-
- @item A margin shape declaration. The syntax is
-
- @quotation
-
- @code{\shape} @var{indent1}@code{,} @var{width1}@code{,}
- @var{indent2}@code{,} @var{width2} ... @code{;}
- @end quotation
-
- @keyindex{shape}
-
- Each pair of @var{indent} and @var{width} values is a dimension
- specifying how far to indent and how wide to make the line.
- The indentation and width of successive lines are specified by
- the successive pairs of dimensions. The last pair of
- dimensions will define the characeristics of all lines beyond
- those explicitly specified.
-
- @item A font declaration. Its syntax is
-
- @quotation
-
- @var{fontsize} @code{=} @code{\font}@keyindex{font} @var{fontname}
- @end quotation
-
- @var{fontsize} is an integer describing the font to be used.
- 0 is the default font. @var{fontname} is the basename of
- a font (usually a member of the Feta family).
-@end itemize
-
-
-
-@cindex changing font size and paper size
-
-The Feta font provides musical symbols at six different sizes. These
-fonts are 11 point, 13 point, 16 point, 20 point,
-23 point, and 26 point. The point size of a font is the
-height of the five lines in a staff when displayed in the font.
-
-Definitions for these sizes are the files @file{paperSZ.ly}, where
-@code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include
-any of these files, the identifiers @code{paper_eleven},
-@code{paper_thirteen}, @code{paper_sixteen}, @code{paper_twenty},
-@code{paper_twentythree}, and @code{paper_twentysix} are defined
-respectively. The default @code{\paper} block is also set.
-
-To change the paper size, you must first set the
-@code{papersize}@indexcode{papersize} variable at top level. Set it to the strings
-@code{a4}, @code{letter}, or @code{legal}. After this specification,
-you must set the font as described above. If you want the default
-font, then use the 20 point font. The new paper size will not
-take effect if the font is not loaded and selected afterwards. Paper
-size selection works by loading a file named after the paper size you
-select.
-
-
-
-@cindex paper variables
-
-@node papervars, contextdefs, paper, LilyPond 1-2-0 Reference Manual
-
-There is a large number of paper variables that are used to control
-details of the layout. These variables control the defaults for the
-entire score. Usually, they do not have to be changed; they are by
-default set to values that depend on the font size in use. The
-values are used by the graphic objects while formatting the score;
-they are therefore implementation dependent. Most variables are
-accompanied by documentation in the initalization file
-@file{params.ly} or @file{paperSZ.ly}, where @code{SZ} is the staff
-height in points.
-
-Nevertheless, here are some variables you may want to use or change:
-
-@table @samp
- @item @code{indent}@indexcode{indent} @*
- The indentation of the first line of music.
-
- @item @code{interline}@indexcode{interline} @*
- The distance between two staff lines, calculated from the center
- of the lines. You should use either this or @code{rulethickness}
- as a unit for distances you modify.
-
- @item @code{linewidth}@indexcode{linewidth} @*
- Sets the width of the lines. If set to -1.0, a single
- unjustified line is produced.
-
- @item @code{output}@indexcode{output} @*
- Specifies an alternate name for the the output @file{s}.
- A @file{.tex}, @file{.midi} or @file{.ps} extension will be
- added to the string you specify.
-
- @item @code{rulethickness}@indexcode{rulethickness} @*
- Determines the thickness of staff and bar lines.
-
- @item @code{castingalgorithm}@indexcode{castingalgorithm} @*
- The algorithm to use for breaking lines. Choices are
- @code{\Gourlay}@keyindex{Gourlay} for a TeX-like dynamic
- programming algorithm, and @code{\Wordwrap}@keyindex{Wordwrap} for
- a simple algorithm. Gourlay breaking looks much better, but
- takes a lot more resources. Wordwrap leaves loosely spaced lines
- at the end.
-@end table
-
-
-@node contextdefs, engravers, papervars, LilyPond 1-2-0 Reference Manual
-
-@cindex context definition
-
-A notation contexts is defined by the following information
-
-@enumerate i
- @item A name.
-
- @item The LilyPond modules that do the actual conversion of music to
- notation. Each module is a so-called
- @emph{engraver}
-@cindex engraver
-.
-
- @item How these modules should cooperate, i.e. which ``cooperation
- module'' should be used. This cooperation module is a special
- type of engraver.
-
- @item What other contexts the context can contain,
-
- @item What properties are defined.
-@end enumerate
-
-A context definition has this syntax:
-
-@quotation
-
- @code{\translator} @code{@{}
- @var{translatorinit} @var{translatormodifierlist}
- @code{@}}
-@end quotation
-
-@var{translatorinit} can be an identifier or of the form
-
-@quotation
-
- @code{\type} @var{typename} @code{;}
-@end quotation
-
-@var{typename} is one of
-
-@table @samp
- @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver} @*
- The standard cooperation engraver.
-
- @item @code{Score_engraver}@indexcode{Score_engraver} @*
- This is cooperation module that should be in the top level context.
-
- @item @code{Grace_engraver_group}@indexcode{Grace_engraver_group} @*
- This is a special cooperation module (resembling
- @code{Score_engraver}) that is used to created an embedded
- `miniscore'.
-@end table
-
-@var{translatormodifierlist} is a list of items where each item is
-one of
-
-@itemize @bullet
- @item @code{\consists} @var{engravername} @code{;} @*
- Add @var{engravername} to the list of modules in this context.
- Section @xref{engravers} contains an overview of the engravers
- available. The order of engravers added with @code{\consists} is
- significant.
-
- @item @code{\consistsend} @var{engravername} @code{;} @*
- Analogous to @code{\consists}, but makes sure that
- @var{engravername} is always added to the end of the list of
- engravers.
-
- Some engraver types need to be at the end of the list; this
- insures they are put there, and stay there, if a user adds or
- removes engravers. This command is usually not needed for
- end-users.
-
- @item @code{\accepts} @var{contextname} @code{;} @*
- Add @var{contextname} to the list of context this context can
- contain. The first listed context the context to create by
- default.
-
- @item @code{\remove} @var{engravername} @code{;} @*
- Remove a previously added (with @code{\consists}) engraver.
-
- @item @code{\name} @var{contextname} @code{;} @*
- This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
- the name is not specified, the translator won't do anything.
-
- @item @var{propname} @code{=} @var{value} @code{;} @*
- A property assignment. It is allowed to use reals for
- @var{value}.
-@end itemize
-
-In the @code{\paper} block, it is also possible to define translator
-identifiers. Like other block identifiers, the identifier can only
-be used as the very first item of a translator. In order to define
-such an identifier outside of @code{\score}, you must do
-
-@quotation
-
-@example
-\paper @{
- foo = \translator @{ ... @}
-@}
-\score @{
- \notes @{
- ...
- @}
- \paper @{
- \translator @{ \foo ... @}
- @}
-@}
-@end example
-
-@end quotation
-
-
-@cindex paper types, engravers, and pre-defined translators
-
-Some pre-defined identifiers can simplify modification of
-translators. The pre-defined identifiers are:
-
-@table @samp
- @item @code{StaffContext}@indexcode{StaffContext} @*
- Default Staff context.
-
- @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext} @*
- Default RhythmicStaff context.
-
- @item @code{VoiceContext}@indexcode{VoiceContext} @*
- Default Voice context.
-
- @item @code{ScoreContext}@indexcode{ScoreContext} @*
- Default Score context.
-
- @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers} @*
- Score context with numbering at the Score level.
-
- @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext} @*
- Staff context with numbering at the Staff level.
-
- @item @code{HaraKiriStaffContext}@indexcode{HaraKiriStaffContext} @*
- Staff context that does not print if it only contains rests.
- Useful for orchestral scores.@footnote{Harakiri, also called
- Seppuku, is the ritual suicide of the Samourai.}
-
- @item @code{OrchestralPartStaffContext}@indexcode{OrchestralPartStaffContext}
-
- @item @code{OrchestralScoreContext}@indexcode{OrchestralScoreContext}
-@end table
-
-Using these pre-defined values, you can remove or add items to the
-translator:
-
-@quotation
-
-@example
-\paper @{
- \translator @{
- \StaffContext
- \remove Some_engraver;
- \consists Different_engraver;
- @}
-@}
-@end example
-
-@end quotation
-
-
-
-@node engravers, Sound output, contextdefs, LilyPond 1-2-0 Reference Manual
-
-The engravers for paper output are:
-
-[incomplete, FIXME]
-
-@table @samp
- @item @code{Bar_engraver}@indexcode{Bar_engraver} @*
- Engraves bar lines. Normally in @code{Staff} and
- @code{RhythmicStaff}.
-
- @item @code{Bar_number_engraver}@indexcode{Bar_number_engraver} @*
- Engrave bar numbers. These numbers appear at the start of each
- line. Not normally in any translator. Can be added to
- @code{Score} for score-wide numbering or to @code{Staff} for
- numbering on each staff.
-
- @item @code{Beam_engraver}@indexcode{Beam_engraver} @*
- Handles beam requests by engraving beams. Normally appears in
- the @code{Voice} translator. If omitted, then notes will be
- printed with flags instead of beams.
-
- @item @code{Beam_req_swallow_translator}
- @indexcode{Beam_req_swallow_translator} @*
- Swallows beam requests. In @code{LyricVoice}.
-
- @item @code{Chord_name_engraver}@indexcode{Chord_name_engraver} @*
- Engraves chord names. Normally in @code{ChordNameVoice} .
-
- @item @code{Chord_tremolo_engraver}@indexcode{Chord_tremolo_engraver}
-
- @item @code{Clef_engraver}@indexcode{Clef_engraver} @*
- Engraves the clef symbol. Normally in @code{Staff}.
-
- @item @code{Collision_engraver}@indexcode{Collision_engraver}
-
- @item @code{Dot_column_engraver}@indexcode{Dot_column_engraver} @*
- Engraves dots on dotted notes shifted to the right of the note.
- Normally in @code{Voice}. If omitted, then dots appear on top of
- the notes.
-
- @item @code{Dynamic_engraver}@indexcode{Dynamic_engraver} @*
- Engraves dynamics symbols. Normally in @code{Voice}.
-
- @item @code{Font_size_engraver}@indexcode{Font_size_engraver}
-
- @item @code{Key_engraver}@indexcode{Key_engraver} @*
- Engraves the key signature. Normally in @code{Staff}.
-
- @item @code{Local_key_engraver}@indexcode{Local_key_engraver}
-
- @item @code{Lyric_engraver}@indexcode{Lyric_engraver} @*
- Engraves lyrics. Normally in @code{LyricVoice}.
-
- @item @code{Multi_measure_rest_engraver}
- @indexcode{Multi_measure_rest_engraver} @*
- Engraves multi-measure rests that are produced with @code{R}.
- Normally in @code{Voice}.
-
- @item @code{Piano_bar_engraver}@indexcode{Piano_bar_engraver}
-
- @item @code{Pitch_squash_engraver}@indexcode{Pitch_squash_engraver} @*
- Treat all pitches as middle C. Used in @code{RhythmicStaff}.
- Note that the notes move, but the locations of accidentals stay
- the same.
-
- @item @code{Priority_horizontal_align_engraver}
- @indexcode{Priority_horizontal_align_engraver}
-
- @item @code{Repeat_engraver}@indexcode{Repeat_engraver} @*
- Handles repeats? In @code{Staff} and @code{RhythmicStaff}.
-
- @item @code{Rest_collision_engraver}@indexcode{Rest_collision_engraver} @*
- Handles collisions of rests. In @code{Staff}.
-
- @item @code{Rest_engraver}@indexcode{Rest_engraver} @*
- Engraves rests. Normally in @code{Voice}.
-
- @item @code{Rhythmic_column_engraver}@indexcode{Rhythmic_column_engraver}
-
- @item @code{Score_priority_engraver}@indexcode{Score_priority_engraver}
-
- @item @code{Script_engraver}@indexcode{Script_engraver} @*
- Handles note ornaments generated by @code{\script}. Normally in
- @code{Voice}.
-
- @item @code{Separating_line_group_engraver}
- @indexcode{Separating_line_group_engraver}
-
- @item @code{Skip_req_swallow_translator}
- @indexcode{Skip_req_swallow_translator}
-
- @item @code{Slur_engraver}@indexcode{Slur_engraver} @*
- Engraves slurs. Normally in @code{Voice}.
-
- @item @code{Span_bar_engraver}@indexcode{Span_bar_engraver} @*
- Engraves lines across multiple staffs. Normally in
- @code{Staffgroup} and @code{GrandStaff}. Removing this from
- @code{StaffGroup} gives the definition of @code{ChoirStaff}.
-
- @item @code{Span_score_bar_engraver}@indexcode{Span_score_bar_engraver}
-
- @item @code{Staff_group_bar_engraver}@indexcode{Staff_group_bar_engraver}
-
- @item @code{Staff_margin_engraver}@indexcode{Staff_margin_engraver} @*
- Prints the name of the instrument (specified by
- @code{Staff.instrument} and @code{Staff.instr}) at the left of the
- staff.
-
- @item @code{Staff_sym_engraver}@indexcode{Staff_sym_engraver}
-
- @item @code{Stem_engraver}@indexcode{Stem_engraver} @*
- Engraves stems. Normally in @code{Voice}.
-
- @item @code{Ties_engraver}@indexcode{Ties_engraver} @*
- Engraves ties. Normally in @code{Voice}.
-
- @item @code{Time_signature_engraver}@indexcode{Time_signature_engraver} @*
- Engraves the time signature. Normally in @code{Staff} and
- @code{RhythmicStaff}.
-
- @item @code{Timing_engraver}@indexcode{Timing_engraver} @*
- Responsible for synchronizing timing information from staffs.
- Normally in @code{Score}. In order to create polyrhythmic music,
- this engraver should be removed from @code{Score} and placed in
- @code{Staff}.
-
- @item @code{Tuplet_engraver}@indexcode{Tuplet_engraver} @*
- Engraves tuplet brackets? In @code{Staff}.
-
- @item @code{Vertical_align_engraver}@indexcode{Vertical_align_engraver}
-@end table
-
-
-
-@node Sound output, midilist, engravers, LilyPond 1-2-0 Reference Manual
-@section Sound output
-
-
-
-The MIDI block is analogous to the paper block, but it is simpler.
-The @code{\midi} block can contain:
-@cindex MIDI block
-
-@itemize @bullet
- @item a @code{\tempo} definition
- @item context definitions
-@end itemize
-
-Assignments in the @code{\midi} block are not allowed.
-
-
-
-@cindex context definition
-
-Context definitions follow precisely the same syntax as within the
-\paper block. Translation modules for sound are called performers.
-The contexts for MIDI output are defined in @file{ly/performer.ly}.
-
-
-
-@cindex MIDI instrument names
-
-@node midilist, Pre-defined Identifiers, Sound output, LilyPond 1-2-0 Reference Manual
-
-The MIDI instrument name is set by the
-@code{Staff.midiInstrument}@indexcode{Staff.midiInstrument} property or, if that property is
-not set, the @code{Staff.instrument}@indexcode{Staff.instrument} property. The instrument
-name should be chosen from the following list. If the selected
-string does not exactly match, then LilyPond uses the default piano.
-
-
-@quotation
-
-@example
-"acoustic grand" "contrabass" "lead 7 (fifths)"
-"bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
-"electric grand" "pizzicato strings" "pad 1 (new age)"
-"honky-tonk" "orchestral strings" "pad 2 (warm)"
-"electric piano 1" "timpani" "pad 3 (polysynth)"
-"electric piano 2" "string ensemble 1" "pad 4 (choir)"
-"harpsichord" "string ensemble 2" "pad 5 (bowed)"
-"clav" "synthstrings 1" "pad 6 (metallic)"
-"celesta" "synthstrings 2" "pad 7 (halo)"
-"glockenspiel" "choir aahs" "pad 8 (sweep)"
-"music box" "voice oohs" "fx 1 (rain)"
-"vibraphone" "synth voice" "fx 2 (soundtrack)"
-"marimba" "orchestra hit" "fx 3 (crystal)"
-"xylophone" "trumpet" "fx 4 (atmosphere)"
-"tubular bells" "trombone" "fx 5 (brightness)"
-"dulcimer" "tuba" "fx 6 (goblins)"
-"drawbar organ" "muted trumpet" "fx 7 (echoes)"
-"percussive organ" "french horn" "fx 8 (sci-fi)"
-"rock organ" "brass section" "sitar"
-"church organ" "synthbrass 1" "banjo"
-"reed organ" "synthbrass 2" "shamisen"
-"accordion" "soprano sax" "koto"
-"harmonica" "alto sax" "kalimba"
-"concertina" "tenor sax" "bagpipe"
-"acoustic guitar (nylon)" "baritone sax" "fiddle"
-"acoustic guitar (steel)" "oboe" "shanai"
-"electric guitar (jazz)" "english horn" "tinkle bell"
-"electric guitar (clean)" "bassoon" "agogo"
-"electric guitar (muted)" "clarinet" "steel drums"
-"overdriven guitar" "piccolo" "woodblock"
-"distorted guitar" "flute" "taiko drum"
-"guitar harmonics" "recorder" "melodic tom"
-"acoustic bass" "pan flute" "synth drum"
-"electric bass (finger)" "blown bottle" "reverse cymbal"
-"electric bass (pick)" "skakuhachi" "guitar fret noise"
-"fretless bass" "whistle" "breath noise"
-"slap bass 1" "ocarina" "seashore"
-"slap bass 2" "lead 1 (square)" "bird tweet"
-"synth bass 1" "lead 2 (sawtooth)" "telephone ring"
-"synth bass 2" "lead 3 (calliope)" "helicopter"
-"violin" "lead 4 (chiff)" "applause"
-"viola" "lead 5 (charang)" "gunshot"
-"cello" "lead 6 (voice)"
-@end example
-
-@end quotation
-
-
-@cindex MIDI types and performers
-
-The types available for MIDI translators are:
-
-@table @samp
- @item @code{Performer_group_performer}@indexcode{Performer_group_performer}
- @item @code{Score_performer}@indexcode{Score_performer}
- @item @code{Staff_performer}@indexcode{Staff_performer}
-@end table
-
-The performers for MIDI translators are:
-
-@table @samp
- @item @code{Key_performer}@indexcode{Key_performer}
- @item @code{Time_signature_performer}@indexcode{Time_signature_performer}
- @item @code{Note_performer}@indexcode{Note_performer}
- @item @code{Lyric_performer}@indexcode{Lyric_performer}
- @item @code{Swallow_performer}@indexcode{Swallow_performer}
-@end table
-
-
-
-@node Pre-defined Identifiers, ident, midilist, LilyPond 1-2-0 Reference Manual
-@section Pre-defined Identifiers
-
-@cindex pre-defined identifiers
-
-@node ident, Running LilyPond, Pre-defined Identifiers, LilyPond 1-2-0 Reference Manual
-
-Various identifiers are defined in the initialization files to
-provide shorthands for some settings. Most of them are in
-@file{ly/declarations.ly}.
-
-@table @samp
- @item @code{\break}@keyindex{break} @*
- Force a line break in music by using a large argument for the
- keyword @code{\penalty}.
-
- @item @code{\center}@keyindex{center} @*
- Used for setting direction properties. Equals 0.
-
- @item @code{\down}@keyindex{down} @*
- Used for setting direction setting properties. Is equal
- to -1.
-
- @item @code{\free}@keyindex{free} @*
- Used for setting direction setting properties. Is equal
- to 0.
-
- @item @code{\left}@keyindex{left} @*
- Used for setting text alignment property. Is equal to -1.
-
- @item @code{\nobreak}@keyindex{nobreak} @*
- Prevent a line break in music by using a large negative argument
- for the keyword @code{\penalty}.
-
- @item @code{\none}@keyindex{none} @*
- Used for setting @code{Score.beamslopedamping} and
- @code{Score.beamquantisation} properties. Is equal to 0.
-
- @item @code{\normal}@keyindex{normal} @*
- Used for setting @code{Score.beamslopedamping} and
- @code{Score.beamquantisation} properties. Is equal to 1.
-
- @item @code{\normalkey}@keyindex{normalkey} @*
- Select normal key signatures where each octave has the same key
- signature. This sets the @code{Staff.keyoctaviation} property.
-
- @item @code{\right}@keyindex{right} @*
- Used for setting text alignment property. Is set to 1.
-
- @item @code{\shiftoff}@keyindex{shiftoff} @*
- Disable horizontal shifting of note heads that collide. Sets the
- @code{Voice.horizontalNoteShift} property.
-
- @item @code{\shifton}@keyindex{shifton} @*
- Enable note heads that collide with other note heads to be
- shifted horiztonally. Sets the @code{Voice.horizontalNoteShift}
- property.
-
- @item @code{\slurboth}@keyindex{slurboth} @*
- Allow slurs to be above or below notes. This sets the
- @code{Voice.slurVerticalDirection} property.
-
- @item @code{\slurdown}@keyindex{slurdown} @*
- Force slurs to be below notes. This sets the
- @code{Voice.slurVerticalDirection} property.
-
- @item @code{\slurup}@keyindex{slurup} @*
- Force slurs to be above notes. This sets the
- @code{Voice.slurVerticalDirection} property.
-
- @item @code{\specialkey}@keyindex{specialkey} @*
- Allow key signatures do differ in different octaves. This sets
- the @code{Staff.keyoctaviation} property.
-
- @item @code{\stemboth}@keyindex{stemboth} @*
- Allow stems, beams, and slurs to point either upwards or
- downwards, decided automatically by LilyPond. This sets the
- @code{Voice.verticalDirection} property.
-
- @item @code{\stemdown}@keyindex{stemdown} @*
- Force stems, beams, and slurs to point down. This sets the
- @code{Voice.verticalDirection} property.
-
- @item @code{\stemup}@keyindex{stemup} @*
- Force stems, beams and slurs to point up. This sets the
- @code{Voice.verticalDirection} property.
-
- @item @code{\traditional}@keyindex{traditional} @*
- Used for setting the @code{Score.beamquantisation} property. Is
- equal to 2.
-
- @item @code{\up}@keyindex{up} @*
- Used for setting various direction properties. Is equal
- to 1.
-@end table
-
-
-
-@node Running LilyPond, Top, ident, LilyPond 1-2-0 Reference Manual
-@section Running LilyPond
-
-@cindex running LilyPond
-
-
-When invoked with a filename that has no extension, LilyPond will try
-adding `@file{.ly}' as an extension first, then `@file{.fly}' and
-finally `@file{.sly}' extension. If the filename ends with
-`@file{.fly}', LilyPond processes the file as music using
-`@file{init.fly}'. In this case, LilyPond does something like:
-
-@quotation
-
-@example
-\score @{
- \notes\relative c @{
- \input "yourfile.fly"
- @}
- \paper@{@}
- \midi@{@}
-@}
-@end example
-
-@end quotation
-
-The result of `@file{.sly}' is similar except that a single unjustified
-line is produced.
-
-If you invoke LilyPond with a file `@file{foo.}@var{ext}' that doesn't
-have the `@file{.ly}' extension, then LilyPond will look for a file
-called `@file{init.}@var{ext}' and process this file. The file
-`@file{init.}@var{ext}' must contain the @code{\maininput} keyword or
-LilyPond will not read the user specified file.
-
-When LilyPond processes @file{filename.ly} it will produce
-@file{filename.tex} as output. If @file{filename.ly} contains a second
-@code{\paper} keyword, then LilyPond will produce @file{filename-1.tex}
-as well. Subsequent @code{\paper} keywords will produce sequentially
-numbered file names. Several files can be specified; they will each
-be processed independently.@footnote{Not entirely true: The status of
-GUILE is kept.}
-
-
-
-@bye
+++ /dev/null
-\input texinfo @c -*-texinfo-*- vim:tw=72
-@setfilename regression-test.info
-@settitle LilyPond Regression test
-
-@c fool ls-latex
-@ignore
-@author Han-Wen Nienhuys and Jan Nieuwenhuizen
-@title LilyPond Regression test
-@end ignore
-
-@node Top, , ,
-
-@section Introduction
-
-This document tries give an brief overview of LilyPond features. When
-the text correspond with the shown notation, we consider LilyPond
-Officially BugFree (tm). This document is intended for finding bugs,
-and documenting bugfixes.
-
-@section Notes and rests
-
-Rests. Note that the dot of 8th, 16th and 32nd rests rest should be
-next to the top of the rest. All rests except the whole rest are
-centered on the middle staff line.
-
-@mudelafile{rest.fly}
-
-Note head shapes are settable. The stem endings should be adjusted
-per note head. If you want different note head styles on one stem,
-you must create a special context called Thread.
-
-@mudelafile{noteheadstyle.ly}
-
-Noteheads can have dots, and ---although this is bad style in duple
-meters--- rests can too. Augmentation dots should never be printed on
-a staff line, but rather be shifted vertically. They should go up, but
-in case of multiple parts, the down stems have down shifted dots.
-(Wanske p. 186) In case of chords, all dots should be in a column.
-The dots go along as rests are shifted to avoid collisions.
-
-@mudelafile{dots.fly}
-
-Multiple measure rests do not collide with barlines and clefs. They
-are not expanded when you set \verb+Score.SkipBars+. Although the
-multi-measure-rest is a Spanner, minimum distances are set to keep it
-colliding from barlines.
-
-@mudelafile{multi-measure-rest.ly}
-
-@section Stems
-
-Stem tremolos (official naming?) or rolls are tremolo signs that look
-like beam segments crossing stems. If the stem is in a beam, the
-tremolo must be parallel to the beam. If the stem is invisible
-(eg. on a whole note), the tremolo must be centered on the note.
-
-@mudelafile{stem-tremolo.ly}
-
-Chord tremolos look like beams, but are a kind of repeat symbol.
-To avoid confusion, chord tremolo beams do not reach the stems, but
-leave a gap. Chord tremolo beams on half notes are not ambiguous,
-as half notes cannot appear in a regular beam, and should reach the
-stems.
-
-@mudelafile{chord-tremolo.sly}
-
-Beams, stems and noteheads often have communication troubles, since
-the two systems for y dimensions (1 unit = staffspace, 1 unit = 1
-point) are mixed.
-
-Stems, beams, ties and slurs should behave similarly, when placed
-on the middle staff line. Of course stem-direction is down for high
-notes, and up for low notes.
-
-@mudelafile{stem-direction.sly}
-
-Similarly, if \verb+stem_default_neutral_direction+ is set to \verb+-1+.
-
-@mudelafile{stem-direction-down.ly}
-
-@section Scripts
-
-The staccato dot (and all scripts with follow-into-staff set), must
-not be on staff lines.
-
-@mudelafile{staccato-pos.sly}
-
-@section Grace notes
-
-Grace notes are typeset as an encapsulated piece of music. You can
-have beams, notes, chords, stems etc. within a \verb|\grace| section.
-Slurs that start within a grace section, but aren't ended are attached
-to the next normal note. Grace notes have zero duration. If there
-are tuplets, the grace notes won't be under the brace. Grace notes
-can have accidentals, but they are (currently) spaced at a fixed
-distance. Grace notes (of course) come before the accidentals of the
-main note. Grace notes can also be positioned after the main note.
-
-@mudelafile{grace.ly}
-
-
-@section Beams, slurs and other spanners
-
-Beaming is generated automatically. Beams may cross bar lines. In that
-case, line breaks are forbidden. Yet clef and key signatures are
-hidden just as with breakable bar lines.
-
-@mudelafile{beaming.ly}
-
-Beams should behave reasonably well, even under extreme circumstances.
-Stems may be short, but noteheads should never touch the beam.
-
-@mudelafile{beam-extreme.ly}
-
-Beams should always reach the middle staff line, the second beam
-counting from the note head side, should never be lower than the
-second staff line. This does not hold for grace note beams.
-
-@mudelafile{beam-position.sly}
-
-Slurs should look nice and symmetric. The curvature may increase
-only to avoid noteheads, and as little as possible.
-
-@mudelafile{slur-symmetry.ly}
-@mudelafile{slur-symmetry-1.ly}
-
-Ties are strictly horizontal. They are placed in between note heads.
-The horizontal middle should not overlap with a staffline.
-
-@mudelafile{tie.ly}
-
-Beams can be typeset over fixed distance aligned staffs, beam
-beautification doesn't really work, but knees do. Beams should be
-behave well, wherever the switching point is.
-
-@mudelafile{beam-interstaff.ly}
-
-The same goes for slurs. They behave decently when broken across
-linebreak.
-
-@mudelafile{slur-interstaff.ly}
-
-Tuplets are indicated by a bracket with a number. There should be no
-bracket if there is one beam that matches the length of the tuplet.
-The bracket does not interfere with the stafflines, and the number is
-centered in the gap in the bracket.
-
-@mudelafile{tup.ly}
-
-@section Repeats
-
-LilyPond has three modes for repeats: folded, unfolded and
-semi-unfolded. Unfolded repeats are fully written out. Semi unfolded
-repeats have the body written and all alternatives sequentially.
-Folded repeats have the body written and all alternatives
-simultaneously. If the number of alternatives is larger than the
-repeat count, the excess alternatives are ignored. If the number of
-alternatives is smaller, the first alternative is multiplied to get to
-the number of repeats.
-
-Unfolded behavior:
-
-@mudelafile{repeat-unfold.ly}
-
-Semi (un)folded behavior. Voltas can start on non-barline moments.
-If they don't barlines should still be shown.
-
-@mudelafile{repeat-semifold.ly}
-
-Folded. This doesn't make sense without alternatives, but it works.
-
-@mudelafile{repeat-fold.ly}
-
-@section Lyrics
-
-Lyrics can be set to a melody automatically. Excess lyrics will be
-dumped. Lyrics will not be set over rests. You can have melismata
-either by setting a property melismaBusy, or by setting
-automaticMelismas (which will set melismas during slurs and ties). If
-you want a different order than first Music, then Lyrics, you must
-precook a chord of staffs/lyrics and label those. Of course
-@code{\rhythm} ignores any other rhythms in the piece. Hyphens and
-extenders do not assume anything about lyric lengths, so they continue
-to work.
-
-@mudelafile{lyric-combine.ly}
-
-@section Multiple notes
-
-Rests should not collide with beams, stems and noteheads. Rests may
-be under beams. Rests should be move by integral number of spaces
-inside the staff, and by half spaces outside. Notice that the half
-and whole rests just outside the staff get ledger lines in different
-cases.
-
-@mudelafile{rest-collision.ly}
-
-Normal collisions. We have support for polyphony, where the
-middle voices are horizontally shifted.
-
-@mudelafile{collisions.ly}
-
-The number of stafflines of a staff can be set with the property
-numberOfStaffLines. Ledger lines both on note heads and rests are
-adjusted. Barlines also are adjusted.
-
-
-@mudelafile{number-staff-lines.fly}
-
-@section Spacing
-
-In a limited number of cases, LilyPond corrects for optical spacing
-effects. In this example, space for opposite pointed stems is adjusted
-
-@mudelafile{stem-spacing.sly}
-
-If there are accidentals in the music, we add space, but the space
-between note and accidentals is less than between the notes with the
-same value. Clef changes also get extra space, but not as much as
-barlines.
-
-
-Even if a line is very tightly spaced, there will still be room
-between prefatory matter and the following notes. The space after the
-prefatory is very rigid. In contrast, the space before the barline
-must stretch like the space within the measure.
-
-Tight:
-
-@mudelafile{spacing-tight.ly}
-
-Natural:
-
-@mudelafile{spacing-natural.ly}
-
-Loose:
-
-@mudelafile{spacing-loose.ly}
-
-
-@section Global stuff
-
-Markings that are attached to (invisible) barlines are
-delicate: the are attached to the rest of the score without the score
-knowing it. Consequently, they fall over often.
-
-@mudelafile{bar-scripts.ly}
-
-Staff margins are also markings attached to barlines. They should be
-left of the staff, and be centered vertically wrt the staff. They may
-be on normal staffs, but also on compound staffs, like the PianoStaff
-
-@mudelafile{staff-margin.ly}
-
-Breathing signs, also used for phrasing, do normally not influence
-global spacing -- only if space gets tight, notes are shifted to make
-room for the breathing sign. Breathing signs break beams running
-through their voice. In the following example, the notes in the first
-two measures all have the same distance from each other:
-
-@mudelafile{breathing-sign.ly}
-
-Fonts are available in a default set of sizes: 11, 13, 16, 20, 23 and
-26pt staffheight. Sizes of the text fonts and symbol fonts are made
-to match the staff dimensions.
-
-@mudelafile[nofly]{size11.ly}
-
-@mudelafile[nofly]{size13.ly}
-
-@mudelafile[nofly]{size16.ly}
-
-@mudelafile[nofly]{size20.ly}
-
-@mudelafile[nofly]{size23.ly}
-
-@mudelafile[nofly]{size26.ly}
-
-
-@section Clefs and Time Signatures
-
-The transparent clef should not occupy any space and with style
-@code{fullSizeChanges}, the changing clef should be typeset in full
-size. For octaviated clefs, the ``8'' should appear closely above or
-below the clef respectively. The ``8'' is processed in a convoluted
-way, so this is fragile as well.
-
-@mudelafile{clefs.ly}
-
-@ignore
-@c the input file is too long and does not test for specific bugs
-By default, time signatures are written with two numbers. With style
-``C'', 4/4 and 2/2 are written with their corresponding symbols and
-with style ``old'', 2/2, 3/2, 2/4, 3/4, 4/4, 6/4, 9/4, 4/8, 6/8 and
-9/8 are typeset with symbols, all other signatures retain the default
-layout. The style ``1'', gives single number signatures for all
-signatures.
-%
-\mu delafile{time.fly}
-@end ignore
-
-@bye
+++ /dev/null
-% We're testing \mudelafile here.
-c''4^"This! Is! A! Test!" d e
+++ /dev/null
-\input texinfo @c -*-texinfo-*-
-@setfilename tutorial.info
-@settitle Typesetting music with LilyPond
-
-@ifinfo
-
-This is a short tutorial to show you how LilyPond works. It is not a
-tutorial. It was written by Han-Wen Nienhuys.
-
-Copyright 1999 by its authors.
-@end ifinfo
-
-
-@titlepage
-
-@c fool ls-latex: why not use these, for texinfo??
-@ignore
-@author Han-Wen Nienhuys
-@title Typesetting music with LilyPond
-@end ignore
-
-@sp 10
-@comment The title is printed in a large font.
-@center @titlefont{LilyPond tutorial}
-@vskip 20pt
-@center @titlefont{Han-Wen Nienhuys}
-
-@vskip 0pt plus 1filll
-Copyright @copyright{} 1999 by its author(s)
-@end titlepage
-
-
-@node Top, , The end, (dir)
-@top
-@menu
-* Typesetting music with LilyPond::Typesetting music with LilyPond
-@end menu
-
-
-
-
-
-@node Typesetting music with LilyPond, Introduction, , Top
-@menu
-* Introduction:: Introduction
-* tutorial-introduction:: tutorial-introduction
-* The first tune:: The first tune
-* sec-firsttune:: sec-firsttune
-* Lyrics and chords:: Lyrics and chords
-* Piano music:: Piano music
-* The end:: The end
-@end menu
-@chapter Typesetting music with LilyPond
-
-@node Introduction, tutorial-introduction, Typesetting music with LilyPond, Typesetting music with LilyPond
-@section Introduction
-@node tutorial-introduction, The first tune, Introduction, Typesetting music with LilyPond
-
-
-LilyPond prints music from a specification that you, the user, supply.
-You have to give that specification using a @emph{language}. This
-document is a gentle introduction to that language, which is called
-Mudela, an acronym of Music Definition Language.
-
-This tutorial will demonstrate how to use Mudela by presenting
-examples of input along with resulting output. We will use English
-terms for notation. In case you are not familiar with those, you may
-consult the glossary that is distributed with LilyPond.
-
-The examples discussed are included in the distribution, in the
-subdirectory @file{input/tutorial/}. It is recommended that you
-experiment with writing Mudela input yourself, to get a feel for
-how LilyPond behaves.
-
-@node The first tune, sec-firsttune, tutorial-introduction, Typesetting music with LilyPond
-@section The first tune
-@node sec-firsttune, Lyrics and chords, The first tune, Typesetting music with LilyPond
-
-To demonstrate what LilyPond input looks like, we start off with a
-full fledged, yet simple example. It is a convoluted version
-of the famous menuet in J. S. Bach's @emph{Klavierbuechlein}.
-
-@mudela[verbatim]
-% lines preceded by a percent are comments.
-\include "paper16.ly"
-\score {
- \notes
- \relative c'' \sequential{
- \time 3/4;
- \key g;
-
- \repeat "volta" 2 {
- d4 g,8 a b c d4 g, g |
- e'4 c8 d e fis g4 g, g |
- c4 d8()c b a( )b4 c8 b a g |
- a4 [b8 a] [g fis] g2. |
- }
-
- b'4 g8 a b g
- a4 d,8 e fis d |
- g4 e8 fis g d cis4 b8 cis a4 |
- a8-. b-. cis-. d-. e-. fis-.
- g4 fis e |
- fis a, r8 cis8
- d2.-\fermata
- \bar "|.";
- }
- \paper {
- % standard settings are too wide for a book
- linewidth = 14.0 \cm;
- }
-}
-@end mudela
-
-Enter it (or copy it, the filename is @file{menuet.ly}), compile it
-with LilyPond and view the output. Details of this procedure may vary
-from system to system. To create the output, one would issue the
-command `@code{ly2dvi menuet}'. @file{ly2dvi} is a program that does
-the job of running LilyPond and TeX, handling of titles and
-adjusting of page margins.
-
-If all goes well, the file @file{menuet.dvi} will be created.
-To view this output, issue the command `@code{xdvi menuet}'.
-
-Now that we are familiar with the procedure of producing output, we
-will analyse the input, line by line.
-@ignore
-Let's try to redo this
-@example
-
- % lines preceded by a percent are comments.
-
-@end example
-The percent sign, `@code{%}', introduces a line comment. If you want to
-make larger comments, you can use block comments. These are delimited
-by `@code{%@{}' and `@code{%@}}'
-@end ignore
-@multitable @columnfractions .60 .39
-@item
-@noindent
-@c @example urg: no tt font
-@c @exdent % lines preceded by a percent are comments.
-@exdent @code{% lines preceded by a percent are comments.}
-@c @end example
-@tab
-The percent sign, `@code{%}', introduces a line comment. If you
-want to make larger comments, you can use block comments. These
-are delimited by `@code{%@{}' and `@code{%@}}'
-@end multitable
-@example
-
- \input "paper16.ly"
-
-@end example
-By default, LilyPond will use definitions for a 20
-point@footnote{A point is the standard measure of length for
-printing. One point is 1/72.27 inch.} high staff. We want smaller
-output (16 point staff height), so we must import the settings for
-that size, which is done.@example
-
- \score @{
-
-@end example
- A mudela file combines music with directions for outputting that
-music. The music is combined with the output directions by putting
-them into a @code{\score} block.
-@example
-
- \notes
-
-@end example
- This makes LilyPond ready for accepting notes.
-@example
-
- \relative c''
-
-@end example
- As we will see, pitches are combinations of octave, note name and
-chromatic alteration. In this scheme, the octave is indicated by
-using raised quotes (`@code{'}') and ``lowered'' quotes (commas:
-`@code{,}'). The central C is denoted by @code{c'}. The C one octave
-higher is @code{c''}. One and two octaves below the central C is
-denoted by @code{c} and @code{c,} respectively.
-
-For pitches in a long piece you might have to type many quotes. To
-remedy this, LilyPond has a ``relative'' octave entry mode. In this
-mode, octaves of notes without quotes are chosen such that a note is
-as close as possible (graphically, on the staff) to the the preceding
-note. If you add a high-quote an extra octave is added. The lowered
-quote (a comma) will subtract an extra octave. Because the first note
-has no predecessor, you have to give the (absolute) pitch of the note
-to start with.@example
-
- \sequential @{
-
-@end example
- What follows is sequential music, i.e.,
-notes that are to be played and printed after each other.@example
-
- \time 3/4;
-
-@end example
- This command changes the time signature of the current piece: a 3/4
-sign is printed. This command is also used to generate bar lines in
-the right spots.@example
-
- \key g;
-
-@end example
- This command changes the current key to G-major. Although this
-command comes after the @code{\time} command, in the output, the key
-signature comes before the time signature: LilyPond knows about music
-typesetting conventions. @example
-
- \repeat "volta" 2
-
-@end example
- This command tells LilyPond that the following piece of music must
-be played twice; @code{"volta"} volta brackets should be used for
-alternatives---if there were any.
-@example
-
- @{
-
-@end example
-The subject of the repeat is again sequential music. Since
-@code{\sequential} is such a common construct, a shorthand is provided:
-just leave off @code{\sequential}, and the result is the same. @example
-
- d4
-
-@end example
- This is a note with pitch @code{d} (determined up to octaves). The
-relative music was started with a @code{c''}, so the real pitch of this
-note is @code{d''}. The @code{4} designates the duration of the note
-(it is a quarter note). @example
-
- a b
-
-@end example
-These are notes with pitch @code{a} and @code{b}. Because their
-duration is the same as the @code{g}, there is no need to enter the
-duration (You may enter it anyway, eg. @code{a4 b4}) @example
-
- d4 g, g |
-
-@end example
- Three more notes. The `@code{|}' character is a `barcheck'. When
-processing the music, LilyPond will verify that barchecks are found at
-the start of a measure. This can help you track down errors.
-
- So far, no notes were chromatically altered. Here is the first one
-that is: @code{fis}. Mudela by default uses Dutch note names, and
-``Fis'' is the Dutch note name for ``F sharp''. However, there is no
-sharp sign in the output. The program keeps track of key signatures,
-and will only print accidentals if they are needed.
-@example
-
- c8 d e fis
-
-@end example
-LilyPond guesses were beams can be added to eighth and shorter notes.
-In this case, a beam over 4 eighths is added.
-@example
-
- c4 d8( )c b a( )b4 c8 b a g |
-
-@end example
- The next line shows how to make a slur:
-the beginning and ending note of the slur is marked with an opening and
-closing parenthesis respectively. In the line shown above this is
-done for two slurs. Slur markers (parentheses) are between
-the notes.@example
-
- a4 [b8 a] [g fis]
-
-@end example
-Automatic beaming can be overridden by inserting beam marks
-(brackets). Brackets are put around notes you want beamed.@example
-
- g2. |
-
-@end example
-A duration with augmentation dot is notated
-with the duration number followed by a period.@example
-
- @}
-
-@end example
- This ends the sequential music to be repeated. LilyPond will typeset
-a repeat bar. @example
-
- cis'4 b8 cis a4 |
-
-@end example
- This line shows that Lily will print an accidental if that is
-needed: the first C sharp will be printed with an accidental, the
-second one without. @example
-
- a8-. b-. cis-. d-. e-. fis-.
-
-@end example
-You can enter articulation signs either in a verbose form using a
-shorthand. Here we demonstrate the shorthand: it is formed by a dash
-and the the character for the articulation to use, e.g. `@code{-.}' for
-staccato as shown above. @example
-
- fis a, r8 cis8
-
-@end example
-
-Rests are denoted by the special notename `@code{r}'. You can also enter
-an invisible rest by using the special notename `@code{s}'.
-@example
-
- d2.-\fermata
-
-@end example
- All articulations have a verbose form, like @code{\fermata}. The
-command `@code{\fermata}' is not part of the core of the language (most
-of the other discussed elements are), but it is a shorthand for a more
-complicated description of a fermata. @code{\fermata} names that
-description and is therefore called an @emph{identifier}. @example
-
- @}
-
-@end example
-
-Here the music ends.
-@example
-
- \paper @{
- linewidth = 14.0\cm;
- @}
-
-@end example
-This specifies a conversion from music to notation output. Most of
-the details of this conversions (font sizes, dimensions, etc.) have
-been taken care of, but to fit the output in this document, it has
-to be smaller. We do this by setting the line width to 14 centimeters
-(approximately 6 inches).
-@example
-
- @}
-
-@end example
-The last brace ends the @code{\score} block.
-
-There are two things to note here. The format contains musical
-concepts like pitches and durations, instead of symbols and positions:
-the input format tries to capture the meaning of @emph{music}, and not
-notation. Therefore Second, the format tries to be @emph{context-free}:
-a note will sound the same regardless of the current time signature,
-the key, etc.
-
-The purpose of LilyPond is explained informally by the term `music
-typesetter'. This is not a fully correct name: not only does the
-program print musical symbols, it also makes esthetic decisions. All
-symbols and their placement is @emph{generated} from a high-level musical
-description. In other words, LilyPond would be best
-described by `music compiler' or `music to notation compiler'.
-
-@node Lyrics and chords, Piano music, sec-firsttune, Typesetting music with LilyPond
-@section Lyrics and chords
-
-In this section we show how to typeset a song of unknown
-origin.@footnote{The author would welcome information about the origin
-of this song.}.
-
-@example
-\header @{
- title = "The river is flowing";
- composer = "Traditional (?)";
-@}
-\include "paper16.ly"
-melody = \notes \relative c' @{
- \partial 8;
- g8 |
- c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
- c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|.";
-@}
-
-text = \lyrics @{
- The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
- ri -- ver is flo -- wing down to the sea.
-@}
-
-accompaniment =\chords @{
- r8
- c2-3- f-3-.7 d-min es4 c8-min r8
- c2-min f-min7 g-7^3.5 c-min @}
-
-\score @{
- \simultaneous @{
-% \accompaniment
- \context ChordNames \accompaniment
-
- \addlyrics
- \context Staff = mel @{
- \property Staff.noAutoBeaming = "1"
- \property Staff.automaticMelismata = "1"
- \melody
- @}
- \context Lyrics \text
- @}
- \midi @{ @}
- \paper @{ linewidth = 10.0\cm; @}
-@}
-@end example
-
-
-The result would look this@footnote{The titling and font size shown
-may differ, since the titling in this document is not generated by
-@file{ly2dvi}.}.
-
-@center @strong{The river is flowing}
-@center Traditional
-
-@mudela[center]
-\header {
- title = "The river is flowing";
- composer = "Traditional (?)";
-}
-\include "paper16.ly"
-melody = \notes \relative c' {
- \partial 8;
- g8 |
- c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
- c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|.";
-}
-
-text = \lyrics {
- The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
- ri -- ver is flo -- wing down to the sea.
-}
-
-accompaniment =\chords {
- r8
- c2-3- f-3-.7 d-min es4 c8-min r8
- c2-min f-min7 g-7^3.5 c-min }
-
-\score {
- \simultaneous {
-% \accompaniment
- \context ChordNames \accompaniment
-
- \addlyrics
- \context Staff = mel {
- \property Staff.noAutoBeaming = "1"
- \property Staff.automaticMelismata = "1"
- \melody
- }
- \context Lyrics \text
- }
- \midi { }
- \paper { linewidth = 10.0\cm; }
-}
-@end mudela
-
-Again, we will dissect the file line by line.@example
-
- \header @{
-
-@end example
-Information about the music you are about to typeset goes into a
-@code{\header} block. The information in this block is not used by
-LilyPond, but it is included in the output. @file{ly2dvi} uses this
-information to print titles above the music.
-@example
-
- title = "The river is flowing";
- composer = "Traditional (?)";
-@end example
-the @code{\header} block contains assignments. An assignment starts
-with a string. (which is unquoted, in this case). Then comes the
-equal sign `@code{=}'. After the equal sign comes the expression you
-want to store. In this case, you want to put in strings. The
-information has to be quoted here, because it contains spaces. The
-assignment is finished with a semicolon.@example
-
- \include "paper16.ly"
-
-@end example
-Smaller size for inclusion in a book.@example
-
- melody = \notes \relative c' @{
-
-@end example
-The structure of the file will be the same as the previous one, a
-@code{\score} block with music in it. To keep things readable, we will
-give names to the different parts of music, and use the names to
-construct the music within the score block.
-
-@example
-
- \partial 8;
-
-@end example
-
-The piece starts with an anacrusis of one eighth. @example
-
- c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
- c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|.";
-
-@end example
-We use explicit beaming. Since this is a song, we will turn automatic
-beams off, and use explicit beaming where needed.@example
-
- @}
-
-@end example
-This ends the definition of @code{melody}. Note that there are no
-semicolons after assignments at top level.@example
-
- text = \lyrics @{
-
-@end example
-Another identifier assignment. This one is for the lyrics.
-Lyrics are formed by syllables that have duration, and not by
-notes. To make LilyPond parse words as syllables, switch it into
-lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics}
-is a shorthand for @code{\sequential @{}. @example
-
- The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
- ri- ver is flo- __ wing down to the sea.
- @}
-
-@end example
-The syllables themselves are separated by spaces. You can get syllable
-extenders by entering `@code{__}', and centered hyphens with
-`@code{-}@code{-}'. We enter the syllables as if they are all quarter notes
-in length (hence the @code{4}), and use a feature to align the
-syllables to the music (which obviously isn't all quarter notes.)
-@example
-
- accompaniment =\chords @{
-
-@end example
-We'll put chords over the music. There is a special mode (analogous
-to @code{\lyrics} and @code{\notes} mode) where you can give the names
-of the chords you want, instead of the notes comprising the chord.
-@example
-
- r8
-
-@end example
-There is no accompaniment during the anacrusis.@example
-
- c2-3- f-3-.7
-
-@end example
-A chord is started by the tonic of the chord. The
-first one lasts a half note. An unadorned note creates a major
-triad, while a minor triad is wanted. @code{3-} modifies the third to
-be small. @code{7} modifies (adds) a seventh, which is small by default
-to create the @code{f a c es} chord. Multiple modifiers must be
-separated by a dot.@example
-
- d-min es4 c8-min r8
-
-@end example
-Some modifiers have predefined names, eg. @code{min} is the same as
-@code{3-}, so @code{d-min} is a minor @code{d} chord.@example
-
- c2-min f-min7 g-7^3.5 c-min @}
-
-@end example
-A named modifier @code{min} and a normal modifier @code{7} do not have
-to be separated by a dot. Tones from a chord are removed with chord
-subtractions. Subtractions are started with a caret, and they are
-also separated by dots. In this example, @code{g-7^3.5} produces a
-minor seventh. The brace ends the sequential music. @example
-
- \score @{
- \simultaneous @{
-
-@end example
-We assemble the music in the @code{\score} block. Melody, lyrics and
-accompaniment have to sound at the same time, so they should be
-@code{\simultaneous}.@example
-
- %\accompaniment
-
-@end example
-Chord mode generates notes grouped in @code{\simultaneous} music. If
-you remove the comment sign, you can see the chords in normal
-notation: they will be printed as note heads on a separate
-staff. @example
-
- \context ChordNames \accompaniment
-
-@end example
-Normally, the notes that you enter are transformed into note heads.
-The note heads alone make no sense, they need surrounding information:
-a key signature, a clef, staff lines, etc. They need @emph{context}. In
-LilyPond, these symbols are created by objects called `interpretation
-context'. Interpretation contexts only exist during a run of
-LilyPond. Interpretation contexts that are for printing music (as
-opposed to playing music) are called `notation context'.
-
-By default, LilyPond will create a Staff contexts for you. If you
-would remove the @code{%} sign in the previous line, you can see that
-mechanism in action.
-
-We don't want default contexts here, because we want names, not note
-heads. An interpretation context can also created upon explicit
-request. The keyword for such a request is @code{\context}. It takes
-two arguments. The first is the name of a interpretation context.
-The name is a string, it can be quoted with double quotes). The
-second argument is the music that should be interpreted in this
-context. For the previous line, we could have written @code{\context
-Staff \accompaniment}, and get the same effect.@example
-
- \addlyrics
-
-@end example
-The lyrics need to be aligned with the melody. This is done by
-combining both with @code{\addlyrics}. @code{\addlyrics} takes two
-pieces of music (usually a melody and lyrics, in that order) and
-aligns the syllables of the second piece under the notes of the
-first piece. If you would reverse the order, the notes would be
-aligned on the lyrics, which is not very useful. (Besides, it looks
-silly.)@example
-
- \context Staff = mel @{
-
-@end example
-This is the argument of @code{\addlyrics}. We instantiate a
-@code{Staff} context explicitly: should you chose to remove comment
-before the ``note heads'' version of the accompaniment, the
-accompaniment will be on a nameless staff. The melody has to be on a
-different staff as the accompaniment. This is accomplished by giving
-the melody staff a different name.@example
-
- \property Staff.noAutoBeaming = "1"
-
-@end example
-An interpretation context has variables that tune its behaviour. One
-of the variables is @code{noAutoBeaming}. If set and non-zero (i.e.,
-true) LilyPond will not try to put automatic beaming on the current
-staff.@example
-
- \property Staff.automaticMelismata = "1"
-
-@end example
-Similarly, we don't want to print a syllable when there is
-a slur. This sets up the Staff context to signal slurs while
-@code{\addlyrics} is processed. @example
-
- \melody
- @}
-
-@end example
-Finally, we put the melody on the current staff. Note that the
-@code{\property} directives and @code{\melody} are grouped in sequential
-music, so the property settings are done before the melody is
-processed. @example
-
- \context Lyrics \text
-
-@end example
-The second argument of @code{\addlyrics} is the text. The text also
-should not land on a Staff, but on a interpretation context for
-syllables, extenders, hyphens etc. This context is called
-Lyrics.@example
-
- @}
-
-@end example
-This ends @code{\simultaneous}.@example
-
- \midi @{ @}
-
-@end example
-This makes the music go to a MIDI file. MIDI is great for
-checking music you enter. You listen to the MIDI file: if you hear
-something unexpected, it's probably a typing error. @code{\midi} is an
-`output definition', a declaration that specifies how to output music
-analogous to @code{\paper @{ @}}.@example
-
- \paper @{ linewidth = 10.0\cm; @}
-
-@end example
-We also want notation output. The linewidth is short so the piece
-will be set in two lines. @example
-
- @}
-
-@end example
-End the score block.
-
-@node Piano music, The end, Lyrics and chords, Typesetting music with LilyPond
-@section Piano music
-
-Our third subject is a piece piano music. The fragment in the input
-file is a piano reduction of the G major Sinfonia by Giovanni Battista
-Sammartini. It was composed around 1740.
-
-@mudela[verbatim]
-
-\include "paper16.ly";
-
-viola = \notes \relative c' \context Voice = viola {
- <c4-\f g' c>
- \property Voice.verticalDirection = \down g'8. b,16
- s1 s2. r4
- g
-}
-
-oboes = \notes \relative c'' \context Voice = oboe {
- \stemup s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
- \grace <e8( g> <d4 f> <c2 e> \times 2/3 { <d8 \< f> <e g> <f a> }
- <
- { \times 2/3 { a8 g c } \! c2 }
- \context Voice = oboeTwo {
- \stemdown
- \grace {
- \property Grace.verticalDirection = \down
- [f,16 g] }
- f8 e e2
- } >
- \stemboth
- \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
- [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
- [<c16( e> < )e8. g>] <c8 e,>
-}
-
-hoomPah = \notes \transpose c' {
- c8 \translator Staff = top \stemdown
- c'8 \translator Staff = bottom \stemup }
-
-hoomPahHoomPah = { [\hoomPah \hoomPah] }
-
-bassvoices = \notes \relative c' {
- c4 g8. b,16
- \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah
- \stemdown [c8 c'8] r4
- <g d'> r4
- < {\stemup r2 <e4 c'> <c8 g'> }
- \context Voice = reallyLow {\stemdown g2 ~ | g4 c8 } >
-}
-
-\score {
- \context PianoStaff \notes <
- \context Staff = top < \time 2/2;
- \context Voice = viola \viola
- \oboes
- >
- \context Staff = bottom < \time 2/2; \clef bass;
- \bassvoices
- >
- >
- \midi { }
- \paper {
- indent = 0.0;
- linewidth = 15.0 \cm; }
-}
-@end mudela
-
-If it looks like incomprehensible gibberish to you... Then you are
-right. The author has doctored this example to have as many quirks in
-one system as possible.@example
-viola = \notes \relative c' \context Voice = viola @{
-@end example
-In this example, you can see multiple parts on a staff. Each part is
-associated with one notation context. This notation context handles
-stems and dynamics (among others). The name of this context is
-@code{Voice}. For each part we have to make sure that there is
-precisely one Voice context@footnote{If @code{\context} would not
-have been specified explicitly, three @code{Voice} contexts would be
-created: one for each note in the first chord.}.@example
-<c4-\f g' c>
-@end example
-@code{<} and @code{>} are short hands for @code{\simultaneous @{} and
-@code{@}}. So the expression enclosed in @code{<} and @code{>} is a
-chord. @code{\f} places a forte symbol under the chord.@example
-\property Voice.verticalDirection = \down
-@end example
-@code{verticalDirection} is a property of the voice context. It
-controls the directions of stems, articulations marks and other
-symbols.
- If @code{verticalDirection} is set to @code{\down}
-(identifier for the integer -1) the stems go down,
-@code{\up} (identifier for the integer 1) makes the stems go up.@example
- g'8. b,16
-@end example
-Relative octaves work a little differently with chords. The starting
-point for the note following a chord is the first note of the chord. So
-the @code{g} gets an octave up quote: it is a fifth above the starting
-note of the previous chord (the central C).
-
-@example
-s1 s2. r4
-@end example
-@code{s} is a `spacer' rest. It does not print anything, but it does
-have the duration of a rest. @example
-oboes = \notes \relative c'' \context Voice = oboe @{
-@end example
-Now comes a part for two oboes. They play homophonically, so we
-print the notes as one voice that makes chords. Again, we insure that
-these notes are indeed processed by precisely one context with
-@code{\context}.@example
-\stemup s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
-@end example
-@code{\stemup} is an identifier reference. It is shorthand for
-@code{\property Voice.verticalDirection = \up}. If possible, you
-should use predefined identifiers like these for setting properties.
-Your input will be less dependent upon the implementation of LilyPond.
-@example
-\grace <e8( g> < )d4 f> <c2 e>
-@end example
-@code{\grace} introduces grace notes. It takes one argument, in this
-case a chord. The slur started on the @code{e} of the chord
-will be attached to the next note.@footnote{LilyPond will squirm
-about unended Slurs. In this case, you can ignore the warning}.
-@example
-\times 2/3
-@end example
-Tuplets are made with the @code{\times} keyword. It takes two
-arguments: a fraction and a piece of music. The duration of the
-second argument is multiplied by the first argument. Triplets make
-notes occupy 2/3 of their notated duration, so in this case the
-fraction is 2/3. @example
-@{ <d8 \< f> <e g> <f a> @}
-@end example
-The piece of music to be `tripletted' is sequential music containing
-three notes. On the first chord (the @code{d}), a crescendo is started
-with @code{\<}.@example
-<
-@end example
-At this point, the homophonic music splits into two rhythmically
-different parts. We can't use a sequence of chords to enter this, so
-we make a `chord' of sequences to do it. We start with the upper
-voice, which continues with upward stems: @example
- @{ \times 2/3 @{ a8 g c @} \! c2 @}
-@end example
-The crescendo is ended at the half note by the escaped exclamation
-mark `@code{\!}'. @example
-\context Voice = oboeTwo @{
-\stemdown
-@end example
-We can't share stems with the other voice, so we have to create a new
-@code{Voice} context. We give it the name @code{oboeTwo} to distinguish
-it from the other context. Stems go down in this voice. @example
-\grace @{
-@end example
-When a grace section is processed, a @code{Grace} context is
-created. This context acts like a miniature score of its own. It has
-its own time bookkeeping, and you can make notes, beams, slurs
-etc. Here fiddle with a property and make a beam. The argument of
-@code{\grace} is sequential music.@example
-\property Grace.verticalDirection = \down
-[f,16 g] @}
-@end example
-Normally, grace notes are always stem up, but in this case, the upper
-voice interferes. We set the stems down here.
-
-As far as relative mode is concerned, the previous note is the
-@code{c'''2} of the upper voice, so we have to go an octave down for
-the @code{f}.
-@example
-
- f8 e e2
-@} >
-@end example
-This ends the two-part section. @example
-\stemboth
-\grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
-@end example
-@code{\stemboth} ends the forced stem directions. From here, stems are
-positioned as if it were single part music.
-
-The bass has a little hoom-pah melody to demonstrate parts switching
-between staffs. Since it is repetitive, we use identifiers:@example
-hoomPah = \notes \transpose c' @{
-@end example
-Transposing can be done with @code{\transpose}. It takes two
-arguments; the first specifies what central C should be transposed to.
-The second is the to-be-transposed music. As you can see, in this
-case, the transposition is a no-op. Central C is transposed to
-central C.
-
-The purpose of this no-op is circumventing relative mode. Relative
-mode can not be used in conjunction with transposition, so relative
-mode will leave the contents of @code{\hoomPah} alone. We can use it
-without having to worry about getting the motive in a wrong
-octave@footnote{@code{hoomPah = \relative ...} would be more
-intuitive to use, but that would not let me plug @code{\transpose}
-:-).}.@example
-c8 \translator Staff = top \stemdown
-@end example
-We assume that the first note will be put in the lower staff. After
-that note we switch to the upper staff with @code{\translator}. To be
-precise, this @code{\translator} entry switches the current voice to a
-@code{Staff} named @code{top}. So we have to name the upper staff
-`@code{top}'. Stem directions are set to avoid interfering with the
-oboe voices. @example
-c'8 \translator Staff = bottom \stemup @}
-@end example
-Then a note is put on the upper staff, and we switch again. We have
-to name the lower staff `@code{bottom}'. @example
-hoomPahHoomPah = @{ [\hoomPah \hoomPah] @}
-@end example
-Put two of these fragments in sequence, and beam them.@example
-bassvoices = \notes \relative c' @{
-c4 g8. b,16
-\hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah
-\hoomPahHoomPah
-@end example
-Entering the bass part is easy: the hoomPahHoomPah variable is
-referenced four times.@example
-\context Voice = reallyLow @{\stemdown g2 ~ | g4 c8 @} >
-@end example
-After skipping some lines, we see @code{~}. This mark makes ties.@example
-\context PianoStaff
-@end example
-For piano music, a special context is needed to get cross staff
-beaming right. It is called @code{PianoStaff}.@example
-\context Staff = bottom < \time 2/2; \clef bass;
-@end example
-The bottom staff must have a different clef.@example
-indent = 0.0;
-@end example
-To make some more room on the line, the first (in this case the only)
-line is not indented. The line still looks is very cramped, but that is due
-to the format of this tutorial.
-
-This example shows a lot of features, but the organisation isn't
-perfect. For example, it would be less confusing to use a chord
-containing sequential music than a sequence of chords for the oboe
-parts.
-
-[TODO: demonstrate Hara-Kiri with scores and part extraction.]
-
-@node The end, Top, Piano music, Typesetting music with LilyPond
-@section The end
-
-That's all folks. From here, you can either try fiddling with input
-files, or you can read the reference manual.
-
-
-@bye
not at the webpages. If you want to volunteer for making shazzy
webpages, then please mail us!
-Note: These pages are created from the latest @strong{development
-snapshots} of LilyPond, or even from an unreleased development version.
-The version of this webpage is printed at the bottom.
+Note: These pages are created from a @strong{development snapshots} of
+LilyPond, and it might even be created even from an unreleased
+development version. The version of this webpage is printed at the
+bottom.
--- /dev/null
+# Documentation/tex/Makefile
+
+depth=../..
+
+DATA_FILES = $(wildcard *.data)
+datafiles = $(addprefix $(outdir)/,$(DATA_FILES:.data=.html))
+
+DOC_FILES = $(wildcard *.doc)
+
+DVI_FILES = $(addprefix $(outdir)/,$(DOC_FILES:.doc=.dvi) $(TELY_FILES:.tely=.dvi))
+
+EXTRA_DIST_FILES= $(DOC_FILES) $(DATA_FILES)
+HTML_FILES = $(addprefix $(outdir)/, $(TELY_FILES:.tely=.html))
+
+PS_FILES = $(DVI_FILES:.dvi=.ps) $(OUTDOC_FILES:.doc=.ps) $(OUTTEX_FILES:.tex=.ps)
+PS_GZ_FILES= $(addsuffix .gz, $(PS_FILES))
+
+STEPMAKE_TEMPLATES=tex texinfo documentation
+LOCALSTEPMAKE_TEMPLATES=lilypond mudela
+
+include $(depth)/make/stepmake.make
+
+
+dvi: $(DVI_FILES)
+
+ps: $(PS_FILES)
+
+# urg
+default:
+
+GENHTMLS = engraving colorado glossary computer-notation
+OUTGENHTMLS = $(addprefix $(outdir)/, $(GENHTMLS:%=%.html))
+
+local-WWW: $(HTML_FILES) $(datafiles) $(PS_GZ_FILES)
+ $(PYTHON) $(step-bindir)/ls-latex.py --title 'User documentation about LilyPond' \
+ $(DOC_FILES) $(TEX_FILES) $(TELY_FILES) \
+ | sed "s!$(outdir)/!!g" > $(outdir)/index.html
+ $(footify) $(outdir)/index.html
+
+$(outdir)/%.bib: %.bib
+ ln -f $< $@
+
+localclean:
+ rm -f fonts.aux fonts.log feta*.tfm feta*.*pk
--- /dev/null
+
+This is a list of musical terms, along with explanations and
+translations. It is not complete, so additions are welcome.
+Languages are marked thusly:
+
+@itemize
+@item NL - Nederlands
+@item UK - British English
+@item F - French
+@item I - Italian
+@end itemize
+
+@table @strong
+
+@item Enharmonic Comma
+
+F: comma enharmonique
+
+
+@ignore
+
+F: doigté de pédale
+
+F: doigté, D: Fingersatz
+
+F: indication de pédale
+
+F: pointillés.
+
+@end ignore
+
+@item A
+F: la, D: a.
+
+
+
+
+@item accent
+F: accent, D: Akzent NL: accent I: accento.
+
+
+
+@item accidental
+F: altération accidentelle, D: Vorzeichen, Versetzungszeichen, Akzidenz NL: toevallig teken, I: accidento.
+
+
+
+@item adjacent keys
+F: tons voisins.
+
+
+
+@item alto
+F: alto, D: Alt, NL: alt.
+
+
+
+@item ancient form??? (diatonic minor scale)
+F: forme du mode mineur ancien.
+
+
+
+@item appoggiatura
+F: appogiature, ports de voix, notes d'agrèment, D: langer Vorschlag, NL: lange voorslag, I: appogiature.
+
+
+
+@item arbitrary number of bars' rest
+F: bâton de pause, NL: meermaats rust.
+
+
+
+@item arpeggio
+F: arpège, arpègement, D: Arpeggio, Brechungen, NL: gebroken akoord, I: arpeggio.
+
+
+
+@item artificial measure
+F: mesure artificielle.
+
+
+
+@item artificial rest
+F: respiration.
+
+
+
+@item ascending interval
+
+F: intervalle ascendant, NL: stijgend interval.
+
+
+@item augmented (interval)
+
+F: augmenté (intervalle), D: übermäßig (Intervall), NL: overmatig interval.
+
+
+@item autograph
+
+1. A manuscript in the composer's own hand. 2. Music prepared for
+photoreproduction by freehand drawing, with only the aid of a
+straightedge ruler and T-square, which attempts to emulate
+engraving. This required more skill than engraving.
+
+@item B
+
+F: si, D: h.
+
+
+
+
+
+@item backfall; forefall
+
+F: accent, chute, port de voix, D: Vorschlag, NL: korte voorslag, I: appogiature.
+
+
+
+
+
+@item bar line
+
+F: barre (de mesure), D: Taktstrich, NL: maatstreep, I: stanghetta.
+
+
+
+
+
+@item bar; measure
+
+F: mesure, D: Takt, NL: maat, maatstreep.
+
+
+
+
+
+@item baritone
+
+F: bariton, D: Bariton, NL: bariton.
+
+
+
+@item F clef
+
+D: F-Schlüssel, NL: F sleutel.
+
+A clef shaped as a curl with two dots. The position between the dots is the line of the F below central C.
+
+
+
+
+@item bass clef
+
+F: clé de fa, D: Bass-Schlüssel, NL: bas sleutel, I: chiave di basso.
+
+A clef setting with central C on the first top ledger line.
+
+
+
+
+@item bass
+
+F: basse, D: Bass, NL: bas.
+
+
+
+
+
+@item beam
+
+F: barre, D: Balken, NL: waardestreep/balk, I: barra.
+
+
+
+
+
+@item beat
+
+F: temps, D: Takt(-schlag), NL: tel.
+
+
+
+
+
+@item brace
+
+F: accolade, D: Klammer, NL: accolade, haak, I: accolada.
+
+Symbol at the start of a system that connects staffs.
+
+
+
+
+@item brass
+
+ D: Blechbläser, NL: koper (blazers).
+
+
+
+
+
+@item alto clef
+
+F: clé d'ut, D: Altschlüssel, NL: alt sleutel, I: chiave di tenore.
+
+Clef setting that has central C on the middle staff line.
+
+
+
+
+@item C clef
+
+ NL: C sleutel. .
+
+A clef symbol that looks like a horizontally mirrored 3. It indicates the position of the central C. Used in different positions.
+
+
+
+
+@item C
+
+F: do, D: c, NL: C.
+
+
+
+
+
+@item C
+
+F: ut, D: c.
+
+
+
+
+
+@item cadence
+
+F: cadence, D: Kadenz, NL: cadens.
+
+
+
+
+
+@item cadenza
+
+F: fioriture, D: Kadenz, NL: cadens, I: cadenza.
+
+
+
+
+
+@item cent
+
+ D: Cent, NL: cent.
+
+1/1200 of an octave (1/100 of an equally tempered semitone)
+
+
+
+
+@item chain of trills
+
+F: chaîne de trilles, NL: triller.
+
+
+
+
+
+@item character
+
+F: caractère.
+
+
+
+
+
+@item chevron
+
+F: chevron.
+
+
+
+
+
+@item chord
+
+F: accord, D: Akkord, NL: akkoord.
+
+
+
+
+
+@item chromatic scale
+
+F: gamme chromatique, D: Chromatische Tonleiter, NL: chromatische toonladder.
+
+
+
+
+
+@item chromatic semitone
+
+F: demi-ton chromatique, NL: chromatische halve toon.
+
+
+
+
+
+@item chromatic transposition
+
+F: transposition chromatique.
+
+
+
+
+
+@item chromatic type
+
+F: genre chromatique.
+
+
+
+
+
+@item church mode; ecclesiastical mode
+
+F: mode ecclésiastique, D: Kirchentonart, NL: kerk toonladder.
+
+
+
+
+
+@item clef
+
+F: clé, D: Notenschlüssel, NL: sleutel, I: la chiave (pl. le chiavi).
+
+
+
+
+
+@item comma
+
+F: comma, D: Komma, NL: komma.
+
+Difference in pitch of a note when the note is derived from a different tuning system.
+
+
+
+
+@item compound interval
+
+F: intervalle composé, D: Komplementärintervall.
+
+
+
+
+
+@item compound measure
+
+F: mesure composée, NL: samengestelde maat.
+
+
+
+
+
+@item conjunct movement
+
+F: mouvement conjoint.
+
+
+
+
+
+@item consonant interval; consonance
+
+F: consonance, D: Konsonanz, NL: consonant.
+
+
+
+
+
+@item contralto
+
+F: contralto, D: Alt(-stimme), alt-.
+
+
+
+
+
+@item contro-time
+
+F: contre-temps.
+
+@item Copying, Music
+
+A music copyist did fast freehand scores and parts on preprinted staff
+lines for performance. Some of their conventions (e.g.: the placement of
+noteheads on stems) varied slightly from those of engravers. Some of
+their practices (not that) were superior and could well be adopted by
+music typesetters. This also required more skill than engraving.
+
+
+@item crescendo
+
+F: crescendo, D: Crescendo, I: crescendo.
+
+written with an extended opening angular bracket, indicates increasing volume
+
+
+
+
+@item cue-notes
+
+ D: Stichnoten, NL: stichnoten.
+
+In an orchestral part, notes for a different instrument that hint when to start playing. Usually printed in smaller type.
+
+
+
+
+@item D
+
+F: ré, D: d.
+
+
+
+
+
+@item dash over/below
+
+ I: pizzicato.
+
+With plucked strings
+
+
+
+
+@item decrescendo
+
+ D: Decrescendo, I: decrescendo.
+
+written with an extended closing angular bracket, indicates decreasing volume
+
+
+
+
+@item degree [of the scale]
+
+F: degré [de la gamme], D: Stufe [der Tonleiter], NL: trap [van de toonladder].
+
+
+
+
+
+@item descending interval
+
+F: intervalle descendant, NL: dalend interval.
+
+
+
+
+
+@item diatonic major scale
+
+F: gamme diatonique majeure, D: Diatonische Durtonleiter, NL: diatonische majeur toonladder.
+
+
+
+
+
+@item diatonic minor scale
+
+F: gamme diatonique mineure, D: Diatonische Molltonleiter.
+
+
+
+
+
+@item diatonic semitone
+
+F: demi-ton diatonique, NL: diatonische halve toon.
+
+
+
+
+
+@item diatonic type
+
+F: genre diatonique, D: diatonisch.
+
+
+
+
+
+@item diatonic
+
+F: diatonique, NL: diatonisch.
+
+A diatonic scale is a scale consisting of whole and half tones.
+
+
+
+
+@item diminished (interval)
+
+F: diminué (intervalle), D: vermindert (Intervall), NL: verminderd (interval).
+
+
+
+
+
+@item disjunct movement
+
+F: mouvement disjoint.
+
+
+
+
+
+@item dissonant interval; dissonance
+
+F: dissonance, D: Dissonanz, NL: dissonant interval; dissonant.
+
+
+
+
+
+@item dominant ninth chord
+
+F: accord de neuvième dominante, NL: dominant noon akkoord.
+
+
+
+
+
+@item dominant seventh chord
+
+F: accord de septième dominante, D: Dominantseptakkord, NL: dominant septiem akkoord.
+
+
+
+
+
+@item dominant
+
+F: dominante, D: Dominante, NL: dominant.
+
+A tone that creates tension;the fifth degree of the scale.
+
+
+
+
+@item dorian mode
+
+ D: Dorische Tonart, NL: dorische toonladder.
+
+Mode obtained by raising the sixth in minor mode. A Dorian scale can be played from D to D with no sharps or flats.
+
+
+
+
+@item dot (augmentation dot)
+
+F: point, D: Punkt (Verlängerungspunkt), NL: punt, I: punto.
+
+An augmentation dot after note adds multiplies the duration by one and a half.
+
+
+
+
+@item dot and curved line combined
+
+F: point et liaison combinés.
+
+
+
+
+
+@item dot over/below
+
+ D: Staccato, NL: staccato, I: staccato.
+
+Play each note short.
+
+
+
+
+@item dot
+
+F: point, D: Punkt, NL: punt.
+
+
+
+
+
+@item dotted note
+
+F: note pointée, D: punktierte Note.
+
+
+
+
+
+@item double appoggiatura
+
+F: appogiature double.
+
+
+
+
+
+@item double bar line
+
+F: double barre, D: Doppel(takt)strich, NL: dubbele streep, I: doppia barra.
+
+Indicates the end of a section within a movement.
+
+
+
+
+@item double dotted note
+
+F: note doublement pointée, D: doppel-punktierte Note.
+
+
+
+
+
+@item double flat
+
+F: double bémol, D: Doppel-Be, NL: dubbelmol, I: doppio bemolle.
+
+
+
+
+
+@item double sharp
+
+F: double dièse, D: Doppelkreuz, NL: dubbelkruis, I: doppio diesis.
+
+Raise pitch by two semitones
+
+
+
+
+@item double trill
+
+F: trille double, D: Doppeltriller.
+
+A trill on a chord
+
+
+
+
+@item double triplet
+
+F: double triolet, D: Doppeltriole, NL: dubbele triool.
+
+
+
+
+
+@item double whole note
+
+ UK: breve, D: Brevis, NL: brevis, I: breve.
+
+Note during twice as long as a whole note. Mainly used in pre-1650 music.
+
+
+
+
+@item duple meter
+
+F: temps binaire, NL: tweedelige maatsoort.
+
+
+
+
+
+@item duplet
+
+F: duolet, D: Duole, NL: duool.
+
+
+
+
+
+@item duration
+
+F: durée, D: Dauer, Länge, NL: duur, lengte.
+
+
+
+
+
+@item E
+
+F: mi, D: e.
+
+
+
+
+
+@item eighth note
+
+F: croche, UK: quaver, D: Achtelnote, NL: achtste noot.
+
+
+
+
+
+@item eighth rest
+
+F: demi-soupir, UK: quaver rest, D: Achtelpause, NL: achtste rust.
+
+
+
+
+
+@item engraving
+
+D: Notenstechen, NL: steken.
+
+Engraving means incising or etching a metal plate for
+printing. Photoengraving means drawing music with ink in a manner
+similar to drafting or engineering drawing, using similar tools.
+
+The traditional process of music printing is done through: cutting in a
+plate of metal. Now also the term for the art of music typography.
+
+
+
+
+@item enharmonic
+
+F: enharmonique, D: enharmonisch, NL: enharmonisch.
+
+Two notes, intervals, or scales are enharmonic if they have different names but sound the same. Examples: C sharp and D flat, diminished fourth and major third
+
+
+
+
+@item equal temperament
+
+F: tempérament égal, NL: getempereerde stemming.
+
+Tuning system in which each semitone is precisely 100 cents.
+
+
+
+
+@item essential alteration
+
+F: altération essentielle.
+
+
+
+
+
+@item expression mark
+
+F: signe d'expressoin, D: Vortragszeichen, NL: voordrachtsteken, I: segno d'espressione.
+
+
+
+
+
+@item extension of interval
+
+F: extension d'intervalle.
+
+
+
+
+
+@item F
+
+F: fa, D: f.
+
+
+
+
+
+@item fermata
+
+F: pauses, D: Fermate, NL: fermate, I: fermata.
+
+Prolonged sound or silence of indefinite duration
+
+
+
+
+@item fifth
+
+F: quinte, D: Quinte, NL: kwint.
+
+
+
+
+
+@item flag; hook; tail; pennant
+
+F: crochet, D: Fähnchen, NL: vlaggetje, I: coda uncinata.
+
+Ornament at the end of the stem of a note. The number of flags determines the lengths of notes shorter than a quarter note.
+
+
+
+
+@item flat
+
+F: bémol, D: Be, NL: mol, I: bemolle.
+
+Lower pitch by a semitone
+
+
+
+
+@item four-bar rest
+
+F: bâton de pause.
+
+
+
+
+
+@item fourth
+
+F: quarte, D: Quarte, NL: kwart.
+
+
+
+
+
+@item G
+
+F: sol, D: g.
+
+
+
+
+
+@item glissando
+
+F: glissement, D: Glissando, NL: glissando, I: glissando.
+
+Letting the pitch slide fluently from one note to the other
+
+
+
+
+@item graces
+
+F: petites notes, D: Verzierungen, Manieren, NL: versieringen, I: appogiature.
+
+
+
+
+
+@item grand staff
+
+ NL: piano systeem.
+
+A combination of two staffs with a brace. Usually used for piano music.
+
+
+
+
+@item half note
+
+F: blanche, UK: minim, D: Halbe Note, NL: halve noot.
+
+
+
+
+
+@item half rest
+
+F: demi-pause, UK: minim rest, D: Halbe Pause, NL: halve rust.
+
+
+
+
+
+@item harmonic cadence
+
+F: cadence harmonique, NL: harmonische cadens.
+
+Sequence of chords that terminate a musical phrase or section.
+
+
+
+
+@item harmonic form (diatonic minor scale)
+
+F: forme harmonique.
+
+
+
+
+
+@item harmonic interval
+
+F: intervalle harmonique, D: Harmonisches Intervall.
+
+
+
+
+
+@item incomplete measure
+
+F: mesure incomplète.
+
+
+
+
+
+@item interval
+
+F: intervalle, D: Intervall, NL: interval.
+
+Difference in pitch between two notes
+
+
+
+
+@item inversion of interval
+
+F: renversement d'intervalle, NL: interval inversie.
+
+
+
+
+
+@item irregular contro-time
+
+F: contre-temps irrégulier.
+
+
+
+
+
+@item irregular group
+
+F: groupe irrégulier.
+
+
+
+
+
+@item irregular measure
+
+F: mesure irrégulière.
+
+
+
+
+
+@item irregular syncopation
+
+F: syncope irrégulière, NL: onregelmatige syncope.
+
+
+
+
+
+@item just intonation
+
+ I: .
+
+Tuning system in which the notes are obtained by adding and subtracting natural fifths and thirds.
+
+
+
+
+@item key signature
+
+F: armure, armature [de la clé], signes des accidentals, D: Vorzeichen, NL: toonsoort (voortekens), I: segni di chiave.
+
+
+
+
+
+@item kind of note
+
+F: figure de note.
+
+
+
+
+
+@item kind of rest
+
+F: figure de silence.
+
+
+
+
+
+@item leading note
+
+F: sensible.
+
+
+
+
+
+@item ledger line; leger line
+
+F: ligne supplémentaire, D: Hilfslinien, Kopfstriche (?), NL: hulplijntje, I: lineette.
+
+A ledger line is an extension of the staff.
+
+
+
+
+@item legato curve
+
+F: liaison rythmique, NL: legato boog.
+
+
+
+
+
+@item lilypond
+
+F: étang de lis, UK: lily pond, D: Lilienteich, NL: lelievijver, I: stagno del giglio.
+
+A pond with lilies floating in it, also the name of a music typesetter.
+
+
+
+
+@item line
+
+F: ligne, D: Linie, NL: lijn.
+
+
+
+
+
+@item long appoggiatura
+
+F: appogiature longue.
+
+
+
+
+
+@item lower number
+
+F: chiffre inférieur.
+
+
+
+
+
+@item major (interval)
+
+F: majeur (intervalle), D: groß (Intervall), NL: groot (interval).
+
+
+
+
+
+@item major mode
+
+F: mode majeur, D: Dur.
+
+
+
+
+
+@item meantone temperament
+
+F: tempérament mésotonique.
+
+Tuning based on a fifth that is 16 cents smaller than the natural fifth.
+
+
+
+
+@item mediant
+
+F: médiante, NL: mediant.
+
+The third degree of a scale
+
+
+
+
+@item melodic cadence
+
+F: cadence mélodique, NL: cadens.
+
+A free-form section at the end of a solo-concerto, where the soloist can demonstrate his/her virtuosity.
+
+
+
+
+@item melodic form (diatonic minor scale)
+
+F: forme mélodique.
+
+
+
+
+
+@item meter; time
+
+F: mètre, D: Takt, Metrum, NL: maatsoort.
+
+A recurring pattern of stress
+
+
+
+
+@item metronome
+
+F: métronome, D: Metronom, NL: metronoom.
+
+Device which sounds a steady beat
+
+
+
+
+@item metronomic indication
+
+F: indication métronomique, D: Metronomangabe.
+
+Exact tempo indication (in beats per minute). Also denoted by M.M. (Mälzel's Metronom)
+
+
+
+
+@item mezzo-soprano
+
+F: mezzo-soprano, D: Mezzosopran.
+
+
+
+
+
+@item middle C
+
+F: do central, D: eingestrichenes c, NL: centrale C.
+
+First C below the 440 Hz A.
+
+
+
+
+@item minor (interval)
+
+F: mineur (intervalle), D: klein (Intervall).
+
+
+
+
+
+@item minor mode
+
+F: mode mineur, D: Moll.
+
+
+
+
+
+@item modal note
+
+F: note modale.
+
+
+
+
+
+@item mode
+
+F: mode, D: Geschlecht.
+
+
+
+
+
+@item modulation
+
+F: modulation, D: Modulation, NL: modulatie.
+
+
+
+
+
+@item mordent
+
+F: mordant, pincè, D: Pralltriller, Mordent, NL: mordent, I: mordente.
+
+
+
+
+
+@item motive
+
+F: incise, D: Motiv, NL: motief.
+
+
+
+
+
+@item musical ladder
+
+F: échelle musicale.
+
+
+
+
+
+@item mixolydian mode
+
+ D: Mixolydische Tonart, NL: Mixolydische toonladder.
+
+Mode obtained by lowering the seventh in major. A mixolydian scale can be obtained by playing G to G with no sharps or flats.
+
+
+
+
+@item natural sign
+
+F: bécarre, D: Auflösungszeichen, NL: herstellingsteken, I: bequadro.
+
+Do not play the following note flat or sharp.
+
+
+
+
+@item ninth
+
+ D: None, NL: noon.
+
+
+
+
+
+@item note head
+
+ D: Notenkopf, NL: noot balletje.
+
+
+
+
+
+@item note
+
+F: note, D: Note, NL: noot, I: nota.
+
+
+
+
+
+@item octave line
+
+F: échelle d'octave.
+
+
+
+
+
+@item octave line
+
+F: clé d'octave.
+
+
+
+
+
+@item octave sign
+
+F: octave, D: Oktave, I: ottava.
+
+
+
+
+
+@item octave
+
+F: octave, D: Oktave, NL: octaaf.
+
+
+
+
+
+@item ornament; embellishment; accessory
+
+F: agrèment, ornement, D: Verzierungen, I: fiorette, fioriture,
+abbellimenti.
+
+
+@item ossia
+
+NL: alternatief
+
+Ossia (otherwise) marks an alternative. It is an added staff or piano
+score, usually only a few measures long, which presents another version
+of the music, for small hands, for example.
+
+
+@item part
+
+NL: partij.
+
+
+
+
+
+@item pause
+
+F: pause, D: Luftpause.
+
+
+
+
+
+@item pause
+
+F: point d'orgue.
+
+
+
+
+
+@item perfect (interval)
+
+F: juste (intervalle), D: rein (Intervall), NL: rein (interval).
+
+
+
+
+
+@item perfect major chord
+
+F: accord parfait majeur.
+
+
+
+
+
+@item perfect minor chord
+
+F: accord parfait mineur.
+
+
+
+
+
+@item phrase member
+
+F: membre de phrase.
+
+
+
+
+
+@item phrase
+
+F: phrase, D: Phrase, NL: frase, zin.
+
+
+
+
+
+@item phrasing
+
+F: phrasé.
+
+
+
+
+
+@item pitch pipe; tuning fork
+
+F: diapason, D: Stimmgabel, NL: stemfluitje; stemvork.
+
+
+
+
+
+@item pitch
+
+F: hauteur, D: Tonhöhe, NL: toonhoogte.
+
+
+
+
+
+@item Pythagorean comma
+
+F: comma pythagoricien, D: Pythagoräisches Komma, NL: komma van Pythagoras.
+
+A sequence of fifths starting on C eventually circles back to C (B sharp), but this B sharp is 24 cents higher than C. This gap is the Pythagorean comma.
+
+
+
+
+@item quadruplet
+
+F: quartolet, NL: kwartool.
+
+
+
+
+
+@item quarter note
+
+F: noire, UK: crotchet, D: Viertelnote, NL: kwartnoot.
+
+
+
+
+
+@item quarter rest
+
+F: soupir, UK: crotchet rest, D: Viertelpause, NL: kwart rust.
+
+
+
+
+
+@item register
+
+F: registre, D: Register, NL: register.
+
+
+
+
+
+@item regular contro-time
+
+F: contre-temps régulier.
+
+
+
+
+
+@item regular syncopation
+
+F: syncope régulière.
+
+
+
+
+
+@item relative scales
+
+F: gammes relatives, tons relatifs.
+
+
+
+
+
+@item repeat
+
+F: barre de reprise, D: Wiederholung, NL: herhaling.
+
+
+
+
+
+@item rest
+
+F: silence.
+
+
+
+
+
+@item rest
+
+F: soupir, D: Pause, NL: rust, I: pausa.
+
+
+
+
+
+@item return sign
+
+F: renvoi, NL: herstellingsteken.
+
+
+
+
+
+@item rhythm
+
+F: rythme, D: Rhythmus, NL: ritme.
+
+
+
+
+
+@item rhythmic curve
+
+F: courbe rythmique.
+
+
+
+
+
+@item scale
+
+F: gamme, D: Tonleiter, NL: toonladder.
+
+
+
+
+
+@item score
+
+F: partition, D: Partitur, NL: partituur.
+
+
+
+
+
+@item second
+
+F: seconde, D: Sekunde, I: secunde.
+
+
+
+
+
+@item semitone
+
+F: demi-ton, D: Halbton, NL: halve toon.
+
+
+
+
+
+@item seventh
+
+F: septième, D: Septime, NL: septiem, I: septime.
+
+
+
+
+
+@item sextuplet
+
+F: sextolet, D: Sextole, NL: sextool.
+
+
+
+
+
+@item sextuplet
+
+F: sixain, NL: sextool.
+
+
+
+
+
+@item shading signs
+
+F: signes indicateurs de nuance.
+
+
+
+
+
+@item shading
+
+F: nuance, D: Nuance.
+
+
+
+
+
+@item sharp
+
+F: dièse, D: Kreuz (um Halbton erhöht), NL: kruis.
+
+
+
+
+
+@item short appoggiatura
+
+F: appogiature brève.
+
+
+
+
+
+@item simple appoggiatura
+
+F: appogiature simple.
+
+
+
+
+
+@item simple interval
+
+F: intervalle simple.
+
+
+
+
+
+@item simple measure
+
+F: mesure simple.
+
+
+
+
+
+@item sixteenth note
+
+F: double croche, UK: semiquaver, D: Sechzehntelnote, NL: zestiende noot.
+
+
+
+
+
+@item sixteenth rest
+
+F: quart de soupir, UK: semiquaver rest, D: Sechzehntelpause, NL: zestiende rust.
+
+
+
+
+
+@item sixth
+
+F: sixte, D: Sexte, NL: sext.
+
+
+
+
+
+@item sixty-fourth note
+
+F: quadruple croche, UK: hemidemisemiquaver, D: Vierundsechzigstelnote, NL: vierenzestigste noot.
+
+
+
+
+
+@item sixty-fourth rest
+
+F: seizième de soupir, UK: hemidemisemiquaver rest, D: Vierundsechzigstelpause.
+
+
+
+
+
+@item slur
+
+F: liaison, coulé, D: Bindungszeichen, Bindebogen, NL: binding, bindingsboog, I: legatura.
+
+
+
+
+
+@item soprano
+
+F: soprano, D: Sopran, NL: sopraan.
+
+
+
+
+
+@item space
+
+F: espace.
+
+
+
+
+
+@item staff
+
+F: portée, D: Noten(linien)system, NL: (noten)balk; partij.
+
+pl staves or staffs
+
+
+
+
+@item stem
+
+F: queue, D: Stiel, Hals, NL: stok, I: asta, gamba.
+
+
+
+
+
+@item strings
+
+ D: Streicher, NL: strijkers.
+
+
+
+
+
+@item strong beat
+
+F: temps fort, NL: thesis.
+
+
+
+
+
+@item subdominant
+
+F: sous-dominante, D: Subdominante.
+
+The fourth degree of the scale
+
+
+
+
+@item submediant
+
+ I: .
+
+The sixth scale degree
+
+
+
+
+@item subtonic
+
+F: sous-tonique, D: Subtonika.
+
+The seventh degree of the scale
+
+
+
+
+@item superdominant
+
+F: sus-dominante.
+
+The sixth scale degree
+
+
+
+
+@item supertonic
+
+F: sus-tonique.
+
+The second scale degree
+
+
+
+
+@item syncopation; upbeat
+
+F: syncope, D: Synkope, NL: syncope.
+
+
+
+
+
+@item syntonic comma
+
+F: comma syntonique, NL: komma van Didymos, syntonische komma.
+
+Difference between the natural third and the third obtained by Pythagorean tuning, euqal to 22 cents.
+
+
+
+
+@item system
+
+F: système, D: System, NL: systeem, I: sitema.
+
+
+
+
+
+@item tempo indication
+
+F: signes de temps, D: Zeitmaß, Tempobezeichnung, NL: tempo aanduiding, I: segno di tempo.
+
+
+
+
+
+@item tempo; movement
+
+F: mouvement, D: Tempo.
+
+
+
+
+
+@item tenor
+
+F: ténor, D: Tenor.
+
+
+
+
+
+@item tenth
+
+ D: Dezime, NL: deciem, I: decime.
+
+
+
+
+
+@item tetrachord
+
+F: tétracorde, D: Vierklang.
+
+
+
+
+
+@item third
+
+F: tierce, D: Terz, NL: terts.
+
+
+
+
+
+@item thirty-second note
+
+F: triple croche, UK: demisemiquaver, D: Zweiunddreißigstelnote, NL: 32e noot.
+
+
+
+
+
+@item thirty-second rest
+
+F: huitième de soupir, UK: demisemiquaver rest, D: Zweiunddreißigstelpause, NL: 32e rust.
+
+
+
+
+
+@item tie
+
+F: liaison, D: Haltebogen, NL: overbinding, I: legatura.
+
+A curve that shows the prolongation (as opposed to the repetition fo a note)
+
+
+
+
+@item time signature
+
+F: chiffrage (chiffres indicateurs), signe de valeur, D: Taktvorzeichnung, Taktvorzeichen, NL: maatsoort, I: segni di tempo.
+
+
+
+
+
+@item tonal note
+
+F: note tonale.
+
+
+
+
+
+@item tonality
+
+F: tonalité, D: Tonalität, NL: tonaliteit.
+
+
+
+
+
+@item tone
+
+F: ton, D: Ton, NL: toon.
+
+
+
+
+
+@item tonic
+
+F: tonique, D: Tonika, NL: tonica.
+
+
+
+
+
+@item transposition
+
+F: transposition, D: Transposition, NL: transpositie.
+
+Shifting a melody up or down in pitch, while keeping the same relative pitches.
+
+
+
+
+@item G clef
+
+ NL: G sleutel.
+
+A clef symbol with a loop at the top and a spiral in the center. The center of the spiral indicates the G above central C.
+
+
+
+
+@item treble clef
+
+F: clé de sol, D: Violinschlüssel, NL: viool sleutel, I: chiave di violino.
+
+Clef setting where the second lowest line is the G above central C.
+
+
+
+
+@item tremolo
+
+F: trèmolo, D: Tremolo, NL: tremolo, I: tremolo.
+
+
+
+
+
+@item trill; shake
+
+F: trille, tremblement, battement (cadence), D: Triller, NL: triller, I: trillo.
+
+
+
+
+
+@item triple meter
+
+F: temps ternaire, NL: driedelige maatsoort.
+
+
+
+
+
+@item triplet
+
+F: triolet, D: Triole.
+
+
+
+
+
+@item tritone
+
+F: triton, D: Tritonus.
+
+
+
+
+
+@item turn; gruppetto
+
+F: brisè, groupe, doublè, grupetto, D: Doppelschlag, NL: dubbelslag, I: grupetto.
+
+
+
+
+
+@item two-bar rest
+
+F: bâton de pause.
+
+
+
+
+@item underline over/below
+
+F: portamento, D: Portato.
+
+
+
+
+
+@item unison
+
+F: unisson, D: Unisono, I: unisono.
+
+Different instruments playing exactly the same melody.
+
+
+
+
+@item unit of beat
+
+F: unité de temps.
+
+
+
+
+
+@item unit of measure
+
+F: unité de mesure.
+
+
+
+
+
+@item upbeat; arsis
+
+ D: Auftakt.
+
+
+
+
+
+@item upper number
+
+F: chiffre supérieur.
+
+
+
+
+
+@item voice
+
+F: voix, D: Stimme, NL: stem.
+
+
+
+@item weak beat
+
+F: temps faible, NL: arsis.
+
+
+
+
+
+@item whole note
+
+F: ronde, UK: semibreve, D: Ganze Note, NL: hele noot.
+
+
+
+
+
+@item whole rest
+
+F: pause, UK: semibreve rest, D: Ganze Pause.
+
+
+
+
+
+@item woodwind
+
+D: Holzbläser, NL: houtblazers.
+
+
+@end table
+
--- /dev/null
+\input texinfo @c -*-texinfo-*-
+@setfilename reference-manual.info
+@settitle Reference Manual
+
+@node Top, , , (dir)
+@top
+
+
+@section Introduction
+
+[TODO: THIS MANUAL IS OUTDATED. FIXME.]
+
+Mudela-book is a script that process your \LaTeX file and with great
+help from GNU LilyPond it translates blocks of mudela code it finds
+inside @code{mudela} environments to tex or eps graphics. It then
+creates a new file that can be sent through \LaTeX to create a
+@file{.dvi} file with lines of music integrated with text.
+
+Mudela-book will do its best to try to align the music to the left and
+right margins. Currently the most used papersizes and one- and
+twocolumn mode is supported, but if you use the geometry-package from
+LaTeX or change the margins things will break.
+
+This document assumes you have basic knowledge of GNU LilyPond and
+LaTeX.
+
+So what does this look like? Well, here is an example:
+@mudela[veryverbatim, intertext="produces this music:"]
+\score{
+ \notes\relative c'{
+ \time 5/8;
+ [e16( g b c a g][e a b d] | )e2 d,8 |
+ [e16( g b c a g][e a b d] | )b2 [a16( f] |
+ [e a b d] )e4 c8 | [es16( bes a as g es][d c b! )g] |
+ [f( a b d b a][f a b d] | )e2
+ }
+}
+@end mudela
+If you are lucky, the above example show a nice feature of LilyPond
+and LaTeX. Since LilyPond can output the music as \TeX graphics,
+LaTeX can insert pagebreaks between the lines of music.
+
+Notice that there is no @code{\paper} statement in the example
+above. Mudela-book will insert some code for you that defines the
+linewidth and the font to use. If you don't want to change the default,
+there is no need to put an empty @code{\paper@{@}} inside the @code{\score}.
+In the example above, something like
+this might be inserted before your code:
+@example
+\include "paper16.ly"
+\paper@{ \paper_sixteen
+ linewidth = 390.\pt;
+ castingalgorithm = \Gourlay;
+@}
+@end example
+The actual values for linewidth will differ depending on papersize and
+number of columns. Also, if you use a different fontsize for the
+music, another file than @code{paper16.ly} will be included.
+
+If you want to make the music not so wide, you can insert a
+@code{\paper} statement that set the linewidth:
+
+@mudela[veryverbatim, intertext="produces this music:"]
+\score{
+ \notes\relative c'{
+ \time 5/8;
+ [e16( g b c a g][e a b d] | )e2 d,8 |
+ [e16( g b c a g][e a b d] | )b2 [a16( f] |
+ [e a b d] )e4 c8 | [es16( bes a as g es][d c b! )g] |
+ [f( a b d b a][f a b d] | )e2
+ }
+ \paper{linewidth = 10.\cm;}
+}
+@end mudela
+
+Very often, if you mix music and text, the music is often only a
+few notes or at most a few bars. This music should be as short as
+possible and not stretched to be aligned to the right margin.
+
+If you only write voice-contents in the mudela block, mudela-book
+will set the @code{linewidth} variable to -1, so Lilypond
+will make the music as short as possible but without breaking the
+line. Here is a well know harmonic progression:
+@mudela[veryverbatim, intertext="produce a well known harmonic progression:"]
+ <c' e g> <b d g> <c2 e g>
+@end mudela
+
+If you want to place music examples in the text,
+@mudela[eps]
+ <c' e g> <b d g> <c2 e g>
+@end mudela
+, you can use the @code{eps} option. This will create the music as
+eps graphics and include it into the document with the
+@code{\includegraphics} command.
+
+The code used look like this:
+@example
+@mudela[eps]
+ <c' e g> <b d g> <c2 e g>
+@end mudela
+@end example
+
+You can also use the @code{eps} option if the block is a complete
+mudela source. This 5 cm long empty line,
+@mudela[eps]
+\score{
+ \notes{s}
+ \paper{ linewidth = 5.\cm;}
+}
+@end mudela
+was created with this code:
+@example
+@mudela[eps]
+\score{
+ \notes{s}
+ \paper{ linewidth = 5.\cm;}
+}
+@end mudela
+@end example
+
+To avoid that LaTeX places the music on a line of its one, there should
+be no empty lines between the normal text and the mudela
+environment.
+
+You can also use @code{mudelafile} (on a separate line, FIXME), to
+include another file. Files with name ending with @code{.sly}
+
+@section Fontsize options You can use all lilypond fontsizes in
+mudela-book. The default 16pt fontsize is probably to big to be
+included in the middle of the text, 11pt or 13pt is probably better.
+
+The code can look like this:
+@example
+@mudela[13pt, eps]
+<c' e g>
+@end mudela
+@end example
+
+The following options set the fontsize:
+@itemize
+@item @code{11pt}
+@mudela[11pt, eps]
+ \relative c'{
+ r16 [c d e][f d e c] [g'8 c][b-\prall c] |
+ [d16 g, a b][c a b g][d'8 g f-\prall g]
+ }
+@end mudela
+@item @code{13pt}
+@mudela[13pt, eps]
+ \relative c'{
+ r16 [c d e][f d e c] [g'8 c][b-\prall c] |
+ [d16 g, a b][c a b g][d'8 g f-\prall g]
+ }
+@end mudela
+@item @code{16pt}
+@mudela[16pt, eps]
+ \relative c'{
+ r16 [c d e][f d e c] [g'8 c][b-\prall c] |
+ [d16 g, a b][c a b g][d'8 g f-\prall g]
+ }
+@end mudela
+@item @code{20pt}
+@mudela[20pt, eps]
+ \relative c'{
+ r16 [c d e][f d e c] [g'8 c][b-\prall c] |
+ [d16 g, a b][c a b g][d'8 g f-\prall g]
+ }
+@end mudela
+@item @code{26pt}
+@mudela[26pt, eps]
+ \relative c'{
+ r16 [c d e][f d e c] [g'8 c][b-\prall c] |
+ [d16 g, a b][c a b g][d'8 g f-\prall g]
+ }
+@end mudela
+@end itemize
+
+
+@section More options
+@itemize
+@item The @code{singleline} option set @code{linewidth} to -1.0.
+@item The @code{multiline} option set @code{linewidth} to a value letting
+the music be aligned to the right margin. The music can span several
+lines.
+@end itemize
+
+@section Just in case...
+The options @code{fragment} and @code{nonfragment} will override
+mudela-book when it scans the mudela code to see if it is voice
+contents or complete code. This might be useful if mudela-book choose
+wrong.
+
+Since there is no finder's fee which doubles every year, there is no
+need to wait for the price money to grow. So send a bug report today
+if you need this one of these options.
+
+@section Examples
+
+This was all options to @code{\begin}. The rest of the mudela
+document will show some ways you can use mudela in
+LaTeX documents. It will also act as a simple test-suite for
+mudela-book. You can place @code{eps} mudela in and marginspars just
+as any other included eps graphics.
+
+@mudela
+\score{
+ \notes\relative c'{
+ \time 12/8;
+ r4-\fermata [b16-.( )b-.] [f'8-- dis16-.( )dis-. gis8--]
+ [f16-.( )f-. dis8-- gis16-.( )gis-.] cis4.-\fermata |
+
+ r4.-\fermata [cis,16 cis g'8 f16 f b8][g16 g f8 b16 b] dis4.-\fermata
+ }
+ \paper{linewidth = 7.\cm;}
+}
+@end mudela
+
+
+To the right you can see some bars from the trumpet fanfara from the
+beginning of the fantastic street opera ``Houdini the Great'', by the
+Danish composer Andy Pape. The music is put inside a
+@code{floatingfigure} environment, and the music will be aligned by
+the right marging if you set floatingfigure width and mudela linewidth
+to the same value. The code looks like this:
+
+@mudela[verbatim]
+\score{
+ \notes\relative c'{
+ \time 12/8;
+ r4.-\fermata [b16-.( )b-.] [f'8-- dis16-.( )dis-. gis8--]
+ [f16-.( )f-. dis8-- gis16-.( )gis-.] cis8.-\fermata |
+
+ r4.-\fermata [cis,16 cis g'8 f16 f b8]
+ [g16 g f8 b16 b] dis4.-\fermata
+ }
+ \paper{linewidth = 7.\cm;}
+}
+@end mudela
+
+If you have a lot of small music examples like this in the middle of
+your text, you might get a nicer look by using ``double'' line
+spacing. Put the @code{\linespread@{1.6@}} command into the preamble of
+your document. Then the line spacing will not be increased between the
+lines where you have music printed with the smallest font size.
+
+Mudela-book does know about @code{\onecolumn} and @code{\twocolumn}.
+So the music will be adjusted to the new linewith:
+
+Verbatim environments will also ignore the page margins. That is
+a feature of LaTeX. (But you usually put things inside a verbatim
+environment when you don't want LaTeX to do any linebreaking)
+
+
+@section Texinfo behavior
+
+[TODO]
+
+@section Invocation
+
+@file{mudela-book} is a script that helps integrating mudela and
+LaTeX. mudela-book runs LilyPond on fragments of mudela in your
+source file, and includes the results into document that can be
+processed with LaTeX. The result is a text document with formatted
+music integrated.
+
+Lilypond will by default create all output files in directory @file{out}.
+The file to give to latex has ext @file{.latex}.
+
+@strong{About the input}
+
+If the file contains the ``block''
+
+@example
+
+ \begin@{mudela@}
+ CONTENTS
+ \end@{mudela@}
+
+@end example
+
+then LilyPond is run on CONTENTS. mudela-book puts the result back,
+surrounded by @code{\preMudelaExample} and @code{\postMudelaExample}
+commands. @code{\preMudelaExample} and @code{posMudelaExample} is
+defined to nothing by default, and the user can redefine them
+to whatever he wants.
+
+@code{\begin} takes the following options:
+
+@table @samp
+@item eps
+ the music is created as eps graphics that can be inserted in
+ the middle of a text line, not only as a separate paragraph
+@item verbatim
+ CONTENTS is copied into the TeX source enclosed in a verbatim block.
+@item 11pt, 13pt, 16pt, 20pt, 26pt
+ set the fontsize to use for the music
+@item singleline
+ linewidth = -1.
+@item multiline
+ linewidth = textwidth
+@item fragment
+@item nonfragment
+ Override mudela-book autodetection of what type of code is in the
+ mudela block, voice contents or complete code.
+@end table
+
+
+@table @samp
+
+@item --default-mudela-fontsize=??pt
+ Set the fontsize to use for mudela if no fontsize is given
+ as option.
+@item --force-mudela-fontsize=??pt
+ Force all mudela to use this fontsize, overriding options
+ given to \begin@{mudela@}
+@item --outname=FILE
+ The name of LaTeX file to output. If this option is not given,
+the output name derived from the input name.
+@item --out-www=DIRECTORY
+ The name of the directory to output lilypond output and input to.
+ This must be a name; the subdirectory will be created in the cwd. [FIXME]
+@item --help
+ Print a short help message
+@item --dependencies
+ Write dependencies to out-www/filename.dep
+@item --force-verbatim
+ Make all mudela verbatim.
+@item --initfile=FILE
+ read command definitions from @file{FILE}
+@end table
+
+
+
+@file{mudela-book} is written in python 1.5, so you have to install
+@uref{http://www.python.org,python}.
+
+
+
+@section Bugs
+
+The LaTeX \includeonly@{...@} command is ignored.
+
+Ignores almost all LaTeX commands that changes margins and linewidths.
+
+@section Authors
+
+@email{hanwen@@cs.uu.nl, Han-Wen Nienhuys}, @uref{http://www.cs.uu.nl/people/hanwen}
+
+@email{tomato@@xoommail.com, Tom Cato Amundsen}
+
+
+@bye
+
+
+
+
+
+
--- /dev/null
+\input texinfo @c -*-texinfo-*-
+@setfilename mudela.info
+@settitle Reference Manual
+
+@node Top, , , (dir)
+@top
+@menu
+* Tutorial:: a tutorial introduction to lilypond
+* Reference Manual:: Reference Manual
+* Glossary:: A dictionary of musical terms.
+@end menu
+
+@macro keyindex {word}
+@cindex \word\
+
+@end macro
+
+@macro indexcode {word}
+@cindex \word\
+
+@end macro
+
+@node Tutorial, , , Top
+@menu
+* Introduction:: Introduction
+* The first tune:: The first tune
+* Lyrics and chords:: Lyrics and chords
+* Piano music:: Piano music
+* end of tutorial:: The end
+@end menu
+@chapter Tutorial
+
+@node Introduction, , , Tutorial
+@section Introduction
+
+
+LilyPond prints music from a specification that you, the user, supply.
+You have to give that specification using a @emph{language}. This
+document is a gentle introduction to that language, which is called
+Mudela, an acronym of Music Definition Language.
+
+This tutorial will demonstrate how to use Mudela by presenting
+examples of input along with resulting output. We will use English
+terms for notation. In case you are not familiar with those, you may
+consult the glossary that is distributed with LilyPond.
+
+The examples discussed are included in the distribution, in the
+subdirectory @file{input/tutorial/}. It is recommended that you
+experiment with writing Mudela input yourself, to get a feel for
+how LilyPond behaves.
+
+@node The first tune, , , Tutorial
+@section The first tune
+
+
+To demonstrate what LilyPond input looks like, we start off with a
+full fledged, yet simple example. It is a convoluted version
+of the famous menuet in J. S. Bach's @emph{Klavierbuechlein}.
+
+@mudela[verbatim]
+% lines preceded by a percent are comments.
+\include "paper16.ly"
+\score {
+ \notes
+ \relative c'' \sequential{
+ \time 3/4;
+ \key g;
+
+ \repeat "volta" 2 {
+ d4 g,8 a b c d4 g, g |
+ e'4 c8 d e fis g4 g, g |
+ c4 d8()c b a( )b4 c8 b a g |
+ a4 [b8 a] [g fis] g2. |
+ }
+
+ b'4 g8 a b g
+ a4 d,8 e fis d |
+ g4 e8 fis g d cis4 b8 cis a4 |
+ a8-. b-. cis-. d-. e-. fis-.
+ g4 fis e |
+ fis a, r8 cis8
+ d2.-\fermata
+ \bar "|.";
+ }
+ \paper {
+ % standard settings are too wide for a book
+ linewidth = 14.0 \cm;
+ }
+}
+@end mudela
+
+Enter it (or copy it, the filename is @file{menuet.ly}), compile it
+with LilyPond and view the output. Details of this procedure may vary
+from system to system. To create the output, one would issue the
+command `@code{ly2dvi menuet}'. @file{ly2dvi} is a program that does
+the job of running LilyPond and TeX, handling of titles and
+adjusting of page margins.
+
+If all goes well, the file @file{menuet.dvi} will be created.
+To view this output, issue the command `@code{xdvi menuet}'.
+
+Now that we are familiar with the procedure of producing output, we
+will analyse the input, line by line.
+@ignore
+Let's try to redo this
+@example
+
+ % lines preceded by a percent are comments.
+
+@end example
+The percent sign, `@code{%}', introduces a line comment. If you want to
+make larger comments, you can use block comments. These are delimited
+by `@code{%@{}' and `@code{%@}}'
+@end ignore
+@multitable @columnfractions .60 .39
+@item
+@noindent
+@c @example urg: no tt font
+@c @exdent % lines preceded by a percent are comments.
+@exdent @code{% lines preceded by a percent are comments.}
+@c @end example
+@tab
+The percent sign, `@code{%}', introduces a line comment. If you
+want to make larger comments, you can use block comments. These
+are delimited by `@code{%@{}' and `@code{%@}}'
+@end multitable
+@example
+
+ \input "paper16.ly"
+
+@end example
+By default, LilyPond will use definitions for a 20
+point@footnote{A point is the standard measure of length for
+printing. One point is 1/72.27 inch.} high staff. We want smaller
+output (16 point staff height), so we must import the settings for
+that size, which is done.@example
+
+ \score @{
+
+@end example
+ A mudela file combines music with directions for outputting that
+music. The music is combined with the output directions by putting
+them into a @code{\score} block.
+@example
+
+ \notes
+
+@end example
+ This makes LilyPond ready for accepting notes.
+@example
+
+ \relative c''
+
+@end example
+ As we will see, pitches are combinations of octave, note name and
+chromatic alteration. In this scheme, the octave is indicated by
+using raised quotes (`@code{'}') and ``lowered'' quotes (commas:
+`@code{,}'). The central C is denoted by @code{c'}. The C one octave
+higher is @code{c''}. One and two octaves below the central C is
+denoted by @code{c} and @code{c,} respectively.
+
+For pitches in a long piece you might have to type many quotes. To
+remedy this, LilyPond has a ``relative'' octave entry mode. In this
+mode, octaves of notes without quotes are chosen such that a note is
+as close as possible (graphically, on the staff) to the the preceding
+note. If you add a high-quote an extra octave is added. The lowered
+quote (a comma) will subtract an extra octave. Because the first note
+has no predecessor, you have to give the (absolute) pitch of the note
+to start with.@example
+
+ \sequential @{
+
+@end example
+ What follows is sequential music, i.e.,
+notes that are to be played and printed after each other.@example
+
+ \time 3/4;
+
+@end example
+ This command changes the time signature of the current piece: a 3/4
+sign is printed. This command is also used to generate bar lines in
+the right spots.@example
+
+ \key g;
+
+@end example
+ This command changes the current key to G-major. Although this
+command comes after the @code{\time} command, in the output, the key
+signature comes before the time signature: LilyPond knows about music
+typesetting conventions. @example
+
+ \repeat "volta" 2
+
+@end example
+ This command tells LilyPond that the following piece of music must
+be played twice; @code{"volta"} volta brackets should be used for
+alternatives---if there were any.
+@example
+
+ @{
+
+@end example
+The subject of the repeat is again sequential music. Since
+@code{\sequential} is such a common construct, a shorthand is provided:
+just leave off @code{\sequential}, and the result is the same. @example
+
+ d4
+
+@end example
+ This is a note with pitch @code{d} (determined up to octaves). The
+relative music was started with a @code{c''}, so the real pitch of this
+note is @code{d''}. The @code{4} designates the duration of the note
+(it is a quarter note). @example
+
+ a b
+
+@end example
+These are notes with pitch @code{a} and @code{b}. Because their
+duration is the same as the @code{g}, there is no need to enter the
+duration (You may enter it anyway, eg. @code{a4 b4}) @example
+
+ d4 g, g |
+
+@end example
+ Three more notes. The `@code{|}' character is a `barcheck'. When
+processing the music, LilyPond will verify that barchecks are found at
+the start of a measure. This can help you track down errors.
+
+ So far, no notes were chromatically altered. Here is the first one
+that is: @code{fis}. Mudela by default uses Dutch note names, and
+``Fis'' is the Dutch note name for ``F sharp''. However, there is no
+sharp sign in the output. The program keeps track of key signatures,
+and will only print accidentals if they are needed.
+@example
+
+ c8 d e fis
+
+@end example
+LilyPond guesses were beams can be added to eighth and shorter notes.
+In this case, a beam over 4 eighths is added.
+@example
+
+ c4 d8( )c b a( )b4 c8 b a g |
+
+@end example
+ The next line shows how to make a slur:
+the beginning and ending note of the slur is marked with an opening and
+closing parenthesis respectively. In the line shown above this is
+done for two slurs. Slur markers (parentheses) are between
+the notes.@example
+
+ a4 [b8 a] [g fis]
+
+@end example
+Automatic beaming can be overridden by inserting beam marks
+(brackets). Brackets are put around notes you want beamed.@example
+
+ g2. |
+
+@end example
+A duration with augmentation dot is notated
+with the duration number followed by a period.@example
+
+ @}
+
+@end example
+ This ends the sequential music to be repeated. LilyPond will typeset
+a repeat bar. @example
+
+ cis'4 b8 cis a4 |
+
+@end example
+ This line shows that Lily will print an accidental if that is
+needed: the first C sharp will be printed with an accidental, the
+second one without. @example
+
+ a8-. b-. cis-. d-. e-. fis-.
+
+@end example
+You can enter articulation signs either in a verbose form using a
+shorthand. Here we demonstrate the shorthand: it is formed by a dash
+and the the character for the articulation to use, e.g. `@code{-.}' for
+staccato as shown above. @example
+
+ fis a, r8 cis8
+
+@end example
+
+Rests are denoted by the special notename `@code{r}'. You can also enter
+an invisible rest by using the special notename `@code{s}'.
+@example
+
+ d2.-\fermata
+
+@end example
+ All articulations have a verbose form, like @code{\fermata}. The
+command `@code{\fermata}' is not part of the core of the language (most
+of the other discussed elements are), but it is a shorthand for a more
+complicated description of a fermata. @code{\fermata} names that
+description and is therefore called an @emph{identifier}. @example
+
+ @}
+
+@end example
+
+Here the music ends.
+@example
+
+ \paper @{
+ linewidth = 14.0\cm;
+ @}
+
+@end example
+This specifies a conversion from music to notation output. Most of
+the details of this conversions (font sizes, dimensions, etc.) have
+been taken care of, but to fit the output in this document, it has
+to be smaller. We do this by setting the line width to 14 centimeters
+(approximately 6 inches).
+@example
+
+ @}
+
+@end example
+The last brace ends the @code{\score} block.
+
+There are two things to note here. The format contains musical
+concepts like pitches and durations, instead of symbols and positions:
+the input format tries to capture the meaning of @emph{music}, and not
+notation. Therefore Second, the format tries to be @emph{context-free}:
+a note will sound the same regardless of the current time signature,
+the key, etc.
+
+The purpose of LilyPond is explained informally by the term `music
+typesetter'. This is not a fully correct name: not only does the
+program print musical symbols, it also makes esthetic decisions. All
+symbols and their placement is @emph{generated} from a high-level musical
+description. In other words, LilyPond would be best
+described by `music compiler' or `music to notation compiler'.
+
+@node Lyrics and chords, , , Tutorial
+@section Lyrics and chords
+
+In this section we show how to typeset a song of unknown
+origin.@footnote{The author would welcome information about the origin
+of this song.}.
+
+@example
+\header @{
+ title = "The river is flowing";
+ composer = "Traditional (?)";
+@}
+\include "paper16.ly"
+melody = \notes \relative c' @{
+ \partial 8;
+ g8 |
+ c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
+ c4 c8 d [es () d] c4 | d4 es8 d c4.
+ \bar "|.";
+@}
+
+text = \lyrics @{
+ The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
+ ri -- ver is flo -- wing down to the sea.
+@}
+
+accompaniment =\chords @{
+ r8
+ c2-3- f-3-.7 d-min es4 c8-min r8
+ c2-min f-min7 g-7^3.5 c-min @}
+
+\score @{
+ \simultaneous @{
+% \accompaniment
+ \context ChordNames \accompaniment
+
+ \addlyrics
+ \context Staff = mel @{
+ \property Staff.noAutoBeaming = "1"
+ \property Staff.automaticMelismata = "1"
+ \melody
+ @}
+ \context Lyrics \text
+ @}
+ \midi @{ @}
+ \paper @{ linewidth = 10.0\cm; @}
+@}
+@end example
+
+
+The result would look this@footnote{The titling and font size shown
+may differ, since the titling in this document is not generated by
+@file{ly2dvi}.}.
+
+@center @strong{The river is flowing}
+@center Traditional
+
+@mudela[center]
+\header {
+ title = "The river is flowing";
+ composer = "Traditional (?)";
+}
+\include "paper16.ly"
+melody = \notes \relative c' {
+ \partial 8;
+ g8 |
+ c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
+ c4 c8 d [es () d] c4 | d4 es8 d c4.
+ \bar "|.";
+}
+
+text = \lyrics {
+ The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
+ ri -- ver is flo -- wing down to the sea.
+}
+
+accompaniment =\chords {
+ r8
+ c2-3- f-3-.7 d-min es4 c8-min r8
+ c2-min f-min7 g-7^3.5 c-min }
+
+\score {
+ \simultaneous {
+% \accompaniment
+ \context ChordNames \accompaniment
+
+ \addlyrics
+ \context Staff = mel {
+ \property Staff.noAutoBeaming = "1"
+ \property Staff.automaticMelismata = "1"
+ \melody
+ }
+ \context Lyrics \text
+ }
+ \midi { }
+ \paper { linewidth = 10.0\cm; }
+}
+@end mudela
+
+Again, we will dissect the file line by line.@example
+
+ \header @{
+
+@end example
+Information about the music you are about to typeset goes into a
+@code{\header} block. The information in this block is not used by
+LilyPond, but it is included in the output. @file{ly2dvi} uses this
+information to print titles above the music.
+@example
+
+ title = "The river is flowing";
+ composer = "Traditional (?)";
+@end example
+the @code{\header} block contains assignments. An assignment starts
+with a string. (which is unquoted, in this case). Then comes the
+equal sign `@code{=}'. After the equal sign comes the expression you
+want to store. In this case, you want to put in strings. The
+information has to be quoted here, because it contains spaces. The
+assignment is finished with a semicolon.@example
+
+ \include "paper16.ly"
+
+@end example
+Smaller size for inclusion in a book.@example
+
+ melody = \notes \relative c' @{
+
+@end example
+The structure of the file will be the same as the previous one, a
+@code{\score} block with music in it. To keep things readable, we will
+give names to the different parts of music, and use the names to
+construct the music within the score block.
+
+@example
+
+ \partial 8;
+
+@end example
+
+The piece starts with an anacrusis of one eighth. @example
+
+ c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
+ c4 c8 d [es () d] c4 | d4 es8 d c4.
+ \bar "|.";
+
+@end example
+We use explicit beaming. Since this is a song, we will turn automatic
+beams off, and use explicit beaming where needed.@example
+
+ @}
+
+@end example
+This ends the definition of @code{melody}. Note that there are no
+semicolons after assignments at top level.@example
+
+ text = \lyrics @{
+
+@end example
+Another identifier assignment. This one is for the lyrics.
+Lyrics are formed by syllables that have duration, and not by
+notes. To make LilyPond parse words as syllables, switch it into
+lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics}
+is a shorthand for @code{\sequential @{}. @example
+
+ The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
+ ri- ver is flo- __ wing down to the sea.
+ @}
+
+@end example
+The syllables themselves are separated by spaces. You can get syllable
+extenders by entering `@code{__}', and centered hyphens with
+`@code{-}@code{-}'. We enter the syllables as if they are all quarter notes
+in length (hence the @code{4}), and use a feature to align the
+syllables to the music (which obviously isn't all quarter notes.)
+@example
+
+ accompaniment =\chords @{
+
+@end example
+We'll put chords over the music. There is a special mode (analogous
+to @code{\lyrics} and @code{\notes} mode) where you can give the names
+of the chords you want, instead of the notes comprising the chord.
+@example
+
+ r8
+
+@end example
+There is no accompaniment during the anacrusis.@example
+
+ c2-3- f-3-.7
+
+@end example
+A chord is started by the tonic of the chord. The
+first one lasts a half note. An unadorned note creates a major
+triad, while a minor triad is wanted. @code{3-} modifies the third to
+be small. @code{7} modifies (adds) a seventh, which is small by default
+to create the @code{f a c es} chord. Multiple modifiers must be
+separated by a dot.@example
+
+ d-min es4 c8-min r8
+
+@end example
+Some modifiers have predefined names, eg. @code{min} is the same as
+@code{3-}, so @code{d-min} is a minor @code{d} chord.@example
+
+ c2-min f-min7 g-7^3.5 c-min @}
+
+@end example
+A named modifier @code{min} and a normal modifier @code{7} do not have
+to be separated by a dot. Tones from a chord are removed with chord
+subtractions. Subtractions are started with a caret, and they are
+also separated by dots. In this example, @code{g-7^3.5} produces a
+minor seventh. The brace ends the sequential music. @example
+
+ \score @{
+ \simultaneous @{
+
+@end example
+We assemble the music in the @code{\score} block. Melody, lyrics and
+accompaniment have to sound at the same time, so they should be
+@code{\simultaneous}.@example
+
+ %\accompaniment
+
+@end example
+Chord mode generates notes grouped in @code{\simultaneous} music. If
+you remove the comment sign, you can see the chords in normal
+notation: they will be printed as note heads on a separate
+staff. @example
+
+ \context ChordNames \accompaniment
+
+@end example
+Normally, the notes that you enter are transformed into note heads.
+The note heads alone make no sense, they need surrounding information:
+a key signature, a clef, staff lines, etc. They need @emph{context}. In
+LilyPond, these symbols are created by objects called `interpretation
+context'. Interpretation contexts only exist during a run of
+LilyPond. Interpretation contexts that are for printing music (as
+opposed to playing music) are called `notation context'.
+
+By default, LilyPond will create a Staff contexts for you. If you
+would remove the @code{%} sign in the previous line, you can see that
+mechanism in action.
+
+We don't want default contexts here, because we want names, not note
+heads. An interpretation context can also created upon explicit
+request. The keyword for such a request is @code{\context}. It takes
+two arguments. The first is the name of a interpretation context.
+The name is a string, it can be quoted with double quotes). The
+second argument is the music that should be interpreted in this
+context. For the previous line, we could have written @code{\context
+Staff \accompaniment}, and get the same effect.@example
+
+ \addlyrics
+
+@end example
+The lyrics need to be aligned with the melody. This is done by
+combining both with @code{\addlyrics}. @code{\addlyrics} takes two
+pieces of music (usually a melody and lyrics, in that order) and
+aligns the syllables of the second piece under the notes of the
+first piece. If you would reverse the order, the notes would be
+aligned on the lyrics, which is not very useful. (Besides, it looks
+silly.)@example
+
+ \context Staff = mel @{
+
+@end example
+This is the argument of @code{\addlyrics}. We instantiate a
+@code{Staff} context explicitly: should you chose to remove comment
+before the ``note heads'' version of the accompaniment, the
+accompaniment will be on a nameless staff. The melody has to be on a
+different staff as the accompaniment. This is accomplished by giving
+the melody staff a different name.@example
+
+ \property Staff.noAutoBeaming = "1"
+
+@end example
+An interpretation context has variables that tune its behaviour. One
+of the variables is @code{noAutoBeaming}. If set and non-zero (i.e.,
+true) LilyPond will not try to put automatic beaming on the current
+staff.@example
+
+ \property Staff.automaticMelismata = "1"
+
+@end example
+Similarly, we don't want to print a syllable when there is
+a slur. This sets up the Staff context to signal slurs while
+@code{\addlyrics} is processed. @example
+
+ \melody
+ @}
+
+@end example
+Finally, we put the melody on the current staff. Note that the
+@code{\property} directives and @code{\melody} are grouped in sequential
+music, so the property settings are done before the melody is
+processed. @example
+
+ \context Lyrics \text
+
+@end example
+The second argument of @code{\addlyrics} is the text. The text also
+should not land on a Staff, but on a interpretation context for
+syllables, extenders, hyphens etc. This context is called
+Lyrics.@example
+
+ @}
+
+@end example
+This ends @code{\simultaneous}.@example
+
+ \midi @{ @}
+
+@end example
+This makes the music go to a MIDI file. MIDI is great for
+checking music you enter. You listen to the MIDI file: if you hear
+something unexpected, it's probably a typing error. @code{\midi} is an
+`output definition', a declaration that specifies how to output music
+analogous to @code{\paper @{ @}}.@example
+
+ \paper @{ linewidth = 10.0\cm; @}
+
+@end example
+We also want notation output. The linewidth is short so the piece
+will be set in two lines. @example
+
+ @}
+
+@end example
+End the score block.
+
+@node Piano music, , , Tutorial
+@section Piano music
+
+Our third subject is a piece piano music. The fragment in the input
+file is a piano reduction of the G major Sinfonia by Giovanni Battista
+Sammartini. It was composed around 1740.
+
+@mudela[verbatim]
+
+\include "paper16.ly";
+
+viola = \notes \relative c' \context Voice = viola {
+ <c4-\f g' c>
+ \property Voice.verticalDirection = \down g'8. b,16
+ s1 s2. r4
+ g
+}
+
+oboes = \notes \relative c'' \context Voice = oboe {
+ \stemup s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
+ \grace <e8( g> <d4 f> <c2 e> \times 2/3 { <d8 \< f> <e g> <f a> }
+ <
+ { \times 2/3 { a8 g c } \! c2 }
+ \context Voice = oboeTwo {
+ \stemdown
+ \grace {
+ \property Grace.verticalDirection = \down
+ [f,16 g] }
+ f8 e e2
+ } >
+ \stemboth
+ \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
+ [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
+ [<c16( e> < )e8. g>] <c8 e,>
+}
+
+hoomPah = \notes \transpose c' {
+ c8 \translator Staff = top \stemdown
+ c'8 \translator Staff = bottom \stemup }
+
+hoomPahHoomPah = { [\hoomPah \hoomPah] }
+
+bassvoices = \notes \relative c' {
+ c4 g8. b,16
+ \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah
+ \stemdown [c8 c'8] r4
+ <g d'> r4
+ < {\stemup r2 <e4 c'> <c8 g'> }
+ \context Voice = reallyLow {\stemdown g2 ~ | g4 c8 } >
+}
+
+\score {
+ \context PianoStaff \notes <
+ \context Staff = top < \time 2/2;
+ \context Voice = viola \viola
+ \oboes
+ >
+ \context Staff = bottom < \time 2/2; \clef bass;
+ \bassvoices
+ >
+ >
+ \midi { }
+ \paper {
+ indent = 0.0;
+ linewidth = 15.0 \cm; }
+}
+@end mudela
+
+If it looks like incomprehensible gibberish to you@dots{} Then you are
+right. The author has doctored this example to have as many quirks in
+one system as possible.@example
+viola = \notes \relative c' \context Voice = viola @{
+@end example
+In this example, you can see multiple parts on a staff. Each part is
+associated with one notation context. This notation context handles
+stems and dynamics (among others). The name of this context is
+@code{Voice}. For each part we have to make sure that there is
+precisely one Voice context@footnote{If @code{\context} would not
+have been specified explicitly, three @code{Voice} contexts would be
+created: one for each note in the first chord.}.@example
+<c4-\f g' c>
+@end example
+@code{<} and @code{>} are short hands for @code{\simultaneous @{} and
+@code{@}}. So the expression enclosed in @code{<} and @code{>} is a
+chord. @code{\f} places a forte symbol under the chord.@example
+\property Voice.verticalDirection = \down
+@end example
+@code{verticalDirection} is a property of the voice context. It
+controls the directions of stems, articulations marks and other
+symbols.
+ If @code{verticalDirection} is set to @code{\down}
+(identifier for the integer -1) the stems go down,
+@code{\up} (identifier for the integer 1) makes the stems go up.@example
+ g'8. b,16
+@end example
+Relative octaves work a little differently with chords. The starting
+point for the note following a chord is the first note of the chord. So
+the @code{g} gets an octave up quote: it is a fifth above the starting
+note of the previous chord (the central C).
+
+@example
+s1 s2. r4
+@end example
+@code{s} is a `spacer' rest. It does not print anything, but it does
+have the duration of a rest. @example
+oboes = \notes \relative c'' \context Voice = oboe @{
+@end example
+Now comes a part for two oboes. They play homophonically, so we
+print the notes as one voice that makes chords. Again, we insure that
+these notes are indeed processed by precisely one context with
+@code{\context}.@example
+\stemup s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
+@end example
+@code{\stemup} is an identifier reference. It is shorthand for
+@code{\property Voice.verticalDirection = \up}. If possible, you
+should use predefined identifiers like these for setting properties.
+Your input will be less dependent upon the implementation of LilyPond.
+@example
+\grace <e8( g> < )d4 f> <c2 e>
+@end example
+@code{\grace} introduces grace notes. It takes one argument, in this
+case a chord. The slur started on the @code{e} of the chord
+will be attached to the next note.@footnote{LilyPond will squirm
+about unended Slurs. In this case, you can ignore the warning}.
+@example
+\times 2/3
+@end example
+Tuplets are made with the @code{\times} keyword. It takes two
+arguments: a fraction and a piece of music. The duration of the
+second argument is multiplied by the first argument. Triplets make
+notes occupy 2/3 of their notated duration, so in this case the
+fraction is 2/3. @example
+@{ <d8 \< f> <e g> <f a> @}
+@end example
+The piece of music to be `tripletted' is sequential music containing
+three notes. On the first chord (the @code{d}), a crescendo is started
+with @code{\<}.@example
+<
+@end example
+At this point, the homophonic music splits into two rhythmically
+different parts. We can't use a sequence of chords to enter this, so
+we make a `chord' of sequences to do it. We start with the upper
+voice, which continues with upward stems: @example
+ @{ \times 2/3 @{ a8 g c @} \! c2 @}
+@end example
+The crescendo is ended at the half note by the escaped exclamation
+mark `@code{\!}'. @example
+\context Voice = oboeTwo @{
+\stemdown
+@end example
+We can't share stems with the other voice, so we have to create a new
+@code{Voice} context. We give it the name @code{oboeTwo} to distinguish
+it from the other context. Stems go down in this voice. @example
+\grace @{
+@end example
+When a grace section is processed, a @code{Grace} context is
+created. This context acts like a miniature score of its own. It has
+its own time bookkeeping, and you can make notes, beams, slurs
+etc. Here fiddle with a property and make a beam. The argument of
+@code{\grace} is sequential music.@example
+\property Grace.verticalDirection = \down
+[f,16 g] @}
+@end example
+Normally, grace notes are always stem up, but in this case, the upper
+voice interferes. We set the stems down here.
+
+As far as relative mode is concerned, the previous note is the
+@code{c'''2} of the upper voice, so we have to go an octave down for
+the @code{f}.
+@example
+
+ f8 e e2
+@} >
+@end example
+This ends the two-part section. @example
+\stemboth
+\grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
+@end example
+@code{\stemboth} ends the forced stem directions. From here, stems are
+positioned as if it were single part music.
+
+The bass has a little hoom-pah melody to demonstrate parts switching
+between staffs. Since it is repetitive, we use identifiers:@example
+hoomPah = \notes \transpose c' @{
+@end example
+Transposing can be done with @code{\transpose}. It takes two
+arguments; the first specifies what central C should be transposed to.
+The second is the to-be-transposed music. As you can see, in this
+case, the transposition is a no-op. Central C is transposed to
+central C.
+
+The purpose of this no-op is circumventing relative mode. Relative
+mode can not be used in conjunction with transposition, so relative
+mode will leave the contents of @code{\hoomPah} alone. We can use it
+without having to worry about getting the motive in a wrong
+octave@footnote{@code{hoomPah = \relative @dots{}} would be more
+intuitive to use, but that would not let me plug @code{\transpose}
+:-).}.@example
+c8 \translator Staff = top \stemdown
+@end example
+We assume that the first note will be put in the lower staff. After
+that note we switch to the upper staff with @code{\translator}. To be
+precise, this @code{\translator} entry switches the current voice to a
+@code{Staff} named @code{top}. So we have to name the upper staff
+`@code{top}'. Stem directions are set to avoid interfering with the
+oboe voices. @example
+c'8 \translator Staff = bottom \stemup @}
+@end example
+Then a note is put on the upper staff, and we switch again. We have
+to name the lower staff `@code{bottom}'. @example
+hoomPahHoomPah = @{ [\hoomPah \hoomPah] @}
+@end example
+Put two of these fragments in sequence, and beam them.@example
+bassvoices = \notes \relative c' @{
+c4 g8. b,16
+\hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah
+\hoomPahHoomPah
+@end example
+Entering the bass part is easy: the hoomPahHoomPah variable is
+referenced four times.@example
+\context Voice = reallyLow @{\stemdown g2 ~ | g4 c8 @} >
+@end example
+After skipping some lines, we see @code{~}. This mark makes ties.@example
+\context PianoStaff
+@end example
+For piano music, a special context is needed to get cross staff
+beaming right. It is called @code{PianoStaff}.@example
+\context Staff = bottom < \time 2/2; \clef bass;
+@end example
+The bottom staff must have a different clef.@example
+indent = 0.0;
+@end example
+To make some more room on the line, the first (in this case the only)
+line is not indented. The line still looks is very cramped, but that is due
+to the format of this tutorial.
+
+This example shows a lot of features, but the organisation isn't
+perfect. For example, it would be less confusing to use a chord
+containing sequential music than a sequence of chords for the oboe
+parts.
+
+[TODO: demonstrate Hara-Kiri with scores and part extraction.]
+
+@node end of tutorial, , , Tutorial
+@section The end
+
+That's all folks. From here, you can either try fiddling with input
+files, or you can read the reference manual.
+
+
+
+
+
+
+@node Reference Manual, , , Top
+@menu
+* Overview:: Overview
+* Top level:: Top level
+* notenames:: notenames
+* Lexical conventions:: Lexical conventions
+* notelang:: notelang
+* modes:: modes
+* Types:: Types
+* Music expressions:: Music expressions
+* Atomic music expressions:: Atomic music expressions
+* atomicmusic:: atomicmusic
+* notedesc:: notedesc
+* barlines:: barlines
+* manualbeam:: manualbeam
+* tremolo:: tremolo
+* Compound music expressions:: Compound music expressions
+* compoundmusic:: compoundmusic
+* relative:: relative
+* sec-repeats:: sec-repeats
+* transpose:: transpose
+* Ambiguities:: Ambiguities
+* Notation conversion specifics:: Notation conversion specifics
+* autobeam:: autobeam
+* lyricprint:: lyricprint
+* Notation Contexts:: Notation Contexts
+* contextselection:: contextselection
+* Notation output definitions:: Notation output definitions
+* output:: output
+* paper:: paper
+* papervars:: papervars
+* contextdefs:: contextdefs
+* engravers:: engravers
+* Sound output:: Sound output
+* midilist:: midilist
+* Pre-defined Identifiers:: Pre-defined Identifiers
+* Running LilyPond:: Running LilyPond
+@end menu
+
+@chapter Reference Manual
+
+
+
+@node Overview, , , Reference Manual
+@section Overview
+
+This document@footnote{This document has been revised for
+LilyPond 1.2.} describes the the GNU LilyPond input format, which is
+a language for defining music. We call this language @emph{Music
+Definition Language} or @emph{Mudela}, for short.@footnote{If anybody
+comes up with a better name, we'd gladly take this. Gourlay already
+uses a ``Musical Description Language,'' ISO standard 10743 defines a
+``Standard Music Description Language.'' We're not being original
+here.}
+
+@emph{Mudela} is a language that allows you to
+
+@itemize @bullet
+ @item create musical expressions by combining pitches, durations
+ @item output those musical expressions to various formats
+ @item give those musical expressions and output definitions names, so
+ you can enter them in manageable chunks.
+@end itemize
+
+@emph{Mudela} aims to define a piece of music completely, both from
+typesetting and from a performance point of view.
+
+
+
+@node Top level, , , Reference Manual
+@section Top level
+
+@cindex top level
+
+This section describes what you may enter at top level.
+
+
+
+@cindex score definition
+
+The output is generated combining a music expression with an output
+definition. A score block has the following syntax:
+
+@example
+ \score @{ @var{musicexpr} @var{outputdefs} @}
+@end example
+
+@var{outputdefs} are zero or more output definitions. If no output
+definition is supplied, the default @code{\paper} block will be added.
+
+
+
+@cindex header
+
+@keyindex{header}
+
+The syntax is
+
+@example
+ \header @{ @var{key1} = @var{val1};
+ @var{key2} = @var{val2}; @dots{} @}
+@end example
+
+A header describes the file's contents. It can also appear in a
+@code{\score} block. Tools like @code{ly2dvi}@indexcode{ly2dvi} can use this
+information for generating titles. Key values that are used by
+@code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
+metre, arranger, piece and tagline.
+
+It is customary to put the @code{\header} at the top of the file.
+
+
+@node notenames, , , Reference Manual
+
+Note name tables can be specified using
+
+@example
+ \notenames@keyindex{notenames}
+ @{ @var{assignmentlist} @}
+@end example
+
+@var{assignmentlist} is a list of definitions of the form
+
+@example
+ @var{name} = @var{pitch}
+@end example
+
+Chord modifiers can be set analogously, with
+@code{\chordmodifiers}@keyindex{chordmodifiers}.
+
+A @code{\paper} block at top level sets the default paper block. A
+@code{\midi} block at top level works similarly.
+
+
+
+LilyPond contains a Scheme interpreter (the GUILE library) for
+internal use. The following commands access the interpreter
+directly.
+
+@example
+ \scm @keyindex{scm} @var{scheme} ;
+@end example
+
+Evaluates the specified Scheme code. The result is discarded.
+
+@example
+\scmfile@keyindex{scmfile} @var{filename};
+@end example
+
+Reads Scheme code from the specified file. The result is discarded.
+
+
+
+Identifier assignments may appear at top level. Semicolons are
+forbidden after top level assignments.
+
+
+
+@node Lexical conventions, , , Reference Manual
+@section Lexical conventions
+
+@cindex lexical conventions
+
+
+
+@cindex comment
+
+@indexcode{%}
+
+
+A one line comment is introduced by a `@code{%}' character.
+Block comments are started by `@code{%@{}' and ended by `@code{%@}}'.
+They cannot be nested.
+
+
+
+@cindex keyword
+
+Keywords start with a backslash, followed by a number of lower case
+alphabetic characters. These are all the keywords.
+
+@example
+ \accepts
+ \addlyrics
+ \alternative
+ \bar
+ \breathe
+ \cadenza
+ \chordmodifiers
+ \chords
+ \clef
+ \cm
+ \consists
+ \consistsend
+ \context
+ \duration
+ \font
+ \grace
+ \header
+ \in
+ \key
+ \keysignature
+ \lyrics
+ \mark
+ \midi
+ \mm
+ \musicalpitch
+ \name
+ \notenames
+ \notes
+ \paper
+ \partial
+ \penalty
+ \property
+ \pt
+ \relative
+ \remove
+ \repeat
+ \repetitions
+ \scm
+ \scmfile
+ \score
+ \script
+ \sequential
+ \shape
+ \simultaneous
+ \skip
+ \spanrequest
+ \tempo
+ \textscript
+ \time
+ \times
+ \translator
+ \transpose
+ \type
+@end example
+
+
+
+
+@cindex integer
+
+Formed from an optional minus sign followed by digits. Arithmetic
+operations cannot be done with integers, and integers cannot be mixed
+with reals.
+
+
+
+@cindex real
+
+
+Formed from an optional minus sign and a sequence of digits followed
+by a @emph{required} decimal point and an optional exponent such as
+@code{-1.2e3}. Reals can be built up using the usual operations:
+`@code{+}@indexcode{+}', `@code{-}@indexcode{-}', `@code{*}@indexcode{*}', and
+`@code{/}@indexcode{/}', with parentheses for grouping.
+
+A real constant can be followed by one of the dimension
+keywords:
+@cindex dimensions
+ @code{\mm}@keyindex{mm},
+@code{\pt}@keyindex{pt}, @code{\in}@keyindex{in}, or
+@code{\cm}@keyindex{cm}, for millimeters, points, inches and
+centimeters, respectively. This converts the number to a real that
+is the internal representation of dimensions.
+
+
+
+@cindex string
+
+
+Begins and ends with the `@code{"}' character. To include a `@code{"}'
+character in a string write `@code{\"}'. Various other backslash
+sequences have special interpretations as in the C language. A
+string that contains no spaces can be written without the quotes.
+See section XREF-modes [FIXME] for details on unquoted strings; their
+interpretation varies depending on the situation. Strings can be
+concatenated with the `@code{+}' operator.
+
+
+The tokenizer accepts the following commands. They can appear
+anywhere.
+
+@example
+ \maininput@keyindex{maininput}
+@end example
+
+This command is used in init files to signal that the user file must
+be read. This command cannot be used in a user file.
+
+@example
+ \include@keyindex{include} @var{file}
+@end example
+
+Include @var{file}. The argument @var{file} may be a quoted string (an
+unquoted string will not work here!) or a string identifier. The full
+filename including the @file{.ly} extension must be given,
+
+@example
+ \version@keyindex{version} @var{string} ;
+@end example
+
+Specify the version of LilyPond that a file was written for. The
+argument is a version string in quotes, for example @code{"1.2.0"}.
+This is used to detect invalid input, and to aid
+@code{convert-mudela}, a tool that automatically upgrades input files.
+
+
+
+@cindex other languages
+
+@node notelang, , , Reference Manual
+
+Note name definitions have been provided in various languages.
+Simply include the language specific init file. For example:
+`@code{\include "english.ly"}'. The available language files and the
+names they define are:
+
+@quotation
+
+@example
+ Note Names sharp flat
+nederlands.ly c d e f g a bes b -is -es
+english.ly c d e f g a bf b -s/-sharp -f/-flat
+deutsch.ly c d e f g a b h -is -es
+norsk.ly c d e f g a b h -iss/-is -ess/-es
+svenska.ly c d e f g a b h -iss -ess
+italiano.ly do re mi fa sol la sid si -d -b
+catalan.ly do re mi fa sol la sid si -d/-s -b
+@end example
+
+@end quotation
+
+Pitch names can be redefined using the
+@code{\notenames}@keyindex{notenames} command, see
+subsection XREF-notenames [FIXME].
+
+
+
+@cindex lexical modes
+
+@cindex modes
+
+@node modes, , , Reference Manual
+
+To simplify entering notes, lyrics, and chords, @emph{Mudela} has three
+special input modes on top of the default mode. In each mode, words
+are identified on the input. If @code{"word"} is encountered, it is
+treated as a string. If @code{\word} is encountered, it is treated as
+a keyword or as an identifier. The behavior of the modes differs in
+two ways: Different modes treat unquoted words differently, and
+different modes have different rules for deciding what is a word.
+
+@table @samp
+ @item Normal mode.
+@cindex mode!normal
+
+ At the start of parsing, @emph{Mudela} is in Normal mode. In Normal
+ mode, a word is an alphabetic character followed by alphanumeric
+ characters. If @code{word} is encountered on the input it is
+ treated as a string.
+
+ @item Note mode.
+@cindex mode!note
+
+ Note mode is introduced by the keyword
+ @code{\notes}@keyindex{notes}. In Note mode, words can only
+ contain alphabetic characters. If @code{word} is encountered,
+ LilyPond first checks for a notename of @code{word}. If no
+ notename is found, then @code{word} is treated as a string.
+
+ Since combinations of numbers and dots are used for indicating
+ durations, it is not possible to enter real numbers in this mode.
+
+ @item Chord mode.
+@cindex mode!chord
+
+ Chord mode is introduced by the keyword
+ @code{\chords}@keyindex{chords}. It is similar to Note mode, but
+ words are also looked up in a chord modifier table (containing
+ @code{maj}, @code{dim}, etc).
+
+ Since combinations of numbers and dots are used for indicating
+ durations, you can not enter real numbers in this mode. Dashes
+ and carets are used to indicate chord additions and subtractions,
+ so scripts can not be entered in Chord mode.
+
+ @item Lyrics mode.
+@cindex mode!lyric
+
+ Lyrics mode is introduced by the keyword
+ @code{\lyrics}@keyindex{lyrics}. This mode has rules that make it
+ easy to include punctuation and diacritical marks in words. A
+ word in Lyrics mode begins with: an alphabetic character,
+ `@code{_}', `@code{?}', `@code{!}', `@code{:}', `@code{'}', the
+ control characters @code{^A} through @code{^F}, @code{^Q} through
+ @code{^W}, @code{^Y}, @code{^^}, any 8-bit character with ASCII code
+ over 127, or a two-character combination of a backslash followed
+ by one of `@code{`}', `@code{'}', `@code{"}', or
+ `@code{^}'.@footnote{The purpose of Lyrics mode is that you can
+ enter lyrics in TeX format or a standard encoding without
+ needing quotes. The precise definition of this mode indeed is
+ ludicrous. This will remain so until the authors of LilyPond
+ acquire a deeper understanding of character encoding, or someone
+ else steps up to fix this.}
+
+ 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{@}}', which may be confusing if
+ you thought the closing brace was going to terminate Lyrics
+ mode.@footnote{LilyPond will issue a warning, though.} Any
+ `@code{_}' characters which appear in an unquoted word are
+ converted to spaces. This provides a mechanism for introducing
+ spaces into words without using quotes. Quoted words can also be
+ used in Lyrics mode to specify words that cannot be written with
+ the above rules. Here are some examples. Not all of these words
+ are printable by TeX.
+
+
+ @quotation
+
+@example
+Ah! % a word
+2B_||_!2B % not a word because it starts with a digit
+``Hello'' % not a word because it starts with `
+_ _ _ _ % 4 words, each one a space
+@end example
+
+ @end quotation
+
+ Since combinations of numbers and dots are used for indicating
+ durations, you can not enter real numbers in this mode.
+@end table
+
+It is possible to create words that break the rules by prefixing them
+with the dollar sign `@code{$}@indexcode{$}'. Regardless of the context, a
+word beginning with `@code{$}' extends until the next white space
+character. Such words can contain numbers (even in Note mode), or
+other forbidden characters. The dollar sign can be used to create
+and access identifiers that could not otherwise be used.@footnote{Use
+of `@code{$}' hampers readability and portability to future LilyPond
+versions, thus the use of the dollar sign is discouraged.}
+
+
+
+@node Types, , , Reference Manual
+@section Types
+
+@cindex types and identifiers
+
+@emph{Mudela} has a limited set of types:
+
+@itemize @bullet
+ @item integers
+ @item reals
+ @item strings
+ @item music expressions
+ @item durations of notes and rests (specified with
+ @code{\notenames}@keyindex{notenames})
+ @item note name tables
+ @item context definitions, part of output definitions. See
+ section XREF-contextdefs [FIXME] for more information
+ @item output definitions (like @code{\paper}@keyindex{paper} blocks
+ and @code{\midi}@keyindex{midi} blocks)
+ @item score definitions (@code{\score}@keyindex{score} blocks)
+@end itemize
+
+Type is a syntactical property: @emph{Mudela} has no real type system,
+so there is no support for generic expressions, functions, or user
+defined types. For the same reason, it is not possible to mix reals
+and integers in arithmetic expressions, and ``type
+errors''
+@cindex type error
+ (e.g., using a string identifier to
+initialize a @code{\paper}@keyindex{paper} block) will yield a ``parse
+error''.
+
+Identifiers allow objects to be assigned to names. To assign an
+identifier, you use `@var{name}=@var{value}' and to refer to an
+identifier, you preceed its name with a backslash:
+`@code{\}@var{name}'. Identifier assignments must appear at top level
+in the @emph{Mudela} file. Semicolons are forbidden after assignments
+appearing at top level but they are obligatory after assignments
+appearing in the @code{\paper} block, see Section XREF-paper [FIXME].
+
+@var{value} is any of the types listed above.
+
+An identifier can be created with any string for its name, but you
+will only be able to refer to identifiers whose names begin with a
+letter, being entirely alphanumeric. It is impossible to refer to an
+identifier whose name is the same as the name of a keyword.
+
+The right hand side of an identifier assignment is parsed completely
+before the assignment is done, so it is allowed to redefine an
+identifier in terms of its old value, e.g.
+
+@example
+ foo = \foo * 2.0
+@end example
+
+When an identifier is referenced, the information it points to is
+copied. Therefore it only makes sense to put identifiers for
+translators, output definitions, and @code{\score}@keyindex{score}
+blocks as the first item in a block. For this reason, if you
+reference a @code{\foo} variable in a @code{\foo} block, it must be the
+first item in the list following @code{\foo}.@footnote{@code{\paper@{\one
+\two@}} does not make sense, because the information of @code{\two}
+would overwrite the information of @code{\one}, thereby making the
+reference to the first identifier useless.}
+
+
+
+@node Music expressions, , , Reference Manual
+@section Music expressions
+
+@cindex music expressions
+
+Music in @emph{Mudela} is entered as a music expression. Notes, rests,
+lyric syllables are music expressions (the atomic
+expressions)
+@cindex atomic music expressions
+, and you can combine
+music expressions to form new ones. This example forms a compound
+expressions out of the quarter @code{c} note and a @code{d}
+note:
+
+@example
+\sequential @{ c4 d4 @}
+@end example
+
+The meaning of this compound expression is to play the `@code{c}'
+first, and then the `@code{d}' (as opposed to playing them
+simultaneously, for instance).
+
+Atomic music expression are discussed in
+subsection XREF-atomicmusic [FIXME]. Compound music expressions are
+discussed in subsection XREF-compoundmusic [FIXME].
+
+
+
+@node Atomic music expressions, , , Reference Manual
+@section Atomic music expressions
+@node atomicmusic, , , Reference Manual
+
+
+
+@cindex pitch
+
+@cindex duration
+
+
+The syntax for pitch specification is
+
+
+@example
+ \musicalpitch@keyindex{musicalpitch} @{ @var{octave} @var{note} @var{shift} @}
+@end example
+
+@var{octave} is specified by an integer, zero for the octave
+containing middle C. @var{note} is a number from 0 to 7, with 0
+corresponding to C and 7 corresponding to B. The shift is zero for a
+natural, negative to add flats, or positive to add sharps.
+
+In Note and Chord mode, pitches may be designated by names. See
+section XREF-notelang [FIXME] for pitch names in different languages.
+
+The syntax for duration specification is
+
+@example
+ \duration@keyindex{duration}
+ @{ @var{length} @var{dotcount} @}
+@end example
+
+@var{length} is the negative logarithm (base 2) of the duration:
+1 is a half note, 2 is a quarter note, 3 is an eighth
+note, etc. The number of dots after the note is given by
+@var{dotcount}.
+
+In Note, Chord, and Lyrics mode, durations may be designated by
+numbers and dots. See Section XREF-notelang [FIXME] for details.
+
+
+@node notedesc, , , Reference Manual
+
+@cindex note specification
+
+@cindex pitches
+
+@cindex entering notes
+
+A note specification has the form
+
+@example
+ @var{pitch}[@var{octavespec}][!][?][@var{duration}]
+@end example
+
+The pitch of the note is specified by the note's name.
+
+
+The default names are the Dutch note names. The notes are specified
+by the letters `@code{c}' through `@code{b}', where `@code{c}' is an
+octave below middle C and the letters span the octave above that C.
+In Dutchcindex(notenames!Dutch), a sharp is formed by adding
+`@code{-is}' to the end of a pitch name. A flat is formed by adding
+`@code{-es}'. Double sharps and double flats are obtained by adding
+`@code{-isis}' or `@code{-eses}'. `@code{aes}' and `@code{ees}' are
+contracted to `@code{as}' and `@code{es}' in Dutch, but both forms will
+be accepted.
+
+LilyPond has predefined sets of notenames for various languages. See
+section XREF-notelang [FIXME] for details.
+
+
+The optional octave specification takes the form of a series of
+single quote (`@code{'}@indexcode{'}') characters or a series of comma
+(`@code{,}@indexcode{,}') characters. Each @code{'} raises the pitch by one
+octave; each @code{,} lowers the pitch by an octave.
+
+@mudela[fragment,verbatim,center]
+ c' d' e' f' g' a' b' c''
+@end mudela
+
+@mudela[fragment,verbatim,center]
+ cis' dis' eis' fis' gis' ais' bis'
+@end mudela
+
+@mudela[fragment,verbatim,center]
+ ces' des' es' fes' ges' as' bes'
+@end mudela
+
+@mudela[fragment,verbatim,center]
+ cisis' eisis' gisis' aisis' beses'
+@end mudela
+
+@mudela[fragment,verbatim,center]
+ ceses' eses' geses' ases' beses'
+@end mudela
+
+Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond
+will determine what accidentals to typeset depending on the key and
+context. A reminder accidental
+@cindex reminder accidental
+ can be
+forced by adding an exclamation mark `@code{!}' after the pitch. A
+cautionary accidental,
+@cindex cautionary accidental
+ i.e., an
+accidental within parentheses can be obtained by adding the question
+mark `@code{?}@indexcode{?}' after the pitch.
+
+@mudela[fragment,verbatim,center]
+ cis' d' e' cis' c'? d' e' c'!
+@end mudela
+
+
+@cindex duration
+
+Durations are entered as their reciprocal values. For notes longer
+than a whole note, use identifiers.
+
+@quotation
+
+@example
+c'\longa c'\breve
+c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
+@end example
+
+@end quotation
+
+@quotation
+
+@mudela[]
+\score {
+ \notes \relative c'' {
+ a\longa a\breve
+ a1 a2 a4 a8 a16 a32 a64 a64
+ }
+ \paper {
+ loose_column_distance = 2.5 * \interline;
+ linewidth = -1.0;
+ \translator {
+ \type "Score_engraver";
+ \name "Score";
+ \consists "Note_heads_engraver";
+ \consists "Stem_engraver";
+ \consists "Rhythmic_column_engraver";
+ }
+ }
+}
+@end mudela
+@end quotation
+
+@quotation
+
+@example
+r\longa r\breve
+r1 r2 r4 r8 r16 r32 r64 r64
+@end example
+
+@end quotation
+
+@quotation
+
+@mudela[]
+\score {
+ \notes \relative c'' {
+ r\longa r\breve
+ r1 r2 r4 r8 r16 r32 r64 r64
+ }
+ \paper {
+ loose_column_distance = 2.5 * \interline;
+ linewidth = -1.0;
+ \translator {
+ \type "Score_engraver";
+ \name "Score";
+ \consists "Rest_engraver";
+ \consists "Stem_engraver";
+ \consists "Rhythmic_column_engraver";
+ }
+ }
+}
+@end mudela
+@end quotation
+
+If the duration is omitted then it is set equal to the previous
+duration. If there is no previous duration, a quarter note is
+assumed. The duration can be followed by a dot (`@code{.}@indexcode{.}')
+to obtain dotted note lengths.
+
+@mudela[fragment,verbatim,center]
+ a'4. b'4.
+@end mudela
+
+You can alter the length of duration by writing
+`@code{*}@var{fraction}' after it. This will not affect the
+appearance of note heads or rests.
+
+
+Rests are entered like notes, with note name `@code{r}@indexcode{r}',
+or `@code{R}@indexcode{R}'. There is also a note name `@code{s}@indexcode{s}',
+which produces a space of the specified duration.
+`@code{R}' is specifically meant for entering parts: the @code{R} rest
+can expand to fill a score with rests, or it can be printed as a
+single multimeasure rest.
+
+
+@cindex lyrics expressions
+
+Syllables are entered like notes, with pitches replaced by text. For
+example, `@code{Twin-4 kle4 twin-4 kle4}' enters four syllables, each
+with quarter note duration. Note that the hyphen has no special
+meaning for lyrics, and does not introduce special symbols. See
+section XREF-modes [FIXME] for a description of what is interpreted as
+lyrics.
+
+Spaces can be introduced into a lyric either by using quotes
+(`@code{"}') or by using an underscore without quotes: `@code{He_could4
+not4}'. All unquoted underscores are converted to spaces. Printing
+lyrics is discussed in section XREF-lyricprint [FIXME].
+
+
+
+@cindex properties
+
+@example
+ \property@keyindex{property}
+ @var{contextname}.@var{propname} = @var{value}
+@end example
+
+Sets the @var{propname} property of the context @var{contextname} to
+the specified @var{value}. All three arguments are strings.
+Depending on the context, it may be necessary to quote the strings or
+to leave space on both sides of the dot.
+
+
+
+@cindex translator switches
+
+@example
+ \translator@keyindex{translator}
+ @var{contexttype} = @var{name}
+@end example
+
+A music expression indicating that the context which is a direct
+child of the a context of type @var{contexttype} should be shifted to
+a context of type @var{contexttype} and the specified name.
+
+Usually this is used to switch staffs in Piano music, e.g.
+
+@example
+ \translator Staff = top @var{Music}
+@end example
+
+
+
+@cindex commands
+
+Commands are music expressions that have no duration.
+
+
+@example
+
+ @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;}
+@end example
+
+Change the key signature. @var{type} should be
+@code{\major}@keyindex{major} or @code{\minor}@keyindex{minor} to get
+@var{pitch}-major or @var{pitch}-minor, respectively. The second
+argument is optional; the default is major keys. The @var{\context}
+argument can also be given as an integer, which tells the number of
+semitones that should be added to the pitch given in the subsequent
+@code{\key}@keyindex{key} commands to get the corresponding major key,
+e.g., @code{\minor}@keyindex{minor} is defined as 3. The standard
+mode names @code{\ionian}@keyindex{ionian},
+@code{\locrian}@keyindex{locrian}, @code{\aeolian}@keyindex{aeolian},
+@code{\mixolydian}@keyindex{mixolydian}, @code{\lydian}@keyindex{lydian},
+@code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian}
+are also defined.
+
+@example
+
+ @code{\keysignature}@keyindex{keysignature} @var{pitchseq} @code{;}
+@end example
+
+Specify an arbitrary key signature. The pitches from @var{pitch} will
+be printed in the key signature in the order that they appear on the
+list.
+
+
+@example
+ \mark@keyindex{mark} @var{unsigned};
+ \mark @var{string};
+@end example
+
+Prints a mark over or under (depending on the
+@code{markDirection}@indexcode{markDirection} property) the staff. You must add
+@code{Mark_engraver}@indexcode{Mark_engraver} to either the Score or Staff context for
+this to work.
+
+@node barlines, , , Reference Manual
+
+@example
+ \bar@keyindex{bar} @var{bartype};
+@end example
+
+This is a request to print a special bar symbol. It replaces the
+regular bar symbol with a special
+symbol. The argument @var{bartype} is a string which specifies the
+kind of bar to print. Options are @code{":|"}
+@cindex "|A@@@code{:|}
+,
+@code{"|:"}
+@cindex "|B@@@code{|:}
+, @code{":|:"}
+@cindex "|C@@@code{:|:}
+,
+@code{"||"}
+@cindex "|D@@@code{||}
+, @code{"|."}
+@cindex "|E@@@code{|.}
+,
+@code{".|"}
+@cindex "|F@@@code{.|}
+, and @code{".|."}
+@cindex "|G@@@code{.|.}
+.
+These produce, respectively, a right repeat, a left repeat, a double
+repeat, a double bar, a start bar, an end bar, and a thick double
+bar. If @var{bartype} is set to @code{"empty"} then nothing is
+printed, but a line break is allowed at that spot.
+
+You are encouraged to use @code{\repeat} for repetitions.
+See section XREF-sec-repeats [FIXME].
+
+
+
+@example
+ \cadenza@keyindex{cadenza} @var{togglevalue} @code{;}
+@end example
+
+Music expression that toggles the automatic generation of bar lines.
+If @var{togglevalue} is 1, bar line generation is turned off. If
+@var{togglevalue} is 0, a bar line is immediately printed and
+automatic bar generation is turned on.
+
+@example
+
+ \time@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;}
+@end example
+
+Change the time signature. The default time signature is 4/4.
+The time signature is used to generate bar lines.
+
+@example
+
+ \tempo@keyindex{tempo} @var{duration} = @var{perminute} @code{;}
+@end example
+
+Used to specify the tempo. For example, `@code{\tempo 4 = 76;}'
+requests output with 76 quarter notes per minute.
+
+@example
+
+ \partial@keyindex{partial} @var{duration} @code{;}
+@end example
+
+@cindex anacrusis
+
+@cindex upstep
+
+This creates an incomplete measure (anacrusis, upbeat) at the start of
+the music, e.g., `@code{\partial 8*2;}' creates a starting measure
+lasting two eighth notes.
+
+@example
+
+ @code{|}@indexcode{|}
+@cindex bar check
+
+@end example
+
+@cindex shorten measures
+
+@cindex upstep
+
+`@code{|}' is a barcheck. Whenever a barcheck is encountered during
+interpretation, a warning message is issued if it doesn't fall at a
+measure boundary. This can help you finding errors in the input.
+The beginning of the measure will be relocated, so this can also
+be used to shorten measures.
+
+
+@example
+
+ \penalty@keyindex{penalty} @var{int} @code{;}
+@end example
+
+Discourage or encourage line breaks. See identifiers
+@code{\break}@keyindex{break} and @code{\nobreak}@keyindex{nobreak} in
+section [on identifiers] [FIXME].
+
+@example
+
+ \clef@keyindex{clef} @var{clefname} @code{;}
+@end example
+
+Music expression that sets the current clef. The argument is a
+string which specifies the name of the clef. Several clef names are
+supported. If `@code{_8}' or `@code{^8}' is added to the end of a clef
+name, then the clef lowered or raised an octave will be generated.
+Here are the supported clef names with middle C shown in each
+clef:
+
+@quotation
+
+@mudela[]
+\score {
+ \notes {
+ \cadenza 1;
+ %\property Voice.textStyle = typewriter
+ \clef subbass; c'4-"\kern -5mm subbass"
+ \clef bass; c'4^"\kern -2mm bass"
+ \clef baritone; c'4_"\kern -5mm baritone"
+ \clef varbaritone; c'4^"\kern -6mm varbaritone"
+ \clef tenor; c'4_"\kern -3mm tenor"
+ \clef "G_8"; c'4^"\kern -2mm G\\_8"
+ }
+ \paper {
+ linewidth = 4.5 \in;
+ }
+}
+@end mudela
+@end quotation
+
+@quotation
+
+@mudela[]
+\score {
+ \notes {
+ \cadenza 1;
+ \clef alto; c'4_"\kern -2mm alto"
+ \clef mezzosoprano; c'4^"\kern -9mm mezzosoprano"
+ \clef soprano; c'4_"\kern -6mm soprano"
+ \clef treble; c'4^"\kern -4mm treble"
+ \clef french; c'4_"\kern -4mm french"
+ }
+ \paper {
+ linewidth = 4.5 \in;
+ }
+}
+@end mudela
+@end quotation
+
+The three clef symbols can also be obtained using the names `@code{G}',
+`@code{C}' or `@code{F}', optionally followed by an integer which
+indicates at which note line the clef is located. An as example, the
+@code{mezzosoprano} clef can also be given as `@code{C2}'.
+
+@example
+
+ \skip@keyindex{skip} @var{duration} @code{;}
+@end example
+
+Skips the amount of time specified by @var{duration}. If no other
+music is played, a gap will be left for the skipped time with no
+notes printed. It works in Note Mode or Lyrics Mode. In Note mode,
+this has the same effect as the space rest `@code{s}'.
+
+
+@cindex beams
+
+@node manualbeam, , , Reference Manual
+
+A beam is specified by surrounding the beamed notes with brackets
+`@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'.
+
+@mudela[fragment,verbatim,center]
+ [a'8 a'] [a'16 a' a' a']
+@end mudela
+
+Some more elaborate constructions:
+
+@mudela[fragment,verbatim,center]
+ [a'16 <a' c''> c'' <a' c''>]
+ \times 2/3 { [e'8 f' g'] }
+@end mudela
+
+Beaming can be generated automatically; see section XREF-autobeam [FIXME].
+
+To place tremolo marks
+@cindex tremolo beams
+ between two notes, begin
+with `@code{[:}@var{length}' and end with `@code{]}'. Tremolo marks
+will appear instead of beams. Putting more than two notes in such a
+construction will produce odd effects. To create tremolo beams on a
+single note, simply attach `@code{:}@var{length}' to the note itself
+(see also section XREF-tremolo [FIXME]).
+
+@mudela[fragment,verbatim,center]
+ [:16 e'1 g'] [:8 e'4 f']
+@end mudela
+
+@mudela[fragment,verbatim,center]
+ c'4:32 [:16 c'8 d'8]
+@end mudela
+
+
+@cindex --@@@code{-}@code{-}
+
+@indexcode{__}
+
+@cindex extender
+
+@cindex hyphen
+
+The syntax for an extender mark is `@code{__}'. This syntax can only
+be used within lyrics mode. The syntax for a spanning hyphen (i.e.,
+a hyphen that will be printed between two lyric syllables) is
+`@code{-}@code{-}'.
+
+
+@cindex ties
+
+A tie connects two adjacent note heads of the same pitch. When used
+with chords, it connects all of the note heads whose pitches match.
+Ties are indicated using the tilde symbol `@code{~}@indexcode{~}'.
+If you try to tie together chords which have no common pitches, a
+warning message will appear and no ties will be created.
+
+@mudela[fragment,verbatim,center]
+ e' ~ e' <c' e' g'> ~ <c' e' g'>
+@end mudela
+
+
+
+[TODO: explain Requests]
+
+
+@cindex articulations
+
+@cindex scripts
+
+@cindex ornaments
+
+A variety of symbols can appear above and below notes to indicate
+different characteristics of the performance. These symbols can be
+added to a note with `@var{note}@code{-\}@var{name}'. Numerous symbols
+are defined in @file{script.ly} and @file{script.scm}. Symbols can be
+forced to appear above or below the note by writing
+`@var{note}@code{^\}@var{name}' and `@var{note}@code{_\}@var{name}'
+respectively. Here is a chart showing symbols above notes, with the
+name of the corresponding symbol appearing underneath.
+
+@mudela[]
+
+ \score {
+ < \notes {
+ c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
+ c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
+ c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
+ c''-\rtoe c''-\turn c''-\open c''-\flageolet
+ c''-\reverseturn c''-\trill c''-\prall c''-\mordent
+ c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
+ c''-\thumb c''-\segno c''-\coda
+ }
+ \context Lyrics \lyrics {
+ accent__ marcato__ staccatissimo__ fermata
+ stopped__ staccato__ tenuto__ upbow
+ downbow__ lheel__ rheel__ ltoe
+ rtoe__ turn__ open__ flageolet
+ reverseturn__ trill__ prall__ mordent
+ prallprall__ prallmordent__ uprall__ downprall
+ thumb__ segno__ coda
+ }
+ >
+ \paper {
+ linewidth = 5.875\in;
+ indent = 0.0;
+ }
+ }
+
+@end mudela
+
+In addition, it is possible to place arbitrary strings of text or
+TeX above or below notes by using a string instead of an
+identifier: `@code{c^"text"}'. Fingerings
+@cindex fingering
+ can be
+placed by simply using digits. All of these note ornaments appear in
+the printed output but have no effect on the MIDI rendering of the
+music.
+
+To save typing, fingering instructions (digits 0 to 9 are
+supported) and single characters shorthands exist for a few
+common symbols
+
+@mudela[]
+
+ \score {
+ \notes {
+ \property Voice.textStyle = typewriter
+ c''4-._"c-." s4
+ c''4--_"c-{}-" s4
+ c''4-+_"c-+" s4
+ c''4-|_"c-|" s4
+ c''4->_"c->" s4
+ c''4-^_"c-\\^{ }" s4
+ c''4-1_"c-1" s4
+ c''4-2_"c-2" s4
+ c''4-3_"c-3" s4
+ c''4-4_"c-4" s4
+ }
+ \paper {
+ linewidth = 5.875 \in;
+ indent = 0.0;
+ }
+ }
+
+@end mudela
+
+Dynamic marks are specified by using an identifier after a note:
+`@code{c4-\ff}' (the dash is optional for dynamics: `@code{c4 \ff})'.
+The available dynamic marks are:
+@code{\ppp}@keyindex{ppp},
+@code{\pp}@keyindex{pp}, @code{\p}@keyindex{p}, @code{\mp}@keyindex{mp},
+@code{\mf}@keyindex{mf}, @code{\f}@keyindex{f}, @code{\ff}@keyindex{ff},
+@code{\fff}@keyindex{fff}, @code{\fff}@keyindex{ffff},
+@code{\fp}@keyindex{fp}, @code{\sf}@keyindex{sf},
+@code{\sff}@keyindex{sff}, @code{\sp}@keyindex{sp},
+@code{\spp}@keyindex{spp}, @code{\sfz}@keyindex{sfz}, and
+@code{\rfz}@keyindex{rfz}.
+
+
+@example
+
+ \textscript@keyindex{textscript} @var{text} @var{style}
+@end example
+
+Defines a text to be printed over or under a note. @var{style} is a
+string that may be one of @code{roman}, @code{italic}, @code{typewriter},
+@code{bold}, @code{Large}, @code{large}, @code{dynamic} or @code{finger}.
+
+You can attach a general textscript request using this syntax:
+
+@quotation
+
+@example
+c4-\textscript "6" "finger"
+c4-\textscript "foo" "normal"
+@end example
+
+@end quotation
+
+This is equivalent to `@code{c4-6 c4-"foo"}'.
+
+
+@cindex scripts
+
+@example
+
+ \script@keyindex{script} @var{alias}
+@end example
+
+Prints a symbol above or below a note. The argument is a string
+which points into the script-alias table defined in @file{script.scm}.
+The scheme definitions specify whether the symbol follows notes into
+the staff, dependence of symbol placement on staff direction, and a
+priority for placing several symbols over one note. Usually the
+@code{\script}@keyindex{script} keyword is not used directly. Various
+helpful identifier definitions appear in @file{script.ly}.
+
+
+@cindex slur
+
+Slurs connects chords and try to avoid crossing stems. A slur is
+started with `@code{(}' and stopped with `@code{)}'. The
+starting `@code{(}' appears to the right of the first note in
+the slur. The terminal `@code{)}' appears to the left of the
+first note in the slur. This makes it possible to put a note in
+slurs from both sides:
+
+@mudela[fragment,verbatim,center]
+ f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
+@end mudela
+
+
+@cindex crescendo
+
+A crescendo mark is started with @code{\cr}@keyindex{cr} and terminated
+with @code{\rc}@keyindex{rc}. A decrescendo mark is started with
+@code{\decr}@keyindex{decr} and terminated with
+@code{\rced}@keyindex{rced}. There are also shorthands for these
+marks. A crescendo can be started with @code{\<}@keyindex{<} and a
+decrescendo can be started with @code{\>}@keyindex{>}. Either one can
+be terminated with @code{\!}@keyindex{"!}. Note that @code{\!}
+must go before the last note of the dynamic mark whereas @code{\rc}
+and @code{\rced} go after the last note. Because these marks are
+bound to notes, if you want to get several marks during one note, you
+must use spacer notes.
+
+@mudela[fragment,verbatim,center]
+ c'' \< \! c'' d'' \decr e'' \rced
+ < f''1 { s4 \< \! s2 \> \! s4 } >
+@end mudela
+
+
+@example
+
+ \spanrequest@keyindex{spanrequest} @var{startstop} @var{type}
+@end example
+
+Define a spanning request. The @var{startstop} parameter is either -1
+(@code{\start}@keyindex{start}) or 1 (@code{\stop}@keyindex{stop}) and
+@var{type} is a string that describes what should be started.
+Supported types are @code{crescendo}, @code{decrescendo},
+@code{beam}, @code{slur}. This is an internal command. Users should
+use the shorthands which are defined in the initialization file
+@file{spanners.ly}.
+
+You can attach a (general) span request to a note using
+
+@mudela[fragment,verbatim,center]
+ c'4-\spanrequest \start "slur"
+ c'4-\spanrequest \stop "slur"
+@end mudela
+
+The slur syntax with parentheses is a shorthand for this.
+
+
+
+@cindex tremolo marks
+
+@node tremolo, , , Reference Manual
+
+Tremolo marks can be printed on a single note by adding
+`@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 the last value is
+used, or the value of the @code{abbrev}@indexcode{abbrev} property if there was
+no last value.
+
+@mudela[verbatim,fragment,center]
+ c'2:8 c':32
+@end mudela
+
+
+
+@node Compound music expressions, , , Reference Manual
+@section Compound music expressions
+
+@cindex compound music expressions
+
+@node compoundmusic, , , Reference Manual
+
+Music expressions are compound data structures. You can nest music
+expressions any way you like. This simple example shows how three
+chords can be expressed in two different ways:
+
+@mudela[fragment,verbatim,center]
+ \notes \context Staff {
+ \cadenza 1;
+ <a c'> <b d' > <c' e' >
+ <{a b c'}{c' d' e'}>
+ }
+@end mudela
+
+
+
+@cindex context selection
+
+@example
+
+ \context@keyindex{context}
+ @var{contexttype} [@code{=} @var{contextname}] @var{musicexpr}
+@end example
+
+Interpret @var{musicexpr} within a context of type @var{contexttype}.
+If the context does not exist, it will be created. The new context
+can optionally be given a name. See
+section XREF-contextselection [FIXME] and XREF-contextdefs [FIXME] for more
+information on interpretation contexts.
+
+
+
+@cindex input modes
+
+@cindex mode switch
+
+Mode switching keywords form compound music expressions: @code{\notes}
+@keyindex{notes} @var{musicexpr}, @code{\chords} @keyindex{chords}
+@var{musicexpr}, and @code{\lyrics} @keyindex{lyrics} @var{musicexpr}.
+These expressions do not add anything to the meaning of their
+arguments. They are just a way to indicate that the arguments should
+be parsed in indicated mode. See section XREF-modes [FIXME] for more
+information on modes.
+
+More information on context selection can be found in
+section XREF-contextselection [FIXME].
+
+
+
+@cindex sequential music
+
+
+
+@example
+
+ \sequential@keyindex{sequential}
+ @code{@{} @var{musicexprlist} @code{@}}
+@end example
+
+This means that list should be played or written in sequence, i.e.,
+the second after the first, the third after the second. The duration
+of sequential music is the the sum of the durations of the elements.
+There is a shorthand, which leaves out the keyword:
+
+@example
+
+ @code{@{} @var{musicexprlist} @code{@}}
+@end example
+
+
+
+@cindex simultaneous music
+
+@indexcode{<}
+@indexcode{>}
+
+@example
+
+ \simultaneous@keyindex{simultaneous}
+ @code{@{} @var{musicexprlist} @code{@}}
+@end example
+
+It constructs a music expression where all of its arguments start at
+the same moment. The duration is the maximum of the durations of the
+elements. The following shorthand is a common idiom:
+
+@example
+
+ @code{<} @var{musicexprlist} @code{>}
+@end example
+
+If you try to use a chord as the first thing in your score, you might
+get multiple staffs instead of a chord.
+
+@mudela[verbatim,center]
+ \score {
+ \notes <c''4 e''>
+ \paper {
+ linewidth = -1.;
+ }
+ }
+@end mudela
+
+This happens because the chord is interpreted by a score context.
+Each time a note is encountered a default Voice context (along with a
+Staff context) is created. The solution is to explicitly instantiate
+a Voice context:
+
+@mudela[verbatim,center]
+ \score {
+ \notes\context Voice <c''4 e''>
+ \paper {
+ linewidth = -1.;
+ }
+ }
+@end mudela
+
+
+
+@cindex relative pitch specification
+
+@node relative, , , Reference Manual
+
+It is easy to get confused by octave changing marks and accidentally
+putting a pitch in the wrong octave. A much better way of entering a
+note's octave is `the relative octave' mode.
+
+@example
+
+ \relative@keyindex{relative} @var{startpitch} @var{musicexpr}
+@end example
+
+The octave of notes that appear in @var{musicexpr} are calculated as
+follows: If no octave changing marks are used, the basic interval
+between this and the last note is always taken to be a fourth or
+less.@footnote{The interval is determined without regarding
+accidentals. A @code{fisis} following a @code{ceses} will be put above
+the @code{ceses}.} The octave changing marks `@code{'}' and `@code{,}'
+can then be added to raise or lower the pitch by an extra octave.
+Upon entering relative mode, an absolute starting pitch must be
+specified that will act as the predecessor of the first note of
+@var{musicexpr}.
+
+Entering scales is straightforward in relative mode.
+
+@mudela[fragment,verbatim,center]
+ \relative c' {
+ c d e f g a b c c,
+ }
+@end mudela
+
+And octave changing marks are used for intervals greater than a fourth.
+
+@mudela[fragment,verbatim,center]
+ \relative c'' {
+ c g c f, c' a, e'' }
+@end mudela
+
+If the preceding item is a chord, the first note of the chord is used
+to determine the first note of the next chord. But other notes
+within the second chord are determined by looking at the immediately
+preceding note.
+
+@mudela[fragment,verbatim,center]
+ \relative c' {
+ c <c e g>
+ <c' e g>
+ <c, e' g>
+ }
+@end mudela
+
+The pitch after the @code{\relative} contains a notename. To parse
+the pitch as a notename, you have to be in note mode, so there must
+be a surrounding @code{\notes}@keyindex{notes} keyword (which is not
+shown here).
+
+The relative conversion will not affect @code{\transpose} or
+@code{\relative} sections in its argument. If you want to use
+relative within transposed music, you must place an additional
+@code{\relative} inside the @code{\transpose}.
+
+It is strongly recommended to use relative pitch mode: less work,
+less error-prone, and more readable.
+
+
+
+Chord names are a way to generate simultaneous music expressions that
+correspond with traditional chord names. It can only be used in
+Chord mode (see section XREF-modes [FIXME]).
+
+@example
+
+ @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}].
+@end example
+
+@var{tonic} should be the tonic note of the chord, and @var{duration}
+is the chord duration in the usual notation. There are two kinds of
+modifiers. One type is @emph{chord additions}, which are obtained by
+listing intervals separated by dots. An interval is written by its
+number with an optional `@code{+}' or `@code{-}' to indicate raising or
+lowering by half a step. Chord additions has two effects: It adds
+the specified interval and all lower odd numbered intervals to the
+chord, and it may lower or raise the specified interval. Intervals
+must be separated by a dot (`@code{.}').
+
+@quotation
+
+@mudela[fragment,verbatim]
+\transpose c'' {
+ \chords {
+ c1 c-3- c-7 c-8
+ c-9 c-9-.5+.7+ c-3-.5- c-4.6.8
+ }
+}
+
+@end mudela
+@end quotation
+
+The second type of modifier that may appear after the `@code{-}' is a
+named modifier. Named modifiers are listed in the file
+@file{chord-modifiers.ly}. The available modifiers are `@code{m}' and
+`@code{min}' which lower the 3rd half a step, `@code{aug}@indexcode{aug}' which
+raises the 5th, `@code{dim}@indexcode{dim}' which lowers the 5th,
+`@code{maj}@indexcode{maj}' which adds a raised 7th, and `@code{sus}@indexcode{sus}'
+which replaces the 5th with a 4th.
+
+@quotation
+
+@mudela[fragment,verbatim]
+\transpose c'' {
+ \chords {
+ c1-m c-min7 c-maj c-aug c-dim c-sus
+ }
+}
+
+@end mudela
+@end quotation
+
+
+Chord subtractions are used to eliminate notes from a chord. The
+notes to be subtracted are listed after a `@code{^}' character,
+separated by dots.
+
+@mudela[fragment,verbatim,center]
+ \transpose c'' {
+ \chords {
+ c1^3 c-7^5.3 c-8^7
+ }
+ }
+@end mudela
+
+Chord inversions can be specified by appending `@code{/}@indexcode{/}' and
+the name of a single note to a chord. This has the effect of
+lowering the specified note by an octave so it becomes the lowest
+note in the chord. If the specified note is not in the chord, a
+warning will be printed.
+
+@mudela[fragment,verbatim,center]
+ \transpose c''' {
+ \chords {
+ c1 c/e c/g c-7/e
+ }
+ }
+
+@end mudela
+
+Throughout these examples, chords have been shifted around the staff
+using @code{\transpose}.
+
+You should not combine @code{\relative} with named chords.
+
+
+
+@cindex tuplets
+
+Tuplets are made out of a music expression by multiplying their
+duration with a fraction.
+
+@example
+
+ \times@keyindex{times} @var{fraction} @var{musicexpr}
+@end example
+
+The duration of @var{musicexpr} will be multiplied by the fraction.
+In print, the fraction's denominator will be printed over the notes,
+optionally with a bracket. The most common tuplet is the triplet in
+which 3 notes have the length of 2, so the notes are 2/3 of
+their written length:
+
+@mudela[fragment,verbatim,center]
+ g'4 \times 2/3 {c'4 c' c'} d'4 d'4
+@end mudela
+
+
+
+@cindex grace notes
+
+@example
+
+ \grace@keyindex{grace} @var{musicexpr}
+@end example
+
+A grace note expression has duration 0; the next real note is
+assumed to be the main note.
+
+You cannot have the grace note after the main note, in terms of
+duration, and main notes, but you can typeset the grace notes to the
+right of the main note using the property
+@code{graceAlignPosition}@indexcode{graceAlignPosition}.
+
+When grace music is interpreted, a score-within-a-score is set up:
+@var{musicexpr} has its own time bookkeeping, and you could (for
+example) have a separate time signature within grace notes. While in
+this score-within-a-score, you can create notes, beams, slurs, etc.
+Unbeamed eighth notes and shorter by default have a slash through the
+stem. This behavior can be controlled with the
+@code{stemStyle}@indexcode{stemStyle} property.
+
+@quotation
+
+@mudela[fragment,verbatim]
+\relative c'' {
+ \grace c8 c4 \grace { [c16 c16] } c4
+ \grace { \property Grace.stemStyle = "" c16 } c4
+}
+
+@end mudela
+@end quotation
+
+At present, nesting @code{\grace}@keyindex{grace} notes, e.g.
+
+@example
+
+ @code{\grace @{ \grace c32 c16 @} c4}
+@end example
+
+may result in run-time errors of LilyPond. Since the meaning of such
+a construct is unclear, we don't consider this a loss. Similarly,
+juxtaposing two @code{\grace} sections is syntactically valid, but
+makes no sense and may cause runtime errors.
+
+Ending a staff or score with grace notes may also generate a run-time
+error, since there will be no main note to attach the grace notes to.
+
+
+
+@cindex repeats
+
+@node sec-repeats, , , Reference Manual
+
+In order to specify repeats, use the @code{\repeat}@keyindex{repeat}
+keyword. Since repeats look and sound differently when played or
+printed, there are a few different variants of repeats.
+
+@table @samp
+ @item unfolded
+ Repeated music is fully written (played) out. Useful for MIDI
+ output.
+
+ @item volta
+ This is the normal notation: Repeats are not written out, but
+ alternative endings (voltas) are printed, left to right.
+
+ @item folded
+ Alternative endings are written stacked, which is useful for
+ lyrics.
+@end table
+
+The syntax for repeats is
+
+@example
+
+ \repeat @var{variant} @var{repeatcount} @var{repeatbody}
+@end example
+
+If you have alternative endings, you may add
+
+@example
+
+ \alternative@keyindex{alternative}
+ @code{@{} @var{alternative1}
+ @var{alternative2}
+ @var{alternative3} @dots{} @code{@}}
+@end example
+
+where each @var{alternative} is a Music expression.
+
+Normal notation repeats are used like this:
+
+@quotation
+
+@mudela[fragment,verbatim]
+ c'1
+ \repeat volta 2 { c'4 d' e' f' }
+ \repeat volta 2 { f' e' d' c' }
+
+@end mudela
+@end quotation
+
+With alternative endings:
+
+@quotation
+
+@mudela[fragment,verbatim]
+ c'1
+ \repeat volta 2 {c'4 d' e' f'}
+ \alternative { {d'2 d'} {f' f} }
+
+@end mudela
+@end quotation
+
+Folded repeats look like this:@footnote{Folded repeats offer little
+more over simultaneous music. However, it is to be expected that
+more functionality -- especially for the MIDI backend -- will be
+implemented.}
+
+@quotation
+
+@mudela[fragment,verbatim]
+ c'1
+ \repeat fold 2 {c'4 d' e' f'}
+ \alternative { {d'2 d'} {f' f} }
+
+@end mudela
+@end quotation
+
+@quotation
+
+@mudela[fragment,verbatim]
+\context Staff {
+ \relative c' {
+ \partial 4;
+ \repeat volta 2 { e | c2 d2 | e2 f2 | }
+ \alternative { { g4 g g } { a | a a a a | b1 } }
+ }
+}
+
+@end mudela
+@end quotation
+
+If you don't give enough alternatives for all of the repeats, then
+the first alternative is assumed to be repeated often enough to equal
+the specified number of repeats.
+
+@quotation
+
+@mudela[fragment,verbatim]
+\context Staff {
+ \relative c' {
+ \repeat volta 3 { \partial 4; e | c2 d2 | e2 f2 | }
+ \alternative { { g4 g g }
+ {\partial 1; e4 e e }
+ {\partial 1; a a a a | b1 } }
+ }
+}
+
+@end mudela
+@end quotation
+
+It is possible to nest @code{\repeat}. This is not entirely
+supported: the notes will come be in the right places, but the repeat
+bars will not.
+
+
+
+@cindex transposition of pitches
+
+@node transpose, , , Reference Manual
+
+A music expression can be transposed with
+@code{\transpose}@keyindex{transpose}. The syntax is
+
+@example
+
+ \transpose @var{pitch} @var{musicexpr}
+@end example
+
+This means that middle C in @var{musicexpr} is transposed to
+@var{pitch}.
+
+@code{\transpose} distinguishes between enharmonic pitches: both
+@code{\transpose cis'} or @code{\transpose des'} will transpose up half
+a tone. The first version will print sharps and the second version
+will print flats.
+
+@quotation
+
+@mudela[fragment,verbatim]
+\context Staff {
+ \clef "F";
+ { \key e; c d e f }
+ \clef "G";
+ \transpose des'' { \key e; c d e f }
+ \transpose cis'' { \key e; c d e f }
+}
+
+@end mudela
+@end quotation
+
+If you want to use both @code{\transpose} and @code{\relative}, then
+you must use @code{\transpose} first. @code{\relative} will have no
+effect music that appears inside a @code{\transpose}.
+
+
+
+@cindex automatic lyric durations
+
+If you have lyrics that are set to a melody, you can import the
+rhythm of that melody into the lyrics using @code{\addlyrics}.
+@keyindex{addlyrics} The syntax for this is
+
+@example
+
+ \addlyrics @var{musicexpr1 musicexpr2}
+@end example
+
+This means that both @var{musicexpr1} and @var{musicexpr2} are
+interpreted, but that every non-command atomic music expression
+(``every syllable'') in @var{musicexpr2} is interpreted using timing
+of @var{musicexpr1}.
+
+If the property @code{automaticMelismata}@indexcode{automaticMelismata} is set in the
+context of @var{musicexpr1}, no lyrics will be put on slurred or tied
+notes.
+
+@quotation
+
+@mudela[verbatim,fragment]
+\addlyrics
+\transpose c'' {
+ \property Voice.automaticMelismata = "1"
+ c8 () cis d8. e16 f2
+}
+\context Lyrics \lyrics {
+ do4 re mi fa }
+
+@end mudela
+@end quotation
+
+You should use a single rhythm melody, and single rhythm lyrics (a
+constant duration is the obvious choice). If you do not, you will get
+undesired effects when using multiple stanzas:
+
+@quotation
+
+@mudela[verbatim,fragment]
+\addlyrics
+\transpose c'' {
+ c8 () cis d8. e16 f2
+}
+\context Lyrics \lyrics
+< { do4 re mi fa }
+ { do8 re mi fa } >
+
+@end mudela
+@end quotation
+
+It is valid (but probably not very useful) to use notes instead of
+lyrics for @var{musicexpr2}.
+
+
+
+
+@node Ambiguities, , , Reference Manual
+@section Ambiguities
+
+@cindex ambiguities
+
+The grammar contains a number of ambiguities.@footnote{The authors
+hope to resolve them at a later time.}
+
+@itemize @bullet
+ @item The assignment
+
+ @example
+foo = bar
+@end example
+
+ can be interpreted as making a string identifier @code{\foo}
+ containing @code{"bar"}, or a music identifier @code{\foo}
+ containing the syllable `bar'.
+
+ @item The assignment
+
+ @example
+foo = -6
+@end example
+
+ can be interpreted as making an integer identifier
+ containing -6, or a Request identifier containing the
+ fingering `6' (with neutral direction).
+
+ @item If you do a nested repeat like
+
+ @quotation
+
+@example
+\repeat @dots{}
+\repeat @dots{}
+\alternative
+@end example
+
+ @end quotation
+
+ then it is ambiguous to which @code{\repeat} the
+ @code{\alternative} belongs. This is the classic if-then-else
+ dilemma. It may be solved by using braces.
+
+ @item (an as yet unidentified ambiguity :-)
+@end itemize
+
+
+
+@node Notation conversion specifics, , , Reference Manual
+@section Notation conversion specifics
+
+
+
+@cindex automatic beam generation
+
+@node autobeam, , , Reference Manual
+
+By default, LilyPond will generate beams automatically. This feature
+can be disabled by setting the @code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming}
+property to 1. It can be overridden for specific cases by
+specifying explicit beams as described in
+section XREF-manualbeam [FIXME].
+
+A large number of Voice properties are used to decide how to generate
+beams. Their default values appear in @file{auto-beam-settings.ly}.
+In general, beams can begin anywhere, but their ending location is
+significant. Beams can end on a beat, or at durations specified by
+the @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property. To end beams every
+quarter note, for example, you could set
+@code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to `@code{"1/4"}'. To end beams
+at every three eighth notes you would set it to `@code{"3/8"}'. The
+same syntax can be used to specify beam starting points using
+@code{Voice.beamAutoBegin}@indexcode{Voice.beamAutoBegin}.
+
+To allow different settings for different time signatures, these
+property names can start with `@code{time}@var{N}@code{_}@var{M}' to
+restrict the definition to `@var{N}@code{/}@var{M}' time. For example,
+to specify beams ending only for 6/8 time you would use the
+property @code{Voice.time6_8beamAutoEnd}. To allow different endings
+for notes of different durations, the duration can be tacked onto the
+end of the property. To specify beam endings for beams that contain
+32nd notes, you would use @code{Voice.beamAutoEnd_32}.
+
+
+
+@cindex chord names
+
+@cindex chords
+
+@cindex printing!chord names
+
+For displaying printed chord names, use the @code{ChordNames}@indexcode{ChordNames}
+and @code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords may be entered
+either using the notation described above, or directly using
+simultaneous music.
+
+@quotation
+
+@mudela[fragment,verbatim]
+<
+ \context ChordNames {
+ \chords{a b c} \notes{<d f g> <e g b>}
+ }
+ \context Staff \notes {
+ a b c' d' e'
+ }
+>
+
+@end mudela
+@end quotation
+
+LilyPond examines chords specified as lists of notes to determine a
+name to give the chord. By default, LilyPond will not try to
+identify chord inversions:
+
+@mudela[fragment,verbatim,center]
+ <
+ \context ChordNameVoice \notes {
+ <e'1 g' c''>
+ }
+ \context Thread \notes {
+ <e'1 g' c''>
+ }
+ >
+@end mudela
+
+If you want inversions to be recognized, you must set the property
+@code{ChordNames.chordInversion}@indexcode{ChordNames.chordInversion}:
+
+@mudela[fragment,verbatim,center]
+ <
+ \property Score.chordInversion = 1
+ \context ChordNameVoice \notes {
+ <e'1 g' c''>
+ }
+ \context Thread \notes {
+ <e'1 g' c''>
+ }
+ >
+@end mudela
+
+
+
+@cindex lyrics
+
+@cindex printing!lyrics
+
+@node lyricprint, , , Reference Manual
+
+Lyric syllables must be interpreted within a @code{Lyrics} context
+
+@cindex context!Lyrics
+ for printing them.
+
+Here is a full example:
+
+@quotation
+
+@mudela[verbatim]
+\score {
+ <
+ \notes \transpose c'' {
+ c d e c | c d e c |
+ e f g2 | e4 f g2 \bar "|.";
+ }
+ \context Lyrics \lyrics {
+ Va-4 der Ja- cob Va- der Ja- cob
+ Slaapt gij nog?2 Slaapt4 gij nog?2
+ }
+ >
+}
+
+@end mudela
+@end quotation
+
+You may want a continuous line after the syllables to show melismata.
+To achieve this effect, add a `@code{__}' lyric as a separate word
+after the lyric to be extended. This will create an extender, a line
+that extends over the entire duration of the lyric. This line will
+run all the way to the start of the next lyric, so you may want to
+shorten it by using a blank lyric (using `@code{_}').
+
+@quotation
+
+@mudela[verbatim]
+\score {
+ <
+ \notes \relative c'' {
+ a4 () b () c () d | c () d () b () a | c () d () b () a
+ }
+ \context Lyrics \lyrics {
+ foo1 __ | bar2. __ _4 | baz1 __
+ }
+ >
+}
+
+@end mudela
+@end quotation
+
+
+If you want to have hyphens centered between syllables (rather than
+attached to the end of the first syllable) you can use the special
+`@code{-}@code{-}' lyric as a separate word between syllables. This
+will result in a hyphen which length varies depending on the space
+between syllables, and which will be centered between the syllables.
+For example:
+
+@quotation
+
+@mudela[verbatim]
+\score {
+ <
+ \notes \transpose c'' {
+ c d e c | c d e c |
+ e f g2 | e4 f g2 \bar "|.";
+ }
+ \context Lyrics \lyrics {
+ Va4 -- der Ja -- cob | Va -- der Ja -- cob |
+ Slaapt gij nog?2 | Slaapt4 gij nog?2
+ }
+ >
+}
+
+@end mudela
+@end quotation
+
+
+
+@node Notation Contexts, , , Reference Manual
+@section Notation Contexts
+
+@cindex notation contexts
+
+Notation contexts are objects that only exist during a run of
+LilyPond. During the interpretation phase of LilyPond, the Music
+expression contained in a @code{\score} block is interpreted in time
+order. This is the order in which humans read, play, and write
+music.
+
+A context is an object that holds the reading state of the
+expression; it contains information like
+
+@itemize @bullet
+ @item What notes are playing at this point?
+ @item What symbols will be printed at this point?
+ @item In what style will they printed?
+ @item What is the current key signature, time signature, point within
+ the measure, etc.?
+@end itemize
+
+Contexts are grouped hierarchically: A @code{Voice} context is
+contained in a @code{Staff} context (because a staff can contain
+multiple voices at any point), a @code{Staff} context is contained in
+a @code{Score}, @code{StaffGroup}, or @code{ChoirStaff} context (because
+these can all contain multiple staffs).
+
+Contexts associated with sheet music output are called @emph{notation
+contexts}, those for sound output are called playing contexts.
+
+Contexts are created either manually or automatically. Initially,
+the top level music expression is interpreted by the top level
+context (the @code{Score} context). When a atomic music expression
+(i.e. a note, a rest, @code{\bar}, or @code{\time} commands), a nested
+set of contexts is created that can process these atomic expressions,
+as in this example:
+
+@example
+
+ @example
+\score @{ \notes < c4 > @}
+@end example
+
+@end example
+
+The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score}
+context. When the note `@code{c4}' itself is interpreted, a set of
+contexts is needed that will accept notes. The default for this is a
+@code{Voice} context, contained in a @code{Staff} context. Creation of
+these contexts results in the staff being printed.
+
+
+@node contextselection, , , Reference Manual
+
+@cindex context
+
+You can also create contexts manually, and you probably have to do so
+if you want to typeset complicated multiple part material. If a
+`@code{\context} @var{name} @var{musicexpr}' expression is encountered
+during the interpretation phase, the @var{musicexpr} argument will be
+interpreted with a context of type @var{name}. If you specify a name,
+the specific context with that name is searched.
+
+If a context of the specified type and name can not be found, a new
+one is created. For example,
+
+@quotation
+
+@mudela[verbatim]
+\score {
+ \notes \relative c'' {
+ c4 <d4 \context Staff = "another" e4> f
+ }
+}
+
+@end mudela
+@end quotation
+
+In this example, the @code{c} and @code{d} are printed on the
+default staff. For the @code{e}, a context Staff called
+`@code{another}' is specified; since that does not exist, a new
+context is created. Within @code{another}, a (default) Voice context
+is created for the @code{e4}. When all music referring to a
+context is finished, the context is ended as well. So after the
+third quarter, @code{another} is removed.
+
+Almost all music expressions inherit their interpretation context
+from their parent. In other words, suppose that the syntax for a
+music expression is
+
+@example
+
+ \keyword @var{musicexpr1} @var{musicexpr2} @dots{}
+@end example
+
+When the interpretation of this music expression starts, the context
+for @var{musicexpr1}, @var{musicexpr2}, etc. is that of the total
+expression.
+
+Lastly, you may wonder, why this:
+
+@quotation
+
+@example
+\score @{
+ \notes \relative c'' @{
+ c4 d4 e4
+ @}
+@}
+@end example
+
+@end quotation
+
+doesn't result in this:
+
+@mudela[]
+
+ \score {
+ \notes \relative c'' {
+ <c4> <d4> <e4>
+ }
+ }
+
+@end mudela
+
+For the @code{c4}, a default @code{Staff} (with a contained
+@code{Voice}) context is created. After the @code{c4} ends, no
+music refers to this default staff, so it would be ended, with the
+result shown. To prevent this inconvenient behavior, the context to
+which the sequential music refers is adjusted during the
+interpretation. So after the @code{c4} ends, the context of the
+sequential music is also the default @code{Voice} context.
+The @code{d4} gets interpreted in the same context
+as @code{c4}.
+
+
+
+These are the contexts supplied with the package. They are defined
+in the initialization file @file{ly/engraver.ly}.
+
+@table @samp
+ @item @code{Grace}@indexcode{Grace}
+ The context for handling grace notes. It is instantiated
+ automatically when you use @code{\grace}. Basically, it is an
+ `embedded' miniature of the Score context. Since this context
+ needs special interaction with the rest of LilyPond, you should
+ not explicitly instantiate it.
+
+ @item @code{LyricVoice}@indexcode{LyricVoice}
+ Corresponds to a voice with lyrics. Handles the printing of a
+ single line of lyrics.
+
+ @item @code{Thread}@indexcode{Thread}
+ Handles note heads, and is contained in the Voice context. You
+ have to instantiate this explicitly if you want to adjust the
+ style of individual note heads.
+
+ @item @code{Voice}@indexcode{Voice}
+ Corresponds to a voice on a staff. This context handles the
+ conversion of dynamic signs, stems, beams, super- and subscripts,
+ slurs, ties, and rests.
+
+ You have to instantiate this explicitly if you want to have
+ multiple voices on the same staff.
+
+ @item @code{ChordNamesVoice}@indexcode{ChordNamesVoice}
+ A voice with chord names. Handles printing of a line of chord
+ names.
+
+ @item @code{ChordNames}@indexcode{ChordNames}
+ Typesets chord names. Can contain @code{ChordNamesVoice}
+ contexts.
+
+ @item @code{Lyrics}@indexcode{Lyrics}
+ Typesets lyrics. It can contain @code{LyricVoice} contexts.
+
+ @item @code{Staff}@indexcode{Staff}
+ Handles clefs, bar lines, keys, accidentals. It can contain
+ @code{Voice} contexts.
+
+ @item @code{RhythmicStaff}@indexcode{RhythmicStaff}
+ A context like @code{Staff} but for printing rhythms. Pitches are
+ ignored; the notes are printed on one line. It can contain
+ @code{Voice} contexts.
+
+ @item @code{GrandStaff}@indexcode{GrandStaff}
+ Contains @code{Staff} or @code{RhythmicStaff} contexts. It adds a
+ brace on the left side, grouping the staffs together. The bar
+ lines of the contained staffs are connected vertically. It can
+ contain @code{Staff} contexts.
+
+ @item @code{PianoStaff}@indexcode{PianoStaff}
+ Just like @code{GrandStaff} but with @code{minVerticalAlign} set
+ equal to @code{maxVerticalAlign} so that interstaff beaming and
+ slurring can be used.
+
+ @item @code{StaffGroup}@indexcode{StaffGroup}
+ Contains @code{Staff} or @code{RhythmicStaff} contexts. Adds a
+ bracket on the left side, grouping the staffs together. The bar
+ lines of the contained staffs are connected vertically. It can
+ contain @code{Staff}, @code{RhythmicStaff}, @code{GrandStaff}, or
+ @code{Lyrics} contexts.
+
+ @item @code{ChoirStaff}@indexcode{ChoirStaff}
+ Identical to @code{StaffGroup} except that the contained staffs
+ are not connected vertically.
+
+ @item @code{Score}@indexcode{Score}
+ This is the top level notation context. No other context can
+ contain a @code{Score} context. This context handles the
+ administration of time signatures. It also makes sure that items
+ such as clefs, time signatures, and key-signatures are aligned
+ across staffs. It can contain @code{Lyrics}, @code{Staff},
+ @code{RhythmicStaff}, @code{GrandStaff}, @code{StaffGroup}, and
+ @code{ChoirStaff} contexts.
+
+ You cannot explicitly instantiate a Score context (since it is
+ not contained in any other context). It is instantiated
+ automatically when an output definition (a @code{\score} or
+ @code{\paper} block) is processed.
+@end table
+
+
+
+Properties that are set in one context are inherited by all of the
+contained contexts. This means that a property valid for the
+@code{Voice} context can be set in the @code{Score} context (for
+example) and thus take effect in all @code{Voice} contexts.
+
+Properties can be preset within the @code{\translator} block
+corresponding to the appropriate context. In this case, the syntax
+is
+
+@example
+
+ @var{propname} @code{=} @var{value}
+@end example
+
+This assignment happens before interpretation starts, so a
+@code{\property} expression will override any predefined settings.
+
+The @code{\property} expression will create any property you specify.
+There is no guarantee that a property will be used. So if you spell
+a property name wrong, there will be no error message.
+
+The property settings are used during the interpretation phase. They
+are read by the LilyPond modules where interpretation contexts are
+built of. These modules are called @emph{translators}. Translators for
+notation are called @emph{engravers}, and translators for sound are
+called @emph{performers}.
+
+The precise result of a property is determined by the implementation
+of the translator that reads them. Therefore, the result of a
+property can vary, since it is implementation and configuration
+dependent.
+
+In order to fully find out what properties are used, you must
+currently search the source code for calls to @code{get_property}.
+The rest of the section is devoted to an (incomplete) overview of
+available properties.
+
+
+@cindex properties!Lyrics
+
+@table @samp
+ @item @code{textStyle}@indexcode{textStyle}
+ Set the font for lyrics. The available font choices are
+ @code{roman}, @code{italic}, @code{bold}, @code{large}, @code{Large},
+ @code{typewriter}, and @code{finger}. The @code{finger} font can
+ only display numbers. Note also that you must be careful when
+ using @code{\property} in Lyrics mode, because of the way strings
+ are parsed. Either put quotes around the arguments to
+ @code{\property} or be sure to leave a space on both sides of the
+ dot.
+@end table
+
+
+@cindex properties!Thread
+
+@table @samp
+ @item @code{noteheadStyle}@indexcode{noteheadStyle}
+ Selects type of note head. Choices are @code{cross},
+ @code{diamond}, @code{harmonic}, @code{transparent}, and @code{""}.
+ They are shown in that order below.
+
+ @mudela[center]
+
+ \score {
+ \notes {
+ \property Staff.barNonAuto = 1
+ \property Voice.noteHeadStyle = cross
+ a'
+ \property Voice.noteHeadStyle = diamond
+ a'
+ \property Voice.noteHeadStyle = harmonic
+ a'
+ \property Voice.noteHeadStyle = transparent
+ a'
+ \property Voice.noteHeadStyle = ""
+ a'
+ }
+ \paper {
+ linewidth = -1.;
+ }
+ }
+
+@end mudela
+@end table
+
+@subsubheading Grace properties
+
+@cindex properties!Grace
+
+
+@table @samp
+ @item @code{stemStyle}@indexcode{stemStyle}
+ By default set to @code{"grace"} meaning that all unbeamed
+ notes with flags are typeset with a slash through the flag.
+ Setting to @code{""} gives standard flags.
+@end table
+
+
+@subsubheading Voice properties
+
+@cindex properties!Voice
+
+@table @samp
+ @item @code{abbrev}@indexcode{abbrev}
+ Set length for tremolo to be used if no length is explicitly
+ specified.
+
+ @item @code{articulationScriptPadding}@indexcode{articulationScriptPadding}
+
+ Determines the extra space added between articulation marks, such
+ as staccato, tenuto, trill, up/down bow or fermata, and the
+ closest staff line or note.
+
+ @item @code{articulationScriptVerticalDirection}
+ @indexcode{articulationScriptVerticalDirection}
+ Determines the location of articulation marks. Set to @code{\up}
+ to print marks above the staff; set to @code{\down} to print marks
+ below the staff. This property does not override explicit
+ directions marked with `@code{^}' or `@code{_}' in the mudela file.
+
+ @item @code{noAutoBeaming}@indexcode{beamAuto}
+ If set to 1 then beams are not generated automatically.
+
+ @item @code{beamAutoEnd}@indexcode{beamAutoEnd}
+ Specifies when automatically generated beams can end. See
+ section XREF-autobeam [FIXME].
+
+ @item @code{beamAutoBegin}@indexcode{beamAutoBegin}
+ Specifies when automatically generated beams can start. See
+ section XREF-autobeam [FIXME].
+
+ @item @code{beamquantisation}@indexcode{beamquantisation}
+ Set to @code{\none} for no quantization. Set to @code{\normal} to
+ quantize position and slope. Set to @code{\traditional} to avoid
+ wedges. These three settings are available via
+ @code{\beamposfree}@keyindex{beamposfree},
+ @code{\beamposnormal}@keyindex{beamposnormal}, and
+ @code{\beampostraditional}@keyindex{beampostraditional}.
+
+ @item @code{beamslopedamping}@indexcode{beamslopedamping}
+ Set to @code{\none} for undamped beams. Set to @code{\normal} for
+ damped beams. Set to @code{\infinity} for beams with zero slope.
+ The identifiers
+ @code{\beamslopeproportional}@keyindex{beamslopeproportional},
+ @code{\beamslopedamped}@keyindex{beamslopedamped}, and
+ @code{\beamslopezero}@keyindex{beamslopezero} each set the
+ corresponding value.
+
+ @item @code{dynamicDirection}@indexcode{dynamicDirection}
+ Determines location of dynamic marks. Set to @code{\up} to print
+ marks above the staff; set to @code{\down} to print marks below
+ the staff.
+
+ @item @code{dynamicStyle}@indexcode{dynamicStyle}
+ Set the text style for dynamics.
+
+ @item @code{fontSize}@indexcode{fontSize}
+ Can be used to select smaller font sizes for music. The normal
+ font size is 0, and the two smaller sizes are -1
+ and -2.
+
+ @item @code{forceHorizontalShift}@indexcode{forceHorizontalShift}
+ Force horizontal shift for collision resolution. It overrides
+ automatic collision resolution. The value is the shift amount
+ expressed in @code{note_width}, as set in the paper section.
+
+[FIXME: this should be moved]
+
+Lilypond always arranges note heads on alternate sides of a stem (that
+is, within a single voice) as necessary to prevent collisions (note head
+overlaps). For up stems, the upper note of a colliding pair is placed
+on the right side of the stem, the lower on the left. For down stems,
+the algorithm works in reverse.
+
+Lily also attempts to prevent collisions of note heads in different
+voices. A situation where chords of two or more voices are played
+simultaneously within one staff.
+
+By default, if only two voices (and both have opposite stem directions)
+are in this 'collision group', the notes both are shifted by @code{0.5
+\quartwidth} if there are unisons or seconds between the voices.
+
+If there are more than two voices in a collision group, shifting is
+inactive by default, since in this case, there are multiple chords with
+the same stem direction. By distinguish between those chords, LilyPond
+can do collision resolution in these cases as well.
+
+Distinguishing between voices with the same stem direction, is done by
+setting the property @code{Voice.horizontalNoteShift}. It must be set
+to a different integer for each voice. Then, all note heads in collision
+groups (not just unisons and seconds) will be offset, one voice relative
+another. The following fragment of sheet music shows how shifting is
+done, with values of @code{horizontalNoteShift} printed over and under
+the notes. In this case the chords are just simple notes.
+
+@c URG : mudela book bug.
+@mudela[singleline]
+\score {
+ \notes \context Staff <
+ \context Voice = VA { \stemup f''4^"0" }
+ \context Voice = VB {\stemup
+ \property Voice.horizontalNoteShift = 1 d''4^" 1" }
+ \context Voice = VC { \stemup \property
+Voice.horizontalNoteShift = 2 b'4^" 2" }
+ \context Voice = VD { \stemdown \property
+Voice.horizontalNoteShift = 1 g'4_"1 " }
+ \context Voice = VE { \stemdown e'4_"0" }
+ >
+}
+@end mudela
+
+If you are not satisfied with the collision resolution of LilyPond, you
+can override the horizontal shift value of the chord of one Voice, by
+setting @code{forceHorizontalShift}. This sets the amount shift,
+measured in black note head widths.
+
+To take complete control of note position shifts in complex passages,
+you have set things up for normal collisions and override all shifts by
+setting @code{forceHorizontalShift} to zero everywhere
+@example
+\property Voice.horizontalNoteShift = <n>
+\property Voice.forceHorizontalShift = "0.0"
+@end example
+
+Then you can set the force property to a suitable value before each note
+that really needs it (unisons and seconds), and reset it to 0.0 after
+the note.
+
+ @item @code{horizontalNoteShift}@indexcode{horizontalNoteShift}
+ Enable LilyPond to shift notes horizontally if they collide with
+ other notes. This is useful when typesetting many voices on one
+ staff. The identifier @code{\shift}@keyindex{shift} is defined to
+ enable this. Traditionally, the outer chords (the upmost and
+ downmost voices), should have no @code{horizontalNoteShift}.
+
+ @item @code{markScriptPadding}@indexcode{markScriptPadding}
+ Determines the extra space added between the mark and the closest
+ staff line or note.
+
+ @item @code{markDirection}@indexcode{markDirection}
+ Determines if marks should be printed above or below the staff.
+ Set to @code{\up} to print marks above the staff; set to
+ @code{\down} to print marks below the staff.
+
+ @item @code{midiInstrument}@indexcode{midiInstrument}
+ Sets the instrument for MIDI output. If this property is not set
+ then LilyPond will use the @code{instrument} property. This must
+ be set to one of the strings on the list of MIDI instruments that
+ appears in section XREF-midilist [FIXME]. If you use a string which
+ is not listed, LilyPond will silently substitute piano.
+
+ @item @code{oldTieBehavior}@indexcode{oldTieBehavior}
+ Set to 1 in order to get old tie behavior where ties would
+ connect unequal pitches. This property is deprecated, and its
+ use is not recommended.
+
+ @item @code{restStyle}@indexcode{restStyle}
+ Change the layout of rests shorter than quarter notes.
+ Currently, the standard layout @code{""} and mensural notation
+ @code{"mensural"} are available. Mensural rests of duration
+ 32 or shorter are not available.
+
+ @item @code{scriptHorizontal}@indexcode{scriptHorizontal}
+ Put scripts left or right of note heads. Support for this is
+ limited. Accidentals will collide with scripts.
+
+ @item @code{slurVerticalDirection}@indexcode{slurVerticalDirection}
+ Set to @code{\free} for free choice of slur direction, set to
+ @code{\up} to force slurs up, set to @code{\down} to force slurs
+ down. The shorthands @code{\slurup}@keyindex{slurup},
+ @code{\slurdown}@keyindex{slurdown}, and
+ @code{\slurboth}@keyindex{slurboth} are available.
+
+ @item @code{slurDash}@indexcode{slurDash}
+ Set to 0 for normal slurs, 1 for dotted slurs, and a
+ larger value for dashed slurs. Identifiers
+ @code{\slurnormal}@keyindex{slurnormal} and
+ @code{\slurdotted}@keyindex{slurdotted} are predefined to set the
+ first two settings.
+
+@item @code{stemLength}@indexcode{stemLength}
+ Set length of stems. Unit is `@code{interline}/2', so
+ @code{stemLength} defaults to 7.
+
+ @item @code{stemLeftBeamCount}@indexcode{stemLeftBeamCount}
+ Specify the number of beams to draw on the left side of the next
+ note. Overrides automatic beaming. The value is only used once,
+ and then it is erased.
+
+ @item @code{stemRightBeamCount}@indexcode{stemRightBeamCount}
+ Specify the number of beams to draw on the right side of the next
+ note. Overrides automatic beaming. The value is only used once,
+ and then it is erased.
+ @item @code{tieVerticalDirection}@indexcode{tieVerticalDirection}
+ Set to @code{\free} for free choice of tie direction, set to
+ @code{\up} to force ties up, set to @code{\down} to force ties
+ down.
+
+ @item @code{transposing}@indexcode{transposing}
+ Transpose the MIDI output. Set this property to the number of
+ half-steps to transpose by.
+
+
+ @item @code{textEmptyDimension}@indexcode{textEmptyDimension}
+ If set to 1 then text placed above or below the staff is
+ assumed to have zero width.
+
+ @item @code{textStyle}@indexcode{textStyle}
+ Set the text style for superscripts and subscripts. See above
+ for list of text styles.
+
+ @item @code{textScriptPadding}@indexcode{textScriptPadding}
+ Determines the extra space added between superscripted resp.
+ subscripted text and the closest staff line or note.
+
+ @item @code{verticalDirection}@indexcode{verticalDirection}
+ Determines the direction of stems, subscripts, beams, slurs, and
+ ties. Set to @code{\down} to force them down, @code{\up} to force
+ them up, or @code{\free} to let LilyPond decide. This can be used
+ to distinguish between voices on the same staff. The
+ @code{\stemdown}@keyindex{stemdown}, @code{\stemup}@keyindex{stemup},
+ and @code{\stemboth}@keyindex{stemboth} identifiers set this
+ property.
+
+
+ @item @code{tupletDirection}@indexcode{tupletDirection}
+ Determines the direction of triplets and other tuplets. Set to
+ @code{\down} to force them below the staff, @code{\up} to force
+ them above, or @code{\free} to let LilyPond decide.
+
+ @item @code{tupletVisibility}@indexcode{tupletVisibility}
+ Determines whether tuplets of notes are labelled. Setting
+ to 0 shows nothing; setting to 1 shows a number;
+ setting to 2 shows a number and a bracket if there is no
+ beam; setting to 3 shows a number, and if there is no beam
+ it adds a bracket; setting to 4 shows both a number and a
+ bracket unconditionally.
+
+@end table
+
+@subsubheading Staff properties
+
+@cindex properties!Staff
+
+@table @samp
+
+ @item @code{barNonAuto}@indexcode{barNonAuto}
+ If set to 1 then bar lines will not be printed
+ automatically; they must be explicitly created with @code{\bar}
+ keywords. Unlike with the @code{\cadenza} keyword, measures are
+ still counted. Bar generation will resume according to that
+ count if this property is set to zero.
+
+ @item @code{barNumberDirection}@indexcode{barNumberDirection}
+ Set to @code{\up} or @code{\down} to put bar numbers above or below
+ the staff.
+
+ @item @code{barNumberHangOnClef}@indexcode{barNumberHangOnClef}
+ Set to 1 to cause bar numbers to appear above or below the
+ clef instead of on the bar line. This property is deprecated.
+ Do not use.
+
+ @item @code{barNumberScriptPadding}@indexcode{barNumberScriptPadding}
+ Sets extra space between the bar number and the bar it labels.
+
+ @item @code{barSize}@indexcode{barSize}
+ Specify the height of the bar lines if it should be different
+ than the staff height.
+
+ @item @code{barAtLineStart}@indexcode{barAtLineStart}
+ Set to 1 to produce a bar line after the clef at the start
+ of each line (but not at the beginning of the music).
+
+ @item @code{clefStyle}@indexcode{clefStyle}
+ Determines how clefs are typeset. If set to @code{transparent},
+ the clefs are not printed at all, if set to
+ @code{fullSizeChanges}, clef changes in the middle of a line are
+ typeset with a full size clef. By default, clef changes are
+ typeset in smaller size.
+
+ @item @code{createKeyOnClefChange}@indexcode{createKeyOnClefChange}
+ Set to a nonempty string if you want key signatures to be printed
+ when the clef changes. Set to the empty string if you do not
+ want key signatures printed.
+
+ @item @code{createInitdefaultClef}@indexcode{createInitdefaultClef}
+ Specify whether clefs are created on default? (Doesn't seem to
+ do anything.)
+
+ @item @code{defaultClef}@indexcode{defaultClef}
+ Determines the default clef. See @code{\clef} keyword.
+
+ @item @code{markHangOnClef}@indexcode{markHangOnClef}
+ Set to 1 to cause marks to appear by clefs instead of by bar
+ lines. Deprecated, use is not recommended.
+
+ @item @code{marginDirection}@indexcode{marginDirection}
+ Set to @code{\left} or @code{\right} to specify location of
+ marginal scripts.
+
+ @item @code{marginScriptPadding}@indexcode{marginScriptPadding}
+ Specify extra space for marginal scripts.
+
+ @item @code{forgetAccidentals}@indexcode{forgetAccidentals}
+ Causes accidentals to be printed at every note instead of
+ remembered for the duration of a measure.
+
+ @item @code{noResetKey}@indexcode{noResetKey}
+ Do not reset the key at the start of a measure. Accidentals will
+ be printed only once and are in effect until overridden, possibly
+ many measures later.
+
+ @item @code{staffLineLeading}@indexcode{staffLineLeading}
+ Specifies the distance (in points) between lines of the staff.
+
+ @item @code{numberOfStaffLines}@indexcode{numberOfStaffLines}
+ Specifies the number of staff lines. The default is 5.
+
+ @item @code{postBreakPadding}@indexcode{postBreakPadding}
+ Extra space in points to be added after the clef, time signature
+ and key signature on the staff. Deprecated, do not use.
+
+ @item @code{noVoltaBraces}@indexcode{noVoltaBraces}
+ Set to true to suppress the printing of brackets over alternate
+ endings specified by the command @code{\alternative}.
+
+ @item @code{numberOfStaffLines}@indexcode{numberOfStaffLines}
+ Sets the number of lines that the staff has.
+
+ @item @code{barAlways}@indexcode{barAlways}
+ If set to 1 a bar line is drawn after each note.
+
+ @item @code{defaultBarType}@indexcode{defaultBarType}
+ Sets the default type of bar line. See Section XREF-barlines [FIXME]
+ for a list of available bar types.
+
+ @item @code{instrument}, @code{instr}
+ @indexcode{instrument}@indexcode{instr}
+ If @code{Staff_margin_engraver}
+@cindex Staff_margin_engraver
+ is
+ added to the Staff translator, then the @code{instrument} property
+ is used to label the first line of the staff and the @code{instr}
+ property is used to label subsequent lines. If the
+ @code{midiInstrument} property is not set, then @code{instrument}
+ is used to determine the instrument for MIDI output.
+
+ @item @code{keyOctaviation}@indexcode{keyOctaviation}
+ If set to 1, then keys are the same in all octaves. If set
+ to 0 then the key signature for different octaves can be
+ different and is specified independently:
+
+ @example
+ \keysignature bes fis'
+ @end example
+
+ The default value is 1. Can be set to zero with
+ @code{\specialkey} or reset to 1 with @code{\normalkey}.
+
+ @item @code{timeSignatureStyle}@indexcode{timeSignatureStyle}
+ Changes the default two-digit layout for time signatures. The
+ following values are recognized:
+
+ @table @samp
+ @item @code{C}@indexcode{C}
+ 4/4 and 2/2 are typeset as C and struck C, respectively. All
+ other time signatures are written with two digits.
+
+ @item @code{old}@indexcode{old}
+ 2/2, 3/2, 2/4, 3/4, 4/4, 6/4, 9/4, 4/8, 6/8 and 9/8 are
+ typeset with old-style mensuration marks. All other time
+ signatures are written with two digits.
+
+ @item @code{1}@indexcode{1}
+ All time signatures are typeset with a single
+ digit, e.g. 3/2 is written as 3.
+
+ @item @indexcode{CM/N}@code{C}@var{M}@code{/}@var{N},
+ @indexcode{oldM/N}@code{old}@var{M}@code{/}@var{N} or
+ @code{old6/8alt}@indexcode{old6/8alt}
+ Tells LilyPond to use a specific symbol as time signature.
+ @end table
+
+ The different time signature characters are shown below with its
+ names:
+
+ @mudela[center]
+
+ \score {
+ \notes\relative c'' {
+ \property Voice.textStyle = typewriter
+ \property Staff.timeSignatureStyle = "C2/2"
+ \time 2/2; a2^"C2/2" a2
+ \property Staff.timeSignatureStyle = "C4/4"
+ \time 2/2; a2^"C4/4" a2
+ \property Staff.timeSignatureStyle = "old2/2"
+ \time 2/2; a2^"old2/2" a2
+ \property Staff.timeSignatureStyle = "old3/2"
+ \time 2/2; a2^"old3/2" a2
+ \property Staff.timeSignatureStyle = "old2/4"
+ \time 2/2; a2^"old2/4" a2
+ \property Staff.timeSignatureStyle = "old4/4"
+ \time 2/2; a2^"old4/4" a2
+ \property Staff.timeSignatureStyle = "old6/4"
+ \time 2/2; a2^"old6/4" a2
+ \property Staff.timeSignatureStyle = "old9/4"
+ \time 2/2; a2^"old9/4" a2
+ \property Staff.timeSignatureStyle = "old4/8"
+ \time 2/2; a2^"old4/8" a2
+ \property Staff.timeSignatureStyle = "old6/8"
+ \time 2/2; a2^"old6/8" a2
+ \property Staff.timeSignatureStyle = "old6/8alt"
+ \time 2/2; a2^"old6/8alt" a2
+ \property Staff.timeSignatureStyle = "old9/8"
+ \time 2/2; a2^"old9/8" a2
+ }
+ \paper {
+ linewidth = 4.5 \in;
+ }
+ }
+
+@end mudela
+
+ @item @code{voltaSpannerDuration}@indexcode{voltaSpannerDuration}
+ Set to an integer to control the size of the brackets printed by
+ @code{\alternative}. The integer specifies the number of whole
+ notes duration to use for the brackets. It is rounded to the
+ nearest measure. This can be used to shrink the length of
+ brackets in the situation where one alternative is very large.
+ It may have odd effects if the specified duration is longer than
+ the music given in an @code{\alternative}.
+@end table
+
+
+@cindex properties!GrandStaff
+
+@table @samp
+ @item @code{alignmentReference}@indexcode{alignmentReference}
+ Set to @code{\center} for vertical alignment reference point to be
+ in the center of the vertical group. Set to @code{\up} to put the
+ reference point at the top of the group.
+
+ @item @code{maxVerticalAlign}@indexcode{maxVerticalAlign}
+ Set the maximum vertical distance between staffs.
+
+ @item @code{minVerticalAlign}@indexcode{minVerticalAlign}
+ Set the minimum vertical distance between staffs.
+@end table
+
+
+@cindex properties!Score
+
+@table @samp
+ @item @code{skipBars}@indexcode{skipBars}
+ Set to 1 to skip the empty bars that are produced by
+ multimeasure notes and rests. These bars will not appear on the
+ printed output. Set to zero (the default) to expand multimeasure
+ notes and rests into their full length, printing the appropriate
+ number of empty bars so that synchronization with other voices is
+ preserved.
+
+ @quotation
+
+@mudela[fragment,verbatim,center]
+r1 r1*3 R1*3\property Score.skipBars=1 r1*3 R1*3
+
+@end mudela
+ @end quotation
+
+@end table
+
+
+@cindex properties!ChordNamesVoice
+
+@table @samp
+ @item @code{chordInversion}@indexcode{chordInversion}
+ Determines whether LilyPond should look for chord inversions when
+ translating from notes to chord names. Set to 1 to find
+ inversions. The default is 0 which does not look for
+ inversions.
+@end table
+
+
+
+@node Notation output definitions, , , Reference Manual
+@section Notation output definitions
+
+@cindex output
+
+@cindex notation output
+
+@cindex output definition
+
+@node paper, , , Reference Manual
+
+The most important output definition is the @code{\paper} block, for
+music notation. The syntax is
+
+@example
+
+ @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
+@end example
+
+where each of the items is one of
+
+@itemize @bullet
+ @item An assignment. The assignment must be terminated by a
+ semicolon. See section XREF-papervars [FIXME] for information on
+ paper variables.
+
+ @item A context definition. See section XREF-contextdefs [FIXME] for
+ more information on context definitions.
+
+ @item A margin shape declaration. The syntax is
+
+ @example
+
+ \shape @var{indent1}@code{,} @var{width1}@code{,}
+ @var{indent2}@code{,} @var{width2} @dots{} @code{;}
+ @end example
+
+ @keyindex{shape}
+
+ Each pair of @var{indent} and @var{width} values is a dimension
+ specifying how far to indent and how wide to make the line.
+ The indentation and width of successive lines are specified by
+ the successive pairs of dimensions. The last pair of
+ dimensions will define the characeristics of all lines beyond
+ those explicitly specified.
+
+ @item A font declaration. Its syntax is
+
+ @example
+
+ @var{fontsize} @code{=} \font@keyindex{font} @var{fontname}
+ @end example
+
+ @var{fontsize} is an integer describing the font to be used.
+ 0 is the default font. @var{fontname} is the basename of
+ a font (usually a member of the Feta family).
+@end itemize
+
+
+
+@cindex changing font size and paper size
+
+The Feta font provides musical symbols at six different sizes. These
+fonts are 11 point, 13 point, 16 point, 20 point,
+23 point, and 26 point. The point size of a font is the
+height of the five lines in a staff when displayed in the font.
+
+Definitions for these sizes are the files @file{paperSZ.ly}, where
+@code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include
+any of these files, the identifiers @code{paper_eleven},
+@code{paper_thirteen}, @code{paper_sixteen}, @code{paper_twenty},
+@code{paper_twentythree}, and @code{paper_twentysix} are defined
+respectively. The default @code{\paper} block is also set.
+
+To change the paper size, you must first set the
+@code{papersize}@indexcode{papersize} variable at top level. Set it to the strings
+@code{a4}, @code{letter}, or @code{legal}. After this specification,
+you must set the font as described above. If you want the default
+font, then use the 20 point font. The new paper size will not
+take effect if the font is not loaded and selected afterwards. Paper
+size selection works by loading a file named after the paper size you
+select.
+
+
+
+@cindex paper variables
+
+@node papervars, , , Reference Manual
+
+There is a large number of paper variables that are used to control
+details of the layout. These variables control the defaults for the
+entire score. Usually, they do not have to be changed; they are by
+default set to values that depend on the font size in use. The
+values are used by the graphic objects while formatting the score;
+they are therefore implementation dependent. Most variables are
+accompanied by documentation in the initalization file
+@file{params.ly} or @file{paperSZ.ly}, where @code{SZ} is the staff
+height in points.
+
+Nevertheless, here are some variables you may want to use or change:
+
+@table @samp
+ @item @code{indent}@indexcode{indent}
+ The indentation of the first line of music.
+
+ @item @code{interline}@indexcode{interline}
+ The distance between two staff lines, calculated from the center
+ of the lines. You should use either this or @code{rulethickness}
+ as a unit for distances you modify.
+
+ @item @code{linewidth}@indexcode{linewidth}
+ Sets the width of the lines. If set to -1.0, a single
+ unjustified line is produced.
+
+ @item @code{output}@indexcode{output}
+ Specifies an alternate name for the the output @file{s}.
+ A @file{.tex}, @file{.midi} or @file{.ps} extension will be
+ added to the string you specify.
+
+ @item @code{rulethickness}@indexcode{rulethickness}
+ Determines the thickness of staff and bar lines.
+
+ @item @code{castingalgorithm}@indexcode{castingalgorithm}
+ The algorithm to use for breaking lines. Choices are
+ @code{\Gourlay}@keyindex{Gourlay} for a TeX-like dynamic
+ programming algorithm, and @code{\Wordwrap}@keyindex{Wordwrap} for
+ a simple algorithm. Gourlay breaking looks much better, but
+ takes a lot more resources. Wordwrap leaves loosely spaced lines
+ at the end.
+@end table
+
+
+@node contextdefs, , , Reference Manual
+
+@cindex context definition
+
+A notation contexts is defined by the following information
+
+@enumerate i
+ @item A name.
+
+ @item The LilyPond modules that do the actual conversion of music to
+ notation. Each module is a so-called
+ @emph{engraver}
+@cindex engraver
+.
+
+ @item How these modules should cooperate, i.e. which ``cooperation
+ module'' should be used. This cooperation module is a special
+ type of engraver.
+
+ @item What other contexts the context can contain,
+
+ @item What properties are defined.
+@end enumerate
+
+A context definition has this syntax:
+
+@example
+
+ \translator @code{@{}
+ @var{translatorinit} @var{translatormodifierlist}
+ @code{@}}
+@end example
+
+@var{translatorinit} can be an identifier or of the form
+
+@example
+
+ \type @var{typename} @code{;}
+@end example
+
+@var{typename} is one of
+
+@table @samp
+ @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver}
+ The standard cooperation engraver.
+
+ @item @code{Score_engraver}@indexcode{Score_engraver}
+ This is cooperation module that should be in the top level context.
+
+ @item @code{Grace_engraver_group}@indexcode{Grace_engraver_group}
+ This is a special cooperation module (resembling
+ @code{Score_engraver}) that is used to created an embedded
+ `miniscore'.
+@end table
+
+@var{translatormodifierlist} is a list of items where each item is
+one of
+
+@itemize @bullet
+ @item @code{\consists} @var{engravername} @code{;}
+ Add @var{engravername} to the list of modules in this context.
+ Section XREF-engravers [FIXME] contains an overview of the engravers
+ available. The order of engravers added with @code{\consists} is
+ significant.
+
+ @item @code{\consistsend} @var{engravername} @code{;}
+ Analogous to @code{\consists}, but makes sure that
+ @var{engravername} is always added to the end of the list of
+ engravers.
+
+ Some engraver types need to be at the end of the list; this
+ insures they are put there, and stay there, if a user adds or
+ removes engravers. This command is usually not needed for
+ end-users.
+
+ @item @code{\accepts} @var{contextname} @code{;}
+ Add @var{contextname} to the list of context this context can
+ contain. The first listed context the context to create by
+ default.
+
+ @item @code{\remove} @var{engravername} @code{;}
+ Remove a previously added (with @code{\consists}) engraver.
+
+ @item @code{\name} @var{contextname} @code{;}
+ This sets name of the context, e.g. @code{Staff}, @code{Voice}. If
+ the name is not specified, the translator won't do anything.
+
+ @item @var{propname} @code{=} @var{value} @code{;}
+ A property assignment. It is allowed to use reals for
+ @var{value}.
+@end itemize
+
+In the @code{\paper} block, it is also possible to define translator
+identifiers. Like other block identifiers, the identifier can only
+be used as the very first item of a translator. In order to define
+such an identifier outside of @code{\score}, you must do
+
+@quotation
+
+@example
+\paper @{
+ foo = \translator @{ @dots{} @}
+@}
+\score @{
+ \notes @{
+ @dots{}
+ @}
+ \paper @{
+ \translator @{ \foo @dots{} @}
+ @}
+@}
+@end example
+
+@end quotation
+
+
+@cindex paper types, engravers, and pre-defined translators
+
+Some pre-defined identifiers can simplify modification of
+translators. The pre-defined identifiers are:
+
+@table @samp
+ @item @code{StaffContext}@indexcode{StaffContext}
+ Default Staff context.
+
+ @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext}
+ Default RhythmicStaff context.
+
+ @item @code{VoiceContext}@indexcode{VoiceContext}
+ Default Voice context.
+
+ @item @code{ScoreContext}@indexcode{ScoreContext}
+ Default Score context.
+
+ @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers}
+ Score context with numbering at the Score level.
+
+ @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext}
+ Staff context with numbering at the Staff level.
+
+ @item @code{HaraKiriStaffContext}@indexcode{HaraKiriStaffContext}
+ Staff context that does not print if it only contains rests.
+ Useful for orchestral scores.@footnote{Harakiri, also called
+ Seppuku, is the ritual suicide of the Samourai.}
+
+ @item @code{OrchestralPartStaffContext}@indexcode{OrchestralPartStaffContext}
+
+ @item @code{OrchestralScoreContext}@indexcode{OrchestralScoreContext}
+@end table
+
+Using these pre-defined values, you can remove or add items to the
+translator:
+
+@quotation
+
+@example
+\paper @{
+ \translator @{
+ \StaffContext
+ \remove Some_engraver;
+ \consists Different_engraver;
+ @}
+@}
+@end example
+
+@end quotation
+
+
+
+@node engravers, , , Reference Manual
+
+The engravers for paper output are:
+
+[incomplete, FIXME]
+
+@table @samp
+ @item @code{Bar_engraver}@indexcode{Bar_engraver}
+ Engraves bar lines. Normally in @code{Staff} and
+ @code{RhythmicStaff}.
+
+ @item @code{Bar_number_engraver}@indexcode{Bar_number_engraver}
+ Engrave bar numbers. These numbers appear at the start of each
+ line. Not normally in any translator. Can be added to
+ @code{Score} for score-wide numbering or to @code{Staff} for
+ numbering on each staff.
+
+ @item @code{Beam_engraver}@indexcode{Beam_engraver}
+ Handles beam requests by engraving beams. Normally appears in
+ the @code{Voice} translator. If omitted, then notes will be
+ printed with flags instead of beams.
+
+ @item @code{Beam_req_swallow_translator}
+ @indexcode{Beam_req_swallow_translator}
+ Swallows beam requests. In @code{LyricVoice}.
+
+ @item @code{Chord_name_engraver}@indexcode{Chord_name_engraver}
+ Engraves chord names. Normally in @code{ChordNameVoice} .
+
+ @item @code{Chord_tremolo_engraver}@indexcode{Chord_tremolo_engraver}
+
+ @item @code{Clef_engraver}@indexcode{Clef_engraver}
+ Engraves the clef symbol. Normally in @code{Staff}.
+
+ @item @code{Collision_engraver}@indexcode{Collision_engraver}
+
+ @item @code{Dot_column_engraver}@indexcode{Dot_column_engraver}
+ Engraves dots on dotted notes shifted to the right of the note.
+ Normally in @code{Voice}. If omitted, then dots appear on top of
+ the notes.
+
+ @item @code{Dynamic_engraver}@indexcode{Dynamic_engraver}
+ Engraves dynamics symbols. Normally in @code{Voice}.
+
+ @item @code{Font_size_engraver}@indexcode{Font_size_engraver}
+
+ @item @code{Key_engraver}@indexcode{Key_engraver}
+ Engraves the key signature. Normally in @code{Staff}.
+
+ @item @code{Local_key_engraver}@indexcode{Local_key_engraver}
+
+ @item @code{Lyric_engraver}@indexcode{Lyric_engraver}
+ Engraves lyrics. Normally in @code{LyricVoice}.
+
+ @item @code{Multi_measure_rest_engraver}
+ @indexcode{Multi_measure_rest_engraver}
+ Engraves multi-measure rests that are produced with @code{R}.
+ Normally in @code{Voice}.
+
+ @item @code{Piano_bar_engraver}@indexcode{Piano_bar_engraver}
+
+ @item @code{Pitch_squash_engraver}@indexcode{Pitch_squash_engraver}
+ Treat all pitches as middle C. Used in @code{RhythmicStaff}.
+ Note that the notes move, but the locations of accidentals stay
+ the same.
+
+ @item @code{Priority_horizontal_align_engraver}
+ @indexcode{Priority_horizontal_align_engraver}
+
+ @item @code{Repeat_engraver}@indexcode{Repeat_engraver}
+ Handles repeats? In @code{Staff} and @code{RhythmicStaff}.
+
+ @item @code{Rest_collision_engraver}@indexcode{Rest_collision_engraver}
+ Handles collisions of rests. In @code{Staff}.
+
+ @item @code{Rest_engraver}@indexcode{Rest_engraver}
+ Engraves rests. Normally in @code{Voice}.
+
+ @item @code{Rhythmic_column_engraver}@indexcode{Rhythmic_column_engraver}
+
+ @item @code{Score_priority_engraver}@indexcode{Score_priority_engraver}
+
+ @item @code{Script_engraver}@indexcode{Script_engraver}
+ Handles note ornaments generated by @code{\script}. Normally in
+ @code{Voice}.
+
+ @item @code{Separating_line_group_engraver}
+ @indexcode{Separating_line_group_engraver}
+
+ @item @code{Skip_req_swallow_translator}
+ @indexcode{Skip_req_swallow_translator}
+
+ @item @code{Slur_engraver}@indexcode{Slur_engraver}
+ Engraves slurs. Normally in @code{Voice}.
+
+ @item @code{Span_bar_engraver}@indexcode{Span_bar_engraver}
+ Engraves lines across multiple staffs. Normally in
+ @code{Staffgroup} and @code{GrandStaff}. Removing this from
+ @code{StaffGroup} gives the definition of @code{ChoirStaff}.
+
+ @item @code{Span_score_bar_engraver}@indexcode{Span_score_bar_engraver}
+
+ @item @code{Staff_group_bar_engraver}@indexcode{Staff_group_bar_engraver}
+
+ @item @code{Staff_margin_engraver}@indexcode{Staff_margin_engraver}
+ Prints the name of the instrument (specified by
+ @code{Staff.instrument} and @code{Staff.instr}) at the left of the
+ staff.
+
+ @item @code{Staff_sym_engraver}@indexcode{Staff_sym_engraver}
+
+ @item @code{Stem_engraver}@indexcode{Stem_engraver}
+ Engraves stems. Normally in @code{Voice}.
+
+ @item @code{Ties_engraver}@indexcode{Ties_engraver}
+ Engraves ties. Normally in @code{Voice}.
+
+ @item @code{Time_signature_engraver}@indexcode{Time_signature_engraver}
+ Engraves the time signature. Normally in @code{Staff} and
+ @code{RhythmicStaff}.
+
+ @item @code{Timing_engraver}@indexcode{Timing_engraver}
+ Responsible for synchronizing timing information from staffs.
+ Normally in @code{Score}. In order to create polyrhythmic music,
+ this engraver should be removed from @code{Score} and placed in
+ @code{Staff}.
+
+ @item @code{Tuplet_engraver}@indexcode{Tuplet_engraver}
+ Engraves tuplet brackets? In @code{Staff}.
+
+ @item @code{Vertical_align_engraver}@indexcode{Vertical_align_engraver}
+@end table
+
+
+
+@node Sound output, , , Reference Manual
+@section Sound output
+
+
+
+The MIDI block is analogous to the paper block, but it is simpler.
+The @code{\midi} block can contain:
+@cindex MIDI block
+
+@itemize @bullet
+ @item a @code{\tempo} definition
+ @item context definitions
+@end itemize
+
+Assignments in the @code{\midi} block are not allowed.
+
+
+
+@cindex context definition
+
+Context definitions follow precisely the same syntax as within the
+\paper block. Translation modules for sound are called performers.
+The contexts for MIDI output are defined in @file{ly/performer.ly}.
+
+
+
+@cindex MIDI instrument names
+
+@node midilist, , , Reference Manual
+
+The MIDI instrument name is set by the
+@code{Staff.midiInstrument}@indexcode{Staff.midiInstrument} property or,
+if that property is not set, the
+@code{Staff.instrument}@indexcode{Staff.instrument} property. The
+instrument name should be chosen from the following list. If the
+selected string does not exactly match, then LilyPond uses the default
+piano.
+
+
+@quotation
+
+@example
+"acoustic grand" "contrabass" "lead 7 (fifths)"
+"bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
+"electric grand" "pizzicato strings" "pad 1 (new age)"
+"honky-tonk" "orchestral strings" "pad 2 (warm)"
+"electric piano 1" "timpani" "pad 3 (polysynth)"
+"electric piano 2" "string ensemble 1" "pad 4 (choir)"
+"harpsichord" "string ensemble 2" "pad 5 (bowed)"
+"clav" "synthstrings 1" "pad 6 (metallic)"
+"celesta" "synthstrings 2" "pad 7 (halo)"
+"glockenspiel" "choir aahs" "pad 8 (sweep)"
+"music box" "voice oohs" "fx 1 (rain)"
+"vibraphone" "synth voice" "fx 2 (soundtrack)"
+"marimba" "orchestra hit" "fx 3 (crystal)"
+"xylophone" "trumpet" "fx 4 (atmosphere)"
+"tubular bells" "trombone" "fx 5 (brightness)"
+"dulcimer" "tuba" "fx 6 (goblins)"
+"drawbar organ" "muted trumpet" "fx 7 (echoes)"
+"percussive organ" "french horn" "fx 8 (sci-fi)"
+"rock organ" "brass section" "sitar"
+"church organ" "synthbrass 1" "banjo"
+"reed organ" "synthbrass 2" "shamisen"
+"accordion" "soprano sax" "koto"
+"harmonica" "alto sax" "kalimba"
+"concertina" "tenor sax" "bagpipe"
+"acoustic guitar (nylon)" "baritone sax" "fiddle"
+"acoustic guitar (steel)" "oboe" "shanai"
+"electric guitar (jazz)" "english horn" "tinkle bell"
+"electric guitar (clean)" "bassoon" "agogo"
+"electric guitar (muted)" "clarinet" "steel drums"
+"overdriven guitar" "piccolo" "woodblock"
+"distorted guitar" "flute" "taiko drum"
+"guitar harmonics" "recorder" "melodic tom"
+"acoustic bass" "pan flute" "synth drum"
+"electric bass (finger)" "blown bottle" "reverse cymbal"
+"electric bass (pick)" "skakuhachi" "guitar fret noise"
+"fretless bass" "whistle" "breath noise"
+"slap bass 1" "ocarina" "seashore"
+"slap bass 2" "lead 1 (square)" "bird tweet"
+"synth bass 1" "lead 2 (sawtooth)" "telephone ring"
+"synth bass 2" "lead 3 (calliope)" "helicopter"
+"violin" "lead 4 (chiff)" "applause"
+"viola" "lead 5 (charang)" "gunshot"
+"cello" "lead 6 (voice)"
+@end example
+
+@end quotation
+
+
+@cindex MIDI types and performers
+
+The types available for MIDI translators are:
+
+@table @samp
+ @item @code{Performer_group_performer}@indexcode{Performer_group_performer}
+ @item @code{Score_performer}@indexcode{Score_performer}
+ @item @code{Staff_performer}@indexcode{Staff_performer}
+@end table
+
+The performers for MIDI translators are:
+
+@table @samp
+ @item @code{Key_performer}@indexcode{Key_performer}
+ @item @code{Time_signature_performer}@indexcode{Time_signature_performer}
+ @item @code{Note_performer}@indexcode{Note_performer}
+ @item @code{Lyric_performer}@indexcode{Lyric_performer}
+ @item @code{Swallow_performer}@indexcode{Swallow_performer}
+@end table
+
+
+
+@node Pre-defined Identifiers, , , Reference Manual
+
+@section Pre-defined Identifiers
+
+@cindex pre-defined identifiers
+
+
+Various identifiers are defined in the initialization files to
+provide shorthands for some settings. Most of them are in
+@file{ly/declarations.ly}.
+
+@table @samp
+ @item @code{\break}@keyindex{break}
+ Force a line break in music by using a large argument for the
+ keyword @code{\penalty}.
+
+ @item @code{\center}@keyindex{center}
+ Used for setting direction properties. Equals 0.
+
+ @item @code{\down}@keyindex{down}
+ Used for setting direction setting properties. Is equal
+ to -1.
+
+ @item @code{\free}@keyindex{free}
+ Used for setting direction setting properties. Is equal
+ to 0.
+
+ @item @code{\left}@keyindex{left}
+ Used for setting text alignment property. Is equal to -1.
+
+ @item @code{\nobreak}@keyindex{nobreak}
+ Prevent a line break in music by using a large negative argument
+ for the keyword @code{\penalty}.
+
+ @item @code{\none}@keyindex{none}
+ Used for setting @code{Score.beamslopedamping} and
+ @code{Score.beamquantisation} properties. Is equal to 0.
+
+ @item @code{\normal}@keyindex{normal}
+ Used for setting @code{Score.beamslopedamping} and
+ @code{Score.beamquantisation} properties. Is equal to 1.
+
+ @item @code{\normalkey}@keyindex{normalkey}
+ Select normal key signatures where each octave has the same key
+ signature. This sets the @code{Staff.keyoctaviation} property.
+
+ @item @code{\right}@keyindex{right}
+ Used for setting text alignment property. Is set to 1.
+
+ @item @code{\shiftoff}@keyindex{shiftoff}
+ Disable horizontal shifting of note heads that collide. Sets the
+ @code{Voice.horizontalNoteShift} property.
+
+ @item @code{\shifton}@keyindex{shifton}
+ Enable note heads that collide with other note heads to be
+ shifted horiztonally. Sets the @code{Voice.horizontalNoteShift}
+ property.
+
+ @item @code{\slurboth}@keyindex{slurboth}
+ Allow slurs to be above or below notes. This sets the
+ @code{Voice.slurVerticalDirection} property.
+
+ @item @code{\slurdown}@keyindex{slurdown}
+ Force slurs to be below notes. This sets the
+ @code{Voice.slurVerticalDirection} property.
+
+ @item @code{\slurup}@keyindex{slurup}
+ Force slurs to be above notes. This sets the
+ @code{Voice.slurVerticalDirection} property.
+
+ @item @code{\specialkey}@keyindex{specialkey}
+ Allow key signatures do differ in different octaves. This sets
+ the @code{Staff.keyoctaviation} property.
+
+ @item @code{\stemboth}@keyindex{stemboth}
+ Allow stems, beams, and slurs to point either upwards or
+ downwards, decided automatically by LilyPond. This sets the
+ @code{Voice.verticalDirection} property.
+
+ @item @code{\stemdown}@keyindex{stemdown}
+ Force stems, beams, and slurs to point down. This sets the
+ @code{Voice.verticalDirection} property.
+
+ @item @code{\stemup}@keyindex{stemup}
+ Force stems, beams and slurs to point up. This sets the
+ @code{Voice.verticalDirection} property.
+
+ @item @code{\traditional}@keyindex{traditional}
+ Used for setting the @code{Score.beamquantisation} property. Is
+ equal to 2.
+
+ @item @code{\up}@keyindex{up}
+ Used for setting various direction properties. Is equal
+ to 1.
+@end table
+
+
+
+@node Running LilyPond, , , Reference Manual
+@section Running LilyPond
+
+@cindex running LilyPond
+
+
+When invoked with a filename that has no extension, LilyPond will try
+adding `@file{.ly}' as an extension first, then `@file{.fly}' and
+finally `@file{.sly}' extension. If the filename ends with
+`@file{.fly}', LilyPond processes the file as music using
+`@file{init.fly}'. In this case, LilyPond does something like:
+
+@quotation
+
+@example
+\score @{
+ \notes\relative c @{
+ \input "yourfile.fly"
+ @}
+ \paper@{@}
+ \midi@{@}
+@}
+@end example
+
+@end quotation
+
+The result of `@file{.sly}' is similar except that a single unjustified
+line is produced.
+
+If you invoke LilyPond with a file `@file{foo.}@var{ext}' that doesn't
+have the `@file{.ly}' extension, then LilyPond will look for a file
+called `@file{init.}@var{ext}' and process this file. The file
+`@file{init.}@var{ext}' must contain the @code{\maininput} keyword or
+LilyPond will not read the user specified file.
+
+When LilyPond processes @file{filename.ly} it will produce
+@file{filename.tex} as output. If @file{filename.ly} contains a second
+@code{\paper} keyword, then LilyPond will produce @file{filename-1.tex}
+as well. Subsequent @code{\paper} keywords will produce sequentially
+numbered file names. Several files can be specified; they will each
+be processed independently.@footnote{Not entirely true: The status of
+GUILE is kept.}
+
+@node Glossary, , , Top
+@chapter Glossary
+
+@include glossary.texi
+
+
+@bye
--- /dev/null
+\input texinfo @c -*-texinfo-*- vim:tw=72
+@setfilename regression-test.info
+@settitle LilyPond Regression test
+
+@c fool ls-latex
+@ignore
+@author Han-Wen Nienhuys and Jan Nieuwenhuizen
+@title LilyPond Regression test
+@end ignore
+
+@node Top, , ,
+
+@section Introduction
+
+This document tries give an brief overview of LilyPond features. When
+the text correspond with the shown notation, we consider LilyPond
+Officially BugFree (tm). This document is intended for finding bugs,
+and documenting bugfixes.
+
+@section Notes and rests
+
+Rests. Note that the dot of 8th, 16th and 32nd rests rest should be
+next to the top of the rest. All rests except the whole rest are
+centered on the middle staff line.
+
+@mudelafile{rest.fly}
+
+Note head shapes are settable. The stem endings should be adjusted
+per note head. If you want different note head styles on one stem,
+you must create a special context called Thread.
+
+@mudelafile{noteheadstyle.ly}
+
+Noteheads can have dots, and ---although this is bad style in duple
+meters--- rests can too. Augmentation dots should never be printed on
+a staff line, but rather be shifted vertically. They should go up, but
+in case of multiple parts, the down stems have down shifted dots.
+(Wanske p. 186) In case of chords, all dots should be in a column.
+The dots go along as rests are shifted to avoid collisions.
+
+@mudelafile{dots.fly}
+
+Multiple measure rests do not collide with barlines and clefs. They
+are not expanded when you set @code{Score.SkipBars}. Although the
+multi-measure-rest is a Spanner, minimum distances are set to keep it
+colliding from barlines.
+
+@mudelafile{multi-measure-rest.ly}
+
+@section Stems
+
+Stem tremolos (official naming?) or rolls are tremolo signs that look
+like beam segments crossing stems. If the stem is in a beam, the
+tremolo must be parallel to the beam. If the stem is invisible
+(eg. on a whole note), the tremolo must be centered on the note.
+
+@mudelafile{stem-tremolo.ly}
+
+Chord tremolos look like beams, but are a kind of repeat symbol.
+To avoid confusion, chord tremolo beams do not reach the stems, but
+leave a gap. Chord tremolo beams on half notes are not ambiguous,
+as half notes cannot appear in a regular beam, and should reach the
+stems.
+
+@mudelafile{chord-tremolo.sly}
+
+Beams, stems and noteheads often have communication troubles, since
+the two systems for y dimensions (1 unit = staffspace, 1 unit = 1
+point) are mixed.
+
+Stems, beams, ties and slurs should behave similarly, when placed
+on the middle staff line. Of course stem-direction is down for high
+notes, and up for low notes.
+
+@mudelafile{stem-direction.sly}
+
+Similarly, if @code{stem_default_neutral_direction} is set to @code{-1}.
+
+@mudelafile{stem-direction-down.ly}
+
+@section Scripts
+
+The staccato dot (and all scripts with follow-into-staff set), must
+not be on staff lines.
+
+@mudelafile{staccato-pos.sly}
+
+@section Grace notes
+
+Grace notes are typeset as an encapsulated piece of music. You can
+have beams, notes, chords, stems etc. within a @code{\grace} section.
+Slurs that start within a grace section, but aren't ended are attached
+to the next normal note. Grace notes have zero duration. If there
+are tuplets, the grace notes won't be under the brace. Grace notes
+can have accidentals, but they are (currently) spaced at a fixed
+distance. Grace notes (of course) come before the accidentals of the
+main note. Grace notes can also be positioned after the main note.
+
+@mudelafile{grace.ly}
+
+
+@section Beams, slurs and other spanners
+
+Beaming is generated automatically. Beams may cross bar lines. In that
+case, line breaks are forbidden. Yet clef and key signatures are
+hidden just as with breakable bar lines.
+
+@mudelafile{beaming.ly}
+
+Beams should behave reasonably well, even under extreme circumstances.
+Stems may be short, but noteheads should never touch the beam.
+
+@mudelafile{beam-extreme.ly}
+
+Beams should always reach the middle staff line, the second beam
+counting from the note head side, should never be lower than the
+second staff line. This does not hold for grace note beams.
+
+@mudelafile{beam-position.sly}
+
+Slurs should look nice and symmetric. The curvature may increase
+only to avoid noteheads, and as little as possible.
+
+@mudelafile{slur-symmetry.ly}
+@mudelafile{slur-symmetry-1.ly}
+
+Ties are strictly horizontal. They are placed in between note heads.
+The horizontal middle should not overlap with a staffline.
+
+@mudelafile{tie.ly}
+
+Beams can be typeset over fixed distance aligned staffs, beam
+beautification doesn't really work, but knees do. Beams should be
+behave well, wherever the switching point is.
+
+@mudelafile{beam-interstaff.ly}
+
+The same goes for slurs. They behave decently when broken across
+linebreak.
+
+@mudelafile{slur-interstaff.ly}
+
+Tuplets are indicated by a bracket with a number. There should be no
+bracket if there is one beam that matches the length of the tuplet.
+The bracket does not interfere with the stafflines, and the number is
+centered in the gap in the bracket.
+
+@mudelafile{tup.ly}
+
+@section Repeats
+
+LilyPond has three modes for repeats: folded, unfolded and
+semi-unfolded. Unfolded repeats are fully written out. Semi unfolded
+repeats have the body written and all alternatives sequentially.
+Folded repeats have the body written and all alternatives
+simultaneously. If the number of alternatives is larger than the
+repeat count, the excess alternatives are ignored. If the number of
+alternatives is smaller, the first alternative is multiplied to get to
+the number of repeats.
+
+Unfolded behavior:
+
+@mudelafile{repeat-unfold.ly}
+
+Semi (un)folded behavior. Voltas can start on non-barline moments.
+If they don't barlines should still be shown.
+
+@mudelafile{repeat-semifold.ly}
+
+Folded. This doesn't make sense without alternatives, but it works.
+
+@mudelafile{repeat-fold.ly}
+
+@section Lyrics
+
+Lyrics can be set to a melody automatically. Excess lyrics will be
+dumped. Lyrics will not be set over rests. You can have melismata
+either by setting a property melismaBusy, or by setting
+automaticMelismas (which will set melismas during slurs and ties). If
+you want a different order than first Music, then Lyrics, you must
+precook a chord of staffs/lyrics and label those. Of course
+@code{\rhythm} ignores any other rhythms in the piece. Hyphens and
+extenders do not assume anything about lyric lengths, so they continue
+to work.
+
+@mudelafile{lyric-combine.ly}
+
+@section Multiple notes
+
+Rests should not collide with beams, stems and noteheads. Rests may
+be under beams. Rests should be move by integral number of spaces
+inside the staff, and by half spaces outside. Notice that the half
+and whole rests just outside the staff get ledger lines in different
+cases.
+
+@mudelafile{rest-collision.ly}
+
+Normal collisions. We have support for polyphony, where the
+middle voices are horizontally shifted.
+
+@mudelafile{collisions.ly}
+
+The number of stafflines of a staff can be set with the property
+numberOfStaffLines. Ledger lines both on note heads and rests are
+adjusted. Barlines also are adjusted.
+
+
+@mudelafile{number-staff-lines.fly}
+
+@section Spacing
+
+In a limited number of cases, LilyPond corrects for optical spacing
+effects. In this example, space for opposite pointed stems is adjusted
+
+@mudelafile{stem-spacing.sly}
+
+If there are accidentals in the music, we add space, but the space
+between note and accidentals is less than between the notes with the
+same value. Clef changes also get extra space, but not as much as
+barlines.
+
+
+Even if a line is very tightly spaced, there will still be room
+between prefatory matter and the following notes. The space after the
+prefatory is very rigid. In contrast, the space before the barline
+must stretch like the space within the measure.
+
+Tight:
+
+@mudelafile{spacing-tight.ly}
+
+Natural:
+
+@mudelafile{spacing-natural.ly}
+
+Loose:
+
+@mudelafile{spacing-loose.ly}
+
+
+@section Global stuff
+
+Markings that are attached to (invisible) barlines are
+delicate: the are attached to the rest of the score without the score
+knowing it. Consequently, they fall over often.
+
+@mudelafile{bar-scripts.ly}
+
+Staff margins are also markings attached to barlines. They should be
+left of the staff, and be centered vertically wrt the staff. They may
+be on normal staffs, but also on compound staffs, like the PianoStaff
+
+@mudelafile{staff-margin.ly}
+
+Breathing signs, also used for phrasing, do normally not influence
+global spacing -- only if space gets tight, notes are shifted to make
+room for the breathing sign. Breathing signs break beams running
+through their voice. In the following example, the notes in the first
+two measures all have the same distance from each other:
+
+@mudelafile{breathing-sign.ly}
+
+Fonts are available in a default set of sizes: 11, 13, 16, 20, 23 and
+26pt staffheight. Sizes of the text fonts and symbol fonts are made
+to match the staff dimensions.
+
+@mudelafile[nofly]{size11.ly}
+
+@mudelafile[nofly]{size13.ly}
+
+@mudelafile[nofly]{size16.ly}
+
+@mudelafile[nofly]{size20.ly}
+
+@mudelafile[nofly]{size23.ly}
+
+@mudelafile[nofly]{size26.ly}
+
+
+@section Clefs and Time Signatures
+
+The transparent clef should not occupy any space and with style
+@code{fullSizeChanges}, the changing clef should be typeset in full
+size. For octaviated clefs, the ``8'' should appear closely above or
+below the clef respectively. The ``8'' is processed in a convoluted
+way, so this is fragile as well.
+
+@mudelafile{clefs.ly}
+
+@ignore
+@c the input file is too long and does not test for specific bugs
+By default, time signatures are written with two numbers. With style
+``C'', 4/4 and 2/2 are written with their corresponding symbols and
+with style ``old'', 2/2, 3/2, 2/4, 3/4, 4/4, 6/4, 9/4, 4/8, 6/8 and
+9/8 are typeset with symbols, all other signatures retain the default
+layout. The style ``1'', gives single number signatures for all
+signatures.
+%
+\mu delafile{time.fly}
+@end ignore
+
+@bye
-WHAT'S NEW?
+
+WHAT'S NEW SINCE 1.2.0
+
+* Much faster spacing engine.
+
+* Features: automatic staff switching
+
+* Documentation now all is in texinfo.
+
+
+WHAT'S NEW SINCE 1.0.17
* Large cleanups, enhanced design and GUILE integration for smaller
memory footprint and more flexible code.
+++ /dev/null
-Call for Volunteers -- The Mutopia project seeks YOUR help.
-
-
-WHAT IS MUTOPIA?
-
-Mutopia is an archive of public domain music, free for all to
-download, modify and redistribute. It should be based on free
-software. It is similar in spirit to the Gutenberg archive.
-
-
-
-WHAT NEEDS TO BE DONE
-
-- write legal faq documents
-
-- setup submission guidelines,
-
-- setup FTP/Web server
-
-
-
-WHO DO WE NEED
-
-Volunteers that want to setup, host and maintain a website and FTP
-site.
-
-Volunteers to write submission guidelines, and copyright FAQs.
-
-
-
-WHO ARE WE?
-
-We are Han-Wen Nienhuys and Jan Nieuwenhuizen. We are working on the
-GNU project music typesetter, a program that does for sheet music what
-TeX does for text. We would like to help start this mutopia project.
-Unfortunately, maintaining and extending LilyPond does not leave us
-enough time to take up the task of setting up Mutopia
-
-
-Signed
-
-Han-Wen Nienhuys
-Jan Nieuwenhuizen
-
-[other bigwigs?]
Features you cannot find in the documentation as working, should be
mentioned here. This is an assorted collection of stuff that will be
done, might be done, or is an idea that we want to think about.
-
+m
Most of the items are marked in the code as well
Grep -i for TODO, FIXME and ugh/ugr/urg.
.* TODO
. * use Rhythmic_head::position_i () for all Staff_referenced
+. * make diff and make release should leave junk in out/, not in ../test/
. * setting indent to 0 with \shape fails
-. * fix or replace feta-accordion.mf
-. * fix configure with CFLAGS or LDFLAGS, try:
- CFLAGS=-g LDFLAGS='-Wl,--warn-common' ./configure
-configure will use them while testing the compiler, but they don't
-appear in config.make
. * junk -M ?
. * mudela-book doco
. * Depracate Wordwrap
. * rerun profile
+. * fix or replace feta-accordion.mf
+. * fix configure with CFLAGS or LDFLAGS, try:
++ CFLAGS=-g LDFLAGS='-Wl,--warn-common' ./configure
++ configure will use them while testing the compiler, but they don't
++ appear in config.make
+
. * Break_req handling is silly (break_forbid () + \break fucks up.)
. * script engraver
. * HaraKiriStaffContext removes bar lines and doesn't remove
.* BUGS
. * [c8. c16 c16 c16] in 6/8 timesig.
. * staffside spanner (crescendo!) along with staffswitch.
-. * --- 2, margin notes don't work correctly for the pianostaff (in the
-following example, i expect the "piano" string to be centered
-vertically between the two staves):
-
-\score {
- \notes \context PianoStaff <
- \property PianoStaff.instrument = "Piano"
- \context Staff = treble {
- a b c
- }
- \context Staff = bass {
- \clef bass;
- a, b, c,
- }
- >
- \paper {
- \translator { \StaffContext \consists "Staff_margin_engraver"; }
- \translator { \PianoStaffContext \consists "Staff_margin_engraver"; }
- }
-}
+
. *
> \context Staff <
> {\voiceone''4. r8}
.* STUFF
. * We need feta-din*.mf files for more sizes than 10.
-. *
-- The syntax for chords looks clumsy with two different meanings of
- '-' and different syntax for separating modifiers from the tonic
- and from other modifiers. Why not use for example ':' between
- tonic and modifier and between the different modifiers?
-
- Rests and beams don't work too well together. Example:
[ r8 g''16 des'] [r8 c16 a]
. * deps for ly2dvi
. * TODO: merge atom & molecule; make tree from molecule.
. * Align_element::padding ?
-. * typo checks on property names?
. * use streambufs and iostream
to provide IO handling for TeX stream, mudela stream, data-file.
. * seriously buffer TeX output (do profile of writing .5 mb TeX file.)
-. * strip EXEs before installing
-. * zip target for binary windows dist (JBR)
. * fix partial measures in meaningful way.
. * uniformise recent feta contributions.
. * bigger and fatter 4/4 C
syntax: \repeat "repeatsymbol" 2 {...}, but I'm not sure that
I understand the implementation of repeats well enough.
. * add full cello suites to web site (kom op, Maarten!)
-. * rename 'staff_line_leading' (who is being lead where?) to
-staff_space, interline; (or other meaningful name) and use throughout
-lily
-
-[-> leading are the lead strips between the sticks (lines) of
-typeface. ie. leading is vertical space --hwn]
. * add mudela-book-doc source to webstie.
. * Rethink Time_description
\cadenza , \meter, should all be \properties
axeses.push (as);
}
-. * GNU diff 2.7: diff -rN does not see a new directory with empty file
+
. * patch: don't touch timestamp if all patches fail.
. * MetaPost: should not generate setgray for unfill
. * mfplain.ini not in tetex 0.9
PACKAGE_NAME=LilyPond
MAJOR_VERSION=1
MINOR_VERSION=2
-PATCH_LEVEL=11
-MY_PATCH_LEVEL=jcn2
+PATCH_LEVEL=12
+MY_PATCH_LEVEL=
# use the above to send patches: MY_PATCH_LEVEL is always empty for a
# released version.
dnl do not edit! this is aclocal.m4, generated from stepmake/aclocal.m4
dnl WARNING WARNING WARNING WARNING
dnl do not edit! this is aclocal.m4, generated from stepmake/aclocal.m4
+dnl WARNING WARNING WARNING WARNING
+dnl do not edit! this is aclocal.m4, generated from stepmake/aclocal.m4
dnl aclocal.m4 -*-shell-script-*-
dnl StepMake subroutines for configure.in
AC_SUBST(PATHSEP)
AC_SUBST(DIRSEP)
-
AC_STEPMAKE_DATADIR
])
break;
fi
done
+
+ #
+ # For now let people define these in their environments
+ #
+ : ${MFPLAIN_MP='/usr/share/texmf/metapost/base/mfplain.mp'}
+ : ${INIMETAPOST_FLAGS='-interaction=nonstopmode'}
+
rm -f mfput.*
AC_MSG_RESULT($MFMODE)
AC_SUBST(MFMODE)
AC_SUBST(INIMETAFONT)
AC_SUBST(INIMETAPOST)
+ AC_SUBST(MFPLAIN_MP)
+ AC_SUBST(INIMETAPOST_FLAGS)
])
AC_DEFUN(AC_STEPMAKE_WARN, [
FLEX = @FLEX@
INIMETAFONT = @INIMETAFONT@
INIMETAPOST = @INIMETAPOST@
+INIMETAPOST_FLAGS = @INIMETAPOST_FLAGS@
LN = @LN@
LN_S = @LN_S@
METAFONT = @METAFONT@
MFMODE = @MFMODE@
METAPOST = @METAPOST@
+MFPLAIN_MP = @MFPLAIN_MP@
MSGFMT = @MSGFMT@
PATHSEP = @PATHSEP@
PERL = @PERL@
-
if test "$datadir" = "\${prefix}/share"; then
datadir='${prefix}/share/'$package
# -O is necessary to get inlining
OPTIMIZE=""
- CXXFLAGS=${CXXFLAGS:-""}
CFLAGS=${CFLAGS:-""}
+ CXXFLAGS=${CXXFLAGS:-$CFLAGS}
+ LDFLAGS=${LDFLAGS:-""}
checking_b=yes
optimise_b=no
profile_b=no
fi
- if test "$printing_b" = no; then
- # ugh
- cat >> confdefs.h <<\EOF
-#define NPRINT 1
-EOF
-
- DEFINES="$DEFINES -DNPRINT"
- fi
-
if test "$checking_b" = no; then
# ugh
cat >> confdefs.h <<\EOF
# Extract the first word of "gcc", so it can be a program name with args.
set dummy gcc; ac_word=$2
echo $ac_n "checking for $ac_word""... $ac_c" 1>&6
-echo "configure:1257: checking for $ac_word" >&5
+echo "configure:1248: checking for $ac_word" >&5
if eval "test \"`echo '$''{'ac_cv_prog_CC'+set}'`\" = set"; then
echo $ac_n "(cached) $ac_c" 1>&6
else
# Extract the first word of "cc", so it can be a program name with args.
set dummy cc; ac_word=$2
echo $ac_n "checking for $ac_word""... $ac_c" 1>&6
-echo "configure:1287: checking for $ac_word" >&5
+echo "configure:1278: checking for $ac_word" >&5
if eval "test \"`echo '$''{'ac_cv_prog_CC'+set}'`\" = set"; then
echo $ac_n "(cached) $ac_c" 1>&6
else
# Extract the first word of "cl", so it can be a program name with args.
set dummy cl; ac_word=$2
echo $ac_n "checking for $ac_word""... $ac_c" 1>&6
-echo "configure:1338: checking for $ac_word" >&5
+echo "configure:1329: checking for $ac_word" >&5
if eval "test \"`echo '$''{'ac_cv_prog_CC'+set}'`\" = set"; then
echo $ac_n "(cached) $ac_c" 1>&6
else
fi
echo $ac_n "checking whether the C compiler ($CC $CFLAGS $LDFLAGS) works""... $ac_c" 1>&6
-echo "configure:1370: checking whether the C compiler ($CC $CFLAGS $LDFLAGS) works" >&5
+echo "configure:1361: checking whether the C compiler ($CC $CFLAGS $LDFLAGS) works" >&5
ac_ext=c
# CFLAGS is not in ac_cpp because -g, -O, etc. are not valid cpp options.
cat > conftest.$ac_ext << EOF
-#line 1381 "configure"
+#line 1372 "configure"
#include "confdefs.h"
main(){return(0);}
EOF
-if { (eval echo configure:1386: \"$ac_link\") 1>&5; (eval $ac_link) 2>&5; } && test -s conftest${ac_exeext}; then
+if { (eval echo configure:1377: \"$ac_link\") 1>&5; (eval $ac_link) 2>&5; } && test -s conftest${ac_exeext}; then
ac_cv_prog_cc_works=yes
# If we can't run a trivial program, we are probably using a cross compiler.
if (./conftest; exit) 2>/dev/null; then
{ echo "configure: error: installation or configuration problem: C compiler cannot create executables." 1>&2; exit 1; }
fi
echo $ac_n "checking whether the C compiler ($CC $CFLAGS $LDFLAGS) is a cross-compiler""... $ac_c" 1>&6
-echo "configure:1412: checking whether the C compiler ($CC $CFLAGS $LDFLAGS) is a cross-compiler" >&5
+echo "configure:1403: checking whether the C compiler ($CC $CFLAGS $LDFLAGS) is a cross-compiler" >&5
echo "$ac_t""$ac_cv_prog_cc_cross" 1>&6
cross_compiling=$ac_cv_prog_cc_cross
echo $ac_n "checking whether we are using GNU C""... $ac_c" 1>&6
-echo "configure:1417: checking whether we are using GNU C" >&5
+echo "configure:1408: checking whether we are using GNU C" >&5
if eval "test \"`echo '$''{'ac_cv_prog_gcc'+set}'`\" = set"; then
echo $ac_n "(cached) $ac_c" 1>&6
else
yes;
#endif
EOF
-if { ac_try='${CC-cc} -E conftest.c'; { (eval echo configure:1426: \"$ac_try\") 1>&5; (eval $ac_try) 2>&5; }; } | egrep yes >/dev/null 2>&1; then
+if { ac_try='${CC-cc} -E conftest.c'; { (eval echo configure:1417: \"$ac_try\") 1>&5; (eval $ac_try) 2>&5; }; } | egrep yes >/dev/null 2>&1; then
ac_cv_prog_gcc=yes
else
ac_cv_prog_gcc=no
ac_save_CFLAGS="$CFLAGS"
CFLAGS=
echo $ac_n "checking whether ${CC-cc} accepts -g""... $ac_c" 1>&6
-echo "configure:1445: checking whether ${CC-cc} accepts -g" >&5
+echo "configure:1436: checking whether ${CC-cc} accepts -g" >&5
if eval "test \"`echo '$''{'ac_cv_prog_cc_g'+set}'`\" = set"; then
echo $ac_n "(cached) $ac_c" 1>&6
else
printing_b=$enableval
fi
-
+
if test "$optimise_b" = yes; then
DEFINES="$DEFINES -DSTRING_UTILS_INLINED"
cat >> confdefs.h <<\EOF
fi
+if test "$printing_b" = no; then
+ # ugh
+ cat >> confdefs.h <<\EOF
+#define NPRINT 1
+EOF
+
+ DEFINES="$DEFINES -DNPRINT"
+fi
+
echo $ac_n "checking how to run the C++ preprocessor""... $ac_c" 1>&6
echo "configure:1508: checking how to run the C++ preprocessor" >&5
if test -z "$CXXCPP"; then
CPPFLAGS="$CPPFLAGS $DEFINES"
CXXFLAGS="$CXXFLAGS $OPTIMIZE"
- LDFLAGS=$EXTRA_LIBES
+ LDFLAGS="$LDFLAGS $EXTRA_LIBES"
break;
fi
done
+
+ #
+ # For now let people define these in their environments
+ #
+ : ${MFPLAIN_MP='/usr/share/texmf/metapost/base/mfplain.mp'}
+ : ${INIMETAPOST_FLAGS='-interaction=nonstopmode'}
+
rm -f mfput.*
echo "$ac_t""$MFMODE" 1>&6
+
+
# Check whether --enable-tex-tfmdir or --disable-tex-tfmdir was given.
# Extract the first word of "$ac_prog", so it can be a program name with args.
set dummy $ac_prog; ac_word=$2
echo $ac_n "checking for $ac_word""... $ac_c" 1>&6
-echo "configure:2577: checking for $ac_word" >&5
+echo "configure:2586: checking for $ac_word" >&5
if eval "test \"`echo '$''{'ac_cv_prog_KPSEWHICH'+set}'`\" = set"; then
echo $ac_n "(cached) $ac_c" 1>&6
else
test -n "$KPSEWHICH" || KPSEWHICH="no"
echo $ac_n "checking for TeX TFM directory""... $ac_c" 1>&6
-echo "configure:2608: checking for TeX TFM directory" >&5
+echo "configure:2617: checking for TeX TFM directory" >&5
if test "x$TFMDIR" = xauto ; then
if test "x$TEX_TFMDIR" = "x" ; then
if test "x$KPSEWHICH" != "xno" ; then
## The GUILE_FLAGS macro.
## First, let's just see if we can find Guile at all.
echo $ac_n "checking for Guile""... $ac_c" 1>&6
-echo "configure:2631: checking for Guile" >&5
+echo "configure:2640: checking for Guile" >&5
guile-config link > /dev/null || {
echo "configure: cannot find guile-config; is Guile installed?" 1>&2
exit 1
echo $ac_n "checking for 8-bit clean memcmp""... $ac_c" 1>&6
-echo "configure:2652: checking for 8-bit clean memcmp" >&5
+echo "configure:2661: checking for 8-bit clean memcmp" >&5
if eval "test \"`echo '$''{'ac_cv_func_memcmp_clean'+set}'`\" = set"; then
echo $ac_n "(cached) $ac_c" 1>&6
else
ac_cv_func_memcmp_clean=no
else
cat > conftest.$ac_ext <<EOF
-#line 2660 "configure"
+#line 2669 "configure"
#include "confdefs.h"
#ifdef __cplusplus
extern "C" void exit(int);
}
EOF
-if { (eval echo configure:2673: \"$ac_link\") 1>&5; (eval $ac_link) 2>&5; } && test -s conftest${ac_exeext} && (./conftest; exit) 2>/dev/null
+if { (eval echo configure:2682: \"$ac_link\") 1>&5; (eval $ac_link) 2>&5; } && test -s conftest${ac_exeext} && (./conftest; exit) 2>/dev/null
then
ac_cv_func_memcmp_clean=yes
else
test $ac_cv_func_memcmp_clean = no && LIBOBJS="$LIBOBJS memcmp.${ac_objext}"
echo $ac_n "checking for vprintf""... $ac_c" 1>&6
-echo "configure:2691: checking for vprintf" >&5
+echo "configure:2700: checking for vprintf" >&5
if eval "test \"`echo '$''{'ac_cv_func_vprintf'+set}'`\" = set"; then
echo $ac_n "(cached) $ac_c" 1>&6
else
cat > conftest.$ac_ext <<EOF
-#line 2696 "configure"
+#line 2705 "configure"
#include "confdefs.h"
/* System header to define __stub macros and hopefully few prototypes,
which can conflict with char vprintf(); below. */
; return 0; }
EOF
-if { (eval echo configure:2722: \"$ac_link\") 1>&5; (eval $ac_link) 2>&5; } && test -s conftest${ac_exeext}; then
+if { (eval echo configure:2731: \"$ac_link\") 1>&5; (eval $ac_link) 2>&5; } && test -s conftest${ac_exeext}; then
rm -rf conftest*
eval "ac_cv_func_vprintf=yes"
else
if test "$ac_cv_func_vprintf" != yes; then
echo $ac_n "checking for _doprnt""... $ac_c" 1>&6
-echo "configure:2746: checking for _doprnt" >&5
+echo "configure:2755: checking for _doprnt" >&5
if eval "test \"`echo '$''{'ac_cv_func__doprnt'+set}'`\" = set"; then
echo $ac_n "(cached) $ac_c" 1>&6
else
cat > conftest.$ac_ext <<EOF
-#line 2751 "configure"
+#line 2760 "configure"
#include "confdefs.h"
/* System header to define __stub macros and hopefully few prototypes,
which can conflict with char _doprnt(); below. */
; return 0; }
EOF
-if { (eval echo configure:2777: \"$ac_link\") 1>&5; (eval $ac_link) 2>&5; } && test -s conftest${ac_exeext}; then
+if { (eval echo configure:2786: \"$ac_link\") 1>&5; (eval $ac_link) 2>&5; } && test -s conftest${ac_exeext}; then
rm -rf conftest*
eval "ac_cv_func__doprnt=yes"
else
for ac_func in memmem snprintf vsnprintf gettext
do
echo $ac_n "checking for $ac_func""... $ac_c" 1>&6
-echo "configure:2804: checking for $ac_func" >&5
+echo "configure:2813: checking for $ac_func" >&5
if eval "test \"`echo '$''{'ac_cv_func_$ac_func'+set}'`\" = set"; then
echo $ac_n "(cached) $ac_c" 1>&6
else
cat > conftest.$ac_ext <<EOF
-#line 2809 "configure"
+#line 2818 "configure"
#include "confdefs.h"
/* System header to define __stub macros and hopefully few prototypes,
which can conflict with char $ac_func(); below. */
; return 0; }
EOF
-if { (eval echo configure:2835: \"$ac_link\") 1>&5; (eval $ac_link) 2>&5; } && test -s conftest${ac_exeext}; then
+if { (eval echo configure:2844: \"$ac_link\") 1>&5; (eval $ac_link) 2>&5; } && test -s conftest${ac_exeext}; then
rm -rf conftest*
eval "ac_cv_func_$ac_func=yes"
else
# Extract the first word of "$ac_prog", so it can be a program name with args.
set dummy $ac_prog; ac_word=$2
echo $ac_n "checking for $ac_word""... $ac_c" 1>&6
-echo "configure:2874: checking for $ac_word" >&5
+echo "configure:2883: checking for $ac_word" >&5
if eval "test \"`echo '$''{'ac_cv_prog_MAKEINFO'+set}'`\" = set"; then
echo $ac_n "(cached) $ac_c" 1>&6
else
# Extract the first word of "$ac_prog", so it can be a program name with args.
set dummy $ac_prog; ac_word=$2
echo $ac_n "checking for $ac_word""... $ac_c" 1>&6
-echo "configure:2909: checking for $ac_word" >&5
+echo "configure:2918: checking for $ac_word" >&5
if eval "test \"`echo '$''{'ac_cv_prog_PERL'+set}'`\" = set"; then
echo $ac_n "(cached) $ac_c" 1>&6
else
s%@INIMETAPOST@%$INIMETAPOST%g
s%@INIMPOST@%$INIMPOST%g
s%@MFMODE@%$MFMODE%g
+s%@MFPLAIN_MP@%$MFPLAIN_MP%g
+s%@INIMETAPOST_FLAGS@%$INIMETAPOST_FLAGS%g
s%@KPSEWHICH@%$KPSEWHICH%g
s%@TEX_TFMDIR@%$TEX_TFMDIR%g
s%@GUILE_CFLAGS@%$GUILE_CFLAGS%g
String
File_path::find (String nm) const
{
- fdebug << "looking for" << nm << ": ";
+ DEBUG_OUT << "looking for" << nm << ": ";
if (!nm.length_i() || (nm == "-") )
return nm;
for (int i=0; i < size(); i++)
path += nm;
- fdebug << path << "? ";
+ DEBUG_OUT << path << "? ";
FILE *f = fopen (path.ch_C(), "r"); // ugh!
if (f)
{
- fdebug << "found\n";
+ DEBUG_OUT << "found\n";
fclose (f);
return path;
}
}
- fdebug << '\n';
+ DEBUG_OUT << '\n';
return "";
}
#include "flower-debug.hh"
#include "dstream.hh"
-bool flower_check_debug=false;
-ofstream null_device ("/dev/null");
-Dstream default_flower_stream (&null_device ,"/dev/null");
-Dstream *flower_dstream = &default_flower_stream;
+Dstream *flower_dstream = 0;
-/**
- Set the debugging output. Will not delete/swallow argument.
- */
-void set_flower_debug (Dstream&ds, bool b)
-{
-#ifdef NPRINT
- if (b)
- cout << _ ("Debug output disabled. Compiled with NPRINT.") << endl;
-#endif
-
- flower_check_debug = b;
- flower_dstream = &ds;
-}
#include "dstream.hh"
extern Dstream *flower_dstream;
-extern bool flower_check_debug;
+
#ifdef NPRINT
-#define fdebug if (0) *flower_dstream
+#define DEBUG_OUT if (0) *flower_dstream
#else
-#define fdebug if (flower_check_debug) \
+#define DEBUG_OUT if (flower_dstream) \
flower_dstream->identify_as (__PRETTY_FUNCTION__)
#endif
-void set_flower_debug (Dstream&ds, bool);
+
+void set_debug (Dstream *ds);
#endif // FLOWER_DEBUG_HH
void
Interval_t<T>::print () const
{
- fdebug << str ();
+ if (flower_dstream)
+ *flower_dstream << str ();
}
template<class T>
--- /dev/null
+% core dumps
+
+global = \notes {
+ \key a \minor;
+ \time 6/4;
+}
+
+\score{
+ \notes \context PianoStaff <
+ \global
+ \context Staff=up { c }
+ %\context Staff=down { \autochange Staff c }
+% \context Staff=down { c }
+ >
+ \paper {
+ \translator{
+ \StaffContext
+
+ % other core dump when this is removed?
+% \remove "Time_signature_engraver";
+ }
+ }
+}
+
\context Score <
\context PianoStaff <
\context Staff = treble {
+ \property Score.midiInstrument = "church organ"
\praeludium_right \breakmusic \fugaII_right }
\context Staff = bass {
\praeludium_left \breakmusic \fugaII_left }
Align_element::do_print () const
{
#ifndef NPRINT
- DOUT << "contains: ";
+ DEBUG_OUT << "contains: ";
for (int i=0 ; i < elem_l_arr_.size(); i++)
- DOUT << classname (elem_l_arr_[i]) << ", ";
+ DEBUG_OUT << classname (elem_l_arr_[i]) << ", ";
#endif
}
Audio_column::print() const
{
#ifndef NPRINT
- DOUT << "Audio_column {";
- DOUT << "at: " << at_mom_ << ". Contains:";
+ DEBUG_OUT << "Audio_column {";
+ DEBUG_OUT << "at: " << at_mom_ << ". Contains:";
for (int i =0; i < audio_item_l_arr_.size (); i++)
- DOUT << classname (audio_item_l_arr_[i]) << ", ";
- DOUT << "\n}\n";
+ DEBUG_OUT << classname (audio_item_l_arr_[i]) << ", ";
+ DEBUG_OUT << "\n}\n";
#endif
}
Audio_element::print () const
{
#ifndef NPRINT
- DOUT << classname (this) << "{ ";
+ DEBUG_OUT << classname (this) << "{ ";
do_print ();
- DOUT << "}";
+ DEBUG_OUT << "}";
#endif
}
#ifndef NPRINT
if (audio_column_l_)
{
- DOUT << "at: "<< audio_column_l_->at_mom ();
+ DEBUG_OUT << "at: "<< audio_column_l_->at_mom ();
}
#endif
}
{
#ifndef NPRINT
String s = type_str_;
- DOUT << "type = " << s;
+ DEBUG_OUT << "type = " << s;
#endif
}
Beam::do_print () const
{
#ifndef NPRINT
- DOUT << "slope_f_ " << slope_f_ << "left ypos " << left_y_;
+ DEBUG_OUT << "slope_f_ " << slope_f_ << "left ypos " << left_y_;
Spanner::do_print ();
#endif
}
Beam::solve_slope ()
{
assert (sinfo_.size () > 1);
- DOUT << "Beam::solve_slope: \n";
+ DEBUG_OUT << "Beam::solve_slope: \n";
Least_squares l;
for (int i=0; i < sinfo_.size (); i++)
#include "paper-def.hh"
#include "debug.hh"
#include "main.hh"
-#define BEZIER_BOW_DOUT if (check_debug && !lily_monitor->silent_b ("Bezier_bow")) cout
+#define BEZIER_BOW_DEBUG_OUT if (flower_dstream && !flower_dstream->silent_b ("Bezier_bow")) cout
#else
-#define BEZIER_BOW_DOUT cerr
+#define BEZIER_BOW_DEBUG_OUT cerr
#endif
Bezier::print () const
{
#ifndef NPRINT
- if (check_debug && !lily_monitor->silent_b ("Bezier_controls"))
+ if (flower_dstream && !flower_dstream->silent_b ("Bezier_controls"))
{
if (control_[1].length ())
{
Bezier_bow::calc ()
{
#ifndef NPRINT
-// if (check_debug && !lily_monitor->silent_b ("Bezier_bow_controls"))
- if (check_debug && !(lily_monitor->silent_b ("Bezier_controls")
- && lily_monitor->silent_b ("Bezier_bow_controls")))
+// if (flower_dstream && !flower_dstream->silent_b ("Bezier_bow_controls"))
+ if (flower_dstream && !(flower_dstream->silent_b ("Bezier_controls")
+ && flower_dstream->silent_b ("Bezier_bow_controls")))
{
cout << "Before transform*********\n";
print ();
print ();
transform_back ();
#ifndef NPRINT
-// if (check_debug && !lily_monitor->silent_b ("Bezier_bow_controls"))
- if (check_debug && !(lily_monitor->silent_b ("Bezier_controls")
- && lily_monitor->silent_b ("Bezier_bow_controls")))
+// if (flower_dstream && !flower_dstream->silent_b ("Bezier_bow_controls"))
+ if (flower_dstream && !(flower_dstream->silent_b ("Bezier_controls")
+ && flower_dstream->silent_b ("Bezier_bow_controls")))
{
cout << "After transform*********\n";
print ();
Bezier_bow::calc_tangent_controls ()
{
Offset ijk_p (control_[3][X_AXIS] / 2, control_[1][Y_AXIS]);
- BEZIER_BOW_DOUT << "ijk: " << ijk_p[X_AXIS] << ", " << ijk_p[Y_AXIS] << endl;
+ BEZIER_BOW_DEBUG_OUT << "ijk: " << ijk_p[X_AXIS] << ", " << ijk_p[Y_AXIS] << endl;
Real default_rc = ijk_p[Y_AXIS] / ijk_p[X_AXIS];
end_p = ijk_p;
end_rc = default_rc;
}
- BEZIER_BOW_DOUT << "begin " << begin_p[X_AXIS] << ", " << begin_p[Y_AXIS] << endl;
- BEZIER_BOW_DOUT << "end " << end_p[X_AXIS] << ", " << end_p[Y_AXIS] << endl;
+ BEZIER_BOW_DEBUG_OUT << "begin " << begin_p[X_AXIS] << ", " << begin_p[Y_AXIS] << endl;
+ BEZIER_BOW_DEBUG_OUT << "end " << end_p[X_AXIS] << ", " << end_p[Y_AXIS] << endl;
Real height =control_[1][Y_AXIS];
for (int i = 0; i < encompass_.size (); i++ )
Real c3 = begin_p[Y_AXIS] > end_p[Y_AXIS] ? begin_p[Y_AXIS]
- rc3 * begin_p[X_AXIS] : end_p[Y_AXIS] - rc3 * end_p[X_AXIS];
- BEZIER_BOW_DOUT << "y1 = " << rc1 << " x + 0" << endl;
- BEZIER_BOW_DOUT << "y2 = " << rc2 << " x + " << c2 << endl;
- BEZIER_BOW_DOUT << "y3 = " << rc3 << " x + " << c3 << endl;
+ BEZIER_BOW_DEBUG_OUT << "y1 = " << rc1 << " x + 0" << endl;
+ BEZIER_BOW_DEBUG_OUT << "y2 = " << rc2 << " x + " << c2 << endl;
+ BEZIER_BOW_DEBUG_OUT << "y3 = " << rc3 << " x + " << c3 << endl;
control_[1][X_AXIS] = c3 / (rc1 - rc3);
control_[1][Y_AXIS] = rc1 * control_[1][X_AXIS];
control_[2][X_AXIS] = (c3 - c2) / (rc2 - rc3);
- BEZIER_BOW_DOUT << "c2[X_AXIS] = " << control_[2][X_AXIS] << endl;
- BEZIER_BOW_DOUT << "(c3 - c2) = " << (c3 - c2) << endl;
- BEZIER_BOW_DOUT << "(rc2 - rc3) = " << (rc2 - rc3) << endl;
+ BEZIER_BOW_DEBUG_OUT << "c2[X_AXIS] = " << control_[2][X_AXIS] << endl;
+ BEZIER_BOW_DEBUG_OUT << "(c3 - c2) = " << (c3 - c2) << endl;
+ BEZIER_BOW_DEBUG_OUT << "(rc2 - rc3) = " << (rc2 - rc3) << endl;
control_[2][Y_AXIS] = rc2 * control_[2][X_AXIS] + c2;
- BEZIER_BOW_DOUT << "c2[Y_AXIS]" << control_[2][Y_AXIS] << endl;
+ BEZIER_BOW_DEBUG_OUT << "c2[Y_AXIS]" << control_[2][Y_AXIS] << endl;
calc_return (begin_alpha, end_alpha);
}
{
#ifndef NPRINT
Bezier::print ();
- if (check_debug && !lily_monitor->silent_b ("Bezier_bow_controls"))
+ if (flower_dstream && !flower_dstream->silent_b ("Bezier_bow_controls"))
{
cout << "Bezier_bow\n";
cout << "Encompass: ";
void
Change_translator::do_print () const
{
- DOUT << "change " << change_to_type_str_ << " to " << change_to_id_str_ ;
+ DEBUG_OUT << "change " << change_to_type_str_ << " to " << change_to_id_str_ ;
}
Column_x_positions::print() const
{
#ifndef NPRINT
- DOUT << "energy : " << energy_f_ << '\n';
- DOUT << "line of " << config_.size() << " cols\n";
+ DEBUG_OUT << "energy : " << energy_f_ << '\n';
+ DEBUG_OUT << "line of " << config_.size() << " cols\n";
#endif
}
Cadenza_req::do_print () const
{
#ifndef NPRINT
- DOUT << (int)on_b_;
+ DEBUG_OUT << (int)on_b_;
#endif
}
Bar_req::do_print () const
{
#ifndef NPRINT
- DOUT << type_str_;
+ DEBUG_OUT << type_str_;
#endif
}
Clef_change_req::do_print () const
{
#ifndef NPRINT
- DOUT << clef_str_ ;
+ DEBUG_OUT << clef_str_ ;
#endif
}
void
Partial_measure_req::do_print () const
{
- DOUT << length_mom_;
+ DEBUG_OUT << length_mom_;
}
void
Time_signature_change_req::do_print () const
{
#ifndef NPRINT
- DOUT << beats_i_ << "/" << one_beat_i_;
+ DEBUG_OUT << beats_i_ << "/" << one_beat_i_;
#endif
}
void
Tempo_req::do_print () const
{
- DOUT << dur_.str () << " = " << metronome_i_;
+ DEBUG_OUT << dur_.str () << " = " << metronome_i_;
}
void
Mark_req::do_print () const
{
- DOUT << str_;
+ DEBUG_OUT << str_;
}
void
Key_change_req::transpose (Musical_pitch p)
#include "misc.hh"
#include "main.hh"
-Dstream *lily_monitor=0;
-ostream * nulldev =0;
-
-
-// ugh
-struct _Dinit {
- _Dinit()
- {
- nulldev = new ofstream ("/dev/null");
- lily_monitor = new Dstream (&cout,".dstreamrc");
- }
- ~_Dinit()
- {
- delete nulldev;
- delete lily_monitor;
- }
-} dinit;
-
-
-
-/*
- want to do a stacktrace .
- */
-void
-mynewhandler()
-{
- assert (false);
-}
+Dstream *my_monitor=0;
void
float_handler (int)
assert (false);
}
-
void
debug_init()
{
-#ifndef NDEBUG
- // libg++ 2.8.0 doesn't have set_new_handler
- // set_new_handler (&mynewhandler);
-#endif
- set_flower_debug (*lily_monitor, check_debug);
-
+ my_monitor = new Dstream (&cout, ".dstreamrc");
signal (SIGFPE, float_handler);
}
-bool check_debug=false;
-
-
bool check_malloc_b = false;
// #define MEMORY_PARANOID
void
set_debug (bool b)
{
- check_debug =b;
- set_flower_debug (*lily_monitor, check_debug);
+ if (b)
+ flower_dstream = my_monitor;
+ else
+ flower_dstream = 0;
+
#ifdef MEMORY_PARANOID
if (check_malloc_b)
if (mcheck (0))
if (iter->ok())
{
w = iter->next_moment();
- DOUT << "proccing: " << w << '\n';
- if (!lily_monitor->silent_b ("walking"))
+ DEBUG_OUT << "proccing: " << w << '\n';
+ if (flower_dstream && !flower_dstream->silent_b ("walking"))
iter->print();
}
modify_next (w);
prepare (w);
- if (!lily_monitor->silent_b ("walking"))
+ if (flower_dstream && !flower_dstream->silent_b ("walking"))
print();
iter->process_and_next (w);
{
#ifndef NPRINT
for (int i=0; i < elem_l_arr_.size(); i++)
- DOUT << classname(elem_l_arr_[i]) << " ";
+ DEBUG_OUT << classname(elem_l_arr_[i]) << " ";
#endif
}
Graphical_element::do_print () const
{
#ifndef NPRINT
- DOUT << '\n';
+ DEBUG_OUT << '\n';
#endif
}
Graphical_element::print () const
{
#ifndef NPRINT
- DOUT << classname (this) << "{\n";
+ DEBUG_OUT << classname (this) << "{\n";
do_print ();
- DOUT << "}\n";
+ DEBUG_OUT << "}\n";
#endif
}
Idealspacing::print() const
{
#ifndef NPRINT
- DOUT << "idealspacing {" ;
- DOUT << "distance " << space_f_ << " strength " << hooke_f_;
- DOUT << "left " << cols_drul_[LEFT] << " right " << cols_drul_[RIGHT] << "}\n";
+ DEBUG_OUT << "idealspacing {" ;
+ DEBUG_OUT << "distance " << space_f_ << " strength " << hooke_f_;
+ DEBUG_OUT << "left " << cols_drul_[LEFT] << " right " << cols_drul_[RIGHT] << "}\n";
#endif
}
void
Identifier::print () const
{
- DOUT << "identifier ";
+ DEBUG_OUT << "identifier ";
do_print ();
}
void
void \
Class ## _identifier::do_print () const\
{\
- DOUT << do_str () << '\n';\
+ DEBUG_OUT << do_str () << '\n';\
}\
#include "dstream.hh"
#include "real.hh"
#include "lily-proto.hh"
+#include "flower-debug.hh"
#include "warn.hh"
void error_t (const String& s, Time_description const & t_tdes);
void error_t (String const &s, const Moment &when);
-#define WARN warnout << "warning: "<<__FUNCTION__ << "(): "
-extern ostream &warnout ;
-
// progress
extern ostream *mlog;
-// debugging
-extern Dstream *lily_monitor; // monitor
-
-#ifdef NPRINT
-/**
- Global debug output. Compare with cin, cout, cerr, DOUT is DEBUG OUTPUT
- */
-#define DOUT if (0) *lily_monitor // clever hack
-#else
-#define DOUT if (check_debug) lily_monitor->identify_as (__PRETTY_FUNCTION__)
-#endif
-
-extern bool check_debug;
#endif
public:
Staff_symbol_referencer ();
void set_staff_symbol (Staff_symbol*);
+ /**
+ Leading are the lead strips between the sticks (lines) of
+ typeface. ie. leading is vertical space.
+
+ */
Real staff_line_leading_f () const;
Staff_symbol * staff_symbol_l () const;
int lines_i () const;
virtual void do_add_processing ();
virtual bool do_try_music (Music *req_l);
virtual void do_print () const;
- virtual void do_pre_move_processing(){}
- virtual void do_post_move_processing(){}
- virtual void do_process_requests () {}
- virtual void do_creation_processing() {}
- virtual void do_removal_processing() {}
+ virtual void do_pre_move_processing();
+ virtual void do_post_move_processing();
+ virtual void do_process_requests () ;
+ virtual void do_creation_processing() ;
+ virtual void do_removal_processing();
};
Octave_key::print () const
{
for (int i= 0; i < 7 ; i++)
- DOUT << "note " << i << " acc: " << accidental_i_arr_[i] << '\n';
+ DEBUG_OUT << "note " << i << " acc: " << accidental_i_arr_[i] << '\n';
}
{
for (int i= 0; i < NUMBER_OF_OCTAVES ; i++)
{
- DOUT << "octave " << i - ZEROOCTAVE << " Octave_key { ";
+ DEBUG_OUT << "octave " << i - ZEROOCTAVE << " Octave_key { ";
octaves_[i].print ();
- DOUT << "}\n";
+ DEBUG_OUT << "}\n";
}
}
<version>\"[^"]*\";? { /* got the include file name */
String s (YYText ()+1);
s = s.left_str (s.index_last_i ('"'));
- DOUT << "#version `" << s << "'\n";
+ DEBUG_OUT << "#version `" << s << "'\n";
if (!valid_version_b (s))
return INVALID;
yy_pop_state ();
<incl>\"[^"]*\";? { /* got the include file name */
String s (YYText ()+1);
s = s.left_str (s.index_last_i ('"'));
- DOUT << "#include `" << s << "'\n";
+ DEBUG_OUT << "#include `" << s << "'\n";
new_input (s,source_global_l);
yy_pop_state ();
}
strip_trailing_white (s);
if (s.length_i () && (s[s.length_i () - 1] == ';'))
s = s.left_str (s.length_i () - 1);
- DOUT << "#include `\\" << s << "'\n";
+ DEBUG_OUT << "#include `\\" << s << "'\n";
Identifier * id = lookup_identifier (s);
if (id)
{
String* s_l = id->access_content_String (false);
- DOUT << "#include `" << *s_l << "'\n";
+ DEBUG_OUT << "#include `" << *s_l << "'\n";
new_input (*s_l, source_global_l);
yy_pop_state ();
<chords,notes>{RESTNAME} {
const char *s = YYText ();
yylval.string = new String (s);
- DOUT << "rest:"<< yylval.string;
+ DEBUG_OUT << "rest:"<< yylval.string;
return RESTNAME;
}
<chords,notes>R {
*yylval.string += YYText ();
}
\" {
- DOUT << "quoted string: `" << *yylval.string << "'\n";
+ DEBUG_OUT << "quoted string: `" << *yylval.string << "'\n";
yy_pop_state ();
return STRING;
}
here_input ().warning (
"Brace found at end of lyric. Did you forget a space?");
yylval.string = new String (s);
- DOUT << "lyric : `" << s << "'\n";
+ DEBUG_OUT << "lyric : `" << s << "'\n";
return STRING;
}
. {
}
<<EOF>> {
- DOUT << "<<eof>>";
+ DEBUG_OUT << "<<eof>>";
if (! close_input ()) {
yyterminate (); // can't move this, since it actually rets a YY_NULL
Real r;
int cnv=sscanf (YYText (), "%lf", &r);
assert (cnv == 1);
- DOUT << "REAL" << r<<'\n';
+ DEBUG_OUT << "REAL" << r<<'\n';
yylval.real = r;
return REAL;
}
[{}] {
- DOUT << "parens\n";
+ DEBUG_OUT << "parens\n";
return YYText ()[0];
}
[*:=] {
char c = YYText ()[0];
- DOUT << "misc char" <<c<<"\n";
+ DEBUG_OUT << "misc char" <<c<<"\n";
return c;
}
int
My_lily_lexer::scan_escaped_word (String str)
{
- DOUT << "\\word: `" << str<<"'\n";
+ DEBUG_OUT << "\\word: `" << str<<"'\n";
int l = lookup_keyword (str);
if (l != -1) {
- DOUT << "(keyword)\n";
+ DEBUG_OUT << "(keyword)\n";
return l;
}
Identifier * id = lookup_identifier (str);
if (id) {
- DOUT << "(identifier)\n";
+ DEBUG_OUT << "(identifier)\n";
yylval.id = id;
return id->token_code_i_;
}
return NOTENAME_PITCH;
}
}
- if (check_debug)
+ if (flower_dstream)
print_declarations (true);
String msg (_f ("unknown escaped string: `\\%s'", str));
LexerError (msg.ch_C ());
- DOUT << "(string)";
+ DEBUG_OUT << "(string)";
String *sp = new String (str);
yylval.string=sp;
return STRING;
int
My_lily_lexer::scan_bare_word (String str)
{
- DOUT << "word: `" << str<< "'\n";
+ DEBUG_OUT << "word: `" << str<< "'\n";
if ((YYSTATE == notes) || (YYSTATE == chords)) {
if (notename_b (str)) {
- DOUT << "(notename)\n";
+ DEBUG_OUT << "(notename)\n";
yylval.pitch = new Musical_pitch (lookup_notename (str));
yylval.pitch->set_spot (Input (source_file_l (),
here_ch_C ()));
return (YYSTATE == notes) ? NOTENAME_PITCH : TONICNAME_PITCH;
} else if (chordmodifier_b (str)) {
- DOUT << "(chordmodifier)\n";
+ DEBUG_OUT << "(chordmodifier)\n";
yylval.pitch = new Musical_pitch (lookup_chordmodifier (str));
yylval.pitch->set_spot (Input (source_file_l (),
here_ch_C ()));
Interval ydims (0,0);
Font_metric* afm_l = all_fonts_global_p->find_font (style);
- DOUT << "\nChars: ";
+ DEBUG_OUT << "\nChars: ";
int brace_count =0;
{
#ifndef NPRINT
Music_output_def::print ();
- DOUT << "Midi {";
- DOUT << "4/min: " << Moment (60) / (whole_in_seconds_mom_ * Moment (4));
- DOUT << "}\n";
+ DEBUG_OUT << "Midi {";
+ DEBUG_OUT << "4/min: " << Moment (60) / (whole_in_seconds_mom_ * Moment (4));
+ DEBUG_OUT << "}\n";
#endif
}
set ("MThd", str, "");
}
+
/* why doesn't this start at 0 ?
+
+ TODO: -> IN GUILE!
*/
char const* const instrument_name_sz_a_[ ] = {
/* default is usually piano */
Midi_track::data_str () const
{
String str = Midi_chunk::data_str ();
- if (check_debug && !lily_monitor->silent_b ("Midistrings"))
+ if (flower_dstream && !flower_dstream->silent_b ("Midistrings"))
str += "\n";
for (Cons<Midi_event> *i=event_p_list_.head_; i; i = i->next_)
{
str += i->car_->str ();
- if (check_debug && !lily_monitor->silent_b ("Midistrings"))
+ if (flower_dstream && !flower_dstream->silent_b ("Midistrings"))
str += "\n";
}
return str;
{
// *this <<midi_c_r.str ();
String str = midi_c_r.str ();
- if (check_debug && !lily_monitor->silent_b ("Midistrings"))
+ if (flower_dstream && !flower_dstream->silent_b ("Midistrings"))
{
str = String_convert::bin2hex_str (str) + "\n";
// ugh, should have separate debugging output with Midi*::print routines
Molecule::print() const
{
#ifndef NPRINT
- if (! check_debug)
+ if (! flower_dstream)
return;
- DOUT << "dim:";
+ DEBUG_OUT << "dim:";
for (Axis i=X_AXIS; i < NO_AXES; incr (i))
- DOUT << axis_name_str (i) << " = " << dim_[i].str ();
+ DEBUG_OUT << axis_name_str (i) << " = " << dim_[i].str ();
#endif
}
Multi_measure_rest::do_print () const
{
#ifndef NPRINT
- DOUT << "measures_i_ " << measures_i_;
+ DEBUG_OUT << "measures_i_ " << measures_i_;
#endif
}
Music_iterator::print() const
{
#ifndef NPRINT
- if (!check_debug)
+ if (!flower_dstream)
return ;
- DOUT << classname(this) << "{";
+ DEBUG_OUT << classname(this) << "{";
Translator_group *t = report_to_l();
- DOUT << "report to " << t->type_str_ << " = " << t->id_str_ << "\n";
+ DEBUG_OUT << "report to " << t->type_str_ << " = " << t->id_str_ << "\n";
if (ok())
- DOUT << "next at " << next_moment() << " ";
+ DEBUG_OUT << "next at " << next_moment() << " ";
else
- DOUT << "not feeling well today..";
+ DEBUG_OUT << "not feeling well today..";
do_print();
- DOUT << "}\n";
+ DEBUG_OUT << "}\n";
#endif
}
Music_output_def::print () const
{
#ifndef NPRINT
- DOUT << "Translators: \n";
+ DEBUG_OUT << "Translators: \n";
translator_p_dict_p_->print ();
- DOUT << "Other definitions.\n";
+ DEBUG_OUT << "Other definitions.\n";
scope_p_->print( );
#endif
}
Music::print() const
{
#ifndef NPRINT
- if (! check_debug)
+ if (! flower_dstream)
return ;
- DOUT << classname(this) << "{";
+ DEBUG_OUT << classname(this) << "{";
/*
if (translator_type_str_.length_i ())
- DOUT << translator_type_str_ << " = " << translator_id_str_;
+ DEBUG_OUT << translator_type_str_ << " = " << translator_id_str_;
*/
do_print();
- DOUT << "}\n";
+ DEBUG_OUT << "}\n";
#endif
}
Musical_pitch::print () const
{
#ifndef NPRINT
- DOUT << str ();
+ DEBUG_OUT << str ();
#endif
}
Span_req::do_print () const
{
#ifndef NPRINT
- DOUT << span_dir_;
+ DEBUG_OUT << span_dir_;
#endif
}
Tremolo_req::do_print () const
{
#ifndef NPRINT
- DOUT << "type " << type_i_ << '\n';
+ DEBUG_OUT << "type " << type_i_ << '\n';
#endif
}
Rhythmic_req::do_print () const
{
#ifndef NPRINT
- DOUT << "duration { " <<duration_.str () << "}";
+ DEBUG_OUT << "duration { " <<duration_.str () << "}";
#endif
}
{
#ifndef NPRINT
Rhythmic_req::do_print ();
- DOUT << "text = " << text_str_;
+ DEBUG_OUT << "text = " << text_str_;
#endif
}
Melodic_req::do_print ();
if (cautionary_b_)
{
- DOUT << " force cautionary accidental\n";
+ DEBUG_OUT << " force cautionary accidental\n";
}
else if (forceacc_b_)
{
- DOUT << " force accidental\n";
+ DEBUG_OUT << " force accidental\n";
}
Rhythmic_req::do_print ();
#endif
Chord_tremolo_req::do_print () const
{
#ifndef NPRINT
- DOUT << type_i_;
+ DEBUG_OUT << type_i_;
#endif
}
void
Text_script_req::do_print () const
{
- DOUT << "text" << text_str_
+ DEBUG_OUT << "text" << text_str_
<< ", style = " << style_str_;
}
void
Articulation_req::do_print () const
{
- DOUT << articulation_str_;
+ DEBUG_OUT << articulation_str_;
}
bool
void
My_lily_lexer::start_main_input ()
{
- if (!lily_monitor->silent_b ("InitDeclarations") && check_debug)
+ if (flower_dstream && !flower_dstream->silent_b ("InitDeclarations") && flower_dstream)
print_declarations (true);
- if (!lily_monitor->silent_b ("InitLexer") && check_debug)
+ if (flower_dstream && !flower_dstream->silent_b ("InitLexer") && flower_dstream)
set_debug (1);
{
for (int i=scope_l_arr_.size (); i--; )
{
- DOUT << "Scope no. " << i << '\n';
+ DEBUG_OUT << "Scope no. " << i << '\n';
scope_l_arr_[i]->print ();
}
}
*mlog << _ ("Parsing...");
init_parse_b_ = false;
- set_yydebug (!lily_monitor->silent_b ("Parser") && check_debug);
+ set_yydebug (flower_dstream &&!flower_dstream->silent_b ("Parser"));
lexer_p_->new_input (init, source_l_);
do_yyparse ();
Note_column::do_print() const
{
#ifndef NPRINT
- DOUT << "rests: " << rest_l_arr_.size() << ", ";
- DOUT << "heads: " << head_l_arr_.size();
+ DEBUG_OUT << "rests: " << rest_l_arr_.size() << ", ";
+ DEBUG_OUT << "heads: " << head_l_arr_.size();
#endif
}
Paper_column::do_print() const
{
#ifndef NPRINT
- DOUT << "rank: " << rank_i_ << '\n';
+ DEBUG_OUT << "rank: " << rank_i_ << '\n';
Direction d = LEFT;
do
{
{
#ifndef NPRINT
Music_output_def::print ();
- DOUT << "Paper {";
+ DEBUG_OUT << "Paper {";
for (Hash_table_iter<int, Lookup*> ai(*lookup_p_tab_p_); ai.ok (); ai++)
{
- DOUT << "Lookup: " << ai.key () << " = " << ai.val ()->font_name_ << '\n';
+ DEBUG_OUT << "Lookup: " << ai.key () << " = " << ai.val ()->font_name_ << '\n';
}
- DOUT << "}\n";
+ DEBUG_OUT << "}\n";
#endif
}
ly_ch_C_to_scm (generate.ch_l ()), SCM_UNDEFINED);
#ifndef NPRINT
- DOUT << "output_header\n";
- if (check_debug && !lily_monitor->silent_b ("Guile"))
+ DEBUG_OUT << "output_header\n";
+ if (flower_dstream && !flower_dstream->silent_b ("Guile"))
{
gh_display (args_scm); gh_newline ();
}
void
Paper_outputter::output_molecule (Molecule const*m, Offset o, char const *nm)
{
- if (check_debug)
+ if (flower_dstream)
*outstream_l_ << String ("\n%start: ") << nm << "\n";
- if (check_debug)
+ if (flower_dstream)
{
output_comment (nm);
}
Paper_score::print () const
{
#ifndef NPRINT
- if (!check_debug)
+ if (!flower_dstream)
return ;
- DOUT << "Paper_score { ";
- DOUT << "\n elements: ";
+ DEBUG_OUT << "Paper_score { ";
+ DEBUG_OUT << "\n elements: ";
for (int i=0; i < span_p_arr_.size (); i++)
span_p_arr_[i]->print ();
for (int i=0; i < elem_p_arr_.size (); i++)
elem_p_arr_[i]->print();
- DOUT << "}\n";
+ DEBUG_OUT << "}\n";
#endif
}
Performance::print() const
{
#ifndef NPRINT
- DOUT << "Performance { ";
- DOUT << "Items: ";
+ DEBUG_OUT << "Performance { ";
+ DEBUG_OUT << "Items: ";
for (Cons<Audio_element>* i =audio_elem_p_list_; i; i = i->next_)
i->car_->print ();
- DOUT << "}";
+ DEBUG_OUT << "}";
#endif
}
Relative_octave_music::do_print () const
{
Music_wrapper::do_print ();
- DOUT << "default pitch: " << last_pitch_.str ();
+ DEBUG_OUT << "default pitch: " << last_pitch_.str ();
}
Repeated_music::do_print () const
{
#ifndef NPRINT
- DOUT << "Fold = " << fold_b_ << " reps: " << repeats_i_;
+ DEBUG_OUT << "Fold = " << fold_b_ << " reps: " << repeats_i_;
if (repeat_body_p_)
repeat_body_p_->print();
Request_chord_iterator::do_print() const
{
#ifndef NPRINT
- DOUT << "duration: " << elt_length_mom_;
+ DEBUG_OUT << "duration: " << elt_length_mom_;
#endif
}
Rest_collision::do_print() const
{
#ifndef NPRINT
- DOUT << "rests: " << rest_l_arr_.size() << ", ";
- DOUT << "cols: " << ncol_l_arr_.size();
+ DEBUG_OUT << "rests: " << rest_l_arr_.size() << ", ";
+ DEBUG_OUT << "cols: " << ncol_l_arr_.size();
#endif
}
Rhythmic_head::do_print () const
{
#ifndef NPRINT
- DOUT << "balltype = "<< balltype_i_ << "dots = " << dots_i ();
+ DEBUG_OUT << "balltype = "<< balltype_i_ << "dots = " << dots_i ();
#endif
}
Column_rod::print () const
{
#ifndef NDEBUG
- DOUT << "Column_rod { rank = "
+ DEBUG_OUT << "Column_rod { rank = "
<< other_l_->rank_i () << ", dist = " << distance_f_ << "}\n";
#endif
}
{
if (ai.val()->init_b_ == init_b)
{
- DOUT << ai.key() << "=";
+ DEBUG_OUT << ai.key() << "=";
ai.val()->print ();
}
}
{
for (Scope_iter ai (*this); ai.ok(); ai++)
{
- DOUT << "deleting: " << ai.key() << '\n';
+ DEBUG_OUT << "deleting: " << ai.key() << '\n';
delete ai.val ();
}
}
Score_column::do_print() const
{
#ifndef NPRINT
- DOUT << " at " << when_ << '\n';
+ DEBUG_OUT << " at " << when_ << '\n';
if (break_penalty_i_ >= Break_req::FORCE)
- DOUT << "Break forced";
+ DEBUG_OUT << "Break forced";
- DOUT << "Shortest playing: " << shortest_playing_mom_ << " shortest starter: " << shortest_starter_mom_;
+ DEBUG_OUT << "Shortest playing: " << shortest_playing_mom_ << " shortest starter: " << shortest_starter_mom_;
Paper_column::do_print();
#endif
}
Score_element::print() const
{
#ifndef NPRINT
- DOUT << classname(this) << "{\n";
- if (check_debug && !lily_monitor->silent_b ("Score_element"))
+ DEBUG_OUT << classname(this) << "{\n";
+ if (flower_dstream && !flower_dstream->silent_b ("Score_element"))
ly_display_scm (element_property_alist_);
- DOUT << "dependencies: " << dependency_size();
+ DEBUG_OUT << "dependencies: " << dependency_size();
if (original_l_)
- DOUT << "Copy ";
+ DEBUG_OUT << "Copy ";
Graphical_element::do_print ();
do_print();
- DOUT << "}\n";
+ DEBUG_OUT << "}\n";
#endif
}
Score::print() const
{
#ifndef NPRINT
- DOUT << "score {\n";
+ DEBUG_OUT << "score {\n";
music_p_ -> print ();
for (int i=0; i < def_p_arr_.size (); i++)
def_p_arr_[i]->print();
- DOUT << "}\n";
+ DEBUG_OUT << "}\n";
#endif
}
}
else
{
- if (!lily_monitor->silent_b ("do_scores"))
+ if (flower_dstream && !flower_dstream->silent_b ("do_scores"))
is_p->print ();
is_p->process();
}
#ifndef NDEBUG
for (int i=0; i < item_l_arr_.size (); i++)
{
- DOUT << classname (item_l_arr_[i]) << ", ";
+ DEBUG_OUT << classname (item_l_arr_[i]) << ", ";
}
#endif
}
(c) 1996, 1997--1999 Han-Wen Nienhuys <hanwen@cs.uu.nl>
*/
+
#include "dimension-cache.hh"
#include "debug.hh"
#include "spanner.hh"
Spanner::do_print() const
{
#ifndef NPRINT
- DOUT << "Between " << classname (spanned_drul_[LEFT])
+ DEBUG_OUT << "Between " << classname (spanned_drul_[LEFT])
<< " and " << classname (spanned_drul_[RIGHT]) << '\n';
if (broken_b ())
- DOUT << "Broken in " << to_str (broken_into_l_arr_.size ()) << " pieces";
+ DEBUG_OUT << "Broken in " << to_str (broken_into_l_arr_.size ()) << " pieces";
#endif
}
Column_spring::print () const
{
#ifndef NPRINT
- DOUT << "Column_spring { rank = "
+ DEBUG_OUT << "Column_spring { rank = "
<< other_l_->rank_i () << ", dist = " << distance_f_ << "}\n";
#endif
{
#ifndef NPRINT
if (to_position_l_)
- DOUT << "positioning " << to_position_l_->name();
+ DEBUG_OUT << "positioning " << to_position_l_->name();
- DOUT << "axis == " << axis_name_str (axis_)
+ DEBUG_OUT << "axis == " << axis_name_str (axis_)
<< ", dir == " << to_str ((int)dir_ );
#endif
}
{
#ifndef NPRINT
Spanner::do_print();
- DOUT << "lines: " << no_lines_i_;
+ DEBUG_OUT << "lines: " << no_lines_i_;
#endif
}
{
static int i = 1;
- DOUT << "******" << i++ << "******\n"
+ DEBUG_OUT << "******" << i++ << "******\n"
<< "begin_f: " << stem_l_->stem_begin_f () * dir_
<< "\nchord_f/i: " << stem_l_->chord_start_f () * dir_ / internote_f << '\n';
}
miny_f_ /= internote_f;
maxy_f_ /= internote_f;
- DOUT << "dir_: " << dir_ << '\n';
- DOUT << "mult_i_: " << mult_i_ << '\n';
- DOUT << "idealy_f_: " << idealy_f_ << '\n';
- DOUT << "miny_f_: " << miny_f_ << '\n';
- DOUT << "maxy_f_: " << maxy_f_ << '\n';
+ DEBUG_OUT << "dir_: " << dir_ << '\n';
+ DEBUG_OUT << "mult_i_: " << mult_i_ << '\n';
+ DEBUG_OUT << "idealy_f_: " << idealy_f_ << '\n';
+ DEBUG_OUT << "miny_f_: " << miny_f_ << '\n';
+ DEBUG_OUT << "maxy_f_: " << maxy_f_ << '\n';
idealy_f_ = maxy_f_ <? idealy_f_;
idealy_f_ = miny_f_ >? idealy_f_;
void
Stem_tremolo::do_print () const
{
- DOUT << "abbrev_flags_i_ " << abbrev_flags_i_;
+ DEBUG_OUT << "abbrev_flags_i_ " << abbrev_flags_i_;
}
Interval
Stem::do_print () const
{
#ifndef NPRINT
- DOUT << "flag "<< flag_i_;
+ DEBUG_OUT << "flag "<< flag_i_;
if (beam_l_)
- DOUT << "beamed";
+ DEBUG_OUT << "beamed";
#endif
}
void
Text_item::do_print () const
{
- DOUT << "text= " << text_str_;
+ DEBUG_OUT << "text= " << text_str_;
}
tfm_.info_.coding_scheme = header_length > 2
? get_bcpl_str () : "unspecified";
- DOUT << format_str ("TFM checksum = %u, design_size = %fpt, coding scheme = `%s'.\n",
+ DEBUG_OUT << format_str ("TFM checksum = %u, design_size = %fpt, coding scheme = `%s'.\n",
tfm_.info_.checksum,
tfm_.info_.design_size,
tfm_.info_.coding_scheme.ch_C ());
#ifdef PRINT
for (Char_code i = 1; i <= tfm_.header_.param_word_count; i++)
- DOUT << format_str ("TFM parameter %d: %.3f", i, tfm_.info_.parameters[i - 1]);
+ DEBUG_OUT << format_str ("TFM parameter %d: %.3f", i, tfm_.info_.parameters[i - 1]);
#endif
}
tfm_char.exists_b_ = width_index != 0;
#ifdef PRINT
- DOUT << format_str (" width = %f, height = %f, ",
+ DEBUG_OUT << format_str (" width = %f, height = %f, ",
tfm_char.width_, tfm_char.height_);
- DOUT << format_str ("depth = %f, ic = %f.\n",
+ DEBUG_OUT << format_str ("depth = %f, ic = %f.\n",
tfm_char.depth, tfm_char.italic_correction);
#endif
U8 remainder = input_.get_U8 ();
#ifdef PRINT
- DOUT << format_str (" if next = %u (%c), ", next_char, next_char);
+ DEBUG_OUT << format_str (" if next = %u (%c), ", next_char, next_char);
#endif
if (kern_step_b)
kern_arr_p->push (kern_element);
#ifdef PRINT
- DOUT << format_str ("kern %f.\n", kern_element.kern);
+ DEBUG_OUT << format_str ("kern %f.\n", kern_element.kern);
#endif
}
else
ligature_arr_p->push (ligature_element);
#ifdef PRINT
- DOUT format_str ("ligature %d (hex %x).\n",
+ DEBUG_OUT format_str ("ligature %d (hex %x).\n",
ligature_element.ligature,
ligature_element.ligature);
#endif
Time_description::print() const
{
#ifndef NPRINT
- DOUT << str ();
+ DEBUG_OUT << str ();
#endif
}
Translation_property::do_print () const
{
#ifndef NPRINT
- DOUT << "." << var_str_ << " = " << value_;
+ DEBUG_OUT << "." << var_str_ << " = " << value_;
#endif
}
void
Translator_group::terminate_translator (Translator*r_l)
{
- DOUT << "Removing " << classname (r_l) << " at " << now_mom () << '\n';
+ DEBUG_OUT << "Removing " << classname (r_l) << " at " << now_mom () << '\n';
r_l->removal_processing();
Translator * trans_p =remove_translator_p (r_l);
Translator_group::do_print() const
{
#ifndef NPRINT
- if (!check_debug)
+ if (!flower_dstream)
return ;
for (Dictionary_iter<Scalar> i (properties_dict_); i.ok (); i++)
{
- DOUT << i.key () << "=" << i.val () << '\n';
+ DEBUG_OUT << i.key () << "=" << i.val () << '\n';
}
if (status == ORPHAN)
{
- DOUT << "consists of: ";
+ DEBUG_OUT << "consists of: ";
for (int i=0; i < consists_str_arr_.size (); i++)
- DOUT << consists_str_arr_[i] << ", ";
- DOUT << "\naccepts: ";
+ DEBUG_OUT << consists_str_arr_[i] << ", ";
+ DEBUG_OUT << "\naccepts: ";
for (int i=0; i < accepts_str_arr_.size (); i++)
- DOUT << accepts_str_arr_[i] << ", ";
+ DEBUG_OUT << accepts_str_arr_[i] << ", ";
}
else
{
if (id_str_.length_i ())
- DOUT << "ID: " << id_str_ ;
- DOUT << " iterators: " << iterator_count_<< '\n';
+ DEBUG_OUT << "ID: " << id_str_ ;
+ DEBUG_OUT << " iterators: " << iterator_count_<< '\n';
}
each (&Translator::print);
#endif
Translator::print () const
{
#ifndef NPRINT
- DOUT << classname (this) << " {";
+ DEBUG_OUT << classname (this) << " {";
if (classname (this) != type_str_)
- DOUT << "type = " << type_str_;
+ DEBUG_OUT << "type = " << type_str_;
do_print ();
- DOUT << "}\n";
+ DEBUG_OUT << "}\n";
#endif
}
return daddy_trans_l_->get_property (id, where_l);
}
+
+
+void
+Translator:: do_pre_move_processing(){}
+void
+Translator::do_post_move_processing(){}
+void
+Translator::do_process_requests () {}
+void
+Translator::do_creation_processing() {}
+void
+Translator::do_removal_processing(){}
Transposed_music::do_print () const
{
Music_wrapper::do_print ();
- DOUT << "transposition pitch: " << transpose_to_pitch_.str ();
+ DEBUG_OUT << "transposition pitch: " << transpose_to_pitch_.str ();
}
Musical_pitch
Unfolded_repeat_iterator::do_print () const
{
#ifndef NPRINT
- DOUT << "count " << done_count_ << "done time " << done_mom_ << '\n';
- DOUT << "current: ";
+ DEBUG_OUT << "count " << done_count_ << "done time " << done_mom_ << '\n';
+ DEBUG_OUT << "current: ";
current_iter_p_->print();
#endif
}
Begin3
Title: LilyPond
-Version: 1.2.11
-Entered-date: 27SEP99
+Version: 1.2.12
+Entered-date: 04OCT99
Description:
LilyPond is a music typesetter. It produces beautiful sheet music
using a high level description file as input. LilyPond is part of
janneke@gnu.org (Jan Nieuwenhuizen)
Maintained-by: hanwen@stack.nl (Han-Wen Nienhuys)
Primary-site: sunsite.unc.edu /pub/Linux/apps/sound/convert
- 1000k lilypond-1.2.11.tar.gz
+ 1000k lilypond-1.2.12.tar.gz
Original-site: ftp.cs.uu.nl /pub/GNU/LilyPond/development/
- 1000k lilypond-1.2.11.tar.gz
+ 1000k lilypond-1.2.12.tar.gz
Copying-policy: GPL
End
Name: lilypond
-Version: 1.2.11
+Version: 1.2.12
Release: 1
Copyright: GPL
Group: Applications/Publishing
-Source0: ftp.cs.uu.nl:/pub/GNU/LilyPond/development/lilypond-1.2.11.tar.gz
+Source0: ftp.cs.uu.nl:/pub/GNU/LilyPond/development/lilypond-1.2.12.tar.gz
Summary: A program for printing sheet music.
URL: http://www.cs.uu.nl/~hanwen/lilypond
Packager: Han-Wen Nienhuys <hanwen@cs.uu.nl>
COPYING NEWS-0.1 NEWS-1.0 NEWS-0.0 NEWS-1.1 NEWS TODO AIMS CHANGES
README_TXT_FILES = README.txt AUTHORS.txt INSTALL.txt
IN_FILES := $(wildcard *.in)
-EXTRA_DIST_FILES = dstreamrc mudela-mode.el vimrc VERSION $(README_FILES) $(SCRIPTS) $(IN_FILES) TASKS
+EXTRA_DIST_FILES = dstreamrc mudela-mode.el vimrc VERSION $(README_FILES) $(SCRIPTS) $(IN_FILES)
NON_ESSENTIAL_DIST_FILES = $(README_TXT_FILES)
# bootstrap stepmake:
STEPMAKE_TEMPLATES=metafont metapost install install-out
-EXTRA_DIST_FILES += README
+EXTRA_DIST_FILES += README feta.tex
FET_FILES = $(wildcard feta[0-9]*.mf)
FONT_FILES = $(wildcard feta*[0-9].mf)
)))
(define (select-font font-name magnification)
- (if (not (equal? font-name current-font))
- (begin
- (set! current-font font-name)
- (define font-cmd (assoc font-name font-alist))
- (if (eq? font-cmd #f)
- (begin
- (set! font-cmd (cached-fontname font-count))
- (set! font-alist (acons font-name font-cmd font-alist))
- (set! font-count (+ 1 font-count))
- (string-append "\n/" font-cmd " {/"
- font-name " findfont "
- (mag-to-size magnification)
- " scalefont setfont} bind def \n"
- font-cmd " \n"))
+ (define font-cmd (assoc font-name font-alist))
+ (if (not (equal? font-name current-font))
+ (begin
+ (set! current-font font-name)
+ (if (eq? font-cmd #f)
+ (begin
+ (set! font-cmd (cached-fontname font-count))
+ (set! font-alist (acons font-name font-cmd font-alist))
+ (set! font-count (+ 1 font-count))
+ (string-append "\n/" font-cmd " {/"
+ font-name " findfont "
+ (mag-to-size magnification)
+ " scalefont setfont} bind def \n"
+ font-cmd " \n"))
(string-append (cdr font-cmd) " ")))
; font-name == current-font no switch needed
""
return get_output ('output-verbatim') % body
re_dict = {
- 'latex': {'input': '\\\\input{?([^}\t \n}]*)',
- 'include': '\\\\include{([^}]+)}',
+ 'latex': {'input': '\\\\mbinput{?([^}\t \n}]*)',
+ 'include': '\\\\mbinclude{([^}]+)}',
'comma-sep' : ', *',
'header': r"""\\documentclass(\[.*?\])?""",
'def-post-re': r"""\\def\\postMudelaExample""",
'def-pre-re': r"""\\def\\preMudelaExample""",
},
- 'texi': {'input': '@include[ \n\t]+([^\t \n]*)',
+
+ 'texi': {
+ 'input': '@mbinclude[ \n\t]+([^\t \n]*)',# disabled
'include': no_match,
'header': no_match,
'preamble-end': no_match,
latex_size = string.atoi (m.group (1))
+
if 'twocolumn' in opts:
cols = 2
dnl WARNING WARNING WARNING WARNING
dnl do not edit! this is aclocal.m4, generated from stepmake/aclocal.m4
+dnl WARNING WARNING WARNING WARNING
+dnl do not edit! this is aclocal.m4, generated from stepmake/aclocal.m4
dnl aclocal.m4 -*-shell-script-*-
dnl StepMake subroutines for configure.in
AC_SUBST(PATHSEP)
AC_SUBST(DIRSEP)
-
AC_STEPMAKE_DATADIR
])
break;
fi
done
+
+ #
+ # For now let people define these in their environments
+ #
+ : ${MFPLAIN_MP='/usr/share/texmf/metapost/base/mfplain.mp'}
+ : ${INIMETAPOST_FLAGS='-interaction=nonstopmode'}
+
rm -f mfput.*
AC_MSG_RESULT($MFMODE)
AC_SUBST(MFMODE)
AC_SUBST(INIMETAFONT)
AC_SUBST(INIMETAPOST)
+ AC_SUBST(MFPLAIN_MP)
+ AC_SUBST(INIMETAPOST_FLAGS)
])
AC_DEFUN(AC_STEPMAKE_WARN, [
def makediff (fromdir, todir, patch_name):
-
# urg, again?
from packagepython import *
if not patch_name:
pn = to_diff + '.diff'
- patch_name = os.path.join (os.getcwd (), pn)
+ patch_name = os.path.join (os.getcwd (), 'out')
+ patch_name = os.path.join (patch_name, pn)
from_diff = '/tmp/package-diff/' + from_diff
to_diff = '/tmp/package-diff/' + to_diff
sys.stderr.write ('\n')
os.chdir (prev_cwd)
+
#!@PYTHON@
# release.py
-name = 'release'
-version = '0.1'
-
import os
import sys
import getopt
-(options, files) = getopt.getopt(sys.argv[1:], 'hp:', ['help', 'package='])
+topdir = ''
+outdir = '.'
+
+(options, files) = getopt.getopt(sys.argv[1:], 'ho:p:', ['help', 'outdir=', 'package='])
def help ():
- sys.stdout.write ("Usage: release [OPTION]...\n"
- "Make a tarball and patch and combined ../test/updeet\n\n"
- + "Options:\n"
- + " -h, --help print this help\n"
- + " -p, --package=DIR specify package\n"
- )
- sys.exit (0)
+ sys.stdout.write (r"""Usage: release [OPTION]...
+Make a tarball and patch
+
+Options:
+ -o, --outdir=DIR where to leave patches.
+ -h, --help print this help
+ -p, --package=DIR specify package"""
+)
+ sys.exit (0)
for opt in options:
- o = opt[0]
- a = opt[1]
- if o == '-h' or o == '--help':
- help ()
- elif o == '-p' or o == '--package':
- topdir = a
+ o = opt[0]
+ a = opt[1]
+ if o == '-h' or o == '--help':
+ help ()
+ elif o == '-p' or o == '--package':
+ topdir = a
+ elif o == '--outdir' or o == '-o':
+ outdir = a
+
sys.path.append (topdir + '/stepmake/bin')
from packagepython import *
package = Package (topdir)
-packager = Packager ()
+os.chdir(package.topdir)
+try:
+ os.system ('set -x; rm ' + os.path.join (outdir, package.name + '*gz'))
+except:
+ pass
-os.chdir(package.topdir)
-status =os.system('make dist')
+
+
+status = os.system('make dist')
if status:
- raise 'make dist failed'
+ raise 'make dist failed'
cur_ver = package.version
-# urg?
-# print tarball(cur_ver)
-barbaal=package.name + '-' + version_tuple_to_str (cur_ver) + '.tar.gz'
-print barbaal
-# os.rename('out/' + tarball(cur_ver), released_tarball(cur_ver))
-# hmmm
-os.remove(package.release_dir + barbaal)
-os.link('out/' + barbaal, package.release_dir + barbaal)
-os.chdir(package.test_dir)
+
+
+pn = '%s-%s' %(package.name, version_tuple_to_str(cur_ver))
+tarball = pn + '.tar.gz'
+orig = os.path.join (outdir, tarball)
try:
- os.system('set -x; rm ' + package.test_dir + package.name + '*gz')
+ os.remove(os.path.join (package.release_dir, tarball))
except:
pass
-# os.link(released_tarball(cur_ver), tarball(cur_ver))
-os.link(package.release_dir + barbaal, barbaal)
+os.link(orig, os.path.join (package.release_dir, tarball))
-# not a module, but a script (JCN)
-# makepatch.main()
-
-# Module wherefore aren't thou Script
-# A Rose by any other name would be as blonde. --HWN
-
-# urg
-# os.system('@PYTHON@ ' + package.topdir + '/stepmake/bin/package-diff.py --package=' + topdir)
os.system(sys.executable + ' ' + package.topdir + '/stepmake/bin/package-diff.py --package=' + topdir)
-pn = package.name + '-%s' % version_tuple_to_str(cur_ver)
-pn = pn + '.diff'
-pn = pn + '.gz'
-rel_pn = package.patch_dir + pn
+diffname = pn + '.diff.gz'
+rel_pn = package.patch_dir + diffname
+
+diffname = os.path.join (outdir, diffname)
-os.rename(pn, rel_pn)
-os.link(rel_pn, pn)
+os.rename(diffname, rel_pn)
+os.link(rel_pn, diffname)
-
if test "$datadir" = "\${prefix}/share"; then
datadir='${prefix}/share/'$package
echo $ac_n "checking language""... $ac_c" 1>&6
-echo "configure:1177: checking language" >&5
+echo "configure:1176: checking language" >&5
case "$language" in
En* | en* | Am* | am* | US* | us*)
lang=English;;
# Extract the first word of "$ac_prog", so it can be a program name with args.
set dummy $ac_prog; ac_word=$2
echo $ac_n "checking for $ac_word""... $ac_c" 1>&6
-echo "configure:1212: checking for $ac_word" >&5
+echo "configure:1211: checking for $ac_word" >&5
if eval "test \"`echo '$''{'ac_cv_prog_MAKEINFO'+set}'`\" = set"; then
echo $ac_n "(cached) $ac_c" 1>&6
else
$(outdir)/%.0: %.mf mfplain.mem
-$(METAPOST) "&mfplain \mode=lowres; \mag=1.0; nonstopmode; input $<"
-MFPLAIN_MP=/usr/share/texmf/metapost/base/mfplain.mp
mfplain.mem: $(MFPLAIN_MP)
- $(INIMETAPOST) -interaction=nonstopmode $(MFPLAIN_MP) dump
+ $(INIMETAPOST) $(INIMETAPOST_FLAGS) $(MFPLAIN_MP) dump
$(outdir)/%.pfa: $(outdir)/%.0
$(PYTHON) $(step-bindir)/package-diff.py --package=$(topdir) $(makeflags)
release:
- $(PYTHON) $(step-bindir)/release.py --package=$(topdir)
+ $(PYTHON) $(step-bindir)/release.py --outdir=$(topdir)/$(outdir) --package=$(topdir)
rpm: $(depth)/$(package-icon) dist
su -c 'rpm -tb $(depth)/$(outdir)/$(distname).tar.gz'
cd $(outdir); texi2dvi ../$<
$(outdir)/%.txt: $(outdir)/%.texi
- $(MAKEINFO) --no-split --no-headers --output $@ $<
+ $(MAKEINFO) -I../ --no-split --no-headers --output $@ $<
$(outdir)/%.texi: %.texi
cp $< $@
projects / lilypond.git / commitdiff