From 1a71119277d04b287b3a976c526adba6500239c6 Mon Sep 17 00:00:00 2001 From: Han-Wen Nienhuys Date: Mon, 4 Oct 1999 13:37:38 +0200 Subject: [PATCH] release: 1.2.12 --- BUGS | 5 - CHANGES | 15 + Documentation/GNUmakefile | 2 +- Documentation/faq.texi | 29 +- Documentation/index.texi | 1 - Documentation/metadoc/GNUmakefile | 2 +- Documentation/{ => metadoc}/hacking.texi | 369 +-- Documentation/metadoc/lilypond-overview.doc | 2 +- Documentation/programs.texi | 119 +- Documentation/tex/glossary-table.data | 255 -- Documentation/tex/mudela-book-doc.doc | 376 --- Documentation/tex/testje.fly | 2 - Documentation/tex/tutorial.tely | 945 -------- Documentation/topdocs/index.tely | 7 +- Documentation/{tex => user}/GNUmakefile | 23 +- Documentation/user/glossary.texi | 2066 +++++++++++++++++ Documentation/user/mudela-book.tely | 358 +++ .../mudela.tely} | 1930 +++++++++++---- .../{tex => user}/regression-test.tely | 6 +- NEWS | 12 +- TASKS | 45 - TODO | 52 +- VERSION | 4 +- aclocal.m4 | 12 +- config.make.in | 2 + configure | 91 +- flower/file-path.cc | 8 +- flower/flower-debug.cc | 18 +- flower/include/flower-debug.hh | 9 +- flower/include/interval.tcc | 3 +- input/bugs/c.ly | 24 + input/praeludium-fuga-E.ly | 1 + lily/align-element.cc | 4 +- lily/audio-column.cc | 8 +- lily/audio-element.cc | 4 +- lily/audio-item.cc | 2 +- lily/bar.cc | 2 +- lily/beam.cc | 4 +- lily/bezier.cc | 40 +- lily/change-translator.cc | 2 +- lily/column-x-positions.cc | 4 +- lily/command-request.cc | 14 +- lily/debug.cc | 47 +- lily/global-translator.cc | 6 +- lily/graphical-axis-group.cc | 2 +- lily/graphical-element.cc | 6 +- lily/idealspacing.cc | 6 +- lily/identifier.cc | 4 +- lily/include/debug.hh | 17 +- lily/include/staff-symbol-referencer.hh | 5 + lily/include/translator.hh | 10 +- lily/key.cc | 6 +- lily/lexer.ll | 38 +- lily/lookup.cc | 2 +- lily/midi-def.cc | 6 +- lily/midi-item.cc | 7 +- lily/midi-stream.cc | 2 +- lily/molecule.cc | 6 +- lily/multi-measure-rest.cc | 2 +- lily/music-iterator.cc | 12 +- lily/music-output-def.cc | 4 +- lily/music.cc | 8 +- lily/musical-pitch.cc | 2 +- lily/musical-request.cc | 18 +- lily/my-lily-lexer.cc | 6 +- lily/my-lily-parser.cc | 2 +- lily/note-column.cc | 4 +- lily/paper-column.cc | 2 +- lily/paper-def.cc | 6 +- lily/paper-outputter.cc | 8 +- lily/paper-score.cc | 8 +- lily/performance.cc | 6 +- lily/relative-octave-music.cc | 2 +- lily/repeated-music.cc | 2 +- lily/request-chord-iterator.cc | 2 +- lily/rest-collision.cc | 4 +- lily/rhythmic-head.cc | 2 +- lily/rod.cc | 2 +- lily/scope.cc | 4 +- lily/score-column.cc | 6 +- lily/score-element.cc | 10 +- lily/score.cc | 4 +- lily/scores.cc | 2 +- lily/single-malt-grouping-item.cc | 2 +- lily/spanner.cc | 5 +- lily/spring.cc | 2 +- lily/staff-side.cc | 4 +- lily/staff-sym.cc | 2 +- lily/stem-info.cc | 12 +- lily/stem-tremolo.cc | 2 +- lily/stem.cc | 4 +- lily/text-item.cc | 2 +- lily/tfm-reader.cc | 14 +- lily/time-description.cc | 2 +- lily/translation-property.cc | 2 +- lily/translator-group.cc | 18 +- lily/translator.cc | 18 +- lily/transposed-music.cc | 2 +- lily/unfolded-repeat-iterator.cc | 4 +- make/out/lilypond.lsm | 8 +- make/out/lilypond.spec | 4 +- make/toplevel.make.in | 2 +- mf/GNUmakefile | 2 +- scm/lily.scm | 28 +- scripts/mudela-book.py | 9 +- stepmake/aclocal.m4 | 12 +- stepmake/bin/package-diff.py | 5 +- stepmake/bin/release.py | 91 +- stepmake/configure | 5 +- stepmake/stepmake/metapost-rules.make | 3 +- stepmake/stepmake/package.make | 2 +- stepmake/stepmake/texinfo-rules.make | 2 +- 112 files changed, 4524 insertions(+), 2919 deletions(-) rename Documentation/{ => metadoc}/hacking.texi (67%) delete mode 100644 Documentation/tex/glossary-table.data delete mode 100644 Documentation/tex/mudela-book-doc.doc delete mode 100644 Documentation/tex/testje.fly delete mode 100644 Documentation/tex/tutorial.tely rename Documentation/{tex => user}/GNUmakefile (65%) create mode 100644 Documentation/user/glossary.texi create mode 100644 Documentation/user/mudela-book.tely rename Documentation/{tex/reference-manual.tely => user/mudela.tely} (67%) rename Documentation/{tex => user}/regression-test.tely (97%) delete mode 100644 TASKS create mode 100644 input/bugs/c.ly diff --git a/BUGS b/BUGS index bae74b31f4..15ed372b4d 100644 --- a/BUGS +++ b/BUGS @@ -40,11 +40,6 @@ RPM is used with RedHat 6.x. 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. diff --git a/CHANGES b/CHANGES index be266bf96d..762e19f241 100644 --- a/CHANGES +++ b/CHANGES @@ -1,3 +1,6 @@ +pl 11.uu1 + - changed debug init code. + pl 11.jcn2 - bf: LDFLAGS=foo CFLAGS=bar ./configure - bf: configure (--disable-printing = default) -DNPRINT @@ -7,6 +10,18 @@ pl 11.jcn2 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 diff --git a/Documentation/GNUmakefile b/Documentation/GNUmakefile index e8d8df44ff..716212ddb6 100644 --- a/Documentation/GNUmakefile +++ b/Documentation/GNUmakefile @@ -3,7 +3,7 @@ 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 diff --git a/Documentation/faq.texi b/Documentation/faq.texi index 3fc9c667a7..87e7693c78 100644 --- a/Documentation/faq.texi +++ b/Documentation/faq.texi @@ -31,8 +31,8 @@ @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 @@ -46,7 +46,6 @@ 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 @@ -596,6 +595,30 @@ References - best one I know is the UK-based Performing Right Society, @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 : diff --git a/Documentation/index.texi b/Documentation/index.texi index ae2d2e5754..c4fa876e17 100644 --- a/Documentation/index.texi +++ b/Documentation/index.texi @@ -37,7 +37,6 @@ @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 diff --git a/Documentation/metadoc/GNUmakefile b/Documentation/metadoc/GNUmakefile index 169d6efe15..bd940faee7 100644 --- a/Documentation/metadoc/GNUmakefile +++ b/Documentation/metadoc/GNUmakefile @@ -19,7 +19,7 @@ EXTRA_DIST_FILES= $(BIB_FILES) $(DOC_FILES) $(DATA_FILES) $(EL_FILES) $(TEX_FIL 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) diff --git a/Documentation/hacking.texi b/Documentation/metadoc/hacking.texi similarity index 67% rename from Documentation/hacking.texi rename to Documentation/metadoc/hacking.texi index f5cdd9cb9c..42bcbee28e 100644 --- a/Documentation/hacking.texi +++ b/Documentation/metadoc/hacking.texi @@ -11,11 +11,14 @@ * Overview:: * mudela:: * Request_engraver:: -* Items and spanners:: -* Dependencies:: -* Breaking:: +* Graphic elements:: +* Score elements:: +* Items:: +* Spanners:: +* Future work:: * Coding standards:: * Making patches:: + @end menu @node LilyPond internals, , Top, Top @@ -23,11 +26,25 @@ * Overview:: Overview * mudela:: mudela * Request_engraver:: Request_engraver -* Items and spanners:: Items and spanners -* Dependencies:: Dependencies -* Breaking:: Breaking @end menu + +@chapter Help Needed! + +[Call for help] + +[List tasks: + +* Mutopia + +* Doco LilyPond + +* Straightforward extensions + +* GUI editors. + +] + @chapter LilyPond internals @@ -153,7 +170,7 @@ In a lot of other formats this would be called an 'Event' from the start of its note. @end table -@node Request_engraver, Items and spanners, mudela, Top +@node Request_engraver, , mudela, Top @section Request_engraver In the previous section the idea of Request has been explained, but @@ -215,91 +232,171 @@ 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 +@node Graphic elements, , , Top +@section Graphic elements -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 +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: -So what is this PREBREAK and POSTBREAK stuff? +@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 -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 +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 - \discretionary@{bak-@}@{ken@}@{backen@} +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. -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, +@node Future work, , , Top +@section Future work - \discretionary@{bar meter@}@{clef meter@}@{ bar meter @} +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. -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. +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, Top +@node Coding standards, , , 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 @@ -314,18 +411,15 @@ Definitions of classes that are only accessed via pointers 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) @@ -335,7 +429,6 @@ in emacs: ("\\.pod$" . text-mode) ) auto-mode-alist)) - @end example @@ -346,18 +439,15 @@ The class Class_name_abbreviation is coded in @file{class-name-abbr.*} 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 @@ -365,25 +455,20 @@ If you like using font-lock, you can also add this to your @file{.emacs}: '(("\\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 @@ -514,6 +599,9 @@ 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 @@ -627,14 +715,13 @@ expressing the type in english, and abbreviating it @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 +@node Making patches, , , Top @unnumberedsec name @@ -647,11 +734,11 @@ 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: +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 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 @@ -659,10 +746,19 @@ script automating supplied with Lily. 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. +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: @@ -684,74 +780,23 @@ In @file{CHANGES}, enter a summary of changes: 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 - +These handy python scripts assume a directory structure which looks +like: -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{$HOME/.rpmrc}: -@example - - topdir: /home/fred/usr/src/RedHat - -@end example +(Some scripts also assume this lives in @file{$HOME/usr/src}). -@end itemize @unnumberedsec Applying patches @@ -777,40 +822,8 @@ and don't forget to make automatically generated files: 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 diff --git a/Documentation/metadoc/lilypond-overview.doc b/Documentation/metadoc/lilypond-overview.doc index ddcd7f99e5..a408a9e8eb 100644 --- a/Documentation/metadoc/lilypond-overview.doc +++ b/Documentation/metadoc/lilypond-overview.doc @@ -12,7 +12,7 @@ \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} diff --git a/Documentation/programs.texi b/Documentation/programs.texi index 75fd7aa2f0..171627631e 100644 --- a/Documentation/programs.texi +++ b/Documentation/programs.texi @@ -2,7 +2,7 @@ @setfilename programs.info @settitle Programs -@node Top, , mudela-book Authors, (dir) +@node Top, , midi2ly Authors, (dir) @top @menu * Programs:: Your Softs- @@ -10,7 +10,6 @@ * 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 @@ -652,7 +651,7 @@ the GNU General Public License, from the file @file{COPYING}. 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 @@ -664,118 +663,4 @@ information, and small contributions. -@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 diff --git a/Documentation/tex/glossary-table.data b/Documentation/tex/glossary-table.data deleted file mode 100644 index 2fdb482110..0000000000 --- a/Documentation/tex/glossary-table.data +++ /dev/null @@ -1,255 +0,0 @@ -@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 line 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 indicates the position of the central C. Used in different positions. -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 start 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 can 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@@ diff --git a/Documentation/tex/mudela-book-doc.doc b/Documentation/tex/mudela-book-doc.doc deleted file mode 100644 index e4afd2e915..0000000000 --- a/Documentation/tex/mudela-book-doc.doc +++ /dev/null @@ -1,376 +0,0 @@ -% -*-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} - -\end{mudela} - -If you want to place music examples in the text, -\begin[eps]{mudela} - -\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} - -\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{}, is probably to big to be included in the middle of the text. 11pt, \mudela[11pt]{} or 13pt, \mudela[13pt]{} is probably better. -The code can look like this: -\begin{verbatim} -\begin[13pt, eps]{mudela} - -\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{}, was created with this code: -\verb|\mudela{}| - -\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} - -\end{mudela} -\\ -\hline moll & -\begin[eps]{mudela} - -\end{mudela} -\\ -\hline forminsket & -\begin[eps]{mudela} - -\end{mudela} -\\ -\hline forstørret & -\begin[eps]{mudela} - -\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} - - - - - - diff --git a/Documentation/tex/testje.fly b/Documentation/tex/testje.fly deleted file mode 100644 index 4c354406d3..0000000000 --- a/Documentation/tex/testje.fly +++ /dev/null @@ -1,2 +0,0 @@ -% We're testing \mudelafile here. -c''4^"This! Is! A! Test!" d e diff --git a/Documentation/tex/tutorial.tely b/Documentation/tex/tutorial.tely deleted file mode 100644 index 208bed282b..0000000000 --- a/Documentation/tex/tutorial.tely +++ /dev/null @@ -1,945 +0,0 @@ -\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 { - - \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 - \grace \times 2/3 { } - < - { \times 2/3 { a8 g c } \! c2 } - \context Voice = oboeTwo { - \stemdown - \grace { - \property Grace.verticalDirection = \down - [f,16 g] } - f8 e e2 - } > - \stemboth - \grace <)b8. d8.-\trill> | - [ < )f8. a>] <)b,8 d> r [ ] r | - [ < )e8. g>] -} - -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 - r4 - < {\stemup r2 } - \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 - -@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 -@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 < )d4 f> -@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 -@{ @} -@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 <)b8. d8.-\trill> | -@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 diff --git a/Documentation/topdocs/index.tely b/Documentation/topdocs/index.tely index 9f79080b99..766b43c25a 100644 --- a/Documentation/topdocs/index.tely +++ b/Documentation/topdocs/index.tely @@ -103,9 +103,10 @@ Sorry for poor look they have: we want to be hacking at LilyPond, and 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. diff --git a/Documentation/tex/GNUmakefile b/Documentation/user/GNUmakefile similarity index 65% rename from Documentation/tex/GNUmakefile rename to Documentation/user/GNUmakefile index f0f86b38a4..10ddca981f 100644 --- a/Documentation/tex/GNUmakefile +++ b/Documentation/user/GNUmakefile @@ -4,15 +4,12 @@ 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 +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) @@ -24,10 +21,6 @@ LOCALSTEPMAKE_TEMPLATES=lilypond mudela include $(depth)/make/stepmake.make - - - - dvi: $(DVI_FILES) ps: $(PS_FILES) @@ -38,18 +31,6 @@ 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=' ' -o $@ $< - -$(outdir)/%.latex: %.data $(depth)/VERSION - $(PYTHON) $(step-bindir)/table-to-html.py --columns=7 --linesep=' ' -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) \ diff --git a/Documentation/user/glossary.texi b/Documentation/user/glossary.texi new file mode 100644 index 0000000000..f58c2e69a2 --- /dev/null +++ b/Documentation/user/glossary.texi @@ -0,0 +1,2066 @@ + +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 + diff --git a/Documentation/user/mudela-book.tely b/Documentation/user/mudela-book.tely new file mode 100644 index 0000000000..10f115a116 --- /dev/null +++ b/Documentation/user/mudela-book.tely @@ -0,0 +1,358 @@ +\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:"] + +@end mudela + +If you want to place music examples in the text, +@mudela[eps] + +@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] + +@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] + +@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 + + + + + + diff --git a/Documentation/tex/reference-manual.tely b/Documentation/user/mudela.tely similarity index 67% rename from Documentation/tex/reference-manual.tely rename to Documentation/user/mudela.tely index 426b878046..ca4f316001 100644 --- a/Documentation/tex/reference-manual.tely +++ b/Documentation/user/mudela.tely @@ -1,11 +1,13 @@ \input texinfo @c -*-texinfo-*- -@setfilename reference-manual.info -@settitle LilyPond 1-2-0 Reference Manual +@setfilename mudela.info +@settitle Reference Manual -@node Top, , Running LilyPond, (dir) +@node Top, , , (dir) @top @menu -* LilyPond 1-2-0 Reference Manual::LilyPond 1-2-0 Reference Manual +* Tutorial:: a tutorial introduction to lilypond +* Reference Manual:: Reference Manual +* Glossary:: A dictionary of musical terms. @end menu @macro keyindex {word} @@ -18,9 +20,910 @@ @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.}. -@node LilyPond 1-2-0 Reference Manual, Overview, , Top +@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 { + + \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 + \grace \times 2/3 { } + < + { \times 2/3 { a8 g c } \! c2 } + \context Voice = oboeTwo { + \stemdown + \grace { + \property Grace.verticalDirection = \down + [f,16 g] } + f8 e e2 + } > + \stemboth + \grace <)b8. d8.-\trill> | + [ < )f8. a>] <)b,8 d> r [ ] r | + [ < )e8. g>] +} + +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 + r4 + < {\stemup r2 } + \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 + +@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 +@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 < )d4 f> +@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 +@{ @} +@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 <)b8. d8.-\trill> | +@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 @@ -56,14 +959,14 @@ * 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 + +@chapter Reference Manual -@node Overview, Top level, LilyPond 1-2-0 Reference Manual, LilyPond 1-2-0 Reference Manual +@node Overview, , , Reference Manual @section Overview This document@footnote{This document has been revised for @@ -89,7 +992,7 @@ typesetting and from a performance point of view. -@node Top level, notenames, Overview, LilyPond 1-2-0 Reference Manual +@node Top level, , , Reference Manual @section Top level @cindex top level @@ -103,10 +1006,9 @@ This section describes what you may enter at top level. 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 +@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. @@ -119,11 +1021,10 @@ definition is supplied, the default @code{\paper} block will be added. The syntax is -@quotation - - @code{\header} @code{@{} @var{key1} = @var{val1}; - @var{key2} = @var{val2}; ... @code{@}} -@end quotation +@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 @@ -134,28 +1035,24 @@ 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 +@node notenames, , , Reference Manual Note name tables can be specified using -@quotation - - @code{\notenames}@keyindex{notenames} - @code{@{} @var{assignmentlist} @code{@}} -@end quotation +@example + \notenames@keyindex{notenames} + @{ @var{assignmentlist} @} +@end example @var{assignmentlist} is a list of definitions of the form -@quotation - +@example @var{name} = @var{pitch} -@end quotation +@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. @@ -165,17 +1062,15 @@ 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 +@example + \scm @keyindex{scm} @var{scheme} ; +@end example Evaluates the specified Scheme code. The result is discarded. -@quotation - - @code{\scmfile}@keyindex{scmfile} @var{filename} @code{;} -@end quotation +@example +\scmfile@keyindex{scmfile} @var{filename}; +@end example Reads Scheme code from the specified file. The result is discarded. @@ -186,7 +1081,7 @@ forbidden after top level assignments. -@node Lexical conventions, notelang, notenames, LilyPond 1-2-0 Reference Manual +@node Lexical conventions, , , Reference Manual @section Lexical conventions @cindex lexical conventions @@ -209,62 +1104,61 @@ They cannot be nested. 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 +@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 @@ -304,36 +1198,32 @@ 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 +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. -@quotation - - @code{\maininput}@keyindex{maininput} -@end quotation +@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. -@quotation - - @code{\include}@keyindex{include} @var{file} -@end quotation +@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, -@quotation - - @code{\version}@keyindex{version} @var{string} @code{;} -@end quotation +@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"}. @@ -344,7 +1234,7 @@ This is used to detect invalid input, and to aid @cindex other languages -@node notelang, modes, Lexical conventions, LilyPond 1-2-0 Reference Manual +@node notelang, , , Reference Manual Note name definitions have been provided in various languages. Simply include the language specific init file. For example: @@ -355,7 +1245,6 @@ names they define are: @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 @@ -369,7 +1258,7 @@ catalan.ly do re mi fa sol la sid si -d/-s -b Pitch names can be redefined using the @code{\notenames}@keyindex{notenames} command, see -subsection @xref{notenames}. +subsection XREF-notenames [FIXME]. @@ -377,7 +1266,7 @@ subsection @xref{notenames}. @cindex modes -@node modes, Types, notelang, LilyPond 1-2-0 Reference Manual +@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 @@ -479,7 +1368,7 @@ versions, thus the use of the dollar sign is discouraged.} -@node Types, Music expressions, modes, LilyPond 1-2-0 Reference Manual +@node Types, , , Reference Manual @section Types @cindex types and identifiers @@ -495,7 +1384,7 @@ versions, thus the use of the dollar sign is discouraged.} @code{\notenames}@keyindex{notenames}) @item note name tables @item context definitions, part of output definitions. See - section @xref{contextdefs} for more information + 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) @@ -517,7 +1406,7 @@ 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}. +appearing in the @code{\paper} block, see Section XREF-paper [FIXME]. @var{value} is any of the types listed above. @@ -530,10 +1419,9 @@ 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 +@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 @@ -547,7 +1435,7 @@ reference to the first identifier useless.} -@node Music expressions, Atomic music expressions, Types, LilyPond 1-2-0 Reference Manual +@node Music expressions, , , Reference Manual @section Music expressions @cindex music expressions @@ -561,27 +1449,23 @@ 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 +@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}. +subsection XREF-atomicmusic [FIXME]. Compound music expressions are +discussed in subsection XREF-compoundmusic [FIXME]. -@node Atomic music expressions, atomicmusic, Music expressions, LilyPond 1-2-0 Reference Manual +@node Atomic music expressions, , , Reference Manual @section Atomic music expressions -@node atomicmusic, notedesc, Atomic music expressions, LilyPond 1-2-0 Reference Manual +@node atomicmusic, , , Reference Manual @@ -592,11 +1476,10 @@ discussed in subsection @xref{compoundmusic}. The syntax for pitch specification is -@quotation - @code{\musicalpitch}@keyindex{musicalpitch} - @code{@{} @var{octave} @var{note} @var{shift} @code{@}} -@end quotation +@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 @@ -604,15 +1487,14 @@ 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. +section XREF-notelang [FIXME] 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 +@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 @@ -620,10 +1502,10 @@ 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. +numbers and dots. See Section XREF-notelang [FIXME] for details. -@node notedesc, barlines, atomicmusic, LilyPond 1-2-0 Reference Manual +@node notedesc, , , Reference Manual @cindex note specification @@ -633,10 +1515,9 @@ numbers and dots. See Section @xref{notelang} for details. A note specification has the form -@quotation - - @var{pitch}[@var{octavespec}][@code{!}][@code{?}][@var{duration}] -@end quotation +@example + @var{pitch}[@var{octavespec}][!][?][@var{duration}] +@end example The pitch of the note is specified by the note's name. @@ -652,7 +1533,7 @@ 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. +section XREF-notelang [FIXME] for details. The optional octave specification takes the form of a series of @@ -794,23 +1675,22 @@ 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 +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}. +lyrics is discussed in section XREF-lyricprint [FIXME]. @cindex properties -@quotation - - @code{\property}@keyindex{property} - @var{contextname}@code{.}@var{propname} @code{=} @var{value} -@end quotation +@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. @@ -821,11 +1701,10 @@ to leave space on both sides of the dot. @cindex translator switches -@quotation - - @code{\translator}@keyindex{translator} +@example + \translator@keyindex{translator} @var{contexttype} = @var{name} -@end quotation +@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 @@ -833,10 +1712,9 @@ 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 +@example + \translator Staff = top @var{Music} +@end example @@ -845,10 +1723,10 @@ Usually this is used to switch staffs in Piano music, e.g. Commands are music expressions that have no duration. -@quotation +@example @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;} -@end quotation +@end example Change the key signature. @var{type} should be @code{\major}@keyindex{major} or @code{\minor}@keyindex{minor} to get @@ -864,33 +1742,31 @@ mode names @code{\ionian}@keyindex{ionian}, @code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian} are also defined. -@quotation +@example @code{\keysignature}@keyindex{keysignature} @var{pitchseq} @code{;} -@end quotation +@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. -@quotation - - @code{\mark}@keyindex{mark} @var{unsigned} @code{;} @* - @code{\mark} @var{string} @code{;} -@end quotation +@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, manualbeam, notedesc, LilyPond 1-2-0 Reference Manual - -@quotation +@node barlines, , , Reference Manual - @code{\bar}@keyindex{bar} @var{bartype} @code{;} -@end quotation +@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 @@ -919,40 +1795,39 @@ 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}. +See section XREF-sec-repeats [FIXME]. -@quotation - - @code{\cadenza}@keyindex{cadenza} @var{togglevalue} @code{;} -@end quotation +@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. -@quotation +@example - @code{\time}@keyindex{time} @var{numerator}@code{/}@var{denominator} @code{;} -@end quotation + \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. -@quotation +@example - @code{\tempo}@keyindex{tempo} @var{duration} = @var{perminute} @code{;} -@end quotation + \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. -@quotation +@example - @code{\partial}@keyindex{partial} @var{duration} @code{;} -@end quotation + \partial@keyindex{partial} @var{duration} @code{;} +@end example @cindex anacrusis @@ -962,12 +1837,12 @@ 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 +@example @code{|}@indexcode{|} @cindex bar check -@end quotation +@end example @cindex shorten measures @@ -980,19 +1855,19 @@ The beginning of the measure will be relocated, so this can also be used to shorten measures. -@quotation +@example - @code{\penalty}@keyindex{penalty} @var{int} @code{;} -@end quotation + \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 @xref{ident}. +section [on identifiers] [FIXME]. -@quotation +@example - @code{\clef}@keyindex{clef} @var{clefname} @code{;} -@end quotation + \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 @@ -1046,10 +1921,10 @@ The three clef symbols can also be obtained using the names `@code{G}', indicates at which note line the clef is located. An as example, the @code{mezzosoprano} clef can also be given as `@code{C2}'. -@quotation +@example - @code{\skip}@keyindex{skip} @var{duration} @code{;} -@end quotation + \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 @@ -1059,7 +1934,7 @@ this has the same effect as the space rest `@code{s}'. @cindex beams -@node manualbeam, tremolo, barlines, LilyPond 1-2-0 Reference Manual +@node manualbeam, , , Reference Manual A beam is specified by surrounding the beamed notes with brackets `@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'. @@ -1075,7 +1950,7 @@ Some more elaborate constructions: \times 2/3 { [e'8 f' g'] } @end mudela -Beaming can be generated automatically; see section @xref{autobeam}. +Beaming can be generated automatically; see section XREF-autobeam [FIXME]. To place tremolo marks @cindex tremolo beams @@ -1084,7 +1959,7 @@ 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}). +(see also section XREF-tremolo [FIXME]). @mudela[fragment,verbatim,center] [:16 e'1 g'] [:8 e'4 f'] @@ -1221,10 +2096,10 @@ The available dynamic marks are: @code{\rfz}@keyindex{rfz}. -@quotation +@example - @code{\textscript}@keyindex{textscript} @var{text} @var{style} -@end quotation + \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}, @@ -1246,10 +2121,10 @@ This is equivalent to `@code{c4-6 c4-"foo"}'. @cindex scripts -@quotation +@example - @code{\script}@keyindex{script} @var{alias} -@end quotation + \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}. @@ -1294,10 +2169,10 @@ must use spacer notes. @end mudela -@quotation +@example - @code{\spanrequest}@keyindex{spanrequest} @var{startstop} @var{type} -@end quotation + \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 @@ -1320,7 +2195,7 @@ 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 +@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 @@ -1335,12 +2210,12 @@ no last value. -@node Compound music expressions, compoundmusic, tremolo, LilyPond 1-2-0 Reference Manual +@node Compound music expressions, , , Reference Manual @section Compound music expressions @cindex compound music expressions -@node compoundmusic, relative, Compound music expressions, LilyPond 1-2-0 Reference Manual +@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 @@ -1358,16 +2233,16 @@ chords can be expressed in two different ways: @cindex context selection -@quotation +@example - @code{\context}@keyindex{context} + \context@keyindex{context} @var{contexttype} [@code{=} @var{contextname}] @var{musicexpr} -@end quotation +@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} and @xref{contextdefs} for more +section XREF-contextselection [FIXME] and XREF-contextdefs [FIXME] for more information on interpretation contexts. @@ -1381,11 +2256,11 @@ Mode switching keywords form compound music expressions: @code{\notes} @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 +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}. +section XREF-contextselection [FIXME]. @@ -1393,21 +2268,21 @@ section @xref{contextselection}. -@quotation +@example - @code{\sequential}@keyindex{sequential} + \sequential@keyindex{sequential} @code{@{} @var{musicexprlist} @code{@}} -@end quotation +@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: -@quotation +@example @code{@{} @var{musicexprlist} @code{@}} -@end quotation +@end example @@ -1416,20 +2291,20 @@ There is a shorthand, which leaves out the keyword: @indexcode{<} @indexcode{>} -@quotation +@example - @code{\simultaneous}@keyindex{simultaneous} + \simultaneous@keyindex{simultaneous} @code{@{} @var{musicexprlist} @code{@}} -@end quotation +@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: -@quotation +@example @code{<} @var{musicexprlist} @code{>} -@end quotation +@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. @@ -1461,16 +2336,16 @@ a Voice context: @cindex relative pitch specification -@node relative, sec-repeats, compoundmusic, LilyPond 1-2-0 Reference Manual +@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. -@quotation +@example - @code{\relative}@keyindex{relative} @var{startpitch} @var{musicexpr} -@end quotation + \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 @@ -1528,12 +2403,12 @@ 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}). +Chord mode (see section XREF-modes [FIXME]). -@quotation +@example @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}]. -@end quotation +@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 @@ -1618,10 +2493,10 @@ You should not combine @code{\relative} with named chords. Tuplets are made out of a music expression by multiplying their duration with a fraction. -@quotation +@example - @code{\times}@keyindex{times} @var{fraction} @var{musicexpr} -@end quotation + \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, @@ -1637,10 +2512,10 @@ their written length: @cindex grace notes -@quotation +@example - @code{\grace}@keyindex{grace} @var{musicexpr} -@end quotation + \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. @@ -1671,10 +2546,10 @@ stem. This behavior can be controlled with the At present, nesting @code{\grace}@keyindex{grace} notes, e.g. -@quotation +@example @code{\grace @{ \grace c32 c16 @} c4} -@end quotation +@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, @@ -1688,42 +2563,42 @@ 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 +@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 @* + @item unfolded Repeated music is fully written (played) out. Useful for MIDI output. - @item volta @* + @item volta This is the normal notation: Repeats are not written out, but alternative endings (voltas) are printed, left to right. - @item folded @* + @item folded Alternative endings are written stacked, which is useful for lyrics. @end table The syntax for repeats is -@quotation +@example - @code{\repeat} @var{variant} @var{repeatcount} @var{repeatbody} -@end quotation + \repeat @var{variant} @var{repeatcount} @var{repeatbody} +@end example If you have alternative endings, you may add -@quotation +@example - @code{\alternative}@keyindex{alternative} + \alternative@keyindex{alternative} @code{@{} @var{alternative1} @var{alternative2} - @var{alternative3} ... @code{@}} -@end quotation + @var{alternative3} @dots{} @code{@}} +@end example where each @var{alternative} is a Music expression. @@ -1807,15 +2682,15 @@ bars will not. @cindex transposition of pitches -@node transpose, Ambiguities, sec-repeats, LilyPond 1-2-0 Reference Manual +@node transpose, , , Reference Manual A music expression can be transposed with @code{\transpose}@keyindex{transpose}. The syntax is -@quotation +@example - @code{\transpose} @var{pitch} @var{musicexpr} -@end quotation + \transpose @var{pitch} @var{musicexpr} +@end example This means that middle C in @var{musicexpr} is transposed to @var{pitch}. @@ -1851,10 +2726,10 @@ 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 +@example - @code{\addlyrics} @var{musicexpr1 musicexpr2} -@end quotation + \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 @@ -1903,7 +2778,7 @@ lyrics for @var{musicexpr2}. -@node Ambiguities, Notation conversion specifics, transpose, LilyPond 1-2-0 Reference Manual +@node Ambiguities, , , Reference Manual @section Ambiguities @cindex ambiguities @@ -1914,28 +2789,20 @@ 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). @@ -1945,8 +2812,8 @@ foo = -6 @quotation @example -\repeat ... -\repeat ... +\repeat @dots{} +\repeat @dots{} \alternative @end example @@ -1961,20 +2828,20 @@ foo = -6 -@node Notation conversion specifics, autobeam, Ambiguities, LilyPond 1-2-0 Reference Manual +@node Notation conversion specifics, , , Reference Manual @section Notation conversion specifics @cindex automatic beam generation -@node autobeam, lyricprint, Notation conversion specifics, LilyPond 1-2-0 Reference Manual +@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}. +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}. @@ -2060,7 +2927,7 @@ If you want inversions to be recognized, you must set the property @cindex printing!lyrics -@node lyricprint, Notation Contexts, autobeam, LilyPond 1-2-0 Reference Manual +@node lyricprint, , , Reference Manual Lyric syllables must be interpreted within a @code{Lyrics} context @@ -2141,7 +3008,7 @@ For example: -@node Notation Contexts, contextselection, lyricprint, LilyPond 1-2-0 Reference Manual +@node Notation Contexts, , , Reference Manual @section Notation Contexts @cindex notation contexts @@ -2179,13 +3046,13 @@ context (the @code{Score} context). When a atomic music expression set of contexts is created that can process these atomic expressions, as in this example: -@quotation +@example @example \score @{ \notes < c4 > @} @end example -@end quotation +@end example The sequential music, `@code{@{ c4 @}}' is interpreted by @code{Score} context. When the note `@code{c4}' itself is interpreted, a set of @@ -2194,7 +3061,7 @@ contexts is needed that will accept notes. The default for this is a these contexts results in the staff being printed. -@node contextselection, Notation output definitions, Notation Contexts, LilyPond 1-2-0 Reference Manual +@node contextselection, , , Reference Manual @cindex context @@ -2232,10 +3099,10 @@ Almost all music expressions inherit their interpretation context from their parent. In other words, suppose that the syntax for a music expression is -@quotation +@example - @code{\keyword} @var{musicexpr1} @var{musicexpr2} ... -@end quotation + \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 @@ -2283,23 +3150,23 @@ 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} @* + @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} @* + @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} @* + @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} @* + @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. @@ -2307,49 +3174,49 @@ in the initialization file @file{ly/engraver.ly}. You have to instantiate this explicitly if you want to have multiple voices on the same staff. - @item @code{ChordNamesVoice}@indexcode{ChordNamesVoice} @* + @item @code{ChordNamesVoice}@indexcode{ChordNamesVoice} A voice with chord names. Handles printing of a line of chord names. - @item @code{ChordNames}@indexcode{ChordNames} @* + @item @code{ChordNames}@indexcode{ChordNames} Typesets chord names. Can contain @code{ChordNamesVoice} contexts. - @item @code{Lyrics}@indexcode{Lyrics} @* + @item @code{Lyrics}@indexcode{Lyrics} Typesets lyrics. It can contain @code{LyricVoice} contexts. - @item @code{Staff}@indexcode{Staff} @* + @item @code{Staff}@indexcode{Staff} Handles clefs, bar lines, keys, accidentals. It can contain @code{Voice} contexts. - @item @code{RhythmicStaff}@indexcode{RhythmicStaff} @* + @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} @* + @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} @* + @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} @* + @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} @* + @item @code{ChoirStaff}@indexcode{ChoirStaff} Identical to @code{StaffGroup} except that the contained staffs are not connected vertically. - @item @code{Score}@indexcode{Score} @* + @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 @@ -2375,10 +3242,10 @@ Properties can be preset within the @code{\translator} block corresponding to the appropriate context. In this case, the syntax is -@quotation +@example @var{propname} @code{=} @var{value} -@end quotation +@end example This assignment happens before interpretation starts, so a @code{\property} expression will override any predefined settings. @@ -2407,7 +3274,7 @@ available properties. @cindex properties!Lyrics @table @samp - @item @code{textStyle}@indexcode{textStyle} @* + @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 @@ -2422,7 +3289,7 @@ available properties. @cindex properties!Thread @table @samp - @item @code{noteheadStyle}@indexcode{noteheadStyle} @* + @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. @@ -2457,45 +3324,47 @@ available properties. @table @samp - @item @code{stemStyle}@indexcode{stemStyle} @* + @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} @* + @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} @* + @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} @* + @item @code{noAutoBeaming}@indexcode{beamAuto} If set to 1 then beams are not generated automatically. - @item @code{beamAutoEnd}@indexcode{beamAutoEnd} @* + @item @code{beamAutoEnd}@indexcode{beamAutoEnd} Specifies when automatically generated beams can end. See - section @xref{autobeam}. + section XREF-autobeam [FIXME]. - @item @code{beamAutoBegin}@indexcode{beamAutoBegin} @* + @item @code{beamAutoBegin}@indexcode{beamAutoBegin} Specifies when automatically generated beams can start. See - section @xref{autobeam}. + section XREF-autobeam [FIXME]. - @item @code{beamquantisation}@indexcode{beamquantisation} @* + @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 @@ -2503,7 +3372,7 @@ available properties. @code{\beamposnormal}@keyindex{beamposnormal}, and @code{\beampostraditional}@keyindex{beampostraditional}. - @item @code{beamslopedamping}@indexcode{beamslopedamping} @* + @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 @@ -2512,148 +3381,174 @@ available properties. @code{\beamslopezero}@keyindex{beamslopezero} each set the corresponding value. - @item @code{dynamicDirection}@indexcode{dynamicDirection} @* + @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} @* + @item @code{dynamicStyle}@indexcode{dynamicStyle} Set the text style for dynamics. - @item @code{fontSize}@indexcode{fontSize} @* + @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} @* + @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. +[FIXME: this should be moved] -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. +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. -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 +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 = +\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} @* + @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} @* + @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} @* + @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} @* + @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 + 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} @* + @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} @* + @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} @* + @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} @* + @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} @* + @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} @* +@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} @* + @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} @* + @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} @* + @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} @* + @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} @* + @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} @* + @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} @* + @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} @* + @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 @@ -2663,12 +3558,12 @@ and unset it for each collision in a score.) property. - @item @code{tupletDirection}@indexcode{tupletDirection} @* + @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} @* + @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 @@ -2684,98 +3579,98 @@ and unset it for each collision in a score.) @table @samp - @item @code{barNonAuto}@indexcode{barNonAuto} @* + @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} @* + @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} @* + @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} @* + @item @code{barNumberScriptPadding}@indexcode{barNumberScriptPadding} Sets extra space between the bar number and the bar it labels. - @item @code{barSize}@indexcode{barSize} @* + @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} @* + @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} @* + @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} @* + @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} @* + @item @code{createInitdefaultClef}@indexcode{createInitdefaultClef} Specify whether clefs are created on default? (Doesn't seem to do anything.) - @item @code{defaultClef}@indexcode{defaultClef} @* + @item @code{defaultClef}@indexcode{defaultClef} Determines the default clef. See @code{\clef} keyword. - @item @code{markHangOnClef}@indexcode{markHangOnClef} @* + @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} @* + @item @code{marginDirection}@indexcode{marginDirection} Set to @code{\left} or @code{\right} to specify location of marginal scripts. - @item @code{marginScriptPadding}@indexcode{marginScriptPadding} @* + @item @code{marginScriptPadding}@indexcode{marginScriptPadding} Specify extra space for marginal scripts. - @item @code{forgetAccidentals}@indexcode{forgetAccidentals} @* + @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} @* + @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} @* + @item @code{staffLineLeading}@indexcode{staffLineLeading} Specifies the distance (in points) between lines of the staff. - @item @code{numberOfStaffLines}@indexcode{numberOfStaffLines} @* + @item @code{numberOfStaffLines}@indexcode{numberOfStaffLines} Specifies the number of staff lines. The default is 5. - @item @code{postBreakPadding}@indexcode{postBreakPadding} @* + @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} @* + @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} @* + @item @code{numberOfStaffLines}@indexcode{numberOfStaffLines} Sets the number of lines that the staff has. - @item @code{barAlways}@indexcode{barAlways} @* + @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} + @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} @* + @indexcode{instrument}@indexcode{instr} If @code{Staff_margin_engraver} @cindex Staff_margin_engraver is @@ -2785,40 +3680,39 @@ and unset it for each collision in a score.) @code{midiInstrument} property is not set, then @code{instrument} is used to determine the instrument for MIDI output. - @item @code{keyOctaviation}@indexcode{keyOctaviation} @* + @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 + @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} @* + @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} @* + @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} @* + @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} @* + @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} @* + @code{old6/8alt}@indexcode{old6/8alt} Tells LilyPond to use a specific symbol as time signature. @end table @@ -2862,7 +3756,7 @@ and unset it for each collision in a score.) @end mudela - @item @code{voltaSpannerDuration}@indexcode{voltaSpannerDuration} @* + @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 @@ -2876,15 +3770,15 @@ and unset it for each collision in a score.) @cindex properties!GrandStaff @table @samp - @item @code{alignmentReference}@indexcode{alignmentReference} @* + @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} @* + @item @code{maxVerticalAlign}@indexcode{maxVerticalAlign} Set the maximum vertical distance between staffs. - @item @code{minVerticalAlign}@indexcode{minVerticalAlign} @* + @item @code{minVerticalAlign}@indexcode{minVerticalAlign} Set the minimum vertical distance between staffs. @end table @@ -2892,7 +3786,7 @@ and unset it for each collision in a score.) @cindex properties!Score @table @samp - @item @code{skipBars}@indexcode{skipBars} @* + @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 @@ -2914,7 +3808,7 @@ r1 r1*3 R1*3\property Score.skipBars=1 r1*3 R1*3 @cindex properties!ChordNamesVoice @table @samp - @item @code{chordInversion}@indexcode{chordInversion} @* + @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 @@ -2923,7 +3817,7 @@ r1 r1*3 R1*3\property Score.skipBars=1 r1*3 R1*3 -@node Notation output definitions, output, contextselection, LilyPond 1-2-0 Reference Manual +@node Notation output definitions, , , Reference Manual @section Notation output definitions @cindex output @@ -2932,35 +3826,33 @@ r1 r1*3 R1*3\property Score.skipBars=1 r1*3 R1*3 @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 +@node paper, , , Reference Manual The most important output definition is the @code{\paper} block, for music notation. The syntax is -@quotation +@example @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}} -@end quotation +@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} for information on + semicolon. See section XREF-papervars [FIXME] for information on paper variables. - @item A context definition. See section @xref{contextdefs} for + @item A context definition. See section XREF-contextdefs [FIXME] for more information on context definitions. @item A margin shape declaration. The syntax is - @quotation + @example - @code{\shape} @var{indent1}@code{,} @var{width1}@code{,} - @var{indent2}@code{,} @var{width2} ... @code{;} - @end quotation + \shape @var{indent1}@code{,} @var{width1}@code{,} + @var{indent2}@code{,} @var{width2} @dots{} @code{;} + @end example @keyindex{shape} @@ -2973,10 +3865,10 @@ where each of the items is one of @item A font declaration. Its syntax is - @quotation + @example - @var{fontsize} @code{=} @code{\font}@keyindex{font} @var{fontname} - @end quotation + @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 @@ -3012,7 +3904,7 @@ select. @cindex paper variables -@node papervars, contextdefs, paper, LilyPond 1-2-0 Reference Manual +@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 @@ -3027,27 +3919,27 @@ height in points. Nevertheless, here are some variables you may want to use or change: @table @samp - @item @code{indent}@indexcode{indent} @* + @item @code{indent}@indexcode{indent} The indentation of the first line of music. - @item @code{interline}@indexcode{interline} @* + @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} @* + @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} @* + @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} @* + @item @code{rulethickness}@indexcode{rulethickness} Determines the thickness of staff and bar lines. - @item @code{castingalgorithm}@indexcode{castingalgorithm} @* + @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 @@ -3057,7 +3949,7 @@ Nevertheless, here are some variables you may want to use or change: @end table -@node contextdefs, engravers, papervars, LilyPond 1-2-0 Reference Manual +@node contextdefs, , , Reference Manual @cindex context definition @@ -3083,30 +3975,30 @@ A notation contexts is defined by the following information A context definition has this syntax: -@quotation +@example - @code{\translator} @code{@{} + \translator @code{@{} @var{translatorinit} @var{translatormodifierlist} @code{@}} -@end quotation +@end example @var{translatorinit} can be an identifier or of the form -@quotation +@example - @code{\type} @var{typename} @code{;} -@end quotation + \type @var{typename} @code{;} +@end example @var{typename} is one of @table @samp - @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver} @* + @item @code{Engraver_group_engraver}@indexcode{Engraver_group_engraver} The standard cooperation engraver. - @item @code{Score_engraver}@indexcode{Score_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} @* + @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'. @@ -3116,13 +4008,13 @@ A context definition has this syntax: one of @itemize @bullet - @item @code{\consists} @var{engravername} @code{;} @* + @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 + 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{;} @* + @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. @@ -3132,19 +4024,19 @@ one of removes engravers. This command is usually not needed for end-users. - @item @code{\accepts} @var{contextname} @code{;} @* + @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{;} @* + @item @code{\remove} @var{engravername} @code{;} Remove a previously added (with @code{\consists}) engraver. - @item @code{\name} @var{contextname} @code{;} @* + @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{;} @* + @item @var{propname} @code{=} @var{value} @code{;} A property assignment. It is allowed to use reals for @var{value}. @end itemize @@ -3158,14 +4050,14 @@ such an identifier outside of @code{\score}, you must do @example \paper @{ - foo = \translator @{ ... @} + foo = \translator @{ @dots{} @} @} \score @{ \notes @{ - ... + @dots{} @} \paper @{ - \translator @{ \foo ... @} + \translator @{ \foo @dots{} @} @} @} @end example @@ -3179,25 +4071,25 @@ Some pre-defined identifiers can simplify modification of translators. The pre-defined identifiers are: @table @samp - @item @code{StaffContext}@indexcode{StaffContext} @* + @item @code{StaffContext}@indexcode{StaffContext} Default Staff context. - @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext} @* + @item @code{RhythmicStaffContext}@indexcode{RhythmicStaffContext} Default RhythmicStaff context. - @item @code{VoiceContext}@indexcode{VoiceContext} @* + @item @code{VoiceContext}@indexcode{VoiceContext} Default Voice context. - @item @code{ScoreContext}@indexcode{ScoreContext} @* + @item @code{ScoreContext}@indexcode{ScoreContext} Default Score context. - @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers} @* + @item @code{ScoreWithNumbers}@indexcode{ScoreWithNumbers} Score context with numbering at the Score level. - @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext} @* + @item @code{BarNumberingStaffContext}@indexcode{BarNumberingStaffContext} Staff context with numbering at the Staff level. - @item @code{HaraKiriStaffContext}@indexcode{HaraKiriStaffContext} @* + @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.} @@ -3226,68 +4118,68 @@ translator: -@node engravers, Sound output, contextdefs, LilyPond 1-2-0 Reference Manual +@node engravers, , , Reference Manual The engravers for paper output are: [incomplete, FIXME] @table @samp - @item @code{Bar_engraver}@indexcode{Bar_engraver} @* + @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} @* + @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} @* + @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} @* + @indexcode{Beam_req_swallow_translator} Swallows beam requests. In @code{LyricVoice}. - @item @code{Chord_name_engraver}@indexcode{Chord_name_engraver} @* + @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} @* + @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} @* + @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} @* + @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} @* + @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} @* + @item @code{Lyric_engraver}@indexcode{Lyric_engraver} Engraves lyrics. Normally in @code{LyricVoice}. @item @code{Multi_measure_rest_engraver} - @indexcode{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} @* + @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. @@ -3295,20 +4187,20 @@ The engravers for paper output are: @item @code{Priority_horizontal_align_engraver} @indexcode{Priority_horizontal_align_engraver} - @item @code{Repeat_engraver}@indexcode{Repeat_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} @* + @item @code{Rest_collision_engraver}@indexcode{Rest_collision_engraver} Handles collisions of rests. In @code{Staff}. - @item @code{Rest_engraver}@indexcode{Rest_engraver} @* + @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} @* + @item @code{Script_engraver}@indexcode{Script_engraver} Handles note ornaments generated by @code{\script}. Normally in @code{Voice}. @@ -3318,10 +4210,10 @@ The engravers for paper output are: @item @code{Skip_req_swallow_translator} @indexcode{Skip_req_swallow_translator} - @item @code{Slur_engraver}@indexcode{Slur_engraver} @* + @item @code{Slur_engraver}@indexcode{Slur_engraver} Engraves slurs. Normally in @code{Voice}. - @item @code{Span_bar_engraver}@indexcode{Span_bar_engraver} @* + @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}. @@ -3330,30 +4222,30 @@ The engravers for paper output are: @item @code{Staff_group_bar_engraver}@indexcode{Staff_group_bar_engraver} - @item @code{Staff_margin_engraver}@indexcode{Staff_margin_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} @* + @item @code{Stem_engraver}@indexcode{Stem_engraver} Engraves stems. Normally in @code{Voice}. - @item @code{Ties_engraver}@indexcode{Ties_engraver} @* + @item @code{Ties_engraver}@indexcode{Ties_engraver} Engraves ties. Normally in @code{Voice}. - @item @code{Time_signature_engraver}@indexcode{Time_signature_engraver} @* + @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} @* + @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} @* + @item @code{Tuplet_engraver}@indexcode{Tuplet_engraver} Engraves tuplet brackets? In @code{Staff}. @item @code{Vertical_align_engraver}@indexcode{Vertical_align_engraver} @@ -3361,7 +4253,7 @@ The engravers for paper output are: -@node Sound output, midilist, engravers, LilyPond 1-2-0 Reference Manual +@node Sound output, , , Reference Manual @section Sound output @@ -3389,13 +4281,15 @@ 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 +@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. +@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 @@ -3471,105 +4365,105 @@ The performers for MIDI translators are: -@node Pre-defined Identifiers, ident, midilist, LilyPond 1-2-0 Reference Manual +@node Pre-defined Identifiers, , , 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} @* + @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} @* + @item @code{\center}@keyindex{center} Used for setting direction properties. Equals 0. - @item @code{\down}@keyindex{down} @* + @item @code{\down}@keyindex{down} Used for setting direction setting properties. Is equal to -1. - @item @code{\free}@keyindex{free} @* + @item @code{\free}@keyindex{free} Used for setting direction setting properties. Is equal to 0. - @item @code{\left}@keyindex{left} @* + @item @code{\left}@keyindex{left} Used for setting text alignment property. Is equal to -1. - @item @code{\nobreak}@keyindex{nobreak} @* + @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} @* + @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} @* + @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} @* + @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} @* + @item @code{\right}@keyindex{right} Used for setting text alignment property. Is set to 1. - @item @code{\shiftoff}@keyindex{shiftoff} @* + @item @code{\shiftoff}@keyindex{shiftoff} Disable horizontal shifting of note heads that collide. Sets the @code{Voice.horizontalNoteShift} property. - @item @code{\shifton}@keyindex{shifton} @* + @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} @* + @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} @* + @item @code{\slurdown}@keyindex{slurdown} Force slurs to be below notes. This sets the @code{Voice.slurVerticalDirection} property. - @item @code{\slurup}@keyindex{slurup} @* + @item @code{\slurup}@keyindex{slurup} Force slurs to be above notes. This sets the @code{Voice.slurVerticalDirection} property. - @item @code{\specialkey}@keyindex{specialkey} @* + @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} @* + @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} @* + @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} @* + @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} @* + @item @code{\traditional}@keyindex{traditional} Used for setting the @code{Score.beamquantisation} property. Is equal to 2. - @item @code{\up}@keyindex{up} @* + @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 +@node Running LilyPond, , , Reference Manual @section Running LilyPond @cindex running LilyPond @@ -3612,6 +4506,10 @@ 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 diff --git a/Documentation/tex/regression-test.tely b/Documentation/user/regression-test.tely similarity index 97% rename from Documentation/tex/regression-test.tely rename to Documentation/user/regression-test.tely index 6a0443e728..f945a54105 100644 --- a/Documentation/tex/regression-test.tely +++ b/Documentation/user/regression-test.tely @@ -41,7 +41,7 @@ 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 +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. @@ -74,7 +74,7 @@ notes, and up for low notes. @mudelafile{stem-direction.sly} -Similarly, if \verb+stem_default_neutral_direction+ is set to \verb+-1+. +Similarly, if @code{stem_default_neutral_direction} is set to @code{-1}. @mudelafile{stem-direction-down.ly} @@ -88,7 +88,7 @@ not be on staff lines. @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. +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 diff --git a/NEWS b/NEWS index 1d595bfa44..66e89bcf1c 100644 --- a/NEWS +++ b/NEWS @@ -1,4 +1,14 @@ -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. diff --git a/TASKS b/TASKS deleted file mode 100644 index ef7ad3d29a..0000000000 --- a/TASKS +++ /dev/null @@ -1,45 +0,0 @@ -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?] diff --git a/TODO b/TODO index 35118d20bc..2dfc2ce715 100644 --- a/TODO +++ b/TODO @@ -5,22 +5,24 @@ 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 @@ -109,26 +111,7 @@ abc2ly, midi2ly? .* 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} @@ -139,12 +122,6 @@ vertically between the two staves): .* 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] @@ -251,12 +228,9 @@ repeated section with different words for each repeat. . * 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 @@ -300,12 +274,6 @@ to provide IO handling for TeX stream, mudela stream, data-file. 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 @@ -379,7 +347,7 @@ touching it. 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 diff --git a/VERSION b/VERSION index fdd02fd521..15ba9e3278 100644 --- a/VERSION +++ b/VERSION @@ -1,8 +1,8 @@ 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. diff --git a/aclocal.m4 b/aclocal.m4 index 89e1a1018e..f9c5a64a78 100644 --- a/aclocal.m4 +++ b/aclocal.m4 @@ -2,6 +2,8 @@ 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 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 @@ -338,7 +340,6 @@ dnl fi AC_SUBST(PATHSEP) AC_SUBST(DIRSEP) - AC_STEPMAKE_DATADIR ]) @@ -560,6 +561,13 @@ AC_DEFUN(AC_STEPMAKE_TEXMF, [ 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) @@ -568,6 +576,8 @@ AC_DEFUN(AC_STEPMAKE_TEXMF, [ AC_SUBST(MFMODE) AC_SUBST(INIMETAFONT) AC_SUBST(INIMETAPOST) + AC_SUBST(MFPLAIN_MP) + AC_SUBST(INIMETAPOST_FLAGS) ]) AC_DEFUN(AC_STEPMAKE_WARN, [ diff --git a/config.make.in b/config.make.in index 9d4523660e..2ace88be93 100644 --- a/config.make.in +++ b/config.make.in @@ -48,11 +48,13 @@ FIND = @FIND@ 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@ diff --git a/configure b/configure index ac9e93850f..b8a7493c26 100755 --- a/configure +++ b/configure @@ -1131,7 +1131,6 @@ EOF - if test "$datadir" = "\${prefix}/share"; then datadir='${prefix}/share/'$package @@ -1159,8 +1158,9 @@ subdirs="stepmake" # -O is necessary to get inlining OPTIMIZE="" - CXXFLAGS=${CXXFLAGS:-""} CFLAGS=${CFLAGS:-""} + CXXFLAGS=${CXXFLAGS:-$CFLAGS} + LDFLAGS=${LDFLAGS:-""} checking_b=yes optimise_b=no profile_b=no @@ -1209,15 +1209,6 @@ else 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 @@ -1253,7 +1244,7 @@ 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) $ac_c" 1>&6 else @@ -1283,7 +1274,7 @@ if test -z "$CC"; then # 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 @@ -1334,7 +1325,7 @@ fi # 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 @@ -1366,7 +1357,7 @@ fi 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 $LDFLAGS) works" >&5 ac_ext=c # CFLAGS is not in ac_cpp because -g, -O, etc. are not valid cpp options. @@ -1377,12 +1368,12 @@ cross_compiling=$ac_cv_prog_cc_cross 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 @@ -1408,12 +1399,12 @@ if test $ac_cv_prog_cc_works = no; 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) $ac_c" 1>&6 else @@ -1422,7 +1413,7 @@ else yes; #endif EOF -if { ac_try='${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 $ac_try) 2>&5; }; } | egrep yes >/dev/null 2>&1; then ac_cv_prog_gcc=yes else ac_cv_prog_gcc=no @@ -1441,7 +1432,7 @@ ac_test_CFLAGS="${CFLAGS+set}" 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) $ac_c" 1>&6 else @@ -1494,7 +1485,7 @@ if test "${enable_printing+set}" = set; then printing_b=$enableval fi - + if test "$optimise_b" = yes; then DEFINES="$DEFINES -DSTRING_UTILS_INLINED" cat >> confdefs.h <<\EOF @@ -1503,6 +1494,15 @@ EOF fi +if test "$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 @@ -1738,7 +1738,7 @@ fi CPPFLAGS="$CPPFLAGS $DEFINES" CXXFLAGS="$CXXFLAGS $OPTIMIZE" - LDFLAGS=$EXTRA_LIBES + LDFLAGS="$LDFLAGS $EXTRA_LIBES" @@ -2549,6 +2549,13 @@ echo "configure:2545: checking for working metafont mode" >&5 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""$MFMODE" 1>&6 @@ -2557,6 +2564,8 @@ echo "configure:2545: checking for working metafont mode" >&5 + + # Check whether --enable-tex-tfmdir or --disable-tex-tfmdir was given. @@ -2573,7 +2582,7 @@ do # Extract the first word of "$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) $ac_c" 1>&6 else @@ -2604,7 +2613,7 @@ done test -n "$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 @@ -2627,7 +2636,7 @@ echo "configure:2608: checking for TeX TFM directory" >&5 ## 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 @@ -2648,7 +2657,7 @@ echo "configure:2631: checking for Guile" >&5 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) $ac_c" 1>&6 else @@ -2656,7 +2665,7 @@ else ac_cv_func_memcmp_clean=no else cat > conftest.$ac_ext <&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 @@ -2687,12 +2696,12 @@ echo "$ac_t""$ac_cv_func_memcmp_clean" 1>&6 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 <&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 @@ -2742,12 +2751,12 @@ fi 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 <&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 @@ -2800,12 +2809,12 @@ fi 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 <&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_$ac_func=yes" else @@ -2870,7 +2879,7 @@ do # Extract the first word of "$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) $ac_c" 1>&6 else @@ -2905,7 +2914,7 @@ do # Extract the first word of "$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) $ac_c" 1>&6 else @@ -3123,6 +3132,8 @@ s%@INIMFONT@%$INIMFONT%g 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 diff --git a/flower/file-path.cc b/flower/file-path.cc index c9bb3462d2..5f430ce9a0 100644 --- a/flower/file-path.cc +++ b/flower/file-path.cc @@ -84,7 +84,7 @@ File_path::parse_path (String p) 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++) @@ -97,16 +97,16 @@ File_path::find (String nm) const 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 ""; } diff --git a/flower/flower-debug.cc b/flower/flower-debug.cc index bb001511c2..b2fa19919d 100644 --- a/flower/flower-debug.cc +++ b/flower/flower-debug.cc @@ -2,21 +2,5 @@ #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; -} diff --git a/flower/include/flower-debug.hh b/flower/include/flower-debug.hh index 91d6ca243b..fe565c3d6d 100644 --- a/flower/include/flower-debug.hh +++ b/flower/include/flower-debug.hh @@ -13,13 +13,14 @@ #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 diff --git a/flower/include/interval.tcc b/flower/include/interval.tcc index df74ef3164..f601d03e66 100644 --- a/flower/include/interval.tcc +++ b/flower/include/interval.tcc @@ -20,7 +20,8 @@ template void Interval_t::print () const { - fdebug << str (); + if (flower_dstream) + *flower_dstream << str (); } template diff --git a/input/bugs/c.ly b/input/bugs/c.ly new file mode 100644 index 0000000000..0f605aa829 --- /dev/null +++ b/input/bugs/c.ly @@ -0,0 +1,24 @@ +% 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"; + } + } +} + diff --git a/input/praeludium-fuga-E.ly b/input/praeludium-fuga-E.ly index 704f3d91cc..3f9deec181 100644 --- a/input/praeludium-fuga-E.ly +++ b/input/praeludium-fuga-E.ly @@ -191,6 +191,7 @@ breakmusic = \notes { \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 } diff --git a/lily/align-element.cc b/lily/align-element.cc index d209129515..6ad778670d 100644 --- a/lily/align-element.cc +++ b/lily/align-element.cc @@ -210,9 +210,9 @@ void 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 } diff --git a/lily/audio-column.cc b/lily/audio-column.cc index 7a90fa2562..ff76cfc5d2 100644 --- a/lily/audio-column.cc +++ b/lily/audio-column.cc @@ -35,11 +35,11 @@ void 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 } diff --git a/lily/audio-element.cc b/lily/audio-element.cc index b815918423..3a4685af4c 100644 --- a/lily/audio-element.cc +++ b/lily/audio-element.cc @@ -22,9 +22,9 @@ void Audio_element::print () const { #ifndef NPRINT - DOUT << classname (this) << "{ "; + DEBUG_OUT << classname (this) << "{ "; do_print (); - DOUT << "}"; + DEBUG_OUT << "}"; #endif } diff --git a/lily/audio-item.cc b/lily/audio-item.cc index 2e4e98747c..06ccec24e9 100644 --- a/lily/audio-item.cc +++ b/lily/audio-item.cc @@ -84,7 +84,7 @@ Audio_item::do_print () const #ifndef NPRINT if (audio_column_l_) { - DOUT << "at: "<< audio_column_l_->at_mom (); + DEBUG_OUT << "at: "<< audio_column_l_->at_mom (); } #endif } diff --git a/lily/bar.cc b/lily/bar.cc index 314f8e01a2..95ffc72519 100644 --- a/lily/bar.cc +++ b/lily/bar.cc @@ -26,7 +26,7 @@ Bar::do_print () const { #ifndef NPRINT String s = type_str_; - DOUT << "type = " << s; + DEBUG_OUT << "type = " << s; #endif } diff --git a/lily/beam.cc b/lily/beam.cc index 2273571971..bb688749dd 100644 --- a/lily/beam.cc +++ b/lily/beam.cc @@ -134,7 +134,7 @@ void 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 } @@ -260,7 +260,7 @@ void 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++) diff --git a/lily/bezier.cc b/lily/bezier.cc index a73576cfd1..7a7a1f6833 100644 --- a/lily/bezier.cc +++ b/lily/bezier.cc @@ -16,9 +16,9 @@ #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 @@ -105,7 +105,7 @@ void 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 ()) { @@ -246,9 +246,9 @@ void 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 (); @@ -275,9 +275,9 @@ Bezier_bow::calc () 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 (); @@ -431,7 +431,7 @@ void 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]; @@ -467,8 +467,8 @@ Bezier_bow::calc_tangent_controls () 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++ ) @@ -508,17 +508,17 @@ Bezier_bow::calc_tangent_controls () 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); } @@ -550,7 +550,7 @@ Bezier_bow::print () const { #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: "; diff --git a/lily/change-translator.cc b/lily/change-translator.cc index 817e04f601..0eb81394f3 100644 --- a/lily/change-translator.cc +++ b/lily/change-translator.cc @@ -14,6 +14,6 @@ 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_ ; } diff --git a/lily/column-x-positions.cc b/lily/column-x-positions.cc index 15fc02faae..4ac09b029c 100644 --- a/lily/column-x-positions.cc +++ b/lily/column-x-positions.cc @@ -33,8 +33,8 @@ void 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 } diff --git a/lily/command-request.cc b/lily/command-request.cc index e682c8a4f6..ce13bab7fe 100644 --- a/lily/command-request.cc +++ b/lily/command-request.cc @@ -14,7 +14,7 @@ void Cadenza_req::do_print () const { #ifndef NPRINT - DOUT << (int)on_b_; + DEBUG_OUT << (int)on_b_; #endif } @@ -43,7 +43,7 @@ void Bar_req::do_print () const { #ifndef NPRINT - DOUT << type_str_; + DEBUG_OUT << type_str_; #endif } @@ -76,7 +76,7 @@ void Clef_change_req::do_print () const { #ifndef NPRINT - DOUT << clef_str_ ; + DEBUG_OUT << clef_str_ ; #endif } @@ -88,14 +88,14 @@ Clef_change_req::Clef_change_req (String s) 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 } @@ -125,7 +125,7 @@ Tempo_req::Tempo_req () void Tempo_req::do_print () const { - DOUT << dur_.str () << " = " << metronome_i_; + DEBUG_OUT << dur_.str () << " = " << metronome_i_; } @@ -168,7 +168,7 @@ Mark_req::Mark_req (String s) void Mark_req::do_print () const { - DOUT << str_; + DEBUG_OUT << str_; } void Key_change_req::transpose (Musical_pitch p) diff --git a/lily/debug.cc b/lily/debug.cc index 0ac4adc6b5..35a32a7a28 100644 --- a/lily/debug.cc +++ b/lily/debug.cc @@ -21,34 +21,7 @@ #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) @@ -57,22 +30,13 @@ 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 @@ -131,8 +95,11 @@ operator delete (void *p) 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)) diff --git a/lily/global-translator.cc b/lily/global-translator.cc index 8afb577160..997b34e482 100644 --- a/lily/global-translator.cc +++ b/lily/global-translator.cc @@ -85,15 +85,15 @@ Global_translator::run_iterator_on_me (Music_iterator * iter) 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); diff --git a/lily/graphical-axis-group.cc b/lily/graphical-axis-group.cc index 1fe7c2b302..71f6def061 100644 --- a/lily/graphical-axis-group.cc +++ b/lily/graphical-axis-group.cc @@ -111,7 +111,7 @@ Graphical_axis_group::do_print() const { #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 } diff --git a/lily/graphical-element.cc b/lily/graphical-element.cc index d0e55a553d..f71225beac 100644 --- a/lily/graphical-element.cc +++ b/lily/graphical-element.cc @@ -95,7 +95,7 @@ void Graphical_element::do_print () const { #ifndef NPRINT - DOUT << '\n'; + DEBUG_OUT << '\n'; #endif } @@ -140,9 +140,9 @@ void Graphical_element::print () const { #ifndef NPRINT - DOUT << classname (this) << "{\n"; + DEBUG_OUT << classname (this) << "{\n"; do_print (); - DOUT << "}\n"; + DEBUG_OUT << "}\n"; #endif } diff --git a/lily/idealspacing.cc b/lily/idealspacing.cc index 780c224bdf..67c87f0ff7 100644 --- a/lily/idealspacing.cc +++ b/lily/idealspacing.cc @@ -15,9 +15,9 @@ void 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 } diff --git a/lily/identifier.cc b/lily/identifier.cc index 9682a8f549..0fbaa06185 100644 --- a/lily/identifier.cc +++ b/lily/identifier.cc @@ -61,7 +61,7 @@ Identifier::do_str () const void Identifier::print () const { - DOUT << "identifier "; + DEBUG_OUT << "identifier "; do_print (); } void @@ -107,7 +107,7 @@ DUMMY_STR(Duration); void \ Class ## _identifier::do_print () const\ {\ - DOUT << do_str () << '\n';\ + DEBUG_OUT << do_str () << '\n';\ }\ diff --git a/lily/include/debug.hh b/lily/include/debug.hh index d8a5d47294..ef6f87e0dd 100644 --- a/lily/include/debug.hh +++ b/lily/include/debug.hh @@ -10,29 +10,14 @@ #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 diff --git a/lily/include/staff-symbol-referencer.hh b/lily/include/staff-symbol-referencer.hh index f768269c5b..255c57abcc 100644 --- a/lily/include/staff-symbol-referencer.hh +++ b/lily/include/staff-symbol-referencer.hh @@ -25,6 +25,11 @@ protected: 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; diff --git a/lily/include/translator.hh b/lily/include/translator.hh index 5c3cfec42b..d2db7b13e4 100644 --- a/lily/include/translator.hh +++ b/lily/include/translator.hh @@ -81,11 +81,11 @@ protected: 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(); }; diff --git a/lily/key.cc b/lily/key.cc index d468c27c81..bc93f17044 100644 --- a/lily/key.cc +++ b/lily/key.cc @@ -21,7 +21,7 @@ void 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'; } @@ -109,9 +109,9 @@ Key::print () const { 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"; } } diff --git a/lily/lexer.ll b/lily/lexer.ll index 388ac1b01b..42e4996c58 100644 --- a/lily/lexer.ll +++ b/lily/lexer.ll @@ -133,7 +133,7 @@ HYPHEN -- \"[^"]*\";? { /* 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 (); @@ -175,7 +175,7 @@ HYPHEN -- \"[^"]*\";? { /* 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 (); } @@ -184,12 +184,12 @@ HYPHEN -- 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 (); @@ -207,7 +207,7 @@ HYPHEN -- {RESTNAME} { const char *s = YYText (); yylval.string = new String (s); - DOUT << "rest:"<< yylval.string; + DEBUG_OUT << "rest:"<< yylval.string; return RESTNAME; } R { @@ -265,7 +265,7 @@ HYPHEN -- *yylval.string += YYText (); } \" { - DOUT << "quoted string: `" << *yylval.string << "'\n"; + DEBUG_OUT << "quoted string: `" << *yylval.string << "'\n"; yy_pop_state (); return STRING; } @@ -306,7 +306,7 @@ HYPHEN -- 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; } . { @@ -339,7 +339,7 @@ HYPHEN -- } <> { - DOUT << "<>"; + DEBUG_OUT << "<>"; if (! close_input ()) { yyterminate (); // can't move this, since it actually rets a YY_NULL @@ -357,7 +357,7 @@ HYPHEN -- 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; } @@ -369,12 +369,12 @@ HYPHEN -- [{}] { - DOUT << "parens\n"; + DEBUG_OUT << "parens\n"; return YYText ()[0]; } [*:=] { char c = YYText ()[0]; - DOUT << "misc char" <token_code_i_; } @@ -452,11 +452,11 @@ My_lily_lexer::scan_escaped_word (String str) 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; @@ -465,16 +465,16 @@ My_lily_lexer::scan_escaped_word (String str) 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 ())); diff --git a/lily/lookup.cc b/lily/lookup.cc index 648d1f1464..0e76c6849d 100644 --- a/lily/lookup.cc +++ b/lily/lookup.cc @@ -405,7 +405,7 @@ Lookup::text (String style, String text, Paper_def *paper_l) const Interval ydims (0,0); Font_metric* afm_l = all_fonts_global_p->find_font (style); - DOUT << "\nChars: "; + DEBUG_OUT << "\nChars: "; int brace_count =0; diff --git a/lily/midi-def.cc b/lily/midi-def.cc index 0b289edb95..5bda659f5d 100644 --- a/lily/midi-def.cc +++ b/lily/midi-def.cc @@ -60,9 +60,9 @@ Midi_def::print() const { #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 } diff --git a/lily/midi-item.cc b/lily/midi-item.cc index 055d6785b3..2acff7c9f9 100644 --- a/lily/midi-item.cc +++ b/lily/midi-item.cc @@ -112,7 +112,10 @@ Midi_header::Midi_header (int format_i, int tracks_i, int clocks_per_4_i) set ("MThd", str, ""); } + /* why doesn't this start at 0 ? + + TODO: -> IN GUILE! */ char const* const instrument_name_sz_a_[ ] = { /* default is usually piano */ @@ -544,12 +547,12 @@ String 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 *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; diff --git a/lily/midi-stream.cc b/lily/midi-stream.cc index 11506fe38b..2db634bdb6 100644 --- a/lily/midi-stream.cc +++ b/lily/midi-stream.cc @@ -44,7 +44,7 @@ Midi_stream::operator << (Midi_item const& midi_c_r) { // *this <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 diff --git a/lily/molecule.cc b/lily/molecule.cc index 4e6cd44f62..3f14811955 100644 --- a/lily/molecule.cc +++ b/lily/molecule.cc @@ -129,11 +129,11 @@ void 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 } diff --git a/lily/multi-measure-rest.cc b/lily/multi-measure-rest.cc index 456c213917..1254eb4c6b 100644 --- a/lily/multi-measure-rest.cc +++ b/lily/multi-measure-rest.cc @@ -27,7 +27,7 @@ void Multi_measure_rest::do_print () const { #ifndef NPRINT - DOUT << "measures_i_ " << measures_i_; + DEBUG_OUT << "measures_i_ " << measures_i_; #endif } diff --git a/lily/music-iterator.cc b/lily/music-iterator.cc index f9625b848b..9de2bb6af7 100644 --- a/lily/music-iterator.cc +++ b/lily/music-iterator.cc @@ -40,17 +40,17 @@ void 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 } diff --git a/lily/music-output-def.cc b/lily/music-output-def.cc index fe0cc20c8f..6006f038b4 100644 --- a/lily/music-output-def.cc +++ b/lily/music-output-def.cc @@ -92,9 +92,9 @@ void 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 } diff --git a/lily/music.cc b/lily/music.cc index 1eda545aa2..8d75a36420 100644 --- a/lily/music.cc +++ b/lily/music.cc @@ -36,15 +36,15 @@ void 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 } diff --git a/lily/musical-pitch.cc b/lily/musical-pitch.cc index d74468db1d..fedf7adcb0 100644 --- a/lily/musical-pitch.cc +++ b/lily/musical-pitch.cc @@ -21,7 +21,7 @@ void Musical_pitch::print () const { #ifndef NPRINT - DOUT << str (); + DEBUG_OUT << str (); #endif } diff --git a/lily/musical-request.cc b/lily/musical-request.cc index 509e2780a9..de2c34029d 100644 --- a/lily/musical-request.cc +++ b/lily/musical-request.cc @@ -15,7 +15,7 @@ void Span_req::do_print () const { #ifndef NPRINT - DOUT << span_dir_; + DEBUG_OUT << span_dir_; #endif } @@ -28,7 +28,7 @@ void Tremolo_req::do_print () const { #ifndef NPRINT - DOUT << "type " << type_i_ << '\n'; + DEBUG_OUT << "type " << type_i_ << '\n'; #endif } @@ -86,7 +86,7 @@ void Rhythmic_req::do_print () const { #ifndef NPRINT - DOUT << "duration { " <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); @@ -160,7 +160,7 @@ My_lily_lexer::print_declarations (bool ) const { for (int i=scope_l_arr_.size (); i--; ) { - DOUT << "Scope no. " << i << '\n'; + DEBUG_OUT << "Scope no. " << i << '\n'; scope_l_arr_[i]->print (); } } diff --git a/lily/my-lily-parser.cc b/lily/my-lily-parser.cc index f8debc21c0..aaae6a6d94 100644 --- a/lily/my-lily-parser.cc +++ b/lily/my-lily-parser.cc @@ -60,7 +60,7 @@ My_lily_parser::parse_file (String init, String s) *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 (); diff --git a/lily/note-column.cc b/lily/note-column.cc index ab26d7b48d..accc399bd7 100644 --- a/lily/note-column.cc +++ b/lily/note-column.cc @@ -129,8 +129,8 @@ void 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 } diff --git a/lily/paper-column.cc b/lily/paper-column.cc index f31d29d30e..7c5e0c2684 100644 --- a/lily/paper-column.cc +++ b/lily/paper-column.cc @@ -83,7 +83,7 @@ void Paper_column::do_print() const { #ifndef NPRINT - DOUT << "rank: " << rank_i_ << '\n'; + DEBUG_OUT << "rank: " << rank_i_ << '\n'; Direction d = LEFT; do { diff --git a/lily/paper-def.cc b/lily/paper-def.cc index 858d8941c2..620bbb660f 100644 --- a/lily/paper-def.cc +++ b/lily/paper-def.cc @@ -209,14 +209,14 @@ Paper_def::print () const { #ifndef NPRINT Music_output_def::print (); - DOUT << "Paper {"; + DEBUG_OUT << "Paper {"; for (Hash_table_iter 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 } diff --git a/lily/paper-outputter.cc b/lily/paper-outputter.cc index 4a91e05517..fc628db526 100644 --- a/lily/paper-outputter.cc +++ b/lily/paper-outputter.cc @@ -84,8 +84,8 @@ Paper_outputter::output_header () 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 (); } @@ -98,11 +98,11 @@ Paper_outputter::output_header () 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); } diff --git a/lily/paper-score.cc b/lily/paper-score.cc index 1c26f6918c..5de1ecf8cb 100644 --- a/lily/paper-score.cc +++ b/lily/paper-score.cc @@ -92,16 +92,16 @@ void 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 } diff --git a/lily/performance.cc b/lily/performance.cc index 7818d856de..cb56dd2b42 100644 --- a/lily/performance.cc +++ b/lily/performance.cc @@ -141,11 +141,11 @@ void Performance::print() const { #ifndef NPRINT - DOUT << "Performance { "; - DOUT << "Items: "; + DEBUG_OUT << "Performance { "; + DEBUG_OUT << "Items: "; for (Cons* i =audio_elem_p_list_; i; i = i->next_) i->car_->print (); - DOUT << "}"; + DEBUG_OUT << "}"; #endif } diff --git a/lily/relative-octave-music.cc b/lily/relative-octave-music.cc index 14faba3d5f..af18a32b1d 100644 --- a/lily/relative-octave-music.cc +++ b/lily/relative-octave-music.cc @@ -27,7 +27,7 @@ void Relative_octave_music::do_print () const { Music_wrapper::do_print (); - DOUT << "default pitch: " << last_pitch_.str (); + DEBUG_OUT << "default pitch: " << last_pitch_.str (); } diff --git a/lily/repeated-music.cc b/lily/repeated-music.cc index 3b6da8cf4e..67d640a5ff 100644 --- a/lily/repeated-music.cc +++ b/lily/repeated-music.cc @@ -45,7 +45,7 @@ void 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(); diff --git a/lily/request-chord-iterator.cc b/lily/request-chord-iterator.cc index 1c70b3dfb7..ae44a7c5e7 100644 --- a/lily/request-chord-iterator.cc +++ b/lily/request-chord-iterator.cc @@ -55,7 +55,7 @@ void Request_chord_iterator::do_print() const { #ifndef NPRINT - DOUT << "duration: " << elt_length_mom_; + DEBUG_OUT << "duration: " << elt_length_mom_; #endif } diff --git a/lily/rest-collision.cc b/lily/rest-collision.cc index d22b5ecf4e..e3e189315a 100644 --- a/lily/rest-collision.cc +++ b/lily/rest-collision.cc @@ -119,8 +119,8 @@ void 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 } diff --git a/lily/rhythmic-head.cc b/lily/rhythmic-head.cc index 61ae70ffac..2f1a10197d 100644 --- a/lily/rhythmic-head.cc +++ b/lily/rhythmic-head.cc @@ -78,7 +78,7 @@ void Rhythmic_head::do_print () const { #ifndef NPRINT - DOUT << "balltype = "<< balltype_i_ << "dots = " << dots_i (); + DEBUG_OUT << "balltype = "<< balltype_i_ << "dots = " << dots_i (); #endif } diff --git a/lily/rod.cc b/lily/rod.cc index 129d9bb3c6..c1e8c46b20 100644 --- a/lily/rod.cc +++ b/lily/rod.cc @@ -23,7 +23,7 @@ void Column_rod::print () const { #ifndef NDEBUG - DOUT << "Column_rod { rank = " + DEBUG_OUT << "Column_rod { rank = " << other_l_->rank_i () << ", dist = " << distance_f_ << "}\n"; #endif } diff --git a/lily/scope.cc b/lily/scope.cc index fd2e391747..e58ad798cb 100644 --- a/lily/scope.cc +++ b/lily/scope.cc @@ -20,7 +20,7 @@ Scope::print () const { if (ai.val()->init_b_ == init_b) { - DOUT << ai.key() << "="; + DEBUG_OUT << ai.key() << "="; ai.val()->print (); } } @@ -30,7 +30,7 @@ Scope::~Scope () { for (Scope_iter ai (*this); ai.ok(); ai++) { - DOUT << "deleting: " << ai.key() << '\n'; + DEBUG_OUT << "deleting: " << ai.key() << '\n'; delete ai.val (); } } diff --git a/lily/score-column.cc b/lily/score-column.cc index 0470fb71f7..6c5209a435 100644 --- a/lily/score-column.cc +++ b/lily/score-column.cc @@ -21,11 +21,11 @@ void 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 } diff --git a/lily/score-element.cc b/lily/score-element.cc index 9368f95f86..bdb4f4bd30 100644 --- a/lily/score-element.cc +++ b/lily/score-element.cc @@ -137,16 +137,16 @@ void 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 } diff --git a/lily/score.cc b/lily/score.cc index 736eabdb12..0c56c31bbe 100644 --- a/lily/score.cc +++ b/lily/score.cc @@ -117,11 +117,11 @@ void 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 } diff --git a/lily/scores.cc b/lily/scores.cc index d29848fcbc..65e9c087af 100644 --- a/lily/scores.cc +++ b/lily/scores.cc @@ -81,7 +81,7 @@ do_scores() } else { - if (!lily_monitor->silent_b ("do_scores")) + if (flower_dstream && !flower_dstream->silent_b ("do_scores")) is_p->print (); is_p->process(); } diff --git a/lily/single-malt-grouping-item.cc b/lily/single-malt-grouping-item.cc index 1824f70a32..c3804bf2b3 100644 --- a/lily/single-malt-grouping-item.cc +++ b/lily/single-malt-grouping-item.cc @@ -75,7 +75,7 @@ Single_malt_grouping_item::do_print () const #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 } diff --git a/lily/spanner.cc b/lily/spanner.cc index bc168836be..5aa48681d4 100644 --- a/lily/spanner.cc +++ b/lily/spanner.cc @@ -5,6 +5,7 @@ (c) 1996, 1997--1999 Han-Wen Nienhuys */ + #include "dimension-cache.hh" #include "debug.hh" #include "spanner.hh" @@ -19,11 +20,11 @@ void 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 } diff --git a/lily/spring.cc b/lily/spring.cc index 57c99c1fcd..c52b464bc3 100644 --- a/lily/spring.cc +++ b/lily/spring.cc @@ -51,7 +51,7 @@ void Column_spring::print () const { #ifndef NPRINT - DOUT << "Column_spring { rank = " + DEBUG_OUT << "Column_spring { rank = " << other_l_->rank_i () << ", dist = " << distance_f_ << "}\n"; #endif diff --git a/lily/staff-side.cc b/lily/staff-side.cc index bd4d062a98..1ac107f6c8 100644 --- a/lily/staff-side.cc +++ b/lily/staff-side.cc @@ -164,9 +164,9 @@ Staff_side_element::do_print () const { #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 } diff --git a/lily/staff-sym.cc b/lily/staff-sym.cc index 2940d13a9a..4c33372710 100644 --- a/lily/staff-sym.cc +++ b/lily/staff-sym.cc @@ -25,7 +25,7 @@ Staff_symbol::do_print() const { #ifndef NPRINT Spanner::do_print(); - DOUT << "lines: " << no_lines_i_; + DEBUG_OUT << "lines: " << no_lines_i_; #endif } diff --git a/lily/stem-info.cc b/lily/stem-info.cc index 930130da2b..8578c0e71b 100644 --- a/lily/stem-info.cc +++ b/lily/stem-info.cc @@ -45,7 +45,7 @@ Stem_info::Stem_info (Stem*s, int mult) { 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'; } @@ -119,11 +119,11 @@ Stem_info::Stem_info (Stem*s, int mult) 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_; diff --git a/lily/stem-tremolo.cc b/lily/stem-tremolo.cc index 6a0e947362..5f2667bb79 100644 --- a/lily/stem-tremolo.cc +++ b/lily/stem-tremolo.cc @@ -24,7 +24,7 @@ Stem_tremolo::Stem_tremolo () void Stem_tremolo::do_print () const { - DOUT << "abbrev_flags_i_ " << abbrev_flags_i_; + DEBUG_OUT << "abbrev_flags_i_ " << abbrev_flags_i_; } Interval diff --git a/lily/stem.cc b/lily/stem.cc index f6f18abbbf..d7bb59dbd2 100644 --- a/lily/stem.cc +++ b/lily/stem.cc @@ -68,9 +68,9 @@ void Stem::do_print () const { #ifndef NPRINT - DOUT << "flag "<< flag_i_; + DEBUG_OUT << "flag "<< flag_i_; if (beam_l_) - DOUT << "beamed"; + DEBUG_OUT << "beamed"; #endif } diff --git a/lily/text-item.cc b/lily/text-item.cc index 3f19466ee1..6cc6437297 100644 --- a/lily/text-item.cc +++ b/lily/text-item.cc @@ -29,5 +29,5 @@ Text_item::Text_item () void Text_item::do_print () const { - DOUT << "text= " << text_str_; + DEBUG_OUT << "text= " << text_str_; } diff --git a/lily/tfm-reader.cc b/lily/tfm-reader.cc index 94d78f565f..284d97cda8 100644 --- a/lily/tfm-reader.cc +++ b/lily/tfm-reader.cc @@ -116,7 +116,7 @@ Tex_font_metric_reader::read_header () 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 ()); @@ -159,7 +159,7 @@ Tex_font_metric_reader::read_params () #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 } @@ -250,9 +250,9 @@ Tex_font_metric_reader::read_char () 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 @@ -287,7 +287,7 @@ Tex_font_metric_reader::read_lig_kern_program (Array * ligature_ar 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) @@ -303,7 +303,7 @@ Tex_font_metric_reader::read_lig_kern_program (Array * ligature_ar 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 @@ -314,7 +314,7 @@ Tex_font_metric_reader::read_lig_kern_program (Array * ligature_ar 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 diff --git a/lily/time-description.cc b/lily/time-description.cc index 6eb59eba15..7bff5347e2 100644 --- a/lily/time-description.cc +++ b/lily/time-description.cc @@ -27,7 +27,7 @@ void Time_description::print() const { #ifndef NPRINT - DOUT << str (); + DEBUG_OUT << str (); #endif } diff --git a/lily/translation-property.cc b/lily/translation-property.cc index 99541d1e1a..8811d85d9b 100644 --- a/lily/translation-property.cc +++ b/lily/translation-property.cc @@ -15,6 +15,6 @@ void Translation_property::do_print () const { #ifndef NPRINT - DOUT << "." << var_str_ << " = " << value_; + DEBUG_OUT << "." << var_str_ << " = " << value_; #endif } diff --git a/lily/translator-group.cc b/lily/translator-group.cc index 75a2e4f9b6..fc4ca2a44d 100644 --- a/lily/translator-group.cc +++ b/lily/translator-group.cc @@ -277,7 +277,7 @@ Translator_group::nongroup_l_arr () const 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); @@ -371,26 +371,26 @@ void Translator_group::do_print() const { #ifndef NPRINT - if (!check_debug) + if (!flower_dstream) return ; for (Dictionary_iter 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 diff --git a/lily/translator.cc b/lily/translator.cc index a6df5e884a..a5a3b68d51 100644 --- a/lily/translator.cc +++ b/lily/translator.cc @@ -78,11 +78,11 @@ void 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 } @@ -169,3 +169,15 @@ Translator::get_property (String id, Translator_group **where_l) const 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(){} diff --git a/lily/transposed-music.cc b/lily/transposed-music.cc index 2d9c310bad..4db446b3f7 100644 --- a/lily/transposed-music.cc +++ b/lily/transposed-music.cc @@ -21,7 +21,7 @@ void 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 diff --git a/lily/unfolded-repeat-iterator.cc b/lily/unfolded-repeat-iterator.cc index eb182bfe45..cbc5e008a6 100644 --- a/lily/unfolded-repeat-iterator.cc +++ b/lily/unfolded-repeat-iterator.cc @@ -165,8 +165,8 @@ void 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 } diff --git a/make/out/lilypond.lsm b/make/out/lilypond.lsm index a496e10b35..1143a171d8 100644 --- a/make/out/lilypond.lsm +++ b/make/out/lilypond.lsm @@ -1,7 +1,7 @@ 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 @@ -11,8 +11,8 @@ Author: hanwen@cs.uu.nl (Han-Wen Nienhuys) 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 diff --git a/make/out/lilypond.spec b/make/out/lilypond.spec index 2d8e5603bc..4f35bebb1b 100644 --- a/make/out/lilypond.spec +++ b/make/out/lilypond.spec @@ -1,9 +1,9 @@ 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 diff --git a/make/toplevel.make.in b/make/toplevel.make.in index 7cca61759c..3d3173dd03 100644 --- a/make/toplevel.make.in +++ b/make/toplevel.make.in @@ -18,7 +18,7 @@ README_FILES = BUGS DEDICATION ANNOUNCE-0.1 ANNOUNCE-1.0 ANNOUNCE-1.2 \ 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: diff --git a/mf/GNUmakefile b/mf/GNUmakefile index bee2d0d6b9..7816b08880 100644 --- a/mf/GNUmakefile +++ b/mf/GNUmakefile @@ -4,7 +4,7 @@ depth = .. 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) diff --git a/scm/lily.scm b/scm/lily.scm index f1431284bc..9c9ae7a896 100644 --- a/scm/lily.scm +++ b/scm/lily.scm @@ -410,20 +410,20 @@ ))) (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 "" diff --git a/scripts/mudela-book.py b/scripts/mudela-book.py index d33127e39f..4f1fa430a9 100644 --- a/scripts/mudela-book.py +++ b/scripts/mudela-book.py @@ -112,8 +112,8 @@ def output_verbatim (body): 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(\[.*?\])?""", @@ -127,7 +127,9 @@ re_dict = { '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, @@ -218,6 +220,7 @@ def compose_full_body (body, opts): latex_size = string.atoi (m.group (1)) + if 'twocolumn' in opts: cols = 2 diff --git a/stepmake/aclocal.m4 b/stepmake/aclocal.m4 index 4a9c9fac2b..2d681ce09a 100644 --- a/stepmake/aclocal.m4 +++ b/stepmake/aclocal.m4 @@ -1,5 +1,7 @@ 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 @@ -336,7 +338,6 @@ dnl fi AC_SUBST(PATHSEP) AC_SUBST(DIRSEP) - AC_STEPMAKE_DATADIR ]) @@ -558,6 +559,13 @@ AC_DEFUN(AC_STEPMAKE_TEXMF, [ 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) @@ -566,6 +574,8 @@ AC_DEFUN(AC_STEPMAKE_TEXMF, [ AC_SUBST(MFMODE) AC_SUBST(INIMETAFONT) AC_SUBST(INIMETAPOST) + AC_SUBST(MFPLAIN_MP) + AC_SUBST(INIMETAPOST_FLAGS) ]) AC_DEFUN(AC_STEPMAKE_WARN, [ diff --git a/stepmake/bin/package-diff.py b/stepmake/bin/package-diff.py index bc80eaf909..3fc89f375f 100644 --- a/stepmake/bin/package-diff.py +++ b/stepmake/bin/package-diff.py @@ -119,7 +119,6 @@ i.e., you should rerun autoconf, configure """ def makediff (fromdir, todir, patch_name): - # urg, again? from packagepython import * @@ -238,7 +237,8 @@ if to_diff == from_diff: 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 @@ -277,3 +277,4 @@ os.system ('rm -fr %s %s' % (from_diff, to_diff)) sys.stderr.write ('\n') os.chdir (prev_cwd) + diff --git a/stepmake/bin/release.py b/stepmake/bin/release.py index d8ca76751c..9cad793748 100755 --- a/stepmake/bin/release.py +++ b/stepmake/bin/release.py @@ -1,75 +1,72 @@ #!@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) diff --git a/stepmake/configure b/stepmake/configure index f0e6d92683..635962676a 100755 --- a/stepmake/configure +++ b/stepmake/configure @@ -1117,7 +1117,6 @@ EOF - if test "$datadir" = "\${prefix}/share"; then datadir='${prefix}/share/'$package @@ -1173,7 +1172,7 @@ fi 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;; @@ -1208,7 +1207,7 @@ do # 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 diff --git a/stepmake/stepmake/metapost-rules.make b/stepmake/stepmake/metapost-rules.make index ef846f8a3c..2ecf0bc232 100644 --- a/stepmake/stepmake/metapost-rules.make +++ b/stepmake/stepmake/metapost-rules.make @@ -2,9 +2,8 @@ $(outdir)/%.0: %.mf mfplain.mem -$(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 diff --git a/stepmake/stepmake/package.make b/stepmake/stepmake/package.make index 0b0fb1d8b8..0d525494c3 100644 --- a/stepmake/stepmake/package.make +++ b/stepmake/stepmake/package.make @@ -23,7 +23,7 @@ diff: $(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' diff --git a/stepmake/stepmake/texinfo-rules.make b/stepmake/stepmake/texinfo-rules.make index 045a8da175..f85d601f80 100644 --- a/stepmake/stepmake/texinfo-rules.make +++ b/stepmake/stepmake/texinfo-rules.make @@ -15,7 +15,7 @@ $(outdir)/%.dvi: $(outdir)/%.texi cd $(outdir); texi2dvi ../$< $(outdir)/%.txt: $(outdir)/%.texi - $(MAKEINFO) --no-split --no-headers --output $@ $< + $(MAKEINFO) -I../ --no-split --no-headers --output $@ $< $(outdir)/%.texi: %.texi cp $< $@ -- 2.39.2