-You can combine beams and ties with chords. Beam and tie markings
-must be placed outside the chord markers:
-@quotation
-@lilypond[relative 0, fragment,verbatim]
-r4 <<c e g>>8-[ <<c f a>>-]-~ <<c f a>>
-@end lilypond
-@end quotation
-
-@ignore
-When you want to combine chords with slurs and dynamics, technical
-detail crops up: you have type these commands next to the notes, which
-means that they have to be inside the @code{< >}. Do Not get confused
-by the chord @code{< >} and the dynamic @code{\< \>}!
-@end ignore
-
-@quotation
-@example
-r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-\)
-@end example
-@lilypond[relative 0, fragment]
-\slurUp
-r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-\)
-@end lilypond
-@end quotation
-@separate
-
-
-@strong{SUMMARY}
-
-@multitable @columnfractions .3 .3 .4
-
-@item @b{Syntax}
-@tab @b{Description}
-@tab @b{Example}
-
-
-@item @code{( )}
-@tab slur
-@tab
-@lilypond[fragment, relative 1]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-c-( d e-)
-@end lilypond
-
-
-@item @code{\( \)}
-@tab phrasing slur
-@tab
-@lilypond[fragment, relative 1]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-c-\( c-( d-) e-\)
-@end lilypond
-
-
-@item @code{[ ]}
-@tab beam
-@tab
-@lilypond[fragment, relative 1]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-a8-[ b-]
-@end lilypond
-
-
-@item @code{< \context Staff ... >}
-@tab more staffs
-@tab
-@lilypond[fragment]
-< \context Staff = SA { c'1 }
- \context Staff = SB { c'1 } >
-@end lilypond
-
-
-@item @code{-> -.}
-@tab articulations
-@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
-\property Staff.Clef = \turnOff
-c-> c-.
-@end lilypond
-
-
-@item @code{-\mf -\sfz}
-@tab dynamics
-@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
-\property Staff.Clef = \turnOff
-c-\mf c-\sfz
-@end lilypond
-
-
-@item @code{\< \!}
-@tab crescendo
-@tab
-@lilypond[fragment, relative 1]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-a\< a \!a
-@end lilypond
-
-@item @code{\> \!}
-@tab decrescendo
-@tab
-@lilypond[fragment, relative 1]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-a-\> a a-\!
-@end lilypond
-
-
-@item @code{<< >>}
-@tab chord
-@tab
-@lilypond[fragment, relative 1]
-<<c e>>
-@end lilypond
-
-@end multitable
-
-Now you know the basic ingredients of a music file, so this is the
-right moment to experiment and try your at hand typing some simple
-files.
-
-When you are comfortable with the basics, you might want to read the
-rest of this chapter. It continues in tutorial-style, but it is much
-more in-depth, dealing with more advanced topics such as lyrics,
-chords, orchestral scores and parts, fine tuning of output, polyphonic
-music, and integrating text and music.
-
-
-
-@node Printing lyrics
-@section Printing lyrics
-@cindex lyrics
-
-In this section we shall explain how to typeset the following
-fragment of The Free Software Song:
-
-@lilypond[singleline]
-\score { \notes { \addlyrics
- \notes \relative c' {
- \time 7/4
- d'2 c4 b16-( a g a b a b c-) a2
- b2 c4 b8-( a16 g a4-) g2 }
- \context Lyrics \lyrics {
- Join us now __ and
- share the soft -- ware; }
-}
-\paper { linewidth = -1. }
-}
-@end lilypond
-
-
-@cindex lyric mode
-@cindex @code{\lyrics}
-
-
-Lyrics are a form of music. To get them printed, you must do two
-things: indicate that lyrics are entered with @code{\lyrics}, and
-indicate that this type of music must be interpreted as texts (and not
-notes). This is done with @code{\context Lyrics}.
-
-You can enter lyrics in a special input mode of LilyPond. This mode is
-called Lyrics mode, and it is introduced by the keyword
-@code{\lyrics}. In this mode you can enter lyrics, with punctuation
-and accents without any hassle. Syllables are entered like notes, but
-with pitches replaced by text. For example,
-@example
- Twin- kle twin- kle
-@end example
-enters four syllables. Spaces can be introduced into a lyric either
-by using quotes: @code{"He could" not} or by using an underscore
-without quotes: @code{He_could not}.
-
-These are the lyrics for the free software song:
-
-@example
- \lyrics @{
- Join us now __ and
- share the soft -- ware; @}
-@end example
-
- Extender lines are entered as @code{__}. This will create an
-extender, which is a line that extends over the entire duration of the
-lyric. This line will run all the way to the start of the next lyric,
-so you may want to shorten it by using a blank lyric (using @code{_}).
-
-
-You can use ordinary hyphens at the end of a syllable, i.e.
-@example
- soft- ware
-@end example
-but then the hyphen will be attached to the end of the first syllable.
-
-If you want them centered between syllables you can use the special
-`@code{-}@code{-}' lyric as a separate word between syllables. The
-hyphen will have variable length depending on the space between
-the syllables and it will be centered between the syllables.
-
-Normally the notes that you enter are transformed into note heads.
-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 contexts'. Interpretation contexts exist for
-generating notation (`notation context') and for generating sound
-(`performance context'). These objects only exist while LilyPond is
-executing. For lyrics, the command
-@example
- \context Lyrics
-@end example
-must be used to interpret a set of syllables as lyrics.
-
-
-@cindex context
-@cindex interpretation context
-@cindex notation context
-
-
-
-The melody and the lyrics can be combined with the @code{\addlyrics}:
-@example
-\addlyrics
- \notes \relative c' @dots{}
- \context Lyrics \lyrics @dots{}
-@end example
-
-The lyrics are also music expressions, similar to notes. Each lyric
-syllable is put under a note of the melody. The complete file is
-listed here:
-
-@example
-\score @{ \notes @{ \addlyrics
- \notes \relative c' @{
- \time 7/4
- d'2 c4 b16 ( a g a b a b ) c a2
- b2 c4 b8 ( a16 g ) a4 g2 @}
- \context Lyrics \lyrics @{
- Join us now __ and
- share the soft -- ware; @}
-@}
-\paper @{ linewidth = -1. @}
-@}
-@end example
-
-
-
-@node A melody with chords
-@section A melody with chords
-
-In this section we show how to typeset a melody with chord
-accompaniment. This file is included in
-@inputfileref{input/tutorial,flowing.ly}.
-
-@lilypondfile[verbatim,intertext="the result looks like"]{flowing.ly}
-
-
-@separate
-@example
-
- \include "paper16.ly"
-
-@end example
-Smaller size (suitable for inclusion in a book).
-@separate
-@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 different names to the different parts of music, and use the names
-to construct the music within the score block.
-
-@separate
-@example
- \partial 8
-@end example
-
-@cindex @code{\partial}
-@cindex anacrusis
-The piece starts with an anacrusis (or ``pickup'') of one eighth.
-@separate
-
-@separate
-@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
-
-@cindex manual beaming
-@cindex automatic beaming, turning off
-We use explicit beaming. Since this is a song, we turn automatic
-beams off and use explicit beaming where needed.
-@separate
-@example
-
- @}
-
-@end example
-This ends the definition of @code{melody}.
-
-@separate
-@example
-
- text = \lyrics @{
-
-@end example
-@cindex lyrics
-@cindex identifier assignment
-@cindex syllables, entering
-This defines the lyrics, similar to what we have seen before.
-
-@separate
-@example
-
- accompaniment =\chords @{
-
-@end example
-@cindex chords
-@cindex mode, chords
-We will put chords over the music. To enter them, we use a special mode
-analogous to @code{\lyrics} and @code{\notes} mode, where you can give
-the names of the chords you want instead of listing the notes
-comprising the chord.
-@separate
-@example
-
- r8
-
-@end example
-There is no accompaniment during the anacrusis.
-@separate
-@example
-
- c2:3-
-
-@end example
-
-@cindex tonic
-@cindex chord modifier
-@cindex modifier, chord
-This is a c minor chord, lasting for a half note. Chords are entered using
-the tonic. Notes can be changed to create different chords. In this case,
-a lowered third is used (making a C major chord into a C minor chord).
-The code for this is @code{3-}.
-
-@separate
-@example
-f:3-.7
-@end example
-Similarly, @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 dots.
-@separate
-@example
-
- d:min es4 c8:min r8
-
-@end example
-Some modifiers have predefined names, e.g. @code{min} is the same as
-@code{3-}, so @code{d-min} is a minor @code{d} chord.
-@separate
-@example
-
- c2:min f:min7 g:7^3.5 c:min @}
-
-@end example
-@cindex named modifier
-
-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 (a G7 chord without the third or the fifth). The
-brace ends the sequential music.
-@separate
-@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}.
-@cindex @code{\simultaneous}
-@separate
-To print chords as chords names, they have to be interpreted as
-such. This is done with the following command: The following command
-explicitly creates an interpretation context of @code{ChordNames} type
-to interpret the music @code{\accompaniment}.
-@example
-
- \context ChordNames \accompaniment
-
-@end example
-
-@separate
-@example
-
- \context Staff @{
-
-@end example
-
-We place the melody on a staff.
-@separate
-@example
-
- \property Staff.autoBeaming = ##f
-
-@end example
-@cindex \property
-@cindex context variables
-@cindex setting context variables
-An interpretation context has variables that tune its behavior. These
-variables are also called @emph{properties}. The @code{autoBeaming}
-variable in a @code{Staff} controls whether 8th and shorter notes are
-beamed automatically. Setting the variable to @code{##f}, which is the
-boolean value @var{false}, turns it off.
-
-
-@separate
-@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.
-
-@separate
-@example
-
- \midi @{ \tempo 4=72@}
-
-@end example
-MIDI (Musical Instrument Digital Interface) is a standard for
-connecting and recording digital instruments. A MIDI file is like a
-tape recording of a MIDI instrument. The @code{\midi} block makes the
-music go to a MIDI file, so you can listen to the music you entered.
-It is great for checking the music. Whenever you hear something
-weird, you probably hear a typing error.
-
-@code{\midi} is similar to @code{\paper @{ @}}, since it also
-specifies an output method. You can specify the tempo using the
-@code{\tempo} command, in this case the tempo of quarter notes is set
-to 72 beats per minute.
-@separate
-@example
-
- \paper @{ linewidth = 10.0\cm @}
-
-@end example
-We also want notation output. The linewidth is short so that the piece
-will be set in two lines.
-
-@node More stanzas
-@section More stanzas
-
-
-@cindex phrasing
-
-If you have multiple stanzas printed underneath each other, the vertical
-groups of syllables should be aligned around punctuation. LilyPond can
-do this if you tell it which lyric lines belong to which melody.
-We show how you can do this by showing how you could print a frivolous
-fragment of a fictional Sesame Street duet.
-
-@lilypond[singleline,verbatim]
-\score {
-\addlyrics
- \notes \relative c'' \context Voice = duet { \time 3/4
- g2 e4 a2 f4 g2. }
- \lyrics \context Lyrics <
- \context LyricsVoice = "duet-1" {
- \property LyricsVoice . stanza = "Bert"
- Hi, my name is bert. }
- \context LyricsVoice = "duet-2" {
- \property LyricsVoice . stanza = "Ernie"
- Ooooo, ch\'e -- ri, je t'aime. }
- >
-}
-@end lilypond
-
-To this end, give the Voice context an identity, and set the
-LyricsVoice to a name starting with that identity followed by a dash.
-In the following example, the Voice identity is @code{duet},
-@example
-\context Voice = duet @{
- \time 3/4
- g2 e4 a2 f4 g2. @}
-@end example
-and the
-identities of the LyricsVoices are @code{duet-1} and @code{duet-2}.
-@example
- \context LyricsVoice = "duet-1" @{
- Hi, my name is bert. @}
- \context LyricsVoice = "duet-2" @{
- Ooooo, ch\'e -- ri, je t'aime. @}
-@end example
-The convention for naming @code{LyricsVoice} and @code{Voice} must
-also be used to get melismata on rests correct.
-
-
-We add the names of the singers. This can be done by setting
-@code{LyricsVoice.Stanza} (for the first system) and
-@code{LyricsVoice.stz} for the following systems. Note that you must
-surround dots with spaces in @code{\lyrics} mode.
-
-@example
- \property LyricsVoice . stanza = "Bert"
- @dots{}
- \property LyricsVoice . stanza = "Ernie"
-@end example
-
-
-@node More movements
-@section More movements
-
-The program @code{lilypond} only produces sheet music. Titles,
-subtitles, and the composer's name are created by a separate program,
-called use @code{ly2dvi}. @code{ly2dvi} creates the titles, then
-calls @code{lilypond} to format the sheet music. In this section, we
-show you how to create titles like this:
-
-@center @strong{Two miniatures}
-@flushright
-Opus 1.
-@end flushright
-@flushleft
-@var{Up}
-@end flushleft
-@lilypond
- \score {
- \notes { c'4 d'4 }
- \paper { linewidth = -1.0 }
- }
-@end lilypond
-@flushright
-Opus 2.
-@end flushright
-@flushleft
-@var{Down}
-@end flushleft
-@lilypond
- \score {
- \notes { d'4 c'4 }
- \paper { linewidth = -1.0 }
- }
-@end lilypond
-
-For example, consider the following file (@file{miniatures.ly})
-
-@example
-\version "1.5.72"
-\header @{
- title = "Two miniatures"
- composer = "F. Bar Baz"
- tagline = "small is beautiful" @}
-
-\paper @{ linewidth = -1.0 @}
-
-%@{
-
-Mental note: discuss Schenkerian analysis of these key pieces.
-
-%@}
-
-\score @{
- \notes @{ c'4 d'4 @}
- \header @{
- opus = "Opus 1."
- piece = "Up" @}
-@}
-\score @{
- \notes @{ d'4 c'4 @}
- \header @{
- opus = "Opus 2."
- piece = "Down" @}
-@}
-@end example
-
-
-The information for the global titling is in a so-called header block.
-The information in this block is not used by LilyPond, but it is
-passed into @code{ly2dvi}, which uses this information to print titles
-above the music.
-@cindex assignments
-@cindex identifier assignment
-the @code{\header} block contains assignments. In each assignment, a
-variable is set to a value. The header block for this file looks like
-this
-@cindex @code{\header}
-@example
- \header @{
- title = "Two miniatures"
- composer = "F. Bar Baz"
- tagline = "small is beautiful"
- @}
-@end example
-
-When you process a file with ly2dvi, a signature line is printed at
-the bottom of the last page. Many people find the default (``Lily was
-here'' with a version number) too droll. If that is the case, you can
-change @code{tagline} in the @code{\header}, as shown above.
-
-@cindex Lily was here
-@cindex signature line
-@cindex tag line
-
-@separate
-@example
- \paper @{
- linewidth = -1.0 @}
-@end example
-
-A paper block at top level (i.e. not in a @code{\score} block) sets
-the default page layout. The following @code{\score} blocks do not
-have @code{\paper} sections so the settings of this block are used.
-
-The variable @code{linewidth} normally sets the length of the systems
-on the page. However, a negative value has a special meaning. If
-@code{linewidth} is less than 0, no line breaks are inserted into the
-score, and the spacing is set to natural length: a short phrase takes
-up little space, a longer phrase takes more space, all on the same line.
-
-@example
-%@{
-
-Mental note: discuss Schenkerian analysis of these key pieces.
-
-%@}
-@end example
-
-Mental notes to yourself can be put into comments. There are two types
-of comments. Line comments are introduced by @code{%}, and block
-comments are delimited by @code{%@{} and @code{%@}}.
-
-@separate
-@example
- \score @{
- \notes @{ c'4 d'4 @}
-@end example
-
-In previous examples, most notes were specified in relative octaves
-(i.e. each note was put in the octave that is closest to its preceding
-note). This is convenient when copying existing music: you have to do
-less typing, and errors are easily spotted.
-
-There is also absolute octave specification, which you get when you do
-not include @code{\relative} in your input file. In this input mode,
-the middle C is denoted by @code{c'}. Going down, you get @code{c}
-@code{c,} @code{c,,} etc. Going up, you get @code{c''} @code{c'''}
-etc. Absolute octaves are convenient when you write LilyPond input
-directly, either by hand (i.e. composing) or by computer.
-
-@separate
-@example
- \header @{
-@end example
-
-The @code{\header} is normally at the top of the file, where it sets
-values for the rest of the file. If you want to typeset different
-pieces from one file (for example, if there are multiple movements, or
-if you are making an exercise book), you can put different
-@code{\score} blocks into the input file. @code{ly2dvi} will assemble
-all LilyPond output files into a one document. The contents of
-@code{\header} blocks specified within each score is used for the
-title of that movement.
-@separate
-@example
- opus = "Opus 1."
- piece = "Up" @}
-@end example
-For example, the Opus number is put at the right, and the "piece" string
-will be at the left.
-
-
-
-@example
-\version "1.5.72"
-\header @{
- title = "Two miniatures"
- composer = "F. Bar Baz"
- tagline = "small is beautiful" @}
-
-\paper @{ linewidth = -1.0 @}
-
-\score @{
- \notes @{ c'4 d'4 @}
- \header @{
- opus = "Opus 1."
- piece = "Up" @}
-@}
-\score @{
- \notes @{ d'4 c'4 @}
- \header @{
- opus = "Opus 2."
- piece = "Down" @}
-@}
-@end example
-
-TODO:
-@example
-
-scoreA = \score @{ \deelA @}
-scoreB = \score @{ \deelA @}
-
-% \score @{ \scoreA @}
-\score @{ \scoreB @}
-
-@end example
-
-@separate
-@example
-\version "1.5.72"
-@end example
-Lilypond and its language are still under development, and
-occasionally details of the syntax are changed. The @code{version}
-fragment indicates which version of lilypond the input file was written
-for. When you compile this file, the version number will be checked
-and you will get a warning when the file is too old. This version
-number is also used by the @code{convert-ly} program (See
-@ref{Invoking convert-ly}), which can used to update the file to the
-latest lily version.
-
-
-@node A piano excerpt
-@section A piano excerpt
-
-Our eighth subject is a piece of piano music. The fragment in the
-input file is a piano reduction of the G major Sinfonia by Giovanni
-Battista Sammartini, composed around 1740. It's in the source
-package under the name @inputfileref{input/tutorial,sammartini.ly}.
-
-@lilypondfile[smallverbatim]{sammartini.ly}
-
-As you can see, this example features multiple voices on one staff. To
-make room for those voices, their notes should be stemmed in opposite
-directions.
-
-
-
-@separate
-@example
-viola = \notes \relative c' \context Voice = viola @{
-@end example
-In this example you see multiple parts on a staff. Each part is
-associated with one notation context. This notation context handles
-stems and dynamics (among other things). The type name of this
-context is @code{Voice}. For each part we have to make sure that
-there is precisely one @code{Voice} context, so we give it a unique
-name (`@code{viola}').
-
-@separate
-@example
-<<c g' c>>4-\arpeggio
-@end example
-The delimiters @code{<<} and @code{>>} enclose the pitches of a chord.
-@code{\arpeggio} typesets an arpeggio sign (a wavy vertical line)
-before the chord.
-
-@cindex arpeggio
-
-
-
-
-
-@separate
-@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).
-
-@separate
-@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. It is useful for filling up voices that
-temporarily do not play. In this case, the viola does not come until one
-and a half measure later.
-
-@separate
-@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}.
-@separate
-@example
- s4 g8. b,16 c8 r <<e' g>>8. <<f a>>16
-@end example
-
-The oboes should have stems up to keep them from interfering with
-the staff-jumping bass figure. To do that, we use @code{\voiceOne}.
-
-@separate
-@example
-\grace <<e g>>-( <<d f>>4-) <<c e>>2
-@end example
-@cindex @code{\grace}
-@cindex ornaments
-@cindex grace notes
-@code{\grace} introduces grace notes. It takes one argument, in this
-case a chord. A slur is introduced starting from the @code{\grace}
-ending on the following chord.
-
-@separate
-@example
-\times 2/3
-@end example
-@cindex tuplet
-@cindex triplets
-Tuplets are made with the @code{\times} keyword. It takes two
-arguments: a fraction and a piece of music. The duration of the piece
-of music is multiplied by the fraction. Triplets make notes occupy 2/3
-of their notated duration, so in this case the fraction is 2/3.
-@separate
-@example
-@{ <<d f>>8 <<e g>> <<f a>> @}
-@end example
-The piece of music to be `tripletted' is sequential music containing
-three chords.
-
-@separate
-@example
-<
-@end example
-At this point, the homophonic music splits into two rhythmically
-different parts. We cannot 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:
-@separate
-@example
- @{ \times 2/3 @{ a8 g c @} c2 @}
-@end example
-
-@separate
-@example
-\\
-@end example
-The easiest way to enter multiple voices is demonstrated
-here. Separate the components of the voice (single notes or entire
-sequences) with @code{\\} in a simultaneous music expression. The
-@code{\\} separators split first voice, second voice, third voice, and
-so on.
-
-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}.
-@separate
-@example
-
- f,8 e e2
-@} >
-@end example
-This ends the two-part section.
-@separate
-@example
-\grace <<c, e>>8-( <<b d>>8.-\trill <<c e>>16 |
-@end example
-@cindex trill
-@cindex stemBoth
-
-The bass has a little hoom-pah melody to demonstrate parts switching
-between staves. Since it is repetitive, we use repeats:
-@separate
-@example
-hoomPah = \repeat unfold 8
-@end example
-@cindex unfolded @code{\repeat}
-The unfolded repeat prints the notes in its argument as if they were
-written out in full eight times.
-@separate
-@example
-\notes \transpose c c' @{
-@end example
-@cindex transposing
-@cindex relative mode and transposing
-
-Transposing can be done with @code{\transpose}, which 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 has no effect, as central C stays at central C.
-
-The purpose of this no-op is to protect it from being interpreted as
-relative notes. Relative mode can not be used together with
-transposition, so @code{\relative} will leave the contents of
-@code{\hoomPah} alone. We can use it without having to worry about
-getting the motive in a wrong octave. Conversely, if you want to
-transpose a fragment of music entered with @code{\relative}, then you
-should make sure that @code{\transpose} comes before @code{\relative}.
-
-@separate
-@cindex staff switch, manual
-@cindex cross staff voice, manual
-@cindex @code{\translator}
-
-@example
-\translator Staff = down
-\stemUp
-c8
-\translator Staff = up
-\stemDown
-c'8 @}
-@end example
-Voices can switch between staves. Here you see two staff switching
-commands. The first one moves to the lower staff, the second one to
-the lower one. If you set the stem directions explicitly
-(using the identifiers @code{\stemUp} and @code{\stemDown}, the notes
-can be beamed together (despite jumping between staffs).
projects / lilypond.git / blobdiff