Relative mode can be used for pitches in chords. The first note of
each chord is always relative to the first note of the chord that
-came before it, or in the case where no preceding chord exists; the
+came before it, or in the case where no preceding chord exists, the
pitch of the last note that came before the chord. All remaining notes
in the chord are relative to the note that came before it
@emph{within the same chord}.
@end lilypond
@noindent
-Here, voices are instantiated explicitly and are given names. The
+Here, voices are instantiated explicitly and are given names. The
@code{\voiceOne} ... @code{\voiceFour} commands set up the voices
so that first and third voices get stems up, second and fourth
voices get stems down, third and fourth voice note heads are
The @code{<< @{...@} \\ @{...@} >>} construct, where the two (or
more) expressions are separated by double backslashes, behaves
differently to the similar construct without the double backslashes:
-@emph{all} the expressions within this contruct are assigned
+@emph{all} the expressions within this construct are assigned
to new @code{Voice} contexts. These new @code{Voice} contexts
are created implicitly and are given the fixed names @code{"1"},
@code{"2"}, etc.
when one of the voices is explicitly named in order to attach lyrics to
it, the partcombining stops working.
-@code{\partcombine} only observes onset times of notes. It cannot
+@code{\partcombine} only observes onset times of notes. It cannot
determine whether a previously started note is playing or not, leading
to various problems.
projects / lilypond.git / blobdiff