@c -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond.tely
+@ignore
+ Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+ When revising a translation, copy the HEAD committish of the
+ version that you are working on. See TRANSLATION for details.
+@end ignore
+
@c A menu is needed before every deeper *section nesting of @node's; run
@c M-x texinfo-all-menus-update
@menu
* Pitches::
* Rhythms::
-* Multiple notes at once::
+* Polyphony::
* Staff notation::
* Connecting notes::
* Expressive marks::
* Accidentals::
* Cautionary accidentals::
* Micro tones::
-* Notes names in other languages::
+* Note names in other languages::
* Relative octaves::
* Octave check::
* Transpose::
@funindex ,
The optional octave specification takes the form of a series of
-single quote (`@code{'}') characters or a series of comma
-(`@code{,}') characters. Each @code{'} raises the pitch by one
-octave; each @code{,} lowers the pitch by an octave.
+single quote (@samp{'}) characters or a series of comma
+(@samp{,}) characters. Each @samp{'} raises the pitch by one
+octave; each @samp{,} lowers the pitch by an octave.
@lilypond[quote,ragged-right,fragment,verbatim]
\clef treble
@cindex note names, default
A sharp is formed by adding @code{-is} to the end of a pitch name and
-a flat is formed by adding @code{-es}
+a flat is formed by adding @code{-es}. Double sharps and double flats
+are obtained by adding @code{-isis} or @code{-eses} to a note name.
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
a2 ais a aes
+a2 aisis a aeses
@end lilypond
-Double sharps and double flats
-are obtained by adding @code{-isis} or @code{-eses} to a note name. These
-are the Dutch note names. In Dutch, @code{aes} is contracted to
+@noindent
+These are the Dutch note names. In Dutch, @code{aes} is contracted to
@code{as}, but both forms are accepted. Similarly, both
@code{es} and @code{ees} are accepted
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
-a2 aisis a aeses
+a2 as e es
@end lilypond
A natural will cancel the effect of an accidental or key signature.
a4 aes a2
@end lilypond
-The input @code{d e f} is interpreted as ``print a D-natural,
-E-natural, and an F-natural,'' regardless of the key
+The input @code{d e f} is interpreted as @q{print a D-natural,
+E-natural, and an F-natural,} regardless of the key
signature. For more information about the distinction between
musical content and the presentation of that content, see
-@ref{More about pitches}.
+@ref{Accidentals and key signatures}.
@lilypond[fragment,quote,ragged-right,verbatim,relative]
\key d \major
can be forced by adding an exclamation mark @code{!}
after the pitch. A cautionary accidental
(i.e., an accidental within parentheses) can be obtained by adding the
-question mark `@code{?}' after the pitch. These extra accidentals
+question mark @samp{?} after the pitch. These extra accidentals
can be used to produce natural signs, too.
@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
standard.
-@node Notes names in other languages
-@subsection Notes names in other languages
+@node Note names in other languages
+@subsection Note names in other languages
There are predefined sets of note names for various other languages.
To use them, include the language specific init file. For
@end lilypond
Octave changing marks are used for intervals greater than a fourth
+
@lilypond[quote,ragged-right,fragment,verbatim]
\relative c'' {
c g c f, c' a, e''
}
@end lilypond
-The pitch after the @code{\relative} contains a note name.
+The pitch after @code{\relative} contains a note name.
The relative conversion will not affect @code{\transpose},
@code{\chordmode} or @code{\relative} sections in its argument. To use
@end example
This checks that @var{pitch} (without quotes) yields @var{pitch} (with
-quotes) in @code{\relative} mode. If not, a warning is printed, and the
+quotes) in @code{\relative} mode compared to the note given in the
+@code{\relative} command. If not, a warning is printed, and the
octave is corrected. The @var{pitch} is not printed as a note.
In the example below, the first check passes without incident, since
-the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
+the @code{e} (in @code{relative} mode) is within a fifth of
+@code{a'}. However,
the second check produces a warning, since the @code{e} is not within
a fifth of @code{b'}. The warning message is printed, and the octave
is adjusted so that the following notes are in the correct octave
@code{\transpose} may also be used to input written notes for a
transposing instrument. Pitches are normally entered into LilyPond
-in C (or ``concert pitch''), but they may be entered in another
+in C (or @q{concert pitch}), but they may be entered in another
key. For example, when entering music for a B-flat trumpet which
begins on concert D, one would write
Program reference: @internalsref{TransposedMusic}.
+Example: @inputfileref{input/@/test,smart@/-transpose@/.ly}.
+
@refbugs
If you want to use both @code{\transpose} and @code{\relative},
you must put @code{\transpose} outside of @code{\relative}, since
-@code{\relative} will have no effect music that appears inside a
+@code{\relative} will have no effect on music that appears inside a
@code{\transpose}.
@funindex \skip
@funindex s
-An invisible rest (also called a `skip') can be entered like a note
-with note name `@code{s}' or with @code{\skip @var{duration}}
+An invisible rest (also called a @q{skip}) can be entered like a note
+with note name @samp{s} or with @code{\skip @var{duration}}
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
a4 a4 s4 a4 \skip 1 a4
dots: durations are entered as their reciprocal values. For example, a
quarter note is entered using a @code{4} (since it is a 1/4 note), while
a half note is entered using a @code{2} (since it is a 1/2 note). For
-notes longer than a whole you must use the variables @code{\longa} and
-@code{\breve}
+notes longer than a whole you must use the @code{\longa} and
+@code{\breve} commands
@example
c'\breve
}
\layout {
ragged-right = ##t
+ indent=0\mm
+ \context {
+ \Score
+ \remove "Bar_number_engraver"
+ }
\context {
\Staff
\remove "Clef_engraver"
@funindex .
-To obtain dotted note lengths, simply add a dot (`@code{.}') to
+To obtain dotted note lengths, simply add a dot (@samp{.}) to
the number. Double-dotted notes are produced in a similar way.
@lilypond[quote,ragged-right,fragment,verbatim]
Tuplets may be nested, for example,
@lilypond[fragment,ragged-right,verbatim,relative=2]
-\set tupletNumberFormatFunction = #fraction-tuplet-formatter
+\override TupletNumber #'text = #tuplet-number::calc-fraction-text
\times 4/6 {
a4 a
\times 3/5 { a a a a a }
For more information about @code{make-moment}, see
@ref{Time administration}.
-The format of the number is determined by the property
-@code{tupletNumberFormatFunction}. The default prints only the
-denominator, but if it is set to the Scheme function
-@code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
-instead.
+The format of the number is determined by the property @code{text} in
+@code{TupletNumber}. The default prints only the denominator, but if
+it is set to the function @code{tuplet-number::calc-fraction-text},
+@var{num}:@var{den} will be printed instead.
To avoid printing tuplet numbers, use
\times 2/3 { c8 c c } \times 2/3 { c8 c c }
@end lilypond
+Tuplet brackets can be made to run to prefatory matter or
+the next note
+
+@lilypond[ragged-right]
+\new RhythmicStaff {
+ \set tupletFullLength = ##t
+ \time 4/4
+ \times 4/5 {
+ c4 c1
+ }
+ \set tupletFullLengthNote = ##t
+ \time 2/4
+ \times 2/3 {
+ c4 c c
+ }
+ \time 3/4
+ c4
+}
+@end lilypond
+
@seealso
@subsection Scaling durations
You can alter the length of duration by a fraction @var{N/M}
-appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
+appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}). This
will not affect the appearance of the notes or rests produced.
In the following example, the first three notes take up exactly two
@funindex |
Bar checks help detect errors in the durations. A bar check is
-entered using the bar symbol, `@code{|}'. Whenever it is encountered
+entered using the bar symbol, @samp{|}. Whenever it is encountered
during interpretation, it should fall on a measure boundary. If it
does not, a warning is printed. In the next example, the second bar
check will signal an error
not entirely filled, then the ties exactly show how much each measure
is off.
+If you want to allow line breaking on the bar lines where
+@internalsref{Completion_heads_engraver} splits notes, you must
+also remove @internalsref{Forbid_line_breaks_engraver}.
+
@refbugs
Program reference: @internalsref{Completion_heads_engraver}.
-@node Multiple notes at once
-@section Multiple notes at once
+@node Polyphony
+@section Polyphony
Polyphony in music refers to having more than one voice occurring in
a piece of music. Polyphony in LilyPond refers to having more than
@cindex Chords
-A chord is formed by a enclosing a set of pitches in @code{<} and
-@code{>}. A chord may be followed by a duration, and a set of
+A chord is formed by a enclosing a set of pitches between @code{<}
+and @code{>}. A chord may be followed by a duration, and a set of
articulations, just like simple notes
@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
@end lilypond
The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
-voices are sometimes called ``layers'' in other notation packages}
+voices are sometimes called @q{layers} in other notation packages}
@cindex layers
to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
each of these contexts, vertical direction of slurs, stems, etc., is set
c8 c4. } \\ { c2 c2 } >>
@end lilypond
+@noindent
+@code{merge-differently-headed} and @code{merge-differently-dotted}
+only apply to opposing stem directions (ie. Voice 1 & 2).
+
LilyPond also vertically shifts rests that are opposite of a stem,
for example
@seealso
+Manual: @ref{Grace notes}.
+
Program reference: @internalsref{Clef}.
Here, @var{type} should be @code{\major} or @code{\minor} to get
@var{pitch}-major or @var{pitch}-minor, respectively. You may also
-use the standard mode names (also called ``church modes''): @code{\ionian},
+use the standard mode names (also called @q{church modes}): @code{\ionian},
@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
@code{\phrygian}, and @code{\dorian}.
Accidentals and key signatures often confuse new users, because
unaltered notes get natural signs depending on the key signature. For
-more information, see @ref{Accidentals} or @ref{More about pitches}.
+more information, see @ref{Accidentals} or @ref{Accidentals and key signatures}.
@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
\key g \major
\partial @var{duration}
@end example
+where @code{duration} is the rhythmic length to be added before
+the next bar.
+
This is internally translated into
@example
The property @code{measurePosition} contains a rational number
indicating how much of the measure has passed at this point. Note
that this is a negative number; @code{\partial 4} is internally
-translated to mean ``there is a quarter note left in the bar''.
+translated to mean @qq{there is a quarter note left in the bar.}
@refbugs
a2 g2
@end lilypond
+@code{\partial} is only intended to be used at the beginning of a
+piece. If you use it after the beginning, some odd warnings may
+occur.
+
@node Bar lines
@subsection Bar lines
@noindent
This will insert an invisible bar line and allow line breaks at this
-point.
+point (without increasing the bar number counter).
In scores with many staves, a @code{\bar} command in one staff is
automatically applied to all staves. The resulting bar lines are
-connected between different staves of a StaffGroup
+connected between different staves of a @code{StaffGroup},
+@code{PianoStaff}, or @code{ChoirStaff}.
@lilypond[quote,ragged-right,fragment,verbatim]
<<
Program reference: @internalsref{BarLine} (created at
@internalsref{Staff} level), @internalsref{SpanBar} (across staves).
-Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
-
@node Unmetered music
@subsection Unmetered music
@refbugs
-LilyPond will only insert page breaks at a barline. Unless the unmetered
-music ends before the end of the staff line, you will need to insert
+LilyPond will only insert line breaks and page breaks at a
+barline. Unless the unmetered music ends before the end of
+the staff line, you will need to insert
invisible bar lines
@example
@end example
@noindent
-to indicate where line breaks can occur.
+to indicate where breaks can occur.
@node System start delimiters
@internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
@internalsref{SystemStartBracket}. Only one of these types is created
in every context, and that type is determined by the property
-@code{systemStartDelimiter}.
+@internalsref{systemStartDelimiter}.
+
+
+@commonprop
+
+System start delimiters may be deeply nested,
+
+@lilypond[quote,ragged-right,verbatim]
+\new StaffGroup
+\relative <<
+ \set StaffGroup.systemStartDelimiterHierarchy
+ = #'(SystemStartSquare (SystemStartBracket a (SystemStartSquare b)) d)
+ \new Staff { c1 }
+ \new Staff { c1 }
+ \new Staff { c1 }
+ \new Staff { c1 }
+ \new Staff { c1 }
+>>
+@end lilypond
@node Staff symbol
@cindex adjusting staff symbol
Notes, dynamic signs, etc., are grouped
-with a set of horizontal lines, called a staff (plural `staves'). In
+with a set of horizontal lines, called a staff (plural @q{staves}). In
LilyPond, these lines are drawn using a separate layout object called
-staff symbol.
+@code{staff symbol}.
The staff symbol may be tuned in the number, thickness and distance
of lines, using properties. This is demonstrated in the example files
@end lilypond
In combination with Frenched staves, this may be used to typeset ossia
-sections. An example is in @inputfileref{input/@/test@/,ossia.ly},
-shown here
+sections. An example is shown here
@cindex ossia
>>
@end lilypond
+This works quite well for piano music
+
+@lilypond[quote,verbatim]
+music = {
+ \key c \major
+ \time 4/4
+ \parallelMusic #'(voiceA voiceB voiceC voiceD) {
+ % Bar 1
+ r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c''
+e''] |
+ c'2 c'2 |
+ r8 a16[ d'] f'[ a d' f'] r8 a16[ d'] f'[ a d' f'] |
+ c2 c2 |
+
+ % Bar 2
+ a'8 b' c'' d'' e'' f'' g'' a'' |
+ d'4 d' d' d' |
+ c16 d e f d e f g e f g a f g a b |
+ a,4 a,4 a,4 a,4 |
+
+ % Bar 3 ...
+ }
+}
+
+\score {
+ \new PianoStaff <<
+ \music
+ \new Staff <<
+ \voiceA \\
+ \voiceB
+ >>
+ \new Staff {
+ \clef bass
+ <<
+ \voiceC \\
+ \voiceD
+ >>
+ }
+ >>
+}
+@end lilypond
@node Connecting notes
A tie connects two adjacent note heads of the same pitch. The tie in
effect extends the length of a note. Ties should not be confused with
slurs, which indicate articulation, or phrasing slurs, which indicate
-musical phrasing. A tie is entered using the tilde symbol `@code{~}'
+musical phrasing. A tie is entered using the tilde symbol @samp{~}
@lilypond[quote,ragged-right,fragment,verbatim]
e' ~ e' <c' e' g'> ~ <c' e' g'>
@end lilypond
When a tie is applied to a chord, all note heads whose pitches match
-are connected. When no note heads match, no ties will be created.
+are connected. When no note heads match, no ties will be created. Chords
+may be partially tied by placing the tie inside the chord,
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+<c~ e g~ b> <c e g b>
+@end lilypond
A tie is just a way of extending a note duration, similar to the
augmentation dot. The following example shows two ways of notating
mechanism automatically splits long notes, and ties them across bar
lines.
+@funindex \repeatTie
+
When a second alternative of a repeat starts with a tied note, you
have to repeat the tie. This can be achieved with @code{\repeatTie},
@code{tieWaitForNote} property to true. The same feature is also useful,
for example, to tie a tremolo to a chord. For example,
-@lilypond[fragment,verbatim,relative=1,ragged-right]
+@lilypond[fragment,verbatim,relative=1,ragged-right,quote]
\set tieWaitForNote = ##t
\grace { c16[~ e~ g]~ } <c, e g>2
\repeat "tremolo" 8 { c32~ c'~ } <c c,>1
+e8~ c~ a~ f~ <e' c a f>2
+@end lilypond
+
+Ties may be engraved manually by changing the @code{tie-configuration}
+property. The first number indicates the distance from the center
+of the staff in staff-spaces, and the second number indicates the
+direction (1=up, -1=down).
+
+@lilypond[fragment,verbatim,relative=1,ragged-right,quote]
+<c e g>2~ <c e g> |
+\override TieColumn #'tie-configuration =
+ #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
+<c e g>~ <c e g> |
@end lilypond
Switching staves when a tie is active will not produce a slanted tie.
+Changing clefs or octavations during a tie is not really
+well-defined. In these cases, a slur may be preferable.
+
@node Slurs
@subsection Slurs
Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
@code{\grace} command does not start a slur.
-Internally, timing for grace notes is done using a second, `grace'
+Internally, timing for grace notes is done using a second, @q{grace}
timing. Every point in time consists of two rational numbers: one
denotes the logical time, one denotes the grace timing. The above
example is shown here with timing tuples
c1 \afterGrace d1 { c16[ d] } c4
@end lilypond
-This will put the grace notes after a ``space'' lasting 3/4 of the
+This will put the grace notes after a @q{space} lasting 3/4 of the
length of the main note. The fraction 3/4 can be changed by setting
@code{afterGraceFraction}, ie.
for example, to produce smaller type, and set directions. Hence, when
introducing layout tweaks, they should be inside the grace section,
for example,
+
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\new Voice {
\acciaccatura {
The layout of grace sections can be changed throughout the music using
the function @code{add-grace-property}. The following example
-undefines the Stem direction for this grace, so stems do not always
-point up.
+undefines the @code{Stem} direction for this grace, so
+that stems do not always point up.
@example
\new Staff @{
The slash through the stem in acciaccaturas can be obtained
in other situations by @code{\override Stem #'stroke-style = #"grace"}.
+
+@commonprop
+
+Grace notes may be forced to use floating spacing,
+
+@lilypond[relative=2,ragged-right]
+<<
+ \override Score.SpacingSpanner #'strict-grace-spacing = ##t
+ \new Staff {
+ c'4
+ \afterGrace
+ c'4
+ { c'16[ c'8 c'16] }
+ c'4
+ }
+ \new Staff {
+ c'16[ c'16 c'16 c'16]
+ c'16[ c'16 c'16 c'16]
+ c'4
+ }
+>>
+@end lilypond
+
+
@seealso
Program reference: @internalsref{GraceMusic}.
* Trills::
* Glissando::
* Arpeggio::
+* Falls and doits::
@end menu
@end lilypond
@noindent
-A hairpin starts at the left edge of the beginning note and ends on the
-right edge of the ending note.
+A hairpin normally starts at the left edge of the beginning note
+and ends on the right edge of the ending note. If the ending
+note falls on the downbeat, the hairpin ends on the immediately
+preceding barline. This may be modified by setting the
+@code{hairpinToBarline} property,
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\set hairpinToBarline = ##f
+c4\< c2. c4\!
+@end lilypond
In some situations the @code{\espressivo} articulation mark may
be suitable to indicate a crescendo and decrescendo on the one note,
example
@example
-\override Staff.Hairpin #'minimum-length = #5
+\override Voice.Hairpin #'minimum-length = #5
@end example
+@cindex al niente
+@cindex niente, al
+
+Hairpins may be printed with a circled tip (al niente notation) by
+setting the @code{circled-tip} property,
+
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+\override Hairpin #'circled-tip = ##t
+c2\< c\!
+c4\> c\< c2\!
+@end lilypond
+
+
@cindex crescendo
@cindex decrescendo
@cindex diminuendo
-You can also use a text saying @emph{cresc.} instead of hairpins
+You can also use text saying @emph{cresc.} instead of hairpins
@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
\setTextCresc
\override Score.Hairpin #'after-line-breaking = ##t
@end example
-Text style dynamic changes (such as cresc. and dim.) are printed with a
+Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
+are printed with a
dashed line showing their extent. To surpress printing this line, use
@example
Trills that should be executed on an explicitly specified pitch can be
typeset with the command @code{pitchedTrill},
-@lilypond[ragged-right,verbatim,fragment,relative=1]
+@lilypond[ragged-right,verbatim,fragment,relative=1,quote]
\pitchedTrill c4\startTrillSpan fis
f\stopTrillSpan
@end lilypond
arpeggios in one @internalsref{PianoStaff} at the same point in time.
+@node Falls and doits
+@subsection Falls and doits
+Falls and doits can be added to notes using the @code{\bendAfter}
+command,
+
+@lilypond[fragment,ragged-right,relative=2]
+\override Score.SpacingSpanner #'shortest-duration-space = #3.0
+c4-\bendAfter #+5
+c4-\bendAfter #-3
+@end lilypond
@node Repeats
for repeats with alternatives. These are not played in MIDI output by
default.
-@ignore
-@item fold
-Alternative endings are written stacked. This has limited use but may be
-used to typeset two lines of lyrics in songs with repeats, see
-@inputfileref{input,star-spangled-banner@/.ly}.
-@end ignore
@item tremolo
Make tremolo beams. These are not played in MIDI output by default.
@item percent
Make beat or measure repeats. These look like percent signs. These
are not played in MIDI output by default. Percent repeats must be
-declared within a Voice context.
+declared within a @code{Voice} context.
@end table
@node Repeat syntax
@subsection Repeat syntax
+@cindex volta
+@cindex prima volta
+@cindex seconda volta
+
LilyPond has one syntactic construct for specifying different types of
repeats. The syntax is
is assumed to be played more than once.
Standard repeats are used like this
+
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
c1
\repeat volta 2 { c4 d e f }
@end lilypond
With alternative endings
+
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
c1
\repeat volta 2 {c4 d e f}
\alternative { {d2 d} {f f,} }
@end lilypond
-In this example, the first ending is not a complete bar (it
-only had 3 beats). The beginning of the second ending
-contains the 4th beat from the first ending. This ``extra''
+In the following example, the first ending is not a complete
+bar (it only had 3 beats). The beginning of the second ending
+contains the 4th beat from the first ending. This @q{extra}
beat in the second ending is due to the first time ending,
and has nothing to do with the @code{\partial} at the
beginning of the example.
}
@end lilypond
+@funindex \repeatTie
+
+Ties may be added to a second ending,
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+c1
+\repeat volta 2 {c4 d e f ~ }
+\alternative { {f2 d} {f\repeatTie f,} }
+@end lilypond
+
It is possible to shorten volta brackets
by setting @code{voltaSpannerDuration}. In the next example, the
bracket only lasts one measure, which is a duration of 3/4.
For clarity, it is advisable to use braces in such situations.
Timing information is not remembered at the start of an alternative,
-so after a repeat timing information must be reset by hand, for
-example by setting @code{Score.measurePosition} or entering
+so after a repeat timing information must be reset by hand; for
+example, by setting @code{Score.measurePosition} or entering
@code{\partial}. Similarly, slurs or ties are also not repeated.
+Volta brackets are not vertically aligned.
+
@node Repeats and MIDI
@subsection Repeats and MIDI
With a little bit of tweaking, all types of repeats can be present
in the MIDI output. This is achieved by applying the
-@code{\unfoldRepeats} music function. This functions changes all
+@code{\unfoldRepeats} music function. This function changes all
repeats to unfold repeats.
@lilypond[quote,verbatim,fragment,line-width=8.0\cm]
\bar "|."
@end lilypond
-When creating a score file using @code{\unfoldRepeats} for midi, then
-it is necessary to make two @code{\score} blocks. One for MIDI (with
+When creating a score file using @code{\unfoldRepeats} for MIDI,
+it is necessary to make two @code{\score} blocks: one for MIDI (with
unfolded repeats) and one for notation (with volta, tremolo, and
percent repeats). For example,
@funindex tremoloFlags
Tremolo marks can be printed on a single note by adding
-`@code{:}[@var{number}]' after the note. The number indicates the
+@q{@code{:}[@var{number}]} after the note. The number indicates the
duration of the subdivision, and it must be at least 8. A
@var{length} value of 8 gives one line across the note stem. If the
length is omitted, the last value (stored in @code{tremoloFlags}) is
-Isolated percents can also be printed. This is done by putting a multi
-measure rest with a different print function,
+Isolated percents can also be printed. This is done by putting a
+multi-measure rest with a different print function,
-@lilypond[fragment,verbatim]
+@lilypond[fragment,verbatim,quote]
\override MultiMeasureRest #'stencil
= #ly:multi-measure-rest::percent
R1
projects / lilypond.git / blobdiff