file. The available language files
and the note names they define are
-@c what about micro-tunes, double-sharps, and double-flats? add
-@c more columns to the table?
-@c Oh, and should this be made into a multitable?
+@c Should this be made into a multitable?
@cindex note names, other languages
@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
- -x (double)
-deutsch.ly c d e f g a b h -is -es
-norsk.ly c d e f g a b h -iss/-is -ess/-es
-svenska.ly c d e f g a b h -iss -ess
-italiano.ly do re mi fa sol la sib si -d -b
-catalan.ly do re mi fa sol la sib si -d/-s -b
-espanol.ly do re mi fa sol la sib si -s -b
+ Note Names sharp flat double double
+ sharp flat
+
+nederlands.ly c d e f g a bes b -is -es -isis -eses
+english.ly c d e f g a bf b -s/-sharp -f/-flat -ss/-x/ -ff/
+ -sharpsharp -flatflat
+deutsch.ly c d e f g a b h -is -es -isis -eses
+norsk.ly c d e f g a b h -iss/-is -ess/-es -ississ/-isis -essess/-eses
+svenska.ly c d e f g a b h -iss -ess -ississ -essess
+italiano.ly do re mi fa sol la sib si -d -b -dd -bb
+catalan.ly do re mi fa sol la sib si -d/-s -b -dd/-ss -bb
+espanol.ly do re mi fa sol la sib si -s -b -ss -bb
+@end example
+
+@noindent
+Note that in Dutch, German, Norwegian, and Swedish, the flat
+alterations of @samp{a} like for example @code{aes} and @code{aeses}
+are usually contracted to @code{as} and @code{ases} (or more commonly
+@code{asas}). Sometimes only these contracted names are defined in the
+corresponding language files (this also applies to the suffixes for
+quartertones below).
+
+@noindent
+Some music uses microtones whose alterations are fractions of a
+@q{regular} sharp or flat. The note names for quartertones defined in
+the various language files are listed in the following table. Here the
+prefixes @q{semi-} and @q{sesqui-} mean @q{half} and @q{one and a
+half}, respectively. For Norwegian, Swedish, Catalan and Spanish no
+special names have been defined yet.
+@c What about Turkish Maquam music and similar microtonal systems?
+@c
+@c Note that the term "three-quarter-sharp/-flat" used in lilypond's source code
+@c is actually misleading since the alteration is in fact one and a half
+@c of a regular sharp/flat. Whence the naming "sesqui-sharp/-flat" used below.
+
+@example
+ Note Names semi- semi- sesqui- sesqui-
+ sharp flat sharp flat
+
+nederlands.ly c d e f g a bes b -ih -eh -isih -eseh
+english.ly c d e f g a bf b -qs -qf -tqs -tqf
+deutsch.ly c d e f g a b h -ih -eh -isih -eseh
+norsk.ly c d e f g a b h
+svenska.ly c d e f g a b h
+italiano.ly do re mi fa sol la sib si -sd -sb -dsd -bsb
+catalan.ly do re mi fa sol la sib si
+espanol.ly do re mi fa sol la sib si
@end example
+
@node Relative octaves
@subsection Relative octaves
\times 2/3 { c8 c c } \times 2/3 { c8 c c }
@end lilypond
+Use the @code{\tweak} function to override nested tuplets beginning at the
+same music moment. In this example, @code{\tweak} specifies fraction
+text for the
+outer @code{TupletNumber} and denominator text for the @code{TupletNumber}
+of the first of the three inner tuplets.
+
+@lilypond[quote,ragged-right,verbatim]
+\new Staff {
+ \tweak #'text #tuplet-number::calc-fraction-text
+ \times 4/3 {
+ \tweak #'text #tuplet-number::calc-denominator-text
+ \times 2/3 { c'8[ c'8 c'8] }
+ \times 2/3 { c'8[ c'8 c'8] }
+ \times 2/3 { c'8[ c'8 c'8] }
+ }
+}
+@end lilypond
+
+Here @code{\tweak} and @code{\override} work together to specify
+@code{TupletBracket} direction. The first @code{\tweak} positions
+the @code{TupletBracket} of the outer
+tuplet above the staff. The second @code{\tweak} positions the
+@code{TupletBracket} of the first of the three inner tuplets below the
+staff. Note that this pair of @code{\tweak} functions affects only
+the outer tuplet and the first of the three inner tuplets because only
+those two tuplets begin at the same music moment. We use @code{\override}
+in the usual way to position the @code{TupletBrackets} of
+the second and third of the inner tuplets below the staff.
+
+@lilypond[quote,ragged-right,verbatim]
+\new Staff {
+ \tweak #'text #tuplet-number::calc-fraction-text
+ \tweak #'direction #up
+ \times 4/3 {
+ \tweak #'direction #down
+ \times 2/3 { c'8[ c'8 c'8] }
+ \override TupletBracket #'direction = #down
+ \times 2/3 { c'8[ c'8 c'8] }
+ \times 2/3 { c'8[ c'8 c'8] }
+ }
+}
+@end lilypond
+
Tuplet brackets can be made to run to prefatory matter or
the next note
Program reference: @internalsref{TupletBracket},
@internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
-Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
-
@node Scaling durations
You can alter the length of duration by a fraction @var{N/M}
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.
+will not affect the appearance of the notes or rests produced. These
+may be combined such as @samp{*M*N}.
In the following example, the first three notes take up exactly two
beats, but no triplet bracket is printed.
+
@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
\time 2/4
a4*2/3 gis4*2/3 a4*2/3
@seealso
-This manual: @ref{Tuplets}
+This manual: @ref{Tuplets}.
@node Bar check
@seealso
-Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
-
-@noindent
-
Program reference: @internalsref{Completion_heads_engraver}.
@code{noteD} is relative to @code{noteC}, not @code{noteB} or
@code{noteA}.
+
@node Explicitly instantiating voices
@subsection Explicitly instantiating voices
}
@end lilypond
+In some instances of complex polyphonic music, you may need additional
+voices to avoid collisions between notes. Additional voices are added
+by defining an identifier, as shown below:
+
+@lilypond[quote,verbatim,ragged-right,relative=2]
+voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
+
+\relative c''' <<
+ { \voiceOne g4 ~ \stemDown g32[ f( es d c b a b64 )g] } \\
+ { \voiceThree b4} \\
+ { \voiceFive d,} \\
+ { \voiceTwo g,}
+>>
+@end lilypond
+
@node Collision Resolution
@subsection Collision Resolution
Normally, note heads with a different number of dots are not merged, but
when the object property @code{merge-differently-dotted} is set in
-the @internalsref{NoteCollision} object, they are merged
+the @internalsref{NoteCollision} object, they are merged:
+
@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
\new Voice << {
g8 g8
@end lilypond
Similarly, you can merge half note heads with eighth notes, by setting
-@code{merge-differently-headed}
+@code{merge-differently-headed}:
+
@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
\new Voice << {
c8 c4.
\new Voice << c''4 \\ r4 >>
@end lilypond
+If three or more notes line up in the same column,
+@code{merge-differently-headed} cannot
+successfully complete the merge of the two notes that should be merged.
+To allow the merge to work properly, apply a @code{\shift} to the note that
+should not be merged. In the first measure of following example,
+@code{merge-differently-headed} does not work (the half-note head is
+solid). In the second measure, @code{\shiftOn} is applied to move the
+top @code{g} out of the column, and @code{merge-differently-headed}
+works properly.
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\override Staff.NoteCollision #'merge-differently-headed = ##t
+<<
+ { d=''2 g2 } \\
+ { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
+ { \voiceFour e,,2 e'2}
+>>
+<<
+ { d'=''2 \shiftOn g2 } \\
+ { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
+ { \voiceFour e,,2 e'2}
+>>
+@end lilypond
+
@refcommands
@funindex \shiftOnnn
@code{\shiftOnnn},
@funindex \shiftOff
-@code{\shiftOff}: these commands specify in what chords of the current
-voice should be shifted. The outer voices (normally: voice one and
+@code{\shiftOff}: these commands specify the
+degree to which chords of the current voice should be shifted.
+The outer voices (normally: voice one and
two) have @code{\shiftOff}, while the inner voices (three and four)
have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
further shift levels.
Program reference: the objects responsible for resolving collisions are
@internalsref{NoteCollision} and @internalsref{RestCollision}.
-Examples:
-@inputfileref{input/@/regression,collision@/-dots@/.ly},
-@inputfileref{input/@/regression,collision@/-head-chords@/.ly},
-@inputfileref{input/@/regression,collision@/-heads@/.ly},
-@inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
-@inputfileref{input/@/regression,collisions@/.ly}.
-
@refbugs
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{Accidentals and key signatures}.
+more information, see @ref{Accidentals}, or @ref{Accidentals and key signatures}.
@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
\key g \major
@end lilypond
There are many more options for its layout. See @ref{Ancient time
-signatures} for more examples.
+signatures}, for more examples.
@code{\time} sets the property @code{timeSignatureFraction},
@code{beatLength} and @code{measureLength} in the @code{Timing}
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 @code{StaffGroup},
-@code{PianoStaff}, or @code{ChoirStaff}.
+@code{PianoStaff}, or @code{GrandStaff}.
@lilypond[quote,ragged-right,fragment,verbatim]
<<
Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
@inputfileref{input/@/test@/,ossia.ly},
@inputfileref{input/@/test,staff@/-size@/.ly},
-@inputfileref{input/@/regression,staff@/-line@/-positions@/.ly}.
+@lsr{staff,staff-line-positions.ly}
@node Writing music in parallel
Program reference: @internalsref{Tie}.
-Examples:
-@inputfileref{input/@/regression,tie-arpeggio.ly}
-@inputfileref{input/@/regression,tie-manual.ly}
-
-
-
@refbugs
@internalsref{LaissezVibrerTieColumn}
Example files:
-@inputfileref{input/regression,laissez-vibrer-tie.ly}
+@lsr{connecting,laissez-vibrer-ties.ly}
@node Automatic beams
When these automatic decisions are not good enough, beaming can be
entered explicitly. It is also possible to define beaming patterns
-that differ from the defaults. See @ref{Setting automatic beam behavior}
+that differ from the defaults. See @ref{Setting automatic beam behavior},
for details.
Individual notes may be marked with @code{\noBeam} to prevent them
@ref{Time administration}.
Line breaks are normally forbidden when beams cross bar lines. This
-behavior can be changed by setting @code{allowBeamBreak}.
+behavior can be changed by setting @code{breakable}.
+
+@funindex breakable
-@funindex allowBeamBreak
@cindex beams and line breaks
@cindex beams, kneed
@cindex kneed beams
@refbugs
Kneed beams are inserted automatically when a large gap is detected
-between the note heads. This behavior can be tuned through the object.
+between the note heads. This behavior can be tuned through the
+@code{auto-knee-gap} object.
Automatically kneed cross-staff beams cannot be used together with
hidden staves. See @ref{Hiding staves}.
@code{afterGraceFraction}, ie.
@example
-afterGraceFraction = #(cons 7 8)
+#(define afterGraceFraction (cons 7 8))
@end example
@noindent
Program reference: @internalsref{Fingering}.
-Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
+Examples: @lsr{expressive,fingering-chords.ly}
@node Dynamics
To create new dynamic marks or text that should be aligned
with dynamics, see @ref{New dynamic marks}.
+Vertical positioning of dynamics is handled by
+@internalsref{DynamicLineSpanner}.
+
@commonprop
Program reference: @internalsref{BreathingSign}.
-Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
+Examples: @lsr{expressive,breathing-sign.ly}
@node Trills
Program reference: @internalsref{Glissando}.
-Example files: @file{input/@/regression/@/glissando@/.ly}.
+Example files:
+@lsr{expressive,glissando.ly}, @lsr{expressive,line-styles.ly}
+
@refbugs
\alternative { {d2 d} {f f,} }
@end lilypond
-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.
+Repeats with upbeats may be created.
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\new Staff {
- \partial 4
- \repeat volta 4 { e | c2 d2 | e2 f2 | }
- \alternative { { g4 g g } { a | a a a a | b2. } }
+ \partial 4 e |
+ \repeat volta 4 { c2 d2 | e2 f2 | }
+ \alternative { { g4 g g e } { a a a a | b2. } }
}
@end lilypond
Brackets for the repeat are normally only printed over the topmost
staff. This can be adjusted by setting the @code{voltaOnThisStaff}
-property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
+property; see
+
+@lsr{repeats,volta@/-multi@/-staff@/.ly}.
@refbugs
Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
-Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
-@inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
-
@node Tremolo subdivisions
@subsection Tremolo subdivisions
projects / lilypond.git / blobdiff