as sequential notes, as they must start at the same time.
This section of the bar requires three voices, and the
normal practice would be to write the whole bar as three
-voices, as shown here, where we have used different noteheads
+voices, as shown here, where we have used different note heads
and colors for the three voices.
@c The following should appear as music without code
parallel voices from separate simultaneous constructs on the same
staff are the same voice. Other voice-related properties also
carry across simultaneous constructs. Here is the same example,
-with different colors and noteheads for each voice. Note that
+with different colors and note heads for each voice. Note that
changes in one Voice do not affect other voices, but they do
persist in the same Voice later. Note also that tied notes may be
split across the same voices in two constructs, shown here in the
The commands @code{\voiceXXXStyle} are mainly intended for use in
educational documents such as this one. They modify the color
-of the notehead, the stem and the beams, and the style of the
-notehead, so that the voices may be easily distinguished.
+of the note head, the stem and the beams, and the style of the
+ note head, so that the voices may be easily distinguished.
Voice one is set to red diamonds, voice two to blue triangles,
voice three to green crossed circles, and voice four (not used
here) to magenta crosses. We shall see later how commands like
@noindent
and exposes a problem commonly encountered with multiple
-voices: the stems of notes can collide with noteheads
+voices: the stems of notes can collide with note heads
in other voices. In laying out the notes, LilyPond allows the
notes or chords from two voices to occupy the same vertical
note column provided the stems are in opposite directions, but
Closely spaced notes in a chord, or notes occuring at the same
time in different voices, are arranged in two, occasionally more,
-columns to prevent the noteheads overlapping. These are called
+columns to prevent the note heads overlapping. These are called
note columns. There are separate columns for each voice, and
the currently specified voice-dependent shift is applied to the
note column if there would otherwise be a collision. This can
Every mark on the printed output of a score produced by LilyPond
is produced by an @code{Engraver}. Thus there is an engraver
-to print staves, one to print noteheads, one for stems, one for
+to print staves, one to print note heads, one for stems, one for
beams, etc, etc. In total there are over 120 such engravers!
Fortunately, for most scores it is not necessary to know about
more than a few, and for simple scores you do not need to know
@item Metronome_mark_engraver
@tab Engraves metronome marking
@item Note_heads_engraver
- @tab Engraves noteheads
+ @tab Engraves note heads
@item Rest_engraver
@tab Engraves rests
@item Staff_symbol_engraver
@lilypond[quote,verbatim,ragged-right,relative=1,fragment]
c4
-% make noteheads smaller
+% make note heads smaller
\set fontSize = #-4
d e
-% make noteheads larger
+% make note heads larger
\set fontSize = #2.5
f g
% return to original size
We have seen that contexts each contain several engravers, each
of which is responsible for producing a particular part of the
-output, like barlines, staves, note heads, stems, etc. If an
+output, like bar lines, staves, note heads, stems, etc. If an
engraver is removed from a context it can no longer produce its
output. This is a crude way of modifying the output, but it
can sometimes be useful.
}
\relative c' {
c4
- \set fontSize = #-4 % make noteheads smaller
+ \set fontSize = #-4 % make note heads smaller
d e
- \set fontSize = #2.5 % make noteheads larger
+ \set fontSize = #2.5 % make note heads larger
f g
\unset fontSize % return to original size
a b
projects / lilypond.git / blobdiff