* lily/paper-system.cc (read_left_bound): new function. Read

[lilypond.git] / Documentation / user / instrument-notation.itely

diff --git a/Documentation/user/instrument-notation.itely b/Documentation/user/instrument-notation.itely
index 1fb1bd5ec3668c63dc62429e45a173f5eb65d8c1..6ebcbd776d130cad768fc1554fb4b62053ee3a4d 100644 (file)
--- a/Documentation/user/instrument-notation.itely
+++ b/Documentation/user/instrument-notation.itely
@@ -1,4 +1,4 @@
-@c -*- coding: latin-1; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; -*-
 @c This file is part of lilypond.tely
 
 @c A menu is needed before every deeper *section nesting of @node's; run 
@@ -36,13 +36,13 @@ handle this cross-staffing behavior.  In this section we discuss the
 @menu
 * Automatic staff changes::     
 * Manual staff switches::       
+* Laissez vibrer ties::         
 * Pedals::                      
 * Staff switch lines::          
 * Cross staff stems::           
 @end menu
 
-@
-refbugs
+@refbugs
 
 Dynamics are not centered, but workarounds do exist.  See the
 ``piano centered dynamics'' template in @ref{Piano templates}.
@@ -154,6 +154,28 @@ and the @context{Voice} is inserted afterwards
 @end example
 
 
+@node Laissez vibrer ties
+@subsection Laissez vibrer ties
+@cindex Laissez vibrer
+@cindex Ties,  laissez vibrer
+
+L.v. ties (laissez vibrer) indicate that notes must not be damped at the
+end. It is used in notation for piano, harp and other string and
+percussion instruments. They can be entered using @code{\laissezVibrer},
+
+@lilypond[fragment,raggedright,verbatim,relative=1]
+<c f g>\laissezVibrer 
+@end lilypond
+
+@seealso
+
+Program reference: 
+@internalsref{LaissezVibrerTie}
+@internalsref{LaissezVibrerTieColumn}
+
+Example files:
+@inputfileref{input/regression,laissez-vibrer-tie.ly}
+
 @node Pedals
 @subsection Pedals
 @cindex Pedals
@@ -218,6 +240,10 @@ of the note head
 c\sostenutoDown d e c, f g a\sostenutoUp
 @end lilypond
 
+@seealso
+
+In this manual: @ref{Laissez vibrer ties}
+
 @node Staff switch lines
 @subsection Staff switch lines
 
@@ -322,6 +348,13 @@ This example also shows that the chord printing routines do not try to
 be intelligent.  The last chord (@code{f bes d}) is not interpreted as
 an inversion.
 
+Note that the duration of chords must be specified outside the
+@code{<>}.
+
+@example
+<c e g>2
+@end example
+
 
 @node Chords mode
 @subsection Chords mode
@@ -1195,6 +1228,27 @@ set @code{melismaBusyProperties}, as is done in the example above.
  { Ky -- _ _ ri __ _ _ _  e }
 @end lilypond
 
+@subsubsection Spacing lyrics
+
+@cindex Spacing lyrics
+@cindex Lyrics, increasing space between
+
+To increase the space between lyrics, use the @code{SeparationItem}
+property.
+
+@lilypond[relative,verbatim,fragment,quote,raggedright]
+{ 
+  c c c c
+  \override Score.SeparationItem #'padding = #5
+  c c c c
+}
+\addlyrics {
+  longtext longtext longtext longtext
+  longtext longtext longtext longtext
+}
+@end lilypond
+
+
 
 @node More stanzas
 @subsection More stanzas
@@ -1890,14 +1944,15 @@ demonstrated in @ref{Special noteheads}.
 @node Bagpipe definitions
 @subsection Bagpipe definitions
 
-LilyPond contains special definitions for bagpipe music; to use them, add
+LilyPond contains special definitions for music for the Scottish
+highland bagpipe; to use them, add
 
 @example
 \include "bagpipe.ly"
 @end example
 
 @noindent
-at the top of your input file.  This lets you add the special flourishes
+at the top of your input file.  This lets you add the special gracenotes
 common to bagpipe music with short commands.  For example, you could
 write @code{\taor} instead of
 
@@ -1909,18 +1964,66 @@ write @code{\taor} instead of
 notes in the appropiate octaves, so you do not need to worry about
 @code{\relative} or @code{\transpose}.
 
-@ignore
-@lilypond[raggedright,verbatim,quote]
+@lilypond[raggedright,verbatim,quote,notime]
 \include "bagpipe.ly"
-{ G4 a b c d e f g A B C }
+{ \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
 @end lilypond
-@end ignore
+
+Bagpipe music nominally uses the key of D Major (even though that 
+isn't really true). However, since that is the only key that can be used, 
+the key signature is normally not written out. To set this up correctly, 
+always start your music with @code{\hideKeySignature}. If you for some 
+reason want to show the key signature, you can use @code{\showKeySignature}
+instead.
+
+Some modern music use cross fingering on c and f to flatten those notes.
+This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
+piobaireachd high g can be written @code{gflat} when it occurs in light 
+music.
 
 
 @node Bagpipe example
 @subsection Bagpipe example
 
-To be inserted soon.
+This is what the well known tune Amazing Grace looks like in bagpipe
+notation.
+
+@lilypond[verbatim,quote]
+\include "bagpipe.ly"
+\layout {
+  indent = 0.0\cm
+  \context { \Score \remove "Bar_number_engraver" }
+}
+
+\header {
+  title = "Amazing Grace"
+  meter = "Hymn"
+  arranger = "Trad. arr."
+}
+
+{
+  \hideKeySignature
+  \time 3/4
+  \grg \partial 4 a8. d16 
+  \slurd d2 \grg f8[ e32 d16.]
+  \grg f2 \grg f8 e
+  \thrwd d2 \grg b4
+  \grG a2 \grg a8. d16
+  \slurd d2 \grg f8[ e32 d16.]
+  \grg f2 \grg e8. f16
+  \dblA A2 \grg A4
+  \grg A2 f8. A16
+  \grg A2 \hdblf f8[ e32 d16.]
+  \grg f2 \grg f8 e
+  \thrwd d2 \grg b4
+  \grG a2 \grg a8. d16
+  \slurd d2 \grg f8[ e32 d16.]
+  \grg f2 e4
+  \thrwd d2.
+  \slurd d2
+  \bar "|."
+}
+@end lilypond
 
 
 @node Ancient notation