composition methods.
@lilypond[fragment,staffsize=12,line-width=13.0\cm]
+\set Score.implicitTimeSignatureVisibility = #all-invisible
\override Score.TimeSignature #'break-visibility = #all-invisible
\context PianoStaff <<
\context Staff = SA \relative c' {
FI: cresendo, voimistuen.
Increasing volume. Indicated by a rightwards opening horizontal wedge or the
-abbreviation ``cresc.''.
+abbreviation @q{cresc.}.
@lilypond[fragment,ragged-right]
\key g \major \time 4/4
FI: da capo, alusta.
The term indicates repetition of the piece from the beginning to the end or
-to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
+to a certain place marked @emph{fine}. Mostly abbreviated as @q{D.C.}.
@node dal segno
@section dal segno
S: dal segno,
FI: dal segno, lähtien merkistä.
-Abbreviated ``d.s.''. Repetition, not from the beginning, but from
+Abbreviated @q{d.s.}. Repetition, not from the beginning, but from
another place frequently near the beginning marked by a sign:
@lilypond[fragment,ragged-right]
FI: decresendo, hiljentyen.
Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
-or the abbreviation ``decresc.''.
+or the abbreviation @q{decresc.}.
@lilypond[fragment,ragged-right]
\relative c'' {
FI: johtosävel.
The seventh @aref{scale degree}, a @aref{semitone} below
-the tonic; so called because of its strong tendency to ``lead up'' (resolve
+the tonic; so called because of its strong tendency to @q{lead up} (resolve
upwards) to the tonic scale degree.
@node ledger line
@lilypond[line-width=13.0\cm]
\score{
\relative c'' {
+ \set Score.implicitTimeSignatureVisibility = #all-invisible
\override Score.TimeSignature #'break-visibility = #all-invisible
- %\override Score.TextScript #'font-style = #'large
\time 4/4
\key g \major
\partial 8 g16\startGroup fis |
falls into three sections called @emph{exposition}, @emph{development} and
@emph{recapitulation}. In the exposition the composer introduces some musical
ideas, consisting of a number of themes; in the development section the
-composer `develops' this material, and in the recapitulation the composer
+composer @q{develops} this material, and in the recapitulation the composer
repeats the exposition, with certain modifications. The exposition contains a
number of themes that fall into two groups, often called first and second
subject. Other melodies occurring in each group are considered as