-
-@c Note:
+@c Note: -*-texinfo-*-
@c
@c A menu is needed before every deeper *section nesting of @node's; run
@c M-x texinfo-all-menus-update
\pitch @var{scmpitch}
@end example
-@var{scmpitch} is a pitch scheme object, see @ref{Pitch data type}.
+@var{scmpitch} is a pitch scheme object.
In Note and Chord mode, pitches may be designated by names. The default
names are the Dutch note names. The notes are specified by the letters
@example
\duration @var{scmduration}
@end example
-Here, @var{scmduration} is a Scheme object of type @code{Duration}. See
-@ref{Duration} for more information.
+Here, @var{scmduration} is a Scheme object of type @code{Duration}.
In Note, Chord, and Lyrics mode, durations may be designated by numbers
Here's how you'd specify a weird looking beam that instead of being
horizontal, falls two staff spaces:
+
+[FIXME]
+
+
@lilypond[fragment,relative,verbatim]
\property Voice.Beam \set #'staff-position = #4
\property Voice.Beam \set #'height = #-4
[c8 c]
@end lilypond
+[TODO: doc autokneeing ? ]
+
@c TODO -> why this ref? Document?
@cindex @code{neutral-direction}
@cindex fingering
-Fingering instructions can also be entered in this shorthand.
+Fingering instructions can also be entered in this shorthand. For
+changes, some markup texts would be needed:
@lilypond[verbatim, singleline, fragment]
c'4-1 c'4-2 c'4-3 c'4-4
+ c^#'(finger "2-3")
@end lilypond
stem.
@lilypond[fragment,verbatim]
-\relative c'' {
+\relative c'' \context Voice {
\grace c8 c4 \grace { [c16 c16] } c4
\grace {
\property Voice.Stem \override #'flag-style = #'()
@menu
* Repeat syntax::
+* Repeats and MIDI::
* Manual repeat commands::
* Tremolo repeats::
* Tremolo subdivisions::
}
@end lilypond
-@subsection Unfolding repeats for MIDI output.
+@node Repeats and MIDI
+@subsection Repeats and MIDI
@cindex expanding repeats
-See @file{input/test/unfold-all-repeats.ly}.
+For instructions on how to unfoldi repeats for MIDI output, see
+the example file @file{input/test/unfold-all-repeats.ly}.
@refbugs
\context Voice { \repeat "percent" 4 { c'4 }
\repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
}
-@end lilypond
+@end lilypond
The signs are represented by these grobs: @internalsref{RepeatSlash} and
@internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
Voices can switch automatically between the top and the bottom
staff. The syntax for this is
@example
- \autochange @var{contexttype} @var{musicexp}
+ \autochange @var{contexttype} \context @var{childcontexttype}
+ @var{musicexp}
@end example
-This will switch the interpretation context of @var{musicexp} between a
-@var{contexttype} named @code{up} and @code{down}. Typically, you use
-@internalsref{Staff} for @var{contexttype}. The autochanger switches on basis
-of pitch (central C is the turning point), and it looks ahead skipping
-over rests to switch rests in advance.
+@c
+This will switch the interpretation context of @var{musicexp} between
+a @var{contexttype} named @code{up} and @code{down}. Typically, you
+use @internalsref{Staff} for @var{contexttype}, and
+@internalsref{Voice} for @var{childcontexttype}. The autochanger
+switches on basis of pitch (central C is the turning point), and it
+looks ahead skipping over rests to switch rests in advance.
@lilypond[verbatim,singleline]
\score { \notes \context PianoStaff <
@end lilypond
The symbols that are printed can be modified by setting
-@code{pedal@var{X}Strings}, where @var{X} is one of the pedal
-types. Refer to the generated documentation of @rgrob{PianoPedal} for
-more information.
+@code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
+Sustain, Sostenuto or UnaCorda. Refer to the generated documentation of
+@rgrob{SustainPedal}, for example, for more information.
-@refbugs
+Pedals can also be indicated by a sequence of brackets, by setting the
+@code{pedal-type} property of SustainPedal grobs:
+
+@lilypond[fragment,verbatim]
+\property Staff.SustainPedal \override #'pedal-type = #'bracket
+c''4 \sustainDown d''4 e''4 a'4 \sustainUp \sustainDown f'4 g'4 a'4 \sustainUp
+@end lilypond
+
+A third style of pedal notation is a mixture of text and brackets,
+obtained by setting @code{pedal-type} to @code{mixed}:
+
+@lilypond[fragment,verbatim]
+\property Staff.SustainPedal \override #'pedal-type = #'mixed
+c''4 \sustainDown d''4 e''4 c'4 \sustainUp \sustainDown f'4 g'4 a'4 \sustainUp
+@end lilypond
+
+The default '*Ped' style for sustain and damper pedals corresponds to
+@code{\pedal-type = #'text}. However, @code{mixed} is the default style
+for a sostenuto pedal:
+
+@lilypond[fragment,verbatim]
+c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
+@end lilypond
+For fine-tuning of the appearance of a pedal bracket, the properties
+@code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
+@code{PianoPedalBracket} grobs (see the detailed documentation of
+@rgrob{PianoPedalBracket}) can be modified. For example, the bracket
+may be extended to the end of the note head.
+
+@lilypond[fragment,verbatim]
+\property Staff.PianoPedalBracket \override #'shorten-pair = #'(0 . -1.0)
+c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
+@end lilypond
-Currently, brackets are not supported, only text markings (i.e. `*Ped'
-style).
@c . {Arpeggio}
@end lilypond
This command creates @internalsref{Arpeggio} grobs. Cross staff arpeggios
-are @code{PianoStaff.Arpeggio}. @internalsref{Arpeggio}
+are @code{PianoStaff.Arpeggio}.
To add an arrow head to explicitly specify the direction of the
arpeggio, you should set the arpeggio grob property
}
@end lilypond
-@ignore
A square bracket on the left indicates that the player should not
-arpeggiate the chord.
+arpeggiate the chord. To draw these brackets, set the
+@code{molecule-callback} property of @code{Arpeggio} or
+@code{PianoStaff.Arpeggio} grobs to @code{\arpeggioBracket}, and use
+@code{\arpeggio} statements within the chords as before.
-@lil ypond[fragment,relative,verbatim]
+@lilypond[fragment,relative,verbatim]
\context PianoStaff <
\property PianoStaff.connectArpeggios = ##t
- \property PianoStaff.Arpeggio \override #'arpeggio-direction = #'bracket
+ \property PianoStaff.Arpeggio \override #'molecule-callback = \arpeggioBracket
\context Voice = one { <c'\arpeggio e g c> }
\context Voice = other { \clef bass <c,,\arpeggio e g>}
>
-@ e nd lilypond
-@end ignore
+@end lilypond
@refbugs
@cindex Basso continuo
-Figured bass is printed by @internalsref{FiguredBass} context. This
-context will print notes (relative to the central C) as figures. To
-ease entering these notes, the special @code{\figures} mode is
-available which allows you to type numbers, like @code{<4 6+>}.
-
-@lilypond[verbatim,fragment]
-< \context FiguredBass \transpose c'' {
- <e! g >
- <f8 ais >
- \figures {
- r8
- <1 3 5>4 <3- 5+ 6!> <5>
- }
- }
- \context Voice {
- c g8 g f4 d c
- } >
-@end lilypond
+TODO. see figured-bass.ly
@c . {Tuning output}
@node Tuning output
@c . {Font size}
@node Font Size
@subsection Font size
-@cindex font size
+@cindex font size, setting
+@cindex staff size, setting
+@cindex @code{paper} file
The Feta font provides musical symbols at six different sizes. These
-fonts are 11 point, 13 point, 16 point, 20 point,
-23 point, and 26 point. The point size of a font is the
-height of the five lines in a staff when displayed in the font.
+fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and 26
+point. The point size of a font is the height of the five lines in a
+staff when displayed in the font.
Definitions for these sizes are the files @file{paperSZ.ly}, where
@code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
these files, the identifiers @code{paperEleven}, @code{paperThirteen},
@code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
@code{paperTwentysix} are defined respectively. The default
-@code{\paper} block is also set.
+@code{\paper} block is also set. These files should be imported at toplevel, i.e.
+@example
+ \include "paper26.ly"
+ \score @{ ... @}
+@end example
The font definitions are generated using a Scheme function. For more
details, see the file @file{scm/font.scm}.
@cindex breaking lines
Line breaks are normally computed automatically. They are chosen such
-that the resulting spacing has low variation, and looks neither cramped
-nor loose.
+that it looks neither cramped nor loose, and that consecutive lines have
+similar density.
Occasionally you might want to override the automatic breaks; you can do
this by specifying @code{\break}. This will force a line break at this
bar line, you can force an invisible bar line by entering @code{\bar
""}. Similarly, @code{\noBreak} forbids a line break at a certain point.
+If you want linebreaks at regular intervals, you can use the following:
+@example
+
+< \repeat 7 unfold @{ s1 * 4 \break @}
+ @emph{real music}
+>
+@end example
+This makes the following 28 measures (assuming 4/4 time) be broken every
+4 measures.
+
+
@cindex @code{\penalty}
The @code{\break} and @code{\noBreak} commands are defined in terms of
See @ref{Molecules}
@item Translator: object that produces audio objects or Grobs. This is
not yet user accessible.
-@item Font_metric: object representing a font. (See @ref{Font metrics})
-
+@item Font_metric: object representing a font.
@end itemize
-
-@c .{Local emacs vars}
-@c Local variables:
-@c mode: texinfo
-@c minor-mode: font-lock
-@c minor-mode: outline
-@c outline-layout: (-1 : 0)
-@c outline-use-mode-specific-leader: "@c \."
-@c outline-primary-bullet: "{"
-@c outline-stylish-prefixes: nil
-@c outline-override-protect: t
+@c broken with emacs-21
+@c {Local emac s vars}
+@c Local varia bles:
+@c mode: texi nfo
+@c minor-mod e: font-lock
+@c minor-mo de: outline
+@c outline -layout: (-1 : 0)
+@c outlin e-use-mode-specific-leader: "@c \."
+@c outli ne-primary-bullet: "{"
+@c outli ne-stylish-prefixes: nil
+@c outli ne-override-protect: t
@c End: