-
-@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
* Chords::
* Writing parts::
* Custodes::
+* Figured bass::
* Tuning output::
* Page layout::
* Output formats::
\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
The grob is @internalsref{Rest}. Whole bar rests centered in the bar are
specified using @code{R}, see @ref{Multi measure rests}.
+For polyphonic music, it can be convenient to specify the rest position
+directly. You can do that by entering a note, with the keyword
+@code{\rest} appended, e.g. Rest collisions will leave these rests alone.
+
+@lilypond[singleline,verbatim]
+a'4\rest d'4\rest
+@end lilypond
+
@c . {Skips}
@c FIXME: naming.
@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
@cindex polyphony
Polyphonic parts, i.e. parts with more than one voice on a staff can be
-typeset with LilyPond. To use this, instantiate a separate Voice
-context for each part, and assign a stem direction to each part.
+typeset with LilyPond.
+
+The easiest way to enter such fragments, is the Scheme function
+@code{voicify-music}. It will split chords using the separator
+@code{\\}, to make multiple voices. You can use it for small,
+short-lived voices (make a chord of voices) or for single chords:
+
+@lilypond[verbatim,fragment]
+\context Voice = VA \apply #voicify-music \relative c'' {
+ c4 < { f d e } \\ { b c2 } > c4 < g' \\ c, \\ f \\ d >
+}
+@end lilypond
+
+The function @code{voicify-music} instantiates @internalsref{Voice}
+contexts, bearing the names @code{"1"}, @code{"2"}, etc.
+
+To explicity typeset polyphonic music, instantiate a separate Voice
+context for each part, and assign a stem direction to each part.
+@c
@lilypond[fragment,verbatim]
\context Staff
< \context Voice = VA { \stemUp b'4 a' g' f' e' }
@end lilypond
Note head collisions (horizontal shifting of note heads) are handled by
-the @internalsref{NoteCollision} grob. @internalsref{RestCollision} handles vertical
-shifting of rests.
+the @internalsref{NoteCollision} grob. @internalsref{RestCollision}
+handles vertical shifting of rests.
+
+
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
@}
@end example
+
+@c . {Figured bass}
+@node Figured bass
+@section Figured bass
+
+@cindex Basso continuo
+
+TODO. see figured-bass.ly
+
@c . {Tuning output}
@node Tuning output
@section 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:
projects / lilypond.git / blobdiff