@code{as}, but both forms are accepted. Similarly, both
@code{es} and @code{ees} are accepted.
+Half-flats and half-sharps are formed by adding @code{-eh} and
+@code{-ih}; the following is a series of Cs with increasing pitches:
+
+@cindex quarter tones
+@cindex semi-flats, semi-sharps
+
+@lilypond[verbatim,relative 2]
+ ceses4
+ ceseh
+ ces
+ ceh
+ c
+ cih
+ cis
+ cisih
+ cisis
+@end lilypond
+
There are predefined sets of note names for various other languages.
To use them, include the language specific init file. For
example: @code{\include "english.ly"}. The available language files
@code{\property Staff} is interpreted, a @internalsref{Staff} context
is made, and the @internalsref{StaffSymbol} is created before any
@code{\override} is effective. Properties can be changed in a
-@code{\translator} definition, or by using @code{\outputproperty}.
+@code{\translator} definition, or by using @code{\applyoutput}.
@refbugs
@subsection Ambitus
@cindex ambitus
-The term @emph{ambitus} denotes a range of pitches for a given voice in
-a part of music. It also may denote the pitch range that a musical
-instrument is capable of playing. Most musical instruments have their
-ambitus standardized (or at least there is agreement upon the minimal
-ambitus of a particular type of instrument), such that a composer or
-arranger of a piece of music can easily meet the ambitus constraints of
-the targeted instrument. However, the ambitus of the human voice
-depends on individual physiological state, including education and
-training of the voice. Therefore, a singer potentially has to check for
-each piece of music if the ambitus of that piece meets his individual
-capabilities. This is why the ambitus of a piece may be of particular
-value to vocal performers.
+The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
+for a given voice in a part of music. It also may denote the pitch
+range that a musical instrument is capable of playing. Most musical
+instruments have their ambitus standardized (or at least there is
+agreement upon the minimal ambitus of a particular type of
+instrument), such that a composer or arranger of a piece of music can
+easily meet the ambitus constraints of the targeted instrument.
+However, the ambitus of the human voice depends on individual
+physiological state, including education and training of the voice.
+Therefore, a singer potentially has to check for each piece of music
+if the ambitus of that piece meets his individual capabilities. This
+is why the ambitus of a piece may be of particular value to vocal
+performers.
The ambitus is typically notated on a per-voice basis at the very
beginning of a piece, e.g. nearby the initial clef or time signature of
@internalsref{Ambitus_engraver} to the @internalsref{Staff} context
rather than to the @internalsref{Voice} context.
-It is possible to tune individual ambiti for multiple voices on a
+It is possible to tune individual ambituses for multiple voices on a
single staff, for example by erasing or shifting them horizontally. An
example is in @inputfileref{input/test,ambitus-mixed.ly}
You can change the number of strings, by setting the number of lines
in the @internalsref{TabStaff} (the @code{line-count} property of
@internalsref{TabStaff} can only be changed using
-@code{\outputproperty}, for more information, see @ref{Tuning
+@code{\applyoutput}, for more information, see @ref{Tuning
objects}).
You can change the tuning of the strings. A string tuning is given as
@lilypond[fragment,verbatim]
\context TabStaff <<
- \outputproperty #(make-type-checker 'staff-symbol-interface)
- #'line-count = #4
+ \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface)
+ 'line-count 4)
\property TabStaff.stringTunings = #'(-5 -10 -15 -20)
\notes {
@code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
@lilypond[relative 0, notime]
\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
+\applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
\property Staff.TimeSignature \set #'transparent = ##t
\clef "vaticana_do2" c
@end lilypond
@code{vaticana_fa1}, @code{vaticana_fa2} @tab
@lilypond[relative 0, notime]
\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
+\applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
\property Staff.TimeSignature \set #'transparent = ##t
\clef "vaticana_fa2" c
@end lilypond
@code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
@lilypond[relative 0, notime]
\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
+\applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
\property Staff.TimeSignature \set #'transparent = ##t
\clef "medicaea_do2" c
@end lilypond
@code{medicaea_fa1}, @code{medicaea_fa2} @tab
@lilypond[relative 0, notime]
\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
+\applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
\property Staff.TimeSignature \set #'transparent = ##t
\clef "medicaea_fa2" c
@end lilypond
@code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
@lilypond[relative 0, notime]
\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
+\applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
\property Staff.TimeSignature \set #'transparent = ##t
\clef "hufnagel_do2" c
@end lilypond
@code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
@lilypond[relative 0, notime]
\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
+\applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
\property Staff.TimeSignature \set #'transparent = ##t
\clef "hufnagel_fa2" c
@end lilypond
* Tuning objects ::
* Constructing a tweak::
* Applyoutput::
-* Outputproperty::
* Font selection::
* Text markup::
@end menu
@item the context where @code{\applyoutput} is processed.
@end itemize
+
In addition, the cause of the layout object, i.e. the music
expression or object that was responsible for creating it, is in the
object property @code{cause}. For example, for a note head, this is a
@internalsref{NoteHead} event, and for a @internalsref{Stem} object,
this is a @internalsref{NoteHead} object.
+Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
+center-line:
+@example
+(define (blanker grob grob-origin context)
+ (if (and (memq (ly:get-grob-property grob 'interfaces)
+ note-head-interface)
+ (eq? (ly:get-grob-property grob 'staff-position) 0))
+
+ (ly:set-grob-property! grob 'transparent #t)))
+@end example
+
@node Font selection
line breaks and the spacing. These all influence each other. The
choice of spacing determines how densely each system of music is set,
which influences where line breaks breaks are chosen, and thus
-ultimately how many pages a piece of music takes. In this section, the
-algorithm for spacing music is explained, and how spacing can be
-tuned.
+ultimately how many pages a piece of music takes. This section
+explains how to tune the algorithm for spacing.
Globally spoken, this procedure happens in three steps: first,
flexible distances (``springs'') are chosen, based on durations. All
@example
\property Staff.minimumVerticalExtent = #'(-4 . 4)
@end example
-This sets the vertical size of the current staff to 4 staff-space on
+This sets the vertical size of the current staff to 4 staff spaces on
either side of the center staff line. The argument of
@code{minimumVerticalExtent} is interpreted as an interval, where the
center line is the 0, so the first number is generally negative. The
If one would follow the above procedure exactly, then adding a single
32th note to a score that uses 8th and 16th notes, would widen up the
entire score a lot. The shortest note is no longer a 16th, but a 32nd,
-thus adding 2 noteheads of space to every note. To prevent this, the
+thus adding 1 NHW to every note. To prevent this, the
shortest duration for spacing is not the shortest note in the score,
but the most commonly found shortest note. Notes that are even
-shorter this are followed by a space that is proportonial to their
+shorter this are followed by a space that is proportional to their
duration relative to the common shortest note. So if we were to add
only a few 16th notes to the example above, they would be followed by
half a NHW:
@cindex instrument names
@cindex @code{Staff.midiInstrument}
-@cindex @code{Staff.instrument}
The MIDI instrument name is set by the @code{Staff.midiInstrument}
-property or, if that property is not set, the @code{Staff.instrument}
property. The instrument name should be chosen from the list in
@ref{MIDI instruments}.
@refbugs
-If the selected string does not exactly match, then LilyPond uses the
-default (Grand Piano). It is not possible to select an instrument by
-number.
-
+If the selected string does not exactly match, then the default is
+used, which is the Grand Piano.
projects / lilypond.git / blobdiff