+
@c Note:
@c
@c A menu is needed before every deeper *section nesting of @node's; run
* Chords::
* Writing parts::
* Custodes::
+* Figured bass::
* Tuning output::
* Page layout::
* Output formats::
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.
@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.
+
+
@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
\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}.
@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 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
@code{cmti}, etc. Setting this overrides font-family, font-shape and
font-series.
+
@end table
+
The font is selected by taking the first font that satisfies all
qualifiers specified. You can override any of these fields through
@code{\override} and @code{\revert}. The special value @code{*} matches
The style sheets and tables for selecting fonts are located in
@file{scm/font.scm}. Refer to this file for more information.
+
+Setting @code{font-name} overrides all other qualifiers. The value for
+this property should be a string, the file name of the font. You may use
+this to use special fonts, which are not a part of the style sheet, or
+which have special encodings.
+
+The size of the font may be set with the grob property
+@code{font-magnification}. It is the size of font, relative to its
+standard size. For example, @code{1.0} is normal size.
+
@refbugs
Relative size is not linked to any real size.
-There is no mechanism to select magnification of particular fonts,
-meaning that you don't have access to continuously scaled fonts. You
-can scale the entire output, of course, see @ref{Output scaling}.
-
There is no style sheet provided for other fonts besides the @TeX{}
family.
@cindex @code{papersize}
To change the paper size, you must first set the
-@code{papersize} variable at top level. Set it to
+@code{papersize} paper variable variable. Set it to
the strings @code{a4}, @code{letter}, or @code{legal}. After this
specification, you must set the font as described above. If you want
the default font, then use the 20 point font.
@example
- papersize = "a4"
+ \paper@{ papersize = "a4" @}
\include "paper16.ly"
@end example
The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
will set the paper variables @code{hsize} and @code{vsize} (used by
-@code{ly2dvi})
+Lilypond and @code{ly2dvi})
@c . {Line break}
@node Line break
@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
-
-@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