@c before saving changes
-@ignore
- TODO:
-
-@end ignore
-
-
@macro refbugs
@unnumberedsubsec Bugs
@end lilypond
If you dislike the amount of ties created for a chord, you set
-@code{Thread.sparseTies} to true, resulting in a smaller number of
+@code{Voice.sparseTies} to true, resulting in a smaller number of
ties:
@lilypond[fragment,verbatim,center]
- \property Thread.sparseTies = ##t
+ \property Voice.sparseTies = ##t
<c' e' g'> ~ <c' e' g'>
@end lilypond
@menu
* Key signature::
+* Clef::
* Time signature::
+* Unmetered music::
* Bar lines::
@end menu
@cindex @code{keySignature}
@c . {Clef}
-@subsection Clef changes
+@node Clef
+@subsection Clef
@cindex @code{\clef}
@example
\clef @var{clefname} @code{;}
@end example
-Short-cut for
+Shortcut for
@example
\property Staff.clefGlyph = @var{glyph associated with clefname}
@example
\time @var{numerator}@code{/}@var{denominator} @code{;}
@end example
-Internally, this is a short-cut for doing
+Internally, this is a shortcut for doing
@example
\property Score.timeSignatureFraction = #'(@var{numerator} . @var{denominator})
@end example
\partial @var{duration} @code{;}
@end example
-Internally, this is a short cut for
+Internally, this is a shortcut for
@example
\property Score.measurePosition = -@var{length of duration}
@end example
@cindex @code{|}
+
+@node Unmetered music
+@subsection Unmetered music
+
+Bar lines and bar numbers are calculated automatically. For unmetered
+music (e.g. cadenzas), this is not desirable. The property
+@code{Score.timing} can be used to switch off this automatic timing
+
+@lilypond[fragment,relative,singleline,verbatim]
+c'2.
+\property Score.timing = ##f
+c4 c4 c4
+\property Score.timing = ##t
+c4 c4 c4
+@end lilypond
+
+The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used to
+achieve the same effect.
+
+
+
@c . {Bar lines}
@node Bar lines
@subsection Bar lines
\bar @var{bartype};
@end example
-This is a short-cut for doing
+This is a shortcut for doing
@example
\property Score.whichBar = @var{bartype}
@end example
@cindex Polyphony
[TODO: collisions, rest-collisinos, voiceX identifiers, how to
-which contexts to instantiate.]
+which contexts to instantiate. some small examples? ]
@table @code
@code{\slurBoth},
@code{\slurDown},
@code{\slurUp}.
-@cindex @code{\slurBoth}
-@cindex @code{\slurDown}
-@cindex @code{\slurUp}
-Aand for ties use
+
+@cindex @code{\tieBoth}
+@cindex @code{\tieDown}
+@cindex @code{\tieUp}
+For ties use
@code{\tieBoth},
@code{\tieDown},
@code{\tieUp}.
+@cindex @code{\dynacmicBoth}
+@cindex @code{\dynamicDown}
+@cindex @code{\dynamicUp}
+For dynamics use
+@code{\dynamicBoth},
+@code{\dynamicDown},
+@code{\dynamicUp}.
+
+@c text scripts? articulation scripts? fingering?
+
+@cindex @code{\voiceOne}
+@cindex @code{\voiceTwo}
+@cindex @code{\voiceThree}
+@cindex @code{\voiceFour}
+@cindex @code{\oneVoice}
+@cindex @code{\shiftOn}
+@cindex @code{\shiftOff}
+
+If two voices sharing one staff have the same stem directions, their
+note heads may collide. You can shift the note heads of one voice by
+setting @code{\shiftOn}. This can be undone by setting
+@code{\shiftOff}.
+
+For simple polyphonic music, shorthands are available that combine
+directions and shift settings: @code{\voiceOne}, @code{\voiceTwo},
+@code{\voiceThree}, @code{\voiceFour} and @code{\oneVoice}.
+
@node Beaming
@section Beaming
@end quotation
@cindex @code{stemRightBeamCount}
+The beam symbol can be tweaked through @code{Voice.Beam}'s
+grob-properties @code{height} and @code{staff-position},
+in staff-spaces.
+
+Set @code{height} to zero, to get horizontal beams:
+
+@quotation
+@lilypond[fragment,relative,verbatim]
+ \property Voice.Beam \set #'direction = #1
+ \property Voice.Beam \set #'height = #0
+ [a''8 e' d c]
+@end lilypond
+@end quotation
-[TODO: explain common tweaks.]
+Here's how you'd specify a weird looking beam that instead of being
+horizontal, falls two staff spaces:
+@quotation
+@lilypond[fragment,relative,verbatim]
+ \property Voice.Beam \set #'staff-position = #2
+ \property Voice.Beam \set #'height = #-2
+ [c'8 c]
+@end lilypond
+@end quotation
+@cindex @code{default-neutral-direction}
@node Expressive marks
@section Expressive marks
* Phrasing slur::
* Breath marks::
* Tempo::
+* Text spanner::
@end menu
@node Slur
Similarly, the curvature of a slur is adjusted to stay clear of note
heads and stems. When that would increase the curvature too much, the
slur is reverted to its default shape. The threshold for this decision
-is in @code{Voice.Slur}'s grob-property @code{beautiful}. In some
-cases, you may prefer curved slurs to vertically moved ones. You can
+is in @code{Voice.Slur}'s grob-property @code{beautiful}. It is loosely
+related to the enclosed area between the slur and the notes. Usually,
+the default setting works well, but in some cases you may prefer a
+curved slur when LilyPond decides for a vertically moved one. You can
express this by increasing the @code{beautiful} value:
-[hoe gedefd?? wat betekent beautiful = X?]
+@lilypond[verbatim,singleline,relative]
+ \property Voice.Beam \override #'direction = #-1
+ \property Voice.Slur \override #'direction = #1
+ c'16( a' f' a a f a, )c,
+ c( a' f' a a f d, )c
+ \property Voice.Slur \override #'beautiful = #5.0
+ c( a' f' a a f d, )c
+@end lilypond
-[dit voorbeeld is te lang: junken, of inkorten]
+@refbugs
-@quotation
-@lilypond[verbatim,singleline]
-\score {
- \notes \context PianoStaff <
- \time 6/4;
- \context Staff=up { s1 * 6/4 }
- \context Staff=down <
- \clef bass;
- \autochange Staff \context Voice
- \notes \relative c {
- d,8( a' d f a d f d a f d )a
- }
- >
- >
- \paper {
- \translator {
- \VoiceContext
- Slur \override #'beautiful = #5.0
- Slur \override #'direction = #1
- Stem \override #'direction = #-1
- autoBeamSettings \override #'(end * * * *)
- = #(make-moment 1 2)
- }
- \translator {
- \PianoStaffContext
- VerticalAlignment \override #'threshold = #'(5 . 5)
- }
- }
-}
-@end lilypond
-@end quotation
+The definition for @code{beautiful} is vague, the default setting is
+experimental computer science.
@cindex Adusting slurs
@lilypond[fragment,verbatim]
\relative c'' {
\grace c8 c4 \grace { [c16 c16] } c4
- \grace { \property Grace.Stem \override #'flag-style = ##f c16 } c4
+ \grace { \property Grace.Stem \override #'flag-style = #'() c16 } c4
}
@end lilypond
@end lilypond
-
-[TODO: explain perc notation, if it's finished in time.]
-
-
-
@c . {Piano music}
@node Piano music
@section Piano music
* Manual staff switches::
* Pedals::
* Arpeggio::
-* Follow Thread::
+* VoiceFollower::
@end menu
connected arpeggios and unconnected arpeggios at the same time.
-@c . {Follow Thread}
-@node Follow Thread
-@subsection Follow Thread
+@c . {VoiceFollower}
+@node VoiceFollower
+@subsection VoiceFollower
-@cindex follow thread
+@cindex follow voice
@cindex staff switching
@cindex cross staff
-[todo: figure out different name, eg. voice line, switch indicator ? ]
-
-@cindex @code{followThread}
+@cindex @code{followVoice}
Whenever a voice switches to another staff a line connecting the notes
can be printed automatically. This is enabled if the property
-@code{PianoStaff.followThread} is set to true:
+@code{PianoStaff.followVoice} is set to true:
@quotation
@lilypond[fragment,relative,verbatim]
\context PianoStaff <
- \property PianoStaff.followThread = ##t
+ \property PianoStaff.followVoice = ##t
\context Staff \context Voice {
c'1
\translator Staff=two
staff in an intelligent way. It is aimed primarily at typesetting Hymns
and orchestral scores. When the two parts are identical for a period of
time, only one is shown. In places where the two parts differ, stem
-directions are set automatically. Also, soli and @`{a} due parts can be
+directions are set automatically. Also, soli and @emph{a due} parts can be
identified and marke.
The syntax for part combining is
@lilypond[verbatim,singleline,fragment]
\context Staff <
\context Voice=one \partcombine Voice
- \context Thread=one \notes\relative c'' {
- g g a b r2
+ \context Thread=one \relative c'' {
+ g a b r
}
- \context Thread=two \notes\relative c'' {
- g g r2 g4 f4
+ \context Thread=two \relative c'' {
+ g r2 f4
}
>
@end lilypond
Notice that the first @code{g} appears only once, although it was
specified twice (once in each Thread). Also note that stem, slur and tie
directions are set automatically, depending whether there is a solo or
-unisono.
-
-There is actually a third engraver involved in part combining; the
-@code{Voice_devnull_engraver}. This one takes care of removing
-redundant spanners such as beams, slurs, ties, crescendi, etc. Note that
-the Thread called one always gets up stems, and "solo", while @code{two}
-always gets down stems and "Solo II".
+unisono. The Thread called @code{one} always gets up stems, and "solo",
+while @code{two} always gets down stems and "Solo II".
If you just want the splitting of Threads and setting of directions, and
not the textual markings, you may set the property @var{soloADue} to
-false. There are a number of other properties that you can use to tweak
+false. This mode can be used to set hymns:
+
+@lilypond[verbatim,singleline,fragment]
+ \context Staff <
+ \property Staff.soloADue = ##f
+ \context Voice=one \partcombine Voice
+ \context Thread=one \relative c'' {
+ b4 a c g
+ }
+ \context Thread=two \relative c'' {
+ d,2 a4 g'
+ }
+ >
+@end lilypond
+
+There are a number of other properties that you can use to tweak
the behavior of part combining, refer to the automatically generated
documentation. Look for @code{Thread_devnull_engraver}
-@code{Voice_engraver} and @code{A2_engraver}.
+@code{Voice_devnull_engraver} and @code{A2_engraver}.
@cindex @code{Thread_devnull_engraver}
@cindex @code{Voice_engraver}
@node Hara-kiri staffs
@subsection Hara-kiri staffs
+In orchestral scores, staffs that only have rests are usually removed.
+This saves some space. LilyPond also supports this through the
+hara-kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide
+of the Japanese Samourai warriors.} staff. This staff commits suicide
+when it finds itself to be empty after the line-breaking process---note
+that it will not disappear when it contains normal rests, you must use
+multi measure rests.
+
+The hara kiri staff is specialized version of the Staff context. It is
+available as the context identifier @code{\HaraKiriStaffContext}.
+Observe how the second staff in this example disappears in the second
+line.
-[TODO]@footnote{Harakiri, also called Seppuku, is the ritual suicide of
-the Japanese Samourai warriors.}
+@lilypond[verbatim]
+\score {
+ \notes \relative c' <
+ \context Staff = SA { e4 f g a \break c1 }
+ \context Staff = SB { c4 d e f \break R1 }
+ >
+ \paper {
+ linewidth = 6.\cm ;
+ \translator { \HaraKiriStaffContext }
+ }
+}
+@end lilypond
* Tuning groups of grobs ::
* Tuning per grob ::
* What to tune?::
+* Font selection::
* Text markup::
@end menu
overview of the context, listing which grob types are created there.
+@node Font selection
+@subsection Font selection
+
+Most graphics in LilyPond are composed of characters of fonts. You can
+alter the characteristics of the font by setting certain grob
+properties. The mechanism that is used for this resembles LaTeX's New
+Font Selection Scheme. Within this scheme, a font is entirely
+characterized by its font name.
+
+For each grob that uses fonts (in other words, each grob that supports
+@code{font-interface}) a font-name must be selected before it can be
+printed. The font name is selected by looking at a number of grob
+properties:
+
+@table @code
+@item font-family
+ The general class of the typeface. Supported are roman (Computer
+Modern), braces (for piano staff braces), music (the standard music
+font), dynamic (font for dynamic signs) and typewriter
+
+@item font-shape
+ A symbol indicating the shape of the font, a finer gradation than
+ font-family. Choices are italic and upright
+@item font-series
+ Symbol indicating the serie of the font. Series form a finer gradation
+ than font-shape. Choices are medium and bold.
+
+@item font-relative-size
+ A number indicating the size relative the standard size. For example,
+ with 20pt staff height, relative size -1 corresponds to 16pt staff
+ height, and relative size +1 corresponds to 23 pt staff height.
+
+@item font-design-size
+A number indicating the design size of the font.
+
+This is a feature of the Computer Modern Font: each point size has a
+slightly different design. Smaller design sizes are relatively wider,
+which enhances readability. Scalable type faces such TrueType and Adobe
+Type1 usually come as ``one design fits all sizes''.
+
+@item font-name
+ The name of the font, without the design size, eg. @code{cmr},
+@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
+any value for that qualifier.
+
+@example
+ \property Lyrics.LyricText \override #'font-series = #'bold
+ \property Lyrics.LyricText \override #'font-shape = #'*
+@end example
+
+@cindex @code{font-style}
+
+There are also pre-cooked font selection qualifiers. These are selected
+through the grob property @code{font-style}. For example, the style
+@code{finger} selects family @code{number} and relative size @code{-3}.
+Styles available include: volta, finger, tuplet, timesig, mmrest,
+script, large, Large and dynamic.
+
+The style sheets and tables for selecting fonts are located in
+@file{scm/font.scm}. Refer to this file for more information.
+
+@refbugs
+
+Relative size is not linked to any real size. There is no mechanism to
+select magnifications of fonts, meaning that you can not scale fonts
+continuoussly. There is no style sheet provided for other fonts besides
+the @TeX{} family.
+
+@cindex font selection
+@cindex font magnification
+@cindex @code{font-interface}
+
+@refbugs
+
@node Text markup
@subsection Text markup
form text markup expressions by composing scheme expressions
in the following way.
-
-[BUG]
-
@lilypond[verbatim, singleline]
\relative c' {
- b_#"italic"
- c^#'(upright "upright")
- c_#'((bold upright) "bold")
- d^#'(lines "one" ((bold upright) "two"))
- e_#'(music (named "noteheads-2" "flags-u3"))
+ \fatText
+ a^#"upright"
+ b_#'(bold "bold")
+ c^#'(italic "italic")
+ d_#'((bold italic) "ff")
+ e^#'(dynamic "ff")
+ f_#'(lines "one" (bold "two"))
+ g^#'(music "noteheads-2" "flags-u3")
}
@end lilypond
@example
text: string | (head? text+)
head: markup | (markup+)
-markup-item: property | abbrev | @var{fontstyle}
+markup-item: property | abbrev
property: (@var{key} . @var{value})
abbrev: @code{rows lines roman music bold italic named super sub text}
+ @code{finger volta timesig mmrest mark script large Large dynamic}
@end example
The markup is broken down and converted into a list of grob properties,
which are prepended to the property list. The @var{key}-@var{value}
pair is a grob property.
-The following abbreviations are currently
-defined:
+The following abbreviations are currently defined:
@table @code
@item rows
superscript
@item sub
subscript
+@item finger
+ select fingering number fontstyle
+@item volta
+ select volta number fontstyle
+@item timesig
+ select time signature number fontstyle
+@item mmrest
+ select multi measure rest number fontstyle
+@item mark
+ select mark number fontstyle
+@item script
+ select scriptsize roman fontstyle
+@item large
+ select large roman fontstyle
+@item Large
+ select Large roman fontstyle
+@item dynamic
+ select dynamics fontstyle
@end table
-@var{fontstyle} may be any of @code{finger volta timesig mmrest mark
-script large Large dynamic}
-
-[wat is het verschil tussen fontstyle en abbrev?]
-
-
It is possible to use @TeX{} commands in the strings, but this should be
avoided because this makes it impossible for LilyPond to compute the
exact length of the string, which may lead to collisions. Also, @TeX{}
@end example
See @file{scm/font.scm} for details of @var{alist}.
-@item an \elementdescriptions declaration.
+ @item an \elementdescriptions declaration.
@example
\elementdescriptions @var{alist}
@end example
@itemize
@item
@uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
-Xdvi} version 22.28 or better.
+Xdvi} version 22.36 or newer.
Note that most @TeX{} distributions ship with xdvik, which is a
different and less well maintained program. To find out which xdvi you
If you want emacs to jump to the exact spot (and not just the line) on a
click, you must enable column positioning. To do so, you need to patch
-emacsclient. Apply @uref{this patch,
-http://www.cs.uu.nl/~hanwen/public/software/emacsclient-column} to
-@file{emacsclient.c} and @file{server.el} from the emacs source
-code. Stick the compiled emacsclient into a bin directory, and put
-@file{server.el} into a elisp directory
+emacsclient. Apply @file{emacsclient.patch} (included with the source
+package) to @file{emacsclient.c} and @file{server.el} from the emacs
+source code. Recompile and stick the recompiled emacsclient into a bin
+directory, and put @file{server.el} into a elisp directory
(eg. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
init file, before invoking server-start.
@example
- (setq load-path (cons (concat (getenv "HOME") "/usr/share/emacs")
- load-path))
+ (setq load-path (cons "~/usr/share/emacs" load-path))
@end example
Xdvi must be configured to use the emacs editor. Before starting, set
-the environment variable @code{XEDITOR} to @code{emacsclient --no-wait
-+%c:%l %f}. Xdvi also must be configured to find the fonts. Refer to the
+the environment variable @code{XEDITOR} to
+@example
+emacsclient --no-wait +%c:%l %f
+@end example
+Xdvi also must be configured to find the fonts. Refer to the
xdvi documentation for more information.
-[TODO: is that so?]
+When viewing, control-mousebutton 1 will take you to the originating
+line and column. Control-mousebutton 2 will show all clickable boxes.
-When viewing, control-mousebutton 1 will take you to the correct
-line/column. Control-mousebutton 2 will show all clickable boxes.
+@refbugs
When you convert the TeX file to PostScript using dvips, dvips
will complain about not finding @code{src:X:Y} files. Those complaints are
projects / lilypond.git / blobdiff