version that you are working on. See TRANSLATION for details.
@end ignore
+@c \version "2.11.38"
+
+@ignore
+GDP TODO list
+
+\compressMusic -> \scaleDurations.
+approved by Han-Wen; just needs somebody to kick up a fuss about
+it.
+
+1.2.3.1 Time signature
+Needs an example of beatLength, which is broken (see my recent
+mail
+to -bug). What to do? For now I've left a paragraph of text
+which really
+needs to be inserted with an example in a snippet.
+
+1.2.3.4 Polymetric notation
+Quite extensive changes. Could you please check through. Divided
+into three
+sections. Necessarily uses tweaks. I've also left an @lsr under
+@seealso
+Snippets - is this permitted or is @lsr now verboten? This
+snippet is too
+long to include, but seems relevant.
+A snippet "grouping beats" hasn't yet appeared (only sent to vv a
+couple of
+days ago). Text left in Snippets: with TODO.
+@end ignore
+
@node Rhythms
@section Rhythms
@ref{Ancient notation},
@ref{Proportional notation}.
-Snippets: @lsrdir{Rhythms,Rhythms}.
+Snippets:
+@rlsr{Rhythms}.
Internals Reference:
-@internalsref{Dots},
-@internalsref{DotColumn}.
+@rinternals{Dots},
+@rinternals{DotColumn}.
@knownissues
the notes are 2/3 of their written length.
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-a2 \times 2/3 {b4 b b}
-c4 c \times 2/3 {b4 a g}
+a2 \times 2/3 { b4 b b }
+c4 c \times 2/3 { b4 a g }
@end lilypond
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\autoBeamOff
-c4 \times 4/5 { f8 e f \times 2/3 {e[ f g] } } f4 |
+c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
@end lilypond
Modifying nested tuplets which begin at the same musical moment
@funindex tupletNumberFormatFunction
@funindex tupletSpannerDuration
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{entering-several-tuplets-using-only-one--times-command.ly}
@funindex TupletNumber
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{changing-the-tuplet-number.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{permitting-line-breaks-within-beamed-tuplets.ly}
@seealso
@ref{Objects connected to the input},
@ref{Polymetric notation}.
-Snippets: @lsrdir{Rhythms,Rhythms}.
+Snippets:
+@rlsr{Rhythms}.
Internals Reference:
-@internalsref{TupletBracket},
-@internalsref{TupletNumber},
-@internalsref{TimeScaledMusic}.
+@rinternals{TupletBracket},
+@rinternals{TupletNumber},
+@rinternals{TimeScaledMusic}.
@knownissues
@cindex grace notes within tuplet brackets
@ref{Skips},
@ref{Polymetric notation}.
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
@node Ties
used when note values cross larger subdivisions of the measure:
@lilypond[fragment,quote,ragged-right]
-\relative {
- r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
+\relative c' {
+ r8 c8 ~ c2 r4 |
+ r8^"not" c2 ~ c8 r4
}
@end lilypond
-If you need to tie a lot of notes across bar lines, it may be
+If you need to tie many notes across bar lines, it may be
easier to use automatic note splitting, see @ref{Automatic note
splitting}. This mechanism automatically splits long notes, and
ties them across bar lines.
the chord.
@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
- <c e g> ~ <c e g>
+<c e g> ~ <c e g>
<c~ e g~ b> <c e g b>
@end lilypond
% First alternative: following note is tied normally
{ <c e>2. r4 }
% Second alternative: following note has a repeated tie
- {<c e>2\repeatTie d4 c }}
+ { <c e>2\repeatTie d4 c } }
@end lilypond
@cindex laissez vibrer
piano, harp and other string and percussion instruments. They can
be entered as follows:
-@lilypond[fragment,ragged-right,verbatim,relative=1]
+@lilypond[fragment,quote,ragged-right,verbatim,relative=1]
<c f g>\laissezVibrer
@end lilypond
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{using-ties-with-arpeggios.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{engraving-ties-manually.ly}
Notation Reference: @ref{Automatic note splitting}.
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
Internals Reference:
-@internalsref{LaissezVibrerTie},
-@internalsref{LaissezVibrerTieColumn},
-@internalsref{TieColumn},
-@internalsref{Tie}.
+@rinternals{LaissezVibrerTie},
+@rinternals{LaissezVibrerTieColumn},
+@rinternals{TieColumn},
+@rinternals{Tie}.
@knownissues
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{rest-styles.ly}
Notation Reference: @ref{Full measure rests}
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
-Internals Reference: @internalsref{Rest}
+Internals Reference: @rinternals{Rest}
@knownissues
followed by the required duration, as shown here:
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
-% Skip the third beat in the first bar
+% Skip the third beat in the first measure
a4 a4 s4 a4
-% Use skip command to skip a whole note (bar)
+% Use skip command to skip a whole note (measure)
\skip 1
a2 a2
@end lilypond
The @code{s} skip rest implicitly causes @code{Staff} and
@code{Voice} contexts to be created if none exist, just
like notes and rests do. These in turn cause a staff with default
-clef and time signature to be printed, with if necessary, barlines.
+clef and time signature to be printed, with bar lines if necessary.
For example, the following results in a complete staff with three
-short empty bars:
+short empty measures:
@lilypond[quote,verbatim,fragment,ragged-right]
{ s1 s s }
@seealso
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
-Internals Reference: @internalsref{SkipMusic}
+Internals Reference: @rinternals{SkipMusic}
@node Full measure rests
\time 3/4 r2. | R2.*2 |
\time 2/4 R2 |
\time 4/4
-% Rest bars contracted to single bar
+% Rest measures contracted to single measure
\compressFullBarRests
r1 | R1*17 | R1*4 |
-% Rest bars expanded
+% Rest measures expanded
\expandFullBarRests
\time 3/4
R2.*2 |
Text can be added to multi-measure rests by using the
@var{note} - @code{\markup} syntax described in
-@ref{Text markup}. The predefined command @code{\fermataMarkup}
+@ref{Formatting text}. The predefined command @code{\fermataMarkup}
is provided for adding fermatas.
@lilypond[quote,ragged-right,verbatim,fragment]
@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
\compressFullBarRests
\textLengthOn
-s1*0^\markup {[MAJOR GENERAL]}
+s1*0^\markup { [MAJOR GENERAL] }
R1*19
-s1*0^\markup {[MABEL] }
-s1*0_\markup {\italic {Cue: ... it is yours}}
+s1*0^\markup { [MABEL] }
+s1*0_\markup { \italic { Cue: ... it is yours } }
R1*30
\textLengthOff
-c4^\markup {CHORUS} d f c
+c4^\markup { CHORUS } d f c
@end lilypond
@noindent
Text attached to a skip note in this way is left-aligned to the
-position where the note would be placed in the bar, and placed
-above the bar count numeral, but if the bar length is
+position where the note would be placed in the measure, and placed
+above the measure count numeral, but if the measure length is
determined by the length of the text, the text will appear to be
centered. If two (or more) texts are
-attached to skip notes in a bar the bar length is determined by
+attached to skip notes in a measure the measure length is determined by
the longer text, and the shorter text is then clearly
-left-aligned, as shown in the second bar above. If the shorter
+left-aligned, as shown in the second measure above. If the shorter
text of two marks is short enough to fit it will be placed
-alongside and to the left of the bar count numeral.
+alongside and to the left of the measure count numeral.
@predefined
@code{\textLengthOn},
@cindex rest, church
@cindex kirchenpausen
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{changing-form-of-multi--measure-rests.ly}
@cindex multi-measure rests, positioning
@cindex positioning multi-measure rests
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{positioning-multi--measure-rests.ly}
@seealso
Notation Reference:
@ref{Durations},
@ref{Text},
-@ref{Text markup},
+@ref{Formatting text},
@ref{Text scripts}.
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
Internals Reference:
-@internalsref{MultiMeasureRest},
-@internalsref{MultiMeasureRestNumber},
-@internalsref{MultiMeasureRestText}.
+@rinternals{MultiMeasureRest},
+@rinternals{MultiMeasureRestNumber},
+@rinternals{MultiMeasureRestText}.
@knownissues
* Unmetered music::
* Polymetric notation::
* Automatic note splitting::
+* Showing melody rhythms::
@end menu
@node Time signature
Scheme function @code{set-time-signature}, which takes three
arguments: the number of beats, the beat length, and the internal
grouping of beats in the measure. If the
-@internalsref{Measure_grouping_engraver} is included, the function
-will also create @internalsref{MeasureGrouping} signs. Such signs
+@rinternals{Measure_grouping_engraver} is included, the function
+will also create @rinternals{MeasureGrouping} signs. Such signs
ease reading rhythmically complex modern music. In the example,
the 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
@code{set-time-signature} as the third argument: @code{'(2 2 2 3)}:
@cindex compound time signatures
@cindex time signature, compound
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{compound-time-signatures.ly}
@rglos{time signature}
Notation Reference:
-@ruser{Ancient time signatures},
-@ruser{Time administration}.
+@ref{Ancient time signatures},
+@ref{Time administration}.
Snippets:
-@lsrdir{Rhythms,Rhythms}
+@rlsr{Rhythms}.
Internals Reference:
-@internalsref{TimeSignature},
-@internalsref{Timing_translator}.
+@rinternals{TimeSignature},
+@rinternals{Timing_translator}.
@knownissues
indicating how much of the measure has passed at this point. Note
that this is set to a negative number by the @code{\partial}
command: i.e., @code{\partial 4} is internally translated to
-@code{-4}, meaning @qq{there is a quarter note left in the bar.}
+@code{-4}, meaning @qq{there is a quarter note left in the measure.}
@seealso
Notation Reference: @ref{Grace notes}
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
-Internal Reference: @internalsref{Timing_translator}
+Internal Reference: @rinternals{Timing_translator}
@knownissues
Notation Reference: @ref{Controlling visibility of objects}
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
@knownissues
}
@end lilypond
-@strong{Staves with different time signatures, equal bar lengths}
+@strong{Staves with different time signatures, equal measure lengths}
This notation can be created by setting a common time signature
for each staff but replacing the symbol manually by setting
@strong{Staves with different time signatures, unequal bar lengths}
Each staff can be given its own independent time signature by
-moving the Timing_translator to the Staff context.
+moving the @code{Timing_translator} to the @code{Staff} context.
@lilypond[quote,verbatim,ragged-right]
\layout {
\relative c' <<
\new Staff {
\time 3/4
- c4 c c | c c c |
+ c4 c c |
+ c c c |
}
\new Staff {
\time 2/4
- c4 c | c c | c c
+ c4 c |
+ c c |
+ c c |
}
\new Staff {
\time 3/8
- c4. c8 c c c4. c8 c c
+ c4. |
+ c8 c c |
+ c4. |
+ c8 c c |
}
>>
@end lilypond
Notation Reference: @ref{Scaling durations}
Snippets:
-@lsrdir{Rhythms,Rhythms}
+@rlsr{Rhythms}.
@c Is this still permitted?
@c @lsr{contemporary,compound-time-signature}
Internals Reference:
-@internalsref{TimeSignature},
-@internalsref{Timing-translator},
-@internalsref{Staff}.
+@rinternals{TimeSignature},
+@rinternals{Timing-translator},
+@rinternals{Staff}.
@knownissues
\consists "Completion_heads_engraver"
}
-{c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2}
+{ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
@end lilypond
This engraver splits all running notes at the bar line, and
@rlearning{Engravers explained},
@rlearning{Adding and removing engravers}.
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
Internals Reference:
-@internalsref{Note_heads_engraver},
-@internalsref{Completion_heads_engraver},
-@internalsref{Forbid_line_break_engraver}.
+@rinternals{Note_heads_engraver},
+@rinternals{Completion_heads_engraver},
+@rinternals{Forbid_line_break_engraver}.
@knownissues
split rests.
+@node Showing melody rhythms
+@subsubsection Showing melody rhythms
+
+Sometimes you might want to show only the rhythm of a melody. This
+can be done with the rhythmic staff. All pitches of notes on such a
+staff are squashed, and the staff itself has a single line
+
+@c TODO Devise a more realistic example, perhaps with lyrics -td
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+\new RhythmicStaff {
+ \time 4/4
+ c4 e8 f g2 | r4 g r2 | g1 | r1 |
+}
+@end lilypond
+
+
@node Beams
@subsection Beams
@lilypond[ragged-right,relative=2,fragment,verbatim,quote]
\override Beam #'breakable = ##t
-c8 \repeat unfold 15 {c[ c] } c
+c8 \repeat unfold 15 { c[ c] } c
@end lilypond
@cindex beams and line breaks
Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
-Internals Reference: @internalsref{Beam}.
+Internals Reference: @rinternals{Beam}.
@knownissues
@end example
@noindent
-be, p, q, n, m, a, b and context are the same as above. Note that the
+@code{be}, @code{p}, @code{q}, @code{n}, @code{m}, @code{a},
+@code{b} and @code{context} are the same as above. Note that the
default rules are specified in @file{scm/@/auto@/-beam@/.scm},
so you can revert rules that you did not explicitly create.
a16 a a a a a a a a a a a a a a a
@end lilypond
-The rule in a revert-auto-beam-setting statement must exactly match the
-original rule. That is, no wildcard expansion is taken into account.
+The rule in a @code{revert-auto-beam-setting} statement must exactly
+match the original rule. That is, no wildcard expansion is taken into
+account.
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\time 1/4
@seealso
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
@node Manual beams
draw on the left and right side, respectively, of the next note.
If either property is set, its value will be used only once, and
then it is erased. In this example, the last @code{f} is printed
-with only one beam on the left side, i.e. the eighth-note beam of
+with only one beam on the left side, i.e., the eighth-note beam of
the group as a whole.
@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
changing the overall tempo of the piece. The extent of the
feathered beam must be indicated manually using @code{[} and
@code{]}, and the beam feathering is turned on by specifying a
-direction to the Beam property @code{grow-direction}.
+direction to the @code{Beam} property @code{grow-direction}.
If the placement of the notes and the sound in the MIDI output
is to reflect the ritardando or accelerando indicated by the
@seealso
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
@warning{An incorrect duration can lead to poorly formatted
music.}
-It is not invalid if the final note in a bar does not
+It is not invalid if the final note in a measure does not
end on the automatically entered bar line: the note is assumed
-to carry over into the next bar. But if a long sequence
-of such carry-over bars appears the music can appear compressed
+to carry over into the next measure. But if a long sequence
+of such carry-over measures appears the music can appear compressed
or even flowing off the page. This is because automatic line
-breaks happen only at the end of complete bars, i.e. where
-the end of a note coincides with the end of a bar.
+breaks happen only at the end of complete measures, i.e., where
+the end of a note coincides with the end of a measure.
@cindex line breaks
@cindex bar lines, invisible
@cindex measure lines, invisible
Line breaks are also permitted at manually inserted bar lines
-even within incomplete bars. To allow a line break without
+even within incomplete measures. To allow a line break without
printing a bar line, use
@example
@ref{Line breaking}.
This and other special bar lines may be inserted manually at any
-point. When they coincide with the end of a bar they replace
+point. When they coincide with the end of a measure they replace
the simple bar line which would have been inserted there
automatically. When they do not coincide
-with the end of a bar the specified bar line is inserted at that
+with the end of a measure the specified bar line is inserted at that
point in the printed output. Such insertions do not affect
the calculation and placement of subsequent automatic bar lines.
@c FIXME: node name changed, but is subject to further changes.
@c @ref{System start delimiters}.
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
-Internals Reference: @internalsref{BarLine} (created at
-@internalsref{Staff} level), @internalsref{SpanBar} (across
-staves), @internalsref{Timing_translator} (for Timing
+Internals Reference: @rinternals{BarLine} (created at
+@rinternals{Staff} level), @rinternals{SpanBar} (across
+staves), @rinternals{Timing_translator} (for Timing
properties).
@c and moved into the Snippets. -gp
@noindent
-and here the bar numbers are printed every two bars
+and here the bar numbers are printed every two measures
except at the end of the line:
@lilypond[verbatim,ragged-right,quote,fragment,relative]
\override Score.BarNumber #'break-visibility = ##(#f #t #t)
\set Score.currentBarNumber = #11
\bar "" % Permit first bar number to be printed
-% Print a bar number every 2nd bar
+% Print a bar number every second measure
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
c1 c c c c
\break
Bar numbers by default are left-aligned to their parent object.
This is usually the left edge of a line or, if numbers are printed
-within a line, the left bar line of the bar. The numbers may also
+within a line, the left bar line of the measure. The numbers may also
be positioned directly on the bar line or right-aligned to the
bar line:
\override Score.BarNumber #'break-visibility = ##(#t #t #t)
% Increase the size of the bar number by 2
\override Score.BarNumber #'font-size = #2
-% Print a bar number every 2nd bar
+% Print a bar number every second measure
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
c1 c1
% Center-align bar numbers
c1 c1
@end lilypond
-Bar numbers can be removed entirely by removing the Bar number
-engraver from the score context.
+Bar numbers can be removed entirely by removing the
+@code{Bar_number_engraver} from the @code{Score} context.
@lilypond[verbatim,ragged-right,quote]
\layout {
@seealso
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
-Internals Reference: @internalsref{BarNumber}.
+Internals Reference: @rinternals{BarNumber}.
@knownissues
Bar numbers may collide with the top of the
-@internalsref{StaffGroup} bracket, if there is one. To solve
-this, the @code{padding} property of @internalsref{BarNumber} can
+@rinternals{StaffGroup} bracket, if there is one. To solve
+this, the @code{padding} property of @rinternals{BarNumber} can
be used to position the number correctly.
Bar numbers may only be printed at bar lines; to print a bar
@seealso
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
@node Rehearsal marks
printed with @code{\musicglyph}.
For common tweaks to the positioning of rehearsal marks, see
-@ref{Text marks}.
+@ref{Formatting text}.
@seealso
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
-This manual: @ref{The Feta font}, @ref{Text marks}.
+This manual: @ref{The Feta font}, @ref{Formatting text}.
-Internals Reference: @internalsref{RehearsalMark}.
+Internals Reference: @rinternals{RehearsalMark}.
Init files: @file{scm/@/translation@/-functions@/.scm} contains
the definition of @code{format-mark-numbers} and
command. It takes two arguments: the main note, and the grace
notes following the main note.
-@lilypond[ragged-right, verbatim,relative=2,fragment]
+@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
c1 \afterGrace d1 { c16[ d] } c4
@end lilypond
This will put the grace notes after a @q{space} lasting 3/4 of the
length of the main note. The fraction 3/4 can be changed by
-setting @code{afterGraceFraction}, ie.
+setting @code{afterGraceFraction}, i.e.,
@example
#(define afterGraceFraction (cons 7 8))
@noindent
By adjusting the duration of the skip note (here it is a
-half-note), the space between the main-note and the grace
+half-note), the space between the main note and the grace
may be adjusted.
A @code{\grace} music expression will introduce special
@rglos{acciaccatura},
@rglos{appoggiatura}
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
-Internals Reference: @internalsref{GraceMusic}.
+Internals Reference: @rinternals{GraceMusic}.
@knownissues
A solution to this problem is to use the functions
@code{mmrest-of-length} and @code{skip-of-length}. These Scheme
-functions take a piece of music as argument, and generate a multi-rest
-or @code{\skip}, exactly as long as the piece. The use of
+functions take a piece of music as argument, and generate a multi-measure
+rest or @code{\skip}, exactly as long as the piece. The use of
@code{mmrest-of-length} is demonstrated in the following example.
@lilypond[verbatim,ragged-right,quote]
@seealso
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
@node Time administration
This manual: @ref{Bar numbers}, @ref{Unmetered music}
-Snippets: @lsrdir{Rhythms,Rhythms}
-
-Internals Reference: @internalsref{Timing_translator},
-@internalsref{Score}
-
-
-
-
-
-
-
-
-
-
-
-
-
+Snippets:
+@rlsr{Rhythms}.
+Internals Reference: @rinternals{Timing_translator},
+@rinternals{Score}
projects / lilypond.git / blobdiff