version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.51"
+@c \version "2.11.61"
@ignore
GDP TODO list
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{positioning-multi--measure-rests.ly}
-@c TODO -- convert to snippet
+@c TODO -- convert to snippet -- submitted to Neil
Markups attached to a multi-measure rest will be centered above or
below it. Long markups attached to multi-measure rests do not cause
the measure to expand. To expand a multi-measure rest to fit the markup,
use a spacer rest with an attached markup before the multi-measure rest:
-@c -- music is somewhat compressed vertically. I thought it
-@c was good because the emphasis is not on the content
-@c of the markup, but on the place the markup was attached -cs
@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
\compressFullBarRests
\textLengthOn
and whenever the time signature changes. If a change takes place
at the end of a line a warning time signature sign is printed
there. This default behavior may be changed, see
-@ref{Controlling visibility of objects}.
+@ref{Visibility of objects}.
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\time 2/4
@cindex grace notes, in anacruses
-This command does not take into account grace notes at the start
-of the music. If the pick-up starts with one or more grace
-notes, then the @code{\partial} should follow the grace note(s):
-
-@lilypond[verbatim,quote,ragged-right,relative,fragment]
-\grace f16
-\partial 4
-g4
-a2 g2
-@end lilypond
-
The @code{\partial} command is intended to be used only at the
beginning of a piece. If you use it after the beginning, some
odd warnings may occur.
@cindex unmetered music
Bar lines and bar numbers are calculated automatically. For
-unmetered music (cadenzas, for example), this is not desirable.
+unmetered music (some cadenzas, for example), this is not desirable.
To turn off automatic calculation of bar lines and bar numbers,
use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
to turn them on again.
@rglos{cadenza}
Notation Reference:
-@ref{Controlling visibility of objects}
+@ref{Visibility of objects}
Snippets:
@rlsr{Rhythms}.
Polymetric notation is supported, either explicitly or through
clever use of markup features.
-@c Each of these examples uses \set or \override, and therefore
-@c by policy should be converted to a snippet.
-@c Do we want to have a section with a very brief (two-line
-@c introduction, and have most of the content be in snippets?
-
-@strong{Alternating time signatures}
-
-Regularly alternating double time signatures are not supported
-explicitly, but they can be faked. In the next example, the
-double time signature is created with markup text, while the
-real time signature is set in the usual way with @code{\time}.
-
-@lilypond[verbatim,ragged-right]
-% Create 9/8 split into 2/4 + 5/8
-tsMarkup = \markup {
- \override #'(baseline-skip . 2) \number {
- \column { "2" "4" }
- \vcenter "+"
- \bracket \column { "5" "8" }
- }
-}
-
-{
- \override Staff.TimeSignature #'stencil =
- #ly:text-interface::print
- \override Staff.TimeSignature #'text = #tsMarkup
- \time 9/8
- c'2 \bar ":" c'4 c'4.
- c'2 \bar ":" c'4 c'4.
-}
-@end lilypond
-
@strong{Staves with different time signatures, equal measure lengths}
This notation can be created by setting a common time signature
>> }
@end lilypond
-@c I guess this example doesn't use \set or \override, and so
-@c could stay in the manual.
-
@strong{Staves with different time signatures, unequal bar lengths}
Each staff can be given its own independent time signature by
>>
@end lilypond
+@snippets
+
+@c TODO -- Convert to snippet. -- Sent to Neil 8/14/08
+
+@strong{Alternating time signatures}
+
+Regularly alternating double time signatures are not supported
+explicitly, but they can be faked. In the next example, the
+double time signature is created with markup text, while the
+real time signature is set in the usual way with @code{\time}.
+
+@lilypond[verbatim,ragged-right]
+% Create 9/8 split into 2/4 + 5/8
+tsMarkup = \markup {
+ \override #'(baseline-skip . 2) \number {
+ \column { "2" "4" }
+ \vcenter "+"
+ \bracket \column { "5" "8" }
+ }
+}
+
+{
+ \override Staff.TimeSignature #'stencil =
+ #ly:text-interface::print
+ \override Staff.TimeSignature #'text = #tsMarkup
+ \time 9/8
+ c'2 \bar ":" c'4 c'4.
+ c'2 \bar ":" c'4 c'4.
+}
+@end lilypond
+
@seealso
measures are not entirely filled, then the ties show exactly how
much each measure is off.
-To allow line breaking on the bar lines where the
-@code{Completion_heads_engraver} has inserted a split note, remove
-the @code{Forbid_line_break_engraver} too.
-
-TODO -- find example that shows the above paragraph. I can't make
-the Forbid_line_break_engraver have any effect in my examples (cs).
-Does the Forbid_line_break_engraver still have the claimed effect?
@seealso
Music Glossary: @rglos{tie}
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 |
-}
+<<
+ \new RhythmicStaff {
+ \new Voice = "myRhythm" {
+ \time 4/4
+ c4 e8 f g2
+ r4 g g f
+ g1
+ }
+ }
+ \new Lyrics {
+ \lyricsto "myRhythm" {
+ This is my song
+ I like to sing
+ }
+ }
+>>
@end lilypond
-TODO -- put example in with multiple lines as well (used for strumming
-rhythms in guitar)
+Guitar chord charts often show the strumming rhythms. This can
+be done with the @code{Pitch_squash_engraver} and
+@code{\improvisationOn}.
+
+
+@lilypond[quote,verbatim]
+<<
+ \new ChordNames {
+ \chordmode {
+ c1 f g c
+ }
+ }
+
+ \new Voice \with {
+ \consists Pitch_squash_engraver
+ } \relative c'' {
+ \improvisationOn
+ c4 c8 c c4 c8 c
+ f4 f8 f f4 f8 f
+ g4 g8 g g4 g8 g
+ c4 c8 c c4 c8 c
+ }
+>>
+@end lilypond
+
+@predefined
+@code{\improvisationOn},
+@code{\improvisationOff}.
+
+@snippets
+@c TODO -- Convert to snippet;
+@c tag for both Rhythms and Guitar? Move to @seealso?
+
+For guitar music, it is possible to show strum rhythms, along
+with melody notes, chord names, and fret diagrams.
+
+
+@lilypond[quote,verbatim]
+\include "predefined-guitar-fretboards.ly"
+<<
+ \new ChordNames {
+ \chordmode {
+ c1 f g c
+ }
+ }
+
+ \new FretBoards {
+ \chordmode {
+ c1 f g c
+ }
+ }
+
+
+ \new Voice \with {
+ \consists Pitch_squash_engraver
+ } \relative c'' {
+ \improvisationOn
+ c4 c8 c c4 c8 c
+ f4 f8 f f4 f8 f
+ g4 g8 g g4 g8 g
+ c4 c8 c c4 c8 c
+ }
+
+
+ \new Voice = "melody" {
+ \relative c'' {
+ \improvisationOff
+ c2 e4 e4
+ f2. r4
+ g2. a4
+ e4 c2.
+ }
+ }
+
+ \new Lyrics {
+ \lyricsto "melody" {
+ This is my song.
+ I like to sing.
+ }
+ }
+>>
+@end lilypond
+
+@seealso
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{RhythmicStaff},
+@rinternals{Pitch_squash_engraver}.
@node Beams
@subsection Beams
c16 c8
@end lilypond
+@predefined
+@code{\autoBeamOff},
+@code{\autoBeamOn}.
@snippets
@seealso
-Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
+Notation Reference:
+@ref{Manual beams},
+@ref{Setting automatic beam behavior}.
+
+Installed Files:
+@file{scm/auto-beam.scm}.
Snippets:
@rlsr{Rhythms}.
}
@end lilypond
+@funindex \noBeam
Individual notes may be marked with @code{\noBeam} to prevent them
from being beamed:
point in the printed output. Such insertions do not affect
the calculation and placement of subsequent automatic bar lines.
-The simple bar line and four types of double bar line are available
+The simple bar line and five types of double bar line are available
for manual insertion:
@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
-f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
+f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|.|" d \bar "|." e
@end lilypond
@noindent
@end lilypond
@noindent
-and three types of repeat bar line:
+and five types of repeat bar line:
@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
-f1 \bar "|:" g \bar ":|:" a \bar ":|" b
+f1 \bar "|:" g \bar ":|:" a \bar ":|.|:" b \bar ":|.:" c \bar ":|" d
@end lilypond
@cindex repeats
@seealso
-Snippets:
-@rlsr{Rhythms}.
-
-This manual: @ref{The Feta font}, @ref{Formatting text}.
-
-Internals Reference: @rinternals{RehearsalMark}.
+This manual:
+@ref{The Feta font},
+@ref{Formatting text}.
-Init files: @file{scm/@/translation@/-functions@/.scm} contains
+Installed Files:
+@file{scm/@/translation@/-functions@/.scm} contains
the definition of @code{format-mark-numbers} and
@code{format-mark-letters}. They can be used as inspiration for
other formatting functions.
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference: @rinternals{RehearsalMark}.
+
Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
@node Special rhythmic concerns
@cindex appoggiatura
@cindex acciaccatura
-Grace notes are ornaments that are written out. They are made with
-the @code{\grace} command. By prefixing this keyword to a music
-expression, a new one is formed, which will be printed in a
-smaller font and takes up no logical time in a measure.
+Grace notes are ornaments that are written out. Grace notes
+are printed in a smaller font and take up no logical time
+in a measure.
@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
c4 \grace c16 c4
-\grace { c16[ d16] } c2 c4
+\grace { c16[ d16] } c2
@end lilypond
-Two special forms of the @code{\grace} command exist.
-An @emph{acciaccatura}, which should be played as very short,
-is denoted by a slurred small note with a slashed stem. The
-@emph{appoggiatura}, a grace note that takes a fixed fraction of the
-main note, is denoted as a slurred note in small print without
-a slash. They are entered with the commands @code{\acciaccatura}
-and @code{\appoggiatura}, as demonstrated in the following
-example:
+Lilypond also supports two special types of grace notes, the
+@emph{acciaccatura}--an unmeasured grace note indicated by a slurred
+small note with a slashed stem--and the @emph{appoggiatura}, which
+takes a fixed fraction of the main note and appears in small print
+without a slash.
@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-b4 \acciaccatura d8 c4
+\grace c8 b4
+\acciaccatura d8 c4
\appoggiatura e8 d4
\acciaccatura { g16[ f] } e4
@end lilypond
-@noindent
-@code{\acciaccatura} and @code{\appoggiatura} start a slur,
-@code{\grace} does not.
-
The placement of grace notes is synchronized between different
staves. In the following example, there are two sixteenth grace
notes for every eighth grace note
@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-<< \new Staff { e4 \grace { c16[ d e f] } e4 }
- \new Staff { c4 \grace { g8[ b] } c4 } >>
+<< \new Staff { e2 \grace { c16[ d e f] } e2 }
+ \new Staff { c2 \grace { g8[ b] } c2 } >>
@end lilypond
@funindex \afterGrace
notes following the main note.
@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
-c1 \afterGrace d1 { c16[ d] } c4
+c1 \afterGrace d1 { c16[ d] } c1
@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}. The following example will put
-the grace note at 7/8 of the main note.
+This will put the grace notes after a space lasting 3/4 of the
+length of the main note. The default fraction 3/4 can be changed by
+setting @code{afterGraceFraction}. The following example shows
+the results from setting the space at the default, at 15/16, and
+finally at 1/2 of the main note.
@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
-#(define afterGraceFraction (cons 15 16))
-c1 \afterGrace d1 { c16[ d] } c4
+<<
+ \new Staff {
+ c1 \afterGrace d1 { c16[ d] } c1
+ }
+ \new Staff {
+ #(define afterGraceFraction (cons 15 16))
+ c1 \afterGrace d1 { c16[ d] } c1
+ }
+ \new Staff {
+ #(define afterGraceFraction (cons 1 2))
+ c1 \afterGrace d1 { c16[ d] } c1
+ }
+>>
@end lilypond
The space between the main note and the grace note may also be
specified using spacers. The following example places the grace
-note at 7/8 of the main note.
+note after a space lasting 7/8 of the main note.
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\new Voice {
<< { d1^\trill_( }
{ s2 s4. \grace { c16[ d] } } >>
- c4)
+ c1)
}
@end lilypond
f16->
\stemNeutral
}
- g4
+ g4 e c2
}
@end lilypond
@snippets
-The slash through the stem in @emph{acciaccatura}s can be obtained in
-other situations:
+The slash through the stem found in @emph{acciaccatura}s can be applied
+in other situations:
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\relative c'' {
#(add-grace-property 'Voice 'Stem 'direction ly:stem::calc-direction)
#(remove-grace-property 'Voice 'Stem 'direction)
\new Voice {
- \acciaccatura {
- f16
- }
- g4
+ \acciaccatura { f16 } g4
+ \grace { d16[ e] } f4
+ \appoggiatura { a,32[ b c d] } e2
}
}
}
@code{stopGraceMusic}, @code{startAcciaccaturaMusic},
@code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
@code{stopAppoggiaturaMusic}. The default values of these can be
-seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
+seen in the file @code{ly/@/grace@/-init@/.ly}. By redefining
them other effects may be obtained.
Grace notes may be forced to align with regular notes
Music Glossary:
@rglos{grace notes},
@rglos{acciaccatura},
-@rglos{appoggiatura}
+@rglos{appoggiatura}.
-Snippets:
-@rlsr{Rhythms}.
+Installed Files: @file{ly/@/grace@/-init@/.ly}.
+
+Snippets: @rlsr{Rhythms}.
Internals Reference: @rinternals{GraceMusic}.
staves without, for example,
@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-<< \new Staff { e4 \bar "|:" \grace c16 d4 }
- \new Staff { c4 \bar "|:" d4 } >>
+<< \new Staff { e4 \bar "|:" \grace c16 d2. }
+ \new Staff { c4 \bar "|:" d2. } >>
@end lilypond
@noindent
durations in the other staves. For the above example
@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-<< \new Staff { e4 \bar "|:" \grace c16 d4 }
- \new Staff { c4 \bar "|:" \grace s16 d4 } >>
+<< \new Staff { e4 \bar "|:" \grace c16 d2. }
+ \new Staff { c4 \bar "|:" \grace s16 d2. } >>
@end lilypond
+Predefined commands, like @code{\voiceOne}, which are intended to
+change the behaviour of the notation after a grace note, may not
+be effective if placed immediately before the grace note -- they
+should be placed after it.
+
Grace sections should only be used within sequential music
expressions. Nesting or juxtaposing grace sections is not
supported, and might produce crashes or other errors.
@cindex aligning to cadenza
In an orchestral context, cadenzas present a special problem: when
-constructing a score that includes a cadenza, all other
-instruments should skip just as many notes as the length of the
-cadenza, otherwise they will start too soon or too late.
+constructing a score that includes a measured cadenza or other solo
+passage, all other instruments should skip just as many notes as the
+length of the cadenza, otherwise they will start too soon or too late.
-A solution to this problem is to use the functions
+One 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-measure
-rest or @code{\skip}, exactly as long as the piece. The use of
-@code{mmrest-of-length} is demonstrated in the following example.
+functions take a defined piece of music as an argument and generate a
+multi-measure rest or @code{\skip} exactly as long as the piece.
@lilypond[verbatim,ragged-right,quote]
-cadenza = \relative c' {
- c4 d8 << { e f g } \\ { d4. } >>
- g4 f2 g4 g
+MyCadenza = \relative c' {
+ c4 d8 e f g g4
+ f2 g4 g
}
\new GrandStaff <<
- \new Staff { \cadenza c'4 }
+ \new Staff {
+ \MyCadenza c'1
+ \MyCadenza c'1
+ }
\new Staff {
- #(ly:export (mmrest-of-length cadenza))
- c'4
+ #(ly:export (mmrest-of-length MyCadenza))
+ c'1
+ #(ly:export (skip-of-length MyCadenza))
+ c'1
}
>>
@end lilypond
@seealso
+Music Glossary:
+@rglos{cadenza}.
+
Snippets:
@rlsr{Rhythms}.
projects / lilypond.git / blobdiff