X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fessay%2Fengraving.itely;h=3b97143b2a713f2583f99dc4dbbd4903ada7db0c;hb=fd565020849c9cd24d4e7ce47c50f756198a44c9;hp=7b58fb050c37eb86c528b9d0149c413f10bc8ddc;hpb=f66e6785e42f181199f6cf357434f60baba1e149;p=lilypond.git

diff --git a/Documentation/essay/engraving.itely b/Documentation/essay/engraving.itely
index 7b58fb050c..3b97143b2a 100644
--- a/Documentation/essay/engraving.itely
+++ b/Documentation/essay/engraving.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.15.32"
+@c \version "2.19.24"
 
 @node Music engraving
 @chapter Music engraving
@@ -317,9 +317,9 @@ music = {
   \layout {
     \context {
       \Staff
-      \override NoteSpacing #'stem-spacing-correction = #0.0
-      \override NoteSpacing #'same-direction-correction = #0.0
-      \override StaffSpacing #'stem-spacing-correction = #0.0
+      \override NoteSpacing.stem-spacing-correction = #0.0
+      \override NoteSpacing.same-direction-correction = #0.0
+      \override StaffSpacing.stem-spacing-correction = #0.0
     }
   }
 }
@@ -345,7 +345,7 @@ music = {
   \layout {
     \context {
       \Staff
-      \override NoteSpacing #'stem-spacing-correction = #0.6
+      \override NoteSpacing.stem-spacing-correction = #0.6
     }
   }
 }
@@ -447,15 +447,11 @@ magnified by 236% to print at the same size as the previous example:
 At smaller sizes, LilyPond uses proportionally heavier lines so the
 music will still read well.
 
-@ignore
 This also allows staves of different sizes to coexist peacefully when
 used together on the same page:
 
-@c TODO: are the stems in this example the right thickness? How should
-@c line weights be scaled for small staves?
-
 @c Grieg's Violin Sonata Op. 45
-@lilypond[indent=1.5cm]
+@lilypond[indent=1.5\cm]
 global = {
   \time 6/8
   \key c \minor
@@ -464,31 +460,29 @@ global = {
 \score {
   <<
     \new Staff \with {
-      fontSize = #-4
-      \override StaffSymbol #'staff-space = #(magstep -4)
-      \override StaffSymbol #'thickness = #(magstep -3)
+      \magnifyStaff #2/3
     }
-    \relative c' {
+    \relative {
       \global
       \set Staff.instrumentName = #"Violin"
-      c8.(\f^> b16 c d) ees8.(^> d16 c b)
+      c'8.(\f^> b16 c d) ees8.(^> d16 c b)
       g8.(^> b16 c ees) g8-.^> r r
       R2.
     }
     \new PianoStaff <<
       \set PianoStaff.instrumentName = #"Piano"
-      \new Staff \relative c' {
+      \new Staff \relative {
         \global
         s2.
-        s4. s8 r8 r16 <c f aes c>
+        s4. s8 r8 r16 <c' f aes c>
         <c f aes c>4.^> <c ees g>8 r r
       }
-      \new Staff \relative c {
+      \new Staff \relative {
         \global
         \clef "bass"
         <<
         {
-          \once \override DynamicText #'X-offset = #-3
+          \once \override DynamicText.X-offset = #-3
           <ees g c>2.~->^\f
           <ees g c>4.~ <ees g c>8
         } \\ {
@@ -503,7 +497,7 @@ global = {
   >>
 }
 @end lilypond
-@end ignore
+
 
 @node Why work so hard?
 @unnumberedsubsec Why work so hard?
@@ -561,11 +555,11 @@ How do we actually make formatting decisions?  In other words, which
 of the three configurations should we choose for the following slur?
 
 @lilypond
-\relative c {
+\relative {
   \clef bass
-  \once \override Slur #'positions = #'(1.5 . 1)
+  \once \override Slur.positions = #'(1.5 . 1)
   e8[( f] g[ a b d,)] r4
-  \once \override Slur #'positions = #'(2 . 3)
+  \once \override Slur.positions = #'(2 . 3)
   e8[( f] g[ a b d,)] r4
   e8[( f] g[ a b d,)] r4
 }
@@ -601,9 +595,9 @@ has given each one a score in @q{ugly points}.  The first example gets
 15.39 points for grazing one of the noteheads:
 
 @lilypond
-\relative c {
+\relative {
   \clef bass
-  \once \override Slur #'positions = #'(1.5 . 1)
+  \once \override Slur.positions = #'(1.5 . 1)
   e8[(_"15.39" f] g[ a b d,)] r4
 }
 @end lilypond
@@ -615,9 +609,9 @@ side, plus another 2 points because the slur ascends while the melody
 descends for a total of 13.08 ugly points:
 
 @lilypond
-\relative c {
+\relative {
   \clef bass
-  \once \override Slur #'positions = #'(2 . 3)
+  \once \override Slur.positions = #'(2 . 3)
   e8[(_"13.08" f] g[ a b d,)] r4
 }
 @end lilypond
@@ -628,7 +622,7 @@ it is the most attractive of the three configurations, so LilyPond
 selects this one:
 
 @lilypond
-\relative c {
+\relative {
   \clef bass
   e8[(_"12.04" f] g[ a b d,)] r4
 }
@@ -744,10 +738,10 @@ For our comparison we selected Bach's Fugue in G minor from the
 Well-Tempered Clavier, Book I, BWV 861, whose opening subject is
 
 @lilypond
-\relative c' {
+\relative {
   \key g \minor
   \clef "treble_8"
-  r8 d ees g, fis4 g
+  r8 d' ees g, fis4 g
   r8 a16 bes c8 bes16 a bes8
 }
 @end lilypond
@@ -779,24 +773,24 @@ measures 28--29, as shown here with Finale first and LilyPond second:
 @lilypond[staffsize=19.5,line-width=14\cm]
 global = { \key g \minor }
 
-partI = \relative c' {
+partI = \relative {
   \voiceOne
-  fis8 d' ees g, fis4 g
+  fis'8 d' ees g, fis4 g
   r8 a16 bes c8 bes16 a d8 r r4
 }
 
-partII = \relative c' {
+partII = \relative {
   \voiceTwo
-  d4 r4 r8 d'16 c bes8 c16 d
+  d'4 r4 r8 d'16 c bes8 c16 d
   ees8 d c ees a, r r4
 }
 
-partIII = \relative c' {
+partIII = \relative {
   \voiceOne
-  r2 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a
+  r2 r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a
 }
 
-partIV = \relative c {
+partIV = \relative {
   \voiceTwo
   d4 r r2
   r8 d ees g, fis4 a
@@ -830,7 +824,7 @@ partIV = \relative c {
     }
     \context {
       \PianoStaff
-      \override StaffGrouper #'staff-staff-spacing #'padding = #1
+      \override StaffGrouper.staff-staff-spacing.padding = #1
     }
   }
 }
@@ -849,7 +843,7 @@ which makes the music extremely difficult to read when the upper and
 lower voices exchange positions temporarily:
 
 @lilypond
-collide = \once \override NoteColumn #'force-hshift = #0
+collide = \once \override NoteColumn.force-hshift = #0
 
 \score {
   <<
@@ -860,7 +854,7 @@ collide = \once \override NoteColumn #'force-hshift = #0
         \new Voice { \voiceTwo bes \collide bes }
       >>
     }
-    \new Lyrics \lyricsto "sample" \lyricmode { "good " " bad" }
+    \new Lyrics \lyricsto "sample" { "good " " bad" }
   >>
 }
 @end lilypond
@@ -976,8 +970,8 @@ formed by the concept of music expressions: by combining small
 fragments of music into larger ones, more complex music can be
 expressed.  For example
 
-@lilypond[quote,verbatim,fragment,relative=1]
-f4
+@lilypond[quote,verbatim,fragment]
+f'4
 @end lilypond
 
 @noindent
@@ -1038,12 +1032,12 @@ nature of music notation:
 
 @lilypond[quote,fragment]
 <<
-  \new Staff \relative c'' {
+  \new Staff \relative {
     \key g \major
     \time 3/4
-    d4 g,8 a b c d4 g, g
+    d''4 g,8 a b c d4 g, g
   }
-  \new Staff \relative c' {
+  \new Staff \relative {
     \clef "bass"
     \key g \major
     <g b d>2 a4 b2.
@@ -1084,28 +1078,28 @@ consider a more complicated musical example:
 
 \new PianoStaff <<
   \new Staff = "RH" <<
-    \new Voice = "I" \relative c''' {
+    \new Voice = "I" \relative {
       \time 3/4
       \voiceOne
-      \times 6/7 { g8 g g g g g g }
+      \tuplet 7/6 { g''8 g g g g g g }
       \oneVoice
       r4 <b,, fis' g bes> r4\fermata
     }
-    \new Voice = "II" \relative c' {
+    \new Voice = "II" \relative {
       \voiceTwo
-      c4
-      \times 4/5 {
+      c'4
+      \tuplet 5/4 {
         <c ees>8 f g
         \change Staff = "LH" \oneVoice
         \stemUp g,( c}
       r4
-      \override Stem #'cross-staff = ##t
-      \override Stem #'length = #12
+      \override Stem.cross-staff = ##t
+      \override Stem.length = #12
       <fis, b>) r\fermata
     }
   >>
   \new Staff = "LH" <<
-    \new Voice = "III" \relative c' {
+    \new Voice = "III" \relative {
       \time 2/4
       \clef "bass"
       g4 \stopStaff s
@@ -1168,6 +1162,7 @@ heads, the @code{Note_heads_engraver}.
       \remove "Phrasing_slur_engraver"
       \remove "Slur_engraver"
       \remove "Script_engraver"
+      \remove "New_fingering_engraver"
       \remove "Beam_engraver"
       \remove "Auto_beam_engraver"
     }
@@ -1200,6 +1195,7 @@ Then a @code{Staff_symbol_engraver} adds the staff,
       \remove "Phrasing_slur_engraver"
       \remove "Slur_engraver"
       \remove "Script_engraver"
+      \remove "New_fingering_engraver"
       \remove "Beam_engraver"
       \remove "Auto_beam_engraver"
     }
@@ -1231,6 +1227,7 @@ the @code{Clef_engraver} defines a reference point for the staff,
       \remove "Phrasing_slur_engraver"
       \remove "Slur_engraver"
       \remove "Script_engraver"
+      \remove "New_fingering_engraver"
       \remove "Beam_engraver"
       \remove "Auto_beam_engraver"
     }
@@ -1259,6 +1256,7 @@ and the @code{Stem_engraver} adds stems.
       \remove "Phrasing_slur_engraver"
       \remove "Slur_engraver"
       \remove "Script_engraver"
+      \remove "New_fingering_engraver"
       \remove "Beam_engraver"
       \remove "Auto_beam_engraver"
     }
@@ -1366,16 +1364,16 @@ chord has all directions up (right).
 
 @lilypond[quote,ragged-right]
 \score {
-  \relative c' {
-    \stemDown <e g b>4_>-\arpeggio
-    \override Arpeggio #'direction = #RIGHT
+  \relative {
+    \stemDown <e' g b>4_>-\arpeggio
+    \override Arpeggio.direction = #RIGHT
     \stemUp <e g b>4^>-\arpeggio
   }
   \layout {
     \context {
       \Score
-      \override SpacingSpanner #'spacing-increment = #3
-      \override TimeSignature #'transparent = ##t
+      \override SpacingSpanner.spacing-increment = #3
+      \hide TimeSignature
     }
   }
 }
@@ -1401,12 +1399,12 @@ fragment = {
 <<
    \new Staff \fragment
    \new Staff \with {
-      \override Beam #'beam-thickness = #0.3
-      \override Stem #'thickness = #0.5
-      \override Bar #'thickness = #3.6
-      \override Tie #'thickness = #2.2
-      \override StaffSymbol #'thickness = #3.0
-      \override Tie #'extra-offset = #'(0 .  0.3)
+      \override Beam.beam-thickness = #0.3
+      \override Stem.thickness = #0.5
+      \override Bar.thickness = #3.6
+      \override Tie.thickness = #2.2
+      \override StaffSymbol.thickness = #3.0
+      \override Tie.extra-offset = #'(0 .  0.3)
       }
       \fragment
 >>
@@ -1436,23 +1434,23 @@ note head symbol is changed during the music fragment.
                   ((-2) (make-smaller-markup (make-bold-markup "2")))
                   (else "bla")))))))))
 
-\new Voice \relative c' {
+\new Voice \relative {
   \stemUp
   \set autoBeaming = ##f
   \time 2/4
+  <d' f g>4
+  \once \override NoteHead.stencil = #note-head::brew-ez-stencil
+  \once \override NoteHead.font-size = #-7
+  \once \override NoteHead.font-family = #'sans
+  \once \override NoteHead.font-series = #'bold
   <d f g>4
-  \once \override NoteHead #'stencil = #note-head::brew-ez-stencil
-  \once \override NoteHead #'font-size = #-7
-  \once \override NoteHead #'font-family = #'sans
-  \once \override NoteHead #'font-series = #'bold
-  <d f g>4
-  \once \override NoteHead #'style = #'cross
+  \once \override NoteHead.style = #'cross
   <d f g>4
-  \applyOutput #'Voice #mc-squared
+  \applyOutput Voice #mc-squared
   <d f g>4
   <<
     { d8[ es-( fis^^ g] fis2-) }
-    \repeat unfold 5 { \applyOutput #'Voice #mc-squared s8 }
+    \repeat unfold 5 { \applyOutput Voice #mc-squared s8 }
   >>
 }
 @end lilypond
@@ -1484,9 +1482,9 @@ By adding chord names and lyrics we obtain a lead sheet.
 <<
    \chords { c2 c f2 c }
    \new Staff
-   \relative c' {
+   \relative {
      \time 2/4
-     c4 c g' g a a g2
+     c'4 c g' g a a g2
    }
    \addlyrics { twin -- kle twin -- kle lit -- tle star }
 >>
@@ -1508,7 +1506,7 @@ following example combines some more exotic constructs.
       \time 4/8
       \key c \minor
       << {
-        \revert Stem #'direction
+        \revert Stem.direction
         \change Staff = down
         \set subdivideBeams = ##t
         g16.[
@@ -1525,7 +1523,7 @@ following example combines some more exotic constructs.
         \set followVoice = ##t
         c'''32([ b''16 a''16 gis''16 g''32)]
       } \\ {
-        s4 \times 2/3 { d'16[ f' g'] } as'32[ b''32 e'' d'']
+        s4 \tuplet 3/2 { d'16[ f' g'] } as'32[ b''32 e'' d'']
       } \\ {
         s4 \autoBeamOff d''8.. f''32
       } \\ {
@@ -1537,16 +1535,16 @@ following example combines some more exotic constructs.
       \clef bass
       \key c \minor
       \set subdivideBeams = ##f
-      \override Stem  #'french-beaming = ##t
-      \override Beam  #'beam-thickness = #0.3
-      \override Stem  #'thickness = #4.0
+      \override Stem.french-beaming = ##t
+      \override Beam.beam-thickness = #0.3
+      \override Stem.thickness = #4.0
       g'16[ b16 fis16 g16]
       << \makeClusters {
         as16 <as b>
         <g b>
         <g cis>
       } \\ {
-        \override Staff.Arpeggio  #'arpeggio-direction =#down
+        \override Staff.Arpeggio.arpeggio-direction =#down
         <cis, e, gis, b, cis>4\arpeggio
       }
     >> }
@@ -1557,7 +1555,7 @@ following example combines some more exotic constructs.
   \layout {
     \context {
       \Staff
-      \consists Horizontal_bracket_engraver
+      \consists "Horizontal_bracket_engraver"
     }
   }
 }
@@ -1576,8 +1574,8 @@ therefore be easily embedded in other text-based formats such as
 @command{lilypond-book} program, included with LilyPond, the input
 fragments can be replaced by music images in the resulting PDF or HTML
 output files.  Another example is the third-party OOoLilyPond extension
-for OpenOffice.org, which makes it extremely easy to embed musical
-examples in documents.
+for OpenOffice.org or LibreOffice, which makes it extremely easy to
+embed musical examples in documents.
 
 For more examples of LilyPond in action, full documentation, and the
 software itself, see our main website: www.lilypond.org.
@@ -1655,42 +1653,42 @@ LilyPond, version @version{}:
 @lilypond[staffsize=14.3,line-width=15.9\cm]
 global = {\key g \minor}
 
-partI = \relative c' {
+partI = \relative {
   \voiceOne
-  fis8 d' ees g, fis4 g
+  fis'8 d' ees g, fis4 g
   r8 a16 bes c8 bes16 a d8 r r4
   r2 r8 d16 ees f8 ees16 d
-  ees4 ~ ees16 d c bes a4 r8 ees'16 d
+  ees4 ~ 16 d c bes a4 r8 ees'16 d
   c8 d16 ees d8 e16 fis g8 fis16 g a4 ~
-  a8 d, g f ees d c bes
+  8 d, g f ees d c bes
   a2 g\fermata \bar "|."
 }
 
-partII = \relative c' {
+partII = \relative {
   \voiceTwo
-  d4 r4 r8 d'16 c bes8 c16 d
+  d'4 r4 r8 d'16 c bes8 c16 d
   ees8 d c ees a, r r4
   r8 fis16 g a8 g16 fis g2 ~
-  g2 r8 d' ees g,
+  2 r8 d' ees g,
   fis4 g r8 a16 bes c8 bes16 a
   bes4. <g b>8 <a c> r <d, g> r
   <ees g>4 <d fis> d2
 }
-partIII = \relative c' {
+partIII = \relative {
   \voiceOne
-  r2 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a
-  bes2 ~ bes8 b16 a g8 a16 b
+  r2 r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a
+  bes2 ~ 8 b16 a g8 a16 b
   c4 r r2
   R1
   r8 d ees g, fis4 g
   r8 a16 bes c8 bes16 a b2
 }
-partIV = \relative c {
+partIV = \relative {
   \voiceTwo
   d4 r r2
   r8 d ees g, fis4 a
   d,8 d'16 c bes8 c16 d ees2 ~
-  ees8 ees16 d c8 d16 ees fis,8 a16 g fis8 g16 a
+  8 ees16 d c8 d16 ees fis,8 a16 g fis8 g16 a
   d,8 d'16 c bes8 c16 d ees8 c a fis'
   g f ees d c bes a g
   c a d d, g2\fermata
@@ -1724,7 +1722,7 @@ partIV = \relative c {
     }
     \context {
       \PianoStaff
-      \override StaffGrouper #'staff-staff-spacing #'padding = #1
+      \override StaffGrouper.staff-staff-spacing.padding = #1
     }
   }
 }