X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fbasic-notation.itely;h=40b089878f186c945e10f375a8f6acbef1135e43;hb=199e97714242780f3694a2e501c917c54ad64a53;hp=4c19a55f27ae8a90d05001dfdfd0a4b2f5d352c6;hpb=5516a43e8bc85c3f58b3c004a9a7fde626408939;p=lilypond.git

diff --git a/Documentation/user/basic-notation.itely b/Documentation/user/basic-notation.itely
index 4c19a55f27..40b089878f 100644
--- a/Documentation/user/basic-notation.itely
+++ b/Documentation/user/basic-notation.itely
@@ -221,23 +221,59 @@ example, add @code{\include "english.ly"} to the top of the input
 file.  The available language files
 and the note names they define are
 
-@c  what about micro-tunes, double-sharps, and double-flats?  add
-@c  more columns to the table?
-@c  Oh, and should this be made into a multitable?
+@c  Should this be made into a multitable?
 @cindex note names, other languages
 @example
-                        Note Names               sharp       flat
-nederlands.ly  c   d   e   f   g   a   bes b   -is         -es
-english.ly     c   d   e   f   g   a   bf  b   -s/-sharp   -f/-flat
-                                               -x (double)
-deutsch.ly     c   d   e   f   g   a   b   h   -is         -es
-norsk.ly       c   d   e   f   g   a   b   h   -iss/-is    -ess/-es
-svenska.ly     c   d   e   f   g   a   b   h   -iss        -ess
-italiano.ly    do  re  mi  fa  sol la  sib si  -d          -b
-catalan.ly     do  re  mi  fa  sol la  sib si  -d/-s       -b
-espanol.ly     do  re  mi  fa  sol la  sib si  -s          -b
+                        Note Names               sharp       flat     double        double
+                                                                       sharp        flat
+
+nederlands.ly  c   d   e   f   g   a   bes b   -is         -es       -isis         -eses
+english.ly     c   d   e   f   g   a   bf  b   -s/-sharp   -f/-flat  -ss/-x/       -ff/
+                                                                     -sharpsharp   -flatflat
+deutsch.ly     c   d   e   f   g   a   b   h   -is         -es       -isis         -eses
+norsk.ly       c   d   e   f   g   a   b   h   -iss/-is    -ess/-es  -ississ/-isis -essess/-eses
+svenska.ly     c   d   e   f   g   a   b   h   -iss        -ess      -ississ       -essess
+italiano.ly    do  re  mi  fa  sol la  sib si  -d          -b        -dd           -bb
+catalan.ly     do  re  mi  fa  sol la  sib si  -d/-s       -b        -dd/-ss       -bb
+espanol.ly     do  re  mi  fa  sol la  sib si  -s          -b        -ss           -bb
 @end example
 
+@noindent
+Note that in Dutch, German, Norwegian, and Swedish, the flat
+alterations of @samp{a} like for example @code{aes} and @code{aeses}
+are usually contracted to @code{as} and @code{ases} (or more commonly
+@code{asas}). Sometimes only these contracted names are defined in the
+corresponding language files (this also applies to the suffixes for
+quartertones below).
+
+@noindent
+Some music uses microtones whose alterations are fractions of a
+@q{regular} sharp or flat. The note names for quartertones defined in
+the various language files are listed in the following table. Here the
+prefixes @q{semi-} and @q{sesqui-} mean @q{half} and @q{one and a
+half}, respectively. For Norwegian, Swedish, Catalan and Spanish no
+special names have been defined yet.
+@c What about Turkish Maquam music and similar microtonal systems?
+@c
+@c Note that the term "three-quarter-sharp/-flat" used in lilypond's source code 
+@c is actually misleading since the alteration is in fact one and a half
+@c of a regular sharp/flat. Whence the naming "sesqui-sharp/-flat" used below.
+
+@example
+                        Note Names             semi-   semi-  sesqui-  sesqui-
+                                               sharp   flat    sharp    flat
+
+nederlands.ly  c   d   e   f   g   a   bes b   -ih     -eh    -isih    -eseh
+english.ly     c   d   e   f   g   a   bf  b   -qs     -qf    -tqs     -tqf
+deutsch.ly     c   d   e   f   g   a   b   h   -ih     -eh    -isih    -eseh
+norsk.ly       c   d   e   f   g   a   b   h   
+svenska.ly     c   d   e   f   g   a   b   h   
+italiano.ly    do  re  mi  fa  sol la  sib si  -sd     -sb    -dsd     -bsb
+catalan.ly     do  re  mi  fa  sol la  sib si  
+espanol.ly     do  re  mi  fa  sol la  sib si  
+@end example
+
+
 
 @node Relative octaves
 @subsection Relative octaves
@@ -450,7 +486,7 @@ existing music with another @code{transpose}
 
 Program reference: @internalsref{TransposedMusic}.
 
-Example: @inputfileref{input/@/test,smart@/-transpose@/.ly}.
+Example: @lsr{scheme,transpose-pitches-with-minimum-accidentals.ly}.
 
 
 @refbugs
@@ -726,6 +762,49 @@ To avoid printing tuplet numbers, use
 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
 @end lilypond
 
+Use the @code{\tweak} function to override nested tuplets beginning at the
+same music moment.  In this example, @code{\tweak} specifies fraction
+text for the
+outer @code{TupletNumber} and denominator text for the @code{TupletNumber}
+of the first of the three inner tuplets.
+
+@lilypond[quote,ragged-right,verbatim]
+\new Staff {
+  \tweak #'text #tuplet-number::calc-fraction-text
+  \times 4/3 {
+     \tweak #'text #tuplet-number::calc-denominator-text
+     \times 2/3 { c'8[ c'8 c'8] }
+     \times 2/3 { c'8[ c'8 c'8] }
+     \times 2/3 { c'8[ c'8 c'8] }
+  }
+}
+@end lilypond
+
+Here @code{\tweak} and @code{\override} work together to specify
+@code{TupletBracket} direction.  The first @code{\tweak} positions
+the @code{TupletBracket} of the outer
+tuplet above the staff.  The second @code{\tweak} positions the
+@code{TupletBracket} of the first of the three inner tuplets below the
+staff.  Note that this pair of @code{\tweak} functions affects only
+the outer tuplet and the first of the three inner tuplets because only
+those two tuplets begin at the same music moment.  We use @code{\override}
+in the usual way to position the @code{TupletBrackets} of
+the second and third of the inner tuplets below the staff.
+
+@lilypond[quote,ragged-right,verbatim]
+\new Staff {
+  \tweak #'text #tuplet-number::calc-fraction-text
+  \tweak #'direction #up
+  \times 4/3 {
+     \tweak #'direction #down
+     \times 2/3 { c'8[ c'8 c'8] }
+     \override TupletBracket #'direction = #down
+     \times 2/3 { c'8[ c'8 c'8] }
+     \times 2/3 { c'8[ c'8 c'8] }
+  }
+}
+@end lilypond
+
 Tuplet brackets can be made to run to prefatory matter or
 the next note
 
@@ -759,10 +838,12 @@ Program reference: @internalsref{TupletBracket},
 
 You can alter the length of duration by a fraction @var{N/M}
 appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}).  This
-will not affect the appearance of the notes or rests produced.
+will not affect the appearance of the notes or rests produced.  These
+may be combined such as @samp{*M*N}.
 
 In the following example, the first three notes take up exactly two
 beats, but no triplet bracket is printed.
+
 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
 \time 2/4
 a4*2/3 gis4*2/3 a4*2/3
@@ -773,7 +854,7 @@ b16*4 c4
 
 @seealso
 
-This manual: @ref{Tuplets}
+This manual: @ref{Tuplets}.
 
 
 @node Bar check
@@ -860,7 +941,7 @@ is off.
 
 If you want to allow line breaking on the bar lines where
 @internalsref{Completion_heads_engraver} splits notes, you must
-also remove @internalsref{Forbid_line_breaks_engraver}.
+also remove @internalsref{Forbid_line_break_engraver}.
 
 
 @refbugs
@@ -973,7 +1054,7 @@ These voices are all separate from the voice that contains the notes just
 outside the @code{<< \\ >>} construct.  This should be noted when making
 changes at the voice level.  This also means that slurs and ties cannot go
 into or out of a @code{<< \\ >>} construct.  Conversely, parallel voices
-from separate @code{<< \\ >>} constructs on the same staff are the the
+from separate @code{<< \\ >>} constructs on the same staff are the
 same voice.  Here is the same example, with different noteheads for each
 voice.  Note that the change to the note-head style in the main voice does
 not affect
@@ -1424,7 +1505,7 @@ can be specified by setting this property directly.
 
 Accidentals and key signatures often confuse new users, because
 unaltered notes get natural signs depending on the key signature.  For
-more information, see @ref{Accidentals} or @ref{Accidentals and key signatures}.
+more information, see @ref{Accidentals}, or @ref{Accidentals and key signatures}.
 
 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
 \key g \major
@@ -1490,7 +1571,7 @@ property.  Setting it to @code{#'()} uses fraction style for 4/4 and
 @end lilypond
 
 There are many more options for its layout.  See @ref{Ancient time
-signatures} for more examples.
+signatures}, for more examples.
 
 @code{\time} sets the property @code{timeSignatureFraction},
 @code{beatLength} and @code{measureLength} in the @code{Timing}
@@ -1531,7 +1612,7 @@ measure is subdivided in 2, 2, 2 and 3.  This is passed to
 Program reference: @internalsref{TimeSignature}, and
 @internalsref{Timing_translator}.
 
-Examples: @inputfileref{input/@/test,compound@/-time@/.ly}.
+Examples: @lsr{contemporary,compound-time-signature.ly}.
 
 
 @refbugs
@@ -1635,7 +1716,7 @@ point (without increasing the bar number counter).
 In scores with many staves, a @code{\bar} command in one staff is
 automatically applied to all staves.  The resulting bar lines are
 connected between different staves of a @code{StaffGroup},
-@code{PianoStaff}, or @code{ChoirStaff}.
+@code{PianoStaff}, or @code{GrandStaff}.
 
 @lilypond[quote,ragged-right,fragment,verbatim]
 <<
@@ -1792,7 +1873,7 @@ in every context, and that type is determined by the property
 System start delimiters may be deeply nested,
 
 @lilypond[quote,ragged-right,verbatim]
-\new StaffGroup 
+\new StaffGroup
 \relative <<
   \set StaffGroup.systemStartDelimiterHierarchy
     = #'(SystemStartSquare (SystemStartBracket a (SystemStartSquare b)) d)
@@ -1817,8 +1898,8 @@ LilyPond, these lines are drawn using a separate layout object called
 
 The staff symbol may be tuned in the number, thickness and distance
 of lines, using properties.  This is demonstrated in the example files
-@inputfileref{input/@/test,staff@/-lines@/.ly},
-@inputfileref{input/@/test,staff@/-size@/.ly}.
+@lsr{staff,changing-the-number-of-lines-in-a-staff.ly} and
+@lsr{staff,changing-the-staff-size.ly}.
 
 In addition, staves may be started and stopped at will. This is done
 with @code{\startStaff} and @code{\stopStaff}.
@@ -1849,10 +1930,7 @@ sections. An example is shown here
 
 Program reference: @internalsref{StaffSymbol}.
 
-Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
-@inputfileref{input/@/test@/,ossia.ly},
-@inputfileref{input/@/test,staff@/-size@/.ly},
-@lsr{staff,staff-line-positions.ly}
+Examples: @lsrdir{staff}
 
 
 @node Writing music in parallel
@@ -2186,7 +2264,7 @@ LilyPond inserts beams automatically
 
 When these automatic decisions are not good enough, beaming can be
 entered explicitly.  It is also possible to define beaming patterns
-that differ from the defaults.  See @ref{Setting automatic beam behavior}
+that differ from the defaults.  See @ref{Setting automatic beam behavior},
 for details.
 
 Individual notes may be marked with @code{\noBeam} to prevent them
@@ -2260,9 +2338,10 @@ For more information about @code{make-moment}, see
 @ref{Time administration}.
 
 Line breaks are normally forbidden when beams cross bar lines.  This
-behavior can be changed by setting @code{allowBeamBreak}.
+behavior can be changed by setting @code{breakable}.
+
+@funindex breakable
 
-@funindex allowBeamBreak
 @cindex beams and line breaks
 @cindex beams, kneed
 @cindex kneed beams
@@ -2272,7 +2351,8 @@ behavior can be changed by setting @code{allowBeamBreak}.
 @refbugs
 
 Kneed beams are inserted automatically when a large gap is detected
-between the note heads.  This behavior can be tuned through the object.
+between the note heads.  This behavior can be tuned through the
+@code{auto-knee-gap} object.
 
 Automatically kneed cross-staff beams cannot be used together with
 hidden staves.  See @ref{Hiding staves}.
@@ -2367,7 +2447,7 @@ length of the main note.  The fraction 3/4 can be changed by setting
 @code{afterGraceFraction}, ie.
 
 @example
-afterGraceFraction = #(cons 7 8)
+#(define afterGraceFraction (cons 7 8))
 @end example
 
 @noindent
@@ -2780,6 +2860,9 @@ a'2\< a a a\!\mf
 To create new dynamic marks or text that should be aligned
 with dynamics, see @ref{New dynamic marks}.
 
+Vertical positioning of dynamics is handled by
+@internalsref{DynamicLineSpanner}.
+
 
 @commonprop
 
@@ -3115,18 +3198,13 @@ c1
 \alternative { {d2 d} {f f,} }
 @end lilypond
 
-In the following example, the first ending is not a complete
-bar (it only had 3 beats).  The beginning of the second ending
-contains the 4th beat from the first ending.  This @q{extra}
-beat in the second ending is due to the first time ending,
-and has nothing to do with the @code{\partial} at the
-beginning of the example.
+Repeats with upbeats may be created.
 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 \new Staff {
-  \partial 4
-  \repeat volta 4 { e | c2 d2 | e2 f2 | }
-  \alternative { { g4 g g } { a | a a a a | b2. } }
+  \partial 4 e |
+  \repeat volta 4 { c2 d2 | e2 f2 | }
+  \alternative { { g4 g g e } { a a a a | b2. } }
 }
 @end lilypond
 
@@ -3155,14 +3233,22 @@ bracket only lasts one measure, which is a duration of 3/4.
 }
 @end lilypond
 
+If you want to start a repeat at the beginning of a line and have a
+double bar at the end of the previous line, use
+@example
+@dots{} \bar "||:" \break 
+\repeat volta 2 @{ @dots{} 
+@end example
+see @ref{Bar lines} for more information.
 
 @seealso
 
 Examples:
 
 Brackets for the repeat are normally only printed over the topmost
-staff.  This can be adjusted by setting the @code{voltaOnThisStaff}
-property; see
+staff.  This can be adjusted by moving @code{Volta_engraver} to the
+Staff context where you want the brackets to appear;
+see @ref{Modifying context plug-ins} and
 
 @lsr{repeats,volta@/-multi@/-staff@/.ly}.
 
@@ -3272,9 +3358,8 @@ c4 c4
 
 Program reference: @internalsref{VoltaBracket},
 @internalsref{RepeatedMusic},
-@internalsref{VoltaRepeatedMusic},
-@internalsref{UnfoldedRepeatedMusic}, and
-@internalsref{FoldedRepeatedMusic}.
+@internalsref{VoltaRepeatedMusic}, and
+@internalsref{UnfoldedRepeatedMusic}.
 
 
 @node Tremolo repeats