Small additions from mailist.

diff --git a/ChangeLog b/ChangeLog
index 86265f4e8df393062a65453a9984816b687df1fd..a3400ca1f3ebdb889e3f30a0f0fa09bde836a9c0 100644 (file)
--- a/ChangeLog
+++ b/ChangeLog
@@ -1,3 +1,7 @@
+2006-06-24  Graham Percival  <gpermus@gmail.com>
+
+       * Documentation/user/ various: small additions from mailist.
+

 2006-06-22  Mats Bengtsson  <mabe@drongo.s3.kth.se>
 
        * ly/performer-init.ly: Add some missing links in the context
 2006-06-22  Mats Bengtsson  <mabe@drongo.s3.kth.se>
 
        * ly/performer-init.ly: Add some missing links in the context

diff --git a/Documentation/user/basic-notation.itely b/Documentation/user/basic-notation.itely
index 359f592f139f404d548b34de6205aa5bebadb304..fd5d6efefa8f27c6f74a6d95d4e69ea7a925a76b 100644 (file)
--- a/Documentation/user/basic-notation.itely
+++ b/Documentation/user/basic-notation.itely
@@ -92,20 +92,21 @@ octave specifications (@code{'} and @code{,}).  See
 @cindex note names, default
 
 A sharp is formed by adding @code{-is} to the end of a pitch name and
 @cindex note names, default
 
 A sharp is formed by adding @code{-is} to the end of a pitch name and

-a flat is formed by adding @code{-es}
+a flat is formed by adding @code{-es}.  Double sharps and double flats
+are obtained by adding @code{-isis} or @code{-eses} to a note name.

 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 a2 ais a aes
 
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 a2 ais a aes

+a2 aisis a aeses

 @end lilypond
 
 @end lilypond
 

-Double sharps and double flats
-are obtained by adding @code{-isis} or @code{-eses} to a note name.  These
-are the Dutch note names.  In Dutch, @code{aes} is contracted to
+@noindent
+These are the Dutch note names.  In Dutch, @code{aes} is contracted to

 @code{as}, but both forms are accepted.  Similarly, both
 @code{es} and @code{ees} are accepted
 
 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
 @code{as}, but both forms are accepted.  Similarly, both
 @code{es} and @code{ees} are accepted
 
 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]

-a2 aisis a aeses
+a2 as e es

 @end lilypond
 
 A natural will cancel the effect of an accidental or key signature.
 @end lilypond
 
 A natural will cancel the effect of an accidental or key signature.


@@ -282,6 +283,7 @@ Here is the relative mode shown in action
 @end lilypond
 
 Octave changing marks are used for intervals greater than a fourth
 @end lilypond
 
 Octave changing marks are used for intervals greater than a fourth

+

 @lilypond[quote,ragged-right,fragment,verbatim]
 \relative c'' {
   c g c f, c' a, e''
 @lilypond[quote,ragged-right,fragment,verbatim]
 \relative c'' {
   c g c f, c' a, e''


@@ -299,7 +301,7 @@ to determine the first note of the next chord
 }
 @end lilypond
 
 }
 @end lilypond
 

-The pitch after the @code{\relative} contains a note name.
+The pitch after @code{\relative} contains a note name.

 
 The relative conversion will not affect @code{\transpose},
 @code{\chordmode} or @code{\relative} sections in its argument.  To use
 
 The relative conversion will not affect @code{\transpose},
 @code{\chordmode} or @code{\relative} sections in its argument.  To use


@@ -337,7 +339,8 @@ quotes) in @code{\relative} mode.  If not, a warning is printed, and the
 octave is corrected.  The @var{pitch} is not printed as a note.
 
 In the example below, the first check passes without incident, since
 octave is corrected.  The @var{pitch} is not printed as a note.
 
 In the example below, the first check passes without incident, since

-the @code{e} (in relative mode) is within a fifth of @code{a'}.  However,
+the @code{e} (in @code{relative} mode) is within a fifth of
+@code{a'}.  However,

 the second check produces a warning, since the @code{e} is not within
 a fifth of @code{b'}.  The warning message is printed, and the octave
 is adjusted so that the following notes are in the correct octave
 the second check produces a warning, since the @code{e} is not within
 a fifth of @code{b'}.  The warning message is printed, and the octave
 is adjusted so that the following notes are in the correct octave


@@ -444,7 +447,7 @@ Program reference: @internalsref{TransposedMusic}.
 
 If you want to use both @code{\transpose} and @code{\relative},
 you must put @code{\transpose} outside of @code{\relative}, since
 
 If you want to use both @code{\transpose} and @code{\relative},
 you must put @code{\transpose} outside of @code{\relative}, since

-@code{\relative} will have no effect music that appears inside a
+@code{\relative} will have no effect on music that appears inside a

 @code{\transpose}.
 
 
 @code{\transpose}.
 
 


@@ -558,8 +561,8 @@ In Note, Chord, and Lyrics mode, durations are designated by numbers and
 dots: durations are entered as their reciprocal values.  For example, a
 quarter note is entered using a @code{4} (since it is a 1/4 note), while
 a half note is entered using a @code{2} (since it is a 1/2 note).  For
 dots: durations are entered as their reciprocal values.  For example, a
 quarter note is entered using a @code{4} (since it is a 1/4 note), while
 a half note is entered using a @code{2} (since it is a 1/2 note).  For

-notes longer than a whole you must use the variables @code{\longa} and
-@code{\breve}
+notes longer than a whole you must use the @code{\longa} and
+@code{\breve} commands

 
 @example
 c'\breve
 
 @example
 c'\breve


@@ -580,6 +583,11 @@ r1 r2 r4 r8 r16 r32 r64 r64
   }
   \layout {
     ragged-right = ##t
   }
   \layout {
     ragged-right = ##t

+    indent=0\mm
+    \context {
+      \Score
+        \remove "Bar_number_engraver"
+    }

     \context {
       \Staff
         \remove "Clef_engraver"
     \context {
       \Staff
         \remove "Clef_engraver"


@@ -864,8 +872,8 @@ one voice on the same staff.
 
 @cindex Chords
 
 
 @cindex Chords
 

-A chord is formed by a enclosing a set of pitches in @code{<} and
-@code{>}.  A chord may be followed by a duration, and a set of
+A chord is formed by a enclosing a set of pitches between @code{<}
+and @code{>}.  A chord may be followed by a duration, and a set of

 articulations, just like simple notes
 
 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
 articulations, just like simple notes
 
 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]


@@ -1303,6 +1311,8 @@ possibilities when setting properties manually.
 
 @seealso
 
 
 @seealso
 

+Manual: @ref{Grace notes}.
+

 Program reference: @internalsref{Clef}.
 
 
 Program reference: @internalsref{Clef}.
 
 


@@ -1549,7 +1559,7 @@ To allow a line break where there is no visible bar line, use
 
 @noindent
 This will insert an invisible bar line and allow line breaks at this
 
 @noindent
 This will insert an invisible bar line and allow line breaks at this

-point.
+point.  This also increases 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
 
 In scores with many staves, a @code{\bar} command in one staff is
 automatically applied to all staves.  The resulting bar lines are


@@ -1704,7 +1714,7 @@ The bar lines at the start of each system are
 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
 @internalsref{SystemStartBracket}.  Only one of these types is created
 in every context, and that type is determined by the property
 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
 @internalsref{SystemStartBracket}.  Only one of these types is created
 in every context, and that type is determined by the property

-@code{systemStartDelimiter}.
+@internalsref{systemStartDelimiter}.

 
 
 @node Staff symbol
 
 
 @node Staff symbol


@@ -1715,7 +1725,7 @@ in every context, and that type is determined by the property
 Notes, dynamic signs, etc., are grouped
 with a set of horizontal lines, called a staff (plural `staves').  In
 LilyPond, these lines are drawn using a separate layout object called
 Notes, dynamic signs, etc., are grouped
 with a set of horizontal lines, called a staff (plural `staves').  In
 LilyPond, these lines are drawn using a separate layout object called

-staff symbol.
+@code{staff symbol}.

 
 The staff symbol may be tuned in the number, thickness and distance
 of lines, using properties.  This is demonstrated in the example files
 
 The staff symbol may be tuned in the number, thickness and distance
 of lines, using properties.  This is demonstrated in the example files


@@ -2236,6 +2246,7 @@ A @code{\grace} section will introduce special typesetting settings,
 for example, to produce smaller type, and set directions.  Hence, when
 introducing layout tweaks, they should be inside the grace section,
 for example,
 for example, to produce smaller type, and set directions.  Hence, when
 introducing layout tweaks, they should be inside the grace section,
 for example,

+

 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 \new Voice {
   \acciaccatura {
 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
 \new Voice {
   \acciaccatura {


@@ -2252,8 +2263,8 @@ The overrides should also be reverted inside the grace section.
 
 The layout of grace sections can be changed throughout the music using
 the function @code{add-grace-property}.  The following example
 
 The layout of grace sections can be changed throughout the music using
 the function @code{add-grace-property}.  The following example

-undefines the Stem direction for this grace, so stems do not always
-point up.
+undefines the @code{Stem} direction for this grace, so
+that stems do not always point up.

 
 @example
 \new Staff @{
 
 @example
 \new Staff @{


@@ -2548,14 +2559,14 @@ in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
 example
 
 @example
 example
 
 @example

-\override Staff.Hairpin #'minimum-length = #5
+\override Voice.Hairpin #'minimum-length = #5

 @end example
 
 @cindex crescendo
 @cindex decrescendo
 @cindex diminuendo
 
 @end example
 
 @cindex crescendo
 @cindex decrescendo
 @cindex diminuendo
 

-You can also use a text saying @emph{cresc.} instead of hairpins
+You can also use text saying @emph{cresc.} instead of hairpins

 
 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
 \setTextCresc
 
 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
 \setTextCresc


@@ -2600,7 +2611,8 @@ new line are not printed.  To change this behavior, use
 \override Score.Hairpin #'after-line-breaking = ##t
 @end example
 
 \override Score.Hairpin #'after-line-breaking = ##t
 @end example
 

-Text style dynamic changes (such as cresc. and dim.) are printed with a
+Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
+are printed with a

 dashed line showing their extent.  To surpress printing this line, use
 
 @example
 dashed line showing their extent.  To surpress printing this line, use
 
 @example


@@ -2675,7 +2687,7 @@ Long running trills are made with @code{\startTrillSpan} and
 Trills that should be executed on an explicitly specified pitch can be
 typeset with the command @code{pitchedTrill},
 
 Trills that should be executed on an explicitly specified pitch can be
 typeset with the command @code{pitchedTrill},
 

-@lilypond[ragged-right,verbatim,fragment,relative=1]
+@lilypond[ragged-right,verbatim,fragment,relative=1,quote]

 \pitchedTrill c4\startTrillSpan fis
 f\stopTrillSpan
 @end lilypond
 \pitchedTrill c4\startTrillSpan fis
 f\stopTrillSpan
 @end lilypond


@@ -2855,7 +2867,7 @@ Make tremolo beams.  These are not played in MIDI output by default.
 @item percent
 Make beat or measure repeats.  These look like percent signs.  These
 are not played in MIDI output by default.  Percent repeats must be
 @item percent
 Make beat or measure repeats.  These look like percent signs.  These
 are not played in MIDI output by default.  Percent repeats must be

-declared within a Voice context.
+declared within a @code{Voice} context.

 
 @end table
 
 
 @end table
 


@@ -2900,8 +2912,8 @@ c1
 \alternative { {d2 d} {f f,} }
 @end lilypond
 
 \alternative { {d2 d} {f f,} }
 @end lilypond
 

-In this example, the first ending is not a complete bar (it
-only had 3 beats).  The beginning of the second ending
+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 ``extra''
 beat in the second ending is due to the first time ending,
 and has nothing to do with the @code{\partial} at the
 contains the 4th beat from the first ending.  This ``extra''
 beat in the second ending is due to the first time ending,
 and has nothing to do with the @code{\partial} at the


@@ -2959,8 +2971,8 @@ having the @code{\alternative} belong to the inner @code{\repeat}.
 For clarity, it is advisable to use braces in such situations.
 
 Timing information is not remembered at the start of an alternative,
 For clarity, it is advisable to use braces in such situations.
 
 Timing information is not remembered at the start of an alternative,

-so after a repeat timing information must be reset by hand, for
-example by setting @code{Score.measurePosition} or entering
+so after a repeat timing information must be reset by hand; for
+example, by setting @code{Score.measurePosition} or entering

 @code{\partial}.  Similarly, slurs or ties are also not repeated.
 
 
 @code{\partial}.  Similarly, slurs or ties are also not repeated.
 
 


@@ -2972,7 +2984,7 @@ example by setting @code{Score.measurePosition} or entering
 
 With a little bit of tweaking, all types of repeats can be present
 in the MIDI output.  This is achieved by applying the
 
 With a little bit of tweaking, all types of repeats can be present
 in the MIDI output.  This is achieved by applying the

-@code{\unfoldRepeats} music function.  This functions changes all
+@code{\unfoldRepeats} music function.  This function changes all

 repeats to unfold repeats.
 
 @lilypond[quote,verbatim,fragment,line-width=8.0\cm]
 repeats to unfold repeats.
 
 @lilypond[quote,verbatim,fragment,line-width=8.0\cm]


@@ -2988,8 +3000,8 @@ repeats to unfold repeats.
 \bar "|."
 @end lilypond
 
 \bar "|."
 @end lilypond
 

-When creating a score file using @code{\unfoldRepeats} for midi, then
-it is necessary to make two @code{\score} blocks.  One for MIDI (with
+When creating a score file using @code{\unfoldRepeats} for MIDI,
+it is necessary to make two @code{\score} blocks: one for MIDI (with

 unfolded repeats) and one for notation (with volta, tremolo, and
 percent repeats).  For example,
 
 unfolded repeats) and one for notation (with volta, tremolo, and
 percent repeats).  For example,
 


@@ -3144,10 +3156,10 @@ on the @code{countPercentRepeats} property,
 
 
 
 
 
 

-Isolated percents can also be printed. This is done by putting a multi
-measure rest with a different print function,
+Isolated percents can also be printed. This is done by putting a
+multi-measure rest with a different print function,

 
 

-@lilypond[fragment,verbatim]
+@lilypond[fragment,verbatim,quote]

 \override MultiMeasureRest #'stencil
   = #ly:multi-measure-rest::percent
 R1
 \override MultiMeasureRest #'stencil
   = #ly:multi-measure-rest::percent
 R1

diff --git a/Documentation/user/converters.itely b/Documentation/user/converters.itely
index f9b23924059c10c76048fe74684dc44fe743ce58..451e59f9ce3e5387ea4aefe3845ce11a083d4e3f 100644 (file)
--- a/Documentation/user/converters.itely
+++ b/Documentation/user/converters.itely
@@ -14,7 +14,10 @@ on the command-line.  By ``command-line'', we mean the command
 line in the operating system.  Windows users
 might be more familiar with the terms ``DOS shell'' or
 ``command shell''; OSX users might be more familiar with the
 line in the operating system.  Windows users
 might be more familiar with the terms ``DOS shell'' or
 ``command shell''; OSX users might be more familiar with the

-terms ``terminal'' or ``console''.  Describing how to use
+terms ``terminal'' or ``console''.  OSX users should also
+consult @ref{Notes for the MacOS X app}.
+
+Describing how to use

 this part of an operating system is outside the scope of this
 manual; please consult other documentation on this topic if
 you are unfamiliar with the command-line.
 this part of an operating system is outside the scope of this
 manual; please consult other documentation on this topic if
 you are unfamiliar with the command-line.

diff --git a/Documentation/user/page.itely b/Documentation/user/page.itely
index a8bcbf964097ac559c6ed480ea7a9ccdd08e98ec..5959e0be719cbbb9e2b56a2ad87057d4f6f2f688 100644 (file)
--- a/Documentation/user/page.itely
+++ b/Documentation/user/page.itely
@@ -596,7 +596,6 @@ negative.
 
 @menu
 * Horizontal spacing overview::  
 
 @menu
 * Horizontal spacing overview::  

-* New spacing area::            

 * Changing horizontal spacing::  
 * Line length::                 
 @end menu
 * Changing horizontal spacing::  
 * Line length::                 
 @end menu


@@ -708,6 +707,8 @@ following work-around may be used to insert extra space into a score.
 No work-around exists for decreasing the amount of space.
 
 
 No work-around exists for decreasing the amount of space.
 
 

+@c  FIXME:  include this in 2.9; currently removed for 2.8 -gp
+@ignore

 @node New spacing area
 @subsection New spacing area
 
 @node New spacing area
 @subsection New spacing area
 


@@ -718,21 +719,58 @@ sections with a different notions of long and short notes.
 In the following example, the time signature change introduces a new
 section, and hence the 16ths notes are spaced wider.
 
 In the following example, the time signature change introduces a new
 section, and hence the 16ths notes are spaced wider.
 

-FIXME: wait until we're definitely adding NEWS items.  -gp
-
-@lilypond[relative,fragment,verbatim]
+@li lypond[relative,fragment,verbatim,quote]

 \time 2/4
 c4 c8 c 
 c8 c c4 c16[ c c8] c4
 \time 2/4
 c4 c8 c 
 c8 c c4 c16[ c c8] c4

-%\newSpacingSection
+\newSpacingSection

 \time 4/16
 c16[ c c8]
 \time 4/16
 c16[ c c8]

-@end lilypond
-
+@e nd lilypond
+@end ignore

 
 @node Changing horizontal spacing
 @subsection Changing horizontal spacing
 
 
 @node Changing horizontal spacing
 @subsection Changing horizontal spacing
 

+Horizontal spacing may be altered with the
+@code{base-shortest-duration} property.  Here
+we compare the same music; once without altering
+the property, and then altered.  Larger values
+of @code{ly:make-moment} will produce smaller
+music.
+
+@lilypond[relative,verbatim,line-width=12\cm]
+\score {
+  \relative c'' {
+    g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
+    g4 e e2 | f4 d d2 | c4 e g g | c,1 |
+    d4 d d d | d4 e f2 | e4 e e e | e4 f g2 |
+    g4 e e2 | f4 d d2 | c4 e g g | c,1 |
+  }
+}
+@end lilypond
+
+@lilypond[relative,verbatim,line-width=12\cm]
+\score {
+  \relative c'' {
+    g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
+    g4 e e2 | f4 d d2 | c4 e g g | c,1 |
+    d4 d d d | d4 e f2 | e4 e e e | e4 f g2 |
+    g4 e e2 | f4 d d2 | c4 e g g | c,1 |
+  }
+  \layout {
+    \context {
+      \Score
+      \override SpacingSpanner
+                #'base-shortest-duration = #(ly:make-moment 1 4)
+    }
+  }
+}
+@end lilypond
+
+
+@commonprop
+

 By default, spacing in tuplets depends on various non-duration
 factors (such as accidentals, clef changes, etc).  To disregard
 such symbols and force uniform equal-duration spacing, use
 By default, spacing in tuplets depends on various non-duration
 factors (such as accidentals, clef changes, etc).  To disregard
 such symbols and force uniform equal-duration spacing, use

diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely
index 71dd29d7f816a833ca7568c38a9a34c594c6ccfd..08d9416e9c20d1d71bc6c4be4620d2e3332348fd 100644 (file)
--- a/Documentation/user/tutorial.itely
+++ b/Documentation/user/tutorial.itely
@@ -999,7 +999,7 @@ Similarly, hyphens between words can be entered as two dashes,
 resulting in a centered hyphen between two syllables
 
 @example
 resulting in a centered hyphen between two syllables
 
 @example

-Twin -- kle twin -- kle
+A -- le gri -- a

 @end example
 
 @c no ragged-right here, because otherwise the hypens get lost.
 @end example
 
 @c no ragged-right here, because otherwise the hypens get lost.


@@ -1009,7 +1009,7 @@ Twin -- kle twin -- kle
     \time 2/4
     f4 f c' c
   }
     \time 2/4
     f4 f c' c
   }

-  \addlyrics { Twin -- kle twin -- kle }
+  \addlyrics { A -- le gri -- a }

 >>
 @end lilypond
 
 >>
 @end lilypond
 

diff --git a/Documentation/user/working.itely b/Documentation/user/working.itely
index 0a580b515f82be9d1b0cc97b8081b0d38540a206..a1f3c0741fef620a6cd83c40e3d25797c1c54307 100644 (file)
--- a/Documentation/user/working.itely
+++ b/Documentation/user/working.itely
@@ -602,5 +602,27 @@ a system.
 }
 @end lilypond
 
 }
 @end lilypond
 

+@item
+Alter the horizontal spacing via @code{SpacingSpanner}.  See
+@ref{Changing horizontal spacing} for more details.
+
+@lilypond[verbatim,quote]
+\score {
+  \relative c'' {
+    g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
+    g4 e e2 | f4 d d2 | c4 e g g | c,1 |
+    d4 d d d | d4 e f2 | e4 e e e | e4 f g2 |
+    g4 e e2 | f4 d d2 | c4 e g g | c,1 |
+  }
+  \layout {
+    \context {
+      \Score
+      \override SpacingSpanner
+                #'base-shortest-duration = #(ly:make-moment 1 4)
+    }
+  }
+}
+@end lilypond
+

 @end itemize
 
 @end itemize