representation; using one of those might be easiest for keeping legacy
code operative.
-The advantages of making input and music match more closely are
-numerous: music functions previously worked differently when used inside
-or outside of chords. Now they are the same, including all the
-possibilities of argument parsing. You can now use music variables
-inside of chords: a construct like
+The following three items are consequences of this change.
+
+@item
+Music functions now work the same when used inside or outside of chords,
+including all the possibilities of argument parsing. Music variables
+can be used inside of chords: a construct like
@lilypond[verbatim,quote,ragged-right]
tonic=fis'
{ <\tonic \transpose c g \tonic> }
@end lilypond
@noindent
-would have been unthinkable previously. You can use
-@code{#@{@dots{}#@}} for constructing chord constituents. Music
-functions inside of chords are no longer specially treated and thus
-accept the same arguments as outside of chords. @code{\tweak} now works
-on single notes without needing to wrap them in a chord. In theory, it
-can also work on command events and lyrics now. Since that was not
-possible before, it depends on luck on a case-by-case basis whether the
-tweak internals are already receiving the necessary information. Users
-are asked to report those cases where they find @code{\tweak} not
-working according to reasonable expectations.
+now works as expected. One can use @code{#@{@dots{}#@}} for
+constructing chord constituents. @code{\tweak} now works on single
+notes without needing to wrap them in a chord. Using it on command
+events and lyrics is now possible, but not likely to give results yet.
+
+@item
+The repetitive chord entry aid @code{q} has been reimplemented.
+Repeated chords are now replaced right before interpreting a music
+expression. In case the user wants to retain some events of the
+original chord, he can run the repeat chord replacement function
+@code{\chordRepeats} manually.
@item
-As one consequence, it was possible to reimplement the repetitive chord
-entry aid @code{q}. Repeated chords are now replaced right before
-interpreting a music expression. In case the user wants to retain
-some events of the original chord, he can run the repeat chord
-replacement function @code{\chordRepeats} manually.
+String numbers and right hand fingerings on single notes now appear
+without having to be written inside of chord brackets.
@item
Scheme expressions inside of embedded Lilypond (@code{#@{@dots{}#@}})
@cindex fingering vs. string numbers
The string on which a note should be played may be indicated by
-appending @code{\@var{number}} to a note inside a chord construct
-@code{<>}.
-
-@warning{String numbers @strong{must} be defined inside a chord
-construct even if there is only a single note.}
+appending @code{\@var{number}} to a note.
@lilypond[verbatim,quote,relative=0]
\clef "treble_8"
-<c\5>4 <e\4> <g\3>2
+c4\5 e\4 g2\3
<c,\5 e\4 g\3>1
@end lilypond
When fingerings and string indications are used together, their
-placement is controlled by the order in which the two items appear
-in the code:
+placement can be controlled by the order in which the two items appear
+in the code @emph{only} if they appear inside of an explicit chord:
+applied to whole chords or single notes @emph{outside} of chords,
+fingerings are placed using a different mechanism.
@lilypond[verbatim,quote,relative=1]
\clef "treble_8"
-<g\3-0>2
+g4\3-0
+g-0\3
+<g\3-0>
<g-0\3>
@end lilypond
By default pitches are assigned to the lowest playing position on the
fret-board (first position). Open strings are automatically preferred.
-If you would like a certain pitch to be played on a specific string
-you can add a string number indication to the pitch name. If you
-define pitch names and string numbers without a chord construct
-(@code{<>}) the string number indications do not appear in traditional
-notation. It is much more comfortable to define the playing position
-by using the value of @code{minimumFret}. The default value for
-minimumFret is 0.
+If you would like a certain pitch to be played on a specific string you
+can add a string number indication to the pitch name. If you don't want
+to have string number indications appear in traditional notation, you
+can override the respective stencil. Usually it will be more
+comfortable to define the playing position by using the value of
+@code{minimumFret}. The default value for minimumFret is 0.
@lilypond[quote,ragged-right,verbatim]
+\layout { \override Voice.StringNumber #'stencil = ##f }
\new StaffGroup <<
\new Staff \relative c {
\clef "treble_8"
pitches:
@lilypond[verbatim,quote]
+\layout { \override Voice.StringNumber #'stencil = ##f }
firstHarmonic = {
d'4\4\harmonic
g'4\3\harmonic
@lilypond[quote,ragged-right,verbatim]
<<
- \new Staff {
+ \new Voice \with {
+ \override StringNumber #'stencil = ##f
+ } {
\clef "bass_8"
\relative c, {
c4 d e f
}
}
- \new TabStaff {
- \set TabStaff.stringTunings = #bass-tuning
+ \new TabStaff \with {
+ stringTunings = #bass-tuning
+ } {
\relative c, {
c4 d e f
}
@funindex rightHandFinger
@funindex \rightHandFinger
-Right-hand fingerings @var{p-i-m-a} must be entered within a
-chord construct @code{<>} for them to be printed in the score,
-even when applied to a single note.
+Right-hand fingerings @var{p-i-m-a} must be entered using
+@code{\rightHandFinger} followed by a number.
@warning{There @strong{must} be a hyphen before
@code{@bs{}rightHandFinger} and a space before the closing @code{>}.}
@lilypond[quote,verbatim,relative=0]
\clef "treble_8"
-<c-\rightHandFinger #1 >4
-<e-\rightHandFinger #2 >
-<g-\rightHandFinger #3 >
-<c-\rightHandFinger #4 >
+c4-\rightHandFinger #1
+e-\rightHandFinger #2
+g-\rightHandFinger #3
+c-\rightHandFinger #4
<c,-\rightHandFinger #1 e-\rightHandFinger #2
g-\rightHandFinger #3 c-\rightHandFinger #4 >1
@end lilypond
projects / lilypond.git / commitdiff