--- /dev/null
+#(ly:set-point-and-click 'line-column)
+\version "2.3.8"
+
+\header {
+
+texidoc = "Stress optimal page breaking. This should look
+ nice on 4 a6 pages. "
+
+
+ copyright = "Copyright by /me"
+
+ title = "Title"
+ subtitle = "(and (the) subtitle)"
+ subsubtitle = "Sub sub title"
+ poet = "Poet"
+ composer = "Composer"
+ texttranslator = "Text Translator"
+ opus = "opus 0"
+ meter = "Meter (huh?)"
+ arranger = "Arranger"
+ instrument = "Instrument"
+ piece = "Piece"
+}
+
+#(set-default-paper-size "a6")
+
+
+pattern = { a b c d \break }
+\book {
+ \score {
+ \context Staff \relative c' {
+ %% 16: ideally cramped
+ %% 17: very bad without density
+ % \repeat unfold 17 { a b c d \break }
+
+ \pattern
+ \pattern
+ % \noPageBreak
+ \pattern
+
+ % the following changes the location of the break.
+ %
+ % \pageBreak
+
+ \pattern
+ \pattern
+ \pattern
+ \pattern
+ \repeat unfold 10 \pattern
+ }
+
+ }
+
+}
+++ /dev/null
-#(ly:set-point-and-click 'line-column)
-\version "2.3.8"
-
-\header {
-
-texidoc = "Stress optimal page breaking. This should look
- nice on 4 a6 pages. "
-
-
- copyright = "Copyright by /me"
-
- title = "Title"
- subtitle = "(and (the) subtitle)"
- subsubtitle = "Sub sub title"
- poet = "Poet"
- composer = "Composer"
- texttranslator = "Text Translator"
- opus = "opus 0"
- meter = "Meter (huh?)"
- arranger = "Arranger"
- instrument = "Instrument"
- piece = "Piece"
-}
-
-#(set-default-paper-size "a6")
-
-
-pattern = { a b c d \break }
-\book {
- \score {
- \context Staff \relative c' {
- %% 16: ideally cramped
- %% 17: very bad without density
- % \repeat unfold 17 { a b c d \break }
-
- \pattern
- \pattern
- % \noPageBreak
- \pattern
-
- % the following changes the location of the break.
- %
- % \pageBreak
-
- \pattern
- \pattern
- \pattern
- \pattern
- \repeat unfold 10 \pattern
- }
-
- }
-
-}
+++ /dev/null
-
-\version "2.3.8"
-
-\header{ texidoc="@cindex Part Combine
-In orchestral scores and hymns, voices are traditionally combined into
-one staff. LilyPond has a part combiner that combines, or separates, two
-voices according to the actual rhythm and pitch. Configurable texts, such
-as ``solo'' and ``@`a2'', are typeset automatically in appropriate
-places. "
-}
-
-\score{
- \context Staff = flauti <<
- \time 4/4
- \partcombine
- \relative c'' {
- c4 d e f | b,4 d c d | r2 e4 f | c4 d e f |
- c4 r e f | c4 r e f | c4 r a r | a a r a |
- a2 \set soloADue = ##f a |
- }
- \relative c'' {
- g4 b d f | r2 c4 d | a c c d | a4. b8 c4 d
- c r e r | r2 s2 | a,4 r a r | a r r a |
- a2 \set soloADue = ##f a |
- }
- >>
- \paper{
- raggedright = ##t
- }
-}
-
-
+++ /dev/null
-
-\version "2.3.8"
-\header { texidoc = "@cindex Repeat Manual
-By controlling manually the signs and numbers in repeats, an unusual
-output can be produced. "
-}
-
-\score { \relative c'' {
-% First a normal looking repeat:
- c2 c
- \set Score.repeatCommands = #'((volta "1."))
- c c
- \set Score.repeatCommands = #'((volta #f) end-repeat (volta "2."))
- c c
- \set Score.repeatCommands = #'((volta #f))
-% Then a more strange one:
- c c
- \set Score.repeatCommands = #'((volta "93") end-repeat)
- c c
- \set Score.repeatCommands = #'((volta #f))
- c c
-}
- \paper{raggedright=##t}
-}
-