The next example shows how to build a different type of
@code{Voice} context from scratch. It will be similar to
-@code{Voice}, but only prints centered slash noteheads. It can be used
+@code{Voice}, but only prints centered slash note heads. It can be used
to indicate improvisation in jazz pieces,
@lilypond[quote,ragged-right]
@item
Horizontally, the center of the symbol should be aligned to the
-center of the notehead.
+center of the note head.
@item
Vertically, the symbol is placed next to the note and the staff.
@end quotation
By increasing the value of @code{padding}, we can move the
-fingering away from the notehead. The following command inserts
+fingering away from the note head. The following command inserts
3 staff spaces of white
between the note and the fingering:
@example
\new Voice \with { \consists "Balloon_engraver" }
{
\balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
- <f-\balloonText #'(-2 . -2) \markup { "I'm a notehead" } >8
+ <f-\balloonText #'(-2 . -2) \markup { "I'm a note head" } >8
}
@end lilypond
\new Score \with {
\consists "Grid_line_span_engraver"
- %% centers grid lines horizontally below noteheads
+ %% centers grid lines horizontally below note heads
\override NoteColumn #'X-offset = #-0.5
}
as sequential notes, as they must start at the same time.
This section of the bar requires three voices, and the
normal practice would be to write the whole bar as three
-voices, as shown here, where we have used different noteheads
+voices, as shown here, where we have used different note heads
and colors for the three voices.
@c The following should appear as music without code
parallel voices from separate simultaneous constructs on the same
staff are the same voice. Other voice-related properties also
carry across simultaneous constructs. Here is the same example,
-with different colors and noteheads for each voice. Note that
+with different colors and note heads for each voice. Note that
changes in one Voice do not affect other voices, but they do
persist in the same Voice later. Note also that tied notes may be
split across the same voices in two constructs, shown here in the
The commands @code{\voiceXXXStyle} are mainly intended for use in
educational documents such as this one. They modify the color
-of the notehead, the stem and the beams, and the style of the
-notehead, so that the voices may be easily distinguished.
+of the note head, the stem and the beams, and the style of the
+ note head, so that the voices may be easily distinguished.
Voice one is set to red diamonds, voice two to blue triangles,
voice three to green crossed circles, and voice four (not used
here) to magenta crosses. We shall see later how commands like
@noindent
and exposes a problem commonly encountered with multiple
-voices: the stems of notes can collide with noteheads
+voices: the stems of notes can collide with note heads
in other voices. In laying out the notes, LilyPond allows the
notes or chords from two voices to occupy the same vertical
note column provided the stems are in opposite directions, but
Closely spaced notes in a chord, or notes occuring at the same
time in different voices, are arranged in two, occasionally more,
-columns to prevent the noteheads overlapping. These are called
+columns to prevent the note heads overlapping. These are called
note columns. There are separate columns for each voice, and
the currently specified voice-dependent shift is applied to the
note column if there would otherwise be a collision. This can
Every mark on the printed output of a score produced by LilyPond
is produced by an @code{Engraver}. Thus there is an engraver
-to print staves, one to print noteheads, one for stems, one for
+to print staves, one to print note heads, one for stems, one for
beams, etc, etc. In total there are over 120 such engravers!
Fortunately, for most scores it is not necessary to know about
more than a few, and for simple scores you do not need to know
@item Metronome_mark_engraver
@tab Engraves metronome marking
@item Note_heads_engraver
- @tab Engraves noteheads
+ @tab Engraves note heads
@item Rest_engraver
@tab Engraves rests
@item Staff_symbol_engraver
@lilypond[quote,verbatim,ragged-right,relative=1,fragment]
c4
-% make noteheads smaller
+% make note heads smaller
\set fontSize = #-4
d e
-% make noteheads larger
+% make note heads larger
\set fontSize = #2.5
f g
% return to original size
}
\relative c' {
c4
- \set fontSize = #-4 % make noteheads smaller
+ \set fontSize = #-4 % make note heads smaller
d e
- \set fontSize = #2.5 % make noteheads larger
+ \set fontSize = #2.5 % make note heads larger
f g
\unset fontSize % return to original size
a b
guitarist must play a certain note or chord, with its fingers just
touching the strings instead of fully pressing them. This gives the sound a
percussive noise-like sound that still maintains part of the original
-pitch. It is notated with cross noteheads; this is
+pitch. It is notated with cross note heads; this is
demonstrated in @ref{Special note heads}.
@noindent
The @file{.dvi} file created by this process will not contain
-noteheads. This is normal; if you follow the instructions, they
+ note heads. This is normal; if you follow the instructions, they
will be included in the @file{.ps} and @file{.pdf} files.
Running @command{dvips} will produce some warnings about fonts; these
Automatically kneed cross-staff beams cannot be used together with
hidden staves. See @ref{Hiding staves}.
-Beams can collide with noteheads and accidentals in other voices
+Beams can collide with note heads and accidentals in other voices
@node Setting automatic beam behavior
@end lilypond
Note that too large a reference duration -- such as the eighth note,
-above -- spaces music too tightly and can cause notehead collisions.
+above -- spaces music too tightly and can cause note head collisions.
Note also that proportional notation in general takes up more
horizontal space that does classical spacing. Proportional spacing
provides rhythmic clarity at the expense of horizontal space.
@cindex artificial harmonics
-Artificial harmonics are notated with a different notehead style. They
+Artificial harmonics are notated with a different note head style. They
are entered by marking the harmonic pitch with @code{\harmonic}.
@lilypond[ragged-right,verbatim,quote,fragment,relative=1]
This example demonstrates how to do modern transcription of Gregorian
music. Gregorian music has no measure, no stems; it uses only half and
-quarter noteheads, and special marks, indicating rests of different length.
+quarter note heads, and special marks, indicating rests of different length.
@lilypond[quote,verbatim,ragged-right]
\include "gregorian-init.ly"
which have been assigned to operate within that staff's context.
Similarly, there are @code{Voice} objects, @code{Score} objects,
@code{Lyric} objects, and objects to represent barlines,
-noteheads, ties, dynamics, etc, each with their own set of
+ note heads, ties, dynamics, etc, each with their own set of
properties.
Some types of object are given special names. Objects which
represent items of notation on the printed output such as
-noteheads, stems, slurs, ties, fingering, clefs, etc are called
+ note heads, stems, slurs, ties, fingering, clefs, etc are called
@q{Layout objects}, often known as @q{Graphical Objects}, or
@q{Grobs} for short. These are still objects in the generic sense
above, and so they too all have properties associated with them,
Finally we come to changing the size of layout objects.
Some layout objects are created as glyphs selected from
-a typeface font. These include noteheads, accidentals, markup,
+a typeface font. These include note heads, accidentals, markup,
clefs, time signatures, dynamics and lyrics.
Their size is changed by modifying the
@code{font-size} property, as we shall shortly see. Other
}
@end lilypond
-This is still not quite right. The noteheads and flags are
+This is still not quite right. The note heads and flags are
smaller, but the stems are too long in proportion and the
staff lines are spaced too widely apart. These need to be
scaled down in proportion to the font reduction.
these are usually fixed by the music itself -- they are
vertically positioned on specific lines of the staff or are
tied to other objects that are so positioned. Collisions of
-noteheads, stems and accidentals in closely set chords are
+ note heads, stems and accidentals in closely set chords are
normally avoided automatically. There are commands and
overrides which can modify this automatic behaviour, as we
shall shortly see.
These properties are to be found in the @code{AccidentalPlacement}
object which, note, lives in the @strong{staff} context. Because
accidentals are always positioned after and to the left of
-noteheads only the @code{right-padding} property has any effect.
+ note heads only the @code{right-padding} property has any effect.
The @code{staff-padding} property is closely related to the
@code{padding} property: @code{padding}
Closely spaced notes in a chord, or notes occuring at the same
time in different voices, are arranged in two, occasionally more,
-columns to prevent the noteheads overlapping. These are called
+columns to prevent the note heads overlapping. These are called
note columns, and an object called @code{NoteColumn} is created
to lay out the notes in that column.
@code{extra-offset} property for this purpose as there is no need
to work out the distance in staff-spaces, and moving the notes
into or out of a @code{NoteColumn} affects other actions such as
-merging noteheads.
+merging note heads.
@end itemize
@code{NoteColumn}, of these notes to zero.
The lower note of the second chord is best placed just to the
right of the higher notes. We achieve this by setting
-@code{force-hshift} of this note to 0.5, ie half a notehead's
+@code{force-hshift} of this note to 0.5, ie half a note head's
width to the right of the note column of the higher notes.
Here's the final result:
@q{Parlato} is spoken without pitch but still with rhythm; it is
-notated by cross noteheads. This is demonstrated in
-@ref{Special noteheads}.
+notated by cross note heads. This is demonstrated in
+@ref{Special note heads}.
@end ignore
@end lilypond
That looks better, but let's make a few changes. The glissando is hard
-to see, so let's make it thicker and closer to the noteheads. Let's
+to see, so let's make it thicker and closer to the note heads. Let's
put the metronome marking above the clef, instead of over the first
note. And finally, my composition professor hates @q{C} time signatures,
so we'd better make that @q{4/4} instead.
projects / lilypond.git / commitdiff