@section Beaming
Beams are used to group short notes into chunks that are aligned with
-the metrum. They are inserted automatically in most cases.
+the metrum. They are inserted automatically in most cases:
@lilypond[fragment,verbatim, relative=2]
\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
In some cases it may be necessary to override the automatic beaming
algorithm. For example, the auto beamer will not put beams over rests
or bar lines. Such beams are specified by manually: the begin and end
-point are marked with @code{[} and @code{]}.
+point are marked with @code{[} and @code{]}:
@lilypond[fragment,relative,verbatim]
\context Staff {
all 16th or shorter beams at beat positions, as defined by the
@code{beatLength} property . This accomplishes the same effect as
twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
-but it take less typing.
+but it take less typing:
@lilypond[relative=1,verbatim,noindent]
entered as @code{(ly:make-moment 1 4)}.
The same syntax can be used to specify beam starting points. In this
-example, automatic beams can only end on a dotted quarter note.
+example, automatic beams can only end on a dotted quarter note:
@example
\property Voice.autoBeamSettings \override
#'(end * * * *) = #(ly:make-moment 3 8)
@cindex @code{\autoBeamOff }
@code{\autoBeamOff},
@cindex @code{\autoBeamOn }
-@code{\autoBeamOn},
+@code{\autoBeamOn}.
@refbugs
It is not possible to specify beaming parameters for beams with mixed
durations, that differ from the beaming parameters of all separate
-durations, i.e., you will have to specify manual beams to get:
+durations, i.e. you will have to specify manual beams to get:
@lilypond[singleline,fragment,relative,noverbatim,quote]
\property Voice.autoBeamSettings
@end lilypond
Hence you should only use @code{\voiceAccidentals} if the voices
are to be read solely by individual musicians. If the staff is to be
-used by one musician (e.g., a conductor) then you use
+used by one musician (e.g. a conductor) then you use
@code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
instead.
century.
The rule is more complex than @code{\defaultAccidentals}.
You get all the same accidentals, but temporary
- accidentals also get cancelled in other octaves. Further more,
+ accidentals also get cancelled in other octaves. Furthermore,
in the same octave, they also get cancelled in the following measure:
@lilypond[singleline,fragment,verbatim]
\modernAccidentals
This rule is similar to @code{\modernAccidentals}, but the
``extra'' accidentals (the ones not typeset by
@code{\defaultAccidentals}) are typeset as cautionary accidentals.
- They are printed in reduced size or with parentheses.
+ They are printed in reduced size or with parentheses:
@lilypond[singleline,fragment,verbatim]
\modernCautionaries
cis' c'' cis'2 | c'' c'
@cindex @code{\noResetKey }
@code{\noResetKey},
@cindex @code{\forgetAccidentals }
-@code{\forgetAccidentals},
+@code{\forgetAccidentals}.
@seealso
Currently the simultaneous notes are considered to be entered in
sequential mode. This means that in a chord the accidentals are
-typeset as if the notes in the chord happened one at a time - in the
+typeset as if the notes in the chord happened once at a time - in the
order in which they appear in the input file.
This is only a problem when there are simultaneous notes whose
ends. If you want to override this layout you can do this through the
object property @code{attachment} of @internalsref{Slur} in
@internalsref{Voice} context. Its value is a pair of symbols, specifying
-the attachment type of the left and right end points.
+the attachment type of the left and right end points:
@lilypond[fragment,relative,verbatim]
\slurUp
@cindex @code{\slurDotted }
@code{\slurDotted},
@cindex @code{\slurSolid }
-@code{\slurSolid},
+@code{\slurSolid}.
@seealso
A phrasing slur (or phrasing mark) connects chords and is used to
indicate a musical sentence. It is started using @code{\(} and @code{\)}
-respectively.
+respectively:
@lilypond[fragment,verbatim,center,relative]
\time 6/4 c'-\( d-( e-) f-( e-) d-\)
@node Breath marks
@subsection Breath marks
-Breath marks are entered using @code{\breathe}.
+Breath marks are entered using @code{\breathe}:
@lilypond[fragment,relative,verbatim]
pieces. LilyPond supports a simple form of nested horizontal brackets.
To use this, add the @internalsref{Horizontal_bracket_engraver} to
@internalsref{Staff} context. A bracket is started with
-@code{\startGroup} and closed with @code{\stopGroup}.
+@code{\startGroup} and closed with @code{\stopGroup}:
@lilypond[singleline,verbatim]
\score { \notes \relative c'' {
A variety of symbols can appear above and below notes to indicate
different characteristics of the performance. They are added to a note
by adding a dash and the character signifying the
-articulation. They are demonstrated here.
+articulation. They are demonstrated here:
@lilypondfile[notexidoc]{script-abbreviations.ly}
Other symbols can be added using the syntax
@var{note}@code{-\}@var{name}, e.g. @code{c4-\fermata}. Again, they
-can be forced up or down using @code{^} and @code{_}.
+can be forced up or down using @code{^} and @code{_}:
@cindex accent
@cindex marcato
@cindex @code{\scriptDown }
@code{\scriptDown},
@cindex @code{\scriptBoth}
-@code{\scriptBoth},
+@code{\scriptBoth}.
@seealso
@end lilypond
Fingerings for chords can also be added to individual notes
-of the chord by adding them after the pitches
+of the chord by adding them after the pitches:
@lilypond[verbatim,singleline,fragment,relative=1]
<< c-1 e-2 g-3 b-5 >> 4
@end lilypond
Setting @code{fingerHorizontalDirection} will put the fingerings next
-to the note head.
+to the note head:
@lilypond[verbatim,singleline,fragment,relative=1]
\property Voice.fingerHorizontalDirection = #LEFT
@ref{Text markup}) above or below notes by using a string:
@code{c^"text"}. By default, these indications do not influence the
note spacing, but by using the command @code{\fatText}, the widths
-will be taken into account.
+will be taken into account:
@c
@lilypond[fragment,singleline,verbatim] \relative c' {
c4^"longtext" \fatText c4_"longlongtext" c4 }
@cindex ornaments
@cindex grace notes
-Grace notes are ornaments that are written out
+Grace notes are ornaments that are written out:
@lilypond[relative=2,verbatim,fragment] c4 \grace c16 c4 \grace {
[c16 d16] } c4
Every point in musical time consists of two rational numbers: one
denotes the logical time, one denotes the grace timing. The above
-example is shown here with timing tuples.
+example is shown here with timing tuples:
@lilypond[]
\score { \notes \relative c''{
The placement of grace notes is synchronized between different staves.
In the following example, there are two sixteenth graces notes for
-every eighth grace note.
+every eighth grace note:
@lilypond[relative=2,verbatim,fragment]
< \context Staff = SA { e4 \grace { c16-[ d e f-] } e4 }
@internalsref{Stem}. For proper matching of override and reverts of
such properties, it is necessary to use a Scheme function.
-The following fragment overrides the default formatting Grace style stems.
+The following fragment overrides the default formatting Grace style stems:
@example
#(add-to-grace-init "Voice" 'Stem 'stroke-style '())
@end example
-The @code{\override} is carefully matched with a @code{\revert}.
+The @code{\override} is carefully matched with a @code{\revert}:
@cindex slash
@cindex grace slash
@seealso
-@internalsref{GraceMusic},
+@internalsref{GraceMusic}
@refbugs
Grace note synchronization can also lead to surprises. Staff notation,
such as key signatures, barlines, etc. are also synchronized. Take
-care when you mix staves with grace notes and staves without, for example:
+care when you mix staves with grace notes and staves without, for example,
@lilypond[relative=2,verbatim,fragment]
< \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
Absolute dynamic marks are specified using an variable after a
-note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
+note: @code{c4-\ff}. The available dynamic marks are @code{\ppp},
@code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
@code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
-@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
+@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
@lilypond[verbatim,singleline,fragment,relative]
c'-\ppp c-\pp c -\p c-\mp c-\mf c-\f c-\ff c-\fff
A crescendo mark is started with @code{\<} and terminated with
@code{\!}. A decrescendo is started with @code{\>} and also terminated
with @code{\!}. Because these marks are bound to notes, if you must
-use spacer notes if multiple marks during one note are needed.
+use spacer notes if multiple marks during one note are needed:
@lilypond[fragment,verbatim,center,quote]
c''-\< c''-\! d''-\decr e''-\rced
@cindex @code{\dynamicDown }
@code{\dynamicDown},
@cindex @code{\dynamicBoth }
-@code{\dynamicBoth},
+@code{\dynamicBoth}.
@cindex direction, of dynamics
@internalsref{Hairpin}. Vertical positioning of these symbols is
handled by the @internalsref{DynamicLineSpanner} object.
-If you want to adjust padding or vertical direction of the dynamics,
-you must set properties for the @internalsref{DynamicLineSpanner}
-object.
+If you want to adjust padding or vertical direction of the dynamics, you
+must set properties for the @internalsref{DynamicLineSpanner} object.
@node Repeats
\chords { c:5.6 c:3.7.8 c:3.6.13 }
@end lilypond
Chord steps can be altered by suffixing a @code{-} or @code{+} sign
-to the number, for example:
+to the number, for example,
@lilypond[verbatim,fragment,quote]
\chords { c:7+ c:5+.3- c:3-.5-.7- }
@end lilypond
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