+2006-11-04 Heikki Junes <hjunes@gmail.com>
+
+ * po/fi.po: update Finnish translation.
+
+2006-11-03 Graham Percival <gpermus@gmail.com>
+
+ * Documentation/user/ {various}: rename page->spacing,
+ global->non-music, invoking->running, example->templates.
+
2006-11-03 Nicolas Sceaux <nicolas.sceaux@free.fr>
* scm/display-lily.scm: add a parser argument to display methods,
+++ /dev/null
-@c -*- coding: utf-8; mode: texinfo; -*-
-@node Example templates
-@appendix Example templates
-
-This section of the manual contains templates with the LilyPond score
-already set up for you. Just add notes, run LilyPond, and enjoy
-beautiful printed scores!
-
-@c bad node name for ancient notation to avoid confict
-@menu
-* Single staff::
-* Piano templates::
-* String quartet::
-* Vocal ensembles::
-* Ancient notation templates::
-* Jazz combo::
-* Lilypond-book templates::
-@end menu
-
-
-@node Single staff
-@appendixsec Single staff
-@appendixsubsec Notes only
-
-The first example gives you a staff with notes, suitable for a solo
-instrument or a melodic fragment. Cut and paste this into a file,
-add notes, and you're finished!
-
-@lilypond[quote,verbatim,ragged-right]
-\version "2.9.13"
-melody = \relative c' {
- \clef treble
- \key c \major
- \time 4/4
-
- a4 b c d
-}
-
-\score {
- \new Staff \melody
- \layout { }
- \midi {}
-}
-@end lilypond
-
-@appendixsubsec Notes and lyrics
-
-The next example demonstrates a simple melody with lyrics. Cut and
-paste, add notes, then words for the lyrics. This example turns off
-automatic beaming, which is common for vocal parts. If you want to use
-automatic beaming, you'll have to change or comment out the relevant
-line.
-
-@lilypond[quote,verbatim,ragged-right]
-\version "2.9.13"
-melody = \relative c' {
- \clef treble
- \key c \major
- \time 4/4
-
- a4 b c d
-}
-
-text = \lyricmode {
- Aaa Bee Cee Dee
-}
-
-\score{
- <<
- \new Voice = "one" {
- \autoBeamOff
- \melody
- }
- \new Lyrics \lyricsto "one" \text
- >>
- \layout { }
- \midi { }
-}
-@end lilypond
-
-@appendixsubsec Notes and chords
-
-Want to prepare a lead sheet with a melody and chords? Look no further!
-
-@lilypond[quote,verbatim,ragged-right]
-\version "2.9.13"
-melody = \relative c' {
- \clef treble
- \key c \major
- \time 4/4
-
- f4 e8[ c] d4 g |
- a2 ~ a2 |
-}
-
-harmonies = \chordmode {
- c4:m f:min7 g:maj c:aug d2:dim b:sus
-}
-
-\score {
- <<
- \new ChordNames {
- \set chordChanges = ##t
- \harmonies
- }
- \new Staff \melody
- >>
-
- \layout{ }
- \midi { }
-}
-@end lilypond
-
-@appendixsubsec Notes, lyrics, and chords.
-
-This template allows you to prepare a song with melody, words, and chords.
-
-@lilypond[quote,verbatim,ragged-right]
-\version "2.9.13"
-melody = \relative c' {
- \clef treble
- \key c \major
- \time 4/4
-
- a b c d
-}
-
-text = \lyricmode {
- Aaa Bee Cee Dee
-}
-
-harmonies = \chordmode {
- a2 c2
-}
-
-\score {
- <<
- \new ChordNames {
- \set chordChanges = ##t
- \harmonies
- }
- \new Voice = "one" {
- \autoBeamOff
- \melody
- }
- \new Lyrics \lyricsto "one" \text
- >>
- \layout { }
- \midi { }
-}
-@end lilypond
-
-@node Piano templates
-@appendixsec Piano templates
-@appendixsubsec Solo piano
-
-Here is a simple piano staff.
-
-@lilypond[quote,verbatim,ragged-right]
-\version "2.9.13"
-upper = \relative c'' {
- \clef treble
- \key c \major
- \time 4/4
-
- a b c d
-}
-
-lower = \relative c {
- \clef bass
- \key c \major
- \time 4/4
-
- a2 c
-}
-
-\score {
- \new PianoStaff <<
- \set PianoStaff.instrumentName = "Piano "
- \new Staff = "upper" \upper
- \new Staff = "lower" \lower
- >>
- \layout { }
- \midi { }
-}
-@end lilypond
-
-@appendixsubsec Piano and melody with lyrics
-
-Here is a typical song format: one staff with the melody and lyrics, with
-piano accompaniment underneath.
-
-@lilypond[quote,verbatim,ragged-right]
-\version "2.9.13"
-melody = \relative c'' {
- \clef treble
- \key c \major
- \time 4/4
-
- a b c d
-}
-
-text = \lyricmode {
- Aaa Bee Cee Dee
-}
-
-upper = \relative c'' {
- \clef treble
- \key c \major
- \time 4/4
-
- a b c d
-}
-
-lower = \relative c {
- \clef bass
- \key c \major
- \time 4/4
-
- a2 c
-}
-
-\score {
- <<
- \new Voice = "mel" {
- \autoBeamOff
- \melody
- }
- \new Lyrics \lyricsto mel \text
-
- \new PianoStaff <<
- \new Staff = "upper" \upper
- \new Staff = "lower" \lower
- >>
- >>
- \layout {
- \context { \RemoveEmptyStaffContext }
- }
- \midi { }
-}
-@end lilypond
-
-
-@appendixsubsec Piano centered lyrics
-
-Instead of having a full staff for the melody and lyrics, you can place
-the lyrics between the piano staff (and omit the separate melody staff).
-
-@lilypond[quote,verbatim,ragged-right]
-\version "2.9.13"
-upper = \relative c'' {
- \clef treble
- \key c \major
- \time 4/4
-
- a b c d
-}
-
-lower = \relative c {
- \clef bass
- \key c \major
- \time 4/4
-
- a2 c
-}
-
-text = \lyricmode {
- Aaa Bee Cee Dee
-}
-
-\score {
- \new GrandStaff <<
- \new Staff = upper { \new Voice = "singer" \upper }
- \new Lyrics \lyricsto "singer" \text
- \new Staff = lower {
- \clef bass
- \lower
- }
- >>
- \layout {
- \context { \GrandStaff \accepts "Lyrics" }
- \context { \Lyrics \consists "Bar_engraver" }
- }
- \midi { }
-}
-@end lilypond
-
-
-@appendixsubsec Piano centered dynamics
-
-Many piano scores have the dynamics centered between the two
-staffs. This requires a bit of tweaking to implement, but
-since the template is right here, you don't have to do the
-tweaking yourself.
-
-@lilypond[quote,verbatim,ragged-right]
-\version "2.9.13"
-upper = \relative c'' {
- \clef treble
- \key c \major
- \time 4/4
-
- a b c d
-}
-
-lower = \relative c {
- \clef bass
- \key c \major
- \time 4/4
-
- a2 c
-}
-
-dynamics = {
- s2\fff\> s4
- s\!\pp
-}
-
-pedal = {
- s2\sustainDown s2\sustainUp
-}
-
-\score {
- \new PianoStaff <<
- \new Staff = "upper" \upper
- \new Dynamics = "dynamics" \dynamics
- \new Staff = "lower" <<
- \clef bass
- \lower
- >>
- \new Dynamics = "pedal" \pedal
- >>
- \layout {
- \context {
- \type "Engraver_group"
- \name Dynamics
- \alias Voice % So that \cresc works, for example.
- \consists "Output_property_engraver"
-
- \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
- pedalSustainStrings = #'("Ped." "*Ped." "*")
- pedalUnaCordaStrings = #'("una corda" "" "tre corde")
-
- \consists "Piano_pedal_engraver"
- \consists "Script_engraver"
- \consists "Dynamic_engraver"
- \consists "Text_engraver"
-
- \override TextScript #'font-size = #2
- \override TextScript #'font-shape = #'italic
- \override DynamicText #'extra-offset = #'(0 . 2.5)
- \override Hairpin #'extra-offset = #'(0 . 2.5)
-
- \consists "Skip_event_swallow_translator"
-
- \consists "Axis_group_engraver"
- }
- \context {
- \PianoStaff
- \accepts Dynamics
- \override VerticalAlignment #'forced-distance = #7
- }
- }
-}
-\score {
- \new PianoStaff <<
- \new Staff = "upper" << \upper \dynamics >>
- \new Staff = "lower" << \lower \dynamics >>
- \new Dynamics = "pedal" \pedal
- >>
- \midi {
- \context {
- \type "Performer_group"
- \name Dynamics
- \consists "Piano_pedal_performer"
- }
- \context {
- \PianoStaff
- \accepts Dynamics
- }
- }
-}
-@end lilypond
-
-
-@node String quartet
-@appendixsec String quartet
-@appendixsubsec String quartet
-
-This template demonstrates a string quartet. It also uses a @code{\global}
-section for time and key signatures.
-
-@lilypond[quote,verbatim,ragged-right]
-\version "2.9.13"
-
-global= {
- \time 4/4
- \key c \major
-}
-
-violinOne = \new Voice { \relative c''{
- \set Staff.instrumentName = "Violin 1 "
-
- c2 d e1
-
-\bar "|." }}
-violinTwo = \new Voice { \relative c''{
- \set Staff.instrumentName = "Violin 2 "
-
- g2 f e1
-
-\bar "|." }}
-viola = \new Voice { \relative c' {
- \set Staff.instrumentName = "Viola "
- \clef alto
-
- e2 d c1
-
-\bar "|." }}
-cello = \new Voice { \relative c' {
- \set Staff.instrumentName = "Cello "
- \clef bass
-
- c2 b a1
-
-\bar "|."}}
-
-\score {
- \new StaffGroup <<
- \new Staff << \global \violinOne >>
- \new Staff << \global \violinTwo >>
- \new Staff << \global \viola >>
- \new Staff << \global \cello >>
- >>
- \layout { }
- \midi { }
-}
-@end lilypond
-
-@appendixsubsec String quartet parts
-
-The previous example produces a nice string quartet, but what if you
-needed to print parts? This template demonstrates how to use the
-@code{\tag} feature to easily split a piece into individual parts.
-
-You need to split this template into separate files; the filenames
-are contained in comments at the beginning of each file. @code{piece.ly}
-contains all the music definitions. The other files -- @code{score.ly},
-@code{vn1.ly}, @code{vn2.ly}, @code{vla.ly}, and
-@code{vlc.ly} -- produce the appropiate part.
-
-@verbatim
-%%%%% piece.ly
-\version "2.9.13"
-
-global= {
- \time 4/4
- \key c \major
-}
-
-Violinone = \new Voice { \relative c''{
- \set Staff.instrumentName = "Violin 1 "
-
- c2 d e1
-
-\bar "|." }} %*********************************
-Violintwo = \new Voice { \relative c''{
- \set Staff.instrumentName = "Violin 2 "
-
- g2 f e1
-
-\bar "|." }} %*********************************
-Viola = \new Voice { \relative c' {
- \set Staff.instrumentName = "Viola "
- \clef alto
-
- e2 d c1
-
-\bar "|." }} %*********************************
-Cello = \new Voice { \relative c' {
- \set Staff.instrumentName = "Cello "
- \clef bass
-
- c2 b a1
-
-\bar "|."}} %**********************************
-
-music = {
- <<
- \tag #'score \tag #'vn1 \new Staff { << \global \Violinone >> }
- \tag #'score \tag #'vn2 \new Staff { << \global \Violintwo>> }
- \tag #'score \tag #'vla \new Staff { << \global \Viola>> }
- \tag #'score \tag #'vlc \new Staff { << \global \Cello>> }
- >>
-}
-
-
-
-%%%%% score.ly
-\version "2.9.13"
-\include "piece.ly"
-#(set-global-staff-size 14)
-\score {
- \new StaffGroup \keepWithTag #'score \music
- \layout { }
- \midi { }
-}
-
-
-%%%%% vn1.ly
-\version "2.9.13"
-\include "piece.ly"
-\score {
- \keepWithTag #'vn1 \music
- \layout { }
-}
-
-
-%%%%% vn2.ly
-\version "2.9.13"
-\include "piece.ly"
-\score {
- \keepWithTag #'vn2 \music
- \layout { }
-}
-
-
-%%%%% vla.ly
-\version "2.9.13"
-\include "piece.ly"
-\score {
- \keepWithTag #'vla \music
- \layout { }
-}
-
-
-%%%%% vlc.ly
-\version "2.9.13"
-\include "piece.ly"
-\score {
- \keepWithTag #'vlc \music
- \layout { }
-}
-@end verbatim
-
-
-@node Vocal ensembles
-@appendixsec Vocal ensembles
-
-@appendixsubsec SATB vocal score
-
-Here is a standard four-part SATB vocal score. With larger ensembles,
-it's often useful to include a section which is included in all
-parts. For example, the time signature and key signatures are almost
-always the same for all parts.
-
-@lilypond[quote,verbatim,ragged-right]
-\version "2.9.13"
-global = {
- \key c \major
- \time 4/4
-}
-
-sopMusic = \relative c'' {
- c4 c c8[( b)] c4
-}
-sopWords = \lyricmode {
- hi hi hi hi
-}
-
-altoMusic = \relative c' {
- e4 f d e
-}
-altoWords =\lyricmode {
- ha ha ha ha
-}
-
-tenorMusic = \relative c' {
- g4 a f g
-}
-tenorWords = \lyricmode {
- hu hu hu hu
-}
-
-bassMusic = \relative c {
- c4 c g c
-}
-bassWords = \lyricmode {
- ho ho ho ho
-}
-
-\score {
- \new ChoirStaff <<
- \new Lyrics = sopranos { s1 }
- \new Staff = women <<
- \new Voice =
- "sopranos" { \voiceOne << \global \sopMusic >> }
- \new Voice =
- "altos" { \voiceTwo << \global \altoMusic >> }
- >>
- \new Lyrics = "altos" { s1 }
- \new Lyrics = "tenors" { s1 }
- \new Staff = men <<
- \clef bass
- \new Voice =
- "tenors" { \voiceOne <<\global \tenorMusic >> }
- \new Voice =
- "basses" { \voiceTwo <<\global \bassMusic >> }
- >>
- \new Lyrics = basses { s1 }
-
- \context Lyrics = sopranos \lyricsto sopranos \sopWords
- \context Lyrics = altos \lyricsto altos \altoWords
- \context Lyrics = tenors \lyricsto tenors \tenorWords
- \context Lyrics = basses \lyricsto basses \bassWords
- >>
-
- \layout {
- \context {
- % a little smaller so lyrics
- % can be closer to the staff
- \Staff
- \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
- }
- }
-}
-@end lilypond
-
-
-@appendixsubsec SATB vocal score and automatic piano reduction
-
-This template adds an automatic piano reduction to the SATB vocal
-score. This demonstrates one of the strengths of LilyPond -- you
-can use a music definition more than once. If you make any changes
-to the vocal notes (say, tenorMusic), then the changes will also
-apply to the piano reduction.
-
-@lilypond[quote,verbatim,ragged-right]
-\version "2.9.13"
-global = {
- \key c \major
- \time 4/4
-}
-
-sopMusic = \relative c'' {
- c4 c c8[( b)] c4
-}
-sopWords = \lyricmode {
- hi hi hi hi
-}
-
-altoMusic = \relative c' {
- e4 f d e
-}
-altoWords =\lyricmode {
- ha ha ha ha
-}
-
-tenorMusic = \relative c' {
- g4 a f g
-}
-tenorWords = \lyricmode {
- hu hu hu hu
-}
-
-bassMusic = \relative c {
- c4 c g c
-}
-bassWords = \lyricmode {
- ho ho ho ho
-}
-
-\score {
- <<
- \new ChoirStaff <<
- \new Lyrics = sopranos { s1 }
- \new Staff = women <<
- \new Voice =
- "sopranos" { \voiceOne << \global \sopMusic >> }
- \new Voice =
- "altos" { \voiceTwo << \global \altoMusic >> }
- >>
- \new Lyrics = "altos" { s1 }
- \new Lyrics = "tenors" { s1 }
- \new Staff = men <<
- \clef bass
- \new Voice =
- "tenors" { \voiceOne <<\global \tenorMusic >> }
- \new Voice =
- "basses" { \voiceTwo <<\global \bassMusic >> }
- >>
- \new Lyrics = basses { s1 }
-
- \context Lyrics = sopranos \lyricsto sopranos \sopWords
- \context Lyrics = altos \lyricsto altos \altoWords
- \context Lyrics = tenors \lyricsto tenors \tenorWords
- \context Lyrics = basses \lyricsto basses \bassWords
- >>
- \new PianoStaff <<
- \new Staff <<
- \set Staff.printPartCombineTexts = ##f
- \partcombine
- << \global \sopMusic >>
- << \global \altoMusic >>
- >>
- \new Staff <<
- \clef bass
- \set Staff.printPartCombineTexts = ##f
- \partcombine
- << \global \tenorMusic >>
- << \global \bassMusic >>
- >>
- >>
- >>
- \layout {
- \context {
- % a little smaller so lyrics
- % can be closer to the staff
- \Staff
- \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
- }
- }
-}
-@end lilypond
-
-
-@c bad node name to avoid node name confict
-@node Ancient notation templates
-@appendixsec Ancient notation templates
-
-@appendixsubsec Transcription of mensural music
-
-When transcribing mensural music, an incipit at the beginning of the
-piece is useful to indicate the original key and tempo. While today
-musicians are used to bar lines in order to faster recognize rhythmic
-patterns, bar lines were not yet invented during the period of
-mensural music; in fact, the meter often changed after every few
-notes. As a compromise, bar lines are often printed between the
-staves rather than on the staves.
-
-@lilypond[quote,verbatim,line-width=11.0\cm]
-\version "2.9.13"
-
-global = {
- \set Score.skipBars = ##t
-
- % incipit
- \once \override Score.SystemStartBracket #'transparent = ##t
- \override Score.SpacingSpanner #'spacing-increment = #1.0 % tight spacing
- \key f \major
- \time 2/2
- \once \override Staff.TimeSignature #'style = #'neomensural
- \override Voice.NoteHead #'style = #'neomensural
- \override Voice.Rest #'style = #'neomensural
- \set Staff.printKeyCancellation = ##f
- \cadenzaOn % turn off bar lines
- \skip 1*10
- \once \override Staff.BarLine #'transparent = ##f
- \bar "||"
- \skip 1*1 % need this extra \skip such that clef change comes
- % after bar line
- \bar ""
-
- % main
- \revert Score.SpacingSpanner #'spacing-increment % CHECK: no effect?
- \cadenzaOff % turn bar lines on again
- \once \override Staff.Clef #'full-size-change = ##t
- \set Staff.forceClef = ##t
- \key g \major
- \time 4/4
- \override Voice.NoteHead #'style = #'default
- \override Voice.Rest #'style = #'default
-
- % FIXME: setting printKeyCancellation back to #t must not
- % occur in the first bar after the incipit. Dto. for forceClef.
- % Therefore, we need an extra \skip.
- \skip 1*1
- \set Staff.printKeyCancellation = ##t
- \set Staff.forceClef = ##f
-
- \skip 1*7 % the actual music
-
- % let finis bar go through all staves
- \override Staff.BarLine #'transparent = ##f
-
- % finis bar
- \bar "|."
-}
-
-discantusNotes = {
- \transpose c' c'' {
- \set Staff.instrumentName = "Discantus "
-
- % incipit
- \clef "neomensural-c1"
- c'1. s2 % two bars
- \skip 1*8 % eight bars
- \skip 1*1 % one bar
-
- % main
- \clef "treble"
- d'2. d'4 |
- b e' d'2 |
- c'4 e'4.( d'8 c' b |
- a4) b a2 |
- b4.( c'8 d'4) c'4 |
- \once \override NoteHead #'transparent = ##t c'1 |
- b\breve |
- }
-}
-
-discantusLyrics = \lyricmode {
- % incipit
- IV-
-
- % main
- Ju -- bi -- |
- la -- te De -- |
- o, om --
- nis ter -- |
- ra, __ om- |
- "..." |
- -us. |
-}
-
-altusNotes = {
- \transpose c' c'' {
- \set Staff.instrumentName = "Altus "
-
- % incipit
- \clef "neomensural-c3"
- r1 % one bar
- f1. s2 % two bars
- \skip 1*7 % seven bars
- \skip 1*1 % one bar
-
- % main
- \clef "treble"
- r2 g2. e4 fis g | % two bars
- a2 g4 e |
- fis g4.( fis16 e fis4) |
- g1 |
- \once \override NoteHead #'transparent = ##t g1 |
- g\breve |
- }
-}
-
-altusLyrics = \lyricmode {
- % incipit
- IV-
-
- % main
- Ju -- bi -- la -- te | % two bars
- De -- o, om -- |
- nis ter -- ra, |
- "..." |
- -us. |
-}
-
-tenorNotes = {
- \transpose c' c' {
- \set Staff.instrumentName = "Tenor "
-
- % incipit
- \clef "neomensural-c4"
- r\longa % four bars
- r\breve % two bars
- r1 % one bar
- c'1. s2 % two bars
- \skip 1*1 % one bar
- \skip 1*1 % one bar
-
- % main
- \clef "treble_8"
- R1 |
- R1 |
- R1 |
- r2 d'2. d'4 b e' | % two bars
- \once \override NoteHead #'transparent = ##t e'1 |
- d'\breve |
- }
-}
-
-tenorLyrics = \lyricmode {
- % incipit
- IV-
-
- % main
- Ju -- bi -- la -- te | % two bars
- "..." |
- -us. |
-}
-
-bassusNotes = {
- \transpose c' c' {
- \set Staff.instrumentName = "Bassus "
-
- % incipit
- \clef "bass"
- r\maxima % eight bars
- f1. s2 % two bars
- \skip 1*1 % one bar
-
- % main
- \clef "bass"
- R1 |
- R1 |
- R1 |
- R1 |
- g2. e4 |
- \once \override NoteHead #'transparent = ##t e1 |
- g\breve |
- }
-}
-
-bassusLyrics = \lyricmode {
- % incipit
- IV-
-
- % main
- Ju -- bi- |
- "..." |
- -us. |
-}
-
-\score {
- \new StaffGroup = choirStaff <<
- \new Voice =
- "discantusNotes" << \global \discantusNotes >>
- \new Lyrics =
- "discantusLyrics" \lyricsto discantusNotes { \discantusLyrics }
- \new Voice =
- "altusNotes" << \global \altusNotes >>
- \new Lyrics =
- "altusLyrics" \lyricsto altusNotes { \altusLyrics }
- \new Voice =
- "tenorNotes" << \global \tenorNotes >>
- \new Lyrics =
- "tenorLyrics" \lyricsto tenorNotes { \tenorLyrics }
- \new Voice =
- "bassusNotes" << \global \bassusNotes >>
- \new Lyrics =
- "bassusLyrics" \lyricsto bassusNotes { \bassusLyrics }
- >>
- \layout {
- \context {
- \Score
-
- % no bars in staves
- \override BarLine #'transparent = ##t
-
- % incipit should not start with a start delimiter
- \remove "System_start_delimiter_engraver"
- }
- \context {
- \Voice
-
- % no slurs
- \override Slur #'transparent = ##t
-
- % Comment in the below "\remove" command to allow line
- % breaking also at those barlines where a note overlaps
- % into the next bar. The command is commented out in this
- % short example score, but especially for large scores, you
- % will typically yield better line breaking and thus improve
- % overall spacing if you comment in the following command.
- %\remove "Forbid_line_break_engraver"
- }
- }
-}
-@end lilypond
-
-
-@appendixsubsec Gregorian transcription template
-
-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.
-
-@lilypond[quote,verbatim,ragged-right]
-\include "gregorian-init.ly"
-\version "2.9.13"
-
-chant = \relative c' {
- \set Score.timing = ##f
- f4 a2 \divisioMinima
- g4 b a2 f2 \divisioMaior
- g4( f) f( g) a2 \finalis
-}
-
-verba = \lyricmode {
- Lo -- rem ip -- sum do -- lor sit a -- met
-}
-
-\score {
- \new Staff <<
- \new Voice = "melody" {
- \chant
- }
- \new Lyrics = "one" \lyricsto melody \verba
- >>
-
- \layout {
- \context {
- \Staff
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- \override Stem #'transparent = ##t
- }
- \context {
- \Voice
- \override Stem #'length = #0
- }
- \context {
- \Score
- barAlways = ##t
- }
- }
-}
-@end lilypond
-
-
-@node Jazz combo
-@appendixsec Jazz combo
-
-This is a much more complicated template, for a jazz ensemble. Note that all
-instruments are notated in @code{\key c \major}. This refers to the key in
-concert pitch; LilyPond will automatically transpose the key if the music
-is within a @code{\transpose} section.
-
-@c TODO must clean up this jazz combo example
-@c - transpositions stated in names (ie "trumpet in Bb" or whatever)
-@c - one global section, instead of "global" (time) and "key"
-@c - does it need those wierd macros? sl, nsl, etc.
-@c - maybe ask Amelie Zapf to clean it up, or whether I should just
-@c make whatever changes I feel like.
-
-@c FIXME: produces a warning ; key change merge.
-@c The `line-width' argument is for the \header.
-
-@lilypond[quote,verbatim,ragged-right,line-width]
-\version "2.9.13"
-\header {
- title = "Song"
- subtitle = "(tune)"
- composer = "Me"
- meter = "moderato"
- piece = "Swing"
- tagline = \markup {
- \column {
- "LilyPond example file by Amelie Zapf,"
- "Berlin 07/07/2003"
- }
- }
- texidoc = "Jazz tune for combo
- (horns, guitar, piano, bass, drums)."
-}
-
-#(set-global-staff-size 16)
-\include "english.ly"
-
-%%%%%%%%%%%% Some macros %%%%%%%%%%%%%%%%%%%
-
-sl = {
- \override NoteHead #'style = #'slash
- \override Stem #'transparent = ##t
-}
-nsl = {
- \revert NoteHead #'style
- \revert Stem #'transparent
-}
-cr = \override NoteHead #'style = #'cross
-ncr = \revert NoteHead #'style
-
-%% insert chord name style stuff here.
-
-jzchords = { }
-
-
-%%%%%%%%%%%% Keys'n'thangs %%%%%%%%%%%%%%%%%
-
-global = {
- \time 4/4
-}
-
-Key = { \key c \major }
-
-% ############ Horns ############
-
-% ------ Trumpet ------
-trpt = \transpose c d \relative c'' {
- \Key
- c1 c c
-}
-trpharmony = \transpose c' d {
- \jzchords
-}
-trumpet = {
- \global
- \set Staff.instrumentName = #"Trumpet"
- \clef treble
- <<
- \trpt
- >>
-}
-
-% ------ Alto Saxophone ------
-alto = \transpose c a \relative c' {
- \Key
- c1 c c
-}
-altoharmony = \transpose c' a {
- \jzchords
-}
-altosax = {
- \global
- \set Staff.instrumentName = #"Alto Sax"
- \clef treble
- <<
- \alto
- >>
-}
-
-% ------ Baritone Saxophone ------
-bari = \transpose c a' \relative c {
- \Key
- c1 c \sl d4^"Solo" d d d \nsl
-}
-bariharmony = \transpose c' a \chordmode {
- \jzchords s1 s d2:maj e:m7
-}
-barisax = {
- \global
- \set Staff.instrumentName = #"Bari Sax"
- \clef treble
- <<
- \bari
- >>
-}
-
-% ------ Trombone ------
-tbone = \relative c {
- \Key
- c1 c c
-}
-tboneharmony = \chordmode {
- \jzchords
-}
-trombone = {
- \global
- \set Staff.instrumentName = #"Trombone"
- \clef bass
- <<
- \tbone
- >>
-}
-
-% ############ Rhythm Section #############
-
-% ------ Guitar ------
-gtr = \relative c'' {
- \Key
- c1 \sl b4 b b b \nsl c1
-}
-gtrharmony = \chordmode {
- \jzchords
- s1 c2:min7+ d2:maj9
-}
-guitar = {
- \global
- \set Staff.instrumentName = #"Guitar"
- \clef treble
- <<
- \gtr
- >>
-}
-
-%% ------ Piano ------
-rhUpper = \relative c'' {
- \voiceOne
- \Key
- c1 c c
-}
-rhLower = \relative c' {
- \voiceTwo
- \Key
- e1 e e
-}
-
-lhUpper = \relative c' {
- \voiceOne
- \Key
- g1 g g
-}
-lhLower = \relative c {
- \voiceTwo
- \Key
- c1 c c
-}
-
-PianoRH = {
- \clef treble
- \global
- \set Staff.midiInstrument = "acoustic grand"
- <<
- \new Voice = "one" \rhUpper
- \new Voice = "two" \rhLower
- >>
-}
-PianoLH = {
- \clef bass
- \global
- \set Staff.midiInstrument = "acoustic grand"
- <<
- \new Voice = "one" \lhUpper
- \new Voice = "two" \lhLower
- >>
-}
-
-piano = {
- <<
- \set PianoStaff.instrumentName = #"Piano"
- \new Staff = "upper" \PianoRH
- \new Staff = "lower" \PianoLH
- >>
-}
-
-% ------ Bass Guitar ------
-Bass = \relative c {
- \Key
- c1 c c
-}
-bass = {
- \global
- \set Staff.instrumentName = #"Bass"
- \clef bass
- <<
- \Bass
- >>
-}
-
-% ------ Drums ------
-up = \drummode {
- hh4 <hh sn>4 hh <hh sn> hh <hh sn>4
- hh4 <hh sn>4
- hh4 <hh sn>4
- hh4 <hh sn>4
-}
-
-down = \drummode {
- bd4 s bd s bd s bd s bd s bd s
-}
-
-drumContents = {
- \global
- <<
- \set DrumStaff.instrumentName = #"Drums"
- \new DrumVoice { \voiceOne \up }
- \new DrumVoice { \voiceTwo \down }
- >>
-}
-
-%%%%%%%%% It All Goes Together Here %%%%%%%%%%%%%%%%%%%%%%
-
-\score {
- <<
- \new StaffGroup = "horns" <<
- \new Staff = "trumpet" \trumpet
- \new Staff = "altosax" \altosax
- \new ChordNames = "barichords" \bariharmony
- \new Staff = "barisax" \barisax
- \new Staff = "trombone" \trombone
- >>
-
- \new StaffGroup = "rhythm" <<
- \new ChordNames = "chords" \gtrharmony
- \new Staff = "guitar" \guitar
- \new PianoStaff = "piano" \piano
- \new Staff = "bass" \bass
- \new DrumStaff { \drumContents }
- >>
- >>
-
- \layout {
- \context { \RemoveEmptyStaffContext }
- \context {
- \Score
- \override BarNumber #'padding = #3
- \override RehearsalMark #'padding = #2
- skipBars = ##t
- }
- }
-
- \midi { }
-}
-@end lilypond
-
-@ignore
-
-This isn't very useful, and only duplicates material in
-"global issues". And if this info changes, this section often
-gets forgotten.
-
-@no de Other templates
-@se ction Other templates
-@su bsection All headers
-
-This template displays all available headers. Some of them are only
-used in the Mutopia project; they don't affect the printed output at
-all. They are used if you want the piece to be listed with different
-information in the Mutopia database than you wish to have printed on the
-music. For example, Mutopia lists the composer of the famous D major
-violin concerto as TchaikovskyPI, whereas perhaps you wish to print
-"Petr Tchaikowski" on your music.
-
-@ The `line-width' is for \header.
-@li lypond[quote,verbatim,ragged-right,line-width]
-\version "2.9.13"
-\header {
- dedication = "dedication"
- title = "Title"
- subtitle = "Subtitle"
- subsubtitle = "Subsubtitle"
- composer = "Composer (xxxx-yyyy)"
- opus = "Opus 0"
- piece = "Piece I"
- meter = "meter"
- instrument = "Instrument"
- arranger = "Arranger"
- poet = "Poet"
- texttranslator = "Translator"
- copyright = "public domain"
-
- % These are headers used by the Mutopia Project
- % http://www.mutopiaproject.org/
- mutopiatitle = ""
- mutopiacomposer = ""
- mutopiapoet = ""
- mutopiainstrument = ""
- date = "composer's dates"
- source = "urtext "
- maintainer = "your name here"
- maintainerEmail = "your email here"
- maintainerWeb = "your home page"
- lastupdated = "2004/Aug/26"
-}
-
-\score {
- { c'4 }
- \header {
- piece = "piece1"
- opus = "opus1"
- }
-}
-
-\score {
- { c'4 }
- \header {
- piece = "piece2"
- opus = "opus2"
- }
-}
-@end lilypond
-@end ignore
-
-
-@node Lilypond-book templates
-@appendixsec Lilypond-book templates
-
-These templates are for use with @code{lilypond-book}. If you're not familiar
-with this program, please refer to @ref{LilyPond-book}.
-
-@appendixsubsec LaTeX
-
-You can include LilyPond fragments in a LaTeX document.
-
-@example
-\documentclass[]@{article@}
-
-\begin@{document@}
-
-Normal LaTeX text.
-
-\begin@{lilypond@}
-\relative c'' @{
-a4 b c d
-@}
-\end@{lilypond@}
-
-More LaTeX text.
-
-\begin@{lilypond@}
-\relative c'' @{
-d4 c b a
-@}
-\end@{lilypond@}
-\end@{document@}
-@end example
-
-@appendixsubsec Texinfo
-
-You can include LilyPond fragments in Texinfo; in fact, this entire manual
-is written in Texinfo.
-
-@example
-\input texinfo
-@@node Top
-
-Texinfo text
-
-@@lilypond[verbatim,fragment,ragged-right]
-a4 b c d
-@@end lilypond
-
-More Texinfo text
-
-@@lilypond[verbatim,fragment,ragged-right]
-d4 c b a
-@@end lilypond
-
-@@bye
-@end example
+++ /dev/null
-@c -*- coding: utf-8; mode: texinfo; -*-
-@c This file is part of lilypond.tely
-
-@c A menu is needed before every deeper *section nesting of @node's; run
-@c M-x texinfo-all-menus-update
-@c to automatically fill in these menus before saving changes
-
-@node Non-musical notation
-@chapter Non-musical notation
-
-This section deals with general lilypond issues, rather than
-specific notation.
-
-@menu
-* Input files::
-* Titles and headers::
-* MIDI output::
-* Displaying LilyPond notation::
-* Skipping corrected music::
-@end menu
-
-
-@node Input files
-@section Input files
-
-The main format of input for LilyPond are text files. By convention,
-these files end with ``@code{.ly}''.
-
-@menu
-* File structure (introduction)::
-* Multiple scores in a book::
-* Extracting fragments of notation::
-* File structure::
-* A single music expression::
-* Including LilyPond files::
-* Text encoding::
-@end menu
-
-
-@node File structure (introduction)
-@subsection File structure (introduction)
-
-A basic example of a lilypond input file is
-
-@example
-\version "2.9.13"
-\score @{
- @{ @} % this is a single music expression;
- % all the music goes in here.
- \header @{ @}
- \layout @{ @}
- \midi @{ @}
-@}
-@end example
-
-@noindent
-There are many variations of this basic pattern, but this
-example serves as a useful starting place.
-
-The major part of this manual is concerned with entering various
-forms of music in LilyPond. However, many music expressions are not
-valid input on their own, for example, a @code{.ly} file containing
-only a note
-@example
-c'4
-@end example
-
-@noindent
-will result in a parsing error. Instead, music should be inside other
-expressions, which may be put in a file by themselves. Such
-expressions are called toplevel expressions. The next section enumerates
-them all.
-
-
-@node Multiple scores in a book
-@subsection Multiple scores in a book
-
-@funindex \book
-@cindex movements, multiple
-
-A document may contain multiple pieces of music and texts. Examples
-of these are an etude book, or an orchestral part with multiple
-movements. Each movement is entered with a @code{\score} block,
-
-@example
-\score @{
- @var{..music..}
-@}
-@end example
-
-and texts are entered with a @code{\markup} block,
-
-@example
-\markup @{
- @var{..text..}
-@}
-@end example
-
-@funindex \book
-
-The movements and texts are combined together in a @code{\book} block,
-like
-
-@example
-\book @{
- \score @{
- @var{..}
- @}
- \markup @{
- @var{..}
- @}
- \score @{
- @var{..}
- @}
-@}
-@end example
-
-
-The header for each piece of music can be put inside the @code{\score}
-block. The @code{piece} name from the header will be printed before
-each movement. The title for the entire book can be put inside the
-@code{\book}, but if it is not present, the @code{\header} which is at
-the top of the file is inserted.
-
-@example
-\book @{
- \header @{
- title = "Eight miniatures"
- composer = "Igor Stravinsky"
- @}
- \score @{
- @dots{}
- \header @{ piece = "Romanze" @}
- @}
- \markup @{
- ..text of second verse..
- @}
- \markup @{
- ..text of third verse..
- @}
- \score @{
- @dots{}
- \header @{ piece = "Menuetto" @}
- @}
-@}
-@end example
-
-@node Extracting fragments of notation
-@subsection Extracting fragments of notation
-
-It is possible to quote small fragments of a large score directly from
-the output. This can be compared to clipping a piece of a paper score
-with scissors.
-
-This is done by definining the measures that need to be cut out
-separately. For example, including the following definition
-
-
-@verbatim
-\layout {
- clip-regions
- = #(list
- (cons
- (make-rhythmic-location 5 1 2)
- (make-rhythmic-location 7 3 4)))
-}
-@end verbatim
-
-@noindent
-will extract a fragment starting halfway the fifth measure, ending in
-the seventh measure. The meaning of @code{5 1 2} is: after a 1/2 note
-in measure 5, and @code{7 3 4} after 3 quarter notes in measure 7.
-
-More clip regions can be defined by adding more pairs of
-rhythmic-locations to the list.
-
-In order to use this feature, LilyPond must be invoked with
-@code{-dclip-systems}. The clips are output as EPS files, and are
-converted to PDF and PNG if these formats are switched on as well.
-
-For more information on output formats, see @ref{Invoking lilypond}.
-
-@seealso
-
-Examples: @inputfileref{input/regression/,clip-systems.ly}
-
-
-@node File structure
-@subsection File structure
-
-A @code{.ly} file contains any number of toplevel expressions, where a
-toplevel expression is one of the following
-
-@itemize @bullet
-@item
-An output definition, such as @code{\paper}, @code{\midi}, and
-@code{\layout}. Such a definition at the toplevel changes the default
-settings for the block entered.
-
-@item
-A direct scheme expression, such as
-@code{#(set-default-paper-size "a7" 'landscape)} or
-@code{#(ly:set-option 'point-and-click #f)}.
-
-@item
-A @code{\header} block. This sets the global header block. This
-is the block containing the definitions for book-wide settings, like
-composer, title, etc.
-
-@item
-A @code{\score} block. This score will be collected with other
-toplevel scores, and combined as a single @code{\book}.
-
-This behavior can be changed by setting the variable
-@code{toplevel-score-handler} at toplevel. The default handler is
-defined in the init file @file{scm/@/lily@/.scm}.
-
-The @code{\score} must begin with a music expression, and may
-contain only one music expression.
-
-@item
-A @code{\book} block logically combines multiple movements
-(i.e., multiple @code{\score} blocks) in one document. If there are
-a number of @code{\scores}, a single output file will be created
-in which all movements are concatenated.
-
-This behavior can be changed by setting the variable
-@code{toplevel-book-handler} at toplevel. The default handler is
-defined in the init file @file{scm/@/lily@/.scm}.
-
-@item
-A compound music expression, such as
-@example
-@{ c'4 d' e'2 @}
-@end example
-
-This will add the piece in a @code{\score} and format it in a
-single book together with all other toplevel @code{\score}s and music
-expressions. In other words, a file containing only the above
-music expression will be translated into
-
-@example
-\book @{
- \score @{
- \new Staff @{
- \new Voice @{
- @{ c'4 d' e'2 @}
- @}
- @}
- @}
- \layout @{ @}
- \header @{ @}
-@}
-@end example
-
-This behavior can be changed by setting the variable
-@code{toplevel-music-handler} at toplevel. The default handler is
-defined in the init file @file{scm/@/lily@/.scm}.
-
-@item
-A markup text, a verse for example
-@example
-\markup @{
- 2. The first line verse two.
-@}
-@end example
-
-Markup texts are rendered above, between or below the scores or music
-expressions, wherever they appear.
-
-@item
-An identifier, such as
-@example
-foo = @{ c4 d e d @}
-@end example
-
-This can be used later on in the file by entering @code{\foo}. The
-name of an identifier should have alphabetic characters only; no
-numbers, underscores or dashes.
-
-@end itemize
-
-The following example shows three things that may be entered at
-toplevel
-
-@example
-\layout @{
- % movements are non-justified by default
- ragged-right = ##t
-@}
-
-\header @{
- title = "Do-re-mi"
-@}
-
-@{ c'4 d' e2 @}
-@end example
-
-
-At any point in a file, any of the following lexical instructions can
-be entered:
-
-@itemize @bullet
-@item @code{\version}
-@item @code{\include}
-@item @code{\sourcefilename}
-@item @code{\sourcefileline}
-
-@end itemize
-
-
-@node A single music expression
-@subsection A single music expression
-
-A @code{\score} must contain a single music expression. However,
-this music expression may be of any size. Recall that music
-expressions may be included inside other expressions to form
-larger expressions. All of these examples are single music
-expressions; note the curly braces @{ @} or angle brackets <<
->> at the beginning and ending of the music.
-
-@example
-@{ c'4 c' c' c' @}
-@end example
-
-@lilypond[ragged-right,verbatim,quote]
-{
- { c'4 c' c' c'}
- { d'4 d' d' d'}
-}
-@end lilypond
-
-@lilypond[ragged-right,verbatim,quote]
-<<
- \new Staff { c'4 c' c' c' }
- \new Staff { d'4 d' d' d' }
->>
-@end lilypond
-
-@example
-@{
- \new GrandStaff <<
- \new StaffGroup <<
- \new Staff @{ \flute @}
- \new Staff @{ \oboe @}
- >>
- \new StaffGroup <<
- \new Staff @{ \violinI @}
- \new Staff @{ \violinII @}
- >>
- >>
-@}
-@end example
-
-
-@node Including LilyPond files
-@subsection Including LilyPond files
-
-@funindex \include
-@cindex including files
-
-A large project may be split up into separate files. To refer to another
-file, use
-
-@example
-\include "otherfile.ly"
-@end example
-
-The line @code{\include "file.ly"} is equivalent to pasting the contents
-of file.ly into the current file at the place where you have the
-\include. For example, for a large project you might write separate files
-for each instrument part and create a ``full score'' file which brings
-together the individual instrument files.
-
-The initialization of LilyPond is done in a number of files that are
-included by default when you start the program, normally transparent to the
-user. Run lilypond --verbose to see a list of paths and files that Lily
-finds.
-
-Files placed in directory @file{PATH/TO/share/lilypond/VERSION/ly/} (where
-VERSION is in the form ``2.6.1'') are on the path and available to
-@code{\include}. Files in the
-current working directory are available to \include, but a file of the same
-name in LilyPond's installation takes precedence. Files are
-available to \include from directories in the search path specified as an
-option when invoking @code{lilypond --include=DIR} which adds DIR to the
-search path.
-
-The @code{\include} statement can use full path information, but with the Unix
-convention @code{"/"} rather than the DOS/Windows @code{"\"}. For example,
-if @file{stuff.ly} is located one directory higher than the current working
-directory, use
-
-@example
-\include "../stuff.ly"
-@end example
-
-
-@node Text encoding
-@subsection Text encoding
-
-LilyPond uses the Pango library to format multi-lingual texts, and
-does not perform any input-encoding conversions. This means that any
-text, be it title, lyric text, or musical instruction containing
-non-ASCII characters, must be utf-8. The easiest way to enter such text is
-by using a Unicode-aware editor and saving the file with utf-8 encoding. Most
-popular modern editors have utf-8 support, for example, vim, Emacs,
-jEdit, and GEdit do.
-
-@c Currently not working
-@ignore
-Depending on the fonts installed, the following fragment shows Hebrew
-and Cyrillic lyrics,
-
-@cindex Cyrillic
-@cindex Hebrew
-@cindex ASCII, non
-
-@li lypondfile[fontload]{utf-8.ly}
-
-The @TeX{} backend does not handle encoding specially at all. Strings
-in the input are put in the output as-is. Extents of text items in the
-@TeX{} backend, are determined by reading a file created via the
-@file{texstr} backend,
-
-@example
-lilypond -b texstr input/les-nereides.ly
-latex les-nereides.texstr
-@end example
-
-The last command produces @file{les-nereides.textmetrics}, which is
-read when you execute
-
-@example
-lilypond -b tex input/les-nereides.ly
-@end example
-
-Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
-suitable LaTeX wrappers to load appropriate La@TeX{} packages for
-interpreting non-ASCII strings.
-
-@end ignore
-
-To use a Unicode escape sequence, use
-
-@example
-#(ly:export (ly:wide-char->utf-8 #x2014))
-@end example
-
-
-@seealso
-
-@inputfileref{input/regression,utf-8.ly}
-
-
-
-@node Titles and headers
-@section Titles and headers
-
-Almost all printed music includes a title and the composer's name;
-some pieces include a lot more information.
-
-@menu
-* Creating titles::
-* Custom titles::
-@end menu
-
-
-@node Creating titles
-@subsection Creating titles
-
-Titles are created for each @code{\score} block, and over a
-@code{\book}.
-
-The contents of the titles are taken from the @code{\header} blocks.
-The header block for a book supports the following
-
-
-@table @code
-@funindex dedication
-@item dedication
-The dedicatee of the music, centered at the top of the first page.
-
-@funindex title
-@item title
-The title of the music, centered just below the dedication.
-
-@funindex subtitle
-@item subtitle
-Subtitle, centered below the title.
-
-@funindex subsubtitle
-@item subsubtitle
-Subsubtitle, centered below the subtitle.
-
-@funindex poet
-@item poet
-Name of the poet, flush-left below the subtitle.
-
-@funindex composer
-@item composer
-Name of the composer, flush-right below the subtitle.
-
-@funindex meter
-@item meter
-Meter string, flush-left below the poet.
-
-@funindex opus
-@item opus
-Name of the opus, flush-right below the composer.
-
-@funindex arranger
-@item arranger
-Name of the arranger, flush-right below the opus.
-
-@funindex instrument
-@item instrument
-Name of the instrument, centered below the arranger. Also
-centered at the top of pages (other than the first page).
-
-@funindex piece
-@item piece
-Name of the piece, flush-left below the instrument.
-
-@cindex page breaks, forcing
-@funindex breakbefore
-@item breakbefore
-This forces the title to start on a new page (set to ##t or ##f).
-
-@funindex copyright
-@item copyright
-Copyright notice, centered at the bottom of the first page. To
-insert the copyright symbol, see @ref{Text encoding}.
-
-@funindex tagline
-@item tagline
-Centered at the bottom of the last page.
-
-@end table
-
-Here is a demonstration of the fields available. Note that you
-may use any @ref{Text markup} commands in the header.
-
-@lilypond[quote,verbatim,line-width=11.0\cm]
-\paper {
- line-width = 9.0\cm
- paper-height = 10.0\cm
-}
-
-\book {
- \header {
- dedication = "dedicated to me"
- title = \markup \center-align { "Title first line" "Title second line,
-longer" }
- subtitle = "the subtitle,"
- subsubtitle = #(string-append "subsubtitle LilyPond version "
-(lilypond-version))
- poet = "Poet"
- composer = \markup \center-align { "composer" \small "(1847-1973)" }
- texttranslator = "Text Translator"
- meter = \markup { \teeny "m" \tiny "e" \normalsize "t" \large "e" \huge
-"r" }
- arranger = \markup { \fontsize #8.5 "a" \fontsize #2.5 "r" \fontsize
-#-2.5 "r" \fontsize #-5.3 "a" \fontsize #7.5 "nger" }
- instrument = \markup \bold \italic "instrument"
- piece = "Piece"
- }
-
- \score {
- { c'1 }
- \header {
- piece = "piece1"
- opus = "opus1"
- }
- }
- \markup {
- and now...
- }
- \score {
- { c'1 }
- \header {
- piece = "piece2"
- opus = "opus2"
- }
- }
-}
-@end lilypond
-
-As demonstrated before, you can use multiple @code{\header} blocks.
-When same fields appear in different blocks, the latter is used.
-Here is a short example.
-
-@example
-\header @{
- composer = "Composer"
-@}
-\header @{
- piece = "Piece"
-@}
-\score @{
- \new Staff @{ c'4 @}
- \header @{
- piece = "New piece" % overwrite previous one
- @}
-@}
-@end example
-
-If you define the @code{\header} inside the @code{\score} block, then
-normally only the @code{piece} and @code{opus} headers will be printed.
-Note that the music expression must come before the @code{\header}.
-
-@lilypond[quote,verbatim,line-width=11.0\cm]
-\score {
- { c'4 }
- \header {
- title = "title" % not printed
- piece = "piece"
- opus = "opus"
- }
-}
-@end lilypond
-
-@funindex printallheaders
-@noindent
-You may change this behavior (and print all the headers when defining
-@code{\header} inside @code{\score}) by using
-
-@example
-\paper@{
- printallheaders=##t
-@}
-@end example
-
-@cindex copyright
-@cindex tagline
-
-The default footer is empty, except for the first page, where the
-@code{copyright} field from @code{\header} is inserted, and the last
-page, where @code{tagline} from @code{\header} is added. The default
-tagline is ``Music engraving by LilyPond (@var{version})''.@footnote{Nicely
-printed parts are good PR for us, so please leave the tagline if you
-can.}
-
-Headers may be completely removed by setting them to false.
-
-@example
-\header @{
- tagline = ##f
- composer = ##f
-@}
-@end example
-
-
-@node Custom titles
-@subsection Custom titles
-
-A more advanced option is to change the definitions of the following
-variables in the @code{\paper} block. The init file
-@file{ly/titling-init.ly} lists the default layout.
-
-@table @code
-@funindex bookTitleMarkup
-@item bookTitleMarkup
- This is the title put over an entire @code{\book} block. Typically,
- it has the composer and the title of the piece
-
-@funindex scoreTitleMarkup
-@item scoreTitleMarkup
- This is the title put over a @code{\score} block within a
-@code{\book}. Typically, it has the name of the movement (@code{piece}
-field).
-
-@funindex oddHeaderMarkup
-@item oddHeaderMarkup
- This is the page header for odd-numbered pages.
-
-@funindex evenHeaderMarkup
-@item evenHeaderMarkup
- This is the page header for even-numbered pages. If unspecified,
- the odd header is used instead.
-
- By default, headers are defined such that the page number is on the
- outside edge, and the instrument is centered.
-
-@funindex oddFooterMarkup
-@item oddFooterMarkup
- This is the page footer for odd-numbered pages.
-
-@funindex evenFotterMarkup
-@item evenFooterMarkup
- This is the page footer for even-numbered pages. If unspecified,
- the odd header is used instead.
-
- By default, the footer has the copyright notice on the first, and
- the tagline on the last page.
-@end table
-
-
-@cindex \paper
-@cindex header
-@cindex footer
-@cindex page layout
-@cindex titles
-
-The following definition will put the title flush left, and the
-composer flush right on a single line.
-
-@verbatim
-\paper {
- bookTitleMarkup = \markup {
- \fill-line {
- \fromproperty #'header:title
- \fromproperty #'header:composer
- }
- }
-}
-@end verbatim
-
-
-
-@node MIDI output
-@section MIDI output
-
-@cindex Sound
-@cindex MIDI
-
-MIDI (Musical Instrument Digital Interface) is a standard for
-connecting and controlling digital instruments. A MIDI file is a
-series of notes in a number of tracks. It is not an actual
-sound file; you need special software to translate between the
-series of notes and actual sounds.
-
-Pieces of music can be converted to MIDI files, so you can listen to
-what was entered. This is convenient for checking the music; octaves
-that are off or accidentals that were mistyped stand out very much
-when listening to the MIDI output.
-
-@refbugs
-
-Many musically interesting effects, such as swing, articulation,
-slurring, etc., are not translated to midi.
-
-The midi output allocates a channel for each staff, and one for global
-settings. Therefore the midi file should not have more than 15 staves
-(or 14 if you do not use drums). Other staves will remain silent.
-
-Not all midi players correctly handle tempo changes in the midi
-output. Players that are known to work include
-@uref{http://@/timidity@/.sourceforge@/.net/,timidity}.
-
-@menu
-* Creating MIDI files::
-* MIDI block::
-* MIDI instrument names::
-@end menu
-
-@node Creating MIDI files
-@subsection Creating MIDI files
-
-To create a MIDI from a music piece of music, add a @code{\midi} block
-to a score, for example,
-
-@example
-\score @{
- @var{...music...}
- \midi @{ @}
-@}
-@end example
-
-FIXME
-
-The tempo is specified using the @code{\tempo} command. In this
-example the tempo of quarter notes is set to 72 beats per minute.
-
-
-If there is a @code{\midi} command in a @code{\score}, only MIDI will
-be produced. When notation is needed too, a @code{\layout} block must
-be added
-
-@example
-\score @{
- @var{...music...}
- \midi @{ @}
- \layout @{ @}
-@}
-@end example
-@cindex layout block
-
-
-
-Ties, dynamics, and tempo changes are interpreted. Dynamic marks,
-crescendi and decrescendi translate into MIDI volume levels. Dynamic
-marks translate to a fixed fraction of the available MIDI volume
-range, crescendi and decrescendi make the volume vary linearly between
-their two extremes. The fractions can be adjusted by
-@code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
-For each type of MIDI instrument, a volume range can be defined. This
-gives a basic equalizer control, which can enhance the quality of
-the MIDI output remarkably. The equalizer can be controlled by
-setting @code{instrumentEqualizer}, or by setting
-
-@example
-\set Staff.midiMinimumVolume = #0.2
-\set Staff.midiMaximumVolume = #0.8
-@end example
-
-To remove dynamics from the MIDI output, insert the following lines
-in the @code{\midi@{@}} section.
-
-@example
-\midi @{
- ...
- \context @{
- \Voice
- \remove "Dynamic_performer"
- \remove "Span_dynamic_performer"
- @}
-@}
-@end example
-
-
-@refbugs
-
-Unterminated (de)crescendos will not render properly in the midi file,
-resulting in silent passages of music. The workaround is to explicitly
-terminate the (de)crescendo. For example,
-
-@example
-@{ a\< b c d\f @}
-@end example
-
-@noindent
-will not work properly but
-
-@example
-@{ a\< b c d\!\f @}
-@end example
-
-@noindent
-will.
-
-
-@node MIDI block
-@subsection MIDI block
-@cindex MIDI block
-
-
-The MIDI block is analogous to the layout block, but it is somewhat
-simpler. The @code{\midi} block is similar to @code{\layout}. It can contain
-context definitions.
-
-
-@cindex context definition
-
-Context definitions follow precisely the same syntax as within the
-\layout block. Translation modules for sound are called performers.
-The contexts for MIDI output are defined in @file{ly/@/performer@/-init@/.ly}.
-
-
-@node MIDI instrument names
-@subsection MIDI instrument names
-
-@cindex instrument names
-@funindex Staff.midiInstrument
-
-The MIDI instrument name is set by the @code{Staff.midiInstrument}
-property. The instrument name should be chosen from the list in
-@ref{MIDI instruments}.
-
-@example
-\set Staff.midiInstrument = "glockenspiel"
-@var{...notes...}
-@end example
-
-If the selected instrument does not exactly match an instrument from
-the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})
-instrument is used.
-
-
-@c Yes, this is a cop-out; this info doesn't belong in the Scheme
-@c chapter, but I'm not certain where to stick it.
-@c I think I'll eventually split this chapter into a "paper/layout"
-@c chapter and a "misc issues" chapter. -gp
-@node Displaying LilyPond notation
-@section Displaying LilyPond notation
-
-@funindex \displayLilyMusc
-Displaying a music expression in LilyPond notation can be
-done using the music function @code{\displayLilyMusic}. For example,
-
-@example
-@{
- \displayLilyMusic \transpose c a, @{ c e g a bes @}
-@}
-@end example
-
-will display
-
-@example
-@{ a, cis e fis g @}
-@end example
-
-By default, LilyPond will print these messages to the console along
-with all the other messages. To split up these messages and save
-the results of @code{\display@{STUFF@}}, redirect the output to
-a file.
-
-@example
-lilypond file.ly >display.txt
-@end example
-
-
-@node Skipping corrected music
-@section Skipping corrected music
-
-
-@funindex skipTypesetting
-@funindex showLastLength
-
-When entering or copying music, usually only the music near the end (where
-you
-are adding notes) is interesting to view and correct. To speed up
-this correction process, it is possible to skip typesetting of all but
-the last few measures. This is achieved by putting
-
-@verbatim
-showLastLength = R1*5
-\score { ... }
-@end verbatim
-
-@noindent
-in your source file. This will render only the last 5 measures
-(assuming 4/4 time signature) of every @code{\score} in the input
-file. For longer pieces, rendering only a small part is often an order
-of magnitude quicker than rendering it completely
-
-Skipping parts of a score can be controlled in a more fine-grained
-fashion with the property @code{Score.skipTypesetting}. When it is
-set, no typesetting is performed at all.
-
-This property is also used to control output to the MIDI file. Note that
-it skips all events, including tempo and instrument changes. You have
-been warned.
-
-@lilypond[quote,fragment,ragged-right,verbatim]
-\relative c'' {
- c8 d
- \set Score.skipTypesetting = ##t
- e e e e e e e e
- \set Score.skipTypesetting = ##f
- c d b bes a g c2 }
-@end lilypond
-
-In polyphonic music, @code{Score.skipTypesetting} will affect all
-voices and staves, saving even more time.
-
-
-
+++ /dev/null
-@c -*- coding: utf-8; mode: texinfo; -*-
-@c This file is part of lilypond.tely
-
-@node Running LilyPond
-@chapter Running LilyPond
-
-This chapter details the technicalities of running LilyPond.
-
-Some of these commands are run from 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
-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.
-
-@menu
-* Invoking lilypond::
-* Notes for the MacOS X app::
-* Updating files with convert-ly::
-* Reporting bugs::
-* Error messages::
-* Editor support::
-* Point and click::
-@end menu
-
-@node Invoking lilypond
-@section Invoking lilypond
-@cindex Invoking LilyPond
-@cindex command line options
-@cindex options, command line
-@cindex switches
-
-
-The @code{lilypond} executable may be called as follows from the command line.
-
-@example
-lilypond [@var{option}]@dots{} @var{file}@dots{}
-@end example
-
-
-When invoked with a filename that has no extension, the @file{.ly}
-extension is tried first. To read input from stdin, use a
-dash (@code{-}) for @var{file}.
-
-When @file{filename.ly} is processed it will produce
-@file{filename.tex} as output (or @file{filename.ps} for PostScript
-output). If @file{filename.ly} contains more than one @code{\score}
-block, then the rest of the scores will be output in numbered files,
-starting with @file{filename-1.tex}. Several files can be specified;
-they will each be processed independently. @footnote{The status of
-GUILE is not reset after processing a @code{.ly} file, so be careful
-not to change any system defaults from within Scheme.}
-
-
-@subsection Command line options
-
-The following options are supported:
-
-@table @code
-
-@item -e,--evaluate=@var{expr}
-Evaluate the Scheme @var{expr} before parsing any @file{.ly} files.
-Multiple @code{-e} options may be given, they will be evaluated
-sequentially.
-
-The expression will be evaluated in the @code{guile-user} module, so
-if you want to use definitions in @var{expr}, use
-
-@example
-lilypond -e '(define-public a 42)'
-@end example
-
-@noindent
-on the command-line, and include
-
-@example
-#(use-modules (guile-user))
-@end example
-
-@noindent
-at the top of the @code{.ly} file.
-
-@item -f,--format=@var{format}
-which formats should be written. Choices are @code{svg}, @code{ps},
-@code{pdf}, @code{png}, @code{tex}, @code{dvi}.
-
-@item -b,--backend=@var{format}
-the output format to use for the back-end. Choices are
-@table @code
-@item tex
-for @TeX{} output, to be processed with La@TeX{}. If present, the file
-@file{file.textmetrics} is read to determine text extents.
-@item texstr
-dump text strings to @file{.texstr} file, which can be run through
-(La)@TeX{}, resulting in a @code{.textmetrics} file, which contains the
-extents of strings of text. @strong{Warning:} this functionality is
-currently missing due to heavy restructuring of the source code.
-@item ps
- for PostScript.
-@cindex PostScript output
-
- Postscript files include TTF, Type1 and OTF fonts. No subsetting of
- these fonts is done. When using oriental character sets, this can
- lead to huge files.
-
-@item eps
- for encapsulated PostScript. This dumps every page (system) as a separate
-@file{EPS} file, without fonts, and as one collated @file{EPS} file with
-all pages (systems) including fonts.
-
-This mode is used by default by lilypond-book.
-
-@item svg
- for SVG (Scalable Vector Graphics). This dumps every page as a separate
-@file{SVG} file, with embedded fonts.
-@cindex SVG (Scalable Vector Graphics)
- You need a SVG viewer which supports embedded fonts, or a SVG
- viewer which is able to replace the embedded fonts with OTF fonts.
- Under Unix, you may use @uref{http://www.inkscape.org,Inkscape}
- (version 0.42 or later), after copying the OTF fonts in directory
- @file{PATH/TO/share/lilypond/VERSION/fonts/otf/} to @file{~/.fonts/}.
-@item scm
- for a dump of the raw, internal Scheme-based drawing commands.
-@cindex Scheme dump
-@end table
-
-@cindex output format, setting
-
-@item -d,--define-default=@var{var}=@var{val}
-This sets the internal program option @var{var} to the Scheme value
-@var{val}. If @var{val} is not supplied, then @var{#t} is used. To
-switch off an option, @code{no-} may be prefixed to @var{var}, e.g.
-
-@cindex point and click, command line
-
-@example
--dno-point-and-click
-@end example
-
-@noindent
-is the same as
-@example
--dpoint-and-click='#f'
-@end example
-
-Another notable option is
-
-@example
--dpaper-size=\"letter\"
-@end example
-
-@noindent
-Note that the string must be enclosed in escaped quotes ( @code{\"} ).
-
-Setting the @code{-dhelp} option will print a summary of the options
-available, and exit.
-
-@item -h,--help
-Show a summary of usage.
-
-@item -H,--header=FIELD
-Dump a header field to file BASENAME.FIELD
-
-@item --include, -I=@var{directory}
-Add @var{directory} to the search path for input files.
-@cindex file searching
-@cindex search path
-
-@item -i,--init=@var{file}
-Set init file to @var{file} (default: @file{init.ly}).
-
-@item -o,--output=@var{FILE}
-Set the default output file to @var{FILE}. The appropriate
-suffix will be added (ie @code{.pdf} for pdf, @code{.tex}
-for tex, etc).
-
-@item --ps
-Generate PostScript.
-
-@item --dvi
-Generate DVI files. In this case, the @TeX{} backend should be
-specified, i.e., @code{-b tex}.
-
-@item --png
-Generate pictures of each page, in PNG format. This implies
-@code{--ps}. The resolution in DPI of the image may be set with
-@example
--dresolution=110
-@end example
-
-@item --pdf
-Generate PDF. This implies @code{--ps}.
-
-@item --preview
-Generate an output file containing the titles and the first system
-
-@item --no-pages
-Do not generate the full pages. Useful in combination with
-@code{--preview}.
-
-@item -s,--safe
-Do not trust the @code{.ly} input.
-
-When LilyPond formatting is available through a web server, either the
-@code{--safe} or the @code{--jail} option @b{MUST} be passed. The
-@code{--safe} option will prevent inline Scheme code from wreaking
-havoc, for example
-
-@quotation
-@verbatim
-#(system "rm -rf /")
-{
- c4^#(ly:export (ly:gulp-file "/etc/passwd"))
-}
-@end verbatim
-@end quotation
-
-The @code{--safe} option works by evaluating in-line Scheme
-expressions in a special safe module. This safe module is derived from
-GUILE @file{safe-r5rs} module, but adds a number of functions of the
-LilyPond API. These functions are listed in @file{scm/@/safe@/-lily@/.scm}.
-
-In addition, @code{--safe} disallows @code{\include} directives and
-disables the use of backslashes in @TeX{} strings.
-
-In @code{--safe} mode, it is not possible to import LilyPond variables
-into Scheme.
-
-@code{--safe} does @emph{not} detect resource overuse. It is still
-possible to make the program hang indefinitely, for example by feeding
-cyclic data structures into the backend. Therefore, if using LilyPond
-on a publicly accessible webserver, the process should be limited in
-both CPU and memory usage.
-
-Note that @code{--safe} will prevent many useful LilyPond snippets from
-being compiled. For a softer but secure alternative you can use the
-@code{--jail} option.
-
-
-@item -j,--jail=@var{user},@var{group},@var{jail},@var{dir}
-Run LilyPond in a chroot jail.
-
-The @code{--jail} option provides a more flexible alternative to
-@code{--safe} when LilyPond formatting is available through a web
-server or whenever LilyPond executes externally provided
-sources.
-
-The @code{--jail} option works by changing the root of LilyPond to
-@var{jail} just before starting the actual compilation process. The user
-and group are then changed to match those provided, and the current
-directory is changed to @var{dir}. This setup guarantees that it is not
-possible (at least in theory) to escape from the jail. Note that for
-@code{--jail} to work LilyPond must be run as root, which is usually
-accomplished in a safe way using @command{sudo}.
-
-Setting up a jail is a slightly delicate matter, as we must be sure that
-LilyPond is able to find whatever it needs to compile the source
-@emph{inside the jail}. A typical setup comprises the following items:
-
-@table @asis
-@item Setting up a separate filesystem
-A separate filesystem should be created for LilyPond, so that it can be
-mounted with safe options such as @code{noexec}, @code{nodev}, and
-@code{nosuid}. In this way, it is impossible to run executables or to
-write directly to a device from LilyPond. If you do not want to create a
-separate partition, just create a file of reasonable size and use it to
-mount a loop device. A separate filesystem also guarantees that LilyPond
-cannot write more space than it is allowed.
-
-@item Setting up a separate user
-A separate user and group (say, @samp{lily}/@samp{lily}) with low
-privileges should be used to run LilyPond inside the jail. There should
-be a single directory writable by this user, which should be passed in
-@var{dir}.
-
-@item Preparing the jail
-LilyPond needs to read a number of files while running. All these files
-are to be copied into the jail, under the same path they appear in the
-real root filesystem. The entire content of the LilyPond installation
-(e.g., @file{/usr/share/lilypond})
-should be copied.
-
-If problems arise, the simplest way to trace them down is to run
-LilyPond using @command{strace}, which will allow you to determine which
-files are missing.
-
-@item Running LilyPond
-In a jail mounted with @code{noexec} it is impossible to execute any external
-program. Therefore LilyPond must be run with a backend that does not
-require any such program. As we already mentioned, it must be also run
-with superuser privileges (which, of course, it will lose immediately),
-possibly using @command{sudo}. It is a good idea to limit the number of
-seconds of CPU time LilyPond can use (e.g., using @command{ulimit
--t}), and, if your operating system supports it, the amount of memory
-that can be allocated.
-@end table
-
-
-@item -v,--version
-Show version information.
-
-@item -V,--verbose
-Be verbose: show full paths of all files read, and give timing
-information.
-
-@item -w,--warranty
-Show the warranty with which GNU LilyPond comes. (It comes with
-@strong{NO WARRANTY}!)
-@end table
-
-
-@subsection Environment variables
-
-
-@cindex LANG
-@cindex LILYPONDPREFIX
-
-@code{Lilypond} recognizes the following environment variables:
-@table @code
-@item LILYPONDPREFIX
-This specifies a directory where locale messages and
-data files will be looked up by default. The directory should contain
-subdirectories called @file{ly/}, @file{ps/}, @file{tex/}, etc.
-
-@item LANG
-This selects the language for the warning messages.
-
-@item LILYPOND_GC_YIELD
-With this variable the memory footprint and performance can be
-adjusted. It is a percentage tunes memory management behavior. With
-higher values, the program uses more memory, with smaller values, it
-uses more CPU time. The default value is @code{70}.
-
-@end table
-
-
-@node Notes for the MacOS X app
-@section Notes for the MacOS X app
-
-The scripts (such as lilypond-book, convert-ly, abc2ly, and even
-lilypond itself) are also
-included inside MacOS X .app. They can be run from the command line by
-invoking them directly, e.g.
-
-@example
-@var{path/to}/LilyPond.app/Contents/Resources/bin/lilypond
-@end example
-
-@noindent
-The same is true of the other scripts in that directory, including
-lilypond-book, convert-ly, abc2ly, etc.
-
-Alternatively, you may add this directory to your path. Modify (or create)
-a file called @code{.profile} in your home directory such that it contains
-
-@example
-export PATH=$PATH:@var{path/to}/LilyPond.app/Contents/Resources/bin
-@end example
-
-@noindent
-This file should end with a blank line.
-
-Note that @var{path/to} will generally be @code{/Applications/}.
-
-
-@node Updating files with convert-ly
-@section Updating with @command{convert-ly}
-
-@cindex Updating a LilyPond file
-@funindex convert-ly
-
-The LilyPond input syntax is routinely changed to simplify it or improve
-it in different ways. As a side effect of this, the LilyPond interpreter
-often is no longer compatible with older input files. To remedy this,
-the program @command{convert-ly} can be used to deal with most of the
-syntax changes between LilyPond versions.
-
-It uses @code{\version} statements in the input files to detect the
-old version number. In most cases, to upgrade your input file it is
-sufficient to run@footnote{MacOS X users may execute this command
-under the menu entry @samp{Compile > Update syntax}.}
-
-@example
-convert-ly -e myfile.ly
-@end example
-
-If there are no changes to myfile.ly and file called myfile.ly.NEW
-is created, then myfile.ly is already updated.
-
-@command{convert-ly} always converts up to the last syntax change handled by
-it. This means that the @code{\version} number left in the file is
-usually lower than the version of @command{convert-ly} itself.
-
-To upgrade LilyPond fragments in texinfo files, use
-
-@example
-convert-ly --from=... --to=... --no-version *.itely
-@end example
-
-To upgrade many files at once, combine @code{convert-ly} with
-standard unix commands. This example will upgrade all @code{.ly}
-files in the current directory
-
-@example
-for f in *.ly; do convert-ly -e $f; done;
-@end example
-
-In general, the program is invoked as follows:
-
-@example
-convert-ly [@var{option}]@dots{} @var{file}@dots{}
-@end example
-
-
-The following options can be given:
-
-@table @code
-@item -e,--edit
-Do an inline edit of the input file. Overrides @code{--output}.
-
-@item -f,--from=@var{from-patchlevel}
-Set the version to convert from. If this is not set, @command{convert-ly}
-will guess this, on the basis of @code{\version} strings in the file.
-
-@item -n,--no-version
-Normally, @command{convert-ly} adds a @code{\version} indicator
-to the output. Specifying this option suppresses this.
-
-@item -s, --show-rules
-Show all known conversions and exit.
-
-@item --to=@var{to-patchlevel}
-Set the goal version of the conversion. It defaults to the latest
-available version.
-
-@item -h, --help
-Print usage help.
-@end table
-
-
-@refbugs
-
-Not all language changes are handled. Only one output option can be
-specified. Automatically updating scheme and lilypond scheme
-interfaces is quite unlikely; be prepared to tweak scheme code
-manually.
-
-
-@c We might want to make this a completely new section, along with more
-@c info about how to upgrade old input files. -gp
-
-@ignore
-Copy and paste from CVS, last updated
-Aug 18, 2005
-
-http://savannah.gnu.org/cgi-bin/viewcvs/*checkout*/lilypond/lily-bugs/bugs/
-convert-ly.txt?rev=HEAD&content-type=text/plain
-
-NEW: not exactly copied; this list has been modified. Since we're
-changing the bug system, it doesn't make sense to copy from
-the bug CVS any more. I'll figure out something else. -gp
-@end ignore
-@verbatim
-
-There are a few things that the convert-ly cannot handle. Here's a list of
-limitations
-that the community has complained about.
-
-This bug report structure has been chosen because convert-ly has a structure
-that doesn't
-allow to smoothly implement all needed changes. Thus this is just a wishlist,
-placed
-here for reference.
-
-1.6->2.0:
- Doesn't always convert figured bass correctly, specifically things like {<
->}. Mats' comment on working around this:
- To be able to run convert-ly
- on it, I first replaced all occurencies of '{<' to some dummy like '{#'
- and similarly I replaced '>}' with '&}'. After the conversion, I could
- then change back from '{ #' to '{ <' and from '& }' to '> }'.
- Doesn't convert all text markup correctly. In the old markup syntax,
- it was possible to group a number of markup commands together within
-parentheses, e.g.
- -#'((bold italic) "string")
- This will incorrectly be converted into
- -\markup{{\bold italic} "string"}
- instead of the correct
- -\markup{\bold \italic "string"}
-2.0->2.2:
- Doesn't handle \partcombine
- Doesn't do \addlyrics => \lyricsto, this breaks some scores with multiple
-stanzas.
-2.0->2.4:
- \magnify isn't changed to \fontsize.
- - \magnify #m => \fontsize #f, where f = 6ln(m)/ln(2)
- remove-tag isn't changed.
- - \applyMusic #(remove-tag '. . .) => \keepWithTag #'. . .
- first-page-number isn't changed.
- - first-page-number no => print-first-page-number = ##f
- Line breaks in header strings aren't converted.
- - \\\\ as line break in \header strings => \markup \center-align <
- "First Line" "Second Line" >
- Crescendo and decrescendo terminators aren't converted.
- - \rced => \!
- - \rc => \!
-2.2->2.4:
- \turnOff (used in \set Staff.VoltaBracket = \turnOff) is not properly
-converted.
-2.4.2->2.5.9
- \markup{ \center-align <{ ... }> } should be converted to:
- \markup{ \center-align {\line { ... }} }
- but now, \line is missing.
-2.4->2.6
- Special LaTeX characters such as $~$ in text are not converted to UTF8.
-2.8
- \score{} must now begin with a music expression. Anything else
- (particularly \header{}) must come after the music.
-@end verbatim
-
-
-@node Reporting bugs
-@section Reporting bugs
-
-@cindex bugs
-@cindex reporting bugs
-
-If you have input that results in a crash or an erroneous output, then
-that is a bug. We try to respond to bug-reports promptly, and fix them as
-soon as possible. Help us by sending a defective input file, so we can
-reproduce the problem. Send the report via:
-
-@example
-@uref{http://post.gmane.org/post.php?group=gmane.comp.gnu.lilypond.bugs}
-@end example
-
-A few tips:
-@itemize @bullet
-
-@item Try to produce a very small input file which demonstrates the problem;
-one or two bars is often sufficient to reproduce a bug. The smaller the
-input file is, the easier it is for us to debug the problem.
-
-@item Don't forget to tell which version of LilyPond you use!
-
-@item If possible, use @code{ragged-right} in your example. This makes sure
-that the bug can be reproduced in all paper sizes.
-@end itemize
-
-@ignore
-@c the bug database is not up to date enough.
-
-When you've found a bug, have a look at our
-@uref{http://@/lilypond@/.org/@/bugs/@/v2.8/@/,bug database} to see if
-it has already been reported. You could also try to do a few searches
-on the mailing list for the bug. Sometimes the bug will have already
-been reported and a fix or workaround is already known.
-@end ignore
-
-Here is an example of a good bug report:
-
-@verbatim
-It seems that placement of accidentals is broken. In the
-following example, the accidental touches the note head.
-
-Using Mac OSX 10.3.7, lilypond 2.7.32
-
-\version "2.9.13"
-\layout { ragged-right = ##t }
-\relative c'' {
- a4 b cis d
-}
-@end verbatim
-
-@lilypond[quote]
-\layout { ragged-right = ##t }
-\relative c''{
- \override Accidental #'extra-offset = #'(1.0 . 0)
- a4 b cis d
-}
-@end lilypond
-
-@node Error messages
-@section Error messages
-
-@cindex error messages
-Different error messages can appear while compiling a file:
-
-@table @emph
-@cindex warning
-
-@item Warning
-Something looks suspect. If you are requesting something out of the
-ordinary then you will understand the message, and can ignore it.
-However, warnings usually indicate that something is wrong with the
-input file.
-
-@item Error
-Something is definitely wrong. The current processing step (parsing,
-interpreting, or formatting) will be finished, but the next step will
-be skipped.
-
-@cindex error
-@cindex fatal error
-@item Fatal error
-Something is definitely wrong, and LilyPond cannot continue. This
-happens rarely. The most usual cause is misinstalled fonts.
-
-@cindex trace, Scheme
-@cindex call trace
-@cindex Scheme error
-@item Scheme error
-Errors that occur while executing Scheme code are caught by the Scheme
-interpreter. If running with the verbose option (@code{-V} or
-@code{--verbose}) then a call trace of the offending
-function call is printed.
-
-@cindex Programming error
-@item Programming error
-There was some internal inconsistency. These error messages are
-intended to help the programmers and debuggers. Usually, they can be
-ignored. Sometimes, they come in such big quantities that they obscure
-other output. In this case, file a bug-report.
-
-@item Aborted (core dumped)
-This signals a serious programming error that caused the program to
-crash. Such errors are considered critical. If you stumble on one,
-send a bug-report.
-
-
-@end table
-
-@cindex errors, message format
-If warnings and errors can
-be linked to some part of the input file, then error messages have the
-following form
-
-@example
-@var{filename}:@var{lineno}:@var{columnno}: @var{message}
-@var{offending input line}
-@end example
-
-A line-break is inserted in the offending line to indicate the column
-where the error was found. For example,
-
-@example
-test.ly:2:19: error: not a duration: 5:
- @{ c'4 e'5
- g' @}
-@end example
-
-These locations are LilyPond's best guess about where the warning or
-error occurred, but (by their very nature) warnings and errors occur
-when something unexpected happens. If you can't see an error in the
-indicated line of your input file, try checking one or two lines
-above the indicated position.
-
-
-@node Editor support
-@section Editor support
-
-@cindex editors
-@cindex vim
-@cindex emacs
-@cindex modes, editor
-@cindex syntax coloring
-@cindex coloring, syntax
-
-There is support from different editors for LilyPond.
-
-@table @asis
-@item Emacs
-Emacs has a @file{lilypond-mode}, which provides keyword
-autocompletion, indentation, LilyPond specific parenthesis matching
-and syntax coloring, handy compile short-cuts and reading LilyPond
-manuals using Info. If @file{lilypond-mode} is not installed on your
-platform, then read the
-@ifhtml
-@uref{source/Documentation/topdocs/INSTALL.html,installation instructions}.
-@end ifhtml
-@ifnothtml
-installation instructions.
-@end ifnothtml
-
-@item VIM
-
-For @uref{http://@/www@/.vim@/.org,VIM}, a @file{vimrc} is supplied, along
-with syntax coloring tools. For more information, refer to the
-@ifhtml
-@uref{source/Documentation/topdocs/INSTALL.html,installation instructions}.
-@end ifhtml
-@ifnothtml
-installation instructions.
-@end ifnothtml
-
-
-@item JEdit
-
-The @uref{http://@/www@/.jedit@/.org@/,jEdit} editor has a LilyPond plugin.
-This plugin includes a DVI viewer, integrated help and viewing via
-GhostScript. It can be installed by doing @key{Plugins > Plugin
-Manager}, and selecting @code{LilyTool} from the @key{Install} tab.
-
-@end table
-
-All these editors can be made to jump into the input file to the source
-of a symbol in the graphical output. See @ref{Point and click}.
-
-
-@node Point and click
-@section Point and click
-@cindex point and click
-
-
-Point and click lets you find notes in the input by clicking on them
-in the PDF viewer. This makes it easier to find input that causes
-some error in the sheet music.
-
-When this functionality is active, LilyPond adds hyperlinks to the PDF
-file. These hyperlinks are sent to the web-browser, which opens a
-text-editor with the cursor in the right place.
-
-To make this chain work, you should configure your PDF viewer to
-follow hyperlinks using the @file{lilypond-invoke-editor} script
-supplied with LilyPond.
-
-For Xpdf on Unix, the following should be present in
-@file{xpdfrc}@footnote{On unix, this file is found either in
-@file{/etc/xpdfrc} or as @file{.xpdfrc} in your home directory.}
-
-@example
-urlCommand "lilypond-invoke-editor %s"
-@end example
-
-The program @file{lilypond-invoke-editor} is a small helper
-program. It will invoke an editor for the special @code{textedit}
-URIs, and run a web browser for others. It tests the environment
-variable @code{EDITOR} for the following patterns,
-
-@table @code
-@item emacs
- this will invoke
-@example
-emacsclient --no-wait +@var{line}:@var{column} @var{file}
-@end example
-@item vim
- this will invoke
-@example
-gvim --remote +:@var{line}:norm@var{char} @var{file}
-@end example
-
-@item nedit
-this will invoke
-@example
- nc -noask +@var{line} @var{file}'
-@end example
-@end table
-
-The environment variable @code{LYEDITOR} is used to override this. It
-contains the command line to start the editor, where @code{%(file)s},
-@code{%(column)s}, @code{%(line)s} is replaced with the file, column
-and line respectively. The setting
-
-@example
-emacsclient --no-wait +%(line)s:%(column)s %(file)s
-@end example
-
-@noindent
-for @code{LYEDITOR} is equivalent to the standard emacsclient
-invocation.
-
-
-@cindex file size, output
-
-The point and click links enlarge the output files significantly. For
-reducing the size of PDF and PS files, point and click may be switched
-off by issuing
-
-@example
-#(ly:set-option 'point-and-click #f)
-@end example
-
-@noindent
-in a @file{.ly} file. Alternately, you may pass this as an command-line
-option
-
-@example
-lilypond -dno-point-and-click file.ly
-@end example
-
@include instrument-notation.itely
@include advanced-notation.itely
@include changing-defaults.itely
-@include global.itely
-@include page.itely
+@include non-music.itely
+@include spacing.itely
@include programming-interface.itely
-@include invoking.itely
+@include running.itely
@include lilypond-book.itely
@include converters.itely
@include literature.itely
@include scheme-tutorial.itely
@include notation-appendices.itely
-@include examples.itely
+@include templates.itely
@include cheatsheet.itely
@include fdl.itexi
--- /dev/null
+@c -*- coding: utf-8; mode: texinfo; -*-
+@c This file is part of lilypond.tely
+
+@c A menu is needed before every deeper *section nesting of @node's; run
+@c M-x texinfo-all-menus-update
+@c to automatically fill in these menus before saving changes
+
+@node Non-musical notation
+@chapter Non-musical notation
+
+This section deals with general lilypond issues, rather than
+specific notation.
+
+@menu
+* Input files::
+* Titles and headers::
+* MIDI output::
+* Displaying LilyPond notation::
+* Skipping corrected music::
+@end menu
+
+
+@node Input files
+@section Input files
+
+The main format of input for LilyPond are text files. By convention,
+these files end with ``@code{.ly}''.
+
+@menu
+* File structure (introduction)::
+* Multiple scores in a book::
+* Extracting fragments of notation::
+* File structure::
+* A single music expression::
+* Including LilyPond files::
+* Text encoding::
+@end menu
+
+
+@node File structure (introduction)
+@subsection File structure (introduction)
+
+A basic example of a lilypond input file is
+
+@example
+\version "2.9.13"
+\score @{
+ @{ @} % this is a single music expression;
+ % all the music goes in here.
+ \header @{ @}
+ \layout @{ @}
+ \midi @{ @}
+@}
+@end example
+
+@noindent
+There are many variations of this basic pattern, but this
+example serves as a useful starting place.
+
+The major part of this manual is concerned with entering various
+forms of music in LilyPond. However, many music expressions are not
+valid input on their own, for example, a @code{.ly} file containing
+only a note
+@example
+c'4
+@end example
+
+@noindent
+will result in a parsing error. Instead, music should be inside other
+expressions, which may be put in a file by themselves. Such
+expressions are called toplevel expressions. The next section enumerates
+them all.
+
+
+@node Multiple scores in a book
+@subsection Multiple scores in a book
+
+@funindex \book
+@cindex movements, multiple
+
+A document may contain multiple pieces of music and texts. Examples
+of these are an etude book, or an orchestral part with multiple
+movements. Each movement is entered with a @code{\score} block,
+
+@example
+\score @{
+ @var{..music..}
+@}
+@end example
+
+and texts are entered with a @code{\markup} block,
+
+@example
+\markup @{
+ @var{..text..}
+@}
+@end example
+
+@funindex \book
+
+The movements and texts are combined together in a @code{\book} block,
+like
+
+@example
+\book @{
+ \score @{
+ @var{..}
+ @}
+ \markup @{
+ @var{..}
+ @}
+ \score @{
+ @var{..}
+ @}
+@}
+@end example
+
+
+The header for each piece of music can be put inside the @code{\score}
+block. The @code{piece} name from the header will be printed before
+each movement. The title for the entire book can be put inside the
+@code{\book}, but if it is not present, the @code{\header} which is at
+the top of the file is inserted.
+
+@example
+\book @{
+ \header @{
+ title = "Eight miniatures"
+ composer = "Igor Stravinsky"
+ @}
+ \score @{
+ @dots{}
+ \header @{ piece = "Romanze" @}
+ @}
+ \markup @{
+ ..text of second verse..
+ @}
+ \markup @{
+ ..text of third verse..
+ @}
+ \score @{
+ @dots{}
+ \header @{ piece = "Menuetto" @}
+ @}
+@}
+@end example
+
+@node Extracting fragments of notation
+@subsection Extracting fragments of notation
+
+It is possible to quote small fragments of a large score directly from
+the output. This can be compared to clipping a piece of a paper score
+with scissors.
+
+This is done by definining the measures that need to be cut out
+separately. For example, including the following definition
+
+
+@verbatim
+\layout {
+ clip-regions
+ = #(list
+ (cons
+ (make-rhythmic-location 5 1 2)
+ (make-rhythmic-location 7 3 4)))
+}
+@end verbatim
+
+@noindent
+will extract a fragment starting halfway the fifth measure, ending in
+the seventh measure. The meaning of @code{5 1 2} is: after a 1/2 note
+in measure 5, and @code{7 3 4} after 3 quarter notes in measure 7.
+
+More clip regions can be defined by adding more pairs of
+rhythmic-locations to the list.
+
+In order to use this feature, LilyPond must be invoked with
+@code{-dclip-systems}. The clips are output as EPS files, and are
+converted to PDF and PNG if these formats are switched on as well.
+
+For more information on output formats, see @ref{Invoking lilypond}.
+
+@seealso
+
+Examples: @inputfileref{input/regression/,clip-systems.ly}
+
+
+@node File structure
+@subsection File structure
+
+A @code{.ly} file contains any number of toplevel expressions, where a
+toplevel expression is one of the following
+
+@itemize @bullet
+@item
+An output definition, such as @code{\paper}, @code{\midi}, and
+@code{\layout}. Such a definition at the toplevel changes the default
+settings for the block entered.
+
+@item
+A direct scheme expression, such as
+@code{#(set-default-paper-size "a7" 'landscape)} or
+@code{#(ly:set-option 'point-and-click #f)}.
+
+@item
+A @code{\header} block. This sets the global header block. This
+is the block containing the definitions for book-wide settings, like
+composer, title, etc.
+
+@item
+A @code{\score} block. This score will be collected with other
+toplevel scores, and combined as a single @code{\book}.
+
+This behavior can be changed by setting the variable
+@code{toplevel-score-handler} at toplevel. The default handler is
+defined in the init file @file{scm/@/lily@/.scm}.
+
+The @code{\score} must begin with a music expression, and may
+contain only one music expression.
+
+@item
+A @code{\book} block logically combines multiple movements
+(i.e., multiple @code{\score} blocks) in one document. If there are
+a number of @code{\scores}, a single output file will be created
+in which all movements are concatenated.
+
+This behavior can be changed by setting the variable
+@code{toplevel-book-handler} at toplevel. The default handler is
+defined in the init file @file{scm/@/lily@/.scm}.
+
+@item
+A compound music expression, such as
+@example
+@{ c'4 d' e'2 @}
+@end example
+
+This will add the piece in a @code{\score} and format it in a
+single book together with all other toplevel @code{\score}s and music
+expressions. In other words, a file containing only the above
+music expression will be translated into
+
+@example
+\book @{
+ \score @{
+ \new Staff @{
+ \new Voice @{
+ @{ c'4 d' e'2 @}
+ @}
+ @}
+ @}
+ \layout @{ @}
+ \header @{ @}
+@}
+@end example
+
+This behavior can be changed by setting the variable
+@code{toplevel-music-handler} at toplevel. The default handler is
+defined in the init file @file{scm/@/lily@/.scm}.
+
+@item
+A markup text, a verse for example
+@example
+\markup @{
+ 2. The first line verse two.
+@}
+@end example
+
+Markup texts are rendered above, between or below the scores or music
+expressions, wherever they appear.
+
+@item
+An identifier, such as
+@example
+foo = @{ c4 d e d @}
+@end example
+
+This can be used later on in the file by entering @code{\foo}. The
+name of an identifier should have alphabetic characters only; no
+numbers, underscores or dashes.
+
+@end itemize
+
+The following example shows three things that may be entered at
+toplevel
+
+@example
+\layout @{
+ % movements are non-justified by default
+ ragged-right = ##t
+@}
+
+\header @{
+ title = "Do-re-mi"
+@}
+
+@{ c'4 d' e2 @}
+@end example
+
+
+At any point in a file, any of the following lexical instructions can
+be entered:
+
+@itemize @bullet
+@item @code{\version}
+@item @code{\include}
+@item @code{\sourcefilename}
+@item @code{\sourcefileline}
+
+@end itemize
+
+
+@node A single music expression
+@subsection A single music expression
+
+A @code{\score} must contain a single music expression. However,
+this music expression may be of any size. Recall that music
+expressions may be included inside other expressions to form
+larger expressions. All of these examples are single music
+expressions; note the curly braces @{ @} or angle brackets <<
+>> at the beginning and ending of the music.
+
+@example
+@{ c'4 c' c' c' @}
+@end example
+
+@lilypond[ragged-right,verbatim,quote]
+{
+ { c'4 c' c' c'}
+ { d'4 d' d' d'}
+}
+@end lilypond
+
+@lilypond[ragged-right,verbatim,quote]
+<<
+ \new Staff { c'4 c' c' c' }
+ \new Staff { d'4 d' d' d' }
+>>
+@end lilypond
+
+@example
+@{
+ \new GrandStaff <<
+ \new StaffGroup <<
+ \new Staff @{ \flute @}
+ \new Staff @{ \oboe @}
+ >>
+ \new StaffGroup <<
+ \new Staff @{ \violinI @}
+ \new Staff @{ \violinII @}
+ >>
+ >>
+@}
+@end example
+
+
+@node Including LilyPond files
+@subsection Including LilyPond files
+
+@funindex \include
+@cindex including files
+
+A large project may be split up into separate files. To refer to another
+file, use
+
+@example
+\include "otherfile.ly"
+@end example
+
+The line @code{\include "file.ly"} is equivalent to pasting the contents
+of file.ly into the current file at the place where you have the
+\include. For example, for a large project you might write separate files
+for each instrument part and create a ``full score'' file which brings
+together the individual instrument files.
+
+The initialization of LilyPond is done in a number of files that are
+included by default when you start the program, normally transparent to the
+user. Run lilypond --verbose to see a list of paths and files that Lily
+finds.
+
+Files placed in directory @file{PATH/TO/share/lilypond/VERSION/ly/} (where
+VERSION is in the form ``2.6.1'') are on the path and available to
+@code{\include}. Files in the
+current working directory are available to \include, but a file of the same
+name in LilyPond's installation takes precedence. Files are
+available to \include from directories in the search path specified as an
+option when invoking @code{lilypond --include=DIR} which adds DIR to the
+search path.
+
+The @code{\include} statement can use full path information, but with the Unix
+convention @code{"/"} rather than the DOS/Windows @code{"\"}. For example,
+if @file{stuff.ly} is located one directory higher than the current working
+directory, use
+
+@example
+\include "../stuff.ly"
+@end example
+
+
+@node Text encoding
+@subsection Text encoding
+
+LilyPond uses the Pango library to format multi-lingual texts, and
+does not perform any input-encoding conversions. This means that any
+text, be it title, lyric text, or musical instruction containing
+non-ASCII characters, must be utf-8. The easiest way to enter such text is
+by using a Unicode-aware editor and saving the file with utf-8 encoding. Most
+popular modern editors have utf-8 support, for example, vim, Emacs,
+jEdit, and GEdit do.
+
+@c Currently not working
+@ignore
+Depending on the fonts installed, the following fragment shows Hebrew
+and Cyrillic lyrics,
+
+@cindex Cyrillic
+@cindex Hebrew
+@cindex ASCII, non
+
+@li lypondfile[fontload]{utf-8.ly}
+
+The @TeX{} backend does not handle encoding specially at all. Strings
+in the input are put in the output as-is. Extents of text items in the
+@TeX{} backend, are determined by reading a file created via the
+@file{texstr} backend,
+
+@example
+lilypond -b texstr input/les-nereides.ly
+latex les-nereides.texstr
+@end example
+
+The last command produces @file{les-nereides.textmetrics}, which is
+read when you execute
+
+@example
+lilypond -b tex input/les-nereides.ly
+@end example
+
+Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
+suitable LaTeX wrappers to load appropriate La@TeX{} packages for
+interpreting non-ASCII strings.
+
+@end ignore
+
+To use a Unicode escape sequence, use
+
+@example
+#(ly:export (ly:wide-char->utf-8 #x2014))
+@end example
+
+
+@seealso
+
+@inputfileref{input/regression,utf-8.ly}
+
+
+
+@node Titles and headers
+@section Titles and headers
+
+Almost all printed music includes a title and the composer's name;
+some pieces include a lot more information.
+
+@menu
+* Creating titles::
+* Custom titles::
+@end menu
+
+
+@node Creating titles
+@subsection Creating titles
+
+Titles are created for each @code{\score} block, and over a
+@code{\book}.
+
+The contents of the titles are taken from the @code{\header} blocks.
+The header block for a book supports the following
+
+
+@table @code
+@funindex dedication
+@item dedication
+The dedicatee of the music, centered at the top of the first page.
+
+@funindex title
+@item title
+The title of the music, centered just below the dedication.
+
+@funindex subtitle
+@item subtitle
+Subtitle, centered below the title.
+
+@funindex subsubtitle
+@item subsubtitle
+Subsubtitle, centered below the subtitle.
+
+@funindex poet
+@item poet
+Name of the poet, flush-left below the subtitle.
+
+@funindex composer
+@item composer
+Name of the composer, flush-right below the subtitle.
+
+@funindex meter
+@item meter
+Meter string, flush-left below the poet.
+
+@funindex opus
+@item opus
+Name of the opus, flush-right below the composer.
+
+@funindex arranger
+@item arranger
+Name of the arranger, flush-right below the opus.
+
+@funindex instrument
+@item instrument
+Name of the instrument, centered below the arranger. Also
+centered at the top of pages (other than the first page).
+
+@funindex piece
+@item piece
+Name of the piece, flush-left below the instrument.
+
+@cindex page breaks, forcing
+@funindex breakbefore
+@item breakbefore
+This forces the title to start on a new page (set to ##t or ##f).
+
+@funindex copyright
+@item copyright
+Copyright notice, centered at the bottom of the first page. To
+insert the copyright symbol, see @ref{Text encoding}.
+
+@funindex tagline
+@item tagline
+Centered at the bottom of the last page.
+
+@end table
+
+Here is a demonstration of the fields available. Note that you
+may use any @ref{Text markup} commands in the header.
+
+@lilypond[quote,verbatim,line-width=11.0\cm]
+\paper {
+ line-width = 9.0\cm
+ paper-height = 10.0\cm
+}
+
+\book {
+ \header {
+ dedication = "dedicated to me"
+ title = \markup \center-align { "Title first line" "Title second line,
+longer" }
+ subtitle = "the subtitle,"
+ subsubtitle = #(string-append "subsubtitle LilyPond version "
+(lilypond-version))
+ poet = "Poet"
+ composer = \markup \center-align { "composer" \small "(1847-1973)" }
+ texttranslator = "Text Translator"
+ meter = \markup { \teeny "m" \tiny "e" \normalsize "t" \large "e" \huge
+"r" }
+ arranger = \markup { \fontsize #8.5 "a" \fontsize #2.5 "r" \fontsize
+#-2.5 "r" \fontsize #-5.3 "a" \fontsize #7.5 "nger" }
+ instrument = \markup \bold \italic "instrument"
+ piece = "Piece"
+ }
+
+ \score {
+ { c'1 }
+ \header {
+ piece = "piece1"
+ opus = "opus1"
+ }
+ }
+ \markup {
+ and now...
+ }
+ \score {
+ { c'1 }
+ \header {
+ piece = "piece2"
+ opus = "opus2"
+ }
+ }
+}
+@end lilypond
+
+As demonstrated before, you can use multiple @code{\header} blocks.
+When same fields appear in different blocks, the latter is used.
+Here is a short example.
+
+@example
+\header @{
+ composer = "Composer"
+@}
+\header @{
+ piece = "Piece"
+@}
+\score @{
+ \new Staff @{ c'4 @}
+ \header @{
+ piece = "New piece" % overwrite previous one
+ @}
+@}
+@end example
+
+If you define the @code{\header} inside the @code{\score} block, then
+normally only the @code{piece} and @code{opus} headers will be printed.
+Note that the music expression must come before the @code{\header}.
+
+@lilypond[quote,verbatim,line-width=11.0\cm]
+\score {
+ { c'4 }
+ \header {
+ title = "title" % not printed
+ piece = "piece"
+ opus = "opus"
+ }
+}
+@end lilypond
+
+@funindex printallheaders
+@noindent
+You may change this behavior (and print all the headers when defining
+@code{\header} inside @code{\score}) by using
+
+@example
+\paper@{
+ printallheaders=##t
+@}
+@end example
+
+@cindex copyright
+@cindex tagline
+
+The default footer is empty, except for the first page, where the
+@code{copyright} field from @code{\header} is inserted, and the last
+page, where @code{tagline} from @code{\header} is added. The default
+tagline is ``Music engraving by LilyPond (@var{version})''.@footnote{Nicely
+printed parts are good PR for us, so please leave the tagline if you
+can.}
+
+Headers may be completely removed by setting them to false.
+
+@example
+\header @{
+ tagline = ##f
+ composer = ##f
+@}
+@end example
+
+
+@node Custom titles
+@subsection Custom titles
+
+A more advanced option is to change the definitions of the following
+variables in the @code{\paper} block. The init file
+@file{ly/titling-init.ly} lists the default layout.
+
+@table @code
+@funindex bookTitleMarkup
+@item bookTitleMarkup
+ This is the title put over an entire @code{\book} block. Typically,
+ it has the composer and the title of the piece
+
+@funindex scoreTitleMarkup
+@item scoreTitleMarkup
+ This is the title put over a @code{\score} block within a
+@code{\book}. Typically, it has the name of the movement (@code{piece}
+field).
+
+@funindex oddHeaderMarkup
+@item oddHeaderMarkup
+ This is the page header for odd-numbered pages.
+
+@funindex evenHeaderMarkup
+@item evenHeaderMarkup
+ This is the page header for even-numbered pages. If unspecified,
+ the odd header is used instead.
+
+ By default, headers are defined such that the page number is on the
+ outside edge, and the instrument is centered.
+
+@funindex oddFooterMarkup
+@item oddFooterMarkup
+ This is the page footer for odd-numbered pages.
+
+@funindex evenFotterMarkup
+@item evenFooterMarkup
+ This is the page footer for even-numbered pages. If unspecified,
+ the odd header is used instead.
+
+ By default, the footer has the copyright notice on the first, and
+ the tagline on the last page.
+@end table
+
+
+@cindex \paper
+@cindex header
+@cindex footer
+@cindex page layout
+@cindex titles
+
+The following definition will put the title flush left, and the
+composer flush right on a single line.
+
+@verbatim
+\paper {
+ bookTitleMarkup = \markup {
+ \fill-line {
+ \fromproperty #'header:title
+ \fromproperty #'header:composer
+ }
+ }
+}
+@end verbatim
+
+
+
+@node MIDI output
+@section MIDI output
+
+@cindex Sound
+@cindex MIDI
+
+MIDI (Musical Instrument Digital Interface) is a standard for
+connecting and controlling digital instruments. A MIDI file is a
+series of notes in a number of tracks. It is not an actual
+sound file; you need special software to translate between the
+series of notes and actual sounds.
+
+Pieces of music can be converted to MIDI files, so you can listen to
+what was entered. This is convenient for checking the music; octaves
+that are off or accidentals that were mistyped stand out very much
+when listening to the MIDI output.
+
+@refbugs
+
+Many musically interesting effects, such as swing, articulation,
+slurring, etc., are not translated to midi.
+
+The midi output allocates a channel for each staff, and one for global
+settings. Therefore the midi file should not have more than 15 staves
+(or 14 if you do not use drums). Other staves will remain silent.
+
+Not all midi players correctly handle tempo changes in the midi
+output. Players that are known to work include
+@uref{http://@/timidity@/.sourceforge@/.net/,timidity}.
+
+@menu
+* Creating MIDI files::
+* MIDI block::
+* MIDI instrument names::
+@end menu
+
+@node Creating MIDI files
+@subsection Creating MIDI files
+
+To create a MIDI from a music piece of music, add a @code{\midi} block
+to a score, for example,
+
+@example
+\score @{
+ @var{...music...}
+ \midi @{ @}
+@}
+@end example
+
+FIXME
+
+The tempo is specified using the @code{\tempo} command. In this
+example the tempo of quarter notes is set to 72 beats per minute.
+
+
+If there is a @code{\midi} command in a @code{\score}, only MIDI will
+be produced. When notation is needed too, a @code{\layout} block must
+be added
+
+@example
+\score @{
+ @var{...music...}
+ \midi @{ @}
+ \layout @{ @}
+@}
+@end example
+@cindex layout block
+
+
+
+Ties, dynamics, and tempo changes are interpreted. Dynamic marks,
+crescendi and decrescendi translate into MIDI volume levels. Dynamic
+marks translate to a fixed fraction of the available MIDI volume
+range, crescendi and decrescendi make the volume vary linearly between
+their two extremes. The fractions can be adjusted by
+@code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
+For each type of MIDI instrument, a volume range can be defined. This
+gives a basic equalizer control, which can enhance the quality of
+the MIDI output remarkably. The equalizer can be controlled by
+setting @code{instrumentEqualizer}, or by setting
+
+@example
+\set Staff.midiMinimumVolume = #0.2
+\set Staff.midiMaximumVolume = #0.8
+@end example
+
+To remove dynamics from the MIDI output, insert the following lines
+in the @code{\midi@{@}} section.
+
+@example
+\midi @{
+ ...
+ \context @{
+ \Voice
+ \remove "Dynamic_performer"
+ \remove "Span_dynamic_performer"
+ @}
+@}
+@end example
+
+
+@refbugs
+
+Unterminated (de)crescendos will not render properly in the midi file,
+resulting in silent passages of music. The workaround is to explicitly
+terminate the (de)crescendo. For example,
+
+@example
+@{ a\< b c d\f @}
+@end example
+
+@noindent
+will not work properly but
+
+@example
+@{ a\< b c d\!\f @}
+@end example
+
+@noindent
+will.
+
+
+@node MIDI block
+@subsection MIDI block
+@cindex MIDI block
+
+
+The MIDI block is analogous to the layout block, but it is somewhat
+simpler. The @code{\midi} block is similar to @code{\layout}. It can contain
+context definitions.
+
+
+@cindex context definition
+
+Context definitions follow precisely the same syntax as within the
+\layout block. Translation modules for sound are called performers.
+The contexts for MIDI output are defined in @file{ly/@/performer@/-init@/.ly}.
+
+
+@node MIDI instrument names
+@subsection MIDI instrument names
+
+@cindex instrument names
+@funindex Staff.midiInstrument
+
+The MIDI instrument name is set by the @code{Staff.midiInstrument}
+property. The instrument name should be chosen from the list in
+@ref{MIDI instruments}.
+
+@example
+\set Staff.midiInstrument = "glockenspiel"
+@var{...notes...}
+@end example
+
+If the selected instrument does not exactly match an instrument from
+the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})
+instrument is used.
+
+
+@c Yes, this is a cop-out; this info doesn't belong in the Scheme
+@c chapter, but I'm not certain where to stick it.
+@c I think I'll eventually split this chapter into a "paper/layout"
+@c chapter and a "misc issues" chapter. -gp
+@node Displaying LilyPond notation
+@section Displaying LilyPond notation
+
+@funindex \displayLilyMusc
+Displaying a music expression in LilyPond notation can be
+done using the music function @code{\displayLilyMusic}. For example,
+
+@example
+@{
+ \displayLilyMusic \transpose c a, @{ c e g a bes @}
+@}
+@end example
+
+will display
+
+@example
+@{ a, cis e fis g @}
+@end example
+
+By default, LilyPond will print these messages to the console along
+with all the other messages. To split up these messages and save
+the results of @code{\display@{STUFF@}}, redirect the output to
+a file.
+
+@example
+lilypond file.ly >display.txt
+@end example
+
+
+@node Skipping corrected music
+@section Skipping corrected music
+
+
+@funindex skipTypesetting
+@funindex showLastLength
+
+When entering or copying music, usually only the music near the end (where
+you
+are adding notes) is interesting to view and correct. To speed up
+this correction process, it is possible to skip typesetting of all but
+the last few measures. This is achieved by putting
+
+@verbatim
+showLastLength = R1*5
+\score { ... }
+@end verbatim
+
+@noindent
+in your source file. This will render only the last 5 measures
+(assuming 4/4 time signature) of every @code{\score} in the input
+file. For longer pieces, rendering only a small part is often an order
+of magnitude quicker than rendering it completely
+
+Skipping parts of a score can be controlled in a more fine-grained
+fashion with the property @code{Score.skipTypesetting}. When it is
+set, no typesetting is performed at all.
+
+This property is also used to control output to the MIDI file. Note that
+it skips all events, including tempo and instrument changes. You have
+been warned.
+
+@lilypond[quote,fragment,ragged-right,verbatim]
+\relative c'' {
+ c8 d
+ \set Score.skipTypesetting = ##t
+ e e e e e e e e
+ \set Score.skipTypesetting = ##f
+ c d b bes a g c2 }
+@end lilypond
+
+In polyphonic music, @code{Score.skipTypesetting} will affect all
+voices and staves, saving even more time.
+
+
+
+++ /dev/null
-@c -*- coding: utf-8; mode: texinfo; -*-
-@c This file is part of lilypond.tely
-
-@c A menu is needed before every deeper *section nesting of @node's; run
-@c M-x texinfo-all-menus-update
-@c to automatically fill in these menus before saving changes
-
-@node Spacing issues
-@chapter Spacing issues
-
-The global paper layout is determined by three factors: the page layout, the
-line breaks, and the spacing. These all influence each other. The
-choice of spacing determines how densely each system of music is set.
-This influences where line breaks are chosen, and thus ultimately, how
-many pages a piece of music takes.
-
-Globally speaking, this procedure happens in four steps: first,
-flexible distances (``springs'') are chosen, based on durations. All
-possible line breaking combinations are tried, and a ``badness'' score
-is calculated for each. Then the height of each possible system is
-estimated. Finally, a page breaking and line breaking combination is chosen
-so that neither the horizontal nor the vertical spacing is too cramped
-or stretched.
-
-@menu
-* Paper and pages::
-* Music layout::
-* Vertical spacing::
-* Horizontal spacing::
-* Breaks::
-* Displaying spacing::
-@end menu
-
-
-@node Paper and pages
-@section Paper and pages
-
-This section deals with the boundaries that define the area
-that music can be printed inside.
-
-@menu
-* Paper size::
-* Page formatting::
-@end menu
-
-
-@node Paper size
-@subsection Paper size
-
-@cindex paper size
-@cindex page size
-@funindex papersize
-
-To change the paper size, there are two commands,
-@example
-#(set-default-paper-size "a4")
-\paper @{
- #(set-paper-size "a4")
-@}
-@end example
-
-The first command sets the size of all pages. The second command sets the
-size
-of the pages that the @code{\paper} block applies to -- if the @code{\paper}
-block is at the top of the file, then it will apply to all pages. If the
-@code{\paper} block is inside a @code{\book}, then the paper size will only
-apply to that book.
-
-Support for the following paper sizes are included by default,
-@code{a6}, @code{a5}, @code{a4}, @code{a3}, @code{legal}, @code{letter},
-@code{11x17} (also known as tabloid).
-
-Extra sizes may be added by editing the definition for
-@code{paper-alist} in the initialization file @file{scm/paper.scm}.
-
-@cindex orientation
-@cindex landscape
-
-If the symbol @code{landscape} is supplied as an argument to
-@code{set-default-paper-size}, the pages will be rotated by 90 degrees,
-and wider line widths will be set correspondingly.
-
-@example
-#(set-default-paper-size "a6" 'landscape)
-@end example
-
-Setting the paper size will adjust a number of @code{\paper} variables
-(such as margins). To use a particular paper size with altered
-@code{\paper} variables, set the paper size before setting the variables.
-
-
-@node Page formatting
-@subsection Page formatting
-
-@cindex page formatting
-@cindex margins
-@cindex header, page
-@cindex footer, page
-
-LilyPond will do page layout, set margins, and add headers and
-footers to each page.
-
-The default layout responds to the following settings in the
-@code{\paper} block.
-
-@funindex \paper
-
-@quotation
-@table @code
-@funindex first-page-number
-@item first-page-number
-The value of the page number of the first page. Default is@tie{}1.
-
-@funindex printfirst-page-number
-@item print-first-page-number
-If set to true, will print the page number in the first page. Default is
-false.
-
-@funindex print-page-number
-@item print-page-number
-If set to false, page numbers will not be printed. Default is true.
-
-@funindex paper-width
-@item paper-width
-The width of the page. The default is taken from the current paper size,
-see @ref{Paper size}.
-
-@funindex paper-height
-@item paper-height
-The height of the page. The default is taken from the current paper size,
-see @ref{Paper size}.
-
-@funindex top-margin
-@item top-margin
-Margin between header and top of the page. Default is@tie{}5mm.
-
-@funindex bottom-margin
-@item bottom-margin
-Margin between footer and bottom of the page. Default is@tie{}6mm.
-
-@funindex left-margin
-@item left-margin
-Margin between the left side of the page and the beginning of the
-music. Unset by default, which means that the margins is determined
-based on the @code{paper-width} and @code{line-width} to center the
-score on the paper.
-
-@funindex line-width
-@item line-width
-The length of the systems. Default is @code{paper-width} minus @tie{}20mm.
-
-@funindex head-separation
-@item head-separation
-Distance between the top-most music system and the page header. Default
-is@tie{}4mm.
-
-@funindex foot-separation
-@item foot-separation
-Distance between the bottom-most music system and the page
-footer. Default is@tie{}4mm.
-
-@funindex page-top-space
-@item page-top-space
-Distance from the top of the printable area to the center of the first
-staff. This only works for staves which are vertically small. Big staves
-are set with the top of their bounding box aligned to the top of the
-printable area. Default is@tie{}12mm.
-
-@funindex ragged-bottom
-@item ragged-bottom
-If set to true, systems will not be spread vertically across the page. This
-does not affect the last page. Default is false.
-
-This should be set to true for pieces that have only two or three
-systems per page, for example orchestral scores.
-
-@funindex ragged-last-bottom
-@item ragged-last-bottom
-If set to false, systems will be spread vertically to fill the last
-page. Default is true.
-
-Pieces that amply fill two pages or more should have this set to
-true.
-
-@funindex system-count
-@item system-count
-This variable, if set, specifies into how many lines a score should be
-broken. Unset by default.
-
-@funindex between-system-space
-@item between-system-space
-This dimensions determines the distance between systems. It is the
-ideal distance between the center of the bottom staff of one system
-and the center of the top staff of the next system. Default is@tie{}20mm.
-
-Increasing this will provide a more even appearance of the page at the
-cost of using more vertical space.
-
-@funindex between-system-padding
-@item between-system-padding
-This dimension is the minimum amount of white space that will always
-be present between the bottom-most symbol of one system, and the
-top-most of the next system. Default is@tie{}4mm.
-
-Increasing this will put systems whose bounding boxes almost touch
-farther apart.
-
-
-@funindex horizontal-shift
-@item horizontal-shift
-All systems (including titles and system separators) are shifted by
-this amount to the right. Page markup, such as headers and footers are
-not affected by this. The purpose of this variable is to make space
-for instrument names at the left. Default is@tie{}0.
-
-@funindex after-title-space
-@item after-title-space
-Amount of space between the title and the first system. Default is@tie{}5mm.
-
-@funindex before-title-space
-@item before-title-space
-Amount of space between the last system of the previous piece and the
-title of the next. Default is@tie{}10mm.
-
-@funindex between-title-space
-@item between-title-space
-Amount of space between consecutive titles (e.g., the title of the
-book and the title of a piece). Default is@tie{}2mm.
-
-@funindex printallheaders
-@item printallheaders
-Setting this to #t will print all headers for each \score in a
-\book. Normally only the piece and opus \headers are printed.
-
-@funindex systemSeparatorMarkup
-@item systemSeparatorMarkup
-This contains a markup object, which will be inserted between
-systems. This is often used for orchestral scores. Unset by default.
-
-The markup command @code{\slashSeparator} is provided as a sensible
-default, for example
-
-@lilypond[ragged-right]
-#(set-default-paper-size "a6" 'landscape)
-\book {
- \score {
- \relative { c1 \break c1 }
- }
- \paper {
- systemSeparatorMarkup = \slashSeparator
- }
-}
-@end lilypond
-
-@funindex blank-page-force
-@item blank-page-force
-The penalty for having a blank page in the middle of a
-score. This is not used by @code{ly:optimal-breaking} since it will
-never consider blank pages in the middle of a score. Default value
-is 10.
-
-@funindex blank-last-page-force
-@item blank-last-page-force
-The penalty for ending the score on an odd-numbered page.
-Default value is 0.
-
-@funindex page-spacing-weight
-@item page-spacing-weight
-The relative importance of page (vertical) spacing and line (horizontal)
-spacing. High values will make page spacing more important. Default
-value is 10.
-
-@funindex auto-first-page-number
-@item auto-first-page-number
-The page breaking algorithm is affected by the first page number being
-odd or even. If this variable is set to #t, the page breaking algorithm
-will decide whether to start with an odd or even number. This will
-result in the first page number remaining as is or being increased by one.
-
-@end table
-@end quotation
-
-Example:
-
-@example
-\paper@{
- paper-width = 2\cm
- top-margin = 3\cm
- bottom-margin = 3\cm
- ragged-last-bottom = ##t
-@}
-@end example
-
-You can also define these values in Scheme. In that case @code{mm},
-@code{in}, @code{pt}, and @code{cm} are variables defined in
-@file{paper-defaults.ly} with values in millimeters. That is why the
-value must be multiplied in the example
-
-@example
-\paper @{
- #(define bottom-margin (* 2 cm))
-@}
-@end example
-
-The header and footer are created by the functions @code{make-footer}
-and @code{make-header}, defined in @code{\paper}. The default
-implementations are in @file{ly/@/paper@/-defaults@/.ly} and
-@file{ly/@/titling@/-init@/.ly}.
-
-The page layout itself is done by two functions in the
-@code{\paper} block, @code{page-music-height} and
-@code{page-make-stencil}. The former tells the line-breaking algorithm
-how much space can be spent on a page, the latter creates the actual
-page given the system to put on it.
-
-
-@refbugs
-
-The option right-margin is defined but doesn't set the right margin
-yet. The value for the right margin has to be defined adjusting the
-values of @code{left-margin} and @code{line-width}.
-
-The default page header puts the page number and the @code{instrument}
-field from the @code{\header} block on a line.
-
-The titles (from the @code{\header@{@}} section) are treated as a
-system, so @code{ragged-bottom} and @code{ragged-last-bottom} will
-add space between the titles and the first system of the score.
-
-
-@node Music layout
-@section Music layout
-
-@menu
-* Setting global staff size::
-* Score layout::
-@end menu
-
-
-@node Setting global staff size
-@subsection Setting global staff size
-
-@cindex font size, setting
-@cindex staff size, setting
-@funindex layout file
-
-To set the global staff size, use @code{set-global-staff-size}.
-
-@example
-#(set-global-staff-size 14)
-@end example
-
-@noindent
-This sets the global default size to 14pt staff height and scales all
-fonts accordingly.
-
-The Feta font provides musical symbols at eight different
-sizes. Each font is tuned for a different staff size: at a smaller size
-the font becomes heavier, to match the relatively heavier staff lines.
-The recommended font sizes are listed in the following table:
-
-@quotation
-@multitable @columnfractions .15 .2 .22 .2
-
-@item @b{font name}
-@tab @b{staff height (pt)}
-@tab @b{staff height (mm)}
-@tab @b{use}
-
-@item feta11
-@tab 11.22
-@tab 3.9
-@tab pocket scores
-
-@item feta13
-@tab 12.60
-@tab 4.4
-@tab
-
-@item feta14
-@tab 14.14
-@tab 5.0
-@tab
-
-@item feta16
-@tab 15.87
-@tab 5.6
-@tab
-
-@item feta18
-@tab 17.82
-@tab 6.3
-@tab song books
-
-@item feta20
-@tab 20
-@tab 7.0
-@tab standard parts
-
-@item feta23
-@tab 22.45
-@tab 7.9
-@tab
-
-@item feta26
-@tab 25.2
-@tab 8.9
-@tab
-@c modern rental material?
-
-@end multitable
-@end quotation
-
-These fonts are available in any sizes. The context property
-@code{fontSize} and the layout property @code{staff-space} (in
-@internalsref{StaffSymbol}) can be used to tune the size for individual
-staves. The sizes of individual staves are relative to the global size.
-
-@example
-
-@end example
-
-@seealso
-
-This manual: @ref{Selecting notation font size}.
-
-
-@node Score layout
-@subsection Score layout
-
-@funindex \layout
-
-While @code{\paper} contains settings that relate to the page formatting
-of the whole document, @code{\layout} contains settings for score-specific
-layout.
-
-@example
-\layout @{
- indent = 2.0\cm
- \context @{ \Staff
- \override VerticalAxisGroup #'minimum-Y-extent = #'(-6 . 6)
- @}
- \context @{ \Voice
- \override TextScript #'padding = #1.0
- \override Glissando #'thickness = #3
- @}
-@}
-@end example
-
-
-@seealso
-
-This manual: @ref{Changing context default settings}
-
-
-@node Vertical spacing
-@section Vertical spacing
-
-@cindex vertical spacing
-@cindex spacing, vertical
-
-Vertical spacing is controlled by three things: the amount of
-space available (i.e., paper size and margins), the amount of
-space between systems, and the amount of space between
-staves inside a system.
-
-@menu
-* Vertical spacing inside a system::
-* Vertical spacing of piano staves::
-* Vertical spacing between systems::
-* Controlling spacing of individual systems::
-* Two-pass vertical spacing::
-@end menu
-
-
-@node Vertical spacing inside a system
-@subsection Vertical spacing inside a system
-
-@cindex distance between staves
-@cindex staff distance
-@cindex space between staves
-@cindex space inside systems
-
-The height of each system is determined automatically. To prevent
-staves from bumping into each other, some minimum distances are set.
-By changing these, you can put staves closer together. This
-reduces the amount of space each system requires, and may result
-in having more systems per page.
-
-Normally staves are stacked vertically. To make staves maintain a
-distance, their vertical size is padded. This is done with the
-property @code{minimum-Y-extent}. When applied to a
-@internalsref{VerticalAxisGroup}, it controls the size of a horizontal
-line, such as a staff or a line of lyrics. @code{minimum-Y-extent}
-takes a pair of numbers, so
-if you want to make it smaller than its default @code{#'(-4 . 4)}
-then you could set
-
-@example
-\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
-@end example
-
-@noindent
-This sets the vertical size of the current staff to 3 staff spaces on
-either side of the center staff line. The value @code{(-3 . 3)} is
-interpreted as an interval, where the center line is the 0, so the
-first number is generally negative. The numbers need not match;
-for example, the staff can be made larger at the bottom by setting
-it to @code{(-6 . 4)}.
-
-
-@seealso
-
-Internals: Vertical alignment of staves is handled by the
-@internalsref{VerticalAlignment} object. The context parameters
-specifying the vertical extent are described in connection with
-the @internalsref{Axis_group_engraver}.
-
-Example files: @inputfileref{input/regression/,page-spacing.ly},
-@inputfileref{input/regression/,alignment-vertical-spacing.ly}.
-
-
-@node Vertical spacing of piano staves
-@subsection Vertical spacing of piano staves
-
-The distance between staves of a @internalsref{PianoStaff} cannot be
-computed during formatting. Rather, to make cross-staff beaming work
-correctly, that distance has to be fixed beforehand.
-
-The distance of staves in a @code{PianoStaff} is set with the
-@code{forced-distance} property of the
-@internalsref{VerticalAlignment} object, created in
-@internalsref{PianoStaff}.
-
-It can be adjusted as follows
-@example
-\new PianoStaff \with @{
- \override VerticalAlignment #'forced-distance = #7
-@} @{
- ...
-@}
-@end example
-
-@noindent
-This would bring the staves together at a distance of 7 staff spaces,
-measured from the center line of each staff.
-
-The difference is demonstrated in the following example,
-@lilypond[quote,verbatim]
-\relative c'' <<
- \new PianoStaff \with {
- \override VerticalAlignment #'forced-distance = #7
- } <<
- \new Staff { c1 }
- \new Staff { c }
- >>
- \new PianoStaff <<
- \new Staff { c }
- \new Staff { c }
- >>
->>
-@end lilypond
-
-
-@seealso
-
-Example files: @inputfileref{input/regression/,alignment-vertical-spacing.ly}.
-
-
-@node Vertical spacing between systems
-@subsection Vertical spacing between systems
-
-Space between systems are controlled by four @code{\paper} variables,
-
-@example
-\paper @{
- between-system-space = 1.5\cm
- between-system-padding = #1
- ragged-bottom=##f
- ragged-last-bottom=##f
-@}
-@end example
-
-
-@node Controlling spacing of individual systems
-@subsection Controlling spacing of individual systems
-
-It is also possible to change the distance between for each system
-individually. This is done by including the command
-
-@example
-\overrideProperty
-#"Score.NonMusicalPaperColumn"
-#'line-break-system-details
-#'((fixed-alignment-extra-space . 15))
-@end example
-
-@noindent
-at the line break before the system to be changed. The distance
-@code{15} is distributed over all staves that have a fixed distance
-alignment. For example,
-
-@lilypond[ragged-right, fragment, relative=2, staffsize=13]
-\new PianoStaff <<
- \new Staff {
- c1\break
-
- \overrideProperty
- #"Score.NonMusicalPaperColumn"
- #'line-break-system-details
- #'((fixed-alignment-extra-space . 15))
-
- c\break
- }
- \new Staff { c c }
->>
-@end lilypond
-
-The distance for @code{fixed-alignment-extra-space} may also be
-negative.
-
-
-@node Two-pass vertical spacing
-@subsection Two-pass vertical spacing
-
-In order to automatically stretch systems so that they should fill the
-space left on a page, a two-pass technique can be used:
-
-@enumerate
-@item In the first pass, the amount of vertical space used to increase
-the height of each system is computed and dumped to a file.
-@item In the second pass, spacing inside the systems are
-stretched according to the data in the page layout file.
-@end enumerate
-
-The @code{ragged-bottom} property adds space between systems, while
-the two-pass technique adds space between staffs inside a system.
-
-To allow this behaviour, a @code{tweak-key} variable has to be set in
-each score @code{\layout} block, and the tweaks included in each score
-music, using the @code{\scoreTweak} music function.
-
-@quotation
-@verbatim
-%% include the generated page layout file:
-\includePageLayoutFile
-
-\score {
- \new StaffGroup <<
- \new Staff <<
- %% Include this score tweaks:
- \scoreTweak "scoreA"
- { \clef french c''1 \break c''1 }
- >>
- \new Staff { \clef soprano g'1 g'1 }
- \new Staff { \clef mezzosoprano e'1 e'1 }
- \new Staff { \clef alto g1 g1 }
- \new Staff { \clef bass c1 c1 }
- >>
- \header {
- piece = "Score with tweaks"
- }
- %% Define how to name the tweaks for this score:
- \layout { #(define tweak-key "scoreA") }
-}
-@end verbatim
-@end quotation
-
-For the first pass, the @code{dump-tweaks} option should be set to
-generate the page layout file.
-
-@example
-lilypond -b null -d dump-tweaks <file>.ly
-lilypond <file>.ly
-@end example
-
-@node Horizontal spacing
-@section Horizontal Spacing
-
-@cindex horizontal spacing
-@cindex spacing, horizontal
-
-@menu
-* Horizontal spacing overview::
-* New spacing area::
-* Changing horizontal spacing::
-* Line length::
-@end menu
-
-
-@node Horizontal spacing overview
-@subsection Horizontal spacing overview
-
-The spacing engine translates differences in durations into stretchable
-distances (``springs'') of differring lengths. Longer durations get
-more space, shorter durations get less. The shortest durations get a
-fixed amount of space (which is controlled by
-@code{shortest-duration-space} in the @internalsref{SpacingSpanner}
-object). The longer the duration, the more space it gets: doubling a
-duration adds a fixed amount (this amount is controlled by
-@code{spacing-increment}) of space to the note.
-
-For example, the following piece contains lots of half, quarter, and
-8th notes; the eighth note is followed by 1 note head width (NHW).
-The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
-
-@lilypond[quote,fragment,verbatim,relative=1]
-c2 c4. c8 c4. c8 c4. c8 c8
-c8 c4 c4 c4
-@end lilypond
-
-Normally, @code{spacing-increment} is set to 1.2 staff space, which is
-approximately the width of a note head, and
-@code{shortest-duration-space} is set to 2.0, meaning that the
-shortest note gets 2.4 staff space (2.0 times the
-@code{spacing-increment}) of horizontal space. This space is counted
-from the left edge of the symbol, so the shortest notes are generally
-followed by one NHW of space.
-
-If one would follow the above procedure exactly, then adding a single
-32nd note to a score that uses 8th and 16th notes, would widen up the
-entire score a lot. The shortest note is no longer a 16th, but a 32nd,
-thus adding 1 NHW to every note. To prevent this, the shortest
-duration for spacing is not the shortest note in the score, but rather
-the one which occurs most frequently.
-
-
-The most common shortest duration is determined as follows: in every
-measure, the shortest duration is determined. The most common shortest
-duration is taken as the basis for the spacing, with the stipulation
-that this shortest duration should always be equal to or shorter than
-an 8th note. The shortest duration is printed when you run
-@code{lilypond} with the @code{--verbose} option.
-
-These durations may also be customized. If you set the
-@code{common-shortest-duration} in @internalsref{SpacingSpanner}, then
-this sets the base duration for spacing. The maximum duration for this
-base (normally an 8th), is set through @code{base-shortest-duration}.
-
-@funindex common-shortest-duration
-@funindex base-shortest-duration
-@funindex stem-spacing-correction
-@funindex spacing
-
-Notes that are even shorter than the common shortest note are
-followed by a space that is proportional to their duration relative to
-the common shortest note. So if we were to add only a few 16th notes
-to the example above, they would be followed by half a NHW:
-
-@lilypond[quote,fragment,verbatim,relative=2]
-c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
-@end lilypond
-
-
-In the introduction (see @ref{Engraving}), it was explained that stem
-directions influence spacing. This is controlled with the
-@code{stem-spacing-correction} property in the
-@internalsref{NoteSpacing}, object. These are generated for every
-@internalsref{Voice} context. The @code{StaffSpacing} object
-(generated in @internalsref{Staff} context) contains the same property
-for controlling the stem/bar line spacing. The following example shows
-these corrections, once with default settings, and once with
-exaggerated corrections:
-
-@lilypond[quote,ragged-right]
-{
- c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4|
- \override Staff.NoteSpacing #'stem-spacing-correction = #1.5
- \override Staff.StaffSpacing #'stem-spacing-correction = #1.5
- c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4|
-}
-@end lilypond
-
-Proportional notation is supported; see @ref{Proportional notation}.
-
-
-@seealso
-
-Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
-@internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
-@internalsref{SeparatingGroupSpanner}.
-
-
-@refbugs
-
-There is no convenient mechanism to manually override spacing. The
-following work-around may be used to insert extra space into a score.
-@example
- \once \override Score.SeparationItem #'padding = #1
-@end example
-
-No work-around exists for decreasing the amount of space.
-
-
-@node New spacing area
-@subsection New spacing area
-
-New sections with different spacing parameters can be started with
-@code{newSpacingSection}. This is useful when there are
-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.
-
-@lilypond[relative,fragment,verbatim,quote]
-\time 2/4
-c4 c8 c
-c8 c c4 c16[ c c8] c4
-\newSpacingSection
-\time 4/16
-c16[ c c8]
-@end lilypond
-
-
-@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
-@code{Score.SpacingSpanner #'uniform-stretching}. This
-property can only be changed at the beginning of a score,
-
-@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
-\new Score \with {
- \override SpacingSpanner #'uniform-stretching = ##t
-} <<
- \new Staff{
- \times 4/5 {
- c8 c8 c8 c8 c8
- }
- c8 c8 c8 c8
- }
- \new Staff{
- c8 c8 c8 c8
- \times 4/5 {
- c8 c8 c8 c8 c8
- }
- }
->>
-@end lilypond
-
-
-When @code{strict-note-spacing} is set, notes are spaced without
-regard for clefs, bar lines, and grace notes,
-
-@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
-\override Score.SpacingSpanner #'strict-note-spacing = ##t
-\new Staff { c8[ c \clef alto c \grace { c16[ c] } c8 c c] c32[ c32] }
-@end lilypond
-
-
-@node Line length
-@subsection Line length
-
-@cindex page breaks
-@cindex breaking pages
-
-@funindex indent
-@funindex line-width
-@funindex ragged-right
-@funindex ragged-last
-
-@c Although line-width can be set in \layout, it should be set in paper
-@c block, to get page layout right.
-@c Setting indent in \paper block makes not much sense, but it works.
-
-@c Bit verbose and vague, use examples?
-The most basic settings influencing the spacing are @code{indent} and
-@code{line-width}. They are set in the @code{\layout} block. They
-control the indentation of the first line of music, and the lengths of
-the lines.
-
-If @code{ragged-right} is set to true in the @code{\layout} block, then
-systems ends at their natural horizontal length, instead of being spread
-horizontally to fill the whole line. This is useful for
-short fragments, and for checking how tight the natural spacing is.
-
-@cindex page layout
-@cindex vertical spacing
-
-The option @code{ragged-last} is similar to @code{ragged-right}, but
-only affects the last line of the piece. No restrictions are put on
-that line. The result is similar to formatting text paragraphs. In a
-paragraph, the last line simply takes its natural horizontal length.
-@c Note that for text there are several options for the last line.
-@c While Knuth TeX uses natural length, lead typesetters use the same
-@c stretch as the previous line. eTeX uses \lastlinefit to
-@c interpolate between both these solutions.
-
-@example
-\layout @{
- indent = #0
- line-width = #150
- ragged-last = ##t
-@}
-@end example
-
-
-@node Breaks
-@section Breaks
-
-@menu
-* Line breaking::
-* Page breaking::
-* Optimal page breaking::
-* Optimal page turning::
-@end menu
-
-@node Line breaking
-@subsection Line breaking
-
-@cindex line breaks
-@cindex breaking lines
-
-Line breaks are normally computed automatically. They are chosen so
-that lines look neither cramped nor loose, and that consecutive lines
-have similar density.
-
-Occasionally you might want to override the automatic breaks; you can
-do this by specifying @code{\break}. This will force a line break at
-this point. Line breaks can only occur at places where there are bar
-lines. If you want to have a line break where there is no bar line,
-you can force an invisible bar line by entering @code{\bar
-""}. Similarly, @code{\noBreak} forbids a line break at a
-point.
-
-
-@cindex regular line breaks
-@cindex four bar music.
-
-For line breaks at regular intervals use @code{\break} separated by
-skips and repeated with @code{\repeat}:
-@example
-<< \repeat unfold 7 @{
- s1 \noBreak s1 \noBreak
- s1 \noBreak s1 \break @}
- @emph{the real music}
->>
-@end example
-
-@noindent
-This makes the following 28 measures (assuming 4/4 time) be broken every
-4 measures, and only there.
-
-@refcommands
-
-@code{\break}, and @code{\noBreak}.
-@funindex \break
-@funindex \noBreak
-
-@seealso
-
-Internals: @internalsref{LineBreakEvent}.
-
-A linebreaking configuration can now be saved as a @code{.ly} file
-automatically. This allows vertical alignments to be stretched to
-fit pages in a second formatting run. This is fairly new and
-complicated; see @inputfileref{input/regression/,page-layout-twopass.ly}
-for details.
-
-@refbugs
-
-Line breaks can only occur if there is a ``proper'' bar line. A note
-which is hanging over a bar line is not proper, such as
-
-@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
-c4 c2 c2 \break % this does nothing
-c2 c4 | % a break here would work
-c4 c2 c4 ~ \break % as does this break
-c4 c2 c4
-@end lilypond
-
-To allow line breaks on such bar lines, the
-@code{Forbid_line_break_engraver} can be removed from @code{Voice}
-context, like so
-
-
-@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
-\new Voice \with {
- \remove "Forbid_line_break_engraver"
-} {
- c4 c2 c2 \break % now the break is allowed
- c2 c4
-}
-@end lilypond
-
-
-
-@node Page breaking
-@subsection Page breaking
-
-The default page breaking may be overriden by inserting
-@code{\pageBreak} or @code{\noPageBreak} commands. These commands are
-analogous to @code{\break} and @code{\noBreak}. They should be
-inserted at a bar line. These commands force and forbid a page-break
-from happening. Of course, the @code{\pageBreak} command also forces
-a line break.
-
-Page breaks are computed by the @code{page-breaking} function.
-LilyPond provides two algorithms for computing page
-breaks, @code{ly:optimal-breaking} and @code{ly:page-turn-breaking}. The
-default is @code{ly:optimal-breaking}, but the value can be changed in
-the @code{\paper} block:
-
-@example
-\paper@{
- #(define page-breaking ly:page-turn-breaking)
-@}
-@end example
-
-The old page breaking algorithm is called
-@code{optimal-page-breaks}. If you are having trouble with the new page
-breakers, you can enable the old one as a workaround.
-
-@refcommands
-
-@funindex \pageBreak
-@code{\pageBreak}
-@funindex \noPageBreak
-@code{\noPageBreak}
-
-
-@node Optimal page breaking
-@subsection Optimal page breaking
-
-@funindex ly:optimal-breaking
-
-The @code{ly:optimal-breaking} function is LilyPond's default method of
-determining page breaks. It attempts to find a page breaking that minimizes
-cramping and stretching, both horizontally and vertically. Unlike
-@code{ly:page-turn-breaking}, it has no concept of page turns.
-
-
-@node Optimal page turning
-@subsection Optimal page turning
-
-@funindex ly:page-turn-breaking
-
-Often it is necessary to find a page breaking configuration so that there is
-a rest at the end of every second page. This way, the musician can turn the
-page without having to miss notes. The @code{ly:page-turn-breaking} function
-attempts to find a page breaking minimizing cramping and stretching, but with
-the additional restriction that it is only allowed to introduce page turns
-in specified places.
-
-There are two steps to using this page breaking function. First, you must
-enable it in the @code{\paper} block. Then, you must tell the function
-where you would like to allow page breaks.
-
-There are two ways to achieve the second step. First, you can specify each
-potential page turn manually, by inserting @code{\allowPageTurn} into your
-input file at the appropriate places.
-
-If this is too tedious, you can add a @code{Page_turn_engraver} to a Staff or
-Voice context. The @code{Page_turn_engraver} will scan the context for
-sections without notes (note that it does not scan for rests; it scans for
-the absence of notes. This is so that single-staff polyphony with rests in one
-of the parts does not throw off the @code{Page_turn_engraver}). When it finds
-a sufficiently long section without notes, the @code{Page_turn_engraver} will
-insert an @code{\allowPageTurn} at the final barline in that section, unless
-there is a ``special'' barline (such as a double bar), in which case the
-@code{\allowPageTurn} will be inserted at the final ``special'' barline in
-the section.
-
-@funindex minimumPageTurnLength
-The @code{Page_turn_engraver} reads the context property
-@code{minimumPageTurnLength} to determine how long a note-free section must
-be before a page turn is considered. The default value for
-@code{minimumPageTurnLength} is @code{#(ly:make-moment 1 1)}. If you want
-to disable page turns, you can set it to something very large.
-
-@example
-\new Staff \with @{ \consists "Page_turn_engraver" @}
-@{
- a4 b c d |
- R1 | % a page turn will be allowed here
- a4 b c d |
- \set Staff.minimumPageTurnLength = #(ly:make-moment 5 2)
- R1 | % a page turn will not be allowed here
- a4 b r2 |
- R1*2 | % a page turn will be allowed here
- a1
-@}
-@end example
-
-@funindex minimumRepeatLengthForPageTurn
-The @code{Page_turn_engraver} detects volta repeats. It will only allow a page
-turn during the repeat if there is enough time at the beginning and end of the
-repeat to turn the page back. The @code{Page_turn_engraver} can also disable
-page turns if the repeat is very short. If you set the context property
-@code{minimumRepeatLengthForPageTurn} then the @code{Page_turn_engraver} will
-only allow turns in repeats whose duration is longer than this value.
-
-@refbugs
-
-There should only be one @code{Page_turn_engraver} in a score. If there is more
-than one, they will interfere with each other.
-
-
-@node Displaying spacing
-@section Displaying spacing
-
-@funindex annotate-spacing
-@cindex Spacing, display of properties
-
-To graphically display the dimensions of vertical properties that may
-be altered for page formatting, set @code{annotate-spacing} in the
-@code{\paper} block, like this
-
-
-@lilypond[verbatim]
-#(set-default-paper-size "a6" 'landscape)
-
-\book {
- \score { { c4 } }
- \paper { annotate-spacing = ##t }
-}
-@end lilypond
-
-@c need to have \book{} otherwise we get the separate systems. -hwn
-
-@noindent
-@c FIXME: really bad vagueness due to bug in annotate-spacing. -gp
-Some unit dimensions are measured in staff spaces, while others
-are measured in millimeters.
-The pairs
-(@var{a},@var{b}) are intervals, where @var{a} is the lower edge and
-@var{b} the upper edge of the interval.
-
-
--- /dev/null
+@c -*- coding: utf-8; mode: texinfo; -*-
+@c This file is part of lilypond.tely
+
+@node Running LilyPond
+@chapter Running LilyPond
+
+This chapter details the technicalities of running LilyPond.
+
+Some of these commands are run from 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
+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.
+
+@menu
+* Invoking lilypond::
+* Notes for the MacOS X app::
+* Updating files with convert-ly::
+* Reporting bugs::
+* Error messages::
+* Editor support::
+* Point and click::
+@end menu
+
+@node Invoking lilypond
+@section Invoking lilypond
+@cindex Invoking LilyPond
+@cindex command line options
+@cindex options, command line
+@cindex switches
+
+
+The @code{lilypond} executable may be called as follows from the command line.
+
+@example
+lilypond [@var{option}]@dots{} @var{file}@dots{}
+@end example
+
+
+When invoked with a filename that has no extension, the @file{.ly}
+extension is tried first. To read input from stdin, use a
+dash (@code{-}) for @var{file}.
+
+When @file{filename.ly} is processed it will produce
+@file{filename.tex} as output (or @file{filename.ps} for PostScript
+output). If @file{filename.ly} contains more than one @code{\score}
+block, then the rest of the scores will be output in numbered files,
+starting with @file{filename-1.tex}. Several files can be specified;
+they will each be processed independently. @footnote{The status of
+GUILE is not reset after processing a @code{.ly} file, so be careful
+not to change any system defaults from within Scheme.}
+
+
+@subsection Command line options
+
+The following options are supported:
+
+@table @code
+
+@item -e,--evaluate=@var{expr}
+Evaluate the Scheme @var{expr} before parsing any @file{.ly} files.
+Multiple @code{-e} options may be given, they will be evaluated
+sequentially.
+
+The expression will be evaluated in the @code{guile-user} module, so
+if you want to use definitions in @var{expr}, use
+
+@example
+lilypond -e '(define-public a 42)'
+@end example
+
+@noindent
+on the command-line, and include
+
+@example
+#(use-modules (guile-user))
+@end example
+
+@noindent
+at the top of the @code{.ly} file.
+
+@item -f,--format=@var{format}
+which formats should be written. Choices are @code{svg}, @code{ps},
+@code{pdf}, @code{png}, @code{tex}, @code{dvi}.
+
+@item -b,--backend=@var{format}
+the output format to use for the back-end. Choices are
+@table @code
+@item tex
+for @TeX{} output, to be processed with La@TeX{}. If present, the file
+@file{file.textmetrics} is read to determine text extents.
+@item texstr
+dump text strings to @file{.texstr} file, which can be run through
+(La)@TeX{}, resulting in a @code{.textmetrics} file, which contains the
+extents of strings of text. @strong{Warning:} this functionality is
+currently missing due to heavy restructuring of the source code.
+@item ps
+ for PostScript.
+@cindex PostScript output
+
+ Postscript files include TTF, Type1 and OTF fonts. No subsetting of
+ these fonts is done. When using oriental character sets, this can
+ lead to huge files.
+
+@item eps
+ for encapsulated PostScript. This dumps every page (system) as a separate
+@file{EPS} file, without fonts, and as one collated @file{EPS} file with
+all pages (systems) including fonts.
+
+This mode is used by default by lilypond-book.
+
+@item svg
+ for SVG (Scalable Vector Graphics). This dumps every page as a separate
+@file{SVG} file, with embedded fonts.
+@cindex SVG (Scalable Vector Graphics)
+ You need a SVG viewer which supports embedded fonts, or a SVG
+ viewer which is able to replace the embedded fonts with OTF fonts.
+ Under Unix, you may use @uref{http://www.inkscape.org,Inkscape}
+ (version 0.42 or later), after copying the OTF fonts in directory
+ @file{PATH/TO/share/lilypond/VERSION/fonts/otf/} to @file{~/.fonts/}.
+@item scm
+ for a dump of the raw, internal Scheme-based drawing commands.
+@cindex Scheme dump
+@end table
+
+@cindex output format, setting
+
+@item -d,--define-default=@var{var}=@var{val}
+This sets the internal program option @var{var} to the Scheme value
+@var{val}. If @var{val} is not supplied, then @var{#t} is used. To
+switch off an option, @code{no-} may be prefixed to @var{var}, e.g.
+
+@cindex point and click, command line
+
+@example
+-dno-point-and-click
+@end example
+
+@noindent
+is the same as
+@example
+-dpoint-and-click='#f'
+@end example
+
+Another notable option is
+
+@example
+-dpaper-size=\"letter\"
+@end example
+
+@noindent
+Note that the string must be enclosed in escaped quotes ( @code{\"} ).
+
+Setting the @code{-dhelp} option will print a summary of the options
+available, and exit.
+
+@item -h,--help
+Show a summary of usage.
+
+@item -H,--header=FIELD
+Dump a header field to file BASENAME.FIELD
+
+@item --include, -I=@var{directory}
+Add @var{directory} to the search path for input files.
+@cindex file searching
+@cindex search path
+
+@item -i,--init=@var{file}
+Set init file to @var{file} (default: @file{init.ly}).
+
+@item -o,--output=@var{FILE}
+Set the default output file to @var{FILE}. The appropriate
+suffix will be added (ie @code{.pdf} for pdf, @code{.tex}
+for tex, etc).
+
+@item --ps
+Generate PostScript.
+
+@item --dvi
+Generate DVI files. In this case, the @TeX{} backend should be
+specified, i.e., @code{-b tex}.
+
+@item --png
+Generate pictures of each page, in PNG format. This implies
+@code{--ps}. The resolution in DPI of the image may be set with
+@example
+-dresolution=110
+@end example
+
+@item --pdf
+Generate PDF. This implies @code{--ps}.
+
+@item --preview
+Generate an output file containing the titles and the first system
+
+@item --no-pages
+Do not generate the full pages. Useful in combination with
+@code{--preview}.
+
+@item -s,--safe
+Do not trust the @code{.ly} input.
+
+When LilyPond formatting is available through a web server, either the
+@code{--safe} or the @code{--jail} option @b{MUST} be passed. The
+@code{--safe} option will prevent inline Scheme code from wreaking
+havoc, for example
+
+@quotation
+@verbatim
+#(system "rm -rf /")
+{
+ c4^#(ly:export (ly:gulp-file "/etc/passwd"))
+}
+@end verbatim
+@end quotation
+
+The @code{--safe} option works by evaluating in-line Scheme
+expressions in a special safe module. This safe module is derived from
+GUILE @file{safe-r5rs} module, but adds a number of functions of the
+LilyPond API. These functions are listed in @file{scm/@/safe@/-lily@/.scm}.
+
+In addition, @code{--safe} disallows @code{\include} directives and
+disables the use of backslashes in @TeX{} strings.
+
+In @code{--safe} mode, it is not possible to import LilyPond variables
+into Scheme.
+
+@code{--safe} does @emph{not} detect resource overuse. It is still
+possible to make the program hang indefinitely, for example by feeding
+cyclic data structures into the backend. Therefore, if using LilyPond
+on a publicly accessible webserver, the process should be limited in
+both CPU and memory usage.
+
+Note that @code{--safe} will prevent many useful LilyPond snippets from
+being compiled. For a softer but secure alternative you can use the
+@code{--jail} option.
+
+
+@item -j,--jail=@var{user},@var{group},@var{jail},@var{dir}
+Run LilyPond in a chroot jail.
+
+The @code{--jail} option provides a more flexible alternative to
+@code{--safe} when LilyPond formatting is available through a web
+server or whenever LilyPond executes externally provided
+sources.
+
+The @code{--jail} option works by changing the root of LilyPond to
+@var{jail} just before starting the actual compilation process. The user
+and group are then changed to match those provided, and the current
+directory is changed to @var{dir}. This setup guarantees that it is not
+possible (at least in theory) to escape from the jail. Note that for
+@code{--jail} to work LilyPond must be run as root, which is usually
+accomplished in a safe way using @command{sudo}.
+
+Setting up a jail is a slightly delicate matter, as we must be sure that
+LilyPond is able to find whatever it needs to compile the source
+@emph{inside the jail}. A typical setup comprises the following items:
+
+@table @asis
+@item Setting up a separate filesystem
+A separate filesystem should be created for LilyPond, so that it can be
+mounted with safe options such as @code{noexec}, @code{nodev}, and
+@code{nosuid}. In this way, it is impossible to run executables or to
+write directly to a device from LilyPond. If you do not want to create a
+separate partition, just create a file of reasonable size and use it to
+mount a loop device. A separate filesystem also guarantees that LilyPond
+cannot write more space than it is allowed.
+
+@item Setting up a separate user
+A separate user and group (say, @samp{lily}/@samp{lily}) with low
+privileges should be used to run LilyPond inside the jail. There should
+be a single directory writable by this user, which should be passed in
+@var{dir}.
+
+@item Preparing the jail
+LilyPond needs to read a number of files while running. All these files
+are to be copied into the jail, under the same path they appear in the
+real root filesystem. The entire content of the LilyPond installation
+(e.g., @file{/usr/share/lilypond})
+should be copied.
+
+If problems arise, the simplest way to trace them down is to run
+LilyPond using @command{strace}, which will allow you to determine which
+files are missing.
+
+@item Running LilyPond
+In a jail mounted with @code{noexec} it is impossible to execute any external
+program. Therefore LilyPond must be run with a backend that does not
+require any such program. As we already mentioned, it must be also run
+with superuser privileges (which, of course, it will lose immediately),
+possibly using @command{sudo}. It is a good idea to limit the number of
+seconds of CPU time LilyPond can use (e.g., using @command{ulimit
+-t}), and, if your operating system supports it, the amount of memory
+that can be allocated.
+@end table
+
+
+@item -v,--version
+Show version information.
+
+@item -V,--verbose
+Be verbose: show full paths of all files read, and give timing
+information.
+
+@item -w,--warranty
+Show the warranty with which GNU LilyPond comes. (It comes with
+@strong{NO WARRANTY}!)
+@end table
+
+
+@subsection Environment variables
+
+
+@cindex LANG
+@cindex LILYPONDPREFIX
+
+@code{Lilypond} recognizes the following environment variables:
+@table @code
+@item LILYPONDPREFIX
+This specifies a directory where locale messages and
+data files will be looked up by default. The directory should contain
+subdirectories called @file{ly/}, @file{ps/}, @file{tex/}, etc.
+
+@item LANG
+This selects the language for the warning messages.
+
+@item LILYPOND_GC_YIELD
+With this variable the memory footprint and performance can be
+adjusted. It is a percentage tunes memory management behavior. With
+higher values, the program uses more memory, with smaller values, it
+uses more CPU time. The default value is @code{70}.
+
+@end table
+
+
+@node Notes for the MacOS X app
+@section Notes for the MacOS X app
+
+The scripts (such as lilypond-book, convert-ly, abc2ly, and even
+lilypond itself) are also
+included inside MacOS X .app. They can be run from the command line by
+invoking them directly, e.g.
+
+@example
+@var{path/to}/LilyPond.app/Contents/Resources/bin/lilypond
+@end example
+
+@noindent
+The same is true of the other scripts in that directory, including
+lilypond-book, convert-ly, abc2ly, etc.
+
+Alternatively, you may add this directory to your path. Modify (or create)
+a file called @code{.profile} in your home directory such that it contains
+
+@example
+export PATH=$PATH:@var{path/to}/LilyPond.app/Contents/Resources/bin
+@end example
+
+@noindent
+This file should end with a blank line.
+
+Note that @var{path/to} will generally be @code{/Applications/}.
+
+
+@node Updating files with convert-ly
+@section Updating with @command{convert-ly}
+
+@cindex Updating a LilyPond file
+@funindex convert-ly
+
+The LilyPond input syntax is routinely changed to simplify it or improve
+it in different ways. As a side effect of this, the LilyPond interpreter
+often is no longer compatible with older input files. To remedy this,
+the program @command{convert-ly} can be used to deal with most of the
+syntax changes between LilyPond versions.
+
+It uses @code{\version} statements in the input files to detect the
+old version number. In most cases, to upgrade your input file it is
+sufficient to run@footnote{MacOS X users may execute this command
+under the menu entry @samp{Compile > Update syntax}.}
+
+@example
+convert-ly -e myfile.ly
+@end example
+
+If there are no changes to myfile.ly and file called myfile.ly.NEW
+is created, then myfile.ly is already updated.
+
+@command{convert-ly} always converts up to the last syntax change handled by
+it. This means that the @code{\version} number left in the file is
+usually lower than the version of @command{convert-ly} itself.
+
+To upgrade LilyPond fragments in texinfo files, use
+
+@example
+convert-ly --from=... --to=... --no-version *.itely
+@end example
+
+To upgrade many files at once, combine @code{convert-ly} with
+standard unix commands. This example will upgrade all @code{.ly}
+files in the current directory
+
+@example
+for f in *.ly; do convert-ly -e $f; done;
+@end example
+
+In general, the program is invoked as follows:
+
+@example
+convert-ly [@var{option}]@dots{} @var{file}@dots{}
+@end example
+
+
+The following options can be given:
+
+@table @code
+@item -e,--edit
+Do an inline edit of the input file. Overrides @code{--output}.
+
+@item -f,--from=@var{from-patchlevel}
+Set the version to convert from. If this is not set, @command{convert-ly}
+will guess this, on the basis of @code{\version} strings in the file.
+
+@item -n,--no-version
+Normally, @command{convert-ly} adds a @code{\version} indicator
+to the output. Specifying this option suppresses this.
+
+@item -s, --show-rules
+Show all known conversions and exit.
+
+@item --to=@var{to-patchlevel}
+Set the goal version of the conversion. It defaults to the latest
+available version.
+
+@item -h, --help
+Print usage help.
+@end table
+
+
+@refbugs
+
+Not all language changes are handled. Only one output option can be
+specified. Automatically updating scheme and lilypond scheme
+interfaces is quite unlikely; be prepared to tweak scheme code
+manually.
+
+
+@c We might want to make this a completely new section, along with more
+@c info about how to upgrade old input files. -gp
+
+@ignore
+Copy and paste from CVS, last updated
+Aug 18, 2005
+
+http://savannah.gnu.org/cgi-bin/viewcvs/*checkout*/lilypond/lily-bugs/bugs/
+convert-ly.txt?rev=HEAD&content-type=text/plain
+
+NEW: not exactly copied; this list has been modified. Since we're
+changing the bug system, it doesn't make sense to copy from
+the bug CVS any more. I'll figure out something else. -gp
+@end ignore
+@verbatim
+
+There are a few things that the convert-ly cannot handle. Here's a list of
+limitations
+that the community has complained about.
+
+This bug report structure has been chosen because convert-ly has a structure
+that doesn't
+allow to smoothly implement all needed changes. Thus this is just a wishlist,
+placed
+here for reference.
+
+1.6->2.0:
+ Doesn't always convert figured bass correctly, specifically things like {<
+>}. Mats' comment on working around this:
+ To be able to run convert-ly
+ on it, I first replaced all occurencies of '{<' to some dummy like '{#'
+ and similarly I replaced '>}' with '&}'. After the conversion, I could
+ then change back from '{ #' to '{ <' and from '& }' to '> }'.
+ Doesn't convert all text markup correctly. In the old markup syntax,
+ it was possible to group a number of markup commands together within
+parentheses, e.g.
+ -#'((bold italic) "string")
+ This will incorrectly be converted into
+ -\markup{{\bold italic} "string"}
+ instead of the correct
+ -\markup{\bold \italic "string"}
+2.0->2.2:
+ Doesn't handle \partcombine
+ Doesn't do \addlyrics => \lyricsto, this breaks some scores with multiple
+stanzas.
+2.0->2.4:
+ \magnify isn't changed to \fontsize.
+ - \magnify #m => \fontsize #f, where f = 6ln(m)/ln(2)
+ remove-tag isn't changed.
+ - \applyMusic #(remove-tag '. . .) => \keepWithTag #'. . .
+ first-page-number isn't changed.
+ - first-page-number no => print-first-page-number = ##f
+ Line breaks in header strings aren't converted.
+ - \\\\ as line break in \header strings => \markup \center-align <
+ "First Line" "Second Line" >
+ Crescendo and decrescendo terminators aren't converted.
+ - \rced => \!
+ - \rc => \!
+2.2->2.4:
+ \turnOff (used in \set Staff.VoltaBracket = \turnOff) is not properly
+converted.
+2.4.2->2.5.9
+ \markup{ \center-align <{ ... }> } should be converted to:
+ \markup{ \center-align {\line { ... }} }
+ but now, \line is missing.
+2.4->2.6
+ Special LaTeX characters such as $~$ in text are not converted to UTF8.
+2.8
+ \score{} must now begin with a music expression. Anything else
+ (particularly \header{}) must come after the music.
+@end verbatim
+
+
+@node Reporting bugs
+@section Reporting bugs
+
+@cindex bugs
+@cindex reporting bugs
+
+If you have input that results in a crash or an erroneous output, then
+that is a bug. We try to respond to bug-reports promptly, and fix them as
+soon as possible. Help us by sending a defective input file, so we can
+reproduce the problem. Send the report via:
+
+@example
+@uref{http://post.gmane.org/post.php?group=gmane.comp.gnu.lilypond.bugs}
+@end example
+
+A few tips:
+@itemize @bullet
+
+@item Try to produce a very small input file which demonstrates the problem;
+one or two bars is often sufficient to reproduce a bug. The smaller the
+input file is, the easier it is for us to debug the problem.
+
+@item Don't forget to tell which version of LilyPond you use!
+
+@item If possible, use @code{ragged-right} in your example. This makes sure
+that the bug can be reproduced in all paper sizes.
+@end itemize
+
+@ignore
+@c the bug database is not up to date enough.
+
+When you've found a bug, have a look at our
+@uref{http://@/lilypond@/.org/@/bugs/@/v2.8/@/,bug database} to see if
+it has already been reported. You could also try to do a few searches
+on the mailing list for the bug. Sometimes the bug will have already
+been reported and a fix or workaround is already known.
+@end ignore
+
+Here is an example of a good bug report:
+
+@verbatim
+It seems that placement of accidentals is broken. In the
+following example, the accidental touches the note head.
+
+Using Mac OSX 10.3.7, lilypond 2.7.32
+
+\version "2.9.13"
+\layout { ragged-right = ##t }
+\relative c'' {
+ a4 b cis d
+}
+@end verbatim
+
+@lilypond[quote]
+\layout { ragged-right = ##t }
+\relative c''{
+ \override Accidental #'extra-offset = #'(1.0 . 0)
+ a4 b cis d
+}
+@end lilypond
+
+@node Error messages
+@section Error messages
+
+@cindex error messages
+Different error messages can appear while compiling a file:
+
+@table @emph
+@cindex warning
+
+@item Warning
+Something looks suspect. If you are requesting something out of the
+ordinary then you will understand the message, and can ignore it.
+However, warnings usually indicate that something is wrong with the
+input file.
+
+@item Error
+Something is definitely wrong. The current processing step (parsing,
+interpreting, or formatting) will be finished, but the next step will
+be skipped.
+
+@cindex error
+@cindex fatal error
+@item Fatal error
+Something is definitely wrong, and LilyPond cannot continue. This
+happens rarely. The most usual cause is misinstalled fonts.
+
+@cindex trace, Scheme
+@cindex call trace
+@cindex Scheme error
+@item Scheme error
+Errors that occur while executing Scheme code are caught by the Scheme
+interpreter. If running with the verbose option (@code{-V} or
+@code{--verbose}) then a call trace of the offending
+function call is printed.
+
+@cindex Programming error
+@item Programming error
+There was some internal inconsistency. These error messages are
+intended to help the programmers and debuggers. Usually, they can be
+ignored. Sometimes, they come in such big quantities that they obscure
+other output. In this case, file a bug-report.
+
+@item Aborted (core dumped)
+This signals a serious programming error that caused the program to
+crash. Such errors are considered critical. If you stumble on one,
+send a bug-report.
+
+
+@end table
+
+@cindex errors, message format
+If warnings and errors can
+be linked to some part of the input file, then error messages have the
+following form
+
+@example
+@var{filename}:@var{lineno}:@var{columnno}: @var{message}
+@var{offending input line}
+@end example
+
+A line-break is inserted in the offending line to indicate the column
+where the error was found. For example,
+
+@example
+test.ly:2:19: error: not a duration: 5:
+ @{ c'4 e'5
+ g' @}
+@end example
+
+These locations are LilyPond's best guess about where the warning or
+error occurred, but (by their very nature) warnings and errors occur
+when something unexpected happens. If you can't see an error in the
+indicated line of your input file, try checking one or two lines
+above the indicated position.
+
+
+@node Editor support
+@section Editor support
+
+@cindex editors
+@cindex vim
+@cindex emacs
+@cindex modes, editor
+@cindex syntax coloring
+@cindex coloring, syntax
+
+There is support from different editors for LilyPond.
+
+@table @asis
+@item Emacs
+Emacs has a @file{lilypond-mode}, which provides keyword
+autocompletion, indentation, LilyPond specific parenthesis matching
+and syntax coloring, handy compile short-cuts and reading LilyPond
+manuals using Info. If @file{lilypond-mode} is not installed on your
+platform, then read the
+@ifhtml
+@uref{source/Documentation/topdocs/INSTALL.html,installation instructions}.
+@end ifhtml
+@ifnothtml
+installation instructions.
+@end ifnothtml
+
+@item VIM
+
+For @uref{http://@/www@/.vim@/.org,VIM}, a @file{vimrc} is supplied, along
+with syntax coloring tools. For more information, refer to the
+@ifhtml
+@uref{source/Documentation/topdocs/INSTALL.html,installation instructions}.
+@end ifhtml
+@ifnothtml
+installation instructions.
+@end ifnothtml
+
+
+@item JEdit
+
+The @uref{http://@/www@/.jedit@/.org@/,jEdit} editor has a LilyPond plugin.
+This plugin includes a DVI viewer, integrated help and viewing via
+GhostScript. It can be installed by doing @key{Plugins > Plugin
+Manager}, and selecting @code{LilyTool} from the @key{Install} tab.
+
+@end table
+
+All these editors can be made to jump into the input file to the source
+of a symbol in the graphical output. See @ref{Point and click}.
+
+
+@node Point and click
+@section Point and click
+@cindex point and click
+
+
+Point and click lets you find notes in the input by clicking on them
+in the PDF viewer. This makes it easier to find input that causes
+some error in the sheet music.
+
+When this functionality is active, LilyPond adds hyperlinks to the PDF
+file. These hyperlinks are sent to the web-browser, which opens a
+text-editor with the cursor in the right place.
+
+To make this chain work, you should configure your PDF viewer to
+follow hyperlinks using the @file{lilypond-invoke-editor} script
+supplied with LilyPond.
+
+For Xpdf on Unix, the following should be present in
+@file{xpdfrc}@footnote{On unix, this file is found either in
+@file{/etc/xpdfrc} or as @file{.xpdfrc} in your home directory.}
+
+@example
+urlCommand "lilypond-invoke-editor %s"
+@end example
+
+The program @file{lilypond-invoke-editor} is a small helper
+program. It will invoke an editor for the special @code{textedit}
+URIs, and run a web browser for others. It tests the environment
+variable @code{EDITOR} for the following patterns,
+
+@table @code
+@item emacs
+ this will invoke
+@example
+emacsclient --no-wait +@var{line}:@var{column} @var{file}
+@end example
+@item vim
+ this will invoke
+@example
+gvim --remote +:@var{line}:norm@var{char} @var{file}
+@end example
+
+@item nedit
+this will invoke
+@example
+ nc -noask +@var{line} @var{file}'
+@end example
+@end table
+
+The environment variable @code{LYEDITOR} is used to override this. It
+contains the command line to start the editor, where @code{%(file)s},
+@code{%(column)s}, @code{%(line)s} is replaced with the file, column
+and line respectively. The setting
+
+@example
+emacsclient --no-wait +%(line)s:%(column)s %(file)s
+@end example
+
+@noindent
+for @code{LYEDITOR} is equivalent to the standard emacsclient
+invocation.
+
+
+@cindex file size, output
+
+The point and click links enlarge the output files significantly. For
+reducing the size of PDF and PS files, point and click may be switched
+off by issuing
+
+@example
+#(ly:set-option 'point-and-click #f)
+@end example
+
+@noindent
+in a @file{.ly} file. Alternately, you may pass this as an command-line
+option
+
+@example
+lilypond -dno-point-and-click file.ly
+@end example
+
--- /dev/null
+@c -*- coding: utf-8; mode: texinfo; -*-
+@c This file is part of lilypond.tely
+
+@c A menu is needed before every deeper *section nesting of @node's; run
+@c M-x texinfo-all-menus-update
+@c to automatically fill in these menus before saving changes
+
+@node Spacing issues
+@chapter Spacing issues
+
+The global paper layout is determined by three factors: the page layout, the
+line breaks, and the spacing. These all influence each other. The
+choice of spacing determines how densely each system of music is set.
+This influences where line breaks are chosen, and thus ultimately, how
+many pages a piece of music takes.
+
+Globally speaking, this procedure happens in four steps: first,
+flexible distances (``springs'') are chosen, based on durations. All
+possible line breaking combinations are tried, and a ``badness'' score
+is calculated for each. Then the height of each possible system is
+estimated. Finally, a page breaking and line breaking combination is chosen
+so that neither the horizontal nor the vertical spacing is too cramped
+or stretched.
+
+@menu
+* Paper and pages::
+* Music layout::
+* Vertical spacing::
+* Horizontal spacing::
+* Breaks::
+* Displaying spacing::
+@end menu
+
+
+@node Paper and pages
+@section Paper and pages
+
+This section deals with the boundaries that define the area
+that music can be printed inside.
+
+@menu
+* Paper size::
+* Page formatting::
+@end menu
+
+
+@node Paper size
+@subsection Paper size
+
+@cindex paper size
+@cindex page size
+@funindex papersize
+
+To change the paper size, there are two commands,
+@example
+#(set-default-paper-size "a4")
+\paper @{
+ #(set-paper-size "a4")
+@}
+@end example
+
+The first command sets the size of all pages. The second command sets the
+size
+of the pages that the @code{\paper} block applies to -- if the @code{\paper}
+block is at the top of the file, then it will apply to all pages. If the
+@code{\paper} block is inside a @code{\book}, then the paper size will only
+apply to that book.
+
+Support for the following paper sizes are included by default,
+@code{a6}, @code{a5}, @code{a4}, @code{a3}, @code{legal}, @code{letter},
+@code{11x17} (also known as tabloid).
+
+Extra sizes may be added by editing the definition for
+@code{paper-alist} in the initialization file @file{scm/paper.scm}.
+
+@cindex orientation
+@cindex landscape
+
+If the symbol @code{landscape} is supplied as an argument to
+@code{set-default-paper-size}, the pages will be rotated by 90 degrees,
+and wider line widths will be set correspondingly.
+
+@example
+#(set-default-paper-size "a6" 'landscape)
+@end example
+
+Setting the paper size will adjust a number of @code{\paper} variables
+(such as margins). To use a particular paper size with altered
+@code{\paper} variables, set the paper size before setting the variables.
+
+
+@node Page formatting
+@subsection Page formatting
+
+@cindex page formatting
+@cindex margins
+@cindex header, page
+@cindex footer, page
+
+LilyPond will do page layout, set margins, and add headers and
+footers to each page.
+
+The default layout responds to the following settings in the
+@code{\paper} block.
+
+@funindex \paper
+
+@quotation
+@table @code
+@funindex first-page-number
+@item first-page-number
+The value of the page number of the first page. Default is@tie{}1.
+
+@funindex printfirst-page-number
+@item print-first-page-number
+If set to true, will print the page number in the first page. Default is
+false.
+
+@funindex print-page-number
+@item print-page-number
+If set to false, page numbers will not be printed. Default is true.
+
+@funindex paper-width
+@item paper-width
+The width of the page. The default is taken from the current paper size,
+see @ref{Paper size}.
+
+@funindex paper-height
+@item paper-height
+The height of the page. The default is taken from the current paper size,
+see @ref{Paper size}.
+
+@funindex top-margin
+@item top-margin
+Margin between header and top of the page. Default is@tie{}5mm.
+
+@funindex bottom-margin
+@item bottom-margin
+Margin between footer and bottom of the page. Default is@tie{}6mm.
+
+@funindex left-margin
+@item left-margin
+Margin between the left side of the page and the beginning of the
+music. Unset by default, which means that the margins is determined
+based on the @code{paper-width} and @code{line-width} to center the
+score on the paper.
+
+@funindex line-width
+@item line-width
+The length of the systems. Default is @code{paper-width} minus @tie{}20mm.
+
+@funindex head-separation
+@item head-separation
+Distance between the top-most music system and the page header. Default
+is@tie{}4mm.
+
+@funindex foot-separation
+@item foot-separation
+Distance between the bottom-most music system and the page
+footer. Default is@tie{}4mm.
+
+@funindex page-top-space
+@item page-top-space
+Distance from the top of the printable area to the center of the first
+staff. This only works for staves which are vertically small. Big staves
+are set with the top of their bounding box aligned to the top of the
+printable area. Default is@tie{}12mm.
+
+@funindex ragged-bottom
+@item ragged-bottom
+If set to true, systems will not be spread vertically across the page. This
+does not affect the last page. Default is false.
+
+This should be set to true for pieces that have only two or three
+systems per page, for example orchestral scores.
+
+@funindex ragged-last-bottom
+@item ragged-last-bottom
+If set to false, systems will be spread vertically to fill the last
+page. Default is true.
+
+Pieces that amply fill two pages or more should have this set to
+true.
+
+@funindex system-count
+@item system-count
+This variable, if set, specifies into how many lines a score should be
+broken. Unset by default.
+
+@funindex between-system-space
+@item between-system-space
+This dimensions determines the distance between systems. It is the
+ideal distance between the center of the bottom staff of one system
+and the center of the top staff of the next system. Default is@tie{}20mm.
+
+Increasing this will provide a more even appearance of the page at the
+cost of using more vertical space.
+
+@funindex between-system-padding
+@item between-system-padding
+This dimension is the minimum amount of white space that will always
+be present between the bottom-most symbol of one system, and the
+top-most of the next system. Default is@tie{}4mm.
+
+Increasing this will put systems whose bounding boxes almost touch
+farther apart.
+
+
+@funindex horizontal-shift
+@item horizontal-shift
+All systems (including titles and system separators) are shifted by
+this amount to the right. Page markup, such as headers and footers are
+not affected by this. The purpose of this variable is to make space
+for instrument names at the left. Default is@tie{}0.
+
+@funindex after-title-space
+@item after-title-space
+Amount of space between the title and the first system. Default is@tie{}5mm.
+
+@funindex before-title-space
+@item before-title-space
+Amount of space between the last system of the previous piece and the
+title of the next. Default is@tie{}10mm.
+
+@funindex between-title-space
+@item between-title-space
+Amount of space between consecutive titles (e.g., the title of the
+book and the title of a piece). Default is@tie{}2mm.
+
+@funindex printallheaders
+@item printallheaders
+Setting this to #t will print all headers for each \score in a
+\book. Normally only the piece and opus \headers are printed.
+
+@funindex systemSeparatorMarkup
+@item systemSeparatorMarkup
+This contains a markup object, which will be inserted between
+systems. This is often used for orchestral scores. Unset by default.
+
+The markup command @code{\slashSeparator} is provided as a sensible
+default, for example
+
+@lilypond[ragged-right]
+#(set-default-paper-size "a6" 'landscape)
+\book {
+ \score {
+ \relative { c1 \break c1 }
+ }
+ \paper {
+ systemSeparatorMarkup = \slashSeparator
+ }
+}
+@end lilypond
+
+@funindex blank-page-force
+@item blank-page-force
+The penalty for having a blank page in the middle of a
+score. This is not used by @code{ly:optimal-breaking} since it will
+never consider blank pages in the middle of a score. Default value
+is 10.
+
+@funindex blank-last-page-force
+@item blank-last-page-force
+The penalty for ending the score on an odd-numbered page.
+Default value is 0.
+
+@funindex page-spacing-weight
+@item page-spacing-weight
+The relative importance of page (vertical) spacing and line (horizontal)
+spacing. High values will make page spacing more important. Default
+value is 10.
+
+@funindex auto-first-page-number
+@item auto-first-page-number
+The page breaking algorithm is affected by the first page number being
+odd or even. If this variable is set to #t, the page breaking algorithm
+will decide whether to start with an odd or even number. This will
+result in the first page number remaining as is or being increased by one.
+
+@end table
+@end quotation
+
+Example:
+
+@example
+\paper@{
+ paper-width = 2\cm
+ top-margin = 3\cm
+ bottom-margin = 3\cm
+ ragged-last-bottom = ##t
+@}
+@end example
+
+You can also define these values in Scheme. In that case @code{mm},
+@code{in}, @code{pt}, and @code{cm} are variables defined in
+@file{paper-defaults.ly} with values in millimeters. That is why the
+value must be multiplied in the example
+
+@example
+\paper @{
+ #(define bottom-margin (* 2 cm))
+@}
+@end example
+
+The header and footer are created by the functions @code{make-footer}
+and @code{make-header}, defined in @code{\paper}. The default
+implementations are in @file{ly/@/paper@/-defaults@/.ly} and
+@file{ly/@/titling@/-init@/.ly}.
+
+The page layout itself is done by two functions in the
+@code{\paper} block, @code{page-music-height} and
+@code{page-make-stencil}. The former tells the line-breaking algorithm
+how much space can be spent on a page, the latter creates the actual
+page given the system to put on it.
+
+
+@refbugs
+
+The option right-margin is defined but doesn't set the right margin
+yet. The value for the right margin has to be defined adjusting the
+values of @code{left-margin} and @code{line-width}.
+
+The default page header puts the page number and the @code{instrument}
+field from the @code{\header} block on a line.
+
+The titles (from the @code{\header@{@}} section) are treated as a
+system, so @code{ragged-bottom} and @code{ragged-last-bottom} will
+add space between the titles and the first system of the score.
+
+
+@node Music layout
+@section Music layout
+
+@menu
+* Setting global staff size::
+* Score layout::
+@end menu
+
+
+@node Setting global staff size
+@subsection Setting global staff size
+
+@cindex font size, setting
+@cindex staff size, setting
+@funindex layout file
+
+To set the global staff size, use @code{set-global-staff-size}.
+
+@example
+#(set-global-staff-size 14)
+@end example
+
+@noindent
+This sets the global default size to 14pt staff height and scales all
+fonts accordingly.
+
+The Feta font provides musical symbols at eight different
+sizes. Each font is tuned for a different staff size: at a smaller size
+the font becomes heavier, to match the relatively heavier staff lines.
+The recommended font sizes are listed in the following table:
+
+@quotation
+@multitable @columnfractions .15 .2 .22 .2
+
+@item @b{font name}
+@tab @b{staff height (pt)}
+@tab @b{staff height (mm)}
+@tab @b{use}
+
+@item feta11
+@tab 11.22
+@tab 3.9
+@tab pocket scores
+
+@item feta13
+@tab 12.60
+@tab 4.4
+@tab
+
+@item feta14
+@tab 14.14
+@tab 5.0
+@tab
+
+@item feta16
+@tab 15.87
+@tab 5.6
+@tab
+
+@item feta18
+@tab 17.82
+@tab 6.3
+@tab song books
+
+@item feta20
+@tab 20
+@tab 7.0
+@tab standard parts
+
+@item feta23
+@tab 22.45
+@tab 7.9
+@tab
+
+@item feta26
+@tab 25.2
+@tab 8.9
+@tab
+@c modern rental material?
+
+@end multitable
+@end quotation
+
+These fonts are available in any sizes. The context property
+@code{fontSize} and the layout property @code{staff-space} (in
+@internalsref{StaffSymbol}) can be used to tune the size for individual
+staves. The sizes of individual staves are relative to the global size.
+
+@example
+
+@end example
+
+@seealso
+
+This manual: @ref{Selecting notation font size}.
+
+
+@node Score layout
+@subsection Score layout
+
+@funindex \layout
+
+While @code{\paper} contains settings that relate to the page formatting
+of the whole document, @code{\layout} contains settings for score-specific
+layout.
+
+@example
+\layout @{
+ indent = 2.0\cm
+ \context @{ \Staff
+ \override VerticalAxisGroup #'minimum-Y-extent = #'(-6 . 6)
+ @}
+ \context @{ \Voice
+ \override TextScript #'padding = #1.0
+ \override Glissando #'thickness = #3
+ @}
+@}
+@end example
+
+
+@seealso
+
+This manual: @ref{Changing context default settings}
+
+
+@node Vertical spacing
+@section Vertical spacing
+
+@cindex vertical spacing
+@cindex spacing, vertical
+
+Vertical spacing is controlled by three things: the amount of
+space available (i.e., paper size and margins), the amount of
+space between systems, and the amount of space between
+staves inside a system.
+
+@menu
+* Vertical spacing inside a system::
+* Vertical spacing of piano staves::
+* Vertical spacing between systems::
+* Controlling spacing of individual systems::
+* Two-pass vertical spacing::
+@end menu
+
+
+@node Vertical spacing inside a system
+@subsection Vertical spacing inside a system
+
+@cindex distance between staves
+@cindex staff distance
+@cindex space between staves
+@cindex space inside systems
+
+The height of each system is determined automatically. To prevent
+staves from bumping into each other, some minimum distances are set.
+By changing these, you can put staves closer together. This
+reduces the amount of space each system requires, and may result
+in having more systems per page.
+
+Normally staves are stacked vertically. To make staves maintain a
+distance, their vertical size is padded. This is done with the
+property @code{minimum-Y-extent}. When applied to a
+@internalsref{VerticalAxisGroup}, it controls the size of a horizontal
+line, such as a staff or a line of lyrics. @code{minimum-Y-extent}
+takes a pair of numbers, so
+if you want to make it smaller than its default @code{#'(-4 . 4)}
+then you could set
+
+@example
+\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
+@end example
+
+@noindent
+This sets the vertical size of the current staff to 3 staff spaces on
+either side of the center staff line. The value @code{(-3 . 3)} is
+interpreted as an interval, where the center line is the 0, so the
+first number is generally negative. The numbers need not match;
+for example, the staff can be made larger at the bottom by setting
+it to @code{(-6 . 4)}.
+
+
+@seealso
+
+Internals: Vertical alignment of staves is handled by the
+@internalsref{VerticalAlignment} object. The context parameters
+specifying the vertical extent are described in connection with
+the @internalsref{Axis_group_engraver}.
+
+Example files: @inputfileref{input/regression/,page-spacing.ly},
+@inputfileref{input/regression/,alignment-vertical-spacing.ly}.
+
+
+@node Vertical spacing of piano staves
+@subsection Vertical spacing of piano staves
+
+The distance between staves of a @internalsref{PianoStaff} cannot be
+computed during formatting. Rather, to make cross-staff beaming work
+correctly, that distance has to be fixed beforehand.
+
+The distance of staves in a @code{PianoStaff} is set with the
+@code{forced-distance} property of the
+@internalsref{VerticalAlignment} object, created in
+@internalsref{PianoStaff}.
+
+It can be adjusted as follows
+@example
+\new PianoStaff \with @{
+ \override VerticalAlignment #'forced-distance = #7
+@} @{
+ ...
+@}
+@end example
+
+@noindent
+This would bring the staves together at a distance of 7 staff spaces,
+measured from the center line of each staff.
+
+The difference is demonstrated in the following example,
+@lilypond[quote,verbatim]
+\relative c'' <<
+ \new PianoStaff \with {
+ \override VerticalAlignment #'forced-distance = #7
+ } <<
+ \new Staff { c1 }
+ \new Staff { c }
+ >>
+ \new PianoStaff <<
+ \new Staff { c }
+ \new Staff { c }
+ >>
+>>
+@end lilypond
+
+
+@seealso
+
+Example files: @inputfileref{input/regression/,alignment-vertical-spacing.ly}.
+
+
+@node Vertical spacing between systems
+@subsection Vertical spacing between systems
+
+Space between systems are controlled by four @code{\paper} variables,
+
+@example
+\paper @{
+ between-system-space = 1.5\cm
+ between-system-padding = #1
+ ragged-bottom=##f
+ ragged-last-bottom=##f
+@}
+@end example
+
+
+@node Controlling spacing of individual systems
+@subsection Controlling spacing of individual systems
+
+It is also possible to change the distance between for each system
+individually. This is done by including the command
+
+@example
+\overrideProperty
+#"Score.NonMusicalPaperColumn"
+#'line-break-system-details
+#'((fixed-alignment-extra-space . 15))
+@end example
+
+@noindent
+at the line break before the system to be changed. The distance
+@code{15} is distributed over all staves that have a fixed distance
+alignment. For example,
+
+@lilypond[ragged-right, fragment, relative=2, staffsize=13]
+\new PianoStaff <<
+ \new Staff {
+ c1\break
+
+ \overrideProperty
+ #"Score.NonMusicalPaperColumn"
+ #'line-break-system-details
+ #'((fixed-alignment-extra-space . 15))
+
+ c\break
+ }
+ \new Staff { c c }
+>>
+@end lilypond
+
+The distance for @code{fixed-alignment-extra-space} may also be
+negative.
+
+
+@node Two-pass vertical spacing
+@subsection Two-pass vertical spacing
+
+In order to automatically stretch systems so that they should fill the
+space left on a page, a two-pass technique can be used:
+
+@enumerate
+@item In the first pass, the amount of vertical space used to increase
+the height of each system is computed and dumped to a file.
+@item In the second pass, spacing inside the systems are
+stretched according to the data in the page layout file.
+@end enumerate
+
+The @code{ragged-bottom} property adds space between systems, while
+the two-pass technique adds space between staffs inside a system.
+
+To allow this behaviour, a @code{tweak-key} variable has to be set in
+each score @code{\layout} block, and the tweaks included in each score
+music, using the @code{\scoreTweak} music function.
+
+@quotation
+@verbatim
+%% include the generated page layout file:
+\includePageLayoutFile
+
+\score {
+ \new StaffGroup <<
+ \new Staff <<
+ %% Include this score tweaks:
+ \scoreTweak "scoreA"
+ { \clef french c''1 \break c''1 }
+ >>
+ \new Staff { \clef soprano g'1 g'1 }
+ \new Staff { \clef mezzosoprano e'1 e'1 }
+ \new Staff { \clef alto g1 g1 }
+ \new Staff { \clef bass c1 c1 }
+ >>
+ \header {
+ piece = "Score with tweaks"
+ }
+ %% Define how to name the tweaks for this score:
+ \layout { #(define tweak-key "scoreA") }
+}
+@end verbatim
+@end quotation
+
+For the first pass, the @code{dump-tweaks} option should be set to
+generate the page layout file.
+
+@example
+lilypond -b null -d dump-tweaks <file>.ly
+lilypond <file>.ly
+@end example
+
+@node Horizontal spacing
+@section Horizontal Spacing
+
+@cindex horizontal spacing
+@cindex spacing, horizontal
+
+@menu
+* Horizontal spacing overview::
+* New spacing area::
+* Changing horizontal spacing::
+* Line length::
+@end menu
+
+
+@node Horizontal spacing overview
+@subsection Horizontal spacing overview
+
+The spacing engine translates differences in durations into stretchable
+distances (``springs'') of differring lengths. Longer durations get
+more space, shorter durations get less. The shortest durations get a
+fixed amount of space (which is controlled by
+@code{shortest-duration-space} in the @internalsref{SpacingSpanner}
+object). The longer the duration, the more space it gets: doubling a
+duration adds a fixed amount (this amount is controlled by
+@code{spacing-increment}) of space to the note.
+
+For example, the following piece contains lots of half, quarter, and
+8th notes; the eighth note is followed by 1 note head width (NHW).
+The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
+
+@lilypond[quote,fragment,verbatim,relative=1]
+c2 c4. c8 c4. c8 c4. c8 c8
+c8 c4 c4 c4
+@end lilypond
+
+Normally, @code{spacing-increment} is set to 1.2 staff space, which is
+approximately the width of a note head, and
+@code{shortest-duration-space} is set to 2.0, meaning that the
+shortest note gets 2.4 staff space (2.0 times the
+@code{spacing-increment}) of horizontal space. This space is counted
+from the left edge of the symbol, so the shortest notes are generally
+followed by one NHW of space.
+
+If one would follow the above procedure exactly, then adding a single
+32nd note to a score that uses 8th and 16th notes, would widen up the
+entire score a lot. The shortest note is no longer a 16th, but a 32nd,
+thus adding 1 NHW to every note. To prevent this, the shortest
+duration for spacing is not the shortest note in the score, but rather
+the one which occurs most frequently.
+
+
+The most common shortest duration is determined as follows: in every
+measure, the shortest duration is determined. The most common shortest
+duration is taken as the basis for the spacing, with the stipulation
+that this shortest duration should always be equal to or shorter than
+an 8th note. The shortest duration is printed when you run
+@code{lilypond} with the @code{--verbose} option.
+
+These durations may also be customized. If you set the
+@code{common-shortest-duration} in @internalsref{SpacingSpanner}, then
+this sets the base duration for spacing. The maximum duration for this
+base (normally an 8th), is set through @code{base-shortest-duration}.
+
+@funindex common-shortest-duration
+@funindex base-shortest-duration
+@funindex stem-spacing-correction
+@funindex spacing
+
+Notes that are even shorter than the common shortest note are
+followed by a space that is proportional to their duration relative to
+the common shortest note. So if we were to add only a few 16th notes
+to the example above, they would be followed by half a NHW:
+
+@lilypond[quote,fragment,verbatim,relative=2]
+c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
+@end lilypond
+
+
+In the introduction (see @ref{Engraving}), it was explained that stem
+directions influence spacing. This is controlled with the
+@code{stem-spacing-correction} property in the
+@internalsref{NoteSpacing}, object. These are generated for every
+@internalsref{Voice} context. The @code{StaffSpacing} object
+(generated in @internalsref{Staff} context) contains the same property
+for controlling the stem/bar line spacing. The following example shows
+these corrections, once with default settings, and once with
+exaggerated corrections:
+
+@lilypond[quote,ragged-right]
+{
+ c'4 e''4 e'4 b'4 |
+ b'4 e''4 b'4 e''4|
+ \override Staff.NoteSpacing #'stem-spacing-correction = #1.5
+ \override Staff.StaffSpacing #'stem-spacing-correction = #1.5
+ c'4 e''4 e'4 b'4 |
+ b'4 e''4 b'4 e''4|
+}
+@end lilypond
+
+Proportional notation is supported; see @ref{Proportional notation}.
+
+
+@seealso
+
+Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
+@internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
+@internalsref{SeparatingGroupSpanner}.
+
+
+@refbugs
+
+There is no convenient mechanism to manually override spacing. The
+following work-around may be used to insert extra space into a score.
+@example
+ \once \override Score.SeparationItem #'padding = #1
+@end example
+
+No work-around exists for decreasing the amount of space.
+
+
+@node New spacing area
+@subsection New spacing area
+
+New sections with different spacing parameters can be started with
+@code{newSpacingSection}. This is useful when there are
+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.
+
+@lilypond[relative,fragment,verbatim,quote]
+\time 2/4
+c4 c8 c
+c8 c c4 c16[ c c8] c4
+\newSpacingSection
+\time 4/16
+c16[ c c8]
+@end lilypond
+
+
+@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
+@code{Score.SpacingSpanner #'uniform-stretching}. This
+property can only be changed at the beginning of a score,
+
+@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
+\new Score \with {
+ \override SpacingSpanner #'uniform-stretching = ##t
+} <<
+ \new Staff{
+ \times 4/5 {
+ c8 c8 c8 c8 c8
+ }
+ c8 c8 c8 c8
+ }
+ \new Staff{
+ c8 c8 c8 c8
+ \times 4/5 {
+ c8 c8 c8 c8 c8
+ }
+ }
+>>
+@end lilypond
+
+
+When @code{strict-note-spacing} is set, notes are spaced without
+regard for clefs, bar lines, and grace notes,
+
+@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
+\override Score.SpacingSpanner #'strict-note-spacing = ##t
+\new Staff { c8[ c \clef alto c \grace { c16[ c] } c8 c c] c32[ c32] }
+@end lilypond
+
+
+@node Line length
+@subsection Line length
+
+@cindex page breaks
+@cindex breaking pages
+
+@funindex indent
+@funindex line-width
+@funindex ragged-right
+@funindex ragged-last
+
+@c Although line-width can be set in \layout, it should be set in paper
+@c block, to get page layout right.
+@c Setting indent in \paper block makes not much sense, but it works.
+
+@c Bit verbose and vague, use examples?
+The most basic settings influencing the spacing are @code{indent} and
+@code{line-width}. They are set in the @code{\layout} block. They
+control the indentation of the first line of music, and the lengths of
+the lines.
+
+If @code{ragged-right} is set to true in the @code{\layout} block, then
+systems ends at their natural horizontal length, instead of being spread
+horizontally to fill the whole line. This is useful for
+short fragments, and for checking how tight the natural spacing is.
+
+@cindex page layout
+@cindex vertical spacing
+
+The option @code{ragged-last} is similar to @code{ragged-right}, but
+only affects the last line of the piece. No restrictions are put on
+that line. The result is similar to formatting text paragraphs. In a
+paragraph, the last line simply takes its natural horizontal length.
+@c Note that for text there are several options for the last line.
+@c While Knuth TeX uses natural length, lead typesetters use the same
+@c stretch as the previous line. eTeX uses \lastlinefit to
+@c interpolate between both these solutions.
+
+@example
+\layout @{
+ indent = #0
+ line-width = #150
+ ragged-last = ##t
+@}
+@end example
+
+
+@node Breaks
+@section Breaks
+
+@menu
+* Line breaking::
+* Page breaking::
+* Optimal page breaking::
+* Optimal page turning::
+@end menu
+
+@node Line breaking
+@subsection Line breaking
+
+@cindex line breaks
+@cindex breaking lines
+
+Line breaks are normally computed automatically. They are chosen so
+that lines look neither cramped nor loose, and that consecutive lines
+have similar density.
+
+Occasionally you might want to override the automatic breaks; you can
+do this by specifying @code{\break}. This will force a line break at
+this point. Line breaks can only occur at places where there are bar
+lines. If you want to have a line break where there is no bar line,
+you can force an invisible bar line by entering @code{\bar
+""}. Similarly, @code{\noBreak} forbids a line break at a
+point.
+
+
+@cindex regular line breaks
+@cindex four bar music.
+
+For line breaks at regular intervals use @code{\break} separated by
+skips and repeated with @code{\repeat}:
+@example
+<< \repeat unfold 7 @{
+ s1 \noBreak s1 \noBreak
+ s1 \noBreak s1 \break @}
+ @emph{the real music}
+>>
+@end example
+
+@noindent
+This makes the following 28 measures (assuming 4/4 time) be broken every
+4 measures, and only there.
+
+@refcommands
+
+@code{\break}, and @code{\noBreak}.
+@funindex \break
+@funindex \noBreak
+
+@seealso
+
+Internals: @internalsref{LineBreakEvent}.
+
+A linebreaking configuration can now be saved as a @code{.ly} file
+automatically. This allows vertical alignments to be stretched to
+fit pages in a second formatting run. This is fairly new and
+complicated; see @inputfileref{input/regression/,page-layout-twopass.ly}
+for details.
+
+@refbugs
+
+Line breaks can only occur if there is a ``proper'' bar line. A note
+which is hanging over a bar line is not proper, such as
+
+@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
+c4 c2 c2 \break % this does nothing
+c2 c4 | % a break here would work
+c4 c2 c4 ~ \break % as does this break
+c4 c2 c4
+@end lilypond
+
+To allow line breaks on such bar lines, the
+@code{Forbid_line_break_engraver} can be removed from @code{Voice}
+context, like so
+
+
+@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
+\new Voice \with {
+ \remove "Forbid_line_break_engraver"
+} {
+ c4 c2 c2 \break % now the break is allowed
+ c2 c4
+}
+@end lilypond
+
+
+
+@node Page breaking
+@subsection Page breaking
+
+The default page breaking may be overriden by inserting
+@code{\pageBreak} or @code{\noPageBreak} commands. These commands are
+analogous to @code{\break} and @code{\noBreak}. They should be
+inserted at a bar line. These commands force and forbid a page-break
+from happening. Of course, the @code{\pageBreak} command also forces
+a line break.
+
+Page breaks are computed by the @code{page-breaking} function.
+LilyPond provides two algorithms for computing page
+breaks, @code{ly:optimal-breaking} and @code{ly:page-turn-breaking}. The
+default is @code{ly:optimal-breaking}, but the value can be changed in
+the @code{\paper} block:
+
+@example
+\paper@{
+ #(define page-breaking ly:page-turn-breaking)
+@}
+@end example
+
+The old page breaking algorithm is called
+@code{optimal-page-breaks}. If you are having trouble with the new page
+breakers, you can enable the old one as a workaround.
+
+@refcommands
+
+@funindex \pageBreak
+@code{\pageBreak}
+@funindex \noPageBreak
+@code{\noPageBreak}
+
+
+@node Optimal page breaking
+@subsection Optimal page breaking
+
+@funindex ly:optimal-breaking
+
+The @code{ly:optimal-breaking} function is LilyPond's default method of
+determining page breaks. It attempts to find a page breaking that minimizes
+cramping and stretching, both horizontally and vertically. Unlike
+@code{ly:page-turn-breaking}, it has no concept of page turns.
+
+
+@node Optimal page turning
+@subsection Optimal page turning
+
+@funindex ly:page-turn-breaking
+
+Often it is necessary to find a page breaking configuration so that there is
+a rest at the end of every second page. This way, the musician can turn the
+page without having to miss notes. The @code{ly:page-turn-breaking} function
+attempts to find a page breaking minimizing cramping and stretching, but with
+the additional restriction that it is only allowed to introduce page turns
+in specified places.
+
+There are two steps to using this page breaking function. First, you must
+enable it in the @code{\paper} block. Then, you must tell the function
+where you would like to allow page breaks.
+
+There are two ways to achieve the second step. First, you can specify each
+potential page turn manually, by inserting @code{\allowPageTurn} into your
+input file at the appropriate places.
+
+If this is too tedious, you can add a @code{Page_turn_engraver} to a Staff or
+Voice context. The @code{Page_turn_engraver} will scan the context for
+sections without notes (note that it does not scan for rests; it scans for
+the absence of notes. This is so that single-staff polyphony with rests in one
+of the parts does not throw off the @code{Page_turn_engraver}). When it finds
+a sufficiently long section without notes, the @code{Page_turn_engraver} will
+insert an @code{\allowPageTurn} at the final barline in that section, unless
+there is a ``special'' barline (such as a double bar), in which case the
+@code{\allowPageTurn} will be inserted at the final ``special'' barline in
+the section.
+
+@funindex minimumPageTurnLength
+The @code{Page_turn_engraver} reads the context property
+@code{minimumPageTurnLength} to determine how long a note-free section must
+be before a page turn is considered. The default value for
+@code{minimumPageTurnLength} is @code{#(ly:make-moment 1 1)}. If you want
+to disable page turns, you can set it to something very large.
+
+@example
+\new Staff \with @{ \consists "Page_turn_engraver" @}
+@{
+ a4 b c d |
+ R1 | % a page turn will be allowed here
+ a4 b c d |
+ \set Staff.minimumPageTurnLength = #(ly:make-moment 5 2)
+ R1 | % a page turn will not be allowed here
+ a4 b r2 |
+ R1*2 | % a page turn will be allowed here
+ a1
+@}
+@end example
+
+@funindex minimumRepeatLengthForPageTurn
+The @code{Page_turn_engraver} detects volta repeats. It will only allow a page
+turn during the repeat if there is enough time at the beginning and end of the
+repeat to turn the page back. The @code{Page_turn_engraver} can also disable
+page turns if the repeat is very short. If you set the context property
+@code{minimumRepeatLengthForPageTurn} then the @code{Page_turn_engraver} will
+only allow turns in repeats whose duration is longer than this value.
+
+@refbugs
+
+There should only be one @code{Page_turn_engraver} in a score. If there is more
+than one, they will interfere with each other.
+
+
+@node Displaying spacing
+@section Displaying spacing
+
+@funindex annotate-spacing
+@cindex Spacing, display of properties
+
+To graphically display the dimensions of vertical properties that may
+be altered for page formatting, set @code{annotate-spacing} in the
+@code{\paper} block, like this
+
+
+@lilypond[verbatim]
+#(set-default-paper-size "a6" 'landscape)
+
+\book {
+ \score { { c4 } }
+ \paper { annotate-spacing = ##t }
+}
+@end lilypond
+
+@c need to have \book{} otherwise we get the separate systems. -hwn
+
+@noindent
+@c FIXME: really bad vagueness due to bug in annotate-spacing. -gp
+Some unit dimensions are measured in staff spaces, while others
+are measured in millimeters.
+The pairs
+(@var{a},@var{b}) are intervals, where @var{a} is the lower edge and
+@var{b} the upper edge of the interval.
+
+
--- /dev/null
+@c -*- coding: utf-8; mode: texinfo; -*-
+@node Example templates
+@appendix Example templates
+
+This section of the manual contains templates with the LilyPond score
+already set up for you. Just add notes, run LilyPond, and enjoy
+beautiful printed scores!
+
+@c bad node name for ancient notation to avoid confict
+@menu
+* Single staff::
+* Piano templates::
+* String quartet::
+* Vocal ensembles::
+* Ancient notation templates::
+* Jazz combo::
+* Lilypond-book templates::
+@end menu
+
+
+@node Single staff
+@appendixsec Single staff
+@appendixsubsec Notes only
+
+The first example gives you a staff with notes, suitable for a solo
+instrument or a melodic fragment. Cut and paste this into a file,
+add notes, and you're finished!
+
+@lilypond[quote,verbatim,ragged-right]
+\version "2.9.13"
+melody = \relative c' {
+ \clef treble
+ \key c \major
+ \time 4/4
+
+ a4 b c d
+}
+
+\score {
+ \new Staff \melody
+ \layout { }
+ \midi {}
+}
+@end lilypond
+
+@appendixsubsec Notes and lyrics
+
+The next example demonstrates a simple melody with lyrics. Cut and
+paste, add notes, then words for the lyrics. This example turns off
+automatic beaming, which is common for vocal parts. If you want to use
+automatic beaming, you'll have to change or comment out the relevant
+line.
+
+@lilypond[quote,verbatim,ragged-right]
+\version "2.9.13"
+melody = \relative c' {
+ \clef treble
+ \key c \major
+ \time 4/4
+
+ a4 b c d
+}
+
+text = \lyricmode {
+ Aaa Bee Cee Dee
+}
+
+\score{
+ <<
+ \new Voice = "one" {
+ \autoBeamOff
+ \melody
+ }
+ \new Lyrics \lyricsto "one" \text
+ >>
+ \layout { }
+ \midi { }
+}
+@end lilypond
+
+@appendixsubsec Notes and chords
+
+Want to prepare a lead sheet with a melody and chords? Look no further!
+
+@lilypond[quote,verbatim,ragged-right]
+\version "2.9.13"
+melody = \relative c' {
+ \clef treble
+ \key c \major
+ \time 4/4
+
+ f4 e8[ c] d4 g |
+ a2 ~ a2 |
+}
+
+harmonies = \chordmode {
+ c4:m f:min7 g:maj c:aug d2:dim b:sus
+}
+
+\score {
+ <<
+ \new ChordNames {
+ \set chordChanges = ##t
+ \harmonies
+ }
+ \new Staff \melody
+ >>
+
+ \layout{ }
+ \midi { }
+}
+@end lilypond
+
+@appendixsubsec Notes, lyrics, and chords.
+
+This template allows you to prepare a song with melody, words, and chords.
+
+@lilypond[quote,verbatim,ragged-right]
+\version "2.9.13"
+melody = \relative c' {
+ \clef treble
+ \key c \major
+ \time 4/4
+
+ a b c d
+}
+
+text = \lyricmode {
+ Aaa Bee Cee Dee
+}
+
+harmonies = \chordmode {
+ a2 c2
+}
+
+\score {
+ <<
+ \new ChordNames {
+ \set chordChanges = ##t
+ \harmonies
+ }
+ \new Voice = "one" {
+ \autoBeamOff
+ \melody
+ }
+ \new Lyrics \lyricsto "one" \text
+ >>
+ \layout { }
+ \midi { }
+}
+@end lilypond
+
+@node Piano templates
+@appendixsec Piano templates
+@appendixsubsec Solo piano
+
+Here is a simple piano staff.
+
+@lilypond[quote,verbatim,ragged-right]
+\version "2.9.13"
+upper = \relative c'' {
+ \clef treble
+ \key c \major
+ \time 4/4
+
+ a b c d
+}
+
+lower = \relative c {
+ \clef bass
+ \key c \major
+ \time 4/4
+
+ a2 c
+}
+
+\score {
+ \new PianoStaff <<
+ \set PianoStaff.instrumentName = "Piano "
+ \new Staff = "upper" \upper
+ \new Staff = "lower" \lower
+ >>
+ \layout { }
+ \midi { }
+}
+@end lilypond
+
+@appendixsubsec Piano and melody with lyrics
+
+Here is a typical song format: one staff with the melody and lyrics, with
+piano accompaniment underneath.
+
+@lilypond[quote,verbatim,ragged-right]
+\version "2.9.13"
+melody = \relative c'' {
+ \clef treble
+ \key c \major
+ \time 4/4
+
+ a b c d
+}
+
+text = \lyricmode {
+ Aaa Bee Cee Dee
+}
+
+upper = \relative c'' {
+ \clef treble
+ \key c \major
+ \time 4/4
+
+ a b c d
+}
+
+lower = \relative c {
+ \clef bass
+ \key c \major
+ \time 4/4
+
+ a2 c
+}
+
+\score {
+ <<
+ \new Voice = "mel" {
+ \autoBeamOff
+ \melody
+ }
+ \new Lyrics \lyricsto mel \text
+
+ \new PianoStaff <<
+ \new Staff = "upper" \upper
+ \new Staff = "lower" \lower
+ >>
+ >>
+ \layout {
+ \context { \RemoveEmptyStaffContext }
+ }
+ \midi { }
+}
+@end lilypond
+
+
+@appendixsubsec Piano centered lyrics
+
+Instead of having a full staff for the melody and lyrics, you can place
+the lyrics between the piano staff (and omit the separate melody staff).
+
+@lilypond[quote,verbatim,ragged-right]
+\version "2.9.13"
+upper = \relative c'' {
+ \clef treble
+ \key c \major
+ \time 4/4
+
+ a b c d
+}
+
+lower = \relative c {
+ \clef bass
+ \key c \major
+ \time 4/4
+
+ a2 c
+}
+
+text = \lyricmode {
+ Aaa Bee Cee Dee
+}
+
+\score {
+ \new GrandStaff <<
+ \new Staff = upper { \new Voice = "singer" \upper }
+ \new Lyrics \lyricsto "singer" \text
+ \new Staff = lower {
+ \clef bass
+ \lower
+ }
+ >>
+ \layout {
+ \context { \GrandStaff \accepts "Lyrics" }
+ \context { \Lyrics \consists "Bar_engraver" }
+ }
+ \midi { }
+}
+@end lilypond
+
+
+@appendixsubsec Piano centered dynamics
+
+Many piano scores have the dynamics centered between the two
+staffs. This requires a bit of tweaking to implement, but
+since the template is right here, you don't have to do the
+tweaking yourself.
+
+@lilypond[quote,verbatim,ragged-right]
+\version "2.9.13"
+upper = \relative c'' {
+ \clef treble
+ \key c \major
+ \time 4/4
+
+ a b c d
+}
+
+lower = \relative c {
+ \clef bass
+ \key c \major
+ \time 4/4
+
+ a2 c
+}
+
+dynamics = {
+ s2\fff\> s4
+ s\!\pp
+}
+
+pedal = {
+ s2\sustainDown s2\sustainUp
+}
+
+\score {
+ \new PianoStaff <<
+ \new Staff = "upper" \upper
+ \new Dynamics = "dynamics" \dynamics
+ \new Staff = "lower" <<
+ \clef bass
+ \lower
+ >>
+ \new Dynamics = "pedal" \pedal
+ >>
+ \layout {
+ \context {
+ \type "Engraver_group"
+ \name Dynamics
+ \alias Voice % So that \cresc works, for example.
+ \consists "Output_property_engraver"
+
+ \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
+ pedalSustainStrings = #'("Ped." "*Ped." "*")
+ pedalUnaCordaStrings = #'("una corda" "" "tre corde")
+
+ \consists "Piano_pedal_engraver"
+ \consists "Script_engraver"
+ \consists "Dynamic_engraver"
+ \consists "Text_engraver"
+
+ \override TextScript #'font-size = #2
+ \override TextScript #'font-shape = #'italic
+ \override DynamicText #'extra-offset = #'(0 . 2.5)
+ \override Hairpin #'extra-offset = #'(0 . 2.5)
+
+ \consists "Skip_event_swallow_translator"
+
+ \consists "Axis_group_engraver"
+ }
+ \context {
+ \PianoStaff
+ \accepts Dynamics
+ \override VerticalAlignment #'forced-distance = #7
+ }
+ }
+}
+\score {
+ \new PianoStaff <<
+ \new Staff = "upper" << \upper \dynamics >>
+ \new Staff = "lower" << \lower \dynamics >>
+ \new Dynamics = "pedal" \pedal
+ >>
+ \midi {
+ \context {
+ \type "Performer_group"
+ \name Dynamics
+ \consists "Piano_pedal_performer"
+ }
+ \context {
+ \PianoStaff
+ \accepts Dynamics
+ }
+ }
+}
+@end lilypond
+
+
+@node String quartet
+@appendixsec String quartet
+@appendixsubsec String quartet
+
+This template demonstrates a string quartet. It also uses a @code{\global}
+section for time and key signatures.
+
+@lilypond[quote,verbatim,ragged-right]
+\version "2.9.13"
+
+global= {
+ \time 4/4
+ \key c \major
+}
+
+violinOne = \new Voice { \relative c''{
+ \set Staff.instrumentName = "Violin 1 "
+
+ c2 d e1
+
+\bar "|." }}
+violinTwo = \new Voice { \relative c''{
+ \set Staff.instrumentName = "Violin 2 "
+
+ g2 f e1
+
+\bar "|." }}
+viola = \new Voice { \relative c' {
+ \set Staff.instrumentName = "Viola "
+ \clef alto
+
+ e2 d c1
+
+\bar "|." }}
+cello = \new Voice { \relative c' {
+ \set Staff.instrumentName = "Cello "
+ \clef bass
+
+ c2 b a1
+
+\bar "|."}}
+
+\score {
+ \new StaffGroup <<
+ \new Staff << \global \violinOne >>
+ \new Staff << \global \violinTwo >>
+ \new Staff << \global \viola >>
+ \new Staff << \global \cello >>
+ >>
+ \layout { }
+ \midi { }
+}
+@end lilypond
+
+@appendixsubsec String quartet parts
+
+The previous example produces a nice string quartet, but what if you
+needed to print parts? This template demonstrates how to use the
+@code{\tag} feature to easily split a piece into individual parts.
+
+You need to split this template into separate files; the filenames
+are contained in comments at the beginning of each file. @code{piece.ly}
+contains all the music definitions. The other files -- @code{score.ly},
+@code{vn1.ly}, @code{vn2.ly}, @code{vla.ly}, and
+@code{vlc.ly} -- produce the appropiate part.
+
+@verbatim
+%%%%% piece.ly
+\version "2.9.13"
+
+global= {
+ \time 4/4
+ \key c \major
+}
+
+Violinone = \new Voice { \relative c''{
+ \set Staff.instrumentName = "Violin 1 "
+
+ c2 d e1
+
+\bar "|." }} %*********************************
+Violintwo = \new Voice { \relative c''{
+ \set Staff.instrumentName = "Violin 2 "
+
+ g2 f e1
+
+\bar "|." }} %*********************************
+Viola = \new Voice { \relative c' {
+ \set Staff.instrumentName = "Viola "
+ \clef alto
+
+ e2 d c1
+
+\bar "|." }} %*********************************
+Cello = \new Voice { \relative c' {
+ \set Staff.instrumentName = "Cello "
+ \clef bass
+
+ c2 b a1
+
+\bar "|."}} %**********************************
+
+music = {
+ <<
+ \tag #'score \tag #'vn1 \new Staff { << \global \Violinone >> }
+ \tag #'score \tag #'vn2 \new Staff { << \global \Violintwo>> }
+ \tag #'score \tag #'vla \new Staff { << \global \Viola>> }
+ \tag #'score \tag #'vlc \new Staff { << \global \Cello>> }
+ >>
+}
+
+
+
+%%%%% score.ly
+\version "2.9.13"
+\include "piece.ly"
+#(set-global-staff-size 14)
+\score {
+ \new StaffGroup \keepWithTag #'score \music
+ \layout { }
+ \midi { }
+}
+
+
+%%%%% vn1.ly
+\version "2.9.13"
+\include "piece.ly"
+\score {
+ \keepWithTag #'vn1 \music
+ \layout { }
+}
+
+
+%%%%% vn2.ly
+\version "2.9.13"
+\include "piece.ly"
+\score {
+ \keepWithTag #'vn2 \music
+ \layout { }
+}
+
+
+%%%%% vla.ly
+\version "2.9.13"
+\include "piece.ly"
+\score {
+ \keepWithTag #'vla \music
+ \layout { }
+}
+
+
+%%%%% vlc.ly
+\version "2.9.13"
+\include "piece.ly"
+\score {
+ \keepWithTag #'vlc \music
+ \layout { }
+}
+@end verbatim
+
+
+@node Vocal ensembles
+@appendixsec Vocal ensembles
+
+@appendixsubsec SATB vocal score
+
+Here is a standard four-part SATB vocal score. With larger ensembles,
+it's often useful to include a section which is included in all
+parts. For example, the time signature and key signatures are almost
+always the same for all parts.
+
+@lilypond[quote,verbatim,ragged-right]
+\version "2.9.13"
+global = {
+ \key c \major
+ \time 4/4
+}
+
+sopMusic = \relative c'' {
+ c4 c c8[( b)] c4
+}
+sopWords = \lyricmode {
+ hi hi hi hi
+}
+
+altoMusic = \relative c' {
+ e4 f d e
+}
+altoWords =\lyricmode {
+ ha ha ha ha
+}
+
+tenorMusic = \relative c' {
+ g4 a f g
+}
+tenorWords = \lyricmode {
+ hu hu hu hu
+}
+
+bassMusic = \relative c {
+ c4 c g c
+}
+bassWords = \lyricmode {
+ ho ho ho ho
+}
+
+\score {
+ \new ChoirStaff <<
+ \new Lyrics = sopranos { s1 }
+ \new Staff = women <<
+ \new Voice =
+ "sopranos" { \voiceOne << \global \sopMusic >> }
+ \new Voice =
+ "altos" { \voiceTwo << \global \altoMusic >> }
+ >>
+ \new Lyrics = "altos" { s1 }
+ \new Lyrics = "tenors" { s1 }
+ \new Staff = men <<
+ \clef bass
+ \new Voice =
+ "tenors" { \voiceOne <<\global \tenorMusic >> }
+ \new Voice =
+ "basses" { \voiceTwo <<\global \bassMusic >> }
+ >>
+ \new Lyrics = basses { s1 }
+
+ \context Lyrics = sopranos \lyricsto sopranos \sopWords
+ \context Lyrics = altos \lyricsto altos \altoWords
+ \context Lyrics = tenors \lyricsto tenors \tenorWords
+ \context Lyrics = basses \lyricsto basses \bassWords
+ >>
+
+ \layout {
+ \context {
+ % a little smaller so lyrics
+ % can be closer to the staff
+ \Staff
+ \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
+ }
+ }
+}
+@end lilypond
+
+
+@appendixsubsec SATB vocal score and automatic piano reduction
+
+This template adds an automatic piano reduction to the SATB vocal
+score. This demonstrates one of the strengths of LilyPond -- you
+can use a music definition more than once. If you make any changes
+to the vocal notes (say, tenorMusic), then the changes will also
+apply to the piano reduction.
+
+@lilypond[quote,verbatim,ragged-right]
+\version "2.9.13"
+global = {
+ \key c \major
+ \time 4/4
+}
+
+sopMusic = \relative c'' {
+ c4 c c8[( b)] c4
+}
+sopWords = \lyricmode {
+ hi hi hi hi
+}
+
+altoMusic = \relative c' {
+ e4 f d e
+}
+altoWords =\lyricmode {
+ ha ha ha ha
+}
+
+tenorMusic = \relative c' {
+ g4 a f g
+}
+tenorWords = \lyricmode {
+ hu hu hu hu
+}
+
+bassMusic = \relative c {
+ c4 c g c
+}
+bassWords = \lyricmode {
+ ho ho ho ho
+}
+
+\score {
+ <<
+ \new ChoirStaff <<
+ \new Lyrics = sopranos { s1 }
+ \new Staff = women <<
+ \new Voice =
+ "sopranos" { \voiceOne << \global \sopMusic >> }
+ \new Voice =
+ "altos" { \voiceTwo << \global \altoMusic >> }
+ >>
+ \new Lyrics = "altos" { s1 }
+ \new Lyrics = "tenors" { s1 }
+ \new Staff = men <<
+ \clef bass
+ \new Voice =
+ "tenors" { \voiceOne <<\global \tenorMusic >> }
+ \new Voice =
+ "basses" { \voiceTwo <<\global \bassMusic >> }
+ >>
+ \new Lyrics = basses { s1 }
+
+ \context Lyrics = sopranos \lyricsto sopranos \sopWords
+ \context Lyrics = altos \lyricsto altos \altoWords
+ \context Lyrics = tenors \lyricsto tenors \tenorWords
+ \context Lyrics = basses \lyricsto basses \bassWords
+ >>
+ \new PianoStaff <<
+ \new Staff <<
+ \set Staff.printPartCombineTexts = ##f
+ \partcombine
+ << \global \sopMusic >>
+ << \global \altoMusic >>
+ >>
+ \new Staff <<
+ \clef bass
+ \set Staff.printPartCombineTexts = ##f
+ \partcombine
+ << \global \tenorMusic >>
+ << \global \bassMusic >>
+ >>
+ >>
+ >>
+ \layout {
+ \context {
+ % a little smaller so lyrics
+ % can be closer to the staff
+ \Staff
+ \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
+ }
+ }
+}
+@end lilypond
+
+
+@c bad node name to avoid node name confict
+@node Ancient notation templates
+@appendixsec Ancient notation templates
+
+@appendixsubsec Transcription of mensural music
+
+When transcribing mensural music, an incipit at the beginning of the
+piece is useful to indicate the original key and tempo. While today
+musicians are used to bar lines in order to faster recognize rhythmic
+patterns, bar lines were not yet invented during the period of
+mensural music; in fact, the meter often changed after every few
+notes. As a compromise, bar lines are often printed between the
+staves rather than on the staves.
+
+@lilypond[quote,verbatim,line-width=11.0\cm]
+\version "2.9.13"
+
+global = {
+ \set Score.skipBars = ##t
+
+ % incipit
+ \once \override Score.SystemStartBracket #'transparent = ##t
+ \override Score.SpacingSpanner #'spacing-increment = #1.0 % tight spacing
+ \key f \major
+ \time 2/2
+ \once \override Staff.TimeSignature #'style = #'neomensural
+ \override Voice.NoteHead #'style = #'neomensural
+ \override Voice.Rest #'style = #'neomensural
+ \set Staff.printKeyCancellation = ##f
+ \cadenzaOn % turn off bar lines
+ \skip 1*10
+ \once \override Staff.BarLine #'transparent = ##f
+ \bar "||"
+ \skip 1*1 % need this extra \skip such that clef change comes
+ % after bar line
+ \bar ""
+
+ % main
+ \revert Score.SpacingSpanner #'spacing-increment % CHECK: no effect?
+ \cadenzaOff % turn bar lines on again
+ \once \override Staff.Clef #'full-size-change = ##t
+ \set Staff.forceClef = ##t
+ \key g \major
+ \time 4/4
+ \override Voice.NoteHead #'style = #'default
+ \override Voice.Rest #'style = #'default
+
+ % FIXME: setting printKeyCancellation back to #t must not
+ % occur in the first bar after the incipit. Dto. for forceClef.
+ % Therefore, we need an extra \skip.
+ \skip 1*1
+ \set Staff.printKeyCancellation = ##t
+ \set Staff.forceClef = ##f
+
+ \skip 1*7 % the actual music
+
+ % let finis bar go through all staves
+ \override Staff.BarLine #'transparent = ##f
+
+ % finis bar
+ \bar "|."
+}
+
+discantusNotes = {
+ \transpose c' c'' {
+ \set Staff.instrumentName = "Discantus "
+
+ % incipit
+ \clef "neomensural-c1"
+ c'1. s2 % two bars
+ \skip 1*8 % eight bars
+ \skip 1*1 % one bar
+
+ % main
+ \clef "treble"
+ d'2. d'4 |
+ b e' d'2 |
+ c'4 e'4.( d'8 c' b |
+ a4) b a2 |
+ b4.( c'8 d'4) c'4 |
+ \once \override NoteHead #'transparent = ##t c'1 |
+ b\breve |
+ }
+}
+
+discantusLyrics = \lyricmode {
+ % incipit
+ IV-
+
+ % main
+ Ju -- bi -- |
+ la -- te De -- |
+ o, om --
+ nis ter -- |
+ ra, __ om- |
+ "..." |
+ -us. |
+}
+
+altusNotes = {
+ \transpose c' c'' {
+ \set Staff.instrumentName = "Altus "
+
+ % incipit
+ \clef "neomensural-c3"
+ r1 % one bar
+ f1. s2 % two bars
+ \skip 1*7 % seven bars
+ \skip 1*1 % one bar
+
+ % main
+ \clef "treble"
+ r2 g2. e4 fis g | % two bars
+ a2 g4 e |
+ fis g4.( fis16 e fis4) |
+ g1 |
+ \once \override NoteHead #'transparent = ##t g1 |
+ g\breve |
+ }
+}
+
+altusLyrics = \lyricmode {
+ % incipit
+ IV-
+
+ % main
+ Ju -- bi -- la -- te | % two bars
+ De -- o, om -- |
+ nis ter -- ra, |
+ "..." |
+ -us. |
+}
+
+tenorNotes = {
+ \transpose c' c' {
+ \set Staff.instrumentName = "Tenor "
+
+ % incipit
+ \clef "neomensural-c4"
+ r\longa % four bars
+ r\breve % two bars
+ r1 % one bar
+ c'1. s2 % two bars
+ \skip 1*1 % one bar
+ \skip 1*1 % one bar
+
+ % main
+ \clef "treble_8"
+ R1 |
+ R1 |
+ R1 |
+ r2 d'2. d'4 b e' | % two bars
+ \once \override NoteHead #'transparent = ##t e'1 |
+ d'\breve |
+ }
+}
+
+tenorLyrics = \lyricmode {
+ % incipit
+ IV-
+
+ % main
+ Ju -- bi -- la -- te | % two bars
+ "..." |
+ -us. |
+}
+
+bassusNotes = {
+ \transpose c' c' {
+ \set Staff.instrumentName = "Bassus "
+
+ % incipit
+ \clef "bass"
+ r\maxima % eight bars
+ f1. s2 % two bars
+ \skip 1*1 % one bar
+
+ % main
+ \clef "bass"
+ R1 |
+ R1 |
+ R1 |
+ R1 |
+ g2. e4 |
+ \once \override NoteHead #'transparent = ##t e1 |
+ g\breve |
+ }
+}
+
+bassusLyrics = \lyricmode {
+ % incipit
+ IV-
+
+ % main
+ Ju -- bi- |
+ "..." |
+ -us. |
+}
+
+\score {
+ \new StaffGroup = choirStaff <<
+ \new Voice =
+ "discantusNotes" << \global \discantusNotes >>
+ \new Lyrics =
+ "discantusLyrics" \lyricsto discantusNotes { \discantusLyrics }
+ \new Voice =
+ "altusNotes" << \global \altusNotes >>
+ \new Lyrics =
+ "altusLyrics" \lyricsto altusNotes { \altusLyrics }
+ \new Voice =
+ "tenorNotes" << \global \tenorNotes >>
+ \new Lyrics =
+ "tenorLyrics" \lyricsto tenorNotes { \tenorLyrics }
+ \new Voice =
+ "bassusNotes" << \global \bassusNotes >>
+ \new Lyrics =
+ "bassusLyrics" \lyricsto bassusNotes { \bassusLyrics }
+ >>
+ \layout {
+ \context {
+ \Score
+
+ % no bars in staves
+ \override BarLine #'transparent = ##t
+
+ % incipit should not start with a start delimiter
+ \remove "System_start_delimiter_engraver"
+ }
+ \context {
+ \Voice
+
+ % no slurs
+ \override Slur #'transparent = ##t
+
+ % Comment in the below "\remove" command to allow line
+ % breaking also at those barlines where a note overlaps
+ % into the next bar. The command is commented out in this
+ % short example score, but especially for large scores, you
+ % will typically yield better line breaking and thus improve
+ % overall spacing if you comment in the following command.
+ %\remove "Forbid_line_break_engraver"
+ }
+ }
+}
+@end lilypond
+
+
+@appendixsubsec Gregorian transcription template
+
+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.
+
+@lilypond[quote,verbatim,ragged-right]
+\include "gregorian-init.ly"
+\version "2.9.13"
+
+chant = \relative c' {
+ \set Score.timing = ##f
+ f4 a2 \divisioMinima
+ g4 b a2 f2 \divisioMaior
+ g4( f) f( g) a2 \finalis
+}
+
+verba = \lyricmode {
+ Lo -- rem ip -- sum do -- lor sit a -- met
+}
+
+\score {
+ \new Staff <<
+ \new Voice = "melody" {
+ \chant
+ }
+ \new Lyrics = "one" \lyricsto melody \verba
+ >>
+
+ \layout {
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ \override Stem #'transparent = ##t
+ }
+ \context {
+ \Voice
+ \override Stem #'length = #0
+ }
+ \context {
+ \Score
+ barAlways = ##t
+ }
+ }
+}
+@end lilypond
+
+
+@node Jazz combo
+@appendixsec Jazz combo
+
+This is a much more complicated template, for a jazz ensemble. Note that all
+instruments are notated in @code{\key c \major}. This refers to the key in
+concert pitch; LilyPond will automatically transpose the key if the music
+is within a @code{\transpose} section.
+
+@c TODO must clean up this jazz combo example
+@c - transpositions stated in names (ie "trumpet in Bb" or whatever)
+@c - one global section, instead of "global" (time) and "key"
+@c - does it need those wierd macros? sl, nsl, etc.
+@c - maybe ask Amelie Zapf to clean it up, or whether I should just
+@c make whatever changes I feel like.
+
+@c FIXME: produces a warning ; key change merge.
+@c The `line-width' argument is for the \header.
+
+@lilypond[quote,verbatim,ragged-right,line-width]
+\version "2.9.13"
+\header {
+ title = "Song"
+ subtitle = "(tune)"
+ composer = "Me"
+ meter = "moderato"
+ piece = "Swing"
+ tagline = \markup {
+ \column {
+ "LilyPond example file by Amelie Zapf,"
+ "Berlin 07/07/2003"
+ }
+ }
+ texidoc = "Jazz tune for combo
+ (horns, guitar, piano, bass, drums)."
+}
+
+#(set-global-staff-size 16)
+\include "english.ly"
+
+%%%%%%%%%%%% Some macros %%%%%%%%%%%%%%%%%%%
+
+sl = {
+ \override NoteHead #'style = #'slash
+ \override Stem #'transparent = ##t
+}
+nsl = {
+ \revert NoteHead #'style
+ \revert Stem #'transparent
+}
+cr = \override NoteHead #'style = #'cross
+ncr = \revert NoteHead #'style
+
+%% insert chord name style stuff here.
+
+jzchords = { }
+
+
+%%%%%%%%%%%% Keys'n'thangs %%%%%%%%%%%%%%%%%
+
+global = {
+ \time 4/4
+}
+
+Key = { \key c \major }
+
+% ############ Horns ############
+
+% ------ Trumpet ------
+trpt = \transpose c d \relative c'' {
+ \Key
+ c1 c c
+}
+trpharmony = \transpose c' d {
+ \jzchords
+}
+trumpet = {
+ \global
+ \set Staff.instrumentName = #"Trumpet"
+ \clef treble
+ <<
+ \trpt
+ >>
+}
+
+% ------ Alto Saxophone ------
+alto = \transpose c a \relative c' {
+ \Key
+ c1 c c
+}
+altoharmony = \transpose c' a {
+ \jzchords
+}
+altosax = {
+ \global
+ \set Staff.instrumentName = #"Alto Sax"
+ \clef treble
+ <<
+ \alto
+ >>
+}
+
+% ------ Baritone Saxophone ------
+bari = \transpose c a' \relative c {
+ \Key
+ c1 c \sl d4^"Solo" d d d \nsl
+}
+bariharmony = \transpose c' a \chordmode {
+ \jzchords s1 s d2:maj e:m7
+}
+barisax = {
+ \global
+ \set Staff.instrumentName = #"Bari Sax"
+ \clef treble
+ <<
+ \bari
+ >>
+}
+
+% ------ Trombone ------
+tbone = \relative c {
+ \Key
+ c1 c c
+}
+tboneharmony = \chordmode {
+ \jzchords
+}
+trombone = {
+ \global
+ \set Staff.instrumentName = #"Trombone"
+ \clef bass
+ <<
+ \tbone
+ >>
+}
+
+% ############ Rhythm Section #############
+
+% ------ Guitar ------
+gtr = \relative c'' {
+ \Key
+ c1 \sl b4 b b b \nsl c1
+}
+gtrharmony = \chordmode {
+ \jzchords
+ s1 c2:min7+ d2:maj9
+}
+guitar = {
+ \global
+ \set Staff.instrumentName = #"Guitar"
+ \clef treble
+ <<
+ \gtr
+ >>
+}
+
+%% ------ Piano ------
+rhUpper = \relative c'' {
+ \voiceOne
+ \Key
+ c1 c c
+}
+rhLower = \relative c' {
+ \voiceTwo
+ \Key
+ e1 e e
+}
+
+lhUpper = \relative c' {
+ \voiceOne
+ \Key
+ g1 g g
+}
+lhLower = \relative c {
+ \voiceTwo
+ \Key
+ c1 c c
+}
+
+PianoRH = {
+ \clef treble
+ \global
+ \set Staff.midiInstrument = "acoustic grand"
+ <<
+ \new Voice = "one" \rhUpper
+ \new Voice = "two" \rhLower
+ >>
+}
+PianoLH = {
+ \clef bass
+ \global
+ \set Staff.midiInstrument = "acoustic grand"
+ <<
+ \new Voice = "one" \lhUpper
+ \new Voice = "two" \lhLower
+ >>
+}
+
+piano = {
+ <<
+ \set PianoStaff.instrumentName = #"Piano"
+ \new Staff = "upper" \PianoRH
+ \new Staff = "lower" \PianoLH
+ >>
+}
+
+% ------ Bass Guitar ------
+Bass = \relative c {
+ \Key
+ c1 c c
+}
+bass = {
+ \global
+ \set Staff.instrumentName = #"Bass"
+ \clef bass
+ <<
+ \Bass
+ >>
+}
+
+% ------ Drums ------
+up = \drummode {
+ hh4 <hh sn>4 hh <hh sn> hh <hh sn>4
+ hh4 <hh sn>4
+ hh4 <hh sn>4
+ hh4 <hh sn>4
+}
+
+down = \drummode {
+ bd4 s bd s bd s bd s bd s bd s
+}
+
+drumContents = {
+ \global
+ <<
+ \set DrumStaff.instrumentName = #"Drums"
+ \new DrumVoice { \voiceOne \up }
+ \new DrumVoice { \voiceTwo \down }
+ >>
+}
+
+%%%%%%%%% It All Goes Together Here %%%%%%%%%%%%%%%%%%%%%%
+
+\score {
+ <<
+ \new StaffGroup = "horns" <<
+ \new Staff = "trumpet" \trumpet
+ \new Staff = "altosax" \altosax
+ \new ChordNames = "barichords" \bariharmony
+ \new Staff = "barisax" \barisax
+ \new Staff = "trombone" \trombone
+ >>
+
+ \new StaffGroup = "rhythm" <<
+ \new ChordNames = "chords" \gtrharmony
+ \new Staff = "guitar" \guitar
+ \new PianoStaff = "piano" \piano
+ \new Staff = "bass" \bass
+ \new DrumStaff { \drumContents }
+ >>
+ >>
+
+ \layout {
+ \context { \RemoveEmptyStaffContext }
+ \context {
+ \Score
+ \override BarNumber #'padding = #3
+ \override RehearsalMark #'padding = #2
+ skipBars = ##t
+ }
+ }
+
+ \midi { }
+}
+@end lilypond
+
+@ignore
+
+This isn't very useful, and only duplicates material in
+"global issues". And if this info changes, this section often
+gets forgotten.
+
+@no de Other templates
+@se ction Other templates
+@su bsection All headers
+
+This template displays all available headers. Some of them are only
+used in the Mutopia project; they don't affect the printed output at
+all. They are used if you want the piece to be listed with different
+information in the Mutopia database than you wish to have printed on the
+music. For example, Mutopia lists the composer of the famous D major
+violin concerto as TchaikovskyPI, whereas perhaps you wish to print
+"Petr Tchaikowski" on your music.
+
+@ The `line-width' is for \header.
+@li lypond[quote,verbatim,ragged-right,line-width]
+\version "2.9.13"
+\header {
+ dedication = "dedication"
+ title = "Title"
+ subtitle = "Subtitle"
+ subsubtitle = "Subsubtitle"
+ composer = "Composer (xxxx-yyyy)"
+ opus = "Opus 0"
+ piece = "Piece I"
+ meter = "meter"
+ instrument = "Instrument"
+ arranger = "Arranger"
+ poet = "Poet"
+ texttranslator = "Translator"
+ copyright = "public domain"
+
+ % These are headers used by the Mutopia Project
+ % http://www.mutopiaproject.org/
+ mutopiatitle = ""
+ mutopiacomposer = ""
+ mutopiapoet = ""
+ mutopiainstrument = ""
+ date = "composer's dates"
+ source = "urtext "
+ maintainer = "your name here"
+ maintainerEmail = "your email here"
+ maintainerWeb = "your home page"
+ lastupdated = "2004/Aug/26"
+}
+
+\score {
+ { c'4 }
+ \header {
+ piece = "piece1"
+ opus = "opus1"
+ }
+}
+
+\score {
+ { c'4 }
+ \header {
+ piece = "piece2"
+ opus = "opus2"
+ }
+}
+@end lilypond
+@end ignore
+
+
+@node Lilypond-book templates
+@appendixsec Lilypond-book templates
+
+These templates are for use with @code{lilypond-book}. If you're not familiar
+with this program, please refer to @ref{LilyPond-book}.
+
+@appendixsubsec LaTeX
+
+You can include LilyPond fragments in a LaTeX document.
+
+@example
+\documentclass[]@{article@}
+
+\begin@{document@}
+
+Normal LaTeX text.
+
+\begin@{lilypond@}
+\relative c'' @{
+a4 b c d
+@}
+\end@{lilypond@}
+
+More LaTeX text.
+
+\begin@{lilypond@}
+\relative c'' @{
+d4 c b a
+@}
+\end@{lilypond@}
+\end@{document@}
+@end example
+
+@appendixsubsec Texinfo
+
+You can include LilyPond fragments in Texinfo; in fact, this entire manual
+is written in Texinfo.
+
+@example
+\input texinfo
+@@node Top
+
+Texinfo text
+
+@@lilypond[verbatim,fragment,ragged-right]
+a4 b c d
+@@end lilypond
+
+More Texinfo text
+
+@@lilypond[verbatim,fragment,ragged-right]
+d4 c b a
+@@end lilypond
+
+@@bye
+@end example
Harald Wellmann
Henrik Frisk
Johannes Schindelin
+John Williams
J. Leung
Karim Haddad
Karl Hammar
msgstr ""
"Project-Id-Version: fi\n"
"Report-Msgid-Bugs-To: \n"
-"POT-Creation-Date: 2006-10-18 01:06+0300\n"
-"PO-Revision-Date: 2006-10-18 01:10+0300\n"
+"POT-Creation-Date: 2006-11-04 02:13+0200\n"
+"PO-Revision-Date: 2006-11-04 02:19+0200\n"
"Last-Translator: hjunes\n"
"Language-Team: <en@li.org>\n"
"MIME-Version: 1.0\n"
#: lilypond-book.py:70
msgid ""
-"Process LilyPond snippets in hybrid HTML, LaTeX, or texinfo document.\n"
+"Process LilyPond snippets in hybrid HTML, LaTeX, texinfo or DocBook "
+"document.\n"
"\n"
"Example usage:\n"
"\n"
" lilypond-book --filter=\"convert-ly --no-version --from=2.0.0 -\" BOOK\n"
" lilypond-book --process='lilypond -I include' BOOK\n"
msgstr ""
-"Käsittele HTML, LaTeX, tai texinfo -documenttiin sisällytetyt LilyPond "
-"palaset.\n"
+"Käsittele HTML, LaTeX, texinfo tai DocBook -documenttiin sisällytetyt "
+"LilyPond palaset.\n"
"Käyttöesimerkkejä:\n"
"\n"
" lilypond-book --filter=\"tr '[a-z]' '[A-Z]'\" BOOK\n"
msgstr "putkita palaset kohteen FILTER läpi [convert-ly -n -]"
#: lilypond-book.py:135
-msgid "use output format FORMAT (texi [default], texi-html, latex, html)"
-msgstr "käytä tulostusmuotona formaattia FMT (texi [oletus], texi-html, latex, html)"
+msgid "use output format FORMAT (texi [default], texi-html, latex, html, docbook)"
+msgstr "käytä tulostusmuotona formaattia FMT (texi [oletus], texi-html, latex, html, docbook)"
#: lilypond-book.py:138
msgid "add DIR to include path"
#: lilypond-book.py:159
msgid ""
-"extract all PostScript fonts into INPUT.psfonts for LaTeXmust use this with "
-"dvips -h INPUT.psfonts"
+"extract all PostScript fonts into INPUT.psfonts for LaTeX\n"
+"must use this with dvips -h INPUT.psfonts"
msgstr ""
-"poimi kaikki PostScript fontit tiedostoon INPUT.psfonts LaTeX:ia varten\n"
-"\t tätä täytyy käyttää dvips -h INPUT.psfonts :in kanssa"
+"poimi kaikki PostScript-fontit tiedostoon INPUT.psfonts LaTeX:ia varten\n"
+"tätä täytyy käyttää dvips -h INPUT.psfonts :in kanssa"
#: lilypond-book.py:162 midi2ly.py:896 main.cc:183
msgid "be verbose"
msgid "show warranty and copyright"
msgstr "näytä takuu ja copyright"
-#: lilypond-book.py:721
+#: lilypond-book.py:778
#, python-format
msgid "file not found: %s"
msgstr "tiedostoa %s ei löydy"
-#: lilypond-book.py:952
+#: lilypond-book.py:1009
#, python-format
msgid "deprecated ly-option used: %s=%s"
msgstr "vanhentunut ly-optio käytössä: %s=%s"
-#: lilypond-book.py:955
+#: lilypond-book.py:1012
#, python-format
msgid "compatibility mode translation: %s=%s"
msgstr "yhteensopivuusmuodon käännös: %s=%s"
-#: lilypond-book.py:959
+#: lilypond-book.py:1016
#, python-format
msgid "deprecated ly-option used: %s"
msgstr "vanhentunut ly-optio käytössä: %s"
-#: lilypond-book.py:962
+#: lilypond-book.py:1019
#, python-format
msgid "compatibility mode translation: %s"
msgstr "yhteensopivuusmuodon käännös: %s"
-#: lilypond-book.py:981
+#: lilypond-book.py:1038
#, python-format
msgid "ignoring unknown ly option: %s"
msgstr "sivuutetaan tuntematon ly -optio: %s"
-#: lilypond-book.py:1318
+#: lilypond-book.py:1391
#, python-format
msgid "Opening filter `%s'"
msgstr "Avataan filtteri `%s'"
-#: lilypond-book.py:1335
+#: lilypond-book.py:1408
#, python-format
msgid "`%s' failed (%d)"
msgstr "`%s' epäonnistui (%d)"
-#: lilypond-book.py:1336
+#: lilypond-book.py:1409
msgid "The error log is as follows:"
msgstr "Virheloki on seuraava:"
-#: lilypond-book.py:1405
+#: lilypond-book.py:1479
msgid "Can't find \\begin{document} in LaTeX document"
msgstr "Ei voitu löytää \\begin{document} LaTeX-documentista"
-#: lilypond-book.py:1513
+#: lilypond-book.py:1589
msgid "Writing snippets..."
msgstr "Kirjoitetaan palasia..."
-#: lilypond-book.py:1518
+#: lilypond-book.py:1594
msgid "Processing..."
msgstr "Prosessoidaan..."
-#: lilypond-book.py:1522
+#: lilypond-book.py:1598
msgid "All snippets are up to date..."
msgstr "Kaikki palaset on päivitetty..."
-#: lilypond-book.py:1532
+#: lilypond-book.py:1608
#, python-format
msgid "can't determine format for: %s"
msgstr "ei löytynyt formaattia: %s"
-#: lilypond-book.py:1543
+#: lilypond-book.py:1619
#, python-format
msgid "%s is up to date."
msgstr "%s on päivitetty."
-#: lilypond-book.py:1549
+#: lilypond-book.py:1625
#, python-format
msgid "Writing `%s'..."
msgstr "Kirjoitetaan `%s'..."
-#: lilypond-book.py:1604
+#: lilypond-book.py:1680
msgid "Output would overwrite input file; use --output."
msgstr "Tuloste kirjautuisi syötetiedoston päälle; käytä --output."
-#: lilypond-book.py:1608
+#: lilypond-book.py:1684
#, python-format
msgid "Reading %s..."
msgstr "Luetaan %s..."
-#: lilypond-book.py:1627
+#: lilypond-book.py:1703
msgid "Dissecting..."
msgstr "Analysoidaan..."
-#: lilypond-book.py:1643
+#: lilypond-book.py:1719
#, python-format
msgid "Compiling %s..."
msgstr "Kootaan %s..."
-#: lilypond-book.py:1652
+#: lilypond-book.py:1728
#, python-format
msgid "Processing include: %s"
msgstr "Prosessoidaan sisällytetävä: %s"
-#: lilypond-book.py:1666
+#: lilypond-book.py:1742
#, python-format
msgid "Removing `%s'"
msgstr "Poistetaan `%s'"
-#: lilypond-book.py:1743
+#: lilypond-book.py:1819
#, python-format
msgid "Writing fonts to %s..."
msgstr "Kirjoitetaan fontteja hakemistoon %s..."
-#: lilypond-book.py:1758
+#: lilypond-book.py:1834
msgid "option --psfonts not used"
msgstr "optiota --psfonts=FILE ei käytetty"
-#: lilypond-book.py:1759
+#: lilypond-book.py:1835
msgid "processing with dvips will have no fonts"
msgstr "prosessointi dvips:illä ei sisällä fontteja"
-#: lilypond-book.py:1762
+#: lilypond-book.py:1838
msgid "DVIPS usage:"
msgstr "DVIPS käyttö:"
msgid "invalid argument `%s' to option `%s'"
msgstr "epäkelpo argumentti `%s' optiolle `%s'"
-#: warn.cc:68 grob.cc:556 input.cc:82
+#: warn.cc:68 grob.cc:557 input.cc:82
#, c-format
msgid "programming error: %s"
msgstr "ohjelmointivirhe: %s"
msgid "can't change, already in translator: %s"
msgstr "ei voitu vaihtaa, oli jo tulkitsijassa: %s"
-#: axis-group-engraver.cc:82
+#: axis-group-engraver.cc:78
msgid "Axis_group_engraver: vertical group already has a parent"
msgstr "Axis_group_engraver: vertikaaliryhmällä on jo vanhempi"
-#: axis-group-engraver.cc:83
+#: axis-group-engraver.cc:79
msgid "are there two Axis_group_engravers?"
msgstr "onko käytössä kaksi Axis_group_engraver:ia?"
-#: axis-group-engraver.cc:84
+#: axis-group-engraver.cc:80
msgid "removing this vertical group"
msgstr "poistetaan tämä vertikaaliryhmä"
msgid "unterminated beam"
msgstr "päättämätön palkki"
-#: beam-engraver.cc:237 chord-tremolo-engraver.cc:134
+#: beam-engraver.cc:238 chord-tremolo-engraver.cc:134
msgid "stem must have Rhythmic structure"
msgstr "varrella on oltava Rhytmic -rakenne"
-#: beam-engraver.cc:245
+#: beam-engraver.cc:246
msgid "stem doesn't fit in beam"
msgstr "varsi ei sovi palkkiin"
-#: beam-engraver.cc:246
+#: beam-engraver.cc:247
msgid "beam was started here"
msgstr "palkki aloitettiin täältä"
msgid "couldn't find line breaking that satisfies constraints"
msgstr "ei löytynyt rivinkatkaisukohtaa joka täyttäisi ehdot"
-#: context-def.cc:128
+#: context-def.cc:130
#, c-format
msgid "program has no such type: `%s'"
msgstr "ohjelmalla ei ole tyyppiä: `%s'"
msgid "include files are not allowed in safe mode"
msgstr "sisällytettävät tiedostot eivät ole sallittuja turvatilassa"
-#: includable-lexer.cc:60 lily-guile.cc:96 lily-parser-scheme.cc:115
+#: includable-lexer.cc:60 lily-guile.cc:96 lily-parser-scheme.cc:117
#, c-format
msgid "can't find file: `%s'"
msgstr "tiedostoa ei löydy: `%s'"
msgid "type check for `%s' failed; value `%s' must be of type `%s'"
msgstr "tyypin `%s' tarkistus epäonnistui; arvon `%s' on oltava tyyppiä `%s'"
-#: lily-lexer.cc:222
+#: lily-lexer.cc:233
#, c-format
msgid "identifier name is a keyword: `%s'"
msgstr "tunnistenimi on avainsana: `%s'"
-#: lily-lexer.cc:237
+#: lily-lexer.cc:248
#, c-format
msgid "error at EOF: %s"
msgstr "virhe tiedoston lopussa (EOF): %s"
msgid "can't find init file: `%s'"
msgstr "tiedostoa ei löydy: `%s'"
-#: lily-parser-scheme.cc:125
+#: lily-parser-scheme.cc:126
#, c-format
msgid "Processing `%s'"
msgstr "Prosessoidaan `%s'"
msgid "Parsing..."
msgstr "Jäsennetään..."
-#: lily-parser.cc:126
+#: lily-parser.cc:125
msgid "braces don't match"
msgstr "aaltosulkumerkit eivät täsmää"
#: open-type-font.cc:171 open-type-font.cc:295
#, c-format
-msgid "FT_Get_Glyph_Name() returned error: %d"
-msgstr "FT_Get_Glyph_Name() palautti virheen: %d"
+msgid "FT_Get_Glyph_Name() returned error: %u"
+msgstr "FT_Get_Glyph_Name() palautti virheen: %u"
#: page-turn-page-breaking.cc:227
msgid ""
msgid "Drawing systems..."
msgstr "Piirretään tahteja..."
-#: pango-font.cc:184
+#: pango-font.cc:194
#, c-format
msgid ""
"Glyph has no name, but font supports glyph naming.\n"
"Ladokkeella ei ole nimea, mutta kirjasin tukee ladokkeen nimeämistä.\n"
"Sivuutetaan ladoke U+%0X, tiedostossa %s"
-#: pango-font.cc:217
+#: pango-font.cc:237
#, c-format
msgid "no PostScript font name for font `%s'"
msgstr "ei PostScript fonttinimeä fontille `%s'"
-#: pango-font.cc:265
+#: pango-font.cc:285
msgid "FreeType face has no PostScript font name"
msgstr "FreeType muodolla ei ollut PostScript fonttinimeä"
msgid "unterminated phrasing slur"
msgstr "päättämätön fraaseerauskaari"
-#: piano-pedal-engraver.cc:304
+#: piano-pedal-engraver.cc:283
#, c-format
msgid "expect 3 strings for piano pedals, found: %ld"
msgstr "odotettiin 3 merkkijonoa pianopedaalille, löytyi: %ld"
-#: piano-pedal-engraver.cc:319 piano-pedal-engraver.cc:330
+#: piano-pedal-engraver.cc:298 piano-pedal-engraver.cc:309
#: piano-pedal-performer.cc:93
#, c-format
msgid "can't find start of piano pedal: `%s'"
msgstr "ei löydetty alkua pianopedaalille: `%s'"
-#: piano-pedal-engraver.cc:377
+#: piano-pedal-engraver.cc:344
#, c-format
msgid "can't find start of piano pedal bracket: `%s'"
msgstr "ei löydetty alkua pianopedaalimerkinnälle: `%s'"
-#: program-option.cc:195
+#: program-option.cc:199
#, c-format
msgid "no such internal option: %s"
msgstr "tuntematon sisäinen optio: %s"
msgid "can't find: `%s'"
msgstr "ei löytynyt `%s'"
-#: translator.cc:331
+#: translator.cc:332
#, c-format
msgid "Two simultaneous %s events, junking this one"
msgstr "Kaksi samanaikaista %s-tapahtumaa, hylätään tämä"
-#: translator.cc:332
+#: translator.cc:333
#, c-format
msgid "Previous %s event here"
msgstr "Edellinen %s-tapahtuma täällä"
msgid "invalid direction of tuplet-span-event"
msgstr "tuntematon tuplettiväli-tapahtuman suunta"
-#: vaticana-ligature-engraver.cc:382
+#: vaticana-ligature-engraver.cc:388
#, c-format
msgid ""
"ignored prefix (es) `%s' of this head according to restrictions of the "
"sivuutetaan prefiksi (t) `%s' tälle nuottipäälle valitun ligatuurityylin "
"mukaisesti"
-#: vaticana-ligature-engraver.cc:708
+#: vaticana-ligature-engraver.cc:714
#, c-format
msgid "Vaticana_ligature_engraver: setting `spacing-increment = %f': ptr =%ul"
msgstr "Vaticana_ligature_engraver: asetetaan `spacing-increment = %f': ptr=%ul"
msgid "also already have an ended spanner"
msgstr "myös tekstileike päätettiin jo"
-#: parser.yy:704 parser.yy:710
+#: parser.yy:703
msgid "\\paper cannot be used in \\score, use \\layout instead"
msgstr "\\paper ei voi olla käytössä \\score:ssa, käytä \\layout sen sijaan"
-#: parser.yy:728 parser.yy:734
+#: parser.yy:727
msgid "need \\paper for paper block"
msgstr "tarvitaan \\paper paperiryhmälle"
-#: parser.yy:1174 parser.yy:1204
+#: parser.yy:1173
msgid "Grob name should be alphanumeric"
msgstr "Graafiseen objectiin täytyy olla kirjain tai numero"
-#: parser.yy:1477 parser.yy:1497
+#: parser.yy:1476
msgid "second argument must be pitch list"
msgstr "toisen argumentin on oltava äänenkorkeuslista"
-#: parser.yy:1504 parser.yy:1509 parser.yy:1974 parser.yy:1524 parser.yy:1529
-#: parser.yy:2004
+#: parser.yy:1503 parser.yy:1508 parser.yy:1973
msgid "have to be in Lyric mode for lyrics"
msgstr "täytyy olla Lyrics -moodissa lyriikkaa varten"
-#: parser.yy:1606 parser.yy:1628
+#: parser.yy:1605
msgid "expecting string as script definition"
msgstr "oletetaan merkkijonon olevan skriptimäärittely"
-#: parser.yy:1761 parser.yy:1811 parser.yy:1786 parser.yy:1836
+#: parser.yy:1760 parser.yy:1810
#, c-format
msgid "not a duration: %d"
msgstr "ei ole kesto: %d"
-#: parser.yy:1928 parser.yy:1956
+#: parser.yy:1927
msgid "have to be in Note mode for notes"
msgstr "täytyy olla Note -moodissa nuotteja varten"
-#: parser.yy:1989 parser.yy:2020
+#: parser.yy:1988
msgid "have to be in Chord mode for chords"
msgstr "täytyy olla Chord -moodissa sointuja varten"
-#: lexer.ll:177 lexer.ll:159
+#: lexer.ll:176
msgid "stray UTF-8 BOM encountered"
msgstr "satunnainen UTF-8 BOM (osaluettelo) havaittu"
-#: lexer.ll:181 lexer.ll:163
+#: lexer.ll:180
msgid "Skipping UTF-8 BOM"
msgstr "Sivuutetaan UTF-8 BOM (osaluettelo)"
-#: lexer.ll:236 lexer.ll:218
+#: lexer.ll:235
#, c-format
msgid "Renaming input to: `%s'"
msgstr "Avataan syöte: `%s'"
-#: lexer.ll:254 lexer.ll:236
+#: lexer.ll:252
msgid "quoted string expected after \\version"
msgstr "lainausmerkittyä merkkijonoa ei löytynyt kohteen \\version jälkeen"
-#: lexer.ll:258 lexer.ll:240
+#: lexer.ll:256
msgid "quoted string expected after \\sourcefilename"
msgstr "odotettiin lainausmerkittyä merkkijonoa \\sourcefilename:n jälkeen"
-#: lexer.ll:262 lexer.ll:244
+#: lexer.ll:260
msgid "integer expected after \\sourcefileline"
msgstr "odotettiin kokonaislukua \\sourcefilename:n jälkeen"
-#: lexer.ll:275 lexer.ll:257
+#: lexer.ll:273
msgid "EOF found inside a comment"
msgstr "EOF löytyi kommentin sisältä"
-#: lexer.ll:290 lexer.ll:272
+#: lexer.ll:288
msgid "\\maininput not allowed outside init files"
msgstr "\\maininput ei ole sallittu init-alustustiedoston ulkopuolella"
-#: lexer.ll:314 lexer.ll:296
+#: lexer.ll:312
#, c-format
msgid "wrong or undefined identifier: `%s'"
msgstr "väärä tai määrittämätön tunniste: `%s'"
#. backup rule
-#: lexer.ll:323 lexer.ll:305
+#: lexer.ll:321
msgid "end quote missing"
msgstr "jälkimmäinen lainaismerkki puuttuu"
-#: lexer.ll:468 lexer.ll:450
+#: lexer.ll:466
msgid "Brace found at end of lyric. Did you forget a space?"
msgstr "Sulkumerkki löytyi lyriikan lopussa. Unohditko välilyönnin?"
-#: lexer.ll:561 lexer.ll:543
+#: lexer.ll:559
msgid "Brace found at end of markup. Did you forget a space?"
msgstr "Sulkumerkki löytyi lyriikan lopussa. Unohditko välilyönnin?"
-#: lexer.ll:661 lexer.ll:643
+#: lexer.ll:659
#, c-format
msgid "invalid character: `%c'"
msgstr "epäkelpo merkki: `%c'"
-#: lexer.ll:776 lexer.ll:731
+#: lexer.ll:774 lexer.ll:775
#, c-format
msgid "unknown escaped string: `\\%s'"
msgstr "tuntematon koodinvaihtomerkillinen merkkijono: `\\\\%s'"
-#: lexer.ll:882 lexer.ll:828
+#: lexer.ll:880 lexer.ll:881
#, c-format
msgid "Incorrect lilypond version: %s (%s, %s)"
msgstr "Epäkelpo lilypond versio: %s (%s, %s)"
-#: lexer.ll:883 lexer.ll:829
+#: lexer.ll:881 lexer.ll:882
msgid "Consider updating the input with the convert-ly script"
msgstr "Harkitse syötteen päivittämistä convert-ly scriptillä"
-#: lexer.ll:931
-msgid "can't find signature for music function"
-msgstr "ei löytynyt aikamerkintää musiikkifunktiolle"
-
-#: backend-library.scm:19 lily.scm:485 ps-to-png.scm:88
+#: backend-library.scm:19 lily.scm:494 ps-to-png.scm:88
#, lisp-format
msgid "Invoking `~a'..."
msgstr "Kutsutaan `~a'..."
msgid "no systems found in \\score markup, does it have a \\layout block?"
msgstr "systeemejä ei löytynyt \\score merkinnässä, onko siinä \\layout blokkia?"
-#: define-markup-commands.scm:1281
+#: define-markup-commands.scm:1284
#, lisp-format
msgid "not a valid duration string: ~a"
msgstr "ei ole sallittu keston merkkijono: ~a"
msgid "old relative compatibility not used"
msgstr "vanhaa relative -yhteensopivuutta ei käytetty"
-#: lily.scm:135
+#: lily.scm:142
#, lisp-format
msgid "Can't find ~A"
msgstr "Ei löydetty ~A"
-#: lily.scm:200
+#: lily.scm:207
#, lisp-format
msgid "wrong type for argument ~a. Expecting ~a, found ~s"
msgstr "väärä tyyppi argumentille ~a. Odotettiin ~a, löytyi ~s"
-#: lily.scm:414 lily.scm:475
+#: lily.scm:423 lily.scm:484
#, lisp-format
msgid "failed files: ~S"
msgstr "epäonniset tiedostot: ~S"
-#: lily.scm:465
+#: lily.scm:474
#, lisp-format
msgid "Redirecting output to ~a..."
msgstr "Ohjataan tulosteet paikkaan ~a..."
projects / lilypond.git / commitdiff