* Documentation/user/: Numerous fixes in the user manual.
+2004-11-10 Andreas Scherer <andreas_mutopia@freenet.de>
+
+ * Documentation/user/: Numerous fixes in the user manual.
+
2004-11-13 Han-Wen Nienhuys <hanwen@xs4all.nl>
* lily/parser.yy (re_rhythmed_music): search music expression for
number of proverbial ``knobs and switches.'' This chapter does not
list each and every knob. Rather, it outlines what groups of controls
are available and explains how to lookup which knob to use for a
-certain effect.
+particular effect.
@cindex Program reference
@itemize @bullet
@item
Output: changing the appearance of individual
-objects. For example, changing stem directions, or the location of
+objects. For example, changing stem directions or the location of
subscripts.
@item
@item
Global layout: changing the appearance of the spacing, line
-breaks and page dimensions.
+breaks, and page dimensions.
@end itemize
-Then, there are separate systems for typesetting text (like
+Then there are separate systems for typesetting text (like
@emph{ritardando}) and selecting different fonts. This chapter also
discusses these.
infrastructure. Overriding layout decisions in effect accesses the
program internals, which requires Scheme input. Scheme elements are
introduced in a @code{.ly} file with the hash mark
-@code{#}.@footnote{@ref{Scheme tutorial} contains a a short tutorial
-on entering numbers, lists, strings and symbols in Scheme.}
+@code{#}.@footnote{@ref{Scheme tutorial} contains a short tutorial
+on entering numbers, lists, strings, and symbols in Scheme.}
@menu
@node Interpretation contexts
@section Interpretation contexts
-When music is printed, a lot of notation elements must be added to the
+When music is printed, a lot of notational elements must be added to the
input, which is often bare bones. For example, compare the input and
output of the following example:
clef, and time signature are added. LilyPond @emph{interprets} the
input. During this step, the musical information is inspected in time
order, similar to reading a score from left to right. While reading,
-the program remembers where measure boundaries are, and what pitches
-need explicit accidentals. This information can be presented on
+the input, the program remembers where measure boundaries are, and what
+pitches need explicit accidentals. This information can be presented on
several levels. For example, the effect of an accidental is limited
-to a single stave, while a bar line must be synchronized across the
+to a single staff, while a bar line must be synchronized across the
entire score.
Within LilyPond, these rules and bits of information are grouped in
creating some notation objects and maintaining the associated
properties. So, the synchronization of bar lines is handled at
@context{Score} context. The @context{Voice} may introduce an
-accidentals and then the @context{Staff} context maintains the rule to
+accidental and then the @context{Staff} context maintains the rule to
show or suppress the accidental for the remainder of the measure.
For simple scores, contexts are created implicitly, and you need not
created explicitly to make sure that you get as many staves as you
need, and that they are in the correct order. For typesetting pieces
with specialized notation, it can be useful to modify existing or
-define new contexts.
+to define new contexts.
-Full description of all available contexts is in the program
+A complete description of all available contexts is in the program
reference, see
@ifhtml
@internalsref{Contexts}.
For scores with only one voice and one staff, correct contexts are
created automatically. For more complex scores, it is necessary to
-create them by hand. There are three commands which do this.
+create them by hand. There are three commands that do this.
The easiest command is @code{\new}, and it also the quickest to type.
It is prepended to a music expression, for example
@noindent
where @var{type} is a context name (like @code{Staff} or
@code{Voice}). This command creates a new context, and starts
-interpreting @var{music expression} with that.
+interpreting the @var{music expression} with that.
A practical application of @code{\new} is a score with many
staves. Each part that should be on its own staff, is preceded with
@end lilypond
With this mechanism, it is possible to define an Urtext (original
-edition), with the option put several distinct articulations on the
+edition), with the option to put several distinct articulations on the
same notes.
@cindex @code{\context}
This variant is used with music expressions that can be interpreted at
several levels. For example, the @code{\applyoutput} command (see
@ref{Running a function on all layout objects}). Without an explicit
-@code{\context}, it is usually is applied to @context{Voice}
+@code{\context}, it is usually applied to @context{Voice}
@example
\applyoutput #@var{function} % apply to Voice
@end lilypond
This command skips measures that have no notes. The result is that
-multi rests are condensed. The value assigned is a Scheme object. In
+multi-rests are condensed. The value assigned is a Scheme object. In
this case, it is @code{#t}, the boolean True value.
If the @var{context} argument is left out, then the current bottom-most
>>
@end lilypond
-In the second stave there are no time signature or clef symbols. This
+In the second staff there are no time signature or clef symbols. This
is a rather crude method of making objects disappear since it will affect
the entire staff. The spacing is adversely influenced too. A more
-sophisticated methods of blanking objects is shown in @ref{Common
-tweaks}.
+sophisticated method of blanking objects is shown in @ref{Common tweaks}.
The next example shows a practical application. Bar lines and time
signatures are normally synchronized across the score. This is done
formatting system (`grob property' or `layout property'). The latter is a
symbol, so it must be quoted. The subsection @ref{Constructing a
tweak} explains what to fill in for @var{name}, @var{property}, and
-@var{value}. Here we only discuss functionality of this command.
+@var{value}. Here we only discuss the functionality of this command.
The command
@code{Beam} comes after the Beam is started. Therefore it has no effect.
Analogous to @code{\unset}, the @code{\revert} command for a context
-undoes a @code{\override} command; like with @code{\unset}, it only
+undoes an @code{\override} command; like with @code{\unset}, it only
affects settings that were made in the same context. In other words, the
@code{\revert} in the next example does not do anything.
@subsection Changing context default settings
The adjustments of the previous subsections (@ref{Changing context
-properties on the fly}, @ref{Modifying context plug-ins} and
-@ref{Layout tunings within contexts}) can also be entered separate
+properties on the fly}, @ref{Modifying context plug-ins}, and
+@ref{Layout tunings within contexts}) can also be entered separately
from the music, in the @code{\layout} block,
@example
The next example shows how to build a different type of
@context{Voice} context from scratch. It will be similar to
-@code{Voice}, but print centered slash noteheads only. It can be used
+@code{Voice}, but prints centered slash noteheads only. It can be used
to indicate improvisation in Jazz pieces,
@lilypond[quote,raggedright]
In the following discussion, the example input shown should go on the
@dots{} in the previous fragment.
-First, name the context gets a name. Instead of @context{Voice} it
+First, the context gets a name. Instead of @context{Voice} it
will be called @context{ImproVoice},
@example
\type "Engraver_group_engraver"
@end example
-Putting together, we get
+Put together, we get
@example
\context @{
In the previous section, we have already touched on a command that
changes layout details, the @code{\override} command. In this section,
-we will look at in more detail how to use the command in practice.
-First, we will give a a few versatile commands, which are sufficient
-for many situations. The next section will discuss general use of
+we will look in more detail at how to use the command in practice.
+First, we will give a few versatile commands that are sufficient
+for many situations. The next section will discuss the general use of
@code{\override}.
@subsection Common tweaks
Some overrides are so common that predefined commands are provided as
-a short-cut, for example, @code{\slurUp} and @code{\stemDown}. These
+short-cuts, for example, @code{\slurUp} and @code{\stemDown}. These
commands are described in
@ifhtml
the
@itemize @bullet
@item The @code{extra-offset} property, which
@cindex @code{extra-offset}
-has a pair of numbers as value, moves around objects in the printout.
+has a pair of numbers as value, moves objects around in the printout.
The first number controls left-right movement; a positive number will
move the object to the right. The second number controls up-down
movement; a positive number will move it higher. The units of these
Setting the @code{transparent} property will cause an object to be printed
in `invisible ink': the object is not printed, but all its other
behavior is retained. The object still takes up space, it takes part in
-collisions, and slurs, and ties and beams can be attached to it.
+collisions, and slurs, ties, and beams can be attached to it.
@cindex transparent objects
@cindex removing objects
@item
The @code{padding} property for objects with
@cindex @code{padding}
-@code{side-position-interface} can be set to increase distance between
+@code{side-position-interface} can be set to increase the distance between
symbols that are printed above or below notes. We only give an
example; a more elaborate explanation is in @ref{Constructing a
tweak}:
This fragment points to two parts of the program reference: a page
-on @code{FingerEvent} and on @code{Fingering}.
+on @code{FingerEvent} and one on @code{Fingering}.
The page on @code{FingerEvent} describes the properties of the music
expression for the input @code{-2}. The page contains many links
@cindex interface, layout
@cindex layout interface
-The HTML page which we found in the previous section, describes the
+The HTML page that we found in the previous section, describes the
layout object called @internalsref{Fingering}. Such an object is a
-symbol within the score. It has properties, which store numbers (like
+symbol within the score. It has properties that store numbers (like
thicknesses and directions), but also pointers to related objects. A
layout object is also called @emph{grob},
@cindex grob
Vertically, the symbol is placed next to the note and the staff.
@item
-The vertical position is also coordinated with other super and subscript
+The vertical position is also coordinated with other super- and subscript
symbols.
@end itemize
-Each of these aspects is captured in a so-called @emph{interface},
+Each of these aspects is captured in so-called @emph{interface}s,
which are listed on the @internalsref{Fingering} page at the bottom
@quotation
them are not user-serviceable (``Internal properties''), but others
are.
-We have been talking of `the' @code{Fingering} object, but actually it
+We have been talking of @emph{the} @code{Fingering} object, but actually it
does not amount to much. The initialization file
@file{scm/@/define@/-grobs@/.scm} shows the soul of the `object',
Another difficult adjustment is the appearance of spanner objects,
such as slur and tie. Initially, only one of these objects is created,
-and they can be adjust with the normal mechanism. However, in some
+and they can be adjusted with the normal mechanism. However, in some
cases the spanners cross line breaks. If this happens, these objects
are cloned. A separate object is created for every system that it is
in. These are clones of the original object and inherit all
broken spanner. To change only one part of a spanner at a line break,
it is necessary to hook into the formatting process. The
@code{after-line-breaking-callback} property contains the Scheme procedure
-that is called after line breaks have been determined, and layout
+that is called after the line breaks have been determined, and layout
objects have been split over different systems.
In the following example, we define a procedure
@end itemize
This procedure is installed into @internalsref{Tie}, so the last part
-of broken tie is translated up.
+of the broken tie is translated up.
@lilypond[quote,verbatim,raggedright]
It does not change the size of variable symbols, such as beams or
slurs.
-Internally, the @code{fontSize} context property will cause
+Internally, the @code{fontSize} context property will cause the
@code{font-size} property to be set in all layout objects. The value
of @code{font-size} is a number indicating the size relative to the
standard size for the current staff height. Each step up is an
Font size changes are achieved by scaling the design size that is
closest to the desired size. The standard font size (for
@code{font-size} equals 0), depends on the standard staff height. For
-a 20 pt staff, a 10pt font is selected.
+a 20pt staff, a 10pt font is selected.
The @code{font-size} mechanism does not work for fonts selected
through @code{font-name}. These may be scaled with
@code{font-magnification}. The @code{font-size} property can only be
set on layout objects that use fonts; these are the ones supporting
-@internalsref{font-interface} layout interface.
+the @internalsref{font-interface} layout interface.
@refcommands
@itemize @bullet
@item @code{font-encoding}
is a symbol that sets layout of the glyphs. Choices include @code{ec}
-for @TeX{} EC font encoding, @code{fetaBraces} (for piano staff
-braces), @code{fetaMusic} (the standard music font, including ancient
-glyphs), @code{fetaDynamic} (for dynamic signs) and @code{fetaNumber}
+for @TeX{} EC font encoding, @code{fetaBraces} for piano staff
+braces, @code{fetaMusic} the standard music font, including ancient
+glyphs, @code{fetaDynamic} for dynamic signs and @code{fetaNumber}
for the number font.
@item @code{font-family}
@code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
@item @code{font-shape}
-is a symbol indicating the shape of the font, there are typically
+is a symbol indicating the shape of the font. There are typically
several font shapes available for each font family. Choices are
@code{italic}, @code{caps}, and @code{upright}.
@item @code{font-series}
-is a symbol indicating the series of the font. There are typically several
-font series for each font family and shape. Choices are @code{medium}
-and @code{bold}.
+is a symbol indicating the series of the font. There are typically
+several font series for each font family and shape. Choices are
+@code{medium} and @code{bold}.
@end itemize
Fonts selected in the way sketched above come from a predefined style
sheet.
- The font used for printing a object can be selected by setting
-@code{font-name}, e.g.
+The font used for printing a object can be selected by setting
+@code{font-name}, e.g.,
@example
\override Staff.TimeSignature
#'font-name = #"cmr17"
@end example
@noindent
-For clarity, you can also do this for single arguments, e.g.
+For clarity, you can also do this for single arguments, e.g.,
@example
\markup @{ is \italic @{ anyone @} home @}
@end lilypond
-Markups can be stored in variables, and these variables
+Markups can be stored in variables and these variables
may be attached to notes, like
@example
allegro = \markup @{ \bold \large @{ Allegro @} @}
@refbugs
-No kerning or generation of ligatures is only done when the by @TeX{}
+Kerning or generation of ligatures is only done when the @TeX{}
backend is used. In this case, LilyPond does not account for them so
texts will be spaced slightly too wide.
If no @code{\encoding} has been specified, then the encoding is taken
from the @code{\layout} block (or @code{\paper}, if @code{\layout}
does not specify encoding). The variable @code{inputencoding} may be
-set to a string or symbol specifying the encoding, e.g.
+set to a string or symbol specifying the encoding, e.g.,
@example
\layout @{
@}
@end example
-Normal strings, are unaffected by @code{\encoding}. This means that
+Normal strings are unaffected by @code{\encoding}. This means that
the following will usually not produce `BaĂŸtuba' in the title.
@example
@subsection Nested scores
It is possible to nest music inside markups, by adding a @code{\score}
-block to markup expression. Such a score must contain a @code{\layout}
+block to a markup expression. Such a score must contain a @code{\layout}
block.
@lilypond[quote,verbatim,raggedright]
@node Global layout
@section Global layout
-The global layout determined by three factors: the page layout, the
+The global 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,
-which influences where line breaks are chosen, and thus ultimately how
+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 spoken, this procedure happens in three steps: first,
flexible distances (``springs'') are chosen, based on durations. All
-possible line breaking combination are tried, and the one with the
-best results --- a layout that has uniform density and requires as
-little stretching or cramping as possible --- is chosen.
+possible line breaking combinations are tried, and the one with the
+best results -- a layout that has uniform density and requires as
+little stretching or cramping as possible -- is chosen.
After spacing and linebreaking, the systems are distributed across
pages, taking into account the size of the page, and the size of the
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 size for individual
-staves. The size of individual staves are relative to the global size,
+@internalsref{StaffSymbol}) can be used to tune the size for individual
+staves. The sizes of individual staves are relative to the global size,
which can be set in the following manner:
@example
@end example
@noindent
-This sets the global default size to 14pt staff height, and scales all
+This sets the global default size to 14pt staff height and scales all
fonts accordingly.
@seealso
Normally staves are stacked vertically. To make staves maintain a
distance, their vertical size is padded. This is done with the
property @code{minimumVerticalExtent}. It takes a pair of numbers, so
-if you want to make it smaller from its default, then you could set
+if you want to make it smaller than its default, then you could set
@example
\set Staff.minimumVerticalExtent = #'(-4 . 4)
either side of the center staff line. The argument of
@code{minimumVerticalExtent} is interpreted as an interval, where the
center line is the 0, so the first number is generally negative. The
-staff can be made larger at the bottom by setting it to @code{(-6
-. 4)}.
+staff can be made larger at the bottom by setting it to @code{(-6 . 4)}.
@seealso
@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).
+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]
followed by one NHW of space.
If one would follow the above procedure exactly, then adding a single
-32th note to a score that uses 8th and 16th notes, would widen up the
+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 most common shortest duration is determined as follows: in every
-measure, the shortest duration is determined. The most common short
-duration, is taken as the basis for the spacing, with the stipulation
+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
-1/8th note. The shortest duration is printed when you run
+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 1/8th), is set through @code{base-shortest-duration}.
+base (normally an 8th), is set through @code{base-shortest-duration}.
@cindex @code{common-shortest-duration}
@cindex @code{base-shortest-duration}
@cindex @code{stem-spacing-correction}
@cindex @code{spacing}
-Notes that are even shorter than the commoon shortest note are
+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:
@code{stem-spacing-correction} property in the
@internalsref{NoteSpacing}, object. These are generated for every
@internalsref{Voice} context. The @code{StaffSpacing} object
-(generated at @internalsref{Staff} context) contains the same property
+(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:
the lines.
If @code{raggedright} is set to true in the @code{\layout} block, then
-the lines are justified at their natural length. This useful for
+the lines are justified at their natural length. This is useful for
short fragments, and for checking how tight the natural spacing is.
@cindex page layout
@cindex line breaks
@cindex breaking lines
-Line breaks are normally computed automatically. They are chosen such
+Line breaks are normally computed automatically. They are chosen so
that lines look neither cramped nor loose, and that consecutive lines
have similar density.
@cindex composer
@cindex Engraved by LilyPond
-A document may contains multiple pieces of music. Examples of these
+A document may contain multiple pieces of music. Examples of these
are an etude book, or an orchestral part with multiple movements.
Each movement is entered with a @code{\score} block,
@}
@end example
-The movements are combined together to
-@code{\book} block is used to group the individual movements.
+The movements are combined together in a @code{\book} block, like
@example
\book @{
@code{\book}.
The contents of the titles are taken from the @code{\header} blocks.
-The header block for a book supports the following
+The header block for a book supports the following
@table @code
@item title
The title of the music. Centered on top of the first page.
Subsubtitle, centered below the subtitle.
@item poet
-Name of the poet, left flushed below the subtitle.
+Name of the poet, flush-left below the subtitle.
@item composer
-Name of the composer, right flushed below the subtitle.
+Name of the composer, flush-right below the subtitle.
@item meter
-Meter string, left flushed below the poet.
+Meter string, flush-left below the poet.
@item opus
-Name of the opus, right flushed below the composer.
+Name of the opus, flush-right below the composer.
@item arranger
-Name of the arranger, right flushed below the opus.
+Name of the arranger, flush-right below the opus.
@item instrument
Name of the instrument, centered below the arranger.
To whom the piece is dedicated.
@item piece
-Name of the piece, left flushed below the instrument.
+Name of the piece, flush-left below the instrument.
@end table
-This is a demonstration of the fields available,
+Here is a demonstration of the fields available,
@lilypond[quote,verbatim,linewidth=11.0\cm]
\paper {
- linewidth = 11.0\cm
+ linewidth = 9.0\cm
vsize = 10.0\cm
}
}
@end lilypond
-Different fonts may be selected for each element, by using a
-@code{\markup}, e.g.
+Different fonts may be selected for each element by using
+@code{\markup}, e.g.,
@example
\header @{
A more advanced option is to change the Scheme functions
@code{make-book-title} and @code{make-score-title} functions, defined
-in the @code{\paper} of the @code{\book} block. These functions
+in the @code{\paper} section of the @code{\book} block. These functions
create a block of titling, given the information in the
@code{\header}. The init file @file{ly/@/titling@/.scm} shows how the
default format is created, and it may be used as a template for
@}
@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{\score}, then the paper size will only apply to that score.
+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{\score}, then the paper size will only
+apply to that score.
The following paper sizes are supported: @code{a6}, @code{a5}, @code{a4},
@code{a3}, @code{legal}, @code{letter}, @code{tabloid}.
@cindex orientation
@cindex landscape
-If the symbol @code{landscape} is supplied as argument to
-@code{set-default-paper-size}, the pages will be rotated 90 degrees,
-and line widths will be set longer correspondingly.
+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)
@cindex header, page
@cindex footer, page
-LilyPond will do page layout, setting margins and adding headers and
+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
The value of the page number of the first page. Default is@tie{}1.
@item printfirstpagenumber
-If set to true will print the page number in the first page. Default is
+If set to true, will print the page number in the first page. Default is
false.
@item hsize
The length of the systems.
@item headsep
-Distance between top-most music system and the page header.
+Distance between the top-most music system and the page header.
@item footsep
-Distance between bottom-most music system and the page footer.
+Distance between the bottom-most music system and the page footer.
@item raggedbottom
If set to true, systems will not be spread across the page.
@item betweensystemspace
This dimensions determines the distance between systems. It is the
-ideal distance between the center of the bottom staff of one system,
+ideal distance between the center of the bottom staff of one system
and the center of the top staff of the next system.
Increasing this will provide a more even appearance of the page at the
@item betweensystempadding
This dimension is the minimum amount of white space that will always
-be present between the bottom most symbol of one system, and the
-topmost of the next system.
+be present between the bottom-most symbol of one system, and the
+top-most of the next system.
Increasing this will put systems whose bounding boxes almost touch
farther apart.
@item aftertitlespace
-Amount of space between title and the first system.
+Amount of space between the title and the first system.
@item beforetitlespace
-Amount of space between last system of the previous piece and the
+Amount of space between the last system of the previous piece and the
title of the next.
@item betweentitlespace
Amount of space between consecutive titles (e.g., the title of the
-book and the title of piece).
+book and the title of a piece).
@end table
@end quotation
@}
@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
+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's why the
-value has to be multiplied in the example above.
+value has to be multiplied in the example
@example
\paper @{
@cindex copyright
@cindex tagline
-The default footer is empty, except for the first page, where it the
+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 ``Engraved by LilyPond (@var{version})''.@footnote{Nicely
@end quotation
The page layout itself is done by two functions in the
-@code{\paper}, @code{page-music-height} and
+@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.
@node File structure
@section File structure
-The bigger part of this manual is concerned with entering various
+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
them all.
A @code{.ly} file contains any number of toplevel expressions, where a
-toplevel expressions is one of the following
+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 toplevel changes the default
+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
@item
A @code{\book} block logically combines multiple movements
-(i.e., multiple @code{\score} blocks) into one document. A number of
+(i.e., multiple @code{\score} blocks) in one document. A number of
@code{\scores} creates a single output file, where all movement are
-concatenated..
+concatenated.
This behavior can be changed by setting the variable
@code{toplevel-book-handler} at toplevel. The default handler is
@{ c'4 d' e'2 @}
@end example
-This will add the piece in a @code{\score}, and formats it into a
+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.
@end itemize
-The following example shows three things which may be entered at
+The following example shows three things that may be entered at
toplevel
@example
@item @code{\encoding}
@item @code{\renameinput}
@end itemize
-
@node Invoking convert-ly
@section Invoking @command{convert-ly}
-The syntax is regularly changed to simplify it or improve it in
-different ways. A side effect of this, is that LilyPond often is not
-compatible with older files. To remedy this, the program
-@command{convert-ly} can be used to deal with most of the syntax changes.
+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 file to detect the old
+It uses @code{\version} statements in the input files to detect the old
version number. For example, to upgrade all LilyPond files in the
current directory and its subdirectories, enter the following on the
command line.
Do an inline edit of the input file. Overrides @code{--output}.
@item -f,--from=@var{from-patchlevel}
-Set the level to convert from. If this is not set, @command{convert-ly}
+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 -o,--output=@var{file}
instruments: it specifies cabling, a serial protocol and a file
format. The MIDI file format is a de facto standard format for
exporting music from other programs, so this capability may come in
-useful when importing files from a program that has convertor for a
+useful when importing files from a program that has a convertor for a
direct format.
@command{midi2ly} converts tracks into @internalsref{Staff} and
Mup (Music Publisher) is a shareware music notation program by Arkkra
Enterprises. @command{mup2ly} will convert part of a Mup file to LilyPond
-format. It is invoked as follows:
+format. It is invoked from the command-line as follows:
@cindex Music Publisher
@cindex Mup
@cindex Arkkra
-It is invoked from the command-line as follows.
-
@example
mup2ly [@var{option}]@dots{} @var{mup-file}
@end example
@section Other formats
LilyPond itself does not come with support for other formats, but
-there are some external tools that generate LilyPond files also.
+there are some external tools that also generate LilyPond files.
These tools include
@node Suggestions for writing LilyPond files
@section Suggestions for writing LilyPond files
-Now you're ready to begin writing bigger LilyPond files -- not just the
+Now you're ready to begin writing larger LilyPond files -- not just the
little examples in the tutorial, but whole pieces. But how should you
go about doing it?
-The best answer is ``however you want to do it''. As long as LilyPond
+The best answer is ``however you want to do it.'' As long as LilyPond
can understand your files and produces the output that you want, it
doesn't matter what your files look like. That said, sometimes we
make mistakes when writing files. If LilyPond can't understand your
files, or produces output that you don't like, how do you fix the
problem?
-Here are a few suggestions that can help you in avoiding or fixing
+Here are a few suggestions that can help you to avoid or fix
problems:
@itemize @bullet
@section Jazz combo
This is a much more complicated template, for a jazz ensemble. Note that all
-instruments are notated @code{\key c \major}. This refers to the key in
+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.
LilyPond, compared to graphical score editors: in LilyPond, you can
very easily reuse small segments of music without writing them out
completely. This template defines a large number of small segments
-(@code{taor, grip, thrd,} etc), which can be reused easily.
+(@code{taor}, @code{grip}, @code{thrd}, etc), which can be reused easily.
-TODO - replace Bagpipe template with Andrew McNabb's work?
+@c TODO - replace Bagpipe template with Andrew McNabb's work?
@lilypond[quote,verbatim]
taor = { \grace { g32[ d' g e'] } }
@subsection Texinfo
-You can include LilyPond fragments in texinfo; in fact, this entire manual
-is written in texinfo.
+You can include LilyPond fragments in Texinfo; in fact, this entire manual
+is written in Texinfo.
@example
\input texinfo
a4 b c d
@@end lilypond
-More texinfo text
+More Texinfo text
@@lilypond[verbatim,fragment,raggedright]
d4 c b a
@@bye
@end example
-
eye deceives us a little; not only does it notice the distance between
note heads, it also takes into account the distance between
consecutive stems. As a result, the notes of an up-stem/@/down-stem
-combination should be put farther apart, and the notes of a down-up
+combination should be put farther apart, and the notes of a down-stem/@/up-stem
combination should be put closer together, all depending on the
combined vertical positions of the notes. The first two measures are
printed with this correction, the last two measures without. The notes
@cindex typography
Musicians are usually more absorbed with performing than with studying
-the looks of piece of music, so nitpicking about typographical details
+the looks of a piece of music, so nitpicking about typographical details
may seem academical. But it is not. In larger pieces with monotonous
rhythms, spacing corrections lead to subtle variations in the layout
of every line, giving each one a distinct visual signature. Without
this signature all lines would look the same, and they become like a
labyrinth. If a musician looks away once or has a lapse in
-concentration, they might lose their place on the page.
+concentration, the lines might lose their place on the page.
Similarly, the strong visual look of bold symbols on heavy staff lines
-stands out better when music is far away from reader, for example, if
-it is on a music stand. A careful distribution of white space allows
+stands out better when the music is far away from the reader, for example,
+if it is on a music stand. A careful distribution of white space allows
music to be set very tightly without cluttering symbols together. The
result minimizes the number of page turns, which is a great advantage.
reader in her task. For performance material like sheet music, this is
of double importance: musicians have a limited amount of attention. The
less attention they need for reading, the more they can focus on
-playing itself. In other words, better typography translates to better
+playing the music. In other words, better typography translates to better
performances.
These examples demonstrate that music typography is an art that is
the dull work can be automated. If LilyPond solves most of the common
situations correctly, this will be a huge improvement over existing
software. The remaining cases can be tuned by hand. Over the course
-of years, the software can be refined to do more and more
+of years, the software can be refined to do more and more things
automatically, so manual overrides are less and less necessary.
-When we started we wrote the LilyPond program entirely in the C++
+When we started, we wrote the LilyPond program entirely in the C++
programming language; the program's functionality was set in stone by
the developers. That proved to be unsatisfactory for a number of
reasons:
@item When LilyPond makes mistakes,
users need to override formatting decisions. Therefore, the user must
have access to the formatting engine. Hence, rules and settings cannot
-be fixed by us at compile time but must be accessible for users at
+be fixed by us at compile-time but must be accessible for users at
run-time.
@item Engraving is a matter of visual judgment, and therefore a matter of
Scheme variables control layout decisions. For example, many
graphical objects have a direction variable that encodes the choice
between up and down (or left and right). Here you see two chords,
-with accents and arpeggio. In the first chord, the graphical objects
+with accents and arpeggios. In the first chord, the graphical objects
have all directions down (or left). The second chord has all
directions up (right).
containing procedures. These procedures perform the actual
formatting, and by substituting different ones, we can change the
appearance of objects. In the following example, the rule which note
-head objects use to produce their symbol is changed during the music
+head objects are used to produce their symbol is changed during the music
fragment.
@c FIXME: this example has errors:
Common music notation is a system of recording music that has evolved
over the past 1000 years. The form that is now in common use dates
from the early renaissance. Although the basic form (i.e., note heads on a
-5-line staff) has not changed, the details still change to express the
+5-line staff) has not changed, the details still evolve to express the
innovations of contemporary notation. Hence, it encompasses some 500
years of music. Its applications range from monophonic melodies to
-monstrous counterpoint for large orchestras.
+monstrous counterpoints for large orchestras.
How can we get a grip on such a many-headed beast, and force it into
-the confines of a computer program? Our solution is break up the
+the confines of a computer program? Our solution is to break up the
problem of notation (as opposed to engraving, i.e., typography) into
digestible and programmable chunks: every type of symbol is handled by
a separate module, a so-called plug-in. Each plug-in is completely
modular and independent, so each can be developed and improved
-separately. Such plug-ins are called @code{engraver}, by analogy with
+separately. Such plug-ins are called @code{engraver}s, by analogy with
craftsmen who translate musical ideas to graphic symbols.
In the following example, we see how we start out with a plug-in for
group called `Voice context,' while the engravers for key, accidental,
bar, etc., go into a group called `Staff context.' In the case of
polyphony, a single Staff context contains more than one Voice context.
-Similarly, more Staff contexts can be put into a single Score
+Similarly, multiple Staff contexts can be put into a single Score
context. The Score context is the top level notation context.
@seealso
@end ifhtml
The program reference is a set of heavily cross linked HTML pages,
-which document the nit-gritty details of each and every LilyPond
+which document the nitty-gritty details of each and every LilyPond
class, object, and function. It is produced directly from the
formatting definitions used.
files. There are a huge number of formatting options, and all of them
are described in this document. Each section of the
notation manual has a @b{See also} subsection, which refers to the
-the generated documentation. In the HTML document, these subsections
+generated documentation. In the HTML document, these subsections
have clickable links.
@item
This collection of files tests each notation and engraving feature of
LilyPond in one file. The collection is primarily there to help us
debug problems, but it can be instructive to see how we exercise the
-program. The format is similar to the the tips and tricks document.
+program. The format is similar to the tips and tricks document.
@end itemize
initialization and example files. Throughout this manual, we refer to
input files relative to the top-directory of the source archive. For
example, @file{input/@/test/@/bla@/.ly} may refer to the file
-@file{lilypond@/-2.3.14/@/input/@/test/@/bla@/.ly}. On binary packages
+@file{lilypond@/-2.4.0/@/input/@/test/@/bla@/.ly}. On binary packages
for the Unix platform, the documentation and examples can typically be
found somewhere below @file{/usr/@/share/@/doc/@/lilypond/}.
Initialization files, for example @file{scm/@/lily@/.scm}, or
@cindex switches
-The @code{lilypond} may be called as follows from the command line.
+The @code{lilypond} executable may be called as follows from the command line.
@example
lilypond [@var{option}]@dots{} @var{file}@dots{}
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}.
+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
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} files, so be careful
+GUILE is not reset after processing a @code{.ly} file, so be careful
not to change any system defaults from within Scheme.}
@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 function @code{ly:set-option} allows for access to
+sequentially. The function @code{ly:set-option} allows access to
some internal variables. Use @code{-e '(ly:option-usage)'} for more
information.
@item -f,--format=@var{format}
-@c
-@c
A comma separated list of back-end output formats to use. Choices are
-@code{tex} (for @TeX{} output, to be processed with La@TeX{}, and
+@code{tex} (for @TeX{} output, to be processed with La@TeX{}), and
@code{ps} for PostScript.
There are other output options, but they are intended for developers.
-
-
@cindex output format, setting
@cindex PostScript output
@cindex Scheme dump
@item --dvi
Generate DVI files. In this case, the @TeX{} backend should be
-specified, i.e. @code{-f tex}.
+specified, i.e., @code{-f tex}.
@item --png
Generate pictures of each page, in PNG format. This implies @code{--ps}.
@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 limited in
-both allowed CPU and memory usage.
+on a publicly accessible webserver, the process should be limited in
+both CPU and memory usage.
@item -v,--version
Show version information.
+
@item -V,--verbose
Be verbose: show full paths of all files read, and give timing
information.
They should normally be sourced as part of the login process. If these
scripts are not run from the system wide login process, then you must
-run it yourself.
+run them yourself.
@cindex installing LilyPond
@table @code
@item TEXMF
To make sure that @TeX{} and lilypond find data files (among
-others @file{.tex}, @file{.mf} and @file{.tfm}),
+others @file{.tex}, @file{.mf}, and @file{.tfm}),
you have to set @code{TEXMF} to point to the lilypond data
file tree. A typical setting would be
@example
-@{/usr/share/lilypond/1.6.0,@{!!/usr/share/texmf@}@}
+@{/usr/share/lilypond/2.4.0,@{!!/usr/share/texmf@}@}
@end example
@end table
@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 is printed of the offending
-function call.
+@code{--verbose}) then a call trace of the offending
+function call is printed.
@cindex Programming error
@item Programming error
@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 bugreport.
+send a bug-report.
@end table
@var{offending input line}
@end example
-A line-break is inserted in offending line to indicate the column
+A line-break is inserted in the offending line to indicate the column
where the error was found. For example,
@example
@end example
These locations are LilyPond's best guess about where the warning or
-error occured, but (by their very nature) warning and errors occur
+error occured, 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.
@cindex reporting bugs
If you have input that results in a crash or an erroneous output, then
-that is a bug. We try respond to bug-reports promptly, and fix them as
+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. Make it small, so we can easily debug the
problem. Don't forget to tell which version of LilyPond you use! Send
When you've found a bug, have a look at our
@uref{http://@/lilypond@/.org/@/doc/@/v2.3/@/bugs/,bug database} to see if
-it has already been reported. You could also try doing a few searches
+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 table
-All these editors can be made to jump in the input file to the source
+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}.
@code{lilypond-latex} [@var{option}]@dots{} @var{file}@dots{}
@end example
-To have @code{lilypond-latex} read from stdin, use a dash @code{-} for
+To have @code{lilypond-latex} read from stdin, use a dash (@code{-}) for
@var{file}. The program supports the following options.
@cindex stdin, reading
Read from the @code{\header} block.
@item latexheaders
-Specify additional La@TeX{} headers file.
+Specify additional La@TeX{} header files.
Normally read from the @code{\header} block. Default value: empty.
@item latexpackages
-Specify additional La@TeX{} packages file. This works cumulative,
+Specify additional La@TeX{} package files. This works cumulative,
so you can add multiple packages using multiple @code{-s=latexpackages} options.
Normally read from the @code{\header} block. Default value:
@code{geometry}.
block.
@item papersize
-The paper size (as a name, e.g. @code{a4}). It is normally read from
+The paper size (as a name, e.g., @code{a4}). It is normally read from
the @code{\layout} block.
@item fontenc
@cindex HTML, music in
@cindex Texinfo, music in
Some texts contain music examples. These texts are musicological
-treatises, songbooks or manuals like this. Such texts can be made by
+treatises, songbooks, or manuals like this. Such texts can be made by
hand, simply by importing a PostScript figure into the word processor.
However, there is an automated procedure to reduce the amount of work
involved in HTML, La@TeX{}, and Texinfo documents.
@cindex latin1
LilyPond does not use the La@TeX{} font handling scheme for lyrics and text
-markups; it uses the EC font family and
-
-
- so if you use characters in your @command{lilypond-book}
-documents that are not included in the standard US-ASCII character set,
+markups; it uses the EC font family, so if you use characters in your
+@command{lilypond-book} documents that are not included in the standard
+US-ASCII character set,
include @code{\usepackage[latin1]@{inputenc@}} in the file
header but do not include @code{\usepackage[T1]@{fontenc@}}. Character
-sets other than latin1 are not supported directly but may be handled by
+sets other than @code{latin1} are not supported directly but may be handled by
explicitly specifying the @code{font-name} property in LilyPond and
using the corresponding La@TeX{} packages. Please consult the mailing list
for more details.
@section Integrating Texinfo and music
Texinfo is the standard format for documentation at the GNU
-project. An example of a texinfo document is this manual. The HTML,
-PDF and Info versions of the manual are made from the document.
+project. An example of a Texinfo document is this manual. The HTML,
+PDF, and Info versions of the manual are made from the Texinfo document.
In the input file, music is specified like
@@lilypondfile[options,go,here]@{@var{filename}@}
@end example
-When @command{lilypond-book} is run on it, this results in a texinfo file
+When @command{lilypond-book} is run on it, this results in a Texinfo file
(with extension @file{.texi}) containing @code{@@image} tags for HTML and
info. For the printed edition, the raw @TeX{} output of LilyPond is
included into the main document.
-We show two simple examples here. A lilypond environment
+We show two simple examples here. A @code{lilypond} environment
@example
@@lilypond[fragment]
@lilypond[fragment,staffsize=11]{<c' e' g'>}
-When producing texinfo, @command{lilypond-book} also generates bitmaps of
+When producing Texinfo, @command{lilypond-book} also generates bitmaps of
the music (in PNG format), so you can make an HTML document with embedded
music.
This runs @file{trip.ly} through @code{lilypond} (see also
@ref{Invoking lilypond}), and substitutes a preview image in the
output. The image links to a separate HTML file, so clicking it will
-take the viewer to a menu, with links to images, midi and printouts.
+take the viewer to a menu, with links to images, midi output, and printouts.
@cindex titling in THML
@cindex preview image
This option affects LilyPond output, not the text layout.
@item notime
-prevents printing time signature.
+prevents printing the time signature.
@item fragment
adds some boilerplate code, so you can enter like
ps2pdf yourfile.ps
@end example
-To produce a texinfo document (in any output format), follow the normal
-procedures for texinfo.
+To produce a Texinfo document (in any output format), follow the normal
+procedures for Texinfo.
@command{lilypond-book} accepts the following command line options:
@table @code
@item @option{-f @var{format}}, @option{--format=@var{format}}
-Specify the document type to process: @code{html}, @code{latex} or
+Specify the document type to process: @code{html}, @code{latex}, or
@code{texi} (the default). @command{lilypond-book} figures this
out automatically.
-The @code{texi} document type produces a texinfo file with music
+The @code{texi} document type produces a Texinfo file with music
fragments in the DVI output only. For getting images in the HTML
version, the format
@code{texi-html} must be used.
Place generated files in @var{dir}.
@item @option{-P @var{process}}, @option{--process=@var{COMMAND}}
-Process lilypond snippets using @var{command}. The default command is
+Process LilyPond snippets using @var{command}. The default command is
@code{lilypond}.
@item @option{--verbose}
Print version information.
@end table
-For La@TeX{} input, the file to give to La@TeX{} has extension
-@file{.latex}. Texinfo input will be written to a file with extension
+For La@TeX{} input, the file to give to La@TeX{} has the extension
+@file{.latex}. Texinfo input will be written to a file with the extension
@file{.texi}.
@refbugs
Notation. Alfred Publishing, Van Nuys CA ISBN 0-88284-768-6.
A concise, alphabetically ordered list of typesetting and music
-(notation) issues which covers most of the normal cases.
+(notation) issues, covering most of the normal cases.
@item Read 1968
-Gardner Read, Music Notation: a Manual of Modern Practice.
+Gardner Read, Music Notation: A Manual of Modern Practice.
Taplinger Publishing, New York (2nd edition).
A standard work on music notation.
Ted Ross, Teach yourself the art of music engraving and processing.
Hansen House, Miami, Florida 1987.
-This book is about music engraving, i.e. professional typesetting.
+This book is about music engraving, i.e., professional typesetting.
It contains directions on stamping, use of pens and notational
conventions. The sections on reproduction technicalities and history
are also interesting.
@item Stone 1980
-Kurt Stone, Music Notation in the Twentieth Century
+Kurt Stone, Music Notation in the Twentieth Century.
Norton, New York 1980.
This book describes music notation for modern serious music, but
@dircategory GNU music project
@direntry
-* Glossary: (lilypond/music-glossary). Glossary of music terms.
+* Glossary: (lilypond/music-glossary). Glossary of music terms.
@end direntry
@ifhtml
FI: altto, matala naisääni.
A female voice of low range (@emph{contralto}). Originally the alto was a
-high male voice (hence the name) which by the use of falsetto reached the
+high male voice (hence the name), which by the use of falsetto reached the
height of the female voice. This type of voice is also known as
@aref{counter tenor}.
S: bas,
FI: basso, matala miesääni.
-1.@tie{}The lowest of men's voices.
+1.@tie{}The lowest male voice.
2.@tie{}Sometimes, especially in jazz music, used as
an abbreviation for double bass.
@aref{strings}.
FI: palkki.
Line connecting a series of notes (shorter than a quarter note).
-The number of beams determine the note value of the connected notes.
+The number of beams determines the note value of the connected notes.
@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
S: brassinstrument, mässingsinstrument,
FI: vaskisoitin.
-A family of blown musical instruments made of brass all using a cup formed
+A family of blown musical instruments made of brass, all using a cup formed
mouth piece. The brass instruments commonly used in a symphony orchestra are
trumpet, trombone, french horn, and tube.
An extended, improvisatory style section inserted near the end of
movement. The purpose of a cadenza is to give singers or players a chance
-to exhibit their technical skill and not the least their ability to
+to exhibit their technical skill and -- not last -- their ability to
improvise. Since the middle of the 19th century, however, most cadences have
been written down by the composer.
pitch contained in the cluster would be notated as an ordinary note.
@lilypond[fragment,relative=2,verbatim,raggedright]
-\makeClusters { <c e > <b f'> <b g'> <c g> <f e> }
+\makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
@end lilypond
@aitem{comma}@c
ES: contratenor,
I: controtenore,
F: contre-tenor,
-D: Countertenor,
+D: Countertenor, Kontratenor,
NL: contratenor,
DK: kontratenor,
S: kontratenor, counter tenor,
ES: dal segno,
I: dal segno,
F: dal segno, depuis le signe,
-D: dal segno,
+D: dal segno, ab dem Zeichen,
NL: dal segno,
DK: dal segno,
S: dal segno,
2@w{ }@aref{semitone}s (S). Scales played on the white keys
of a piano keybord are diatonic.
-The church modes are used in gregorial chant and in pre baroque early
+The church modes are used in gregorial chant and in pre-baroque early
music but also to some extent in newer jazz music.
@lilypond[fragment,notime,raggedright]
A system of harmonic analysis. It is based on the idea that, in a given key,
there are only three functionally different chords: tonic (T, the chord on the
first note of the scale), subdominant (S, the chord on the fourth note), and
-dominant (D, the chord on the fifth note). Other are considered to be
+dominant (D, the chord on the fifth note). Others are considered to be
variants of the base chords.
@lilypond[fragment,notime,linewidth=13.0\cm]
diminished, or augmented. The augmented fourth and the diminished fifth are
identical (@aref{enharmonic}) and are called @emph{tritonus}
because they consist of three @aref{whole tone}s. The addition
-of such two forms an octave.
+of such two intervals forms an octave.
@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
ES: .,
I: .,
F: .,
-D: .,
+D: Liedtext,
NL: liedtekst,
DK: .,
S: .,
or a section of it. For instance, 3/4 meter means that the basic
@aref{note value}s are quarter notes and that a
@aref{measure} consists of three of those. According to
-whether there are two, three or four units to the measure,
+whether there are two, three, or four units to the measure,
one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
S: nothuvud,
FI: nuotin pää.
-A head like sign which indicates pitch by its position on a
+A head-like sign which indicates pitch by its position on a
@aref{staff} provided with a @aref{clef}, and duration
by a variety of shapes such as hollow or black heads with or without
@aref{stem}s, @aref{flag}s, etc. For percussion
Note values (durations) are measured as fractions, normally 1/2, of the next
higher note value. The longest duration normally used is called @emph{brevis},
-but sometimes (mostly in pre baroque music) the double length note value
+but sometimes (mostly in pre-baroque music) the double length note value
@emph{longa} is used.
@lilypond[fragment,notime,linewidth=13.0\cm]
ES: polifonĂa,
I: polifonia,
F: polyphonie,
-D: Polyphonie,
+D: Polyphonie, Mehrstimmigkeit,
NL: polyfonie,
DK: polyfoni,
S: polyfoni,
(a) Metrical rhythm in which every time value is a multiple or fraction of a
fixed unit of time, called @aref{beat}, and in which the normal
@aref{accent} recurs in regular intervals, called
-@aref{measure}. The basic scheme scheme of time values is called
+@aref{measure}. The basic scheme of time values is called
@aref{meter}. (b) Measured rhythm which lacks regularly recurrent
accent. In modern notation such music appears as a free alternation of
different measures. (c) Free rhythm, i.e., the use of temporal values having
ES: segunda,
I: secunda,
F: seconde,
-D: Sekund,
+D: Sekund(a),
NL: secunde,
DK: sekund,
S: sekund,
@aref{symphony}, quartet, etc. A movement written in sonata form
falls into three sections called @emph{exposition}, @emph{development} and
@emph{recapitulation}. In the exposition the composer introduces some musical
-ideas, consisting of a number of themes; in the development section the composer
-"develops" this material, and in the recapitulation the composer repeats the exposition,
-with certain modificationsr. The exposition contains a number of themes
-which fall into two groups, often called first and second subject. Other
-melodies occurring in each group are considered as continuations of these
-two. The second theme is in another key, normally in the key of the
-@aref{dominant} if the @aref{tonic} is
-@aref{major}, and in the @aref{relative key} if the
-tonic is @aref{minor}.
+ideas, consisting of a number of themes; in the development section the
+composer `develops' this material, and in the recapitulation the composer
+repeats the exposition, with certain modifications. The exposition contains a
+number of themes that fall into two groups, often called first and second
+subject. Other melodies occurring in each group are considered as
+continuations of these two. The second theme is in another key, normally in
+the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
+@aref{relative key} if the tonic is @aref{minor}.
@aitem{soprano}@c
ES: soprano,
ES: staccato,
I: staccato,
F: staccato, piqué, détaché,
-D: staccato,
+D: Staccato,
NL: staccato,
DK: staccato,
S: staccato,
S: notsystem,
FI: nuottiviivasto.
-A series of (normally@w{ }5) horizontal lines upon and between
+A series of (normally five) horizontal lines upon and between
which the musical notes are written, thus indicating (in connection
with a @aref{clef}) their pitch. Staves for
@aref{percussion} instruments may have fewer lines.
S: subdominant,
FI: subdominantti, alidominantti.
-The fourth @aref{scale degree}. @aref{functional
-harmony}.
+The fourth @aref{scale degree}. @aref{functional harmony}.
@aitem{submediant}@c
ES: superdominante,
FI: synkooppi.
Any deliberate upsetting of the normal pulse of @aref{meter},
-@aref{accent} and @aref{rhythm}. Our system of musical
+@aref{accent}, and @aref{rhythm}. The occidental system of musical
rhythm rests upon the grouping of equal beats into groups of two or three,
with a regularly recurrent accent on the first beat of each group. Any
deviation from this scheme is felt as a disturbance or contradiction between
FI: viritysjärjestelmä.
Systems of tuning in which the intervals deviate from the acoustically pure
-intervals. @aref{meantone temperament}, @aref{equal
-temperament}.
+intervals. @aref{meantone temperament}, @aref{equal temperament}.
@aitem{tempo indication}@c
ES: indicaciĂ³n de tempo,
S: tenor,
FI: tenori, korkea miesääni.
-The highest voice of men (apart from @aref{counter tenor}).
+The highest male voice (apart from @aref{counter tenor}).
@aitem{tenth}@c
ES: décima,
A curved line, identical in appearance with the @aref{slur}, which
connects two succesive notes of the same pitch, and which has the function of
-uniting them into a single sound equal to the combined durations.
+uniting them into a single sound (tone) equal to the combined durations.
@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
A sound of definite pitch and duration, as distinct from @emph{noise}.
Tone is a primary building material of music.
-Music from the 20th century may be based on non tone related sounds.
+Music from the 20th century may be based on atonal sounds.
@aitem{tonic}@c
ES: tonica,
FI: tremolo.
On stringed instruments (@aref{strings}) the quick reiteration of
-the same tone, produced by a rapid up-and-down movement movement of the bow
+the same tone, produced by a rapid up-and-down movement of the bow
(a). The term is also used for the rapid alternation (b) between two notes of
a @aref{chord}, usually in the distance of a third
(@aref{interval}).
FI: viritysavain.
A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
-give the international pitch for the tone @emph{a} (440 vibrations per second.)
+give the international pitch for the tone @emph{a} (440 vibrations per second).
@aitemii{turn,gruppetto}@c
ES: grupo,
FI: ääni, lauluääni.
1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
-@aref{contralto}, @aref{tenor},
-@aref{baritone}, @aref{bass}.
+@aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
2.@tie{}A melodic layer or part of a polyphonic composition.
@aitem{weak beat}@c
@code{midiInstrument} property.
@example
-"acoustic grand" "contrabass" "lead 7 (fifths)"
-"bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
-"electric grand" "pizzicato strings" "pad 1 (new age)"
-"honky-tonk" "orchestral strings" "pad 2 (warm)"
-"electric piano 1" "timpani" "pad 3 (polysynth)"
-"electric piano 2" "string ensemble 1" "pad 4 (choir)"
-"harpsichord" "string ensemble 2" "pad 5 (bowed)"
-"clav" "synthstrings 1" "pad 6 (metallic)"
-"celesta" "synthstrings 2" "pad 7 (halo)"
-"glockenspiel" "choir aahs" "pad 8 (sweep)"
-"music box" "voice oohs" "fx 1 (rain)"
-"vibraphone" "synth voice" "fx 2 (soundtrack)"
-"marimba" "orchestra hit" "fx 3 (crystal)"
-"xylophone" "trumpet" "fx 4 (atmosphere)"
-"tubular bells" "trombone" "fx 5 (brightness)"
-"dulcimer" "tuba" "fx 6 (goblins)"
-"drawbar organ" "muted trumpet" "fx 7 (echoes)"
-"percussive organ" "french horn" "fx 8 (sci-fi)"
-"rock organ" "brass section" "sitar"
-"church organ" "synthbrass 1" "banjo"
-"reed organ" "synthbrass 2" "shamisen"
-"accordion" "soprano sax" "koto"
-"harmonica" "alto sax" "kalimba"
-"concertina" "tenor sax" "bagpipe"
-"acoustic guitar (nylon)" "baritone sax" "fiddle"
-"acoustic guitar (steel)" "oboe" "shanai"
-"electric guitar (jazz)" "english horn" "tinkle bell"
-"electric guitar (clean)" "bassoon" "agogo"
-"electric guitar (muted)" "clarinet" "steel drums"
-"overdriven guitar" "piccolo" "woodblock"
-"distorted guitar" "flute" "taiko drum"
-"guitar harmonics" "recorder" "melodic tom"
-"acoustic bass" "pan flute" "synth drum"
-"electric bass (finger)" "blown bottle" "reverse cymbal"
-"electric bass (pick)" "shakuhachi" "guitar fret noise"
-"fretless bass" "whistle" "breath noise"
-"slap bass 1" "ocarina" "seashore"
-"slap bass 2" "lead 1 (square)" "bird tweet"
-"synth bass 1" "lead 2 (sawtooth)" "telephone ring"
-"synth bass 2" "lead 3 (calliope)" "helicopter"
-"violin" "lead 4 (chiff)" "applause"
-"viola" "lead 5 (charang)" "gunshot"
-"cello" "lead 6 (voice)"
+acoustic grand contrabass lead 7 (fifths)
+bright acoustic tremolo strings lead 8 (bass+lead)
+electric grand pizzicato strings pad 1 (new age)
+honky-tonk orchestral strings pad 2 (warm)
+electric piano 1 timpani pad 3 (polysynth)
+electric piano 2 string ensemble 1 pad 4 (choir)
+harpsichord string ensemble 2 pad 5 (bowed)
+clav synthstrings 1 pad 6 (metallic)
+celesta synthstrings 2 pad 7 (halo)
+glockenspiel choir aahs pad 8 (sweep)
+music box voice oohs fx 1 (rain)
+vibraphone synth voice fx 2 (soundtrack)
+marimba orchestra hit fx 3 (crystal)
+xylophone trumpet fx 4 (atmosphere)
+tubular bells trombone fx 5 (brightness)
+dulcimer tuba fx 6 (goblins)
+drawbar organ muted trumpet fx 7 (echoes)
+percussive organ french horn fx 8 (sci-fi)
+rock organ brass section sitar
+church organ synthbrass 1 banjo
+reed organ synthbrass 2 shamisen
+accordion soprano sax koto
+harmonica alto sax kalimba
+concertina tenor sax bagpipe
+acoustic guitar (nylon) baritone sax fiddle
+acoustic guitar (steel) oboe shanai
+electric guitar (jazz) english horn tinkle bell
+electric guitar (clean) bassoon agogo
+electric guitar (muted) clarinet steel drums
+overdriven guitar piccolo woodblock
+distorted guitar flute taiko drum
+guitar harmonics recorder melodic tom
+acoustic bass pan flute synth drum
+electric bass (finger) blown bottle reverse cymbal
+electric bass (pick) shakuhachi guitar fret noise
+fretless bass whistle breath noise
+slap bass 1 ocarina seashore
+slap bass 2 lead 1 (square) bird tweet
+synth bass 1 lead 2 (sawtooth) telephone ring
+synth bass 2 lead 3 (calliope) helicopter
+violin lead 4 (chiff) applause
+viola lead 5 (charang) gunshot
+cello lead 6 (voice)
@end example
@node The Feta font
@chapter Notation manual
This chapter describes all the different types of notation supported
-by LilyPond. It is intended as a reference for users that are already
+by LilyPond. It is intended as a reference for users who are already
somewhat familiar with LilyPond.
@menu
@section Note entry
@cindex Note entry
-This section is about basic notation elements notes, rests and
+This section is about basic notation elements like notes, rests, and
related constructs, such as stems, tuplets and ties.
@menu
@subsection Automatic accidentals
@cindex Automatic accidentals
-Common rules for typesetting accidents have been placed in a
+Common rules for typesetting accidentals have been placed in a
function. This function is called as follows
@cindex @code{set-accidental-style}
@end example
The function can take two arguments: the name of the accidental style,
-and an optional argument that denotes the context which should be
+and an optional argument that denotes the context that should be
changed. If no context name is supplied, @code{Staff} is the default,
but you may wish to apply the accidental style to a single @code{Voice}
instead.
This rule is the same as @code{modern-voice}, but with the extra
accidentals (the ones not typeset by @code{voice}) typeset
as cautionaries. Even though all accidentals typeset by
-@code{default} @emph{are} typeset by this variable then
+@code{default} @emph{are} typeset by this variable,
some of them are typeset as cautionaries.
@item piano
@item piano-cautionary
@cindex @code{#(set-accidental-style 'piano-cautionary)}
-As @code{#(set-accidental-style 'piano)} but with the extra accidentals
-typeset as cautionaries.
+Same as @code{#(set-accidental-style 'piano)} but with the extra
+accidentals typeset as cautionaries.
@item no-reset
@cindex @code{no-reset} accidental style
@code{c^"text"}. By default, these indications do not influence the
note spacing, but by using the command @code{\fatText}, the widths
will be taken into account
-@c
+
@lilypond[quote,fragment,raggedright,verbatim,relative=1]
c4^"longtext" \fatText c4_"longlongtext" c4
@end lilypond
Other symbols can be added using the syntax
@var{note}@code{\}@var{name}. Again, they
can be forced up or down using @code{^} and @code{_},
-e.g.
+e.g.,
@lilypond[quote,raggedright,verbatim,fragment,relative=2]
c\fermata c^\fermata c_\fermata
will be put to the note. In this example, the
@internalsref{TextScript} (the sharp symbol) first has the lowest
priority, so it is put lowest in the first example. In the second, the
-prall trill (the @internalsref{Script}) has the lowest, so it on the
+prall trill (the @internalsref{Script}) has the lowest, so it is on the
inside. When two objects have the same priority, the order in which
they are entered decides which one comes first.
@var{note}-@var{digit}
@end example
For finger changes, use markup texts
-@c
+
@lilypond[quote,verbatim,raggedright,fragment,relative=1]
c4-1 c-2 c-3 c-4
c^\markup { \finger "2-3" }
You can use the thumb-script to indicate that a note should be
played with the thumb (e.g., in cello music)
-
@lilypond[quote,verbatim,raggedright,fragment,relative=2]
<a_\thumb a'-3>8 <b_\thumb b'-3>
@end lilypond
@code{\grace} command does not start a slur.
Internally, timing for grace notes is done using a second, `grace'
-time. Every point in time consists of two rational numbers: one
+timing. Every point in time consists of two rational numbers: one
denotes the logical time, one denotes the grace timing. The above
example is shown here with timing tuples
The placement of grace notes is synchronized between different staves.
-In the following example, there are two sixteenth graces notes for
+In the following example, there are two sixteenth grace notes for
every eighth grace note
@lilypond[quote,raggedright,relative=2,verbatim,fragment]
@refbugs
A score that starts with a @code{\grace} section needs an explicit
-@code{\context Voice} declaration, otherwise the main note and grace
+@code{\context Voice} declaration, otherwise the main note and the grace
note end up on different staves.
Grace note synchronization can also lead to surprises. Staff notation,
A crescendo mark is started with @code{\<} and terminated with
@code{\!}. A decrescendo is started with @code{\>} and also terminated
-with @code{\!}. Because these marks are bound to notes, if you must
+with @code{\!}. Because these marks are bound to notes, you must
use spacer notes if multiple marks are needed during one note
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
Make tremolo beams. These are not played in MIDI output by default.
@item percent
-Make beat or measure repeats. These look like percent signs. These are not played
-in MIDI output by default.
+Make beat or measure repeats. These look like percent signs. These
+are not played in MIDI output by default.
@end table
Brackets for the repeat are normally only printed over the topmost
staff. This can be adjusted by setting the @code{voltaOnThisStaff}
property @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly},
-@inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}
+@inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}.
@refbugs
@cindex drums
A percussion part for more than one instrument typically uses a
-multi line staff where each position in the staff refers to one piece
+multiline staff where each position in the staff refers to one piece
of percussion.
To typeset the music, the notes must be interpreted in a
@internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
-@c
@lilypond[quote,raggedright,verbatim]
up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
down = \drummode { bassdrum4 snare8 bd r bd sn4 }
}
@end lilypond
-The drum scheme supports six different toms. When there fewer toms, simply
-select the toms that produce the desired result, i.e., to get toms on
-the three middle lines you use @code{tommh}, @code{tomml} and
+The drum scheme supports six different toms. When there are fewer toms,
+simply select the toms that produce the desired result, i.e., to get toms
+on the three middle lines you use @code{tommh}, @code{tomml}, and
@code{tomfh}.
@item timbales-style
Piano staves are two normal staves coupled with a brace. The staves
are largely independent, but sometimes voices can cross between the
two staves. The same notation is also used for harps and other key
+@c Is this `harp' or `harpsichord'?
instruments. The @internalsref{PianoStaff} is especially built to
handle this cross-staffing behavior. In this section we discuss the
@internalsref{PianoStaff} and some other pianistic peculiarities.
@end quotation
-The autochanger switches on basis of pitch (middle C is the turning
+The autochanger switches on basis of the pitch (middle C is the turning
point), and it looks ahead skipping over rests to switch in
advance. Here is a practical example
@end lilypond
A third style of pedal notation is a mixture of text and brackets,
-obtained by setting the @code{pedalSustainStyle} style property to
+obtained by setting the @code{pedalSustainStyle} property to
@code{mixed}
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
c\sostenutoDown d e c, f g a\sostenutoUp
@end lilypond
-For fine-tuning of the appearance of a pedal bracket, the properties
+For fine-tuning the appearance of a pedal bracket, the properties
@code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
@code{PianoPedalBracket} objects (see
-@internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
-bracket may be extended to the right edge of the note head
+@internalsref{PianoPedalBracket} in the Program reference) can be
+modified. For example, the bracket may be extended to the right edge
+of the note head
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
@cindex @code{followVoice}
-Whenever a voice switches to another staff a line connecting the notes
+Whenever a voice switches to another staff, a line connecting the notes
can be printed automatically. This is switched on by setting
@code{PianoStaff.followVoice} to true
@node Cross staff stems
@subsection Cross staff stems
-The chords which cross staves may be produced by increasing the length
-of the stem in the lower stave, so it reaches the stem in the upper
-stave, or vice versa.
+Chords that cross staves may be produced by increasing the length
+of the stem in the lower staff, so it reaches the stem in the upper
+staff, or vice versa.
@lilypond[raggedright,verbatim,quote]
stemExtend = \once \override Stem #'length = #22
@itemize @bullet
@item
-Song texts must be entered as texts, not notes. For example, the
+Song texts must be entered as text, not notes. For example, the
input@tie{}@code{d} should be interpreted as a one letter syllable, not the
note@tie{}D.
Song texts must be printed as text, not as notes.
@item
-Song texts must be aligned with the notes of their melody
+Song texts must be aligned with the notes of their melody.
@end itemize
-The simplest solution to printing music uses the @code{\addlyrics}
+The simplest solution for printing music uses the @code{\addlyrics}
function to solve all these problems at once. However, these
three functions can be controlled separately, which is necessary
for complex vocal music.
@cindex @code{\lyricmode}
@cindex punctuation
-Lyrics are entered in a special input mode. This mode is is introduced
+Lyrics are entered in a special input mode. This mode is introduced
by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
@code{lyricsto}. In this mode you can enter lyrics,
with punctuation and accents, and the input @code{d} is not parsed as
@cindex spaces, in lyrics
@cindex quotes, in lyrics
-Any @code{_} character which appears in an unquoted word is converted
+Any @code{_} character that appears in an unquoted word is converted
to a space. This provides a mechanism for introducing spaces into words
without using quotes. Quoted words can also be used in Lyrics mode to
specify words that cannot be written with the above rules. The
@end example
This example is slightly academic, since it gives better looking
-results to use single quotes, @code{``} and @code{''}
+results using single quotes, @code{``} and @code{''}
@example
\lyricmode @{ He said: ``Let my peo ple go'' @}
@end example
@end example
This aligns the lyrics to the
-@c
notes of the @internalsref{Voice} context called @var{name}, which has
to exist. Therefore, normally the @code{Voice} is specified first, and
then the lyrics are specified with @code{\lyricsto}. The command
@code{\lyricmode} keyword may be omitted.
For different or more complex orderings, the best way is to setup the
-hierarchy of staves and lyrics first, e.g.
+hierarchy of staves and lyrics first, e.g.,
@example
\context ChoirStaff <<
\context Lyrics = sopranoLyrics @{ s1 @}
syllable under a tied or slurred group of notes. If you want to force
an unslurred group of notes to be a melisma, insert @code{\melisma}
after the first note of the group, and @code{\melismaEnd} after the
-last one, e.g.
+last one, e.g.,
@lilypond[quote,relative=2,raggedright,fragment,verbatim]
<<
@end ignore
Lyrics can also be entered without @code{\lyricsto}. In this case the
-durations of each syllable must be entered explicitly, for example,
+duration of each syllable must be entered explicitly, for example,
@example
play2 the4 game2.
@cindex singer's names
@cindex name of singer
-Stanza numbers can be added by setting @code{stanza}, e.g.
+Stanza numbers can be added by setting @code{stanza}, e.g.,
@lilypond[quote,raggedright,verbatim,relative=2,fragment]
\new Voice {
@cindex ambitus
The term @emph{ambitus} denotes a range of pitches for a given voice
-in a part of music. It also may denote the pitch range that a musical
+in a part of music. It may also denote the pitch range that a musical
instrument is capable of playing. Ambits are printed on vocal parts,
so performers can easily determine it meets their capabilities.
-It denoted at the beginning of a piece near the initial clef. The
-range is graphically specified by two note heads, that represent the
+Ambits are denoted at the beginning of a piece near the initial clef.
+The range is graphically specified by two note heads that represent the
minimum and maximum pitch. To print such ambits, add the
@internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
for example,
}
@end lilypond
-If you have multiple voices in a single staff, and you want a single
+If you have multiple voices in a single staff and you want a single
ambitus per staff rather than per each voice, add the
@internalsref{Ambitus_engraver} to the @internalsref{Staff} context
rather than to the @internalsref{Voice} context. Here is an example,
@cindex harmonics
Artificial harmonics are notated with a different notehead style. They
-are entered by
-marking the harmonic pitch with @code{\harmonic}.
+are entered by marking the harmonic pitch with @code{\harmonic}.
@lilypond[raggedright,verbatim,quote,fragment]
<c' g'\harmonic>4
Other chords may be entered by suffixing a colon and introducing a
modifier (which may include a number if desired)
-@c
@lilypond[quote,fragment,verbatim]
\chordmode { e1:m e1:7 e1:m7 }
@end lilypond
More complex chords may also be constructed adding separate steps
to a chord. Additions are added after the number following
-the colon, and are separated by dots
-@c
+the colon and are separated by dots
@lilypond[quote,verbatim,fragment]
\chordmode { c:5.6 c:3.7.8 c:3.6.13 }
@end lilypond
@lilypond[quote,verbatim,fragment]
\chordmode { c:7+ c:5+.3- c:3-.5-.7- }
@end lilypond
-Removals are specified similarly, and are introduced by a caret. They
+Removals are specified similarly and are introduced by a caret. They
must come after the additions
@lilypond[quote,verbatim,fragment]
\chordmode { c^3 c:7^5 c:9^3.5 }
Since an unaltered 11 does not sound good when combined with an
unaltered 3, the 11 is removed in this case (unless it is added
explicitly)
-@c
@lilypond[quote,raggedright,fragment,verbatim]
\chordmode { c:13 c:13.11 c:m13 }
@end lilypond
@end lilypond
@cindex @code{/+}
-A bass note can be added instead of transposed out of the chord,
+A bass note can be added instead transposed out of the chord,
by using @code{/+}@var{pitch}.
@lilypond[quote,raggedright,fragment,verbatim]
\chordmode { c1 c/+g c/+f }
@end lilypond
-Chords is a mode similar to @code{\lyricmode} etc. Most
+Chords is a mode similar to @code{\lyricmode}, etc. Most
of the commands continue to work, for example, @code{r} and
@code{\skip} can be used to insert rests and spaces, and property
commands may be used to change various settings.
@item chordNameSeparator
Different parts of a chord name are normally separated by a
slash. By setting @code{chordNameSeparator}, you can specify other
-separators, e.g.
+separators, e.g.,
@lilypond[quote,raggedright,fragment,verbatim]
\context ChordNames \chordmode {
c:7sus4
There are also two other chord name schemes implemented: an alternate
Jazz chord notation, and a systematic scheme called Banter chords. The
-alternate jazz notation is also shown on the chart in @ref{Chord name
+alternate Jazz notation is also shown on the chart in @ref{Chord name
chart}. Turning on these styles is described in the input file
@inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
@end lilypond
-@item The group is started with a bracket, and bar lines are connected. This is done with the
+@item The group is started with a bracket, and bar lines are connected.
+This is done with the
@internalsref{StaffGroup} context
@lilypond[verbatim,raggedright,quote]
cadenza, otherwise they will start too soon or too late.
A solution to this problem are the functions @code{mmrest-of-length}
-and @code{skip-of-length}. These Scheme functions take a piece music
-as argument, and generate a @code{\skip} or multi rest, exactly as
+and @code{skip-of-length}. These Scheme functions take a piece of music
+as argument, and generate a @code{\skip} or multi-rest, exactly as
long as the piece. The use of @code{mmrest-of-length} is demonstrated
in the following example.
@cindex bar lines, symbols on
The @code{\mark} command can also be used to put signs like coda,
-segno and fermatas on a bar line. Use @code{\markup} to
-to access the appropriate symbol
+segno, and fermata on a bar line. Use @code{\markup} to
+access the appropriate symbol
@lilypond[fragment,quote,raggedright,verbatim,relative=2]
c1 \mark \markup { \musicglyph #"scripts-ufermata" }
@node Instrument names
@subsection Instrument names
-In an orchestral score, instrument names are printed left side of the
-staves.
+In an orchestral score, instrument names are printed at the left side
+of the staves.
This can be achieved by setting @internalsref{Staff}.@code{instrument}
and @internalsref{Staff}.@code{instr}. This will print a string before
-the start of the staff. For the first start, @code{instrument} is
-used, for the next ones @code{instr} is used.
+the start of the staff. For the first staff, @code{instrument} is
+used, for the following ones, @code{instr} is used.
@lilypond[quote,verbatim,raggedright,relative=1,fragment]
\set Staff.instrument = "Ploink "
@refbugs
-When you put a name on a grand staff or piano staff the width of the
+When you put a name on a grand staff or piano staff, the width of the
brace is not taken into account. You must add extra spaces to the end of
the name to avoid a collision.
is changed to @code{to}.
-For example, consider a piece written in the key of D@tie{}major. If
+For example, consider a piece written in the key of D-major. If
this piece is a little too low for its performer, it can be
-transposed up to E major with
+transposed up to E-major with
@example
\transpose d e @dots{}
@end example
@subsection Instrument transpositions
The key of a transposing instrument can also be specified. This
-applies to many wind instruments, for example, clarinets (B-flat, A and
-E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
+applies to many wind instruments, for example, clarinets (B-flat, A, and
+E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
The transposition is entered after the keyword @code{\transposition}
entered from a (transposed) orchestral part. For example, in
classical horn parts, the tuning of the instrument is often changed
during a piece. When copying the notes from the part, use
-@code{\transposition}, e.g.
+@code{\transposition}, e.g.,
@example
\transposition d'
@cindex @code{R}
-Multi measure rests are entered using `@code{R}'. It is specifically
+Multi-measure rests are entered using `@code{R}'. It is specifically
meant for full bar rests and for entering parts: the rest can expand
to fill a score with rests, or it can be printed as a single
-multimeasure rest. This expansion is controlled by the property
+multi-measure rest. This expansion is controlled by the property
@code{Score.skipBars}. If this is set to true, empty measures will not
be expanded, and the appropriate number is added automatically
A variable (@code{\fermataMarkup}) is provided for
adding fermatas
-
@lilypond[quote,raggedright,verbatim,fragment]
\set Score.skipBars = ##t
\time 3/4
R2.^\fermataMarkup
@end lilypond
-If you want to have a text on the left end of a multi-measure rest,
-attach the text to a zero-length skip note, i.e.
+If you want to have text on the left end of a multi-measure rest,
+attach the text to a zero-length skip note, i.e.,
@example
s1*0^"Allegro"
@refbugs
It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
-over multi-measure rests.
+over multi-measure rests. And the pitch of multi-measure rests (or
+staff-centered rests) can not be influenced.
@cindex condensing rests
There is no way to automatically condense multiple rests into a single
-multimeasure rest. Multi measure rests do not take part in rest
+multi-measure rest. Multi-measure rests do not take part in rest
collisions.
-Be careful when entering multimeasure rests followed by whole
+Be careful when entering multi-measure rests followed by whole
notes. The following will enter two notes lasting four measures each
@example
R1*4 cis cis
@end lilypond
The first @code{g} appears only once, although it was
-specified twice (once in each part). Stem, slur and tie directions are
+specified twice (once in each part). Stem, slur, and tie directions are
set automatically, depending whether there is a solo or unisono. The
first part (with context called @code{one}) always gets up stems, and
`solo', while the second (called @code{two}) always gets down stems and
Both arguments to @code{\partcombine} will be interpreted as
@internalsref{Voice} contexts. If using relative octaves,
-@code{\relative} should be specified for both music expressions, i.e.
+@code{\relative} should be specified for both music expressions, i.e.,
@example
\partcombine
removed. This saves some space. This style is called `French Score'.
For @internalsref{Lyrics},
@internalsref{ChordNames} and @internalsref{FiguredBass}, this is
-switched on by default. When these line of these contexts turn out
+switched on by default. When the lines of these contexts turn out
empty after the line-breaking process, they are removed.
For normal staves, a specialized @internalsref{Staff} context is
available, which does the same: staves containing nothing (or only
-multi measure rests) are removed. The context definition is stored in
+multi-measure rests) are removed. The context definition is stored in
@code{\RemoveEmptyStaffContext} variable. Observe how the second staff
in this example disappears in the second line
-
@lilypond[quote,raggedright,verbatim]
\layout {
\context { \RemoveEmptyStaffContext }
With quotations, fragments of other parts can be inserted into a part
directly. Before a part can be quoted, it must be marked especially as
-quotable. This is done with code @code{\addquote} command.
+quotable. This is done with the @code{\addquote} command.
@example
\addquote @var{name} @var{music}
@noindent
Here, @var{name} is an identifying string. The @var{music} is any kind
-of music. This is an example of @code{\addquote}
+of music. Here is an example of @code{\addquote}
@example
\addquote clarinet \relative c' @{
@}
@end example
-This command must be entered at toplevel, i.e. outside any music
+This command must be entered at toplevel, i.e., outside any music
blocks.
After calling @code{\addquote}, the quotation may then be done with
The type of events that are present in cue notes can be trimmed with
the @code{quotedEventTypes} property. The default value is
-@code{(note-event rest-event)}, which means that only notes of and
+@code{(note-event rest-event)}, which means that only notes and
rests of the cued voice end up in the @code{\quoteDuring}.
Setting
By manipulating such a grob property, the typographical appearance of
the affected graphical objects can be accommodated for a specific
-notation flavor without need for introducing any new notational
+notation flavor without the need for introducing any new notational
concept.
In addition to the standard articulation signs described in section
@ref{Ancient articulations}
@end itemize
-Other aspects of ancient notation can not that easily be expressed as
+Other aspects of ancient notation can not that easily be expressed
in terms of just changing a style property of a graphical object or
adding articulation signs. Some notational concepts are introduced
specifically for ancient notation,
For ancient notation, a note head style other than the @code{default}
style may be chosen. This is accomplished by setting the @code{style}
-property of the NoteHead object to @code{baroque}, @code{neomensural}
-or @code{mensural}. The @code{baroque} style differs from the
-@code{default} style only in using a square shape for @code{\breve}
-note heads. The @code{neomensural} style differs from the
-@code{baroque} style in that it uses rhomboidal heads for whole notes
+property of the @internalsref{NoteHead} object to @code{baroque},
+@code{neomensural} or @code{mensural}. The @code{baroque} style
+differs from the @code{default} style only in using a square shape
+for @code{\breve} note heads. The @code{neomensural} style differs from
+the @code{baroque} style in that it uses rhomboidal heads for whole notes
and all smaller durations. Stems are centered on the note heads.
-This style is in particular useful when transcribing mensural music,
+This style is particularly useful when transcribing mensural music,
e.g., for the incipit. The @code{mensural} style finally produces note
heads that mimic the look of note heads in historic printings of the
16th century.
When typesetting a piece in Gregorian Chant notation, the
@internalsref{Gregorian_ligature_engraver} will automatically select
-the proper note heads, such there is no need to explicitly set the
-note head style. Still, the note head style can be set e.g.@: to
+the proper note heads, so there is no need to explicitly set the
+note head style. Still, the note head style can be set, e.g., to
@code{vaticana_punctum} to produce punctum neumes. Similarly, a
@internalsref{Mensural_ligature_engraver} is used to automatically
assemble mensural ligatures. See @ref{Ligatures} for how ligature
Use the @code{style} property of grob @internalsref{Accidental} to
select ancient accidentals. Supported styles are
-@code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
+@code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
@lilypond[quote,raggedright,staffsize=26]
\score {
@seealso
In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
-@ref{Accidentals} give a general introduction into the use of
-accidentals. @ref{Key signature} gives a general introduction into
+@ref{Accidentals} give a general introduction of the use of
+accidentals. @ref{Key signature} gives a general introduction of
the use of key signatures.
Program reference: @internalsref{KeySignature}.
Use the @code{style} property of grob @internalsref{Rest} to select
ancient accidentals. Supported styles are @code{classical},
-@code{neomensural} and @code{mensural}. @code{classical} differs
+@code{neomensural}, and @code{mensural}. @code{classical} differs
from the @code{default} style only in that the quarter rest looks like
a horizontally mirrored 8th rest. The @code{neomensural} style suits
-well for e.g., the incipit of a transcribed mensural piece of music.
+well for, e.g., the incipit of a transcribed mensural piece of music.
The @code{mensural} style finally mimics the appearance of rests as
in historic prints of the 16th century.
@item
petrucci style mensural C clefs, for use on different staff lines
-(the examples shows the 2nd staff line C clef)
+(the examples show the 2nd staff line C clef)
@tab
@code{petrucci-c1}, @code{petrucci-c2},@*
@code{petrucci-c3}, @code{petrucci-c4},@*
Use the @code{flag-style} property of grob @internalsref{Stem} to
select ancient flags. Besides the @code{default} flag style,
- only @code{mensural} style is supported
+only the @code{mensural} style is supported
@lilypond[quote,fragment,raggedright,verbatim]
\override Stem #'flag-style = #'mensural
incipit of transcriptions of mensural pieces. The @code{mensural}
style mimics the look of historical printings of the 16th century.
-The following examples shows the differences in style,
+The following examples show the differences in style,
@lilypond[raggedright,fragment,relative=1,quote]
{
@seealso
-This manual: @ref{Time signature} gives a general introduction into
+This manual: @ref{Time signature} gives a general introduction to
the use of time signatures.
@refbugs
@end lilypond
The custos glyph is selected by the @code{style} property. The styles
-supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
+supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
@code{mensural}. They are demonstrated in the following fragment
@lilypond[quote,raggedright,fragment]
A @emph{divisio} (plural: @emph{divisiones}; Latin word for
`division') is a staff context symbol that is used to structure
Gregorian music into phrases and sections. The musical meaning of
-@emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
-can be characterized as short, medium and long pause, somewhat like
+@emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
+can be characterized as short, medium, and long pause, somewhat like
the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
only marks the end of a chant, but is also frequently used within a
single antiphonal/responsorial chant to mark the end of each section.
There is limited support for white mensural ligatures.
-To engrave white mensural ligatures, in the layout block the
-@internalsref{Mensural_ligature_engraver} has to be put into the
+To engrave white mensural ligatures, in the layout block put the
+@internalsref{Mensural_ligature_engraver} into the
@internalsref{Voice} context, and remove the
-@internalsref{Ligature_bracket_engraver}
+@internalsref{Ligature_bracket_engraver}, like this
@example
\layout @{
There is no additional input language to describe the shape of a
white mensural ligature. The shape is rather determined solely from
the pitch and duration of the enclosed notes. While this approach may
-take a new user a while to get accustomed, it has the great advantage
+take a new user a while to get accustomed to, it has the great advantage
that the full musical information of the ligature is known internally.
This is not only required for correct MIDI output, but also allows for
automatic transcription of the ligatures.
(following the style of the Editio Vaticana). Core ligatures can
already be typeset, but essential issues for serious typesetting are
still lacking, such as (among others) horizontal alignment of multiple
-ligatures, lyrics alignment and proper accidentals handling.
+ligatures, lyrics alignment and proper handling of accidentals.
The following table contains the extended neumes table of the 2nd
in each line of the below table indicates to which ligature in the
above table it refers. The second column gives the name of the
ligature. The third column shows the code fragment that produces this
-ligature, using @code{g}, @code{a} and @code{b} as example pitches.
+ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
@multitable @columnfractions .02 .31 .67
@item
\figuremode { <4 6> }
@end lilypond
-Accidentals are added when you append @code{-}, @code{!} and @code{+}
+Accidentals are added when you append @code{-}, @code{!}, and @code{+}
to the numbers
@example
Although the support for figured bass may superficially resemble chord
support, it works much simpler. The @code{\figuremode} mode simply
-stores the numbers , and @internalsref{FiguredBass} context prints
-them as entered. There is no conversion to pitches, and no
+stores the numbers and @internalsref{FiguredBass} context prints
+them as entered. There is no conversion to pitches and no
realizations of the bass are played in the MIDI file.
Internally, the code produces markup texts. You can use any of the
@seealso
-Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
-and @internalsref{FiguredBass} context.
+Program reference: @internalsref{BassFigureEvent} music,
+@internalsref{BassFigure} object, and @internalsref{FiguredBass} context.
@refbugs
@end lilypond
Each staff can also have its own time signature. This is done by
-moving the @internalsref{Timing_engraver} to @internalsref{Staff}
+moving the @internalsref{Timing_engraver} to the @internalsref{Staff}
context.
@example
@code{\times}, but does not create a tuplet bracket.
-In this example, music with the time signatures of 3/4, 9/8 and 10/8 are
+In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
used in parallel. In the second staff, shown durations are multiplied by
2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
A cluster indicates a continuous range of pitches to be played. They
can be denoted as the envelope of a set of notes. They are entered by
applying the function @code{makeClusters} to a sequence of
-chords, e.g.
-@c
+chords, e.g.,
@lilypond[quote,raggedright,relative=2,fragment,verbatim]
\makeClusters { <c e > <b f'> }
@end lilypond
@end lilypond
Hidden notes are also great for performing weird tricks. For example,
-slurs cannot be attached to rests or spacer rests, but you may with
+slurs cannot be attached to rests or spacer rests, but you may wish
to include that in your score -- string instruments use this notation
when doing pizzicato to indicate that the note should ring for as long
as possible.
@itemize @minus
@item
-Emacs. Emacs is an extensible text editor. It is available from
+Emacs. Emacs is an extendable text editor. It is available from
@uref{http://@/www@/.gnu@/.org/@/software/@/emacs/}. You need version 21
to use column location.
For using NEdit, set @code{XEDITOR} to @code{nc -noask +%l %f}, or
use this argument with Xdvi's @code{-editor} option.
-If can also make your editor jump to the exact location of the note
+It can also make your editor jump to the exact location of the note
you clicked. This is only supported on Emacs and VIM. Users of Emacs version
20 must apply the patch @file{emacsclient.patch}. Users of version 21
must apply @file{server.el.patch} (version 21.2 and earlier). At the
MusiXTeX). As it happened, Han-Wen accidentally wanted to print out
some parts from a score, so he started looking at the software, and he
quickly got hooked. It was decided that MPP was a dead end. After
-lots of philosophizing and heated email exchanges Han-Wen started
+lots of philosophizing and heated email exchanges, Han-Wen started
LilyPond in 1996. This time, Jan got sucked into Han-Wen's new
project.
Nevertheless, it has become a part of our life, and we keep doing it.
Probably the most important motivation is that our program actually
does something useful for people. When we browse around the net we
-find many people that use LilyPond, and produce impressive pieces of
+find many people who use LilyPond, and produce impressive pieces of
sheet music. Seeing that feels unreal, but in a very pleasant way.
Our users not only give us good vibes by using our program, many of
would like to thank all users that sent us bug reports, gave
suggestions or contributed in any other way to LilyPond.
-Playing and printing music is more than nice analogy. Programming
+Playing and printing music is more than a nice analogy. Programming
together is a lot of fun, and helping people is deeply satisfying, but
ultimately, working on LilyPond is a way to express our deep love for
music. May it help you create lots of beautiful music!
@subsection Input variables and Scheme
-The input format supports the notion of variable: in the following
+The input format supports the notion of variables: in the following
example, a music expression is assigned to a variable with the name
@code{traLaLa}.
@example
@end example
@c
In effect, each input file is a scope, and all @code{\header},
-@code{\midi} and @code{\layout} blocks are scopes nested inside that
+@code{\midi}, and @code{\layout} blocks are scopes nested inside that
toplevel scope.
Both variables and scoping are implemented in the GUILE module system.
This means that input variables and Scheme variables may be freely
mixed. In the following example, a music fragment is stored in the
variable @code{traLaLa}, and duplicated using Scheme. The result is
-imported in a @code{\score} by means of a second variable
+imported in a @code{\score} block by means of a second variable
@code{twice}:
@example
traLaLa = @{ c'4 d'4 @}
@item
`type' or interface: Each music name has several `types' or
interfaces, for example, a note is an @code{event}, but it is also a
-@code{note-event}, a @code{rhythmic-event} and a @code{melodic-event}.
+@code{note-event}, a @code{rhythmic-event}, and a @code{melodic-event}.
All classes of music are listed in the internals manual, under
@internalsref{Music classes}.
@subsection Extending music syntax
The syntax of composite music expressions, like
-@code{\repeat}, @code{\transpose} and @code{\context}
+@code{\repeat}, @code{\transpose}, and @code{\context}
follows the general form of
@example
@end example
@code{\applymusic} takes a Scheme function and a Music expression as
-argument. This is encoded in its first argument,
+arguments. This is encoded in its parameter list,
@example
(list procedure? ly:music?)
The function itself takes another argument, an Input location
object. That object is used to provide error messages with file names
and line numbers. The definition is the second argument of
-@code{ly:make-music-function}. The body is function simply calls the
-function
+@code{ly:make-music-function}. The body simply calls the function
@example
(lambda (where func music)
@end lilypond
The use of such a function is very limited. The effect of this
-function is void when applied to an argument which is does not have
+function is void when applied to an argument that does not have
multiple children. The following function application has no effect
@example
@noindent
In this case, @code{\grace} is stored as @internalsref{GraceMusic}, which
has no @code{elements}, only a single @code{element}. Every generally
-applicable function for @code{\applymusic} must---like music expressions
+applicable function for @code{\applymusic} must -- like music expressions
themselves -- be recursive.
The following example is such a recursive function: It first extracts
Creating music expressions in Scheme can be tedious, as they are
heavily nested and the resulting Scheme code is large. For some
-simple tasks, this can be avoided, using LilyPond usual syntax inside
+simple tasks, this can be avoided, using common LilyPond syntax inside
Scheme, with the dedicated @code{#@{ ... #@}} syntax.
The following two expressions give equivalent music expressions:
Arbitrary Scheme forms, including variables, can be used in @code{#@{ ... #@}}
expressions with the @code{$} character (@code{$$} can be used to
-produce a single $ character). This makes the creation of simple
+produce a single @code{$} character). This makes the creation of simple
functions straightforward. In the following example, a function
setting the TextScript's padding is defined:
@node Markup programmer interface
@section Markup programmer interface
-Markups implemented as special Scheme functions. When applied with as
+@c Please rewrite the second sentence; I don't unѕerstand its meaning. AS
+Markups are implemented as special Scheme functions. When applied with as
arguments an output definition (@code{\layout} or @code{\paper}),
and a list of properties and other arguments, produce a Stencil
object.
@end lisp
@noindent
-is invalid. One should use the @code{make-line-markup} (resp
-@code{make-center-markup}, @code{make-column-markup}) function
+is invalid. One should use the @code{make-line-markup} (resp.,
+@code{make-center-markup} or @code{make-column-markup}) function
instead,
@lisp
(markup (make-line-markup (fun-that-returns-markups)))
To make the above available as @code{\smallcaps} command, we have to
define a function using @code{def-markup-command}. The command should
-take a single argument, of markup type. Therefore, the start of the
+take a single argument, of type markup. Therefore, the start of the
definition should read
@example
(def-markup-command (smallcaps layout props argument) (markup?)
@noindent
What follows is the content of the command: we should interpret
-the @code{argument} as a markup, i.e.
+the @code{argument} as a markup, i.e.,
@example
(interpret-markup layout @dots{} argument)
@noindent
The variable @code{props} is a list of alists, and we prepend to it by
-consing a list with the extra setting.
+cons'ing a list with the extra setting.
Suppose that we are typesetting a recitative in an opera, and
we would like to define a command that will show character names in a
custom manner. Names should be printed with small caps and translated a
bit to the left and top. We will define a @code{\character} command
-that takes into account the needed translation, and uses the newly
+that takes into account the necessary translation, and uses the newly
defined @code{\smallcaps} command:
@example
@end lilypond
We have used the @code{caps} font shape, but suppose that our font
-that does not have a small-caps variant. In that case, we have to fake
-the small caps font, by setting a string in upcase, with the first
+does not have a small-caps variant. In that case we have to fake
+the small caps font by setting a string in upcase with the first
letter a little larger:
@example
@end itemize
-In addition, the cause of the layout object, i.e. the music
+In addition, the cause of the layout object, i.e., the music
expression or object that was responsible for creating it, is in the
object property @code{cause}. For example, for a note head, this is a
@internalsref{NoteHead} event, and for a @internalsref{Stem} object,
@cindex LISP
LilyPond uses the Scheme programming language, both as part of the
-input syntax, and as internal mechanism to glue together modules of
-the program. This section is a very brief overview of entering data in
+input syntax, and as internal mechanism to glue modules of the program
+together . This section is a very brief overview of entering data in
Scheme.@footnote{If you want to know more about Scheme, see
@uref{http://@/www@/.schemers@/.org}.}
@cindex @code{#'symbol}
@cindex quoting in Scheme
-The quote mark @code{'} prevents Scheme interpreter from substituting
+The quote mark @code{'} prevents the Scheme interpreter from substituting
@code{24} for the @code{twentyFour}. Instead, we get the name
@code{twentyFour}.
@end example
This instruction adjusts the appearance of stems. The value @code{2.6}
-is put into a the @code{thickness} variable of a @code{Stem}
+is put into the @code{thickness} variable of a @code{Stem}
object. This makes stems almost twice as thick as their normal size.
To distinguish between variables defined in input files (like
@code{twentyFour} in the example above) and variables of internal
#'(1 2 "string" #f)
@end example
-We have been using lists all along. A calculation, like @code{(+ 1
-2)} is also a list (containing the symbol @code{+} and the numbers 1
+We have been using lists all along. A calculation, like @code{(+ 1 2)}
+is also a list (containing the symbol @code{+} and the numbers 1
and@tie{}2). Normally lists are interpreted as calculations, and the
Scheme interpreter substitutes the outcome of the calculation. To enter a
-list, we stop evaluation. This is done by quoting the list with a
+list, we stop the evaluation. This is done by quoting the list with a
quote @code{'} symbol. So, for calculations do not use a quote.
Inside a quoted list or pair, there is no need to quote anymore. The
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 change in the midi
+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}.
@end example
The tempo is specified using the @code{\tempo} command. In this
-case the tempo of quarter notes is set to 72 beats per minute.
+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
-Ties, dynamics and tempo changes are interpreted. Dynamic marks,
+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 extremities. The fractions can be adjusted by
+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
@c cheesy title to avoid clash with chapter name.
-In the last section we explained what kind of things you could enter
+In the last section we explained what kind of things you can enter
in a LilyPond file. In this section we will explain what commands to
run and how to view or print the output. If you have not used
LilyPond before, want to test your setup, or want to run an example
@cindex dvips
@cindex dvilj
@cindex DVI driver
-} which you can print or with the standard facilities of your
+} which you can print or view with the standard facilities of your
operating system.@footnote{If your system does not have any tools
installed, you can try
@uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
There are some interesting points to note in this example. Bar lines
and beams are drawn automatically. Line breaks are calculated
automatically; it does not matter where the line breaks are in the
-source file. Finally, the order in which time, key and clef changes
+source file. Finally, the order in which time, key, and clef changes
are entered is not relevant: in the printout, these are ordered
according to standard notation conventions.
@c but we'd need to remove the ', from \key and tie
To raise a note by an octave, add a high quote @code{'} (apostrophe) to
the note name, to lower a note one octave, add a `low quote' @code{,}
-(a comma). Middle C is @code{c'}
+(comma). Middle C is @code{c'}
@lilypond[quote,notime,fragment,verbatim]
c'4 c'' c''' \clef bass c c,
@end lilypond
@noindent
-The last example shows that music in a high register needs lots of quotes.
+This example shows that music in a high register needs lots of quotes.
This makes the input less readable, and it is a source of errors. The
solution is to use `relative octave' mode. This is the
most convenient way to copy existing music.
-In relative mode, a note without octavation quotes (i.e. the @code{'}
-or @code{,} after a note) is chosen so it it is closest to the
+In relative mode, a note without octavation quotes (i.e. the @code{'}
+or @code{,} after a note) is chosen so that it is closest to the
previous one. For example, @samp{c f} goes up while @samp{c g} goes
-down
+down.
To use relative mode, add @code{\relative} before the piece of
music. The first note is taken relative to the middle C
relative to the previous one, and changing the octave of a single note
shifts all following notes an octave up or down.
-For more information on Relative octaves see @ref{Relative octaves},
+For more information on relative octaves see @ref{Relative octaves},
and @ref{Octave check}.
In input files, music is represent by so-called @emph{music
-expression}. We have already seen in the previous examples;
+expression}s. We have already seen some in the previous examples;
a single note is a music expression
@lilypond[fragment,quote,verbatim,relative=3]
a4
@end lilypond
-Enclosing group of notes in braces creates a new music
+Enclosing a group of notes in braces creates a new music
expression
@lilypond[fragment,quote,verbatim,relative=3]
{ a4 g4 }
@end lilypond
-Putting a bunch of music expressions (notes) in braces, means that
+Putting a bunch of music expressions (e.g., notes) in braces, means that
they should be played in sequence. The result again is a music
expression, which can be grouped with other expressions sequentially.
Here, the expression from the previous example is combined with two
as a simultaneous combination of two sequences. A `simultaneous'
music expression is formed by enclosing expressions in @code{<<} and
@code{>>}. In the following example, three sequences (all containing
-two other notes) are combined simultaneously
+two separate notes) are combined simultaneously
@lilypond[fragment,quote,verbatim,relative=3]
<<
for complex music like polyphonic scores.
Note that this example only has one staff, whereas
-the previous example had three seperate staves. That is because this
+the previous example had three separate staves. That is because this
example begins with a single note. To determine the number of staves,
LilyPond looks at the first element. If it is a single note, there is one
staff; if there is a simultaneous expression, there is more than one staff.
To print more than one staff, each piece of music that makes up a
staff is marked by adding @code{\new Staff} before it. These
-@code{Staff} elements are then combined parallel with @code{<<} and
+@code{Staff} elements are then combined in parallel with @code{<<} and
@code{>>}, as demonstrated here
@lilypond[quote,fragment,verbatim]
>>
@end lilypond
-For more information on context see the description in
+For more information on contexts see the description in
@ref{Interpretation contexts}.
Articulations and fingerings are usually placed automatically, but you
can specify a direction using @samp{^} (up) or @samp{_} (down). You can
-also use multiple articulations on the same note. In most cases, it is
-best to let LilyPond determine the articulation directions.
+also use multiple articulations on the same note. In most cases, however,
+it is best to let LilyPond determine the articulation directions.
@lilypond[fragment,quote,verbatim,relative=2]
c_-^1 d^. f^4_2-> e^-_+
Crescendi and decrescendi are started with the commands @code{\<} and
@code{\>}. An ending dynamic, for example @code{\f}, will finish the
-crescendo, or the command @code{\!} can be used
+(de)crescendo, or the command @code{\!} can be used
@lilypond[fragment,quote,verbatim,relative=2]
c2\< c2\ff\> c2 c2\!
ignored while parsing, so it has no effect on the printed output.
There are two types of comments. The percent symbol @samp{%}
introduces a line comment; after @code{%} the rest of the line is
-ignored. A block comments marks a whole section of music
+ignored. A block comment marks a whole section of music
input. Anything that is enclosed in @code{%@{} and @code{%@}} is
ignored. The following fragment shows possible uses for comments
@end lilypond
For lead sheets, chords are not printed on staves, but as names on a
-line of themselves. This is achieved by using @code{\chords} instead
+line for themselves. This is achieved by using @code{\chords} instead
of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
but renders the notes in a @code{ChordNames} context, with the
following result.
@end example
-When the file is processed the title and composer are printed above
+When the file is processed, the title and composer are printed above
the music. More information on titling can be found in @ref{Creating
titles}.
them down.
Entering such parts is done by entering each voice as a sequence (with
-@code{@{...@}}), and combining those simultaneously, separating the
+@code{@{...@}}), and combining these simultaneously, separating the
voices with @code{\\}
@lilypond[quote,verbatim,relative=2,fragment]
>>
@end lilypond
-More features of polyphonic typesetting in the notation manual are
-described in @ref{Polyphony}.
+More features of polyphonic typesetting are described in this manual
+in section @ref{Polyphony}.
@node Piano staves
>>
@end lilypond
-More information on formatting piano music is in @ref{Piano music}.
+More information on formatting piano music is given in @ref{Piano music}.
@node Organizing larger pieces
@{ c4^\name @}
@end example
-More information on the possible uses of identifiers is in the
+More information on the possible uses of identifiers is given in the
technical manual, in @ref{Input variables and Scheme}.
@c fixme: the ref is too technical.
the musicians, and once in a full score for the conductor. Identifiers can
be used to avoid double work. The music is entered once, and stored in
a variable. The contents of that variable is then used to generate
-both the part and the score.
+both the part and the full score.
It is convenient to define the notes in a special file. For example,
suppose that the file @file{horn-music.ly} contains the following part
the file, so @code{hornNotes} is defined afterwards. The command
@code{\transpose f@tie{}c'} indicates that the argument, being
@code{\hornNotes}, should be transposed by a fifth downwards. Sounding
-@samp{f} is denoted by notated @code{c'}, which corresponds with
+@samp{f} is denoted by notated @code{c'}, which corresponds with the
tuning of a normal French Horn in@tie{}F. The transposition can be seen
in the following output
+Release 2.5
+***********
+
+DEVELOPMENT TEAM
+
+Han-Wen Nienhuys - Core development
+Jan Nieuwenhuizen - Core development
+Erik Sandberg - Bug Meister
+Pedro Kroger - Build Meister
+Graham Percival - Documentation Editor
+
+CONTRIBUTORS
+
+Andreas Scherer
+Carl Sorensen
+
+BUG HUNTERS/SUGGESTIONS
+
Release 2.4
***********
(backend-doc-node)
(all-scheme-functions-doc)
(make <texi-node>
- #:name "Index"
+ #:name "Indexes"
#:text "
@unnumbered Concept index
projects / lilypond.git / commitdiff