useful when transcribing mensural music, e.g., for the incipit. The
@code{mensural} style produces note heads that mimic the look of note
heads in historic printings of the 16th century. Finally, the
-@code{petrucci} style also mimicks historic printings, but uses bigger
+@code{petrucci} style also mimics historic printings, but uses bigger
note heads.
The following example demonstrates the @code{neomensural} style
@end example
@noindent
-at the top of your input file. This lets you add the special gracenotes
+at the top of your input file. This lets you add the special grace notes
common to bagpipe music with short commands. For example, you could
write @code{\taor} instead of
signatures are normally synchronized across the score. This is done
by the @code{Timing_translator} and @code{Default_bar_line_engraver}.
This plug-in keeps an administration of time signature, location
-within the measure, etc. By moving thes engraver from @code{Score} to
+within the measure, etc. By moving these engraver from @code{Score} to
@code{Staff} context, we can have a score where each staff has its own
time signature.
@node Aligning contexts
@subsection Aligning contexts
-New contexts may be aligned above or below exisiting contexts. This
+New contexts may be aligned above or below existing contexts. This
could be useful in setting up a vocal staff (@rlearning{Vocal ensembles}) and
in ossia,
-FIXME: this section doens't work in pdf. (?)
+FIXME: this section doesn't work in pdf. (?)
@cindex ossia
@findex alignAboveContext
Contexts can have properties, which are usually named in
@code{studlyCaps}. They mostly control the translation from
-music to notatino, eg. @code{localKeySignature} (for determining
+music to notation, eg. @code{localKeySignature} (for determining
whether to print accidentals), @code{measurePosition} (for
determining when to print a bar line). Context properties can
change value over time while interpreting a piece of music;
\set @var{context}.@var{name} #'@var{property} = #(cons (cons '@var{property} @var{value}) <previous value of @var{context})
@end example
-The value of @code{context} (the alist) is used to initalize
+The value of @code{context} (the alist) is used to initialize
the properties of individual grobs. Grobs also have
properties, named in Scheme style, with
@code{dashed-words}. The values of grob properties change
@end example
To get this information into @code{chordNameExceptions} takes a little
-manoeuvring. The following code transforms @code{chExceptionMusic}
+maneuvering. The following code transforms @code{chExceptionMusic}
(which is a sequential music) into a list of exceptions.
@example
(sequential-music-to-chord-exceptions chExceptionMusic #t)
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 a convertor for a
+useful when importing files from a program that has a converter for a
direct format.
@command{midi2ly} converts tracks into @internalsref{Staff} and
Text style dynamic changes (such as @notation{cresc.} and
@notation{dim.}) are printed with a dashed line showing their
-extent. To surpress printing this line, use
+extent. To suppress printing this line, use
@example
\override DynamicTextSpanner #'dash-period = #-1.0
@noindent
Note that the size of the clef is the same as a clef printed
following a clef change -- slightly smaller than the clef
-at the begining of the line. This is usual for clefs printed
+at the beginning of the line. This is usual for clefs printed
in the middle of a line.
The ossia section may be placed above the staff
@end lilypond
This example uses @code{\with}, which will be explained more
-fully later. It is a means of modifying the default behaviour
+fully later. It is a means of modifying the default behavior
of a single Staff. Here it says that the new staff should be
placed above the staff called @qq{main} instead of the default
position which is below.
@end lilypond
-This example has just two voices, but the same contruct may be
+This example has just two voices, but the same construct may be
used to encode three or more voices by adding more back-slash
separators.
\relative c' @{ noteE ... @}
@end example
-Let us finally analyse the voices in a more complex piece of
+Let us finally analyze the voices in a more complex piece of
music. Here are
the notes from the first two bars of the second of Chopin's
Deux Nocturnes, Op 32. This example will be used at later
@lilypond[quote,ragged-right,verbatim]
\relative c'{
- % Default behaviour or behaviour after \oneVoice
+ % Default behavior or behavior after \oneVoice
c d8 ~ d e4 ( f g a ) b-> c
}
@end lilypond
@funindex \shiftOnn
@funindex \shiftOnnn
-Closely spaced notes in a chord, or notes occuring at the same
+Closely spaced notes in a chord, or notes occurring at the same
time in different voices, are arranged in two, occasionally more,
columns to prevent the note heads overlapping. These are called
note columns. There are separate columns for each voice, and
in @emph{Contexts}. We have already met the
@code{Voice} context.
Others are the @code{Staff} and @code{Score} contexts.
-Contexts are hierarchical to reflect the heirarchical nature of
+Contexts are hierarchical to reflect the hierarchical nature of
a musical score.
For example: a @code{Staff} context can contain many
@code{Voice} contexts, and a @code{Score} context can
lyrics, percussion, fret boards, figured bass, etc.
The names of all context types are formed from one or more
-words, each word being capitalised and joined immediately to the
+words, each word being capitalized and joined immediately to the
preceding word with no hyphen or underscore, e.g.,
@code{GregorianTranscriptionStaff}.
in the printed score.
Engravers all have compound names formed from words which
-describe their function. Just the first word is capitalised,
+describe their function. Just the first word is capitalized,
and the remainder are joined to it with underscores. Thus
the @code{Staff_symbol_engraver} is responsible for creating the
lines of the staff, the @code{Clef_engraver} determines and sets
@item Staff_symbol_engraver
@tab Engraves the five (by default) lines of the staff
@item Stem_engraver
- @tab Creates stems and single-stem tremulos
+ @tab Creates stems and single-stem tremolos
@item Time_signature_engraver
@tab Creates time signatures
@end multitable
individual contexts. It is also possible to remove or add
engravers to every context of a specific type by placing the
commands in the appropriate context in a @code{\layout}
-block. For example, If we wanted to show ambiti for every
+block. For example, if we wanted to show an ambitus for every
staff in a four-staff score we could write
@lilypond[quote,verbatim,ragged-right]
the output. This can be compared to clipping a piece of a paper score
with scissors.
-This is done by definining the measures that need to be cut out
+This is done by defining the measures that need to be cut out
separately. For example, including the following definition
TODO: everything
-By default, lilypnod does a pretty jazz'n job of picking
+By default, lilypond does a pretty jazz'n job of picking
directions. But in some cases, it may be desirable to force a
direction.
brief
description of what they do (perhaps also with a note about what
default
-behaviour is associated with each of them, but this may be
+behavior is associated with each of them, but this may be
unmanageable),
should be there, and then we could simply list the remaining ones
without
It is also possible to build a documentation tree in
@file{out-www/online-root/}, with special processing, so it can be used
-on a website with content negociation for automatic language selection;
+on a website with content negotiation for automatic language selection;
this can be achieved by issuing
@example
possible to enclose verbatim only a part of the source file. If the
source file contain a comment containing @samp{begin verbatim} (without
quotes), quoting the source in the verbatim block will start after the
-last occurence of such a comment; similarly, quoting the source verbatim
-will stop just before the first occurence of a comment containing
+last occurrence of such a comment; similarly, quoting the source verbatim
+will stop just before the first occurrence of a comment containing
@samp{end verbatim}, it there is any. In the following source file
example, the music will be interpreted in relative mode, but the
verbatim quote will not show the @code{relative} block, i.e.
@end example
@itemx --left-padding=@var{amount}
-Pad EPS boxes by this much. @var{amount} is measured in milimeters,
+Pad EPS boxes by this much. @var{amount} is measured in millimeters,
and is 3.0 by default. This option should be used if the lines of
music stick out of the right margin.
A particular place of a score can be marked using the @code{\label}
command, either at top-level or inside music. This label can then be
-refered to in a markup, to get the number of the page where the marked
+referred to in a markup, to get the number of the page where the marked
point is placed, using the @code{\page-ref} markup command.
@lilypond[verbatim,line-width=11.0\cm]
@end enumerate
The reason why a gauge is needed is that, at the time markups are
-interpreted, the page breaking has not yet occured, so the page numbers
+interpreted, the page breaking has not yet occurred, so the page numbers
are not yet known. To work around this issue, the actual markup
interpretation is delayed to a later time; however, the dimensions of
the markup have to be known before, so a gauge is used to decide these
\fill-line { \null "Table des matières" \null }
\hspace #1
}
- %% use larfer font size
+ %% use larger font size
tocItemMarkup = \markup \large \fill-line {
\fromproperty #'toc:text \fromproperty #'toc:page
}
}
@end verbatim
-Note how the toc element text and page number are refered to in
+Note how the toc element text and page number are referred to in
the @code{tocItemMarkup} definition.
New commands and markups may also be defined to build more elaborated
X color names come several variants:
-Any name that is spelled as a single word with capitalisation
+Any name that is spelled as a single word with capitalization
(e.g. @q{LightSlateBlue}) can also be spelled as space separated
-words without capitalisation (e.g. @q{light slate blue}).
+words without capitalization (e.g. @q{light slate blue}).
The word @q{grey} can always be spelled @q{gray} (e.g. @q{DarkSlateGray}).
lines is made using the @code{make-justified-lines-markup-list}
function, which is related to the @code{\justified-lines}
built-in markup list command. An horizontal space is added at the
-begining using the @code{make-hspace-markup} function. Finally, the
+beginning using the @code{make-hspace-markup} function. Finally, the
markup list is interpreted using the @code{interpret-markup-list}
function.
a4 a4
% Double the duration of chord
<a d>4*2
-% Duration of quarter, appears like sixteeth
+% Duration of quarter, appears like sixteenth
b16*4 c4
@end lilypond
@funindex \expandFullBarRests
@funindex \compressFullBarRests
-@cindex multi-meaure rest, expanding
+@cindex multi-measure rest, expanding
@cindex multi-measure rest, contracting
By default a multi-measure rest is expanded in the printed score
printed above the measure:
@lilypond[quote,ragged-right,fragment,verbatim]
-% Default behaviour
+% Default behavior
\time 3/4 r2. | R2.*2 |
\time 2/4 R2 |
\time 4/4
Text attached to a multi-measure rest will be centered above or
below it. Long text attached in this way does not cause the
measure to expand, and may collide with text in adjacent measures.
-This behaviour may be changed with the predefined command
+This behavior may be changed with the predefined command
@code{\textLengthOn}, which will cause following bars to expand
as necessary to accommodate text. @code{\textLengthOff} returns
-to the default behaviour. To left-align text within a bar attach
+to the default behavior. To left-align text within a bar attach
it to a zero-length skip note preceding the rest.
@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
Time signatures by default are printed at the start of every line
and whenever the time signature changes. If a change takes place
at the end of a line a warning time signature sign is printed
-there. This default behaviour may be changed, see
+there. This default behavior may be changed, see
@ref{Controlling visibility of objects}.
@funindex \numericTimeSignature
The beams of consecutive 16th (or shorter) notes are, by default,
not sub-divided. That is, the three (or more) beams stretch
-unbroken over entire groups of notes. This behaviour can
+unbroken over entire groups of notes. This behavior can
be modified to sub-divide the beams into sub-groups by setting
the property @code{subdivideBeams}. When set, multiple beams
will be sub-divided at intervals defined by the current value of
3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
3/8, has passed within the measure).
-If any unexpected beam behaviour occurs, check the default automatic beam
+If any unexpected beam behavior occurs, check the default automatic beam
settings in @file{scm/@/auto@/-beam@/.scm}
for possible interference, because the beam
endings defined there will still apply on top of your own overrides. Any
draw on the left and right side, respectively, of the next note.
If either property is set, its value will be used only once, and
then it is erased. In this example, the last @code{f} is printed
-with only one beam on the left side, i.e. the eigth-note beam of
+with only one beam on the left side, i.e. the eighth-note beam of
the group as a whole.
@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
@cindex repeats
Although the bar line types signifying repeats may be inserted
-manually they do not in themselves cause LilyPond to recognise
+manually they do not in themselves cause LilyPond to recognize
a repeated section. Such repeated sections are better entered
using the various repeat commands (see @ref{Repeats}), which
automatically print the appropriate bar lines.
@cindex bar numbers, regular spacing
Bar numbers can be typeset at regular intervals instead of just at
-the beginning of every line. To do this the default behaviour
+the beginning of every line. To do this the default behavior
must be overridden to permit bar numbers to be printed at places
other than the start of a line. This is controlled by the
@code{break-visibility} property of @code{BarNumber}. This takes
% Print a bar number every 2nd bar
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
c1 c1
-% Centre-align bar numbers
+% Center-align bar numbers
\override Score.BarNumber #'self-alignment-X = #0
c1 c1
% Right-align bar numbers
Doesn't always convert figured bass correctly, specifically things like {<
>}. Mats' comment on working around this:
To be able to run convert-ly
- on it, I first replaced all occurencies of '{<' to some dummy like '{#'
+ on it, I first replaced all occurrences of '{<' to some dummy like '{#'
and similarly I replaced '>}' with '&}'. After the conversion, I could
then change back from '{ #' to '{ <' and from '& }' to '> }'.
Doesn't convert all text markup correctly. In the old markup syntax,
@cindex reporting bugs
If you have input that results in a crash or an erroneous output, then
-that is a bug. There is a list of current bugs on our google bug tracker,
+that is a bug. There is a list of current bugs on our Google bug tracker,
@uref{http://code.google.com/p/lilypond/issues/list}
We have seen how LilyPond output can be heavily modified using
commands like
@code{\override TextScript #'extra-offset = ( 1 . -1)}. But
-we have even more power if we use Scheme. For a full explantion
+we have even more power if we use Scheme. For a full explanation
of this, see the @ref{Scheme tutorial}, and
@ruser{Interfaces for programmers}.
@node Page breaking
@subsection Page breaking
-The default page breaking may be overriden by inserting
+The default page breaking may be overridden by inserting
@code{\pageBreak} or @code{\noPageBreak} commands. These commands are
analogous to @code{\break} and @code{\noBreak}. They should be
inserted at a bar line. These commands force and forbid a page-break
The @code{ly:minimal-breaking} function performs minimal computations to
calculate the page breaking: it fills a page with as many systems as
-possible before moving to the next one. Thus, it may be prefered for
+possible before moving to the next one. Thus, it may be preferred for
scores with many pages, where the other page breaking functions could be
too slow or memory demanding, or a lot of texts. It is enabled using:
\override NonMusicalPaperColumn #'page-break-permission = ##f
@end example
-When @code{line-break-permission} is overriden to false, Lily will insert
+When @code{line-break-permission} is overridden to false, Lily will insert
line breaks at explicit @code{\break} commands and nowhere else. When
-@code{page-break-permission} is overriden to false, Lily will insert
+@code{page-break-permission} is overridden to false, Lily will insert
page breaks at explicit @code{\pageBreak} commands and nowhere else.
@lilypond[quote,verbatim]
@end example
When only a couple of flat systems are placed on a page, the resulting
-vertical spacing may be non-eleguant: one system at the top of the page,
+vertical spacing may be non-elegant: one system at the top of the page,
and the other at the bottom, with a huge gap between them. To avoid this
situation, the space added between the systems can be limited. This
feature is activated by setting to @code{#t} the
The @code{ragged-bottom} property adds space between systems, while
the two-pass technique adds space between staves inside a system.
-To allow this behaviour, a @code{tweak-key} variable has to be set in
+To allow this behavior, a @code{tweak-key} variable has to be set in
each score @code{\layout} block, and the tweaks included in each score
music, using the @code{\scoreTweak} music function.
TODO: this example doesn't work any more ?
By default, outside-staff objects are placed without regard to
-their horizontal distance from the previously-posititioned grobs. This
+their horizontal distance from the previously-positioned grobs. This
can lead to situations in which objects are placed very close to each
other horizontally. Setting @code{outside-staff-horizontal-padding}
causes an object to be offset vertically so that such a situation
@subsection Horizontal spacing overview
The spacing engine translates differences in durations into stretchable
-distances (@q{springs}) of differring lengths. Longer durations get
+distances (@q{springs}) of differing lengths. Longer durations get
more space, shorter durations get less. The shortest durations get a
fixed amount of space (which is controlled by
@code{shortest-duration-space} in the @internalsref{SpacingSpanner}
equivalent to its rhythmic duration. This type of proportional spacing
is comparable to horizontal spacing on top of graph paper. Some late
20th- and early 21st-century scores use proportional notation to
-clarify complex rhythmic relationships or to faciliate the placement
+clarify complex rhythmic relationships or to facilitate the placement
of timelines or other graphics directly in the score.
LilyPond supports five different settings for proportional notation,
lives in @code{Score}. Recall that context settings appear in one of
three locations in our input file -- in a @code{\with} block, in a
@code{\context} block, or directly in music entry
-preceeded by the @code{\set} command. As with all
+preceded by the @code{\set} command. As with all
context settings, users can pick which of the three different
locations they would like to set @code{proportionalNotationDuration}.
@end lilypond
Nonmusical elements like time signatures, key signatures, clefs and
-accidentals are problemmatic in proportional notation. None of these
+accidentals are problematic in proportional notation. None of these
elements has rhythmic duration. But all of these elements consume
horizontal space. Different proportional scores approach these
problems differently.
@node Page breaks
@subsection Page breaks
-The default page breaking may be overriden by inserting
+The default page breaking may be overridden by inserting
@code{\pageBreak} or @code{\noPageBreak} commands.
These commands are analogous to the @code{\break} and
-@code{\noBreak} commands discused above and force or forbid
+@code{\noBreak} commands discussed above and force or forbid
a page-break at the point where they are inserted.
Of course, the @code{\pageBreak} command also forces a line break.
Like @code{\break}, the @code{\pageBreak} command is effective only
@item
Alter the horizontal spacing via @code{SpacingSpanner}. See
@ruser{Changing horizontal spacing}, for more details. Here's
-an example first showing the default behaviour:
+an example first showing the default behavior:
@lilypond[verbatim,quote,ragged-right]
\score {
@cindex staff, single
@cindex drum staff
@cindex percussion staff
-@cindex Gregorian transciption staff
+@cindex Gregorian transcription staff
@cindex rhythmic staff
@cindex tabstaff
@cindex tablature
@end lilypond
@item
-@code{TabStaff} creates by default a tabulature with six strings in
+@code{TabStaff} creates by default a tablature with six strings in
standard guitar tuning. See @ref{Tablatures basic}.
@lilypond[verbatim,ragged-right,quote]
\relative c'' {
LilyPond provides different types of contexts to group single staves
together. These contexts influence in the first place the appearance
of the system start delimiter, but they have also influence on the
-behaviour of the bar lines.
+behavior of the bar lines.
Each staff group context sets the property
@code{systemStartDelimiter} to one of the values
@c FIXME: not yet in master
@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-@c {use-sqare-bracket-at-the-start-of-a-staff-group.ly}
+@c {use-square-bracket-at-the-start-of-a-staff-group.ly}
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
{display-bracket-with-only-one-staff-in-a-system.ly}
including inner staff groups, though.
Here is an example of an orchestral score using groupings and nesting
-of these groupings. Note that the instrument names are omited from the
+of these groupings. Note that the instrument names are omitted from the
source code, see @ref{Instrument names} how to set them.
@cindex staff, nested
already set up for you. Just add notes, run LilyPond, and enjoy
beautiful printed scores!
-@c bad node name for ancient notation to avoid confict
+@c bad node name for ancient notation to avoid conflict
@menu
* Single staff::
* Piano templates::
{vocal-ensemble-template-with-lyrics-aligned-below-and-above-the-staves.ly}
-@c bad node name to avoid node name confict
+@c bad node name to avoid node name conflict
@node Ancient notation templates
@appendixsec Ancient notation templates
Time signatures entered in one staff affects all other staves by
default. On the other hand, the key signature of one staff does
-@emph{not} affect other staves. This different default behaviour
+@emph{not} affect other staves. This different default behavior
is because scores with transposing instruments are more common
than polyrhythmic scores.
above, and so they too all have properties associated with them,
such as their position, size, color, etc.
-Some layout objects are still more specialised. Phrasing slurs,
-crescendo hairpins, ottavo marks, and many other grobs are not
-localised in a single place -- they have a starting point, an
+Some layout objects are still more specialized. Phrasing slurs,
+crescendo hairpins, ottava marks, and many other grobs are not
+localized in a single place -- they have a starting point, an
ending point, and maybe other properties concerned with their
shape. Objects with an extended shape like these are called
@q{Spanners}.
@ref{Contexts and engravers}. Here for reference is a list
of the most common object and property types together with
the conventions for naming them and a couple of examples of
-some real names. We have used A to stand for any capitalised
+some real names. We have used A to stand for any capitalized
alphabetic character and aaa to stand for any number of
lower-case alphabetic characters. Other characters are used
verbatim.
As we shall see shortly, the properties of different types of
object are modified by different commands, so it is useful to
-be able to recognise the type of object from the names of its
+be able to recognize the type of object from the names of its
properties.
@code{LyricText} then tell you the values for those two
properties which apply to @code{LyricText}. Other objects
which support @code{font-interface} will set these
-properties diferently when they are created.
+properties differently when they are created.
Let's see if we can now construct the @code{\override} command
to change the lyrics to italics. The object is @code{LyricText},
LilyPond. Some of them are the names of properties,
like @code{thickness} or @code{font-shape}, others are in
effect special values that can be given to properties, like
-@code{italic}. Note the distinction from arbitary
+@code{italic}. Note the distinction from arbitrary
text strings, which would appear as @code{"a text string"}.
Ok, so the @code{\override} command we need to print the lyrics
spaces must be inserted before and after the
period or dot, @q{.}, separating the context name from the
object name, as otherwise the two names are run together and
-the interpreter cannot recognise them. So the command should be:
+the interpreter cannot recognize them. So the command should be:
@example
\override Lyrics . LyricText #'font-shape = #'italic
requires is actually a list of values in internal units,
but, to avoid having to know what these are, several ways
are provided to specify colors. The first way is to use one
-of the @q{normal} colours listed in the first table in
+of the @q{normal} colors listed in the first table in
@ruser{List of colors}. To set the bar lines to white
we write:
@noindent
where the extra pair of braces after the @code{\with} clause are
-required to ensure the enclosed overrrides and music are applied
+required to ensure the enclosed overrides and music are applied
to the ossia staff.
But what is the difference between modifying the staff context by
context is created, and remain in force as the @strong{default}
values for the duration of that context, whereas
@code{\set} or @code{\override} commands embedded in the
-music are dynamic -- they make changes synchronised with
+music are dynamic -- they make changes synchronized with
a particular point in the music. If changes are unset or
reverted using @code{\unset} or @code{\revert} they return to
their default values, which will be the ones set in the
value of the @code{staff-space} property these are automatically
scaled down in length too. Note that this affects only the
vertical scale of the ossia -- the horizontal scale is determined
-by the layout of the main music in order to remain synchronised
+by the layout of the main music in order to remain synchronized
with it, so it is not affected by any of these changes in size.
Of course, if the scale of all the main music were changed in this
way then the horizontal spacing would be affected. This is
@section Placement of objects
@menu
-* Automatic behaviour::
+* Automatic behavior::
* Within-staff objects::
* Outside staff objects::
@end menu
-@node Automatic behaviour
-@subsection Automatic behaviour
+@node Automatic behavior
+@subsection Automatic behavior
There are some objects in musical notation that belong to
the staff and there are other objects that should be
tied to other objects that are so positioned. Collisions of
note heads, stems and accidentals in closely set chords are
normally avoided automatically. There are commands and
-overrides which can modify this automatic behaviour, as we
+overrides which can modify this automatic behavior, as we
shall shortly see.
Objects belonging outside the staff include things such as
placed closer to the staff.
In the following example all the markup texts have the same
-priority (since it is not explicity set). Note that @q{Text3}
+priority (since it is not explicitly set). Note that @q{Text3}
is automatically positioned close to the staff again, nestling
under @q{Text2}.
These commands are essential when writing polyphonic music to
permit interweaving melodic lines to be distinguished.
But occasionally it may be necessary to override this automatic
-behaviour. This can be done for whole sections of music or even
+behavior. This can be done for whole sections of music or even
for an individual note. The property which controls this
-behaviour is the @code{direction} property of each layout object.
+behavior is the @code{direction} property of each layout object.
We first explain what this does, and then introduce a number of
ready-made commands which avoid your having to code explicit
overrides for the more common modifications.
right or left when they point up or down. This is controlled
automatically when @code{direction} is set.
-The following example shows in bar 1 the default behaviour of
+The following example shows in bar 1 the default behavior of
stems,
with those on high notes pointing down and those on low notes
pointing up, followed by four notes with all stems forced down,
four notes with all stems forced up, and finally four notes
-reverted back to the default behaviour.
+reverted back to the default behavior.
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
a4 g c a
to the left (if @code{left} appears, or to the right
(if @code{right} appears). Conversely, if a location is not
listed, no fingering is placed there. LilyPond takes these
-contraints and works out the best placement for the fingering
+constraints and works out the best placement for the fingering
of the notes of the following chords. Note that @code{left} and
@code{right} are mutually exclusive -- fingering may be placed
only on one side or the other, not both.
control the vertical placement of individual objects, although
the results may not always be desirable. Suppose we would
like @qq{Text3} to be placed above @qq{Text4} in the example
-under Automatic behaviour, above (see @ref{Automatic behaviour}).
+under Automatic behavior, above (see @ref{Automatic behavior}).
All we need to do is to look up the priority of @code{TextScript}
in the IR or in the tables above, and increase the priority of
@qq{Text3} to a higher value:
By default, text produced by markup takes up no horizontal space
as far as laying out the music is concerned. The @code{\textLengthOn}
-command reverses this behaviour, causing the notes to be spaced
+command reverses this behavior, causing the notes to be spaced
out as far as is necessary to accommodate the text:
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
c^"Text4"
@end lilypond
-The command to revert to the default behaviour is
+The command to revert to the default behavior is
@code{\textLengthOff}. Remember @code{\once} only works with
@code{\override}, @code{\set}, @code{\revert} or @code{unset},
so cannot be used with @code{\textLengthOn}.
% Turn off collision avoidance
\once \override TextScript #'outside-staff-priority = ##f
\textLengthOn % and turn on textLengthOn
-c,,2^"Long Text " % Spaces at end are honoured
+c,,2^"Long Text " % Spaces at end are honored
c''2
@end lilypond
to the leftmost extent and the second is added to the rightmost
extent. Negative numbers move the edge to the left, positive to
the right, so to widen an object the first number must be negative,
-the second positive. Note that not all objects honour both
+the second positive. Note that not all objects honor both
numbers. For example, the @code{Accidental} object only takes
notice of the first (left edge) number.
@cindex force-hshift property
-Closely spaced notes in a chord, or notes occuring at the same
+Closely spaced notes in a chord, or notes occurring at the same
time in different voices, are arranged in two, occasionally more,
columns to prevent the note heads overlapping. These are called
note columns, and an object called @code{NoteColumn} is created
@item
Finally, when all else fails, objects may be manually repositioned
-relative to the staff center line verically, or by
+relative to the staff center line vertically, or by
displacing them by any distance to a new position. The
disadvantages are that the correct values for the repositioning
have to be worked out, often by trial and error, for every object
The C is in voice two which has shift off, and the two D's are in
voices one and three, which have shift off and shift on,
respectively. So we have to shift the C a further level still
-using @code{\shiftOnn} to avoid it interferring with the two D's.
+using @code{\shiftOnn} to avoid it interfering with the two D's.
Applying these changes gives:
@lilypond[quote,verbatim,ragged-right]
will be centered between the syllables, and its length will be adjusted
depending on the space between the syllables.
-In tighly engraved music, hyphens can be removed. Whether this
+In tightly engraved music, hyphens can be removed. Whether this
happens can be controlled with the @code{minimum-distance} (minimum
distance between two syllables) and the @code{minimum-length}
(threshold below which hyphens are removed).
@subsubsection Adding dynamics marks
Stanzas differing in loudness may be indicated by putting a
-dynamics mark before each stanza. In Lilypond, everthing coming in
+dynamics mark before each stanza. In Lilypond, everything coming in
front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
are no different. For technical reasons, you have to set the stanza
outside @code{\lyricmode}:
The LilyPond input syntax occasionally changes. As LilyPond itself
improves, the syntax (input language) is modified accordingly. Sometimes
these changes are made to make the input easier to read and write or
-sometimes the changes are made to accomodate new features of LilyPond.
+sometimes the changes are made to accommodate new features of LilyPond.
LilyPond comes with a file that makes this updating easier:
@code{convert-ly}. For details about how to run this program, see
@itemize
@item Bug reports
-@item Sending a help request to mailists
+@item Sending a help request to mailing lists
@item Adding an example to the @uref{http://lsr.dsi.unimi.it/,
LilyPond Snippet Repository}
@end itemize
projects / lilypond.git / commitdiff