* Doucmentation/user/README.txt: updated with manual style info.
+ * Documentation/user/ various: trip linewidth to 78 chars.
+
2006-05-07 Han-Wen Nienhuys <hanwen@lilypond.org>
* scm/define-grob-properties.scm (all-internal-grob-properties):
@commonprop
-Checking to make sure that text scripts and lyrics are within the margins is a relatively large computational task. To speed up processing, lilypond does not perform such calculations by default; to enable it, use
+Checking to make sure that text scripts and lyrics are within the margins is
+a relatively large computational task. To speed up processing, lilypond does
+not perform such calculations by default; to enable it, use
@example
\override Score.PaperColumn #'keep-inside-line = ##t
@end lilypond
The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
-of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
+of @code{format-mark-numbers} (the default format),
+@code{format-mark-box-numbers},
@code{format-mark-letters} and @code{format-mark-box-letters}.
These can be used as inspiration for other formatting functions.
used to move the instrument names to the left, in such situations.
@example
-\override Score.InstrumentName #'space-alist = #'((left-edge extra-space . 2.0))
+\override Score.InstrumentName #'space-alist =
+ #'((left-edge extra-space . 2.0))
@end example
@c Yes, this is good practice. Otherwise, the start of the original
@c part can only be seen from the font size. This is not good enough
@c for sight-reading. It is possilbe to use other
-@c markers (e.g. a big close-bracket over the staff) to indicate the cue notes are
+@c markers (e.g. a big close-bracket over the staff) to indicate the cue
+@c notes are
@c finished.
@c -hwn
@noindent
As the example illustrates, @code{ly:make-moment n m} constructs a
-duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is an eighth
+duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
+an eighth
note duration and @code{ly:make-moment 7 16} is the duration of
seven sixteenths notes.
@cindex notes, ghost
@cindex notes, parenthesized
-Objects may be parenthesized by prefixing @code{\parenthesize} to the music event,
+Objects may be parenthesized by prefixing @code{\parenthesize} to the music
+event,
@lilypond[relative=2,fragment,verbatim,ragged-right]
<
@seealso
-Program reference: @internalsref{KeyCancellation}, @internalsref{KeySignature}.
+Program reference: @internalsref{KeyCancellation},
+@internalsref{KeySignature}.
@node Time signature
@seealso
-Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_translator}.
+Program reference: @internalsref{TimeSignature}, and
+@internalsref{Timing_translator}.
Examples: @inputfileref{input/@/test,compound@/-time@/.ly}.
into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
from separate @code{<< \\ >>} constructs on the same staff are the the
same voice. Here is the same example, with different noteheads for each
-voice. Note that the change to the note-head style in the main voice does not affect
+voice. Note that the change to the note-head style in the main voice does
+not affect
the inside of the @code{<< \\ >>} constructs. Also, the change to the second
voice in the first @code{<< \\ >>} construct is effective in the second
@code{<< \\ >>}, and the voice is tied across the two constructs.
@item volta
Repeats are not written out, but alternative endings (volte) are
printed, left to right with brackets. This is the standard notation
-for repeats with alternatives. These are not played in MIDI output by default.
+for repeats with alternatives. These are not played in MIDI output by
+default.
@ignore
@item fold
That manual
lists all different variables, functions and options available in
LilyPond. It is written as a HTML document, which is available
-@uref{http://@/lilypond@/.org/@/doc/@/v2.8/@/Documentation/@/user/@/lilypond@/-internals/,on@/-line},
+@uref{http://@/lilypond@/.org/@/doc/@/v2.8/@/Documentation/@/user/@/
+lilypond@/-internals/,on@/-line},
but is also included with the LilyPond documentation package.
There are four areas where the default settings may be changed:
this rule should apply. Set @code{n} and @code{m} to @code{'*'}
to have this apply in any time signature.
-@item @code{a/b} is the position in the bar at which the beam should begin/end.
+@item @code{a/b} is the position in the bar at which the beam should
+begin/end.
@item @code{context} is optional, and it specifies the context at which
the change should be made. The default is @code{'Voice}.
@item
@uref{http://@/denemo@/.sourceforge@/.net/,Denemo}, a graphical score editor.
@item
-@uref{http://www@/.volny@/.cz/smilauer/rumor/rumor@/.html,Rumor}, a realtime monophonic MIDI to LilyPond converter.
+@uref{http://www@/.volny@/.cz/smilauer/rumor/rumor@/.html,Rumor}, a realtime
+monophonic MIDI to LilyPond converter.
@item
-@uref{http://nicolas@/.sceaux@/.free@/.fr/lilypond/lyqi@/.html,lyqi}, an Emacs major mode.
+@uref{http://nicolas@/.sceaux@/.free@/.fr/lilypond/lyqi@/.html,lyqi}, an
+Emacs major mode.
@item
@uref{http://@/www@/.nongnu@/.org/@/xml2ly/, xml2ly}, which imports
@uref{http://@/www@/.musicxml@/.com/xml@/.html,MusicXML}
current working directory are available to \include, but a file of the same
name in LilyPond's installation takes precedence. Files are
available to \include from directories in the search path specified as an
-option when invoking @code{lilypond --include=DIR} which adds DIR to the search
-path.
+option when invoking @code{lilypond --include=DIR} which adds DIR to the
+search path.
The @code{\include} statement can use full path information, but with the Unix
convention @code{"/"} rather than the DOS/Windows @code{"\"}. For example,
\book {
\header {
dedication = "dedicated to me"
- title = \markup \center-align { "Title first line" "Title second line, longer" }
+ title = \markup \center-align { "Title first line" "Title second line,
+longer" }
subtitle = "the subtitle,"
- subsubtitle = #(string-append "subsubtitle LilyPond version " (lilypond-version))
+ subsubtitle = #(string-append "subsubtitle LilyPond version "
+(lilypond-version))
poet = "Poet"
composer = \markup \center-align { "composer" \small "(1847-1973)" }
texttranslator = "Text Translator"
- meter = \markup { \teeny "m" \tiny "e" \normalsize "t" \large "e" \huge "r" }
- arranger = \markup { \fontsize #8.5 "a" \fontsize #2.5 "r" \fontsize #-2.5 "r" \fontsize #-5.3 "a" \fontsize #7.5 "nger" }
+ meter = \markup { \teeny "m" \tiny "e" \normalsize "t" \large "e" \huge
+"r" }
+ arranger = \markup { \fontsize #8.5 "a" \fontsize #2.5 "r" \fontsize
+#-2.5 "r" \fontsize #-5.3 "a" \fontsize #7.5 "nger" }
instrument = \markup \bold \italic "instrument"
piece = "Piece"
}
@refbugs
-The @code{breakbefore=##t} header requires that there is a @code{piece} header as well. It may be used as a normal header, or left blank (@code{=""}) as in the example above, but it must be present.
+The @code{breakbefore=##t} header requires that there is a @code{piece}
+header as well. It may be used as a normal header, or left blank
+(@code{=""}) as in the example above, but it must be present.
@}
@end example
-The first command sets the size of all pages. The second command sets the size
+The first command sets the size of all pages. The second command sets the
+size
of the pages that the @code{\paper} block applies to -- if the @code{\paper}
block is at the top of the file, then it will apply to all pages. If the
@code{\paper} block is inside a @code{\book}, then the paper size will only
@c let's wait for a some comments before writing more.
-The vertical spacing on a page can also be changed for each system individually.
+The vertical spacing on a page can also be changed for each system
+individually.
Some examples are found in the example file
@inputfileref{input/regression/,page-spacing.ly}.
@refbugs
-The @code{breakbefore=##t} header requires that there is a @code{piece} header as well. It may be used as a normal header, or left blank (@code{=""}) as in the example above, but it must be present.
+The @code{breakbefore=##t} header requires that there is a @code{piece}
+header as well. It may be used as a normal header, or left blank
+(@code{=""}) as in the example above, but it must be present.
@commonprop
-Checking to make sure that text scripts and lyrics are within the margins is a relatively large computational task. To speed up processing, lilypond does not perform such calculations by default; to enable it, use
+Checking to make sure that text scripts and lyrics are within the margins is
+a relatively large computational task. To speed up processing, lilypond does
+not perform such calculations by default; to enable it, use
@example
\override Score.PaperColumn #'keep-inside-line = ##t
\addlyrics { joue le jeu }
@end lilypond
-The command @code{\addlyrics} cannot handle polyphony settings. For these cases you should use @code{\lyricsto} and @code{\lyricmode}.
+The command @code{\addlyrics} cannot handle polyphony settings. For these
+cases you should use @code{\lyricsto} and @code{\lyricmode}.
the lyrics to a melody or other voice of music, using @code{\addlyrics}
or @code{\lyricsto}. For more details see @ref{The Lyrics context}.
-A word or syllable of lyrics begins with an alphabetic character, and ends with
+A word or syllable of lyrics begins with an alphabetic character, and ends
+with
any space or digit. The following characters can be any character
that is not a digit or white space. One important consequence of this
is that a word can end with @code{@}}. The following example is
-usually a mistake in the input file. The syllable includes a @code{@}}, so the
+usually a mistake in the input file. The syllable includes a @code{@}}, so
+the
opening brace is not balanced
@example
\lyricmode @{ twinkle@}
@node The Lyrics context
@subsection The Lyrics context
-Lyrics are printed by interpreting them in the context caleld @internalsref{Lyrics}.
+Lyrics are printed by interpreting them in the context caleld
+@internalsref{Lyrics}.
@example
\new Lyrics \lyricmode @dots{}
}
@end lilypond
-To make this change for all lyrics in the score, set the property in the layout.
+To make this change for all lyrics in the score, set the property in the
+layout.
@lilypond[relative,verbatim,quote,ragged-right]
\score {
@seealso
-Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber}, @internalsref{VocalName}.
+Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber},
+@internalsref{VocalName}.
\set TabStaff.stringTunings = #bass-tuning
@end example
-The default string tuning is @code{guitar-tuning} (the standard EADGBE tuning).
+The default string tuning is @code{guitar-tuning} (the standard EADGBE
+tuning).
Some other predefined tunings are @code{guitar-open-g-tuning},
@code{mandolin-tuning} and @code{banjo-open-g-tuning}.
@seealso
-The file @file{scm/@/output@/-lib@/.scm} contains the predefined string tunings.
+The file @file{scm/@/output@/-lib@/.scm} contains the predefined string
+tunings.
Program reference: @internalsref{Tab_note_heads_engraver}.
@refbugs
@cindex Banjo tablatures
LilyPond has basic support for five stringed banjo. When making tablatures
-for five stringed banjo, use the banjo tablature format function to get correct
+for five stringed banjo, use the banjo tablature format function to get
+correct
fret numbers for the fifth string:
@lilypond[quote,ragged-right,fragment,verbatim]
@seealso
-In this manual: @ref{Rests} gives a general introduction into the use of rests.
+In this manual: @ref{Rests} gives a general introduction into the use of
+rests.
@node Ancient clefs
{
\set Score.timing = ##f
\set Score.barAlways = ##t
- s_\markup { "\\time 4/4" }^\markup { " " \musicglyph #"timesig.neomensural44" }
+ s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
+#"timesig.neomensural44" }
s
- s_\markup { "\\time 2/2" }^\markup { " " \musicglyph #"timesig.neomensural22" }
+ s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
+#"timesig.neomensural22" }
s
- s_\markup { "\\time 6/4" }^\markup { " " \musicglyph #"timesig.neomensural64" }
+ s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
+#"timesig.neomensural64" }
s
- s_\markup { "\\time 6/8" }^\markup { " " \musicglyph #"timesig.neomensural68" }
+ s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
+#"timesig.neomensural68" }
\break
- s_\markup { "\\time 3/2" }^\markup { " " \musicglyph #"timesig.neomensural32" }
+ s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
+#"timesig.neomensural32" }
s
- s_\markup { "\\time 3/4" }^\markup { " " \musicglyph #"timesig.neomensural34" }
+ s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
+#"timesig.neomensural34" }
s
- s_\markup { "\\time 9/4" }^\markup { " " \musicglyph #"timesig.neomensural94" }
+ s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
+#"timesig.neomensural94" }
s
- s_\markup { "\\time 9/8" }^\markup { " " \musicglyph #"timesig.neomensural98" }
+ s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
+#"timesig.neomensural98" }
\break
- s_\markup { "\\time 4/8" }^\markup { " " \musicglyph #"timesig.neomensural48" }
+ s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
+#"timesig.neomensural48" }
s
- s_\markup { "\\time 2/4" }^\markup { " " \musicglyph #"timesig.neomensural24" }
+ s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
+#"timesig.neomensural24" }
}
@end lilypond
@end example
Accidentals and plus signs can appear before or after the numbers,
-depending on the @code{figuredBassAlterationDirection} and @code{figuredBassPlusDirection}
+depending on the @code{figuredBassAlterationDirection} and
+@code{figuredBassPlusDirection}
properties
@lilypond
@end ifnotinfo
@ifinfo
@c workaround for makeinfo-4.6: line breaks and multi-column cookies
-@image{henle-flat-bw,,,png} @image{baer-flat-bw,,,png} @image{lily-flat-bw,,,png}
+@image{henle-flat-bw,,,png} @image{baer-flat-bw,,,png}
+@image{lily-flat-bw,,,png}
@end ifinfo
@item @tab
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-stem/@/up-stem
+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
Copy and paste from CVS, last updated
Aug 18, 2005
-http://savannah.gnu.org/cgi-bin/viewcvs/*checkout*/lilypond/lily-bugs/bugs/convert-ly.txt?rev=HEAD&content-type=text/plain
+http://savannah.gnu.org/cgi-bin/viewcvs/*checkout*/lilypond/lily-bugs/bugs/
+convert-ly.txt?rev=HEAD&content-type=text/plain
@end ignore
@verbatim
-There are a few things that the convert-ly cannot handle. Here's a list of limitations
+There are a few things that the convert-ly cannot handle. Here's a list of
+limitations
that the community has complained about.
-This bug report structure has been chosen because convert-ly has a structure that doesn't
-allow to smoothly implement all needed changes. Thus this is just a wishlist, placed
+This bug report structure has been chosen because convert-ly has a structure
+that doesn't
+allow to smoothly implement all needed changes. Thus this is just a wishlist,
+placed
here for reference.
1.6->2.0:
- Doesn't always convert figured bass correctly, specifically things like {< >}. Mats' comment on working around this:
+ Doesn't always convert figured bass correctly, specifically things like {<
+>}. Mats' comment on working around this:
To be able to run convert-ly
on it, I first replaced all occurencies of '{<' to some dummy like '{#'
and similarly I replaced '>}' with '&}'. After the conversion, I could
then change back from '{ #' to '{ <' and from '& }' to '> }'.
Doesn't convert all text markup correctly. In the old markup syntax,
- it was possible to group a number of markup commands together within parentheses, e.g.
+ it was possible to group a number of markup commands together within
+parentheses, e.g.
-#'((bold italic) "string")
This will incorrectly be converted into
-\markup{{\bold italic} "string"}
-\markup{\bold \italic "string"}
2.0->2.2:
Doesn't handle \partcombine
- Doesn't do \addlyrics => \lyricsto, this breaks some scores with multiple stanzas.
+ Doesn't do \addlyrics => \lyricsto, this breaks some scores with multiple
+stanzas.
2.0->2.4:
\magnify isn't changed to \fontsize.
- \magnify #m => \fontsize #f, where f = 6ln(m)/ln(2)
- \rced => \!
- \rc => \!
2.2->2.4:
- \turnOff (used in \set Staff.VoltaBracket = \turnOff) is not properly converted.
+ \turnOff (used in \set Staff.VoltaBracket = \turnOff) is not properly
+converted.
2.4.2->2.5.9
\markup{ \center-align <{ ... }> } should be converted to:
\markup{ \center-align {\line { ... }} }
@ifhtml
-This document is also available as a @uref{source/Documentation/user/lilypond.pdf,PDF}.
+This document is also available as a
+@uref{source/Documentation/user/lilypond.pdf,PDF}.
@end ifhtml
@end direntry
@ifhtml
-This document is also available in @uref{source/Documentation/user/music-glossary.pdf,PDF}
+This document is also available in
+@uref{source/Documentation/user/music-glossary.pdf,PDF}
and as @uref{source/Documentation/user/music-glossary.html,one big page}.
@end ifhtml
NL: cent,
DK: cent,
S: cent,
-FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä.
+FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
+viritysjärjestelmässä.
Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
of an equally tempered @aref{semitone}).
S: ackord,
FI: sointu.
-Three or more tones sounding simultaneously. In traditional European music the
-base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
+Three or more tones sounding simultaneously. In traditional European music
+the
+base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
++
minor @aref{third}) as well as @emph{minor} (minor + major third)
chords may be extended with more thirds. Four-tone @emph{seventh chords}
and five-tone @emph{ninth} major chords are most often used as dominants
\context Voice \relative c'' {
<g e c >1 < a f d > < b g e >
<c a f > < d b g > < e c a > < f d b > }
-\context Lyrics \lyrics { T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
+\context Lyrics \lyrics {
+ T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
@end lilypond
@node G
S: intervall,
FI: intervalli, kahden sävelen korkeusero.
-Difference in pitch between two notes. Intervals may be perfect, minor, major,
+Difference in pitch between two notes. Intervals may be perfect, minor,
+major,
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
FI: nuotin aika-arvo.
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},
+higher note value. The longest duration normally used is called
+@emph{brevis},
but sometimes (mostly in pre-baroque music) the double length note value
@emph{longa} is used.
>>
@end lilypond
-Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
+Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
+the
@emph{prall} (inverted mordent).
@lilypond[fragment,line-width=13.0\cm]
NL: syntonische komma,
DK: syntonisk komma,
S: syntoniskt komma,
-FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysjärjestelmässä.
+FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa
+viritysjärjestelmässä.
Difference between the natural third and the third obtained by Pythagorean
tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
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).
@node turn
@section turn
@item
-@item @strong{c-sharp} @tab do diesis @tab do diesis @tab ut dièse @tab Cis @tab cis @tab
+@item @strong{c-sharp} @tab do diesis @tab do diesis @tab ut dièse @tab
+Cis @tab cis @tab
cis @tab cis @tab cis
@item
-@item @strong{d-flat} @tab re bemolle @tab re bemolle @tab ré bémol @tab Des @tab des @tab
+@item @strong{d-flat} @tab re bemolle @tab re bemolle @tab ré bémol @tab
+Des @tab des @tab
des @tab des @tab des
@item
@item
-@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
+@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g
+@tab g
@item
-@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As @tab as @tab as
+@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
+@tab as @tab as
@tab as @tab as
@item
@item
-@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais @tab ais @tab
+@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab
+Ais @tab ais @tab
ais @tab ais @tab ais
@item
-@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B @tab bes @tab b
+@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
+@tab bes @tab b
@tab b @tab b
@item
We can use it to create new commands,
@lilypond[quote,verbatim,ragged-right]
-tempoMark = #(define-music-function (parser location marktext padding) (string? number?)
+tempoMark = #(define-music-function
+ (parser location marktext padding) (string? number?)
#{
\once \override Score . RehearsalMark #'padding = $padding
\once \override Score . RehearsalMark #'no-spacing-rods = ##t
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