@c A menu is needed before every deeper *section nesting of @node's; run
@c M-x texinfo-all-menus-update
@c to automagically fill in these menus before saving changes
-
+@c
@c FIXME: singular vs. plural: Beams/Beam
-@macro refbugs
-@strong{BUGS}
-@end macro
-@c .{Reference Manual}
@node Reference Manual
@chapter Reference Manual
etc). New users are encouraged to study the tutorial before reading
this manual.
-
@menu
* Note entry::
* Easier music entry::
@end menu
@c FIXME: Note entry vs Music entry at top level menu is confusing.
-@c . {Note entry}
+
@node Note entry
@section Note entry
@cindex Note entry
* Easy Notation note heads ::
@end menu
-@c . {Notes}
+
@node Notes
@subsection Notes
cis'4 d'8 e'16 c'16
@end lilypond
-@c . {Pitches}
+
@node Pitches
@subsection Pitches
The automatic production of accidentals can be tuned in many
ways. For more information, refer to @ref{Accidentals}.
-@c . {Rests}
+
@node Rests
@subsection Rests
@cindex Rests
@end lilypond
-@c . {Skips}
+
@c FIXME: naming.
@node Skips
@subsection Skips
-@c . {Durations}
+
@node Durations
@subsection Durations
a quarter note is entered using a @code{4} (since it is a 1/4 note), while
a half note is entered using a @code{2} (since it is a 1/2 note). For notes
longer than a whole you must use identifiers.
-@c FIXME: what's an identifier? I do not think it's been introduced yet.
+@c FIXME: what is an identifier? I do not think it's been introduced yet.
@c and if it has, I obviously skipped that part. - Graham
@example
connected. If you try to tie together chords that have no common pitches,
no ties will be created.
-[TODO: seealso]
-
-If you want less ties created for a chord, you can set
-@code{Voice.sparseTies} to true. In this case, a single tie is used
-for every tied chord.
-@lilypond[fragment,verbatim,center]
- \property Voice.sparseTies = ##t
- <<c' e' g'>> ~ <<c' e' g'>>
-@end lilypond
-
In its meaning a tie is just a way of extending a note duration, similar
to the augmentation dot: the following example are two ways of notating
exactly the same concept.
@lilypond[fragment, singleline,quote]
\time 3/4 c'2. c'2 ~ c'4
@end lilypond
-If you need to tie notes over bars, it may be easier to use
-@ref{Automatic note splitting}.
+If you need to tie notes over bars, it may be easier to use automatic
+note splitting (See @ref{Automatic note splitting}).
+
-See also @seeinternals{Tie}.
+@seealso
+@seeinternals{Tie}, @ref{Automatic note splitting}. If you want less
+ties created for a chord, see @inputfileref{input/test/,tie-sparse.ly}.
@refbugs
-At present, the tie is represented as a separate event, temporally
-located in between the notes. Tying only a subset of the note heads
-of a chord is not supported in a simple way. It can be achieved by
-moving the tie-engraver into the Thread context and turning on and off
-ties per Thread.
+Tieing only a subset of the note heads of a pair of chords is not
+supported in a simple way. It can be achieved by moving the
+tie-engraver into the @internalsref{Thread} context and turning on and
+off ties per @internalsref{Thread}.
+
+Switching staves when a tie is active, will produce a horizontal tie
+on the first note.
+
+
+Formatting of ties is a difficult subject. LilyPond often does not
+give optimal results.
+
-Switching staves when a tie is active will not work.
@node Automatic note splitting
@subsection Automatic note splitting
@refbugs
Nested tuplets are not formatted automatically. In this case, outer
-tuplet brackets should be moved automatically.
+tuplet brackets should be moved manually.
@node Easy Notation note heads
@subsection Easy Notation note heads
@cindex easy notation
@cindex Hal Leonard
-An entirely different type of note head is the "easyplay" note head: a
-note head that includes a note name. It is used in some publications by
-Hal-Leonard Inc. music publishers.
+The "easyplay" note head includes a note name inside the head. It is
+used in music aimed at beginners.
@lilypond[singleline,verbatim,26pt]
\score {
The @code{EasyNotation} identifier overrides a @internalsref{Score}
context. You probably will want to print it with magnification or a
large font size to make it more readable. To print with
-magnification, you must create a dvi (with @file{ly2dvi}) and then
-enlarge it with something like @file{dvips -x 2000 file.dvi}. See
-@file{man dvips} for details. To print with a larger font, see
+magnification, you must create a DVI file (with @file{ly2dvi}) and
+then enlarge it with something like @file{dvips -x 2000 file.dvi}.
+See @file{man dvips} for details. To print with a larger font, see
@ref{Font Size}.
* Skipping corrected music::
@end menu
-When entering music with LilyPond, it is easy to introduce errors. This
-section deals with tricks and features that help you enter music, and
-find and correct mistakes.
-
-@node Graphical interfaces
-@subsection Graphical interfaces
-
-@cindex GUI
-@cindex graphical interface
-@cindex sequencer
-@cindex RoseGarden
-@cindex Denemo
-@cindex NoteEdit
-@cindex MIDI
-
-One way to avoid entering notes using the keyboard is to use a
-graphical user interface. The following programs are known to have
-a lilypond export option:
-
-@itemize @bullet
-@item
-Denemo was once intended as
-a LilyPond graphical user interface. It run on Gnome/GTK.
-
-@quotation
-@uref{http://denemo.sourceforge.net/}
-@end quotation
-
-@item
- Noteedit, a graphical score editor that runs under KDE/Qt.
-@quotation
-@uref{http://rnvs.informatik.tu-chemnitz.de/~jan/noteedit/noteedit.html,}
-@end quotation
-
-@item
-RoseGarden was once the inspiration for naming LilyPond. Nowadays it
-has been rewritten from scratch and supports LilyPond export as of
-version 0.1.6.
-
-@quotation
-@uref{http://rosegarden.sf.net/}
-@end quotation
-@end itemize
+When entering music with LilyPond, it is easy to introduce
+errors. This section deals with tricks and features that help you
+enter music, and find and correct mistakes. It is also possible to
+use external programs to enter or edit music. Refer to the website for
+more information.
-Another option is to enter the music using your favorite
-sequencer/notation editor, and then export it as MIDI or MusicXML.
-You can then import it in lilypond by using either midi2ly or
-@cindex midi2ly
-xml2ly. midi2ly is described in @ref{Invoking midi2ly}. @code{xml2ly}
-@cindex xml2ly
-is a tool to convert from the MusicXML music representation format
-(@uref{http://www.musicxml.org}) to LilyPond format. @code{xml2ly} is
-described at @uref{http://www.nongnu.org/xml2ly/}.
-@c . {Relative}
@node Relative octaves
@subsection Relative octaves
@cindex Relative
additional @code{\relative} inside the @code{\transpose}.
-@c . {Bar check}
@node Bar check
@subsection Bar check
@cindex Bar check
@code{barCheckSynchronize}, the beginning of the measure will be
relocated, so this can also be used to shorten measures.
-A bar check is entered using the bar symbol, @code{|}:
+A bar check is entered using the bar symbol, `@code{|}'.
@example
\time 3/4 c2 e4 | g2.
@end example
@cindex skipTypesetting
-Failed bar checks are most often caused by entering incorrect
+Failed bar checks are caused by entering incorrect
durations. Incorrect durations often completely garble up the score,
-especially if it is polyphonic, so you should start correcting the score
-by scanning for failed bar checks and incorrect durations. To speed up
-this process, you can use @code{skipTypesetting} (See @ref{Skipping
-corrected music})).
-
-@c . {Point and click}
-@node Point and click
-@subsection Point and click
-@cindex poind and click
-
-Point and click lets you find notes in the input by clicking on them in
-the Xdvi window. This makes it very easy to find input that causes some
-error in the sheet music.
-
-To use it, you need the following software
-@itemize @bullet
-@item A dvi viewer that supports src specials.
-@itemize @bullet
-@item Xdvi, version 22.36 or newer. Available from
-@uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,ftp.math.berkeley.edu}.
-
- Most @TeX{} distributions ship with xdvik, which is always
- a few versions behind the official Xdvi. To find out which xdvi you
- are running, try @code{xdvi -version} or @code{xdvi.bin -version}.
-@item KDVI. A dvi viewer for KDE. You need KDVI from KDE 3.0 or
-newer. Enable option @emph{Inverse search} in the menu @emph{Settings}.
-
-@cindex Xdvi
-@cindex KDVI
-@cindex KDE
-
-
-
-@end itemize
-@item An editor with a client/server interface (or a lightweight GUI
-editor).
-
-@cindex editor
-
-@itemize @bullet
-@item Emacs. Emacs is an extensible text-editor. It is available from
-@uref{http://www.gnu.org/software/emacs/}. You need version 21 to use
-column location.
-
-@c move this elsewhere?
-
-LilyPond also comes with support files for emacs: lilypond-mode for
-emacs provides indentation, autocompletion, syntax coloring, handy
-compile short-cuts and reading Info documents of lilypond inside emacs.
-If lilypond-mode is not installed on your platform,
-then refer to the installation instructions for more information.
-
-@cindex emacs
-@cindex emacs mode
-@cindex lilypond-mode for emacs
-@cindex syntax coloring
-
-@item XEmacs. Xemacs is very similar to emacs.
-
-@cindex XEmacs
-
-@item NEdit. NEdit runs under Windows, and Unix.
- It is available from @uref{http://www.nedit.org}.
-
-@cindex NEdit
-
-@item GVim. GVim is a GUI variant of VIM, the popular VI
-clone. It is available from @uref{http://www.vim.org}.
-
-@cindex GVim
-@cindex Vim
-
-@end itemize
-@end itemize
-
-
-Xdvi must be configured to find the @TeX{} fonts and music
-fonts. Refer to the Xdvi documentation for more information.
-
-To use point-and-click, add one of these lines to the top of your .ly
-file.
-@example
-#(ly:set-point-and-click 'line)
-@end example
-@cindex line-location
-
-When viewing, Control-Mousebutton 1 will take you to the originating
-spot in the @file{.ly} file. Control-Mousebutton 2 will show all
-clickable boxes.
-
-If you correct large files with point-and-click, be sure to start
-correcting at the end of the file. When you start at the top, and
-insert one line, all following locations will be off by a line.
-
-@cindex Emacs
-For using point-and-click with emacs, add the following
-In your emacs startup file (usually @file{~/.emacs}),
-@example
-(server-start)
-@end example
-
-Make sure that the environment variable @var{XEDITOR} is set to
-@example
-emacsclient --no-wait +%l %f
-@end example
-@cindex @var{XEDITOR}
-If you use xemacs instead of emacs, you use @code{(gnuserve-start)} in
-your @file{.emacs}, and set @code{XEDITOR} to @code{gnuclient -q +%l %f}
-
-For using Vim, set @code{XEDITOR} to @code{gvim --remote +%l %f}, or
-use this argument with xdvi's @code{-editor} option.
-
-@cindex NEdit
-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
-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
-top of the @code{ly} file, replace the @code{set-point-and-click} line
-with the following line,
-@example
-#(ly:set-point-and-click 'line-column)
-@end example
-@cindex line-colomn-location
-and set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}. Vim
-users can set @var{XEDITOR} to @code{gvim --remote +:%l:norm%c| %f}.
-
-
-
-@refbugs
-
-When you convert the @TeX{} file to PostScript using @code{dvips}, it
-will complain about not finding @code{src:X:Y} files. These complaints
-are harmless, and can be ignored.
+especially if it is polyphonic, so you should start correcting the
+score by scanning for failed bar checks and incorrect durations. To
+speed up this process, you can use @code{skipTypesetting}, described
+in the next section.
@node Skipping corrected music
@subsection Skipping corrected music
@node Staff symbol
@subsection Staff symbol
-
@cindex adjusting staff symbol
@cindex StaffSymbol, using \property
@cindex staff lines, setting number of
+Staff is a the general name for Notes, dynamic signs, etc. are grouped
+with a set of horizontal lines, into a staff (plural `staves'). In our
+system, these lines are drawn using a separate graphical object called
+staff symbol.
-The lines of the staff symbol are formed by the
-@internalsref{StaffSymbol} object. This object is created at the moment
-that their context is created. You can not change the appearance of
-the staff symbol by using @code{\override} or @code{\set}. At the
-moment that @code{\property Staff} is interpreted, a Staff context is
-made, and the StaffSymbol is created before any @code{\override} is
+This object is created whenever a @internalsref{Staff} context is
+created. You can not change the appearance of the staff symbol by
+using @code{\override} or @code{\set}. At the moment that
+@code{\property Staff} is interpreted, a Staff context is made, and
+the @internalsref{StaffSymbol} is created before any @code{\override} is
effective. You can deal with this either overriding properties in a
@code{\translator} definition, or by using @code{\outputproperty}.
-
@refbugs
-If you end a staff half way a piece, the staff symbol may not end
+If you end a staff halfway a piece, the staff symbol may not end
exactly on the barline.
-@c . {Key}
@node Key signature
@subsection Key signature
@cindex Key
@cindex @code{\key}
+The key signature indicates the scale in which a piece is played. It
+is denoted by a set of alterations (flats or sharps) at the start of
+the staff.
+
+@syntax
+
Setting or changing the key signature is done with the @code{\key}
command.
@example
@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
@code{\phrygian}, and @code{\dorian} are also defined.
-This command sets the context property @code{Staff.keySignature}.
-Non-standard key signatures can be specified by setting this property
-directly.
+@seealso
+
+This command sets the context property
+@internalsref{Staff}.@code{keySignature}. Non-standard key signatures
+can be specified by setting this property directly.
The printed signature is a @internalsref{KeySignature} object, typically
created in @internalsref{Staff} context.
@cindex @code{keySignature}
-@c . {Clef}
+
@node Clef
@subsection Clef
@cindex @code{\clef}
+The clef indicates which lines of the staff correspond to which
+pitches.
+
+@syntax
+
The clef can be set or changed with the @code{\clef} command:
@lilypond[fragment,verbatim]
\key f\major c''2 \clef alto g'2
\clef "G_8"
@end example
-The object for this symbol is @internalsref{Clef}.
-
-
This command is equivalent to setting @code{clefGlyph},
@code{clefPosition} (which controls the Y position of the clef),
-@code{centralCPosition} and @code{clefOctavation}. A clef is created
+@code{centralCPosition} and @code{clefOctavation}. A clef is printed
when any of these properties are changed.
+@seealso
+
+The object for this symbol is @internalsref{Clef}.
+
+
+
-@c . {Time signature}
@node Time signature
@subsection Time signature
@cindex Time signature
@cindex meter
@cindex @code{\time}
+Time signature indicates the metrum of a piece: a regular pattern of
+strong and weak beats. It is denoted by a fraction at the start of the
+staff.
+
+@syntax
+
The time signature is set or changed by the @code{\time}
command.
@lilypond[fragment,verbatim]
\time 2/4 c'2 \time 3/4 c'2.
@end lilypond
-The actual symbol that's printed can be customized with the @code{style}
+The actual symbol that is printed can be customized with the @code{style}
property. Setting it to @code{#'()} uses fraction style for 4/4 and
2/2 time.
-
-The object for this symbol is @internalsref{TimeSignature}. There are
-many more options for its layout. They are selected through the
-@code{style} object property. See @inputfileref{input/test,time.ly} for more
-examples.
-
This command sets the property @code{timeSignatureFraction},
@code{beatLength} and @code{measureLength} in the @code{Timing}
context, which is normally aliased to @internalsref{Score}. The property
@lilypond[verbatim]
\score { \notes \relative c'' {
#(set-time-signature 9 8 '(2 2 2 3))
- g8 g d d g g a8-[-( bes g-]-) |
+ g8-[ g-] d-[ d-] g-[ g-] a8-[-( bes g-]-) |
#(set-time-signature 5 8 '(3 2))
a4. g4
}
}}}
@end lilypond
-@c . {Partial}
+@seealso
+
+The object for this symbol is @internalsref{TimeSignature}. There are
+many more options for its layout. See
+@inputfileref{input/test,time.ly} for more examples.
+
+@refbugs
+
+Automatic beaming does not use measure grouping specified with
+@code{set-time-signature}.
+
+
@subsection Partial
@cindex Partial
@cindex anacrusis
Partial measures, for example in upbeats, are entered using the
@code{\partial} command:
@lilypond[fragment,verbatim]
-\partial 4* 5/16 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
+\partial 16*5 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
@end lilypond
The syntax for this command is
The property @code{measurePosition} contains a rational number
indicating how much of the measure has passed at this point.
-
@node Unmetered music
@subsection Unmetered music
Bar lines and bar numbers are calculated automatically. For unmetered
-music (e.g. cadenzas), this is not desirable. The commands
-@code{\cadenzaOn} and @code{\cadenzaOff} can be used to switch off the
-timing information:
-
-@lilypond[fragment,relative,singleline,verbatim]
-c'2.
-\cadenzaOn
-c2
-\cadenzaOff
-c4 c4 c4
-@end lilypond
-
-The property @code{Score.timing} can be used to switch off this
-automatic timing
+music (e.g. cadenzas), this is not desirable. By setting
+@code{Score.timing} to false, this automatic timing can be switched
+off.
-@c . {Bar lines}
@node Bar lines
@subsection Bar lines
@cindex Bar lines
@cindex measure lines
@cindex repeat bars
+
+Bar lines delimit measures, but are also used to indicate
+repeats. Line breaks may only happen on barlines.
+
+@syntax
+
Bar lines are inserted automatically, but if you need a special type
of barline, you can force one using the @code{\bar} command:
-@lilypond[fragment,verbatim] c4 \bar "|:" c4
+@lilypond[relative=1,fragment,verbatim]
+ c4 \bar "|:" c4
@end lilypond
The following bar types are available
\bar "|."
@end lilypond
-You are encouraged to use @code{\repeat} for repetitions. See
-@ref{Repeats}.
-
In scores with many staves, the barlines are automatically placed at
top level, and they are connected between different staves of a
@internalsref{StaffGroup}:
\context Staff = pedal { \clef bass c2 c2 } >
@end lilypond
-The objects that are created at @internalsref{Staff} level. The name is
-@internalsref{BarLine}.
The command @code{\bar @var{bartype}} is a short cut for
doing @code{\property Score.whichBar = @var{bartype}}
@code{\bar }. These settings take precedence over the automatic
@code{whichBar} settings.
-
-@cindex Bar_line_engraver
@cindex whichBar
@cindex repeatCommands
@cindex defaultBarType
+@seealso
+
+You are encouraged to use @code{\repeat} for repetitions. See
+@ref{Repeats}.
+
+The bar line objects that are created at @internalsref{Staff} are
+called @internalsref{BarLine}, the bar lines that span staffs are
+@internalsref{SpanBar}s.
+
-@c . {Polyphony}
@node Polyphony
@section Polyphony
@cindex polyphony
-The easiest way to enter such fragments with more than one voice on a
-staff is to split chords using the separator @code{\\}. You can use
-it for small, short-lived voices (make a chord of voices) or for
-single chords:
+The easiest way to enter fragments with more than one voice on a staff
+is to split chords using the separator @code{\\}. You can use it for
+small, short-lived voices (make a chord of voices) or for single
+chords:
@lilypond[verbatim,fragment]
\context Voice = VA \relative c'' {
- c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f \\ d >
+ c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f' \\ d' >
}
@end lilypond
The separator causes @internalsref{Voice} contexts to be instantiated,
-bearing the names @code{"1"}, @code{"2"}, etc.
+bearing the names @code{"1"}, @code{"2"}, etc. In each of these
+contexts, vertical direction of slurs, stems, etc. are set
+appropriately.
-Sometimes, it is necessary to instantiate these contexts by hand: For
-Instantiate a separate Voice context for each part, and use
-@code{\voiceOne}, up to @code{\voiceFour} to assign a stem directions
-and horizontal shift for each part.
+This can also be done by instantiating @internalsref{Voice} contexts
+by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
+a stem directions and horizontal shift for each part.
@c
@lilypond[singleline, verbatim]
\context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
@end lilypond
-The identifiers @code{\voiceOne} to @code{\voiceFour} set directions
-ties, slurs and stems, and set shift directions.
-
-If you want more than four voices, you can also manually set
-horizontal shifts and stem directions, as is shown in the following example:
-@lilypond[fragment, verbatim]
- \context Staff \notes\relative c''<
- \context Voice=one {
- \shiftOff \stemUp e4
- }
- \context Voice=two {
- \shiftOn \stemUp cis
- }
- \context Voice=three {
- \shiftOnn \stemUp ais
- }
- \context Voice=four {
- \shiftOnnn \stemUp fis
- }
- >
-@end lilypond
-
-
Normally, note heads with a different number of dots are not merged, but
if you set the object property @code{merge-differently-dotted}, they are:
@lilypond[verbatim,fragment,singleline]
-\context Voice < {
- g'8 g'8
+\relative c' \context Voice < {
+ g8 g8
\property Staff.NoteCollision \override
#'merge-differently-dotted = ##t
- g'8 g'8
- } \\ { [g'8. f16] [g'8. f'16] }
+ g8 g8
+ } \\ { [g8. f16] [g8. f16] }
>
@end lilypond
\context Voice < c''4 \\ r4 >
@end lilypond
-See also @internalsref{NoteCollision} and @internalsref{RestCollision}
+@seealso
+
+The objects responsible for resolving collisions are
+@internalsref{NoteCollision} and @internalsref{RestCollision}. See
+also example files @inputfileref{input/regression/,collision-dots.ly},
+@inputfileref{input/regression/,collision-head-chords.ly},
+@inputfileref{input/regression/,collision-heads.ly},
+@inputfileref{input/regression/,collision-mesh.ly}, and
+@inputfileref{input/regression/,collisions.ly}.
+
@refbugs
If you are not satisfied with the automatic beaming, you can enter the
beams explicitly. If you have beaming patterns that differ from the
-defaults, you can also set the patterns for automatic beamer.
+defaults, you can also set your own.
See also @internalsref{Beam}.
-@c . {Manual beams}
+
@cindex Automatic beams
@subsection Manual beams
@cindex beams, manual
@cindex @code{]}
@cindex @code{[}
-In some cases it may be necessary to override LilyPond's automatic
-beaming algorithm. For example, the auto beamer will not beam over
-rests or bar lines, If you want that, specify the begin and end point
-manually using a @code{[} before the first beamed note and a @code{]}
-after the last note:
+In some cases it may be necessary to override the automatic beaming
+algorithm. For example, the auto beamer will not beam over rests or
+bar lines, If you want that, specify the begin and end point manually
+using @code{[} and @code{]}.
@lilypond[fragment,relative,verbatim]
\context Staff {
@code{stemRightBeamCount}, but it take less typing.
-@example
-c16-[ c c c c c c c-]
-\property Voice.subdivideBeams = ##t
-c16-[ c c c c c c c-]
-c32-[ c c c c c c c c c c c c c c c-]
-\property Score.beatLength = #(ly:make-moment 1 8)
-c32-[ c c c c c c c c c c c c c c c-]
-@end example
-@lilypond[noindent]
-\score {
- \notes \relative c' {
+@lilypond[relative=1,verbatim,noindent]
c16-[ c c c c c c c-]
\property Voice.subdivideBeams = ##t
c16-[ c c c c c c c-]
c32-[ c c c c c c c c c c c c c c c-]
\property Score.beatLength = #(ly:make-moment 1 8)
c32-[ c c c c c c c c c c c c c c c-]
- }
-}
@end lilypond
@cindex subdivideBeams
-Kneed beams are inserted automatically, when a large gap between two
-adjacent beamed notes is detected. This behavior can be tuned through
-the object property @code{auto-knee-gap}.
+Kneed beams are inserted automatically, when a large gap is detected
+between the note heads. This behavior can be tuned through the object
+property @code{auto-knee-gap}.
@cindex beams, kneed
@cindex kneed beams
@cindex auto-knee-gap
-@c TODO -> why this ref? Document?
-@cindex @code{neutral-direction}
@refbugs
@cindex hara kiri
-Auto knee beams can not be used together with hara kiri staves.
+Automatically kneed beams can not be used together with Hara Kiri
+staves.
[TODO from bugs]
The Automatic beamer does not put @strong{unfinished} beams on the
last notes of a score.
-Formatting of ties is a difficult subject. LilyPond often does not
-give optimal results.
-
@menu
* Setting automatic beam behavior ::
@end menu
[TODO: some pictures.]
@end ignore
-@c . {Automatic beams}
+
@node Setting automatic beam behavior
@subsection Setting automatic beam behavior
@cindex automatic beams, tuning
@cindex tuning automatic beaming
+[TODO: use \applycontext]
+
In normal time signatures, automatic beams can start on any note but can
only end in a few positions within the measure: beams can end on a beat,
or at durations specified by the properties in
@node Accidentals
@section Accidentals
@cindex Accidentals
+
This section describes how to change the way that LilyPond automatically
inserts accidentals before the running notes.
+[TODO: identifier vs. macro]
+
@menu
* Using the predefined accidental macros::
* Defining your own accidental typesettings::
Apart from that the rule is similar to
@code{\defaultAccidentals}.
- Warning: This leads to some weird and often unwanted results
- because accidentals from one voice DO NOT get cancelled in other
+ This leads to some weird and often unwanted results
+ because accidentals from one voice do not get cancelled in other
voices:
@lilypond[singleline,relative,fragment,verbatim,quote]
\context Staff <
\voiceAccidentals
- \context Voice=va { \voiceOne es g }
- \context Voice=vb { \voiceTwo c, e }
- >
-@end lilypond
- Hence you should only use @code{\voiceAccidentals}
- if the voices are to be read solely by
- individual musicians. if the staff should be readable also
- by one musician/conductor then you should use
- @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
- instead.
+ <
+ { es g } \\
+ { c, e }
+ > >
+@end lilypond
+ Hence you should only use @code{\voiceAccidentals} if the voices
+are to be read solely by individual musicians. If the staff is to be
+used by one musician (e.g., a conductor) then you use
+@code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
+instead.
@item \modernAccidentals
@cindex @code{\modernAccidentals}
- This rule should correspond to the common practice in the 20th
+ This rule corresponds to the common practice in the 20th
century.
- The rule is a bit more complex than @code{\defaultAccidentals}:
+ The rule is more complex than @code{\defaultAccidentals}.
You get all the same accidentals, but temporary
accidentals also get cancelled in other octaves. Further more,
in the same octave, they also get cancelled in the following measure:
cis' c'' cis'2 | c'' c'
@end lilypond
-@item \modernVoiceAccidentals
@cindex @code{\modernVoiceAccidentals}
- Multivoice accidentals to be read both by musicians playing one voice
- and musicians playing all voices.
-
- Accidentals are typeset for each voice, but they ARE cancelled
- across voices in the same @internalsref{Staff}.
+@item \modernVoiceAccidentals
+is used for multivoice accidentals to be read both by musicians
+playing one voice and musicians playing all voices. Accidentals are
+typeset for each voice, but they @emph{are} cancelled across voices in
+the same @internalsref{Staff}.
-@item \modernVoiceCautionaries
@cindex @code{\modernVoiceCautionaries}
- The same as @code{\modernVoiceAccidentals}, but with the
- extra accidentals (the ones not typeset by
- @code{\voiceAccidentals}) typeset as cautionaries.
- Notice that even though all accidentals typeset by
- @code{\defaultAccidentals} ARE typeset by this macro then some
- of them are typeset as cautionaries.
+@item \modernVoiceCautionaries
+is the same as
+@code{\modernVoiceAccidentals}, but with the extra accidentals (the
+ones not typeset by @code{\voiceAccidentals}) typeset as cautionaries.
+Even though all accidentals typeset by @code{\defaultAccidentals}
+@emph{are} typeset by this macro then some of them are typeset as
+cautionaries.
@item \pianoAccidentals
@cindex @code{\pianoAccidentals}
sufficient with a short description of the system and a reference to
the internal documentation.
-The idea of the algorithm is to try several different rules and then
-use the rule that gives the highest number of accidentals.
-Each rule cosists of
-@table @asis
-@item Context:
- In which context is the rule applied. I.e. if context is
- @internalsref{Score} then all staves share accidentals, and if
- context is @internalsref{Staff} then all voices in the same
- staff share accidentals, but staves do not - like normally.
-@item Octavation:
+The algorithm tries several different rules, and uses the rule
+that gives the highest number of accidentals. Each rule consists of
+@table @var
+@item context:
+ In which context is the rule applied. For example, if
+@var{context} is @internalsref{Score} then all staves share
+accidentals, and if @var{context} is @internalsref{Staff} then all
+voices in the same staff share accidentals, but staves do not.
+@item octavation:
Whether the accidental changes all octaves or only the current
octave.
-@item Lazyness:
+@item lazyness:
Over how many barlines the accidental lasts.
- If lazyness is @code{-1} then the accidental is forget
- immidiately, and if lazyness is @code{#t} then the accidental
+ If @var{lazyness} is @code{-1} then the accidental is forget
+ immediately, and if @var{lazyness} is @code{#t} then the accidental
lasts forever.
+
+[TODO: should use +infinity for this case?]
+
@end table
-As described in the internal documentation of
-@internalsref{Accidental_engraver}, the properties @code{autoAccidentals} and
-@code{autoCautionaries} contain lists of rule descriptions. Notice
-that the contexts must be listed from in to out - that is
-@internalsref{Thread} before @internalsref{Voice},
-@internalsref{Voice} before @internalsref{Staff}, etc.
-see the macros in @file{ly/property-init.ly} for examples of how the
-properties are set.
+@seealso
+
+@internalsref{Accidental_engraver},
+
@refbugs
typeset as if the notes in the chord happened one at a time - in the
order in which they appear in the input file.
-Of course this is only a problem when you have simultainous notes
-which accidentals should depend on each other.
-Notice that the problem only occurs when using non-default accidentals
-- as the default accidentals only depend on other accidentals on the
-same staff and same pitch and hence cannot depend on other
-simultainous notes.
+This is only a problem when there are simultaneous notes whose
+accidentals depend on each other. The problem only occurs when using
+non-default accidentals. In the default scheme, accidentals only
+depend on other accidentals with the same pitch on the same staff, so
+no conflicts possible.
This example shows two examples of the same music giving different
accidentals depending on the order in which the notes occur in the
@lilypond[singleline,fragment,verbatim]
\property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
-cis'4 <<c'' c'>> r2 | cis'4 <<c' c''>> r2 | <<cis' c''>> r | <<c'' cis'>> r |
+cis'4 <<c'' c'>> r2 | cis'4 <<c' c''>> r2
+| <<cis' c''>> r | <<c'' cis'>> r |
@end lilypond
-The only solution is to manually insert the problematic
-accidentals using @code{!} and @code{?}.
+This problem can be solved by manually inserting @code{!} and @code{?}
+for the problematic notes.
@node Expressive marks
@section Expressive marks
-@c . {Slurs}
+
@menu
* Slurs ::
* Phrasing slurs::
However, in some situations with beams, slurs may be attached to stem
ends. If you want to override this layout you can do this through the
object property @code{attachment} of @internalsref{Slur} in
-@internalsref{Voice} context It's value is a pair of symbols, specifying
+@internalsref{Voice} context. Its value is a pair of symbols, specifying
the attachment type of the left and right end points.
@lilypond[fragment,relative,verbatim]
The default value for the @code{text} property is
@code{scripts-rcomma}.
-@c . {Tempo}
+
@node Tempo
@subsection Tempo
@cindex Tempo
}}}
@end lilypond
-@c . {Ornaments}
+
@node Ornaments
@section Ornaments
@cindex Ornaments
* Dynamics::
@end menu
-@c . {Articulation}
+
@node Articulations
@subsection Articulations
@cindex Articulations
@inputfileref{input/test,script-horizontal.ly}.
-@c . {Text scripts}
+
@node Text scripts
@subsection Text scripts
@cindex Text scripts
special symbols in text scripts.
-@c . {Grace notes}
+
@node Grace notes
@subsection Grace notes
-@c . {Dynamics}
+
@node Dynamics
@subsection Dynamics
@cindex Dynamics
@cindex @code{\dynamicDown}
@cindex @code{\dynamicUp}
-@c . {Repeats}
+
@node Repeats
@section Repeats
there will be made no great efforts in keeping things downwards
compatible.
-@c . {Piano music}
+
@node Piano music
@section Piano music
-@c . {Automatic staff changes}
+
@node Automatic staff changes
@subsection Automatic staff changes
@cindex Automatic staff changes
@var{staffname}. Typically @var{staffname} is @code{"up"} or
@code{"down"}.
-@c . {Pedals}
+
@node Pedals
@subsection Pedals
@cindex Pedals
@end example
@c @end lilypond
-@c . {Chords}
+
@node Chords
@section Chords
@cindex Chords
* Printing named chords::
@end menu
-@c . {Chords mode}
+
@node Chords mode
@subsection Chords mode
@cindex Chords mode
-@c . {Printing named chords}
+
@node Printing named chords
@subsection Printing named chords
You can make the chord changes stand out by setting
@code{ChordNames.chordChanges} to true. This will only display chord
-names when there's a change in the chords scheme and at the start of a
+names when there is a change in the chords scheme and at the start of a
new line.
@lilypond[verbatim]
problems in orchestral music.
-@c . {Transpose}
+
@menu
* Rehearsal marks::
* Bar numbers::
* Sound output for transposing instruments::
@end menu
-@c . {Rehearsal marks}
+
@node Rehearsal marks
@subsection Rehearsal marks
@cindex Rehearsal marks
you must use @code{\transpose} first. @code{\relative} will have no
effect music that appears inside a @code{\transpose}.
-@c . {Multi measure rests}
+
@node Multi measure rests
@subsection Multi measure rests
@cindex Multi measure rests
Petrucci used C clefs with differently balanced left-side vertical
beams, depending on which staffline it was printed.
-@c . {Custodes}
+
@node Custodes
@subsection Custodes
of the markup text properties to override formatting. For example, the
vertical spacing of the figures may be set with @code{baseline-skip}.
-@c . {Contemporary notation}
+
@node Contemporary notation
@section Contemporary notation
See @ref{Articulations} for general instructions how to apply scripts
such as fermatas to a @code{\notes@{@}} block.
-@c . {Tuning output}
+
@node Tuning output
@section Tuning output
c'4 \property Voice.Stem \revert #'thickness
c'4
@end lilypond
-You should balance @code{\override} and @code{\revert}. If that's too
+You should balance @code{\override} and @code{\revert}. If that is too
much work, you can use the @code{\set} shorthand. It performs a revert
followed by an override. The following example gives exactly the same
result as the previous one.
This will enlarge the B and the C by two steps.
@item \translate #(cons @var{x} @var{y})
@cindex \translate
-This translates an object. It's first argument is a cons of numbers
+This translates an object. Its first argument is a cons of numbers
@example
A \translate #(cons 2 -3) @{ B C @} D
@end example
@refbugs
Spacing is determined on a score wide basis. If you have a score that
-changes its character (measured in durations) half way during the
+changes its character (measured in durations) halfway during the
score, the part containing the longer durations will be spaced too
widely.
@end lilypond
-@c . {Font size}
+
@node Font Size
@subsection Font size
@cindex font size, setting
details, see the file @file{scm/font.scm}.
-@c . {Line break}
+
@node Line breaking
@subsection Line breaking
-@c . {Sound}
+
@node Sound
@section Sound
@cindex Sound
* MIDI instrument names::
@end menu
-@c . {MIDI block}
+
@node MIDI block
@subsection MIDI block
@cindex MIDI block
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