Mensuralnotation. Siehe @ref{Ligatures} zu einer Übersicht über die Funktion
und Notation von Ligaturen.
-@seealso
+@seealso
@ref{Note head styles} stellt einen Überblick über alle verfügbaren
Notenkopfstile zur Verfügung.
Tonart verändert werden, indem die @code{glyph-name-alist}-Eigenschaft
des @rinternals{KeySignature}-Objektes gesetzt wird.
-@seealso
+@seealso
In diesem Handbuch: @ref{Pitches}, @ref{Accidentals} und
@ref{Automatic accidentals} geben eine allgemeine Einführung in die Benutzung
von Versetzungszeichen. Der Abschnitt @ref{Key signature} zeigt die allgemeine
Für die Notation des Gregorianischen Chorals gibt es keine Pausen; anstelle
dessen werden @ref{Divisiones} verwendet.
-@seealso
+@seealso
In diesem Handbuch: Der Abschnitt @ref{Rests} enthält eine allgemeine
Einführung zur Benutzung von Pausen.
Balken auf der linken Seite in Abhängigkeit davon, auf welcher Notenlinie
der Schlüssel gesetzt wird.
-@seealso
+@seealso
In diesem Handbuch: siehe @ref{Clef}.
+
@knownissues
Der mensurale G-Schlüssel ist als Petrucci-G-Schlüssel deklariert.
}
@end lilypond
-@seealso
+@seealso
In diesem Handbuch: @ref{Time signature} bietet eine allgemeine Übersicht über
den Einsatz von Taktangaben.
+
@knownissues
Die Verhältnisse der Notenwerte ändern sich nicht, wenn die Taktart (Mensur)
}
@end lilypond
-@seealso
+@seealso
Programmreferenz:
@rinternals{Custos}.
@lilypondfile[quote,ragged-right]{divisiones.ly}
-@predefined
+@predefined
@funindex \virgula
@code{\virgula},
@funindex \caesura
@code{\divisioMaxima},
@funindex \finalis
@code{\finalis}.
+@endpredefined
-@seealso
+@seealso
In diesem Handbuch:
@ref{Breath marks}.
}
@end lilypond
-@predefined
+@predefined
Folgende Notenpräfixe sind unterstützt:
-
@funindex \virga
@code{\virga},
@funindex \stropha
@code{\cavum},
@funindex \linea
@code{\linea}.
+@endpredefined
+
Präfixe können kombiniert werden, wenn es hier auch Begrenzungen
gibt. Zum Beispiel können die Präfixe @code{\descendens} oder
ais bis
@end lilypond
-@seealso
+@seealso
Programmreferenz: @rinternals{Accidental_engraver}-Setzer und das
@rinternals{AccidentalSuggestion}-Objekt.
@cindex Jazz-Akkorde
@cindex Akkorde, Jazz
-@predefined
+@predefined
@funindex \germanChords
@code{\germanChords},
@funindex \semiGermanChords
@code{\italianChords}.
@funindex \frenchChords
@code{\frenchChords}.
+@endpredefined
-@seealso
+@seealso
Beispiele:
@rlsr{Chords}.
Init-Dateien: @file{scm/@/chords@/-ignatzek@/.scm} und
@file{scm/@/chord@/-entry@/.scm}.
+
@knownissues
Akkordsymbole werden nur von den Tonhöhenbezeichnungen bestimmt.
Problem zu vermeiden, sollte @code{stacking-dir}
im @code{BassFigureAlignment} benutzt werden.
-@seealso
+@seealso
Programmreferenz: @rinternals{BassFigure}-,
@rinternals{BassFigureAlignment}-, @rinternals{BassFigureLine}-,
@rinternals{BassFigureBracket}- und
@rinternals{BassFigureContinuation}-Objekte und der
@rinternals{FiguredBass}-Kontext.
+
@node Entering figured bass
@unnumberedsubsubsec Entering figured bass
werden, die Schrift-Dateien benutzen. Das sind die, welche die
@code{font-interface}-Layoutschnittstelle unterstützen.
-@predefined
+@predefined
@funindex \teeny
@code{\teeny},
@funindex \tiny
@code{\large},
@funindex \huge
@code{\huge}.
+@endpredefined
-@seealso
+@seealso
Schnipsel:
@rlsr{Editorial annotations}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{allowing-fingerings-to-be-printed-inside-the-staff.ly}
-@seealso
+@seealso
Notationsreferenz:
@ref{Direction and placement}.
@predefined
+@code{\hideNotes},
+@code{\unHideNotes}.
+@endpredefined
-@code{\hideNotes}, @code{\unHideNotes}
@seealso
-
Schnipsel:
@rlsr{Editorial annotations}.
gis4 a
@end lilypond
-@seealso
+@seealso
Notationsreferenz:
@ref{List of colors}, @ref{The
tweak command}.
Schnipsel:
@rlsr{Editorial annotations}.
+
@cindex x11-Farbe
@cindex farbige Noten in Akkorden
@cindex Noten, farbige in Akkorden
c2 \parenthesize r
@end lilypond
-@seealso
+@seealso
Schnipsel:
@rlsr{Editorial annotations}.
@rinternals{ParenthesesItem},
@rinternals{parentheses-interface}.
+
@knownissues
Wenn man einen Akkord einklammert, wird um jede Note eine eigene Klammer
für ganze Noten und Pausen werden sie erzeugt, aber unsichtbar
gemacht.
-@predefined
+@predefined
@funindex \stemUp
@code{\stemUp} (Hälse nach oben),
@funindex \stemDown
@code{\stemDown} (Hälse nach unten),
@funindex \stemNeutral
@code{\stemNeutral} (Hälse je nach Notenposition).
+@endpredefined
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{default-direction-of-stems-on-the-center-line-of-the-staff.ly}
+
@seealso
Notationsreferenz:
@ref{Direction and placement}.
@rinternals{stem-interface}.
-
@node Outside the staff
@subsection Outside the staff
@predefined
-
@funindex balloonLengthOn
@funindex balloonLengthOff
+@code{\balloonLengthOn},
@funindex \balloonLengthOn
@funindex \balloonLengthOff
+@code{\balloonLengthOff}.
+@endpredefined
-@code{\balloonLengthOn}, @code{\balloonLengthOff}
@seealso
-
Schnipsel:
@rlsr{Editorial annotations}.
@seealso
-
Schnipsel:
@rlsr{Editorial annotations}.
}
@end lilypond
-@seealso
+@seealso
Schnipsel:
@rlsr{Editorial annotations}.
@seealso
-
Musikglossar:
@rglos{tenuto},
@rglos{accent},
@funindex \dynamicNeutral
@funindex dynamicNeutral
-@predefined
+@predefined
@code{\dynamicUp},
@code{\dynamicDown},
@code{\dynamicNeutral},
@code{\dimTextDecresc},
@code{\crescHairpin},
@code{\dimHairpin}.
+@endpredefined
+
@snippets
@seealso
-
Musikglossar:
@rglos{al niente},
@rglos{crescendo},
@rinternals{DynamicLineSpanner}.
-
@node New dynamic marks
@unnumberedsubsubsec New dynamic marks
@seealso
-
Notationsreferenz:
@ref{Formatting text},
@ref{Selecting font and font size},
@funindex \slurUp
@funindex slurUp
-@predefined
+@predefined
@code{\slurUp},
@code{\slurDown},
@code{\slurNeutral},
@code{\slurDashed},
@code{\slurDotted},
@code{\slurSolid}.
+@endpredefined
@snippets
@seealso
-
Musikglossar:
@rglos{slur}.
@rinternals{Slur}.
-
@node Phrasing slurs
@unnumberedsubsubsec Phrasing slurs
@predefined
-
@code{\phrasingSlurUp},
@code{\phrasingSlurDown},
@code{\phrasingSlurNeutral}.
+@endpredefined
-@seealso
+@seealso
Handbuch zum Lernen:
@rlearning{On the un-nestedness of brackets and ties}.
@rinternals{PhrasingSlur}.
-
@node Breath marks
@unnumberedsubsubsec Breath marks
@seealso
-
Musikglossar:
@rglos{caesura}.
@rinternals{BreathingSign}.
-
@node Falls and doits
@unnumberedsubsubsec Falls and doits
@seealso
-
Musikglossar:
@rglos{fall},
@rglos{doit}.
@seealso
-
Musikglossar:
@rglos{glissando}.
@predefined
-
@code{\arpeggio},
@code{\arpeggioArrowUp},
@code{\arpeggioArrowDown},
@code{\arpeggioNormal},
@code{\arpeggioBracket},
@code{\arpeggioParenthesis}.
+@endpredefined
@snippets
@seealso
-
Musikglossar:
@rglos{arpeggio}.
@predefined
-
@code{\startTrillSpan},
@code{\stopTrillSpan}.
-
+@endpredefined
@seealso
-
Musikglossar:
@rglos{trill}.
<c\1 e\2 g\3>
@end lilypond
-@seealso
+@seealso
Programmreferenz:
@rinternals{StringNumber}.
Beispiele:
@rlsr{Fretted strings}.
+
@node Default tablatures
@unnumberedsubsubsec Default tablatures
\override Beam #'damping = #100000
@end example
-@seealso
+@seealso
Programmreferenz: @rinternals{TabStaff}, @rinternals{TabVoice}.
+
@knownissues
Akkorde werden nicht gesondert behandelt, sodass die Saitenauswahlfunktion
@code{guitar-open-g-tuning},
@code{mandolin-tuning} und @code{banjo-open-g-tuning}.
-@seealso
+@seealso
In der Datei @file{scm/@/output@/-lib@/.scm} sind die Stimmungen
definiert.
+
Programmreferenz: @rinternals{Tab_note_heads_engraver}.
+
@knownissues
Spezialeffekte für Gitarren sind noch nicht implementiert.
Schnittstelle für die Griffsymboleigenschaften findet sich unter
@rinternals{fret-diagram-interface}.
-@seealso
+@seealso
Beispiele:
@rlsr{Fretted strings}.
+
@node Right-hand fingerings
@unnumberedsubsubsec Right-hand fingerings
}
@end lilypond
-@seealso
+@seealso
Program reference: @rinternals{StrokeFinger}
+
@node Guitar
@subsection Guitar
\set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
@end example
-@seealso
+@seealso
Die Datei @file{scm/@/output@/-lib@/.scm} enthält vordefinierte
Banjo-Stimmungen.
lauten. Die genauen Einschränkungen sind beschrieben in
@ruser{File structure}.
-@seealso
+@seealso
Eine vollständige Definition des Eingabeformats findet sich in
@ruser{File structure}.
+
@node Score is a (single) compound musical expression
@subsection Score is a (single) compound musical expression
der gleichen Ebene angehört, wirklich horizontal an der
gleichen Stelle beginnt.
-@seealso
+@seealso
Benutzerhandbuch: @ruser{Structure of a score}.
mit Namen @qq{Hauptzeile} plaziert werden soll, anstatt
standardmäßig unterhalb.
-@seealso
+@seealso
Ossia werden oft ohne Notenschlüssel und Taktangabe gedruck, meist
auch etwas kleiner als die anderen Notenzeilen. Dies ist natürlich
auch in LilyPond möglich, benötigt aber Befehle, die bisher noch
anwenden könnten. Darum heben wir uns das Problem für einen späteren Abschnitt auf; siehe @code{force-hshift}-Eigenschaft in @ref{Fixing
overlapping notation}.
-@seealso
+@seealso
Notationsreferenz: @ruser{Multiple voices}.
@qq{zu viele kollidierende Notenspalten werden ignoriert}
ausgegeben.
-@seealso
+@seealso
Notationsreferenz: @ruser{Multiple voices}.
}
@end lilypond
-@seealso
+@seealso
Notation Reference: @ruser{Vocal music}.
angeschlossen, etwa
@code{GregorianTranscriptionStaff}.
-@seealso
+@seealso
Notationreferenz: @ruser{Contexts explained}.
zu verweisen. Dieses Vorgehen wurde schon in dem Abschnitt
zu Gesangstexten angewandt, siehe @ref{Voices and vocals}.
-@seealso
+@seealso
Notationsreferenz: @ruser{Creating contexts}.
verändert werden kann, indem die Wirkungsweise der
Engraver beeinflusst wird.
-@seealso
+@seealso
Referenz der Interna: @rinternals{Engravers and Performers}.
@code{\with}-Konstruktion eingesetzt wird, oder mit @code{\set}-Befehlen
innerhalb der aktuellen Noten.
-@seealso
+@seealso
Notationsreferenz:
@ruser{Changing context default settings}.
@c FIXME
Weise geändert werden, indem der @code{\set}-Befehl in
einer @code{\context}-Umgebung angewendet wird.
-@seealso
+@seealso
Notationsreferenz: @ruser{Modifying context plug-ins},
@ruser{Changing context default settings}.
}
@end lilypond
+
@seealso
Die Vorlagen, mit denen wir begonnen haben, können im
Anhang @qq{Vorlagen} gefunden werden, siehe
mehr als nur einen Voice-Kontext. Auf gleiche Weise können auch mehrere Staff-Kontexte
in einen großen Score-Kontext (Partiturkontext) eingebunden werden.
-@seealso
+@seealso
Programmreferenz: @rinternals{Contexts}.
+
@lilypond[quote,ragged-right]
\include "engraver-example.ily"
\score {
@seealso
-
Im Handbuch: @rlearning{Single staff}.
Programmreferenz: @rinternals{AutoChangeMusic}.
+
@knownissues
>>
@end lilypond
-@seealso
+@seealso
Programmreferenz: @rinternals{VoiceFollower}.
-@predefined
+@predefined
@funindex \showStaffSwitch
@code{\showStaffSwitch},
@funindex \hideStaffSwitch
@code{\hideStaffSwitch}.
+@endpredefined
@node Cross-staff stems
c\sostenutoOn d e c, f g a\sostenutoOff
@end lilypond
-@seealso
+@seealso
Im Handbuch: @ref{Ties}
\begin@{lilypond@}...\end@{lilypond@}
@end example
+
@seealso
@command{lilypond-book} stellt auch zahlreiche Kommandozeilen-Optionen zur
-Verfügung. Für eine Liste dieser Optionen und andere hilfreiche Details zur
+Verfügung. Für eine Liste dieser Optionen und andere hilfreiche Details zur
Verarbeitung von @LaTeX{}-Dokumenten, siehe @ref{Invoking lilypond-book}.
-
-
@node Texinfo
@subsection Texinfo
@include version.itexi
-@c don't replace quotes with directed quotes
+
+@c Don't replace quotes with directed quotes.
+
@set txicodequoteundirected
@set txicodequotebacktick
+
+
@c ***** Displaying text *****
-@c we need this since @q{\} doesn't work with makeinfo 4.11 --
-@c say @q{@bs{}} instead
+@c We need this since @q{\} doesn't work with makeinfo 4.11 --
+@c say @q{@bs{}} instead.
+
@macro bs
\\
@end macro
-@c to get decent quotes in `foo' and ``foo''
-@c these need to be split up so that "@qq{foo}." looks nice. :(
+
+@c To get decent quotes in ,foo' and ,,foo''.
+@c These need to be split up so that "@qq{foo}." looks nice. :(
+
@macro q{TEXT}
@quotesinglbase{}\TEXT\@quoteleft{}
@end macro
@quotedblbase{}\TEXT\@quotedblleft{}
@end macro
+
@ifhtml
+
@macro warning{TEXT}
@cartouche
@b{Achtung:} \TEXT\
@end cartouche
@end macro
+
@end ifhtml
@ifnothtml
+
@macro warning{TEXT}
@quotation
@quotation
@end quotation
@end quotation
@end macro
+
@end ifnothtml
+
@ifnotinfo
+
@macro notation{TEXT}
@var{\TEXT\}
@end macro
+
@end ifnotinfo
@ifinfo
+
@macro notation{TEXT}
\TEXT\
@end macro
+
@end ifinfo
+
@macro smallspace
@sp 1
@end macro
-@c **** Displaying images not generated by lilypond-book
-@c current installation setup of Info docs requires that all images are
-@c expected to be found in lilypond/ subdirectory. lilypond-book already
-@c generates proper @image commands for images of music; these macros
-@c definitions do the same for other images.
+@c ***** Displaying images not generated by lilypond-book *****
+
+@c Current installation setup of Info docs requires that all images are
+@c expected to be found in the `lilypond/' subdirectory. `lilypond-book'
+@c already generates proper @image commands for images of music; these
+@c macro definitions do the same for other images.
@ifnotinfo
+
@macro sourceimage{FILENAME,WIDTH,HEIGHT,ALTTEXT}
@image{\FILENAME\,\WIDTH\,\HEIGHT\,\ALTTEXT\}
@end macro
+
@end ifnotinfo
@ifinfo
+
@macro sourceimage{FILENAME,WIDTH,HEIGHT,ALTTEXT}
@image{lilypond/\FILENAME\,\WIDTH\,\HEIGHT\,\ALTTEXT\}
@end macro
+
@end ifinfo
-@c **** Headings in a doc subsection ****
+@c ***** Headings in a doc subsection *****
+
+@c Don't insert an empty line after @predefined! Right now
+@c it doesn't matter, but a future implementation will probably
+@c add some code which needs this restriction.
@macro predefined
@noindent
@subsubheading Predefined commands
+@end macro
+@c The next macro is a dummy currently since texinfo doesn't
+@c provide a real ragged-right environment yet.
+@c
+@c Due to a bug in texi2html (texi2html.pl CVS versions <= 1.245)
+@c the macro must not be empty.
+
+@macro endpredefined
+@c
@end macro
+
@macro snippets
@noindent
@subsubheading Selected Snippets
-
@end macro
+
@c obsolete, remove when translation is fully updated
@macro commonprop
@noindent
@subsubheading Commonly tweaked properties
-
@end macro
+
+@c Don't insert an empty line after @seealso! Otherwise we get
+@c unwanted extra vertical space in the PDF output.
+
@macro seealso
@noindent
@subsubheading See also
-
+@indent
@end macro
+
@macro knownissues
@noindent
@subsubheading Known issues and warnings
-
@end macro
+
@macro lydoctitle {TEXT}
@emph{\TEXT\}
-
@end macro
+
+@c Don't remove the `@c' within the macro definition! See section 19.3,
+@c `Macro Details and Caveats', in the texinfo info file for explanation.
+
@macro funindex {TEXT}
@findex \TEXT\
@kindex \TEXT\
+@c
@end macro
-@c **** Links and references ****
+@c ***** Links and references *****
@c obsolete
@c usage: @lsr{ancient,custodes.ly}
@end macro
-
-
-@c **** Links and references ****
-
@c Definitions for references:
+@c
@c @rglos
@c @rlearning
@c @ruser
@c @rprogram
@c @rlsr
@c @rinternals
-@c all these also have a @...named version, which allows to specify the
-@c displayed text for the reference as second argument
+@c
+@c All these also have a @...named version which allows to specify the
+@c displayed text for the reference as second argument.
+@c
+@c ***** HTML + bigpage is a special case (other manual names); all other
+@c formats are treated similarly.
-@c ***** HTML + bigpage is a special case (other manual names), all other
-@c formats are treated similarly
+
+@c *** not TeX ***
@ifnottex
+@c ** bigpage **
+
@ifset bigpage
@macro rglos{TEXT}
@end ifset
+@c ** not bigpage **
+
@ifclear bigpage
@macro rglos{TEXT}
@end ifnottex
-@c **** TEX ****
+@c *** TeX ***
+
@iftex
@macro rglos{TEXT}
@end iftex
-@c **** Macros specific to translated docs ****
+
+
+@c ***** Macros specific to translated docs *****
@c ugh, cannot set/define global variable 'translationof' in some way?
+
@iftex
+
@macro translationof{TEXT}
@end macro
+
@end iftex
@ifinfo
+
@macro
@macro translationof{TEXT}
@set translationof \TEXT\
@end macro
+
@end ifinfo
-@c TODO when @translationof is used in translated docs
-@c see if it's feasible to say @value{translationof}
+
+@c TODO: If @translationof is used in translated docs
+@c see whether it is feasible to say @value{translationof}.
+
@macro englishref
-Dieser Abschnitt wurde noch nicht übersetzt, bitte lesen Sie den
+Dieser Abschnitt wurde noch nicht übersetzt. Bitte lesen Sie den
Abschnitt im englischen Benutzerhandbuch.
@end macro
+
@ifhtml
+
@macro untranslated
UNTRANSLATED NODE: IGNORE ME
@end macro
+
@end ifhtml
@ifnothtml
+
@macro untranslated
@end macro
+
@end ifnothtml
der Datei @file{ly/@/drumpitch@/-init@/.ly}.
@c TODO: properly document this.
-@seealso
+@seealso
Programmreferenz:
@rinternals{note-event}.
@seealso
-
Init-Dateien: @file{ly/@/drumpitch@/-init@/.ly}.
Programmreferenz: @rinternals{DrumStaff}, @rinternals{DrumVoice}.
+
@knownissues
Weil in den allgemeinen MIDI-Definitionen kein Rimshot enthalten ist,
d,, d, d c
@end lilypond
-@seealso
+@seealso
Musikglossar:
@rglos{Pitch names}.
@seealso
-
-Musickgossar:
+Musikglossar:
@rglos{fifth},
@rglos{interval},
@rglos{Pitch names}.
@funindex \chordmode
@funindex \relative
+
@knownissues
Die relative Veränderung wirkt sich nicht auf
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{preventing-extra-naturals-from-being-automatically-added.ly}
-@seealso
+@seealso
Musikglossar:
@rglos{sharp},
@rglos{flat},
@end multitable
@end smallexample
-@seealso
+@seealso
Musikglossar:
@rglos{Pitch names}.
}
@end lilypond
-@seealso
+@seealso
Schnipsel:
@rlsr{Pitches}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
-@seealso
+@seealso
Notationsreferenz:
@ref{Instrument transpositions}.
Referenz der Interna:
@rinternals{TransposedMusic}.
+
@funindex \transpose
@funindex \chordmode
@funindex \relative
@seealso
-
Notationsreferenz: @ref{Ancient clefs}.
Schnipsel:
@seealso
-
Musikglossar:
@rglos{church mode},
@rglos{scordatura}.
@seealso
-
Musikglossar:
@rglos{octavation}.
@seealso
-
Musikglossar:
@rglos{concert pitch},
@rglos{transposing instrument}.
@seealso
-
Schnipsel:
@rlsr{Pitches}.
@seealso
-
Musikglossar:
@rglos{ambitus}.
Alle möglichen Notenkopf-Stile finden sich in
@ref{Note head styles}.
-@seealso
+@seealso
Schnipsel:
@rlsr{Pitches}.
}
@end lilypond
-@predefined
+@predefined
@funindex \easyHeadsOn
+@code{\easyHeadsOn},
@funindex \easyHeadsOff
-@code{\easyHeadsOn}, @code{\easyHeadsOff}
+@code{\easyHeadsOff}.
+@endpredefined
-@seealso
+@seealso
Notationsreferenz:
@ref{Setting the staff size}.
Skala, wobei der Grundton der Skala aus dem @code{\key}-Befehl
entnommen wird.
-@predefined
+@predefined
@funindex \aikenHeads
+@code{\aikenHeads},
@funindex \sacredHarpHeads
-@code{\aikenHeads}, @code{\sacredHarpHeads}
+@code{\sacredHarpHeads}.
+@endpredefined
+
@snippets
@noindent
Alle Notenkopfstile finden sich in @ref{Note head styles}.
-@seealso
+@seealso
Schnipsel:
@rlsr{Pitches}.
@predefined
-
@funindex \improvisationOn
+@code{\improvisationOn},
@funindex \improvisationOff
+@code{\improvisationOff}.
+@endpredefined
-@code{\improvisationOn}, @code{\improvisationOff}
@seealso
-
Schnipsel:
@rlsr{Pitches}.
@seealso
-
Musikglossar: @rglos{repeat}, @rglos{volta}.
Notationsreferenz: @ref{Bar lines}, @ref{Modifying context plug-ins}.
@rinternals{RepeatedMusic}, @rinternals{VoltaRepeatedMusic},
@rinternals{UnfoldedRepeatedMusic}.
+
@knownissues
@cindex verschachtelte Wiederholung
@seealso
-
Notationsreferenz:
@ref{Bar lines},
@ref{Formatting text}.
c1
@end lilypond
-@seealso
+@seealso
Schnipsel:
@rlsr{Repeats}.
@rinternals{UnfoldedRepeatedMusic}.
-
@node Short repeats
@subsection Short repeats
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{isolated-percent-repeats.ly}
-@seealso
+@seealso
Musikglossar: @rglos{percent repeat}, @rglos{simile}.
Schnipsel: @rlsr{Repeats}.
@rinternals{DoublePercentRepeatCounter},
@rinternals{PercentRepeatCounter}, @rinternals{PercentRepeatedMusic}.
+
@knownissues
Nur drei Arten von Prozent-Wiederholungen sind unterstützt: ein
c: c:
@end lilypond
-@seealso
+@seealso
Schnipsel: @rlsr{Repeats}.
@cindex Tremolo über Systeme
@cindex Systeme, Tremolo zwischen
@cindex Zwischensystem-Tremolo
+
@knownissues
Tremolo über Notensysteme hinweg funktioniert nicht gut.
eine bestimmte Richtung manuell zu erzwingen, zu Einzelheiten
siehe @ref{Direction and placement}.
-@predefined
+@predefined
@code{\autoBeamOff},
@code{\dotsUp},
@code{\dotsDown},
@code{\dotsNeutral}.
+@endpredefined
-@seealso
+@seealso
Glossar:
@rglos{breve},
@rglos{longa},
Um die Dauern von Noten zu ändern, ohne die N-tolen-Klammern
zu setzen, siehe @ref{Scaling durations}.
-@predefined
+@predefined
@code{\tupletUp},
@code{\tupletDown},
@code{\tupletNeutral}.
+@endpredefined
@snippets
{permitting-line-breaks-within-beamed-tuplets.ly}
@seealso
-
Glossar:
@rglos{triplet},
@rglos{tuplet},
@rinternals{TupletNumber},
@rinternals{TimeScaledMusic}.
+
@knownissues
@cindex grace notes within tuplet brackets
Wenn die erste Noten eines Systems ein Vorschlag (eine Verzierung)
Eine Anwendung für diesen Befehl ist polymetrische Notation,
siehe @ref{Polymetric notation}.
-@seealso
+@seealso
Notationsreferenz:
@ref{Tuplets},
@ref{Invisible rests},
Durchgehende, gepunktete oder gestrichelte Bindebögen können
spezifiziert werden, siehe die vordefinieren Befehle.
-@predefined
+@predefined
@code{\tieUp},
@code{\tieDown},
@code{\tieNeutral},
@code{\tieDotted},
@code{\tieDashed},
@code{\tieSolid}.
+@endpredefined
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{engraving-ties-manually.ly}
-@seealso
+@seealso
Glossar:
@rglos{tie},
@rglos{laissez vibrer}.
@rinternals{TieColumn},
@rinternals{Tie}.
+
@knownissues
Der Wechsel zwischen Systemen bei aktiver Ãœberbindung produziert keinen
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{rest-styles.ly}
-@seealso
+@seealso
Notationsreferenz:
@ref{Full measure rests}.
\skip 1 \skip1 \skip 1
@end lilypond
-@seealso
+@seealso
Schnipsel:
@rlsr{Rhythms}.
@rinternals{SkipMusic}
-
@node Full measure rests
@unnumberedsubsubsec Full measure rests
folgt, werden möglicherweise daraus resultierende
Taktprüfungswarnungen nicht angezeigt.
+
@predefined
@code{\textLengthOn},
@code{\textLengthOff},
@code{\fermataMarkup},
@code{\compressFullBarRests},
@code{\expandFullBarRests}.
+@endpredefined
+
@snippets
measure length is determined by the length of the text, the text will
appear to be centered.
-@seealso
+@seealso
Glossar:
@rglos{multi-measure rest}.
werden behandelt unter
@ref{Ancient time signatures}.
-@predefined
+@predefined
@code{\numericTimeSignature},
@code{\defaultTimeSignature}.
+@endpredefined
+
@snippets
@seealso
-
Glossar:
@rglos{time signature}
@rinternals{Timing_translator}.
-
@node Upbeats
@unnumberedsubsubsec Upbeats
sie eine negative Zahl; @code{\partial 4} wird also intern übersetzt
zu: @qq{Eine Viertel bleibt übrig vom ganzen Takt.}
-@seealso
+@seealso
Glossar:
@rglos{anacrusis}.
Referenz der Interna:
@rinternals{Timing_translator}.
+
@knownissues
@code{\partial} ist nur für den Anfang eines Stückes vorgesehen. Wenn der
d4 e d c
@end lilypond
-@predefined
+@predefined
@code{\cadenzaOn},
@code{\cadenzaOff}.
+@endpredefined
-@seealso
+@seealso
Glossar:
@rglos{cadenza}.
Schnipsel:
@rlsr{Rhythms}.
+
@knownissues
LilyPond fügt Zeilen- und Seitenumbrüche nur an einer Taktlinie
@seealso
-
Glossar:
@rglos{polymetric},
@rglos{polymetric time signature},
Schnipsel:
@rlsr{Rhythms}.
-Referenz der Intera:
+Referenz der Interna:
@rinternals{TimeSignature},
@rinternals{Timing_translator},
@rinternals{Staff}.
+
@knownissues
Wenn unterschiedliche Taktarten paralell benutzt werden, werden
vollständig gefüllt sind, zeigt die Überbindung genau an, wie viele
Notenwerte noch in dem jeweiligen Takt fehlen.
-@seealso
+@seealso
Glossar: @rglos{tie}
Handbuch zum Lernen:
@rinternals{Completion_heads_engraver},
@rinternals{Forbid_line_break_engraver}.
+
@knownissues
Nicht alle Notenwerte (besonders wenn sie andere rhythmische
>>
@end lilypond
+
@predefined
@code{\improvisationOn},
@code{\improvisationOff}.
+@endpredefined
+
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{guitar-strum-rhythms.ly}
-@seealso
+@seealso
Schnipsel:
@rlsr{Rhythms}.
@rinternals{Pitch_squash_engraver}.
-
@node Beams
@subsection Beams
c16 c8
@end lilypond
+
@predefined
@code{\autoBeamOff},
@code{\autoBeamOn}.
+@endpredefined
+
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{changing-beam-knee-gap.ly}
-@seealso
+@seealso
Notationsreferenz:
@ref{Manual beams},
@ref{Setting automatic beam behavior}.
@predefined
-
@funindex \autoBeamOff
@code{\autoBeamOff},
@funindex \autoBeamOn
@code{\autoBeamOn}.
+@endpredefined
@knownissues
Wenn eine polyphone Stimme endet, während ein Balken noch Noten
erwartet, wird dieser Balken nicht gesetzt.
-@seealso
+@seealso
Schnipsel:
@rlsr{Rhythms}.
-
@node Manual beams
@unnumberedsubsubsec Manual beams
Notenabschnitten, und wenn die Zahlen in den Brüchen klein
sind.
-@seealso
+@seealso
Snippets:
@rlsr{Rhythms}.
-
-
@node Bars
@subsection Bars
jederzeit durch den Befehl @code{\set Timing.defaultBarType = }
@var{Takstrichart} geändert werden.
-@seealso
+@seealso
Notationsreferenz:
@ref{Line breaking},
@ref{Repeats},
properties).
-
@node Bar numbers
@unnumberedsubsubsec Bar numbers
@seealso
-
Schnipsel:
@rlsr{Rhythms}.
Referenz der Interna:
@rinternals{BarNumber}.
+
@knownissues
Taktnummern können mit der oberen Ecke der Klammer zu Beginn des
sich in
@ref{Formatting text}.
-@seealso
+@seealso
Notationsreferenz:
@ref{The Feta font},
@ref{Formatting text}.
@rinternals{RehearsalMark}.
-
@node Special rhythmic concerns
@subsection Special rhythmic concerns
@seealso
-
Glossar:
@rglos{grace notes},
@rglos{acciaccatura},
>>
@end lilypond
-@seealso
+@seealso
Glossar:
@rglos{cadenza}.
@rlsr{Rhythms}.
-
@node Time administration
@unnumberedsubsubsec Time administration
@seealso
-
Notationsreferenz:
@ref{Bar numbers}, @ref{Unmetered music}
Mehr Information über Akkorden findet sich in @ref{Chord notation}.
-@seealso
+@seealso
Musikglossar:
@rglos{chord}.
Schnipsel:
@rlsr{Simultaneous notes}.
+
@node Simultaneous expressions
@unnumberedsubsubsec Simultaneous expressions
automatisch Zusammenstöße zwischen normalen Noten und Clustern
aufzulösen.
-@seealso
+@seealso
Musikglossar:
@rglos{cluster}.
@rinternals{ClusterSpannerBeacon},
@rinternals{Cluster_spanner_engraver}.
+
@knownissues
Cluster sehen nur gut aus, wenn sie wenigstens über zwei Akkorde
Mit dieser Methode können sich seltsame Balken und Warnungen
ergeben, wenn die Musikausdrücke nicht den gleichen Rhythmus haben.
-@predefined
+@predefined
@code{\voiceOne},
@code{\voiceTwo},
@code{\voiceThree},
@code{\voiceFour},
@code{\oneVoice}.
+@endpredefined
-@seealso
+@seealso
Handbuch zum Lernen:
@rlearning{Voices contain music},
@rlearning{Explicitly instantiating voices}.
Der @code{\voiceNeutralstyle}-Befehl wird benutzt, um wieder
die Standardausgabe einzuschalten.
-@predefined
-
+@predefined
@code{\voiceOneStyle},
-
@code{\voiceTwoStyle},
@code{\voiceThreeStyle},
@code{\voiceFourStyle},
@code{\voiceNeutralStyle}.
+@endpredefined
-@seealso
+@seealso
Handbuch zum Lernen:
@rlearning{I'm hearing Voices},
@rlearning{Other sources of information}.
@rlsr{Simultaneous notes}.
-
@node Collision resolution
@unnumberedsubsubsec Collision resolution
@predefined
-
@code{\mergeDifferentlyDottedOn},
@code{\mergeDifferentlyDottedOff},
@code{\mergeDifferentlyHeadedOn},
@code{\shiftOnn},
@code{\shiftOnnn},
@code{\shiftOff}.
+@endpredefined
+
@snippets
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{forcing-horizontal-shift-of-notes.ly}
-@seealso
+@seealso
Musikglossar:
@rglos{polyphony}.
@rinternals{NoteCollision},
@rinternals{RestCollision}.
+
@knownissues
Wenn @code{\mergeDifferentlyHeadedOn} mit einer Achtel- oder
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{changing-partcombine-texts.ly}
-@seealso
+@seealso
Musikglossar:
@rglos{a due},
@rglos{part}.
@rinternals{PartCombineMusic},
@rinternals{Voice}.
+
@knownissues
@code{\partcombine} kann nur zwei Stimmen bearbeiten.
}
@end lilypond
-@seealso
+@seealso
Handbuch zum Lernen:
@rlearning{Organizing pieces with variables}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{mensurstriche-layout-bar-lines-between-the-staves.ly}
-@seealso
+@seealso
Glossar:
@rglos{brace},
@rglos{bracket},
@rinternals{SystemStartSquare}.
-
@node Nested staff groups
@unnumberedsubsubsec Nested staff groups
@seealso
-
Notationsreferenz:
@ref{Grouping staves},
@ref{Instrument names},
@rinternals{SystemStartSquare}.
-
@node Modifying single staves
@subsection Modifying single staves
@predefined
-
@code{\startStaff},
@code{\stopStaff}.
+@endpredefined
@snippets
@seealso
-
Glossar:
@rglos{line},
@rglos{ledger line},
@seealso
-
Glossar:
@rglos{ossia},
@rglos{staff},
@predefined
-
@code{\RemoveEmptyStaffContext},
@code{\AncientRemoveEmptyStaffContext},
@code{\RemoveEmptyRhythmicStaffContext}.
+@endpredefined
@snippets
@seealso
-
Glossar:
@rglos{Frenched staff}.
@seealso
-
Glossar:
@rglos{metronome},
@rglos{metronomic indication},
@seealso
-
Notationsreferenz:
@ref{Horizontal dimensions},
@ref{Modifying context plug-ins}.
@seealso
-
Notationsreferenz:
@ref{Instrument transpositions},
@ref{Using tags}.
@seealso
-
Notationsreferenz:
@ref{Instrument transpositions},
@ref{Instrument names},
a4_"scherzando" f
@end lilypond
-@predefined
+@predefined
@funindex \textLengthOn
@code{\textLengthOn},
@funindex \textLengthOff
-@code{\textLengthOff}
+@code{\textLengthOff}.
+@endpredefined
@seealso
-
Notationsreferenz:
@ref{Formatting text},
@ref{Direction and placement}.
Referenz der Interna:
@rinternals{TextScript}.
+
@knownissues
Eine Überprüfung, ob sich auch alle Textbeschriftungen und Gesangstext
Auch der Stil der Linie kann ähnlich wie der Text mit den Objekteigenschaften
geändert werden. Diese Syntax ist beschrieben in @ref{Line styles}.
-@predefined
+@predefined
@funindex textSpannerUp
@code{\textSpannerUp},
@funindex textSpannerDown
@code{\textSpannerDown},
@funindex textSpannerNeutral
-@code{\textSpannerNeutral}
+@code{\textSpannerNeutral}.
+@endpredefined
-@seealso
+@seealso
Notationsreferenz:
@ref{Line styles},
@ref{Dynamics}.
@rinternals{TextSpanner}.
-
@node Text marks
@unnumberedsubsubsec Text marks
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{printing-marks-on-every-staff.ly}
-@seealso
+@seealso
Notationsreferenz:
@ref{Rehearsal marks},
@ref{Formatting text},
Referenz der Interna:
@rinternals{RehearsalMark}.
+
@knownissues
@c To be removed when Issue 69 in the tracker gets fixed. -vv
setzen kann. Einzelheiten zu den vielfältigen Möglichkeiten finden
sich in @ref{Multi-page markup}.
-@predefined
+@predefined
@code{\markup},
@funindex \markuplines
-@code{\markuplines}
+@code{\markuplines}.
+@endpredefined
+
@ignore
@snippets
TODO: add convenient snippets in input/new -vv
@end ignore
-@seealso
+@seealso
Notationsreferenz:
@ref{Formatting text},
@ref{File structure},
@rinternals{TextScript}.
-
@node Formatting text
@subsection Formatting text
@seealso
-
Notationsreferenz:
@ref{Text markup commands}.
Es ist auch möglich, eigene Schriftfamlien zu definieren, wie erklärt in
@ref{Fonts}.
-@predefined
+@predefined
@funindex \teeny
-@funindex \tiny
-@funindex \small
-@funindex \normalsize
-@funindex \large
-@funindex \huge
-@funindex \smaller
-@funindex \larger
@code{\teeny},
+@funindex \tiny
@code{\tiny},
+@funindex \small
@code{\small},
+@funindex \normalsize
@code{\normalsize},
+@funindex \large
@code{\large},
+@funindex \huge
@code{\huge},
+@funindex \smaller
@code{\smaller},
+@funindex \larger
@code{\larger}.
+@endpredefined
-@seealso
+@seealso
Notationsreferenz:
@ref{Font},
@ref{New dynamic marks},
Eine vollständige Liste der Textausrichtungsbefehle findet sich in
@ref{Align}.
+
@seealso
Handbuch zum Lernen:
@rlearning{Moving objects}.
@rinternals{TextScript}.
-
@node Graphic notation inside markup
@unnumberedsubsubsec Graphic notation inside markup
Eine ausführliche Liste der Graphik-Befehle findet sich in
@ref{Graphic}.
+
@seealso
Notationsreferenz:
@ref{Graphic},
@file{scm/@/stencil@/.scm}.
-
@node Music notation inside markup
@unnumberedsubsubsec Music notation inside markup
Eine vollständige Liste der Musiksymbol-Befehle findet sich in
@ref{Music}.
+
@seealso
Notationsreferenz:
@ref{Music},
@file{scm/@/harp@/-pedals@/.scm}.
-
@node Multi-page markup
@unnumberedsubsubsec Multi-page markup
Eine vollständige Liste der Beschriftungslistenbefehle findet sich in
@ref{Text markup list commands}.
+
@seealso
Notationsreferenz:
@ref{Text markup list commands},
Installierte Dateien:
@file{scm/@/define@/-markup@/-commands@/.scm}.
+
@predefined
@funindex \markuplines
@code{\markuplines}
+@endpredefined
@node Fonts
in folgenden Abschnitten: @ref{Single entry fonts} und
@ref{Entire document fonts}.
-@seealso
+@seealso
Notationsreferenz:
@ref{The Feta font},
@ref{Music notation inside markup},
Das letzte Argument kann ein beliebiges Zeichen sein, aber es darf nicht
fehlen.
-@seealso
+@seealso
Notationsreferenz:
@ref{Fonts explained},
@ref{Entire document fonts}.
@file{lily/@/font@/-config@/-scheme@/.cc}.
-
@node Entire document fonts
@unnumberedsubsubsec Entire document fonts
@c we don't do Helvetica / Courier, since GS incorrectly loads
@c Apple TTF fonts
-@seealso
+@seealso
Notationsreferenz:
@ref{Fonts explained},
@ref{Single entry fonts},
}
@end lilypond
+
@seealso
Notationsreferenz: @ruser{Writing pitches},
@ruser{Writing rhythms}, @ruser{Writing rests},
@ruser{Time signature}, @ruser{Clef}.
-
@node Working on input files
@subsection Working on input files
Zeile @qq{Start
cut-&-pastable section} bis ganz zum Ende der Datei.
-@seealso
+@seealso
Mehr Hinweise dazu, wie LilyPond-Eingabedateien konstruiert werden
sollten, finden sich in @ref{Suggestions for writing LilyPond input files}.
Es ist aber wahrscheinlich am Besten, zuerst
@ruser{Automatic accidentals} für einige Beispiele, wie Vorzeichen
anhand von unterschiedlichen Regeln ausgegeben werden können.
-@seealso
+@seealso
Notationsreferenz: @ruser{Note names in other languages},
@ruser{Accidentals}, @ruser{Automatic accidentals},
@ruser{Key signature}.
c2~( c8 fis fis4 ~ fis2 g2)
@end lilypond
-@seealso
+@seealso
Notationsreferenz: @ruser{Ties}, @ruser{Slurs},
@ruser{Phrasing slurs}.
c2\< c2\ff\> c2 c2\!
@end lilypond
-@seealso
+@seealso
Notationsreferenz: @ruser{Articulations and ornamentations},
@ruser{Fingering instructions}, @ruser{Dynamics}.
}
@end lilypond
-@seealso
+@seealso
Notationsreferenz: @ruser{Writing text}.
a8 c b4 d8. c16 b4
@end lilypond
-@seealso
+@seealso
Notationsreferenz: @ruser{Automatic beams}, @ruser{Manual beams}.
c2 \acciaccatura b16 c2
@end lilypond
-@seealso
+@seealso
Notationsreferenz: @ruser{Grace notes}, @ruser{Tuplets},
@ruser{Upbeats}.
darüber entscheidet, ob die Taktlinien nur auf dem System
oder auch zwischen System gesetzt werden.
-@seealso
+@seealso
Notationsreferenz:
@ruser{Keyboard and other multi-staff
instruments},
>>
@end lilypond
-@seealso
+@seealso
Notationsreferenz:
@ruser{Simultaneous notes}.
@seealso
-
Notationsreferenz: @ruser{Vocal music}.
Noten und dem Gesangstext durch Variablen trennt. Die Benutzung
von Variablen wird erklärt im Abschnitt @ref{Organizing pieces with variables}.
-@seealso
+@seealso
Notationsreferenz: @ruser{Vocal music}.
}
@end lilypond
-@seealso
+@seealso
Notationsreferenz:
@ruser{The tweak command}.
@tab @code{'#(#t #t #f)}
@end multitable
-@seealso
+@seealso
Handbuch zum Lernen: @ref{Scheme tutorial}.
explica en @ref{White mensural ligatures} y @ref{Gregorian square
neume ligatures}.
+
@seealso
+
@knownissues
Las ligaduras necesitan un espaciado especial que aún no se ha
}
@end lilypond
-@seealso
+@seealso
Referencia de funcionamiento interno:
@rinternals{Custos}.
}
@end lilypond
+
@seealso
+
@node Mensural clefs
@unnumberedsubsubsec Mensural clefs
@end lilypond
@end multitable
-@seealso
+@seealso
Referencia de la notación:
@ref{Clef}.
+
@knownissues
La clave de Sol mensural está asignada a la clave de Sol de Petrucci.
}
@end lilypond
-@seealso
+@seealso
Referencia de la notación:
@ref{Time signature}
ofrece una introducción general al uso de las indicaciones de compás.
@end lilypond
-@seealso
+@seealso
@ref{Note head styles} ofrece una visión de conjunto sobre la
totalidad de los estilos de cabeza disponibles.
No existen corchetes en la notación del canto gregoriano.
+
@seealso
+
@knownissues
La unión de los corchetes antiguos a las plicas está ligeramente
No hay silencios en la notación del canto gregoriano; en su lugar, se
utilizan @ref{Divisiones}.
-@seealso
+@seealso
Referencia de la notación:
@ref{Rests}
ofrece una introducción general al uso de los silencios.
@code{\override Staff.Accidental #'glyph-name-alist =
#alteration-mensural-glyph-name-alist}
-@seealso
+@seealso
Referencia de la notación:
@ref{Pitches},
@ref{Accidentals} y
Referencia de funcionamiento interno:
@rinternals{KeySignature}.
+
@cindex alteraciones accidentales
}
@end lilypond
-@seealso
+@seealso
Referencia de funcionamiento interno:
el grabador @rinternals{Accidental_engraver}
y el objeto
}
@end lilypond
+
@seealso
+
@knownissues
El espaciado horizontal es pobre.
}
@end lilypond
+
@seealso
@end lilypond
@end multitable
-@seealso
+@seealso
Referencia de la notación:
@ref{Clef}.
@code{\override Staff.Accidental #'glyph-name-alist =
#alteration-mensural-glyph-name-alist}
-@seealso
+@seealso
Referencia de la notación:
@ref{Pitches},
@ref{Accidentals} y
@lilypondfile[quote,ragged-right]{divisiones.ly}
-@predefined
+@predefined
@funindex \virgula
@code{\virgula},
@funindex \caesura
@code{\divisioMaxima},
@funindex \finalis
@code{\finalis}.
+@endpredefined
@node Gregorian articulation signs
}
@end lilypond
+
@seealso
+
@knownissues
Ciertas articulaciones se colocan demasiado cerca verticalmente de las
}
@end lilypond
-@seealso
+@seealso
Referencia de la notación:
@ref{Breath marks}.
@end multitable
@predefined
-
Están contemplados los siguientes prefijos de cabeza:
-
@funindex \virga
@code{\virga},
@funindex \stropha
@code{\cavum},
@funindex \linea
@code{\linea}.
+@endpredefined
+
Se pueden acumular los prefijos de cabeza, aunque con ciertas
restricciones. Por ejemplo, se pueden aplicar @code{\descendens} o
Utilice la función musical unaria @code{\augmentum} para añadir puntos
de augmentum.
+
@seealso
+
@knownissues
Cuando aparece un punto de @code{\augmentum} al final de la última
Continuará...
+
@seealso
Continuará...
+
@seealso
Continuará...
+
@seealso
+
@node Ancient and modern from one source
@unnumberedsubsubsec Ancient and modern from one source
Continuará...
+
@seealso
+
@node Editorial markings
@unnumberedsubsubsec Editorial markings
Continuará...
+
@seealso
* Aligning contexts::
@end menu
-@seealso
+@seealso
Manual de aprendizaje:
@rlearning{Contexts and engravers}.
@seealso
-
Referencia de funcionamiento interno:
@rinternals{OverrideProperty},
@rinternals{RevertProperty},
puede ser de utilidad en la determinación de lo que puede modificarse
por medio de una instrucción @code{\tweak}.
-@seealso
+@seealso
Manual de aprendizaje:
@rlearning{Tweaking methods}.
Referencia de la notación:
@ref{Displaying music expressions}.
+
@knownissues
@cindex trucos en una variable
en @code{staff-space}. Para ver una explicación y un ejemplo de su
utilización, consulte @rlearning{Length and thickness of objects}.
-@seealso
+@seealso
Manual de aprendizaje:
@rlearning{Length and thickness of objects}.
Si se usa @code{\endSpanners} no es necesario cerrar \startTextSpan
con \stopTextSpan, ni cerrar los reguladores con @code{\!}.
-@seealso
+@seealso
Referencia de funcionamiento interno:
@rinternals{TextSpanner},
@rinternals{Glissando},
@code{explicitClefVisibility} controla tanto el sÃmbolo de clave como
el sÃmbolo de octava asociado.
-@seealso
+@seealso
Manual de aprendizaje:
@rlearning{Visibility and color of objects}
* Modifying shapes::
@end menu
-@seealso
+@seealso
Manual de aprendizaje:
@rlearning{Tweaking output},
@rlearning{Other sources of information}.
@c TODO Add inserting Postscript or ref to later
-@seealso
+@seealso
Referencia de la notación:
@ref{Graphic notation inside markup},
@ref{Formatting text},
\chordmode { f2 g }
@end lilypond
-@seealso
+@seealso
Glossario musical:
@rglos{chord}.
Fragmentos de código:
@rlsr{Chords}
+
@knownissues
Cuando se mezclan los modos de acorde y de nota en música secuencial,
@end multitable
-@seealso
+@seealso
Referencia de la notación:
@ref{Common chord modifiers}.
Fragmentos de código:
@rlsr{Chords}.
+
@node Extended and altered chords
@unnumberedsubsubsec Extended and altered chords
}
@end lilypond
-@seealso
+Los modificadores de acorde que se pueden utilizar para producir una
+amplia variedad de acordes estándar se muestran en @ref{Common chord
+modifiers}.
+
+@seealso
Referencia de la notación:
@ref{Common chord modifiers}.
Fragmentos de código:
-@rlsr{Chords}
+@rlsr{Chords}.
+
@knownissues
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{simple-lead-sheet.ly}
-@seealso
+@seealso
Glosario musical:
@rglos{chord}.
@rinternals{Volta_engraver},
@rinternals{Bar_engraver}.
+
@knownissues
Los acordes que contienen inversiones o bajos alterados no reciben un
@end table
-@predefined
+@predefined
@funindex major seven symbols
@code{\whiteTriangleMarkup},
@code{\blackTriangleMarkup},
@code{\italianChords},
@funindex \frenchChords
@code{\frenchChords}.
+@endpredefined
+
@snippets
{changing-chord-separator.ly}
-@seealso
+@seealso
Referencia de la notación:
@ref{Chord name chart},
@ref{Common chord modifiers}.
@c Internals Reference:
@c @rinternals{ }.
+
@knownissues
Los nombres de acorde se determinan a partir de las notas que están
cifras se puede ajustar con @code{baseline-skip}.
@end ignore
-@seealso
+@seealso
Glosario musical:
@rglos{figured bass}.
@cindex bajo cifrado, lÃneas de extensión
@code{\bassFigureExtendersOn},
@code{\bassFigureExtendersOff}.
+@endpredefined
+
@snippets
-@c TODO Fix this snippet -- Plus direction should be RIGHT.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{changing-the-positions-of-figured-bass-alterations.ly}
+
@seealso
@c Music Glossary:
@c @rglos{}.
-
+@c
@c Learning Manual:
@c @rlearning{}.
-
+@c
@c Notation Reference:
@c @ref{}.
-
+@c
@c Application Usage:
@c @rprogram{}.
-
+@c
@c Installed Files:
@c @file{}.
-
+@c
Fragmentos de código:
@rlsr{Chords}.
@rinternals{BassFigureContinuation},
@rinternals{FiguredBass}.
+
@c @knownissues
+
@node Displaying figured bass
@unnumberedsubsubsec Displaying figured bass
directamente. En este caso, la posición vertical de las cifras se
ajusta automáticamente.
-@c TODO add a second paragraph to show direction change. First
-@c example should be UP (default), second should be DOWN.
-
-@c TODO change to use predefined command once it is added to
-@c property-init.ly -cds
@lilypond[verbatim,ragged-right,fragment,quote]
<<
\new Staff = myStaff
>>
@end lilypond
-@ignore
-@c I don't understand this -cs
-When using continuation lines, common figures are always put in the
-same vertical position. When this is unwanted, you can insert a rest.
-The rest will clear any previous alignment. For
-example, you can write
-
-@example
-<6 4>8 r8
-@end example
-
-@noindent
-instead of
-@example
-<4 6>4
-@end example
-@end ignore
@predefined
@cindex bajo cifrado, alineación
@code{\bassFigureStaffAlignmentDown},
@code{\bassFigureStaffAlignmentUp},
@code{\bassFigureStaffAlignmentNeutral}.
+@endpredefined
+
@c @snippets
@seealso
@c Music Glossary:
@c @rg los{}.
-
+@c
@c Learning Manual:
@c @rle arning{}.
-
+@c
@c Notation Reference:
@c @re f{}.
-
+@c
@c Application Usage:
@c @rpr ogram{}.
-
+@c
@c Installed Files:
@c @fil e{}.
-
+@c
Snippets:
@rlsr{Chords}.
@rinternals{BassFigureContinuation},
@rinternals{FiguredBass}.
+
@knownissues
Para asegurar que las lÃneas extensoras funcionan adecuadamente, lo
gráficos que utilicesn fuentes tipográficas. Éstos son los que
contemplan el interfaz de presentación @code{font-interface}.
-@predefined
+@predefined
@funindex \teeny
@code{\teeny} (enano),
@funindex \tiny
@code{\large} (grande),
@funindex \huge
@code{\huge} (enorme).
+@endpredefined
-@seealso
+@seealso
Fragmentos de código:
@rlsr{Editorial annotations}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{avoiding-collisions-of-chord-fingering-with-beams.ly}
-@seealso
+@seealso
Referencia de la notación:
-@ref{Direction and placement}
+@ref{Direction and placement}.
Fragmentos de código:
@rlsr{Editorial annotations}.
e4(\p f)--
@end lilypond
+
@predefined
+@code{\hideNotes},
+@code{\unHideNotes}.
+@endpredefined
-@code{\hideNotes}, @code{\unHideNotes}
@seealso
-
Fragmentos de código:
@rlsr{Editorial annotations}.
gis4 a
@end lilypond
-@seealso
+@seealso
Referencia de la notación:
@ref{List of colors},
@ref{The tweak command}.
Fragmentos de código:
@rlsr{Editorial annotations}.
+
@cindex x11, color de
@cindex coloreadas, notas de acorde
@cindex notas coloreadas en acordes
c2 \parenthesize r
@end lilypond
-@seealso
+@seealso
Fragmentos de código:
@rlsr{Editorial annotations}.
@rinternals{ParenthesesItem},
@rinternals{parentheses-interface}.
+
@knownissues
Al poner un acorde entre paréntesis, se encierra cada una de las notas
@code{Stem} (plica). Para las redondas y los silencios, también se
crean pero se hacen invisibles.
-@predefined
+@predefined
@funindex \stemUp
@code{\stemUp},
@funindex \stemDown
@code{\stemDown},
@funindex \stemNeutral
@code{\stemNeutral}.
+@endpredefined
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{default-direction-of-stems-on-the-center-line-of-the-staff.ly}
+
@seealso
Referencia de la notación:
@ref{Direction and placement}.
@predefined
-
@funindex balloonLengthOn
@funindex balloonLengthOff
+@code{\balloonLengthOn},
@funindex \balloonLengthOn
@funindex \balloonLengthOff
+@code{\balloonLengthOff}.
+@endpredefined
-@code{\balloonLengthOn}, @code{\balloonLengthOff}
@seealso
-
Fragmentos de código:
@rlsr{Editorial annotations}.
@seealso
-
Fragmentos de código:
@rlsr{Editorial annotations}.
}
@end lilypond
-@seealso
+@seealso
Fragmentos de código:
@rlsr{Editorial annotations}.
@seealso
-
-Gloario musical:
+Glosario musical:
@rglos{tenuto},
@rglos{accent},
@rglos{staccato},
@funindex \dynamicNeutral
@funindex dynamicNeutral
-@predefined
+@predefined
@code{\dynamicUp},
@code{\dynamicDown},
@code{\dynamicNeutral},
@code{\dimTextDecresc},
@code{\crescHairpin},
@code{\dimHairpin}.
+@endpredefined
+
@snippets
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{changing-text-and-spanner-styles-for-text-dynamics.ly}
-@seealso
+@seealso
Glosario musical:
@rglos{al niente},
@rglos{crescendo},
Los ajustes para las fuentes tipográficas en el modo de marcado se
describen en @ref{Selecting font and font size}.
-@seealso
+@seealso
Referencia de la notación:
@ref{Formatting text},
@ref{Selecting font and font size},
@funindex \slurUp
@funindex slurUp
-@predefined
+@predefined
@code{\slurUp},
@code{\slurDown},
@code{\slurNeutral},
@code{\slurDashed},
@code{\slurDotted},
@code{\slurSolid}.
+@endpredefined
@snippets
@seealso
-
Glosario musical:
@rglos{slur}.
@predefined
-
@code{\phrasingSlurUp},
@code{\phrasingSlurDown},
@code{\phrasingSlurNeutral},
@code{\phrasingSlurDashed},
@code{\phrasingSlurDotted},
@code{\phrasingSlurSolid}.
+@endpredefined
-@seealso
+@seealso
Manual de aprendizaje:
@rlearning{On the un-nestedness of brackets and ties}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{inserting-a-caesura.ly}
-@seealso
+@seealso
Glosario musical:
@rglos{caesura}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{adjusting-the-shape-of-falls-and-doits.ly}
-@seealso
+@seealso
Glosario musical:
@rglos{fall},
@rglos{doit}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{contemporary-glissando.ly}
-@seealso
+@seealso
Glosario musical:
@rglos{glissando}.
Referencia de funcionamiento interno:
@rinternals{Glissando}.
+
@knownissues
La impresión de texto sobre la lÃnea (como @notation{gliss.}) no está
Los acordes arpegiados se pueden desarrollar explÃcitamente utilizando
@notation{ligaduras de unión}. Véase @ref{Ties}.
-@predefined
+@predefined
@funindex \arpeggio
@code{\arpeggio},
@funindex \arpeggioArrowUp
@code{\arpeggioNormal},
@funindex \arpeggioBracket
@code{\arpeggioBracket}.
+@endpredefined
+
@snippets
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{creating-arpeggios-across-notes-in-different-voices.ly}
-@seealso
+@seealso
Glosario musical:
@rglos{arpeggio}.
@rinternals{Arpeggio},
@rinternals{PianoStaff}.
+
@knownissues
@cindex pentagrama cruzado, arpegios con paréntesis
g\stopTrillSpan
@end lilypond
-@predefined
+@predefined
@code{\startTrillSpan},
@code{\stopTrillSpan}.
+@endpredefined
-@seealso
+@seealso
Glosario musical:
@rglos{trill}.
@end itemize
-@seealso
+@seealso
Referencia de la notación:
@ref{Fingering instructions},
@ref{Ties},
@ref{List of articulations},
@ref{Clef}.
+
@node String number indications
@unnumberedsubsubsec String number indications
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{allowing-fingerings-to-be-printed-inside-the-staff.ly}
-@seealso
+@seealso
Referencia de la notación:
@ref{Fingering instructions}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{polyphony-in-tablature.ly}
-@seealso
+@seealso
Referencia de la notación:
@ref{Stems}.
@rinternals{TabVoice},
@rinternals{Beam}.
+
@knownissues
Los acordes no se tratan de una forma especial, y de aquà que el
>>
@end lilypond
-@seealso
+@seealso
Archivos de inicio:
@file{scm/output-lib.scm}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{customizing-markup-fret-diagrams.ly}
-@seealso
+@seealso
Referencia de la notación:
@ref{Text markup commands}.
Referencia de funcionamiento interno:
@rinternals{fret-diagram-interface}.
+
@node Predefined fret diagrams
@unnumberedsubsubsec Predefined fret diagrams
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{defining-predefined-fretboards-for-other-instruments.ly}
-@seealso
+@seealso
Referencia de la notación:
@ref{Custom tablatures},
@ref{Automatic fret diagrams},
@code{FretBoards}, las propiedades del interface pertenecen a
@code{FretBoards.FretBoard}.
+
@predefined
@code{\predefinedFretboardsOff},
@code{\predefinedFretboardsOn}.
+@endpredefined
-@seealso
+@seealso
Referencia de la notación:
@ref{Custom tablatures}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{fingerings,-string-indications,-and-right-hand-fingerings.ly}
-@seealso
+@seealso
Fragmentos de código:
@rlsr{Fretted strings}.
e16 b g d
@end lilypond
-@seealso
+@seealso
Referencia de la notación:
@ref{Text spanners}.
@rlsr{Fretted strings},
@rlsr{Expressive marks}.
+
@node Indicating harmonics and dampened notes
@unnumberedsubsubsec Indicating harmonics and dampened notes
}
@end lilypond
-@seealso
+@seealso
Fragmentos de código:
@rlsr{Fretted strings}.
@ref{Special note heads},
@ref{Note head styles}.
+
@node Banjo
@subsection Banjo
\set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
@end example
-@seealso
+@seealso
Fragmentos de código:
@rlsr{Fretted strings}.
afectan a los nombres de variable se detallan en @ruser{File
structure}.
-@seealso
+@seealso
Para ver una definición completa del formato del código de entrada,
consulte @ruser{File structure}.
+
@node Score is a (single) compound musical expression
@subsection Score is a (single) compound musical expression
de texto cada elemento del mismo nivel comienza en la misma posición
horizontal).
-@seealso
+@seealso
Referencia de la notación:
@ruser{Structure of a score}.
colocar por encima del pentagrama llamado @qq{main} en vez de la
posición predeterminada que serÃa por debajo.
-@seealso
+@seealso
Los fragmentos de ossia se escriben a menudo sin clave y sin
indicación de compás, y generalmente en un tipo más pequeño. Esto
necesitarÃa más instrucciones que aún no se han visto. Véase
problema aparcado hasta una sección posterior (véase la propiedad
@code{force-hshift} en @ref{Fixing overlapping notation}).
-@seealso
+@seealso
Referencia de la notación:
@ruser{Multiple voices}.
desplazamiento, se producirá el mensaje de error @qq{Chocan demasiadas
columnas de notas}.
-@seealso
+@seealso
Referencia de la notación:
@ruser{Multiple voices}.
}
@end lilypond
-@seealso
+@seealso
Referencia de la notación:
@ruser{Vocal music}.
sin guión ni barra baja, por ejemplo:
@code{GregorianTranscriptionStaff}.
-@seealso
+@seealso
Referencia de la notación:
@ruser{Contexts explained}.
+
@node Creating contexts
@subsection Creating contexts
Hemos visto esto en la sección acerca de la letra, en @ref{Voices and
vocals}.
-@seealso
+@seealso
Referencia de la notación:
@ruser{Creating contexts}.
Más adelante veremos cómo la salida de LilyPond se puede cambiar
mediante la modificación del funcionamiento de los Grabadores.
-@seealso
+@seealso
Referencia de funcionamiento interno:
@rinternals{Engravers and Performers}.
enunciados dentro de un bloque @code{\with}, y mediante instrucciones
@code{\set} intercaladas dentro de enunciados musicales.
-@seealso
+@seealso
Referencia de la notación:
@ruser{Changing context default settings}.
@c FIXME
particular incluyendo la instrucción @code{\set} dentro de un bloque
@code{\context} de la misma forma.
-@seealso
+@seealso
Referencia de la notación:
@ruser{Modifying context plug-ins},
@ruser{Changing context default settings}.
}
@end lilypond
-@seealso
+@seealso
Las plantillas de inicio se pueden encontrar en el apéndice
@q{Templates}, véase @ref{Single staff}.
pueden escribir dentro o fuera del bloque @code{\score}, y dentro o
fuera de la expresión musical única dentro del bloque @code{\score}.
-@seealso
+@seealso
Manual de aprendizaje:
@rlearning{Working on input files},
@rlearning{Music expressions explained},
@end itemize
-@seealso
+@seealso
Manual de aprendizaje:
@rlearning{How LilyPond input files work}.
páginas, el medidor puede ser "00", es decir, un número de dos
dÃgitos.
-@predefined
+@predefined
@funindex \label
-@code{\label}
+@code{\label},
@funindex \page-ref
-@code{\page-ref}
+@code{\page-ref}.
+@endpredefined
+
@node Table of contents
@subsection Table of contents
}
@end lilypond
-@seealso
+@seealso
Archivos de inicio:
@file{ly/@/toc@/-init@/.ly}.
-@predefined
+@predefined
@funindex \table-of-contents
-@code{\table-of-contents}
+@code{\table-of-contents},
@funindex \tocItem
-@code{\tocItem}
+@code{\tocItem}.
+@endpredefined
@node Working with input files
Pueden verse ejemplos sencillos sobre el uso de @code{\include} en
@rlearning{Scores and parts}.
-@seealso
+@seealso
Manual de aprendizaje:
@rlearning{Other sources of information},
@rlearning{Scores and parts}.
+
@knownissues
Si un archivo incluido recibe un nombre igual al de uno de los
etiquetadas excepto la que se nombra, y el segundo filtro elimina
incluso esa sección etiquetada.
-@seealso
+@seealso
Manual de aprendizaje:
@rlearning{Organizing pieces with variables}.
@ref{Automatic part combining},
@ref{Including LilyPond files}.
+
@ignore
@c This warning is more general than this placement implies.
@c Rests are not merged whether or not they come from tagged sections.
@c Should be deleted? -td
+
@knownissues
Multiple rests are not merged if you create a score with more
agruparse en un único Contexto de partitura. El Contexto de partitura
es el contexto de notación de más alto nivel.
-@seealso
+@seealso
Referencia de funcionamiento interno:
@rinternals{Contexts}.
+
@lilypond[quote,ragged-right]
\include "engraver-example.ily"
\score {
@end itemize
-@seealso
+@seealso
Manual de aprendizaje:
@rlearning{Real music example},
@rlearning{Other uses for tweaks}.
Fragmentos de código:
@rlsr{Keyboards}.
+
@knownissues
@cindex teclado, matices centrados para música de
está más cerca de la barra. Para ver un ejemplo sencillo de trucaje
de las barras, consulte @rlearning{Fixing overlapping notation}.
-@seealso
+@seealso
Manual de aprendizaje:
@rlearning{Fixing overlapping notation}.
>>
@end lilypond
-@seealso
+@seealso
Referencia de la notación:
@ref{Changing staff manually}.
Referencia de funcionamiento interno:
@rinternals{AutoChangeMusic}.
+
@knownissues
@cindex acordes, división entre pentagramas con \autochange
>>
@end lilypond
-@predefined
+@predefined
@code{\showStaffSwitch},
@code{\hideStaffSwitch}.
+@endpredefined
-@seealso
+@seealso
Fragmentos de código:
@rlsr{Keyboards}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{indicating-cross-staff-chords-with-arpeggio-bracket.ly}
-@seealso
+@seealso
Fragmentos de código:
@rlsr{Keyboards}.
Referencia de funcionamiento interno:
@rinternals{Stem}.
+
@node Piano
@subsection Piano
La pedalización hasta la barra final de compás se indica mediante la
omisión de la instrucción final de levantar el pedal.
-@seealso
+@seealso
Referencia de la notación:
@ref{Ties}.
@rinternals{PianoPedalBracket},
@rinternals{Piano_pedal_engraver}.
+
@node Accordion
@subsection Accordion
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{accordion-discant-symbols.ly}
-@seealso
+@seealso
Fragmentos de código:
@rlsr{Keyboards}.
\begin@{lilypond@}...\end@{lilypond@}
@end example
+
@seealso
Hay opciones de lÃnea de órdenes especÃficas de
@command{lilypond-book} y otros detalles que conocer para procesar
version that you are working on. See TRANSLATION for details.
@end ignore
+
@include version.itexi
-@c don't replace quotes with directed quotes
+
+@c Don't replace quotes with directed quotes.
+
@set txicodequoteundirected
@set txicodequotebacktick
+
+
@c ***** Displaying text *****
-@c we need this since @q{\} doesn't work with makeinfo 4.11 --
-@c say @q{@bs{}} instead
+@c We need this since @q{\} doesn't work with makeinfo 4.11 --
+@c say @q{@bs{}} instead.
+
@macro bs
\\
@end macro
-@c to get decent quotes in `foo' and ``foo''
+
+@c To get decent quotes in `foo' and ``foo''.
+
@macro q{TEXT}
@quoteleft{}\TEXT\@quoteright{}
@end macro
@quotedblleft{}\TEXT\@quotedblright{}
@end macro
+
@ifhtml
+
@macro warning{TEXT}
@cartouche
@b{Nota:} \TEXT\
@end cartouche
@end macro
+
@end ifhtml
@ifnothtml
+
@macro warning{TEXT}
@quotation
@quotation
@end quotation
@end quotation
@end macro
+
@end ifnothtml
+
@ifnotinfo
+
@macro notation{TEXT}
@var{\TEXT\}
@end macro
+
@end ifnotinfo
@ifinfo
+
@macro notation{TEXT}
\TEXT\
@end macro
+
@end ifinfo
+
@macro smallspace
@sp 1
@end macro
-@c **** Displaying images not generated by lilypond-book
-@c current installation setup of Info docs requires that all images are
-@c expected to be found in lilypond/ subdirectory. lilypond-book already
-@c generates proper @image commands for images of music; these macros
-@c definitions do the same for other images.
+@c ***** Displaying images not generated by lilypond-book *****
+
+@c Current installation setup of Info docs requires that all images are
+@c expected to be found in the `lilypond/' subdirectory. `lilypond-book'
+@c already generates proper @image commands for images of music; these
+@c macro definitions do the same for other images.
@ifnotinfo
+
@macro sourceimage{FILENAME,WIDTH,HEIGHT,ALTTEXT}
@image{\FILENAME\,\WIDTH\,\HEIGHT\,\ALTTEXT\}
@end macro
+
@end ifnotinfo
@ifinfo
+
@macro sourceimage{FILENAME,WIDTH,HEIGHT,ALTTEXT}
@image{lilypond/\FILENAME\,\WIDTH\,\HEIGHT\,\ALTTEXT\}
@end macro
+
@end ifinfo
-@c **** Headings in a doc subsection ****
+
+@c ***** Headings in a doc subsection *****
+
+@c Don't insert an empty line after @predefined! Right now
+@c it doesn't matter, but a future implementation will probably
+@c add some code which needs this restriction.
@macro predefined
@noindent
@subsubheading Instrucciones predefinidas
+@end macro
+
+@c The next macro is a dummy currently since texinfo doesn't
+@c provide a real ragged-right environment yet.
+@c
+@c Due to a bug in texi2html (texi2html.pl CVS versions <= 1.245)
+@c the macro must not be empty.
+@macro endpredefined
+@c
@end macro
+
@macro snippets
@noindent
@subsubheading Fragmentos de código seleccionados
-
@end macro
+
@c * Deprecated: not in English macros.itexi *
@macro commonprop
@noindent
@subsubheading Propiedades trucadas frecuentemente
-
@end macro
+
+@c Don't insert an empty line after @seealso! Otherwise we get
+@c unwanted extra vertical space in the PDF output.
+
@macro seealso
@noindent
@subsubheading Véase también
-
@indent
@end macro
+
@macro knownissues
@noindent
@subsubheading Advertencias y problemas conocidos
-
@end macro
+
@macro lydoctitle {TEXT}
@emph{\TEXT\}
-
@end macro
+
+@c Don't remove the `@c' within the macro definition! See section 19.3,
+@c `Macro Details and Caveats', in the texinfo info file for explanation.
+
@macro funindex {TEXT}
@findex \TEXT\
@kindex \TEXT\
+@c
@end macro
-@c **** Links and references ****
+@c ***** Links and references *****
@c Definitions for references:
+@c
@c @rglos
@c @rlearning
@c @ruser
@c @rprogram
@c @rlsr
@c @rinternals
-@c all these also have a @...named version, which allows to specify the
-@c displayed text for the reference as second argument
+@c
+@c All these also have a @...named version which allows to specify the
+@c displayed text for the reference as second argument.
+@c
+@c ***** HTML + bigpage is a special case (other manual names); all other
+@c formats are treated similarly.
-@c ***** HTML + bigpage is a special case (other manual names), all other
-@c formats are treated similarly
+
+@c *** not TeX ***
@ifnottex
+@c ** bigpage **
+
@ifset bigpage
@macro rglos{TEXT}
@end ifset
+@c ** not bigpage **
+
@ifclear bigpage
@macro rglos{TEXT}
@end ifnottex
-@c **** TEX ****
+@c *** TeX ***
+
@iftex
@macro rglos{TEXT}
@end iftex
-@c **** Macros specific to translated docs ****
+
+@c ***** Macros specific to translated docs *****
@c ugh, cannot set/define global variable 'translationof' in some way?
+
@iftex
+
@macro translationof{TEXT}
@end macro
+
@end iftex
@ifinfo
+
@macro
@macro translationof{TEXT}
@set translationof \TEXT\
@end macro
+
@end ifinfo
-@c TODO when @translationof is used in translated docs
-@c see if it's feasible to say @value{translationof}
+
+@c TODO: If @translationof is used in translated docs
+@c see whether it is feasible to say @value{translationof}.
+
@macro englishref
Esta sección aún no está traducida; consulte el manual en inglés.
@end macro
+
@ifhtml
+
@macro untranslated
UNTRANSLATED NODE: IGNORE ME
@end macro
+
@end ifhtml
@ifnothtml
+
@macro untranslated
@end macro
+
@end ifnothtml
@end itemize
-@seealso
+@seealso
Referencia de la notación:
@ref{Showing melody rhythms},
@ref{Instantiating new staves}.
instrumentos de percusión; para ver los detalles consulte
@ref{Percussion in MIDI}.
-@seealso
+@seealso
Referencia de la notación:
@ref{Percussion in MIDI},
@ref{Percussion notes}.
}
@end lilypond
-@seealso
+@seealso
Fragmentos de código:
@rlsr{Percussion}.
normales. Esto se estudia en otras secciones del manual.
@seealso
-
+@c
@c TODO: possibly link to an alternate section of NR 3.5, if
@c "percussion in MIDI" gets a separate subsubsection for
@c pitched percussion sounds. -gp
-
Referencia de la notación:
@ref{Percussion in MIDI}.
}
@end lilypond
-@seealso
+@seealso
Fragmentos de código:
@rlsr{Percussion}.
Observe, además, que debe añadir acordes (paréntesis en ángulo @code{<
>}) alrededor de cada una de las instrucciones @code{\parenthesize}.
-@seealso
+@seealso
Fragmentos de código:
@rlsr{Percussion}.
d,, d, d c
@end lilypond
-@seealso
+@seealso
Glosario musical:
@rglos{Pitch names}.
@seealso
-
Glosario musical:
@rglos{fifth},
@rglos{interval},
Referencia de funcionamiento interno:
@rinternals{RelativeOctaveMusic}.
+
@cindex relativo, modo, transposición y
@cindex transposición y modo relativo
@funindex \transpose
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{makam-example.ly}
-@seealso
+@seealso
Glosario musical:
@rglos{sharp},
@rglos{flat},
@rinternals{AccidentalCautionary},
@rinternals{accidental-interface}.
+
@cindex alteración de cuartos de tono
@cindex cuartos de tono, alteraciones
@end multitable
@end quotation
-@seealso
+@seealso
Glosario musical:
@rglos{Pitch names}.
@seealso
-
Fragmentos de código:
@rlsr{Pitches}.
Referencia de funcionamiento interno:
@rinternals{RelativeOctaveCheck}.
+
@node Transpose
@unnumberedsubsubsec Transpose
@seealso
-
Referencia de la notación:
@ref{Instrument transpositions}.
Referencia de funcionamiento interno:
@rinternals{TransposedMusic}.
+
@funindex \transpose
@funindex \chordmode
@funindex \relative
@seealso
-
Referencia de la notación:
@ref{Mensural clefs},
@ref{Gregorian clefs}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{non-traditional-key-signatures.ly}
-@seealso
+@seealso
Glosario musical:
@rglos{church mode},
@rglos{scordatura}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{ottava-text.ly}
-@seealso
+@seealso
Glosario musical:
@rglos{octavation}.
@rinternals{ottava-bracket-interface}.
-
@node Instrument transpositions
@unnumberedsubsubsec Instrument transpositions
c2 g
@end lilypond
-@seealso
+@seealso
Glosario musical:
@rglos{concert pitch},
@rglos{transposing instrument}.
@seealso
-
Fragmentos de código:
@rlsr{Pitches}.
@seealso
-
Glosario musical:
@rglos{ambitus}.
Para ver todos los estilos de cabeza de las notas, consulte @ref{Note
head styles}.
-@seealso
+@seealso
Fragmentos de código:
@rlsr{Pitches}.
@rinternals{note-head-interface},
@rinternals{ledger-line-spanner-interface}.
+
@node Easy notation note heads
@unnumberedsubsubsec Easy notation note heads
imprimir con un tamaño de tipografÃa mayor, consulte @ref{Setting the
staff size}.
-@predefined
+@predefined
@funindex \easyHeadsOn
+@code{\easyHeadsOn},
@funindex \easyHeadsOff
-@code{\easyHeadsOn}, @code{\easyHeadsOff}
+@code{\easyHeadsOff}.
+@endpredefined
-@seealso
+@seealso
Referencia de la notación:
@ref{Setting the staff size}.
Las formas se determinan en función del grado de la escala, donde la
tónica está determinada por la instrucción @code{\key}
-@predefined
+@predefined
@funindex \aikenHeads
+@code{\aikenHeads},
@funindex \sacredHarpHeads
-@code{\aikenHeads}, @code{\sacredHarpHeads}
+@code{\sacredHarpHeads}.
+@endpredefined
+
@snippets
Para ver todos los estilos de formas de cabeza de nota, consulte
@ref{Note head styles}.
-@seealso
+@seealso
Fragmentos de código:
@rlsr{Pitches}.
}
@end lilypond
-@predefined
+@predefined
@funindex \improvisationOn
+@code{\improvisationOn},
@funindex \improvisationOff
+@code{\improvisationOff}.
+@endpredefined
-@code{\improvisationOn}, @code{\improvisationOff}
@seealso
-
Fragmentos de código:
@rlsr{Pitches}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{adding-volta-brackets-to-additional-staves.ly}
-@seealso
+@seealso
Glosario musical:
@rglos{repeat},
@rglos{volta}.
@rinternals{VoltaRepeatedMusic},
@rinternals{UnfoldedRepeatedMusic}.
+
@knownissues
@cindex repetición ambigua
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{printing-a-repeat-sign-at-the-beginning-of-a-piece.ly}
-@seealso
-
+@seealso
Referencia de la notación:
@ref{Bar lines},
@ref{Formatting text}.
c1
@end lilypond
-@seealso
+@seealso
Fragmentos de código:
@rlsr{Repeats}.
@rinternals{RepeatedMusic},
@rinternals{UnfoldedRepeatedMusic}.
+
@node Short repeats
@subsection Short repeats
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{isolated-percent-repeats.ly}
-@seealso
+@seealso
Glosario musical:
@rglos{percent repeat},
@rglos{simile}.
@rinternals{PercentRepeatCounter},
@rinternals{PercentRepeatedMusic}.
+
@knownissues
Sólo están contempladas tres clases de repeticiones del tipo
c: c:
@end lilypond
-@seealso
+@seealso
Fragmentos de código:
@rlsr{Repeats}.
+
@cindex trémols de pentagrama cruzado
@cindex pentagrama cruzado, trémolo de
+
@knownissues
Los trémolos de pentagrama cruzado no funcionan bien.
@predefined
-
@code{\autoBeamOff},
@code{\dotsUp},
@code{\dotsDown},
@code{\dotsNeutral}.
+@endpredefined
@seealso
-
Glosario musical:
@rglos{breve},
@rglos{longa},
Para modificar la duración de las notas sin imprimir un corchete de
grupo especial, véase @ref{Scaling durations}.
-@predefined
+@predefined
@code{\tupletUp},
@code{\tupletDown},
@code{\tupletNeutral}.
+@endpredefined
+
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{permitting-line-breaks-within-beamed-tuplets.ly}
-@seealso
+@seealso
Glosario musical:
@rglos{triplet},
@rglos{tuplet},
@rinternals{TupletNumber},
@rinternals{TimeScaledMusic}.
+
@knownissues
@cindex adorno, notas de, dentro de corchetes de grupo especial
Una aplicación de esta instrucción se encuentra en la notación
polimétrica, véase @ref{Polymetric notation}.
-@seealso
+@seealso
Referencia de la notación:
@ref{Tuplets},
@ref{Invisible rests},
Se pueden especificar ligaduras continuas, de puuntos o intermitentes,
véase la sección de instrucciones predefinidas.
-@predefined
+@predefined
@code{\tieUp},
@code{\tieDown},
@code{\tieNeutral},
@code{\tieDashed},
@code{\tieSolid},
@code{\repeatTie}.
+@endpredefined
+
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{engraving-ties-manually.ly}
-@seealso
+@seealso
Glosario musical:
@rglos{tie},
@rglos{laissez vibrer}.
@rinternals{TieColumn},
@rinternals{Tie}.
+
@knownissues
Un cambio de pentagrama cuando hay una ligadura activa no producirá
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{rest-styles.ly}
-@seealso
+@seealso
Referencia de la notación:
@ref{Full measure rests}.
Referencia de funcionamiento interno:
@rinternals{Rest}.
+
@knownissues
@c Deliberately duplicated in Durations and Rests. -gp
\skip 1 \skip1 \skip 1
@end lilypond
-@seealso
+@seealso
Fragmentos de código:
@rlsr{Rhythms}.
de un compás parcial con @code{\partial}, es posible que no se emitan
las advertencias correspondientes de comprobación de compás.
+
@predefined
@code{\textLengthOn},
@code{\textLengthOff},
@code{\fermataMarkup},
@code{\compressFullBarRests},
@code{\expandFullBarRests}.
+@endpredefined
+
@snippets
@seealso
-
Glosario musical:
@rglos{multi-measure rest}.
Las indicaciones de compás de la música mensural se tratan en
@ref{Mensural time signatures}.
-@predefined
+@predefined
@code{\numericTimeSignature},
@code{\defaultTimeSignature}.
+@endpredefined
+
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{compound-time-signatures.ly}
-@seealso
+@seealso
Glosario musical:
@rglos{time signature}
@code{-4}, con el significado de @qq{queda un valor de negra en este
compás}.
-@seealso
+@seealso
Glosario musical:
@rglos{anacrusis}.
Referencia de funcionamiento interno:
@rinternals{Timing_translator}.
+
@knownissues
El uso de @code{\partial} está previsto solamente para el comienzo de
d4 e d c
@end lilypond
-@predefined
+@predefined
@code{\cadenzaOn},
@code{\cadenzaOff}.
+@endpredefined
-@seealso
+@seealso
Glosario musical:
@rglos{cadenza}.
Fragmentos de código:
@rlsr{Rhythms}.
+
@knownissues
LilyPond inserta saltos de lÃnea y de página solamente en las barras
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{compound-time-signatures.ly}
-@seealso
+@seealso
Glosario musical:
@rglos{polymetric},
@rglos{polymetric time signature},
@rinternals{Default_bar_line_engraver},
@rinternals{Staff}.
+
@knownissues
Al usar distintos compases en paralelo, las notas que están en el
si los compases no están completos, las ligaduras mostrarán
exactamente cuánto le falta a cada compás.
-@seealso
+@seealso
Glosario musical:
@rglos{tie}
@rinternals{Completion_heads_engraver},
@rinternals{Forbid_line_break_engraver}.
+
@knownissues
No todas las duraciones (sobre todo las que contienen grupos
>>
@end lilypond
+
@predefined
@code{\improvisationOn},
@code{\improvisationOff}.
+@endpredefined
+
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{guitar-strum-rhythms.ly}
-@seealso
+@seealso
Fragmentos de código:
@rlsr{Rhythms}.
@rinternals{RhythmicStaff},
@rinternals{Pitch_squash_engraver}.
+
@node Beams
@subsection Beams
c16 c8
@end lilypond
+
@predefined
@code{\autoBeamOff},
@code{\autoBeamOn}.
+@endpredefined
+
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{changing-beam-knee-gap.ly}
-@seealso
+@seealso
Referencia de la notación:
@ref{Manual beams},
@ref{Setting automatic beam behavior}.
@predefined
-
@funindex \autoBeamOff
@code{\autoBeamOff},
@funindex \autoBeamOn
@code{\autoBeamOn}.
+@endpredefined
@knownissues
@code{<< @dots{} \\ @dots{} >>}. Si una voz polifónica termina
mientras una barra automática está aún aceptando notas, no se imprime.
-@seealso
+@seealso
Fragmentos de código:
@rlsr{Rhythms}.
musicales muy breves, y cuando los números de la fracción son
pequeños.
-@seealso
+@seealso
Fragmentos de código:
@rlsr{Rhythms}.
-
@node Bars
@subsection Bars
cualquier momento con @code{\set Timing.defaultBarType =
}@var{bartype}.
-@seealso
+@seealso
Referencia de la notación:
@ref{Line breaking},
@ref{Repeats},
}
@end lilypond
-@seealso
+@seealso
Fragmentos de código:
@rlsr{Rhythms}.
Referencia de funcionamiento interno:
@rinternals{BarNumber}.
+
@knownissues
Los números de compás pueden colisionar con el corchete
imprimirá una advertencia si el @code{currentBarNumber} (número del
compás actual) no es 123 cuando se procesa.
-@seealso
+@seealso
Fragmentos de código:
@rlsr{Rhythms}.
Para ver formas comunes de trucar la colocación de las letras de
ensayo, consulte @ref{Text marks}.
-@seealso
+@seealso
Referencia de la notación:
@ref{The Feta font},
@ref{Formatting text}.
@seealso
-
Glosario musical:
@rglos{grace notes},
@rglos{acciaccatura},
Referencia de funcionamiento interno:
@rinternals{GraceMusic}.
+
@knownissues
Una @i{acciaccatura} de varias notas con una barra se imprime sin
>>
@end lilypond
-@seealso
+@seealso
Glosario musical:
@rglos{cadenza}.
@code{ly:make-moment 1 8} es una duración de una corchea y
@code{ly:make-moment 7 16} es la duración de siete semicorcheas.
-@seealso
+@seealso
Referencia de la notación:
@ref{Bar numbers},
@ref{Unmetered music}.
Para ver más información sobre los acordes, consulte @ref{Chord
notation}.
-@seealso
+@seealso
Glosario musical:
@rglos{chord}.
Fragmentos de código:
@rlsr{Simultaneous notes}.
+
@node Simultaneous expressions
@unnumberedsubsubsec Simultaneous expressions
incluso al mismo tiempo. En tal caso, no se hace ningún intento de
evitar automáticamente las colisiones entre clusters y notas normales.
-@seealso
+@seealso
Glosario musical:
@rglos{cluster}.
@rinternals{ClusterSpannerBeacon},
@rinternals{Cluster_spanner_engraver}.
+
@knownissues
Los clusters sólo tienen un buen aspecto cuando abarcan un mÃnimo de
Este método conduce a barrados extraños y advertencias si los
fragmentos de música no tienen las mismas duraciones exactas.
-@predefined
+@predefined
@code{\voiceOne},
@code{\voiceTwo},
@code{\voiceThree},
@code{\voiceFour},
@code{\oneVoice}.
+@endpredefined
@seealso
-
Manual de aprendizaje:
@rlearning{Voices contain music},
@rlearning{Explicitly instantiating voices}.
Fragmentos de código:
@rlsr{Simultaneous notes}.
+
@node Voice styles
@unnumberedsubsubsec Voice styles
Para recuperar la presentación normal se utiliza la instrucción
@code{\voiceNeutralstyle}.
-@predefined
+@predefined
@code{\voiceOneStyle},
-
@code{\voiceTwoStyle},
@code{\voiceThreeStyle},
@code{\voiceFourStyle},
@code{\voiceNeutralStyle}.
-
-@seealso
+@endpredefined
+@seealso
Manual de aprendizaje:
@rlearning{I'm hearing Voices},
@rlearning{Other sources of information}.
@rlsr{Simultaneous notes}.
-
@node Collision resolution
@unnumberedsubsubsec Collision resolution
Sólo se combinan las notas si tienen la plica en direcciones opuestas
(por ejemplo, en las @code{Voice}s 1 y 2).
-@predefined
+@predefined
@code{\mergeDifferentlyDottedOn},
@code{\mergeDifferentlyDottedOff},
@code{\mergeDifferentlyHeadedOn},
@code{\shiftOnn},
@code{\shiftOnnn},
@code{\shiftOff}.
+@endpredefined
+
@snippets
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{forcing-horizontal-shift-of-notes.ly}
-@seealso
+@seealso
Glosario musical:
@rglos{polyphony}.
@rinternals{NoteCollision},
@rinternals{RestCollision}.
+
@knownissues
Cuando se emplea @code{\mergeDifferentlyHeadedOn} con una corchea (o
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{changing-partcombine-texts.ly}
-@seealso
+@seealso
Glosario musical:
@rglos{a due},
@rglos{part}.
@rinternals{PartCombineMusic},
@rinternals{Voice}.
+
@knownissues
@code{\partcombine} sólo admite dos voces.
}
@end lilypond
-@seealso
+@seealso
Manual de aprendizaje:
@rlearning{Organizing pieces with variables}
@seealso
-
Archivos instalados:
@file{scm/@/paper@/.scm}.
@seealso
-
Referencia de la notación:
@ref{Vertical spacing between systems}.
@seealso
-
Fragmentos de código:
@rlsr{Spacing}.
@seealso
-
Fragmentos de código:
@rlsr{Spacing}.
@seealso
-
Referencia de la notación:
@ref{Selecting notation font size}.
@seealso
-
Referencia de la notación:
@ref{Changing context default settings}.
@predefined
-
@funindex \break
@code{\break},
@funindex \noBreak
@code{\noBreak}.
+@endpredefined
@seealso
-
Referencia de funcionamiento interno:
@rinternals{LineBreakEvent}.
@}
@end example
-@predefined
+@predefined
@funindex \pageBreak
@code{\pageBreak},
@funindex \noPageBreak
@code{\noPageBreak}.
+@endpredefined
@seealso
-
Fragmentos de código:
@rlsr{Spacing}.
@seealso
-
Fragmentos de código:
@rlsr{Spacing}.
@predefined
-
@funindex \pageTurn
@code{\pageTurn},
@funindex \noPageTurn
@code{\noPageTurn},
@funindex \allowPageTurn
@code{\allowPageTurn}.
+@endpredefined
@seealso
-
Fragmentos de código:
@rlsr{Spacing}.
@seealso
-
Fragmentos de código:
@rlsr{Spacing}.
@seealso
-
Fragmentos de código:
@rlsr{Spacing}.
@seealso
-
Referencia de la notación:
@ref{Vertical spacing}.
@seealso
-
Fragmentos de código:
@rlsr{Spacing}.
@seealso
-
Fragmentos de código:
@rlsr{Spacing}.
@seealso
-
Fragmentos de código:
@rlsr{Spacing}.
@seealso
-
Fragmentos de código:
@rlsr{Spacing}.
@seealso
-
Fragmentos de código:
@rlsr{Spacing}.
@seealso
-
Fragmentos de código:
@rlsr{Spacing}.
@seealso
-
Fragmentos de código:
@rlsr{Spacing}.
@seealso
-
Fragmentos de código:
@rlsr{Spacing}.
@seealso
-
Fragmentos de código:
@rlsr{Spacing}.
extensión se dividan entre los sistemas y las páginas. Consulte las
partes respectivas del manual para ver estos ajustes relacionados.
-@seealso
+@seealso
Referencia de la notación:
@ref{New spacing area}.
@seealso
-
Fragmentos de código:
@rlsr{Spacing}.
@seealso
-
Referencia de la notación:
@ref{Page formatting},
@ref{Changing horizontal spacing}.
@seealso
-
Glosario musical:
@rglos{staff},
@rglos{staves}.
{mensurstriche-layout-bar-lines-between-the-staves.ly}
@seealso
-
Glosario musical:
@rglos{brace},
@rglos{bracket},
@seealso
-
Referencia de la notación:
@ref{Grouping staves},
@ref{Instrument names},
e4 d c2
@end lilypond
-@predefined
+@predefined
@code{\startStaff},
@code{\stopStaff}.
+@endpredefined
+
@snippets
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{making-some-staff-lines-thicker-than-the-others.ly}
-@seealso
+@seealso
Glosario musical:
@rglos{line},
@rglos{ledger line},
@rinternals{StaffSymbol},
@rinternals{staff-symbol-interface}.
+
@knownissues
Al establecer manualmente las posiciones de las lÃneas de la pauta,
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{vertically-aligning-ossias-and-lyrics.ly}
-@seealso
+@seealso
Glosario musical:
@rglos{ossia},
@rglos{staff},
@code{\RemoveEmptyRhythmicStaffContext} para ocultar los contextos
@code{RhythmicStaff} vacÃos.
-@predefined
+@predefined
@code{\RemoveEmptyStaffContext},
@code{\AncientRemoveEmptyStaffContext},
@code{\RemoveEmptyRhythmicStaffContext}.
+@endpredefined
+
@snippets
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{removing-the-first-empty-line.ly}
-@seealso
+@seealso
Glosario musical:
@rglos{Frenched staff}.
@rinternals{VerticalAxisGroup},
@rinternals{Staff_symbol_engraver}.
+
@knownissues
La eliminación del grabador @code{Staff_symbol_engraver} también
Para ver más detalles, consulte @ref{Formatting text}.
-@seealso
+@seealso
Glosario musical:
@rglos{metronome},
@rglos{metronomic indication},
@seealso
-
Referencia de la notación:
@ref{Horizontal dimensions},
@ref{Modifying context plug-ins}.
@seealso
-
Referencia de la notación:
@ref{Instrument transpositions},
@ref{Using tags}.
que se puedan procesar de diversas formas. Para ver más detalles
sobre este procedimiento, consulte @ref{Using tags}.
-@seealso
+@seealso
Referencia de la notación:
@ref{Instrument transpositions},
@ref{Instrument names},
a4_"scherzando" f
@end lilypond
-@predefined
+@predefined
@funindex \textLengthOn
@code{\textLengthOn},
@funindex \textLengthOff
-@code{\textLengthOff}
+@code{\textLengthOff}.
+@endpredefined
@seealso
-
Referencia de la notación:
@ref{Formatting text},
@ref{Direction and placement}.
Referencia de funcionamiento interno:
@rinternals{TextScript}.
+
@knownissues
La comprobación necesaria para asegurar que las inscripciones de texto
como una propiedad de objeto. Esta sintaxis se describe en @ref{Line
styles}.
-@predefined
+@predefined
@funindex textSpannerUp
@code{\textSpannerUp},
@funindex textSpannerDown
@code{\textSpannerDown},
@funindex textSpannerNeutral
-@code{\textSpannerNeutral}
+@code{\textSpannerNeutral}.
+@endpredefined
-@seealso
+@seealso
Referencia de la notación:
@ref{Line styles},
@ref{Dynamics}.
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{printing-marks-on-every-staff.ly}
-@seealso
+@seealso
Referencia de la notación:
@ref{Rehearsal marks},
@ref{Formatting text},
Referencia de funcionamiento interno:
@rinternals{RehearsalMark}.
+
@knownissues
@c To be removed when Issue 69 in the tracker gets fixed. -vv
Ãntegramente desde LilyPond. Esta funcionalidad y la sintaxis que
requiere se describen en @ref{Multi-page markup}.
-@predefined
+@predefined
@code{\markup},
-@code{\markuplines}
+@code{\markuplines}.
+@endpredefined
+
@ignore
@snippets
TODO: add convenient snippets in input/new -vv
@end ignore
-@seealso
+@seealso
Referencia de la notación:
@ref{Formatting text},
@ref{File structure},
@seealso
-
Referencia de la notación:
@ref{Text markup commands}.
También es posible definir conjuntos personalizados de fuentes, tal y
como se explica en @ref{Fonts}.
-@predefined
+@predefined
@funindex \teeny
-@funindex \tiny
-@funindex \small
-@funindex \normalsize
-@funindex \large
-@funindex \huge
-@funindex \smaller
-@funindex \larger
@code{\teeny},
+@funindex \tiny
@code{\tiny},
+@funindex \small
@code{\small},
+@funindex \normalsize
@code{\normalsize},
+@funindex \large
@code{\large},
+@funindex \huge
@code{\huge},
+@funindex \smaller
@code{\smaller},
+@funindex \larger
@code{\larger}.
+@endpredefined
-@seealso
+@seealso
Referencia de la notación:
@ref{Font},
@ref{New dynamic marks},
Hay una lista exhaustiva de instrucciones de alineación de texto en
@ref{Align}.
-@seealso
+@seealso
Manual de aprendizaje:
@rlearning{Moving objects}.
Hay una lista exhaustiva de instrucciones especÃficas de gráficos en
@ref{Graphic}.
-@seealso
+@seealso
Referencia de la notación:
@ref{Graphic},
@ref{Editorial annotations}.
Hay una lista exhaustiva de instrucciones relacionadas con la notación
musical en @ref{Music}.
-@seealso
+@seealso
Referencia de la notación:
@ref{Music},
@ref{The Feta font},
Hay una lista exhaustiva de las instrucciones de lista de marcado en
@ref{Text markup list commands}.
-@seealso
+@seealso
Referencia de la notación:
@ref{Text markup list commands},
@ref{New markup list command definition}.
Archivos de inicio:
@file{scm/@/define@/-markup@/-commands@/.scm}.
+
@predefined
@funindex \markuplines
-@code{\markuplines}
+@code{\markuplines}.
+@endpredefined
@node Fonts
@code{text-font-size} as defined in the @code{\paper} block.
@end ignore
-@seealso
+@seealso
Referencia de la notación:
@ref{The Feta font},
@ref{Music notation inside markup},
El último argumento de la instrucción puede ser cualquiera, pero debe
estar presente.
-@seealso
+@seealso
Referencia de la notación:
@ref{Fonts explained},
@ref{Entire document fonts}.
Archivos de inicio:
@file{lily/@/font@/-config@/-scheme@/.cc}.
+
@node Entire document fonts
@unnumberedsubsubsec Entire document fonts
@c we don't do Helvetica / Courier, since GS incorrectly loads
@c Apple TTF fonts
-@seealso
+@seealso
Referencia de la notación:
@ref{Fonts explained},
@ref{Single entry fonts},
(con igual anchura de lÃnea y todo), copie todo lo que está desde
@qq{Start cut-&-pastable section} hasta el final del archivo.
-@seealso
-
+@seealso
Podrá encontrar más consejos y trucos para la construcción de archivos
de entrada en @ref{Suggestions for writing LilyPond files}; pero quizá
sea mejor leer primero el resto del tutorial.
@ruser{Automatic accidentals} para ver ejemplos de cómo se pueden
imprimir las alteraciones de acuerdo a reglas diferentes.
-@seealso
+@seealso
Referencia de la notación:
@ruser{Note names in other languages},
@ruser{Accidentals},
c2~( c8 fis fis4 ~ fis2 g2)
@end lilypond
-@seealso
+@seealso
Referencia de la notación:
@ruser{Ties},
@ruser{Slurs},
c2\< c2\ff\> c2 c2\!
@end lilypond
-@seealso
+@seealso
Referencia de la notación:
@ruser{Articulations and ornamentations},
@ruser{Fingering instructions},
@seealso
-
Referencia de la notación:
@ruser{Writing text}.
a8 c b4 d8. c16 b4
@end lilypond
-@seealso
+@seealso
Referencia de la notación:
@ruser{Automatic beams},
@ruser{Manual beams}.
c2 \acciaccatura b16 c2
@end lilypond
-@seealso
+@seealso
Referencia de la notación:
@ruser{Grace notes},
@ruser{Tuplets},
que produce la llave a la izquierda y que también controla el alcance
de las lÃneas divisorias.
-@seealso
+@seealso
Referencia de la notación:
@ruser{Keyboard and other multi-staff instruments},
@ruser{Displaying staves}.
>>
@end lilypond
-@seealso
+@seealso
Referencia de la notación:
@ruser{Simultaneous notes}.
@seealso
-
Referencia de la notación:
@ruser{Vocal music}.
-
@node Lyrics to multiple staves
@subsection Lyrics to multiple staves
pentagramas mediante variables (expresiones con nombre). Éstas se
tratan en @ref{Organizing pieces with variables}.
-@seealso
+@seealso
Referencia de la notación:
@ruser{Vocal music}.
+
@node Final touches
@section Final touches
}
@end lilypond
-@seealso
+@seealso
Referencia de la notación:
@ruser{The tweak command}.
escriba siempre espacios antes y después del punto que separa el
nombre del contexto y el nombre del objeto.}
-@seealso
+@seealso
Manual de aprendizaje:
@ref{Scheme tutorial}.
+
@node Types of properties
@subsection Types of properties
@tab @code{'#(#t #t #f)}
@end multitable
-@seealso
+@seealso
Manual de aprendizaje:
@ref{Scheme tutorial}.
+
@node Appearance of objects
@section Appearance of objects
@end itemize
-@seealso
+@seealso
Manual de aprendizaje:
@rlearning{String quartet}.
Fragmentos de código:
@rlsr{Unfretted strings}.
+
@node Bowing indications
@unnumberedsubsubsec Bowing indications
a2^\markup { \small "sul A" }
@end lilypond
+
@predefined
@code{\downbow},
@code{\upbow},
@code{\open}.
+@endpredefined
-@seealso
+@seealso
Referencia de la notación:
@ref{Articulations and ornamentations},
@ref{Slurs}.
+
@node Harmonics
@unnumberedsubsubsec Harmonics
<e a\harmonic>2 <c g'\harmonic>
@end lilypond
+
@seealso
Glosario musical:
@rglos{harmonics}.
@ref{Special note heads},
@ref{References for unfretted strings}.
+
@node Snap (Bartok) pizzicato
@unnumberedsubsubsec Snap (Bartók) pizzicato
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{simple-lead-sheet.ly}
+
@seealso
Referencia de la notación:
@ref{Chord notation}.
@c Add "Printing both the ancient and the modern clef in vocal music" snippet,
@c and "Transcription of Ancient music with incipit" snippet. -vv
-@seealso
+@seealso
Referencia de la notación:
@ref{Ancient notation}.
consistente en la combinación de una barra invertida seguida por
@code{`}, @code{'}, @code{"} ó @code{^}.
+@c " to balance double quotes for not-so-bright context-sensitive editors
+
Para definir identificadores que contengan letra, se debe usar la
función @code{lyricmode}.
@seealso
-
Referencia de la notación:
@ref{Fonts}.
@rinternals{LyricText},
@rinternals{LyricSpace}.
+
@c FIXME: this title has to be changed (possible confusion with LM) -vv
@node Setting simple songs
@unnumberedsubsubsec Setting simple songs
>>
@end example
-@seealso
+@seealso
@c TODO: document \new Staff << Voice \lyricsto >> bug
Referencia de funcionamiento interno:
@rinternals{LyricCombineMusic},
@rinternals{Lyrics}.
+
@node Aligning lyrics to a melody
@subsection Aligning lyrics to a melody
} >>
@end lilypond
-@seealso
+@seealso
Referencia de funcionamiento interno:
@rinternals{Lyrics}.
\addlyrics { pu- ro~y~ho- nes- to }
@end lilypond
-@seealso
+@seealso
Referencia de funcionamiento interno: @rinternals{LyricCombineMusic}.
@c Here come the section which used to be "Melismata"
@predefined
-
+@funindex \melisma
@code{\melisma},
-@code{\melismaEnd}
@funindex \melismaEnd
-@funindex \melisma
+@code{\melismaEnd}.
+@endpredefined
-@seealso
+@seealso
@c @lsr{vocal,lyric@/-combine.ly}.
+
@knownissues
Los melismas no se detectan automáticamente, y las lÃneas de extensión
@code{minimum-length} (umbral por debajo del cual se suprimen los
guiones).
-@seealso
+@seealso
Referencia de funcionamiento interno:
@rinternals{LyricExtender},
-@rinternals{LyricHyphen}
+@rinternals{LyricHyphen}.
@node Lyrics and repeats
@seealso
-
Referencia de funcionamiento interno:
@rinternals{LyricText},
@rinternals{StanzaNumber}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{changing--flageolet-mark-size.ly}
-@seealso
+@seealso
Referencia de la notación:
@ref{Breath marks},
@ref{Slurs},
sol agudo piobaireachd se puede escribir @code{gflat} cuando aparece en música
ligera.
+
@seealso
Fragmentos de código:
@rlsr{Winds}.
+
@node Bagpipe example
@unnumberedsubsubsec Bagpipe example
}
@end lilypond
+
@seealso
Fragmentos de código:
@rlsr{Winds}.
@end itemize
-@seealso
+@seealso
Referencia de la notación:
@ref{Note names in other languages},
@ref{Key signature},
@seealso
-
Referencia de la notación:
@ref{Note names in other languages}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{non-traditional-key-signatures.ly}
-@seealso
+@seealso
Referencia de la notación:
@ref{Key signature}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{arabic-improvisation.ly}
-@seealso
+@seealso
Referencia de la notación:
@ref{Manual beams},
@ref{Automatic beams},
}
@end lilypond
-@seealso
+@seealso
Fragmentos de código:
@rlsr{World music}
-
@node Further reading
@unnumberedsubsubsec Further reading
ligatures mensurales. Consultez la section @ref{Ligatures} pour savoir
comment fonctionnent les graveurs de ligature.
-@seealso
+@seealso
Pour un aperçu de toutes les possibilités,
consultez @ref{Note head styles}.
par la propriété @code{glyph-name-alist} de l'objet
@rinternals{KeySignature}.
-@seealso
+@seealso
Dans ce manuel : @ref{Pitches}, @ref{Accidentals}, et
@ref{Automatic accidentals}, pour les principes généraux d'utilisation
des altérations ; @ref{Key signature} pour les armures.
Les silences sont absents de la notation grégorienne ; par contre, cette
notation utilise des @ref{Divisiones}.
-@seealso
+@seealso
Dans ce manuel : les principes généraux sur l'utilisation des silences
sont exposés dans @ref{Rests}.
Les clés d'ut de Petrucci avaient une hampe gauche différente selon
leur ligne de rattachement.
-@seealso
+@seealso
Dans ce manuel : voir @ref{Clef}.
+
@knownissues
La clé de sol mensurale est calquée sur celle de Petrucci.
}
@end lilypond
-@seealso
+@seealso
Dans ce manuel : @ref{Time signature} expose les principes généraux sur
l'utilisation des indications de métrique.
+
@knownissues
Les équivalences de durées de note ne sont pas modifiées par un
}
@end lilypond
-@seealso
+@seealso
Référence du programme : @rinternals{Custos}.
Exemples : @rlsr{Ancient notation}.
@lilypondfile[quote,ragged-right]{divisiones.ly}
-@predefined
+@predefined
@funindex \virgula
@code{\virgula},
@funindex \caesura
@code{\divisioMaxima},
@funindex \finalis
@code{\finalis}.
+@endpredefined
-@seealso
+@seealso
Dans ce manuel : @ref{Breath marks}.
Référence du programme : @rinternals{BreathingSign}.
}
@end lilypond
-@predefined
+@predefined
LilyPond dispose des préfixes suivants :
-
@funindex \virga
@code{\virga},
@funindex \stropha
@code{\cavum},
@funindex \linea
@code{\linea}.
+@endpredefined
+
Les préfixes de note peuvent s'agglutiner, modulo quelques restrictions.
Par exemple, on peut appliquer un @code{\descendens} ou un
@rinternals{Engravers and Performers}.
@end ifhtml
@ifnothtml
-Program reference @expansion Translation @expansion{} Engravers.
+Program reference @expansion{} Translation @expansion{} Engravers.
@end ifnothtml
Chaque contexte mentionné dans
@ifhtml
@rinternals{Contexts}
@end ifhtml
@ifnothtml
-Program reference @expansion Translation @expansion{} Context.
+Program reference @expansion{} Translation @expansion{} Context.
@end ifnothtml
répertorie les graveurs mis en œuvre.
@seealso
-
Référence du programme : @rinternals{OverrideProperty}, @rinternals{RevertProperty},
@rinternals{PropertySet}, @rinternals{Backend}, et
@rinternals{All layout objects}.
Sur la page de la documentation relative aux doigtés, c'est-à -dire
@ref{Fingering instructions}, se trouve l'indication suivante :
-@quotation
-@seealso
+@seealso
Référence du programme : @rinternals{Fingering}.
-@end quotation
-
@c outdated info; probably will delete.
@ignore
notation Jazz alternative, et un modèle systématique appelé système
Banter. Pour la mise en œuvre de ces modèles, voir @ref{Chord name chart}.
-@predefined
+@predefined
@funindex \germanChords
@code{\germanChords},
@funindex \semiGermanChords
@code{\italianChords},
@funindex \frenchChords
@code{\frenchChords}.
+@endpredefined
-@seealso
+@seealso
Exemples : @rlsr{Chords}.
Fichiers internes : @file{scm/@/chords@/-ignatzek@/.scm}, et
@file{scm/@/chord@/-entry@/.scm}.
+
@knownissues
Les chiffrages d'accords ne sont déterminés que par la succession des
Ce problème peut être contourné en jouant sur l'empilement, avec la
propriété @code{stacking-dir} de l'objet @code{BassFigureAlignment}.
-@seealso
+@seealso
Référence du programme : les objets @rinternals{BassFigure},
@rinternals{BassFigureAlignment}, @rinternals{BassFigureLine},
@rinternals{BassFigureBracket} et
@rinternals{BassFigureContinuation}, ainsi que le contexte
@rinternals{FiguredBass}.
+
@node Entering figured bass
@unnumberedsubsubsec Entering figured bass
qui utilisent des polices, autrement dit ceux qui disposent de
l'interface de rendu @rinternals{font-interface}.
-@predefined
+@predefined
Les commandes suivantes définissent @code{fontSize} pour la voix en
cours :
-
@funindex \tiny
@code{\tiny},
@funindex \small
@code{\small},
@funindex \normalsize
@code{\normalsize}.
-
+@endpredefined
@node Fingering instructions
@seealso
-
Référence du programme : @rinternals{Fingering}.
Exemples : @rlsr{Editorial annotations}.
@seealso
-
Annexes : @ref{List of colors}.
automatiquement. Pour les rondes et les silences, ils sont aussi
créés, mais en mode invisible.
-@predefined
+@predefined
@funindex \stemUp
@code{\stemUp},
@funindex \stemDown
@code{\stemDown},
@funindex \stemNeutral
@code{\stemNeutral}.
+@endpredefined
@commonprop
@cindex bulles
@cindex notation, expliquer
-@seealso
+@seealso
Référence du programme : @rinternals{balloon-interface}.
}}}
@end lilypond
-@seealso
+@seealso
Référence du programme : @rinternals{HorizontalBracket}.
@seealso
-
Référence du programme : @rinternals{Script}.
@predefined
-
@funindex \dynamicUp
@code{\dynamicUp},
@funindex \dynamicDown
@code{\dynamicDown},
@funindex \dynamicNeutral
@code{\dynamicNeutral}.
+@endpredefined
@seealso
-
Référence du programme : @rinternals{DynamicText}, @rinternals{Hairpin}.
Le placement vertical de ces éléments graphiques est géré par le
@predefined
-
@funindex \slurUp
@code{\slurUp},
@funindex \slurDown
@code{\slurDotted},
@funindex \slurSolid
@code{\slurSolid}.
+@endpredefined
-@seealso
+@seealso
Référence du programme : @rinternals{Slur}.
@predefined
-
@funindex \phrasingSlurUp
@code{\phrasingSlurUp},
@funindex \phrasingSlurDown
@code{\phrasingSlurDown},
@funindex \phrasingSlurNeutral
@code{\phrasingSlurNeutral}.
+@endpredefined
@seealso
-
Référence du programme : @rinternals{PhrasingSlur}.
d4
@end lilypond
-@seealso
+@seealso
Référence du programme : @rinternals{BreathingSign}.
Exemples : @rlsr{Winds}.
@seealso
-
Référence du programme : @rinternals{Glissando}.
Exemples : @rlsr{Expressive marks}.
@predefined
-
@code{\arpeggio},
@funindex \arpeggioArrowUp
@code{\arpeggioArrowUp},
@code{\arpeggioNormal},
@funindex \arpeggioBracket
@code{\arpeggioBracket}.
+@endpredefined
@seealso
-
Dans ce même manuel : @ref{Ties}, pour noter explicitement des arpèges.
Référence du programme : @rinternals{Arpeggio}.
@predefined
-
-@code{\startTrillSpan},
@funindex \startTrillSpan
-@code{\stopTrillSpan}.
+@code{\startTrillSpan},
@funindex \stopTrillSpan
+@code{\stopTrillSpan}.
+@endpredefined
@seealso
-
Référence du programme : @rinternals{TrillSpanner}.
<c\1 e\2 g\3>
@end lilypond
-@seealso
+@seealso
Référence du programme : @rinternals{StringNumber}.
Exemples : @rlsr{Fretted strings}.
+
@node Default tablatures
@unnumberedsubsubsec Default tablatures
\override Beam #'damping = #100000
@end example
-@seealso
+@seealso
Référence du programme : @rinternals{TabStaff}, @rinternals{TabVoice}.
+
@knownissues
Les accords ne subsissent ausun traitement particulier ; de ce fait, la
sont @code{guitar-open-g-tuning}, @code{mandolin-tuning} et
@code{banjo-open-g-tuning}.
-@seealso
+@seealso
Vous trouverez une liste complète des jeux prédéfinis dans le fichier
@file{scm/@/output@/-lib@/.scm}.
Référence du programme : @rinternals{Tab_note_heads_engraver}.
+
@knownissues
Aucun effet spécial de guitare n'a été implémenté à ce jour.
à votre convenance. Vous en trouverez les détails dans
@rinternals{fret-diagram-interface}.
-@seealso
+@seealso
Exemples : @rlsr{Fretted strings}.
+
@node Right-hand fingerings
@unnumberedsubsubsec Right-hand fingerings
}
@end lilypond
-@seealso
+@seealso
Référence du programme : @rinternals{StrokeFinger}
+
@node Guitar
@subsection Guitar
}
@end lilypond
-@seealso
+@seealso
Référence du programme : @rinternals{StrokeFinger}
+
@node Indicating harmonics and dampened notes
@unnumberedsubsubsec Indicating harmonics and dampened notes
\set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
@end example
-@seealso
+@seealso
Vous trouverez une liste complète des jeux de cordes prédéfinis pour le banjo
dans le fichier @file{scm/@/output@/-lib@/.scm}.
@code{laTeteAToto}, tant qu'il ne s'agit pas de @qq{mot réservé}. Pour
plus de détails, voir @ref{Saving typing with variables and functions}.
-@seealso
+@seealso
Pour une description complète du format des fichiers d'entrée, voir
@ruser{File structure}.
assurez-vous que chaque élément d'un même niveau a le même décalage
horizontal dans votre éditeur de texte !
-@seealso
+@seealso
Manuel de notation : @ruser{Structure of a score}.
examinerons ce problème dans un autre chapitre (voir la propriété
@code{force-hshift} dans @ref{Fixing overlapping notation}).
-@seealso
+@seealso
Manuel de notation : @ruser{Multiple voices}.
identiques, LilyPond vous le signalera par le message @qq{Trop
d'empilements en conflit}.
-@seealso
+@seealso
Manuel de notation : @ruser{Multiple voices}.
}
@end lilypond
-@seealso
+@seealso
Manuel de notation : @ruser{Vocal music}.
initiales en majuscule et directement accolés les uns aux autres sans
ponctuation, comme par exemple @code{GregorianTranscriptionStaff}.
-@seealso
+@seealso
Manuel de notation : @ruser{Contexts explained}.
Nous verrons plus avant comment le résultat de LilyPond peut changer
lorsqu'on modifie l'action des graveurs.
-@seealso
+@seealso
Références internes : @rinternals{Engravers and Performers}.
chacun des contextes en particulier grâce à un bloc @code{\with} ou bien
une commande @code{\set} au fil des notes.
-@seealso
+@seealso
Manuel de notation : @ruser{Changing context default settings},
@ruser{The set command}.
Références internes : @rinternals{Contexts},
@rinternals{Tunable context properties}.
+
@node Adding and removing engravers
@subsection Adding and removing engravers
d'un type particulier si vous insérez les commandes @code{\set} dans un
bloc @code{\context}.
-@seealso
+@seealso
Manuel de notation : @ruser{Modifying context plug-ins},
@ruser{Changing context default settings}.
}
@end lilypond
-@seealso
+@seealso
Les patrons originaux sont disponibles à l'annexe @qq{Modèles}, voir
@ref{Single staff}.
saisissant plusieurs @code{\tag}.
@example
- \tag #'original-part \tag #'transposed-part @dots{}
+\tag #'original-part \tag #'transposed-part @dots{}
@end example
@ignore
FIXME
@seealso
-
Exemples : @lsr{parts,tag@/-filter@/.ly}
@end ignore
+
@knownissues
Lorsqu'elles comportent des silences, ceux-ci ne seront pas fusionnés
contexte de Partition. Le contexte de Partition est le contexte de
notation de plus haut niveau.
-@seealso
+@seealso
Référence du programme: @rinternals{Contexts}.
+
@lilypond[quote,ragged-right]
\include "engraver-example.ily"
\score {
@seealso
-
Dans ce même manuel : @ref{Changing staff manually}.
Référence du programme : @rinternals{AutoChangeMusic}.
-
@knownissues
Les changements de portée automatiques n'interviennent pas toujours Ã
>>
@end lilypond
-@seealso
+@seealso
Référence du programme : @rinternals{VoiceFollower}.
-@predefined
+@predefined
@funindex \showStaffSwitch
@code{\showStaffSwitch},
@funindex \hideStaffSwitch
@code{\hideStaffSwitch}.
+@endpredefined
@node Cross-staff stems
c\sostenutoOn d e c, f g a\sostenutoOff
@end lilypond
-@seealso
+@seealso
Dans ce manuel : @ref{Ties} @qq{laissez vibrer}.
version that you are working on. See TRANSLATION for details.
@end ignore
+
@include version.itexi
-@c don't replace quotes with directed quotes
+
+@c Don't replace quotes with directed quotes.
+
@set txicodequoteundirected
@set txicodequotebacktick
+
+
@c ***** Displaying text *****
-@c we need this since @q{\} doesn't work with makeinfo 4.11 --
-@c say @q{@bs} instead
+@c We need this since @q{\} doesn't work with makeinfo 4.11 --
+@c say @q{@bs{}} instead.
+
@macro bs
\\
@end macro
-@c to get decent quotes in `foo' and ``foo''
-@c FIXME: use thin spaces for @qq
+@c To get decent quotes in `foo' and ``foo''.
+@c FIXME: Use thin spaces for @qq.
+
@ifnotinfo
+
@macro q{TEXT}
@quoteleft{}\TEXT\@quoteright{}
@end macro
@macro qq{TEXT}
@guillemetleft{}@tie{}\TEXT\@tie{}@guillemetright{}
@end macro
+
@end ifnotinfo
@ifinfo
+
@macro q{TEXT}
`\TEXT\'
@end macro
@macro qq{TEXT}
« \TEXT\ »
@end macro
+
@end ifinfo
@ifhtml
+
@macro warning{TEXT}
@cartouche
@b{Note :} \TEXT\
@end cartouche
@end macro
+
@end ifhtml
@ifnothtml
+
@macro warning{TEXT}
@quotation
@quotation
@end quotation
@end quotation
@end macro
+
@end ifnothtml
+
@ifnotinfo
+
@macro notation{TEXT}
@var{\TEXT\}
@end macro
+
@end ifnotinfo
@ifinfo
+
@macro notation{TEXT}
\TEXT\
@end macro
+
@end ifinfo
+
@macro smallspace
@sp 1
@end macro
-@c **** Displaying images not generated by lilypond-book
-@c current installation setup of Info docs requires that all images are
-@c expected to be found in lilypond/ subdirectory. lilypond-book already
-@c generates proper @image commands for images of music; these macros
-@c definitions do the same for other images.
+@c ***** Displaying images not generated by lilypond-book *****
+
+@c Current installation setup of Info docs requires that all images are
+@c expected to be found in the `lilypond/' subdirectory. `lilypond-book'
+@c already generates proper @image commands for images of music; these
+@c macro definitions do the same for other images.
@ifnotinfo
+
@macro sourceimage{FILENAME,WIDTH,HEIGHT,ALTTEXT}
@image{\FILENAME\,\WIDTH\,\HEIGHT\,\ALTTEXT\}
@end macro
+
@end ifnotinfo
@ifinfo
+
@macro sourceimage{FILENAME,WIDTH,HEIGHT,ALTTEXT}
@image{lilypond/\FILENAME\,\WIDTH\,\HEIGHT\,\ALTTEXT\}
@end macro
+
@end ifinfo
-@c **** Headings in a doc subsection ****
+@c ***** Headings in a doc subsection *****
+
+@c Don't insert an empty line after @predefined! Right now
+@c it doesn't matter, but a future implementation will probably
+@c add some code which needs this restriction.
@macro predefined
@noindent
@subsubheading Predefined commands
+@end macro
+
+@c The next macro is a dummy currently since texinfo doesn't
+@c provide a real ragged-right environment yet.
+@c
+@c Due to a bug in texi2html (texi2html.pl CVS versions <= 1.245)
+@c the macro must not be empty.
+@macro endpredefined
+@c
@end macro
+
@macro snippets
@noindent
@subsubheading Selected Snippets
-
@end macro
+
@c obsolete, remove when translation is fully updated
@macro commonprop
@noindent
@subsubheading Commonly tweaked properties
-
@end macro
+
+@c Don't insert an empty line after @seealso! Otherwise we get
+@c unwanted extra vertical space in the PDF output.
+
@macro seealso
@noindent
@subsubheading See also
-
+@indent
@end macro
+
@macro knownissues
@noindent
@subsubheading Known issues and warnings
-
@end macro
+
@macro lydoctitle {TEXT}
@emph{\TEXT\}
-
@end macro
+
+@c Don't remove the `@c' within the macro definition! See section 19.3,
+@c `Macro Details and Caveats', in the texinfo info file for explanation.
+
@macro funindex {TEXT}
@findex \TEXT\
@kindex \TEXT\
+@c
@end macro
-@c **** Links and references ****
+@c ***** Links and references *****
@c Definitions for references:
+@c
@c @rglos
@c @rlearning
@c @ruser
@c @rprogram
@c @rlsr
@c @rinternals
-@c all these also have a @...named version, which allows to specify the
-@c displayed text for the reference as second argument
+@c
+@c All these also have a @...named version which allows to specify the
+@c displayed text for the reference as second argument.
+@c
+@c ***** HTML + bigpage is a special case (other manual names); all other
+@c formats are treated similarly.
-@c ***** HTML + bigpage is a special case (other manual names), all other
-@c formats are treated similarly
+@c *** not TeX ***
@ifnottex
+@c ** bigpage **
+
@ifset bigpage
@macro rglos{TEXT}
@end ifset
+@c ** not bigpage **
+
@ifclear bigpage
@macro rglos{TEXT}
@end ifnottex
-@c **** TEX ****
+@c *** TeX ***
+
@iftex
@macro rglos{TEXT}
@end iftex
-@c **** Macros specific to translated docs ****
+
+@c ***** Macros specific to translated docs *****
@c ugh, cannot set/define global variable 'translationof' in some way?
+
@iftex
+
@macro translationof{TEXT}
@end macro
+
@end iftex
@ifinfo
-@macro
+
@macro translationof{TEXT}
@set translationof \TEXT\
@end macro
+
@end ifinfo
-@c TODO when @translationof is used in translated docs
-@c see if it's feasible to say @value{translationof}
+
+@c TODO: If @translationof is used in translated docs
+@c see whether it is feasible to say @value{translationof}.
+
@macro englishref
Cette section n'est pas encore encore traduite, veuillez
vous reporter à la documentation correspondante en anglais.
@end macro
+
@ifhtml
+
@macro untranslated
UNTRANSLATED NODE: IGNORE ME
@end macro
+
@end ifhtml
@ifnothtml
+
@macro untranslated
@end macro
+
@end ifnothtml
@file{ly/@/drumpitch@/-init@/.ly}.
@c TODO: properly document this.
-@seealso
+@seealso
Référence du Programme : @rinternals{note-event}.
-
@node Percussion staves
@unnumberedsubsubsec Percussion staves
@seealso
-
Fichier d'initialisation : @file{ly/@/drumpitch@/-init@/.ly}.
Référence du programme : @rinternals{DrumStaff}, @rinternals{DrumVoice}.
+
@knownissues
La bibliothèque MIDI générale ne contient pas les @emph{rimshots} --- coups
@seealso
-
Référence du programme : @rinternals{LedgerLineSpanner},
@rinternals{NoteHead}.
@seealso
-
Référence du programme : @rinternals{TransposedMusic}.
Exemples : @rlsr{Pitches}.
@seealso
-
Dans ce manuel : @ref{Grace notes}.
Référence du programme : @rinternals{Clef}.
@seealso
-
Référence du programme : @rinternals{KeyCancellation},
@rinternals{KeySignature}.
@seealso
-
Référence du programme : @rinternals{OttavaBracket}.
@seealso
-
Référence du programme : @rinternals{Accidental_engraver},
@rinternals{Accidental}, @rinternals{AccidentalSuggestion} et @rinternals{AccidentalPlacement}.
forme n'aurait pas attribué d'espace supplémentaire pour l'objet
déplacé.
-@seealso
+@seealso
Référence du programme : @rinternals{Ambitus},
@rinternals{AmbitusLine}, @rinternals{AmbitusNoteHead},
@rinternals{AmbitusAccidental}.
Exemples : @rlsr{Pitches}, @rlsr{Vocal music}.
+
@knownissues
LilyPond ne gère pas les collisions entre plusieurs ambitus présents sur
@seealso
-
Référence du programme : @rinternals{NoteHead}.
taille, afin que les lettres soient lisibles. Voir à ce propos
@ref{Setting the staff size}.
-@predefined
+@predefined
@funindex \easyHeadsOn
-@code{\easyHeadsOn}
+@code{\easyHeadsOn}.
+@endpredefined
@node Shape note heads
Consultez @ref{Bar lines} pour plus d'informations.
-@seealso
+@seealso
Program reference: @rinternals{VoltaBracket},
@rinternals{RepeatedMusic},
@rinternals{VoltaRepeatedMusic}, et
@seealso
-
Référence du programme : @rinternals{VoltaBracket},
@rinternals{RepeatedMusic},
@rinternals{VoltaRepeatedMusic}, et
@seealso
-
Dans ce manuel : @ref{Tremolo subdivisions}, @ref{Repeats}.
Référence du programme : @rinternals{Beam}, @rinternals{StemTremolo}.
@seealso
-
Dans ce manuel : @ref{Tremolo repeats}.
Référence du programme : @rinternals{StemTremolo}.
@seealso
-
Référence du programme : @rinternals{RepeatSlash},
@rinternals{PercentRepeat}, @rinternals{DoublePercentRepeat},
@rinternals{DoublePercentRepeatCounter},
a'4 b' c''4. b'8 a'4. b'4.. c''8.
@end lilypond
-@predefined
+@predefined
Les points sont normalement haussés pour éviter les lignes de portées,
sauf dans certaines polyphonies. Les commandes suivantes peuvent être
utilisées pour demander manuellement une orientation particulière des
@code{\dotsDown},
@funindex \dotsNeutral
@code{\dotsNeutral}.
+@endpredefined
-@seealso
+@seealso
Référence du programme : @rinternals{Dots}, @rinternals{DotColumn}.
}
@end lilypond
-@predefined
+@predefined
@funindex \tupletUp
@code{\tupletUp},
@funindex \tupletDown
@code{\tupletDown},
@funindex \tupletNeutral
@code{\tupletNeutral}.
+@endpredefined
@commonprop
@seealso
-
Référence du programme : @rinternals{TupletBracket},
@rinternals{TupletNumber}, @rinternals{TimeScaledMusic}.
-
@node Scaling durations
@unnumberedsubsubsec Scaling durations
@seealso
-
Dans ce manuel : @ref{Tuplets}.
@predefined
-
@funindex \tieUp
@code{\tieUp},
@funindex \tieDown
@code{\tieDashed},
@funindex \tieSolid
@code{\tieSolid}.
+@endpredefined
@seealso
-
Glossaire musical :
@rglos{tie},
@rglos{laissez vibrer}.
puisque le formateur automatique de collision des silences laissera ces
silences tranquilles.
-@seealso
+@seealso
Référence du programme : @rinternals{Rest}.
Le fragment @code{@{ \skip 4 @} } produirait une page vide.
-@seealso
+@seealso
Référence du programme : @rinternals{SkipMusic}.
@seealso
-
Référence du programme : @rinternals{MultiMeasureRestMusic},
@rinternals{MultiMeasureRest}.
@seealso
-
Référence du programme : @rinternals{TimeSignature} et
@rinternals{Timing_translator}.
>> }
@end lilypond
-@seealso
+@seealso
Exemples : @rlsr{Rhythms}.
+
@knownissues
L'utilisation de métriques différentes en parallèle entraine un
divise pas les silences.
@seealso
-
Référence du programme : @rinternals{Completion_heads_engraver}.
+
@node Showing melody rhythms
@unnumberedsubsubsec Showing melody rhythms
}
@end lilypond
-@seealso
+@seealso
Référence du programme : @rinternals{RhythmicStaff}.
+
@node Beams
@subsection Beams
@seealso
-
Référence du programme : @rinternals{Beam}.
@predefined
-
@funindex \autoBeamOff
@code{\autoBeamOff},
@funindex \autoBeamOn
@code{\autoBeamOn}.
+@endpredefined
+
@commonprop
@seealso
-
Dans ce manuel : @ref{Repeats}, @ref{Grouping staves}.
Référence du programme : @rinternals{BarLine} (faisant partie du
@seealso
-
Référence du programme : @rinternals{BarNumber}.
Exemples : @rlsr{Staff notation}.
Pour affiner le positionnement des repères, veuillez vous référer Ã
@ref{Text marks}.
-@seealso
+@seealso
Dans ce manuel : @ref{Text marks}.
Référence du programme : @rinternals{RehearsalMark}.
@seealso
-
Référence du programme : @rinternals{GraceMusic}.
portée, y compris simultanément --- en pareil cas, rien ne sera fait
pour tenter d'empécher les chevauchements entre notes et clusters.
-@seealso
+@seealso
Référence du programme : @rinternals{ClusterSpanner},
@rinternals{ClusterSpannerBeacon},
@rinternals{Cluster_spanner_engraver}.
Exemples : @rlsr{Simultaneous notes}.
+
@knownissues
Les expressions musicales du type @code{<< @{ g8 e8 @} a4 >>} ne
@predefined
-
@funindex \oneVoice
@code{\oneVoice},
@funindex \voiceOne
les voix une et deux --- ont @code{\shiftOff}, alors que les voix
internes --- trois et quatre --- ont @code{\shiftOn}. @code{\shiftOnn}
et @code{\shiftOnnn} sont des niveaux supplémentaires de décalage.
+@endpredefined
+
Quand LilyPond est dépassé, la propriété @code{force-hshift} de l'objet
@rinternals{NoteColumn}, et des silences à hauteur déterminée, peuvent
Une section @code{\relative} en dehors de @code{\partcombine} sera
sans effet sur les hauteurs de @var{musicexpr1} et @var{musicexpr2}.
-@seealso
+@seealso
Référence du programme : @rinternals{PartCombineMusic}.
+
@knownissues
Lorsque @code{printPartCombineTexts} est actif et que les deux voix
@item Les affinages optiques se règlent en assignant @emph{vrai} à la
propriété @code{uniform-stretching} du @rinternals{SpacingSpanner}.
-
@end itemize
-@seealso
+@seealso
Exemples : @rlsr{Spacing}.
Le fichier @file{input/proportional.ly} illustre la notation
proportionnelle stricte.
-
@node Fitting music onto fewer pages
@section Fitting music onto fewer pages
@seealso
-
Les barres de mesure au début de chaque système prennent l'un des styles
@rinternals{SystemStartBar}, @rinternals{SystemStartBrace},
@rinternals{SystemStartBracket}. Dans chaque contexte, seul l'un de
ces styles est utilisé, et c'est la propriété
@code{systemStartDelimiter} qui détermine lequel.
+
@commonprop
Les accolades et crochets délimitant les systèmes peuvent être imbriqués
@cindex épaisseur des lignes de portées
@cindex nombre de lignes de portée
-@seealso
+@seealso
Référence du programme : @rinternals{StaffSymbol}.
Exemples : @rlsr{Staff notation}.
@seealso
-
Référence du programme : @rinternals{MetronomeMark}.
@seealso
-
Référence du programme : @rinternals{InstrumentName}.
@seealso
-
Dans ce manuel : @ref{Instrument transpositions}.
Exemples : @rlsr{Staff notation}.
@predefined
-
@funindex \textLengthOn
@code{\textLengthOn},
@funindex \textLengthOff
@code{\textLengthOff}.
+@endpredefined
@commonprop
@seealso
-
Dans ce manuel : @ref{Formatting text}.
Référence du programme : @rinternals{TextScript}.
@end table
-@seealso
+@seealso
Référence du programme : @rinternals{TextSpanner},
@rinternals{Glissando}, @rinternals{VoiceFollower},
@rinternals{TrillSpanner}, @rinternals{line-spanner-interface}.
c2\startTextSpan b c\stopTextSpan a
@end lilypond
-@predefined
+@predefined
@funindex textSpannerUp
@code{\textSpannerUp},
@funindex textSpannerDown
@code{\textSpannerDown},
@funindex textSpannerNeutral
@code{\textSpannerNeutral}.
+@endpredefined
@commonprop
@seealso
-
Référence du programme : @rinternals{TextSpanner}.
@seealso
-
Référence du programme : @rinternals{RehearsalMark}.
@seealso
-
Dans ce manuel : @ref{Text markup commands}.
Référence du programme : @rinternals{TextScript}.
Les différentes commandes permettant de générer des listes de lignes
se trouve dans @ref{Text markup list commands}.
-@seealso
+@seealso
Dans ce manuel : @ref{Text markup list commands},
@ref{New markup list command definition}.
-@predefined
+@predefined
@funindex \markuplines
-@code{\markuplines}
+@code{\markuplines}.
+@endpredefined
@node Fonts
@c Apple TTF fonts
-
@seealso
-
Exemples : @rlsr{Text}.
}
@end lilypond
-@seealso
+@seealso
Manuel de notation : @ruser{Writing pitches},
@ruser{Writing rhythms}, @ruser{Writing rests},
@ruser{Time signature}, @ruser{Clef}.
qui répertorie les commandes usuelles pour une consultation rapide.
@end ignore
-@seealso
+@seealso
Vous trouverez plus de conseils pour construire des fichiers source
dans @ref{Suggestions for writing LilyPond input files}. Cependant,
lors d'une première lecture il est préférable de terminer d'abord la
connaître les différentes manières dont les altérations accidentelles
peuvent être imprimées, consultez @ruser{Automatic accidentals}.
-@seealso
+@seealso
Manuel de notation : @ruser{Note names in other languages},
@ruser{Accidentals}, @ruser{Automatic accidentals},
@ruser{Key signature}.
Glossaire musical : @rglos{Pitch names}.
+
@node Ties and slurs
@subsection Ties and slurs
c2~( c8 fis fis4 ~ fis2 g2)
@end lilypond
-@seealso
+@seealso
Manuel de notation : @ruser{Ties}, @ruser{Slurs},
@ruser{Phrasing slurs}.
+
@node Articulation and dynamics
@subsection Articulation and dynamics
c2\< c2\ff\> c2 c2\!
@end lilypond
-@seealso
+@seealso
Manuel de notation : @ruser{Articulations and ornamentations},
@ruser{Fingering instructions}, @ruser{Dynamics}.
}
@end lilypond
-@seealso
+@seealso
Manuel de notation : @ruser{Writing text}.
a8 c b4 d8. c16 b4
@end lilypond
-@seealso
+@seealso
Manuel de notation : @ruser{Automatic beams}, @ruser{Manual beams}.
c2 \acciaccatura b16 c2
@end lilypond
-@seealso
+@seealso
Manuel de notation : @ruser{Grace notes}, @ruser{Tuplets},
@ruser{Upbeats}.
}
@end lilypond
-@seealso
+@seealso
Manuel de notation : @ruser{Keyboard and other multi-staff instruments},
@ruser{Displaying staves}.
>>
@end lilypond
-@seealso
+@seealso
Manuel de notation : @ruser{Simultaneous notes}.
>>
@end lilypond
-@seealso
+@seealso
Manuel de notation : @ruser{Vocal music}.
la partition des notes et paroles, grâce à des variables. Ceci sera
détaillé plus loin dans @ref{Organizing pieces with variables}.
-@seealso
+@seealso
Manuel de notation : @ruser{Vocal music}.
+
@node Final touches
@section Final touches
c4^"piu mosso" d e f
@end lilypond
-@seealso
+@seealso
Dans ce même manuel : @ruser{The \override command}, @ref{Common tweaks}.
en bas des pages de la documentation. Par exemple, en bas de la page
@ruser{Dynamics}, nous trouvons
-@quotation
-@seealso
+@seealso
Référence du programme : @rinternals{DynamicText}, @rinternals{Hairpin}.
Le placement vertical de ces symboles est contrôlé par
@rinternals{DynamicLineSpanner}.
-@end quotation
@noindent
-
Ce qui implique que, pour modifier la hauteur d'une nuance, nous utiliserons
@example
@seealso
-
Référence du programme : @rinternals{LyricText}, @rinternals{LyricSpace}.
>>
@end example
+
@seealso
-
@c TODO: document \new Staff << Voice \lyricsto >> bug
-
+@c
Référence du programme : @rinternals{LyricCombineMusic},
@rinternals{Lyrics}.
} >>
@end lilypond
+
@seealso
-
Référence du programme : @rinternals{Lyrics}.
\addlyrics { pu- ro~y~ho- nes- to }
@end lilypond
-@seealso
+@seealso
Référence du programme : @rinternals{LyricCombineMusic}.
+
@c Here come the section which used to be "Melismata"
@c the new title might be more self-explanatory
+
@node Multiple notes to one syllable
@unnumberedsubsubsec Multiple notes to one syllable
@predefined
-
-@code{\melisma}, @code{\melismaEnd}
-@funindex \melismaEnd
@funindex \melisma
+@code{\melisma},
+@funindex \melismaEnd
+@code{\melismaEnd}.
+@endpredefined
-@seealso
+@seealso
@comment Référence du programme : @rinternals{Melisma_translator}.
Exemples : @rlsr{Vocal music}.
+
@knownissues
Certains mélismes ne sont pas détectés automatiquement ; vous devrez
et @code{minimum-length}, seuil en deçà duquel il n'y a pas de trait
d'union.
-@seealso
+@seealso
Référence du programme : @rinternals{LyricExtender},
@rinternals{LyricHyphen}
@seealso
-
Référence du programme : @rinternals{LyricText},
@rinternals{StanzaNumber}.
Many graphical objects, such as note heads and flags, accidentals,
time signatures, and rests, provide a @code{style} property, which
can be changed to emulate several different styles of ancient
-notation. See
+notation. See
@itemize
@item @ref{Mensural note heads},
entry without worrying about the details on how to customize a
context. See one of the pre-defined contexts
@code{VaticanaVoice}, @code{VaticanaStaff}, @code{MensuralVoice},
-and @code{MensuralStaff}. See further
+and @code{MensuralStaff}. See further
@itemize
@item @ref{Gregorian chant contexts},
sequences of notes on the same syllable. They are also used in
mensural notation.
-Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
-Some ligature styles may need additional input syntax specific for
-this particular type of ligature. By default, the
+Ligatures are entered by @emph{enclosing} them in @code{\[} and
+@code{\]}. Some ligature styles may need additional input syntax
+specific for this particular type of ligature. By default, the
@rinternals{LigatureBracket} engraver just puts a square bracket
above the ligature.
as explained in @ref{White mensural ligatures} and @ref{Gregorian
square neume ligatures}.
-@seealso
+@seealso
@c TODO: nothing here yet ...
+
@knownissues
Ligatures need special spacing that has not yet been implemented. As
}
@end lilypond
-@seealso
+@seealso
Internals Reference: @rinternals{Custos}.
Examples:
@rlsr{Ancient notation}.
+
@c {{{2 Figured bass support
@node Figured bass support
@unnumberedsubsubsec Figured bass support
}
@end lilypond
-@seealso
+@seealso
TODO: nothing here yet ...
@end lilypond
@end multitable
-@seealso
+@seealso
Notation Reference: see @ref{Clef}.
+
@knownissues
The mensural g clef is mapped to the Petrucci g clef.
}
@end lilypond
-@seealso
+@seealso
Notation Reference: @ref{Time signature}, gives a general introduction to
the use of time signatures.
+
@knownissues
Ratios of note durations do not change with the time signature. For
@end lilypond
-@seealso
+@seealso
@ref{Note head styles} gives an overview of all available note head styles.
@c music, the default flag style should be used.
There are no flags in Gregorian chant notation.
-@seealso
+@seealso
TODO: nothing here yet ...
+
@knownissues
The attachment of ancient flags to stems is slightly off.
See @rlsr{Pitches,rests} for a chart of all rests.
-There are no rests in Gregorian chant notation; instead, it uses
-@ref{Divisiones}.
-
@seealso
-
Notation Reference: @ref{Rests}, gives a general introduction into the use of
rests.
@cindex key signature
The @code{mensural} style provides a sharp and a flat sign
-different from the default style. If called for, the natural sign
+different from the default style. If called for, the natural sign
will be taken from the @code{vaticana} style.
@lilypond[quote,ragged-right,staffsize=26]
@code{\override Staff.Accidental #'glyph-name-alist =
#alteration-mensural-glyph-name-alist}
-@seealso
+@seealso
Notation Reference: @ref{Pitches}, @ref{Accidentals}, and
@ref{Automatic accidentals} give a general introduction of the use of
accidentals. @ref{Key signature} gives a general introduction of
Internals Reference: @rinternals{KeySignature}.
+
@c {{{2 Annotational accidentals (musica ficta)
@node Annotational accidentals (musica ficta)
@unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
}
@end lilypond
-@seealso
+@seealso
Internals Reference: @rinternals{Accidental_engraver} engraver and
the @rinternals{AccidentalSuggestion} object.
}
@end lilypond
-@seealso
+@seealso
TODO: nothing here yet ...
+
@knownissues
-Horizontal spacing is poor.
+Horizontal spacing of ligatures is poor.
@c {{{1 Typesetting Gregorian chant
}
@end lilypond
-@seealso
+@seealso
TODO: nothing here yet ...
+
@c {{{2 Gregorian clefs
@node Gregorian clefs
@unnumberedsubsubsec Gregorian clefs
@end lilypond
@end multitable
-@seealso
+@seealso
Notation Reference: see @ref{Clef}.
+
@c {{{2 Gregorian accidentals and key signatures
@node Gregorian accidentals and key signatures
@unnumberedsubsubsec Gregorian accidentals and key signatures
@code{\override Staff.Accidental #'glyph-name-alist =
#alteration-mensural-glyph-name-alist}
-@seealso
+@seealso
Notation Reference: @ref{Pitches}, @ref{Accidentals}, and
@ref{Automatic accidentals} give a general introduction of the use of
accidentals. @ref{Key signature} gives a general introduction of
Internals Reference: @rinternals{KeySignature}.
+
@c {{{2Divisiones
@node Divisiones
@unnumberedsubsubsec Divisiones
@cindex divisiones
@cindex finalis
+There are no rests in Gregorian chant notation; instead, it uses
+@ref{Divisiones}.
+
A @emph{divisio} (plural: @emph{divisiones}; Latin word for
@q{division}) is a staff context symbol that is used to indicate
the phrase and section structure of Gregorian music. The musical meaning of
only marks the end of a chant, but is also frequently used within a
single antiphonal/responsorial chant to mark the end of each section.
-To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
+To use divisiones, include the file @file{gregorian@/.ly}. It
contains definitions that you can apply by just inserting
@code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
and @code{\finalis} at proper places in the input. Some editions use
@emph{virgula} or @emph{caesura} instead of divisio minima.
-Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
+Therefore, @file{gregorian@/.ly} also defines @code{\virgula} and
@code{\caesura}
@lilypondfile[quote,ragged-right]{divisiones.ly}
-@predefined
+@predefined
@funindex \virgula
@code{\virgula},
@funindex \caesura
@code{\divisioMaxima},
@funindex \finalis
@code{\finalis}.
+@endpredefined
@c {{{2Gregorian articulations
}
@end lilypond
-@seealso
+@seealso
TODO: nothing here yet ...
+
@knownissues
Some articulations are vertically placed too closely to the
@seealso
-
Notation Reference: @ref{Breath marks}.
Internals Reference: @rinternals{BreathingSign}.
Examples: @rlsr{Ancient notation}.
-
@c {{{2Gregorian square neumes ligatures
@node Gregorian square neume ligatures
@unnumberedsubsubsec Gregorian square neume ligatures
ligatures, lyrics alignment, and proper handling of accidentals.
The support for Gregorian neumes is enabled by @code{\include}ing
-"gregorian.ly" at the beginning of the file. This makes available
+"gregorian.ly" at the beginning of the file. This makes available
a number of extra commands to produce the neume symbols used in
plainchant notation.
@code{\linea}.
@item Ligatures, properly speaking (i.e. notes joined together), are
-produced by placing one of the joining commands @code{pes} or
-@code{flexa}, for upwards and downwards movement, respectively,
+produced by placing one of the joining commands @code{\pes} or
+@code{\flexa}, for upwards and downwards movement, respectively,
@emph{between} the notes to be joined.
@end itemize
produces a hollow note, and @code{\linea}, which draws vertical
lines on either side of the note.
-@item The @emph{virga} has a descending stem on the right side. It is
+@item The @emph{virga} has a descending stem on the right side. It is
produced by the modifier @code{\virga}.
@end itemize
Unlike most other neumes notation systems, the typographical
appearance of ligatures is not directly dictated by the input
commands, but follows certain conventions dependent on musical
-meaning. For example, a three-note ligature with the musical shape
+meaning. For example, a three-note ligature with the musical shape
low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
Torculus consisting of three Punctum heads, while the shape
high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
Liquescent neumes
Another main category of notes in Gregorian chant is the so-called
-liquescent neumes. They are used under certain circumstances at
+liquescent neumes. They are used under certain circumstances at
the end of a syllable which ends in a @q{liquescent} letter, i.e.
the sounding consonants that can hold a tone (the nasals, l, r, v,
j, and their diphtong equivalents). Thus, the liquescent neumes
Liquescent neumes are represented graphically in two different,
more or less interchangeable ways: with a smaller note or by
-@q{twisting} the main note upwards or downwards. The first is
+@q{twisting} the main note upwards or downwards. The first is
produced by making a regular @code{pes} or @code{flexa} and
modifying the shape of the second note: @code{\[ a \pes \deminutum
b \] }, the second by modifying the shape of a single-note neume
-with @code{\auctus} and one of the direction markers
-@code{\descendens} or @code{\ascendens}, e.g. @code{ \[ \auctus
+with @code{\auctum} and one of the direction markers
+@code{\descendens} or @code{\ascendens}, e.g. @code{ \[ \auctum
\descendens a \] }.
@noindent
A third category of signs is made up of a small number of signs
with a special meaning (which, incidentally, in most cases is only
vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
-@emph{strophicus}. These are all produced by prefixing a note name
+@emph{strophicus}. These are all produced by prefixing a note name
with the corresponding modifier, @code{\quilisma},
@code{\oriscus}, or @code{\stropha}.
certain rules, which are not checked by Lilypond. E.g., the
@emph{quilisma} is always the middle note of an ascending
ligature, and usually falls on a half-tone step, but it is
-perfectly possible to make a single-note quilisma.
+perfectly possible, although incorrect, to make a single-note
+quilisma.
+
+In addition to the note signs, gregorian.ly also defines the
+commands @code{\versus}, @code{\responsum}, @code{\ij},
+@code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
+corresponding characters, e.g. for use in lyrics, as section
+markers, etc. These commands use special unicode characters and
+will only work if a font is used which supports them.
@c neume table
The following table shows a limited, but still representative pool
of Gregorian ligatures, together with the code fragments that
-produce the ligatures. The table is based on the extended neumes
+produce the ligatures. The table is based on the extended neumes
table of the 2nd volume of the Antiphonale Romanum (@emph{Liber
Hymnarius}), published 1983 by the monks of Solesmes. The first
column gives the name of the ligature, with the main form in
@end multitable
-@predefined
-
-The following head prefixes are supported
+@predefined
+The following head prefixes are supported:
@funindex \virga
@code{\virga},
@funindex \stropha
@code{\cavum},
@funindex \linea
@code{\linea}.
+@endpredefined
Head prefixes can be accumulated, though restrictions apply. For
example, either @code{\descendens} or @code{\ascendens} can be applied
@funindex \augmentum
Use the unary music function @code{\augmentum} to add augmentum dots.
-@seealso
+@seealso
TODO: nothing here yet ...
+
@knownissues
When an @code{\augmentum} dot appears at the end of the last staff
Working with ancient music frequently involves particular tasks
which differ considerably from the modern notation for which
-Lilypond is designed. In the rest of this section, a number of
+Lilypond is designed. In the rest of this section, a number of
typical scenarios are outlined, with suggestions of solutions.
These involve:
@c use snippet Transcription-of-ancient-music-with-incipit
TBC
-@seealso
+@seealso
@c ... and reference to other sections ...
+
@c {{{2Mensurstriche layout
@node Mensurstriche layout
@unnumberedsubsubsec Mensurstriche layout
@emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
for bar lines that are drawn between the staves of a system but
-not through the staves themselves. It is a common way to preserve
+not through the staves themselves. It is a common way to preserve
the rhythmic appearance of the original, i.e. not having to break
syncopated notes at bar lines, while still providing the
orientation aids that bar lines give.
@c TODO Add text about lyrics to the lowest line, to be placed
@c outside the StaffGroup.
@c from lsr and -user
-TBC
+@c TBC
-@seealso
+@seealso
@c ... and reference to other sections ...
@node Transcribing Gregorian chant
@unnumberedsubsubsec Transcribing Gregorian chant
-@c TODO Add text
+Gregorian chant can be transcribed into modern notation with a
+number of simple tweaks.
+
+@b{Stems}. Stems can be left out altogether by @code{\remove}-ing
+the @code{Stem_engraver} from the Voice context:
+
+@example
+\layout @{
+ ...
+ \context @{
+ \Voice
+ \remove "Stem_engraver"
+ @}
+@}
+@end example
+
+However, in some transcription styles, stems are used
+occasionally, for example to indicate the transition from a
+single-tone recitative to a fixed melodic gesture. In these cases,
+one can use either @code{\override Stem #'transparent = ##t} or
+@code{\override Stem #'length = #0} instead, and restore the stem
+when needed with the corresponding @code{\once \override Stem
+#'transparent = ##f} (see example below).
+
+@b{Timing.} For unmetered chant, there are several alternatives.
+
+The Time_signature_engraver can be removed from the Staff context
+without any negative side effects. The alternative, to make it
+transparent, will leave an empty space in the score, since the
+invisible signature will still take up space.
+
+In many cases, @code{\set Score.timing = ##f} will give good
+results. Another alternative is to use \@code{\CadenzaOn} and
+@code{\CadenzaOff}.
+
+To remove the barlines, the radical approach is to @code{\remove}
+the Bar_engraver from the Staff context. Again, one may want to
+use @code{\override BarLine #'transparent = ##t} instead, if an
+occasional barline is wanted.
+
+A common type of transcription is recitativic chant where the
+repeated notes are indicated with a single breve. The text to
+the recitation tone can be dealt with in two different ways:
+either set as a single, left-aligned syllable:
+
+@lilypond[verbatim,ragged-right]
+\include "gregorian.ly"
+chant = \relative c' {
+ \clef "G_8"
+ c\breve c4 b4 a c2 c4 \divisioMaior
+ c\breve c4 c f, f \finalis
+}
+
+verba = \lyricmode {
+ \once \override LyricText #'self-alignment-X = #-1
+ "Noctem quietam et" fi -- nem per -- fec -- tum
+ \once \override LyricText #'self-alignment-X = #-1
+ "concedat nobis Dominus" om -- ni -- po -- tens.
+}
+\score {
+ \new Staff <<
+ \new Voice = "melody" \chant
+ \new Lyrics = "one" \lyricsto melody \verba
+ >>
+ \layout {
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ \override Stem #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+
+This works fine, as long as the text doesn't span a line break. If
+that is the case, an alternative is to add hidden notes to the
+score, here in combination with changing stem visibility:
+
+
+@lilypond[verbatim,ragged-right]
+\include "gregorian.ly"
+chant = \relative c' {
+ \clef "G_8"
+ \set Score.timing = ##f
+ c\breve \override NoteHead #'transparent = ##t c c c c c
+ \revert NoteHead #'transparent
+ \override Stem #'transparent = ##f \stemUp c4 b4 a
+ \override Stem #'transparent = ##t c2 c4 \divisioMaior
+ c\breve \override NoteHead #'transparent = ##t c c c c c c c
+ \revert NoteHead #'transparent c4 c f, f \finalis
+}
+
+verba = \lyricmode {
+ No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum
+ con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens.
+}
+
+\score {
+ \new Staff <<
+ \new Voice = "melody" \chant
+ \new Lyrics \lyricsto "melody" \verba
+ >>
+ \layout {
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ \override BarLine #'transparent = ##t
+ \override Stem #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+
+Another common situation is transcription of neumatic or
+melismatic chants, i.e. chants with a varying number of notes
+to each syllable. In this case, one would want to set the
+syllable groups clearly apart, usually also the subdivisions of a
+longer melisma. One way to achieve this is to use a fixed
+@code{\time}, e.g. 1/4, and let each syllable or note group fill
+one of these measures, with the help of tuplets or shorter
+durations. If the barlines and all other rhythmical indications
+are made transparent, and the space around the barlines is
+increased, this will give a fairly good representation in modern
+notation of the original.
+
+To avoid that syllables of different width (such as @qq{-ri} and
+@qq{-rum}) spread the syllable note groups unevenly apart, the
+@code{#'X-extent} property of the @code{LyricText} object may be
+set to a fixed value. Another, more cumbersome way would be to
+add the syllables as @code{\markup} elements. If further
+adjustments are necessary, this can be easily done with
+@code{s} @q{notes}.
+
+@lilypond[verbatim,quote]
+spiritus = \relative c' {
+ \time 1/4
+ \override Lyrics.LyricText #'X-extent = #'(0 . 3)
+ d4 \times 2/3 { f8 a g } g a a4 g f8 e
+ d4 f8 g g8 d f g a g f4 g8 a a4 s
+ \times 2/3 { g8 f d } e f g a g4
+}
+
+spirLyr = \lyricmode {
+ Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _
+ or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu
+ -- _ ia.
+}
+\score {
+ \new Staff <<
+ \new Voice = "chant" \spiritus
+ \new Lyrics = "one" \lyricsto "chant" \spirLyr
+ >>
+ \layout {
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ \override BarLine #'X-extent = #'(-1 . 1)
+ \override Stem #'transparent = ##t
+ \override Beam #'transparent = ##t
+ \override BarLine #'transparent = ##t
+ \override TupletNumber #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+
@c extract from 1.6.1.1
-TBC
@seealso
-
@c ... and reference to other sections ...
-
@c {{{2Ancient and modern from one source
@node Ancient and modern from one source
@unnumberedsubsubsec Ancient and modern from one source
TBC
@seealso
-
@c ... and reference to other sections ...
-
@c {{{2Editorial markings
@node Editorial markings
@unnumberedsubsubsec Editorial markings
TBC
-@seealso
+@seealso
@c ... and reference to other sections ...
* Aligning contexts::
@end menu
-@seealso
+@seealso
Learning Manual:
@rlearning{Contexts and engravers}.
@seealso
-
Internals: @rinternals{OverrideProperty}, @rinternals{RevertProperty},
@rinternals{PropertySet}, @rinternals{Backend}, and
@rinternals{All layout objects}.
see @ref{Displaying music expressions}. This may be helpful in
determining what may be modified by a @code{\tweak} command.
-@seealso
+@seealso
Learning Manual:
@rlearning{Tweaking methods}.
Notation Reference:
@ref{Displaying music expressions}.
+
@knownissues
@cindex tweaks in a variable
@code{staff-space}. For an explanation and an example of its use,
see @rlearning{Length and thickness of objects}.
-@seealso
+@seealso
Learning Manual:
@rlearning{Length and thickness of objects}.
hairpins with @code{\!}.
-
@seealso
-
Internals Reference: @rinternals{TextSpanner},
@rinternals{Glissando}, @rinternals{VoiceFollower},
@rinternals{TrillSpanner},
* Modifying shapes::
@end menu
-@seealso
+@seealso
Learning Manual:
@rlearning{Tweaking output},
@rlearning{Other sources of information}.
Internals Reference:
@rinternals{All layout objects}.
+
@node Aligning objects
@subsection Aligning objects
@c TODO Add inserting Postscript or ref to later
-@seealso
+@seealso
Notation Reference:
@ref{Graphic notation inside markup},
@ref{Formatting text},
@seealso
-
Music Glossary:
@rglos{chord}.
Snippets:
@rlsr{Chords}
+
@knownissues
When chord mode and note mode are mixed in sequential music, and
@seealso
-
Notation Reference:
@ref{Common chord modifiers}.
Snippets:
@rlsr{Chords}.
+
@node Extended and altered chords
@unnumberedsubsubsec Extended and altered chords
standard chords are shown in
@ref{Common chord modifiers}.
-@seealso
+@seealso
Notation Reference:
@ref{Common chord modifiers}.
Snippets:
@rlsr{Chords}
+
@knownissues
Each step can only be present in a chord once. The following
@seealso
-
Music Glossary:
@rglos{chord}.
-
Notation Reference:
@ref{Writing music in parallel}.
-
Snippets:
@rlsr{Chords}.
@rinternals{Volta_engraver},
@rinternals{Bar_engraver}.
+
@knownissues
Chords containing inversions or altered bass notes are not named
@end table
-@predefined
+@predefined
@funindex major seven symbols
@code{\whiteTriangleMarkup},
@code{\blackTriangleMarkup},
@code{\italianChords},
@funindex \frenchChords
@code{\frenchChords}.
+@endpredefined
@snippets
@seealso
-
Notation Reference:
@ref{Chord name chart},
@ref{Common chord modifiers}.
@c Internals Reference:
@c @r internals{}.
+
@knownissues
Chord names are determined from both the pitches that are present
@code{baseline-skip}.
@end ignore
-@seealso
+@seealso
Music Glossary:
@rglos{figured bass}.
@end multitable
-
@predefined
@cindex figured bass extender lines
@code{\bassFigureExtendersOn},
@code{\bassFigureExtendersOff}.
+@endpredefined
@snippets
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{changing-the-positions-of-figured-bass-alterations.ly}
+
@seealso
@c Music Glossary:
@c @rglos{}.
-
+@c
@c Learning Manual:
@c @rlearning{}.
-
+@c
@c Notation Reference:
@c @ref{}.
-
+@c
@c Application Usage:
@c @rprogram{}.
-
+@c
@c Installed Files:
@c @file{}.
-
+@c
Snippets:
@rlsr{Chords}.
@rinternals{BassFigureContinuation},
@rinternals{FiguredBass}.
+
@c @knownissues
+
@node Displaying figured bass
@unnumberedsubsubsec Displaying figured bass
@code{\bassFigureStaffAlignmentDown},
@code{\bassFigureStaffAlignmentUp},
@code{\bassFigureStaffAlignmentNeutral}.
+@endpredefined
+
@c @snippets
+
@seealso
@c Music Glossary:
@c @rglos{}.
-
+@c
@c Learning Manual:
@c @rlearning{}.
-
+@c
@c Notation Reference:
@c @ref{}.
-
+@c
@c Application Usage:
@c @rprogram{}.
-
+@c
@c Installed Files:
@c @file{}.
-
+@c
Snippets:
@rlsr{Chords}.
@rinternals{BassFigureContinuation},
@rinternals{FiguredBass}.
+
@knownissues
To ensure that continuation lines work properly, it is
that use fonts. These are the ones supporting the
@code{font-interface} layout interface.
-@predefined
+@predefined
@funindex \teeny
@code{\teeny},
@funindex \tiny
@code{\large},
@funindex \huge
@code{\huge}.
+@endpredefined
-@seealso
+@seealso
Snippets:
@rlsr{Editorial annotations}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{avoiding-collisions-of-chord-fingering-with-beams.ly}
-@seealso
+@seealso
Notation Reference:
@ref{Direction and placement}
@predefined
+@code{\hideNotes},
+@code{\unHideNotes}.
+@endpredefined
-@code{\hideNotes}, @code{\unHideNotes}
@seealso
-
Snippets:
@rlsr{Editorial annotations}.
gis4 a
@end lilypond
-@seealso
+@seealso
Notation Reference:
@ref{List of colors}, @ref{The
tweak command}.
Snippets:
@rlsr{Editorial annotations}.
+
@cindex x11 color
@cindex colored notes in chords
@cindex notes, colored in chords
c2 \parenthesize r
@end lilypond
-@seealso
+@seealso
Snippets:
@rlsr{Editorial annotations}.
@rinternals{ParenthesesItem},
@rinternals{parentheses-interface}.
+
@knownissues
Parenthesizing a chord prints parentheses around each individual
automatically. For whole notes and rests, they are also created but
made invisible.
-@predefined
+@predefined
@funindex \stemUp
@code{\stemUp},
@funindex \stemDown
@code{\stemDown},
@funindex \stemNeutral
@code{\stemNeutral}.
+@endpredefined
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{default-direction-of-stems-on-the-center-line-of-the-staff.ly}
+
@seealso
Notation Reference:
@ref{Direction and placement}.
@predefined
-
@funindex balloonLengthOn
-@funindex balloonLengthOff
@funindex \balloonLengthOn
+@code{\balloonLengthOn},
@funindex \balloonLengthOff
+@funindex balloonLengthOff
+@code{\balloonLengthOff}.
+@endpredefined
-@code{\balloonLengthOn}, @code{\balloonLengthOff}
@seealso
-
Snippets:
@rlsr{Editorial annotations}.
@seealso
-
Snippets:
@rlsr{Editorial annotations}.
}
@end lilypond
-@seealso
+@seealso
Snippets:
@rlsr{Editorial annotations}.
@seealso
-
Music Glossary:
@rglos{tenuto},
@rglos{accent},
@predefined
-
@code{\dynamicUp},
@code{\dynamicDown},
@code{\dynamicNeutral},
@code{\dimTextDecresc},
@code{\crescHairpin},
@code{\dimHairpin}.
+@endpredefined
@snippets
@seealso
-
Music Glossary:
@rglos{al niente},
@rglos{crescendo},
@seealso
-
Notation Reference:
@ref{Formatting text},
@ref{Selecting font and font size},
@funindex \slurUp
@funindex slurUp
-@predefined
+@predefined
@code{\slurUp},
@code{\slurDown},
@code{\slurNeutral},
@code{\slurDashed},
@code{\slurDotted},
@code{\slurSolid}.
+@endpredefined
@snippets
@seealso
-
Music Glossary:
@rglos{slur}.
@predefined
-
@code{\phrasingSlurUp},
@code{\phrasingSlurDown},
@code{\phrasingSlurNeutral},
@code{\phrasingSlurDashed},
@code{\phrasingSlurDotted},
@code{\phrasingSlurSolid}.
+@endpredefined
@seealso
-
Learning Manual:
@rlearning{On the un-nestedness of brackets and ties}.
@seealso
-
Music Glossary:
@rglos{caesura}.
@seealso
-
Music Glossary:
@rglos{fall},
@rglos{doit}.
@seealso
-
Music Glossary:
@rglos{glissando}.
Arpeggios can be explicitly written out with ties. For more
information, see @ref{Ties}.
-@predefined
+@predefined
@code{\arpeggio},
@code{\arpeggioArrowUp},
@code{\arpeggioArrowDown},
@code{\arpeggioNormal},
@code{\arpeggioBracket},
@code{\arpeggioParenthesis}.
+@endpredefined
@snippets
@seealso
-
Music Glossary:
@rglos{arpeggio}.
@predefined
-
@code{\startTrillSpan},
@code{\stopTrillSpan}.
+@endpredefined
@seealso
-
Music Glossary:
@rglos{trill}.
@end itemize
-@seealso
+@seealso
Notation Reference:
@ref{Fingering instructions},
@ref{Ties},
@ref{List of articulations},
@ref{Clef}.
+
@node String number indications
@unnumberedsubsubsec String number indications
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{allowing-fingerings-to-be-printed-inside-the-staff.ly}
-@seealso
+@seealso
Notation Reference:
@ref{Fingering instructions}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{polyphony-in-tablature.ly}
-@seealso
+@seealso
Notation Reference:
@ref{Stems}.
@rinternals{TabVoice},
@rinternals{Beam}.
+
@knownissues
Chords are not handled in a special way, and hence the automatic
>>
@end lilypond
-@seealso
+@seealso
Installed Files:
@file{scm/output-lib.scm}.
@seealso
-
Notation Reference:
@ref{Text markup commands}.
Internals Reference:
@rinternals{fret-diagram-interface}.
+
@node Predefined fret diagrams
@unnumberedsubsubsec Predefined fret diagrams
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{defining-predefined-fretboards-for-other-instruments.ly}
-@seealso
+@seealso
Notation Reference:
@ref{Custom tablatures},
@ref{Automatic fret diagrams},
@code{FretBoards} fret diagram, the interface properties belong to
@code{FretBoards.FretBoard}.
+
@predefined
@code{\predefinedFretboardsOff},
@code{\predefinedFretboardsOn}.
+@endpredefined
-@seealso
+@seealso
Notation Reference:
@ref{Custom tablatures}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{fingerings,-string-indications,-and-right-hand-fingerings.ly}
-@seealso
+@seealso
Snippets:
@rlsr{Fretted strings}.
e16 b g d
@end lilypond
-@seealso
+@seealso
Notation Reference:
@ref{Text spanners}.
@rlsr{Fretted strings},
@rlsr{Expressive marks}.
+
@node Indicating harmonics and dampened notes
@unnumberedsubsubsec Indicating harmonics and dampened notes
}
@end lilypond
-@seealso
+@seealso
Snippets:
@rlsr{Fretted strings}.
@ref{Special note heads},
@ref{Note head styles}.
+
@node Banjo
@subsection Banjo
\set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
@end example
-@seealso
+@seealso
Snippets:
@rlsr{Fretted strings}.
The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings.
-
-
-
-
-
@ruser{File structure}.
-
@seealso
-
For a complete definition of the input format, see
@ruser{File structure}.
+
@node Score is a (single) compound musical expression
@subsection Score is a (single) compound musical expression
indentation -- make sure that each item on the same level starts
on the same horizontal position in your text editor.
-@seealso
+@seealso
Notation Reference: @ruser{Structure of a score}.
+
@node Nesting music expressions
@subsection Nesting music expressions
placed above the staff called @qq{main} instead of the default
position which is below.
-@seealso
+@seealso
Ossia are often written without clef and without
time signature and are usually in a smaller font.
These require further commands which
later section --- see the @code{force-hshift} property in @ref{Fixing
overlapping notation}.
-@seealso
+@seealso
Notation Reference: @ruser{Multiple voices}.
have no shift or the same shift specified, the error message
@qq{Too many clashing note columns} will be produced.
-@seealso
+@seealso
Notation Reference: @ruser{Multiple voices}.
}
@end lilypond
-@seealso
+@seealso
Notation Reference: @ruser{Vocal music}.
preceding word with no hyphen or underscore, e.g.,
@code{GregorianTranscriptionStaff}.
-@seealso
+@seealso
Notation Reference: @ruser{Contexts explained}.
refer back to that particular instance of a context. We saw this in
use in the section on lyrics, see @ref{Voices and vocals}.
-@seealso
+@seealso
Notation Reference: @ruser{Creating contexts}.
We shall see later how the output of LilyPond can be changed
by modifying the action of Engravers.
-@seealso
+@seealso
Internals reference: @rinternals{Engravers and Performers}.
instances of contexts by statements in a @code{\with} block, and by
@code{\set} commands embedded in music statements.
-@seealso
+@seealso
Notation Reference:
@ruser{Changing context default settings}.
@c FIXME
@code{\set} command in a @code{\context} block in the
same way.
-@seealso
+@seealso
Notation Reference: @ruser{Modifying context plug-ins},
@ruser{Changing context default settings}.
}
@end lilypond
-@seealso
+@seealso
The starting templates can be found in the @q{Templates} appendix,
see @ref{Single staff}.
block, and inside or outside the single music expression within a
@code{\score} block.
-@seealso
+@seealso
Learning Manual:
-
@rlearning{Working on input files},
@rlearning{Music expressions explained},
@rlearning{Score is a (single) compound musical expression}.
@end itemize
-@seealso
+@seealso
Learning Manual:
@rlearning{How LilyPond input files work}.
+
@node Titles and headers
@section Titles and headers
dimensions. If the book has between 10 and 99 pages, it may be "00",
ie. a two digit number.
-@predefined
+@predefined
@funindex \label
-@code{\label}
+@code{\label},
@funindex \page-ref
-@code{\page-ref}
+@code{\page-ref}.
+@endpredefined
+
@node Table of contents
@subsection Table of contents
}
@end lilypond
-@seealso
+@seealso
Init files: @file{../ly/@/toc@/-init@/.ly}.
-@predefined
+@predefined
@funindex \table-of-contents
-@code{\table-of-contents}
+@code{\table-of-contents},
@funindex \tocItem
-@code{\tocItem}
+@code{\tocItem}.
+@endpredefined
@node Working with input files
Some simple examples of using @code{\include} are shown in
@rlearning{Scores and parts}.
+
@seealso
Learning Manual:
@rlearning{Other sources of information},
@rlearning{Scores and parts}.
+
@knownissues
If an included file is given a name which is the same as one in
the first filter will remove all tagged sections except the one
named, and the second filter will remove even that tagged section.
-@seealso
+@seealso
Learning Manual:
@rlearning{Organizing pieces with variables}.
@ref{Automatic part combining},
@ref{Including LilyPond files}.
+
@ignore
@c This warning is more general than this placement implies.
@c Rests are not merged whether or not they come from tagged sections.
Staff contexts can be put into a single Score context. The Score
context is the top level notation context.
-@seealso
+@seealso
Internals Reference: @rinternals{Contexts}.
+
@lilypond[quote,ragged-right]
\include "engraver-example.ily"
\score {
@end itemize
-@seealso
+@seealso
Learning Manual:
@rlearning{Real music example},
@rlearning{Other uses for tweaks}.
Snippets:
@rlsr{Keyboards}.
+
@knownissues
@cindex keyboard music, centering dynamics
example of beam tweaking, see @rlearning{Fixing overlapping
notation}.
-@seealso
+@seealso
Learning Manual:
@rlearning{Fixing overlapping notation}.
>>
@end lilypond
-@seealso
+@seealso
Notation Reference:
@ref{Changing staff manually}.
Internals Reference:
@rinternals{AutoChangeMusic}.
+
@knownissues
@cindex chords, splitting across staves with \autochange
>>
@end lilypond
+
@predefined
+@code{\showStaffSwitch},
+@code{\hideStaffSwitch}.
+@endpredefined
-@code{\showStaffSwitch}, @code{\hideStaffSwitch}.
@seealso
-
Snippets:
@rlsr{Keyboards}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{indicating-cross-staff-chords-with-arpeggio-bracket.ly}
-@seealso
+@seealso
Snippets:
@rlsr{Keyboards}.
Internals Reference:
@rinternals{Stem}.
+
@node Piano
@subsection Piano
sustain pedal during piano performance. Pedalling to the final bar line
is indicated by omitting the final pedal up command.
-@seealso
+@seealso
Notation Reference:
@ref{Ties}.
@rinternals{PianoPedalBracket},
@rinternals{Piano_pedal_engraver}.
+
@node Accordion
@subsection Accordion
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{accordion-discant-symbols.ly}
-@seealso
+@seealso
Snippets:
@rlsr{Keyboards}.
\begin@{lilypond@}...\end@{lilypond@}
@end example
+
@seealso
There are specific @command{lilypond-book} command line options and
other details to know when processing @LaTeX{} documents, see
version that you are working on. See TRANSLATION for details.
@end ignore
+
@include version.itexi
-@c don't replace quotes with directed quotes
+
+@c Don't replace quotes with directed quotes.
+
@set txicodequoteundirected
@set txicodequotebacktick
+
+
@c ***** Displaying text *****
-@c we need this since @q{\} doesn't work with makeinfo 4.11 --
-@c say @q{@bs{}} instead
+@c We need this since @q{\} doesn't work with makeinfo 4.11 --
+@c say @q{@bs{}} instead.
+
@macro bs
\\
@end macro
-@c to get decent quotes in `foo' and ``foo''
+
+@c To get decent quotes in `foo' and ``foo''.
+
@macro q{TEXT}
@quoteleft{}\TEXT\@quoteright{}
@end macro
@quotedblleft{}\TEXT\@quotedblright{}
@end macro
+
@ifhtml
+
@macro warning{TEXT}
@cartouche
@b{Note:} \TEXT\
@end cartouche
@end macro
+
@end ifhtml
@ifnothtml
+
@macro warning{TEXT}
@quotation
@quotation
@end quotation
@end quotation
@end macro
+
@end ifnothtml
+
@ifnotinfo
+
@macro notation{TEXT}
@var{\TEXT\}
@end macro
+
@end ifnotinfo
@ifinfo
+
@macro notation{TEXT}
\TEXT\
@end macro
+
@end ifinfo
+
@macro smallspace
@sp 1
@end macro
-@c **** Displaying images not generated by lilypond-book
-@c current installation setup of Info docs requires that all images are
-@c expected to be found in lilypond/ subdirectory. lilypond-book already
-@c generates proper @image commands for images of music; these macros
-@c definitions do the same for other images.
+@c ***** Displaying images not generated by lilypond-book *****
+
+@c Current installation setup of Info docs requires that all images are
+@c expected to be found in the `lilypond/' subdirectory. `lilypond-book'
+@c already generates proper @image commands for images of music; these
+@c macro definitions do the same for other images.
@ifnotinfo
+
@macro sourceimage{FILENAME,WIDTH,HEIGHT,ALTTEXT}
@image{\FILENAME\,\WIDTH\,\HEIGHT\,\ALTTEXT\}
@end macro
+
@end ifnotinfo
@ifinfo
+
@macro sourceimage{FILENAME,WIDTH,HEIGHT,ALTTEXT}
@image{lilypond/\FILENAME\,\WIDTH\,\HEIGHT\,\ALTTEXT\}
@end macro
+
@end ifinfo
-@c **** Headings in a doc subsection ****
+
+@c ***** Headings in a doc subsection *****
+
+@c Don't insert an empty line after @predefined! Right now
+@c it doesn't matter, but a future implementation will probably
+@c add some code which needs this restriction.
@macro predefined
@noindent
@subsubheading Predefined commands
+@end macro
+@c The next macro is a dummy currently since texinfo doesn't
+@c provide a real ragged-right environment yet.
+@c
+@c Due to a bug in texi2html (texi2html.pl CVS versions <= 1.245)
+@c the macro must not be empty.
+
+@macro endpredefined
+@c
@end macro
+
@macro snippets
@noindent
@subsubheading Selected Snippets
-
@end macro
+
+@c Don't insert an empty line after @seealso! Otherwise we get
+@c unwanted extra vertical space in the PDF output.
+
@macro seealso
@noindent
@subsubheading See also
-
@indent
@end macro
+
@macro knownissues
@noindent
@subsubheading Known issues and warnings
-
@end macro
+
@macro lydoctitle {TEXT}
@emph{\TEXT\}
-
@end macro
+
+@c Don't remove the `@c' within the macro definition! See section 19.3,
+@c `Macro Details and Caveats', in the texinfo info file for explanation.
+
@macro funindex {TEXT}
@findex \TEXT\
@kindex \TEXT\
+@c
@end macro
-@c **** Links and references ****
+@c ***** Links and references *****
@c Definitions for references:
+@c
@c @rglos
@c @rlearning
@c @ruser
@c @rprogram
@c @rlsr
@c @rinternals
-@c all these also have a @...named version, which allows to specify the
-@c displayed text for the reference as second argument
+@c
+@c All these also have a @...named version which allows to specify the
+@c displayed text for the reference as second argument.
+@c
+@c ***** HTML + bigpage is a special case (other manual names); all other
+@c formats are treated similarly.
+
-@c ***** HTML + bigpage is a special case (other manual names), all other
-@c formats are treated similarly
+@c *** not TeX ***
@ifnottex
+@c ** bigpage **
+
@ifset bigpage
@macro rglos{TEXT}
@end ifset
+@c ** not bigpage **
+
@ifclear bigpage
@macro rglos{TEXT}
@end ifnottex
+@c *** TeX ***
-@c **** TEX ****
@iftex
@macro rglos{TEXT}
@item FI: A, a
@end itemize
-@seealso
+@seealso
@ref{Pitch names}.
@end enumerate
-@seealso
+@seealso
None yet.
Increase tempo
-@seealso
+@seealso
None yet.
The stress of one tone over others.
-@seealso
+@seealso
None yet.
@section accessory
@seealso
-
@ref{ornament}.
small eighth note (quaver) with a line drawn through the flag and
stem.
-@seealso
+@seealso
@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
>>
@end lilypond
-@seealso
+@seealso
@ref{alteration}, @ref{semitone}, @ref{whole tone}.
@end itemize
-@seealso
+@seealso
@ref{andante}, @ref{largo}, @ref{sonata}.
@notation{al niente} with @notation{crescendo}. Instead, one should use
@emph{dal niente} (@notation{@b{from} nothing}).
-@seealso
+@seealso
@ref{crescendo}, @ref{decrescendo}, @ref{hairpin}.
[Italian: @q{cheerful}.] Quick tempo. Also used as a title for pieces in a quick
tempo, especially the first and last movements of a sonata.
-@seealso
+@seealso
@ref{sonata}.
An alteration is the modification, raising or lowering, of a note's
pitch. It is established by an accidental.
-@seealso
+@seealso
@ref{accidental}.
reached the height of the female voice. This type of voice is also
known as countertenor.
-@seealso
+@seealso
@ref{countertenor}.
C clef setting middle C on the middle line of the staff.
-@seealso
+@seealso
@ref{C clef}.
also denote the pitch range that a musical instrument is capable of playing.
Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
-@seealso
+@seealso
None yet.
bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
@end lilypond
-@seealso
+@seealso
@ref{measure}, @ref{meter}.
a1 b c d e f g a }
@end lilypond
-@seealso
+@seealso
@ref{diatonic scale}.
Walking tempo/character.
-@seealso
+@seealso
None yet.
}
@end lilypond
-@seealso
+@seealso
None yet.
>>
@end lilypond
-@seealso
+@seealso
None yet.
should be played. Slurs, accents, staccato, and legato are all
examples of articulation.
-@seealso
+@seealso
None yet.
A distance between a starting lower note and a higher ending note.
-@seealso
+@seealso
None yet.
S: överstigande intervall,
FI: ylinouseva intervalli.
-@seealso
+@seealso
@ref{interval}.
This is a placeholder for augmentation (wrt mensural notation).
-@seealso
+@seealso
@ref{diminution}, @ref{mensural notation}.
@end itemize
-@seealso
+@seealso
None yet.
@item FI: H, h
@end itemize
-@seealso
+@seealso
@ref{H}, @ref{Pitch names}
@node backfall
@section backfall
-@seealso
+@seealso
@ref{appoggiatura}.
@node bar
@section bar
-@seealso
+@seealso
@ref{measure}.
in secular music, or in sacred music to indicate congruences between parts
in otherwise-unmetered music).
-@seealso
+@seealso
@ref{measure}.
@c F: clef de troisième ligne dropped
-@seealso
+@seealso
@ref{bass}, @ref{tenor}.
C or F clef setting middle C on the upper staff line.
-@seealso
+@seealso
@ref{C clef}, @ref{F clef}.
@end itemize
-@seealso
+@seealso
@ref{strings}.
A clef setting with middle C on the first top ledger line.
-@seealso
+@seealso
@ref{F clef}.
g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
@end lilypond
-@seealso
+@seealso
@ref{feathered beam}.
\relative c'' { g8 d' c | b c a | g4. \bar "||"}
@end lilypond
-@seealso
+@seealso
@ref{time signature}.
@node beat repeat
@section beat repeat
-@seealso
+@seealso
@ref{percent repeat}.
@node bind
@section bind
-@seealso
+@seealso
@ref{tie}.
\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
@end lilypond
-@seealso
+@seealso
None yet.
S: ?,
FI: sulkumerkki.
-@seealso
+@seealso
@ref{brace}
formed mouth piece. The brass instruments commonly used in a symphony
orchestra are trumpet, trombone, french horn, and tube.
-@seealso
+@seealso
None yet.
Indication of where to breathe in vocal and wind instrument parts.
-@seealso
+@seealso
@ref{caesura}.
\relative c'' { g\breve }
@end lilypond
-@seealso
+@seealso
@ref{mensural notation}, @ref{note value}.
@item FI: C, c
@end itemize
-@seealso
+@seealso
@ref{Pitch names}.
>>
@end lilypond
-@seealso
+@seealso
None yet.
S: kadens,
FI: kadenssi, lopuke.
-@seealso
+@seealso
@ref{harmonic cadence}, @ref{functional harmony}.
ability to improvise. Since the middle of the 19th century, however,
most cadenzas have been written down by the composer.
-@seealso
+@seealso
None yet.
The break between two musical phrases, sometimes (but not always) marked by a
rest or a breath mark.
-@seealso
+@seealso
@ref{breath mark}.
S: kanon,
FI: kaanon, tarkka jäljittely.
-@seealso
+@seealso
@ref{counterpoint}.
Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
(1/100 of an equally tempered semitone).
-@seealso
+@seealso
@ref{equal temperament}, @ref{semitone}.
@node central C
@section central C
-@seealso
+@seealso
@ref{middle C}.
>>
@end lilypond
-@seealso
+@seealso
@ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
@ref{third}.
\relative c' { c1 cis d dis e f fis g gis a ais b c }
@end lilypond
-@seealso
+@seealso
@ref{semitone}.
Using tones extraneous to a diatonic scale (minor, major).
-@seealso
+@seealso
@ref{diatonic scale}.
S: kyrkotonart,
FI: moodi, kirkkosävellaji.
-@seealso
+@seealso
@ref{diatonic scale}.
}
@end lilypond
-@seealso
+@seealso
@ref{C clef}, @ref{F clef}, @ref{G clef}.
\makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
@end lilypond
-@seealso
+@seealso
None yet.
Difference in pitch between a note derived from pure tuning and the
same note derived from some other tuning method.
-@seealso
+@seealso
@ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
@ref{temperament}.
Another name for @ref{common time}.
@seealso
-
@ref{common time}, @ref{meter}.
4/4 time. The symbol, which resembles a capital letter C, comes from
mensural notation.
-@seealso
+@seealso
@ref{mensural notation}, @ref{meter}.
S: komplementärintervall (?),
FI: täydentävä intervalli.
-@seealso
+@seealso
@ref{inverted interval}.
Intervals larger than an octave.
-@seealso
+@seealso
@ref{interval}.
A meter that includes a triplet subdivision within the beat, such as
6/8, 9/8, 12/8.
-@seealso
+@seealso
@ref{meter}, @ref{simple meter}.
@end enumerate
-@seealso
+@seealso
@ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
@end itemize
-@seealso
+@seealso
@ref{transposing instrument}.
\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
@end lilypond
-@seealso
+@seealso
@ref{disjunct movement}.
S: konsonans,
FI: konsonanssi, sopusointi.
-@seealso
+@seealso
@ref{harmony}.
S: alt,
FI: kontra-altto.
-@seealso
+@seealso
@ref{alto}.
@c Copying music required more skill than engraving. Flagged for NPOV
-@seealso
+@seealso
None yet.
>>
@end lilypond
-@seealso
+@seealso
None yet.
S: kontratenor, counter tenor,
FI: kontratenori.
-@seealso
+@seealso
@ref{contralto}.
\relative c'' { g4 \< a b c | d1\! \bar "|." }
@end lilypond
-@seealso
+@seealso
@ref{decrescendo}, @ref{hairpin}.
In a separate part notes belonging to another part with the purpose of
hinting when to start playing. Usually printed in a smaller type.
-@seealso
+@seealso
None yet.
}
@end lilypond
-@seealso
+@seealso
None yet.
@item FI: D, d
@end itemize
-@seealso
+@seealso
@ref{Pitch names}
Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
the beginning to the end or to a certain place marked @emph{fine}.
-@seealso
+@seealso
None yet.
[Italian: @q{from nothing}.] Used with @notation{crescendo} to indicate
that the sound should gradually increase from nothing.
-@seealso
+@seealso
@ref{al niente}.
}
@end lilypond
-@seealso
+@seealso
None yet.
}
@end lilypond
-@seealso
+@seealso
@ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
A distance between a starting higher note and a lower ending note.
-@seealso
+@seealso
None yet.
>>
@end lilypond
-@seealso
+@seealso
@ref{semitone}, @ref{whole tone}.
@node didymic comma
@section didymic comma
-@seealso
+@seealso
@ref{syntonic comma}.
S: förminskat intervall,
FI: vähennetty intervalli.
-@seealso
+@seealso
@ref{interval}.
S: diminuendo,
FI: diminuendo, hiljentyen.
-@seealso
+@seealso
@ref{decrescendo}.
This is a stub for diminution (@emph{wrt} mensural notation).
-@seealso
+@seealso
@ref{augmentation}, @ref{mensural notation}.
S: ?,
FI: suora.
-@seealso
+@seealso
@ref{custos}.
fis2 d4. \bar "||" }
@end lilypond
-@seealso
+@seealso
@ref{conjunct movement}.
Another name for @ref{dissonant interval}.
-@seealso
+@seealso
@ref{dissonant interval}, @ref{harmony}.
S: dissonans,
FI: dissonanssi, dissonoiva intervalli, riitasointi.
-@seealso
+@seealso
@ref{harmony}.
TODO: musical example here?
-@seealso
+@seealso
None yet.
Indicator for a indeterminately rising pitch bend. Compare with
@emph{glissando}, which has determinate starting and ending pitches.
-@seealso
+@seealso
@ref{fall}, @ref{glissando}.
The fifth @emph{scale degree} in @emph{functional harmony}.
-@seealso
+@seealso
@ref{functional harmony}, @ref{scale degree}.
S: dominantnonackord,
FI: dominanttinoonisointu.
-@seealso
+@seealso
@ref{chord}, @ref{functional harmony}.
S: dominantseptimackord,
FI: dominanttiseptimisointu.
-@seealso
+@seealso
@ref{chord}, @ref{functional harmony}.
S: dorisk tonart,
FI: doorinen moodi.
-@seealso
+@seealso
@ref{diatonic scale}.
S: punkt,
FI: piste.
-@seealso
+@seealso
@ref{dotted note}, @ref{note value}.
S: punkterad not,
FI: pisteellinen nuotti.
-@seealso
+@seealso
@ref{note value}.
S: dubbelslag,
FI: kaksoisappogiatura, kaksoisetuhele.
-@seealso
+@seealso
@ref{appoggiatura}.
Indicates the end of a section within a movement.
-@seealso
+@seealso
None yet.
S: dub@-bel@-punk@-te@-rad not,
FI: kaksoispisteellinen nuotti.
-@seealso
+@seealso
@ref{note value}.
S: dubbelbe,
FI: kaksoisalennusmerkki.
-@seealso
+@seealso
@ref{accidental}.
S: dubbelkors,
FI: kaksoisylennysmerkki.
-@seealso
+@seealso
@ref{accidental}.
S: ?,
FI: kaksois-aika-arvomerkintä.
-@seealso
+@seealso
@ref{polymetric time signature}.
A simultaneous trill on two notes, usually in the distance of a third.
-@seealso
+@seealso
None yet.
S: tvåtakt,
FI: kaksoistempo.
-@seealso
+@seealso
@ref{meter}.
S: duol,
FI: duoli.
-@seealso
+@seealso
@ref{note value}.
S: tonlängd,
FI: kesto, aika-arvo.
-@seealso
+@seealso
@ref{note value}.
one degree to another. The terms, abbreviations, and symbols used to
indicate this information are called dynamic marks.
-@seealso
+@seealso
@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
@ref{diminuendo}.
@item FI: E, e
@end itemize
-@seealso
+@seealso
@ref{Pitch names}
@node ecclesiastical mode
@section ecclesiastical mode
-@seealso
+@seealso
@ref{church mode}, @ref{diatonic scale}.
@item FI: kahdeksasosanuotti
@end itemize
-@seealso
+@seealso
@ref{note value}.
@item FI: kahdeksasosatauko
@end itemize
-@seealso
+@seealso
@ref{note value}.
by a lyric tie, which looks like (and serves the same function) as a musical
tie.
-@seealso
+@seealso
@ref{lyric tie}.
@node embellishment
@section embellishment
-@seealso
+@seealso
@ref{ornament}.
The traditional process of music printing is done through cutting in a
plate of metal. Now also the term for the art of music typesetting.
-@seealso
+@seealso
None yet.
>>
@end lilypond
-@seealso
+@seealso
None yet.
A tuning system that divides the octave into 12 equal semitones (each of
which is precisely equal to 100 cents).
-@seealso
+@seealso
@ref{cent}, @ref{semitone}, @ref{temperament}.
@end itemize
-@seealso
+@seealso
@ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
@end itemize
-@seealso
+@seealso
@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
@ref{octave marking}.
@item FI: F, f
@end itemize
-@seealso
+@seealso
@ref{Pitch names}
>>
@end lilypond
-@seealso
+@seealso
@ref{baritone clef}, @ref{strings}.
Indicator for a indeterminately falling pitch bend. Compare with
@emph{glissando}, which has determinate starting and ending pitches.
-@seealso
+@seealso
@ref{doit}, @ref{glissando}.
direction of @q{feathering} -- but without changing the overall tempo
of the piece.
-@seealso
+@seealso
Internals Reference: @ruser{Manual beams}
}
@end lilypond
-@seealso
+@seealso
None yet.
S: kvint,
FI: kvintti.
-@seealso
+@seealso
@ref{interval}.
>>
@end lilypond
-@seealso
+@seealso
@ref{chord}, @ref{interval}.
Figures to the side or above the note that methodically indicate which
fingers to use while playing a passage.
-@seealso
+@seealso
None yet.
}
@end lilypond
-@seealso
+@seealso
@ref{note value}.
@end itemize
-@seealso
+@seealso
@ref{articulation}, @ref{harmonics}.
S: beförtecken,
FI: alennusmerkki.
-@seealso
+@seealso
@ref{accidental}.
@node forefall
@section forefall
-@seealso
+@seealso
@ref{appoggiatura}.
@item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
@end itemize
-@seealso
+@seealso
None yet.
S: kvart,
FI: kvartti.
-@seealso
+@seealso
@ref{interval}.
If you are producing scores for eventual publication by a commercial publisher,
you may wish to procure a copy of their style manual.
-@seealso
+@seealso
@ref{Frenched staff}.
Frenched staff has unneeded measures or sections removed. This is useful
for producing, for example, an @emph{ossia} staff.
-@seealso
+@seealso
@ref{ossia}.
S: fuga,
FI: fuuga.
-@seealso
+@seealso
@ref{counterpoint}.
>>
@end lilypond
-@seealso
+@seealso
None yet.
@item FI: G, g
@end itemize
-@seealso
+@seealso
@ref{Pitch names}
>>
@end lilypond
-@seealso
+@seealso
None yet.
Letting the pitch slide fluently from one note to the other.
-@seealso
+@seealso
None yet.
Notes printed in small types to indicate that their time values are not
counted in the rhythm of the bar.
-@seealso
+@seealso
@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
@ref{ornament}.
A combination of two staves with a brace. Usually used for piano music.
-@seealso
+@seealso
@ref{brace}.
[Italian] Slow, solemn.
-@seealso
+@seealso
None yet.
@node gruppetto
@section gruppetto
-@seealso
+@seealso
@ref{turn}.
usage. In the standard usage of these countries, @notation{B} means
@notation{B flat}.
-@seealso
+@seealso
@ref{Pitch names}, @ref{B}.
}
@end lilypond
-@seealso
+@seealso
@ref{crescendo}, @ref{decrescendo}.
@item FI: puolinuotti.
@end itemize
-@seealso
+@seealso
@ref{note value}.
@item FI: puolitauko.
@end itemize
-@seealso
+@seealso
@ref{note value}.
@end lilypond
-@seealso
+@seealso
@ref{functional harmony}.
natural harmonics, which are those played on the open string; and
artificial harmonics, which are produced on stopped strings.
-@seealso
+@seealso
None yet.
For harmony that uses three or more notes, see @ref{chord}.
-@seealso
+@seealso
@ref{chord}.
and is therefore a polymeter (second definition) of considerable antiquity.
-@seealso
+@seealso
@ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
Music in which one voice leads melodically supported by the other voices in
the same rhythm (more or less). In contrast to @emph{polyphony}.
-@seealso
+@seealso
@ref{polyphony}.
@node hymn meter
@item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
@end itemize
-@seealso
+@seealso
None yet.
>>
@end lilypond
-@seealso
+@seealso
@ref{enharmonic}, @ref{whole tone}.
unstable chord position.
@end table
-@seealso
+@seealso
None yet.
}
@end lilypond
-@seealso
+@seealso
None yet.
Tuning system in which the notes are obtained by adding and subtracting
natural fifths and thirds.
-@seealso
+@seealso
@ref{temperament}.
According to the 12@w{ }tones of the @emph{chromatic scale} there are
12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
-@seealso
+@seealso
@ref{chromatic scale}, @ref{key signature}.
The sharps or flats appearing at the beginning of each staff indicating the
key of the music.
-@seealso
+@seealso
@ref{accidental}.
[French: @q{Let vibrate}.] Most frequently associated with harp
parts. Marked @notation{l.v.} in the score.
-@seealso
+@seealso
None yet.
called because of its strong tendency to @q{lead up} (resolve upwards)
to the tonic scale degree.
-@seealso
+@seealso
@ref{scale degree}, @ref{semitone}.
\relative c'' { a,1 s c'' }
@end lilypond
-@seealso
+@seealso
None yet.
>>
@end lilypond
-@seealso
+@seealso
@ref{staccato}.
@node legato curve
@section legato curve
-@seealso
+@seealso
@ref{slur}, @ref{legato}.
@node leger line
@section leger line
-@seealso
+@seealso
@ref{ledger line}.
system of the white mensural notation, the need for ligatures to denote such
patterns disappeared.
-@seealso
+@seealso
@ref{mensural notation}.
Also, the name of a music typesetting program.
-@seealso
+@seealso
None yet.
S: notlinje,
FI: viiva, nuottiviiva.
-@seealso
+@seealso
@ref{staff}.
[Italian: @q{place}.] Instruction to play the following passage at the
written pitch. Cancels octave mark (q.v.).
-@seealso
+@seealso
@ref{octave mark}, @ref{octave marking}.
S: långt förslag,
FI: pitkä appoggiatura, pitkä etuhele.
-@seealso
+@seealso
@ref{appoggiatura}.
}
@end lilypond
-@seealso
+@seealso
@ref{breve}, @ref{note value}.
@c TODO: add languages
-@seealso
+@seealso
@ref{elision}.
@c Definition?
-@seealso
+@seealso
None yet.
S: dur,
FI: duuri.
-@seealso
+@seealso
@ref{diatonic scale}.
S: stort intervall,
FI: suuri intervalli.
-@seealso
+@seealso
@ref{interval}.
temperament only a limited set of keys are playable. Used for tuning
keyboard instruments for performance of pre-1650 music.
-@seealso
+@seealso
@ref{cent}, @ref{temperament}.
Such groups in numbers of two or more recur consistently throughout the
composition and are separated from each other by bar lines.
-@seealso
+@seealso
@ref{bar line}, @ref{beat}, @ref{meter}.
@node measure repeat
@section measure repeat
-@seealso
+@seealso
@ref{percent repeat}.
@end itemize
-@seealso
+@seealso
@ref{chord}, @ref{functional harmony}, @ref{relative key}.
A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
on one syllable, especially as applied to liturgical chant.
-@seealso
+@seealso
None yet.
S: ?,
FI: melismaviiva.
-@seealso
+@seealso
@ref{extender line}.
@node melodic cadence
@section melodic cadence
-@seealso
+@seealso
@ref{cadenza}.
TODO: add to definition (including summary info on proportional notation)
-@seealso
+@seealso
@ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
@c TODO: more cross-references?
TODO: add information from discussion on lilypond-user related to polymeter.
-@seealso
+@seealso
@ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
followed acknowledged Winkler as the creator, but by then Mälzel had already
sold many of them, and people had taken to calling it a Mälzel Metronome.
-@seealso
+@seealso
@ref{metronome mark}.
@notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
@emph{anglice}).
-@seealso
+@seealso
@ref{metronome}
@node metronomic indication
@section metronomic indication
-@seealso
+@seealso
@ref{metronome mark}
@end itemize
-@seealso
+@seealso
None yet.
The female voice between soprano and contralto.
-@seealso
+@seealso
@ref{soprano}, @ref{contralto}.
}
@end lilypond
-@seealso
+@seealso
None yet.
S: moll,
FI: molli.
-@seealso
+@seealso
@ref{diatonic scale}.
S: litet intervall,
FI: pieni intervalli.
-@seealso
+@seealso
@ref{interval}.
@node mixolydian mode
@section mixolydian mode
-@seealso
+@seealso
@ref{diatonic scale}.
S: modus, skala,
FI: moodi, kirkkosävelasteikko.
-@seealso
+@seealso
@ref{church mode}, @ref{diatonic scale}.
of a @ref{sonata form} movement modulates to the dominant key if the
key is major and to the @ref{relative key} if the key is minor.
-@seealso
+@seealso
None yet.
S: mordent,
FI: mordent, korukuvio.
-@seealso
+@seealso
@ref{ornament}.
@node motif
@section motif
-@seealso
+@seealso
@ref{motive}.
}
@end lilypond
-@seealso
+@seealso
None yet.
consist of several -- more or less -- independant pieces called
movements.
-@seealso
+@seealso
None yet.
}
@end lilypond
-@seealso
+@seealso
@ref{longa}, @ref{breve}.
S: återställningstecken,
FI: palautusmerkki.
-@seealso
+@seealso
@ref{accidental}.
@node neighbor tones
@section neighbor tones
-@seealso
+@seealso
@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
@ref{ornament}.
S: nona,
FI: nooni.
-@seealso
+@seealso
@ref{interval}.
@node non-legato
@section non-legato
-@seealso
+@seealso
@ref{legato}.
and @ref{note} is strongly recommended. Briefly, one sees a note,
and hears a tone.
-@seealso
+@seealso
None yet.
For percussion instruments (often having no defined pitch) the note head may
indicate the instrument.
-@seealso
+@seealso
@ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
@node note names
@section note names
-@seealso
+@seealso
@ref{Pitch names}
}
@end lilypond
-@seealso
+@seealso
None yet.
@node octavation
@section octavation
-@seealso
+@seealso
@ref{octave marking}.
For uses like @notation{all'ottava} or @notation{8va} with an extender line or
bracket, or @notation{loco} see octave marking.
-@seealso
+@seealso
@ref{interval}, @ref{octave marking}.
beginning. This octave mark can be applied to any clef, but it is most
frequently used with the G and F clefs.
-@seealso
+@seealso
@ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
For a list of the specific marks used, see @ref{octave mark}.
-@seealso
+@seealso
@ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
@node octave sign
@section octave sign
-@seealso
+@seealso
@ref{octave mark}.
>>
@end lilypond
-@seealso
+@seealso
@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
score, usually only a few measures long, which presents another version
of the music, for example for small hands.
-@seealso
+@seealso
None yet.
@end itemize
-@seealso
+@seealso
@ref{counterpoint}
@node pause
@section pause
-@seealso
+@seealso
@ref{fermata}.
@node pennant
@section pennant
-@seealso
+@seealso
@ref{flag}.
}
@end lilypond
-@seealso
+@seealso
@ref{repeat},
@uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
Vermont Music Dictionary}.
tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
and xylophone.
-@seealso
+@seealso
None yet.
S: rent intervall,
FI: puhdas intervalli.
-@seealso
+@seealso
@ref{interval}.
A natural division of the melodic line, comparable to a sentence of speech.
-@seealso
+@seealso
@ref{caesura}.
The clear rendering in musical performance of the @notation{phrases} of the
melody. Phrasing may be indicated by a @notation{slur}.
-@seealso
+@seealso
@ref{phrase}, @ref{slur}.
@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
@emph{mezzo piano} (@b{mp}) medium soft.
-@seealso
+@seealso
None yet.
S: upptakt,
FI: kohotahti.
-@seealso
+@seealso
@ref{anacrusis}.
@end enumerate
-@seealso
+@seealso
@ref{Pitch names}.
A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
the strings.
-@seealso
+@seealso
None yet.
@end itemize
-@seealso
+@seealso
@ref{polymetric} (adj.)
Characterized by @emph{polymeter}: using two or more metric frameworks
simultaneously or in alternation.
-@seealso
+@seealso
@ref{polymeter} (noun)
A time signature that indicates regularly alternating polymetric time.
-@seealso
+@seealso
@ref{polymetric}.
Music written in a combination of several simultaneous voices (parts)
of a more or less pronounced individuality.
-@seealso
+@seealso
@ref{counterpoint}.
without changing the bow's direction. It is used for passages of a
@notation{cantabile} character.
-@seealso
+@seealso
@ref{legato}.
Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
denotes the highest possible degree of speed.
-@seealso
+@seealso
None yet.
@c TODO: add an example or two. O => 4/3, and its modern equivalent
-@seealso
+@seealso
@ref{mensural notation}.
than the C obtained by adding 7 octaves. The difference between those two
pitches is the Pythagorean comma.
-@seealso
+@seealso
@ref{cent}, @ref{temperament}.
S: kvartol,
FI: kvartoli.
-@seealso
+@seealso
@ref{note value}.
and D^m7 are all identical). The last three chords are not commonly used
except in jazz.
-@seealso
+@seealso
@ref{chord}.
@item FI: neljäsosanuotti
@end itemize
-@seealso
+@seealso
@ref{note value}.
@item FI: neljäsosatauko
@end itemize
-@seealso
+@seealso
@ref{note value}.
An interval equal to half a semitone.
-@seealso
+@seealso
@ref{interval}
S: kvintol,
FI: kvintoli.
-@seealso
+@seealso
@ref{note value}.
[Italian] A performance indication, abbreviated "rall.".
-@seealso
+@seealso
@ref{ritardando}.
}
@end lilypond
-@seealso
+@seealso
@ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
}
@end lilypond
-@seealso
+@seealso
None yet.
@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
@c specify the rest's value.
-@seealso
+@seealso
@ref{note value}.
@end itemize
-@seealso
+@seealso
None yet.
Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
-@seealso
+@seealso
None yet.
Immediate reduction of speed.
-@seealso
+@seealso
None yet.
S: skala,
FI: asteikko, sävelasteikko.
-@seealso
+@seealso
@ref{diatonic scale}.
>>
@end lilypond
-@seealso
+@seealso
@ref{functional harmony}.
Tunings that could be called @var{scordatura} first appeared early in
the 16th Century and became commonplace in the 17th.
-@seealso
+@seealso
None yet.
instrument is to play, each voice to sing, having each part arranged
one underneath the other on different staves @ref{staff}.
-@seealso
+@seealso
None yet.
@ref{whole tone}s, hence the size of a se@-cond depends on the scale
degrees in question.
-@seealso
+@seealso
None yet.
\relative c'' { g1 gis s a bes s b! c }
@end lilypond
-@seealso
+@seealso
@ref{interval}, @ref{chromatic scale}.
S: septim,
FI: septimi.
-@seealso
+@seealso
@ref{interval}.
@node sextolet
@section sextolet
-@seealso
+@seealso
@ref{sextuplet}, @ref{note value}.
S: sextol,
FI: sekstoli.
-@seealso
+@seealso
@ref{note value}.
@node shake
@section shake
-@seealso
+@seealso
@ref{trill}.
S: kors@-förtecken,
FI: korotusmerkki.
-@seealso
+@seealso
@ref{accidental}.
is to be played in the same manner (i.e. with the same articulations, dynamics,
etc.) as the music that precedes it.
-@seealso
+@seealso
TODO: Where else could I refer the reader?
A meter in which the basic beat is subdivided in two: that is, a meter
that does not include triplet subdivision of the beat.
-@seealso
+@seealso
@ref{compound meter}, @ref{meter}.
@item FI: kuudestoistaosanuotti
@end itemize
-@seealso
+@seealso
@ref{note value}.
@item FI: kuudestoistaosatauko
@end itemize
-@seealso
+@seealso
@ref{note value}.
S: sext,
FI: seksti.
-@seealso
+@seealso
@ref{interval}.
@item FI: kuudeskymmenesneljäsosanuotti
@end itemize
-@seealso
+@seealso
@ref{note value}.
@item FI: kuudeskymmenesneljäsosatauko
@end itemize
-@seealso
+@seealso
@ref{note value}.
@node slash repeat
@section slash repeat
-@seealso
+@seealso
@ref{percent repeat}.
played @ref{legato}, e.g., with one stroke of the violin bow or with
one breath in singing.
-@seealso
+@seealso
None yet.
@emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
(@emph{ti})).
-@seealso
+@seealso
@ref{scale}, @ref{scale degree}.
accompaniment, which consists of three or four independant pieces,
called movements.
-@seealso
+@seealso
None yet.
@notation{dominant} if the @notation{tonic} is @notation{major}, and in the
@notation{relative key} if the tonic is @notation{minor}.
-@seealso
+@seealso
@ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
@ref{symphony}, @ref{tonic}.
@node song texts
@section song texts
-@seealso
+@seealso
@ref{lyrics}.
The highest female voice.
-@seealso
+@seealso
None yet.
}
@end lilypond
-@seealso
+@seealso
None yet.
indicating (in connection with a @ref{clef}) their pitch. Staves for
@ref{percussion} instruments may have fewer lines.
-@seealso
+@seealso
None yet.
@node staves
@section staves
-@seealso
+@seealso
@ref{staff}.
}
@end lilypond
-@seealso
+@seealso
None yet.
[Italian: @q{pressing}.] Pressing, urging, or hastening the time, as to a
climax.
-@seealso
+@seealso
@ref{accelerando}.
commonly used in a symphony orchestra are violin, viola, violoncello,
and double bass.
-@seealso
+@seealso
None yet.
S: betonat taktslag,
FI: tahdin vahva isku.
-@seealso
+@seealso
@ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
The fourth @notation{scale degree}.
-@seealso
+@seealso
@ref{functional harmony}, @ref{scale degree}.
The sixth @notation{scale degree}.
-@seealso
+@seealso
@ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
The seventh @ref{scale degree}.
-@seealso
+@seealso
@ref{functional harmony}, @ref{scale degree}.
Indicates that the indicated passage (or note) should be played on the
G string.
-@seealso
+@seealso
None yet.
The sixth @ref{scale degree}.
-@seealso
+@seealso
@ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
The second @ref{scale degree}.
-@seealso
+@seealso
@ref{functional harmony}, @ref{scale degree}.
A symphony may be defined as a @emph{sonata} for orchestra.
-@seealso
+@seealso
@ref{sonata}.
}
@end lilypond
-@seealso
+@seealso
None yet.
This comma is also known as the comma of Didymus, or didymic comma.
-@seealso
+@seealso
@ref{Pythagorean comma}
The collection of staves (@notation{staff}), two or more, as used for writing
down of keyboard, chamber, choral, or orchestral music.
-@seealso
+@seealso
@ref{staff}.
Systems of tuning in which the intervals deviate from the acoustically
pure intervals.
-@seealso
+@seealso
@ref{meantone temperament}, @ref{equal temperament}.
@notation{adagio}, @notation{andante}, @notation{allegro}, and
@notation{presto}.
-@seealso
+@seealso
@ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
The highest @q{natural} male voice (apart from @notation{countertenor}).
-@seealso
+@seealso
@ref{countertenor}.
S: decima,
FI: desimi.
-@seealso
+@seealso
@ref{note value}.
An indication that a particular note should be held for the whole
length, although this can vary depending on the composer and era.
-@seealso
+@seealso
None yet.
S: ters,
FI: terssi.
-@seealso
+@seealso
@ref{interval}.
@item FI: kolmaskymmeneskahdesosanuotti
@end itemize
-@seealso
+@seealso
@ref{note value}.
@item FI: kolmaskymmeneskahdesosatauko
@end itemize
-@seealso
+@seealso
@ref{note value}.
@node thorough bass
@section thorough bass
-@seealso
+@seealso
@ref{figured bass}.
@node time
@section time
-@seealso
+@seealso
@ref{meter}.
meter. It most often takes the form of a fraction, but a few signs
derived from mensural notation and proportions are also employed.
-@seealso
+@seealso
@ref{mensural notation}, @ref{meter}.
@c Music from the 20th century may be based on atonal sounds. Meh, not so much
-@seealso
+@seealso
None yet.
The first @notation{scale degree}.
-@seealso
+@seealso
@ref{functional harmony}, @ref{scale degree}.
@end itemize
-@seealso
+@seealso
@ref{concert pitch}.
}
@end lilypond
-@seealso
+@seealso
None yet.
S: diskantklav,
FI: diskanttiavain.
-@seealso
+@seealso
@ref{G clef}.
}
@end lilypond
-@seealso
+@seealso
@ref{strings}
S: treklang,
FI: kolmisointu.
-@seealso
+@seealso
@ref{chord}.
S: drill,
FI: trilli.
-@seealso
+@seealso
@ref{ornament}.
S: tretakt,
FI: kolmijakoinen.
-@seealso
+@seealso
@ref{meter}.
S: triol,
FI: trioli.
-@seealso
+@seealso
@ref{note value}.
S: tritonus,
FI: tritonus.
-@seealso
+@seealso
@ref{interval}.
@emph{A} above middle C (440 cps/Hz), which is the international tuning
standard. Tuning forks for other pitches are available.
-@seealso
+@seealso
@ref{middle C}.
indicated with a bracket and a number indicating the number of
subdivisions.
-@seealso
+@seealso
@ref{triplet}, @ref{note value}.
S: dubbelslag,
FI: korukuvio.
-@seealso
+@seealso
@ref{ornament}.
(voices) or by the whole orchestra (choir), either at exactly the same
pitch or in a different octave.
-@seealso
+@seealso
None yet.
S: upptakt,
FI: kohotahti.
-@seealso
+@seealso
@ref{anacrusis}
@end itemize
-@seealso
+@seealso
None yet.
or second ending. LilyPond extends this idea to any number, and allows any text
(not just a number) -- to serve as the @notation{volta} text.
-@seealso
+@seealso
None yet.
S: obetonat taktslag,
FI: tahdin heikko isku.
-@seealso
+@seealso
@ref{beat}, @ref{measure}, @ref{rhythm}.
@item FI: kokonuotti
@end itemize
-@seealso
+@seealso
@ref{note value}.
@item FI: kokotauko
@end itemize
-@seealso
+@seealso
@ref{note value}.
on the piano keyboard with exactly one key between them -- including
black and white keys -- is a whole tone.
-@seealso
+@seealso
@ref{interval}.
commonly used in a symphony orchestra are flute, oboe, clarinet,
saxophone, and bassoon.
-@seealso
+@seealso
None yet.
@end multitable
-@seealso
+@seealso
@ref{mensural notation}
@end itemize
-@seealso
+@seealso
Notation Reference:
@ref{Showing melody rhythms},
@ref{Instantiating new staves}.
There are a few issues concerning MIDI support for percussion
instruments; for details please see @ref{Percussion in MIDI}.
-@seealso
+@seealso
Notation Reference: @ref{Percussion in MIDI}, @ref{Percussion notes}.
File: @file{ly/@/drumpitch@/-init@/.ly}
}
@end lilypond
-@seealso
+@seealso
Snippets: @rlsr{Percussion}.
vibraphone, and timpani) are written using normal staves.
This is covered in other sections of the manual.
-@seealso
+@seealso
@c TODO: possibly link to an alternate section of NR 3.5, if
@c "percussion in MIDI" gets a separate subsubsection for
@c pitched percussion sounds. -gp
}
@end lilypond
-@seealso
+@seealso
Snippets: @rlsr{Percussion}.
Internals Reference: @rinternals{DrumStaff}, @rinternals{DrumVoice}.
-
@c TODO: check name -gp
@node Ghost notes
@unnumberedsubsubsec Ghost notes
Also note that you must add chords (@code{< >} brackets)
around each @code{\parenthesize} statement.
-@seealso
+@seealso
Snippets: @rlsr{Percussion}.
d,, d, d c
@end lilypond
-@seealso
+@seealso
Music Glossary:
@rglos{Pitch names}.
@seealso
-
Music Glossary:
@rglos{fifth},
@rglos{interval},
@funindex \chordmode
@funindex \relative
+
@knownissues
The relative conversion will not affect @code{\transpose},
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{makam-example.ly}
-@seealso
+@seealso
Music Glossary:
@rglos{sharp},
@rglos{flat},
@seealso
-
Music Glossary:
@rglos{Pitch names}.
@seealso
-
Snippets:
@rlsr{Pitches}.
@seealso
-
Notation Reference:
@ref{Instrument transpositions}.
Internals Reference:
@rinternals{TransposedMusic}.
+
@funindex \transpose
@funindex \chordmode
@funindex \relative
@seealso
-
Notation Reference:
@ref{Mensural clefs}, @ref{Gregorian clefs}.
@seealso
-
Music Glossary:
@rglos{church mode},
@rglos{scordatura}.
@seealso
-
Music Glossary:
@rglos{octavation}.
@rinternals{ottava-bracket-interface}.
-
@node Instrument transpositions
@unnumberedsubsubsec Instrument transpositions
@seealso
-
Music Glossary:
@rglos{concert pitch},
@rglos{transposing instrument}.
@seealso
-
Snippets:
@rlsr{Pitches}.
@seealso
-
Music Glossary:
@rglos{ambitus}.
@noindent
To see all note head styles, see @ref{Note head styles}.
-@seealso
+@seealso
Snippets:
@rlsr{Pitches}.
}
@end lilypond
-@predefined
+@predefined
@funindex \easyHeadsOn
+@code{\easyHeadsOn},
@funindex \easyHeadsOff
-@code{\easyHeadsOn}, @code{\easyHeadsOff}
+@code{\easyHeadsOff}.
+@endpredefined
-@seealso
+@seealso
Notation Reference:
@ref{Setting the staff size}.
Shapes are typeset according to the step in the scale, where the
base of the scale is determined by the @code{\key} command.
-@predefined
+@predefined
@funindex \aikenHeads
+@code{\aikenHeads},
@funindex \sacredHarpHeads
-@code{\aikenHeads}, @code{\sacredHarpHeads}
+@code{\sacredHarpHeads}.
+@endpredefined
+
@snippets
@noindent
To see all note head styles, see @ref{Note head styles}.
-@seealso
+@seealso
Snippets:
@rlsr{Pitches}.
@predefined
-
@funindex \improvisationOn
+@code{\improvisationOn},
@funindex \improvisationOff
+@code{\improvisationOff}.
+@endpredefined
-@code{\improvisationOn}, @code{\improvisationOff}
@seealso
-
Snippets:
@rlsr{Pitches}.
main docs
@predefined
+@endpredefined
@snippets
@seealso
@knownissues
Any new concepts or links which require an explanation should go
as a full sentence(s) in the main text.
+ Don't insert an empty line between @seealso and the first entry!
+ Otherwise there is excessive vertical space in the PDF output.
+
* To create links, use @ref{} if the link is within the same
manual.
-* @predefined is for commands in ly/*-init.ly FIXME?
+* @predefined ... @endpredefined is for commands in ly/*-init.ly
+ FIXME?
* Do not include any real info in second-level sections (ie 1.1
Pitches). A first-level section may have introductory material,
@seealso
-
Music Glossary: @rglos{repeat}, @rglos{volta}.
Notation Reference: @ref{Bar lines}, @ref{Modifying context plug-ins}.
@rinternals{RepeatedMusic}, @rinternals{VoltaRepeatedMusic},
@rinternals{UnfoldedRepeatedMusic}.
+
@knownissues
@cindex repeat, ambiguous
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{printing-a-repeat-sign-at-the-beginning-of-a-piece.ly}
-@seealso
+@seealso
Notation Reference:
@ref{Bar lines},
@ref{Formatting text}.
c1
@end lilypond
-@seealso
+@seealso
Snippets: @rlsr{Repeats}.
Internals Reference: @rinternals{RepeatedMusic},
@rinternals{UnfoldedRepeatedMusic}.
+
@node Short repeats
@subsection Short repeats
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{isolated-percent-repeats.ly}
-@seealso
+@seealso
Music Glossary: @rglos{percent repeat}, @rglos{simile}.
Snippets: @rlsr{Repeats}.
@rinternals{DoublePercentRepeatCounter},
@rinternals{PercentRepeatCounter}, @rinternals{PercentRepeatedMusic}.
+
@knownissues
Only three kinds of percent repeats are supported: a single slash
c: c:
@end lilypond
-@seealso
+@seealso
Snippets: @rlsr{Repeats}.
@cindex tremolo, cross-staff
force a particular direction manually, for details
see @ref{Direction and placement}.
-@predefined
+@predefined
@code{\autoBeamOff},
@code{\dotsUp},
@code{\dotsDown},
@code{\dotsNeutral}.
+@endpredefined
@seealso
-
Music Glossary:
@rglos{breve},
@rglos{longa},
To modify the duration of notes without printing a tuplet bracket,
see @ref{Scaling durations}.
-@predefined
+@predefined
@code{\tupletUp},
@code{\tupletDown},
@code{\tupletNeutral}.
+@endpredefined
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{permitting-line-breaks-within-beamed-tuplets.ly}
-@seealso
+@seealso
Music Glossary:
@rglos{triplet},
@rglos{tuplet},
@rinternals{TupletNumber},
@rinternals{TimeScaledMusic}.
+
@knownissues
@cindex grace notes within tuplet brackets
When the first note on a staff is a grace note followed by a
@seealso
-
Notation Reference:
@ref{Tuplets},
@ref{Invisible rests},
@predefined
-
@code{\tieUp},
@code{\tieDown},
@code{\tieNeutral},
@code{\tieDotted},
@code{\tieDashed},
@code{\tieSolid}.
+@endpredefined
@snippets
@seealso
-
Music Glossary:
@rglos{tie},
@rglos{laissez vibrer}.
@seealso
-
Notation Reference:
@ref{Full measure rests}.
\skip 1 \skip1 \skip 1
@end lilypond
-@seealso
+@seealso
Snippets:
@rlsr{Rhythms}.
When a multi-measure rest immediately follows a @code{\partial}
setting, resulting bar-check warnings may not be displayed.
+
@predefined
@code{\textLengthOn},
@code{\textLengthOff},
@code{\fermataMarkup},
@code{\compressFullBarRests},
@code{\expandFullBarRests}.
+@endpredefined
+
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{multi--measure-rest-markup.ly}
-@seealso
+@seealso
Music Glossary:
@rglos{multi-measure rest}.
Mensural time signatures are covered in
@ref{Mensural time signatures}.
-@predefined
+@predefined
@code{\numericTimeSignature},
@code{\defaultTimeSignature}.
+@endpredefined
+
@snippets
@seealso
-
Music Glossary:
@rglos{time signature}
command: i.e., @code{\partial 4} is internally translated to
@code{-4}, meaning @qq{there is a quarter note left in the measure.}
-@seealso
+@seealso
Music Glossary:
@rglos{anacrusis}.
Internal Reference:
@rinternals{Timing_translator}.
+
@knownissues
The @code{\partial} command is intended to be used only at the
d4 e d c
@end lilypond
-@predefined
+@predefined
@code{\cadenzaOn},
@code{\cadenzaOff}.
+@endpredefined
-@seealso
+@seealso
Music Glossary:
@rglos{cadenza}.
Snippets:
@rlsr{Rhythms}.
+
@knownissues
LilyPond will insert line breaks and page breaks only at a
@seealso
-
Music Glossary:
@rglos{polymetric},
@rglos{polymetric time signature},
@rinternals{Default_bar_line_engraver},
@rinternals{Staff}.
+
@knownissues
When using different time signatures in parallel, notes
measures are not entirely filled, then the ties show exactly how
much each measure is off.
-@seealso
+@seealso
Music Glossary: @rglos{tie}
Learning Manual:
>>
@end lilypond
+
@predefined
@code{\improvisationOn},
@code{\improvisationOff}.
+@endpredefined
+
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{guitar-strum-rhythms.ly}
-@seealso
+@seealso
Snippets:
@rlsr{Rhythms}.
@rinternals{RhythmicStaff},
@rinternals{Pitch_squash_engraver}.
+
@node Beams
@subsection Beams
c16 c8
@end lilypond
+
@predefined
@code{\autoBeamOff},
@code{\autoBeamOn}.
+@endpredefined
+
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{changing-beam-knee-gap.ly}
-@seealso
+@seealso
Notation Reference:
@ref{Manual beams},
@ref{Setting automatic beam behavior}.
@predefined
-
@funindex \autoBeamOff
@code{\autoBeamOff},
@funindex \autoBeamOn
@code{\autoBeamOn}.
+@endpredefined
@knownissues
@dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
automatic beam is still accepting notes, it is not typeset.
-@seealso
+@seealso
Snippets:
@rlsr{Rhythms}.
The @code{\featherDurations} command only works with very short
music snippets, and when numbers in the fraction are small.
-@seealso
+@seealso
Snippets:
@rlsr{Rhythms}.
-
@node Bars
@subsection Bars
@code{"|"}. This may be changed at any time
with @code{\set Timing.defaultBarType = }@var{bartype}.
-@seealso
+@seealso
Notation Reference:
@ref{Line breaking},
@ref{Repeats},
@seealso
-
Snippets:
@rlsr{Rhythms}.
will print a warning if the @code{currentBarNumber} is not 123
when it is processed.
-@seealso
+@seealso
Snippets:
@rlsr{Rhythms}.
For common tweaks to the positioning of rehearsal marks, see
@ref{Formatting text}.
-@seealso
+@seealso
Notation Reference:
@ref{The Feta font},
@ref{Formatting text}.
Internals Reference: @rinternals{RehearsalMark}.
+
@node Special rhythmic concerns
@subsection Special rhythmic concerns
@seealso
-
Music Glossary:
@rglos{grace notes},
@rglos{acciaccatura},
>>
@end lilypond
-@seealso
+@seealso
Music Glossary:
@rglos{cadenza}.
@seealso
-
This manual: @ref{Bar numbers}, @ref{Unmetered music}
Snippets:
For more information about chords, see @ref{Chord notation}.
-@seealso
+@seealso
Music Glossary:
@rglos{chord}.
Snippets:
@rlsr{Simultaneous notes}.
+
@node Simultaneous expressions
@unnumberedsubsubsec Simultaneous expressions
even simultaneously. In such a case no attempt is made to
automatically avoid collisions between ordinary notes and clusters.
-@seealso
+@seealso
Music Glossary:
@rglos{cluster}.
@rinternals{ClusterSpannerBeacon},
@rinternals{Cluster_spanner_engraver}.
+
@knownissues
Clusters look good only if they span at least two chords; otherwise
This method leads to strange beamings and warnings if the pieces of
music do not have the same rhythm.
-@predefined
+@predefined
@code{\voiceOne},
@code{\voiceTwo},
@code{\voiceThree},
@code{\voiceFour},
@code{\oneVoice}.
+@endpredefined
-@seealso
+@seealso
Learning Manual:
@rlearning{Voices contain music},
@rlearning{Explicitly instantiating voices}.
The @code{\voiceNeutralstyle} command is used to revert to the
standard presentation.
-@predefined
-
+@predefined
@code{\voiceOneStyle},
-
@code{\voiceTwoStyle},
@code{\voiceThreeStyle},
@code{\voiceFourStyle},
@code{\voiceNeutralStyle}.
+@endpredefined
-@seealso
+@seealso
Learning Manual:
@rlearning{I'm hearing Voices},
@rlearning{Other sources of information}.
@predefined
-
@code{\mergeDifferentlyDottedOn},
@code{\mergeDifferentlyDottedOff},
@code{\mergeDifferentlyHeadedOn},
@code{\shiftOnn},
@code{\shiftOnnn},
@code{\shiftOff}.
+@endpredefined
+
@snippets
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{forcing-horizontal-shift-of-notes.ly}
-@seealso
+@seealso
Music Glossary:
@rglos{polyphony}.
@rinternals{NoteCollision},
@rinternals{RestCollision}.
+
@knownissues
When using @code{\mergeDifferentlyHeadedOn} with an upstem eighth
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{changing-partcombine-texts.ly}
-@seealso
+@seealso
Music Glossary:
@rglos{a due},
@rglos{part}.
@rinternals{PartCombineMusic},
@rinternals{Voice}.
+
@knownissues
@code{\partcombine} can only accept two voices.
}
@end lilypond
-@seealso
+@seealso
Learning Manual:
@rlearning{Organizing pieces with variables}.
@seealso
-
Installed Files:
@file{scm/@/paper@/.scm}.
@seealso
-
Notation Reference:
@ref{Vertical spacing between systems}.
@seealso
-
Snippets:
@rlsr{Spacing}.
@seealso
-
Snippets:
@rlsr{Spacing}.
@seealso
-
Notation Reference:
@ref{Selecting notation font size}.
@seealso
-
Notation Reference:
@ref{Changing context default settings}.
@predefined
-
@funindex \break
@code{\break},
@funindex \noBreak
@code{\noBreak}.
+@endpredefined
@seealso
-
Internals Reference:
@rinternals{LineBreakEvent}.
@}
@end example
-@predefined
+@predefined
@funindex \pageBreak
@code{\pageBreak},
@funindex \noPageBreak
@code{\noPageBreak}.
+@endpredefined
@seealso
-
Snippets:
@rlsr{Spacing}.
@seealso
-
Snippets:
@rlsr{Spacing}.
@predefined
-
@funindex \pageTurn
@code{\pageTurn},
@funindex \noPageTurn
@code{\noPageTurn},
@funindex \allowPageTurn
@code{\allowPageTurn}.
+@endpredefined
@seealso
-
Snippets:
@rlsr{Spacing}.
@seealso
-
Snippets:
@rlsr{Spacing}.
@seealso
-
Snippets:
@rlsr{Spacing}.
@seealso
-
Notation Reference:
@ref{Vertical spacing}.
@seealso
-
Snippets:
@rlsr{Spacing}.
@seealso
-
Snippets:
@rlsr{Spacing}.
@seealso
-
Snippets:
@rlsr{Spacing}.
@seealso
-
Snippets:
@rlsr{Spacing}.
@seealso
-
Snippets:
@rlsr{Spacing}.
@seealso
-
Snippets:
@rlsr{Spacing}.
@seealso
-
Snippets:
@rlsr{Spacing}.
@seealso
-
Snippets:
@rlsr{Spacing}.
@seealso
-
Snippets:
@rlsr{Spacing}.
@seealso
-
Notation Reference:
@ref{New spacing area}.
@seealso
-
Snippets:
@rlsr{Spacing}.
@seealso
-
Notation Reference:
@ref{Page formatting},
@ref{Changing horizontal spacing}.
@seealso
-
Music Glossary:
@rglos{staff},
@rglos{staves}.
@seealso
-
Music Glossary:
@rglos{brace},
@rglos{bracket},
@seealso
-
Notation Reference:
@ref{Grouping staves},
@ref{Instrument names},
@predefined
-
@code{\startStaff},
@code{\stopStaff}.
+@endpredefined
@snippets
@seealso
-
Music Glossary:
@rglos{line},
@rglos{ledger line},
@seealso
-
Music Glossary:
@rglos{ossia},
@rglos{staff},
@predefined
-
@code{\RemoveEmptyStaffContext},
@code{\AncientRemoveEmptyStaffContext},
@code{\RemoveEmptyRhythmicStaffContext}.
+@endpredefined
@snippets
@seealso
-
Music Glossary:
@rglos{Frenched staff}.
@seealso
-
Music Glossary:
@rglos{metronome},
@rglos{metronomic indication},
@seealso
-
Notation Reference:
@ref{Horizontal dimensions},
@ref{Modifying context plug-ins}.
@seealso
-
Notation Reference:
@ref{Instrument transpositions},
@ref{Using tags}.
@seealso
-
Notation Reference:
@ref{Instrument transpositions},
@ref{Instrument names},
* Fonts::
@end menu
+@node Writing text
+@subsection Writing text
+
+This section introduces different ways of adding text to a score.
+
@cindex Text, other languages
@warning{To write accented and special text (such as characters
from other languages), simply insert the characters directly into
the LilyPond file. The file must be saved as UTF-8. For more
information, see @ref{Text encoding}.}
-@node Writing text
-@subsection Writing text
-
-This section introduces different ways of adding text to a score.
-
@menu
* Text scripts::
* Text spanners::
syntax described in @ref{Direction and
placement}.
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-d8^"pizz." e f g a4-"scherz." f
+@lilypond[quote,verbatim,relative=2]
+a8^"pizz." g f e a4-"scherz." f
@end lilypond
This syntax is actually a shorthand; more complex text
formatting may be added to a note by explicitly using a
@code{\markup} block, as described in @ref{Formatting text}.
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-d8^\markup { \italic pizz. } e f g
+@lilypond[quote,verbatim,relative=2]
+a8^\markup { \italic pizz. } g f e
a4_\markup { \tiny scherz. \bold molto } f
@end lilypond
in the following example, the first text string does not affect
spacing, whereas the second one does.
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-d8^"pizz." e f g
+@lilypond[quote,verbatim,relative=2]
+a8^"pizz." g f e
\textLengthOn
a4_"scherzando" f
@end lilypond
-@predefined
+@predefined
@funindex \textLengthOn
@code{\textLengthOn},
@funindex \textLengthOff
-@code{\textLengthOff}
+@code{\textLengthOff}.
+@endpredefined
@seealso
-
Notation Reference:
@ref{Formatting text},
@ref{Direction and placement}.
Internals Reference:
@rinternals{TextScript}.
+
@knownissues
Checking to make sure that text scripts and lyrics are within the
Such objects, called @qq{spanners}, may be created
from one note to another using the following syntax:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\override TextSpanner #'(bound-details left text) = "rit."
b1\startTextSpan
e,\stopTextSpan
but different formatting can be obtained using
@code{\markup} blocks, as described in @ref{Formatting text}.
-@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+@lilypond[quote,relative=2,verbatim]
\override TextSpanner #'(bound-details left text) =
\markup { \upright "rit." }
b1\startTextSpan c
The line style, as well as the text string, can be defined as an
object property. This syntax is described in @ref{Line styles}.
-@predefined
+@predefined
@funindex textSpannerUp
@code{\textSpannerUp},
@funindex textSpannerDown
@code{\textSpannerDown},
@funindex textSpannerNeutral
-@code{\textSpannerNeutral}
+@code{\textSpannerNeutral}.
+@endpredefined
-@seealso
+@seealso
Notation Reference:
@ref{Line styles},
@ref{Dynamics}.
@c \mark needs to be placed on a separate line (it's not
@c attached to an object like \markup is). -vv
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c4
\mark "Allegro"
c c c
more complex text formatting may be added using a @code{\markup}
block, as described in @ref{Formatting text}:
-@lilypond[fragment,quote,ragged-right,verbatim,relative=1]
+@lilypond[quote,verbatim,relative=1]
<c e>1
\mark \markup { \italic { colla parte } }
<d f>2 <e g>
or fermata, by specifying the appropriate symbol name as explained in
@ref{Music notation inside markup}:
-@lilypond[fragment,quote,ragged-right,verbatim,relative=1]
-<f bes>2 <d aes'>
+@lilypond[quote,verbatim,relative=2]
+<bes f>2 <aes d>
\mark \markup { \musicglyph #"scripts.ufermata" }
<e g>1
@end lilypond
can be placed above the bar line or between notes. When specified at a
line break, the mark will be printed at the beginning of the next line.
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\mark "Allegro"
c1 c
\mark "assai" \break
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{printing-marks-on-every-staff.ly}
-@seealso
+@seealso
Notation Reference:
@ref{Rehearsal marks},
@ref{Formatting text},
Internals Reference:
@rinternals{RehearsalMark}.
+
@knownissues
@c To be removed when Issue 69 in the tracker gets fixed. -vv
several music pieces, as described in
@ref{Multiple scores in a book}.
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[quote,verbatim]
\score {
c'1
}
within LilyPond. This feature, and the specific syntax it
requires, are described in @ref{Multi-page markup}.
-@predefined
-@code{\markup},
+@predefined
@funindex \markuplines
-@code{\markuplines}
+@code{\markup},
+@code{\markuplines}.
+@endpredefined
+
-@ignore
@snippets
-TODO: add convenient snippets in input/new -vv
+@ignore
+@c TODO Replace following example with this snippet when available
+@c Submitted to LSR 30 Nov 08
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{stand--alone-two--column-markup.ly}
@end ignore
+Stand-alone text may be arranged in several columns using @code{\markup}
+commands:
+
+@lilypond[verbatim,quote]
+\markup {
+ \fill-line {
+ \hspace #1.0
+ \column {
+ \line {"O sacrum convivium" }
+ \line {"in quo Christus sumitur," }
+ \line {"recolitur memoria passionis ejus," }
+ \line {"mens impletur gratia," }
+ \line {"futurae gloriae nobis pignus datur." }
+ \line {"Amen."}
+ }
+ \hspace #2
+ \column {
+ \line { \italic {"O sacred feast"} }
+ \line { \italic {"in which Christ is received,"} }
+ \line { \italic {"the memory of His Passion is renewed,"} }
+ \line { \italic {"the mind is filled with grace," } }
+ \line { \italic {"and a pledge of future glory is given to us." }}
+ \line { \italic {"Amen."}}
+ }
+ \hspace #1.0
+ }
+}
+@end lilypond
@seealso
+@seealso
Notation Reference: @ref{Formatting text},
@ref{File structure},
@ref{Multiple scores in a book},
entered using the backslash @code{\} character.
Such commands only affect the first following expression.
-@lilypond[quote,verbatim,fragment,relative=1]
-e1-\markup intenso
+@lilypond[quote,verbatim,relative=2]
+a1-\markup intenso
a2^\markup { poco \italic più forte }
c e1
d2_\markup { \italic "string. assai" }
the formatting of the text. Double quotation marks themselves
may be printed by preceding them with backslashes.
-@lilypond[quote,verbatim,fragment,relative=1]
-d1^"\italic markup..."
-d_\markup { \italic "... prints \"italic\" letters!" }
-d d
+@lilypond[quote,verbatim,relative=2]
+a1^"\italic markup..."
+a_\markup { \italic "... prints \"italic\" letters!" }
+a a
@end lilypond
To be treated as a distinct expression, a list of words needs
following example, the second @code{\markup} expression is
treated the same as the first one:
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,verbatim,relative=2]
c1^\markup { \center-column { a bbb c } }
c1^\markup { \center-column { a { bbb c } } }
c1^\markup { \center-column { a \line { bbb c } } }
@seealso
-
Notation Reference:
@ref{Text markup commands}.
Defining custom font sets is also possible, as explained in
@ref{Fonts}.
-@predefined
+@predefined
@funindex \teeny
-@funindex \tiny
-@funindex \small
-@funindex \normalsize
-@funindex \large
-@funindex \huge
-@funindex \smaller
-@funindex \larger
@code{\teeny},
+@funindex \tiny
@code{\tiny},
+@funindex \small
@code{\small},
+@funindex \normalsize
@code{\normalsize},
+@funindex \large
@code{\large},
+@funindex \huge
@code{\huge},
+@funindex \smaller
@code{\smaller},
+@funindex \larger
@code{\larger}.
+@endpredefined
+
@seealso
Notation Reference:
example, there is no difference
between the first and the second markup.
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,verbatim,relative=2]
d1-\markup { poco }
f
d-\markup { \left-align poco }
Horizontal alignment may be fine-tuned
using a numeric value:
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,verbatim,relative=2]
a1-\markup { \halign #-1 poco }
e'
a,-\markup { \halign #0 poco }
two possibilities; the last markup in this example has no anchor
point, and therefore is not moved.
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,verbatim,relative=1]
d2^\markup {
Acte I
\raise #2 { Scène 1 }
affected by these commands must be preceded with an
anchor point:
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,verbatim,relative=1]
d2^\markup {
Acte I
\translate #'(-1 . 2) "Scène 1"
An exhaustive list of text alignment commands
can be found in @ref{Align}.
+
@seealso
Learning Manual:
@rlearning{Moving objects}.
may be useful to explicitely specify the size of the
drawing, as demonstrated below:
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,verbatim,relative=1]
c1^\markup {
\combine
\epsfile #X #10 #"./context-example.eps"
An exhaustive list of graphics-specific commands
can be found in @ref{Graphic}.
+
@seealso
Notation Reference:
@ref{Graphic},
@file{scm/@/define@/-markup@/-commands@/.scm},
@file{scm/@/stencil@/.scm}.
+
@node Music notation inside markup
@unnumberedsubsubsec Music notation inside markup
Notes and accidentals can be entered using markup
commands:
-@lilypond[quote,verbatim,fragment,relative=2]
+@lilypond[quote,verbatim,relative=2]
a2 a^\markup {
\note #"4" #1
=
Other notation objects may also be printed
in markup mode:
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,verbatim,relative=1]
g1 bes
ees-\markup {
\finger 4
below; an exhaustive list of these symbols and their
names can be found in @ref{The Feta font}.
-@lilypond[quote,verbatim,fragment,relative=2]
+@lilypond[quote,verbatim,relative=2]
c2
c'^\markup { \musicglyph #"eight" }
c,4
c16
c2^\markup { \musicglyph #"timesig.neomensural94" }
@end lilypond
+
@c TODO: add \lookup here? -vv
+@c Probably better not to document \lookup, which is useful only for
+@c printing braces, and instead document \left-brace and \right-brace
+@c when these become available -td
@noindent
Another way of printing non-text glyphs is described
The markup mode also supports diagrams for specific
instruments:
-@lilypond[quote,verbatim,fragment,relative=2]
+@lilypond[quote,verbatim,relative=2]
c1^\markup {
\fret-diagram-terse #"x;x;o;2;3;2;"
}
In such a case, the nested @code{\score} block must
contain a @code{\layout} block, as demonstrated here:
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,verbatim,relative=1]
c4 d^\markup {
\score {
- \relative { c4 d e f }
+ \relative c' { c4 d e f }
\layout { }
}
}
An exhaustive list of music notation related commands can be
found in @ref{Music}.
+
@seealso
Notation Reference:
@ref{Music},
@file{scm/@/fret@/-diagrams@/.scm},
@file{scm/@/harp@/-pedals@/.scm}.
+
@node Multi-page markup
@unnumberedsubsubsec Multi-page markup
An exhaustive list of markup list commands can be found in
@ref{Text markup list commands}.
+
@seealso
Notation Reference:
@ref{Text markup list commands},
Installed files:
@file{scm/@/define@/-markup@/-commands@/.scm}.
+
@predefined
@funindex \markuplines
-@code{\markuplines}
+@code{\markuplines}.
+@endpredefined
@node Fonts
The following syntax allows various LilyPond @code{feta} non-text
fonts to be used directly in markup mode:
-@lilypond[quote,verbatim,fragment,relative=2]
+@lilypond[quote,verbatim,relative=2]
a1^\markup {
\vcenter {
\override #'(font-encoding . fetaBraces)
Each family may include different shapes and series.
The following example demonstrates the ability to select
-alternate families, shapes, series and sizes:
-
-@lilypond[quote,verbatim,fragment,relative=2]
- \override Score.RehearsalMark #'font-family = #'typewriter
- \mark \markup "Ouverture"
- \key d \major
- \override Voice.TextScript #'font-shape = #'italic
- \override Voice.TextScript #'font-series = #'bold
- d'2.^\markup "Allegro"
- r4
+alternate families, shapes, series and sizes. The value
+supplied to @code{font-size} is the required change from the
+default size.
+
+@lilypond[quote,verbatim,relative=2]
+\override Score.RehearsalMark #'font-family = #'typewriter
+\mark \markup "Ouverture"
+\override Voice.TextScript #'font-shape = #'italic
+\override Voice.TextScript #'font-series = #'bold
+d2.^\markup "Allegro"
+\override Voice.TextScript #'font-size = #-3
+c4^smaller
@end lilypond
@noindent
}
@end lilypond
-@ignore
-@c FIXME: This needs an example -vv
-
-The size of the font may be set with the @code{font-size}
-property. The resulting size is taken relative to the
-@code{text-font-size} as defined in the @code{\paper} block.
-@end ignore
-
Although it is easy to switch between preconfigured fonts,
it is also possible to use other fonts, as explained in the
following sections: @ref{Single entry fonts} and
@ref{Entire document fonts}.
+
@seealso
Notation Reference:
@ref{The Feta font},
@ref{Selecting font and font size},
@ref{Font}.
+
@node Single entry fonts
@unnumberedsubsubsec Single entry fonts
Any font that is installed on the operating system and recognized
by FontConfig may be used in a score, using the following syntax:
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,verbatim,relative=2]
\override Staff.TimeSignature #'font-name = #"Charter"
\override Staff.TimeSignature #'font-size = #2
\time 3/4
-c1_\markup {
+a1_\markup {
\override #'(font-name . "Vera Bold")
{ Vera Bold }
}
The last argument of the command can be anything, but has to be
present.
+
@seealso
Notation Reference:
@ref{Fonts explained},
Installed files:
@file{lily/@/font@/-config@/-scheme@/.cc}.
+
@node Entire document fonts
@unnumberedsubsubsec Entire document fonts
-
It is possible to change the fonts to be used as the default fonts in
the @emph{roman}, @emph{sans} and @emph{typewriter} font families by
specifying them, in that order, as shown in the example below. For an
@c we don't do Helvetica / Courier, since GS incorrectly loads
@c Apple TTF fonts
+
@seealso
Notation Reference:
@ref{Fonts explained},
@seealso
-
Notation Reference: @ruser{Writing pitches},
@ruser{Writing rhythms}, @ruser{Writing rests},
@ruser{Time signature}, @ruser{Clef}.
same output (line-width and all), copy everything from @qq{Start
cut-&-pastable section} to the bottom of the file.
-@seealso
+@seealso
There are more tips for constructing input files in
@ref{Suggestions for writing LilyPond input files}. But it might be
best to read through the rest of the tutorial first.
-
@node Single staff notation
@section Single staff notation
accidentals can be printed according to different rules, see
@ruser{Automatic accidentals}.
-@seealso
+@seealso
Notation Reference: @ruser{Note names in other languages},
@ruser{Accidentals}, @ruser{Automatic accidentals},
@ruser{Key signature}.
c2~( c8 fis fis4 ~ fis2 g2)
@end lilypond
-@seealso
+@seealso
Notation Reference: @ruser{Ties}, @ruser{Slurs},
@ruser{Phrasing slurs}.
c2\< c2\ff\> c2 c2\!
@end lilypond
-@seealso
+@seealso
Notation Reference: @ruser{Articulations and ornamentations},
@ruser{Fingering instructions}, @ruser{Dynamics}.
@seealso
-
Notation Reference: @ruser{Writing text}.
a8 c b4 d8. c16 b4
@end lilypond
-@seealso
+@seealso
Notation Reference: @ruser{Automatic beams}, @ruser{Manual beams}.
c2 \acciaccatura b16 c2
@end lilypond
-@seealso
+@seealso
Notation Reference: @ruser{Grace notes}, @ruser{Tuplets},
@ruser{Upbeats}.
type of context, one that generates the brace at the left end of
every system and also controls the extent of bar lines.
-@seealso
+@seealso
Notation Reference: @ruser{Keyboard and other multi-staff
instruments},
@ruser{Displaying staves}.
>>
@end lilypond
-@seealso
+@seealso
Notation Reference: @ruser{Simultaneous notes}.
@seealso
-
Notation Reference: @ruser{Vocal music}.
lyrics with variables. These are discussed in @ref{Organizing
pieces with variables}.
-@seealso
+@seealso
Notation Reference: @ruser{Vocal music}.
-
@node Final touches
@section Final touches
@cindex tuplets, nested
@cindex triplets, nested
@cindex bracket, tuplet
+@cindex bracket, triplet
@cindex tuplet bracket
@cindex triplet bracket
}
@end lilypond
-@seealso
+@seealso
Notation Reference:
@ruser{The tweak command}.
@warning{In overrides in lyrics always place spaces around
the dot between the context name and the object name.}
-@seealso
+@seealso
Learning Manual: @ref{Scheme tutorial}.
@tab @code{'#(#t #t #f)}
@end multitable
-@seealso
+@seealso
Learning Manual: @ref{Scheme tutorial}.
@end itemize
+
@seealso
Learning Manual:
@rlearning{String quartet}.
Snippets:
@rlsr{Unfretted strings}.
+
@node Bowing indications
@unnumberedsubsubsec Bowing indications
a2^\markup { \small "sul A" }
@end lilypond
+
@predefined
@code{\downbow},
@code{\upbow},
@code{\open}.
+@endpredefined
-@seealso
+@seealso
Notation Reference:
@ref{Articulations and ornamentations},
@ref{Slurs}.
+
@node Harmonics
@unnumberedsubsubsec Harmonics
<e a\harmonic>2 <c g'\harmonic>
@end lilypond
+
@seealso
Music Glossary:
@rglos{harmonics}.
@ref{Special note heads},
@ref{References for unfretted strings}.
+
@node Snap (Bartok) pizzicato
@unnumberedsubsubsec Snap (Bartók) pizzicato
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{simple-lead-sheet.ly}
+
@seealso
Notation Reference:
@ref{Chord notation}.
+
@node Spoken music
@unnumberedsubsubsec Spoken music
@cindex parlato
@c Add "Printing both the ancient and the modern clef in vocal music" snippet,
@c and "Transcription of Ancient music with incipit" snippet. -vv
+
@seealso
Notation Reference:
@ref{Ancient notation}.
@seealso
-
Notation Reference:
@ref{Fonts}.
@rinternals{LyricText},
@rinternals{LyricSpace}.
+
@c FIXME: this title has to be changed (possible confusion with LM) -vv
@node Setting simple songs
@unnumberedsubsubsec Setting simple songs
@end ignore
-@seealso
+@seealso
@c TODO: document \new Staff << Voice \lyricsto >> bug
Internals Reference:
@rinternals{LyricCombineMusic},
} >>
@end lilypond
-@seealso
+@seealso
Internals Reference:
@rinternals{Lyrics}.
\addlyrics { pu- ro~y~ho- nes- to }
@end lilypond
-@seealso
+@seealso
Internals Reference:
@rinternals{LyricCombineMusic}.
@predefined
-
-@code{\melisma}, @code{\melismaEnd}
-@funindex \melismaEnd
@funindex \melisma
+@code{\melisma},
+@funindex \melismaEnd
+@code{\melismaEnd}.
+@endpredefined
-@seealso
+@seealso
@c @lsr{vocal,lyric@/-combine.ly}.
+
@knownissues
Melismata are not detected automatically, and extender lines must be
distance between two syllables) and the @code{minimum-length}
(threshold below which hyphens are removed).
-@seealso
+@seealso
Internals Reference:
@rinternals{LyricExtender},
@rinternals{LyricHyphen}
+
@node Lyrics and repeats
@unnumberedsubsubsec Lyrics and repeats
@seealso
-
Internals Reference:
@rinternals{LyricText},
@rinternals{StanzaNumber}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{changing--flageolet-mark-size.ly}
-@seealso
+@seealso
Notation Reference:
@ref{Breath marks},
@ref{Slurs},
piobaireachd high g can be written @code{gflat} when it occurs in light
music.
+
@seealso
@rlsr{Winds}
+
@node Bagpipe example
@unnumberedsubsubsec Bagpipe example
}
@end lilypond
+
@seealso
@rlsr{Winds}
@end itemize
-@seealso
+@seealso
Notation Reference:
@ref{Note names in other languages},
@ref{Key signature},
@seealso
-
Notation Reference:
@ref{Note names in other languages}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{non-traditional-key-signatures.ly}
-@seealso
+@seealso
Notation Reference:
@ref{Key signature}.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{arabic-improvisation.ly}
-@seealso
+@seealso
Notation Reference:
@ref{Manual beams},
@ref{Automatic beams},
}
@end lilypond
-@seealso
+@seealso
Snippets:
@rlsr{World music}
-
@node Further reading
@unnumberedsubsubsec Further reading
automatically avoid beams, but this is not true by default for
fingerings and string numbers applied to the individual notes of
chords. The following example shows how this default behavior can be
-overriden:
+overridden:
"
doctitle = "Avoiding collisions of chord fingering with beams"
--- /dev/null
+%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
+%% This file is in the public domain.
+\version "2.11.64"
+
+\header {
+ lsrtags = "chords"
+
+ texidoc = "
+The layout of the major 7 can be tuned with @code{majorSevenSymbol}.
+
+"
+ doctitle = "chord name major7"
+} % begin verbatim
+
+\chords {
+ c:7+
+ \set majorSevenSymbol = \markup { j7 }
+ c:7+
+}
changing-the-chord-names-to-german-or-semi-german-notation.ly
changing-the-positions-of-figured-bass-alterations.ly
chord-name-exceptions.ly
+chord-name-major7.ly
clusters.ly
controlling-the-placement-of-chord-fingerings.ly
displaying-complex-chords.ly
\markuplines \override-lines #'(word-space . 4)
\doc-chars #(delete ".notdef"
- (ly:otf-glyph-list (ly:font-load "emmentaler-20")))
+ (ly:otf-glyph-list (ly:system-font-load "emmentaler-20")))
<measure number="1">
<attributes>
- <divisions>1</divisions>
+ <divisions>2</divisions>
<key>
<fifths>0</fifths>
<mode>major</mode>
<step>C</step>
<octave>5</octave>
</pitch>
- <duration>1</duration>
+ <duration>8</duration>
<voice>1</voice>
- <type>quarter</type>
+ <type>whole</type>
</note>
</measure>
<measure number="2">
<step>C</step>
<octave>5</octave>
</pitch>
- <duration>1</duration>
+ <duration>8</duration>
<voice>1</voice>
- <type>quarter</type>
+ <type>whole</type>
</note>
</measure>
<measure number="3">
<step>C</step>
<octave>5</octave>
</pitch>
- <duration>1</duration>
+ <duration>8</duration>
<voice>1</voice>
- <type>quarter</type>
+ <type>whole</type>
</note>
</measure>
<measure number="4">
<step>C</step>
<octave>5</octave>
</pitch>
- <duration>1</duration>
+ <duration>12</duration>
<voice>1</voice>
- <type>quarter</type>
+ <type>whole</type>
+ <dot/>
</note>
</measure>
<measure number="5">
<step>C</step>
<octave>5</octave>
</pitch>
- <duration>1</duration>
+ <duration>4</duration>
<voice>1</voice>
- <type>quarter</type>
+ <type>half</type>
</note>
</measure>
<measure number="6">
<attributes>
- <time >
+ <time>
<beats>3</beats>
<beat-type>4</beat-type>
</time>
<step>C</step>
<octave>5</octave>
</pitch>
- <duration>1</duration>
+ <duration>6</duration>
<voice>1</voice>
- <type>quarter</type>
+ <type>half</type>
+ <dot/>
</note>
</measure>
<measure number="7">
<attributes>
- <time >
+ <time>
<beats>4</beats>
<beat-type>4</beat-type>
</time>
<step>C</step>
<octave>5</octave>
</pitch>
- <duration>1</duration>
+ <duration>8</duration>
<voice>1</voice>
- <type>quarter</type>
+ <type>whole</type>
</note>
</measure>
<measure number="8">
<attributes>
- <time >
+ <time>
<beats>5</beats>
<beat-type>4</beat-type>
</time>
<step>C</step>
<octave>5</octave>
</pitch>
- <duration>1</duration>
+ <duration>8</duration>
+ <tie type="start"/>
+ <voice>1</voice>
+ <type>whole</type>
+ <notations><tied type="start"/></notations>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>2</duration>
+ <tie type="stop"/>
<voice>1</voice>
<type>quarter</type>
+ <notations><tied type="stop"/></notations>
</note>
</measure>
<measure number="9">
<attributes>
- <time >
+ <time>
<beats>3</beats>
<beat-type>8</beat-type>
</time>
<step>C</step>
<octave>5</octave>
</pitch>
- <duration>1</duration>
+ <duration>3</duration>
<voice>1</voice>
<type>quarter</type>
+ <dot/>
</note>
</measure>
<measure number="10">
<step>C</step>
<octave>5</octave>
</pitch>
- <duration>1</duration>
+ <duration>6</duration>
<voice>1</voice>
- <type>quarter</type>
+ <type>half</type>
+ <dot/>
</note>
</measure>
<measure number="11">
<step>C</step>
<octave>5</octave>
</pitch>
- <duration>1</duration>
+ <duration>12</duration>
<voice>1</voice>
- <type>quarter</type>
+ <type>whole</type>
+ <dot/>
</note>
<barline location="right">
<bar-style>light-heavy</bar-style>
</measure>
</part>
</score-partwise>
-
--- /dev/null
+<?xml version="1.0" encoding="UTF-8"?>
+<!DOCTYPE score-partwise PUBLIC "-//Recordare//DTD MusicXML 1.0 Partwise//EN"
+ "http://www.musicxml.org/dtds/partwise.dtd">
+<score-partwise>
+ <identification>
+ <miscellaneous>
+ <miscellaneous-field name="description">Some microtones: c
+ flat-and-a-half, d half-flat, e half-sharp, f sharp-and-a half.
+ Once in the lower and once in the upper region of the
+ staff.</miscellaneous-field>
+ </miscellaneous>
+ </identification>
+ <part-list>
+ <score-part id="P1">
+ <part-name>MusicXML Part</part-name>
+ <score-instrument id="P1-I1">
+ <instrument-name>Acoustic Grand Piano</instrument-name>
+ </score-instrument>
+ <midi-instrument id="P1-I1">
+ <midi-channel>1</midi-channel>
+ <midi-program>1</midi-program>
+ </midi-instrument>
+ </score-part>
+ </part-list>
+ <!--=========================================================-->
+ <part id="P1">
+ <measure number="1">
+ <attributes>
+ <divisions>1</divisions>
+ <key>
+ <fifths>0</fifths>
+ <mode>major</mode>
+ </key>
+ <time symbol="common">
+ <beats>4</beats>
+ <beat-type>4</beat-type>
+ </time>
+ <clef>
+ <sign>G</sign>
+ <line>2</line>
+ </clef>
+ </attributes>
+ <note>
+ <pitch>
+ <step>C</step>
+ <alter>-1.5</alter>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ <note>
+ <pitch>
+ <step>D</step>
+ <alter>-0.5</alter>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ <note>
+ <pitch>
+ <step>E</step>
+ <alter>0.5</alter>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ <note>
+ <pitch>
+ <step>F</step>
+ <alter>1.5</alter>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="2">
+ <note>
+ <pitch>
+ <step>C</step>
+ <alter>-1.5</alter>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ <note>
+ <pitch>
+ <step>D</step>
+ <alter>-0.5</alter>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ <note>
+ <pitch>
+ <step>E</step>
+ <alter>0.5</alter>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ <note>
+ <pitch>
+ <step>F</step>
+ <alter>1.5</alter>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ <barline location="right">
+ <bar-style>light-heavy</bar-style>
+ </barline>
+ </measure>
+ </part>
+ <!--=========================================================-->
+</score-partwise>
--- /dev/null
+<?xml version="1.0" encoding="UTF-8"?>
+<!DOCTYPE score-partwise PUBLIC "-//Recordare//DTD MusicXML 1.0 Partwise//EN"
+ "http://www.musicxml.org/dtds/partwise.dtd">
+<score-partwise>
+ <identification>
+ <miscellaneous>
+ <miscellaneous-field name="description">Each note of a chord can have
+ some lyrics attached. In this case, each note of the chord has lyrics
+ of the form "Lyrics [123]" attached, where each lyrics has a different
+ number attribute to distinguish them. These syllables should be
+ imported into three different stanzas and the timing should be
+ correct.</miscellaneous-field>
+ </miscellaneous>
+ </identification>
+ <part-list>
+ <score-part id="P1">
+ <part-name>MusicXML Part</part-name>
+ </score-part>
+ </part-list>
+ <!--=========================================================-->
+ <part id="P1">
+ <measure number="1">
+ <attributes>
+ <divisions>1</divisions>
+ <key>
+ <fifths>0</fifths>
+ <mode>major</mode>
+ </key>
+ <time symbol="common">
+ <beats>4</beats>
+ <beat-type>4</beat-type>
+ </time>
+ <clef>
+ <sign>G</sign>
+ <line>2</line>
+ </clef>
+ </attributes>
+ <note>
+ <pitch>
+ <step>E</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <lyric number="1"><text>Lyrics 1</text></lyric>
+ </note>
+ <note>
+ <chord/>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <lyric number="2"><text>Lyrics 2</text></lyric>
+ </note>
+ <note>
+ <chord/>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <lyric number="3"><text>Lyrics 3</text></lyric>
+ </note>
+ </measure>
+ </part>
+</score-partwise>
--- /dev/null
+<?xml version="1.0" encoding="UTF-8"?>
+<!DOCTYPE score-partwise PUBLIC "-//Recordare//DTD MusicXML 1.1 Partwise//EN"
+ "http://www.musicxml.org/dtds/partwise.dtd">
+<score-partwise version="1.1">
+ <identification>
+ <miscellaneous>
+ <miscellaneous-field name="description">Multiple lyrics syllables
+ assigned to a single note are implemented either using a space in
+ the lyrics or by using the <elision> lyrics element. This
+ testcase checks both of them. First, a note with on syllable is
+ given, then a note with two syllables separated by a spcae and finally
+ a note with two and one with three syllables implemented using
+ <elision> is given.</miscellaneous-field>
+ </miscellaneous>
+ </identification>
+ <part-list>
+ <score-part id="P1">
+ <part-name>MusicXML Part</part-name>
+ </score-part>
+ </part-list>
+ <!--=========================================================-->
+ <part id="P1">
+ <measure number="1">
+ <attributes>
+ <divisions>1</divisions>
+ <key>
+ <fifths>0</fifths>
+ <mode>major</mode>
+ </key>
+ <time symbol="common">
+ <beats>4</beats>
+ <beat-type>4</beat-type>
+ </time>
+ <clef>
+ <sign>G</sign>
+ <line>2</line>
+ </clef>
+ </attributes>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <stem>down</stem>
+ <lyric number="1">
+ <text>a</text>
+ </lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <stem>down</stem>
+ <lyric number="1">
+ <text>b c</text>
+ </lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <stem>down</stem>
+ <lyric number="1">
+ <text>d</text>
+ <elision/>
+ <text>e</text>
+ </lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <stem>down</stem>
+ <lyric number="1">
+ <text>f</text>
+ <elision/>
+ <text>g</text>
+ <elision/>
+ <text>h</text>
+ </lyric>
+ </note>
+ <barline location="right">
+ <bar-style>light-heavy</bar-style>
+ </barline>
+ </measure>
+ </part>
+ <!--=========================================================-->
+</score-partwise>
--- /dev/null
+@section Note settings, heads, etc.
--- /dev/null
+<?xml version="1.0" encoding="UTF-8"?>
+<!DOCTYPE score-partwise PUBLIC "-//Recordare//DTD MusicXML 1.0 Partwise//EN"
+ "http://www.musicxml.org/dtds/partwise.dtd">
+<score-partwise>
+ <identification>
+ <miscellaneous>
+ <miscellaneous-field name="description">Different note styles, using the
+ <notehead> element. First, each note head style is printed
+ with four quarter notes, two with filled heads, two with unfilled
+ heads, where first the stem is up and then the stem is down. After
+ that, each note head style is printed with a half note (should have
+ an unfilled head by default). Finally, the Aiken note head styles are
+ tested, once with stem up and once with stem down.</miscellaneous-field>
+ </miscellaneous>
+ </identification>
+ <part-list>
+ <score-part id="P1">
+ <part-name>MusicXML Part</part-name>
+ </score-part>
+ </part-list>
+ <!--=========================================================-->
+ <part id="P1">
+ <measure number="1">
+ <attributes>
+ <divisions>1</divisions>
+ <key>
+ <fifths>0</fifths>
+ <mode>major</mode>
+ </key>
+ <time symbol="common">
+ <beats>4</beats>
+ <beat-type>4</beat-type>
+ </time>
+ <clef>
+ <sign>G</sign>
+ <line>2</line>
+ </clef>
+ </attributes>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>slash</notehead>
+ <lyric number="1"><text>slash</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>slash</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">slash</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">slash</notehead>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="2">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>triangle</notehead>
+ <lyric number="1"><text>triangle</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>triangle</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">triangle</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">triangle</notehead>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="3">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>diamond</notehead>
+ <lyric number="1"><text>diamond</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>diamond</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">diamond</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">diamond</notehead>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="4">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>square</notehead>
+ <lyric number="1"><text>square</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>square</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">square</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">square</notehead>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="5">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>cross</notehead>
+ <lyric number="1"><text>cross</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>cross</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">cross</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">cross</notehead>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="6">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>x</notehead>
+ <lyric number="1"><text>x</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>x</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">x</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">x</notehead>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="7">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>circle-x</notehead>
+ <lyric number="1"><text>circle-x</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>circle-x</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">circle-x</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">circle-x</notehead>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="8">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>inverted triangle</notehead>
+ <lyric number="1"><text>inverted triangle</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>inverted triangle</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">inverted triangle</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">inverted triangle</notehead>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="9">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>arrow down</notehead>
+ <lyric number="1"><text>arrow down</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>arrow down</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">arrow down</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">arrow down</notehead>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="10">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>arrow up</notehead>
+ <lyric number="1"><text>arrow up</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>arrow up</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">arrow up</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">arrow up</notehead>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="11">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>slashed</notehead>
+ <lyric number="1"><text>slashed</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>slashed</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">slashed</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">slashed</notehead>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="12">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>back slashed</notehead>
+ <lyric number="1"><text>back slashed</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>back slashed</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">back slashed</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">back slashed</notehead>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="13">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>normal</notehead>
+ <lyric number="1"><text>normal</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>normal</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">normal</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">normal</notehead>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="14">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>cluster</notehead>
+ <lyric number="1"><text>cluster</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>cluster</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">cluster</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">cluster</notehead>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="15">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>none</notehead>
+ <lyric number="1"><text>none</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>none</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">none</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">none</notehead>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="16">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>half</type>
+ <notehead>slash</notehead>
+ <lyric number="1"><text>slash</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>half</type>
+ <notehead>triangle</notehead>
+ <lyric number="1"><text>triangle</text></lyric>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="17">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>half</type>
+ <notehead>diamond</notehead>
+ <lyric number="1"><text>diamond</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>half</type>
+ <notehead>square</notehead>
+ <lyric number="1"><text>square</text></lyric>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="18">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>half</type>
+ <notehead>cross</notehead>
+ <lyric number="1"><text>cross</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>half</type>
+ <notehead>x</notehead>
+ <lyric number="1"><text>x</text></lyric>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="19">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>half</type>
+ <notehead>circle-x</notehead>
+ <lyric number="1"><text>circle-x</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>half</type>
+ <notehead>inverted triangle</notehead>
+ <lyric number="1"><text>inverted triangle</text></lyric>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="20">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>half</type>
+ <notehead>arrow down</notehead>
+ <lyric number="1"><text>arrow down</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>half</type>
+ <notehead>arrow up</notehead>
+ <lyric number="1"><text>arrow up</text></lyric>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="21">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>half</type>
+ <notehead>slashed</notehead>
+ <lyric number="1"><text>slashed</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>half</type>
+ <notehead>back slashed</notehead>
+ <lyric number="1"><text>back slashed</text></lyric>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="22">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>half</type>
+ <notehead>normal</notehead>
+ <lyric number="1"><text>normal</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>half</type>
+ <notehead>cluster</notehead>
+ <lyric number="1"><text>cluster</text></lyric>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="23">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>do</notehead>
+ <lyric number="1"><text>do</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>do</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">do</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">do</notehead>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="24">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>re</notehead>
+ <lyric number="1"><text>re</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>re</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">re</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">re</notehead>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="25">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>mi</notehead>
+ <lyric number="1"><text>mi</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>mi</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">mi</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">mi</notehead>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="26">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>fa</notehead>
+ <lyric number="1"><text>fa</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>fa</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">fa</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">fa</notehead>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="27">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>so</notehead>
+ <lyric number="1"><text>so</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>so</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">so</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">so</notehead>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="28">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>la</notehead>
+ <lyric number="1"><text>la</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>la</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">la</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">la</notehead>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="29">
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>ti</notehead>
+ <lyric number="1"><text>ti</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>ti</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">ti</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead filled="no">ti</notehead>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="30">
+ <attributes>
+ <key>
+ <fifths>3</fifths>
+ <mode>major</mode>
+ </key>
+ </attributes>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>3</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>do</notehead>
+ <lyric number="1"><text>do</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>3</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>re</notehead>
+ <lyric number="1"><text>re</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <alter>1</alter>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>mi</notehead>
+ <lyric number="1"><text>mi</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>D</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>fa</notehead>
+ <lyric number="1"><text>fa</text></lyric>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="31">
+ <note>
+ <pitch>
+ <step>E</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>so</notehead>
+ <lyric number="1"><text>so</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>F</step>
+ <alter>1</alter>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>la</notehead>
+ <lyric number="1"><text>la</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>G</step>
+ <alter>1</alter>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>ti</notehead>
+ <lyric number="1"><text>ti</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>do</notehead>
+ <lyric number="1"><text>do</text></lyric>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="32">
+ <attributes>
+ <key>
+ <fifths>0</fifths>
+ <mode>major</mode>
+ </key>
+ </attributes>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>do</notehead>
+ <lyric number="1"><text>do</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>D</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>re</notehead>
+ <lyric number="1"><text>re</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>E</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>mi</notehead>
+ <lyric number="1"><text>mi</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>F</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>fa</notehead>
+ <lyric number="1"><text>fa</text></lyric>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="33">
+ <note>
+ <pitch>
+ <step>G</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>so</notehead>
+ <lyric number="1"><text>so</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>la</notehead>
+ <lyric number="1"><text>la</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>ti</notehead>
+ <lyric number="1"><text>ti</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>6</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>do</notehead>
+ <lyric number="1"><text>do</text></lyric>
+ </note>
+ <barline location="right">
+ <bar-style>light-heavy</bar-style>
+ </barline>
+ </measure>
+ </part>
+</score-partwise>
--- /dev/null
+<?xml version="1.0" encoding="UTF-8"?>
+<!DOCTYPE score-partwise PUBLIC "-//Recordare//DTD MusicXML 1.1 Partwise//EN"
+ "http://www.musicxml.org/dtds/partwise.dtd">
+<score-partwise version="1.1">
+ <identification>
+ <miscellaneous>
+ <miscellaneous-field name="description">Staff-connected note styles:
+ slash notation, hidden notes (with and without hidden staff
+ lines)</miscellaneous-field>
+ </miscellaneous>
+ </identification>
+ <part-list>
+ <score-part id="P1">
+ <part-name>MusicXML Part</part-name>
+ </score-part>
+ </part-list>
+ <!--=========================================================-->
+ <part id="P1">
+ <measure number="1">
+ <print>
+ <system-layout>
+ <system-margins>
+ <left-margin>70</left-margin>
+ <right-margin>0</right-margin>
+ </system-margins>
+ <top-system-distance>211</top-system-distance>
+ </system-layout>
+ </print>
+ <attributes>
+ <divisions>1</divisions>
+ <key>
+ <fifths>0</fifths>
+ <mode>major</mode>
+ </key>
+ <time symbol="common">
+ <beats>4</beats>
+ <beat-type>4</beat-type>
+ </time>
+ <clef>
+ <sign>G</sign>
+ <line>2</line>
+ </clef>
+ </attributes>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <stem>down</stem>
+ </note>
+ <attributes>
+ <measure-style>
+ <slash type="start" use-stems="no"/>
+ </measure-style>
+ </attributes>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <stem>up</stem>
+ <lyric number="1"><text>slash, no stem</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <stem>down</stem>
+ </note>
+ <attributes>
+ <measure-style>
+ <slash type="stop"/>
+ </measure-style>
+ <measure-style>
+ <slash type="start" use-stems="yes"/>
+ </measure-style>
+ </attributes>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <stem>down</stem>
+ <lyric number="1"><text>slash, with stem</text></lyric>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="2">
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <stem>down</stem>
+ </note>
+ <attributes>
+ <measure-style>
+ <slash type="stop"/>
+ </measure-style>
+ </attributes>
+ <note print-object="no">
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <stem>up</stem>
+ <lyric number="1"><text>hidden notes</text></lyric>
+ </note>
+ <note print-object="no">
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <stem>down</stem>
+ </note>
+ <attributes>
+ <staff-details>
+ <staff-lines>0</staff-lines>
+ </staff-details>
+ </attributes>
+ <note print-object="no">
+ <pitch>
+ <step>C</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <stem>up</stem>
+ <lyric number="1"><text>hidden notes, staff lines</text></lyric>
+ </note>
+ </measure>
+ <measure number="3">
+ <note print-object="no">
+ <pitch>
+ <step>D</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>half</type>
+ <stem>up</stem>
+ </note>
+ <attributes>
+ <staff-details>
+ <staff-lines>5</staff-lines>
+ </staff-details>
+ </attributes>
+ <note>
+ <pitch>
+ <step>G</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>half</type>
+ <stem>up</stem>
+ <lyric number="1"><text>normal settings restored</text></lyric>
+ </note>
+ <barline location="right">
+ <bar-style>light-heavy</bar-style>
+ </barline>
+ </measure>
+ </part>
+ <!--=========================================================-->
+</score-partwise>
--- /dev/null
+<?xml version="1.0" encoding="UTF-8"?>
+<!DOCTYPE score-partwise PUBLIC "-//Recordare//DTD MusicXML 1.0 Partwise//EN"
+ "http://www.musicxml.org/dtds/partwise.dtd">
+<score-partwise>
+ <identification>
+ <miscellaneous>
+ <miscellaneous-field name="description">Different note styles for
+ individual notes inside a chord, using the
+ <notehead> element.</miscellaneous-field>
+ </miscellaneous>
+ </identification>
+ <part-list>
+ <score-part id="P1">
+ <part-name>MusicXML Part</part-name>
+ </score-part>
+ </part-list>
+ <!--=========================================================-->
+ <part id="P1">
+ <measure number="1">
+ <attributes>
+ <divisions>1</divisions>
+ <key>
+ <fifths>0</fifths>
+ <mode>major</mode>
+ </key>
+ <time symbol="common">
+ <beats>4</beats>
+ <beat-type>4</beat-type>
+ </time>
+ <clef>
+ <sign>G</sign>
+ <line>2</line>
+ </clef>
+ </attributes>
+ <note>
+ <pitch>
+ <step>E</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <lyric number="1"><text>normal</text></lyric>
+ </note>
+ <note>
+ <chord/>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>triangle</notehead>
+ <lyric number="2"><text>triangle</text></lyric>
+ </note>
+ <note>
+ <chord/>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>slash</notehead>
+ <lyric number="3"><text>slash</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>E</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>cross</notehead>
+ <lyric number="1"><text>cross</text></lyric>
+ </note>
+ <note>
+ <chord/>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>square</notehead>
+ <lyric number="2"><text>square</text></lyric>
+ </note>
+ <note>
+ <chord/>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>diamond</notehead>
+ <lyric number="3"><text>diamond</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>E</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>inverted triangle</notehead>
+ <lyric number="1"><text>inverted triangle</text></lyric>
+ </note>
+ <note>
+ <chord/>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>circle-x</notehead>
+ <lyric number="2"><text>circle-x</text></lyric>
+ </note>
+ <note>
+ <chord/>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>x</notehead>
+ <lyric number="3"><text>x</text></lyric>
+ </note>
+ <note>
+ <pitch>
+ <step>E</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>slashed</notehead>
+ <lyric number="1"><text>slashed</text></lyric>
+ </note>
+ <note>
+ <chord/>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>arrow up</notehead>
+ <lyric number="2"><text>arrow up</text></lyric>
+ </note>
+ <note>
+ <chord/>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead>arrow down</notehead>
+ <lyric number="3"><text>arrow down</text></lyric>
+ </note>
+ <barline location="right">
+ <bar-style>light-heavy</bar-style>
+ </barline>
+ </measure>
+ </part>
+</score-partwise>
--- /dev/null
+<?xml version="1.0" encoding="UTF-8"?>
+<!DOCTYPE score-partwise PUBLIC "-//Recordare//DTD MusicXML 1.0 Partwise//EN"
+ "http://www.musicxml.org/dtds/partwise.dtd">
+<score-partwise>
+ <identification>
+ <miscellaneous>
+ <miscellaneous-field name="description">Parenthesized note heads. First,
+ a single parenthesized note is tested, once with a normal and then
+ with a non-standard notehead, then two chords with some/all
+ parenthesized noteheads and finally a parenthesized rest.</miscellaneous-field>
+ </miscellaneous>
+ </identification>
+ <part-list>
+ <score-part id="P1">
+ <part-name>MusicXML Part</part-name>
+ </score-part>
+ </part-list>
+ <!--=========================================================-->
+ <part id="P1">
+ <measure number="1">
+ <attributes>
+ <divisions>1</divisions>
+ <key>
+ <fifths>0</fifths>
+ <mode>major</mode>
+ </key>
+ <time symbol="common">
+ <beats>6</beats>
+ <beat-type>4</beat-type>
+ </time>
+ <clef>
+ <sign>G</sign>
+ <line>2</line>
+ </clef>
+ </attributes>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead parentheses="yes"/>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead parentheses="yes">x</notehead>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ <note>
+ <chord/>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead parentheses="yes"/>
+ </note>
+ <note>
+ <chord/>
+ <pitch>
+ <step>E</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead parentheses="yes"/>
+ </note>
+ <note>
+ <chord/>
+ <pitch>
+ <step>C</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead parentheses="yes"/>
+ </note>
+ <note>
+ <chord/>
+ <pitch>
+ <step>E</step>
+ <octave>5</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead parentheses="yes"/>
+ </note>
+ <note>
+ <rest/>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead parentheses="yes"/>
+ </note>
+ <note>
+ <rest>
+ <display-step>E</display-step>
+ <display-octave>4</display-octave>
+ </rest>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <notehead parentheses="yes"/>
+ </note>
+ <barline location="right">
+ <bar-style>light-heavy</bar-style>
+ </barline>
+ </measure>
+ </part>
+</score-partwise>
--- /dev/null
+@section Time signatures
+
--- /dev/null
+<?xml version="1.0" encoding="UTF-8"?>
+<!DOCTYPE score-partwise PUBLIC "-//Recordare//DTD MusicXML 1.1 Partwise//EN"
+ "http://www.musicxml.org/dtds/partwise.dtd">
+<score-partwise version="1.1">
+ <identification>
+ <miscellaneous>
+ <miscellaneous-field name="description">Compound time signatures with
+ same denominator: (3+2)/8 and (5+3+1)/4.</miscellaneous-field>
+ </miscellaneous>
+ </identification>
+ <part-list>
+ <score-part id="P1">
+ <part-name>MusicXML Part</part-name>
+ </score-part>
+ </part-list>
+ <!--=========================================================-->
+ <part id="P1">
+ <measure number="1">
+ <attributes>
+ <divisions>2</divisions>
+ <key>
+ <fifths>0</fifths>
+ <mode>major</mode>
+ </key>
+ <time>
+ <beats>3+2</beats>
+ <beat-type>8</beat-type>
+ </time>
+ <clef>
+ <sign>G</sign>
+ <line>2</line>
+ </clef>
+ </attributes>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ <beam number="1">begin</beam>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ <beam number="1">continue</beam>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ <beam number="1">end</beam>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ <beam number="1">begin</beam>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ <beam number="1">end</beam>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="2">
+ <attributes>
+ <time>
+ <beats>5+3+1</beats>
+ <beat-type>4</beat-type>
+ </time>
+ </attributes>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>8</duration>
+ <tie/>
+ <voice>1</voice>
+ <type>whole</type>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>6</duration>
+ <voice>1</voice>
+ <type>half</type>
+ <dot/>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ <barline location="right">
+ <bar-style>light-heavy</bar-style>
+ </barline>
+ </measure>
+ </part>
+ <!--=========================================================-->
+</score-partwise>
--- /dev/null
+<?xml version="1.0" encoding="UTF-8"?>
+<!DOCTYPE score-partwise PUBLIC "-//Recordare//DTD MusicXML 1.1 Partwise//EN"
+ "http://www.musicxml.org/dtds/partwise.dtd">
+<score-partwise version="1.1">
+ <identification>
+ <miscellaneous>
+ <miscellaneous-field name="description">Compound time signatures with
+ separate fractions displayed: 3/8+2/8+3/4 and 5/2+1/8.</miscellaneous-field>
+ </miscellaneous>
+ </identification>
+ <part-list>
+ <score-part id="P1">
+ <part-name>MusicXML Part</part-name>
+ </score-part>
+ </part-list>
+ <!--=========================================================-->
+ <part id="P1">
+ <measure number="1">
+ <attributes>
+ <divisions>2</divisions>
+ <key>
+ <fifths>0</fifths>
+ <mode>major</mode>
+ </key>
+ <time>
+ <beats>3</beats>
+ <beat-type>8</beat-type>
+ <beats>2</beats>
+ <beat-type>8</beat-type>
+ <beats>3</beats>
+ <beat-type>4</beat-type>
+ </time>
+ <clef>
+ <sign>G</sign>
+ <line>2</line>
+ </clef>
+ </attributes>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ <beam number="1">begin</beam>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ <beam number="1">continue</beam>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ <beam number="1">end</beam>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ <beam number="1">begin</beam>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ <beam number="1">end</beam>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ </measure>
+ <!--=======================================================-->
+ <measure number="2">
+ <attributes>
+ <time>
+ <beats>5</beats>
+ <beat-type>2</beat-type>
+ <beats>1</beats>
+ <beat-type>8</beat-type>
+ </time>
+ </attributes>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>16</duration>
+ <voice>1</voice>
+ <type>breve</type>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>4</duration>
+ <voice>1</voice>
+ <type>half</type>
+ </note>
+ <note>
+ <pitch>
+ <step>A</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ </note>
+ <barline location="right">
+ <bar-style>light-heavy</bar-style>
+ </barline>
+ </measure>
+ </part>
+ <!--=========================================================-->
+</score-partwise>
--- /dev/null
+<?xml version="1.0" encoding="UTF-8"?>
+<!DOCTYPE score-partwise PUBLIC "-//Recordare//DTD MusicXML 1.1 Partwise//EN"
+ "http://www.musicxml.org/dtds/partwise.dtd">
+<score-partwise version="1.1">
+ <identification>
+ <miscellaneous>
+ <miscellaneous-field name="description">Compound time signatures of
+ mixed type: (3+2)/8+3/4.</miscellaneous-field>
+ </miscellaneous>
+ </identification>
+ <part-list>
+ <score-part id="P1">
+ <part-name>MusicXML Part</part-name>
+ </score-part>
+ </part-list>
+ <!--=========================================================-->
+ <part id="P1">
+ <measure number="1">
+ <attributes>
+ <divisions>2</divisions>
+ <key>
+ <fifths>0</fifths>
+ <mode>major</mode>
+ </key>
+ <time>
+ <beats>3+2</beats>
+ <beat-type>8</beat-type>
+ <beats>3</beats>
+ <beat-type>4</beat-type>
+ </time>
+ <clef>
+ <sign>G</sign>
+ <line>2</line>
+ </clef>
+ </attributes>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ <beam number="1">begin</beam>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ <beam number="1">continue</beam>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ <beam number="1">end</beam>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ <beam number="1">begin</beam>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ <beam number="1">end</beam>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ </note>
+ <barline location="right">
+ <bar-style>light-heavy</bar-style>
+ </barline>
+ </measure>
+ </part>
+ <!--=========================================================-->
+</score-partwise>
--- /dev/null
+<?xml version="1.0" encoding="UTF-8"?>
+<!DOCTYPE score-partwise PUBLIC "-//Recordare//DTD MusicXML 1.1 Partwise//EN"
+ "http://www.musicxml.org/dtds/partwise.dtd">
+<score-partwise version="1.1">
+ <identification>
+ <miscellaneous>
+ <miscellaneous-field name="description">Time signature displayed as a
+ single number.</miscellaneous-field>
+ </miscellaneous>
+ </identification>
+ <part-list>
+ <score-part id="P1">
+ <part-name>MusicXML Part</part-name>
+ </score-part>
+ </part-list>
+ <!--=========================================================-->
+ <part id="P1">
+ <measure number="1">
+ <attributes>
+ <divisions>2</divisions>
+ <key>
+ <fifths>0</fifths>
+ <mode>major</mode>
+ </key>
+ <time symbol="single-number">
+ <beats>3</beats>
+ <beat-type>8</beat-type>
+ </time>
+ <clef>
+ <sign>G</sign>
+ <line>2</line>
+ </clef>
+ </attributes>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ <beam number="1">begin</beam>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ <beam number="1">continue</beam>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ <beam number="1">end</beam>
+ </note>
+ <barline location="right">
+ <bar-style>light-heavy</bar-style>
+ </barline>
+ </measure>
+ </part>
+ <!--=========================================================-->
+</score-partwise>
--- /dev/null
+<?xml version="1.0" encoding="UTF-8"?>
+<!DOCTYPE score-partwise PUBLIC "-//Recordare//DTD MusicXML 1.1 Partwise//EN"
+ "http://www.musicxml.org/dtds/partwise.dtd">
+<score-partwise version="1.1">
+ <identification>
+ <miscellaneous>
+ <miscellaneous-field name="description">Senza-misura time signature</miscellaneous-field>
+ </miscellaneous>
+ </identification>
+ <part-list>
+ <score-part id="P1">
+ <part-name>MusicXML Part</part-name>
+ </score-part>
+ </part-list>
+ <!--=========================================================-->
+ <part id="P1">
+ <measure number="1">
+ <attributes>
+ <divisions>2</divisions>
+ <key>
+ <fifths>0</fifths>
+ <mode>major</mode>
+ </key>
+ <time>
+ <senza-misura/>
+ </time>
+ <clef>
+ <sign>G</sign>
+ <line>2</line>
+ </clef>
+ </attributes>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ <beam number="1">begin</beam>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ <beam number="1">continue</beam>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ <beam number="1">end</beam>
+ </note>
+ <barline location="right">
+ <bar-style>light-heavy</bar-style>
+ </barline>
+ </measure>
+ </part>
+ <!--=========================================================-->
+</score-partwise>
--- /dev/null
+<?xml version="1.0" encoding="UTF-8"?>
+<!DOCTYPE score-partwise PUBLIC "-//Recordare//DTD MusicXML 1.1 Partwise//EN"
+ "http://www.musicxml.org/dtds/partwise.dtd">
+<score-partwise version="1.1">
+ <identification>
+ <miscellaneous>
+ <miscellaneous-field name="description">A time signature of 3/8 with the
+ symbol="cut" attribute and two symbol="single-number" attributes with
+ compound time signatures. Shall the symbol be ignored in this
+ case?</miscellaneous-field>
+ </miscellaneous>
+ </identification>
+ <part-list>
+ <score-part id="P1">
+ <part-name>MusicXML Part</part-name>
+ </score-part>
+ </part-list>
+ <!--=========================================================-->
+ <part id="P1">
+ <measure number="1">
+ <attributes>
+ <divisions>2</divisions>
+ <key>
+ <fifths>0</fifths>
+ <mode>major</mode>
+ </key>
+ <time symbol="cut">
+ <beats>3</beats>
+ <beat-type>8</beat-type>
+ </time>
+ <clef>
+ <sign>G</sign>
+ <line>2</line>
+ </clef>
+ </attributes>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>3</duration>
+ <voice>1</voice>
+ <type>quarter</type>
+ <dot/>
+ </note>
+ </measure>
+ <!--=========================================================-->
+ <measure number="2">
+ <attributes>
+ <time symbol="single-number">
+ <beats>3+2</beats>
+ <beat-type>8</beat-type>
+ </time>
+ </attributes>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>4</duration>
+ <voice>1</voice>
+ <type>half</type>
+ </note>
+ </measure>
+ <!--=========================================================-->
+ <measure number="3">
+ <attributes>
+ <time symbol="single-number">
+ <beats>1</beats>
+ <beat-type>8</beat-type>
+ <beats>2</beats>
+ <beat-type>4</beat-type>
+ </time>
+ </attributes>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>1</duration>
+ <voice>1</voice>
+ <type>eighth</type>
+ </note>
+ <note>
+ <pitch>
+ <step>B</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>4</duration>
+ <voice>1</voice>
+ <type>half</type>
+ </note>
+ <barline location="right">
+ <bar-style>light-heavy</bar-style>
+ </barline>
+ </measure>
+ </part>
+ <!--=========================================================-->
+</score-partwise>
--- /dev/null
+@section Key signatures
+
--- /dev/null
+<?xml version="1.0" encoding="UTF-8"?>
+<!DOCTYPE score-partwise PUBLIC "-//Recordare//DTD MusicXML 1.0 Partwise//EN"
+ "http://www.musicxml.org/dtds/partwise.dtd">
+<score-partwise>
+ <identification>
+ <miscellaneous>
+ <miscellaneous-field name="description">Non-traditional key signatures,
+ where each alteration is separately given. Here we have (f sharp,
+ a flat, b flat) and (c flatflat, g sharp sharp, d flat, b sharp, f
+ natural), where in the second case an explicit octave is given for
+ each alteration.</miscellaneous-field>
+ </miscellaneous>
+ </identification>
+ <part-list>
+ <score-part id="P1">
+ <part-name>MusicXML Part</part-name>
+ </score-part>
+ </part-list>
+ <!--=========================================================-->
+ <part id="P1">
+ <measure number="1">
+ <attributes>
+ <divisions>1</divisions>
+ <key>
+ <key-step>3</key-step>
+ <key-alter>1</key-alter>
+ <key-step>5</key-step>
+ <key-alter>-1</key-alter>
+ <key-step>6</key-step>
+ <key-alter>-1</key-alter>
+ </key>
+ <time>
+ <beats>2</beats>
+ <beat-type>4</beat-type>
+ </time>
+ <clef>
+ <sign>G</sign>
+ <line>2</line>
+ </clef>
+ </attributes>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>half</type>
+ </note>
+ </measure>
+ <measure number="2">
+ <attributes>
+ <key>
+ <key-step>0</key-step>
+ <key-alter>-2</key-alter>
+ <key-step>4</key-step>
+ <key-alter>2</key-alter>
+ <key-step>1</key-step>
+ <key-alter>-1</key-alter>
+ <key-step>6</key-step>
+ <key-alter>1</key-alter>
+ <key-step>5</key-step>
+ <key-alter>0</key-alter>
+ <key-octave number="1">2</key-octave>
+ <key-octave number="2">3</key-octave>
+ <key-octave number="3">4</key-octave>
+ <key-octave number="4">5</key-octave>
+ <key-octave number="5">6</key-octave>
+ </key>
+ </attributes>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>half</type>
+ </note>
+ <barline location="right">
+ <bar-style>light-heavy</bar-style>
+ </barline>
+ </measure>
+ </part>
+</score-partwise>
+
--- /dev/null
+<?xml version="1.0" encoding="UTF-8"?>
+<!DOCTYPE score-partwise PUBLIC "-//Recordare//DTD MusicXML 1.0 Partwise//EN"
+ "http://www.musicxml.org/dtds/partwise.dtd">
+<score-partwise>
+ <identification>
+ <miscellaneous>
+ <miscellaneous-field name="description">Non-traditional key signatures
+ with microtone alterations: (g flat-and-a-half,
+ a flat, b half-flat, c natural, d half-sharp, e sharp, f
+ sharp-and-a-half).</miscellaneous-field>
+ </miscellaneous>
+ </identification>
+ <part-list>
+ <score-part id="P1">
+ <part-name>MusicXML Part</part-name>
+ </score-part>
+ </part-list>
+ <!--=========================================================-->
+ <part id="P1">
+ <measure number="1">
+ <attributes>
+ <divisions>1</divisions>
+ <key>
+ <key-step>4</key-step>
+ <key-alter>-1.5</key-alter>
+ <key-step>5</key-step>
+ <key-alter>-1</key-alter>
+ <key-step>6</key-step>
+ <key-alter>-0.5</key-alter>
+ <key-step>0</key-step>
+ <key-alter>0</key-alter>
+ <key-step>1</key-step>
+ <key-alter>0.5</key-alter>
+ <key-step>2</key-step>
+ <key-alter>1</key-alter>
+ <key-step>3</key-step>
+ <key-alter>1.5</key-alter>
+ </key>
+ <time>
+ <beats>2</beats>
+ <beat-type>4</beat-type>
+ </time>
+ <clef>
+ <sign>G</sign>
+ <line>2</line>
+ </clef>
+ </attributes>
+ <note>
+ <pitch>
+ <step>C</step>
+ <octave>4</octave>
+ </pitch>
+ <duration>2</duration>
+ <voice>1</voice>
+ <type>half</type>
+ </note>
+ <barline location="right">
+ <bar-style>light-heavy</bar-style>
+ </barline>
+ </measure>
+ </part>
+</score-partwise>
+
/* create */
"Accidental "
"AccidentalCautionary "
+ "AccidentalPlacement "
"AccidentalSuggestion ",
/* read */
}
-LY_DEFINE (ly_font_load, "ly:font-load", 1, 0, 0,
+LY_DEFINE (ly_system_font_load, "ly:system-font-load", 1, 0, 0,
(SCM name),
- "Load the font @var{name}.")
+ "Load the OpenType system font @file{@var{name}.otf}."
+ " Fonts loaded with this command must contain three"
+ " additional SFNT font tables called @code{LILC},"
+ " @code{LILF}, and @code{LILY}, needed for typesetting"
+ " musical elements. Currently, only the Emmentaler and"
+ " the Aybabtu fonts fulfill these requirements.\n"
+ "\n"
+ "Note that only @code{ly:font-get-glyph} and derived"
+ " code (like @code{\\lookup}) can access glyphs from"
+ " the system fonts; text strings are handled exclusively"
+ " via the Pango interface.")
{
LY_ASSERT_TYPE (scm_is_string, name, 1);
return fm->self_scm ();
}
-
-
{
if (ambitus_ && !pitch_interval_.is_empty ())
{
- Grob * accidental_placement =
+ Grob *accidental_placement =
make_item ("AccidentalPlacement",
accidentals_[DOWN]->self_scm ());
"",
/* create */
+ "AccidentalPlacement "
"Ambitus "
+ "AmbitusAccidental "
"AmbitusLine "
- "AmbitusNoteHead "
- "AmbitusAccidental ",
+ "AmbitusNoteHead ",
/* read */
"",
SCM class_symbol = ev->get_property ("class");
if (!scm_symbol_p (class_symbol))
{
- warning (_f ("Event class should be a symbol"));
+ warning (_ ("Event class should be a symbol"));
return;
}
}
if (be_verbose_global)
- progress_indication ("Building font database.\n");
+ message (_ ("Building font database."));
FcConfigBuildFonts (font_config_global);
FcConfigSetCurrent (font_config_global);
if (be_verbose_global)
- progress_indication ("\n");
+ message ("\n");
if (cache_file
&& !is_file ((char*)cache_file))
2, 0, 0,
(SCM font, SCM name),
"Return a stencil from @var{font} for the glyph named @var{name}."
- " If the glyph is not available, return an empty stencil.")
+ " If the glyph is not available, return an empty stencil.\n"
+ "\n"
+ "Note that this command can only be used to access glyphs from"
+ " fonts loaded with @code{ly:system-font-load}; currently, this"
+ " means either the Emmentaler or Aybabtu fonts, corresponding"
+ " to the font encodings @code{fetaMusic} and @code{fetaBraces},"
+ " respectively.")
{
Font_metric *fm = unsmob_metrics (font);
LY_ASSERT_SMOB (Font_metric, font, 1);
2, 0, 0,
(SCM font, SCM index),
"Retrieve a stencil for the glyph numbered @var{index}"
- " in @var{font}.")
+ " in @var{font}.\n"
+ "\n"
+ "Note that this command can only be used to access glyphs from"
+ " fonts loaded with @code{ly:system-font-load}; currently, this"
+ " means either the Emmentaler or Aybabtu fonts, corresponding"
+ " to the font encodings @code{fetaMusic} and @code{fetaBraces},"
+ " respectively.")
{
Font_metric *fm = unsmob_metrics (font);
LY_ASSERT_SMOB (Font_metric, font, 1);
LY_DEFINE (ly_font_glyph_name_to_index, "ly:font-glyph-name-to-index",
2, 0, 0,
(SCM font, SCM name),
- "Return the index for @var{name} in @var{font}.")
+ "Return the index for @var{name} in @var{font}.\n"
+ "\n"
+ "Note that this command can only be used to access glyphs from"
+ " fonts loaded with @code{ly:system-font-load}; currently, this"
+ " means either the Emmentaler or Aybabtu fonts, corresponding"
+ " to the font encodings @code{fetaMusic} and @code{fetaBraces},"
+ " respectively.")
{
Font_metric *fm = unsmob_metrics (font);
LY_ASSERT_SMOB (Font_metric, font, 1);
LY_DEFINE (ly_font_index_to_charcode, "ly:font-index-to-charcode",
2, 0, 0,
(SCM font, SCM index),
- "Return the character code for @var{index} in @var{font}.")
+ "Return the character code for @var{index} in @var{font}.\n"
+ "\n"
+ "Note that this command can only be used to access glyphs from"
+ " fonts loaded with @code{ly:system-font-load}; currently, this"
+ " means either the Emmentaler or Aybabtu fonts, corresponding"
+ " to the font encodings @code{fetaMusic} and @code{fetaBraces},"
+ " respectively.")
{
Font_metric *fm = unsmob_metrics (font);
LY_ASSERT_SMOB (Font_metric, font, 1);
LY_DEFINE (ly_font_glyph_name_to_charcode, "ly:font-glyph-name-to-charcode",
2, 0, 0,
(SCM font, SCM name),
- "Return the character code for glyph @var{name} in @var{font}.")
+ "Return the character code for glyph @var{name} in @var{font}.\n"
+ "\n"
+ "Note that this command can only be used to access glyphs from"
+ " fonts loaded with @code{ly:system-font-load}; currently, this"
+ " means either the Emmentaler or Aybabtu fonts, corresponding"
+ " to the font encodings @code{fetaMusic} and @code{fetaBraces},"
+ " respectively.")
{
Font_metric *fm = unsmob_metrics (font);
LY_ASSERT_SMOB (Font_metric, font, 1);
/*
- Interface to all .afm files living in the filesystem.
+ Interface to all fonts (both system fonts and fonts loaded
+ via Pango).
*/
class All_font_metrics
{
SCM ly_reset_all_fonts ();
#endif /* ALL_FONTS_HH */
-
{
if (primitives.size () < 2)
{
- warning (_f ("ligature with less than 2 heads -> skipping"));
+ warning (_ ("ligature with less than 2 heads -> skipping"));
return;
}
int prev_pitch = 0;
if (!nr->in_event_class ("note-event"))
{
nr->origin ()->warning
- (_f ("cannot determine pitch of ligature primitive -> skipping"));
+ (_ ("cannot determine pitch of ligature primitive -> skipping"));
at_beginning = true;
continue;
}
{
// we can get here after invalid input
nr->origin ()->warning
- (_f ("single note ligature - skipping"));
+ (_ ("single note ligature - skipping"));
break;
}
prev_semibrevis = prev_brevis_shape = false;
if (delta_pitch == 0)
{
nr->origin ()->warning
- (_f ("prime interval within ligature -> skipping"));
+ (_ ("prime interval within ligature -> skipping"));
at_beginning = true;
primitive->set_property ("primitive",
scm_from_int (MLP_NONE));
|| duration_log > 0)
{
nr->origin ()->warning
- (_f ("mensural ligature: duration none of Mx, L, B, S -> skipping"));
+ (_ ("mensural ligature: duration none of Mx, L, B, S -> skipping"));
primitive->set_property ("primitive",
scm_from_int (MLP_NONE));
at_beginning = true;
else
{
nr->origin ()->warning
- (_f ("semibrevis must be followed by another one -> skipping"));
+ (_ ("semibrevis must be followed by another one -> skipping"));
primitive->set_property ("primitive",
scm_from_int (MLP_NONE));
at_beginning = true;
else if (duration_log == 0)
{
nr->origin ()->warning
- (_f ("semibreves can only appear at the beginning of a ligature,\n"
- "and there may be only zero or two of them"));
+ (_ ("semibreves can only appear at the beginning of a ligature,\n"
+ "and there may be only zero or two of them"));
primitive->set_property ("primitive",
scm_from_int (MLP_NONE));
at_beginning = true;
else
{
nr->origin ()->warning
- (_f ("invalid ligatura ending:\n"
- "when the last note is a descending brevis,\n"
- "the penultimate note must be another one,\n"
- "or the ligatura must be LB or SSB"));
+ (_ ("invalid ligatura ending:\n"
+ "when the last note is a descending brevis,\n"
+ "the penultimate note must be another one,\n"
+ "or the ligatura must be LB or SSB"));
primitive->set_property ("primitive", scm_from_int (MLP_NONE));
break;
}
scm_from_double (flexa_width));
break;
default:
- programming_error (_f ("unexpected case fall-through"));
+ programming_error (_ ("unexpected case fall-through"));
break;
}
}
out = brew_flexa (me, delta_pitch, false, width, thickness);
break;
default:
- programming_error (_f ("Mensural_ligature: "
- "unexpected case fall-through"));
+ programming_error (_ ("Mensural_ligature: "
+ "unexpected case fall-through"));
return Lookup::blank (Box (Interval (0, 0), Interval (0, 0)));
}
out.add_stencil (join);
}
else
- programming_error (_f ("Mensural_ligature: (join_right == 0)"));
+ programming_error (_ ("Mensural_ligature: (join_right == 0)"));
}
#if 0 /* what happend with the ledger lines? */
size_t written = fwrite (str.data (), sz, n, out_file_);
if (written != sz * n)
- warning (_ ("cannot write to file: `%s'"));
+ warning (_f ("cannot write to file: `%s'", str.data ()));
}
void
{
SCM perm = break_events_[i]->get_property ("break-permission");
if (perm == ly_symbol2scm ("force") || perm == ly_symbol2scm ("allow"))
- warning (_f ("forced break was overridden by some other event, should you be using bar checks?"));
+ warning (_ ("forced break was overridden by some other event, "
+ "should you be using bar checks?"));
}
}
else if (Paper_column::is_breakable (command_column_))
// FIXME:
gi.event_cause ()->origin ()->warning (_f ("adding note head to incompatible stem (type = %d)",
1 << Stem::duration_log (stem_)));
- gi.event_cause ()->origin ()->warning (_f ("maybe input should specify polyphonic voices"));
+ gi.event_cause ()->origin ()->warning (_ ("maybe input should specify polyphonic voices"));
}
Stem::add_head (stem_, gi.grob ());
tuplets_.pop_back ();
}
else if (!to_boolean (get_property ("skipTypesetting")))
- ev->origin ()->warning (_f ("No tuplet to end"));
+ ev->origin ()->warning (_ ("No tuplet to end"));
}
else
ev->origin ()->programming_error ("direction tuplet-span-event_ invalid.");
Real staff_space = Staff_symbol_referencer::staff_space (me);
if (!delta_pitch)
{
- me->programming_error (_f ("Vaticana_ligature: "
- "zero join (delta_pitch == 0)"));
+ me->programming_error (_ ("Vaticana_ligature: "
+ "zero join (delta_pitch == 0)"));
return Lookup::blank (Box (Interval (0, 0), Interval (0, 0)));
}
Interval x_extent = Interval (0, join_thickness);
Music expression as a .ly file.
"""
- ## TODO: support for \relative.
def __init__ (self):
self._line = ''
# Implement the different note names for the various languages
def pitch_generic (pitch, notenames, accidentals):
str = notenames[pitch.step]
- if pitch.alteration < 0:
- str += accidentals[0] * (-pitch.alteration)
+ halftones = int (pitch.alteration)
+ if halftones < 0:
+ str += accidentals[0] * (-halftones)
elif pitch.alteration > 0:
- str += accidentals[3] * (pitch.alteration)
+ str += accidentals[3] * (halftones)
+ # Handle remaining fraction to pitch.alteration (for microtones)
+ if (halftones != pitch.alteration):
+ if None in accidentals[1:3]:
+ warning (_ ("Language does not support microtones contained in the piece"))
+ else:
+ try:
+ str += {-0.5: accidentals[1], 0.5: accidentals[2]}[pitch.alteration-halftones]
+ except KeyError:
+ warning (_ ("Language does not support microtones contained in the piece"))
return str
def pitch_general (pitch):
return pitch_deutsch (pitch)
def pitch_svenska (pitch):
- str = pitch_generic (pitch, ['c', 'd', 'e', 'f', 'g', 'a', 'h'], ['ess', '', '', 'iss'])
+ str = pitch_generic (pitch, ['c', 'd', 'e', 'f', 'g', 'a', 'h'], ['ess', None, None, 'iss'])
return str.replace ('hess', 'b').replace ('aes', 'as').replace ('ees', 'es')
def pitch_italiano (pitch):
return pitch_italiano (pitch)
def pitch_espanol (pitch):
- str = pitch_generic (pitch, ['do', 're', 'mi', 'fa', 'sol', 'la', 'si'], ['b', '', '', 's'])
+ str = pitch_generic (pitch, ['do', 're', 'mi', 'fa', 'sol', 'la', 'si'], ['b', None, None, 's'])
return str
def pitch_vlaams (pitch):
- str = pitch_generic (pitch, ['do', 're', 'mi', 'fa', 'sol', 'la', 'si'], ['b', '', '', 'k'])
+ str = pitch_generic (pitch, ['do', 're', 'mi', 'fa', 'sol', 'la', 'si'], ['b', None, None, 'k'])
return str
def set_pitch_language (language):
pitches = []
basepitch = None
for x in note_events:
- pitches.append (x.pitch.ly_expression ())
+ pitches.append (x.chord_element_ly ())
if not basepitch:
basepitch = previous_pitch
printer ('<%s>' % string.join (pitches))
else:
return ''
+
+class FunctionWrapperEvent (Event):
+ def __init__ (self, function_name = None):
+ Event.__init__ (self)
+ self.function_name = function_name
+ def pre_note_ly (self, is_chord_element):
+ if self.function_name:
+ return "\\%s" % self.function_name
+ else:
+ return ''
+ def pre_chord_ly (self):
+ return ''
+ def ly_expression (self):
+ if self.function_name:
+ return "\\%s" % self.function_name
+ else:
+ return ''
+
+class ParenthesizeEvent (FunctionWrapperEvent):
+ def __init__ (self):
+ FunctionWrapperEvent.__init__ (self, "parenthesize")
+
+class NotestyleEvent (Event):
+ def __init__ (self):
+ Event.__init__ (self)
+ self.style = None
+ self.filled = None
+ def pre_chord_ly (self):
+ if self.style:
+ return "\\once \\override NoteHead #'style = #%s" % self.style
+ else:
+ return ''
+ def pre_note_ly (self, is_chord_element):
+ if self.style and is_chord_element:
+ return "\\tweak #'style #%s" % self.style
+ else:
+ return ''
+ def ly_expression (self):
+ return self.pre_chord_ly ()
+
+
class ChordPitch:
def __init__ (self):
self.alteration = 0
class BendEvent (ArticulationEvent):
def __init__ (self):
Event.__init__ (self)
- self.alter = 0
+ self.alter = None
def ly_expression (self):
- if self.alter:
+ if self.alter != None:
return "-\\bendAfter #%s" % self.alter
else:
return ''
def __init__ (self):
Event.__init__ (self)
self.duration = Duration()
-
+ self.associated_events = []
+
+ def add_associated_event (self, ev):
+ if ev:
+ self.associated_events.append (ev)
+
+ def pre_chord_ly (self):
+ return [ev.pre_chord_ly () for ev in self.associated_events]
+
+ def pre_note_ly (self, is_chord_element):
+ return [ev.pre_note_ly (is_chord_element) for ev in self.associated_events]
+
+ def ly_expression_pre_note (self, is_chord_element):
+ res = string.join (self.pre_note_ly (is_chord_element), ' ')
+ if res != '':
+ res = res + ' '
+ return res
+
def get_length (self):
return self.duration.get_length()
def __init__ (self):
RhythmicEvent.__init__ (self)
self.pitch = None
+
def ly_expression (self):
+ res = self.ly_expression_pre_note (False)
if self.pitch:
- return "%s%s\\rest" % (self.pitch.ly_expression (), self.duration.ly_expression ())
+ return res + "%s%s\\rest" % (self.pitch.ly_expression (), self.duration.ly_expression ())
else:
return 'r%s' % self.duration.ly_expression ()
def print_ly (self, printer):
+ for ev in self.associated_events:
+ ev.print_ly (printer)
if self.pitch:
self.pitch.print_ly (printer)
self.duration.print_ly (printer)
self.drum_type = None
self.cautionary = False
self.forced_accidental = False
-
+
def get_properties (self):
str = RhythmicEvent.get_properties (self)
excl_question += '!'
return excl_question
-
+
def ly_expression (self):
+ # obtain all stuff that needs to be printed before the note:
+ res = self.ly_expression_pre_note (True)
if self.pitch:
- return '%s%s%s' % (self.pitch.ly_expression (),
+ return res + '%s%s%s' % (self.pitch.ly_expression (),
self.pitch_mods(),
self.duration.ly_expression ())
elif self.drum_type:
- return '%s%s' (self.drum_type,
+ return res + '%s%s' (self.drum_type,
self.duration.ly_expression ())
+ def chord_element_ly (self):
+ # obtain all stuff that needs to be printed before the note:
+ res = self.ly_expression_pre_note (True)
+ if self.pitch:
+ return res + '%s%s' % (self.pitch.ly_expression (),
+ self.pitch_mods())
+ elif self.drum_type:
+ return res + '%s%s' (self.drum_type)
+
+
def print_ly (self, printer):
+ for ev in self.associated_events:
+ ev.print_ly (printer)
if self.pitch:
self.pitch.print_ly (printer)
printer (self.pitch_mods ())
class KeySignatureChange (Music):
def __init__ (self):
Music.__init__ (self)
- self.scale = []
- self.tonic = Pitch()
+ self.tonic = None
self.mode = 'major'
-
+ self.non_standard_alterations = None
+
+ def format_non_standard_alteration (self, a):
+ alter_dict = { -2: ",DOUBLE-FLAT",
+ -1.5: ",THREE-Q-FLAT",
+ -1: ",FLAT",
+ -0.5: ",SEMI-FLAT",
+ 0: ",NATURAL",
+ 0.5: ",SEMI-SHARP",
+ 1: ",SHARP",
+ 1.5: ",THREE-Q-SHARP",
+ 2: ",DOUBLE-SHARP"}
+ try:
+ accidental = alter_dict[a[1]]
+ except KeyError:
+ warning (_ ("Unable to convert alteration %s to a lilypond expression") % a[1])
+ return ''
+ if len (a) == 2:
+ return "( %s . %s )" % (a[0], accidental)
+ elif len (a) == 3:
+ return "(( %s . %s ) . %s )" % (a[2], a[0], accidental)
+ else:
+ return ''
+
def ly_expression (self):
- return '\\key %s \\%s' % (self.tonic.ly_step_expression (),
+ if self.tonic:
+ return '\\key %s \\%s' % (self.tonic.ly_step_expression (),
self.mode)
-
- def lisp_expression (self):
- pairs = ['(%d . %d)' % (i , self.scale[i]) for i in range (0,7)]
- scale_str = ("'(%s)" % string.join (pairs))
-
- return """ (make-music 'KeyChangeEvent
- 'pitch-alist %s) """ % scale_str
+ elif self.non_standard_alterations:
+ alterations = [self.format_non_standard_alteration (a) for
+ a in self.non_standard_alterations]
+ # TODO: Check if the alterations should really be given in reverse
+ # order of if that's just a bug in Lilypond. If it's a bug,
+ # fix it and remove the following call, otherwise add a
+ # proper comment here!
+ alterations.reverse ()
+ return "\\set Staff.keySignature = #`(%s)" % string.join (alterations, " ")
+ else:
+ return ''
class TimeSignatureChange (Music):
def __init__ (self):
Music.__init__ (self)
- self.fraction = (4,4)
+ self.fractions = [4,4]
+ self.style = None
def ly_expression (self):
- return '\\time %d/%d ' % self.fraction
+ st = ''
+ # Print out the style if we have ome, but the '() should only be
+ # forced for 2/2 or 4/4, since in all other cases we'll get numeric
+ # signatures anyway despite the default 'C signature style!
+ is_common_signature = self.fractions in ([2,2], [4,4], [4,2])
+ if self.style:
+ if (self.style != "'()") or is_common_signature:
+ st = "\\once \\override Staff.TimeSignature #'style = #%s " % self.style
+
+ # Easy case: self.fractions = [n,d] => normal \time n/d call:
+ if len (self.fractions) == 2 and isinstance (self.fractions[0], int):
+ return st + '\\time %d/%d ' % tuple (self.fractions)
+ elif self.fractions and not isinstance (self.fractions[0], list):
+ # TODO: Implement non-standard time-signatures
+ return st + ''
+ else:
+ # TODO: Implement non-standard time-signatures
+ return st + ''
class ClefChange (Music):
def __init__ (self):
'longa': -2,
'long': -2}.get (dur, 0)
+def interpret_alter_element (alter_elm):
+ alter = 0
+ if alter_elm:
+ val = eval(alter_elm.get_text ())
+ if type (val) in (int, float):
+ alter = val
+ return alter
class Xml_node:
def get_alteration (self):
ch = self.get_maybe_exist_typed_child (get_class (u'alter'))
- alter = 0
- if ch:
- alter = int (ch.get_text ().strip ())
- return alter
+ return interpret_alter_element (ch)
class Unpitched (Music_xml_node):
def get_step (self):
Measure_element.__init__ (self)
self._dict = {}
self._original_tag = None
+ self._time_signature_cache = None
def is_first (self):
cn = self._parent.get_typed_children (self.__class__)
def get_named_attribute (self, name):
return self._dict.get (name)
+
+ def single_time_sig_to_fraction (self, sig):
+ if len (sig) < 2:
+ return 0
+ n = 0
+ for i in sig[0:-1]:
+ n += i
+ return Rational (n, sig[-1])
def get_measure_length (self):
- (n,d) = self.get_time_signature ()
- return Rational (n,d)
+ sig = self.get_time_signature ()
+ if not sig or len (sig) == 0:
+ return 1
+ if isinstance (sig[0], list):
+ # Complex compound time signature
+ l = 0
+ for i in sig:
+ l += self.single_time_sig_to_fraction (i)
+ return l
+ else:
+ # Simple (maybe compound) time signature of the form (beat, ..., type)
+ return self.single_time_sig_to_fraction (sig)
+ return 0
def get_time_signature (self):
- "return time sig as a (beat, beat-type) tuple"
+ "Return time sig as a (beat, beat-type) tuple. For compound signatures,"
+ "return either (beat, beat,..., beat-type) or ((beat,..., type), "
+ "(beat,..., type), ...)."
+ if self._time_signature_cache:
+ return self._time_signature_cache
try:
mxl = self.get_named_attribute ('time')
- if mxl:
- beats = mxl.get_maybe_exist_named_child ('beats')
- type = mxl.get_maybe_exist_named_child ('beat-type')
- return (int (beats.get_text ()),
- int (type.get_text ()))
- else:
+ if not mxl:
+ return None
+
+ if mxl.get_maybe_exist_named_child ('senza-misura'):
+ # TODO: Handle pieces without a time signature!
+ error (_ ("Senza-misura time signatures are not yet supported!"))
return (4, 4)
- except KeyError:
- error (_ ("requested time signature, but time sig is unknown"))
+ else:
+ signature = []
+ current_sig = []
+ for i in mxl.get_all_children ():
+ if isinstance (i, Beats):
+ beats = string.split (i.get_text ().strip (), "+")
+ current_sig = [int (j) for j in beats]
+ elif isinstance (i, BeatType):
+ current_sig.append (int (i.get_text ()))
+ signature.append (current_sig)
+ current_sig = []
+ if isinstance (signature[0], list) and len (signature) == 1:
+ signature = signature[0]
+ self._time_signature_cache = signature
+ return signature
+ except (KeyError, ValueError):
+ self.message (_ ("Unable to interpret time signature! Falling back to 4/4."))
return (4, 4)
# returns clef information in the form ("cleftype", position, octave-shift)
return clefinfo
def get_key_signature (self):
- "return (fifths, mode) tuple"
+ "return (fifths, mode) tuple if the key signatures is given as "
+ "major/minor in the Circle of fifths. Otherwise return an alterations"
+ "list of the form [[step,alter<,octave>], [step,alter<,octave>], ...], "
+ "where the octave values are optional."
key = self.get_named_attribute ('key')
- mode_node = key.get_maybe_exist_named_child ('mode')
- mode = None
- if mode_node:
- mode = mode_node.get_text ()
- if not mode or mode == '':
- mode = 'major'
-
- fifths = int (key.get_maybe_exist_named_child ('fifths').get_text ())
- return (fifths, mode)
-
+ if not key:
+ return None
+ fifths_elm = key.get_maybe_exist_named_child ('fifths')
+ if fifths_elm:
+ mode_node = key.get_maybe_exist_named_child ('mode')
+ mode = None
+ if mode_node:
+ mode = mode_node.get_text ()
+ if not mode or mode == '':
+ mode = 'major'
+ fifths = int (fifths_elm.get_text ())
+ # TODO: Shall we try to convert the key-octave and the cancel, too?
+ return (fifths, mode)
+ else:
+ alterations = []
+ current_step = 0
+ for i in key.get_all_children ():
+ if isinstance (i, KeyStep):
+ current_step = int (i.get_text ())
+ elif isinstance (i, KeyAlter):
+ alterations.append ([current_step, interpret_alter_element (i)])
+ elif isinstance (i, KeyOctave):
+ nr = -1
+ if hasattr (i, 'number'):
+ nr = int (i.number)
+ if (nr > 0) and (nr <= len (alterations)):
+ # MusicXML Octave 4 is middle C -> shift to 0
+ alterations[nr-1].append (int (i.get_text ())-4)
+ else:
+ i.message (_ ("Key alteration octave given for a "
+ "non-existing alteration nr. %s, available numbers: %s!") % (nr, len(alterations)))
+ i.message ( "Non-standard key signature (after octave %s for alter nr %s): %s" % (i.get_text (), nr, alterations))
+ i.message ( "Non-standard key signature with alterations %s found!" % alterations)
+ return alterations
+
def get_transposition (self):
return self.get_named_attribute ('transpose')
-
+
+class KeyAlter (Music_xml_node):
+ pass
+class KeyStep (Music_xml_node):
+ pass
+class KeyOctave (Music_xml_node):
+ pass
class Barline (Measure_element):
def continued (self):
text = self.get_text()
return (text == "begin") or (text == "middle")
+class Elision (Music_xml_node):
+ pass
class Text (Music_xml_node):
pass
else:
return -1
- def lyric_to_text (self):
- continued = False
- syllabic = self.get_maybe_exist_typed_child (Syllabic)
- if syllabic:
- continued = syllabic.continued ()
- text = self.get_maybe_exist_typed_child (Text)
-
- if text:
- text = text.get_text()
- # We need to convert soft hyphens to -, otherwise the ascii codec as well
- # as lilypond will barf on that character
- text = string.replace( text, u'\xad', '-' )
-
- if text == "-" and continued:
- return "--"
- elif text == "_" and continued:
- return "__"
- elif continued and text:
- return escape_ly_output_string (text) + " --"
- elif continued:
- return "--"
- elif text:
- return escape_ly_output_string (text)
- else:
- return ""
-
class Musicxml_voice:
def __init__ (self):
self._elements = []
class Bend (Music_xml_node):
def bend_alter (self):
alter = self.get_maybe_exist_named_child ('bend-alter')
- if alter:
- return alter.get_text()
- else:
- return 0
+ return interpret_alter_element (alter)
class Words (Music_xml_node):
pass
return ch.get_text ().strip ()
def get_alteration (self):
ch = self.get_maybe_exist_typed_child (get_class (self.alter_class_name ()))
- alter = 0
- if ch:
- alter = int (ch.get_text ().strip ())
- return alter
+ return interpret_alter_element (ch)
class Root (ChordPitch):
pass
return value
def get_alter (self):
ch = self.get_maybe_exist_typed_child (get_class (u'degree-alter'))
- value = 0
- if ch:
- value = int (ch.get_text ().strip ())
- return value
+ return interpret_alter_element (ch)
class Frame (Music_xml_node):
class FiguredBass (Music_xml_node):
pass
+class Beats (Music_xml_node):
+ pass
+
+class BeatType (Music_xml_node):
+ pass
+
class BeatUnit (Music_xml_node):
pass
'bar-style': BarStyle,
'bass': Bass,
'beam' : Beam,
+ 'beats': Beats,
+ 'beat-type': BeatType,
'beat-unit': BeatUnit,
'beat-unit-dot': BeatUnitDot,
'bend' : Bend,
'direction': Direction,
'direction-type': DirType,
'duration': Duration,
+ 'elision': Elision,
'frame': Frame,
'frame-note': Frame_Note,
'figured-bass': FiguredBass,
'grace': Grace,
'harmony': Harmony,
'identification': Identification,
+ 'key-alter': KeyAlter,
+ 'key-octave': KeyOctave,
+ 'key-step': KeyStep,
'lyric': Lyric,
'measure': Measure,
'notations': Notations,
but it controls cautionary accidentals rather than normal ones. Both
lists are tried, and the one giving the most accidentals wins. In
case of draw, a normal accidental is typeset.")
- (automaticBars ,boolean? "If set to true then bar lines will not
+ (automaticBars ,boolean? "If set to false then bar lines will not
be printed automatically; they must be explicitly created with a
-@code{\\bar} command. Unlike the @code{\\cadenza} keyword, measures
-are still counted. Bar generation will resume according to that count
-if this property is unset.")
+@code{\\bar} command. Unlike the @code{\\cadenzaOn} keyword, measures
+are still counted. Bar line generation will resume according to that
+count if this property is unset.")
(barAlways ,boolean? "If set to true a bar line is drawn after
)))
(define-method (display (node <Font-tree-node>) port)
-
(map
(lambda (x)
(display x port))
-
(list
"Font_node {\nqual: "
(font-qualifier node)
(hash-table->alist (font-children node)))
(display "} }\n"))
-
(define default-qualifier-order
'(font-encoding font-family font-shape font-series))
(new-fprops (assoc-delete q fprops))
(child (hashq-ref (slot-ref node 'children)
v #f)))
-
-
(if (not child)
(begin
(set! child (make-node new-fprops size-family))
(if (pair? new-fprops)
(add-font child new-fprops size-family))))
-
(define-method (add-font (node <Font-tree-leaf>) fprops size-family)
(throw "must add to node, not leaf"))
-
(define-method (g-lookup-font (node <Font-tree-node>) alist-chain)
(let* ((qual (font-qualifier node))
(def (font-default node))
(g-lookup-font desired-child alist-chain)
(g-lookup-font (hashq-ref (font-children node) def) alist-chain))))
-
(define-method (g-lookup-font (node <Font-tree-leaf>) alist-chain)
node)
-;; two step call is handy for debugging.
+;; two step call is handy for debugging.
(define (lookup-font node alist-chain)
(g-lookup-font node alist-chain))
-;; Each size family is a vector of fonts, loaded with a delay. The
-;; vector should be sorted according to ascending design size.
+
+;; Ugh. Currently, we load the PFB Feta fonts for `fetaDynamic' with
+;; Pango. This should be changed to load the Emmentaler fonts instead
+;; (with Pango too), but then we need support for a `font-style'
+;; property which isn't implemented yet.
(define feta-alphabet-size-vector
- (if (defined? 'ly:kpathsea-find-file)
- `#(,(delay (ly:font-load "feta-alphabet11"))
- ,(delay (ly:font-load "feta-alphabet13"))
- ,(delay (ly:font-load "feta-alphabet14"))
- ,(delay (ly:font-load "feta-alphabet16"))
- ,(delay (ly:font-load "feta-alphabet18"))
- ,(delay (ly:font-load "feta-alphabet20"))
- ,(delay (ly:font-load "feta-alphabet23"))
- ,(delay (ly:font-load "feta-alphabet26")))
- (list->vector
- (map (lambda (tup)
- (cons (ly:pt (cdr tup))
- (format "feta-alphabet~a ~a"
- (car tup)
- (ly:pt (cdr tup)))))
- '((11 . 11.22)
- (13 . 12.60)
- (14 . 14.14)
- (16 . 15.87)
- (18 . 17.82)
- (20 . 20)
- (23 . 22.45)
- (26 . 25.20))))))
+ (list->vector
+ (map (lambda (tup)
+ (cons (ly:pt (cdr tup))
+ (format "feta-alphabet~a ~a"
+ (car tup)
+ (ly:pt (cdr tup)))))
+ '((11 . 11.22)
+ (13 . 12.60)
+ (14 . 14.14)
+ (16 . 15.87)
+ (18 . 17.82)
+ (20 . 20)
+ (23 . 22.45)
+ (26 . 25.20)))))
+;; Each size family is a vector of fonts, loaded with a delay. The
+;; vector should be sorted according to ascending design size.
(define-public (add-music-fonts node factor)
(for-each
(lambda (x)
(list (cons 'font-encoding (car x)))
(cons (* factor (cadr x))
(caddr x))))
- `((fetaDynamic ,(ly:pt 20.0) ,feta-alphabet-size-vector)
- (fetaNumber ,(ly:pt 20.0) ,feta-alphabet-size-vector)
+ `((fetaDynamic ,(ly:pt 20.0) ,feta-alphabet-size-vector)
+ (fetaNumber ,(ly:pt 20.0) ,feta-alphabet-size-vector)
(fetaMusic ,(ly:pt 20.0)
- #(,(delay (ly:font-load "emmentaler-11"))
- ,(delay (ly:font-load "emmentaler-13"))
- ,(delay (ly:font-load "emmentaler-14"))
- ,(delay (ly:font-load "emmentaler-16"))
- ,(delay (ly:font-load "emmentaler-18"))
- ,(delay (ly:font-load "emmentaler-20"))
- ,(delay (ly:font-load "emmentaler-23"))
- ,(delay (ly:font-load "emmentaler-26"))))
-
- (fetaBraces ,(ly:pt 20.0) #(,(delay
- (ly:font-load "aybabtu")))))))
-
-(define-public (add-cmr-fonts node factor)
- (add-font node '((font-encoding . TeX-math))
- `(,(* factor 10) . #(,(delay (ly:font-load "msam10")))))
- (for-each
- (lambda (x)
- (add-font node `((font-encoding . TeX-text)
- (font-series . ,(vector-ref (car x) 2))
- (font-shape . ,(vector-ref (car x) 1))
- (font-family . ,(vector-ref (car x) 0)))
- (cons (* factor (cadr x))
- (cddr x))))
- `((#(roman upright medium)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "cmr6"))
- ,(delay (ly:font-load "cmr8"))
- ,(delay (ly:font-load "cmr10"))
- ,(delay (ly:font-load "cmr17")))))
- (#(roman upright bold)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "cmbx6"))
- ,(delay (ly:font-load "cmbx8"))
- ,(delay (ly:font-load "cmbx10"))
- ,(delay (ly:font-load "cmbx12")))))
- (#(roman italic medium)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "cmti7"))
- ,(delay (ly:font-load "cmti10"))
- ,(delay (ly:font-load "cmti12")))))
- (#(roman italic bold)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "cmbxti8"))
- ,(delay (ly:font-load "cmbxti10"))
- ,(delay (ly:font-load "cmbxti14")))))
- (#(roman caps medium)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "cmcsc10")))))
- (#(roman upright bold-narrow )
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "cmb10")))))
- (#(sans upright medium)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "cmss8"))
- ,(delay (ly:font-load "cmss10"))
- ,(delay (ly:font-load "cmss12"))
- ,(delay (ly:font-load "cmss17")))))
- (#(typewriter upright medium)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "cmtt8"))
- ,(delay (ly:font-load "cmtt10"))
- ,(delay (ly:font-load "cmtt12"))))))))
-
-;; Debian lmodern font support.
-(define-public (add-cork-lm-fonts node factor)
- (for-each
- (lambda (x)
- (add-font node `((font-encoding . cork-lm)
- (font-series . ,(vector-ref (car x) 2))
- (font-shape . ,(vector-ref (car x) 1))
- (font-family . ,(vector-ref (car x) 0)))
- (cons (* factor (cadr x)) (cddr x))))
- `((#(roman upright medium)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "lmr6"))
- ,(delay (ly:font-load "lmr8"))
- ,(delay (ly:font-load "lmr10"))
- ,(delay (ly:font-load "lmr17")))))
- (#(roman upright bold)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "lmbx6"))
- ,(delay (ly:font-load "lmbx8"))
- ,(delay (ly:font-load "lmbx10"))
- ,(delay (ly:font-load "lmbx12")))))
- (#(roman italic medium)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "lmri7"))
- ,(delay (ly:font-load "lmri10"))
- ,(delay (ly:font-load "lmri12")))))
- (#(roman italic bold)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "lmbxi10")))))
- (#(roman caps medium)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "lmcsc10")))))
- (#(roman upright bold-narrow )
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "lmb10")))))
- (#(sans upright medium)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "lmss8"))
- ,(delay (ly:font-load "lmss10"))
- ,(delay (ly:font-load "lmss12"))
- ,(delay (ly:font-load "lmss17")))))
- (#(sans upright bold)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "lmssbx10")))))
-
- (#(typewriter upright medium)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "lmtt8"))
- ,(delay (ly:font-load "lmtt10"))
- ,(delay (ly:font-load "lmtt12"))))))))
-
-;; ec-fonts-mftraced font support.
-(define-public (add-ec-fonts node factor)
- (for-each
- (lambda (x) (add-font node
- `((font-encoding . Extended-TeX-Font-Encoding---Latin)
- (font-series . ,(vector-ref (car x) 2))
- (font-shape . ,(vector-ref (car x) 1))
- (font-family . ,(vector-ref (car x) 0)))
- (cons (* factor (cadr x)) (cddr x))))
-
- `((#(roman upright medium)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "ecrm6"))
- ,(delay (ly:font-load "ecrm8"))
- ,(delay (ly:font-load "ecrm10"))
- ,(delay (ly:font-load "ecrm17")))))
- (#(roman upright bold)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "ecbx6"))
- ,(delay (ly:font-load "ecbx8"))
- ,(delay (ly:font-load "ecbx10"))
- ,(delay (ly:font-load "ecbx12")))))
- (#(roman italic medium)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "ecti7"))
- ,(delay (ly:font-load "ecti10"))
- ,(delay (ly:font-load "ecti12")))))
- (#(roman italic bold)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "ecbi8"))
- ,(delay (ly:font-load "ecbi10"))
- ,(delay (ly:font-load "ecbi14")))))
- (#(roman caps medium)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "eccc10")))))
- (#(roman slanted-caps medium)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "ecsc10")))))
- (#(roman upright bold-narrow )
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "ecrb10")))))
- (#(sans upright medium)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "ecss8"))
- ,(delay (ly:font-load "ecss10"))
- ,(delay (ly:font-load "ecss12"))
- ,(delay (ly:font-load "ecss17")))))
- (#(typewriter upright medium)
- . (,(ly:pt 10.0) . #(,(delay (ly:font-load "ectt8"))
- ,(delay (ly:font-load "ectt10"))
- ,(delay (ly:font-load "ectt12"))))))))
+ #(,(delay (ly:system-font-load "emmentaler-11"))
+ ,(delay (ly:system-font-load "emmentaler-13"))
+ ,(delay (ly:system-font-load "emmentaler-14"))
+ ,(delay (ly:system-font-load "emmentaler-16"))
+ ,(delay (ly:system-font-load "emmentaler-18"))
+ ,(delay (ly:system-font-load "emmentaler-20"))
+ ,(delay (ly:system-font-load "emmentaler-23"))
+ ,(delay (ly:system-font-load "emmentaler-26"))))
+ (fetaBraces ,(ly:pt 20.0)
+ #(,(delay (ly:system-font-load "aybabtu")))))))
(define-public (add-pango-fonts node lily-family family factor)
(define (add-node shape series)
(font-series . ,series)
(font-encoding . latin1) ;; ugh.
)
-
`(,(ly:pt (* factor 11.0))
. #(,(cons
(ly:pt 12)
(add-node 'italic 'normal)
(add-node 'italic 'bold))
-(define-public (make-cmr-tree factor)
- (let*
- ((n (make-font-tree-node 'font-encoding 'fetaMusic))
- (module (resolve-module '(scm kpathsea)))
- (find (eval 'ly:kpathsea-find-file module))
- )
- (add-music-fonts n factor)
- (add-cmr-fonts n factor)
-
- (if (find "lmr10.pfb")
- (add-cork-lm-fonts n factor))
- (if (find "ecrm10.pfa")
- (add-ec-fonts n factor))
- n))
-
-
-
-
(define-public (make-pango-font-tree roman-str sans-str typewrite-str factor)
(let ((n (make-font-tree-node 'font-encoding 'fetaMusic)))
(add-music-fonts n factor)
(add-pango-fonts n 'typewriter typewrite-str factor)
n))
-
(define-public (make-century-schoolbook-tree factor)
(make-pango-font-tree
"Century Schoolbook L"
tsm.display_numerator = tuplet_elt.get_normal_nr ()
tsm.display_denominator = tuplet_elt.get_actual_nr ()
- print ("num: %s, den: %s" % (tsm.display_numerator, tsm.display_denominator))
-
if hasattr (tuplet_elt, 'bracket') and tuplet_elt.bracket == "no":
tsm.display_bracket = None
if hasattr (tuplet_elt, "show-number"):
tsm.display_number = display_values.get (getattr (tuplet_elt, "show-number"), "actual")
if tsm.display_number == "actual" and tsm.display_denominator:
- print "Add denom-function\n";
needed_additional_definitions.append ("tuplet-non-default-denominator")
elif tsm.display_number == "both" and (tsm.display_numerator or tsm.display_denominator):
- print "Add fraction-function\n";
needed_additional_definitions.append ("tuplet-non-default-fraction")
- else:
- print "No display-function, display_number=%s, den=%s\n" % (tsm.display_number, tsm.display_denominator);
if hasattr (tuplet_elt, "show-type"):
if getattr (tuplet_elt, "show-type") == "actual":
return change
def musicxml_time_to_lily (attributes):
- (beats, type) = attributes.get_time_signature ()
-
+ sig = attributes.get_time_signature ()
+ if not sig:
+ return None
change = musicexp.TimeSignatureChange()
- change.fraction = (beats, type)
-
+ change.fractions = sig
+
+ time_elm = attributes.get_maybe_exist_named_child ('time')
+ if time_elm and hasattr (time_elm, 'symbol'):
+ change.style = { 'single-number': "'single-digit",
+ 'cut': None,
+ 'common': None,
+ 'normal': "'()"}.get (time_elm.symbol, "'()")
+ else:
+ change.style = "'()"
+
+ # TODO: Handle senza-misura measures
+ # TODO: Handle hidden time signatures (print-object="no")
+ # TODO: What shall we do if the symbol clashes with the sig? e.g. "cut"
+ # with 3/8 or "single-number" with (2+3)/8 or 3/8+2/4?
+
return change
def musicxml_key_to_lily (attributes):
- start_pitch = musicexp.Pitch ()
- (fifths, mode) = attributes.get_key_signature ()
- try:
- (n,a) = {
- 'major' : (0,0),
- 'minor' : (5,0),
- 'ionian' : (0,0),
- 'dorian' : (1,0),
- 'phrygian' : (2,0),
- 'lydian' : (3,0),
- 'mixolydian': (4,0),
- 'aeolian' : (5,0),
- 'locrian' : (6,0),
- }[mode]
- start_pitch.step = n
- start_pitch.alteration = a
- except KeyError:
- error_message (_ ("unknown mode %s, expecting 'major' or 'minor'") % mode)
-
- fifth = musicexp.Pitch()
- fifth.step = 4
- if fifths < 0:
- fifths *= -1
- fifth.step *= -1
- fifth.normalize ()
+ key_sig = attributes.get_key_signature ()
+ if not key_sig or not (isinstance (key_sig, list) or isinstance (key_sig, tuple)):
+ error_message (_ ("Unable to extract key signature!"))
+ return None
- for x in range (fifths):
- start_pitch = start_pitch.transposed (fifth)
+ change = musicexp.KeySignatureChange()
+
+ if len (key_sig) == 2 and not isinstance (key_sig[0], list):
+ # standard key signature, (fifths, mode)
+ (fifths, mode) = key_sig
+ change.mode = mode
- start_pitch.octave = 0
+ start_pitch = musicexp.Pitch ()
+ start_pitch.octave = 0
+ try:
+ (n,a) = {
+ 'major' : (0,0),
+ 'minor' : (5,0),
+ 'ionian' : (0,0),
+ 'dorian' : (1,0),
+ 'phrygian' : (2,0),
+ 'lydian' : (3,0),
+ 'mixolydian': (4,0),
+ 'aeolian' : (5,0),
+ 'locrian' : (6,0),
+ }[mode]
+ start_pitch.step = n
+ start_pitch.alteration = a
+ except KeyError:
+ error_message (_ ("unknown mode %s, expecting 'major' or 'minor' "
+ "or a church mode!") % mode)
+
+ fifth = musicexp.Pitch()
+ fifth.step = 4
+ if fifths < 0:
+ fifths *= -1
+ fifth.step *= -1
+ fifth.normalize ()
+ for x in range (fifths):
+ start_pitch = start_pitch.transposed (fifth)
+ change.tonic = start_pitch
- change = musicexp.KeySignatureChange()
- change.mode = mode
- change.tonic = start_pitch
+ else:
+ # Non-standard key signature of the form [[step,alter<,octave>],...]
+ change.non_standard_alterations = key_sig
return change
def musicxml_transpose_to_lily (attributes):
for (k, func) in attr_dispatch.items ():
children = attrs.get_named_children (k)
if children:
- elts.append (func (attrs))
+ ev = func (attrs)
+ if ev:
+ elts.append (ev)
return elts
return res
+notehead_styles_dict = {
+ 'slash': '\'slash',
+ 'triangle': '\'triangle',
+ 'diamond': '\'diamond',
+ 'square': '\'la', # TODO: Proper squared note head
+ 'cross': None, # TODO: + shaped note head
+ 'x': '\'cross',
+ 'circle-x': '\'xcircle',
+ 'inverted triangle': None, # TODO: Implement
+ 'arrow down': None, # TODO: Implement
+ 'arrow up': None, # TODO: Implement
+ 'slashed': None, # TODO: Implement
+ 'back slashed': None, # TODO: Implement
+ 'normal': None,
+ 'cluster': None, # TODO: Implement
+ 'none': '#f',
+ 'do': '\'do',
+ 're': '\'re',
+ 'mi': '\'mi',
+ 'fa': '\'fa',
+ 'so': None,
+ 'la': '\'la',
+ 'ti': '\'ti',
+ }
+
+def musicxml_notehead_to_lily (nh):
+ styles = []
+
+ # Notehead style
+ style = notehead_styles_dict.get (nh.get_text ().strip (), None)
+ style_elm = musicexp.NotestyleEvent ()
+ if style:
+ style_elm.style = style
+ if hasattr (nh, 'filled'):
+ style_elm.filled = (getattr (nh, 'filled') == "yes")
+ if style_elm.style or (style_elm.filled != None):
+ styles.append (style_elm)
+
+ # parentheses
+ if hasattr (nh, 'parentheses') and (nh.parentheses == "yes"):
+ styles.append (musicexp.ParenthesizeEvent ())
+
+ return styles
+
def musicxml_chordpitch_to_lily (mxl_cpitch):
r = musicexp.ChordPitch ()
r.alteration = mxl_cpitch.get_alteration ()
n.message (_ ("cannot find suitable event"))
if event:
- event.duration = musicxml_duration_to_lily (n)
+ event.duration = musicxml_duration_to_lily (n)
+
+ noteheads = n.get_named_children ('notehead')
+ for nh in noteheads:
+ styles = musicxml_notehead_to_lily (nh)
+ for s in styles:
+ event.add_associated_event (s)
return event
+def musicxml_lyrics_to_text (lyrics):
+ # TODO: Implement text styles for lyrics syllables
+ continued = False
+ text = ''
+ for e in lyrics.get_all_children ():
+ if isinstance (e, musicxml.Syllabic):
+ continued = e.continued ()
+ elif isinstance (e, musicxml.Text):
+ # We need to convert soft hyphens to -, otherwise the ascii codec as well
+ # as lilypond will barf on that character
+ text += string.replace( e.get_text(), u'\xad', '-' )
+ elif isinstance (e, musicxml.Elision):
+ if text:
+ text += " "
+ continued = False
+
+ if text == "-" and continued:
+ return "--"
+ elif text == "_" and continued:
+ return "__"
+ elif continued and text:
+ return musicxml.escape_ly_output_string (text) + " --"
+ elif continued:
+ return "--"
+ elif text:
+ return musicxml.escape_ly_output_string (text)
+ else:
+ return ""
## TODO
class NegativeSkip:
self.pending_multibar = Rational (0)
self.ignore_skips = False
self.has_relevant_elements = False
- self.measure_length = (4, 4)
+ self.measure_length = Rational (4, 4)
def _insert_multibar (self):
layout_information.set_context_item ('Score', 'skipBars = ##t')
r = musicexp.MultiMeasureRest ()
- lenfrac = Rational (self.measure_length[0], self.measure_length[1])
+ lenfrac = self.measure_length
r.duration = rational_to_lily_duration (lenfrac)
r.duration.factor *= self.pending_multibar / lenfrac
self.elements.append (r)
return None
def measure_length_from_attributes (attr, current_measure_length):
- mxl = attr.get_named_attribute ('time')
- if mxl:
- return attr.get_time_signature ()
- else:
- return current_measure_length
+ len = attr.get_measure_length ()
+ if not len:
+ len = current_measure_length
+ return len
def musicxml_voice_to_lily_voice (voice):
tuplet_events = []
voice_builder = LilyPondVoiceBuilder ()
figured_bass_builder = LilyPondVoiceBuilder ()
chordnames_builder = LilyPondVoiceBuilder ()
- current_measure_length = (4, 4)
+ current_measure_length = Rational (4, 4)
voice_builder.set_measure_length (current_measure_length)
for n in voice._elements:
chordnames_builder.add_music (cn, ev_chord.get_length ())
pending_chordnames = []
-
notations_children = n.get_typed_children (musicxml.Notations)
tuplet_event = None
span_events = []
for l in note_lyrics_elements:
if l.get_number () < 0:
for k in lyrics.keys ():
- lyrics[k].append (l.lyric_to_text ())
+ lyrics[k].append (musicxml_lyrics_to_text (l))
note_lyrics_processed.append (k)
else:
- lyrics[l.number].append(l.lyric_to_text ())
+ lyrics[l.number].append(musicxml_lyrics_to_text (l))
note_lyrics_processed.append (l.number)
for lnr in lyrics.keys ():
if not lnr in note_lyrics_processed: