context, and brackets for the repeat are thus normally only printed
over the topmost staff. This can be adjusted by adding the
@code{Volta_engraver} to the @code{Staff} context where the brackets
-should appear; see also the \"Volta multi staff\" snippet.
+should appear; see also the @qq{Volta multi staff} snippet.
"
doctitle = "Adding volta brackets to additional staves"
\key a \major
\clef treble
\time 3/4
- \mark "↓"
+ \mark \markup { \char ##x2193 }
e2.
% the RehearsalMark will be centered above the KeySignature
\key a \major
\clef treble
\time 4/4
- \mark "↓"
+ \mark \markup { \char ##x2193 }
e1
\break
% the RehearsalMark will be aligned with the left edge of the KeySignature
\once \override Score.KeySignature #'break-align-anchor-alignment = #LEFT
- \mark "↓"
+ \mark \markup { \char ##x2193 }
\key a \major
e1
% the RehearsalMark will be aligned with the right edge of the KeySignature
\once \override Score.KeySignature #'break-align-anchor-alignment = #RIGHT
\key a \major
- \mark "↓"
+ \mark \markup { \char ##x2193 }
e1
% the RehearsalMark will be aligned with the left edge of the KeySignature
% and then shifted right by one unit.
\once \override Score.KeySignature #'break-align-anchor = #1
\key a \major
- \mark "↓"
+ \mark \markup { \char ##x2193 }
e1
}
texidoc = "
The @code{shapeNoteStyles} property can be used to define various note
head styles for each step of the scale (as set by the key signature or
-the \"tonic\" property). This property requires a set of symbols, which
-can be purely arbitrary (geometrical expressions such as
+the @code{tonic} property). This property requires a set of symbols,
+which can be purely arbitrary (geometrical expressions such as
@code{triangle}, @code{cross}, and @code{xcircle} are allowed) or based
on old American engraving tradition (some latin note names are also
allowed).
texidoc = "
Breathing signs are available in different tastes: commas (default),
-ticks, vees and \"railroad tracks\" (caesura).
+ticks, vees and @qq{railroad tracks} (caesura).
"
doctitle = "Breathing signs"
doctitlees = "Cesura tipo \"vías del tren\" con calderón"
texidoc = "
-A caesura is sometimes denoted by a double \"railtracks\" breath mark
-with a fermata sign positioned above. This snippet should present an
-optically pleasing combination of railtracks and fermata.
+A caesura is sometimes denoted by a double @qq{railtracks} breath mark
+with a fermata sign positioned above. This snippet shows an optically
+pleasing combination of railtracks and fermata.
"
doctitle = "Caesura (\"railtracks\") with fermata"
texidoc = "
This example provides a function to typeset a hairpin (de)crescendo
-with some additional text below it, such as \"molto\" or \"poco\". The
-example also illustrates how to modify the way an object is normally
-printed, using some Scheme code.
+with some additional text below it, such as @qq{molto} or @qq{poco}.
+The example also illustrates how to modify the way an object is
+normally printed, using some Scheme code.
"
doctitle = "Center text below hairpin dynamics"
texidoc = "
If there are ten or fewer measures of rests, a series of longa and
-breve rests (called in German \"Kirchenpausen\" - church rests) is
+breve rests (called in German @qq{Kirchenpausen} - church rests) is
printed within the staff; otherwise a simple line is shown. This
default number of ten may be changed by overriding the
@code{expand-limit} property.
doctitlees = "Combinar indicaciones dinámicas con marcados textuales"
texidoc = "
-Some dynamics may involve text indications (such as \"più forte\" or
-\"piano subito\"). They can be produced using a @code{\\markup} block.
+Some dynamics may involve text indications (such as @qq{più forte} or
+@qq{piano subito}). These can be produced using a @code{\\markup}
+block.
"
doctitle = "Combining dynamics with markup texts"
texidoc = "
The part combiner tool ( @code{\\partcombine} command ) allows the
combination of several different parts on the same staff. Text
-directions such as \"solo\" or \"a2\" are added by default; to remove
-them, simply set the property @code{printPartCombineTexts} to
-\"false\". For vocal scores (hymns), there is no need to add
-\"solo\"/\"a2\" texts, so they should be switched off. However, it
-might be better not to use it if there are any solos, as they won't be
-indicated. In such cases, standard polyphonic notation may be
-preferable.
+directions such as @qq{solo} or @qq{a2} are added by default; to remove
+them, simply set the property @code{printPartCombineTexts} to @code{f}.
+For vocal scores (hymns), there is no need to add @qq{solo/a2} texts,
+so they should be switched off. However, it might be better not to use
+it if there are any solos, as they won't be indicated. In such cases,
+standard polyphonic notation may be preferable.
This snippet presents the three ways two parts can be printed on a same
staff: standard polyphony, @code{\\partcombine} without texts, and
texidoc = "
In music that contains many occurrences of the same sequence of notes
at different pitches, the following music function may prove useful.
-It takes a note, of which only the pitch is used. The supporting
-Scheme functions were borrowed from the \"Tips and tricks\" document in
-the manual for version 2.10. This example creates the rhythm used
-throughout Mars, from Gustav Holst's The Planets.
+It takes a note, of which only the pitch is used. This example
+creates the rhythm used throughout Mars, from Gustav Holst's The
+Planets.
"
doctitle = "Creating a sequence of notes on various pitches"
objects will behave like text markups, and not like dynamics.
However, it is possible to create a similar object using the equivalent
-Scheme code (as described in \"Markup programmer interface\"), combined
-with the @code{make-dynamic-script} function. This way, the markup will
-be regarded as a dynamic, and therefore will remain compatible with
+Scheme code (as described in the Notation Reference), combined with the
+@code{make-dynamic-script} function. This way, the markup will be
+regarded as a dynamic, and therefore will remain compatible with
commands such as @code{\\dynamicUp} or @code{\\dynamicDown}.
texidoc = "
In early 20th century works, starting with Schoenberg, Berg and Webern
-(the \"Second\" Viennese school), every pitch in the twelve-tone scale
+(the @qq{Second} Viennese school), every pitch in the twelve-tone scale
has to be regarded as equal, without any hierarchy such as the
classical (tonal) degrees. Therefore, these composers print one
accidental for each note, even at natural pitches, to emphasize their
entered only once.
-For more information about @code{make-moment}, see \"Time
-administration\".
+Read the relevant sections of the Notation Reference for more
+information about @code{make-moment}.
"
doctitle = "Entering several tuplets using only one \\times command"
(Note that @code{\\set stemLeftBeamCount} is always equivalent to
@code{\\once \\set}. In other words, the beam count settings are not
-\"sticky\", so the pair of flat flags attached to the lone
+@qq{sticky}, so the pair of flat flags attached to the lone
@code{c'16[]} in the last example have nothing to do with the
@code{\\set} two notes prior.)
texidoc = "
It is possible to indicate special articulation techniques such as a
-flute's \"tongue slap\" by replacing the note head with the appropriate
+flute @qq{tongue slap} by replacing the note head with the appropriate
glyph.
"
slap =
#(define-music-function (parser location music) (ly:music?)
#{
- \override NoteHead #'stencil = #(lambda (grob)
- (grob-interpret-markup grob
- (markup #:musicglyph "scripts.sforzato")))
- \override NoteHead #'extra-offset = #'(0.1 . 0.0)
+ \override NoteHead #'stencil =
+ #(lambda (grob)
+ (grob-interpret-markup grob
+ (markup #:musicglyph "scripts.sforzato")))
+ \override NoteHead #'stem-attachment =
+ #(lambda (grob)
+ (let ((thickness (ly:staff-symbol-line-thickness grob)))
+ (cons 1 (/ thickness 2))))
$music
\revert NoteHead #'stencil
- \revert NoteHead #'extra-offset
+ \revert NoteHead #'stem-attachment
#})
\relative c' {
lsrtags = "expressive-marks, tweaks-and-overrides"
texidoc = "
-Some dynamic expressions involve additional text, like \"sempre pp\".
-Since lilypond aligns all dynamics centered on the note, the \\pp would
-be displayed way after the note it applies to.
+Some dynamic expressions involve additional text, like @qq{sempre pp}.
+Since dynamics are usually centered under the note, the \\pp would be
+displayed way after the note it applies to.
-To correctly align the \"sempre \\pp\" horizontally, so that it is
+To correctly align the @qq{sempre pp} horizontally, so that it is
aligned as if it were only the \\pp, there are several approaches:
* Simply use @code{\\once\\override DynamicText #'X-offset = #-9.2}
Drawback: @code{\\once\\override} is needed for every invocation!
* Set the dimensions of the additional text to 0 (using
-@code{#:with-dimensions '(0 . 0) '(0 . 0)}). Drawback: To lilypond
-\"sempre\" has no extent, so it might put other stuff there and create
-collisions (which are not detected by the collision dection!). Also,
+@code{#:with-dimensions '(0 . 0) '(0 . 0)}). Drawback: To LilyPond
+@qq{sempre} has no extent, so it might put other stuff there and create
+collisions (which are not detected by the collision detection!). Also,
there seems to be some spacing, so it's not exactly the same alignment
as without the additional text
texidoc = "
Setting the @code{transparent} property will cause an object to be
-printed in \"invisible ink\": the object is not printed, but all its
+printed in @qq{invisible ink}: the object is not printed, but all its
other behavior is retained. The object still takes up space, it takes
part in collisions, and slurs, ties and beams can be attached to it.
\header {
lsrtags = "expressive-marks, unfretted-strings"
texidoc = "
-A snap-pizzicato (also known as \"Bartok pizzicato\") is a \"strong
+A snap-pizzicato (also known as @qq{Bartok pizzicato}) is a @qq{strong
pizzicato where the string is plucked vertically by snapping and
-rebounds off the fingerboard of the instrument\" (Wikipedia). It is
-denoted by a cicle with a vertical line going from the center upwards
+rebounds off the fingerboard of the instrument} (Wikipedia). It is
+denoted by a circle with a vertical line going from the center upwards
outside the circle.
"
- doctitle = "Snap-pizzicato (\"Bartok pizzicato\")"
+ doctitle = "Snap-pizzicato (@qq{Bartok pizzicato})"
}
\relative c' {
texidoc = "
Internally, @code{\\ottava} sets the properties @code{ottavation} (for
-example, to @code{\"8va\"} or @code{\"8vb\"}) and
-@code{middleCPosition}. To override the text of the bracket, set
-@code{ottavation} after invoking @code{\\ottava}.
+example, to @code{8va} or @code{8vb}) and @code{middleCPosition}. To
+override the text of the bracket, set @code{ottavation} after invoking
+@code{\\ottava}.
"
doctitle = "Ottava text"
lsrtags = "repeats, breaks"
texidoc = "
-If you want to place an exiting segno sign and add text like \"D.S. al
-Coda\" next to it where usually the staff lines are you can use this
+If you want to place an exiting segno sign and add text like @qq{D.S.
+al Coda} next to it where usually the staff lines are you can use this
snippet. The coda will resume in a new line. There is a variation
documented in this snippet, where the coda will remain on the same
line.
In accordance with standard typesetting rules, a natural sign is
printed before a sharp or flat if a previous accidental on the same
note needs to be canceled. To change this behavior, set the
-@code{extraNatural} property to \"false\" in the @code{Staff} context.
+@code{extraNatural} property to @code{f} in the @code{Staff} context.
texidoc = "
When the key signature changes, natural signs are automatically printed
to cancel any accidentals from previous key signatures. This may be
-prevented by setting to \"false\" the @code{printKeyCancellation}
+prevented by setting to @code{f} the @code{printKeyCancellation}
property in the @code{Staff} context.
"
lsrtags = "rhythms, tweaks-and-overrides"
texidoc = "
-In \"simple\" lead-sheets, sometimes no actual notes are written,
-instead only \"rhythmic patterns\" and chords above the measures are
+In @qq{simple} lead-sheets, sometimes no actual notes are written,
+instead only @qq{rhythmic patterns} and chords above the measures are
notated giving the structure of a song. Such a feature is for example
useful while creating/transcribing the structure of a song and also
when sharing lead sheets with guitarists or jazz musicians. The
texidoc = "
Although @code{s} skips cannot be used in @code{\\lyricmode} (it is
-taken to be a literal \"s\", not a space), double quotes (@code{\"\"})
+taken to be a literal @qq{s}, not a space), double quotes (@code{\"\"})
or underscores (@code{_}) are available.So for example:
"
lsrtags = "expressive-marks, unfretted-strings"
texidoc = "
-A snap-pizzicato (also known as \"Bartok pizzicato\") is a \"strong
+A snap-pizzicato (also known as @qq{Bartok pizzicato}) is a @qq{strong
pizzicato where the string is plucked vertically by snapping and
-rebounds off the fingerboard of the instrument\" (Wikipedia). It is
-denoted by a cicle with a vertical line going from the center upwards
+rebounds off the fingerboard of the instrument} (Wikipedia). It is
+denoted by a circle with a vertical line going from the center upwards
outside the circle.
"
- doctitle = "Snap-pizzicato (\"Bartok pizzicato\")"
+ doctitle = "Snap-pizzicato (@qq{Bartok pizzicato})"
} % begin verbatim
doctitlefr = "Quatuor à cordes, avec parties séparées"
texidoc = "
-The \"String quartet template\" snippet produces a nice string quartet,
-but what if you needed to print parts? This new template demonstrates
-how to use the @code{\\tag} feature to easily split a piece into
-individual parts.
+The @qq{String quartet template} snippet produces a nice string
+quartet, but what if you needed to print parts? This new template
+demonstrates how to use the @code{\\tag} feature to easily split a
+piece into individual parts.
You need to split this template into separate files; the filenames are
contained in comments at the beginning of each file. @code{piece.ly}
texidoc = "
If notes from two voices with stems in the same direction are placed at
the same position, and both voices have no shift or the same shift
-specified, the error message \"warning: ignoring too many clashing note
-columns\" will appear when compiling the LilyPond file. This message
-can be suppressed by setting the @code{'ignore-collision} property of
-the @code{NoteColumn} object to @code{#t}.
+specified, the error message @samp{warning: ignoring too many clashing
+note columns} will appear when compiling the LilyPond file. This
+message can be suppressed by setting the @code{'ignore-collision}
+property of the @code{NoteColumn} object to @code{#t}.
"
doctitle = "Suppressing warnings for clashing note columns"
texidoc = "
This short vertical line placed above the note is commonly used in
baroque music. Its meaning can vary, but generally indicates notes
-that should be played with more \"weight\". The following example
+that should be played with more @qq{weight}. The following example
demonstrates how to achieve such a notation.
"
\relative c' {
- a'^\upline a( c d')_\upline
+ a'4^\upline a( c d')_\upline
}
texidoc = "
This template adds an automatic piano reduction to the standard SATB
-vocal score demonstrated in \"Vocal ensemble template\". This
+vocal score demonstrated in @qq{Vocal ensemble template}. This
demonstrates one of the strengths of LilyPond – you can use a music
definition more than once. If any changes are made to the vocal notes
(say, @code{tenorMusic}), then the changes will also apply to the piano
doctitlefr = "Ensemble vocal avec alignement des paroles selon le contexte"
texidoc = "
-This template is basically the same as the simple \"Vocal ensemble\"
+This template is basically the same as the simple @qq{Vocal ensemble}
template, with the exception that here all the lyrics lines are placed
using @code{alignAboveContext} and @code{alignBelowContext}.
Here is a standard four-part SATB vocal score. With larger ensembles,
it is often useful to include a section which is included in all parts.
For example, the time signature and key signature are almost always the
-same for all parts. Like in the \"Hymn\" template, the four voices are
+same for all parts. Like in the @qq{Hymn} template, the four voices are
regrouped on only two staves.
"
projects / lilypond.git / commitdiff