+2006-05-24 Han-Wen Nienhuys <hanwen@lilypond.org>
+
+ * Documentation/user/*.itely: 2nd
+ attempt: replace funindex -> findex globally.
+
2006-05-24 Nicolas Sceaux <nicolas.sceaux@free.fr>
* input/no-notation/display-lily-tests.ly: fix \applyOutput
2006-05-24 Han-Wen Nienhuys <hanwen@lilypond.org>
* Documentation/user/macros.itexi: comment out funindex expansion.
- 2nd attempt: replace funindex -> findex globally.
* Documentation/user/music-glossary.tely: junk \oldaddlyrics
everywhere.
@refcommands
-@funindex \fatText
+@findex \fatText
@code{\fatText},
-@funindex \emptyText
+@findex \emptyText
@code{\emptyText}.
@cindex segno on bar line
@cindex fermata on bar line
@cindex bar lines, symbols on
-@funindex \mark
+@findex \mark
The @code{\mark} command is primarily used for
@ref{Rehearsal marks},
@cindex font selection
@cindex font magnification
-@funindex font-interface
+@findex font-interface
By setting the object properties described below, you can select a
font from the preconfigured font families. LilyPond has default
@cindex Rests, multi measure
@cindex Rests, full measure
@cindex whole rests for a full measure
-@funindex R
+@findex R
Rests for one full measure (or many bars) are entered using `@code{R}'. It
is specifically meant for full bar rests and for entering parts: the rest
In the MIDI output, they are interpreted as a tempo change. In the
layout output, a metronome marking is printed
-@funindex \tempo
+@findex \tempo
@lilypond[quote,ragged-right,verbatim,fragment]
\tempo 8.=120 c''1
@end lilypond
@subsection Rehearsal marks
@cindex Rehearsal marks
-@funindex \mark
+@findex \mark
To print a rehearsal mark, use the @code{\mark} command
@cindex Bar numbers
@cindex measure numbers
-@funindex currentBarNumber
+@findex currentBarNumber
Bar numbers are printed by default at the start of the line. The
number itself is stored in the @code{currentBarNumber} property, which
@node Different editions from one source
@subsection Different editions from one source
-@funindex \tag
+@findex \tag
@cindex tag
The @code{\tag} command marks music expressions with a name. These
@cindex Invisible notes
@cindex Transparent notes
-@funindex \hideNotes
-@funindex \unHideNotes
+@findex \hideNotes
+@findex \unHideNotes
Hidden (or invisible or transparent) notes can be useful in preparing theory
or composition exercises.
@refcommands
-@funindex \setEasyHeads
+@findex \setEasyHeads
@code{\setEasyHeads}
c1
@end lilypond
-@funindex '
-@funindex ,
+@findex '
+@findex ,
The optional octave specification takes the form of a series of
single quote (`@code{'}') characters or a series of comma
@cindex accidental, cautionary
@cindex accidental, parenthesized
@cindex reminder accidental
-@funindex ?
+@findex ?
@cindex cautionary accidental
@cindex parenthesized accidental
-@funindex !
+@findex !
Normally accidentals are printed automatically, but you may also
print them manually. A reminder accidental
@cindex Relative
@cindex Relative octave specification
-@funindex \relative
+@findex \relative
Octaves are specified by adding @code{'} and @code{,} to pitch names.
When you copy existing music, it is easy to accidentally put a pitch
@cindex Transpose
@cindex Transposition of pitches
-@funindex \transpose
+@findex \transpose
A music expression can be transposed with @code{\transpose}. The
syntax is
@subsection Rests
@cindex Rests
-@funindex \rest
-@funindex r
+@findex \rest
+@findex r
Rests are entered like notes with the note name @code{r}
@cindex Skip
@cindex Invisible rest
@cindex Space note
-@funindex \skip
-@funindex s
+@findex \skip
+@findex s
An invisible rest (also called a `skip') can be entered like a note
with note name `@code{s}' or with @code{\skip @var{duration}}
@subsection Durations
@cindex duration
-@funindex \longa
-@funindex \breve
-@funindex \maxima
+@findex \longa
+@findex \breve
+@findex \maxima
In Note, Chord, and Lyrics mode, durations are designated by numbers and
dots: durations are entered as their reciprocal values. For example, a
@node Augmentation dots
@subsection Augmentation dots
-@funindex .
+@findex .
To obtain dotted note lengths, simply add a dot (`@code{.}') to
the number. Double-dotted notes are produced in a similar way.
situations. The following commands may be used to force a particular
direction manually
-@funindex \dotsUp
+@findex \dotsUp
@code{\dotsUp},
-@funindex \dotsDown
+@findex \dotsDown
@code{\dotsDown},
-@funindex \dotsNeutral
+@findex \dotsNeutral
@code{\dotsNeutral}.
@seealso
@cindex tuplets
@cindex triplets
-@funindex \times
+@findex \times
Tuplets are made out of a music expression by multiplying all durations
with a fraction
@refcommands
-@funindex \tupletUp
+@findex \tupletUp
@code{\tupletUp},
-@funindex \tupletDown
+@findex \tupletDown
@code{\tupletDown},
-@funindex \tupletNeutral
+@findex \tupletNeutral
@code{\tupletNeutral}.
@commonprop
-@funindex tupletNumberFormatFunction
+@findex tupletNumberFormatFunction
@cindex tuplet formatting
The property @code{tupletSpannerDuration} specifies how long each
@subsection Bar check
@cindex Bar check
-@funindex barCheckSynchronize
-@funindex |
+@findex barCheckSynchronize
+@findex |
Bar checks help detect errors in the durations. A bar check is
entered using the bar symbol, `@code{|}'. Whenever it is encountered
especially if the score is polyphonic, so a good place to start correcting
input is by scanning for failed bar checks and incorrect durations.
-@funindex |
-@funindex pipeSymbol
+@findex |
+@findex pipeSymbol
It is also possible to redefine the meaning of @code{|}. This is done
by assigning a music expression to @code{pipeSymbol},
@refcommands
-@funindex \stemUp
+@findex \stemUp
@code{\stemUp},
-@funindex \stemDown
+@findex \stemDown
@code{\stemDown},
-@funindex \stemNeutral
+@findex \stemNeutral
@code{\stemNeutral}.
is to enter each voice as a sequence (with @code{@{...@}}), and combine
them simultaneously, separating the voices with @code{\\}
-@funindex \\
+@findex \\
@lilypond[quote,verbatim,fragment]
\new Staff \relative c' {
@refcommands
-@funindex \oneVoice
+@findex \oneVoice
@code{\oneVoice},
-@funindex \voiceOne
+@findex \voiceOne
@code{\voiceOne},
-@funindex \voiceTwo
+@findex \voiceTwo
@code{\voiceTwo},
-@funindex \voiceThree
+@findex \voiceThree
@code{\voiceThree},
-@funindex \voiceFour
+@findex \voiceFour
@code{\voiceFour}.
-@funindex \shiftOn
+@findex \shiftOn
@code{\shiftOn},
-@funindex \shiftOnn
+@findex \shiftOnn
@code{\shiftOnn},
-@funindex \shiftOnnn
+@findex \shiftOnnn
@code{\shiftOnnn},
-@funindex \shiftOff
+@findex \shiftOff
@code{\shiftOff}: these commands specify in what chords of the current
voice should be shifted. The outer voices (normally: voice one and
two) have @code{\shiftOff}, while the inner voices (three and four)
@node Clef
@subsection Clef
-@funindex \clef
+@findex \clef
The clef indicates which lines of the staff correspond to which
pitches. The clef is set with the @code{\clef} command
@subsection Key signature
@cindex Key signature
-@funindex \key
+@findex \key
The key signature indicates the tonality in which a piece is played. It
is denoted by a set of alterations (flats or sharps) at the start of the
@code{\key} @var{pitch} @var{type}
@end example
-@funindex \minor
-@funindex \major
-@funindex \minor
-@funindex \ionian
-@funindex \locrian
-@funindex \aeolian
-@funindex \mixolydian
-@funindex \lydian
-@funindex \phrygian
-@funindex \dorian
+@findex \minor
+@findex \major
+@findex \minor
+@findex \ionian
+@findex \locrian
+@findex \aeolian
+@findex \mixolydian
+@findex \lydian
+@findex \phrygian
+@findex \dorian
@cindex church modes
Here, @var{type} should be @code{\major} or @code{\minor} to get
@cindex Time signature
@cindex meter
-@funindex \time
+@findex \time
Time signature indicates the metrum of a piece: a regular pattern of
strong and weak beats. It is denoted by a fraction at the start of the
@cindex partial measure
@cindex measure, partial
@cindex shorten measures
-@funindex \partial
+@findex \partial
Partial measures, such as an anacrusis or upbeat, are entered using the
@subsection Bar lines
@cindex Bar lines
-@funindex \bar
+@findex \bar
@cindex measure lines
@cindex repeat bars
@commonprop
-@funindex whichBar
-@funindex repeatCommands
-@funindex defaultBarType
+@findex whichBar
+@findex repeatCommands
+@findex defaultBarType
The command @code{\bar }@var{bartype} is a short cut for doing
@code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
@subsection Unmetered music
@cindex cadenza
-@funindex \cadenzaOn
-@funindex \cadenzaOff
+@findex \cadenzaOn
+@findex \cadenzaOff
Bar lines and bar numbers are calculated automatically. For unmetered
music (cadenzas, for example), this is not desirable. To turn off
@subsection Ties
@cindex tie
-@funindex ~
+@findex ~
A tie connects two adjacent note heads of the same pitch. The tie in
effect extends the length of a note. Ties should not be confused with
@refcommands
-@funindex \tieUp
+@findex \tieUp
@code{\tieUp},
-@funindex \tieDown
+@findex \tieDown
@code{\tieDown},
-@funindex \tieNeutral
+@findex \tieNeutral
@code{\tieNeutral},
-@funindex \tieDotted
+@findex \tieDotted
@code{\tieDotted},
-@funindex \tieDashed
+@findex \tieDashed
@code{\tieDashed},
-@funindex \tieSolid
+@findex \tieSolid
@code{\tieSolid}.
@refcommands
-@funindex \slurUp
+@findex \slurUp
@code{\slurUp},
-@funindex \slurDown
+@findex \slurDown
@code{\slurDown},
-@funindex \slurNeutral
+@findex \slurNeutral
@code{\slurNeutral},
-@funindex \slurDashed
+@findex \slurDashed
@code{\slurDashed},
-@funindex \slurDotted
+@findex \slurDotted
@code{\slurDotted},
-@funindex \slurSolid
+@findex \slurSolid
@code{\slurSolid}.
@seealso
@refcommands
-@funindex \phrasingSlurUp
+@findex \phrasingSlurUp
@code{\phrasingSlurUp},
-@funindex \phrasingSlurDown
+@findex \phrasingSlurDown
@code{\phrasingSlurDown},
-@funindex \phrasingSlurNeutral
+@findex \phrasingSlurNeutral
@code{\phrasingSlurNeutral}.
@subsection Manual beams
@cindex beams, manual
-@funindex ]
-@funindex [
+@findex ]
+@findex [
In some cases it may be necessary to override the automatic beaming
algorithm. For example, the autobeamer will not put beams over rests
@commonprop
-@funindex stemLeftBeamCount
-@funindex stemRightBeamCount
+@findex stemLeftBeamCount
+@findex stemRightBeamCount
Normally, beaming patterns within a beam are determined automatically.
If necessary, the properties @code{stemLeftBeamCount} and
\set Score.beatLength = #(ly:make-moment 1 8)
c16[ c c c c c c c]
@end lilypond
-@funindex subdivideBeams
+@findex subdivideBeams
@noindent
For more information about @code{make-moment}, see
Line breaks are normally forbidden when beams cross bar lines. This
behavior can be changed by setting @code{allowBeamBreak}.
-@funindex allowBeamBreak
+@findex allowBeamBreak
@cindex beams and line breaks
@cindex beams, kneed
@cindex kneed beams
@node Grace notes
@subsection Grace notes
-@funindex \grace
+@findex \grace
@cindex ornaments
@cindex grace notes
@cindex appoggiatura
\new Staff { c4 \grace { g8[ b] } c4 } >>
@end lilypond
-@funindex \afterGrace
+@findex \afterGrace
If you want to end a note with a grace, use the @code{\afterGrace}
command. It takes two arguments: the main note, and the grace notes
@subsection Dynamics
@cindex Dynamics
-@funindex \pppp
-@funindex \ppp
-@funindex \pp
-@funindex \p
-@funindex \mp
-@funindex \mf
-@funindex \f
-@funindex \ff
-@funindex \fff
-@funindex \ffff
-@funindex \fp
-@funindex \sf
-@funindex \sff
-@funindex \sp
-@funindex \spp
-@funindex \sfz
-@funindex \rfz
+@findex \pppp
+@findex \ppp
+@findex \pp
+@findex \p
+@findex \mp
+@findex \mf
+@findex \f
+@findex \ff
+@findex \fff
+@findex \ffff
+@findex \fp
+@findex \sf
+@findex \sff
+@findex \sp
+@findex \spp
+@findex \sfz
+@findex \rfz
Absolute dynamic marks are specified using a command after a note
@code{c4\ff}. The available dynamic marks are @code{\ppppp},
c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
@end lilypond
-@funindex \<
-@funindex \>
-@funindex \!
+@findex \<
+@findex \>
+@findex \!
A crescendo mark is started with @code{\<} and terminated with
@code{\!} or an absolute dynamic. A decrescendo is started with
@refcommands
-@funindex \dynamicUp
+@findex \dynamicUp
@code{\dynamicUp},
-@funindex \dynamicDown
+@findex \dynamicDown
@code{\dynamicDown},
-@funindex \dynamicNeutral
+@findex \dynamicNeutral
@code{\dynamicNeutral}.
@refcommands
@code{\startTrillSpan},
-@funindex \startTrillSpan
+@findex \startTrillSpan
@code{\stopTrillSpan}.
-@funindex \stopTrillSpan
+@findex \stopTrillSpan
@seealso
@subsection Glissando
@cindex Glissando
-@funindex \glissando
+@findex \glissando
A glissando is a smooth change in pitch. It is denoted by a line or a
wavy line between two notes. It is requested by attaching
@cindex Arpeggio
@cindex broken chord
-@funindex \arpeggio
+@findex \arpeggio
You can specify an arpeggio sign (also known as broken chord) on a
chord by attaching an @code{\arpeggio} to a chord
@refcommands
@code{\arpeggio},
-@funindex \arpeggioUp
+@findex \arpeggioUp
@code{\arpeggioUp},
-@funindex \arpeggioDown
+@findex \arpeggioDown
@code{\arpeggioDown},
-@funindex \arpeggioNeutral
+@findex \arpeggioNeutral
@code{\arpeggioNeutral},
-@funindex \arpeggioBracket
+@findex \arpeggioBracket
@code{\arpeggioBracket}.
@subsection Repeat types
@cindex repeats
-@funindex \repeat
+@findex \repeat
The following types of repetition are supported
@end example
If you have alternative endings, you may add
-@funindex \alternative
+@findex \alternative
@example
\alternative @{
@var{alternative1}
@subsection Repeats and MIDI
@cindex expanding repeats
-@funindex \unfoldRepeats
+@findex \unfoldRepeats
With a little bit of tweaking, all types of repeats can be present
in the MIDI output. This is achieved by applying the
@node Manual repeat commands
@subsection Manual repeat commands
-@funindex repeatCommands
+@findex repeatCommands
The property @code{repeatCommands} can be used to control the layout of
repeats. Its value is a Scheme list of repeat commands.
@subsection Tremolo subdivisions
@cindex tremolo marks
-@funindex tremoloFlags
+@findex tremoloFlags
Tremolo marks can be printed on a single note by adding
`@code{:}[@var{number}]' after the note. The number indicates the
Common rules for typesetting accidentals have been placed in a
function. This function is called as follows
-@funindex set-accidental-style
+@findex set-accidental-style
@example
#(set-accidental-style 'STYLE #('CONTEXT#))
@end example
should be used instead.
@item modern
-@funindex modern style accidentals
+@findex modern style accidentals
This rule corresponds to the common practice in the 20th century. This rule
prints the same accidentals as @code{default}, but temporary
accidentals also are canceled in other octaves. Furthermore,
@end lilypond
@item @code{modern-cautionary}
-@funindex modern-cautionary
+@findex modern-cautionary
This rule is similar to @code{modern}, but the ``extra'' accidentals
(the ones not typeset by @code{default}) are typeset as cautionary
accidentals. They are printed in reduced size or with parentheses
cis' c'' cis'2 | c'' c'
@end lilypond
-@funindex modern-voice
+@findex modern-voice
@item modern-voice
This rule is used for multivoice accidentals to be read both by musicians
playing one voice and musicians playing all voices. Accidentals are
typeset for each voice, but they @emph{are} canceled across voices in
the same @internalsref{Staff}.
-@funindex modern-voice-cautionary
+@findex modern-voice-cautionary
@item modern-voice-cautionary
This rule is the same as @code{modern-voice}, but with the extra
accidentals (the ones not typeset by @code{voice}) typeset
some of them are typeset as cautionaries.
@item piano
-@funindex piano accidentals
+@findex piano accidentals
This rule reflects 20th century practice for piano notation. Very similar to
@code{modern} but accidentals also get canceled
across the staves in the same @internalsref{GrandStaff} or
@internalsref{PianoStaff}.
@item piano-cautionary
-@funindex #(set-accidental-style 'piano-cautionary)
+@findex #(set-accidental-style 'piano-cautionary)
Same as @code{#(set-accidental-style 'piano)} but with the extra
accidentals typeset as cautionaries.
@item no-reset
-@funindex no-reset accidental style
+@findex no-reset accidental style
This is the same as @code{default} but with accidentals lasting
``forever'' and not only until the next measure
@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
@node Setting automatic beam behavior
@subsection Setting automatic beam behavior
-@funindex autoBeamSettings
-@funindex (end * * * *)
-@funindex (begin * * * *)
+@findex autoBeamSettings
+@findex (end * * * *)
+@findex (begin * * * *)
@cindex automatic beams, tuning
@cindex tuning automatic beaming
@cindex automatic beam generation
@cindex autobeam
-@funindex autoBeaming
+@findex autoBeaming
@cindex lyrics
If beams are used to indicate melismata in songs, then automatic
@refcommands
-@funindex \autoBeamOff
+@findex \autoBeamOff
@code{\autoBeamOff},
-@funindex \autoBeamOn
+@findex \autoBeamOn
@code{\autoBeamOn}.
The easiest command is @code{\new}, and it also the quickest to type.
It is prepended to a music expression, for example
-@funindex \new
+@findex \new
@cindex new contexts
@cindex Context, creating
context already earlier with the same name.
-@funindex \context
+@findex \context
@item
Like @code{\new}, the @code{\context} command also directs a music
@subsection Changing context properties on the fly
@cindex properties
-@funindex \set
+@findex \set
@cindex changing properties
Each context can have different @emph{properties}, variables contained
`on-the-fly', during the music, so that the setting only affects the
second group of eighth notes.
-@funindex \unset
+@findex \unset
There is also an @code{\unset} command,
@example
starting a new context with @code{\new} or @code{\context}, and
modifying it,
-@funindex \with
+@findex \with
@example
\new @var{context} \with @{
@}
@end example
-@funindex \accepts
+@findex \accepts
Contexts form hierarchies. We want to hang the @context{ImproVoice}
under @context{Staff}, just like normal @code{Voice}s. Therefore, we
modify the @code{Staff} definition with the @code{\accepts}
@}
@end example
-@funindex \denies
+@findex \denies
The opposite of @code{\accepts} is @code{\denies},
which is sometimes needed when reusing existing context definitions.
@cindex finding graphical objects
@cindex graphical object descriptions
@cindex tweaking
-@funindex \override
+@findex \override
@cindex internal documentation
We demonstrate how to glean this information from the notation manual
@node Objects connected to the input
@subsection Objects connected to the input
-@funindex \tweak
+@findex \tweak
In some cases, it is possible to take a short-cut for tuning graphical
objects. For objects that result directly from a piece of the input,
@node Including LilyPond files
@subsection Including LilyPond files
-@funindex \include
+@findex \include
@cindex including files
A large project may be split up into separate files. To refer to another
}
@end lilypond
-@funindex printallheaders
+@findex printallheaders
@noindent
You may change this behavior (and print all the headers when defining
@code{\header} inside @code{\score}) by using
@file{ly/titling-init.ly} lists the default layout.
@table @code
-@funindex bookTitleMarkup
+@findex bookTitleMarkup
@item bookTitleMarkup
This is the title put over an entire @code{\book} block. Typically,
it has the composer and the title of the piece
-@funindex scoreTitleMarkup
+@findex scoreTitleMarkup
@item scoreTitleMarkup
This is the title put over a @code{\score} block within a
@code{\book}. Typically, it has the name of the movement (@code{piece}
field).
-@funindex oddHeaderMarkup
+@findex oddHeaderMarkup
@item oddHeaderMarkup
This is the page header for odd-numbered pages.
-@funindex evenHeaderMarkup
+@findex evenHeaderMarkup
@item evenHeaderMarkup
This is the page header for even-numbered pages. If unspecified,
the odd header is used instead.
By default, headers are defined such that the page number is on the
outside edge, and the instrument is centered.
-@funindex oddFooterMarkup
+@findex oddFooterMarkup
@item oddFooterMarkup
This is the page footer for odd-numbered pages.
-@funindex evenFotterMarkup
+@findex evenFotterMarkup
@item evenFooterMarkup
This is the page footer for even-numbered pages. If unspecified,
the odd header is used instead.
@cindex paper size
@cindex page size
-@funindex papersize
+@findex papersize
To change the paper size, there are two commands,
@example
LilyPond will do page layout, set margins, and add headers and
footers to each page.
-@funindex annotate-spacing
+@findex annotate-spacing
@cindex Spacing, display of properties
To graphically display the dimensions of properties that may
The default layout responds to the following settings in the
@code{\paper} block.
-@funindex \paper
+@findex \paper
@quotation
@table @code
-@funindex first-page-number
+@findex first-page-number
@item first-page-number
The value of the page number of the first page. Default is@tie{}1.
-@funindex printfirst-page-number
+@findex printfirst-page-number
@item printfirst-page-number
If set to true, will print the page number in the first page. Default is
false.
-@funindex print-page-number
+@findex print-page-number
@item print-page-number
If set to false, page numbers will not be printed.
-@funindex paper-width
+@findex paper-width
@item paper-width
The width of the page.
-@funindex paper-height
+@findex paper-height
@item paper-height
The height of the page.
-@funindex top-margin
+@findex top-margin
@item top-margin
Margin between header and top of the page.
-@funindex bottom-margin
+@findex bottom-margin
@item bottom-margin
Margin between footer and bottom of the page.
-@funindex left-margin
+@findex left-margin
@item left-margin
Margin between the left side of the page and the beginning of the music.
-@funindex line-width
+@findex line-width
@item line-width
The length of the systems.
-@funindex head-separation
+@findex head-separation
@item head-separation
Distance between the top-most music system and the page header.
-@funindex foot-separation
+@findex foot-separation
@item foot-separation
Distance between the bottom-most music system and the page footer.
-@funindex page-top-space
+@findex page-top-space
Distance from the top of the printable area to the center of the first
staff. This only works for staves which are vertically small. Big staves
are set with the top of their bounding box aligned to the top of the
printable area.
-@funindex ragged-bottom
+@findex ragged-bottom
@item ragged-bottom
If set to true, systems will not be spread vertically across the page. This
does not affect the last page.
This should be set to true for pieces that have only two or three
systems per page, for example orchestral scores.
-@funindex ragged-last-bottom
+@findex ragged-last-bottom
@item ragged-last-bottom
If set to false, systems will be spread vertically to fill the last page.
Pieces that amply fill two pages or more should have this set to
true.
-@funindex system-count
+@findex system-count
@item system-count
This variable, if set, specifies into how many lines a score should be
broken.
-@funindex between-system-space
+@findex between-system-space
@item between-system-space
This dimensions determines the distance between systems. It is the
ideal distance between the center of the bottom staff of one system
Increasing this will provide a more even appearance of the page at the
cost of using more vertical space.
-@funindex between-system-padding
+@findex between-system-padding
@item between-system-padding
This dimension is the minimum amount of white space that will always
be present between the bottom-most symbol of one system, and the
farther apart.
-@funindex horizontal-shift
+@findex horizontal-shift
@item horizontal-shift
All systems (including titles and system separators) are shifted by
this amount to the right. Page markup, such as headers and footers are
not affected by this. The purpose of this variable is to make space
for instrument names at the left.
-@funindex after-title-space
+@findex after-title-space
@item after-title-space
Amount of space between the title and the first system.
-@funindex after-title-space
+@findex after-title-space
@item before-title-space
Amount of space between the last system of the previous piece and the
title of the next.
-@funindex between-title-space
+@findex between-title-space
@item between-title-space
Amount of space between consecutive titles (e.g., the title of the
book and the title of a piece).
-@funindex printallheaders
+@findex printallheaders
@item printallheaders
Setting this to #t will print all headers for each \score in a
\book. Normally only the piece and opus \headers are printed.
-@funindex systemSeparatorMarkup
+@findex systemSeparatorMarkup
@item systemSeparatorMarkup
This contains a markup object, which will be inserted between
systems. This is often used for orchestral scores.
@cindex font size, setting
@cindex staff size, setting
-@funindex layout file
+@findex layout file
To set the global staff size, use @code{set-global-staff-size}.
The following commands set @code{fontSize} for the current voice:
-@funindex \tiny
+@findex \tiny
@code{\tiny},
-@funindex \small
+@findex \small
@code{\small},
-@funindex \normalsize
+@findex \normalsize
@code{\normalsize}.
@node Score layout
@subsection Score layout
-@funindex \layout
+@findex \layout
While @code{\paper} contains settings that relate to the page formatting
of the whole document, @code{\layout} contains settings for score-specific
this sets the base duration for spacing. The maximum duration for this
base (normally an 8th), is set through @code{base-shortest-duration}.
-@funindex common-shortest-duration
-@funindex base-shortest-duration
-@funindex stem-spacing-correction
-@funindex spacing
+@findex common-shortest-duration
+@findex base-shortest-duration
+@findex stem-spacing-correction
+@findex spacing
Notes that are even shorter than the common shortest note are
followed by a space that is proportional to their duration relative to
@cindex page breaks
@cindex breaking pages
-@funindex indent
-@funindex line-width
-@funindex ragged-right
-@funindex ragged-last
+@findex indent
+@findex line-width
+@findex ragged-right
+@findex ragged-last
@c Although line-width can be set in \layout, it should be set in paper
@c block, to get page layout right.
@refcommands
@code{\break}, and @code{\noBreak}.
-@funindex \break
-@funindex \noBreak
+@findex \break
+@findex \noBreak
@seealso
@refcommands
-@funindex \pageBreak
+@findex \pageBreak
@code{\pageBreak}
-@funindex \noPageBreak
+@findex \noPageBreak
@code{\noPageBreak}
@}
@end example
-@funindex \book
+@findex \book
The movements and texts are combined together in a @code{\book} block,
like
@subsection MIDI instrument names
@cindex instrument names
-@funindex Staff.midiInstrument
+@findex Staff.midiInstrument
The MIDI instrument name is set by the @code{Staff.midiInstrument}
property. The instrument name should be chosen from the list in
@node Displaying LilyPond notation
@section Displaying LilyPond notation
-@funindex \displayLilyMusc
+@findex \displayLilyMusc
Displaying a music expression in LilyPond notation can be
done using the music function @code{\displayLilyMusic}. For example,
@subsection Skipping corrected music
-@funindex skipTypesetting
-@funindex showLastLength
+@findex skipTypesetting
+@findex showLastLength
When entering or copying music, usually only the music near the end (where
you
@cindex staff switching
@cindex cross staff
-@funindex followVoice
+@findex followVoice
Whenever a voice switches to another staff, a line connecting the notes
can be printed automatically. This is switched on by setting
@refcommands
-@funindex \showStaffSwitch
+@findex \showStaffSwitch
@code{\showStaffSwitch},
-@funindex \hideStaffSwitch
+@findex \hideStaffSwitch
@code{\hideStaffSwitch}.
@end lilypond
@cindex modifiers, in chords.
-@funindex aug
-@funindex dim
-@funindex maj
-@funindex sus
-@funindex m
+@findex aug
+@findex dim
+@findex maj
+@findex sus
+@findex m
Since an unaltered 11 does not sound good when combined with an
unaltered 3, the 11 is removed in this case (unless it is added
\chordmode { c:13 c:13.11 c:m13 }
@end lilypond
-@funindex /
+@findex /
An inversion (putting one pitch of the chord on the bottom), as well
as bass notes, can be specified by appending
@lilypond[quote,ragged-right,fragment,verbatim]
\chordmode { c1 c/g c/f }
@end lilypond
-@funindex /+
+@findex /+
A bass note can be added instead transposed out of the chord,
by using @code{/+}@var{pitch}.
following properties
@table @code
-@funindex chordNameExceptions
+@findex chordNameExceptions
@item chordNameExceptions
This is a list that contains the chords that have special formatting.
@cindex exceptions, chord names.
-@funindex majorSevenSymbol
+@findex majorSevenSymbol
@item majorSevenSymbol
This property contains the markup object used for the 7th step, when
it is major. Predefined options are @code{whiteTriangleMarkup} and
@code{blackTriangleMarkup}. See
@inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
-@funindex chordNameSeparator
+@findex chordNameSeparator
@item chordNameSeparator
Different parts of a chord name are normally separated by a
slash. By setting @code{chordNameSeparator}, you can specify other
}
@end lilypond
-@funindex chordRootNamer
+@findex chordRootNamer
@item chordRootNamer
The root of a chord is usually printed as a letter with an optional
alteration. The transformation from pitch to letter is done by this
function. Special note names (for example, the German ``H'' for a
B-chord) can be produced by storing a new function in this property.
-@funindex chordNoteNamer
+@findex chordNoteNamer
@item chordNoteNamer
The default is to print single pitch, e.g., the bass note, using the
@code{chordRootNamer}. The @code{chordNoteNamer} property can be set
to a specialized function to change this behavior. For example, the
base can be printed in lower case.
-@funindex chordPrefixSpacer
+@findex chordPrefixSpacer
@item chordPrefixSpacer
The ``m'' for minor chords is usually printed right after the root of
the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
@refcommands
-@funindex \germanChords
+@findex \germanChords
@code{\germanChords},
-@funindex \semiGermanChords
+@findex \semiGermanChords
@code{\semiGermanChords}.
-@funindex \italianChords
+@findex \italianChords
@code{\italianChords}.
-@funindex \frenchChords
+@findex \frenchChords
@code{\frenchChords}.
@subsection Entering lyrics
@cindex lyrics
-@funindex \lyricmode
+@findex \lyricmode
@cindex punctuation
Lyrics are entered in a special input mode. This mode is introduced
\lyricmode @{ twinkle@}
@end example
-@funindex \property in \lyricmode
+@findex \property in \lyricmode
@noindent
Similarly, a period which follows an alphabetic sequence is included in
\override Score . LyricText #'font-shape = #'italic
@end example
-@funindex _
+@findex _
@cindex spaces, in lyrics
@cindex quotes, in lyrics
@end example
@cindex automatic syllable durations
-@funindex \lyricsto
+@findex \lyricsto
@cindex lyrics and melodies
This will place the lyrics according to the durations that were
@refcommands
@code{\melisma}, @code{\melismaEnd}
-@funindex \melismaEnd
-@funindex \melisma
+@findex \melismaEnd
+@findex \melisma
@seealso
}
@end lilypond
-@funindex minimumFret
+@findex minimumFret
@cindex fret
When no string is specified, the first string that does not give a
@refcommands
-@funindex \virgula
+@findex \virgula
@code{\virgula},
-@funindex \caesura
+@findex \caesura
@code{\caesura},
-@funindex \divisioMinima
+@findex \divisioMinima
@code{\divisioMinima},
-@funindex \divisioMaior
+@findex \divisioMaior
@code{\divisioMaior},
-@funindex \divisioMaxima
+@findex \divisioMaxima
@code{\divisioMaxima},
-@funindex \finalis
+@findex \finalis
@code{\finalis}.
@seealso
The following head prefixes are supported
-@funindex \virga
+@findex \virga
@code{\virga},
-@funindex \stropha
+@findex \stropha
@code{\stropha},
-@funindex \inclinatum
+@findex \inclinatum
@code{\inclinatum},
-@funindex \auctum
+@findex \auctum
@code{\auctum},
-@funindex \descendens
+@findex \descendens
@code{\descendens},
-@funindex \ascendens
+@findex \ascendens
@code{\ascendens},
-@funindex \oriscus
+@findex \oriscus
@code{\oriscus},
-@funindex \quilisma
+@findex \quilisma
@code{\quilisma},
-@funindex \deminutum
+@findex \deminutum
@code{\deminutum},
-@funindex \cavum
+@findex \cavum
@code{\cavum},
-@funindex \linea
+@findex \linea
@code{\linea}.
Head prefixes can be accumulated, though restrictions apply. For
example, either @code{\descendens} or @code{\ascendens} can be applied
to a head, but not both to the same head.
-@funindex \pes
-@funindex \flexa
+@findex \pes
+@findex \flexa
Two adjacent heads can be tied together with the @code{\pes} and
@code{\flexa} infix commands for a rising and falling line of melody,
respectively.
Support for such suggested accidentals is included, and can be
switched on by setting @code{suggestAccidentals} to true.
-@funindex suggestAccidentals
+@findex suggestAccidentals
@lilypond[verbatim,fragment,relative=1]
fis gis
@section Updating with @command{convert-ly}
@cindex Updating a LilyPond file
-@funindex convert-ly
+@findex convert-ly
The LilyPond input syntax is routinely changed to simplify it or improve
it in different ways. As a side effect of this, the LilyPond interpreter
@cindex texinfo
@cindex latex
@cindex texinfo
-@funindex texi
+@findex texi
@cindex html
@cindex documents, adding music to
use the @code{line-width} music fragment option.
@cindex titling and lilypond-book
-@funindex \header in La@TeX{} documents
+@findex \header in La@TeX{} documents
Each snippet will call the following macros if they have been defined by
the user:
@end macro
-@macro funindex {WORD}
-@end macro
+@c @macro funindex {WORD}
+@c @end macro
@c @findex \WORD\
@c @kindex \WORD\
@subsection Displaying music expressions
@cindex internal storage
-@funindex \displayMusic
-@funindex \displayLilyMusic
+@findex \displayMusic
+@findex \displayLilyMusic
When writing a music function it is often instructive to inspect how
a music expression is stored internally. This can be done with the
@subsection Context evaluation
@cindex calling code during interpreting
-@funindex \applyContext
+@findex \applyContext
Contexts can be modified during interpretation with Scheme code. The
syntax for this is
@cindex calling code on layout objects
-@funindex \applyOutput
+@findex \applyOutput
The most versatile way of tuning an object is @code{\applyOutput}. Its
@node Scheme tutorial
@appendix Scheme tutorial
-@funindex #
+@findex #
@cindex Scheme
@cindex GUILE
@cindex Scheme, in-line code
@item Booleans
Boolean values are True or False. The Scheme for True is @code{#t}
and False is @code{#f}.
-@funindex ##t
-@funindex ##f
+@findex ##t
+@findex ##f
@item Numbers
Numbers are entered in the standard fashion,
#'twentyFour
@end example
-@funindex #'symbol
+@findex #'symbol
@cindex quoting in Scheme
The quote mark @code{'} prevents the Scheme interpreter from substituting
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