From: Trevor Daniels Date: Fri, 11 Apr 2008 20:41:40 +0000 (+0100) Subject: GDP NR 2 Reorganisation - change file and section names X-Git-Tag: release/2.11.44-1~12 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=0f66430a3e6f48891f21425530add77b10339ca1;p=lilypond.git GDP NR 2 Reorganisation - change file and section names --- diff --git a/Documentation/user/bagpipes.itely b/Documentation/user/bagpipes.itely deleted file mode 100644 index d985347ccd..0000000000 --- a/Documentation/user/bagpipes.itely +++ /dev/null @@ -1,116 +0,0 @@ -@c -*- coding: utf-8; mode: texinfo; -*- -@ignore - Translation of GIT committish: FILL-IN-HEAD-COMMITTISH - - When revising a translation, copy the HEAD committish of the - version that you are working on. See TRANSLATION for details. -@end ignore - -@c \version "2.11.38" - -@node Bagpipes -@section Bagpipes - -This section includes extra information for writing for bagpipes. - -@menu -* Bagpipe sections:: -@end menu - - -@node Bagpipe sections -@subsection Bagpipe sections - -@menu -* Bagpipe definitions:: -* Bagpipe example:: -@end menu - -@node Bagpipe definitions -@subsubsection Bagpipe definitions - -LilyPond contains special definitions for music for the Scottish -highland bagpipe; to use them, add - -@example -\include "bagpipe.ly" -@end example - -@noindent -at the top of your input file. This lets you add the special grace notes -common to bagpipe music with short commands. For example, you could -write @code{\taor} instead of - -@example -\grace @{ \small G32[ d G e] @} -@end example - -@code{bagpipe.ly} also contains pitch definitions for the bagpipe -notes in the appropriate octaves, so you do not need to worry about -@code{\relative} or @code{\transpose}. - -@lilypond[ragged-right,verbatim,quote,notime] -\include "bagpipe.ly" -{ \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A } -@end lilypond - -Bagpipe music nominally uses the key of D Major (even though that -isn't really true). However, since that is the only key that can be used, -the key signature is normally not written out. To set this up correctly, -always start your music with @code{\hideKeySignature}. If you for some -reason want to show the key signature, you can use @code{\showKeySignature} -instead. - -Some modern music use cross fingering on c and f to flatten those notes. -This can be indicated by @code{cflat} or @code{fflat}. Similarly, the -piobaireachd high g can be written @code{gflat} when it occurs in light -music. - - -@node Bagpipe example -@subsubsection Bagpipe example - -This is what the well known tune Amazing Grace looks like in bagpipe -notation. - -@lilypond[verbatim,quote] -\include "bagpipe.ly" -\layout { - indent = 0.0\cm - \context { \Score \remove "Bar_number_engraver" } -} - -\header { - title = "Amazing Grace" - meter = "Hymn" - arranger = "Trad. arr." -} - -{ - \hideKeySignature - \time 3/4 - \grg \partial 4 a8. d16 - \slurd d2 \grg f8[ e32 d16.] - \grg f2 \grg f8 e - \thrwd d2 \grg b4 - \grG a2 \grg a8. d16 - \slurd d2 \grg f8[ e32 d16.] - \grg f2 \grg e8. f16 - \dblA A2 \grg A4 - \grg A2 f8. A16 - \grg A2 \hdblf f8[ e32 d16.] - \grg f2 \grg f8 e - \thrwd d2 \grg b4 - \grG a2 \grg a8. d16 - \slurd d2 \grg f8[ e32 d16.] - \grg f2 e4 - \thrwd d2. - \slurd d2 - \bar "|." -} -@end lilypond - - - - - diff --git a/Documentation/user/chords.itely b/Documentation/user/chords.itely index 4941f36587..176f29e89a 100644 --- a/Documentation/user/chords.itely +++ b/Documentation/user/chords.itely @@ -9,8 +9,8 @@ @c \version "2.11.38" -@node Chords -@section Chords +@node Chord notation +@section Chord notation Intro text. diff --git a/Documentation/user/fretted-strings.itely b/Documentation/user/fretted-strings.itely new file mode 100644 index 0000000000..a5e60967b7 --- /dev/null +++ b/Documentation/user/fretted-strings.itely @@ -0,0 +1,359 @@ +@c -*- coding: utf-8; mode: texinfo; -*- +@ignore + Translation of GIT committish: FILL-IN-HEAD-COMMITTISH + + When revising a translation, copy the HEAD committish of the + version that you are working on. See TRANSLATION for details. +@end ignore + +@c \version "2.11.38" + +@node Fretted string instruments +@section Fretted string instruments +@c@node Guitar +@c@section Guitar + +@cindex tablature +@cindex guitar tablature + +@menu +* Guitar sections:: +@end menu + +@node Guitar sections +@subsection Guitar sections + +@menu +* String number indications:: +* Tablatures basic:: +* Non-guitar tablatures:: +* Banjo tablatures:: +* Fret diagrams:: +* Right hand fingerings:: +* Other guitar issues:: +@end menu + +@node String number indications +@subsubsection String number indications + +@cindex String numbers + +String numbers can be added to chords, by indicating the string number +with @code{\}@var{number}, + +@lilypond[relative,relative=1,ragged-right,fragment] + +@end lilypond + + +@seealso + +Internals Reference: @internalsref{StringNumber}, +@c @lsr{guitar/,string-number.ly}. + + +@node Tablatures basic +@subsubsection Tablatures basic +@cindex Tablatures basic + +Tablature notation is used for notating music for plucked string +instruments. Pitches are not denoted with note heads, but by +numbers indicating on which string and fret a note must be played. LilyPond +offers limited support for tablature. + +The string number associated to a note is given as a backslash +followed by a number, e.g., @code{c4\3} for a C quarter on the third +string. By default, string 1 is the highest one, and the tuning +defaults to the standard guitar tuning (with 6 strings). The notes +are printed as tablature, by using @internalsref{TabStaff} and +@internalsref{TabVoice} contexts + +@lilypond[quote,ragged-right,fragment,verbatim] +\new TabStaff { + a,4\5 c'\2 a\3 e'\1 + e\4 c'\2 a\3 e'\1 +} +@end lilypond + +@funindex minimumFret +@cindex fret + +When no string is specified, the first string that does not give a +fret number less than @code{minimumFret} is selected. The default +value for @code{minimumFret} is 0 + + +@example +e16 fis gis a b4 +\set TabStaff.minimumFret = #8 +e16 fis gis a b4 +@end example +@lilypond[quote,ragged-right] +frag = { + \key e \major + e16 fis gis a b4 + \set TabStaff.minimumFret = #8 + e16 fis gis a b4 +} + \new StaffGroup << + \new Staff { \clef "G_8" \frag } + \new TabStaff { \frag } + >> +@end lilypond + + +@snippets + +To print tablatures with stems down and horizontal beams, +initialize the @code{TabStaff} with this code: + +@example +\stemDown +\override Beam #'damping = #100000 +@end example + +@seealso + +Internals Reference: @internalsref{TabNoteHead}, @internalsref{TabStaff}, @internalsref{TabVoice}. + +@knownissues + +Chords are not handled in a special way, and hence the automatic +string selector may easily select the same string to two notes in a +chord. + +In order to handle @code{\partcombine}, a @code{TabStaff} must use +specially-created voices: + +@lilypond[quote,ragged-right,verbatim] +melodia = \partcombine { e4 g g g }{ e4 e e e } +<< + \new TabStaff << + \new TabVoice = "one" s1 + \new TabVoice = "two" s1 + \new TabVoice = "shared" s1 + \new TabVoice = "solo" s1 + { \melodia } + >> +>> +@end lilypond + + +@node Non-guitar tablatures +@subsubsection Non-guitar tablatures +@cindex Non-guitar tablatures + +You can change the tuning of the strings. A string tuning is given as +a Scheme list with one integer number for each string, the number +being the pitch (measured in semitones relative to middle C) of an +open string. The numbers specified for @code{stringTunings} are the +numbers of semitones to subtract or add, starting the specified pitch +by default middle C, in string order. LilyPond automatically calculates +the number of strings by looking at @code{stringTunings}. + +In the next example, +@code{stringTunings} is set for the pitches e, a, d, and g + +@lilypond[quote,ragged-right,fragment,verbatim] +\new TabStaff << + \set TabStaff.stringTunings = #'(-5 -10 -15 -20) + { + a,4 c' a e' e c' a e' + } +>> +@end lilypond + +LilyPond comes with predefined string tunings for banjo, mandolin, guitar +and bass guitar. + +@example +\set TabStaff.stringTunings = #bass-tuning +@end example + +The default string tuning is @code{guitar-tuning} (the standard EADGBE +tuning). +Some other predefined tunings are @code{guitar-open-g-tuning}, +@code{mandolin-tuning} and @code{banjo-open-g-tuning}. + +@seealso + +The file @file{scm/@/output@/-lib@/.scm} contains the predefined string +tunings. +Internals Reference: @internalsref{Tab_note_heads_engraver}. + +@knownissues + +No guitar special effects have been implemented. + + + +@node Banjo tablatures +@subsubsection Banjo tablatures +@cindex Banjo tablatures + +LilyPond has basic support for five stringed banjo. When making tablatures +for five stringed banjo, use the banjo tablature format function to get +correct +fret numbers for the fifth string: + +@lilypond[quote,ragged-right,fragment,verbatim] +\new TabStaff << + \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo + \set TabStaff.stringTunings = #banjo-open-g-tuning + { + \stemDown + g8 d' g'\5 a b g e d' | + g4 d''8\5 b' a'\2 g'\5 e'\2 d' | + g4 + } +>> +@end lilypond + +A number of common tunings for banjo are predefined in LilyPond: +@code{banjo-c-tuning} (gCGBD), @code{banjo-modal-tuning} (gDGCD), +@code{banjo-open-d-tuning} (aDF#AD) and @code{banjo-open-dm-tuning} +(aDFAD). + +These tunings may be converted to four string banjo tunings using the +@code{four-string-banjo} function: + +@example +\set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning) +@end example + +@seealso + +The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings. + + +@node Fret diagrams +@subsubsection Fret diagrams +@cindex fret diagrams +@cindex chord diagrams + +Fret diagrams can be added to music as a markup to the desired note. The +markup contains information about the desired fret diagram, as shown in the +following example + +@lilypond[verbatim, ragged-right, quote] +\new Voice { + d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;" + d' d' d' + fis'^\markup \override #'(size . 0.75) { + \override #'(finger-code . below-string) { + \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2) + (place-fret 5 4 3) (place-fret 4 4 4) + (place-fret 3 3 2) (place-fret 2 2 1) + (place-fret 1 2 1)) + } + } + fis' fis' fis' + c'^\markup \override #'(dot-radius . 0.35) { + \override #'(finger-code . in-dot) { + \override #'(dot-color . white) { + \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);" + } + } + } + c' c' c' +} +@end lilypond + + +There are three different fret-diagram markup interfaces: standard, terse, +and verbose. The three interfaces produce equivalent markups, but have +varying amounts of information in the markup string. Details about the +markup interfaces are found at @ref{Text markup commands}. + +You can set a number of graphical properties according to your preference. +Details about the property interface to fret diagrams are found at +@internalsref{fret-diagram-interface}. + + +@seealso + +Examples: @c @lsrdir{guitar} + + +@node Right hand fingerings +@subsubsection Right hand fingerings + +Right hand fingerings in chords can be entered using +@code{@var{note}-\rightHandFinger @var{finger}} + +@lilypond[verbatim,fragment,relative=2] + +@end lilypond + +for brevity, you can abbreviate @code{\rightHandFinger} to something +short, for example @code{RH}, + +@example +#(define RH rightHandFinger) +@end example + +@cindex fingerings, right hand, for guitar +@cindex right hand fingerings for guitar + +@snippets + +You may exercise greater control over right handing fingerings by +setting @code{strokeFingerOrientations}, + +@lilypond[quote,verbatim,ragged-right,fragment,relative=1] +#(define RH rightHandFinger) +{ + \set strokeFingerOrientations = #'(up down) + 4 + \set strokeFingerOrientations = #'(up right down) + 4 +} +@end lilypond + +The letters used for the fingerings are contained in the property +@code{digit-names}, but they can also be set individually by supplying +@code{\rightHandFinger} with a string argument, as in the following example + + +@lilypond[quote,verbatim,ragged-right,fragment,relative=1] +#(define RH rightHandFinger) +{ + \set strokeFingerOrientations = #'(right) + \override StrokeFinger #'digit-names = ##("x" "y" "z" "!" "@") + 4 + 4 +} +@end lilypond + +@seealso + +Internals Reference: @internalsref{StrokeFinger} + + + +@node Other guitar issues +@subsubsection Other guitar issues + +This example demonstrates how to include guitar position and +barring indications. + +@lilypond[quote,ragged-right,fragment,verbatim,relative=0] +\clef "G_8" +b16 d16 g16 b16 e16 +\textSpannerDown +\override TextSpanner #'bound-details #'left #'text = #"XII " + g16\startTextSpan + b16 e16 g16 e16 b16 g16\stopTextSpan +e16 b16 g16 d16 +@end lilypond + + +Stopped (X) note heads are used in guitar music to signal a place where the +guitarist must play a certain note or chord, with its fingers just +touching the strings instead of fully pressing them. This gives the sound a +percussive noise-like sound that still maintains part of the original +pitch. It is notated with cross note heads; this is +demonstrated in @ref{Special note heads}. + + + diff --git a/Documentation/user/guitar.itely b/Documentation/user/guitar.itely deleted file mode 100644 index c91f130836..0000000000 --- a/Documentation/user/guitar.itely +++ /dev/null @@ -1,357 +0,0 @@ -@c -*- coding: utf-8; mode: texinfo; -*- -@ignore - Translation of GIT committish: FILL-IN-HEAD-COMMITTISH - - When revising a translation, copy the HEAD committish of the - version that you are working on. See TRANSLATION for details. -@end ignore - -@c \version "2.11.38" - -@node Guitar -@section Guitar - -@cindex tablature -@cindex guitar tablature - -@menu -* Guitar sections:: -@end menu - -@node Guitar sections -@subsection Guitar sections - -@menu -* String number indications:: -* Tablatures basic:: -* Non-guitar tablatures:: -* Banjo tablatures:: -* Fret diagrams:: -* Right hand fingerings:: -* Other guitar issues:: -@end menu - -@node String number indications -@subsubsection String number indications - -@cindex String numbers - -String numbers can be added to chords, by indicating the string number -with @code{\}@var{number}, - -@lilypond[relative,relative=1,ragged-right,fragment] - -@end lilypond - - -@seealso - -Internals Reference: @internalsref{StringNumber}, -@c @lsr{guitar/,string-number.ly}. - - -@node Tablatures basic -@subsubsection Tablatures basic -@cindex Tablatures basic - -Tablature notation is used for notating music for plucked string -instruments. Pitches are not denoted with note heads, but by -numbers indicating on which string and fret a note must be played. LilyPond -offers limited support for tablature. - -The string number associated to a note is given as a backslash -followed by a number, e.g., @code{c4\3} for a C quarter on the third -string. By default, string 1 is the highest one, and the tuning -defaults to the standard guitar tuning (with 6 strings). The notes -are printed as tablature, by using @internalsref{TabStaff} and -@internalsref{TabVoice} contexts - -@lilypond[quote,ragged-right,fragment,verbatim] -\new TabStaff { - a,4\5 c'\2 a\3 e'\1 - e\4 c'\2 a\3 e'\1 -} -@end lilypond - -@funindex minimumFret -@cindex fret - -When no string is specified, the first string that does not give a -fret number less than @code{minimumFret} is selected. The default -value for @code{minimumFret} is 0 - - -@example -e16 fis gis a b4 -\set TabStaff.minimumFret = #8 -e16 fis gis a b4 -@end example -@lilypond[quote,ragged-right] -frag = { - \key e \major - e16 fis gis a b4 - \set TabStaff.minimumFret = #8 - e16 fis gis a b4 -} - \new StaffGroup << - \new Staff { \clef "G_8" \frag } - \new TabStaff { \frag } - >> -@end lilypond - - -@snippets - -To print tablatures with stems down and horizontal beams, -initialize the @code{TabStaff} with this code: - -@example -\stemDown -\override Beam #'damping = #100000 -@end example - -@seealso - -Internals Reference: @internalsref{TabNoteHead}, @internalsref{TabStaff}, @internalsref{TabVoice}. - -@knownissues - -Chords are not handled in a special way, and hence the automatic -string selector may easily select the same string to two notes in a -chord. - -In order to handle @code{\partcombine}, a @code{TabStaff} must use -specially-created voices: - -@lilypond[quote,ragged-right,verbatim] -melodia = \partcombine { e4 g g g }{ e4 e e e } -<< - \new TabStaff << - \new TabVoice = "one" s1 - \new TabVoice = "two" s1 - \new TabVoice = "shared" s1 - \new TabVoice = "solo" s1 - { \melodia } - >> ->> -@end lilypond - - -@node Non-guitar tablatures -@subsubsection Non-guitar tablatures -@cindex Non-guitar tablatures - -You can change the tuning of the strings. A string tuning is given as -a Scheme list with one integer number for each string, the number -being the pitch (measured in semitones relative to middle C) of an -open string. The numbers specified for @code{stringTunings} are the -numbers of semitones to subtract or add, starting the specified pitch -by default middle C, in string order. LilyPond automatically calculates -the number of strings by looking at @code{stringTunings}. - -In the next example, -@code{stringTunings} is set for the pitches e, a, d, and g - -@lilypond[quote,ragged-right,fragment,verbatim] -\new TabStaff << - \set TabStaff.stringTunings = #'(-5 -10 -15 -20) - { - a,4 c' a e' e c' a e' - } ->> -@end lilypond - -LilyPond comes with predefined string tunings for banjo, mandolin, guitar -and bass guitar. - -@example -\set TabStaff.stringTunings = #bass-tuning -@end example - -The default string tuning is @code{guitar-tuning} (the standard EADGBE -tuning). -Some other predefined tunings are @code{guitar-open-g-tuning}, -@code{mandolin-tuning} and @code{banjo-open-g-tuning}. - -@seealso - -The file @file{scm/@/output@/-lib@/.scm} contains the predefined string -tunings. -Internals Reference: @internalsref{Tab_note_heads_engraver}. - -@knownissues - -No guitar special effects have been implemented. - - - -@node Banjo tablatures -@subsubsection Banjo tablatures -@cindex Banjo tablatures - -LilyPond has basic support for five stringed banjo. When making tablatures -for five stringed banjo, use the banjo tablature format function to get -correct -fret numbers for the fifth string: - -@lilypond[quote,ragged-right,fragment,verbatim] -\new TabStaff << - \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo - \set TabStaff.stringTunings = #banjo-open-g-tuning - { - \stemDown - g8 d' g'\5 a b g e d' | - g4 d''8\5 b' a'\2 g'\5 e'\2 d' | - g4 - } ->> -@end lilypond - -A number of common tunings for banjo are predefined in LilyPond: -@code{banjo-c-tuning} (gCGBD), @code{banjo-modal-tuning} (gDGCD), -@code{banjo-open-d-tuning} (aDF#AD) and @code{banjo-open-dm-tuning} -(aDFAD). - -These tunings may be converted to four string banjo tunings using the -@code{four-string-banjo} function: - -@example -\set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning) -@end example - -@seealso - -The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings. - - -@node Fret diagrams -@subsubsection Fret diagrams -@cindex fret diagrams -@cindex chord diagrams - -Fret diagrams can be added to music as a markup to the desired note. The -markup contains information about the desired fret diagram, as shown in the -following example - -@lilypond[verbatim, ragged-right, quote] -\new Voice { - d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;" - d' d' d' - fis'^\markup \override #'(size . 0.75) { - \override #'(finger-code . below-string) { - \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2) - (place-fret 5 4 3) (place-fret 4 4 4) - (place-fret 3 3 2) (place-fret 2 2 1) - (place-fret 1 2 1)) - } - } - fis' fis' fis' - c'^\markup \override #'(dot-radius . 0.35) { - \override #'(finger-code . in-dot) { - \override #'(dot-color . white) { - \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);" - } - } - } - c' c' c' -} -@end lilypond - - -There are three different fret-diagram markup interfaces: standard, terse, -and verbose. The three interfaces produce equivalent markups, but have -varying amounts of information in the markup string. Details about the -markup interfaces are found at @ref{Text markup commands}. - -You can set a number of graphical properties according to your preference. -Details about the property interface to fret diagrams are found at -@internalsref{fret-diagram-interface}. - - -@seealso - -Examples: @c @lsrdir{guitar} - - -@node Right hand fingerings -@subsubsection Right hand fingerings - -Right hand fingerings in chords can be entered using -@code{@var{note}-\rightHandFinger @var{finger}} - -@lilypond[verbatim,fragment,relative=2] - -@end lilypond - -for brevity, you can abbreviate @code{\rightHandFinger} to something -short, for example @code{RH}, - -@example -#(define RH rightHandFinger) -@end example - -@cindex fingerings, right hand, for guitar -@cindex right hand fingerings for guitar - -@snippets - -You may exercise greater control over right handing fingerings by -setting @code{strokeFingerOrientations}, - -@lilypond[quote,verbatim,ragged-right,fragment,relative=1] -#(define RH rightHandFinger) -{ - \set strokeFingerOrientations = #'(up down) - 4 - \set strokeFingerOrientations = #'(up right down) - 4 -} -@end lilypond - -The letters used for the fingerings are contained in the property -@code{digit-names}, but they can also be set individually by supplying -@code{\rightHandFinger} with a string argument, as in the following example - - -@lilypond[quote,verbatim,ragged-right,fragment,relative=1] -#(define RH rightHandFinger) -{ - \set strokeFingerOrientations = #'(right) - \override StrokeFinger #'digit-names = ##("x" "y" "z" "!" "@") - 4 - 4 -} -@end lilypond - -@seealso - -Internals Reference: @internalsref{StrokeFinger} - - - -@node Other guitar issues -@subsubsection Other guitar issues - -This example demonstrates how to include guitar position and -barring indications. - -@lilypond[quote,ragged-right,fragment,verbatim,relative=0] -\clef "G_8" -b16 d16 g16 b16 e16 -\textSpannerDown -\override TextSpanner #'bound-details #'left #'text = #"XII " - g16\startTextSpan - b16 e16 g16 e16 b16 g16\stopTextSpan -e16 b16 g16 d16 -@end lilypond - - -Stopped (X) note heads are used in guitar music to signal a place where the -guitarist must play a certain note or chord, with its fingers just -touching the strings instead of fully pressing them. This gives the sound a -percussive noise-like sound that still maintains part of the original -pitch. It is notated with cross note heads; this is -demonstrated in @ref{Special note heads}. - - - diff --git a/Documentation/user/keyboards.itely b/Documentation/user/keyboards.itely new file mode 100644 index 0000000000..ad52b45e80 --- /dev/null +++ b/Documentation/user/keyboards.itely @@ -0,0 +1,280 @@ +@c -*- coding: utf-8; mode: texinfo; -*- +@ignore + Translation of GIT committish: FILL-IN-HEAD-COMMITTISH + + When revising a translation, copy the HEAD committish of the + version that you are working on. See TRANSLATION for details. +@end ignore + +@c \version "2.11.38" + +@node Keyboard instruments +@section Keyboard instruments +@c@node Piano music +@c@section Piano music + +@menu +* Piano sections:: +@end menu + +@node Piano sections +@subsection Piano sections + +Piano staves are two normal staves coupled with a brace. The staves +are largely independent, but sometimes voices can cross between the +two staves. The same notation is also used for harps and other key +instruments. The @internalsref{PianoStaff} is especially built to +handle this cross-staffing behavior. In this section we discuss the +@internalsref{PianoStaff} and some other pianistic peculiarities. + +@menu +* Automatic staff changes:: +* Manual staff switches:: +* Pedals:: +* Staff switch lines:: +* Cross staff stems:: +@end menu + +@knownissues + +Dynamics are not centered, but workarounds do exist. See the +@q{piano centered dynamics} template in @rlearning{Piano templates}. + +@cindex cross staff stem +@cindex stem, cross staff +@cindex distance between staves in piano music + + +@node Automatic staff changes +@subsubsection Automatic staff changes +@cindex Automatic staff changes + +Voices can be made to switch automatically between the top and the bottom +staff. The syntax for this is + +@quotation +@example +\autochange @dots{}@var{music}@dots{} +@end example +@end quotation + +@noindent +This will create two staves inside the current PianoStaff, called +@code{up} and @code{down}. The lower staff will be in bass clef by +default. + +A @code{\relative} section that is outside of @code{\autochange} has +no effect on the pitches of @var{music}, so, if necessary, put +@code{\relative} inside @code{\autochange} like + +@quotation +@example +\autochange \relative @dots{} @dots{} +@end example +@end quotation + + +The autochanger switches on basis of the pitch (middle C is the turning +point), and it looks ahead skipping over rests to switch in +advance. Here is a practical example + +@lilypond[quote,verbatim,ragged-right] +\new PianoStaff + \autochange \relative c' + { + g4 a b c d r4 a g + } +@end lilypond + + +@seealso + +Notation Reference: @ref{Manual staff switches}. + +Internals Reference: @internalsref{AutoChangeMusic}. + + + +@knownissues + +The staff switches may not end up in optimal places. For high +quality output, staff switches should be specified manually. + + +@code{\autochange} cannot be inside @code{\times}. + + +@node Manual staff switches +@subsubsection Manual staff switches + +@cindex manual staff switches +@cindex staff switch, manual + +Voices can be switched between staves manually, using the command +@example +\change Staff = @var{staffname} @var{music} +@end example + +@noindent +The string @var{staffname} is the name of the staff. It switches the +current voice from its current staff to the Staff called +@var{staffname}. Typically @var{staffname} is @code{"up"} or +@code{"down"}. The @code{Staff} referred to must already exist, so +usually the setup for a score will start with a setup of the staves, + +@example +<< + \new Staff = "up" @{ + \skip 1 * 10 % @emph{keep staff alive} + @} + \new Staff = "down" @{ + \skip 1 * 10 % @emph{idem} + @} +>> +@end example + + +and the @code{Voice} is inserted afterwards + +@example +\context Staff = down + \new Voice @{ @dots{} \change Staff = up @dots{} @} +@end example + + +@node Pedals +@subsubsection Pedals +@cindex Pedals + +Pianos have pedals that alter the way sound is produced. Generally, a +piano has three pedals, sustain, una corda, and sostenuto. + + +Piano pedal instruction can be expressed by attaching +@code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda}, +@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a +note or chord + +@lilypond[quote,ragged-right,fragment,verbatim] +c'4\sustainDown c'4\sustainUp +@end lilypond + +What is printed can be modified by setting @code{pedal@var{X}Strings}, +where @var{X} is one of the pedal types: @code{Sustain}, +@code{Sostenuto} or @code{UnaCorda}. Refer to +@internalsref{SustainPedal} in the program reference for more +information. + +Pedals can also be indicated by a sequence of brackets, by setting the +@code{pedalSustainStyle} property to bracket objects + +@lilypond[quote,ragged-right,fragment,verbatim,relative=2] +\set Staff.pedalSustainStyle = #'bracket +c\sustainDown d e +b\sustainUp\sustainDown +b g \sustainUp a \sustainDown \bar "|." +@end lilypond + +A third style of pedal notation is a mixture of text and brackets, +obtained by setting the @code{pedalSustainStyle} property to +@code{mixed} + +@lilypond[quote,ragged-right,fragment,verbatim,relative=2] +\set Staff.pedalSustainStyle = #'mixed +c\sustainDown d e +b\sustainUp\sustainDown +b g \sustainUp a \sustainDown \bar "|." +@end lilypond + +The default @q{*Ped.} style for sustain and damper pedals corresponds to +style @code{#'text}. The sostenuto pedal uses @code{mixed} style by +default. + +@lilypond[quote,ragged-right,fragment,verbatim,relative=2] +c\sostenutoDown d e c, f g a\sostenutoUp +@end lilypond + +For fine-tuning the appearance of a pedal bracket, the properties +@code{edge-width}, @code{edge-height}, and @code{shorten-pair} of +@code{PianoPedalBracket} objects (see +@internalsref{PianoPedalBracket} in the Internals Reference) can be +modified. For example, the bracket may be extended to the right edge +of the note head + +@lilypond[quote,ragged-right,fragment,verbatim,relative=2] +\override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0) +c\sostenutoDown d e c, f g a\sostenutoUp +@end lilypond + +@seealso + +Notation Reference: @ref{Ties} (laissez vibrer). + +@node Staff switch lines +@subsubsection Staff switch lines + + +@cindex follow voice +@cindex staff switching +@cindex cross staff + +@funindex followVoice + +Whenever a voice switches to another staff, a line connecting the notes +can be printed automatically. This is switched on by setting +@code{followVoice} to true + +@lilypond[quote,ragged-right,fragment,relative=1,verbatim] +\new PianoStaff << + \new Staff="one" { + \set followVoice = ##t + c1 + \change Staff=two + b2 a + } + \new Staff="two" { \clef bass \skip 1*2 } +>> +@end lilypond + +@seealso + +Internals Reference: @internalsref{VoiceFollower}. + +@predefined + +@funindex \showStaffSwitch +@code{\showStaffSwitch}, +@funindex \hideStaffSwitch +@code{\hideStaffSwitch}. + + +@node Cross staff stems +@subsubsection Cross staff stems + +Chords that cross staves may be produced by increasing the length +of the stem in the lower staff, so it reaches the stem in the upper +staff, or vice versa. + +@lilypond[ragged-right,verbatim,quote] +stemExtend = { + \once \override Stem #'length = #10 + \once \override Stem #'cross-staff = ##t +} +noFlag = \once \override Stem #'flag-style = #'no-flag +\new PianoStaff << + \new Staff { + \stemDown \stemExtend + f'4 + \stemExtend \noFlag + f'8 + } + \new Staff { + \clef bass + a4 a8 + } +>> +@end lilypond + + + + diff --git a/Documentation/user/piano.itely b/Documentation/user/piano.itely deleted file mode 100644 index bcf6c34351..0000000000 --- a/Documentation/user/piano.itely +++ /dev/null @@ -1,278 +0,0 @@ -@c -*- coding: utf-8; mode: texinfo; -*- -@ignore - Translation of GIT committish: FILL-IN-HEAD-COMMITTISH - - When revising a translation, copy the HEAD committish of the - version that you are working on. See TRANSLATION for details. -@end ignore - -@c \version "2.11.38" - -@node Piano music -@section Piano music - -@menu -* Piano sections:: -@end menu - -@node Piano sections -@subsection Piano sections - -Piano staves are two normal staves coupled with a brace. The staves -are largely independent, but sometimes voices can cross between the -two staves. The same notation is also used for harps and other key -instruments. The @internalsref{PianoStaff} is especially built to -handle this cross-staffing behavior. In this section we discuss the -@internalsref{PianoStaff} and some other pianistic peculiarities. - -@menu -* Automatic staff changes:: -* Manual staff switches:: -* Pedals:: -* Staff switch lines:: -* Cross staff stems:: -@end menu - -@knownissues - -Dynamics are not centered, but workarounds do exist. See the -@q{piano centered dynamics} template in @rlearning{Piano templates}. - -@cindex cross staff stem -@cindex stem, cross staff -@cindex distance between staves in piano music - - -@node Automatic staff changes -@subsubsection Automatic staff changes -@cindex Automatic staff changes - -Voices can be made to switch automatically between the top and the bottom -staff. The syntax for this is - -@quotation -@example -\autochange @dots{}@var{music}@dots{} -@end example -@end quotation - -@noindent -This will create two staves inside the current PianoStaff, called -@code{up} and @code{down}. The lower staff will be in bass clef by -default. - -A @code{\relative} section that is outside of @code{\autochange} has -no effect on the pitches of @var{music}, so, if necessary, put -@code{\relative} inside @code{\autochange} like - -@quotation -@example -\autochange \relative @dots{} @dots{} -@end example -@end quotation - - -The autochanger switches on basis of the pitch (middle C is the turning -point), and it looks ahead skipping over rests to switch in -advance. Here is a practical example - -@lilypond[quote,verbatim,ragged-right] -\new PianoStaff - \autochange \relative c' - { - g4 a b c d r4 a g - } -@end lilypond - - -@seealso - -Notation Reference: @ref{Manual staff switches}. - -Internals Reference: @internalsref{AutoChangeMusic}. - - - -@knownissues - -The staff switches may not end up in optimal places. For high -quality output, staff switches should be specified manually. - - -@code{\autochange} cannot be inside @code{\times}. - - -@node Manual staff switches -@subsubsection Manual staff switches - -@cindex manual staff switches -@cindex staff switch, manual - -Voices can be switched between staves manually, using the command -@example -\change Staff = @var{staffname} @var{music} -@end example - -@noindent -The string @var{staffname} is the name of the staff. It switches the -current voice from its current staff to the Staff called -@var{staffname}. Typically @var{staffname} is @code{"up"} or -@code{"down"}. The @code{Staff} referred to must already exist, so -usually the setup for a score will start with a setup of the staves, - -@example -<< - \new Staff = "up" @{ - \skip 1 * 10 % @emph{keep staff alive} - @} - \new Staff = "down" @{ - \skip 1 * 10 % @emph{idem} - @} ->> -@end example - - -and the @code{Voice} is inserted afterwards - -@example -\context Staff = down - \new Voice @{ @dots{} \change Staff = up @dots{} @} -@end example - - -@node Pedals -@subsubsection Pedals -@cindex Pedals - -Pianos have pedals that alter the way sound is produced. Generally, a -piano has three pedals, sustain, una corda, and sostenuto. - - -Piano pedal instruction can be expressed by attaching -@code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda}, -@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a -note or chord - -@lilypond[quote,ragged-right,fragment,verbatim] -c'4\sustainDown c'4\sustainUp -@end lilypond - -What is printed can be modified by setting @code{pedal@var{X}Strings}, -where @var{X} is one of the pedal types: @code{Sustain}, -@code{Sostenuto} or @code{UnaCorda}. Refer to -@internalsref{SustainPedal} in the program reference for more -information. - -Pedals can also be indicated by a sequence of brackets, by setting the -@code{pedalSustainStyle} property to bracket objects - -@lilypond[quote,ragged-right,fragment,verbatim,relative=2] -\set Staff.pedalSustainStyle = #'bracket -c\sustainDown d e -b\sustainUp\sustainDown -b g \sustainUp a \sustainDown \bar "|." -@end lilypond - -A third style of pedal notation is a mixture of text and brackets, -obtained by setting the @code{pedalSustainStyle} property to -@code{mixed} - -@lilypond[quote,ragged-right,fragment,verbatim,relative=2] -\set Staff.pedalSustainStyle = #'mixed -c\sustainDown d e -b\sustainUp\sustainDown -b g \sustainUp a \sustainDown \bar "|." -@end lilypond - -The default @q{*Ped.} style for sustain and damper pedals corresponds to -style @code{#'text}. The sostenuto pedal uses @code{mixed} style by -default. - -@lilypond[quote,ragged-right,fragment,verbatim,relative=2] -c\sostenutoDown d e c, f g a\sostenutoUp -@end lilypond - -For fine-tuning the appearance of a pedal bracket, the properties -@code{edge-width}, @code{edge-height}, and @code{shorten-pair} of -@code{PianoPedalBracket} objects (see -@internalsref{PianoPedalBracket} in the Internals Reference) can be -modified. For example, the bracket may be extended to the right edge -of the note head - -@lilypond[quote,ragged-right,fragment,verbatim,relative=2] -\override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0) -c\sostenutoDown d e c, f g a\sostenutoUp -@end lilypond - -@seealso - -Notation Reference: @ref{Ties} (laissez vibrer). - -@node Staff switch lines -@subsubsection Staff switch lines - - -@cindex follow voice -@cindex staff switching -@cindex cross staff - -@funindex followVoice - -Whenever a voice switches to another staff, a line connecting the notes -can be printed automatically. This is switched on by setting -@code{followVoice} to true - -@lilypond[quote,ragged-right,fragment,relative=1,verbatim] -\new PianoStaff << - \new Staff="one" { - \set followVoice = ##t - c1 - \change Staff=two - b2 a - } - \new Staff="two" { \clef bass \skip 1*2 } ->> -@end lilypond - -@seealso - -Internals Reference: @internalsref{VoiceFollower}. - -@predefined - -@funindex \showStaffSwitch -@code{\showStaffSwitch}, -@funindex \hideStaffSwitch -@code{\hideStaffSwitch}. - - -@node Cross staff stems -@subsubsection Cross staff stems - -Chords that cross staves may be produced by increasing the length -of the stem in the lower staff, so it reaches the stem in the upper -staff, or vice versa. - -@lilypond[ragged-right,verbatim,quote] -stemExtend = { - \once \override Stem #'length = #10 - \once \override Stem #'cross-staff = ##t -} -noFlag = \once \override Stem #'flag-style = #'no-flag -\new PianoStaff << - \new Staff { - \stemDown \stemExtend - f'4 - \stemExtend \noFlag - f'8 - } - \new Staff { - \clef bass - a4 a8 - } ->> -@end lilypond - - - - diff --git a/Documentation/user/specialist.itely b/Documentation/user/specialist.itely index f0c44270e2..177f17c3b5 100644 --- a/Documentation/user/specialist.itely +++ b/Documentation/user/specialist.itely @@ -21,17 +21,17 @@ types of instrument or in specific styles. * Fretted string instruments:: * Percussion:: * Wind instruments:: -* Chord notation +* Chord notation:: * Ancient notation:: @end menu @include vocal.itely @include chords.itely -@include piano.itely +@include keyboards.itely @include percussion.itely -@include guitar.itely -@include strings.itely -@include bagpipes.itely +@include fretted-strings.itely +@include unfretted-strings.itely +@include wind.itely @include ancient.itely diff --git a/Documentation/user/strings.itely b/Documentation/user/strings.itely deleted file mode 100644 index d0b9d763e8..0000000000 --- a/Documentation/user/strings.itely +++ /dev/null @@ -1,43 +0,0 @@ -@c -*- coding: utf-8; mode: texinfo; -*- -@ignore - Translation of GIT committish: FILL-IN-HEAD-COMMITTISH - - When revising a translation, copy the HEAD committish of the - version that you are working on. See TRANSLATION for details. -@end ignore - -@c \version "2.11.38" - -@node Orchestral strings -@section Orchestral strings - -This section includes extra information for writing for orchestral -strings. - -@menu -* Orchestral strings sections:: -@end menu - - - -@node Orchestral strings sections -@subsection Orchestral strings sections - -@menu -* Artificial harmonics (strings):: -@end menu - -@node Artificial harmonics (strings) -@subsubsection Artificial harmonics (strings) - -@cindex artificial harmonics - -Artificial harmonics are notated with a different note head style. They -are entered by marking the harmonic pitch with @code{\harmonic}. - -@lilypond[ragged-right,verbatim,quote,fragment,relative=1] -4 -@end lilypond - - - diff --git a/Documentation/user/unfretted-strings.itely b/Documentation/user/unfretted-strings.itely new file mode 100644 index 0000000000..a453b669d7 --- /dev/null +++ b/Documentation/user/unfretted-strings.itely @@ -0,0 +1,45 @@ +@c -*- coding: utf-8; mode: texinfo; -*- +@ignore + Translation of GIT committish: FILL-IN-HEAD-COMMITTISH + + When revising a translation, copy the HEAD committish of the + version that you are working on. See TRANSLATION for details. +@end ignore + +@c \version "2.11.38" + +@node Unfretted string instruments +@section Unfretted string instruments +@c@node Orchestral strings +@c@section Orchestral strings + +This section includes extra information for writing for orchestral +strings. + +@menu +* Orchestral strings sections:: +@end menu + + + +@node Orchestral strings sections +@subsection Orchestral strings sections + +@menu +* Artificial harmonics (strings):: +@end menu + +@node Artificial harmonics (strings) +@subsubsection Artificial harmonics (strings) + +@cindex artificial harmonics + +Artificial harmonics are notated with a different note head style. They +are entered by marking the harmonic pitch with @code{\harmonic}. + +@lilypond[ragged-right,verbatim,quote,fragment,relative=1] +4 +@end lilypond + + + diff --git a/Documentation/user/wind.itely b/Documentation/user/wind.itely new file mode 100644 index 0000000000..a26e618ab4 --- /dev/null +++ b/Documentation/user/wind.itely @@ -0,0 +1,118 @@ +@c -*- coding: utf-8; mode: texinfo; -*- +@ignore + Translation of GIT committish: FILL-IN-HEAD-COMMITTISH + + When revising a translation, copy the HEAD committish of the + version that you are working on. See TRANSLATION for details. +@end ignore + +@c \version "2.11.38" + +@node Wind instruments +@section Wind instruments +@c@node Bagpipes +@c@section Bagpipes + +This section includes extra information for writing for bagpipes. + +@menu +* Bagpipe sections:: +@end menu + + +@node Bagpipe sections +@subsection Bagpipe sections + +@menu +* Bagpipe definitions:: +* Bagpipe example:: +@end menu + +@node Bagpipe definitions +@subsubsection Bagpipe definitions + +LilyPond contains special definitions for music for the Scottish +highland bagpipe; to use them, add + +@example +\include "bagpipe.ly" +@end example + +@noindent +at the top of your input file. This lets you add the special grace notes +common to bagpipe music with short commands. For example, you could +write @code{\taor} instead of + +@example +\grace @{ \small G32[ d G e] @} +@end example + +@code{bagpipe.ly} also contains pitch definitions for the bagpipe +notes in the appropriate octaves, so you do not need to worry about +@code{\relative} or @code{\transpose}. + +@lilypond[ragged-right,verbatim,quote,notime] +\include "bagpipe.ly" +{ \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A } +@end lilypond + +Bagpipe music nominally uses the key of D Major (even though that +isn't really true). However, since that is the only key that can be used, +the key signature is normally not written out. To set this up correctly, +always start your music with @code{\hideKeySignature}. If you for some +reason want to show the key signature, you can use @code{\showKeySignature} +instead. + +Some modern music use cross fingering on c and f to flatten those notes. +This can be indicated by @code{cflat} or @code{fflat}. Similarly, the +piobaireachd high g can be written @code{gflat} when it occurs in light +music. + + +@node Bagpipe example +@subsubsection Bagpipe example + +This is what the well known tune Amazing Grace looks like in bagpipe +notation. + +@lilypond[verbatim,quote] +\include "bagpipe.ly" +\layout { + indent = 0.0\cm + \context { \Score \remove "Bar_number_engraver" } +} + +\header { + title = "Amazing Grace" + meter = "Hymn" + arranger = "Trad. arr." +} + +{ + \hideKeySignature + \time 3/4 + \grg \partial 4 a8. d16 + \slurd d2 \grg f8[ e32 d16.] + \grg f2 \grg f8 e + \thrwd d2 \grg b4 + \grG a2 \grg a8. d16 + \slurd d2 \grg f8[ e32 d16.] + \grg f2 \grg e8. f16 + \dblA A2 \grg A4 + \grg A2 f8. A16 + \grg A2 \hdblf f8[ e32 d16.] + \grg f2 \grg f8 e + \thrwd d2 \grg b4 + \grG a2 \grg a8. d16 + \slurd d2 \grg f8[ e32 d16.] + \grg f2 e4 + \thrwd d2. + \slurd d2 + \bar "|." +} +@end lilypond + + + + +