From: John Mandereau Date: Sat, 15 Nov 2008 17:48:01 +0000 (+0100) Subject: Docs: remove trailing spaces in English docs X-Git-Tag: release/2.11.64-1~19 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=452061ad2abca6da1d99413777be32891c2db3e1;p=lilypond.git Docs: remove trailing spaces in English docs This avoids adding trailing spaces to @lilypond snippets in translations when 'make snippet-update' is issued. --- diff --git a/Documentation/user/changing-defaults.itely b/Documentation/user/changing-defaults.itely index 3e57280c0f..2dc41815d7 100644 --- a/Documentation/user/changing-defaults.itely +++ b/Documentation/user/changing-defaults.itely @@ -2264,11 +2264,11 @@ certain layout objects. These are covered under Special considerations. @menu -* Removing the stencil:: -* Making objects transparent:: -* Painting objects white:: -* Using break-visibility:: -* Special considerations:: +* Removing the stencil:: +* Making objects transparent:: +* Painting objects white:: +* Using break-visibility:: +* Special considerations:: @end menu diff --git a/Documentation/user/cheatsheet.itely b/Documentation/user/cheatsheet.itely index 5495c4607d..ecea91dc8b 100644 --- a/Documentation/user/cheatsheet.itely +++ b/Documentation/user/cheatsheet.itely @@ -23,7 +23,7 @@ @tab @b{Example} @item @code{1 2 8 16} -@tab durations +@tab durations @tab @lilypond[fragment,relative=2,notime] \set Staff.autoBeaming = ##f @@ -36,18 +36,18 @@ c1 c2 c8 c16 @tab @lilypond[fragment,relative=2,notime] \override Staff.Clef #'break-visibility = #all-invisible -c4. c4.. +c4. c4.. @end lilypond @item @code{c d e f g a b } -@tab scale +@tab scale @tab @lilypond[fragment,relative=1,notime] c d e f g a b @end lilypond @item @code{fis bes} -@tab alteration +@tab alteration @tab @lilypond[fragment,relative=1,notime] fis bes @@ -67,7 +67,7 @@ s4_" " @tab time signature @tab @lilypond[fragment] -\override Staff.Clef #'transparent = ##t +\override Staff.Clef #'transparent = ##t \time 3/4 s4_" " \time 4/4 @@ -76,7 +76,7 @@ s16_" " @item @code{r4 r8} -@tab rest +@tab rest @tab @lilypond[relative=2,notime,fragment] \override Staff.Clef #'break-visibility = #all-invisible @@ -98,7 +98,7 @@ d ~ d @lilypond[notime,fragment] \clef treble \key es \major -s4 +s4 @end lilypond @item @var{note}@code{'} @@ -167,7 +167,7 @@ a8-[ b-] } >> @end lilypond - + @item @code{c-> c-.} @tab articulations @tab @@ -212,7 +212,7 @@ a\> a a\! @tab @lilypond[fragment,relative=2] \set Staff.implicitTimeSignatureVisibility = #all-invisible - + @end lilypond @@ -256,18 +256,18 @@ twinkle @end lilypond @item @code{twin -- kle} -@tab lyric hyphen +@tab lyric hyphen @tab @lilypond[fragment,relative=2] \set Staff.implicitTimeSignatureVisibility = #all-invisible << { g'1 g } \new Lyrics \lyricsto "" { twin -- kle } ->> +>> @end lilypond @item @code{\chordmode @{ c:dim f:maj7 @}} -@tab chords +@tab chords @tab @lilypond[fragment,relative=2] \set Staff.implicitTimeSignatureVisibility = #all-invisible @@ -275,7 +275,7 @@ twinkle @end lilypond @item @code{\context ChordNames} -@tab printing chord names +@tab printing chord names @tab @lilypond[fragment,relative=2] \chords { c:dim f:maj7 } diff --git a/Documentation/user/chords.itely b/Documentation/user/chords.itely index 3382c43d2f..5b111be2e0 100644 --- a/Documentation/user/chords.itely +++ b/Documentation/user/chords.itely @@ -164,7 +164,7 @@ The default action; produces a major triad. } @end lilypond -@item +@item m, m7 @tab The minor chord. This modifier lowers the 3rd and (if present) the @@ -178,7 +178,7 @@ The minor chord. This modifier lowers the 3rd and (if present) the @end lilypond -@item +@item dim, dim7 @tab The diminished chord. This modifier lowers the 3rd, 5th and (if @@ -191,7 +191,7 @@ present) the 7th step. } @end lilypond -@item +@item aug @tab The augmented chord. This modifier raises the 5th step. @@ -203,7 +203,7 @@ The augmented chord. This modifier raises the 5th step. } @end lilypond -@item +@item maj, maj7 @tab The major 7th chord. This modifier adds a raised 7th step. The @@ -304,11 +304,11 @@ as part of the basic chord structure, add it as an altered step. @funindex ^ -Following any steps to be added, a series of steps to be removed -is introduced in a modifier string with a prefix of @code{^}. +Following any steps to be added, a series of steps to be removed +is introduced in a modifier string with a prefix of @code{^}. If more than one step is to be removed, the steps to be removed are separated by @code{.} following the -initial @code{^}. +initial @code{^}. @lilypond[quote,verbatim,fragment,relative=1] \chordmode { @@ -356,7 +356,7 @@ moved as part of an inversion, by using @code{/+}@var{pitch}. @end lilypond Chord modifiers that can be used to produce a variety of -standard chords are shown in +standard chords are shown in @ref{Common chord modifiers}. @seealso diff --git a/Documentation/user/converters.itely b/Documentation/user/converters.itely index aeb9966059..a3fb1df8e7 100644 --- a/Documentation/user/converters.itely +++ b/Documentation/user/converters.itely @@ -33,7 +33,7 @@ bug reports will almost certainly not be resolved. @menu * Invoking midi2ly:: Importing MIDI. * Invoking musicxml2ly:: Importing MusicXML. -* Invoking abc2ly:: Importing ABC. +* Invoking abc2ly:: Importing ABC. * Invoking etf2ly:: Importing Finale. * Generating LilyPond files:: GUIs, transcribers, and algorithmic composition programs. @end menu @@ -149,7 +149,7 @@ Note that by @q{command-line}, we mean the command line of the operating system. See @ref{Converting from other formats}, for more information about this. -If the given filename is @file{-}, @command{musicxml2ly} reads input +If the given filename is @file{-}, @command{musicxml2ly} reads input from the command line. The following options are supported by @command{musicxml2ly}: @@ -173,7 +173,7 @@ do not convert directions (@code{^}, @code{_} or @code{-}) for articulations, dynamics, etc. @item --no-beaming -do not convert beaming information, use LilyPond's automatic +do not convert beaming information, use LilyPond's automatic beaming instead. @item -o,--output=@var{file} @@ -330,7 +330,7 @@ which imports @uref{http://@/www@/.musicxml@/.com/xml@/.html,MusicXML} which imports MIDI @item @uref{http://@/common-lisp@/.net/project/fomus/,FOMUS}, -a LISP library to generate music notation +a LISP library to generate music notation @item @uref{http://vsr.informatik.tu-chemnitz.de/staff/jan/nted/nted.xhtml}, has experimental export for LilyPond. diff --git a/Documentation/user/editorial.itely b/Documentation/user/editorial.itely index d8e8c9f691..5964720b9f 100644 --- a/Documentation/user/editorial.itely +++ b/Documentation/user/editorial.itely @@ -13,28 +13,28 @@ @lilypondfile[quote]{editorial-headword.ly} -This section discusses the various ways to change the appearance of +This section discusses the various ways to change the appearance of notes and add analysis or educational emphasis. @menu -* Inside the staff:: -* Outside the staff:: +* Inside the staff:: +* Outside the staff:: @end menu @node Inside the staff @subsection Inside the staff -This section discusses how to add emphasis to elements that are +This section discusses how to add emphasis to elements that are inside the staff. @menu -* Selecting notation font size:: -* Fingering instructions:: -* Hidden notes:: -* Coloring objects:: -* Parentheses:: -* Stems:: +* Selecting notation font size:: +* Fingering instructions:: +* Hidden notes:: +* Coloring objects:: +* Parentheses:: +* Stems:: @end menu @node Selecting notation font size @@ -156,7 +156,7 @@ Fingering instructions can be entered using c4-1 d-2 f-4 e-3 @end lilypond -Markup texts may be used for finger changes. +Markup texts may be used for finger changes. @lilypond[verbatim,quote,relative=2] c4-1 d-2 f-4 c^\markup { \finger "2 - 3" } @@ -167,7 +167,7 @@ c4-1 d-2 f-4 c^\markup { \finger "2 - 3" } @funindex thumb A thumb-script can be added (e.g., in cello music) to indicate -that a note should be played with the thumb. +that a note should be played with the thumb. @lilypond[verbatim,quote,relative=2] 2 @@ -235,7 +235,7 @@ c4 d e4 f \unHideNotes g a -\hideNotes +\hideNotes b \unHideNotes c @@ -303,7 +303,7 @@ write and is more efficient. However, using the second form it is possible to access X11 colors by the multi-word form of its name. If @code{x11-color} cannot make sense of the parameter then the -color returned defaults to black. +color returned defaults to black. @lilypond[verbatim,quote,relative=2] \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2) @@ -336,12 +336,12 @@ Exact RGB colors can be specified using the Scheme function \set Staff.instrumentName = \markup { \with-color #(x11-color 'navy) "Clarinet" } - + \override Stem #'color = #(rgb-color 0 0 0) gis8 a \override Stem #'color = #(rgb-color 1 1 1) gis8 a -\override Stem #'color = #(rgb-color 0 0 0.5) +\override Stem #'color = #(rgb-color 0 0 0.5) gis4 a @end lilypond @@ -362,7 +362,7 @@ Snippets: @knownissues An X11 color is not necessarily exactly the same shade as a -similarly named normal color. +similarly named normal color. Not all X11 colors are distinguishable in a web browser, i.e., a web browser might not display a difference between @code{'LimeGreen} @@ -465,13 +465,13 @@ Internals Reference: @node Outside the staff @subsection Outside the staff -This section discusses how to add emphasis to elements in the staff -from outside of the staff. +This section discusses how to add emphasis to elements in the staff +from outside of the staff. @menu -* Balloon help:: -* Grid lines:: -* Analysis brackets:: +* Balloon help:: +* Grid lines:: +* Analysis brackets:: @end menu @node Balloon help @@ -495,10 +495,10 @@ notation. \new Voice \with { \consists "Balloon_engraver" } { \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" } - a8 + a8 \balloonGrobText #'Rest #'(-4 . -4) \markup { "I'm a rest" } r - 2. + 2. } @end lilypond @@ -517,11 +517,11 @@ altered: { \balloonLengthOff \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" } - a8 + a8 \balloonGrobText #'Rest #'(-4 . -4) \markup { "I'm a rest" } r \balloonLengthOn - 2. + 2. } @end lilypond @@ -572,7 +572,7 @@ lines. \layout { \context { \Staff - \consists "Grid_point_engraver" + \consists "Grid_point_engraver" gridInterval = #(ly:make-moment 1 4) } \context { diff --git a/Documentation/user/expressive.itely b/Documentation/user/expressive.itely index 65e197b242..2376904d93 100644 --- a/Documentation/user/expressive.itely +++ b/Documentation/user/expressive.itely @@ -487,10 +487,10 @@ are curved: normal slurs, phrasing slurs, breath marks, falls, and doits. @menu -* Slurs:: -* Phrasing slurs:: -* Breath marks:: -* Falls and doits:: +* Slurs:: +* Phrasing slurs:: +* Breath marks:: +* Falls and doits:: @end menu @node Slurs @@ -707,7 +707,7 @@ divisiones, are supported. For details, see @ref{Divisiones}. @seealso -Music Glossary: +Music Glossary: @rglos{caesura}. Notation Reference: diff --git a/Documentation/user/fretted-strings.itely b/Documentation/user/fretted-strings.itely index 2ba5205539..7c15ebbe2c 100644 --- a/Documentation/user/fretted-strings.itely +++ b/Documentation/user/fretted-strings.itely @@ -23,9 +23,9 @@ to fretted string instruments. @cindex banjo tablature @menu -* Common notation for fretted strings:: -* Guitar:: -* Banjo:: +* Common notation for fretted strings:: +* Guitar:: +* Banjo:: @end menu @node Common notation for fretted strings @@ -35,14 +35,14 @@ This section discusses common notation that is unique to fretted string instruments. @menu -* References for fretted strings:: -* String number indications:: -* Default tablatures:: -* Custom tablatures:: +* References for fretted strings:: +* String number indications:: +* Default tablatures:: +* Custom tablatures:: * Fret diagram markups:: * Predefined fret diagrams:: -* Automatic fret diagrams:: -* Right-hand fingerings:: +* Automatic fret diagrams:: +* Right-hand fingerings:: @end menu @node References for fretted strings @@ -53,9 +53,9 @@ a single staff, either in traditional music notation or in tablature. Sometimes the two types are combined, and it is especially common in popular music to use chord diagrams above a staff of traditional notation. The guitar and the banjo are -transposing instruments, sounding an octave lower than written. -Scores for these instruments should use the @code{"treble_8"} clef. -Some other elements pertinent to fretted string instruments +transposing instruments, sounding an octave lower than written. +Scores for these instruments should use the @code{"treble_8"} clef. +Some other elements pertinent to fretted string instruments are covered elsewhere: @itemize @@ -65,8 +65,8 @@ are covered elsewhere: as well as ties on arpeggios and tremolos is described in @ref{Ties}. -@item Instructions on handling multiple voices is described -in @ref{Collision resolution}. +@item Instructions on handling multiple voices is described +in @ref{Collision resolution}. @end itemize @@ -144,12 +144,12 @@ Internals Reference: 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. +numbers indicating on which string and fret a note must be played. LilyPond offers limited support for tablature. The string number associated with a note is given as a backslash -followed by a number. By default, string 1 is the highest, -and the tuning defaults to the standard guitar tuning (with 6 strings). +followed by a number. By default, string 1 is the highest, +and the tuning defaults to the standard guitar tuning (with 6 strings). The notes are printed as tablature, by using @code{TabStaff} and @code{TabVoice} contexts @@ -219,7 +219,7 @@ Notation Reference: Snippets: @rlsr{Fretted strings}. -Internals Reference: +Internals Reference: @rinternals{TabNoteHead}, @rinternals{TabStaff}, @rinternals{TabVoice}, @@ -262,14 +262,14 @@ Guitar special effects are limited to harmonics and slides. @funindex StringTunings -LilyPond tabulature automatically calculates the fret for +LilyPond tabulature automatically calculates the fret for a note based on the string to which the note is assigned. In order to do this, the tuning of the strings must be specified. The tuning of the strings is given in the @code{StringTunings} property. LilyPond comes with predefined string tunings for banjo, mandolin, -guitar and bass guitar. Lilypond automatically sets the correct +guitar and bass guitar. Lilypond automatically sets the correct transposition for predefined tunings. The following example is for bass guitar, which sounds an octave lower than written. @@ -293,20 +293,20 @@ for bass guitar, which sounds an octave lower than written. The default string tuning is @code{guitar-tuning}, which is the standard EADGBE tuning. Some other predefined tunings are @code{guitar-open-g-tuning}, @code{mandolin-tuning} and -@code{banjo-open-g-tuning}. The predefined string tunings +@code{banjo-open-g-tuning}. The predefined string tunings are found in @code{scm/output-lib.scm}. -A string tuning is a Scheme list of string pitches, +A string tuning is a Scheme list of string pitches, one for each string, ordered by string number from 1 to N, where string 1 is at the top of the tablature staff and -string N is at the bottom. This ordinarily results in ordering -from highest pitch to lowest pitch, but some instruments +string N is at the bottom. This ordinarily results in ordering +from highest pitch to lowest pitch, but some instruments (e.g. ukulele) do not have strings ordered by pitch. -A string pitch in a string tuning list is the pitch difference -of the open string from middle C measured in semitones. The -string pitch must be an integer. Lilypond calculates the actual -pitch of the string by adding the string tuning pitch to the +A string pitch in a string tuning list is the pitch difference +of the open string from middle C measured in semitones. The +string pitch must be an integer. Lilypond calculates the actual +pitch of the string by adding the string tuning pitch to the actual pitch for middle C. LilyPond automatically calculates the number of strings in the @@ -343,7 +343,7 @@ Installed Files: Snippets: @rlsr{Fretted strings}. -Internals Reference: +Internals Reference: @rinternals{Tab_note_heads_engraver}. @@ -372,17 +372,17 @@ In addition, open and unplayed (muted) strings can be indicated. @lilypond[quote, verbatim] << \context ChordNames { - \chordmode { - c1 d:m + \chordmode { + c1 d:m } } \context Staff { \clef "treble_8" - < c e g c' e' > 1 ^\markup + < c e g c' e' > 1 ^\markup \fret-diagram #"6-x;5-3;4-2;3-o;2-1;1-o;" < d a d' f'> ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-1;" - } + } >> @end lilypond @@ -457,17 +457,17 @@ can be controlled by the fret-diagram markup string. @lilypond[quote, verbatim] << \context ChordNames { - \chordmode { - c1 d:m + \chordmode { + c1 d:m } } \context Staff { \clef "treble_8" - < c e g c' e' > 1 ^\markup + < c e g c' e' > 1 ^\markup \fret-diagram #"f:1;6-x;5-3-3;4-2-2;3-o;2-1-1;1-o;" < d a d' f'> ^\markup \fret-diagram #"f:2;6-x;5-x;4-o;3-2-2;2-3-3;1-1-1;" - } + } >> @end lilypond @@ -477,17 +477,17 @@ markup string. @lilypond[quote, verbatim] << \context ChordNames { - \chordmode { - c1 d:m + \chordmode { + c1 d:m } } \context Staff { \clef "treble_8" - < c e g c' e' > 1 ^\markup + < c e g c' e' > 1 ^\markup \fret-diagram #"d:0.35;6-x;5-3;4-2;3-o;2-1;1-o;" < d a d' f'> ^\markup \fret-diagram #"p:0.2;6-x;5-x;4-o;3-2;2-3;1-1;" - } + } >> @end lilypond @@ -497,7 +497,7 @@ markup string. @funindex \fret-diagram-terse The fret-diagram-terse markup string omits string numbers; the string -number is implied by the presence of semicolons. There is one semicolon +number is implied by the presence of semicolons. There is one semicolon for each string in the diagram. The first semicolon corresponds to the highest string number and the last semicolon corresponds to the first string. Mute strings, open strings, and fret numbers can be indicated. @@ -536,20 +536,20 @@ Barre indicators can be included in the fret-diagram-terse markup string. \fret-diagram-terse #"3-(;5;5;4;3;3-);" } >> -@end lilypond +@end lilypond Fingering indications can be included in the fret-diagram-terse markup string. @c Need to use override to enable fingerings to show this -- can we do so? @lilypond[quote, verbatim] -<< +<< \context ChordNames { \chordmode { c1 d:m } } \context Staff { - \override Voice.TextScript + \override Voice.TextScript #'fret-diagram-details #'finger-code = #'below-string \clef "treble_8" < c e g c' e' > 1 ^\markup @@ -601,7 +601,7 @@ element of the list indicates an item to be placed on the fret diagram. >> @end lilypond -Fingering indications and barres can be included in a +Fingering indications and barres can be included in a fret-diagram-verbose markup string. @c \override is necessary to make fingering visible @@ -640,7 +640,7 @@ fret-diagram-verbose markup string. >> @end lilypond -All other fret diagram properties must be adjusted using @code{\override} +All other fret diagram properties must be adjusted using @code{\override} when using the fret-diagram-verbose markup. @ignore @@ -659,9 +659,9 @@ and color of dots. 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 5 4 3) (place-fret 4 4 4) - (place-fret 3 3 2) + (place-fret 3 3 2) (place-fret 2 2 1) (place-fret 1 2 1)) } @@ -731,14 +731,14 @@ are stored in a lookup table: @end lilypond The default predefined fret diagrams are contained in the file -@code{predefined-guitar-fretboards.ly}. Fret diagrams are +@code{predefined-guitar-fretboards.ly}. Fret diagrams are stored based on the pitches of a chord and the value of -@code{stringTunings} that is currently in use. -@code{predefined-guitar-fretboards.ly} contains predefined +@code{stringTunings} that is currently in use. +@code{predefined-guitar-fretboards.ly} contains predefined fret diagrams only for @code{guitar-tuning}. Predefined fret diagrams can be added for other instruments or other tunings -by following the examples found in -@code{predefined-guitar-fretboards.ly}. +by following the examples found in +@code{predefined-guitar-fretboards.ly}. Chord pitches can be entered either as simultaneous music or using chord mode (see @@ -842,7 +842,7 @@ fret-diagram-terse definition string for the diagram. @lilypond[verbatim, ragged-right, quote] \include "predefined-guitar-fretboards.ly" -\storePredefinedDiagram \chordmode {c:9} +\storePredefinedDiagram \chordmode {c:9} #guitar-tuning #"x;3-2;2-1;3-3;3-4;x;" @@ -866,7 +866,7 @@ octaves of pitches. @lilypond[verbatim, ragged-right, quote] \include "predefined-guitar-fretboards.ly" -\storePredefinedDiagram \chordmode {c'} +\storePredefinedDiagram \chordmode {c'} #guitar-tuning #(offset-fret 2 (chord-shape 'bes)) @@ -907,15 +907,15 @@ predefined fret diagrams. % add some new chords based on the power chord shape -\storePredefinedDiagram \chordmode {f'} - #guitar-tuning +\storePredefinedDiagram \chordmode {f'} + #guitar-tuning #(chord-shape 'powerf) -\storePredefinedDiagram \chordmode {g'} +\storePredefinedDiagram \chordmode {g'} #guitar-tuning #(offset-fret 2 (chord-shape 'powerf)) mychords = \chordmode{ - f1 f' g g' + f1 f' g g' } << @@ -930,8 +930,8 @@ mychords = \chordmode{ The graphical layout of a fret diagram can be customized according to user preference through the properties of the @code{fret-diagram-interface}. -Details are found at @rinternals{fret-diagram-interface}. For a -predefined fret diagram, the interface properties belong to +Details are found at @rinternals{fret-diagram-interface}. For a +predefined fret diagram, the interface properties belong to @code{FretBoards.FretBoard}. @snippets @@ -969,7 +969,7 @@ Internals Reference: @cindex automatic fret diagrams @cindex automatic chord diagrams -Fret diagrams can be automatically created from entered notes using the +Fret diagrams can be automatically created from entered notes using the @code{FretBoards} context. If no predefined diagram is available for the entered notes in the active @code{stringTunings}, this context calculates strings and frets that can be used to play the notes. @@ -977,8 +977,8 @@ calculates strings and frets that can be used to play the notes. @lilypond[quote,ragged-right,verbatim] << \context ChordNames { - \chordmode { - f1 g + \chordmode { + f1 g } } \context FretBoards { @@ -989,7 +989,7 @@ calculates strings and frets that can be used to play the notes. \clef "treble_8" < f, c f a c' f'>1 < g, b, d g b' g'> - } + } >> @end lilypond @@ -998,7 +998,7 @@ calculates strings and frets that can be used to play the notes. @funindex predefinedFretboardsOn @funindex \predefinedFretboardsOn -As no predefined diagrams are loaded by default, automatic calculation +As no predefined diagrams are loaded by default, automatic calculation of fret diagrams is the default behavior. Once default diagrams are loaded, automatic calculation can be enabled and disabled with predefined commands: @@ -1010,8 +1010,8 @@ commands: #"x;3-1-(;5-2;5-3;5-4;3-1-1);" << \context ChordNames { - \chordmode { - c1 c c + \chordmode { + c1 c c } } \context FretBoards { @@ -1026,16 +1026,16 @@ commands: 1 - } + } >> @end lilypond - + Sometimes the fretboard calculator will be unable to find an accceptable diagram. This can often be remedied by manually assigning a note to a string. In many cases, only one -note need be manually placed on a string; the rest of +note need be manually placed on a string; the rest of the notes will then be placed appropriately by the @code{FretBoards} context. @@ -1047,8 +1047,8 @@ Fingerings can be added to FretBoard fret diagrams. @lilypond[quote, verbatim] << \context ChordNames { - \chordmode { - c1 d:m + \chordmode { + c1 d:m } } \context FretBoards { @@ -1059,7 +1059,7 @@ Fingerings can be added to FretBoard fret diagrams. \clef "treble_8" < c e g c' e' > 1 < d a d' f'> - } + } >> @end lilypond @@ -1089,13 +1089,13 @@ property. The strings and frets for the @code{FretBoards} context depend on the @code{stringTunings} property, which has the same meaning -as in the TabStaff context. See @ref{Custom tablatures} for -information on the @code{stringTunings} property. +as in the TabStaff context. See @ref{Custom tablatures} for +information on the @code{stringTunings} property. The graphical layout of a fret diagram can be customized according to user preference through the properties of the @code{fret-diagram-interface}. -Details are found at @rinternals{fret-diagram-interface}. For a -@code{FretBoards} fret diagram, the interface properties belong to +Details are found at @rinternals{fret-diagram-interface}. For a +@code{FretBoards} fret diagram, the interface properties belong to @code{FretBoards.FretBoard}. @predefined @@ -1124,18 +1124,18 @@ Internals Reference: @funindex rightHandFinger @funindex \rightHandFinger -Right-hand fingerings @var{p-i-m-a} must be entered within a -chord construct @code{<>} for them to be printed in the score, -even when applied to a single note. +Right-hand fingerings @var{p-i-m-a} must be entered within a +chord construct @code{<>} for them to be printed in the score, +even when applied to a single note. -@warning{There @strong{must} be a hyphen after the note and a space +@warning{There @strong{must} be a hyphen after the note and a space before the closing @code{>}.} @lilypond[quote,verbatim,relative=0] \clef "treble_8" -4 - - +4 + + 1 @@ -1162,7 +1162,7 @@ short, for example @code{RH}, Snippets: @rlsr{Fretted strings}. -Internals Reference: +Internals Reference: @rinternals{StrokeFinger}. @@ -1171,16 +1171,16 @@ Internals Reference: Most of the notational issues associated with guitar music are covered sufficiently in the general fretted strings section, but there -are a few more worth covering here. Occasionally users want to +are a few more worth covering here. Occasionally users want to create songbook-type documents having only lyrics with chord indications above them. Since Lilypond is a music typesetter, it is not recommended for documents that have no music notation -in them. A better alternative is a word processor, text editor, +in them. A better alternative is a word processor, text editor, or, for experienced users, a typesetter like GuitarTeX. @menu -* Indicating position and barring:: -* Indicating harmonics and dampened notes:: +* Indicating position and barring:: +* Indicating harmonics and dampened notes:: @end menu @node Indicating position and barring @@ -1219,8 +1219,8 @@ Snippets: @cindex dampened notes on fretted instruments @cindex harmonics on fretted instruments -Special note heads can be used to indicate dampened notes or -harmonics. Harmonics are normally further explained with a +Special note heads can be used to indicate dampened notes or +harmonics. Harmonics are normally further explained with a text markup. @lilypond[quote,ragged-right,fragment,verbatim] @@ -1246,7 +1246,7 @@ Notation Reference: @subsection Banjo @menu -* Banjo tablatures:: +* Banjo tablatures:: @end menu @node Banjo tablatures diff --git a/Documentation/user/fundamental.itely b/Documentation/user/fundamental.itely index b82feb2907..0a3588ef39 100644 --- a/Documentation/user/fundamental.itely +++ b/Documentation/user/fundamental.itely @@ -113,7 +113,7 @@ commands, leaving them to be created implicitly. For simple examples this works well, but for more complex examples, especially when additional commands are used, the implicit creation of contexts can give surprising results, maybe creating extra unwanted staves. -The way to create contexts explicitly is explained in +The way to create contexts explicitly is explained in @ref{Contexts and engravers}. @warning{When entering more than a few lines of music it is @@ -747,7 +747,7 @@ note head, so that the voices may be easily distinguished. Voice one is set to red diamonds, voice two to blue triangles, voice three to green crossed circles, and voice four (not used here) to magenta crosses; @code{\voiceNeutralStyle} (also not -used here) reverts the style back to the default. +used here) reverts the style back to the default. We shall see later how commands like these may be created by the user. See @ref{Visibility and color of objects} and @@ -1712,8 +1712,8 @@ context to distinguish it from other contexts of the same type, Note the distinction between the name of the context type, @code{Staff}, @code{Voice}, etc, and the identifying name of a -particular instance of that type, which can be any sequence of letters -invented by the user. Digits and spaces can also be used in the +particular instance of that type, which can be any sequence of letters +invented by the user. Digits and spaces can also be used in the identifying name, but then it has to be placed in quotes, i.e. @code{\new Staff = "MyStaff 1" @var{music-expression}}. The identifying name is used to @@ -2064,7 +2064,7 @@ The values of context properties may be set in @emph{all} contexts of a particular type, such as all @code{Staff} contexts, with a single command. The context type is identified by using its type name, like @code{Staff}, prefixed by a back-slash: @code{\Staff}. -The statement which sets the property value is the same as that in a +The statement which sets the property value is the same as that in a @code{\with} block, introduced above. It is placed in a @code{\context} block within a @code{\layout} block. Each @code{\context} block will affect all contexts of the type specified diff --git a/Documentation/user/input.itely b/Documentation/user/input.itely index 867370d88d..cd0bd8b165 100644 --- a/Documentation/user/input.itely +++ b/Documentation/user/input.itely @@ -16,11 +16,11 @@ This section deals with general LilyPond input and output issues, rather than specific notation. @menu -* Input structure:: -* Titles and headers:: -* Working with input files:: -* Controlling output:: -* MIDI output:: +* Input structure:: +* Titles and headers:: +* Working with input files:: +* Controlling output:: +* MIDI output:: @end menu @@ -31,9 +31,9 @@ The main format of input for LilyPond are text files. By convention, these files end with @code{.ly}. @menu -* Structure of a score:: -* Multiple scores in a book:: -* File structure:: +* Structure of a score:: +* Multiple scores in a book:: +* File structure:: @end menu @@ -337,10 +337,10 @@ Almost all printed music includes a title and the composer's name; some pieces include a lot more information. @menu -* Creating titles:: -* Custom titles:: -* Reference to page numbers:: -* Table of contents:: +* Creating titles:: +* Custom titles:: +* Reference to page numbers:: +* Table of contents:: @end menu @@ -760,10 +760,10 @@ Init files: @file{../ly/@/toc@/-init@/.ly}. @section Working with input files @menu -* Including LilyPond files:: -* Different editions from one source:: -* Text encoding:: -* Displaying LilyPond notation:: +* Including LilyPond files:: +* Different editions from one source:: +* Text encoding:: +* Displaying LilyPond notation:: @end menu @@ -885,8 +885,8 @@ the structure of the score will make it easier to change the structure while leaving the notation untouched. @menu -* Using variables:: -* Using tags:: +* Using variables:: +* Using tags:: @end menu @node Using variables @@ -1240,8 +1240,8 @@ lilypond file.ly >display.txt @section Controlling output @menu -* Extracting fragments of music:: -* Skipping corrected music:: +* Extracting fragments of music:: +* Skipping corrected music:: @end menu @node Extracting fragments of music @@ -1351,12 +1351,12 @@ settings. Therefore the midi file should not have more than 15 staves (or 14 if you do not use drums). Other staves will remain silent. @menu -* Creating MIDI files:: -* MIDI block:: -* What goes into the MIDI output?:: -* Repeats in MIDI:: -* Controlling MIDI dynamics:: -* Percussion in MIDI:: +* Creating MIDI files:: +* MIDI block:: +* What goes into the MIDI output?:: +* Repeats in MIDI:: +* Controlling MIDI dynamics:: +* Percussion in MIDI:: @end menu @node Creating MIDI files diff --git a/Documentation/user/install.itely b/Documentation/user/install.itely index cb16e07e05..768f009f12 100644 --- a/Documentation/user/install.itely +++ b/Documentation/user/install.itely @@ -24,8 +24,8 @@ Building LilyPond is a very involved process, so we @strong{highly} recommend using the precompiled binaries. @menu -* Precompiled binaries:: -* Compiling from source:: +* Precompiled binaries:: +* Compiling from source:: @end menu @@ -86,12 +86,12 @@ the @uref{Compiling-from-source.html,documentation in English}. @c and remove all stuff (menu, nodes, contents) below this line. @menu -* Downloading source code:: -* Requirements:: -* Building LilyPond:: -* Building documentation:: -* Testing LilyPond:: -* Problems:: +* Downloading source code:: +* Requirements:: +* Building LilyPond:: +* Building documentation:: +* Testing LilyPond:: +* Problems:: @end menu @node Downloading source code @@ -104,7 +104,7 @@ Download source @uref{http://lilypond.org/download/} by HTTP. @item tarballs from @uref{http://download.linuxaudio.org/lilypond/} by HTTP. -@item +@item GIT from @uref{http://git.sv.gnu.org/gitweb/?p=lilypond.git;a=summary,git.sv.gnu.org} @example @@ -136,7 +136,7 @@ FOO-devel, libFOO-dev or FOO-dev package too. @item @uref{http://fontforge.sf.net/,FontForge} 20060125 or newer. -@item @uref{http://metafont.tutorial.free.fr/,MetaFont} (mf-nowin, mf, mfw or +@item @uref{http://metafont.tutorial.free.fr/,MetaFont} (mf-nowin, mf, mfw or mfont binaries) and @uref{http://cm.bell-labs.com/who/hobby/MetaPost.html,MetaPost} (mpost binary), usually packaged with a @LaTeX{} distribution like tetex or texlive. @@ -435,7 +435,7 @@ On MacOS@tie{}X, I use this: @verbatim export DYLD_LIBRARY_PATH=/sw/lib -exec /sw/bin/pngtopnm "$@" +exec /sw/bin/pngtopnm "$@" @end verbatim @@ -481,7 +481,7 @@ For checking the coverage of the test suite, do the following ./buildscripts/build-coverage.sh @emph{# uncovered files, least covered first} python ./buildscripts/coverage.py --summary out-cov/*.cc -@emph{# consecutive uncovered lines, longest first} +@emph{# consecutive uncovered lines, longest first} python ./buildscripts/coverage.py --uncovered out-cov/*.cc @end example @@ -559,12 +559,12 @@ hints, though: Red Hat Fedora taipeifonts fonts-xorg-truetype ttfonts-ja fonts-arabic \ - ttfonts-zh_CN fonts-ja fonts-hebrew + ttfonts-zh_CN fonts-ja fonts-hebrew Debian GNU/Linux apt-get install emacs-intl-fonts xfonts-intl-.* \ ttf-kochi-gothic ttf-kochi-mincho \ - xfonts-bolkhov-75dpi xfonts-cronyx-100dpi xfonts-cronyx-75dpi + xfonts-bolkhov-75dpi xfonts-cronyx-100dpi xfonts-cronyx-75dpi @end verbatim diff --git a/Documentation/user/introduction.itely b/Documentation/user/introduction.itely index ee08dacf7c..8920516af6 100644 --- a/Documentation/user/introduction.itely +++ b/Documentation/user/introduction.itely @@ -16,8 +16,8 @@ This chapter introduces readers to LilyPond and the documentation. @menu -* Background:: -* About the documentation:: +* Background:: +* About the documentation:: @end menu @@ -28,11 +28,11 @@ This section covers the overall goals and architecture of LilyPond. @menu -* Engraving:: -* Automated engraving:: -* What symbols to engrave?:: -* Music representation:: -* Example applications:: +* Engraving:: +* Automated engraving:: +* What symbols to engrave?:: +* Music representation:: +* Example applications:: @end menu @@ -743,7 +743,7 @@ following example combines some more exotic constructs. << { \revert Stem #'direction \change Staff = down - \set subdivideBeams = ##t + \set subdivideBeams = ##t g16.[ \change Staff = up c'''32 @@ -774,7 +774,7 @@ following example combines some more exotic constructs. \override Beam #'thickness = #0.3 \override Stem #'thickness = #4.0 g'16[ b16 fis16 g16] - << \makeClusters { + << \makeClusters { as16 diff --git a/Documentation/user/lilypond-book.itely b/Documentation/user/lilypond-book.itely index 7fc46d3f15..7c5b40fb5a 100644 --- a/Documentation/user/lilypond-book.itely +++ b/Documentation/user/lilypond-book.itely @@ -45,12 +45,12 @@ documents. @cindex @LaTeX{}, music in @menu -* An example of a musicological document:: -* Integrating music and text:: -* Music fragment options:: -* Invoking lilypond-book:: -* Filename extensions:: -* Alternate methods of mixing text and music:: +* An example of a musicological document:: +* Integrating music and text:: +* Music fragment options:: +* Invoking lilypond-book:: +* Filename extensions:: +* Alternate methods of mixing text and music:: @end menu @@ -165,10 +165,10 @@ Larger examples can be put into a separate file, and introduced with Here we explain how to integrate LilyPond with various output formats. @menu -* LaTeX:: -* Texinfo:: -* HTML:: -* DocBook:: +* LaTeX:: +* Texinfo:: +* HTML:: +* DocBook:: @end menu @node LaTeX @@ -496,7 +496,7 @@ the following structure: @end example -Note that you can use @code{mediaobject} or @code{inlinemediaobject} +Note that you can use @code{mediaobject} or @code{inlinemediaobject} as the outermost element as you wish. @subheading Including LilyPond code @@ -511,7 +511,7 @@ structure: \context Staff \with @{ \remove Time_signature_engraver - \remove Clef_engraver@} + \remove Clef_engraver@} @{ c4( fis) @} @@ -901,7 +901,7 @@ music stick out of the right margin. The width of a tightly clipped system can vary, due to notation elements that stick into the left margin, such as bar numbers and -instrument names. This option will shorten each line and move each +instrument names. This option will shorten each line and move each line to the right by the same amount. @@ -973,9 +973,9 @@ This section shows methods to integrate text and music, different than the automated method with @command{lilypond-book}. @menu -* Many quotes from a large score:: -* Inserting LilyPond output into OpenOffice.org:: -* Inserting LilyPond output into other programs:: +* Many quotes from a large score:: +* Inserting LilyPond output into OpenOffice.org:: +* Inserting LilyPond output into other programs:: @end menu @node Many quotes from a large score diff --git a/Documentation/user/notation-appendices.itely b/Documentation/user/notation-appendices.itely index 8c6bc0618f..7f27e01ebb 100644 --- a/Documentation/user/notation-appendices.itely +++ b/Documentation/user/notation-appendices.itely @@ -31,21 +31,21 @@ and just before @end ignore @menu -* Chord name chart:: -* Common chord modifiers:: -* Predefined fretboard diagrams:: -* MIDI instruments:: -* List of colors:: -* The Feta font:: -* Note head styles:: -* Text markup commands:: +* Chord name chart:: +* Common chord modifiers:: +* Predefined fretboard diagrams:: +* MIDI instruments:: +* List of colors:: +* The Feta font:: +* Note head styles:: +* Text markup commands:: * Text markup list commands:: -* List of articulations:: -* Percussion notes:: -* All context properties:: -* Layout properties:: -* Identifiers:: -* Scheme functions:: +* List of articulations:: +* Percussion notes:: +* All context properties:: +* Layout properties:: +* Identifiers:: +* Scheme functions:: @end menu diff --git a/Documentation/user/programming-interface.itely b/Documentation/user/programming-interface.itely index 6327a5e19c..9cf3997473 100644 --- a/Documentation/user/programming-interface.itely +++ b/Documentation/user/programming-interface.itely @@ -17,13 +17,13 @@ not familiar with Scheme, you may wish to read our @rlearning{Scheme tutorial}. @menu -* Music functions:: -* Programmer interfaces:: -* Building complicated functions:: -* Markup programmer interface:: -* Contexts for programmers:: +* Music functions:: +* Programmer interfaces:: +* Building complicated functions:: +* Markup programmer interface:: +* Contexts for programmers:: * Scheme procedures as properties:: -* Using Scheme code instead of \tweak:: +* Using Scheme code instead of \tweak:: * Difficult tweaks:: @end menu @@ -34,13 +34,13 @@ not familiar with Scheme, you may wish to read our This section discusses how to create music functions within LilyPond. @menu -* Overview of music functions:: -* Simple substitution functions:: -* Paired substitution functions:: -* Mathematics in functions:: -* Void functions:: -* Functions without arguments:: -* Overview of available music functions:: +* Overview of music functions:: +* Simple substitution functions:: +* Paired substitution functions:: +* Mathematics in functions:: +* Void functions:: +* Functions without arguments:: +* Overview of available music functions:: @end menu @node Overview of music functions @@ -297,8 +297,8 @@ This section contains information about mixing LilyPond and Scheme. @menu -* Input variables and Scheme:: -* Internal music representation:: +* Input variables and Scheme:: +* Internal music representation:: @end menu @@ -850,10 +850,10 @@ Markups are implemented as special Scheme functions which produce a Stencil object given a number of arguments. @menu -* Markup construction in Scheme:: -* How markups work internally:: -* New markup command definition:: -* New markup list command definition:: +* Markup construction in Scheme:: +* How markups work internally:: +* New markup command definition:: +* New markup list command definition:: @end menu @@ -1182,7 +1182,7 @@ indented. The indent width is taken from the @code{props} argument. @example #(define-markup-list-command (paragraph layout props args) (markup-list?) (let ((indent (chain-assoc-get 'par-indent props 2))) - (interpret-markup-list layout props + (interpret-markup-list layout props (make-justified-lines-markup-list (cons (make-hspace-markup indent) args))))) @end example @@ -1223,8 +1223,8 @@ This new markup list command can be used as follows: @section Contexts for programmers @menu -* Context evaluation:: -* Running a function on all layout objects:: +* Context evaluation:: +* Running a function on all layout objects:: @end menu @node Context evaluation @@ -1322,7 +1322,7 @@ In this case, the procedure is executed as soon as the value of the property is requested during the formatting process. Most of the typesetting engine is driven by such callbacks. -Properties that typically use callbacks include +Properties that typically use callbacks include @table @code @item stencil diff --git a/Documentation/user/repeats.itely b/Documentation/user/repeats.itely index d2d7c053e7..2807916c72 100644 --- a/Documentation/user/repeats.itely +++ b/Documentation/user/repeats.itely @@ -29,7 +29,7 @@ notation for repeats with alternatives. @item unfold The repeated music is fully written out, as many times as specified by @var{repeatcount}. This is useful when -entering repetitious music. +entering repetitious music. @item percent These are beat or measure repeats. They look like single slashes or @@ -42,8 +42,8 @@ This is used to write tremolo beams. @menu -* Long repeats:: -* Short repeats:: +* Long repeats:: +* Short repeats:: @end menu @node Long repeats @@ -55,9 +55,9 @@ repeat signs; or written out repeats, used to input repetitious music. Repeat signs can also be controlled manually. @menu -* Normal repeats:: -* Manual repeat marks:: -* Written-out repeats:: +* Normal repeats:: +* Manual repeat marks:: +* Written-out repeats:: @end menu @cindex volta @@ -132,7 +132,7 @@ e | or @lilypond[verbatim,quote,relative=2] -\partial 4 +\partial 4 \repeat volta 4 { e4 | c2 d | e2 f | } \alternative { { \partial 4*3 g4 g g } @@ -386,8 +386,8 @@ take two basic forms: repeats of a single note to two measures, represented by slashes or percent signs; and tremolos. @menu -* Percent repeats:: -* Tremolo repeats:: +* Percent repeats:: +* Tremolo repeats:: @end menu @node Percent repeats @@ -410,7 +410,7 @@ one or two measures are replaced by percent-like signs. The syntax is @code{\repeat percent @var{number} @var{musicexpr}} @end example -where @var{musicexpr} is a music expression. +where @var{musicexpr} is a music expression. @lilypond[verbatim,quote,relative=2] \repeat percent 4 { c4 } @@ -483,7 +483,7 @@ note, but @code{\repeat tremolo 9} is not. The duration of the tremolo equals the duration of the braced expression multiplied by the number of repeats: @code{\repeat tremolo 8 @{ c16 d16 @}} gives a whole note tremolo, -notated as two whole notes joined by tremolo beams. +notated as two whole notes joined by tremolo beams. There are two ways to put tremolo marks on a single note. The @code{\repeat tremolo} syntax is also used here, in which case diff --git a/Documentation/user/scheme-tutorial.itely b/Documentation/user/scheme-tutorial.itely index 403180d9bc..a9b6d65012 100644 --- a/Documentation/user/scheme-tutorial.itely +++ b/Documentation/user/scheme-tutorial.itely @@ -211,7 +211,7 @@ respectively, @menu -* Tweaking with Scheme:: +* Tweaking with Scheme:: @end menu @node Tweaking with Scheme diff --git a/Documentation/user/setup.itely b/Documentation/user/setup.itely index 796db8dc40..f0d06ced3c 100644 --- a/Documentation/user/setup.itely +++ b/Documentation/user/setup.itely @@ -17,9 +17,9 @@ LilyPond and various other programs. This chapter may be safely treated as a reference: only read a section if it applies to you. @menu -* Setup for specific Operating Systems:: -* Text editor support:: -* Point and click:: +* Setup for specific Operating Systems:: +* Text editor support:: +* Point and click:: @end menu @@ -30,7 +30,7 @@ This section explains how to perform additional setup for specific operating systems. @menu -* Setup for MacOS X:: +* Setup for MacOS X:: @end menu @node Setup for MacOS X @@ -124,12 +124,12 @@ Note that @var{path/to} will generally be @code{/Applications/}. There is support from different text editors for LilyPond. @menu -* Emacs mode:: -* Vim mode:: -* jEdit:: -* TexShop:: -* TextMate:: -* LilyKDE:: +* Emacs mode:: +* Vim mode:: +* jEdit:: +* TexShop:: +* TextMate:: +* LilyKDE:: @end menu @node Emacs mode @@ -206,7 +206,7 @@ installation instructions, visit The @uref{http://@/www@/.uoregon@/.edu/~koch/texshop/index@/.html,TexShop} editor for MacOS@tie{}X can be extended to run LilyPond, lilypond-book and -convert-ly from within the editor, using the extensions available at +convert-ly from within the editor, using the extensions available at @uref{http://@/www@/.dimi@/.uniud@/.it/vitacolo/freesoftware@/.html}. diff --git a/Documentation/user/simultaneous.itely b/Documentation/user/simultaneous.itely index f224fa479e..a4e084c3b8 100644 --- a/Documentation/user/simultaneous.itely +++ b/Documentation/user/simultaneous.itely @@ -689,7 +689,7 @@ Internals Reference: @knownissues -@code{\partcombine} can only accept two voices. +@code{\partcombine} can only accept two voices. When @code{printPartCombineTexts} is set, if the two voices play the same notes on and off, the part combiner may typeset @code{a2} diff --git a/Documentation/user/staff.itely b/Documentation/user/staff.itely index f567b559e9..4cd9eeab56 100644 --- a/Documentation/user/staff.itely +++ b/Documentation/user/staff.itely @@ -1040,16 +1040,16 @@ Internals Reference: @cindex fragments @cindex cue notes -It is very common for one voice to double the some of the music from -another voice. For example, the first and second violins may play the -same notes during a passage of music. In LilyPond this is accomplished +It is very common for one voice to double the some of the music from +another voice. For example, the first and second violins may play the +same notes during a passage of music. In LilyPond this is accomplished by letting one voice @emph{quote} the other voice without having to re-enter it. - -Before a part can be quoted, the @code{\addQuote} command must be used -to initialize the quoted fragment. This command must be used in the -toplevel scope. The first argument is an identifying string, and the -second is a music expression: + +Before a part can be quoted, the @code{\addQuote} command must be used +to initialize the quoted fragment. This command must be used in the +toplevel scope. The first argument is an identifying string, and the +second is a music expression: @example flute = \relative c'' @{ diff --git a/Documentation/user/templates.itely b/Documentation/user/templates.itely index b9fb828ebe..03b23bd8ed 100644 --- a/Documentation/user/templates.itely +++ b/Documentation/user/templates.itely @@ -18,13 +18,13 @@ beautiful printed scores! @c bad node name for ancient notation to avoid conflict @menu -* Single staff:: -* Piano templates:: -* String quartet:: -* Vocal ensembles:: -* Ancient notation templates:: -* Jazz combo:: -* lilypond-book templates:: +* Single staff:: +* Piano templates:: +* String quartet:: +* Vocal ensembles:: +* Ancient notation templates:: +* Jazz combo:: +* lilypond-book templates:: @end menu @@ -301,7 +301,7 @@ In normal text you can easily use LilyPond commands, like this: and so on. The fonts of snippets set with LilyPond will have to be set from -inside +inside of the snippet. For this you should read the AU on how to use lilypond-book. diff --git a/Documentation/user/text.itely b/Documentation/user/text.itely index 2e6e32a569..882f7fffbf 100644 --- a/Documentation/user/text.itely +++ b/Documentation/user/text.itely @@ -21,9 +21,9 @@ Some text elements that are not dealt with here are discussed in other specific sections: @ref{Vocal music}, @ref{Titles and headers}. @menu -* Writing text:: -* Formatting text:: -* Fonts:: +* Writing text:: +* Formatting text:: +* Fonts:: @end menu @cindex Text, other languages @@ -38,10 +38,10 @@ information, see @ref{Text encoding}.} This section introduces different ways of adding text to a score. @menu -* Text scripts:: -* Text spanners:: -* Text marks:: -* Separate text:: +* Text scripts:: +* Text spanners:: +* Text marks:: +* Separate text:: @end menu @@ -69,13 +69,13 @@ formatting may be added to a note by explicitly using a @code{\markup} block, as described in @ref{Formatting text}. @lilypond[quote,fragment,ragged-right,verbatim,relative=1] -d8^\markup { \italic pizz. } e f g +d8^\markup { \italic pizz. } e f g a4_\markup { \tiny scherz. \bold molto } f @end lilypond By default, text indications do not influence the note spacing. However, their widths can be taken into account: -in the following example, the first text string does not affect +in the following example, the first text string does not affect spacing, whereas the second one does. @lilypond[quote,fragment,ragged-right,verbatim,relative=1] @@ -128,8 +128,8 @@ Such objects, called @qq{spanners}, may be created from one note to another using the following syntax: @lilypond[verbatim,quote,ragged-right,fragment,relative=2] -\override TextSpanner #'bound-details #'left #'text = "rit." -b1\startTextSpan +\override TextSpanner #'bound-details #'left #'text = "rit." +b1\startTextSpan e,\stopTextSpan @end lilypond @@ -141,7 +141,7 @@ but different formatting can be obtained using @lilypond[quote,ragged-right,fragment,relative=2,verbatim] \override TextSpanner #'bound-details #'left #'text = - \markup { \upright "rit." } + \markup { \upright "rit." } b1\startTextSpan c e,\stopTextSpan @end lilypond @@ -216,7 +216,7 @@ or fermata, by specifying the appropriate symbol name as explained in @noindent Such objects are only typeset above the top staff of the score; depending on -whether they are specified at the end or the middle of a bar, they +whether they are specified at the end or the middle of a bar, they can be placed above the bar line or between notes. When specified at a line break, the mark will be printed at the beginning of the next line. @@ -281,7 +281,7 @@ expression}. This syntax is described in @ref{File structure}. @noindent This allows printing text separately -from the music, which is particularly +from the music, which is particularly useful when the input file contains several music pieces, as described in @ref{Multiple scores in a book}. @@ -318,7 +318,7 @@ TODO: add convenient snippets in input/new -vv @seealso Notation Reference: @ref{Formatting text}, -@ref{File structure}, +@ref{File structure}, @ref{Multiple scores in a book}, @ref{Multi-page markup}. @@ -335,12 +335,12 @@ This section presents basic and advanced text formatting, using the @code{\markup} mode specific syntax. @menu -* Text markup introduction:: -* Selecting font and font size:: -* Text alignment:: -* Graphic notation inside markup:: -* Music notation inside markup:: -* Multi-page markup:: +* Text markup introduction:: +* Selecting font and font size:: +* Text alignment:: +* Graphic notation inside markup:: +* Music notation inside markup:: +* Multi-page markup:: @end menu @node Text markup introduction @@ -373,7 +373,7 @@ e1-\markup intenso a2^\markup { poco \italic più forte } c e1 d2_\markup { \italic "string. assai" } -e +e b1^\markup { \bold { molto \italic agitato } } c @end lilypond @@ -457,9 +457,9 @@ Syntax errors for markup mode can be confusing. Basic font switching is supported in markup mode: @lilypond[quote,verbatim,relative=2] -d1^\markup { - \bold { Più mosso } - \italic { non troppo \underline Vivo } +d1^\markup { + \bold { Più mosso } + \italic { non troppo \underline Vivo } } r2 r4 r8 d,_\markup { \italic quasi \smallCaps Tromba } @@ -499,7 +499,7 @@ a^\markup { \fontsize #2 da \fontsize #3 camera } -bes^\markup { (con +bes^\markup { (con \larger grande \smaller emozione \magnify #0.6 { e sentimento } ) @@ -519,7 +519,7 @@ these are printed in a smaller size, but a normal size can be used as well: \markup { \column { \line { 1 \super st movement } - \line { 1 \normal-size-super st movement + \line { 1 \normal-size-super st movement \sub { (part two) } } } } @@ -684,7 +684,7 @@ two possibilities; the last markup in this example has no anchor point, and therefore is not moved. @lilypond[quote,verbatim,fragment,relative=1] -d2^\markup { +d2^\markup { Acte I \raise #2 { Scène 1 } } @@ -777,7 +777,7 @@ or any other markup expression: } } \markup { - \fill-line { 1885 } + \fill-line { 1885 } } @end lilypond @@ -802,7 +802,7 @@ the following example. gitanos en el Albaicín de Granada. Al fondo una puerta por la que se ve el negro interior de una Fragua, iluminado por los rojos resplandores - del fuego.) + del fuego.) } \hspace #0 @@ -1039,7 +1039,7 @@ d-\markup { \markalphabet #8 \markletter #8 } -@end lilypond +@end lilypond More generally, any available musical symbol may be included separately in a markup object, as demonstrated diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely index 5f2a290c12..a08e4799f0 100644 --- a/Documentation/user/tutorial.itely +++ b/Documentation/user/tutorial.itely @@ -33,15 +33,15 @@ Tutorial guidelines: (different from policy.txt!) This tutorial starts with an introduction to the LilyPond music language and explains how to produce printed music. After this first -contact we will explain how to create beautiful printed music +contact we will explain how to create beautiful printed music containing common musical notation. @menu -* First steps:: -* Single staff notation:: -* Multiple notes at once:: -* Songs:: -* Final touches:: +* First steps:: +* Single staff notation:: +* Multiple notes at once:: +* Songs:: +* Final touches:: @end menu @@ -51,8 +51,8 @@ containing common musical notation. This section gives a basic introduction to working with LilyPond. @menu -* Compiling a file:: -* Simple notation:: +* Compiling a file:: +* Simple notation:: * Working on input files:: * How to read the manual:: @end menu @@ -649,12 +649,12 @@ This section introduces common notation that is used for one voice on one staff. @menu -* Accidentals and key signatures:: -* Ties and slurs:: -* Articulation and dynamics:: -* Adding text:: -* Automatic and manual beams:: -* Advanced rhythmic commands:: +* Accidentals and key signatures:: +* Ties and slurs:: +* Articulation and dynamics:: +* Adding text:: +* Automatic and manual beams:: +* Advanced rhythmic commands:: @end menu @@ -1628,7 +1628,7 @@ If a syllable extends over several notes or a single very long note an @notation{extender line} is usually drawn from the syllable extending under all the notes for that syllable. It is entered as two underscores @code{__}. Here is an example from the -first three bars of @notation{Dido's Lament}, from Purcell's +first three bars of @notation{Dido's Lament}, from Purcell's @notation{Dido and Æneas}: @lilypond[verbatim,quote] @@ -2029,6 +2029,6 @@ cross-references for further reading. If you have not done so already, @emph{please} read @ref{About the documentation}. There is a lot of information about LilyPond, so newcomers often do not know where they should look for help. If -you spend five minutes reading that section carefully, you might +you spend five minutes reading that section carefully, you might save yourself hours of frustration looking in the wrong places! diff --git a/Documentation/user/tweaks.itely b/Documentation/user/tweaks.itely index 14e2d254b4..7fc49398fc 100644 --- a/Documentation/user/tweaks.itely +++ b/Documentation/user/tweaks.itely @@ -17,22 +17,22 @@ configurable; virtually every fragment of output may be changed. @menu -* Tweaking basics:: -* The Internals Reference manual:: -* Appearance of objects:: -* Placement of objects:: -* Collisions of objects:: -* Further tweaking:: +* Tweaking basics:: +* The Internals Reference manual:: +* Appearance of objects:: +* Placement of objects:: +* Collisions of objects:: +* Further tweaking:: @end menu @node Tweaking basics @section Tweaking basics @menu -* Introduction to tweaks:: -* Objects and interfaces:: -* Naming conventions of objects and properties:: -* Tweaking methods:: +* Introduction to tweaks:: +* Objects and interfaces:: +* Naming conventions of objects and properties:: +* Tweaking methods:: @end menu @node Introduction to tweaks @@ -40,16 +40,16 @@ configurable; virtually every fragment of output may be changed. @q{Tweaking} is a LilyPond term for the various methods available to the user for modifying the actions taken during interpretation -of the input file and modifying the appearance of the printed -output. Some tweaks are very easy to use; others are more -complex. But taken together the methods available for tweaking -permit almost any desired appearance of the printed music to be +of the input file and modifying the appearance of the printed +output. Some tweaks are very easy to use; others are more +complex. But taken together the methods available for tweaking +permit almost any desired appearance of the printed music to be achieved. In this section we cover the basic concepts required to understand tweaking. Later we give a variety of ready-made commands which can simply be copied to obtain the same effect in your own scores, and -at the same time we show how these commands may be constructed so +at the same time we show how these commands may be constructed so that you may learn how to develop your own tweaks. Before starting on this Chapter you may wish to review the section @@ -72,7 +72,7 @@ and constructing Tweaks. Tweaking involves modifying the internal operation and structures of the LilyPond program, so we must first introduce some terms -which are used to describe those internal operations and +which are used to describe those internal operations and structures. The term @q{Object} is a generic term used to refer to the @@ -117,7 +117,7 @@ one given a name ending in @code{interface}. In total there are over 100 such interfaces. We shall see later why this is of interest and use to the user. -These, then, are the main terms relating to objects which we +These, then, are the main terms relating to objects which we shall use in this chapter. @node Naming conventions of objects and properties @@ -128,17 +128,17 @@ shall use in this chapter. @cindex objects, naming conventions @cindex properties, naming conventions -We met some object naming conventions previously, in +We met some object naming conventions previously, in @ref{Contexts and engravers}. Here for reference is a list -of the most common object and property types together with -the conventions for naming them and a couple of examples of +of the most common object and property types together with +the conventions for naming them and a couple of examples of some real names. We have used @q{A} to stand for any capitalized alphabetic character and @q{aaa} to stand for any number of lower-case alphabetic characters. Other characters are used -verbatim. +verbatim. @multitable @columnfractions .33 .33 .33 -@headitem Object/property type +@headitem Object/property type @tab Naming convention @tab Examples @item Contexts @@ -152,7 +152,7 @@ verbatim. @tab Clef_engraver, Note_heads_engraver @item Interfaces @tab aaa-aaa-interface - @tab grob-interface, break-aligned-interface + @tab grob-interface, break-aligned-interface @item Context Properties @tab aaa or aaaAaaaAaaa @tab alignAboveContext, skipBars @@ -161,7 +161,7 @@ verbatim. @tab direction, beam-thickness @end multitable -As we shall see shortly, the properties of different types of +As we shall see shortly, the properties of different types of object are modified by different commands, so it is useful to be able to recognize the type of object from the names of its properties. @@ -400,8 +400,8 @@ articulation mark as if it were an articulation itself. @funindex TupletBracket -The @code{\tweak} command must also be used to change the -appearance of one of a set of nested tuplets which begin at the +The @code{\tweak} command must also be used to change the +appearance of one of a set of nested tuplets which begin at the same musical moment. In the following example, the long tuplet bracket and the first of the three short brackets begin at the same musical moment, so any @code{\override} command would apply @@ -461,9 +461,9 @@ Notation Reference: @cindex Internals Reference @menu -* Properties of layout objects:: -* Properties found in interfaces:: -* Types of properties:: +* Properties of layout objects:: +* Properties found in interfaces:: +* Types of properties:: @end menu @node Properties of layout objects @@ -481,7 +481,7 @@ How do you go about doing this? You know from the statements earlier about the flexibility of LilyPond that such a thing should be possible, and you would probably guess that an @code{\override} command would be needed. But is there a -heaviness property for a slur, and if there is, how might it +heaviness property for a slur, and if there is, how might it be modified? This is where the Internals Reference manual comes in. It contains all the information you might need to construct this and all other @code{\override} commands. @@ -532,7 +532,7 @@ as you read. Under the heading @strong{Top} you will see five links. Select the link to the @emph{Backend}, which is where information about -layout objects is to be found. There, under the heading +layout objects is to be found. There, under the heading @strong{Backend}, select the link to @emph{All layout objects}. The page that appears lists all the layout objects used in your version of LilyPond, in alphabetic order. Select the link to @@ -563,25 +563,25 @@ in another property called @code{line-thickness}. As we said earlier, there are few to no explanations in the IR, but we already have enough information to try changing the -slur thickness. We see that the name of the layout object +slur thickness. We see that the name of the layout object is @code{Slur}, that the name of the property to change is @code{thickness} and that the new value should be a number somewhat larger than 1.2 if we are to make slurs thicker. We can now construct the @code{\override} command by simply substituting the values we have found for the names, omitting -the context. Let's use a very large value for the thickness +the context. Let's use a very large value for the thickness at first, so we can be sure the command is working. We get: @example \override Slur #'thickness = #5.0 -@end example +@end example Don't forget the @code{#'} preceding the property name and and @code{#} preceding the new value! The final question is, @q{Where should this command be -placed?} While you are unsure and learning, the best +placed?} While you are unsure and learning, the best answer is, @q{Within the music, before the first slur and close to it.} Let's do that: @@ -602,7 +602,7 @@ close to it.} Let's do that: The man who feels love's sweet e -- mo -- tion } } -@end lilypond +@end lilypond @noindent and we see that the slur is indeed heavier. @@ -619,7 +619,7 @@ which follow. @cindex context, finding @cindex context, identifying correct -But first, what if we had needed to specify the Context? +But first, what if we had needed to specify the Context? What should it be? We could guess that slurs are in the Voice context, as they are clearly closely associated with individual lines of music, but can we be sure? To @@ -631,8 +631,8 @@ the @code{Slur_engraver} is in. Follow the link to the us that @code{Slur_engraver} is part of five Voice contexts, including the standard voice context, @code{Voice}, so our guess was correct. And because @code{Voice} is one of the -lowest level contexts which is implied unambiguously by -the fact that we are entering notes, we can omit it in this +lowest level contexts which is implied unambiguously by +the fact that we are entering notes, we can omit it in this location. @subheading Overriding once only @@ -671,7 +671,7 @@ repositioned as follows: The man who feels love's sweet e -- mo -- tion } } -@end lilypond +@end lilypond @noindent Now only the first slur is made heavier. @@ -712,7 +712,7 @@ the slurs begin: The man who feels love's sweet e -- mo -- tion } } -@end lilypond +@end lilypond @noindent or we could omit the @code{\once} command and use the @code{\revert} @@ -750,9 +750,9 @@ You may use whichever method best suits what you want to do. That concludes our introduction to the IR, and the basic method of tweaking. Several examples follow in the later sections of this Chapter, partly to introduce you to some of the -additional features of the IR, and partly to give you more +additional features of the IR, and partly to give you more practice in extracting information from it. These examples will -contain progressively fewer words of guidance and explanation. +contain progressively fewer words of guidance and explanation. @node Properties found in interfaces @@ -856,10 +856,10 @@ and the lyrics are all printed in italics. @cindex context, specifying in lyric mode @cindex lyric mode, specifying context -In the case of lyrics, if you try specifying the context in the +In the case of lyrics, if you try specifying the context in the format given earlier the command will fail. A syllable entered in lyricmode is terminated by either a space, -a newline or a digit. All other characters are included +a newline or a digit. All other characters are included as part of the syllable. For this reason a space or newline must appear before the terminating @code{@}} to prevent it being included as part of the final syllable. Similarly, @@ -892,14 +892,14 @@ So far we have seen two types of property: @code{number} and @code{symbol}. To be valid, the value given to a property must be of the correct type and obey the rules for that type. The type of property is always shown in brackets after the -property name in the IR. Here is a list of the types you may +property name in the IR. Here is a list of the types you may need, together with the rules for that type, and some examples. You must always add a hash symbol, @code{#}, of course, -to the front of these values when they are entered in the +to the front of these values when they are entered in the @code{\override} command. @multitable @columnfractions .2 .45 .35 -@headitem Property type +@headitem Property type @tab Rules @tab Examples @item Boolean @@ -925,7 +925,7 @@ and preceded by an apostrophe @tab Any valid markup @tab @code{\markup @{ \italic "cresc." @}} @item Moment - @tab A fraction of a whole note constructed with the + @tab A fraction of a whole note constructed with the make-moment function @tab @code{(ly:make-moment 1 4)}, @code{(ly:make-moment 3 8)} @@ -959,13 +959,13 @@ Learning Manual: @ref{Scheme tutorial}. @section Appearance of objects Let us now put what we have learned into practice with a few -examples which show how tweaks may be used to change the +examples which show how tweaks may be used to change the appearance of the printed music. @menu -* Visibility and color of objects:: -* Size of objects:: -* Length and thickness of objects:: +* Visibility and color of objects:: +* Size of objects:: +* Length and thickness of objects:: @end menu @node Visibility and color of objects @@ -974,7 +974,7 @@ appearance of the printed music. In the educational use of music we might wish to print a score with certain elements omitted as an exercise for the student, who is required to supply them. As a simple example, -let us suppose the exercise is to supply the missing bar lines +let us suppose the exercise is to supply the missing bar lines in a piece of music. But the bar lines are normally inserted automatically. How do we prevent them printing? @@ -1007,7 +1007,7 @@ these in turn. This property controls the appearance of the bar lines by specifying the symbol (glyph) which should be printed. In common -with many other properties, it can be set to print nothing by +with many other properties, it can be set to print nothing by setting its value to @code{#f}. Let's try it, as before, omitting the implied Context, @code{Voice}: @@ -1275,8 +1275,8 @@ work! Remember, the context is the one in which the appropriate engraver is placed. The default context for engravers can be found by starting from the layout object, going from there to the engraver which produces it, and on the engraver page in the -IR it tells you in which context the engraver will normally be -found. +IR it tells you in which context the engraver will normally be +found. @node Size of objects @@ -1287,7 +1287,7 @@ found. @cindex objects, size of @cindex objects, changing size of -Let us begin by looking again at the earlier example +Let us begin by looking again at the earlier example see @ref{Nesting music expressions}) which showed how to introduce a new temporary staff, as in an @rglos{ossia}. @@ -1577,14 +1577,14 @@ from a font) may be changed in the same way. @cindex objects, outside-staff There are some objects in musical notation that belong to -the staff and there are other objects that should be +the staff and there are other objects that should be placed outside the staff. These are called within-staff objects and outside-staff objects respectively. Within-staff objects are those that are located on the staff -- note heads, stems, accidentals, etc. The positions of these are usually fixed by the music itself -- they are -vertically positioned on specific lines of the staff or are +vertically positioned on specific lines of the staff or are tied to other objects that are so positioned. Collisions of note heads, stems and accidentals in closely set chords are normally avoided automatically. There are commands and @@ -1641,14 +1641,14 @@ this @q{nestling} of the notes on adjacent staves: \relative c'''' { c a, } } >> -@end lilypond +@end lilypond @node Within-staff objects @subsection Within-staff objects We have already seen how the commands @code{\voiceXXX} affect -the direction of slurs, ties, fingering and +the direction of slurs, ties, fingering and everything else which depends on the direction of the stems. These commands are essential when writing polyphonic music to permit interweaving melodic lines to be distinguished. @@ -1660,7 +1660,7 @@ We first explain what this does, and then introduce a number of ready-made commands which avoid your having to code explicit overrides for the more common modifications. -Some layout objects like slurs and ties curve, bend or point +Some layout objects like slurs and ties curve, bend or point either up or down; others like stems and flags also move to right or left when they point up or down. This is controlled automatically when @code{direction} is set. @@ -1747,7 +1747,7 @@ Note that these predefined commands may @strong{not} be preceded by @code{\once}. If you wish to limit the effect to a single note you must either use the equivalent @code{\once \override} command or use the predefined command -followed after the affected note by the corresponding +followed after the affected note by the corresponding @code{\xxxNeutral} command. @subheading Fingering @@ -1912,8 +1912,8 @@ outside-staff objects which are, by default, placed in the @code{Staff} or @code{Voice} contexts. @multitable @columnfractions .3 .3 .3 -@headitem Layout Object - @tab Priority +@headitem Layout Object + @tab Priority @tab Controls position of: @item @code{MultiMeasureRestText} @tab @code{450} @@ -2095,9 +2095,9 @@ c2^"Text1" c^"Text2" c^"Text3" c^"Text4" -@end lilypond +@end lilypond -The command to revert to the default behavior is +The command to revert to the default behavior is @code{\textLengthOff}. Remember @code{\once} only works with @code{\override}, @code{\set}, @code{\revert} or @code{unset}, so cannot be used with @code{\textLengthOn}. @@ -2158,7 +2158,7 @@ ees,2.~\)\mf ees4 r8 | However, if the notes and attached dynamics are close together the automatic placement will avoid collisions -by displacing later dynamic markings further away, but this may +by displacing later dynamic markings further away, but this may not be the optimum placement, as this rather artificial example shows: @@ -2181,7 +2181,7 @@ shall have to work out how to do this using @code{\override} commands. @cindex sizing grobs First we must learn how grobs are sized. All grobs have a -reference point defined within them which is used to position +reference point defined within them which is used to position them relative to their parent object. This point in the grob is then positioned at a horizontal distance, @code{X-offset}, and at a vertical distance, @code{Y-offset}, from its parent. @@ -2189,15 +2189,15 @@ The horizontal extent of the object is given by a pair of numbers, @code{X-extent}, which say where the left and right edges are relative to the reference point. The vertical extent is similarly defined by a pair of numbers, @code{Y-extent}. -These are properties of all grobs which support the +These are properties of all grobs which support the @code{grob-interface}. @cindex @code{extra-spacing-width} By default, outside-staff objects are given a width of zero so that they may overlap in the horizontal direction. This is done -by the trick of adding infinity to the leftmost extent and -minus infinity to the rightmost extent by setting the +by the trick of adding infinity to the leftmost extent and +minus infinity to the rightmost extent by setting the @code{extra-spacing-width} to @code{'(+inf.0 . -inf.0)}. So to ensure they do not overlap in the horizontal direction we must override this value of @code{extra-spacing-width} to @@ -2252,9 +2252,9 @@ down with the notes. The property to do this is @section Collisions of objects @menu -* Moving objects:: -* Fixing overlapping notation:: -* Real music example:: +* Moving objects:: +* Fixing overlapping notation:: +* Real music example:: @end menu @node Moving objects @@ -2359,13 +2359,13 @@ objects, this value is set by default to be around 1.0 or less @cindex self-alignment-X property This property can be used to align the object to the left, to -the right, or to center it with respect to the parent object's +the right, or to center it with respect to the parent object's reference point. It may be used with all objects which support the @code{self-alignment-interface}. In general these are objects that contain text. The values are @code{LEFT}, @code{RIGHT} -or @code{CENTER}. Alternatively, a numerical value between -@code{-1} and @code{+1} may be specified, where @code{-1} is -left-aligned, @code{+1} is right-aligned, and numbers in between +or @code{CENTER}. Alternatively, a numerical value between +@code{-1} and @code{+1} may be specified, where @code{-1} is +left-aligned, @code{+1} is right-aligned, and numbers in between move the text progressively from left-aligned to right-aligned. Numerical values greater than @code{1} may be specified to move the text even further to the left, or less than @code{-1} to @@ -2588,8 +2588,8 @@ naturalplusflat = \markup { \natural \flat } This necessarily uses an override for the accidental stencil which will not be covered until later. The stencil type must be a procedure, here changed to print the contents of the @code{text} -property of @code{Accidental}, which itself is set to be a natural -sign followed by a flat sign. These are then moved further away +property of @code{Accidental}, which itself is set to be a natural +sign followed by a flat sign. These are then moved further away from the note head by overriding @code{right-padding}. @noindent @@ -3285,7 +3285,7 @@ lhMusic = \relative c' { * Using variables for tweaks:: * Other sources of information:: * Avoiding tweaks with slower processing:: -* Advanced tweaks with Scheme:: +* Advanced tweaks with Scheme:: @end menu @node Other uses for tweaks @@ -3415,7 +3415,7 @@ We show here the effect of the two methods: @noindent Both methods remove the metronome mark which lengthens the fermata -from the printed output, and both affect the MIDI timing as +from the printed output, and both affect the MIDI timing as required, but the transparent metronome mark in the first line forces the following tempo indication too high while the second (with the stencil removed) does not. @@ -3434,7 +3434,7 @@ Suppose we wish to emphasize certain words in lyrics by printing them in bold italics. The @code{\italic} and @code{\bold} commands only work within lyrics if they are also embedded in @code{\markup}, which makes them tedious to enter, so as an -alternative can we instead use the @code{\override} and +alternative can we instead use the @code{\override} and @code{\revert} commands? @example @@ -3508,7 +3508,7 @@ of this directory depends (a) on whether you obtained LilyPond by downloading a precompiled binary from lilypond.org or whether you installed it from a package manager (i.e. distributed with Linux, or installed under fink or cygwin) or -compiled it from source, and (b) on which operating system it is +compiled it from source, and (b) on which operating system it is being used: @strong{Downloaded from lilypond.org} diff --git a/Documentation/user/unfretted-strings.itely b/Documentation/user/unfretted-strings.itely index cf563d0ee2..d6a058d9b2 100644 --- a/Documentation/user/unfretted-strings.itely +++ b/Documentation/user/unfretted-strings.itely @@ -104,8 +104,8 @@ and the following example shows three ways in which an open A string on a violin might be indicated: @lilypond[verbatim,quote,relative=2] -a4 \open -a^\markup { \teeny "II" } +a4 \open +a^\markup { \teeny "II" } a2^\markup { \small "sul A" } @end lilypond diff --git a/Documentation/user/vocal.itely b/Documentation/user/vocal.itely index d9fedf2c55..85b636eeca 100644 --- a/Documentation/user/vocal.itely +++ b/Documentation/user/vocal.itely @@ -154,7 +154,7 @@ Notation Reference: @c FIXME: this section is to be rewritten. Since LilyPond input files are text, there is at least one -issue to consider when working with vocal music: +issue to consider when working with vocal music: song texts must be interpreted as text, not notes. For example, the input@tie{}@code{d} should be interpreted as a one letter syllable, not the note@tie{}D. @@ -506,7 +506,7 @@ The following example uses different commands for entering lyrics. c4 b8. a16 g4. f8 e4 d c2 } -% not recommended: left aligns syllables +% not recommended: left aligns syllables \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 } % wrong: durations needed @@ -707,7 +707,7 @@ inserted by hand. @unnumberedsubsubsec Skipping notes Making a lyric line run slower than the melody can be achieved by -inserting @code{\skip}s into the lyrics. For every @code{\skip}, +inserting @code{\skip}s into the lyrics. For every @code{\skip}, the text will be delayed another note. The @code{\skip} command must be followed by a valid duration, but this is ignored when @code{\skip} is used in lyrics. @@ -1001,7 +1001,7 @@ Stanza numbers can be added by setting @code{stanza}, e.g., These numbers are put just before the start of the first syllable. @c TODO Create and add snippet to show how two lines of a -@c stanza can be grouped together, along these lines: +@c stanza can be grouped together, along these lines: @c (might need improving a bit) -td @ignore @@ -1025,8 +1025,8 @@ stanzaOneThree = { } \new Voice { - \repeat volta 2 { c'8 c' c' c' c' c' c'4 - c'8 c' c' c' c' c' c'4 } + \repeat volta 2 { c'8 c' c' c' c' c' c'4 + c'8 c' c' c' c' c' c'4 } } \addlyrics { \stanzaOneOne } \addlyrics { \stanzaOneThree } @@ -1264,7 +1264,7 @@ output in LilyPond. melody = \relative c' { c c c c | d d d d } - + text = \lyricmode { \set stanza = "1." This is verse one. It has two lines. @@ -1279,7 +1279,7 @@ text = \lyricmode { \markup { \fill-line { - \hspace #0.1 % moves the column off the left margin; + \hspace #0.1 % moves the column off the left margin; % can be removed if space on the page is tight \column { \line { \bold "2." @@ -1296,8 +1296,8 @@ text = \lyricmode { } } } - \hspace #0.1 % adds horizontal spacing between columns; - % if they are still too close, add more " " pairs + \hspace #0.1 % adds horizontal spacing between columns; + % if they are still too close, add more " " pairs % until the result looks good \column { \line { \bold "4." @@ -1314,7 +1314,7 @@ text = \lyricmode { } } } - \hspace #0.1 % gives some extra space on the right margin; + \hspace #0.1 % gives some extra space on the right margin; % can be removed if page space is tight } } diff --git a/Documentation/user/working.itely b/Documentation/user/working.itely index c912e5999c..77d5ce943f 100644 --- a/Documentation/user/working.itely +++ b/Documentation/user/working.itely @@ -19,16 +19,16 @@ this chapter. @menu -* Suggestions for writing LilyPond input files:: -* When things don't work:: -* Scores and parts:: +* Suggestions for writing LilyPond input files:: +* When things don't work:: +* Scores and parts:: @end menu @node Suggestions for writing LilyPond input files @section Suggestions for writing LilyPond input files -Now you're ready to begin writing larger LilyPond input files -- +Now you're ready to begin writing larger LilyPond input files -- not just the little examples in the tutorial, but whole pieces. But how should you go about doing it? @@ -56,11 +56,11 @@ structured in order to be easier (or harder) to update. @end itemize @menu -* General suggestions:: -* Typesetting existing music:: -* Large projects:: -* Saving typing with variables and functions:: -* Style sheets:: +* General suggestions:: +* Typesetting existing music:: +* Large projects:: +* Saving typing with variables and functions:: +* Style sheets:: @end menu @@ -92,7 +92,7 @@ itself or in the output you desire, it's often good to write only one bar per line. Saving screen space by cramming eight bars per line just isn't worth it if you have to @q{debug} your input files. -@item @strong{Comment your input files}. Use either bar numbers +@item @strong{Comment your input files}. Use either bar numbers (every so often) or references to musical themes (@q{second theme in violins,} @q{fourth variation,} etc.). You may not need comments when you're writing the piece @@ -555,9 +555,9 @@ file with @code{\include "../global.ly"}, which contains @section When things don't work @menu -* Updating old input files:: -* Troubleshooting (taking it all apart):: -* Minimal examples:: +* Updating old input files:: +* Troubleshooting (taking it all apart):: +* Minimal examples:: @end menu @node Updating old input files diff --git a/Documentation/user/world.itely b/Documentation/user/world.itely index b1e387a806..52ec6dc2bb 100644 --- a/Documentation/user/world.itely +++ b/Documentation/user/world.itely @@ -12,10 +12,10 @@ @section World music The purpose of this section is to highlight musical notation issues -that are relevant to traditions outside the Western tradition. +that are relevant to traditions outside the Western tradition. @menu -* Arabic music:: +* Arabic music:: @end menu @node Arabic music @@ -25,28 +25,28 @@ This section highlights issues that are relevant to notating Arabic music. @menu -* References for Arabic music:: -* Arabic note names :: -* Arabic key signatures:: -* Arabic time signatures:: -* Arabic music example:: -* Further reading:: +* References for Arabic music:: +* Arabic note names :: +* Arabic key signatures:: +* Arabic time signatures:: +* Arabic music example:: +* Further reading:: @end menu - + @node References for Arabic music -@unnumberedsubsubsec References for Arabic music +@unnumberedsubsubsec References for Arabic music @cindex Arabic music -@cindex medium intervals -@cindex maqam +@cindex medium intervals +@cindex maqam @cindex maqams Arabic music so far has been mainly an oral tradition. When music is transcribed, it is usually in a sketch format, on which performers are expected to improvise significantly. Increasingly, Western notation, with a few variations, is adopted in order to -communicate and preserve Arabic music. +communicate and preserve Arabic music. Some elements of Western musical notation such as the transcription of chords or independent parts, are not required to @@ -56,12 +56,12 @@ intervals that are somewhere between a semi-tone and a tone, in addition to the minor and major intervals that are used in Western music. There is also the need to group and indicate a large number of different maqams (modes) that are part of Arabic music. - + In general, Arabic music notation does not attempt to precisely indicate microtonal elements that are present in musical practice. -Several issues that are relevant to Arabic music are covered -elsewhere: +Several issues that are relevant to Arabic music are covered +elsewhere: @itemize @item Note names and accidentals (including quarter tones) can be @@ -71,50 +71,50 @@ tailored as discussed in @ref{Note names in other languages}. in @ref{Key signature}. @item Complex time signatures may require that notes be grouped -manually as described in @ref{Manual beams}. +manually as described in @ref{Manual beams}. -@item @notation{Takasim} which are rhythmically free -improvisations may be written down omitting bar lines as -described in @ref{Unmetered music}. +@item @notation{Takasim} which are rhythmically free +improvisations may be written down omitting bar lines as +described in @ref{Unmetered music}. -@end itemize +@end itemize @seealso Notation Reference: -@ref{Note names in other languages}, +@ref{Note names in other languages}, @ref{Key signature}, @ref{Manual beams}. Snippets: @rlsr{World music}. - -@node Arabic note names -@unnumberedsubsubsec Arabic note names +@node Arabic note names +@unnumberedsubsubsec Arabic note names -@cindex Arabic note names + +@cindex Arabic note names The more traditional Arabic note names can be quite long and are not suitable for the purpose of music writing, so they are not used. English note names are not very familiar in Arabic music education, so Italian or Solfege note names (@code{do, re, mi, fa, sol, la, si}) are used instead. Modifiers (accidentals) can also -be used, as discussed in @ref{Note names in other languages}. +be used, as discussed in @ref{Note names in other languages}. For example, this is how the Arabic @notation{rast} scale can be notated: -@lilypond[quote,verbatim] +@lilypond[quote,verbatim] \include "arabic.ly" -\relative do' { - do re misb fa sol la sisb do sisb la sol fa misb re do +\relative do' { + do re misb fa sol la sisb do sisb la sol fa misb re do } @end lilypond -@cindex Arabic semi-flat symbol +@cindex Arabic semi-flat symbol @cindex Semi-flat symbol appearance The symbol for semi-flat does not match the symbol which is used @@ -122,21 +122,21 @@ in Arabic notation. The @code{\dwn} symbol defined in @code{arabic.ly} may be used preceding a flat symbol as a work around if it is important to use the specific Arabic semi-flat symbol. The appearance of the semi-flat symbol in the key -signature cannot be altered by using this method. +signature cannot be altered by using this method. -@lilypond[quote,verbatim] +@lilypond[quote,verbatim] \include "arabic.ly" -\relative do' { - \set Staff.extraNatural = ##f +\relative do' { + \set Staff.extraNatural = ##f dod dob dosd \dwn dob dobsb dodsd do do } @end lilypond -@seealso +@seealso -Notation Reference: +Notation Reference: @ref{Note names in other languages}. Snippets: @@ -144,7 +144,7 @@ Snippets: @node Arabic key signatures -@unnumberedsubsubsec Arabic key signatures +@unnumberedsubsubsec Arabic key signatures @cindex Arabic key signatures @@ -153,20 +153,20 @@ key signatures are defined in @code{arabic.ly}: @notation{bayati}, @notation{rast}, @notation{sikah}, @notation{iraq}, and @notation{kurd}. These key signatures define a small number of maqam groups rather than the large number of maqams that are in -common use. +common use. -In general, a maqam uses the key signature of its group, or a -neighbouring group, and varying accidentals are marked throughout +In general, a maqam uses the key signature of its group, or a +neighbouring group, and varying accidentals are marked throughout the music. -For example to indicate the key signature of a maqam muhayer piece: +For example to indicate the key signature of a maqam muhayer piece: @example -\key re \bayati +\key re \bayati @end example Here @var{re} is the default pitch of the muhayer maqam, and -@var{bayati} is the name of the base maqam in the group. +@var{bayati} is the name of the base maqam in the group. While the key signature indicates the group, it is common for the title to indicate the more specific maqam, so in this example, the @@ -177,13 +177,13 @@ Other maqams in the same bayati group, as shown in the table below: way. These are all variations of the base and most common maqam in the group, which is bayati. They usually differ from the base maqam in their upper tetrachords, or certain flow details that -don't change their fundamental nature, as siblings. +don't change their fundamental nature, as siblings. The other maqam in the same group (Nawa) is related to bayati by modulation which is indicated in the table in parenthesis for those maqams that are modulations of their base maqam. Arabic maqams admit of only limited modulations, due to the nature of -Arabic musical instruments. Nawa can be indicated as follows: +Arabic musical instruments. Nawa can be indicated as follows: @example \key sol \bayati @@ -192,53 +192,53 @@ Arabic musical instruments. Nawa can be indicated as follows: In Arabic music, the same term such as bayati that is used to indicate a maqam group, is also a maqam which is usually the most important in the group, and can also be thought of as a base -maqam. +maqam. Here is one suggested grouping that maps the more common maqams to -key signatures: +key signatures: @multitable @columnfractions 0.1 0.1 0.1 0.6 -@headitem maqam group - @tab key - @tab finalis - @tab Other maqmas in group (finalis) -@item ajam - @tab major - @tab sib +@headitem maqam group + @tab key + @tab finalis + @tab Other maqmas in group (finalis) +@item ajam + @tab major + @tab sib @tab jaharka (fa) -@item bayati +@item bayati @tab bayati @tab re - @tab hussaini, muhayer, saba, ushaq, nawa (sol) -@item hijaz + @tab hussaini, muhayer, saba, ushaq, nawa (sol) +@item hijaz @tab kurd - @tab re + @tab re @tab shahnaz, shad arban (sol), hijazkar (do) -@item iraq +@item iraq @tab iraq @tab sisb - @tab - -@item kurd + @tab - +@item kurd @tab kurd @tab re - @tab hijazkar kurd (do) -@item nahawand + @tab hijazkar kurd (do) +@item nahawand @tab minor - @tab do + @tab do @tab busalik (re), farah faza (sol) -@item nakriz +@item nakriz @tab minor - @tab do + @tab do @tab nawa athar, hisar (re) -@item rast +@item rast @tab rast @tab do @tab mahur, yakah (sol) -@item sikah +@item sikah @tab sikah @tab misb - @tab huzam -@end multitable + @tab huzam +@end multitable @snippets @@ -247,9 +247,9 @@ key signatures: @seealso -Notation Reference: +Notation Reference: @ref{Key signature}. - + Learning Manual: @rlearning{Accidentals and key signatures}. @@ -257,16 +257,16 @@ Internals Reference: @rinternals{KeySignature}. Snippets: -@rlsr{World music}, +@rlsr{World music}, @rlsr{Pitches}. @node Arabic time signatures -@unnumberedsubsubsec Arabic time signatures +@unnumberedsubsubsec Arabic time signatures @cindex Arabic time signatures -@cindex Semai form -@cindex taqasim +@cindex Semai form +@cindex taqasim Some Arabic and Turkish music classical forms such as @notation{Semai} use unusual time signatures such as 10/8. This @@ -286,45 +286,45 @@ adjust the beaming behaviour and/or use compound time signatures. @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {arabic-improvisation.ly} -@seealso +@seealso Notation Reference: @ref{Manual beams}, @ref{Automatic beams}, -@ref{Unmetered music}, -@ref{Automatic accidentals}, -@ref{Setting automatic beam behavior}, -@ref{Time signature}. +@ref{Unmetered music}, +@ref{Automatic accidentals}, +@ref{Setting automatic beam behavior}, +@ref{Time signature}. Snippets: @rlsr{World music}. @node Arabic music example -@unnumberedsubsubsec Arabic music example +@unnumberedsubsubsec Arabic music example -@cindex Arabic music example +@cindex Arabic music example @cindex Arabic music template -@cindex Template Arabic music +@cindex Template Arabic music Here is a template that also uses the start of a Turkish Semai that is familiar in Arabic music education in order to illustrate some of the peculiarities of Arabic music notation, such as medium -intervals and unusual modes that are discussed in this section. +intervals and unusual modes that are discussed in this section. -@lilypond[quote,verbatim] +@lilypond[quote,verbatim] \include "arabic.ly" \score { \relative re' { \set Staff.extraNatural = ##f \set Staff.autoBeaming = ##f - \key re \bayati + \key re \bayati \time 10/8 - - re4 re'8 re16 [misb re do] sisb [la sisb do] re4 r8 - re16 [misb do re] sisb [do] la [sisb sol8] la [sisb] do [re] misb - fa4 fa16 [misb] misb8. [re16] re8 [misb] re [do] sisb - do4 sisb8 misb16 [re do sisb] la [do sisb la] la4 r8 + + re4 re'8 re16 [misb re do] sisb [la sisb do] re4 r8 + re16 [misb do re] sisb [do] la [sisb sol8] la [sisb] do [re] misb + fa4 fa16 [misb] misb8. [re16] re8 [misb] re [do] sisb + do4 sisb8 misb16 [re do sisb] la [do sisb la] la4 r8 } \header { title = "Semai Muhayer" @@ -336,7 +336,7 @@ intervals and unusual modes that are discussed in this section. @seealso Snippets: -@rlsr{World music} +@rlsr{World music} @@ -345,40 +345,40 @@ Snippets: @enumerate -@item -The music of the Arabs by Habib Hassan Touma [Amadeus Press, 1996], +@item +The music of the Arabs by Habib Hassan Touma [Amadeus Press, 1996], contains a discussion of maqams and their method of groupings. -There are also various web sites that explain maqams and some +There are also various web sites that explain maqams and some provide audio examples such as : -@itemize @bullet -@item +@itemize @bullet +@item @uref{http://www.maqamworld.com/} -@item +@item @uref{http://www.turath.org/} -@end itemize +@end itemize -There are some variations in the details of how maqams are grouped, -despite agreement on the criteria of grouping maqams that are -related through common lower tetra chords, or through modulation. +There are some variations in the details of how maqams are grouped, +despite agreement on the criteria of grouping maqams that are +related through common lower tetra chords, or through modulation. -@item -There is not a complete consistency, sometimes even in the same -text on how key signatures for particular maqams should be -specified. It is common, however, to use a key signature per -group, rather than a different key signature for each different +@item +There is not a complete consistency, sometimes even in the same +text on how key signatures for particular maqams should be +specified. It is common, however, to use a key signature per +group, rather than a different key signature for each different maqam. - -Oud methods by the following authors, contain examples of -mainly Turkish and Arabic compositions. + +Oud methods by the following authors, contain examples of +mainly Turkish and Arabic compositions. @itemize @bullet -@item +@item Charbel Rouhana -@item +@item George Farah -@item +@item Ibrahim Ali Darwish Al-masri @end itemize @end enumerate