From: Graham Percival Date: Sun, 11 Jun 2006 06:29:17 +0000 (+0000) Subject: findex -> funindex. X-Git-Tag: release/2.10.0-2~525 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=5b1695e47e039e4751cac2f945ea5c53b5af1492;p=lilypond.git findex -> funindex. --- diff --git a/ChangeLog b/ChangeLog index 8599abbf26..34ad37fb06 100644 --- a/ChangeLog +++ b/ChangeLog @@ -3,6 +3,8 @@ * Documentation/user/ page.itely, global.itely: editing and reorg. + * Documentation/user/ various: findex -> funindex. + 2006-06-10 Erik Sandberg * lily/time-scaled-music-iterator.cc: Use tupletSpannerDuration to diff --git a/Documentation/user/README.txt b/Documentation/user/README.txt index 07ea6296c9..37a44c4d0a 100644 --- a/Documentation/user/README.txt +++ b/Documentation/user/README.txt @@ -41,8 +41,8 @@ is writtin in formal technical writing style. GENERAL GUIDELINES * Do not forget to create @cindex entries for new sections of text. - Enter commands with @findex, i.e. - @findex \relative + Enter commands with @funindex, i.e. + @funindex \relative do not bother with the @code{} (they are added automatically). These items are added to both the command index and the unified index. diff --git a/Documentation/user/advanced-notation.itely b/Documentation/user/advanced-notation.itely index a33704e08b..f76889e93a 100644 --- a/Documentation/user/advanced-notation.itely +++ b/Documentation/user/advanced-notation.itely @@ -75,9 +75,9 @@ The @code{\markup} is described in more detail in @refcommands -@findex \fatText +@funindex \fatText @code{\fatText}, -@findex \emptyText +@funindex \emptyText @code{\emptyText}. @@ -157,7 +157,7 @@ Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}. @cindex segno on bar line @cindex fermata on bar line @cindex bar lines, symbols on -@findex \mark +@funindex \mark The @code{\mark} command is primarily used for @ref{Rehearsal marks}, @@ -450,7 +450,7 @@ The following commands can all be used inside @code{\markup @{ @}}. @cindex font selection @cindex font magnification -@findex font-interface +@funindex font-interface By setting the object properties described below, you can select a font from the preconfigured font families. LilyPond has default @@ -613,7 +613,7 @@ individual parts. @cindex Rests, multi measure @cindex Rests, full measure @cindex whole rests for a full measure -@findex R +@funindex R Rests for one full measure (or many bars) are entered using `@code{R}'. It is specifically meant for full bar rests and for entering parts: the rest @@ -735,7 +735,7 @@ Metronome settings can be entered as follows In the MIDI output, they are interpreted as a tempo change. In the layout output, a metronome marking is printed -@findex \tempo +@funindex \tempo @lilypond[quote,ragged-right,verbatim,fragment] \tempo 8.=120 c''1 @end lilypond @@ -785,7 +785,7 @@ further away from the staff. @subsection Rehearsal marks @cindex Rehearsal marks -@findex \mark +@funindex \mark To print a rehearsal mark, use the @code{\mark} command @@ -898,7 +898,7 @@ Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly}, @cindex Bar numbers @cindex measure numbers -@findex currentBarNumber +@funindex currentBarNumber Bar numbers are printed by default at the start of the line. The number itself is stored in the @code{currentBarNumber} property, which @@ -1154,7 +1154,7 @@ during an octavation bracket. @node Different editions from one source @subsection Different editions from one source -@findex \tag +@funindex \tag @cindex tag The @code{\tag} command marks music expressions with a name. These @@ -2017,11 +2017,11 @@ use fonts. These are the ones supporting the The following commands set @code{fontSize} for the current voice: -@findex \tiny +@funindex \tiny @code{\tiny}, -@findex \small +@funindex \small @code{\small}, -@findex \normalsize +@funindex \normalsize @code{\normalsize}. @@ -2110,8 +2110,8 @@ emptymusic = { @cindex Invisible notes @cindex Transparent notes -@findex \hideNotes -@findex \unHideNotes +@funindex \hideNotes +@funindex \unHideNotes Hidden (or invisible or transparent) notes can be useful in preparing theory or composition exercises. @@ -2146,10 +2146,10 @@ Shape note heads can be produced by setting @code{\aikenHeads} or Shapes are determined on the step in the scale, where the base of the scale is determined by the @code{\key} command -@findex \key -@findex shapeNoteStyles -@findex \aikenHeads -@findex \sacredHarpHeads +@funindex \key +@funindex shapeNoteStyles +@funindex \aikenHeads +@funindex \sacredHarpHeads Shape note heads are implemented through the @code{shapeNoteStyles} property. Its value is a vector of symbols. The k-th element indicates @@ -2185,7 +2185,7 @@ to be printed in a large font size. To print with a larger font, see @refcommands -@findex \setEasyHeads +@funindex \setEasyHeads @code{\setEasyHeads} diff --git a/Documentation/user/basic-notation.itely b/Documentation/user/basic-notation.itely index f4590459a8..401dd33ce9 100644 --- a/Documentation/user/basic-notation.itely +++ b/Documentation/user/basic-notation.itely @@ -64,8 +64,8 @@ c1 c1 @end lilypond -@findex ' -@findex , +@funindex ' +@funindex , The optional octave specification takes the form of a series of single quote (`@code{'}') characters or a series of comma @@ -144,10 +144,10 @@ Program reference: @internalsref{LedgerLineSpanner}, @cindex accidental, cautionary @cindex accidental, parenthesized @cindex reminder accidental -@findex ? +@funindex ? @cindex cautionary accidental @cindex parenthesized accidental -@findex ! +@funindex ! Normally accidentals are printed automatically, but you may also print them manually. A reminder accidental @@ -360,7 +360,7 @@ the output of the piece. @cindex Transpose @cindex Transposition of pitches -@findex \transpose +@funindex \transpose A music expression can be transposed with @code{\transpose}. The syntax is @@ -440,8 +440,8 @@ you must put @code{\transpose} outside of @code{\relative}, since @subsection Rests @cindex Rests -@findex \rest -@findex r +@funindex \rest +@funindex r Rests are entered like notes with the note name @code{r} @@ -478,8 +478,8 @@ Program reference: @internalsref{Rest}. @cindex Skip @cindex Invisible rest @cindex Space note -@findex \skip -@findex s +@funindex \skip +@funindex s An invisible rest (also called a `skip') can be entered like a note with note name `@code{s}' or with @code{\skip @var{duration}} @@ -538,9 +538,9 @@ This section discusses rhythms, durations, and bars. @subsection Durations @cindex duration -@findex \longa -@findex \breve -@findex \maxima +@funindex \longa +@funindex \breve +@funindex \maxima In Note, Chord, and Lyrics mode, durations are designated by numbers and dots: durations are entered as their reciprocal values. For example, a @@ -591,7 +591,7 @@ duration. The default for the first note is a quarter note. @node Augmentation dots @subsection Augmentation dots -@findex . +@funindex . To obtain dotted note lengths, simply add a dot (`@code{.}') to the number. Double-dotted notes are produced in a similar way. @@ -606,11 +606,11 @@ Dots are normally moved up to avoid staff lines, except in polyphonic situations. The following commands may be used to force a particular direction manually -@findex \dotsUp +@funindex \dotsUp @code{\dotsUp}, -@findex \dotsDown +@funindex \dotsDown @code{\dotsDown}, -@findex \dotsNeutral +@funindex \dotsNeutral @code{\dotsNeutral}. @seealso @@ -623,7 +623,7 @@ Program reference: @internalsref{Dots}, and @internalsref{DotColumn}. @cindex tuplets @cindex triplets -@findex \times +@funindex \times Tuplets are made out of a music expression by multiplying all durations with a fraction @@ -655,17 +655,17 @@ Tuplets may be nested, for example, @refcommands -@findex \tupletUp +@funindex \tupletUp @code{\tupletUp}, -@findex \tupletDown +@funindex \tupletDown @code{\tupletDown}, -@findex \tupletNeutral +@funindex \tupletNeutral @code{\tupletNeutral}. @commonprop -@findex tupletNumberFormatFunction +@funindex tupletNumberFormatFunction @cindex tuplet formatting The property @code{tupletSpannerDuration} specifies how long each @@ -733,8 +733,8 @@ This manual: @ref{Tuplets} @subsection Bar check @cindex Bar check -@findex barCheckSynchronize -@findex | +@funindex barCheckSynchronize +@funindex | Bar checks help detect errors in the durations. A bar check is entered using the bar symbol, `@code{|}'. Whenever it is encountered @@ -759,8 +759,8 @@ durations. Incorrect durations often completely garble up the score, especially if the score is polyphonic, so a good place to start correcting input is by scanning for failed bar checks and incorrect durations. -@findex | -@findex pipeSymbol +@funindex | +@funindex pipeSymbol It is also possible to redefine the meaning of @code{|}. This is done by assigning a music expression to @code{pipeSymbol}, @@ -872,11 +872,11 @@ made invisible. @refcommands -@findex \stemUp +@funindex \stemUp @code{\stemUp}, -@findex \stemDown +@funindex \stemDown @code{\stemDown}, -@findex \stemNeutral +@funindex \stemNeutral @code{\stemNeutral}. @@ -902,7 +902,7 @@ The easiest way to enter fragments with more than one voice on a staff is to enter each voice as a sequence (with @code{@{...@}}), and combine them simultaneously, separating the voices with @code{\\} -@findex \\ +@funindex \\ @lilypond[quote,verbatim,fragment] \new Staff \relative c' { @@ -1104,24 +1104,24 @@ for example @refcommands -@findex \oneVoice +@funindex \oneVoice @code{\oneVoice}, -@findex \voiceOne +@funindex \voiceOne @code{\voiceOne}, -@findex \voiceTwo +@funindex \voiceTwo @code{\voiceTwo}, -@findex \voiceThree +@funindex \voiceThree @code{\voiceThree}, -@findex \voiceFour +@funindex \voiceFour @code{\voiceFour}. -@findex \shiftOn +@funindex \shiftOn @code{\shiftOn}, -@findex \shiftOnn +@funindex \shiftOnn @code{\shiftOnn}, -@findex \shiftOnnn +@funindex \shiftOnnn @code{\shiftOnnn}, -@findex \shiftOff +@funindex \shiftOff @code{\shiftOff}: these commands specify in what chords of the current voice should be shifted. The outer voices (normally: voice one and two) have @code{\shiftOff}, while the inner voices (three and four) @@ -1195,7 +1195,7 @@ such as key signatures, clefs and time signatures. @node Clef @subsection Clef -@findex \clef +@funindex \clef The clef indicates which lines of the staff correspond to which pitches. The clef is set with the @code{\clef} command @@ -1298,7 +1298,7 @@ Program reference: @internalsref{Clef}. @subsection Key signature @cindex Key signature -@findex \key +@funindex \key The key signature indicates the tonality in which a piece is played. It is denoted by a set of alterations (flats or sharps) at the start of the @@ -1311,16 +1311,16 @@ command @code{\key} @var{pitch} @var{type} @end example -@findex \minor -@findex \major -@findex \minor -@findex \ionian -@findex \locrian -@findex \aeolian -@findex \mixolydian -@findex \lydian -@findex \phrygian -@findex \dorian +@funindex \minor +@funindex \major +@funindex \minor +@funindex \ionian +@funindex \locrian +@funindex \aeolian +@funindex \mixolydian +@funindex \lydian +@funindex \phrygian +@funindex \dorian @cindex church modes Here, @var{type} should be @code{\major} or @code{\minor} to get @@ -1368,7 +1368,7 @@ Program reference: @internalsref{KeyCancellation}, @cindex Time signature @cindex meter -@findex \time +@funindex \time Time signature indicates the metrum of a piece: a regular pattern of strong and weak beats. It is denoted by a fraction at the start of the @@ -1453,7 +1453,7 @@ Automatic beaming does not use the measure grouping specified with @cindex partial measure @cindex measure, partial @cindex shorten measures -@findex \partial +@funindex \partial Partial measures, such as an anacrusis or upbeat, are entered using the @@ -1495,7 +1495,7 @@ a2 g2 @subsection Bar lines @cindex Bar lines -@findex \bar +@funindex \bar @cindex measure lines @cindex repeat bars @@ -1549,9 +1549,9 @@ connected between different staves of a StaffGroup @commonprop -@findex whichBar -@findex repeatCommands -@findex defaultBarType +@funindex whichBar +@funindex repeatCommands +@funindex defaultBarType The command @code{\bar }@var{bartype} is a short cut for doing @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar} @@ -1581,8 +1581,8 @@ Examples: @inputfileref{input/@/test,bar@/-lines@/.ly}, @subsection Unmetered music @cindex cadenza -@findex \cadenzaOn -@findex \cadenzaOff +@funindex \cadenzaOn +@funindex \cadenzaOff Bar lines and bar numbers are calculated automatically. For unmetered music (cadenzas, for example), this is not desirable. To turn off @@ -1777,7 +1777,7 @@ This section deals with notation that affects groups of notes. @subsection Ties @cindex tie -@findex ~ +@funindex ~ A tie connects two adjacent note heads of the same pitch. The tie in effect extends the length of a note. Ties should not be confused with @@ -1842,17 +1842,17 @@ for example, to tie a tremolo to a chord. For example, @refcommands -@findex \tieUp +@funindex \tieUp @code{\tieUp}, -@findex \tieDown +@funindex \tieDown @code{\tieDown}, -@findex \tieNeutral +@funindex \tieNeutral @code{\tieNeutral}, -@findex \tieDotted +@funindex \tieDotted @code{\tieDotted}, -@findex \tieDashed +@funindex \tieDashed @code{\tieDashed}, -@findex \tieSolid +@funindex \tieSolid @code{\tieSolid}. @@ -1917,17 +1917,17 @@ be achieved in LilyPond by setting @code{doubleSlurs}, @refcommands -@findex \slurUp +@funindex \slurUp @code{\slurUp}, -@findex \slurDown +@funindex \slurDown @code{\slurDown}, -@findex \slurNeutral +@funindex \slurNeutral @code{\slurNeutral}, -@findex \slurDashed +@funindex \slurDashed @code{\slurDashed}, -@findex \slurDotted +@funindex \slurDotted @code{\slurDotted}, -@findex \slurSolid +@funindex \slurSolid @code{\slurSolid}. @seealso @@ -1960,11 +1960,11 @@ You cannot have simultaneous phrasing slurs. @refcommands -@findex \phrasingSlurUp +@funindex \phrasingSlurUp @code{\phrasingSlurUp}, -@findex \phrasingSlurDown +@funindex \phrasingSlurDown @code{\phrasingSlurDown}, -@findex \phrasingSlurNeutral +@funindex \phrasingSlurNeutral @code{\phrasingSlurNeutral}. @@ -2027,8 +2027,8 @@ Program reference: @internalsref{Beam}. @subsection Manual beams @cindex beams, manual -@findex ] -@findex [ +@funindex ] +@funindex [ In some cases it may be necessary to override the automatic beaming algorithm. For example, the autobeamer will not put beams over rests @@ -2044,8 +2044,8 @@ and end point with @code{[} and @code{]} @commonprop -@findex stemLeftBeamCount -@findex stemRightBeamCount +@funindex stemLeftBeamCount +@funindex stemRightBeamCount Normally, beaming patterns within a beam are determined automatically. If necessary, the properties @code{stemLeftBeamCount} and @@ -2074,7 +2074,7 @@ c16[ c c c c c c c] \set Score.beatLength = #(ly:make-moment 1 8) c16[ c c c c c c c] @end lilypond -@findex subdivideBeams +@funindex subdivideBeams @noindent For more information about @code{make-moment}, see @@ -2083,7 +2083,7 @@ For more information about @code{make-moment}, see Line breaks are normally forbidden when beams cross bar lines. This behavior can be changed by setting @code{allowBeamBreak}. -@findex allowBeamBreak +@funindex allowBeamBreak @cindex beams and line breaks @cindex beams, kneed @cindex kneed beams @@ -2105,7 +2105,7 @@ texts and accidentals. @node Grace notes @subsection Grace notes -@findex \grace +@funindex \grace @cindex ornaments @cindex grace notes @cindex appoggiatura @@ -2173,7 +2173,7 @@ every eighth grace note \new Staff { c4 \grace { g8[ b] } c4 } >> @end lilypond -@findex \afterGrace +@funindex \afterGrace If you want to end a note with a grace, use the @code{\afterGrace} command. It takes two arguments: the main note, and the grace notes @@ -2462,23 +2462,23 @@ Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}. @subsection Dynamics @cindex Dynamics -@findex \pppp -@findex \ppp -@findex \pp -@findex \p -@findex \mp -@findex \mf -@findex \f -@findex \ff -@findex \fff -@findex \ffff -@findex \fp -@findex \sf -@findex \sff -@findex \sp -@findex \spp -@findex \sfz -@findex \rfz +@funindex \pppp +@funindex \ppp +@funindex \pp +@funindex \p +@funindex \mp +@funindex \mf +@funindex \f +@funindex \ff +@funindex \fff +@funindex \ffff +@funindex \fp +@funindex \sf +@funindex \sff +@funindex \sp +@funindex \spp +@funindex \sfz +@funindex \rfz Absolute dynamic marks are specified using a command after a note @code{c4\ff}. The available dynamic marks are @code{\ppppp}, @@ -2492,9 +2492,9 @@ c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz @end lilypond -@findex \< -@findex \> -@findex \! +@funindex \< +@funindex \> +@funindex \! A crescendo mark is started with @code{\<} and terminated with @code{\!} or an absolute dynamic. A decrescendo is started with @@ -2586,11 +2586,11 @@ dashed line showing their extent. To surpress printing this line, use @refcommands -@findex \dynamicUp +@funindex \dynamicUp @code{\dynamicUp}, -@findex \dynamicDown +@funindex \dynamicDown @code{\dynamicDown}, -@findex \dynamicNeutral +@funindex \dynamicNeutral @code{\dynamicNeutral}. @@ -2663,9 +2663,9 @@ is printed as a stemless note head in parentheses. @refcommands @code{\startTrillSpan}, -@findex \startTrillSpan +@funindex \startTrillSpan @code{\stopTrillSpan}. -@findex \stopTrillSpan +@funindex \stopTrillSpan @seealso @@ -2677,7 +2677,7 @@ Program reference: @internalsref{TrillSpanner}. @subsection Glissando @cindex Glissando -@findex \glissando +@funindex \glissando A glissando is a smooth change in pitch. It is denoted by a line or a wavy line between two notes. It is requested by attaching @@ -2707,7 +2707,7 @@ Printing text over the line (such as @emph{gliss.}) is not supported. @cindex Arpeggio @cindex broken chord -@findex \arpeggio +@funindex \arpeggio You can specify an arpeggio sign (also known as broken chord) on a chord by attaching an @code{\arpeggio} to a chord @@ -2755,13 +2755,13 @@ in both staves and set @refcommands @code{\arpeggio}, -@findex \arpeggioUp +@funindex \arpeggioUp @code{\arpeggioUp}, -@findex \arpeggioDown +@funindex \arpeggioDown @code{\arpeggioDown}, -@findex \arpeggioNeutral +@funindex \arpeggioNeutral @code{\arpeggioNeutral}, -@findex \arpeggioBracket +@funindex \arpeggioBracket @code{\arpeggioBracket}. @@ -2802,7 +2802,7 @@ for repetitions. @subsection Repeat types @cindex repeats -@findex \repeat +@funindex \repeat The following types of repetition are supported @@ -2847,7 +2847,7 @@ repeats. The syntax is @end example If you have alternative endings, you may add -@findex \alternative +@funindex \alternative @example \alternative @{ @var{alternative1} @@ -2944,7 +2944,7 @@ example by setting @code{Score.measurePosition} or entering @subsection Repeats and MIDI @cindex expanding repeats -@findex \unfoldRepeats +@funindex \unfoldRepeats With a little bit of tweaking, all types of repeats can be present in the MIDI output. This is achieved by applying the @@ -2984,7 +2984,7 @@ percent repeats). For example, @node Manual repeat commands @subsection Manual repeat commands -@findex repeatCommands +@funindex repeatCommands The property @code{repeatCommands} can be used to control the layout of repeats. Its value is a Scheme list of repeat commands. @@ -3063,7 +3063,7 @@ Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly}, @subsection Tremolo subdivisions @cindex tremolo marks -@findex tremoloFlags +@funindex tremoloFlags Tremolo marks can be printed on a single note by adding `@code{:}[@var{number}]' after the note. The number indicates the diff --git a/Documentation/user/changing-defaults.itely b/Documentation/user/changing-defaults.itely index f48178bb8f..992338d991 100644 --- a/Documentation/user/changing-defaults.itely +++ b/Documentation/user/changing-defaults.itely @@ -84,7 +84,7 @@ beams are automatically displayed. Common rules for typesetting accidentals have been placed in a function. This function is called as follows -@findex set-accidental-style +@funindex set-accidental-style @example #(set-accidental-style 'STYLE #('CONTEXT#)) @end example @@ -132,7 +132,7 @@ used by one musician (e.g., a conductor) then should be used instead. @item modern -@findex modern style accidentals +@funindex modern style accidentals This rule corresponds to the common practice in the 20th century. This rule prints the same accidentals as @code{default}, but temporary accidentals also are canceled in other octaves. Furthermore, @@ -145,7 +145,7 @@ cis' c'' cis'2 | c'' c' @end lilypond @item @code{modern-cautionary} -@findex modern-cautionary +@funindex modern-cautionary This rule is similar to @code{modern}, but the ``extra'' accidentals (the ones not typeset by @code{default}) are typeset as cautionary accidentals. They are printed in reduced size or with parentheses @@ -154,14 +154,14 @@ accidentals. They are printed in reduced size or with parentheses cis' c'' cis'2 | c'' c' @end lilypond -@findex modern-voice +@funindex modern-voice @item modern-voice This rule is used for multivoice accidentals to be read both by musicians playing one voice and musicians playing all voices. Accidentals are typeset for each voice, but they @emph{are} canceled across voices in the same @internalsref{Staff}. -@findex modern-voice-cautionary +@funindex modern-voice-cautionary @item modern-voice-cautionary This rule is the same as @code{modern-voice}, but with the extra accidentals (the ones not typeset by @code{voice}) typeset @@ -170,19 +170,19 @@ as cautionaries. Even though all accidentals typeset by some of them are typeset as cautionaries. @item piano -@findex piano accidentals +@funindex piano accidentals This rule reflects 20th century practice for piano notation. Very similar to @code{modern} but accidentals also get canceled across the staves in the same @internalsref{GrandStaff} or @internalsref{PianoStaff}. @item piano-cautionary -@findex #(set-accidental-style 'piano-cautionary) +@funindex #(set-accidental-style 'piano-cautionary) Same as @code{#(set-accidental-style 'piano)} but with the extra accidentals typeset as cautionaries. @item no-reset -@findex no-reset accidental style +@funindex no-reset accidental style This is the same as @code{default} but with accidentals lasting ``forever'' and not only until the next measure @lilypond[quote,ragged-right,fragment,verbatim,relative=1] @@ -224,9 +224,9 @@ problematic notes. @node Setting automatic beam behavior @subsection Setting automatic beam behavior -@findex autoBeamSettings -@findex (end * * * *) -@findex (begin * * * *) +@funindex autoBeamSettings +@funindex (end * * * *) +@funindex (begin * * * *) @cindex automatic beams, tuning @cindex tuning automatic beaming @@ -357,7 +357,7 @@ In 4/4 time signature, this means that automatic beams could end only on @cindex automatic beam generation @cindex autobeam -@findex autoBeaming +@funindex autoBeaming @cindex lyrics If beams are used to indicate melismata in songs, then automatic @@ -366,9 +366,9 @@ beaming should be switched off with @code{\autoBeamOff}. @refcommands -@findex \autoBeamOff +@funindex \autoBeamOff @code{\autoBeamOff}, -@findex \autoBeamOn +@funindex \autoBeamOn @code{\autoBeamOn}. @@ -473,7 +473,7 @@ create them by hand. There are three commands that do this. The easiest command is @code{\new}, and it also the quickest to type. It is prepended to a music expression, for example -@findex \new +@funindex \new @cindex new contexts @cindex Context, creating @@ -506,7 +506,7 @@ However, this user specified name is only used if there is no other context already earlier with the same name. -@findex \context +@funindex \context @item Like @code{\new}, the @code{\context} command also directs a music @@ -603,7 +603,7 @@ these forms @subsection Changing context properties on the fly @cindex properties -@findex \set +@funindex \set @cindex changing properties Each context can have different @emph{properties}, variables contained @@ -655,7 +655,7 @@ example @context{Staff}, then the change would also apply to all `on-the-fly', during the music, so that the setting only affects the second group of eighth notes. -@findex \unset +@funindex \unset There is also an @code{\unset} command, @example @@ -754,7 +754,7 @@ It can be useful to shuffle around these plug-ins. This is done by starting a new context with @code{\new} or @code{\context}, and modifying it, -@findex \with +@funindex \with @example \new @var{context} \with @{ @@ -1125,7 +1125,7 @@ Put together, we get @} @end example -@findex \accepts +@funindex \accepts Contexts form hierarchies. We want to hang the @context{ImproVoice} under @context{Staff}, just like normal @code{Voice}s. Therefore, we modify the @code{Staff} definition with the @code{\accepts} @@ -1138,7 +1138,7 @@ command, @} @end example -@findex \denies +@funindex \denies The opposite of @code{\accepts} is @code{\denies}, which is sometimes needed when reusing existing context definitions. @@ -1224,7 +1224,7 @@ properties. To tweak those, use commands in the form @cindex finding graphical objects @cindex graphical object descriptions @cindex tweaking -@findex \override +@funindex \override @cindex internal documentation We demonstrate how to glean this information from the notation manual @@ -1507,7 +1507,7 @@ Fingering_engraver is part of contexts: @dots{} @internalsref{Voice} @node Objects connected to the input @subsection Objects connected to the input -@findex \tweak +@funindex \tweak In some cases, it is possible to take a short-cut for tuning graphical objects. For objects that result directly from a piece of the input, diff --git a/Documentation/user/global.itely b/Documentation/user/global.itely index 92496a1f7c..bf8a5fdaaf 100644 --- a/Documentation/user/global.itely +++ b/Documentation/user/global.itely @@ -95,7 +95,7 @@ and texts are entered with a @code{\markup} block, @} @end example -@findex \book +@funindex \book The movements and texts are combined together in a @code{\book} block, like @@ -319,7 +319,7 @@ expressions; note the curly braces @{ @} or angle brackets << @node Including LilyPond files @subsection Including LilyPond files -@findex \include +@funindex \include @cindex including files A large project may be split up into separate files. To refer to another @@ -436,62 +436,62 @@ The header block for a book supports the following @table @code -@findex dedication +@funindex dedication @item dedication The dedicatee of the music, centered at the top of the first page. -@findex title +@funindex title @item title The title of the music, centered just below the dedication. -@findex subtitle +@funindex subtitle @item subtitle Subtitle, centered below the title. -@findex subsubtitle +@funindex subsubtitle @item subsubtitle Subsubtitle, centered below the subtitle. -@findex poet +@funindex poet @item poet Name of the poet, flush-left below the subtitle. -@findex composer +@funindex composer @item composer Name of the composer, flush-right below the subtitle. -@findex meter +@funindex meter @item meter Meter string, flush-left below the poet. -@findex opus +@funindex opus @item opus Name of the opus, flush-right below the composer. -@findex arranger +@funindex arranger @item arranger Name of the arranger, flush-right below the opus. -@findex instrument +@funindex instrument @item instrument Name of the instrument, centered below the arranger. Also centered at the top of pages (other than the first page). -@findex piece +@funindex piece @item piece Name of the piece, flush-left below the instrument. @cindex page breaks, forcing -@findex breakbefore +@funindex breakbefore @item breakbefore This forces the title to start on a new page (set to ##t or ##f). -@findex copyright +@funindex copyright @item copyright Copyright notice, centered at the bottom of the first page. To insert the copyright symbol, see @ref{Text encoding}. -@findex tagline +@funindex tagline @item tagline Centered at the bottom of the last page. @@ -579,7 +579,7 @@ Note that the music expression must come before the @code{\header}. } @end lilypond -@findex printallheaders +@funindex printallheaders @noindent You may change this behavior (and print all the headers when defining @code{\header} inside @code{\score}) by using @@ -609,22 +609,22 @@ variables in the @code{\paper} block. The init file @file{ly/titling-init.ly} lists the default layout. @table @code -@findex bookTitleMarkup +@funindex bookTitleMarkup @item bookTitleMarkup This is the title put over an entire @code{\book} block. Typically, it has the composer and the title of the piece -@findex scoreTitleMarkup +@funindex scoreTitleMarkup @item scoreTitleMarkup This is the title put over a @code{\score} block within a @code{\book}. Typically, it has the name of the movement (@code{piece} field). -@findex oddHeaderMarkup +@funindex oddHeaderMarkup @item oddHeaderMarkup This is the page header for odd-numbered pages. -@findex evenHeaderMarkup +@funindex evenHeaderMarkup @item evenHeaderMarkup This is the page header for even-numbered pages. If unspecified, the odd header is used instead. @@ -632,11 +632,11 @@ field). By default, headers are defined such that the page number is on the outside edge, and the instrument is centered. -@findex oddFooterMarkup +@funindex oddFooterMarkup @item oddFooterMarkup This is the page footer for odd-numbered pages. -@findex evenFotterMarkup +@funindex evenFotterMarkup @item evenFooterMarkup This is the page footer for even-numbered pages. If unspecified, the odd header is used instead. @@ -829,7 +829,7 @@ The contexts for MIDI output are defined in @file{ly/@/performer@/-init@/.ly}. @subsection MIDI instrument names @cindex instrument names -@findex Staff.midiInstrument +@funindex Staff.midiInstrument The MIDI instrument name is set by the @code{Staff.midiInstrument} property. The instrument name should be chosen from the list in @@ -852,7 +852,7 @@ instrument is used. @node Displaying LilyPond notation @section Displaying LilyPond notation -@findex \displayLilyMusc +@funindex \displayLilyMusc Displaying a music expression in LilyPond notation can be done using the music function @code{\displayLilyMusic}. For example, @@ -882,8 +882,8 @@ lilypond file.ly >display.txt @section Skipping corrected music -@findex skipTypesetting -@findex showLastLength +@funindex skipTypesetting +@funindex showLastLength When entering or copying music, usually only the music near the end (where you diff --git a/Documentation/user/instrument-notation.itely b/Documentation/user/instrument-notation.itely index 22148c957d..3876110947 100644 --- a/Documentation/user/instrument-notation.itely +++ b/Documentation/user/instrument-notation.itely @@ -229,7 +229,7 @@ In this manual: @ref{Laissez vibrer ties} @cindex staff switching @cindex cross staff -@findex followVoice +@funindex followVoice Whenever a voice switches to another staff, a line connecting the notes can be printed automatically. This is switched on by setting @@ -253,9 +253,9 @@ Program reference: @internalsref{VoiceFollower}. @refcommands -@findex \showStaffSwitch +@funindex \showStaffSwitch @code{\showStaffSwitch}, -@findex \hideStaffSwitch +@funindex \hideStaffSwitch @code{\hideStaffSwitch}. @@ -413,11 +413,11 @@ Modifiers can be mixed with additions @end lilypond @cindex modifiers, in chords. -@findex aug -@findex dim -@findex maj -@findex sus -@findex m +@funindex aug +@funindex dim +@funindex maj +@funindex sus +@funindex m Since an unaltered 11 does not sound good when combined with an unaltered 3, the 11 is removed in this case (unless it is added @@ -426,7 +426,7 @@ explicitly) \chordmode { c:13 c:13.11 c:m13 } @end lilypond -@findex / +@funindex / An inversion (putting one pitch of the chord on the bottom), as well as bass notes, can be specified by appending @@ -434,7 +434,7 @@ as bass notes, can be specified by appending @lilypond[quote,ragged-right,fragment,verbatim] \chordmode { c1 c/g c/f } @end lilypond -@findex /+ +@funindex /+ A bass note can be added instead transposed out of the chord, by using @code{/+}@var{pitch}. @@ -526,7 +526,7 @@ Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the following properties @table @code -@findex chordNameExceptions +@funindex chordNameExceptions @item chordNameExceptions This is a list that contains the chords that have special formatting. @@ -555,14 +555,14 @@ For an example of tuning this property, see also @cindex exceptions, chord names. -@findex majorSevenSymbol +@funindex majorSevenSymbol @item majorSevenSymbol This property contains the markup object used for the 7th step, when it is major. Predefined options are @code{whiteTriangleMarkup} and @code{blackTriangleMarkup}. See @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example. -@findex chordNameSeparator +@funindex chordNameSeparator @item chordNameSeparator Different parts of a chord name are normally separated by a slash. By setting @code{chordNameSeparator}, you can specify other @@ -576,21 +576,21 @@ separators, e.g., } @end lilypond -@findex chordRootNamer +@funindex chordRootNamer @item chordRootNamer The root of a chord is usually printed as a letter with an optional alteration. The transformation from pitch to letter is done by this function. Special note names (for example, the German ``H'' for a B-chord) can be produced by storing a new function in this property. -@findex chordNoteNamer +@funindex chordNoteNamer @item chordNoteNamer The default is to print single pitch, e.g., the bass note, using the @code{chordRootNamer}. The @code{chordNoteNamer} property can be set to a specialized function to change this behavior. For example, the base can be printed in lower case. -@findex chordPrefixSpacer +@funindex chordPrefixSpacer @item chordPrefixSpacer The ``m'' for minor chords is usually printed right after the root of the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer @@ -619,13 +619,13 @@ chart}. Turning on these styles is described in the input file @refcommands -@findex \germanChords +@funindex \germanChords @code{\germanChords}, -@findex \semiGermanChords +@funindex \semiGermanChords @code{\semiGermanChords}. -@findex \italianChords +@funindex \italianChords @code{\italianChords}. -@findex \frenchChords +@funindex \frenchChords @code{\frenchChords}. @@ -746,7 +746,7 @@ cases you should use @code{\lyricsto} and @code{\lyricmode}. @subsection Entering lyrics @cindex lyrics -@findex \lyricmode +@funindex \lyricmode @cindex punctuation Lyrics are entered in a special input mode. This mode is introduced @@ -777,7 +777,7 @@ opening brace is not balanced \lyricmode @{ twinkle@} @end example -@findex \property in \lyricmode +@funindex \property in \lyricmode @noindent Similarly, a period which follows an alphabetic sequence is included in @@ -787,7 +787,7 @@ property commands \override Score . LyricText #'font-shape = #'italic @end example -@findex _ +@funindex _ @cindex spaces, in lyrics @cindex quotes, in lyrics @@ -892,7 +892,7 @@ Lyrics are printed by interpreting them in the context caleld @end example @cindex automatic syllable durations -@findex \lyricsto +@funindex \lyricsto @cindex lyrics and melodies This will place the lyrics according to the durations that were @@ -1021,8 +1021,8 @@ A complete example of a SATB score setup is in section @refcommands @code{\melisma}, @code{\melismaEnd} -@findex \melismaEnd -@findex \melisma +@funindex \melismaEnd +@funindex \melisma @seealso @@ -1951,7 +1951,7 @@ are printed as tablature, by using @internalsref{TabStaff} and } @end lilypond -@findex minimumFret +@funindex minimumFret @cindex fret When no string is specified, the first string that does not give a @@ -3033,17 +3033,17 @@ Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and @refcommands -@findex \virgula +@funindex \virgula @code{\virgula}, -@findex \caesura +@funindex \caesura @code{\caesura}, -@findex \divisioMinima +@funindex \divisioMinima @code{\divisioMinima}, -@findex \divisioMaior +@funindex \divisioMaior @code{\divisioMaior}, -@findex \divisioMaxima +@funindex \divisioMaxima @code{\divisioMaxima}, -@findex \finalis +@funindex \finalis @code{\finalis}. @seealso @@ -4103,35 +4103,35 @@ ligatures can be created. The following head prefixes are supported -@findex \virga +@funindex \virga @code{\virga}, -@findex \stropha +@funindex \stropha @code{\stropha}, -@findex \inclinatum +@funindex \inclinatum @code{\inclinatum}, -@findex \auctum +@funindex \auctum @code{\auctum}, -@findex \descendens +@funindex \descendens @code{\descendens}, -@findex \ascendens +@funindex \ascendens @code{\ascendens}, -@findex \oriscus +@funindex \oriscus @code{\oriscus}, -@findex \quilisma +@funindex \quilisma @code{\quilisma}, -@findex \deminutum +@funindex \deminutum @code{\deminutum}, -@findex \cavum +@funindex \cavum @code{\cavum}, -@findex \linea +@funindex \linea @code{\linea}. Head prefixes can be accumulated, though restrictions apply. For example, either @code{\descendens} or @code{\ascendens} can be applied to a head, but not both to the same head. -@findex \pes -@findex \flexa +@funindex \pes +@funindex \flexa Two adjacent heads can be tied together with the @code{\pes} and @code{\flexa} infix commands for a rising and falling line of melody, respectively. @@ -4218,7 +4218,7 @@ usually printed over the note. Support for such suggested accidentals is included, and can be switched on by setting @code{suggestAccidentals} to true. -@findex suggestAccidentals +@funindex suggestAccidentals @lilypond[verbatim,fragment,relative=1] fis gis diff --git a/Documentation/user/invoking.itely b/Documentation/user/invoking.itely index c36f494a97..df1c72e9e4 100644 --- a/Documentation/user/invoking.itely +++ b/Documentation/user/invoking.itely @@ -359,7 +359,7 @@ Note that @var{path/to} will generally be @code{/Applications/}. @section Updating with @command{convert-ly} @cindex Updating a LilyPond file -@findex convert-ly +@funindex convert-ly The LilyPond input syntax is routinely changed to simplify it or improve it in different ways. As a side effect of this, the LilyPond interpreter diff --git a/Documentation/user/lilypond-book.itely b/Documentation/user/lilypond-book.itely index 55a9581251..7cf1efe508 100644 --- a/Documentation/user/lilypond-book.itely +++ b/Documentation/user/lilypond-book.itely @@ -151,7 +151,7 @@ Larger examples can be put into a separate file, and introduced with @cindex texinfo @cindex latex @cindex texinfo -@findex texi +@funindex texi @cindex html @cindex documents, adding music to @@ -233,7 +233,7 @@ heuristic algorithm can fail easily; in such cases it is necessary to use the @code{line-width} music fragment option. @cindex titling and lilypond-book -@findex \header in La@TeX{} documents +@funindex \header in La@TeX{} documents Each snippet will call the following macros if they have been defined by the user: diff --git a/Documentation/user/page.itely b/Documentation/user/page.itely index b837bdd586..12f98b03df 100644 --- a/Documentation/user/page.itely +++ b/Documentation/user/page.itely @@ -51,7 +51,7 @@ that music can be printed inside. @cindex paper size @cindex page size -@findex papersize +@funindex papersize To change the paper size, there are two commands, @example @@ -105,62 +105,62 @@ footers to each page. The default layout responds to the following settings in the @code{\paper} block. -@findex \paper +@funindex \paper @quotation @table @code -@findex first-page-number +@funindex first-page-number @item first-page-number The value of the page number of the first page. Default is@tie{}1. -@findex printfirst-page-number +@funindex printfirst-page-number @item printfirst-page-number If set to true, will print the page number in the first page. Default is false. -@findex print-page-number +@funindex print-page-number @item print-page-number If set to false, page numbers will not be printed. -@findex paper-width +@funindex paper-width @item paper-width The width of the page. -@findex paper-height +@funindex paper-height @item paper-height The height of the page. -@findex top-margin +@funindex top-margin @item top-margin Margin between header and top of the page. -@findex bottom-margin +@funindex bottom-margin @item bottom-margin Margin between footer and bottom of the page. -@findex left-margin +@funindex left-margin @item left-margin Margin between the left side of the page and the beginning of the music. -@findex line-width +@funindex line-width @item line-width The length of the systems. -@findex head-separation +@funindex head-separation @item head-separation Distance between the top-most music system and the page header. -@findex foot-separation +@funindex foot-separation @item foot-separation Distance between the bottom-most music system and the page footer. -@findex page-top-space +@funindex page-top-space Distance from the top of the printable area to the center of the first staff. This only works for staves which are vertically small. Big staves are set with the top of their bounding box aligned to the top of the printable area. -@findex ragged-bottom +@funindex ragged-bottom @item ragged-bottom If set to true, systems will not be spread vertically across the page. This does not affect the last page. @@ -168,19 +168,19 @@ does not affect the last page. This should be set to true for pieces that have only two or three systems per page, for example orchestral scores. -@findex ragged-last-bottom +@funindex ragged-last-bottom @item ragged-last-bottom If set to false, systems will be spread vertically to fill the last page. Pieces that amply fill two pages or more should have this set to true. -@findex system-count +@funindex system-count @item system-count This variable, if set, specifies into how many lines a score should be broken. -@findex between-system-space +@funindex between-system-space @item between-system-space This dimensions determines the distance between systems. It is the ideal distance between the center of the bottom staff of one system @@ -189,7 +189,7 @@ and the center of the top staff of the next system. Increasing this will provide a more even appearance of the page at the cost of using more vertical space. -@findex between-system-padding +@funindex between-system-padding @item between-system-padding This dimension is the minimum amount of white space that will always be present between the bottom-most symbol of one system, and the @@ -199,33 +199,33 @@ Increasing this will put systems whose bounding boxes almost touch farther apart. -@findex horizontal-shift +@funindex horizontal-shift @item horizontal-shift All systems (including titles and system separators) are shifted by this amount to the right. Page markup, such as headers and footers are not affected by this. The purpose of this variable is to make space for instrument names at the left. -@findex after-title-space +@funindex after-title-space @item after-title-space Amount of space between the title and the first system. -@findex after-title-space +@funindex after-title-space @item before-title-space Amount of space between the last system of the previous piece and the title of the next. -@findex between-title-space +@funindex between-title-space @item between-title-space Amount of space between consecutive titles (e.g., the title of the book and the title of a piece). -@findex printallheaders +@funindex printallheaders @item printallheaders Setting this to #t will print all headers for each \score in a \book. Normally only the piece and opus \headers are printed. -@findex systemSeparatorMarkup +@funindex systemSeparatorMarkup @item systemSeparatorMarkup This contains a markup object, which will be inserted between systems. This is often used for orchestral scores. @@ -310,7 +310,7 @@ add space between the titles and the first system of the score. @cindex font size, setting @cindex staff size, setting -@findex layout file +@funindex layout file To set the global staff size, use @code{set-global-staff-size}. @@ -396,7 +396,7 @@ This manual: @ref{Selecting notation font size}. @node Score layout @subsection Score layout -@findex \layout +@funindex \layout While @code{\paper} contains settings that relate to the page formatting of the whole document, @code{\layout} contains settings for score-specific @@ -651,10 +651,10 @@ These durations may also be customized. If you set the this sets the base duration for spacing. The maximum duration for this base (normally an 8th), is set through @code{base-shortest-duration}. -@findex common-shortest-duration -@findex base-shortest-duration -@findex stem-spacing-correction -@findex spacing +@funindex common-shortest-duration +@funindex base-shortest-duration +@funindex stem-spacing-correction +@funindex spacing Notes that are even shorter than the common shortest note are followed by a space that is proportional to their duration relative to @@ -774,10 +774,10 @@ regard for clefs, bar lines, and grace notes, @cindex page breaks @cindex breaking pages -@findex indent -@findex line-width -@findex ragged-right -@findex ragged-last +@funindex indent +@funindex line-width +@funindex ragged-right +@funindex ragged-last @c Although line-width can be set in \layout, it should be set in paper @c block, to get page layout right. @@ -862,8 +862,8 @@ This makes the following 28 measures (assuming 4/4 time) be broken every @refcommands @code{\break}, and @code{\noBreak}. -@findex \break -@findex \noBreak +@funindex \break +@funindex \noBreak @seealso @@ -913,9 +913,9 @@ piece in several movements), use @code{breakbefore} in the header. @refcommands -@findex \pageBreak +@funindex \pageBreak @code{\pageBreak} -@findex \noPageBreak +@funindex \noPageBreak @code{\noPageBreak} @@ -929,7 +929,7 @@ header as well. It may be used as a normal header, or left blank @node Displaying spacing @section Displaying spacing -@findex annotate-spacing +@funindex annotate-spacing @cindex Spacing, display of properties To graphically display the dimensions of vertical properties diff --git a/Documentation/user/programming-interface.itely b/Documentation/user/programming-interface.itely index 9e149bd8a0..8ff29fc72f 100644 --- a/Documentation/user/programming-interface.itely +++ b/Documentation/user/programming-interface.itely @@ -401,8 +401,8 @@ to create complicated music functions. @subsection Displaying music expressions @cindex internal storage -@findex \displayMusic -@findex \displayLilyMusic +@funindex \displayMusic +@funindex \displayLilyMusic When writing a music function it is often instructive to inspect how a music expression is stored internally. This can be done with the @@ -1067,7 +1067,7 @@ be used to set text in small caps. See @subsection Context evaluation @cindex calling code during interpreting -@findex \applyContext +@funindex \applyContext Contexts can be modified during interpretation with Scheme code. The syntax for this is @@ -1093,7 +1093,7 @@ current bar number on the standard output during the compile: @cindex calling code on layout objects -@findex \applyOutput +@funindex \applyOutput The most versatile way of tuning an object is @code{\applyOutput}. Its diff --git a/Documentation/user/scheme-tutorial.itely b/Documentation/user/scheme-tutorial.itely index c71c86341a..f44860df56 100644 --- a/Documentation/user/scheme-tutorial.itely +++ b/Documentation/user/scheme-tutorial.itely @@ -3,7 +3,7 @@ @node Scheme tutorial @appendix Scheme tutorial -@findex # +@funindex # @cindex Scheme @cindex GUILE @cindex Scheme, in-line code @@ -25,8 +25,8 @@ LilyPond input. @item Booleans Boolean values are True or False. The Scheme for True is @code{#t} and False is @code{#f}. -@findex ##t -@findex ##f +@funindex ##t +@funindex ##f @item Numbers Numbers are entered in the standard fashion, @@ -124,7 +124,7 @@ number or a string. It is entered as #'twentyFour @end example -@findex #'symbol +@funindex #'symbol @cindex quoting in Scheme The quote mark @code{'} prevents the Scheme interpreter from substituting