From: Graham Percival Date: Fri, 20 May 2005 10:08:28 +0000 (+0000) Subject: Finished editing. X-Git-Tag: release/2.5.25~2 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=616078592aa75d03a895ebee61a49b92799543e9;p=lilypond.git Finished editing. --- diff --git a/ChangeLog b/ChangeLog index 59155505f8..e0b253233c 100644 --- a/ChangeLog +++ b/ChangeLog @@ -3,6 +3,8 @@ * Documentation/user/programming-interface.itely: move \displayMusic into its own section. + * Documentation/user/basic-notation.itely: finish editing. + 2005-05-20 Han-Wen Nienhuys * flower/file-path.cc (find): don't throw away file_name.dir, but diff --git a/Documentation/user/basic-notation.itely b/Documentation/user/basic-notation.itely index bc02926eae..e54c923da4 100644 --- a/Documentation/user/basic-notation.itely +++ b/Documentation/user/basic-notation.itely @@ -15,13 +15,14 @@ This chapter explains how to use all basic notation features. * Note entry:: * Easier music entry:: * Staff notation:: -* More than notes:: +* Connecting notes:: * Expressive marks:: * Polyphony:: * Repeats:: @end menu + @node Note entry @section Note entry @cindex Note entry @@ -145,8 +146,7 @@ ceses4 ces cis c @seealso -Program reference: @internalsref{NoteEvent}, -@internalsref{LedgerLineSpanner}, and @internalsref{NoteHead}. +Program reference: @internalsref{LedgerLineSpanner}, @internalsref{NoteHead}. @node Cautionary accidentals @@ -247,7 +247,7 @@ a'4\rest d'4\rest @seealso -Program reference: @internalsref{RestEvent}, and @internalsref{Rest}. +Program reference: @internalsref{Rest}. @node Skips @@ -292,7 +292,7 @@ The fragment @code{@{ \skip 4 @} } would produce an empty page. @seealso -Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}. +Program reference: @internalsref{SkipMusic}. @node Durations @@ -441,13 +441,6 @@ instead. Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}. -@c FIXME: will be deleted or moved; not suitable for basic-notation. -@ignore -Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}. -User manual: @ref{Changing context properties on the fly} for the -@code{\set} command. -@end ignore - @refbugs @@ -586,7 +579,6 @@ octave should be. In the following example, \relative c'' @{ c='' b=' d,='' @} @end example -@c take care with @code, adds confusing quotes. @noindent the @code{d} will generate a warning, because a @code{d''} is expected (because @code{b'} to @code{d''} is only a third), but a @code{d'} is @@ -743,6 +735,7 @@ Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}. Program reference: @internalsref{Completion_heads_engraver}. + @node Staff notation @section Staff notation @@ -927,8 +920,7 @@ a bes c d @seealso -Program reference: @internalsref{KeyChangeEvent}, -@internalsref{KeyCancellation} and @internalsref{KeySignature}. +Program reference: @internalsref{KeyCancellation}, @internalsref{KeySignature}. @node Time signature @@ -1269,32 +1261,33 @@ shown here @seealso -Program reference: @internalsref{StaffSymbol}, @internalsref{StaffSpanEvent}. +Program reference: @internalsref{StaffSymbol}. Examples: @inputfileref{input/@/test,staff@/-lines@/.ly}, @inputfileref{input/@/test@/,ossia.ly}, @inputfileref{input/@/test,staff@/-size@/.ly}. -@node More than notes -@section More than notes -@c silly title; should change. -This section deals with notation that affects more than one note. +@node Connecting notes +@section Connecting notes + +This section deals with notation that affects groups of notes. @menu * Ties:: +* Slurs:: +* Phrasing slurs:: * Automatic beams:: * Manual beams:: * Grace notes:: -* Fingering instructions:: @end menu + @node Ties @subsection Ties -@cindex Tie -@cindex ties +@cindex tie @cindex @code{~} A tie connects two adjacent note heads of the same pitch. The tie in @@ -1312,7 +1305,7 @@ are connected. When no note heads match, no ties will be created. A tie is just a way of extending a note duration, similar to the augmentation dot. The following example shows two ways of notating exactly the same concept -@c + @lilypond[quote,fragment,raggedright] \time 3/4 c'2. c'2 ~ c'4 @end lilypond @@ -1333,6 +1326,9 @@ automatic note splitting (see @ref{Automatic note splitting}). This mechanism automatically splits long notes, and ties them across bar lines. + +@commonprop + Ties are sometimes used to write out arpeggios. In this case, two tied notes need not be consecutive. This can be achieved by setting the @code{tieWaitForNote} property to true. For example, @@ -1357,14 +1353,15 @@ notes need not be consecutive. This can be achieved by setting the @cindex @code{\tieSolid} @code{\tieSolid}. + @seealso In this manual: @ref{Automatic note splitting}. -Program reference: @internalsref{TieEvent}, @internalsref{Tie}. +Program reference: @internalsref{Tie}. -@refbugs +@refbugs Switching staves when a tie is active will not produce a slanted tie. @@ -1372,6 +1369,105 @@ Formatting of ties is a difficult subject. The results are often not optimal. +@node Slurs +@subsection Slurs + +@cindex Slurs + +A slur indicates that notes are to be played bound or +@emph{legato}. They are entered using parentheses + +@lilypond[quote,raggedright,relative=2,fragment,verbatim] +f( g a) a8 b( a4 g2 f4) +2( 2) +@end lilypond + +The direction of a slur can be specified with +@code{\slur@emph{DIR}}, where @code{@emph{DIR}} is +either @code{Up}, @code{Down}, or @code{Neutral} (automatically +selected). + +However, there is a convenient shorthand for forcing slur +directions. By adding @code{_} or @code{^} before the opening +parentheses, the direction is also set. For example, + +@lilypond[relative=2,raggedright,quote,verbatim,fragment] +c4_( c) c^( c) +@end lilypond + +Only one slur can be printed at once. If you need to print a long +slur over a few small slurs, please see @ref{Phrasing slurs}. + + +@commonprop + +Some composers write two slurs when they want legato chords. This can +be achieved in LilyPond by setting @code{doubleSlurs}, + +@lilypond[verbatim,raggedright,relative,fragment,quote] +\set doubleSlurs = ##t +4 ( ) +@end lilypond + + +@refcommands + +@cindex @code{\slurUp} +@code{\slurUp}, +@cindex @code{\slurDown} +@code{\slurDown}, +@cindex @code{\slurNeutral} +@code{\slurNeutral}, +@cindex @code{\slurDashed} +@code{\slurDashed}, +@cindex @code{\slurDotted} +@code{\slurDotted}, +@cindex @code{\slurSolid} +@code{\slurSolid}. + +@seealso + +Program reference: @seeinternals{Slur}. + + +@node Phrasing slurs +@subsection Phrasing slurs + +@cindex phrasing slurs +@cindex phrasing marks + +A phrasing slur (or phrasing mark) connects notes and is used to +indicate a musical sentence. It is written using @code{\(} and @code{\)} +respectively + +@lilypond[quote,raggedright,fragment,verbatim,relative=1] +\time 6/4 c'\( d( e) f( e) d\) +@end lilypond + +Typographically, the phrasing slur behaves almost exactly like a +normal slur. However, they are treated as different objects. A +@code{\slurUp} will have no effect on a phrasing slur; instead, use +@code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and +@code{\phrasingSlurNeutral}. + +You cannot have simultaneous phrasing slurs. + + +@refcommands + +@cindex @code{\phrasingSlurUp} +@code{\phrasingSlurUp}, +@cindex @code{\phrasingSlurDown} +@code{\phrasingSlurDown}, +@cindex @code{\phrasingSlurNeutral} +@code{\phrasingSlurNeutral}. + + +@seealso + +Program reference: @internalsref{PhrasingSlur}. + + @node Automatic beams @subsection Automatic beams @@ -1386,7 +1482,7 @@ entered explicitly. It is also possible to define beaming patterns that differ from the defaults. See @ref{Setting automatic beam behavior} for details. -Individual notes may be marked with @code{\noBeam}, to prevent them +Individual notes may be marked with @code{\noBeam} to prevent them from being beamed @lilypond[quote,raggedright,fragment,verbatim,relative=2] @@ -1401,6 +1497,7 @@ Program reference: @internalsref{Beam}. @node Manual beams @subsection Manual beams + @cindex beams, manual @cindex @code{]} @cindex @code{[} @@ -1416,7 +1513,11 @@ and end point with @code{[} and @code{]} } @end lilypond + +@commonprop + @cindex @code{stemLeftBeamCount} +@cindex @code{stemRightBeamCount} Normally, beaming patterns within a beam are determined automatically. If necessary, the properties @code{stemLeftBeamCount} and @@ -1433,14 +1534,11 @@ is erased f g a] } @end lilypond -@cindex @code{stemRightBeamCount} - The property @code{subdivideBeams} can be set in order to subdivide all 16th or shorter beams at beat positions, as defined by the @code{beatLength} property. - @lilypond[fragment,quote,relative=2,verbatim] c16[ c c c c c c c] \set subdivideBeams = ##t @@ -1450,38 +1548,27 @@ c16[ c c c c c c c] @end lilypond @cindex @code{subdivideBeams} -Normally, line breaks are forbidden when beams cross bar lines. This +Line breaks are normally forbidden when beams cross bar lines. This behavior can be changed by setting @code{allowBeamBreak}. @cindex @code{allowBeamBreak} @cindex beams and line breaks - @cindex beams, kneed @cindex kneed beams @cindex auto-knee-gap -@seealso - -User manual: @ref{Changing context properties on the fly} for the -@code{\set} command - - @refbugs -@cindex Frenched staves -Kneed beams are inserted automatically, when a large gap is detected +Kneed beams are inserted automatically when a large gap is detected between the note heads. This behavior can be tuned through the object. - Automatically kneed cross-staff beams cannot be used together with hidden staves. See @ref{Hiding staves}. Beams do not avoid collisions with symbols around the notes, such as texts and accidentals. -@c FIXME. - @node Grace notes @subsection Grace notes @@ -1489,6 +1576,8 @@ texts and accidentals. @cindex @code{\grace} @cindex ornaments @cindex grace notes +@cindex appoggiatura +@cindex acciaccatura Grace notes are ornaments that are written out. The most common ones are acciaccatura, which should be played as very short. It is denoted @@ -1498,10 +1587,6 @@ denoted as a slurred note in small print without a slash. They are entered with the commands @code{\acciaccatura} and @code{\appoggiatura}, as demonstrated in the following example - -@cindex appoggiatura -@cindex acciaccatura - @lilypond[quote,raggedright,relative=2,verbatim,fragment] b4 \acciaccatura d8 c4 \appoggiatura e8 d4 \acciaccatura { g16[ f] } e4 @@ -1547,7 +1632,6 @@ example is shown here with timing tuples >> @end lilypond - The placement of grace notes is synchronized between different staves. In the following example, there are two sixteenth grace notes for every eighth grace note @@ -1557,8 +1641,6 @@ every eighth grace note \new Staff { c4 \grace { g8[ b] } c4 } >> @end lilypond - - 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 following the main note. @@ -1578,10 +1660,8 @@ afterGraceFraction = #(cons 7 8) @noindent will put the grace note at 7/8 of the main note. - The same effect can be achieved manually by doing - @lilypond[quote,raggedright,fragment,verbatim,relative=2] \context Voice { << { d1^\trill_( } @@ -1594,9 +1674,6 @@ The same effect can be achieved manually by doing By adjusting the duration of the skip note (here it is a half-note), the space between the main-note and the grace is adjusted. - - - A @code{\grace} section will introduce special typesetting settings, for example, to produce smaller type, and set directions. Hence, when introducing layout tweaks, they should be inside the grace section, @@ -1639,6 +1716,7 @@ Another option is to change the variables @code{startGraceMusic}, Program reference: @internalsref{GraceMusic}. + @refbugs A score that starts with a @code{\grace} section needs an explicit @@ -1666,67 +1744,6 @@ expressions. Nesting or juxtaposing grace sections is not supported, and might produce crashes or other errors. -@node Fingering instructions -@subsection Fingering instructions - -@cindex fingering - -Fingering instructions can be entered using -@example -@var{note}-@var{digit} -@end example -For finger changes, use markup texts - -@lilypond[quote,verbatim,raggedright,fragment,relative=1] -c4-1 c-2 c-3 c-4 -c^\markup { \finger "2-3" } -@end lilypond - -@cindex finger change -@cindex scripts -@cindex superscript -@cindex subscript - -You can use the thumb-script to indicate that a note should be -played with the thumb (e.g., in cello music) -@lilypond[quote,verbatim,raggedright,fragment,relative=2] -8 -@end lilypond - -Fingerings for chords can also be added to individual notes -of the chord by adding them after the pitches -@lilypond[quote,verbatim,raggedright,fragment,relative=2] -< c-1 e-2 g-3 b-5 >4 -@end lilypond - -@noindent -In this case, setting @code{fingeringOrientations} will put fingerings next -to note heads - -@lilypond[quote,verbatim,raggedright,fragment,relative=1] -\set fingeringOrientations = #'(left down) - 4 -\set fingeringOrientations = #'(up right down) - 4 -@end lilypond - -Using this feature, it is also possible to put fingering instructions -very close to note heads in monophonic music, - -@lilypond[verbatim,raggedright,quote,fragment] -\set fingeringOrientations = #'(right) -4 -@end lilypond - - -@seealso - -Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}. - -Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}. - - - @node Expressive marks @section Expressive marks @@ -1735,9 +1752,8 @@ Expressive marks help musicians to bring more to the music than simple notes and rhythms. @menu -* Slurs:: -* Phrasing slurs:: * Articulations:: +* Fingering instructions:: * Dynamics:: * Breath marks:: * Running trills:: @@ -1746,117 +1762,10 @@ notes and rhythms. @end menu -@node Slurs -@subsection Slurs -@cindex Slurs - -A slur indicates that notes are to be played bound or @emph{legato}. - -They are entered using parentheses -@lilypond[quote,raggedright,relative=2,fragment,verbatim] -f( g a) a8 b( a4 g2 f4) -2( 2) -@end lilypond - -The direction of a slur can be set with the -generic commands - -@example -\override Slur #'direction = #UP -\slurUp % shortcut for the previous line -@end example - -@noindent -However, there is a convenient shorthand for forcing slur -directions. By adding @code{_} or @code{^} before the opening -parentheses, the direction is also set. For example, - -@lilypond[relative=2,raggedright,quote,verbatim,fragment] -c4_( c) c^( c) -@end lilypond - -Some composers write two slurs when they want legato chords. This can -be achieved in LilyPond by setting @code{doubleSlurs}, - -@lilypond[verbatim,raggedright,relative,fragment,quote] -\set doubleSlurs = ##t -4 ( ) -@end lilypond - -Only one slur can be printed at once. If you need to print a long -slur over a few small slurs, please see @ref{Phrasing slurs}. - - -@refcommands - - -@cindex @code{\slurUp} -@code{\slurUp}, -@cindex @code{\slurDown} -@code{\slurDown}, -@cindex @code{\slurNeutral} -@code{\slurNeutral}, -@cindex @code{\slurDashed} -@code{\slurDashed}, -@cindex @code{\slurDotted} -@code{\slurDotted}, -@cindex @code{\slurSolid} -@code{\slurSolid}. - -@seealso - -Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}. - - -@node Phrasing slurs -@subsection Phrasing slurs - -@cindex phrasing slurs -@cindex phrasing marks - -A phrasing slur (or phrasing mark) connects chords and is used to -indicate a musical sentence. It is written using @code{\(} and @code{\)} -respectively - -@lilypond[quote,raggedright,fragment,verbatim,relative=1] -\time 6/4 c'\( d( e) f( e) d\) -@end lilypond - -Typographically, the phrasing slur behaves almost exactly like a -normal slur. However, they are treated as different objects. A -@code{\slurUp} will have no effect on a phrasing slur; instead, use -@code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and -@code{\phrasingSlurNeutral}. - -The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurNeutral} -will only affect normal slurs and not phrasing slurs. - -You cannot have simultaneous phrasing slurs. - -@refcommands - -@cindex @code{\phrasingSlurUp} -@code{\phrasingSlurUp}, -@cindex @code{\phrasingSlurDown} -@code{\phrasingSlurDown}, -@cindex @code{\phrasingSlurNeutral} -@code{\phrasingSlurNeutral}. - -@seealso - -Program reference: see also @internalsref{PhrasingSlur}, and -@internalsref{PhrasingSlurEvent}. - -@refbugs - -Putting phrasing slurs over rests leads to spurious warnings. - - @node Articulations @subsection Articulations -@cindex Articulations -@cindex articulations +@cindex Articulations @cindex scripts @cindex ornaments @@ -1870,12 +1779,10 @@ articulation. They are demonstrated here The meanings of these shorthands can be changed. See @file{ly/@/script@/-init@/.ly} for examples. - The script is automatically placed, but the direction can be forced as well. Like other pieces of LilyPond code, @code{_} will place them below the staff, and @code{^} will place them above. - @lilypond[quote,raggedright,fragment,verbatim] c''4^^ c''4_^ @end lilypond @@ -1889,8 +1796,6 @@ e.g., c\fermata c^\fermata c_\fermata @end lilypond - - @cindex accent @cindex marcato @cindex staccatissimo @@ -1926,6 +1831,8 @@ Here is a chart showing all scripts available, @lilypondfile[raggedright,quote]{script-chart.ly} +@commonprop + The vertical ordering of scripts is controlled with the @code{script-priority} property. The lower this number, the closer it will be put to the note. In this example, the @@ -1935,7 +1842,6 @@ prall trill (the @internalsref{Script}) has the lowest, so it is on the inside. When two objects have the same priority, the order in which they are entered decides which one comes first. - @lilypond[verbatim,relative=3,raggedright,fragment,quote] \once \override TextScript #'script-priority = #-100 a4^\prall^\markup { \sharp } @@ -1945,11 +1851,10 @@ a4^\prall^\markup { \sharp } @end lilypond - - @seealso -Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}. +Program reference: @internalsref{Script}. + @refbugs @@ -1957,12 +1862,68 @@ These signs appear in the printed output but have no effect on the MIDI rendering of the music. -@node Dynamics -@subsection Dynamics -@cindex Dynamics +@node Fingering instructions +@subsection Fingering instructions +@cindex fingering +@cindex finger change + +Fingering instructions can be entered using +@example +@var{note}-@var{digit} +@end example +For finger changes, use markup texts +@lilypond[quote,verbatim,raggedright,fragment,relative=1] +c4-1 c-2 c-3 c-4 +c^\markup { \finger "2 - 3" } +@end lilypond +You can use the thumb-script to indicate that a note should be +played with the thumb (e.g., in cello music) +@lilypond[quote,verbatim,raggedright,fragment,relative=2] +8 +@end lilypond + +Fingerings for chords can also be added to individual notes +of the chord by adding them after the pitches +@lilypond[quote,verbatim,raggedright,fragment,relative=2] +< c-1 e-2 g-3 b-5 >4 +@end lilypond + + +@commonprop + +You may exercise greater control over fingering chords by +setting @code{fingeringOrientations} + +@lilypond[quote,verbatim,raggedright,fragment,relative=1] +\set fingeringOrientations = #'(left down) + 4 +\set fingeringOrientations = #'(up right down) + 4 +@end lilypond + +Using this feature, it is also possible to put fingering instructions +very close to note heads in monophonic music, + +@lilypond[verbatim,raggedright,quote,fragment] +\set fingeringOrientations = #'(right) +4 +@end lilypond + + +@seealso + +Program reference: @internalsref{Fingering}. + +Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}. + + +@node Dynamics +@subsection Dynamics + +@cindex Dynamics @cindex @code{\ppp} @cindex @code{\pp} @cindex @code{\p} @@ -1980,12 +1941,11 @@ MIDI rendering of the music. @cindex @code{\sfz} @cindex @code{\rfz} - Absolute dynamic marks are specified using a command after a note @code{c4\ff}. The available dynamic marks are @code{\ppp}, @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff}, @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff}, -@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz} +@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}. @lilypond[quote,verbatim,raggedright,fragment,relative=2] c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff @@ -1994,9 +1954,7 @@ c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz @cindex @code{\<} @cindex @code{\>} -@cindex @code{\"!} - - +@cindex @code{\!} A crescendo mark is started with @code{\<} and terminated with @code{\!} or an absolute dynamic. A decrescendo is started with @@ -2016,8 +1974,11 @@ example \override Staff.Hairpin #'minimum-length = #5 @end example -You can also use a text saying @emph{cresc.} instead of hairpins. Here -is an example how to do it +@cindex crescendo +@cindex decrescendo +@cindex diminuendo + +You can also use a text saying @emph{cresc.} instead of hairpins @lilypond[quote,raggedright,fragment,relative=2,verbatim] \setTextCresc @@ -2030,9 +1991,6 @@ c\> d e f\! e\> d c b\! @end lilypond -@cindex crescendo -@cindex decrescendo - You can also supply your own texts @lilypond[quote,raggedright,fragment,relative=1,verbatim] \set crescendoText = \markup { \italic "cresc. poco" } @@ -2040,8 +1998,6 @@ You can also supply your own texts a'2\< a a a\!\mf @end lilypond -@cindex diminuendo - To create new dynamic marks or text that should be aligned with dynamics, see @ref{New dynamic marks}. @@ -2055,28 +2011,26 @@ with dynamics, see @ref{New dynamic marks}. @cindex @code{\dynamicNeutral} @code{\dynamicNeutral}. -@cindex direction, of dynamics @seealso -Program reference: @internalsref{CrescendoEvent}, -@internalsref{DecrescendoEvent}, and -@internalsref{AbsoluteDynamicEvent}. +Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}. +Vertical positioning of these symbols is handled by +@internalsref{DynamicLineSpanner}. -Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin} -objects. Vertical positioning of these symbols is handled by the -@internalsref{DynamicLineSpanner} object. @node Breath marks @subsection Breath marks Breath marks are entered using @code{\breathe} - @lilypond[quote,raggedright,fragment,relative=1,verbatim] c'4 \breathe d4 @end lilypond + +@commonprop + The glyph of the breath mark can be tuned by overriding the @code{text} property of the @code{BreathingSign} layout object with any markup text. For example, @@ -2090,8 +2044,7 @@ d4 @seealso -Program reference: @internalsref{BreathingSign}, -@internalsref{BreathingSignEvent}. +Program reference: @internalsref{BreathingSign}. Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}. @@ -2102,7 +2055,6 @@ Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}. Long running trills are made with @code{\startTrillSpan} and @code{\stopTrillSpan}, - @lilypond[verbatim,raggedright,relative=2,quote,fragment] \new Voice { << { c1 \startTrillSpan } @@ -2110,6 +2062,7 @@ Long running trills are made with @code{\startTrillSpan} and c4 } @end lilypond + @refcommands @code{\startTrillSpan}, @@ -2117,18 +2070,16 @@ Long running trills are made with @code{\startTrillSpan} and @code{\stopTrillSpan}. @cindex @code{\stopTrillSpan} -@seealso - -Program reference: @internalsref{TrillSpanner}, -@internalsref{TrillSpanEvent}. +@seealso +Program reference: @internalsref{TrillSpanner}. @node Glissando @subsection Glissando -@cindex Glissando +@cindex Glissando @cindex @code{\glissando} A glissando is a smooth change in pitch. It is denoted by a line or a @@ -2136,17 +2087,19 @@ wavy line between two notes. It is requested by attaching @code{\glissando} to a note @lilypond[quote,raggedright,fragment,relative=2,verbatim] -c\glissando c' +c2\glissando c' +\override Glissando #'style = #'zigzag +c2\glissando c, @end lilypond + @seealso -Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}. +Program reference: @internalsref{Glissando}. Example files: @file{input/@/regression/@/glissando@/.ly}. - @refbugs Printing text over the line (such as @emph{gliss.}) is not supported. @@ -2154,29 +2107,24 @@ Printing text over the line (such as @emph{gliss.}) is not supported. @node Arpeggio @subsection Arpeggio -@cindex Arpeggio +@cindex Arpeggio @cindex broken chord @cindex @code{\arpeggio} You can specify an arpeggio sign (also known as broken chord) on a chord by attaching an @code{\arpeggio} to a chord - @lilypond[quote,raggedright,fragment,relative=1,verbatim] \arpeggio @end lilypond -When an arpeggio crosses staves, you attach an arpeggio to the chords -in both staves, and set -@internalsref{PianoStaff}.@code{connectArpeggios} +A square bracket on the left indicates that the player should not +arpeggiate the chord @lilypond[quote,raggedright,fragment,relative=1,verbatim] -\context PianoStaff << - \set PianoStaff.connectArpeggios = ##t - \new Staff { \arpeggio } - \new Staff { \clef bass \arpeggio } ->> +\arpeggioBracket +\arpeggio @end lilypond The direction of the arpeggio is sometimes denoted by adding an @@ -2191,16 +2139,22 @@ arrowhead to the wiggly line } @end lilypond -A square bracket on the left indicates that the player should not -arpeggiate the chord -@c todo: ugh, lousy typography. Look for real example. --hwn +@commonprop + +When an arpeggio crosses staves, you may attach an arpeggio to the chords +in both staves and set +@internalsref{PianoStaff}.@code{connectArpeggios} @lilypond[quote,raggedright,fragment,relative=1,verbatim] -\arpeggioBracket -\arpeggio +\context PianoStaff << + \set PianoStaff.connectArpeggios = ##t + \new Staff { \arpeggio } + \new Staff { \clef bass \arpeggio } +>> @end lilypond + @refcommands @code{\arpeggio}, @@ -2213,13 +2167,12 @@ arpeggiate the chord @cindex @code{\arpeggioBracket} @code{\arpeggioBracket}. + @seealso Notation manual: @ref{Ties}, for writing out arpeggios. -Program reference: @internalsref{ArpeggioEvent}, -@internalsref{Arpeggio}. - +Program reference: @internalsref{Arpeggio}. @refbugs @@ -2242,8 +2195,10 @@ one voice on the same staff. * Collision Resolution:: @end menu + @node Basic polyphony @subsection Basic polyphony + @cindex polyphony The easiest way to enter fragments with more than one voice on a staff @@ -2254,11 +2209,12 @@ them simultaneously, separating the voices with @code{\\} @lilypond[quote,verbatim,fragment] \new Staff \relative c' { - c16 d e f - << { g4 f e | d2 e2 } \\ - { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\ - { s2. | s4 b4 c2 } - >> + c16 d e f + << + { g4 f e | d2 e2 } \\ + { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\ + { s2. | s4 b4 c2 } + >> } @end lilypond @@ -2272,30 +2228,28 @@ appropriately. These voices are all seperate from the voice that contains the notes just outside the @code{<< \\ >>} construct. This should be noted when making changes at the voice level. This also means that slurs and ties cannot go -into or out of a @code{<< \\ >>} construct. -Conversely, parallel voices from separate @code{<< \\ >>} constructs on the -same staff are the the same voice. -Here is the same example, with different noteheads for each voice. -Note that the change to the note-head style in the main voice does not affect +into or out of a @code{<< \\ >>} construct. Conversely, parallel voices +from separate @code{<< \\ >>} constructs on the same staff are the the +same voice. Here is the same example, with different noteheads for each +voice. Note that the change to the note-head style in the main voice does not affect the inside of the @code{<< \\ >>} constructs. Also, the change to the second voice in the first @code{<< \\ >>} construct is effective in the second @code{<< \\ >>}, and the voice is tied accross the two constructs. @lilypond[quote,verbatim,fragment] \new Staff \relative c' { - \override NoteHead #'style = #'cross - c16 d e f - << - { g4 f e } \\ - { \override NoteHead #'style = #'triangle - r8 e4 d c8 ~ - } - >> | - << - { d2 e2 } \\ - { c8 b16 a b8 g ~ g2 } \\ - { \override NoteHead #'style = #'slash s4 b4 c2 } - >> + \override NoteHead #'style = #'cross + c16 d e f + << + { g4 f e } \\ + { \override NoteHead #'style = #'triangle + r8 e4 d c8 ~ } + >> | + << + { d2 e2 } \\ + { c8 b16 a b8 g ~ g2 } \\ + { \override NoteHead #'style = #'slash s4 b4 c2 } + >> } @end lilypond @@ -2349,41 +2303,41 @@ melody is now in a single voice context. @lilypond[quote,raggedright,verbatim] \new Staff \relative c' { - \override NoteHead #'style = #'cross - c16 d e f - \voiceOne - << - { g4 f e | d2 e2} - \context Voice="1" { \voiceTwo - r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2 - \oneVoice - } - \new Voice { \voiceThree - s2. | s4 b4 c2 - \oneVoice - } - >> - \oneVoice + \override NoteHead #'style = #'cross + c16 d e f + \voiceOne + << + { g4 f e | d2 e2 } + \context Voice="1" { \voiceTwo + r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2 + \oneVoice + } + \new Voice { \voiceThree + s2. | s4 b4 c2 + \oneVoice + } + >> + \oneVoice } @end lilypond The correct definition of the voices allows the melody to be slurred. @lilypond[quote,raggedright,verbatim] \new Staff \relative c' { - c16^( d e f - \voiceOne - << - { g4 f e | d2 e2) } - \context Voice="1" { \voiceTwo - r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2 - \oneVoice - } - \new Voice { \voiceThree - s2. s4 b4 c2 - \oneVoice - } - >> - \oneVoice + c16^( d e f + \voiceOne + << + { g4 f e | d2 e2) } + \context Voice="1" { \voiceTwo + r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2 + \oneVoice + } + \new Voice { \voiceThree + s2. s4 b4 c2 + \oneVoice + } + >> + \oneVoice } @end lilypond @@ -2393,26 +2347,27 @@ the music. @lilypond[quote,raggedright,verbatim] \new Staff \relative c' { - c16^( d e f - \voiceOne - << - { g4 f e | d2 e2) } - \context Voice="1" { \voiceTwo - r8 e4 d c8 ~ | - << - {c8 b16 a b8 g ~ g2} - \new Voice { \voiceThree - s4 b4 c2 - \oneVoice - } - >> - \oneVoice - } - >> - \oneVoice + c16^( d e f + \voiceOne + << + { g4 f e | d2 e2) } + \context Voice="1" { \voiceTwo + r8 e4 d c8 ~ | + << + {c8 b16 a b8 g ~ g2} + \new Voice { \voiceThree + s4 b4 c2 + \oneVoice + } + >> + \oneVoice + } + >> + \oneVoice } @end lilypond + @node Collision Resolution @subsection Collision Resolution @@ -2448,8 +2403,6 @@ for example @refcommands - - @cindex @code{\oneVoice} @code{\oneVoice}, @cindex @code{\voiceOne} @@ -2461,8 +2414,6 @@ for example @cindex @code{\voiceFour} @code{\voiceFour}. - - @cindex @code{\shiftOn} @code{\shiftOn}, @cindex @code{\shiftOnn} @@ -2476,7 +2427,6 @@ two) have @code{\shiftOff}, while the inner voices (three and four) have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define further shift levels. - When LilyPond cannot cope, the @code{force-hshift} property of the @internalsref{NoteColumn} object and pitched rests can be used to override typesetting decisions. @@ -2494,7 +2444,6 @@ be used to override typesetting decisions. @end lilypond - @seealso Program reference: the objects responsible for resolving collisions are @@ -2510,7 +2459,6 @@ Examples: @refbugs - When using @code{merge-differently-headed} with an upstem eighth or a shorter note, and a downstem half note, the eighth note gets the wrong offset. @@ -2538,6 +2486,7 @@ for repetitions. * Measure repeats:: @end menu + @node Repeat types @subsection Repeat types @@ -2564,7 +2513,6 @@ used to typeset two lines of lyrics in songs with repeats, see @inputfileref{input,star-spangled-banner@/.ly}. @end ignore -@c tremolo, beamed @item tremolo Make tremolo beams. These are not played in MIDI output by default. @@ -2575,10 +2523,10 @@ declared within a Voice context. @end table + @node Repeat syntax @subsection Repeat syntax - LilyPond has one syntactic construct for specifying different types of repeats. The syntax is @@ -2589,10 +2537,15 @@ repeats. The syntax is If you have alternative endings, you may add @cindex @code{\alternative} @example -\alternative @{ @var{alternative1} - @var{alternative2} - @var{alternative3} @dots{} @} +\alternative @{ + @var{alternative1} + @var{alternative2} + @var{alternative3} + @dots{} +@} @end example + +@noindent where each @var{alternative} is a music expression. If you do not give enough alternatives for all of the repeats, the first alternative is assumed to be played more than once. @@ -2611,7 +2564,6 @@ c1 \alternative { {d2 d} {f f,} } @end lilypond - @lilypond[quote,raggedright,fragment,verbatim,relative=2] \context Staff { \partial 4 @@ -2624,8 +2576,6 @@ It is possible to shorten volta brackets by setting @code{voltaSpannerDuration}. In the next example, the bracket only lasts one measure, which is a duration of 3/4. - - @lilypond[verbatim,raggedright,quote] \relative c''{ \time 3/4 @@ -2646,12 +2596,11 @@ Brackets for the repeat are normally only printed over the topmost staff. This can be adjusted by setting the @code{voltaOnThisStaff} property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}. -@c not necessary -@c @inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}. - @refbugs +@cindex repeat, ambiguous + A nested repeat like @example @@ -2665,9 +2614,6 @@ is ambiguous, since it is is not clear to which @code{\repeat} the @code{\alternative} belongs. This ambiguity is resolved by always having the @code{\alternative} belong to the inner @code{\repeat}. For clarity, it is advisable to use braces in such situations. -@cindex ambiguity - - Timing information is not remembered at the start of an alternative, so after a repeat timing information must be reset by hand, for @@ -2675,12 +2621,11 @@ example by setting @code{Score.measurePosition} or entering @code{\partial}. Similarly, slurs or ties are also not repeated. - - @node Repeats and MIDI @subsection Repeats and MIDI @cindex expanding repeats +@cindex @code{\unfoldrepeats} With a little bit of tweaking, all types of repeats can be present in the MIDI output. This is achieved by applying the @@ -2690,7 +2635,7 @@ repeats to unfold repeats. @lilypond[quote,verbatim,fragment,linewidth=8.0\cm] \unfoldrepeats { \repeat tremolo 8 {c'32 e' } - \repeat percent 2 { c''8 d'' } + \repeat percent 4 { c''8 d'' } \repeat volta 2 {c'4 d' e' f'} \alternative { { g' a' a' g' } @@ -2716,6 +2661,7 @@ percent repeats). For example, @} @end example + @node Manual repeat commands @subsection Manual repeat commands @@ -2750,7 +2696,6 @@ c4 c4 @end lilypond - @seealso Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic}, @@ -2758,8 +2703,10 @@ Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic}, @internalsref{UnfoldedRepeatedMusic}, and @internalsref{FoldedRepeatedMusic}. + @node Tremolo repeats @subsection Tremolo repeats + @cindex tremolo beams To place tremolo marks between notes, use @code{\repeat} with tremolo @@ -2781,19 +2728,20 @@ note should not be surrounded by braces. Similar output is obtained using the tremolo subdivision, described in @ref{Tremolo subdivisions}. + @seealso In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}. -Program reference: tremolo beams are @internalsref{Beam} objects. Single stem -tremolos are @internalsref{StemTremolo} objects. The music expression is -@internalsref{TremoloEvent}. +Program reference: @internalsref{Beam}, @internalsref{StemTremolo}. Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly}, @inputfileref{input/@/regression,stem@/-tremolo@/.ly}. + @node Tremolo subdivisions @subsection Tremolo subdivisions + @cindex tremolo marks @cindex @code{tremoloFlags} @@ -2808,19 +2756,18 @@ used c'2:8 c':32 | c': c': | @end lilypond -@c [TODO: stok is te kort bij 32en] -@c somebody want to translate that into English? -@c `Stem is too short for 32nds' (wl) @refbugs Tremolos entered in this way do not carry over into the MIDI output. + @seealso In this manual: @ref{Tremolo repeats}. -Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}. +Elsewhere: @internalsref{StemTremolo}. + @node Measure repeats @subsection Measure repeats @@ -2841,11 +2788,10 @@ Percent repeats must be declared within a @code{Voice} context. } @end lilypond + @seealso Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat}, @internalsref{PercentRepeatedMusic}, and @internalsref{DoublePercentRepeat}. - -