From: fred Date: Wed, 27 Mar 2002 00:35:12 +0000 (+0000) Subject: lilypond-1.3.121 X-Git-Tag: release/1.5.59~1012 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=82e1fd2919459bb4aa4a50cc1fba994d27381a7a;p=lilypond.git lilypond-1.3.121 --- diff --git a/Documentation/user/refman.itely b/Documentation/user/refman.itely index 60018dacba..63d75f23dc 100644 --- a/Documentation/user/refman.itely +++ b/Documentation/user/refman.itely @@ -33,9 +33,7 @@ * lyricprint:: lyricprint * Notation Contexts:: Notation Contexts * Properties:: Changing formatting -* Notation output definitions:: Notation output definitions -* paper:: paper -* Paper variables:: papervars +* Page layout:: Layout * contextdefs:: contextdefs * Sound output:: Sound output * midilist:: midilist @@ -434,7 +432,7 @@ refer to an identifier, you preceed its name with a backslash: `@code{\}@var{name}'. Identifier assignments must appear at top level in the @emph{Lilypond} file. Semicolons are forbidden after assignments appearing at top level but they are obligatory after assignments -appearing in the @code{\paper} block, see Section @ref{paper}. +appearing in the @code{\paper} block, see Section @ref{Page layout}. @var{value} is any valid Scheme value or any of the input-types listed above. @@ -475,12 +473,11 @@ copied. For this reason, an identifier reference must always be the Music in @emph{Lilypond} is entered as a music expression. Notes, rests, lyric syllables are music expressions (the atomic -expressions) +expressions), @cindex atomic music expressions -, and you can combine -music expressions to form new ones. This example forms a compound -expressions out of the quarter @code{c} note and a @code{d} -note: +and you can combine music expressions to form new ones. This example +forms a compound expressions out of the quarter @code{c} note and a +@code{d} note: @example \sequential @{ c4 d4 @} @@ -788,7 +785,6 @@ Commands are music expressions that have no duration. @example - @code{\key}@keyindex{key} @var{pitch} @var{type} @code{;} @end example @@ -806,13 +802,6 @@ mode names @code{\ionian}@keyindex{ionian}, @code{\phrygian}@keyindex{phrygian}, and @code{\dorian}@keyindex{dorian} are also defined. -@example - @code{\keysignature}@keyindex{keysignature} @var{pitchseq} @code{;} -@end example - -Specify an arbitrary key signature. The pitches from @var{pitch} will -be printed in the key signature in the order that they appear on the -list. @example \mark@keyindex{mark} @var{unsigned}; @@ -834,8 +823,9 @@ This is a short-cut for doing \property Score.whichBar = @var{bartype} @end example -You are encouraged to use @code{\repeat} for repetitions. See -@ref{Repeats}, and the documentation of @code{whichBar}. +You are encouraged to use @code{\repeat} for repetitions. See +@ref{Repeats}, and the documentation of @code{whichBar} in +@ref{(lilypond-internals)LilyPond context properties}. @example @@ -893,7 +883,6 @@ relocated, so this can also be used to shorten measures. @example - \penalty@keyindex{penalty} @var{int} @code{;} @end example @@ -948,7 +937,6 @@ Some more elaborate constructions: Beaming can be generated automatically; see section @ref{autobeam}. -[OUTDATED, FIXME] To place tremolo marks between notes, use @code{\repeat} with tremolo style. @@ -1833,31 +1821,33 @@ foo = -6 @node autobeam, , , Reference Manual -By default, LilyPond will generate beams automatically. This feature -can be disabled by setting the @code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming} -property to 1. It can be overridden for specific cases by -specifying explicit beams. +[FIXME: UPDATEME] +By default, LilyPond will generate beams automatically. This feature +can be disabled by setting the +@code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming} property to 1. +It can be overridden for specific cases by specifying explicit beams. A large number of Voice properties are used to decide how to generate -beams. Their default values appear in @file{auto-beam-settings.ly}. -In general, beams can begin anywhere, but their ending location is -significant. Beams can end on a beat, or at durations specified by -the @code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property. To end beams every -quarter note, for example, you could set -@code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to `@code{"1/4"}'. To end beams -at every three eighth notes you would set it to `@code{"3/8"}'. The -same syntax can be used to specify beam starting points using +beams. Their default values appear in @file{auto-beam-settings.ly}. In +general, beams can begin anywhere, but their ending location is +significant. Beams can end on a beat, or at durations specified by the +@code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property. To end +beams every quarter note, for example, you could set +@code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to +`@code{"1/4"}'. To end beams at every three eighth notes you would set +it to `@code{"3/8"}'. The same syntax can be used to specify beam +starting points using @code{Voice.beamAutoBegin}@indexcode{Voice.beamAutoBegin}. To allow different settings for different time signatures, these property names can start with `@code{time}@var{N}@code{_}@var{M}' to restrict the definition to `@var{N}@code{/}@var{M}' time. For example, -to specify beams ending only for 6/8 time you would use the -property @code{Voice.time6_8beamAutoEnd}. To allow different endings -for notes of different durations, the duration can be tacked onto the -end of the property. To specify beam endings for beams that contain -32nd notes, you would use @code{Voice.beamAutoEnd_32}. +to specify beams ending only for 6/8 time you would use the property +@code{Voice.time6_8beamAutoEnd}. To allow different endings for notes +of different durations, the duration can be tacked onto the end of the +property. To specify beam endings for beams that contain 32nd notes, +you would use @code{Voice.beamAutoEnd_32}. @@ -2162,16 +2152,9 @@ called @emph{performers}. @mbinclude properties.itely -@node Notation output definitions, , , Reference Manual -@section Notation output definitions - -@cindex output +@node Page layout, , , Reference Manual -@cindex notation output - -@cindex output definition - -@node paper, , , Reference Manual +@subsection Paper block The most important output definition is the @code{\paper} block, for music notation. The syntax is @@ -2215,7 +2198,6 @@ where each of the items is one of @end ignore @item \stylesheet declaration. Its syntax is - @example \stylesheet @var{alist} @end example @@ -2223,36 +2205,9 @@ where each of the items is one of See @file{font.scm} for details of @var{alist}. @end itemize +@subsection Paper variables -@cindex changing font size and paper size - -The Feta font provides musical symbols at six different sizes. These -fonts are 11 point, 13 point, 16 point, 20 point, -23 point, and 26 point. The point size of a font is the -height of the five lines in a staff when displayed in the font. - -Definitions for these sizes are the files @file{paperSZ.ly}, where -@code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include -any of these files, the identifiers @code{paper_eleven}, -@code{paper_thirteen}, @code{paper_sixteen}, @code{paper_twenty}, -@code{paper_twentythree}, and @code{paper_twentysix} are defined -respectively. The default @code{\paper} block is also set. - -To change the paper size, you must first set the -@code{papersize}@indexcode{papersize} variable at top level. Set it to the strings -@code{a4}, @code{letter}, or @code{legal}. After this specification, -you must set the font as described above. If you want the default -font, then use the 20 point font. The new paper size will not -take effect if the font is not loaded and selected afterwards. Paper -size selection works by loading a file named after the paper size you -select. - - - -@cindex paper variables - -@node Paper variables, , , Reference Manual The paper block has some variables you may want to use or change: @@ -2284,13 +2239,90 @@ The paper block has some variables you may want to use or change: @item @code{stafflinethickness}@indexcode{stafflinethickness} Determines the thickness of staff lines, and also acts as a scaling -parameter for other line thicknesses. + parameter for other line thicknesses. @end table +@subsection Line breaks + +@cindex line breaks +@cindex breaking lines + +Line breaks are normally computed automatically. They are chosen such +that the resulting spacing has low variation, and looks neither cramped +nor loose. + +Occasionally you might want to override the automatic breaks; you can do +this by specifying @code{\break} (see also @ref{Pre-defined +Identifiers}). This will force a line break at this point. Do remember +that line breaks can only occur at places where there are barlines. If +you want to have a line break where there is no barline, you can force a +barline by entering @code{\bar "";}. + +@subsection Page breaks + +Page breaks are normally computed by @TeX{}, so they are not under direct +control. However, you can insert a commands into the .tex output to +instruct @TeX{} where to break pages. For more details, see the +example file @file{input/test/between-systems.ly} + + +@cindex page breaks +@cindex breaking pages + + +@subsection Font size + +@cindex font size +@cindex paper size + +The Feta font provides musical symbols at six different sizes. These +fonts are 11 point, 13 point, 16 point, 20 point, +23 point, and 26 point. The point size of a font is the +height of the five lines in a staff when displayed in the font. + +Definitions for these sizes are the files @file{paperSZ.ly}, where +@code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of +these files, the identifiers @code{paperEleven}, @code{paperThirteen}, +@code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and +@code{paperTwentysix} are defined respectively. The default +@code{\paper} block is also set. + +The font definitions are generated using a Scheme function. For more +details, see the file @file{font.scm}. + +@subsection paper size + +@cindex paper size +@cindex page size + +To change the paper size, you must first set the +@code{papersize}@indexcode{papersize} variable at top level. Set it to +the strings @code{a4}, @code{letter}, or @code{legal}. After this +specification, you must set the font as described above. If you want +the default font, then use the 20 point font. The new paper size will +not take effect if the font is not loaded and selected afterwards. + +@example + papersize = "a4" + \include "paper16.ly" + + \score @{ + ... + \paper @{ \paperSixteen @} + @} +@end example + +The file "paper16.ly" will now include a file named @file{a4.ly}, which +will set the paper variables @code{hsize} and @code{vsize} (used by +@code{ly2dvi}) + @node contextdefs, , , Reference Manual @cindex context definition +@cindex translator definition +@cindex engraver hacking + A notation contexts is defined by the following information @@ -2556,7 +2588,7 @@ piano. Various identifiers are defined in the initialization files to provide shorthands for some settings. Most of them are in -@file{ly/declarations.ly}. +@file{ly/declarations.ly} and @file{ly/property.ly}. @table @samp @item @code{\break}@keyindex{break} @@ -2567,29 +2599,13 @@ provide shorthands for some settings. Most of them are in Prevent a line break in music by using a large negative argument for the keyword @code{\penalty}. - @item @code{\normalkey}@keyindex{normalkey} - Select normal key signatures where each octave has the same key - signature. This sets the @code{Staff.keyoctaviation} property. - - @item @code{\shiftoff}@keyindex{shiftOff} + @item @code{\shiftOff}@keyindex{shiftOff} Disable horizontal shifting of note heads that collide. @item @code{\shiftOn}@keyindex{shiftOn} Enable note heads that collide with other note heads to be - shifted horiztonally. - - @item @code{\slurBoth}@keyindex{slurBoth} - Allow slurs to be above or below notes. - - @item @code{\slurDown}@keyindex{slurDown} - Force slurs to be below notes. - - @item @code{\slurUp}@keyindex{slurUp} - Force slurs to be above notes. - - @item @code{\specialkey}@keyindex{specialkey} - Allow key signatures do differ in different octaves. This sets - the @code{Staff.keyoctaviation} property. + shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn} +set different shift values. @item @code{\stemBoth}@keyindex{stemBoth} Allow stems, beams, and slurs to point either upwards or diff --git a/scm/interface-description.scm b/scm/interface-description.scm index 9b0d034e51..e6a034a060 100644 --- a/scm/interface-description.scm +++ b/scm/interface-description.scm @@ -305,8 +305,34 @@ object." (define time-signature-interface (lily-interface 'time-signature-interface - "A time signature, in different styles" - '( fraction style ))) + "A time signature, in different styles. + The following values for 'style are are recognized: + + @table @samp + @item @code{C} + 4/4 and 2/2 are typeset as C and struck C, respectively. All + other time signatures are written with two digits. + + @item @code{old} + 2/2, 3/2, 2/4, 3/4, 4/4, 6/4, 9/4, 4/8, 6/8 and 9/8 are + typeset with old-style mensuration marks. All other time + signatures are written with two digits. + + @item @code{1xxx} + All time signatures are typeset with a single + digit, e.g. 3/2 is written as 3. (Any symbol starting + with the digit @code{1} will do.) + + @item @code{C}@var{M}@code{/}@var{N}, +@code{old}@var{M}@code{/}@var{N} or + @code{old6/8alt} + Tells LilyPond to use a specific symbol as time signature, + regardless of the actual time signature. + @end table + +See also the test-file @file{input/test/time.ly}. +" + '(fraction style ))) (define bar-line-interface (lily-interface @@ -746,7 +772,7 @@ direction = Forced direction for all ties" (define span-bar-interface (lily-interface 'span-bar-interface - "" + "A bar line that spans other barlines (typically used to get cross-staff barlines." '( )))