From: Neil Puttock Date: Wed, 3 Jun 2009 21:42:02 +0000 (+0100) Subject: Remove snippets moved to LSR. X-Git-Tag: release/2.13.2-0~69 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=95a230657883290db0b80404a3af8fb33cecc53d;p=lilypond.git Remove snippets moved to LSR. --- diff --git a/input/new/aligning-and-centering-instrument-names.ly b/input/new/aligning-and-centering-instrument-names.ly deleted file mode 100644 index 6ad24e927d..0000000000 --- a/input/new/aligning-and-centering-instrument-names.ly +++ /dev/null @@ -1,56 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "text, paper-and-layout, titles" - texidoc = "The horizontal alignment of instrument names is tweaked -by changing the @code{Staff.InstrumentName #'self-alignment-X} property. -The @code{\\layout} variables @code{indent} and @code{short-indent} -define the space in which the instrument names are aligned before the -first and the following systems, respectively." - doctitle = "Aligning and centering instrument names" -} - -\paper { - left-margin = 3\cm -} - -\score { - \new StaffGroup << - \new Staff { - \override Staff.InstrumentName #'self-alignment-X = #LEFT - \set Staff.instrumentName = \markup \left-column { - "Left aligned" - "instrument name" - } - \set Staff.shortInstrumentName = #"Left" - c''1 - \break - c''1 - } - \new Staff { - \override Staff.InstrumentName #'self-alignment-X = #CENTER - \set Staff.instrumentName = \markup \center-column { - Centered - "instrument name" - } - \set Staff.shortInstrumentName = #"Centered" - g'1 - g'1 - } - \new Staff { - \override Staff.InstrumentName #'self-alignment-X = #RIGHT - \set Staff.instrumentName = \markup \right-column { - "Right aligned" - "instrument name" - } - \set Staff.shortInstrumentName = #"Right" - e'1 - e'1 - } - >> - \layout { - ragged-right = ##t - indent = 4\cm - short-indent = 2\cm - } -} diff --git a/input/new/aligning-marks-with-various-notation-objects.ly b/input/new/aligning-marks-with-various-notation-objects.ly deleted file mode 100644 index 79f78ef938..0000000000 --- a/input/new/aligning-marks-with-various-notation-objects.ly +++ /dev/null @@ -1,65 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "text" - texidoc = "If specified, text marks may be aligned with notation -objects other than bar lines. These objects include @code{ambitus}, -@code{breathing-sign}, @code{clef}, @code{custos}, @code{staff-bar}, -@code{left-edge}, @code{key-cancellation}, @code{key-signature}, and -@code{time-signature}. - -In such cases, text marks will be horizontally centered above the -object. However this can be changed, as demonstrated on the second -line of this example (in a score with multiple staves, this setting -should be done for all the staves)." - doctitle = "Aligning marks with various notation objects" -} - -\relative c' { - e1 - - % the RehearsalMark will be centered above the Clef - \override Score.RehearsalMark #'break-align-symbols = #'(clef) - \key a \major - \clef treble - \mark "↓" - e1 - - % the RehearsalMark will be centered above the TimeSignature - \override Score.RehearsalMark #'break-align-symbols = #'(time-signature) - \key a \major - \clef treble - \time 3/4 - \mark "↓" - e2. - - % the RehearsalMark will be centered above the KeySignature - \override Score.RehearsalMark #'break-align-symbols = #'(key-signature) - \key a \major - \clef treble - \time 4/4 - \mark "↓" - e1 - - \break - e1 - - % the RehearsalMark will be aligned with the left edge of the KeySignature - \once \override Score.KeySignature #'break-align-anchor-alignment = #LEFT - \mark "↓" - \key a \major - e1 - - % the RehearsalMark will be aligned with the right edge of the KeySignature - \once \override Score.KeySignature #'break-align-anchor-alignment = #RIGHT - \key a \major - \mark "↓" - e1 - - % the RehearsalMark will be aligned with the left edge of the KeySignature - % and then shifted right by one unit. - \once \override Score.KeySignature #'break-align-anchor = #1 - \key a \major - \mark "↓" - e1 -} diff --git a/input/new/arabic-improvisation.ly b/input/new/arabic-improvisation.ly deleted file mode 100644 index 06348916f5..0000000000 --- a/input/new/arabic-improvisation.ly +++ /dev/null @@ -1,21 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "world-music" - texidoc = "For improvisations or @emph{taqasim} which are -temporarily free, the time signature can be omitted and -@code{\cadenzaOn} can be used. Adjusting the accidental style -might be required, since the absence of bar lines will cause the -accidental to be marked only once. Here is an example of what -could be the start of a @emph{hijaz} improvisation:" -doctitle = "Arabic improvisation" -} - -\include "arabic.ly" - -\relative sol' { - \key re \kurd - #(set-accidental-style 'forget) - \cadenzaOn - sol4 sol sol sol fad mib sol1 fad8 mib re4. r8 mib1 fad sol -} diff --git a/input/new/book-parts.ly b/input/new/book-parts.ly deleted file mode 100644 index 889466a86b..0000000000 --- a/input/new/book-parts.ly +++ /dev/null @@ -1,64 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "paper-and-layout" - texidoc = "@code{\\bookpart} can be used to split a book into -several parts. -Each part last page can be affected by @code{ragged-last-bottom}. -Header and footer markups can detect a part last page, and make the -difference with the book last page. -" - doctitle = "Book parts" -} - -#(set-default-paper-size "a6") - -\book { - - %% book paper, which is inherited by all children bookparts - \paper { - ragged-last-bottom = ##t - %% Page footer: add a different part-tagline at part last page - oddFooterMarkup = \markup { - \column { - \fill-line { - %% Copyright header field only on book first page. - \on-the-fly #first-page \fromproperty #'header:copyright - } - \fill-line { - %% Part tagline header field only on each part last page. - \on-the-fly #part-last-page \fromproperty #'header:parttagline - } - \fill-line { - %% Tagline header field only on book last page. - \on-the-fly #last-page \fromproperty #'header:tagline - } - } - } - } - - %% book header, which is inherited by the first bookpart - \header { - title = "Book title" - copyright = "Copyright line on book first page" - parttagline = "Part tagline" - tagline = "Book tagline" - } - - \bookpart { - %% a different page breaking function may be used on each part - \paper { #(define page-breaking optimal-page-breaks) } - \header { subtitle = "First part" } - \markup { The first book part } - \markup { a page break } - \pageBreak - \markup { first part last page } - \markup \wordwrap { with ragged-last-bottom (see the space below this text) } - } - - \bookpart { - \header { subtitle = "Second part" } - { c' } - } - -} diff --git a/input/new/broken-crescendo-hairpin.ly b/input/new/broken-crescendo-hairpin.ly deleted file mode 100644 index 839b361065..0000000000 --- a/input/new/broken-crescendo-hairpin.ly +++ /dev/null @@ -1,49 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "expressive-marks" - texidoc = " -In order to make parts of a crescendo hairpin invisible, the following -method is used: A white rectangle is drawn on top of the respective -part of the crescendo hairpin, making it invisible. The rectangle is -defined as postscript code within a text markup. - -To fine-tune the position and size of the markup, the number -preceding @code{setgray} in the postscript definition can be set to a -value less than one, making it grey. The two numbers before @code{scale} -in the postscript code are responsible for the width and height of the -rectangle, the two numbers before @code{translate} change the x- and -y-origin of the rectangle. - -Make sure to put the hairpin in a lower layer than the text markup to -draw the rectangle over the hairpin. -" - doctitle = "Broken crescendo hairpin" -} - -\relative c' { - << { - \dynamicUp - \override DynamicLineSpanner #'staff-padding = #4 - r2 r16 c'8.\pp r4 - } - \\ - { - \override DynamicLineSpanner #'layer = #0 - des,2\mf\< ~ - \override TextScript #'layer = #2 - des16_\markup { - \postscript #" - 1.9 -8 translate - 5 4 scale - 1 setgray - 0 0 moveto - 0 1 lineto - 1 1 lineto - 1 0 lineto - 0 0 lineto - fill" - } - r8. des4 ~ des16->\sff - } >> -} diff --git a/input/new/center-text-below-hairpin-dynamics.ly b/input/new/center-text-below-hairpin-dynamics.ly deleted file mode 100644 index 769f735fb3..0000000000 --- a/input/new/center-text-below-hairpin-dynamics.ly +++ /dev/null @@ -1,35 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "expressive-marks, text" - - texidoc = " -This example provides a function to typeset a hairpin (de)crescendo -with some additional text below it, such as \"molto\" or \"poco\". The -example also illustrates how to modify the way an object is normally -printed, using some Scheme code. -" - doctitle = "Center text below hairpin dynamics" -} - -hairpinWithCenteredText = -#(define-music-function (parser location text) (markup?) -#{ - \override Voice.Hairpin #'stencil = #(lambda (grob) - (ly:stencil-aligned-to - (ly:stencil-combine-at-edge - (ly:stencil-aligned-to (ly:hairpin::print grob) X CENTER) - Y DOWN - (ly:stencil-aligned-to (grob-interpret-markup grob $text) X CENTER)) - X LEFT)) -#}) - -hairpinMolto = \hairpinWithCenteredText \markup { \italic molto } -hairpinMore = \hairpinWithCenteredText \markup { \larger moltissimo } - -\layout { ragged-right = ##f } - -{ - \hairpinMolto c'2\< c'\f - \hairpinMore c'2\< c'\f -} diff --git a/input/new/changing-form-of-multi--measure-rests.ly b/input/new/changing-form-of-multi--measure-rests.ly deleted file mode 100644 index 2803fc5842..0000000000 --- a/input/new/changing-form-of-multi--measure-rests.ly +++ /dev/null @@ -1,19 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "rhythms,tweaks-and-overrides" - texidoc = " -If there are ten or fewer measures of rests, a series of longa -and breve rests (called in German \"Kirchenpausen\" - church rests) -is printed within the staff; otherwise a simple line is shown. -This default number of ten may be changed by overriding the -@code{expand-limit} property: -" - doctitle = "Changing form of multi-measure rests" -} - -\relative c'' { - \compressFullBarRests - R1*2 | R1*5 | R1*9 - \override MultiMeasureRest #'expand-limit = #3 - R1*2 | R1*5 | R1*9 -} diff --git a/input/new/changing-properties-for-individual-grobs.ly b/input/new/changing-properties-for-individual-grobs.ly deleted file mode 100644 index 714ae7e172..0000000000 --- a/input/new/changing-properties-for-individual-grobs.ly +++ /dev/null @@ -1,37 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "tweaks-and-overrides" - - texidoc = " -The @code{\\applyOutput} command allows the tuning of any layout -object, in any context. It requires a Scheme function with three -arguments." - - doctitle = "Changing properties for individual grobs" -} - -#(define (mc-squared grob grob-origin context) - (let* - ( - (ifs (ly:grob-interfaces grob)) - (sp (ly:grob-property grob 'staff-position)) - ) - (if (memq 'note-head-interface ifs) - (begin - (ly:grob-set-property! grob 'stencil - (grob-interpret-markup grob - (make-lower-markup 0.5 - (case sp - ((-5) "m") - ((-3) "c ") - ((-2) (make-smaller-markup (make-bold-markup "2"))) - (else "bla") - )))) - )))) - -\relative c' { - 2 - \applyOutput #'Voice #mc-squared - 2 -} diff --git a/input/new/changing-text-and-spanner-styles-for-text-dynamics.ly b/input/new/changing-text-and-spanner-styles-for-text-dynamics.ly deleted file mode 100644 index 956f3bdcbe..0000000000 --- a/input/new/changing-text-and-spanner-styles-for-text-dynamics.ly +++ /dev/null @@ -1,24 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "rhythms,tweaks-and-overrides" - texidoc = " -The text used for crescendos and decrescendos can be changed by -modifying the context properties @code{crescendoText} and -@code{decrescendoText}. The style of the spanner line can be -changed by modifying the @code{'style} property of -@code{DynamicTextSpanner}. The default value is @code{'hairpin}, -and other possible values include @code{'line}, @code{'dashed-line} -and @code{'dotted-line}: -" - doctitle = "Changing text and spanner styles for text dynamics" -} - -\relative c'' { - \set crescendoText = \markup { \italic { cresc. poco } } - \set crescendoSpanner = #'text - \override DynamicTextSpanner #'style = #'dotted-line - a2\< a - a2 a - a2 a - a2 a\mf -} diff --git a/input/new/changing-the-tempo-without-a-metronome-mark.ly b/input/new/changing-the-tempo-without-a-metronome-mark.ly deleted file mode 100644 index f64adcc61e..0000000000 --- a/input/new/changing-the-tempo-without-a-metronome-mark.ly +++ /dev/null @@ -1,23 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "staff-notation" - texidoc = "To change the tempo in MIDI output without printing -anything, make the metronome mark invisible:" - - doctitle = "Changing the tempo without a metronome mark" -} - -\score { - \new Staff \relative c' { - \tempo 4 = 160 - c4 e g b - c4 b d c - \set Score.tempoHideNote = ##t - \tempo 4 = 96 - d,4 fis a cis - d4 cis e d - } - \layout { } - \midi { } -} diff --git a/input/new/changing-time-signatures-inside-a-polymetric-section-using-scaledurations.ly b/input/new/changing-time-signatures-inside-a-polymetric-section-using-scaledurations.ly deleted file mode 100644 index f7007eb1ce..0000000000 --- a/input/new/changing-time-signatures-inside-a-polymetric-section-using-scaledurations.ly +++ /dev/null @@ -1,43 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "rhythms,contexts-and-engravers" - texidoc = "The @code{measureLength} property, together with -@code{measurePosition}, determines when a bar line is needed. However, -when using @code{\\scaleDurations}, the scaling of durations makes it -difficult to change time signatures. In this case, @code{measureLength} -should be set manually, using the @code{ly:make-moment} callback. The -second argument must be the same as the second argument of -@code{\\scaleDurations}." - doctitle = "Changing time signatures inside a polymetric section using @code{\\scaleDurations}" -} - -\layout { - \context { - \Score - \remove "Timing_translator" - \remove "Default_bar_line_engraver" - } - \context { - \Staff - \consists "Timing_translator" - \consists "Default_bar_line_engraver" - } -} - -<< - \new Staff { - \scaleDurations #'(8 . 5) { - \time 6/8 - \set Timing.measureLength = #(ly:make-moment 6 5) - b8 b b b b b - \time 2/4 - \set Timing.measureLength = #(ly:make-moment 4 5) - b4 b - } - } - \new Staff { - \clef bass - \time 2/4 - c2 d e f - } ->> diff --git a/input/new/clip-systems.ly b/input/new/clip-systems.ly deleted file mode 100644 index 49532ac21e..0000000000 --- a/input/new/clip-systems.ly +++ /dev/null @@ -1,89 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "paper-and-layout" % a new tag like "Mixing text and music" or -% "Special output" might be more adequate -jm - texidoc = " -This code shows how to clip (extract) snippets from a full score. - -This file needs to be run separately with @code{-dclip-systems}; the -snippets page may not adequately show the results. - -The result will be files named -@file{@var{base}-from-@var{start}-to-@var{end}[-@var{count}].eps}. - -@itemize -@item -If system starts and ends are included, they include extents of the -System grob, e.g., instrument names. - -@item -Grace notes at the end point of the region are not included. - -@item -Regions can span multiple systems. In this case, multiple EPS files -are generated. - -@end itemize -" - doctitle = "Clip systems" -} - -#(ly:set-option 'clip-systems) -#(set! output-count 1) - -origScore = \score { - \relative c' { - \set Staff.instrumentName = #"bla" - c1 - d1 - \grace c16 e1 - \key d \major - f1 \break - \clef bass - g,1 - fis1 - } -} - -\book { - \score { - \origScore - \layout { - % Each clip-region is a (START . END) pair - % where both are rhythmic-locations. - - % (make-rhythmic-locations BAR-NUMBER NUM DEN) - % means NUM/DEN whole-notes into bar numbered BAR-NUMBER - - clip-regions = #(list - (cons - (make-rhythmic-location 2 0 1) - (make-rhythmic-location 4 0 1)) - - (cons - (make-rhythmic-location 0 0 1) - (make-rhythmic-location 4 0 1)) - - (cons - (make-rhythmic-location 0 0 1) - (make-rhythmic-location 6 0 1)) - ) - } - } -} - -#(set! output-count 0) -#(ly:set-option 'clip-systems #f) - -\book { - \score { \origScore } - \markup { \bold \fontsize #6 clips } - \score { - \lyrics { - \markup { from-2.0.1-to-4.0.1-clip.eps } - \markup { - \epsfile #X #30.0 #(format #f "~a-1-from-2.0.1-to-4.0.1-clip.eps" - (ly:parser-output-name parser)) } - } - } -} diff --git a/input/new/coloring-notes-depending-on-their-pitch.ly b/input/new/coloring-notes-depending-on-their-pitch.ly deleted file mode 100644 index 86aa203fb2..0000000000 --- a/input/new/coloring-notes-depending-on-their-pitch.ly +++ /dev/null @@ -1,54 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "pitches,editorial-annotations,really-cool" - texidoc = " -It is possible to color note heads depending on their pitch and/or their names: -the function used in this example even makes it possible to distinguish enharmonics. -" - doctitle = "Coloring notes depending on their pitch" -} - -%LSR Thanks a LOT to Damian leGassick, Steven Weber and Jay Anderson for this snippet - -%Association list of pitches to colors. -#(define color-mapping - (list - (cons (ly:make-pitch 0 0 0) (x11-color 'red)) - (cons (ly:make-pitch 0 0 1/2) (x11-color 'green)) - (cons (ly:make-pitch 0 1 -1/2) (x11-color 'green)) - (cons (ly:make-pitch 0 2 0) (x11-color 'red)) - (cons (ly:make-pitch 0 2 1/2) (x11-color 'green)) - (cons (ly:make-pitch 0 3 -1/2) (x11-color 'red)) - (cons (ly:make-pitch 0 3 0) (x11-color 'green)) - (cons (ly:make-pitch 0 4 1/2) (x11-color 'red)) - (cons (ly:make-pitch 0 5 0) (x11-color 'green)) - (cons (ly:make-pitch 0 5 -1/2) (x11-color 'red)) - (cons (ly:make-pitch 0 6 1/2) (x11-color 'red)) - (cons (ly:make-pitch 0 1 0) (x11-color 'blue)) - (cons (ly:make-pitch 0 3 1/2) (x11-color 'blue)) - (cons (ly:make-pitch 0 4 -1/2) (x11-color 'blue)) - (cons (ly:make-pitch 0 5 1/2) (x11-color 'blue)) - (cons (ly:make-pitch 0 6 -1/2) (x11-color 'blue)) - )) - -%Compare pitch and alteration (not octave). -#(define (pitch-equals? p1 p2) - (and - (= (ly:pitch-alteration p1) (ly:pitch-alteration p2)) - (= (ly:pitch-notename p1) (ly:pitch-notename p2)))) - -#(define (pitch-to-color pitch) - (let ((color (assoc pitch color-mapping pitch-equals?))) - (if color - (cdr color)))) - -#(define (color-notehead grob) - (pitch-to-color - (ly:event-property (event-cause grob) 'pitch))) - -\score { - \new Staff \relative c' { - \override NoteHead #'color = #color-notehead - c8 b d dis ees f g aes - } -} diff --git a/input/new/compound-time-signatures.ly b/input/new/compound-time-signatures.ly deleted file mode 100644 index b55a3fdc12..0000000000 --- a/input/new/compound-time-signatures.ly +++ /dev/null @@ -1,34 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "rhythms" - texidoc = " -Odd 20th century time signatures (such as \"5/8\") can often be played -as compound time signatures (e.g. \"3/8 + 2/8\"), which combine two or -more inequal metrics. LilyPond can make such music quite easy to read -and play, by explicitly printing the compound time signatures and -adapting the automatic beaming behavior. (Graphic measure grouping -indications can also be added; see the appropriate snippet in this -database.) - -" - doctitle = "Compound time signatures" -} - -#(define ((compound-time one two num) grob) - (grob-interpret-markup grob - (markup #:override '(baseline-skip . 0) #:number - (#:line ( - (#:column (one num)) - #:vcenter "+" - (#:column (two num)))) - ))) - -\relative c' { - \override Staff.TimeSignature #'stencil = #(compound-time "2" "3" "8") - \time 5/8 - #(override-auto-beam-setting '(end 1 8 5 8) 1 4) - c8 d e fis gis - c8 fis, gis e d - c8 d e4 gis8 -} diff --git a/input/new/creating-a-delayed-turn.ly b/input/new/creating-a-delayed-turn.ly deleted file mode 100644 index 16df65b606..0000000000 --- a/input/new/creating-a-delayed-turn.ly +++ /dev/null @@ -1,28 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "expressive-marks, editorial-annotations, tweaks-and-overrides" - - texidoc = " -Creating a delayed turn, where the lower note of the -turn uses the accidental, requires several overrides. The -@code{outside-staff-priority} property must be set to @code{#f}, -as otherwise this would take precedence over the -@code{avoid-slur property}. The value of @code{halign} is used -to position the turn horizontally." - - doctitle = "Creating a delayed turn" -} - -\relative c'' { - \once \override TextScript #'avoid-slur = #'inside - \once \override TextScript #'outside-staff-priority = ##f - c2(^\markup \tiny \override #'(baseline-skip . 1) { - \halign #-4 - \center-column { - \sharp - \musicglyph #"scripts.turn" - } - } - d4.) c8 -} diff --git a/input/new/creating-metronome-marks-in-markup-mode.ly b/input/new/creating-metronome-marks-in-markup-mode.ly deleted file mode 100644 index bb1379bdfd..0000000000 --- a/input/new/creating-metronome-marks-in-markup-mode.ly +++ /dev/null @@ -1,23 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "staff-notation" - texidoc = "New metronome marks can be created in markup mode, -but they will not change the tempo in MIDI output." - - doctitle = "Creating metronome marks in markup mode" -} - -\relative c' { - \tempo \markup { - \concat { - ( - \smaller \general-align #Y #DOWN \note #"16." #1 - " = " - \smaller \general-align #Y #DOWN \note #"8" #1 - ) - } - } - c1 - c4 c' c,2 -} diff --git a/input/new/creating-simultaneous-rehearsal-marks.ly b/input/new/creating-simultaneous-rehearsal-marks.ly deleted file mode 100644 index 49f1142c85..0000000000 --- a/input/new/creating-simultaneous-rehearsal-marks.ly +++ /dev/null @@ -1,37 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "expressive-marks,text,tweaks-and-overrides" - texidoc = " -Unlike text scripts, rehearsal marks cannot be stacked at a particular point -in a score: only one @code{RehearsalMark} object is created. Using an -invisible measure and bar line, an extra rehearsal mark can be added, giving -the appearance of two marks in the same column. - -This method may also prove useful for placing rehearsal marks at both the -end of one system and the start of the following system. -" - doctitle = "Creating simultaneous rehearsal marks" -} - -% LSR: Thanks to Risto Vääräniemi for this snippet - -{ - \key a \major - \set Score.markFormatter = #format-mark-box-letters - \once \override Score.RehearsalMark #'outside-staff-priority = #5000 - \once \override Score.RehearsalMark #'self-alignment-X = #LEFT - \once \override Score.RehearsalMark #'break-align-symbols = #'(key-signature) - \mark \markup { \bold { Senza denti } } - - % the hidden measure and bar line - \once \override Score.TimeSignature #'stencil = ##f - \time 1/16 - s16 \bar "" - - \time 4/4 - \once \override Score.RehearsalMark #'self-alignment-X = #LEFT - \mark \markup { \box \bold Intro } - d'1 - \mark \default - d'1 -} diff --git a/input/new/creating-text-spanners.ly b/input/new/creating-text-spanners.ly deleted file mode 100644 index 0d89056fb5..0000000000 --- a/input/new/creating-text-spanners.ly +++ /dev/null @@ -1,47 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "expressive-marks, text, tweaks-and-overrides" - texidoc = "The @code{\\startTextSpan} and @code{\\stopTextSpan} -commands allow the creation of text spanners as easily as pedal -indications or octavations. Override some properties of the -@code{TextSpanner} object to modify its output." - - doctitle = "Creating text spanners" -} - -\paper { ragged-right = ##f } - -\relative c'' { - \override TextSpanner #'(bound-details left text) = #"bla" - \override TextSpanner #'(bound-details right text) = #"blu" - a4 \startTextSpan - b4 c - a4 \stopTextSpan - - \override TextSpanner #'style = #'line - \once \override TextSpanner - #'(bound-details left stencil-align-dir-y) = #CENTER - a4 \startTextSpan - b4 c - a4 \stopTextSpan - - \override TextSpanner #'style = #'dashed-line - \override TextSpanner #'(bound-details left text) = - \markup { \draw-line #'(0 . 1) } - \override TextSpanner #'(bound-details right text) = - \markup { \draw-line #'(0 . -2) } - \once \override TextSpanner #'(bound-details right padding) = #-2 - - a4 \startTextSpan - b4 c - a4 \stopTextSpan - - \set Staff.middleCPosition = #-13 - \override TextSpanner #'dash-period = #10 - \override TextSpanner #'dash-fraction = #0.5 - \override TextSpanner #'thickness = #10 - a4 \startTextSpan - b4 c - a4 \stopTextSpan -} diff --git a/input/new/customizing-fretboard-fret-diagrams.ly b/input/new/customizing-fretboard-fret-diagrams.ly deleted file mode 100644 index 1f4d8cb2b5..0000000000 --- a/input/new/customizing-fretboard-fret-diagrams.ly +++ /dev/null @@ -1,68 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "fretted-strings,tweaks-and-overrides" - - texidoc = "Fret diagram properties can be set through -@code{'fret-diagram-details}. For FretBoard fret diagrams, -overrides are applied to the @code{FretBoards.FretBoard} object. -Like @code{Voice}, @code{FretBoards} is a bottom level context, -therefore can be omitted in property overrides. - -" - doctitle = "Customizing fretboard fret diagrams" -} - -\include "predefined-guitar-fretboards.ly" -\storePredefinedDiagram \chordmode { c' } - #guitar-tuning - #"x;1-1-(;3-2;3-3;3-4;1-1-);" -<< - \new ChordNames { - \chordmode { c1 c c d } - } - \new FretBoards { - % Set global properties of fret diagram - \override FretBoards.FretBoard #'size = #'1.2 - \override FretBoard - #'(fret-diagram-details finger-code) = #'in-dot - \override FretBoard - #'(fret-diagram-details dot-color) = #'white - \chordmode { - c - \once \override FretBoard #'size = #'1.0 - \once \override FretBoard - #'(fret-diagram-details barre-type) = #'straight - \once \override FretBoard - #'(fret-diagram-details dot-color) = #'black - \once \override FretBoard - #'(fret-diagram-details finger-code) = #'below-string - c' - \once \override FretBoard - #'(fret-diagram-details barre-type) = #'none - \once \override FretBoard - #'(fret-diagram-details number-type) = #'arabic - \once \override FretBoard - #'(fret-diagram-details orientation) = #'landscape - \once \override FretBoard - #'(fret-diagram-details mute-string) = #"M" - \once \override FretBoard - #'(fret-diagram-details label-dir) = #LEFT - \once \override FretBoard - #'(fret-diagram-details dot-color) = #'black - c' - \once \override FretBoard - #'(fret-diagram-details finger-code) = #'below-string - \once \override FretBoard - #'(fret-diagram-details dot-radius) = #0.35 - \once \override FretBoard - #'(fret-diagram-details dot-position) = #0.5 - \once \override FretBoard - #'(fret-diagram-details fret-count) = #3 - d - } - } - \new Voice { - c'1 c' c' d' - } ->> diff --git a/input/new/customizing-markup-fret-diagrams.ly b/input/new/customizing-markup-fret-diagrams.ly deleted file mode 100644 index c3d03fd9b1..0000000000 --- a/input/new/customizing-markup-fret-diagrams.ly +++ /dev/null @@ -1,90 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "fretted-strings,tweaks-and-overrides" - - texidoc = "Fret diagram properties can be set through -@code{'fret-diagram-details}. For markup fret diagrams, overrides -can be applied to the @code{Voice.TextScript} object or directly -to the markup. -" - doctitle = "Customizing markup fret diagrams" -} - -<< - \chords { c1 c c d } - - \new Voice = "mel" { - \textLengthOn - % Set global properties of fret diagram - \override TextScript #'size = #'1.2 - \override TextScript - #'(fret-diagram-details finger-code) = #'in-dot - \override TextScript - #'(fret-diagram-details dot-color) = #'white - - %% C major for guitar, no barre, using defaults - % terse style - c'1^\markup { \fret-diagram-terse #"x;3-3;2-2;o;1-1;o;" } - - %% C major for guitar, barred on third fret - % verbose style - % size 1.0 - % roman fret label, finger labels below string, straight barre - c'1^\markup { - % standard size - \override #'(size . 1.0) { - \override #'(fret-diagram-details . ( - (number-type . roman-lower) - (finger-code . in-dot) - (barre-type . straight))) { - \fret-diagram-verbose #'((mute 6) - (place-fret 5 3 1) - (place-fret 4 5 2) - (place-fret 3 5 3) - (place-fret 2 5 4) - (place-fret 1 3 1) - (barre 5 1 3)) - } - } - } - - %% C major for guitar, barred on third fret - % verbose style - % landscape orientation, arabic numbers, M for mute string - % no barre, fret label down or left, small mute label font - c'1^\markup { - \override #'(fret-diagram-details . ( - (finger-code . below-string) - (number-type . arabic) - (label-dir . -1) - (mute-string . "M") - (orientation . landscape) - (barre-type . none) - (xo-font-magnification . 0.4) - (xo-padding . 0.3))) { - \fret-diagram-verbose #'((mute 6) - (place-fret 5 3 1) - (place-fret 4 5 2) - (place-fret 3 5 3) - (place-fret 2 5 4) - (place-fret 1 3 1) - (barre 5 1 3)) - } - } - - %% simple D chord - % terse style - % larger dots, centered dots, fewer frets - % label below string - d'1^\markup { - \override #'(fret-diagram-details . ( - (finger-code . below-string) - (dot-radius . 0.35) - (dot-position . 0.5) - (fret-count . 3))) { - \fret-diagram-terse #"x;x;o;2-1;3-2;2-3;" - } - } - } ->> diff --git a/input/new/defining-predefined-fretboards-for-other-instruments.ly b/input/new/defining-predefined-fretboards-for-other-instruments.ly deleted file mode 100644 index f38d4a2fbe..0000000000 --- a/input/new/defining-predefined-fretboards-for-other-instruments.ly +++ /dev/null @@ -1,106 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "fretted-strings" - texidoc = "Predefined fret diagrams can be added for new instruments -in addition to the standards used for guitar. This file shows how -this is done by defining a new string-tuning and a few predefined -fretboards for the Venezuelan cuatro. - -This file also shows how fingerings can be included in the chords -used as reference points for the chord lookup, and displayed in -the fret diagram and the @code{TabStaff}, but not the music. - -These fretboards are not transposable because they contain string -information. This is planned to be corrected in the future. - -" - doctitle = "Defining predefined fretboards for other instruments" -} - -%LSR: Thanks to Jesus Guillermo Andrade for the string-tuning -%LSR: and fretboard information. - -% add FretBoards for the Cuatro -% Note: This section could be put into a separate file -% predefined-cuatro-fretboards.ly -% and \included into each of your compositions - -cuatroTuning = #'(11 18 14 9) - -dSix = { } -dMajor = { } -aMajSeven = { } -dMajSeven = { } -gMajor = { } - -\storePredefinedDiagram \dSix - #cuatroTuning - #"o;o;o;o;" -\storePredefinedDiagram \dMajor - #cuatroTuning - #"o;o;o;3-3;" -\storePredefinedDiagram \aMajSeven - #cuatroTuning - #"o;2-2;1-1;2-3;" -\storePredefinedDiagram \dMajSeven - #cuatroTuning - #"o;o;o;1-1;" -\storePredefinedDiagram \gMajor - #cuatroTuning - #"2-2;o;1-1;o;" - -% end of potential include file /predefined-cuatro-fretboards.ly - - -#(set-global-staff-size 16) - -primerosNames = \chordmode { - d:6 d a:maj7 d:maj7 - g -} -primeros = { - \dSix \dMajor \aMajSeven \dMajSeven - \gMajor -} - -\score { - << - \new ChordNames { - \set chordChanges = ##t - \primerosNames - } - - \new Staff { - \new Voice \with { - \remove "New_fingering_engraver" - } - \relative c'' { - \primeros - } - } - - \new FretBoards { - \set stringTunings = #cuatroTuning - \override FretBoard - #'(fret-diagram-details string-count) = #'4 - \override FretBoard - #'(fret-diagram-details finger-code) = #'in-dot - \primeros - } - - \new TabStaff \relative c'' { - \set TabStaff.stringTunings = #cuatroTuning - \primeros - } - - >> - - \layout { - \context { - \Score - \override SpacingSpanner - #'base-shortest-duration = #(ly:make-moment 1 16) - } - } - \midi { } -} diff --git a/input/new/display-bracket-with-only-one-staff-in-a-system.ly b/input/new/display-bracket-with-only-one-staff-in-a-system.ly deleted file mode 100644 index 87e416b30d..0000000000 --- a/input/new/display-bracket-with-only-one-staff-in-a-system.ly +++ /dev/null @@ -1,38 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "staff-notation,tweaks-and-overrides" - texidoc = "If there is only one staff in one of the staff types -@code{ChoirStaff} or @code{StaffGroup}, the bracket and the starting -bar line will not be displayed as standard behavior. This can be changed -by overriding the relevant properties. - -Note that in contexts such as @code{PianoStaff} and @code{GrandStaff} -where the systems begin with a brace instead of a bracket, another -property has to be set, as shown on the second system in the example. -" - doctitle = "Display bracket with only one staff in a system" -} - -\markup \left-column { - \score { - \new StaffGroup << - % Must be lower than the actual number of staff lines - \override StaffGroup.SystemStartBracket #'collapse-height = #1 - \override Score.SystemStartBar #'collapse-height = #1 - \new Staff { - c'1 - } - >> - \layout { } - } - \score { - \new PianoStaff << - \override PianoStaff.SystemStartBrace #'collapse-height = #1 - \override Score.SystemStartBar #'collapse-height = #1 - \new Staff { - c'1 - } - >> - \layout { } - } -} diff --git a/input/new/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly b/input/new/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly deleted file mode 100644 index f1cd319376..0000000000 --- a/input/new/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly +++ /dev/null @@ -1,31 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "pitches" - texidoc = "In early 20th century works, starting with Schoenberg, -Berg and Webern (the \"Second\" Viennese school), every pitch in the -twelve-tone scale has to be regarded as equal, without any hierarchy -such as the classical (tonal) degrees. Therefore, these composers -print one accidental for each note, even at natural pitches, to -emphasize their new approach to music theory and language. - -This snippet shows how to achieve such notation rules. -" - - doctitle = "Dodecaphonic-style accidentals for each note including naturals" -} - -\score { - \new Staff { - #(set-accidental-style 'dodecaphonic) - c'4 dis' cis' cis' - c'4 dis' cis' cis' - c'4 c' dis' des' - } - \layout { - \context { - \Staff - \remove "Key_engraver" - } - } -} diff --git a/input/new/dotted-harmonics.ly b/input/new/dotted-harmonics.ly deleted file mode 100644 index 43cdd3b141..0000000000 --- a/input/new/dotted-harmonics.ly +++ /dev/null @@ -1,19 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "unfretted-strings,tweaks-and-overrides" - texidoc = "Artificial harmonics using @code{\\harmonic} do not show -dots. To override this behavior, set the context property -@code{harmonicDots}." - doctitle = "Dotted harmonics" -} - -\relative c''' { - \time 3/4 - \key f \major - \set harmonicDots = ##t - 2. ~ - 4. 8( ) - 2. - 2. -} diff --git a/input/new/drawing-boxes-around-grobs.ly b/input/new/drawing-boxes-around-grobs.ly deleted file mode 100644 index 9d53c90cb3..0000000000 --- a/input/new/drawing-boxes-around-grobs.ly +++ /dev/null @@ -1,26 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "tweaks-and-overrides" - texidoc = " -The @code{print-function} can be overridden to draw a box around an -arbitrary grob. -" - doctitle = "Drawing boxes around grobs" -} - -\relative c'' { - \override TextScript #'stencil = - #(make-stencil-boxer 0.1 0.3 ly:text-interface::print) - c'4^"foo" - - \override Stem #'stencil = - #(make-stencil-boxer 0.05 0.25 ly:stem::print) - \override Score.RehearsalMark #'stencil = - #(make-stencil-boxer 0.15 0.3 ly:text-interface::print) - b8 - - \revert Stem #'stencil - c4. c4 - \mark "F" - c1 -} diff --git a/input/new/drawing-circles-around-various-objects.ly b/input/new/drawing-circles-around-various-objects.ly deleted file mode 100644 index 27318e7b78..0000000000 --- a/input/new/drawing-circles-around-various-objects.ly +++ /dev/null @@ -1,27 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "tweaks-and-overrides" - texidoc = " -The @code{\circle} markup command draws circles around various objects, -for example fingering indications. For other objects, specific tweaks -may be required: this example demonstrates two strategies for rehearsal -marks and measure numbers. -" - doctitle = "Drawing circles around various objects" -} - -\relative c' { - c1 - \set Score.markFormatter = - #(lambda (mark context) - (make-circle-markup (format-mark-numbers mark context))) - \mark \default - c2 d^\markup { - \override #'(thickness . 3) { - \circle \finger 2 - } - } - \override Score.BarNumber #'break-visibility = #all-visible - \override Score.BarNumber #'stencil = - #(make-stencil-circler 0.1 0.25 ly:text-interface::print) -} diff --git a/input/new/fine-tuning-pedal-brackets.ly b/input/new/fine-tuning-pedal-brackets.ly deleted file mode 100644 index e3a2344615..0000000000 --- a/input/new/fine-tuning-pedal-brackets.ly +++ /dev/null @@ -1,20 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "keyboards, tweaks-and-overrides" - texidoc = "The appearance of pedal brackets may be altered in -different ways." - doctitle = "Fine-tuning pedal brackets" -} - -\paper { ragged-right = ##f } -\relative c'' { - c2\sostenutoOn c - c2\sostenutoOff c - \once \override Staff.PianoPedalBracket #'shorten-pair = #'(-7 . -2) - c2\sostenutoOn c - c2\sostenutoOff c - \once \override Staff.PianoPedalBracket #'edge-height = #'(0 . 3) - c2\sostenutoOn c - c2\sostenutoOff c -} diff --git a/input/new/flute-slap-notation.ly b/input/new/flute-slap-notation.ly deleted file mode 100644 index 35f8987060..0000000000 --- a/input/new/flute-slap-notation.ly +++ /dev/null @@ -1,29 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "winds" - - texidoc = " -It is possible to indicate special articulation techniques such as -flute's \"tongue slap\", by replacing the note head with the -appropriate glyph. - -" - doctitle = "Flute slap notation" -} - -slap = -#(define-music-function (parser location music) (ly:music?) -#{ - \override NoteHead #'stencil = #(lambda (grob) - (grob-interpret-markup grob - (markup #:musicglyph "scripts.sforzato"))) - \override NoteHead #'extra-offset = #'(0.1 . 0.0) - $music - \revert NoteHead #'stencil - \revert NoteHead #'extra-offset -#}) - -\relative c' { - c4 \slap c d r \slap { g a } b r -} diff --git a/input/new/fret-diagrams-explained-and-developed.ly b/input/new/fret-diagrams-explained-and-developed.ly deleted file mode 100644 index 971dd0e4e7..0000000000 --- a/input/new/fret-diagrams-explained-and-developed.ly +++ /dev/null @@ -1,343 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "fretted-strings,tweaks-and-overrides" - texidoc = "This snippet shows many possibilities for obtaining -and tweaking fret diagrams." - doctitle = "Fret diagrams explained and developed" -} - -<< - \chords { - a2 a - \repeat unfold 3 { - c c c d d - } - } - - \new Voice = "mel" { - \textLengthOn - % Set global properties of fret diagram - \override TextScript #'size = #1.2 - \override TextScript - #'fret-diagram-details #'finger-code = #'below-string - \override TextScript #'fret-diagram-details #'dot-color = #'black - - %% A chord for ukelele - a'2^\markup { - \override #'(fret-diagram-details . ( - (string-count . 4) - (dot-color . white) - (finger-code . in-dot))) { - \fret-diagram #"4-2-2;3-1-1;2-o;1-o;" - } - } - - %% A chord for ukelele, with formatting defined in definition string - % 1.2 * size, 4 strings, 4 frets, fingerings below string - % dot radius .35 of fret spacing, dot position 0.55 of fret spacing - a'2^\markup { - \override #'(fret-diagram-details . ( - (dot-color . white) - (open-string . "o"))) { - \fret-diagram #"s:1.2;w:4;h:3;f:2;d:0.35;p:0.55;4-2-2;3-1-1;2-o;1-o;" - } - } - - %% These chords will be in normal orientation - - %% C major for guitar, barred on third fret - % verbose style - % roman fret label, finger labels below string, straight barre - c'2^\markup { - % 110% of default size - \override #'(size . 1.1) { - \override #'(fret-diagram-details . ( - (number-type . roman-lower) - (finger-code . below-string) - (barre-type . straight))) { - \fret-diagram-verbose #'((mute 6) - (place-fret 5 3 1) - (place-fret 4 5 2) - (place-fret 3 5 3) - (place-fret 2 5 4) - (place-fret 1 3 1) - (barre 5 1 3)) - } - } - } - - %% C major for guitar, barred on third fret - %% Double barre used to test barre function - % verbose style - c'2^\markup { - % 110% of default size - \override #'(size . 1.1) { - \override #'(fret-diagram-details . ( - (number-type . arabic) - (dot-label-font-mag . 0.9) - (finger-code . in-dot) - (fret-label-font-mag . 0.6) - (fret-label-vertical-offset . 0) - (label-dir . -1) - (mute-string . "M") - (xo-font-magnification . 0.4) - (xo-padding . 0.3))) { - \fret-diagram-verbose #'((mute 6) - (place-fret 5 3 1) - (place-fret 4 5 2) - (place-fret 3 5 3) - (place-fret 2 5 4) - (place-fret 1 3 1) - (barre 4 2 5) - (barre 5 1 3)) - } - } - } - - %% C major for guitar, with capo on third fret - % verbose style - c'2^\markup { - % 110% of default size - \override #'(size . 1.1) { - \override #'(fret-diagram-details . ( - (number-type . roman-upper) - (dot-label-font-mag . 0.9) - (finger-code . none) - (fret-label-vertical-offset . 0.5) - (xo-font-magnification . 0.4) - (xo-padding . 0.3))) { - \fret-diagram-verbose #'((mute 6) - (capo 3) - (open 5) - (place-fret 4 5 1) - (place-fret 3 5 2) - (place-fret 2 5 3) - (open 1)) - } - } - } - - %% simple D chord - d'2^\markup { - \override #'(fret-diagram-details . ( - (finger-code . below-string) - (dot-radius . 0.35) - (string-thickness-factor . 0.3) - (dot-position . 0.5) - (fret-count . 3))) { - \fret-diagram-terse #"x;x;o;2-1;3-2;2-3;" - } - } - - %% simple D chord, large top fret thickness - d'2^\markup { - \override #'(fret-diagram-details . ( - (finger-code . below-string) - (dot-radius . 0.35) - (dot-position . 0.5) - (top-fret-thickness . 7) - (fret-count . 3))) { - \fret-diagram-terse #"x;x;o;2-1;3-2;2-3;" - } - } - - % These chords will be in landscape orientation - \override TextScript - #'fret-diagram-details #'orientation = #'landscape - - %% C major for guitar, barred on third fret - % verbose style - % roman fret label, finger labels below string, straight barre - c'2^\markup { - % 110% of default size - \override #'(size . 1.1) { - \override #'(fret-diagram-details . ( - (number-type . roman-lower) - (finger-code . below-string) - (barre-type . straight))) { - \fret-diagram-verbose #'((mute 6) - (place-fret 5 3 1) - (place-fret 4 5 2) - (place-fret 3 5 3) - (place-fret 2 5 4) - (place-fret 1 3 1) - (barre 5 1 3)) - } - } - } - - %% C major for guitar, barred on third fret - %% Double barre used to test barre function - % verbose style - c'2^\markup { - % 110% of default size - \override #'(size . 1.1) { - \override #'(fret-diagram-details . ( - (number-type . arabic) - (dot-label-font-mag . 0.9) - (finger-code . in-dot) - (fret-label-font-mag . 0.6) - (fret-label-vertical-offset . 0) - (label-dir . -1) - (mute-string . "M") - (xo-font-magnification . 0.4) - (xo-padding . 0.3))) { - \fret-diagram-verbose #'((mute 6) - (place-fret 5 3 1) - (place-fret 4 5 2) - (place-fret 3 5 3) - (place-fret 2 5 4) - (place-fret 1 3 1) - (barre 4 2 5) - (barre 5 1 3)) - } - } - } - - %% C major for guitar, with capo on third fret - % verbose style - c'2^\markup { - % 110% of default size - \override #'(size . 1.1) { - \override #'(fret-diagram-details . ( - (number-type . roman-upper) - (dot-label-font-mag . 0.9) - (finger-code . none) - (fret-label-vertical-offset . 0.5) - (xo-font-magnification . 0.4) - (xo-padding . 0.3))) { - \fret-diagram-verbose #'((mute 6) - (capo 3) - (open 5) - (place-fret 4 5 1) - (place-fret 3 5 2) - (place-fret 2 5 3) - (open 1)) - } - } - } - - %% simple D chord - d'2^\markup { - \override #'(fret-diagram-details . ( - (finger-code . below-string) - (dot-radius . 0.35) - (dot-position . 0.5) - (fret-count . 3))) { - \fret-diagram-terse #"x;x;o;2-1;3-2;2-3;" - } - } - - %% simple D chord, large top fret thickness - d'2^\markup { - \override #'(fret-diagram-details . ( - (finger-code . below-string) - (dot-radius . 0.35) - (dot-position . 0.5) - (top-fret-thickness . 7) - (fret-count . 3))) { - \fret-diagram-terse #"x;x;o;2-1;3-2;2-3;" - } - } - - % These chords will be in opposing-landscape orientation - \override TextScript #'fret-diagram-details - #'orientation = #'opposing-landscape - - %% C major for guitar, barred on third fret - % verbose style - % roman fret label, finger labels below string, straight barre - c'2^\markup { - % 110% of default size - \override #'(size . 1.1) { - \override #'(fret-diagram-details . ( - (number-type . roman-lower) - (finger-code . below-string) - (barre-type . straight))) { - \fret-diagram-verbose #'((mute 6) - (place-fret 5 3 1) - (place-fret 4 5 2) - (place-fret 3 5 3) - (place-fret 2 5 4) - (place-fret 1 3 1) - (barre 5 1 3)) - } - } - } - - %% C major for guitar, barred on third fret - %% Double barre used to test barre function - % verbose style - c'2^\markup { - % 110% of default size - \override #'(size . 1.1) { - \override #'(fret-diagram-details . ( - (number-type . arabic) - (dot-label-font-mag . 0.9) - (finger-code . in-dot) - (fret-label-font-mag . 0.6) - (fret-label-vertical-offset . 0) - (label-dir . -1) - (mute-string . "M") - (xo-font-magnification . 0.4) - (xo-padding . 0.3))) { - \fret-diagram-verbose #'((mute 6) - (place-fret 5 3 1) - (place-fret 4 5 2) - (place-fret 3 5 3) - (place-fret 2 5 4) - (place-fret 1 3 1) - (barre 4 2 5) - (barre 5 1 3)) - } - } - } - - %% C major for guitar, with capo on third fret - % verbose style - c'2^\markup { - % 110% of default size - \override #'(size . 1.1) { - \override #'(fret-diagram-details . ( - (number-type . roman-upper) - (dot-label-font-mag . 0.9) - (finger-code . none) - (fret-label-vertical-offset . 0.5) - (xo-font-magnification . 0.4) - (xo-padding . 0.3))) { - \fret-diagram-verbose #'((mute 6) - (capo 3) - (open 5) - (place-fret 4 5 1) - (place-fret 3 5 2) - (place-fret 2 5 3) - (open 1)) - } - } - } - - %% simple D chord - d'2^\markup { - \override #'(fret-diagram-details . ( - (finger-code . below-string) - (dot-radius . 0.35) - (dot-position . 0.5) - (fret-count . 3))) { - \fret-diagram-terse #"x;x;o;2-1;3-2;2-3;" - } - } - - %% simple D chord, large top fret thickness - d'2^\markup { - \override #'(fret-diagram-details . ( - (finger-code . below-string) - (dot-radius . 0.35) - (dot-position . 0.5) - (top-fret-thickness . 7) - (fret-count . 3))) { - \fret-diagram-terse #"x;x;o;2-1;3-2;2-3;" - } - } - } ->> diff --git a/input/new/guitar-strum-rhythms.ly b/input/new/guitar-strum-rhythms.ly deleted file mode 100644 index 9c5c0ab1b1..0000000000 --- a/input/new/guitar-strum-rhythms.ly +++ /dev/null @@ -1,49 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "rhythms,fretted-strings" - texidoc = " -For guitar music, it is possible to show strum rhythms, along -with melody notes, chord names, and fret diagrams. -" - doctitle = "Guitar strum rhythms" -} - -\include "predefined-guitar-fretboards.ly" -<< - \new ChordNames { - \chordmode { - c1 f g c - } - } - \new FretBoards { - \chordmode { - c1 f g c - } - } - \new Voice \with { - \consists "Pitch_squash_engraver" - } { - \relative c'' { - \improvisationOn - c4 c8 c c4 c8 c - f4 f8 f f4 f8 f - g4 g8 g g4 g8 g - c4 c8 c c4 c8 c - } - } - \new Voice = "melody" { - \relative c'' { - c2 e4 e4 - f2. r4 - g2. a4 - e4 c2. - } - } - \new Lyrics { - \lyricsto "melody" { - This is my song. - I like to sing. - } - } ->> diff --git a/input/new/heavily-customized-polymetric-time-signatures.ly b/input/new/heavily-customized-polymetric-time-signatures.ly deleted file mode 100644 index 8e6d38da51..0000000000 --- a/input/new/heavily-customized-polymetric-time-signatures.ly +++ /dev/null @@ -1,56 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "rhythms, percussion" - - texidoc = " -Though the polymetric time signature shown was not the most essential -item here, it has been included to show the beat of this piece (which -is the template of a real Balkan song!). - -" - doctitle = "Heavily customized polymetric time signatures" -} - -#(define plus (markup #:vcenter "+")) -#(define ((custom-time-signature one two three four five six - seven eight nine ten eleven num) grob) - (grob-interpret-markup grob - (markup #:override '(baseline-skip . 0) #:number - (#:line ( - (#:column (one num)) plus - (#:column (two num)) plus - (#:column (three num)) plus - (#:column (four num)) plus - (#:column (five num)) plus - (#:column (six num)) plus - (#:column (seven num)) plus - (#:column (eight num)) plus - (#:column (nine num)) plus - (#:column (ten num)) plus - (#:column (eleven num)))) - ))) - -melody = \relative c'' { - \set Staff.instrumentName = #"Bb Sop." - \key g \major - #(set-time-signature 25 8 '(3 2 2 3 2 2 2 2 3 2 2)) - \override Staff.TimeSignature #'stencil = - #(custom-time-signature "3" "2" "2" "3" "2" "2" - "2" "2" "3" "2" "2" "8") - c8 c c d4 c8 c b c b a4 g fis8 e d c b' c d e4-^ fis8 g \break - c,4. d4 c4 d4. c4 d c2 d4. e4-^ d4 - c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 \break - c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 - c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 \break -} - -drum = \new DrumStaff \drummode { - \bar "|:" bd4.^\markup { "Drums" } sn4 bd \bar ":" sn4. - bd4 sn \bar ":" bd sn bd4. sn4 bd \bar ":|" -} - -{ - \melody - \drum -} diff --git a/input/new/incipit.ly b/input/new/incipit.ly deleted file mode 100644 index 5664d32cb1..0000000000 --- a/input/new/incipit.ly +++ /dev/null @@ -1,267 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "staff-notation,ancient-notation" - texidoc = "Incipits can be added using the instrument name grob, but -keeping separate the instrument name definition and the incipit definition." - doctitle = "Incipit" -} - -incipit = -#(define-music-function (parser location incipit-music) (ly:music?) - #{ - \once \override Staff.InstrumentName #'self-alignment-X = #RIGHT - \once \override Staff.InstrumentName #'self-alignment-Y = #UP - \once \override Staff.InstrumentName #'Y-offset = #4 - \once \override Staff.InstrumentName #'padding = #0.3 - \once \override Staff.InstrumentName #'stencil = - #(lambda (grob) - (let* ((instrument-name (ly:grob-property grob 'long-text)) - (layout (ly:output-def-clone (ly:grob-layout grob))) - (music (make-music 'SequentialMusic - 'elements (list (make-music 'ContextSpeccedMusic - 'context-type 'MensuralStaff - 'element (make-music 'PropertySet - 'symbol 'instrumentName - 'value instrument-name)) - $incipit-music))) - (score (ly:make-score music)) - (mm (ly:output-def-lookup layout 'mm)) - (indent (ly:output-def-lookup layout 'indent)) - (width (ly:output-def-lookup layout 'incipit-width)) - (incipit-width (if (number? width) - (* width mm) - (* indent 0.5)))) - (ly:output-def-set-variable! layout 'indent (- indent incipit-width)) - (ly:output-def-set-variable! layout 'line-width indent) - (ly:output-def-set-variable! layout 'ragged-right #f) - (ly:output-def-set-variable! layout 'ragged-last #f) - (ly:output-def-set-variable! layout 'system-count 1) - (ly:score-add-output-def! score layout) - (ly:grob-set-property! grob 'long-text - (markup #:score score)) - (ly:system-start-text::print grob))) - #}) - -%%%%%%%%%%%%%%%%%%%%%%%%% - -global = { - \set Score.skipBars = ##t - \key g \major - \time 4/4 - - % the actual music - \skip 1*8 - - % let finis bar go through all staves - \override Staff.BarLine #'transparent = ##f - - % finis bar - \bar "|." -} - -discantusIncipit = << - \new MensuralVoice = "discantusIncipit" << - \repeat unfold 9 { s1 \noBreak } - { - \clef "neomensural-c1" - \key f \major - \time 2/2 - c''1. - } - >> - \new Lyrics \lyricsto discantusIncipit { IV- } ->> - -discantusNotes = { - \transpose c' c'' { - \clef "treble" - d'2. d'4 | - b e' d'2 | - c'4 e'4.( d'8 c' b | - a4) b a2 | - b4.( c'8 d'4) c'4 | - \once \override NoteHead #'transparent = ##t - c'1 | - b\breve | - } -} - -discantusLyrics = \lyricmode { - Ju -- bi -- | - la -- te De -- | - o, om -- - nis ter -- | - ra, __ om- | - "..." | - -us. | -} - -altusIncipit = << - \new MensuralVoice = "altusIncipit" << - \repeat unfold 9 { s1 \noBreak } - { - \clef "neomensural-c3" - \key f \major - \time 2/2 - r1 f'1. - } - >> - \new Lyrics \lyricsto altusIncipit { IV- } ->> - -altusNotes = { - \transpose c' c'' { - \clef "treble" - % two measures - r2 g2. e4 fis g | - a2 g4 e | - fis g4.( fis16 e fis4) | - g1 | - \once \override NoteHead #'transparent = ##t - g1 | - g\breve | - } -} - -altusLyrics = \lyricmode { - % two measures - Ju -- bi -- la -- te | - De -- o, om -- | - nis ter -- ra, | - "..." | - -us. | -} - -tenorIncipit = << - \new MensuralVoice = "tenorIncipit" << - \repeat unfold 9 { s1 \noBreak } - { - \clef "neomensural-c4" - \key f \major - \time 2/2 - r\longa - r\breve - r1 c'1. - } - >> - \new Lyrics \lyricsto tenorIncipit { IV- } ->> - -tenorNotes = { - \transpose c' c' { - \once \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-6 . 3) - \clef "treble_8" - R1 | - R1 | - R1 | - % two measures - r2 d'2. d'4 b e' | - \once \override NoteHead #'transparent = ##t - e'1 | - d'\breve | - } -} - -tenorLyrics = \lyricmode { - % two measures - Ju -- bi -- la -- te | - "..." | - -us. -} - -bassusIncipit = << - \new MensuralVoice = "bassusIncipit" << - \repeat unfold 9 { s1 \noBreak } - { - \clef "bass" - \key f \major - \time 2/2 - %% incipit - r\maxima - f1. - } - >> - \new Lyrics \lyricsto bassusIncipit { IV- } ->> - -bassusNotes = { - \transpose c' c' { - \clef "bass" - R1 | - R1 | - R1 | - R1 | - g2. e4 | - \once \override NoteHead #'transparent = ##t - e1 | - g\breve | - } -} - -bassusLyrics = \lyricmode { - Ju -- bi- | - "..." | - -us. -} - -\score { - << - \new StaffGroup = choirStaff << - \new Voice = "discantusNotes" << - \global - \set Staff.instrumentName = #"Discantus" - \incipit \discantusIncipit - \discantusNotes - >> - \new Lyrics = "discantusLyrics" \lyricsto discantusNotes { \discantusLyrics } - \new Voice = "altusNotes" << - \global - \set Staff.instrumentName = #"Altus" - \incipit \altusIncipit - \altusNotes - >> - \new Lyrics = "altusLyrics" \lyricsto altusNotes { \altusLyrics } - \new Voice = "tenorNotes" << - \global - \set Staff.instrumentName = #"Tenor" - \incipit \tenorIncipit - \tenorNotes - >> - \new Lyrics = "tenorLyrics" \lyricsto tenorNotes { \tenorLyrics } - \new Voice = "bassusNotes" << - \global - \set Staff.instrumentName = #"Bassus" - \incipit \bassusIncipit - \bassusNotes - >> - \new Lyrics = "bassusLyrics" \lyricsto bassusNotes { \bassusLyrics } - >> - >> - \layout { - \context { - \Score - %% no bar lines in staves or lyrics - \override BarLine #'transparent = ##t - } - %% the next two instructions keep the lyrics between the bar lines - \context { - \Lyrics - \consists "Bar_engraver" - \consists "Separating_line_group_engraver" - } - \context { - \Voice - %% no slurs - \override Slur #'transparent = ##t - %% Comment in the below "\remove" command to allow line - %% breaking also at those bar lines where a note overlaps - %% into the next measure. The command is commented out in this - %% short example score, but especially for large scores, you - %% will typically yield better line breaking and thus improve - %% overall spacing if you comment in the following command. - %%\remove "Forbid_line_break_engraver" - } - indent = 6\cm - incipit-width = 4\cm - } -} diff --git a/input/new/inserting-a-caesura.ly b/input/new/inserting-a-caesura.ly deleted file mode 100644 index c143675851..0000000000 --- a/input/new/inserting-a-caesura.ly +++ /dev/null @@ -1,22 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "expressive-marks,tweaks-and-overrides" - texidoc = " -Caesura marks can be created by overriding the @code{'text} -property of the @code{BreathingSign} object. A curved caesura -mark is also available. -" - doctitle = "Inserting a caesura" -} - -\relative c'' { - \override BreathingSign #'text = \markup { - \musicglyph #"scripts.caesura.straight" - } - c8 e4. \breathe g8. e16 c4 - - \override BreathingSign #'text = \markup { - \musicglyph #"scripts.caesura.curved" - } - g8 e'4. \breathe g8. e16 c4 -} diff --git a/input/new/letter-tablature-formatting.ly b/input/new/letter-tablature-formatting.ly deleted file mode 100644 index 79da84dff5..0000000000 --- a/input/new/letter-tablature-formatting.ly +++ /dev/null @@ -1,39 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "staff-notation,fretted-strings" - - texidoc = "Tablature can be formatted using letters instead of -numbers." - doctitle = "Letter tablature formatting" -} - -#(define (letter-tablature-format str context event) - (let* - ((tuning (ly:context-property context 'stringTunings)) - (pitch (ly:event-property event 'pitch))) - (make-whiteout-markup - (make-vcenter-markup - (string (integer->char - (+ (char->integer #\a) - (- (ly:pitch-semitones pitch) - (list-ref tuning (- str 1)))))))))) - -music = \relative c { - c4 d e f - g4 a b c - d4 e f g -} - -<< - \new Staff { - \clef "G_8" - \music - } - \new TabStaff \with { - tablatureFormat = #letter-tablature-format - } - { - \music - } ->> diff --git a/input/new/line-arrows.ly b/input/new/line-arrows.ly deleted file mode 100644 index 7fbc9d6017..0000000000 --- a/input/new/line-arrows.ly +++ /dev/null @@ -1,26 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "expressive-marks" - texidoc = "Arrows can be applied to text-spanners and line-spanners -(such as the Glissando)." - doctitle = "Line arrows" -} - -\relative c'' { - \override TextSpanner #'bound-padding = #1.0 - \override TextSpanner #'style = #'line - \override TextSpanner #'(bound-details right arrow) = ##t - \override TextSpanner #'(bound-details left text) = #"fof" - \override TextSpanner #'(bound-details right text) = #"gag" - \override TextSpanner #'(bound-details right padding) = #0.6 - - \override TextSpanner #'(bound-details right stencil-align-dir-y) = #CENTER - \override TextSpanner #'(bound-details left stencil-align-dir-y) = #CENTER - - \override Glissando #'(bound-details right arrow) = ##t - \override Glissando #'arrow-length = #0.5 - \override Glissando #'arrow-width = #0.25 - - a8\startTextSpan gis a4 b\glissando b, - g'4 c\stopTextSpan c2 -} diff --git a/input/new/makam-example.ly b/input/new/makam-example.ly deleted file mode 100644 index 1c436be110..0000000000 --- a/input/new/makam-example.ly +++ /dev/null @@ -1,18 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "pitches,world-music" - texidoc = "Makam is a type of melody from Turkey using 1/9th-tone -microtonal alterations. Consult the initialization file -@code{ly/makam.ly} for details of pitch names and alterations." - doctitle = "Makam example" -} - -% Initialize makam settings -\include "makam.ly" - -\relative c' { - \set Staff.keySignature = #`((6 . ,(- KOMA)) (3 . ,BAKIYE)) - c4 cc db fk - gbm4 gfc gfb efk - fk4 db cc c -} diff --git a/input/new/making-an-object-invisible-with-the-transparent-property.ly b/input/new/making-an-object-invisible-with-the-transparent-property.ly deleted file mode 100644 index 47014eea84..0000000000 --- a/input/new/making-an-object-invisible-with-the-transparent-property.ly +++ /dev/null @@ -1,35 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "rhythms,tweaks-and-overrides" - texidoc = " -Setting the @code{'transparent} property will cause an object to be -printed in \"invisible ink\": the object is not printed, but all its -other behavior is retained. The object still takes up space, it takes -part in collisions, and slurs, ties and beams can be attached to it. - -This snippet demonstrates how to connect different voices using ties. -Normally, ties only connect two notes in the same voice. By -introducing a tie in a different voice, and blanking the first up-stem -in that voice, the tie appears to cross voices. To prevent the blanked stem's -flag from interfering with tie positioning, the stem is extended. -" - doctitle = "Making an object invisible with the transparent property" -} - -\relative c'' { - \time 2/4 - << - { - \once \override Stem #'transparent = ##t - \once \override Stem #'length = #8 - b8 ~ b\noBeam - \once \override Stem #'transparent = ##t - \once \override Stem #'length = #8 - g8 ~ g\noBeam - } - \\ - { - b8 g g e - } - >> -} diff --git a/input/new/marking-notes-of-spoken-parts-with-a-cross-on-the-stem.ly b/input/new/marking-notes-of-spoken-parts-with-a-cross-on-the-stem.ly deleted file mode 100644 index bdf0224acf..0000000000 --- a/input/new/marking-notes-of-spoken-parts-with-a-cross-on-the-stem.ly +++ /dev/null @@ -1,45 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "editorial-annotations, vocal-music" - - texidoc = " -This example shows how to put crosses on stems. Mark the beginning -of a spoken section with the @code{\\speakOn} keyword, and end it -with the @code{\\speakOff} keyword. -" - doctitle = "Marking notes of spoken parts with a cross on the stem" -} - -speakOn = { - \override Stem #'stencil = #(lambda (grob) - (let* ((x-parent (ly:grob-parent grob X)) - (is-rest? (ly:grob? (ly:grob-object x-parent 'rest)))) - (if is-rest? - empty-stencil - (ly:stencil-combine-at-edge - (ly:stem::print grob) - Y - (- (ly:grob-property grob 'direction)) - (grob-interpret-markup grob - (markup #:hspace -1.025 #:fontsize -4 - #:musicglyph "noteheads.s2cross")) - -2.3 0)))) -} - -speakOff = { - \revert Stem #'stencil -} - -\score { - \new Staff { - \relative c'' { - a4 b a c - \speakOn - g4 f r g - b4 r d e - \speakOff - c4 a g f - } - } -} diff --git a/input/new/markup-lines.ly b/input/new/markup-lines.ly deleted file mode 100644 index bc32520f8d..0000000000 --- a/input/new/markup-lines.ly +++ /dev/null @@ -1,42 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "text" - texidoc = "Text that can spread over pages is entered with the -@code{\\markuplines} command." - doctitle = "Markup lines" -} - -#(set-default-paper-size "a6") - -#(define-markup-list-command (paragraph layout props args) (markup-list?) - (interpret-markup-list layout props - (make-justified-lines-markup-list (cons (make-hspace-markup 2) args)))) - -% Candide, Voltaire -\markuplines { - \override-lines #'(baseline-skip . 2.5) { - \paragraph { - Il y avait en Westphalie, dans le château de M. le baron de - Thunder-ten-tronckh, un jeune garçon à qui la nature avait donné - les mœurs les plus douces. Sa physionomie annonçait son âme. - Il avait le jugement assez droit, avec l'esprit le plus simple ; - c'est, je crois, pour cette raison qu'on le nommait Candide. Les - anciens domestiques de la maison soupçonnaient qu'il était fils - de la sœur de monsieur le baron et d'un bon et honnête - gentilhomme du voisinage, que cette demoiselle ne voulut jamais - épouser parce qu'il n'avait pu prouver que soixante et onze - quartiers, et que le reste de son arbre généalogique avait été - perdu par l'injure du temps. - } - \paragraph { - Monsieur le baron était un des plus puissants seigneurs de la - Westphalie, car son château avait une porte et des fenêtres. Sa - grande salle même était ornée d'une tapisserie. Tous les chiens - de ses basses-cours composaient une meute dans le besoin ; ses - palefreniers étaient ses piqueurs; le vicaire du village était - son grand-aumônier. Ils l'appelaient tous monseigneur, et ils - riaient quand il faisait des contes. - } - } -} diff --git a/input/new/modern-tab-text-clef.ly b/input/new/modern-tab-text-clef.ly deleted file mode 100644 index ff165ad28b..0000000000 --- a/input/new/modern-tab-text-clef.ly +++ /dev/null @@ -1,30 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "staff-notation, fretted-strings" - - texidoc = " -Use a markup text to replace the (TAB) clef glyph with a modern font. - -" - doctitle = "Modern TAB text clef" -} - -TAB = \markup { - \raise #1.5 - \sans - \bold - \huge - \override #'(baseline-skip . 2.5) - \center-column { - T - A - B - } -} - -\new TabStaff { - \override Staff.Clef #'stencil = #(lambda (grob) - (grob-interpret-markup grob TAB)) - a -} diff --git a/input/new/multi--measure-rest-markup.ly b/input/new/multi--measure-rest-markup.ly deleted file mode 100644 index ffb1b3a347..0000000000 --- a/input/new/multi--measure-rest-markup.ly +++ /dev/null @@ -1,29 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "rhythms, text" - texidoc = "Markups attached to a multi-measure rest will be -centered above or below it. Long markups attached to multi-measure -rests do not cause the measure to expand. To expand a multi-measure -rest to fit the markup, use a spacer rest with an attached markup -before the multi-measure rest. - -Note that the spacer rest causes a bar line to be inserted. Text attached -to a spacer rest in this way is left-aligned to the position where -the note would be placed in the measure, but if the measure length is -determined by the length of the text, the text will appear to be -centered." - doctitle = "Multi-measure rest markup" -} - -\relative c' { - \compressFullBarRests - \textLengthOn - s1*0^\markup { [MAJOR GENERAL] } - R1*19 - s1*0_\markup { \italic { Cue: ... it is yours } } - s1*0^\markup { A } - R1*30^\markup { [MABEL] } - \textLengthOff - c4^\markup { CHORUS } d f c -} diff --git a/input/new/orchestra-choir-and-piano-template.ly b/input/new/orchestra-choir-and-piano-template.ly deleted file mode 100644 index a97706f139..0000000000 --- a/input/new/orchestra-choir-and-piano-template.ly +++ /dev/null @@ -1,158 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "template" - texidoc = " -This template demonstrates the use of nested @code{StaffGroup} -and @code{GrandStaff} contexts to sub-group instruments of the same -type together, and the use of @code{\\transpose} for transposing -instruments. All music in variables is stored in C. Music may be -entered in C or, alternatively, entered in the instrument key and -transposed to C before being assigned to a variable. -" - doctitle = "Orchestra, choir and piano template" -} - -#(set-global-staff-size 17) - -\paper { - indent = 3.0\cm - short-indent = 1.5\cm -} - -fluteMusic = \relative c { \key c \major c'1 d } -oboeMusic = \relative c { \key c \major c'1 d } -clarinetMusic = \relative c { \key c \major c'1 d } -bassoonMusic = \relative c { \clef bass \key c \major c1 d } -trumpetMusic = \relative c { \key c \major c''1 d } -tromboneMusic = \relative c { \key c \major c1 d } -hornIMusic = \relative c { c'1 d } -hornIIMusic = \relative c { c1 d } -percussionMusic = \relative c { \key c \major c1 d } -sopranoMusic = \relative c'' { \key c \major c1 d } -sopranoLyrics = \lyricmode { Sop -- ra } -altoIMusic = \relative c' { \key c \major c1 d } -altoILyrics = \lyricmode { A -- one } -altoIIMusic = \relative c' { \key c \major c1 d } -altoIILyrics = \lyricmode { A -- two } -tenorMusic = \relative c' { \key c \major c1 d } -tenorLyrics = \lyricmode { Ten -- or } -pianoRHMusic = \relative c { \key c \major c'1 d } -pianoLHMusic = \relative c { \key c \major c1 d } -violinIMusic = \relative c { \key c \major c'1 d } -violinIIMusic = \relative c { \key c \major c'1 d } -violaMusic = \relative c { \clef alto \key c \major c'1 d } -celloMusic = \relative c { \clef bass \key c \major c1 d } -bassMusic = \relative c { \clef "bass_8" \key c \major c,1 d } - -\score { - \new GrandStaff = "GrandStaff_score" << - \new StaffGroup = "StaffGroup_woodwinds" << - \new Staff = "Staff_flute" { - \set Staff.instrumentName = #"Flute" - \fluteMusic - } - \new Staff = "Staff_oboe" { - \set Staff.instrumentName = #"Oboe" - \oboeMusic - } - \new Staff = "Staff_clarinet" { - \set Staff.instrumentName = \markup \concat { "Clarinet in B" \flat } - \transposition bes - \transpose bes c' \clarinetMusic - } - \new Staff = "Staff_bassoon" { - \set Staff.instrumentName = #"Bassoon" - \bassoonMusic - } - >> - \new StaffGroup = "StaffGroup_brass" << - \new GrandStaff << - \new Staff = "Staff_hornI" { - \set Staff.instrumentName = #"Horn I" - \transposition f - \transpose f c' \hornIMusic - } - \new Staff = "Staff_hornII" { - \set Staff.instrumentName = #"Horn II" - \clef bass - \transposition f' - \transpose f c \hornIIMusic - } - >> - \new Staff = "Staff_trumpet" { - \set Staff.instrumentName = #"Trumpet in C" - \trumpetMusic - } - \new Staff = "Staff_trombone" { - \set Staff.instrumentName = #"Trombone" - \clef bass - \tromboneMusic - } - >> - \new RhythmicStaff = "RhythmicStaff_percussion" << - \set RhythmicStaff.instrumentName = #"Percussion" - \percussionMusic - >> - \new PianoStaff << - \set PianoStaff.instrumentName = #"Piano" - \new Staff { \pianoRHMusic } - \new Staff { - \clef bass - \pianoLHMusic - } - >> - \new ChoirStaff = "ChoirStaff_choir" << - \new Staff = "Staff_soprano" { - \set Staff.instrumentName = #"Soprano" - \new Voice = "soprano" - \sopranoMusic - } - \new Lyrics \lyricsto "soprano" { \sopranoLyrics } - \new GrandStaff = "GrandStaff_altos" \with { \accepts Lyrics } << - \new Staff = "Staff_altoI" { - \set Staff.instrumentName = #"Alto I" - \new Voice = "altoI" - \altoIMusic - } - \new Lyrics \lyricsto "altoI" { \altoILyrics } - \new Staff = "Staff_altoII" { - \set Staff.instrumentName = #"Alto II" - \new Voice = "altoII" - \altoIIMusic - } - \new Lyrics \lyricsto "altoII" { \altoIILyrics } - >> - \new Staff = "Staff_tenor" { - \set Staff.instrumentName = #"Tenor" - \clef "treble_8" - \new Voice = "tenor" - \tenorMusic - } - \new Lyrics \lyricsto "tenor" { \tenorLyrics } - >> - \new StaffGroup = "StaffGroup_strings" << - \new GrandStaff = "GrandStaff_violins" << - \new Staff = "Staff_violinI" { - \set Staff.instrumentName = #"Violin I" - \violinIMusic - } - \new Staff = "Staff_violinII" { - \set Staff.instrumentName = #"Violin II" - \violinIIMusic - } - >> - \new Staff = "Staff_viola" { - \set Staff.instrumentName = #"Viola" - \violaMusic - } - \new Staff = "Staff_cello" { - \set Staff.instrumentName = #"Cello" - \celloMusic - } - \new Staff = "Staff_bass" { - \set Staff.instrumentName = #"Double Bass" - \bassMusic - } - >> - >> -} diff --git a/input/new/ottava-text.ly b/input/new/ottava-text.ly deleted file mode 100644 index 6110b795d5..0000000000 --- a/input/new/ottava-text.ly +++ /dev/null @@ -1,23 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "pitches, text" - texidoc = " -Internally, @code{\\ottava} sets the properties @code{ottavation} -(for example, to @code{\"8va\"} or @code{\"8vb\"}) and -@code{middleCPosition}. To override the text of the bracket, set -@code{ottavation} after invoking @code{\\ottava}. -" - doctitle = "Ottava text" -} - -{ - \ottava #1 - \set Staff.ottavation = #"8" - c''1 - \ottava #0 - c'1 - \ottava #1 - \set Staff.ottavation = #"Text" - c''1 -} diff --git a/input/new/page-label.ly b/input/new/page-label.ly deleted file mode 100644 index 657ea9efc6..0000000000 --- a/input/new/page-label.ly +++ /dev/null @@ -1,52 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "spacing" - texidoc = "Page labels may be placed inside music or at top-level, -and referred to in markups." - doctitle = "Page label" -} - -#(set-default-paper-size "a6") - -#(define-markup-command (toc-line layout props label text) - (symbol? markup?) - (interpret-markup layout props - (markup #:fill-line (text #:page-ref label "8" "?")))) - -\book { - \markup \huge \fill-line { \null Title Page \null } - - \pageBreak - - \label #'toc - \markup \column { - \large \fill-line { \null Table of contents \null } - \toc-line #'toc "Table of contents" - \toc-line #'firstScore "First Score" - \toc-line #'markA "Mark A" - \toc-line #'markB "Mark B" - \toc-line #'markC "Mark C" - \toc-line #'unknown "Unknown label" - } - - \pageBreak - - \label #'firstScore - \score { - \new Staff \relative c' { - c2 c - \mark \markup { - A (page \concat { \page-ref #'markA "0" "?" ) } - } \label #'markA - c2 c - \pageBreak - \mark "B" \label #'markB - d2 d - d2 d - \once \override Score.RehearsalMark #'break-visibility = - #begin-of-line-invisible - \mark "C" \label #'markC - } - \header { piece = "First score" } - } -} diff --git a/input/new/percent-repeat-count-visibility.ly b/input/new/percent-repeat-count-visibility.ly deleted file mode 100644 index 3ae1e129ad..0000000000 --- a/input/new/percent-repeat-count-visibility.ly +++ /dev/null @@ -1,17 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "repeats, tweaks-and-overrides" - texidoc = " -Percent repeat counters can be shown at regular intervals by setting -the context property @code{repeatCountVisibility}. -" - doctitle = "Percent repeat count visibility" -} - -\relative c'' { - \set countPercentRepeats = ##t - \set repeatCountVisibility = #(every-nth-repeat-count-visible 5) - \repeat percent 10 { c1 } \break - \set repeatCountVisibility = #(every-nth-repeat-count-visible 2) - \repeat percent 6 { c1 d1 } -} diff --git a/input/new/piano-template-with-centered-dynamics.ly b/input/new/piano-template-with-centered-dynamics.ly deleted file mode 100644 index 7bc5cd5b4e..0000000000 --- a/input/new/piano-template-with-centered-dynamics.ly +++ /dev/null @@ -1,80 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "expressive-marks,keyboards,template" - texidoc = " -Many piano scores have the dynamics centered between the two staves. -This requires a bit of tweaking to implement, but since the template is -right here, you don't have to do the tweaking yourself. -" - doctitle = "Piano template with centered dynamics" -} - -global = { - \key c \major - \time 4/4 -} - -upper = \relative c'' { - \clef treble - a4 b c d -} - -lower = \relative c { - \clef bass - a2 c -} - -dynamics = { - s2\fff\> s4 s\!\pp -} - -pedal = { - s2\sustainOn s\sustainOff -} - -\score { - \new PianoStaff = "PianoStaff_pf" << - \new Staff = "Staff_pfUpper" \upper - \new Dynamics = "Dynamics_pf" \dynamics - \new Staff = "Staff_pfLower" << \lower >> - \new Dynamics = "pedal" \pedal - >> - - \layout { - % define Dynamics context - \context { - \type "Engraver_group" - \name Dynamics - \alias Voice - \consists "Output_property_engraver" - \consists "Piano_pedal_engraver" - \consists "Script_engraver" - \consists "New_dynamic_engraver" - \consists "Dynamic_align_engraver" - \consists "Text_engraver" - \consists "Skip_event_swallow_translator" - \consists "Axis_group_engraver" - - pedalSustainStrings = #'("Ped." "*Ped." "*") - pedalUnaCordaStrings = #'("una corda" "" "tre corde") - \override DynamicLineSpanner #'Y-offset = #0 - \override TextScript #'font-size = #2 - \override TextScript #'font-shape = #'italic - \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1) - } - % modify PianoStaff context to accept Dynamics context - \context { - \PianoStaff - \accepts Dynamics - } - } -} - -\score { - \new PianoStaff = "PianoStaff_pf" << - \new Staff = "Staff_pfUpper" << \global \upper \dynamics \pedal >> - \new Staff = "Staff_pfLower" << \global \lower \dynamics \pedal >> - >> - \midi { } -} diff --git a/input/new/positioning-multi--measure-rests.ly b/input/new/positioning-multi--measure-rests.ly deleted file mode 100644 index 235b8baad1..0000000000 --- a/input/new/positioning-multi--measure-rests.ly +++ /dev/null @@ -1,40 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "rhythms,tweaks-and-overrides" - texidoc = " -Unlike ordinary rests, there is no predefined command -to change the staff position of a multi-measure -rest symbol of either form by attaching it to a note. However, -in polyphonic music multi-measure rests in odd-numbered and -even-numbered voices are vertically separated. The positioning -of multi-measure rests can be controlled as follows: - " - doctitle = "Positioning multi-measure rests" -} - -\relative c'' { - % Multi-measure rests by default are set under the second line - R1 - % They can be moved with an override - \override MultiMeasureRest #'staff-position = #-2 - R1 - % A value of 0 is the default position; - % the following trick moves the rest to the center line - \override MultiMeasureRest #'staff-position = #-0.01 - R1 - % Multi-measure rests in odd-numbered voices are under the top line - << { R1 } \\ { a1 } >> - % Multi-measure rests in even-numbered voices are under the bottom line - << { c1 } \\ { R1 } >> - % They remain separated even in empty measures - << { R1 } \\ { R1 } >> - % This brings them together even though there are two voices - \compressFullBarRests - << - \revert MultiMeasureRest #'staff-position - { R1*3 } - \\ - \revert MultiMeasureRest #'staff-position - { R1*3 } - >> -} diff --git a/input/new/printing-the-bar-number-for-the-first-measure.ly b/input/new/printing-the-bar-number-for-the-first-measure.ly deleted file mode 100644 index 86cc793088..0000000000 --- a/input/new/printing-the-bar-number-for-the-first-measure.ly +++ /dev/null @@ -1,23 +0,0 @@ -\version "2.12.1" - -\header { - lsrtags = "rhythms" - - texidoc = " -By default, the first bar number in a score is suppressed if it is -less than or equal to `1'. By setting @code{barNumberVisibility} -to @code{all-bar-numbers-visible}, any bar number can be printed -for the first measure and all subsequent measures. Note that an -empty bar line must be inserted before the first note for this to -work. - -" - doctitle = "Printing the bar number for the first measure" -} - -\relative c' { - \set Score.barNumberVisibility = #all-bar-numbers-visible - \bar "" - c1 d e f \break - g1 e d c -} diff --git a/input/new/quoting-another-voice-with-transposition.ly b/input/new/quoting-another-voice-with-transposition.ly deleted file mode 100644 index 7a87f41d7c..0000000000 --- a/input/new/quoting-another-voice-with-transposition.ly +++ /dev/null @@ -1,39 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "pitches,staff-notation" - texidoc = "Quotations take into account the transposition of both -source and target. In this example, all instruments play sounding -middle C; the target is an instrument in F. The target part may be -transposed using @code{\\transpose}. In this case, all the pitches -(including the quoted ones) are transposed. -" - doctitle = "Quoting another voice with transposition" -} - -\addQuote clarinet { - \transposition bes - \repeat unfold 8 { d'16 d' d'8 } -} - -\addQuote sax { - \transposition es' - \repeat unfold 16 { a8 } -} - -quoteTest = { - % french horn - \transposition f - g'4 - << \quoteDuring #"clarinet" { \skip 4 } s4^"clar." >> - << \quoteDuring #"sax" { \skip 4 } s4^"sax." >> - g'4 -} - -{ - \set Staff.instrumentName = - \markup { - \center-column { Horn \line { in F } } - } - \quoteTest - \transpose c' d' << \quoteTest s4_"up a tone" >> -} diff --git a/input/new/quoting-another-voice.ly b/input/new/quoting-another-voice.ly deleted file mode 100644 index 13da99eacd..0000000000 --- a/input/new/quoting-another-voice.ly +++ /dev/null @@ -1,45 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "staff-notation" - texidoc = "The @code{quotedEventTypes} property determines the -music event types that are quoted. The default value is -@code{(note-event rest-event)}, which means that only notes and -rests of the quoted voice appear in the @code{\\quoteDuring} -expression. In the following example, a 16th rest is not quoted -since @code{rest-event} is not in @code{quotedEventTypes}." - doctitle = "Quoting another voice" -} - -quoteMe = \relative c' { - fis4 r16 a8.-> b4\ff c -} -\addQuote quoteMe \quoteMe - -original = \relative c'' { - c8 d s2 - \once \override NoteColumn #'ignore-collision = ##t - es8 gis8 -} - -<< - \new Staff { - \set Staff.instrumentName = #"quoteMe" - \quoteMe - } - \new Staff { - \set Staff.instrumentName = #"orig" - \original - } - \new Staff \relative c'' << - \set Staff.instrumentName = #"orig+quote" - \set Staff.quotedEventTypes = - #'(note-event articulation-event) - \original - \new Voice { - s4 - \set fontSize = #-4 - \override Stem #'length-fraction = #(magstep -4) - \quoteDuring #"quoteMe" { \skip 2. } - } - >> ->> diff --git a/input/new/setting-hairpin-behavior-at-bar-lines.ly b/input/new/setting-hairpin-behavior-at-bar-lines.ly deleted file mode 100644 index a6dd6584b1..0000000000 --- a/input/new/setting-hairpin-behavior-at-bar-lines.ly +++ /dev/null @@ -1,17 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "expressive-marks" - texidoc = "If the note which ends a hairpin falls on a downbeat, -the hairpin stops at the bar line immediately preceding. This behavior -can be controlled by overriding the @code{'to-barline} property. -" - doctitle = "Setting hairpin behavior at bar lines" -} - -\relative c'' { - e4\< e2. - e1\! - \override Hairpin #'to-barline = ##f - e4\< e2. - e1\! -} diff --git a/input/new/specifying-context-with-beatgrouping.ly b/input/new/specifying-context-with-beatgrouping.ly deleted file mode 100644 index 5744ba37ae..0000000000 --- a/input/new/specifying-context-with-beatgrouping.ly +++ /dev/null @@ -1,32 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "rhythms" - texidoc = " -By specifying the context, the effect of @code{beatGrouping} can be -limited to the context specified, and the values which may have -been set in higher-level contexts can be overridden. The -@code{\\set} commands must be placed @emph{after} all @code{\\time} -commands: -" - doctitle = "Specifying context with beatGrouping" -} - -\score { - \new Staff << - \time 7/8 - \new Voice { - \relative c'' { - \set Staff.beatGrouping = #'(2 3 2) - a8 a a a a a a - } - } - \new Voice { - \relative c' { - \voiceTwo - \set beatGrouping = #'(1 3 3) - f8 f f f f f f - } - } - >> -} diff --git a/input/new/suppressing-warnings-for-clashing-note-columns.ly b/input/new/suppressing-warnings-for-clashing-note-columns.ly deleted file mode 100644 index 5dbf28df0d..0000000000 --- a/input/new/suppressing-warnings-for-clashing-note-columns.ly +++ /dev/null @@ -1,25 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "simultaneous-notes,tweaks-and-overrides" - texidoc = " -If notes from two voices with stems in the same direction are -placed at the same position, and both voices have no shift or the -same shift specified, the error message \"warning: ignoring too -many clashing note columns\" will appear when compiling the -LilyPond file. This message can be suppressed by setting the -@code{'ignore-collision} property of the @code{NoteColumn} object -to @code{#t}. -" - doctitle = "Suppressing warnings for clashing note columns" -} - -ignore = \override NoteColumn #'ignore-collision = ##t - -\relative c' { - << - \ignore - { \stemDown f2 g } - \\ - { c2 c, } - >> -} diff --git a/input/new/table-of-contents.ly b/input/new/table-of-contents.ly deleted file mode 100644 index f639c06222..0000000000 --- a/input/new/table-of-contents.ly +++ /dev/null @@ -1,29 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "paper-and-layout" - texidoc = "A table of contents is included using -@w{@code{\\markuplines \\table-of-contents}}. The TOC items are -added with the @code{\\tocItem} command." - doctitle = "Table of contents" -} - -#(set-default-paper-size "a6") - -\book { - \markuplines \table-of-contents - \pageBreak - \tocItem \markup { The first score } - \score { - { - c'1 \pageBreak - \mark "A" \tocItem \markup { Mark A } - d'1 - } - } - \pageBreak - \tocItem \markup { The second score } - \score { - { e'1 } - \header { piece = "Second score" } - } -} diff --git a/input/new/tick-bar-lines.ly b/input/new/tick-bar-lines.ly deleted file mode 100644 index d237aa67da..0000000000 --- a/input/new/tick-bar-lines.ly +++ /dev/null @@ -1,17 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "staff-notation" - texidoc = " -'Tick' bar lines are often used in music where the bar line is used -only for coordination and is not meant to imply any rhythmic stress. -" - doctitle = "Tick bar lines" -} -\relative c' { - \set Score.defaultBarType = #"'" - c4 d e f - g4 f e d - c4 d e f - g4 f e d - \bar "|." -} diff --git a/input/new/transposing-pitches-with-minimum-accidentals-smart-transpose.ly b/input/new/transposing-pitches-with-minimum-accidentals-smart-transpose.ly deleted file mode 100644 index 1ff8444f55..0000000000 --- a/input/new/transposing-pitches-with-minimum-accidentals-smart-transpose.ly +++ /dev/null @@ -1,84 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "pitches" - texidoc = "This example uses some Scheme code to enforce enharmonic -modifications for notes in order to have the minimum number of -accidentals. In this case, the following rules apply: - -@itemize -@item -Double accidentals should be removed - -@item -B sharp -> C - -@item -E sharp -> F - -@item -C flat -> B - -@item -F flat -> E - -@end itemize - -In this manner, the most natural enharmonic notes are chosen. -" - doctitle = "Transposing music with minimum accidentals" -} - -#(define (naturalize-pitch p) - (let* ((o (ly:pitch-octave p)) - (a (* 4 (ly:pitch-alteration p))) - ; alteration, a, in quarter tone steps, - ; for historical reasons - (n (ly:pitch-notename p))) - (cond - ((and (> a 1) (or (eq? n 6) (eq? n 2))) - (set! a (- a 2)) - (set! n (+ n 1))) - ((and (< a -1) (or (eq? n 0) (eq? n 3))) - (set! a (+ a 2)) - (set! n (- n 1)))) - (cond - ((> a 2) (set! a (- a 4)) (set! n (+ n 1))) - ((< a -2) (set! a (+ a 4)) (set! n (- n 1)))) - (if (< n 0) (begin (set! o (- o 1)) (set! n (+ n 7)))) - (if (> n 6) (begin (set! o (+ o 1)) (set! n (- n 7)))) - (ly:make-pitch o n (/ a 4)))) - -#(define (naturalize music) - (let* ((es (ly:music-property music 'elements)) - (e (ly:music-property music 'element)) - (p (ly:music-property music 'pitch))) - (if (pair? es) - (ly:music-set-property! - music 'elements - (map (lambda (x) (naturalize x)) es))) - (if (ly:music? e) - (ly:music-set-property! - music 'element - (naturalize e))) - (if (ly:pitch? p) - (begin - (set! p (naturalize-pitch p)) - (ly:music-set-property! music 'pitch p))) - music)) - -naturalizeMusic = -#(define-music-function (parser location m) - (ly:music?) - (naturalize m)) - -music = \relative c' { c4 d e g } - -\score { - \new Staff { - \transpose c ais { \music } - \naturalizeMusic \transpose c ais { \music } - \transpose c deses { \music } - \naturalizeMusic \transpose c deses { \music } - } - \layout { } -} diff --git a/input/new/tweaking-grace-layout-within-music.ly b/input/new/tweaking-grace-layout-within-music.ly deleted file mode 100644 index 8459c9c133..0000000000 --- a/input/new/tweaking-grace-layout-within-music.ly +++ /dev/null @@ -1,25 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "rhythms" - texidoc = " -The layout of grace expressions can be changed throughout the -music using the functions @code{add-grace-property} and -@code{remove-grace-property}. The following example undefines -the @code{Stem} direction for this grace, so that stems do not -always point up, and changes the default note heads to crosses. -" - doctitle = "Tweaking grace layout within music" -} - -\relative c'' { - \new Staff { - #(remove-grace-property 'Voice 'Stem 'direction) - #(add-grace-property 'Voice 'NoteHead 'style 'cross) - \new Voice { - \acciaccatura { f16 } g4 - \grace { d16[ e] } f4 - \appoggiatura { f,32[ g a] } e2 - } - } -} diff --git a/input/new/using-beatlength-and-beatgrouping.ly b/input/new/using-beatlength-and-beatgrouping.ly deleted file mode 100644 index fd3c776392..0000000000 --- a/input/new/using-beatlength-and-beatgrouping.ly +++ /dev/null @@ -1,51 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "rhythms" - texidoc = " -The property @code{measureLength} determines where bar lines -should be inserted and, with @code{beatLength} and -@code{beatGrouping}, how automatic beams should be generated -for beam durations and time signatures for which no beam-ending -rules are defined. This example shows several ways of controlling -beaming by setting these properties. The explanations are shown -as comments in the code. -" - doctitle = "Using beatLength and beatGrouping" -} - -\relative c'' { - \time 3/4 - % The default in 3/4 time is to beam in three groups - % each of a quarter note length - a16 a a a a a a a a a a a - - \time 12/16 - % No auto-beaming is defined for 12/16 - a16 a a a a a a a a a a a - - \time 3/4 - % Change time signature symbol, but retain underlying 3/4 beaming - \set Score.timeSignatureFraction = #'(12 . 16) - a16 a a a a a a a a a a a - - % The 3/4 time default grouping of (1 1 1) and beatLength of 1/8 - % are not consistent with a measureLength of 3/4, so the beams - % are grouped at beatLength intervals - \set Score.beatLength = #(ly:make-moment 1 8) - a16 a a a a a a a a a a a - - % Specify beams in groups of (3 3 2 3) 1/16th notes - % 3+3+2+3=11, and 11*1/16<>3/4, so beatGrouping does not apply, - % and beams are grouped at beatLength (1/16) intervals - \set Score.beatLength = #(ly:make-moment 1 16) - \set Score.beatGrouping = #'(3 3 2 3) - a16 a a a a a a a a a a a - - % Specify beams in groups of (3 4 2 3) 1/16th notes - % 3+4+2+3=12, and 12*1/16=3/4, so beatGrouping applies - \set Score.beatLength = #(ly:make-moment 1 16) - \set Score.beatGrouping = #'(3 4 2 3) - a16 a a a a a a a a a a a -} - diff --git a/input/new/using-the--tweak-command-to-tweak-individual-grobs.ly b/input/new/using-the--tweak-command-to-tweak-individual-grobs.ly deleted file mode 100644 index 77f574d359..0000000000 --- a/input/new/using-the--tweak-command-to-tweak-individual-grobs.ly +++ /dev/null @@ -1,20 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "tweaks-and-overrides" - texidoc = " -With the @code{\\tweak} command, every grob can be tuned directly. Here -are some examples of available tweaks. -" - doctitle = "Using the @code{\\tweak} command to tweak individual grobs" -} - -\relative c' { - \time 2/4 - \set fingeringOrientations = #'(right) - < - \tweak #'font-size #3 c - \tweak #'color #red d-\tweak #'font-size #8 -4 - \tweak #'style #'cross g - \tweak #'duration-log #2 a - >2 -} diff --git a/input/new/utf-8.ly b/input/new/utf-8.ly deleted file mode 100644 index e79f0c5831..0000000000 --- a/input/new/utf-8.ly +++ /dev/null @@ -1,63 +0,0 @@ -\version "2.12.0" - -%% Edit this file using a Unicode aware editor, such as GVIM, GEDIT, Emacs - -%{ - -You may have to install additional fonts. - -Red Hat Fedora - - taipeifonts fonts-xorg-truetype ttfonts-ja fonts-arabic \ - ttfonts-zh_CN fonts-ja fonts-hebrew - -Debian GNU/Linux - - apt-get install emacs-intl-fonts xfonts-intl-.* \ - ttf-kochi-gothic ttf-kochi-mincho \ - xfonts-bolkhov-75dpi xfonts-cronyx-100dpi xfonts-cronyx-75dpi -%} - -\header { - lsrtags = "text" - texidoc = "Various scripts may be used for texts (like titles and -lyrics) by entering them in UTF-8 encoding, and using a Pango based -backend. Depending on the fonts installed, this fragment will -render Bulgarian (Cyrillic), Hebrew, Japanese and Portuguese. -" - doctitle = "UTF-8" -} - -% end verbatim - this comment is a hack to prevent texinfo.tex -% from choking on non-European UTF-8 subsets -% Cyrillic font -bulgarian = \lyricmode { - Жълтата дюля беше щастлива, че пухът, който цъфна, замръзна като гьон. -} - -hebrew = \lyricmode { - זה כיף סתם לשמוע איך תנצח קרפד עץ טוב בגן. -} - -japanese = \lyricmode { - いろはにほへど ちりぬるを - わがよたれぞ つねならむ - うゐのおくや まけふこえて - あさきゆめみじ ゑひもせず -} - -% "a legal song to you" -portuguese = \lyricmode { - à vo -- cê uma can -- ção legal -} - -\relative c' { - c2 d - e2 f - g2 f - e1 -} -\addlyrics { \bulgarian } -\addlyrics { \hebrew } -\addlyrics { \japanese } -\addlyrics { \portuguese } diff --git a/input/new/volta-below-chords.ly b/input/new/volta-below-chords.ly deleted file mode 100644 index 1b054a756c..0000000000 --- a/input/new/volta-below-chords.ly +++ /dev/null @@ -1,29 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "repeats,staff-notation,chords" - texidoc = "By adding the @code{Volta_engraver} to the relevant -staff, volte can be put under chords." - doctitle = "Volta under chords" -} - -\score { - << - \chords { - c1 - c1 - } - \new Staff \with { - \consists "Volta_engraver" - } - { - \repeat volta 2 { c'1 } - \alternative { c' } - } - >> - \layout { - \context { - \Score - \remove "Volta_engraver" - } - } -} diff --git a/input/new/volta-multi-staff.ly b/input/new/volta-multi-staff.ly deleted file mode 100644 index a45dddec74..0000000000 --- a/input/new/volta-multi-staff.ly +++ /dev/null @@ -1,30 +0,0 @@ -\version "2.12.0" -\header { - lsrtags = "repeats,staff-notation" - texidoc = "By adding the @code{Volta_engraver} to the relevant -staff, volte can be put over staves other than the topmost -one in a score." - doctitle = "Volta multi-staff" -} - -voltaMusic = \relative c'' { - \repeat volta 2 { - c1 - } - \alternative { - d1 - e - } -} - -<< - \new StaffGroup << - \new Staff \voltaMusic - \new Staff \voltaMusic - >> - \new StaffGroup << - \new Staff \with { \consists "Volta_engraver" } - \voltaMusic - \new Staff \voltaMusic - >> ->> diff --git a/input/new/volta-text-markup-using-repeatcommands.ly b/input/new/volta-text-markup-using-repeatcommands.ly deleted file mode 100644 index a12c28599c..0000000000 --- a/input/new/volta-text-markup-using-repeatcommands.ly +++ /dev/null @@ -1,27 +0,0 @@ -\version "2.12.0" - -\header { - lsrtags = "repeats" - texidoc = "Though volte are best specified using -@code{\\repeat volta}, the context property @code{repeatCommands} -must be used in cases where the volta text needs more advanced -formatting with @code{\\markup}. - -Since @code{repeatCommands} takes a list, the simplest method of -including markup is to use an identifier for the text and embed -it in the command list using the Scheme syntax -@w{@code{#(list (list 'volta textIdentifier))}}. Start- and -end-repeat commands can be added as separate list elements:" -doctitle = "Volta text markup using @code{repeatCommands}" -} - -voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } } - -\relative c'' { - c1 - \set Score.repeatCommands = #(list (list 'volta voltaAdLib) 'start-repeat) - c4 b d e - \set Score.repeatCommands = #'((volta #f) (volta "4.") end-repeat) - f1 - \set Score.repeatCommands = #'((volta #f)) -}