From: Trevor Daniels Date: Mon, 8 Apr 2013 11:42:16 +0000 (+0000) Subject: Doc: use @dots{} rather than "..." X-Git-Tag: release/2.17.17-1~27^2~7 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=bb994e1c15cd048c12ab3d777e90b447bbf37b16;p=lilypond.git Doc: use @dots{} rather than "..." --- diff --git a/Documentation/learning/fundamental.itely b/Documentation/learning/fundamental.itely index 482425df14..8d6d0060d1 100644 --- a/Documentation/learning/fundamental.itely +++ b/Documentation/learning/fundamental.itely @@ -57,7 +57,7 @@ A basic example of a LilyPond input file is \header @{ @} \score @{ - @var{...compound music expression...} % all the music goes here! + @var{ @dots{} compound music expression @dots{} } % all the music goes here! \layout @{ @} \midi @{ @} @} @@ -133,13 +133,13 @@ note to a huge compound expression like @example @{ \new StaffGroup << - @var{...insert the whole score of a Wagner opera in here...} + @var{ @dots{} insert the whole score of a Wagner opera in here @dots{} } >> @} @end example @noindent -Since everything is inside @code{@{ ... @}}, it counts +Since everything is inside @code{@{ @dots{} @}}, it counts as one music expression. As we saw previously, the @code{\score} block can contain other @@ -301,12 +301,12 @@ Here we have given names to the staves -- @qq{singer} and to cultivate so that you can see at a glance what each stave is for. -Remember that we use @code{<< ... >>} instead of @code{@{ ... @}} to +Remember that we use @code{<< @dots{} >>} instead of @code{@{ @dots{} @}} to show simultaneous music. This causes the vocal part and piano part -to appear one above the other in the score. The @code{<< ... >>} +to appear one above the other in the score. The @code{<< @dots{} >>} construct would not be necessary for the Singer staff in the example above if it were going to contain only one sequential music -expression, but @code{<< ... >>} rather than braces is necessary if +expression, but @code{<< @dots{} >>} rather than braces is necessary if the music in the Staff is to contain two or more simultaneous expressions, e.g. two simultaneous Voices, or a Voice with lyrics. We're going to have a voice with lyrics, so angle brackets are @@ -484,27 +484,27 @@ constructs. @multitable @columnfractions .3 .7 @headitem Bracket Type @tab Function -@item @code{@{ .. @}} +@item @code{@{ @dots{} @}} @tab Encloses a sequential segment of music -@item @code{< .. >} +@item @code{< @dots{} >} @tab Encloses the notes of a chord -@item @code{<< .. >>} +@item @code{<< @dots{} >>} @tab Encloses simultaneous music expressions -@item @code{( .. )} +@item @code{( @dots{} )} @tab Marks the start and end of a slur -@item @code{\( .. \)} +@item @code{\( @dots{} \)} @tab Marks the start and end of a phrasing slur -@item @code{[ .. ]} +@item @code{[ @dots{} ]} @tab Marks the start and end of a manual beam @end multitable To these we should add other constructs which generate lines between or across notes: ties (marked by a tilde, @code{~}), -tuplets written as @code{\times x/y @{..@}}, and grace notes -written as @code{\grace@{..@}}. +tuplets written as @code{\tuplet x/y @{ @dots{} @}}, and grace notes +written as @code{\grace @{ @dots{} @}}. Outside LilyPond, the conventional use of brackets requires the -different types to be properly nested, like this, @code{<< [ @{ ( .. ) +different types to be properly nested, like this, @code{<< [ @{ ( @dots{} ) @} ] >>}, with the closing brackets being encountered in exactly the opposite order to the opening brackets. This @strong{is} a requirement for the three types of bracket described by the word @@ -593,7 +593,7 @@ this example of four chords: @end lilypond This can be expressed using just the single angle bracket chord -symbols, @code{< ... >}, and for this just a single voice is +symbols, @code{< @dots{} >}, and for this just a single voice is needed. But suppose the F-sharp were actually an eighth-note followed by an eighth-note G, a passing note on the way to the A? Now we have two notes which start at the same time but have @@ -610,8 +610,8 @@ Let us see how this is done in LilyPond input syntax. @funindex \\ The easiest way to enter fragments with more than one voice on a -staff is to enter each voice as a sequence (with @code{@{...@}}), -and combine them simultaneously with angle brackets, @code{<<...>>}. +staff is to enter each voice as a sequence (with @code{@{ @dots{} @}}), +and combine them simultaneously with angle brackets, @code{<< @dots{} >>}. The fragments must also be separated with double backward slashes, @code{\\}, to place them in separate voices. Without these, the notes would be entered into a single voice, which would usually @@ -689,7 +689,7 @@ of slurs, stems, ties, dynamics etc., is set appropriately. @end lilypond These voices are all separate from the main voice that contains -the notes just outside the @code{<< .. >>} construct. Let's call +the notes just outside the @code{<< @dots{} >>} construct. Let's call this the @emph{simultaneous construct}. Slurs and ties may only connect notes within the same voice, so slurs and ties cannot go into or out of a simultaneous construct. Conversely, @@ -775,13 +775,13 @@ voices are widely separated, is to place a @code{\relative} command at the start of each voice: @example -\relative c' @{ noteA ... @} +\relative c' @{ noteA @dots{} @} << - \relative c'' @{ < noteB noteC > ... @} + \relative c'' @{ < noteB noteC > @dots{} @} \\ - \relative g' @{ noteD ... @} + \relative g' @{ noteD @dots{} @} >> -\relative c' @{ noteE ... @} +\relative c' @{ noteE @dots{} @} @end example Let us finally analyze the voices in a more complex piece of music. @@ -1842,7 +1842,7 @@ The default value of context properties may be set at the time the context is created. Sometimes this is a clearer way of setting a property value if it is to remain fixed for the duration of the context. When a context is created with a @code{\new} -command it may be followed immediately by a @code{\with @{ .. @}} +command it may be followed immediately by a @code{\with @{ @dots{} @}} block in which the default property values are set. For example, if we wish to suppress the printing of extra naturals for the duration of a staff we would write: @@ -2778,12 +2778,12 @@ see what errors it generates. @end example It is not necessary to use the simultaneous construct -@code{<< .. >>} for the manual two staff and the pedal organ staff, +@code{<< @dots{} >>} for the manual two staff and the pedal organ staff, since they contain only one music expression, but it does no harm, and always using angle brackets after @code{\new Staff} is a good habit to cultivate in case there are multiple voices. The opposite is true for Voices: these should habitually be followed by braces -@code{@{ .. @}} in case your music is coded in several variables +@code{@{ @dots{} @}} in case your music is coded in several variables which need to run consecutively. Let's add this structure to the score block, and adjust the indenting.