From: Valentin Villenave Date: Thu, 2 Oct 2008 07:01:34 +0000 (+0200) Subject: update from Andrew in NR1 Staff and Simultaneous X-Git-Tag: release/2.11.62-1~48 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=c3d7d4ce5ed543471fc809b591663d3b8ad0e5ce;p=lilypond.git update from Andrew in NR1 Staff and Simultaneous --- diff --git a/Documentation/fr/user/staff.itely b/Documentation/fr/user/staff.itely index 17eab91bad..a910c67be7 100644 --- a/Documentation/fr/user/staff.itely +++ b/Documentation/fr/user/staff.itely @@ -34,7 +34,7 @@ seulement. @menu * Instantiating new staves:: * Grouping staves:: -* Deeper nested staff groups:: +* Nested staff groups:: @end menu @node Instantiating new staves @@ -133,8 +133,8 @@ en profondeur, >> @end lilypond -@node Deeper nested staff groups -@unnumberedsubsubsec Deeper nested staff groups +@node Nested staff groups +@unnumberedsubsubsec Nested staff groups @untranslated diff --git a/Documentation/user/simultaneous.itely b/Documentation/user/simultaneous.itely index 53f47778b6..4ab75da163 100644 --- a/Documentation/user/simultaneous.itely +++ b/Documentation/user/simultaneous.itely @@ -53,10 +53,10 @@ articulations, just like simple notes: 2 4-> -. @end lilypond -Relative mode can be used for pitches in chords; the preceding pitch -into the same chord is still used as a reference for relative pitches, -but when a chord is completed, the reference pitch for relative mode -is the first note of this chord --not the last note of the chord. +Relative mode can be used for pitches in chords. The octave of each +pitch is chosen using the preceding pitch as a reference except in the +case of the first pitch in a chord: the reference for the first pitch is +the @emph{first} pitch of the preceding chord. For more information about chords, see @ref{Chord notation}. @@ -127,6 +127,7 @@ Clusters do not have a stem and cannot indicate durations by themselves. Separate clusters would need a separating rest between them. +Clusters do not produce MIDI output. @node Multiple voices @subsection Multiple voices @@ -248,7 +249,8 @@ becomes voice three which has the stems up as desired. >> @end lilypond -Spacer rests are often used to avoid too many rests, as seen in the +@noindent +Spacer rests are often used to avoid having too many rests, as seen in the example above. In all but simplest works it is advisable to create explicit @@ -471,7 +473,7 @@ two) have @code{\shiftOff}, while the inner voices (three and four) have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define further shift levels. -Notes are only merged if they have opposing stem directions (i.e., in +Notes are only merged if they have opposing stem directions (e.g. in @code{Voice} 1 and 2). @@ -635,6 +637,8 @@ Internals Reference: @knownissues +@code{\partcombine} can only accept two voices. + When @code{printPartCombineTexts} is set, if the two voices play the same notes on and off, the part combiner may typeset @code{a2} more than once in a measure. @@ -644,12 +648,17 @@ more than once in a measure. @code{\partcombine} cannot be inside @code{\relative}. Internally, the @code{\partcombine} interprets both arguments as -@code{Voice}s named @code{one} and @code{two}, and then decides -when the parts can be combined. Consequently, if the arguments -switch to differently named @rinternals{Voice} contexts, the -events in those will be ignored. - -@c IIRC in users list someone pointed out more issues. TODO: lookup FV +@code{Voice}s and decides when the parts can be combined. When they have +different durations they cannot be combined and are given the names +@code{one} and @code{two}. Consequently, if the arguments switch to +differently named @rinternals{Voice} contexts, the events in those will +be ignored. Likewise, partcombining isn't designed to work with lyrics; +when one of the voices is explicitly named in order to attach lyrics to +it, the partcombining stops working. + +@code{\partcombine} only observes onset times of notes. It cannot +determine whether a previously started note is playing or not, leading +to various problems. @node Writing music in parallel diff --git a/Documentation/user/staff.itely b/Documentation/user/staff.itely index 529ab05320..de96d52b06 100644 --- a/Documentation/user/staff.itely +++ b/Documentation/user/staff.itely @@ -34,7 +34,7 @@ with either a bracket or a brace. @menu * Instantiating new staves:: * Grouping staves:: -* Deeper nested staff groups:: +* Nested staff groups:: @end menu @@ -265,8 +265,8 @@ Internals Reference: @rinternals{SystemStartSquare}. -@node Deeper nested staff groups -@unnumberedsubsubsec Deeper nested staff groups +@node Nested staff groups +@unnumberedsubsubsec Nested staff groups @cindex staff, nested @cindex staves, nested @@ -440,8 +440,8 @@ affects the spacing of ledger lines as well. { a4 b c d } @end lilypond -The width of a staff can be modified. The unit is one staff -space. The spacing of objects inside the staff is not affected by +The width of a staff can be modified. The units are staff +spaces. The spacing of objects inside the staff is not affected by this setting. @lilypond[verbatim,quote,relative=1] @@ -452,7 +452,7 @@ this setting. @end lilypond Further details about the properties of @code{StaffSymbol} can be -found here: @rinternals{staff-symbol-interface}. +found in @rinternals{staff-symbol-interface}. @funindex \startStaff @funindex \stopStaff @@ -1088,12 +1088,16 @@ Internals Reference: @cindex fragments @cindex cue notes -Fragments of other parts can be inserted directly into a music -expression; this is called @emph{quotation}. Before a part can be -quoted, the @code{\addQuote} command must be used to initialize -the quoted fragment. This command must be used in the toplevel -scope. The first argument is an identifying string, and the -second is a music expression: +It is very common for one voice to double the some of the music from +another voice. For example, the first and second violins may play the +same notes during a passage of music. In LilyPond this is accomplished +by letting one voice @emph{quote} the other voice without having to +re-enter it. + +Before a part can be quoted, the @code{\addQuote} command must be used +to initialize the quoted fragment. This command must be used in the +toplevel scope. The first argument is an identifying string, and the +second is a music expression: @example flute = \relative c'' @{ @@ -1102,10 +1106,12 @@ flute = \relative c'' @{ \addQuote "flute" @{ \flute @} @end example -The @code{\quoteDuring} command is used to indicate when the -quotation should take place. The corresponding measures from the -quotation are inserted into the music expression. The syntax is -similar to @code{\addQuote}: +The @code{\quoteDuring} command is used to indicate the point where the +quotation begins. It is followed by two arguments: the name of the +quoted voice, as defined with @code{\addQuote}, and a music expression +that indicates the duration of the quote, usually spacer rests or +multi-measure rests. The corresponding music from the quoted voice is +inserted into the music expression: @lilypond[verbatim,quote] flute = \relative c'' {