From: Han-Wen Nienhuys Date: Wed, 31 Mar 2004 12:25:44 +0000 (+0000) Subject: * Documentation/user/notation.itely (Ancient clefs): idem. X-Git-Tag: release/2.1.37~2 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=d92e5bf29f6a1f28dc8aa706eb69aee346c08c09;p=lilypond.git * Documentation/user/notation.itely (Ancient clefs): idem. * Documentation/user/lilypond-book.itely (Integrating HTML and music): idem. * Documentation/user/cheatsheet.itely (Cheat sheet): octave fixes. * Documentation/user/notation.itely (Automatic part combining): add note about \relative. --- diff --git a/ChangeLog b/ChangeLog index f00f04b6f4..7487f2dcb5 100644 --- a/ChangeLog +++ b/ChangeLog @@ -1,5 +1,11 @@ 2004-03-31 Han-Wen Nienhuys + * Documentation/user/notation.itely (Ancient clefs): idem. + + * Documentation/user/lilypond-book.itely (Integrating HTML and music): idem. + + * Documentation/user/cheatsheet.itely (Cheat sheet): octave fixes. + * lily/change-iterator.cc (process): use find_existing_context(). * input/test/polymetric-differing-notes.ly: use ly:music-compress. @@ -76,6 +82,8 @@ 2004-03-30 Han-Wen Nienhuys + * VERSION: release 2.1.36 + * Documentation/user/changing-defaults.itely (Interpretation contexts): rewrite introduction. diff --git a/Documentation/user/cheatsheet.itely b/Documentation/user/cheatsheet.itely index b221076f71..f97a38c262 100644 --- a/Documentation/user/cheatsheet.itely +++ b/Documentation/user/cheatsheet.itely @@ -30,7 +30,7 @@ c4. c4.. @item @code{c d e f g a b } @tab scale @tab -@lilypond[relative=2,notime] +@lilypond[relative=1,notime] c d e f g a b @end lilypond @@ -209,7 +209,7 @@ a\> a a\! @item @code{\times 2/3 @{f g a@}} @tab triplets @tab -@lilypond[relative=2,fragment] +@lilypond[relative=1,fragment] \times 2/3 { f8 g a } @end lilypond @@ -260,7 +260,7 @@ twinkle @item @code{<<@{e f@} \\@{c d@}>>} @tab polyphony @tab -@lilypond[fragment,relative=3] +@lilypond[fragment,relative=2] \context Staff <<{e f} \\ {c d}>> @end lilypond diff --git a/Documentation/user/lilypond-book.itely b/Documentation/user/lilypond-book.itely index a7e2148362..42a7263c60 100644 --- a/Documentation/user/lilypond-book.itely +++ b/Documentation/user/lilypond-book.itely @@ -227,12 +227,12 @@ of which lilypond-book will produce a HTML with appropriate image tags for the music fragments: @example - + \key c \minor r8 c16 b c8 g as c16 b c8 d | g,4 @end example -@lilypond[relative=1] +@lilypond[relative=2] \key c \minor r8 c16 b c8 g as c16 b c8 d | g,4 @end lilypond diff --git a/Documentation/user/notation.itely b/Documentation/user/notation.itely index e1a13537a2..3757b97884 100644 --- a/Documentation/user/notation.itely +++ b/Documentation/user/notation.itely @@ -725,7 +725,7 @@ by replacing the @internalsref{Note_heads_engraver} by the In the following examples, notes crossing the bar line are split and tied. -@lilypond[quote,fragment,verbatim,relative=2,raggedright] +@lilypond[quote,fragment,verbatim,relative=1,raggedright] \new Voice \with { \remove "Note_heads_engraver" \consists "Completion_heads_engraver" @@ -1232,8 +1232,8 @@ The command @code{\oneVoice} will revert back to the normal setting. Normally, note heads with a different number of dots are not merged, but when the object property @code{merge-differently-dotted} is set in the @internalsref{NoteCollision} object, they are merged -@lilypond[quote,verbatim,fragment,raggedright] -\relative c'' \context Voice << { +@lilypond[quote,verbatim,fragment,raggedright,relative=2] +\context Voice << { g8 g8 \override Staff.NoteCollision #'merge-differently-dotted = ##t @@ -1243,7 +1243,7 @@ the @internalsref{NoteCollision} object, they are merged Similarly, you can merge half note heads with eighth notes, by setting @code{merge-differently-headed} -@lilypond[quote,fragment,relative=3,verbatim] +@lilypond[quote,fragment,relative=2,verbatim] \context Voice << { c8 c4. \override Staff.NoteCollision @@ -1326,7 +1326,7 @@ notation (see @ref{Clusters}). Beams are used to group short notes into chunks that are aligned with the metrum. They are inserted automatically -@lilypond[quote,fragment,verbatim,relative=3] +@lilypond[quote,fragment,verbatim,relative=2] \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8 @end lilypond @@ -1337,7 +1337,7 @@ that differ from the defaults. Individual notes may be marked with @code{\noBeam}, to prevent them from being beamed -@lilypond[quote,fragment,verbatim,relative=3] +@lilypond[quote,fragment,verbatim,relative=2] \time 2/4 c8 c\noBeam c c @end lilypond @@ -2063,10 +2063,10 @@ of the chord by adding them after the pitches @end lilypond @noindent -In this case, setting @code{fingeringOrientations} will put fingerings next +iIn this case, setting @code{fingeringOrientations} will put fingerings next to note heads -@lilypond[quote,verbatim,raggedright,fragment,relative=2] +@lilypond[quote,verbatim,raggedright,fragment,relative=1] \set fingeringOrientations = #'(left down) 4 \set fingeringOrientations = #'(up right down) @@ -2145,7 +2145,7 @@ They are entered with the commands @code{\acciaccatura} and @cindex appoggiatura @cindex acciaccatura -@lilypond[quote,relative=3,verbatim,fragment] +@lilypond[quote,relative=2,verbatim,fragment] b4 \acciaccatura d8 c4 \appoggiatura e8 d4 \acciaccatura { g16[ f] } e4 @end lilypond @@ -2153,7 +2153,8 @@ b4 \acciaccatura d8 c4 \appoggiatura e8 d4 Both are special forms of the @code{\grace} command. By prefixing this keyword to a music expression, a new one is formed, which will be printed in a smaller font and takes up no logical time in a measure. -@lilypond[quote,relative=3,verbatim,fragment] + +@lilypond[quote,relative=2,verbatim,fragment] c4 \grace c16 c4 \grace { c16[ d16] } c2 c4 @end lilypond @@ -2192,7 +2193,7 @@ The placement of grace notes is synchronized between different staves. In the following example, there are two sixteenth graces notes for every eighth grace note -@lilypond[quote,relative=3,verbatim,fragment] +@lilypond[quote,relative=2,verbatim,fragment] << \new Staff { e4 \grace { c16[ d e f] } e4 } \new Staff { c'4 \grace { g8[ b] } c4 } >> @end lilypond @@ -2202,7 +2203,7 @@ every eighth grace note If you want to end a note with a grace, the standard trick is to put the grace notes after a ``space note'' -@lilypond[quote,fragment,verbatim,relative=3] +@lilypond[quote,fragment,verbatim,relative=2] \context Voice { << { d1^\trill ( } { s2 \grace { c16[ d] } } >> @@ -2267,7 +2268,7 @@ Grace note synchronization can also lead to surprises. Staff notation, such as key signatures, bar lines, etc. are also synchronized. Take care when you mix staves with grace notes and staves without, for example, -@lilypond[quote,relative=3,verbatim,fragment] +@lilypond[quote,relative=2,verbatim,fragment] << \new Staff { e4 \bar "|:" \grace c16 d4 } \new Staff { c4 \bar "|:" d4 } >> @end lilypond @@ -2375,7 +2376,7 @@ example You can also use a text saying @emph{cresc.} instead of hairpins. Here is an example how to do it -@lilypond[quote,fragment,relative=3,verbatim] +@lilypond[quote,fragment,relative=2,verbatim] \setTextCresc c \< d e f\! \setHairpinCresc @@ -2570,7 +2571,7 @@ alphabetic characters. Or, stops a running volta bracket @end table -@lilypond[quote,verbatim,fragment,relative=3] +@lilypond[quote,verbatim,fragment,relative=2] c4 \set Score.repeatCommands = #'((volta "93") end-repeat) c4 c4 @@ -3124,7 +3125,7 @@ information. Pedals can also be indicated by a sequence of brackets, by setting the @code{pedalSustainStyle} property to @code{bracket} objects -@lilypond[quote,fragment,verbatim,relative=3] +@lilypond[quote,fragment,verbatim,relative=2] \set Staff.pedalSustainStyle = #'bracket c\sustainDown d e b\sustainUp\sustainDown @@ -3135,7 +3136,7 @@ A third style of pedal notation is a mixture of text and brackets, obtained by setting the @code{pedalSustainStyle} style property to @code{mixed} -@lilypond[quote,fragment,verbatim,relative=3] +@lilypond[quote,fragment,verbatim,relative=2] \set Staff.pedalSustainStyle = #'mixed c\sustainDown d e b\sustainUp\sustainDown @@ -3146,7 +3147,7 @@ The default `*Ped.' style for sustain and damper pedals corresponds to style @code{#'text}. The sostenuto pedal uses @code{mixed} style by default. -@lilypond[quote,fragment,verbatim,relative=3] +@lilypond[quote,fragment,verbatim,relative=2] c\sostenutoDown d e c, f g a\sostenutoUp @end lilypond @@ -3156,7 +3157,7 @@ For fine-tuning of the appearance of a pedal bracket, the properties @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the bracket may be extended to the end of the note head -@lilypond[quote,fragment,verbatim] +@lilypond[quote,fragment,verbatim,relative=2] \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0) c\sostenutoDown d e c, f g a\sostenutoUp @@ -3547,7 +3548,7 @@ The complete example is shown here Stanza numbers can be added by setting @code{stanza}, e.g. -@lilypond[quote,verbatim,relative=3] +@lilypond[quote,verbatim,relative=2] << \context Voice = duet { \time 3/4 g2 e4 a2 f4 g2. } @@ -4242,7 +4243,7 @@ and @internalsref{Staff}.@code{instr}. This will print a string before the start of the staff. For the first start, @code{instrument} is used, for the next ones @code{instr} is used. -@lilypond[quote,verbatim,raggedright,relative=3] +@lilypond[quote,verbatim,raggedright,relative=1] \set Staff.instrument = "Ploink " \set Staff.instr = "Plk " c1 diff --git a/VERSION b/VERSION index 3c7fff45ac..c0c3e9befd 100644 --- a/VERSION +++ b/VERSION @@ -1,6 +1,6 @@ PACKAGE_NAME=LilyPond MAJOR_VERSION=2 MINOR_VERSION=1 -PATCH_LEVEL=36 +PATCH_LEVEL=37 MY_PATCH_LEVEL=