From: Graham Percival Date: Fri, 21 Sep 2007 21:28:44 +0000 (-0700) Subject: Fix makeinfo --html doc build. X-Git-Tag: release/2.11.35-1~46^2~144 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=f643c5aab8d4567b1e54c88c14f46a42cccec334;p=lilypond.git Fix makeinfo --html doc build. --- diff --git a/Documentation/user/GNUmakefile b/Documentation/user/GNUmakefile index e7bc152691..98105a17ea 100644 --- a/Documentation/user/GNUmakefile +++ b/Documentation/user/GNUmakefile @@ -38,8 +38,6 @@ include $(depth)/make/stepmake.make info: $(INFO_FILES) -pathsettings: - @echo export PATH=$(PATH) @echo export LILYPOND_DATADIR=$(LILYPOND_DATADIR) @echo export PYTHONPATH=$(PYTHONPATH) @@ -152,6 +150,8 @@ $(outdir)/lilypond.nexi: $(outdir)/lilypond-internals.texi $(outdir)/lilypond/index.html: $(outdir)/lilypond.texi $(OUT_PNG_IMAGES) $(OUT_EPS_IMAGES) mkdir -p $(dir $@) $(MAKEINFO) -I$(outdir) --output=$(outdir)/lilypond --css-include=$(top-src-dir)/Documentation/texinfo.css --html $< +# we /might/ switch to texi2html if it can be fixed: +# texi2html -I $(outdir) --output=$(outdir)/lilypond --css-include=$(top-src-dir)/Documentation/texinfo.css $< find $(outdir)/lilypond/ -name '*'.png -o -name '*'.ly | xargs rm -f # symbolic links to save space (cd $(outdir)/lilypond/ ; ln -sf ../*.png ../*.ly . ) diff --git a/Documentation/user/ancient.itely b/Documentation/user/ancient.itely index 357f1b082b..3822a941ea 100644 --- a/Documentation/user/ancient.itely +++ b/Documentation/user/ancient.itely @@ -80,6 +80,15 @@ up during the baroque period. Here are all subtopics at a glance: +@menu +* Ancient TODO:: +@end menu + +@node Ancient TODO +@subsection Ancient TODO + + + @menu * Ancient note heads:: * Ancient accidentals:: @@ -99,9 +108,7 @@ Here are all subtopics at a glance: * Figured bass:: @end menu - - -@anchor{Ancient note heads} +@node Ancient note heads @unnumberedsubsubsec Ancient note heads @cindex note heads, ancient @@ -143,7 +150,7 @@ engravers work. @ref{Note head styles}, gives an overview over all available note head styles. -@anchor{Ancient accidentals} +@node Ancient accidentals @unnumberedsubsubsec Ancient accidentals @cindex accidentals @@ -212,7 +219,7 @@ Program reference: @internalsref{KeySignature}. Examples: @lsrdir{ancient} -@anchor{Ancient rests} +@node Ancient rests @unnumberedsubsubsec Ancient rests @cindex rests, ancient @@ -248,7 +255,7 @@ In this manual: @ref{Rests}, gives a general introduction into the use of rests. -@anchor{Ancient clefs} +@node Ancient clefs @unnumberedsubsubsec Ancient clefs @cindex clefs @@ -487,7 +494,7 @@ The mensural g clef is mapped to the Petrucci g clef. -@anchor{Ancient flags} +@node Ancient flags @unnumberedsubsubsec Ancient flags @cindex flags @@ -525,7 +532,7 @@ staff lines. This may not always be true when using advanced layout features of classical notation (which however are typically out of scope for mensural notation). -@anchor{Ancient time signatures} +@node Ancient time signatures @unnumberedsubsubsec Ancient time signatures @cindex time signatures @@ -638,7 +645,7 @@ This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note. The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not addressable with @code{\time}. Use a @code{\markup} instead -@anchor{Ancient articulations} +@node Ancient articulations @unnumberedsubsubsec Ancient articulations @cindex articulations @@ -672,7 +679,7 @@ corresponding note heads. The episem line is not displayed in many cases. If it is displayed, the right end of the episem line is often too far to the right. -@anchor{Custodes} +@node Custodes @unnumberedsubsubsec Custodes @cindex custos @@ -752,7 +759,7 @@ Examples: @lsr{ancient,custodes@/.ly}. -@anchor{Divisiones} +@node Divisiones @unnumberedsubsubsec Divisiones @cindex divisio @@ -803,7 +810,7 @@ Program reference: @internalsref{BreathingSign}. Examples: @lsr{expressive,breathing-sign.ly}. -@anchor{Ligatures} +@node Ligatures @unnumberedsubsubsec Ligatures @cindex Ligatures @@ -861,7 +868,7 @@ with the same effect and is believed to be stable. * Gregorian square neumes ligatures:: @end menu -@anchor{White mensural ligatures} +@node White mensural ligatures @unnumberedsubsubsec White mensural ligatures @cindex Mensural ligatures @@ -950,7 +957,7 @@ to the following Horizontal spacing is poor. -@anchor{Gregorian square neumes ligatures} +@node Gregorian square neumes ligatures @unnumberedsubsubsec Gregorian square neumes ligatures @cindex Square neumes ligatures @@ -1902,7 +1909,7 @@ of the staff. unary music function, such that @code{\augmentum} can be intermixed with head prefixes in arbitrary order. -@anchor{Gregorian Chant contexts} +@node Gregorian Chant contexts @unnumberedsubsubsec Gregorian Chant contexts @cindex VaticanaVoiceContext @@ -1936,7 +1943,7 @@ the following excerpt demonstrates @end lilypond -@anchor{Mensural contexts} +@node Mensural contexts @unnumberedsubsubsec Mensural contexts @cindex MensuralVoiceContext @@ -1968,7 +1975,7 @@ entering the chant, as the following excerpt demonstrates } @end lilypond -@anchor{Musica ficta accidentals} +@node Musica ficta accidentals @unnumberedsubsubsec Musica ficta accidentals In European music from before about 1600, singers were often expected @@ -1995,7 +2002,7 @@ ais bis Program reference: @internalsref{Accidental_engraver} engraver and the @internalsref{AccidentalSuggestion} object. -@anchor{Figured bass} +@node Figured bass @unnumberedsubsubsec Figured bass @cindex Basso continuo diff --git a/Documentation/user/chords.itely b/Documentation/user/chords.itely index 63d5b2fb1c..706766194e 100644 --- a/Documentation/user/chords.itely +++ b/Documentation/user/chords.itely @@ -4,13 +4,25 @@ @node Chords Blah @section Chords Blah +Intro text. + @menu +* TODO chords fix:: @end menu +@node TODO chords fix +@subsection TODO chords fix + @c awkward name; awkward section name. @c still, the Basic "chords" seems like a good name... :( -@anchor{Introducing chord names} +@menu +* Introducing chord names:: +* Chords mode:: +* Printing chord names:: +@end menu + +@node Introducing chord names @unnumberedsubsubsec Introducing chord names @cindex chord names @@ -46,7 +58,7 @@ Note that the duration of chords must be specified outside the @end example -@anchor{Chords mode} +@node Chords mode @unnumberedsubsubsec Chords mode @cindex Chords mode @@ -182,7 +194,7 @@ last @end lilypond -@anchor{Printing chord names} +@node Printing chord names @unnumberedsubsubsec Printing chord names @cindex printing chord names diff --git a/Documentation/user/educational.itely b/Documentation/user/educational.itely index 8c0cbc1810..4c29a03934 100644 --- a/Documentation/user/educational.itely +++ b/Documentation/user/educational.itely @@ -13,7 +13,14 @@ @node Note heads @subsection Note heads -@anchor{Easy notation note heads} +@menu +* Easy notation note heads:: +* Shape note heads:: +* Improvisation:: +* Special noteheads:: +@end menu + +@node Easy notation note heads @unnumberedsubsubsec Easy notation note heads @cindex note heads, practice @@ -40,7 +47,7 @@ to be printed in a large font size. To print with a larger font, see @code{\setEasyHeads} -@anchor{Shape note heads} +@node Shape note heads @unnumberedsubsubsec Shape note heads @cindex note heads, shape @@ -78,7 +85,7 @@ combinations are possible, e.g. @end lilypond -@anchor{Improvisation} +@node Improvisation @unnumberedsubsubsec Improvisation Improvisation is sometimes denoted with slashed note heads. Such note @@ -110,7 +117,7 @@ the following example @end lilypond -@anchor{Special noteheads} +@node Special noteheads @unnumberedsubsubsec Special noteheads @cindex note heads, special @@ -144,7 +151,17 @@ Program reference: @internalsref{NoteHead}. @subsection Inside the staff -@anchor{Selecting notation font size} +@menu +* Selecting notation font size:: +* Fingering instructions:: +* Hidden notes:: +* Coloring objects:: +* Parentheses:: +* Ambitus:: +* Stems:: +@end menu + +@node Selecting notation font size @unnumberedsubsubsec Selecting notation font size The easiest method of setting the font size of any context is by @@ -201,7 +218,7 @@ The following commands set @code{fontSize} for the current voice: @code{\normalsize}. -@anchor{Fingering instructions} +@node Fingering instructions @unnumberedsubsubsec Fingering instructions @cindex fingering @@ -260,7 +277,7 @@ Examples: @lsr{expressive,fingering-chords.ly} -@anchor{Hidden notes} +@node Hidden notes @unnumberedsubsubsec Hidden notes @cindex Hidden notes @@ -281,7 +298,7 @@ g4 a @end lilypond -@anchor{Coloring objects} +@node Coloring objects @unnumberedsubsubsec Coloring objects Individual objects may be assigned colors. You may use the @@ -361,7 +378,7 @@ Notes in a chord cannot be colored with @code{\override}; use for details. -@anchor{Parentheses} +@node Parentheses @unnumberedsubsubsec Parentheses @cindex ghost notes @@ -386,7 +403,7 @@ This only functions inside chords, even for single notes @end example -@anchor{Ambitus} +@node Ambitus @unnumberedsubsubsec Ambitus @cindex ambitus @@ -478,7 +495,7 @@ There is no collision handling in the case of multiple per-voice ambitus. -@anchor{Stems} +@node Stems @unnumberedsubsubsec Stems Whenever a note is found, a @internalsref{Stem} object is created @@ -512,7 +529,13 @@ a4 b c b @subsection Outside the staff -@anchor{Balloon help} +@menu +* Balloon help:: +* Grid lines:: +* Blank music sheet:: +@end menu + +@node Balloon help @unnumberedsubsubsec Balloon help Elements of notation can be marked and named with the help of a square @@ -542,7 +565,7 @@ The other arguments are the offset and the text of the label. Program reference: @internalsref{text-balloon-interface}. -@anchor{Grid lines} +@node Grid lines @unnumberedsubsubsec Grid lines Vertical lines can be drawn between staves synchronized with @@ -585,7 +608,7 @@ the notes. Examples: @lsrdir{education} -@anchor{Blank music sheet} +@node Blank music sheet @unnumberedsubsubsec Blank music sheet @cindex Sheet music, empty diff --git a/Documentation/user/expressive.itely b/Documentation/user/expressive.itely index ebcba68729..9ce1a94eb1 100644 --- a/Documentation/user/expressive.itely +++ b/Documentation/user/expressive.itely @@ -14,7 +14,12 @@ @subsection Attached to notes -@anchor{Articulations} +@menu +* Articulations:: +* Dynamics:: +@end menu + +@node Articulations @unnumberedsubsubsec Articulations @cindex Articulations @@ -114,7 +119,7 @@ These signs appear in the printed output but have no effect on the MIDI rendering of the music. -@anchor{Dynamics} +@node Dynamics @unnumberedsubsubsec Dynamics @cindex Dynamics @@ -285,7 +290,16 @@ Vertical positioning of these symbols is handled by @node Curves @subsection Curves -@anchor{Ties} +@menu +* Ties:: +* Slurs:: +* Phrasing slurs:: +* Laissez vibrer ties:: +* Breath marks:: +* Falls and doits:: +@end menu + +@node Ties @unnumberedsubsubsec Ties @cindex tie @@ -403,7 +417,7 @@ Changing clefs or octavations during a tie is not really well-defined. In these cases, a slur may be preferable. -@anchor{Slurs} +@node Slurs @unnumberedsubsubsec Slurs @cindex Slurs @@ -464,7 +478,7 @@ be achieved in LilyPond by setting @code{doubleSlurs}, Program reference: @internalsref{Slur}. -@anchor{Phrasing slurs} +@node Phrasing slurs @unnumberedsubsubsec Phrasing slurs @cindex phrasing slurs @@ -502,7 +516,7 @@ You cannot have simultaneous phrasing slurs. Program reference: @internalsref{PhrasingSlur}. -@anchor{Laissez vibrer ties} +@node Laissez vibrer ties @unnumberedsubsubsec Laissez vibrer ties @cindex Laissez vibrer @cindex Ties, laissez vibrer @@ -525,7 +539,7 @@ Example files: @lsr{connecting,laissez-vibrer-ties.ly} -@anchor{Breath marks} +@node Breath marks @unnumberedsubsubsec Breath marks Breath marks are entered using @code{\breathe} @@ -555,7 +569,7 @@ Program reference: @internalsref{BreathingSign}. Examples: @lsr{expressive,breathing-sign.ly} -@anchor{Falls and doits} +@node Falls and doits @unnumberedsubsubsec Falls and doits Falls and doits can be added to notes using the @code{\bendAfter} @@ -571,7 +585,14 @@ c4-\bendAfter #-3 @node Lines @subsection Lines -@anchor{Glissando} +@menu +* Glissando:: +* Arpeggio:: +* Trills:: +* Analysis brackets:: +@end menu + +@node Glissando @unnumberedsubsubsec Glissando @cindex Glissando @@ -614,7 +635,7 @@ Example files: Printing text over the line (such as @emph{gliss.}) is not supported. -@anchor{Arpeggio} +@node Arpeggio @unnumberedsubsubsec Arpeggio @cindex Arpeggio @@ -692,7 +713,7 @@ It is not possible to mix connected arpeggios and unconnected arpeggios in one @internalsref{PianoStaff} at the same point in time. -@anchor{Trills} +@node Trills @unnumberedsubsubsec Trills Short trills are printed like normal articulation; see @ref{Articulations}. @@ -735,7 +756,7 @@ is printed as a stemless note head in parentheses. Program reference: @internalsref{TrillSpanner}. -@anchor{Analysis brackets} +@node Analysis brackets @unnumberedsubsubsec Analysis brackets @cindex brackets @cindex phrasing brackets diff --git a/Documentation/user/guitar.itely b/Documentation/user/guitar.itely index d5a6e85880..2585b3874a 100644 --- a/Documentation/user/guitar.itely +++ b/Documentation/user/guitar.itely @@ -6,6 +6,13 @@ @cindex tablature @cindex guitar tablature +@menu +* Guitar TODO:: +@end menu + +@node Guitar TODO +@subsection Guitar TODO + @menu * String number indications:: * Tablatures basic:: @@ -16,7 +23,7 @@ * Other guitar issues:: @end menu -@anchor{String number indications} +@node String number indications @unnumberedsubsubsec String number indications @cindex String numbers @@ -35,7 +42,7 @@ Program reference: @internalsref{StringNumber}, @lsr{guitar/,string-number.ly}. -@anchor{Tablatures basic} +@node Tablatures basic @unnumberedsubsubsec Tablatures basic @cindex Tablatures basic @@ -122,7 +129,7 @@ melodia = \partcombine { e4 g g g }{ e4 e e e } @end lilypond -@anchor{Non-guitar tablatures} +@node Non-guitar tablatures @unnumberedsubsubsec Non-guitar tablatures @cindex Non-guitar tablatures @@ -170,7 +177,7 @@ No guitar special effects have been implemented. -@anchor{Banjo tablatures} +@node Banjo tablatures @unnumberedsubsubsec Banjo tablatures @cindex Banjo tablatures @@ -209,7 +216,7 @@ These tunings may be converted to four string banjo tunings using the The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings. -@anchor{Fret diagrams} +@node Fret diagrams @unnumberedsubsubsec Fret diagrams @cindex fret diagrams @cindex chord diagrams @@ -258,7 +265,7 @@ Details about the property interface to fret diagrams are found at Examples: @lsrdir{guitar} -@anchor{Right hand fingerings} +@node Right hand fingerings @unnumberedsubsubsec Right hand fingerings Right hand fingerings in chords can be entered using @@ -314,7 +321,7 @@ Program reference: @internalsref{StrokeFinger} -@anchor{Other guitar issues} +@node Other guitar issues @unnumberedsubsubsec Other guitar issues This example demonstrates how to include guitar position and diff --git a/Documentation/user/instrument-notation.itely b/Documentation/user/instrument-notation.itely index aa638636b2..865fbfb78c 100644 --- a/Documentation/user/instrument-notation.itely +++ b/Documentation/user/instrument-notation.itely @@ -27,7 +27,11 @@ This section includes extra information for writing for instruments. @node Orchestral strings @subsection Orchestral strings -@anchor{Artificial harmonics (strings)} +@menu +* Artificial harmonics (strings):: +@end menu + +@node Artificial harmonics (strings) @unnumberedsubsubsec Artificial harmonics (strings) @cindex artificial harmonics @@ -43,7 +47,12 @@ are entered by marking the harmonic pitch with @code{\harmonic}. @node Bagpipe @subsection Bagpipe -@anchor{Bagpipe definitions} +@menu +* Bagpipe definitions:: +* Bagpipe example:: +@end menu + +@node Bagpipe definitions @unnumberedsubsubsec Bagpipe definitions LilyPond contains special definitions for music for the Scottish @@ -84,7 +93,7 @@ piobaireachd high g can be written @code{gflat} when it occurs in light music. -@anchor{Bagpipe example} +@node Bagpipe example @unnumberedsubsubsec Bagpipe example This is what the well known tune Amazing Grace looks like in bagpipe diff --git a/Documentation/user/notation.itely b/Documentation/user/notation.itely index 564ca55d03..2e46725d63 100644 --- a/Documentation/user/notation.itely +++ b/Documentation/user/notation.itely @@ -15,16 +15,16 @@ This chapter explains how to create musical notation. * Educational use:: Special notation to increase legibility. * Text:: Adding text to scores. -* Vocal music:: -* Chords Blah:: -* Piano music:: -* Percussion:: -* Guitar:: -* Other instrument-specific:: -* Ancient notation:: +* Vocal music:: a +* Chords Blah:: b +* Piano music:: c +* Percussion:: d +* Guitar:: e +* Other instrument-specific:: f +* Ancient notation:: g @end menu -@include pitch.itely +@include pitches.itely @include rhythms.itely @include expressive.itely @include repeats.itely diff --git a/Documentation/user/percussion.itely b/Documentation/user/percussion.itely index 93a217a5b3..f73f46a78b 100644 --- a/Documentation/user/percussion.itely +++ b/Documentation/user/percussion.itely @@ -3,6 +3,13 @@ @node Percussion @section Percussion +@menu +* TODO percussion node fix:: +@end menu + +@node TODO percussion node fix +@subsection TODO percussion node fix + Rhythmic music is primarily used for percussion and drum notation, but it can also be used to show the rhythms of melodies. @@ -14,7 +21,7 @@ also be used to show the rhythms of melodies. @end menu -@anchor{Showing melody rhythms} +@node Showing melody rhythms @unnumberedsubsubsec Showing melody rhythms Sometimes you might want to show only the rhythm of a melody. This @@ -33,7 +40,7 @@ staff are squashed, and the staff itself has a single line Program reference: @internalsref{RhythmicStaff}. -@anchor{Entering percussion} +@node Entering percussion @unnumberedsubsubsec Entering percussion @cindex percussion @@ -59,7 +66,7 @@ The complete list of drum names is in the init file Program reference: @internalsref{note-event}. -@anchor{Percussion staves} +@node Percussion staves @unnumberedsubsubsec Percussion staves @cindex percussion @cindex drums @@ -276,7 +283,7 @@ for this purpose instead. @c FIXME: check name -gp -@anchor{Ghost notes} +@node Ghost notes @unnumberedsubsubsec Ghost notes Ghost notes for drums and percussion may be created using the diff --git a/Documentation/user/piano.itely b/Documentation/user/piano.itely index 381dd3b4b3..ed1ca6f272 100644 --- a/Documentation/user/piano.itely +++ b/Documentation/user/piano.itely @@ -3,6 +3,13 @@ @node Piano music @section Piano music +@menu +* TODO piano node fix:: +@end menu + +@node TODO piano node fix +@subsection TODO piano node fix + Piano staves are two normal staves coupled with a brace. The staves are largely independent, but sometimes voices can cross between the two staves. The same notation is also used for harps and other key @@ -11,6 +18,11 @@ handle this cross-staffing behavior. In this section we discuss the @internalsref{PianoStaff} and some other pianistic peculiarities. @menu +* Automatic staff changes:: +* Manual staff switches:: +* Pedals:: +* Staff switch lines:: +* Cross staff stems:: @end menu @refbugs @@ -23,7 +35,7 @@ Dynamics are not centered, but workarounds do exist. See the @cindex distance between staves in piano music -@anchor{Automatic staff changes} +@node Automatic staff changes @unnumberedsubsubsec Automatic staff changes @cindex Automatic staff changes @@ -82,7 +94,7 @@ quality output, staff switches should be specified manually. @code{\autochange} cannot be inside @code{\times}. -@anchor{Manual staff switches} +@node Manual staff switches @unnumberedsubsubsec Manual staff switches @cindex manual staff switches @@ -120,7 +132,7 @@ and the @context{Voice} is inserted afterwards @end example -@anchor{Pedals} +@node Pedals @unnumberedsubsubsec Pedals @cindex Pedals @@ -188,7 +200,7 @@ c\sostenutoDown d e c, f g a\sostenutoUp In this manual: @ref{Laissez vibrer ties}. -@anchor{Staff switch lines} +@node Staff switch lines @unnumberedsubsubsec Staff switch lines @@ -226,7 +238,7 @@ Program reference: @internalsref{VoiceFollower}. @code{\hideStaffSwitch}. -@anchor{Cross staff stems} +@node Cross staff stems @unnumberedsubsubsec Cross staff stems Chords that cross staves may be produced by increasing the length diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely new file mode 100644 index 0000000000..35ea806585 --- /dev/null +++ b/Documentation/user/pitches.itely @@ -0,0 +1,779 @@ +@c -*- coding: utf-8; mode: texinfo; -*- + + +@node Pitches +@section Pitches + +This section discusses how to specify the pitch of notes. + +@menu +* Writing pitches:: +* Changing multiple pitches:: +* Displaying pitches:: +@end menu + + +@node Writing pitches +@subsection Writing pitches + +Into text. + +@menu +* Normal pitches:: +* Accidentals:: +* Cautionary accidentals:: +* Micro tones:: +* Note names in other languages:: +@end menu + + +@node Normal pitches +@unnumberedsubsubsec Normal pitches + +@cindex Pitch names +@cindex pitches + +A pitch name is specified using lowercase letters @code{a} through @code{g}. +An ascending C-major scale is engraved with + +@lilypond[quote,fragment,verbatim,ragged-right] +\clef bass +c d e f g a b c' +@end lilypond + +The note name @code{c} is engraved one octave below middle C. + +@lilypond[quote,fragment,verbatim,ragged-right] +\clef treble +c1 +\clef bass +c1 +@end lilypond + +@funindex ' +@funindex , + +The optional octave specification takes the form of a series of +single quote (@samp{'}) characters or a series of comma +(@samp{,}) characters. Each @samp{'} raises the pitch by one +octave; each @samp{,} lowers the pitch by an octave. + +@lilypond[quote,ragged-right,fragment,verbatim] +\clef treble +c' c'' e' g d'' d' d c +\clef bass +c, c,, e, g d,, d, d c +@end lilypond + +An alternate method may be used to declare which octave to +engrave a pitch; this method does not require as many +octave specifications (@code{'} and @code{,}). See +@ref{Relative octaves}. + + +@node Accidentals +@unnumberedsubsubsec Accidentals + +@cindex note names, Dutch +@cindex note names, default + +A sharp is formed by adding @code{-is} to the end of a pitch name and +a flat is formed by adding @code{-es}. Double sharps and double flats +are obtained by adding @code{-isis} or @code{-eses} to a note name. + +@lilypond[quote,ragged-right,fragment,verbatim,relative=2] +a2 ais a aes +a2 aisis a aeses +@end lilypond + +@noindent +These are the Dutch note names. In Dutch, @code{aes} is contracted to +@code{as}, but both forms are accepted. Similarly, both +@code{es} and @code{ees} are accepted + +@lilypond[fragment,quote,ragged-right,verbatim,relative=2] +a2 as e es +@end lilypond + +A natural will cancel the effect of an accidental or key signature. +However, naturals are not encoded into the note name syntax with a +suffix; a natural pitch is shown as a simple note name + +@lilypond[quote,ragged-right,fragment,verbatim,relative=2] +a4 aes a2 +@end lilypond + +The input @code{d e f} is interpreted as @q{print a D-natural, +E-natural, and an F-natural,} regardless of the key +signature. For more information about the distinction between +musical content and the presentation of that content, see +@rlearning{Accidentals and key signatures}. + +@lilypond[fragment,quote,ragged-right,verbatim,relative] +\key d \major +d e f g +d e fis g +@end lilypond + + +@commonprop + +In accordance with standard typesetting rules, a natural sign is printed +before a sharp or flat if a previous accidental needs to be +cancelled. To change this behavior, use +@code{\set Staff.extraNatural = ##f} + +@lilypond[fragment,quote,ragged-right,verbatim,relative=2] +ceses4 ces cis c +\set Staff.extraNatural = ##f +ceses4 ces cis c +@end lilypond + + +@seealso + +Program reference: @internalsref{LedgerLineSpanner}, +@internalsref{NoteHead}. + + +@node Cautionary accidentals +@unnumberedsubsubsec Cautionary accidentals + +@cindex accidental, reminder +@cindex accidental, cautionary +@cindex accidental, parenthesized +@cindex reminder accidental +@funindex ? +@cindex cautionary accidental +@cindex parenthesized accidental +@funindex ! + +Normally accidentals are printed automatically, but you may also +print them manually. A reminder accidental +can be forced by adding an exclamation mark @code{!} +after the pitch. A cautionary accidental +(i.e., an accidental within parentheses) can be obtained by adding the +question mark @samp{?} after the pitch. These extra accidentals +can be used to produce natural signs, too. + +@lilypond[quote,ragged-right,fragment,verbatim,relative=1] +cis cis cis! cis? c c? c! c +@end lilypond + + +@seealso + +The automatic production of accidentals can be tuned in many +ways. For more information, see @ref{Automatic accidentals}. + + +@node Micro tones +@unnumberedsubsubsec Micro tones + +@cindex quarter tones +@cindex semi-flats, semi-sharps + +Half-flats and half-sharps are formed by adding @code{-eh} and +@code{-ih}; the following is a series of Cs with increasing pitches + +@lilypond[verbatim,ragged-right,quote,relative=2,fragment] +\set Staff.extraNatural = ##f +ceseh ceh cih cisih +@end lilypond + +Micro tones are also exported to the MIDI file. + + +@refbugs + +There are no generally accepted standards for denoting +three-quarter flats, so LilyPond's symbol does not conform to any +standard. + + +@node Note names in other languages +@unnumberedsubsubsec Note names in other languages + +There are predefined sets of note names for various other languages. +To use them, include the language specific init file. For +example, add @code{\include "english.ly"} to the top of the input +file. The available language files +and the note names they define are + +@c Should this be made into a multitable? +@cindex note names, other languages +@example + Note Names sharp flat double double + sharp flat + +nederlands.ly c d e f g a bes b -is -es -isis -eses +english.ly c d e f g a bf b -s/-sharp -f/-flat -ss/-x/ -ff/ + -sharpsharp -flatflat +deutsch.ly c d e f g a b h -is -es -isis -eses +norsk.ly c d e f g a b h -iss/-is -ess/-es -ississ/-isis -essess/-eses +svenska.ly c d e f g a b h -iss -ess -ississ -essess +italiano.ly do re mi fa sol la sib si -d -b -dd -bb +catalan.ly do re mi fa sol la sib si -d/-s -b -dd/-ss -bb +espanol.ly do re mi fa sol la sib si -s -b -ss -bb +@end example + +@noindent +Note that in Dutch, German, Norwegian, and Swedish, the flat +alterations of @samp{a} like for example @code{aes} and @code{aeses} +are usually contracted to @code{as} and @code{ases} (or more commonly +@code{asas}). Sometimes only these contracted names are defined in the +corresponding language files (this also applies to the suffixes for +quartertones below). + +@noindent +Some music uses microtones whose alterations are fractions of a +@q{regular} sharp or flat. The note names for quartertones defined in +the various language files are listed in the following table. Here the +prefixes @q{semi-} and @q{sesqui-} mean @q{half} and @q{one and a +half}, respectively. For Norwegian, Swedish, Catalan and Spanish no +special names have been defined yet. +@c What about Turkish Maquam music and similar microtonal systems? +@c +@c Note that the term "three-quarter-sharp/-flat" used in lilypond's source code +@c is actually misleading since the alteration is in fact one and a half +@c of a regular sharp/flat. Whence the naming "sesqui-sharp/-flat" used below. + +@example + Note Names semi- semi- sesqui- sesqui- + sharp flat sharp flat + +nederlands.ly c d e f g a bes b -ih -eh -isih -eseh +english.ly c d e f g a bf b -qs -qf -tqs -tqf +deutsch.ly c d e f g a b h -ih -eh -isih -eseh +norsk.ly c d e f g a b h +svenska.ly c d e f g a b h +italiano.ly do re mi fa sol la sib si -sd -sb -dsd -bsb +catalan.ly do re mi fa sol la sib si +espanol.ly do re mi fa sol la sib si +@end example + + +@node Changing multiple pitches +@subsection Changing multiple pitches + +@menu +* Relative octaves:: +* Octave check:: +* Transpose:: +@end menu + +@node Relative octaves +@unnumberedsubsubsec Relative octaves + +@cindex Relative +@cindex Relative octave specification +@funindex \relative + +Octaves are specified by adding @code{'} and @code{,} to pitch names. +When you copy existing music, it is easy to accidentally put a pitch +in the wrong octave and hard to find such an error. The relative +octave mode prevents these errors by making the mistakes much +larger: a single error puts the rest of the piece off by one octave + +@example +\relative @var{startpitch} @var{musicexpr} +@end example + +@noindent +or + +@example +\relative @var{musicexpr} +@end example + +@noindent +@code{c'} is used as the default if no starting pitch is defined. + +The octave of notes that appear in @var{musicexpr} are calculated as +follows: if no octave changing marks are used, the basic interval +between this and the last note is always taken to be a fourth or +less. This distance is determined without regarding alterations; a +@code{fisis} following a @code{ceses} will be put above the +@code{ceses}. In other words, a doubly-augmented fourth is considered +a smaller interval than a diminished fifth, even though the +doubly-augmented fourth spans seven semitones while the diminished +fifth only spans six semitones. + +The octave changing marks @code{'} and @code{,} can be added to raise +or lower the pitch by an extra octave. Upon entering relative mode, +an absolute starting pitch can be specified that will act as the +predecessor of the first note of @var{musicexpr}. If no starting pitch +is specified, then middle C is used as a start. + +Here is the relative mode shown in action +@lilypond[quote,fragment,ragged-right,verbatim] +\relative c'' { + b c d c b c bes a +} +@end lilypond + +Octave changing marks are used for intervals greater than a fourth + +@lilypond[quote,ragged-right,fragment,verbatim] +\relative c'' { + c g c f, c' a, e'' +} +@end lilypond + +If the preceding item is a chord, the first note of the chord is used +to determine the first note of the next chord + +@lilypond[quote,ragged-right,fragment,verbatim] +\relative c' { + c + + +} +@end lilypond + +The pitch after @code{\relative} contains a note name. + +The relative conversion will not affect @code{\transpose}, +@code{\chordmode} or @code{\relative} sections in its argument. To use +relative within transposed music, an additional @code{\relative} must +be placed inside @code{\transpose}. + + +@node Octave check +@unnumberedsubsubsec Octave check + +@cindex Octave check + +Octave checks make octave errors easier to correct: a note may be +followed by @code{=}@var{quotes} which indicates what its absolute +octave should be. In the following example, + +@example +\relative c'' @{ c='' b=' d,='' @} +@end example + +@noindent +the @code{d} will generate a warning, because a @code{d''} is expected +(because @code{b'} to @code{d''} is only a third), but a @code{d'} is +found. In the output, the octave is corrected to be a @code{d''} and +the next note is calculated relative to @code{d''} instead of @code{d'}. + +There is also an octave check that produces no visible output. The syntax + +@example +\octave @var{pitch} +@end example + +This checks that @var{pitch} (without quotes) yields @var{pitch} (with +quotes) in @code{\relative} mode compared to the note given in the +@code{\relative} command. If not, a warning is printed, and the +octave is corrected. The @var{pitch} is not printed as a note. + +In the example below, the first check passes without incident, since +the @code{e} (in @code{relative} mode) is within a fifth of +@code{a'}. However, +the second check produces a warning, since the @code{e} is not within +a fifth of @code{b'}. The warning message is printed, and the octave +is adjusted so that the following notes are in the correct octave +once again. + +@example +\relative c' @{ + e + \octave a' + \octave b' +@} +@end example + + +The octave of a note following an octave check is determined with +respect to the note preceding it. In the next fragment, the last note +is an @code{a'}, above middle C. That means that the @code{\octave} +check passes successfully, so the check could be deleted without changing +the output of the piece. + +@lilypond[quote,ragged-right,verbatim,fragment] +\relative c' { + e + \octave b + a +} +@end lilypond + + +@node Transpose +@unnumberedsubsubsec Transpose + +@cindex Transpose +@cindex Transposition of pitches +@funindex \transpose + +A music expression can be transposed with @code{\transpose}. The +syntax is +@example +\transpose @var{from} @var{to} @var{musicexpr} +@end example + +This means that @var{musicexpr} is transposed by the interval between +the pitches @var{from} and @var{to}: any note with pitch @code{from} +is changed to @code{to}. + +For example, consider a piece written in the key of D-major. If +this piece is a little too low for its performer, it can be +transposed up to E-major with +@example +\transpose d e @dots{} +@end example + +Consider a part written for violin (a C instrument). If +this part is to be played on the A clarinet (for which an +A is notated as a C, and which sounds a minor third lower +than notated), the following +transposition will produce the appropriate part + +@example +\transpose a c @dots{} +@end example + +@code{\transpose} distinguishes between enharmonic pitches: both +@code{\transpose c cis} or @code{\transpose c des} will transpose up +half a tone. The first version will print sharps and the second +version will print flats + +@lilypond[quote,ragged-right,verbatim] +mus = { \key d \major cis d fis g } +\new Staff { + \clef "F" \mus + \clef "G" + \transpose c g' \mus + \transpose c f' \mus +} +@end lilypond + +@code{\transpose} may also be used to input written notes for a +transposing instrument. Pitches are normally entered into LilyPond +in C (or @q{concert pitch}), but they may be entered in another +key. For example, when entering music for a B-flat trumpet which +begins on concert D, one would write + +@example +\transpose c bes @{ e4 @dots{} @} +@end example + +To print this music in B-flat again (i.e., producing a trumpet part, +instead of a concert pitch conductor's score) you would wrap the +existing music with another @code{transpose} + +@example +\transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @} +@end example + + +@seealso + +Program reference: @internalsref{TransposedMusic}. + +Example: @lsr{scheme,transpose-pitches-with-minimum-accidentals.ly}. + + +@refbugs + +If you want to use both @code{\transpose} and @code{\relative}, +you must put @code{\transpose} outside of @code{\relative}, since +@code{\relative} will have no effect on music that appears inside a +@code{\transpose}. + + +@node Displaying pitches +@subsection Displaying pitches + +@menu +* Clef:: +* Key signature:: +* Ottava brackets:: +* Instrument transpositions:: +@end menu + +@node Clef +@unnumberedsubsubsec Clef + +@funindex \clef + +The clef indicates which lines of the staff correspond to which +pitches. The clef is set with the @code{\clef} command + +@lilypond[quote,ragged-right,fragment,verbatim] +{ c''2 \clef alto g'2 } +@end lilypond + +@cindex treble clef +@cindex violin clef +@cindex alto clef +@cindex tenor clef +@cindex bass clef +@cindex french clef +@cindex soprano clef +@cindex mezzosoprano clef +@cindex baritone clef +@cindex varbaritone clef +@cindex subbass clef + +Supported clefs include + +@multitable @columnfractions .33 .66 +@headitem Clef @tab Position +@item @code{treble}, violin, G, G2 @tab +G clef on 2nd line +@item @code{alto, C} @tab +C clef on 3rd line +@item @code{tenor} @tab +C clef on 4th line. +@item @code{bass, F} @tab +F clef on 4th line +@item @code{french} @tab +G clef on 1st line, so-called French violin clef +@item @code{soprano} @tab +C clef on 1st line +@item @code{mezzosoprano} @tab +C clef on 2nd line +@item @code{baritone} @tab +C clef on 5th line +@item @code{varbaritone} @tab +F clef on 3rd line +@item @code{subbass} @tab +F clef on 5th line +@item @code{percussion} @tab +percussion clef +@item @code{tab} @tab +tablature clef +@end multitable + +By adding @code{_8} or @code{^8} to the clef name, the clef is +transposed one octave down or up, respectively, and @code{_15} and +@code{^15} transposes by two octaves. The argument @var{clefname} +must be enclosed in quotes when it contains underscores or digits. For +example, + +@cindex choral tenor clef +@lilypond[quote,ragged-right,verbatim,fragment,relative=1] +\clef "G_8" c4 +@end lilypond + + +@commonprop + +The command @code{\clef "treble_8"} is equivalent to setting +@code{clefGlyph}, +@code{clefPosition} (which controls the Y position of the clef), +@code{middleCPosition} and @code{clefOctavation}. A clef is printed +when any of these properties are changed. The following example shows +possibilities when setting properties manually. + +@lilypond[quote,ragged-right,verbatim] +{ + \set Staff.clefGlyph = #"clefs.F" + \set Staff.clefPosition = #2 + c'4 + \set Staff.clefGlyph = #"clefs.G" + c'4 + \set Staff.clefGlyph = #"clefs.C" + c'4 + \set Staff.clefOctavation = #7 + c'4 + \set Staff.clefOctavation = #0 + \set Staff.clefPosition = #0 + c'4 + \clef "bass" + c'4 + \set Staff.middleCPosition = #4 + c'4 +} +@end lilypond + + +@seealso + +Manual: @ref{Grace notes}. + +Program reference: @internalsref{Clef}. + + +@node Key signature +@unnumberedsubsubsec Key signature + +@cindex Key signature +@funindex \key + +The key signature indicates the tonality in which a piece is played. It +is denoted by a set of alterations (flats or sharps) at the start of the +staff. + +Setting or changing the key signature is done with the @code{\key} +command + +@example +@code{\key} @var{pitch} @var{type} +@end example + +@funindex \minor +@funindex \major +@funindex \minor +@funindex \ionian +@funindex \locrian +@funindex \aeolian +@funindex \mixolydian +@funindex \lydian +@funindex \phrygian +@funindex \dorian +@cindex church modes + +Here, @var{type} should be @code{\major} or @code{\minor} to get +@var{pitch}-major or @var{pitch}-minor, respectively. You may also +use the standard mode names (also called @q{church modes}): @code{\ionian}, +@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian}, +@code{\phrygian}, and @code{\dorian}. + +This command sets the context property +@code{Staff.keySignature}. Non-standard key signatures +can be specified by setting this property directly. + +Accidentals and key signatures often confuse new users, because +unaltered notes get natural signs depending on the key signature. For +more information, see @ref{Accidentals}, or @rlearning{Accidentals +and key signatures}. + +@lilypond[quote,ragged-right,verbatim,relative=2,fragment] +\key g \major +f1 +fis +@end lilypond + + +@commonprop + +A natural sign is printed to cancel any previous accidentals. This +can be suppressed by setting the @code{Staff.printKeyCancellation} +property. + +@lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2] +\key d \major +a b cis d +\key g \minor +a bes c d +\set Staff.printKeyCancellation = ##f +\key d \major +a b cis d +\key g \minor +a bes c d +@end lilypond + + +@seealso + +Program reference: @internalsref{KeyCancellation}, +@internalsref{KeySignature}. + + +@node Ottava brackets +@unnumberedsubsubsec Ottava brackets + +@q{Ottava} brackets introduce an extra transposition of an octave for +the staff. They are created by invoking the function +@code{set-octavation} + +@cindex ottava +@cindex 15ma +@cindex octavation + +@lilypond[quote,ragged-right,verbatim,fragment] +\relative c''' { + a2 b + #(set-octavation 1) + a b + #(set-octavation 0) + a b +} +@end lilypond + +The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma), +and -2 (for 15ma bassa) as arguments. Internally the function sets the properties +@code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and +@code{centralCPosition}. For overriding the text of the bracket, set +@code{ottavation} after invoking @code{set-octavation}, i.e., + +@lilypond[quote,ragged-right,verbatim] +{ + #(set-octavation 1) + \set Staff.ottavation = #"8" + c''' +} +@end lilypond + + +@seealso + +Program reference: @internalsref{OttavaBracket}. + + +@refbugs + +@code{set-octavation} will get confused when clef changes happen +during an octavation bracket. + + +@node Instrument transpositions +@unnumberedsubsubsec Instrument transpositions + +@cindex transposition, MIDI +@cindex transposition, instrument + +The key of a transposing instrument can also be specified. This +applies to many wind instruments, for example, clarinets (B-flat, A, and +E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat). + +The transposition is entered after the keyword @code{\transposition} + +@example +\transposition bes %% B-flat clarinet +@end example + +@noindent +This command sets the property @code{instrumentTransposition}. The value of +this property is used for MIDI output and quotations. It does not +affect how notes are printed in the current staff. To change the printed +output, see @ref{Transpose}. + +The pitch to use for @code{\transposition} should correspond to the +real sound heard when a @code{c'} written on the staff is played by the +transposing instrument. For example, when entering a score in +concert pitch, typically all voices are entered in C, so +they should be entered as + +@example +clarinet = @{ + \transposition c' + ... +@} +saxophone = @{ + \transposition c' + ... +@} +@end example + +The command @code{\transposition} should be used when the music is +entered from a (transposed) orchestral part. For example, in +classical horn parts, the tuning of the instrument is often changed +during a piece. When copying the notes from the part, use +@code{\transposition}, e.g., + +@example +\transposition d' +c'4^"in D" +... +\transposition g' +c'4^"in G" +... +@end example + + + diff --git a/Documentation/user/repeats.itely b/Documentation/user/repeats.itely index 2bce1bc200..e8d625fa7d 100644 --- a/Documentation/user/repeats.itely +++ b/Documentation/user/repeats.itely @@ -14,7 +14,14 @@ for repetitions. @node Writing repeats @subsection Writing repeats -@anchor{Repeat types} +@menu +* Repeat types:: +* Repeat syntax:: +* Manual repeat commands:: +* Repeats and MIDI:: +@end menu + +@node Repeat types @unnumberedsubsubsec Repeat types @cindex repeats @@ -45,7 +52,7 @@ declared within a @code{Voice} context. @end table -@anchor{Repeat syntax} +@node Repeat syntax @unnumberedsubsubsec Repeat syntax @cindex volta @@ -189,7 +196,7 @@ example, by setting @code{Score.measurePosition} or entering @code{\partial}. Similarly, slurs or ties are also not repeated. -@anchor{Manual repeat commands} +@node Manual repeat commands @unnumberedsubsubsec Manual repeat commands @funindex repeatCommands @@ -230,7 +237,7 @@ Program reference: @internalsref{VoltaBracket}, @internalsref{VoltaRepeatedMusic}, and @internalsref{UnfoldedRepeatedMusic}. -@anchor{Repeats and MIDI} +@node Repeats and MIDI @unnumberedsubsubsec Repeats and MIDI @cindex expanding repeats @@ -274,7 +281,13 @@ percent repeats). For example, @node Other repeats @subsection Other repeats -@anchor{Tremolo repeats} +@menu +* Tremolo repeats:: +* Tremolo subdivisions:: +* Measure repeats:: +@end menu + +@node Tremolo repeats @unnumberedsubsubsec Tremolo repeats @cindex tremolo beams @@ -306,7 +319,7 @@ In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}. Program reference: @internalsref{Beam}, @internalsref{StemTremolo}. -@anchor{Tremolo subdivisions} +@node Tremolo subdivisions @unnumberedsubsubsec Tremolo subdivisions @cindex tremolo marks @@ -336,7 +349,7 @@ In this manual: @ref{Tremolo repeats}. Elsewhere: @internalsref{StemTremolo}. -@anchor{Measure repeats} +@node Measure repeats @unnumberedsubsubsec Measure repeats @cindex percent repeats diff --git a/Documentation/user/rhythms.itely b/Documentation/user/rhythms.itely index 5180f7eb48..8a6b485c99 100644 --- a/Documentation/user/rhythms.itely +++ b/Documentation/user/rhythms.itely @@ -18,7 +18,14 @@ This section discusses rhythms, durations, and bars. @node Writing rhythms @subsection Writing rhythms -@anchor{Durations} +@menu +* Durations:: +* Augmentation dots:: +* Tuplets:: +* Scaling durations:: +@end menu + +@node Durations @unnumberedsubsubsec Durations @cindex duration @@ -77,7 +84,7 @@ duration. The default for the first note is a quarter note. @end lilypond -@anchor{Augmentation dots} +@node Augmentation dots @unnumberedsubsubsec Augmentation dots @funindex . @@ -107,7 +114,7 @@ direction manually Program reference: @internalsref{Dots}, and @internalsref{DotColumn}. -@anchor{Tuplets} +@node Tuplets @unnumberedsubsubsec Tuplets @cindex tuplets @@ -256,7 +263,7 @@ Program reference: @internalsref{TupletBracket}, -@anchor{Scaling durations} +@node Scaling durations @unnumberedsubsubsec Scaling durations You can alter the length of duration by a fraction @var{N/M} @@ -283,7 +290,13 @@ This manual: @ref{Tuplets}. @node Writing rests @subsection Writing rests -@anchor{Rests} +@menu +* Rests:: +* Skips:: +* Multi measure rests:: +@end menu + +@node Rests @unnumberedsubsubsec Rests @cindex Rests @@ -319,7 +332,7 @@ formatter will leave these rests alone. Program reference: @internalsref{Rest}. -@anchor{Skips} +@node Skips @unnumberedsubsubsec Skips @cindex Skip @@ -364,7 +377,7 @@ The fragment @code{@{ \skip 4 @} } would produce an empty page. Program reference: @internalsref{SkipMusic}. -@anchor{Multi measure rests} +@node Multi measure rests @unnumberedsubsubsec Multi measure rests @cindex multi measure rests @@ -484,7 +497,15 @@ numbering will be off. @node Displaying rhythms @subsection Displaying rhythms -@anchor{Time signature} +@menu +* Time signature:: +* Upbeats:: +* Unmetered music:: +* Polymetric notation:: +* Automatic note splitting:: +@end menu + +@node Time signature @unnumberedsubsubsec Time signature @cindex Time signature @@ -566,7 +587,7 @@ Automatic beaming does not use the measure grouping specified with @code{set-time-signature}. -@anchor{Upbeats} +@node Upbeats @unnumberedsubsubsec Upbeats @cindex anacrusis @@ -621,7 +642,7 @@ piece. If you use it after the beginning, some odd warnings may occur. -@anchor{Unmetered music} +@node Unmetered music @unnumberedsubsubsec Unmetered music @cindex cadenza @@ -658,7 +679,7 @@ invisible bar lines to indicate where breaks can occur. -@anchor{Polymetric notation} +@node Polymetric notation @unnumberedsubsubsec Polymetric notation @cindex double time signatures @@ -809,7 +830,7 @@ When using different time signatures in parallel, the spacing is aligned vertically, but bar lines distort the regular spacing. -@anchor{Automatic note splitting} +@node Automatic note splitting @unnumberedsubsubsec Automatic note splitting Long notes can be converted automatically to tied notes. This is done @@ -856,7 +877,13 @@ Program reference: @internalsref{Completion_heads_engraver}. @node Beams @subsection Beams -@anchor{Automatic beams} +@menu +* Automatic beams:: +* Manual beams:: +* Feathered beams:: +@end menu + +@node Automatic beams @unnumberedsubsubsec Automatic beams LilyPond inserts beams automatically @@ -883,7 +910,7 @@ from being beamed Program reference: @internalsref{Beam}. -@anchor{Manual beams} +@node Manual beams @unnumberedsubsubsec Manual beams @cindex beams, manual @@ -967,7 +994,7 @@ Beams do not avoid collisions with symbols around the notes, such as texts and accidentals. -@anchor{Feathered beams} +@node Feathered beams @unnumberedsubsubsec Feathered beams Feathered beams are printed by setting the @code{grow-direction} @@ -992,7 +1019,15 @@ music snippets. @subsection Bars -@anchor{Bar check} +@menu +* Bar check:: +* Bar lines:: +* Bar numbers:: +* Barnumber check:: +* Rehearsal marks:: +@end menu + +@node Bar check @unnumberedsubsubsec Bar check @cindex Bar check @@ -1035,7 +1070,7 @@ pipeSymbol = \bar "||" @end lilypond -@anchor{Bar lines} +@node Bar lines @unnumberedsubsubsec Bar lines @cindex Bar lines @@ -1120,7 +1155,7 @@ Program reference: @internalsref{BarLine} (created at @internalsref{Staff} level), @internalsref{SpanBar} (across staves). -@anchor{Bar numbers} +@node Bar numbers @unnumberedsubsubsec Bar numbers @cindex Bar numbers @@ -1187,7 +1222,7 @@ there is one at the top. To solve this, the used to position the number correctly. -@anchor{Barnumber check} +@node Barnumber check @unnumberedsubsubsec Barnumber check When copying large pieces of music, it can be helpful to check that @@ -1204,7 +1239,7 @@ will print a warning if the @code{currentBarNumber} is not 123 when it is processed. -@anchor{Rehearsal marks} +@node Rehearsal marks @unnumberedsubsubsec Rehearsal marks @cindex Rehearsal marks @@ -1311,7 +1346,14 @@ Examples: @lsr{parts,rehearsal-mark-numbers.ly} @subsection Special rhythmic concerns -@anchor{Grace notes} +@menu +* Grace notes:: +* Aligning to cadenzas:: +* Time administration:: +* Proportional notation (introduction):: +@end menu + +@node Grace notes @unnumberedsubsubsec Grace notes @funindex \grace @@ -1519,7 +1561,7 @@ expressions. Nesting or juxtaposing grace sections is not supported, and might produce crashes or other errors. -@anchor{Aligning to cadenzas} +@node Aligning to cadenzas @unnumberedsubsubsec Aligning to cadenzas In an orchestral context, cadenzas present a special problem: @@ -1549,7 +1591,7 @@ cadenza = \relative c' { @end lilypond -@anchor{Time administration} +@node Time administration @unnumberedsubsubsec Time administration @cindex Time administration @@ -1603,7 +1645,7 @@ note duration and @code{ly:make-moment 7 16} is the duration of seven sixteenths notes. -@anchor{Proportional notation (introduction)} +@node Proportional notation (introduction) @unnumberedsubsubsec Proportional notation (introduction) @cindex Proportional notation diff --git a/Documentation/user/simultaneous.itely b/Documentation/user/simultaneous.itely index dc041d03e9..6ce50efd60 100644 --- a/Documentation/user/simultaneous.itely +++ b/Documentation/user/simultaneous.itely @@ -16,7 +16,12 @@ one voice on the same staff. @node Single voice @subsection Single voice -@anchor{Chords} +@menu +* Chords:: +* Clusters:: +@end menu + +@node Chords @unnumberedsubsubsec Chords @cindex Chords @@ -32,7 +37,7 @@ articulations, just like simple notes For more information about chords, see @ref{Introducing chord names}. -@anchor{Clusters} +@node Clusters @unnumberedsubsubsec Clusters @cindex cluster @@ -67,7 +72,15 @@ accurately. Use @code{8 8} instead. @node Multiple voices @subsection Multiple voices -@anchor{Basic polyphony} +@menu +* Basic polyphony:: +* Explicitly instantiating voices:: +* Collision Resolution:: +* Automatic part combining:: +* Writing music in parallel:: +@end menu + +@node Basic polyphony @unnumberedsubsubsec Basic polyphony @cindex polyphony @@ -146,7 +159,7 @@ to the note immediately preceding it. @code{noteA}. -@anchor{Explicitly instantiating voices} +@node Explicitly instantiating voices @unnumberedsubsubsec Explicitly instantiating voices @internalsref{Voice} contexts can also be instantiated manually @@ -265,7 +278,7 @@ voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice) @end lilypond -@anchor{Collision Resolution} +@node Collision Resolution @unnumberedsubsubsec Collision Resolution Normally, note heads with a different number of dots are not merged, but @@ -390,7 +403,7 @@ recommended to use enharmonic transcription, or to use special cluster notation (see @ref{Clusters}). -@anchor{Automatic part combining} +@node Automatic part combining @unnumberedsubsubsec Automatic part combining @cindex automatic part combining @cindex part combiner @@ -488,7 +501,7 @@ differently named @internalsref{Voice} contexts, the events in those will be ignored. -@anchor{Writing music in parallel} +@node Writing music in parallel @unnumberedsubsubsec Writing music in parallel @cindex Writing music in parallel diff --git a/Documentation/user/staff.itely b/Documentation/user/staff.itely index 9d0a757506..da6a42b700 100644 --- a/Documentation/user/staff.itely +++ b/Documentation/user/staff.itely @@ -14,7 +14,13 @@ staff = singular, staves = plural @node Displaying staves @subsection Displaying staves -@anchor{System start delimiters} +@menu +* System start delimiters:: +* Staff symbol:: +* Hiding staves:: +@end menu + +@node System start delimiters @unnumberedsubsubsec System start delimiters @cindex start of system @@ -102,7 +108,7 @@ System start delimiters may be deeply nested, @end lilypond -@anchor{Staff symbol} +@node Staff symbol @unnumberedsubsubsec Staff symbol @cindex adjusting staff symbol @@ -149,7 +155,7 @@ Program reference: @internalsref{StaffSymbol}. Examples: @lsrdir{staff} -@anchor{Hiding staves} +@node Hiding staves @unnumberedsubsubsec Hiding staves @cindex Frenched scores @@ -201,7 +207,14 @@ staff. @node Writing parts @subsection Writing parts -@anchor{Metronome marks} +@menu +* Metronome marks:: +* Instrument names:: +* Quoting other voices:: +* Formatting cue notes:: +@end menu + +@node Metronome marks @unnumberedsubsubsec Metronome marks @cindex Tempo @@ -261,7 +274,7 @@ further away from the staff. @end example -@anchor{Instrument names} +@node Instrument names @unnumberedsubsubsec Instrument names In an orchestral score, instrument names are printed at the left side @@ -363,7 +376,7 @@ c1 c c c \break Program reference: @internalsref{InstrumentName}. -@anchor{Quoting other voices} +@node Quoting other voices @unnumberedsubsubsec Quoting other voices @cindex cues @@ -463,7 +476,7 @@ Examples: @lsr{parts,quote.ly}, @lsr{parts,quote-transportation.ly} Program reference: @internalsref{QuoteMusic}. -@anchor{Formatting cue notes} +@node Formatting cue notes @unnumberedsubsubsec Formatting cue notes @cindex cues, formatting diff --git a/Documentation/user/text.itely b/Documentation/user/text.itely index 453657348e..baa32fbbe7 100644 --- a/Documentation/user/text.itely +++ b/Documentation/user/text.itely @@ -37,7 +37,15 @@ c'4^\markup { bla \bold bla } @node Writing text @subsection Writing text -@anchor{Text scripts} +@menu +* Text scripts:: +* Text and line spanners:: +* Text spanners:: +* Text marks:: +* New dynamic marks:: +@end menu + +@node Text scripts @unnumberedsubsubsec Text scripts @cindex Text scripts @@ -93,7 +101,7 @@ In this manual: @ref{Text markup}. Program reference: @internalsref{TextScript}. -@anchor{Text and line spanners} +@node Text and line spanners @unnumberedsubsubsec Text and line spanners Some performance indications, e.g., @i{rallentando} and @@ -224,7 +232,7 @@ Program reference: @internalsref{TextSpanner}, Examples: @lsr{expressive,line-styles.ly}, @lsr{expressive,line-arrows.ly} -@anchor{Text spanners} +@node Text spanners @unnumberedsubsubsec Text spanners @cindex Text spanners @@ -275,7 +283,7 @@ To print a solid line, use Program reference: @internalsref{TextSpanner}. -@anchor{Text marks} +@node Text marks @unnumberedsubsubsec Text marks @cindex coda on bar line @@ -419,7 +427,7 @@ Program reference: @internalsref{RehearsalMark}. -@anchor{New dynamic marks} +@node New dynamic marks @unnumberedsubsubsec New dynamic marks It is possible to print new dynamic marks or text that should be aligned @@ -460,7 +468,14 @@ boxf = \markup{ \bracket { \dynamic f } } @node Text markup @subsection Text markup -@anchor{Text markup introduction} +@menu +* Text markup introduction:: +* Nested scores:: +* Page wrapping text:: +* Font selection:: +@end menu + +@node Text markup introduction @unnumberedsubsubsec Text markup introduction @cindex markup @@ -620,7 +635,7 @@ texts will be spaced slightly too wide. Syntax errors for markup mode are confusing. -@anchor{Nested scores} +@node Nested scores @unnumberedsubsubsec Nested scores It is possible to nest music inside markups, by adding a @code{\score} @@ -639,7 +654,7 @@ block. } @end lilypond -@anchor{Page wrapping text} +@node Page wrapping text @unnumberedsubsubsec Page wrapping text Whereas @code{\markup} is used to enter a non-breakable block of text, @code{\markuplines} can be used at top-level to enter lines of text that @@ -674,7 +689,7 @@ This manual: @ref{Overview of text markup list commands}, @funindex \markuplines @code{\markuplines} -@anchor{Font selection} +@node Font selection @unnumberedsubsubsec Font selection @cindex font selection diff --git a/Documentation/user/vocal.itely b/Documentation/user/vocal.itely index 905bd88e16..7b3987657d 100644 --- a/Documentation/user/vocal.itely +++ b/Documentation/user/vocal.itely @@ -50,7 +50,27 @@ To make lyrics avoid barlines as well, use @node TODO subsection vocal music @subsection TODO subsection vocal music -@anchor{Setting simple songs} +@menu +* Setting simple songs:: +* Entering lyrics:: +* Aligning lyrics to a melody:: +* Automatic syllable durations:: +* Another way of entering lyrics:: +* Assigning more than one syllable to a single note:: +* More than one note on a single syllable:: +* Extenders and hyphens:: +* Working with lyrics and identifiers:: +* Flexibility in placement:: +* Lyrics to multiple notes of a melisma:: +* Divisi lyrics:: +* Switching the melody associated with a lyrics line:: +* Lyrics independent of notes:: +* Spacing lyrics:: +* More about stanzas:: +* Other vocal issues:: +@end menu + +@node Setting simple songs @unnumberedsubsubsec Setting simple songs @cindex \addlyrics @@ -87,7 +107,7 @@ introduced in @ref{Entering lyrics}. -@anchor{Entering lyrics} +@node Entering lyrics @unnumberedsubsubsec Entering lyrics @cindex lyrics @@ -225,7 +245,7 @@ Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}. -@anchor{Aligning lyrics to a melody} +@node Aligning lyrics to a melody @unnumberedsubsubsec Aligning lyrics to a melody @funindex \lyricmode @@ -262,7 +282,7 @@ explicitly, using @code{\lyricmode} * Extenders and hyphens:: @end menu -@anchor{Automatic syllable durations} +@node Automatic syllable durations @unnumberedsubsubsec Automatic syllable durations @cindex automatic syllable durations @@ -318,7 +338,7 @@ is the same as \new Lyrics \lyricsto "blah" @{ LYRICS @} @end example -@anchor{Another way of entering lyrics} +@node Another way of entering lyrics @unnumberedsubsubsec Another way of entering lyrics Lyrics can also be entered without @code{\addlyrics} or @@ -361,7 +381,7 @@ Here is an example demonstrating manual lyric durations, Program reference: @internalsref{Lyrics}. -@anchor{Assigning more than one syllable to a single note} +@node Assigning more than one syllable to a single note @unnumberedsubsubsec Assigning more than one syllable to a single note @@ -392,7 +412,7 @@ Program reference: @internalsref{LyricCombineMusic}. @c the new title might be more self-explanatory -@anchor{More than one note on a single syllable} +@node More than one note on a single syllable @unnumberedsubsubsec More than one note on a single syllable @cindex melisma @@ -473,7 +493,7 @@ Program reference: @internalsref{Melisma_translator}. Melismata are not detected automatically, and extender lines must be inserted by hand. -@anchor{Extenders and hyphens} +@node Extenders and hyphens @unnumberedsubsubsec Extenders and hyphens @cindex melisma @@ -502,7 +522,7 @@ Program reference: @internalsref{LyricExtender}, @internalsref{LyricHyphen} -@anchor{Working with lyrics and identifiers} +@node Working with lyrics and identifiers @unnumberedsubsubsec Working with lyrics and identifiers @cindex lyrics, identifiers @@ -562,7 +582,7 @@ Program reference: @internalsref{LyricCombineMusic}, @internalsref{Lyrics}. -@anchor{Flexibility in placement} +@node Flexibility in placement @unnumberedsubsubsec Flexibility in placement Often, different stanzas of one song are put to one melody in slightly @@ -577,7 +597,7 @@ differing ways. Such variations can still be captured with @end menu -@anchor{Lyrics to multiple notes of a melisma} +@node Lyrics to multiple notes of a melisma @unnumberedsubsubsec Lyrics to multiple notes of a melisma One possibility is that the text has a melisma in one stanza, but @@ -631,7 +651,7 @@ For example, @end lilypond -@anchor{Divisi lyrics} +@node Divisi lyrics @unnumberedsubsubsec Divisi lyrics You can display alternate (or divisi) lyrics by naming voice @@ -677,7 +697,7 @@ section. -@anchor{Switching the melody associated with a lyrics line} +@node Switching the melody associated with a lyrics line @unnumberedsubsubsec Switching the melody associated with a lyrics line More complex variations in text underlay are possible. It is possible @@ -760,7 +780,7 @@ The underlay is switched back to the starting situation by assigning @code{lahlah} to @code{associatedVoice}. -@anchor{Lyrics independent of notes} +@node Lyrics independent of notes @unnumberedsubsubsec Lyrics independent of notes In some complex vocal music, it may be desirable to place @@ -789,7 +809,7 @@ lyr = \lyricmode { I like my cat! } @end lilypond -@anchor{Spacing lyrics} +@node Spacing lyrics @unnumberedsubsubsec Spacing lyrics @cindex Spacing lyrics @@ -833,7 +853,7 @@ layout. @end lilypond -@anchor{More about stanzas} +@node More about stanzas @unnumberedsubsubsec More about stanzas @cindex stanza number @@ -1022,7 +1042,7 @@ Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber}, -@anchor{Other vocal issues} +@node Other vocal issues @unnumberedsubsubsec Other vocal issues @ignore