From f739a44f91a0b7ef5f634b6c4ca5b45c988798c1 Mon Sep 17 00:00:00 2001 From: Phil Holmes Date: Tue, 25 Jun 2013 15:24:30 +0100 Subject: [PATCH] Updates to NR chapter 2 --- Documentation/notation/ancient.itely | 21 ++++++++-------- Documentation/notation/chords.itely | 21 ++++++++-------- Documentation/notation/fretted-strings.itely | 2 +- Documentation/notation/vocal.itely | 25 ++++++++++++-------- Documentation/notation/wind.itely | 2 +- 5 files changed, 38 insertions(+), 33 deletions(-) diff --git a/Documentation/notation/ancient.itely b/Documentation/notation/ancient.itely index 0dbcffaa32..431966679a 100644 --- a/Documentation/notation/ancient.itely +++ b/Documentation/notation/ancient.itely @@ -556,34 +556,35 @@ to particular time fractions. In other words, to get a particular mensuration s { \set Score.timing = ##f \set Score.barAlways = ##t - s_\markup { "\\time 4/4" }^\markup { " " \musicglyph + \textLengthOn + s^\markup { "\\time 4/4" }_\markup { " " \musicglyph #"timesig.neomensural44" } s - s_\markup { "\\time 2/2" }^\markup { " " \musicglyph + s^\markup { "\\time 2/2" }_\markup { " " \musicglyph #"timesig.neomensural22" } s - s_\markup { "\\time 6/4" }^\markup { " " \musicglyph + s^\markup { "\\time 6/4" }_\markup { " " \musicglyph #"timesig.neomensural64" } s - s_\markup { "\\time 6/8" }^\markup { " " \musicglyph + s^\markup { "\\time 6/8" }_\markup { " " \musicglyph #"timesig.neomensural68" } \break - s_\markup { "\\time 3/2" }^\markup { " " \musicglyph + s^\markup { "\\time 3/2" }_\markup { " " \musicglyph #"timesig.neomensural32" } s - s_\markup { "\\time 3/4" }^\markup { " " \musicglyph + s^\markup { "\\time 3/4" }_\markup { " " \musicglyph #"timesig.neomensural34" } s - s_\markup { "\\time 9/4" }^\markup { " " \musicglyph + s^\markup { "\\time 9/4" }_\markup { " " \musicglyph #"timesig.neomensural94" } s - s_\markup { "\\time 9/8" }^\markup { " " \musicglyph + s^\markup { "\\time 9/8" }_\markup { " " \musicglyph #"timesig.neomensural98" } \break - s_\markup { "\\time 4/8" }^\markup { " " \musicglyph + s^\markup { "\\time 4/8" }_\markup { " " \musicglyph #"timesig.neomensural48" } s - s_\markup { "\\time 2/4" }^\markup { " " \musicglyph + s^\markup { "\\time 2/4" }_\markup { " " \musicglyph #"timesig.neomensural24" } } @end lilypond diff --git a/Documentation/notation/chords.itely b/Documentation/notation/chords.itely index 80f716bd1b..b14bdb7827 100644 --- a/Documentation/notation/chords.itely +++ b/Documentation/notation/chords.itely @@ -438,21 +438,20 @@ Chords can be entered as simultaneous notes or through the use of chord mode. The displayed chord name will be the same, regardless of the mode of entry, unless there are inversions or added bass notes: -@lilypond[verbatim,quote,relative=1] +@lilypond[verbatim,quote] +chordmusic = \relative c' { + 2 + 1 + \chordmode { + c2 f:sus4 c1:/f + } +} << \new ChordNames { - 2 - 1 - \chordmode { - c2 f:sus4 c1:/f - } + \chordmusic } { - 2 - 1 - \chordmode { - c2 f:sus4 c1:/f - } + \chordmusic } >> @end lilypond diff --git a/Documentation/notation/fretted-strings.itely b/Documentation/notation/fretted-strings.itely index 2d791de85b..e415158c1e 100644 --- a/Documentation/notation/fretted-strings.itely +++ b/Documentation/notation/fretted-strings.itely @@ -1396,7 +1396,7 @@ the interface properties belong to @code{FretBoards.FretBoard}. @lilypondfile[verbatim,quote,texidoc,doctitle] {defining-predefined-fretboards-for-other-instruments.ly} -@lilypondfile[verbatim,quote,texidoc,doctitle] +@lilypondfile[verbatim,quote,texidoc,doctitle,ragged-right] {chordchanges-for-fretboards.ly} @lilypondfile[verbatim,quote,texidoc,doctitle] diff --git a/Documentation/notation/vocal.itely b/Documentation/notation/vocal.itely index 3d082ce829..f1317f169a 100644 --- a/Documentation/notation/vocal.itely +++ b/Documentation/notation/vocal.itely @@ -383,7 +383,7 @@ the named Voice context containing the melody with @lilypond[quote,verbatim,relative=2] << \new Voice = "melody" { - a4 a a a + a1 a4. a8 a2 } \new Lyrics \lyricsto "melody" { These are the words @@ -596,11 +596,16 @@ spaces between the syllables, you can surround the phrase with quotes or use a @code{_} character. Alternatively, you can use the tilde symbol (@code{~}) to get a lyric tie. -@lilypond[quote,ragged-right,verbatim] +@lilypond[quote,ragged-right,verbatim,relative=2] { - \relative c'' { \autoBeamOff - r8 b c fis, fis c' b e, } - \addlyrics { Che_in ques -- ta_e_in quel -- l'al -- tr'on -- da } + { \autoBeamOff + r8 b c fis, fis c' b e, + } + \addlyrics + { + \override LyricHyphen.minimum-distance = #1.0 % Ensure hyphens are visible + Che_in ques -- ta_e_in quel -- l'al -- tr'on -- da + } \addlyrics { "Che in" ques -- "ta e in" quel -- l'al -- tr'on -- da } \addlyrics { Che~in ques -- ta~e~in quel -- l'al -- tr'on -- da } } @@ -620,9 +625,9 @@ Internals Reference: @funindex \melisma @funindex \melismaEnd -Sometimes, particularly in Medieval music, several notes are to be -sung on one syllable; such vocalises are called melismata, or -@rglos{melisma}s. The syllable to a melisma is usually +Sometimes, particularly in Medieval and baroque music, several notes are +sung on one syllable; this is called melisma, see +@rglos{melisma}. The syllable to a melisma is usually left-aligned with the first note of the melisma. When a melisma occurs on a syllable other that the last one in a @@ -2154,8 +2159,8 @@ etc. Choral music is usually notated on two, three or four staves within a @code{ChoirStaff} group. Accompaniment, if required, is placed beneath in a @code{PianoStaff} group, which is usually reduced in -size for @emph{a capella} choral works. The notes for each vocal -part are placed in a @code{Voice} context, with each staff +size for rehearsal of @emph{a cappella} choral works. The notes for +each vocal part are placed in a @code{Voice} context, with each staff being given either a single vocal part (i.e., one @code{Voice}) or a pair of vocal parts (i.e., two @code{Voice}s). diff --git a/Documentation/notation/wind.itely b/Documentation/notation/wind.itely index dfb0d585ff..64fee0f3ca 100644 --- a/Documentation/notation/wind.itely +++ b/Documentation/notation/wind.itely @@ -57,7 +57,7 @@ Other aspects of musical notation that can apply to wind instruments: @itemize @item Many wind instruments are transposing instruments, see @ref{Instrument transpositions}. -@item The slide glissando are characteristic of the trombone, but other +@item Slide glissandi are characteristic of the trombone, but other winds may perform keyed or valved glissandi. See @ref{Glissando}. @item Harmonic series glissandi, which are possible on all brass instruments but common for French Horns, are usually written out as -- 2.39.2