From 0e7e2df2555009fa7c4d06def89831db90318462 Mon Sep 17 00:00:00 2001 From: Heikki Junes Date: Fri, 25 Jul 2003 08:48:12 +0000 Subject: [PATCH] more binding. --- Documentation/user/refman.itely | 46 ++++++++++++++++----------------- 1 file changed, 23 insertions(+), 23 deletions(-) diff --git a/Documentation/user/refman.itely b/Documentation/user/refman.itely index 53b84dbb06..d8ef08952f 100644 --- a/Documentation/user/refman.itely +++ b/Documentation/user/refman.itely @@ -69,7 +69,7 @@ somewhat familiar with using LilyPond. @subsection Notes -A note is printed by specifying its pitch and then its duration. +A note is printed by specifying its pitch and then its duration: @footnote{Notes constitute the most basic elements of LilyPond input, but they do not form valid input on their own without a @code{\score} block. However, for the sake of brevity and simplicity we will @@ -94,7 +94,7 @@ The most common syntax for pitch entry is used in @code{\chords} and by names. The notes are specified by the letters @code{a} through @code{g}, while the octave is formed with notes ranging from @code{c} to @code{b}. The pitch @code{c} is an octave below middle C and the -letters span the octave above that C. +letters span the octave above that C: @lilypond[fragment,verbatim] \clef bass @@ -138,14 +138,14 @@ espanol.ly do re mi fa sol la sib si -s -b The optional octave specification takes the form of a series of single quote (`@code{'}') characters or a series of comma (`@code{,}') characters. Each @code{'} raises the pitch by one -octave; each @code{,} lowers the pitch by an octave. +octave; each @code{,} lowers the pitch by an octave: @lilypond[fragment,verbatim,center] c' c'' es' g' as' gisis' ais' @end lilypond -There is also a verbose syntax for pitch specification. +There is also a verbose syntax for pitch specification: @c TODO: junk this? @cindex @code{\pitch} @@ -158,7 +158,7 @@ where @var{scmpitch} is a Scheme object of the @code{Pitch} type. @refcommands -Notes can be hidden and unhidden with the following commands. +Notes can be hidden and unhidden with the following commands: @cindex @code{\hideNotes } @code{\hideNotes}, @@ -183,7 +183,7 @@ after the pitch. A cautionary accidental @cindex cautionary accidental @cindex parenthesized accidental (an accidental within parentheses) can be obtained by adding the -question mark `@code{?}' after the pitch. +question mark `@code{?}' after the pitch: @lilypond[fragment,verbatim] cis' cis' cis'! cis'? @@ -208,7 +208,7 @@ articulations, just like simple notes. -Rests are entered like notes, with the note name @code{r}. +Rests are entered like notes, with the note name @code{r}: @lilypond[singleline,verbatim] r1 r2 r4 r8 @@ -222,7 +222,7 @@ must be done with multi measure rests. They are discussed in A rest's vertical position may be explicitly specified by entering a note with the @code{\rest} keyword appended. This makes manual formatting in polyphonic music easier. Rest collision testing will -leave these rests alone. +leave these rests alone: @lilypond[singleline,verbatim] a'4\rest d'4\rest @@ -248,7 +248,7 @@ a2 s4 a4 \skip 1 a4 @end lilypond The @code{s} syntax is only available in Note mode and Chord mode. In -other situations, you should use the @code{\skip} command. +other situations, you should use the @code{\skip} command: @lilypond[singleline,verbatim] \score { @@ -280,7 +280,7 @@ In Note, Chord, and Lyrics mode, durations are designated by numbers and dots: durations are entered as their reciprocal values. For example, a quarter note is entered using a @code{4} (since it is a 1/4 note), while a half note is entered using a @code{2} (since it is a 1/2 note). For notes -longer than a whole you must use variables. +longer than a whole you must use variables: @c FIXME: what is an identifier? I do not think it's been introduced yet. @c and if it has, I obviously skipped that part. - Graham @@ -329,7 +329,7 @@ You can alter the length of duration by a fraction @var{N/M} appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This will not affect the appearance of the notes or rests produced. In the following example, the first three notes take up exactly two -beats. +beats: @lilypond[fragment,relative 2,verbatim] \time 2/4 a4*2/3 gis4*2/3 a4*2/3 @@ -337,7 +337,7 @@ beats. @end lilypond Durations can also be produced using the verbose syntax -@code{\duration @var{Scheme object}}. +@code{\duration @var{Scheme object}}: @lilypond[verbatim,fragment] c'\duration #(ly:make-duration 4 1) @end lilypond @@ -348,7 +348,7 @@ Durations can also be produced using the verbose syntax Dots are normally moved up to avoid staff lines, except in polyphonic situations. The following commands may be used to force a particular -direction manually. +direction manually: @cindex @code{\dotsUp } @code{\dotsUp}, @@ -380,7 +380,7 @@ is invisible. @cindex @code{\stemDown} @code{\stemDown}, @cindex @code{\stemBoth} -@code{\stemBoth}, +@code{\stemBoth}. @node Ties @@ -393,7 +393,7 @@ is invisible. A tie connects two adjacent note heads of the same pitch. The tie in effect extends the length of a note. Ties should not be confused with slurs, which indicate articulation, or phrasing slurs, which indicate -musical phrasing. A tie is entered using the tilde symbol `@code{~}'. +musical phrasing. A tie is entered using the tilde symbol `@code{~}': @lilypond[fragment,verbatim,center] e' ~ e' <> ~ <> @@ -403,8 +403,8 @@ When a tie is applied to a chord, all note heads whose pitches match are connected. When no note heads match, no ties will be created. In its meaning a tie is just a way of extending a note duration, similar -to the augmentation dot: the following example are two ways of notating -exactly the same concept. +to the augmentation dot; in the following example there are two ways of +notating exactly the same concept: @c @lilypond[fragment, singleline,quote] \time 3/4 c'2. c'2 ~ c'4 @@ -424,7 +424,7 @@ note splitting (See @ref{Automatic note splitting}). @cindex @code{\tieDotted } @code{\tieDotted}, @cindex @code{\tieSolid} -@code{\tieSolid}, +@code{\tieSolid}. @seealso @@ -456,7 +456,7 @@ optimal. @cindex @code{\times} Tuplets are made out of a music expression by multiplying all durations -with a fraction. +with a fraction: @cindex @code{\times} @example @@ -477,7 +477,7 @@ The property @code{tupletSpannerDuration} specifies how long each bracket should last. With this, you can make lots of tuplets while typing @code{\times} only once, saving lots of typing. In the next example, there are two triplets shown, while @code{\times} was only -used once. +used once: @lilypond[fragment, relative, singleline, verbatim] \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4) @@ -502,7 +502,7 @@ instead. @cindex @code{\tupletDown } @code{\tupletDown}, @cindex @code{\tupletBoth} -@code{\tupletBoth}, +@code{\tupletBoth}. @seealso @@ -529,8 +529,8 @@ used in music aimed at beginners. } @end lilypond -The @code{EasyNotation} variable overrides a @internalsref{Score} -context. You probably will want to print it with magnification or a +The @code{EasyNotation} variable overrides a @internalsref{Score} context. +You probably will want to print it with magnification or a large font size to make it more readable. To print with magnification, you must create a DVI file (with @file{ly2dvi}) and then enlarge it with something like @file{dvips -x 2000 file.dvi}. -- 2.39.5