From 151617937a431d3db3e94a16db011600acdb4288 Mon Sep 17 00:00:00 2001 From: Han-Wen Nienhuys Date: Thu, 17 Sep 1998 19:03:26 +0200 Subject: [PATCH] release: 1.0.9 --- AUTHORS.txt | 125 ++-- Documentation/faq.yo | 6 + Documentation/tex/GNUmakefile | 6 +- Documentation/tex/glossary.yo | 25 +- Documentation/tex/refman.yo | 119 ++-- Documentation/tex/tutorial.yo | 410 ++++++------- INSTALL.txt | 564 ++++++++++++------ NEWS | 23 +- PATCHES.txt | 229 +++++-- README.txt | 111 ++-- TODO | 9 +- VERSION | 4 +- aclocal.m4 | 4 +- buildscripts/mutopia-index.py | 2 +- buildscripts/ps-to-pngs.sh | 0 configure | 135 +++-- init/book-fragment.ly | 4 +- init/book-init.ly | 2 +- init/center-fragment.ly | 6 +- init/center.ly | 2 +- init/fragment.ly | 6 +- init/init.fly | 4 +- init/init.ly | 2 +- init/paper16.ly | 2 +- init/paper20.ly | 2 +- input/keys.ly | 4 +- input/kortjakje.ly | 6 +- input/pedal.ly | 4 +- input/praeludium-fuga-E.ly | 20 +- input/rhythm.ly | 8 +- input/scales.ly | 6 +- input/scripts.ly | 4 +- input/test/a.ly | 0 input/test/abbrev.ly | 3 +- input/test/bar-scripts.ly | 6 +- input/test/beam-pos.ly | 4 +- input/test/beams.ly | 6 +- input/test/broken.ly | 8 +- input/test/clefs.ly | 4 +- input/test/collisions.ly | 14 +- input/test/defaultbars.ly | 4 +- input/test/denneboom.ly | 14 +- input/test/dotted-slur.ly | 4 +- input/test/find-quarts.ly | 4 +- input/test/font-body.ly | 4 +- input/test/font.ly | 2 +- input/test/font16.ly | 2 +- input/test/gourlay.ly | 4 +- input/test/grace.ly | 8 +- input/test/hara-kiri.ly | 9 +- input/test/keys.ly | 4 +- input/test/knee.ly | 4 +- input/test/mark.ly | 8 +- input/test/multi-rest.ly | 8 +- input/test/ossia.ly | 5 +- input/test/score-bar-scripts.ly | 6 +- input/test/sleur.ly | 28 +- input/test/slur-bug.ly | 4 +- input/test/slur-damping.ly | 4 +- input/test/slur-swap.ly | 4 +- input/test/slurs.ly | 4 +- input/test/spacing.ly | 8 +- input/test/stem.ly | 6 +- input/test/test-lyrics.ly | 4 +- input/test/tie-bug.ly | 4 +- input/test/tie.ly | 4 +- input/test/title.ly | 6 +- input/test/transposition.ly | 10 +- input/test/vertical-align.ly | 4 +- input/tril.ly | 4 +- input/twinkle-pop.ly | 6 +- input/twinkle.ly | 8 +- lily/VERSION | 4 +- lily/include/score-element.hh | 2 +- lily/music-list.cc | 2 +- lily/my-lily-lexer.cc | 6 +- lily/parser.yy | 52 +- lily/score-element.cc | 6 +- lily/super-element.cc | 14 +- make/STATE-VECTOR | 4 +- make/lilypond-vars.make | 3 +- make/out/lelievijver.lsm | 8 +- make/out/lilypond.lsm | 8 +- make/out/lilypond.spec | 6 +- mutopia/Coriolan/bassi-part.ly | 2 +- mutopia/Coriolan/clarinetti-part.ly | 2 +- mutopia/Coriolan/clarinetti.ly | 4 +- mutopia/Coriolan/clarinetto-1.ly | 4 +- mutopia/Coriolan/clarinetto-2.ly | 4 +- mutopia/Coriolan/contrabasso-part.ly | 2 +- mutopia/Coriolan/contrabasso.ly | 6 +- mutopia/Coriolan/coriolan.ly | 4 +- mutopia/Coriolan/corni-part.ly | 2 +- mutopia/Coriolan/corni.ly | 4 +- mutopia/Coriolan/corno-1.ly | 4 +- mutopia/Coriolan/corno-2.ly | 4 +- mutopia/Coriolan/fagotti-part.ly | 2 +- mutopia/Coriolan/fagotti.ly | 4 +- mutopia/Coriolan/fagotto-1.ly | 4 +- mutopia/Coriolan/fagotto-2.ly | 4 +- mutopia/Coriolan/flauti-part.ly | 2 +- mutopia/Coriolan/flauti.ly | 4 +- mutopia/Coriolan/flauto-1.ly | 4 +- mutopia/Coriolan/flauto-2.ly | 4 +- mutopia/Coriolan/global.ly | 4 +- mutopia/Coriolan/oboe-1.ly | 4 +- mutopia/Coriolan/oboe-2.ly | 4 +- mutopia/Coriolan/oboi-part.ly | 2 +- mutopia/Coriolan/oboi.ly | 4 +- mutopia/Coriolan/timpani.ly | 6 +- mutopia/Coriolan/trombe-part.ly | 2 +- mutopia/Coriolan/trombe.ly | 4 +- mutopia/Coriolan/trombo-1.ly | 4 +- mutopia/Coriolan/trombo-2.ly | 4 +- mutopia/Coriolan/viola-1.ly | 6 +- mutopia/Coriolan/viola-2.ly | 6 +- mutopia/Coriolan/viola-part.ly | 4 +- mutopia/Coriolan/violino-1-part.ly | 2 +- mutopia/Coriolan/violino-1.ly | 6 +- mutopia/Coriolan/violino-2-part.ly | 2 +- mutopia/Coriolan/violino-2.ly | 6 +- mutopia/Coriolan/violoncello-part.ly | 2 +- mutopia/Coriolan/violoncello.ly | 6 +- .../Cembalo-Partitas/Partita_II_Allemande.ly | 8 +- .../Cembalo-Partitas/Partita_II_Sinfonia.ly | 20 +- .../J.S.Bach/Petites-Preludes/preludes-1.ly | 8 +- .../J.S.Bach/Petites-Preludes/preludes-2.ly | 8 +- .../J.S.Bach/Petites-Preludes/preludes-3.lym4 | 8 +- .../J.S.Bach/Petites-Preludes/preludes-4.ly | 12 +- .../J.S.Bach/Petites-Preludes/preludes-5.ly | 8 +- .../J.S.Bach/Petites-Preludes/preludes-6.ly | 12 +- .../Solo-Cello-Suites/allemande-cello.ly | 6 +- .../Solo-Cello-Suites/allemande-urtext.ly | 6 +- .../Solo-Cello-Suites/allemande-viola.ly | 8 +- .../Solo-Cello-Suites/courante-cello.ly | 6 +- .../Solo-Cello-Suites/courante-urtext.ly | 6 +- .../Solo-Cello-Suites/courante-viola.ly | 8 +- .../J.S.Bach/Solo-Cello-Suites/gigue-cello.ly | 6 +- .../Solo-Cello-Suites/gigue-urtext.ly | 16 +- .../J.S.Bach/Solo-Cello-Suites/gigue-viola.ly | 8 +- .../Solo-Cello-Suites/menuetto-cello.ly | 8 +- .../Solo-Cello-Suites/menuetto-urtext.ly | 16 +- .../Solo-Cello-Suites/menuetto-viola.ly | 12 +- .../Solo-Cello-Suites/prelude-cello.ly | 6 +- .../Solo-Cello-Suites/prelude-urtext.ly | 62 +- .../Solo-Cello-Suites/prelude-viola.ly | 8 +- .../Solo-Cello-Suites/sarabande-cello.ly | 6 +- .../Solo-Cello-Suites/sarabande-urtext.ly | 6 +- .../Solo-Cello-Suites/sarabande-viola.ly | 8 +- mutopia/J.S.Bach/wtk1-fugue1.ly | 14 +- mutopia/J.S.Bach/wtk1-fugue2.ly | 10 +- mutopia/J.S.Bach/wtk1-prelude1.ly | 10 +- mutopia/J.S.Bach/wtk1-prelude2.ly.m4 | 6 +- mutopia/W.A.Mozart/cadenza.ly | 6 +- mutopia/W.A.Mozart/horn-concerto-3.ly | 12 +- mutopia/gallina.ly | 8 +- mutopia/los-toros-oboe.ly | 16 +- mutopia/standchen-16.ly | 2 +- mutopia/standchen-20.ly | 2 +- mutopia/standchen.ly | 30 +- scripts/convert-mudela.py | 13 +- stepmake/aclocal.m4 | 4 +- stepmake/configure | 26 +- stepmake/make/out/stepmake.lsm | 8 +- stepmake/make/out/stepmake.spec | 4 +- stepmake/stepmake/metafont-rules.make | 2 +- tex/lilyponddefs.tex | 10 +- 167 files changed, 1628 insertions(+), 1201 deletions(-) mode change 100644 => 100755 buildscripts/ps-to-pngs.sh delete mode 100644 input/test/a.ly diff --git a/AUTHORS.txt b/AUTHORS.txt index e8b04ed456..e17ad4f902 100644 --- a/AUTHORS.txt +++ b/AUTHORS.txt @@ -1,52 +1,75 @@ -TITLE INFORMATION: AUTHORS - who did what on GNU LilyPond? - -Contents - -This file lists authors of GNU LilyPond, and what they wrote. This -list is alphabetically ordered. - -o Tom Cato Amundsen , - cembalo-partita in mudela. -o Mats Bengtsson , - http://www.s3.kth.se/~matsb - clef stuff, key stuff, swedish notenames, testing, general - comments. -o Eric Bullinger , - accidental transposition. -o Jan Arne Fagertun , - TeX titling and lytodvi.sh -o Anthony Fok , - debian package: debian/* -o Neil Jerram . - parts of Documentation/Vocab* -o Donald Ervin Knuth, http://www.cs-staff.stanford.edu/~knuth - mf/ital-*.mf (these were taken from the CM fonts) -o Werner Lemberg , - misc bugfixes, some Beam and Stem code. -o David R. Linn , - Mailing list maintenance. -o Han-Wen Nienhuys , - http://www.cs.uu.nl/~hanwen - - Main author (initials: HWN). -o Jan Nieuwenhuizen , - http://www.xs4all.nl/~jantien - - Main author (initials: JCN). -o Alexandre Oliva , - http://sunsite.unicamp.br/~oliva - testing -o Franc,ois Pinard , - parts of Documentation/Vocab*, started internationalization stuff -o Jeffrey B. Reed , - Windows-NT support. -o Shay Rojanski - Some mudela source. - -Your name could be here! If you want to help, then take a look at the -SMALLISH PROJECTS section of in the file TODO. Some do not involve -coding C++ - -[And of course we sincerely thank J.S.Bach, F.Schubert, T. Merula and -W.A.Mozart for their beautiful music] + + + + + + + + + AUTHORS - who did what on GNU LilyPond? + + +Contents + + +This file lists authors of GNU LilyPond, and what they +wrote. This list is alphabetically ordered. + + +o Tom Cato Amundsen , cembalo-par- + tita in mudela. + +o Mats Bengtsson , + http://www.s3.kth.se/~matsb clef stuff, key stuff, + swedish notenames, testing, general comments. + +o Eric Bullinger , accidental trans- + position. + +o Jan Arne Fagertun , + TeX titling and lytodvi.sh + +o Anthony Fok , debian package: debian/* + +o Neil Jerram . parts of Documenta- + tion/Vocab* + +o Donald Ervin Knuth, http://www.cs-staff.stan- + ford.edu/~knuth mf/ital-*.mf (these were taken from the + CM fonts) + +o Werner Lemberg , misc + bugfixes, some Beam and Stem code. + +o David R. Linn , Mailing list + maintenance. + +o Adrian Moriano <> Documentation fixes, glossary. + +o Han-Wen Nienhuys , + http://www.cs.uu.nl/~hanwen + Main author (initials: HWN). + +o Jan Nieuwenhuizen , + http://www.xs4all.nl/~jantien + Main author (initials: JCN). + +o Alexandre Oliva , http://sun- + site.unicamp.br/~oliva testing + +o Franc,ois Pinard , parts of + Documentation/Vocab*, started internationalization + stuff + +o Jeffrey B. Reed , Windows-NT support. + +o Shay Rojanski Some mudela source. + + +Your name could be here! If you want to help, then take a +look at the SMALLISH PROJECTS section of in the file TODO. +Some do not involve coding C++ + +[And of course we sincerely thank J.S.Bach, F.Schubert, T. +Merula and W.A.Mozart for their beautiful music] diff --git a/Documentation/faq.yo b/Documentation/faq.yo index 6a9ae5f364..5d64a38233 100644 --- a/Documentation/faq.yo +++ b/Documentation/faq.yo @@ -183,6 +183,12 @@ Yes and no. At this time you can choose between 11, 13, 16, 19, (yet). Look at file(standchen.ly) for an example. +question(Do you support Gregorian chant notation?) + +No. There is no reason why LilyPond can't be extended to do so, but +we haven't done it yet (and there are currently no plans to do it). + + sect(How do I ....) question(How do I change the TeX layout?) diff --git a/Documentation/tex/GNUmakefile b/Documentation/tex/GNUmakefile index f1bf0b4878..951d7b4d80 100644 --- a/Documentation/tex/GNUmakefile +++ b/Documentation/tex/GNUmakefile @@ -6,6 +6,8 @@ DATA_FILES = $(wildcard *.data) datafiles = $(addprefix $(outdir)/,$(DATA_FILES:.data=.html)) DOC_FILES = $(wildcard *.doc) DVI_FILES = $(addprefix $(outdir)/,$(DOC_FILES:.doc=.dvi) $(YO_FILES:.yo=.dvi)) +OUT_BIB_FILES = $(addprefix $(outdir)/, $(BIB_FILES)) + OUTDOC_FILES = $(addprefix $(outdir)/, $(DOC_FILES)) EL_FILES = $(wildcard *.el) BIB_FILES= $(wildcard *.bib) @@ -15,11 +17,13 @@ PS_FILES = $(DVI_FILES:.dvi=.ps) STEPMAKE_TEMPLATES=documentation LOCALSTEPMAKE_TEMPLATES=lilypond mudela +export BIBINPUTS="$(topdir)/Documentation/tex//"#huh? include $(depth)/make/stepmake.make -dvi: $(DVI_FILES) +dvi: $(OUT_BIB_FILES) $(DVI_FILES) + ps: $(PS_FILES) diff --git a/Documentation/tex/glossary.yo b/Documentation/tex/glossary.yo index 88cb2ab09d..839ed95eca 100644 --- a/Documentation/tex/glossary.yo +++ b/Documentation/tex/glossary.yo @@ -17,12 +17,16 @@ in stead <-> instead htmlbodyopt(bgcolor)(white) htmlcommand() -latexpackage()(a4wide) COMMENT(UGH) latexlayoutcmds( -%\usepackage[latin1]{inputenc} -\input mudela-book +\setlength{\topmargin}{-0.25in} +\setlength{\textheight}{9in} +\setlength{\textwidth}{5.875in} +\setlength{\oddsidemargin}{0.25in} +\setlength{\evensidemargin}{0.25in} ) +latexpackage()(a4wide) COMMENT(UGH) + whenlatex(notableofcontents()) whentexinfo(notableofcontents()) @@ -77,18 +81,3 @@ whenhtml( includeverbatim(DOEXPAND(outdir)/glossary-table.html) ) -whenlatex(latexcommand( - \bibliographystyle{plain} - \bibliography{engraving} -)) - - -COMMENT(The bib stuff is somewhere else on the WWW site) -COMMENT( -setchapterstring{} - -whenhtml{ - nchapter{Bibliography} - includeverbatim{out-www/engraving.html} -}) - diff --git a/Documentation/tex/refman.yo b/Documentation/tex/refman.yo index fb2d54fb60..e591332169 100644 --- a/Documentation/tex/refman.yo +++ b/Documentation/tex/refman.yo @@ -2,8 +2,7 @@ COMMENT(-*-text-*-) redef(var)(1)(whenlatex(latexcommand({\normalfont\scshape )ARG1+latexcommand(}))\ whenhtml(sc(ARG1))) - - +def(mycode)(1)(tt(ARG1)) COMMENT( This document contains Mudela fragments. You need at least Yodl-1.30.18 to convert this to tex or html. @@ -125,14 +124,14 @@ Braces are also used to group arguments for certain commands. To assign an identifier you use: verb(string = ...) To use an identifier, you must preceed it with a backslash: code(\). -verb(oboe = \melodic { ... } -\score{ \melodic { \oboe }}) +verb(oboe = \notes { ... } +\score{ \notes { \oboe }}) The left-hand part of the assignment is really a string, so -verb("Foo bar 4 2 " = \melodic { ... }) +verb("Foo bar 4 2 " = \notes { ... }) is also a valid assignment (but you would have trouble referencing it) If you reuse identifiers, then the previous contents will be thrown away after the right hand is evaluated, e.g. -verb(bla = \melodic { \bla }) +verb(bla = \notes { \bla }) is legal. COMMENT(It's not clear to me what things are allowed on the RHS of @@ -149,7 +148,7 @@ clear lyric header score translator clef key notenames script type cm keysignature octave shape transpose consists mark output skip version -contains melodic partial staff +contains notes partial staff duration musicalpitch paper spandynamic) COMMENT( I don't know the proper way to make this kind of table in @@ -186,7 +185,7 @@ COMMENT(As far as I can tell, the last bit is simply a repetition of the information on how to use an identifier, so it should be deleted. But I'm uncertain about the meaning of \TYPE in the above section. -Different from \type? Does it refer to \melodic, \lyric? In general, +Different from \type? Does it refer to \notes, \lyric? In general, the use of the word "type" seems to be a source of confusion. ) @@ -211,7 +210,7 @@ alphanumeric characters. If code(word) is encountered on the input it is treated as a string. dit(Note mode) Note mode is introduced by the keyword -code(\melodic). In Note mode, words can only contain alphabetic +code(\notes). In Note mode, words can only contain alphabetic characters. If code(word) is encountered, Lilypond first checks for a notename of code(word). If no notename is found, then code(word) is treated as a string. If you mistype a notename, the parser will most @@ -424,7 +423,7 @@ Two syllables or words that compose a single duration entry are bound together using an underscore: code(He_could4 not4). Here is a full example: mudela(verbatim)(\score{ - < \melodic \transpose c'' {c d e c | c d e c | e f g'2 | + < \notes \transpose c'' {c d e c | c d e c | e f g'2 | e'4 f g'2 \bar "|."; } \type Lyrics \lyric { DOEXPAND(Fr\)`e-4 re Ja- que DOEXPAND(Fr\)`e- re Ja- que @@ -504,7 +503,7 @@ A Mudela file needs some red tape mudela(verbatim)( \score{ - \melodic { + \notes { c' d' e' c' | c' d' e' c' | e' f' g'2 | @@ -596,7 +595,7 @@ something much like one of the examples in this document. Back in section ref(sec:running-lilypond) we told you that the music you enter should be encapsulated in something like: verb(\score< - \melodic\relative c{ + \notes\relative c{ d } \paper{ } @@ -616,7 +615,7 @@ If you use the extension file(.fly) for Mudela file file(foo), LilyPond will embed your file(foo.fly) nop(in)footnote(Or something very similar. If you want to know exactly, see file(init/init.fly)): verb(\score< - \melodic\relative c{ + \notes\relative c{ <> } \paper{ } @@ -646,11 +645,11 @@ have obligatory braces as far as I can tell, which don't contain music.) description( -dit(code(\absdynamic)) +dit(mycode(\absdynamic)) -dit(code(\accepts)) +dit(mycode(\accepts)) -dit(code(\bar) var(bartype)) Prints a special bar symbol, or at +dit(mycode(\bar) var(bartype)) Prints a special bar symbol, or at measure boundaries, replaces the regular bar symbol with a special symbol. The argument var(bartype) is a string which specifies the kind of bar to print. Options are code(":|"), code("|:"), @@ -660,69 +659,69 @@ repeat, a double repeat, a double bar, a start bar, an end bar, or a thick double bar. If var(bartype) is set to "empty" then nothing is printed, but a line break is allowed at that spot. -dit(code(\cadenza) var(togglevalue)) Toggles the automatic generation +dit(mycode(\cadenza) var(togglevalue)) Toggles the automatic generation of bar lines. If var(togglevalue) is 0 then bar line generation is turne off. If var(togglevalue) is 1 then a bar is immediately printed and bar generation is turned on. -dit(code(\clear)) +dit(mycode(\clear)) -dit(code(\clef) var(clefname)) Sets the current clef. The argument +dit(mycode(\clef) var(clefname)) Sets the current clef. The argument is the name of the clef. Possibilities are code(bass), code(alto), and code(treble). Treble clef is the default. -dit(code(\cm)) Specify a width in centimeters. +dit(mycode(\cm)) Specify a width in centimeters. -dit(code(\consists)) +dit(mycode(\consists)) -dit(code(\contains)) +dit(mycode(\contains)) -dit(code(\duration) { var(length) var(dotcount) }) Specify note +dit(mycode(\duration) { var(length) var(dotcount) }) Specify note duration. The parameter var(length) is the negative logarithm (base 2) of duration: 1 is a half note, 2 is a quarter note, 3 is an eighth note, etc. The number of dots after the note is given by var(dotcount). -dit(code(\font)) +dit(mycode(\font)) -dit(code(\grouping) var(durationlist)) Sets the metric structure of +dit(mycode(\grouping) var(durationlist)) Sets the metric structure of the measure. COMMENT(elaboration is needed here.) -dit(code(\in)) Specify a width in inches. +dit(mycode(\in)) Specify a width in inches. -dit(code(\include) var(file)) Include the specified file. +dit(mycode(\include) var(file)) Include the specified file. -dit(code(\lyric) { var(list) } ) Parse var(list) in lyrics mode. +dit(mycode(\lyric) { var(list) } ) Parse var(list) in lyrics mode. -dit(code(\key) var(pitch)) Change key signature to that of var(pitch)-major. +dit(mycode(\key) var(pitch)) Change key signature to that of var(pitch)-major. -dit(code(\keysignature) var(notelist)) +dit(mycode(\keysignature) var(notelist)) Specify an arbitrary key signature. The notes from var(notelist) will be printed in the key signature in the order that they appear on the list. -dit(code(\mark)) +dit(mycode(\mark)) -dit(code(\melodic) var(music)) Enter note mode and process the +dit(mycode(\notes) var(music)) Enter note mode and process the specified music. -dit(code(\musicalpitch) { var(octave) var(note) var(shift) }) Specify +dit(mycode(\musicalpitch) { var(octave) var(note) var(shift) }) Specify note pitch. The octave is specified by an integer, zero for the octave containing middle C. The note is a number from 0 to 7, with 0 corresponding to C and 7 corresponding to B. The shift is zero for a natural, negative to add flats, or positive to add sharps. -dit(code(\time) var(numerator)code(/)var(denominator)) Change the time +dit(mycode(\time) var(numerator)mycode(/)var(denominator)) Change the time signature. The default time signature is 4/4. -dit(code(\midi)) Produce musical output. See code(\tempo) for setting +dit(mycode(\midi)) Produce musical output. See code(\tempo) for setting the tempo. -dit(code(\mm)) Specify a width in millimeters. +dit(mycode(\mm)) Specify a width in millimeters. -dit(code(\multi)) +dit(mycode(\multi)) -dit(code(\header) { var(key1) = var(val1); var(key2) = var(val2); ... }) +dit(mycode(\header) { var(key1) = var(val1); var(key2) = var(val2); ... }) Specifies information about the music. A header should appear at the top of the file describing the file's contents. If a file has multiple code(\score) blocks, then a header should appear in @@ -730,31 +729,31 @@ each score block describing its contents. Tools like code(ly2dvi) can use this information for generating titles. Some possible key values are: title, opus, description, composer, enteredby, and copyright. -dit(code(\notenames) { var(list) }) Define new note names. +dit(mycode(\notenames) { var(list) }) Define new note names. The argument var(list) is a list of definitions of the form var(name) = var(pitch), where var(pitch) is specified with the code(\musicalpitch) command. -dit(code(\octave)) -dit(code(\nop(output))) +dit(mycode(\octave)) +dit(mycode(\nop(output))) -dit(code(\partial) var(duration)) Specify that the first measure of +dit(mycode(\partial) var(duration)) Specify that the first measure of the music lasts only for the specified duration. -dit(code(\paper) code({) [ code(linewidth = )var(width)code(;) ] code(})) +dit(mycode(\paper) mycode({) [ mycode(linewidth = )var(width)mycode(;) ] mycode(})) Appears in a score block to indicate that the music should be printed. The line width can be set to -1. in order to prevent justification of small fragments of music, or the width can be specified explicitly using code(\cm), code(\in), code(\mm), or code(\pt) to specify the units. -dit(code(\penalty)) +dit(mycode(\penalty)) -dit(code(\property)) +dit(mycode(\property)) -dit(code(\pt)) Specify a width in points. +dit(mycode(\pt)) Specify a width in points. -dit(code(\relative) var(pitch) var(music)) Processes the specified +dit(mycode(\relative) var(pitch) var(music)) Processes the specified var(music) in relative pitch mode. In this mode, the octave of a pitch note is chosen so that the note is closest to the preceeding note. @@ -763,32 +762,32 @@ the starting pitch for this comparision. In the case of chords, the first note of a chord is used as the base for the pitches in the next chord. -dit(code(\score)) Start a music definition. +dit(mycode(\score)) Start a music definition. -dit(code(\script)) +dit(mycode(\script)) -dit(code(\shape)) +dit(mycode(\shape)) -dit(code(\skip)) +dit(mycode(\skip)) -dit(code(\staff)) +dit(mycode(\staff)) -dit(code(\spandynamic)) -dit(code(\symboltables)) -dit(code(\table)) +dit(mycode(\spandynamic)) +dit(mycode(\symboltables)) +dit(mycode(\table)) -dit(code(\tempo) var(duration) = var(perminute)) Used when creating +dit(mycode(\tempo) var(duration) = var(perminute)) Used when creating MIDI output to specify the tempo. For example, `code(\midi { \temp0 4 = 76})' requests output with 76 quarter notes per minute. -dit(code(\translator)) -dit(code(\type)) +dit(mycode(\translator)) +dit(mycode(\type)) -dit(code(\transpose) var(pitch) var(music)) Transposes the specified +dit(mycode(\transpose) var(pitch) var(music)) Transposes the specified music. Middle C is tranposed to var(pitch). -dit(code(\version) var(string)) Specify the version of Lilypond that +dit(mycode(\version) var(string)) Specify the version of Lilypond that a file was written for. The argument is the version number, for example code("1.0.4"). diff --git a/Documentation/tex/tutorial.yo b/Documentation/tex/tutorial.yo index 673f8106bb..ef463ef7aa 100644 --- a/Documentation/tex/tutorial.yo +++ b/Documentation/tex/tutorial.yo @@ -3,6 +3,7 @@ COMMENT(-*-text-*-) redef(var)(1)(whenlatex(latexcommand({\normalfont\scshape )ARG1+latexcommand(}))\ whenhtml(sc(ARG1))) +def(mycode)(1)(tt(ARG1)) COMMENT( This document contains Mudela fragments. You need at least Yodl-1.30.18 to convert this to tex or html. @@ -59,7 +60,7 @@ article(Mudela, the Music-Definition Language) latexcommand(\def\interexample{}) latexcommand(\def\preexample{\par}) latexcommand(\def\postexample{\par\medskip}) -latexcommand(\def\file#1{{code(#1)}}) +latexcommand(\def\file#1{{mycode(#1)}}) whenhtml( nsubsect(Disclaimer) @@ -144,12 +145,13 @@ verb( This data is what we consider the musical em(definition). Mudela has a special entry mode where you can conveniently abbreviate this to -`code(d''4.)'. There are some features that also make the quotes and -numbers in `code(d''4.)' superfluous in some cases. +`mycode(d''4.)'. There are some features that also make the quotes and +numbers in `mycode(d''4.)' superfluous in some cases. -For those who are curious, the numbers in `code(\musicalpitch { 1 2 0 -})' example mean octave, notename, and accidental respectively. The -numbers in `code(\duration { 2 1 })' are the (negative) logarithm of the +For those who are curious, the numbers in +`mycode(\musicalpitch { 1 2 0 })' +example mean octave, notename, and accidental respectively. The +numbers in `mycode(\duration { 2 1 })' are the (negative) logarithm of the duration (2 is a quarter note, 3 is an eighth note, etc.) and the number of augmention dots respectively. @@ -157,9 +159,9 @@ sect(When you know the notes to nop(print)ellipsis()) The basic building block of music is the note. You can have LilyPond print a note by specifying its pitch and duration. The pitch of the -central C is written as code(c'). This is in line with musicological +central C is written as mycode(c'). This is in line with musicological notation; there this pitch is transcribed as nop(c)sups(1) or c'. A -quarter-note duration is written as code(4). So, to print a quarter +quarter-note duration is written as mycode(4). So, to print a quarter note whose pitch is central C, you enter the following: mudela(fragment,verbatim,center)( c'4 ) @@ -177,18 +179,18 @@ mudela(fragment,verbatim)( subsect(Basic pitches) -The pitch code(c') actually consists of two parts: one part for the +The pitch mycode(c') actually consists of two parts: one part for the note name, and one for the octave. The letter specifies which note -name to use: note names simply are the letters code(a) to code(g). +name to use: note names simply are the letters mycode(a) to mycode(g). The number of apostrophes specifies the octave to use: the central C -is denoted by code(c').footnote(By convention, the A above central C +is denoted by mycode(c').footnote(By convention, the A above central C at concert pitch is the tone that is used to tune instruments. Its frequency is about 440 Hz.) The C which is an eighth higher (the C in -the ``two-line octave'') is denoted by code(c''): every octave adds a -quote. A note name without quotes designates the pitch below code(c') +the ``two-line octave'') is denoted by mycode(c''): every octave adds a +quote. A note name without quotes designates the pitch below mycode(c') (the C in the ``small octave''). If you want to go down even further, commas should be added, e.g., the C in the ``contra octave'' is -expressed as code(c,,).footnote(The comma is meant to represent a +expressed as mycode(c,,).footnote(The comma is meant to represent a sunken apostrophe.) @@ -202,7 +204,7 @@ mudela(center,fragment,verbatim)( c'4 d'4 e'4 f'4 g'4 a'4 b'4 c''4 ) -A rest can be entered as a note with the special name code(r), e.g., +A rest can be entered as a note with the special name mycode(r), e.g., mudela(fragment,verbatim,center)(r4) This already gives us enough material to make simple songs. In @@ -255,18 +257,18 @@ latexcommand(\end{table}) Variations on this convention are used in a number of germanic languages, notably Dutch, German, Swedish, and Norwegian. To be precise, LilyPond actually defaults to Dutch notenames, with -code(aes), code(aeses), code(ees) and code(eeses) added for +mycode(aes), mycode(aeses), mycode(ees) and mycode(eeses) added for consistency. Throughout this document we will continue to use the Dutch names. To make (Dutch) pronunciation easier, the a-flat and e-flat are contracted to -code(as) and code(es). Similarly, the a double flat and e double flat are -contracted to code(ases) and code(eses). +mycode(as) and mycode(es). Similarly, the a double flat and e double flat are +contracted to mycode(ases) and mycode(eses). If you are not comfortable with these names, you can make your own. Note names for different languages are included with the example initialisation files, amongst others English (C sharp is abbreviated -to code(cs)), Italian, Swedish and Norwegian. If you want to use +to mycode(cs)), Italian, Swedish and Norwegian. If you want to use these names, you should look at bind(Section)ref(subsect:include) for information on how to use include files. @@ -277,9 +279,9 @@ In the previous section some basic elements of Mudela were presented. We didn't want to bore you too much with repetitive details, so we left out some red tape that's needed for a of Mudela in a form that is accepted by LilyPond. To -be precise, we wrote code(X Y Z), when we really meant +be precise, we wrote mycode(X Y Z), when we really meant verb(\score { - \melodic { X Y Z } + \notes { X Y Z } \paper {} }) We will continue to leave out the red tape this, until the time is right to explain what @@ -289,7 +291,7 @@ it means. Because LilyPond uses a language, it is a so called em(batch) program. This means, that you use a -text editor (such as code(emacs) or code(vi)) to create an input +text editor (such as mycode(emacs) or mycode(vi)) to create an input file. When you are done editing your input file, you save it, and you run LilyPond on the file. If LilyPond finds any errors in your input file then nop(she)footnote(We're sure that if computer programs could have @@ -311,11 +313,11 @@ To get you started we'll run down the full procedure for you. enumerate( it() Fire up your favourite editor (if you don't -know any editors, try code(joe silly.ly)), +know any editors, try mycode(joe silly.ly)), and key in the example from bind(Figure)ref(fig:twinkle1), with red tape: verb( \score { - \melodic { + \notes { c''4 c''4 g''4 g''4 a''4 a''4 g''2 } @@ -327,7 +329,7 @@ Save your file as file(twinkle.ly).footnote(The default extension for Mudela files is file(.ly).) it() -Run LilyPond on your newly created file: enter code(lilypond twinkle). +Run LilyPond on your newly created file: enter mycode(lilypond twinkle). LilyPond will then print all kinds of mumbo jumbo that can safely be ignored. You might see something like this: verb( @@ -362,7 +364,7 @@ produced with TeX().) COMMENT(ugh.) it() To do something useful with the output you have to run TeX() on it - first. Run the command code(tex twinkle). The output should resemble this: + first. Run the command mycode(tex twinkle). The output should resemble this: verb( This is TeX, Version 3.14159 (C version 6.1) (twinkle.tex @@ -386,7 +388,7 @@ case, consult your local TeX() guru on printing and viewing DVI files. What is in your window should approximately look like this: mudela()( \score { - \melodic { + \notes { c''4 c''4 g''4 g''4 a''4 a''4 g''2 } @@ -396,7 +398,7 @@ mudela()( it() If you want to print file(twinkle.dvi), you should invoke the command -code(dvips twinkle). Running this command should generate a +mycode(dvips twinkle). Running this command should generate a PostScript file called file(twinkle.ps). This file can be printed on any PostScript compatible printer. You should not use any other tools: the output from LilyPond contains fragments of PostScript which @@ -441,9 +443,9 @@ expressed conveniently. Of course we did not leave out chords. In Mudela you can form a chord of several notes by enclosing them in pointed parentheses, bind(i.e.)bind(langle())bind(and)rangle(). ASCII doesn't really have these delimiters, so Mudela uses the larger-than -(code(>)) and smaller-than (code(<)) signs instead. For example, a +(mycode(>)) and smaller-than (mycode(<)) signs instead. For example, a D-major nop(chord)footnote(Recall what was said in the previous -section about flats and sharps: the word code(fis) means an f sharp.) +section about flats and sharps: the word mycode(fis) means an f sharp.) can be described by the following fragment: mudela(fragment,verbatim,center)( @@ -506,7 +508,7 @@ verb( c''4 % shouldn't this be a different pitch? ) -Block comments are enclosed in code(%{) and code(%}). +Block comments are enclosed in mycode(%{) and mycode(%}). verb( c''4 @@ -538,7 +540,7 @@ articulation marks such as staccato and tenuto. They are shown in the following example: mudela()( -\score{ \melodic { +\score{ \notes { \property Voice.textstyle = typewriter c''4-._"c''4-." s4 c''4--_"c''4--" s4 @@ -560,7 +562,7 @@ note.'' This is not in line with our goal to em(define) music with Mudela. We hope that this will be fixed in a future version of the language. In the meantime you can abuse this: the super- and subscripts can be forced into up or down position respectively by entering an -a caret (code(^)) or an underscore, code(_) instead of the dash: +a caret (mycode(^)) or an underscore, mycode(_) instead of the dash: mudela(fragment,verbatim,center)( c'4-^ c'4^^ c'''4-^ c'''4_^ ) @@ -626,8 +628,8 @@ beam can be derived from the structure of the time signature and the durations of the notes. It is merely a device that helps you understand the rhythms notated. Unfortunately, LilyPond is not smart enough to insert beams into your music on her own. You will have to instruct her by -marking the starting and stopping point of the beam with `code([)' and -`code(])' respectively, e.g. +marking the starting and stopping point of the beam with `mycode([)' and +`mycode(])' respectively, e.g. mudela(fragment,verbatim,center)( [g'8 g'8] @@ -636,7 +638,7 @@ mudela(fragment,verbatim,center)( LilyPond has code that guesses what the pattern should look like, so that you don't have to specify the beaming for complicated patterns.footnote(Unfortunately the algorithm used is not foolproof yet: - code([c8. c32 c32]) will produce incorrect results.) + mycode([c8. c32 c32]) will produce incorrect results.) Again, it is your responsibility to make sure that you end every beam that you start. @@ -652,7 +654,7 @@ The input convention for the tilde is somewhat peculiar when used in conjunction with chords. Internally, the extra information that is represented by the tilde has to be attached to a note (or to a rest, for that matter). For this reason, you can't put the tilde between -two chords (as in code( ~ )). The tilde sign must be +two chords (as in mycode( ~ )). The tilde sign must be directly after a note of the chords. It does not matter which one. The following example demonstrates this: mudela(fragment,verbatim,center)( @@ -682,17 +684,17 @@ center( em(keyword)s are words that have a special meaning to the parser of Mudela. Because the parser must be able to distinguish the keywords from note names, they have to be preceded by a so-called escape -character, the backslash, `code(\)'. To separate the arguments from +character, the backslash, `mycode(\)'. To separate the arguments from any notes that might follow the arguments, you have to end your command with a semicolon. An added benefit of this construction is that the commands stand out between your notes, because of the backslashes. -So the general form actually is `code(\keyword argument argument ... ;)' +So the general form actually is `mycode(\keyword argument argument ... ;)' Let us review these commands: description( -dit(code(\clef) var(clefname)) This command sets the current clef for notation, +dit(mymycode(\clef) var(clefname)) This command sets the current clef for notation, i.e., a clef symbol is printed and the notes following this command are shifted vertically. The argument is a string, the name of the new clef. The default clef is the treble clef. @@ -701,25 +703,25 @@ dit(code(\clef) var(clefname)) This command sets the current clef for notation, \clef "treble"; c'4 \clef "alto"; c'4 ) -dit(code(\key) var(pitch)) This command changes the current key signature. The +dit(mymycode(\key) var(pitch)) This command changes the current key signature. The key signature is printed at the start of every line. The argument is the name of the corresponding major key. The key of C-minor can - thus be specified as `code(\key es)'. + thus be specified as `mycode(\key es)'. -dit(code(\keysignature) var(pitchlist)) +dit(mymycode(\keysignature) var(pitchlist)) This command changes the current key signature. Unlike the -`code(\key)' command, this command can produce arbitrary key +`mycode(\key)' command, this command can produce arbitrary key signatures, which can be useful for unconventional keys or modes. The key signature is given in the form of a list of notes. The notes will be printed in the key signature in the order that they appear on the list. For example, the key -of C-minor can be specified as `code(\keysignature bes es as)'. The -command `code(\keysignature fis es bis)' provides a more exotic +of C-minor can be specified as `mycode(\keysignature bes es as)'. The +command `mycode(\keysignature fis es bis)' provides a more exotic example. -dit(code(\time) var(numerator)code(/)var(denominator)) +dit(mymycode(\time) var(numerator)mycode(/)var(denominator)) This command changes the current time signature. LilyPond uses the time signature to calculate where to place the bars that start a measure. These bars @@ -735,17 +737,17 @@ song actually has a 2/4 time signature, so a metrically more correct ) -dit(code(\cadenza) var(togglevalue)) When typesetting music without a +dit(mymycode(\cadenza) var(togglevalue)) When typesetting music without a regular meter (such as an ad libitum cadenza), no bar lines should be printed. In LilyPond you can achieve this by issuing the command -`code(\cadenza 1)': it turns off the automatically +`mycode(\cadenza 1)': it turns off the automatically generated bar lines. -You switch them on again with `code(\cadenza 0)', and then a bar line +You switch them on again with `mycode(\cadenza 0)', and then a bar line is printed. LilyPond will act as if you are again at the start of a measure. -dit(code(\bar) var(bartype)) +dit(mymycode(\bar) var(bartype)) This command lets you print special bar lines and repeat symbols. You can also use it to allow line breaks when entering cadenzas. The argument var(bartype) is a string that @@ -755,22 +757,22 @@ mudela(fragment,verbatim)( \bar "|:"; c'4 \bar ":|:"; c'4 \bar ":|"; c'4 \bar "||"; c'4 \bar "empty"; c'4 \bar "|."; ) - The command `code(\bar "empty")' does not create any visible bar + The command `mycode(\bar "empty")' does not create any visible bar line, but it does tells LilyPond to allow a linebreak - at that position. The `code(\bar)' command prints the specified - symbol immediately. If you give a `code(\bar)' command at the end + at that position. The `mycode(\bar)' command prints the specified + symbol immediately. If you give a `mycode(\bar)' command at the end of a measure then the specified symbol replaces the automatic bar line; otherwise the specified symbol appears in the middle of the measure. The - code(\bar) command does not affect metric structure. + mycode(\bar) command does not affect metric structure. -dit(code(\partial) var(duration)) some music starts with a measure that -isn't fully filled, a so-called upstep. The code(\partial) command +dit(mymycode(\partial) var(duration)) some music starts with a measure that +isn't fully filled, a so-called upstep. The mycode(\partial) command allows you to make upsteps. The argument is a duration similar to the duration of a note. -The `code(\partial)' command cannot be used to generate partial +The `mycode(\partial)' command cannot be used to generate partial measures in the middle of the music. Example: mudela(fragment,verbatim)( @@ -779,7 +781,7 @@ Example: [d'8 dis'] e' c''4 e'8 c''4 ) - dit(code(\grouping) var(durationslist)) sets the metric structure of the measure. + dit(mymycode(\grouping) var(durationslist)) sets the metric structure of the measure. Its effect can best be shown by an example: mudela(fragment,verbatim)( \time 5/16; @@ -792,7 +794,7 @@ Example: ) In practice, you won't be needing this command very often: the -grouping is switched automatically when you issue a code(\time) +grouping is switched automatically when you issue a mycode(\time) command. It is set to a combination of groups of 2 and 3 beats, with as many groups of 3 as possible (in other words: 4/4 is divided in two times two beats @@ -840,7 +842,7 @@ does not represent notes stacked together, but staffs stacked together. If a piece of music is to be interpreted as a staff, then this can be -expressed with the code(\type) construct. The following input says +expressed with the mycode(\type) construct. The following input says ``the quarter note with pitch e should be put on a staff.'' verb( @@ -864,13 +866,13 @@ verb( This looks reasonable, but the effect of this input is not what you might expect (try it!). When interpreting this chord LilyPond will start with the first entry. She'll look for a (nameless) staff. Such a -staff is not found, so it is created. On this staff the code(e) note -is put. When the second code(\type) entry is read, LilyPond will +staff is not found, so it is created. On this staff the mycode(e) note +is put. When the second mycode(\type) entry is read, LilyPond will start looking for a nameless staff. The staff that contains the -code(e) is found, and the code(g) is put there as well. +mycode(e) is found, and the mycode(g) is put there as well. -The correct solution is to label both code(\type) constructs with -different names, for example code(trebleStaff) and code(bassStaff). +The correct solution is to label both mycode(\type) constructs with +different names, for example mycode(trebleStaff) and mycode(bassStaff). This makes LilyPond distinguish between them, and create two staffs: mudela(verbatim,fragment)( @@ -884,7 +886,7 @@ different. This is almost right, except for the brace at the left and the clef of the second staff. The bass clef will be taken care of in the next section. If you want a brace, then you have to tell LilyPond that the chord you just formed is to be interpreted as a so-called -grand staff. This is also done with the code(\type) command. +grand staff. This is also done with the mycode(\type) command. mudela(verbatim,fragment)( \type GrandStaff < \type Staff = treblestaff e'4 @@ -929,7 +931,7 @@ red tape in bind(Section)ref(tutorial:introduction). If we want to put whole voices onto a staff, then we have to substitute sequential music for the single notes in the example from -the previous section. A code(\clef) command in the second piece of +the previous section. A mycode(\clef) command in the second piece of sequential music will also set the clef in the bass staff. @@ -978,7 +980,7 @@ To explain what a staff really is, we'll try to print music without these components. If these components aren't printed, it is still possible to print music: mudela()(\score{ -\melodic \relative c' { \time 2/4; g'4 c,4 a'4 f4 e c d2 } +\notes \relative c' { \time 2/4; g'4 c,4 a'4 f4 e c d2 } \paper { linewidth = -1.; Staff = \translator { @@ -1002,7 +1004,7 @@ time signature: mudela()( \score { - \melodic \relative c' { \time 2/4; g'4 c,4 a'4 f4 e c d2 } + \notes \relative c' { \time 2/4; g'4 c,4 a'4 f4 e c d2 } \paper{ linewidth = -1.; Staff = \translator { @@ -1020,7 +1022,7 @@ it is difficult to find them quickly. Bar lines help you in finding the location within the measure of the notes: mudela()( \score { - \melodic \relative c' { \time 2/4; g'4 c,4 a'4 f4 e c d2 } + \notes \relative c' { \time 2/4; g'4 c,4 a'4 f4 e c d2 } \paper{ linewidth = -1.; Staff = \translator { @@ -1038,7 +1040,7 @@ We can remedy part of the difficulties with reading pitches by adding a staff symbol: mudela()(\score{ - \melodic\relative c' { \time 2/4; g'4 c,4 + \notes\relative c' { \time 2/4; g'4 c,4 a'4 f4 e c d2 } \paper { linewidth = -1.; Staff = \translator { @@ -1059,7 +1061,7 @@ This makes the output decidedly easier to read, but you still don't know what the pitches of the notes above are. So this is still not enough. But suppose you see the following notation: mudela()(\score { - \melodic \relative c' {\clef alto; \time 2/4; g'4 c,4 a'4 f4 e c d2 } + \notes \relative c' {\clef alto; \time 2/4; g'4 c,4 a'4 f4 e c d2 } \paper { linewidth = -1.; Staff = \translator { @@ -1098,56 +1100,56 @@ A bf(notation context) is a conversion from music to notation. The example focused mainly on on staffs, but a staff is not the only type of notation context. Notation contexts may be nested: you can print polyphonic music by putting multiple `Voice' contexts in one -`Staff' context. The arguments of the code(\type) command (Staff, +`Staff' context. The arguments of the mycode(\type) command (Staff, GrandStaff) were in fact all names of different contexts. The notions of ``current clef'' and ``current position within the measure'' are all properties of notation contexts. Commands like -code(\clef) and code(\cadenza) change these properties. +mycode(\clef) and mycode(\cadenza) change these properties. The following is a list of the contexts that are supported by LilyPond: description( -dit(Voice) The code(Voice) context is a context that corresponds to a +dit(Voice) The mycode(Voice) context is a context that corresponds to a voice on a staff. This context handles the conversion of noteheads, dynamic signs, stems, beams, super- and subscripts, slurs, ties and rests -dit(Staff) The code(Staff) context handles clefs, bar lines, keys, - accidentals. A code(Staff) context can contain multiple code(Voice) +dit(Staff) The mycode(Staff) context handles clefs, bar lines, keys, + accidentals. A mycode(Staff) context can contain multiple mycode(Voice) contexts. -dit(RhythmicStaff) The code(RhythmicStaff) context is like the staff, +dit(RhythmicStaff) The mycode(RhythmicStaff) context is like the staff, but much simpler: the notes are printed on one line, and pitches are - ignored. code(RhythmicStaff) can contain code(Voice) contexts. + ignored. mycode(RhythmicStaff) can contain mycode(Voice) contexts. -dit(GrandStaff) A code(GrandStaff) context contains code(Staff) +dit(GrandStaff) A mycode(GrandStaff) context contains mycode(Staff) contexts, and it adds a brace to the output at the nop(left.)footnote(This is a major deficiency in the current implementation. Currently stems, slurs and beams cannot be printed across two staffs. In reality, a grand staff is a hybrid of one big staff and two stacked staffs.) - A code(GrandStaff) context can contain multiple - code(Staff)s. Typically, it will contain two code(Staff)s, one + A mycode(GrandStaff) context can contain multiple + mycode(Staff)s. Typically, it will contain two mycode(Staff)s, one treble staff, and one bass staff. The bar lines of the contained staffs are connected vertically. -dit(StaffGroup) A code(StaffGroup) context contains code(Staff) or - code(Lyrics) contexts, and prints a bracket at the left. The bar +dit(StaffGroup) A mycode(StaffGroup) context contains mycode(Staff) or + mycode(Lyrics) contexts, and prints a bracket at the left. The bar lines in the participating staffs are connected. -dit(Lyrics) As its name suggests, The code(Lyrics) context deals with +dit(Lyrics) As its name suggests, The mycode(Lyrics) context deals with typesetting lyrics. This topic will be covered in bind(Section)ref(tutorial:lyrics). -dit(Score) The code(Score) context is the toplevel context: no context can - contain a code(Score) context. The code(Score) context handles the +dit(Score) The mycode(Score) context is the toplevel context: no context can + contain a mycode(Score) context. The mycode(Score) context handles the administration of time signatures. It also makes sure that items such as clefs, time signatures, and key-signatures are aligned across staffs. - The code(Score) can contain code(Staff), code(StaffGroup), code(Lyrics), code(GrandStaff) and - code(RhythmicStaff) contexts. + The mycode(Score) can contain mycode(Staff), mycode(StaffGroup), mycode(Lyrics), mycode(GrandStaff) and + mycode(RhythmicStaff) contexts. COMMENT(do ChoireStaff) ) @@ -1173,8 +1175,8 @@ In the last section we explained that a notation context can have properties that influence the conversion from music to notation. A simple example of such a property is the clef: the type of clef partially determines the vertical position of note heads in a staff. Some of -these properties can be modified by commands such as code(\clef) and -code(\time). But there is more: notation contexts also have +these properties can be modified by commands such as mycode(\clef) and +mycode(\time). But there is more: notation contexts also have properties are settable in a generic fashion. We will demonstrate this feature by printing multiple voices on a staff. @@ -1217,11 +1219,11 @@ Surely the direction of a single stem is a property of the stem as a graphical object. But the fact that all of the stems in a voice point in the same direction is not directly graphical. Since this is a property shared by all the stems in the voice, it is logical to -consider this property to be a property of the context code(Voice). -And this is how it's done in LilyPond: the context code(Voice) has an +consider this property to be a property of the context mycode(Voice). +And this is how it's done in LilyPond: the context mycode(Voice) has an attribute whose value is the direction to use for stems. You can change it to `up' -by issuing the following phrase:footnote(The name code(ydirection) is +by issuing the following phrase:footnote(The name mycode(ydirection) is no mistake. The property also controls the up/down directions of super-/subscripts, slurs, ties, etc.) @@ -1230,9 +1232,9 @@ verb( ) This command should be read as ``change the property called -code(ydirection) within the current code(Voice) context to the value -code(-1).'' For the property code(ydirection) the value code(1) means -`up', and code(-1) means `down'. The proper way to code the +mycode(ydirection) within the current mycode(Voice) context to the value +mycode(-1).'' For the property mycode(ydirection) the value mycode(1) means +`up', and mycode(-1) means `down'. The proper way to code the polyphonic example is given in bind(Figure)ref(tutorial:multi-voice-fig). latexcommand(\begin{figure}[h]) @@ -1252,7 +1254,7 @@ latexcommand(\end{figure}) Other properties can also be set, and they can be within different contexts. In general, you can set a property by specifying -code(\property) var(contexttype)code(.)var(propertyname) code(=) +mycode(\property) var(contexttype)mycode(.)var(propertyname) mycode(=) var(value). Both var(ContextType), var(PropertyName) and var(Value) should be strings. @@ -1268,8 +1270,8 @@ simply changing the directions of the stems for each voice, obviously. Traditionally, some chords are shifted horizontally to print if this many voices have to be printed. LilyPond can also do this, and the property that controls the -horizontal shifting is called code(hshift). The notes in a -code(Voice) context that has code(hshift) set to a true value (i.e., +horizontal shifting is called mycode(hshift). The notes in a +mycode(Voice) context that has mycode(hshift) set to a true value (i.e., non-zero or non-empty), will be shifted horizontally in the case of a collision. The following example demonstrates the effect. @@ -1302,13 +1304,13 @@ Lyrics consist of syllables, which are strings together with durations. Previously we only entered note names, so for entering lyrics we have to instruct LilyPond that what we enter are not note names but words---or rather: strings. This instruction is the keyword -code(\lyric). After entering this keyword you can enter a musical -construct---sequential music, simultaneous music, code(\type) +mycode(\lyric). After entering this keyword you can enter a musical +construct---sequential music, simultaneous music, mycode(\type) entries, etc.--- but with syllables in stead of pitches. For example: verb( \lyric { 'got8 me on my knees4, Le-8 lie! }) -The effect of code(\lyric) can be compared with the effect of the -doublequote character, code("), for it also changes the lexical +The effect of mycode(\lyric) can be compared with the effect of the +doublequote character, mycode("), for it also changes the lexical meaning of spaces and characters. This mode is another example of a handy input feature of the language. @@ -1316,9 +1318,9 @@ Next comes the conversion to notation. LilyPond can't (yet) figure out that lyrics need different treatment than notes. As a result, the default conversion will try to put the text you entered as note heads onto a staff, and this will fail. This default must be overriden with -a code(\type) keyword. Printing syllables of text in a line is done -by a context called code(Lyrics). You can select this context with -the code(\type) keyword. Here is a simple example: +a mycode(\type) keyword. Printing syllables of text in a line is done +by a context called mycode(Lyrics). You can select this context with +the mycode(\type) keyword. Here is a simple example: mudela(fragment,verbatim)( \type Lyrics \lyric { 'got8 me on my knees,4 Le-8 lie! }) @@ -1335,8 +1337,8 @@ mudela(fragment,verbatim)( The strings that makes up each syllable in the lyrics block are passed along to TeX() verbatim, so if you are proficient with TeX() you can do various nifty things. Just keep in mind that a syllable either -starts with a letter (a character in the range `code(a)' to `code(z)' -or `code(A)' to `code(Z)'), or it is a string enclosed quotes. It ends +starts with a letter (a character in the range `mycode(a)' to `mycode(z)' +or `mycode(A)' to `mycode(Z)'), or it is a string enclosed quotes. It ends with either a number for the duration, or a space. A last feature that should be mentioned is the space-lyric: if you want to enter a single ``syllable'' that consists of multiple words, i.e., words @@ -1372,13 +1374,13 @@ Now the time has come to unravel the red tape that we have hidden from you in the introduction. Mudela has a hierarchical structure for we have seen that sequential and simultaneous music can be nested. Mudela also has other `blocks' that can be nested. The general syntax -for a block is code(\keyword { ... }). +for a block is mycode(\keyword { ... }). When you run LilyPond, what happens is that you define music, and specify one (or more) conversions to apply to that music, for example a conversion to notation. This is done by putting the definition of the music and the definition of the conversion together in a -code(\score) block, e.g., +mycode(\score) block, e.g., verb( \score { % ... music ... @@ -1389,26 +1391,26 @@ This is almost the context that should be around all of the previous examples. The precise context reads thus: verb( \score { - \melodic { ... } + \notes { ... } \paper {} }) On the ellipsis, you entered what shown as the example input. You can see that in the -above example, the code(\melodic { ... }) forms the music, the -code(\paper {}) is a conversion to paper (notation, that is). The -code(\paper) definition is copied from a default definition +above example, the mycode(\notes { ... }) forms the music, the +mycode(\paper {}) is a conversion to paper (notation, that is). The +mycode(\paper) definition is copied from a default definition (which is in the initialisation file file(paper16.ly)). The paper part also contains the definition of the contexts. -The keyword code(\melodic) is analogous to the code(\lyric) keyword. It +The keyword mycode(\notes) is analogous to the mycode(\lyric) keyword. It will switch the tokenizer into a mode that interprets plain words as note names. If it can't recognize the words as a note name, it will assume that they are strings. That is the reason why you can write -code(\clef bass) in stead of code(\clef "bass"); most of the strings -in code(\melodic) mode can be written without quotes. +mycode(\clef bass) in stead of mycode(\clef "bass"); most of the strings +in mycode(\notes) mode can be written without quotes. -The braces that you see after the code(\melodic) keyword are the +The braces that you see after the mycode(\notes) keyword are the braces that are around sequential music. Because of these braces, the sequences of notes in our simple examples were sequential (and not simultaneous). As a result the notes were printed from left to right, @@ -1420,15 +1422,15 @@ sect(Identifiers) Now that we are comfortable with the toplevel entries in a mudela file, we can investigate some more of the recreations on toplevel, in particular em(identifiers). Generally you can define an identifier by -entering code(identifierName = ... ) +entering mycode(identifierName = ... ) where there can be a variety of things on the ellipsis. Here is a (partial) list of what you can abbreviate with identifiers at top-level. itemize( -it()The code(\score) block -it()The code(\paper) block -it()The code(\midi) block (to be explained in +it()The mycode(\score) block +it()The mycode(\paper) block +it()The mycode(\midi) block (to be explained in bind(Section)ref(tutorial:sound)) it()Music (sequential music, simultaneous music etc.) it()Durations @@ -1439,12 +1441,12 @@ it()Reals ) When you refer -to the abbreviated entity, you must precede code(identifierName) -with a backslash, i.e., code(\identifierName). For example: +to the abbreviated entity, you must precede mycode(identifierName) +with a backslash, i.e., mycode(\identifierName). For example: mudela(verbatim)( - czerny = \melodic { [c16 g e g] } + czerny = \notes { [c16 g e g] } \score { - \melodic \type GrandStaff < + \notes \type GrandStaff < { c''2 g''2 } { \clef bass; \czerny \czerny \czerny \czerny} > @@ -1458,8 +1460,8 @@ mudela(verbatim)( Another interesting feature of this example are the assignments within -the paper block. Some blocks, such as code(\paper), have a scope of -their own. In the case of the code(\paper) block, these variables +the paper block. Some blocks, such as mycode(\paper), have a scope of +their own. In the case of the mycode(\paper) block, these variables influence the characteristics of the output. As is shown, you can tune quantities like the stemlength, and enter simple expressions. The purpose of the negative linewidth is to prevent the music from @@ -1469,19 +1471,19 @@ listed here. Moreover, since most of the values are predefined to sensible defaults, there usually is no need to tune these values. Recall the properties of a context, that could be set with -code(\property). It is a very general mechanism to tune the output of +mycode(\property). It is a very general mechanism to tune the output of the music, that is neatly separated from the real music. Unfortunately, it is not convenient to type or read, and the precise effect of a setting property isn't always apparent from its definition. To remedy this, we can use an identifier to capture the -meaning of a code(\property). +meaning of a mycode(\property). mudela(verbatim)( stemup = \property Voice.ydirection = "1" stemdown = \property Voice.ydirection = "-1" shift = \property Voice.hshift = "1" \score { - \type "Staff" \melodic < + \type "Staff" \notes < \type "Voice" = "one" { \stemup r4 as'4 () as'4 g'4 } @@ -1498,7 +1500,7 @@ shift = \property Voice.hshift = "1" } ) -Several abbreviations like code(\stemup) are defined in the +Several abbreviations like mycode(\stemup) are defined in the standard initialisation file file(property.ly). Setting or changing context properties can have a similar effect as the commands that were discussed in bind(Section)ref(sec:commands). Don't be fooled by the @@ -1507,9 +1509,9 @@ and a real command. Real commands are hardcoded into the language and they have to be terminated by semicolons. You can also use identifiers to break up the heavy nesting that can occur -in the code(\score) block. Another useful application is +in the mycode(\score) block. Another useful application is parametrisation of the music: if you use identifiers in the -code(\score) block, you can make variations of the music by simply +mycode(\score) block, you can make variations of the music by simply redefining those identifiers. One particular application of this is part extraction: by using identifiers and redefining them, one can print extracted parts and a full orchestral score from the same @@ -1533,7 +1535,7 @@ The only information that you need to enter is the this the only thing that can be tuned at this time. This is a limitation: the tempo of music can vary throughout the music.) for the performance. The syntax for the tempo is -code(\tempo )var(duration) = var(beatsperminute);), for example: +mycode(\tempo )var(duration) = var(beatsperminute);), for example: verb( \score { ...music... @@ -1564,7 +1566,7 @@ This characterization almost automatically explains what the definition of a context should look like: itemize( it()It should be part of the ``notation output definition,'' i.e., the - code(\paper) block + mycode(\paper) block it() It should contain a specification of what other contexts may be contained in the context we're defining. @@ -1594,29 +1596,29 @@ verb( This is encoded by the -The code(\translator) keyword opens the block for translation (or -context) definition. The code(\type) keyword explains to Lily that +The mycode(\translator) keyword opens the block for translation (or +context) definition. The mycode(\type) keyword explains to Lily that the context should be formed by taking an (empty) instance of -code(Engraver_group_engraver). The code(Engraver_group_engraver) is a -C++ class from the source code to Lily. The code(\accepts) entries +mycode(Engraver_group_engraver). The mycode(Engraver_group_engraver) is a +C++ class from the source code to Lily. The mycode(\accepts) entries explain what kind of contexts this context could contain. If we were to define a context for a staff, the definition would typically -contain code(\accepts "Voice";). +contain mycode(\accepts "Voice";). -The code(\consists) entries specify which notation constructs should +The mycode(\consists) entries specify which notation constructs should be handled. This needs a little explanation: LilyPond contains the code for quite a large number of basic building blocks for notation generation, and each building block handles only one notation construct. The name of such a building block is `engraver'. You can specify which notation construct a context should handle by specifying -which engravers should be part of the context. The code(\consists -"Foobar") entry really means ``add an instance of code(Foobar) to the +which engravers should be part of the context. The mycode(\consists +"Foobar") entry really means ``add an instance of mycode(Foobar) to the translation group.'' For example if this context should print time signatures, the definition -should include `code(\consists "Time_signature_engraver";)'. Again -code(Time_signature_engraver) is a class from the source code of LilyPond. +should include `mycode(\consists "Time_signature_engraver";)'. Again +mycode(Time_signature_engraver) is a class from the source code of LilyPond. @@ -1628,14 +1630,14 @@ solution is not very complicated: normally all timing information (time signature, rhythmic grouping) is synchronised across each staff. In LilyPond this is expressed by having only one registration for timing information for all staffs. To be precise, there is only one -code(Timing_engraver), and it is located in the top level context, the -code(Score) context. +mycode(Timing_engraver), and it is located in the top level context, the +mycode(Score) context. -All staffs use the information in the global code(Timing_engraver) +All staffs use the information in the global mycode(Timing_engraver) for generating bar lines and time signatures. In polymetric music, this timing information can be different for every staff, so we should redefine -the code(Staff) context to include and the code(Score) context to exclude the -code(Timing_engraver). +the mycode(Staff) context to include and the mycode(Score) context to exclude the +mycode(Timing_engraver). mudela(verbatim)( polymetricpaper = \paper { @@ -1666,7 +1668,7 @@ polymetricpaper = \paper { } } \score { - \melodic < + \notes < \type Staff = one { \time 2/4; c'4 c'4 c'4 c'4 c'4 c'4 } \type Staff = two { \time 3/4; c'4 c'4 c'4 c'4 c'4 c'4 } > @@ -1676,7 +1678,7 @@ polymetricpaper = \paper { } ) -As you can see, we used the identifier code(polymetricpaper) to break +As you can see, we used the identifier mycode(polymetricpaper) to break up the large score block. More of these context definitions appear in the standard initialisation file file(engraver.ly). @@ -1691,8 +1693,8 @@ mechanism will unveiled. By naming other contexts that you create, you can reference other contexts than the current context from within the music. For example, from within the music that you -enter for staff code(One), one could enter a small piece of music, -and send it to staff code(Two), e.g., +enter for staff mycode(One), one could enter a small piece of music, +and send it to staff mycode(Two), e.g., mudela(fragment,verbatim)( < \type Staff = one { c''4 \type Staff = two { c4 c4 } c''4 } @@ -1718,15 +1720,15 @@ bars of bind(J.)bind(S.)Bach's lovely Cello suite bind(no.)I to demonstrate this. The example makes heavy use of space rests: a space rest takes up time, like a rest does, but it doesn't print anything. It can be used as a placeholder, to attach articulation marks to. It -is entered as a note with the name code(s). +is entered as a note with the name mycode(s). mudela(verbatim)( - bach = \melodic { [c16 g e' d'] [e' g e' g] } + bach = \notes { [c16 g e' d'] [e' g e' g] } - staffStuff = \melodic { \clef bass; \time 4/4; s1 \bar "|."; } + staffStuff = \notes { \clef bass; \time 4/4; s1 \bar "|."; } - slursOne = \melodic { s16( s s s s16 s s )s } - slursTwo = \melodic { s16-. s s() s s16() s s ()s } + slursOne = \notes { s16( s s s s16 s s )s } + slursTwo = \notes { s16-. s s() s s16() s s ()s } \score{ { < \type Voice = celloVoice { \bach \bach } @@ -1744,8 +1746,8 @@ mudela(verbatim)( ) The slurs that you define should be put on the music that is defined -by the code(\bach) identifier. By labeling a code(Voice) context, and -directing both the articulation and the notes to that same code(Voice) +by the mycode(\bach) identifier. By labeling a mycode(Voice) context, and +directing both the articulation and the notes to that same mycode(Voice) context, the articulation is put over the right notes. @@ -1756,16 +1758,16 @@ COMMENT(In this section, we will complete the grammar for Music that was sketched earlier. ) One of the things that you can do with music is em(transposing) it. If you want to transpose a piece of music, then -you should prefix the keyword code(\transpose) along with the pitch +you should prefix the keyword mycode(\transpose) along with the pitch (relative to the central C) for the transposition.footnote(the -code(\type Staff) is to make sure that no separate staffs are created -for the code(\scale) and code(\transpose cis' \scale) part.) +mycode(\type Staff) is to make sure that no separate staffs are created +for the mycode(\scale) and mycode(\transpose cis' \scale) part.) mudela(verbatim)( -scale = \melodic \relative c' { [c8 d e f] } +scale = \notes \relative c' { [c8 d e f] } \score { - \melodic { + \notes { \type Staff { \scale \transpose cis' \scale } } \paper { linewidth = -1.0; } @@ -1775,25 +1777,25 @@ scale = \melodic \relative c' { [c8 d e f] } sect(Staff switching) We have seen that contexts can be nested. This means that they form a -tree. It is possible to edit this tree: for example, a code(Voice) -context can be taken out of a code(Staff) context, and put into +tree. It is possible to edit this tree: for example, a mycode(Voice) +context can be taken out of a mycode(Staff) context, and put into another. This has the effect of the voice switching staffs (something that often happens in keyboard music). The syntax for this operation -with these particular contexts is code(\translator Staff = newStaffName). +with these particular contexts is mycode(\translator Staff = newStaffName). The effect is analogous to the first example in section -ref(tutorial:urtext), but with the code(\translator) construction it +ref(tutorial:urtext), but with the mycode(\translator) construction it is possible to split the real music and the commands that determine in which staff the music is printed. For example: mudela(verbatim)( % real music -aVoice = \type Voice = voiceA \melodic { c''4 c4 c4 c''4 } -bVoice = \type Voice = voiceB \melodic { g,4 g,4 g,4 g,4 } +aVoice = \type Voice = voiceA \notes { c''4 c4 c4 c''4 } +bVoice = \type Voice = voiceB \notes { g,4 g,4 g,4 g,4 } % staff switching stuff -switch = \type Voice = voiceA \melodic { s4 \translator Staff = staffB s4 +switch = \type Voice = voiceA \notes { s4 \translator Staff = staffB s4 s4 \translator Staff = staffA s4 } \score { @@ -1820,8 +1822,8 @@ mudela(fragment)( ) To support this notion, Mudela allows you to modify the duration of a -note by multiplication or division. A code(c'4) note that would be in a -triplet is written as code(c'4*2/3). If you sequence a few of these +note by multiplication or division. A mycode(c'4) note that would be in a +triplet is written as mycode(c'4*2/3). If you sequence a few of these notes, you get a triplet.footnote(We added a normal staff in the example to show the difference.) mudela(fragment,verbatim)( @@ -1830,10 +1832,10 @@ mudela(fragment,verbatim)( LilyPond knows that these notes are no normal eighth notes, but the reader doesn't yet. To help the reader a beam or a bracket with a `3' -should be printed. The special beam command `code([2/3)' and the -matching close beam `code(]1/1)' will take care of that, and -they also abbreviate the code(*2/3) part. If you want brackets in -stead of beams, you can use `code(\[2/3])' and `code(\]1/1)'. +should be printed. The special beam command `mycode([2/3)' and the +matching close beam `mycode(]1/1)' will take care of that, and +they also abbreviate the mycode(*2/3) part. If you want brackets in +stead of beams, you can use `mycode(\[2/3])' and `mycode(\]1/1)'. mudela(fragment,verbatim)( < \type Staff = staffA { [2/3 c'8 c'8 c'8 ]1/1 @@ -1853,8 +1855,8 @@ mudela(fragment,verbatim)( [c''8 c''8 c''8 c''8 c''8 c''8 c''8] } > ) -For your convenience, code([2/3) can be further abbreviated to code([/3), and -you can abbreviate code(]1/1) on the closing beam marker to code(]/1). +For your convenience, mycode([2/3) can be further abbreviated to mycode([/3), and +you can abbreviate mycode(]1/1) on the closing beam marker to mycode(]/1). mudela(fragment,verbatim)( < \type Staff = staffA { @@ -1864,10 +1866,10 @@ mudela(fragment,verbatim)( ) -bf(Important) the construct with code([/3) and -code([/1) is a hack that sets a mode in the parser. This means that -verb(id = \melodic { c8 c8 c8 } -notATriplet =\melodic { [2/3 \id ]1/1 }) +bf(Important) the construct with mycode([/3) and +mycode([/1) is a hack that sets a mode in the parser. This means that +verb(id = \notes { c8 c8 c8 } +notATriplet =\notes { [2/3 \id ]1/1 }) does not produce a triplet. It will hopefully soon be replaced by a construction that mixes more elegantly with the grammar for Music. @@ -1881,7 +1883,7 @@ need for quotes can be reduced: most of the pitch intervals in conventional music are small. Therefore, it makes sense to leave out the quotes when the interval is small. We have built a mode that does exactly this. It is called the relative mode for octaves. You can -switch it on by entering code(\relative). Then LilyPond will +switch it on by entering mycode(\relative). Then LilyPond will interpret every note as if they mean the note with the same name closest to the previous. You have to specify the first pitch because the first note of a list obviously has no predecessor. So, you can @@ -1903,7 +1905,7 @@ verb( } ) -LilyPond converts any music with code(\relative) prepended to absolute +LilyPond converts any music with mycode(\relative) prepended to absolute music immediately when it is read. Internally it is stored it in absolute pitches. Since the tutorial mainly deals with how to specify musical information, and not how to enter it conveniently, the @@ -1929,14 +1931,14 @@ subsect(Identifiers) Briefly introduced before, identifiers are your biggest help in structurising a large piece of music. As an example, we'll consider a string quartet. In short, it will look like this: verb( - global = \melodic{ } - violinoOne = \melodic \relative c { .. } - violinoTwo = \melodic \relative c { .. } - viola = \melodic \relative c { .. } - violoncello = \melodic \relative c { .. } + global = \notes{ } + violinoOne = \notes \relative c { .. } + violinoTwo = \notes \relative c { .. } + viola = \notes \relative c { .. } + violoncello = \notes \relative c { .. } ) -The code(\global) part contains everything that is global, i.e., the +The mycode(\global) part contains everything that is global, i.e., the same, for each instrument. This may include time signature, key, repeat signs, different bar types, time signature- and key changes, rehearsal marks, etc. @@ -1958,7 +1960,7 @@ For each instrument, you'll have something vaguely resembling verb( subsect(Including Mudela files) ref(subsect:include) -You can include other Mudela files with the command code(\include): +You can include other Mudela files with the command mycode(\include): verb( \include "paper13.ly" \score { @@ -1981,7 +1983,7 @@ closing titles. LilyPond does not have any real support for setting text: that is a job best left to TeX(). But you can pass messages to TeX() from the input file. You can write TeX() macros to handle these messages. -To do this, you add a code(\header) block +To do this, you add a mycode(\header) block to your input file. The format is quite simple, verb( @@ -1993,15 +1995,15 @@ verb( }) When the results of the music typesetting are output, the contents of -code(\header) are also up into the TeX() file. Tools like -code(ly2dvi) can use this information to generate pretty titling for -your input file. Consult the manual page of code(ly2dvi) for more +mycode(\header) are also up into the TeX() file. Tools like +mycode(ly2dvi) can use this information to generate pretty titling for +your input file. Consult the manual page of mycode(ly2dvi) for more details. -The code(\header) block should be at toplevel in mudela, and +The mycode(\header) block should be at toplevel in mudela, and preferably at the top of the file. If you have an input file with -multiple code(\score) blocks, you should add a header to every score, +multiple mycode(\score) blocks, you should add a header to every score, describing the different sub parts of the music piece, eg. @@ -2021,7 +2023,7 @@ verb(\header { } ) -If you want you can also put the code(\header) block at the top of the +If you want you can also put the mycode(\header) block at the top of the input file; it will then be put into every output file automatically. This will make it clear what the file contains as soon as you open it. diff --git a/INSTALL.txt b/INSTALL.txt index eea62fb68a..c62032bee9 100644 --- a/INSTALL.txt +++ b/INSTALL.txt @@ -1,290 +1,486 @@ -TITLE INFORMATION: INSTALL - compiling and installing GNU LilyPond -AUTHOR INFORMATION: HWN & JCN - -Contents - -1: ABSTRACT -2: PREREQUISITES -3: RUNNING -4: RECOMMENDED -5: WEBSITE -6: CONFIGURING and COMPILING -7: CONFIGURING FOR MULTIPLE PLATFORMS -8: INSTALLING -9: REDHAT LINUX -10: DEBIAN GNU/LINUX -11: WINDOWS NT/95 -12: AUTHORS + + + + + + + + + INSTALL - compiling and installing GNU LilyPond + + HWN & JCN + + +Contents + + 1: ABSTRACT +2: PREREQUISITES +3: RUNNING +4: RECOMMENDED +5: WEBSITE +6: CONFIGURING and COMPILING +7: CONFIGURING FOR MULTIPLE PLATFORMS +8: INSTALLING +9: REDHAT LINUX +10: DEBIAN GNU/LINUX +11: WINDOWS NT/95 +12: AUTHORS + 1: ABSTRACT + You do something which looks remotely like - configure # Check out the buildscripts/set-lily.sh script - make - make install -The detailed instructions follow here. The -buildscripts/set-lily.sh script sets some environment variables -and symlinks, which comes in handly when you have to compile LilyPond -very often. It is aimed at people who run (or debug) LilyPond without -installing. + + + + configure # Check out the buildscripts/set-lily.sh script + make + make install + + + + + +The detailed instructions follow here. The build- +scripts/set-lily.sh script sets some environment variables +and symlinks, which comes in handly when you have to compile +LilyPond very often. It is aimed at people who run (or +debug) LilyPond without installing. + 2: PREREQUISITES + For compilation you need: -o A GNU system: GNU LilyPond is known to run on these GNU systems: Linux - (PPC, intel), FreeBSD, AIX, NeXTStep, IRIX, Digital Unix and -Solaris. -o Lots of disk space: LilyPond takes between 50 and 100 mb to -compile if you use debugging information. If you are short on -disk-space run configure with --disable-debugging. +o A GNU system: GNU LilyPond is known to run on these GNU + systems: Linux (PPC, intel), FreeBSD, AIX, NeXTStep, + IRIX, Digital Unix and Solaris. + + +o Lots of disk space: LilyPond takes between 50 and 100 + mb to compile if you use debugging information. If you + are short on disk-space run configure with --disable- + debugging. + + Although we recommend to use Unix, LilyPond is known to + run on Windows NT/95/98 as well. See Section 11. + -Although we recommend to use Unix, LilyPond is known to run on Windows -NT/95/98 as well. See Section [w32]. +o GNU C++ version 2.7 or newer (2.8 and egcs are also + fine). + +o Python 1.5 (Strictly speaking, you shouldn't need + Python for compiling and installing, but you'll need it + to regenerate the font tables, e.g.). -o GNU C++ version 2.7 or newer (2.8 and egcs are also fine). -o Python 1.5 (Strictly speaking, you shouldn't need Python for - compiling and installing, but you'll need it to regenerate the font - tables, e.g.). 3: RUNNING -GNU LilyPond does use a lot of resources. For operation you need the following: -o TeX -o A PostScript printer and/or viewer (such as Ghostscript) is strongly - recommended. Xdvi will show all embedded PostScript too if you have - Ghostscript installed. +GNU LilyPond does use a lot of resources. For operation you +need the following: + + +o TeX + +o A PostScript printer and/or viewer (such as + Ghostscript) is strongly recommended. Xdvi will show + all embedded PostScript too if you have Ghostscript + installed. + 4: RECOMMENDED -Although not strictly necessary, these are recommended to have. -o GNU make. -Check out ftp://ftp.gnu.org -or any mirror of this site. +Although not strictly necessary, these are recommended to +have. + + +o GNU make. Check out ftp://ftp.gnu.org or any mirror of + this site. + + +o Flex (version 2.5.4 or newer). Check out + ftp://ftp.gnu.org or any mirror of this site. + +o Bison (version 1.25 or newer). Check out + ftp://ftp.gnu.org or any mirror of this site. + + +o Python (version 1.5 or newer). Check out + ftp://ftp.python.org or ftp://ftp.cwi.nl/pub/python. -o Flex (version 2.5.4 or newer). -Check out ftp://ftp.gnu.org -or any mirror of this site. -o Bison (version 1.25 or newer). -Check out ftp://ftp.gnu.org -or any mirror of this site. -o Python (version 1.5 or newer). Check out -ftp://ftp.python.org or ftp://ftp.cwi.nl/pub/python. +o Yodl. All documentation will be in Yodl. (1.30.17) + ftp://pcnov095.win.tue.nl/pub/yodl + http://www.cs.uu.nl/~hanwen/yodl -o Yodl. All documentation will be in Yodl. (1.30.17) -ftp://pcnov095.win.tue.nl/pub/yodl - http://www.cs.uu.nl/~hanwen/yodl -o Texinfo. (version 3.12 or newer) +o Texinfo. (version 3.12 or newer) -o GNU find -Check out ftp://ftp.gnu.org -or any mirror of this site. -o The geometry package for LaTeX is needed to use ly2dvi. - Available at -ftp://ftp.ctan.org/tex-archive/macros/latex/contrib/supported/geometry -or at mirror site ftp://ftp.dante.de +o GNU find Check out ftp://ftp.gnu.org or any mirror of + this site. + + +o The geometry package for LaTeX is needed to use ly2dvi. + Available at ftp://ftp.ctan.org/tex- + archive/macros/latex/contrib/supported/geometry or at + mirror site ftp://ftp.dante.de + + +o A fast computer (a full page of music typically takes 1 + minute on my 486/133, using the --enable-checking com- + pile. It's lot slower than most MusiXTeX preprocessors) -o A fast computer (a full page of music typically takes 1 minute on my - 486/133, using the --enable-checking compile. It's lot slower than - most MusiXTeX preprocessors) 5: WEBSITE -If you want to auto-generate Lily's website, you'll need some additional -conversion tools. -o xpmtoppm (from the Portable Bitmap Utilities) (For RedHat Linux - users: it is included within the package libgr-progs). -o Bib2html http://pertsserver.cs.uiuc.edu/~hull/bib2html. - Which, in turn depends on man2html for proper installation. -man2html can be had from http://askdonald.ask.uni-karlsruhe.de/hppd/hpux/Networking/WWW/Man2html-1.05. +If you want to auto-generate Lily's website, you'll need +some additional conversion tools. + + +o xpmtoppm (from the Portable Bitmap Utilities) (For Red- + Hat Linux users: it is included within the package + libgr-progs). + +o Bib2html http://pertsserver.cs.uiuc.edu/~hull/bib2html. + Which, in turn depends on man2html for proper installa- + tion. man2html can be had from http://askdon- + ald.ask.uni-karlsruhe.de/hppd/hpux/Network- + ing/WWW/Man2html-1.05. + + TeTeX users should not forget to rerun texhash. - TeTeX users should not forget to rerun texhash. 6: CONFIGURING and COMPILING + to install GNU LilyPond, simply type: - configure --enable-tex-dir=XXXX --enable-mf-dir=YYYY - make - make install + + + + + configure --enable-tex-dir=XXXX --enable-mf-dir=YYYY + make + make install + + + + This will install a number of files, something close to: - /usr/local/man/man1/mi2mu.1 - /usr/local/man/man1/convert-mudela.1 - /usr/local/man/man1/mudela-book.1 - /usr/local/man/man1/lilypond.1 - /usr/local/bin/lilypond - /usr/local/bin/mi2mu - /usr/local/share/lilypond/* - /usr/local/share/locale/{it,nl}/LC_MESSAGES/lilypond.mo - /usr/lib/texmf/texmf/tex/lilypond/* - -You should specify directories that are in TeX's and MetaFont's -include path with the options (--enable-tex-dir) and ---enable-mf-dir. If you don't specify any directories, the TeX -include directory is detected dynamically, which is unreliable. The -above assumes that you are root and have the GNU development tools, -and your make is GNU make. If this is not the case, you can adjust -your environment variables to your taste: - - export CPPFLAGS="-I /home/me/my_include -DWEIRD_FOOBAR" - configure - -CPPFLAGS are the preprocessor flags. + + /usr/local/man/man1/mi2mu.1 + /usr/local/man/man1/convert-mudela.1 + /usr/local/man/man1/mudela-book.1 + /usr/local/man/man1/lilypond.1 + /usr/local/bin/lilypond + /usr/local/bin/mi2mu + /usr/local/share/lilypond/* + /usr/local/share/locale/{it,nl}/LC_MESSAGES/lilypond.mo + /usr/lib/texmf/texmf/tex/lilypond/* + + + + + +You should specify directories that are in 's and MetaFont's +include path with the options (--enable-tex-dir) and +--enable-mf-dir. If you don't specify any directories, the +include directory is detected dynamically, which is unreli- +able. The above assumes that you are root and have the GNU +development tools, and your make is GNU make. If this is +not the case, you can adjust your environment variables to +your taste: + + + + + + + export CPPFLAGS="-I /home/me/my_include -DWEIRD_FOOBAR" + configure + + + + + +CPPFLAGS are the preprocessor flags. The configure script is Cygnus configure, and it will accept ---help. If you are not root, you will probably have to make it -with a different --prefix option. Our favourite location is +--help. If you are not root, you will probably have to make +it with a different --prefix option. Our favourite location +is + + + + + + + configure --prefix=$HOME/usr + + +In this case, you will have to set up MFINPUTS, and TEXIN- +PUTS accordingly. + +If you want to install GNU LilyPond in /usr/local, and your +TeX has no default hooks for local stuff, you can do: + + + + + + + configure --prefix=/usr/local --enable-tex-prefix=/usr/lib/texmf + - configure --prefix=$HOME/usr -In this case, you will have to set up MFINPUTS, and TEXINPUTS accordingly. -If you want to install GNU LilyPond in /usr/local, and your TeX has -no default hooks for local stuff, you can do: - configure --prefix=/usr/local --enable-tex-prefix=/usr/lib/texmf +Since GNU LilyPond currently is beta, you are advised to +also use + + + + + + + --enable-debugging + --enable-checking + + -Since GNU LilyPond currently is beta, you are advised to also use - --enable-debugging - --enable-checking Other options include: -o --enable-shared - Make a shared library (gnu/linux, solaris (?) only ) (TEMPORARILY -OUT OF ORDER) - -o --enable-printing - Enable debugging print routines (lilypond -D option) -o --enable-optimise - Set maximum optimisation: compile with -O2 -o --enable-profiling - Compile with support for profiling. -o --enable-tex-prefix - Set the directory where TeX and Metafont live. -o --enable-tex-dir - Set then directory TeX input is in (detected as a subdir of - tex-prefix). This should be a directory that is reachable both for - tex and latex. On my system the best choice would be - /usr/lib/texmf/texmf/tex/generic//. -o --enable-mf-dir - Set the directory metafont input is in (idem). On my system the best - choice would be /usr/lib/texmf/texmf/fonts/source/public/. -o --enable-config - Output to a different configuration file. Needed for multi-platform - builds - -All options are documented in the configure help -The option --enable-optimise is recommended for Real Life usage. + +--enable-shared + Make a shared library (gnu/linux, solaris (?) only ) + (TEMPORARILY OUT OF ORDER) + + +--enable-printing + Enable debugging print routines (lilypond -D option) + +--enable-optimise + Set maximum optimisation: compile with -O2 + +--enable-profiling + Compile with support for profiling. + +--enable-tex-prefix + Set the directory where TeX and Metafont live. + +--enable-tex-dir + Set then directory TeX input is in (detected as a + + + subdir of tex-prefix). This should be a directory that + is reachable both for tex and latex. On my system the + best choice would be + /usr/lib/texmf/texmf/tex/generic//. + +--enable-mf-dir + Set the directory metafont input is in (idem). On my + system the best choice would be + /usr/lib/texmf/texmf/fonts/source/public/. + +--enable-config + Output to a different configuration file. Needed for + multi-platform builds + +All options are documented in the configure help The option +--enable-optimise is recommended for Real Life usage. If you do - make all -everything will be compiled, but nothing will be installed. The -resulting binaries can be found in the subdirectories out/ (which -contain all files generated during compilation). + + + + + make all + + + + + +everything will be compiled, but nothing will be installed. +The resulting binaries can be found in the subdirectories +out/ (which contain all files generated during compilation). + 7: CONFIGURING FOR MULTIPLE PLATFORMS -If you want to compile LilyPond with different configuration settings, -then, you can use the --enable-config option. Example: suppose I -want to build with and without profiling. Then I'd use the -following for the normal build, - configure --prefix=~ --disable-optimise --enable-checking - make - make install +If you want to compile LilyPond with different configuration +settings, then, you can use the --enable-config option. +Example: suppose I want to build with and without profil- +ing. Then I'd use the following for the normal build, + + + + + + + configure --prefix=~ --disable-optimise --enable-checking + make + make install + + +and for the profiling version, I specify a different config- +uration. + + + + + + + configure --prefix=~ --enable-profiling --enable-config=optprof --enable-optimise --disable-checking + make config=optprof + make config=optprof install + + + -and for the profiling version, I specify a different configuration. - configure --prefix=~ --enable-profiling --enable-config=optprof --enable-optimise --disable-checking - make config=optprof - make config=optprof install 8: INSTALLING + If you have done a successful make, then a simple - make install + + + + + + make install + + + + should do the trick. -If you are doing an upgrade, please remember to remove obsolete -.pk and .tfm files of the fonts. A script has been +If you are doing an upgrade, please remember to remove obso- +lete .pk and .tfm files of the fonts. A script has been provided to do the work for you, see bin/clean-fonts.sh. + CAVEATS -o The -O2 option to gcc triggers a gcc bug on DEC Alpha in dstream.cc. You - should turn off this flag for this file. + + +o The -O2 option to gcc triggers a gcc bug on DEC Alpha + in dstream.cc. You should turn off this flag for this + file. + EXAMPLE + This is what I type in my xterm: - lilypond someinput.ly - tex someinput.tex - xdvi someinput& + + lilypond someinput.ly + tex someinput.tex + xdvi someinput& + + + + This is what the output looks like over here: - GNU LilyPond 0.0.78 #4/FlowerLib 1.1.24 #0 - Parsing ... [/home/hw/share/lilypond/init// - <..etc..> - init//performer.ly]]][input/kortjakje.ly] - Creating elements ...[8][16][24][25] - Preprocessing elements... - Calculating column positions ... [14][25] - Postprocessing elements... - TeX output to someinput.tex ... - Creating MIDI elements ...MIDI output to someinput.midi ... - hw:~/musix/spacer$ xdvi someinput& - [1] 855 -Check out the input files, some of them have comments -Please refer to the man page for more information. + + + + GNU LilyPond 0.0.78 #4/FlowerLib 1.1.24 #0 + Parsing ... [/home/hw/share/lilypond/init// + <..etc..> + init//performer.ly]]][input/kortjakje.ly] + Creating elements ...[8][16][24][25] + Preprocessing elements... + Calculating column positions ... [14][25] + Postprocessing elements... + TeX output to someinput.tex ... + Creating MIDI elements ...MIDI output to someinput.midi ... + + + hw:~/musix/spacer$ xdvi someinput& + [1] 855 + + + + + +Check out the input files, some of them have comments Please +refer to the man page for more information. + 9: REDHAT LINUX -RedHat Linux users can compile an RPM. A spec file is in -make/out/lilypond.spec. You should install a gif file called -lelie_icon.gif along with the sources. You can generate this -gif file by typing - make gifs +RedHat Linux users can compile an RPM. A spec file is in +make/out/lilypond.spec. You should install a gif file +called lelie_icon.gif along with the sources. You can gen- +erate this gif file by typing + + + + + + + make gifs + in the directory Documentation. You can make the rpm by issuing - make rpm + + + + + + make rpm + + + + + 10: DEBIAN GNU/LINUX -A Debian package is also available; contact Anthony Fok -. The build scripts are in the subdirectory debian/ + +A Debian package is also available; contact Anthony Fok +foka@debian.org . The build scripts are in +the subdirectory debian/ + 11: WINDOWS NT/95 -Separate instructions on building for W32 are avaible -in the file README-W32.yo. + +Separate instructions on building for W32 are avaible in the +file README-W32.yo. + 12: AUTHORS + Han-Wen Nienhuys Jan Nieuwenhuizen diff --git a/NEWS b/NEWS index b3d7bc26f3..63070dc0a4 100644 --- a/NEWS +++ b/NEWS @@ -1,3 +1,19 @@ + +(need to fix pictures. I know) + +pl 9 + +pl 8.uu1 + - junked \staff, \multi + - bf Music_list::Music_list (Music_list const&) + - AC_SUBST(PATHSEP,DIRSEP) + - generate Documentation/tex/out/*.bib (AM) + - a4 fixes (AM) + - bf: metafont-*.make + - parser.yy: intlist mods. (mudela 1.0.2) + - \melodic -> \notes (mudela 1.0.3) + - typo: calcalute_dependencies () + pl 8.jcn3 - gif -> png * ps-to-pngs.sh @@ -11,10 +27,11 @@ pl 8.jcn2 - bf's: package-diff pl 8.jcn1 - - removed tutorial from texinfo, yodl2texinfo is still rather broken - - bf: setlocale NUMERIC to 'C' - - removed ugly space from print-dimen + - removed tutorial from texinfo, yodl2texinfo is still rather broken + - bf: setlocale NUMERIC to 'C' + - removed ugly space from print-dimen +******* pl 8 - make website fixes. diff --git a/PATCHES.txt b/PATCHES.txt index 76bceea841..2f32fb9487 100644 --- a/PATCHES.txt +++ b/PATCHES.txt @@ -1,127 +1,224 @@ + + + + + NAME -PATCHES - track and distribute your code changes + PATCHES - track and distribute your code changes DESCRIPTION -This page documents how to distribute your changes to GNU lilypond -(or in fact any other StepMake package). + This page documents how to distribute your changes to +GNU lilypond (or in fact any other StepMake package). ABSTRACT -Distributing a change normally goes like this: + Distributing a change normally goes like this: + +o make your fix/add your code -o make your fix/add your code -o Add changes to NEWS, and add yourself to Documentation/AUTHORS.yo -o generate a patch, -o e-mail your patch to one of the mailing lists - gnu-music-discuss@gnu.org or bug-gnu-music@gnu.org +o Add changes to NEWS, and add yourself to Documenta- + tion/AUTHORS.yo + +o generate a patch, + +o e-mail your patch to one of the mailing lists gnu- + music-discuss@gnu.org or bug-gnu-music@gnu.org GENERATING A PATCH -In VERSION, set MY_PATCH_LEVEL: + In VERSION, set MY_PATCH_LEVEL: + + + + + + VERSION: + ... + MY_PATCH_LEVEL=jcn1 + + + - VERSION: - ... - MY_PATCH_LEVEL=jcn1 In NEWS, enter a summary of changes: - NEWS: - pl 0.1.73.jcn1 - - added PATCHES.yo + + + + + + NEWS: + pl 0.1.73.jcn1 + - added PATCHES.yo + Then, from the top of Lily's source tree, type - make diff + + + + + + make diff + + + + which leaves your patch as ./lilypond-0.1.73.jcn1.diff. If you didn't configure Lily using --srcdir, you can do: - make release - tar-ball: ../patches/lilypond-0.1.73.jcn1.gz - patch: ../patches/lilypond-0.1.73.jcn1.gz - updeet: ../test/updeet + + + + + make release + + tar-ball: ../patches/lilypond-0.1.73.jcn1.gz + patch: ../patches/lilypond-0.1.73.jcn1.gz + updeet: ../test/updeet + + + + + PREREQUISITES + For creating a patch you need -o All items mentioned in INSTALL. You're not going to send a patch - that you haven't even built, right? -o GNU diff -o Python (version 1.5 or newer). - You can of course make a patch by hand, which would go something like: - make distclean - cd .. - diff -urN lilypond-0.1.73 lilypond-0.1.73.jcn1 > lilypond-0.1.73.jcn1 +o All items mentioned in INSTALL. You're not going to + send a patch that you haven't even built, right? + +o GNU diff + +o Python (version 1.5 or newer). You can of course make + a patch by hand, which would go something like: + + + make distclean + cd .. + diff -urN lilypond-0.1.73 lilypond-0.1.73.jcn1 > lilypond-0.1.73.jcn1 + -but there are handy python scripts available. If you're doing development, -you'll need Python for other LilyPond scripts anyway. -o The Lily directory structure, which looks like: - doos/ # gnu/windows32 build and binary releases - harmonia -> harmonia-x.y.z - harmonia-x.y.z/ - lilypond -> lilypond-x.y.z # symlink to development directory - lilypond-x.y.z/ # current development - patches/ # patches between different releases - RedHat/BUILD # RedHat build and binary releases - RedHat/RPMS - RedHat/SPECS - releases/ # .tar.gz releases - test/ # tarballs and diffs from current version - yodl -> yodl-1.30.17 - yodl-1.30.17 -with prefix $HOME/usr/src -and (for building rpms only) in $HOME/.rpmrc: + but there are handy python scripts available. If + you're doing development, you'll need Python for other + LilyPond scripts anyway. + + +o The Lily directory structure, which looks like: + + + + + + + doos/ # gnu/windows32 build and binary releases + harmonia -> harmonia-x.y.z + harmonia-x.y.z/ + lilypond -> lilypond-x.y.z # symlink to development directory + lilypond-x.y.z/ # current development + patches/ # patches between different releases + RedHat/BUILD # RedHat build and binary releases + RedHat/RPMS + RedHat/SPECS + releases/ # .tar.gz releases + test/ # tarballs and diffs from current version + yodl -> yodl-1.30.17 + yodl-1.30.17 + + + + + with prefix $HOME/usr/src and (for building rpms only) + in $HOME/.rpmrc: + + + + + + topdir: /home/fred/usr/src/RedHat - topdir: /home/fred/usr/src/RedHat APPLYING PATCHES -If you're following LilyPond development regularly, you probably want to -download just the patch for each subsequent release. -After downloading the patch (into the patches directory, of course), simply -apply it: - gzip -dc ../patches/lilypond-0.1.74.diff.gz | patch -p1 -E +If you're following LilyPond development regularly, you +probably want to download just the patch for each subsequent +release. After downloading the patch (into the patches +directory, of course), simply apply it: + + + + + + + gzip -dc ../patches/lilypond-0.1.74.diff.gz | patch -p1 -E + + + + and don't forget to make automatically generated files: - autoconf footnote(patches don't include automatically generated files, - i.e. file(configure) and files generated by file(configure).) - configure + + + + + autoconf footnote(patches don't include automatically generated files, + i.e. file(configure) and files generated by file(configure).) + + configure + + + + + SYNCHRONISE -If you're not very quick with sending your patch, there's a good chance -that an new release of LilyPond comes available. In such a case (and -sometimes for other unkown reasons :-), the maintainer will probably ask -you to make a new patch against the latest release. -Your best bet is to download the latest release, and apply your patch -against this new source tree: - cd lilypond-0.1.74 - gzip -dc ../patches/lilypond-0.1.73.jcn1.diff.gz | patch -p1 -E - autoconf - configure +If you're not very quick with sending your patch, there's a +good chance that an new release of LilyPond comes available. +In such a case (and sometimes for other unkown reasons :-), +the maintainer will probably ask you to make a new patch +against the latest release. Your best bet is to download +the latest release, and apply your patch against this new +source tree: + + + cd lilypond-0.1.74 + gzip -dc ../patches/lilypond-0.1.73.jcn1.diff.gz | patch -p1 -E + autoconf + configure + + + + Then, make a patch as shown above. + SEE ALSO + stepmake/INSTALL.txt + MAINTAINER + Han-Wen Nienhuys Just keep on sending those patches! diff --git a/README.txt b/README.txt index da3c54dfaa..f2f69ed235 100644 --- a/README.txt +++ b/README.txt @@ -1,89 +1,92 @@ -This is the toplevel README to LilyPond - LilyPond is the GNU Project music typesetter. This program can print -beautiful sheet music from a music definition file. It can also play -mechanical performances to a MIDI file. Features include multiple -staffs, meters, clefs, keys, lyrics, versatile input language, cadenzas, -beams, slurs, triplets, formatting scores, part extraction. It includes -a nice font of musical symbols. -1: VERSIONING -if you have downloaded a - *.pre* -version, then this is version is *not* meant for producing nice output -(but to keep your patchsets up to date). It might not even compile. -The same goes for a version with a 4th version number, eg +This is the toplevel README to LilyPond LilyPond is the GNU +Project music typesetter. This program can print beautiful +sheet music from a music definition file. It can also play +mechanical performances to a MIDI file. Features include +multiple staffs, meters, clefs, keys, lyrics, versatile +input language, cadenzas, beams, slurs, triplets, formatting +scores, part extraction. It includes a nice font of musical +symbols. - 1.2.3.mypatch2 +1: VERSIONING -It will be safer if you download 1.2.3 or wait for 1.2.4. + if you have downloaded a *.pre* version, then this is +version is *not* meant for producing nice output (but to +keep your patchsets up to date). It might not even compile. +The same goes for a version with a 4th version number, eg +1.2.3.mypatch2 It will be safer if you download 1.2.3 or +wait for 1.2.4. 2: REQUIREMENTS -For the compilation and running of LilyPond you need some additional -packages. Please refer to the installation instructions. - -NOTE: If you downloaded a binary (.rpm or a W95/NT .zip file), then -you don't have to compile LilyPond. + For the compilation and running of LilyPond you need +some additional packages. Please refer to the installation +instructions. NOTE: If you downloaded a binary (.rpm or a +W95/NT .zip file), then you don't have to compile LilyPond. 3: INSTALLATION -For your convenience, a formatted copy of the INSTALL instructions are -in the toplevel directory, as INSTALL.txt - -The process is fairly straightforward, but chances are that you have -to specify directories for TeX to configure: this is done with -the options --enable-tex-dir and --enable-mf-dir + For your convenience, a formatted copy of the INSTALL +instructions are in the toplevel directory, as INSTALL.txt +The process is fairly straightforward, but chances are that +you have to specify directories for to configure: this is +done with the options --enable-tex-dir and --enable-mf-dir 4: DOCUMENTATION -The real documentation is the directory Documentation/ + The real documentation is the directory Documentation/ +To generate the pretty-printed docs, you have to run config- +ure first, and then do this: make doc You can also simply +read the .yo sources. They are ASCII text. The complete +documentation is accessible in formatted form at the website +http://www.cs.uu.nl/people/hanwen/lilypond/index.html -To generate the pretty-printed docs, you have to run configure first, -and then do this: +5: COMMENTS + + LilyPond is a long way from finished and polished. We +do appreciate criticism, comments, bugreports, patches, etc. +Please send your e-mail to one of the MAILING LISTS and not +to us personally. See Documentation/links.yo for more info. - make doc +6: DOZE -You can also simply read the .yo sources. They are ASCII text. -The complete documentation is accessible in formatted form at the -website http://www.cs.uu.nl/people/hanwen/lilypond/index.html + If you have received this file as part of a DOS/Win- +dow32 distribution (lilypond-*.zip), then it is advisable to +also download the source package, since it might contain -5: COMMENTS -LilyPond is a long way from finished and polished. We do appreciate -criticism, comments, bugreports, patches, etc. +more documentation ftp://ftp.cs.uu.nl/pub/GNU/LilyPond/ If +you decide to build LilyPond from source, please read the +INSTALL.txt document first, especially the Windows NT/95 +section. - Please send your e-mail to one of the MAILING LISTS +7: CAVEATS -and not to us personally. See Documentation/links.yo for more info. + * Please read the file BUGS for some ugly bugs. This +especially applies Linux-Intel unix users. * If you have +installed a previous version, be sure to remove old font +files, eg -6: DOZE -If you have received this file as part of a DOS/Window32 distribution -(lilypond-*.zip), then it is advisable to also download the source -package, since it might contain more documentation -ftp://ftp.cs.uu.nl/pub/GNU/LilyPond/ -If you decide to build LilyPond from source, please read the INSTALL.txt -document first, especially the Windows NT/95 section. -7: CAVEATS + rm `find /var/lib/texmf/fonts -name 'feta*'` + -* Please read the file BUGS for some ugly bugs. This especially applies -Linux-Intel unix users. -* If you have installed a previous version, be sure to remove old font -files, eg -rm `find /var/lib/texmf/fonts -name 'feta*'` a script to do this for you is in bin/cleanfonts.sh + 8: CDROM DISTRIBUTIONS -If you have received LilyPond on a cdrom, chances are that development -has moved a some patchlevels up. If possible, please check the latest -version of LilyPond before reporting bugs. + +If you have received LilyPond on a cdrom, chances are that +development has moved a some patchlevels up. If possible, +please check the latest version of LilyPond before reporting +bugs. diff --git a/TODO b/TODO index 76db5e603e..3ec1590a25 100644 --- a/TODO +++ b/TODO @@ -7,7 +7,7 @@ done, or is an idea that I want to think about Most of the items are marked in the code as well, with full explanation. grep for TODO and ugh/ugr/urg - * egcs-1.1a support + * egcs-1.1 support * fix LOCALE settings, and \def\foo{2,000pt} output @@ -28,6 +28,10 @@ grep for TODO and ugh/ugr/urg * abbrev -> tremolo + * junking \skip req in lyrics + + * \shape 1st dim skipped? + * Language: - general plet mechanism. @@ -40,12 +44,13 @@ grep for TODO and ugh/ugr/urg - \type -> \context ? - \translator -> ? - fix \partial - - \melodic -> \notes - \bla {} vs \bla ; - mix engraver hacking with music ? - \once\property KEY = VAL - \addtranslator, \removetranslator - junk ^ and _ for scripts + - junk _ for lyrics. + - abstract grammar. * install TeX stuff into tex/generic directory. diff --git a/VERSION b/VERSION index e11ea79acb..de6ca504c0 100644 --- a/VERSION +++ b/VERSION @@ -1,8 +1,8 @@ PACKAGE_NAME=LilyPond MAJOR_VERSION=1 MINOR_VERSION=0 -PATCH_LEVEL=8 -MY_PATCH_LEVEL=jcn3 +PATCH_LEVEL=9 +MY_PATCH_LEVEL= # use the above to send patches: MY_PATCH_LEVEL is always empty for a # released version. diff --git a/aclocal.m4 b/aclocal.m4 index 03df5805ab..e1592d654a 100644 --- a/aclocal.m4 +++ b/aclocal.m4 @@ -7,6 +7,7 @@ AC_DEFUN(AC_STEPMAKE_COMPILE, [ # -O is necessary to get inlining OPTIMIZE="" CXXFLAGS=${CXXFLAGS:-""} + CFLAGS=${CFLAGS:-""} checking_b=yes optimise_b=no profile_b=no @@ -265,8 +266,9 @@ dnl fi AC_SUBST(LN_S) AC_SUBST(INSTALL) AC_DEFINE_UNQUOTED(DIRSEP, '${DIRSEP}') - AC_SUBST(PATHSEP) AC_DEFINE_UNQUOTED(PATHSEP, '${PATHSEP}') + AC_SUBST(PATHSEP) + AC_SUBST(DIRSEP) AC_STEPMAKE_DATADIR diff --git a/buildscripts/mutopia-index.py b/buildscripts/mutopia-index.py index bf7ed7a628..a4c4652b92 100644 --- a/buildscripts/mutopia-index.py +++ b/buildscripts/mutopia-index.py @@ -115,7 +115,7 @@ def gen_list(inputs, subdir, filename): list_item(ex + ex_ext + '.txt', 'The input') for pageno in range(1,100): - f = ex + '-page%d.gif' % pageno + f = ex + '-page%d.png' % pageno if not file_exist_b (f): break list_item(f, 'The output (picture, page %d)' % pageno) diff --git a/buildscripts/ps-to-pngs.sh b/buildscripts/ps-to-pngs.sh old mode 100644 new mode 100755 diff --git a/configure b/configure index 699e1f1c5a..0a8fbd265a 100755 --- a/configure +++ b/configure @@ -901,14 +901,16 @@ fi - cat >> confdefs.h <> confdefs.h <> confdefs.h <> confdefs.h <&6 -echo "configure:1035: checking for $ac_word" >&5 +echo "configure:1038: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_CC'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -1060,7 +1063,7 @@ if test -z "$CC"; then # Extract the first word of "cc", so it can be a program name with args. set dummy cc; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:1064: checking for $ac_word" >&5 +echo "configure:1067: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_CC'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -1108,7 +1111,7 @@ fi fi echo $ac_n "checking whether the C compiler ($CC $CFLAGS $LDFLAGS) works""... $ac_c" 1>&6 -echo "configure:1112: checking whether the C compiler ($CC $CFLAGS $LDFLAGS) works" >&5 +echo "configure:1115: checking whether the C compiler ($CC $CFLAGS $LDFLAGS) works" >&5 ac_ext=c # CFLAGS is not in ac_cpp because -g, -O, etc. are not valid cpp options. @@ -1118,11 +1121,11 @@ ac_link='${CC-cc} -o conftest $CFLAGS $CPPFLAGS $LDFLAGS conftest.$ac_ext $LIBS cross_compiling=$ac_cv_prog_cc_cross cat > conftest.$ac_ext <&5; (eval $ac_link) 2>&5; } && test -s conftest; then +if { (eval echo configure:1129: \"$ac_link\") 1>&5; (eval $ac_link) 2>&5; } && test -s conftest; then ac_cv_prog_cc_works=yes # If we can't run a trivial program, we are probably using a cross compiler. if (./conftest; exit) 2>/dev/null; then @@ -1142,12 +1145,12 @@ if test $ac_cv_prog_cc_works = no; then { echo "configure: error: installation or configuration problem: C compiler cannot create executables." 1>&2; exit 1; } fi echo $ac_n "checking whether the C compiler ($CC $CFLAGS $LDFLAGS) is a cross-compiler""... $ac_c" 1>&6 -echo "configure:1146: checking whether the C compiler ($CC $CFLAGS $LDFLAGS) is a cross-compiler" >&5 +echo "configure:1149: checking whether the C compiler ($CC $CFLAGS $LDFLAGS) is a cross-compiler" >&5 echo "$ac_t""$ac_cv_prog_cc_cross" 1>&6 cross_compiling=$ac_cv_prog_cc_cross echo $ac_n "checking whether we are using GNU C""... $ac_c" 1>&6 -echo "configure:1151: checking whether we are using GNU C" >&5 +echo "configure:1154: checking whether we are using GNU C" >&5 if eval "test \"`echo '$''{'ac_cv_prog_gcc'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -1156,7 +1159,7 @@ else yes; #endif EOF -if { ac_try='${CC-cc} -E conftest.c'; { (eval echo configure:1160: \"$ac_try\") 1>&5; (eval $ac_try) 2>&5; }; } | egrep yes >/dev/null 2>&1; then +if { ac_try='${CC-cc} -E conftest.c'; { (eval echo configure:1163: \"$ac_try\") 1>&5; (eval $ac_try) 2>&5; }; } | egrep yes >/dev/null 2>&1; then ac_cv_prog_gcc=yes else ac_cv_prog_gcc=no @@ -1171,7 +1174,7 @@ if test $ac_cv_prog_gcc = yes; then ac_save_CFLAGS="$CFLAGS" CFLAGS= echo $ac_n "checking whether ${CC-cc} accepts -g""... $ac_c" 1>&6 -echo "configure:1175: checking whether ${CC-cc} accepts -g" >&5 +echo "configure:1178: checking whether ${CC-cc} accepts -g" >&5 if eval "test \"`echo '$''{'ac_cv_prog_cc_g'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -1228,7 +1231,7 @@ EOF fi echo $ac_n "checking how to run the C++ preprocessor""... $ac_c" 1>&6 -echo "configure:1232: checking how to run the C++ preprocessor" >&5 +echo "configure:1235: checking how to run the C++ preprocessor" >&5 if test -z "$CXXCPP"; then if eval "test \"`echo '$''{'ac_cv_prog_CXXCPP'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 @@ -1241,12 +1244,12 @@ ac_link='${CXX-g++} -o conftest $CXXFLAGS $CPPFLAGS $LDFLAGS conftest.$ac_ext $L cross_compiling=$ac_cv_prog_cxx_cross CXXCPP="${CXX-g++} -E" cat > conftest.$ac_ext < EOF ac_try="$ac_cpp conftest.$ac_ext >/dev/null 2>conftest.out" -{ (eval echo configure:1250: \"$ac_try\") 1>&5; (eval $ac_try) 2>&5; } +{ (eval echo configure:1253: \"$ac_try\") 1>&5; (eval $ac_try) 2>&5; } ac_err=`grep -v '^ *+' conftest.out` if test -z "$ac_err"; then : @@ -1277,7 +1280,7 @@ do # Extract the first word of "$ac_prog", so it can be a program name with args. set dummy $ac_prog; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:1281: checking for $ac_word" >&5 +echo "configure:1284: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_CXX'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -1308,7 +1311,7 @@ test -n "$CXX" || CXX="gcc" echo $ac_n "checking whether the C++ compiler ($CXX $CXXFLAGS $LDFLAGS) works""... $ac_c" 1>&6 -echo "configure:1312: checking whether the C++ compiler ($CXX $CXXFLAGS $LDFLAGS) works" >&5 +echo "configure:1315: checking whether the C++ compiler ($CXX $CXXFLAGS $LDFLAGS) works" >&5 ac_ext=C # CXXFLAGS is not in ac_cpp because -g, -O, etc. are not valid cpp options. @@ -1318,11 +1321,11 @@ ac_link='${CXX-g++} -o conftest $CXXFLAGS $CPPFLAGS $LDFLAGS conftest.$ac_ext $L cross_compiling=$ac_cv_prog_cxx_cross cat > conftest.$ac_ext <&5; (eval $ac_link) 2>&5; } && test -s conftest; then +if { (eval echo configure:1329: \"$ac_link\") 1>&5; (eval $ac_link) 2>&5; } && test -s conftest; then ac_cv_prog_cxx_works=yes # If we can't run a trivial program, we are probably using a cross compiler. if (./conftest; exit) 2>/dev/null; then @@ -1342,12 +1345,12 @@ if test $ac_cv_prog_cxx_works = no; then { echo "configure: error: installation or configuration problem: C++ compiler cannot create executables." 1>&2; exit 1; } fi echo $ac_n "checking whether the C++ compiler ($CXX $CXXFLAGS $LDFLAGS) is a cross-compiler""... $ac_c" 1>&6 -echo "configure:1346: checking whether the C++ compiler ($CXX $CXXFLAGS $LDFLAGS) is a cross-compiler" >&5 +echo "configure:1349: checking whether the C++ compiler ($CXX $CXXFLAGS $LDFLAGS) is a cross-compiler" >&5 echo "$ac_t""$ac_cv_prog_cxx_cross" 1>&6 cross_compiling=$ac_cv_prog_cxx_cross echo $ac_n "checking whether we are using GNU C++""... $ac_c" 1>&6 -echo "configure:1351: checking whether we are using GNU C++" >&5 +echo "configure:1354: checking whether we are using GNU C++" >&5 if eval "test \"`echo '$''{'ac_cv_prog_gxx'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -1356,7 +1359,7 @@ else yes; #endif EOF -if { ac_try='${CXX-g++} -E conftest.C'; { (eval echo configure:1360: \"$ac_try\") 1>&5; (eval $ac_try) 2>&5; }; } | egrep yes >/dev/null 2>&1; then +if { ac_try='${CXX-g++} -E conftest.C'; { (eval echo configure:1363: \"$ac_try\") 1>&5; (eval $ac_try) 2>&5; }; } | egrep yes >/dev/null 2>&1; then ac_cv_prog_gxx=yes else ac_cv_prog_gxx=no @@ -1371,7 +1374,7 @@ if test $ac_cv_prog_gxx = yes; then ac_save_CXXFLAGS="$CXXFLAGS" CXXFLAGS= echo $ac_n "checking whether ${CXX-g++} accepts -g""... $ac_c" 1>&6 -echo "configure:1375: checking whether ${CXX-g++} accepts -g" >&5 +echo "configure:1378: checking whether ${CXX-g++} accepts -g" >&5 if eval "test \"`echo '$''{'ac_cv_prog_cxx_g'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -1401,17 +1404,17 @@ fi ac_safe=`echo "FlexLexer.h" | sed 'y%./+-%__p_%'` echo $ac_n "checking for FlexLexer.h""... $ac_c" 1>&6 -echo "configure:1405: checking for FlexLexer.h" >&5 +echo "configure:1408: checking for FlexLexer.h" >&5 if eval "test \"`echo '$''{'ac_cv_header_$ac_safe'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else cat > conftest.$ac_ext < EOF ac_try="$ac_cpp conftest.$ac_ext >/dev/null 2>conftest.out" -{ (eval echo configure:1415: \"$ac_try\") 1>&5; (eval $ac_try) 2>&5; } +{ (eval echo configure:1418: \"$ac_try\") 1>&5; (eval $ac_try) 2>&5; } ac_err=`grep -v '^ *+' conftest.out` if test -z "$ac_err"; then rm -rf conftest* @@ -1461,12 +1464,12 @@ fi echo $ac_n "checking whether explicit instantiation is needed""... $ac_c" 1>&6 -echo "configure:1465: checking whether explicit instantiation is needed" >&5 +echo "configure:1468: checking whether explicit instantiation is needed" >&5 if eval "test \"`echo '$''{'lily_cv_need_explicit_instantiation'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else cat > conftest.$ac_ext < struct foo { static int baz; }; @@ -1476,7 +1479,7 @@ int main() { return foo::baz; ; return 0; } EOF -if { (eval echo configure:1480: \"$ac_link\") 1>&5; (eval $ac_link) 2>&5; } && test -s conftest; then +if { (eval echo configure:1483: \"$ac_link\") 1>&5; (eval $ac_link) 2>&5; } && test -s conftest; then rm -rf conftest* lily_cv_need_explicit_instantiation=no else @@ -1503,7 +1506,7 @@ do # Extract the first word of "$ac_prog", so it can be a program name with args. set dummy $ac_prog; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:1507: checking for $ac_word" >&5 +echo "configure:1510: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_YACC'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -1545,7 +1548,7 @@ do # Extract the first word of "$ac_prog", so it can be a program name with args. set dummy $ac_prog; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:1549: checking for $ac_word" >&5 +echo "configure:1552: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_BISON'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -1579,7 +1582,7 @@ do # Extract the first word of "$ac_prog", so it can be a program name with args. set dummy $ac_prog; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:1583: checking for $ac_word" >&5 +echo "configure:1586: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_FLEX'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -1646,7 +1649,7 @@ do # Extract the first word of "$ac_prog", so it can be a program name with args. set dummy $ac_prog; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:1650: checking for $ac_word" >&5 +echo "configure:1653: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_AR'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -1678,7 +1681,7 @@ test -n "$AR" || AR="error" # Extract the first word of "ranlib", so it can be a program name with args. set dummy ranlib; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:1682: checking for $ac_word" >&5 +echo "configure:1685: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_RANLIB'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -1733,7 +1736,7 @@ fi echo $ac_n "checking language""... $ac_c" 1>&6 -echo "configure:1737: checking language" >&5 +echo "configure:1740: checking language" >&5 case "$language" in En* | en* | Am* | am* | US* | us*) lang=English;; @@ -1769,7 +1772,7 @@ EOF echo $ac_n "checking for gettext in -lintl""... $ac_c" 1>&6 -echo "configure:1773: checking for gettext in -lintl" >&5 +echo "configure:1776: checking for gettext in -lintl" >&5 ac_lib_var=`echo intl'_'gettext | sed 'y%./+-%__p_%'` if eval "test \"`echo '$''{'ac_cv_lib_$ac_lib_var'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 @@ -1777,7 +1780,7 @@ else ac_save_LIBS="$LIBS" LIBS="-lintl $LIBS" cat > conftest.$ac_ext <&5; (eval $ac_link) 2>&5; } && test -s conftest; then +if { (eval echo configure:1798: \"$ac_link\") 1>&5; (eval $ac_link) 2>&5; } && test -s conftest; then rm -rf conftest* eval "ac_cv_lib_$ac_lib_var=yes" else @@ -1821,12 +1824,12 @@ fi for ac_func in gettext do echo $ac_n "checking for $ac_func""... $ac_c" 1>&6 -echo "configure:1825: checking for $ac_func" >&5 +echo "configure:1828: checking for $ac_func" >&5 if eval "test \"`echo '$''{'ac_cv_func_$ac_func'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else cat > conftest.$ac_ext <&5; (eval $ac_link) 2>&5; } && test -s conftest; then +if { (eval echo configure:1859: \"$ac_link\") 1>&5; (eval $ac_link) 2>&5; } && test -s conftest; then rm -rf conftest* eval "ac_cv_func_$ac_func=yes" else @@ -1884,7 +1887,7 @@ do # Extract the first word of "$ac_prog", so it can be a program name with args. set dummy $ac_prog; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:1888: checking for $ac_word" >&5 +echo "configure:1891: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_MSGFMT'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -1914,7 +1917,7 @@ done test -n "$MSGFMT" || MSGFMT="\$(SHELL) \$(step-bindir)/fake-msgfmt.sh " echo $ac_n "checking whether msgfmt accepts -o""... $ac_c" 1>&6 -echo "configure:1918: checking whether msgfmt accepts -o" >&5 +echo "configure:1921: checking whether msgfmt accepts -o" >&5 msgfmt_output="`msgfmt -o bla 2>&1 | grep usage`" if test "$msgfmt_output" = ""; then echo "$ac_t""yes" 1>&6 @@ -1967,7 +1970,7 @@ fi echo $ac_n "checking TeX/MF root dir directory""... $ac_c" 1>&6 -echo "configure:1971: checking TeX/MF root dir directory" >&5 +echo "configure:1974: checking TeX/MF root dir directory" >&5 find_root_prefix="$prefix" @@ -2008,7 +2011,7 @@ echo "configure:1971: checking TeX/MF root dir directory" >&5 echo $ac_n "checking MF input directory""... $ac_c" 1>&6 -echo "configure:2012: checking MF input directory" >&5 +echo "configure:2015: checking MF input directory" >&5 find_dirdir=`(cd $find_texprefix; $FIND ./ -type d -a -name source -print |sort|head -1|sed 's#^\./##')` @@ -2033,7 +2036,7 @@ echo "configure:2012: checking MF input directory" >&5 echo $ac_n "checking TeX input directory""... $ac_c" 1>&6 -echo "configure:2037: checking TeX input directory" >&5 +echo "configure:2040: checking TeX input directory" >&5 find_dirdir=`(cd $find_texprefix; $FIND ./ -type d -a -name tex -print |sort|head -1|sed 's#^\./##')` @@ -2064,7 +2067,7 @@ do # Extract the first word of "$ac_prog", so it can be a program name with args. set dummy $ac_prog; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:2068: checking for $ac_word" >&5 +echo "configure:2071: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_YODL'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -2098,7 +2101,7 @@ do # Extract the first word of "$ac_prog", so it can be a program name with args. set dummy $ac_prog; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:2102: checking for $ac_word" >&5 +echo "configure:2105: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_YODL2HTML'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -2132,7 +2135,7 @@ do # Extract the first word of "$ac_prog", so it can be a program name with args. set dummy $ac_prog; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:2136: checking for $ac_word" >&5 +echo "configure:2139: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_YODL2LATEX'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -2165,7 +2168,7 @@ do # Extract the first word of "$ac_prog", so it can be a program name with args. set dummy $ac_prog; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:2169: checking for $ac_word" >&5 +echo "configure:2172: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_YODL2MAN'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -2199,7 +2202,7 @@ do # Extract the first word of "$ac_prog", so it can be a program name with args. set dummy $ac_prog; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:2203: checking for $ac_word" >&5 +echo "configure:2206: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_YODL2MSLESS'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -2233,7 +2236,7 @@ do # Extract the first word of "$ac_prog", so it can be a program name with args. set dummy $ac_prog; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:2237: checking for $ac_word" >&5 +echo "configure:2240: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_YODL2TEXINFO'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -2267,7 +2270,7 @@ do # Extract the first word of "$ac_prog", so it can be a program name with args. set dummy $ac_prog; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:2271: checking for $ac_word" >&5 +echo "configure:2274: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_YODL2TXT'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -2326,7 +2329,7 @@ test -n "$YODL2TXT" || YODL2TXT="-echo no yodl" echo $ac_n "checking for 8-bit clean memcmp""... $ac_c" 1>&6 -echo "configure:2330: checking for 8-bit clean memcmp" >&5 +echo "configure:2333: checking for 8-bit clean memcmp" >&5 if eval "test \"`echo '$''{'ac_cv_func_memcmp_clean'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -2334,7 +2337,7 @@ else ac_cv_func_memcmp_clean=no else cat > conftest.$ac_ext <&5; (eval $ac_link) 2>&5; } && test -s conftest && (./conftest; exit) 2>/dev/null +if { (eval echo configure:2354: \"$ac_link\") 1>&5; (eval $ac_link) 2>&5; } && test -s conftest && (./conftest; exit) 2>/dev/null then ac_cv_func_memcmp_clean=yes else @@ -2365,12 +2368,12 @@ echo "$ac_t""$ac_cv_func_memcmp_clean" 1>&6 test $ac_cv_func_memcmp_clean = no && LIBOBJS="$LIBOBJS memcmp.o" echo $ac_n "checking for vprintf""... $ac_c" 1>&6 -echo "configure:2369: checking for vprintf" >&5 +echo "configure:2372: checking for vprintf" >&5 if eval "test \"`echo '$''{'ac_cv_func_vprintf'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else cat > conftest.$ac_ext <&5; (eval $ac_link) 2>&5; } && test -s conftest; then +if { (eval echo configure:2403: \"$ac_link\") 1>&5; (eval $ac_link) 2>&5; } && test -s conftest; then rm -rf conftest* eval "ac_cv_func_vprintf=yes" else @@ -2420,12 +2423,12 @@ fi if test "$ac_cv_func_vprintf" != yes; then echo $ac_n "checking for _doprnt""... $ac_c" 1>&6 -echo "configure:2424: checking for _doprnt" >&5 +echo "configure:2427: checking for _doprnt" >&5 if eval "test \"`echo '$''{'ac_cv_func__doprnt'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else cat > conftest.$ac_ext <&5; (eval $ac_link) 2>&5; } && test -s conftest; then +if { (eval echo configure:2458: \"$ac_link\") 1>&5; (eval $ac_link) 2>&5; } && test -s conftest; then rm -rf conftest* eval "ac_cv_func__doprnt=yes" else @@ -2478,12 +2481,12 @@ fi for ac_func in memmem snprintf vsnprintf gettext do echo $ac_n "checking for $ac_func""... $ac_c" 1>&6 -echo "configure:2482: checking for $ac_func" >&5 +echo "configure:2485: checking for $ac_func" >&5 if eval "test \"`echo '$''{'ac_cv_func_$ac_func'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else cat > conftest.$ac_ext <&5; (eval $ac_link) 2>&5; } && test -s conftest; then +if { (eval echo configure:2516: \"$ac_link\") 1>&5; (eval $ac_link) 2>&5; } && test -s conftest; then rm -rf conftest* eval "ac_cv_func_$ac_func=yes" else @@ -2548,7 +2551,7 @@ do # Extract the first word of "$ac_prog", so it can be a program name with args. set dummy $ac_prog; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:2552: checking for $ac_word" >&5 +echo "configure:2555: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_MAKEINFO'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -2742,6 +2745,8 @@ s%@ZIP@%$ZIP%g s%@LN@%$LN%g s%@LN_S@%$LN_S%g s%@INSTALL@%$INSTALL%g +s%@PATHSEP@%$PATHSEP%g +s%@DIRSEP@%$DIRSEP%g s%@DIR_DATADIR@%$DIR_DATADIR%g s%@subdirs@%$subdirs%g s%@CC@%$CC%g diff --git a/init/book-fragment.ly b/init/book-fragment.ly index 0139e592cc..91645e70c7 100644 --- a/init/book-fragment.ly +++ b/init/book-fragment.ly @@ -1,6 +1,6 @@ % Toplevel initialisation file. -\version "1.0.1"; +\version "1.0.3"; \include "declarations.ly" @@ -8,7 +8,7 @@ \include "paper16.ly" \score { - \melodic { + \notes { \maininput } \paper { \paper_sixteen diff --git a/init/book-init.ly b/init/book-init.ly index a2908e5e8d..2975e48249 100644 --- a/init/book-init.ly +++ b/init/book-init.ly @@ -1,6 +1,6 @@ % Toplevel initialisation file. -\version "1.0.1"; +\version "1.0.3"; \include "declarations.ly"; diff --git a/init/center-fragment.ly b/init/center-fragment.ly index 421c98e781..192f0f031f 100644 --- a/init/center-fragment.ly +++ b/init/center-fragment.ly @@ -1,6 +1,6 @@ % Toplevel initialisation file. -\version "1.0.1"; +\version "1.0.3"; \include "declarations.ly" @@ -13,8 +13,8 @@ default_paper = \paper { } \score { -% \melodic\relative c { - \melodic { +% \notes\relative c { + \notes { \maininput } \paper { diff --git a/init/center.ly b/init/center.ly index 39699af865..feafaedcb4 100644 --- a/init/center.ly +++ b/init/center.ly @@ -1,6 +1,6 @@ % Toplevel initialisation file. -\version "1.0.1"; +\version "1.0.3"; \include "declarations.ly" diff --git a/init/fragment.ly b/init/fragment.ly index 421c98e781..192f0f031f 100644 --- a/init/fragment.ly +++ b/init/fragment.ly @@ -1,6 +1,6 @@ % Toplevel initialisation file. -\version "1.0.1"; +\version "1.0.3"; \include "declarations.ly" @@ -13,8 +13,8 @@ default_paper = \paper { } \score { -% \melodic\relative c { - \melodic { +% \notes\relative c { + \notes { \maininput } \paper { diff --git a/init/init.fly b/init/init.fly index 31fbbe0698..9a2fa1d688 100644 --- a/init/init.fly +++ b/init/init.fly @@ -1,12 +1,12 @@ % Toplevel initialisation file. -\version "1.0.1"; +\version "1.0.3"; \include "declarations.ly" \score { - \melodic\relative c { + \notes\relative c { \maininput } \paper { } diff --git a/init/init.ly b/init/init.ly index 7f62919272..e076b2102d 100644 --- a/init/init.ly +++ b/init/init.ly @@ -1,6 +1,6 @@ % Toplevel initialisation file. -\version "1.0.1"; +\version "1.0.3"; \include "declarations.ly"; diff --git a/init/paper16.ly b/init/paper16.ly index 8ce2fb67ed..4ccaea1351 100644 --- a/init/paper16.ly +++ b/init/paper16.ly @@ -6,7 +6,7 @@ -\version "1.0.1"; +\version "1.0.3"; paper_sixteen = \paper { staffheight = 16.0\pt; diff --git a/init/paper20.ly b/init/paper20.ly index c156edb8dd..4da2520dd5 100644 --- a/init/paper20.ly +++ b/init/paper20.ly @@ -5,7 +5,7 @@ \include "table13.ly"; \include "table16.ly"; -\version "1.0.1"; +\version "1.0.3"; paper_twenty = \paper { staffheight = 20.0\pt; diff --git a/input/keys.ly b/input/keys.ly index b384b7a3a1..7f4bc62a6b 100644 --- a/input/keys.ly +++ b/input/keys.ly @@ -1,7 +1,7 @@ -\version "1.0.2"; +\version "1.0.3"; -blah = \melodic { +blah = \notes { \transpose c'' { \time 4/4; diff --git a/input/kortjakje.ly b/input/kortjakje.ly index 8710a3ab34..c823ab99f9 100644 --- a/input/kortjakje.ly +++ b/input/kortjakje.ly @@ -10,14 +10,14 @@ copyright = "public domain"; Tested Features: example file with comments %} -\version "1.0.2"; +\version "1.0.3"; % the % is a comment. % declare melody (which will be in *one* staff ) for the lead voice -melodie = \melodic \relative c' { +melodie = \notes \relative c' { % switch Lilypond in note-mode \clef"violin"; \time 2/4 ; @@ -39,7 +39,7 @@ melodie = \melodic \relative c' { } % more of this. -begeleiding = \melodic \relative c { +begeleiding = \notes \relative c { \clef "bass"; \time 2/4 ; diff --git a/input/pedal.ly b/input/pedal.ly index 494fecc6e4..dde473995c 100644 --- a/input/pedal.ly +++ b/input/pedal.ly @@ -24,10 +24,10 @@ % \lbheel \lbheel \lfheel \lftoe % \rbheel \rbtoe \rfheel \rftoe -\version "1.0.2"; +\version "1.0.3"; \score{ - \melodic { + \notes { \time 4/4; \key D; \clef bass; diff --git a/input/praeludium-fuga-E.ly b/input/praeludium-fuga-E.ly index d9f89d4c3a..c9cb4f6da8 100644 --- a/input/praeludium-fuga-E.ly +++ b/input/praeludium-fuga-E.ly @@ -23,16 +23,16 @@ * organ staff... %} -\version "1.0.2"; +\version "1.0.3"; -praeludium_commands = \melodic { +praeludium_commands = \notes { \time 4/4; \key e; } -praeludium_right = \melodic\transpose c'' { +praeludium_right = \notes\transpose c'' { \$praeludium_commands \clef violin; @@ -64,7 +64,7 @@ praeludium_right = \melodic\transpose c'' { % 16 } -praeludium_left = \melodic { +praeludium_left = \notes { \$praeludium_commands \clef bass; @@ -85,7 +85,7 @@ praeludium_left = \melodic { % 16 } -praeludium_pedal = \melodic { +praeludium_pedal = \notes { \$praeludium_commands \clef bass; @@ -97,12 +97,12 @@ praeludium_pedal = \melodic { } -fuga2_commands = \melodic{ +fuga2_commands = \notes{ \time 3/4; \key e; % E-major } -fuga2_right = \melodic\transpose c'' { +fuga2_right = \notes\transpose c'' { \$fuga2_commands \clef violin; @@ -140,7 +140,7 @@ fuga2_right = \melodic\transpose c'' { % 19 } -fuga2_left = \melodic { +fuga2_left = \notes { \$fuga2_commands \clef bass; @@ -156,7 +156,7 @@ fuga2_left = \melodic { % 19 } -fuga2_pedal = \melodic { +fuga2_pedal = \notes { \$fuga2_commands \clef bass; @@ -168,7 +168,7 @@ fuga2_pedal = \melodic { % 19 } -breakmusic = \melodic { +breakmusic = \notes { %\time 4/4; r1 } diff --git a/input/rhythm.ly b/input/rhythm.ly index 1ef9d13d0a..b0e2e1cd66 100644 --- a/input/rhythm.ly +++ b/input/rhythm.ly @@ -7,9 +7,9 @@ TestedFeatures = "multiple meters, beaming, unsynced bars, userdefd engravers"; -\version "1.0.2"; +\version "1.0.3"; -ritme = \melodic\transpose c'' { +ritme = \notes\transpose c'' { \partial 8; \time 4/4; @@ -37,13 +37,13 @@ ritme = \melodic\transpose c'' { another = - \melodic{ \time 4/4; + \notes{ \time 4/4; c1. c1. c4 c4 c4 c4 \time 4/4; c1 c1 c1 } yanother = - \melodic{ \time 4/4; + \notes{ \time 4/4; c1 c1 c1 c4 c4 c4 c4 c1 c1 c1 } diff --git a/input/scales.ly b/input/scales.ly index 215a51d90c..81375258ce 100644 --- a/input/scales.ly +++ b/input/scales.ly @@ -12,8 +12,8 @@ copyright = "public domain"; % scales with accents. % -\version "1.0.2"; -blah = \melodic { +\version "1.0.3"; +blah = \notes { \time 6/8; \transpose c { \clef "bass"; @@ -84,7 +84,7 @@ c1} \score{ - \melodic {\blah} + \notes {\blah} \paper{ castingalgorithm = \Wordwrap; } diff --git a/input/scripts.ly b/input/scripts.ly index 85fad377e8..b4386c9538 100644 --- a/input/scripts.ly +++ b/input/scripts.ly @@ -1,8 +1,8 @@ -\version "1.0.2"; +\version "1.0.3"; -blah = \melodic{ \transpose c'' { +blah = \notes{ \transpose c'' { c,4 ->-.-\fermata-"text" c ->-.-\fermata-"text" diff --git a/input/test/a.ly b/input/test/a.ly deleted file mode 100644 index e69de29bb2..0000000000 diff --git a/input/test/abbrev.ly b/input/test/abbrev.ly index 2cb2d7b141..134ff73cf0 100644 --- a/input/test/abbrev.ly +++ b/input/test/abbrev.ly @@ -1,6 +1,7 @@ +\version "1.0.3"; \score{ - \melodic \transpose c'''{ + \notes \transpose c'''{ \stemup % \stemdown % default abbreviations diff --git a/input/test/bar-scripts.ly b/input/test/bar-scripts.ly index 55b4f4ea74..1a1550b37c 100644 --- a/input/test/bar-scripts.ly +++ b/input/test/bar-scripts.ly @@ -1,13 +1,15 @@ -onestaff = \type Staff = foo\melodic { +\version "1.0.3"; + +onestaff = \type Staff = foo\notes { \property Staff.instr = instr \property Staff.instrument = instrument \mark "B"; c1 \mark "A"; \break c2 c2 \break } -grstaff = \melodic \type GrandStaff < +grstaff = \notes \type GrandStaff < \type Staff = bar { \property Staff.instr = instr diff --git a/input/test/beam-pos.ly b/input/test/beam-pos.ly index 6d32b96ef3..7d9e968cdf 100644 --- a/input/test/beam-pos.ly +++ b/input/test/beam-pos.ly @@ -1,5 +1,7 @@ +\version "1.0.3"; + \score{ - \melodic\transpose c''{ + \notes\transpose c''{ \property Score.beamquantisation = 3 % TEST [c8 c] [c c] [c c] [c c] diff --git a/input/test/beams.ly b/input/test/beams.ly index 40815dfad3..7e94c04216 100644 --- a/input/test/beams.ly +++ b/input/test/beams.ly @@ -6,13 +6,13 @@ copyright = "PD"; TestedFeatures = "beams and beamflags"; } -\version "1.0.2"; +\version "1.0.3"; \score{ < % \property Score.beamquantisation = \none \type GrandStaff < - \melodic\transpose c' { + \notes\transpose c' { \time 8/4; \stemup [c8 c'' a' f'] @@ -38,7 +38,7 @@ TestedFeatures = "beams and beamflags"; } > < - \melodic { + \notes { \transpose c' { \time 8/4; \stemdown [a'8 a, c e] diff --git a/input/test/broken.ly b/input/test/broken.ly index 0ad9fdbb2b..27f1d708ae 100644 --- a/input/test/broken.ly +++ b/input/test/broken.ly @@ -5,9 +5,9 @@ TestedFeatures = "This file tests Feta embedded slurs" "(Feta definitively is not an abbreviation of Font-En-TjA)"; } -\version "1.0.2"; +\version "1.0.3"; -shortlong = \melodic{ +shortlong = \notes{ c4()c( c c | c c c c | c c c c | @@ -15,7 +15,7 @@ shortlong = \melodic{ c c c )c | } -broken = \melodic\transpose c''{ +broken = \notes\transpose c''{ c c c c() c c c c( @@ -30,7 +30,7 @@ broken = \melodic\transpose c''{ } \score{ - \melodic{ + \notes{ % \shortlong \broken } diff --git a/input/test/clefs.ly b/input/test/clefs.ly index a49133116b..98ba6334ef 100644 --- a/input/test/clefs.ly +++ b/input/test/clefs.ly @@ -1,5 +1,7 @@ +\version "1.0.3"; + \score { - \melodic{ + \notes{ \clef "violin"; c'1^"{violin}" \bar "||"; \clef "french";c'1^"{french}" \bar "||"; \clef "soprano";c'1^"{soprano}" \bar "||"; diff --git a/input/test/collisions.ly b/input/test/collisions.ly index 8e0e87b599..e503cbf7a9 100644 --- a/input/test/collisions.ly +++ b/input/test/collisions.ly @@ -5,11 +5,11 @@ enteredby = "HWN,JCN"; copyright = "public domain"; Tested = "test the Collision resolution "; } -\version "1.0.2"; +\version "1.0.3"; -two_voice = \melodic +two_voice = \notes \type Staff < { \stemdown c4 d e f g2~ g4 a [c8 d e f] c2| } @@ -18,7 +18,7 @@ two_voice = \melodic > -two_voice_steminvert = \melodic +two_voice_steminvert = \notes \type Staff < { \stemup @@ -29,7 +29,7 @@ two_voice_steminvert = \melodic > -three_voice = \melodic +three_voice = \notes \type Staff < { \stemup g4 f e f g a g2 } @@ -40,7 +40,7 @@ three_voice = \melodic > -rests = \melodic +rests = \notes \type Staff < { \stemup | r8 r r r r r r r @@ -52,7 +52,7 @@ rests = \melodic } > -restsII = \melodic { +restsII = \notes { \type Staff < { \stemup g' f' e' d' c' b a g f e d c } { \stemdown r r r r r r r r r r r r } @@ -76,7 +76,7 @@ restsII = \melodic { } \score{ - \melodic \transpose c' { \two_voice + \notes \transpose c' { \two_voice \two_voice_steminvert \three_voice \rests diff --git a/input/test/defaultbars.ly b/input/test/defaultbars.ly index 3a2dcd96cf..db8efbea8a 100644 --- a/input/test/defaultbars.ly +++ b/input/test/defaultbars.ly @@ -1,6 +1,8 @@ +\version "1.0.3"; + \score { - \melodic { + \notes { \property Staff.barAlways = "1" \property Staff.defaultBarType = ":|:" c4 c4 c4 c4 } diff --git a/input/test/denneboom.ly b/input/test/denneboom.ly index 81a9f726a0..43b3f393be 100644 --- a/input/test/denneboom.ly +++ b/input/test/denneboom.ly @@ -7,7 +7,7 @@ TestedFeatures = "This file tests silly line shapes"; \include "paper20.ly" -\version "1.0.2"; +\version "1.0.3"; oden = \lyric{ O8 | @@ -33,7 +33,7 @@ ugloeit = \lyric{ licht8. ge-16 spreid.4 _8 } -oboom = \melodic\transpose c''{ +oboom = \notes\transpose c''{ g,8 | c8. c16 c4. d8 | e8. e16 e4. e8 | @@ -41,7 +41,7 @@ oboom = \melodic\transpose c''{ d8. c16 c4 r8 } -bos = \melodic\transpose c''{ +bos = \notes\transpose c''{ g8 | g e a4. g8 | g8. f16 f4 r8 f8 | @@ -49,13 +49,13 @@ bos = \melodic\transpose c''{ f8. e16 e4 r8 } -global = \melodic{ +global = \notes{ \time 3/4; \partial 8; \skip 4*48; \bar "|."; } -melody = \melodic{ +melody = \notes{ \oboom \oboom \bos @@ -67,7 +67,7 @@ $melody_staff = \type Staff = melody < \melody > -$verse_one = \melodic{ +$verse_one = \notes{ \oden \oden \ikheb @@ -79,7 +79,7 @@ $verse_one_staff = \type Lyrics = one < \$verse_one > -$verse_two = \melodic{ +$verse_two = \notes{ \oden \oden \ugloeit diff --git a/input/test/dotted-slur.ly b/input/test/dotted-slur.ly index 067f019be2..e29a2aa09b 100644 --- a/input/test/dotted-slur.ly +++ b/input/test/dotted-slur.ly @@ -1,5 +1,7 @@ +\version "1.0.3"; + \score{ - \melodic{ + \notes{ c( d e )c | \slurdotted; c( d e )c | diff --git a/input/test/find-quarts.ly b/input/test/find-quarts.ly index 7952b0f1bc..63d8647b21 100644 --- a/input/test/find-quarts.ly +++ b/input/test/find-quarts.ly @@ -1,5 +1,7 @@ +\version "1.0.3"; + \score{ - \melodic \relative c { + \notes \relative c { c d c f c g c b, c g, c f, c c'' c % run with find-quarts should suggest: % c d c f c g' c, b c g c f, c' c'' c,, diff --git a/input/test/font-body.ly b/input/test/font-body.ly index 1d7c1dbf88..dde06fd8e0 100644 --- a/input/test/font-body.ly +++ b/input/test/font-body.ly @@ -1,6 +1,6 @@ -\version "1.0.2"; +\version "1.0.3"; -FontBody= \melodic\transpose c''{ +FontBody= \notes\transpose c''{ \bar "|:"; \time 4/4; \type Staff < { \stemup e'\longa a\breve | } diff --git a/input/test/font.ly b/input/test/font.ly index 61f689b328..6bc11d45b9 100644 --- a/input/test/font.ly +++ b/input/test/font.ly @@ -7,7 +7,7 @@ description = "This file tests the Feta music font"; % "(Feta definitively is not an abbreviation of Font-En-TjA)"; } -\version "1.0.2"; +\version "1.0.3"; \include "font-body.ly" \score{ diff --git a/input/test/font16.ly b/input/test/font16.ly index d0b6efe5bd..c8ddcec331 100644 --- a/input/test/font16.ly +++ b/input/test/font16.ly @@ -7,7 +7,7 @@ description = "This file tests the Feta music font"; % "(Feta definitively is not an abbreviation of Font-En-TjA)"; } -\version "1.0.2"; +\version "1.0.3"; \include "font-body.ly" \score{ diff --git a/input/test/gourlay.ly b/input/test/gourlay.ly index a1c477eb01..144656f5e4 100644 --- a/input/test/gourlay.ly +++ b/input/test/gourlay.ly @@ -4,7 +4,7 @@ copyright = "PD"; TestedFeatures = "This file tests some nasty Gourlay spacings"; } -\version "1.0.2"; +\version "1.0.3"; %{ @@ -13,7 +13,7 @@ This is taken from [Gourlay]'s paper on breaking lines %} \score{ - \melodic \type Staff \transpose c''< + \notes \type Staff \transpose c''< { \stemup; d2 d | d d | d4 d2. | \break; c1 } \transpose c, { \stemdown; g4 g g g | \[2/3 g2 g2 g2 \] | g4. g8 g2 | c1 } > diff --git a/input/test/grace.ly b/input/test/grace.ly index deec5f44f3..8424587c52 100644 --- a/input/test/grace.ly +++ b/input/test/grace.ly @@ -1,18 +1,20 @@ +\version "1.0.3"; + \include "table13.ly"; \include "table16.ly"; \score{ < - \type Staff = a \melodic\relative c < + \type Staff = a \notes\relative c < % {\grace b''8 \graceat a4 \ecarg g fis2 | a2 a } {\tiny b''8*1/16 \normalsize a4*31/32 g fis2 | a2 a } > - \type Staff = b \melodic\relative c < + \type Staff = b \notes\relative c < % {\grace g''16 b16 \graceat a4 \ecarg g fis2 | } {\tiny g''16*1/16 b16*1/16 \normalsize a4*31/32 g fis2 | a1 } > - \type Staff = c \melodic\relative c < + \type Staff = c \notes\relative c < % {\grace [2/48 g''16 b g]/1 \graceat a4 \ecarg g fis2 | a1 } {\tiny [2/48 g''16 b g]/1 \normalsize a4*31/32 g fis2 | a1 } > diff --git a/input/test/hara-kiri.ly b/input/test/hara-kiri.ly index 7913177956..573aea14ba 100644 --- a/input/test/hara-kiri.ly +++ b/input/test/hara-kiri.ly @@ -1,5 +1,6 @@ +\version "1.0.3"; -toeter_i = \melodic\relative c { +toeter_i = \notes\relative c { \property Staff.instrument = "Toeters" \property Staff.instr = "Ttr." c'''4 c c c \break @@ -12,7 +13,7 @@ toeter_i = \melodic\relative c { g g g g } -toeter_ii = \melodic \relative c { +toeter_ii = \notes \relative c { c''4 c c c \break d d d d \break R1 \break @@ -30,7 +31,7 @@ toeters = \type StaffGroup = xtoeters < > > -zager = \type Staff = zager \melodic \relative c { +zager = \type Staff = zager \notes \relative c { \clef bass; \property Staff.instrument = "Zager" \property Staff.instr = "Zag." @@ -46,7 +47,7 @@ zager = \type Staff = zager \melodic \relative c { f e d c } -zoger = \type Staff = zoger \melodic \relative c { +zoger = \type Staff = zoger \notes \relative c { \clef bass; \property Staff.instrument = "Zoger" \property Staff.instr = "Zog." diff --git a/input/test/keys.ly b/input/test/keys.ly index 9c5bd3623b..f1cab0f0d6 100644 --- a/input/test/keys.ly +++ b/input/test/keys.ly @@ -1,8 +1,10 @@ +\version "1.0.3"; + %{ test key itemv breaking %} \score { - \melodic + \notes { \key bes; c1 \key c; c1 \break diff --git a/input/test/knee.ly b/input/test/knee.ly index 2a6edb5386..dec8562e64 100644 --- a/input/test/knee.ly +++ b/input/test/knee.ly @@ -1,6 +1,6 @@ -\version "1.0.2"; +\version "1.0.3"; \score{ - \melodic\relative c'{ + \notes\relative c'{ [c16 \stemdown c'' \stemboth c,, d] \stemdown [d'' a \stemboth c,, g,] \stemup [g c' \stemboth a'' d'] diff --git a/input/test/mark.ly b/input/test/mark.ly index 29fdba15fa..e694fe6c3c 100644 --- a/input/test/mark.ly +++ b/input/test/mark.ly @@ -1,15 +1,17 @@ -global = \melodic { +\version "1.0.3"; + +global = \notes { s1 | \mark "A"; s1*2 | \mark "'12"; } -one = \melodic\relative c{ +one = \notes\relative c{ c'' c c c c c c c c c c c } -two = \melodic\relative c{ +two = \notes\relative c{ b' b b b b b b b b b b b diff --git a/input/test/multi-rest.ly b/input/test/multi-rest.ly index aa41f4496c..6a801c03a3 100644 --- a/input/test/multi-rest.ly +++ b/input/test/multi-rest.ly @@ -1,4 +1,6 @@ -voice_one = \melodic\transpose c' { \stemup +\version "1.0.3"; + +voice_one = \notes\transpose c' { \stemup R1 * 2 | f'4-. r r2 | R1 * 3 | f'4-. r r2 | R1 * 3 | es'4-. r r2 | r1 | @@ -8,7 +10,7 @@ voice_one = \melodic\transpose c' { \stemup r2 r4 g4-. | } -voice_two = \melodic +voice_two = \notes { \transpose c, { \stemdown R1 * 2 | f'4-. r r2 | R1 * 3 | f'4-. r r2 | R1 * 3 | @@ -20,7 +22,7 @@ voice_two = \melodic }} -\score { \melodic +\score { \notes \type Staff < \$voice_two \$voice_one diff --git a/input/test/ossia.ly b/input/test/ossia.ly index 62cb305290..9aa99298e2 100644 --- a/input/test/ossia.ly +++ b/input/test/ossia.ly @@ -1,3 +1,6 @@ +\version "1.0.3"; + \score { -\melodic { c1 c1 < {\clef "treble"; c1 c1 } \type Staff=stb{ c1 c1}>} + +\notes { c1 c1 < {\clef "treble"; c1 c1 } \type Staff=stb{ c1 c1}>} } diff --git a/input/test/score-bar-scripts.ly b/input/test/score-bar-scripts.ly index a27deda9f8..5d72b15d06 100644 --- a/input/test/score-bar-scripts.ly +++ b/input/test/score-bar-scripts.ly @@ -1,11 +1,13 @@ -onestaff = \type Staff = foo\melodic { +\version "1.0.3"; + +onestaff = \type Staff = foo\notes { \property Staff.instr = instr \property Staff.instrument = instrument \mark "B"; c1 \mark "A"; \break c2 c2 \break } -grstaff = \melodic \type GrandStaff < +grstaff = \notes \type GrandStaff < \type Staff = bar { \property Staff.instr = instr diff --git a/input/test/sleur.ly b/input/test/sleur.ly index 6ddcf2a130..28ce6fc9ce 100644 --- a/input/test/sleur.ly +++ b/input/test/sleur.ly @@ -5,9 +5,9 @@ TestedFeatures = "This file tests Feta embedded slurs" "(Feta definitively is not an abbreviation of Font-En-TjA)"; } -\version "1.0.2"; +\version "1.0.3"; -shortlong = \melodic{ +shortlong = \notes{ c4()c( c c | c c c c | c c c c | @@ -15,19 +15,19 @@ shortlong = \melodic{ c c c )c | } -dirs = \melodic\transpose c' { +dirs = \notes\transpose c' { c'1() g' () c () g () c | } -complex = \melodic{ +complex = \notes{ \transpose c'{ c,16( e,( g,( b,( d( f( a( c'())))))))c4 c4 |} \transpose c'''{ c,16( a( f( d( b,( g,( e,( c,())))))))c4 c4 |} } -over = \melodic\transpose c'{ +over = \notes\transpose c'{ e( g' g' )e @@ -51,7 +51,7 @@ over = \melodic\transpose c'{ e( c'' f )e } -under = \melodic\transpose c'{ +under = \notes\transpose c'{ \stemdown f'( \stemboth d d \stemdown )f' @@ -76,7 +76,7 @@ under = \melodic\transpose c'{ f'( e, f )f' } -eccentric = \melodic\transpose c'{ +eccentric = \notes\transpose c'{ \stemup \[4/7 f( a' f f f f )f \] | @@ -86,7 +86,7 @@ eccentric = \melodic\transpose c'{ \[4/7 e'( e' e' e' e' c )e' \] | } -tiltup = \melodic\transpose c'{ +tiltup = \notes\transpose c'{ e( c'' c'' )e' \stemup e( c'' c'' )e' @@ -100,7 +100,7 @@ tiltup = \melodic\transpose c'{ f'( a, a, )f'' } -tiltdown = \melodic\transpose c'{ +tiltdown = \notes\transpose c'{ e'( c'' c'' )e \stemup e'( c'' c'' )e @@ -114,7 +114,7 @@ tiltdown = \melodic\transpose c'{ f''( a, a, )f' } -broken = \melodic\transpose c''{ +broken = \notes\transpose c''{ c c c c() c c c c( c )c c c( @@ -127,7 +127,7 @@ broken = \melodic\transpose c''{ f,( c c )f, } -blend = \melodic\transpose c'{ +blend = \notes\transpose c'{ e( c'' c'' )e \stemup f'( c'' c'' )f' @@ -148,7 +148,7 @@ blend = \melodic\transpose c'{ } -bug = \melodic\transpose c'{ +bug = \notes\transpose c'{ a()g( f )e b'()a'( g' )f' @@ -157,7 +157,7 @@ bug = \melodic\transpose c'{ c' () b () c' c' } -clipping = \melodic\transpose c'{ +clipping = \notes\transpose c'{ \stemboth c( c''' c''')c c( c''' c )c'' @@ -169,7 +169,7 @@ clipping = \melodic\transpose c'{ } \score{ - \melodic{ + \notes{ % use blend for fast check \blend % { diff --git a/input/test/slur-bug.ly b/input/test/slur-bug.ly index 583415ceef..ba60200dc5 100644 --- a/input/test/slur-bug.ly +++ b/input/test/slur-bug.ly @@ -1,7 +1,9 @@ +\version "1.0.3"; + % bug % excentric slur can't handle this ... \score{ - \melodic{ + \notes{ \stemdown \[4/5c8( c f,, c c\]1/1 c c c )c | } diff --git a/input/test/slur-damping.ly b/input/test/slur-damping.ly index 5b8f29263e..32eb795327 100644 --- a/input/test/slur-damping.ly +++ b/input/test/slur-damping.ly @@ -1,8 +1,8 @@ % test damping -\version "1.0.2"; +\version "1.0.3"; \score{ - \melodic\relative c'{ + \notes\relative c'{ c'()b' ~ b, c c c c c diff --git a/input/test/slur-swap.ly b/input/test/slur-swap.ly index 6c09f424d3..782e9b9c13 100644 --- a/input/test/slur-swap.ly +++ b/input/test/slur-swap.ly @@ -1,6 +1,8 @@ +\version "1.0.3"; + % urg, the direction of the slur gets swapped! \score{ - \melodic\relative c{ + \notes\relative c{ \slurup \stemup [e'8( c' a b] diff --git a/input/test/slurs.ly b/input/test/slurs.ly index ffb11d6995..78407e6cb1 100644 --- a/input/test/slurs.ly +++ b/input/test/slurs.ly @@ -1,8 +1,8 @@ -\version "1.0.2"; +\version "1.0.3"; \score{ - \melodic\transpose c'{ + \notes\transpose c'{ c,4 ~ c, c'' ~ c'' ~ g ~ c ~ d ~ e ~ f ~ g ~ diff --git a/input/test/spacing.ly b/input/test/spacing.ly index db64053342..908476bc94 100644 --- a/input/test/spacing.ly +++ b/input/test/spacing.ly @@ -6,9 +6,9 @@ copyright = "public domain"; TestedFeatures = "This file tests various spacings"; } -\version "1.0.2"; +\version "1.0.3"; -multipart = \melodic{ +multipart = \notes{ \type StaffGroup < { c4 @@ -48,7 +48,7 @@ multipart = \melodic{ > } -singlepart = \melodic{ +singlepart = \notes{ c4 d e f c4 d e [f8 f] c4 d e f8 [f16 f] @@ -59,7 +59,7 @@ singlepart = \melodic{ } \score{ - \melodic { + \notes { % \singlepart \multipart } diff --git a/input/test/stem.ly b/input/test/stem.ly index cf4f28d3c1..1db1f9d49f 100644 --- a/input/test/stem.ly +++ b/input/test/stem.ly @@ -8,9 +8,9 @@ of beams"; } -\version "1.0.2"; +\version "1.0.3"; -beamintervals = \melodic{ +beamintervals = \notes{ \time 7/4; \stemup \transpose c'{ @@ -27,7 +27,7 @@ beamintervals = \melodic{ }} \score{ - \melodic\transpose c'{ + \notes\transpose c'{ \stemup \time 17/4; g,4 a, b, c d e f g a b c' d' e' f' g' a' b' | diff --git a/input/test/test-lyrics.ly b/input/test/test-lyrics.ly index bc65c2442e..529dbf581b 100644 --- a/input/test/test-lyrics.ly +++ b/input/test/test-lyrics.ly @@ -1,3 +1,5 @@ +\version "1.0.3"; + $somewhat_long = \lyric{ \textstyle "roman" ; AaaaaaA2 @@ -40,7 +42,7 @@ $quite_long_lyrics_staff = \type Lyrics = quite < \$quite_long > -melody = \melodic +melody = \notes \transpose c'{ c4 e4 g4 e4 c4 e4 g4 e4 c4 e4 g4 e4 c4 e4 g4 e4 c4 e4 g4 e4 c4 e4 g4 e4 c4 e4 g4 e4 c4 e4 g4 e4 diff --git a/input/test/tie-bug.ly b/input/test/tie-bug.ly index 0cdf237204..0e9d54e8b1 100644 --- a/input/test/tie-bug.ly +++ b/input/test/tie-bug.ly @@ -1,7 +1,9 @@ +\version "1.0.3"; + % middle tie is wrong \score{ - \melodic\relative c'{ + \notes\relative c'{ { } }} diff --git a/input/test/tie.ly b/input/test/tie.ly index 4a708b9eb9..042721976f 100644 --- a/input/test/tie.ly +++ b/input/test/tie.ly @@ -1,4 +1,6 @@ -tie = \melodic\transpose c''{ +\version "1.0.3"; + +tie = \notes\transpose c''{ e4 ~ e e e ~ | e ~ a a a ~ | diff --git a/input/test/title.ly b/input/test/title.ly index 318a68efa4..601c81a24f 100644 --- a/input/test/title.ly +++ b/input/test/title.ly @@ -10,10 +10,10 @@ source = "urtext"; instrument= "Instrument"; } -\version "1.0.2"; +\version "1.0.3"; \score{ - \melodic + \notes \relative c'{ c' d e f f e d c \break c d e f f e d c @@ -27,7 +27,7 @@ instrument= "Instrument"; \score{ - \melodic + \notes \relative c' { f' e d c c d e f \break f e d c c d e f diff --git a/input/test/transposition.ly b/input/test/transposition.ly index f5e258305c..21e9b35e2f 100644 --- a/input/test/transposition.ly +++ b/input/test/transposition.ly @@ -22,9 +22,9 @@ copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -vOne = \melodic \relative c''{ +vOne = \notes \relative c''{ \clef"violin"; \key d; \time 2/4 ; @@ -35,9 +35,9 @@ vOne = \melodic \relative c''{ c4 c | } -vTwo = \melodic \relative c''\transpose d' { \vOne } +vTwo = \notes \relative c''\transpose d' { \vOne } -vThree = \melodic \relative c''{ +vThree = \notes \relative c''{ \clef"violin"; \keysignature fis cis; \time 2/4 ; @@ -48,7 +48,7 @@ vThree = \melodic \relative c''{ cis4 ais4 | } -vFour = \melodic \relative c''\transpose d' \vThree +vFour = \notes \relative c''\transpose d' \vThree \score { \type StaffGroup < diff --git a/input/test/vertical-align.ly b/input/test/vertical-align.ly index bb479e3cc0..6831dda8f7 100644 --- a/input/test/vertical-align.ly +++ b/input/test/vertical-align.ly @@ -1,6 +1,8 @@ +\version "1.0.3"; + \score { -\melodic < +\notes < \type GrandStaff < { \property GrandStaff . maxVerticalAlign = "60." \property GrandStaff . minVerticalAlign = "35." diff --git a/input/tril.ly b/input/tril.ly index 64b2a357a1..26e1dc5b39 100644 --- a/input/tril.ly +++ b/input/tril.ly @@ -5,10 +5,10 @@ TestedFeatures = "This file tests trills" "(Feta definitively is not an abbreviation of Font-En-TjA)"; } -\version "1.0.2"; +\version "1.0.3"; \score{ - \melodic{ + \notes{ c-\prall c-\mordent c-\prallprall c-\prallmordent c-\upprall c-\downprall } diff --git a/input/twinkle-pop.ly b/input/twinkle-pop.ly index de7b6036ab..153d3d65ae 100644 --- a/input/twinkle-pop.ly +++ b/input/twinkle-pop.ly @@ -12,9 +12,9 @@ copyright = "public domain"; Tested Features lyrics and chords %} -\version "1.0.2"; +\version "1.0.3"; -melodie = \melodic\relative c { +melodie = \notes\relative c { \clef"violin"; \time 2/4 ; @@ -39,7 +39,7 @@ text = \lyric{ } \score { - < \melodic \type Staff \melodie + < \notes \type Staff \melodie \lyric \type Lyrics \text > \paper { } diff --git a/input/twinkle.ly b/input/twinkle.ly index 5be1280c2a..70e18c964a 100644 --- a/input/twinkle.ly +++ b/input/twinkle.ly @@ -20,9 +20,9 @@ traditional song in various languages. Tested Features: lyrics, interleaving lyrics and staffs %} -\version "1.0.2"; +\version "1.0.3"; -melody = \melodic \relative c'' { +melody = \notes \relative c'' { \clef violin; \property Staff.instrument = "alto sax" @@ -36,7 +36,7 @@ melody = \melodic \relative c'' { f f | e e | d d8.( e16 | )c2 | } -accompany = \melodic \relative c { +accompany = \notes \relative c { \clef "bass"; c4 c' | e c | f c | e c | d b | c a | f g | c,2 | @@ -48,7 +48,7 @@ accompany = \melodic \relative c { d b | c a | f g | c,2 } -global = \melodic { +global = \notes { \time 2/4; \skip 2*24; \bar ":|"; diff --git a/lily/VERSION b/lily/VERSION index e11ea79acb..de6ca504c0 100644 --- a/lily/VERSION +++ b/lily/VERSION @@ -1,8 +1,8 @@ PACKAGE_NAME=LilyPond MAJOR_VERSION=1 MINOR_VERSION=0 -PATCH_LEVEL=8 -MY_PATCH_LEVEL=jcn3 +PATCH_LEVEL=9 +MY_PATCH_LEVEL= # use the above to send patches: MY_PATCH_LEVEL is always empty for a # released version. diff --git a/lily/include/score-element.hh b/lily/include/score-element.hh index bc4b64fe75..e9ea8aff99 100644 --- a/lily/include/score-element.hh +++ b/lily/include/score-element.hh @@ -72,7 +72,7 @@ public: int size_i_; // ugh: no protection. Denk na, Vrij Veilig - void calcalute_dependencies (int final, int busy, Score_element_method_pointer funcptr); + void calculate_dependencies (int final, int busy, Score_element_method_pointer funcptr); protected: /** diff --git a/lily/music-list.cc b/lily/music-list.cc index 47c95dd8f6..b9b72ded25 100644 --- a/lily/music-list.cc +++ b/lily/music-list.cc @@ -102,7 +102,7 @@ Music_list::do_relative_octave (Musical_pitch last, bool ret_first) Music_list::Music_list (Music_list const &s) - : Pointer_list (s) + : Pointer_list () { for (PCursor i(s.top()); i.ok (); i++) add_music (i->clone()); diff --git a/lily/my-lily-lexer.cc b/lily/my-lily-lexer.cc index 869d5527bd..01b33c406e 100644 --- a/lily/my-lily-lexer.cc +++ b/lily/my-lily-lexer.cc @@ -35,19 +35,18 @@ static Keyword_ent the_key_tab[]={ {"duration", DURATION}, {"font", FONT}, {"grouping", GROUPING}, + {"header", HEADER}, {"in", IN_T}, {"lyric", LYRIC}, {"key", KEY}, {"keysignature", KEYSIGNATURE}, {"mark", MARK}, - {"melodic" , MELODIC}, {"musicalpitch", MUSICAL_PITCH}, {"time", TIME_T}, {"midi", MIDI}, {"mm", MM_T}, - {"multi", MULTI}, - {"header", HEADER}, {"notenames", NOTENAMES}, + {"notes" , NOTES}, {"octave", OCTAVE}, {"output", OUTPUT}, {"partial", PARTIAL}, @@ -60,7 +59,6 @@ static Keyword_ent the_key_tab[]={ {"script", SCRIPT}, {"shape", SHAPE}, {"skip", SKIP}, - {"staff", STAFF}, {"table", TABLE}, {"spandynamic", SPANDYNAMIC}, {"symboltables", SYMBOLTABLES}, diff --git a/lily/parser.yy b/lily/parser.yy index ca673730c7..f9a3094e02 100644 --- a/lily/parser.yy +++ b/lily/parser.yy @@ -44,8 +44,8 @@ // mmm -Mudela_version oldest_version ("1.0.1"); -Mudela_version version ("1.0.2"); +Mudela_version oldest_version ("1.0.3"); +Mudela_version version ("1.0.3"); // needed for bison.simple's malloc() and free() @@ -74,6 +74,8 @@ Paper_def* current_paper = 0; #define THIS ((My_lily_parser *) my_lily_parser_l) #define yyerror THIS->parser_error +#define ARRAY_SIZE(a,s) if (a.size () != s) THIS->parser_error (_f("expecting %d arguments", s)) + %} @@ -163,11 +165,11 @@ yylex (YYSTYPE *s, void * v_l) %token MARK %token MUSIC %token MUSICAL_PITCH -%token MELODIC +%token NOTES %token MIDI %token TIME_T %token MM_T -%token MULTI + %token NOTENAMES %token OCTAVE %token OUTPUT @@ -181,7 +183,7 @@ yylex (YYSTYPE *s, void * v_l) %token SHAPE %token SKIP %token SPANDYNAMIC -%token STAFF + %token START_T %token SYMBOLTABLES %token TABLE @@ -236,7 +238,7 @@ yylex (YYSTYPE *s, void * v_l) %type steno_duration notemode_duration %type entered_notemode_duration explicit_duration %type dinterval -%type intastint_list +%type intastint_list int_list %type symtables symtables_body %type explicit_musical_pitch steno_musical_pitch musical_pitch absolute_musical_pitch @@ -614,6 +616,9 @@ midi_block: midi_body: /* empty */ { $$ = THIS->default_midi_p (); } + | MIDI_IDENTIFIER { + $$ = $1-> access_Midi_def (); + } | midi_body STRING '=' translator_spec { $$-> assign_translator (*$2, $4); delete $2; @@ -678,7 +683,7 @@ Music: | Sequential_music { $$ = $1; } | transposed_music { $$ = $1; } | MUSIC_IDENTIFIER { $$ = $1->access_Music (); } - | MELODIC + | NOTES { THIS->lexer_p_->push_note_state (); } Music { $$ = $3; @@ -917,13 +922,17 @@ steno_musical_pitch: ; explicit_musical_pitch: - MUSICAL_PITCH '{' int int int '}' {/* ugh */ + MUSICAL_PITCH '{' int_list '}' {/* ugh */ + Array &a = *$3; + ARRAY_SIZE(a,3); $$ = new Musical_pitch; - $$->octave_i_ = $3; - $$->notename_i_ = $4; - $$->accidental_i_ = $5; + $$->octave_i_ = a[0]; + $$->notename_i_ = a[1]; + $$->accidental_i_ = a[2]; + delete &a; } ; + musical_pitch: steno_musical_pitch | explicit_musical_pitch @@ -943,10 +952,15 @@ steno_notepitch: explicit_duration: - DURATION '{' int unsigned '}' { + DURATION '{' int_list '}' { $$ = new Duration; - $$-> durlog_i_ = $3; - $$-> dots_i_ = $4; + Array &a = *$3; + ARRAY_SIZE(a,2); + + $$-> durlog_i_ = a[0]; + $$-> dots_i_ = a[1]; + + delete &a; } ; @@ -1278,6 +1292,16 @@ pitch_list: { } ; + +int_list: + /**/ { + $$ = new Array + } + | int_list int { + $$->push ($2); + } + ; + unsigned: UNSIGNED { $$ = $1; diff --git a/lily/score-element.cc b/lily/score-element.cc index 5eaff4dad8..64b0a422da 100644 --- a/lily/score-element.cc +++ b/lily/score-element.cc @@ -150,7 +150,7 @@ Score_element::add_processing() void -Score_element::calcalute_dependencies (int final, int busy, +Score_element::calculate_dependencies (int final, int busy, Score_element_method_pointer funcptr) { if (status_i_ >= final) @@ -160,11 +160,11 @@ Score_element::calcalute_dependencies (int final, int busy, status_i_= busy; for (int i=0; i < dependency_size(); i++) - dependency (i)->calcalute_dependencies (final, busy, funcptr); + dependency (i)->calculate_dependencies (final, busy, funcptr); Link_array extra (get_extra_dependencies()); for (int i=0; i < extra.size(); i++) - extra[i]->calcalute_dependencies (final, busy, funcptr); + extra[i]->calculate_dependencies (final, busy, funcptr); invalidate_cache (X_AXIS); invalidate_cache (Y_AXIS); diff --git a/lily/super-element.cc b/lily/super-element.cc index e3b3ffbfc1..419618ed4c 100644 --- a/lily/super-element.cc +++ b/lily/super-element.cc @@ -43,13 +43,13 @@ enum Score_element_status { void Super_element::pre_processing () { - calcalute_dependencies (PRECALCING, PRECALCED, &Score_element::do_pre_processing); + calculate_dependencies (PRECALCING, PRECALCED, &Score_element::do_pre_processing); } void Super_element::space_processing () { - calcalute_dependencies (SPACING, SPACED, &Score_element::do_space_processing); + calculate_dependencies (SPACING, SPACED, &Score_element::do_space_processing); } /* for break processing, use only one status, because copies have to @@ -59,25 +59,25 @@ Super_element::space_processing () void Super_element::breakable_col_processing () { - calcalute_dependencies (PREBROKEN, PREBROKEN, &Score_element::do_breakable_col_processing); + calculate_dependencies (PREBROKEN, PREBROKEN, &Score_element::do_breakable_col_processing); } void Super_element::break_processing () { - calcalute_dependencies (BROKEN, BROKEN, &Score_element::do_break_processing); + calculate_dependencies (BROKEN, BROKEN, &Score_element::do_break_processing); } void Super_element::post_processing () { - calcalute_dependencies (POSTCALCING, POSTCALCED, &Score_element::do_post_processing); + calculate_dependencies (POSTCALCING, POSTCALCED, &Score_element::do_post_processing); } void Super_element::output_all () { pscore_l_->outputter_l_->start_line (); - calcalute_dependencies (BREWING, BREWED, &Score_element::do_brew_molecule); + calculate_dependencies (BREWING, BREWED, &Score_element::do_brew_molecule); pscore_l_->outputter_l_->stop_line (); } @@ -86,6 +86,6 @@ Super_element::output_all () void Super_element::unlink_all () { - calcalute_dependencies (UNLINKING, UNLINKED, &Score_element::junk_links); + calculate_dependencies (UNLINKING, UNLINKED, &Score_element::junk_links); } diff --git a/make/STATE-VECTOR b/make/STATE-VECTOR index fa757cbc1e..b96a511924 100644 --- a/make/STATE-VECTOR +++ b/make/STATE-VECTOR @@ -78,5 +78,5 @@ 1.0.8.uu1 1.0.8 1.0.8.jcn1 -1.0.8.jcn2 -1.0.8.jcn3 +1.0.8.uu1 +1.0.9 diff --git a/make/lilypond-vars.make b/make/lilypond-vars.make index eb26aaaa23..f912908583 100644 --- a/make/lilypond-vars.make +++ b/make/lilypond-vars.make @@ -1,5 +1,6 @@ + export PATH:=$(topdir)/lily/out:$(topdir)/buildscripts/out:$(PATH) export MFINPUTS:=$(topdir)/mf/$(PATHSEP)$(MFINPUTS)$(PATHSEP)$(PATHSEP) export TEXINPUTS:=$(topdir)/tex/$(PATHSEP)$(TEXINPUTS)$(PATHSEP)$(PATHSEP) -export LILYINCLUDE=$(topdir)/init$(PATHSEP)$(topdir)/mf/out +export LILYINCLUDE:=$(topdir)/init$(PATHSEP)$(topdir)/mf/out$(PATHSEP)$(LILYINCLUDE) diff --git a/make/out/lelievijver.lsm b/make/out/lelievijver.lsm index 2494e4bcea..3679f2f0c1 100644 --- a/make/out/lelievijver.lsm +++ b/make/out/lelievijver.lsm @@ -1,15 +1,15 @@ Begin3 Titel: LilyPond -Versie: 1.0.8 -Inschrijf datum: 14SEP98 +Versie: 1.0.9 +Inschrijf datum: 17SEP98 Beschrijving: @FLAPTEKST@ Trefwoorden: muziek typezetten midi notatie Auteur: hanwen@stack.nl (Han-Wen Nienhuys) janneke@gnu.org (Jan Nieuwenhuizen) Onderhouden door: hanwen@cs.ruu.nl (Han-Wen Nienhuys) Voornaamste plek: sunsite.unc.edu /pub/Linux/apps - 770k lilypond-1.0.8.tar.gz + 770k lilypond-1.0.9.tar.gz Oorspronkelijke plek: ftp.cs.uu.nl /pub/GNU/LilyPond/development/ - 770k lilypond-1.0.8.tar.gz + 770k lilypond-1.0.9.tar.gz Copi-eer voorwaarden: GPL End diff --git a/make/out/lilypond.lsm b/make/out/lilypond.lsm index 0bc692d8fe..9fb364eb77 100644 --- a/make/out/lilypond.lsm +++ b/make/out/lilypond.lsm @@ -1,7 +1,7 @@ Begin3 Title: LilyPond -Version: 1.0.8 -Entered-date: 14SEP98 +Version: 1.0.9 +Entered-date: 17SEP98 Description: LilyPond is the GNU Project music typesetter. This program can print beautiful sheet music from a music definition file. It can also play @@ -14,8 +14,8 @@ Author: hanwen@cs.ruu.nl (Han-Wen Nienhuys) janneke@gnu.org (Jan Nieuwenhuizen) Maintained-by: hanwen@stack.nl (Han-Wen Nienhuys) Primary-site: sunsite.unc.edu /pub/Linux/apps/sound/convert - 770k lilypond-1.0.8.tar.gz + 770k lilypond-1.0.9.tar.gz Original-site: ftp.cs.uu.nl /pub/GNU/LilyPond/development/ - 770k lilypond-1.0.8.tar.gz + 770k lilypond-1.0.9.tar.gz Copying-policy: GPL End diff --git a/make/out/lilypond.spec b/make/out/lilypond.spec index 946cac7b9d..0f0869fbaa 100644 --- a/make/out/lilypond.spec +++ b/make/out/lilypond.spec @@ -1,9 +1,9 @@ Name: lilypond -Version: 1.0.8 +Version: 1.0.9 Release: 1 Copyright: GPL Group: Applications/Publishing -Source0: ftp.cs.uu.nl:/pub/GNU/LilyPond/development/lilypond-1.0.8.tar.gz +Source0: ftp.cs.uu.nl:/pub/GNU/LilyPond/development/lilypond-1.0.9.tar.gz Summary: A program for printing sheet music. URL: http://www.cs.uu.nl/~hanwen/lilypond Packager: Han-Wen Nienhuys @@ -25,7 +25,7 @@ a nice font of musical symbols. %build ./configure --disable-checking --disable-debugging --enable-printing --prefix=/usr --enable-optimise --enable-shared --enable-tex-dir='${prefix}/lib/texmf/texmf/tex/generic' --enable-mf-dir='${prefix}/lib/texmf/texmf/fonts/source/' make all -make -C Documentation texinfo || true +make -C Documentation info || true make htmldoc %install diff --git a/mutopia/Coriolan/bassi-part.ly b/mutopia/Coriolan/bassi-part.ly index f8c6a0dc44..a5dc6dd7dc 100644 --- a/mutopia/Coriolan/bassi-part.ly +++ b/mutopia/Coriolan/bassi-part.ly @@ -7,7 +7,7 @@ enteredby = "JCN"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; \include "global.ly" \include "violoncello.ly" diff --git a/mutopia/Coriolan/clarinetti-part.ly b/mutopia/Coriolan/clarinetti-part.ly index 2698afa816..352c0031d4 100644 --- a/mutopia/Coriolan/clarinetti-part.ly +++ b/mutopia/Coriolan/clarinetti-part.ly @@ -7,7 +7,7 @@ enteredby = "JCN"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; \include "global.ly" \include "clarinetti.ly" diff --git a/mutopia/Coriolan/clarinetti.ly b/mutopia/Coriolan/clarinetti.ly index be6fc080a9..5456ca9573 100644 --- a/mutopia/Coriolan/clarinetti.ly +++ b/mutopia/Coriolan/clarinetti.ly @@ -9,7 +9,7 @@ copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; \include "clarinetto-1.ly" \include "clarinetto-2.ly" @@ -21,7 +21,7 @@ $clarinetti_staff = \type Staff = clarinetti < % urg: can't; only My_midi_lexer: () parses pitch? %\property Staff.transposing = "bes" \property Staff.transposing = -3 - \melodic \type Voice=one < + \notes \type Voice=one < \time 4/4; \key F; \$clarinetto1 diff --git a/mutopia/Coriolan/clarinetto-1.ly b/mutopia/Coriolan/clarinetto-1.ly index ef713c0441..7c18d193f9 100644 --- a/mutopia/Coriolan/clarinetto-1.ly +++ b/mutopia/Coriolan/clarinetto-1.ly @@ -9,9 +9,9 @@ copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -clarinetto1 = \melodic \relative c { +clarinetto1 = \notes \relative c { R1 *2 | d''4-.\ff r r2 | R1 *3 | e4-. r r2 | R1 *3 | f4-. r r2 | r1 | f4-. r r2 | e4-. r r2 | R1 *4 | bes'2\p_"\ \ \ cresc." ( a | diff --git a/mutopia/Coriolan/clarinetto-2.ly b/mutopia/Coriolan/clarinetto-2.ly index be27d99bb9..d87a791b58 100644 --- a/mutopia/Coriolan/clarinetto-2.ly +++ b/mutopia/Coriolan/clarinetto-2.ly @@ -9,9 +9,9 @@ copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -clarinetto2 = \melodic \relative c { +clarinetto2 = \notes \relative c { R1*2 bes''4-.\ff r r2 | R1*3 | cis4-. r r2 | R1 *3 | d4-. r r2 | r1 | d4-. r r2 | cis4-. r r2 | R1 *5 | %20 diff --git a/mutopia/Coriolan/contrabasso-part.ly b/mutopia/Coriolan/contrabasso-part.ly index 420d022a91..72b14e59c6 100644 --- a/mutopia/Coriolan/contrabasso-part.ly +++ b/mutopia/Coriolan/contrabasso-part.ly @@ -7,7 +7,7 @@ enteredby = "JCN"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; \include "global.ly" \include "contrabasso.ly" diff --git a/mutopia/Coriolan/contrabasso.ly b/mutopia/Coriolan/contrabasso.ly index b0a5617c71..0a272c9e33 100644 --- a/mutopia/Coriolan/contrabasso.ly +++ b/mutopia/Coriolan/contrabasso.ly @@ -7,9 +7,9 @@ enteredby = "JCN"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -contrabasso = \melodic \relative c { +contrabasso = \notes \relative c { % \translator Staff=violoncello \skip 1*21; % \translator Staff=contrabasso @@ -144,7 +144,7 @@ $contrabasso_staff = \type Staff = contrabasso < \property Staff.instrument = "Contrabasso" \property Staff.instr = "Cb." \clef "bass"; - \melodic \type Voice=one< + \notes \type Voice=one< \global \$contrabasso > diff --git a/mutopia/Coriolan/coriolan.ly b/mutopia/Coriolan/coriolan.ly index c044c050fa..baed0a99b0 100644 --- a/mutopia/Coriolan/coriolan.ly +++ b/mutopia/Coriolan/coriolan.ly @@ -7,7 +7,7 @@ enteredby = "JCN"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; \include "global.ly" @@ -39,7 +39,7 @@ koper = \type StaffGroup = koper_group < $timpani_g = \type StaffGroup = timpani_group < \$timpani_staff - \type Staff = urgtimpany \melodic{ \skip 1*34; } + \type Staff = urgtimpany \notes{ \skip 1*34; } > $violini = \type GrandStaff = violini_group < diff --git a/mutopia/Coriolan/corni-part.ly b/mutopia/Coriolan/corni-part.ly index 2c7009e73b..77231a6566 100644 --- a/mutopia/Coriolan/corni-part.ly +++ b/mutopia/Coriolan/corni-part.ly @@ -7,7 +7,7 @@ enteredby = "JCN"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; \include "global.ly" \include "corni.ly" diff --git a/mutopia/Coriolan/corni.ly b/mutopia/Coriolan/corni.ly index 966b68376c..2d85377244 100644 --- a/mutopia/Coriolan/corni.ly +++ b/mutopia/Coriolan/corni.ly @@ -9,7 +9,7 @@ copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; \include "corno-1.ly" \include "corno-2.ly" @@ -21,7 +21,7 @@ $corni_staff = \type Staff = corni < % urg: can't; only My_midi_lexer: () parses pitch? %\property Staff.transposing = "es" \property Staff.transposing = 3 - \melodic \type Voice=corni < + \notes \type Voice=corni < \time 4/4; \$corno1 \$corno2 diff --git a/mutopia/Coriolan/corno-1.ly b/mutopia/Coriolan/corno-1.ly index c2af389e41..52f04de55a 100644 --- a/mutopia/Coriolan/corno-1.ly +++ b/mutopia/Coriolan/corno-1.ly @@ -7,9 +7,9 @@ enteredby = "JCN"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -corno1 = \melodic \relative c { +corno1 = \notes \relative c { R1 *2 | f''4-.\ff r r2 | R1 *3 | f4-. r r2 | R1 *3 | c4-. r r2 | r1 | e4-. r r2 | e4-. r r2 | R1 *5 | %20 diff --git a/mutopia/Coriolan/corno-2.ly b/mutopia/Coriolan/corno-2.ly index b203ddaa6b..17d91e4c23 100644 --- a/mutopia/Coriolan/corno-2.ly +++ b/mutopia/Coriolan/corno-2.ly @@ -7,9 +7,9 @@ enteredby = "JCN"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -corno2 = \melodic \relative c { +corno2 = \notes \relative c { R1 *2 | d''4-.\ff r r2 | R1 *3 | d4-. r r2 | R1 *3 | c4-. r r2 | r1 | e,4-. r r2 | e4-. r r2 | R1 *5 | %20 diff --git a/mutopia/Coriolan/fagotti-part.ly b/mutopia/Coriolan/fagotti-part.ly index bb255eb527..12acc984da 100644 --- a/mutopia/Coriolan/fagotti-part.ly +++ b/mutopia/Coriolan/fagotti-part.ly @@ -9,7 +9,7 @@ copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; \include "global.ly" \include "fagotti.ly" diff --git a/mutopia/Coriolan/fagotti.ly b/mutopia/Coriolan/fagotti.ly index f98dbd3cc4..88120d81b0 100644 --- a/mutopia/Coriolan/fagotti.ly +++ b/mutopia/Coriolan/fagotti.ly @@ -9,7 +9,7 @@ copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; \include "fagotto-1.ly" \include "fagotto-2.ly" @@ -19,7 +19,7 @@ $fagotti_staff = \type Staff = fagotti < \property Staff.instrument = "2 Fagotti" \property Staff.instr = "Fg." \clef "bass"; - \melodic \type Voice=fagotti < + \notes \type Voice=fagotti < \global \$fagotto1 \$fagotto2 diff --git a/mutopia/Coriolan/fagotto-1.ly b/mutopia/Coriolan/fagotto-1.ly index 34447df55f..8674d66d75 100644 --- a/mutopia/Coriolan/fagotto-1.ly +++ b/mutopia/Coriolan/fagotto-1.ly @@ -9,9 +9,9 @@ copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -fagotto1 = \melodic \relative c { +fagotto1 = \notes \relative c { R1 *2 | as'4-.\ff r r2 | R1 *3 | as4-. r r2 | R1 *3 | a4-. r r2 | r1 | c4-. r r2 | b4-. r r2 | R1 *5 | %20 diff --git a/mutopia/Coriolan/fagotto-2.ly b/mutopia/Coriolan/fagotto-2.ly index ab55c98ce1..2b4c5d59ac 100644 --- a/mutopia/Coriolan/fagotto-2.ly +++ b/mutopia/Coriolan/fagotto-2.ly @@ -7,9 +7,9 @@ enteredby = "JCN"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -fagotto2 = \melodic \relative c { +fagotto2 = \notes \relative c { R1 *2 | f4-.\ff r r2 | R1 *3 | f4-. r r2 | R1 *3 | fis4-. r r2 | r1 | g4-. r r2 | g4-. r r2 | R1 *5 | %20 diff --git a/mutopia/Coriolan/flauti-part.ly b/mutopia/Coriolan/flauti-part.ly index 9c45290df2..92e2575a71 100644 --- a/mutopia/Coriolan/flauti-part.ly +++ b/mutopia/Coriolan/flauti-part.ly @@ -9,7 +9,7 @@ copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; \include "global.ly" \include "flauti.ly" diff --git a/mutopia/Coriolan/flauti.ly b/mutopia/Coriolan/flauti.ly index ea4f964420..861a962152 100644 --- a/mutopia/Coriolan/flauti.ly +++ b/mutopia/Coriolan/flauti.ly @@ -9,7 +9,7 @@ copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; \include "flauto-1.ly" \include "flauto-2.ly" @@ -18,7 +18,7 @@ $flauti_staff = \type Staff = flauti < \property Staff.midi_instrument = "flute" \property Staff.instrument = "2 Flauti" \property Staff.instr = "Fl." - \melodic \type Voice=flauti < + \notes \type Voice=flauti < \global \$flauto1 \$flauto2 diff --git a/mutopia/Coriolan/flauto-1.ly b/mutopia/Coriolan/flauto-1.ly index 51fcf1f1d1..84ca0c5e9d 100644 --- a/mutopia/Coriolan/flauto-1.ly +++ b/mutopia/Coriolan/flauto-1.ly @@ -7,9 +7,9 @@ enteredby = "JCN"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -flauto1 = \melodic \relative c { +flauto1 = \notes \relative c { R1 *2 | c'''4-.\ff r r2 | R1 *3 | d4-. r r2 | R1 *3 | es4-. r r2 | r1 | g4-. r r2 | b,4-. r r2 | R1 *4 | r2 es\p_"\ \ \ cresc." ( | diff --git a/mutopia/Coriolan/flauto-2.ly b/mutopia/Coriolan/flauto-2.ly index 56a4f4c718..1efc09e28f 100644 --- a/mutopia/Coriolan/flauto-2.ly +++ b/mutopia/Coriolan/flauto-2.ly @@ -7,9 +7,9 @@ enteredby = "JCN"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -flauto2 = \melodic \relative c { +flauto2 = \notes \relative c { R1 *2 | as'''4-.\ff r r2 | R1 *3 | b4-. r r2 | R1 *3 | c4-. r r2 | r1 | es4-. r r2 | d,4-. r r2 | R1 *4 | r2 r2 | diff --git a/mutopia/Coriolan/global.ly b/mutopia/Coriolan/global.ly index 1849424a1a..7e51a44d45 100644 --- a/mutopia/Coriolan/global.ly +++ b/mutopia/Coriolan/global.ly @@ -9,9 +9,9 @@ copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -global = \melodic { +global = \notes { \time 4/4; \key es; \skip 1*314; diff --git a/mutopia/Coriolan/oboe-1.ly b/mutopia/Coriolan/oboe-1.ly index d35301bc65..2bc57696a8 100644 --- a/mutopia/Coriolan/oboe-1.ly +++ b/mutopia/Coriolan/oboe-1.ly @@ -7,9 +7,9 @@ enteredby = "JCN"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -oboe1 = \melodic \relative c'' { +oboe1 = \notes \relative c'' { R1 *2 | as'4-.\ff r r2 | R1 *3 | as4-. r r2 | R1 *3 | a4-. r r2 | r1 | g4-. r r2 | g4-. r r2 | R1 *4 | as2\p_"\ \ \ cresc." ( g | diff --git a/mutopia/Coriolan/oboe-2.ly b/mutopia/Coriolan/oboe-2.ly index c5506b5d80..2e66374c27 100644 --- a/mutopia/Coriolan/oboe-2.ly +++ b/mutopia/Coriolan/oboe-2.ly @@ -9,9 +9,9 @@ copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -oboe2 = \melodic \relative c{ +oboe2 = \notes \relative c{ R1 *2| f''4-.\ff r r2 | R1 *3 | f4-. r r2 | R1 *3 | es4-. r r2 | r1 | es4-. r r2 | b4-. r r2 | R1 *5 | %20 diff --git a/mutopia/Coriolan/oboi-part.ly b/mutopia/Coriolan/oboi-part.ly index b389779b57..f2153e900f 100644 --- a/mutopia/Coriolan/oboi-part.ly +++ b/mutopia/Coriolan/oboi-part.ly @@ -9,7 +9,7 @@ copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; \include "global.ly" \include "oboi.ly" diff --git a/mutopia/Coriolan/oboi.ly b/mutopia/Coriolan/oboi.ly index 1c90c9e922..4df66776c7 100644 --- a/mutopia/Coriolan/oboi.ly +++ b/mutopia/Coriolan/oboi.ly @@ -9,7 +9,7 @@ copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; \include "oboe-1.ly" \include "oboe-2.ly" @@ -18,7 +18,7 @@ $oboi_staff = \type Staff = oboi < \property Staff.midi_instrument = "oboe" \property Staff.instrument = "2 Oboi" \property Staff.instr = "Ob." - \melodic \type Voice=oboi < + \notes \type Voice=oboi < \global \$oboe1 \$oboe2 diff --git a/mutopia/Coriolan/timpani.ly b/mutopia/Coriolan/timpani.ly index 1c7f7642cf..9eab499572 100644 --- a/mutopia/Coriolan/timpani.ly +++ b/mutopia/Coriolan/timpani.ly @@ -9,9 +9,9 @@ copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -timpani = \melodic \relative c { +timpani = \notes \relative c { R1 *2 | c4-.\ff r r2 | R1 *3 | c4-. r r2 | R1 *3 | c4-. r r2 | r1 | g4-. r r2 | g4-. r r2 | R1 *5 | %20 @@ -25,7 +25,7 @@ $timpani_staff = \type Staff = timpani < \property Staff.instrument = "2 Timpani (C-G)" \property Staff.instr = "Timp." \clef "bass"; - \melodic< + \notes< % \global \time 4/4; \$timpani diff --git a/mutopia/Coriolan/trombe-part.ly b/mutopia/Coriolan/trombe-part.ly index 5ee208541b..75e41015dd 100644 --- a/mutopia/Coriolan/trombe-part.ly +++ b/mutopia/Coriolan/trombe-part.ly @@ -9,7 +9,7 @@ copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; \include "global.ly" \include "trombe.ly" diff --git a/mutopia/Coriolan/trombe.ly b/mutopia/Coriolan/trombe.ly index 50489f6d5c..6955a46757 100644 --- a/mutopia/Coriolan/trombe.ly +++ b/mutopia/Coriolan/trombe.ly @@ -9,7 +9,7 @@ copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; \include "trombo-1.ly" \include "trombo-2.ly" @@ -18,7 +18,7 @@ $trombe_staff = \type Staff = trombe < \property Staff.midi_instrument = "trumpet" \property Staff.instrument = "2 Trombe (C)" \property Staff.instr = "Tbe." - \melodic \type Voice=trombe < + \notes \type Voice=trombe < % \global \time 4/4; \$trombo1 diff --git a/mutopia/Coriolan/trombo-1.ly b/mutopia/Coriolan/trombo-1.ly index 92d5257048..7b98c1f2c9 100644 --- a/mutopia/Coriolan/trombo-1.ly +++ b/mutopia/Coriolan/trombo-1.ly @@ -7,9 +7,9 @@ enteredby = "JCN"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -trombo1 = \melodic \relative c { +trombo1 = \notes \relative c { R1 *2 | c''4-.\ff r r2 | R1 *3 | c4-. r r2 | R1 *3 | c4-. r r2 | r1 | g4-. r r2 | g4-. r r2 | R1 *5 | %20 diff --git a/mutopia/Coriolan/trombo-2.ly b/mutopia/Coriolan/trombo-2.ly index afdf2fd34f..d51c389d17 100644 --- a/mutopia/Coriolan/trombo-2.ly +++ b/mutopia/Coriolan/trombo-2.ly @@ -7,9 +7,9 @@ enteredby = "JCN"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -trombo2 = \melodic \relative c { +trombo2 = \notes \relative c { R1 *2 | c'4-.\ff r r2 | R1 *3 | c4-. r r2 | R1 *3 | c4-. r r2 | r1 | g4-. r r2 | g4-. r r2 | R1 *5 | %20 diff --git a/mutopia/Coriolan/viola-1.ly b/mutopia/Coriolan/viola-1.ly index 4ea6f86b9c..29d873adf5 100644 --- a/mutopia/Coriolan/viola-1.ly +++ b/mutopia/Coriolan/viola-1.ly @@ -7,9 +7,9 @@ enteredby = "JCN"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -viola1 = \melodic \relative c { +viola1 = \notes \relative c { \type Voice=one c'1\ff ~ | c | f,4-. r r2 | r1 | % copied 3 bars from three back... @@ -296,7 +296,7 @@ $viola1_staff = \type Staff = violai < \property Staff.instrument = "Viola" \property Staff.instr = "Vla." \clef "alto"; - \melodic \type Voice=one < + \notes \type Voice=one < \global \$viola1 > diff --git a/mutopia/Coriolan/viola-2.ly b/mutopia/Coriolan/viola-2.ly index d1b7a2074f..f45118959e 100644 --- a/mutopia/Coriolan/viola-2.ly +++ b/mutopia/Coriolan/viola-2.ly @@ -7,9 +7,9 @@ enteredby = "JCN"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -viola2 = \melodic \relative c { +viola2 = \notes \relative c { % starts on (actualy, most part is on) same staff as viola1 %urg, parse error %urg \translator Staff=viola1 @@ -36,7 +36,7 @@ $viola2_staff = \type Staff = violaii < \property Staff.instrument = "Viola II" \property Staff.instr = "Vla. II" \clef "alto"; - \melodic \type Voice=one< + \notes \type Voice=one< \global \$viola2 > diff --git a/mutopia/Coriolan/viola-part.ly b/mutopia/Coriolan/viola-part.ly index cd17993ab9..072df6244a 100644 --- a/mutopia/Coriolan/viola-part.ly +++ b/mutopia/Coriolan/viola-part.ly @@ -7,7 +7,7 @@ enteredby = "JCN"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; \include "global.ly" \include "viola-1.ly" @@ -18,7 +18,7 @@ $viola_staff = \type Staff = violai < \property Staff.instrument = "Viola" \property Staff.instr = "Vla." \clef "alto"; - \melodic \type Voice=one < + \notes \type Voice=one < \global \$viola1 \$viola2 diff --git a/mutopia/Coriolan/violino-1-part.ly b/mutopia/Coriolan/violino-1-part.ly index 23482fc138..3dd9bbc20c 100644 --- a/mutopia/Coriolan/violino-1-part.ly +++ b/mutopia/Coriolan/violino-1-part.ly @@ -7,7 +7,7 @@ enteredby = "JCN"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; \include "global.ly" \include "violino-1.ly" diff --git a/mutopia/Coriolan/violino-1.ly b/mutopia/Coriolan/violino-1.ly index 355ff61d77..6e71c6f065 100644 --- a/mutopia/Coriolan/violino-1.ly +++ b/mutopia/Coriolan/violino-1.ly @@ -7,9 +7,9 @@ enteredby = "JCN"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -violino1 = \melodic \relative c { +violino1 = \notes \relative c { c'1\ff ~ | c | r r2 | R1 | c1 ~ | c | r r2 | R1 | c1 ~ | c | r r2 | R1 | @@ -276,7 +276,7 @@ $violino1_staff = \type Staff = violino1 < \property Staff.midi_instrument = "violin" \property Staff.instrument = "Violino I" \property Staff.instr = "Vl. I" - \melodic< + \notes< \global \$violino1 > diff --git a/mutopia/Coriolan/violino-2-part.ly b/mutopia/Coriolan/violino-2-part.ly index e31f101382..0179102b87 100644 --- a/mutopia/Coriolan/violino-2-part.ly +++ b/mutopia/Coriolan/violino-2-part.ly @@ -7,7 +7,7 @@ enteredby = "JCN"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; \include "global.ly" \include "violino-2.ly" diff --git a/mutopia/Coriolan/violino-2.ly b/mutopia/Coriolan/violino-2.ly index 8c59934845..b4a6d19ef5 100644 --- a/mutopia/Coriolan/violino-2.ly +++ b/mutopia/Coriolan/violino-2.ly @@ -7,9 +7,9 @@ enteredby = "JCN"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -violino2 = \melodic \relative c { +violino2 = \notes \relative c { c'1\ff ~ | c | r r2 | R1 | c1 ~ | c | r r2 | R1 | c1 ~ | c | r r2 | R1 | @@ -296,7 +296,7 @@ $violino2_staff = \type Staff = violino2 < \property Staff.midi_instrument = "violin" \property Staff.instrument = "Violino II" \property Staff.instr = "Vl. II" - \melodic< + \notes< \global \$violino2 > diff --git a/mutopia/Coriolan/violoncello-part.ly b/mutopia/Coriolan/violoncello-part.ly index 78bd4822ed..677223d111 100644 --- a/mutopia/Coriolan/violoncello-part.ly +++ b/mutopia/Coriolan/violoncello-part.ly @@ -7,7 +7,7 @@ enteredby = "JCN"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; \include "global.ly" \include "violoncello.ly" diff --git a/mutopia/Coriolan/violoncello.ly b/mutopia/Coriolan/violoncello.ly index 3b86a7306c..0f5941ca9b 100644 --- a/mutopia/Coriolan/violoncello.ly +++ b/mutopia/Coriolan/violoncello.ly @@ -9,9 +9,9 @@ copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -violoncello = \melodic \relative c { +violoncello = \notes \relative c { c1\ff ~ | c | f,4-. r r2 | r1 | c'1\ff ~ | c | f,4-. r r2 | \property Staff.instr = "Vc. \& Cb." r1 | @@ -304,7 +304,7 @@ $violoncello_staff = \type Staff = violoncello < \property Staff.instrument = "Violoncello" \property Staff.instr = "Vc." \clef "bass"; - \melodic \type Voice=one< + \notes \type Voice=one< \global \$violoncello > diff --git a/mutopia/J.S.Bach/Cembalo-Partitas/Partita_II_Allemande.ly b/mutopia/J.S.Bach/Cembalo-Partitas/Partita_II_Allemande.ly index d8a9a7cfab..5d6789756a 100644 --- a/mutopia/J.S.Bach/Cembalo-Partitas/Partita_II_Allemande.ly +++ b/mutopia/J.S.Bach/Cembalo-Partitas/Partita_II_Allemande.ly @@ -4,9 +4,9 @@ piece = "Allemande"; } -\version "1.0.2"; +\version "1.0.3"; -global = \melodic{ +global = \notes{ \time 4/4; \partial 8*3; \key es; @@ -19,7 +19,7 @@ global = \melodic{ \bar ":|"; } -hoyreEn = \melodic\relative c'''{ +hoyreEn = \notes\relative c'''{ % \partial 4.; [as16 g f] | [g16 d es b][c f es d][es b c g][as d c b] | @@ -79,7 +79,7 @@ hoyreEn = \melodic\relative c'''{ > s8 } -venstreEn = \melodic\relative c{ +venstreEn = \notes\relative c{ \clef bass; % \partial 4.; r16 r8 | diff --git a/mutopia/J.S.Bach/Cembalo-Partitas/Partita_II_Sinfonia.ly b/mutopia/J.S.Bach/Cembalo-Partitas/Partita_II_Sinfonia.ly index ce919822dc..98aa397f91 100644 --- a/mutopia/J.S.Bach/Cembalo-Partitas/Partita_II_Sinfonia.ly +++ b/mutopia/J.S.Bach/Cembalo-Partitas/Partita_II_Sinfonia.ly @@ -10,9 +10,9 @@ copyright = "Public Domain"; } -\version "1.0.2"; +\version "1.0.3"; -global = \melodic { +global = \notes { \time 4/4; \key es; \skip 1*7; @@ -23,7 +23,7 @@ global = \melodic { \bar "|."; } -hoyreOpp = \melodic\relative c'' { +hoyreOpp = \notes\relative c'' { \stemup es4^"Grave adagio" r16 [es d. es32] f4 r16 [f16 f. g32] | [as8. as16] [as16 g32 f g16. d32] es4 r16 [g g. as32] | @@ -44,7 +44,7 @@ hoyreOpp = \melodic\relative c'' { > g2 } -hoyreNed = \melodic\relative c'' { +hoyreNed = \notes\relative c'' { \clef violin; \stemdown r16 [c b. c32] d4 r16 [d d. es32] | @@ -57,7 +57,7 @@ hoyreNed = \melodic\relative c'' { g4 r } -venstreOpp = \melodic\relative c' { +venstreOpp = \notes\relative c' { \clef bass; \stemup r r | @@ -75,7 +75,7 @@ venstreOpp = \melodic\relative c' { r } -venstreNed = \melodic\relative c{ +venstreNed = \notes\relative c{ \stemdown c4 r c r | r c c r | c r r c | c r r16 [c c. bes32] bes4 | r16 [bes bes. as32] as4_"tr" g r16 [d' d. es32] | @@ -86,7 +86,7 @@ venstreNed = \melodic\relative c{ r g g2 } -andanteEn = \melodic\relative c''{ +andanteEn = \notes\relative c''{ [g16^"andante" c32 d es8~] [es16 d32 c es d c b] [c16 g as f] [g c g f] | [es16 c'32 d es d c16] [g' c, as' c,] [b c d b] g16 r16 r8 | %10 @@ -141,7 +141,7 @@ andanteEn = \melodic\relative c''{ > } -andanteTo = \melodic\relative c{ +andanteTo = \notes\relative c{ %8 [c8 c'] [f, g] [es c] [es g] | [c as] [es f] [g g,] @@ -179,7 +179,7 @@ andanteTo = \melodic\relative c{ > } -allegroEn = \melodic\relative c''{ +allegroEn = \notes\relative c''{ %30 [g8^"allegro" g16 a] [b8 c d es] | [f16 es d es] [f8 g as d,] | @@ -253,7 +253,7 @@ allegroEn = \melodic\relative c''{ { \stemdown r8 r16 | } > } -allegroTo = \melodic\relative c'{ +allegroTo = \notes\relative c'{ \clef bass; %30 \type Staff < diff --git a/mutopia/J.S.Bach/Petites-Preludes/preludes-1.ly b/mutopia/J.S.Bach/Petites-Preludes/preludes-1.ly index cdfbc5c30e..18084f2ccf 100644 --- a/mutopia/J.S.Bach/Petites-Preludes/preludes-1.ly +++ b/mutopia/J.S.Bach/Petites-Preludes/preludes-1.ly @@ -14,9 +14,9 @@ enteredby = "jcn"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -one = \melodic\relative c { +one = \notes\relative c { \property Voice . textstyle = "italic" r16\p_"legato"\< [g''-1( c-3 )e-5] r [g,-1( c )e] r [g,( c )d] r [b-1( d-2 \!)g-5] | @@ -68,7 +68,7 @@ one = \melodic\relative c { \bar "|."; } -two = \melodic\relative c{ +two = \notes\relative c{ \property Voice . textstyle = "roman" c4-5 e-3 g-\mordent^"(\\textsharp)" g,4 | d'-\mordent-5 f-3 a-\mordent^"(\\textsharp)" a,4 | @@ -90,7 +90,7 @@ two = \melodic\relative c{ \bar "|."; } -global = \melodic{ +global = \notes{ \time 4/4; } diff --git a/mutopia/J.S.Bach/Petites-Preludes/preludes-2.ly b/mutopia/J.S.Bach/Petites-Preludes/preludes-2.ly index f2b5e97956..5b3e102358 100644 --- a/mutopia/J.S.Bach/Petites-Preludes/preludes-2.ly +++ b/mutopia/J.S.Bach/Petites-Preludes/preludes-2.ly @@ -14,8 +14,8 @@ enteredby = "jcn"; copyright = "public domain"; } -\version "1.0.2"; -one = \melodic\relative c{ +\version "1.0.3"; +one = \notes\relative c{ \property Voice . textstyle = "italic" r8\mf [c'-1( e-2 g-4] [e-2 c-1 bes'-5 g-3] | [)a-4\< c,-1( f-2 a-4] [f c c'-5 a-3] | @@ -73,7 +73,7 @@ one = \melodic\relative c{ \bar "|."; } -two = \melodic\relative c{ +two = \notes\relative c{ \type Staff < { \voiceone c1 ~ | c ~ | c } { \voicetwo c,1 ~ | c ~ | c } @@ -97,7 +97,7 @@ two = \melodic\relative c{ \bar "|."; } -global = \melodic{ +global = \notes{ \time 4/4; } diff --git a/mutopia/J.S.Bach/Petites-Preludes/preludes-3.lym4 b/mutopia/J.S.Bach/Petites-Preludes/preludes-3.lym4 index 0b25e9f283..d2166be60b 100644 --- a/mutopia/J.S.Bach/Petites-Preludes/preludes-3.lym4 +++ b/mutopia/J.S.Bach/Petites-Preludes/preludes-3.lym4 @@ -21,10 +21,10 @@ enteredby = "jcn"; copyright = "public domain"; } -\version "1.0.0"; +\version "1.0.3"; -one = \melodic \transpose c`` { +one = \notes \transpose c`` { \textstyle "italic"; %# s(^c@ ^es@ ^g@ ^\p(\<@ ^\!@ ^)\!@ ^\>@) t(c,es,g,^\p(\<@,\!,^)\!@,\>) @@ -86,7 +86,7 @@ one = \melodic \transpose c`` { \bar "|."; } -two = \melodic{ +two = \notes{ \clef bass; % c4 r [g8-.(\ped )es-.\*] | c4 r [g8-.( )es-.] | @@ -148,7 +148,7 @@ two = \melodic{ \bar "|."; } -global = \melodic{ +global = \notes{ \meter 3/4; \key es; } diff --git a/mutopia/J.S.Bach/Petites-Preludes/preludes-4.ly b/mutopia/J.S.Bach/Petites-Preludes/preludes-4.ly index ac4eb265a6..19a5f1082d 100644 --- a/mutopia/J.S.Bach/Petites-Preludes/preludes-4.ly +++ b/mutopia/J.S.Bach/Petites-Preludes/preludes-4.ly @@ -12,9 +12,9 @@ composer = "Johann Sebastian Bach (1685-1750)"; enteredby = "jcn"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -one = \melodic\relative c{ +one = \notes\relative c{ \property Voice . textstyle = "italic" r16\p_"legato" \property Voice . textstyle = "finger" @@ -63,7 +63,7 @@ one = \melodic\relative c{ \bar "|."; } -two = \melodic\relative c{ +two = \notes\relative c{ \property Voice . textstyle = "finger" fis4-1( e8-2 a4 a4 gis8-2 | ) a8 @@ -118,7 +118,7 @@ two = \melodic\relative c{ \bar "|."; } -three = \melodic\relative c{ +three = \notes\relative c{ % \stemdown d4-3 c-4 b e-3 | a16 [a,-5\mf( cis-3 a-5] [d-2 e-1 fis-2 d-4] @@ -154,7 +154,7 @@ three = \melodic\relative c{ [d a-2~] [a16 a-2 b cis-2] d2 | } -four = \melodic\relative c{ +four = \notes\relative c{ \skip 1*9; % \stemup % \property Voice.hshift = 1 @@ -174,7 +174,7 @@ four = \melodic\relative c{ d2 d2 } -global = \melodic{ +global = \notes{ \time 4/4; \key D; } diff --git a/mutopia/J.S.Bach/Petites-Preludes/preludes-5.ly b/mutopia/J.S.Bach/Petites-Preludes/preludes-5.ly index a259ee6f19..3d4d462d25 100644 --- a/mutopia/J.S.Bach/Petites-Preludes/preludes-5.ly +++ b/mutopia/J.S.Bach/Petites-Preludes/preludes-5.ly @@ -12,10 +12,10 @@ composer = "Johann Sebastian Bach (1685-1750)"; enteredby = "jcn"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -one = \melodic\relative c{ +one = \notes\relative c{ \property Voice . textstyle = "italic" [d'8-1\p a'-5-"legato" f-3 d-1 a'-5 f-3] | [d-1 a'-5 f-3 d-1 a'-5 f-3] | @@ -108,7 +108,7 @@ one = \melodic\relative c{ } -two = \melodic\relative c{ +two = \notes\relative c{ \clef "bass"; % [d32( cis )d8.] r4 r | d4-\mordent r r | @@ -185,7 +185,7 @@ Aborted (core dumped) \bar "|."; } -global = \melodic{ +global = \notes{ \time 3/4; \key F; } diff --git a/mutopia/J.S.Bach/Petites-Preludes/preludes-6.ly b/mutopia/J.S.Bach/Petites-Preludes/preludes-6.ly index 708000efaf..db680f0af4 100644 --- a/mutopia/J.S.Bach/Petites-Preludes/preludes-6.ly +++ b/mutopia/J.S.Bach/Petites-Preludes/preludes-6.ly @@ -12,10 +12,10 @@ composer = "Johann Sebastian Bach (1685-1750)"; enteredby = "jcn"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; -one = \melodic\relative c{ +one = \notes\relative c{ \skip 1; | \stemup r4 d''2-5( cis4-4 | @@ -35,7 +35,7 @@ one = \melodic\relative c{ \bar "|."; } -two = \melodic\relative c{ +two = \notes\relative c{ r16\p [d''-5( c-4 bes-3] [a-2 bes-3 f-1 g-2] [a8.-\mordent bes16-1] [g8.-\prall f16-1] | \stemdown @@ -54,7 +54,7 @@ two = \melodic\relative c{ fis1-2 } -three = \melodic\relative c{ +three = \notes\relative c{ \stemup f2-1( e-2 | \stemboth @@ -76,7 +76,7 @@ three = \melodic\relative c{ \bar "|."; } -four = \melodic\relative c{ +four = \notes\relative c{ \stemdown d2-3 cis-4 | \skip 1*3; | @@ -95,7 +95,7 @@ four = \melodic\relative c{ d,1-5 } -global = \melodic{ +global = \notes{ \time 4/4; \key F; } diff --git a/mutopia/J.S.Bach/Solo-Cello-Suites/allemande-cello.ly b/mutopia/J.S.Bach/Solo-Cello-Suites/allemande-cello.ly index 5b3564a934..538ae83172 100644 --- a/mutopia/J.S.Bach/Solo-Cello-Suites/allemande-cello.ly +++ b/mutopia/J.S.Bach/Solo-Cello-Suites/allemande-cello.ly @@ -15,11 +15,11 @@ copyright = "public domain"; dotted slurs %} -\version "1.0.2"; +\version "1.0.3"; \include "allemande-urtext.ly"; -allemande_cello_global = \melodic{ +allemande_cello_global = \notes{ \time 4/4; \key f; \partial 16; @@ -32,7 +32,7 @@ allemande_cello_global = \melodic{ \bar ":|"; } -allemande_cello_scripts = \melodic{ +allemande_cello_scripts = \notes{ } allemande_cello_staff = \type Staff < diff --git a/mutopia/J.S.Bach/Solo-Cello-Suites/allemande-urtext.ly b/mutopia/J.S.Bach/Solo-Cello-Suites/allemande-urtext.ly index 5d80bab714..97dacd591d 100644 --- a/mutopia/J.S.Bach/Solo-Cello-Suites/allemande-urtext.ly +++ b/mutopia/J.S.Bach/Solo-Cello-Suites/allemande-urtext.ly @@ -11,7 +11,7 @@ n = { \slurnormal } d = { \slurdotted } comma = "\\sethuge\\ \\ ,"; -allemande_a = \melodic \relative c { +allemande_a = \notes \relative c { \voiceone a'16 | [a8 bes16()a] \onevoice [g()f e()d][d()cis d()e][a,8 \d bes16()g] | @@ -67,7 +67,7 @@ allemande_a = \melodic \relative c { \stemup [d,16 \stemboth d''(c!)a][bes!(g)e cis'][d a f d] d,8. } -allemande_b = \melodic \relative c { +allemande_b = \notes \relative c { \voicetwo s16 | % s8 s2. | @@ -93,7 +93,7 @@ allemande_b = \melodic \relative c { bes8. } -allemande = \type Staff \melodic< +allemande = \type Staff \notes< \$allemande_a \$allemande_b > diff --git a/mutopia/J.S.Bach/Solo-Cello-Suites/allemande-viola.ly b/mutopia/J.S.Bach/Solo-Cello-Suites/allemande-viola.ly index 3c072bb4b1..a523205ece 100644 --- a/mutopia/J.S.Bach/Solo-Cello-Suites/allemande-viola.ly +++ b/mutopia/J.S.Bach/Solo-Cello-Suites/allemande-viola.ly @@ -15,11 +15,11 @@ copyright = "public domain"; dotted slurs %} -\version "1.0.2"; +\version "1.0.3"; \include "allemande-urtext.ly"; -allemande_viola_global = \melodic{ +allemande_viola_global = \notes{ \time 4/4; \key f; \partial 16; @@ -32,11 +32,11 @@ allemande_viola_global = \melodic{ \bar ":|"; } -allemande_viola_scripts = \melodic{ +allemande_viola_scripts = \notes{ } allemande_viola_staff = \type Staff < - \melodic \transpose c'' \$allemande + \notes \transpose c'' \$allemande \$allemande_viola_global \$allemande_viola_scripts > diff --git a/mutopia/J.S.Bach/Solo-Cello-Suites/courante-cello.ly b/mutopia/J.S.Bach/Solo-Cello-Suites/courante-cello.ly index a5125efd67..5d79e6204b 100644 --- a/mutopia/J.S.Bach/Solo-Cello-Suites/courante-cello.ly +++ b/mutopia/J.S.Bach/Solo-Cello-Suites/courante-cello.ly @@ -15,11 +15,11 @@ copyright = "public domain"; dotted slurs %} -\version "1.0.2"; +\version "1.0.3"; \include "courante-urtext.ly"; -courante_cello_global = \melodic{ +courante_cello_global = \notes{ \time 3/4; \key f; \partial 16; @@ -32,7 +32,7 @@ courante_cello_global = \melodic{ \bar ":|"; } -courante_cello_scripts = \melodic{ +courante_cello_scripts = \notes{ } courante_cello_staff = \type Staff < diff --git a/mutopia/J.S.Bach/Solo-Cello-Suites/courante-urtext.ly b/mutopia/J.S.Bach/Solo-Cello-Suites/courante-urtext.ly index 3d540b4378..9a96b31235 100644 --- a/mutopia/J.S.Bach/Solo-Cello-Suites/courante-urtext.ly +++ b/mutopia/J.S.Bach/Solo-Cello-Suites/courante-urtext.ly @@ -10,7 +10,7 @@ But merging melodic and scripts doen't work too well yet (see viola_scripts). n = { \slurnormal } d = { \slurdotted } -courante_a = \melodic \relative c { +courante_a = \notes \relative c { d'16 | [d a f a] [d, f g a]\d[bes()a bes()g] | \voiceone s4 \onevoice \d[g16()f g()e] | @@ -59,7 +59,7 @@ courante_a = \melodic \relative c { d,8. } -courante_b = \melodic \relative c { +courante_b = \notes \relative c { \voicetwo \stemdown s16 | @@ -78,7 +78,7 @@ courante_b = \melodic \relative c { bes4 s s } -courante = \type Staff \melodic< +courante = \type Staff \notes< \$courante_a \$courante_b > diff --git a/mutopia/J.S.Bach/Solo-Cello-Suites/courante-viola.ly b/mutopia/J.S.Bach/Solo-Cello-Suites/courante-viola.ly index b0df15d92d..585b13464f 100644 --- a/mutopia/J.S.Bach/Solo-Cello-Suites/courante-viola.ly +++ b/mutopia/J.S.Bach/Solo-Cello-Suites/courante-viola.ly @@ -15,11 +15,11 @@ copyright = "public domain"; dotted slurs %} -\version "1.0.2"; +\version "1.0.3"; \include "courante-urtext.ly"; -courante_viola_global = \melodic{ +courante_viola_global = \notes{ \time 3/4; \key f; \partial 16; @@ -32,11 +32,11 @@ courante_viola_global = \melodic{ \bar ":|"; } -courante_viola_scripts = \melodic{ +courante_viola_scripts = \notes{ } courante_viola_staff = \type Staff < - \melodic \transpose c' \$courante + \notes \transpose c' \$courante \$courante_viola_global \$courante_viola_scripts > diff --git a/mutopia/J.S.Bach/Solo-Cello-Suites/gigue-cello.ly b/mutopia/J.S.Bach/Solo-Cello-Suites/gigue-cello.ly index 4e848b5551..a864e15460 100644 --- a/mutopia/J.S.Bach/Solo-Cello-Suites/gigue-cello.ly +++ b/mutopia/J.S.Bach/Solo-Cello-Suites/gigue-cello.ly @@ -15,11 +15,11 @@ copyright = "public domain"; dotted slurs %} -\version "1.0.2"; +\version "1.0.3"; \include "gigue-urtext.ly"; -gigue_cello_global = \melodic{ +gigue_cello_global = \notes{ \time 3/8; \key f; \clef bass; @@ -32,7 +32,7 @@ gigue_cello_global = \melodic{ \bar ":|"; } -gigue_cello_scripts = \melodic{ +gigue_cello_scripts = \notes{ } gigue_cello_staff = \type Staff < diff --git a/mutopia/J.S.Bach/Solo-Cello-Suites/gigue-urtext.ly b/mutopia/J.S.Bach/Solo-Cello-Suites/gigue-urtext.ly index 8f36fb38bd..d2beebc3d9 100644 --- a/mutopia/J.S.Bach/Solo-Cello-Suites/gigue-urtext.ly +++ b/mutopia/J.S.Bach/Solo-Cello-Suites/gigue-urtext.ly @@ -17,9 +17,9 @@ d = { \slurdotted } % % urg, Thread is gone, try Voice -% gigue_notes = \type Thread = gigue \melodic \relative c { +% gigue_notes = \type Thread = gigue \notes \relative c { -gigue_notes = \type Voice = gigue \melodic \relative c { +gigue_notes = \type Voice = gigue \notes \relative c { a'8 | d,4 bes'8 | cis,4 g'8 | f16 e f g a8 | d,4 d'8 | e,16(f)g8 bes | c,16(d)e8 c' | a16 g a bes c a | @@ -74,7 +74,7 @@ gigue_notes = \type Voice = gigue \melodic \relative c { d4 } -gigue_b = \melodic \relative c { +gigue_b = \notes \relative c { \voicetwo s8 s4.*14 @@ -98,11 +98,11 @@ gigue_b = \melodic \relative c { } -gb = \melodic { [s16 s s s s s] } +gb = \notes { [s16 s s s s s] } % urg, Thread is gone, try Voice -% gigue_beams = \type Thread = gigue \melodic{ -gigue_beams = \type Voice = gigue \melodic{ +% gigue_beams = \type Thread = gigue \notes{ +gigue_beams = \type Voice = gigue \notes{ s8 | s4. s4. \gb s4. \gb \gb \gb @@ -133,12 +133,12 @@ gigue_beams = \type Voice = gigue \melodic{ \gb \gb \gb } -gigue_a = \type Voice \melodic< +gigue_a = \type Voice \notes< \$gigue_notes \$gigue_beams > -gigue = \melodic< +gigue = \notes< \$gigue_a \$gigue_b > diff --git a/mutopia/J.S.Bach/Solo-Cello-Suites/gigue-viola.ly b/mutopia/J.S.Bach/Solo-Cello-Suites/gigue-viola.ly index 043b189000..9e3317146a 100644 --- a/mutopia/J.S.Bach/Solo-Cello-Suites/gigue-viola.ly +++ b/mutopia/J.S.Bach/Solo-Cello-Suites/gigue-viola.ly @@ -15,11 +15,11 @@ copyright = "public domain"; dotted slurs %} -\version "1.0.2"; +\version "1.0.3"; \include "gigue-urtext.ly"; -gigue_cello_global = \melodic{ +gigue_cello_global = \notes{ \time 3/8; \key f; \clef bass; @@ -32,11 +32,11 @@ gigue_cello_global = \melodic{ \bar ":|"; } -gigue_cello_scripts = \melodic{ +gigue_cello_scripts = \notes{ } gigue_cello_staff = \type Staff < - \melodic \transpose c' \$gigue + \notes \transpose c' \$gigue \$gigue_cello_global \$gigue_cello_scripts > diff --git a/mutopia/J.S.Bach/Solo-Cello-Suites/menuetto-cello.ly b/mutopia/J.S.Bach/Solo-Cello-Suites/menuetto-cello.ly index c3e8b8471d..7b9a4b75ee 100644 --- a/mutopia/J.S.Bach/Solo-Cello-Suites/menuetto-cello.ly +++ b/mutopia/J.S.Bach/Solo-Cello-Suites/menuetto-cello.ly @@ -16,11 +16,11 @@ copyright = "public domain"; dotted slurs %} -\version "1.0.2"; +\version "1.0.3"; \include "menuetto-urtext.ly"; -menuetto_i_cello_global = \melodic{ +menuetto_i_cello_global = \notes{ \time 3/4; \key f; \clef bass; @@ -33,7 +33,7 @@ menuetto_i_cello_global = \melodic{ \bar ":|"; } -menuetto_i_cello_scripts = \melodic{ +menuetto_i_cello_scripts = \notes{ s2. s8^"~"^1_2_4 s8 s4 s^4 s4^0_1 s_4 s @@ -66,7 +66,7 @@ menuetto_i_cello_staff = \type Staff < \header{ piece = "Menuetto I"; } } -menuetto_ii_cello_global = \melodic{ +menuetto_ii_cello_global = \notes{ \time 3/4; \key D; \clef bass; diff --git a/mutopia/J.S.Bach/Solo-Cello-Suites/menuetto-urtext.ly b/mutopia/J.S.Bach/Solo-Cello-Suites/menuetto-urtext.ly index 76c93f5fb7..aeff5f2fd2 100644 --- a/mutopia/J.S.Bach/Solo-Cello-Suites/menuetto-urtext.ly +++ b/mutopia/J.S.Bach/Solo-Cello-Suites/menuetto-urtext.ly @@ -7,7 +7,7 @@ Well, there are still some scripts in this "urtext". But merging melodic and scripts doen't work too well yet (see viola_scripts). %} -menuetto_i_a = \melodic \relative c { +menuetto_i_a = \notes \relative c { bes'4 | [bes8 a bes g] a4 | g [f8 e] | @@ -40,7 +40,7 @@ menuetto_i_a = \melodic \relative c { | } -menuetto_i_b = \melodic \relative c { +menuetto_i_b = \notes \relative c { \slurdotted \skip 2.*1; | \skip 8*5; | @@ -66,7 +66,7 @@ menuetto_i_b = \melodic \relative c { } % UGH, fix this like in sarabande -menuetto_i_a_voice_urg = \melodic{ +menuetto_i_a_voice_urg = \notes{ \skip 2.*1; \voiceone \skip 2.*1; \onevoice \skip 2.*1; \voiceone @@ -89,28 +89,28 @@ menuetto_i_a_voice_urg = \melodic{ % \bar "|."; } -menuetto_i_a_voice_urg_urg = \melodic< +menuetto_i_a_voice_urg_urg = \notes< \$menuetto_i_a_voice_urg \$menuetto_i_a > -menuetto_i_b_voice_urg = \melodic{ +menuetto_i_b_voice_urg = \notes{ \voicetwo % urg urg, huh? \skip 2.*8; \voicetwo } -menuetto_i_b_voice_urg_urg = \melodic< +menuetto_i_b_voice_urg_urg = \notes< \$menuetto_i_b_voice_urg \$menuetto_i_b > -menuetto_i = \type Staff \melodic< +menuetto_i = \type Staff \notes< { \$menuetto_i_a_voice_urg_urg } { \$menuetto_i_b_voice_urg_urg } > -menuetto_ii = \melodic \relative c { +menuetto_ii = \notes \relative c { \slurdotted fis4^\trill [d8( e fis )g] | a4 fis, a' | diff --git a/mutopia/J.S.Bach/Solo-Cello-Suites/menuetto-viola.ly b/mutopia/J.S.Bach/Solo-Cello-Suites/menuetto-viola.ly index 6250ba4690..5e55a3571a 100644 --- a/mutopia/J.S.Bach/Solo-Cello-Suites/menuetto-viola.ly +++ b/mutopia/J.S.Bach/Solo-Cello-Suites/menuetto-viola.ly @@ -17,11 +17,11 @@ copyright = "public domain"; dotted slurs %} -\version "1.0.2"; +\version "1.0.3"; \include "menuetto-urtext.ly"; -menuetto_i_viola_global = \melodic{ +menuetto_i_viola_global = \notes{ \time 3/4; \key f; \clef alto; @@ -37,7 +37,7 @@ menuetto_i_viola_global = \melodic{ \bar ":|"; } -menuetto_i_viola_scripts = \melodic{ +menuetto_i_viola_scripts = \notes{ s2. s8^"~"^1_2_4 s8*5 s2.*5 @@ -53,7 +53,7 @@ menuetto_i_viola_scripts = \melodic{ } menuetto_i_viola_staff = \type Staff < - \melodic \transpose c' \$menuetto_i + \notes \transpose c' \$menuetto_i \$menuetto_i_viola_global % \$menuetto_i_viola_scripts > @@ -65,7 +65,7 @@ menuetto_i_viola_staff = \type Staff < \header{ piece = "Menuetto I"; } } -menuetto_ii_viola_global = \melodic{ +menuetto_ii_viola_global = \notes{ \time 3/4; \key D; \clef alto; @@ -79,7 +79,7 @@ menuetto_ii_viola_global = \melodic{ } menuetto_ii_viola_staff = \type Staff < - \melodic \transpose c' \$menuetto_ii + \notes \transpose c' \$menuetto_ii \$menuetto_ii_viola_global % \$menuetto_ii_viola_scripts > diff --git a/mutopia/J.S.Bach/Solo-Cello-Suites/prelude-cello.ly b/mutopia/J.S.Bach/Solo-Cello-Suites/prelude-cello.ly index 47a7da3e52..6b0c12f743 100644 --- a/mutopia/J.S.Bach/Solo-Cello-Suites/prelude-cello.ly +++ b/mutopia/J.S.Bach/Solo-Cello-Suites/prelude-cello.ly @@ -15,11 +15,11 @@ copyright = "public domain"; dotted slurs %} -\version "1.0.2"; +\version "1.0.3"; \include "prelude-urtext.ly"; -prelude_cello_global = \melodic{ +prelude_cello_global = \notes{ \time 3/4; \key f; \clef bass; @@ -27,7 +27,7 @@ prelude_cello_global = \melodic{ \bar "|."; } -prelude_cello_scripts = \melodic{ +prelude_cello_scripts = \notes{ } prelude_cello_staff = \type Staff < diff --git a/mutopia/J.S.Bach/Solo-Cello-Suites/prelude-urtext.ly b/mutopia/J.S.Bach/Solo-Cello-Suites/prelude-urtext.ly index 2c31ae382d..005f22f01d 100644 --- a/mutopia/J.S.Bach/Solo-Cello-Suites/prelude-urtext.ly +++ b/mutopia/J.S.Bach/Solo-Cello-Suites/prelude-urtext.ly @@ -8,8 +8,8 @@ But merging melodic and scripts doen't work too well yet see viola_scripts . %} % urg, Thread is gone, try Voice -% prelude_notes = \type Thread = prelude \melodic \relative c { -prelude_notes = \type Voice = prelude \melodic \relative c { +% prelude_notes = \type Thread = prelude \notes \relative c { +prelude_notes = \type Voice = prelude \notes \relative c { d8 f a4 ~ a16 f e d | cis e g a bes4 ~ bes16 a g f | e g bes cis e8. bes16 a16 g f e | @@ -89,7 +89,7 @@ prelude_notes = \type Voice = prelude \melodic \relative c { \voiceone | | | | } -prelude_b = \melodic \relative c { +prelude_b = \notes \relative c { \voicetwo s2.*47 %48 @@ -101,15 +101,15 @@ prelude_b = \melodic \relative c { a'2. a a a } -% pat1 = \melodic { [s8 s]s4[s16 s s s] } -pat1 = \melodic { [s16 s s s]s4[s16 s s s] } -pat2 = \melodic { [s16 s s s][s8.s16][s s s s] } -pat3 = \melodic { [s16 s s s][s8 s s s] } +% pat1 = \notes { [s8 s]s4[s16 s s s] } +pat1 = \notes { [s16 s s s]s4[s16 s s s] } +pat2 = \notes { [s16 s s s][s8.s16][s s s s] } +pat3 = \notes { [s16 s s s][s8 s s s] } % of course, i just type pat1, and add the \ and the silly $ later % urg, Thread is gone, try Voice -% prelude_beams = \type Thread = prelude \melodic{ -prelude_beams = \type Voice = prelude \melodic{ +% prelude_beams = \type Thread = prelude \notes{ +prelude_beams = \type Voice = prelude \notes{ \$pat1 \$pat1 \$pat2 @@ -183,23 +183,23 @@ prelude_beams = \type Voice = prelude \melodic{ %{ properties, urg! -fig1 = \melodic{ s16( s s )s } -fig2 = \melodic{ s16( s ) s s } -fig3 = \melodic{ s16 s( s )s } -fig4 = \melodic{ s16( s s s s s s )s } -fig5 = \melodic{ s8.()s16 } +fig1 = \notes{ s16( s s )s } +fig2 = \notes{ s16( s ) s s } +fig3 = \notes{ s16 s( s )s } +fig4 = \notes{ s16( s s s s s s )s } +fig5 = \notes{ s8.()s16 } %} -fig1 = \melodic{ \slurnormal s16( s s )s } -fig2 = \melodic{ \slurnormal s16( s ) s s } -fig3 = \melodic{ s16 \slurnormal s( s )s } -fig4 = \melodic{ \slurnormal s16( s s s s s s )s } -fig5 = \melodic{ \slurnormal s8.()s16 } +fig1 = \notes{ \slurnormal s16( s s )s } +fig2 = \notes{ \slurnormal s16( s ) s s } +fig3 = \notes{ s16 \slurnormal s( s )s } +fig4 = \notes{ \slurnormal s16( s s s s s s )s } +fig5 = \notes{ \slurnormal s8.()s16 } % of course, i just type fig1, and add the \ and the silly $ later % urg, Thread is gone, try Voice -% prelude_slurs = \type Thread = prelude \melodic{ -prelude_slurs = \type Voice = prelude \melodic{ +% prelude_slurs = \type Thread = prelude \notes{ +prelude_slurs = \type Voice = prelude \notes{ s4 s4 \$fig3 | \$fig1 s4 \$fig3 | \$fig1 s4 \$fig3 | @@ -273,16 +273,16 @@ prelude_slurs = \type Voice = prelude \melodic{ s4 \$fig3 s4 | } -fig1 = \melodic{ \slurdotted s16( s s )s } -fig2 = \melodic{ \slurdotted s16( s ) s s } -fig3 = \melodic{ s16 \slurdotted s( s )s } -fig4 = \melodic{ \slurdotted s16( s s s s s s )s } -fig5 = \melodic{ \slurdotted s8.()s16 } -fig6 = \melodic{ \slurdotted s16()s \slurdotted s()s } +fig1 = \notes{ \slurdotted s16( s s )s } +fig2 = \notes{ \slurdotted s16( s ) s s } +fig3 = \notes{ s16 \slurdotted s( s )s } +fig4 = \notes{ \slurdotted s16( s s s s s s )s } +fig5 = \notes{ \slurdotted s8.()s16 } +fig6 = \notes{ \slurdotted s16()s \slurdotted s()s } % urg, Thread is gone, try Voice -% prelude_suggested_slurs = \type Thread = prelude \melodic{ -prelude_suggested_slurs = \type Voice = prelude \melodic{ +% prelude_suggested_slurs = \type Thread = prelude \notes{ +prelude_suggested_slurs = \type Voice = prelude \notes{ \slurdotted s2. | s2. | @@ -351,14 +351,14 @@ prelude_suggested_slurs = \type Voice = prelude \melodic{ \$fig3 s2 | } -prelude_a = \type Voice \melodic< +prelude_a = \type Voice \notes< \$prelude_notes \$prelude_beams \$prelude_slurs \$prelude_suggested_slurs > -prelude = \melodic< +prelude = \notes< \$prelude_a \$prelude_b > diff --git a/mutopia/J.S.Bach/Solo-Cello-Suites/prelude-viola.ly b/mutopia/J.S.Bach/Solo-Cello-Suites/prelude-viola.ly index 67e342d027..99b826deaf 100644 --- a/mutopia/J.S.Bach/Solo-Cello-Suites/prelude-viola.ly +++ b/mutopia/J.S.Bach/Solo-Cello-Suites/prelude-viola.ly @@ -15,11 +15,11 @@ copyright = "public domain"; dotted slurs %} -\version "1.0.2"; +\version "1.0.3"; \include "prelude-urtext.ly"; -prelude_viola_global = \melodic{ +prelude_viola_global = \notes{ \time 3/4; \key f; \clef alto; @@ -27,11 +27,11 @@ prelude_viola_global = \melodic{ \bar "|."; } -prelude_viola_scripts = \melodic{ +prelude_viola_scripts = \notes{ } prelude_viola_staff = \type Staff < - \melodic \transpose c' \$prelude + \notes \transpose c' \$prelude \$prelude_viola_global \$prelude_viola_scripts > diff --git a/mutopia/J.S.Bach/Solo-Cello-Suites/sarabande-cello.ly b/mutopia/J.S.Bach/Solo-Cello-Suites/sarabande-cello.ly index f4ba6eaa5f..e3dbc0f649 100644 --- a/mutopia/J.S.Bach/Solo-Cello-Suites/sarabande-cello.ly +++ b/mutopia/J.S.Bach/Solo-Cello-Suites/sarabande-cello.ly @@ -15,11 +15,11 @@ copyright = "public domain"; dotted slurs %} -\version "1.0.2"; +\version "1.0.3"; \include "sarabande-urtext.ly"; -sarabande_cello_global = \melodic{ +sarabande_cello_global = \notes{ \time 3/4; \key f; \clef bass; @@ -29,7 +29,7 @@ sarabande_cello_global = \melodic{ \bar ":|"; } -sarabande_cello_scripts = \melodic{ +sarabande_cello_scripts = \notes{ } sarabande_cello_staff = \type Staff < diff --git a/mutopia/J.S.Bach/Solo-Cello-Suites/sarabande-urtext.ly b/mutopia/J.S.Bach/Solo-Cello-Suites/sarabande-urtext.ly index 1a82029959..9ea3ccc38f 100644 --- a/mutopia/J.S.Bach/Solo-Cello-Suites/sarabande-urtext.ly +++ b/mutopia/J.S.Bach/Solo-Cello-Suites/sarabande-urtext.ly @@ -13,7 +13,7 @@ d = { \slurdotted } % % ugh, the non-shortened beamstems of voice in forced direction % look ugly here! -sarabande_a = \melodic \relative c { +sarabande_a = \notes \relative c { \voiceone \d[d8.()e16] e4.-\trill([d16 )e] | f4. \onevoice [e8(d)c] | [bes g']\n[f e16(f][g a bes)d,] | @@ -51,7 +51,7 @@ sarabande_a = \melodic \relative c { d4 d,,2 | } -sarabande_b = \melodic \relative c { +sarabande_b = \notes \relative c { \voicetwo % dispute % d4 a2 | @@ -87,7 +87,7 @@ sarabande_b = \melodic \relative c { } -sarabande = \type Staff \melodic< +sarabande = \type Staff \notes< \$sarabande_a \$sarabande_b > diff --git a/mutopia/J.S.Bach/Solo-Cello-Suites/sarabande-viola.ly b/mutopia/J.S.Bach/Solo-Cello-Suites/sarabande-viola.ly index cfb4b8e5a8..99e82955f8 100644 --- a/mutopia/J.S.Bach/Solo-Cello-Suites/sarabande-viola.ly +++ b/mutopia/J.S.Bach/Solo-Cello-Suites/sarabande-viola.ly @@ -15,11 +15,11 @@ copyright = "public domain"; dotted slurs %} -\version "1.0.2"; +\version "1.0.3"; \include "sarabande-urtext.ly"; -sarabande_viola_global = \melodic{ +sarabande_viola_global = \notes{ \time 3/4; \key f; \clef alto; @@ -29,11 +29,11 @@ sarabande_viola_global = \melodic{ \bar ":|"; } -sarabande_viola_scripts = \melodic{ +sarabande_viola_scripts = \notes{ } sarabande_viola_staff = \type Staff < - \melodic \transpose c' \$sarabande + \notes \transpose c' \$sarabande \$sarabande_viola_global \$sarabande_viola_scripts > diff --git a/mutopia/J.S.Bach/wtk1-fugue1.ly b/mutopia/J.S.Bach/wtk1-fugue1.ly index 614311e8bc..f6cacd4df4 100644 --- a/mutopia/J.S.Bach/wtk1-fugue1.ly +++ b/mutopia/J.S.Bach/wtk1-fugue1.ly @@ -11,16 +11,16 @@ copyright = "Public Domain"; %{ %} -\version "1.0.2"; +\version "1.0.3"; global = - \melodic { + \notes { \time 4/4; % should be \time C } tenor = - \melodic \relative c' { + \notes \relative c' { \clef "violin"; \stemdown @@ -61,7 +61,7 @@ tenor = soprane = - \melodic \relative c' { + \notes \relative c' { \stemup r1 | @@ -99,7 +99,7 @@ soprane = } alt = - \melodic \relative c { + \notes \relative c { \clef "bass"; @@ -139,7 +139,7 @@ alt = } bass = - \melodic \relative c { + \notes \relative c { \clef "bass"; @@ -180,7 +180,7 @@ bass = \score { - \melodic \type GrandStaff < + \notes \type GrandStaff < \type Staff = one < \global \soprane diff --git a/mutopia/J.S.Bach/wtk1-fugue2.ly b/mutopia/J.S.Bach/wtk1-fugue2.ly index 49b0dab5b7..f8df5be8fb 100644 --- a/mutopia/J.S.Bach/wtk1-fugue2.ly +++ b/mutopia/J.S.Bach/wtk1-fugue2.ly @@ -13,18 +13,18 @@ Tested Features: stem direction, multivoice, forced accidentals. %} -\version "1.0.2"; +\version "1.0.3"; \include "nederlands.ly" % for correct parsing of note names -global = \melodic { +global = \notes { \time 4/4; \keysignature bes es as; \skip 1*31; \bar "|."; | } -dux = \melodic \relative c'' { +dux = \notes \relative c'' { \clef violin; \stemdown @@ -72,7 +72,7 @@ dux = \melodic \relative c'' { } -comes = \melodic \relative c'' { +comes = \notes \relative c'' { \stemup r1 | @@ -115,7 +115,7 @@ comes = \melodic \relative c'' { } -bassdux = \melodic \relative c' { +bassdux = \notes \relative c' { \clef bass; r1 | diff --git a/mutopia/J.S.Bach/wtk1-prelude1.ly b/mutopia/J.S.Bach/wtk1-prelude1.ly index de0bfa0fae..179e70471b 100644 --- a/mutopia/J.S.Bach/wtk1-prelude1.ly +++ b/mutopia/J.S.Bach/wtk1-prelude1.ly @@ -8,10 +8,10 @@ enteredby = "Shay Rojansky"; copyright = "Public Domain"; } -\version "1.0.2"; +\version "1.0.3"; global = - \melodic { + \notes { \time 4/4; % should be \time C } @@ -19,7 +19,7 @@ global = % should do programmable input. soprane = - \melodic \transpose c'' { + \notes \transpose c'' { \clef "violin"; \type Staff < @@ -78,7 +78,7 @@ soprane = } bass = - \melodic { + \notes { \clef "bass"; @@ -161,7 +161,7 @@ bass = \score { - \melodic \type GrandStaff < + \notes \type GrandStaff < < \global \soprane diff --git a/mutopia/J.S.Bach/wtk1-prelude2.ly.m4 b/mutopia/J.S.Bach/wtk1-prelude2.ly.m4 index 8d8eb6f5d0..617f681e58 100644 --- a/mutopia/J.S.Bach/wtk1-prelude2.ly.m4 +++ b/mutopia/J.S.Bach/wtk1-prelude2.ly.m4 @@ -12,7 +12,7 @@ define(handymeasure, `intromeasure(translit($*,` ', `,'))') -trebleIntro=\melodic \transpose c'' { +trebleIntro=\notes \transpose c'' { handymeasure(c' es d c) handymeasure(as f e c) handymeasure(b f es d) @@ -38,7 +38,7 @@ handymeasure(g c B d) handymeasure(as c B d) } -bassIntro = \melodic { +bassIntro = \notes { handymeasure(c g f es) handymeasure(c as g f) handymeasure(c as g f) @@ -67,7 +67,7 @@ handymeasure(G es d f) } -middlepiece = \melodic +middlepiece = \notes { \stemdown [G B d] diff --git a/mutopia/W.A.Mozart/cadenza.ly b/mutopia/W.A.Mozart/cadenza.ly index 1aa9c48de2..64eb8eda22 100644 --- a/mutopia/W.A.Mozart/cadenza.ly +++ b/mutopia/W.A.Mozart/cadenza.ly @@ -13,10 +13,10 @@ Tested Features: cadenza mode Ugh.. Wish we had grace notes.... It adds another dimension to this piece of music. %} -\version "1.0.2"; +\version "1.0.3"; -cad = \melodic \relative c' { +cad = \notes \relative c' { \property Score.instrument = "french horn" \type Staff { \cadenza 1; @@ -58,7 +58,7 @@ cad = \melodic \relative c' { c4 }} \score { - \melodic { \cad } + \notes { \cad } \midi { \tempo 4 = 90; } \paper { } diff --git a/mutopia/W.A.Mozart/horn-concerto-3.ly b/mutopia/W.A.Mozart/horn-concerto-3.ly index b8069a47d4..2e014d83cf 100644 --- a/mutopia/W.A.Mozart/horn-concerto-3.ly +++ b/mutopia/W.A.Mozart/horn-concerto-3.ly @@ -9,10 +9,10 @@ copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; allegro = - \melodic + \notes \relative c' { \time 4/4; @@ -147,7 +147,7 @@ allegro = } -romanze = \melodic \relative c' { +romanze = \notes \relative c' { \key F; \time 2/2; @@ -213,7 +213,7 @@ romanze = \melodic \relative c' { \bar "|."; } -rondotheme = \melodic \relative c' { +rondotheme = \notes \relative c' { [c'8 c c] [c c c] c4( cis8 )d r g, [d'8 d d] [d d d] @@ -224,7 +224,7 @@ rondotheme = \melodic \relative c' { e4.()d8 r r | } -lipbreaker = \melodic \relative c' +lipbreaker = \notes \relative c' { r8 [g'-. g-.] [c()e g,-.] [c()e g,-.] [c()e g,-.] @@ -232,7 +232,7 @@ lipbreaker = \melodic \relative c' [c c c] [c c c] } -rondo = \melodic \relative c' +rondo = \notes \relative c' { \partial 8; g'8 | diff --git a/mutopia/gallina.ly b/mutopia/gallina.ly index b3db2ae149..cd7a5d0eb1 100644 --- a/mutopia/gallina.ly +++ b/mutopia/gallina.ly @@ -45,9 +45,9 @@ Voice engraver by uncommenting the lines in the paper definition below. --MB %} -\version "1.0.2"; +\version "1.0.3"; -vi1=\melodic \relative c'' { +vi1=\notes \relative c'' { \time 4/4; [d8 d d d] d4 [a16 b c a] | @@ -117,7 +117,7 @@ vi1=\melodic \relative c'' { \bar "|."; } -vi2=\melodic \relative c'' { +vi2=\notes \relative c'' { \time 4/4; r1 | r | r | @@ -183,7 +183,7 @@ vi2=\melodic \relative c'' { } -bc=\melodic\transpose c'{ +bc=\notes\transpose c'{ \clef "bass"; \time 4/4; diff --git a/mutopia/los-toros-oboe.ly b/mutopia/los-toros-oboe.ly index 2381e61ca2..29bc8a371e 100644 --- a/mutopia/los-toros-oboe.ly +++ b/mutopia/los-toros-oboe.ly @@ -8,7 +8,7 @@ enteredby = "jcn"; copyright = "public domain"; latexheaders= "headers"; } -\version "1.0.2"; +\version "1.0.3"; %{ Silly latex file dropped; use ly2dvi @@ -27,7 +27,7 @@ Converted to relative octave from los-toros-oboe.ly: \include "paper16.ly" -hoboonestart = \melodic +hoboonestart = \notes \relative c'{ % ugh: cant copy: allegro/primo tempo \property Voice . textstyle = "large" @@ -35,7 +35,7 @@ hoboonestart = \melodic \property Voice . textstyle = "italic" } -hobooneintro = \melodic \relative c'{ +hobooneintro = \notes \relative c'{ % \property Voice . textstyle = "roman" % [es''16-.-"Allegro" es-. es-. es-.] [es8-. d-.] | @@ -60,7 +60,7 @@ hobooneintro = \melodic \relative c'{ [)g8 r d'] r | } -hoboonemid = \melodic \relative c'{ +hoboonemid = \notes \relative c'{ [g'16-. g-. g-. g-.] [g8-. f-.] | as2-> | @@ -151,7 +151,7 @@ hoboonemid = \melodic \relative c'{ } -hoboonesecondstart = \melodic \relative c'{ +hoboonesecondstart = \notes \relative c'{ % ugh: cant copy: allegro/primo tempo \property Voice . textstyle = "large" @@ -160,7 +160,7 @@ hoboonesecondstart = \melodic \relative c'{ } -hoboonelast = \melodic \relative c'{ +hoboonelast = \notes \relative c'{ % could transpose/copy from measure 19... [d''16-.\p d-. d-. d-.] [d8-. c-.] | es2-> | @@ -272,7 +272,7 @@ hoboonelast = \melodic \relative c'{ g8-. r r4 | } -hoboone = \melodic { +hoboone = \notes { \hoboonestart \hobooneintro \hoboonemid @@ -281,7 +281,7 @@ hoboone = \melodic { \hoboonelast } -global = \melodic{ +global = \notes{ \key es; \time 2/4; \skip 4*110; diff --git a/mutopia/standchen-16.ly b/mutopia/standchen-16.ly index 36799f37f3..1525accfd8 100644 --- a/mutopia/standchen-16.ly +++ b/mutopia/standchen-16.ly @@ -9,6 +9,6 @@ description = "A schubert song in 16 pt"; copyright = "public domain"; } -\version "1.0.2"; +\version "1.0.3"; \include "standchen.ly" diff --git a/mutopia/standchen-20.ly b/mutopia/standchen-20.ly index fa1f7219b0..4ffffeaae8 100644 --- a/mutopia/standchen-20.ly +++ b/mutopia/standchen-20.ly @@ -9,7 +9,7 @@ copyright = "public domain"; description = "A schubert song in 20 pt"; } -\version "1.0.2"; +\version "1.0.3"; % fool make-website % \include "standchen.ly"; diff --git a/mutopia/standchen.ly b/mutopia/standchen.ly index 3ceec46169..fdd3ee056e 100644 --- a/mutopia/standchen.ly +++ b/mutopia/standchen.ly @@ -16,9 +16,9 @@ multiple \paper{}s in one \score Note: Original key F. %} -\version "1.0.2"; +\version "1.0.3"; -$vocal_verse1 = \melodic\relative c{ +$vocal_verse1 = \notes\relative c{ % ugh: treble/bass % \clef treble; % \clef violin; @@ -58,7 +58,7 @@ $vocal_verse1 = \melodic\relative c{ c!2. | } -$vocal_through = \melodic\relative c{ +$vocal_through = \notes\relative c{ \property Voice.dynamicdir=1 g''8. g16 b8. b16 d8. d16 | c4 b r | @@ -166,7 +166,7 @@ $lyric_through = \lyric{ mich!2 _4 | } -$treble_intro = \melodic\relative c{ +$treble_intro = \notes\relative c{ \clef violin; % ugh: id like to type this! %r8\pp [ ] | @@ -177,7 +177,7 @@ $treble_intro = \melodic\relative c{ \break } -$treble_verse1 = \melodic\relative c{ +$treble_verse1 = \notes\relative c{ % \clef violin; %5 r8 <[g' c> | @@ -210,7 +210,7 @@ $treble_verse1 = \melodic\relative c{ <{[/3 f'8\f( e f]1/1 a4.-> )f8 } {\[/3 f' e f \]/1 a4. f8 } > | } -$treble_eentje = \melodic\relative c'{ +$treble_eentje = \notes\relative c'{ | <[as8.->( c> <)f16 )as]> | <[e8-. g-.(> | @@ -223,7 +223,7 @@ $treble_eentje = \melodic\relative c'{ | } -$treble_through = \melodic\relative c'{ +$treble_through = \notes\relative c'{ | %61 R2. | @@ -271,7 +271,7 @@ $treble_through = \melodic\relative c'{ | } -$bass_intro = \melodic\relative c{ +$bass_intro = \notes\relative c{ \clef bass; \property Voice.dynamicdir=1 %1 @@ -281,7 +281,7 @@ $bass_intro = \melodic\relative c{ r4 | } -$bass_verse1 = \melodic\relative c{ +$bass_verse1 = \notes\relative c{ % \clef bass; \property Voice.dynamicdir=1 %5 @@ -313,7 +313,7 @@ $bass_verse1 = \melodic\relative c{ c,8 <[c' e g> | } -$bass_eentje = \melodic\relative c{ +$bass_eentje = \notes\relative c{ \property Voice.dynamicdir=1 <[c' f as!> | c,8 <[c' e g> | @@ -325,7 +325,7 @@ $bass_eentje = \melodic\relative c{ c,8 <[e' g> | } -$bass_through = \melodic\relative c{ +$bass_through = \notes\relative c{ \property Voice.dynamicdir=1 %61 <[g' b d> b-> d->> | @@ -359,7 +359,7 @@ $bass_through = \melodic\relative c{ | } -global = \melodic{ +global = \notes{ \time 3/4; \key es; \skip 4 * 12; @@ -392,7 +392,7 @@ $lyric_staff = \type Lyrics = lyric< \$lyrics > -vocals = \melodic{ +vocals = \notes{ \property Voice.dynamicdir=UP \skip 4 * 12; \$vocal_verse1 @@ -444,9 +444,9 @@ $grand_staff = \type GrandStaff< % To get original, \transpose d' % \transpose a gives a' to d'' (for basses, who sing an octave down) < - { \melodic \transpose a { \$vocal_staff } } + { \notes \transpose a { \$vocal_staff } } \$lyric_staff - { \melodic \transpose a { \$grand_staff } } + { \notes \transpose a { \$grand_staff } } > \include "score-paper.ly"; \midi{ diff --git a/scripts/convert-mudela.py b/scripts/convert-mudela.py index f0792639b2..4fa4ecdffb 100644 --- a/scripts/convert-mudela.py +++ b/scripts/convert-mudela.py @@ -17,7 +17,6 @@ program_name = 'convert-mudela' version = '0.2' - import os import sys import __main__ @@ -181,6 +180,17 @@ if 1: conversions.append ((1,0,2), conv, '\header { key = concat + with + operator }\n') +if 1: + def conv(lines): + newlines =[] + for x in lines: + x = regsub.gsub ('\\\\melodic', '\\\\notes',x) + newlines.append (x) + return newlines + + conversions.append ((1,0,3), conv, '\melodic -> \notes\n') + + ############################ def get_conversions (from_version, to_version): @@ -219,6 +229,7 @@ class UnknownVersion: pass def do_one_file (infile_name): + sys.stderr.write ('Processing `%s\' ... '% infile_name) outfile_name = '' if __main__.edit: outfile_name = infile_name + '.NEW' diff --git a/stepmake/aclocal.m4 b/stepmake/aclocal.m4 index fc6b9f387c..fc44218fd1 100644 --- a/stepmake/aclocal.m4 +++ b/stepmake/aclocal.m4 @@ -5,6 +5,7 @@ AC_DEFUN(AC_STEPMAKE_COMPILE, [ # -O is necessary to get inlining OPTIMIZE="" CXXFLAGS=${CXXFLAGS:-""} + CFLAGS=${CFLAGS:-""} checking_b=yes optimise_b=no profile_b=no @@ -263,8 +264,9 @@ dnl fi AC_SUBST(LN_S) AC_SUBST(INSTALL) AC_DEFINE_UNQUOTED(DIRSEP, '${DIRSEP}') - AC_SUBST(PATHSEP) AC_DEFINE_UNQUOTED(PATHSEP, '${PATHSEP}') + AC_SUBST(PATHSEP) + AC_SUBST(DIRSEP) AC_STEPMAKE_DATADIR diff --git a/stepmake/configure b/stepmake/configure index 0712d0efce..e088322d8a 100755 --- a/stepmake/configure +++ b/stepmake/configure @@ -883,14 +883,16 @@ fi - cat >> confdefs.h <> confdefs.h <> confdefs.h <> confdefs.h <&6 -echo "configure:952: checking language" >&5 +echo "configure:954: checking language" >&5 case "$language" in En* | en* | Am* | am* | US* | us*) lang=English;; @@ -980,7 +982,7 @@ do # Extract the first word of "$ac_prog", so it can be a program name with args. set dummy $ac_prog; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:984: checking for $ac_word" >&5 +echo "configure:986: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_YODL'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -1014,7 +1016,7 @@ do # Extract the first word of "$ac_prog", so it can be a program name with args. set dummy $ac_prog; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:1018: checking for $ac_word" >&5 +echo "configure:1020: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_YODL2HTML'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -1048,7 +1050,7 @@ do # Extract the first word of "$ac_prog", so it can be a program name with args. set dummy $ac_prog; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:1052: checking for $ac_word" >&5 +echo "configure:1054: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_YODL2LATEX'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -1081,7 +1083,7 @@ do # Extract the first word of "$ac_prog", so it can be a program name with args. set dummy $ac_prog; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:1085: checking for $ac_word" >&5 +echo "configure:1087: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_YODL2MAN'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -1115,7 +1117,7 @@ do # Extract the first word of "$ac_prog", so it can be a program name with args. set dummy $ac_prog; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:1119: checking for $ac_word" >&5 +echo "configure:1121: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_YODL2MSLESS'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -1149,7 +1151,7 @@ do # Extract the first word of "$ac_prog", so it can be a program name with args. set dummy $ac_prog; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:1153: checking for $ac_word" >&5 +echo "configure:1155: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_YODL2TEXINFO'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -1183,7 +1185,7 @@ do # Extract the first word of "$ac_prog", so it can be a program name with args. set dummy $ac_prog; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:1187: checking for $ac_word" >&5 +echo "configure:1189: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_YODL2TXT'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -1238,7 +1240,7 @@ do # Extract the first word of "$ac_prog", so it can be a program name with args. set dummy $ac_prog; ac_word=$2 echo $ac_n "checking for $ac_word""... $ac_c" 1>&6 -echo "configure:1242: checking for $ac_word" >&5 +echo "configure:1244: checking for $ac_word" >&5 if eval "test \"`echo '$''{'ac_cv_prog_MAKEINFO'+set}'`\" = set"; then echo $ac_n "(cached) $ac_c" 1>&6 else @@ -1425,6 +1427,8 @@ s%@ZIP@%$ZIP%g s%@LN@%$LN%g s%@LN_S@%$LN_S%g s%@INSTALL@%$INSTALL%g +s%@PATHSEP@%$PATHSEP%g +s%@DIRSEP@%$DIRSEP%g s%@DIR_DATADIR@%$DIR_DATADIR%g s%@YODL@%$YODL%g s%@YODL2HTML@%$YODL2HTML%g diff --git a/stepmake/make/out/stepmake.lsm b/stepmake/make/out/stepmake.lsm index 473f164316..0941e05ae6 100644 --- a/stepmake/make/out/stepmake.lsm +++ b/stepmake/make/out/stepmake.lsm @@ -1,15 +1,15 @@ Begin3 Title: StepMake -Version: 0.1.49 -Entered-date: 14SEP98 +Version: 0.1.50 +Entered-date: 17SEP98 Description: Keywords: music notation typesetting midi fonts engraving Author: janneke@gnu.org (Jan Nieuwenhuizen) hanwen@cs.ruu.nl (Han-Wen Nienhuys) Maintained-by: janneke@gnu.org (Jan Nieuwenhuizen) Primary-site: sunsite.unc.edu /pub/Linux/apps/sound/convert - 40k stepmake-0.1.49.tar.gz + 40k stepmake-0.1.50.tar.gz Original-site: pcnov095.win.tue.nl /pub/lilypond/development/ - 40k stepmake-0.1.49.tar.gz + 40k stepmake-0.1.50.tar.gz Copying-policy: GPL End diff --git a/stepmake/make/out/stepmake.spec b/stepmake/make/out/stepmake.spec index ce8c3f9dbb..80f1f08641 100644 --- a/stepmake/make/out/stepmake.spec +++ b/stepmake/make/out/stepmake.spec @@ -1,9 +1,9 @@ Name: stepmake -Version: 0.1.49 +Version: 0.1.50 Release: 1 Copyright: GPL Group: Development -Source0: pcnov095.win.tue.nl:/pub/lilypond/development/stepmake-0.1.49.tar.gz +Source0: pcnov095.win.tue.nl:/pub/lilypond/development/stepmake-0.1.50.tar.gz Summary: generic make package Packager: janneke@gnu.org (Jan Nieuwenhuizen) Buildroot: /tmp/stepmake-install diff --git a/stepmake/stepmake/metafont-rules.make b/stepmake/stepmake/metafont-rules.make index 3d6eb28e73..915ff84e5b 100644 --- a/stepmake/stepmake/metafont-rules.make +++ b/stepmake/stepmake/metafont-rules.make @@ -14,4 +14,4 @@ $(outdir)/%.log: %.mf $(outdir)/%.tfm: %.mf mf '\mode:=ljfour; input $<;' mv $(@F) $(outdir) - rm $(basename $<).*{gf,log} + rm $(basename $<).gf $(basename $<).log diff --git a/tex/lilyponddefs.tex b/tex/lilyponddefs.tex index 8f86d3028e..bec5af39ff 100644 --- a/tex/lilyponddefs.tex +++ b/tex/lilyponddefs.tex @@ -135,7 +135,6 @@ % stacked horizontal lines - \def\interscoreline{\vskip 16pt} \def\setdynamic#1{\dynfont #1} \def\setfinger#1{\fingerfont #1} @@ -229,11 +228,12 @@ % % macros suck. \ifundefined{nolilyfooter} gives wierd errors from time -% to time. +% to time. +% \ifx\csname nolilyfooter\endcsname\relax - \message{footer defined}% + \message{footer defined}% \csname lilyfooter\texsuffix\endcsname \else - \message{page empty!} - \csname nolilyfooter\texsuffix\endcsname + \message{page empty!} + \csname nolilyfooter\texsuffix\endcsname \fi -- 2.39.5