From 1b1fa2499a88dd64441fef479a571c3002a51c1a Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Thu, 1 Jun 2006 08:15:27 +0000 Subject: [PATCH] Various additions and edits. --- ChangeLog | 11 ++++ Documentation/user/README.txt | 8 +-- Documentation/user/global.itely | 25 +++++++- Documentation/user/lilypond-book.itely | 60 +++++++++++++++++++ Documentation/user/lilypond.tely | 12 +++- Documentation/user/music-glossary.tely | 62 ++++++++++---------- Documentation/user/tweaks.itely | 5 +- Documentation/user/working.itely | 80 ++++++++++++++++++++++++++ THANKS | 1 + 9 files changed, 221 insertions(+), 43 deletions(-) diff --git a/ChangeLog b/ChangeLog index 3ab0417949..ae54e4d632 100644 --- a/ChangeLog +++ b/ChangeLog @@ -1,3 +1,14 @@ +2006-01-01 Graham Percival + + * Documentation/user/music-glossary.tely: Spanish updates + from Francisco Vila. + + * Documentation/user/lilypond-book.itely: addition from + Vaclav Smilauer. + + * Documentation/user/ various: edits, small additions + from mailist, etc. + 2006-06-01 Jan Nieuwenhuizen * GNUmakefile.in (tree-lib-prefix-current): diff --git a/Documentation/user/README.txt b/Documentation/user/README.txt index 48e01fa560..07ea6296c9 100644 --- a/Documentation/user/README.txt +++ b/Documentation/user/README.txt @@ -41,10 +41,10 @@ is writtin in formal technical writing style. GENERAL GUIDELINES * Do not forget to create @cindex entries for new sections of text. -Enter commands with @funindex, i.e. -@funindex \relative -do not bother with the @code{} (they are added automatically). These -items are added to both the command index and the unified index. + Enter commands with @findex, i.e. + @findex \relative + do not bother with the @code{} (they are added automatically). These + items are added to both the command index and the unified index. * The use of the word `illegal' is inappropriate in most cases. Say `invalid' instead. diff --git a/Documentation/user/global.itely b/Documentation/user/global.itely index a37e83877a..80d694242e 100644 --- a/Documentation/user/global.itely +++ b/Documentation/user/global.itely @@ -360,49 +360,65 @@ Titles are created for each @code{\score} block, and over a The contents of the titles are taken from the @code{\header} blocks. The header block for a book supports the following + + @table @code +@findex dedication @item dedication The dedicatee of the music, centered at the top of the first page. +@findex title @item title The title of the music, centered just below the dedication. +@findex subtitle @item subtitle Subtitle, centered below the title. +@findex subsubtitle @item subsubtitle Subsubtitle, centered below the subtitle. +@findex poet @item poet Name of the poet, flush-left below the subtitle. +@findex composer @item composer Name of the composer, flush-right below the subtitle. +@findex meter @item meter Meter string, flush-left below the poet. +@findex opus @item opus Name of the opus, flush-right below the composer. +@findex arranger @item arranger Name of the arranger, flush-right below the opus. +@findex instrument @item instrument Name of the instrument, centered below the arranger. Also centered at the top of pages (other than the first page). +@findex piece @item piece Name of the piece, flush-left below the instrument. @cindex page breaks, forcing +@findex breakbefore @item breakbefore This forces the title to start on a new page (set to ##t or ##f). +@findex copyright @item copyright Copyright notice, centered at the bottom of the first page. To insert the copyright symbol, see @ref{Text encoding}. +@findex tagline @item tagline Centered at the bottom of the last page. @@ -646,8 +662,8 @@ footers to each page. @findex annotate-spacing @cindex Spacing, display of properties -To graphically display the dimensions of properties that may -be altered for page formatting, use +To graphically display the dimensions of vertical properties +that may be altered for page formatting, use @example \paper @{ @@ -656,7 +672,10 @@ be altered for page formatting, use @end example @noindent -All units dimensions are measured in staff spaces. The pairs +@c FIXME: really bad vagueness due to bug in annotate-spacing. -gp +Some unit dimensions are measured in staff spaces, while others +are measured in millimeters. +The pairs (@var{a},@var{b}) are intervals, where @var{a} is the lower edge and @var{b} the upper edge of the interval. diff --git a/Documentation/user/lilypond-book.itely b/Documentation/user/lilypond-book.itely index d4e93f9081..55a9581251 100644 --- a/Documentation/user/lilypond-book.itely +++ b/Documentation/user/lilypond-book.itely @@ -303,6 +303,66 @@ be ignored. @cindex international characters @cindex latin1 +Sometimes it is useful to display music elements (such as ties and slurs) +as if they continued after the end of the fragment. This can be done by +breaking the staff and suppressing inclusion of the rest of the lilypond +output. + +In La@TeX{}, define @code{\betweenLilyPondSystem} in such a way that +inclusion of other systems is terminated once the required number of +systems are included. Since @code{\betweenLilypondSystem} is first +called @b{after} the first system, including only the first system +is trivial. + +@example +\def\betweenLilyPondSystem#1@{\endinput@} + +\begin[fragment]@{lilypond@} + c'1\( e'( c'~ \break c' d) e f\) +\end@{lilypond@} +@end example + +If a greater number of systems is requested, a TeX conditional must be +used before the @code{\endinput}. In this example, replace "2" by +the numer of systems you want in the output, + +@example +\def\betweenLilyPondSystem#1@{ + \ifnum##1<2\else\endinput\fi +@} +@end example + +Remember that the definition of @code{\betweenLilyPondSystem} is +effective until @TeX{} quits the current group (such as the La@TeX{} +environment) or is overridden by another definition (which is, in +most cases, for the rest of the document). To reset your +definition, write + +@example +\let\betweenLilyPondSystem\undefined +@end example + +@noindent +in your LaTeX source. + +This may be simplified by defining a @TeX{} macro + +@example +\def\onlyFirstNSystems#1@{ + \def\betweenLilyPondSystem##1@{\ifnum##1<#1\else\endinput\fi@} +@} +@end example + +@noindent +and then saying only how many systems you want before each fragment, + +@example +\onlyFirstNSystems@{3@} +\begin@{lilypond@}...\end@{lilypond@} +\onlyFirstNSystems@{1@} +\begin@{lilypond@}...\end@{lilypond@} +@end example + @node Integrating Texinfo and music @section Integrating Texinfo and music diff --git a/Documentation/user/lilypond.tely b/Documentation/user/lilypond.tely index 6bd484d72d..9046e34709 100644 --- a/Documentation/user/lilypond.tely +++ b/Documentation/user/lilypond.tely @@ -51,7 +51,7 @@ This document is also available as a @c This produces the unified index -@syncodeindex ky cp +@syncodeindex fn cp @syncodeindex vr cp @documentlanguage en @@ -163,10 +163,11 @@ Appendices * Example templates:: Ready-made templates. * Cheat sheet:: Summary of LilyPond syntax. * GNU Free Documentation License:: License of this document. -* LilyPond command index:: * LilyPond index:: @end menu @end ifnottex +@c If included, place it second-last +@c * LilyPond command index:: @contents @@ -198,10 +199,15 @@ Appendices @include cheatsheet.itely @include fdl.itexi +@ignore +Can be implented with a new texinfo.tex (part of texinfo) +- we should probably wait until texinfo 4.9 is released, to avoid + causing problems for people who make docs. @node LilyPond command index @appendix LilyPond command index -@printindex fn +@printindex ky +@end ignore @node LilyPond index @appendix LilyPond index diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely index 5a809089dd..8fcaf63483 100644 --- a/Documentation/user/music-glossary.tely +++ b/Documentation/user/music-glossary.tely @@ -435,7 +435,7 @@ The stress of one tone over others. @node accidental @section accidental -ES: alteración accidentelle, +ES: alteración accidental, I: accidento, F: altération accidentelle, D: Vorzeichen, Versetzungszeichen, Akzidenz, @@ -560,7 +560,7 @@ C clef setting middle C on the middle line of the staff @node ambit @section ambit -ES: ámbito, +ES: ámbito, I: ambitus, F: ambitus, D: ambitus, @@ -769,7 +769,7 @@ ES: compás, @aref{measure}. @node bar line @section bar line -ES: barra, línea divisoria, +ES: barra, línea divisoria, I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, @@ -870,7 +870,7 @@ The number of beams determines the note value of the connected notes. @node beat @section beat -ES: tiempo, parte (de compás) +ES: tiempo, parte (de compás) I: tempi, F: temps, D: Takt, Taktschlag, Zeit (im Takt), @@ -944,7 +944,7 @@ trumpet, trombone, french horn, and tube. @node breath mark @section breath mark -ES: respiración, +ES: respiración, I: respiro, F: respiration, D: Atemzeichen, Trennungszeichen, @@ -1424,7 +1424,7 @@ abbreviation ``cresc.''. @node cue-notes @section cue-notes -ES: notas guía, +ES: notas guía, I: notine, F: petites notes précédent l'entrée d'in instrument, réplique, D: Stichnoten, @@ -1733,7 +1733,7 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and @node diminished interval @section diminished interval -ES: intervalo disminuído, +ES: intervalo disminuido, I: intervallo diminuito, F: intervalle diminué, D: vermindertes Intervall, @@ -2092,7 +2092,7 @@ plate of metal. Now also the term for the art of music typesetting. @node enharmonic @section enharmonic -ES: enharmónico, +ES: enarmónico, I: enarmonico, F: enharmonique, D: enharmonisch, @@ -2135,7 +2135,7 @@ Tuning system dividing the octave into 12 equal @aref{semitone}s @node expression mark @section expression mark -ES: expresión, +ES: expresión, I: segno d'espressione, F: signe d'expression, indication de nuance, D: Vortragszeichen, @@ -2210,7 +2210,7 @@ symbol indicates playing an octave lower (for example on double bass @node fermata @section fermata -ES: Calderón, +ES: calderón, I: corona, F: point d'orgue, point d'arr@^et, D: Fermate, @@ -2733,7 +2733,7 @@ The difference between an interval and an octave. @node just intonation @section just intonation -ES: entonación justa, +ES: entonación justa, I: intonazione giusta, F: intonation juste, D: reine Stimmung, @@ -2810,7 +2810,7 @@ upwards) to the tonic scale degree. @node ledger line @section ledger line -ES: líneas adicionales, +ES: línea adicional, I: tagli addizionali, F: ligne supplémentaire, D: Hilfslinie, @@ -2873,7 +2873,7 @@ unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and @node lilypond @section lilypond -ES: estanque de nenúfares, +ES: estanque de nenúfares, I: stagno del giglio, F: étang de lis, UK: lily pond, @@ -2953,7 +2953,7 @@ Note value: double length of @aref{breve}. @node lyrics @section lyrics -ES: letra (de la canción), +ES: letra (de la canción), I: ., F: ., D: Liedtext, @@ -2993,7 +2993,7 @@ FI: duuri. @node meantone temperament @section meantone temperament -ES: afinación mesotónica, +ES: afinación mesotónica, I: accordatura mesotonica, F: tempérament mésotonique, D: mitteltönige Stimmung, @@ -3134,7 +3134,7 @@ M.M.@: (Mälzels Metronom). @node mezzo-soprano @section mezzo-soprano -ES: mezzo soprano, +ES: mezzosoprano, I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, @@ -3393,7 +3393,7 @@ instrument. @node note value @section note value -ES: valor (duración), +ES: valor (duración), I: valore, durata, F: durée, valeur (d'une note), D: Notenwert, @@ -3717,7 +3717,7 @@ denotes the highest possible degree of speed. @node Pythagorean comma @section Pythagorean comma -ES: coma pitagórico, +ES: coma pitagórica, I: comma pitagorico, F: comma pythagoricien, D: Pythagoräisches Komma, @@ -3807,7 +3807,7 @@ Abbreviation "rall.". @aref{ritardando}. @node relative key @section relative key -ES: relativa, +ES: relativo, I: tonalità relativa, F: tonalité relative, D: Paralleltonart, @@ -4159,7 +4159,7 @@ FI: kuudeskymmenesneljäsosatauko. @node slur @section slur -ES: ligadura (de expresión), +ES: ligadura (de expresión), I: legatura (di portamento or espressiva), F: liaison, coulé, D: Bogen, Legatobogen, Phrasierungsbogen, @@ -4175,7 +4175,7 @@ breath in singing. @node solmization @section solmization -ES: solmisación, +ES: solmisación, I: solmisazione, F: solmisation, D: Solmisation, @@ -4440,7 +4440,7 @@ A symphony may be defined as a @aref{sonata} for orchestra. @node syncopation @section syncopation -ES: síncopa, +ES: síncopa, I: sincope, F: syncope, D: Synkope, @@ -4468,7 +4468,7 @@ the underlaying (normal) pulse and the actual (abnormal) rhythm. @node syntonic comma @section syntonic comma -ES: coma sintónica, +ES: coma sintónica, I: comma sintonico (o didimico), F: comma syntonique, D: syntonisches Komma, @@ -4685,7 +4685,7 @@ uniting them into a single sound (tone) equal to the combined durations. @node time signature @section time signature -ES: cifra indicadora de compás, +ES: indicación de compás, I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur, D: Taktangabe, Angabe der Taktart, @@ -4715,7 +4715,7 @@ Music from the 20th century may be based on atonal sounds. @node tonic @section tonic -ES: tónica, +ES: tónica, I: tonica, F: tonique, D: Tonika, @@ -4779,7 +4779,7 @@ FI: diskanttiavain. @node tremolo @section tremolo -ES: trémolo, +ES: trémolo, I: tremolo, F: trémolo, D: Tremolo, @@ -4835,7 +4835,7 @@ FI: trilli. @node triple meter @section triple meter -ES: compás compuesto, +ES: compás ternario, I: tempo ternario, F: mesure ternaire, D: in drei, @@ -4863,7 +4863,7 @@ FI: trioli. @node tritone @section tritone -ES: trítono, +ES: tritono, I: tritono, F: triton, D: Tritonus, @@ -4923,7 +4923,7 @@ different octave. @node upbeat @section upbeat -ES: entrada anacrúsica, +ES: anacrusa, I: anacrusi, F: anacrouse, levée, D: Auftakt, @@ -5214,13 +5214,13 @@ symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon. @item -@item @strong{c-sharp} @tab do diesis @tab do diesis @tab ut dièse @tab +@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis @tab cis @tab cis @tab cis @tab cis @item -@item @strong{d-flat} @tab re bemolle @tab re bemolle @tab ré bémol @tab +@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des @tab des @tab des @tab des @tab des diff --git a/Documentation/user/tweaks.itely b/Documentation/user/tweaks.itely index 8224f4eef2..144b45b5b4 100644 --- a/Documentation/user/tweaks.itely +++ b/Documentation/user/tweaks.itely @@ -152,7 +152,7 @@ Vertical positioning of these symbols is handled by @end quotation @noindent -So to move dynamics around, we use +So to move dynamics around vertically, we use @example \override DynamicLineSpanner #'padding = #2.0 @@ -163,7 +163,8 @@ common objects. @multitable @columnfractions .33 .66 @headitem Object type @tab Object name -@item Dynamics @tab @code{DynamicLineSpanner} +@item Dynamics (vertically) @tab @code{DynamicLineSpanner} +@item Dynamics (horizontally) @tab @code{DynamicText} @item Ties @tab @code{Tie} @item Slurs @tab @code{Slur} @item Articulations @tab @code{Script} diff --git a/Documentation/user/working.itely b/Documentation/user/working.itely index bbdb2c3386..015070e923 100644 --- a/Documentation/user/working.itely +++ b/Documentation/user/working.itely @@ -15,6 +15,7 @@ this chapter. * Troubleshooting (taking it all apart):: * Saving typing with identifiers and functions:: * Style sheets:: +* Fitting music onto fewer pages:: @end menu @@ -535,3 +536,82 @@ file with @code{\include "../global.ly"}, which contains @end example +@node Fitting music onto fewer pages +@section Fitting music onto fewer pages + +Sometimes you can end up with one or two staves on a second +(or third, or fourth...) page. This is annoying, especially +if you look at previous pages and it looks like there is plenty +of room left on those. + +When investigating layout issues, @code{annotate-spacing} is +an invaluable tool. This command prints the values of various +layout spacing commands; see @ref{Page formatting} for more +details. + +@lilypond[quote,verbatim] +\paper{ + annotate-spacing = ##t +} +\header{ + title = "Insert Witty Title Here" + composer = "Me, myself, and I" +} +\score{ { + \repeat unfold 32 { c'4 c' c' c' } + } +} +@end lilypond + +@noindent +From this output, we can see which margins we may wish to alter. + +Other than margins, there are a few other options to save space: + +@itemize +@item +You may tell LilyPond to place systems as close together as +possible (to fit as many systems as possible onto a page), but +then to space those systems out so that there is no blank +space at the bottom of the page. + +@example +\paper @{ +between-system-padding = #0.5 +ragged-last-bottom = ##f +ragged-bottom = ##f +@} +@end example + +@item +You may force the number of systems (i.e. if LilyPond wants +to typeset some music with 11 systems, you could force it to +use 10). + +@example +\paper @{ +system-count = #10 +@} +@end example + +@item +Avoid (or reduce) objects which increase the vertical size of +a system. For example, volta repeats (or alternate repeats) +require extra space. If these repeats are spread over two +systems, they will take up more space than one system with +the volta repeats and another system without. + +Another example is moving dynamics which ``stick out'' of +a system. + +@lilypond[verbatim,quote,fragment] +\relative c' { + e4 c g\f c + \override DynamicLineSpanner #'padding = #-1.8 + \override DynamicText #'extra-offset = #'( -2.1 . 0) + e4 c g\f c +} +@end lilypond + +@end itemize + diff --git a/THANKS b/THANKS index 8f377e1884..dc1ba89fd6 100644 --- a/THANKS +++ b/THANKS @@ -61,6 +61,7 @@ Ruud van Silfhout Sietse Brouwer Stephen Carter Trent Johnston +Vaclav Smilauer Werner Lemberg Zoltan V. Laszlo -- 2.39.5