From 2a1e924741b77e50613fe7252dacccf3bfc4b1a0 Mon Sep 17 00:00:00 2001 From: fred Date: Wed, 27 Mar 2002 00:35:22 +0000 Subject: [PATCH] lilypond-1.3.122 --- CHANGES | 32 ++- Documentation/user/refman.itely | 437 +++++++++++++++++++++--------- Documentation/user/tutorial.itely | 29 +- VERSION | 2 +- input/test/font-body.ly | 8 +- input/test/tie-accidental.ly | 8 +- input/tutorial/flowing.ly | 4 +- ly/norsk.ly | 4 +- ly/svenska.ly | 2 +- 9 files changed, 357 insertions(+), 169 deletions(-) diff --git a/CHANGES b/CHANGES index e155a1b719..6673ef3465 100644 --- a/CHANGES +++ b/CHANGES @@ -1,7 +1,30 @@ +1.3.121.hwn1 +============ + +* Small lilypond-book cleanups. + +* Bugfix: fix lyric extenders. + +1.3.121.mb2 +=========== + +* Bugfix: svenska.ly and norsk.ly -1.3.120.jcn1 +* Bugfix: tied-over accidentals handled more correctly. + +1.3.121.jcn2 ============ +* Renamed last instances of musical_*pitch to pitch. + +* Bugfix: actually read pitch value in \pitch #(make-pitch ...) + +* Bugfix(?): always allow explicit duration entry. + +* Fixed .po charsets for upcoming msgfmt release (Bruno Haible). + +* Some doco updates and fixes. + * Bugfix Ly2dvi: reset LC_ALL and LC_LANG too. * Commented out dubious undocumented $(PATHSEP) from lilypond-vars.make @@ -12,7 +35,10 @@ break --srcdir builds and texi2dvi. * Several fixes for --srcdir build, allowing build from read only media. * Moved make/toplevel.make.in to less unusual GNUmakefile.in - + +* Bugfix: changed beam thickness to .48 staff-space. + + 1.3.120.uu1 =========== @@ -1329,7 +1355,7 @@ syntax is most likely only temporary. when there's a change in the chord-name-scheme, Also, a chord name should always be displayed after a line break. See - input/test/drarn-chords.ly + input/test/chord-changes.ly * Reverted duration-iter change in midi2ly, moved printing of options. diff --git a/Documentation/user/refman.itely b/Documentation/user/refman.itely index 63d75f23dc..33a734826d 100644 --- a/Documentation/user/refman.itely +++ b/Documentation/user/refman.itely @@ -6,7 +6,9 @@ @c - Add some words about Guile. /MB @c - Fix indexing (keyindex) so it doesn't add line breaks /MB -@node Reference Manual, , , Top +@c ugh: because of @include, we need to fill in these nodes + +@node Reference Manual, , , top @chapter Reference Manual @menu @@ -29,7 +31,8 @@ * transpose:: transpose * Ambiguities:: Ambiguities * Notation conversion specifics:: Notation conversion specifics -* autobeam:: autobeam +* Automatic Beaming:: Automatic Beaming +* Chord Names:: Chord Names * lyricprint:: lyricprint * Notation Contexts:: Notation Contexts * Properties:: Changing formatting @@ -46,7 +49,7 @@ -@node Overview, , , Reference Manual +@node Overview @section Overview This document@footnote{This document has been revised for LilyPond 1.2.} @@ -65,13 +68,9 @@ expressions into performances (MIDI) or graphics (eg. PostScript). can enter and edit them in manageable chunks. @end itemize - - -@node Top level, , , Reference Manual +@node Top level @section Top level -@cindex top level - This section describes what you may enter at top level. @@ -107,8 +106,12 @@ metre, arranger, piece and tagline. It is customary to put the @code{\header} at the top of the file. +@node Pitch names +@section Pitch names -@node Pitch names, , , Reference Manual +@cindex pitch names +@cindex note names +@cindex chord modifier names Note names and chord modifiers can be customised for nationalities. languages and conventions. The syntax is as follows. @@ -119,20 +122,18 @@ languages and conventions. The syntax is as follows. See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for specific examples how to do this. tables can be tailored specified -using. Some national note names have been provided, see @ref{Other -languages}. - +using. Some national note names have been provided, see +@ref{Other languages}. A @code{\paper} block at top level sets the default paper block. A @code{\midi} block at top level works similarly. - - Identifier assignments may appear at top level. Semicolons are forbidden after top level assignments. +@cindex assignments -@node Lexical conventions, , , Reference Manual +@node Lexical conventions @section Lexical conventions @cindex lexical conventions @@ -145,7 +146,6 @@ forbidden after top level assignments. @indexcode{%} - A one line comment is introduced by a `@code{%}' character. Block comments are started by `@code{%@{}' and ended by `@code{%@}}'. They cannot be nested. @@ -157,6 +157,10 @@ They cannot be nested. LilyPond contains a Scheme interpreter (the GUILE library) for internal use. The interpreter is accessed by the pound sign: +@cindex Scheme +@cindex GUILE +@cindex Scheme, in-line code + Whereever the syntax allows Scheme expressions, you may enter one as @example @@ -263,12 +267,11 @@ Specify the version of LilyPond that a file was written for. The argument is a version string in quotes, for example @code{"1.2.0"}. This is used to detect invalid input, and to aid @code{convert-ly}, a tool that automatically upgrades input files. +@cindex convert-ly - - -@cindex other languages - -@node Other languages, , , Reference Manual +@node Other languages +@section Other languages +@cindex Note names, international Note name definitions have been provided in various languages. Simply include the language specific init file. For example: @@ -289,11 +292,11 @@ catalan.ly do re mi fa sol la sib si -d/-s -b Pitch names can be redefined using the @code{\pitchnames} command, see @ref{Pitch names}. -@cindex Lexical Modes - +@node Lexical modes +@section Lexical modes +@cindex Lexical modes @cindex modes -@node Lexical modes, , , Reference Manual To simplify entering notes, lyrics, and chords, @emph{Lilypond} has three special input modes on top of the default mode. In each mode, words @@ -381,7 +384,7 @@ _ _ _ _ % 4 words, each one a space [todo: include short table showign differences] -@node Types, , , Reference Manual +@node Types @section Types @cindex Identifiers @@ -466,7 +469,7 @@ copied. For this reason, an identifier reference must always be the @end example -@node Music expressions, , , Reference Manual +@node Music expressions @section Music expressions @cindex music expressions @@ -493,7 +496,7 @@ discussed in subsection @ref{Compound music expressions}. -@node Atomic music expressions, , , Reference Manual +@node Atomic music expressions @section Atomic music expressions @@ -517,7 +520,9 @@ corresponding to C and 7 corresponding to B. The shift is zero for a natural, negative to add flats, or positive to add sharps. In Note and Chord mode, pitches may be designated by names. See -section @ref{Other languages} for pitch names in different languages. +section + @c @ref{Other languages} FIXME + for pitch names in different languages. The syntax for duration specification is @@ -535,9 +540,9 @@ In Note, Chord, and Lyrics mode, durations may be designated by numbers and dots. -@node Note specification, , , Reference Manual - -@cindex note specification +@node Note specification +@section Note specification +@cindex Note specification @cindex pitches @@ -566,8 +571,6 @@ but both forms will be accepted. LilyPond has predefined sets of notenames for various languages. See @ref{Other languages}. - - The optional octave specification takes the form of a series of single quote (`@code{'}@indexcode{'}') characters or a series of comma (`@code{,}@indexcode{,}') characters. Each @code{'} raises the pitch by one @@ -593,17 +596,15 @@ octave; each @code{,} lowers the pitch by an octave. ceses' eses' geses' ases' beses' @end lilypond -Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond +Whenever a C-sharp is desired, you must specify a C-sharp. LilyPond will determine what accidentals to typeset depending on the key and -context. A reminder accidental +context. A reminder accidental @cindex reminder accidental - can be -forced by adding an exclamation mark `@code{!}' after the pitch. A -cautionary accidental, +can be forced by adding an exclamation mark `@code{!}' after the pitch. +A cautionary accidental, @cindex cautionary accidental - i.e., an -accidental within parentheses can be obtained by adding the question -mark `@code{?}@indexcode{?}' after the pitch. +i.e., an accidental within parentheses can be obtained by adding the +question mark `@code{?}@indexcode{?}' after the pitch. @lilypond[fragment,verbatim,center] cis' d' e' cis' c'? d' e' c'! @@ -812,7 +813,8 @@ Prints a mark over or under the staff. You must add @code{Mark_engraver}@indexcode{Mark_engraver} to the Score context for this to work. -@node barlines, , , Reference Manual +@node barlines +@section barlines @example \bar@keyindex{bar} @var{bartype}; @@ -917,10 +919,10 @@ notes printed. It works in Note Mode or Lyrics Mode. In Note mode, this has the same effect as the space rest `@code{s}'. +@node Manual beams +@section Manual beams @cindex beams -@node Manual beams, , , Reference Manual - A beam is specified by surrounding the beamed notes with brackets `@code{[}@indexcode{[}' and `@code{]}@indexcode{]}'. @@ -935,7 +937,7 @@ Some more elaborate constructions: \times 2/3 { [e'8 f' g'] } @end lilypond -Beaming can be generated automatically; see section @ref{autobeam}. +Beaming can be generated automatically; see section @ref{Automatic Beaming}. To place tremolo marks between notes, use @code{\repeat} with tremolo @@ -980,11 +982,6 @@ warning message will appear and no ties will be created. e' ~ e' ~ @end lilypond - - -[TODO: explain Requests] - - @cindex articulations @cindex scripts @@ -1034,10 +1031,9 @@ In addition, it is possible to place arbitrary strings of text or @TeX{} above or below notes by using a string instead of an identifier: `@code{c^"text"}'. Fingerings @cindex fingering - can be -placed by simply using digits. All of these note ornaments appear in -the printed output but have no effect on the MIDI rendering of the -music. +can be placed by simply using digits. All of these note ornaments +appear in the printed output but have no effect on the MIDI rendering of +the music. To save typing, fingering instructions (digits 0 to 9 are supported) and single characters shorthands exist for a few @@ -1047,7 +1043,7 @@ common symbols \score { \notes { - \property Voice.textStyle = typewriter + \property Voice.TextScript \set #'font-style = #'typewriter c''4-._"c-." s4 c''4--_"c-{}-" s4 c''4-+_"c-+" s4 @@ -1102,7 +1098,6 @@ c4-\textscript "foo" "normal" This is equivalent to `@code{c4-6 c4-"foo"}'. - @cindex scripts @example @@ -1176,11 +1171,10 @@ You can attach a (general) span request to a note using The slur syntax with parentheses is a shorthand for this. - +@node stem tremolo +@section stem tremolo @cindex tremolo marks -@node stem tremolo, , , Reference Manual - Tremolo marks can be printed on a single note by adding `@code{:}[@var{length}]' after the note. The length must be at least 8. A @var{length} value of 8 gives one line across @@ -1194,7 +1188,7 @@ no last value. -@node Compound music expressions, , , Reference Manual +@node Compound music expressions @section Compound music expressions @cindex compound music expressions @@ -1304,9 +1298,10 @@ a Voice context: -@cindex relative pitch specification -@node relative, , , Reference Manual +@node relative +@section relative +@cindex relative pitch specification It is easy to get confused by octave changing marks and accidentally putting a pitch in the wrong octave. A much better way of entering a @@ -1545,9 +1540,10 @@ error, since there will be no main note to attach the grace notes to. +@node Repeats +@section Repeats @cindex repeats -@node Repeats, , , Reference Manual In order to specify repeats, use the @code{\repeat}@keyindex{repeat} keyword. Since repeats look and sound differently when played or @@ -1664,9 +1660,10 @@ bars will not. -@cindex transposition of pitches -@node transpose, , , Reference Manual +@node transpose +@section transpose +@cindex transposition of pitches A music expression can be transposed with @code{\transpose}@keyindex{transpose}. The syntax is @@ -1762,7 +1759,7 @@ lyrics for @var{musicexpr2}. -@node Ambiguities, , , Reference Manual +@node Ambiguities @section Ambiguities @cindex ambiguities @@ -1812,108 +1809,280 @@ foo = -6 -@node Notation conversion specifics, , , Reference Manual +@node Notation conversion specifics @section Notation conversion specifics - +@node Automatic Beaming +@section Automatic Beaming @cindex automatic beam generation +@cindex autobeam -@node autobeam, , , Reference Manual - -[FIXME: UPDATEME] +@c beamAuto vs autoBeam ? By default, LilyPond will generate beams automatically. This feature can be disabled by setting the -@code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming} property to 1. +@code{Voice.beamAuto}@indexcode{Voice.beamAuto} property to false. It can be overridden for specific cases by specifying explicit beams. + A large number of Voice properties are used to decide how to generate -beams. Their default values appear in @file{auto-beam-settings.ly}. In +beams. Their default values appear in @file{scm/auto-beam.scm}. In general, beams can begin anywhere, but their ending location is significant. Beams can end on a beat, or at durations specified by the -@code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property. To end -beams every quarter note, for example, you could set -@code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to -`@code{"1/4"}'. To end beams at every three eighth notes you would set -it to `@code{"3/8"}'. The same syntax can be used to specify beam +properties in +@code{Voice.autoBeamSettings}@indexcode{Voice.autoBeamSettings}. +To end beams every quarter note, for example, you could set the property +@code{(end * * * *)} @indexcode{(end * * * *)} to `@code{(make-moment 1 +4)}'. To end beams at every three eighth notes you would set +it to `@code{(make-moment 1 8)}'. +The same syntax can be used to specify beam starting points using -@code{Voice.beamAutoBegin}@indexcode{Voice.beamAutoBegin}. +@code{(begin * * * *)}@indexcode{(begin * * * *)}, eg: +@quotation +@example +\property Voice.autoBeamSettings \override + #'(end * * * *) = #(make-moment 1 4) +\property Voice.autoBeamSettings \override + #'(begin * * * *) = #(make-moment 1 8) +@end example +@end quotation -To allow different settings for different time signatures, these -property names can start with `@code{time}@var{N}@code{_}@var{M}' to -restrict the definition to `@var{N}@code{/}@var{M}' time. For example, -to specify beams ending only for 6/8 time you would use the property -@code{Voice.time6_8beamAutoEnd}. To allow different endings for notes -of different durations, the duration can be tacked onto the end of the -property. To specify beam endings for beams that contain 32nd notes, -you would use @code{Voice.beamAutoEnd_32}. +To allow different settings for different time signatures, instead of +the first two asterisks @code{* *} you can specify a time signature; use +@code{(end N M * *)} to restrict the definition to +`@var{N}@code{/}@var{M}' time. For example, to specify beams ending +only for 6/8 time you would use the property @code{(end 6 8 * *)}. +To allow different endings for notes of different durations, instead of +th last two asterisks you can specify a duration; use @code{(end * * N +M)} to restrict the definition to beams that contain notes of +`@var{N}@code{/}@var{M}' duration. +For example, to specify beam endings for beams that contain 32nd notes, +you would use @code{(end * * 1 32)}. -@cindex chord names +@node Chord Names +@section Chord Names +@cindex chord names @cindex chords @cindex printing!chord names -For displaying printed chord names, use the @code{ChordNames}@indexcode{ChordNames} -and @code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords may be entered -either using the notation described above, or directly using -simultaneous music. +For displaying printed chord names, use the +@code{ChordNames}@indexcode{ChordNames} and +@code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords +may be entered either using the notation described above, or directly +using simultaneous music. @quotation +@lilypond[verbatim] +scheme = \notes { + \chords {a1 b c} +} +\score { + \notes< + \context ChordNamesVoice \scheme + \context Staff \transpose c'' \scheme + > + \paper { linewidth = -1.; } +} +@end lilypond +@end quotation -@lilypond[fragment,verbatim] -< - \context ChordNames { - \chords{a b c} \notes{ } - } - \context Staff \notes { - a b c' d' e' - } -> +You can make the chord changes stand out more by setting property +@code{ChordNames.chordChanges} to true. This will only display +chord names when there's a change in the chords scheme, but always +display the chord name after a line break: + +@c bug +@quotation +@lilypond[verbatim] +scheme = \chords { +% \property ChordNames.chordChanges = ##t + c1:m \break c:m c:m c:m d +} + +\score { + \notes < + \context ChordNamesVoice \scheme + \context Staff \transpose c'' \scheme + > + \paper{ + linewidth = 40 * \staffspace; + } +} @end lilypond @end quotation + + LilyPond examines chords specified as lists of notes to determine a -name to give the chord. By default, LilyPond will not try to -identify chord inversions: +name to give the chord. LilyPond will not try to +identify chord inversions or added base, which may result in strange +chord names when chords are entered as a list of pitches: -@lilypond[fragment,verbatim,center] +@quotation +@lilypond[verbatim,center] +scheme = \notes { + + + +} + +\score { < - \context ChordNameVoice \notes { - - } - \context Thread \notes { - - } + \context ChordNamesVoice \scheme + \context Staff \scheme > + \paper { linewidth = -1.; } +} @end lilypond +@end quotation -If you want inversions to be recognized, you must set the property -@code{ChordNames.chordInversion}@indexcode{ChordNames.chordInversion}: +To specify chord inversions, append @code{/}. To specify an +added bass note, append @code{/+ - } - \context Thread \notes { - - } +@quotation +@lilypond[verbatim,center] +scheme = \chords { + d1 d/a d/+gis +} + +\score { + \notes < + \context ChordNames \scheme + \context Staff \transpose c'' \scheme + > + \paper { linewidth = -1.; } +} +@end lilypond +@end quotation + +The chord names that LilyPond should print are fully customisable. The +default code can be found in @file{scm/chord-name.scm}. Chord names are +based on Banter style naming, which is unambiguous and has a logical +structure. Typical American style chord names are implemented as a +variation on Banter names, they can be selected by setting poperty +@code{ChordName.style} to @code{american}: + +@quotation +@lilypond[verbatim] +\include "english.ly" + +scheme = \chords { + c % Major triad + cs:m % Minor triad + df:m5- % Diminished triad + c:5^3 % Root-fifth chord + c:4^3 % Suspended fourth triad + c:5+ % Augmented triad + c:2^3 % "2" chord + c:m5-.7- % Diminished seventh + c:7+ % Major seventh + c:7.4^3 % Dominant seventh suspended fourth + c:5+.7 % Augmented dominant seventh + c:m5-.7 % "Half" diminished seventh + c:5-.7 % Dominant seventh flat fifth + c:5-.7+ % Major seventh flat fifth + c:m7+ % Minor-major seventh + c:m7 % Minor seventh + c:7 % Dominant seventh + c:6 % Major sixth + c:m6 % Minor sixth + c:9^7 % Major triad w/added ninth + c:6.9^7 % Six/Nine chord + c:9 % Dominant ninth + c:7+.9 % Major ninth + c:m7.9 % Minor ninth +} + +\score { + \notes < + \context ChordNames \scheme + \context Staff \transpose c'' \scheme > + \paper { + \translator { + \ChordNamesContext + ChordName \override #'word-space = #1 + ChordName \override #'style = #'american + } + } +} @end lilypond +@end quotation +Similarly, Jazz style chord names are implemented as a variation on +American style names: +@quotation +@lilypond[verbatim] +scheme = \chords { + % major chords + c + c:6 % 6 = major triad with added sixth + c:maj % triangle = maj + c:6.9^7 % 6/9 + c:9^7 % add9 + + % minor chords + c:m % m = minor triad + c:m.6 % m6 = minor triad with added sixth + c:m.7+ % m triangle = minor major seventh chord + c:3-.6.9^7 % m6/9 + c:m.7 % m7 + c:3-.9 % m9 + c:3-.9^7 % madd9 + + % dominant chords + c:7 % 7 = dominant + c:7.5+ % +7 = augmented dominant + c:7.5- % 7b5 = hard diminished dominant + c:9 % 7(9) + c:9- % 7(b9) + c:9+ % 7(#9) + c:13^9.11 % 7(13) + c:13-^9.11 % 7(b13) + c:13^11 % 7(9,13) + c:13.9-^11 % 7(b9,13) + c:13.9+^11 % 7(#9,13) + c:13-^11 % 7(9,b13) + c:13-.9-^11 % 7(b9,b13) + c:13-.9+^11 % 7(#9,b13) + + % half diminished chords + c:m5-.7 % slashed o = m7b5 + c:9.3-.5- % o/7(pure 9) + + % diminished chords + c:m5-.7- % o = diminished seventh chord +} + +\score { + \notes < + \context ChordNames \scheme + \context Staff \transpose c'' \scheme + > + \paper { + \translator { + \ChordNamesContext + ChordName \override #'word-space = #1 + ChordName \override #'style = #'jazz + } + } +} +@end lilypond +@end quotation +@node lyricprint +@section lyricprint @cindex lyrics @cindex printing!lyrics -@node lyricprint, , , Reference Manual Lyric syllables must be interpreted within a @code{Lyrics} context @@ -1923,7 +2092,6 @@ Lyric syllables must be interpreted within a @code{Lyrics} context Here is a full example: @quotation - @lilypond[verbatim] \score { < @@ -1994,7 +2162,7 @@ For example: -@node Notation Contexts, , , Reference Manual +@node Notation Contexts @section Notation Contexts @cindex notation contexts @@ -2152,7 +2320,8 @@ called @emph{performers}. @mbinclude properties.itely -@node Page layout, , , Reference Manual +@node Page layout +@section Page layout @subsection Paper block @@ -2222,7 +2391,11 @@ The paper block has some variables you may want to use or change: @item @code{linewidth}@indexcode{linewidth} Sets the width of the lines. If set to -1.0, a single - unjustified line is produced. + unjustified line is produced. If you use this variable, you + probably want to define it in staff spaces, ie + @example + linewidth = 30 * \staffspace; + @end example @item @code{textheight}@indexcode{textheight} Sets the total height of the music on each page. Only used by @@ -2317,7 +2490,8 @@ The file "paper16.ly" will now include a file named @file{a4.ly}, which will set the paper variables @code{hsize} and @code{vsize} (used by @code{ly2dvi}) -@node contextdefs, , , Reference Manual +@node contextdefs +@section contextdefs @cindex context definition @cindex translator definition @@ -2491,7 +2665,7 @@ translator: @end quotation -@node Sound output, , , Reference Manual +@node Sound output @section Sound output The MIDI block is analogous to the paper block, but it is somewhat @@ -2517,7 +2691,8 @@ The contexts for MIDI output are defined in @file{ly/performer.ly}. @cindex MIDI instrument names -@node midilist, , , Reference Manual +@node midilist +@section midilist The MIDI instrument name is set by the @code{Staff.midiInstrument}@indexcode{Staff.midiInstrument} property or, @@ -2579,7 +2754,7 @@ piano. -@node Pre-defined Identifiers, , , Reference Manual +@node Pre-defined Identifiers @section Pre-defined Identifiers @@ -2611,7 +2786,7 @@ set different shift values. Allow stems, beams, and slurs to point either upwards or downwards, decided automatically by LilyPond. - @item @code{\stemdown}@keyindex{stemdown} + @item @code{\stemDown}@keyindex{stemDown} Force stems, beams, and slurs to point down. @item @code{\stemUp}@keyindex{stemUp} diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely index 27a95c4a1a..cbdf7e76c0 100644 --- a/Documentation/user/tutorial.itely +++ b/Documentation/user/tutorial.itely @@ -1,5 +1,6 @@ @c -*-texinfo-*- +@c ugh: because of @include, we need to fill in these nodes? @node Tutorial, , , Top @chapter Tutorial @@ -11,7 +12,7 @@ * end of tutorial:: The end @end menu -@node Introduction, , , Tutorial +@node Introduction @section Introduction @@ -30,7 +31,7 @@ subdirectory @file{input/tutorial/}. It is recommended that you experiment with writing Lilypond input yourself, to get a feel for how LilyPond behaves. -@node The first tune, , , Tutorial +@node The first tune @section The first tune @@ -83,31 +84,13 @@ To view this output, issue the command `@code{xdvi menuet}'. Now that we are familiar with the procedure of producing output, we will analyse the input, line by line. -@ignore -Let's try to redo this @example - % lines preceded by a percent are comments which % are ignored by Lilypond. - - @end example The percent sign, `@code{%}', introduces a line comment. If you want to make larger comments, you can use block comments. These are delimited by `@code{%@{}' and `@code{%@}}' -@end ignore -@multitable @columnfractions .60 .39 -@item -@noindent -@c @example urg: no tt font -@c @exdent % lines preceded by a percent are comments. -@exdent @code{% lines preceded by a percent are comments.} -@c @end example -@tab -The percent sign, `@code{%}', introduces a line comment. If you -want to make larger comments, you can use block comments. These -are delimited by `@code{%@{}' and `@code{%@}}' -@end multitable @example \input "paper16.ly" @@ -336,7 +319,7 @@ symbols and their placement is @emph{generated} from a high-level musical description. In other words, LilyPond would be best described by `music compiler' or `music to notation compiler'. -@node Lyrics and chords, , , Tutorial +@node Lyrics and chords @section Lyrics and chords In this section we show how to typeset a song of unknown @@ -699,7 +682,7 @@ will be set in two lines. @end example End the score block. -@node Piano music, , , Tutorial +@node Piano music @section Piano music Our third subject is a piece of piano music. The fragment in the input @@ -975,7 +958,7 @@ parts. [TODO: demonstrate Hara-Kiri with scores and part extraction.] -@node end of tutorial, , , Tutorial +@node end of tutorial @section The end That's all folks. From here, you can either try fiddling with input diff --git a/VERSION b/VERSION index 1f72a9ba7b..3391de2260 100644 --- a/VERSION +++ b/VERSION @@ -1,7 +1,7 @@ PACKAGE_NAME=LilyPond MAJOR_VERSION=1 MINOR_VERSION=3 -PATCH_LEVEL=121 +PATCH_LEVEL=122 MY_PATCH_LEVEL= # use the above to send patches: MY_PATCH_LEVEL is always empty for a diff --git a/input/test/font-body.ly b/input/test/font-body.ly index 180f262231..e5a9a07319 100644 --- a/input/test/font-body.ly +++ b/input/test/font-body.ly @@ -1,4 +1,4 @@ -\version "1.3.117"; +\version "1.3.122"; FontBody= \notes\transpose c''{ \bar "|:"; @@ -37,7 +37,7 @@ c\longa*1/4 c\breve*1/2 c1 c2 c4 c8 \transpose c'{ \time 4/4; - \property Voice . textStyle = "finger" + \property Voice . TextScript \override #'font-style = #'Finger \property Voice . noteHeadStyle = #'diamond c1^"1" d2^"2" e4^"3" \property Voice . noteHeadStyle = #'cross @@ -49,7 +49,7 @@ c\longa*1/4 c\breve*1/2 c1 c2 c4 c8 a^"0"_"9" a'^\flageolet - \property Voice . textStyle = "roman" + \property Voice . TextScript \override #'font-style = #'roman \time 1/2; a2 | \time 3/2; < a1. { s4 \ppp \< s4 \! s4 \fff s4 \> s4 \! s4\ppp} > @@ -62,6 +62,6 @@ c\longa*1/4 c\breve*1/2 c1 c2 c4 c8 \time 12/8; a1. | \time 12/4; r1. r2. r4. r8. r16. r32. r64. r64. | - c2\sustaindown c\sustainup | + c2\sustainDown c\sustainUp | } } diff --git a/input/test/tie-accidental.ly b/input/test/tie-accidental.ly index d6a20c92c6..8faf34ab8f 100644 --- a/input/test/tie-accidental.ly +++ b/input/test/tie-accidental.ly @@ -11,14 +11,18 @@ Pitches can be verified by printing them with the @code{NoteNames} context. } thenotes = \notes \relative cis' { \time 4/4; -gis'2 gis ~ | +g'2 g ~ | +g g4 gis | +gis2 gis ~ | gis4 gis8 ~ gis g4 gis | g2 gis ~ | gis g4 gis | g2 gis( | )g! gis4 gis | - +\break \key a \major; +gis2 gis ~ | +gis4 gis8 ~ gis g4 gis | gis2 g ~ | g4 gis8 ~ gis g4 gis | g2 gis ~ | diff --git a/input/tutorial/flowing.ly b/input/tutorial/flowing.ly index 597dd2bed8..0a46021c07 100644 --- a/input/tutorial/flowing.ly +++ b/input/tutorial/flowing.ly @@ -28,8 +28,8 @@ accompaniment =\chords { \addlyrics \context Staff = mel - { \property Staff.noAutoBeaming = "1" - \property Staff.automaticMelismas = "1" + { \property Staff.noAutoBeaming = ##t + \property Staff.automaticMelismata = ##t \melody } \context Lyrics \text } diff --git a/ly/norsk.ly b/ly/norsk.ly index fe86bb8f50..ddb8a0a3c3 100644 --- a/ly/norsk.ly +++ b/ly/norsk.ly @@ -1,5 +1,5 @@ -% $Id: norsk.ly,v 1.9 2000/11/26 19:05:12 fred Exp $ +% $Id: norsk.ly,v 1.10 2001/01/09 18:54:26 fred Exp $ %{ @@ -27,7 +27,7 @@ %} -\pitchnames #'( +\pitchnames #`( (ceses . ,(make-pitch -1 0 -2 )) (cessess . ,(make-pitch -1 0 -2 )) (ces . ,(make-pitch -1 0 -1 )) diff --git a/ly/svenska.ly b/ly/svenska.ly index b0d8c4469c..12869b6ac7 100644 --- a/ly/svenska.ly +++ b/ly/svenska.ly @@ -3,7 +3,7 @@ % % by Mats Bengtsson. -\pitchnames #'( +\pitchnames #`( (cessess . ,(make-pitch -1 0 -2 )) (cess . ,(make-pitch -1 0 -1 )) (c . ,(make-pitch -1 0 0 )) -- 2.39.5