From 3810e56989ee1ce17f645f682bd6db828bddaf89 Mon Sep 17 00:00:00 2001 From: fred Date: Wed, 27 Mar 2002 00:48:57 +0000 Subject: [PATCH] lilypond-1.3.129 --- Documentation/user/refman.itely | 425 ++++++++++++++++---------------- 1 file changed, 207 insertions(+), 218 deletions(-) diff --git a/Documentation/user/refman.itely b/Documentation/user/refman.itely index 018f69c997..dcf971b9c1 100644 --- a/Documentation/user/refman.itely +++ b/Documentation/user/refman.itely @@ -31,7 +31,6 @@ has been revised for LilyPond 1.3.125 @menu * Overview:: -* Music constructs:: * Modifying music:: * Repeats:: * Note entry:: @@ -41,6 +40,7 @@ has been revised for LilyPond 1.3.125 * Piano music:: * Lyrics:: * Chords:: +* Writing parts:: * Page layout:: * Sound:: * Music entry:: @@ -110,133 +110,6 @@ can enter and edit them in manageable chunks. @end itemize -@c . {Music constructs} -@node Music constructs -@section Music constructs -@cindex Music constructs -@menu -* Music expressions:: -* Sequential music:: -* Simultaneous music:: -* Compound music expressions:: -@end menu - -@c . {Music expressions} -@node Music expressions -@subsection Music expressions - -@cindex music expressions - -Music in LilyPond is entered as a music expression. Notes, rests, lyric -syllables are music expressions (the atomic expressions), and you can -combine music expressions to form new ones. This example forms a -compound expressions out of the quarter @code{c} note and a @code{d} -note: - -@example -\sequential @{ c4 d4 @} -@end example - -The meaning of this compound expression is to play the @code{c} -first, and then the @code{d} (as opposed to playing them -simultaneously, for instance). - -@c . {Sequential music} -@node Sequential music -@subsection Sequential music -@cindex Sequential music -@cindex @code{\sequential} -@cindex sequential music - -@example - \sequential @code{@{} @var{musicexprlist} @code{@}} -@end example - -This means that list should be played or written in sequence, i.e., -the second after the first, the third after the second. The duration -of sequential music is the the sum of the durations of the elements. -There is a shorthand, which leaves out the keyword: - -@example -@cindex @code{<} -@cindex @code{>} - - @code{@{} @var{musicexprlist} @code{@}} -@end example - -@c . {Simultaneous music} -@node Simultaneous music -@subsection Simultaneous music -@cindex Simultaneous music -@cindex @code{\simultaneous} - -@example - \simultaneous @code{@{} @var{musicexprlist} @code{@}} -@end example - -It constructs a music expression where all of its arguments start at -the same moment. The duration is the maximum of the durations of the -elements. The following shorthand is a common idiom: - -@example - @code{<} @var{musicexprlist} @code{>} -@end example - -If you try to use a chord as the first thing in your score, you might -get multiple staffs instead of a chord. - -@lilypond[verbatim,center] - \score { - \notes - \paper { - linewidth = -1.; - } - } -@end lilypond - -This happens because the chord is interpreted by a score context. -Each time a note is encountered a default Voice context (along with a -Staff context) is created. The solution is to explicitly instantiate -a Voice context: - -@lilypond[verbatim,center] - \score { - \notes\context Voice - \paper { - linewidth = -1.; - } - } -@end lilypond - -@c . {Compound music expressions} -@node Compound music expressions -@subsection Compound music expressions - -@cindex Compound music expressions - -Music expressions are compound data structures. You can nest music -expressions any way you like. This simple example shows how three -chords can be expressed in two different ways: - -@lilypond[fragment,verbatim,center] - \notes \context Staff { - - < { a b c' } { c' d' e' } > - } - -@end lilypond - -@cindex @code{\context} -@cindex context selection - -@example - \context @var{contexttype} [= @var{contextname}] @var{musicexpr} -@end example - -Interpret @var{musicexpr} within a context of type @var{contexttype}. -If the context does not exist, it will be created. The new context -can optionally be given a name. - @c . {Modifying music} @node Modifying music @@ -250,46 +123,8 @@ Repeated music? Repeating music expressions? @menu -* Transpose:: * Apply:: @end menu -@c . {Transpose} -@node Transpose -@subsection Transpose -@cindex Transpose -@cindex transposition of pitches -@cindex @code{\transpose} - -A music expression can be transposed with @code{\transpose}. The syntax -is -@example - \transpose @var{pitch} @var{musicexpr} -@end example - -This means that middle C in @var{musicexpr} is transposed to -@var{pitch}. - -@code{\transpose} distinguishes between enharmonic pitches: both -@code{\transpose cis'} or @code{\transpose des'} will transpose up half -a tone. The first version will print sharps and the second version -will print flats. - -@quotation -@lilypond[fragment,verbatim] -\context Staff { - \clef "F"; - { \key e \major; c d e f } - \clef "G"; - \transpose des'' { \key e \major; c d e f } - \transpose cis'' { \key e \major; c d e f } -} - -@end lilypond -@end quotation - -If you want to use both @code{\transpose} and @code{\relative}, then -you must use @code{\transpose} first. @code{\relative} will have no -effect music that appears inside a @code{\transpose}. @c . {Apply} @node Apply @@ -458,9 +293,10 @@ command can be Print a |: bar line @item 'stop-repeat Print a :| bar line -@item (volta . #f) @item (volta . @var{text}) Print a volta bracket saying @var{text}. +@item (volta . #f) + Stop a running volta bracket @end table @lilypond[verbatim, fragment] @@ -525,7 +361,6 @@ default argument saves a lot of typing. * Durations:: * Notes:: * Rests:: -* Multi measure rests:: * Skip:: @end menu @@ -741,8 +576,6 @@ question mark `@code{?}' after the pitch. @end lilypond - - @c . {Rests} @node Rests @subsection Rests @@ -754,31 +587,6 @@ There is also a note name duration. -@c . {Multi measure rests} -@node Multi measure rests -@subsection Multi measure rests -@cindex Multi measure rests - -@cindex @code{R} - -[todo: moveme to orchestral-part section?] - -Multi measure rests are entered using `@code{R}'. It is specifically -meant for entering parts: the rest can expand to fill a score with -rests, or it can be printed as a single multimeasure rest This expansion -is controlled by the property @code{Score.skipBars}. If this is set to true, -Lily will not expand empty measures, and the appropriate number is added -automatically. - -@lilypond[fragment,verbatim] - \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4 -@end lilypond - -Currently, there is no way to condense multiple rests into a single -multimeasure rest. - -@cindex condensing rests - @c . {Skip} @node Skip @subsection Skip @@ -1507,7 +1315,6 @@ implemented. * Crescendo and Decrescendo:: * Bar lines:: * Breath marks:: -* Rehearsal marks:: @end menu @@ -1631,7 +1438,7 @@ This is a short-cut for doing @end example You are encouraged to use @code{\repeat} for repetitions. See -@ref{Repeat}, and the documentation of @code{whichBar} in +@ref{Repeats}, and the documentation of @code{whichBar} in @ref{(lilypond-internals)LilyPond context properties}. @@ -1642,20 +1449,6 @@ You are encouraged to use @code{\repeat} for repetitions. See @subsubsection Breath marks @cindex Breath marks -@c . {Rehearsal marks} -@node Rehearsal marks -@subsubsection Rehearsal marks -@cindex Rehearsal marks -@cindex mark -@cindex @code{\mark} - -@example - \mark @var{unsigned}; -@cindex @code{Mark_engraver} - \mark @var{string}; -@end example - -Prints a mark over or under the staff. @c . {Bar check} @@ -1797,12 +1590,6 @@ can be printed automatically. This is enabled if the property @end quotation - - - - - - @c . {Lyrics} @node Lyrics @section Lyrics @@ -2384,7 +2171,105 @@ scheme = \chords { @end lilypond @end quotation +@node Writing parts +@section Writing parts + +@c . {Transpose} +@menu +* Rehearsal marks:: +* Transpose:: +* Multi measure rests:: +@end menu + +[TODO: + +partcombine + +rehearsal marks + +bar numbering + +tranposing midi property. + +] + +@c . {Rehearsal marks} +@node Rehearsal marks +@subsection Rehearsal marks +@cindex Rehearsal marks +@cindex mark +@cindex @code{\mark} + +@example + \mark @var{unsigned}; +@cindex @code{Mark_engraver} + \mark @var{string}; +@end example + +Prints a mark over or under the staff. + +[TODO: automatic increments] + +@node Transpose +@subsection Transpose +@cindex Transpose +@cindex transposition of pitches +@cindex @code{\transpose} + +A music expression can be transposed with @code{\transpose}. The syntax +is +@example + \transpose @var{pitch} @var{musicexpr} +@end example + +This means that middle C in @var{musicexpr} is transposed to +@var{pitch}. + +@code{\transpose} distinguishes between enharmonic pitches: both +@code{\transpose cis'} or @code{\transpose des'} will transpose up half +a tone. The first version will print sharps and the second version +will print flats. + +@quotation +@lilypond[fragment,verbatim] +\context Staff { + \clef "F"; + { \key e \major; c d e f } + \clef "G"; + \transpose des'' { \key e \major; c d e f } + \transpose cis'' { \key e \major; c d e f } +} + +@end lilypond +@end quotation + +If you want to use both @code{\transpose} and @code{\relative}, then +you must use @code{\transpose} first. @code{\relative} will have no +effect music that appears inside a @code{\transpose}. + + +@c . {Multi measure rests} +@node Multi measure rests +@subsection Multi measure rests +@cindex Multi measure rests + +@cindex @code{R} + +Multi measure rests are entered using `@code{R}'. It is specifically +meant for entering parts: the rest can expand to fill a score with +rests, or it can be printed as a single multimeasure rest This expansion +is controlled by the property @code{Score.skipBars}. If this is set to true, +Lily will not expand empty measures, and the appropriate number is added +automatically. + +@lilypond[fragment,verbatim] + \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4 +@end lilypond +Currently, there is no way to condense multiple rests into a single +multimeasure rest. + +@cindex condensing rests @c . {Page layout} @@ -2802,11 +2687,27 @@ relative within transposed music, you must place an additional @section Engravers @cindex engravers @menu +* Selecting contexts:: * Context definitions:: * Notation Contexts:: @end menu -[rewrite this entirely] +@c . {Music expressions} +@node Selecting contexts +@subsection Selecting contexts + +@cindex @code{\context} +@cindex context selection + +@example + \context @var{contexttype} [= @var{contextname}] @var{musicexpr} +@end example + +Interpret @var{musicexpr} within a context of type @var{contexttype}. +If the context does not exist, it will be created. The new context +can optionally be given a name. + + @c . {Context definitions} @node Context definitions @@ -3144,6 +3045,7 @@ called @emph{performers}. @menu * Top level:: * Identifiers:: +* Music expressions:: * Assignments:: * Lexical details:: * Lexical modes:: @@ -3252,6 +3154,93 @@ not yet user accessible. @end itemize +@node Music expressions +@subsection Music expressions + +@cindex music expressions + +Music in LilyPond is entered as a music expression. Notes, rests, lyric +syllables are music expressions, and you can combine music expressions +to form new ones, for example by enclosing a list of expressions in +@code{\sequential @{ @}} or @code{< >}. In this example, a compound +expression is formed out of the quarter note @code{c} and a quarter note +@code{d}: + +@example +\sequential @{ c4 d4 @} +@end example + +@cindex Sequential music +@cindex @code{\sequential} +@cindex sequential music +@cindex @code{<} +@cindex @code{>} +@cindex Simultaneous music +@cindex @code{\simultaneous} + +The two basic compound music expressions are simultaneous and +sequential music. + +@example + \sequential @code{@{} @var{musicexprlist} @code{@}} + \simultaneous @code{@{} @var{musicexprlist} @code{@}} +@end example +For both, there is a shorthand: +@example + @code{@{} @var{musicexprlist} @code{@}} +@end example +for sequential and +@example + @code{<} @var{musicexprlist} @code{>} +@end example +for simultaneous music. +Other compound music expressions include +@example + \repeat @var{expr} + \transpose @var{pitch} @var{expr} + \apply @var{func} @var{expr} + \context @var{type} = @var{id} @var{expr} + \times @var{fraction} @var{expr} +@end example + +In principle, the way in which you nest sequential and simultaneous to +produce music is not relevant. In the following example, three chords +are expressed in two different ways: + +@lilypond[fragment,verbatim,center] + \notes \context Voice { + + < { a b c' } { c' d' e' } > + } +@end lilypond + +However, in some cases, LilyPond will also try to choose contexts, and +use the structure of the music expression to do so. This can have +undesired effects: for example, LilyPond will create a separate staff +for each note if you start a @code{\score} with a chord: +@lilypond[verbatim,center] + \score { + \notes + \paper { + linewidth = -1.; + } + } +@end lilypond + The solution is to explicitly instantiate the context you desire. +In this case this is typically a Voice context +@lilypond[verbatim,center] + \score { + \notes\context Voice + \paper { + linewidth = -1.; + } + } +@end lilypond +If you use @code{\context Staff} you will get separate stems for each +note head, leading to collisions, so don't use that. + + + @c . {Assignments} @node Assignments @subsection Assignments -- 2.39.5