From 3ce2f5db132c32fac2566dfb1892fecfd3c2db13 Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Tue, 2 Oct 2007 17:18:42 -0700 Subject: [PATCH] More linewidth re-wrapping. --- Documentation/user/educational.itely | 195 ++++++++-------- Documentation/user/expressive.itely | 192 ++++++++-------- Documentation/user/repeats.itely | 110 ++++----- Documentation/user/staff.itely | 247 ++++++++++---------- Documentation/user/text.itely | 323 ++++++++++++++------------- 5 files changed, 564 insertions(+), 503 deletions(-) diff --git a/Documentation/user/educational.itely b/Documentation/user/educational.itely index a3fce19362..9a7f5c68f3 100644 --- a/Documentation/user/educational.itely +++ b/Documentation/user/educational.itely @@ -34,8 +34,8 @@ @cindex easy notation @cindex Hal Leonard -The @q{easy play} note head includes a note name inside the head. It is -used in music for beginners +The @q{easy play} note head includes a note name inside the head. +It is used in music for beginners @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26] \setEasyHeads @@ -43,9 +43,9 @@ used in music for beginners @end lilypond The command @code{\setEasyHeads} overrides settings for the -@internalsref{NoteHead} object. To make the letters readable, it has -to be printed in a large font size. To print with a larger font, see -@ref{Setting the staff size}. +@internalsref{NoteHead} object. To make the letters readable, it +has to be printed in a large font size. To print with a larger +font, see @ref{Setting the staff size}. @refcommands @@ -58,9 +58,9 @@ to be printed in a large font size. To print with a larger font, see @cindex note heads, shape -In shape note head notation, the shape of the note head corresponds -to the harmonic function of a note in the scale. This notation was -popular in the 19th century American song books. +In shape note head notation, the shape of the note head +corresponds to the harmonic function of a note in the scale. This +notation was popular in the 19th century American song books. Shape note heads can be produced by setting @code{\aikenHeads} or @code{\sacredHarpHeads}, depending on the style desired. @@ -72,32 +72,33 @@ Shape note heads can be produced by setting @code{\aikenHeads} or c8 d4. e8 a2 g1 @end lilypond -Shapes are determined on the step in the scale, where the base of the -scale is determined by the @code{\key} command +Shapes are determined on the step in the scale, where the base of +the scale is determined by the @code{\key} command @funindex \key @funindex shapeNoteStyles @funindex \aikenHeads @funindex \sacredHarpHeads -Shape note heads are implemented through the @code{shapeNoteStyles} -property. Its value is a vector of symbols. The k-th element indicates -the style to use for the k-th step of the scale. Arbitrary -combinations are possible, e.g. +Shape note heads are implemented through the +@code{shapeNoteStyles} property. Its value is a vector of +symbols. The k-th element indicates the style to use for the k-th +step of the scale. Arbitrary combinations are possible, e.g. @lilypond[verbatim,relative=1,fragment] - \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond) - c8 d4. e8 a2 g1 +\set shapeNoteStyles = + ##(cross triangle fa #f mensural xcircle diamond) +c8 d4. e8 a2 g1 @end lilypond @node Improvisation @unnumberedsubsubsec Improvisation -Improvisation is sometimes denoted with slashed note heads. Such note -heads can be created by adding a @internalsref{Pitch_squash_engraver} -to the @internalsref{Voice} context. Then, the -following command +Improvisation is sometimes denoted with slashed note heads. Such +note heads can be created by adding a +@internalsref{Pitch_squash_engraver} to the @internalsref{Voice} +context. Then, the following command @example \set squashedPosition = #0 @@ -108,8 +109,8 @@ following command switches on the slashes. There are shortcuts @code{\improvisationOn} (and an accompanying -@code{\improvisationOff}) for this command sequence. They are used in -the following example +@code{\improvisationOff}) for this command sequence. They are +used in the following example @lilypond[verbatim,ragged-right,quote] \new Voice \with { @@ -129,10 +130,11 @@ the following example @cindex note heads, special Different noteheads are used by various instruments for various -meanings -- crosses are used for @q{parlato} with vocalists, stopped -notes on guitar; diamonds are used for harmonics on string instruments, -etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the -other notehead styles are produced by tweaking the property +meanings -- crosses are used for @q{parlato} with vocalists, +stopped notes on guitar; diamonds are used for harmonics on string +instruments, etc. There is a shorthand (@code{\harmonic}) for +diamond shapes; the other notehead styles are produced by tweaking +the property @lilypond[ragged-right,relative=1,fragment,verbatim,quote] c4 d @@ -143,8 +145,7 @@ e d @end lilypond @noindent -To see all notehead styles, please see -@ref{Note head styles}. +To see all notehead styles, please see @ref{Note head styles}. @seealso @@ -186,14 +187,14 @@ It does not change the size of variable symbols, such as beams or slurs. Internally, the @code{fontSize} context property will cause the -@code{font-size} property to be set in all layout objects. The value -of @code{font-size} is a number indicating the size relative to the -standard size for the current staff height. Each step up is an -increase of approximately 12% of the font size. Six steps is exactly a -factor two. The Scheme function @code{magstep} converts a -@code{font-size} number to a scaling factor. The @code{font-size} -property can also be set directly, so that only certain layout objects are -affected. +@code{font-size} property to be set in all layout objects. The +value of @code{font-size} is a number indicating the size relative +to the standard size for the current staff height. Each step up +is an increase of approximately 12% of the font size. Six steps +is exactly a factor two. The Scheme function @code{magstep} +converts a @code{font-size} number to a scaling factor. The +@code{font-size} property can also be set directly, so that only +certain layout objects are affected. @lilypond[quote,fragment,relative=1,verbatim] c8 @@ -205,11 +206,11 @@ g Font size changes are achieved by scaling the design size that is closest to the desired size. The standard font size (for -@code{font-size} equals 0), depends on the standard staff height. For -a 20pt staff, a 10pt font is selected. +@code{font-size} equals 0), depends on the standard staff height. +For a 20pt staff, a 10pt font is selected. -The @code{font-size} property can only be set on layout objects that -use fonts. These are the ones supporting the +The @code{font-size} property can only be set on layout objects +that use fonts. These are the ones supporting the @internalsref{font-interface} layout interface. @refcommands @@ -231,9 +232,11 @@ The following commands set @code{fontSize} for the current voice: @cindex finger change Fingering instructions can be entered using + @example @var{note}-@var{digit} @end example + For finger changes, use markup texts @lilypond[quote,verbatim,ragged-right,fragment,relative=1] @@ -243,12 +246,14 @@ c^\markup { \finger "2 - 3" } You can use the thumb-script to indicate that a note should be played with the thumb (e.g., in cello music) + @lilypond[quote,verbatim,ragged-right,fragment,relative=2] 8 @end lilypond -Fingerings for chords can also be added to individual notes -of the chord by adding them after the pitches +Fingerings for chords can also be added to individual notes of the +chord by adding them after the pitches + @lilypond[quote,verbatim,ragged-right,fragment,relative=2] < c-1 e-2 g-3 b-5 >4 @end lilypond @@ -256,8 +261,8 @@ of the chord by adding them after the pitches @commonprop -You may exercise greater control over fingering chords by -setting @code{fingeringOrientations} +You may exercise greater control over fingering chords by setting +@code{fingeringOrientations} @lilypond[quote,verbatim,ragged-right,fragment,relative=1] \set fingeringOrientations = #'(left down) @@ -266,8 +271,8 @@ setting @code{fingeringOrientations} 4 @end lilypond -Using this feature, it is also possible to put fingering instructions -very close to note heads in monophonic music, +Using this feature, it is also possible to put fingering +instructions very close to note heads in monophonic music, @lilypond[verbatim,ragged-right,quote,fragment] \set fingeringOrientations = #'(right) @@ -292,8 +297,9 @@ Examples: @lsr{expressive,fingering-chords.ly} @funindex \hideNotes @funindex \unHideNotes -Hidden (or invisible or transparent) notes can be useful in preparing theory -or composition exercises. + +Hidden (or invisible or transparent) notes can be useful in +preparing theory or composition exercises. @lilypond[quote,ragged-right,verbatim,relative=2,fragment] c4 d4 @@ -307,8 +313,8 @@ g4 a @node Coloring objects @unnumberedsubsubsec Coloring objects -Individual objects may be assigned colors. You may use the -color names listed in the @ref{List of colors}. +Individual objects may be assigned colors. You may use the color +names listed in the @ref{List of colors}. @lilypond[quote,ragged-right,verbatim,fragment,relative=1] \override NoteHead #'color = #red @@ -319,9 +325,9 @@ d e @end lilypond -The full range of colors defined for X11 can be accessed by using the -Scheme function x11-color. The function takes one argument that can be a -symbol +The full range of colors defined for X11 can be accessed by using +the Scheme function x11-color. The function takes one argument +that can be a symbol @example \override Beam #'color = #(x11-color 'MediumTurquoise) @@ -333,21 +339,21 @@ or a string \override Beam #'color = #(x11-color "MediumTurquoise") @end example -The first form is quicker to write and is more efficient. However, using -the second form it is possible to access X11 colors by the multi-word -form of its name +The first form is quicker to write and is more efficient. +However, using the second form it is possible to access X11 colors +by the multi-word form of its name @example \override Beam #'color = #(x11-color "medium turquoise") @end example -If x11-color cannot make sense of the parameter then the color returned -defaults to black. It should be obvious from the final score that -something is wrong. +If x11-color cannot make sense of the parameter then the color +returned defaults to black. It should be obvious from the final +score that something is wrong. -This example illustrates the use of x11-color. Notice that the stem -color remains black after being set to (x11-color 'Boggle), which is -deliberate nonsense. +This example illustrates the use of x11-color. Notice that the +stem color remains black after being set to (x11-color 'Boggle), +which is deliberate nonsense. @lilypond[quote,ragged-right,verbatim] { @@ -373,11 +379,11 @@ Appendix: @ref{List of colors}. @refbugs -Not all x11 colors are distinguishable in a web browser. For web use -normal colors are recommended. +Not all x11 colors are distinguishable in a web browser. For web +use normal colors are recommended. -An x11 color is not necessarily exactly the same shade as a similarly -named normal color. +An x11 color is not necessarily exactly the same shade as a +similarly named normal color. Notes in a chord cannot be colored with @code{\override}; use @code{\tweak} instead. See @ref{Objects connected to the input}, @@ -391,8 +397,8 @@ for details. @cindex notes, ghost @cindex notes, parenthesized -Objects may be parenthesized by prefixing @code{\parenthesize} to the music -event, +Objects may be parenthesized by prefixing @code{\parenthesize} to +the music event, @lilypond[relative=2,fragment,verbatim,ragged-right] < @@ -413,16 +419,17 @@ This only functions inside chords, even for single notes @unnumberedsubsubsec Ambitus @cindex ambitus -The term @emph{ambitus} denotes a range of pitches for a given voice -in a part of music. It may also denote the pitch range that a musical -instrument is capable of playing. Ambits are printed on vocal parts, -so performers can easily determine it meets their capabilities. +The term @emph{ambitus} denotes a range of pitches for a given +voice in a part of music. It may also denote the pitch range that +a musical instrument is capable of playing. Ambits are printed on +vocal parts, so performers can easily determine it meets their +capabilities. -Ambits are denoted at the beginning of a piece near the initial clef. -The range is graphically specified by two note heads that represent the -minimum and maximum pitch. To print such ambits, add the -@internalsref{Ambitus_engraver} to the @internalsref{Voice} context, -for example, +Ambits are denoted at the beginning of a piece near the initial +clef. The range is graphically specified by two note heads that +represent the minimum and maximum pitch. To print such ambits, +add the @internalsref{Ambitus_engraver} to the +@internalsref{Voice} context, for example, @example \layout @{ @@ -448,10 +455,11 @@ This results in the following output } @end lilypond -If you have multiple voices in a single staff and you want a single -ambitus per staff rather than per each voice, add the -@internalsref{Ambitus_engraver} to the @internalsref{Staff} context -rather than to the @internalsref{Voice} context. Here is an example, +If you have multiple voices in a single staff and you want a +single ambitus per staff rather than per each voice, add the +@internalsref{Ambitus_engraver} to the @internalsref{Staff} +context rather than to the @internalsref{Voice} context. Here is +an example, @lilypond[verbatim,ragged-right,quote] \new Staff \with { @@ -482,9 +490,9 @@ This example uses one advanced feature, @end example @noindent -This code moves the ambitus to the left. The same effect could have -been achieved with @code{extra-offset}, but then the formatting system -would not reserve space for the moved object. +This code moves the ambitus to the left. The same effect could +have been achieved with @code{extra-offset}, but then the +formatting system would not reserve space for the moved object. @seealso @@ -505,8 +513,8 @@ ambitus. @unnumberedsubsubsec Stems Whenever a note is found, a @internalsref{Stem} object is created -automatically. For whole notes and rests, they are also created but -made invisible. +automatically. For whole notes and rests, they are also created +but made invisible. @refcommands @@ -544,8 +552,9 @@ a4 b c b @node Balloon help @unnumberedsubsubsec Balloon help -Elements of notation can be marked and named with the help of a square -balloon. The primary purpose of this feature is to explain notation. +Elements of notation can be marked and named with the help of a +square balloon. The primary purpose of this feature is to explain +notation. The following example demonstrates its use. @@ -560,7 +569,7 @@ The following example demonstrates its use. @noindent There are two music functions, @code{balloonText} and @code{balloonGrobText}. The latter takes the name of the grob to -adorn, while the former may be used as an articulation on a note. +adorn, while the former may be used as an articulation on a note. The other arguments are the offset and the text of the label. @cindex balloon @@ -574,8 +583,8 @@ Program reference: @internalsref{text-balloon-interface}. @node Grid lines @unnumberedsubsubsec Grid lines -Vertical lines can be drawn between staves synchronized with -the notes. +Vertical lines can be drawn between staves synchronized with the +notes. @lilypond[ragged-right,quote,verbatim] \layout { @@ -620,8 +629,8 @@ Examples: @lsrdir{education} @cindex Sheet music, empty @cindex Staves, blank sheet -A blank music sheet can be produced also by using invisible notes, and -removing @code{Bar_number_engraver}. +A blank music sheet can be produced also by using invisible notes, +and removing @code{Bar_number_engraver}. @lilypond[quote,verbatim] diff --git a/Documentation/user/expressive.itely b/Documentation/user/expressive.itely index 0d5a2a9646..15e945eecd 100644 --- a/Documentation/user/expressive.itely +++ b/Documentation/user/expressive.itely @@ -105,13 +105,14 @@ c\fermata c^\fermata c_\fermata @commonprop The vertical ordering of scripts is controlled with the -@code{script-priority} property. The lower this number, the closer it -will be put to the note. In this example, the +@code{script-priority} property. The lower this number, the +closer it will be put to the note. In this example, the @internalsref{TextScript} (the sharp symbol) first has the lowest -priority, so it is put lowest in the first example. In the second, the -prall trill (the @internalsref{Script}) has the lowest, so it is on the -inside. When two objects have the same priority, the order in which -they are entered decides which one comes first. +priority, so it is put lowest in the first example. In the +second, the prall trill (the @internalsref{Script}) has the +lowest, so it is on the inside. When two objects have the same +priority, the order in which they are entered decides which one +comes first. @lilypond[verbatim,relative=3,ragged-right,fragment,quote] \once \override TextScript #'script-priority = #-100 @@ -157,10 +158,10 @@ MIDI rendering of the music. Absolute dynamic marks are specified using a command after a note @code{c4\ff}. The available dynamic marks are @code{\ppppp}, -@code{\pppp}, @code{\ppp}, -@code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff}, -@code{\fff}, @code{\ffff}, @code{\fp}, @code{\sf}, @code{\sff}, -@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}. +@code{\pppp}, @code{\ppp}, @code{\pp}, @code{\p}, @code{\mp}, +@code{\mf}, @code{\f}, @code{\ff}, @code{\fff}, @code{\ffff}, +@code{\fp}, @code{\sf}, @code{\sff}, @code{\sp}, @code{\spp}, +@code{\sfz}, and @code{\rfz}. @lilypond[quote,verbatim,ragged-right,fragment,relative=2] c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff @@ -175,8 +176,9 @@ A crescendo mark is started with @code{\<} and terminated with @code{\!} or an absolute dynamic. A decrescendo is started with @code{\>} and is also terminated with @code{\!} or an absolute dynamic. @code{\cr} and @code{\decr} may be used instead of -@code{\<} and @code{\>}. Because these marks are bound to notes, you must -use spacer notes if multiple marks are needed during one note +@code{\<} and @code{\>}. Because these marks are bound to notes, +you must use spacer notes if multiple marks are needed during one +note @lilypond[quote,ragged-right,fragment,verbatim,relative=2] c\< c\! d\> e\! @@ -185,8 +187,8 @@ c\< c\! d\> e\! @noindent A hairpin normally starts at the left edge of the beginning note -and ends on the right edge of the ending note. If the ending -note falls on the downbeat, the hairpin ends on the immediately +and ends on the right edge of the ending note. If the ending note +falls on the downbeat, the hairpin ends on the immediately preceding barline. This may be modified by setting the @code{hairpinToBarline} property, @@ -195,15 +197,16 @@ preceding barline. This may be modified by setting the c4\< c2. c4\! @end lilypond -In some situations the @code{\espressivo} articulation mark may -be suitable to indicate a crescendo and decrescendo on the one note, +In some situations the @code{\espressivo} articulation mark may be +suitable to indicate a crescendo and decrescendo on the one note, @lilypond[quote,ragged-right,fragment,verbatim,relative=2] c2 b4 a g1\espressivo @end lilypond -This may give rise to very short hairpins. Use @code{minimum-length} -in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for +This may give rise to very short hairpins. Use +@code{minimum-length} in +@internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for example @example @@ -247,8 +250,8 @@ You can also supply your own texts a'2\< a a a\!\mf @end lilypond -To create new dynamic marks or text that should be aligned -with dynamics, see @ref{New dynamic marks}. +To create new dynamic marks or text that should be aligned with +dynamics, see @ref{New dynamic marks}. Vertical positioning of dynamics is handled by @internalsref{DynamicLineSpanner}. @@ -256,28 +259,28 @@ Vertical positioning of dynamics is handled by @commonprop -Dynamics that occur at, begin on, or end on, the same note -will be vertically aligned. If you want to ensure that dynamics -are aligned when they do not occur on the same note, you can -increase the @code{staff-padding} property. +Dynamics that occur at, begin on, or end on, the same note will be +vertically aligned. If you want to ensure that dynamics are +aligned when they do not occur on the same note, you can increase +the @code{staff-padding} property. @example \override DynamicLineSpanner #'staff-padding = #4 @end example -You may also use this property if the dynamics are colliding -with other notation. +You may also use this property if the dynamics are colliding with +other notation. -Crescendi and decrescendi that end on the first note of a -new line are not printed. To change this behavior, use +Crescendi and decrescendi that end on the first note of a new line +are not printed. To change this behavior, use @example \override Score.Hairpin #'after-line-breaking = ##t @end example Text style dynamic changes (such as @emph{cresc.} and @emph{dim.}) -are printed with a -dashed line showing their extent. To surpress printing this line, use +are printed with a dashed line showing their extent. To surpress +printing this line, use @example \override DynamicTextSpanner #'dash-period = #-1.0 @@ -296,9 +299,9 @@ dashed line showing their extent. To surpress printing this line, use @seealso -Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}. -Vertical positioning of these symbols is handled by -@internalsref{DynamicLineSpanner}. +Program reference: @internalsref{DynamicText}, +@internalsref{Hairpin}. Vertical positioning of these symbols is +handled by @internalsref{DynamicLineSpanner}. @node Curves @@ -319,35 +322,38 @@ Vertical positioning of these symbols is handled by @cindex tie @funindex ~ -A tie connects two adjacent note heads of the same pitch. The tie in -effect extends the length of a note. Ties should not be confused with -slurs, which indicate articulation, or phrasing slurs, which indicate -musical phrasing. A tie is entered using the tilde symbol @samp{~} +A tie connects two adjacent note heads of the same pitch. The tie +in effect extends the length of a note. Ties should not be +confused with slurs, which indicate articulation, or phrasing +slurs, which indicate musical phrasing. A tie is entered using +the tilde symbol @samp{~} @lilypond[quote,ragged-right,fragment,verbatim] e' ~ e' ~ @end lilypond -When a tie is applied to a chord, all note heads whose pitches match -are connected. When no note heads match, no ties will be created. Chords -may be partially tied by placing the tie inside the chord, +When a tie is applied to a chord, all note heads whose pitches +match are connected. When no note heads match, no ties will be +created. Chords may be partially tied by placing the tie inside +the chord, @lilypond[quote,ragged-right,fragment,verbatim,relative=1] @end lilypond A tie is just a way of extending a note duration, similar to the -augmentation dot. The following example shows two ways of notating -exactly the same concept +augmentation dot. The following example shows two ways of +notating exactly the same concept @lilypond[quote,fragment,ragged-right] \time 3/4 c'2. c'2 ~ c'4 @end lilypond @noindent -Ties are used either when the note crosses a bar line, or when dots -cannot be used to denote the rhythm. When using ties, larger note -values should be aligned to subdivisions of the measure, such as +Ties are used either when the note crosses a bar line, or when +dots cannot be used to denote the rhythm. When using ties, larger +note values should be aligned to subdivisions of the measure, such +as @lilypond[fragment,quote,ragged-right] \relative { @@ -355,15 +361,16 @@ values should be aligned to subdivisions of the measure, such as } @end lilypond -If you need to tie a lot of notes over bars, it may be easier to use -automatic note splitting (see @ref{Automatic note splitting}). This -mechanism automatically splits long notes, and ties them across bar -lines. +If you need to tie a lot of notes over bars, it may be easier to +use automatic note splitting (see @ref{Automatic note splitting}). +This mechanism automatically splits long notes, and ties them +across bar lines. @funindex \repeatTie When a second alternative of a repeat starts with a tied note, you -have to repeat the tie. This can be achieved with @code{\repeatTie}, +have to repeat the tie. This can be achieved with +@code{\repeatTie}, @lilypond[fragment,quote,ragged-right,relative=2] r \repeatTie @@ -374,10 +381,11 @@ r \repeatTie @commonprop -Ties are sometimes used to write out arpeggios. In this case, two tied -notes need not be consecutive. This can be achieved by setting the -@code{tieWaitForNote} property to true. The same feature is also useful, -for example, to tie a tremolo to a chord. For example, +Ties are sometimes used to write out arpeggios. In this case, two +tied notes need not be consecutive. This can be achieved by +setting the @code{tieWaitForNote} property to true. The same +feature is also useful, for example, to tie a tremolo to a chord. +For example, @lilypond[fragment,verbatim,relative=1,ragged-right,quote] \set tieWaitForNote = ##t @@ -386,10 +394,10 @@ for example, to tie a tremolo to a chord. For example, e8~ c~ a~ f~ 2 @end lilypond -Ties may be engraved manually by changing the @code{tie-configuration} -property. The first number indicates the distance from the center -of the staff in staff-spaces, and the second number indicates the -direction (1=up, -1=down). +Ties may be engraved manually by changing the +@code{tie-configuration} property. The first number indicates the +distance from the center of the staff in staff-spaces, and the +second number indicates the direction (1=up, -1=down). @lilypond[fragment,verbatim,relative=1,ragged-right,quote] 2~ | @@ -425,7 +433,8 @@ Program reference: @internalsref{Tie}. @refbugs -Switching staves when a tie is active will not produce a slanted tie. +Switching staves when a tie is active will not produce a slanted +tie. Changing clefs or octavations during a tie is not really well-defined. In these cases, a slur may be preferable. @@ -445,8 +454,8 @@ f( g a) a8 b( a4 g2 f4) @end lilypond The direction of a slur can be specified with -@code{\slur@emph{DIR}}, where @code{@emph{DIR}} is -either @code{Up}, @code{Down}, or @code{Neutral} (automatically +@code{\slur@emph{DIR}}, where @code{@emph{DIR}} is either +@code{Up}, @code{Down}, or @code{Neutral} (automatically selected). However, there is a convenient shorthand for forcing slur @@ -463,8 +472,8 @@ slur over a few small slurs, please see @ref{Phrasing slurs}. @commonprop -Some composers write two slurs when they want legato chords. This can -be achieved in LilyPond by setting @code{doubleSlurs}, +Some composers write two slurs when they want legato chords. This +can be achieved in LilyPond by setting @code{doubleSlurs}, @lilypond[verbatim,ragged-right,relative,fragment,quote] \set doubleSlurs = ##t @@ -499,8 +508,8 @@ Program reference: @internalsref{Slur}. @cindex phrasing marks A phrasing slur (or phrasing mark) connects notes and is used to -indicate a musical sentence. It is written using @code{\(} and @code{\)} -respectively +indicate a musical sentence. It is written using @code{\(} and +@code{\)} respectively @lilypond[quote,ragged-right,fragment,verbatim,relative=1] \time 6/4 c'\( d( e) f( e) d\) @@ -508,8 +517,8 @@ respectively Typographically, the phrasing slur behaves almost exactly like a normal slur. However, they are treated as different objects. A -@code{\slurUp} will have no effect on a phrasing slur; instead, use -@code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and +@code{\slurUp} will have no effect on a phrasing slur; instead, +use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and @code{\phrasingSlurNeutral}. You cannot have simultaneous phrasing slurs. @@ -535,9 +544,10 @@ Program reference: @internalsref{PhrasingSlur}. @cindex Laissez vibrer @cindex Ties, laissez vibrer -L.v. ties (laissez vibrer) indicate that notes must not be damped at the -end. It is used in notation for piano, harp and other string and -percussion instruments. They can be entered using @code{\laissezVibrer}, +L.v. ties (laissez vibrer) indicate that notes must not be damped +at the end. It is used in notation for piano, harp and other +string and percussion instruments. They can be entered using +@code{\laissezVibrer}, @lilypond[fragment,ragged-right,verbatim,relative=1] \laissezVibrer @@ -566,8 +576,9 @@ c'4 \breathe d4 @commonprop The glyph of the breath mark can be tuned by overriding the -@code{text} property of the @code{BreathingSign} layout object with -any markup text. For example, +@code{text} property of the @code{BreathingSign} layout object +with any markup text. For example, + @lilypond[quote,ragged-right,fragment,verbatim,relative=1] c'4 \override BreathingSign #'text @@ -612,8 +623,8 @@ c4-\bendAfter #-3 @cindex Glissando @funindex \glissando -A glissando is a smooth change in pitch. It is denoted by a line or a -wavy line between two notes. It is requested by attaching +A glissando is a smooth change in pitch. It is denoted by a line +or a wavy line between two notes. It is requested by attaching @code{\glissando} to a note @lilypond[quote,ragged-right,fragment,relative=2,verbatim] @@ -646,7 +657,8 @@ Example files: @refbugs -Printing text over the line (such as @emph{gliss.}) is not supported. +Printing text over the line (such as @emph{gliss.}) is not +supported. @node Arpeggio @@ -686,8 +698,8 @@ arrowhead to the wiggly line @commonprop -When an arpeggio crosses staves, you may attach an arpeggio to the chords -in both staves and set +When an arpeggio crosses staves, you may attach an arpeggio to the +chords in both staves and set @internalsref{PianoStaff}.@code{connectArpeggios} @lilypond[quote,ragged-right,fragment,relative=1,verbatim] @@ -724,13 +736,15 @@ Program reference: @internalsref{Arpeggio}. @refbugs It is not possible to mix connected arpeggios and unconnected -arpeggios in one @internalsref{PianoStaff} at the same point in time. +arpeggios in one @internalsref{PianoStaff} at the same point in +time. @node Trills @unnumberedsubsubsec Trills -Short trills are printed like normal articulation; see @ref{Articulations}. +Short trills are printed like normal articulation; see +@ref{Articulations}. Long running trills are made with @code{\startTrillSpan} and @code{\stopTrillSpan}, @@ -744,8 +758,8 @@ Long running trills are made with @code{\startTrillSpan} and @cindex Pitched trills -Trills that should be executed on an explicitly specified pitch can be -typeset with the command @code{pitchedTrill}, +Trills that should be executed on an explicitly specified pitch +can be typeset with the command @code{pitchedTrill}, @lilypond[ragged-right,verbatim,fragment,relative=1,quote] \pitchedTrill c4\startTrillSpan fis @@ -753,8 +767,8 @@ f\stopTrillSpan @end lilypond @noindent -The first argument is the main note. The pitch of the second -is printed as a stemless note head in parentheses. +The first argument is the main note. The pitch of the second is +printed as a stemless note head in parentheses. @refcommands @@ -772,16 +786,18 @@ Program reference: @internalsref{TrillSpanner}. @node Analysis brackets @unnumberedsubsubsec Analysis brackets + @cindex brackets @cindex phrasing brackets @cindex musicological analysis @cindex note grouping bracket -Brackets are used in musical analysis to indicate structure in musical -pieces. LilyPond supports a simple form of nested horizontal -brackets. To use this, add the @internalsref{Horizontal_bracket_engraver} -to @internalsref{Staff} context. A bracket is started with -@code{\startGroup} and closed with @code{\stopGroup} +Brackets are used in musical analysis to indicate structure in +musical pieces. LilyPond supports a simple form of nested +horizontal brackets. To use this, add the +@internalsref{Horizontal_bracket_engraver} to @internalsref{Staff} +context. A bracket is started with @code{\startGroup} and closed +with @code{\stopGroup} @lilypond[quote,ragged-right,verbatim] \score { diff --git a/Documentation/user/repeats.itely b/Documentation/user/repeats.itely index 77fe6b9ca6..4c9ac133f3 100644 --- a/Documentation/user/repeats.itely +++ b/Documentation/user/repeats.itely @@ -9,8 +9,8 @@ @node Repeats @section Repeats -Repetition is a central concept in music, and multiple notations exist -for repetitions. +Repetition is a central concept in music, and multiple notations +exist for repetitions. @menu * Writing repeats:: @@ -81,9 +81,9 @@ c1 \alternative { {f2 d} {f\repeatTie f,} } @end lilypond -It is possible to shorten volta brackets -by setting @code{voltaSpannerDuration}. In the next example, the -bracket only lasts one measure, which is a duration of 3/4. +It is possible to shorten volta brackets by setting +@code{voltaSpannerDuration}. In the next example, the bracket +only lasts one measure, which is a duration of 3/4. @lilypond[verbatim,ragged-right,quote] \relative c''{ @@ -96,8 +96,8 @@ bracket only lasts one measure, which is a duration of 3/4. } @end lilypond -If you want to start a repeat at the beginning of a line and have a -double bar at the end of the previous line, use +If you want to start a repeat at the beginning of a line and have +a double bar at the end of the previous line, use @example @dots{} \bar "||:" \break @@ -140,10 +140,11 @@ is ambiguous, since it is is not clear to which @code{\repeat} the having the @code{\alternative} belong to the inner @code{\repeat}. For clarity, it is advisable to use braces in such situations. -Timing information is not remembered at the start of an alternative, -so after a repeat timing information must be reset by hand; for -example, by setting @code{Score.measurePosition} or entering -@code{\partial}. Similarly, slurs or ties are also not repeated. +Timing information is not remembered at the start of an +alternative, so after a repeat timing information must be reset by +hand; for example, by setting @code{Score.measurePosition} or +entering @code{\partial}. Similarly, slurs or ties are also not +repeated. @@ -152,8 +153,8 @@ example, by setting @code{Score.measurePosition} or entering @cindex repeats -LilyPond has one syntactic construct for specifying different types of -repeats. The syntax is +LilyPond has one syntactic construct for specifying different +types of repeats. The syntax is @example \repeat @var{variant} @var{repeatcount} @var{repeatbody} @@ -172,8 +173,8 @@ If you have alternative endings, you may add @noindent where each @var{alternative} is a music expression. If you do not -give enough alternatives for all of the repeats, the first alternative -is assumed to be played more than once. +give enough alternatives for all of the repeats, the first +alternative is assumed to be played more than once. The following types of repetition are supported @@ -185,18 +186,19 @@ is included in MIDI output. @item volta Repeats are not written out, but alternative endings (volte) are -printed, left to right with brackets. This is the standard notation -for repeats with alternatives. These are not played in MIDI output by -default. +printed, left to right with brackets. This is the standard +notation for repeats with alternatives. These are not played in +MIDI output by default. @item tremolo -Make tremolo beams. These are not played in MIDI output by default. +Make tremolo beams. These are not played in MIDI output by +default. @item percent -Make beat or measure repeats. These look like percent signs. These -are not played in MIDI output by default. Percent repeats must be -declared within a @code{Voice} context. +Make beat or measure repeats. These look like percent signs. +These are not played in MIDI output by default. Percent repeats +must be declared within a @code{Voice} context. @end table @@ -206,8 +208,8 @@ declared within a @code{Voice} context. @funindex repeatCommands -The property @code{repeatCommands} can be used to control the layout of -repeats. Its value is a Scheme list of repeat commands. +The property @code{repeatCommands} can be used to control the +layout of repeats. Its value is a Scheme list of repeat commands. @table @asis @item @code{start-repeat} @@ -217,10 +219,10 @@ Print a @code{|:} bar line. Print a @code{:|} bar line. @item @code{(volta @var{text})} -Print a volta bracket saying @var{text}: The text can be specified as -a text string or as a markup text, see @ref{Text markup}. Do not -forget to change the font, as the default number font does not contain -alphabetic characters; +Print a volta bracket saying @var{text}: The text can be specified +as a text string or as a markup text, see @ref{Text markup}. Do +not forget to change the font, as the default number font does not +contain alphabetic characters; @item @code{(volta #f)} Stop a running volta bracket. @@ -238,9 +240,8 @@ c4 c4 @seealso Program reference: @internalsref{VoltaBracket}, -@internalsref{RepeatedMusic}, -@internalsref{VoltaRepeatedMusic}, and -@internalsref{UnfoldedRepeatedMusic}. +@internalsref{RepeatedMusic}, @internalsref{VoltaRepeatedMusic}, +and @internalsref{UnfoldedRepeatedMusic}. @node Repeats and MIDI @unnumberedsubsubsec Repeats and MIDI @@ -267,9 +268,9 @@ repeats to unfold repeats. @end lilypond When creating a score file using @code{\unfoldRepeats} for MIDI, -it is necessary to make two @code{\score} blocks: one for MIDI (with -unfolded repeats) and one for notation (with volta, tremolo, and -percent repeats). For example, +it is necessary to make two @code{\score} blocks: one for MIDI +(with unfolded repeats) and one for notation (with volta, tremolo, +and percent repeats). For example, @example \score @{ @@ -297,8 +298,9 @@ percent repeats). For example, @cindex tremolo beams -To place tremolo marks between notes, use @code{\repeat} with tremolo -style +To place tremolo marks between notes, use @code{\repeat} with +tremolo style + @lilypond[quote,verbatim,ragged-right] \new Voice \relative c' { \repeat tremolo 8 { c16 d16 } @@ -309,19 +311,21 @@ style Tremolo marks can also be put on a single note. In this case, the note should not be surrounded by braces. + @lilypond[quote,verbatim,ragged-right] \repeat tremolo 4 c'16 @end lilypond -Similar output is obtained using the tremolo subdivision, described in -@ref{Tremolo subdivisions}. +Similar output is obtained using the tremolo subdivision, +described in @ref{Tremolo subdivisions}. @seealso In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}. -Program reference: @internalsref{Beam}, @internalsref{StemTremolo}. +Program reference: @internalsref{Beam}, +@internalsref{StemTremolo}. @node Tremolo subdivisions @@ -331,11 +335,11 @@ Program reference: @internalsref{Beam}, @internalsref{StemTremolo}. @funindex tremoloFlags Tremolo marks can be printed on a single note by adding -@q{@code{:}[@var{number}]} after the note. The number indicates the -duration of the subdivision, and it must be at least 8. A -@var{length} value of 8 gives one line across the note stem. If the -length is omitted, the last value (stored in @code{tremoloFlags}) is -used +@q{@code{:}[@var{number}]} after the note. The number indicates +the duration of the subdivision, and it must be at least 8. A +@var{length} value of 8 gives one line across the note stem. If +the length is omitted, the last value (stored in +@code{tremoloFlags}) is used @lilypond[quote,ragged-right,verbatim,fragment] c'2:8 c':32 | c': c': | @@ -344,7 +348,8 @@ c'2:8 c':32 | c': c': | @refbugs -Tremolos entered in this way do not carry over into the MIDI output. +Tremolos entered in this way do not carry over into the MIDI +output. @seealso @@ -360,11 +365,12 @@ Elsewhere: @internalsref{StemTremolo}. @cindex percent repeats @cindex measure repeats -In the @code{percent} style, a note pattern can be repeated. It is -printed once, and then the pattern is replaced with a special sign. -Patterns of one and two measures are replaced by percent-like signs, -patterns that divide the measure length are replaced by slashes. -Percent repeats must be declared within a @code{Voice} context. +In the @code{percent} style, a note pattern can be repeated. It +is printed once, and then the pattern is replaced with a special +sign. Patterns of one and two measures are replaced by +percent-like signs, patterns that divide the measure length are +replaced by slashes. Percent repeats must be declared within a +@code{Voice} context. @lilypond[quote,verbatim,ragged-right] \new Voice \relative c' { @@ -373,8 +379,8 @@ Percent repeats must be declared within a @code{Voice} context. } @end lilypond -Measure repeats of more than 2 measures get a counter, if you switch -on the @code{countPercentRepeats} property, +Measure repeats of more than 2 measures get a counter, if you +switch on the @code{countPercentRepeats} property, @lilypond[relative=2,fragment,quote,verbatim,ragged-right] \new Voice { diff --git a/Documentation/user/staff.itely b/Documentation/user/staff.itely index fc6e529833..172635b0a7 100644 --- a/Documentation/user/staff.itely +++ b/Documentation/user/staff.itely @@ -9,10 +9,10 @@ @node Staff notation @section Staff notation -Notes, dynamic signs, etc., are grouped -with a set of horizontal lines, called a staff (plural @q{staves}). In -LilyPond, these lines are drawn using a separate layout object called -@code{staff symbol}. +Notes, dynamic signs, etc., are grouped with a set of horizontal +lines, called a staff (plural @q{staves}). In LilyPond, these +lines are drawn using a separate layout object called @code{staff +symbol}. Two or more staves can be grouped vertically in a @internalsref{GrandStaff}, a @internalsref{StaffGroup}, or a @@ -62,9 +62,8 @@ at the left, and bar lines are connected between the staves. @end lilypond @item -In a @internalsref{StaffGroup}, the barlines -will be drawn through all the staves, but the group is started with a -bracket. +In a @internalsref{StaffGroup}, the barlines will be drawn through +all the staves, but the group is started with a bracket. @lilypond[verbatim,ragged-right,quote] \new StaffGroup @@ -75,8 +74,8 @@ bracket. @end lilypond @item -In a @internalsref{ChoirStaff}, the group is started with a bracket, -but bar lines are not connected. +In a @internalsref{ChoirStaff}, the group is started with a +bracket, but bar lines are not connected. @lilypond[verbatim,ragged-right,quote] \new ChoirStaff @@ -87,9 +86,9 @@ but bar lines are not connected. @end lilypond @item -If no context is specified, the default properties for the score will -be used: the group is started with a vertical line, and the bar lines are -not connected. +If no context is specified, the default properties for the score +will be used: the group is started with a vertical line, and the +bar lines are not connected. @lilypond[verbatim,ragged-right,quote] \relative << @@ -114,19 +113,18 @@ Staff groups can be nested, using the context @lsr{staff,staff-brackets.ly} @c snippet 137 -More complex nesting can be accomplished using the property -@internalsref{systemStartDelimiterHierarchy}: - @commonprop - -System start delimiters may be deeply nested, +More complex nesting can be accomplished using the property +@internalsref{systemStartDelimiterHierarchy}. System start +delimiters may be deeply nested, @lilypond[quote,ragged-right,verbatim] \new StaffGroup \relative << \set StaffGroup.systemStartDelimiterHierarchy - = #'(SystemStartSquare (SystemStartBracket a (SystemStartSquare b)) d) + = #'(SystemStartSquare (SystemStartBracket a + (SystemStartSquare b)) d) \new Staff { c1 } \new Staff { c1 } \new Staff { c1 } @@ -163,8 +161,8 @@ demonstrated in the example files @lsr{staff,changing-the-number-of-lines-in-a-staff.ly} and @lsr{staff,changing-the-staff-size.ly}. -In addition, staves may be started and stopped at will. This is done -with @code{\startStaff} and @code{\stopStaff}. +In addition, staves may be started and stopped at will. This is +done with @code{\startStaff} and @code{\stopStaff}. @lilypond[verbatim,relative=2,fragment] b4 b @@ -204,17 +202,17 @@ Examples: @lsrdir{staff} @cindex staves, hiding In orchestral scores, staff lines that only have rests are usually -removed; this saves some space. This style is called @q{French Score}. -For @internalsref{Lyrics}, -@internalsref{ChordNames} and @internalsref{FiguredBass}, this is -switched on by default. When the lines of these contexts turn out -empty after the line-breaking process, they are removed. +removed; this saves some space. This style is called @q{French +Score}. For @internalsref{Lyrics}, @internalsref{ChordNames} and +@internalsref{FiguredBass}, this is switched on by default. When +the lines of these contexts turn out empty after the line-breaking +process, they are removed. For normal staves, a specialized @internalsref{Staff} context is available, which does the same: staves containing nothing (or only -multi-measure rests) are removed. The context definition is stored in -@code{\RemoveEmptyStaffContext} variable. Observe how the second staff -in this example disappears in the second line +multi-measure rests) are removed. The context definition is +stored in @code{\RemoveEmptyStaffContext} variable. Observe how +the second staff in this example disappears in the second line @lilypond[quote,ragged-right,verbatim] \layout { @@ -229,20 +227,22 @@ in this example disappears in the second line } @end lilypond -The first system shows all staves in full. If empty staves should be -removed from the first system too, set @code{remove-first} to true in -@internalsref{VerticalAxisGroup}. +The first system shows all staves in full. If empty staves should +be removed from the first system too, set @code{remove-first} to +true in @internalsref{VerticalAxisGroup}. @example \override Score.VerticalAxisGroup #'remove-first = ##t @end example -To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext} -or @code{\RemoveEmptyRhythmicStaffContext}. +To remove other types of contexts, use +@code{\AncientRemoveEmptyStaffContext} or +@code{\RemoveEmptyRhythmicStaffContext}. -Another application of the @code{\RemoveEmptyStaffContext} is to make ossia -sections, i.e., alternative melodies on a separate piece of staff, with -help of a Frenched staff. See @ref{Staff symbol}. +Another application of the @code{\RemoveEmptyStaffContext} is to +make ossia sections, i.e., alternative melodies on a separate +piece of staff, with help of a Frenched staff. See @ref{Staff +symbol}. You can make the staff lines invisible by removing the @code{Staff_symbol_engraver} from the @code{Staff} context. @@ -278,12 +278,14 @@ You can make the staff lines invisible by removing the @cindex metronome marking Metronome settings can be entered as follows + @example \tempo @var{duration} = @var{per-minute} @end example -In the MIDI output, they are interpreted as a tempo change. In the -layout output, a metronome marking is printed +In the MIDI output, they are interpreted as a tempo change. In +the layout output, a metronome marking is printed + @funindex \tempo @lilypond[quote,ragged-right,verbatim,fragment] @@ -293,11 +295,9 @@ layout output, a metronome marking is printed @commonprop -To change the tempo in the MIDI output without printing anything, make -the metronome marking invisible -@example -\once \override Score.MetronomeMark #'transparent = ##t -@end example +To change the tempo in the MIDI output without printing anything, +make the metronome marking invisible @example \once \override +Score.MetronomeMark #'transparent = ##t @end example To print other metronome markings, use these markup commands @lilypond[quote,ragged-right,verbatim,relative,fragment] @@ -320,11 +320,11 @@ Program reference: @internalsref{MetronomeMark}. @refbugs -Collisions are not checked. If you have notes above the top line of -the staff (or notes with articulations, slurs, text, etc), then the -metronome marking may be printed on top of musical symbols. If this -occurs, increase the padding of the metronome mark to place it -further away from the staff. +Collisions are not checked. If you have notes above the top line +of the staff (or notes with articulations, slurs, text, etc), then +the metronome marking may be printed on top of musical symbols. +If this occurs, increase the padding of the metronome mark to +place it further away from the staff. @example \override Score.MetronomeMark #'padding = #2.5 @@ -335,16 +335,17 @@ further away from the staff. @node Instrument names @unnumberedsubsubsec Instrument names -In an orchestral score, instrument names are printed at the left side -of the staves. +In an orchestral score, instrument names are printed at the left +side of the staves. -This can be achieved by setting @internalsref{Staff}.@code{instrumentName} -and @internalsref{Staff}.@code{shortInstrumentName}, or +This can be achieved by setting +@internalsref{Staff}.@code{instrumentName} and +@internalsref{Staff}.@code{shortInstrumentName}, or @internalsref{PianoStaff}.@code{instrumentName} and -@internalsref{PianoStaff}.@code{shortInstrumentName}. This will print text -before the start of the staff. For the first staff, @code{instrumentName} -is used. If set, @code{shortInstrumentName} is used for the following -staves. +@internalsref{PianoStaff}.@code{shortInstrumentName}. This will +print text before the start of the staff. For the first staff, +@code{instrumentName} is used. If set, @code{shortInstrumentName} +is used for the following staves. @lilypond[quote,verbatim,ragged-right,relative=1,fragment] \set Staff.instrumentName = "Ploink " @@ -354,8 +355,8 @@ c1 c'' @end lilypond -You can also use markup texts to construct more complicated instrument -names, for example +You can also use markup texts to construct more complicated +instrument names, for example @lilypond[quote,fragment,verbatim,ragged-right] \set Staff.instrumentName = \markup { @@ -364,8 +365,8 @@ names, for example c''1 @end lilypond -If you wish to center the instrument names, you must center all of them -individually: +If you wish to center the instrument names, you must center all of +them individually: @lilypond[quote,verbatim,ragged-right] { << @@ -376,7 +377,8 @@ individually: c''1 } \new Staff { - \set Staff.instrumentName = \markup{ \center-align { Vibraphone }} + \set Staff.instrumentName = + \markup{ \center-align { Vibraphone }} c''1 } >> @@ -392,19 +394,21 @@ To center instrument names while leaving extra space to the right, \new StaffGroup \relative << \new Staff { - \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" } + \set Staff.instrumentName = + \markup { \hcenter-in #10 "blabla" } c1 c1 } \new Staff { - \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" } + \set Staff.instrumentName = + \markup { \hcenter-in #10 "blo" } c1 c1 } >> @end lilypond -To add instrument names to other contexts (such as @code{GrandStaff}, -@code{ChoirStaff}, or @code{StaffGroup}), the engraver must -be added to that context. +To add instrument names to other contexts (such as +@code{GrandStaff}, @code{ChoirStaff}, or @code{StaffGroup}), the +engraver must be added to that context. @example \layout@{ @@ -413,8 +417,8 @@ be added to that context. @end example @noindent -More information about adding and removing engravers can -be found in @ref{Modifying context plug-ins}. +More information about adding and removing engravers can be found +in @ref{Modifying context plug-ins}. Instrument names may be changed in the middle of a piece, @@ -440,9 +444,10 @@ Program reference: @internalsref{InstrumentName}. @cindex cues -With quotations, fragments of other parts can be inserted into a part -directly. Before a part can be quoted, it must be marked especially as -quotable. This is done with the @code{\addQuote} command. +With quotations, fragments of other parts can be inserted into a +part directly. Before a part can be quoted, it must be marked +especially as quotable. This is done with the @code{\addQuote} +command. @example \addQuote @var{name} @var{music} @@ -450,8 +455,8 @@ quotable. This is done with the @code{\addQuote} command. @noindent -Here, @var{name} is an identifying string. The @var{music} is any kind -of music. Here is an example of @code{\addQuote} +Here, @var{name} is an identifying string. The @var{music} is any +kind of music. Here is an example of @code{\addQuote} @example \addQuote clarinet \relative c' @{ @@ -460,8 +465,8 @@ of music. Here is an example of @code{\addQuote} @end example This command must be entered at toplevel, i.e., outside any music -blocks. Typically, one would use an already defined music event as the -@var{music}: +blocks. Typically, one would use an already defined music event +as the @var{music}: @example clarinet = \relative c' @{ @@ -471,35 +476,36 @@ clarinet = \relative c' @{ @end example -After calling @code{\addQuote}, the quotation may then be done with -@code{\quoteDuring} or @code{\cueDuring}, +After calling @code{\addQuote}, the quotation may then be done +with @code{\quoteDuring} or @code{\cueDuring}, @example \quoteDuring #@var{name} @var{music} @end example -During a part, a piece of music can be quoted with the @code{\quoteDuring} -command. +During a part, a piece of music can be quoted with the +@code{\quoteDuring} command. @example \quoteDuring #"clarinet" @{ s2. @} @end example -This would cite three quarter notes (the duration of @code{s2.}) of -the previously added @code{clarinet} voice. +This would cite three quarter notes (the duration of @code{s2.}) +of the previously added @code{clarinet} voice. More precisely, it takes the current time-step of the part being printed, and extracts the notes at the corresponding point of the -@code{\addQuote}d voice. Therefore, the argument to @code{\addQuote} -should be the entire part of the voice to be quoted, including any -rests at the beginning. +@code{\addQuote}d voice. Therefore, the argument to +@code{\addQuote} should be the entire part of the voice to be +quoted, including any rests at the beginning. -It is possible to use another music expression instead of @code{s}, thus -creating a polyphonic section, but this may not always give the desired -result. +It is possible to use another music expression instead of +@code{s}, thus creating a polyphonic section, but this may not +always give the desired result. -Quotations take into account the transposition of both source and target -instruments, if they are specified using the @code{\transposition} command. +Quotations take into account the transposition of both source and +target instruments, if they are specified using the +@code{\transposition} command. @lilypond[quote,ragged-right,verbatim] \addQuote clarinet \relative c' { @@ -512,11 +518,11 @@ instruments, if they are specified using the @code{\transposition} command. } @end lilypond -The type of events that are present in the quoted music can be trimmed with -the @code{quotedEventTypes} property. The default value is -@code{(note-event rest-event)}, which means that only notes and -rests of the quoted voice end up in the @code{\quoteDuring}. -Setting +The type of events that are present in the quoted music can be +trimmed with the @code{quotedEventTypes} property. The default +value is @code{(note-event rest-event)}, which means that only +notes and rests of the quoted voice end up in the +@code{\quoteDuring}. Setting @example \set Staff.quotedEventTypes = @@ -524,27 +530,30 @@ Setting @end example @noindent -will quote notes (but no rests), together with scripts and dynamics. +will quote notes (but no rests), together with scripts and +dynamics. @refbugs -Only the contents of the first @internalsref{Voice} occurring in an -@code{\addQuote} command will be considered for quotation, so +Only the contents of the first @internalsref{Voice} occurring in +an @code{\addQuote} command will be considered for quotation, so @var{music} can not contain @code{\new} and @code{\context Voice} statements that would switch to a different Voice. -Quoting grace notes is broken and can even cause LilyPond to crash. +Quoting grace notes is broken and can even cause LilyPond to +crash. Quoting nested triplets may result in poor notation. -In earlier versions of LilyPond (pre 2.11), @code{addQuote} was written -entirely in lower-case letters: @code{\addquote}. +In earlier versions of LilyPond (pre 2.11), @code{addQuote} was +written entirely in lower-case letters: @code{\addquote}. @seealso In this manual: @ref{Instrument transpositions}. -Examples: @lsr{parts,quote.ly}, @lsr{parts,quote-transportation.ly} +Examples: @lsr{parts,quote.ly}, +@lsr{parts,quote-transportation.ly} Program reference: @internalsref{QuoteMusic}. @@ -554,9 +563,9 @@ Program reference: @internalsref{QuoteMusic}. @cindex cues, formatting -The previous section deals with inserting notes from another voice. -There is a more advanced music function called @code{\cueDuring}, -which makes formatting cue notes easier. +The previous section deals with inserting notes from another +voice. There is a more advanced music function called +@code{\cueDuring}, which makes formatting cue notes easier. The syntax is @@ -565,11 +574,11 @@ The syntax is @end example This will insert notes from the part @var{name} into a -@internalsref{Voice} called @code{cue}. This happens simultaneously -with @var{music}, which usually is a rest. When the cue notes start, -the staff in effect becomes polyphonic for a moment. The argument -@var{updown} determines whether the cue notes should be notated as a -first or second voice. +@internalsref{Voice} called @code{cue}. This happens +simultaneously with @var{music}, which usually is a rest. When +the cue notes start, the staff in effect becomes polyphonic for a +moment. The argument @var{updown} determines whether the cue +notes should be notated as a first or second voice. @lilypond[verbatim,ragged-right] @@ -608,22 +617,24 @@ Here are a couple of hints for successful cue notes @itemize @bullet @item Cue notes have smaller font sizes. + @item - the cued part is marked with the instrument playing the cue. +the cued part is marked with the instrument playing the cue. + @item - when the original part takes over again, this should be marked with - the name of the original instrument. +when the original part takes over again, this should be marked +with the name of the original instrument. Any other changes introduced by the cued part should also be -undone. For example, if the cued instrument plays in a different clef, -the original clef should be stated once again. +undone. For example, if the cued instrument plays in a different +clef, the original clef should be stated once again. @end itemize -The macro @code{\transposedCueDuring} is -useful to add cues to instruments which use a completely different -octave range (for example, having a cue of a piccolo flute within -a contra bassoon part). +The macro @code{\transposedCueDuring} is useful to add cues to +instruments which use a completely different octave range (for +example, having a cue of a piccolo flute within a contra bassoon +part). @lilypond[verbatim,ragged-right,quote] picc = \relative c''' { diff --git a/Documentation/user/text.itely b/Documentation/user/text.itely index f1d13a127f..a622c24a04 100644 --- a/Documentation/user/text.itely +++ b/Documentation/user/text.itely @@ -9,14 +9,14 @@ @node Text @section Text -This section explains how to include text (with various formatting) in -your scores. +This section explains how to include text (with various +formatting) in your scores. @cindex Text, other languages -To write accented and special text (such as characters from other languages), -simply -insert the characters directly into the lilypond file. The file must be -saved as UTF-8. For more information, see @ref{Text encoding}. +To write accented and special text (such as characters from other +languages), simply insert the characters directly into the +lilypond file. The file must be saved as UTF-8. For more +information, see @ref{Text encoding}. @lilypond[fragment,ragged-right,staffsize=16,quote] c'4^\markup { bla \bold bla } @@ -58,10 +58,11 @@ c'4^\markup { bla \bold bla } @cindex text items, non-empty @cindex non-empty texts -It is possible to place arbitrary strings of text or @ref{Text markup}, -above or below notes by using a string @code{c^"text"}. By default, -these indications do not influence the note spacing, but by using the -command @code{\fatText}, the widths will be taken into account +It is possible to place arbitrary strings of text or @ref{Text +markup}, above or below notes by using a string @code{c^"text"}. +By default, these indications do not influence the note spacing, +but by using the command @code{\fatText}, the widths will be taken +into account @lilypond[quote,fragment,ragged-right,verbatim,relative=1] c4^"longtext" \fatText c4_"longlongtext" c4 @@ -77,8 +78,8 @@ markup command, c'4^\markup { bla \bold bla } @end lilypond -The @code{\markup} is described in more detail in -@ref{Text markup}. +The @code{\markup} is described in more detail in @ref{Text +markup}. @refcommands @@ -91,9 +92,10 @@ The @code{\markup} is described in more detail in @commonprop -Checking to make sure that text scripts and lyrics are within the margins is -a relatively large computational task. To speed up processing, lilypond does -not perform such calculations by default; to enable it, use +Checking to make sure that text scripts and lyrics are within the +margins is a relatively large computational task. To speed up +processing, lilypond does not perform such calculations by +default; to enable it, use @example \override Score.PaperColumn #'keep-inside-line = ##t @@ -111,18 +113,19 @@ Program reference: @internalsref{TextScript}. @unnumberedsubsubsec Text and line spanners Some performance indications, e.g., @i{rallentando} and -@i{accelerando} and @i{trills} are written as text and are extended -over many measures with lines, sometimes dotted or wavy. +@i{accelerando} and @i{trills} are written as text and are +extended over many measures with lines, sometimes dotted or wavy. -These all use the same routines as the glissando for drawing the texts -and the lines, and tuning their behavior is therefore also done in the -same way. It is done with a spanner, and the routine responsible for -drawing the spanners is @code{ly:line-interface::print}. This -routine determines the exact location of the two @i{span -points} and draws a line in between, in the style requested. +These all use the same routines as the glissando for drawing the +texts and the lines, and tuning their behavior is therefore also +done in the same way. It is done with a spanner, and the routine +responsible for drawing the spanners is +@code{ly:line-interface::print}. This routine determines the +exact location of the two @i{span points} and draws a line in +between, in the style requested. -Here is an example of the different line styles available, and how to -tune them. +Here is an example of the different line styles available, and how +to tune them. @lilypond[relative=2,ragged-right,verbatim,fragment] d2 \glissando d'2 @@ -136,8 +139,9 @@ d,2 \glissando d'2 d,2 \glissando d'2 @end lilypond -The information that determines the end-points is computed on-the-fly -for every graphic object, but it is possible to override these. +The information that determines the end-points is computed +on-the-fly for every graphic object, but it is possible to +override these. @lilypond[relative=2,ragged-right,verbatim,fragment] e2 \glissando f @@ -148,16 +152,16 @@ e2 \glissando f The @code{Glissando} object, like any other using the @code{ly:line-interface::print} routine, carries a nested association list. In the above statement, the value for @code{Y} -is set to @code{-2} for the association list corresponding to the right -end point. Of course, it is also possible to adjust the left side with -@code{left} instead of @code{right}. +is set to @code{-2} for the association list corresponding to the +right end point. Of course, it is also possible to adjust the +left side with @code{left} instead of @code{right}. If @code{Y} is not set, the value is computed from the vertical position of right attachment point of the spanner. -In case of a line break, the values for the span-points are extended -with contents of the @code{left-broken} and @code{right-broken} -sublists, for example +In case of a line break, the values for the span-points are +extended with contents of the @code{left-broken} and +@code{right-broken} sublists, for example @lilypond[relative=2,ragged-right,verbatim,fragment] \override Glissando #'breakable = ##T @@ -171,11 +175,11 @@ The following properties can be used for the @table @code @item Y This sets the Y-coordinate of the end point, in staff space. By -default, it is the center of the bound object, so for a glissando it -points to the vertical center of the note head. +default, it is the center of the bound object, so for a glissando +it points to the vertical center of the note head. -For horizontal spanners, such as text spanner and trill spanners, it -is hardcoded to 0. +For horizontal spanners, such as text spanner and trill spanners, +it is hardcoded to 0. @item attach-dir This determines where the line starts and ends in X-direction, @@ -193,8 +197,8 @@ contained in this sub-property. This is for internal use, it is recommended to use @code{text}. @item text -This is a markup that is evaluated to yield stencil. It is -used to put @i{cresc.} and @i{tr} on horizontal spanners. +This is a markup that is evaluated to yield stencil. It is used +to put @i{cresc.} and @i{tr} on horizontal spanners. @lilypond[quote,ragged-right,fragment,relative=2,verbatim] \override TextSpanner #'bound-details #'left #'text @@ -207,25 +211,30 @@ c2\startTextSpan b c a\stopTextSpan Without setting this, the stencil is simply put there at the end-point, as defined by the @code{X} and @code{Y} sub properties. Setting either @code{stencil-align-dir-y} or @code{stencil-offset} -will move the symbol at the edge relative to the end point of the line +will move the symbol at the edge relative to the end point of the +line @lilypond[relative=1,fragment,verbatim] -\override TextSpanner #'bound-details #'left #'stencil-align-dir-y = #DOWN -\override TextSpanner #'bound-details #'right #'stencil-align-dir-y = #UP - -\override TextSpanner #'bound-details #'left #'text = #"gggg" -\override TextSpanner #'bound-details #'right #'text = #"hhhh" +\override TextSpanner #'bound-details + #'left #'stencil-align-dir-y = #DOWN +\override TextSpanner #'bound-details + #'right #'stencil-align-dir-y = #UP + +\override TextSpanner #'bound-details + #'left #'text = #"gggg" +\override TextSpanner #'bound-details + #'right #'text = #"hhhh" c4^\startTextSpan c c c \stopTextSpan @end lilypond @item arrow -Setting this sub property to @code{#t} produce an arrowhead at the end -of the line. +Setting this sub property to @code{#t} produce an arrowhead at the +end of the line. @item padding -This sub property controls the space between the specified end-point -of the line and the actual end. Without padding, a glissando would -start and end in the center of each note head. +This sub property controls the space between the specified +end-point of the line and the actual end. Without padding, a +glissando would start and end in the center of each note head. @end table @@ -233,9 +242,11 @@ start and end in the center of each note head. Program reference: @internalsref{TextSpanner}, @internalsref{Glissando}, @internalsref{VoiceFollower}, -@internalsref{TrillSpanner}, @internalsref{line-spanner-interface}. +@internalsref{TrillSpanner}, +@internalsref{line-spanner-interface}. -Examples: @lsr{expressive,line-styles.ly}, @lsr{expressive,line-arrows.ly} +Examples: @lsr{expressive,line-styles.ly}, +@lsr{expressive,line-arrows.ly} @node Text spanners @@ -243,14 +254,14 @@ Examples: @lsr{expressive,line-styles.ly}, @lsr{expressive,line-arrows.ly} @cindex Text spanners -Some performance indications, e.g., @i{rallentando} or @i{accelerando}, -are written as text and are extended over many measures with dotted -lines. Such texts are created using text spanners; attach -@code{\startTextSpan} and @code{\stopTextSpan} to the first and last -notes of the spanner. +Some performance indications, e.g., @i{rallentando} or +@i{accelerando}, are written as text and are extended over many +measures with dotted lines. Such texts are created using text +spanners; attach @code{\startTextSpan} and @code{\stopTextSpan} to +the first and last notes of the spanner. -The string to be printed, as well as the style, is set through object -properties +The string to be printed, as well as the style, is set through +object properties @lilypond[quote,ragged-right,fragment,relative=1,verbatim] c1 @@ -298,12 +309,10 @@ Program reference: @internalsref{TextSpanner}. @cindex bar lines, symbols on @funindex \mark -The @code{\mark} command is primarily used for -@ref{Rehearsal marks}, -but it can also be used to put signs like coda, -segno, and fermata on a bar line. Use @code{\markup} to -access the appropriate symbol (symbols are listed in -@ref{The Feta font}). +The @code{\mark} command is primarily used for @ref{Rehearsal +marks}, but it can also be used to put signs like coda, segno, and +fermata on a bar line. Use @code{\markup} to access the +appropriate symbol (symbols are listed in @ref{The Feta font}). @lilypond[fragment,quote,ragged-right,verbatim,relative=2] c1 \mark \markup { \musicglyph #"scripts.ufermata" } @@ -313,15 +322,17 @@ c1 @noindent @code{\mark} is only typeset above the top stave of the score. If you specify the @code{\mark} command at a bar line, the resulting -mark is placed above the bar line. If you specify it in the middle -of a bar, the resulting mark is positioned between notes. If it is -specified before the beginning of a score line, it is placed -before the first note of the line. Finally, if the mark occurs at -a line break, the mark will be printed at the -beginning of the next line. +mark is placed above the bar line. If you specify it in the +middle of a bar, the resulting mark is positioned between notes. +If it is specified before the beginning of a score line, it is +placed before the first note of the line. Finally, if the mark +occurs at a line break, the mark will be printed at the beginning +of the next line. + @c IMO this is a bug; hopefully it'll be fixed soon, so I can @c delete this sentence. -gp -If there is no next line, then the mark will not be printed at all. +If there is no next line, then the mark will not be printed at +all. @commonprop @@ -333,8 +344,8 @@ To print the mark at the end of the current line, use #'break-visibility = #begin-of-line-invisible @end example -@code{\mark} is often useful for adding text to the end of bar. In -such cases, changing the @code{#'self-alignment} is very useful +@code{\mark} is often useful for adding text to the end of bar. +In such cases, changing the @code{#'self-alignment} is very useful @lilypond[fragment,quote,ragged-right,verbatim,relative=2] \override Score.RehearsalMark @@ -344,8 +355,8 @@ c1 c c c4 c c c \mark "D.S. al Fine " @end lilypond -Text marks may be aligned with notation objects other than -bar lines, +Text marks may be aligned with notation objects other than bar +lines, @lilypond[fragment,quote,ragged-right,verbatim,relative=2] \relative { @@ -374,10 +385,10 @@ Possible symbols for the @code{break-align-symbols} list are @code{staff-bar}, @code{left-edge}, @code{key-cancellation}, @code{key-signature}, and @code{time-signature}. -The text marks will, by default, be aligned with the middle of the notation -object, but this can be changed by overriding the -@code{break-align-anchor-alignment} and -@code{break-align-anchor} properties for the appropriate grob. +The text marks will, by default, be aligned with the middle of the +notation object, but this can be changed by overriding the +@code{break-align-anchor-alignment} and @code{break-align-anchor} +properties for the appropriate grob. @lilypond[fragment,quote,ragged-right,verbatim] { @@ -436,16 +447,15 @@ Program reference: @internalsref{RehearsalMark}. @node New dynamic marks @unnumberedsubsubsec New dynamic marks -It is possible to print new dynamic marks or text that should be aligned -with dynamics. Use @code{make-dynamic-script} to create these -marks. Note that the dynamic font only contains the characters -@code{f,m,p,r,s} and @code{z}. +It is possible to print new dynamic marks or text that should be +aligned with dynamics. Use @code{make-dynamic-script} to create +these marks. Note that the dynamic font only contains the +characters @code{f,m,p,r,s} and @code{z}. Some situations (such as dynamic marks) have preset font-related -properties. If you are creating text in such situations, it -is advisable to cancel those properties with -@code{normal-text}. See @ref{Overview of text markup commands}, -for more details. +properties. If you are creating text in such situations, it is +advisable to cancel those properties with @code{normal-text}. See +@ref{Overview of text markup commands}, for more details. @cindex make-dynamic-script @@ -459,8 +469,9 @@ sfzp = #(make-dynamic-script "sfzp") @cindex Dynamics, editorial @cindex Dynamics, parenthesis -It is also possible to print dynamics in round parenthesis or square -brackets. These are often used for adding editorial dynamics. +It is also possible to print dynamics in round parenthesis or +square brackets. These are often used for adding editorial +dynamics. @lilypond[quote,verbatim,ragged-right] rndf = \markup{ \center-align {\line { \bold{\italic (} @@ -527,8 +538,8 @@ but it can also be used anywhere text is called in lilypond } @end lilypond -A @code{\markup} command can also be placed on its own, away from any -@code{\score} block, see @ref{Multiple scores in a book}. +A @code{\markup} command can also be placed on its own, away from +any @code{\score} block, see @ref{Multiple scores in a book}. @lilypond[quote,ragged-right,verbatim] \markup{ Here is some text. } @@ -536,10 +547,10 @@ A @code{\markup} command can also be placed on its own, away from any @cindex font switching -The markup in the example demonstrates font switching commands. The -command @code{\bold} and @code{\italic} apply to the first following -word only; to apply a command to more than one word, enclose the -words with braces, +The markup in the example demonstrates font switching commands. +The command @code{\bold} and @code{\italic} apply to the first +following word only; to apply a command to more than one word, +enclose the words with braces, @example \markup @{ \bold @{ hi there @} @} @@ -552,10 +563,11 @@ For clarity, you can also do this for single arguments, e.g., \markup @{ is \italic @{ anyone @} home @} @end example -In markup mode you can compose expressions, similar to mathematical -expressions, XML documents, and music expressions. You can stack -expressions grouped vertically with the command @code{\column}. -Similarly, @code{\center-align} aligns texts by their center lines: +In markup mode you can compose expressions, similar to +mathematical expressions, XML documents, and music expressions. +You can stack expressions grouped vertically with the command +@code{\column}. Similarly, @code{\center-align} aligns texts by +their center lines: @lilypond[quote,verbatim,fragment,relative=1] c1^\markup { \column { a bbbb \line { c d } } } @@ -563,7 +575,8 @@ c1^\markup { \center-align { a bbbb c } } c1^\markup { \line { a b c } } @end lilypond -Lists with no previous command are not kept distinct. The expression +Lists with no previous command are not kept distinct. The +expression @example \center-align @{ @{ a b @} @{ c d @} @} @@ -590,23 +603,25 @@ c4^\markup{ \center-align { { on three lines } } } c4^\markup{ \center-align { \line { on one line } } } @end lilypond -Markups can be stored in variables and these variables -may be attached to notes, like +Markups can be stored in variables and these variables may be +attached to notes, like + @example allegro = \markup @{ \bold \large @{ Allegro @} @} @{ a^\allegro b c d @} @end example -Some objects have alignment procedures of their own, which cancel out -any effects of alignments applied to their markup arguments as a -whole. For example, the @internalsref{RehearsalMark} is horizontally -centered, so using @code{\mark \markup @{ \left-align .. @}} has no -effect. +Some objects have alignment procedures of their own, which cancel +out any effects of alignments applied to their markup arguments as +a whole. For example, the @internalsref{RehearsalMark} is +horizontally centered, so using @code{\mark \markup @{ \left-align +.. @}} has no effect. In addition, vertical placement is performed after creating the -text markup object. If you wish to move an entire piece of markup, -you need to use the #'padding property or create an @q{anchor} point -inside the markup (generally with @code{\hspace #0}). +text markup object. If you wish to move an entire piece of +markup, you need to use the #'padding property or create an +@q{anchor} point inside the markup (generally with @code{\hspace +#0}). @lilypond[quote,verbatim,fragment,relative=1] \fatText @@ -617,10 +632,9 @@ c'4^\markup{ \hspace #0 \raise #1.5 raised } @end lilypond Some situations (such as dynamic marks) have preset font-related -properties. If you are creating text in such situations, it -is advisable to cancel those properties with -@code{normal-text}. See @ref{Overview of text markup commands}, -for more details. +properties. If you are creating text in such situations, it is +advisable to cancel those properties with @code{normal-text}. See +@ref{Overview of text markup commands}, for more details. @seealso @@ -635,8 +649,8 @@ Init files: @file{scm/@/new@/-markup@/.scm}. @refbugs Kerning or generation of ligatures is only done when the @TeX{} -backend is used. In this case, LilyPond does not account for them so -texts will be spaced slightly too wide. +backend is used. In this case, LilyPond does not account for them +so texts will be spaced slightly too wide. Syntax errors for markup mode are confusing. @@ -644,9 +658,9 @@ Syntax errors for markup mode are confusing. @node Nested scores @unnumberedsubsubsec Nested scores -It is possible to nest music inside markups, by adding a @code{\score} -block to a markup expression. Such a score must contain a @code{\layout} -block. +It is possible to nest music inside markups, by adding a +@code{\score} block to a markup expression. Such a score must +contain a @code{\layout} block. @lilypond[quote,verbatim,ragged-right] \relative { @@ -662,9 +676,10 @@ block. @node Page wrapping text @unnumberedsubsubsec Page wrapping text -Whereas @code{\markup} is used to enter a non-breakable block of text, -@code{\markuplines} can be used at top-level to enter lines of text that -can spread over multiple pages: + +Whereas @code{\markup} is used to enter a non-breakable block of +text, @code{\markuplines} can be used at top-level to enter lines +of text that can spread over multiple pages: @verbatim \markuplines { @@ -680,15 +695,15 @@ can spread over multiple pages: } @end verbatim -@code{\markuplines} accepts a list of markup, that is either the result -of a markup list command, or a list of markups or of markup lists. The -built-in markup list commands are described in +@code{\markuplines} accepts a list of markup, that is either the +result of a markup list command, or a list of markups or of markup +lists. The built-in markup list commands are described in @ref{Overview of text markup list commands}. @seealso -This manual: @ref{Overview of text markup list commands}, -@ref{New markup list command definition}. +This manual: @ref{Overview of text markup list commands}, @ref{New +markup list command definition}. @refcommands @@ -705,23 +720,24 @@ This manual: @ref{Overview of text markup list commands}, By setting the object properties described below, you can select a font from the preconfigured font families. LilyPond has default support for the feta music fonts. Text fonts are selected through -Pango/FontConfig. The serif font defaults to New Century Schoolbook, -the sans and typewriter to whatever the Pango installation defaults -to. +Pango/FontConfig. The serif font defaults to New Century +Schoolbook, the sans and typewriter to whatever the Pango +installation defaults to. @itemize @bullet @item @code{font-encoding} -is a symbol that sets layout of the glyphs. This should only be set to -select different types of non-text fonts, e.g. +is a symbol that sets layout of the glyphs. This should only be +set to select different types of non-text fonts, e.g. @code{fetaBraces} for piano staff braces, @code{fetaMusic} the -standard music font, including ancient glyphs, @code{fetaDynamic} for -dynamic signs and @code{fetaNumber} for the number font. +standard music font, including ancient glyphs, @code{fetaDynamic} +for dynamic signs and @code{fetaNumber} for the number font. @item @code{font-family} -is a symbol indicating the general class of the typeface. Supported are -@code{roman} (Computer Modern), @code{sans}, and @code{typewriter}. +is a symbol indicating the general class of the typeface. +Supported are @code{roman} (Computer Modern), @code{sans}, and +@code{typewriter}. @item @code{font-shape} is a symbol indicating the shape of the font. There are typically @@ -729,16 +745,15 @@ several font shapes available for each font family. Choices are @code{italic}, @code{caps}, and @code{upright}. @item @code{font-series} -is a symbol indicating the series of the font. There are typically -several font series for each font family and shape. Choices are -@code{medium} and @code{bold}. +is a symbol indicating the series of the font. There are +typically several font series for each font family and shape. +Choices are @code{medium} and @code{bold}. @end itemize -Fonts selected in the way sketched above come from a predefined style -sheet. If you want to use a font from outside the style sheet, -then set the -@code{font-name} property, +Fonts selected in the way sketched above come from a predefined +style sheet. If you want to use a font from outside the style +sheet, then set the @code{font-name} property, @lilypond[fragment,verbatim] { @@ -753,12 +768,16 @@ then set the @end lilypond @noindent -Any font can be used, as long as it is available to Pango/FontConfig. -To get a full list of all available fonts, run the command +Any font can be used, as long as it is available to +Pango/FontConfig. To get a full list of all available fonts, run +the command + @example lilypond -dshow-available-fonts blabla @end example -(the last argument of the command can be anything, but has to be present). + +(the last argument of the command can be anything, but has to be +present). The size of the font may be set with the @code{font-size} @@ -769,11 +788,11 @@ property. The resulting size is taken relative to the @cindex font magnification -It is also possible to change the default font family for the entire -document. This is done by calling the @code{make-pango-font-tree} from -within the @code{\paper} block. The function takes names for the font -families to use for roman, sans serif and monospaced text. For -example, +It is also possible to change the default font family for the +entire document. This is done by calling the +@code{make-pango-font-tree} from within the @code{\paper} block. +The function takes names for the font families to use for roman, +sans serif and monospaced text. For example, @cindex font families, setting @cindex Pango -- 2.39.5