From 53b7372bf8c92303134fb231464abb96dfbe2f6b Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Thu, 18 May 2006 00:56:58 +0000 Subject: [PATCH] remove trailing whitespace; cosmetic change to reduce changes produced by diff. --- ChangeLog | 5 + Documentation/user/advanced-notation.itely | 68 ++++----- Documentation/user/basic-notation.itely | 130 ++++++++--------- Documentation/user/changing-defaults.itely | 94 ++++++------ Documentation/user/converters.itely | 14 +- Documentation/user/examples.itely | 8 +- Documentation/user/global.itely | 138 +++++++++--------- Documentation/user/instrument-notation.itely | 108 +++++++------- Documentation/user/introduction.itely | 24 +-- Documentation/user/invoking.itely | 46 +++--- Documentation/user/latex-example.latex | 4 +- .../user/latex-lilypond-example.latex | 26 ++-- Documentation/user/lilypond-book.itely | 20 +-- Documentation/user/lilypond.tely | 14 +- Documentation/user/literature.itely | 4 +- Documentation/user/macros.itexi | 6 +- Documentation/user/music-glossary.tely | 46 +++--- Documentation/user/notation-appendices.itely | 8 +- Documentation/user/point-and-click.itely | 2 +- .../user/programming-interface.itely | 50 +++---- Documentation/user/putting.itely | 2 +- Documentation/user/scheme-tutorial.itely | 22 +-- Documentation/user/tutorial.itely | 46 +++--- Documentation/user/tweaks.itely | 2 +- Documentation/user/working.itely | 18 +-- 25 files changed, 455 insertions(+), 450 deletions(-) diff --git a/ChangeLog b/ChangeLog index 3e50037c96..101969076e 100644 --- a/ChangeLog +++ b/ChangeLog @@ -1,3 +1,8 @@ +2006-05-17 Graham Percival + + * Documentation/user/ various: remove trailing whitespace, cosmetic + change to reduce changes produced by diff. + 2006-05-17 Han-Wen Nienhuys * lily/main.cc (do_chroot_jail): correctness tweak. diff --git a/Documentation/user/advanced-notation.itely b/Documentation/user/advanced-notation.itely index 5de55b6410..cf36c6b5ae 100644 --- a/Documentation/user/advanced-notation.itely +++ b/Documentation/user/advanced-notation.itely @@ -1,7 +1,7 @@ @c -*- coding: utf-8; mode: texinfo; -*- @c This file is part of lilypond.tely -@c A menu is needed before every deeper *section nesting of @node's; run +@c A menu is needed before every deeper *section nesting of @node's; run @c M-x texinfo-all-menus-update @c to automatically fill in these menus before saving changes @@ -83,8 +83,8 @@ 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 +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 @@ -128,7 +128,7 @@ c2\startTextSpan b c\stopTextSpan a @cindex textSpannerUp @code{textSpannerUp}, -@cindex textSpannerDown +@cindex textSpannerDown @code{textSpannerDown}, @cindex textSpannerNeutral @code{textSpannerNeutral}. @@ -139,7 +139,7 @@ c2\startTextSpan b c\stopTextSpan a To print a solid line, use @example -\override TextSpanner #'dash-fraction = #'() +\override TextSpanner #'dash-fraction = #'() @end example @@ -313,7 +313,7 @@ block. This is primarily used in a @code{\book} (see @cindex font switching The markup in the example demonstrates font switching commands. The -command @code{\bold} and @code{\italic} apply to the first following +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, @@ -342,7 +342,7 @@ c1^\markup { \line { a b c } } Lists with no previous command are not kept distinct. The expression @example -\center-align @{ @{ a b @} @{ c d @} @} +\center-align @{ @{ a b @} @{ c d @} @} @end example @noindent @@ -472,7 +472,7 @@ 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}. - + @item @code{font-shape} is a symbol indicating the shape of the font. There are typically several font shapes available for each font family. Choices are @@ -481,14 +481,14 @@ several font shapes available for each font family. Choices are @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}. +@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, +sheet. If you want to use a font from outside the style sheet, +then set the +@code{font-name} property, @lilypond[fragment,verbatim] { @@ -526,7 +526,7 @@ example, @lilypond[verbatim] \paper { myStaffSize = #20 - + #(define fonts (make-pango-font-tree "Times New Roman" "Nimbus Sans" @@ -540,7 +540,7 @@ example, @end lilypond @c we don't do Helvetica / Courier, since GS incorrectly loads -@c Apple TTF fonts +@c Apple TTF fonts @@ -773,7 +773,7 @@ Program reference: @internalsref{MetronomeMark}. 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 +occurs, increase the padding of the metronome mark to place it further away from the staff. @example @@ -827,7 +827,7 @@ c1 @end lilypond The file @file{scm/@/translation@/-functions@/.scm} contains the definitions -of @code{format-mark-numbers} (the default format), +of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers}, @code{format-mark-letters} and @code{format-mark-box-letters}. These can be used as inspiration for other formatting functions. @@ -1176,7 +1176,7 @@ Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}. Multiple rests are not merged if you create the score with both tagged sections. - + @node Orchestral music @@ -1469,24 +1469,24 @@ smaller = { \addquote clarinet \relative { R1*20 r2 r8 c f f -} +} \new Staff \relative << % setup a context for cue notes. \new Voice = "cue" { \smaller \skip 1*21 } - + \set Score.skipBars = ##t - + \new Voice { R1*20 \cueDuring #"clarinet" #1 { R1 } - g4 g2. + g4 g2. } >> -@end lilypond +@end lilypond Here are a couple of hints for successful cue notes @@ -1505,7 +1505,7 @@ Cue notes have smaller font sizes. @c Yes, this is good practice. Otherwise, the start of the original @c part can only be seen from the font size. This is not good enough @c for sight-reading. It is possilbe to use other -@c markers (e.g. a big close-bracket over the staff) to indicate the cue +@c markers (e.g. a big close-bracket over the staff) to indicate the cue @c notes are @c finished. @c -hwn @@ -1592,7 +1592,7 @@ see those sections of the documentation. Double time signatures are not supported explicitly, but they can be faked. In the next example, the markup for the time signature is created with a markup text. This markup text is inserted in the -@internalsref{TimeSignature} grob. See also +@internalsref{TimeSignature} grob. See also @inputfileref{input/@/test,compound@/-time@/.ly}). @lilypond[verbatim,ragged-right] @@ -1628,7 +1628,7 @@ context. \consists "Timing_translator" \consists "Default_bar_line_engraver" @} - + @} @end example @@ -1782,7 +1782,7 @@ c4 c1 @noindent As the example illustrates, @code{ly:make-moment n m} constructs a -duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is +duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is an eighth note duration and @code{ly:make-moment 7 16} is the duration of seven sixteenths notes. @@ -1934,7 +1934,7 @@ teaching tools in addition to great musical scores. * Balloon help:: * Blank music sheet:: * Hidden notes:: -* Shape note heads :: +* Shape note heads:: * Easy Notation note heads:: * Analysis brackets:: * Coloring objects:: @@ -2024,8 +2024,8 @@ g4 a @end lilypond -@node Shape note heads -@subsection Shape note heads +@node Shape note heads +@subsection Shape note heads 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 @@ -2189,10 +2189,10 @@ Appendix: @ref{List of colors}. @refbugs Not all x11 colors are distinguishable in a web browser. For web use -normal colors are recommended. +normal colors are recommended. An x11 color is not necessarily exactly the same shade as a similarly -named normal color. +named normal color. Notes in a chord cannot be colored with @code{\override}; use @code{\tweak} instead. See @ref{Objects connected to the input} @@ -2206,15 +2206,15 @@ 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] < c \parenthesize d g ->4-\parenthesize -. +>4-\parenthesize -. @end lilypond diff --git a/Documentation/user/basic-notation.itely b/Documentation/user/basic-notation.itely index 2fc5089cf5..68b008973c 100644 --- a/Documentation/user/basic-notation.itely +++ b/Documentation/user/basic-notation.itely @@ -11,13 +11,13 @@ This chapter explains how to use basic notation features. @menu -* Note entry:: -* Alternate music entry:: -* Staff notation:: -* Connecting notes:: -* Expressive marks:: -* Polyphony:: -* Repeats:: +* Note entry:: +* Alternate music entry:: +* Staff notation:: +* Connecting notes:: +* Expressive marks:: +* Polyphony:: +* Repeats:: @end menu @@ -30,18 +30,18 @@ This section is about basic notation elements like notes, rests, and related constructs, such as stems, tuplets and ties. @menu -* Notes:: -* Pitches:: -* Cautionary accidentals:: -* Micro tones:: -* Chords:: -* Rests:: -* Skips:: -* Durations:: -* Augmentation dots:: -* Tuplets:: -* Scaling durations:: -* Stems:: +* Notes:: +* Pitches:: +* Cautionary accidentals:: +* Micro tones:: +* Chords:: +* Rests:: +* Skips:: +* Durations:: +* Augmentation dots:: +* Tuplets:: +* Scaling durations:: +* Stems:: @end menu @@ -182,7 +182,7 @@ ais4 bis @seealso -Program reference: @internalsref{LedgerLineSpanner}, +Program reference: @internalsref{LedgerLineSpanner}, @internalsref{NoteHead}. @@ -577,14 +577,14 @@ GUI interfaces or MIDI sequencers. Refer to the LilyPond website for more information. @menu -* Relative octaves:: -* Octave check:: -* Transpose:: -* Bar check:: -* Barnumber check:: -* Skipping corrected music:: -* Automatic note splitting:: -* Writing music in parallel:: +* Relative octaves:: +* Octave check:: +* Transpose:: +* Bar check:: +* Barnumber check:: +* Skipping corrected music:: +* Automatic note splitting:: +* Writing music in parallel:: @end menu @@ -872,7 +872,7 @@ is processed. @cindex @code{skipTypesetting} @cindex @code{showLastLength} -When entering or copying music, usually only the music near the end (where +When entering or copying music, usually only the music near the end (where you are adding notes) is interesting to view and correct. To speed up this correction process, it is possible to skip typesetting of all but @@ -982,14 +982,14 @@ This section describes music notation that occurs on staff level, such as key signatures, clefs and time signatures. @menu -* Clef:: -* Key signature:: -* Time signature:: -* Partial measures:: -* Bar lines:: -* Unmetered music:: -* System start delimiters:: -* Staff symbol:: +* Clef:: +* Key signature:: +* Time signature:: +* Partial measures:: +* Bar lines:: +* Unmetered music:: +* System start delimiters:: +* Staff symbol:: @end menu @@ -1061,7 +1061,7 @@ example, @commonprop -The command @code{\clef "treble_8"} is equivalent to setting +The command @code{\clef "treble_8"} is equivalent to setting @code{clefGlyph}, @code{clefPosition} (which controls the Y position of the clef), @code{middleCPosition} and @code{clefOctavation}. A clef is printed @@ -1355,7 +1355,7 @@ is set to a string, a bar line of that type is created. A bar line is created whenever the @code{whichBar} property is set. At the start of a measure it is set to the contents of -@code{Timing.defaultBarType}. The contents of @code{repeatCommands} are +@code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used to override default measure bars. @@ -1537,13 +1537,13 @@ Examples: @inputfileref{input/@/test,staff@/-lines@/.ly}, This section deals with notation that affects groups of notes. @menu -* Ties:: -* Slurs:: -* Phrasing slurs:: -* Laissez vibrer ties:: -* Automatic beams:: -* Manual beams:: -* Grace notes:: +* Ties:: +* Slurs:: +* Phrasing slurs:: +* Laissez vibrer ties:: +* Automatic beams:: +* Manual beams:: +* Grace notes:: @end menu @@ -2064,13 +2064,13 @@ Expressive marks help musicians to bring more to the music than simple notes and rhythms. @menu -* Articulations:: -* Fingering instructions:: -* Dynamics:: -* Breath marks:: -* Trills:: -* Glissando:: -* Arpeggio:: +* Articulations:: +* Fingering instructions:: +* Dynamics:: +* Breath marks:: +* Trills:: +* Glissando:: +* Arpeggio:: @end menu @@ -2561,9 +2561,9 @@ a piece of music. Polyphony in LilyPond refers to having more than one voice on the same staff. @menu -* Basic polyphony:: -* Explicitly instantiating voices:: -* Collision Resolution:: +* Basic polyphony:: +* Explicitly instantiating voices:: +* Collision Resolution:: @end menu @@ -2604,7 +2604,7 @@ from separate @code{<< \\ >>} constructs on the same staff are the the same voice. Here is the same example, with different noteheads for each voice. Note that the change to the note-head style in the main voice does not affect -the inside of the @code{<< \\ >>} constructs. Also, the change to the +the inside of the @code{<< \\ >>} constructs. Also, the change to the second voice in the first @code{<< \\ >>} construct is effective in the second @code{<< \\ >>}, and the voice is tied across the two constructs. @@ -2850,13 +2850,13 @@ Repetition is a central concept in music, and multiple notations exist for repetitions. @menu -* Repeat types:: -* Repeat syntax:: -* Repeats and MIDI:: -* Manual repeat commands:: -* Tremolo repeats:: -* Tremolo subdivisions:: -* Measure repeats:: +* Repeat types:: +* Repeat syntax:: +* Repeats and MIDI:: +* Manual repeat commands:: +* Tremolo repeats:: +* Tremolo subdivisions:: +* Measure repeats:: @end menu @@ -3079,7 +3079,7 @@ c4 c4 @seealso -Program reference: @internalsref{VoltaBracket}, +Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic}, @internalsref{VoltaRepeatedMusic}, @internalsref{UnfoldedRepeatedMusic}, and diff --git a/Documentation/user/changing-defaults.itely b/Documentation/user/changing-defaults.itely index 43bc836a69..775e4b794d 100644 --- a/Documentation/user/changing-defaults.itely +++ b/Documentation/user/changing-defaults.itely @@ -40,11 +40,11 @@ elements. For example, changing the beaming rules. Output: changing the appearance of individual objects. For example, changing stem directions or the location of subscripts. - + @item Context: changing aspects of the translation from music events to -notation. For example, giving each staff a separate time signature. - +notation. For example, giving each staff a separate time signature. + @item Global layout: changing the appearance of the spacing, line breaks, and page dimensions. These modifications are discussed @@ -65,7 +65,7 @@ on entering numbers, lists, strings, and symbols in Scheme.} * The \override command:: @end menu - + @node Automatic notation @section Automatic notation @@ -258,7 +258,7 @@ have this apply to any beam. this rule should apply. Set @code{n} and @code{m} to @code{'*'} to have this apply in any time signature. -@item @code{a/b} is the position in the bar at which the beam should +@item @code{a/b} is the position in the bar at which the beam should begin/end. @item @code{context} is optional, and it specifies the context at which @@ -453,7 +453,7 @@ reference, see @ifhtml @internalsref{Contexts}. @end ifhtml -@ifnothtml +@ifnothtml Translation @arrow{} Context. @end ifnothtml @@ -487,7 +487,7 @@ where @var{type} is a context name (like @code{Staff} or interpreting the @var{music expression} with that. A practical application of @code{\new} is a score with many -staves. Each part that should be on its own staff, is preceded with +staves. Each part that should be on its own staff, is preceded with @code{\new Staff}. @lilypond[quote,verbatim,relative=2,ragged-right,fragment] @@ -531,7 +531,7 @@ setting lyrics the melody is in a named context so the texts can be properly aligned to its notes, @example -\new Lyrics \lyricsto "@b{tenor}" @var{lyrics} +\new Lyrics \lyricsto "@b{tenor}" @var{lyrics} @end example @noindent @@ -616,7 +616,7 @@ This is achieved by inserting the @code{\set} command in the music, For example, @lilypond[quote,verbatim,relative=2,fragment] -R1*2 +R1*2 \set Score.skipBars = ##t R1*2 @end lilypond @@ -644,7 +644,7 @@ property (of the bottom-most context, in this case @code{Voice}) will have no effect. @lilypond[quote,verbatim,relative=2,fragment] -R1*2 +R1*2 \set skipBars = ##t R1*2 @end lilypond @@ -655,7 +655,7 @@ example @context{Staff}, then the change would also apply to all `on-the-fly', during the music, so that the setting only affects the second group of eighth notes. -@cindex @code{\unset} +@cindex @code{\unset} There is also an @code{\unset} command, @example @@ -691,9 +691,9 @@ Like @code{\set}, the @var{context} argument does not have to be specified for a bottom context, so the two statements @example -\set Voice.autoBeaming = ##t -\set autoBeaming = ##t -@end example +\set Voice.autoBeaming = ##t +\set autoBeaming = ##t +@end example @noindent are equivalent. @@ -733,7 +733,7 @@ elements. For example, the @code{Voice} context contains a @code{Note_head_engraver} and the @code{Staff} context contains a @code{Key_signature_engraver}. -For a full a description of each plug-in, see +For a full a description of each plug-in, see @ifhtml @internalsref{Engravers}. @end ifhtml @@ -744,7 +744,7 @@ Every context described in @ifhtml @internalsref{Contexts} @end ifhtml -@ifnothtml +@ifnothtml Program reference @arrow Translation @arrow{} Context. @end ifnothtml lists the engravers used for that context. @@ -835,7 +835,7 @@ Each context is responsible for creating certain types of graphical objects. The settings used for printing these objects are also stored by context. By changing these settings, the appearance of objects can be altered. - + The syntax for this is @example @@ -852,7 +852,7 @@ tweak} explains what to fill in for @var{name}, @var{property}, and The command @verbatim -\override Staff.Stem #'thickness = #4.0 +\override Staff.Stem #'thickness = #4.0 @end verbatim @noindent @@ -863,7 +863,7 @@ appearance. Here we see the command in action: @lilypond[quote,verbatim,relative=2,fragment] c4 -\override Staff.Stem #'thickness = #4.0 +\override Staff.Stem #'thickness = #4.0 c4 c4 c4 @@ -875,13 +875,13 @@ all stems are thickened. Analogous to @code{\set}, the @var{context} argument may be left out, causing it to default to @context{Voice}, and adding @code{\once} applies -the change during one timestep only +the change during one timestep only @lilypond[quote,fragment,verbatim,relative=2] c4 -\once \override Stem #'thickness = #4.0 +\once \override Stem #'thickness = #4.0 +c4 c4 -c4 @end lilypond The @code{\override} must be done before the object is @@ -893,7 +893,7 @@ when the object is created. In this example, \override Slur #'thickness = #3.0 c8[( c \override Beam #'thickness = #0.6 -c8 c]) +c8 c]) @end lilypond @noindent @@ -962,7 +962,7 @@ from the music in the @code{\layout} block, @end example Here @code{\Staff} takes the existing definition for context @context{Staff} from the -identifier @code{\Staff}. +identifier @code{\Staff}. The statements @example @@ -1039,9 +1039,9 @@ to indicate improvisation in jazz pieces, }} \relative c'' { - a4 d8 bes8 \new ImproVoice { c4^"ad lib" c - c4 c^"undress" c_"while playing :)" c } - a1 + a4 d8 bes8 \new ImproVoice { c4^"ad lib" c + c4 c^"undress" c_"while playing :)" c } + a1 } @end lilypond @@ -1134,7 +1134,7 @@ command, @example \context @{ \Staff - \accepts ImproVoice + \accepts ImproVoice @} @end example @@ -1163,16 +1163,16 @@ Then the output at the start of this subsection can be entered as \relative c'' @{ a4 d8 bes8 \new ImproVoice @{ - c4^"ad lib" c + c4^"ad lib" c c4 c^"undress" c c_"while playing :)" @} a1 @} @end example - - + + @node The \override command @section The \override command @@ -1211,7 +1211,7 @@ This means that we must determine these bits of information: @item the layout object: here @code{Stem}. @item the layout property: here @code{thickness}. @item a sensible value: here @code{3.0}. -@end itemize +@end itemize Some tweakable options are called ``subproperties'' and reside inside properties. To tweak those, use commands in the form @@ -1222,7 +1222,7 @@ properties. To tweak those, use commands in the form @cindex internal documentation @cindex finding graphical objects -@cindex graphical object descriptions +@cindex graphical object descriptions @cindex tweaking @cindex @code{\override} @cindex internal documentation @@ -1265,7 +1265,7 @@ forward. For example, it says @quotation Accepted by: @internalsref{Fingering_engraver}, -@end quotation +@end quotation @noindent That link brings us to the documentation for the Engraver, the @@ -1333,7 +1333,7 @@ on @internalsref{Translation}, and the @internalsref{Backend}. Every chapter lists all the definitions used and all properties that may be tuned. - + @node Layout interfaces @subsection Layout interfaces @@ -1353,7 +1353,7 @@ The page for @code{Fingering} lists the definitions for the @quotation @code{padding} (dimension, in staff space): - + @code{0.5} @end quotation @@ -1442,7 +1442,7 @@ is directly generated from this definition. @node Determining the grob property @subsection Determining the grob property -Recall that we wanted to change the position of the @b{2} in +Recall that we wanted to change the position of the @b{2} in @lilypond[quote,fragment,relative=2,verbatim] c-2 @@ -1452,7 +1452,7 @@ f Since the @b{2} is vertically positioned next to its note, we have to meddle with the interface associated with this positioning. This is -done using @code{side-position-interface}. The page for this interface +done using @code{side-position-interface}. The page for this interface says @quotation @@ -1472,7 +1472,7 @@ Below this description, the variable @code{padding} is described as @item padding (dimension, in staff space) -Add this much extra space between objects that are next to each other. +Add this much extra space between objects that are next to each other. @end table @end quotation @@ -1519,7 +1519,7 @@ you can use the @code{\tweak} function, for example \tweak #'color #red d g \tweak #'duration-log #1 a ->4-\tweak #'padding #10 -. +>4-\tweak #'padding #10 -. @end lilypond As you can see, properties are set directly in the objects directly, @@ -1562,7 +1562,7 @@ Contexts can have properties, which are usually named in @code{studlyCaps}. They mostly control the translation from music to notatino, eg. @code{localKeySignature} (for determining whether to print accidentals), @code{measurePosition} (for -determining when to print a barline). Context properties can +determining when to print a barline). Context properties can change value over time while interpreting a piece of music; @code{measurePosition} is an obvious example of this. Context properties are modified with @code{\set}. @@ -1605,7 +1605,7 @@ property (modified with @code{\set}) was created. @node Difficult tweaks @subsection Difficult tweaks -There are a few classes of difficult adjustments. +There are a few classes of difficult adjustments. @itemize @bullet @@ -1629,7 +1629,7 @@ objects have been split over different systems. In the following example, we define a procedure @code{my-callback}. This procedure - + @itemize @bullet @item determines if we have been split across line breaks @@ -1647,7 +1647,7 @@ of the broken tie is translated up. @lilypond[quote,verbatim,ragged-right] #(define (my-callback grob) (let* ( - ; have we been split? + ; have we been split? (orig (ly:grob-original grob)) ; if yes, get the split pieces (our siblings) @@ -1658,7 +1658,7 @@ of the broken tie is translated up. (eq? (car (last-pair siblings)) grob)) (ly:grob-set-property! grob 'extra-offset '(-2 . 5))))) -\relative c'' { +\relative c'' { \override Tie #'after-line-breaking = #my-callback c1 ~ \break c2 ~ c @@ -1678,10 +1678,10 @@ and @code{PaperColumn}. They can be changed with the @code{\outputProperty} function, which works similar to @code{\once \override}, but uses a different syntax, -@example +@example \outputProperty #"Score.NonMusicalPaperColumn" % Grob name -#'line-break-system-details % Property name +#'line-break-system-details % Property name #'((next-padding . 20)) % Value @end example diff --git a/Documentation/user/converters.itely b/Documentation/user/converters.itely index d9a56444a8..f9b2392405 100644 --- a/Documentation/user/converters.itely +++ b/Documentation/user/converters.itely @@ -25,8 +25,8 @@ you are unfamiliar with the command-line. * Invoking midi2ly:: Importing MIDI. * Invoking etf2ly:: Importing Finale. * Invoking musicxml2ly:: -* Invoking abc2ly:: Importing ABC. -* Invoking mup2ly:: Importing MUP. +* Invoking abc2ly:: Importing ABC. +* Invoking mup2ly:: Importing MUP. * Generating LilyPond files:: @end menu @@ -217,7 +217,7 @@ source file. If you say: %%LY voices \set autoBeaming = ##f @end example -This will cause the text following the keyword ``voices'' to be inserted +This will cause the text following the keyword ``voices'' to be inserted into the current voice of the LilyPond output file. Similarly, @@ -233,7 +233,7 @@ into the current line of lyrics. @refbugs The ABC standard is not very ``standard''. For extended features -(e.g., polyphonic music) different conventions exist. +(e.g., polyphonic music) different conventions exist. Multiple tunes in one file cannot be converted. @@ -274,7 +274,7 @@ write output to @var{file} @item -v,--version version information @item -w,--warranty -print warranty and copyright. +print warranty and copyright. @end table @@ -298,10 +298,10 @@ These tools include @item @uref{http://@/denemo@/.sourceforge@/.net/,Denemo}, a graphical score editor. @item -@uref{http://www@/.volny@/.cz/smilauer/rumor/rumor@/.html,Rumor}, a realtime +@uref{http://www@/.volny@/.cz/smilauer/rumor/rumor@/.html,Rumor}, a realtime monophonic MIDI to LilyPond converter. @item -@uref{http://nicolas@/.sceaux@/.free@/.fr/lilypond/lyqi@/.html,lyqi}, an +@uref{http://nicolas@/.sceaux@/.free@/.fr/lilypond/lyqi@/.html,lyqi}, an Emacs major mode. @item @uref{http://@/www@/.nongnu@/.org/@/xml2ly/, xml2ly}, which imports diff --git a/Documentation/user/examples.itely b/Documentation/user/examples.itely index 10ae7a0e3b..9bb3dede2a 100644 --- a/Documentation/user/examples.itely +++ b/Documentation/user/examples.itely @@ -510,7 +510,7 @@ music = { %%%%% vn1.ly \version "2.7.39" \include "piece.ly" -\score { +\score { \keepWithTag #'vn1 \music \layout { } } @@ -519,7 +519,7 @@ music = { %%%%% vn2.ly \version "2.7.39" \include "piece.ly" -\score { +\score { \keepWithTag #'vn2 \music \layout { } } @@ -528,7 +528,7 @@ music = { %%%%% vla.ly \version "2.7.39" \include "piece.ly" -\score { +\score { \keepWithTag #'vla \music \layout { } } @@ -537,7 +537,7 @@ music = { %%%%% vlc.ly \version "2.7.39" \include "piece.ly" -\score { +\score { \keepWithTag #'vlc \music \layout { } } diff --git a/Documentation/user/global.itely b/Documentation/user/global.itely index e56de1e6fa..e7fbdec20a 100644 --- a/Documentation/user/global.itely +++ b/Documentation/user/global.itely @@ -1,7 +1,7 @@ @c -*- coding: utf-8; mode: texinfo; -*- @c This file is part of lilypond.tely -@c A menu is needed before every deeper *section nesting of @node's; run +@c A menu is needed before every deeper *section nesting of @node's; run @c M-x texinfo-all-menus-update @c to automatically fill in these menus before saving changes @@ -92,7 +92,7 @@ A direct scheme expression, such as @item A @code{\header} block. This sets the global header block. This is the block containing the definitions for book-wide settings, like -composer, title, etc. +composer, title, etc. @item An @code{\addquote} statement. See @ref{Quoting other voices} @@ -143,7 +143,7 @@ music expression will be translated into \header @{ @} @} @end example - + This behavior can be changed by setting the variable @code{toplevel-music-handler} at toplevel. The default handler is defined in the init file @file{scm/@/lily@/.scm}. @@ -176,14 +176,14 @@ toplevel @example \layout @{ - % movements are non-justified by default + % movements are non-justified by default ragged-right = ##t @} \header @{ title = "Do-re-mi" @} - + @{ c'4 d' e2 @} @end example @@ -195,7 +195,7 @@ be entered: @item @code{\version} @item @code{\include} @item @code{\renameinput} -@end itemize +@end itemize @node Including LilyPond files @@ -228,7 +228,7 @@ VERSION is in the form ``2.6.1'') are on the path and available to current working directory are available to \include, but a file of the same name in LilyPond's installation takes precedence. Files are available to \include from directories in the search path specified as an -option when invoking @code{lilypond --include=DIR} which adds DIR to the +option when invoking @code{lilypond --include=DIR} which adds DIR to the search path. The @code{\include} statement can use full path information, but with the Unix @@ -419,17 +419,17 @@ may use any @ref{Text markup} commands in the header. \book { \header { dedication = "dedicated to me" - title = \markup \center-align { "Title first line" "Title second line, + title = \markup \center-align { "Title first line" "Title second line, longer" } subtitle = "the subtitle," - subsubtitle = #(string-append "subsubtitle LilyPond version " + subsubtitle = #(string-append "subsubtitle LilyPond version " (lilypond-version)) poet = "Poet" composer = \markup \center-align { "composer" \small "(1847-1973)" } texttranslator = "Text Translator" - meter = \markup { \teeny "m" \tiny "e" \normalsize "t" \large "e" \huge + meter = \markup { \teeny "m" \tiny "e" \normalsize "t" \large "e" \huge "r" } - arranger = \markup { \fontsize #8.5 "a" \fontsize #2.5 "r" \fontsize + arranger = \markup { \fontsize #8.5 "a" \fontsize #2.5 "r" \fontsize #-2.5 "r" \fontsize #-5.3 "a" \fontsize #7.5 "nger" } instrument = \markup \bold \italic "instrument" piece = "Piece" @@ -439,7 +439,7 @@ longer" } { c'1 } \header { piece = "piece1" - opus = "opus1" + opus = "opus1" } } \markup { @@ -449,17 +449,17 @@ longer" } { c'1 } \header { piece = "piece2" - opus = "opus2" + opus = "opus2" } } } @end lilypond -As demonstrated before, you can use multiple @code{\header} blocks. -When same fields appear in different blocks, the latter is used. +As demonstrated before, you can use multiple @code{\header} blocks. +When same fields appear in different blocks, the latter is used. Here is a short example. -@example +@example \header @{ composer = "Composer" @} @@ -513,7 +513,7 @@ variables in the @code{\paper} block. The init file @item bookTitleMarkup This is the title put over an entire @code{\book} block. Typically, it has the composer and the title of the piece - + @cindex @code{scoreTitleMarkup} @item scoreTitleMarkup This is the title put over a @code{\score} block within a @@ -522,7 +522,7 @@ field). @cindex @code{oddHeaderMarkup} @item oddHeaderMarkup - This is the page header for odd-numbered pages. + This is the page header for odd-numbered pages. @cindex @code{evenHeaderMarkup} @item evenHeaderMarkup @@ -534,8 +534,8 @@ field). @cindex @code{oddFooterMarkup} @item oddFooterMarkup - This is the page footer for odd-numbered pages. - + This is the page footer for odd-numbered pages. + @cindex @code{evenFotterMarkup} @item evenFooterMarkup This is the page footer for even-numbered pages. If unspecified, @@ -569,8 +569,8 @@ composer flush right on a single line. @refbugs -The @code{breakbefore=##t} header requires that there is a @code{piece} -header as well. It may be used as a normal header, or left blank +The @code{breakbefore=##t} header requires that there is a @code{piece} +header as well. It may be used as a normal header, or left blank (@code{=""}) as in the example above, but it must be present. @@ -601,7 +601,7 @@ To change the paper size, there are two commands, @} @end example -The first command sets the size of all pages. The second command sets the +The first command sets the size of all pages. The second command sets the size of the pages that the @code{\paper} block applies to -- if the @code{\paper} block is at the top of the file, then it will apply to all pages. If the @@ -624,7 +624,7 @@ and wider line widths will be set correspondingly. @example #(set-default-paper-size "a6" 'landscape) -@end example +@end example Setting the paper size will adjust a number of @code{\paper} variables (such as margins). To use a particular paper size with altered @@ -724,7 +724,7 @@ does not affect the last page. This should be set to true for pieces that have only two or three systems per page, for example orchestral scores. - + @cindex @code{ragged-last-bottom} @item ragged-last-bottom If set to false, systems will be spread vertically to fill the last page. @@ -768,7 +768,7 @@ for instrument names at the left. Amount of space between the title and the first system. @cindex @code{after-title-space} -@item before-title-space +@item before-title-space Amount of space between the last system of the previous piece and the title of the next. @@ -823,7 +823,7 @@ value has to be multiplied in the example @example \paper @{ - #(define bottom-margin (* 2 cm)) + #(define bottom-margin (* 2 cm)) @} @end example @@ -930,23 +930,23 @@ The recommended font sizes are listed in the following table: @item feta11 @tab 11.22 -@tab 3.9 +@tab 3.9 @tab pocket scores @item feta13 @tab 12.60 @tab 4.4 @tab - + @item feta14 @tab 14.14 @tab 5.0 -@tab +@tab @item feta16 @tab 15.87 @tab 5.6 -@tab +@tab @item feta18 @tab 17.82 @@ -956,15 +956,15 @@ The recommended font sizes are listed in the following table: @item feta20 @tab 20 @tab 7.0 -@tab standard parts +@tab standard parts @item feta23 -@tab 22.45 +@tab 22.45 @tab 7.9 -@tab +@tab @item feta26 -@tab 25.2 +@tab 25.2 @tab 8.9 @tab @c modern rental material? @@ -1036,9 +1036,9 @@ use fonts. These are the ones supporting the The following commands set @code{fontSize} for the current voice: @cindex @code{\tiny} -@code{\tiny}, +@code{\tiny}, @cindex @code{\small} -@code{\small}, +@code{\small}, @cindex @code{\normalsize} @code{\normalsize}. @@ -1123,15 +1123,15 @@ alignment. For example, @lilypond[ragged-right, fragment, relative=2, staffsize=13] \new StaffGroup << - \new Staff { - c1\break - + \new Staff { + c1\break + \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((fixed-alignment-extra-space . 15)) - c\break + c\break } \new Staff { c c } >> @@ -1167,7 +1167,7 @@ then use the following @c let's wait for a some comments before writing more. -The vertical spacing on a page can also be changed for each system +The vertical spacing on a page can also be changed for each system individually. Some examples are found in the example file @inputfileref{input/regression/,page-spacing.ly}. @@ -1191,7 +1191,7 @@ All units dimensions are measured in staff spaces. The pairs Internals: Vertical alignment of staves is handled by the @internalsref{VerticalAlignment} object. The context parameters -specifying the vertical extent are described in connection with +specifying the vertical extent are described in connection with the @internalsref{Axis_group_engraver}. Example files: @inputfileref{input/regression/,page-spacing.ly}, @@ -1206,7 +1206,7 @@ Example files: @inputfileref{input/regression/,page-spacing.ly}, The distance between staves of a @internalsref{PianoStaff} cannot be computed during formatting. Rather, to make cross-staff beaming work correctly, that distance has to be fixed beforehand. - + The distance of staves in a @code{PianoStaff} is set with the @code{forced-distance} property of the @internalsref{VerticalAlignment} object, created in @@ -1238,12 +1238,12 @@ The difference is demonstrated in the following example, \new Staff { c } \new Staff { c } >> ->> +>> @end lilypond It is also possible to change the distance between for each system -individually. This is done by including the command +individually. This is done by including the command @example \overrideProperty @@ -1259,15 +1259,15 @@ alignment. For example, @lilypond[ragged-right, fragment, relative=2, staffsize=13] \new PianoStaff << - \new Staff { - c1\break - + \new Staff { + c1\break + \overrideProperty #"Score.NonMusicalPaperColumn" #'line-break-system-details #'((fixed-alignment-extra-space . 15)) - c\break + c\break } \new Staff { c c } >> @@ -1293,7 +1293,7 @@ duration adds a fixed amount (this amount is controlled by @code{spacing-increment}) of space to the note. For example, the following piece contains lots of half, quarter, and -8th notes; the eighth note is followed by 1 note head width (NHW). +8th notes; the eighth note is followed by 1 note head width (NHW). The quarter note is followed by 2 NHW, the half by 3 NHW, etc. @lilypond[quote,fragment,verbatim,relative=1] @@ -1361,7 +1361,7 @@ exaggerated corrections: \override Staff.NoteSpacing #'stem-spacing-correction = #1.5 \override Staff.StaffSpacing #'stem-spacing-correction = #1.5 c'4 e''4 e'4 b'4 | - b'4 e''4 b'4 e''4| + b'4 e''4 b'4 e''4| } @end lilypond @@ -1397,7 +1397,7 @@ When @code{strict-note-spacing} is set, notes are spaced without regard for clefs, bar lines, and grace notes, @lilypond[quote,ragged-right,relative=2,fragment,verbatim] -\override Score.SpacingSpanner #'strict-note-spacing = ##t +\override Score.SpacingSpanner #'strict-note-spacing = ##t \new Staff { c8[ c \clef alto c \grace { c16[ c] } c8 c c] c32[ c32] } @end lilypond @@ -1486,12 +1486,12 @@ do this by specifying @code{\break}. This will force a line break at this point. Line breaks can only occur at places where there are bar lines. If you want to have a line break where there is no bar line, you can force an invisible bar line by entering @code{\bar -""}. Similarly, @code{\noBreak} forbids a line break at a +""}. Similarly, @code{\noBreak} forbids a line break at a point. @cindex regular line breaks -@cindex four bar music. +@cindex four bar music. For line breaks at regular intervals use @code{\break} separated by skips and repeated with @code{\repeat}: @@ -1500,7 +1500,7 @@ skips and repeated with @code{\repeat}: s1 \noBreak s1 \noBreak s1 \noBreak s1 \break @} @emph{the real music} ->> +>> @end example @noindent @@ -1547,7 +1547,7 @@ from happening. Of course, the @code{\pageBreak} command also forces a line break. Page breaks are computed by the @code{page-breaking} function in the -@code{\paper} block. +@code{\paper} block. To force a new page for a new piece (in a collection of pieces or a piece in several movements), use @code{breakbefore} in the header. @@ -1563,14 +1563,14 @@ piece in several movements), use @code{breakbefore} in the header. @cindex @code{\pageBreak} @code{\pageBreak} -@cindex @code{\noPageBreak} -@code{\noPageBreak} +@cindex @code{\noPageBreak} +@code{\noPageBreak} @refbugs -The @code{breakbefore=##t} header requires that there is a @code{piece} -header as well. It may be used as a normal header, or left blank +The @code{breakbefore=##t} header requires that there is a @code{piece} +header as well. It may be used as a normal header, or left blank (@code{=""}) as in the example above, but it must be present. @@ -1630,10 +1630,10 @@ the top of the file is inserted. @cindex Engraved by LilyPond @cindex signature line -@example +@example \book @{ \header @{ - title = "Eight miniatures" + title = "Eight miniatures" composer = "Igor Stravinsky" @} \score @{ @@ -1692,17 +1692,17 @@ output. Players that are known to work include @end menu @node Creating MIDI files -@subsection Creating MIDI files +@subsection Creating MIDI files To create a MIDI from a music piece of music, add a @code{\midi} block to a score, for example, -@example +@example \score @{ @var{...music...} \midi @{ \tempo 4=72 @} @} -@end example +@end example The tempo is specified using the @code{\tempo} command. In this example the tempo of quarter notes is set to 72 beats per minute. @@ -1712,13 +1712,13 @@ If there is a @code{\midi} command in a @code{\score}, only MIDI will be produced. When notation is needed too, a @code{\layout} block must be added -@example +@example \score @{ @var{...music...} \midi @{ \tempo 4=72 @} \layout @{ @} @} -@end example +@end example @cindex layout block @@ -1794,7 +1794,7 @@ for setting the tempo for dotted notes, an extra space should be inserted, for example @example -\midi @{ \tempo 4 . = 120 @} +\midi @{ \tempo 4 . = 120 @} @end example diff --git a/Documentation/user/instrument-notation.itely b/Documentation/user/instrument-notation.itely index 020e1c3b88..cb8bce0db7 100644 --- a/Documentation/user/instrument-notation.itely +++ b/Documentation/user/instrument-notation.itely @@ -1,7 +1,7 @@ @c -*- coding: utf-8; mode: texinfo; -*- @c This file is part of lilypond.tely -@c A menu is needed before every deeper *section nesting of @node's; run +@c A menu is needed before every deeper *section nesting of @node's; run @c M-x texinfo-all-menus-update @c to automatically fill in these menus before saving changes @@ -592,15 +592,15 @@ base can be printed in lower case. @cindex @code{chordPrefixSpacer} @item chordPrefixSpacer -The ``m'' for minor chords is usually printed right after the root of -the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer +The ``m'' for minor chords is usually printed right after the root of +the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer between the root and ``m''. The spacer is not used when the root is altered. @end table The predefined variables @code{\germanChords}, -@code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords} +@code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords} set these variables. The effect is demonstrated here, @@ -687,12 +687,12 @@ way is to use the @code{\addlyrics} function. @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 +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 +\override Score.PaperColumn #'keep-inside-line = ##t @end example To make lyrics avoid barlines as well, use @@ -737,7 +737,7 @@ More stanzas can be added by adding more \addlyrics { joue le jeu } @end lilypond -The command @code{\addlyrics} cannot handle polyphony settings. For these +The command @code{\addlyrics} cannot handle polyphony settings. For these cases you should use @code{\lyricsto} and @code{\lyricmode}. @@ -765,12 +765,12 @@ explicitly, like in the example above, or by automatically aligning the lyrics to a melody or other voice of music, using @code{\addlyrics} or @code{\lyricsto}. For more details see @ref{The Lyrics context}. -A word or syllable of lyrics begins with an alphabetic character, and ends +A word or syllable of lyrics begins with an alphabetic character, and ends with any space or digit. The following characters can be any character that is not a digit or white space. One important consequence of this is that a word can end with @code{@}}. The following example is -usually a mistake in the input file. The syllable includes a @code{@}}, so +usually a mistake in the input file. The syllable includes a @code{@}}, so the opening brace is not balanced @example @@ -865,7 +865,7 @@ Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}. @node The Lyrics context @subsection The Lyrics context -Lyrics are printed by interpreting them in the context caleld +Lyrics are printed by interpreting them in the context caleld @internalsref{Lyrics}. @example @@ -896,11 +896,11 @@ then the lyrics are specified with @code{\lyricsto}. The command The following example uses different commands for entering lyrics. @lilypond[quote,fragment,ragged-right,verbatim] -<< +<< \new Voice = "one" \relative c'' { \autoBeamOff \time 2/4 - c4 b8. a16 g4. f8 e4 d c2 + c4 b8. a16 g4. f8 e4 d c2 } \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 } \new Lyrics \lyricmode { Joy to the earth! the Sav -- our reigns. } @@ -922,11 +922,11 @@ must be used. @example verseOne = \lyricmode @{ Joy to the world the Lord is come @} \score @{ - << + << \new Voice = "one" \relative c'' @{ \autoBeamOff \time 2/4 - c4 b8. a16 g4. f8 e4 d c2 + c4 b8. a16 g4. f8 e4 d c2 @} \addlyrics @{ \verseOne @} >> @@ -935,7 +935,7 @@ verseOne = \lyricmode @{ Joy to the world the Lord is come @} The @code{\addlyrics} command is actually just a convenient way to write a more complicated LilyPond structure that sets up the -lyrics. +lyrics. @example @{ MUSIC @} @@ -1094,7 +1094,7 @@ differing ways. Such variations can still be captured with @end menu @node Lyrics to multiple notes of a melisma -@subsubsection Lyrics to multiple notes of a melisma +@subsubsection Lyrics to multiple notes of a melisma One possibility is that the text has a melisma in one stanza, but @@ -1279,9 +1279,9 @@ The underlay is switched back to the starting situation by assigning It is also possible to define melismata entirely in the lyrics. This can be done by entering @code{_} for every note that is part of the -melisma. +melisma. -@lilypond[relative=1,verbatim,fragment] +@lilypond[relative=1,verbatim,fragment] { \set melismaBusyProperties = #'() c d( e) f f( e) e e } \addlyrics @@ -1311,7 +1311,7 @@ To increase the spacing between lyrics, set the minimum-distance property of LyricSpace. @lilypond[relative,verbatim,fragment,quote,ragged-right] -{ +{ c c c c \override Lyrics.LyricSpace #'minimum-distance = #1.0 c c c c @@ -1322,7 +1322,7 @@ LyricSpace. } @end lilypond -To make this change for all lyrics in the score, set the property in the +To make this change for all lyrics in the score, set the property in the layout. @lilypond[relative,verbatim,quote,ragged-right] @@ -1435,7 +1435,7 @@ the line, just like instrument names. They are created by setting @seealso -Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber}, +Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber}, @internalsref{VocalName}. @@ -1850,7 +1850,7 @@ for this purpose instead. @cindex String numbers String numbers can be added to chords, by indicating the string number -with @code{\}@var{number}, +with @code{\}@var{number}, @lilypond[relative,relative=1,ragged-right,fragment] @@ -1966,14 +1966,14 @@ and bass guitar. \set TabStaff.stringTunings = #bass-tuning @end example -The default string tuning is @code{guitar-tuning} (the standard EADGBE +The default string tuning is @code{guitar-tuning} (the standard EADGBE tuning). Some other predefined tunings are @code{guitar-open-g-tuning}, @code{mandolin-tuning} and @code{banjo-open-g-tuning}. @seealso -The file @file{scm/@/output@/-lib@/.scm} contains the predefined string +The file @file{scm/@/output@/-lib@/.scm} contains the predefined string tunings. Program reference: @internalsref{Tab_note_heads_engraver}. @@ -1988,7 +1988,7 @@ No guitar special effects have been implemented. @cindex Banjo tablatures LilyPond has basic support for five stringed banjo. When making tablatures -for five stringed banjo, use the banjo tablature format function to get +for five stringed banjo, use the banjo tablature format function to get correct fret numbers for the fifth string: @@ -2088,9 +2088,9 @@ e16 b16 g16 d16 @end lilypond -Stopped (X) note heads are used in guitar music to signal a place where the -guitarist must play a certain note or chord, with its fingers just -touching the strings instead of fully pressing them. This gives the sound a +Stopped (X) note heads are used in guitar music to signal a place where the +guitarist must play a certain note or chord, with its fingers just +touching the strings instead of fully pressing them. This gives the sound a percussive noise-like sound that still maintains part of the original pitch. It is notated with cross noteheads; this is demonstrated in @ref{Special noteheads}. @@ -2135,16 +2135,16 @@ notes in the appropiate octaves, so you do not need to worry about { \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A } @end lilypond -Bagpipe music nominally uses the key of D Major (even though that -isn't really true). However, since that is the only key that can be used, -the key signature is normally not written out. To set this up correctly, -always start your music with @code{\hideKeySignature}. If you for some +Bagpipe music nominally uses the key of D Major (even though that +isn't really true). However, since that is the only key that can be used, +the key signature is normally not written out. To set this up correctly, +always start your music with @code{\hideKeySignature}. If you for some reason want to show the key signature, you can use @code{\showKeySignature} instead. Some modern music use cross fingering on c and f to flatten those notes. This can be indicated by @code{cflat} or @code{fflat}. Similarly, the -piobaireachd high g can be written @code{gflat} when it occurs in light +piobaireachd high g can be written @code{gflat} when it occurs in light music. @@ -2170,7 +2170,7 @@ notation. { \hideKeySignature \time 3/4 - \grg \partial 4 a8. d16 + \grg \partial 4 a8. d16 \slurd d2 \grg f8[ e32 d16.] \grg f2 \grg f8 e \thrwd d2 \grg b4 @@ -2437,7 +2437,7 @@ There are no rests in Gregorian Chant notation; instead, it uses @seealso -In this manual: @ref{Rests} gives a general introduction into the use of +In this manual: @ref{Rests} gives a general introduction into the use of rests. @@ -2743,34 +2743,34 @@ following table { \set Score.timing = ##f \set Score.barAlways = ##t - s_\markup { "\\time 4/4" }^\markup { " " \musicglyph + s_\markup { "\\time 4/4" }^\markup { " " \musicglyph #"timesig.neomensural44" } s - s_\markup { "\\time 2/2" }^\markup { " " \musicglyph + s_\markup { "\\time 2/2" }^\markup { " " \musicglyph #"timesig.neomensural22" } s - s_\markup { "\\time 6/4" }^\markup { " " \musicglyph + s_\markup { "\\time 6/4" }^\markup { " " \musicglyph #"timesig.neomensural64" } s - s_\markup { "\\time 6/8" }^\markup { " " \musicglyph + s_\markup { "\\time 6/8" }^\markup { " " \musicglyph #"timesig.neomensural68" } \break - s_\markup { "\\time 3/2" }^\markup { " " \musicglyph + s_\markup { "\\time 3/2" }^\markup { " " \musicglyph #"timesig.neomensural32" } s - s_\markup { "\\time 3/4" }^\markup { " " \musicglyph + s_\markup { "\\time 3/4" }^\markup { " " \musicglyph #"timesig.neomensural34" } s - s_\markup { "\\time 9/4" }^\markup { " " \musicglyph + s_\markup { "\\time 9/4" }^\markup { " " \musicglyph #"timesig.neomensural94" } s - s_\markup { "\\time 9/8" }^\markup { " " \musicglyph + s_\markup { "\\time 9/8" }^\markup { " " \musicglyph #"timesig.neomensural98" } \break - s_\markup { "\\time 4/8" }^\markup { " " \musicglyph + s_\markup { "\\time 4/8" }^\markup { " " \musicglyph #"timesig.neomensural48" } s - s_\markup { "\\time 2/4" }^\markup { " " \musicglyph + s_\markup { "\\time 2/4" }^\markup { " " \musicglyph #"timesig.neomensural24" } } @end lilypond @@ -4166,7 +4166,7 @@ switched on by setting @code{suggestAccidentals} to true. fis gis \set suggestAccidentals = ##t ais bis -@end lilypond +@end lilypond @seealso @@ -4242,7 +4242,7 @@ It is also possible to use continuation lines for repeated figures, c4 c c } \figures { - \set useBassFigureExtenders = ##t + \set useBassFigureExtenders = ##t <4 6> <3 6> <3 7> } >> @@ -4250,7 +4250,7 @@ It is also possible to use continuation lines for repeated figures, @noindent In this case, the extender lines always replace existing figures. - + The @code{FiguredBass} context doesn't pay attention to the actual bass line. As a consequence, you may have to insert extra figures to get extender lines below all notes, and you may have to add @code{\!} @@ -4258,9 +4258,9 @@ to avoid getting an extender line, e.g. @lilypond[relative=1] << - \new Voice + \new Voice \figures { - \set useBassFigureExtenders = ##t + \set useBassFigureExtenders = ##t <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5-> } { @@ -4273,20 +4273,20 @@ to avoid getting an extender line, e.g. When using continuation lines, common figures are always put in the same vertical position. When this is unwanted, you can insert a rest with @code{r}. The rest will clear any previous alignment. For -example, you can write +example, you can write @example <4 6>8 r8 @end example @noindent -instead of +instead of @example <4 6>4 @end example Accidentals and plus signs can appear before or after the numbers, -depending on the @code{figuredBassAlterationDirection} and +depending on the @code{figuredBassAlterationDirection} and @code{figuredBassPlusDirection} properties diff --git a/Documentation/user/introduction.itely b/Documentation/user/introduction.itely index 6801c0b763..6f6aee468d 100644 --- a/Documentation/user/introduction.itely +++ b/Documentation/user/introduction.itely @@ -6,12 +6,12 @@ @menu -* Engraving:: -* Automated engraving:: -* What symbols to engrave?:: -* Music representation:: -* Example applications:: -* About this manual:: +* Engraving:: +* Automated engraving:: +* What symbols to engrave?:: +* Music representation:: +* Example applications:: +* About this manual:: @end menu @@ -82,7 +82,7 @@ computer edition. @end ifnotinfo @ifinfo @c workaround for makeinfo-4.6: line breaks and multi-column cookies -@image{henle-flat-bw,,,png} @image{baer-flat-bw,,,png} +@image{henle-flat-bw,,,png} @image{baer-flat-bw,,,png} @image{lily-flat-bw,,,png} @end ifinfo @@ -123,7 +123,7 @@ music = { \stemDown b'8[ e'' a' e''] \stemNeutral - e'8[ e'8 e'8 e'8] + e'8[ e'8 e'8 e'8] } \score @@ -149,7 +149,7 @@ music = { \stemDown b'8[ e'' a' e''] \stemNeutral - e'8[ e'8 e'8 e'8] + e'8[ e'8 e'8 e'8] } \score { @@ -173,7 +173,7 @@ constant rhythm. The spacing should reflect that. Unfortunately, the eye deceives us a little; not only does it notice the distance between note heads, it also takes into account the distance between consecutive stems. As a result, the notes of an up-stem/@/down-stem -combination should be put farther apart, and the notes of a +combination should be put farther apart, and the notes of a down-stem/@/up-stem combination should be put closer together, all depending on the combined vertical positions of the notes. The first two measures are @@ -517,7 +517,7 @@ polyphony? In polyphonic notation, many voices can share a staff. @lilypond[quote,ragged-right] \include "engraver-example.ily" -\new Staff << \topVoice \\ \botVoice >> +\new Staff << \topVoice \\ \botVoice >> @end lilypond In this situation, the accidentals and staff are shared, but the stems, @@ -583,7 +583,7 @@ c4 @noindent Chords can be constructed with @code{<<} and @code{>>} enclosing the notes -@c < > is not a music expression, +@c < > is not a music expression, @c so we use <<>> iso. <> to drive home the point of @c expressions. Don't change this back --hwn. @example diff --git a/Documentation/user/invoking.itely b/Documentation/user/invoking.itely index 153db32323..b99eef82e5 100644 --- a/Documentation/user/invoking.itely +++ b/Documentation/user/invoking.itely @@ -72,7 +72,7 @@ on the command-line, and include @end example @noindent -at the top of the @code{.ly} file. +at the top of the @code{.ly} file. @item -f,--format=@var{format} which formats should be written. Choices are @code{svg}, @code{ps}, @@ -94,8 +94,8 @@ extents of strings of text. Postscript files include TTF, Type1 and OTF fonts. No subsetting of these fonts is done. When using oriental character sets, this can - lead to huge files. - + lead to huge files. + @item eps for encapsulated PostScript. This dumps every page (system) as a separate @file{EPS} file, without fonts, and as one collated @file{EPS} file with @@ -107,16 +107,16 @@ This mode is used by default by lilypond-book. for SVG (Scalable Vector Graphics). This dumps every page as a separate @file{SVG} file, with embedded fonts. @cindex SVG (Scalable Vector Graphics) - You need a SVG viewer which supports embedded fonts, or a SVG - viewer which is able to replace the embedded fonts with OTF fonts. - Under Unix, you may use @uref{http://www.inkscape.org,Inkscape} - (version 0.42 or later), after copying the OTF fonts in directory + You need a SVG viewer which supports embedded fonts, or a SVG + viewer which is able to replace the embedded fonts with OTF fonts. + Under Unix, you may use @uref{http://www.inkscape.org,Inkscape} + (version 0.42 or later), after copying the OTF fonts in directory @file{PATH/TO/share/lilypond/VERSION/fonts/otf/} to @file{~/.fonts/}. @item scm for a dump of the raw, internal Scheme-based drawing commands. @cindex Scheme dump @end table - + @cindex output format, setting @item -d,--define-default=@var{var}=@var{val} @@ -178,7 +178,7 @@ specified, i.e., @code{-b tex}. Generate pictures of each page, in PNG format. This implies @code{--ps}. The resolution in DPI of the image may be set with @example --dresolution=110 +-dresolution=110 @end example @item --pdf @@ -237,7 +237,7 @@ being compiled. For a softer but secure alternative you can use the @item -j,--jail=@var{user},@var{group},@var{jail},@var{dir} Run LilyPond in a chroot jail. -The @code{--jail} option provides a more flexible alternative to +The @code{--jail} option provides a more flexible alternative to @code{--safe} when LilyPond formatting is available through a web server or whenever LilyPond executes externally provided sources. @@ -336,11 +336,11 @@ uses more CPU time. The default value is @code{70}. The scripts (such as lilypond-book, convert-ly, abc2ly, etc.) are also included inside MacOS X .app. They can be run from the command line by -invoking them directly, e.g. +invoking them directly, e.g. @example @var{path/to}/LilyPond.app/Contents/Resources/bin/convert-ly -@end example +@end example Alternatively, you may add this directory to your path. Modify (or create) a file called @code{.profile} in your home directory such that it contains @@ -415,8 +415,8 @@ Set the version to convert from. If this is not set, @command{convert-ly} will guess this, on the basis of @code{\version} strings in the file. @item -n,--no-version -Normally, @command{convert-ly} adds a @code{\version} indicator -to the output. Specifying this option suppresses this. +Normally, @command{convert-ly} adds a @code{\version} indicator +to the output. Specifying this option suppresses this. @item -s, --show-rules Show all known conversions and exit. @@ -448,25 +448,25 @@ convert-ly.txt?rev=HEAD&content-type=text/plain @end ignore @verbatim -There are a few things that the convert-ly cannot handle. Here's a list of +There are a few things that the convert-ly cannot handle. Here's a list of limitations that the community has complained about. -This bug report structure has been chosen because convert-ly has a structure +This bug report structure has been chosen because convert-ly has a structure that doesn't -allow to smoothly implement all needed changes. Thus this is just a wishlist, +allow to smoothly implement all needed changes. Thus this is just a wishlist, placed here for reference. 1.6->2.0: - Doesn't always convert figured bass correctly, specifically things like {< + Doesn't always convert figured bass correctly, specifically things like {< >}. Mats' comment on working around this: To be able to run convert-ly on it, I first replaced all occurencies of '{<' to some dummy like '{#' and similarly I replaced '>}' with '&}'. After the conversion, I could then change back from '{ #' to '{ <' and from '& }' to '> }'. Doesn't convert all text markup correctly. In the old markup syntax, - it was possible to group a number of markup commands together within + it was possible to group a number of markup commands together within parentheses, e.g. -#'((bold italic) "string") This will incorrectly be converted into @@ -475,7 +475,7 @@ parentheses, e.g. -\markup{\bold \italic "string"} 2.0->2.2: Doesn't handle \partcombine - Doesn't do \addlyrics => \lyricsto, this breaks some scores with multiple + Doesn't do \addlyrics => \lyricsto, this breaks some scores with multiple stanzas. 2.0->2.4: \magnify isn't changed to \fontsize. @@ -491,7 +491,7 @@ stanzas. - \rced => \! - \rc => \! 2.2->2.4: - \turnOff (used in \set Staff.VoltaBracket = \turnOff) is not properly + \turnOff (used in \set Staff.VoltaBracket = \turnOff) is not properly converted. 2.4.2->2.5.9 \markup{ \center-align <{ ... }> } should be converted to: @@ -532,7 +532,7 @@ that the bug can be reproduced in all paper sizes. @end itemize @ignore -@c the bug database is not up to date enough. +@c the bug database is not up to date enough. When you've found a bug, have a look at our @uref{http://@/lilypond@/.org/@/doc/@/v2.5/@/bugs/,bug database} to see if @@ -702,7 +702,7 @@ some error in the sheet music. When this functionality is active, LilyPond adds hyperlinks to the PDF file. These hyperlinks are sent to the web-browser, which opens a -text-editor with the cursor in the right place. +text-editor with the cursor in the right place. To make this chain work, you should configure your PDF viewer to follow hyperlinks using the @file{lilypond-invoke-editor} script diff --git a/Documentation/user/latex-example.latex b/Documentation/user/latex-example.latex index 4a8e1fcb93..da9c12b871 100644 --- a/Documentation/user/latex-example.latex +++ b/Documentation/user/latex-example.latex @@ -39,8 +39,8 @@ c d e \end{lilypond} \begin{enumerate} -\item Vers one. aaa aaa aaa aaa aaa aaa aaa aaa aaa aaa -\item Vers two. bbb bbb bbb bbb bbb bbb bbb bbb bbb bbb +\item Vers one. aaa aaa aaa aaa aaa aaa aaa aaa aaa aaa +\item Vers two. bbb bbb bbb bbb bbb bbb bbb bbb bbb bbb \end{enumerate} \end{document} diff --git a/Documentation/user/latex-lilypond-example.latex b/Documentation/user/latex-lilypond-example.latex index 3c79e92c0b..a8b799badb 100644 --- a/Documentation/user/latex-lilypond-example.latex +++ b/Documentation/user/latex-lilypond-example.latex @@ -2,7 +2,7 @@ % keep \documentclass on 1st line for lilypond-book auto-detection % -% This is way too long and hairy -- +% This is way too long and hairy -- % % @@ -61,7 +61,7 @@ and C minor \subsection{verb and verbatim} -As you see, the begin/end verbatim command inside +As you see, the begin/end verbatim command inside does not confuse lilypond-book: \verb|\begin[fragment]{lilypond}c d e\end{lilypond}| @@ -105,7 +105,7 @@ this line, then lilypond-book is handling latex comments pretty well :-) \subsection{To float or not to float} This music \begin[fragment]{lilypond} -c' e' +c' e' \end{lilypond} should be floating inside the text by using the \verb|eps| options. @@ -156,26 +156,26 @@ Tables\footnote{ and footnote: \pagebreak Testing of spacing. The next music is surrounded by an empty line. -text text text text text text text text text text text text -text text text text text text text text text text text text +text text text text text text text text text text text text +text text text text text text text text text text text text \begin{lilypond} \score{ \relative c'{ c d e f g a b c} } \end{lilypond} -text text text text text text text text text text text text -text text text text text text text text text text text text -text text text text text text text text text text text text +text text text text text text text text text text text text +text text text text text text text text text text text text +text text text text text text text text text text text text Next has no empty lines. -text text text text text text text text text text text text -text text text text text text text text text text text text -text text text text text text text text text text text text +text text text text text text text text text text text text +text text text text text text text text text text text text +text text text text text text text text text text text text \begin{lilypond} \score{ \relative c'{ c d e f g a b c} } \end{lilypond} -text text text text text text text text text text text text -text text text text text text text text text text text text +text text text text text text text text text text text text +text text text text text text text text text text text text %% need to use an -I ../../../input/test to find the file %% \lilypondfile{tie.ly} diff --git a/Documentation/user/lilypond-book.itely b/Documentation/user/lilypond-book.itely index 5549e46931..d2ec268961 100644 --- a/Documentation/user/lilypond-book.itely +++ b/Documentation/user/lilypond-book.itely @@ -1,4 +1,4 @@ -@c -*- coding: utf-8; mode: texinfo; -*- +c -*- coding: utf-8; mode: texinfo; -*- @ignore @@ -31,13 +31,13 @@ the music are adjusted to match the layout of your document. This procedure may be applied to La@TeX{}, HTML or Texinfo documents. @menu -* An example of a musicological document:: -* Integrating LaTeX and music:: -* Integrating Texinfo and music:: -* Integrating HTML and music:: -* Music fragment options:: -* Invoking lilypond-book:: -* Filename extensions:: +* An example of a musicological document:: +* Integrating LaTeX and music:: +* Integrating Texinfo and music:: +* Integrating HTML and music:: +* Music fragment options:: +* Invoking lilypond-book:: +* Filename extensions:: @end menu @@ -191,7 +191,7 @@ or @end example Running @command{lilypond-book} yields a file that can be further -processed with La@TeX{}. +processed with La@TeX{}. We show some examples here. The lilypond environment @@ -245,7 +245,7 @@ the user: @code{\betweenLilyPondSystem[1]} is called between systems if @code{lilypond-book} has split the snippet into several postscript files. It must be defined as taking one parameter and will be -passed the number of files already included in this snippet. +passed the number of files already included in this snippet. The default is to simply insert a @code{\linebreak}. @ignore diff --git a/Documentation/user/lilypond.tely b/Documentation/user/lilypond.tely index 9665fda854..e736bee6c8 100644 --- a/Documentation/user/lilypond.tely +++ b/Documentation/user/lilypond.tely @@ -12,12 +12,12 @@ Distributions will want to install lilypond.info in postinstall, doing: install-info --info-dir=/usr/share/info out/lilypond.info * Prepend GNU for dir, must be unique. - + * Do not list the `lilypond' node at toplevel, so that `info lilypond' goes to Top. * List all commands in direntry. - + @c * lilypond: (lilypond/lilypond)Running LilyPond. Invoking the @c LilyPond program. @end ignore @@ -25,12 +25,12 @@ Distributions will want to install lilypond.info in postinstall, doing: @dircategory GNU music project @direntry * LilyPond: (lilypond/lilypond). The GNU music typesetter. -* abc2ly: (lilypond/lilypond)Invoking abc2ly. Importing ABC. +* abc2ly: (lilypond/lilypond)Invoking abc2ly. Importing ABC. * convert-ly: (lilypond/lilypond)Invoking convert-ly. Older LilyPond versions. * etf2ly: (lilypond/lilypond)Invoking etf2ly. Importing Finale. * lilypond-book: (lilypond/lilypond)LilyPond-book. Itegrating text and music. * midi2ly: (lilypond/lilypond)Invoking midi2ly. Importing MIDI. -* mup2ly: (lilypond/lilypond)Invoking mup2ly. Importing Mup. +* mup2ly: (lilypond/lilypond)Invoking mup2ly. Importing Mup. @end direntry @@ -45,7 +45,7 @@ Distributions will want to install lilypond.info in postinstall, doing: @ifhtml -This document is also available as a +This document is also available as a @uref{source/Documentation/user/lilypond.pdf,PDF}. @end ifhtml @@ -85,7 +85,7 @@ Copyright @copyright{} 1999--2006 by the authors \score { \context Lyrics { \override Score.RehearsalMark #'self-alignment-X = #LEFT - \override Score.RehearsalMark #'font-size = #-2 + \override Score.RehearsalMark #'font-size = #-2 \mark #(ly:export (string-append "(For LilyPond version " (lilypond-version) ")")) s2 @@ -175,7 +175,7 @@ Appendices @include macros.itexi @include preface.itely -@include introduction.itely +@include introduction.itely @include tutorial.itely @include putting.itely @include working.itely diff --git a/Documentation/user/literature.itely b/Documentation/user/literature.itely index a3c6d37bac..2e7f3f7c2c 100644 --- a/Documentation/user/literature.itely +++ b/Documentation/user/literature.itely @@ -26,7 +26,7 @@ A concise, alphabetically ordered list of typesetting and music Gardner Read, Music Notation: A Manual of Modern Practice. Taplinger Publishing, New York (2nd edition). -A standard work on music notation. +A standard work on music notation. @item Ross 1987 Ted Ross, Teach yourself the art of music engraving and processing. @@ -39,7 +39,7 @@ are also interesting. @item Schirmer 2001 The G.Schirmer/AMP Manual of Style and Usage. G.Schirmer/AMP, NY, 2001. -(This book can be ordered from the rental department.) +(This book can be ordered from the rental department.) This manual specifically focuses on preparing print for publication by Schirmer. It discusses many details that are not in other, normal diff --git a/Documentation/user/macros.itexi b/Documentation/user/macros.itexi index 443d8a7bac..8051ffcd69 100644 --- a/Documentation/user/macros.itexi +++ b/Documentation/user/macros.itexi @@ -69,7 +69,7 @@ @ref{\NAME\,,,music-glossary}@c @findex \NAME\ @end macro - + @end ifhtml @@ -80,7 +80,7 @@ @ref{\NAME\,,,lilypond-internals}@c @findex @code{\NAME\} @end macro - + @macro inputfileref{DIR,NAME} @uref{source/\DIR\/collated-files.html#\NAME\,@file{\DIR\/\NAME\}}@c @end macro @@ -184,7 +184,7 @@ user manual, @internalsref{\NAME\} @macro refcommand{WHAT} @findex \WHAT\ -@code{\WHAT\} +@code{\WHAT\} @end macro @macro commonprop diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely index a5f0f6c3eb..8a0e8231a8 100644 --- a/Documentation/user/music-glossary.tely +++ b/Documentation/user/music-glossary.tely @@ -11,7 +11,7 @@ @end direntry @ifhtml -This document is also available in +This document is also available in @uref{source/Documentation/user/music-glossary.pdf,PDF} and as @uref{source/Documentation/user/music-glossary.html,one big page}. @end ifhtml @@ -40,7 +40,7 @@ Copyright @copyright{} 1999--2006 by the authors under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation, without Invariant Sections. - + @end titlepage @@ -516,7 +516,7 @@ tempo, especially the first and last movements of a @aref{sonata}. ES: alteración, I: alterazione F: altération -D: +D: NL: verhoging of verlaging, DK: S: @@ -1070,7 +1070,7 @@ D: Cent, NL: cent, DK: cent, S: cent, -FI: sentti, puolisävelaskeleen sadasosa tasavireisessä +FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä. Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100 @@ -1094,9 +1094,9 @@ DK: akkord, S: ackord, FI: sointu. -Three or more tones sounding simultaneously. In traditional European music +Three or more tones sounding simultaneously. In traditional European music the -base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major + minor @aref{third}) as well as @emph{minor} (minor + major third) chords may be extended with more thirds. Four-tone @emph{seventh chords} @@ -1462,7 +1462,7 @@ of the 20th century } } @end lilypond - + @node D @section D @@ -1766,7 +1766,7 @@ DK: springende bevægelse, S: hoppande rörelse, FI: melodian hyppivä liike. -Progressing melodically by intervals larger than a major second. +Progressing melodically by intervals larger than a major second. Opposite of @aref{conjunct movement}. @lilypond[fragment,ragged-right] @@ -2633,7 +2633,7 @@ DK: interval, S: intervall, FI: intervalli, kahden sävelen korkeusero. -Difference in pitch between two notes. Intervals may be perfect, minor, +Difference in pitch between two notes. Intervals may be perfect, minor, major, diminished, or augmented. The augmented fourth and the diminished fifth are identical (@aref{enharmonic}) and are called @emph{tritonus} @@ -2834,7 +2834,7 @@ DK: legato, S: legato, FI: legato, sitoen. -To be performed (a) without any perceptible interruption between the notes, +To be performed (a) without any perceptible interruption between the notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and (d) @aref{staccato}. @@ -3038,7 +3038,7 @@ harmony}, @aref{relative key}. @node melisma @section melisma -NL: melisma, +NL: melisma, FI: melisma, laulettavan tavun sävelkuvio. A melisma (plural: melismata) is a group of notes or tones sung on one @@ -3395,7 +3395,7 @@ S: notvärde, FI: nuotin aika-arvo. Note values (durations) are measured as fractions, normally 1/2, of the next -higher note value. The longest duration normally used is called +higher note value. The longest duration normally used is called @emph{brevis}, but sometimes (mostly in pre-baroque music) the double length note value @emph{longa} is used. @@ -3508,7 +3508,7 @@ the upper note is played first. >> @end lilypond -Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and +Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the @emph{prall} (inverted mordent). @@ -4465,7 +4465,7 @@ D: syntonisches Komma, NL: syntonische komma, DK: syntonisk komma, S: syntoniskt komma, -FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa +FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysjärjestelmässä. Difference between the natural third and the third obtained by Pythagorean @@ -4879,7 +4879,7 @@ S: stämgaffel, FI: viritysavain. A two-pronged piece of steel used to indicate absolute pitch. Tuning forks -give the international pitch for the tone @emph{a} (440 vibrations per +give the international pitch for the tone @emph{a} (440 vibrations per second). @node turn @@ -5197,8 +5197,8 @@ symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon. @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1 -@item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D} -@tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI} +@item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D} +@tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI} @item @@ -5206,13 +5206,13 @@ symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon. @item -@item @strong{c-sharp} @tab do diesis @tab do diesis @tab ut dièse @tab +@item @strong{c-sharp} @tab do diesis @tab do diesis @tab ut dièse @tab Cis @tab cis @tab cis @tab cis @tab cis @item -@item @strong{d-flat} @tab re bemolle @tab re bemolle @tab ré bémol @tab +@item @strong{d-flat} @tab re bemolle @tab re bemolle @tab ré bémol @tab Des @tab des @tab des @tab des @tab des @@ -5230,12 +5230,12 @@ des @tab des @tab des @item -@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g +@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g @item -@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As +@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As @tab as @tab as @tab as @tab as @@ -5245,13 +5245,13 @@ des @tab des @tab des @item -@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab +@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais @tab ais @tab ais @tab ais @tab ais @item -@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B +@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B @tab bes @tab b @tab b @tab b diff --git a/Documentation/user/notation-appendices.itely b/Documentation/user/notation-appendices.itely index 8dfd083b4c..3efa17df7f 100644 --- a/Documentation/user/notation-appendices.itely +++ b/Documentation/user/notation-appendices.itely @@ -27,7 +27,7 @@ names, along with the pitches they represent. The following is a list of names that can be used for the @code{midiInstrument} property. -@example +@example acoustic grand contrabass lead 7 (fifths) bright acoustic tremolo strings lead 8 (bass+lead) electric grand pizzicato strings pad 1 (new age) @@ -70,8 +70,8 @@ synth bass 1 lead 2 (sawtooth) telephone ring synth bass 2 lead 3 (calliope) helicopter violin lead 4 (chiff) applause viola lead 5 (charang) gunshot -cello lead 6 (voice) -@end example +cello lead 6 (voice) +@end example @node List of colors @@ -100,7 +100,7 @@ Any name that is spelled as a single word with capitalisation (e.g. ``LightSlateBlue'') can also be spelled as space separated words without capitalisation (e.g. ``light slate blue''). -The word ``grey'' can always be spelled ``gray'' (e.g. ``DarkSlateGray''). +The word ``grey'' can always be spelled ``gray'' (e.g. ``DarkSlateGray''). Some names can take a numerical suffix (e.g. ``LightSalmon4''). diff --git a/Documentation/user/point-and-click.itely b/Documentation/user/point-and-click.itely index 827e51bf5f..8d74e79a68 100644 --- a/Documentation/user/point-and-click.itely +++ b/Documentation/user/point-and-click.itely @@ -9,7 +9,7 @@ some error in the sheet music. When this functionality is active, LilyPond adds hyperlinks to the PDF file. These hyperlinks are sent to the web-browser, which opens a -text-editor with the cursor in the right place. +text-editor with the cursor in the right place. To make this chain work, you should configure your PDF viewer to follow hyperlinks using the @file{lilypond-invoke-editor} script diff --git a/Documentation/user/programming-interface.itely b/Documentation/user/programming-interface.itely index ccdfd7bccf..000a0d9f1e 100644 --- a/Documentation/user/programming-interface.itely +++ b/Documentation/user/programming-interface.itely @@ -30,7 +30,7 @@ This section discusses how to create music functions within LilyPond. @end menu @node Overview of music functions -@subsection Overview of music functions +@subsection Overview of music functions Making a funcion which substitutes a variable into LilyPond code is easy. The general form of these functions is @@ -95,7 +95,7 @@ padText = #(define-music-function (parser location padding) (number?) c4^"piu mosso" d e f \padText #2.6 c4^"piu mosso" fis a g -} +} @end lilypond Music expressions may be substituted as well, @@ -103,12 +103,12 @@ Music expressions may be substituted as well, @lilypond[quote,verbatim,ragged-right] custosNote = #(define-music-function (parser location note) (ly:music?) - #{ - \once \override Voice.NoteHead #'stencil = + #{ + \once \override Voice.NoteHead #'stencil = #ly:text-interface::print - \once \override Voice.NoteHead #'text = + \once \override Voice.NoteHead #'text = \markup \musicglyph #"custodes.mensural.u0" - \once \override Voice.Stem #'stencil = ##f + \once \override Voice.Stem #'stencil = ##f $note #}) @@ -119,7 +119,7 @@ Multiple variables may be used, @lilypond[quote,verbatim,ragged-right] tempoMark = #(define-music-function (parser location padding marktext) - (number? string?) + (number? string?) #{ \once \override Score . RehearsalMark #'padding = $padding \once \override Score . RehearsalMark #'no-spacing-rods = ##t @@ -166,12 +166,12 @@ manualBeam = (number? number?) #{ \once \override Beam #'positions = #(cons $beg $end) -#}) +#}) \relative { \manualBeam #3 #6 c8 d e f } -@end lilypond +@end lilypond @node Mathematics in functions @@ -181,14 +181,14 @@ Music functions can involve Scheme programming in addition to simple substitution, @lilypond[quote,verbatim,ragged-right] -AltOn = #(define-music-function (parser location mag) (number?) +AltOn = #(define-music-function (parser location mag) (number?) #{ \override Stem #'length = #$(* 7.0 mag) - \override NoteHead #'font-size = + \override NoteHead #'font-size = #$(inexact->exact (* (/ 6.0 (log 2.0)) (log mag))) #}) AltOff = { \revert Stem #'length - \revert NoteHead #'font-size + \revert NoteHead #'font-size } { c'2 \AltOn #0.5 c'4 c' @@ -199,9 +199,9 @@ AltOff = { This example may be rewritten to pass in music expressions, @lilypond[quote,verbatim,ragged-right] -withAlt = #(define-music-function (parser location mag music) (number? ly:music?) +withAlt = #(define-music-function (parser location mag music) (number? ly:music?) #{ \override Stem #'length = #$(* 7.0 mag) - \override NoteHead #'font-size = + \override NoteHead #'font-size = #$(inexact->exact (* (/ 6.0 (log 2.0)) (log mag))) $music \revert Stem #'length @@ -707,7 +707,7 @@ necessary, but just like clear variable names, it is good practice. @end example `@code{let}' is used to declare local variables. Here we use one local -variable, named `@code{result-event-chord}', to which we give the value +variable, named `@code{result-event-chord}', to which we give the value @code{(ly:music-deep-copy event-chord)}. `@code{ly:music-deep-copy}' is a function specific to LilyPond, like all functions prefixed by `@code{ly:}'. It is use to make a copy of a music @@ -717,7 +717,7 @@ function). Recall that our purpose is to add a marcato to an @code{EventChord} which was given as an argument, because it may be used elsewhere. -Now we have a @code{result-event-chord}, which is a +Now we have a @code{result-event-chord}, which is a @code{oteEventChord} expression and is a copy of @code{event-chord}. We add the marcato to its elements list property. @@ -793,7 +793,7 @@ Stencil object given a number of arguments. @node Markup construction in Scheme @subsection Markup construction in Scheme -@cindex defining markup commands +@cindex defining markup commands The @code{markup} macro builds markup expressions in Scheme while providing a LilyPond-like syntax. For example, @@ -817,7 +817,7 @@ LilyPond markup syntax and Scheme markup syntax. @multitable @columnfractions .3 .3 @item @b{LilyPond} @tab @b{Scheme} @item @code{\markup markup1} @tab @code{(markup markup1)} -@item @code{\markup @{ markup1 markup2 ... @}} @tab +@item @code{\markup @{ markup1 markup2 ... @}} @tab @code{(markup markup1 markup2 ... )} @item @code{\command} @tab @code{#:command} @item @code{\variable} @tab @code{variable} @@ -911,7 +911,7 @@ a type predicate for the i@var{th} argument @item layout the `layout' definition @item props -a list of alists, containing all active properties. +a list of alists, containing all active properties. @end table As a simple example, we show how to add a @code{\smallcaps} command, @@ -969,7 +969,7 @@ defined @code{\smallcaps} command: #(define-markup-command (character layout props name) (string?) "Print the character name in small caps, translated to the left and top. Syntax: \\character #\"name\"" - (interpret-markup layout props + (interpret-markup layout props (markup #:hspace 0 #:translate (cons -3 1) #:smallcaps name))) @end example @@ -1008,7 +1008,7 @@ The final result is as follows: #(define-markup-command (character layout props name) (string?) "Print the character name in small caps, translated to the left and top. Syntax: \\character #\"name\"" - (interpret-markup layout props + (interpret-markup layout props (markup #:hspace 0 #:translate (cons -3 1) #:smallcaps name))) { @@ -1237,11 +1237,11 @@ An example is a function that reverses the order of elements in its argument, @lilypond[quote,verbatim,ragged-right] #(define (rev-music-1 m) - (ly:music-set-property! m 'elements + (ly:music-set-property! m 'elements (reverse (ly:music-property m 'elements))) m) -\applyMusic #rev-music-1 { c'4 d'4 } +\applyMusic #rev-music-1 { c'4 d'4 } @end lilypond The use of such a function is very limited. The effect of this @@ -1300,7 +1300,7 @@ Other applications of @code{\applyMusic} are writing out repeats automatically (@inputfileref{input/@/test,unfold@/-all@/-repeats@/.ly}), saving keystrokes (@inputfileref{input/@/test,music@/-box@/.ly}) and exporting LilyPond input to other formats -@c no @inputfileref{} here +@c no @inputfileref{} here (eg. @file{input/@/no@/-notation/@/to@/-xml@/.ly}). @seealso @@ -1323,7 +1323,7 @@ The following two expressions give equivalent music expressions: @example mynotes = @{ \override Stem #'thickness = #4 @{ c'8 d' @} @} - + #(define mynotes #@{ \override Stem #'thickness = #4 @{ c'8 d' @} #@}) @end example diff --git a/Documentation/user/putting.itely b/Documentation/user/putting.itely index eaf7a6f74d..8b79c45c1e 100644 --- a/Documentation/user/putting.itely +++ b/Documentation/user/putting.itely @@ -63,7 +63,7 @@ melody = \relative c' @{ a4 b c d @} - + \score @{ \new Staff \melody \layout @{ @} diff --git a/Documentation/user/scheme-tutorial.itely b/Documentation/user/scheme-tutorial.itely index 4024a22ee6..6fa1caa717 100644 --- a/Documentation/user/scheme-tutorial.itely +++ b/Documentation/user/scheme-tutorial.itely @@ -31,7 +31,7 @@ and False is @code{#f}. @item Numbers Numbers are entered in the standard fashion, @code{1} is the (integer) number one, while @code{-1.5} is a -floating point number (a non-integer number). +floating point number (a non-integer number). @item Strings Strings are enclosed in double quotes, @@ -64,7 +64,7 @@ In a music file, snippets of Scheme code are introduced with the hash mark @code{#}. So, the previous examples translated in LilyPond are @example -##t ##f +##t ##f #1 #-1.5 #"this is a string" #"this @@ -81,7 +81,7 @@ traditional @math{1+2}. @lisp #(+ 1 2) - @result{} #3 + @result{} #3 @end lisp The arrow @result{} shows that the result of evaluating @code{(+ 1 2)} @@ -90,24 +90,24 @@ be used for another calculation. @lisp #(+ 1 (* 3 4)) - @result{} #(+ 1 12) + @result{} #(+ 1 12) @result{} #13 @end lisp These calculations are examples of evaluations; an expression like @code{(* 3 4)} is replaced by its value @code{12}. A similar thing -happens with variables. After defining a variable +happens with variables. After defining a variable @example -twelve = #12 +twelve = #12 @end example @noindent variables can also be used in expressions, here @example -twentyFour = #(* 2 twelve) -@end example +twentyFour = #(* 2 twelve) +@end example @noindent the number 24 is stored in the variable @code{twentyFour}. @@ -151,7 +151,7 @@ objects, we will call the latter ``properties'' and the former while @code{twentyFour} is an identifier. @cindex properties vs. identifiers -@cindex identifiers vs. properties +@cindex identifiers vs. properties Two-dimensional offsets (X and Y coordinates) as well as object sizes (intervals with a left and right point) are entered as @code{pairs}. A @@ -160,8 +160,8 @@ and its two elements are called @code{car} and @code{cdr} respectively.} is entered as @code{(first . second)} and, like symbols, they must be quoted, @example -\override TextScript #'extra-offset = #'(1 . 2) -@end example +\override TextScript #'extra-offset = #'(1 . 2) +@end example This assigns the pair (1, 2) to the @code{extra-offset} property of the TextScript object. These numbers are measured in staff-spaces, so diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely index dfa8d3ae02..2f912373e4 100644 --- a/Documentation/user/tutorial.itely +++ b/Documentation/user/tutorial.itely @@ -155,7 +155,7 @@ command @c A clef here may lead to confusion, remove it. @lilypond[fragment,quote] -\override Staff.Clef #'transparent = ##t +\override Staff.Clef #'transparent = ##t \time 3/4 s4_" " \time 6/8 @@ -200,12 +200,12 @@ For more information on @quotation @table @asis @item Entering pitches and durations -see +see @ref{Pitches}, and @ref{Durations}. @item Clefs see @ref{Clef}. @item Rests -see @ref{Rests}. +see @ref{Rests}. @item Time signatures and other timing commands see @ref{Time signature}. @end table @@ -279,7 +279,7 @@ GNU LilyPond 2.6.0 Processing `test.ly' Parsing... Interpreting music... [1] -Preprocessing graphical objects... +Preprocessing graphical objects... Calculating line breaks... [2] Layout output to `test.ps'... Converting to `test.pdf'... @@ -296,7 +296,7 @@ your system does not have any tools installed, you can try available package for viewing and printing PDF and PostScript files.} @node More about pitches -@section More about pitches +@section More about pitches A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As @@ -410,7 +410,7 @@ For more information on Ties see @ref{Ties}. @node Automatic and manual beams @section Automatic and manual beams -@cindex beams, by hand +@cindex beams, by hand All @rglos{beam}s are drawn automatically @lilypond[quote,fragment,relative=2,verbatim] @@ -465,7 +465,7 @@ according to standard notation conventions. @c tie) examples... @c better to have this just before the `octaves are bad' snipped -@c but we'd need to remove the ', from \key and tie +@c but we'd need to remove the ', from \key and tie To raise a note by an octave, add a high quote @code{'} (apostrophe) to the note name, to lower a note one octave, add a `low quote' @code{,} (comma). Middle C is @code{c'} @@ -480,7 +480,7 @@ An example of the use of quotes is in the following Mozart fragment \key a \major \time 6/8 cis''8. d''16 cis''8 e''4 e''8 -b'8. cis''16 b'8 d''4 d''8 +b'8. cis''16 b'8 d''4 d''8 @end lilypond @noindent @@ -547,7 +547,7 @@ and @ref{Octave check}. In input files, music is represent by so-called @emph{music -expression}s. We have already seen some in the previous examples; +expression}s. We have already seen some in the previous examples; a single note is a music expression @lilypond[fragment,quote,verbatim,relative=3] @@ -568,7 +568,7 @@ Here, the expression from the previous example is combined with two notes @lilypond[fragment,quote,verbatim,relative=3] -{ { a4 g } f g } +{ { a4 g } f g } @end lilypond This technique is useful for non-monophonic music. To enter music @@ -617,7 +617,7 @@ example begins with a single note. To determine the number of staves, LilyPond looks at the first element. If it is a single note, there is one staff; if there is a simultaneous expression, there is more than one staff. -@lilypond[fragment,quote,verbatim,relative=2] +@lilypond[fragment,quote,verbatim,relative=2] { c <> << { e f } { c <> } >> @@ -686,10 +686,10 @@ We can now typeset a melody with two staves \relative << \new Staff { \time 3/4 - \clef treble - + \clef treble + e'2 d4 c2 b4 a8[ a] - b[ b] g[ g] a2. + b[ b] g[ g] a2. } \new Staff { \clef bass @@ -913,7 +913,7 @@ ignored. The following fragment shows possible uses for comments are ignored, since they are in a block comment. - g g f f e e d d c2 + g g f f e e d d c2 %@} @end example @@ -983,7 +983,7 @@ line}. It is entered as two underscores, i.e., @example @{ I want to break free __ @} -@end example +@end example @lilypond[fragment,quote,ragged-right] << @@ -1048,7 +1048,7 @@ line for themselves. This is achieved by using @code{\chords} instead of @code{\chordmode}. This uses the same syntax as @code{\chordmode}, but renders the notes in a @code{ChordNames} context, with the following result. - + @lilypond[quote,verbatim,ragged-right] \chords { c2 f4.:m g4.:maj7 gis8:dim7 } @end lilypond @@ -1068,7 +1068,7 @@ a lead sheet, for example, @lilypond[quote,ragged-right] << - \chords { r2 c:sus4 f } + \chords { r2 c:sus4 f } \relative { r4 c' \times 2/3 { f g g } \times 2/3 { g4( a2) } @@ -1090,9 +1090,9 @@ entered as an assignment, within @code{\header @{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at the top of the file. For example, -@example +@example \header @{ - title = "Miniature" + title = "Miniature" composer = "Igor Stravinsky" @} @@ -1186,7 +1186,7 @@ Here is a small example >> @end lilypond -More information on formatting piano music is given in @ref{Piano music}. +More information on formatting piano music is given in @ref{Piano music}. @node Organizing larger pieces @@ -1329,7 +1329,7 @@ this option to the music above, leads to the following result @lilypond[quote,ragged-right] \transpose f c' \relative c { \time 2/4 - \set Score.skipBars = ##t + \set Score.skipBars = ##t R2*3 r4 f8 a cis4 f e d } @@ -1351,7 +1351,7 @@ that the other voice is in @code{bassoonNotes} in the file @end example @noindent -leading to +leading to @lilypond[quote,ragged-right] \relative c << diff --git a/Documentation/user/tweaks.itely b/Documentation/user/tweaks.itely index 53421c0962..b6a21558b2 100644 --- a/Documentation/user/tweaks.itely +++ b/Documentation/user/tweaks.itely @@ -73,7 +73,7 @@ Another solution gives us complete control over placing the object -- we can move it horizontally or vertically. This is done with the @code{extra-offset} property. It is slightly more complicated and can cause other problems. When we move objects with @code{extra-offset}, -the movement is done after LilyPond has placed all other objects. This +the movement is done after LilyPond has placed all other objects. This means that the result can overlap with other objects. diff --git a/Documentation/user/working.itely b/Documentation/user/working.itely index 57d081df6f..bbdb2c3386 100644 --- a/Documentation/user/working.itely +++ b/Documentation/user/working.itely @@ -44,30 +44,30 @@ quite frustrating to try to remember which version of LilyPond you were using a few years ago. @code{convert-ly} requires you to declare which version of LilyPond you used. -@item @strong{Include checks}: @ref{Bar check} and @ref{Octave check}. If +@item @strong{Include checks}: @ref{Bar check} and @ref{Octave check}. If you include checks every so often, then if you make a mistake, you can pinpoint it quicker. How often is ``every so often''? It depends on the complexity of the music. For very simple music, perhaps just once or twice. For very complex music, perhaps every bar. -@item @strong{One bar per line of text}. If there is anything complicated, +@item @strong{One bar per line of text}. If there is anything complicated, either in the music itself or in the output you desire, it's often good to write only one bar per line. Saving screen space by cramming eight bars per line just isn't worth it if you have to `debug' your files. -@item @strong{Comment your files}. Use either bar numbers (every so often) +@item @strong{Comment your files}. Use either bar numbers (every so often) or -references to musical themes (``second theme in violins,'' ``fourth +references to musical themes (``second theme in violins,'' ``fourth variation'', etc). You may not need comments when you're writing the piece -for the first time, but if you want to go back to change something two or -three years later, or if you pass the source over to a friend, it will +for the first time, but if you want to go back to change something two or +three years later, or if you pass the source over to a friend, it will be much more -challenging to determine your intentions or how your file is structured if +challenging to determine your intentions or how your file is structured if you didn't comment the file. -@item @strong{Indent your braces}. A lot of problems are caused by an +@item @strong{Indent your braces}. A lot of problems are caused by an imbalance in the number of @code{@{} and @code{@}}. @@ -240,7 +240,7 @@ the last line. violin = \relative c'' @{ \repeat volta 2 @{ c4._\markup@{ \italic \bold dolce @} b8 a8 g a b | - \once \override TextScript #'padding = #5.0 + \once \override TextScript #'padding = #5.0 c4.^"hi there!" d8 e' f g d | c,4.\markup@{ \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p @} b8 c4 c-. | -- 2.39.2