From 8d087a6022f7c63cfc5a2ac28283400ef5259c3b Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Sat, 22 Sep 2007 16:35:27 -0700 Subject: [PATCH] Line width changes for pitches and rhythms. --- Documentation/user/pitches.itely | 325 ++++++++-------- Documentation/user/rhythms.itely | 640 ++++++++++++++++--------------- 2 files changed, 501 insertions(+), 464 deletions(-) diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely index 3d49dcefb8..781b7bf605 100644 --- a/Documentation/user/pitches.itely +++ b/Documentation/user/pitches.itely @@ -33,8 +33,8 @@ Into text. @cindex Pitch names @cindex pitches -A pitch name is specified using lowercase letters @code{a} through @code{g}. -An ascending C-major scale is engraved with +A pitch name is specified using lowercase letters @code{a} through +@code{g}. An ascending C-major scale is engraved with @lilypond[quote,fragment,verbatim,ragged-right] \clef bass @@ -54,9 +54,9 @@ c1 @funindex , The optional octave specification takes the form of a series of -single quote (@samp{'}) characters or a series of comma -(@samp{,}) characters. Each @samp{'} raises the pitch by one -octave; each @samp{,} lowers the pitch by an octave. +single quote (@samp{'}) characters or a series of comma (@samp{,}) +characters. Each @samp{'} raises the pitch by one octave; each +@samp{,} lowers the pitch by an octave. @lilypond[quote,ragged-right,fragment,verbatim] \clef treble @@ -65,10 +65,10 @@ c' c'' e' g d'' d' d c c, c,, e, g d,, d, d c @end lilypond -An alternate method may be used to declare which octave to -engrave a pitch; this method does not require as many -octave specifications (@code{'} and @code{,}). See -@ref{Relative octaves}. +An alternate method may be used to declare which octave to engrave +a pitch; this method does not require as many octave +specifications (@code{'} and @code{,}). See @ref{Relative +octaves}. @node Accidentals @@ -77,9 +77,10 @@ octave specifications (@code{'} and @code{,}). See @cindex note names, Dutch @cindex note names, default -A sharp is formed by adding @code{-is} to the end of a pitch name and -a flat is formed by adding @code{-es}. Double sharps and double flats -are obtained by adding @code{-isis} or @code{-eses} to a note name. +A sharp is formed by adding @code{-is} to the end of a pitch name +and a flat is formed by adding @code{-es}. Double sharps and +double flats are obtained by adding @code{-isis} or @code{-eses} +to a note name. @lilypond[quote,ragged-right,fragment,verbatim,relative=2] a2 ais a aes @@ -87,27 +88,28 @@ a2 aisis a aeses @end lilypond @noindent -These are the Dutch note names. In Dutch, @code{aes} is contracted to -@code{as}, but both forms are accepted. Similarly, both -@code{es} and @code{ees} are accepted +These are the Dutch note names. In Dutch, @code{aes} is +contracted to @code{as}, but both forms are accepted. Similarly, +both @code{es} and @code{ees} are accepted @lilypond[fragment,quote,ragged-right,verbatim,relative=2] a2 as e es @end lilypond -A natural will cancel the effect of an accidental or key signature. -However, naturals are not encoded into the note name syntax with a -suffix; a natural pitch is shown as a simple note name +A natural will cancel the effect of an accidental or key +signature. However, naturals are not encoded into the note name +syntax with a suffix; a natural pitch is shown as a simple note +name @lilypond[quote,ragged-right,fragment,verbatim,relative=2] a4 aes a2 @end lilypond The input @code{d e f} is interpreted as @q{print a D-natural, -E-natural, and an F-natural,} regardless of the key -signature. For more information about the distinction between -musical content and the presentation of that content, see -@rlearning{Accidentals and key signatures}. +E-natural, and an F-natural,} regardless of the key signature. +For more information about the distinction between musical content +and the presentation of that content, see @rlearning{Accidentals +and key signatures}. @lilypond[fragment,quote,ragged-right,verbatim,relative] \key d \major @@ -118,10 +120,10 @@ d e fis g @commonprop -In accordance with standard typesetting rules, a natural sign is printed -before a sharp or flat if a previous accidental needs to be -cancelled. To change this behavior, use -@code{\set Staff.extraNatural = ##f} +In accordance with standard typesetting rules, a natural sign is +printed before a sharp or flat if a previous accidental needs to +be cancelled. To change this behavior, use @code{\set +Staff.extraNatural = ##f} @lilypond[fragment,quote,ragged-right,verbatim,relative=2] ceses4 ces cis c @@ -149,12 +151,11 @@ Program reference: @internalsref{LedgerLineSpanner}, @funindex ! Normally accidentals are printed automatically, but you may also -print them manually. A reminder accidental -can be forced by adding an exclamation mark @code{!} -after the pitch. A cautionary accidental -(i.e., an accidental within parentheses) can be obtained by adding the -question mark @samp{?} after the pitch. These extra accidentals -can be used to produce natural signs, too. +print them manually. A reminder accidental can be forced by +adding an exclamation mark @code{!} after the pitch. A cautionary +accidental (i.e., an accidental within parentheses) can be +obtained by adding the question mark @samp{?} after the pitch. +These extra accidentals can be used to produce natural signs, too. @lilypond[quote,ragged-right,fragment,verbatim,relative=1] cis cis cis! cis? c c? c! c @@ -163,8 +164,8 @@ cis cis cis! cis? c c? c! c @seealso -The automatic production of accidentals can be tuned in many -ways. For more information, see @ref{Automatic accidentals}. +The automatic production of accidentals can be tuned in many ways. +For more information, see @ref{Automatic accidentals}. @node Micro tones @@ -174,7 +175,8 @@ ways. For more information, see @ref{Automatic accidentals}. @cindex semi-flats, semi-sharps Half-flats and half-sharps are formed by adding @code{-eh} and -@code{-ih}; the following is a series of Cs with increasing pitches +@code{-ih}; the following is a series of Cs with increasing +pitches @lilypond[verbatim,ragged-right,quote,relative=2,fragment] \set Staff.extraNatural = ##f @@ -194,11 +196,11 @@ standard. @node Note names in other languages @unnumberedsubsubsec Note names in other languages -There are predefined sets of note names for various other languages. -To use them, include the language specific init file. For -example, add @code{\include "english.ly"} to the top of the input -file. The available language files -and the note names they define are +There are predefined sets of note names for various other +languages. To use them, include the language specific init file. +For example, add @code{\include "english.ly"} to the top of the +input file. The available language files and the note names they +define are @cindex note names, other languages @c put the rest of the old table into this new format. @@ -217,6 +219,7 @@ and the note names they define are @end example @c old table +@ignore @example Note Names sharp flat double double sharp flat @@ -231,22 +234,24 @@ italiano.ly do re mi fa sol la sib si -d -b -dd catalan.ly do re mi fa sol la sib si -d/-s -b -dd/-ss -bb espanol.ly do re mi fa sol la sib si -s -b -ss -bb @end example +@end ignore @noindent Note that in Dutch, German, Norwegian, and Swedish, the flat -alterations of @samp{a} like for example @code{aes} and @code{aeses} -are usually contracted to @code{as} and @code{ases} (or more commonly -@code{asas}). Sometimes only these contracted names are defined in the -corresponding language files (this also applies to the suffixes for -quartertones below). +alterations of @samp{a} like for example @code{aes} and +@code{aeses} are usually contracted to @code{as} and @code{ases} +(or more commonly @code{asas}). Sometimes only these contracted +names are defined in the corresponding language files (this also +applies to the suffixes for quartertones below). @noindent Some music uses microtones whose alterations are fractions of a -@q{regular} sharp or flat. The note names for quartertones defined in -the various language files are listed in the following table. Here the -prefixes @q{semi-} and @q{sesqui-} mean @q{half} and @q{one and a -half}, respectively. For Norwegian, Swedish, Catalan and Spanish no -special names have been defined yet. +@q{regular} sharp or flat. The note names for quartertones defined +in the various language files are listed in the following table. +Here the prefixes @q{semi-} and @q{sesqui-} mean @q{half} and +@q{one and a half}, respectively. For Norwegian, Swedish, Catalan +and Spanish no special names have been defined yet. + @c What about Turkish Maquam music and similar microtonal systems? @c @c Note that the term "three-quarter-sharp/-flat" used in lilypond's source code @@ -284,11 +289,12 @@ espanol.ly do re mi fa sol la sib si @cindex Relative octave specification @funindex \relative -Octaves are specified by adding @code{'} and @code{,} to pitch names. -When you copy existing music, it is easy to accidentally put a pitch -in the wrong octave and hard to find such an error. The relative -octave mode prevents these errors by making the mistakes much -larger: a single error puts the rest of the piece off by one octave +Octaves are specified by adding @code{'} and @code{,} to pitch +names. When you copy existing music, it is easy to accidentally +put a pitch in the wrong octave and hard to find such an error. +The relative octave mode prevents these errors by making the +mistakes much larger: a single error puts the rest of the piece +off by one octave @example \relative @var{startpitch} @var{musicexpr} @@ -304,21 +310,22 @@ or @noindent @code{c'} is used as the default if no starting pitch is defined. -The octave of notes that appear in @var{musicexpr} are calculated as -follows: if no octave changing marks are used, the basic interval -between this and the last note is always taken to be a fourth or -less. This distance is determined without regarding alterations; a -@code{fisis} following a @code{ceses} will be put above the -@code{ceses}. In other words, a doubly-augmented fourth is considered -a smaller interval than a diminished fifth, even though the -doubly-augmented fourth spans seven semitones while the diminished -fifth only spans six semitones. - -The octave changing marks @code{'} and @code{,} can be added to raise -or lower the pitch by an extra octave. Upon entering relative mode, -an absolute starting pitch can be specified that will act as the -predecessor of the first note of @var{musicexpr}. If no starting pitch -is specified, then middle C is used as a start. +The octave of notes that appear in @var{musicexpr} are calculated +as follows: if no octave changing marks are used, the basic +interval between this and the last note is always taken to be a +fourth or less. This distance is determined without regarding +alterations; a @code{fisis} following a @code{ceses} will be put +above the @code{ceses}. In other words, a doubly-augmented fourth +is considered a smaller interval than a diminished fifth, even +though the doubly-augmented fourth spans seven semitones while the +diminished fifth only spans six semitones. + +The octave changing marks @code{'} and @code{,} can be added to +raise or lower the pitch by an extra octave. Upon entering +relative mode, an absolute starting pitch can be specified that +will act as the predecessor of the first note of @var{musicexpr}. +If no starting pitch is specified, then middle C is used as a +start. Here is the relative mode shown in action @lilypond[quote,fragment,ragged-right,verbatim] @@ -335,8 +342,8 @@ Octave changing marks are used for intervals greater than a fourth } @end lilypond -If the preceding item is a chord, the first note of the chord is used -to determine the first note of the next chord +If the preceding item is a chord, the first note of the chord is +used to determine the first note of the next chord @lilypond[quote,ragged-right,fragment,verbatim] \relative c' { @@ -349,9 +356,9 @@ to determine the first note of the next chord The pitch after @code{\relative} contains a note name. The relative conversion will not affect @code{\transpose}, -@code{\chordmode} or @code{\relative} sections in its argument. To use -relative within transposed music, an additional @code{\relative} must -be placed inside @code{\transpose}. +@code{\chordmode} or @code{\relative} sections in its argument. +To use relative within transposed music, an additional +@code{\relative} must be placed inside @code{\transpose}. @node Octave check @@ -368,29 +375,31 @@ octave should be. In the following example, @end example @noindent -the @code{d} will generate a warning, because a @code{d''} is expected -(because @code{b'} to @code{d''} is only a third), but a @code{d'} is -found. In the output, the octave is corrected to be a @code{d''} and -the next note is calculated relative to @code{d''} instead of @code{d'}. +the @code{d} will generate a warning, because a @code{d''} is +expected (because @code{b'} to @code{d''} is only a third), but a +@code{d'} is found. In the output, the octave is corrected to be +a @code{d''} and the next note is calculated relative to +@code{d''} instead of @code{d'}. -There is also an octave check that produces no visible output. The syntax +There is also an octave check that produces no visible output. +The syntax @example \octave @var{pitch} @end example -This checks that @var{pitch} (without quotes) yields @var{pitch} (with -quotes) in @code{\relative} mode compared to the note given in the -@code{\relative} command. If not, a warning is printed, and the -octave is corrected. The @var{pitch} is not printed as a note. +This checks that @var{pitch} (without quotes) yields @var{pitch} +(with quotes) in @code{\relative} mode compared to the note given +in the @code{\relative} command. If not, a warning is printed, +and the octave is corrected. The @var{pitch} is not printed as a +note. -In the example below, the first check passes without incident, since -the @code{e} (in @code{relative} mode) is within a fifth of -@code{a'}. However, -the second check produces a warning, since the @code{e} is not within -a fifth of @code{b'}. The warning message is printed, and the octave -is adjusted so that the following notes are in the correct octave -once again. +In the example below, the first check passes without incident, +since the @code{e} (in @code{relative} mode) is within a fifth of +@code{a'}. However, the second check produces a warning, since +the @code{e} is not within a fifth of @code{b'}. The warning +message is printed, and the octave is adjusted so that the +following notes are in the correct octave once again. @example \relative c' @{ @@ -402,10 +411,10 @@ once again. The octave of a note following an octave check is determined with -respect to the note preceding it. In the next fragment, the last note -is an @code{a'}, above middle C. That means that the @code{\octave} -check passes successfully, so the check could be deleted without changing -the output of the piece. +respect to the note preceding it. In the next fragment, the last +note is an @code{a'}, above middle C. That means that the +@code{\octave} check passes successfully, so the check could be +deleted without changing the output of the piece. @lilypond[quote,ragged-right,verbatim,fragment] \relative c' { @@ -425,35 +434,36 @@ the output of the piece. A music expression can be transposed with @code{\transpose}. The syntax is + @example \transpose @var{from} @var{to} @var{musicexpr} @end example -This means that @var{musicexpr} is transposed by the interval between -the pitches @var{from} and @var{to}: any note with pitch @code{from} -is changed to @code{to}. +This means that @var{musicexpr} is transposed by the interval +between the pitches @var{from} and @var{to}: any note with pitch +@code{from} is changed to @code{to}. For example, consider a piece written in the key of D-major. If this piece is a little too low for its performer, it can be transposed up to E-major with + @example \transpose d e @dots{} @end example -Consider a part written for violin (a C instrument). If -this part is to be played on the A clarinet (for which an -A is notated as a C, and which sounds a minor third lower -than notated), the following -transposition will produce the appropriate part +Consider a part written for violin (a C instrument). If this part +is to be played on the A clarinet (for which an A is notated as a +C, and which sounds a minor third lower than notated), the +following transposition will produce the appropriate part @example \transpose a c @dots{} @end example @code{\transpose} distinguishes between enharmonic pitches: both -@code{\transpose c cis} or @code{\transpose c des} will transpose up -half a tone. The first version will print sharps and the second -version will print flats +@code{\transpose c cis} or @code{\transpose c des} will transpose +up half a tone. The first version will print sharps and the +second version will print flats @lilypond[quote,ragged-right,verbatim] mus = { \key d \major cis d fis g } @@ -466,10 +476,10 @@ mus = { \key d \major cis d fis g } @end lilypond @code{\transpose} may also be used to input written notes for a -transposing instrument. Pitches are normally entered into LilyPond -in C (or @q{concert pitch}), but they may be entered in another -key. For example, when entering music for a B-flat trumpet which -begins on concert D, one would write +transposing instrument. Pitches are normally entered into +LilyPond in C (or @q{concert pitch}), but they may be entered in +another key. For example, when entering music for a B-flat +trumpet which begins on concert D, one would write @example \transpose c bes @{ e4 @dots{} @} @@ -488,15 +498,16 @@ existing music with another @code{transpose} Program reference: @internalsref{TransposedMusic}. -Example: @lsr{scheme,transpose-pitches-with-minimum-accidentals.ly}. +Example: +@lsr{scheme,transpose-pitches-with-minimum-accidentals.ly}. @refbugs If you want to use both @code{\transpose} and @code{\relative}, you must put @code{\transpose} outside of @code{\relative}, since -@code{\relative} will have no effect on music that appears inside a -@code{\transpose}. +@code{\relative} will have no effect on music that appears inside +a @code{\transpose}. @node Displaying pitches @@ -566,8 +577,8 @@ tablature clef By adding @code{_8} or @code{^8} to the clef name, the clef is transposed one octave down or up, respectively, and @code{_15} and @code{^15} transposes by two octaves. The argument @var{clefname} -must be enclosed in quotes when it contains underscores or digits. For -example, +must be enclosed in quotes when it contains underscores or digits. +For example, @cindex choral tenor clef @lilypond[quote,ragged-right,verbatim,fragment,relative=1] @@ -578,11 +589,11 @@ example, @commonprop 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 -when any of these properties are changed. The following example shows -possibilities when setting properties manually. +@code{clefGlyph}, @code{clefPosition} (which controls the Y +position of the clef), @code{middleCPosition} and +@code{clefOctavation}. A clef is printed when any of these +properties are changed. The following example shows possibilities +when setting properties manually. @lilypond[quote,ragged-right,verbatim] { @@ -619,9 +630,9 @@ Program reference: @internalsref{Clef}. @cindex Key signature @funindex \key -The key signature indicates the tonality in which a piece is played. It -is denoted by a set of alterations (flats or sharps) at the start of the -staff. +The key signature indicates the tonality in which a piece is +played. It is denoted by a set of alterations (flats or sharps) +at the start of the staff. Setting or changing the key signature is done with the @code{\key} command @@ -643,19 +654,20 @@ command @cindex church modes Here, @var{type} should be @code{\major} or @code{\minor} to get -@var{pitch}-major or @var{pitch}-minor, respectively. You may also -use the standard mode names (also called @q{church modes}): @code{\ionian}, -@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian}, -@code{\phrygian}, and @code{\dorian}. +@var{pitch}-major or @var{pitch}-minor, respectively. You may +also use the standard mode names (also called @q{church modes}): +@code{\ionian}, @code{\locrian}, @code{\aeolian}, +@code{\mixolydian}, @code{\lydian}, @code{\phrygian}, and +@code{\dorian}. -This command sets the context property -@code{Staff.keySignature}. Non-standard key signatures -can be specified by setting this property directly. +This command sets the context property @code{Staff.keySignature}. +Non-standard key signatures can be specified by setting this +property directly. Accidentals and key signatures often confuse new users, because -unaltered notes get natural signs depending on the key signature. For -more information, see @ref{Accidentals}, or @rlearning{Accidentals -and key signatures}. +unaltered notes get natural signs depending on the key signature. +For more information, see @ref{Accidentals}, or +@rlearning{Accidentals and key signatures}. @lilypond[quote,ragged-right,verbatim,relative=2,fragment] \key g \major @@ -666,9 +678,9 @@ fis @commonprop -A natural sign is printed to cancel any previous accidentals. This -can be suppressed by setting the @code{Staff.printKeyCancellation} -property. +A natural sign is printed to cancel any previous accidentals. +This can be suppressed by setting the +@code{Staff.printKeyCancellation} property. @lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2] \key d \major @@ -692,8 +704,8 @@ Program reference: @internalsref{KeyCancellation}, @node Ottava brackets @unnumberedsubsubsec Ottava brackets -@q{Ottava} brackets introduce an extra transposition of an octave for -the staff. They are created by invoking the function +@q{Ottava} brackets introduce an extra transposition of an octave +for the staff. They are created by invoking the function @code{set-octavation} @cindex ottava @@ -710,11 +722,12 @@ the staff. They are created by invoking the function } @end lilypond -The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma), -and -2 (for 15ma bassa) as arguments. Internally the function sets the properties -@code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and -@code{centralCPosition}. For overriding the text of the bracket, set -@code{ottavation} after invoking @code{set-octavation}, i.e., +The @code{set-octavation} function also takes -1 (for 8va bassa), +2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments. +Internally the function sets the properties @code{ottavation} +(e.g., to @code{"8va"} or @code{"8vb"}) and +@code{centralCPosition}. For overriding the text of the bracket, +set @code{ottavation} after invoking @code{set-octavation}, i.e., @lilypond[quote,ragged-right,verbatim] { @@ -743,8 +756,8 @@ during an octavation bracket. @cindex transposition, instrument The key of a transposing instrument can also be specified. This -applies to many wind instruments, for example, clarinets (B-flat, A, and -E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat). +applies to many wind instruments, for example, clarinets (B-flat, +A, and E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat). The transposition is entered after the keyword @code{\transposition} @@ -753,16 +766,16 @@ The transposition is entered after the keyword @code{\transposition} @end example @noindent -This command sets the property @code{instrumentTransposition}. The value of -this property is used for MIDI output and quotations. It does not -affect how notes are printed in the current staff. To change the printed -output, see @ref{Transpose}. +This command sets the property @code{instrumentTransposition}. +The value of this property is used for MIDI output and quotations. +It does not affect how notes are printed in the current staff. To +change the printed output, see @ref{Transpose}. -The pitch to use for @code{\transposition} should correspond to the -real sound heard when a @code{c'} written on the staff is played by the -transposing instrument. For example, when entering a score in -concert pitch, typically all voices are entered in C, so -they should be entered as +The pitch to use for @code{\transposition} should correspond to +the real sound heard when a @code{c'} written on the staff is +played by the transposing instrument. For example, when entering +a score in concert pitch, typically all voices are entered in C, +so they should be entered as @example clarinet = @{ @@ -777,8 +790,8 @@ saxophone = @{ The command @code{\transposition} should be used when the music is entered from a (transposed) orchestral part. For example, in -classical horn parts, the tuning of the instrument is often changed -during a piece. When copying the notes from the part, use +classical horn parts, the tuning of the instrument is often +changed during a piece. When copying the notes from the part, use @code{\transposition}, e.g., @example diff --git a/Documentation/user/rhythms.itely b/Documentation/user/rhythms.itely index 8a6b485c99..aeeb5eb5b5 100644 --- a/Documentation/user/rhythms.itely +++ b/Documentation/user/rhythms.itely @@ -33,12 +33,12 @@ This section discusses rhythms, durations, and bars. @funindex \breve @funindex \maxima -In Note, Chord, and Lyrics mode, durations are designated by numbers and -dots: durations are entered as their reciprocal values. For example, a -quarter note is entered using a @code{4} (since it is a 1/4 note), while -a half note is entered using a @code{2} (since it is a 1/2 note). For -notes longer than a whole you must use the @code{\longa} and -@code{\breve} commands +In Note, Chord, and Lyrics mode, durations are designated by +numbers and dots: durations are entered as their reciprocal +values. For example, a quarter note is entered using a @code{4} +(since it is a 1/4 note), while a half note is entered using a +@code{2} (since it is a 1/2 note). For notes longer than a whole +you must use the @code{\longa} and @code{\breve} commands @example c'\breve @@ -76,8 +76,9 @@ r1 r2 r4 r8 r16 r32 r64 r64 } @end lilypond -If the duration is omitted then it is set to the previously entered -duration. The default for the first note is a quarter note. +If the duration is omitted then it is set to the previously +entered duration. The default for the first note is a quarter +note. @lilypond[quote,ragged-right,verbatim,fragment] { a a a2 a a4 a a1 a } @@ -89,8 +90,8 @@ duration. The default for the first note is a quarter note. @funindex . -To obtain dotted note lengths, simply add a dot (@samp{.}) to -the number. Double-dotted notes are produced in a similar way. +To obtain dotted note lengths, simply add a dot (@samp{.}) to the +number. Double-dotted notes are produced in a similar way. @lilypond[quote,ragged-right,fragment,verbatim] a'4 b' c''4. b'8 a'4. b'4.. c''8. @@ -98,9 +99,9 @@ a'4 b' c''4. b'8 a'4. b'4.. c''8. @refcommands -Dots are normally moved up to avoid staff lines, except in polyphonic -situations. The following commands may be used to force a particular -direction manually +Dots are normally moved up to avoid staff lines, except in +polyphonic situations. The following commands may be used to +force a particular direction manually @funindex \dotsUp @code{\dotsUp}, @@ -111,7 +112,8 @@ direction manually @seealso -Program reference: @internalsref{Dots}, and @internalsref{DotColumn}. +Program reference: @internalsref{Dots}, and +@internalsref{DotColumn}. @node Tuplets @@ -121,19 +123,19 @@ Program reference: @internalsref{Dots}, and @internalsref{DotColumn}. @cindex triplets @funindex \times -Tuplets are made out of a music expression by multiplying all durations -with a fraction +Tuplets are made out of a music expression by multiplying all +durations with a fraction @example \times @var{fraction} @var{musicexpr} @end example @noindent -The duration of @var{musicexpr} will be multiplied by the fraction. -The fraction's denominator will be printed over the notes, optionally -with a bracket. The most common tuplet is the triplet in which 3 -notes have the length of 2, so the notes are 2/3 of their written -length +The duration of @var{musicexpr} will be multiplied by the +fraction. The fraction's denominator will be printed over the +notes, optionally with a bracket. The most common tuplet is the +triplet in which 3 notes have the length of 2, so the notes are +2/3 of their written length @lilypond[quote,ragged-right,fragment,verbatim] g'4 \times 2/3 {c'4 c' c'} d'4 d'4 @@ -165,10 +167,10 @@ Tuplets may be nested, for example, @cindex tuplet formatting The property @code{tupletSpannerDuration} specifies how long each -bracket should last. With this, you can make lots of tuplets while -typing @code{\times} only once, thus saving lots of typing. In the next -example, there are two triplets shown, while @code{\times} was only -used once +bracket should last. With this, you can make lots of tuplets +while typing @code{\times} only once, thus saving lots of typing. +In the next example, there are two triplets shown, while +@code{\times} was only used once @lilypond[quote,fragment,relative=2,ragged-right,verbatim] \set tupletSpannerDuration = #(ly:make-moment 1 4) @@ -179,10 +181,11 @@ used once For more information about @code{make-moment}, see @ref{Time administration}. -The format of the number is determined by the property @code{text} in -@code{TupletNumber}. The default prints only the denominator, but if -it is set to the function @code{tuplet-number::calc-fraction-text}, -@var{num}:@var{den} will be printed instead. +The format of the number is determined by the property @code{text} +in @code{TupletNumber}. The default prints only the denominator, +but if it is set to the function +@code{tuplet-number::calc-fraction-text}, @var{num}:@var{den} will +be printed instead. To avoid printing tuplet numbers, use @@ -192,11 +195,11 @@ To avoid printing tuplet numbers, use \times 2/3 { c8 c c } \times 2/3 { c8 c c } @end lilypond -Use the @code{\tweak} function to override nested tuplets beginning at the -same music moment. In this example, @code{\tweak} specifies fraction -text for the -outer @code{TupletNumber} and denominator text for the @code{TupletNumber} -of the first of the three inner tuplets. +Use the @code{\tweak} function to override nested tuplets +beginning at the same music moment. In this example, +@code{\tweak} specifies fraction text for the outer +@code{TupletNumber} and denominator text for the +@code{TupletNumber} of the first of the three inner tuplets. @lilypond[quote,ragged-right,verbatim] \new Staff { @@ -212,14 +215,14 @@ of the first of the three inner tuplets. Here @code{\tweak} and @code{\override} work together to specify @code{TupletBracket} direction. The first @code{\tweak} positions -the @code{TupletBracket} of the outer -tuplet above the staff. The second @code{\tweak} positions the -@code{TupletBracket} of the first of the three inner tuplets below the -staff. Note that this pair of @code{\tweak} functions affects only -the outer tuplet and the first of the three inner tuplets because only -those two tuplets begin at the same music moment. We use @code{\override} -in the usual way to position the @code{TupletBrackets} of -the second and third of the inner tuplets below the staff. +the @code{TupletBracket} of the outer tuplet above the staff. The +second @code{\tweak} positions the @code{TupletBracket} of the +first of the three inner tuplets below the staff. Note that this +pair of @code{\tweak} functions affects only the outer tuplet and +the first of the three inner tuplets because only those two +tuplets begin at the same music moment. We use @code{\override} +in the usual way to position the @code{TupletBrackets} of the +second and third of the inner tuplets below the staff. @lilypond[quote,ragged-right,verbatim] \new Staff { @@ -235,8 +238,8 @@ the second and third of the inner tuplets below the staff. } @end lilypond -Tuplet brackets can be made to run to prefatory matter or -the next note +Tuplet brackets can be made to run to prefatory matter or the next +note @lilypond[ragged-right] \new RhythmicStaff { @@ -267,12 +270,12 @@ Program reference: @internalsref{TupletBracket}, @unnumberedsubsubsec Scaling durations You can alter the length of duration by a fraction @var{N/M} -appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}). This -will not affect the appearance of the notes or rests produced. These -may be combined such as @samp{*M*N}. +appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}). +This will not affect the appearance of the notes or rests +produced. These may be combined such as @samp{*M*N}. -In the following example, the first three notes take up exactly two -beats, but no triplet bracket is printed. +In the following example, the first three notes take up exactly +two beats, but no triplet bracket is printed. @lilypond[quote,ragged-right,fragment,relative=2,verbatim] \time 2/4 @@ -309,10 +312,9 @@ Rests are entered like notes with the note name @code{r} r1 r2 r4 r8 @end lilypond -Whole bar rests, centered in middle of the bar, -must be done with multi-measure rests. They can be used for a -single bar as well as many bars, and are discussed in -@ref{Multi measure rests}. +Whole bar rests, centered in middle of the bar, must be done with +multi-measure rests. They can be used for a single bar as well as +many bars, and are discussed in @ref{Multi measure rests}. To explicitly specify a rest's vertical position, write a note followed by @code{\rest}. A rest will be placed in the position @@ -323,9 +325,9 @@ a'4\rest d'4\rest @end lilypond @noindent -This makes manual formatting of -polyphonic music much easier, since the automatic rest collision -formatter will leave these rests alone. +This makes manual formatting of polyphonic music much easier, +since the automatic rest collision formatter will leave these +rests alone. @seealso @@ -341,16 +343,16 @@ Program reference: @internalsref{Rest}. @funindex \skip @funindex s -An invisible rest (also called a @q{skip}) can be entered like a note -with note name @samp{s} or with @code{\skip @var{duration}} +An invisible rest (also called a @q{skip}) can be entered like a +note with note name @samp{s} or with @code{\skip @var{duration}} @lilypond[fragment,quote,ragged-right,verbatim,relative=2] a4 a4 s4 a4 \skip 1 a4 @end lilypond -The @code{s} syntax is only available in note mode and chord mode. In -other situations, for example, when entering lyrics, you should use -the @code{\skip} command +The @code{s} syntax is only available in note mode and chord mode. +In other situations, for example, when entering lyrics, you should +use the @code{\skip} command @lilypond[quote,ragged-right,verbatim] << @@ -359,8 +361,8 @@ the @code{\skip} command >> @end lilypond -The skip command is merely an empty musical placeholder. It does not -produce any output, not even transparent output. +The skip command is merely an empty musical placeholder. It does +not produce any output, not even transparent output. The @code{s} skip command does create @internalsref{Staff} and @internalsref{Voice} when necessary, similar to note and rest @@ -387,21 +389,23 @@ Program reference: @internalsref{SkipMusic}. @cindex whole rests for a full measure @funindex R -Rests for one full measure (or many bars) are entered using @samp{R}. It -is specifically meant for full bar rests and for entering parts: the rest -can expand to fill a score with rests, or it can be printed as a single -multi-measure rest. This expansion is controlled by the property -@code{Score.skipBars}. If this is set to true, empty measures will not -be expanded, and the appropriate number is added automatically +Rests for one full measure (or many bars) are entered using +@samp{R}. It is specifically meant for full bar rests and for +entering parts: the rest can expand to fill a score with rests, or +it can be printed as a single multi-measure rest. This expansion +is controlled by the property @code{Score.skipBars}. If this is +set to true, empty measures will not be expanded, and the +appropriate number is added automatically @lilypond[quote,ragged-right,fragment,verbatim] \time 4/4 r1 | R1 | R1*2 \time 3/4 R2. \time 2/4 R2 \time 4/4 \set Score.skipBars = ##t R1*17 R1*4 @end lilypond -The @code{1} in @code{R1} is similar to the duration notation used for -notes. Hence, for time signatures other than 4/4, you must enter other -durations. This can be done with augmentation dots or fractions +The @code{1} in @code{R1} is similar to the duration notation used +for notes. Hence, for time signatures other than 4/4, you must +enter other durations. This can be done with augmentation dots or +fractions @lilypond[quote,ragged-right,fragment,verbatim] \set Score.skipBars = ##t @@ -413,12 +417,14 @@ R1*13/8*12 | \time 10/8 R4*5*4 | @end lilypond -An @code{R} spanning a single measure is printed as either a whole rest -or a breve, centered in the measure regardless of the time signature. +An @code{R} spanning a single measure is printed as either a whole +rest or a breve, centered in the measure regardless of the time +signature. -If there are only a few measures of rest, LilyPond prints @q{church rests} -(a series of rectangles) in the staff. To replace that with a simple -rest, use @code{MultiMeasureRest.expand-limit}. +If there are only a few measures of rest, LilyPond prints +@q{church rests} (a series of rectangles) in the staff. To +replace that with a simple rest, use +@code{MultiMeasureRest.expand-limit}. @lilypond[quote,ragged-right,fragment,verbatim] \set Score.skipBars = ##t @@ -432,9 +438,8 @@ R1*2 | R1*5 | R1*9 @cindex fermata on multi-measure rest Texts can be added to multi-measure rests by using the -@var{note}-@code{markup} syntax @ref{Text markup}. -A variable (@code{\fermataMarkup}) is provided for -adding fermatas +@var{note}-@code{markup} syntax @ref{Text markup}. A variable +(@code{\fermataMarkup}) is provided for adding fermatas @lilypond[quote,ragged-right,verbatim,fragment] \set Score.skipBars = ##t @@ -474,23 +479,26 @@ specified texts. @refbugs -It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers -over multi-measure rests. And the pitch of multi-measure rests (or -staff-centered rests) can not be influenced. +It is not possible to use fingerings (e.g., @code{R1-4}) to put +numbers over multi-measure rests. And the pitch of multi-measure +rests (or staff-centered rests) can not be influenced. @cindex condensing rests -There is no way to automatically condense multiple rests into a single -multi-measure rest. Multi-measure rests do not take part in rest -collisions. +There is no way to automatically condense multiple rests into a +single multi-measure rest. Multi-measure rests do not take part +in rest collisions. Be careful when entering multi-measure rests followed by whole -notes. The following will enter two notes lasting four measures each +notes. The following will enter two notes lasting four measures +each + @example R1*4 cis cis @end example -When @code{skipBars} is set, the result will look OK, but the bar -numbering will be off. + +When @code{skipBars} is +set, the result will look OK, but the bar numbering will be off. @@ -512,9 +520,9 @@ numbering will be off. @cindex meter @funindex \time -Time signature indicates the metrum of a piece: a regular pattern of -strong and weak beats. It is denoted by a fraction at the start of the -staff. +Time signature indicates the metrum of a piece: a regular pattern +of strong and weak beats. It is denoted by a fraction at the +start of the staff. The time signature is set with the @code{\time} command @@ -525,8 +533,8 @@ The time signature is set with the @code{\time} command @commonprop The symbol that is printed can be customized with the @code{style} -property. Setting it to @code{#'()} uses fraction style for 4/4 and -2/2 time, +property. Setting it to @code{#'()} uses fraction style for 4/4 +and 2/2 time, @lilypond[fragment,quote,ragged-right,verbatim] \time 4/4 c'1 @@ -543,16 +551,16 @@ signatures}, for more examples. @code{beatLength} and @code{measureLength} in the @code{Timing} context, which is normally aliased to @internalsref{Score}. The property @code{measureLength} determines where bar lines should be -inserted, and how automatic beams should be generated. Changing the -value of @code{timeSignatureFraction} also causes the symbol to be -printed. +inserted, and how automatic beams should be generated. Changing +the value of @code{timeSignatureFraction} also causes the symbol +to be printed. More options are available through the Scheme function @code{set-time-signature}. In combination with the @internalsref{Measure_grouping_engraver}, it will create @internalsref{MeasureGrouping} signs. Such signs ease reading -rhythmically complex modern music. In the following example, the 9/8 -measure is subdivided in 2, 2, 2 and 3. This is passed to +rhythmically complex modern music. In the following example, the +9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to @code{set-time-signature} as the third argument @code{(2 2 2 3)} @lilypond[quote,ragged-right,verbatim] @@ -626,9 +634,9 @@ translated to mean @qq{there is a quarter note left in the bar.} @refbugs -This command does not take into account grace notes at the start of -the music. When a piece starts with graces notes in the pickup, then -the @code{\partial} should follow the grace notes +This command does not take into account grace notes at the start +of the music. When a piece starts with graces notes in the +pickup, then the @code{\partial} should follow the grace notes @lilypond[verbatim,quote,ragged-right,relative,fragment] \grace f16 @@ -649,10 +657,10 @@ occur. @funindex \cadenzaOn @funindex \cadenzaOff -Bar lines and bar numbers are calculated automatically. For unmetered -music (cadenzas, for example), this is not desirable. To turn off -automatic bar lines and bar numbers, use the commands @code{\cadenzaOn} -and @code{\cadenzaOff}. +Bar lines and bar numbers are calculated automatically. For +unmetered music (cadenzas, for example), this is not desirable. +To turn off automatic bar lines and bar numbers, use the commands +@code{\cadenzaOn} and @code{\cadenzaOff}. @lilypond[verbatim,quote,ragged-right,relative=2,fragment] c4 d e d @@ -667,9 +675,8 @@ d4 e d c @refbugs LilyPond will only insert line breaks and page breaks at a -barline. Unless the unmetered music ends before the end of -the staff line, you will need to insert -invisible bar lines +barline. Unless the unmetered music ends before the end of the +staff line, you will need to insert invisible bar lines @example \bar "" @@ -687,10 +694,10 @@ to indicate where breaks can occur. @cindex polymetric signatures @cindex meter, polymetric -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 +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 @lsr{contemporary,compound-time-signature}. @lilypond[verbatim,ragged-right] @@ -712,8 +719,8 @@ tsMarkup =\markup { @end lilypond Each staff can also have its own time signature. This is done by -moving the @internalsref{Timing_translator} to the @internalsref{Staff} -context. +moving the @internalsref{Timing_translator} to the +@internalsref{Staff} context. @example \layout @{ @@ -732,6 +739,7 @@ context. Now, each staff has its own time signature. + @example << \new Staff @{ @@ -782,22 +790,22 @@ Now, each staff has its own time signature. A different form of polymetric notation is where note lengths have different values across staves. -This notation can be created by setting a common time signature for -each staff but replacing it manually using -@code{timeSignatureFraction} to the desired fraction. Then the printed -durations in each staff are scaled to the common time signature. -The latter is done with @code{\compressMusic}, which is used similar -to @code{\times}, but does not create a tuplet bracket. The syntax is -@example -\compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr} -@end example +This notation can be created by setting a common time signature +for each staff but replacing it manually using +@code{timeSignatureFraction} to the desired fraction. Then the +printed durations in each staff are scaled to the common time +signature. The latter is done with @code{\compressMusic}, which +is used similar to @code{\times}, but does not create a tuplet +bracket. The syntax is @example \compressMusic #'(@var{numerator} +. @var{denominator}) @var{musicexpr} @end example -In this example, music with the time signatures of 3/4, 9/8, and 10/8 are -used in parallel. In the second staff, shown durations are multiplied by -2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are -multiplied by 3/5, so that 3/5 * 10/8 = 3/4. +In this example, music with the time signatures of 3/4, 9/8, and +10/8 are used in parallel. In the second staff, shown durations +are multiplied by 2/3, so that 2/3 * 9/8 = 3/4, and in the third +staff, shown durations are multiplied by 3/5, so that 3/5 * 10/8 = +3/4. @lilypond[quote,ragged-right,verbatim,fragment] \relative c' { << @@ -833,10 +841,10 @@ aligned vertically, but bar lines distort the regular spacing. @node Automatic note splitting @unnumberedsubsubsec Automatic note splitting -Long notes can be converted automatically to tied notes. This is done -by replacing the @internalsref{Note_heads_engraver} by the -@internalsref{Completion_heads_engraver}. -In the following examples, notes crossing the bar line are split and tied. +Long notes can be converted automatically to tied notes. This is +done by replacing the @internalsref{Note_heads_engraver} by the +@internalsref{Completion_heads_engraver}. In the following +examples, notes crossing the bar line are split and tied. @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm] \new Voice \with { @@ -847,10 +855,10 @@ In the following examples, notes crossing the bar line are split and tied. } @end lilypond -This engraver splits all running notes at the bar line, and inserts -ties. One of its uses is to debug complex scores: if the measures are -not entirely filled, then the ties exactly show how much each measure -is off. +This engraver splits all running notes at the bar line, and +inserts ties. One of its uses is to debug complex scores: if the +measures are not entirely filled, then the ties exactly show how +much each measure is off. If you want to allow line breaking on the bar lines where @internalsref{Completion_heads_engraver} splits notes, you must @@ -860,11 +868,11 @@ also remove @internalsref{Forbid_line_break_engraver}. @refbugs Not all durations (especially those containing tuplets) can be -represented exactly with normal notes and dots, but the engraver will -not insert tuplets. +represented exactly with normal notes and dots, but the engraver +will not insert tuplets. -@code{Completion_heads_engraver} only affects notes; it does not split -rests. +@code{Completion_heads_engraver} only affects notes; it does not +split rests. @seealso @@ -893,9 +901,9 @@ LilyPond inserts beams automatically @end lilypond When these automatic decisions are not good enough, beaming can be -entered explicitly. It is also possible to define beaming patterns -that differ from the defaults. See @ref{Setting automatic beam behavior}, -for details. +entered explicitly. It is also possible to define beaming +patterns that differ from the defaults. See @ref{Setting +automatic beam behavior}, for details. Individual notes may be marked with @code{\noBeam} to prevent them from being beamed @@ -917,10 +925,10 @@ Program reference: @internalsref{Beam}. @funindex ] @funindex [ -In some cases it may be necessary to override the automatic beaming -algorithm. For example, the autobeamer will not put beams over rests -or bar lines. Such beams are specified manually by marking the begin -and end point with @code{[} and @code{]} +In some cases it may be necessary to override the automatic +beaming algorithm. For example, the autobeamer will not put beams +over rests or bar lines. Such beams are specified manually by +marking the begin and end point with @code{[} and @code{]} @lilypond[quote,ragged-right,fragment,relative=1,verbatim] { @@ -935,12 +943,12 @@ and end point with @code{[} and @code{]} @funindex stemRightBeamCount -LilyPond can automatically determine beaming patterns within a beam, -but this automatic behavior can sometimes produce odd results; -therefore the @code{stemLeftBeamCount} and @code{stemRightBeamCount} properties can -be used to override the defaults. If -either property is set, its value will be used only once, and then it -is erased. +LilyPond can automatically determine beaming patterns within a +beam, but this automatic behavior can sometimes produce odd +results; therefore the @code{stemLeftBeamCount} and +@code{stemRightBeamCount} properties can be used to override the +defaults. If either property is set, its value will be used only +once, and then it is erased. @lilypond[quote,ragged-right,fragment,relative=1,verbatim] { @@ -952,9 +960,9 @@ is erased. } @end lilypond -The property @code{subdivideBeams} can be set in order to subdivide -all 16th or shorter beams at beat positions, as defined by the -@code{beatLength} property. +The property @code{subdivideBeams} can be set in order to +subdivide all 16th or shorter beams at beat positions, as defined +by the @code{beatLength} property. @lilypond[fragment,quote,relative=2,verbatim] c16[ c c c c c c c] @@ -969,8 +977,8 @@ c16[ c c c c c c c] For more information about @code{make-moment}, see @ref{Time administration}. -Line breaks are normally forbidden when beams cross bar lines. This -behavior can be changed by setting @code{breakable}. +Line breaks are normally forbidden when beams cross bar lines. +This behavior can be changed by setting @code{breakable}. @funindex breakable @@ -979,9 +987,9 @@ behavior can be changed by setting @code{breakable}. @cindex kneed beams @cindex auto-knee-gap -Kneed beams are inserted automatically when a large gap is detected -between the note heads. This behavior can be tuned through the -@code{auto-knee-gap} object. +Kneed beams are inserted automatically when a large gap is +detected between the note heads. This behavior can be tuned +through the @code{auto-knee-gap} object. @refbugs @@ -990,8 +998,8 @@ Automatically kneed cross-staff beams cannot be used together with hidden staves. See @ref{Hiding staves}. @c Is this still true with skyline spacing stuff? -J.Mandereau -Beams do not avoid collisions with symbols around the notes, such as -texts and accidentals. +Beams do not avoid collisions with symbols around the notes, such +as texts and accidentals. @node Feathered beams @@ -1035,10 +1043,11 @@ music snippets. @funindex | Bar checks help detect errors in the durations. A bar check is -entered using the bar symbol, @samp{|}. Whenever it is encountered -during interpretation, it should fall on a measure boundary. If it -does not, a warning is printed. In the next example, the second bar -check will signal an error +entered using the bar symbol, @samp{|}. Whenever it is +encountered during interpretation, it should fall on a measure +boundary. If it does not, a warning is printed. In the next +example, the second bar check will signal an error + @example \time 3/4 c2 e4 | g2 | @end example @@ -1052,16 +1061,17 @@ Bar checks can also be used in lyrics, for example @} @end example -Failed bar checks are caused by entering incorrect -durations. Incorrect durations often completely garble up the score, -especially if the score is polyphonic, so a good place to start correcting -input is by scanning for failed bar checks and incorrect durations. +Failed bar checks are caused by entering incorrect durations. +Incorrect durations often completely garble up the score, +especially if the score is polyphonic, so a good place to start +correcting input is by scanning for failed bar checks and +incorrect durations. @funindex | @funindex pipeSymbol -It is also possible to redefine the meaning of @code{|}. This is done -by assigning a music expression to @code{pipeSymbol}, +It is also possible to redefine the meaning of @code{|}. This is +done by assigning a music expression to @code{pipeSymbol}, @lilypond[quote,ragged-right,verbatim] pipeSymbol = \bar "||" @@ -1078,9 +1088,9 @@ pipeSymbol = \bar "||" @cindex measure lines @cindex repeat bars -Bar lines delimit measures, but are also used to indicate -repeats. Normally they are inserted automatically. Line -breaks may only happen on bar lines. +Bar lines delimit measures, but are also used to indicate repeats. +Normally they are inserted automatically. Line breaks may only +happen on bar lines. Special types of bar lines can be forced with the @code{\bar} command @@ -1092,10 +1102,10 @@ The following bar types are available @lilypondfile[ragged-right,quote]{bar-lines.ly} -In addition, you can specify @code{"||:"}, which is equivalent to -@code{"|:"} except at line breaks, where it gives a double bar line at -the end of the line and a start repeat at the beginning of the next -line. +In addition, you can specify @code{"||:"}, which is equivalent to +@code{"|:"} except at line breaks, where it gives a double bar +line at the end of the line and a start repeat at the beginning of +the next line. To allow a line break where there is no visible bar line, use @@ -1104,8 +1114,8 @@ To allow a line break where there is no visible bar line, use @end example @noindent -This will insert an invisible bar line and allow line breaks at this -point (without increasing the bar number counter). +This will insert an invisible bar line and allow line breaks at +this point (without increasing the bar number counter). In scores with many staves, a @code{\bar} command in one staff is automatically applied to all staves. The resulting bar lines are @@ -1134,14 +1144,14 @@ connected between different staves of a @code{StaffGroup}, @funindex defaultBarType The command @code{\bar }@var{bartype} is a short cut for doing -@code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar} -is set to a string, a bar line of that type is created. +@code{\set Timing.whichBar = }@var{bartype}. Whenever +@code{whichBar} 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 -used -to override default measure bars. +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 used to override default measure bars. You are encouraged to use @code{\repeat} for repetitions. See @ref{Repeats}. @@ -1152,7 +1162,8 @@ You are encouraged to use @code{\repeat} for repetitions. See In this manual: @ref{Repeats}, @ref{System start delimiters}. Program reference: @internalsref{BarLine} (created at -@internalsref{Staff} level), @internalsref{SpanBar} (across staves). +@internalsref{Staff} level), @internalsref{SpanBar} (across +staves). @node Bar numbers @@ -1163,8 +1174,8 @@ Program reference: @internalsref{BarLine} (created at @funindex currentBarNumber Bar numbers are printed by default at the start of the line. The -number itself is stored in the @code{currentBarNumber} property, which -is normally updated automatically for every measure. +number itself is stored in the @code{currentBarNumber} property, +which is normally updated automatically for every measure. @lilypond[verbatim,ragged-right,quote,fragment,relative] \repeat unfold 4 {c4 c c c} \break @@ -1173,8 +1184,8 @@ is normally updated automatically for every measure. @end lilypond Bar numbers may only be printed at bar lines; to print a bar -number at the beginning of a piece, an empty bar line must -be added +number at the beginning of a piece, an empty bar line must be +added @lilypond[verbatim,ragged-right,quote,fragment,relative] \set Score.currentBarNumber = #50 @@ -1184,8 +1195,8 @@ be added @end lilypond Bar numbers can be typeset at regular intervals instead of at the -beginning of each line. This is illustrated in the following example, -whose source is available as +beginning of each line. This is illustrated in the following +example, whose source is available as @lsr{staff,making-bar-numbers-appear-at-regular-intervals.ly}. @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly} @@ -1216,27 +1227,27 @@ Examples: @lsrdir{staff} @refbugs -Bar numbers can collide with the @internalsref{StaffGroup} bracket, if -there is one at the top. To solve this, the -@code{padding} property of @internalsref{BarNumber} can be -used to position the number correctly. +Bar numbers can collide with the @internalsref{StaffGroup} +bracket, if there is one at the top. To solve this, the +@code{padding} property of @internalsref{BarNumber} can be used to +position the number correctly. @node Barnumber check @unnumberedsubsubsec Barnumber check -When copying large pieces of music, it can be helpful to check that -the LilyPond bar number corresponds to the original that you are -entering from. This can be checked with @code{\barNumberCheck}, for -example, +When copying large pieces of music, it can be helpful to check +that the LilyPond bar number corresponds to the original that you +are entering from. This can be checked with +@code{\barNumberCheck}, for example, @verbatim \barNumberCheck #123 @end verbatim @noindent -will print a warning if the @code{currentBarNumber} is not 123 when it -is processed. +will print a warning if the @code{currentBarNumber} is not 123 +when it is processed. @node Rehearsal marks @@ -1256,23 +1267,24 @@ c1 \mark \default @end lilypond @noindent -The letter@tie{}@q{I} is skipped in accordance with engraving traditions. -If you wish to include the letter @q{I}, then use +The letter@tie{}@q{I} is skipped in accordance with engraving +traditions. If you wish to include the letter @q{I}, then use @example \set Score.markFormatter = #format-mark-alphabet @end example The mark is incremented automatically if you use @code{\mark -\default}, but you can also use an integer argument to set the mark -manually. The value to use is stored in the property +\default}, but you can also use an integer argument to set the +mark manually. The value to use is stored in the property @code{rehearsalMark}. -The style is defined by the property @code{markFormatter}. It is a -function taking the current mark (an integer) and the current context -as argument. It should return a markup object. In the following -example, @code{markFormatter} is set to a canned procedure. After a -few measures, it is set to function that produces a boxed number. +The style is defined by the property @code{markFormatter}. It is +a function taking the current mark (an integer) and the current +context as argument. It should return a markup object. In the +following example, @code{markFormatter} is set to a canned +procedure. After a few measures, it is set to function that +produces a boxed number. @lilypond[fragment,quote,ragged-right,verbatim,relative=2] \set Score.markFormatter = #format-mark-numbers @@ -1284,14 +1296,15 @@ c1 \mark \default c1 @end lilypond -The file @file{scm/@/translation@/-functions@/.scm} contains the definitions -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. +The file @file{scm/@/translation@/-functions@/.scm} contains the +definitions 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. -You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers}, -and @code{format-mark-circle-barnumbers} to get bar numbers instead of +You may use @code{format-mark-barnumbers}, +@code{format-mark-box-barnumbers}, and +@code{format-mark-circle-barnumbers} to get bar numbers instead of incremented numbers or letters. Other styles of rehearsal mark can be specified manually @@ -1301,8 +1314,9 @@ Other styles of rehearsal mark can be specified manually @end example @noindent -@code{Score.markFormatter} does not affect marks specified in this manner. -However, it is possible to apply a @code{\markup} to the string. +@code{Score.markFormatter} does not affect marks specified in this +manner. However, it is possible to apply a @code{\markup} to the +string. @example \mark \markup@{ \box A1 @} @@ -1312,8 +1326,8 @@ However, it is possible to apply a @code{\markup} to the string. @cindex coda @cindex D.S al Fine -Music glyphs (such as the segno sign) may be printed inside -a @code{\mark} +Music glyphs (such as the segno sign) may be printed inside a +@code{\mark} @lilypond[fragment,quote,ragged-right,verbatim,relative] c1 \mark \markup { \musicglyph #"scripts.segno" } @@ -1326,7 +1340,8 @@ c1 See @ref{The Feta font}, for a list of symbols which may be printed with @code{\musicglyph}. -For common tweaks to the positioning of rehearsal marks, see @ref{Text marks}. +For common tweaks to the positioning of rehearsal marks, see +@ref{Text marks}. @seealso @@ -1334,10 +1349,10 @@ This manual: @ref{Text marks}. Program reference: @internalsref{RehearsalMark}. -Init files: @file{scm/@/translation@/-functions@/.scm} contains the -definition of @code{format-mark-numbers} and -@code{format-mark-letters}. They can be used as inspiration for other -formatting functions. +Init files: @file{scm/@/translation@/-functions@/.scm} contains +the definition of @code{format-mark-numbers} and +@code{format-mark-letters}. They can be used as inspiration for +other formatting functions. Examples: @lsr{parts,rehearsal-mark-numbers.ly} @@ -1362,22 +1377,23 @@ Examples: @lsr{parts,rehearsal-mark-numbers.ly} @cindex appoggiatura @cindex acciaccatura -Grace notes are ornaments that are written out. The most common ones -are acciaccatura, which should be played as very short. It is denoted -by a slurred small note with a slashed stem. The appoggiatura is a -grace note that takes a fixed fraction of the main note, and is -denoted as a slurred note in small print without a slash. They -are entered with the commands @code{\acciaccatura} and -@code{\appoggiatura}, as demonstrated in the following example +Grace notes are ornaments that are written out. The most common +ones are acciaccatura, which should be played as very short. It +is denoted by a slurred small note with a slashed stem. The +appoggiatura is a grace note that takes a fixed fraction of the +main note, and is denoted as a slurred note in small print without +a slash. They are entered with the commands @code{\acciaccatura} +and @code{\appoggiatura}, as demonstrated in the following example @lilypond[quote,ragged-right,relative=2,verbatim,fragment] b4 \acciaccatura d8 c4 \appoggiatura e8 d4 \acciaccatura { g16[ f] } e4 @end lilypond -Both are special forms of the @code{\grace} command. By prefixing this -keyword to a music expression, a new one is formed, which will be -printed in a smaller font and takes up no logical time in a measure. +Both are special forms of the @code{\grace} command. By prefixing +this keyword to a music expression, a new one is formed, which +will be printed in a smaller font and takes up no logical time in +a measure. @lilypond[quote,ragged-right,relative=2,verbatim,fragment] c4 \grace c16 c4 @@ -1390,10 +1406,10 @@ Unlike @code{\acciaccatura} and @code{\appoggiatura}, the @cindex timing, internal -Internally, timing for grace notes is done using a second, @q{grace} -timing. Every point in time consists of two rational numbers: one -denotes the logical time, one denotes the grace timing. The above -example is shown here with timing tuples +Internally, timing for grace notes is done using a second, +@q{grace} timing. Every point in time consists of two rational +numbers: one denotes the logical time, one denotes the grace +timing. The above example is shown here with timing tuples @lilypond[quote,ragged-right] << @@ -1417,9 +1433,9 @@ example is shown here with timing tuples >> @end lilypond -The placement of grace notes is synchronized between different staves. -In the following example, there are two sixteenth grace notes for -every eighth grace note +The placement of grace notes is synchronized between different +staves. In the following example, there are two sixteenth grace +notes for every eighth grace note @lilypond[quote,ragged-right,relative=2,verbatim,fragment] << \new Staff { e4 \grace { c16[ d e f] } e4 } @@ -1429,16 +1445,16 @@ every eighth grace note @funindex \afterGrace If you want to end a note with a grace, use the @code{\afterGrace} -command. It takes two arguments: the main note, and the grace notes -following the main note. +command. It takes two arguments: the main note, and the grace +notes following the main note. @lilypond[ragged-right, verbatim,relative=2,fragment] c1 \afterGrace d1 { c16[ d] } c4 @end lilypond This will put the grace notes after a @q{space} lasting 3/4 of the -length of the main note. The fraction 3/4 can be changed by setting -@code{afterGraceFraction}, ie. +length of the main note. The fraction 3/4 can be changed by +setting @code{afterGraceFraction}, ie. @example #(define afterGraceFraction (cons 7 8)) @@ -1458,13 +1474,14 @@ The same effect can be achieved manually by doing @end lilypond @noindent -By adjusting the duration of the skip note (here it is a half-note), -the space between the main-note and the grace is adjusted. +By adjusting the duration of the skip note (here it is a +half-note), the space between the main-note and the grace is +adjusted. -A @code{\grace} music expression will introduce special typesetting settings, -for example, to produce smaller type, and set directions. Hence, when -introducing layout tweaks, they should be inside the grace expression, -for example, +A @code{\grace} music expression will introduce special +typesetting settings, for example, to produce smaller type, and +set directions. Hence, when introducing layout tweaks, they +should be inside the grace expression, for example, @lilypond[quote,ragged-right,fragment,verbatim,relative=2] \new Voice { @@ -1480,10 +1497,10 @@ for example, @noindent The overrides should also be reverted inside the grace expression. -The layout of grace expressions can be changed throughout the music -using the function @code{add-grace-property}. The following example -undefines the @code{Stem} direction for this grace, so that stems do not -always point up. +The layout of grace expressions can be changed throughout the +music using the function @code{add-grace-property}. The following +example undefines the @code{Stem} direction for this grace, so +that stems do not always point up. @example \new Staff @{ @@ -1500,8 +1517,9 @@ Another option is to change the variables @code{startGraceMusic}, @file{ly/@/grace@/-init@/.ly}. @noindent -The slash through the stem in acciaccaturas can be obtained -in other situations by @code{\override Stem #'stroke-style = #"grace"}. +The slash through the stem in acciaccaturas can be obtained in +other situations by @code{\override Stem #'stroke-style = +#"grace"}. @commonprop @@ -1534,13 +1552,14 @@ Program reference: @internalsref{GraceMusic}. @refbugs -A score that starts with a @code{\grace} expression needs an explicit -@code{\new Voice} declaration, otherwise the main note and the grace -note end up on different staves. +A score that starts with a @code{\grace} expression needs an +explicit @code{\new Voice} declaration, otherwise the main note +and the grace note end up on different staves. -Grace note synchronization can also lead to surprises. Staff notation, -such as key signatures, bar lines, etc., are also synchronized. Take -care when you mix staves with grace notes and staves without, for example, +Grace note synchronization can also lead to surprises. Staff +notation, such as key signatures, bar lines, etc., are also +synchronized. Take care when you mix staves with grace notes and +staves without, for example, @lilypond[quote,ragged-right,relative=2,verbatim,fragment] << \new Staff { e4 \bar "|:" \grace c16 d4 } @@ -1557,23 +1576,24 @@ durations in the other staves. For the above example @end lilypond Grace sections should only be used within sequential music -expressions. Nesting or juxtaposing grace sections is not supported, -and might produce crashes or other errors. +expressions. Nesting or juxtaposing grace sections is not +supported, and might produce crashes or other errors. @node Aligning to cadenzas @unnumberedsubsubsec Aligning to cadenzas -In an orchestral context, cadenzas present a special problem: -when constructing a score that includes a cadenza, all other +In an orchestral context, cadenzas present a special problem: when +constructing a score that includes a cadenza, all other instruments should skip just as many notes as the length of the cadenza, otherwise they will start too soon or too late. -A solution to this problem are the functions @code{mmrest-of-length} -and @code{skip-of-length}. These Scheme functions take a piece of music -as argument, and generate a @code{\skip} or multi-rest, exactly as -long as the piece. The use of @code{mmrest-of-length} is demonstrated -in the following example. +A solution to this problem are the functions +@code{mmrest-of-length} and @code{skip-of-length}. These Scheme +functions take a piece of music as argument, and generate a +@code{\skip} or multi-rest, exactly as long as the piece. The use +of @code{mmrest-of-length} is demonstrated in the following +example. @lilypond[verbatim,ragged-right,quote] cadenza = \relative c' { @@ -1596,36 +1616,40 @@ cadenza = \relative c' { @cindex Time administration -Time is administered by the @internalsref{Time_signature_engraver}, -which usually lives in the @internalsref{Score} context. The -bookkeeping deals with the following variables +Time is administered by the +@internalsref{Time_signature_engraver}, which usually lives in the +@internalsref{Score} context. The bookkeeping deals with the +following variables @table @code @item currentBarNumber The measure number. @item measureLength -The length of the measures in the current time signature. For a 4/4 -time this is@tie{}1, and for 6/8 it is 3/4. +The length of the measures in the current time signature. For a +4/4 time this is@tie{}1, and for 6/8 it is 3/4. @item measurePosition -The point within the measure where we currently are. This quantity -is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that -happens, @code{currentBarNumber} is incremented. +The point within the measure where we currently are. This +quantity is reset to@tie{}0 whenever it exceeds +@code{measureLength}. When that happens, @code{currentBarNumber} +is incremented. @item timing If set to true, the above variables are updated for every time -step. When set to false, the engraver stays in the current measure -indefinitely. +step. When set to false, the engraver stays in the current +measure indefinitely. + @end table -Timing can be changed by setting any of these variables explicitly. -In the next example, the 4/4 time signature is printed, but -@code{measureLength} is set to 5/4. After a while, the measure is -shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4 -in the measure, so the next bar line will fall at 2/4 + 3/8. The -3/8 arises because 5/4 normally has 10/8, but we have manually -set the measure position to be 7/8 and 10/8 - 7/8 = 3/8. +Timing can be changed by setting any of these variables +explicitly. In the next example, the 4/4 time signature is +printed, but @code{measureLength} is set to 5/4. After a while, +the measure is shortened by 1/8, by setting @code{measurePosition} +to 7/8 at 2/4 in the measure, so the next bar line will fall at +2/4 + 3/8. The 3/8 arises because 5/4 normally has 10/8, but we +have manually set the measure position to be 7/8 and 10/8 - 7/8 = +3/8. @lilypond[quote,ragged-right,verbatim,relative,fragment] \set Score.measureLength = #(ly:make-moment 5 4) @@ -1639,10 +1663,10 @@ 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 -an eighth -note duration and @code{ly:make-moment 7 16} is the duration of -seven sixteenths notes. +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. @node Proportional notation (introduction) @@ -1671,18 +1695,18 @@ settings are also required. @itemize @bullet -@item True proportional notation requires that symbols are allowed to -overstrike each other. That is achieved by removing the +@item True proportional notation requires that symbols are allowed +to overstrike each other. That is achieved by removing the @internalsref{Separating_line_group_engraver} from @internalsref{Staff} context. -@item Spacing influence of prefatory matter (clefs, bar lines, etc.) -is removed by setting the @code{strict-note-spacing} property to -@code{#t} in @internalsref{SpacingSpanner} grob. - -@item Optical spacing tweaks are switched by setting -@code{uniform-stretching} in @internalsref{SpacingSpanner} to true. +@item Spacing influence of prefatory matter (clefs, bar lines, +etc.) is removed by setting the @code{strict-note-spacing} +property to @code{#t} in @internalsref{SpacingSpanner} grob. +@item Optical spacing tweaks are switched by setting +@code{uniform-stretching} in @internalsref{SpacingSpanner} to +true. @end itemize -- 2.39.5