From 8e0330b913e0c7494282e6b00cebbf4dcee79b50 Mon Sep 17 00:00:00 2001 From: Mark Polesky Date: Tue, 28 Sep 2010 17:35:23 -0700 Subject: [PATCH] Doc: NR 1: Use @code{@var{...}} for variables. --- Documentation/notation/editorial.itely | 11 ++++--- Documentation/notation/expressive.itely | 4 +-- Documentation/notation/pitches.itely | 40 +++++++++++------------ Documentation/notation/repeats.itely | 26 +++++++-------- Documentation/notation/rhythms.itely | 15 +++++---- Documentation/notation/simultaneous.itely | 4 +-- Documentation/notation/staff.itely | 20 +++++++----- 7 files changed, 62 insertions(+), 58 deletions(-) diff --git a/Documentation/notation/editorial.itely b/Documentation/notation/editorial.itely index 4301839fa5..0a90f67fa1 100644 --- a/Documentation/notation/editorial.itely +++ b/Documentation/notation/editorial.itely @@ -149,7 +149,7 @@ Internals Reference: @funindex finger Fingering instructions can be entered using -@var{note}-@var{digit}: +@samp{@var{note}-@var{digit}}: @lilypond[verbatim,quote,relative=2] c4-1 d-2 f-4 e-3 @@ -311,10 +311,11 @@ e The full range of colors defined for X11 can be accessed by using the Scheme function @code{x11-color}. The function takes one -argument; this can be a symbol in the form @var{'FooBar} or a -string in the form @var{"FooBar"}. The first form is quicker to -write and is more efficient. However, using the second form it is -possible to access X11 colors by the multi-word form of its name. +argument; this can be a symbol in the form @code{'@var{FooBar}} or +a string in the form @code{"@var{FooBar}"}. The first form is +quicker to write and is more efficient. However, using the second +form it is possible to access X11 colors by the multi-word form of +its name. If @code{x11-color} cannot make sense of the parameter then the color returned defaults to black. diff --git a/Documentation/notation/expressive.itely b/Documentation/notation/expressive.itely index 3a5b892850..97c87f6615 100644 --- a/Documentation/notation/expressive.itely +++ b/Documentation/notation/expressive.itely @@ -124,8 +124,8 @@ this syntax: @var{note}\@var{name} @end example -The possible values for @var{name} are listed in @ref{List of -articulations}. For example: +The possible values for @code{@var{name}} are listed in +@ref{List of articulations}. For example: @lilypond[verbatim,quote,relative=2] c4\staccato c\mordent b2\turn diff --git a/Documentation/notation/pitches.itely b/Documentation/notation/pitches.itely index 63d35188f2..339d183be5 100644 --- a/Documentation/notation/pitches.itely +++ b/Documentation/notation/pitches.itely @@ -119,7 +119,7 @@ octave. In relative mode, each note is assumed to be as close to the previous note as possible. This means that the octave of each -pitch inside @var{musicexpr} is calculated as follows: +pitch inside @code{@var{musicexpr}} is calculated as follows: @itemize @item @@ -140,10 +140,9 @@ octaves. @item The pitch of the first note is relative to -@code{@var{startpitch}}. @var{startpitch} is specified in +@code{@var{startpitch}}. @code{@var{startpitch}} is specified in absolute octave mode, and it is recommended that it be a octave of @code{c}. - @end itemize Here is the relative mode shown in action: @@ -282,7 +281,7 @@ Internals Reference: @c DEPRECATED -If no @var{startpitch} is specified for @code{\relative}, +If no @code{@var{startpitch}} is specified for @code{\relative}, then@tie{}@code{c'} is assumed. However, this is a deprecated option and may disappear in future versions, so its use is discouraged. @@ -679,13 +678,13 @@ correction. @end lilypond The octave of notes may also be checked with the -@code{\octaveCheck}@tie{}@var{controlpitch} command. -@var{controlpitch} is specified in absolute mode. This checks -that the interval between the previous note and the -@var{controlpitch} is within a fourth (i.e., the normal +@code{\octaveCheck@tie{}@var{controlpitch}} command. +@code{@var{controlpitch}} is specified in absolute mode. This +checks that the interval between the previous note and the +@code{@var{controlpitch}} is within a fourth (i.e., the normal calculation of relative mode). If this check fails, a warning is printed, but the previous note is not changed. Future notes are -relative to the @var{controlpitch}. +relative to the @code{@var{controlpitch}}. @lilypond[verbatim,quote] \relative c'' { @@ -743,11 +742,12 @@ syntax is @end example @noindent -This means that @var{musicexpr} is transposed by the interval -between the pitches @var{frompitch} and @var{topitch}: any note -with pitch @var{frompitch} is changed to @var{topitch} and any -other note is transposed by the same interval. Both pitches are -entered in absolute mode. +This means that @code{@var{musicexpr}} is transposed by the +interval between the pitches @code{@var{frompitch}} and +@code{@var{topitch}}: any note with pitch @code{@var{frompitch}} +is changed to @code{@var{topitch}} and any other note is +transposed by the same interval. Both pitches are entered in +absolute mode. @warning{Music inside a @code{@bs{}transpose} block is absolute unless a @code{@bs{}relative} is included in the block.} @@ -1071,12 +1071,12 @@ at the start of the staff. The key signature may be altered: @cindex dorian @noindent -Here, @var{mode} should be @code{\major} or @code{\minor} to get a -key signature of @var{pitch}-major or @var{pitch}-minor, -respectively. You may also use the standard mode names, also -called @notation{church modes}: @code{\ionian}, @code{\dorian}, -@code{\phrygian}, @code{\lydian}, @code{\mixolydian}, -@code{\aeolian}, and @code{\locrian}. +Here, @code{@var{mode}} should be @code{\major} or @code{\minor} +to get a key signature of @code{@var{pitch}}-major or +@code{@var{pitch}}-minor, respectively. You may also use the +standard mode names, also called @notation{church modes}: +@code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian}, +@code{\mixolydian}, @code{\aeolian}, and @code{\locrian}. @lilypond[verbatim,quote,relative=2] \key g \major diff --git a/Documentation/notation/repeats.itely b/Documentation/notation/repeats.itely index 46726cd052..bd7d909093 100644 --- a/Documentation/notation/repeats.itely +++ b/Documentation/notation/repeats.itely @@ -29,7 +29,7 @@ notation for repeats with alternatives. @item unfold The repeated music is fully written out, as many times as -specified by @var{repeatcount}. This is useful when +specified by @code{@var{repeatcount}}. This is useful when entering repetitious music. @item percent @@ -84,7 +84,7 @@ The syntax for a normal repeat is @end example @noindent -where @var{musicexpr} is a music expression. +where @code{@var{musicexpr}} is a music expression. A single repeat without an alternate ending: @@ -105,7 +105,7 @@ group of alternatives must be themselves, enclosed in a set of braces. @end example @noindent -where @var{musicexpr} is a music expression. +where @code{@var{musicexpr}} is a music expression. If there are more repeats than there are alternate endings, the earliest repeats are given the first alternative. @@ -458,8 +458,9 @@ the writing out of repetitious music. The syntax is @end example @noindent -where @var{musicexpr} is a music expression and @var{repeatcount} is -the number of times @var{musicexpr} is repeated. +where @code{@var{musicexpr}} is a music expression and +@code{@var{repeatcount}} is the number of times +@code{@var{musicexpr}} is repeated. @lilypond[verbatim,quote,relative=2] \repeat unfold 2 { c4 d e f } @@ -564,11 +565,11 @@ is replaced with a special sign. The syntax is @example -@code{\repeat percent @var{number} @var{musicexpr}} +\repeat percent @var{number} @var{musicexpr} @end example @noindent -where @var{musicexpr} is a music expression. +where @code{@var{musicexpr}} is a music expression. Patterns that are shorter than one measure are replaced by slashes. @@ -678,12 +679,11 @@ the note should not be surrounded by braces: @funindex tremoloFlags @funindex : -The same output can be obtained by adding -@q{@code{:}[@var{number}]} after the note. The number indicates -the duration of the subdivision, and it must be at least 8. A -@var{number} value of 8 gives one line across the note stem. If -the length is omitted, the last value (stored in -@code{tremoloFlags}) is used: +The same output can be obtained by adding @code{:@var{N}} after +the note, where @code{@var{N}} indicates the duration of the +subdivision (it must be at least 8). If @code{@var{N}} is 8, one +beam is added to the note's stem. If @code{@var{N}} is omitted, +the last value (stored in @code{tremoloFlags}) is used: @lilypond[quote,verbatim,relative=2] c2:8 c:32 diff --git a/Documentation/notation/rhythms.itely b/Documentation/notation/rhythms.itely index 25c0166e4f..5ff676c0b7 100644 --- a/Documentation/notation/rhythms.itely +++ b/Documentation/notation/rhythms.itely @@ -197,7 +197,7 @@ durations with a fraction: @end example @noindent -The duration of @var{music} will be multiplied by the +The duration of @code{@var{music}} will be multiplied by the fraction. The fraction's denominator will be printed over or under the notes, optionally with a bracket. The most common tuplet is the triplet in which 3 notes have the duration of 2, so @@ -1267,8 +1267,9 @@ entered using the @code{\partial} command, with the syntax @end example @noindent -where @code{duration} is the rhythmic length of the remaining -interval of the current measure before the start of the next. +where @code{@var{duration}} is the rhythmic length of the +remaining interval of the current measure before the start of the +next. @lilypond[quote,verbatim,relative=2] \partial 4 e4 | @@ -2451,13 +2452,13 @@ connected between different staves of a @code{StaffGroup}, @funindex bar @funindex bartype -The command @code{\bar }@var{bartype} is a shortcut for -@code{\set Timing.whichBar = }@var{bartype}. A bar line is +The command @samp{\bar @var{bartype}} is a shortcut for +@samp{\set Timing.whichBar = @var{bartype}}. A bar line is created whenever the @code{whichBar} property is set. The default bar type used for automatically inserted bar lines is -@code{"|"}. This may be changed at any time -with @code{\set Timing.defaultBarType = }@var{bartype}. +@code{"|"}. This may be changed at any time with +@samp{\set Timing.defaultBarType = @var{bartype}}. @seealso diff --git a/Documentation/notation/simultaneous.itely b/Documentation/notation/simultaneous.itely index f68d592c81..5d654837b6 100644 --- a/Documentation/notation/simultaneous.itely +++ b/Documentation/notation/simultaneous.itely @@ -820,8 +820,8 @@ i.e., @noindent A @code{\relative} section that is outside of @code{\partcombine} -has no effect on the pitches of @var{musicexpr1} and -@var{musicexpr2}. +has no effect on the pitches of @code{@var{musicexpr1}} and +@code{@var{musicexpr2}}. @snippets diff --git a/Documentation/notation/staff.itely b/Documentation/notation/staff.itely index 55bea3c9af..432c6c9985 100644 --- a/Documentation/notation/staff.itely +++ b/Documentation/notation/staff.itely @@ -1158,8 +1158,9 @@ Internals Reference: Only the contents of the first @code{Voice} occurring in an @code{\addQuote} command will be considered for quotation, so -@var{music} cannot contain @code{\new} and @code{\context Voice} -statements that would switch to a different Voice. +@code{@var{music}} cannot contain @code{\new} and +@code{\context Voice} statements that would switch to a different +Voice. Quoting grace notes is broken and can even cause LilyPond to crash. @@ -1194,13 +1195,14 @@ notes into a part. The syntax is as follows: \cueDuring #@var{partname} #@var{voice} @var{music} @end example -This command copies only the notes and rests from the corresponding measures -from @var{partname} into a @code{CueVoice} context. The @code{CueVoice} is -created implicitly, and occurs simultaneously with @var{music}, which -creates a polyphonic situation. The @var{voice} argument -determines whether the cue notes should be notated as a first or -second voice; @code{UP} corresponds to the first voice, and -@code{DOWN} corresponds to the second. +This command copies only the notes and rests from the +corresponding measures from @code{@var{partname}} into a +@code{CueVoice} context. The @code{CueVoice} is created +implicitly, and occurs simultaneously with @code{@var{music}}, +which creates a polyphonic situation. The @code{@var{voice}} +argument determines whether the cue notes should be notated as a +first or second voice; @code{UP} corresponds to the first voice, +and @code{DOWN} corresponds to the second. @lilypond[verbatim,quote] oboe = \relative c'' { -- 2.39.2