From 9a40bd63b77375ac7ac1085d7eda9f5680bf06dd Mon Sep 17 00:00:00 2001 From: jlowe Date: Thu, 13 Jan 2011 13:39:50 +0000 Subject: [PATCH] Doc: Added note in CG for @seealso and minor typos Added @ressay{} to CG showing where it should come in @seealso list Minor spelling mistake correction and formatting tweaks to various sections in NR --- Documentation/contributor/doc-work.itexi | 3 +++ Documentation/notation/chords.itely | 8 +++++--- Documentation/notation/fretted-strings.itely | 4 ++-- Documentation/notation/pitches.itely | 2 +- Documentation/notation/rhythms.itely | 8 ++++---- Documentation/notation/simultaneous.itely | 2 +- Documentation/notation/spacing.itely | 17 ++++++++++------- Documentation/notation/vocal.itely | 2 +- 8 files changed, 27 insertions(+), 19 deletions(-) diff --git a/Documentation/contributor/doc-work.itexi b/Documentation/contributor/doc-work.itexi index d56e4ec88f..cbe4ce2271 100644 --- a/Documentation/contributor/doc-work.itexi +++ b/Documentation/contributor/doc-work.itexi @@ -1058,6 +1058,9 @@ Notation Reference: Application Usage: @@rprogram@{blah@}. +Essay on automated music engraving: +@@ressay@{yadda@}. + Extending LilyPond: @@rextend@{frob@}. diff --git a/Documentation/notation/chords.itely b/Documentation/notation/chords.itely index 29979b8f94..eb0a1f84c8 100644 --- a/Documentation/notation/chords.itely +++ b/Documentation/notation/chords.itely @@ -146,7 +146,7 @@ Seventh chords can be created: @funindex maj @funindex m -The table belows shows the actions of the quality modifiers on +The table below shows the actions of the quality modifiers on triads and seventh chords. The default seventh step added to chords is a minor or flatted seventh, which makes the dominant seventh the basic seventh chord. All alterations are relative to @@ -564,8 +564,7 @@ by Klaus Ignatzek (see @ressay{Literature list}). The chord naming system can be modified as described below. An alternate jazz chord system has been developed using these modifications. The Ignatzek and alternate -Jazz notation are shown on the chart in @ref{Chord -name chart}. +Jazz notation are shown on the chart in @ref{Chord name chart}. @c TODO -- Change this so we don't have a non-verbatim example. @c Make short example in docs, then move longer example to @@ -696,6 +695,9 @@ Notation Reference: @ref{Chord name chart}, @ref{Common chord modifiers}. +Essay on automated music engraving: +@ressay{Literature list}. + Installed Files: @file{scm/chords-ignatzek.scm}, @file{scm/chord-entry.scm}, diff --git a/Documentation/notation/fretted-strings.itely b/Documentation/notation/fretted-strings.itely index ab6f7ba54b..c8d5467fa9 100644 --- a/Documentation/notation/fretted-strings.itely +++ b/Documentation/notation/fretted-strings.itely @@ -153,7 +153,7 @@ Internals Reference: Music for plucked string instruments is frequently notated using a finger/touch notation or tablature. In contrast to traditional notation pitches are not denoted with note heads, but by numbers (or -letterlike symbols in historical intavolatura). The numbers +letter-like symbols in historical intavolatura). The numbers indicate on which string and fret a note must be played. The numbers are printed on top of each other if they are to be played simultaneously. @@ -440,7 +440,7 @@ Guitar special effects are limited to harmonics and slides. @funindex StringTunings -LilyPond tabulature automatically calculates the fret for +LilyPond tablature automatically calculates the fret for a note based on the string to which the note is assigned. In order to do this, the tuning of the strings must be specified. The tuning of the strings is given in the diff --git a/Documentation/notation/pitches.itely b/Documentation/notation/pitches.itely index d34770c3b8..c6eb68c16d 100644 --- a/Documentation/notation/pitches.itely +++ b/Documentation/notation/pitches.itely @@ -2135,7 +2135,7 @@ musicB = { @funindex teaching This rule is intended for students, and makes it easy to create -scale sheets with automagically created cautionary accidentals. +scale sheets with automatically created cautionary accidentals. Accidentals are printed like with @code{modern}, but cautionary accidentals are added for all sharp or flat tones specified by the key signature, except if the note is immediately repeated. diff --git a/Documentation/notation/rhythms.itely b/Documentation/notation/rhythms.itely index 0f33fe343e..f0d518d99d 100644 --- a/Documentation/notation/rhythms.itely +++ b/Documentation/notation/rhythms.itely @@ -570,7 +570,7 @@ Internals Reference: Switching staves when a tie is active will not produce a slanted tie. -Changing clefs or octavations during a tie is not really +Changing clefs or ottavations during a tie is not really well-defined. In these cases, a slur may be preferable. @@ -2321,9 +2321,9 @@ feathered beam must be indicated manually using @code{[} and direction to the @code{Beam} property @code{grow-direction}. If the placement of the notes and the sound in the MIDI output is to -reflect the ritardando or accelerando indicated by the feathered beam -the notes must be grouped as a music expression delimited by braces -and preceded by a @code{featherDurations} command which specifies +reflect the @emph{ritardando} or @emph{accelerando} indicated by the +feathered beam the notes must be grouped as a music expression delimited +by braces and preceded by a @code{featherDurations} command which specifies the ratio between the durations of the first and last notes in the group. diff --git a/Documentation/notation/simultaneous.itely b/Documentation/notation/simultaneous.itely index cf92c2718a..a75e5182f5 100644 --- a/Documentation/notation/simultaneous.itely +++ b/Documentation/notation/simultaneous.itely @@ -642,7 +642,7 @@ voice, a note or chord in that voice is shifted only if its stem would otherwise collide with a stem from another voice, and only if the colliding stems point in the same direction. The @code{\shiftOff} command prevents this type of shifting from -occuring. +occurring. By default, the outer voices (normally voices one and two) have @code{\shiftOff} specified, while the inner voices (three and diff --git a/Documentation/notation/spacing.itely b/Documentation/notation/spacing.itely index 98f0545558..cad2fa3bd4 100644 --- a/Documentation/notation/spacing.itely +++ b/Documentation/notation/spacing.itely @@ -1223,7 +1223,7 @@ c | c4 c c c | @end lilypond -A @code{\break} occuring at a bar line is also ignored if the +A @code{\break} occurring at a bar line is also ignored if the previous measure ends in the middle of a note, such as when a tuplet begins and ends in different measures. To allow @code{\break} commands to work in these situations, remove the @@ -2621,8 +2621,8 @@ c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4 In the @emph{Essay on automated music engraving}, it was explained -that stem directions influence spacing (see @ressay{Optical -spacing}). This is controlled with the +that stem directions influence spacing (see +@ressay{Optical spacing}). This is controlled with the @code{stem-spacing-correction} property in the @rinternals{NoteSpacing}, object. These are generated for every @rinternals{Voice} context. The @code{StaffSpacing} object @@ -2655,6 +2655,9 @@ Internals Reference: @rinternals{StaffSpacing}, @rinternals{NonMusicalPaperColumn}. +Essay on automated music engraving: +@ressay{Optical spacing}. + @knownissues @@ -3124,7 +3127,7 @@ different places in the score. We do this with the command Next we examine the effects of the @code{Separating_line_group_engraver} and see why proportional scores frequently remove this engraver. The following -example shows that there is a small amount of @qq{preferatory} space +example shows that there is a small amount of @qq{prefatory} space just before the first note in each system. @lilypond[quote,verbatim,ragged-right] @@ -3140,7 +3143,7 @@ just before the first note in each system. @end lilypond -The amount of this preferatory space is the same whether after a time +The amount of this prefatory space is the same whether after a time signature, a key signature or a clef. @code{Separating_line_group_engraver} is responsible for this space. Removing @code{Separating_line_group_engraver} reduces this space to zero. @@ -3159,7 +3162,7 @@ reduces this space to zero. } @end lilypond -Nonmusical elements like time signatures, key signatures, clefs and +non-musical elements like time signatures, key signatures, clefs and accidentals are problematic in proportional notation. None of these elements has rhythmic duration. But all of these elements consume horizontal space. Different proportional scores approach these @@ -3173,7 +3176,7 @@ that include a measured timeline or other graphic. But these scores are exceptional and most proportional scores include at least some time signatures. Clefs and accidentals are even more essential. -So what strategies exist for spacing nonmusical elements in a +So what strategies exist for spacing non-musical elements in a proportional context? One good option is the @code{strict-note-spacing} property of @code{SpacingSpanner}. Compare the two scores below: diff --git a/Documentation/notation/vocal.itely b/Documentation/notation/vocal.itely index 7549cfeed5..b09a7cd1a5 100644 --- a/Documentation/notation/vocal.itely +++ b/Documentation/notation/vocal.itely @@ -2651,7 +2651,7 @@ to manually insert @code{\break}s and adjust the placing of the dialogue to avoid running into the right margin. The final word of the last measure on a line should also be separated out, as above. -Here is an example illustating how this might be done. +Here is an example illustrating how this might be done. @c This should be a snippet, but it can't be as it needs to be @c manually adjusted to suit the imposed line length. -td -- 2.39.2