From e3ad5f795dcafdbf998a13099864656575b8bc02 Mon Sep 17 00:00:00 2001 From: Heikki Junes Date: Sat, 26 Jul 2003 22:56:29 +0000 Subject: [PATCH] small fixes. --- Documentation/user/refman.itely | 134 ++++++++++++++++---------------- 1 file changed, 66 insertions(+), 68 deletions(-) diff --git a/Documentation/user/refman.itely b/Documentation/user/refman.itely index b51d96d09e..091b510e12 100644 --- a/Documentation/user/refman.itely +++ b/Documentation/user/refman.itely @@ -1845,7 +1845,7 @@ Metronome settings can be entered as follows: @end example In the MIDI output, they are interpreted as a tempo change, and in the -paper output, a metronome marking is printed +paper output, a metronome marking is printed: @cindex @code{\tempo} @lilypond[fragment,verbatim] \tempo 8.=120 c''1 @@ -1868,7 +1868,7 @@ lines. You can create such texts using text spanners: attach start and ending note of the spanner. The string to be printed, as well as the style, is set through object -properties. +properties: @lilypond[fragment,relative,verbatim] \relative c' { c1 @@ -2493,16 +2493,16 @@ command can be @table @asis @item the symbol @code{start-repeat}, - which prints a @code{|:} bar line. -@item The symbol @code{end-repeat}, - which prints a @code{:|} bar line -@item The list @code{(volta @var{text})} - which prints a volta bracket saying @var{text}. The text can be specified as + which prints a @code{|:} bar line, +@item the symbol @code{end-repeat}, + which prints a @code{:|} bar line, +@item the list @code{(volta @var{text})}, + which prints a volta bracket saying @var{text}: The text can be specified as a text string or as a markup text, see @ref{Text markup}. Do not forget to change the font, as the default number font does not contain -alphabetic characters. -@item The list @code{(volta #f)}, which - stops a running volta bracket +alphabetic characters. Or, +@item the list @code{(volta #f)}, which + stops a running volta bracket: @end table @lilypond[verbatim, fragment] @@ -2518,7 +2518,7 @@ alphabetic characters. @internalsref{VoltaBracket}, @internalsref{RepeatedMusic}, @internalsref{VoltaRepeatedMusic}, -@internalsref{UnfoldedRepeatedMusic} +@internalsref{UnfoldedRepeatedMusic}, @internalsref{FoldedRepeatedMusic}. @node Tremolo repeats @@ -2526,7 +2526,7 @@ alphabetic characters. @cindex tremolo beams To place tremolo marks between notes, use @code{\repeat} with tremolo -style. +style: @lilypond[verbatim,center,singleline] \score { \context Voice \notes\relative c' { @@ -2541,7 +2541,7 @@ style. @seealso Tremolo beams are @internalsref{Beam} objects. Single stem tremolos -are @internalsref{StemTremolo}. The music expression is +are @internalsref{StemTremolo}s. The music expression is @internalsref{TremoloEvent}. @@ -2559,7 +2559,7 @@ Tremolo marks can be printed on a single note by adding `@code{:}[@var{length}]' after the note. The length must be at least 8. A @var{length} value of 8 gives one line across the note stem. If the length is omitted, then then the last value (stored in -@code{Voice.tremoloFlags}) is used. +@code{Voice.tremoloFlags}) is used: @lilypond[verbatim,fragment,center] c'2:8 c':32 | c': c': | @@ -2581,7 +2581,7 @@ Tremolos in this style do not carry over into the MIDI output. In the @code{percent} style, a note pattern can be repeated. It is printed once, and then the pattern is replaced with a special sign. Patterns of a one and two measures are replaced by percent-like signs, -patterns that divide the measure length are replaced by slashes. +patterns that divide the measure length are replaced by slashes: @lilypond[verbatim,singleline] \context Voice { \repeat "percent" 4 { c'4 } @@ -2635,7 +2635,7 @@ the definition of which can be read in @file{scm/drums.scm}. Each piece of percussion has a full name and an abbreviated name, and both the full name or the abbreviation may be used in input files. -To typeset the music on a staff apply the function @code{drums->paper} +to typeset the music on a staff apply the function @code{drums->paper} to the percussion music. This function takes a list of percussion instrument names, notehead scripts and staff positions (that is: pitches relative to the C-clef) and transforms the input @@ -2659,7 +2659,7 @@ In the above example the music was transformed using the list @code{'drums}. Currently the following lists are defined in @file{scm/drums.scm}: @table @code @item 'drums -To typeset a typical drum kit on a five-line staff. +to typeset a typical drum kit on a five-line staff: @lilypond[noindent] \include "drumpitch-init.ly" @@ -2692,14 +2692,14 @@ mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc @end lilypond The drum scheme supports six different toms. When there fewer toms, simply -select the toms that produce the desired result, i.e., to get toms on +select the toms that produce the desired result, i.e. to get toms on the three middle lines you use @code{tommh}, @code{tomml} and @code{tomfh}. Because general MIDI does not contain rimshots the sidestick is used for this purpose instead. @item 'timbales -To typeset timbales on a two line staff. +to typeset timbales on a two line staff: @lilypond[singleline] \include "drumpitch-init.ly" @@ -2731,7 +2731,7 @@ mus = \notes { timh ssh timl ssl cb s16 } } @end lilypond @item 'congas -To typeset congas on a two line staff. +to typeset congas on a two line staff: @lilypond[singleline] \include "drumpitch-init.ly" @@ -2762,7 +2762,7 @@ mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 } } @end lilypond @item 'bongos -To typeset bongos on a two line staff. +to typeset bongos on a two line staff: @lilypond[singleline] \include "drumpitch-init.ly" @@ -2793,7 +2793,7 @@ mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 } } @end lilypond @item 'percussion -To typeset all kinds of simple percussion on one line staves. +to typeset all kinds of simple percussion on one line staves: @lilypond[singleline] \include "drumpitch-init.ly" nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc } @@ -2858,7 +2858,7 @@ the existing list: The file @file{drumpitch-init.ly} replaces the normal pitch names, so you have to reinclude @file{nederlands.ly} after the -drum-pattern-definitions to enter normal notes. +drum-pattern-definitions to enter normal notes: @c @lilypond[singleline,verbatim] \include "drumpitch-init.ly" @@ -3020,7 +3020,7 @@ piano has three pedals, sustain, una corda, and sostenuto. Piano pedal instruction can be expressed by attaching @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda}, @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a -note or chord. +note or chord: @lilypond[fragment,verbatim] c'4-\sustainDown c'4-\sustainUp @@ -3061,9 +3061,9 @@ c''4-\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4-\sostenutoUp For fine-tuning of the appearance of a pedal bracket, the properties @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of -@code{PianoPedalBracket} objects (see the detailed documentation of -@internalsref{PianoPedalBracket}) can be modified. For example, the bracket -may be extended to the end of the note head. +@code{PianoPedalBracket} objects (, see the detailed documentation of +@internalsref{PianoPedalBracket},) can be modified. For example, the bracket +may be extended to the end of the note head: @lilypond[fragment,verbatim] \property Staff.PianoPedalBracket \override @@ -3080,7 +3080,7 @@ f'4 g'4 a'4-\sostenutoUp @cindex @code{\arpeggio} You can specify an arpeggio sign on a chord by attaching an -@code{\arpeggio} to a chord. +@code{\arpeggio} to a chord: @lilypond[fragment,relative,verbatim] @@ -3089,7 +3089,7 @@ You can specify an arpeggio sign on a chord by attaching an When an arpeggio crosses staves, you attach an arpeggio to the chords in both staves, and set -@internalsref{PianoStaff}.@code{connectArpeggios}. +@internalsref{PianoStaff}.@code{connectArpeggios}: @lilypond[fragment,relative,verbatim] \context PianoStaff < @@ -3101,7 +3101,7 @@ in both staves, and set The direction of the arpeggio is sometimes denoted by adding an arrowhead to the wiggly line. This can be typeset by setting -@code{arpeggio-direction}. +@code{arpeggio-direction}: @lilypond[fragment,relative,verbatim] \context Voice { @@ -3116,7 +3116,7 @@ A square bracket on the left indicates that the player should not arpeggiate the chord. To draw these brackets, set the @code{molecule-callback} property of @code{Arpeggio} or @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use -@code{\arpeggio} statements within the chords as before. +@code{\arpeggio} statements within the chords as before: @lilypond[fragment,relative,verbatim] \property PianoStaff.Arpeggio \override @@ -3129,7 +3129,7 @@ arpeggiate the chord. To draw these brackets, set the @cindex @code{\arpeggioBracket } @code{\arpeggioBracket}, @cindex @code{\arpeggio} -@code{\arpeggio}, +@code{\arpeggio}. @seealso @@ -3175,7 +3175,7 @@ The associated object is @internalsref{VoiceFollower}. @cindex @code{\showStaffSwitch } @code{\showStaffSwitch}, @cindex @code{\hideStaffSwitch } -@code{\hideStaffSwitch}, +@code{\hideStaffSwitch}. @node Vocal music @@ -3216,7 +3216,7 @@ combination of a backslash followed by one of @code{`}, @code{'}, Subsequent characters of a word can be any character that is not a digit and not white space. One important consequence of this is that a word can end with @code{@}}. The following example is usually a bug. The -syllable includes a @code{@}}, and hence the opening brace is not balanced. +syllable includes a @code{@}}, and hence the opening brace is not balanced: @example \lyrics @{ twinkle@} @end example @@ -3275,8 +3275,7 @@ The definition of lyrics mode is too complex. @node The Lyrics context @subsection The Lyrics context -Lyrics are printed by interpreting them in @internalsref{Lyrics} -context: +Lyrics are printed by interpreting them in @internalsref{Lyrics} context: @example \context Lyrics \lyrics @dots{} @end example @@ -3289,7 +3288,7 @@ This will place the lyrics according to the durations that were entered. The lyrics can also be aligned under a given melody automatically. In this case, it is no longer necessary to enter the correct duration for each syllable. This is achieved by combining the -melody and the lyrics with the @code{\addlyrics} expression +melody and the lyrics with the @code{\addlyrics} expression: @example \addlyrics \notes @dots{} @@ -3354,7 +3353,7 @@ groups of syllables should be aligned around punctuation. This can be done automatically when corresponding lyric lines and melodies are marked. -To this end, give the @internalsref{Voice} context an identity, +To this end, give the @internalsref{Voice} context an identity: @example \context Voice = duet @{ \time 3/4 @@ -3364,7 +3363,7 @@ To this end, give the @internalsref{Voice} context an identity, Then set the @internalsref{LyricsVoice} contexts to names starting with that identity followed by a dash. In the preceding example, the @internalsref{Voice} identity is @code{duet}, so the identities of the -@internalsref{LyricsVoices} are marked @code{duet-1} and @code{duet-2}. +@internalsref{LyricsVoices} are marked @code{duet-1} and @code{duet-2}: @example \context LyricsVoice = "duet-1" @{ Hi, my name is bert. @} @@ -3375,7 +3374,7 @@ The convention for naming @internalsref{LyricsVoice} and @internalsref{Voice} must also be used to get melismata correct in conjunction with rests. -The complete example is shown here. +The complete example is shown here: @lilypond[singleline,verbatim] \score { \addlyrics @@ -3395,7 +3394,7 @@ The complete example is shown here. Stanza numbers, or the names of the singers can be added by setting @code{LyricsVoice.Stanza} (for the first system) and @code{LyricsVoice.stz} for the following systems. Notice how dots are -surrounded with spaces in @code{\lyrics} mode. +surrounded with spaces in @code{\lyrics} mode: @example \property LyricsVoice . stanza = "Bert" @@ -3517,7 +3516,7 @@ followed by a number, e.g. @code{c4\3} for a C quarter on the third string. By default, string 1 is the highest one, and the tuning defaults to the standard guitar tuning (with 6 strings). The notes are printed as tablature, by using @internalsref{TabStaff} and -@internalsref{TabVoice} contexts. +@internalsref{TabVoice} contexts: @lilypond[fragment,verbatim] \notes \context TabStaff { @@ -3528,7 +3527,7 @@ are printed as tablature, by using @internalsref{TabStaff} and When no string is specified, the first string that does not give a fret number less than @code{minimumFret} is selected. The default -value for @code{minimumFret} is 0. +value for @code{minimumFret} is 0: @example @@ -3578,8 +3577,8 @@ a Scheme list with one integer number for each string, the number being the pitch (measured in semitones relative to central C) of an open string. The numbers specified for @code{stringTuning} are the numbers of semitones to subtract or add, starting the specified pitch -by default middle C, in string order: thus the notes are e, a, d, and -g. +by default middle C, in string order. Thus, the notes are e, a, d, and +g: @lilypond[fragment,verbatim] \context TabStaff < @@ -3598,8 +3597,7 @@ It is possible to change the Scheme function to format the tablature note text. The default is @code{fret-number-tablature-format}, which uses the fret number. For instruments that do not use this notation, you can create a special tablature formatting function. This function -takes three argument: the string number, the string tuning and the -note pitch. +takes three argument: string number, string tuning and note pitch. @refbugs @@ -3615,7 +3613,7 @@ implemented yet. LilyPond has support for both printing chord names. Chords may be entered in musical chord notation, i.e. @code{<< .. >>}, but they can also be entered by name. Internally, the chords are represented as a -set of pitches, so they can be transposed. +set of pitches, so they can be transposed: @lilypond[verbatim,singleline] @@ -3651,7 +3649,7 @@ an inversion. Chord mode is a mode where you can input sets of pitches using common names. It is introduced by the keyword @code{\chords}. In chords mode, a chord is entered by the root, which is entered -like a common pitch, for example, +like a common pitch: @lilypond[fragment,verbatim,quote, relative=1] \chords { es4. d8 c2 } @end lilypond @@ -3659,14 +3657,14 @@ like a common pitch, for example, @cindex chord mode Other chords may be entered by suffixing a colon, and introducing a -modifier, and optionally, a number, for example +modifier, and optionally, a number: @c @lilypond[fragment,verbatim,quote] \chords { e1:m e1:7 e1:m7 } @end lilypond The first number following the root is taken to be the `type' of the chord, thirds are added to the root until it reaches the specified -number, for example. +number: @lilypond[fragment,verbatim] \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 } @end lilypond @@ -3677,30 +3675,30 @@ number, for example. More complex chords may also be constructed adding separate steps to a chord. Additions are added after the number following -the colon, and are separated by dots. For example +the colon, and are separated by dots: @c @lilypond[verbatim,fragment,quote] \chords { c:5.6 c:3.7.8 c:3.6.13 } @end lilypond Chord steps can be altered by suffixing a @code{-} or @code{+} sign -to the number, for example, +to the number: @lilypond[verbatim,fragment,quote] \chords { c:7+ c:5+.3- c:3-.5-.7- } @end lilypond Removals are specified similarly, and are introduced by a caret. They -must come after the additions. +must come after the additions: @lilypond[verbatim,fragment] \chords { c^3 c:7^5 c:9^3.5 } @end lilypond Modifiers can be used to change pitches. The following modifiers are -supported +supported: @table @code @item m is the minor chord. This modifier lowers the 3rd and (if present) the 7th step. @item dim is the diminished chord. This modifier lowers the 3rd, 5th and (if present) - the 7th step + the 7th step. @item aug is the augmented chord. This modifier raises the 5th step. @item maj @@ -3710,7 +3708,7 @@ supported step. Append either @code{2} or @code{4} to add the 2nd or 4th step to the chord. @end table -Modifiers can be mixed with additions. +Modifiers can be mixed with additions: @lilypond[verbatim,fragment] \chords { c:sus4 c:7sus4 c:dim7 c:m6 } @end lilypond @@ -3722,9 +3720,9 @@ Modifiers can be mixed with additions. @cindex @code{sus} @cindex @code{m} -Since the unaltered 11 does sound well when combined with the -unaltered 3, the 11 is removed in this case, unless it is added -explicitly). For example, +Since an unaltered 11 does not sound good when combined with an +unaltered 13, the 11 is removed in this case (, unless it is added +explicitly): @lilypond[fragment,verbatim] \chords { c:13 c:13.11 c:m13 } @end lilypond @@ -3733,7 +3731,7 @@ explicitly). For example, An inversion (putting one pitch of the chord on the bottom), as well as bass notes, can be specified by appending -@code{/}@var{pitch} to the chord. +@code{/}@var{pitch} to the chord: @lilypond[fragment,verbatim,center] \chords { c1 c/g c/f } @end lilypond @@ -3757,7 +3755,7 @@ of the commands continue to work, for example, @code{r} and Each step can only be present in a chord once. The following simply produces the augmented chord, since @code{5+} is interpreted -last. +last: @cindex clusters @lilypond[verbatim,fragment] \chords { c:5.5-.5+ } @@ -3771,9 +3769,9 @@ last. @cindex chord names @cindex chords -For displaying printed chord names, use the @internalsref{ChordNames} -context. The chords may be entered either using the notation -described above, or directly using @code{<<} and @code{>>}. +For displaying printed chord names, use the @internalsref{ChordNames} context. +The chords may be entered either using the notation +described above, or directly using @code{<<} and @code{>>}: @lilypond[verbatim,singleline] scheme = \notes { @@ -3790,7 +3788,7 @@ scheme = \notes { You can make the chord changes stand out by setting @internalsref{ChordNames}.@code{chordChanges} to true. This will only display chord names when there is a change in the chords scheme and at -the start of a new line. +the start of a new line: @lilypond[verbatim, linewidth=9cm] scheme = \chords { @@ -3807,7 +3805,7 @@ scheme = \chords { @end lilypond The default chord name layout is a system for Jazz music, proposed by -Klaus Ignatzek (See @ref{Literature}). It can be tuned through the +Klaus Ignatzek (see @ref{Literature}). It can be tuned through the following properties: @table @code @@ -3872,7 +3870,7 @@ chart}. Turning on these styles is described in the input file @cindex @code{\germanChords } @code{\germanChords}, @cindex @code{\semiGermanChords } -@code{\semiGermanChords}, +@code{\semiGermanChords}. -- 2.39.5