c1
@end lilypond
-@funindex '
-@funindex ,
+@findex '
+@findex ,
The optional octave specification takes the form of a series of
single quote (`@code{'}') characters or a series of comma
@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 flat is formed by adding @code{-es}
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
a2 ais a aes
-a2 aisis a aeses
@end lilypond
-@noindent
-These are the Dutch note names. In Dutch, @code{aes} is contracted to
+Double sharps and double flats
+are obtained by adding @code{-isis} or @code{-eses} to a note name. 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
+a2 aisis a aeses
@end lilypond
A natural will cancel the effect of an accidental or key signature.
a4 aes a2
@end lilypond
-The input @code{d e f} is interpreted as ``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
-@ref{More about pitches}.
-
-@lilypond[fragment,quote,ragged-right,verbatim,relative]
-\key d \major
-d e f g
-d e fis g
-@end lilypond
-
@commonprop
@cindex accidental, cautionary
@cindex accidental, parenthesized
@cindex reminder accidental
-@funindex ?
+@findex ?
@cindex cautionary accidental
@cindex parenthesized accidental
-@funindex !
+@findex !
Normally accidentals are printed automatically, but you may also
print them manually. A reminder accidental
and the note names they define are
@c what about micro-tunes, double-sharps, and double-flats? add
-@c more columns to the table?
+@c more clumns to the table?
@c Oh, and should this be made into a multitable?
@cindex note names, other languages
@example
@cindex Relative
@cindex Relative octave specification
-@funindex \relative
+@findex \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
@end lilypond
Octave changing marks are used for intervals greater than a fourth
-
@lilypond[quote,ragged-right,fragment,verbatim]
\relative c'' {
c g c f, c' a, e''
}
@end lilypond
-The pitch after @code{\relative} contains a note name.
+The pitch after the @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
@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
+quotes) in @code{\relative} mode. 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 @code{e} (in 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
@cindex Transpose
@cindex Transposition of pitches
-@funindex \transpose
+@findex \transpose
A music expression can be transposed with @code{\transpose}. The
syntax is
\transpose c bes @{ e4 @dots{} @}
@end example
-To print this music in B-flat again (i.e., producing a trumpet part,
+To print this music in B-flat again (i.e. producing a trumpet part,
instead of a concert pitch conductor's score) you would wrap the
existing music with another @code{transpose}
Program reference: @internalsref{TransposedMusic}.
-Example: @inputfileref{input/@/test,smart@/-transpose@/.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{\relative} will have no effect music that appears inside a
@code{\transpose}.
@subsection Rests
@cindex Rests
-@funindex \rest
-@funindex r
+@findex \rest
+@findex r
Rests are entered like notes with the note name @code{r}
@cindex Skip
@cindex Invisible rest
@cindex Space note
-@funindex \skip
-@funindex s
+@findex \skip
+@findex s
An invisible rest (also called a `skip') can be entered like a note
with note name `@code{s}' or with @code{\skip @var{duration}}
@subsection Durations
@cindex duration
-@funindex \longa
-@funindex \breve
-@funindex \maxima
+@findex \longa
+@findex \breve
+@findex \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
+notes longer than a whole you must use the variables @code{\longa} and
+@code{\breve}
@example
c'\breve
}
\layout {
ragged-right = ##t
- indent=0\mm
- \context {
- \Score
- \remove "Bar_number_engraver"
- }
\context {
\Staff
\remove "Clef_engraver"
@node Augmentation dots
@subsection Augmentation dots
-@funindex .
+@findex .
To obtain dotted note lengths, simply add a dot (`@code{.}') to
the number. Double-dotted notes are produced in a similar way.
situations. The following commands may be used to force a particular
direction manually
-@funindex \dotsUp
+@findex \dotsUp
@code{\dotsUp},
-@funindex \dotsDown
+@findex \dotsDown
@code{\dotsDown},
-@funindex \dotsNeutral
+@findex \dotsNeutral
@code{\dotsNeutral}.
@seealso
@cindex tuplets
@cindex triplets
-@funindex \times
+@findex \times
Tuplets are made out of a music expression by multiplying all durations
with a fraction
Tuplets may be nested, for example,
@lilypond[fragment,ragged-right,verbatim,relative=2]
-\override TupletNumber #'text = #tuplet-number::calc-fraction-text
+\set tupletNumberFormatFunction = #fraction-tuplet-formatter
\times 4/6 {
a4 a
\times 3/5 { a a a a a }
@refcommands
-@funindex \tupletUp
+@findex \tupletUp
@code{\tupletUp},
-@funindex \tupletDown
+@findex \tupletDown
@code{\tupletDown},
-@funindex \tupletNeutral
+@findex \tupletNeutral
@code{\tupletNeutral}.
@commonprop
-@funindex tupletNumberFormatFunction
+@findex tupletNumberFormatFunction
@cindex tuplet formatting
The property @code{tupletSpannerDuration} specifies how long each
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{tupletNumberFormatFunction}. The default prints only the
+denominator, but if it is set to the Scheme function
+@code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
+instead.
To avoid printing tuplet numbers, use
\times 2/3 { c8 c c } \times 2/3 { c8 c c }
@end lilypond
-Tuplet brackets can be made to run to prefatory matter or
-the next note
-
-@lilypond[ragged-right]
-\new RhythmicStaff {
- \set tupletFullLength = ##t
- \time 4/4
- \times 4/5 {
- c4 c1
- }
- \set tupletFullLengthNote = ##t
- \time 2/4
- \times 2/3 {
- c4 c c
- }
- \time 3/4
- c4
-}
-@end lilypond
-
@seealso
@subsection Bar check
@cindex Bar check
-@funindex barCheckSynchronize
-@funindex |
+@findex barCheckSynchronize
+@findex |
Bar checks help detect errors in the durations. A bar check is
entered using the bar symbol, `@code{|}'. Whenever it is encountered
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
+@findex |
+@findex pipeSymbol
It is also possible to redefine the meaning of @code{|}. This is done
by assigning a music expression to @code{pipeSymbol},
@cindex Chords
-A chord is formed by a enclosing a set of pitches between @code{<}
-and @code{>}. A chord may be followed by a duration, and a set of
+A chord is formed by a enclosing a set of pitches in @code{<} and
+@code{>}. A chord may be followed by a duration, and a set of
articulations, just like simple notes
@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
@refcommands
-@funindex \stemUp
+@findex \stemUp
@code{\stemUp},
-@funindex \stemDown
+@findex \stemDown
@code{\stemDown},
-@funindex \stemNeutral
+@findex \stemNeutral
@code{\stemNeutral}.
is to enter each voice as a sequence (with @code{@{...@}}), and combine
them simultaneously, separating the voices with @code{\\}
-@funindex \\
+@findex \\
@lilypond[quote,verbatim,fragment]
\new Staff \relative c' {
voice in the first @code{<< \\ >>} construct is effective in the second
@code{<< \\ >>}, and the voice is tied across the two constructs.
-@cindex note heads, styles
-
@lilypond[quote,verbatim,fragment]
\new Staff \relative c' {
\override NoteHead #'style = #'cross
@refcommands
-@funindex \oneVoice
+@findex \oneVoice
@code{\oneVoice},
-@funindex \voiceOne
+@findex \voiceOne
@code{\voiceOne},
-@funindex \voiceTwo
+@findex \voiceTwo
@code{\voiceTwo},
-@funindex \voiceThree
+@findex \voiceThree
@code{\voiceThree},
-@funindex \voiceFour
+@findex \voiceFour
@code{\voiceFour}.
-@funindex \shiftOn
+@findex \shiftOn
@code{\shiftOn},
-@funindex \shiftOnn
+@findex \shiftOnn
@code{\shiftOnn},
-@funindex \shiftOnnn
+@findex \shiftOnnn
@code{\shiftOnnn},
-@funindex \shiftOff
+@findex \shiftOff
@code{\shiftOff}: these commands specify in what chords of the current
voice should be shifted. The outer voices (normally: voice one and
two) have @code{\shiftOff}, while the inner voices (three and four)
* Unmetered music::
* System start delimiters::
* Staff symbol::
-* Writing music in parallel::
@end menu
@node Clef
@subsection Clef
-@funindex \clef
+@findex \clef
The clef indicates which lines of the staff correspond to which
pitches. The clef is set with the @code{\clef} command
@seealso
-Manual: @ref{Grace notes}.
-
Program reference: @internalsref{Clef}.
@subsection Key signature
@cindex Key signature
-@funindex \key
+@findex \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
@code{\key} @var{pitch} @var{type}
@end example
-@funindex \minor
-@funindex \major
-@funindex \minor
-@funindex \ionian
-@funindex \locrian
-@funindex \aeolian
-@funindex \mixolydian
-@funindex \lydian
-@funindex \phrygian
-@funindex \dorian
+@findex \minor
+@findex \major
+@findex \minor
+@findex \ionian
+@findex \locrian
+@findex \aeolian
+@findex \mixolydian
+@findex \lydian
+@findex \phrygian
+@findex \dorian
@cindex church modes
Here, @var{type} should be @code{\major} or @code{\minor} to get
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 @ref{More about pitches}.
-
-@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
-\key g \major
-f1
-fis
-@end lilypond
+more information, see @ref{More about pitches}.
@commonprop
@cindex Time signature
@cindex meter
-@funindex \time
+@findex \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
@cindex partial measure
@cindex measure, partial
@cindex shorten measures
-@funindex \partial
+@findex \partial
Partial measures, such as an anacrusis or upbeat, are entered using the
\partial @var{duration}
@end example
-where @code{duration} is the rhythmic length to be added before
-the next bar.
-
This is internally translated into
@example
@end example
The property @code{measurePosition} contains a rational number
-indicating how much of the measure has passed at this point. Note
-that this is a negative number; @code{\partial 4} is internally
-translated to mean ``there is a quarter note left in the bar''.
+indicating how much of the measure has passed at this point.
@refbugs
@subsection Bar lines
@cindex Bar lines
-@funindex \bar
+@findex \bar
@cindex measure lines
@cindex repeat bars
@noindent
This will insert an invisible bar line and allow line breaks at this
-point. This also increases the bar number counter.
+point.
In scores with many staves, a @code{\bar} command in one staff is
automatically applied to all staves. The resulting bar lines are
-connected between different staves of a @code{StaffGroup},
-@code{PianoStaff}, or @code{ChoirStaff}.
+connected between different staves of a StaffGroup
@lilypond[quote,ragged-right,fragment,verbatim]
<<
@commonprop
-@funindex whichBar
-@funindex repeatCommands
-@funindex defaultBarType
+@findex whichBar
+@findex repeatCommands
+@findex defaultBarType
The command @code{\bar }@var{bartype} is a short cut for doing
@code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
@subsection Unmetered music
@cindex cadenza
-@funindex \cadenzaOn
-@funindex \cadenzaOff
+@findex \cadenzaOn
+@findex \cadenzaOff
Bar lines and bar numbers are calculated automatically. For unmetered
music (cadenzas, for example), this is not desirable. To turn off
@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
+LilyPond will only insert 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
@example
@end example
@noindent
-to indicate where breaks can occur.
+to indicate where line breaks can occur.
@node System start delimiters
@internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
@internalsref{SystemStartBracket}. Only one of these types is created
in every context, and that type is determined by the property
-@internalsref{systemStartDelimiter}.
+@code{systemStartDelimiter}.
@node Staff symbol
Notes, dynamic signs, etc., are grouped
with a set of horizontal lines, called a staff (plural `staves'). In
LilyPond, these lines are drawn using a separate layout object called
-@code{staff symbol}.
+staff symbol.
The staff symbol may be tuned in the number, thickness and distance
of lines, using properties. This is demonstrated in the example files
@inputfileref{input/@/regression,staff@/-line@/-positions@/.ly}.
-@node Writing music in parallel
-@subsection Writing music in parallel
-
-@cindex Writing music in parallel
-@cindex Interleaved music
-
-Music for multiple parts can be interleaved
-
-@lilypond[quote,fragment,verbatim]
-\parallelMusic #'(voiceA voiceB) {
- r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
- c'2 c'2 |
- r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
- c'2 c'2 |
-}
-\new StaffGroup <<
- \new Staff \new Voice \voiceA
- \new Staff \new Voice \voiceB
->>
-@end lilypond
-
-
@node Connecting notes
@section Connecting notes
@subsection Ties
@cindex tie
-@funindex ~
+@findex ~
A tie connects two adjacent note heads of the same pitch. The tie in
effect extends the length of a note. Ties should not be confused with
@end lilypond
When a tie is applied to a chord, all note heads whose pitches match
-are connected. When no note heads match, no ties will be created. Chords
-may be partially tied by placing the tie inside the chord,
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
-<c~ e g~ b> <c e g b>
-@end lilypond
+are connected. When no note heads match, no ties will be created.
A tie is just a way of extending a note duration, similar to the
augmentation dot. The following example shows two ways of notating
mechanism automatically splits long notes, and ties them across bar
lines.
-@funindex \repeatTie
-
When a second alternative of a repeat starts with a tied note, you
have to repeat the tie. This can be achieved with @code{\repeatTie},
\set tieWaitForNote = ##t
\grace { c16[~ e~ g]~ } <c, e g>2
\repeat "tremolo" 8 { c32~ c'~ } <c c,>1
-e8~ c~ a~ f~ <e' c a f>2
@end lilypond
@refcommands
-@funindex \tieUp
+@findex \tieUp
@code{\tieUp},
-@funindex \tieDown
+@findex \tieDown
@code{\tieDown},
-@funindex \tieNeutral
+@findex \tieNeutral
@code{\tieNeutral},
-@funindex \tieDotted
+@findex \tieDotted
@code{\tieDotted},
-@funindex \tieDashed
+@findex \tieDashed
@code{\tieDashed},
-@funindex \tieSolid
+@findex \tieSolid
@code{\tieSolid}.
Switching staves when a tie is active will not produce a slanted tie.
-Changing clefs or octavations during a tie is not really
-well-defined. In these cases, a slur may be preferable.
-
@node Slurs
@subsection Slurs
@refcommands
-@funindex \slurUp
+@findex \slurUp
@code{\slurUp},
-@funindex \slurDown
+@findex \slurDown
@code{\slurDown},
-@funindex \slurNeutral
+@findex \slurNeutral
@code{\slurNeutral},
-@funindex \slurDashed
+@findex \slurDashed
@code{\slurDashed},
-@funindex \slurDotted
+@findex \slurDotted
@code{\slurDotted},
-@funindex \slurSolid
+@findex \slurSolid
@code{\slurSolid}.
@seealso
@refcommands
-@funindex \phrasingSlurUp
+@findex \phrasingSlurUp
@code{\phrasingSlurUp},
-@funindex \phrasingSlurDown
+@findex \phrasingSlurDown
@code{\phrasingSlurDown},
-@funindex \phrasingSlurNeutral
+@findex \phrasingSlurNeutral
@code{\phrasingSlurNeutral}.
@subsection Manual beams
@cindex beams, manual
-@funindex ]
-@funindex [
+@findex ]
+@findex [
In some cases it may be necessary to override the automatic beaming
algorithm. For example, the autobeamer will not put beams over rests
@commonprop
-@funindex stemLeftBeamCount
-@funindex stemRightBeamCount
+@findex stemLeftBeamCount
+@findex stemRightBeamCount
Normally, beaming patterns within a beam are determined automatically.
If necessary, the properties @code{stemLeftBeamCount} and
\set Score.beatLength = #(ly:make-moment 1 8)
c16[ c c c c c c c]
@end lilypond
-@funindex subdivideBeams
+@findex subdivideBeams
@noindent
For more information about @code{make-moment}, see
Line breaks are normally forbidden when beams cross bar lines. This
behavior can be changed by setting @code{allowBeamBreak}.
-@funindex allowBeamBreak
+@findex allowBeamBreak
@cindex beams and line breaks
@cindex beams, kneed
@cindex kneed beams
@node Grace notes
@subsection Grace notes
-@funindex \grace
+@findex \grace
@cindex ornaments
@cindex grace notes
@cindex appoggiatura
\new Staff { c4 \grace { g8[ b] } c4 } >>
@end lilypond
-@funindex \afterGrace
+@findex \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
for example, to produce smaller type, and set directions. Hence, when
introducing layout tweaks, they should be inside the grace section,
for example,
-
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\new Voice {
\acciaccatura {
The layout of grace sections 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.
+undefines the Stem direction for this grace, so stems do not always
+point up.
@example
\new Staff @{
The slash through the stem in acciaccaturas can be obtained
in other situations by @code{\override Stem #'stroke-style = #"grace"}.
-
-@commonprop
-
-Grace notes may be forced to use floating spacing,
-
-@lilypond[relative=2,ragged-right]
-<<
- \override Score.SpacingSpanner #'strict-grace-spacing = ##t
- \new Staff {
- c'4
- \afterGrace
- c'4
- { c'16[ c'8 c'16] }
- c'4
- }
- \new Staff {
- c'16[ c'16 c'16 c'16]
- c'16[ c'16 c'16 c'16]
- c'4
- }
->>
-@end lilypond
-
-
@seealso
Program reference: @internalsref{GraceMusic}.
* Trills::
* Glissando::
* Arpeggio::
-* Falls and doits::
@end menu
@subsection Dynamics
@cindex Dynamics
-@funindex \pppp
-@funindex \ppp
-@funindex \pp
-@funindex \p
-@funindex \mp
-@funindex \mf
-@funindex \f
-@funindex \ff
-@funindex \fff
-@funindex \ffff
-@funindex \fp
-@funindex \sf
-@funindex \sff
-@funindex \sp
-@funindex \spp
-@funindex \sfz
-@funindex \rfz
+@findex \pppp
+@findex \ppp
+@findex \pp
+@findex \p
+@findex \mp
+@findex \mf
+@findex \f
+@findex \ff
+@findex \fff
+@findex \ffff
+@findex \fp
+@findex \sf
+@findex \sff
+@findex \sp
+@findex \spp
+@findex \sfz
+@findex \rfz
Absolute dynamic marks are specified using a command after a note
@code{c4\ff}. The available dynamic marks are @code{\ppppp},
c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
@end lilypond
-@funindex \<
-@funindex \>
-@funindex \!
+@findex \<
+@findex \>
+@findex \!
A crescendo mark is started with @code{\<} and terminated with
@code{\!} or an absolute dynamic. A decrescendo is started with
@noindent
A hairpin starts at the left edge of the beginning note and ends on the
-right edge of the ending note. This may be modified by setting
-the @code{hairpinToBarline} property,
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\set hairpinToBarline = ##t
-c4\< c2. c4\!
-@end lilypond
+right edge of the ending note.
In some situations the @code{\espressivo} articulation mark may
be suitable to indicate a crescendo and decrescendo on the one note,
example
@example
-\override Voice.Hairpin #'minimum-length = #5
+\override Staff.Hairpin #'minimum-length = #5
@end example
-@cindex al niente
-@cindex niente, al
-
-Hairpins may be printed with a circled tip (al niente notation) by
-setting the @code{circled-tip} property,
-
-@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
-\override Hairpin #'circled-tip = ##t
-c2\< c\!
-c4\> c\< c2\!
-@end lilypond
-
-
@cindex crescendo
@cindex decrescendo
@cindex diminuendo
-You can also use text saying @emph{cresc.} instead of hairpins
+You can also use a text saying @emph{cresc.} instead of hairpins
@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
\setTextCresc
\override Score.Hairpin #'after-line-breaking = ##t
@end example
-Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
-are printed with a
+Text style dynamic changes (such as cresc. and dim.) are printed with a
dashed line showing their extent. To surpress printing this line, use
@example
@refcommands
-@funindex \dynamicUp
+@findex \dynamicUp
@code{\dynamicUp},
-@funindex \dynamicDown
+@findex \dynamicDown
@code{\dynamicDown},
-@funindex \dynamicNeutral
+@findex \dynamicNeutral
@code{\dynamicNeutral}.
Trills that should be executed on an explicitly specified pitch can be
typeset with the command @code{pitchedTrill},
-@lilypond[ragged-right,verbatim,fragment,relative=1,quote]
+@lilypond[ragged-right,verbatim,fragment,relative=1]
\pitchedTrill c4\startTrillSpan fis
f\stopTrillSpan
@end lilypond
@refcommands
@code{\startTrillSpan},
-@funindex \startTrillSpan
+@findex \startTrillSpan
@code{\stopTrillSpan}.
-@funindex \stopTrillSpan
+@findex \stopTrillSpan
@seealso
@subsection Glissando
@cindex Glissando
-@funindex \glissando
+@findex \glissando
A glissando is a smooth change in pitch. It is denoted by a line or a
wavy line between two notes. It is requested by attaching
@cindex Arpeggio
@cindex broken chord
-@funindex \arpeggio
+@findex \arpeggio
You can specify an arpeggio sign (also known as broken chord) on a
chord by attaching an @code{\arpeggio} to a chord
@refcommands
@code{\arpeggio},
-@funindex \arpeggioUp
+@findex \arpeggioUp
@code{\arpeggioUp},
-@funindex \arpeggioDown
+@findex \arpeggioDown
@code{\arpeggioDown},
-@funindex \arpeggioNeutral
+@findex \arpeggioNeutral
@code{\arpeggioNeutral},
-@funindex \arpeggioBracket
+@findex \arpeggioBracket
@code{\arpeggioBracket}.
arpeggios in one @internalsref{PianoStaff} at the same point in time.
-@node Falls and doits
-@subsection Falls and doits
-Falls and doits can be added to notes using the @code{\bendAfter}
-command,
-
-@lilypond[fragment,ragged-right,relative=2]
-\override Score.SpacingSpanner #'shortest-duration-space = #3.0
-c4-\bendAfter #+5
-c4-\bendAfter #-3
-@end lilypond
@node Repeats
@subsection Repeat types
@cindex repeats
-@funindex \repeat
+@findex \repeat
The following types of repetition are supported
@item percent
Make beat or measure repeats. These look like percent signs. These
are not played in MIDI output by default. Percent repeats must be
-declared within a @code{Voice} context.
+declared within a Voice context.
@end table
@end example
If you have alternative endings, you may add
-@funindex \alternative
+@findex \alternative
@example
\alternative @{
@var{alternative1}
\alternative { {d2 d} {f f,} }
@end lilypond
-In the following example, the first ending is not a complete
-bar (it only had 3 beats). The beginning of the second ending
+In this example, the first ending is not a complete bar (it
+only had 3 beats). The beginning of the second ending
contains the 4th beat from the first ending. This ``extra''
beat in the second ending is due to the first time ending,
and has nothing to do with the @code{\partial} at the
}
@end lilypond
-@funindex \repeatTie
-
-Ties may be added to a second ending,
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-c1
-\repeat volta 2 {c4 d e f ~ }
-\alternative { {f2 d} {f\repeatTie f,} }
-@end lilypond
-
It is possible to shorten volta brackets
by setting @code{voltaSpannerDuration}. In the next example, the
bracket only lasts one measure, which is a duration of 3/4.
For clarity, it is advisable to use braces in such situations.
Timing information is not remembered at the start of an alternative,
-so after a repeat timing information must be reset by hand; for
-example, by setting @code{Score.measurePosition} or entering
+so after a repeat timing information must be reset by hand, for
+example by setting @code{Score.measurePosition} or entering
@code{\partial}. Similarly, slurs or ties are also not repeated.
@subsection Repeats and MIDI
@cindex expanding repeats
-@funindex \unfoldRepeats
+@findex \unfoldRepeats
With a little bit of tweaking, all types of repeats can be present
in the MIDI output. This is achieved by applying the
-@code{\unfoldRepeats} music function. This function changes all
+@code{\unfoldRepeats} music function. This functions changes all
repeats to unfold repeats.
@lilypond[quote,verbatim,fragment,line-width=8.0\cm]
\bar "|."
@end lilypond
-When creating a score file using @code{\unfoldRepeats} for MIDI,
-it is necessary to make two @code{\score} blocks: one for MIDI (with
+When creating a score file using @code{\unfoldRepeats} for midi, then
+it is necessary to make two @code{\score} blocks. One for MIDI (with
unfolded repeats) and one for notation (with volta, tremolo, and
percent repeats). For example,
@node Manual repeat commands
@subsection Manual repeat commands
-@funindex repeatCommands
+@findex repeatCommands
The property @code{repeatCommands} can be used to control the layout of
repeats. Its value is a Scheme list of repeat commands.
@subsection Tremolo subdivisions
@cindex tremolo marks
-@funindex tremoloFlags
+@findex tremoloFlags
Tremolo marks can be printed on a single note by adding
`@code{:}[@var{number}]' after the note. The number indicates the
-Isolated percents can also be printed. This is done by putting a
-multi-measure rest with a different print function,
+Isolated percents can also be printed. This is done by putting a multi
+measure rest with a different print function,
-@lilypond[fragment,verbatim,quote]
+@lilypond[fragment,verbatim]
\override MultiMeasureRest #'stencil
= #ly:multi-measure-rest::percent
R1
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