+++ /dev/null
-@c -*- coding: utf-8; mode: texinfo; -*-
-@ignore
- Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
-
- When revising a translation, copy the HEAD committish of the
- version that you are working on. See TRANSLATION for details.
-@end ignore
-
-@c \version "2.11.38"
-
-@node Bagpipes
-@section Bagpipes
-
-This section includes extra information for writing for bagpipes.
-
-@menu
-* Bagpipe sections::
-@end menu
-
-
-@node Bagpipe sections
-@subsection Bagpipe sections
-
-@menu
-* Bagpipe definitions::
-* Bagpipe example::
-@end menu
-
-@node Bagpipe definitions
-@subsubsection Bagpipe definitions
-
-LilyPond contains special definitions for music for the Scottish
-highland bagpipe; to use them, add
-
-@example
-\include "bagpipe.ly"
-@end example
-
-@noindent
-at the top of your input file. This lets you add the special grace notes
-common to bagpipe music with short commands. For example, you could
-write @code{\taor} instead of
-
-@example
-\grace @{ \small G32[ d G e] @}
-@end example
-
-@code{bagpipe.ly} also contains pitch definitions for the bagpipe
-notes in the appropriate octaves, so you do not need to worry about
-@code{\relative} or @code{\transpose}.
-
-@lilypond[ragged-right,verbatim,quote,notime]
-\include "bagpipe.ly"
-{ \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
-@end lilypond
-
-Bagpipe music nominally uses the key of D Major (even though that
-isn't really true). However, since that is the only key that can be used,
-the key signature is normally not written out. To set this up correctly,
-always start your music with @code{\hideKeySignature}. If you for some
-reason want to show the key signature, you can use @code{\showKeySignature}
-instead.
-
-Some modern music use cross fingering on c and f to flatten those notes.
-This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
-piobaireachd high g can be written @code{gflat} when it occurs in light
-music.
-
-
-@node Bagpipe example
-@subsubsection Bagpipe example
-
-This is what the well known tune Amazing Grace looks like in bagpipe
-notation.
-
-@lilypond[verbatim,quote]
-\include "bagpipe.ly"
-\layout {
- indent = 0.0\cm
- \context { \Score \remove "Bar_number_engraver" }
-}
-
-\header {
- title = "Amazing Grace"
- meter = "Hymn"
- arranger = "Trad. arr."
-}
-
-{
- \hideKeySignature
- \time 3/4
- \grg \partial 4 a8. d16
- \slurd d2 \grg f8[ e32 d16.]
- \grg f2 \grg f8 e
- \thrwd d2 \grg b4
- \grG a2 \grg a8. d16
- \slurd d2 \grg f8[ e32 d16.]
- \grg f2 \grg e8. f16
- \dblA A2 \grg A4
- \grg A2 f8. A16
- \grg A2 \hdblf f8[ e32 d16.]
- \grg f2 \grg f8 e
- \thrwd d2 \grg b4
- \grG a2 \grg a8. d16
- \slurd d2 \grg f8[ e32 d16.]
- \grg f2 e4
- \thrwd d2.
- \slurd d2
- \bar "|."
-}
-@end lilypond
-
-
-
-
-
@c \version "2.11.38"
-@node Chords
-@section Chords
+@node Chord notation
+@section Chord notation
Intro text.
--- /dev/null
+@c -*- coding: utf-8; mode: texinfo; -*-
+@ignore
+ Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+ When revising a translation, copy the HEAD committish of the
+ version that you are working on. See TRANSLATION for details.
+@end ignore
+
+@c \version "2.11.38"
+
+@node Fretted string instruments
+@section Fretted string instruments
+@c@node Guitar
+@c@section Guitar
+
+@cindex tablature
+@cindex guitar tablature
+
+@menu
+* Guitar sections::
+@end menu
+
+@node Guitar sections
+@subsection Guitar sections
+
+@menu
+* String number indications::
+* Tablatures basic::
+* Non-guitar tablatures::
+* Banjo tablatures::
+* Fret diagrams::
+* Right hand fingerings::
+* Other guitar issues::
+@end menu
+
+@node String number indications
+@subsubsection String number indications
+
+@cindex String numbers
+
+String numbers can be added to chords, by indicating the string number
+with @code{\}@var{number},
+
+@lilypond[relative,relative=1,ragged-right,fragment]
+<c\1 e\2 g\3>
+@end lilypond
+
+
+@seealso
+
+Internals Reference: @internalsref{StringNumber},
+@c @lsr{guitar/,string-number.ly}.
+
+
+@node Tablatures basic
+@subsubsection Tablatures basic
+@cindex Tablatures basic
+
+Tablature notation is used for notating music for plucked string
+instruments. Pitches are not denoted with note heads, but by
+numbers indicating on which string and fret a note must be played. LilyPond
+offers limited support for tablature.
+
+The string number associated to a note is given as a backslash
+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
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\new TabStaff {
+ a,4\5 c'\2 a\3 e'\1
+ e\4 c'\2 a\3 e'\1
+}
+@end lilypond
+
+@funindex minimumFret
+@cindex fret
+
+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
+
+
+@example
+e16 fis gis a b4
+\set TabStaff.minimumFret = #8
+e16 fis gis a b4
+@end example
+@lilypond[quote,ragged-right]
+frag = {
+ \key e \major
+ e16 fis gis a b4
+ \set TabStaff.minimumFret = #8
+ e16 fis gis a b4
+}
+ \new StaffGroup <<
+ \new Staff { \clef "G_8" \frag }
+ \new TabStaff { \frag }
+ >>
+@end lilypond
+
+
+@snippets
+
+To print tablatures with stems down and horizontal beams,
+initialize the @code{TabStaff} with this code:
+
+@example
+\stemDown
+\override Beam #'damping = #100000
+@end example
+
+@seealso
+
+Internals Reference: @internalsref{TabNoteHead}, @internalsref{TabStaff}, @internalsref{TabVoice}.
+
+@knownissues
+
+Chords are not handled in a special way, and hence the automatic
+string selector may easily select the same string to two notes in a
+chord.
+
+In order to handle @code{\partcombine}, a @code{TabStaff} must use
+specially-created voices:
+
+@lilypond[quote,ragged-right,verbatim]
+melodia = \partcombine { e4 g g g }{ e4 e e e }
+<<
+ \new TabStaff <<
+ \new TabVoice = "one" s1
+ \new TabVoice = "two" s1
+ \new TabVoice = "shared" s1
+ \new TabVoice = "solo" s1
+ { \melodia }
+ >>
+>>
+@end lilypond
+
+
+@node Non-guitar tablatures
+@subsubsection Non-guitar tablatures
+@cindex Non-guitar tablatures
+
+You can change the tuning of the strings. A string tuning is given as
+a Scheme list with one integer number for each string, the number
+being the pitch (measured in semitones relative to middle C) of an
+open string. The numbers specified for @code{stringTunings} are the
+numbers of semitones to subtract or add, starting the specified pitch
+by default middle C, in string order. LilyPond automatically calculates
+the number of strings by looking at @code{stringTunings}.
+
+In the next example,
+@code{stringTunings} is set for the pitches e, a, d, and g
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\new TabStaff <<
+ \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
+ {
+ a,4 c' a e' e c' a e'
+ }
+>>
+@end lilypond
+
+LilyPond comes with predefined string tunings for banjo, mandolin, guitar
+and bass guitar.
+
+@example
+\set TabStaff.stringTunings = #bass-tuning
+@end example
+
+The default string tuning is @code{guitar-tuning} (the standard EADGBE
+tuning).
+Some other predefined tunings are @code{guitar-open-g-tuning},
+@code{mandolin-tuning} and @code{banjo-open-g-tuning}.
+
+@seealso
+
+The file @file{scm/@/output@/-lib@/.scm} contains the predefined string
+tunings.
+Internals Reference: @internalsref{Tab_note_heads_engraver}.
+
+@knownissues
+
+No guitar special effects have been implemented.
+
+
+
+@node Banjo tablatures
+@subsubsection Banjo tablatures
+@cindex Banjo tablatures
+
+LilyPond has basic support for five stringed banjo. When making tablatures
+for five stringed banjo, use the banjo tablature format function to get
+correct
+fret numbers for the fifth string:
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\new TabStaff <<
+ \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo
+ \set TabStaff.stringTunings = #banjo-open-g-tuning
+ {
+ \stemDown
+ g8 d' g'\5 a b g e d' |
+ g4 d''8\5 b' a'\2 g'\5 e'\2 d' |
+ g4
+ }
+>>
+@end lilypond
+
+A number of common tunings for banjo are predefined in LilyPond:
+@code{banjo-c-tuning} (gCGBD), @code{banjo-modal-tuning} (gDGCD),
+@code{banjo-open-d-tuning} (aDF#AD) and @code{banjo-open-dm-tuning}
+(aDFAD).
+
+These tunings may be converted to four string banjo tunings using the
+@code{four-string-banjo} function:
+
+@example
+\set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
+@end example
+
+@seealso
+
+The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings.
+
+
+@node Fret diagrams
+@subsubsection Fret diagrams
+@cindex fret diagrams
+@cindex chord diagrams
+
+Fret diagrams can be added to music as a markup to the desired note. The
+markup contains information about the desired fret diagram, as shown in the
+following example
+
+@lilypond[verbatim, ragged-right, quote]
+\new Voice {
+ d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
+ d' d' d'
+ fis'^\markup \override #'(size . 0.75) {
+ \override #'(finger-code . below-string) {
+ \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
+ (place-fret 5 4 3) (place-fret 4 4 4)
+ (place-fret 3 3 2) (place-fret 2 2 1)
+ (place-fret 1 2 1))
+ }
+ }
+ fis' fis' fis'
+ c'^\markup \override #'(dot-radius . 0.35) {
+ \override #'(finger-code . in-dot) {
+ \override #'(dot-color . white) {
+ \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
+ }
+ }
+ }
+ c' c' c'
+}
+@end lilypond
+
+
+There are three different fret-diagram markup interfaces: standard, terse,
+and verbose. The three interfaces produce equivalent markups, but have
+varying amounts of information in the markup string. Details about the
+markup interfaces are found at @ref{Text markup commands}.
+
+You can set a number of graphical properties according to your preference.
+Details about the property interface to fret diagrams are found at
+@internalsref{fret-diagram-interface}.
+
+
+@seealso
+
+Examples: @c @lsrdir{guitar}
+
+
+@node Right hand fingerings
+@subsubsection Right hand fingerings
+
+Right hand fingerings in chords can be entered using
+@code{@var{note}-\rightHandFinger @var{finger}}
+
+@lilypond[verbatim,fragment,relative=2]
+ <c-\rightHandFinger #1 e-\rightHandFinger #2 >
+@end lilypond
+
+for brevity, you can abbreviate @code{\rightHandFinger} to something
+short, for example @code{RH},
+
+@example
+#(define RH rightHandFinger)
+@end example
+
+@cindex fingerings, right hand, for guitar
+@cindex right hand fingerings for guitar
+
+@snippets
+
+You may exercise greater control over right handing fingerings by
+setting @code{strokeFingerOrientations},
+
+@lilypond[quote,verbatim,ragged-right,fragment,relative=1]
+#(define RH rightHandFinger)
+{
+ \set strokeFingerOrientations = #'(up down)
+ <c-\RH #1 es-\RH #2 g-\RH #4 > 4
+ \set strokeFingerOrientations = #'(up right down)
+ <c-\RH #1 es-\RH #2 g-\RH #4 > 4
+}
+@end lilypond
+
+The letters used for the fingerings are contained in the property
+@code{digit-names}, but they can also be set individually by supplying
+@code{\rightHandFinger} with a string argument, as in the following example
+
+
+@lilypond[quote,verbatim,ragged-right,fragment,relative=1]
+#(define RH rightHandFinger)
+{
+ \set strokeFingerOrientations = #'(right)
+ \override StrokeFinger #'digit-names = ##("x" "y" "z" "!" "@")
+ <c-\RH #5 >4
+ <c-\RH "@">4
+}
+@end lilypond
+
+@seealso
+
+Internals Reference: @internalsref{StrokeFinger}
+
+
+
+@node Other guitar issues
+@subsubsection Other guitar issues
+
+This example demonstrates how to include guitar position and
+barring indications.
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=0]
+\clef "G_8"
+b16 d16 g16 b16 e16
+\textSpannerDown
+\override TextSpanner #'bound-details #'left #'text = #"XII "
+ g16\startTextSpan
+ b16 e16 g16 e16 b16 g16\stopTextSpan
+e16 b16 g16 d16
+@end lilypond
+
+
+Stopped (X) note heads are used in guitar music to signal a place where the
+guitarist must play a certain note or chord, with its fingers just
+touching the strings instead of fully pressing them. This gives the sound a
+percussive noise-like sound that still maintains part of the original
+pitch. It is notated with cross note heads; this is
+demonstrated in @ref{Special note heads}.
+
+
+
+++ /dev/null
-@c -*- coding: utf-8; mode: texinfo; -*-
-@ignore
- Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
-
- When revising a translation, copy the HEAD committish of the
- version that you are working on. See TRANSLATION for details.
-@end ignore
-
-@c \version "2.11.38"
-
-@node Guitar
-@section Guitar
-
-@cindex tablature
-@cindex guitar tablature
-
-@menu
-* Guitar sections::
-@end menu
-
-@node Guitar sections
-@subsection Guitar sections
-
-@menu
-* String number indications::
-* Tablatures basic::
-* Non-guitar tablatures::
-* Banjo tablatures::
-* Fret diagrams::
-* Right hand fingerings::
-* Other guitar issues::
-@end menu
-
-@node String number indications
-@subsubsection String number indications
-
-@cindex String numbers
-
-String numbers can be added to chords, by indicating the string number
-with @code{\}@var{number},
-
-@lilypond[relative,relative=1,ragged-right,fragment]
-<c\1 e\2 g\3>
-@end lilypond
-
-
-@seealso
-
-Internals Reference: @internalsref{StringNumber},
-@c @lsr{guitar/,string-number.ly}.
-
-
-@node Tablatures basic
-@subsubsection Tablatures basic
-@cindex Tablatures basic
-
-Tablature notation is used for notating music for plucked string
-instruments. Pitches are not denoted with note heads, but by
-numbers indicating on which string and fret a note must be played. LilyPond
-offers limited support for tablature.
-
-The string number associated to a note is given as a backslash
-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
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\new TabStaff {
- a,4\5 c'\2 a\3 e'\1
- e\4 c'\2 a\3 e'\1
-}
-@end lilypond
-
-@funindex minimumFret
-@cindex fret
-
-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
-
-
-@example
-e16 fis gis a b4
-\set TabStaff.minimumFret = #8
-e16 fis gis a b4
-@end example
-@lilypond[quote,ragged-right]
-frag = {
- \key e \major
- e16 fis gis a b4
- \set TabStaff.minimumFret = #8
- e16 fis gis a b4
-}
- \new StaffGroup <<
- \new Staff { \clef "G_8" \frag }
- \new TabStaff { \frag }
- >>
-@end lilypond
-
-
-@snippets
-
-To print tablatures with stems down and horizontal beams,
-initialize the @code{TabStaff} with this code:
-
-@example
-\stemDown
-\override Beam #'damping = #100000
-@end example
-
-@seealso
-
-Internals Reference: @internalsref{TabNoteHead}, @internalsref{TabStaff}, @internalsref{TabVoice}.
-
-@knownissues
-
-Chords are not handled in a special way, and hence the automatic
-string selector may easily select the same string to two notes in a
-chord.
-
-In order to handle @code{\partcombine}, a @code{TabStaff} must use
-specially-created voices:
-
-@lilypond[quote,ragged-right,verbatim]
-melodia = \partcombine { e4 g g g }{ e4 e e e }
-<<
- \new TabStaff <<
- \new TabVoice = "one" s1
- \new TabVoice = "two" s1
- \new TabVoice = "shared" s1
- \new TabVoice = "solo" s1
- { \melodia }
- >>
->>
-@end lilypond
-
-
-@node Non-guitar tablatures
-@subsubsection Non-guitar tablatures
-@cindex Non-guitar tablatures
-
-You can change the tuning of the strings. A string tuning is given as
-a Scheme list with one integer number for each string, the number
-being the pitch (measured in semitones relative to middle C) of an
-open string. The numbers specified for @code{stringTunings} are the
-numbers of semitones to subtract or add, starting the specified pitch
-by default middle C, in string order. LilyPond automatically calculates
-the number of strings by looking at @code{stringTunings}.
-
-In the next example,
-@code{stringTunings} is set for the pitches e, a, d, and g
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\new TabStaff <<
- \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
- {
- a,4 c' a e' e c' a e'
- }
->>
-@end lilypond
-
-LilyPond comes with predefined string tunings for banjo, mandolin, guitar
-and bass guitar.
-
-@example
-\set TabStaff.stringTunings = #bass-tuning
-@end example
-
-The default string tuning is @code{guitar-tuning} (the standard EADGBE
-tuning).
-Some other predefined tunings are @code{guitar-open-g-tuning},
-@code{mandolin-tuning} and @code{banjo-open-g-tuning}.
-
-@seealso
-
-The file @file{scm/@/output@/-lib@/.scm} contains the predefined string
-tunings.
-Internals Reference: @internalsref{Tab_note_heads_engraver}.
-
-@knownissues
-
-No guitar special effects have been implemented.
-
-
-
-@node Banjo tablatures
-@subsubsection Banjo tablatures
-@cindex Banjo tablatures
-
-LilyPond has basic support for five stringed banjo. When making tablatures
-for five stringed banjo, use the banjo tablature format function to get
-correct
-fret numbers for the fifth string:
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\new TabStaff <<
- \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo
- \set TabStaff.stringTunings = #banjo-open-g-tuning
- {
- \stemDown
- g8 d' g'\5 a b g e d' |
- g4 d''8\5 b' a'\2 g'\5 e'\2 d' |
- g4
- }
->>
-@end lilypond
-
-A number of common tunings for banjo are predefined in LilyPond:
-@code{banjo-c-tuning} (gCGBD), @code{banjo-modal-tuning} (gDGCD),
-@code{banjo-open-d-tuning} (aDF#AD) and @code{banjo-open-dm-tuning}
-(aDFAD).
-
-These tunings may be converted to four string banjo tunings using the
-@code{four-string-banjo} function:
-
-@example
-\set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
-@end example
-
-@seealso
-
-The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings.
-
-
-@node Fret diagrams
-@subsubsection Fret diagrams
-@cindex fret diagrams
-@cindex chord diagrams
-
-Fret diagrams can be added to music as a markup to the desired note. The
-markup contains information about the desired fret diagram, as shown in the
-following example
-
-@lilypond[verbatim, ragged-right, quote]
-\new Voice {
- d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
- d' d' d'
- fis'^\markup \override #'(size . 0.75) {
- \override #'(finger-code . below-string) {
- \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
- (place-fret 5 4 3) (place-fret 4 4 4)
- (place-fret 3 3 2) (place-fret 2 2 1)
- (place-fret 1 2 1))
- }
- }
- fis' fis' fis'
- c'^\markup \override #'(dot-radius . 0.35) {
- \override #'(finger-code . in-dot) {
- \override #'(dot-color . white) {
- \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
- }
- }
- }
- c' c' c'
-}
-@end lilypond
-
-
-There are three different fret-diagram markup interfaces: standard, terse,
-and verbose. The three interfaces produce equivalent markups, but have
-varying amounts of information in the markup string. Details about the
-markup interfaces are found at @ref{Text markup commands}.
-
-You can set a number of graphical properties according to your preference.
-Details about the property interface to fret diagrams are found at
-@internalsref{fret-diagram-interface}.
-
-
-@seealso
-
-Examples: @c @lsrdir{guitar}
-
-
-@node Right hand fingerings
-@subsubsection Right hand fingerings
-
-Right hand fingerings in chords can be entered using
-@code{@var{note}-\rightHandFinger @var{finger}}
-
-@lilypond[verbatim,fragment,relative=2]
- <c-\rightHandFinger #1 e-\rightHandFinger #2 >
-@end lilypond
-
-for brevity, you can abbreviate @code{\rightHandFinger} to something
-short, for example @code{RH},
-
-@example
-#(define RH rightHandFinger)
-@end example
-
-@cindex fingerings, right hand, for guitar
-@cindex right hand fingerings for guitar
-
-@snippets
-
-You may exercise greater control over right handing fingerings by
-setting @code{strokeFingerOrientations},
-
-@lilypond[quote,verbatim,ragged-right,fragment,relative=1]
-#(define RH rightHandFinger)
-{
- \set strokeFingerOrientations = #'(up down)
- <c-\RH #1 es-\RH #2 g-\RH #4 > 4
- \set strokeFingerOrientations = #'(up right down)
- <c-\RH #1 es-\RH #2 g-\RH #4 > 4
-}
-@end lilypond
-
-The letters used for the fingerings are contained in the property
-@code{digit-names}, but they can also be set individually by supplying
-@code{\rightHandFinger} with a string argument, as in the following example
-
-
-@lilypond[quote,verbatim,ragged-right,fragment,relative=1]
-#(define RH rightHandFinger)
-{
- \set strokeFingerOrientations = #'(right)
- \override StrokeFinger #'digit-names = ##("x" "y" "z" "!" "@")
- <c-\RH #5 >4
- <c-\RH "@">4
-}
-@end lilypond
-
-@seealso
-
-Internals Reference: @internalsref{StrokeFinger}
-
-
-
-@node Other guitar issues
-@subsubsection Other guitar issues
-
-This example demonstrates how to include guitar position and
-barring indications.
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=0]
-\clef "G_8"
-b16 d16 g16 b16 e16
-\textSpannerDown
-\override TextSpanner #'bound-details #'left #'text = #"XII "
- g16\startTextSpan
- b16 e16 g16 e16 b16 g16\stopTextSpan
-e16 b16 g16 d16
-@end lilypond
-
-
-Stopped (X) note heads are used in guitar music to signal a place where the
-guitarist must play a certain note or chord, with its fingers just
-touching the strings instead of fully pressing them. This gives the sound a
-percussive noise-like sound that still maintains part of the original
-pitch. It is notated with cross note heads; this is
-demonstrated in @ref{Special note heads}.
-
-
-
--- /dev/null
+@c -*- coding: utf-8; mode: texinfo; -*-
+@ignore
+ Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+ When revising a translation, copy the HEAD committish of the
+ version that you are working on. See TRANSLATION for details.
+@end ignore
+
+@c \version "2.11.38"
+
+@node Keyboard instruments
+@section Keyboard instruments
+@c@node Piano music
+@c@section Piano music
+
+@menu
+* Piano sections::
+@end menu
+
+@node Piano sections
+@subsection Piano sections
+
+Piano staves are two normal staves coupled with a brace. The staves
+are largely independent, but sometimes voices can cross between the
+two staves. The same notation is also used for harps and other key
+instruments. The @internalsref{PianoStaff} is especially built to
+handle this cross-staffing behavior. In this section we discuss the
+@internalsref{PianoStaff} and some other pianistic peculiarities.
+
+@menu
+* Automatic staff changes::
+* Manual staff switches::
+* Pedals::
+* Staff switch lines::
+* Cross staff stems::
+@end menu
+
+@knownissues
+
+Dynamics are not centered, but workarounds do exist. See the
+@q{piano centered dynamics} template in @rlearning{Piano templates}.
+
+@cindex cross staff stem
+@cindex stem, cross staff
+@cindex distance between staves in piano music
+
+
+@node Automatic staff changes
+@subsubsection Automatic staff changes
+@cindex Automatic staff changes
+
+Voices can be made to switch automatically between the top and the bottom
+staff. The syntax for this is
+
+@quotation
+@example
+\autochange @dots{}@var{music}@dots{}
+@end example
+@end quotation
+
+@noindent
+This will create two staves inside the current PianoStaff, called
+@code{up} and @code{down}. The lower staff will be in bass clef by
+default.
+
+A @code{\relative} section that is outside of @code{\autochange} has
+no effect on the pitches of @var{music}, so, if necessary, put
+@code{\relative} inside @code{\autochange} like
+
+@quotation
+@example
+\autochange \relative @dots{} @dots{}
+@end example
+@end quotation
+
+
+The autochanger switches on basis of the pitch (middle C is the turning
+point), and it looks ahead skipping over rests to switch in
+advance. Here is a practical example
+
+@lilypond[quote,verbatim,ragged-right]
+\new PianoStaff
+ \autochange \relative c'
+ {
+ g4 a b c d r4 a g
+ }
+@end lilypond
+
+
+@seealso
+
+Notation Reference: @ref{Manual staff switches}.
+
+Internals Reference: @internalsref{AutoChangeMusic}.
+
+
+
+@knownissues
+
+The staff switches may not end up in optimal places. For high
+quality output, staff switches should be specified manually.
+
+
+@code{\autochange} cannot be inside @code{\times}.
+
+
+@node Manual staff switches
+@subsubsection Manual staff switches
+
+@cindex manual staff switches
+@cindex staff switch, manual
+
+Voices can be switched between staves manually, using the command
+@example
+\change Staff = @var{staffname} @var{music}
+@end example
+
+@noindent
+The string @var{staffname} is the name of the staff. It switches the
+current voice from its current staff to the Staff called
+@var{staffname}. Typically @var{staffname} is @code{"up"} or
+@code{"down"}. The @code{Staff} referred to must already exist, so
+usually the setup for a score will start with a setup of the staves,
+
+@example
+<<
+ \new Staff = "up" @{
+ \skip 1 * 10 % @emph{keep staff alive}
+ @}
+ \new Staff = "down" @{
+ \skip 1 * 10 % @emph{idem}
+ @}
+>>
+@end example
+
+
+and the @code{Voice} is inserted afterwards
+
+@example
+\context Staff = down
+ \new Voice @{ @dots{} \change Staff = up @dots{} @}
+@end example
+
+
+@node Pedals
+@subsubsection Pedals
+@cindex Pedals
+
+Pianos have pedals that alter the way sound is produced. Generally, a
+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
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+c'4\sustainDown c'4\sustainUp
+@end lilypond
+
+What is printed can be modified by setting @code{pedal@var{X}Strings},
+where @var{X} is one of the pedal types: @code{Sustain},
+@code{Sostenuto} or @code{UnaCorda}. Refer to
+@internalsref{SustainPedal} in the program reference for more
+information.
+
+Pedals can also be indicated by a sequence of brackets, by setting the
+@code{pedalSustainStyle} property to bracket objects
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\set Staff.pedalSustainStyle = #'bracket
+c\sustainDown d e
+b\sustainUp\sustainDown
+b g \sustainUp a \sustainDown \bar "|."
+@end lilypond
+
+A third style of pedal notation is a mixture of text and brackets,
+obtained by setting the @code{pedalSustainStyle} property to
+@code{mixed}
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\set Staff.pedalSustainStyle = #'mixed
+c\sustainDown d e
+b\sustainUp\sustainDown
+b g \sustainUp a \sustainDown \bar "|."
+@end lilypond
+
+The default @q{*Ped.} style for sustain and damper pedals corresponds to
+style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
+default.
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+c\sostenutoDown d e c, f g a\sostenutoUp
+@end lilypond
+
+For fine-tuning the appearance of a pedal bracket, the properties
+@code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
+@code{PianoPedalBracket} objects (see
+@internalsref{PianoPedalBracket} in the Internals Reference) can be
+modified. For example, the bracket may be extended to the right edge
+of the note head
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
+c\sostenutoDown d e c, f g a\sostenutoUp
+@end lilypond
+
+@seealso
+
+Notation Reference: @ref{Ties} (laissez vibrer).
+
+@node Staff switch lines
+@subsubsection Staff switch lines
+
+
+@cindex follow voice
+@cindex staff switching
+@cindex cross staff
+
+@funindex followVoice
+
+Whenever a voice switches to another staff, a line connecting the notes
+can be printed automatically. This is switched on by setting
+@code{followVoice} to true
+
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+\new PianoStaff <<
+ \new Staff="one" {
+ \set followVoice = ##t
+ c1
+ \change Staff=two
+ b2 a
+ }
+ \new Staff="two" { \clef bass \skip 1*2 }
+>>
+@end lilypond
+
+@seealso
+
+Internals Reference: @internalsref{VoiceFollower}.
+
+@predefined
+
+@funindex \showStaffSwitch
+@code{\showStaffSwitch},
+@funindex \hideStaffSwitch
+@code{\hideStaffSwitch}.
+
+
+@node Cross staff stems
+@subsubsection Cross staff stems
+
+Chords that cross staves may be produced by increasing the length
+of the stem in the lower staff, so it reaches the stem in the upper
+staff, or vice versa.
+
+@lilypond[ragged-right,verbatim,quote]
+stemExtend = {
+ \once \override Stem #'length = #10
+ \once \override Stem #'cross-staff = ##t
+}
+noFlag = \once \override Stem #'flag-style = #'no-flag
+\new PianoStaff <<
+ \new Staff {
+ \stemDown \stemExtend
+ f'4
+ \stemExtend \noFlag
+ f'8
+ }
+ \new Staff {
+ \clef bass
+ a4 a8
+ }
+>>
+@end lilypond
+
+
+
+
+++ /dev/null
-@c -*- coding: utf-8; mode: texinfo; -*-
-@ignore
- Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
-
- When revising a translation, copy the HEAD committish of the
- version that you are working on. See TRANSLATION for details.
-@end ignore
-
-@c \version "2.11.38"
-
-@node Piano music
-@section Piano music
-
-@menu
-* Piano sections::
-@end menu
-
-@node Piano sections
-@subsection Piano sections
-
-Piano staves are two normal staves coupled with a brace. The staves
-are largely independent, but sometimes voices can cross between the
-two staves. The same notation is also used for harps and other key
-instruments. The @internalsref{PianoStaff} is especially built to
-handle this cross-staffing behavior. In this section we discuss the
-@internalsref{PianoStaff} and some other pianistic peculiarities.
-
-@menu
-* Automatic staff changes::
-* Manual staff switches::
-* Pedals::
-* Staff switch lines::
-* Cross staff stems::
-@end menu
-
-@knownissues
-
-Dynamics are not centered, but workarounds do exist. See the
-@q{piano centered dynamics} template in @rlearning{Piano templates}.
-
-@cindex cross staff stem
-@cindex stem, cross staff
-@cindex distance between staves in piano music
-
-
-@node Automatic staff changes
-@subsubsection Automatic staff changes
-@cindex Automatic staff changes
-
-Voices can be made to switch automatically between the top and the bottom
-staff. The syntax for this is
-
-@quotation
-@example
-\autochange @dots{}@var{music}@dots{}
-@end example
-@end quotation
-
-@noindent
-This will create two staves inside the current PianoStaff, called
-@code{up} and @code{down}. The lower staff will be in bass clef by
-default.
-
-A @code{\relative} section that is outside of @code{\autochange} has
-no effect on the pitches of @var{music}, so, if necessary, put
-@code{\relative} inside @code{\autochange} like
-
-@quotation
-@example
-\autochange \relative @dots{} @dots{}
-@end example
-@end quotation
-
-
-The autochanger switches on basis of the pitch (middle C is the turning
-point), and it looks ahead skipping over rests to switch in
-advance. Here is a practical example
-
-@lilypond[quote,verbatim,ragged-right]
-\new PianoStaff
- \autochange \relative c'
- {
- g4 a b c d r4 a g
- }
-@end lilypond
-
-
-@seealso
-
-Notation Reference: @ref{Manual staff switches}.
-
-Internals Reference: @internalsref{AutoChangeMusic}.
-
-
-
-@knownissues
-
-The staff switches may not end up in optimal places. For high
-quality output, staff switches should be specified manually.
-
-
-@code{\autochange} cannot be inside @code{\times}.
-
-
-@node Manual staff switches
-@subsubsection Manual staff switches
-
-@cindex manual staff switches
-@cindex staff switch, manual
-
-Voices can be switched between staves manually, using the command
-@example
-\change Staff = @var{staffname} @var{music}
-@end example
-
-@noindent
-The string @var{staffname} is the name of the staff. It switches the
-current voice from its current staff to the Staff called
-@var{staffname}. Typically @var{staffname} is @code{"up"} or
-@code{"down"}. The @code{Staff} referred to must already exist, so
-usually the setup for a score will start with a setup of the staves,
-
-@example
-<<
- \new Staff = "up" @{
- \skip 1 * 10 % @emph{keep staff alive}
- @}
- \new Staff = "down" @{
- \skip 1 * 10 % @emph{idem}
- @}
->>
-@end example
-
-
-and the @code{Voice} is inserted afterwards
-
-@example
-\context Staff = down
- \new Voice @{ @dots{} \change Staff = up @dots{} @}
-@end example
-
-
-@node Pedals
-@subsubsection Pedals
-@cindex Pedals
-
-Pianos have pedals that alter the way sound is produced. Generally, a
-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
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-c'4\sustainDown c'4\sustainUp
-@end lilypond
-
-What is printed can be modified by setting @code{pedal@var{X}Strings},
-where @var{X} is one of the pedal types: @code{Sustain},
-@code{Sostenuto} or @code{UnaCorda}. Refer to
-@internalsref{SustainPedal} in the program reference for more
-information.
-
-Pedals can also be indicated by a sequence of brackets, by setting the
-@code{pedalSustainStyle} property to bracket objects
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\set Staff.pedalSustainStyle = #'bracket
-c\sustainDown d e
-b\sustainUp\sustainDown
-b g \sustainUp a \sustainDown \bar "|."
-@end lilypond
-
-A third style of pedal notation is a mixture of text and brackets,
-obtained by setting the @code{pedalSustainStyle} property to
-@code{mixed}
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\set Staff.pedalSustainStyle = #'mixed
-c\sustainDown d e
-b\sustainUp\sustainDown
-b g \sustainUp a \sustainDown \bar "|."
-@end lilypond
-
-The default @q{*Ped.} style for sustain and damper pedals corresponds to
-style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
-default.
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-c\sostenutoDown d e c, f g a\sostenutoUp
-@end lilypond
-
-For fine-tuning the appearance of a pedal bracket, the properties
-@code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
-@code{PianoPedalBracket} objects (see
-@internalsref{PianoPedalBracket} in the Internals Reference) can be
-modified. For example, the bracket may be extended to the right edge
-of the note head
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
-c\sostenutoDown d e c, f g a\sostenutoUp
-@end lilypond
-
-@seealso
-
-Notation Reference: @ref{Ties} (laissez vibrer).
-
-@node Staff switch lines
-@subsubsection Staff switch lines
-
-
-@cindex follow voice
-@cindex staff switching
-@cindex cross staff
-
-@funindex followVoice
-
-Whenever a voice switches to another staff, a line connecting the notes
-can be printed automatically. This is switched on by setting
-@code{followVoice} to true
-
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
-\new PianoStaff <<
- \new Staff="one" {
- \set followVoice = ##t
- c1
- \change Staff=two
- b2 a
- }
- \new Staff="two" { \clef bass \skip 1*2 }
->>
-@end lilypond
-
-@seealso
-
-Internals Reference: @internalsref{VoiceFollower}.
-
-@predefined
-
-@funindex \showStaffSwitch
-@code{\showStaffSwitch},
-@funindex \hideStaffSwitch
-@code{\hideStaffSwitch}.
-
-
-@node Cross staff stems
-@subsubsection Cross staff stems
-
-Chords that cross staves may be produced by increasing the length
-of the stem in the lower staff, so it reaches the stem in the upper
-staff, or vice versa.
-
-@lilypond[ragged-right,verbatim,quote]
-stemExtend = {
- \once \override Stem #'length = #10
- \once \override Stem #'cross-staff = ##t
-}
-noFlag = \once \override Stem #'flag-style = #'no-flag
-\new PianoStaff <<
- \new Staff {
- \stemDown \stemExtend
- f'4
- \stemExtend \noFlag
- f'8
- }
- \new Staff {
- \clef bass
- a4 a8
- }
->>
-@end lilypond
-
-
-
-
* Fretted string instruments::
* Percussion::
* Wind instruments::
-* Chord notation
+* Chord notation::
* Ancient notation::
@end menu
@include vocal.itely
@include chords.itely
-@include piano.itely
+@include keyboards.itely
@include percussion.itely
-@include guitar.itely
-@include strings.itely
-@include bagpipes.itely
+@include fretted-strings.itely
+@include unfretted-strings.itely
+@include wind.itely
@include ancient.itely
+++ /dev/null
-@c -*- coding: utf-8; mode: texinfo; -*-
-@ignore
- Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
-
- When revising a translation, copy the HEAD committish of the
- version that you are working on. See TRANSLATION for details.
-@end ignore
-
-@c \version "2.11.38"
-
-@node Orchestral strings
-@section Orchestral strings
-
-This section includes extra information for writing for orchestral
-strings.
-
-@menu
-* Orchestral strings sections::
-@end menu
-
-
-
-@node Orchestral strings sections
-@subsection Orchestral strings sections
-
-@menu
-* Artificial harmonics (strings)::
-@end menu
-
-@node Artificial harmonics (strings)
-@subsubsection Artificial harmonics (strings)
-
-@cindex artificial harmonics
-
-Artificial harmonics are notated with a different note head style. They
-are entered by marking the harmonic pitch with @code{\harmonic}.
-
-@lilypond[ragged-right,verbatim,quote,fragment,relative=1]
-<c g'\harmonic>4
-@end lilypond
-
-
-
--- /dev/null
+@c -*- coding: utf-8; mode: texinfo; -*-
+@ignore
+ Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+ When revising a translation, copy the HEAD committish of the
+ version that you are working on. See TRANSLATION for details.
+@end ignore
+
+@c \version "2.11.38"
+
+@node Unfretted string instruments
+@section Unfretted string instruments
+@c@node Orchestral strings
+@c@section Orchestral strings
+
+This section includes extra information for writing for orchestral
+strings.
+
+@menu
+* Orchestral strings sections::
+@end menu
+
+
+
+@node Orchestral strings sections
+@subsection Orchestral strings sections
+
+@menu
+* Artificial harmonics (strings)::
+@end menu
+
+@node Artificial harmonics (strings)
+@subsubsection Artificial harmonics (strings)
+
+@cindex artificial harmonics
+
+Artificial harmonics are notated with a different note head style. They
+are entered by marking the harmonic pitch with @code{\harmonic}.
+
+@lilypond[ragged-right,verbatim,quote,fragment,relative=1]
+<c g'\harmonic>4
+@end lilypond
+
+
+
--- /dev/null
+@c -*- coding: utf-8; mode: texinfo; -*-
+@ignore
+ Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+ When revising a translation, copy the HEAD committish of the
+ version that you are working on. See TRANSLATION for details.
+@end ignore
+
+@c \version "2.11.38"
+
+@node Wind instruments
+@section Wind instruments
+@c@node Bagpipes
+@c@section Bagpipes
+
+This section includes extra information for writing for bagpipes.
+
+@menu
+* Bagpipe sections::
+@end menu
+
+
+@node Bagpipe sections
+@subsection Bagpipe sections
+
+@menu
+* Bagpipe definitions::
+* Bagpipe example::
+@end menu
+
+@node Bagpipe definitions
+@subsubsection Bagpipe definitions
+
+LilyPond contains special definitions for music for the Scottish
+highland bagpipe; to use them, add
+
+@example
+\include "bagpipe.ly"
+@end example
+
+@noindent
+at the top of your input file. This lets you add the special grace notes
+common to bagpipe music with short commands. For example, you could
+write @code{\taor} instead of
+
+@example
+\grace @{ \small G32[ d G e] @}
+@end example
+
+@code{bagpipe.ly} also contains pitch definitions for the bagpipe
+notes in the appropriate octaves, so you do not need to worry about
+@code{\relative} or @code{\transpose}.
+
+@lilypond[ragged-right,verbatim,quote,notime]
+\include "bagpipe.ly"
+{ \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
+@end lilypond
+
+Bagpipe music nominally uses the key of D Major (even though that
+isn't really true). However, since that is the only key that can be used,
+the key signature is normally not written out. To set this up correctly,
+always start your music with @code{\hideKeySignature}. If you for some
+reason want to show the key signature, you can use @code{\showKeySignature}
+instead.
+
+Some modern music use cross fingering on c and f to flatten those notes.
+This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
+piobaireachd high g can be written @code{gflat} when it occurs in light
+music.
+
+
+@node Bagpipe example
+@subsubsection Bagpipe example
+
+This is what the well known tune Amazing Grace looks like in bagpipe
+notation.
+
+@lilypond[verbatim,quote]
+\include "bagpipe.ly"
+\layout {
+ indent = 0.0\cm
+ \context { \Score \remove "Bar_number_engraver" }
+}
+
+\header {
+ title = "Amazing Grace"
+ meter = "Hymn"
+ arranger = "Trad. arr."
+}
+
+{
+ \hideKeySignature
+ \time 3/4
+ \grg \partial 4 a8. d16
+ \slurd d2 \grg f8[ e32 d16.]
+ \grg f2 \grg f8 e
+ \thrwd d2 \grg b4
+ \grG a2 \grg a8. d16
+ \slurd d2 \grg f8[ e32 d16.]
+ \grg f2 \grg e8. f16
+ \dblA A2 \grg A4
+ \grg A2 f8. A16
+ \grg A2 \hdblf f8[ e32 d16.]
+ \grg f2 \grg f8 e
+ \thrwd d2 \grg b4
+ \grG a2 \grg a8. d16
+ \slurd d2 \grg f8[ e32 d16.]
+ \grg f2 e4
+ \thrwd d2.
+ \slurd d2
+ \bar "|."
+}
+@end lilypond
+
+
+
+
+
projects / lilypond.git / commitdiff