@funindex finger
Fingering instructions can be entered using
-@var{note}-@var{digit}:
+@samp{@var{note}-@var{digit}}:
@lilypond[verbatim,quote,relative=2]
c4-1 d-2 f-4 e-3
The full range of colors defined for X11 can be accessed by using
the Scheme function @code{x11-color}. The function takes one
-argument; this can be a symbol in the form @var{'FooBar} or a
-string in the form @var{"FooBar"}. The first form is quicker to
-write and is more efficient. However, using the second form it is
-possible to access X11 colors by the multi-word form of its name.
+argument; this can be a symbol in the form @code{'@var{FooBar}} or
+a string in the form @code{"@var{FooBar}"}. The first form is
+quicker to write and is more efficient. However, using the second
+form it is possible to access X11 colors by the multi-word form of
+its name.
If @code{x11-color} cannot make sense of the parameter then the
color returned defaults to black.
@var{note}\@var{name}
@end example
-The possible values for @var{name} are listed in @ref{List of
-articulations}. For example:
+The possible values for @code{@var{name}} are listed in
+@ref{List of articulations}. For example:
@lilypond[verbatim,quote,relative=2]
c4\staccato c\mordent b2\turn
In relative mode, each note is assumed to be as close to the
previous note as possible. This means that the octave of each
-pitch inside @var{musicexpr} is calculated as follows:
+pitch inside @code{@var{musicexpr}} is calculated as follows:
@itemize
@item
@item
The pitch of the first note is relative to
-@code{@var{startpitch}}. @var{startpitch} is specified in
+@code{@var{startpitch}}. @code{@var{startpitch}} is specified in
absolute octave mode, and it is recommended that it be a octave of
@code{c}.
-
@end itemize
Here is the relative mode shown in action:
@c DEPRECATED
-If no @var{startpitch} is specified for @code{\relative},
+If no @code{@var{startpitch}} is specified for @code{\relative},
then@tie{}@code{c'} is assumed. However, this is a deprecated
option and may disappear in future versions, so its use is
discouraged.
@end lilypond
The octave of notes may also be checked with the
-@code{\octaveCheck}@tie{}@var{controlpitch} command.
-@var{controlpitch} is specified in absolute mode. This checks
-that the interval between the previous note and the
-@var{controlpitch} is within a fourth (i.e., the normal
+@code{\octaveCheck@tie{}@var{controlpitch}} command.
+@code{@var{controlpitch}} is specified in absolute mode. This
+checks that the interval between the previous note and the
+@code{@var{controlpitch}} is within a fourth (i.e., the normal
calculation of relative mode). If this check fails, a warning is
printed, but the previous note is not changed. Future notes are
-relative to the @var{controlpitch}.
+relative to the @code{@var{controlpitch}}.
@lilypond[verbatim,quote]
\relative c'' {
@end example
@noindent
-This means that @var{musicexpr} is transposed by the interval
-between the pitches @var{frompitch} and @var{topitch}: any note
-with pitch @var{frompitch} is changed to @var{topitch} and any
-other note is transposed by the same interval. Both pitches are
-entered in absolute mode.
+This means that @code{@var{musicexpr}} is transposed by the
+interval between the pitches @code{@var{frompitch}} and
+@code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
+is changed to @code{@var{topitch}} and any other note is
+transposed by the same interval. Both pitches are entered in
+absolute mode.
@warning{Music inside a @code{@bs{}transpose} block is absolute
unless a @code{@bs{}relative} is included in the block.}
@cindex dorian
@noindent
-Here, @var{mode} should be @code{\major} or @code{\minor} to get a
-key signature of @var{pitch}-major or @var{pitch}-minor,
-respectively. You may also use the standard mode names, also
-called @notation{church modes}: @code{\ionian}, @code{\dorian},
-@code{\phrygian}, @code{\lydian}, @code{\mixolydian},
-@code{\aeolian}, and @code{\locrian}.
+Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
+to get a key signature of @code{@var{pitch}}-major or
+@code{@var{pitch}}-minor, respectively. You may also use the
+standard mode names, also called @notation{church modes}:
+@code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
+@code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
@lilypond[verbatim,quote,relative=2]
\key g \major
@item unfold
The repeated music is fully written out, as many times as
-specified by @var{repeatcount}. This is useful when
+specified by @code{@var{repeatcount}}. This is useful when
entering repetitious music.
@item percent
@end example
@noindent
-where @var{musicexpr} is a music expression.
+where @code{@var{musicexpr}} is a music expression.
A single repeat without an alternate ending:
@end example
@noindent
-where @var{musicexpr} is a music expression.
+where @code{@var{musicexpr}} is a music expression.
If there are more repeats than there are alternate endings, the earliest
repeats are given the first alternative.
@end example
@noindent
-where @var{musicexpr} is a music expression and @var{repeatcount} is
-the number of times @var{musicexpr} is repeated.
+where @code{@var{musicexpr}} is a music expression and
+@code{@var{repeatcount}} is the number of times
+@code{@var{musicexpr}} is repeated.
@lilypond[verbatim,quote,relative=2]
\repeat unfold 2 { c4 d e f }
The syntax is
@example
-@code{\repeat percent @var{number} @var{musicexpr}}
+\repeat percent @var{number} @var{musicexpr}
@end example
@noindent
-where @var{musicexpr} is a music expression.
+where @code{@var{musicexpr}} is a music expression.
Patterns that are shorter than one measure are replaced by slashes.
@funindex tremoloFlags
@funindex :
-The same output can be obtained by adding
-@q{@code{:}[@var{number}]} after the note. The number indicates
-the duration of the subdivision, and it must be at least 8. A
-@var{number} value of 8 gives one line across the note stem. If
-the length is omitted, the last value (stored in
-@code{tremoloFlags}) is used:
+The same output can be obtained by adding @code{:@var{N}} after
+the note, where @code{@var{N}} indicates the duration of the
+subdivision (it must be at least 8). If @code{@var{N}} is 8, one
+beam is added to the note's stem. If @code{@var{N}} is omitted,
+the last value (stored in @code{tremoloFlags}) is used:
@lilypond[quote,verbatim,relative=2]
c2:8 c:32
@end example
@noindent
-The duration of @var{music} will be multiplied by the
+The duration of @code{@var{music}} will be multiplied by the
fraction. The fraction's denominator will be printed over or
under the notes, optionally with a bracket. The most common
tuplet is the triplet in which 3 notes have the duration of 2, so
@end example
@noindent
-where @code{duration} is the rhythmic length of the remaining
-interval of the current measure before the start of the next.
+where @code{@var{duration}} is the rhythmic length of the
+remaining interval of the current measure before the start of the
+next.
@lilypond[quote,verbatim,relative=2]
\partial 4 e4 |
@funindex bar
@funindex bartype
-The command @code{\bar }@var{bartype} is a shortcut for
-@code{\set Timing.whichBar = }@var{bartype}. A bar line is
+The command @samp{\bar @var{bartype}} is a shortcut for
+@samp{\set Timing.whichBar = @var{bartype}}. A bar line is
created whenever the @code{whichBar} property is set.
The default bar type used for automatically inserted bar lines is
-@code{"|"}. This may be changed at any time
-with @code{\set Timing.defaultBarType = }@var{bartype}.
+@code{"|"}. This may be changed at any time with
+@samp{\set Timing.defaultBarType = @var{bartype}}.
@seealso
@noindent
A @code{\relative} section that is outside of @code{\partcombine}
-has no effect on the pitches of @var{musicexpr1} and
-@var{musicexpr2}.
+has no effect on the pitches of @code{@var{musicexpr1}} and
+@code{@var{musicexpr2}}.
@snippets
Only the contents of the first @code{Voice} occurring in an
@code{\addQuote} command will be considered for quotation, so
-@var{music} cannot contain @code{\new} and @code{\context Voice}
-statements that would switch to a different Voice.
+@code{@var{music}} cannot contain @code{\new} and
+@code{\context Voice} statements that would switch to a different
+Voice.
Quoting grace notes is broken and can even cause LilyPond to
crash.
\cueDuring #@var{partname} #@var{voice} @var{music}
@end example
-This command copies only the notes and rests from the corresponding measures
-from @var{partname} into a @code{CueVoice} context. The @code{CueVoice} is
-created implicitly, and occurs simultaneously with @var{music}, which
-creates a polyphonic situation. The @var{voice} argument
-determines whether the cue notes should be notated as a first or
-second voice; @code{UP} corresponds to the first voice, and
-@code{DOWN} corresponds to the second.
+This command copies only the notes and rests from the
+corresponding measures from @code{@var{partname}} into a
+@code{CueVoice} context. The @code{CueVoice} is created
+implicitly, and occurs simultaneously with @code{@var{music}},
+which creates a polyphonic situation. The @code{@var{voice}}
+argument determines whether the cue notes should be notated as a
+first or second voice; @code{UP} corresponds to the first voice,
+and @code{DOWN} corresponds to the second.
@lilypond[verbatim,quote]
oboe = \relative c'' {
projects / lilypond.git / commitdiff