+1.3.121.jcn1
+============
+
+* Updated doco for autobeam, chords.
+
+* Renamed property drarnChords to chordChanges.
+
+* Bugfix: --srcdir build.
+
+* Bugfix: (math) font selection for jazz chords.
+
+1.3.121
+============
+
1.3.120.jcn1
============
when there's a change in the chord-name-scheme, Also, a chord
name should always be displayed after a line break. See
- input/test/drarn-chords.ly
+ input/test/chord-changes.ly
* Reverted duration-iter change in midi2ly, moved printing of options.
* add more un/badly documented features
* write some text
* add to/merge with refman
+
+
+
+ there's a very simple, very general noXXX mechanism; try
+
+noop \property Staff.VoltaBrace = #'()
+yes: \property Staff.VoltaBracket = #'((meta . ((interfaces . ()))))
+
+
+ visibility?
+ brew_molecule?
@end ignore
+
+
+
@node Top
@chapter Features
* transpose:: transpose
* Ambiguities:: Ambiguities
* Notation conversion specifics:: Notation conversion specifics
-* autobeam:: autobeam
+* Automatic Beaming:: Automatic Beaming
+* Chord Names:: Chord Names
* lyricprint:: lyricprint
* Notation Contexts:: Notation Contexts
* Properties:: Changing formatting
\times 2/3 { [e'8 f' g'] }
@end lilypond
-Beaming can be generated automatically; see section @ref{autobeam}.
+Beaming can be generated automatically; see section @ref{Automatic Beaming}.
To place tremolo marks between notes, use @code{\repeat} with tremolo
@section Notation conversion specifics
-
+@node Automatic Beaming, , , Reference Manual
@cindex automatic beam generation
+@cindex autobeam
-@node autobeam, , , Reference Manual
-
-[FIXME: UPDATEME]
+@c beamAuto vs autoBeam ?
By default, LilyPond will generate beams automatically. This feature
can be disabled by setting the
-@code{Voice.noAutoBeaming}@indexcode{Voice.noAutoBeaming} property to 1.
+@code{Voice.beamAuto}@indexcode{Voice.beamAuto} property to @code{#f}.
It can be overridden for specific cases by specifying explicit beams.
+
A large number of Voice properties are used to decide how to generate
-beams. Their default values appear in @file{auto-beam-settings.ly}. In
+beams. Their default values appear in @file{scm/auto-beam.scm}. In
general, beams can begin anywhere, but their ending location is
significant. Beams can end on a beat, or at durations specified by the
-@code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} property. To end
-beams every quarter note, for example, you could set
-@code{Voice.beamAutoEnd}@indexcode{Voice.beamAutoEnd} equal to
-`@code{"1/4"}'. To end beams at every three eighth notes you would set
-it to `@code{"3/8"}'. The same syntax can be used to specify beam
+properties in
+@code{Voice.autoBeamSettings}@indexcode{Voice.autoBeamSettings}.
+To end beams every quarter note, for example, you could set the property
+@code{(end * * * *)} @indexcode{(end * * * *)} to `@code{(make-moment 1
+4)}'. To end beams at every three eighth notes you would set
+it to `@code{(make-moment 1 8)}'.
+The same syntax can be used to specify beam
starting points using
-@code{Voice.beamAutoBegin}@indexcode{Voice.beamAutoBegin}.
+@code{(begin * * * *)}@indexcode{(begin * * * *)}, eg:
+@quotation
+@example
+\property Voice.autoBeamSettings \override
+ #'(end * * * *) = #(make-moment 1 4)
+\property Voice.autoBeamSettings \override
+ #'(begin * * * *) = #(make-moment 1 8)
+@end example
+@end quotation
-To allow different settings for different time signatures, these
-property names can start with `@code{time}@var{N}@code{_}@var{M}' to
-restrict the definition to `@var{N}@code{/}@var{M}' time. For example,
-to specify beams ending only for 6/8 time you would use the property
-@code{Voice.time6_8beamAutoEnd}. To allow different endings for notes
-of different durations, the duration can be tacked onto the end of the
-property. To specify beam endings for beams that contain 32nd notes,
-you would use @code{Voice.beamAutoEnd_32}.
+To allow different settings for different time signatures, instead of
+the first two asterisks @code{* *} you can specify a time signature; use
+@code{(end N M * *)} to restrict the definition to
+`@var{N}@code{/}@var{M}' time. For example, to specify beams ending
+only for 6/8 time you would use the property @code{(end 6 8 * *)}.
+To allow different endings for notes of different durations, instead of
+th last two asterisks you can specify a duration; use @code{(end * * N
+M)} to restrict the definition to beams that contain notes of
+`@var{N}@code{/}@var{M}' duration.
+For example, to specify beam endings for beams that contain 32nd notes,
+you would use @code{(end * * 1 32)}.
-@cindex chord names
+@node Chord Names, , , Reference Manual
+@cindex chord names
@cindex chords
@cindex printing!chord names
-For displaying printed chord names, use the @code{ChordNames}@indexcode{ChordNames}
-and @code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords may be entered
-either using the notation described above, or directly using
-simultaneous music.
+For displaying printed chord names, use the
+@code{ChordNames}@indexcode{ChordNames} and
+@code{ChordNameVoice}@indexcode{ChordNameVoice} contexts. The chords
+may be entered either using the notation described above, or directly
+using simultaneous music.
@quotation
+@lilypond[verbatim]
+scheme = \notes {
+ \chords {a1 b c} <d f g> <e g b>
+}
+\score {
+ \notes<
+ \context ChordNamesVoice \scheme
+ \context Staff \transpose c'' \scheme
+ >
+ \paper { linewidth = -1.; }
+}
+@end lilypond
+@end quotation
-@lilypond[fragment,verbatim]
-<
- \context ChordNames {
- \chords{a b c} \notes{<d f g> <e g b>}
- }
- \context Staff \notes {
- a b c' d' e'
- }
->
+You can make the chord changes stand out more by setting property
+@code{ChordNames.chordChanges} to @code{#t}. This will only display
+chord names when there's a change in the chords scheme, but always
+display the chord name after a line break:
+
+@c bug
+@quotation
+@lilypond[verbatim]
+scheme = \chords {
+% \property ChordNames.chordChanges = ##t
+ c1:m \break c:m c:m c:m d
+}
+
+\score {
+ \notes <
+ \context ChordNamesVoice \scheme
+ \context Staff \transpose c'' \scheme
+ >
+ \paper{
+ linewidth = 40 * \staffspace;
+ }
+}
@end lilypond
@end quotation
+
+
LilyPond examines chords specified as lists of notes to determine a
-name to give the chord. By default, LilyPond will not try to
-identify chord inversions:
+name to give the chord. LilyPond will not try to
+identify chord inversions or added base, which may result in strange
+chord names when chords are entered as a list of pitches:
-@lilypond[fragment,verbatim,center]
+@quotation
+@lilypond[verbatim,center]
+scheme = \notes {
+ <c'1 e' g'>
+ <e' g' c''>
+ <e e' g' c''>
+}
+
+\score {
<
- \context ChordNameVoice \notes {
- <e'1 g' c''>
- }
- \context Thread \notes {
- <e'1 g' c''>
- }
+ \context ChordNamesVoice \scheme
+ \context Staff \scheme
+ >
+ \paper { linewidth = -1.; }
+}
+@end lilypond
+@end quotation
+
+To specify chord inversions, append @code{/<notename>}. To specify an
+added bass note, append @code{/+<notename}:
+
+@quotation
+@lilypond[verbatim,center]
+scheme = \chords {
+ d1 d/a d/+gis
+}
+
+\score {
+ \notes <
+ \context ChordNames \scheme
+ \context Staff \transpose c'' \scheme
>
+ \paper { linewidth = -1.; }
+}
@end lilypond
+@end quotation
-If you want inversions to be recognized, you must set the property
-@code{ChordNames.chordInversion}@indexcode{ChordNames.chordInversion}:
+The chord names that LilyPond should print are fully customisable. The
+default code can be found in @file{scm/chord-name.scm}. Chord names are
+based on Banter style naming, which is unambiguous and has a logical
+structure. Typical American style chord names are implemented as a
+variation on Banter names, they can be selected by setting poperty
+@code{ChordName.style} to @code{american}:
-@lilypond[fragment,verbatim,center]
- <
- \property Score.chordInversion = ##t
- \context ChordNameVoice \notes {
- <e'1 g' c''>
- }
- \context Thread \notes {
- <e'1 g' c''>
- }
+@quotation
+@lilypond[verbatim]
+\include "english.ly"
+
+scheme = \chords {
+ c % Major triad
+ cs:m % Minor triad
+ df:m5- % Diminished triad
+ c:5^3 % Root-fifth chord
+ c:4^3 % Suspended fourth triad
+ c:5+ % Augmented triad
+ c:2^3 % "2" chord
+ c:m5-.7- % Diminished seventh
+ c:7+ % Major seventh
+ c:7.4^3 % Dominant seventh suspended fourth
+ c:5+.7 % Augmented dominant seventh
+ c:m5-.7 % "Half" diminished seventh
+ c:5-.7 % Dominant seventh flat fifth
+ c:5-.7+ % Major seventh flat fifth
+ c:m7+ % Minor-major seventh
+ c:m7 % Minor seventh
+ c:7 % Dominant seventh
+ c:6 % Major sixth
+ c:m6 % Minor sixth
+ c:9^7 % Major triad w/added ninth
+ c:6.9^7 % Six/Nine chord
+ c:9 % Dominant ninth
+ c:7+.9 % Major ninth
+ c:m7.9 % Minor ninth
+}
+
+\score {
+ \notes <
+ \context ChordNames \scheme
+ \context Staff \transpose c'' \scheme
>
+ \paper {
+ \translator {
+ \ChordNamesContext
+ ChordName \override #'word-space = #1
+ ChordName \override #'style = #'american
+ }
+ }
+}
@end lilypond
+@end quotation
+Similarly, Jazz style chord names are implemented as a variation on
+American style names:
+@quotation
+@lilypond[verbatim]
+scheme = \chords {
+ % major chords
+ c
+ c:6 % 6 = major triad with added sixth
+ c:maj % triangle = maj
+ c:6.9^7 % 6/9
+ c:9^7 % add9
+
+ % minor chords
+ c:m % m = minor triad
+ c:m.6 % m6 = minor triad with added sixth
+ c:m.7+ % m triangle = minor major seventh chord
+ c:3-.6.9^7 % m6/9
+ c:m.7 % m7
+ c:3-.9 % m9
+ c:3-.9^7 % madd9
+
+ % dominant chords
+ c:7 % 7 = dominant
+ c:7.5+ % +7 = augmented dominant
+ c:7.5- % 7b5 = hard diminished dominant
+ c:9 % 7(9)
+ c:9- % 7(b9)
+ c:9+ % 7(#9)
+ c:13^9.11 % 7(13)
+ c:13-^9.11 % 7(b13)
+ c:13^11 % 7(9,13)
+ c:13.9-^11 % 7(b9,13)
+ c:13.9+^11 % 7(#9,13)
+ c:13-^11 % 7(9,b13)
+ c:13-.9-^11 % 7(b9,b13)
+ c:13-.9+^11 % 7(#9,b13)
+
+ % half diminished chords
+ c:m5-.7 % slashed o = m7b5
+ c:9.3-.5- % o/7(pure 9)
+
+ % diminished chords
+ c:m5-.7- % o = diminished seventh chord
+}
+
+\score {
+ \notes <
+ \context ChordNames \scheme
+ \context Staff \transpose c'' \scheme
+ >
+ \paper {
+ \translator {
+ \ChordNamesContext
+ ChordName \override #'word-space = #1
+ ChordName \override #'style = #'jazz
+ }
+ }
+}
+@end lilypond
+@end quotation
@cindex lyrics
Here is a full example:
@quotation
-
@lilypond[verbatim]
\score {
<
MAJOR_VERSION=1
MINOR_VERSION=3
PATCH_LEVEL=121
-MY_PATCH_LEVEL=
+MY_PATCH_LEVEL=jcn1
# use the above to send patches: MY_PATCH_LEVEL is always empty for a
# released version.
dnl aclocal.m4 -*-shell-script-*-
dnl StepMake subroutines for configure.in
-function base ()
-{
- expr "$1" : "\(/[^/]*\)"
-}
-
-function unbase ()
-{
- expr "$1" : "/[^/]*\(.*\)"
-}
-
-function walk ()
-{
- from=`(cd "$1" && pwd)`
- to=`pwd`
- t=`base "$to"`
- f=`base "$from"`
- while [ -n "$t" -a "$t" = "$f" ]; do
- to=`unbase "$to"`
- from=`unbase "$from"`
- t=`base "$to"`
- f=`base "$from"`
- done
- echo ..$to
-}
-
AC_DEFUN(AC_STEPMAKE_BIBTEX2HTML, [
AC_CHECK_PROGS(BIBTEX2HTML, bibtex2html bib2html, error)
if test "$BIBTEX2HTML" = "bib2html"; then
function walk ()
{
- from=`(cd "$1" && pwd)`
- to=`pwd`
+ if expr "$1" : '/' > /dev/null 2>&1; then
+ c=../
+ fi
+ from=`(cd "$1" && pwd) | sed 's://*:/:g'`
+ to=`pwd | sed 's://*:/:g'`
t=`base "$to"`
f=`base "$from"`
while [ -n "$t" -a "$t" = "$f" ]; do
t=`base "$to"`
f=`base "$from"`
done
- i=`echo $from | sed -e 's/[^/]\+/../g'`
- if expr "$from" : '/' > /dev/null 2>&1; then
- c=..
- fi
+ i=`echo $from | sed -e 's:[^/]\+:..:g'`
+ i=`echo $i | sed -e 's:/[.][.]:..:'`
echo $c$i$to
}
--- /dev/null
+\header{
+texidoc="property chordChanges: only display chord names when
+there's a change in the chords scheme, but always display the
+chord name after a line break.
+";
+}
+
+scheme = \chords {
+ \property ChordNames.chordChanges = ##t
+ c1:m \break c:m c:m c:m d
+}
+
+\score {
+ \notes <
+ \context ChordNamesVoice \scheme
+ \context Staff \transpose c'' \scheme
+ >
+ \paper{
+ linewidth = 40 * \staffspace;
+ }
+}
)
chord::names-alist-american))
-chord = \notes\transpose c''\chords{
- \property ChordNames.ChordName \override #'style = #'american
-c % Major triad
-cs:m % Minor triad
-df:m5- % Diminished triad
-c:5^3 % Root-fifth chord
-c:4^3 % Suspended fourth triad
-c:5+ % Augmented triad
-c:2^3 % "2" chord
-c:m5-.7- % Diminished seventh
-c:7+ % Major seventh
-c:7.4^3 % Dominant seventh suspended fourth
-c:5+.7 % Augmented dominant seventh
-c:m5-.7 % "Half" diminished seventh
-c:5-.7 % Dominant seventh flat fifth
-c:5-.7+ % Major seventh flat fifth
-c:m7+ % Minor-major seventh
-c:m7 % Minor seventh
-c:7 % Dominant seventh
-c:6 % Major sixth
-c:m6 % Minor sixth
-c:9^7 % Major triad w/added ninth
-c:6.9^7 % Six/Nine chord
-c:9 % Dominant ninth
-c:7+.9 % Major ninth
-c:m7.9 % Minor ninth
+scheme = \chords {
+ c % Major triad
+ cs:m % Minor triad
+ df:m5- % Diminished triad
+ c:5^3 % Root-fifth chord
+ c:4^3 % Suspended fourth triad
+ c:5+ % Augmented triad
+ c:2^3 % "2" chord
+ c:m5-.7- % Diminished seventh
+ c:7+ % Major seventh
+ c:7.4^3 % Dominant seventh suspended fourth
+ c:5+.7 % Augmented dominant seventh
+ c:m5-.7 % "Half" diminished seventh
+ c:5-.7 % Dominant seventh flat fifth
+ c:5-.7+ % Major seventh flat fifth
+ c:m7+ % Minor-major seventh
+ c:m7 % Minor seventh
+ c:7 % Dominant seventh
+ c:6 % Major sixth
+ c:m6 % Minor sixth
+ c:9^7 % Major triad w/added ninth
+ c:6.9^7 % Six/Nine chord
+ c:9 % Dominant ninth
+ c:7+.9 % Major ninth
+ c:m7.9 % Minor ninth
}
-\score{
-<
-\context ChordNames \chord
-\context Staff \chord
->
- \paper
- {
- \translator {
- \ChordNamesContext
- ChordName \override #'word-space = #1
- }
+\score {
+ \notes <
+ \context ChordNames \scheme
+ \context Staff \transpose c'' \scheme
+ >
+ \paper {
+ \translator {
+ \ChordNamesContext
+ ChordName \override #'word-space = #1
+ ChordName \override #'style = #'american
}
+ }
}
--- /dev/null
+\header{
+texidoc="property chordChanges: only display chord names when
+there's a change in the chords scheme, but always display the
+chord name after a line break.
+";
+}
+
+scheme = \chords {
+% \property ChordNames.chordChanges = ##t
+ c1:m \break c:m c:m c:m d
+}
+
+\score {
+ \notes <
+ \context ChordNamesVoice \scheme
+ \context Staff \transpose c'' \scheme
+ >
+ \paper{
+ linewidth = 40 * \staffspace;
+ }
+}
-\version "1.3.120";
-
-%{
-Would this be acceptable/good enough/convenient for entry?
-
- Convention/Standard Lily
-
- C# cis
- Cb ces
- Cm; Cmin c:3-; c:m; c:min
- Caug c:5+; c:aug;
- Cdim c:3-.5-; c:dim
- Cmaj7 c:7+; c:maj
- C7 c:7
- Csus; Csus4 c:4; c:sus
-
-%}
-
-scales = \notes \transpose c'' \chords{
- \property ChordNames.drarnChords=##t
- %c1:m \break c1:m
- c1:m c1:m
-}
-
-%\include "paper-as9.ly";
-\score{
- <
- \context ChordNames \scales
- \context Staff \scales
- >
- \paper{
-% \paperAs_nine
- \translator {
- \ChordNamesContext
- }
- }
-}
% cp locate `msam9.tfm` LILYPONDPREFIXxtfm
%
-chord = \notes\transpose c''\chords{
-\property ChordNames.ChordName \override #'style = #'jazz
-% major chords
-c
-c:6 % 6 = major triad with added sixth
-c:maj % triangle = maj
-c:6.9^7 % 6/9
-c:9^7 % add9
+scheme = \chords {
+ % major chords
+ c
+ c:6 % 6 = major triad with added sixth
+ c:maj % triangle = maj
+ c:6.9^7 % 6/9
+ c:9^7 % add9
-% minor chords
-c:m % m = minor triad
-c:m.6 % m6 = minor triad with added sixth
-c:m.7+ % m triangle = minor major seventh chord
-c:3-.6.9^7 % m6/9
-c:m.7 % m7
-c:3-.9 % m9
-c:3-.9^7 % madd9
+ % minor chords
+ c:m % m = minor triad
+ c:m.6 % m6 = minor triad with added sixth
+ c:m.7+ % m triangle = minor major seventh chord
+ c:3-.6.9^7 % m6/9
+ c:m.7 % m7
+ c:3-.9 % m9
+ c:3-.9^7 % madd9
-% dominant chords
-c:7 % 7 = dominant
-c:7.5+ % +7 = augmented dominant
-c:7.5- % 7b5 = hard diminished dominant
-c:9 % 7(9)
-c:9- % 7(b9)
-c:9+ % 7(#9)
-c:13^9.11 % 7(13)
-c:13-^9.11 % 7(b13)
-c:13^11 % 7(9,13)
-c:13.9-^11 % 7(b9,13)
-c:13.9+^11 % 7(#9,13)
-c:13-^11 % 7(9,b13)
-c:13-.9-^11 % 7(b9,b13)
-c:13-.9+^11 % 7(#9,b13)
+ % dominant chords
+ c:7 % 7 = dominant
+ c:7.5+ % +7 = augmented dominant
+ c:7.5- % 7b5 = hard diminished dominant
+ c:9 % 7(9)
+ c:9- % 7(b9)
+ c:9+ % 7(#9)
+ c:13^9.11 % 7(13)
+ c:13-^9.11 % 7(b13)
+ c:13^11 % 7(9,13)
+ c:13.9-^11 % 7(b9,13)
+ c:13.9+^11 % 7(#9,13)
+ c:13-^11 % 7(9,b13)
+ c:13-.9-^11 % 7(b9,b13)
+ c:13-.9+^11 % 7(#9,b13)
-% half diminished chords
-c:m5-.7 % slashed o = m7b5
-c:9.3-.5- % o/7(pure 9)
-
-% diminished chords
-c:m5-.7- % o = diminished seventh chord
+ % half diminished chords
+ c:m5-.7 % slashed o = m7b5
+ c:9.3-.5- % o/7(pure 9)
+ % diminished chords
+ c:m5-.7- % o = diminished seventh chord
}
-\score{
-<
-\context ChordNames \chord
-\context Staff \chord
->
- \paper
- {
- \translator { \ChordNamesContext ChordName \override #'word-space = #1 }
-% \translator { \LyricsContext textScriptWordSpace = #0.3 }
+\score {
+ \notes <
+ \context ChordNames \scheme
+ \context Staff \transpose c'' \scheme
+ >
+ \paper {
+ \translator {
+ \ChordNamesContext
+ ChordName \override #'word-space = #1
+ ChordName \override #'style = #'jazz
}
+ }
}
--- /dev/null
+scheme = \notes {
+ <c'1 e' g'>
+ <e' g' c''>
+ <e e' g' c''>
+}
+
+\score {
+ <
+ \context ChordNamesVoice \scheme
+ \context Staff \scheme
+ >
+ \paper { linewidth = -1.; }
+}
{
chord_name_p_ = 0;
chord_ = gh_cons (SCM_EOL, gh_cons (SCM_EOL, SCM_EOL));
- last_chord_ = gh_cons (SCM_EOL, gh_cons (SCM_EOL, SCM_EOL));
+ last_chord_ = SCM_EOL;
}
void
chord_name_p_ = new Item (get_property ("ChordName"));
chord_name_p_->set_grob_property ("chord", chord_);
announce_grob (chord_name_p_, 0);
- SCM s = get_property ("drarnChords"); //FIXME!
- if (to_boolean (s) && last_chord_ != SCM_EOL &&
- gh_equal_p (chord_, last_chord_))
+ SCM s = get_property ("chordChanges");
+#ifdef DEBUG
+ /*
+ gdb crashes upon printscm (chord_) etc...
+ ugh: why does gh_equal_p () not seem to work??
+ */
+ printf ("chord: %s\n", ly_scm2string (ly_write2scm (chord_)).ch_C ());
+ printf ("last_chord: %s\n", ly_scm2string (ly_write2scm (last_chord_)).ch_C ());
+ int i = gh_equal_p (chord_, last_chord_);
+ printf ("i: %d\n", i);
+#endif
+ if (to_boolean (s) && last_chord_ != SCM_EOL
+ && gh_equal_p (chord_, last_chord_))
chord_name_p_->set_grob_property ("begin-of-line-visible", SCM_BOOL_T);
}
}
me->get_grob_property ("arch-angle"),
me->get_grob_property ("arch-width"),
gh_double2scm (arc_height),
- me->get_grob_property ("bracket-width"),
gh_double2scm (height),
me->get_grob_property ("arch-thick"),
me->get_grob_property ("bracket-thick"),
; major sixth chord = 6
(((0 . 0) (2 . 0) (4 . 0) (5 . 0)) . (((raise . 0.5) "6")))
; major seventh chord = triangle
- (((0 . 0) (2 . 0) (4 . 0) (6 . 0)) . (((raise . 0.5)((font-family . "math") "M"))))
+ ;; shouldn't this be a filled black triange, like this: ? --jcn
+ ;; (((0 . 0) (2 . 0) (4 . 0) (6 . 0)) . (((raise . 0.5)((font-family . math) "N"))))
+ (((0 . 0) (2 . 0) (4 . 0) (6 . 0)) . (((raise . 0.5)((font-family . math) "M"))))
; major chord add nine = add9
(((0 . 0) (2 . 0) (4 . 0) (1 . 0)) . (((raise . 0.5) "add9")))
; major sixth chord with nine = 6/9
;; minor chords
; minor sixth chord = m6
(((0 . 0) (2 . -1) (4 . 0) (5 . 0)) . (rows("m")((raise . 0.5) "6")))
- ; minor major seventh chord = m triangle
- (((0 . 0) (2 . -1) (4 . 0) (6 . 0)) . (rows ("m") ((raise . 0.5)((font-family . "math") "M"))))
+ ;; minor major seventh chord = m triangle
+ ;; shouldn't this be a filled black triange, like this: ? --jcn
+ ;;(((0 . 0) (2 . -1) (4 . 0) (6 . 0)) . (rows ("m") ((raise . 0.5)((font-family . math) "N"))))
+ (((0 . 0) (2 . -1) (4 . 0) (6 . 0)) . (rows ("m") ((raise . 0.5)((font-family . math) "M"))))
; minor seventh chord = m7
(((0 . 0) (2 . -1) (4 . 0) (6 . -1)) . (rows("m")((raise . 0.5) "7")))
; minor sixth nine chord = m6/9
(glyph . bar-line)
(arch-width . 1.5)
(bracket-thick . 0.25)
- (bracket-width . 2.0)
(Y-extent-callback . #f)
(font-family . braces)
;; if you want to set point-size, you cannot set
(grob-property-description 'beam-thickness number? "thickness, measured in staffspace")
(grob-property-description 'beam-thickness number? "thickness, measured in staffspace")
(grob-property-description 'beam-width number? "width of the tremolo sign")
+(grob-property-description 'beamAuto boolean? "enable autobeaming?")
(grob-property-description 'beamed-lengths list? "list of stem lengths given beam multiplicity ")
(grob-property-description 'beamed-minimum-lengths list? "list of minimum stem lengths given beam multiplicity")
(grob-property-description 'beamed-stem-shorten number? "shorten beamed stems in forced direction")
(grob-property-description 'center-element ly-grob? "grob which will
be at the center of the group after aligning (when using
Align_interface::center_on_element). ")
-
+(grob-property-description 'chordChanges boolean? "only show changes in chord scheme?")
(grob-property-description 'collapse-height number? "Minimum height of system start delimiter. If smaller, the delimiter is removed.")
(grob-property-description 'column-space-strength number? "relative strength of space following breakable columns (eg. prefatory matter)")
(grob-property-description 'columns list? "list of grobs, typically containing paper-columns, list of note-columns")
'system-start-delimiter-interface
"#'style can be bar-line, bracket or brace"
'(collapse-height thickness arch-height arch-angle arch-thick
- arch-width bracket-thick bracket-width glyph )))
+ arch-width bracket-thick glyph )))
(define text-spanner-interface
(lily-interface
conversions.append (((1,3,120), conv, 'paper_xxx -> paperXxxx, pedalup -> pedalUp.'))
+if 1:
+ def conv (str):
+ str = re.sub ('drarnChords', 'chordChanges', str)
+ return str
+
+ conversions.append (((1,3,122), conv, 'drarnChords -> chordChanges'))
+
+
############################
dnl aclocal.m4 -*-shell-script-*-
dnl StepMake subroutines for configure.in
-function base ()
-{
- expr "$1" : "\(/[^/]*\)"
-}
-
-function unbase ()
-{
- expr "$1" : "/[^/]*\(.*\)"
-}
-
-function walk ()
-{
- from=`(cd "$1" && pwd)`
- to=`pwd`
- t=`base "$to"`
- f=`base "$from"`
- while [ -n "$t" -a "$t" = "$f" ]; do
- to=`unbase "$to"`
- from=`unbase "$from"`
- t=`base "$to"`
- f=`base "$from"`
- done
- echo ..$to
-}
-
AC_DEFUN(AC_STEPMAKE_BIBTEX2HTML, [
AC_CHECK_PROGS(BIBTEX2HTML, bibtex2html bib2html, error)
if test "$BIBTEX2HTML" = "bib2html"; then
projects / lilypond.git / commitdiff