info: $(INFO_FILES)
-pathsettings:
- @echo export PATH=$(PATH)
@echo export LILYPOND_DATADIR=$(LILYPOND_DATADIR)
@echo export PYTHONPATH=$(PYTHONPATH)
$(outdir)/lilypond/index.html: $(outdir)/lilypond.texi $(OUT_PNG_IMAGES) $(OUT_EPS_IMAGES)
mkdir -p $(dir $@)
$(MAKEINFO) -I$(outdir) --output=$(outdir)/lilypond --css-include=$(top-src-dir)/Documentation/texinfo.css --html $<
+# we /might/ switch to texi2html if it can be fixed:
+# texi2html -I $(outdir) --output=$(outdir)/lilypond --css-include=$(top-src-dir)/Documentation/texinfo.css $<
find $(outdir)/lilypond/ -name '*'.png -o -name '*'.ly | xargs rm -f
# symbolic links to save space
(cd $(outdir)/lilypond/ ; ln -sf ../*.png ../*.ly . )
Here are all subtopics at a glance:
+@menu
+* Ancient TODO::
+@end menu
+
+@node Ancient TODO
+@subsection Ancient TODO
+
+
+
@menu
* Ancient note heads::
* Ancient accidentals::
* Figured bass::
@end menu
-
-
-@anchor{Ancient note heads}
+@node Ancient note heads
@unnumberedsubsubsec Ancient note heads
@cindex note heads, ancient
@ref{Note head styles}, gives an overview over all available note head styles.
-@anchor{Ancient accidentals}
+@node Ancient accidentals
@unnumberedsubsubsec Ancient accidentals
@cindex accidentals
Examples: @lsrdir{ancient}
-@anchor{Ancient rests}
+@node Ancient rests
@unnumberedsubsubsec Ancient rests
@cindex rests, ancient
rests.
-@anchor{Ancient clefs}
+@node Ancient clefs
@unnumberedsubsubsec Ancient clefs
@cindex clefs
-@anchor{Ancient flags}
+@node Ancient flags
@unnumberedsubsubsec Ancient flags
@cindex flags
features of classical notation (which however are typically out of
scope for mensural notation).
-@anchor{Ancient time signatures}
+@node Ancient time signatures
@unnumberedsubsubsec Ancient time signatures
@cindex time signatures
The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
addressable with @code{\time}. Use a @code{\markup} instead
-@anchor{Ancient articulations}
+@node Ancient articulations
@unnumberedsubsubsec Ancient articulations
@cindex articulations
The episem line is not displayed in many cases. If it is displayed,
the right end of the episem line is often too far to the right.
-@anchor{Custodes}
+@node Custodes
@unnumberedsubsubsec Custodes
@cindex custos
@lsr{ancient,custodes@/.ly}.
-@anchor{Divisiones}
+@node Divisiones
@unnumberedsubsubsec Divisiones
@cindex divisio
Examples: @lsr{expressive,breathing-sign.ly}.
-@anchor{Ligatures}
+@node Ligatures
@unnumberedsubsubsec Ligatures
@cindex Ligatures
* Gregorian square neumes ligatures::
@end menu
-@anchor{White mensural ligatures}
+@node White mensural ligatures
@unnumberedsubsubsec White mensural ligatures
@cindex Mensural ligatures
Horizontal spacing is poor.
-@anchor{Gregorian square neumes ligatures}
+@node Gregorian square neumes ligatures
@unnumberedsubsubsec Gregorian square neumes ligatures
@cindex Square neumes ligatures
unary music function, such that @code{\augmentum} can be intermixed
with head prefixes in arbitrary order.
-@anchor{Gregorian Chant contexts}
+@node Gregorian Chant contexts
@unnumberedsubsubsec Gregorian Chant contexts
@cindex VaticanaVoiceContext
@end lilypond
-@anchor{Mensural contexts}
+@node Mensural contexts
@unnumberedsubsubsec Mensural contexts
@cindex MensuralVoiceContext
}
@end lilypond
-@anchor{Musica ficta accidentals}
+@node Musica ficta accidentals
@unnumberedsubsubsec Musica ficta accidentals
In European music from before about 1600, singers were often expected
Program reference: @internalsref{Accidental_engraver} engraver and the
@internalsref{AccidentalSuggestion} object.
-@anchor{Figured bass}
+@node Figured bass
@unnumberedsubsubsec Figured bass
@cindex Basso continuo
@node Chords Blah
@section Chords Blah
+Intro text.
+
@menu
+* TODO chords fix::
@end menu
+@node TODO chords fix
+@subsection TODO chords fix
+
@c awkward name; awkward section name.
@c still, the Basic "chords" seems like a good name... :(
-@anchor{Introducing chord names}
+@menu
+* Introducing chord names::
+* Chords mode::
+* Printing chord names::
+@end menu
+
+@node Introducing chord names
@unnumberedsubsubsec Introducing chord names
@cindex chord names
@end example
-@anchor{Chords mode}
+@node Chords mode
@unnumberedsubsubsec Chords mode
@cindex Chords mode
@end lilypond
-@anchor{Printing chord names}
+@node Printing chord names
@unnumberedsubsubsec Printing chord names
@cindex printing chord names
@node Note heads
@subsection Note heads
-@anchor{Easy notation note heads}
+@menu
+* Easy notation note heads::
+* Shape note heads::
+* Improvisation::
+* Special noteheads::
+@end menu
+
+@node Easy notation note heads
@unnumberedsubsubsec Easy notation note heads
@cindex note heads, practice
@code{\setEasyHeads}
-@anchor{Shape note heads}
+@node Shape note heads
@unnumberedsubsubsec Shape note heads
@cindex note heads, shape
@end lilypond
-@anchor{Improvisation}
+@node Improvisation
@unnumberedsubsubsec Improvisation
Improvisation is sometimes denoted with slashed note heads. Such note
@end lilypond
-@anchor{Special noteheads}
+@node Special noteheads
@unnumberedsubsubsec Special noteheads
@cindex note heads, special
@subsection Inside the staff
-@anchor{Selecting notation font size}
+@menu
+* Selecting notation font size::
+* Fingering instructions::
+* Hidden notes::
+* Coloring objects::
+* Parentheses::
+* Ambitus::
+* Stems::
+@end menu
+
+@node Selecting notation font size
@unnumberedsubsubsec Selecting notation font size
The easiest method of setting the font size of any context is by
@code{\normalsize}.
-@anchor{Fingering instructions}
+@node Fingering instructions
@unnumberedsubsubsec Fingering instructions
@cindex fingering
-@anchor{Hidden notes}
+@node Hidden notes
@unnumberedsubsubsec Hidden notes
@cindex Hidden notes
@end lilypond
-@anchor{Coloring objects}
+@node Coloring objects
@unnumberedsubsubsec Coloring objects
Individual objects may be assigned colors. You may use the
for details.
-@anchor{Parentheses}
+@node Parentheses
@unnumberedsubsubsec Parentheses
@cindex ghost notes
@end example
-@anchor{Ambitus}
+@node Ambitus
@unnumberedsubsubsec Ambitus
@cindex ambitus
ambitus.
-@anchor{Stems}
+@node Stems
@unnumberedsubsubsec Stems
Whenever a note is found, a @internalsref{Stem} object is created
@subsection Outside the staff
-@anchor{Balloon help}
+@menu
+* Balloon help::
+* Grid lines::
+* Blank music sheet::
+@end menu
+
+@node Balloon help
@unnumberedsubsubsec Balloon help
Elements of notation can be marked and named with the help of a square
Program reference: @internalsref{text-balloon-interface}.
-@anchor{Grid lines}
+@node Grid lines
@unnumberedsubsubsec Grid lines
Vertical lines can be drawn between staves synchronized with
Examples: @lsrdir{education}
-@anchor{Blank music sheet}
+@node Blank music sheet
@unnumberedsubsubsec Blank music sheet
@cindex Sheet music, empty
@subsection Attached to notes
-@anchor{Articulations}
+@menu
+* Articulations::
+* Dynamics::
+@end menu
+
+@node Articulations
@unnumberedsubsubsec Articulations
@cindex Articulations
MIDI rendering of the music.
-@anchor{Dynamics}
+@node Dynamics
@unnumberedsubsubsec Dynamics
@cindex Dynamics
@node Curves
@subsection Curves
-@anchor{Ties}
+@menu
+* Ties::
+* Slurs::
+* Phrasing slurs::
+* Laissez vibrer ties::
+* Breath marks::
+* Falls and doits::
+@end menu
+
+@node Ties
@unnumberedsubsubsec Ties
@cindex tie
well-defined. In these cases, a slur may be preferable.
-@anchor{Slurs}
+@node Slurs
@unnumberedsubsubsec Slurs
@cindex Slurs
Program reference: @internalsref{Slur}.
-@anchor{Phrasing slurs}
+@node Phrasing slurs
@unnumberedsubsubsec Phrasing slurs
@cindex phrasing slurs
Program reference: @internalsref{PhrasingSlur}.
-@anchor{Laissez vibrer ties}
+@node Laissez vibrer ties
@unnumberedsubsubsec Laissez vibrer ties
@cindex Laissez vibrer
@cindex Ties, laissez vibrer
@lsr{connecting,laissez-vibrer-ties.ly}
-@anchor{Breath marks}
+@node Breath marks
@unnumberedsubsubsec Breath marks
Breath marks are entered using @code{\breathe}
Examples: @lsr{expressive,breathing-sign.ly}
-@anchor{Falls and doits}
+@node Falls and doits
@unnumberedsubsubsec Falls and doits
Falls and doits can be added to notes using the @code{\bendAfter}
@node Lines
@subsection Lines
-@anchor{Glissando}
+@menu
+* Glissando::
+* Arpeggio::
+* Trills::
+* Analysis brackets::
+@end menu
+
+@node Glissando
@unnumberedsubsubsec Glissando
@cindex Glissando
Printing text over the line (such as @emph{gliss.}) is not supported.
-@anchor{Arpeggio}
+@node Arpeggio
@unnumberedsubsubsec Arpeggio
@cindex Arpeggio
arpeggios in one @internalsref{PianoStaff} at the same point in time.
-@anchor{Trills}
+@node Trills
@unnumberedsubsubsec Trills
Short trills are printed like normal articulation; see @ref{Articulations}.
Program reference: @internalsref{TrillSpanner}.
-@anchor{Analysis brackets}
+@node Analysis brackets
@unnumberedsubsubsec Analysis brackets
@cindex brackets
@cindex phrasing brackets
@cindex tablature
@cindex guitar tablature
+@menu
+* Guitar TODO::
+@end menu
+
+@node Guitar TODO
+@subsection Guitar TODO
+
@menu
* String number indications::
* Tablatures basic::
* Other guitar issues::
@end menu
-@anchor{String number indications}
+@node String number indications
@unnumberedsubsubsec String number indications
@cindex String numbers
@lsr{guitar/,string-number.ly}.
-@anchor{Tablatures basic}
+@node Tablatures basic
@unnumberedsubsubsec Tablatures basic
@cindex Tablatures basic
@end lilypond
-@anchor{Non-guitar tablatures}
+@node Non-guitar tablatures
@unnumberedsubsubsec Non-guitar tablatures
@cindex Non-guitar tablatures
-@anchor{Banjo tablatures}
+@node Banjo tablatures
@unnumberedsubsubsec Banjo tablatures
@cindex Banjo tablatures
The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings.
-@anchor{Fret diagrams}
+@node Fret diagrams
@unnumberedsubsubsec Fret diagrams
@cindex fret diagrams
@cindex chord diagrams
Examples: @lsrdir{guitar}
-@anchor{Right hand fingerings}
+@node Right hand fingerings
@unnumberedsubsubsec Right hand fingerings
Right hand fingerings in chords can be entered using
-@anchor{Other guitar issues}
+@node Other guitar issues
@unnumberedsubsubsec Other guitar issues
This example demonstrates how to include guitar position and
@node Orchestral strings
@subsection Orchestral strings
-@anchor{Artificial harmonics (strings)}
+@menu
+* Artificial harmonics (strings)::
+@end menu
+
+@node Artificial harmonics (strings)
@unnumberedsubsubsec Artificial harmonics (strings)
@cindex artificial harmonics
@node Bagpipe
@subsection Bagpipe
-@anchor{Bagpipe definitions}
+@menu
+* Bagpipe definitions::
+* Bagpipe example::
+@end menu
+
+@node Bagpipe definitions
@unnumberedsubsubsec Bagpipe definitions
LilyPond contains special definitions for music for the Scottish
music.
-@anchor{Bagpipe example}
+@node Bagpipe example
@unnumberedsubsubsec Bagpipe example
This is what the well known tune Amazing Grace looks like in bagpipe
* Educational use:: Special notation to increase legibility.
* Text:: Adding text to scores.
-* Vocal music::
-* Chords Blah::
-* Piano music::
-* Percussion::
-* Guitar::
-* Other instrument-specific::
-* Ancient notation::
+* Vocal music:: a
+* Chords Blah:: b
+* Piano music:: c
+* Percussion:: d
+* Guitar:: e
+* Other instrument-specific:: f
+* Ancient notation:: g
@end menu
-@include pitch.itely
+@include pitches.itely
@include rhythms.itely
@include expressive.itely
@include repeats.itely
@node Percussion
@section Percussion
+@menu
+* TODO percussion node fix::
+@end menu
+
+@node TODO percussion node fix
+@subsection TODO percussion node fix
+
Rhythmic music is primarily used for percussion and drum notation, but it can
also be used to show the rhythms of melodies.
@end menu
-@anchor{Showing melody rhythms}
+@node Showing melody rhythms
@unnumberedsubsubsec Showing melody rhythms
Sometimes you might want to show only the rhythm of a melody. This
Program reference: @internalsref{RhythmicStaff}.
-@anchor{Entering percussion}
+@node Entering percussion
@unnumberedsubsubsec Entering percussion
@cindex percussion
Program reference: @internalsref{note-event}.
-@anchor{Percussion staves}
+@node Percussion staves
@unnumberedsubsubsec Percussion staves
@cindex percussion
@cindex drums
@c FIXME: check name -gp
-@anchor{Ghost notes}
+@node Ghost notes
@unnumberedsubsubsec Ghost notes
Ghost notes for drums and percussion may be created using the
@node Piano music
@section Piano music
+@menu
+* TODO piano node fix::
+@end menu
+
+@node TODO piano node fix
+@subsection TODO piano node fix
+
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
@internalsref{PianoStaff} and some other pianistic peculiarities.
@menu
+* Automatic staff changes::
+* Manual staff switches::
+* Pedals::
+* Staff switch lines::
+* Cross staff stems::
@end menu
@refbugs
@cindex distance between staves in piano music
-@anchor{Automatic staff changes}
+@node Automatic staff changes
@unnumberedsubsubsec Automatic staff changes
@cindex Automatic staff changes
@code{\autochange} cannot be inside @code{\times}.
-@anchor{Manual staff switches}
+@node Manual staff switches
@unnumberedsubsubsec Manual staff switches
@cindex manual staff switches
@end example
-@anchor{Pedals}
+@node Pedals
@unnumberedsubsubsec Pedals
@cindex Pedals
In this manual: @ref{Laissez vibrer ties}.
-@anchor{Staff switch lines}
+@node Staff switch lines
@unnumberedsubsubsec Staff switch lines
@code{\hideStaffSwitch}.
-@anchor{Cross staff stems}
+@node Cross staff stems
@unnumberedsubsubsec Cross staff stems
Chords that cross staves may be produced by increasing the length
--- /dev/null
+@c -*- coding: utf-8; mode: texinfo; -*-
+
+
+@node Pitches
+@section Pitches
+
+This section discusses how to specify the pitch of notes.
+
+@menu
+* Writing pitches::
+* Changing multiple pitches::
+* Displaying pitches::
+@end menu
+
+
+@node Writing pitches
+@subsection Writing pitches
+
+Into text.
+
+@menu
+* Normal pitches::
+* Accidentals::
+* Cautionary accidentals::
+* Micro tones::
+* Note names in other languages::
+@end menu
+
+
+@node Normal pitches
+@unnumberedsubsubsec Normal pitches
+
+@cindex Pitch names
+@cindex pitches
+
+A pitch name is specified using lowercase letters @code{a} through @code{g}.
+An ascending C-major scale is engraved with
+
+@lilypond[quote,fragment,verbatim,ragged-right]
+\clef bass
+c d e f g a b c'
+@end lilypond
+
+The note name @code{c} is engraved one octave below middle C.
+
+@lilypond[quote,fragment,verbatim,ragged-right]
+\clef treble
+c1
+\clef bass
+c1
+@end lilypond
+
+@funindex '
+@funindex ,
+
+The optional octave specification takes the form of a series of
+single quote (@samp{'}) characters or a series of comma
+(@samp{,}) characters. Each @samp{'} raises the pitch by one
+octave; each @samp{,} lowers the pitch by an octave.
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\clef treble
+c' c'' e' g d'' d' d c
+\clef bass
+c, c,, e, g d,, d, d c
+@end lilypond
+
+An alternate method may be used to declare which octave to
+engrave a pitch; this method does not require as many
+octave specifications (@code{'} and @code{,}). See
+@ref{Relative octaves}.
+
+
+@node Accidentals
+@unnumberedsubsubsec Accidentals
+
+@cindex note names, Dutch
+@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.
+
+@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
+@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
+@end lilypond
+
+A natural will cancel the effect of an accidental or key signature.
+However, naturals are not encoded into the note name syntax with a
+suffix; a natural pitch is shown as a simple note name
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+a4 aes a2
+@end lilypond
+
+The input @code{d e f} is interpreted as @q{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
+@rlearning{Accidentals and key signatures}.
+
+@lilypond[fragment,quote,ragged-right,verbatim,relative]
+\key d \major
+d e f g
+d e fis g
+@end lilypond
+
+
+@commonprop
+
+In accordance with standard typesetting rules, a natural sign is printed
+before a sharp or flat if a previous accidental needs to be
+cancelled. To change this behavior, use
+@code{\set Staff.extraNatural = ##f}
+
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+ceses4 ces cis c
+\set Staff.extraNatural = ##f
+ceses4 ces cis c
+@end lilypond
+
+
+@seealso
+
+Program reference: @internalsref{LedgerLineSpanner},
+@internalsref{NoteHead}.
+
+
+@node Cautionary accidentals
+@unnumberedsubsubsec Cautionary accidentals
+
+@cindex accidental, reminder
+@cindex accidental, cautionary
+@cindex accidental, parenthesized
+@cindex reminder accidental
+@funindex ?
+@cindex cautionary accidental
+@cindex parenthesized accidental
+@funindex !
+
+Normally accidentals are printed automatically, but you may also
+print them manually. A reminder accidental
+can be forced by adding an exclamation mark @code{!}
+after the pitch. A cautionary accidental
+(i.e., an accidental within parentheses) can be obtained by adding the
+question mark @samp{?} after the pitch. These extra accidentals
+can be used to produce natural signs, too.
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+cis cis cis! cis? c c? c! c
+@end lilypond
+
+
+@seealso
+
+The automatic production of accidentals can be tuned in many
+ways. For more information, see @ref{Automatic accidentals}.
+
+
+@node Micro tones
+@unnumberedsubsubsec Micro tones
+
+@cindex quarter tones
+@cindex semi-flats, semi-sharps
+
+Half-flats and half-sharps are formed by adding @code{-eh} and
+@code{-ih}; the following is a series of Cs with increasing pitches
+
+@lilypond[verbatim,ragged-right,quote,relative=2,fragment]
+\set Staff.extraNatural = ##f
+ceseh ceh cih cisih
+@end lilypond
+
+Micro tones are also exported to the MIDI file.
+
+
+@refbugs
+
+There are no generally accepted standards for denoting
+three-quarter flats, so LilyPond's symbol does not conform to any
+standard.
+
+
+@node Note names in other languages
+@unnumberedsubsubsec Note names in other languages
+
+There are predefined sets of note names for various other languages.
+To use them, include the language specific init file. For
+example, add @code{\include "english.ly"} to the top of the input
+file. The available language files
+and the note names they define are
+
+@c Should this be made into a multitable?
+@cindex note names, other languages
+@example
+ Note Names sharp flat double double
+ sharp flat
+
+nederlands.ly c d e f g a bes b -is -es -isis -eses
+english.ly c d e f g a bf b -s/-sharp -f/-flat -ss/-x/ -ff/
+ -sharpsharp -flatflat
+deutsch.ly c d e f g a b h -is -es -isis -eses
+norsk.ly c d e f g a b h -iss/-is -ess/-es -ississ/-isis -essess/-eses
+svenska.ly c d e f g a b h -iss -ess -ississ -essess
+italiano.ly do re mi fa sol la sib si -d -b -dd -bb
+catalan.ly do re mi fa sol la sib si -d/-s -b -dd/-ss -bb
+espanol.ly do re mi fa sol la sib si -s -b -ss -bb
+@end example
+
+@noindent
+Note that in Dutch, German, Norwegian, and Swedish, the flat
+alterations of @samp{a} like for example @code{aes} and @code{aeses}
+are usually contracted to @code{as} and @code{ases} (or more commonly
+@code{asas}). Sometimes only these contracted names are defined in the
+corresponding language files (this also applies to the suffixes for
+quartertones below).
+
+@noindent
+Some music uses microtones whose alterations are fractions of a
+@q{regular} sharp or flat. The note names for quartertones defined in
+the various language files are listed in the following table. Here the
+prefixes @q{semi-} and @q{sesqui-} mean @q{half} and @q{one and a
+half}, respectively. For Norwegian, Swedish, Catalan and Spanish no
+special names have been defined yet.
+@c What about Turkish Maquam music and similar microtonal systems?
+@c
+@c Note that the term "three-quarter-sharp/-flat" used in lilypond's source code
+@c is actually misleading since the alteration is in fact one and a half
+@c of a regular sharp/flat. Whence the naming "sesqui-sharp/-flat" used below.
+
+@example
+ Note Names semi- semi- sesqui- sesqui-
+ sharp flat sharp flat
+
+nederlands.ly c d e f g a bes b -ih -eh -isih -eseh
+english.ly c d e f g a bf b -qs -qf -tqs -tqf
+deutsch.ly c d e f g a b h -ih -eh -isih -eseh
+norsk.ly c d e f g a b h
+svenska.ly c d e f g a b h
+italiano.ly do re mi fa sol la sib si -sd -sb -dsd -bsb
+catalan.ly do re mi fa sol la sib si
+espanol.ly do re mi fa sol la sib si
+@end example
+
+
+@node Changing multiple pitches
+@subsection Changing multiple pitches
+
+@menu
+* Relative octaves::
+* Octave check::
+* Transpose::
+@end menu
+
+@node Relative octaves
+@unnumberedsubsubsec Relative octaves
+
+@cindex Relative
+@cindex Relative octave specification
+@funindex \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
+in the wrong octave and hard to find such an error. The relative
+octave mode prevents these errors by making the mistakes much
+larger: a single error puts the rest of the piece off by one octave
+
+@example
+\relative @var{startpitch} @var{musicexpr}
+@end example
+
+@noindent
+or
+
+@example
+\relative @var{musicexpr}
+@end example
+
+@noindent
+@code{c'} is used as the default if no starting pitch is defined.
+
+The octave of notes that appear in @var{musicexpr} are calculated as
+follows: if no octave changing marks are used, the basic interval
+between this and the last note is always taken to be a fourth or
+less. This distance is determined without regarding alterations; a
+@code{fisis} following a @code{ceses} will be put above the
+@code{ceses}. In other words, a doubly-augmented fourth is considered
+a smaller interval than a diminished fifth, even though the
+doubly-augmented fourth spans seven semitones while the diminished
+fifth only spans six semitones.
+
+The octave changing marks @code{'} and @code{,} can be added to raise
+or lower the pitch by an extra octave. Upon entering relative mode,
+an absolute starting pitch can be specified that will act as the
+predecessor of the first note of @var{musicexpr}. If no starting pitch
+is specified, then middle C is used as a start.
+
+Here is the relative mode shown in action
+@lilypond[quote,fragment,ragged-right,verbatim]
+\relative c'' {
+ b c d c b c bes a
+}
+@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
+
+If the preceding item is a chord, the first note of the chord is used
+to determine the first note of the next chord
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\relative c' {
+ c <c e g>
+ <c' e g>
+ <c, e' g>
+}
+@end lilypond
+
+The pitch after @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
+relative within transposed music, an additional @code{\relative} must
+be placed inside @code{\transpose}.
+
+
+@node Octave check
+@unnumberedsubsubsec Octave check
+
+@cindex Octave check
+
+Octave checks make octave errors easier to correct: a note may be
+followed by @code{=}@var{quotes} which indicates what its absolute
+octave should be. In the following example,
+
+@example
+\relative c'' @{ c='' b=' d,='' @}
+@end example
+
+@noindent
+the @code{d} will generate a warning, because a @code{d''} is expected
+(because @code{b'} to @code{d''} is only a third), but a @code{d'} is
+found. In the output, the octave is corrected to be a @code{d''} and
+the next note is calculated relative to @code{d''} instead of @code{d'}.
+
+There is also an octave check that produces no visible output. The syntax
+
+@example
+\octave @var{pitch}
+@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
+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 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
+once again.
+
+@example
+\relative c' @{
+ e
+ \octave a'
+ \octave b'
+@}
+@end example
+
+
+The octave of a note following an octave check is determined with
+respect to the note preceding it. In the next fragment, the last note
+is an @code{a'}, above middle C. That means that the @code{\octave}
+check passes successfully, so the check could be deleted without changing
+the output of the piece.
+
+@lilypond[quote,ragged-right,verbatim,fragment]
+\relative c' {
+ e
+ \octave b
+ a
+}
+@end lilypond
+
+
+@node Transpose
+@unnumberedsubsubsec Transpose
+
+@cindex Transpose
+@cindex Transposition of pitches
+@funindex \transpose
+
+A music expression can be transposed with @code{\transpose}. The
+syntax is
+@example
+\transpose @var{from} @var{to} @var{musicexpr}
+@end example
+
+This means that @var{musicexpr} is transposed by the interval between
+the pitches @var{from} and @var{to}: any note with pitch @code{from}
+is changed to @code{to}.
+
+For example, consider a piece written in the key of D-major. If
+this piece is a little too low for its performer, it can be
+transposed up to E-major with
+@example
+\transpose d e @dots{}
+@end example
+
+Consider a part written for violin (a C instrument). If
+this part is to be played on the A clarinet (for which an
+A is notated as a C, and which sounds a minor third lower
+than notated), the following
+transposition will produce the appropriate part
+
+@example
+\transpose a c @dots{}
+@end example
+
+@code{\transpose} distinguishes between enharmonic pitches: both
+@code{\transpose c cis} or @code{\transpose c des} will transpose up
+half a tone. The first version will print sharps and the second
+version will print flats
+
+@lilypond[quote,ragged-right,verbatim]
+mus = { \key d \major cis d fis g }
+\new Staff {
+ \clef "F" \mus
+ \clef "G"
+ \transpose c g' \mus
+ \transpose c f' \mus
+}
+@end lilypond
+
+@code{\transpose} may also be used to input written notes for a
+transposing instrument. Pitches are normally entered into LilyPond
+in C (or @q{concert pitch}), but they may be entered in another
+key. For example, when entering music for a B-flat trumpet which
+begins on concert D, one would write
+
+@example
+\transpose c bes @{ e4 @dots{} @}
+@end example
+
+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}
+
+@example
+\transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
+@end example
+
+
+@seealso
+
+Program reference: @internalsref{TransposedMusic}.
+
+Example: @lsr{scheme,transpose-pitches-with-minimum-accidentals.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{\transpose}.
+
+
+@node Displaying pitches
+@subsection Displaying pitches
+
+@menu
+* Clef::
+* Key signature::
+* Ottava brackets::
+* Instrument transpositions::
+@end menu
+
+@node Clef
+@unnumberedsubsubsec Clef
+
+@funindex \clef
+
+The clef indicates which lines of the staff correspond to which
+pitches. The clef is set with the @code{\clef} command
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+{ c''2 \clef alto g'2 }
+@end lilypond
+
+@cindex treble clef
+@cindex violin clef
+@cindex alto clef
+@cindex tenor clef
+@cindex bass clef
+@cindex french clef
+@cindex soprano clef
+@cindex mezzosoprano clef
+@cindex baritone clef
+@cindex varbaritone clef
+@cindex subbass clef
+
+Supported clefs include
+
+@multitable @columnfractions .33 .66
+@headitem Clef @tab Position
+@item @code{treble}, violin, G, G2 @tab
+G clef on 2nd line
+@item @code{alto, C} @tab
+C clef on 3rd line
+@item @code{tenor} @tab
+C clef on 4th line.
+@item @code{bass, F} @tab
+F clef on 4th line
+@item @code{french} @tab
+G clef on 1st line, so-called French violin clef
+@item @code{soprano} @tab
+C clef on 1st line
+@item @code{mezzosoprano} @tab
+C clef on 2nd line
+@item @code{baritone} @tab
+C clef on 5th line
+@item @code{varbaritone} @tab
+F clef on 3rd line
+@item @code{subbass} @tab
+F clef on 5th line
+@item @code{percussion} @tab
+percussion clef
+@item @code{tab} @tab
+tablature clef
+@end multitable
+
+By adding @code{_8} or @code{^8} to the clef name, the clef is
+transposed one octave down or up, respectively, and @code{_15} and
+@code{^15} transposes by two octaves. The argument @var{clefname}
+must be enclosed in quotes when it contains underscores or digits. For
+example,
+
+@cindex choral tenor clef
+@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
+\clef "G_8" c4
+@end lilypond
+
+
+@commonprop
+
+The command @code{\clef "treble_8"} is equivalent to setting
+@code{clefGlyph},
+@code{clefPosition} (which controls the Y position of the clef),
+@code{middleCPosition} and @code{clefOctavation}. A clef is printed
+when any of these properties are changed. The following example shows
+possibilities when setting properties manually.
+
+@lilypond[quote,ragged-right,verbatim]
+{
+ \set Staff.clefGlyph = #"clefs.F"
+ \set Staff.clefPosition = #2
+ c'4
+ \set Staff.clefGlyph = #"clefs.G"
+ c'4
+ \set Staff.clefGlyph = #"clefs.C"
+ c'4
+ \set Staff.clefOctavation = #7
+ c'4
+ \set Staff.clefOctavation = #0
+ \set Staff.clefPosition = #0
+ c'4
+ \clef "bass"
+ c'4
+ \set Staff.middleCPosition = #4
+ c'4
+}
+@end lilypond
+
+
+@seealso
+
+Manual: @ref{Grace notes}.
+
+Program reference: @internalsref{Clef}.
+
+
+@node Key signature
+@unnumberedsubsubsec Key signature
+
+@cindex Key signature
+@funindex \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
+staff.
+
+Setting or changing the key signature is done with the @code{\key}
+command
+
+@example
+@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
+@cindex church modes
+
+Here, @var{type} should be @code{\major} or @code{\minor} to get
+@var{pitch}-major or @var{pitch}-minor, respectively. You may also
+use the standard mode names (also called @q{church modes}): @code{\ionian},
+@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
+@code{\phrygian}, and @code{\dorian}.
+
+This command sets the context property
+@code{Staff.keySignature}. Non-standard key signatures
+can be specified by setting this property directly.
+
+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 @rlearning{Accidentals
+and key signatures}.
+
+@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
+\key g \major
+f1
+fis
+@end lilypond
+
+
+@commonprop
+
+A natural sign is printed to cancel any previous accidentals. This
+can be suppressed by setting the @code{Staff.printKeyCancellation}
+property.
+
+@lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
+\key d \major
+a b cis d
+\key g \minor
+a bes c d
+\set Staff.printKeyCancellation = ##f
+\key d \major
+a b cis d
+\key g \minor
+a bes c d
+@end lilypond
+
+
+@seealso
+
+Program reference: @internalsref{KeyCancellation},
+@internalsref{KeySignature}.
+
+
+@node Ottava brackets
+@unnumberedsubsubsec Ottava brackets
+
+@q{Ottava} brackets introduce an extra transposition of an octave for
+the staff. They are created by invoking the function
+@code{set-octavation}
+
+@cindex ottava
+@cindex 15ma
+@cindex octavation
+
+@lilypond[quote,ragged-right,verbatim,fragment]
+\relative c''' {
+ a2 b
+ #(set-octavation 1)
+ a b
+ #(set-octavation 0)
+ a b
+}
+@end lilypond
+
+The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
+and -2 (for 15ma bassa) as arguments. Internally the function sets the properties
+@code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and
+@code{centralCPosition}. For overriding the text of the bracket, set
+@code{ottavation} after invoking @code{set-octavation}, i.e.,
+
+@lilypond[quote,ragged-right,verbatim]
+{
+ #(set-octavation 1)
+ \set Staff.ottavation = #"8"
+ c'''
+}
+@end lilypond
+
+
+@seealso
+
+Program reference: @internalsref{OttavaBracket}.
+
+
+@refbugs
+
+@code{set-octavation} will get confused when clef changes happen
+during an octavation bracket.
+
+
+@node Instrument transpositions
+@unnumberedsubsubsec Instrument transpositions
+
+@cindex transposition, MIDI
+@cindex transposition, instrument
+
+The key of a transposing instrument can also be specified. This
+applies to many wind instruments, for example, clarinets (B-flat, A, and
+E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
+
+The transposition is entered after the keyword @code{\transposition}
+
+@example
+\transposition bes %% B-flat clarinet
+@end example
+
+@noindent
+This command sets the property @code{instrumentTransposition}. The value of
+this property is used for MIDI output and quotations. It does not
+affect how notes are printed in the current staff. To change the printed
+output, see @ref{Transpose}.
+
+The pitch to use for @code{\transposition} should correspond to the
+real sound heard when a @code{c'} written on the staff is played by the
+transposing instrument. For example, when entering a score in
+concert pitch, typically all voices are entered in C, so
+they should be entered as
+
+@example
+clarinet = @{
+ \transposition c'
+ ...
+@}
+saxophone = @{
+ \transposition c'
+ ...
+@}
+@end example
+
+The command @code{\transposition} should be used when the music is
+entered from a (transposed) orchestral part. For example, in
+classical horn parts, the tuning of the instrument is often changed
+during a piece. When copying the notes from the part, use
+@code{\transposition}, e.g.,
+
+@example
+\transposition d'
+c'4^"in D"
+...
+\transposition g'
+c'4^"in G"
+...
+@end example
+
+
+
@node Writing repeats
@subsection Writing repeats
-@anchor{Repeat types}
+@menu
+* Repeat types::
+* Repeat syntax::
+* Manual repeat commands::
+* Repeats and MIDI::
+@end menu
+
+@node Repeat types
@unnumberedsubsubsec Repeat types
@cindex repeats
@end table
-@anchor{Repeat syntax}
+@node Repeat syntax
@unnumberedsubsubsec Repeat syntax
@cindex volta
@code{\partial}. Similarly, slurs or ties are also not repeated.
-@anchor{Manual repeat commands}
+@node Manual repeat commands
@unnumberedsubsubsec Manual repeat commands
@funindex repeatCommands
@internalsref{VoltaRepeatedMusic}, and
@internalsref{UnfoldedRepeatedMusic}.
-@anchor{Repeats and MIDI}
+@node Repeats and MIDI
@unnumberedsubsubsec Repeats and MIDI
@cindex expanding repeats
@node Other repeats
@subsection Other repeats
-@anchor{Tremolo repeats}
+@menu
+* Tremolo repeats::
+* Tremolo subdivisions::
+* Measure repeats::
+@end menu
+
+@node Tremolo repeats
@unnumberedsubsubsec Tremolo repeats
@cindex tremolo beams
Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
-@anchor{Tremolo subdivisions}
+@node Tremolo subdivisions
@unnumberedsubsubsec Tremolo subdivisions
@cindex tremolo marks
Elsewhere: @internalsref{StemTremolo}.
-@anchor{Measure repeats}
+@node Measure repeats
@unnumberedsubsubsec Measure repeats
@cindex percent repeats
@node Writing rhythms
@subsection Writing rhythms
-@anchor{Durations}
+@menu
+* Durations::
+* Augmentation dots::
+* Tuplets::
+* Scaling durations::
+@end menu
+
+@node Durations
@unnumberedsubsubsec Durations
@cindex duration
@end lilypond
-@anchor{Augmentation dots}
+@node Augmentation dots
@unnumberedsubsubsec Augmentation dots
@funindex .
Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
-@anchor{Tuplets}
+@node Tuplets
@unnumberedsubsubsec Tuplets
@cindex tuplets
-@anchor{Scaling durations}
+@node Scaling durations
@unnumberedsubsubsec Scaling durations
You can alter the length of duration by a fraction @var{N/M}
@node Writing rests
@subsection Writing rests
-@anchor{Rests}
+@menu
+* Rests::
+* Skips::
+* Multi measure rests::
+@end menu
+
+@node Rests
@unnumberedsubsubsec Rests
@cindex Rests
Program reference: @internalsref{Rest}.
-@anchor{Skips}
+@node Skips
@unnumberedsubsubsec Skips
@cindex Skip
Program reference: @internalsref{SkipMusic}.
-@anchor{Multi measure rests}
+@node Multi measure rests
@unnumberedsubsubsec Multi measure rests
@cindex multi measure rests
@node Displaying rhythms
@subsection Displaying rhythms
-@anchor{Time signature}
+@menu
+* Time signature::
+* Upbeats::
+* Unmetered music::
+* Polymetric notation::
+* Automatic note splitting::
+@end menu
+
+@node Time signature
@unnumberedsubsubsec Time signature
@cindex Time signature
@code{set-time-signature}.
-@anchor{Upbeats}
+@node Upbeats
@unnumberedsubsubsec Upbeats
@cindex anacrusis
occur.
-@anchor{Unmetered music}
+@node Unmetered music
@unnumberedsubsubsec Unmetered music
@cindex cadenza
to indicate where breaks can occur.
-@anchor{Polymetric notation}
+@node Polymetric notation
@unnumberedsubsubsec Polymetric notation
@cindex double time signatures
aligned vertically, but bar lines distort the regular spacing.
-@anchor{Automatic note splitting}
+@node Automatic note splitting
@unnumberedsubsubsec Automatic note splitting
Long notes can be converted automatically to tied notes. This is done
@node Beams
@subsection Beams
-@anchor{Automatic beams}
+@menu
+* Automatic beams::
+* Manual beams::
+* Feathered beams::
+@end menu
+
+@node Automatic beams
@unnumberedsubsubsec Automatic beams
LilyPond inserts beams automatically
Program reference: @internalsref{Beam}.
-@anchor{Manual beams}
+@node Manual beams
@unnumberedsubsubsec Manual beams
@cindex beams, manual
texts and accidentals.
-@anchor{Feathered beams}
+@node Feathered beams
@unnumberedsubsubsec Feathered beams
Feathered beams are printed by setting the @code{grow-direction}
@subsection Bars
-@anchor{Bar check}
+@menu
+* Bar check::
+* Bar lines::
+* Bar numbers::
+* Barnumber check::
+* Rehearsal marks::
+@end menu
+
+@node Bar check
@unnumberedsubsubsec Bar check
@cindex Bar check
@end lilypond
-@anchor{Bar lines}
+@node Bar lines
@unnumberedsubsubsec Bar lines
@cindex Bar lines
@internalsref{Staff} level), @internalsref{SpanBar} (across staves).
-@anchor{Bar numbers}
+@node Bar numbers
@unnumberedsubsubsec Bar numbers
@cindex Bar numbers
used to position the number correctly.
-@anchor{Barnumber check}
+@node Barnumber check
@unnumberedsubsubsec Barnumber check
When copying large pieces of music, it can be helpful to check that
is processed.
-@anchor{Rehearsal marks}
+@node Rehearsal marks
@unnumberedsubsubsec Rehearsal marks
@cindex Rehearsal marks
@subsection Special rhythmic concerns
-@anchor{Grace notes}
+@menu
+* Grace notes::
+* Aligning to cadenzas::
+* Time administration::
+* Proportional notation (introduction)::
+@end menu
+
+@node Grace notes
@unnumberedsubsubsec Grace notes
@funindex \grace
and might produce crashes or other errors.
-@anchor{Aligning to cadenzas}
+@node Aligning to cadenzas
@unnumberedsubsubsec Aligning to cadenzas
In an orchestral context, cadenzas present a special problem:
@end lilypond
-@anchor{Time administration}
+@node Time administration
@unnumberedsubsubsec Time administration
@cindex Time administration
seven sixteenths notes.
-@anchor{Proportional notation (introduction)}
+@node Proportional notation (introduction)
@unnumberedsubsubsec Proportional notation (introduction)
@cindex Proportional notation
@node Single voice
@subsection Single voice
-@anchor{Chords}
+@menu
+* Chords::
+* Clusters::
+@end menu
+
+@node Chords
@unnumberedsubsubsec Chords
@cindex Chords
For more information about chords, see @ref{Introducing chord names}.
-@anchor{Clusters}
+@node Clusters
@unnumberedsubsubsec Clusters
@cindex cluster
@node Multiple voices
@subsection Multiple voices
-@anchor{Basic polyphony}
+@menu
+* Basic polyphony::
+* Explicitly instantiating voices::
+* Collision Resolution::
+* Automatic part combining::
+* Writing music in parallel::
+@end menu
+
+@node Basic polyphony
@unnumberedsubsubsec Basic polyphony
@cindex polyphony
@code{noteA}.
-@anchor{Explicitly instantiating voices}
+@node Explicitly instantiating voices
@unnumberedsubsubsec Explicitly instantiating voices
@internalsref{Voice} contexts can also be instantiated manually
@end lilypond
-@anchor{Collision Resolution}
+@node Collision Resolution
@unnumberedsubsubsec Collision Resolution
Normally, note heads with a different number of dots are not merged, but
notation (see @ref{Clusters}).
-@anchor{Automatic part combining}
+@node Automatic part combining
@unnumberedsubsubsec Automatic part combining
@cindex automatic part combining
@cindex part combiner
will be ignored.
-@anchor{Writing music in parallel}
+@node Writing music in parallel
@unnumberedsubsubsec Writing music in parallel
@cindex Writing music in parallel
@node Displaying staves
@subsection Displaying staves
-@anchor{System start delimiters}
+@menu
+* System start delimiters::
+* Staff symbol::
+* Hiding staves::
+@end menu
+
+@node System start delimiters
@unnumberedsubsubsec System start delimiters
@cindex start of system
@end lilypond
-@anchor{Staff symbol}
+@node Staff symbol
@unnumberedsubsubsec Staff symbol
@cindex adjusting staff symbol
Examples: @lsrdir{staff}
-@anchor{Hiding staves}
+@node Hiding staves
@unnumberedsubsubsec Hiding staves
@cindex Frenched scores
@node Writing parts
@subsection Writing parts
-@anchor{Metronome marks}
+@menu
+* Metronome marks::
+* Instrument names::
+* Quoting other voices::
+* Formatting cue notes::
+@end menu
+
+@node Metronome marks
@unnumberedsubsubsec Metronome marks
@cindex Tempo
@end example
-@anchor{Instrument names}
+@node Instrument names
@unnumberedsubsubsec Instrument names
In an orchestral score, instrument names are printed at the left side
Program reference: @internalsref{InstrumentName}.
-@anchor{Quoting other voices}
+@node Quoting other voices
@unnumberedsubsubsec Quoting other voices
@cindex cues
Program reference: @internalsref{QuoteMusic}.
-@anchor{Formatting cue notes}
+@node Formatting cue notes
@unnumberedsubsubsec Formatting cue notes
@cindex cues, formatting
@node Writing text
@subsection Writing text
-@anchor{Text scripts}
+@menu
+* Text scripts::
+* Text and line spanners::
+* Text spanners::
+* Text marks::
+* New dynamic marks::
+@end menu
+
+@node Text scripts
@unnumberedsubsubsec Text scripts
@cindex Text scripts
Program reference: @internalsref{TextScript}.
-@anchor{Text and line spanners}
+@node Text and line spanners
@unnumberedsubsubsec Text and line spanners
Some performance indications, e.g., @i{rallentando} and
Examples: @lsr{expressive,line-styles.ly}, @lsr{expressive,line-arrows.ly}
-@anchor{Text spanners}
+@node Text spanners
@unnumberedsubsubsec Text spanners
@cindex Text spanners
Program reference: @internalsref{TextSpanner}.
-@anchor{Text marks}
+@node Text marks
@unnumberedsubsubsec Text marks
@cindex coda on bar line
-@anchor{New dynamic marks}
+@node New dynamic marks
@unnumberedsubsubsec New dynamic marks
It is possible to print new dynamic marks or text that should be aligned
@node Text markup
@subsection Text markup
-@anchor{Text markup introduction}
+@menu
+* Text markup introduction::
+* Nested scores::
+* Page wrapping text::
+* Font selection::
+@end menu
+
+@node Text markup introduction
@unnumberedsubsubsec Text markup introduction
@cindex markup
Syntax errors for markup mode are confusing.
-@anchor{Nested scores}
+@node Nested scores
@unnumberedsubsubsec Nested scores
It is possible to nest music inside markups, by adding a @code{\score}
}
@end lilypond
-@anchor{Page wrapping text}
+@node Page wrapping text
@unnumberedsubsubsec Page wrapping text
Whereas @code{\markup} is used to enter a non-breakable block of text,
@code{\markuplines} can be used at top-level to enter lines of text that
@funindex \markuplines
@code{\markuplines}
-@anchor{Font selection}
+@node Font selection
@unnumberedsubsubsec Font selection
@cindex font selection
@node TODO subsection vocal music
@subsection TODO subsection vocal music
-@anchor{Setting simple songs}
+@menu
+* Setting simple songs::
+* Entering lyrics::
+* Aligning lyrics to a melody::
+* Automatic syllable durations::
+* Another way of entering lyrics::
+* Assigning more than one syllable to a single note::
+* More than one note on a single syllable::
+* Extenders and hyphens::
+* Working with lyrics and identifiers::
+* Flexibility in placement::
+* Lyrics to multiple notes of a melisma::
+* Divisi lyrics::
+* Switching the melody associated with a lyrics line::
+* Lyrics independent of notes::
+* Spacing lyrics::
+* More about stanzas::
+* Other vocal issues::
+@end menu
+
+@node Setting simple songs
@unnumberedsubsubsec Setting simple songs
@cindex \addlyrics
-@anchor{Entering lyrics}
+@node Entering lyrics
@unnumberedsubsubsec Entering lyrics
@cindex lyrics
-@anchor{Aligning lyrics to a melody}
+@node Aligning lyrics to a melody
@unnumberedsubsubsec Aligning lyrics to a melody
@funindex \lyricmode
* Extenders and hyphens::
@end menu
-@anchor{Automatic syllable durations}
+@node Automatic syllable durations
@unnumberedsubsubsec Automatic syllable durations
@cindex automatic syllable durations
\new Lyrics \lyricsto "blah" @{ LYRICS @}
@end example
-@anchor{Another way of entering lyrics}
+@node Another way of entering lyrics
@unnumberedsubsubsec Another way of entering lyrics
Lyrics can also be entered without @code{\addlyrics} or
Program reference: @internalsref{Lyrics}.
-@anchor{Assigning more than one syllable to a single note}
+@node Assigning more than one syllable to a single note
@unnumberedsubsubsec Assigning more than one syllable to a single note
@c the new title might be more self-explanatory
-@anchor{More than one note on a single syllable}
+@node More than one note on a single syllable
@unnumberedsubsubsec More than one note on a single syllable
@cindex melisma
Melismata are not detected automatically, and extender lines must be
inserted by hand.
-@anchor{Extenders and hyphens}
+@node Extenders and hyphens
@unnumberedsubsubsec Extenders and hyphens
@cindex melisma
@internalsref{LyricHyphen}
-@anchor{Working with lyrics and identifiers}
+@node Working with lyrics and identifiers
@unnumberedsubsubsec Working with lyrics and identifiers
@cindex lyrics, identifiers
@internalsref{Lyrics}.
-@anchor{Flexibility in placement}
+@node Flexibility in placement
@unnumberedsubsubsec Flexibility in placement
Often, different stanzas of one song are put to one melody in slightly
@end menu
-@anchor{Lyrics to multiple notes of a melisma}
+@node Lyrics to multiple notes of a melisma
@unnumberedsubsubsec Lyrics to multiple notes of a melisma
One possibility is that the text has a melisma in one stanza, but
@end lilypond
-@anchor{Divisi lyrics}
+@node Divisi lyrics
@unnumberedsubsubsec Divisi lyrics
You can display alternate (or divisi) lyrics by naming voice
-@anchor{Switching the melody associated with a lyrics line}
+@node Switching the melody associated with a lyrics line
@unnumberedsubsubsec Switching the melody associated with a lyrics line
More complex variations in text underlay are possible. It is possible
@code{lahlah} to @code{associatedVoice}.
-@anchor{Lyrics independent of notes}
+@node Lyrics independent of notes
@unnumberedsubsubsec Lyrics independent of notes
In some complex vocal music, it may be desirable to place
@end lilypond
-@anchor{Spacing lyrics}
+@node Spacing lyrics
@unnumberedsubsubsec Spacing lyrics
@cindex Spacing lyrics
@end lilypond
-@anchor{More about stanzas}
+@node More about stanzas
@unnumberedsubsubsec More about stanzas
@cindex stanza number
-@anchor{Other vocal issues}
+@node Other vocal issues
@unnumberedsubsubsec Other vocal issues
@ignore
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