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Documentation patch
|
From: |
Mats Bengtsson |
|
Subject: |
Documentation patch |
|
Date: |
Sun, 01 Apr 2001 20:59:42 +0200 |
Hi,
I spent some time reviewing the tutorial.
I'll go on with the rest of the documentation.
Some questions/comments:
- Sect. 2.1 Introduction: Is it possible to specify the filenames
of the examples as they are located in the installation instead
of their location in the source tree?
- Sect. 2.2 First Tune: ``menuet'' is actually spellt ``minuet''
in english (I didn't change it though).
- Sect. 2.6 Orchestral Schore: Is there any reason to keep
\OrchestralScoreContext? It's identical to \ScoreContext nowadays.
Maybe StaffGroup deserves an explanation.
Is the `a2' in the typeset output a bug? It looks strange to me,
bug I'm not used to the notation.
- Sect. 2.8 Latex and texinfo: You already know that the examples
in this section don't look right (but might work if the document
was written in LaTeX).
- Sect. 2.8.3 Just in case: I don't know how to correct the last
sentence.
- Sect. 2.8.4 Examples: Impossible to understand the text on
marginspars (whatever that is?).
Another thing, why not make it optional in lilypond-book to
produce .eps and .png versions of every piece of music?
If you only want to produce a .dvi file, this takes more than
half the processing time but is never used in the output.
Also, why is it that I have to remove
Documentation/user/out/lilypond.dep before I can call
make -C Documentation/user/ out/lilypond.dvi
/Mats
Generated by (address unknown),
>From = lilypond-1.3.145, To = lilypond-1.3.145.mb1
usage
cd lilypond-source-dir; patch -E -p1 < lilypond-1.3.145.mb1.diff
Patches do not contain automatically generated files
or (urg) empty directories,
i.e., you should rerun autoconf, configure
diff -urN ../lilypond-1.3.145/CHANGES ./CHANGES
--- ../lilypond-1.3.145/CHANGES Sun Apr 1 15:26:59 2001
+++ ./CHANGES Sun Apr 1 20:14:00 2001
@@ -1,3 +1,8 @@
+1.3.145.mb1
+============
+
+* Tutorial and refman fixes
+
1.3.144.jcn4
============
diff -urN ../lilypond-1.3.145/Documentation/user/refman.itely
./Documentation/user/refman.itely
--- ../lilypond-1.3.145/Documentation/user/refman.itely Sun Apr 1 15:28:02 2001
+++ ./Documentation/user/refman.itely Sun Apr 1 19:29:38 2001
@@ -83,8 +83,8 @@
During these stages different types of data play the the main role:
during parsing, @strong{Music} objects are created. During the
-interpretation, @strong{context} is constructed, and with this context
-af network of @strong{graphical objects} (``grobs'') is created. The
+interpretation, @strong{context}s are constructed, and with these contexts
+a network of @strong{graphical objects} (``grobs'') is created. These
grobs contain unknown variables, and the network forms a set of
equations. After solving the equations and filling in these variables,
the printed output (in the form of @strong{molecules}) is written to an
@@ -93,7 +93,7 @@
These threemanship of tasks (parsing, translating, typesetting) and
data-structures (music, context, graphical objects) permeates the entire
design of the program. This manual is ordered in terms of user
-tasks. With each concept will be explained to which of the three parts
+tasks. For each concept, it will be explained to which of the three parts
it belongs.
@@ -235,7 +235,7 @@
@lilypond[]
\score {
\notes \relative c'' {
- \breve \autoBeamOff
+ a\longa a\breve \autoBeamOff
a1 a2 a4 a8 a16 a32 a64 a64
r\longa r\breve
r1 r2 r4 r8 r16 r32 r64 r64
diff -urN ../lilypond-1.3.145/Documentation/user/tutorial.itely
./Documentation/user/tutorial.itely
--- ../lilypond-1.3.145/Documentation/user/tutorial.itely Sun Apr 1
15:31:33 2001
+++ ./Documentation/user/tutorial.itely Sun Apr 1 20:32:57 2001
@@ -6,8 +6,8 @@
LilyPond prints music from a specification that you, the user, supply.
-You have to give that specification using a @emph{language}. This
-chapter is a gentle introduction to that language.
+You have to give that specification using a textual @emph{language}.
+This chapter is a gentle introduction to that language.
This tutorial will demonstrate how to use Lilypond by presenting
examples of input along with resulting output. We will use English
@@ -81,8 +81,11 @@
@end example
Now, run @address@hidden@TeX{} is a text-typesetting system that is
-especially suited for typesetting mathematics.}. The result should
-resemble this:
+especially suited for typesetting mathematics.}:
address@hidden
+ tex test
address@hidden example
+The result should resemble this:
@example
This is TeX, Version 3.14159 (Web2C 7.3.1)
(test.tex (/home/hanwen/usr/share/lilypond/tex/lilyponddefs.tex
@@ -122,7 +125,7 @@
@example
dvips -o test.ps test.dvi
@end example
-which looks like this:
+the printouts look like this:
@example
This is dvips(k) 5.86 Copyright 1999 Radical Eye Soft ...
' TeX output 2001.01.27:1806' -> test.ps
@@ -160,7 +163,7 @@
ly2dvi test.ly
@end example
After some disk-activity, you should end up with a @file{.dvi} file.
-Ly2dvi is further described in the @ref{ly2dvi}.
+Ly2dvi is further described in @ref{ly2dvi}.
Secondly, you can generate PostScript directly. This is useful if you
can not or do not want to run @TeX{} on your system.
@@ -171,7 +174,7 @@
@end example
You have to set some environment variables to view or print this
-output. More information can be found in the @ref{Invoking
+output. More information can be found in @ref{Invoking
LilyPond}.
Finally, there is a script called @code{lilypond-book}, that allows you
@@ -199,7 +202,7 @@
@cindex Bach, Johann Sebastian
@lilypond[verbatim]
-% lines preceded by a percent are comments which
+% lines preceded by a percent sign are comments which
% are ignored by Lilypond.
\include "paper16.ly"
\score {
@@ -233,7 +236,7 @@
We will analyse the input, line by line.
@example
- % lines preceded by a percent are comments which
+ % lines preceded by a percent sign are comments which
% are ignored by Lilypond.
@end example
The percent sign, @code{%}, introduces a line comment. If you want to
@@ -251,9 +254,9 @@
@cindex @code{\include}
@cindex point, printer's
@cindex staff size setting
-By default, LilyPond will use definitions for a staff that is 20
address@hidden point is the standard measure of length for printing;
-one point is 1/72.27 inch.} high. We want smaller
+By default, LilyPond will typeset the music in a size such that each
+staff is 20 address@hidden point is the standard measure of length for
+printing; one point is 1/72.27 inch.} high. We want smaller
output (16 point staff height), so we must import the settings for that
size, which is done here.
@example
@@ -277,17 +280,18 @@
@cindex octaves, choosing
@cindex pitch
-As we will see, pitches are combinations of octave, note name and
-chromatic alteration. In this scheme, the octave is indicated by
-using raised quotes (@code{'}) and ``lowered'' quotes (commas:
address@hidden,}). The central C is denoted by @code{c'}. The C one octave
-higher is @code{c''}. One and two octaves below the central C is
-denoted by @code{c} and @code{c,} respectively.
+As we will see, each note is described by its note name, duration,
+octave and possibly a chromatic alteration. In this scheme, the
+octave is indicated by using raised quotes (@code{'}) and ``lowered''
+quotes (commas: @code{,}). The central C is denoted by @code{c'}.
+The C one octave higher is @code{c''}. One and two octaves below
+the central C is denoted by @code{c} and @code{c,} respectively.
@cindex relative
-For pitches in a long piece you might have to type many quotes. It is
-easy to make typing errors with this, so LilyPond has a special entry
-mode to remedy this. In this ``relative'' octave mode, octaves of notes
+Even though a piece of music often spans a range of several octaves,
+it mostly moves in small intervals. LilyPond has a special entry
+mode to save typing in this situation. In this ``relative'' octave
+mode, octaves of notes
without quotes are chosen such that a note is as close as possible
(graphically, on the staff) to the preceding note. If you add a
high-quote an extra octave is added. The lowered quote (a comma) will
@@ -308,9 +312,9 @@
@end example
@cindex time signature, setting
@cindex @code{\time}
- This command changes the time signature of the current piece: a 3/4
-sign is printed. The time signature setting is also used to generate
-bar lines in the right spots.
+ This command sets or changes the time signature of the current piece:
+a 3/4 sign is printed. The time signature setting is also used to generate
+bar lines at the right spots.
@example
\key g \major;
@@ -319,18 +323,18 @@
@cindex key signature, setting
@cindex @code{\key}
This command changes the current key signature to G-major. Although this
-command comes after the @code{\time} command, in the output, the key
-signature comes before the time signature: LilyPond knows about music
+command comes after the @code{\time} command, the key signature comes
+before the time signature in the output; LilyPond knows about music
typesetting conventions.
@example
\repeat "volta" 2
@end example
- This command tells LilyPond that the following piece of music must be
+ This command tells LilyPond that the following piece of music is
played twice. The first argument indicates the type of repeat. In this
-case, @code{"volta"} means that volta brackets are be used for
-alternatives---if there were any.
+case, @code{"volta"} means that prima volta/secunda volta brackets are
+used for the alternative endings---if there were any.
@example
@{
@@ -344,7 +348,7 @@
d4
@end example
- This is a note with pitch @code{d} (determined up to octaves). The
+ This is a note with pitch @code{d} (determined up to the octave). The
relative music was started with a @code{c''}, so the real pitch of this
note is @code{d''}. A number designates the duration of the note, so
the @code{4} here represents a quarter note.
@@ -366,7 +370,7 @@
@cindex errors, finding
Three more notes. The @code{|} character is a `bar check'. When
processing the music, LilyPond will verify that bar checks are found at
-the start of a measure. This can help you track down errors.
+the start of a measure. This can help you track down typing errors.
@cindex alteration, chromatic
@cindex chromatic alteration
@@ -381,7 +385,7 @@
@end example
LilyPond guesses were beams can be added to eighth and shorter notes.
-In this case, a beam over 4 eighths is added.
+In this case, a beam is added over the 4 eights.
@example
c4 d8( )c b a( )b4 c8 b a g |
@@ -390,7 +394,7 @@
The next line shows how to make a slur: the beginning and ending note
of the slur is marked with an opening and closing parenthesis
respectively. In the line shown above, this is done for two slurs.
-Slur markers (parentheses) are put between the slurred notes.
+Slur markers (parentheses) are entered between the slurred notes.
@example
a4 [b8 a] [g fis]
@@ -418,8 +422,8 @@
cis'4 b8 cis a4 |
@end example
- This line shows that Lily will print an accidental if that is
-needed: the first C sharp of the bar will be printed with an accidental,
+ This line shows that Lily will print an accidental if necessary:
+the first C sharp of the bar will be printed with an accidental,
the second one without.
@example
@@ -427,7 +431,7 @@
@end example
@cindex articulation
-You can enter articulation signs either in a verbose form using a
+You can enter articulation signs either in a verbose form or using a
shorthand. Here we demonstrate the shorthand: it is formed by a dash
and the character for the articulation to use, e.g. @code{-.} for
staccato as shown above.
@@ -464,10 +468,11 @@
@}
@end example
-This specifies a conversion from music to notation output. Most of
-the details of this conversions (font sizes, dimensions, etc.) have
+This specifies how the entered music should be converted to notation
+output. Most of the details of the conversion (font sizes, dimensions,
+etc.) have
been taken care of, but to fit the output in this document, it has
-to be smaller. We do this by setting the line width to 14 centimeters
+to be narrower. We do this by setting the line width to 14 centimeters
(approximately 5.5 inches).
@example
@@ -597,12 +602,11 @@
@end example
@cindex assignments
@cindex identifier assignment
-the @code{\header} block contains assignments. An assignment starts
-with a string. (which is unquoted, in this case). Then comes the
-equal sign. After the equal sign comes the expression you
-want to store. In this case, you want to put in strings. The
-information has to be quoted here, because it contains spaces. Each
-assignment is finished with a semicolon.
+the @code{\header} block contains assignments. In each assignment, a
+variable is set to a value. Lexically, both the variable name and the
+assigned value are strings. The values have to be quoted here, because
+they contain spaces, the variable names could also be put within quotes
+but it is not necessary. Each assignment is finished with a semicolon.
@example
\include "paper16.ly"
@@ -649,7 +653,7 @@
@end example
This ends the definition of @code{melody}. Note that there are no
-semicolons after assignments at top level.
+semicolons after assignments at the top level.
@example
text = \lyrics @{
@@ -684,10 +688,10 @@
@end example
@cindex chords
@cindex mode, chords
-We'll put chords over the music. To enter them, there is a special mode
+We'll put chords over the music. To enter them, there is a special mode
analogous to @code{\lyrics} and @code{\notes} mode, where you can give
-the names of the chords you want, instead of the notes comprising the
-chord.
+the names of the chords you want, instead of listing the notes
+comprising the chord.
@example
r8
@@ -705,10 +709,10 @@
@cindex modifier, chord
A chord is started by the tonic of the chord. The
first one lasts a half note. An unadorned note creates a major
-triad, while a minor triad is wanted. @code{3-} modifies the third to
-be small. @code{7} modifies (adds) a seventh, which is small by default
-to create the @code{f a c es} chord. Multiple modifiers must be
-separated by a dot.
+triad. Since a minor triad is wanted, @code{3-} is added to modify the
+third to be small. @code{7} modifies (adds) a seventh, which is small by
+default to create the @code{f a c es} chord. Multiple modifiers must be
+separated by dots.
@example
d:min es4 c8:min r8
@@ -782,7 +786,7 @@
@cindex lyrics and melody, combining
@cindex combining lyrics and melody
-The lyrics need to be aligned with the melody. This is done by
+The lyrics should be aligned with the melody. This is done by
combining both with @code{\addlyrics}. @code{\addlyrics} takes two
pieces of music (usually a melody and lyrics, in that order) and
aligns the syllables of the second piece under the notes of the
@@ -809,14 +813,15 @@
@cindex \property
@cindex context variables
@cindex setting context variables
-An interpretation context has variables that tune its behaviour. One of
+An interpretation context has variables, called properties, that tune
+its behaviour. One of
the variables is @code{noAutoBeaming}. If set to @code{##t}, which is
the boolean value @var{true}, LilyPond will not try to put automatic beaming
on the current staff.
@cindex GUILE
@cindex Scheme
address@hidden accessinng Scheme
address@hidden accessing Scheme
@cindex evaluating Scheme
@cindex LISP
@@ -842,8 +847,8 @@
@cindex melismata
@cindex @code{\addlyrics} and slurs
Similarly, we don't want to print a syllable when there is
-a slur. This sets up @code{\addlyrics} to not put lyrics under notes
-while there is a slur.
+a slur. This sets up @code{\addlyrics} to not put lyrics under each
+separate note while there is a slur.
@example
\melody
@@ -874,14 +879,14 @@
\midi @{ \tempo 4=72;@}
@end example
-MIDI (Musical Instrument Digitial Interface) is a standard for
+MIDI (Musical Instrument Digital Interface) is a standard for
connecting and recording digital instruments. So a MIDI file is like a
tape recording of an instrument. The @code{\midi} block causes makes the
music go to a MIDI file, so you can listen to the music you entered. It
is great for checking the music. Whenever you hear something weird, you
probably hear a typing error.
-Syntactally, @code{\midi} is similar to @code{\paper @{ @}}, since it
+Syntactically, @code{\midi} is similar to @code{\paper @{ @}}, since it
also specifies an output method. You can specify the tempo using the
@code{\tempo} command, in this case the tempo of quarter notes is set to
72 beats per minute.
@@ -907,7 +912,7 @@
some calculations, a @file{.tex} is produced. The contents
of this file are very low-level instructions.
-For example, the following file (@file{minatures.ly})
+For example, the following file (@file{miniatures.ly})
@example
\version "1.3.124";
@@ -995,10 +1000,10 @@
@file{ly2dvi} runs it through LaTeX. LaTeX is a text-formatting system
built on top of @TeX{}. It's very popular in the academic world. If LaTeX
is successful, this will produce a @file{.dvi} file, containing both the
-titling and notes. @code{ly2dvi} completes its task by deleting the two
-temporary files, leaving only @file{miniatures.dvi}.
+titling and the actual music. @code{ly2dvi} completes its task by
+deleting the two temporary files, leaving only @file{miniatures.dvi}.
-Next, now we'll look at the examples line by line to explain new things.
+Next, now we'll look at the example line by line to explain new things.
@example
\version "1.3.124";
@@ -1010,7 +1015,7 @@
is too old.
This version number is also used by the @code{convert-ly} program (See
address@hidden), which uses it update the file to the latest lily
address@hidden), which uses it to update the file to the latest lily
version.
@example
@@ -1031,7 +1036,7 @@
music on the screen. The point-and-click mechanism makes it easy to
find the origin of an error in the .ly file: when you view the file with
Xdvi and click on a note , your editor will jump to the spot where that
-note was entered. More information is in in @ref{Point and click}
+note was entered. More information is in @ref{Point and click}
@example
\paper @{
@@ -1080,7 +1085,7 @@
The @code{\header} is normally at the top of the file, where it sets
values for the rest of the file. If you want to typeset different pieces
from one file (for example, if there are multiple movements, or if
-you're making a excercise book), you can put different @code{\score}
+you're making an exercise book), you can put different @code{\score}
blocks into the input file. ly2dvi will assemble all LilyPond output
files into a big document. The contents of \header blocks specified
within each score, are used for the titling of each movement.
@@ -1117,7 +1122,7 @@
oboes = \notes \relative c'' \context Voice = oboe {
\stemUp s4 g8. b,16 c8 r <e'8.^\p g> <f16 a>
- \grace <e8( g> <d4 f> <c2 e> \times 2/3 { <d8 \< f> <e g> <f a> }
+ \grace <e8( g> <d4 )f> <c2 e> \times 2/3 { <d8 \< f> <e g> <f a> }
<
{ \times 2/3 { a8 g c } \! c2 }
\context Voice = oboeTwo {
@@ -1134,7 +1139,7 @@
}
hoomPah = \repeat unfold 8
- \notes \transpose c' { \stemUp c8 \stemBoth \stemDown c'8 \stemBoth }
+ \notes \transpose c' { \stemUp c8 \stemBoth \stemDown c'8 \stemBoth }
bassvoices = \notes \relative c' {
c4 g8. b,16
@@ -1181,7 +1186,7 @@
grob, etc. The initial values of these settings are set in the Scheme
file @file{scm/grob-description.scm}.
-This statement adds a the setting for all Stem grobs in the current
+This statement adds a setting for all Stem grobs in the current
Voice: @code{direction} is set to @code{-1}, which encodes down. The
setting remains in effect until it is reverted.
@@ -1194,8 +1199,8 @@
LilyPond includes the identifiers @code{\stemUp}, @code{\stemDown} along
-with some more often used formatting instructions, but to explain how it
-works, we wrote our own here. Of course, you should use predefined
+with some other commonly used formatting instructions, but to explain how
+it works, we wrote our own here. Of course, you should use predefined
identifiers like these if possible: then you will be affected less by
the implementation changes we occasionally make.
@@ -1364,7 +1369,7 @@
@end example
@cindex unfolded @code{\repeat}
The unfolded repeat prints the notes in its argument as if they were
-written out in full.
+written out in full eight times.
@example
\notes \transpose c' @{
@end example
@@ -1374,7 +1379,7 @@
Transposing can be done with @code{\transpose}. It takes two arguments;
the first specifies what central C should be transposed to. The second
is the to-be-transposed music. As you can see, in this case, the
-transposition has no effect, as central C stay at central C.
+transposition has no effect, as central C stays at central C.
The purpose of this no-op is circumventing relative mode. Relative mode
can not be used together with transposition, so @code{\relative} will
@@ -1490,7 +1495,7 @@
Things to note here are the definition of @code{\global} where we define
the time signature, and set the end bar. And the separate definition of
address@hidden that we will use all staffs except staffs for transposing
address@hidden that we will use for all staffs except those for transposing
instruments.
The second file, @file{os-score.ly} reads the definitions of the first
@@ -1629,13 +1634,13 @@
\context Staff = flauti <
@end example
-We specify the intrument for MIDI output (see @ref{MIDI instrument
+We specify the instrument for MIDI output (see @ref{MIDI instrument
names}).
@example
\property Staff.midiInstrument = #"flute"
@end example
-And define the intrument names to be printed in the margin,
+And define the instrument names to be printed in the margin,
@code{instrument} for the first line of the score, @code{instr} for the
rest of the score.
@example
@@ -1708,8 +1713,8 @@
\notes \key bes \major;
@end example
-We specify a big indent for the first line and a small linewith for this
-tuturial.
+We specify a big indent for the first line and a small linewidth for this
+tutorial.
@example
indent = 15 * \staffspace;
linewidth = 60 * \staffspace;
@@ -1894,10 +1899,10 @@
@end example
The actual values for linewidth will differ depending on papersize and
number of columns. Also, if you use a different fontsize for the
-music, another file than @code{paper16.ly} will be included.
+music, another file than @code{paper16.ly} should be included.
If you want to make the music not so wide, you can insert a
address@hidden statement that set the linewidth:
address@hidden statement to set the linewidth:
@lilypond[veryverbatim, intertext="produces this music:"]
\score{
@@ -2019,8 +2024,8 @@
@subsection More options
@itemize
address@hidden The @code{singleline} option set @code{linewidth} to -1.0.
address@hidden The @code{multiline} option set @code{linewidth} to a value
letting
address@hidden The @code{singleline} option sets @code{linewidth} to -1.0.
address@hidden The @code{multiline} option sets @code{linewidth} to a value
letting
the music be aligned to the right margin. The music can span several
lines.
@end itemize
@@ -2061,7 +2066,7 @@
beginning of the fantastic street opera ``Houdini the Great'', by the
Danish composer Andy Pape. The music is put inside a
@code{floatingfigure} environment, and the music will be aligned by
-the right marging if you set floatingfigure width and lilypond linewidth
+the right margin if you set floatingfigure width and lilypond linewidth
to the same value. The code looks like this:
@lilypond[verbatim]
@@ -2085,7 +2090,7 @@
lines where you have music printed with the smallest font size.
Lilypond-book does know about @code{\onecolumn} and @code{\twocolumn}.
-So the music will be adjusted to the new linewith:
+So the music will be adjusted to the new linewidth:
Verbatim environments will also ignore the page margins. That is
a feature of address@hidden (But you usually put things inside a verbatim
@@ -2146,8 +2151,8 @@
That's all folks. From here, you can either try fiddling with input
files, or you can read the reference manual. You can find more example
-files in @file{input} and @file{input/test}. You can also look at Real
-Music (TM), have a look at the @ref{Mutopia project}.
+files in @file{input} and @file{input/test}. You can also look at some
+Real Music (TM), have a look at the @ref{Mutopia project}.
@@ -2166,9 +2171,9 @@
If you have a big music project, or just a lot of LilyPond input files,
all generated output from LilyPond, @TeX{} and metafont will clutter
your working directory. LilyPond comes with a one-size-fits-all
-pre-cooked makefile that helps you manage producing ouptut. It will
-produce all output in @file{out}, generate and track dependencies.
-Also, it helps in preparing your submission to the @ref{Mutopia
+pre-cooked makefile that helps you manage producing output. It will
+produce all output in the directory @file{out} , generate and track
+dependencies. Also, it helps in preparing your submission to @ref{Mutopia
project}.
@file{make/ly.make}
diff -urN ../lilypond-1.3.145/VERSION ./VERSION
--- ../lilypond-1.3.145/VERSION Sun Apr 1 16:03:14 2001
+++ ./VERSION Sun Apr 1 20:13:05 2001
@@ -2,7 +2,7 @@
MAJOR_VERSION=1
MINOR_VERSION=3
PATCH_LEVEL=145
-MY_PATCH_LEVEL=
+MY_PATCH_LEVEL=mb1
# use the above to send patches: MY_PATCH_LEVEL is always empty for a
# released version.
diff -urN ../lilypond-1.3.145/input/tutorial/menuet.ly
./input/tutorial/menuet.ly
--- ../lilypond-1.3.145/input/tutorial/menuet.ly Sun Mar 4 02:16:56 2001
+++ ./input/tutorial/menuet.ly Sun Apr 1 17:41:15 2001
@@ -1,5 +1,5 @@
-% lines preceded by a percent are comments.
+% lines preceded by a percent sign are comments.
\include "paper16.ly"
\score {
\notes
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- Documentation patch,
Mats Bengtsson <=