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2 bugs + documentation patch
|
From: |
Mats Bengtsson |
|
Subject: |
2 bugs + documentation patch |
|
Date: |
Thu, 12 Apr 2001 23:06:32 +0200 |
I spent some more time on the reference manual, I'm soon
half way through now!
I discovered two bugs:
- If a piece begins with a grace note, the grace note is typeset
a ninth too high, see the grace note example in the refman.
- Look at the dynamics example in the refman. In my opinion,
the `m', `s', `r' and `z' are too small compared to the
`f' and `p'. Also, why are the different dynamics aligned
differently.
Apart from the patch below, I also have some more comments on
the manual:
- Its not obvious how the different sections should be ordered.
For example, I'd find it more logical to move section 3.2.4
"Notes" to before section 3.2.1 "Pitches". Also, sections
3.2.2 and 3.2.5 are fairly exotic topics compared to the rest
of 3.2.
- Why not rename "Bugs" to "Limitations"?
- The general structure of the manual, especially the division
between ordinary text and autogenerated text should be explained
at one of the first pages. Can we replace the term "automatically
generated documentation" when referencing this part?
- Almost all the reference manual requires a basic understanding
of the syntax and the lexical modes. Also, it's important to
understand the property handling. Therefore, it's a pity that
these concepts are explained first at the end of the manual.
- Should the manual be written in Brittish or American english?
Since there seemed to be more -ize endings than -ise, I run
the spelling check with the American dictionary.
- The section titling is not consequential, some are in singular form
and some in plural. For example, we have a section "Breath marks"
followed by a section "Text spanner".
- The explanation in 3.10.2 "Manual staff switches" is really
cryptic.
Generated by (address unknown),
>From = lilypond-1.3.147, To = lilypond-1.3.147.mb1
usage
cd lilypond-source-dir; patch -E -p1 < lilypond-1.3.147.mb1.diff
Patches do not contain automatically generated files
or (urg) empty directories,
i.e., you should rerun autoconf, configure
diff -urN ../lilypond-1.3.147/CHANGES ./CHANGES
--- ../lilypond-1.3.147/CHANGES Mon Apr 9 01:35:55 2001
+++ ./CHANGES Thu Apr 12 11:58:34 2001
@@ -1,3 +1,8 @@
+1.3.147.mb1
+============
+
+* Glossary and refman fixes
+
1.3.146.jcn4
============
diff -urN ../lilypond-1.3.147/Documentation/user/glossary.tely
./Documentation/user/glossary.tely
--- ../lilypond-1.3.147/Documentation/user/glossary.tely Thu Apr 5
00:02:36 2001
+++ ./Documentation/user/glossary.tely Thu Apr 12 12:00:45 2001
@@ -149,17 +149,16 @@
@
@lilypond[13pt,eps]
-\emptyText
-%\property Voice.textNonEmpty = ##f
-\property Voice.TextScript \set #'font-style = #'large
\notes\relative c'' {
\key d \major
\time 4/4
+
+\property Score.TextScript \set #'font-style = #'large
<d4_"notation" a fis> r
-{ \property Grace.Stem \override #'flag-style = ##f
+{ \property Grace.Stem \override #'flag-style = #""
\grace g16 }
fis8 e16 fis
-{ \property Grace.Stem \override #'flag-style = ##f
+{ \property Grace.Stem \override #'flag-style = #""
\grace a16 }
g8 fis16 g | a4 \bar "||" }
\notes\relative c'' {
@@ -171,11 +170,10 @@
@
@lilypond[13pt,eps]
-\emptyText
-\property Voice.TextScript \set #'font-style = #'large
\notes\relative c'' {
\key as \major
\time 2/4
+ \property Score.TextScript \set #'font-style = #'large
\grace { bes16 } as8_"notation" as16 bes as8 g |
\grace { [as16 ( bes] } < ) c4 as >
\grace { [as16 ( bes] } < ) c4 as > \bar "||"
@@ -286,7 +284,6 @@
@lilypond[13pt,eps]
\property Score.barNonAuto = ##t
-\emptyText
\property Voice.TextScript \set #'font-style = #'large
\notes\relative c'' {
[g8_"1/8" g g g] s16
@@ -439,7 +436,6 @@
@lilypond[13pt,eps]
\property Score.barNonAuto = ##t
-\property Voice.textNonEmpty = ##t
\property Voice.TextScript \set #'font-style = #'large
\time 4/4
\notes\relative c'' {
@@ -676,7 +672,6 @@
@
@lilypond[13pt,eps]
-\emptyText
\property Score.barNonAuto = ##t
\property Lyrics.LyricText \set #'font-style = #'large
\property Voice.TextScript \set #'font-style = #'large
@@ -691,7 +686,6 @@
@end lilypond
@lilypond[13pt,eps]
-\emptyText
\property Score.barNonAuto = ##t
\property Lyrics.LyricText \set #'font-style = #'large
\property Voice.TextScript \set #'font-style = #'large
@@ -707,7 +701,6 @@
@end lilypond
@lilypond[13pt,eps]
-\emptyText
\property Score.barNonAuto = ##t
\property Lyrics.LyricText \set #'font-style = #'large
\property Voice.TextScript \set #'font-style = #'large
@@ -722,7 +715,6 @@
@end lilypond
@lilypond[13pt,eps]
-\emptyText
\property Score.barNonAuto = ##t
\property Lyrics.LyricText \set #'font-style = #'large
\property Voice.TextScript \set #'font-style = #'large
@@ -737,7 +729,6 @@
@end lilypond
@lilypond[13pt,eps]
-\emptyText
\property Score.barNonAuto = ##t
\property Lyrics.LyricText \set #'font-style = #'large
\property Voice.TextScript \set #'font-style = #'large
@@ -752,7 +743,6 @@
@end lilypond
@lilypond[13pt,eps]
-\emptyText
\property Score.barNonAuto = ##t
\property Lyrics.LyricText \set #'font-style = #'large
\property Voice.TextScript \set #'font-style = #'large
@@ -772,7 +762,6 @@
7th tone.
@lilypond[13pt,eps]
-\emptyText
\property Score.barNonAuto = ##t
\property Lyrics.LyricText \set #'font-style = #'large
\property Voice.TextScript \set #'font-style = #'large
@@ -787,7 +776,6 @@
@end lilypond
@lilypond[13pt,eps]
-\emptyText
\property Score.barNonAuto = ##t
\property Lyrics.LyricText \set #'font-style = #'large
\property Voice.TextScript \set #'font-style = #'large
@@ -802,7 +790,6 @@
@end lilypond
@lilypond[13pt,eps]
-\emptyText
\property Score.barNonAuto = ##t
\property Lyrics.LyricText \set #'font-style = #'large
\property Voice.TextScript \set #'font-style = #'large
@@ -821,7 +808,6 @@
@end lilypond
@lilypond[13pt,eps]
-\emptyText
\property Score.barNonAuto = ##t
\property Lyrics.LyricText \set #'font-style = #'large
\property Voice.TextScript \set #'font-style = #'large
@@ -1114,7 +1100,6 @@
@lilypond[13pt,eps]
\property Score.barNonAuto = ##t
-\emptyText
\property Voice.TextScript \set #'font-style = #'large
\notes\relative c'' {
g8_"1/8" s8
@@ -1160,7 +1145,6 @@
@
@lilypond[13pt,eps]
-\emptyText
\property Score.barNonAuto = ##t
\property Lyrics.LyricText \set #'font-style = #'large
\property Voice.TextScript \set #'font-style = #'large
@@ -1474,7 +1458,6 @@
@lilypond[13pt,eps]
\property Score.barNonAuto = ##t
-\emptyText
\property Lyrics.LyricText \set #'font-style = #'large
\addlyrics
\notes\relative c'' {
@@ -1682,7 +1665,6 @@
@lilypond[13pt,eps]
\property Score.TimeSignature \override #'style = #'C2/2
-\emptyText
\property Voice.TextScript \set #'font-style = #'large
\notes\relative c'' {
\time 4/4
@@ -1790,7 +1772,6 @@
@
@lilypond[13pt,eps]
-\emptyText
\property Voice.TextScript \set #'font-style = #'large
\notes\relative c'' {
\time 4/4
@@ -1807,7 +1788,6 @@
@lilypond[13pt,eps]
\property Voice.TextScript \set #'font-style = #'large
-\emptyText
\notes\relative c'' {
\time 4/4
\times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
@@ -1844,8 +1824,7 @@
@lilypond[13pt,eps]
<
\context Staff = sa {
- \emptyText
- \property Voice.TextScript \set #'font-style = #'large
+ \property Voice.TextScript \set #'font-style = #'large
\notes\relative c'' {
c2._"pre-1850" b4\trill | c1 \bar "||"
c2._"post-1850" b4\trill | c1 \bar "||"
@@ -1866,8 +1845,7 @@
@lilypond[13pt,eps]
<
\context Staff = sa {
- \emptyText
- \property Voice.TextScript \set #'font-style = #'large
+ \property Voice.TextScript \set #'font-style = #'large
\notes\relative c'' {
a4_"turn" b\turn c2 \bar "||"
g4_"mordent" a b\mordent a \bar "||"
@@ -2010,7 +1988,6 @@
@
@lilypond[13pt,eps]
-\emptyText
\property Score.barNonAuto = ##t
\property Voice.TextScript \set #'font-style = #'large
\notes\relative c' {
@@ -2081,7 +2058,6 @@
@
@lilypond[13pt,eps]
-\emptyText
\property Score.barNonAuto = ##t
\property Lyrics.LyricText \set #'font-style = #'large
%\property Lyrics.minVerticalAlign = #8
@@ -2272,7 +2248,6 @@
@lilypond[13pt,eps]
\property Score.noAutoBeaming = ##t
\property Score.barNonAuto = ##t
-\emptyText
\property Voice.TextScript \set #'font-style = #'large
\notes\relative c'' {
g2_"1/2" g' s16
@@ -2346,7 +2321,6 @@
@
@lilypond[13pt,eps]
-\emptyText
\property Voice.TextScript \set #'font-style = #'large
\time 4/4
\notes\relative c' {
@@ -2433,7 +2407,7 @@
@lilypond[13pt,eps]
\context GrandStaff <
- \notes\relative c'' {
+ \context Staff = lh \notes\relative c'' {
\time 4/4
\key es \major
\clef treble
@@ -2445,16 +2419,15 @@
< bes8 g > as < as f > g < g es > f < d f > es | < g4 es > }
>
}
- \property Voice.TextScript \set #'font-style = #'large
- \property Lyrics.LyricText \set #'font-style = #'Large
- \property Lyrics.minVerticalAlign = #6
\addlyrics
- \notes\relative c' {
+ \context Staff = rh \notes\relative c' {
\clef bass
\key es \major
es8 c () c bes () bes as () as g16 f | es4
}
\context Lyrics \lyrics {
+ \property Lyrics . LyricText \set #'font-style = #'Large
+ \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12)
< { "" "6" "4" "6" "4" "6" "4" "6" }
{ "" "" "2" "" "2" "" "2" "" } >
}
@@ -2538,7 +2511,6 @@
@
@lilypond[13pt,eps]
-\emptyText
\property Score.barNonAuto = ##t
\property Voice.TextScript \set #'font-style = #'large
\notes\relative c' {
diff -urN ../lilypond-1.3.147/Documentation/user/refman.itely
./Documentation/user/refman.itely
--- ../lilypond-1.3.147/Documentation/user/refman.itely Mon Apr 9 01:34:03 2001
+++ ./Documentation/user/refman.itely Thu Apr 12 22:26:18 2001
@@ -57,14 +57,14 @@
The purpose of LilyPond is explained informally by the term `music
typesetter'. This is not a fully correct name: not only does the
-program print musical symbols, it also makes esthetic decisions.
+program print musical symbols, it also makes aesthetic decisions.
Symbols and their placements are @emph{generated} from a high-level
musical description. In other words, LilyPond would be best described
by `music compiler' or `music to notation compiler'.
-LilyPond is linked to GUILE, GNU's Scheme library for extension. The
-Scheme library provides the glue that holds together the low-level
-routines and separate modules which are written in C++.
+LilyPond is linked to GUILE, GNU's Scheme library for extension
+programming. The Scheme library provides the glue that holds together
+the low-level routines and separate modules which are written in C++.
When lilypond is run to typeset sheet music, the following happens:
@itemize @bullet
@@ -85,7 +85,7 @@
During these stages different types of data play the the main role:
during parsing, @strong{Music} objects are created. During the
-interpretation, @strong{context}s are constructed, and with these contexts
+interpretation, @strong{contexts} 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,
@@ -140,7 +140,7 @@
In Note and Chord mode, pitches may be designated by names. The default
names are the Dutch note names. The notes are specified by the letters
@code{a} through @code{g} (where the octave is formed by notes ranging
-from @code{c}, to @code{b}). The pitch @code{c} is an octave below
+from @code{c} to @code{b}). The pitch @code{c} is an octave below
middle C and the letters span the octave above that C.
@cindex note names, Dutch
@@ -151,7 +151,7 @@
and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
both forms are accepted.
-LilyPond has predefined sets of notenames for various other languages.
+LilyPond has predefined sets of note names for various other languages.
To use them, simply include the language specific init file. For
example: @code{\include "english.ly"}. The available language files and
the names they define are:
@@ -188,7 +188,7 @@
@cindex defining pitch names
@cindex pitch names, defining
-Note names and chord modifiers can be customised for nationalities. The
+Note names and chord modifiers can be customized for nationalities. The
syntax is as follows.
@cindex @code{\pitchnames}
@@ -251,8 +251,8 @@
}
@end lilypond
- To get a longa note head, you have to use a mensural note heads. This
-is done accomplished by setting the @code{style} property of the
+ To get a longa note head, you have to use mensural note heads. This
+is accomplished by setting the @code{style} property of the
NoteHead grob to @code{mensural}.
@lilypond[fragment,singleline,verbatim]
@@ -262,7 +262,7 @@
If the duration is omitted then it is set to the previous duration
entered. At the start of parsing a quarter note is assumed. The
-duration can be followed by a dot (address@hidden') to obtain dotted note
+duration can be followed by dots (address@hidden') to obtain dotted note
lengths.
@cindex @code{.}
@@ -272,9 +272,9 @@
@cindex @code{r}
@cindex @code{s}
-You can alter the length of duration by appending
address@hidden@var{fraction}'. This will not affect the appearance of the
-notes or rests produced.
+You can alter the length of duration by a fraction @var{N/M} by
+appending address@hidden@var{N/M}' (or address@hidden@var{N}' if @var{M=1}).
This
+will not affect the appearance of the notes or rests produced.
@c . {Notes}
@node Notes
@@ -341,7 +341,7 @@
@cindex @code{~}
A tie connects two adjacent note heads of the same pitch. When used
-with chords, it connects all of the note heads whose pitches match.
+with chords, it connects all the note heads whose pitches match.
Ties are indicated using the tilde symbol address@hidden'. If you try to tie
together chords which have no common pitches then no ties will be
created.
@@ -375,8 +375,8 @@
between tied notes, dotted notes and plain notes.
Tieing only a subset of the note heads of a chord is not supported in a
-simple way. It can be achieved by moving the tie-engraver into Thread
-context and turning on an off ties per Thread.
+simple way. It can be achieved by moving the tie-engraver into the Thread
+context and turning on and off ties per Thread.
@node Tuplets
@@ -404,7 +404,7 @@
g'4 \times 2/3 {c'4 c' c'} d'4 d'4
@end lilypond
-The property @code{tupletSpannerDuration} specifies how long brackets
+The property @code{tupletSpannerDuration} specifies how long each bracket
should last. With this, you can make lots of tuplets while typing
@code{\times} only once, thus saving typing work.
@@ -430,7 +430,8 @@
@cindex Rests
Rests are entered like notes, with note name address@hidden'. The grob is
address@hidden
address@hidden Whole bar rests centered in the bar are specified using
address@hidden, see @ref{Multi measure rests}.
@c . {Skip}
@@ -488,16 +489,14 @@
@cindex @code{\dorian}
Here, @var{type} should be @code{\major} or @code{\minor} to get
address@hidden or @var{pitch}-minor, respectively. The second
-argument is optional; the default is major keys. The @var{\context}
-argument can also be given as an integer, which tells the number of
-semitones that should be added to the pitch given in the subsequent
address@hidden commands to get the corresponding major key, e.g.,
address@hidden is defined as 3. The standard mode names @code{\ionian},
address@hidden or @var{pitch}-minor, respectively.
+The standard mode names @code{\ionian},
@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
@code{\phrygian}, and @code{\dorian} are also defined.
-This command sets context property @code{Staff.keySignature}.
+This command sets the context property @code{Staff.keySignature}.
+Non-standard key signatures can be specified by setting this property
+directly, see the generated documentation.
The printed signature is a @code{KeySignature} grob.
@@ -516,7 +515,7 @@
@example
\property Staff.clefGlyph = @var{glyph associated with clefname}
\property Staff.clefPosition = @var{clef Y-position for clefname}
- \property Staff.clefOctavation = @var{extra pitch of clefname}
+ \property Staff.clefOctavation = @var{extra transposition of clefname}
@end example
Any change in these properties creates a clef (a @code{Clef} grob).
@@ -548,6 +547,9 @@
percussion clef
@end table
+By adding @code{_8} or @code{^8} to the clef name, the clef is
+transposed one octave down or up, respectively.
+
Supported associated glyphs (for @code{Staff.clefGlyph}) are:
@table @code
@@ -624,13 +626,14 @@
@subsection Partial
@cindex Partial
@cindex anacrusis
address@hidden upstep
address@hidden upbeat
@cindex partial measure
@cindex measure, partial
@cindex shorten measures
@cindex @code{\partial}
-Partial measures are entered using the @code{\partial} command:
+Partial measures, for example in upbeats, are entered using the
address@hidden command:
@example
\partial @var{duration}
@end example
@@ -699,8 +702,8 @@
@code{repeatCommands} is used to override default measure bars.
@code{whichBar} can also be set directly, using @code{\property} or
address@hidden }. These settings take precedence over automatic
@code{whichBar}
-settings.
address@hidden }. These settings take precedence over the automatic
address@hidden settings.
@code{Bar_engraver} creates @code{BarLine} grobs.
@@ -721,7 +724,7 @@
When there are more than two voices on a staff, you must also indicate
which voice should moved horizontally in case of a collision. This can
be done with the identifiers @code{\shiftOff}, @code{\shiftOn},
address@hidden, etc. (which sets grob property @code{horizontal-shift}
address@hidden, etc. (which sets the grob property @code{horizontal-shift}
in @code{NoteColumn}).
@lilypond[fragment, verbatim]
@@ -796,8 +799,8 @@
Beams are used to group short notes into chunks that are aligned with
the metrum. LilyPond guesses where beams should be inserted. If you're
not satisfied with the automatic beaming, you can specify which patterns
-to beam automatically. In specific cases, you can also explicitly enter
-beams.
+to beam automatically. In specific cases, you can also enter the beams
+explicitly.
@c . {Automatic beams}
@@ -814,7 +817,7 @@
@code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
are defined in @file{scm/auto-beam.scm}.
-Changing the value of @code{autoBeamSettings} is done using
+The value of @code{autoBeamSettings} is changed using
@code{\override} and unset using @code{\revert}:
@example
\property Voice.autoBeamSettings \override #'(@var{BE} @var{N} @var{M} @var{P}
@var{Q}) = @var{dur}
@@ -833,14 +836,14 @@
\property Voice.autoBeamSettings \override
#'(end * * * *) = #(make-moment 1 4)
@end example
-The duration a quarter note is 1/4 of a whole note. It is entered as
address@hidden(make-moment 1 4)}.
+Since the duration of a quarter note is 1/4 of a whole note, it is
+entered as @code{(make-moment 1 4)}.
The same syntax can be used to specify beam starting points. In this
-example, automatic beams can only end on a dotted quarter note.
+example, automatic beams can only end on a dotted quarter note.
@example
\property Voice.autoBeamSettings \override
- #'(begin * * * *) = #(make-moment 3 8)
+ #'(end * * * *) = #(make-moment 3 8)
@end example
In 4/4 time signature, this means that automatic beams could end only on
3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
@@ -871,7 +874,7 @@
@cindex autobeam
@cindex @code{Voice.noAutoBeaming}
-Automatic beaming is on by default, but it can switched off by setting
+Automatic beaming is on by default, but can be switched off by setting
@code{Voice.noAutoBeaming} to true. You you may find this necessary for
a melody that goes with lyrics.
@@ -879,7 +882,7 @@
It is not possible to specify beaming parameters for beams with mixed
durations, that differ from the beaming parameters of all separate
-durations, ie, you'll have to specify manual beams to get:
+durations, i.e., you'll have to specify manual beams to get:
@lilypond[fragment,singleline,relative]
\property Voice.autoBeamSettings
\override #'(end * * * *) = #(make-moment 3 8)
@@ -900,7 +903,8 @@
In some cases it may be necessary to override LilyPond's automatic
beaming algorithm. For example, the auto beamer will not beam over
rests or bar lines, If you want that, specify the begin and end point
-manually using @code{[} and @code{]}:
+manually using a @code{[} before the first beamed note and a @code{]}
+after the last note:
@lilypond[fragment,relative,verbatim]
\context Staff {
@@ -929,7 +933,8 @@
The beam symbol (grob @code{Voice.Beam}, both for automatic and manual
beams) can be tweaked through grob-properties @code{height} and
@code{staff-position}. These specify vertical location and vertical
-span. Both are measured half staff-spaces.
+span. Both are measured in half staff-spaces, @code{staff-position=0}
+corresponds to the middle staff line.
Set @code{height} to zero, to get horizontal beams:
@@ -976,7 +981,7 @@
Slurs avoid crossing stems, and are generally attached to note heads.
However, in some situations with beams, slurs may be attached to stem
-ends. If you want to override this layout you can do this through
+ends. If you want to override this layout you can do this through the
@code{Voice.Slur}'s grob-property @code{attachment}. It's value is a
pair of symbols, specifying the attachment type of the left and right end
points.
@@ -1024,7 +1029,7 @@
@code{beautiful} is an arbitrary parameter in the slur formatter.
Useful values can only be determined by trial and error.
address@hidden Adusting slurs
address@hidden Adjusting slurs
@node Phrasing slur
@subsection Phrasing slur
@@ -1046,7 +1051,7 @@
@node Breath marks
@subsection Breath marks
-Breath marks are entered using @code{\breathe}. The result is
+Breath marks are entered using @code{\breathe}. The result is a
@code{Voice.BreathingSign} grob.
@lilypond[fragment,relative]
@@ -1058,8 +1063,7 @@
@refbugs
- Currently, only tick marks are supported, comma style breath marks are
-not.
+ Currently, only tick marks are supported, not comma style breath marks.
@c . {Tempo}
@@ -1092,7 +1096,7 @@
@cindex Text spanner
Some textual indications, e.g. rallentando, accelerando, often extend
-over a many measures. This is indicated by following the text with a
+over many measures. This is indicated by following the text with a
dotted line. You can create such texts using text spanners. The syntax
is as follows:
@example
@@ -1150,7 +1154,7 @@
\property Score.LyricSyllable \override #'font-family =#'typewriter
\property Score.LyricSyllable \override #'font-shape = #'upright
\context Staff \notes {
- c''-\accent c''-\marcato c''-\staccatissimo c''-\fermata
+ c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
c''-\rtoe c''-\turn c''-\open c''-\flageolet
@@ -1222,7 +1226,7 @@
All of these note ornaments appear in the printed output but have no
effect on the MIDI rendering of the music.
-Unfortunately, there is no support adding fingering instructions or
+Unfortunately, there is no support for adding fingering instructions or
ornaments to individual note heads. Some hacks exist, though. See
@file{input/test/script-horizontal.ly}.
@@ -1234,40 +1238,20 @@
In addition, it is possible to place arbitrary strings of text or markup
text (see @ref{Text markup}) above or below notes by using a string:
address@hidden"text"}. The text is typeset in italic by default.
-
address@hidden FIXME italic, are we sure?
address@hidden"text"}.
-The amount of space taken by these indications by default does not
-influence, spacing, but setting @code{Voice.textNonEmpty} to true will
-take the widths into account. The identifier @code{\fatText} is defined
-in the standard includes.
+By default, these indications do not influence the note spacing, but
+if @code{Voice.textNonEmpty} is set to true the widths will be taken
+into account. The identifier @code{\fatText} is defined in the standard
+includes.
@lilypond[fragment,singleline,verbatim]
\relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 }
@end lilypond
Text scripts are created in form of @code{Voice.TextScript} grobs.
-For purposes of defining identifiers, a more verbose form also exists:
-
address@hidden
- \textscript @var{text}
address@hidden example
-
-Defines a text to be printed over or under a note. @var{text} is a
-string or a markup text.
address@hidden
-
address@hidden
-foo = \textscript #'(finger "6")
- [..]
-c4-\foo
address@hidden example
-
address@hidden quotation
-
-This is equivalent to @code{c4-6}.
-
address@hidden markup} describes how to change the font or access
+special symbols in text scripts.
@c . {Grace notes}
@node Grace notes
@@ -1294,7 +1278,7 @@
When grace music is interpreted, a score-within-a-score is set up:
@var{musicexpr} has its own time bookkeeping, and you could (for
-example) have a separate time signature within grace notes. While in
+example) have a separate time signature within the grace notes. While in
this score-within-a-score, you can create notes, beams, slurs, etc.
Unbeamed eighth notes and shorter by default have a slash through the
stem.
@@ -1313,9 +1297,9 @@
@refbugs
-
-At present, nesting @code{\grace} notes is not supported. The following
-may cause run-time errors:
+At present, slurs or ties from the grace notes to the following notes
+are not supported. Also, nesting @code{\grace} notes is not
+supported. The following may cause run-time errors:
@example
@code{\grace @{ \grace c32 c16 @} c4}
@end example
@@ -1327,7 +1311,7 @@
The present implementation of grace notes is not robust and generally
-kludgy. We expect it to change after LilyPond 1.4. Syntax changes might
+kludgey. We expect it to change after LilyPond 1.4. Syntax changes might
also be implemented.
@@ -1385,7 +1369,7 @@
@cindex @code{\rfz}
-Absolute dynamic marks are specified by using an identifier after a
+Absolute dynamic marks are specified using an identifier after a
note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
@code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
@code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
@@ -1413,7 +1397,7 @@
can be terminated with @code{\!}. Note that @code{\!} must go before
the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
after the last note. Because these marks are bound to notes, if you
-want to get several marks during one note, you must use spacer notes.
+want several marks during one note, you have to use spacer notes.
@lilypond[fragment,verbatim,center]
c'' \< \! c'' d'' \decr e'' \rced
@@ -1465,9 +1449,10 @@
This is the normal notation: Repeats are not written out, but
alternative endings (voltas) are printed, left to right.
address@hidden folded
-Alternative endings are written stacked. This has no practical use
-right now.
address@hidden fold
+Alternative endings are written stacked. This has limited use but may be
+used to typeset two lines of lyrics in songs with repeats, see
address@hidden/star-spangled-banner.ly}.
@item tremolo
Make tremolo beams.
@@ -1543,13 +1528,13 @@
@refbugs
-Notice that timing information is not rembered at the start of an
+Notice that timing information is not remembered at the start of an
alternative, so you have to reset timing information after a repeat,
e.g. using a bar-check (See @ref{Bar check}), setting
@code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
are also not repeated.
-It is possible to nest @code{\repeat}, although it probably is only
+It is possible to nest @code{\repeat}s, although this probably is only
meaningful for unfolded repeats.
Folded repeats offer little more over simultaneous music. However, it
@@ -1579,9 +1564,9 @@
@lilypond[verbatim, fragment]
c''4
\property Score.repeatCommands = #'((volta "93") end-repeat)
- c4 c4
+ c''4 c''4
\property Score.repeatCommands = #'((volta #f))
- c4 c4
+ c''4 c''4
@end lilypond
@@ -1625,10 +1610,10 @@
@code{Voice.tremoloFlags}) is used.
@lilypond[verbatim,fragment,center]
- c'2:8 c':32
+ c'2:8 c':32 | c': c': |
@end lilypond
-Using this mechanism pays off when you entering many tremolos, since the
-default argument saves a lot of typing.
+Using this mechanism pays off when you enter many tremolos, since the
+default argument saves typing.
@refbugs
@@ -1672,8 +1657,8 @@
@node Rhythmic staffs
@subsection Rhythmic staffs
-Some times you might want to show only the rhythm of a melody. This can
-be done with the rhythmic staff. All pitches of notes on such a staff
+Sometimes you might want to show only the rhythm of a melody. This can
+be done with the rhythmic staff. All pitches of notes on such a staff
are squashed, and the staff itself looks has a single staff line:
@lilypond[fragment,relative,verbatim]
@@ -1709,8 +1694,8 @@
@subsection Automatic staff changes
@cindex Automatic staff changes
-Voices can be switched from top to bottom staff automatically. The
-syntax for this is
+Voices can switch automatically between the top and the bottom
+staff. The syntax for this is
@example
\autochange @var{contexttype} @var{musicexp}
@end example
@@ -1749,7 +1734,7 @@
@code{"up"} or @code{"down"}.
Formally, this construct is a music expression indicating that the
-context which is a direct child of the a context of type
+context which is a direct child of the context of type
@var{contexttype} should be shifted to a context of type
@var{contexttype} and the specified name.
@@ -1886,9 +1871,10 @@
the hyphen has no special meaning for lyrics, and does not introduce
special symbols.
-Spaces can be introduced into a lyric either by using quotes
-(@code{"}) or by using an underscore without quotes: @code{He_could4
-not4}. All unquoted underscores are converted to spaces.
+Spaces can be introduced into a lyric either by using quotes:
address@hidden"He could"4 not4} or by using an underscore without quotes:
address@hidden not4}. All unquoted underscores are converted to
+spaces.
The precise definition of this mode is in @ref{Lyrics mode
definition}.
@@ -1904,11 +1890,11 @@
\addlyrics \notes \relative c' {
\time 7/4
\property Staff.automaticMelismata = ##t
- d'2 c4 b2 a2
- b2 c4 b4 () a4 g2 }
+ d'2 c4 b16 ( a g a b a b ) c a2
+ b2 c4 b8 ( a16 g ) a4 g2 }
\context Lyrics \lyrics {
- Join us now and
- share the soft- __ ware; }
+ Join us now __ and
+ share the soft -- ware; }
@end lilypond
@@ -1948,7 +1934,7 @@
@cindex automatic lyric durations
@cindex @code{\addlyrics}
-If you have lyrics that are set to a melody, you can import the rhythm
+If you have lyrics that are set to a melody, you can copy the rhythm
of that melody into the lyrics using @code{\addlyrics}. The syntax for
this is
@example
@@ -2012,7 +1998,7 @@
If you have multiple stanzas printed underneath each other, the vertical
groups of syllables should be aligned around punctuation. LilyPond can
-do this if you explain it which lyric lines belong to which melody.
+do this if you tell it which lyric lines belong to which melody.
To this end, give the Voice context an identity, and set the LyricsVoice
to a name starting with that identity followed by a dash.
@@ -2054,7 +2040,7 @@
@cindex Chords
LilyPond has support for both entering and printing chords. Chords are
-a harmonic device that is characterized by a set of pitches. They are
+characterized by a set of pitches. They are
internally stored as simultaneous music expressions. This means you can
enter chords by name and print them as note head, enter them as notes
and print them as chord names, or (the most common case) enter them by
@@ -2453,14 +2439,15 @@
@cindex @code{R}
Multi measure rests are entered using address@hidden'. It is specifically
-meant for entering parts: the rest can expand to fill a score with
+meant for full bar rests and for entering parts: the rest can expand to
+fill a score with
rests, or it can be printed as a single multimeasure rest This expansion
is controlled by the property @code{Score.skipBars}. If this is set to true,
Lily will not expand empty measures, and the appropriate number is added
automatically.
@lilypond[fragment,verbatim]
- \time 3/4 R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
+ \time 3/4 r2. | R2. | R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
@end lilypond
Currently, there is no way to condense multiple rests into a single
@@ -2478,7 +2465,7 @@
and orchestral scores. When the two parts are identical for a period of
time, only one is shown. In places where the two parts differ, stem
directions are set automatically. Also, soli and @emph{a due} parts can be
-identified and marke.
+identified and marked.
The syntax for part combining is
@@ -2612,7 +2599,7 @@
@end lilypond
Custodes were frequently used in music notation until the 16th century.
-There were different appearences for different notation styles.
+There were different appearances for different notation styles.
Nowadays, they have survived only in special forms of musical notation
such as via the @emph{editio vaticana} dating back to the beginning of
the 20th century.
@@ -2850,7 +2837,7 @@
Grob properties are tied directly to the implementation of LilyPond, and
they are thus a moving target. Documentation of such variables are part
of the generated documentation: this documentation is generated from the
-sourcecode of lily for each version, so it is usually mch more up to
+source code of lily for each version, so it is usually much more up to
date than this manual. It should be available from the same place where
you got this manual.
@@ -2896,7 +2883,7 @@
A symbol indicating the shape of the font, a finer gradation than
font-family. Choices are italic and upright
@item font-series
- Symbol indicating the serie of the font. Series form a finer gradation
+ Symbol indicating the series of the font. Series form a finer gradation
than font-shape. Choices are medium and bold.
@item font-relative-size
@@ -2913,7 +2900,7 @@
Type1 usually come as ``one design fits all sizes''.
@item font-name
- The name of the font, without the design size, eg. @code{cmr},
+ The name of the font, without the design size, e.g. @code{cmr},
@code{cmti}, etc. Setting this overrides font-family, font-shape and
font-series.
@@ -3082,7 +3069,7 @@
@end ignore
-You can imagine a number of situtations where you would want to make
+You can imagine a number of situations where you would want to make
certain grobs not show up in the output. There may be aesthetic
reasons, to make the output resemble an (old) manuscript as close as
possible, or to make lessons or exercises for students.
@@ -3124,7 +3111,7 @@
@node Embedded TeX
address@hidden Embeded TeX
address@hidden Embedded TeX
@cindex embedded tex
@cindex embedded tex
@@ -3143,7 +3130,7 @@
@cindex embedded postscript
You can also use raw PostScript commands embedded in text scripts. This
-offers ultimate flexibitily, but you'll have to learn the arcane
+offers ultimate flexibility, but you'll have to learn the arcane
PostScript language. Currently, embedded PostScript will @strong{not}
work with direct PostScript output. Note that all dimensions that you
use are in @code{staff-space}s.
@@ -3337,8 +3324,8 @@
Occasionally you might want to override the automatic breaks; you can do
this by specifying @code{\break}. This will force a line break at this
point. Do remember that line breaks can only occur at places where there
-are barlines. If you want to have a line break where there is no
-barline, you can force an invisible barline by entering @code{\bar ""}.
+are bar lines. If you want to have a line break where there is no
+bar line, you can force an invisible bar line by entering @code{\bar ""}.
Similarly, @code{\noBreak} forbids a line break at a certain point.
@@ -3356,7 +3343,7 @@
@refbugs
The scaling of the @code{\penalty} argument is not well-defined. The
-command is rather kludgy, and slated for rewriting.
+command is rather kludgey, and slated for rewriting.
@c . {Page break}
@node Page break
@@ -3564,7 +3551,7 @@
@file{scm/midi.scm}.
For each type of musical instrument (that MIDI supports), a volume range
-can be defined. This gives you basic equaliser control, which can
+can be defined. This gives you basic equalizer control, which can
enhance the quality of the MIDI output remarkably. You can add
instruments and ranges or change the default settings by overriding
the @code{instrument-equaliser-alist} defined in @file{scm/midi.scm}.
@@ -3700,8 +3687,8 @@
@end lilypond
@cindex @code{\notes}
-The pitch after the @code{\relative} contains a notename. To parse
-the pitch as a notename, you have to be in note mode, so there must
+The pitch after the @code{\relative} contains a note name. To parse
+the pitch as a note name, you have to be in note mode, so there must
be a surrounding @code{\notes} keyword (which is not
shown here).
@@ -3770,7 +3757,7 @@
package) to @file{emacsclient.c} and @file{server.el} from the emacs
source code. Recompile and stick the recompiled emacsclient into a bin
directory, and put @file{server.el} into a elisp directory
-(eg. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
+(e.g. @file{~/usr/share/emacs/}). Add the following to your @file{.emacs}
init file, before invoking server-start.
@example
@@ -3842,7 +3829,7 @@
Notation contexts are objects that only exist during a run of LilyPond.
During the interpretation phase of LilyPond (when it prints
-"interpreting music"), the music expresiion in a @code{\score} block is
+"interpreting music"), the music expression in a @code{\score} block is
interpreted in time order. This is the same order that humans hear and
play music.
@@ -3992,7 +3979,7 @@
@refbugs
-The syntax of @code{\unset} is asymetric: @code{\property \unset} is not
+The syntax of @code{\unset} is asymmetric: @code{\property \unset} is not
the inverse of @code{\property \set}.
@@ -4099,7 +4086,7 @@
@item @code{Score_engraver}
This is cooperation module that should be in the top level context,
-and only the toplevel context.
+and only the top level context.
@cindex @code{Grace_engraver_group}
@@ -4225,7 +4212,7 @@
@cindex @code{\header}
-A header describes bibilographic information of the file's contents. It
+A header describes bibliographic information of the file's contents. It
can also appear in a @code{\score} block. Tools like @code{ly2dvi} can
use this information for generating titles. Key values that are used by
@code{ly2dvi} are: title, subtitle, composer, opus, poet, instrument,
@@ -4456,7 +4443,7 @@
Identifiers allow objects to be assigned to names during the parse
stage. To assign an identifier, you use @address@hidden@var{value}
-and to refer to an identifier, you preceed its name with a backslash:
+and to refer to an identifier, you precede its name with a backslash:
address@hidden@var{name}'. @var{value} is any valid Scheme value or any of
the input-types listed above. Identifier assignments can appear at top
level in the LilyPond file, but also in @code{\paper} blocks.
@@ -4608,11 +4595,11 @@
LilyPond contains a Scheme interpreter (the GUILE library) for
internal use. In some places Scheme expressions also form valid syntax:
-whereever it is allowed,
+wherever it is allowed,
@example
address@hidden
@end example
-evaluates the specified Scheme code. If this is used at toplevel, then
+evaluates the specified Scheme code. If this is used at the top level, then
the result is discarded. Example:
@example
\property Staff.TestObject \override #'foobar = #(+ 1 2)
diff -urN ../lilypond-1.3.147/VERSION ./VERSION
--- ../lilypond-1.3.147/VERSION Mon Apr 9 01:28:03 2001
+++ ./VERSION Thu Apr 12 11:57:53 2001
@@ -2,7 +2,7 @@
MAJOR_VERSION=1
MINOR_VERSION=3
PATCH_LEVEL=147
-MY_PATCH_LEVEL=
+MY_PATCH_LEVEL=mb1
# use the above to send patches: MY_PATCH_LEVEL is always empty for a
# released version.
- 2 bugs + documentation patch,
Mats Bengtsson <=