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Patch for 1.4.1
|
From: |
Mats Bengtsson |
|
Subject: |
Patch for 1.4.1 |
|
Date: |
Sat, 19 May 2001 01:35:07 +0200 |
Hi,
here's another documentation patch. Also included is
a bugfix for tuplet-number-visibility and an added make
rule so I can run
>> make
and then
>> make -C Documentation/user out/lilypond.dvi
without getting errors like "Don't know how to make
out/lily-123412.tex"
I reorded the subsections of 3.2 Note Entry as we
discussed some weeks ago.
Expect more documentation fixes and some comments and
bug reports within a day or two.
/Mats
Generated by (address unknown),
>From = lilypond-1.4.1, To = lilypond-1.4.1.mb1
usage
cd lilypond-source-dir; patch -E -p1 < lilypond-1.4.1.mb1.diff
Patches do not contain automatically generated files
or (urg) empty directories,
i.e., you should rerun autoconf, configure
diff -urN ../lilypond-1.4.1/CHANGES ./CHANGES
--- ../lilypond-1.4.1/CHANGES Tue May 15 17:53:05 2001
+++ ./CHANGES Fri May 18 23:36:55 2001
@@ -1,3 +1,12 @@
+1.4.1.mb1
+=========
+
+* Add make rule to avoid problems building dvi documentation
+
+* Documentation fixes
+
+* Bugfix: tuplet-number-visibility
+
1.4.0.jcn7
==========
diff -urN ../lilypond-1.4.1/Documentation/user/latex-example.latex
./Documentation/user/latex-example.latex
--- ../lilypond-1.4.1/Documentation/user/latex-example.latex Wed Mar 21
16:46:19 2001
+++ ./Documentation/user/latex-example.latex Sat May 19 00:24:56 2001
@@ -26,16 +26,16 @@
\begin{lilypond}
\header {
- title = "Title";
- subtitle = "Subtitle";
- subsubtitle = "Subsubtitle";
- opus = "Opus 1";
- piece = "Piece";
- composer = "Composer";
- enteredby = "JCN";
- instrument = "instrument";
+ title = "Title"
+ subtitle = "Subtitle"
+ subsubtitle = "Subsubtitle"
+ opus = "Opus 1"
+ piece = "Piece"
+ composer = "Composer"
+ enteredby = "JCN"
+ instrument = "instrument"
}
-\paper { linewidth = -1.; }
+\paper { linewidth = -1. }
\score {
\notes \relative c'' { a b c d }
}
diff -urN ../lilypond-1.4.1/Documentation/user/refman.itely
./Documentation/user/refman.itely
--- ../lilypond-1.4.1/Documentation/user/refman.itely Tue May 15 16:13:29 2001
+++ ./Documentation/user/refman.itely Sat May 19 01:05:30 2001
@@ -21,10 +21,14 @@
@chapter Reference Manual
This document describes GNU LilyPond and its input format. The last
-revision of this document was made for LilyPond 1.3.145. It supposes a
+revision of this document was made for LilyPond 1.4.1. It supposes a
passing familiarity with how LilyPond input works. New users are
encouraged to study the tutorial first.
+The reference manual is ordered according to different tasks.
+More details on the property setting mechanisms and context handling is
+provided in @ref{Tuning output} and @ref{Interpretation context}. The
+syntactical details are described at the end of the manual.
@menu
* Overview::
@@ -110,17 +114,44 @@
@menu
+* Notes::
* Pitches::
-* Defining pitch names::
+* Rests::
+* Skips::
* Durations::
-* Notes::
-* Easy Notation note heads ::
-* Tie::
+* Ties::
* Tuplets::
-* Rests::
-* Skip::
+* Defining pitch names::
+* Easy Notation note heads ::
@end menu
address@hidden . {Notes}
address@hidden Notes
address@hidden Notes
+
+A note specification has the form
+
address@hidden
+ @address@hidden
address@hidden example
+
+The alteration refers to what note is heard, not to whether an
+accidental is printed. This is done depending on the key and context.
+A reminder accidental
address@hidden reminder accidental
address@hidden @code{?}
+can be forced by adding an exclamation mark @code{!} after the pitch. A
+cautionary accidental,
address@hidden cautionary accidental
address@hidden parenthesized accidental
+i.e., an accidental within parentheses can be obtained by adding the
+question mark address@hidden' after the pitch.
+
address@hidden,verbatim,center]
+ cis' d' e' cis' c'? d' e' c'!
address@hidden lilypond
+
+
@c . {Pitches}
@node Pitches
@subsection Pitches
@@ -148,7 +179,7 @@
@cindex note names, Dutch
In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
-name. A flat is formed by adding @code{-es}. Double sharps and double
+name and a flat is formed by adding @code{-es}. Double sharps and double
flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
both forms are accepted.
@@ -183,27 +214,31 @@
c' c'' es' g' as' gisis' ais'
@end lilypond
address@hidden . {Defining pitch names}
address@hidden Defining pitch names
address@hidden Defining pitch names
address@hidden . {Rests}
address@hidden Rests
address@hidden Rests
address@hidden Rests
address@hidden defining pitch names
address@hidden pitch names, defining
+Rests are entered like notes, with note name address@hidden'. The grob is
address@hidden Whole bar rests centered in the bar are specified using
address@hidden, see @ref{Multi measure rests}.
-Note names and chord modifiers can be customized for nationalities. The
-syntax is as follows.
address@hidden @code{\pitchnames}
address@hidden @code{\chordmodifiers}
address@hidden
- \pitchnames @var{scheme-alist}
- \chordmodifiers @var{scheme-alist}
address@hidden example
address@hidden . {Skips}
address@hidden Skips
address@hidden Skips
address@hidden Skip
-See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
-specific examples how to do this.
address@hidden
+ \skip @var{duration}
+ address@hidden
address@hidden example
address@hidden @code{\skip}
+Skips the amount of time specified by @var{duration}. If no other music
+is played, a gap will be left for the skipped time without any notes
+printed. The shorthand is only available in Note and Chord mode.
@c . {Durations}
@node Durations
@@ -255,7 +290,9 @@
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}.
+NoteHead grob to @code{mensural}. There is also a note head style
address@hidden which gives mensural note heads for @code{\longa} and
address@hidden but standard note heads for shorter notes.
@lilypond[fragment,singleline,verbatim]
\property Voice.NoteHead \set #'style = #'mensural
@@ -278,66 +315,11 @@
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.
address@hidden . {Notes}
address@hidden Notes
address@hidden Notes
-A note specification has the form
address@hidden
- @address@hidden
address@hidden example
-The alteration refers to what note is heard, not to whether an
-accidental is printed. This is done depending on the key and context.
-A reminder accidental
address@hidden reminder accidental
address@hidden @code{?}
-can be forced by adding an exclamation mark @code{!} after the pitch. A
-cautionary accidental,
address@hidden cautionary accidental
address@hidden parenthesized accidental
-i.e., an accidental within parentheses can be obtained by adding the
-question mark address@hidden' after the pitch.
-
address@hidden,verbatim,center]
- cis' d' e' cis' c'? d' e' c'!
address@hidden lilypond
-
-
address@hidden Easy Notation note heads
address@hidden Easy Notation note heads
-
address@hidden easy notation
address@hidden Hal Leonard
-
-A entirely different type of note head is the "easyplay" note head: a
-note head that includes a note name. It is used in some publications by
-Hal-Leonard Inc. music publishers.
-
address@hidden,verbatim]
-\include "paper23.ly"
-\score {
- \notes { c'2 e'4 f' | g'1 }
- \paper { \translator { \EasyNotation } }
-}
address@hidden lilypond
-
-Note that @code{EasyNotation} overrides a @code{Score} context. You
-probably will want to print it with magnification to make it better
-readable, see @ref{Output scaling}.
-
-
address@hidden Xdvi
address@hidden ghostscript
-
-If you view the result with Xdvi, then staff lines will show through the
-letters. Printing the postscript file obtained either by using dvips or
-the @code{-f ps} option of lilypond produces the correct result.
-
-
address@hidden Tie
address@hidden Tie
address@hidden Ties
address@hidden Ties
@cindex Tie
@cindex ties
@@ -366,7 +348,7 @@
exactly the same concept.
@c
@lilypond[fragment, singleline]
-c'2 c'4 ~ c'4
+\time 3/4 c'2. c'2 ~ c'4
@end lilypond
The name of the tie grob is @code{Voice.Tie}.
@@ -389,7 +371,7 @@
@cindex triplets
@cindex @code{\times}
-Tuplets are made out of a music expression by multiplying their duration
+Tuplets are made out of a music expression by multiplying all duration
with a fraction.
@cindex @code{\times}
@@ -419,39 +401,80 @@
The format of the number is determined by the property
@code{tupletNumberFormatFunction}. The default prints only the
denominator, but if you set it to the Scheme function
address@hidden will print @var{num}:@var{den} instead.
address@hidden, Lilypond will print @var{num}:@var{den}
+instead.
+
+The typesetting of brackets and numbers is controlled by the properties
address@hidden and @code{tuplet-number-visibility}.
+
address@hidden, relative, singleline, verbatim]
+\property Voice.TupletBracket \set #'tuplet-bracket-visibility = ##t
+\times 2/3{c'8 d e} \times 2/3{d4 e8}
+\property Voice.TupletBracket \set #'tuplet-bracket-visibility = #'if-no-beam
+\times 2/3{c d e} \times 2/3{d4 e8}
+\property Voice.TupletBracket \set #'tuplet-bracket-visibility = ##f
+\times 2/3{c d e} \times 2/3{d4 e8}
+\property Voice.TupletBracket \set #'tuplet-number-visibility = ##f
+\times 2/3{c d e} \times 2/3{d4 e8}
+\property Voice.TupletBracket \set #'tuplet-number-visibility = #'if-no-beam
+\times 2/3{c d e} \times 2/3{d4 e8}
address@hidden lilypond
@cindex @code{tupletNumberFormatFunction}
@cindex tuplet formatting
Tuplet brackets are printed as @code{TupletBracket} grobs
address@hidden . {Defining pitch names}
address@hidden Defining pitch names
address@hidden Defining pitch names
address@hidden . {Rests}
address@hidden Rests
address@hidden Rests
address@hidden Rests
address@hidden defining pitch names
address@hidden pitch names, defining
-Rests are entered like notes, with note name address@hidden'. The grob is
address@hidden Whole bar rests centered in the bar are specified using
address@hidden, see @ref{Multi measure rests}.
+Note names and chord modifiers can be customized for nationalities. The
+syntax is as follows.
address@hidden @code{\pitchnames}
address@hidden @code{\chordmodifiers}
address@hidden
+ \pitchnames @var{scheme-alist}
+ \chordmodifiers @var{scheme-alist}
address@hidden example
address@hidden . {Skip}
address@hidden Skip
address@hidden Skip
address@hidden Skip
+See @file{ly/nederlands.ly} and @file{ly/chord-modifiers.ly} for
+specific examples on how to do this.
address@hidden
- \skip @var{duration}
- address@hidden
address@hidden example
address@hidden @code{\skip}
address@hidden Easy Notation note heads
address@hidden Easy Notation note heads
-Skips the amount of time specified by @var{duration}. If no other music
-is played, a gap will be left for the skipped time without any notes
-printed. The shorthand is only available in Note and Chord mode.
address@hidden easy notation
address@hidden Hal Leonard
+
+A entirely different type of note head is the "easyplay" note head: a
+note head that includes a note name. It is used in some publications by
+Hal-Leonard Inc. music publishers.
+
address@hidden,verbatim]
+\include "paper23.ly"
+\score {
+ \notes { c'2 e'4 f' | g'1 }
+ \paper { \translator { \EasyNotation } }
+}
address@hidden lilypond
+
+Note that @code{EasyNotation} overrides a @code{Score} context. You
+probably will want to print it with magnification to make it more
+readable, see @ref{Output scaling}.
+
+
address@hidden Xdvi
address@hidden ghostscript
+
+If you view the result with Xdvi, then staff lines will show through the
+letters. Printing the postscript file obtained either by using dvips or
+the @code{-f ps} option of lilypond produces the correct result.
@@ -528,25 +551,26 @@
Supported clef-names include
address@hidden Moved standard clefs to the top /MB
@table @code
@item treble, violin, G, G2
G clef on 2nd line
address@hidden alto, C
+ C clef on 3rd line
address@hidden tenor
+ C clef on 4th line
address@hidden bass, F
+ F clef on 4th line
@item french
- G clef on 1st line
+ G clef on 1st line, so-called French violin clef
@item soprano
C clef on 1st line
@item mezzosoprano
C clef on 2nd line
address@hidden alto
- C clef on 3rd line
address@hidden tenor
- C clef on 4th line
@item baritone
C clef on 5th line
@item varbaritone
F clef on 3rd line
address@hidden bass, F
- F clef on 4th line
@item subbass
F clef on 5th line
@item percussion
@@ -692,8 +716,8 @@
c4 c4 c4
@end lilypond
-The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used to
-achieve the same effect.
+The identifiers @code{\cadenzaOn} and @code{\cadenzaOff} can be used as
+shortcuts.
@@ -714,6 +738,20 @@
@example
\property Score.whichBar = @var{bartype}
@end example
+The following bar types are available
+
address@hidden, relative, singleline, verbatim]
+c4
+\bar "|" c
+\bar "" c
+\bar "|:" c
+\bar "||" c
+\bar ":|" c
+\bar ".|" c
+\bar ".|." c
+\bar "|."
address@hidden lilypond
+
You are encouraged to use @code{\repeat} for repetitions. See
@ref{Repeats}.
@@ -733,7 +771,7 @@
@code{\bar }. These settings take precedence over the automatic
@code{whichBar} settings.
address@hidden creates @code{BarLine} grobs.
address@hidden grobs are created by the @code{Bar_engraver}.
@c . {Polyphony}
@node Polyphony
@@ -986,18 +1024,18 @@
@node Expressive marks
@section Expressive marks
address@hidden . {Slur}
address@hidden . {Slurs}
@menu
-* Slur ::
-* Phrasing slur::
+* Slurs ::
+* Phrasing slurs::
* Breath marks::
* Tempo::
-* Text spanner::
+* Text spanners::
@end menu
address@hidden Slur
address@hidden Slur
address@hidden slur
address@hidden Slurs
address@hidden Slurs
address@hidden slurs
A slur indicates that notes are to be played bound or @emph{legato}.
They are entered using parentheses:
@@ -1059,18 +1097,18 @@
@cindex Adjusting slurs
address@hidden Phrasing slur
address@hidden Phrasing slur
address@hidden Phrasing slurs
address@hidden Phrasing slurs
address@hidden phrasing slur
address@hidden phrasing mark
address@hidden phrasing slurs
address@hidden phrasing marks
A phrasing slur (or phrasing mark) connects chords and is used to
indicate a musical sentence. It is started using @code{\(} and @code{\)}
respectively.
@lilypond[fragment,verbatim,center,relative]
- \time 6/4 c''\((d)e f(e)\)d
+ \time 6/4 c'' \( ( d ) e f ( e ) \) d
@end lilypond
Typographically, the phrasing slur behaves almost exactly like a normal
@@ -1119,11 +1157,11 @@
address@hidden Text spanner
address@hidden Text spanner
address@hidden Text spanner
address@hidden Text spanners
address@hidden Text spanners
address@hidden Text spanners
-Some textual indications, e.g. rallentando, accelerando, often extend
+Some textual indications, e.g. rallentando or accelerando, often extend
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:
@@ -1151,7 +1189,7 @@
@section Ornaments
@cindex Ornaments
@menu
-* Articulation::
+* Articulations::
* Text scripts::
* Grace notes::
* Glissando ::
@@ -1159,9 +1197,9 @@
@end menu
@c . {Articulation}
address@hidden Articulation
address@hidden Articulation
address@hidden Articulation
address@hidden Articulations
address@hidden Articulations
address@hidden Articulations
@cindex articulations
@cindex scripts
@@ -1483,7 +1521,7 @@
Make tremolo beams.
@item percent
-Make measure repeats. These look like percent signs.
+Make beat or measure repeats. These look like percent signs.
@end table
@@ -1491,7 +1529,7 @@
* Repeat syntax::
* Manual repeat commands::
* Tremolo repeats::
-* Tremolo subdivision::
+* Tremolo subdivisions::
* Measure repeats::
@end menu
@@ -1571,6 +1609,7 @@
@example
\property Staff.VoltaBracket = \turnOff
@end example
+in all but the top staff.
@node Manual repeat commands
@subsection Manual repeat commands
@@ -1629,8 +1668,8 @@
At present, the spacing between tremolo beams is not regular, since the
spacing engine does not notice that not all notes are printed.
address@hidden Tremolo subdivision
address@hidden Tremolo subdivision
address@hidden Tremolo subdivisions
address@hidden Tremolo subdivisions
@cindex tremolo marks
@cindex @code{tremoloFlags}
@@ -1643,8 +1682,6 @@
@lilypond[verbatim,fragment,center]
c'2:8 c':32 | c': c': |
@end lilypond
-Using this mechanism pays off when you enter many tremolos, since the
-default argument saves typing.
@refbugs
@@ -1660,7 +1697,7 @@
In the @code{percent} style, a note pattern can be repeated. It is
printed once, and then the pattern is replaced with a special sign.
-Patterns of a one and two measures are replaced by percent signs,
+Patterns of a one and two measures are replaced by percent-like signs,
patterns that divide the measure length are replaced by slashes.
@lilypond[verbatim,singleline]
@@ -1716,7 +1753,7 @@
* Manual staff switches::
* Pedals::
* Arpeggio::
-* Voice follower line::
+* Voice follower lines::
@end menu
@@ -1845,8 +1882,8 @@
address@hidden Voice follower line
address@hidden Voice follower line
address@hidden Voice follower lines
address@hidden Voice follower lines
@cindex follow voice
@cindex staff switching
@@ -1911,7 +1948,7 @@
@code{He_could4 not4}. All unquoted underscores are converted to
spaces.
-The precise definition of this mode is in @ref{Lyrics mode
+The precise definition of this mode can be found in @ref{Lyrics mode
definition}.
@c . {Printing lyrics}
@@ -1921,6 +1958,8 @@
Lyrics are printed by interpreting them in the @code{Lyrics} context.
address@hidden Maybe more pedagogical to avoid \addlyrics in this first
example? /MB
+
@lilypond[verbatim,singleline]
\addlyrics \notes \relative c' {
\time 7/4
@@ -2243,8 +2282,8 @@
You can make the chord changes stand out by setting
@code{ChordNames.chordChanges} to true. This will only display chord
-names when there's a change in the chords scheme and at the start of the
-line.
+names when there's a change in the chords scheme and at the start of a
+new line.
@lilypond[verbatim]
scheme = \chords {
@@ -2451,7 +2490,8 @@
@node Sound output for transposing instruments
@subsection Sound output transposing instruments
-When you want to play a score containing transposed and untransposed
+When you want to make a MIDI file from a score containing transposed and
+untransposed
instruments, you have to instruct LilyPond the pitch offset (in
semitones) for the transposed instruments. This is done using the
@code{transposing} property. It does not affect printed output.
@@ -2463,7 +2503,6 @@
\property Staff.transposing = #-2
@end example
-
@c . {Multi measure rests}
@node Multi measure rests
@subsection Multi measure rests
@@ -2490,8 +2529,8 @@
@refbugs
-Currently, there is no way to condense multiple rests into a single
-multimeasure rest.
+Currently, there is no way to automatically condense multiple rests into
+a single multimeasure rest.
@cindex condensing rests
@@ -2588,7 +2627,7 @@
@node Hara kiri staffs
@subsection Hara kiri staffs
-In orchestral scores, staffs that only have rests are usually removed.
+In orchestral scores, staff lines that only have rests are usually removed.
This saves some space. LilyPond also supports this through the hara
address@hidden kiri, also called Seppuku, is the ritual suicide of
the Japanese Samourai warriors.} staff. This staff commits suicide when
@@ -2642,7 +2681,7 @@
}
@end lilypond
-Custodes were frequently used in music notation until the 16th century.
+Custodes were frequently used in music notation until the 17th century.
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
@@ -2721,7 +2760,7 @@
@end lilypond
The @code{\property} assignment effectively empties the definition of
-the Stem object. One of the effects is the recipe of how it should be
+the Stem object. One of the effects is that the recipe of how it should be
printed is erased, with the effect of rendering it invisible. The above
assignment is available as a standard identifier, for the case that you
find this useful:
@@ -2899,8 +2938,8 @@
@subsection What to tune?
This all tells you how to tune grobs, but you don't know what variables
-to set? The question is not answered in this manual (although you may
-encounter some examples.).
+to set? The question is not answered in this part of the manual
+(although you may encounter some examples.).
Grob properties are tied directly to the implementation of LilyPond, and
they are thus a moving target. Documentation of such variables is in the
@@ -2949,13 +2988,14 @@
signs) and @code{typewriter}
@item font-shape
- A symbol indicating the shape of the font, a finer gradation than
- font-family. Choices are @code{italic}, @code{caps} and @code{upright}
+ A symbol indicating the shape of the font, there are typically several
+ font shapes available for each font family. Choices are @code{italic},
+ @code{caps} and @code{upright}
@item font-series
-A symbol indicating the series of the font. @code{font-series} form a
-finer gradation
- than @code{font-shape}. Choices are @code{medium} and @code{bold}.
+A symbol indicating the series of the font. There are typically several
+font series for each font family and shape. Choices are @code{medium}
+and @code{bold}.
@item font-relative-size
A number indicating the size relative the standard size. For example,
@@ -3045,9 +3085,9 @@
head: markup | (markup+)
markup-item: property | abbrev
property: (@var{key} . @var{value})
-abbrev: @code{columns lines roman music bold italic named super sub
-overstrike text}
- @code{finger volta timesig mmrest mark script large Large dynamic}
+abbrev: @code{columns lines roman music bold italic named super sub}
+ @code{ overstrike text finger volta timesig mmrest mark script }
+ @code{large Large dynamic}
@end example
The markup is broken down and converted into a list of grob properties,
diff -urN ../lilypond-1.4.1/Documentation/user/tutorial.itely
./Documentation/user/tutorial.itely
--- ../lilypond-1.4.1/Documentation/user/tutorial.itely Mon May 14 00:35:28 2001
+++ ./Documentation/user/tutorial.itely Fri May 18 22:49:15 2001
@@ -10,7 +10,7 @@
* First steps:: Music language of LilyPond
* Simple legend:: Small table of music language symbols
* Running LilyPond:: Printing music
-* The first tune:: The first tune
+* The first real tune:: The first real tune
* Lyrics and chords:: Lyrics and chords
* More movements :: Joining separate pieces of music
* A piano excerpt:: Piano music
@@ -34,7 +34,7 @@
LilyPond to produce printed output; you should then be able to create
your first sheets of music.
-The tutorial continues with a bit more elaborate example of real music.
+The tutorial continues with a slightly more elaborate example of real music.
This piece introduces and explains some finer details of LilyPond.
Then, a number of more complex examples follow, that will help you to
produce most complex music with LilyPond.
@@ -381,7 +381,7 @@
You must also give a note from which relative starts, in this case
@code{c''}.
address@hidden In relative ocatave mode, quotes are used to mark large jumps in
the
address@hidden In relative octave mode, quotes are used to mark large jumps in
the
@c melody. Without any quotes or commas, the interval between a note and
@c its predecessor is assumed to be a fourth or less. Quotes and commas
@c add octaves in up and down direction.
@@ -412,7 +412,7 @@
@c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
@c in eerste instantie drong het `relative' niet door zonder extra uitleg.
You can make a large interval by adding octaviation quotes. Note that
-quotes or commas do not determine the absolote height of a note;
+quotes or commas do not determine the absolute height of a note;
the height of a note is relative to the previous one.
@c don't use commas or quotes in this sentence
For example: @code{c f,} goes down; @code{f, f} are both the same;
@@ -532,7 +532,7 @@
@separate
Crescendi are started with the commands @code{\<} and @code{\>}. The
-command @code{\!} finishes a crescendo on the following.
+command @code{\!} finishes a crescendo on the following note.
@quotation
@lilypond[verbatim,relative 1]
c2\< \!c2-\ff \>c2 \!c2
@@ -641,7 +641,7 @@
@quotation
@multitable @columnfractions .10 .20 .40
address@hidden @code{[]}
address@hidden @code{[ ]}
@tab beam
@tab
@lilypond[fragment, relative 1]
@@ -663,7 +663,7 @@
d ~ d
@end lilypond
address@hidden @code{()}
address@hidden @code{( )}
@tab slur
@tab
@lilypond[fragment, relative 1]
@@ -695,7 +695,7 @@
c c,
@end lilypond
address@hidden @code{<>}
address@hidden @code{< >}
@tab chord
@tab
@lilypond[fragment, relative 1]
@@ -837,14 +837,14 @@
test.ps}
address@hidden The first tune
address@hidden The first tune
address@hidden The first real tune
address@hidden The first real tune
-This tutorial will demonstrate how to use Lilypond by presenting
-examples of input along with resulting output. We will use English
-terms for notation. In case you are not familiar with those, you may
-consult the glossary that is distributed with LilyPond.
+The rest of this tutorial will demonstrate how to use Lilypond by
+presenting examples of input along with resulting output. We will use
+English terms for notation. In case you are not familiar with those,
+you may consult the glossary that is distributed with LilyPond.
The examples discussed are included in the distribution, in the
subdirectory @file{input/tutorial/address@hidden we refer to filenames,
@@ -940,12 +940,15 @@
@end example
@cindex relative
-As we will see, each note is described by its note name, duration,
-octave and possibly a chromatic alteration. In this setup, the octave
-is indicated by using high 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.
address@hidden removed duplicate introduction to octave marks /MB
address@hidden Shorten even more?
+
address@hidden As we will see, each note is described by its note name,
duration,
address@hidden octave and possibly a chromatic alteration. In this setup, the
octave
address@hidden is indicated by using high quotes (@code{'}) and ``lowered
quotes''
address@hidden (commas: @code{,}). The central C is denoted by @code{c'}. The
C one
address@hidden octave higher is @code{c''}. One and two octaves below the
central C is
address@hidden denoted by @code{c} and @code{c,} respectively.
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
@@ -1126,7 +1129,7 @@
@end example
-Rests are denoted by the special notename @code{r}.
+Rests are denoted by the special note name @code{r}.
@separate
@example
@@ -1145,8 +1148,8 @@
\bar "|."
@}
@end example
-Here the music ends. LilyPond does not automatically typeset and end
-bar, we must explicitely request one, using @code{"|."}.
+Here the music ends. LilyPond does not automatically typeset an end
+bar, we must explicitly request one, using @code{"|."}.
@separate
@example
@@ -1297,7 +1300,7 @@
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
+they contain spaces. The variable names could also be put within quotes
but it is not necessary.
@separate
@example
@@ -1423,7 +1426,7 @@
@end example
-Some modifiers have predefined names, eg. @code{min} is the same as
+Some modifiers have predefined names, e.g. @code{min} is the same as
@code{3-}, so @code{d-min} is a minor @code{d} chord.
@separate
@example
@@ -1526,7 +1529,7 @@
@cindex context variables
@cindex setting context variables
An interpretation context has variables, called properties, that tune
-its behaviour. One of the variables is @code{noAutoBeaming}. Setting
+its behavior. One of the variables is @code{noAutoBeaming}. Setting
this Staff's property to @code{##t}, which is the boolean value @var{true},
turns the automatic beaming mechanism off for the current staff.
@cindex GUILE
@@ -1589,7 +1592,7 @@
@end example
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
+tape recording of an instrument. The @code{\midi} block 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.
@@ -1623,10 +1626,10 @@
some calculations, a @file{.tex} is produced. The contents
of this file are very low-level instructions.
-For example, the following file (@file{miniatures.ly})
+For example, consider the following file (@file{miniatures.ly})
@example
-\version "1.3.124"
+\version "1.4.0"
\header @{
title = "Two miniatures"
tagline = "small is beautiful"
@@ -1651,7 +1654,7 @@
@end example
The titling in this manual was not generated by ly2dvi, so we can't
-exactly show it would look, but the result should resemble this:
+exactly show what it would look like, but the result should resemble this:
@center @strong{Two miniatures}
@flushright
@@ -1690,7 +1693,7 @@
@separate
@example
-\version "1.3.124"
+\version "1.4.0"
@end example
Lilypond and its language are still under development, and occasionally,
details of the syntax are changed. This fragment indicates for which
@@ -1699,7 +1702,7 @@
is too old.
This version number is also used by the @code{convert-ly} program (See
address@hidden), which uses it to update the file to the latest lily
address@hidden), which is used to update the file to the latest lily
version.
@separate
@@ -1741,7 +1744,7 @@
The @code{\score} blocks that follow in the file don't have
@code{\paper} sections, so the settings of this block are substituted: A
-paper block, at top-level, i.e. not in a @code{\score} block sets the
+paper block at top level, i.e. not in a @code{\score} block sets the
default page layout.
@separate
@@ -1764,7 +1767,7 @@
@end example
In previous examples, notes were specified in relative octaves,
-i.e. each note was put in the octave that would put it closest to its
+i.e. each note was put in the octave that is closest to its
predecessor. Besides relative, there is also absolute octave
specification, which you get when you don't specify @code{\relative}. In
this input mode, the central C is denoted by @code{c'}. Going down, you
@@ -1774,7 +1777,7 @@
When you're copying music from existing sheet music, relative octaves
are probably the easiest to use: it's less typing work and errors are
easily spotted. However, if you write LilyPond input directly, either by
-hand (i.e. composing) or by computer, absolute octaves are easier to use.
+hand (i.e. composing) or by computer, absolute octaves may be easier to use.
@separate
@@ -1890,7 +1893,7 @@
stemDown = \property Voice.Stem \override #'direction = #-1
@end example
-Set a proprerty for all Stem grobs in the current Voice:
+Set a property 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.
@@ -1900,7 +1903,7 @@
@end example
Revert the to the previous setting. The effect of precisely one
address@hidden or @code{\stemUp} is neutralised.
address@hidden or @code{\stemUp} is neutralized.
LilyPond includes the identifiers @code{\stemUp}, @code{\stemDown} along
@@ -1915,9 +1918,9 @@
@end example
In this example, you can see multiple parts on a staff. Each part is
associated with one notation context. This notation context handles
-stems and dynamics (among others). The name of this context is
+stems and dynamics (among others). The type name of this context is
@code{Voice}. For each part we have to make sure that there is
-precisely one @code{Voice} context, so we give it an unique name
+precisely one @code{Voice} context, so we give it a unique name
(address@hidden').
@separate
@@ -2061,7 +2064,7 @@
@end example
Normally, grace notes are always stem up, but in this case, the upper
-voice interferes. We set the stems down here.
+voice interferes, so we set the stems down here.
As far as relative mode is concerned, the previous note is the
@code{c'''2} of the upper voice, so we have to go an octave down for
@@ -2100,8 +2103,8 @@
@cindex transposing
@cindex relative mode and transposing
-Transposing can be done with @code{\transpose}. It takes two arguments
-the first specifies what central C should be transposed to. The second
+Transposing can be done with @code{\transpose}, which 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 stays at central C.
@@ -2258,7 +2261,7 @@
Key = \notes \key as \major
@end example
Declare the key signature of the piece and assign it to the identifier
address@hidden Lateron, we'll use @code{\Key} for all staffs except those
address@hidden Later on, we'll use @code{\Key} for all staffs except those
for transposing instruments.
@node The full score
@@ -2330,12 +2333,7 @@
linewidth = 60 * \staffspace
textheight = 90 * \staffspace
address@hidden
- \VoiceContext
- \consists "Multi_measure_rest_engraver"
- @}
- address@hidden
\HaraKiriStaffContext
- \remove "Multi_measure_rest_engraver"
@}
@}
\midi @{
@@ -2381,7 +2379,7 @@
with a flat sign. LilyPond has a mechanism for font selection and
kerning called Scheme markup text (See @ref{Text markup}). The flat
sign is taken from the music font, and its name is @code{accidentals--1}
-(The sharp sign is called @code{accidentals-+1}). The default font is
+(The sharp sign is called @code{accidentals-1}). The default font is
too big for text, so we select a relative size of @code{-2}.
@separate
@@ -2403,8 +2401,8 @@
is the @var{padding}: the amount of extra space that is put between this
Grob and other Grobs. We set the padding to three staff spaces.
-You can find all this kind of information in LilyPond's automatically
-generated documentation in
+You can find information on all these kind of properties in LilyPond's
+automatically generated documentation in
@ifnottex
@ref{ (lilypond-internals)lilypond-internals, LilyPond Internals}.
@end ifnottex
@@ -2495,8 +2493,11 @@
(columns "(E" ,text-flat ")"))
@end example
The french horn has the most complex scheme markup name, made up of two
-lines of text. The second line has two elements (columns), the @code{E}
-and the flat sign @code{text-flat} that we defined before.
+lines of text. The second line has three elements (columns), the @code{(E},
+the flat sign @code{text-flat} that we defined before and a final @code{")"}.
+Note that we use a backquote instead of an ordinary quote at the
+beginning of the Scheme expression to be able to access the
address@hidden identifier, `unquoting' it with a @code{,}.
@separate
@example
@@ -2506,7 +2507,7 @@
transpose this staff by three steps.
Note how we can choose different tuning for entering, printing and
-playing, using @code{\transpose} and the MIDI Staff proprerty
+playing, using @code{\transpose} and the MIDI Staff property
@var{transposing}.
@separate
@@ -2529,6 +2530,12 @@
Voice, Staff, Staffgroup, Score) is just fine. But in this case, we
want a different type of Staff context.
address@hidden
+ address@hidden
+ \HaraKiriStaffContext
+ @}
address@hidden example
+
In orchestral scores, it often happens that one instrument has only
rests during one line of the score. The @code{HaraKiriStaffContext} can
be used as a regular @code{StaffContext} drop-in and will take care of
@@ -2580,7 +2587,7 @@
Because we separated the music definitions from the @code{\score}
-instantiations, we can easily define a second score from the music of
+instantiations, we can easily define a second score with the music of
the second flute. This then is the part for the second flute player.
Of course, we make separate parts for all individual instruments.
@@ -2616,8 +2623,8 @@
Until now, you have been using @file{ly2dvi} to invoke LilyPond.
There are three other routes. Firstly, there is a script called
@code{lilypond-book}, that allows you to freely mix LilyPond input with
-Texinfo or LaTeX input. For example, this manual was written using
address@hidden It is discussed in @ref{lilypond-book}.
+Texinfo or \LaTeX input. For example, this manual was written using
address@hidden It is discussed below and in @ref{lilypond-book}.
Secondly, you can generate PostScript directly. This is useful if you
@@ -2627,9 +2634,10 @@
@example
lilypond -f ps test.ly
@end example
-You have to set some environment variables to view or print this
-output. More information can be found in @ref{Invoking
-LilyPond}.
+You have to set some environment variables to view or print this output.
+More information can be found in @ref{Invoking LilyPond}. Since the
+direct Postscript generation has some problems, it is recommended
+to use @file{ly2dvi}.
Thirdly, if you want to do special things with your output, you can run
@@ -2726,7 +2734,7 @@
@end example
Notice the @code{outdir} option to lilypond-book. Running lilypond-book
-and running latex creates a lot of temporary files, and you wouldn't
+and running latex creates a lot of temporary files, and you wouldn't want
those to clutter up your working directory. Hence, we have them created
in a separate subdirectory.
diff -urN ../lilypond-1.4.1/VERSION ./VERSION
--- ../lilypond-1.4.1/VERSION Tue May 15 17:10:17 2001
+++ ./VERSION Sat May 19 01:08:20 2001
@@ -2,7 +2,7 @@
MAJOR_VERSION=1
MINOR_VERSION=4
PATCH_LEVEL=1
-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-1.4.1/lily/tuplet-bracket.cc ./lily/tuplet-bracket.cc
--- ../lilypond-1.4.1/lily/tuplet-bracket.cc Sun May 6 03:10:10 2001
+++ ./lily/tuplet-bracket.cc Fri May 18 23:36:14 2001
@@ -83,7 +83,7 @@
{
number_visibility = gh_scm2bool (numb);
}
- else if (bracket == ly_symbol2scm ("if-no-beam"))
+ else if (numb == ly_symbol2scm ("if-no-beam"))
number_visibility = !par_beam;
diff -urN ../lilypond-1.4.1/make/ly-rules.make ./make/ly-rules.make
--- ../lilypond-1.4.1/make/ly-rules.make Wed Apr 4 02:11:47 2001
+++ ./make/ly-rules.make Fri May 18 21:50:46 2001
@@ -1,6 +1,6 @@
# Mudela_rules.make
-.SUFFIXES: .doc .dvi .mudtex .tely .texi
+.SUFFIXES: .doc .dvi .mudtex .tely .texi .ly
$(outdir)/%.latex: %.doc
@@ -34,6 +34,8 @@
#$(outdir)/%.nfo: $(outdir)/%.nexi
# $(MAKEINFO) --output=$(outdir)/$(*F).info $<
+$(outdir)/%.tex: $(outdir)/%.ly
+ $(LILYPOND) $(LILYPOND_BOOK_INCLUDES) -o $@ $<
#
# Timothy's booklet
- Patch for 1.4.1,
Mats Bengtsson <=