CVSROOT: /cvsroot/lilypond
Module name: lilypond
Branch: lilypond_2_6
Changes by: Jan Nieuwenhuizen <[EMAIL PROTECTED]> 05/09/08 07:12:51
Modified files:
Documentation/user: tutorial.itely putting.itely
programming-interface.itely preface.itely
notation-appendices.itely lilypond.tely
lilypond-book.itely invoking.itely
introduction.itely instrument-notation.itely
global.itely examples.itely converters.itely
cheatsheet.itely basic-notation.itely
advanced-notation.itely
. : ChangeLog
Log message:
(Entering lyrics):
Multiple latin-1->utf-8 conversion fix.
CVSWeb URLs:
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/Documentation/user/tutorial.itely.diff?only_with_tag=lilypond_2_6&tr1=1.260.2.2&tr2=1.260.2.3&r1=text&r2=text
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/Documentation/user/putting.itely.diff?only_with_tag=lilypond_2_6&tr1=1.5.2.1&tr2=1.5.2.2&r1=text&r2=text
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/Documentation/user/programming-interface.itely.diff?only_with_tag=lilypond_2_6&tr1=1.37.2.4&tr2=1.37.2.5&r1=text&r2=text
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/Documentation/user/preface.itely.diff?only_with_tag=lilypond_2_6&tr1=1.54&tr2=1.54.2.1&r1=text&r2=text
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/Documentation/user/notation-appendices.itely.diff?only_with_tag=lilypond_2_6&tr1=1.10&tr2=1.10.2.1&r1=text&r2=text
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/Documentation/user/lilypond.tely.diff?only_with_tag=lilypond_2_6&tr1=1.132.2.2&tr2=1.132.2.3&r1=text&r2=text
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/Documentation/user/lilypond-book.itely.diff?only_with_tag=lilypond_2_6&tr1=1.118.2.4&tr2=1.118.2.5&r1=text&r2=text
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/Documentation/user/invoking.itely.diff?only_with_tag=lilypond_2_6&tr1=1.37.2.1&tr2=1.37.2.2&r1=text&r2=text
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/Documentation/user/introduction.itely.diff?only_with_tag=lilypond_2_6&tr1=1.142&tr2=1.142.2.1&r1=text&r2=text
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/Documentation/user/instrument-notation.itely.diff?only_with_tag=lilypond_2_6&tr1=1.36.2.1&tr2=1.36.2.2&r1=text&r2=text
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/Documentation/user/global.itely.diff?only_with_tag=lilypond_2_6&tr1=1.21.2.3&tr2=1.21.2.4&r1=text&r2=text
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/Documentation/user/examples.itely.diff?only_with_tag=lilypond_2_6&tr1=1.40.2.3&tr2=1.40.2.4&r1=text&r2=text
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/Documentation/user/converters.itely.diff?only_with_tag=lilypond_2_6&tr1=1.56.2.1&tr2=1.56.2.2&r1=text&r2=text
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/Documentation/user/cheatsheet.itely.diff?only_with_tag=lilypond_2_6&tr1=1.37&tr2=1.37.2.1&r1=text&r2=text
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/Documentation/user/basic-notation.itely.diff?only_with_tag=lilypond_2_6&tr1=1.25.2.2&tr2=1.25.2.3&r1=text&r2=text
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/Documentation/user/advanced-notation.itely.diff?only_with_tag=lilypond_2_6&tr1=1.35.2.3&tr2=1.35.2.4&r1=text&r2=text
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/ChangeLog.diff?only_with_tag=lilypond_2_6&tr1=1.3836.2.34&tr2=1.3836.2.35&r1=text&r2=text
Patches:
Index: lilypond/ChangeLog
diff -u lilypond/ChangeLog:1.3836.2.34 lilypond/ChangeLog:1.3836.2.35
--- lilypond/ChangeLog:1.3836.2.34 Thu Sep 1 08:43:50 2005
+++ lilypond/ChangeLog Thu Sep 8 07:12:50 2005
@@ -1,3 +1,10 @@
+2005-09-08 Jan Nieuwenhuizen <[EMAIL PROTECTED]>
+
+ * Documentation/user/instrument-notation.itely (Entering lyrics):
+ Multiple latin-1->utf-8 conversion fix.
+
+ * Documentation/user/*tely: Update Emacs cookie to utf-8.
+
2005-09-01 Han-Wen Nienhuys <[EMAIL PROTECTED]>
* scm/output-ps.scm (grob-cause): escape spaces in URLs.
Index: lilypond/Documentation/user/advanced-notation.itely
diff -u lilypond/Documentation/user/advanced-notation.itely:1.35.2.3
lilypond/Documentation/user/advanced-notation.itely:1.35.2.4
--- lilypond/Documentation/user/advanced-notation.itely:1.35.2.3 Thu Aug
25 06:28:17 2005
+++ lilypond/Documentation/user/advanced-notation.itely Thu Sep 8 07:12:49 2005
@@ -1,4 +1,4 @@
[EMAIL PROTECTED] -*- coding: latin-1; mode: texinfo; -*-
[EMAIL PROTECTED] -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond.tely
@c A menu is needed before every deeper *section nesting of @node's; run
Index: lilypond/Documentation/user/basic-notation.itely
diff -u lilypond/Documentation/user/basic-notation.itely:1.25.2.2
lilypond/Documentation/user/basic-notation.itely:1.25.2.3
--- lilypond/Documentation/user/basic-notation.itely:1.25.2.2 Thu Aug 25
06:28:17 2005
+++ lilypond/Documentation/user/basic-notation.itely Thu Sep 8 07:12:49 2005
@@ -1,4 +1,4 @@
[EMAIL PROTECTED] -*- coding: latin-1; mode: texinfo; -*-
[EMAIL PROTECTED] -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond.tely
@c A menu is needed before every deeper *section nesting of @node's; run
Index: lilypond/Documentation/user/cheatsheet.itely
diff -u /dev/null lilypond/Documentation/user/cheatsheet.itely:1.37.2.1
--- /dev/null Thu Sep 8 07:12:53 2005
+++ lilypond/Documentation/user/cheatsheet.itely Thu Sep 8 07:12:49 2005
@@ -0,0 +1,276 @@
[EMAIL PROTECTED] -*- coding: utf-8; mode: texinfo; -*-
+
[EMAIL PROTECTED] TODO: add tablature.
+
[EMAIL PROTECTED] Cheat sheet
[EMAIL PROTECTED] Cheat sheet
+
+
[EMAIL PROTECTED] @columnfractions .35 .3 .35
+
[EMAIL PROTECTED] @b{Syntax}
[EMAIL PROTECTED] @b{Description}
[EMAIL PROTECTED] @b{Example}
+
[EMAIL PROTECTED] @code{1 2 8 16}
[EMAIL PROTECTED] durations
[EMAIL PROTECTED]
[EMAIL PROTECTED],relative=2,notime]
+\set Staff.autoBeaming = ##f
+\override Staff.Clef #'break-visibility = #all-invisible
+c1 c2 c8 c16
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] @code{c4. c4..}
[EMAIL PROTECTED] augmentation dots
[EMAIL PROTECTED]
[EMAIL PROTECTED],relative=2,notime]
+\override Staff.Clef #'break-visibility = #all-invisible
+c4. c4..
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] @code{c d e f g a b }
[EMAIL PROTECTED] scale
[EMAIL PROTECTED]
[EMAIL PROTECTED],relative=1,notime]
+c d e f g a b
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] @code{fis bes}
[EMAIL PROTECTED] alteration
[EMAIL PROTECTED]
[EMAIL PROTECTED],relative=1,notime]
+fis bes
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] @code{\clef treble \clef bass }
[EMAIL PROTECTED] clefs
[EMAIL PROTECTED]
[EMAIL PROTECTED],notime]
+\clef treble
+s4_" "
+\clef bass
+s4_" "
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] @code{\time 3/4 \time 4/4 }
[EMAIL PROTECTED] time signature
[EMAIL PROTECTED]
[EMAIL PROTECTED]
+\override Staff.Clef #'transparent = ##t
+\time 3/4
+s4_" "
+\time 4/4
+s16_" "
[EMAIL PROTECTED] lilypond
+
+
[EMAIL PROTECTED] @code{r4 r8}
[EMAIL PROTECTED] rest
[EMAIL PROTECTED]
[EMAIL PROTECTED],notime,fragment]
+\override Staff.Clef #'break-visibility = #all-invisible
+r4 r8
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] @code{d ~ d}
[EMAIL PROTECTED] tie
[EMAIL PROTECTED]
[EMAIL PROTECTED],notime,fragment]
+\set Score.timing = ##f
+\set Staff.autoBeaming = ##f
+d ~ d
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] @code{\key es \major }
[EMAIL PROTECTED] key signature
[EMAIL PROTECTED]
[EMAIL PROTECTED],fragment]
+\clef treble
+\key es \major
+s4
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] @[EMAIL PROTECTED]'}
[EMAIL PROTECTED] raise octave
[EMAIL PROTECTED]
[EMAIL PROTECTED],notime,fragment]
+\set Score.timing = ##f
+\set Staff.autoBeaming = ##f
+a a'
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] @[EMAIL PROTECTED],}
[EMAIL PROTECTED] lower octave
[EMAIL PROTECTED]
[EMAIL PROTECTED],notime,fragment]
+\set Score.timing = ##f
+\set Staff.autoBeaming = ##f
+c c,
[EMAIL PROTECTED] lilypond
+
+
[EMAIL PROTECTED] @code{c( d e)}
[EMAIL PROTECTED] slur
[EMAIL PROTECTED]
[EMAIL PROTECTED],relative=2]
+\set Score.timing = ##f
+\override Staff.TimeSignature #'break-visibility = #all-invisible
+\set Staff.autoBeaming = ##f
+c( d e)
[EMAIL PROTECTED] lilypond
+
+
[EMAIL PROTECTED] @code{c\( c( d) e\)}
[EMAIL PROTECTED] phrasing slur
[EMAIL PROTECTED]
[EMAIL PROTECTED],relative=2]
+\set Score.timing = ##f
+\override Staff.TimeSignature #'break-visibility = #all-invisible
+\set Staff.autoBeaming = ##f
+c\( c( d) e\)
[EMAIL PROTECTED] lilypond
+
+
[EMAIL PROTECTED] @code{a8[ b]}
[EMAIL PROTECTED] beam
[EMAIL PROTECTED]
[EMAIL PROTECTED],relative=2]
+\set Score.timing = ##f
+\override Staff.TimeSignature #'break-visibility = #all-invisible
+\set Staff.autoBeaming = ##f
+a8-[ b-]
[EMAIL PROTECTED] lilypond
+
+
[EMAIL PROTECTED] @code{<< \new Staff ... >>}
[EMAIL PROTECTED] more staves
[EMAIL PROTECTED]
[EMAIL PROTECTED]
+<< \new Staff { c'1 }
+ \new Staff { c'1 } >>
[EMAIL PROTECTED] lilypond
+
+
[EMAIL PROTECTED] @code{c-> c-.}
[EMAIL PROTECTED] articulations
[EMAIL PROTECTED]
[EMAIL PROTECTED],relative=2]
+\override Staff.TimeSignature #'break-visibility = #all-invisible
+c-> c-.
[EMAIL PROTECTED] lilypond
+
+
[EMAIL PROTECTED] @code{c\mf c\sfz}
[EMAIL PROTECTED] dynamics
[EMAIL PROTECTED]
[EMAIL PROTECTED],relative=2]
+\override Staff.TimeSignature #'break-visibility = #all-invisible
+c\mf c\sfz
[EMAIL PROTECTED] lilypond
+
+
[EMAIL PROTECTED] @code{a\< a \!a}
[EMAIL PROTECTED] crescendo
[EMAIL PROTECTED]
[EMAIL PROTECTED],relative=2]
+\set Score.timing = ##f
+\override Staff.TimeSignature #'break-visibility = #all-invisible
+\set Staff.autoBeaming = ##f
+a\< a \!a
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] @code{a\> a a\!}
[EMAIL PROTECTED] decrescendo
[EMAIL PROTECTED]
[EMAIL PROTECTED],relative=2]
+\set Score.timing = ##f
+\override Staff.TimeSignature #'break-visibility = #all-invisible
+\set Staff.autoBeaming = ##f
+a\> a a\!
[EMAIL PROTECTED] lilypond
+
+
[EMAIL PROTECTED] @code{< >}
[EMAIL PROTECTED] chord
[EMAIL PROTECTED]
[EMAIL PROTECTED],relative=2]
+<c e>
[EMAIL PROTECTED] lilypond
+
+
[EMAIL PROTECTED] @code{\partial 8}
[EMAIL PROTECTED] upstep
[EMAIL PROTECTED]
[EMAIL PROTECTED],relative=2]
+\partial 8
+f8 c2 d e
[EMAIL PROTECTED] lilypond
+
+
[EMAIL PROTECTED] @code{\times 2/3 @{f g [EMAIL PROTECTED]
[EMAIL PROTECTED] triplets
[EMAIL PROTECTED]
[EMAIL PROTECTED],fragment]
+\times 2/3 { f8 g a }
[EMAIL PROTECTED] lilypond
+
+
[EMAIL PROTECTED] @code{\grace}
[EMAIL PROTECTED] grace notes
[EMAIL PROTECTED]
[EMAIL PROTECTED],fragment]
+\context Voice { \grace b16 c4 }
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] @code{\lyricmode @{ twinkle @}}
[EMAIL PROTECTED] entering lyrics
[EMAIL PROTECTED]
+
+
[EMAIL PROTECTED] @code{\new Lyrics}
[EMAIL PROTECTED] printing lyrics
[EMAIL PROTECTED]
+twinkle
[EMAIL PROTECTED]
+\new Lyrics \lyricmode { twinkle }
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] @code{twin -- kle}
[EMAIL PROTECTED] lyric hyphen
[EMAIL PROTECTED]
[EMAIL PROTECTED],relative=2]
+<<
+ { g'4 g }
+ \lyricsto "" \new Lyrics { twin -- kle }
+>>
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] @code{\chordmode @{ c:dim f:maj7 @}}
[EMAIL PROTECTED] chords
[EMAIL PROTECTED]
[EMAIL PROTECTED],relative=2]
+\chordmode { c:dim f:maj7 }
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] @code{\context ChordNames}
[EMAIL PROTECTED] printing chord names
[EMAIL PROTECTED]
[EMAIL PROTECTED],relative=2]
+\chords { c:dim f:maj7 }
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] @code{<<@{e [EMAIL PROTECTED] [EMAIL PROTECTED] [EMAIL
PROTECTED]>>}
[EMAIL PROTECTED] polyphony
[EMAIL PROTECTED]
[EMAIL PROTECTED],relative=2]
+\context Staff <<{e f} \\ {c d}>>
[EMAIL PROTECTED] lilypond
+
+
[EMAIL PROTECTED] @code{s4 s8 s16}
[EMAIL PROTECTED] spacer rests
[EMAIL PROTECTED]
+
[EMAIL PROTECTED] multitable
+
Index: lilypond/Documentation/user/converters.itely
diff -u lilypond/Documentation/user/converters.itely:1.56.2.1
lilypond/Documentation/user/converters.itely:1.56.2.2
--- lilypond/Documentation/user/converters.itely:1.56.2.1 Fri Jul 15
21:27:49 2005
+++ lilypond/Documentation/user/converters.itely Thu Sep 8 07:12:49 2005
@@ -1,4 +1,4 @@
[EMAIL PROTECTED] -*- coding: latin-1; mode: texinfo; -*-
[EMAIL PROTECTED] -*- coding: utf-8; mode: texinfo; -*-
@node Converting from other formats
@chapter Converting from other formats
Index: lilypond/Documentation/user/examples.itely
diff -u lilypond/Documentation/user/examples.itely:1.40.2.3
lilypond/Documentation/user/examples.itely:1.40.2.4
--- lilypond/Documentation/user/examples.itely:1.40.2.3 Thu Aug 25 06:28:17 2005
+++ lilypond/Documentation/user/examples.itely Thu Sep 8 07:12:49 2005
@@ -1,4 +1,4 @@
[EMAIL PROTECTED] -*- coding: latin-1; mode: texinfo; -*-
[EMAIL PROTECTED] -*- coding: utf-8; mode: texinfo; -*-
@node Example templates
@chapter Example templates
Index: lilypond/Documentation/user/global.itely
diff -u lilypond/Documentation/user/global.itely:1.21.2.3
lilypond/Documentation/user/global.itely:1.21.2.4
--- lilypond/Documentation/user/global.itely:1.21.2.3 Thu Aug 25 06:28:17 2005
+++ lilypond/Documentation/user/global.itely Thu Sep 8 07:12:49 2005
@@ -1,4 +1,4 @@
[EMAIL PROTECTED] -*- coding: latin-1; mode: texinfo; -*-
[EMAIL PROTECTED] -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond.tely
@c A menu is needed before every deeper *section nesting of @node's; run
Index: lilypond/Documentation/user/instrument-notation.itely
diff -u lilypond/Documentation/user/instrument-notation.itely:1.36.2.1
lilypond/Documentation/user/instrument-notation.itely:1.36.2.2
--- lilypond/Documentation/user/instrument-notation.itely:1.36.2.1 Thu Aug
25 06:28:17 2005
+++ lilypond/Documentation/user/instrument-notation.itely Thu Sep 8
07:12:49 2005
@@ -1,4 +1,4 @@
[EMAIL PROTECTED] -*- coding: latin-1; mode: texinfo; -*-
[EMAIL PROTECTED] -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond.tely
@c A menu is needed before every deeper *section nesting of @node's; run
@@ -793,7 +793,7 @@
it with utf-8 encoding. See @ref{Text encoding} for more info.
@example
-\lyricmode @{ He said: âÃÂÃÂLet my peo ple goâÃÂÃÂ. @}
+\lyricmode @{ He said: âLet my peo ple goâ. @}
@end example
The full definition of a word start in Lyrics mode is somewhat more
Index: lilypond/Documentation/user/introduction.itely
diff -u /dev/null lilypond/Documentation/user/introduction.itely:1.142.2.1
--- /dev/null Thu Sep 8 07:12:53 2005
+++ lilypond/Documentation/user/introduction.itely Thu Sep 8 07:12:49 2005
@@ -0,0 +1,878 @@
[EMAIL PROTECTED] -*- coding: utf-8; mode: texinfo; -*-
[EMAIL PROTECTED] This file is part of lilypond.tely
+
[EMAIL PROTECTED] Introduction
[EMAIL PROTECTED] Introduction
+
+
[EMAIL PROTECTED]
+* Engraving::
+* Automated engraving::
+* What symbols to engrave?::
+* Music representation::
+* Example applications::
+* About this manual::
[EMAIL PROTECTED] menu
+
+
[EMAIL PROTECTED] Engraving
[EMAIL PROTECTED] Engraving
+
+The art of music typography is called @emph{(plate) engraving}. The
+term derives from the traditional process of music printing. Just a
+few decades ago, sheet music was made by cutting and stamping the
+music into a zinc or pewter plate in mirror image. The plate would be
+inked, the depressions caused by the cutting and stamping would hold
+ink. An image was formed by pressing paper to the plate. The
+stamping and cutting was completely done by hand. Making a correction
+was cumbersome, if possible at all, so the engraving had to be perfect
+in one go. Engraving was a highly specialized skill; a craftsman had
+to complete around five years of training before earning the title of
+master engraver, and another five years of experience were
+necessary to become truly skilled.
+
+Nowadays, all newly printed music is produced with computers. This
+has obvious advantages; prints are cheaper to make, and editorial work
+can be delivered by email. Unfortunately, the pervasive use of
+computers has also decreased the graphical quality of scores.
+Computer printouts have a bland, mechanical look, which makes them
+unpleasant to play from.
+
+
[EMAIL PROTECTED] introduce illustrating aspects of engraving, font...
+The images below illustrate the difference between traditional
+engraving and typical computer output, and the third picture shows how
+LilyPond mimics the traditional look. The left picture shows a scan
+of a flat symbol from an edition published in 2000. The center
+depicts a symbol from a hand-engraved B@"{a}renreiter edition of the
+same music. The left scan illustrates typical flaws of computer
+print: the staff lines are thin, the weight of the flat symbol matches
+the light lines and it has a straight layout with sharp corners. By
+contrast, the B@"{a}renreiter flat has a bold, almost voluptuous
+rounded look. Our flat symbol is designed after, among others, this
+one. It is rounded, and its weight harmonizes with the thickness of
+our staff lines, which are also much thicker than lines in the
+computer edition.
+
[EMAIL PROTECTED] @columnfractions .05 .3 .3 .3 .05
[EMAIL PROTECTED] @tab
[EMAIL PROTECTED]
[EMAIL PROTECTED]
[EMAIL PROTECTED],,8cm}
[EMAIL PROTECTED] iftex
[EMAIL PROTECTED]
[EMAIL PROTECTED],,,png}
[EMAIL PROTECTED] ifnottex
+
[EMAIL PROTECTED]
[EMAIL PROTECTED]
[EMAIL PROTECTED],,8.4cm}
[EMAIL PROTECTED] iftex
[EMAIL PROTECTED]
[EMAIL PROTECTED],,,png}
[EMAIL PROTECTED] ifnottex
+
[EMAIL PROTECTED]
[EMAIL PROTECTED]
[EMAIL PROTECTED],,8cm}
[EMAIL PROTECTED] iftex
[EMAIL PROTECTED]
[EMAIL PROTECTED],,,png}
[EMAIL PROTECTED] ifnottex
[EMAIL PROTECTED] ifnotinfo
[EMAIL PROTECTED]
[EMAIL PROTECTED] workaround for makeinfo-4.6: line breaks and multi-column
cookies
[EMAIL PROTECTED],,,png} @image{baer-flat-bw,,,png} @image{lily-flat-bw,,,png}
[EMAIL PROTECTED] ifinfo
+
[EMAIL PROTECTED] @tab
+Henle (2000)
[EMAIL PROTECTED]
+B@"{a}renreiter (1950)
[EMAIL PROTECTED]
+LilyPond Feta font (2003)
+
[EMAIL PROTECTED] multitable
+
+
[EMAIL PROTECTED] musical symbols
[EMAIL PROTECTED] font
[EMAIL PROTECTED] blackness
[EMAIL PROTECTED] balance
+
[EMAIL PROTECTED] introduce illustrating aspects of engraving, spacing...
+In spacing, the distribution of space should reflect the durations
+between notes. However, many modern scores adhere to the durations
+with mathematical precision, which leads to poor results. In the
+next example a motive is printed twice. It is printed once using
+exact mathematical spacing, and once with corrections. Can you
+spot which fragment is which?
+
[EMAIL PROTECTED] optical spacing
[EMAIL PROTECTED] file spacing-optical.
[EMAIL PROTECTED] need to include it here, because we want two images.
[EMAIL PROTECTED]
+\paper {
+ raggedright = ##t
+ indent = #0.0
+}
+
+music = {
+ c'4 e''4 e'4 b'4 |
+ \stemDown
+ b'8[ e'' a' e'']
+ \stemNeutral
+ e'8[ e'8 e'8 e'8]
+}
+
+\score
+{
+ \music
+ \layout {
+ \context {
+ \Staff
+ \override NoteSpacing #'stem-spacing-correction = #0.6
+ }
+ }
+}
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED]
+\paper {
+ raggedright = ##t
+ indent = #0.0
+}
+
+music = {
+ c'4 e''4 e'4 b'4 |
+ \stemDown
+ b'8[ e'' a' e'']
+ \stemNeutral
+ e'8[ e'8 e'8 e'8]
+}
+\score
+{
+ \music
+ \layout {
+ \context {
+ \Staff
+ \override NoteSpacing #'stem-spacing-correction = #0.0
+ \override NoteSpacing #'same-direction-correction = #0.0
+ \override StaffSpacing #'stem-spacing-correction = #0.0
+ }
+ }
+}
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] regular rhythms
[EMAIL PROTECTED] regular spacing
+
+The fragment only uses quarter notes: notes that are played in a
+constant rhythm. The spacing should reflect that. Unfortunately, the
+eye deceives us a little; not only does it notice the distance between
+note heads, it also takes into account the distance between
+consecutive stems. As a result, the notes of an up-stem/@/down-stem
+combination should be put farther apart, and the notes of a down-stem/@/up-stem
+combination should be put closer together, all depending on the
+combined vertical positions of the notes. The first two measures are
+printed with this correction, the last two measures without. The notes
+in the last two measures form down-stem/@/up-stem clumps of notes.
+
[EMAIL PROTECTED] typography
+
+Musicians are usually more absorbed with performing than with studying
+the looks of a piece of music, so nitpicking about typographical details
+may seem academical. But it is not. In larger pieces with monotonous
+rhythms, spacing corrections lead to subtle variations in the layout
+of every line, giving each one a distinct visual signature. Without
+this signature all lines would look the same, and they become like a
+labyrinth. If a musician looks away once or has a lapse in
+concentration, the lines might lose their place on the page.
+
+Similarly, the strong visual look of bold symbols on heavy staff lines
+stands out better when the music is far away from the reader, for example,
+if it is on a music stand. A careful distribution of white space allows
+music to be set very tightly without cluttering symbols together. The
+result minimizes the number of page turns, which is a great advantage.
+
+This is a common characteristic of typography. Layout should be
+pretty, not only for its own sake, but especially because it helps the
+reader in her task. For performance material like sheet music, this is
+of double importance: musicians have a limited amount of attention. The
+less attention they need for reading, the more they can focus on
+playing the music. In other words, better typography translates to better
+performances.
+
+These examples demonstrate that music typography is an art that is
+subtle and complex, and that producing it requires considerable
+expertise, which musicians usually do not have. LilyPond is our
+effort to bring the graphical excellence of hand-engraved music to the
+computer age, and make it available to normal musicians. We have
+tuned our algorithms, font-designs, and program settings to produce
+prints that match the quality of the old editions we love to see and
+love to play from.
+
+
+
+
[EMAIL PROTECTED] Automated engraving
[EMAIL PROTECTED] Automated engraving
+
+How do we go about implementing typography? If craftsmen need over
+ten years to become true masters, how could we simple hackers ever
+write a program to take over their jobs?
+
+The answer is: we cannot. Typography relies on human judgment of
+appearance, so people cannot be replaced completely. However, much of
+the dull work can be automated. If LilyPond solves most of the common
+situations correctly, this will be a huge improvement over existing
+software. The remaining cases can be tuned by hand. Over the course
+of years, the software can be refined to do more and more things
+automatically, so manual overrides are less and less necessary.
+
+When we started, we wrote the LilyPond program entirely in the C++
+programming language; the program's functionality was set in stone by
+the developers. That proved to be unsatisfactory for a number of
+reasons:
+
[EMAIL PROTECTED] @bullet
[EMAIL PROTECTED] When LilyPond makes mistakes,
+users need to override formatting decisions. Therefore, the user must
+have access to the formatting engine. Hence, rules and settings cannot
+be fixed by us at compile-time but must be accessible for users at
+run-time.
+
[EMAIL PROTECTED] Engraving is a matter of visual judgment, and therefore a
matter of
+taste. As knowledgeable as we are, users can disagree with our
+personal decisions. Therefore, the definitions of typographical style
+must also be accessible to the user.
+
[EMAIL PROTECTED] Finally, we continually refine the formatting algorithms, so
we
+need a flexible approach to rules. The C++ language forces a certain
+method of grouping rules that do not match well with how music
+notation works.
[EMAIL PROTECTED] itemize
+
+These problems have been addressed by integrating an interpreter for
+the Scheme programming language and rewriting parts of LilyPond in
+Scheme. The current formatting architecture is built around the
+notion of graphical objects, described by Scheme variables and
+functions. This architecture encompasses formatting rules,
+typographical style and individual formatting decisions. The user has
+direct access to most of these controls.
+
+Scheme variables control layout decisions. For example, many
+graphical objects have a direction variable that encodes the choice
+between up and down (or left and right). Here you see two chords,
+with accents and arpeggios. In the first chord, the graphical objects
+have all directions down (or left). The second chord has all
+directions up (right).
+
[EMAIL PROTECTED],raggedright]
+\new Score \with {
+ \override SpacingSpanner #'spacing-increment = #3
+ \override TimeSignature #'transparent = ##t
+} \relative {
+ \stemDown <e g b>4_>-\arpeggio
+ \override Arpeggio #'direction = #RIGHT
+ \stemUp <e g b>4^>-\arpeggio
+}
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED]
+The process of formatting a score consists of reading and writing the
+variables of graphical objects. Some variables have a preset value. For
+example, the thickness of many lines -- a characteristic of typographical
+style -- is a variable with a preset value. You are free to alter this
+value, giving your score a different typographical impression.
+
[EMAIL PROTECTED],raggedright]
+fragment = {
+ \clef bass f8 as8
+ c'4-~ c'16 as g f e16 g bes c' des'4
+}
+<<
+ \new Staff \fragment
+ \new Staff \with {
+ \override Beam #'thickness = #0.3
+ \override Stem #'thickness = #0.5
+ \override Bar #'thickness = #3.6
+ \override Tie #'thickness = #2.2
+ \override StaffSymbol #'thickness = #3.0
+ \override Tie #'extra-offset = #'(0 . 0.3)
+ }
+ \fragment
+>>
[EMAIL PROTECTED] lilypond
+
+Formatting rules are also preset variables: each object has variables
+containing procedures. These procedures perform the actual
+formatting, and by substituting different ones, we can change the
+appearance of objects. In the following example, the rule which note
+head objects are used to produce their symbol is changed during the music
+fragment.
+
[EMAIL PROTECTED],raggedright]
+#(define (mc-squared grob orig current)
+ (let ((interfaces (ly:grob-property grob 'interfaces))
+ (pos (ly:grob-property grob 'staff-position)))
+ (if (and (memq 'note-head-interface interfaces)
+ (memq pos '(-2 -3 -5)))
+ (begin
+ (ly:grob-set-property! grob 'print-function Text_interface::print)
+ (ly:grob-set-property! grob 'font-family 'roman)
+ (ly:grob-set-property!
+ grob 'text
+ (make-raise-markup
+ -0.5
+ (case pos
+ ((-5) (make-simple-markup "m"))
+ ((-3) (make-simple-markup "c "))
+ ((-2) (make-smaller-markup (make-bold-markup "2")))
+ (else (make-simple-markup "bla")))))))))
+
+\new Voice \relative c' {
+ \stemUp
+ \set autoBeaming = ##f
+ \time 2/4
+ <d f g>4
+ \once \override NoteHead #'print-function = #Note_head::brew_ez_stencil
+ <d f g>
+ \once \override NoteHead #'style = #'cross
+ <d f g>
+ \applyoutput #mc-squared
+ <d f g>
+ <<
+ { d8[ es-( fis^^ g] fis2-) }
+ \repeat unfold 5 { \applyoutput #mc-squared s8 }
+ >>
+}
[EMAIL PROTECTED] lilypond
+
+
+
[EMAIL PROTECTED] What symbols to engrave?
[EMAIL PROTECTED] What symbols to engrave?
+
[EMAIL PROTECTED] engraving
[EMAIL PROTECTED] typography
+
+The formatting process decides where to place
+symbols. However, this can only be done once it is decided @emph{what}
+symbols should be printed, in other words what notation to use.
+
+Common music notation is a system of recording music that has evolved
+over the past 1000 years. The form that is now in common use dates
+from the early renaissance. Although the basic form (i.e., note heads on a
+5-line staff) has not changed, the details still evolve to express the
+innovations of contemporary notation. Hence, it encompasses some 500
+years of music. Its applications range from monophonic melodies to
+monstrous counterpoints for large orchestras.
+
+How can we get a grip on such a many-headed beast, and force it into
+the confines of a computer program? Our solution is to break up the
+problem of notation (as opposed to engraving, i.e., typography) into
+digestible and programmable chunks: every type of symbol is handled by
+a separate module, a so-called plug-in. Each plug-in is completely
+modular and independent, so each can be developed and improved
+separately. Such plug-ins are called @code{engraver}s, by analogy with
+craftsmen who translate musical ideas to graphic symbols.
+
+In the following example, we see how we start out with a plug-in for
+note heads, the @code{Note_heads_engraver}.
+
[EMAIL PROTECTED],raggedright]
+\include "engraver-example.ily"
+
+\score {
+ \topVoice
+ \layout {
+ \context {
+ \Voice
+ \remove "Stem_engraver"
+ \remove "Phrasing_slur_engraver"
+ \remove "Slur_engraver"
+ \remove "Script_engraver"
+ \remove "Beam_engraver"
+ \remove "Auto_beam_engraver"
+ }
+ \context {
+ \Staff
+ \remove "Accidental_engraver"
+ \remove "Key_engraver"
+ \remove "Clef_engraver"
+ \remove "Bar_engraver"
+ \remove "Time_signature_engraver"
+ \remove "Staff_symbol_engraver"
+ \consists "Pitch_squash_engraver"
+ }
+}
+}
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED]
+Then a @code{Staff_symbol_engraver} adds the staff
+
[EMAIL PROTECTED],raggedright]
+\include "engraver-example.ily"
+
+\score {
+ \topVoice
+ \layout {
+ \context {
+ \Voice
+ \remove "Stem_engraver"
+ \remove "Phrasing_slur_engraver"
+ \remove "Slur_engraver"
+ \remove "Script_engraver"
+ \remove "Beam_engraver"
+ \remove "Auto_beam_engraver"
+ }
+ \context {
+ \Staff
+ \remove "Accidental_engraver"
+ \remove "Key_engraver"
+ \remove "Clef_engraver"
+ \remove "Bar_engraver"
+ \consists "Pitch_squash_engraver"
+ \remove "Time_signature_engraver"
+ }
+ }
+}
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED]
+the @code{Clef_engraver} defines a reference point for the staff
+
[EMAIL PROTECTED],raggedright]
+\include "engraver-example.ily"
+
+\score {
+ \topVoice
+ \layout {
+ \context {
+ \Voice
+ \remove "Stem_engraver"
+ \remove "Phrasing_slur_engraver"
+ \remove "Slur_engraver"
+ \remove "Script_engraver"
+ \remove "Beam_engraver"
+ \remove "Auto_beam_engraver"
+ }
+ \context {
+ \Staff
+ \remove "Accidental_engraver"
+ \remove "Key_engraver"
+ \remove "Bar_engraver"
+ \remove "Time_signature_engraver"
+ }
+ }
+}
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED]
+and the @code{Stem_engraver} adds stems.
+
[EMAIL PROTECTED],raggedright]
+\include "engraver-example.ily"
+
+\score {
+ \topVoice
+ \layout {
+ \context {
+ \Voice
+ \remove "Phrasing_slur_engraver"
+ \remove "Slur_engraver"
+ \remove "Script_engraver"
+ \remove "Beam_engraver"
+ \remove "Auto_beam_engraver"
+ }
+ \context {
+ \Staff
+ \remove "Accidental_engraver"
+ \remove "Key_engraver"
+ \remove "Bar_engraver"
+ \remove "Time_signature_engraver"
+ }
+ }
+}
[EMAIL PROTECTED] lilypond
+
+The @code{Stem_engraver} is notified of any note head coming along.
+Every time one (or more, for a chord) note head is seen, a stem
+object is created and connected to the note head. By adding
+engravers for beams, slurs, accents, accidentals, bar lines,
+time signature, and key signature, we get a complete piece of
+notation.
+
[EMAIL PROTECTED],raggedright]
+\include "engraver-example.ily"
+\score { \topVoice }
[EMAIL PROTECTED] lilypond
+
+This system works well for monophonic music, but what about
+polyphony? In polyphonic notation, many voices can share a staff.
+
[EMAIL PROTECTED],raggedright]
+\include "engraver-example.ily"
+\new Staff << \topVoice \\ \botVoice >>
[EMAIL PROTECTED] lilypond
+
+In this situation, the accidentals and staff are shared, but the stems,
+slurs, beams, etc., are private to each voice. Hence, engravers should
+be grouped. The engravers for note heads, stems, slurs, etc., go into a
+group called `Voice context,' while the engravers for key, accidental,
+bar, etc., go into a group called `Staff context.' In the case of
+polyphony, a single Staff context contains more than one Voice context.
+Similarly, multiple Staff contexts can be put into a single Score
+context. The Score context is the top level notation context.
+
[EMAIL PROTECTED]
+
+Program reference: @internalsref{Contexts}.
+
[EMAIL PROTECTED],raggedright]
+\include "engraver-example.ily"
+\score {
+ <<
+ \new Staff << \topVoice \\ \botVoice >>
+ \new Staff << \pah \\ \hoom >>
+ >>
+}
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] Music representation
[EMAIL PROTECTED] Music representation
+
+Ideally, the input format for any high-level formatting system is an
+abstract description of the content. In this case, that would be the
+music itself. This poses a formidable problem: how can we define what
+music really is? Instead of trying to find an answer, we have reversed
+the question. We write a program capable of producing sheet music,
+and adjust the format to be as lean as possible. When the format can
+no longer be trimmed down, by definition we are left with content
+itself. Our program serves as a formal definition of a music
+document.
+
+The syntax is also the user-interface for LilyPond, hence it is easy
+to type
+
[EMAIL PROTECTED]
+c'4 d'8
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED]
+a quarter note C1 (middle C) and an eighth note D1 (D above middle C)
+
[EMAIL PROTECTED],fragment]
+c'4 d'8
[EMAIL PROTECTED] lilypond
+
+On a microscopic scale, such syntax is easy to use. On a larger
+scale, syntax also needs structure. How else can you enter complex
+pieces like symphonies and operas? The structure is formed by the
+concept of music expressions: by combining small fragments of music
+into larger ones, more complex music can be expressed. For example
+
[EMAIL PROTECTED],verbatim,fragment,relative=1]
+c4
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED]
+Chords can be constructed with @code{<<} and @code{>>} enclosing the notes
+
[EMAIL PROTECTED] < > is not a music expression,
[EMAIL PROTECTED] so we use <<>> iso. <> to drive home the point of
[EMAIL PROTECTED] expressions. Don't change this back --hwn.
[EMAIL PROTECTED]
+<<c4 d4 e4>>
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED],fragment,relative=1]
+\new Voice { <<c4 d4 e>> }
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED]
+This expression is put in sequence by enclosing it in curly braces
[EMAIL PROTECTED]@[EMAIL PROTECTED]@[EMAIL PROTECTED]@}}
+
[EMAIL PROTECTED]
[EMAIL PROTECTED] f4 <<c4 d4 e4>> @}
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED],relative=1,fragment]
+{ f4 <<c d e4>> }
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED]
+The above is also an expression, and so it may be combined
+again with another simultaneous expression (a half note) using <<,
[EMAIL PROTECTED], and >>
+
[EMAIL PROTECTED]
+<< g2 \\ @{ f4 <<c4 d4 e4>> @} >>
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED],fragment,relative=2]
+\new Voice { << g2 \\ { f4 <<c d e>> } >> }
[EMAIL PROTECTED] lilypond
+
+Such recursive structures can be specified neatly and formally in a
+context-free grammar. The parsing code is also generated from this
+grammar. In other words, the syntax of LilyPond is clearly and
+unambiguously defined.
+
+User-interfaces and syntax are what people see and deal with
+most. They are partly a matter of taste, and also subject of much
+discussion. Although discussions on taste do have their merit, they
+are not very productive. In the larger picture of LilyPond, the
+importance of input syntax is small: inventing neat syntax is easy, while
+writing decent formatting code is much harder. This is also
+illustrated by the line-counts for the respective components: parsing
+and representation take up less than 10% of the source code.
+
+
[EMAIL PROTECTED] Example applications
[EMAIL PROTECTED] Example applications
+
+We have written LilyPond as an experiment of how to condense the art
+of music engraving into a computer program. Thanks to all that hard
+work, the program can now be used to perform useful tasks. The
+simplest application is printing notes.
+
[EMAIL PROTECTED],relative=1,fragment]
+\time 2/4 c4 c g'4 g a4 a g2
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED]
+By adding chord names and lyrics we obtain a lead sheet.
+
[EMAIL PROTECTED],raggedright]
+<<
+ \chords { c2 c f2 c }
+ \new Staff \relative c' { \time 2/4 c4 c g'4 g a4 a g2 }
+ \new Lyrics \lyricmode { twin4 kle twin kle lit tle star2 }
+>>
[EMAIL PROTECTED] lilypond
+
+Polyphonic notation and piano music can also be printed. The following
+example combines some more exotic constructs.
+
[EMAIL PROTECTED],raggedright]{screech-boink.ly}
+
+The fragments shown above have all been written by hand, but that is
+not a requirement. Since the formatting engine is mostly automatic, it
+can serve as an output means for other programs that manipulate
+music. For example, it can also be used to convert databases of
+musical fragments to images for use on websites and multimedia
+presentations.
+
+This manual also shows an application: the input format is text, and
+can therefore be easily embedded in other text-based formats such as
[EMAIL PROTECTED], HTML, or in the case of this manual, Texinfo. By means of a
+special program, the input fragments can be replaced by music images
+in the resulting PDF or HTML output files. This makes it easy
+to mix music and text in documents.
+
+
+
[EMAIL PROTECTED] About this manual
[EMAIL PROTECTED] About this manual
+
+The manual is divided into the following chapters:
[EMAIL PROTECTED] @bullet
+
[EMAIL PROTECTED]
[EMAIL PROTECTED]
+The
[EMAIL PROTECTED] ifhtml
[EMAIL PROTECTED]@ref{Tutorial}}
+gives a gentle introduction to typesetting music. First time
+users should start here.
+
[EMAIL PROTECTED]
[EMAIL PROTECTED]@ref{Example templates}}
+provides templates of LilyPond pieces. Just cut and paste a
+template into a file, add notes, and you're done!
+
[EMAIL PROTECTED]
[EMAIL PROTECTED]@ref{Putting it all together}}
+demonstrates practical uses of LilyPond.
+
[EMAIL PROTECTED]
[EMAIL PROTECTED]@ref{Running LilyPond}}
+shows how to run LilyPond and its helper
+programs. In addition, this section explains how to upgrade input
+files from previous versions of LilyPond.
+
[EMAIL PROTECTED]
[EMAIL PROTECTED]@ref{Basic notation}}
+discusses topics grouped by notation construct. This section gives
+details about basic notation that will be useful in almost any
+notation project.
+
[EMAIL PROTECTED]
[EMAIL PROTECTED]@ref{Instrument-specific notation}}
+discusses topics grouped by notation construct. This section gives
+details about special notation that will only be useful for particular
+instrument (or vocal) groups.
+
[EMAIL PROTECTED]
[EMAIL PROTECTED]@ref{Advanced notation}}
+discusses topics grouped by notation construct. This section gives
+details about complicated or unusual notation.
+
[EMAIL PROTECTED]
[EMAIL PROTECTED]@ref{Changing defaults}}
+explains how to fine tune layout.
+
[EMAIL PROTECTED]
[EMAIL PROTECTED]@ref{Output formats}}
+discusses issues which affect the global output, such as selecting
+paper size or which MIDI instruments to use.
+
[EMAIL PROTECTED]
[EMAIL PROTECTED]@ref{LilyPond-book}} explains the details behind creating
+documents with in-line music examples, like this manual.
+
[EMAIL PROTECTED]
[EMAIL PROTECTED]@ref{Converting from other formats}}
+explains how to run the conversion programs. These programs
+are supplied with the LilyPond package, and convert a variety of music
+formats to the @code{.ly} format.
+
[EMAIL PROTECTED]
[EMAIL PROTECTED]
+The
[EMAIL PROTECTED] ifhtml
[EMAIL PROTECTED]@ref{Literature list}}
+contains a set of useful reference books for those who wish to know
+more on notation and engraving.
[EMAIL PROTECTED] itemize
+
+Once you are an experienced user, you can use the manual as reference:
+there is an extensive [EMAIL PROTECTED] you are looking for something,
+and you cannot find it in the manual, that is considered a bug. In
+that case, please file a bug report.}, but the document is also
+available in
[EMAIL PROTECTED]
+a big HTML page,
[EMAIL PROTECTED] iftex
[EMAIL PROTECTED]
[EMAIL PROTECTED]/Documentation/user/out-www/lilypond.html, one big page},
[EMAIL PROTECTED] ifhtml
+which can be searched easily using the search facility of a web
+browser.
[EMAIL PROTECTED] search in manual
[EMAIL PROTECTED] using the manual
+
[EMAIL PROTECTED] FIXME:
[EMAIL PROTECTED] add/integrate glossary, put in list above
+If you are not familiar with music notation or music terminology
+(especially if you are a non-native English speaker), it is advisable
+to consult the glossary as well.
[EMAIL PROTECTED]
+The music glossary explains musical terms, and includes translations
+to various languages. It is a separate document, available in HTML
+and PDF.
[EMAIL PROTECTED] iftex
[EMAIL PROTECTED]
+The @ref{Top,Music glossary,,music-glossary}, explains musical terms and
+includes translations to various languages. It is also available in
+PDF.
[EMAIL PROTECTED] ifnottex
[EMAIL PROTECTED] idiom
[EMAIL PROTECTED] jargon
[EMAIL PROTECTED] terminology
[EMAIL PROTECTED] foreign languages
[EMAIL PROTECTED] language
+
+
+This manual is not complete without a number of other documents. They
+are not available in print, but should be included with the
+documentation package for your platform
+
[EMAIL PROTECTED] @bullet
[EMAIL PROTECTED]
[EMAIL PROTECTED]
+Program reference
[EMAIL PROTECTED] iftex
[EMAIL PROTECTED]
[EMAIL PROTECTED],Program reference,,lilypond-internals}.
[EMAIL PROTECTED] ifnottex
+
+The program reference is a set of heavily cross linked HTML pages,
+which document the nitty-gritty details of each and every LilyPond
+class, object, and function. It is produced directly from the
+formatting definitions used.
+
+Almost all formatting functionality that is used internally, is
+available directly to the user. For example, all variables that
+control thickness values, distances, etc., can be changed in input
+files. There are a huge number of formatting options, and all of them
+are described in this document. Each section of the
+notation manual has a @b{See also} subsection, which refers to the
+generated documentation. In the HTML document, these subsections
+have clickable links.
+
[EMAIL PROTECTED] snippets
[EMAIL PROTECTED]
[EMAIL PROTECTED]
+Various input examples.
[EMAIL PROTECTED] ifnothtml
[EMAIL PROTECTED]
[EMAIL PROTECTED] Works, but link name is not so nice; so write-out macro
[EMAIL PROTECTED] @inputfileref{input/test,Various input examples}.
[EMAIL PROTECTED]/input/test/out-www/collated-files.html,Various input
examples}.
[EMAIL PROTECTED] ifhtml
+
+This collection of files shows various tips and tricks, and is
+available as a big HTML document, with pictures and explanatory texts
+included.
+
[EMAIL PROTECTED]
[EMAIL PROTECTED]
+The regression tests.
[EMAIL PROTECTED] ifnothtml
[EMAIL PROTECTED]
[EMAIL PROTECTED] Works, but link name is not so nice; so write-out macro
[EMAIL PROTECTED] @inputfileref{input/regression,The regression tests}.
[EMAIL PROTECTED]/input/regression/out-www/collated-files.html,The regression
tests}.
[EMAIL PROTECTED] ifhtml
+
+This collection of files tests each notation and engraving feature of
+LilyPond in one file. The collection is primarily there to help us
+debug problems, but it can be instructive to see how we exercise the
+program. The format is similar to the tips and tricks document.
[EMAIL PROTECTED] itemize
+
+
+In all HTML documents that have music fragments embedded, the LilyPond
+input that was used to produce that image can be viewed by clicking
+the image.
+
+The location of the documentation files that are mentioned here can
+vary from system to system. On occasion, this manual refers to
+initialization and example files. Throughout this manual, we refer to
+input files relative to the top-directory of the source archive. For
+example, @file{input/@/test/@/bla@/.ly} may refer to the file
[EMAIL PROTECTED]@/-2.6.0/@/input/@/test/@/bla@/.ly}. On binary packages
+for the Unix platform, the documentation and examples can typically be
+found somewhere below @file{/usr/@/share/@/doc/@/lilypond/}.
+Initialization files, for example @file{scm/@/lily@/.scm}, or
[EMAIL PROTECTED]/@/engraver@/-init@/.ly}, are usually found in the directory
[EMAIL PROTECTED]/usr/@/share/@/lilypond/}.
+
[EMAIL PROTECTED] adjusting output
[EMAIL PROTECTED] variables
[EMAIL PROTECTED] properties
[EMAIL PROTECTED] lilypond-internals
[EMAIL PROTECTED] internal documentation
[EMAIL PROTECTED] Scheme
[EMAIL PROTECTED] extending lilypond
[EMAIL PROTECTED] index
+
+Finally, this and all other manuals, are available online both as PDF
+files and HTML from the web site, which can be found at
[EMAIL PROTECTED]://@/www@/.lilypond@/.org/}.
+
Index: lilypond/Documentation/user/invoking.itely
diff -u lilypond/Documentation/user/invoking.itely:1.37.2.1
lilypond/Documentation/user/invoking.itely:1.37.2.2
--- lilypond/Documentation/user/invoking.itely:1.37.2.1 Thu Aug 25 06:28:17 2005
+++ lilypond/Documentation/user/invoking.itely Thu Sep 8 07:12:49 2005
@@ -1,4 +1,4 @@
[EMAIL PROTECTED] -*- coding: latin-1; mode: texinfo; -*-
[EMAIL PROTECTED] -*- coding: utf-8; mode: texinfo; -*-
@node Running LilyPond
@chapter Running LilyPond
Index: lilypond/Documentation/user/lilypond-book.itely
diff -u lilypond/Documentation/user/lilypond-book.itely:1.118.2.4
lilypond/Documentation/user/lilypond-book.itely:1.118.2.5
--- lilypond/Documentation/user/lilypond-book.itely:1.118.2.4 Thu Aug 25
06:28:17 2005
+++ lilypond/Documentation/user/lilypond-book.itely Thu Sep 8 07:12:49 2005
@@ -1,4 +1,4 @@
[EMAIL PROTECTED] -*- coding: latin-1; mode: texinfo; -*-
[EMAIL PROTECTED] -*- coding: utf-8; mode: texinfo; -*-
@ignore
Index: lilypond/Documentation/user/lilypond.tely
diff -u lilypond/Documentation/user/lilypond.tely:1.132.2.2
lilypond/Documentation/user/lilypond.tely:1.132.2.3
--- lilypond/Documentation/user/lilypond.tely:1.132.2.2 Thu Aug 25 06:28:18 2005
+++ lilypond/Documentation/user/lilypond.tely Thu Sep 8 07:12:49 2005
@@ -1,4 +1,4 @@
-\input texinfo @c -*- coding: latin-1; mode: texinfo; -*-
+\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
@setfilename lilypond.info
@settitle GNU LilyPond
@iftex
@@ -164,7 +164,7 @@
This makes it easier to not forget [EMAIL PROTECTED]'.
- . Non-ASCII characters which are in latin-1 should be directly used;
+ . Non-ASCII characters which are in utf-8 should be directly used;
this is, don't say [EMAIL PROTECTED]' but `Baßtuba'. This ensures that
all such characters appear in all output formats.
Index: lilypond/Documentation/user/notation-appendices.itely
diff -u /dev/null lilypond/Documentation/user/notation-appendices.itely:1.10.2.1
--- /dev/null Thu Sep 8 07:12:53 2005
+++ lilypond/Documentation/user/notation-appendices.itely Thu Sep 8
07:12:49 2005
@@ -0,0 +1,199 @@
[EMAIL PROTECTED] -*- coding: utf-8; mode: texinfo; -*-
[EMAIL PROTECTED] This file is part of lilypond.tely
+
[EMAIL PROTECTED] Notation manual details
[EMAIL PROTECTED] Notation manual details
+
[EMAIL PROTECTED]
+* Chord name chart::
+* MIDI instruments::
+* List of colors::
+* The Feta font::
[EMAIL PROTECTED] menu
+
+
+
[EMAIL PROTECTED] Chord name chart
[EMAIL PROTECTED] Chord name chart
+
+The following charts shows two standard systems for printing chord
+names, along with the pitches they represent.
+
[EMAIL PROTECTED]
+
[EMAIL PROTECTED] MIDI instruments
[EMAIL PROTECTED] MIDI instruments
+
+The following is a list of names that can be used for the
[EMAIL PROTECTED] property.
+
[EMAIL PROTECTED]
+acoustic grand contrabass lead 7 (fifths)
+bright acoustic tremolo strings lead 8 (bass+lead)
+electric grand pizzicato strings pad 1 (new age)
+honky-tonk orchestral strings pad 2 (warm)
+electric piano 1 timpani pad 3 (polysynth)
+electric piano 2 string ensemble 1 pad 4 (choir)
+harpsichord string ensemble 2 pad 5 (bowed)
+clav synthstrings 1 pad 6 (metallic)
+celesta synthstrings 2 pad 7 (halo)
+glockenspiel choir aahs pad 8 (sweep)
+music box voice oohs fx 1 (rain)
+vibraphone synth voice fx 2 (soundtrack)
+marimba orchestra hit fx 3 (crystal)
+xylophone trumpet fx 4 (atmosphere)
+tubular bells trombone fx 5 (brightness)
+dulcimer tuba fx 6 (goblins)
+drawbar organ muted trumpet fx 7 (echoes)
+percussive organ french horn fx 8 (sci-fi)
+rock organ brass section sitar
+church organ synthbrass 1 banjo
+reed organ synthbrass 2 shamisen
+accordion soprano sax koto
+harmonica alto sax kalimba
+concertina tenor sax bagpipe
+acoustic guitar (nylon) baritone sax fiddle
+acoustic guitar (steel) oboe shanai
+electric guitar (jazz) english horn tinkle bell
+electric guitar (clean) bassoon agogo
+electric guitar (muted) clarinet steel drums
+overdriven guitar piccolo woodblock
+distorted guitar flute taiko drum
+guitar harmonics recorder melodic tom
+acoustic bass pan flute synth drum
+electric bass (finger) blown bottle reverse cymbal
+electric bass (pick) shakuhachi guitar fret noise
+fretless bass whistle breath noise
+slap bass 1 ocarina seashore
+slap bass 2 lead 1 (square) bird tweet
+synth bass 1 lead 2 (sawtooth) telephone ring
+synth bass 2 lead 3 (calliope) helicopter
+violin lead 4 (chiff) applause
+viola lead 5 (charang) gunshot
+cello lead 6 (voice)
[EMAIL PROTECTED] example
+
+
[EMAIL PROTECTED] List of colors
[EMAIL PROTECTED] List of colors
+
[EMAIL PROTECTED] Normal colors
+
[EMAIL PROTECTED]
+black white red green
+blue cyan magenta yellow
+grey darkred darkgreen darkblue
+darkcyan darkmagenta darkyellow
[EMAIL PROTECTED] verbatim
+
+
[EMAIL PROTECTED] X color names
+
+X color names come several variants:
+
+Any name that is spelled as a single word with capitalisation
+(e.g. ``LightSlateBlue'') can also be spelled as space separated
+words without capitalisation (e.g. ``light slate blue'').
+
+The word ``grey'' can always be spelled ``gray'' (e.g. ``DarkSlateGray'').
+
+Some names can take a numerical suffix (e.g. ``LightSalmon4'').
+
+
[EMAIL PROTECTED] Color Names without a numerical suffix:
+
[EMAIL PROTECTED]
+snow GhostWhite WhiteSmoke gainsboro FloralWhite
+OldLace linen AntiqueWhite PapayaWhip
BlanchedAlmond
+bisque PeachPuff NavajoWhite moccasin cornsilk
+ivory LemonChiffon seashell honeydew MintCream
+azure AliceBlue lavender LavenderBlush MistyRose
+white black DarkSlateGrey DimGrey SlateGrey
+LightSlateGrey grey LightGrey MidnightBlue navy
+NavyBlue CornflowerBlue DarkSlateBlue SlateBlue MediumSlateBlue
+LightSlateBlue MediumBlue RoyalBlue blue DodgerBlue
+DeepSkyBlue SkyBlue LightSkyBlue SteelBlue LightSteelBlue
+LightBlue PowderBlue PaleTurquoise DarkTurquoise MediumTurquoise
+turquoise cyan LightCyan CadetBlue MediumAquamarine
+aquamarine DarkGreen DarkOliveGreen DarkSeaGreen SeaGreen
+MediumSeaGreen LightSeaGreen PaleGreen SpringGreen LawnGreen
+green chartreuse MediumSpringGreen GreenYellow
LimeGreen
+YellowGreen ForestGreen OliveDrab DarkKhaki khaki
+PaleGoldenrod LightGoldenrodYellow LightYellow yellow gold
+LightGoldenrod goldenrod DarkGoldenrod RosyBrown IndianRed
+SaddleBrown sienna peru burlywood beige
+wheat SandyBrown tan chocolate firebrick
+brown DarkSalmon salmon LightSalmon orange
+DarkOrange coral LightCoral tomato OrangeRed
+red HotPink DeepPink pink LightPink
+PaleVioletRed maroon MediumVioletRed VioletRed magenta
+violet plum orchid MediumOrchid DarkOrchid
+DarkViolet BlueViolet purple MediumPurple thistle
+DarkGrey DarkBlue DarkCyan DarkMagenta DarkRed
+LightGreen
[EMAIL PROTECTED] verbatim
+
+
[EMAIL PROTECTED] Color names with a numerical suffix
+
+In the following names the suffix N can be a number in the range 1-4:
+
[EMAIL PROTECTED]
+snowN seashellN AntiqueWhiteN bisqueN PeachPuffN
+NavajoWhiteN LemonChiffonN cornsilkN ivoryN honeydewN
+LavenderBlushN MistyRoseN azureN SlateBlueN RoyalBlueN
+blueN DodgerBlueN SteelBlueN DeepSkyBlueN SkyBlueN
+LightSkyBlueN LightSteelBlueN LightBlueN LightCyanN PaleTurquoiseN
+CadetBlueN turquoiseN cyanN aquamarineN DarkSeaGreenN
+SeaGreenN PaleGreenN SpringGreenN greenN chartreuseN
+OliveDrabN DarkOliveGreenN khakiN LightGoldenrodN LightYellowN
+yellowN goldN goldenrodN DarkGoldenrodN
RosyBrownN
+IndianRedN siennaN burlywoodN wheatN tanN
+chocolateN firebrickN brownN salmonN LightSalmonN
+orangeN DarkOrangeN coralN tomatoN
OrangeRedN
+redN DeepPinkN HotPinkN pinkN LightPinkN
+PaleVioletRedN maroonN VioletRedN magentaN orchidN
+plumN MediumOrchidN DarkOrchidN purpleN MediumPurpleN
+thistleN
[EMAIL PROTECTED] verbatim
+
+
[EMAIL PROTECTED] Grey Scale
+
+A grey scale can be obtained using:
+
[EMAIL PROTECTED]
+greyN
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED]
+Where N is in the range 0-100.
+
+
[EMAIL PROTECTED] The Feta font
[EMAIL PROTECTED] The Feta font
+
+The following symbols are available in the Feta font and may be
+accessed directly using text markup such as @code{g^\markup @{
+\musicglyph #"scripts.segno" @}}, see @ref{Text markup}.
+
+
[EMAIL PROTECTED]
+
+
[EMAIL PROTECTED]
+
+
[EMAIL PROTECTED]
[EMAIL PROTECTED] All context properties
[EMAIL PROTECTED] ppendixsec All context properties
+
[EMAIL PROTECTED] nclude context-properties.tely
+
+
[EMAIL PROTECTED] Layout properties
[EMAIL PROTECTED] pendixsec Layout properties
+
[EMAIL PROTECTED] clude layout-properties.tely
+
[EMAIL PROTECTED] ignore
Index: lilypond/Documentation/user/preface.itely
diff -u /dev/null lilypond/Documentation/user/preface.itely:1.54.2.1
--- /dev/null Thu Sep 8 07:12:53 2005
+++ lilypond/Documentation/user/preface.itely Thu Sep 8 07:12:49 2005
@@ -0,0 +1,80 @@
[EMAIL PROTECTED] -*- coding: utf-8; mode: texinfo; -*-
+
[EMAIL PROTECTED] Preface
[EMAIL PROTECTED] Preface
+
+
+It must have been during a rehearsal of the EJE (Eindhoven Youth
+Orchestra), somewhere in 1995 that Jan, one of the cranked violists
+told Han-Wen, one of the distorted French horn players, about the
+grand new project he was working on. It was an automated system for
+printing music (to be precise, it was MPP, a preprocessor for
+MusiXTeX). As it happened, Han-Wen accidentally wanted to print out
+some parts from a score, so he started looking at the software, and he
+quickly got hooked. It was decided that MPP was a dead end. After
+lots of philosophizing and heated email exchanges, Han-Wen started
+LilyPond in 1996. This time, Jan got sucked into Han-Wen's new
+project.
+
+In some ways, developing a computer program is like learning to play
+an instrument. In the beginning, discovering how it works is fun, and
+the things you cannot do are challenging. After the initial excitement,
+you have to practice and practice. Scales and studies can be dull, and
+if you are not motivated by others---teachers, conductors or
+audience---it is very tempting to give up. You continue, and gradually
+playing becomes a part of your life. Some days it comes naturally, and
+it is wonderful, and on some days it just does not work, but you keep
+playing, day after day.
+
+Like making music, working on LilyPond can be dull work, and on
+some days it feels like plodding through a morass of bugs.
+Nevertheless, it has become a part of our life, and we keep doing it.
+Probably the most important motivation is that our program actually
+does something useful for people. When we browse around the net we
+find many people who use LilyPond, and produce impressive pieces of
+sheet music. Seeing that feels unreal, but in a very pleasant way.
+
+Our users not only give us good vibes by using our program, many of
+them also help us by giving suggestions and sending bug reports, so we
+would like to thank all users that sent us bug reports, gave
+suggestions or contributed in any other way to LilyPond.
+
+Playing and printing music is more than a nice analogy. Programming
+together is a lot of fun, and helping people is deeply satisfying, but
+ultimately, working on LilyPond is a way to express our deep love for
+music. May it help you create lots of beautiful music!
+
+Han-Wen and Jan
+
+Utrecht/Eindhoven, The Netherlands, July 2002.
+
[EMAIL PROTECTED]
+* Notes for version 2.6::
[EMAIL PROTECTED] menu
+
[EMAIL PROTECTED] Notes for version 2.6
[EMAIL PROTECTED] Notes for version 2.6
+
+For years, LilyPond has been associated with @TeX{}, for its design,
+syntax and, last but not least, since it used @TeX{} as an output
+engine. Starting with 2.6, the latter has changed. By default,
+LilyPond now produces PostScript directly. This makes it easier to
+install, quicker to operate and more versatile.
+
+Under the hood, this was made possible by use of the Pango library,
+which does typesetting of multilingual text. This means that you can
+easily typeset Chinese, Russian or Minoic lyrics. Another result is
+the SVG output. You can create SVG pictures of music notation directly
+from LilyPond.
+
+There are also small improvements. This release has numerous extra
+features, such as color support, string-number notation, arrowed
+glissandi. Moreover, it is now possible to commission features. For a
+small fee, we (the core developers) can implement the features that
+you sorely need. Examples of sponsored features in 2.6 are solfa notation,
+stemlets, starting and stopping staves.
+
+
+Han-Wen and Jan
+
+Utrecht/Eindhoven, The Netherlands, May 2005.
Index: lilypond/Documentation/user/programming-interface.itely
diff -u lilypond/Documentation/user/programming-interface.itely:1.37.2.4
lilypond/Documentation/user/programming-interface.itely:1.37.2.5
--- lilypond/Documentation/user/programming-interface.itely:1.37.2.4 Thu Aug
25 06:28:18 2005
+++ lilypond/Documentation/user/programming-interface.itely Thu Sep 8
07:12:49 2005
@@ -1,4 +1,4 @@
[EMAIL PROTECTED] -*- coding: latin-1; mode: texinfo; -*-
[EMAIL PROTECTED] -*- coding: utf-8; mode: texinfo; -*-
@node Interfaces for programmers
@chapter Interfaces for programmers
Index: lilypond/Documentation/user/putting.itely
diff -u lilypond/Documentation/user/putting.itely:1.5.2.1
lilypond/Documentation/user/putting.itely:1.5.2.2
--- lilypond/Documentation/user/putting.itely:1.5.2.1 Thu Aug 25 06:28:18 2005
+++ lilypond/Documentation/user/putting.itely Thu Sep 8 07:12:49 2005
@@ -1,4 +1,4 @@
[EMAIL PROTECTED] -*- coding: latin-1; mode: texinfo; -*-
[EMAIL PROTECTED] -*- coding: utf-8; mode: texinfo; -*-
@node Putting it all together
@chapter Putting it all together
Index: lilypond/Documentation/user/tutorial.itely
diff -u lilypond/Documentation/user/tutorial.itely:1.260.2.2
lilypond/Documentation/user/tutorial.itely:1.260.2.3
--- lilypond/Documentation/user/tutorial.itely:1.260.2.2 Fri Jul 15
21:27:49 2005
+++ lilypond/Documentation/user/tutorial.itely Thu Sep 8 07:12:47 2005
@@ -1,4 +1,4 @@
[EMAIL PROTECTED] -*- coding: latin-1; mode: texinfo; -*-
[EMAIL PROTECTED] -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond.tely
@c TODO:
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