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Issue 1242044: Doc: NR: Reformat ly code. (Closed)
Patch Set: Make changes requested by Graham. Created 13 years, 10 months ago
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1 @c -*- coding: utf-8; mode: texinfo; -*- 1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @ignore 2 @ignore
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH 3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
4 4
5 When revising a translation, copy the HEAD committish of the 5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. For details, see the Contributors' 6 version that you are working on. For details, see the Contributors'
7 Guide, node Updating translation committishes.. 7 Guide, node Updating translation committishes..
8 @end ignore 8 @end ignore
9 9
10 @c \version "2.12.0" 10 @c \version "2.12.0"
(...skipping 68 matching lines...) Expand 10 before | Expand all | Expand 10 after
79 @rlsr{Simultaneous notes}. 79 @rlsr{Simultaneous notes}.
80 80
81 81
82 @node Chord repetition 82 @node Chord repetition
83 @unnumberedsubsubsec Chord repetition 83 @unnumberedsubsubsec Chord repetition
84 84
85 In order to save typing, a shortcut can be used to repeat the preceding 85 In order to save typing, a shortcut can be used to repeat the preceding
86 chord. The chord repetition symbol is @code{q}: 86 chord. The chord repetition symbol is @code{q}:
87 87
88 @lilypond[verbatim,quote,relative=1] 88 @lilypond[verbatim,quote,relative=1]
89 <c e g> q q q 89 <c e g>4 q q q
90 @end lilypond 90 @end lilypond
91 91
92 As in the case of regular chords, the chord repetition symbol can be 92 As in the case of regular chords, the chord repetition symbol can be
93 followed by a duration and articulations. Only the pitches of the 93 followed by a duration and articulations. Only the pitches of the
94 previous chord are duplicated; articulations, dynamics, etc, are not 94 previous chord are duplicated; articulations, dynamics, etc, are not
95 repeated. 95 repeated.
96 96
97 @lilypond[verbatim,quote,relative=1] 97 @lilypond[verbatim,quote,relative=1]
98 <c e g>8\p q q4-| q8.^"text" q16 q4-| 98 <c e g>8\p q q4-| q8.^"text" q16 q4-|
99 @end lilypond 99 @end lilypond
(...skipping 25 matching lines...) Expand all
125 The following examples show simultaneous expressions on one staff: 125 The following examples show simultaneous expressions on one staff:
126 126
127 @lilypond[quote,verbatim,relative=2] 127 @lilypond[quote,verbatim,relative=2]
128 \new Voice { % explicit single voice 128 \new Voice { % explicit single voice
129 << { a4 b g2 } { d4 g c,2 } >> 129 << { a4 b g2 } { d4 g c,2 } >>
130 } 130 }
131 @end lilypond 131 @end lilypond
132 132
133 @lilypond[quote,verbatim,relative=2] 133 @lilypond[quote,verbatim,relative=2]
134 % single first note 134 % single first note
135 a << { a4 b g } { d4 g c, } >> 135 a4 << { a4 b g } { d4 g c, } >>
136 @end lilypond 136 @end lilypond
137 137
138 This can be useful if the simultaneous sections have identical 138 This can be useful if the simultaneous sections have identical
139 rhythms, but attempts to attach notes with different durations 139 rhythms, but attempts to attach notes with different durations
140 to the same stem will cause errors. 140 to the same stem will cause errors.
141 141
142 The following example shows how simultaneous expressions can 142 The following example shows how simultaneous expressions can
143 generate multiple staves implicitly: 143 generate multiple staves implicitly:
144 144
145 @lilypond[quote,verbatim,relative=2] 145 @lilypond[quote,verbatim,relative=2]
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228 @funindex \oneVoice 228 @funindex \oneVoice
229 @funindex oneVoice 229 @funindex oneVoice
230 230
231 @strong{@i{Explicitly instantiating voices}} 231 @strong{@i{Explicitly instantiating voices}}
232 232
233 The basic structure needed to achieve multiple independent 233 The basic structure needed to achieve multiple independent
234 voices in a single staff is illustrated in the following example: 234 voices in a single staff is illustrated in the following example:
235 235
236 @lilypond[quote,relative=3,verbatim] 236 @lilypond[quote,relative=3,verbatim]
237 \new Staff << 237 \new Staff <<
238 \new Voice = "first" 238 \new Voice = "first" {
239 { \voiceOne r8 r16 g e8. f16 g8[ c,] f e16 d } 239 \voiceOne
240 \new Voice= "second" 240 r8 r16 g e8. f16 g8[ c,] f e16 d
241 { \voiceTwo d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. } 241 }
242 \new Voice= "second" {
243 \voiceTwo
244 d16 c d8~ d16 b c8~ c16 b c8~ c16 b8.
245 }
242 >> 246 >>
243 @end lilypond 247 @end lilypond
244 248
245 @noindent 249 @noindent
246 Here, voices are instantiated explicitly and are given names. The 250 Here, voices are instantiated explicitly and are given names. The
247 @code{\voiceOne} ... @code{\voiceFour} commands set up the voices 251 @code{\voiceOne} ... @code{\voiceFour} commands set up the voices
248 so that first and third voices get stems up, second and fourth 252 so that first and third voices get stems up, second and fourth
249 voices get stems down, third and fourth voice note heads are 253 voices get stems down, third and fourth voice note heads are
250 horizontally shifted, and rests in the respective voices are 254 horizontally shifted, and rests in the respective voices are
251 automatically moved to avoid collisions. The @code{\oneVoice} 255 automatically moved to avoid collisions. The @code{\oneVoice}
252 command returns all the voice settings to the neutral default 256 command returns all the voice settings to the neutral default
253 directions. 257 directions.
254 258
255 @strong{@i{Temporary polyphonic passages}} 259 @strong{@i{Temporary polyphonic passages}}
256 260
257 A temporary polyphonic passage can be created with the following 261 A temporary polyphonic passage can be created with the following
258 construct: 262 construct:
259 263
260 @example 264 @example
261 << @{ \voiceOne ... @} 265 <<
262 \new Voice @{ \voiceTwo ... @} 266 @{
263 >> \oneVoice 267 \voiceOne
268 ...
269 @}
270 \new Voice @{
271 \voiceTwo
272 ...
273 @}
274 >>
275 \oneVoice
276 ...
264 @end example 277 @end example
265 278
266 @noindent 279 @noindent
267 Here, the first expression within a temporary polyphonic passage is 280 Here, the first expression within a temporary polyphonic passage is
268 placed into the @code{Voice} context which was in use immediately 281 placed into the @code{Voice} context which was in use immediately
269 before the polyphonic passage, and that same @code{Voice} context 282 before the polyphonic passage, and that same @code{Voice} context
270 continues after the temporary section. Other expressions within 283 continues after the temporary section. Other expressions within
271 the angle brackets are assigned to distinct temporary voices. 284 the angle brackets are assigned to distinct temporary voices.
272 This allows lyrics to be assigned to one continuing voice before, 285 This allows lyrics to be assigned to one continuing voice before,
273 during and after a polyphonic section: 286 during and after a polyphonic section:
274 287
275 @lilypond[quote, verbatim, relative=2] 288 @lilypond[quote, verbatim, relative=2]
276 << 289 <<
277 \new Voice = "melody" { 290 \new Voice = "melody" {
278 a4 291 a4
279 << 292 <<
280 { 293 {
281 \voiceOne 294 \voiceOne
282 g f 295 g f
283 } 296 }
284 \new Voice { 297 \new Voice {
285 \voiceTwo 298 \voiceTwo
286 d2 299 d2
287 } 300 }
288 >> 301 >>
289 \oneVoice 302 \oneVoice
290 e4 303 e4
291 } 304 }
292 \new Lyrics \lyricsto "melody" { 305 \new Lyrics \lyricsto "melody" {
293 This is my song. 306 This is my song.
294 } 307 }
295 >> 308 >>
296 @end lilypond 309 @end lilypond
297 310
298 @noindent 311 @noindent
299 Here, the @code{\voiceOne} and @code{\voiceTwo} commands are 312 Here, the @code{\voiceOne} and @code{\voiceTwo} commands are
300 required to define the settings of each voice. 313 required to define the settings of each voice.
301 314
302 @strong{@i{The double backslash construct}} 315 @strong{@i{The double backslash construct}}
303 316
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325 @code{\voiceOne} ... @code{\voiceFour} commands, in the order in 338 @code{\voiceOne} ... @code{\voiceFour} commands, in the order in
326 which they appear in the code. 339 which they appear in the code.
327 340
328 In the following example, the intermediate voice has stems up, 341 In the following example, the intermediate voice has stems up,
329 therefore we enter it in the third place, so it becomes voice 342 therefore we enter it in the third place, so it becomes voice
330 three, which has the stems up as desired. Spacer rests are 343 three, which has the stems up as desired. Spacer rests are
331 used to avoid printing doubled rests. 344 used to avoid printing doubled rests.
332 345
333 @lilypond[quote,relative=3,verbatim] 346 @lilypond[quote,relative=3,verbatim]
334 << 347 <<
335 { r8 g g g g f16 ees f8 d } 348 { r8 g g g g f16 ees f8 d }
336 \\ 349 \\
337 { ees,8 r ees r d r d r } 350 { ees,8 r ees r d r d r }
338 \\ 351 \\
339 { d'8 s c s bes s a s } 352 { d'8 s c s bes s a s }
340 >> 353 >>
341 @end lilypond 354 @end lilypond
342 355
343 In all but the simplest works it is advisable to create explicit 356 In all but the simplest works it is advisable to create explicit
344 @code{Voice} contexts as explained in @rlearning{Contexts and engravers} and 357 @code{Voice} contexts as explained in @rlearning{Contexts and engravers} and
345 @rlearning{Explicitly instantiating voices}. 358 @rlearning{Explicitly instantiating voices}.
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468 same note head and opposite stem direction are automatically 481 same note head and opposite stem direction are automatically
469 merged, but notes with different note heads or the same stem 482 merged, but notes with different note heads or the same stem
470 direction are not. Rests opposite a stem in a different voice 483 direction are not. Rests opposite a stem in a different voice
471 are shifted vertically. The following example shows three 484 are shifted vertically. The following example shows three
472 different circumstances, on beats 1 and 3 in bar 1 and beat 1 485 different circumstances, on beats 1 and 3 in bar 1 and beat 1
473 in bar 2, where the automatic merging fails. 486 in bar 2, where the automatic merging fails.
474 487
475 @lilypond[quote,verbatim,relative=2] 488 @lilypond[quote,verbatim,relative=2]
476 << 489 <<
477 { 490 {
478 c8 d e d c d c4 491 c8 d e d c d c4 | g'2 fis |
479 g'2 fis
480 } \\ { 492 } \\ {
481 c2 c8. b16 c4 493 c2 c8. b16 c4 | e,2 r |
482 e,2 r
483 } \\ { 494 } \\ {
484 \oneVoice 495 \oneVoice
485 s1 496 s1 | e8 a b c d2 |
486 e8 a b c d2
487 } 497 }
488 >> 498 >>
489 @end lilypond 499 @end lilypond
490 500
491 Notes with different note heads may be merged, with the 501 Notes with different note heads may be merged, with the
492 exception of half-note heads and quarter-note heads, as shown 502 exception of half-note heads and quarter-note heads, as shown
493 below. Here the note heads on beat 1 of bar 1 are now merged: 503 below. Here the note heads on beat 1 of bar 1 are now merged:
494 504
495 @lilypond[quote,verbatim,relative=2] 505 @lilypond[quote,verbatim,relative=2]
496 << 506 <<
497 { 507 {
498 \mergeDifferentlyHeadedOn 508 \mergeDifferentlyHeadedOn
499 c8 d e d c d c4 509 c8 d e d c d c4 | g'2 fis |
500 g'2 fis
501 } \\ { 510 } \\ {
502 c2 c8. b16 c4 511 c2 c8. b16 c4 | e,2 r |
503 e,2 r
504 } \\ { 512 } \\ {
505 \oneVoice 513 \oneVoice
506 s1 514 s1 | e8 a b c d2 |
507 e8 a b c d2
508 } 515 }
509 >> 516 >>
510 @end lilypond 517 @end lilypond
511 518
512 Note heads with different dots as shown in beat 2 of bar 1 may be 519 Note heads with different dots as shown in beat 2 of bar 1 may be
513 also be merged: 520 also be merged:
514 521
515 @lilypond[quote,relative=2,verbatim] 522 @lilypond[quote,relative=2,verbatim]
516 << 523 <<
517 { 524 {
518 \mergeDifferentlyHeadedOn 525 \mergeDifferentlyHeadedOn
519 \mergeDifferentlyDottedOn 526 \mergeDifferentlyDottedOn
520 c8 d e d c d c4 527 c8 d e d c d c4 | g'2 fis |
521 g'2 fis
522 } \\ { 528 } \\ {
523 c2 c8. b16 c4 529 c2 c8. b16 c4 | e,2 r |
524 e,2 r
525 } \\ { 530 } \\ {
526 \oneVoice 531 \oneVoice
527 s1 532 s1 | e8 a b c d2 |
528 e8 a b c d2
529 } 533 }
530 >> 534 >>
531 @end lilypond 535 @end lilypond
532 536
533 537
534 The half note and eighth note at the start of the second measure 538 The half note and eighth note at the start of the second measure
535 are incorrectly merged because the automatic merge cannot 539 are incorrectly merged because the automatic merge cannot
536 successfully complete the merge when three or more notes line up in 540 successfully complete the merge when three or more notes line up in
537 the same note column, and in this case the merged note head is 541 the same note column, and in this case the merged note head is
538 incorrect. To allow the merge to select the correct note head 542 incorrect. To allow the merge to select the correct note head
539 a @code{\shift} must be applied to the note that should not be 543 a @code{\shift} must be applied to the note that should not be
540 merged. Here, @code{\shiftOn} is applied to move the top 544 merged. Here, @code{\shiftOn} is applied to move the top
541 @notation{g} out of the column, and @code{\mergeDifferentlyHeadedOn} 545 @notation{g} out of the column, and @code{\mergeDifferentlyHeadedOn}
542 then works properly. 546 then works properly.
543 547
544 @lilypond[quote,relative=2,verbatim] 548 @lilypond[quote,relative=2,verbatim]
545 << 549 <<
546 { 550 {
547 \mergeDifferentlyHeadedOn 551 \mergeDifferentlyHeadedOn
548 \mergeDifferentlyDottedOn 552 \mergeDifferentlyDottedOn
549 c8 d e d c d c4 553 c8 d e d c d c4 |
550 \shiftOn 554 \shiftOn
551 g'2 fis 555 g'2 fis |
552 } \\ { 556 } \\ {
553 c2 c8. b16 c4 557 c2 c8. b16 c4 | e,2 r |
554 e,2 r
555 } \\ { 558 } \\ {
556 \oneVoice 559 \oneVoice
557 s1 560 s1 | e8 a b c d2 |
558 e8 a b c d2
559 } 561 }
560 562
561 >> 563 >>
562 @end lilypond 564 @end lilypond
563 565
564 The @code{\shiftOn}, @code{\shiftOnn}, and @code{\shiftOnnn} 566 The @code{\shiftOn}, @code{\shiftOnn}, and @code{\shiftOnnn}
565 commands specify the degree to which chords of the current voice 567 commands specify the degree to which chords of the current voice
566 should be shifted. The outer voices (normally: voices one and 568 should be shifted. The outer voices (normally: voices one and
567 two) have @code{\shiftOff}, while the inner voices (three and 569 two) have @code{\shiftOff}, while the inner voices (three and
568 four) have @code{\shiftOn}. @code{\shiftOnn} and 570 four) have @code{\shiftOn}. @code{\shiftOnn} and
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651 \partcombine @var{musicexpr1} @var{musicexpr2} 653 \partcombine @var{musicexpr1} @var{musicexpr2}
652 @end example 654 @end example
653 655
654 The following example demonstrates the basic functionality of the 656 The following example demonstrates the basic functionality of the
655 part combiner: putting parts on one staff and setting stem 657 part combiner: putting parts on one staff and setting stem
656 directions and polyphony. The same variables are used for the 658 directions and polyphony. The same variables are used for the
657 independent parts and the combined staff. 659 independent parts and the combined staff.
658 660
659 @lilypond[quote,verbatim] 661 @lilypond[quote,verbatim]
660 instrumentOne = \relative c' { 662 instrumentOne = \relative c' {
661 c4 d e f 663 c4 d e f | R1 | d'4 c b a | b4 g2 f4 | e1 |
662 R1
663 d'4 c b a
664 b4 g2 f4
665 e1
666 } 664 }
667 665
668 instrumentTwo = \relative g' { 666 instrumentTwo = \relative g' {
669 R1 667 R1 | g4 a b c | d4 c b a | g4 f( e) d | e1 |
670 g4 a b c
671 d c b a
672 g f( e) d
673 e1
674 } 668 }
675 669
676 << 670 <<
677 \new Staff \instrumentOne 671 \new Staff \instrumentOne
678 \new Staff \instrumentTwo 672 \new Staff \instrumentTwo
679 \new Staff \partcombine \instrumentOne \instrumentTwo 673 \new Staff \partcombine \instrumentOne \instrumentTwo
680 >> 674 >>
681 @end lilypond 675 @end lilypond
682 676
683 The notes in the third measure appear only once, although they were 677 The notes in the third measure appear only once, although they were
(...skipping 100 matching lines...) Expand 10 before | Expand all | Expand 10 after
784 c'2 c'2 | 778 c'2 c'2 |
785 779
786 % Bar 2 780 % Bar 2
787 r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' | 781 r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' |
788 r16 d'8.~ d'4 r16 d'8.~ d'4 | 782 r16 d'8.~ d'4 r16 d'8.~ d'4 |
789 c'2 c'2 | 783 c'2 c'2 |
790 784
791 } 785 }
792 \new StaffGroup << 786 \new StaffGroup <<
793 \new Staff << \voiceA \\ \voiceB >> 787 \new Staff << \voiceA \\ \voiceB >>
794 \new Staff { \clef bass \voiceC } 788 \new Staff { \clef "bass" \voiceC }
795 >> 789 >>
796 @end lilypond 790 @end lilypond
797 791
798 Relative mode may be used. Note that the @code{\relative} command 792 Relative mode may be used. Note that the @code{\relative} command
799 is not used inside @code{\parallelMusic} itself. The notes are 793 is not used inside @code{\parallelMusic} itself. The notes are
800 relative to the preceding note in the voice, not to the previous 794 relative to the preceding note in the voice, not to the previous
801 note in the input -- in other words, relative notes for 795 note in the input -- in other words, relative notes for
802 @code{voiceA} ignore the notes in @code{voiceB}. 796 @code{voiceA} ignore the notes in @code{voiceB}.
803 797
804 @lilypond[quote,verbatim] 798 @lilypond[quote,verbatim]
805 \parallelMusic #'(voiceA voiceB voiceC) { 799 \parallelMusic #'(voiceA voiceB voiceC) {
806 % Bar 1 800 % Bar 1
807 r8 g16 c e g, c e r8 g,16 c e g, c e | 801 r8 g16 c e g, c e r8 g,16 c e g, c e |
808 r16 e8.~ e4 r16 e8.~ e4 | 802 r16 e8.~ e4 r16 e8.~ e4 |
809 c2 c | 803 c2 c |
810 804
811 % Bar 2 805 % Bar 2
812 r8 a,16 d f a, d f r8 a,16 d f a, d f | 806 r8 a,16 d f a, d f r8 a,16 d f a, d f |
813 r16 d8.~ d4 r16 d8.~ d4 | 807 r16 d8.~ d4 r16 d8.~ d4 |
814 c2 c | 808 c2 c |
815 809
816 } 810 }
817 \new StaffGroup << 811 \new StaffGroup <<
818 \new Staff << \relative c'' \voiceA \\ \relative c' \voiceB >> 812 \new Staff << \relative c'' \voiceA \\ \relative c' \voiceB >>
819 \new Staff \relative c' { \clef bass \voiceC } 813 \new Staff \relative c' { \clef "bass" \voiceC }
820 >> 814 >>
821 @end lilypond 815 @end lilypond
822 816
823 This works quite well for piano music. This example maps four 817 This works quite well for piano music. This example maps four
824 consecutive measures to four variables: 818 consecutive measures to four variables:
825 819
826 @lilypond[quote,verbatim] 820 @lilypond[quote,verbatim]
827 global = { 821 global = {
828 \key g \major 822 \key g \major
829 \time 2/4 823 \time 2/4
(...skipping 19 matching lines...) Expand all
849 \new PianoStaff << 843 \new PianoStaff <<
850 \new Staff { 844 \new Staff {
851 \global 845 \global
852 << 846 <<
853 \relative c'' \voiceA 847 \relative c'' \voiceA
854 \\ 848 \\
855 \relative c' \voiceB 849 \relative c' \voiceB
856 >> 850 >>
857 } 851 }
858 \new Staff { 852 \new Staff {
859 \global \clef bass 853 \global \clef "bass"
860 << 854 <<
861 \relative c \voiceC 855 \relative c \voiceC
862 \\ 856 \\
863 \relative c \voiceD 857 \relative c \voiceD
864 >> 858 >>
865 } 859 }
866 >> 860 >>
867 } 861 }
868 @end lilypond 862 @end lilypond
869 863
870 864
871 @seealso 865 @seealso
872 Learning Manual: 866 Learning Manual:
873 @rlearning{Organizing pieces with variables}. 867 @rlearning{Organizing pieces with variables}.
874 868
875 Snippets: 869 Snippets:
876 @rlsr{Simultaneous notes}. 870 @rlsr{Simultaneous notes}.
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