Index: Documentation/notation/expressive.itely |
diff --git a/Documentation/notation/expressive.itely b/Documentation/notation/expressive.itely |
index c1a41341a463f3147e61eb65c9df683642e5a64a..f054d6a4064ec1e5fc2e6e07546a7b22e3d7ba95 100644 |
--- a/Documentation/notation/expressive.itely |
+++ b/Documentation/notation/expressive.itely |
@@ -127,8 +127,8 @@ The possible values for @var{name} are listed in @ref{List of |
articulations}. For example: |
@lilypond[verbatim,quote,relative=2] |
-c4\staccato c\mordent b2\turn |
-c1\fermata |
+c4\staccato c\mordent b2\turn | |
+c1\fermata | |
@end lilypond |
@cindex marcato |
@@ -147,8 +147,8 @@ articulation. Predefined shorthands exist for @notation{marcato}, |
Their corresponding output appears as follows: |
@lilypond[verbatim,quote,relative=2] |
-c4-^ c-+ c-- c-| |
-c4-> c-. c2-_ |
+c4-^ c-+ c-- c-| | |
+c4-> c-. c2-_ | |
Graham Percival (old account)
2010/05/25 18:52:02
Could you switch the order of the c-| and c-> ?
|
@end lilypond |
The rules for the default placement of articulations are defined |
@@ -260,9 +260,9 @@ marks may be manually placed above or below the staff; see |
@ref{Direction and placement}. |
@lilypond[verbatim,quote,relative=2] |
-c2\ppp c\mp |
-c2\rfz c^\mf |
-c2_\spp c^\ff |
+c2\ppp c\mp | |
+c2\rfz c^\mf | |
+c2_\spp c^\ff | |
Graham Percival (old account)
2010/05/25 18:52:02
Hmm. It might be better if a barline check at the
|
@end lilypond |
@cindex hairpin |
@@ -288,13 +288,13 @@ absolute dynamic, or another crescendo or decrescendo mark. |
notation. |
@lilypond[verbatim,quote,relative=2] |
-c2\< c\! |
-d2\< d\f |
-e2\< e\> |
-f2\> f\! |
-e2\> e\mp |
-d2\> d\> |
-c1\! |
+c2\< c\! | |
+d2\< d\f | |
+e2\< e\> | |
+f2\> f\! | |
+e2\> e\mp | |
+d2\> d\> | |
+c1\! | |
@end lilypond |
Spacer rests are needed to engrave multiple marks on one note. |
@@ -303,8 +303,8 @@ Spacer rests are needed to engrave multiple marks on one note. |
@cindex dynamic marks, multiple on one note |
@lilypond[verbatim,quote,relative=2] |
-c4\< c\! d\> e\! |
-<< f1 { s4 s4\< s4\> s4\! } >> |
+c4\< c\! d\> e\! | |
+<< f1 { s4 s\< s\> s\! } >> | |
@end lilypond |
@cindex espressivo articulation |
@@ -317,8 +317,7 @@ the appropriate choice to indicate a crescendo and decrescendo on |
one note: |
@lilypond[verbatim,quote,relative=2] |
-c2 b4 a |
-g1\espressivo |
+c2 b4 a | g1\espressivo | |
Graham Percival (old account)
2010/05/25 18:52:02
I think this looked better on two lines.
|
@end lilypond |
@@ -346,13 +345,13 @@ to hairpins again: |
@lilypond[verbatim,quote,relative=2] |
\crescTextCresc |
-c2\< d | e f\! |
+c2\< d | e2 f\! | |
\dimTextDecresc |
-e2\> d | c b\! |
+e2\> d | c2 b\! | |
\crescHairpin |
-c2\< d | e f\! |
+c2\< d | e2 f\! | |
\dimHairpin |
-e2\> d\! |
+e2\> d\! | |
@end lilypond |
@@ -450,8 +449,7 @@ The easiest way to create dynamic indications is to use |
moltoF = \markup { molto \dynamic f } |
\relative c' { |
- <d e>16_\moltoF <d e> |
- <d e>2.. |
+ <d e>16_\moltoF <d e> <d e>2.. |
} |
@end lilypond |
@@ -469,12 +467,16 @@ in @ref{Formatting text}. |
@lilypond[verbatim,quote] |
roundF = \markup { |
- \center-align \concat { \bold { \italic ( } |
- \dynamic f \bold { \italic ) } } } |
+ \center-align \concat { |
+ \bold { \italic ( } |
+ \dynamic f |
+ \bold { \italic ) } |
+ } |
+} |
boxF = \markup { \bracket { \dynamic f } } |
+ |
\relative c' { |
- c1_\roundF |
- c1_\boxF |
+ c1_\roundF | c1_\boxF | |
} |
@end lilypond |
@@ -486,6 +488,7 @@ Simple, centered dynamic marks are easily created with the |
@lilypond[verbatim,quote] |
sfzp = #(make-dynamic-script "sfzp") |
+ |
\relative c' { |
c4 c c\sfzp c |
} |
@@ -502,22 +505,30 @@ the vertical alignment of markup objects and hairpins that are |
attached to the same note head. |
@lilypond[verbatim,quote] |
-roundF = \markup { \center-align \concat { |
- \normal-text { \bold { \italic ( } } |
- \dynamic f |
- \normal-text { \bold { \italic ) } } } } |
+roundF = \markup { |
+ \center-align \concat { |
+ \normal-text { \bold { \italic ( } } |
+ \dynamic f |
+ \normal-text { \bold { \italic ) } } |
+ } |
+} |
+ |
boxF = \markup { \bracket { \dynamic f } } |
-mfEspress = \markup { \center-align \line { |
- \hspace #3.7 mf \normal-text \italic espress. } } |
+ |
+mfEspress = \markup { |
+ \center-align \line { |
+ \hspace #3.7 mf \normal-text \italic espress. |
+ } |
+} |
+ |
roundFdynamic = #(make-dynamic-script roundF) |
boxFdynamic = #(make-dynamic-script boxF) |
mfEspressDynamic = #(make-dynamic-script mfEspress) |
+ |
\relative c' { |
- c4_\roundFdynamic\< d e f |
- g,1~_\boxFdynamic\> |
- g1 |
- g'1~\mfEspressDynamic |
- g1 |
+ c4_\roundFdynamic\< d e f | |
+ g,1~_\boxFdynamic\> | g1 | |
+ g'1~\mfEspressDynamic | g1 | |
} |
@end lilypond |
@@ -525,12 +536,12 @@ The Scheme form of markup mode may be used instead. Its syntax is |
explained in @rextend{Markup construction in Scheme}. |
@lilypond[verbatim,quote] |
-moltoF = #(make-dynamic-script |
- (markup #:normal-text "molto" |
- #:dynamic "f")) |
+moltoF = |
+#(make-dynamic-script |
+ (markup #:normal-text "molto" #:dynamic "f")) |
+ |
\relative c' { |
- <d e>16 <d e> |
- <d e>2..\moltoF |
+ <d e>16 <d e> <d e>2..\moltoF |
} |
@end lilypond |
@@ -578,9 +589,9 @@ doits. |
in the same voice it began.} |
@lilypond[verbatim,quote,relative=2] |
-f4( g a) a8 b( |
-a4 g2 f4) |
-<c e>2( <b d>2) |
+f4( g a) a8 b( | |
+a4 g2 f4) | |
+<c e>2( <b d>2) | |
@end lilypond |
@cindex slurs, manual placement |
@@ -624,13 +635,13 @@ Slurs can be solid, dotted, or dashed. Solid is the default slur |
style: |
@lilypond[verbatim,quote,relative=1] |
-c4( e g2) |
+c4( e g2) | |
\slurDashed |
-g4( e c2) |
+g4( e c2) | |
\slurDotted |
-c4( e g2) |
+c4( e g2) | |
\slurSolid |
-g4( e c2) |
+g4( e c2) | |
@end lilypond |
@funindex \slurHalfDashed |
@@ -644,13 +655,13 @@ second half solid) or half-solid (the first half solid, the second |
half dashed): |
@lilypond[verbatim,quote,relative=1] |
-c4( e g2) |
+c4( e g2) | |
\slurHalfDashed |
-g4( e c2) |
+g4( e c2) | |
\slurHalfSolid |
-c4( e g2) |
+c4( e g2) | |
\slurSolid |
-g4( e c2) |
+g4( e c2) | |
@end lilypond |
@funindex \slurDashPattern |
@@ -660,13 +671,13 @@ g4( e c2) |
Custom dash patterns for slurs can be defined: |
@lilypond[verbatim,quote,relative=1] |
-c4( e g2) |
+c4( e g2) | |
\slurDashPattern #0.7 #0.75 |
-g4( e c2) |
+g4( e c2) | |
\slurDashPattern #0.5 #2.0 |
-c4( e g2) |
+c4( e g2) | |
\slurSolid |
-g4( e c2) |
+g4( e c2) | |
@end lilypond |
@@ -733,8 +744,7 @@ musical sentence are written using the commands @code{\(} and |
@code{\)} respectively: |
@lilypond[verbatim,quote,relative=2] |
-c4\( d( e) f( |
-e2) d\) |
+c4\( d( e) f( | e2) d\) | |
@end lilypond |
@funindex \phrasingSlurUp |
@@ -776,13 +786,13 @@ Phrasing slurs can be solid, dotted, or dashed. Solid is the default |
style for phrasing slurs: |
@lilypond[verbatim,quote,relative=1] |
-c4\( e g2\) |
+c4\( e g2\) | |
\phrasingSlurDashed |
-g4\( e c2\) |
+g4\( e c2\) | |
\phrasingSlurDotted |
-c4\( e g2\) |
+c4\( e g2\) | |
\phrasingSlurSolid |
-g4\( e c2\) |
+g4\( e c2\) | |
@end lilypond |
@funindex phrasingSlurHalfDashed |
@@ -797,13 +807,13 @@ second half solid) or half-solid (the first half solid, the second |
half dashed): |
@lilypond[verbatim,quote,relative=1] |
-c4\( e g2\) |
+c4\( e g2\) | |
\phrasingSlurHalfDashed |
-g4\( e c2\) |
+g4\( e c2\) | |
\phrasingSlurHalfSolid |
-c4\( e g2\) |
+c4\( e g2\) | |
\phrasingSlurSolid |
-g4\( e c2\) |
+g4\( e c2\) | |
@end lilypond |
@funindex \phrasingSlurDashPattern |
@@ -815,13 +825,13 @@ g4\( e c2\) |
Custom dash patterns for phrasing slurs can be defined: |
@lilypond[verbatim,quote,relative=1] |
-c4\( e g2\) |
+c4\( e g2\) | |
\phrasingSlurDashPattern #0.7 #0.75 |
-g4\( e c2\) |
+g4\( e c2\) | |
\phrasingSlurDashPattern #0.5 #2.0 |
-c4\( e g2\) |
+c4\( e g2\) | |
\phrasingSlurSolid |
-g4\( e c2\) |
+g4\( e c2\) | |
@end lilypond |
Dash pattern definitions for phrasing slurs have the same structure |
@@ -925,11 +935,11 @@ indicates the pitch interval that the fall or doit will extend |
@lilypond[verbatim,quote,relative=2] |
c2-\bendAfter #+4 |
-c2-\bendAfter #-4 |
+c2-\bendAfter #-4 | |
c2-\bendAfter #+6.5 |
-c2-\bendAfter #-6.5 |
+c2-\bendAfter #-6.5 | |
c2-\bendAfter #+8 |
-c2-\bendAfter #-8 |
+c2-\bendAfter #-8 | |
@end lilypond |
The dash @code{-} immediately preceding the @code{\bendAfter} |
@@ -974,8 +984,8 @@ A @notation{glissando} is created by attaching @code{\glissando} |
to a note: |
@lilypond[verbatim,quote,relative=2] |
-g2\glissando g' |
-c2\glissando c, |
+g2\glissando g' | |
+c2\glissando c, | |
@end lilypond |
Different styles of glissandi can be created. For details, see |
@@ -1037,13 +1047,13 @@ Different types of arpeggios may be written. |
<c e g c>2\arpeggio |
\arpeggioArrowUp |
-<c e g c>2\arpeggio |
+<c e g c>2\arpeggio | |
\arpeggioArrowDown |
<c e g c>2\arpeggio |
\arpeggioNormal |
-<c e g c>2\arpeggio |
+<c e g c>2\arpeggio | |
@end lilypond |
@cindex arpeggio symbols, special |
@@ -1062,16 +1072,16 @@ Special @emph{bracketed} arpeggio symbols can be created: |
<c e g c>2 |
\arpeggioBracket |
-<c e g c>2\arpeggio |
+<c e g c>2\arpeggio | |
\arpeggioParenthesis |
<c e g c>2\arpeggio |
\arpeggioParenthesisDashed |
-<c e g c>2\arpeggio |
+<c e g c>2\arpeggio | |
\arpeggioNormal |
-<c e g c>2\arpeggio |
+<c e g c>1\arpeggio | |
@end lilypond |
The dash properties of the parenthesis arpeggio are controlled |
@@ -1154,9 +1164,9 @@ Longer trills with an extender line are made with |
@code{\startTrillSpan} and @code{\stopTrillSpan}: |
@lilypond[verbatim,quote,relative=2] |
-d1~\startTrillSpan |
-d1 |
-c2\stopTrillSpan r2 |
+d1~\startTrillSpan | |
+d1 | |
+c2\stopTrillSpan r | |
@end lilypond |
In the following example, a trill is combined with grace notes. |
@@ -1164,9 +1174,9 @@ The syntax of this construct and the method to precisely position |
the grace notes are described in @ref{Grace notes}. |
@lilypond[verbatim,quote,relative=2] |
-c1 \afterGrace |
-d1\startTrillSpan { c32[ d]\stopTrillSpan } |
-e2 r2 |
+c1 | |
+\afterGrace d1\startTrillSpan { c32[ d]\stopTrillSpan } | |
+e2 r | |
@end lilypond |
@cindex pitched trills |
@@ -1180,8 +1190,7 @@ argument is the main note, and the second is the @emph{trilled} |
note, printed as a stemless note head in parentheses. |
@lilypond[verbatim,quote,relative=1] |
-\pitchedTrill e2\startTrillSpan fis |
-d\stopTrillSpan |
+\pitchedTrill e2\startTrillSpan fis d2\stopTrillSpan |
@end lilypond |
@cindex pitched trill with forced accidental |
@@ -1194,14 +1203,10 @@ workaround, the accidentals of the trilled notes can be forced. |
The second measure illustrates this method: |
@lilypond[verbatim,quote,relative=2] |
-\pitchedTrill eis4\startTrillSpan fis |
-g\stopTrillSpan |
-\pitchedTrill eis4\startTrillSpan fis |
-g\stopTrillSpan |
-\pitchedTrill eis4\startTrillSpan fis |
-g\stopTrillSpan |
-\pitchedTrill eis4\startTrillSpan fis! |
-g\stopTrillSpan |
+\pitchedTrill eis4\startTrillSpan fis g4\stopTrillSpan |
+\pitchedTrill eis4\startTrillSpan fis g4\stopTrillSpan | |
+\pitchedTrill eis4\startTrillSpan fis g4\stopTrillSpan |
+\pitchedTrill eis4\startTrillSpan fis! g4\stopTrillSpan | |
@end lilypond |