From 3b82b2b3220888a02c7daa45cd0b56db611ed7df Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Sun, 27 Apr 2008 21:53:08 -0700 Subject: [PATCH] Remove [ragged-right], which is no longer needed due to Joe's magic. --- Documentation/user/pitches.itely | 96 ++++++++++++++++++++-------------------- 1 file changed, 48 insertions(+), 48 deletions(-) diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely index 348c2cdec0..be22529c7b 100644 --- a/Documentation/user/pitches.itely +++ b/Documentation/user/pitches.itely @@ -156,7 +156,7 @@ fourth: A note sequence without a single octave mark can nevertheless span large intervals: -@lilypond[verbatim,quote,ragged-right] +@lilypond[verbatim,quote] \relative c { c f b e a d g c @@ -169,7 +169,7 @@ following note or chord. Inside chords, the next note is always relative to the preceding one. Examine the next example carefully, paying attention to the @code{c} notes. -@lilypond[verbatim,quote,ragged-right] +@lilypond[verbatim,quote] \relative c' { c @@ -186,7 +186,7 @@ double-augmented fourth is considered a smaller interval than a double-diminished fifth, regardless of the number of semitones that each interval contains. -@lilypond[verbatim,quote,ragged-right] +@lilypond[verbatim,quote] \relative c'' { c2 fis c2 ges @@ -264,7 +264,7 @@ a @notation{double sharp} or @notation{double flat} is made by adding naming conventions. To use other names for accidentals, see @ref{Note names in other languages}. -@lilypond[verbatim,quote,ragged-right,fragment,relative=2] +@lilypond[verbatim,quote,fragment,relative=2] ais1 aes aisis aeses @end lilypond @@ -273,7 +273,7 @@ signature. However, naturals are not encoded into the note name syntax with a suffix; a natural pitch is shown as a simple note name: -@lilypond[verbatim,quote,ragged-right,fragment,relative=2] +@lilypond[verbatim,quote,fragment,relative=2] a4 aes a2 @end lilypond @@ -283,7 +283,7 @@ a4 aes a2 Quarter tones may be added; the following is a series of Cs with increasing pitches: -@lilypond[verbatim,quote,ragged-right,fragment,relative=2] +@lilypond[verbatim,quote,fragment,relative=2] ceseh1 ces ceh c cih cis cisih @end lilypond @@ -306,14 +306,14 @@ be obtained by adding the question mark@tie{}@code{?} after the pitch. These extra accidentals can also be used to produce natural signs. -@lilypond[verbatim,quote,ragged-right,fragment,relative=2] +@lilypond[verbatim,quote,fragment,relative=2] cis cis cis! cis? c c c! c? @end lilypond Accidentals on tied notes are only printed at the beginning of a new system: -@lilypond[verbatim,quote,ragged-right,fragment,relative=2] +@lilypond[verbatim,quote,fragment,relative=2] cis1 ~ cis ~ \break cis @@ -322,7 +322,7 @@ cis @snippets -@lilypondfile[verbatim,lilyquote,ragged-right,texidoc] +@lilypondfile[verbatim,lilyquote,texidoc] {preventing-extra-naturals-from-being-automatically-added.ly} @seealso @@ -423,7 +423,7 @@ are accepted in LilyPond. Similarly, both @code{es} and @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these contracted names are defined in the corresponding language files. -@lilypond[verbatim,quote,ragged-right,fragment,relative=2] +@lilypond[verbatim,quote,fragment,relative=2] a2 as e es a ases e eses @end lilypond @@ -498,7 +498,7 @@ a warning (and change the pitch) because the second note is the absolute octave @code{d''} instead of @code{d'} as indicated by the octave correction. -@lilypond[verbatim,quote,ragged-right,fragment] +@lilypond[verbatim,quote,fragment] \relative c'' { c2 d='4 d e2 f @@ -513,7 +513,7 @@ normal calculation of relative mode). If this check fails, a warning is printed, but the previous note is not changed. Future notes are relative to the @var{controlpitch}. -@lilypond[verbatim,quote,ragged-right,fragment] +@lilypond[verbatim,quote,fragment] \relative c'' { c2 d \octave c' @@ -524,7 +524,7 @@ relative to the @var{controlpitch}. Compare the two bars below. The first and third @code{\octave} checks fail, but the second one does not fail. -@lilypond[verbatim,quote,ragged-right,fragment] +@lilypond[verbatim,quote,fragment] \relative c'' { c4 f g f @@ -574,7 +574,7 @@ Consider a piece written in the key of D-major. It can be transposed up to E-major; note that the key signature is automatically transposed as well. -@lilypond[verbatim,quote,ragged-right] +@lilypond[verbatim,quote] \transpose d e { \relative c' { \key d \major @@ -588,7 +588,7 @@ the A clarinet (for which an A is notated as a C and thus sounds a minor third lower than notated), the appropriate part will be produced with: -@lilypond[verbatim,quote,ragged-right] +@lilypond[verbatim,quote] \transpose a c' { \relative c' { \key c \major @@ -608,7 +608,7 @@ up a semitone. The first version will print sharps and the notes will remain on the same scale step, the second version will print flats on the scale step above. -@lilypond[verbatim,quote,ragged-right] +@lilypond[verbatim,quote] mus = \relative c' { c d e f } \new Staff { \transpose c cis { \mus } @@ -648,7 +648,7 @@ see @ref{Instrument transpositions}. @snippets -@lilypondfile[verbatim,lilyquote,ragged-right,texidoc] +@lilypondfile[verbatim,lilyquote,texidoc] {transposing-pitches-with-minimum-accidentals-smart-transpose.ly} @@ -730,7 +730,7 @@ This section discusses how to alter the output of pitches. The clef is set with the @code{\clef} @var{clefname} command. Middle C is shown in every example. -@lilypond[verbatim,quote,ragged-right,fragment,relative=1] +@lilypond[verbatim,quote,fragment,relative=1] \clef treble c2 c \clef alto @@ -743,7 +743,7 @@ c2 c Other clefs include: -@lilypond[verbatim,quote,ragged-right,fragment,relative=1] +@lilypond[verbatim,quote,fragment,relative=1] \clef french c2 c \clef soprano @@ -778,7 +778,7 @@ must be enclosed in quotes when it contains underscores or digits. @cindex choral tenor clef -@lilypond[verbatim,quote,ragged-right,fragment,relative=1] +@lilypond[verbatim,quote,fragment,relative=1] \clef "treble_8" c2 c \clef "bass^15" @@ -788,7 +788,7 @@ c2 c @snippets -@lilypondfile[verbatim,lilyquote,ragged-right,texidoc] +@lilypondfile[verbatim,lilyquote,texidoc] {tweaking-clef-properties.ly} @@ -849,7 +849,7 @@ called @notation{church modes}: @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian}, @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}. -@lilypond[verbatim,quote,ragged-right,fragment,relative=2] +@lilypond[verbatim,quote,fragment,relative=2] \key g \major fis1 f @@ -859,10 +859,10 @@ fis @snippets -@lilypondfile[verbatim,lilyquote,ragged-right,texidoc] +@lilypondfile[verbatim,lilyquote,texidoc] {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly} -@lilypondfile[verbatim,lilyquote,ragged-right,texidoc] +@lilypondfile[verbatim,lilyquote,texidoc] {non-traditional-key-signatures.ly} @@ -900,7 +900,7 @@ Internals Reference: @notation{Ottava brackets} introduce an extra transposition of an octave for the staff: -@lilypond[verbatim,quote,ragged-right,fragment,relative=2] +@lilypond[verbatim,quote,fragment,relative=2] a'2 b #(set-octavation 1) a b @@ -914,7 +914,7 @@ The @code{set-octavation} function also takes -1 (for 8va bassa), @snippets -@lilypondfile[verbatim,lilyquote,ragged-right,texidoc] +@lilypondfile[verbatim,lilyquote,texidoc] {ottava-text.ly} @@ -968,7 +968,7 @@ parts have been entered using the notes and key as they appear in each part of the conductor's score. The two instruments are playing in unison. -@lilypond[verbatim,quote,ragged-right] +@lilypond[verbatim,quote] \new GrandStaff << \new Staff = "Vln" { \relative c'' { @@ -998,7 +998,7 @@ The @code{\transposition} may be changed during a piece. For example, a clarinetist may switch from an A clarinet to a B-flat clarinet. -@lilypond[verbatim,quote,ragged-right,fragment,relative=2] +@lilypond[verbatim,quote,fragment,relative=2] \set Staff.instrumentName = "Cl (A)" \key a \major \transposition a @@ -1062,7 +1062,7 @@ style in all staves of the current @code{StaffGroup}, use The following accidental styles are supported. To demonstrate each style, we use the following example: -@lilypond[verbatim,quote,ragged-right] +@lilypond[verbatim,quote] musicA = { << \relative c' { @@ -1138,7 +1138,7 @@ octave. Thus, in the example below, no natural signs are printed before the@tie{}@code{b} in the second measure or the last@tie{}@code{c}: -@lilypond[quote,ragged-right] +@lilypond[quote] musicA = { << \relative c' { @@ -1200,7 +1200,7 @@ individual musicians. If the staff is to be used by one musician @code{modern-cautionary} should be used instead. -@lilypond[quote,ragged-right] +@lilypond[quote] musicA = { << \relative c' { @@ -1260,7 +1260,7 @@ for notes in other octaves. Hence the naturals before the@tie{}@code{b} and the@tie{}@code{c} in the second measure of the upper staff: -@lilypond[quote,ragged-right] +@lilypond[quote] musicA = { << \relative c' { @@ -1322,7 +1322,7 @@ defining the @code{cautionary-style} property of @code{AccidentalSuggestion}. -@lilypond[quote,ragged-right] +@lilypond[quote] musicA = { << \relative c' { @@ -1387,7 +1387,7 @@ the@tie{}@code{d} in the lower staff is canceled because of the accidental in a different voice in the previous measure: -@lilypond[quote,ragged-right] +@lilypond[quote] musicA = { << \relative c' { @@ -1445,7 +1445,7 @@ as cautionaries. Even though all accidentals typeset by @code{default} @emph{are} typeset with this rule, some of them are typeset as cautionaries. -@lilypond[quote,ragged-right] +@lilypond[quote] musicA = { << \relative c' { @@ -1506,7 +1506,7 @@ of the final notes. This accidental style applies to the current @code{GrandStaff} or @code{PianoStaff} by default. -@lilypond[quote,ragged-right] +@lilypond[quote] musicA = { << \relative c' { @@ -1563,7 +1563,7 @@ musicB = { Same as @code{#(set-accidental-style 'piano)} but with the extra accidentals typeset as cautionaries. -@lilypond[quote,ragged-right] +@lilypond[quote] musicA = { << \relative c' { @@ -1616,7 +1616,7 @@ musicB = { This is the same as @code{default} but with accidentals lasting @q{forever} and not only within the same measure: -@lilypond[quote,ragged-right] +@lilypond[quote] musicA = { << \relative c' { @@ -1672,7 +1672,7 @@ remembered at all -- and hence all accidentals are typeset relative to the key signature, regardless of what came before in the music: -@lilypond[quote,ragged-right] +@lilypond[quote] musicA = { << \relative c' { @@ -1721,7 +1721,7 @@ musicB = { @snippets -@lilypondfile[verbatim,lilyquote,ragged-right,texidoc] +@lilypondfile[verbatim,lilyquote,texidoc] {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly} @@ -1776,7 +1776,7 @@ clef. The range is graphically specified by two note heads that represent the lowest and highest pitches. Accidentals are only printed if they are not part of the key signature. -@lilypond[verbatim,quote,ragged-right] +@lilypond[verbatim,quote] \layout { \context { \Voice @@ -1793,10 +1793,10 @@ printed if they are not part of the key signature. @snippets -@lilypondfile[verbatim,lilyquote,ragged-right,texidoc] +@lilypondfile[verbatim,lilyquote,texidoc] {adding-ambitus-per-voice.ly} -@lilypondfile[verbatim,lilyquote,ragged-right,texidoc] +@lilypondfile[verbatim,lilyquote,texidoc] {ambitus-with-multiple-voices.ly} @@ -1860,7 +1860,7 @@ instruments, etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the other note head styles are produced by tweaking the property: -@lilypond[verbatim,quote,ragged-right,fragment,relative=1] +@lilypond[verbatim,quote,fragment,relative=1] c4 d \override NoteHead #'style = #'cross e f @@ -1905,7 +1905,7 @@ Internals Reference: The @q{easy play} note head includes a note name inside the head. It is used in music for beginners. -@lilypond[verbatim,quote,ragged-right] +@lilypond[verbatim,quote] #(set-global-staff-size 26) \relative c' { \easyHeadsOn @@ -1964,7 +1964,7 @@ notation was popular in nineteenth-century American song books. Shape note heads can be produced by setting @code{\aikenHeads} or @code{\sacredHarpHeads}, depending on the style desired. -@lilypond[verbatim,fragment,quote,ragged-right,relative=1] +@lilypond[verbatim,fragment,quote,relative=1] \aikenHeads c8 d4 e8 a2 g1 @@ -1984,7 +1984,7 @@ the base of the scale is determined by the @code{\key} command. @snippets -@lilypondfile[verbatim,lilyquote,ragged-right,texidoc] +@lilypondfile[verbatim,lilyquote,texidoc] {applying-note-head-styles-depending-on-the-step-of-the-scale.ly} @noindent @@ -2017,7 +2017,7 @@ Improvisation is sometimes denoted with slashed note heads, where the performer may choose any pitch but should play the specified rhythm. Such note heads can be created: -@lilypond[verbatim,quote,ragged-right] +@lilypond[verbatim,quote] \new Voice \with { \consists "Pitch_squash_engraver" } \transpose c c' { -- 2.11.4.GIT