From d64371e993dfbc5a43d643a914543508fe236170 Mon Sep 17 00:00:00 2001 From: matsb Date: Wed, 19 Mar 2003 19:37:17 +0000 Subject: [PATCH] * Documentation/user/{tutorial.itely,refman.itely,internals.itely}: Remove all noquote and insert a few quote. --- ChangeLog | 4 +++- Documentation/user/appendices.itely | 2 +- Documentation/user/internals.itely | 2 +- Documentation/user/refman.itely | 48 +++++++++++++++++++------------------ Documentation/user/tutorial.itely | 24 +++++++++---------- 5 files changed, 42 insertions(+), 38 deletions(-) diff --git a/ChangeLog b/ChangeLog index 82a613fc7b..053a50fd32 100644 --- a/ChangeLog +++ b/ChangeLog @@ -1,6 +1,8 @@ 2003-03-19 Mats Bengtsson - + * Documentation/user/{tutorial.itely,refman.itely,internals.itely}: + Remove all noquote and insert a few quote. + * Documentation/user/lilypond-book.itely (Music fragment options), scripts/lilypond-book.py: Don't include quotation blocks by default. Introduce option quote instead of noquote diff --git a/Documentation/user/appendices.itely b/Documentation/user/appendices.itely index 1f594e1593..7929b78523 100644 --- a/Documentation/user/appendices.itely +++ b/Documentation/user/appendices.itely @@ -99,7 +99,7 @@ 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}. -@lilypondfile[noquote,noindent]{feta16list.ly} +@lilypondfile[noindent]{feta16list.ly} @c parmesan is too big. Apparently pythons re's choke on this. @c @lil ypondfile{parmesan16list.ly} diff --git a/Documentation/user/internals.itely b/Documentation/user/internals.itely index f041e591bb..c91382646e 100644 --- a/Documentation/user/internals.itely +++ b/Documentation/user/internals.itely @@ -624,7 +624,7 @@ In principle, the way in which you nest sequential and simultaneous to produce music is not relevant. In the following example, three chords are expressed in two different ways: -@lilypond[fragment,verbatim,center] +@lilypond[fragment,verbatim,center,quote] \notes \context Voice { < { a b c' } { c' d' e' } > diff --git a/Documentation/user/refman.itely b/Documentation/user/refman.itely index da24f8c683..f08d82a5d3 100644 --- a/Documentation/user/refman.itely +++ b/Documentation/user/refman.itely @@ -225,7 +225,7 @@ a2 s4 a4 \skip 1 a4 In Lyrics mode, you can make invisible syllables by entering `@code{" "}' or `@code{_}': -@lilypond[singleline,verbatim] +@lilypond[singleline,verbatim,quote] < \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di } \notes\relative c'' { a2 a4 a a2 a4 a } @@ -277,7 +277,7 @@ r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r64 @end example -@lilypond[noindent,noquote] +@lilypond[noindent] \score { \notes \relative c'' { a\breve \autoBeamOff @@ -364,7 +364,7 @@ In its meaning a tie is just a way of extending a note duration, similar to the augmentation dot: the following example are two ways of notating exactly the same concept. @c -@lilypond[fragment, singleline] +@lilypond[fragment, singleline,quote] \time 3/4 c'2. c'2 ~ c'4 @end lilypond If you need to tie notes over bars, it may be easier to use @@ -391,7 +391,7 @@ LilyPond can automatically converting long notes to tied notes. This is done by replacing the @code{Note_heads_engraver} by the @code{Completion_heads_engraver}. -@lilypond[verbatim,noindent,noquote] +@lilypond[verbatim,noindent] \score{ \notes\relative c'{ \time 2/4 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 @@ -1271,7 +1271,7 @@ c32-[ c c c c c c c c c c c c c c c-] \property Score.beatLength = #(ly:make-moment 1 8) c32-[ c c c c c c c c c c c c c c c-] @end example -@lilypond[noindent,noquote] +@lilypond[noindent] \score { \notes \relative c' { c16-[ c c c c c c c-] @@ -1418,7 +1418,7 @@ It is not possible to specify beaming parameters for beams with mixed durations, that differ from the beaming parameters of all separate durations, i.e., you'll have to specify manual beams to get: -@lilypond[singleline,fragment,relative,noverbatim] +@lilypond[singleline,fragment,relative,noverbatim,quote] \property Voice.autoBeamSettings \override #'(end * * * *) = #(ly:make-moment 3 8) \time 12/8 c'8 c c c16 c c c c c c-[ c c c-] c8 c c4 @@ -1506,7 +1506,7 @@ The macros are: Warning: This leads to some weird and often unwanted results because accidentals from one voice DO NOT get cancelled in other voices: -@lilypond[singleline,relative,fragment,verbatim] +@lilypond[singleline,relative,fragment,verbatim,quote] \context Staff < \voiceAccidentals \context Voice=va { \voiceOne es g } @@ -2240,7 +2240,7 @@ the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go after the last note. Because these marks are bound to notes, if you want several marks during one note, you have to use spacer notes. -@lilypond[fragment,verbatim,center] +@lilypond[fragment,verbatim,center,quote] c'' \< \! c'' d'' \decr e'' \rced < f''1 { s4 s4 \< \! s4 \> \! s4 } > @end lilypond @@ -2554,7 +2554,7 @@ list of percussion instrument names, notehead scripts and staff positions (that is: pitches relative to the C-clef) and uses this to transform the input music by moving the pitch, changing the notehead and (optionally) adding a script: -@lilypond[singleline,verbatim] +@lilypond[singleline,verbatim,quote] \include "drumpitch-init.ly" up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat } down = \notes { bassdrum4 snare8 bd r bd sn4 } @@ -2875,7 +2875,7 @@ The autochanger switches on basis of pitch (central C is the turning point), and it looks ahead skipping over rests to switch rests in advance. Here is a practical example: -@lilypond[verbatim,singleline] +@lilypond[verbatim,singleline,quote] \score { \notes \context PianoStaff < \context Staff = "up" { \autochange Staff \context Voice = VA < \relative c' { @@ -3224,7 +3224,7 @@ e8 fis gis a b cis' dis' e' \property TabStaff.minimumFret = #8 e8 fis gis a b cis' dis' e' @end example -@lilypond[noindent,noquote] +@lilypond[noindent] frag = \notes { \key e \major e8 fis gis a b cis' dis' e' @@ -3358,7 +3358,7 @@ Chord mode is a mode where you can input sets of pitches using common names. It is introduced by the keyword @code{\chords}. In chords mode, a chord is entered by the root, which is entered like a common pitch, for example, -@lilypond[fragment,verbatim] +@lilypond[fragment,verbatim,quote] es4. d8 c2 @end lilypond is the notation for an E-flat major chord. @@ -3369,7 +3369,7 @@ is the notation for an E-flat major chord. Other chords may be entered by suffixing a colon, and introducing a modifier, and optionally, a number, for example -@lilypond[fragment,verbatim] +@lilypond[fragment,verbatim,quote] \chords { e1:m e1:7 e1:m7 } @end lilypond The first number following the root is taken to be the `type' of the @@ -3387,12 +3387,12 @@ More complex chords may also be constructed adding separate steps to a chord. Additions are added after the number following the colon, and are separated by dots. For example @c -@lilypond[verbatim,fragment] +@lilypond[verbatim,fragment,quote] \chords { c:5.6 c:3.7.8 c:3.6.13 } @end lilypond Chord steps can be altered by suffixing a @code{-} or @code{+} sign to the number, for example: -@lilypond[verbatim,fragment] +@lilypond[verbatim,fragment,quote] \chords { c:7+ c:5+.3- c:3-.5-.7- } @end lilypond Removals are specified similarly, and are introduced by a caret. They @@ -3704,7 +3704,7 @@ adds a box around the bar numbers: #(make-molecule-boxer 0.1 0.25 0.25 Text_item::brew_molecule) \property Score.BarNumber \override #'font-relative-size = #0 @end example -@lilypond[noindent,noquote] +@lilypond[noindent] \score { \context Staff \notes \transpose c c'' { \property Score.BarNumber \override #'break-visibility = #end-of-line-invisible @@ -3735,7 +3735,7 @@ resetBarnum = \context Score \applycontext \mark \default \resetBarnum \repeat unfold 8 c @end example -@lilypond[noindent,noquote] +@lilypond[noindent] resetBarnum = \context Score \applycontext #(set-bar-number-visibility 4) \score { @@ -3863,6 +3863,7 @@ fractions: R1*13/8 R1*13/8*12 @end lilypond + Notice that a @code{R} spanning a single measure is printed as a whole rest centered in the measure, regardless of the time signature. @@ -3882,6 +3883,7 @@ is provided for a fermata. R2._\markup { \roman "Ad lib" } R2.^\fermataMarkup @end lilypond + By default, the multi-measure rest uses the number font, which does not contain any letters. This is the reason for the explicit @code{\roman} in the above example. @@ -4301,7 +4303,7 @@ anticipates the pitch of the first note(s) of the following line and thus helps the player or singer to manage line breaks during performance, thus enhancing readability of a score. -@lilypond[verbatim,noquote] +@lilypond[verbatim] \score { \notes { c'1 \break \property Staff.Custos \set #'style = #'mensural @@ -4665,7 +4667,7 @@ A object definition is a Scheme association list, that is stored in a context property. By assigning to that property (using plain @code{\property}), you can change the resulting objects. -@lilypond[verbatim, fragment] +@lilypond[verbatim, fragment,quote] c'4 \property Voice.NoteHead = #'() c'4 @end lilypond This mechanism is fairly crude, since you can only set, but not modify, @@ -4685,7 +4687,7 @@ in @file{scm/grob-description.scm}), includes the following definitions for You can add a property on top of the existing definition, or remove a property, thus overriding the system defaults: -@lilypond[verbatim] +@lilypond[verbatim,quote] c'4 \property Voice.Stem \override #'thickness = #4.0 c'4 \property Voice.Stem \revert #'thickness c'4 @@ -4694,7 +4696,7 @@ You should balance @code{\override} and @code{\revert}. If that's too much work, you can use the @code{\set} shorthand. It performs a revert followed by an override. The following example gives exactly the same result as the previous one. -@lilypond[verbatim] +@lilypond[verbatim,quote] c'4 \property Voice.Stem \set #'thickness = #4.0 c'4 \property Voice.Stem \set #'thickness = #0.8 c'4 @@ -4845,7 +4847,7 @@ The most common thing to change about the appearance of fonts is their size. The font size of a @internalsref{Voice}, @internalsref{Staff} or @internalsref{Thread} context, can be easily changed by setting the @code{fontSize} property for that context: -@lilypond[fragment,relative=1] +@lilypond[fragment,relative=1,verbatim,quote] c4 c4 \property Voice.fontSize = #-1 f4 g4 @end lilypond @@ -5036,7 +5038,7 @@ Raising and lowering texts can be done with @code{\super} and If you want to give an explicit amount for lowering or raising, use @code{\raise}. This command takes a Scheme valued argument, -@lilypond[verbatim,fragment,relative=1] +@lilypond[verbatim,fragment,relative=1,quote] c1^\markup { C \small \raise #1.0 { "9/7+" }} @end lilypond The argument to @code{\raise} is the vertical displacement amount, diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely index 047f71dc60..4018352846 100644 --- a/Documentation/user/tutorial.itely +++ b/Documentation/user/tutorial.itely @@ -361,7 +361,7 @@ discussed in the previous two sections. @item @code{1 2 8 16} @tab durations @tab -@lilypond[relative 1, noquote, notime] +@lilypond[relative 1, notime] \property Staff.autoBeaming = ##f \property Staff.Clef = \turnOff c1 c2 c8 c16 @@ -370,7 +370,7 @@ c1 c2 c8 c16 @item @code{. ..} @tab augmentation dots @tab -@lilypond[relative 1, noquote, notime] +@lilypond[relative 1, notime] \property Staff.Clef = \turnOff c4. c4.. @end lilypond @@ -378,7 +378,7 @@ c4. c4.. @item @code{c d e f g a b } @tab scale @tab -@lilypond[relative 1, noquote, notime] +@lilypond[relative 1, notime] \property Staff.Clef = \turnOff c d e f g a b @end lilypond @@ -386,7 +386,7 @@ c d e f g a b @item @code{\clef treble \clef bass } @tab clefs @tab -@lilypond[noquote, notime] +@lilypond[notime] \clef treble s4_" " \clef bass @@ -396,7 +396,7 @@ s4_" " @item @code{\time 3/4 \time 4/4 } @tab time signature @tab -@lilypond[noquote] +@lilypond \property Staff.Clef \set #'transparent = ##t \time 3/4 s4_" " @@ -650,7 +650,7 @@ The following table summarizes the syntax learned so far in this section. @item @code{r4 r8} @tab rest @tab -@lilypond[relative 1, noquote, notime] +@lilypond[relative 1, notime] \property Staff.Clef = \turnOff r4 r8 @end lilypond @@ -658,7 +658,7 @@ r4 r8 @item @code{~} @tab tie @tab -@lilypond[relative 1, noquote, notime] +@lilypond[relative 1, notime] \property Score.timing = ##f \property Staff.autoBeaming = ##f \property Staff.Clef = \turnOff @@ -668,7 +668,7 @@ d ~ d @item @code{\key es \major } @tab key signature @tab -@lilypond[noquote, notime] +@lilypond[notime] \clef treble \key es \major s4 @@ -677,7 +677,7 @@ s4 @item @var{note}@code{'} @tab raise octave @tab -@lilypond[relative 1, noquote, notime] +@lilypond[relative 1, notime] \property Score.timing = ##f \property Staff.autoBeaming = ##f \property Staff.Clef = \turnOff @@ -687,7 +687,7 @@ a a' @item @var{note}@code{,} @tab lower octave @tab -@lilypond[relative 1, noquote, notime] +@lilypond[relative 1, notime] \property Score.timing = ##f \property Staff.autoBeaming = ##f \property Staff.Clef = \turnOff @@ -1686,7 +1686,7 @@ input file is a piano reduction of the G major Sinfonia by Giovanni Battista Sammartini, composed around 1740. It's in the source package under the name @file{input/tutorial/sammartini.ly}. -@lilypondfile[smallverbatim,noquote]{sammartini.ly} +@lilypondfile[smallverbatim]{sammartini.ly} As you can see, this example features multiple voices on one staff. To make room for those voices, their notes should be stemmed in opposite @@ -2846,7 +2846,7 @@ the default music size, @code{fragment} adds a score block, If you include large examples into the text, it may be more convenient to put the example in a separate file: -@lilypondfile[printfilename,noquote]{sammartini.ly} +@lilypondfile[printfilename]{sammartini.ly} The @code{printfilename} option adds the file name to the output. @node End of tutorial -- 2.11.4.GIT