On Tue, Oct 26, 2010 at 9:34 PM, Keith E OHara <k-ohara5...@oco.net> wrote:
> I might have been over-reacting after my recent difficulties trying to use
> CueVoice for purposes formerly recommended in the manual. Or, it may just
> be that old people always caution against new things; it's part of our job.
You're right. I think I'm gonna suggest a patch for our 2.14
Documentation. (attached)
Cheers,
Valentin.
From 661b60b40def1e84fe8c35b8396c1ec667e54751 Mon Sep 17 00:00:00 2001
From: Valentin Villenave <valen...@villenave.net>
Date: Tue, 26 Oct 2010 23:15:45 +0200
Subject: [PATCH] CueVoice Documentation improvement.
---
Documentation/notation/staff.itely | 169 ++----------------------------------
1 files changed, 7 insertions(+), 162 deletions(-)
diff --git a/Documentation/notation/staff.itely b/Documentation/notation/staff.itely
index f256e56..5d6af07 100644
--- a/Documentation/notation/staff.itely
+++ b/Documentation/notation/staff.itely
@@ -1180,173 +1180,18 @@ written entirely in lower-case letters: @code{\addquote}.
@funindex \quoteDuring
@funindex quoteDuring
-The previous section explains how to create quotations. The
-...@code{\cueduring} command is a more specialized form of
-...@code{\quoteduring}, being particularly useful for inserting cue
-notes into a part. The syntax is as follows:
+...@warning{
-...@example
-\cueDuring #...@var{partname} #...@var{voice} @var{music}
-...@end example
-
-This command copies only the notes and rests from the
-corresponding measures from @co...@var{partname}} into a
-...@code{cuevoice} context. The @code{CueVoice} is created
-implicitly, and occurs simultaneously with @co...@var{music}},
-which creates a polyphonic situation. The @co...@var{voice}}
-argument determines whether the cue notes should be notated as a
-first or second voice; @code{UP} corresponds to the first voice,
-and @code{DOWN} corresponds to the second.
-
-...@lilypond[verbatim,quote]
-oboe = \relative c'' {
- r2 r8 d16(\f f e g f a)
- g8 g16 g g2.
-}
-\addQuote "oboe" { \oboe }
-
-\new Voice \relative c'' {
- \cueDuring #"oboe" #UP { R1 }
- g2 c,
-}
-...@end lilypond
-
-...@noindent
-In the above example, the @code{Voice} context had to be
-explicitly declared, or else the entire music expression would
-belong to the @code{CueVoice} context.
-
-It is possible to adjust which aspects of the music are quoted with
-...@code{\cueduring} by setting the @code{quotedCueEventTypes} property. Its
-default value is @code{#'(note-event rest-event tie-event beam-event
-tuplet-span-event)}, which means that only notes, rest, ties, beams and
-tuplets are quoted, but not articulations, dynamic marks, markup etc.
-
-...@lilypond[verbatim,quote]
-oboe = \relative c'' {
- r2 r8 d16(\f f e g f a)
- g8 g16 g g2.
-}
-\addQuote "oboe" { \oboe }
-
-\new Voice \relative c'' {
- \set Score.quotedCueEventTypes = #'(note-event rest-event tie-event
- beam-event tuplet-span-event
- dynamic-event slur-event)
- \cueDuring #"oboe" #UP { R1 }
- g2 c,
-}
-...@end lilypond
-
-
-
-The name of the cued instrument can be printed by setting the
-...@code{instrumentcuename} property in the @code{CueVoice} context.
-
-...@lilypond[verbatim,quote]
-oboe = \relative c''' {
- g4 r8 e16 f e4 d
-}
-\addQuote "oboe" { \oboe }
-
-\new Staff \relative c'' <<
- \new CueVoice \with {
- instrumentCueName = "ob."
- }
- \new Voice {
- \cueDuring #"oboe" #UP { R1 }
- g4. b8 d2
- }
->>
-...@end lilypond
+The first rule of using CueVoice is:
+don't use CueVoice.
-...@cindex removing cues
-...@cindex removing cue notes
-...@cindex cue notes, removing
+The second rule of using CueVoice is:
+do NOT use CueVoice.
-...@funindex \killCues
-...@funindex killCues
-...@funindex \transposedCueDuring
-...@funindex transposedCueDuring
-
-In addition to printing the name of the cued instrument, when cue
-notes end, the name of the original instrument should be printed,
-and any other changes introduced by the cued part should be
-undone. This can be accomplished by using
-...@code{\addinstrumentdefinition} and @code{\instrumentSwitch}. For
-an example and explanation, see @ref{Instrument names}.
-
-The @code{\killCues} command removes cue notes from a music
-expression. This can be useful if cue notes need to be removed
-from a part but may be restored at a later time.
-
-...@lilypond[verbatim,quote]
-flute = \relative c''' {
- r2 cis2 r2 dis2
-}
-\addQuote "flute" { \flute }
-
-\new Voice \relative c'' {
- \killCues {
- \cueDuring #"flute" #UP { R1 }
- g4. b8 d2
- }
-}
-...@end lilypond
-
-The @code{\transposedCueDuring} command is useful for adding
-instrumental cues from a completely different register. The
-syntax is similar to @code{\cueDuring}, but it requires one extra
-argument to specify the transposition of the cued instrument. For
-more information about transposition, see
-...@ref{instrument transpositions}.
-
-...@lilypond[verbatim,quote]
-piccolo = \relative c''' {
- \clef "treble^8"
- R1
- c8 c c e g2
- a4 g g2
+The third rule of
+... well, you get the picture.
}
-\addQuote "piccolo" { \piccolo }
-cbassoon = \relative c, {
- \clef "bass_8"
- c4 r g r
- \transposedCueDuring #"piccolo" #UP c,, { R1 }
- c4 r g r
-}
-
-<<
- \new Staff = "piccolo" \piccolo
- \new Staff = "cbassoon" \cbassoon
->>
-...@end lilypond
-
-It is possible to tag cued parts with unique names in order to
-process them in different ways. For details about this procedure,
-see @ref{Using tags}.
-
-...@cindex notes, smaller
-...@cindex smaller notes
-
-A @code{CueVoice} context may be created explicitly if notes of a
-smaller size are required, for example to set an alternative
-sequence of notes more suitable for a higher or lower voice.
-
-...@lilypond[verbatim,relative=2]
-\time 12/8
-\key ees \major
-g4 ees8 f4 g8
-\stemDown
-<<
- { d4. bes4 c8 }
- \new CueVoice
- { g'4. f4 ees8 }
->>
-\stemUp
-d2. d2.
-...@end lilypond
@seealso
--
1.7.3.1
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