1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
10 @section Ancient notation
12 @cindex Vaticana, Editio
13 @cindex Medicaea, Editio
18 Support for ancient notation includes features for mensural notation
19 and Gregorian Chant notation. There is also limited support for
20 figured bass notation.
22 Many graphical objects provide a @code{style} property, see
25 @ref{Ancient note heads},
27 @ref{Ancient accidentals},
35 @ref{Ancient time signatures}.
38 By manipulating such a grob property, the typographical appearance of
39 the affected graphical objects can be accommodated for a specific
40 notation flavor without the need for introducing any new notational
43 In addition to the standard articulation signs described in
44 section @ref{Articulations and ornamentations}, specific
45 articulation signs for ancient notation are provided.
49 @ref{Ancient articulations}
52 Other aspects of ancient notation can not that easily be expressed
53 in terms of just changing a style property of a graphical object or
54 adding articulation signs. Some notational concepts are introduced
55 specifically for ancient notation,
66 If this all is too much of documentation for you, and you just want to
67 dive into typesetting without worrying too much about the details on
68 how to customize a context, you may have a look at the predefined
69 contexts. Use them to set up predefined style-specific voice and
70 staff contexts, and directly go ahead with the note entry,
74 @ref{Gregorian Chant contexts},
76 @ref{Mensural contexts}.
79 There is limited support for figured bass notation which came
80 up during the baroque period.
87 @c Here are all subtopics at a glance:
90 * Alternative note signs for ancient music::
91 * Additional note signs for ancient music::
92 * Pre-defined contexts::
93 * Musica ficta accidentals::
97 @node Alternative note signs for ancient music
98 @subsection Alternative note signs for ancient music
101 * Ancient note heads::
102 * Ancient accidentals::
106 * Ancient time signatures::
109 @node Ancient note heads
110 @unnumberedsubsubsec Ancient note heads
112 @cindex note heads, ancient
114 For ancient notation, a note head style other than the @code{default}
115 style may be chosen. This is accomplished by setting the @code{style}
116 property of the @internalsref{NoteHead} object to @code{baroque},
117 @code{neomensural}, @code{mensural} or @code{petrucci}. The
118 @code{baroque} style differs from the @code{default} style only in
119 using a square shape for @code{\breve} note heads. The
120 @code{neomensural} style differs from the @code{baroque} style in that
121 it uses rhomboidal heads for whole notes and all smaller durations.
122 Stems are centered on the note heads. This style is particularly
123 useful when transcribing mensural music, e.g., for the incipit. The
124 @code{mensural} style produces note heads that mimic the look of note
125 heads in historic printings of the 16th century. Finally, the
126 @code{petrucci} style also mimicks historic printings, but uses bigger
129 The following example demonstrates the @code{neomensural} style
131 @lilypond[quote,fragment,ragged-right,verbatim]
132 \set Score.skipBars = ##t
133 \override NoteHead #'style = #'neomensural
134 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
137 When typesetting a piece in Gregorian Chant notation, the
138 @internalsref{Gregorian_ligature_engraver} will automatically select
139 the proper note heads, so there is no need to explicitly set the
140 note head style. Still, the note head style can be set, e.g., to
141 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
142 @internalsref{Mensural_ligature_engraver} is used to automatically
143 assemble mensural ligatures. See @ref{Ligatures}, for how ligature
148 @ref{Note head styles}, gives an overview over all available note head styles.
151 @node Ancient accidentals
152 @unnumberedsubsubsec Ancient accidentals
157 Use the @code{glyph-name-alist} property of grob
158 @internalsref{Accidental} and @internalsref{KeySignature} to select
161 @lilypond[quote,ragged-right,staffsize=26]
168 \line { " " \musicglyph #"accidentals.vaticana-1"
169 " " \musicglyph #"accidentals.vaticana0" }
173 \line { " " \musicglyph #"accidentals.medicaea-1" }
177 \line { " " \musicglyph #"accidentals.hufnagel-1" }
181 \line { " " \musicglyph #"accidentals.mensural-1"
182 " " \musicglyph #"accidentals.mensural1" }
188 \context { \Score \remove "Bar_number_engraver" }
190 \remove "Clef_engraver"
191 \remove "Key_engraver"
192 \remove "Time_signature_engraver"
193 \remove "Staff_symbol_engraver"
194 \override VerticalAxisGroup #'minimum-Y-extent = ##f
200 As shown, not all accidentals are supported by each style. When
201 trying to access an unsupported accidental, LilyPond will switch to a
202 different style, as demonstrated in
203 @c @lsr{ancient,ancient-accidentals.ly}.
205 Similarly to local accidentals, the style of the key signature can be
206 controlled by the @code{glyph-name-alist} property of the
207 @internalsref{KeySignature} grob.
211 Notation Reference: @ref{Pitches}, @ref{Accidentals}, and
212 @ref{Automatic accidentals}, give a general introduction of the use of
213 accidentals. @ref{Key signature}, gives a general introduction of
214 the use of key signatures.
216 Internals Reference: @internalsref{KeySignature}.
218 Examples: @c @lsrdir{ancient}
221 @unnumberedsubsubsec Ancient rests
223 @cindex rests, ancient
226 Use the @code{style} property of grob @internalsref{Rest} to select
227 ancient rests. Supported styles are @code{classical},
228 @code{neomensural}, and @code{mensural}. @code{classical} differs
229 from the @code{default} style only in that the quarter rest looks like
230 a horizontally mirrored 8th rest. The @code{neomensural} style suits
231 well for, e.g., the incipit of a transcribed mensural piece of music.
232 The @code{mensural} style finally mimics the appearance of rests as
233 in historic prints of the 16th century.
235 The following example demonstrates the @code{neomensural} style
237 @lilypond[quote,fragment,ragged-right,verbatim]
238 \set Score.skipBars = ##t
239 \override Rest #'style = #'neomensural
240 r\longa r\breve r1 r2 r4 r8 r16
243 There are no 32th and 64th rests specifically for the mensural or
244 neo-mensural style. Instead, the rests from the default style will be
245 taken. See @c @lsr{pitches,rests} for a chart of all rests.
247 There are no rests in Gregorian Chant notation; instead, it uses
252 Notation Reference: @ref{Rests}, gives a general introduction into the use of
257 @unnumberedsubsubsec Ancient clefs
262 LilyPond supports a variety of clefs, many of them ancient.
264 The following table shows all ancient clefs that are supported via the
265 @code{\clef} command. Some of the clefs use the same glyph, but
266 differ only with respect to the line they are printed on. In such
267 cases, a trailing number in the name is used to enumerate these clefs.
268 Still, you can manually force a clef glyph to be typeset on an
269 arbitrary line, as described in @ref{Clef}. The note printed to the
270 right side of each clef in the example column denotes the @code{c'}
271 with respect to that clef.
273 @multitable @columnfractions .4 .4 .2
282 modern style mensural C clef
284 @code{neomensural-c1}, @code{neomensural-c2},@*
285 @code{neomensural-c3}, @code{neomensural-c4}
287 @lilypond[fragment,relative=1,notime]
288 \clef "neomensural-c2" c
292 petrucci style mensural C clefs, for use on different staff lines
293 (the examples show the 2nd staff line C clef)
295 @code{petrucci-c1}, @code{petrucci-c2},@*
296 @code{petrucci-c3}, @code{petrucci-c4},@*
299 @lilypond[fragment,relative=1,notime]
301 \override NoteHead #'style = #'mensural
306 petrucci style mensural F clef
310 @lilypond[fragment,relative=1,notime]
312 \override NoteHead #'style = #'mensural
317 petrucci style mensural G clef
321 @lilypond[fragment,relative=1,notime]
323 \override NoteHead #'style = #'mensural
328 historic style mensural C clef
330 @code{mensural-c1}, @code{mensural-c2},@*
331 @code{mensural-c3}, @code{mensural-c4}
333 @lilypond[fragment,relative=1,notime]
335 \override NoteHead #'style = #'mensural
340 historic style mensural F clef
344 @lilypond[fragment,relative=1,notime]
346 \override NoteHead #'style = #'mensural
351 historic style mensural G clef
355 @lilypond[fragment,relative=1,notime]
357 \override NoteHead #'style = #'mensural
362 Editio Vaticana style do clef
364 @code{vaticana-do1}, @code{vaticana-do2},@*
367 @lilypond[fragment,relative=1,notime]
368 \override Staff.StaffSymbol #'line-count = #4
369 \override Staff.StaffSymbol #'color = #red
370 \override Staff.LedgerLineSpanner #'color = #red
371 \override Voice.Stem #'transparent = ##t
372 \override NoteHead #'style = #'vaticana.punctum
378 Editio Vaticana style fa clef
380 @code{vaticana-fa1}, @code{vaticana-fa2}
382 @lilypond[fragment,relative=1,notime]
383 \override Staff.StaffSymbol #'line-count = #4
384 \override Staff.StaffSymbol #'color = #red
385 \override Staff.LedgerLineSpanner #'color = #red
386 \override Voice.Stem #'transparent = ##t
387 \override NoteHead #'style = #'vaticana.punctum
393 Editio Medicaea style do clef
395 @code{medicaea-do1}, @code{medicaea-do2},@*
398 @lilypond[fragment,relative=1,notime]
399 \override Staff.StaffSymbol #'line-count = #4
400 \override Staff.StaffSymbol #'color = #red
401 \override Staff.LedgerLineSpanner #'color = #red
402 \override Voice.Stem #'transparent = ##t
403 \override NoteHead #'style = #'medicaea.punctum
409 Editio Medicaea style fa clef
411 @code{medicaea-fa1}, @code{medicaea-fa2}
413 @lilypond[fragment,relative=1,notime]
414 \override Staff.StaffSymbol #'line-count = #4
415 \override Staff.StaffSymbol #'color = #red
416 \override Staff.LedgerLineSpanner #'color = #red
417 \override Voice.Stem #'transparent = ##t
418 \override NoteHead #'style = #'medicaea.punctum
424 historic style hufnagel do clef
426 @code{hufnagel-do1}, @code{hufnagel-do2},@*
429 @lilypond[fragment,relative=1,notime]
430 \override Staff.StaffSymbol #'line-count = #4
431 \override Staff.StaffSymbol #'color = #red
432 \override Staff.LedgerLineSpanner #'color = #red
433 \override Voice.Stem #'transparent = ##t
434 \override NoteHead #'style = #'hufnagel.punctum
440 historic style hufnagel fa clef
442 @code{hufnagel-fa1}, @code{hufnagel-fa2}
444 @lilypond[fragment,relative=1,notime]
445 \override Staff.StaffSymbol #'line-count = #4
446 \override Staff.StaffSymbol #'color = #red
447 \override Staff.LedgerLineSpanner #'color = #red
448 \override Voice.Stem #'transparent = ##t
449 \override NoteHead #'style = #'hufnagel.punctum
455 historic style hufnagel combined do/fa clef
457 @code{hufnagel-do-fa}
459 @lilypond[fragment,relative=1,notime]
460 \override Staff.StaffSymbol #'color = #red
461 \override Staff.LedgerLineSpanner #'color = #red
462 \override Voice.Stem #'transparent = ##t
463 \override NoteHead #'style = #'hufnagel.punctum
464 \clef "hufnagel-do-fa"
471 @emph{Modern style} means @qq{as is typeset in contemporary editions of
472 transcribed mensural music.}
474 @emph{Petrucci style} means @qq{inspired by printings published by the
475 famous engraver Petrucci (1466-1539).}
477 @emph{Historic style} means @qq{as was typeset or written in historic
478 editions (other than those of Petrucci).}
480 @emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}
482 Petrucci used C clefs with differently balanced left-side vertical
483 beams, depending on which staff line it is printed.
487 Notation Reference: see @ref{Clef}.
491 The mensural g clef is mapped to the Petrucci g clef.
496 @unnumberedsubsubsec Ancient flags
501 Use the @code{flag-style} property of grob @internalsref{Stem} to
502 select ancient flags. Besides the @code{default} flag style,
503 only the @code{mensural} style is supported
505 @lilypond[quote,fragment,ragged-right,verbatim]
506 \override Stem #'flag-style = #'mensural
507 \override Stem #'thickness = #1.0
508 \override NoteHead #'style = #'mensural
510 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
511 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
514 Note that the innermost flare of each mensural flag always is
515 vertically aligned with a staff line.
517 There is no particular flag style for neo-mensural notation. Hence,
518 when typesetting the incipit of a transcribed piece of mensural
519 music, the default flag style should be used. There are no flags in
520 Gregorian Chant notation.
524 The attachment of ancient flags to stems is slightly off due to a
525 change in early 2.3.x.
527 Vertically aligning each flag with a staff line assumes that stems
528 always end either exactly on or exactly in the middle between two
529 staff lines. This may not always be true when using advanced layout
530 features of classical notation (which however are typically out of
531 scope for mensural notation).
533 @node Ancient time signatures
534 @unnumberedsubsubsec Ancient time signatures
536 @cindex time signatures
539 There is limited support for mensural time signatures. The
540 glyphs are hard-wired to particular time fractions. In other words,
541 to get a particular mensural signature glyph with the @code{\time n/m}
542 command, @code{n} and @code{m} have to be chosen according to the
545 @lilypond[quote,ragged-right]
550 \remove Staff_symbol_engraver
551 \remove Clef_engraver
552 \remove Time_signature_engraver
556 \set Score.timing = ##f
557 \set Score.barAlways = ##t
558 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
559 #"timesig.neomensural44" }
561 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
562 #"timesig.neomensural22" }
564 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
565 #"timesig.neomensural64" }
567 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
568 #"timesig.neomensural68" }
570 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
571 #"timesig.neomensural32" }
573 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
574 #"timesig.neomensural34" }
576 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
577 #"timesig.neomensural94" }
579 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
580 #"timesig.neomensural98" }
582 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
583 #"timesig.neomensural48" }
585 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
586 #"timesig.neomensural24" }
590 Use the @code{style} property of grob @internalsref{TimeSignature} to
591 select ancient time signatures. Supported styles are
592 @code{neomensural} and @code{mensural}. The above table uses the
593 @code{neomensural} style. This style is appropriate for the
594 incipit of transcriptions of mensural pieces. The @code{mensural}
595 style mimics the look of historical printings of the 16th century.
597 The following examples show the differences in style,
599 @lilypond[ragged-right,fragment,relative=1,quote]
604 c1^\markup { \hspace #-2.0 \typewriter default }
606 \override Staff.TimeSignature #'style = #'numbered
608 c1^\markup { \hspace #-2.0 \typewriter numbered }
610 \override Staff.TimeSignature #'style = #'mensural
612 c1^\markup { \hspace #-2.0 \typewriter mensural }
614 \override Staff.TimeSignature #'style = #'neomensural
616 c1^\markup { \hspace #-2.0 \typewriter neomensural }
617 \override Staff.TimeSignature #'style = #'single-digit
619 c1^\markup { \hspace #-2.0 \typewriter single-digit }
625 This manual: @ref{Time signature}, gives a general introduction to
626 the use of time signatures.
630 Ratios of note durations do not change with the time signature. For
631 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
632 be made by hand, by setting
635 breveTP = #(ly:make-duration -1 0 3 2)
641 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
643 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
644 addressable with @code{\time}. Use a @code{\markup} instead
647 @node Additional note signs for ancient music
648 @subsection Additional note signs for ancient music
651 * Ancient articulations::
655 * White mensural ligatures::
656 * Gregorian square neumes ligatures::
660 @node Ancient articulations
661 @unnumberedsubsubsec Ancient articulations
663 @cindex articulations
665 In addition to the standard articulation signs described in
666 section @ref{Articulations and ornamentations}, articulation signs
667 for ancient notation are provided. These are specifically
668 designed for use with notation in Editio Vaticana style.
670 @lilypond[quote,ragged-right,verbatim]
671 \include "gregorian-init.ly"
674 \override TextScript #'font-family = #'typewriter
675 \override TextScript #'font-shape = #'upright
676 \override Script #'padding = #-0.1
677 a\ictus_"ictus" \break
678 a\circulus_"circulus" \break
679 a\semicirculus_"semicirculus" \break
680 a\accentus_"accentus" \break
681 \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
688 Some articulations are vertically placed too closely to the
689 corresponding note heads.
691 The episem line is not displayed in many cases. If it is displayed,
692 the right end of the episem line is often too far to the right.
695 @unnumberedsubsubsec Custodes
700 A @emph{custos} (plural: @emph{custodes}; Latin word for @q{guard}) is a
701 symbol that appears at the end of a staff. It anticipates the pitch
702 of the first note(s) of the following line thus helping the performer
703 to manage line breaks during performance.
705 Custodes were frequently used in music notation until the 17th
706 century. Nowadays, they have survived only in a few particular forms
707 of musical notation such as contemporary editions of Gregorian chant
708 like the @emph{editio vaticana}. There are different custos glyphs
709 used in different flavors of notational style.
711 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
712 @internalsref{Staff} context when declaring the @code{\layout} block,
713 as shown in the following example
719 \consists Custos_engraver
720 Custos \override #'style = #'mensural
725 The result looks like this
727 @lilypond[quote,ragged-right]
731 \override Staff.Custos #'style = #'mensural
736 \context { \Staff \consists Custos_engraver }
741 The custos glyph is selected by the @code{style} property. The styles
742 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
743 @code{mensural}. They are demonstrated in the following fragment
745 @lilypond[quote,ragged-right,fragment]
746 \new Lyrics \lyricmode {
748 \typewriter "vaticana"
749 \line { " " \musicglyph #"custodes.vaticana.u0" }
752 \typewriter "medicaea"
753 \line { " " \musicglyph #"custodes.medicaea.u0" }
756 \typewriter "hufnagel"
757 \line { " " \musicglyph #"custodes.hufnagel.u0" }
760 \typewriter "mensural"
761 \line { " " \musicglyph #"custodes.mensural.u0" }
768 Internals Reference: @internalsref{Custos}.
771 @c @lsr{ancient,custodes@/.ly}.
775 @unnumberedsubsubsec Divisiones
781 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
782 @q{division}) is a staff context symbol that is used to structure
783 Gregorian music into phrases and sections. The musical meaning of
784 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
785 can be characterized as short, medium, and long pause, somewhat like
786 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
787 only marks the end of a chant, but is also frequently used within a
788 single antiphonal/responsorial chant to mark the end of each section.
791 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
792 contains definitions that you can apply by just inserting
793 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
794 and @code{\finalis} at proper places in the input. Some editions use
795 @emph{virgula} or @emph{caesura} instead of divisio minima.
796 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
799 @lilypondfile[quote,ragged-right]{divisiones.ly}
807 @funindex \divisioMinima
808 @code{\divisioMinima},
809 @funindex \divisioMaior
810 @code{\divisioMaior},
811 @funindex \divisioMaxima
812 @code{\divisioMaxima},
818 Notation Reference: @ref{Breath marks}.
820 Internals Reference: @internalsref{BreathingSign}.
822 Examples: @c @lsr{expressive,breathing-sign.ly}.
826 @unnumberedsubsubsec Ligatures
830 @c TODO: Should double check if I recalled things correctly when I wrote
831 @c down the following paragraph by heart.
833 A ligature is a graphical symbol that represents at least two distinct
834 notes. Ligatures originally appeared in the manuscripts of Gregorian
835 chant notation to denote ascending or descending sequences of notes.
837 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
838 Some ligature styles may need additional input syntax specific for
839 this particular type of ligature. By default, the
840 @internalsref{LigatureBracket} engraver just puts a square bracket
843 @lilypond[quote,ragged-right,verbatim]
851 To select a specific style of ligatures, a proper ligature engraver
852 has to be added to the @internalsref{Voice} context, as explained in
853 the following subsections. Only white mensural ligatures
854 are supported with certain limitations.
860 Ligatures need special spacing that has not yet been implemented. As
861 a result, there is too much space between ligatures most of the time,
862 and line breaking often is unsatisfactory. Also, lyrics do not
863 correctly align with ligatures.
865 Accidentals must not be printed within a ligature, but instead need to
866 be collected and printed in front of it.
868 The syntax still uses the deprecated infix style @code{\[ music expr
869 \]}. For consistency reasons, it will eventually be changed to
870 postfix style @code{note\[ ... note\]}. Alternatively, the file
871 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
874 \ligature @var{music expr}
876 with the same effect and is believed to be stable.
879 * White mensural ligatures::
880 * Gregorian square neumes ligatures::
883 @node White mensural ligatures
884 @unnumberedsubsubsec White mensural ligatures
886 @cindex Mensural ligatures
887 @cindex White mensural ligatures
889 There is limited support for white mensural ligatures.
891 To engrave white mensural ligatures, in the layout block put the
892 @internalsref{Mensural_ligature_engraver} into the
893 @internalsref{Voice} context, and remove the
894 @internalsref{Ligature_bracket_engraver}, like this
900 \remove Ligature_bracket_engraver
901 \consists Mensural_ligature_engraver
906 There is no additional input language to describe the shape of a
907 white mensural ligature. The shape is rather determined solely from
908 the pitch and duration of the enclosed notes. While this approach may
909 take a new user a while to get accustomed to, it has the great advantage
910 that the full musical information of the ligature is known internally.
911 This is not only required for correct MIDI output, but also allows for
912 automatic transcription of the ligatures.
917 \set Score.timing = ##f
918 \set Score.defaultBarType = "empty"
919 \override NoteHead #'style = #'neomensural
920 \override Staff.TimeSignature #'style = #'neomensural
923 \[ d\longa c\breve f e d \]
924 \[ c'\maxima d'\longa \]
927 @lilypond[quote,ragged-right]
930 \set Score.timing = ##f
931 \set Score.defaultBarType = "empty"
932 \override NoteHead #'style = #'neomensural
933 \override Staff.TimeSignature #'style = #'neomensural
936 \[ d\longa c\breve f e d \]
937 \[ c'\maxima d'\longa \]
943 \remove Ligature_bracket_engraver
944 \consists Mensural_ligature_engraver
950 Without replacing @internalsref{Ligature_bracket_engraver} with
951 @internalsref{Mensural_ligature_engraver}, the same music transcribes
954 @lilypond[quote,ragged-right]
956 \set Score.timing = ##f
957 \set Score.defaultBarType = "empty"
958 \override NoteHead #'style = #'neomensural
959 \override Staff.TimeSignature #'style = #'neomensural
962 \[ d\longa c\breve f e d \]
963 \[ c'\maxima d'\longa \]
970 Horizontal spacing is poor.
972 @node Gregorian square neumes ligatures
973 @unnumberedsubsubsec Gregorian square neumes ligatures
975 @cindex Square neumes ligatures
976 @cindex Gregorian square neumes ligatures
978 There is limited support for Gregorian square neumes notation
979 (following the style of the Editio Vaticana). Core ligatures can
980 already be typeset, but essential issues for serious typesetting are
981 still lacking, such as (among others) horizontal alignment of multiple
982 ligatures, lyrics alignment and proper handling of accidentals.
985 The following table contains the extended neumes table of the 2nd
986 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
987 1983 by the monks of Solesmes.
989 @multitable @columnfractions .4 .2 .2 .2
1006 @c TODO: \layout block is identical in all of the below examples.
1007 @c Therefore, it should somehow be included rather than duplicated all
1010 @c why not make variables in ly/engraver-init.ly? --hwn
1012 @c Because it's just used to typeset plain notes without
1013 @c a staff for demonstration purposes rather than something
1014 @c special of Gregorian chant notation. --jr
1019 @lilypond[staffsize=26,line-width=1.5\cm]
1020 \include "gregorian-init.ly"
1025 \noBreak s^\markup {"a"} \noBreak
1027 % Punctum Inclinatum
1029 \noBreak s^\markup {"b"}
1031 \layout { \neumeDemoLayout }}
1034 @lilypond[staffsize=26,line-width=2.5\cm]
1035 \include "gregorian-init.ly"
1038 % Punctum Auctum Ascendens
1039 \[ \auctum \ascendens b \]
1040 \noBreak s^\markup {"c"} \noBreak
1042 % Punctum Auctum Descendens
1043 \[ \auctum \descendens b \]
1044 \noBreak s^\markup {"d"} \noBreak
1046 % Punctum Inclinatum Auctum
1047 \[ \inclinatum \auctum b \]
1048 \noBreak s^\markup {"e"}
1050 \layout { \neumeDemoLayout }}
1053 @lilypond[staffsize=26,line-width=1.0\cm]
1054 \include "gregorian-init.ly"
1057 % Punctum Inclinatum Parvum
1058 \[ \inclinatum \deminutum b \]
1059 \noBreak s^\markup {"f"}
1061 \layout { \neumeDemoLayout }}
1067 @lilypond[staffsize=26,line-width=1.0\cm]
1068 \include "gregorian-init.ly"
1073 \noBreak s^\markup {"g"}
1075 \layout { \neumeDemoLayout }}
1081 @code{3. Apostropha vel Stropha}
1083 @lilypond[staffsize=26,line-width=1.0\cm]
1084 \include "gregorian-init.ly"
1089 \noBreak s^\markup {"h"}
1091 \layout { \neumeDemoLayout }}
1094 @lilypond[staffsize=26,line-width=1.0\cm]
1095 \include "gregorian-init.ly"
1099 \[ \stropha \auctum b \]
1100 \noBreak s^\markup {"i"}
1102 \layout { \neumeDemoLayout }}
1109 @lilypond[staffsize=26,line-width=1.0\cm]
1110 \include "gregorian-init.ly"
1115 \noBreak s^\markup {"j"}
1117 \layout { \neumeDemoLayout }}
1123 @code{5. Clivis vel Flexa}
1125 @lilypond[staffsize=26,line-width=1.0\cm]
1126 \include "gregorian-init.ly"
1133 \layout { \neumeDemoLayout }}
1136 @lilypond[staffsize=26,line-width=2.0\cm]
1137 \include "gregorian-init.ly"
1140 % Clivis Aucta Descendens
1141 \[ b \flexa \auctum \descendens g \]
1142 \noBreak s^\markup {"l"} \noBreak
1144 % Clivis Aucta Ascendens
1145 \[ b \flexa \auctum \ascendens g \]
1146 \noBreak s^\markup {"m"}
1148 \layout { \neumeDemoLayout }}
1151 @lilypond[staffsize=26,line-width=1.0\cm]
1152 \include "gregorian-init.ly"
1156 \[ b \flexa \deminutum g \]
1159 \layout { \neumeDemoLayout }}
1163 @code{6. Podatus vel Pes}
1165 @lilypond[staffsize=26,line-width=1.0\cm]
1166 \include "gregorian-init.ly"
1173 \layout { \neumeDemoLayout }}
1176 @lilypond[staffsize=26,line-width=2.0\cm]
1177 \include "gregorian-init.ly"
1180 % Pes Auctus Descendens
1181 \[ g \pes \auctum \descendens b \]
1182 \noBreak s^\markup {"p"} \noBreak
1184 % Pes Auctus Ascendens
1185 \[ g \pes \auctum \ascendens b \]
1186 \noBreak s^\markup {"q"}
1188 \layout { \neumeDemoLayout }}
1191 @lilypond[staffsize=26,line-width=1.0\cm]
1192 \include "gregorian-init.ly"
1196 \[ g \pes \deminutum b \]
1199 \layout { \neumeDemoLayout }}
1203 @code{7. Pes Quassus}
1205 @lilypond[staffsize=26,line-width=1.0\cm]
1206 \include "gregorian-init.ly"
1210 \[ \oriscus g \pes \virga b \]
1213 \layout { \neumeDemoLayout }}
1216 @lilypond[staffsize=26,line-width=1.0\cm]
1217 \include "gregorian-init.ly"
1220 % Pes Quassus Auctus Descendens
1221 \[ \oriscus g \pes \auctum \descendens b \]
1224 \layout { \neumeDemoLayout }}
1229 @code{8. Quilisma Pes}
1231 @lilypond[staffsize=26,line-width=1.0\cm]
1232 \include "gregorian-init.ly"
1236 \[ \quilisma g \pes b \]
1239 \layout { \neumeDemoLayout }}
1242 @lilypond[staffsize=26,line-width=1.0\cm]
1243 \include "gregorian-init.ly"
1246 % Quilisma Pes Auctus Descendens
1247 \[ \quilisma g \pes \auctum \descendens b \]
1250 \layout { \neumeDemoLayout }}
1255 @code{9. Podatus Initio Debilis}
1257 @lilypond[staffsize=26,line-width=1.0\cm]
1258 \include "gregorian-init.ly"
1261 % Pes Initio Debilis
1262 \[ \deminutum g \pes b \]
1265 \layout { \neumeDemoLayout }}
1268 @lilypond[staffsize=26,line-width=1.0\cm]
1269 \include "gregorian-init.ly"
1272 % Pes Auctus Descendens Initio Debilis
1273 \[ \deminutum g \pes \auctum \descendens b \]
1276 \layout { \neumeDemoLayout }}
1283 @lilypond[staffsize=26,line-width=1.0\cm]
1284 \include "gregorian-init.ly"
1288 \[ a \pes b \flexa g \]
1291 \layout { \neumeDemoLayout }}
1294 @lilypond[staffsize=26,line-width=1.0\cm]
1295 \include "gregorian-init.ly"
1298 % Torculus Auctus Descendens
1299 \[ a \pes b \flexa \auctum \descendens g \]
1302 \layout { \neumeDemoLayout }}
1305 @lilypond[staffsize=26,line-width=1.0\cm]
1306 \include "gregorian-init.ly"
1309 % Torculus Deminutus
1310 \[ a \pes b \flexa \deminutum g \]
1313 \layout { \neumeDemoLayout }}
1317 @code{11. Torculus Initio Debilis}
1319 @lilypond[staffsize=26,line-width=1.0\cm]
1320 \include "gregorian-init.ly"
1323 % Torculus Initio Debilis
1324 \[ \deminutum a \pes b \flexa g \]
1327 \layout { \neumeDemoLayout }}
1330 @lilypond[staffsize=26,line-width=1.0\cm]
1331 \include "gregorian-init.ly"
1334 % Torculus Auctus Descendens Initio Debilis
1335 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1338 \layout { \neumeDemoLayout }}
1341 @lilypond[staffsize=26,line-width=1.0\cm]
1342 \include "gregorian-init.ly"
1345 % Torculus Deminutus Initio Debilis
1346 \[ \deminutum a \pes b \flexa \deminutum g \]
1349 \layout { \neumeDemoLayout }}
1353 @code{12. Porrectus}
1355 @lilypond[staffsize=26,line-width=1.0\cm]
1356 \include "gregorian-init.ly"
1360 \[ a \flexa g \pes b \]
1363 \layout { \neumeDemoLayout }}
1366 @lilypond[staffsize=26,line-width=1.0\cm]
1367 \include "gregorian-init.ly"
1370 % Porrectus Auctus Descendens
1371 \[ a \flexa g \pes \auctum \descendens b \]
1374 \layout { \neumeDemoLayout }}
1377 @lilypond[staffsize=26,line-width=1.0\cm]
1378 \include "gregorian-init.ly"
1381 % Porrectus Deminutus
1382 \[ a \flexa g \pes \deminutum b \]
1385 \layout { \neumeDemoLayout }}
1391 @lilypond[staffsize=26,line-width=1.0\cm]
1392 \include "gregorian-init.ly"
1396 \[ \virga b \inclinatum a \inclinatum g \]
1399 \layout { \neumeDemoLayout }
1403 @lilypond[staffsize=26,line-width=1.0\cm]
1404 \include "gregorian-init.ly"
1408 \[ \virga b \inclinatum a \inclinatum \auctum g \]
1411 \layout { \neumeDemoLayout }}
1414 @lilypond[staffsize=26,line-width=1.0\cm]
1415 \include "gregorian-init.ly"
1418 % Climacus Deminutus
1419 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
1422 \layout { \neumeDemoLayout }}
1426 @code{14. Scandicus}
1428 @lilypond[staffsize=26,line-width=1.0\cm]
1429 \include "gregorian-init.ly"
1433 \[ g \pes a \virga b \]
1436 \layout { \neumeDemoLayout }}
1439 @lilypond[staffsize=26,line-width=1.0\cm]
1440 \include "gregorian-init.ly"
1443 % Scandicus Auctus Descendens
1444 \[ g \pes a \pes \auctum \descendens b \]
1447 \layout { \neumeDemoLayout }}
1450 @lilypond[staffsize=26,line-width=1.0\cm]
1451 \include "gregorian-init.ly"
1454 % Scandicus Deminutus
1455 \[ g \pes a \pes \deminutum b \]
1458 \layout { \neumeDemoLayout }}
1464 @lilypond[staffsize=26,line-width=1.0\cm]
1465 \include "gregorian-init.ly"
1469 \[ g \oriscus a \pes \virga b \]
1472 \layout { \neumeDemoLayout }}
1475 @lilypond[staffsize=26,line-width=1.0\cm]
1476 \include "gregorian-init.ly"
1479 % Salicus Auctus Descendens
1480 \[ g \oriscus a \pes \auctum \descendens b \]
1483 \layout { \neumeDemoLayout }}
1490 @lilypond[staffsize=26,line-width=1.0\cm]
1491 \include "gregorian-init.ly"
1495 \[ \stropha b \stropha b \stropha a \]
1498 \layout { \neumeDemoLayout }
1507 Unlike most other neumes notation systems, the input language for
1508 neumes does not reflect the typographical appearance, but is designed
1509 to focus on musical meaning. For example, @code{\[ a \pes b
1510 \flexa g \]} produces a Torculus consisting of three Punctum heads,
1511 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
1512 curved flexa shape and only a single Punctum head. There is no
1513 command to explicitly typeset the curved flexa shape; the decision of
1514 when to typeset a curved flexa shape is based on the musical
1515 input. The idea of this approach is to separate the musical aspects
1516 of the input from the notation style of the output. This way, the
1517 same input can be reused to typeset the same music in a different
1518 style of Gregorian chant notation.
1520 The following table shows the code fragments that produce the
1521 ligatures in the above neumes table. The letter in the first column
1522 in each line of the below table indicates to which ligature in the
1523 above table it refers. The second column gives the name of the
1524 ligature. The third column shows the code fragment that produces this
1525 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
1527 @multitable @columnfractions .02 .31 .67
1547 @code{\[ \inclinatum b \]}
1555 @code{\[ \auctum \ascendens b \]}
1563 @code{\[ \auctum \descendens b \]}
1568 Punctum Inclinatum@*
1571 @code{\[ \inclinatum \auctum b \]}
1576 Punctum Inclinatum@*
1578 @code{\[ \inclinatum \deminutum b \]}
1585 @code{\[ \virga b \]}
1592 @code{\[ \stropha b \]}
1599 @code{\[ \stropha \auctum b \]}
1606 @code{\[ \oriscus b \]}
1613 @code{\[ b \flexa g \]}
1621 @code{\[ b \flexa \auctum \descendens g \]}
1629 @code{\[ b \flexa \auctum \ascendens g \]}
1636 @code{\[ b \flexa \deminutum g \]}
1643 @code{\[ g \pes b \]}
1651 @code{\[ g \pes \auctum \descendens b \]}
1659 @code{\[ g \pes \auctum \ascendens b \]}
1666 @code{\[ g \pes \deminutum b \]}
1673 @code{\[ \oriscus g \pes \virga b \]}
1679 Auctus Descendens @tab
1680 @code{\[ \oriscus g \pes \auctum \descendens b \]}
1687 @code{\[ \quilisma g \pes b \]}
1695 @code{\[ \quilisma g \pes \auctum \descendens b \]}
1702 @code{\[ \deminutum g \pes b \]}
1707 Pes Auctus Descendens@*
1710 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1717 @code{\[ a \pes b \flexa g \]}
1725 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1732 @code{\[ a \pes b \flexa \deminutum g \]}
1737 Torculus Initio Debilis
1739 @code{\[ \deminutum a \pes b \flexa g \]}
1745 Descendens Initio Debilis
1747 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
1752 Torculus Deminutus@*
1755 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
1762 @code{\[ a \flexa g \pes b \]}
1770 @code{\[ a \flexa g \pes \auctum \descendens b \]}
1777 @code{\[ a \flexa g \pes \deminutum b \]}
1784 @code{\[ \virga b \inclinatum a \inclinatum g \]}
1791 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
1798 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
1805 @code{\[ g \pes a \virga b \]}
1813 @code{\[ g \pes a \pes \auctum \descendens b \]}
1820 @code{\[ g \pes a \pes \deminutum b \]}
1827 @code{\[ g \oriscus a \pes \virga b \]}
1832 Salicus Auctus Descendens
1834 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
1841 @code{\[ \stropha b \stropha b \stropha a \]}
1844 The ligatures listed above mainly serve as a limited, but still
1845 representative pool of Gregorian ligature examples. Virtually, within
1846 the ligature delimiters @code{\[} and @code{\]}, any number of heads
1847 may be accumulated to form a single ligature, and head prefixes like
1848 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
1849 etc. may be mixed in as desired. The use of the set of rules that
1850 underlies the construction of the ligatures in the above table is
1851 accordingly extrapolated. This way, infinitely many different
1852 ligatures can be created.
1854 Augmentum dots, also called @emph{morae}, are added with the music
1855 function @code{\augmentum}. Note that @code{\augmentum} is
1856 implemented as a unary music function rather than as head prefix. It
1857 applies to the immediately following music expression only. That is,
1858 @code{\augmentum \virga c} will have no visible effect. Instead, say
1859 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1860 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1861 @code{\augmentum a \augmentum g}.
1863 @lilypond[quote,ragged-right,verbatim]
1864 \include "gregorian-init.ly"
1866 \new VaticanaVoice {
1867 \[ \augmentum a \flexa \augmentum g \]
1875 The following head prefixes are supported
1881 @funindex \inclinatum
1885 @funindex \descendens
1887 @funindex \ascendens
1893 @funindex \deminutum
1900 Head prefixes can be accumulated, though restrictions apply. For
1901 example, either @code{\descendens} or @code{\ascendens} can be applied
1902 to a head, but not both to the same head.
1906 Two adjacent heads can be tied together with the @code{\pes} and
1907 @code{\flexa} infix commands for a rising and falling line of melody,
1910 @funindex \augmentum
1911 Use the unary music function @code{\augmentum} to add augmentum dots.
1915 When an @code{\augmentum} dot appears at the end of the last staff
1916 within a ligature, it is sometimes vertically placed wrong. As a
1917 workaround, add an additional skip note (e.g. @code{s8}) as last note
1920 @code{\augmentum} should be implemented as a head prefix rather than a
1921 unary music function, such that @code{\augmentum} can be intermixed
1922 with head prefixes in arbitrary order.
1925 @node Pre-defined contexts
1926 @subsection Pre-defined contexts
1929 * Gregorian Chant contexts::
1930 * Mensural contexts::
1934 @node Gregorian Chant contexts
1935 @unnumberedsubsubsec Gregorian Chant contexts
1937 @cindex VaticanaVoiceContext
1938 @cindex VaticanaStaffContext
1940 The predefined @code{VaticanaVoiceContext} and
1941 @code{VaticanaStaffContext} can be used to engrave a piece of
1942 Gregorian Chant in the style of the Editio Vaticana. These contexts
1943 initialize all relevant context properties and grob properties to
1944 proper values, so you can immediately go ahead entering the chant, as
1945 the following excerpt demonstrates
1947 @lilypond[quote,ragged-right,packed,verbatim]
1948 \include "gregorian-init.ly"
1951 \new VaticanaVoice = "cantus" {
1952 \[ c'\melisma c' \flexa a \]
1953 \[ a \flexa \deminutum g\melismaEnd \]
1955 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
1956 c' \divisioMinima \break
1957 \[ c'\melisma c' \flexa a \]
1958 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
1960 \new Lyrics \lyricsto "cantus" {
1961 San- ctus, San- ctus, San- ctus
1968 @node Mensural contexts
1969 @unnumberedsubsubsec Mensural contexts
1971 @cindex MensuralVoiceContext
1972 @cindex MensuralStaffContext
1974 The predefined @code{MensuralVoiceContext} and
1975 @code{MensuralStaffContext} can be used to engrave a piece in
1976 mensural style. These contexts initialize all relevant context
1977 properties and grob properties to proper values, so you can
1978 immediately go ahead entering the chant, as the following excerpt
1981 @lilypond[quote,ragged-right,verbatim]
1984 \new MensuralVoice = "discantus" \transpose c c' {
1985 \override Score.BarNumber #'transparent = ##t {
1986 c'1\melisma bes a g\melismaEnd
1988 \[ f1\melisma a c'\breve d'\melismaEnd \]
1990 c'\breve\melisma a1 g1\melismaEnd
1991 fis\longa^\signumcongruentiae
1994 \new Lyrics \lyricsto "discantus" {
1995 San -- ctus, San -- ctus, San -- ctus
2001 @node Musica ficta accidentals
2002 @subsection Musica ficta accidentals
2004 In European music from before about 1600, singers were often
2005 expected to chromatically alter notes at their own initiative.
2006 This is called @q{Musica Ficta}. In modern transcriptions, these
2007 accidentals are usually printed over the note.
2009 @cindex Accidental, musica ficta
2010 @cindex Musica ficta
2012 Support for such suggested accidentals is included, and can be
2013 switched on by setting @code{suggestAccidentals} to true.
2015 @funindex suggestAccidentals
2017 @lilypond[verbatim,fragment,relative=1]
2019 \set suggestAccidentals = ##t
2023 This will treat @emph{every} subsequent accidentals as
2024 @emph{musica ficta} until it is unset with @code{\set
2025 suggestAccidentals = ##f}. A more convenient way is to use
2028 @lilypond[verbatim,fragment,relative=1]
2030 \once \set suggestAccidentals = ##t
2036 Internals Reference: @internalsref{Accidental_engraver} engraver and
2037 the @internalsref{AccidentalSuggestion} object.
2040 @subsection Figured bass
2042 @cindex Basso continuo
2044 @c TODO: musicological blurb about FB
2047 LilyPond has support for figured bass
2049 @lilypond[quote,ragged-right,verbatim,fragment]
2051 \new Voice { \clef bass dis4 c d ais g fis}
2052 \new FiguredBass \figuremode {
2053 < 6 >4 < 7\+ >8 < 6+ [_!] >
2060 The support for figured bass consists of two parts: there is an input
2061 mode, introduced by @code{\figuremode}, where you can enter bass figures
2062 as numbers, and there is a context called @internalsref{FiguredBass} that
2063 takes care of making @internalsref{BassFigure} objects.
2065 In figures input mode, a group of bass figures is delimited by
2066 @code{<} and @code{>}. The duration is entered after the @code{>}
2070 @lilypond[quote,ragged-right,fragment]
2072 \figuremode { <4 6> }
2075 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
2076 to the numbers. A plus sign is added when you append @code{\+}, and
2077 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
2080 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
2082 @lilypond[quote,ragged-right,fragment]
2083 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
2086 Spaces may be inserted by using @code{_}. Brackets are
2087 introduced with @code{[} and @code{]}. You can also include text
2088 strings and text markups, see @ref{Overview of text markup commands}.
2091 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
2093 @lilypond[quote,ragged-right,fragment]
2095 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
2099 It is also possible to use continuation lines for repeated figures,
2101 @lilypond[verbatim,relative=1]
2108 \set useBassFigureExtenders = ##t
2115 In this case, the extender lines always replace existing figures.
2117 The @code{FiguredBass} context doesn't pay attention to the actual
2118 bass line. As a consequence, you may have to insert extra figures to
2119 get extender lines below all notes, and you may have to add @code{\!}
2120 to avoid getting an extender line, e.g.
2122 @lilypond[relative=1]
2126 \set useBassFigureExtenders = ##t
2127 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
2131 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
2136 When using continuation lines, common figures are always put in the
2137 same vertical position. When this is unwanted, you can insert a rest
2138 with @code{r}. The rest will clear any previous alignment. For
2139 example, you can write
2151 Accidentals and plus signs can appear before or after the numbers,
2152 depending on the @code{figuredBassAlterationDirection} and
2153 @code{figuredBassPlusDirection}
2159 \set figuredBassAlterationDirection = #1
2161 \set figuredBassPlusDirection = #1
2163 \set figuredBassAlterationDirection = #-1
2169 Although the support for figured bass may superficially resemble chord
2170 support, it is much simpler. The @code{\figuremode} mode simply
2171 stores the numbers and @internalsref{FiguredBass} context prints them
2172 as entered. There is no conversion to pitches and no realizations of
2173 the bass are played in the MIDI file.
2175 Internally, the code produces markup texts. You can use any of the
2176 markup text properties to override formatting. For example, the
2177 vertical spacing of the figures may be set with @code{baseline-skip}.
2180 Figured bass can also be added to @code{Staff} contexts
2181 directly. In this case, their vertical position is adjusted
2184 @lilypond[ragged-right,fragment,quote]
2186 \new Staff = someUniqueName
2191 %% send to existing Staff.
2192 \context Staff = someUniqueName
2196 \set Staff.useBassFigureExtenders = ##t
2205 By default, this method produces figures above the notes. To get
2206 figures below the notes, use
2209 \override Staff.BassFigureAlignmentPositioning #'direction = #DOWN
2215 When using figured bass above the staff with extender lines and
2216 @code{implicitBassFigures} the lines may become swapped around.
2217 Maintaining order consistently will be impossible when multiple figures
2218 have overlapping extender lines. To avoid this problem, please
2219 use @code{stacking-dir} on @code{BassFigureAlignment}.
2224 Internals Reference: @internalsref{NewBassFigure},
2225 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
2226 @internalsref{BassFigureBracket}, and
2227 @internalsref{BassFigureContinuation} objects and
2228 @internalsref{FiguredBass} context.