+@node Songs
+@subsection Songs
+
+@menu
+* References for songs::
+* Lead sheets::
+@end menu
+
+@node References for songs
+@unnumberedsubsubsec References for songs
+
+@c TODO chords, setting simple songs (LM), stanzas
+TBC
+
+@node Lead sheets
+@unnumberedsubsubsec Lead sheets
+
+Lead sheets may be printed by combining vocal parts and @q{chord mode};
+this syntax is explained in @ref{Chord notation}.
+
+@snippets
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{simple-lead-sheet.ly}
+
+@seealso
+Notation Reference:
+@ref{Chord notation}.
+
+
+@node Choral
+@subsection Choral
+
+@cindex anthems
+@cindex part songs
+@cindex oratorio
+@cindex SATB
+
+This section discusses notation issues that relate most directly
+to choral music. This includes anthems, part songs, oratorio,
+etc.
+
+@menu
+* References for choral::
+* Score layouts for choral::
+* Divided voices::
+@end menu
+
+@node References for choral
+@unnumberedsubsubsec References for choral
+
+Choral music is usually notated on two, three or four staves within
+a @code{ChoirStaff} group. Accompaniment, if required, is placed
+beneath in a @code{PianoStaff} group, which is usually reduced in
+size for @emph{a capella} choral works. The notes for each vocal
+part are placed in a @code{Voice} context, with each staff
+being given either a single vocal part (i.e., one @code{Voice}) or
+a pair of vocal parts (i.e., two @code{Voice}s).
+
+Words are placed in @code{Lyrics} contexts, either underneath each
+corresponding music staff, or one above and one below the music
+staff if this contains the music for two parts.
+
+Several common topics in choral music are described fully elsewhere:
+
+@itemize
+
+@item
+An introduction to creating an SATB vocal score can be found in
+the Learning Manual, see @rlearning{Four-part SATB vocal score}.
+
+@item
+Several templates suitable for various styles of choral music can
+also be found in the Learning Manual, see
+@rlearning{Vocal ensembles}.
+
+@item
+For information about @code{ChoirStaff} and @code{PianoStaff} see
+@ref{Grouping staves}.
+
+@item
+Shape noteheads, as used in Sacred Harp and similar notation, are
+described in @ref{Shape note heads}.
+
+@item
+When two vocal parts share a staff the stems, ties, slurs, etc., of
+the higher part will be directed up and those of the lower part
+down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
+@ref{Single-staff polyphony}.
+
+@end itemize
+
+@predefined
+@code{\oneVoice},
+@code{\voiceOne},
+@code{\voiceTwo}.
+
+@seealso
+Learning Manual:
+@rlearning{Four-part SATB vocal score},
+@rlearning{Vocal ensembles}.
+
+Notation Reference:
+@ref{Context layout order},
+@ref{Grouping staves},
+@ref{Shape note heads},
+@ref{Single-staff polyphony}.
+
+Internals Reference:
+@rinternals{ChoirStaff},
+@rinternals{Lyrics},
+@rinternals{PianoStaff}.
+
+@node Score layouts for choral
+@unnumberedsubsubsec Score layouts for choral
+
+Choral music containing four staves, with or without piano
+accompaniment, is usually laid out with two systems per page.
+Depending on the page size, achieving this may require changes
+to several default settings. The following settings should be
+considered:
+
+@itemize
+
+@item
+The global staff size can be modified to change the overall size
+of the elements of the score. See @ref{Setting the staff size}.
+
+@item
+The distances between the systems, the staves and the lyrics can
+all be adjusted independently. See @ref{Vertical spacing}.
+
+@item
+The dimensions of the vertical layout variables can be displayed as
+an aid to adjusting the vertical spacing. This and other
+possibilities for fitting the music onto fewer pages are described
+in @ref{Fitting music onto fewer pages}.
+
+@item
+If the number of systems per page changes from one to two it is
+customary to indicate this with a system separator mark between
+the two systems. See @ref{Separating systems}.
+
+@item
+For details of other page formatting properties, see
+@ref{Page formatting}.
+
+@end itemize
+
+
+Dynamic markings by default are placed below the staff, but in
+choral music they are usually placed above the staff in order to
+avoid the lyrics. The predefined command @code{\dynamicUp} does
+this for the dynamic markings in a single @code{Voice} context.
+If there are many @code{Voice} contexts this predefined command
+would have to be placed in every one. Alternatively its expanded
+form can be used to place all dynamic markings in the entire score
+above their respective staves, as shown here:
+
+@lilypond[verbatim,quote]
+\score {
+ \new ChoirStaff <<
+ \new Staff {
+ \new Voice {
+ \relative c'' { g4\f g g g }
+ }
+ }
+ \new Staff {
+ \new Voice {
+ \relative c' { d4 d d\p d }
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override DynamicText #'direction = #UP
+ \override DynamicLineSpanner #'direction = #UP
+ }
+ }
+}
+@end lilypond
+
+@predefined
+@code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
+
+@seealso
+Notation Reference:
+@ref{Changing spacing},
+@ref{Displaying spacing},
+@ref{Fitting music onto fewer pages},
+@ref{Page formatting},
+@ref{Score layout},
+See @ref{Separating systems},
+@ref{Setting the staff size},
+@ref{Using an extra voice for breaks},
+@ref{Vertical spacing}.
+
+Internals Reference:
+@rinternals{VerticalAxisGroup},
+@rinternals{StaffGrouper}.
+
+
+@node Divided voices
+@unnumberedsubsubsec Divided voices
+
+@cindex voices, divided
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{using-arpeggiobracket-to-make-divisi-more-visible.ly}
+
+@seealso
+Notation Reference:
+@ref{Expressive marks as lines}.
+
+
+@node Opera and stage musicals
+@subsection Opera and stage musicals
+
+The music, lyrics and dialogue to opera and stage musicals are
+usually set out in one or more of the following forms:
+
+@itemize
+
+@item
+A @emph{Conductors' Score} containing the full orchestral and vocal
+parts, together with libretto cues if there are spoken passages.
+
+@item
+@emph{Orchestral Parts} containing the music for the individual
+instruments of the orchestra or band.
+
+@item
+A @emph{Vocal Score} containing all vocal parts with piano
+accompaniment. The accompaniment is usually an orchestral
+reduction, and if so the name of the original orchestral instrument
+is often indicated. Vocal scores sometimes includes stage
+directions and libretto cues.
+
+@item
+A @emph{Vocal Book} containing just the vocal parts
+(no accompaniment), sometimes combined with the libretto.
+
+@item
+A @emph{Libretto} containing the extended passages of spoken
+dialogue usually found in musicals, together with the words to the
+sung parts. Stage directions are usually included. LilyPond can
+be used to typeset libretti but as they contain no music
+alternative methods may be preferable.
+
+@end itemize
+
+The sections in the LilyPond documentation which cover the topics
+needed to create scores in the styles commonly found in opera and
+musicals are indicated in the References below. This is followed
+by sections covering those techniques which are peculiar to
+typesetting opera and musical scores.
+
+@menu
+* References for opera and stage musicals::
+* Character names::
+* Spoken music::
+* Dialogue over music::
+@end menu
+
+@node References for opera and stage musicals
+@unnumberedsubsubsec References for opera and stage musicals
+
+@itemize
+
+@item
+A conductors' score contains many grouped staves and lyrics. Ways
+of grouping staves is shown in @ref{Grouping staves}. To nest
+groups of staves see @ref{Nested staff groups}.
+
+@item
+The printing of empty staves in conductors' scores and vocal scores
+is often suppressed. To create such a @qq{Frenched score} see
+@ref{Hiding staves}.
+
+@item
+Writing orchestral parts is covered in @ref{Writing parts}.
+Other sections in the Specialist notation chapter may be relevant,
+depending on the orchestration used. Many instruments are
+transposing instruments, see @ref{Instrument transpositions}.
+
+@item
+If the number of systems per page changes from page to page it is
+customary to separate the systems with a system separator mark.
+See @ref{Separating systems}.
+
+@item
+For details of other page formatting properties, see
+@ref{Page formatting}.
+
+@item
+Musical cues can be inserted with the @code{\cueDuring} predefined
+command. For details of its use see @ref{Formatting cue notes}.
+
+@item
+Dialogue cues and stage directions can be inserted with markup.
+See @ref{Text}. Extensive stage directions can be inserted with
+a section of stand-alone markup between two @code{\score} blocks.
+See @ref{Separate text}.
+
+@end itemize
+
+@predefined
+@code{\cueDuring},
+@code{\quoteDuring}.
+
+@seealso
+Musical Glossary:
+@rglos{cue-notes},
+@rglos{Frenched score},
+@rglos{Frenched staves},
+@rglos{transposing instrument}.
+
+Notation Manual:
+@ref{Grouping staves},
+@ref{Hiding staves},
+@ref{Instrument names},
+@ref{Instrument transpositions},
+@ref{Nested staff groups},
+@ref{Page formatting},
+@ref{Selecting font and font size},
+@ref{Separating systems},
+@ref{Text},
+@ref{Transpose},
+@ref{Writing parts},
+@ref{Writing text}.
+
+
+@node Character names
+@unnumberedsubsubsec Character names
+
+@cindex character names
+@cindex names, character
+
+Character names are usually shown to the left of the staff when the
+staff is dedicated to that character alone. The instrument name can
+be used for this purpose.
+
+@lilypond[quote,verbatim,ragged-right]
+\score {
+ <<
+ \new Staff {
+ \set Staff.instrumentName = #"Kaspar"
+ \set Staff.shortInstrumentName = #"Kas"
+ \relative c' {
+ \clef "G_8"
+ c4 c c c
+ \break
+ c4 c c c
+ }
+ }
+ \new Staff {
+ \set Staff.instrumentName = #"Melchior"
+ \set Staff.shortInstrumentName = #"Mel"
+ \clef "bass"
+ \relative c' {
+ a4 a a a
+ a4 a a a
+ }
+ }
+ >>
+}
+@end lilypond
+
+When two or more characters share a staff the character's name is
+usually printed above the staff at the start of every section
+applying to that character. This can be done with markup. Often a
+specific font is used for this purpose.
+
+@lilypond[quote,verbatim,relative=1]
+\override TextScript #'font-family = #'typewriter
+\override TextScript #'font-size = #2
+\clef "G_8"
+c4^\markup Kaspar
+c c c
+\clef "bass"
+a4^\markup Melchior
+a a a
+@end lilypond
+
+@seealso
+Notation Reference:
+@ref{Instrument names},
+@ref{Selecting font and font size},
+@ref{Text}.
+
+
+@node Spoken music
+@unnumberedsubsubsec Spoken music
+
+@cindex parlato
+@cindex Sprechgesang
+Such effects as @q{parlato} or @q{Sprechgesang} require performers to speak
+without pitch but still with rhythm; these are notated by cross
+note heads, as demonstrated in @ref{Special note heads}.
+
+@c TODO add "marking-notes-on-spoken-parts" snippet -vv
+@c add "showing the rhythm of a melody" snip
+@c add "one staff-line notation"
+@c add "improvisation" ref
+@c add "lyrics independents of notes" ref
+
+@node Dialogue over music
+@unnumberedsubsubsec Dialogue over music
+
+TBC
+
+
+@node Chants psalms and hymns
+@subsection Chants psalms and hymns
+
+@cindex chants
+@cindex psalms
+@cindex hymns
+@cindex religious music
+
+The music and words for chants, psalms and hymns usually follow a
+well-established format in any particular church. Although the
+formats may differ from church to church the type-setting problems
+which arise are broadly similar, and are covered in this section.
+
+@menu
+* References for chants and psalms::
+* Setting a chant::
+* Pointing a psalm::
+* Partial measures in hymn tunes::
+@end menu
+
+@node References for chants and psalms
+@unnumberedsubsubsec References for chants and psalms
+
+Typesetting Gregorian chant in various styles of ancient notation
+is described in @ref{Ancient notation}.
+
+@seealso
+Notation reference:
+@ref{Ancient notation}.
+
+
+@node Setting a chant
+@unnumberedsubsubsec Setting a chant
+
+Modern chant settings use modern notation with varying numbers of
+elements taken from ancient notation. Some of the elements and
+methods to consider are shown here.
+
+Chants often use quarter notes without stems to indicate the pitch,
+with the rhythm being taken from the spoken rhythm of the words.
+
+@lilypond[verbatim,quote]
+stemOff = { \override Staff.Stem #'transparent = ##t }
+
+\relative c' {
+ \stemOff
+ a'4 b c2 |
+}
+
+@end lilypond
+
+Chants often omit the bar lines or use shortened or dotted bar
+lines to indicate pauses in the music. To omit all bar lines from
+all staves remove the bar line engraver completely:
+
+@lilypond[verbatim,quote]
+\score {
+ \new StaffGroup <<
+ \new Staff {
+ \relative c'' {
+ a4 b c2 |
+ a4 b c2 |
+ a4 b c2 |
+ }
+ }
+ \new Staff {
+ \relative c'' {
+ a4 b c2 |
+ a4 b c2 |
+ a4 b c2 |
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Staff
+ \remove Bar_engraver
+ }
+ }
+}
+@end lilypond
+
+Bar lines can also be removed on a staff-by-staff basis:
+
+@lilypond[verbatim, quote]
+\score {
+ \new ChoirStaff <<
+ \new Staff
+ \with { \remove Bar_engraver } {
+ \relative c'' {
+ a4 b c2 |
+ a4 b c2 |
+ a4 b c2 |
+ }
+ }
+ \new Staff {
+ \relative c'' {
+ a4 b c2 |
+ a4 b c2 |
+ a4 b c2 |
+ }
+ }
+ >>
+}
+@end lilypond
+
+To remove bar lines from just a section of music treat it as a
+cadenza. If the section is long you may need to insert dummy
+barlines with @code{\bar ""} to show where the line should break.
+
+@lilypond[verbatim,quote,relative=2]
+a4 b c2 |
+\cadenzaOn
+a4 b c2
+a4 b c2
+\bar ""
+a4 b c2
+a4 b c2
+\cadenzaOff
+a4 b c2 |
+a4 b c2 |
+@end lilypond
+
+Rests or pauses in chants can be indicated by modified bar lines.
+
+@lilypond[verbatim, quote,relative=2]
+a4
+\cadenzaOn
+b c2
+a4 b c2
+\bar "'"
+a4 b c2
+a4 b c2
+\bar ":"
+a4 b c2
+\bar "dashed"
+a4 b c2
+\bar "||"
+@end lilypond
+
+Alternatively, the notation used in Gregorian chant for pauses or
+rests is sometimes used even though the rest of the notation is
+modern. This uses a modified @code{\breathe} mark:
+
+@lilypond[verbatim,quote]
+divisioMinima = {
+ \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
+ \once \override BreathingSign #'Y-offset = #0
+ \breathe
+}
+divisioMaior = {
+ \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
+ \once \override BreathingSign #'Y-offset = #0
+ \breathe
+}
+divisioMaxima = {
+ \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
+ \once \override BreathingSign #'Y-offset = #0
+ \breathe
+}
+finalis = {
+ \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
+ \once \override BreathingSign #'Y-offset = #0
+ \breathe
+}
+
+\score {
+ \relative c'' {
+ g2 a4 g
+ \divisioMinima
+ g2 a4 g
+ \divisioMaior
+ g2 a4 g
+ \divisioMaxima
+ g2 a4 g
+ \finalis
+ }
+ \layout {
+ \context {
+ \Staff
+ \remove Bar_engraver
+ }
+ }
+}
+@end lilypond
+
+Chants usually omit the time signature and often omit the clef too.
+
+@lilypond[verbatim,quote]
+\score {
+ \new Staff {
+ \relative c'' {
+ a4 b c2 |
+ a4 b c2 |
+ a4 b c2 |
+ }
+ }
+ \layout {
+ \context {
+ \Staff
+ \remove Bar_engraver
+ \remove Time_signature_engraver
+ \remove Clef_engraver
+ }
+ }
+}
+@end lilypond
+
+Chants for psalms in the Anglican tradition are usually either
+@emph{single}, with 7 bars of music, or @emph{double}, with two lots
+of 7 bars. Each group of 7 bars is divided into two halves,
+corresponding to the two halves of each verse, usually separated by
+a double bar line. Only whole and half notes are used. The 1st bar
+in each half always contains a single chord of whole notes. This is
+the @qq{reciting note}. Chants are usually centered on the page.
+
+@lilypond[verbatim,quote]
+SopranoMusic = \relative g' {
+ g1 | c2 b | a1 | \bar "||"
+ a1 | d2 c | c b | c1 | \bar "||"
+}
+
+AltoMusic = \relative c' {
+ e1 | g2 g | f1 |
+ f1 | f2 e | d d | e1 |
+}
+
+TenorMusic = \relative a {
+ c1 | c2 c | c1 |
+ d1 | g,2 g | g g | g1 |
+}
+
+BassMusic = \relative c {
+ c1 | e2 e | f1 |
+ d1 | b2 c | g' g | c,1 |
+}
+
+global = {
+ \time 2/2
+}
+
+% Use markup to center the chant on the page
+\markup {
+ \fill-line {
+ \score { % centered
+ <<
+ \new ChoirStaff <<
+ \new Staff <<
+ \global
+ \clef "treble"
+ \new Voice = "Soprano" <<
+ \voiceOne
+ \SopranoMusic
+ >>
+ \new Voice = "Alto" <<
+ \voiceTwo
+ \AltoMusic
+ >>
+ >>
+ \new Staff <<
+ \clef "bass"
+ \global
+ \new Voice = "Tenor" <<
+ \voiceOne
+ \TenorMusic
+ >>
+ \new Voice = "Bass" <<
+ \voiceTwo
+ \BassMusic
+ >>
+ >>
+ >>
+ >>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner
+ #'base-shortest-duration = #(ly:make-moment 1 2)
+ }
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ }
+ }
+ } % End score
+ }
+} % End markup
+@end lilypond
+
+Some other approaches to setting such a chant are shown in the first
+of the following snippets.
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{chant-or-psalms-notation.ly}
+
+Canticles and other liturgical texts may be set more freely, and
+may use notational elements from ancient music. Often the words
+are shown underneath and aligned with the notes. If so, the notes
+are spaced in accordance with the syllables rather than the notes'
+durations.
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{ancient-notation-template----modern-transcription-of-gregorian-music.ly}
+
+@seealso
+Learning Manual:
+@rlearning{Visibility and color of objects},
+@rlearning{Vocal ensembles}.
+
+Notation Reference:
+@ref{Ancient notation},
+@ref{Bar lines},
+@ref{Modifying context plug-ins},
+@ref{Typesetting Gregorian chant},
+@ref{Unmetered music},
+@ref{Visibility of objects}.
+
+
+@node Pointing a psalm
+@unnumberedsubsubsec Pointing a psalm
+
+The words to an Anglican psalm are usually printed in separate
+verses centered underneath the chant.
+
+Single chants (with 7 bars) are repeated for every verse. Double
+chants (with 14 bars) are repeated for every pair of verses. Marks
+are inserted in the words to show how they should be fitted to the
+chant. Each verse is divided into two halves. A colon is usually
+used to indicate this division. This corresponds to the double bar
+line in the music. The words before the colon are sung to the first
+three bars of music; the words after the colon are sung to the last
+four bars.
+
+Single bar lines (or in some psalters an inverted comma or similar
+symbol) are inserted between words to indicate where the bar lines
+in the music fall. In markup mode a single bar line can be entered
+with the bar check symbol, @code{|}.
+
+@lilypond[verbatim,quote]
+\markup {
+ \fill-line {
+ \column {
+ \left-align {
+ \line { O come let us sing | unto the | Lord : let }
+ \line { us heartily rejoice in the | strength of | our }
+ \line { sal- | -vation. }
+ }
+ }
+ }
+}
+@end lilypond
+
+Other symbols may require glyphs from the @code{fetaMusic} fonts.
+For details, see @ref{Fonts}.
+
+@lilypond[verbatim,quote]
+tick = \markup {
+ \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
+}
+\markup {
+ \fill-line {
+ \column {
+ \left-align {
+ \line { O come let us sing \tick unto the \tick Lord : let }
+ \line {
+ us heartily rejoice in the \tick strength of \tick our
+ }
+ \line { sal \tick vation. }
+ }
+ }
+ }
+}
+@end lilypond
+
+Where there is one whole note in a bar all the words corresponding
+to that bar are recited on that one note in speech rhythm. Where
+there are two notes in a bar there will usually be only one or two
+corresponding syllables. If there are more that two syllables a
+dot is usually inserted to indicate where the change in note occurs.
+
+@lilypond[verbatim,quote]
+dot = \markup {
+ \raise #0.7 \musicglyph #"dots.dot"
+}
+tick = \markup {
+ \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
+}
+\markup {
+ \fill-line {
+ \column {
+ \left-align {
+ \line {
+ O come let us sing \tick unto \dot the \tick Lord : let
+ }
+ \line {
+ us heartily rejoice in the \tick strength of \tick our
+ }
+ \line { sal \tick vation. }
+ }
+ }
+ }
+}
+@end lilypond
+
+In some psalters an asterisk is used to indicate a break in a
+recited section instead of a comma, and stressed or slightly
+lengthened syllables are indicated in bold text.
+
+@lilypond[verbatim,quote]
+dot = \markup {
+ \raise #0.7 \musicglyph #"dots.dot"
+}
+tick = \markup {
+ \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
+}
+\markup {
+ \fill-line {
+ \column {
+ \left-align {
+ \line { Today if ye will hear his voice * }
+ \line {
+ \concat { \bold hard en }
+ | not your | hearts : as in the pro-
+ }
+ \line { vocation * and as in the \bold day of tempt- | }
+ \line { -ation | in the | wilderness. }
+ }
+ }
+ }
+}
+@end lilypond
+
+In other psalters an accent is placed over the syllable to indicate
+stress.
+
+@lilypond[verbatim,quote]
+tick = \markup {
+ \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
+}
+\markup {
+ \fill-line {
+ \column {
+ \left-align {
+ \line {
+ O come let us \concat {
+ si \combine \tick ng
+ }
+ | unto the | Lord : let
+ }
+ \line {
+ us heartily \concat {
+ rejo \combine \tick ice
+ }
+ in the | strength of | our
+ }
+ \line { sal- | -vation. }
+ }
+ }
+ }
+}
+@end lilypond
+
+The use of markup to center text, and arrange lines in columns is
+described in @ref{Formatting text}.
+
+Most of these elements are shown in one or other of the two verses
+in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
+
+@seealso
+Learning Manual:
+@rlearning{Vocal ensembles}.
+
+Notation Reference:
+@ref{Fonts},
+@ref{Formatting text}.
+
+
+@node Partial measures in hymn tunes
+@unnumberedsubsubsec Partial measures in hymn tunes
+
+Hymn tunes frequently start and end every line of music with
+partial measures so that each line of music corresponds exactly
+with a line of text. This requires a @code{\partial} command at
+the start of the music and @code{\bar "|"} or @code{\bar "||"}
+commands at the end of each line.
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{hymn-template.ly}
+
+
+@node Ancient vocal music
+@subsection Ancient vocal music
+
+Ancient vocal music is supported, as explained in @ref{Ancient notation}.
+
+@c TODO
+
+@c Add "Printing both the ancient and the modern clef in vocal music" snippet,
+@c and "Transcription of Ancient music with incipit" snippet. -vv
+
+@seealso
+Notation Reference:
+@ref{Ancient notation}.
+
+
projects / lilypond.git / blobdiff