update de.po

[lilypond.git] / Documentation / user / instrument-notation.itely

diff --git a/Documentation/user/instrument-notation.itely b/Documentation/user/instrument-notation.itely
index c365125bef629db1e7de7a694e87c5967de09f69..61473e29e4e931a88ce62dc9b70ed3c425b250e1 100644 (file)
--- a/Documentation/user/instrument-notation.itely
+++ b/Documentation/user/instrument-notation.itely
@@ -1,5 +1,12 @@
 @c -*- coding: utf-8; mode: texinfo; -*-
 @c This file is part of lilypond.tely
 @c -*- coding: utf-8; mode: texinfo; -*-
 @c This file is part of lilypond.tely

+@ignore
+    Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+    When revising a translation, copy the HEAD committish of the
+    version that you are working on.  See TRANSLATION for details.
+@end ignore
+

 
 @c A menu is needed before every deeper *section nesting of @node's; run
 @c     M-x texinfo-all-menus-update
 
 @c A menu is needed before every deeper *section nesting of @node's; run
 @c     M-x texinfo-all-menus-update


@@ -44,17 +51,12 @@ handle this cross-staffing behavior.  In this section we discuss the
 @refbugs
 
 Dynamics are not centered, but workarounds do exist.  See the
 @refbugs
 
 Dynamics are not centered, but workarounds do exist.  See the

-``piano centered dynamics'' template in @ref{Piano templates}.
+@q{piano centered dynamics} template in @ref{Piano templates}.

 
 @cindex cross staff stem
 @cindex stem, cross staff
 @cindex distance between staves in piano music
 
 
 @cindex cross staff stem
 @cindex stem, cross staff
 @cindex distance between staves in piano music
 

-The distance between the two staves is the same for all systems in the
-score.  It is possible to override this per system, but it does require
-an arcane command incantation.  See
-@inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
-

 
 @node Automatic staff changes
 @subsection Automatic staff changes
 
 @node Automatic staff changes
 @subsection Automatic staff changes


@@ -148,7 +150,7 @@ usually the setup for a score will start with a setup of the staves,
 and the @context{Voice} is inserted afterwards
 
 @example
 and the @context{Voice} is inserted afterwards
 
 @example

-\new Staff = down
+\context Staff = down

   \new Voice @{ @dots{} \change Staff = up @dots{} @}
 @end example
 
   \new Voice @{ @dots{} \change Staff = up @dots{} @}
 @end example
 


@@ -197,7 +199,7 @@ b\sustainUp\sustainDown
 b g \sustainUp a \sustainDown \bar "|."
 @end lilypond
 
 b g \sustainUp a \sustainDown \bar "|."
 @end lilypond
 

-The default `*Ped.' style for sustain and damper pedals corresponds to
+The default @q{*Ped.} style for sustain and damper pedals corresponds to

 style @code{#'text}.  The sostenuto pedal uses @code{mixed} style by
 default.
 
 style @code{#'text}.  The sostenuto pedal uses @code{mixed} style by
 default.
 


@@ -267,7 +269,10 @@ of the stem in the lower staff, so it reaches the stem in the upper
 staff, or vice versa.
 
 @lilypond[ragged-right,verbatim,quote]
 staff, or vice versa.
 
 @lilypond[ragged-right,verbatim,quote]

-stemExtend = \once \override Stem #'length = #22
+stemExtend = {
+  \once \override Stem #'length = #10
+  \once \override Stem #'cross-staff = ##t
+}

 noFlag = \once \override Stem #'flag-style = #'no-flag
 \new PianoStaff <<
   \new Staff {
 noFlag = \once \override Stem #'flag-style = #'no-flag
 \new PianoStaff <<
   \new Staff {


@@ -356,7 +361,7 @@ modifier (which may include a number if desired)
 @lilypond[quote,fragment,verbatim]
 \chordmode { e1:m e1:7 e1:m7 }
 @end lilypond
 @lilypond[quote,fragment,verbatim]
 \chordmode { e1:m e1:7 e1:m7 }
 @end lilypond

-The first number following the root is taken to be the `type' of the
+The first number following the root is taken to be the @q{type} of the

 chord, thirds are added to the root until it reaches the specified
 number
 @lilypond[quote,fragment,verbatim]
 chord, thirds are added to the root until it reaches the specified
 number
 @lilypond[quote,fragment,verbatim]


@@ -420,7 +425,7 @@ Modifiers can be mixed with additions
 @funindex m
 
 Since an unaltered 11 does not sound good when combined with an
 @funindex m
 
 Since an unaltered 11 does not sound good when combined with an

-unaltered 3, the 11 is removed in this case (unless it is added
+unaltered 13, the 11 is removed in this case (unless it is added

 explicitly)
 @lilypond[quote,ragged-right,fragment,verbatim]
 \chordmode { c:13 c:13.11 c:m13 }
 explicitly)
 @lilypond[quote,ragged-right,fragment,verbatim]
 \chordmode { c:13 c:13.11 c:m13 }


@@ -436,7 +441,7 @@ as bass notes, can be specified by appending
 @end lilypond
 @funindex /+
 
 @end lilypond
 @funindex /+
 

-A bass note can be added instead transposed out of the chord,
+A bass note can be added instead of transposed out of the chord,

 by using @code{/+}@var{pitch}.
 
 @lilypond[quote,ragged-right,fragment,verbatim]
 by using @code{/+}@var{pitch}.
 
 @lilypond[quote,ragged-right,fragment,verbatim]


@@ -512,8 +517,8 @@ for showing repeats.
   \consists "Volta_engraver"
 }
 \chordmode { \repeat volta 2 {
   \consists "Volta_engraver"
 }
 \chordmode { \repeat volta 2 {

-  f1:maj f:7 bes:7
-  c:maj
+  f1:maj7 f:7 bes:7
+  c:maj7

 } \alternative {
   es e
 }
 } \alternative {
   es e
 }


@@ -551,7 +556,7 @@ adds the new exceptions to the default ones, which are defined in
 @file{ly/@/chord@/-modifier@/-init@/.ly}.
 
 For an example of tuning this property, see also
 @file{ly/@/chord@/-modifier@/-init@/.ly}.
 
 For an example of tuning this property, see also

-@inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
+@lsr{chords/,chord@/-name@/-exceptions@/.ly}

 @cindex exceptions, chord names.
 
 
 @cindex exceptions, chord names.
 
 


@@ -560,7 +565,7 @@ For an example of tuning this property, see also
 This property contains the markup object used for the 7th step, when
 it is major.  Predefined options are @code{whiteTriangleMarkup} and
 @code{blackTriangleMarkup}.  See
 This property contains the markup object used for the 7th step, when
 it is major.  Predefined options are @code{whiteTriangleMarkup} and
 @code{blackTriangleMarkup}.  See

-@inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
+@lsr{chords,chord@/-name@/-major7@/.ly} for an example.

 
 @funindex chordNameSeparator
 @item chordNameSeparator
 
 @funindex chordNameSeparator
 @item chordNameSeparator


@@ -580,7 +585,7 @@ separators, e.g.,
 @item chordRootNamer
 The root of a chord is usually printed as a letter with an optional
 alteration.  The transformation from pitch to letter is done by this
 @item chordRootNamer
 The root of a chord is usually printed as a letter with an optional
 alteration.  The transformation from pitch to letter is done by this

-function.  Special note names (for example, the German ``H'' for a
+function.  Special note names (for example, the German @q{H} for a

 B-chord) can be produced by storing a new function in this property.
 
 @funindex chordNoteNamer
 B-chord) can be produced by storing a new function in this property.
 
 @funindex chordNoteNamer


@@ -592,9 +597,9 @@ base can be printed in lower case.
 
 @funindex chordPrefixSpacer
 @item chordPrefixSpacer
 
 @funindex chordPrefixSpacer
 @item chordPrefixSpacer

-The ``m'' for minor chords is usually printed right after the root of
+The @q{m} for minor chords is usually printed right after the root of

 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer

-between the root and ``m''. The spacer is not used when the root
+between the root and @q{m}. The spacer is not used when the root

 is altered.
 
 @end table
 is altered.
 
 @end table


@@ -633,8 +638,9 @@ chart}.  Turning on these styles is described in the input file
 
 @seealso
 
 
 @seealso
 

-Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
-@inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
+Examples:
+@lsr{chords/,chord@/-name@/-exceptions@/.ly},
+@lsr{chords,chord@/-name@/-major7@/.ly}, and

 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
 
 
 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
 
 


@@ -790,19 +796,27 @@ property commands
 @funindex _
 @cindex spaces, in lyrics
 @cindex quotes, in lyrics
 @funindex _
 @cindex spaces, in lyrics
 @cindex quotes, in lyrics

+@cindex ties, in lyrics

 
 

-In order to assign more than one syllable to a single note, you must
-surround them with quotes or use a @code{_} character between the syllables.
+In order to assign more than one syllable to a single note, you can
+surround them with quotes or use a @code{_} character, to get spaces
+between syllables, or use tilde  symbol (@code{~}) to get a lyric tie.

 
 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
 \time 3/4
 \relative { c2 e4 g2 e4 }
 \addlyrics { gran- de_a- mi- go }
 \addlyrics { pu- "ro y ho-" nes- to }
 
 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
 \time 3/4
 \relative { c2 e4 g2 e4 }
 \addlyrics { gran- de_a- mi- go }
 \addlyrics { pu- "ro y ho-" nes- to }

+\addlyrics { pu- ro~y~ho- nes- to }

 @end lilypond
 
 @end lilypond
 

+The lyric ties is implemented with the Unicode character U+203F, so be
+sure to have a font (Like DejaVuLGC) installed that includes this
+glyph.
+
+

 To enter lyrics with characters from non-English languages, or with
 To enter lyrics with characters from non-English languages, or with

-non-ascii characters (such as the heart symbol or slanted quotes),
+accented and special characters (such as the heart symbol or slanted quotes),

 simply insert the characters directly into the input file and save
 it with utf-8 encoding.  See @ref{Text encoding} for more info.
 
 simply insert the characters directly into the input file and save
 it with utf-8 encoding.  See @ref{Text encoding} for more info.
 


@@ -858,7 +872,7 @@ Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
 
 @cindex hyphens
 
 
 @cindex hyphens
 

-Centered hyphens are entered as `@code{--}' between syllables.
+Centered hyphens are entered as @samp{--} between syllables.

 The hyphen will have variable length depending on the space between
 the syllables and it will be centered between the syllables.
 
 The hyphen will have variable length depending on the space between
 the syllables and it will be centered between the syllables.
 


@@ -868,7 +882,7 @@ the syllables and it will be centered between the syllables.
 When a lyric is sung over many notes (this is called a melisma), this is
 indicated with a horizontal line centered between a syllable and the
 next one.  Such a line is called an extender line, and it is entered as
 When a lyric is sung over many notes (this is called a melisma), this is
 indicated with a horizontal line centered between a syllable and the
 next one.  Such a line is called an extender line, and it is entered as

-`@code{__}'.
+@samp{__}.

 
 In tighly engraved music, hyphens can be removed.  Whether this
 happens can be controlled with the @code{minimum-distance} (minimum
 
 In tighly engraved music, hyphens can be removed.  Whether this
 happens can be controlled with the @code{minimum-distance} (minimum


@@ -1028,8 +1042,7 @@ A complete example of a SATB score setup is in section
 
 Program reference: @internalsref{Melisma_translator}.
 
 
 Program reference: @internalsref{Melisma_translator}.
 

-
-@inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
+@lsr{vocal,lyric@/-combine.ly}.

 
 @refbugs
 
 
 @refbugs
 


@@ -1104,7 +1117,9 @@ There is one tricky aspect: the setting for @code{ignoreMelismata}
 must be set one syllable @emph{before} the non-melismatic syllable
 in the text, as shown here,
 
 must be set one syllable @emph{before} the non-melismatic syllable
 in the text, as shown here,
 

+@c  FIXME: breaks compile

 @lilypond[verbatim,ragged-right,quote]
 @lilypond[verbatim,ragged-right,quote]

+%{

 <<
   \relative \new Voice = "lahlah" {
     \set Staff.autoBeaming = ##f
 <<
   \relative \new Voice = "lahlah" {
     \set Staff.autoBeaming = ##f


@@ -1123,11 +1138,12 @@ in the text, as shown here,
     still
   }
 >>
     still
   }
 >>

+%}

 @end lilypond
 
 
 @end lilypond
 
 

-The @code{ignoreMelismata} applies to the syllable ``fas'', so it
-should be entered before ``go''.
+The @code{ignoreMelismata} applies to the syllable @q{fas}, so it
+should be entered before @q{go}.

 
 The reverse is also possible: making a lyric line slower than the
 standard.  This can be achieved by insert @code{\skip}s into the
 
 The reverse is also possible: making a lyric line slower than the
 standard.  This can be achieved by insert @code{\skip}s into the


@@ -1233,7 +1249,7 @@ done by setting the @code{associatedVoice} property.  In the example
 @end lilypond
 
 @noindent
 @end lilypond
 
 @noindent

-the text for the first stanza is set to a melody called ``lahlah'',
+the text for the first stanza is set to a melody called @q{lahlah},

 
 @example
 \new Lyrics \lyricsto "lahlah" @{
 
 @example
 \new Lyrics \lyricsto "lahlah" @{


@@ -1243,7 +1259,7 @@ the text for the first stanza is set to a melody called ``lahlah'',
 
 
 The second stanza initially is set to the @code{lahlah} context, but
 
 
 The second stanza initially is set to the @code{lahlah} context, but

-for the syllable ``ran'', it switches to a different melody.
+for the syllable @q{ran}, it switches to a different melody.

 This is achieved with
 @example
 \set associatedVoice = alternative
 This is achieved with
 @example
 \set associatedVoice = alternative


@@ -1253,7 +1269,7 @@ This is achieved with
 Here, @code{alternative} is the name of the @code{Voice} context
 containing the triplet.
 
 Here, @code{alternative} is the name of the @code{Voice} context
 containing the triplet.
 

-Again, the command must be one syllable too early, before ``Ty'' in
+Again, the command must be one syllable too early, before @q{Ty} in

 this case.
 
 @example
 this case.
 
 @example


@@ -1279,25 +1295,16 @@ It is also possible to define melismata entirely in the lyrics. This
 can be done by entering @code{_} for every note that is part of the
 melisma.
 
 can be done by entering @code{_} for every note that is part of the
 melisma.
 

-@lilypond[relative=1,verbatim,fragment]
+@lilypond[relative=1,verbatim,fragment,quote]

 { \set melismaBusyProperties = #'()
   c d( e) f f( e) e e  }
 \addlyrics
  { Ky -- _ _ ri __ _ _ _  e }
 @end lilypond
 
 { \set melismaBusyProperties = #'()
   c d( e) f f( e) e e  }
 \addlyrics
  { Ky -- _ _ ri __ _ _ _  e }
 @end lilypond
 

-In this case, you can also have ties and slurs in the melody, if you
+In this case, you can also have ties and slurs in the melody if you

 set @code{melismaBusyProperties}, as is done in the example above.
 
 set @code{melismaBusyProperties}, as is done in the example above.
 

-@lilypond[relative=1,verbatim,fragment,quote]
-{
- \set melismaBusyProperties = #'()
-  c d( e) f f( e) e e
-}
-\addlyrics
- { Ky -- _ _ ri __ _ _ _  e }
-@end lilypond
-

 
 @node Lyrics independent of notes
 @subsubsection Lyrics independent of notes
 
 @node Lyrics independent of notes
 @subsubsection Lyrics independent of notes


@@ -1375,12 +1382,11 @@ layout.
 @node More about stanzas
 @subsection More about stanzas
 
 @node More about stanzas
 @subsection More about stanzas
 

+@c what's this doing here?

 @cindex phrasing, in lyrics
 
 @cindex phrasing, in lyrics
 

-

 @cindex stanza number
 @cindex stanza number

-@cindex singer's names
-@cindex name of singer
+@subsubsection Adding stanza numbers 

 
 Stanza numbers can be added by setting @code{stanza}, e.g.,
 
 
 Stanza numbers can be added by setting @code{stanza}, e.g.,
 


@@ -1396,7 +1402,57 @@ Stanza numbers can be added by setting @code{stanza}, e.g.,
 }
 @end lilypond
 
 }
 @end lilypond
 

-These numbers are put just before the start of first syllable.
+@noindent
+These numbers are put just before the start of the first syllable.
+
+
+@subsubsection Adding dynamics marks
+
+Stanzas differing in loudness may be indicated by putting a
+dynamics mark before each stanza.  In Lilypond, everthing coming in
+front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
+are no different.  For technical reasons, you have to set the stanza
+outside @code{\lyricmode}:
+
+@lilypond[quote,ragged-right,verbatim]
+text = {
+  \set stanza = \markup { \dynamic "ff" "1. " }
+  \lyricmode {
+    Big bang
+  }
+}
+
+<<
+  \new Voice = "tune" {
+    \time 3/4
+    g'4 c'2
+  }
+\new Lyrics \lyricsto "tune" \text
+>>
+@end lilypond
+
+@cindex singer name
+@cindex name of singer
+@subsubsection Adding singer names
+
+Names of singers can also be added.  They are printed at the start of
+the line, just like instrument names.  They are created by setting
+@code{vocalName}.  A short version may be entered as @code{shortVocalName}.
+
+@lilypond[fragment,ragged-right,quote,verbatim,relative=2]
+\new Voice {
+  \time 3/4 g2 e4 a2 f4 g2.
+} \addlyrics {
+  \set vocalName = "Bert "
+  Hi, my name is Bert.
+} \addlyrics {
+  \set vocalName = "Ernie "
+  Oh, che -- ri, je t'aime
+}
+@end lilypond
+
+
+@subsubsection Printing stanzas at the end 

 
 Sometimes it is appropriate to have one stanza set
 to the music, and the rest added in verse form at
 
 Sometimes it is appropriate to have one stanza set
 to the music, and the rest added in verse form at


@@ -1442,20 +1498,70 @@ its fleece was white as snow.
 @end lilypond
 
 
 @end lilypond
 
 

-Names of singers can also be added.  They are printed at the start of
-the line, just like instrument names.  They are created by setting
-@code{vocalName}.  A short version may be entered as @code{shortVocalName}.
+@subsubsection Printing stanzas at the end in multiple columns 

 
 

+When a piece of music has many verses, they are often printed in
+multiple columns across the page. An outdented verse number often
+introduces each verse. The following example shows how to produce such
+output in Lilypond.

 
 

-@lilypond[fragment,ragged-right,quote,verbatim,relative=2]
-\new Voice {
-  \time 3/4 g2 e4 a2 f4 g2.
-} \addlyrics {
-  \set vocalName = "Bert "
-  Hi, my name is Bert.
-} \addlyrics {
-  \set vocalName = "Ernie "
-  Oh, che -- ri, je t'aime
+@lilypond[ragged-right,quote,verbatim]
+melody = \relative c' {
+  c c c c | d d d d
+}
+ 
+text = \lyricmode {
+  \set stanza = "1." This is verse one.
+  It has two lines.
+}
+
+\score{ <<
+    \new Voice = "one" { \melody }
+    \new Lyrics \lyricsto "one" \text
+   >>
+  \layout { }
+}
+
+\markup {
+  \fill-line {
+    \hspace #0.1 % moves the column off the left margin; can be removed if
+        % space on the page is tight
+     \column {
+      \line { \bold "2."
+        \column {
+          "This is verse two."
+          "It has two lines."
+        }
+      }
+      \hspace #0.1 % adds vertical spacing between verses
+      \line { \bold "3."
+        \column {
+          "This is verse three."
+          "It has two lines."
+        }
+      }
+    }
+    \hspace #0.1  % adds horizontal spacing between columns; if they are
+        % still too close, add more " " pairs until the result 
+        % looks good
+     \column {
+      \line { \bold "4."
+        \column {
+          "This is verse four."
+          "It has two lines."
+        }
+      }
+      \hspace #0.1 % adds vertical spacing between verses
+      \line { \bold "5."
+        \column {
+          "This is verse five."
+          "It has two lines."
+        }
+      }
+    }
+  \hspace #0.1 % gives some extra space on the right margin; can
+      % be removed if page space is tight
+  }

 }
 @end lilypond
 
 }
 @end lilypond
 


@@ -1550,7 +1656,8 @@ Program reference: @internalsref{Ambitus},
 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
 @internalsref{AmbitusAccidental}.
 
 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
 @internalsref{AmbitusAccidental}.
 

-Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
+Examples:
+@lsr{vocal,ambitus@/.ly}.

 
 @refbugs
 
 
 @refbugs
 


@@ -1571,7 +1678,7 @@ can ask them for specific instructions about where to move these
 examples, and that might get them more involved in the docs.  -gp
 @end ignore
 
 examples, and that might get them more involved in the docs.  -gp
 @end ignore
 

-``Parlato'' is spoken without pitch but still with rhythm; it is
+@q{Parlato} is spoken without pitch but still with rhythm; it is

 notated by cross noteheads.  This is demonstrated in
 @ref{Special noteheads}.
 
 notated by cross noteheads.  This is demonstrated in
 @ref{Special noteheads}.
 


@@ -1611,8 +1718,6 @@ staff are squashed, and the staff itself has a single line
 
 Program reference: @internalsref{RhythmicStaff}.
 
 
 Program reference: @internalsref{RhythmicStaff}.
 

-Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
-

 
 @node Entering percussion
 @subsection Entering percussion
 
 @node Entering percussion
 @subsection Entering percussion


@@ -1905,6 +2010,7 @@ around each @code{\parenthesize} statement.
 * Non-guitar tablatures::       
 * Banjo tablatures::            
 * Fret diagrams::               
 * Non-guitar tablatures::       
 * Banjo tablatures::            
 * Fret diagrams::               

+* Right hand fingerings::       

 * Other guitar issues::         
 @end menu
 
 * Other guitar issues::         
 @end menu
 


@@ -1920,12 +2026,11 @@ with @code{\}@var{number},
 <c\1 e\2 g\3>
 @end lilypond
 
 <c\1 e\2 g\3>
 @end lilypond
 

-See also @inputfileref{input/regression,string-number.ly}.
-

 
 @seealso
 
 
 @seealso
 

-Program reference: @internalsref{StringNumber}.
+Program reference: @internalsref{StringNumber},
+@lsr{guitar/,string-number.ly}.

 
 
 @node Tablatures basic
 
 
 @node Tablatures basic


@@ -2135,6 +2240,62 @@ Details about the property interface to fret diagrams are found at
 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
 
 
 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
 
 

+@node Right hand fingerings
+@subsection Right hand fingerings
+
+Right hand fingerings in chords can be entered using
+@code{@var{note}-\rightHandFinger @var{finger}}
+
+@lilypond[verbatim,fragment,relative=2]
+  <c-\rightHandFinger #1 e-\rightHandFinger #2 >
+@end lilypond
+
+for brevity, you can abbreviate @code{\rightHandFinger} to something
+short, for example @code{RH},
+
+@example
+#(define RH rightHandFinger)
+@end example
+
+@cindex fingerings, right hand, for guitar 
+@cindex right hand fingerings for guitar
+ 
+@commonprop
+
+You may exercise greater control over right handing fingerings by
+setting @code{strokeFingerOrientations},
+
+@lilypond[quote,verbatim,ragged-right,fragment,relative=1]
+#(define RH rightHandFinger)
+{
+  \set strokeFingerOrientations = #'(up down)
+  <c-\RH #1 es-\RH #2 g-\RH #4 > 4
+  \set strokeFingerOrientations = #'(up right down)
+  <c-\RH #1 es-\RH #2 g-\RH #4 > 4
+}
+@end lilypond
+
+The letters used for the fingerings are contained in the property
+@code{digit-names}, but they can also be set individually by supplying
+@code{\rightHandFinger} with a string argument, as in the following example
+
+
+@lilypond[quote,verbatim,ragged-right,fragment,relative=1]
+#(define RH rightHandFinger)
+{
+  \set strokeFingerOrientations = #'(right)
+  \override StrokeFinger #'digit-names = ##("x" "y" "z" "!" "@") 
+  <c-\RH #5 >4
+  <c-\RH "@">4  
+}
+@end lilypond
+
+@seealso
+
+Internalls: @internalsref{StrokeFinger}
+
+
+

 @node Other guitar issues
 @subsection Other guitar issues
 
 @node Other guitar issues
 @subsection Other guitar issues
 


@@ -2145,7 +2306,7 @@ barring indications.
 \clef "G_8"
 b16 d16 g16 b16 e16
 \textSpannerDown
 \clef "G_8"
 b16 d16 g16 b16 e16
 \textSpannerDown

-\override TextSpanner #'edge-text = #'("XII " . "")
+\override TextSpanner #'bound-details #'left #'text = "XII "

   g16\startTextSpan
   b16 e16 g16 e16 b16 g16\stopTextSpan
 e16 b16 g16 d16
   g16\startTextSpan
   b16 e16 g16 e16 b16 g16\stopTextSpan
 e16 b16 g16 d16


@@ -2394,8 +2555,7 @@ engravers work.
 
 @seealso
 
 
 @seealso
 

-Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
-overview over all available note head styles.
+@ref{Note head styles} gives an overview over all available note head styles.

 
 
 @node Ancient accidentals
 
 
 @node Ancient accidentals


@@ -2404,9 +2564,9 @@ overview over all available note head styles.
 @cindex accidentals
 
 
 @cindex accidentals
 
 

-Use the @code{style} property of grob @internalsref{Accidental} to
-select ancient accidentals.   Supported styles are
-@code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
+Use the @code{glyph-name-alist} property of grob
+@internalsref{Accidental} and @internalsref{KeySignature} to select
+ancient accidentals. 

 
 @lilypond[quote,ragged-right,staffsize=26]
 \score {
 
 @lilypond[quote,ragged-right,staffsize=26]
 \score {


@@ -2453,7 +2613,7 @@ different style, as demonstrated in
 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
 
 Similarly to local accidentals, the style of the key signature can be
 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
 
 Similarly to local accidentals, the style of the key signature can be

-controlled by the @code{style} property of the
+controlled by the @code{glyph-name-alist} property of the

 @internalsref{KeySignature} grob.
 
 @seealso
 @internalsref{KeySignature} grob.
 
 @seealso


@@ -2719,16 +2879,16 @@ historic style hufnagel combined do/fa clef
 
 
 
 
 
 

-@emph{Modern style} means ``as is typeset in contemporary editions of
-transcribed mensural music''.
+@emph{Modern style} means @qq{as is typeset in contemporary editions of
+transcribed mensural music.}

 
 

-@emph{Petrucci style} means ``inspired by printings published by the
-famous engraver Petrucci (1466-1539)''.
+@emph{Petrucci style} means @qq{inspired by printings published by the
+famous engraver Petrucci (1466-1539).}

 
 

-@emph{Historic style} means ``as was typeset or written in historic
-editions (other than those of Petrucci)''.
+@emph{Historic style} means @qq{as was typeset or written in historic
+editions (other than those of Petrucci).}

 
 

-@emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
+@emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}

 
 Petrucci used C clefs with differently balanced left-side vertical
 beams, depending on which staff line it is printed.
 
 Petrucci used C clefs with differently balanced left-side vertical
 beams, depending on which staff line it is printed.


@@ -2911,11 +3071,11 @@ Editio Vaticana style.
     \override TextScript #'font-family = #'typewriter
     \override TextScript #'font-shape = #'upright
     \override Script #'padding = #-0.1
     \override TextScript #'font-family = #'typewriter
     \override TextScript #'font-shape = #'upright
     \override Script #'padding = #-0.1

-    a4\ictus_"ictus" s1
-    a4\circulus_"circulus" s1
-    a4\semicirculus_"semicirculus" s1 s
-    a4\accentus_"accentus" s1
-    \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
+    a\ictus_"ictus" \break
+    a\circulus_"circulus" \break
+    a\semicirculus_"semicirculus" \break
+    a\accentus_"accentus" \break
+    \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]

   }
 }
 @end lilypond
   }
 }
 @end lilypond


@@ -2925,13 +3085,16 @@ Editio Vaticana style.
 Some articulations are vertically placed too closely to the
 correpsonding note heads.
 
 Some articulations are vertically placed too closely to the
 correpsonding note heads.
 

+The episem line is not displayed in many cases.  If it is displayed,
+the right end of the episem line is often too far to the right.
+

 @node Custodes
 @subsection Custodes
 
 @cindex custos
 @cindex custodes
 
 @node Custodes
 @subsection Custodes
 
 @cindex custos
 @cindex custodes
 

-A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
+A @emph{custos} (plural: @emph{custodes}; Latin word for @q{guard}) is a

 symbol that appears at the end of a staff.  It anticipates the pitch
 of the first note(s) of the following line thus helping the performer
 to manage line breaks during performance.
 symbol that appears at the end of a staff.  It anticipates the pitch
 of the first note(s) of the following line thus helping the performer
 to manage line breaks during performance.


@@ -3001,7 +3164,8 @@ supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
 
 Program reference: @internalsref{Custos}.
 
 
 Program reference: @internalsref{Custos}.
 

-Examples: @inputfileref{input/@/regression,custos@/.ly}.
+Examples:
+@lsr{ancient,custodes@/.ly}.

 
 
 @node Divisiones
 
 
 @node Divisiones


@@ -3012,7 +3176,7 @@ Examples: @inputfileref{input/@/regression,custos@/.ly}.
 @cindex finalis
 
 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
 @cindex finalis
 
 A @emph{divisio} (plural: @emph{divisiones}; Latin word for

-`division') is a staff context symbol that is used to structure
+@q{division}) is a staff context symbol that is used to structure

 Gregorian music into phrases and sections.  The musical meaning of
 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
 can be characterized as short, medium, and long pause, somewhat like
 Gregorian music into phrases and sections.  The musical meaning of
 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
 can be characterized as short, medium, and long pause, somewhat like


@@ -3097,8 +3261,6 @@ correctly align with ligatures.
 Accidentals must not be printed within a ligature, but instead need to
 be collected and printed in front of it.
 
 Accidentals must not be printed within a ligature, but instead need to
 be collected and printed in front of it.
 

-Augmentum dots within ligatures are not handled correctly.
-

 The syntax still uses the deprecated infix style @code{\[ music expr
 \]}.  For consistency reasons, it will eventually be changed to
 postfix style @code{note\[ ... note\]}.  Alternatively, the file
 The syntax still uses the deprecated infix style @code{\[ music expr
 \]}.  For consistency reasons, it will eventually be changed to
 postfix style @code{note\[ ... note\]}.  Alternatively, the file


@@ -3154,11 +3316,8 @@ For example,
 \override Staff.TimeSignature #'style = #'neomensural
 \clef "petrucci-g"
 \[ c'\maxima g \]
 \override Staff.TimeSignature #'style = #'neomensural
 \clef "petrucci-g"
 \[ c'\maxima g \]

-s4

 \[ d\longa c\breve f e d \]
 \[ d\longa c\breve f e d \]

-s4

 \[ c'\maxima d'\longa \]
 \[ c'\maxima d'\longa \]

-s4

 \[ e'1 a g\breve \]
 @end example
 @lilypond[quote,ragged-right]
 \[ e'1 a g\breve \]
 @end example
 @lilypond[quote,ragged-right]


@@ -3170,11 +3329,8 @@ s4
     \override Staff.TimeSignature #'style = #'neomensural
     \clef "petrucci-g"
     \[ c'\maxima g \]
     \override Staff.TimeSignature #'style = #'neomensural
     \clef "petrucci-g"
     \[ c'\maxima g \]

-    s4

     \[ d\longa c\breve f e d \]
     \[ d\longa c\breve f e d \]

-    s4

     \[ c'\maxima d'\longa \]
     \[ c'\maxima d'\longa \]

-    s4

     \[ e'1 a g\breve \]
   }
   \layout {
     \[ e'1 a g\breve \]
   }
   \layout {


@@ -3199,19 +3355,15 @@ to the following
   \override Staff.TimeSignature #'style = #'neomensural
   \clef "petrucci-g"
   \[ c'\maxima g \]
   \override Staff.TimeSignature #'style = #'neomensural
   \clef "petrucci-g"
   \[ c'\maxima g \]

-  s4

   \[ d\longa c\breve f e d \]
   \[ d\longa c\breve f e d \]

-  s4

   \[ c'\maxima d'\longa \]
   \[ c'\maxima d'\longa \]

-  s4

   \[ e'1 a g\breve \]
 }
 @end lilypond
 
 @refbugs
 
   \[ e'1 a g\breve \]
 }
 @end lilypond
 
 @refbugs
 

-The invisible rests (@code{s4}) in the example are used to compensate
-for the poor horizontal spacing.
+Horizontal spacing is poor.

 
 @node Gregorian square neumes ligatures
 @subsubsection Gregorian square neumes ligatures
 
 @node Gregorian square neumes ligatures
 @subsubsection Gregorian square neumes ligatures


@@ -4095,9 +4247,24 @@ underlies the construction of the ligatures in the above table is
 accordingly extrapolated.  This way, infinitely many different
 ligatures can be created.
 
 accordingly extrapolated.  This way, infinitely many different
 ligatures can be created.
 

-@c TODO: create a regression or tips & tricks example document with
-@c even more Gregorian ligatures, and add a link to this document
-@c here.
+Augmentum dots, also called @emph{morae}, are added with the music
+function @code{\augmentum}.  Note that @code{\augmentum} is
+implemented as a unary music function rather than as head prefix.  It
+applies to the immediately following music expression only.  That is,
+@code{\augmentum \virga c} will have no visible effect.  Instead, say
+@code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}.  Also
+note that you can say @code{\augmentum @{a g@}} as a shortcut for
+@code{\augmentum a \augmentum g}.
+
+@lilypond[quote,ragged-right,verbatim]
+\include "gregorian-init.ly"
+\score {
+  \new VaticanaVoice {
+    \[ \augmentum a \flexa \augmentum g \]
+    \augmentum g
+  }
+}
+@end lilypond

 
 @refcommands
 
 
 @refcommands
 


@@ -4136,7 +4303,19 @@ Two adjacent heads can be tied together with the @code{\pes} and
 @code{\flexa} infix commands for a rising and falling line of melody,
 respectively.
 
 @code{\flexa} infix commands for a rising and falling line of melody,
 respectively.
 

+@funindex \augmentum
+Use the unary music function @code{\augmentum} to add augmentum dots.

 
 

+@refbugs
+
+When an @code{\augmentum} dot appears at the end of the last staff
+within a ligature, it is sometimes vertically placed wrong.  As a
+workaround, add an additional skip note (e.g. @code{s8}) as last note
+of the staff.
+
+@code{\augmentum} should be implemented as a head prefix rather than a
+unary music function, such that @code{\augmentum} can be intermixed
+with head prefixes in arbitrary order.

 
 @node Gregorian Chant contexts
 @subsection Gregorian Chant contexts
 
 @node Gregorian Chant contexts
 @subsection Gregorian Chant contexts


@@ -4209,7 +4388,7 @@ entering the chant, as the following excerpt demonstrates
 
 In European music from before about 1600, singers were often expected
 to chromatically alter notes at their own initiative. This is called
 
 In European music from before about 1600, singers were often expected
 to chromatically alter notes at their own initiative. This is called

-``Musica Ficta''. In modern transcriptions, these accidentals are
+@q{Musica Ficta}. In modern transcriptions, these accidentals are

 usually printed over the note.
 
 @cindex Accidental, musica ficta
 usually printed over the note.
 
 @cindex Accidental, musica ficta


@@ -4371,6 +4550,39 @@ Internally, the code produces markup texts.  You can use any of the
 markup text properties to override formatting.  For example, the
 vertical spacing of the figures may be set with @code{baseline-skip}.
 
 markup text properties to override formatting.  For example, the
 vertical spacing of the figures may be set with @code{baseline-skip}.
 

+
+Figured bass can also be added to @code{Staff} contexts
+directly.  In this case, their vertical position is adjusted
+automatically.
+
+@lilypond[ragged-right,fragment,quote]
+<<
+  \new Staff = someUniqueName
+  \relative c'' {
+    c4 c'8 r8 c,4 c'
+  }
+
+  %% send to existing Staff.
+  \context Staff = someUniqueName 
+  \figuremode {
+    <4>4 <6 10>8 s8
+    
+    \set Staff.useBassFigureExtenders = ##t
+    <4 6>4 <4 6>
+  }
+>>
+@end lilypond
+
+
+@refbugs
+
+When using figured bass above the staff with extender lines and
+@code{implicitBassFigures} the lines may become swapped around.
+Maintaining order consistently will be impossible when multiple figures
+have overlapping extender lines.  To avoid this problem, plese
+use @code{stacking-dir} on @code{BassFigureAlignment}.
+
+

 @seealso
 
 Program reference: @internalsref{NewBassFigure},
 @seealso
 
 Program reference: @internalsref{NewBassFigure},