Guide, node Updating translation committishes..
@end ignore
-@c \version "2.13.36"
+@c \version "2.17.20"
@node Ancient notation
* Ancient notation---common features::
* Typesetting mensural music::
* Typesetting Gregorian chant::
+* Typesetting Kievan square notation::
* Working with ancient music---scenarios and solutions::
@end menu
Support for ancient notation includes features for mensural
-notation and Gregorian chant notation. These features can be
-accessed either by modifying style properties of graphical objects
-such as note heads and rests, or by using one of the pre-defined
-contexts for mensural or Gregorian notation.
+notation, Gregorian chant notation, and Kievan square notation.
+These features can be accessed either by modifying style
+properties of graphical objects such as note heads and rests,
+or by using one of the pre-defined contexts for these styles.
Many graphical objects, such as note heads and flags, accidentals,
time signatures, and rests, provide a @code{style} property, which
@node Overview of the supported styles
@subsection Overview of the supported styles
-
Three styles are available for typesetting Gregorian chant:
@itemize
* Pre-defined contexts::
* Ligatures::
* Custodes::
-* Figured bass support::
@end menu
above the ligature.
@lilypond[quote,ragged-right,verbatim]
-\transpose c c' {
- \[ g c a f d' \]
+\relative c'' {
+ \[ g c, a' f d' \]
a g f
\[ e f a g \]
}
The syntax still uses the deprecated infix style
@code{\[ music expr \]}. For consistency reasons, it will eventually
-be changed to postfix style @code{note\[ ... note\]}.
+be changed to postfix style @code{note\[ @dots{} note\]}.
@c Alternatively, the file
@c @file{gregorian-init.ly} can be included; it provides a scheme
\layout {
\context {
\Staff
- \consists Custos_engraver
- \override Custos #'style = #'mensural
+ \consists "Custos_engraver"
+ \override Custos.style = #'mensural
}
}
}
Music Glossary:
@rglos{custos}.
-Internals Reference:
-@rinternals{Custos}.
-
Snippets:
@rlsr{Ancient notation}.
-
-@node Figured bass support
-@unnumberedsubsubsec Figured bass support
-
-There is limited support for figured bass notation from the
-Baroque period; see @ref{Figured bass}.
-
-@seealso
-Music Glossary:
-@rglos{figured bass}.
-
-Notation Reference:
-@ref{Figured bass}.
-
+Internals Reference:
+@rinternals{Custos}.
@node Typesetting mensural music
@subsection Typesetting mensural music
@lilypond[quote,ragged-right,verbatim]
\score {
<<
- \new MensuralVoice = "discantus" \transpose c c' {
- \override Score.BarNumber #'transparent = ##t {
- c'1\melisma bes a g\melismaEnd
+ \new MensuralVoice = "discantus" \relative c'' {
+ \override Score.BarNumber.transparent = ##t {
+ c1\melisma bes a g\melismaEnd
f\breve
- \[ f1\melisma a c'\breve d'\melismaEnd \]
- c'\longa
- c'\breve\melisma a1 g1\melismaEnd
+ \[ f1\melisma a c\breve d\melismaEnd \]
+ c\longa
+ c\breve\melisma a1 g1\melismaEnd
fis\longa^\signumcongruentiae
}
}
}
@end lilypond
-
@seealso
Music Glossary:
@rglos{mensural notation}.
the @code{\clef} command. Some of the clefs use the same glyph,
but differ only with respect to the line they are printed on. In
such cases, a trailing number in the name is used to enumerate
-these clefs, numbered from the lowest to the highest line. Still,
-you can manually force a clef glyph to be typeset on an arbitrary
+these clefs, numbered from the lowest to the highest line.
+You can manually force a clef glyph to be typeset on an arbitrary
line, as described in @ref{Clef}. The note printed to the right
side of each clef in the example column denotes the @code{c'} with
respect to that clef.
mensural C clef
@tab
@code{mensural-c1}, @code{mensural-c2},@*
-@code{mensural-c3}, @code{mensural-c4}
+@code{mensural-c3}, @code{mensural-c4},@*
+@code{mensural-c5}
@tab
-@lilypond[fragment,relative=1,notime]
+@lilypond[relative=1,notime]
\clef "mensural-c2"
- \override NoteHead #'style = #'mensural
- c
+ \override NoteHead.style = #'mensural
+ c1
@end lilypond
@item
@tab
@code{mensural-f}
@tab
-@lilypond[fragment,relative=1,notime]
+@lilypond[relative=1,notime]
\clef "mensural-f"
- \override NoteHead #'style = #'mensural
- c
+ \override NoteHead.style = #'mensural
+ c1
@end lilypond
@item
@tab
@code{mensural-g}
@tab
-@lilypond[fragment,relative=1,notime]
+@lilypond[relative=1,notime]
\clef "mensural-g"
- \override NoteHead #'style = #'mensural
- c
+ \override NoteHead.style = #'mensural
+ c1
+@end lilypond
+
+@item
+black mensural C clef
+@tab
+@code{blackmensural-c1}, @code{blackmensural-c2},@*
+@code{blackmensural-c3}, @code{blackmensural-c4},@*
+@code{blackmensural-c5}
+@tab
+@lilypond[relative=1,notime]
+ \clef "blackmensural-c2"
+ \override NoteHead.style = #'mensural
+ c1
@end lilypond
@item
@code{neomensural-c1}, @code{neomensural-c2},@*
@code{neomensural-c3}, @code{neomensural-c4}
@tab
-@lilypond[fragment,relative=1,notime]
- \clef "neomensural-c2" c
+@lilypond[relative=1,notime]
+ \clef "neomensural-c2" c1
@end lilypond
@item
@code{petrucci-c3}, @code{petrucci-c4},@*
@code{petrucci-c5}
@tab
-@lilypond[fragment,relative=1,notime]
+@lilypond[relative=1,notime]
\clef "petrucci-c2"
- \override NoteHead #'style = #'mensural
- c
+ \override NoteHead.style = #'mensural
+ c1
@end lilypond
@item
-petrucci style F clef
+petrucci style F clefs, for use on different staff lines
+(the example shows the 3rd staff line F clef)
@tab
-@code{petrucci-f}
+@code{petrucci-f3}, @code{petrucci-f4},@*
+@code{petrucci-f5}
@tab
-@lilypond[fragment,relative=1,notime]
- \clef "petrucci-f"
- \override NoteHead #'style = #'mensural
- c
+@lilypond[relative=1,notime]
+ \clef "petrucci-f3"
+ \override NoteHead.style = #'mensural
+ c1
@end lilypond
@item
@tab
@code{petrucci-g}
@tab
-@lilypond[fragment,relative=1,notime]
+@lilypond[relative=1,notime]
\clef "petrucci-g"
- \override NoteHead #'style = #'mensural
- c
+ \override NoteHead.style = #'mensural
+ c1
@end lilypond
@end multitable
Notation Reference:
@ref{Clef}.
-
@knownissues
The mensural g clef is mapped to the Petrucci g clef.
indent = 0.0
\context {
\Staff
- \remove Staff_symbol_engraver
- \remove Clef_engraver
- \remove Time_signature_engraver
+ \remove "Staff_symbol_engraver"
+ \remove "Clef_engraver"
+ \remove "Time_signature_engraver"
}
}
{
\set Score.timing = ##f
\set Score.barAlways = ##t
- s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
+ \textLengthOn
+ s^\markup { "\\time 4/4" }_\markup { " " \musicglyph
#"timesig.neomensural44" }
s
- s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
+ s^\markup { "\\time 2/2" }_\markup { " " \musicglyph
#"timesig.neomensural22" }
s
- s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
+ s^\markup { "\\time 6/4" }_\markup { " " \musicglyph
#"timesig.neomensural64" }
s
- s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
+ s^\markup { "\\time 6/8" }_\markup { " " \musicglyph
#"timesig.neomensural68" }
\break
- s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
+ s^\markup { "\\time 3/2" }_\markup { " " \musicglyph
#"timesig.neomensural32" }
s
- s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
+ s^\markup { "\\time 3/4" }_\markup { " " \musicglyph
#"timesig.neomensural34" }
s
- s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
+ s^\markup { "\\time 9/4" }_\markup { " " \musicglyph
#"timesig.neomensural94" }
s
- s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
+ s^\markup { "\\time 9/8" }_\markup { " " \musicglyph
#"timesig.neomensural98" }
\break
- s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
+ s^\markup { "\\time 4/8" }_\markup { " " \musicglyph
#"timesig.neomensural48" }
s
- s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
+ s^\markup { "\\time 2/4" }_\markup { " " \musicglyph
#"timesig.neomensural24" }
}
@end lilypond
@code{neomensural} style. The following examples show the
differences in style:
-@lilypond[ragged-right,fragment,relative=1,quote]
+@lilypond[ragged-right,relative=1,quote]
{
\textLengthOn
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter default }
- \override Staff.TimeSignature #'style = #'numbered
+ \override Staff.TimeSignature.style = #'numbered
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter numbered }
- \override Staff.TimeSignature #'style = #'mensural
+ \override Staff.TimeSignature.style = #'mensural
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter mensural }
- \override Staff.TimeSignature #'style = #'neomensural
+ \override Staff.TimeSignature.style = #'neomensural
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter neomensural }
- \override Staff.TimeSignature #'style = #'single-digit
+ \override Staff.TimeSignature.style = #'single-digit
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter single-digit }
}
@ref{Time signature}.
@knownissues
-Ratios of note durations do not change with the time signature. For
+Ratios of note durations cannot change with the time signature,
+as those are not constant. For
example, the ratio of 1@tie{}breve = 3@tie{}semibreves
-(@emph{tempus perfectum}) must be made by hand, by setting
+(@emph{tempus perfectum}) can be made by hand, by setting
@example
-breveTP = #(ly:make-duration -1 0 3 2)
+breveTP = #(ly:make-duration -1 0 3/2)
@dots{}
@{ c\breveTP f1 @}
@end example
For ancient notation, a note head style other than the
@code{default} style may be chosen. This is accomplished by setting
the @code{style} property of the @code{NoteHead} object to
-@code{baroque}, @code{neomensural}, @code{mensural} or
-@code{petrucci}.
+@code{baroque}, @code{neomensural}, @code{mensural},
+@code{petrucci}, @code{blackpetrucci} or @code{semipetrucci}.
The @code{baroque} style differs from the @code{default} style by:
@itemize
-@item Providing a @code{maxima} notehead, and
+@item Providing a @code{maxima} note head, and
@item Using a square shape for @code{\breve} note heads.
@end itemize
@item Centering the stems on the note heads.
@end itemize
+The @code{blackpetrucci} style produces note heads usable in black
+mensural notation or coloratio sections in white mensural notation.
+Because note head style does not influence flag count, in
+this style a semiminima should be notated as @code{a8*2}, not
+@code{a4}, otherwise it will look like a minima.
+The multiplyer can be different if coloratio is used e.g. to notate
+triplets.
+
+Use @code{semipetrucci} style to draw half-colored
+note heads (breves, longas and maximas).
+
The following example demonstrates the @code{petrucci} style:
@lilypond[quote,fragment,ragged-right,verbatim]
\set Score.skipBars = ##t
\autoBeamOff
-\override NoteHead #'style = #'petrucci
+\override NoteHead.style = #'petrucci
a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
-
+\override NoteHead.style = #'semipetrucci
+a'\breve*5/6
+\override NoteHead.style = #'blackpetrucci
+a'8*4/3 a'
+\override NoteHead.style = #'petrucci
+a'\longa
@end lilypond
only the @code{mensural} style is supported.
@lilypond[quote,fragment,ragged-right,verbatim]
-\override Stem #'flag-style = #'mensural
-\override Stem #'thickness = #1.0
-\override NoteHead #'style = #'mensural
+\override Flag.style = #'mensural
+\override Stem.thickness = #1.0
+\override NoteHead.style = #'mensural
\autoBeamOff
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
c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
@c music, the default flag style should be used.
There are no flags in Gregorian chant notation.
-
@seealso
Music Glossary:
@rglos{mensural notation},
@rglos{flag}.
-
@knownissues
The attachment of ancient flags to stems is slightly off.
@c due to a change in early 2.3.x.
@lilypond[quote,fragment,ragged-right,verbatim]
\set Score.skipBars = ##t
-\override Rest #'style = #'classical
+\override Rest.style = #'classical
r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
-\override Rest #'style = #'mensural
+\override Rest.style = #'mensural
r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
-\override Rest #'style = #'neomensural
+\override Rest.style = #'neomensural
r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
@end lilypond
Snippets:
@rlsr{Ancient notation}.
+@knownissues
+The glyph for the maxima rest in mensural style is actually a perfect
+longa rest; use two (or three) longa rests to print a maxima rest.
+Longa rests are not grouped automatically, so have to be done manually by
+using pitched rests.
+
@node Mensural accidentals and key signatures
@unnumberedsubsubsec Mensural accidentals and key signatures
@code{glyph-name-alist} property of the grobs @code{Accidental} and
@code{KeySignature}, respectively; e.g.:
-@code{\override Staff.Accidental #'glyph-name-alist =
-#alteration-mensural-glyph-name-alist}
+@example
+\override Staff.Accidental.glyph-name-alist =
+ #alteration-mensural-glyph-name-alist
+@end example
@seealso
Music Glossary:
@funindex suggestAccidentals
-@lilypond[verbatim,fragment,relative=1]
+@lilypond[verbatim,relative=1]
fis gis
\set suggestAccidentals = ##t
ais bis
ficta = { \once \set suggestAccidentals = ##t }
\score { \relative c''
\new MensuralVoice {
- \once \set suggestAccidentals = ##t
- bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
+ \once \set suggestAccidentals = ##t
+ bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
}
}
@end lilypond
-
@seealso
Internals Reference:
@rinternals{Accidental_engraver},
\layout @{
\context @{
\Voice
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
+ \remove "Ligature_bracket_engraver"
+ \consists "Mensural_ligature_engraver"
@}
@}
@end example
This is not only required for correct MIDI output, but also allows for
automatic transcription of the ligatures.
+At certain places two consecutive notes can be represented either as
+two squares or as an oblique parallelogram (flexa shape). In such
+cases the default is the two squares, but a flexa can be required by
+setting the @code{ligature-flexa} property of the @emph{second} note
+head. The length of a flexa can be set by the note head property
+@code{flexa-width}.
+
For example,
@c @example
@c \set Score.timing = ##f
-@c \set Score.defaultBarType = "empty"
-@c \override NoteHead #'style = #'neomensural
-@c \override Staff.TimeSignature #'style = #'neomensural
+@c \set Score.defaultBarType = "-"
+@c \override NoteHead.style = #'neomensural
+@c \override Staff.TimeSignature.style = #'neomensural
@c \clef "petrucci-g"
@c \[ c'\maxima g \]
@c \[ d\longa c\breve f e d \]
@c @end example
@lilypond[quote,ragged-right,verbatim]
\score {
- \transpose c c' {
+ \relative c' {
\set Score.timing = ##f
- \set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
+ \set Score.defaultBarType = "-"
+ \override NoteHead.style = #'petrucci
+ \override Staff.TimeSignature.style = #'mensural
\clef "petrucci-g"
\[ c'\maxima g \]
- \[ d\longa c\breve f e d \]
- \[ c'\maxima d'\longa \]
- \[ e'1 a g\breve \]
+ \[ d\longa
+ \override NoteHead.ligature-flexa = ##t
+ \once \override NoteHead.flexa-width = #3.2
+ c\breve f e d \]
+ \[ c'\maxima d\longa \]
+ \[ e1 a, g\breve \]
}
\layout {
\context {
\Voice
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
+ \remove "Ligature_bracket_engraver"
+ \consists "Mensural_ligature_engraver"
}
}
}
to the following
@lilypond[quote,ragged-right]
-\transpose c c' {
+\relative c' {
\set Score.timing = ##f
- \set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
+ \set Score.defaultBarType = "-"
+ \override NoteHead.style = #'petrucci
+ \override Staff.TimeSignature.style = #'mensural
\clef "petrucci-g"
\[ c'\maxima g \]
- \[ d\longa c\breve f e d \]
- \[ c'\maxima d'\longa \]
- \[ e'1 a g\breve \]
+ \[ d\longa
+ \override NoteHead.ligature-flexa = ##t
+ \once \override NoteHead.flexa-width = #3.2
+ c\breve f e d \]
+ \[ c'\maxima d\longa \]
+ \[ e1 a, g\breve \]
}
@end lilypond
@knownissues
Horizontal spacing of ligatures is poor.
+Accidentals may collide with previous notes.
@node Typesetting Gregorian chant
@ref{White mensural ligatures},
@ref{Ligatures}.
+
@node Gregorian chant contexts
@unnumberedsubsubsec Gregorian chant contexts
@code{vaticana-do1}, @code{vaticana-do2},@*
@code{vaticana-do3}
@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'vaticana.punctum
+@lilypond[relative=1,notime]
+ \override Staff.StaffSymbol.line-count = #4
+ \override Staff.StaffSymbol.color = #red
+ \override Staff.LedgerLineSpanner.color = #red
+ \override Voice.Stem.transparent = ##t
+ \override NoteHead.style = #'vaticana.punctum
\clef "vaticana-do2"
c
@end lilypond
@tab
@code{vaticana-fa1}, @code{vaticana-fa2}
@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'vaticana.punctum
+@lilypond[relative=1,notime]
+ \override Staff.StaffSymbol.line-count = #4
+ \override Staff.StaffSymbol.color = #red
+ \override Staff.LedgerLineSpanner.color = #red
+ \override Voice.Stem.transparent = ##t
+ \override NoteHead.style = #'vaticana.punctum
\clef "vaticana-fa2"
c
@end lilypond
@code{medicaea-do1}, @code{medicaea-do2},@*
@code{medicaea-do3}
@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'medicaea.punctum
+@lilypond[relative=1,notime]
+ \override Staff.StaffSymbol.line-count = #4
+ \override Staff.StaffSymbol.color = #red
+ \override Staff.LedgerLineSpanner.color = #red
+ \override Voice.Stem.transparent = ##t
+ \override NoteHead.style = #'medicaea.punctum
\clef "medicaea-do2"
c
@end lilypond
@tab
@code{medicaea-fa1}, @code{medicaea-fa2}
@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'medicaea.punctum
+@lilypond[relative=1,notime]
+ \override Staff.StaffSymbol.line-count = #4
+ \override Staff.StaffSymbol.color = #red
+ \override Staff.LedgerLineSpanner.color = #red
+ \override Voice.Stem.transparent = ##t
+ \override NoteHead.style = #'medicaea.punctum
\clef "medicaea-fa2"
c
@end lilypond
@code{hufnagel-do1}, @code{hufnagel-do2},@*
@code{hufnagel-do3}
@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'hufnagel.punctum
+@lilypond[relative=1,notime]
+ \override Staff.StaffSymbol.line-count = #4
+ \override Staff.StaffSymbol.color = #red
+ \override Staff.LedgerLineSpanner.color = #red
+ \override Voice.Stem.transparent = ##t
+ \override NoteHead.style = #'hufnagel.punctum
\clef "hufnagel-do2"
c
@end lilypond
@tab
@code{hufnagel-fa1}, @code{hufnagel-fa2}
@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'hufnagel.punctum
+@lilypond[relative=1,notime]
+ \override Staff.StaffSymbol.line-count = #4
+ \override Staff.StaffSymbol.color = #red
+ \override Staff.LedgerLineSpanner.color = #red
+ \override Voice.Stem.transparent = ##t
+ \override NoteHead.style = #'hufnagel.punctum
\clef "hufnagel-fa2"
c
@end lilypond
@tab
@code{hufnagel-do-fa}
@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'hufnagel.punctum
+@lilypond[relative=1,notime]
+ \override Staff.StaffSymbol.color = #red
+ \override Staff.LedgerLineSpanner.color = #red
+ \override Voice.Stem.transparent = ##t
+ \override NoteHead.style = #'hufnagel.punctum
\clef "hufnagel-do-fa"
c
@end lilypond
@end multitable
-
@seealso
Music Glossary:
@rglos{clef}.
trying to access an unsupported accidental, LilyPond will switch to a
different style.
-@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@c @lilypondfile[verbatim,quote,texidoc,doctitle]
@c {ancient-accidentals.ly}
The style for accidentals and key signatures is controlled by the
@code{glyph-name-alist} property of the grobs @code{Accidental} and
@code{KeySignature}, respectively; e.g.:
-@code{\override Staff.Accidental #'glyph-name-alist =
-#alteration-mensural-glyph-name-alist}
-
+@example
+\override Staff.Accidental.glyph-name-alist =
+ #alteration-mensural-glyph-name-alist
+@end example
@seealso
Music Glossary:
\score {
<<
\context VaticanaVoice {
- \override TextScript #'padding = #3
+ \override TextScript.padding = #3
g a g
s^\markup { "divisio minima" }
\divisioMinima
@ref{Breath marks}.
Installed Files:
-@file{gregorian.ly}.
+@file{ly/gregorian.ly}.
@node Gregorian articulation signs
\include "gregorian.ly"
\score {
\new VaticanaVoice {
- \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
a\ictus_"ictus " \bar "" \break
a\circulus_"circulus " \bar "" \break
a\semicirculus_"semicirculus " \bar "" \break
}
@end lilypond
-
@seealso
Notation Reference:
@ref{Articulations and ornamentations}.
@rinternals{ScriptEvent},
@rinternals{Script_engraver}.
-
@knownissues
Some articulations are vertically placed too closely to the
corresponding note heads.
}
@end lilypond
-
@seealso
Notation Reference:
@ref{Breath marks}.
All other neumes, including the single-note neumes with a
different shape such as the @emph{virga}, are in principle
considered as ligatures and should therefore be placed
-between @code{\[...\]}.
+between @code{\[@dots{}\]}.
@c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
@c equivalent.
@lilypond[staffsize=26,line-width=1.5\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Punctum
\[ b \]
}
@lilypond[staffsize=26,line-width=1.5\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Punctum
\[ \cavum b \]
}
@lilypond[staffsize=26,line-width=1.5\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Punctum
\[ \linea b \]
}
@lilypond[staffsize=26,line-width=2.5\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Punctum Auctum Ascendens
\[ \auctum \ascendens b \]
}
@lilypond[staffsize=26,line-width=2.5\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Punctum Auctum Descendens
\[ \auctum \descendens b \]
}
@lilypond[staffsize=26,line-width=1.5\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Punctum Inclinatum
\[ \inclinatum b \]
}
@lilypond[staffsize=26,line-width=2.5\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Punctum Inclinatum Auctum
\[ \inclinatum \auctum b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Punctum Inclinatum Parvum
\[ \inclinatum \deminutum b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Virga
\[ \virga b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Clivis vel Flexa
\[ b \flexa g \]
}
@lilypond[staffsize=26,line-width=2.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Clivis Aucta Descendens
\[ b \flexa \auctum \descendens g \]
}
@lilypond[staffsize=26,line-width=2.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Clivis Aucta Ascendens
\[ b \flexa \auctum \ascendens g \]
}
@lilypond[staffsize=26,line-width=2.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Cephalicus
\[ b \flexa \deminutum g \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Podatus vel Pes
\[ g \pes b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Pes Auctus Descendens
+ \relative c'' {
+ % Pes Auctus Descendens
\[ g \pes \auctum \descendens b \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Pes Auctus Ascendens
\[ g \pes \auctum \ascendens b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Epiphonus
+ \relative c'' {
+ % Epiphonus
\[ g \pes \deminutum b \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Pes Initio Debilis
\[ \deminutum g \pes b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Pes Auctus Descendens Initio Debilis
\[ \deminutum g \pes \auctum \descendens b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Torculus
\[ a \pes b \flexa g \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Torculus Auctus Descendens
+ \relative c'' {
+ % Torculus Auctus Descendens
\[ a \pes b \flexa \auctum \descendens g \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Torculus Deminutus
+ \relative c'' {
+ % Torculus Deminutus
\[ a \pes b \flexa \deminutum g \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Torculus Initio Debilis
+ \relative c'' {
+ % Torculus Initio Debilis
\[ \deminutum a \pes b \flexa g \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Torculus Auctus Descendens Initio Debilis
+ \relative c'' {
+ % Torculus Auctus Descendens Initio Debilis
\[ \deminutum a \pes b \flexa \auctum \descendens g \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Torculus Deminutus Initio Debilis
+ \relative c'' {
+ % Torculus Deminutus Initio Debilis
\[ \deminutum a \pes b \flexa \deminutum g \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Porrectus
\[ a \flexa g \pes b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Porrectus Auctus Descendens
+ \relative c'' {
+ % Porrectus Auctus Descendens
\[ a \flexa g \pes \auctum \descendens b \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Porrectus Deminutus
+ \relative c'' {
+ % Porrectus Deminutus
\[ a \flexa g \pes \deminutum b \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Climacus
\[ \virga b \inclinatum a \inclinatum g \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Climacus Auctus
+ \relative c'' {
+ % Climacus Auctus
\[ \virga b \inclinatum a \inclinatum \auctum g \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Climacus Deminutus
+ \relative c'' {
+ % Climacus Deminutus
\[ \virga b \inclinatum a \inclinatum \deminutum g \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Scandicus
\[ g \pes a \virga b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Scandicus Auctus Descendens
+ \relative c'' {
+ % Scandicus Auctus Descendens
\[ g \pes a \pes \auctum \descendens b \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Scandicus Deminutus
+ \relative c'' {
+ % Scandicus Deminutus
\[ g \pes a \pes \deminutum b \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Quilisma
\[ g \pes \quilisma a \pes b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Quilisma Pes Auctus Descendens
\[ g \quilisma a \pes \auctum \descendens b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Oriscus
\[ \oriscus b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Pes Quassus
\[ \oriscus g \pes \virga b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Pes Quassus Auctus Descendens
\[ \oriscus g \pes \auctum \descendens b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Salicus
\[ g \oriscus a \pes \virga b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Salicus Auctus Descendens
\[ g \oriscus a \pes \auctum \descendens b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Stropha
\[ \stropha b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Stropha Aucta
\[ \stropha \auctum b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Bistropha
\[ \stropha b \stropha b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Tristropha
\[ \stropha b \stropha b \stropha b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Trigonus
\[ \stropha b \stropha b \stropha a \]
}
@ref{White mensural ligatures},
@ref{Ligatures}.
-
@knownissues
When an @code{\augmentum} dot appears at the end of the last staff
within a ligature, it is sometimes vertically placed wrong. As a
unary music function, such that @code{\augmentum} can be intermixed
with head prefixes in arbitrary order.
+@node Typesetting Kievan square notation
+@subsection Typesetting Kievan square notation
+
+@menu
+* Kievan contexts::
+* Kievan clefs::
+* Kievan notes::
+* Kievan accidentals::
+* Kievan bar line::
+* Kievan melismata::
+@end menu
+
+@node Kievan contexts
+@unnumberedsubsubsec Kievan contexts
+
+@cindex KievanVoiceContext
+@cindex KievanStaffContext
+
+As with Mensural and Gregorian notation, the predefined
+@code{KievanVoice} and @code{KievanStaff} contexts can be used
+to engrave a piece in square notation. These contexts initialize
+all relevant context properties and grob properties to proper
+values, so you can immediately go ahead entering the chant:
+
+@lilypond[quote,ragged-right,verbatim]
+\score {
+ <<
+ \new KievanVoice = "melody" \relative c' {
+ \cadenzaOn
+ c4 c c c c2 b\longa
+ \bar "k"
+ }
+ \new Lyrics \lyricsto "melody" {
+ Го -- спо -- ди по -- ми -- луй.
+ }
+ >>
+}
+@end lilypond
+
+@seealso
+Music Glossary:
+@rglos{kievan notation}.
+
+@knownissues
+LilyPond supports Kievan notation of the Synodal style, as used in
+the corpus of chantbooks printed by the Russian Holy Synod in the
+1910's and recently reprinted by the Moscow Patriarchate Publishing
+House. LilyPond does not support the older (less common) forms of
+Kievan notation that were used in Galicia to notate Rusyn plainchant.
+
+@node Kievan clefs
+@unnumberedsubsubsec Kievan clefs
+
+@cindex clefs
+
+There is only one clef used in Kievan notation (the Tse-fa-ut Clef).
+It is used to indicate the position of @code{c}:
+
+@lilypond[quote,relative=1,notime,verbatim]
+ \clef "kievan-do"
+ \kievanOn
+ c
+@end lilypond
+
+@seealso
+Music Glossary:
+@rglos{kievan notation},
+@rglos{clef}.
+
+Notation Reference:
+@ref{Clef}.
+
+@node Kievan notes
+@unnumberedsubsubsec Kievan notes
+
+@cindex note heads, ancient
+
+For Kievan square notation, the appropriate note head style needs
+to be chosen and the flags and stems need to be turned off.
+This is accomplished by calling the @code{\kievanOn} function,
+which sets the appropriate properties of the note head, stems,
+and flags. Once Kievan note heads are not needed, these
+properties can be reverted by calling the @code{\kievanOff}
+function.
+
+The Kievan final note, which usually comes at the end of a piece
+of music, may be selected by setting the duration to
+@code{\longa}. The Kievan recitative mark, used to indicate
+the chanting of several syllables on one note, may be selected by
+setting the duration to @code{\breve}. The following example
+demonstrates the various Kievan note heads:
+
+@lilypond[quote,fragment,ragged-right,verbatim]
+\autoBeamOff
+\cadenzaOn
+\kievanOn
+b'1 b'2 b'4 b'8 b'\breve b'\longa
+\kievanOff
+b'2
+@end lilypond
+
+@seealso
+Music Glossary:
+@rglos{kievan notation},
+@rglos{note head}.
+
+Notation Reference:
+@ref{Note head styles}.
+
+@knownissues
+LilyPond automatically determines if the stem up or stem down
+form of a note is drawn. When setting chant in square notation,
+however, it is customary to have the stems point in the same
+direction within a single melisma. This can be done manually by
+setting the @code{direction} property of the @code{Stem} object.
+
+@node Kievan accidentals
+@unnumberedsubsubsec Kievan accidentals
+
+@cindex accidentals
+
+The @code{kievan} style for accidentals is selected with the
+@code{glyph-name-alist} property of the grob @code{Accidental}.
+The @code{kievan} style provides a sharp and a flat sign
+different from the default style. There is no natural sign
+in Kievan notation. The sharp sign is not used in Synodal music
+but may occur in earlier manuscripts. It has been included
+primarily for the sake of compatibility.
+
+@lilypond[quote,relative=1,notime,verbatim]
+\clef "kievan-do"
+\override Accidental.glyph-name-alist =
+ #alteration-kievan-glyph-name-alist
+bes' dis,
+@end lilypond
+
+@seealso
+Music Glossary:
+@rglos{kievan notation},
+@rglos{accidental}.
+
+Notation Reference:
+@ref{Accidentals},
+@ref{Automatic accidentals},
+@ref{The Feta font}
+
+@node Kievan bar line
+@unnumberedsubsubsec Kievan bar line
+
+A decorative figure is commonly placed at the end of a piece of
+Kievan notation, which may be called the Kievan final bar line.
+It can be invoked as @code{\bar "k"}.
+
+@lilypond[quote,relative=1,notime,verbatim]
+ \kievanOn
+ \clef "kievan-do"
+ c \bar "k"
+@end lilypond
+
+@seealso
+@ref{Bars},
+@ref{The Feta font}
+
+@node Kievan melismata
+@unnumberedsubsubsec Kievan melismata
+
+@cindex Ligatures
+
+Notes within a Kievan melisma are usually placed close to each other
+and the melismata separated by whitespace. This is done to allow
+the chanter to quickly identify the melodic structures of Znamenny
+chant. In LilyPond, melismata are treated as ligatures and the
+spacing is implemented by the @code{Kievan_ligature_engraver}.
+
+When the @code{KievanVoice} and @code{KievanStaff} contexts are used,
+the @code{Kievan_ligature_engraver} is enabled by default. In other
+contexts, it can be invoked by replacing the @code{Ligature_bracket_engraver}
+with the @code{Kievan_ligature_engraver} in the layout block:
+
+@example
+\layout @{
+ \context @{
+ \Voice
+ \remove "Ligature_bracket_engraver"
+ \consists "Kievan_ligature_engraver"
+ @}
+@}
+@end example
+
+The spacing between the notes within a Kievan ligature can be controlled
+by setting the @code{padding} property of the @code{KievanLigature}.
+
+The following example demonstrates the use of Kievan ligatures:
+
+@lilypond[quote,ragged-right,verbatim]
+\score {
+ <<
+ \new KievanVoice = "melody" \relative c' {
+ \cadenzaOn
+ e2 \[ e4( d4 ) \] \[ c4( d e d ) \] e1 \bar "k"
+ }
+ \new Lyrics \lyricsto "melody" {
+ Га -- врі -- и -- лу
+ }
+ >>
+}
+@end lilypond
+
+@seealso
+Music Glossary:
+@rglos{ligature}.
+
+Notation Reference:
+@ref{White mensural ligatures},
+@ref{Gregorian square neume ligatures},
+@ref{Ligatures}.
+
+@knownissues
+Horizontal spacing of ligatures is poor.
@node Working with ancient music---scenarios and solutions
@subsection Working with ancient music---scenarios and solutions
@c use snippet Transcription-of-ancient-music-with-incipit
TBC
-
@c @seealso
@c ... and reference to other sections ...
orientation aids that bar lines give.
-@lilypondfile[verbatim,lilyquote,texidoc]
+@lilypondfile[verbatim,quote,texidoc]
{mensurstriche-layout-bar-lines-between-the-staves.ly}
@c This simple setup will take care of the
@c from lsr and -user
@c TBC
-
@c @seealso
@c ... and reference to other sections ...
@example
\layout @{
- ...
+ @dots{}
\context @{
\Voice
\remove "Stem_engraver"
However, in some transcription styles, stems are used
occasionally, for example to indicate the transition from a
single-tone recitative to a fixed melodic gesture. In these cases,
-one can use either @code{\override Stem #'transparent = ##t} or
-@code{\override Stem #'length = #0} instead, and restore the stem
-when needed with the corresponding @code{\once \override Stem
-#'transparent = ##f} (see example below).
+one can use either @code{\override Stem.transparent = ##t} or
+@code{\override Stem.length = #0} instead, and restore the stem
+when needed with the corresponding @code{\once \override Stem.transparent = ##f} (see example below). When using stems that
+carry flags, make sure to set @code{\override Flag.transparent
+= ##t} as well.
@b{Timing.} For unmetered chant, there are several alternatives.
To remove the bar lines, the radical approach is to @code{\remove}
the Bar_engraver from the Staff context. Again, one may want to
-use @code{\override BarLine #'transparent = ##t} instead, if an
+use @code{\override BarLine.transparent = ##t} instead, if an
occasional barline is wanted.
A common type of transcription is recitativic chant where the
}
verba = \lyricmode {
- \once \override LyricText #'self-alignment-X = #-1
+ \once \override LyricText.self-alignment-X = #-1
"Noctem quietam et" fi -- nem per -- fec -- tum
- \once \override LyricText #'self-alignment-X = #-1
+ \once \override LyricText.self-alignment-X = #-1
"concedat nobis Dominus" om -- ni -- po -- tens.
}
\score {
\Staff
\remove "Time_signature_engraver"
\remove "Bar_engraver"
- \override Stem #'transparent = ##t
+ \override Stem.transparent = ##t
}
}
}
chant = \relative c' {
\clef "G_8"
\set Score.timing = ##f
- c\breve \override NoteHead #'transparent = ##t c c c c c
- \revert NoteHead #'transparent
- \override Stem #'transparent = ##f \stemUp c4 b4 a
- \override Stem #'transparent = ##t c2 c4 \divisioMaior
- c\breve \override NoteHead #'transparent = ##t c c c c c c c
- \revert NoteHead #'transparent c4 c f, f \finalis
+ c\breve \override NoteHead.transparent = ##t c c c c c
+ \revert NoteHead.transparent
+ \override Stem.transparent = ##f \stemUp c4 b4 a
+ \override Stem.transparent = ##t c2 c4 \divisioMaior
+ c\breve \override NoteHead.transparent = ##t c c c c c c c
+ \revert NoteHead.transparent c4 c f, f \finalis
}
verba = \lyricmode {
\context {
\Staff
\remove "Time_signature_engraver"
- \override BarLine #'transparent = ##t
- \override Stem #'transparent = ##t
+ \override BarLine.transparent = ##t
+ \override Stem.transparent = ##t
}
}
}
To avoid that syllables of different width (such as @qq{-ri} and
@qq{-rum}) spread the syllable note groups unevenly apart, the
-@code{#'X-extent} property of the @code{LyricText} object may be
+@code{'X-extent} property of the @code{LyricText} object may be
set to a fixed value. Another, more cumbersome way would be to
add the syllables as @code{\markup} elements. If further
adjustments are necessary, this can be easily done with
@lilypond[verbatim,quote]
spiritus = \relative c' {
\time 1/4
- \override Lyrics.LyricText #'X-extent = #'(0 . 3)
- d4 \times 2/3 { f8 a g } g a a4 g f8 e
+ \override Lyrics.LyricText.X-extent = #'(0 . 3)
+ d4 \tuplet 3/2 { f8 a g } g a a4 g f8 e
d4 f8 g g8 d f g a g f4 g8 a a4 s
- \times 2/3 { g8 f d } e f g a g4
+ \tuplet 3/2 { g8 f d } e f g a g4
}
spirLyr = \lyricmode {
\context {
\Staff
\remove "Time_signature_engraver"
- \override BarLine #'X-extent = #'(-1 . 1)
- \override Stem #'transparent = ##t
- \override Beam #'transparent = ##t
- \override BarLine #'transparent = ##t
- \override TupletNumber #'transparent = ##t
+ \override BarLine.X-extent = #'(-1 . 1)
+ \override Stem.transparent = ##t
+ \override Beam.transparent = ##t
+ \override BarLine.transparent = ##t
+ \override TupletNumber.transparent = ##t
}
}
}
@c Add example of white note heads:
@c In the french baroque some composers used white note heads in slow pieces,
@c mainly in 3/2-time. A quarter looks there like a eighth with a white
-@c notehead. (Franz-Rudolf Kuhnen)
+@c note head. (Franz-Rudolf Kuhnen)
@c TODO Add example of this:
@c I was referring to e.g. notated a8. a16, which should, if I
@c staff as an hint to performers. (Karl Hammer)
-TBC
+@c TBC
@c @seealso
@c ... and reference to other sections ...
-
projects / lilypond.git / blobdiff