version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.38"
+@c \version "2.11.51"
@node Ancient notation
@section Ancient notation
+@lilypondfile[quote]{ancient-headword.ly}
+
@cindex Vaticana, Editio
@cindex Medicaea, Editio
@cindex hufnagel
@cindex Petrucci
@cindex mensural
-Support for ancient notation includes features for mensural notation
-and Gregorian Chant notation. There is also limited support for
-figured bass notation.
+@menu
+* Introduction to ancient notation::
+* Alternative note signs::
+* Additional note signs::
+* Pre-defined contexts::
+* Transcribing ancient music::
+* Editorial markings::
+@end menu
+
+
+@node Introduction to ancient notation
+@subsection Introduction to ancient notation
+
+@menu
+* Ancient notation supported::
+@end menu
+
+
+@node Ancient notation supported
+@subsubsection Ancient notation supported
+
+Support for ancient notation includes features for mensural notation and
+Gregorian chant notation, as well as limited support for figured bass notation.
Many graphical objects provide a @code{style} property, see
+
@itemize
-@item
-@ref{Ancient note heads},
-@item
-@ref{Ancient accidentals},
-@item
-@ref{Ancient rests},
-@item
-@ref{Ancient clefs},
-@item
-@ref{Ancient flags},
-@item
-@ref{Ancient time signatures}.
+@item @ref{Ancient note heads},
+@item @ref{Ancient accidentals},
+@item @ref{Ancient rests},
+@item @ref{Ancient clefs},
+@item @ref{Ancient flags},
+@item @ref{Ancient time signatures}.
@end itemize
-By manipulating such a grob property, the typographical appearance of
-the affected graphical objects can be accommodated for a specific
-notation flavor without the need for introducing any new notational
-concept.
+By manipulating these grob properties, the typographical appearance of a
+specific type of notation can be accommodated without needing to introduce any
+new notational concepts.
In addition to the standard articulation signs described in
-section @ref{Articulations and ornamentations}, specific
-articulation signs for ancient notation are provided.
+@ref{Articulations and ornamentations}, specific articulation signs for
+Gregorian chant are provided.
@itemize
-@item
-@ref{Ancient articulations}
+@item @ref{Ancient articulations}
@end itemize
-Other aspects of ancient notation can not that easily be expressed
-in terms of just changing a style property of a graphical object or
-adding articulation signs. Some notational concepts are introduced
-specifically for ancient notation,
+Other aspects of ancient notation cannot be easily expressed by changing a
+style property of a graphical object or by adding articulation signs. Some
+notational concepts are introduced specifically for ancient notation,
@itemize
-@item
-@ref{Custodes},
-@item
-@ref{Divisiones},
-@item
-@ref{Ligatures}.
+@item @ref{Custodes},
+@item @ref{Divisiones},
+@item @ref{Ligatures}.
@end itemize
-If this all is too much of documentation for you, and you just want to
-dive into typesetting without worrying too much about the details on
-how to customize a context, you may have a look at the predefined
-contexts. Use them to set up predefined style-specific voice and
-staff contexts, and directly go ahead with the note entry,
+To start typesetting without worrying too much about the details on how to
+customize a context, there are predefined contexts for Gregorian chant and
+mensural notation. They set up predefined style-specific voice and staff
+contexts, and allow one to proceed directly with note entry:
@itemize
-@item
-@ref{Gregorian Chant contexts},
-@item
-@ref{Mensural contexts}.
+@item @ref{Gregorian chant contexts},
+@item @ref{Mensural contexts}.
@end itemize
-There is limited support for figured bass notation which came
-up during the baroque period.
+There is limited support for figured bass notation from the Baroque period:
@itemize
-@item
-@ref{Figured bass}
+@item @ref{Figured bass}
@end itemize
@c Here are all subtopics at a glance:
-@menu
-* Alternative note signs for ancient music::
-* Additional note signs for ancient music::
-* Pre-defined contexts::
-* Musica ficta accidentals::
-* Figured bass::
-@end menu
-@node Alternative note signs for ancient music
-@subsection Alternative note signs for ancient music
+@node Alternative note signs
+@subsection Alternative note signs
@menu
* Ancient note heads::
* Ancient time signatures::
@end menu
+
@node Ancient note heads
@subsubsection Ancient note heads
@cindex note heads, ancient
-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 @internalsref{NoteHead} object to @code{baroque},
-@code{neomensural}, @code{mensural} or @code{petrucci}. The
-@code{baroque} style differs from the @code{default} style only in
-using a square shape for @code{\breve} note heads. The
-@code{neomensural} style differs from the @code{baroque} style in that
-it uses rhomboidal heads for whole notes and all smaller durations.
-Stems are centered on the note heads. This style is particularly
-useful when transcribing mensural music, e.g., for the incipit. The
-@code{mensural} style produces note heads that mimic the look of note
-heads in historic printings of the 16th century. Finally, the
-@code{petrucci} style also mimics historic printings, but uses bigger
-note heads.
+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 @rinternals{NoteHead} object to @code{baroque}, @code{neomensural},
+@code{mensural} or @code{petrucci}.
-The following example demonstrates the @code{neomensural} style
+The @code{baroque} style differs from the @code{default} style by:
+
+@itemize
+@item Providing a @code{maxima} notehead, and
+@item Using a square shape for @code{\breve} note heads.
+@end itemize
+
+The @code{neomensural}, @code{mensural}, and @code{petrucci} styles differ from
+the @code{baroque} style by:
+
+@itemize
+@item Using rhomboidal heads for semibreves and all smaller durations, and
+@item Centering the stems on the note heads.
+@end itemize
+
+The @code{mensural} and @code{petrucci} styles aim to emulate the appearance
+of historic printed music. The @code{petrucci} style uses larger note
+heads.
+
+The following example demonstrates the @code{petrucci} style
+
+@c Renaissance music doesn't use bar lines ... but they do help to
+@c separate the notes for easier identification.
@lilypond[quote,fragment,ragged-right,verbatim]
\set Score.skipBars = ##t
-\override NoteHead #'style = #'neomensural
-a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
+\autoBeamOff
+\override NoteHead #'style = #'petrucci
+a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
@end lilypond
-When typesetting a piece in Gregorian Chant notation, the
-@internalsref{Gregorian_ligature_engraver} will automatically select
-the proper note heads, so there is no need to explicitly set the
-note head style. Still, the note head style can be set, e.g., to
-@code{vaticana_punctum} to produce punctum neumes. Similarly, a
-@internalsref{Mensural_ligature_engraver} is used to automatically
-assemble mensural ligatures. See @ref{Ligatures}, for how ligature
-engravers work.
+When typesetting a piece in Gregorian chant notation, the
+@rinternals{Vaticana_ligature_engraver} automatically selects the proper
+note heads, so there is no need to explicitly set the note head style.
+Still, the note head style can be set, e.g., to @code{vaticana_punctum} to
+produce punctum neumes. Similarly, the
+@rinternals{Mensural_ligature_engraver} automatically assembles mensural
+ligatures. See @ref{Ligatures}, for how ligature engravers work.
@seealso
-@ref{Note head styles}, gives an overview over all available note head styles.
+@ref{Note head styles}, gives an overview of all available note head styles.
@node Ancient accidentals
@cindex accidentals
-
-Use the @code{glyph-name-alist} property of grob
-@internalsref{Accidental} and @internalsref{KeySignature} to select
-ancient accidentals.
+Use the @code{glyph-name-alist} property of grob @rinternals{Accidental} and
+@rinternals{KeySignature} to select ancient accidentals.
@lilypond[quote,ragged-right,staffsize=26]
\score {
Similarly to local accidentals, the style of the key signature can be
controlled by the @code{glyph-name-alist} property of the
-@internalsref{KeySignature} grob.
+@rinternals{KeySignature} grob.
@seealso
accidentals. @ref{Key signature}, gives a general introduction of
the use of key signatures.
-Internals Reference: @internalsref{KeySignature}.
+Internals Reference: @rinternals{KeySignature}.
-Examples: @c @lsrdir{ancient}
@node Ancient rests
@subsubsection Ancient rests
@cindex rests, ancient
-
-Use the @code{style} property of grob @internalsref{Rest} to select
+Use the @code{style} property of grob @rinternals{Rest} to select
ancient rests. Supported styles are @code{classical},
@code{neomensural}, and @code{mensural}. @code{classical} differs
from the @code{default} style only in that the quarter rest looks like
neo-mensural style. Instead, the rests from the default style will be
taken. See @c @lsr{pitches,rests} for a chart of all rests.
-There are no rests in Gregorian Chant notation; instead, it uses
+There are no rests in Gregorian chant notation; instead, it uses
@ref{Divisiones}.
@seealso
@cindex clefs
-
LilyPond supports a variety of clefs, many of them ancient.
The following table shows all ancient clefs that are supported via the
@end lilypond
@end multitable
+@emph{Modern} or @emph{Neo-mensural style} means @qq{as is typeset in
+modern editions of transcribed mensural music.}
-
-@emph{Modern style} means @qq{as is typeset in contemporary editions of
-transcribed mensural music.}
-
-@emph{Petrucci style} means @qq{inspired by printings published by the
-famous engraver Petrucci (1466-1539).}
+@emph{Petrucci style} means @qq{inspired by music published by the famous
+engraver Petrucci (1466-1539).}
@emph{Historic style} means @qq{as was typeset or written in historic
-editions (other than those of Petrucci).}
+editions other than those of Petrucci.}
@emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}
The mensural g clef is mapped to the Petrucci g clef.
-
@node Ancient flags
@subsubsection Ancient flags
@cindex flags
-
-Use the @code{flag-style} property of grob @internalsref{Stem} to
+Use the @code{flag-style} property of grob @rinternals{Stem} to
select ancient flags. Besides the @code{default} flag style,
only the @code{mensural} style is supported
There is no particular flag style for neo-mensural notation. Hence,
when typesetting the incipit of a transcribed piece of mensural
music, the default flag style should be used. There are no flags in
-Gregorian Chant notation.
+Gregorian chant notation.
+
+@seealso
+
+TODO: nothing here yet ...
@knownissues
features of classical notation (which however are typically out of
scope for mensural notation).
+
@node Ancient time signatures
@subsubsection Ancient time signatures
+@cindex mensuration sign
@cindex time signatures
-
-There is limited support for mensural time signatures. The
-glyphs are hard-wired to particular time fractions. In other words,
-to get a particular mensural signature glyph with the @code{\time n/m}
-command, @code{n} and @code{m} have to be chosen according to the
-following table
+There is limited support for mensuration signs (which are similar to, but
+not exactly the same as time signatures). The glyphs are hard-wired to
+particular time fractions. In other words, to get a particular mensuration
+sign with the @code{\time n/m} command, @code{n} and @code{m} have to be
+chosen according to the following table
@lilypond[quote,ragged-right]
\layout {
}
@end lilypond
-Use the @code{style} property of grob @internalsref{TimeSignature} to
+Use the @code{style} property of grob @rinternals{TimeSignature} to
select ancient time signatures. Supported styles are
@code{neomensural} and @code{mensural}. The above table uses the
@code{neomensural} style. This style is appropriate for the
@seealso
-This manual: @ref{Time signature}, gives a general introduction to
+Notation Reference: @ref{Time signature}, gives a general introduction to
the use of time signatures.
@knownissues
Ratios of note durations do not change with the time signature. For
-example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
+example, the ratio of 1 breve = 3 semibreves (@emph{tempus perfectum}) must
be made by hand, by setting
@example
addressable with @code{\time}. Use a @code{\markup} instead
-@node Additional note signs for ancient music
-@subsection Additional note signs for ancient music
+@node Additional note signs
+@subsection Additional note signs
@menu
* Ancient articulations::
}
@end lilypond
+@seealso
+
+TODO: nothing here yet ...
+
@knownissues
Some articulations are vertically placed too closely to the
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
@subsubsection Custodes
like the @emph{editio vaticana}. There are different custos glyphs
used in different flavors of notational style.
-For typesetting custodes, just put a @internalsref{Custos_engraver} into the
-@internalsref{Staff} context when declaring the @code{\layout} block,
+For typesetting custodes, just put a @rinternals{Custos_engraver} into the
+@rinternals{Staff} context when declaring the @code{\layout} block,
as shown in the following example
@example
@seealso
-Internals Reference: @internalsref{Custos}.
+Internals Reference: @rinternals{Custos}.
Examples:
@c @lsr{ancient,custodes@/.ly}.
only marks the end of a chant, but is also frequently used within a
single antiphonal/responsorial chant to mark the end of each section.
-
To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
contains definitions that you can apply by just inserting
@code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
Notation Reference: @ref{Breath marks}.
-Internals Reference: @internalsref{BreathingSign}.
+Internals Reference: @rinternals{BreathingSign}.
Examples: @c @lsr{expressive,breathing-sign.ly}.
Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
Some ligature styles may need additional input syntax specific for
this particular type of ligature. By default, the
-@internalsref{LigatureBracket} engraver just puts a square bracket
+@rinternals{LigatureBracket} engraver just puts a square bracket
above the ligature
@lilypond[quote,ragged-right,verbatim]
@end lilypond
To select a specific style of ligatures, a proper ligature engraver
-has to be added to the @internalsref{Voice} context, as explained in
+has to be added to the @rinternals{Voice} context, as explained in
the following subsections. Only white mensural ligatures
are supported with certain limitations.
+@seealso
+TODO: nothing here yet ...
@knownissues
with the same effect and is believed to be stable.
@menu
-* White mensural ligatures::
-* Gregorian square neumes ligatures::
+* White mensural ligatures::
+* Gregorian square neumes ligatures::
@end menu
+
@node White mensural ligatures
@subsubsection White mensural ligatures
There is limited support for white mensural ligatures.
To engrave white mensural ligatures, in the layout block put the
-@internalsref{Mensural_ligature_engraver} into the
-@internalsref{Voice} context, and remove the
-@internalsref{Ligature_bracket_engraver}, like this
+@rinternals{Mensural_ligature_engraver} into the
+@rinternals{Voice} context, and remove the
+@rinternals{Ligature_bracket_engraver}, like this
@example
\layout @{
}
@end lilypond
-Without replacing @internalsref{Ligature_bracket_engraver} with
-@internalsref{Mensural_ligature_engraver}, the same music transcribes
+Without replacing @rinternals{Ligature_bracket_engraver} with
+@rinternals{Mensural_ligature_engraver}, the same music transcribes
to the following
@lilypond[quote,ragged-right]
}
@end lilypond
+@seealso
+
+TODO: nothing here yet ...
+
@knownissues
Horizontal spacing is poor.
+
@node Gregorian square neumes ligatures
@subsubsection Gregorian square neumes ligatures
@end multitable
-
Unlike most other neumes notation systems, the input language for
neumes does not reflect the typographical appearance, but is designed
to focus on musical meaning. For example, @code{\[ a \pes b
@funindex \augmentum
Use the unary music function @code{\augmentum} to add augmentum dots.
+@seealso
+
+TODO: nothing here yet ...
+
@knownissues
When an @code{\augmentum} dot appears at the end of the last staff
@subsection Pre-defined contexts
@menu
-* Gregorian Chant contexts::
+* Gregorian chant contexts::
* Mensural contexts::
@end menu
-@node Gregorian Chant contexts
-@subsubsection Gregorian Chant contexts
+@node Gregorian chant contexts
+@subsubsection Gregorian chant contexts
@cindex VaticanaVoiceContext
@cindex VaticanaStaffContext
The predefined @code{VaticanaVoiceContext} and
@code{VaticanaStaffContext} can be used to engrave a piece of
-Gregorian Chant in the style of the Editio Vaticana. These contexts
+Gregorian chant in the style of the Editio Vaticana. These contexts
initialize all relevant context properties and grob properties to
proper values, so you can immediately go ahead entering the chant, as
the following excerpt demonstrates
}
@end lilypond
+@seealso
+
+TODO: nothing here yet ...
@node Mensural contexts
@subsubsection Mensural contexts
}
@end lilypond
-@node Musica ficta accidentals
-@subsection Musica ficta accidentals
+@seealso
-In European music from before about 1600, singers were often
-expected to chromatically alter notes at their own initiative.
-This is called @q{Musica Ficta}. In modern transcriptions, these
-accidentals are usually printed over the note.
+TODO: nothing here yet ...
-@cindex Accidental, musica ficta
-@cindex Musica ficta
-Support for such suggested accidentals is included, and can be
-switched on by setting @code{suggestAccidentals} to true.
+@node Transcribing ancient music
+@subsection Transcribing ancient music
-@funindex suggestAccidentals
+@menu
+* Ancient and modern from one source::
+* Incipits::
+* Mensurstriche layout::
+* Transcribing Gregorian chant::
+@end menu
-@lilypond[verbatim,fragment,relative=1]
-fis gis
-\set suggestAccidentals = ##t
-ais bis
-@end lilypond
-This will treat @emph{every} subsequent accidentals as
-@emph{musica ficta} until it is unset with @code{\set
-suggestAccidentals = ##f}. A more convenient way is to use
-@code{\once}:
+@node Ancient and modern from one source
+@subsubsection Ancient and modern from one source
-@lilypond[verbatim,fragment,relative=1]
-fis gis
-\once \set suggestAccidentals = ##t
-ais ais bis
-@end lilypond
+@c TODO Add text
+@c Here among others the snippets about reducing note length
+TBC
@seealso
-Internals Reference: @internalsref{Accidental_engraver} engraver and
-the @internalsref{AccidentalSuggestion} object.
+@c ... and reference to other sections ...
-@node Figured bass
-@subsection Figured bass
-@cindex Basso continuo
+@node Incipits
+@subsubsection Incipits
-@c TODO: musicological blurb about FB
+@c TODO Add text
+@c clefs, mensuration signs etc from lsr and -user
+@c use snippet Transcription-of-ancient-music-with-incipit
+TBC
+@seealso
-LilyPond has support for figured bass
+@c ... and reference to other sections ...
-@lilypond[quote,ragged-right,verbatim,fragment]
-<<
- \new Voice { \clef bass dis4 c d ais g fis}
- \new FiguredBass \figuremode {
- < 6 >4 < 7\+ >8 < 6+ [_!] >
- < 6 >4 <6 5 [3+] >
- < _ >4 < 6 5/>4
- }
->>
-@end lilypond
+@node Mensurstriche layout
+@subsubsection Mensurstriche layout
-The support for figured bass consists of two parts: there is an input
-mode, introduced by @code{\figuremode}, where you can enter bass figures
-as numbers, and there is a context called @internalsref{FiguredBass} that
-takes care of making @internalsref{BassFigure} objects.
+@c TODO Add text
+@c from lsr and -user
+TBC
-In figures input mode, a group of bass figures is delimited by
-@code{<} and @code{>}. The duration is entered after the @code{>}
-@example
-<4 6>
-@end example
-@lilypond[quote,ragged-right,fragment]
-\new FiguredBass
-\figuremode { <4 6> }
-@end lilypond
+@seealso
-Accidentals are added when you append @code{-}, @code{!}, and @code{+}
-to the numbers. A plus sign is added when you append @code{\+}, and
-diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
+@c ... and reference to other sections ...
-@example
-<4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
-@end example
-@lilypond[quote,ragged-right,fragment]
-\figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
-@end lilypond
-Spaces may be inserted by using @code{_}. Brackets are
-introduced with @code{[} and @code{]}. You can also include text
-strings and text markups, see @ref{Text markup commands}.
+@node Transcribing Gregorian chant
+@subsubsection Transcribing Gregorian chant
-@example
-< [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
-@end example
-@lilypond[quote,ragged-right,fragment]
-\new FiguredBass
-\figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
-@end lilypond
+@c TODO Add text
+@c extract from 1.6.1.1
+TBC
+@seealso
-It is also possible to use continuation lines for repeated figures,
+@c ... and reference to other sections ...
-@lilypond[verbatim,relative=1]
-<<
- \new Staff {
- \clef bass
- c4 c c
- }
- \figures {
- \set useBassFigureExtenders = ##t
- <4 6> <3 6> <3 7>
- }
->>
-@end lilypond
-@noindent
-In this case, the extender lines always replace existing figures.
-
-The @code{FiguredBass} context doesn't pay attention to the actual
-bass line. As a consequence, you may have to insert extra figures to
-get extender lines below all notes, and you may have to add @code{\!}
-to avoid getting an extender line, e.g.
-
-@lilypond[relative=1]
-<<
- \new Voice
- \figures {
- \set useBassFigureExtenders = ##t
- <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
- }
- {
- \clef bass
- f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
- }
->>
-@end lilypond
+@node Editorial markings
+@subsection Editorial markings
-When using continuation lines, common figures are always put in the
-same vertical position. When this is unwanted, you can insert a rest
-with @code{r}. The rest will clear any previous alignment. For
-example, you can write
+@menu
+* Annotational accidentals::
+* Baroque rhythmic notation::
+@end menu
-@example
- <4 6>8 r8
-@end example
-@noindent
-instead of
-@example
- <4 6>4
-@end example
-
-Accidentals and plus signs can appear before or after the numbers,
-depending on the @code{figuredBassAlterationDirection} and
-@code{figuredBassPlusDirection}
-properties
-
-@lilypond
- \figures {
- <6\+> <5+> <6 4-> r
- \set figuredBassAlterationDirection = #1
- <6\+> <5+> <6 4-> r
- \set figuredBassPlusDirection = #1
- <6\+> <5+> <6 4-> r
- \set figuredBassAlterationDirection = #-1
- <6\+> <5+> <6 4-> r
- }
-@end lilypond
+@node Annotational accidentals
+@subsubsection Annotational accidentals
+In European music from before about 1600, singers were often
+expected to chromatically alter notes at their own initiative.
+This is called @notation{musica ficta}. In modern transcriptions, these
+accidentals are usually printed over the note.
-Although the support for figured bass may superficially resemble chord
-support, it is much simpler. The @code{\figuremode} mode simply
-stores the numbers and @internalsref{FiguredBass} context prints them
-as entered. There is no conversion to pitches and no realizations of
-the bass are played in the MIDI file.
+@cindex Accidental, musica ficta
+@cindex Musica ficta
-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}.
+Support for such suggested accidentals is included, and can be
+switched on by setting @code{suggestAccidentals} to true.
+@funindex suggestAccidentals
-Figured bass can also be added to @code{Staff} contexts
-directly. In this case, their vertical position is adjusted
-automatically.
+@lilypond[verbatim,fragment,relative=1]
+fis gis
+\set suggestAccidentals = ##t
+ais bis
+@end lilypond
-@lilypond[ragged-right,fragment,quote]
-<<
- \new Staff = someUniqueName
- \relative c'' {
- c4 c'8 r8 c,4 c'
- }
+This will treat @emph{every} subsequent accidental as @emph{musica ficta}
+until it is unset with @code{\set suggestAccidentals = ##f}. A more
+convenient way is to use @code{\once}:
- %% send to existing Staff.
- \context Staff = someUniqueName
- \figuremode {
- <4>4 <6 10>8 s8
-
- \set Staff.useBassFigureExtenders = ##t
- <4 6>4 <4 6>
- }
->>
+@lilypond[verbatim,fragment,relative=1]
+fis gis
+\once \set suggestAccidentals = ##t
+ais ais bis
@end lilypond
+@seealso
-@snippets
+Internals Reference: @rinternals{Accidental_engraver} engraver and
+the @rinternals{AccidentalSuggestion} object.
-By default, this method produces figures above the notes. To get
-figures below the notes, use
-@example
-\override Staff.BassFigureAlignmentPositioning #'direction = #DOWN
-@end example
+@node Baroque rhythmic notation
+@subsubsection Baroque rhythmic notation
+@c TODO Add text
+@c try Till Rettig
+@c Add example of white noteheads:
+@c In the french baroque some composers used white noteheads in slow pieces,
+@c mainly in 3/2-time. A quarter looks there like a eighth with a white
+@c notehead. (Franz-Rudolf Kuhnen)
-@knownissues
+@c TODO Add example of this:
+@c I was referring to e.g. notated a8. a16, which should, if I
+@c remember correctly, be interpreted more like a8.. a32 (in the french
+@c style). The editor might want to show that rythmic figure above the
+@c staff as an hint to performers. (Karl Hammer)
-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, please
-use @code{stacking-dir} on @code{BassFigureAlignment}.
+TBC
@seealso
-Internals Reference: @internalsref{NewBassFigure},
-@internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
-@internalsref{BassFigureBracket}, and
-@internalsref{BassFigureContinuation} objects and
-@internalsref{FiguredBass} context.
-
-
+@c ... and reference to other sections ...
projects / lilypond.git / blobdiff