@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 to automatically fill in these menus before saving changes
-@node Instrument-specific notation
-@chapter Instrument-specific notation
+@node Other instrument-specific
+@section Other instrument-specific
-This chapter explains how to use notation for specific instruments.
+This section includes extra information for writing for instruments.
@menu
-* Piano music::
-* Chord names::
-* Vocal music::
-* Rhythmic music::
-* Guitar::
+* Orchestral strings::
* Bagpipe::
-* Ancient notation::
-* Other instrument specific notation::
-@end menu
-
-
-
-@node Piano music
-@section Piano music
-
-Piano staves are two normal staves coupled with a brace. The staves
-are largely independent, but sometimes voices can cross between the
-two staves. The same notation is also used for harps and other key
-instruments. The @internalsref{PianoStaff} is especially built to
-handle this cross-staffing behavior. In this section we discuss the
-@internalsref{PianoStaff} and some other pianistic peculiarities.
-
-@menu
-* Automatic staff changes::
-* Manual staff switches::
-* Pedals::
-* Staff switch lines::
-* Cross staff stems::
@end menu
-@refbugs
-
-Dynamics are not centered, but workarounds do exist. See the
-@q{piano centered dynamics} template in @ref{Piano templates}.
-
-@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
-@cindex Automatic staff changes
-Voices can be made to switch automatically between the top and the bottom
-staff. The syntax for this is
+@node Orchestral strings
+@subsection Orchestral strings
-@quotation
-@example
-\autochange @dots{}@var{music}@dots{}
-@end example
-@end quotation
-
-@noindent
-This will create two staves inside the current PianoStaff, called
-@code{up} and @code{down}. The lower staff will be in bass clef by
-default.
-
-A @code{\relative} section that is outside of @code{\autochange} has
-no effect on the pitches of @var{music}, so, if necessary, put
-@code{\relative} inside @code{\autochange} like
-
-@quotation
-@example
-\autochange \relative @dots{} @dots{}
-@end example
-@end quotation
+@anchor{Artificial harmonics (strings)}
+@unnumberedsubsubsec Artificial harmonics (strings)
+@cindex artificial harmonics
-The autochanger switches on basis of the pitch (middle C is the turning
-point), and it looks ahead skipping over rests to switch in
-advance. Here is a practical example
+Artificial harmonics are notated with a different notehead style. They
+are entered by marking the harmonic pitch with @code{\harmonic}.
-@lilypond[quote,verbatim,ragged-right]
-\new PianoStaff
- \autochange \relative c'
- {
- g4 a b c d r4 a g
- }
+@lilypond[ragged-right,verbatim,quote,fragment,relative=1]
+<c g'\harmonic>4
@end lilypond
-@seealso
-
-In this manual: @ref{Manual staff switches}.
-
-Program reference: @internalsref{AutoChangeMusic}.
-
-
-
-@refbugs
-
-The staff switches may not end up in optimal places. For high
-quality output, staff switches should be specified manually.
-
-
-@code{\autochange} cannot be inside @code{\times}.
-
+@node Bagpipe
+@subsection Bagpipe
-@node Manual staff switches
-@subsection Manual staff switches
+@anchor{Bagpipe definitions}
+@unnumberedsubsubsec Bagpipe definitions
-@cindex manual staff switches
-@cindex staff switch, manual
+LilyPond contains special definitions for music for the Scottish
+highland bagpipe; to use them, add
-Voices can be switched between staves manually, using the command
@example
-\change Staff = @var{staffname} @var{music}
+\include "bagpipe.ly"
@end example
@noindent
-The string @var{staffname} is the name of the staff. It switches the
-current voice from its current staff to the Staff called
-@var{staffname}. Typically @var{staffname} is @code{"up"} or
-@code{"down"}. The @context{Staff} referred to must already exist, so
-usually the setup for a score will start with a setup of the staves,
-
-@example
-<<
- \new Staff = "up" @{
- \skip 1 * 10 % @emph{keep staff alive}
- @}
- \new Staff = "down" @{
- \skip 1 * 10 % @emph{idem}
- @}
->>
-@end example
-
-
-and the @context{Voice} is inserted afterwards
-
-@example
-\context Staff = down
- \new Voice @{ @dots{} \change Staff = up @dots{} @}
-@end example
-
-
-@node Pedals
-@subsection Pedals
-@cindex Pedals
-
-Pianos have pedals that alter the way sound is produced. Generally, a
-piano has three pedals, sustain, una corda, and sostenuto.
-
-
-Piano pedal instruction can be expressed by attaching
-@code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
-@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
-note or chord
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-c'4\sustainDown c'4\sustainUp
-@end lilypond
-
-What is printed can be modified by setting @code{pedal@var{X}Strings},
-where @var{X} is one of the pedal types: @code{Sustain},
-@code{Sostenuto} or @code{UnaCorda}. Refer to
-@internalsref{SustainPedal} in the program reference for more
-information.
-
-Pedals can also be indicated by a sequence of brackets, by setting the
-@code{pedalSustainStyle} property to bracket objects
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\set Staff.pedalSustainStyle = #'bracket
-c\sustainDown d e
-b\sustainUp\sustainDown
-b g \sustainUp a \sustainDown \bar "|."
-@end lilypond
-
-A third style of pedal notation is a mixture of text and brackets,
-obtained by setting the @code{pedalSustainStyle} property to
-@code{mixed}
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\set Staff.pedalSustainStyle = #'mixed
-c\sustainDown d e
-b\sustainUp\sustainDown
-b g \sustainUp a \sustainDown \bar "|."
-@end lilypond
-
-The default @q{*Ped.} style for sustain and damper pedals corresponds to
-style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
-default.
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-c\sostenutoDown d e c, f g a\sostenutoUp
-@end lilypond
-
-For fine-tuning the appearance of a pedal bracket, the properties
-@code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
-@code{PianoPedalBracket} objects (see
-@internalsref{PianoPedalBracket} in the Program reference) can be
-modified. For example, the bracket may be extended to the right edge
-of the note head
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
-c\sostenutoDown d e c, f g a\sostenutoUp
-@end lilypond
-
-@seealso
-
-In this manual: @ref{Laissez vibrer ties}
-
-@node Staff switch lines
-@subsection Staff switch lines
-
-
-@cindex follow voice
-@cindex staff switching
-@cindex cross staff
-
-@funindex followVoice
-
-Whenever a voice switches to another staff, a line connecting the notes
-can be printed automatically. This is switched on by setting
-@code{followVoice} to true
-
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
-\new PianoStaff <<
- \new Staff="one" {
- \set followVoice = ##t
- c1
- \change Staff=two
- b2 a
- }
- \new Staff="two" { \clef bass \skip 1*2 }
->>
-@end lilypond
-
-@seealso
-
-Program reference: @internalsref{VoiceFollower}.
-
-@refcommands
-
-@funindex \showStaffSwitch
-@code{\showStaffSwitch},
-@funindex \hideStaffSwitch
-@code{\hideStaffSwitch}.
-
-
-@node Cross staff stems
-@subsection Cross staff stems
-
-Chords that cross staves may be produced by increasing the length
-of the stem in the lower staff, so it reaches the stem in the upper
-staff, or vice versa.
-
-@lilypond[ragged-right,verbatim,quote]
-stemExtend = \once \override Stem #'length = #22
-noFlag = \once \override Stem #'flag-style = #'no-flag
-\new PianoStaff <<
- \new Staff {
- \stemDown \stemExtend
- f'4
- \stemExtend \noFlag
- f'8
- }
- \new Staff {
- \clef bass
- a4 a8
- }
->>
-@end lilypond
-
-
-
-@node Chord names
-@section Chord names
-
-@menu
-* Introducing chord names::
-* Chords mode::
-* Printing chord names::
-@end menu
-
-
-@c awkward name; awkward section name.
-@c still, the Basic "chords" seems like a good name... :(
-@node Introducing chord names
-@subsection Introducing chord names
-@cindex chord names
-
-LilyPond has support for printing chord names. Chords may be entered
-in musical chord notation, i.e., @code{< .. >}, but they can also be
-entered by name. Internally, the chords are represented as a set of
-pitches, so they can be transposed
-
-
-@lilypond[quote,ragged-right,verbatim,ragged-right]
-twoWays = \transpose c c' {
- \chordmode {
- c1 f:sus4 bes/f
- }
- <c e g>
- <f bes c'>
- <f bes d'>
-}
-
-<< \new ChordNames \twoWays
- \new Voice \twoWays >>
-@end lilypond
-
-This example also shows that the chord printing routines do not try to
-be intelligent. The last chord (@code{f bes d}) is not interpreted as
-an inversion.
-
-Note that the duration of chords must be specified outside the
-@code{<>}.
+at the top of your input file. This lets you add the special gracenotes
+common to bagpipe music with short commands. For example, you could
+write @code{\taor} instead of
@example
-<c e g>2
+\grace @{ \small G32[ d G e] @}
@end example
+@code{bagpipe.ly} also contains pitch definitions for the bagpipe
+notes in the appropriate octaves, so you do not need to worry about
+@code{\relative} or @code{\transpose}.
-@node Chords mode
-@subsection Chords mode
-@cindex Chords mode
-
-In chord mode sets of pitches (chords) are entered with normal note
-names. A chord is entered by the root, which is entered like a
-normal pitch
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\chordmode { es4. d8 c2 }
-@end lilypond
-
-@noindent
-The mode is introduced by the keyword @code{\chordmode}.
-
-@cindex chord entry
-@cindex chord mode
-
-Other chords may be entered by suffixing a colon and introducing a
-modifier (which may include a number if desired)
-@lilypond[quote,fragment,verbatim]
-\chordmode { e1:m e1:7 e1:m7 }
-@end lilypond
-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]
-\chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
-@end lilypond
-
-@cindex root of chord
-@cindex additions, in chords
-@cindex removals, in chords
-
-More complex chords may also be constructed adding separate steps
-to a chord. Additions are added after the number following
-the colon and are separated by dots
-@lilypond[quote,verbatim,fragment]
-\chordmode { c:5.6 c:3.7.8 c:3.6.13 }
-@end lilypond
-Chord steps can be altered by suffixing a @code{-} or @code{+} sign
-to the number
-@lilypond[quote,verbatim,fragment]
-\chordmode { c:7+ c:5+.3- c:3-.5-.7- }
-@end lilypond
-Removals are specified similarly and are introduced by a caret. They
-must come after the additions
-@lilypond[quote,verbatim,fragment]
-\chordmode { c^3 c:7^5 c:9^3.5 }
-@end lilypond
-
-Modifiers can be used to change pitches. The following modifiers are
-supported
-
-@table @code
-@item m
-The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
-
-@item dim
-The diminished chord. This modifier lowers the 3rd, 5th and (if present)
-the 7th step.
-
-@item aug
-The augmented chord. This modifier raises the 5th step.
-
-@item maj
-The major 7th chord. This modifier raises the 7th step if present.
-
-@item sus
-The suspended 4th or 2nd. This modifier removes the 3rd
-step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
-the chord.
-@end table
-
-Modifiers can be mixed with additions
-@lilypond[quote,verbatim,fragment]
- \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
-@end lilypond
-
-@cindex modifiers, in chords.
-@funindex aug
-@funindex dim
-@funindex maj
-@funindex sus
-@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
-explicitly)
-@lilypond[quote,ragged-right,fragment,verbatim]
-\chordmode { c:13 c:13.11 c:m13 }
-@end lilypond
-
-@funindex /
-
-An inversion (putting one pitch of the chord on the bottom), as well
-as bass notes, can be specified by appending
-@code{/}@var{pitch} to the chord
-@lilypond[quote,ragged-right,fragment,verbatim]
-\chordmode { c1 c/g c/f }
-@end lilypond
-@funindex /+
-
-A bass note can be added instead transposed out of the chord,
-by using @code{/+}@var{pitch}.
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\chordmode { c1 c/+g c/+f }
-@end lilypond
-
-Chords is a mode similar to @code{\lyricmode}, etc. Most
-of the commands continue to work, for example, @code{r} and
-@code{\skip} can be used to insert rests and spaces, and property
-commands may be used to change various settings.
-
-
-
-@refbugs
-
-Each step can only be present in a chord once. The following
-simply produces the augmented chord, since @code{5+} is interpreted
-last
-@cindex clusters
-@lilypond[quote,ragged-right,verbatim,fragment]
-\chordmode { c:5.5-.5+ }
+@lilypond[ragged-right,verbatim,quote,notime]
+\include "bagpipe.ly"
+{ \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
@end lilypond
+Bagpipe music nominally uses the key of D Major (even though that
+isn't really true). However, since that is the only key that can be used,
+the key signature is normally not written out. To set this up correctly,
+always start your music with @code{\hideKeySignature}. If you for some
+reason want to show the key signature, you can use @code{\showKeySignature}
+instead.
-@node Printing chord names
-@subsection Printing chord names
-
-@cindex printing chord names
-@cindex chord names
-@cindex chords
+Some modern music use cross fingering on c and f to flatten those notes.
+This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
+piobaireachd high g can be written @code{gflat} when it occurs in light
+music.
-For displaying printed chord names, use the @internalsref{ChordNames} context.
-The chords may be entered either using the notation
-described above, or directly using @code{<} and @code{>}
-@lilypond[quote,verbatim,ragged-right]
-harmonies = {
- \chordmode {a1 b c} <d' f' a'> <e' g' b'>
-}
-<<
- \new ChordNames \harmonies
- \new Staff \harmonies
->>
-@end lilypond
+@anchor{Bagpipe example}
+@unnumberedsubsubsec Bagpipe example
-You can make the chord changes stand out by setting
-@internalsref{ChordNames}.@code{chordChanges} to true. This will only
-display chord names when there is a change in the chords scheme and at
-the start of a new line
+This is what the well known tune Amazing Grace looks like in bagpipe
+notation.
-@lilypond[quote,verbatim,ragged-right]
-harmonies = \chordmode {
- c1:m c:m \break c:m c:m d
+@lilypond[verbatim,quote]
+\include "bagpipe.ly"
+\layout {
+ indent = 0.0\cm
+ \context { \Score \remove "Bar_number_engraver" }
}
-<<
- \new ChordNames {
- \set chordChanges = ##t
- \harmonies }
- \new Staff \transpose c c' \harmonies
->>
-@end lilypond
-The previous examples all show chords over a staff. This is not
-necessary. Chords may also be printed separately. It may be necessary
-to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
-for showing repeats.
-
-@lilypond[ragged-right,verbatim]
-\new ChordNames \with {
- \override BarLine #'bar-size = #4
- voltaOnThisStaff = ##t
- \consists Bar_engraver
- \consists "Volta_engraver"
-}
-\chordmode { \repeat volta 2 {
- f1:maj7 f:7 bes:7
- c:maj7
-} \alternative {
- es e
-}
+\header {
+ title = "Amazing Grace"
+ meter = "Hymn"
+ arranger = "Trad. arr."
}
-@end lilypond
-
-
-The default chord name layout is a system for Jazz music, proposed by
-Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
-following properties
-
-@table @code
-@funindex chordNameExceptions
-@item chordNameExceptions
-This is a list that contains the chords that have special formatting.
-
-The exceptions list should be encoded as
-@example
-@{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
-@end example
-
-To get this information into @code{chordNameExceptions} takes a little
-manoeuvring. The following code transforms @code{chExceptionMusic}
-(which is a sequential music) into a list of exceptions.
-@example
-(sequential-music-to-chord-exceptions chExceptionMusic #t)
-@end example
-Then,
-@example
-(append
- (sequential-music-to-chord-exceptions chExceptionMusic #t)
- ignatzekExceptions)
-@end example
-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
-@inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
-@cindex exceptions, chord names.
-
-
-@funindex majorSevenSymbol
-@item majorSevenSymbol
-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.
-@funindex chordNameSeparator
-@item chordNameSeparator
-Different parts of a chord name are normally separated by a
-slash. By setting @code{chordNameSeparator}, you can specify other
-separators, e.g.,
-@lilypond[quote,ragged-right,fragment,verbatim]
-\new ChordNames \chordmode {
- c:7sus4
- \set chordNameSeparator
- = \markup { \typewriter "|" }
- c:7sus4
+{
+ \hideKeySignature
+ \time 3/4
+ \grg \partial 4 a8. d16
+ \slurd d2 \grg f8[ e32 d16.]
+ \grg f2 \grg f8 e
+ \thrwd d2 \grg b4
+ \grG a2 \grg a8. d16
+ \slurd d2 \grg f8[ e32 d16.]
+ \grg f2 \grg e8. f16
+ \dblA A2 \grg A4
+ \grg A2 f8. A16
+ \grg A2 \hdblf f8[ e32 d16.]
+ \grg f2 \grg f8 e
+ \thrwd d2 \grg b4
+ \grG a2 \grg a8. d16
+ \slurd d2 \grg f8[ e32 d16.]
+ \grg f2 e4
+ \thrwd d2.
+ \slurd d2
+ \bar "|."
}
@end lilypond
-@funindex chordRootNamer
-@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 @q{H} for a
-B-chord) can be produced by storing a new function in this property.
-
-@funindex chordNoteNamer
-@item chordNoteNamer
-The default is to print single pitch, e.g., the bass note, using the
-@code{chordRootNamer}. The @code{chordNoteNamer} property can be set
-to a specialized function to change this behavior. For example, the
-base can be printed in lower case.
-
-@funindex chordPrefixSpacer
-@item chordPrefixSpacer
-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
-between the root and @q{m}. The spacer is not used when the root
-is altered.
-
-@end table
-
-The predefined variables @code{\germanChords},
-@code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
-set these variables. The effect is
-demonstrated here,
-
-@lilypondfile[ragged-right]{chord-names-languages.ly}
-
-There are also two other chord name schemes implemented: an alternate
-Jazz chord notation, and a systematic scheme called Banter chords. The
-alternate Jazz notation is also shown on the chart in @ref{Chord name
-chart}. Turning on these styles is described in the input file
-@inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
-
-@cindex Banter
-@cindex jazz chords
-@cindex chords, jazz
-
-
-@refcommands
-
-@funindex \germanChords
-@code{\germanChords},
-@funindex \semiGermanChords
-@code{\semiGermanChords}.
-@funindex \italianChords
-@code{\italianChords}.
-@funindex \frenchChords
-@code{\frenchChords}.
-
-@seealso
-
-Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
-@inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
-@inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
-
-
-Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
-@file{scm/@/chord@/-entry@/.scm}.
-
-
-@refbugs
-
-Chord names are determined solely from the list of pitches. Chord
-inversions are not identified, and neither are added bass notes. This
-may result in strange chord names when chords are entered with the
-@code{< .. >} syntax.
-
-
-
-@node Vocal music
-@section Vocal music
-
-Since LilyPond input files are text, there are two issues to
-consider when working with vocal music:
-
-@itemize @bullet
-@item
-Song texts must be entered as text, not notes. For example, the
-input@tie{}@code{d} should be interpreted as a one letter syllable, not the
-note@tie{}D.
-
-@item
-Song texts must be aligned with the notes of their melody.
-@end itemize
-
-There are a few different ways to define lyrics; the simplest
-way is to use the @code{\addlyrics} function.
-
-@menu
-* Setting simple songs::
-* Entering lyrics::
-* Hyphens and extenders::
-* The Lyrics context::
-* Melismata::
-* Another way of entering lyrics::
-* Flexibility in placement::
-* Spacing lyrics::
-* More about stanzas::
-* Ambitus::
-* Other vocal issues::
-@end menu
-
-
-@commonprop
-
-Checking to make sure that text scripts and lyrics are within the margins is
-a relatively large computational task. To speed up processing, lilypond does
-not perform such calculations by default; to enable it, use
-
-@example
-\override Score.PaperColumn #'keep-inside-line = ##t
-@end example
-
-To make lyrics avoid barlines as well, use
-@example
-\layout @{
- \context @{
- \Lyrics
- \consists "Bar_engraver"
- \consists "Separating_line_group_engraver"
- \override BarLine #'transparent = ##t
- @}
-@}
-@end example
-
-
-@node Setting simple songs
-@subsection Setting simple songs
-
-The easiest way to add lyrics to a melody is to append
-@cindex \addlyrics
-@example
-\addlyrics @{ @var{the lyrics} @}
-@end example
-
-@noindent
-to a melody. Here is an example,
-
-@lilypond[ragged-right,verbatim,fragment,quote]
-\time 3/4
-\relative { c2 e4 g2. }
-\addlyrics { play the game }
-@end lilypond
-
-More stanzas can be added by adding more
-@code{\addlyrics} sections
-
-@lilypond[ragged-right,verbatim,fragment,quote]
-\time 3/4
-\relative { c2 e4 g2. }
-\addlyrics { play the game }
-\addlyrics { speel het spel }
-\addlyrics { joue le jeu }
-@end lilypond
-
-The command @code{\addlyrics} cannot handle polyphony settings. For these
-cases you should use @code{\lyricsto} and @code{\lyricmode}.
-
-
-
-@node Entering lyrics
-@subsection Entering lyrics
-
-@cindex lyrics
-@funindex \lyricmode
-@cindex punctuation
-
-Lyrics are entered in a special input mode. This mode is introduced
-by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
-@code{\lyricsto}. In this mode you can enter lyrics,
-with punctuation and accents, and the input @code{d} is not parsed as
-a pitch, but rather as a one letter syllable. Syllables are entered
-like notes, but with pitches replaced by text. For example,
-@example
-\lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
-@end example
-
-There are two main methods to specify the horizontal placement
-of the syllables, either by specifying the duration of each syllable
-explicitly, like in the example above, or by automatically aligning
-the lyrics to a melody or other voice of music, using @code{\addlyrics}
-or @code{\lyricsto}. For more details see @ref{The Lyrics context}.
-
-A word or syllable of lyrics begins with an alphabetic character, and ends
-with
-any space or digit. The following characters can be any character
-that is not a digit or white space. One important consequence of this
-is that a word can end with @code{@}}. The following example is
-usually a mistake in the input file. The syllable includes a @code{@}}, so
-the
-opening brace is not balanced
-@example
-\lyricmode @{ twinkle@}
-@end example
-
-@funindex \property in \lyricmode
-
-@noindent
-Similarly, a period which follows an alphabetic sequence is included in
-the resulting string. As a consequence, spaces must be inserted around
-property commands
-@example
-\override Score . LyricText #'font-shape = #'italic
-@end example
-
-@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 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 }
-\addlyrics { pu- ro~yho- nes- to }
-@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
-non-ascii 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.
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\relative { e4 f e d e f e2 }
-\addlyrics { He said: “Let my peo ple go”. }
-@end lilypond
-
-To use normal quotes in lyrics, add a backslash before the
-quotes. For example,
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
-\addlyrics { "\"I" am so lone- "ly\"" said she }
-@end lilypond
-
-The full definition of a word start in Lyrics mode is somewhat more
-complex.
-
-A word in Lyrics mode begins with: an alphabetic character, @code{_},
-@code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
-through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
-any 8-bit character with ASCII code over 127, or a two-character
-combination of a backslash followed by one of @code{`}, @code{'},
-@code{"}, or @code{^}.
-
-To define indentifiers containing lyrics, the function @code{lyricmode}
-must be used.
-
-@example
-verseOne = \lyricmode @{ Joy to the world the Lord is come @}
-\score @{
- <<
- \new Voice = "one" \relative c'' @{
- \autoBeamOff
- \time 2/4
- c4 b8. a16 g4. f8 e4 d c2
- @}
- \addlyrics @{ \verseOne @}
- >>
-@}
-@end example
-
-
-@seealso
-
-Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
-
-
-
-@node Hyphens and extenders
-@subsection Hyphens and extenders
-
-@cindex hyphens
-
-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.
-
-@cindex melisma
-@cindex extender
-
-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
-@samp{__}.
-
-In tighly engraved music, hyphens can be removed. Whether this
-happens can be controlled with the @code{minimum-distance} (minimum
-distance between two syllables) and the @code{minimum-length}
-(threshold below which hyphens are removed).
-
-@seealso
-
-Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
-
-
-
-@node The Lyrics context
-@subsection The Lyrics context
-
-Lyrics are printed by interpreting them in the context called
-@internalsref{Lyrics}.
-
-@example
-\new Lyrics \lyricmode @dots{}
-@end example
-
-@cindex automatic syllable durations
-@funindex \lyricsto
-@cindex lyrics and melodies
-
-This will place the lyrics according to the durations that were
-entered. The lyrics can also be aligned under a given melody
-automatically. In this case, it is no longer necessary to enter the
-correct duration for each syllable. This is achieved by combining the
-melody and the lyrics with the @code{\lyricsto} expression
-
-@example
-\new Lyrics \lyricsto @var{name} @dots{}
-@end example
-
-This aligns the lyrics to the
-notes of the @internalsref{Voice} context called @var{name}, which must
-already exist. Therefore normally the @code{Voice} is specified first, and
-then the lyrics are specified with @code{\lyricsto}. The command
-@code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
-@code{\lyricmode} keyword may be omitted.
-
-The following example uses different commands for entering lyrics.
-
-@lilypond[quote,fragment,ragged-right,verbatim]
-<<
- \new Voice = "one" \relative c'' {
- \autoBeamOff
- \time 2/4
- c4 b8. a16 g4. f8 e4 d c2
- }
- \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
- \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
- \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
->>
-@end lilypond
-
-The second stanza is not properly aligned because the durations
-were not specified. A solution for that would be to use @code{\lyricsto}.
-
-The @code{\addlyrics} command is actually just a convenient way
-to write a more complicated LilyPond structure that sets up the
-lyrics.
-
-@example
-@{ MUSIC @}
-\addlyrics @{ LYRICS @}
-@end example
-
-@noindent
-is the same as
-
-@example
-\new Voice = "blah" @{ music @}
-\new Lyrics \lyricsto "blah" @{ LYRICS @}
-@end example
-
-For different or more complex orderings, the best way is to setup the
-hierarchy of staves and lyrics first, e.g.,
-@example
-\new ChoirStaff <<
- \new Voice = "soprano" @{ @emph{music} @}
- \new Lyrics = "sopranoLyrics" @{ s1 @}
- \new Lyrics = "tenorLyrics" @{ s1 @}
- \new Voice = "tenor" @{ @emph{music} @}
->>
-@end example
-
-and then combine the appropriate melodies and lyric lines
-
-@example
-\context Lyrics = sopranoLyrics \lyricsto "soprano"
- @emph{the lyrics}
-@end example
-
-@noindent
-The final input would resemble
-
-@example
-<<\new ChoirStaff << @emph{setup the music} >>
- \lyricsto "soprano" @emph{etc}
- \lyricsto "alto" @emph{etc}
- @emph{etc}
->>
-@end example
-
-@seealso
-
-Program reference: @internalsref{LyricCombineMusic},
-@internalsref{Lyrics}.
-
-
-@node Melismata
-@subsection Melismata
-
-The @code{\lyricsto} command detects melismata: it only puts one
-syllable under a tied or slurred group of notes. If you want to force
-an unslurred group of notes to be a melisma, insert @code{\melisma}
-after the first note of the group, and @code{\melismaEnd} after the
-last one, e.g.,
-
-@lilypond[quote,relative=2,ragged-right,fragment,verbatim]
-<<
- \new Voice = "lala" {
- \time 3/4
- f4 g8
- \melisma
- f e f
- \melismaEnd
- e2
- }
- \new Lyrics \lyricsto "lala" {
- la di __ daah
- }
->>
-@end lilypond
-
-In addition, notes are considered a melisma if they are manually
-beamed, and automatic beaming (see @ref{Setting automatic beam
-behavior}) is switched off.
-
-@cindex SATB
-@cindex choral score
-
-A complete example of a SATB score setup is in section
-@ref{Vocal ensembles}.
-
-
-@refcommands
-
-@code{\melisma}, @code{\melismaEnd}
-@funindex \melismaEnd
-@funindex \melisma
-
-@seealso
-
-Program reference: @internalsref{Melisma_translator}.
-
-
-@inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
-
-@refbugs
-
-Melismata are not detected automatically, and extender lines must be
-inserted by hand.
-
-
-@node Another way of entering lyrics
-@subsection Another way of entering lyrics
-
-Lyrics can also be entered without @code{\lyricsto}. In this case the
-duration of each syllable must be entered explicitly, for example,
-
-@example
-play2 the4 game2.
-sink2 or4 swim2.
-@end example
-
-The alignment to a melody can be specified with the
-@code{associatedVoice} property,
-
-@example
-\set associatedVoice = #"lala"
-@end example
-
-@noindent
-The value of the property (here: @code{"lala"}) should be the name of
-a @internalsref{Voice} context. Without this setting, extender lines
-will not be formatted properly.
-
-Here is an example demonstrating manual lyric durations,
-
-@lilypond[relative=1,ragged-right,verbatim,fragment,quote]
-<< \new Voice = "melody" {
- \time 3/4
- c2 e4 g2.
- }
- \new Lyrics \lyricmode {
- \set associatedVoice = #"melody"
- play2 the4 game2.
- } >>
-@end lilypond
-
-
-@c TODO: document \new Staff << Voice \lyricsto >> bug
-
-@node Flexibility in placement
-@subsection Flexibility in placement
-
-Often, different stanzas of one song are put to one melody in slightly
-differing ways. Such variations can still be captured with
-@code{\lyricsto}.
-
-@menu
-* Lyrics to multiple notes of a melisma::
-* Divisi lyrics::
-* Switching the melody associated with a lyrics line::
-* Specifying melismata within the lyrics::
-* Lyrics independent of notes::
-@end menu
-
-@node Lyrics to multiple notes of a melisma
-@subsubsection Lyrics to multiple notes of a melisma
-
-
-One possibility is that the text has a melisma in one stanza, but
-multiple syllables in another one. One solution is to make the faster
-voice ignore the melisma. This is done by setting
-@code{ignoreMelismata} in the Lyrics context.
-
-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,
-
-@lilypond[verbatim,ragged-right,quote]
-<<
- \relative \new Voice = "lahlah" {
- \set Staff.autoBeaming = ##f
- c4
- \slurDotted
- f8.[( g16])
- a4
- }
- \new Lyrics \lyricsto "lahlah" {
- more slow -- ly
- }
- \new Lyrics \lyricsto "lahlah" {
- \set ignoreMelismata = ##t % applies to "fas"
- go fas -- ter
- \unset ignoreMelismata
- still
- }
->>
-@end lilypond
-
-
-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
-lyrics. For every @code{\skip}, the text will be delayed another note.
-For example,
-
-@lilypond[verbatim,ragged-right,quote]
-\relative { c c g' }
-\addlyrics {
- twin -- \skip 4
- kle
-}
-@end lilypond
-
-
-@node Divisi lyrics
-@subsubsection Divisi lyrics
-
-You can display alternate (or divisi) lyrics by naming voice
-contexts and attaching lyrics to those specific contexts.
-
-@lilypond[verbatim,ragged-right,quote]
-\score{ <<
- \new Voice = "melody" {
- \relative c' {
- c4
- <<
- { \voiceOne c8 e }
- \new Voice = "splitpart" { \voiceTwo c4 }
- >>
- \oneVoice c4 c | c
- }
- }
- \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
- \new Lyrics \lyricsto "splitpart" { will }
->> }
-@end lilypond
-
-
-You can use this trick to display different lyrics for a repeated
-section.
-
-@lilypond[verbatim,ragged-right,quote]
-\score{ <<
- \new Voice = "melody" \relative c' {
- c2 e | g e | c1 |
- \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
- a2 b | c1}
- \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
- do mi sol mi do
- la si do }
- \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
- do re mi fa sol }
- \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
- dodo rere mimi fafa solsol }
->>
-}
-@end lilypond
-
-
-
-@node Switching the melody associated with a lyrics line
-@subsubsection Switching the melody associated with a lyrics line
-
-More complex variations in text underlay are possible. It is possible
-to switch the melody for a line of lyrics during the text. This is
-done by setting the @code{associatedVoice} property. In the example
-
-@lilypond[ragged-right,quote]
-<<
- \relative \new Voice = "lahlah" {
- \set Staff.autoBeaming = ##f
- c4
- <<
- \new Voice = "alternative" {
- \voiceOne
- \times 2/3 {
- % show associations clearly.
- \override NoteColumn #'force-hshift = #-3
- f8 f g
- }
- }
- {
- \voiceTwo
- f8.[ g16]
- \oneVoice
- } >>
- a8( b) c
- }
- \new Lyrics \lyricsto "lahlah" {
- Ju -- ras -- sic Park
- }
- \new Lyrics \lyricsto "lahlah" {
- % Tricky: need to set associatedVoice
- % one syllable too soon!
- \set associatedVoice = alternative % applies to "ran"
- Ty --
- ran --
- no --
- \set associatedVoice = lahlah % applies to "rus"
- sau -- rus Rex
- } >>
-@end lilypond
-
-@noindent
-the text for the first stanza is set to a melody called @q{lahlah},
-
-@example
-\new Lyrics \lyricsto "lahlah" @{
- Ju -- ras -- sic Park
-@}
-@end example
-
-
-The second stanza initially is set to the @code{lahlah} context, but
-for the syllable @q{ran}, it switches to a different melody.
-This is achieved with
-@example
-\set associatedVoice = alternative
-@end example
-
-@noindent
-Here, @code{alternative} is the name of the @code{Voice} context
-containing the triplet.
-
-Again, the command must be one syllable too early, before @q{Ty} in
-this case.
-
-@example
-\new Lyrics \lyricsto "lahlah" @{
- \set associatedVoice = alternative % applies to "ran"
- Ty --
- ran --
- no --
- \set associatedVoice = lahlah % applies to "rus"
- sau -- rus Rex
-@}
-@end example
-
-@noindent
-The underlay is switched back to the starting situation by assigning
-@code{lahlah} to @code{associatedVoice}.
-
-
-@node Specifying melismata within the lyrics
-@subsubsection Specifying melismata within the lyrics
-
-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.
-
-@lilypond[relative=1,verbatim,fragment,quote]
-{ \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
-set @code{melismaBusyProperties}, as is done in the example above.
-
-
-@node Lyrics independent of notes
-@subsubsection Lyrics independent of notes
-
-In some complex vocal music, it may be desirable to place
-lyrics completely independently of notes. Music defined
-inside @code{lyricrhythm} disappears into the
-@code{Devnull} context, but the rhythms can still be used
-to place the lyrics.
-
-@lilypond[quote,verbatim,ragged-right]
-voice = {
- c''2
- \tag #'music { c''2 }
- \tag #'lyricrhythm { c''4. c''8 }
- d''1
-}
-
-lyr = \lyricmode { I like my cat! }
-
-<<
- \new Staff \keepWithTag #'music \voice
- \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
- \new Lyrics \lyricsto "nowhere" \lyr
- \new Staff { c'8 c' c' c' c' c' c' c'
- c' c' c' c' c' c' c' c' }
->>
-@end lilypond
-
-
-@node Spacing lyrics
-@subsection Spacing lyrics
-
-@cindex Spacing lyrics
-@cindex Lyrics, increasing space between
-
-To increase the spacing between lyrics, set the minimum-distance property of
-LyricSpace.
-
-@lilypond[relative,verbatim,fragment,quote,ragged-right]
-{
- c c c c
- \override Lyrics.LyricSpace #'minimum-distance = #1.0
- c c c c
-}
-\addlyrics {
- longtext longtext longtext longtext
- longtext longtext longtext longtext
-}
-@end lilypond
-
-To make this change for all lyrics in the score, set the property in the
-layout.
-
-@lilypond[relative,verbatim,quote,ragged-right]
-\score {
- {
- c c c c
- c c c c
- }
- \addlyrics {
- longtext longtext longtext longtext
- longtext longtext longtext longtext
- }
- \layout {
- \context {
- \Lyrics
- \override LyricSpace #'minimum-distance = #1.0
- }
- }
-}
-@end lilypond
-
-
-@node More about stanzas
-@subsection More about stanzas
-
-@cindex phrasing, in lyrics
-
-
-@cindex stanza number
-@cindex singer's names
-@cindex name of singer
-
-Stanza numbers can be added by setting @code{stanza}, e.g.,
-
-@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
-\new Voice {
- \time 3/4 g2 e4 a2 f4 g2.
-} \addlyrics {
- \set stanza = "1. "
- Hi, my name is Bert.
-} \addlyrics {
- \set stanza = "2. "
- Oh, che -- ri, je t'aime
-}
-@end lilypond
-
-These numbers are put just before the start of first syllable.
-
-Sometimes it is appropriate to have one stanza set
-to the music, and the rest added in verse form at
-the end of the piece. This can be accomplished by adding
-the extra verses into a @code{\markup} section outside
-of the main score block. Notice that there are two
-different ways to force linebreaks when using
-@code{\markup}.
-
-@lilypond[ragged-right,verbatim,quote]
-melody = \relative c' {
-e d c d | e e e e |
-d d e d | c1 |
-}
-
-text = \lyricmode {
-\set stanza = "1." Ma- ry had a lit- tle lamb,
-its fleece was white as snow.
-}
-
-\book{
- \score{ <<
- \new Voice = "one" { \melody }
- \new Lyrics \lyricsto "one" \text
- >>
- \layout { }
- }
- \markup { \column{
- \line{ Verse 2. }
- \line{ All the children laughed and played }
- \line{ To see a lamb at school. }
- }
- }
- \markup{
- \wordwrap-string #"
- Verse 3.
-
- Mary took it home again,
-
- It was against the rule."
- }
-}
-@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}.
-
-
-@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
-
-
-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[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
-
-
-@seealso
-
-Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber},
-@internalsref{VocalName}.
-
-
-
-@node Ambitus
-@subsection Ambitus
-@cindex ambitus
-
-The term @emph{ambitus} denotes a range of pitches for a given voice
-in a part of music. It may also denote the pitch range that a musical
-instrument is capable of playing. Ambits are printed on vocal parts,
-so performers can easily determine it meets their capabilities.
-
-Ambits are denoted at the beginning of a piece near the initial clef.
-The range is graphically specified by two note heads that represent the
-minimum and maximum pitch. To print such ambits, add the
-@internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
-for example,
-
-@example
-\layout @{
- \context @{
- \Voice
- \consists Ambitus_engraver
- @}
-@}
-@end example
-
-This results in the following output
-
-@lilypond[quote,ragged-right]
-\layout {
- \context {
- \Staff
- \consists Ambitus_engraver
- }
-}
-
-\relative \new Staff {
- as'' c e2 cis,2
-}
-@end lilypond
-
-If you have multiple voices in a single staff and you want a single
-ambitus per staff rather than per each voice, add the
-@internalsref{Ambitus_engraver} to the @internalsref{Staff} context
-rather than to the @internalsref{Voice} context. Here is an example,
-
-@lilypond[verbatim,ragged-right,quote]
-\new Staff \with {
- \consists "Ambitus_engraver"
-}
-<<
- \new Voice \with {
- \remove "Ambitus_engraver"
- } \relative c'' {
- \override Ambitus #'X-offset = #-1.0
- \voiceOne
- c4 a d e f2
- }
- \new Voice \with {
- \remove "Ambitus_engraver"
- } \relative c' {
- \voiceTwo
- es4 f g as b2
- }
->>
-@end lilypond
-
-@noindent
-This example uses one advanced feature,
-
-@example
-\override Ambitus #'X-offset = #-1.0
-@end example
-
-@noindent
-This code moves the ambitus to the left. The same effect could have
-been achieved with @code{extra-offset}, but then the formatting system
-would not reserve space for the moved object.
-
-@seealso
-
-Program reference: @internalsref{Ambitus},
-@internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
-@internalsref{AmbitusAccidental}.
-
-Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
-
-@refbugs
-
-There is no collision handling in the case of multiple per-voice
-ambitus.
-
-
-@node Other vocal issues
-@subsection Other vocal issues
-
-@ignore
-yeah, I'm giving up somewhat by stuffing a bunch of things in
-here. But at least they're in the manual now; it's easier to
-move them around in the manual once they're already here.
-
-Besides, if users complain about everything stuffed in here, I
-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
-
-@q{Parlato} is spoken without pitch but still with rhythm; it is
-notated by cross noteheads. This is demonstrated in
-@ref{Special noteheads}.
-
-
-
-
-
-@node Rhythmic music
-@section Rhythmic music
-
-Rhythmic music is primarily used for percussion and drum notation, but it can
-also be used to show the rhythms of melodies.
-
-@menu
-* Showing melody rhythms::
-* Entering percussion::
-* Percussion staves::
-* Ghost notes::
-@end menu
-
-
-@node Showing melody rhythms
-@subsection Showing melody rhythms
-
-Sometimes you might want to show only the rhythm of a melody. This
-can be done with the rhythmic staff. All pitches of notes on such a
-staff are squashed, and the staff itself has a single line
-
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
-\new RhythmicStaff {
- \time 4/4
- c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
-}
-@end lilypond
-
-@seealso
-
-Program reference: @internalsref{RhythmicStaff}.
-
-Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
-
-
-@node Entering percussion
-@subsection Entering percussion
-
-@cindex percussion
-@cindex drums
-
-
-Percussion notes may be entered in @code{\drummode} mode, which is
-similar to the standard mode for entering notes. Each piece of
-percussion has a full name and an abbreviated name, and both can be used
-in input files
-
-@lilypond[quote,ragged-right,verbatim]
-\drums {
- hihat hh bassdrum bd
-}
-@end lilypond
-
-The complete list of drum names is in the init file
-@file{ly/@/drumpitch@/-init@/.ly}.
-@c TODO: properly document this.
-
-@seealso
-
-Program reference: @internalsref{note-event}.
-
-@node Percussion staves
-@subsection Percussion staves
-@cindex percussion
-@cindex drums
-
-A percussion part for more than one instrument typically uses a
-multiline staff where each position in the staff refers to one piece
-of percussion.
-
-
-To typeset the music, the notes must be interpreted in a
-@internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
-
-@lilypond[quote,ragged-right,verbatim]
-up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
-down = \drummode { bassdrum4 snare8 bd r bd sn4 }
- \new DrumStaff <<
- \new DrumVoice { \voiceOne \up }
- \new DrumVoice { \voiceTwo \down }
- >>
-@end lilypond
-
-The above example shows verbose polyphonic notation. The short
-polyphonic notation, described in @ref{Basic polyphony}, can also be used if
-the @internalsref{DrumVoice}s are instantiated by hand first. For example,
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\new DrumStaff <<
- \new DrumVoice = "1" { s1 *2 }
- \new DrumVoice = "2" { s1 *2 }
- \drummode {
- bd4 sn4 bd4 sn4
- <<
- { \repeat unfold 16 hh16 }
- \\
- { bd4 sn4 bd4 sn4 }
- >>
- }
->>
-@end lilypond
-
-
-There are also other layout possibilities. To use these, set the
-property @code{drumStyleTable} in context @internalsref{DrumVoice}.
-The following variables have been predefined
-
-@table @code
-@item drums-style
-This is the default. It typesets a typical drum kit on a five-line staff
-
-@lilypond[quote,line-width=10.0\cm]
-nam = \lyricmode {
- cymc cyms cymr hh hhc hho hhho hhp
- cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
-mus = \drummode {
- cymc cyms cymr hh hhc hho hhho hhp \break
- cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
-\score {
- << \new DrumStaff \with {
- \remove Bar_engraver
- \remove Time_signature_engraver
- \override Stem #'transparent = ##t
- \override Stem #'Y-extent-callback = ##f
- \override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
- } \mus
- \new Lyrics \nam
- >>
- \layout {
- \context {
- \Score
- \override LyricText #'font-family = #'typewriter
- \override BarNumber #'transparent =##T
- }
- }
-}
-@end lilypond
-
-The drum scheme supports six different toms. When there are fewer toms,
-simply select the toms that produce the desired result, i.e., to get toms
-on the three middle lines you use @code{tommh}, @code{tomml}, and
-@code{tomfh}.
-
-@item timbales-style
-This typesets timbales on a two line staff
-
-@lilypond[quote,ragged-right]
-nam = \lyricmode { timh ssh timl ssl cb }
-mus = \drummode { timh ssh timl ssl cb s16 }
-
-<<
- \new DrumStaff \with {
- \remove Bar_engraver
- \remove Time_signature_engraver
- \override Stem #'transparent = ##t
- \override Stem #'Y-extent-callback = ##f
- \override StaffSymbol #'line-count = #2
- \override StaffSymbol #'staff-space = #2
- \override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
- drumStyleTable = #timbales-style
- } \mus
- \new Lyrics {
- \override LyricText #'font-family = #'typewriter
- \nam
- }
->>
-@end lilypond
-
-@item congas-style
-This typesets congas on a two line staff
-
-@lilypond[quote,ragged-right]
-nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
-mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
-
-<<
- \new DrumStaff \with {
- \remove Bar_engraver
- \remove Time_signature_engraver
- drumStyleTable = #congas-style
- \override StaffSymbol #'line-count = #2
-
- %% this sucks; it will lengthen stems.
- \override StaffSymbol #'staff-space = #2
- \override Stem #'transparent = ##t
- \override Stem #'Y-extent-callback = ##f
- } \mus
- \new Lyrics {
- \override LyricText #'font-family = #'typewriter
- \nam
- }
->>
-@end lilypond
-
-@item bongos-style
-This typesets bongos on a two line staff
-
-@lilypond[quote,ragged-right]
-nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
-mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
-
-<<
- \new DrumStaff \with {
- \remove Bar_engraver
- \remove Time_signature_engraver
- \override StaffSymbol #'line-count = #2
- drumStyleTable = #bongos-style
-
- %% this sucks; it will lengthen stems.
- \override StaffSymbol #'staff-space = #2
- \override Stem #'transparent = ##t
- \override Stem #'Y-extent-callback = ##f
- } \mus
- \new Lyrics {
- \override LyricText #'font-family = #'typewriter
- \nam
- }
->>
-@end lilypond
-
-@item percussion-style
-To typeset all kinds of simple percussion on one line staves.
-
-@lilypond[quote,ragged-right]
-nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
-mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
-
-<<
- \new DrumStaff \with{
- \remove Bar_engraver
- drumStyleTable = #percussion-style
- \override StaffSymbol #'line-count = #1
- \remove Time_signature_engraver
- \override Stem #'transparent = ##t
- \override Stem #'Y-extent-callback = ##f
- } \mus
- \new Lyrics {
- \override LyricText #'font-family = #'typewriter
- \nam
- }
->>
-@end lilypond
-@end table
-
-If you do not like any of the predefined lists you can define your own
-list at the top of your file
-
-@lilypond[quote,ragged-right,verbatim]
-#(define mydrums '(
- (bassdrum default #f -1)
- (snare default #f 0)
- (hihat cross #f 1)
- (pedalhihat xcircle "stopped" 2)
- (lowtom diamond #f 3)))
-up = \drummode { hh8 hh hh hh hhp4 hhp }
-down = \drummode { bd4 sn bd toml8 toml }
-
-\new DrumStaff <<
- \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
- \new DrumVoice { \voiceOne \up }
- \new DrumVoice { \voiceTwo \down }
->>
-@end lilypond
-
-
-@seealso
-
-Init files: @file{ly/@/drumpitch@/-init@/.ly}.
-
-Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
-
-@refbugs
-
-Because general MIDI does not contain rim shots, the sidestick is used
-for this purpose instead.
-
-
-@c FIXME: check name -gp
-@node Ghost notes
-@subsection Ghost notes
-
-Ghost notes for drums and percussion may be created using the
-@code{\parenthesize} command detailed in @ref{Parentheses}. However,
-the default @code{\drummode} does
-not include the @code{Parenthesis_engraver} plugin which allows
-this. You
-must add the plugin explicitly in the context definition as
-detailed in @ref{Changing context properties on the fly}.
-
-@lilypond[quote,ragged-right,verbatim,fragment]
-\new DrumStaff \with {
- \consists "Parenthesis_engraver"
-} <<
- \context DrumVoice = "1" { s1 *2 }
- \context DrumVoice = "2" { s1 *2 }
- \drummode {
- <<
- {
- hh8[ hh] <hh sn> hh16
- < \parenthesize sn > hh < \parenthesize
- sn > hh8 <hh sn> hh
- } \\ {
- bd4 r4 bd8 bd r8 bd
- }
- >>
- }
->>
-@end lilypond
-
-@noindent
-Also note that you must add chords (@code{< >} brackets)
-around each @code{\parenthesize} statement.
-
-
-@node Guitar
-@section Guitar
-
-@cindex tablature
-@cindex guitar tablature
-
-@menu
-* String number indications::
-* Tablatures basic::
-* Non-guitar tablatures::
-* Banjo tablatures::
-* Fret diagrams::
-* Right hand fingerings::
-* Other guitar issues::
-@end menu
-
-@node String number indications
-@subsection String number indications
-
-@cindex String numbers
-
-String numbers can be added to chords, by indicating the string number
-with @code{\}@var{number},
-
-@lilypond[relative,relative=1,ragged-right,fragment]
-<c\1 e\2 g\3>
-@end lilypond
-
-See also @inputfileref{input/regression,string-number.ly}.
-
-
-@seealso
-
-Program reference: @internalsref{StringNumber}.
-
-
-@node Tablatures basic
-@subsection Tablatures basic
-@cindex Tablatures basic
-
-Tablature notation is used for notating music for plucked string
-instruments. Pitches are not denoted with note heads, but by
-numbers indicating on which string and fret a note must be played. LilyPond
-offers limited support for tablature.
-
-The string number associated to a note is given as a backslash
-followed by a number, e.g., @code{c4\3} for a C quarter on the third
-string. By default, string 1 is the highest one, and the tuning
-defaults to the standard guitar tuning (with 6 strings). The notes
-are printed as tablature, by using @internalsref{TabStaff} and
-@internalsref{TabVoice} contexts
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\new TabStaff {
- a,4\5 c'\2 a\3 e'\1
- e\4 c'\2 a\3 e'\1
-}
-@end lilypond
-
-@funindex minimumFret
-@cindex fret
-
-When no string is specified, the first string that does not give a
-fret number less than @code{minimumFret} is selected. The default
-value for @code{minimumFret} is 0
-
-
-@example
-e16 fis gis a b4
-\set TabStaff.minimumFret = #8
-e16 fis gis a b4
-@end example
-@lilypond[quote,ragged-right]
-frag = {
- \key e \major
- e16 fis gis a b4
- \set TabStaff.minimumFret = #8
- e16 fis gis a b4
-}
- \new StaffGroup <<
- \new Staff { \clef "G_8" \frag }
- \new TabStaff { \frag }
- >>
-@end lilypond
-
-
-@commonprop
-
-To print tablatures with stems down and horizontal beams,
-initialize the @code{TabStaff} with this code:
-
-@example
-\stemDown
-\override Beam #'damping = #100000
-@end example
-
-@seealso
-
-Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
-
-@refbugs
-
-Chords are not handled in a special way, and hence the automatic
-string selector may easily select the same string to two notes in a
-chord.
-
-
-@node Non-guitar tablatures
-@subsection Non-guitar tablatures
-@cindex Non-guitar tablatures
-
-You can change the tuning of the strings. A string tuning is given as
-a Scheme list with one integer number for each string, the number
-being the pitch (measured in semitones relative to middle C) of an
-open string. The numbers specified for @code{stringTuning} are the
-numbers of semitones to subtract or add, starting the specified pitch
-by default middle C, in string order. LilyPond automatically calculates
-the number of strings by looking at @code{stringTuning}.
-
-In the next example,
-@code{stringTunings} is set for the pitches e, a, d, and g
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\new TabStaff <<
- \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
- {
- a,4 c' a e' e c' a e'
- }
->>
-@end lilypond
-
-LilyPond comes with predefined string tunings for banjo, mandolin, guitar
-and bass guitar.
-
-@example
-\set TabStaff.stringTunings = #bass-tuning
-@end example
-
-The default string tuning is @code{guitar-tuning} (the standard EADGBE
-tuning).
-Some other predefined tunings are @code{guitar-open-g-tuning},
-@code{mandolin-tuning} and @code{banjo-open-g-tuning}.
-
-@seealso
-
-The file @file{scm/@/output@/-lib@/.scm} contains the predefined string
-tunings.
-Program reference: @internalsref{Tab_note_heads_engraver}.
-
-@refbugs
-
-No guitar special effects have been implemented.
-
-
-
-@node Banjo tablatures
-@subsection Banjo tablatures
-@cindex Banjo tablatures
-
-LilyPond has basic support for five stringed banjo. When making tablatures
-for five stringed banjo, use the banjo tablature format function to get
-correct
-fret numbers for the fifth string:
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\new TabStaff <<
- \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo
- \set TabStaff.stringTunings = #banjo-open-g-tuning
- {
- \stemDown
- g8 d' g'\5 a b g e d' |
- g4 d''8\5 b' a'\2 g'\5 e'\2 d' |
- g4
- }
->>
-@end lilypond
-
-A number of common tunings for banjo are predefined in LilyPond:
-@code{banjo-c-tuning} (gCGBD), @code{banjo-modal-tuning} (gDGCD),
-@code{banjo-open-d-tuning} (aDF#AD) and @code{banjo-open-dm-tuning}
-(aDFAD).
-
-These tunings may be converted to four string banjo tunings using the
-@code{four-string-banjo} function:
-
-@example
-\set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
-@end example
-
-@seealso
-
-The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings.
-
-
-@node Fret diagrams
-@subsection Fret diagrams
-@cindex fret diagrams
-@cindex chord diagrams
-
-Fret diagrams can be added to music as a markup to the desired note. The
-markup contains information about the desired fret diagram, as shown in the
-following example
-
-@lilypond[verbatim, ragged-right, quote]
-\new Voice {
- d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
- d' d' d'
- fis'^\markup \override #'(size . 0.75) {
- \override #'(finger-code . below-string) {
- \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
- (place-fret 5 4 3) (place-fret 4 4 4)
- (place-fret 3 3 2) (place-fret 2 2 1)
- (place-fret 1 2 1))
- }
- }
- fis' fis' fis'
- c'^\markup \override #'(dot-radius . 0.35) {
- \override #'(finger-code . in-dot) {
- \override #'(dot-color . white) {
- \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
- }
- }
- }
- c' c' c'
-}
-@end lilypond
-
-
-There are three different fret-diagram markup interfaces: standard, terse,
-and verbose. The three interfaces produce equivalent markups, but have
-varying amounts of information in the markup string. Details about the
-markup interfaces are found at @ref{Overview of text markup commands}.
-
-You can set a number of graphical properties according to your preference.
-Details about the property interface to fret diagrams are found at
-@internalsref{fret-diagram-interface}.
-
-
-@seealso
-
-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
-
-This example demonstrates how to include guitar position and
-barring indications.
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=0]
-\clef "G_8"
-b16 d16 g16 b16 e16
-\textSpannerDown
-\override TextSpanner #'edge-text = #'("XII " . "")
- g16\startTextSpan
- b16 e16 g16 e16 b16 g16\stopTextSpan
-e16 b16 g16 d16
-@end lilypond
-
-
-Stopped (X) note heads are used in guitar music to signal a place where the
-guitarist must play a certain note or chord, with its fingers just
-touching the strings instead of fully pressing them. This gives the sound a
-percussive noise-like sound that still maintains part of the original
-pitch. It is notated with cross noteheads; this is
-demonstrated in @ref{Special noteheads}.
-
-
-@node Bagpipe
-@section Bagpipe
-
-@cindex Bagpipe
-
-@menu
-* Bagpipe definitions::
-* Bagpipe example::
-@end menu
-
-
-@node Bagpipe definitions
-@subsection Bagpipe definitions
-
-LilyPond contains special definitions for music for the Scottish
-highland bagpipe; to use them, add
-
-@example
-\include "bagpipe.ly"
-@end example
-
-@noindent
-at the top of your input file. This lets you add the special gracenotes
-common to bagpipe music with short commands. For example, you could
-write @code{\taor} instead of
-
-@example
-\grace @{ \small G32[ d G e] @}
-@end example
-
-@code{bagpipe.ly} also contains pitch definitions for the bagpipe
-notes in the appropiate octaves, so you do not need to worry about
-@code{\relative} or @code{\transpose}.
-
-@lilypond[ragged-right,verbatim,quote,notime]
-\include "bagpipe.ly"
-{ \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
-@end lilypond
-
-Bagpipe music nominally uses the key of D Major (even though that
-isn't really true). However, since that is the only key that can be used,
-the key signature is normally not written out. To set this up correctly,
-always start your music with @code{\hideKeySignature}. If you for some
-reason want to show the key signature, you can use @code{\showKeySignature}
-instead.
-
-Some modern music use cross fingering on c and f to flatten those notes.
-This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
-piobaireachd high g can be written @code{gflat} when it occurs in light
-music.
-
-
-@node Bagpipe example
-@subsection Bagpipe example
-
-This is what the well known tune Amazing Grace looks like in bagpipe
-notation.
-
-@lilypond[verbatim,quote]
-\include "bagpipe.ly"
-\layout {
- indent = 0.0\cm
- \context { \Score \remove "Bar_number_engraver" }
-}
-
-\header {
- title = "Amazing Grace"
- meter = "Hymn"
- arranger = "Trad. arr."
-}
-
-{
- \hideKeySignature
- \time 3/4
- \grg \partial 4 a8. d16
- \slurd d2 \grg f8[ e32 d16.]
- \grg f2 \grg f8 e
- \thrwd d2 \grg b4
- \grG a2 \grg a8. d16
- \slurd d2 \grg f8[ e32 d16.]
- \grg f2 \grg e8. f16
- \dblA A2 \grg A4
- \grg A2 f8. A16
- \grg A2 \hdblf f8[ e32 d16.]
- \grg f2 \grg f8 e
- \thrwd d2 \grg b4
- \grG a2 \grg a8. d16
- \slurd d2 \grg f8[ e32 d16.]
- \grg f2 e4
- \thrwd d2.
- \slurd d2
- \bar "|."
-}
-@end lilypond
-
-
-@node Ancient notation
-@section Ancient notation
-
-@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.
-
-Many graphical objects provide a @code{style} property, see
-@itemize @bullet
-@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.
-
-In addition to the standard articulation signs described in section
-@ref{Articulations}, specific articulation signs for ancient notation
-are provided.
-
-@itemize @bullet
-@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,
-
-@itemize @bullet
-@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,
-
-@itemize @bullet
-@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.
-
-@itemize @bullet
-@item
-@ref{Figured bass}
-@end itemize
-
-Here are all suptopics at a glance:
-
-@menu
-* Ancient note heads::
-* Ancient accidentals::
-* Ancient rests::
-* Ancient clefs::
-* Ancient flags::
-* Ancient time signatures::
-* Ancient articulations::
-* Custodes::
-* Divisiones::
-* Ligatures::
-* Gregorian Chant contexts::
-* Mensural contexts::
-* Musica ficta accidentals::
-* Figured bass::
-@end menu
-
-
-
-@node Ancient note heads
-@subsection 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 mimicks historic printings, but uses bigger
-note heads.
-
-The following example demonstrates the @code{neomensural} style
-
-@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
-@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.
-
-@seealso
-
-Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
-overview over all available note head styles.
-
-
-@node Ancient accidentals
-@subsection Ancient accidentals
-
-@cindex accidentals
-
-
-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 {
-{
- \fatText
- s^\markup {
- \column {
- "vaticana"
- \line { " " \musicglyph #"accidentals.vaticana-1"
- " " \musicglyph #"accidentals.vaticana0" }
- }
- \column {
- "medicaea"
- \line { " " \musicglyph #"accidentals.medicaea-1" }
- }
- \column {
- "hufnagel"
- \line { " " \musicglyph #"accidentals.hufnagel-1" }
- }
- \column {
- "mensural"
- \line { " " \musicglyph #"accidentals.mensural-1"
- " " \musicglyph #"accidentals.mensural1" }
- }
- }
-}
-\layout {
- interscoreline = 1
- \context { \Score \remove "Bar_number_engraver" }
- \context { \Staff
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \remove "Time_signature_engraver"
- \remove "Staff_symbol_engraver"
- \override VerticalAxisGroup #'minimum-Y-extent = ##f
- }
- }
-}
-@end lilypond
-
-As shown, not all accidentals are supported by each style. When
-trying to access an unsupported accidental, LilyPond will switch to a
-different style, as demonstrated in
-@inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
-
-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.
-
-@seealso
-
-In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
-@ref{Automatic accidentals} give a general introduction of the use of
-accidentals. @ref{Key signature} gives a general introduction of
-the use of key signatures.
-
-Program reference: @internalsref{KeySignature}.
-
-Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
-
-@node Ancient rests
-@subsection Ancient rests
-
-@cindex rests, ancient
-
-
-Use the @code{style} property of grob @internalsref{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
-a horizontally mirrored 8th rest. The @code{neomensural} style suits
-well for, e.g., the incipit of a transcribed mensural piece of music.
-The @code{mensural} style finally mimics the appearance of rests as
-in historic prints of the 16th century.
-
-The following example demonstrates the @code{neomensural} style
-
-@lilypond[quote,fragment,ragged-right,verbatim]
-\set Score.skipBars = ##t
-\override Rest #'style = #'neomensural
-r\longa r\breve r1 r2 r4 r8 r16
-@end lilypond
-
-There are no 32th and 64th rests specifically for the mensural or
-neo-mensural style. Instead, the rests from the default style will be
-taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
-rests.
-
-There are no rests in Gregorian Chant notation; instead, it uses
-@ref{Divisiones}.
-
-@seealso
-
-In this manual: @ref{Rests} gives a general introduction into the use of
-rests.
-
-
-@node Ancient clefs
-@subsection Ancient clefs
-
-@cindex clefs
-
-
-LilyPond supports a variety of clefs, many of them ancient.
-
-The following table shows all ancient clefs that are supported via 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.
-Still, 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.
-
-@multitable @columnfractions .4 .4 .2
-@item
-@b{Description}
-@tab
-@b{Supported Clefs}
-@tab
-@b{Example}
-
-@item
-modern style mensural C clef
-@tab
-@code{neomensural-c1}, @code{neomensural-c2},@*
-@code{neomensural-c3}, @code{neomensural-c4}
-@tab
-@lilypond[fragment,relative=1,notime]
- \clef "neomensural-c2" c
-@end lilypond
-
-@item
-petrucci style mensural C clefs, for use on different staff lines
-(the examples show the 2nd staff line C clef)
-@tab
-@code{petrucci-c1}, @code{petrucci-c2},@*
-@code{petrucci-c3}, @code{petrucci-c4},@*
-@code{petrucci-c5}
-@tab
-@lilypond[fragment,relative=1,notime]
- \clef "petrucci-c2"
- \override NoteHead #'style = #'mensural
- c
-@end lilypond
-
-@item
-petrucci style mensural F clef
-@tab
-@code{petrucci-f}
-@tab
-@lilypond[fragment,relative=1,notime]
- \clef "petrucci-f"
- \override NoteHead #'style = #'mensural
- c
-@end lilypond
-
-@item
-petrucci style mensural G clef
-@tab
-@code{petrucci-g}
-@tab
-@lilypond[fragment,relative=1,notime]
- \clef "petrucci-g"
- \override NoteHead #'style = #'mensural
- c
-@end lilypond
-
-@item
-historic style mensural C clef
-@tab
-@code{mensural-c1}, @code{mensural-c2},@*
-@code{mensural-c3}, @code{mensural-c4}
-@tab
-@lilypond[fragment,relative=1,notime]
- \clef "mensural-c2"
- \override NoteHead #'style = #'mensural
- c
-@end lilypond
-
-@item
-historic style mensural F clef
-@tab
-@code{mensural-f}
-@tab
-@lilypond[fragment,relative=1,notime]
- \clef "mensural-f"
- \override NoteHead #'style = #'mensural
- c
-@end lilypond
-
-@item
-historic style mensural G clef
-@tab
-@code{mensural-g}
-@tab
-@lilypond[fragment,relative=1,notime]
- \clef "mensural-g"
- \override NoteHead #'style = #'mensural
- c
-@end lilypond
-
-@item
-Editio Vaticana style do clef
-@tab
-@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
- \clef "vaticana-do2"
- c
-@end lilypond
-
-@item
-Editio Vaticana style fa clef
-@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
- \clef "vaticana-fa2"
- c
-@end lilypond
-
-@item
-Editio Medicaea style do clef
-@tab
-@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
- \clef "medicaea-do2"
- c
-@end lilypond
-
-@item
-Editio Medicaea style fa clef
-@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
- \clef "medicaea-fa2"
- c
-@end lilypond
-
-@item
-historic style hufnagel do clef
-@tab
-@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
- \clef "hufnagel-do2"
- c
-@end lilypond
-
-@item
-historic style hufnagel fa clef
-@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
- \clef "hufnagel-fa2"
- c
-@end lilypond
-
-@item
-historic style hufnagel combined do/fa clef
-@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
- \clef "hufnagel-do-fa"
- c
-@end lilypond
-@end multitable
-
-
-
-@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{Historic style} means @qq{as was typeset or written in historic
-editions (other than those of Petrucci).}
-
-@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.
-
-@seealso
-
-In this manual: see @ref{Clef}.
-
-@refbugs
-
-The mensural g clef is mapped to the Petrucci g clef.
-
-
-
-@node Ancient flags
-@subsection Ancient flags
-
-@cindex flags
-
-
-Use the @code{flag-style} property of grob @internalsref{Stem} to
-select ancient flags. Besides the @code{default} flag style,
-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
-\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
-@end lilypond
-
-Note that the innermost flare of each mensural flag always is
-vertically aligned with a staff line.
-
-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.
-
-@refbugs
-
-The attachment of ancient flags to stems is slightly off due to a
-change in early 2.3.x.
-
-Vertically aligning each flag with a staff line assumes that stems
-always end either exactly on or exactly in the middle between two
-staff lines. This may not always be true when using advanced layout
-features of classical notation (which however are typically out of
-scope for mensural notation).
-
-@node Ancient time signatures
-@subsection Ancient time signatures
-
-@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
-
-@lilypond[quote,ragged-right]
-\layout {
- indent = 0.0
- \context {
- \Staff
- \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
-#"timesig.neomensural44" }
- s
- s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
-#"timesig.neomensural22" }
- s
- s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
-#"timesig.neomensural64" }
- s
- s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
-#"timesig.neomensural68" }
- \break
- s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
-#"timesig.neomensural32" }
- s
- s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
-#"timesig.neomensural34" }
- s
- s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
-#"timesig.neomensural94" }
- s
- s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
-#"timesig.neomensural98" }
- \break
- s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
-#"timesig.neomensural48" }
- s
- s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
-#"timesig.neomensural24" }
-}
-@end lilypond
-
-Use the @code{style} property of grob @internalsref{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
-incipit of transcriptions of mensural pieces. The @code{mensural}
-style mimics the look of historical printings of the 16th century.
-
-The following examples show the differences in style,
-
-@lilypond[ragged-right,fragment,relative=1,quote]
-{
- \fatText
-
- \time 2/2
- c1^\markup { \hspace #-2.0 \typewriter default }
-
- \override Staff.TimeSignature #'style = #'numbered
- \time 2/2
- c1^\markup { \hspace #-2.0 \typewriter numbered }
-
- \override Staff.TimeSignature #'style = #'mensural
- \time 2/2
- c1^\markup { \hspace #-2.0 \typewriter mensural }
-
- \override Staff.TimeSignature #'style = #'neomensural
- \time 2/2
- c1^\markup { \hspace #-2.0 \typewriter neomensural }
- \override Staff.TimeSignature #'style = #'single-digit
- \time 2/2
- c1^\markup { \hspace #-2.0 \typewriter single-digit }
-}
-@end lilypond
-
-@seealso
-
-This manual: @ref{Time signature} gives a general introduction to
-the use of time signatures.
-
-@refbugs
-
-Ratios of note durations do not change with the time signature. For
-example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
-be made by hand, by setting
-
-@example
-breveTP = #(ly:make-duration -1 0 3 2)
-@dots{}
-@{ c\breveTP f1 @}
-@end example
-
-@noindent
-This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
-
-The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
-addressable with @code{\time}. Use a @code{\markup} instead
-
-@node Ancient articulations
-@subsection Ancient articulations
-
-@cindex articulations
-
-In addition to the standard articulation signs described in section
-@ref{Articulations}, articulation signs for ancient notation are
-provided. These are specifically designed for use with notation in
-Editio Vaticana style.
-
-@lilypond[quote,ragged-right,verbatim]
-\include "gregorian-init.ly"
-\score {
- \new VaticanaVoice {
- \override TextScript #'font-family = #'typewriter
- \override TextScript #'font-shape = #'upright
- \override Script #'padding = #-0.1
- 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
-
-@refbugs
-
-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
-
-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.
-
-Custodes were frequently used in music notation until the 17th
-century. Nowadays, they have survived only in a few particular forms
-of musical notation such as contemporary editions of Gregorian chant
-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,
-as shown in the following example
-
-@example
-\layout @{
- \context @{
- \Staff
- \consists Custos_engraver
- Custos \override #'style = #'mensural
- @}
-@}
-@end example
-
-The result looks like this
-
-@lilypond[quote,ragged-right]
-\score {
-{
- a'1
- \override Staff.Custos #'style = #'mensural
- \break
- g'
-}
-\layout {
- \context { \Staff \consists Custos_engraver }
- }
-}
-@end lilypond
-
-The custos glyph is selected by the @code{style} property. The styles
-supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
-@code{mensural}. They are demonstrated in the following fragment
-
-@lilypond[quote,ragged-right,fragment]
-\new Lyrics \lyricmode {
- \markup { \column {
- \typewriter "vaticana"
- \line { " " \musicglyph #"custodes.vaticana.u0" }
- } }
- \markup { \column {
- \typewriter "medicaea"
- \line { " " \musicglyph #"custodes.medicaea.u0" }
- }}
- \markup { \column {
- \typewriter "hufnagel"
- \line { " " \musicglyph #"custodes.hufnagel.u0" }
- }}
- \markup { \column {
- \typewriter "mensural"
- \line { " " \musicglyph #"custodes.mensural.u0" }
- }}
-}
-@end lilypond
-
-@seealso
-
-Program reference: @internalsref{Custos}.
-
-Examples: @inputfileref{input/@/regression,custos@/.ly}.
-
-
-@node Divisiones
-@subsection Divisiones
-
-@cindex divisio
-@cindex divisiones
-@cindex finalis
-
-A @emph{divisio} (plural: @emph{divisiones}; Latin word for
-@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
-the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
-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},
-and @code{\finalis} at proper places in the input. Some editions use
-@emph{virgula} or @emph{caesura} instead of divisio minima.
-Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
-@code{\caesura}
-
-@lilypondfile[quote,ragged-right]{divisiones.ly}
-
-@refcommands
-
-@funindex \virgula
-@code{\virgula},
-@funindex \caesura
-@code{\caesura},
-@funindex \divisioMinima
-@code{\divisioMinima},
-@funindex \divisioMaior
-@code{\divisioMaior},
-@funindex \divisioMaxima
-@code{\divisioMaxima},
-@funindex \finalis
-@code{\finalis}.
-
-@seealso
-
-In this manual: @ref{Breath marks}.
-
-Program reference: @internalsref{BreathingSign}.
-
-Examples: @inputfileref{input/@/test,divisiones@/.ly}.
-
-@node Ligatures
-@subsection Ligatures
-
-@cindex Ligatures
-
-@c TODO: Should double check if I recalled things correctly when I wrote
-@c down the following paragraph by heart.
-
-A ligature is a graphical symbol that represents at least two distinct
-notes. Ligatures originally appeared in the manuscripts of Gregorian
-chant notation to denote ascending or descending sequences of notes.
-
-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
-above the ligature
-
-@lilypond[quote,ragged-right,verbatim]
-\transpose c c' {
- \[ g c a f d' \]
- a g f
- \[ e f a g \]
-}
-@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
-the following subsections. Only white mensural ligatures
-are supported with certain limitations.
-
-
-
-@refbugs
-
-Ligatures need special spacing that has not yet been implemented. As
-a result, there is too much space between ligatures most of the time,
-and line breaking often is unsatisfactory. Also, lyrics do not
-correctly align with ligatures.
-
-Accidentals must not be printed within a ligature, but instead need to
-be collected and printed in front of it.
-
-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
-@file{gregorian@/-init@/.ly} can be included; it provides a scheme
-function
-@example
-\ligature @var{music expr}
-@end example
-with the same effect and is believed to be stable.
-
-@menu
-* White mensural ligatures::
-* Gregorian square neumes ligatures::
-@end menu
-
-@node White mensural ligatures
-@subsubsection White mensural ligatures
-
-@cindex Mensural ligatures
-@cindex 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
-
-@example
-\layout @{
- \context @{
- \Voice
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
- @}
-@}
-@end example
-
-There is no additional input language to describe the shape of a
-white mensural ligature. The shape is rather determined solely from
-the pitch and duration of the enclosed notes. While this approach may
-take a new user a while to get accustomed to, it has the great advantage
-that the full musical information of the ligature is known internally.
-This is not only required for correct MIDI output, but also allows for
-automatic transcription of the ligatures.
-
-For example,
-
-@example
-\set Score.timing = ##f
-\set Score.defaultBarType = "empty"
-\override NoteHead #'style = #'neomensural
-\override Staff.TimeSignature #'style = #'neomensural
-\clef "petrucci-g"
-\[ c'\maxima g \]
-\[ d\longa c\breve f e d \]
-\[ c'\maxima d'\longa \]
-\[ e'1 a g\breve \]
-@end example
-@lilypond[quote,ragged-right]
-\score {
- \transpose c c' {
- \set Score.timing = ##f
- \set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
- \clef "petrucci-g"
- \[ c'\maxima g \]
- \[ d\longa c\breve f e d \]
- \[ c'\maxima d'\longa \]
- \[ e'1 a g\breve \]
- }
- \layout {
- \context {
- \Voice
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
- }
- }
-}
-@end lilypond
-
-Without replacing @internalsref{Ligature_bracket_engraver} with
-@internalsref{Mensural_ligature_engraver}, the same music transcribes
-to the following
-
-@lilypond[quote,ragged-right]
-\transpose c c' {
- \set Score.timing = ##f
- \set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
- \clef "petrucci-g"
- \[ c'\maxima g \]
- \[ d\longa c\breve f e d \]
- \[ c'\maxima d'\longa \]
- \[ e'1 a g\breve \]
-}
-@end lilypond
-
-@refbugs
-
-Horizontal spacing is poor.
-
-@node Gregorian square neumes ligatures
-@subsubsection Gregorian square neumes ligatures
-
-@cindex Square neumes ligatures
-@cindex Gregorian square neumes ligatures
-
-There is limited support for Gregorian square neumes notation
-(following the style of the Editio Vaticana). Core ligatures can
-already be typeset, but essential issues for serious typesetting are
-still lacking, such as (among others) horizontal alignment of multiple
-ligatures, lyrics alignment and proper handling of accidentals.
-
-
-The following table contains the extended neumes table of the 2nd
-volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
-1983 by the monks of Solesmes.
-
-@multitable @columnfractions .4 .2 .2 .2
-
-@item
-@b{Neuma aut@*
-Neumarum Elementa}
-@tab
-@b{Figurae@*
-Rectae}
-@tab
-@b{Figurae@*
-Liquescentes@*
-Auctae}
-@tab
-@b{Figurae@*
-Liquescentes@*
-Deminutae}
-
-@c TODO: \layout block is identical in all of the below examples.
-@c Therefore, it should somehow be included rather than duplicated all
-@c the time. --jr
-
-@c why not make identifiers in ly/engraver-init.ly? --hwn
-
-@c Because it's just used to typeset plain notes without
-@c a staff for demonstration purposes rather than something
-@c special of Gregorian chant notation. --jr
-
-@item
-@code{1. Punctum}
-@tab
-@lilypond[staffsize=26,line-width=1.5\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Punctum
- \[ b \]
- \noBreak s^\markup {"a"} \noBreak
-
- % Punctum Inclinatum
- \[ \inclinatum b \]
- \noBreak s^\markup {"b"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[staffsize=26,line-width=2.5\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Punctum Auctum Ascendens
- \[ \auctum \ascendens b \]
- \noBreak s^\markup {"c"} \noBreak
-
- % Punctum Auctum Descendens
- \[ \auctum \descendens b \]
- \noBreak s^\markup {"d"} \noBreak
-
- % Punctum Inclinatum Auctum
- \[ \inclinatum \auctum b \]
- \noBreak s^\markup {"e"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Punctum Inclinatum Parvum
- \[ \inclinatum \deminutum b \]
- \noBreak s^\markup {"f"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-
-@item
-@code{2. Virga}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Virga
- \[ \virga b \]
- \noBreak s^\markup {"g"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@tab
-
-@item
-@code{3. Apostropha vel Stropha}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Stropha
- \[ \stropha b \]
- \noBreak s^\markup {"h"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Stropha Aucta
- \[ \stropha \auctum b \]
- \noBreak s^\markup {"i"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-
-@item
-@code{4. Oriscus}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Oriscus
- \[ \oriscus b \]
- \noBreak s^\markup {"j"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@tab
-
-@item
-@code{5. Clivis vel Flexa}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Clivis vel Flexa
- \[ b \flexa g \]
- s^\markup {"k"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[staffsize=26,line-width=2.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Clivis Aucta Descendens
- \[ b \flexa \auctum \descendens g \]
- \noBreak s^\markup {"l"} \noBreak
-
- % Clivis Aucta Ascendens
- \[ b \flexa \auctum \ascendens g \]
- \noBreak s^\markup {"m"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Cephalicus
- \[ b \flexa \deminutum g \]
- s^\markup {"n"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-
-@item
-@code{6. Podatus vel Pes}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Podatus vel Pes
- \[ g \pes b \]
- s^\markup {"o"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[staffsize=26,line-width=2.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Pes Auctus Descendens
- \[ g \pes \auctum \descendens b \]
- \noBreak s^\markup {"p"} \noBreak
-
- % Pes Auctus Ascendens
- \[ g \pes \auctum \ascendens b \]
- \noBreak s^\markup {"q"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Epiphonus
- \[ g \pes \deminutum b \]
- s^\markup {"r"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-
-@item
-@code{7. Pes Quassus}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Pes Quassus
- \[ \oriscus g \pes \virga b \]
- s^\markup {"s"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Pes Quassus Auctus Descendens
- \[ \oriscus g \pes \auctum \descendens b \]
- s^\markup {"t"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-
-@item
-@code{8. Quilisma Pes}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Quilisma Pes
- \[ \quilisma g \pes b \]
- s^\markup {"u"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Quilisma Pes Auctus Descendens
- \[ \quilisma g \pes \auctum \descendens b \]
- s^\markup {"v"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-
-@item
-@code{9. Podatus Initio Debilis}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Pes Initio Debilis
- \[ \deminutum g \pes b \]
- s^\markup {"w"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Pes Auctus Descendens Initio Debilis
- \[ \deminutum g \pes \auctum \descendens b \]
- s^\markup {"x"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-
-@item
-@code{10. Torculus}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Torculus
- \[ a \pes b \flexa g \]
- s^\markup {"y"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Torculus Auctus Descendens
- \[ a \pes b \flexa \auctum \descendens g \]
- s^\markup {"z"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Torculus Deminutus
- \[ a \pes b \flexa \deminutum g \]
- s^\markup {"A"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-
-@item
-@code{11. Torculus Initio Debilis}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Torculus Initio Debilis
- \[ \deminutum a \pes b \flexa g \]
- s^\markup {"B"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Torculus Auctus Descendens Initio Debilis
- \[ \deminutum a \pes b \flexa \auctum \descendens g \]
- s^\markup {"C"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Torculus Deminutus Initio Debilis
- \[ \deminutum a \pes b \flexa \deminutum g \]
- s^\markup {"D"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-
-@item
-@code{12. Porrectus}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Porrectus
- \[ a \flexa g \pes b \]
- s^\markup {"E"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Porrectus Auctus Descendens
- \[ a \flexa g \pes \auctum \descendens b \]
- s^\markup {"F"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Porrectus Deminutus
- \[ a \flexa g \pes \deminutum b \]
- s^\markup {"G"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-
-@item
-@code{13. Climacus}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Climacus
- \[ \virga b \inclinatum a \inclinatum g \]
- s^\markup {"H"}
- }
- \layout { \neumeDemoLayout }
-}
-@end lilypond
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Climacus Auctus
- \[ \virga b \inclinatum a \inclinatum \auctum g \]
- s^\markup {"I"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Climacus Deminutus
- \[ \virga b \inclinatum a \inclinatum \deminutum g \]
- s^\markup {"J"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-
-@item
-@code{14. Scandicus}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Scandicus
- \[ g \pes a \virga b \]
- s^\markup {"K"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Scandicus Auctus Descendens
- \[ g \pes a \pes \auctum \descendens b \]
- s^\markup {"L"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Scandicus Deminutus
- \[ g \pes a \pes \deminutum b \]
- s^\markup {"M"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-
-@item
-@code{15. Salicus}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Salicus
- \[ g \oriscus a \pes \virga b \]
- s^\markup {"N"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Salicus Auctus Descendens
- \[ g \oriscus a \pes \auctum \descendens b \]
- s^\markup {"O"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-
-@item
-@code{16. Trigonus}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Trigonus
- \[ \stropha b \stropha b \stropha a \]
- s^\markup {"P"}
- }
- \layout { \neumeDemoLayout }
-}
-@end lilypond
-@tab
-@tab
-
-@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{\[ a \pes b
-\flexa g \]} produces a Torculus consisting of three Punctum heads,
-while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
-curved flexa shape and only a single Punctum head. There is no
-command to explicitly typeset the curved flexa shape; the decision of
-when to typeset a curved flexa shape is based on the musical
-input. The idea of this approach is to separate the musical aspects
-of the input from the notation style of the output. This way, the
-same input can be reused to typeset the same music in a different
-style of Gregorian chant notation.
-
-The following table shows the code fragments that produce the
-ligatures in the above neumes table. The letter in the first column
-in each line of the below table indicates to which ligature in the
-above table it refers. The second column gives the name of the
-ligature. The third column shows the code fragment that produces this
-ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
-
-@multitable @columnfractions .02 .31 .67
-@item
-@b{#}
-@tab
-@b{Name}
-@tab
-@b{Input Language}
-
-@item
-a
-@tab
-Punctum
-@tab
-@code{\[ b \]}
-
-@item
-b
-@tab
-Punctum Inclinatum
-@tab
-@code{\[ \inclinatum b \]}
-
-@item
-c
-@tab
-Punctum Auctum@*
-Ascendens
-@tab
-@code{\[ \auctum \ascendens b \]}
-
-@item
-d
-@tab
-Punctum Auctum@*
-Descendens
-@tab
-@code{\[ \auctum \descendens b \]}
-
-@item
-e
-@tab
-Punctum Inclinatum@*
-Auctum
-@tab
-@code{\[ \inclinatum \auctum b \]}
-
-@item
-f
-@tab
-Punctum Inclinatum@*
-Parvum @tab
-@code{\[ \inclinatum \deminutum b \]}
-
-@item
-g
-@tab
-Virga
-@tab
-@code{\[ \virga b \]}
-
-@item
-h
-@tab
-Stropha
-@tab
-@code{\[ \stropha b \]}
-
-@item
-i
-@tab
-Stropha Aucta
-@tab
-@code{\[ \stropha \auctum b \]}
-
-@item
-j
-@tab
-Oriscus
-@tab
-@code{\[ \oriscus b \]}
-
-@item
-k
-@tab
-Clivis vel Flexa
-@tab
-@code{\[ b \flexa g \]}
-
-@item
-l
-@tab
-Clivis Aucta@*
-Descendens
-@tab
-@code{\[ b \flexa \auctum \descendens g \]}
-
-@item
-m
-@tab
-Clivis Aucta@*
-Ascendens
-@tab
-@code{\[ b \flexa \auctum \ascendens g \]}
-
-@item
-n
-@tab
-Cephalicus
-@tab
-@code{\[ b \flexa \deminutum g \]}
-
-@item
-o
-@tab
-Podatus vel Pes
-@tab
-@code{\[ g \pes b \]}
-
-@item
-p
-@tab
-Pes Auctus@*
-Descendens
-@tab
-@code{\[ g \pes \auctum \descendens b \]}
-
-@item
-q
-@tab
-Pes Auctus@*
-Ascendens
-@tab
-@code{\[ g \pes \auctum \ascendens b \]}
-
-@item
-r
-@tab
-Epiphonus
-@tab
-@code{\[ g \pes \deminutum b \]}
-
-@item
-s
-@tab
-Pes Quassus
-@tab
-@code{\[ \oriscus g \pes \virga b \]}
-
-@item
-t
-@tab
-Pes Quassus@*
-Auctus Descendens @tab
-@code{\[ \oriscus g \pes \auctum \descendens b \]}
-
-@item
-u
-@tab
-Quilisma Pes
-@tab
-@code{\[ \quilisma g \pes b \]}
-
-@item
-v
-@tab
-Quilisma Pes@*
-Auctus Descendens
-@tab
-@code{\[ \quilisma g \pes \auctum \descendens b \]}
-
-@item
-w
-@tab
-Pes Initio Debilis
-@tab
-@code{\[ \deminutum g \pes b \]}
-
-@item
-x
-@tab
-Pes Auctus Descendens@*
-Initio Debilis
-@tab
-@code{\[ \deminutum g \pes \auctum \descendens b \]}
-
-@item
-y
-@tab
-Torculus
-@tab
-@code{\[ a \pes b \flexa g \]}
-
-@item
-z
-@tab
-Torculus Auctus@*
-Descendens
-@tab
-@code{\[ a \pes b \flexa \auctum \descendens g \]}
-
-@item
-A
-@tab
-Torculus Deminutus
-@tab
-@code{\[ a \pes b \flexa \deminutum g \]}
-
-@item
-B
-@tab
-Torculus Initio Debilis
-@tab
-@code{\[ \deminutum a \pes b \flexa g \]}
-
-@item
-C
-@tab
-Torculus Auctus@*
-Descendens Initio Debilis
-@tab
-@code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
-
-@item
-D
-@tab
-Torculus Deminutus@*
-Initio Debilis
-@tab
-@code{\[ \deminutum a \pes b \flexa \deminutum g \]}
-
-@item
-E
-@tab
-Porrectus
-@tab
-@code{\[ a \flexa g \pes b \]}
-
-@item
-F
-@tab
-Porrectus Auctus@*
-Descendens
-@tab
-@code{\[ a \flexa g \pes \auctum \descendens b \]}
-
-@item
-G
-@tab
-Porrectus Deminutus
-@tab
-@code{\[ a \flexa g \pes \deminutum b \]}
-
-@item
-H
-@tab
-Climacus
-@tab
-@code{\[ \virga b \inclinatum a \inclinatum g \]}
-
-@item
-I
-@tab
-Climacus Auctus
-@tab
-@code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
-
-@item
-J
-@tab
-Climacus Deminutus
-@tab
-@code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
-
-@item
-K
-@tab
-Scandicus
-@tab
-@code{\[ g \pes a \virga b \]}
-
-@item
-L
-@tab
-Scandicus Auctus@*
-Descendens
-@tab
-@code{\[ g \pes a \pes \auctum \descendens b \]}
-
-@item
-M
-@tab
-Scandicus Deminutus
-@tab
-@code{\[ g \pes a \pes \deminutum b \]}
-
-@item
-N
-@tab
-Salicus
-@tab
-@code{\[ g \oriscus a \pes \virga b \]}
-
-@item
-O
-@tab
-Salicus Auctus Descendens
-@tab
-@code{\[ g \oriscus a \pes \auctum \descendens b \]}
-
-@item
-P
-@tab
-Trigonus
-@tab
-@code{\[ \stropha b \stropha b \stropha a \]}
-@end multitable
-
-The ligatures listed above mainly serve as a limited, but still
-representative pool of Gregorian ligature examples. Virtually, within
-the ligature delimiters @code{\[} and @code{\]}, any number of heads
-may be accumulated to form a single ligature, and head prefixes like
-@code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
-etc. may be mixed in as desired. The use of the set of rules that
-underlies the construction of the ligatures in the above table is
-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
-
-The following head prefixes are supported
-
-@funindex \virga
-@code{\virga},
-@funindex \stropha
-@code{\stropha},
-@funindex \inclinatum
-@code{\inclinatum},
-@funindex \auctum
-@code{\auctum},
-@funindex \descendens
-@code{\descendens},
-@funindex \ascendens
-@code{\ascendens},
-@funindex \oriscus
-@code{\oriscus},
-@funindex \quilisma
-@code{\quilisma},
-@funindex \deminutum
-@code{\deminutum},
-@funindex \cavum
-@code{\cavum},
-@funindex \linea
-@code{\linea}.
-
-Head prefixes can be accumulated, though restrictions apply. For
-example, either @code{\descendens} or @code{\ascendens} can be applied
-to a head, but not both to the same head.
-
-@funindex \pes
-@funindex \flexa
-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.
-
-@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
-
-@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
-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
-
-@lilypond[quote,ragged-right,packed,verbatim]
-\include "gregorian-init.ly"
-\score {
- <<
- \new VaticanaVoice = "cantus" {
- \[ c'\melisma c' \flexa a \]
- \[ a \flexa \deminutum g\melismaEnd \]
- f \divisioMinima
- \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
- c' \divisioMinima \break
- \[ c'\melisma c' \flexa a \]
- \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
- }
- \new Lyrics \lyricsto "cantus" {
- San- ctus, San- ctus, San- ctus
- }
- >>
-}
-@end lilypond
-
-
-@node Mensural contexts
-@subsection Mensural contexts
-
-@cindex MensuralVoiceContext
-@cindex MensuralStaffContext
-
-The predefined @code{MensuralVoiceContext} and
-@code{MensuralStaffContext} can be used to engrave a piece in mensural
-style. 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
-
-@lilypond[quote,ragged-right,verbatim]
-\score {
- <<
- \new MensuralVoice = "discantus" \transpose c c' {
- \override Score.BarNumber #'transparent = ##t {
- c'1\melisma bes a g\melismaEnd
- f\breve
- \[ f1\melisma a c'\breve d'\melismaEnd \]
- c'\longa
- c'\breve\melisma a1 g1\melismaEnd
- fis\longa^\signumcongruentiae
- }
- }
- \new Lyrics \lyricsto "discantus" {
- San -- ctus, San -- ctus, San -- ctus
- }
- >>
-}
-@end lilypond
-
-@node Musica ficta accidentals
-@subsection Musica ficta accidentals
-
-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.
-
-@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.
-
-@funindex suggestAccidentals
-
-@lilypond[verbatim,fragment,relative=1]
-fis gis
-\set suggestAccidentals = ##t
-ais bis
-@end lilypond
-
-@seealso
-
-Program reference: @internalsref{Accidental_engraver} engraver and the
-@internalsref{AccidentalSuggestion} object.
-
-@node Figured bass
-@subsection Figured bass
-
-@cindex Basso continuo
-
-@c TODO: musicological blurb about FB
-
-
-LilyPond has support for figured bass
-
-@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
-
-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.
-
-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
-
-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/}.
-
-@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{Overview of text markup commands}.
-
-@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
-
-
-It is also possible to use continuation lines for repeated figures,
-
-@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
-
-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
-
-@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
-
-
-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.
-
-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}.
-
-
-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},
-@internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
-@internalsref{BassFigureBracket}, and
-@internalsref{BassFigureContinuation} objects and
-@internalsref{FiguredBass} context.
-
-
-
-@node Other instrument specific notation
-@section Other instrument specific notation
-
-This section includes extra information for writing for instruments.
-
-@menu
-* Artificial harmonics (strings)::
-@end menu
-
-@node Artificial harmonics (strings)
-@subsection Artificial harmonics (strings)
-
-@cindex artificial harmonics
-
-Artificial harmonics are notated with a different notehead style. They
-are entered by marking the harmonic pitch with @code{\harmonic}.
-
-@lilypond[ragged-right,verbatim,quote,fragment,relative=1]
-<c g'\harmonic>4
-@end lilypond
projects / lilypond.git / blobdiff