@c -*- coding: latin-1; mode: texinfo; -*-
+@c This file is part of lilypond.tely
+
+@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
-This is a placeholder for very-near future reorganization of the manual.
+This chapter explains how to use notation for specific instruments.
+
+@menu
+* Rhythmic music::
+* Piano music::
+* Vocal music::
+* Other instrument specific notation::
+* Tablatures::
+* Popular music::
+* Ancient notation::
+@end menu
+
+
+@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::
+@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,raggedright,fragment,relative=1,verbatim]
+\context 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,raggedright,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{DrumNoteEvent}.
+
+@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,raggedright,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{Polyphony}, can also be used if
+the @internalsref{DrumVoices} are instantiated by hand first. For example,
+
+@lilypond[quote,raggedright,fragment,verbatim]
+\new DrumStaff <<
+ \context DrumVoice = "1" { s1 *2 }
+ \context 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,linewidth=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
+ minimumVerticalExtent = #'(-4.0 . 5.0)
+ } \mus
+ \context 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,raggedright]
+nam = \lyricmode { timh ssh timl ssl cb }
+mus = \drummode { timh ssh timl ssl cb s16 }
+
+<<
+ \context 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
+ minimumVerticalExtent = #'(-3.0 . 4.0)
+ drumStyleTable = #timbales-style
+ } \mus
+ \context Lyrics {
+ \override LyricText #'font-family = #'typewriter
+ \nam
+ }
+>>
+@end lilypond
+
+@item congas-style
+This typesets congas on a two line staff
+
+@lilypond[quote,raggedright]
+nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
+mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
+
+<<
+ \context 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
+ \context Lyrics {
+ \override LyricText #'font-family = #'typewriter
+ \nam
+ }
+>>
+@end lilypond
+
+@item bongos-style
+This typesets bongos on a two line staff
+
+@lilypond[quote,raggedright]
+nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
+mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
+
+<<
+ \context 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
+ \context 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,raggedright]
+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 }
+
+<<
+ \context 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
+ \context 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,raggedright,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.
+
+
+@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
+@c Is this `harp' or `harpsichord'?
+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::
+* Arpeggio::
+* Staff switch lines::
+* Cross staff stems::
+@end menu
+
+@refbugs
+
+Dynamics are not centered, but workarounds do exist. See the
+``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
+
+@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
+
+
+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
+
+@lilypond[quote,verbatim,raggedright]
+\context PianoStaff
+ \autochange \relative c'
+ {
+ g4 a b c d r4 a g
+ }
+@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}.
+
+Internally, the @code{\partcombine} interprets both arguments as
+@code{Voice}s named @code{one} and @code{two}, and then decides when
+the parts can be combined. Consequently, if the arguments switch to
+differently named @internalsref{Voice} contexts, the events in those
+will be ignored.
+
+
+@node Manual staff switches
+@subsection Manual staff switches
+
+@cindex manual staff switches
+@cindex staff switch, manual
+
+Voices can be switched between staves manually, using the command
+@example
+\change Staff = @var{staffname} @var{music}
+@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
+<<
+ \context Staff = up @{
+ \skip 1 * 10 % @emph{keep staff alive}
+ @}
+ \context 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,raggedright,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,raggedright,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,raggedright,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 `*Ped.' style for sustain and damper pedals corresponds to
+style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
+default.
+
+@lilypond[quote,raggedright,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,raggedright,fragment,verbatim,relative=2]
+\override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
+c\sostenutoDown d e c, f g a\sostenutoUp
+@end lilypond
+
+@node Arpeggio
+@subsection Arpeggio
+@cindex Arpeggio
+
+@cindex broken chord
+@cindex @code{\arpeggio}
+
+You can specify an arpeggio sign (also known as broken chord) on a
+chord by attaching an @code{\arpeggio} to a chord
+
+
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+<c e g c>\arpeggio
+@end lilypond
+
+When an arpeggio crosses staves, you attach an arpeggio to the chords
+in both staves, and set
+@internalsref{PianoStaff}.@code{connectArpeggios}
+
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+\context PianoStaff <<
+ \set PianoStaff.connectArpeggios = ##t
+ \new Staff { <c' e g c>\arpeggio }
+ \new Staff { \clef bass <c,, e g>\arpeggio }
+>>
+@end lilypond
+
+The direction of the arpeggio is sometimes denoted by adding an
+arrowhead to the wiggly line
+
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+\context Voice {
+ \arpeggioUp
+ <c e g c>\arpeggio
+ \arpeggioDown
+ <c e g c>\arpeggio
+}
+@end lilypond
+
+A square bracket on the left indicates that the player should not
+arpeggiate the chord
+
+@c todo: ugh, lousy typography. Look for real example. --hwn
+
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+\arpeggioBracket
+<c' e g c>\arpeggio
+@end lilypond
+
+@refcommands
+
+@cindex @code{\arpeggio}
+@code{\arpeggio},
+@cindex @code{\arpeggioUp}
+@code{\arpeggioUp},
+@cindex @code{\arpeggioDown}
+@code{\arpeggioDown},
+@cindex @code{\arpeggioNeutral}
+@code{\arpeggioNeutral},
+@cindex @code{\arpeggioBracket}
+@code{\arpeggioBracket}.
+
+@seealso
+
+Notation manual: @ref{Ties}, for writing out arpeggios.
+
+Program reference: @internalsref{ArpeggioEvent},
+@internalsref{Arpeggio}.
+
+
+
+@refbugs
+
+It is not possible to mix connected arpeggios and unconnected
+arpeggios in one @internalsref{PianoStaff} at the same point in time.
+
+@node Staff switch lines
+@subsection Staff switch lines
+
+
+@cindex follow voice
+@cindex staff switching
+@cindex cross staff
+
+@cindex @code{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,raggedright,fragment,relative=1,verbatim]
+\context PianoStaff <<
+ \set followVoice = ##t
+ \context Staff \context Voice {
+ c1
+ \change Staff=two
+ b2 a
+ }
+ \context Staff=two { \clef bass \skip 1*2 }
+>>
+@end lilypond
+
+@seealso
+
+Program reference: @internalsref{VoiceFollower}.
+
+@refcommands
+
+@cindex @code{\showStaffSwitch}
+@code{\showStaffSwitch},
+@cindex @code{\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[raggedright,verbatim,quote]
+stemExtend = \once \override Stem #'length = #22
+noFlag = \once \override Stem #'flag-style = #'no-flag
+\context PianoStaff <<
+ \new Staff {
+ \stemDown \stemExtend
+ f'4
+ \stemExtend \noFlag
+ f'8
+ }
+ \new Staff {
+ \clef bass
+ a4 a8
+ }
+>>
+@end lilypond
+
+
+@node Vocal music
+@section Vocal music
+
+There are three different issues when printing 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 printed as text, not as notes.
+
+@item
+Song texts must be aligned with the notes of their melody.
+@end itemize
+
+The simplest solution for printing music uses the @code{\addlyrics}
+function to solve all these problems at once. However, these
+three functions can be controlled separately, which is necessary
+for complex vocal music.
+
+
+@menu
+* Setting simple songs::
+* Entering lyrics::
+* Hyphens and extenders::
+* The Lyrics context::
+* Flexibility in alignment::
+* More stanzas::
+* Ambitus::
+* Other vocal issues::
+@end menu
+
+@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[raggedright,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[raggedright,verbatim,fragment,quote]
+\time 3/4
+\relative { c2 e4 g2. }
+\addlyrics { play the game }
+\addlyrics { speel het spel }
+\addlyrics { joue le jeu }
+@end lilypond
+
+@c TODO - this isn't such a great place for this note, but I can't
+@c find a better place without rearranging a lot of lyric stuff.
+@c It's yet another thing to look at post-3.0.
+
+The @code{\addlyrics} command is actually just a convienient way
+to write a more complicated LilyPond structure that sets up the
+lyrics. You should use @code{\addlyrics} unless you need to do
+fancy things, in which case you should investigate
+@code{\lyricsto} or @code{\lyricmode}.
+
+@example
+@{ MUSIC @}
+\addlyrics @{ LYRICS @}
+@end example
+
+@noindent
+is the same as
+
+@example
+\context Voice = blah @{ music @}
+\lyricsto "blah" \new lyrics @{ LYRICS @}
+@end example
+
+@refbugs
+
+@code{\addlyrics} cannot handle polyphony.
+
+
+@node Entering lyrics
+@subsection Entering lyrics
+
+
+@cindex lyrics
+@cindex @code{\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
+
+
+A word lyrics mode 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
+
+@cindex @code{\property}, in @code{\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
+
+@cindex @code{_}
+@cindex spaces, in lyrics
+@cindex quotes, in lyrics
+
+Any @code{_} character that appears in an unquoted word is converted
+to a space. This provides a mechanism for introducing spaces into words
+without using quotes. Quoted words can also be used in Lyrics mode to
+specify words that cannot be written with the above rules. The
+following example incorporates double quotes
+
+@example
+\lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
+@end example
+
+This example is slightly academic, since it gives better looking
+results using single quotes, @code{``} and @code{''}
+@example
+\lyricmode @{ He said: ``Let my peo ple go'' @}
+@end example
+
+
+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{^}.
+
+
+
+@seealso
+
+Program reference: events @internalsref{LyricEvent}, and
+@internalsref{LyricText}.
+
+@refbugs
+
+The definition of lyrics mode is too complex.
+
+@node Hyphens and extenders
+@subsection Hyphens and extenders
+
+@cindex hyphens
+
+Centered hyphens are entered as `@code{-}@code{-}' 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
+@code{__}.
+
+@ignore
+FIXME: check that this compiles and displays correctly. I don't want
+to commit this part blindly.
+
+In tighly engraved music, hyphens can be removed. In some languages
+(e.g. German and Hungarian), hyphens should not disappear, since
+spelling depends on hyphenation. For that purpose, hyphens can be
+forced to remain by overriding @code{minimum-length} of
+the @code{LyricHyphen} grob.
+
+(code from 2.2)
+\score {
+<< \notes \new Staff \relative c'' { \time 1/4 c16[ c c c]
+\time 1/4
+c16[ c c c]
+\time 1/4
+c16[ c c c]
+
+}
+ \lyrics \new Lyrics \with {
+ % Otherwise lyrics are so far apart that hyphens don't disappear
+ \override SeparationItem #'padding = #0.0
+ }{ bla -- bla -- bla -- bla --
+ bla -- bla -- bla -- bla --
+
+ \override LyricHyphen #'minimum-length = #0.7
+ \override LyricHyphen #'spacing-procedure =
+ #Hyphen_spanner::set_spacing_rods
+
+ bla -- bla -- bla -- bla
+ }>>
+ \paper {
+ indent = 0.0 \cm
+ linewidth = 3.4 \cm
+
+ \context {
+ \StaffContext \remove "Time_signature_engraver"
+ }
+
+ }
+
+}
+@end ignore
+
+
+@seealso
+
+Program reference: @internalsref{HyphenEvent},
+@internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
+@internalsref{LyricExtender}
+
+
+
+@node The Lyrics context
+@subsection The Lyrics context
+
+
+Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
+@example
+\context Lyrics \lyricmode @dots{}
+@end example
+
+@cindex automatic syllable durations
+@cindex @code{\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
+\lyricsto @var{name} \new Lyrics @dots{}
+@end example
+
+This aligns the lyrics to the
+notes of the @internalsref{Voice} context called @var{name}, which has
+to 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.
+
+For different or more complex orderings, the best way is to setup the
+hierarchy of staves and lyrics first, e.g.,
+@example
+\context ChoirStaff <<
+ \context Lyrics = sopranoLyrics @{ s1 @}
+ \context Voice = soprano @{ @emph{music} @}
+ \context Lyrics = tenorLyrics @{ s1 @}
+ \context Voice = tenor @{ @emph{music} @}
+>>
+@end example
+and then combine the appropriate melodies and lyric lines
+@example
+\lyricsto "soprano" \context Lyrics = sopranoLyrics
+ @emph{the lyrics}
+@end example
+
+@noindent
+The final input would resemble
+
+@example
+<<\context ChoirStaff << @emph{setup the music} >>
+ \lyricsto "soprano" @emph{etc}
+ \lyricsto "alto" @emph{etc}
+ @emph{etc}
+>>
+@end example
+
+
+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,raggedright,fragment,verbatim]
+<<
+ \context Voice = "lala" {
+ \time 3/4
+ f4 g8
+ \melisma
+ f e f
+ \melismaEnd
+ e2
+ }
+ \lyricsto "lala" \new Lyrics {
+ 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.
+
+@ignore
+
+@c nonformation:
+
+The criteria for deciding melismata can
+be tuned with the property @code{melismaBusyProperties}. See
+@internalsref{Melisma_translator} in the program reference for more
+information.
+
+@end ignore
+
+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,raggedright,verbatim,fragment,quote]
+<< \context Voice = melody {
+ \time 3/4
+ c2 e4 g2.
+ }
+ \new Lyrics \lyricmode {
+ \set associatedVoice = #"melody"
+ play2 the4 game2.
+ } >>
+@end lilypond
+
+@cindex SATB
+@cindex choral score
+
+A complete example of a SATB score setup is in section
+@ref{Vocal ensembles}.
+
+
+@refcommands
+
+@code{\melisma}, @code{\melismaEnd}
+@cindex @code{\melismaEnd}
+@cindex @code{\melisma}
+
+@seealso
+
+Program reference: @internalsref{LyricCombineMusic},
+@internalsref{Lyrics}, @internalsref{Melisma_translator}.
+
+
+@inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
+@c TODO: make separate section for melismata
+
+@refbugs
+
+Melismata are not detected automatically, and extender lines must be
+inserted by hand.
+
+
+@c TODO: document \new Staff << Voice \lyricsto >> bug
+
+@node Flexibility in alignment
+@subsection Flexibility in alignment
+
+
+Often, different stanzas of one song are put to one melody in slightly
+differing ways. Such variations can still be captured with
+@code{\lyricsto}.
+
+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 has 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,raggedright,quote]
+<<
+ \relative \context 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 ``fas'', so it
+should be entered before ``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,raggedright,quote]
+\relative { c c g' }
+\addlyrics {
+ twin -- \skip 4
+ kle
+}
+@end lilypond
+
+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[raggedright,quote]
+<<
+ \relative \context Voice = "lahlah" {
+ \set Staff.autoBeaming = ##f
+ c4
+ <<
+ \context 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 ``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 ``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 ``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 More stanzas
+@subsection More 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,raggedright,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.
+
+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{vocNam}.
+
+
+@lilypond[fragment,raggedright,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
+
+@seealso
+
+Program reference: Layout objects @internalsref{LyricText} and
+@internalsref{VocalName}. Music expressions
+@internalsref{LyricEvent}.
+
+
+
+@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,raggedright]
+\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,raggedright,quote]
+\new Staff \with {
+ \consists "Ambitus_engraver"
+}
+<<
+ \new Voice \with {
+ \remove "Ambitus_engraver"
+ } \relative c'' {
+ \override Ambitus #'X-offset-callbacks
+ = #(list (lambda (grob axis) -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-callbacks
+ = #(list (lambda (grob axis) -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 issue
+
+@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
+
+You can display alternate (or divisi) lyrics by naming voice
+contexts and attaching lyrics to those specific contexts.
+
+@lilypond[verbatim,raggedright,quote]
+\score{ <<
+ \context Voice = "melody" {
+ \relative c' {
+ c4
+ <<
+ { \voiceOne c8 e }
+ \context Voice = splitpart { \voiceTwo c4 }
+ >>
+ \oneVoice c4 c | c
+ }
+ }
+ \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
+ \new Lyrics \lyricsto "splitpart" { shall }
+>> }
+@end lilypond
+
+
+You can use this trick to display different lyrics for a repeated
+section.
+
+@lilypond[verbatim,raggedright,quote]
+\score{ <<
+ \context Voice = melody \relative c' {
+ c2 e | g e | c1 |
+ \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
+ a2 b | c1}
+ \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
+ do mi sol mi do
+ la si do }
+ \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
+ do re mi fa sol }
+ \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
+ dodo rere mimi fafa solsol }
+>>
+}
+@end lilypond
+
+
+@node Other instrument specific notation
+@section Other instrument specific notation
+
+This section includes extra information for writing string music, and may
+include extra information for other instruments in the future.
+
+@menu
+* Harmonic notes::
+@end menu
+
+@node Harmonic notes
+@subsection Harmonic notes
+
+@cindex artificial harmonics
+@cindex harmonics
+
+Artificial harmonics are notated with a different notehead style. They
+are entered by marking the harmonic pitch with @code{\harmonic}.
+
+@lilypond[raggedright,verbatim,quote,fragment]
+<c' g'\harmonic>4
+@end lilypond
+
+
+@node Tablatures
+@section Tablatures
+
+@cindex tablature
+@cindex guitar tablature
+
+Tablature notation is used for notating music for plucked string
+instruments. Pitches are not denoted with note heads, but by
+indicating on which string and fret a note must be played. LilyPond
+offers limited support for tablature.
+
+@menu
+* Tablatures basic::
+* Non-guitar tablatures::
+@end menu
+
+@node Tablatures basic
+@subsection Tablatures basic
+@cindex Tablatures basic
+
+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,raggedright,fragment,verbatim]
+\context TabStaff {
+ a,4\5 c'\2 a\3 e'\1
+ e\4 c'\2 a\3 e'\1
+}
+@end lilypond
+
+@cindex @code{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,raggedright]
+frag = {
+ \key e \major
+ e16 fis gis a b4
+ \set TabStaff.minimumFret = #8
+ e16 fis gis a b4
+}
+ \context StaffGroup <<
+ \context Staff { \clef "G_8" \frag }
+ \context TabStaff { \frag }
+ >>
+@end lilypond
+
+@seealso
+
+Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
+@internalsref{StringNumberEvent}.
+
+@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 number of strings, by setting the number of lines
+in the @internalsref{TabStaff}.
+
+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. In the next example,
+@code{stringTunings} is set for the pitches e, a, d, and g
+
+@lilypond[quote,raggedright,fragment,verbatim]
+\context TabStaff <<
+ \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
+ {
+ a,4 c' a e' e c' a e'
+ }
+>>
+@end lilypond
+
+@refbugs
+
+No guitar special effects have been implemented.
+
+@seealso
+
+Program reference: @internalsref{Tab_note_heads_engraver}.
+
+
+@node Popular music
+@section Popular music
+
+This section discusses issues that arise when writing popular music.
+
+@menu
+* Chord names::
+* Chords mode::
+* Printing chord names::
+* Fret diagrams::
+@end menu
+
+@node Chord names
+@subsection Chord names
+@cindex Chords
+
+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,raggedright,verbatim,raggedright]
+twoWays = \transpose c c' {
+ \chordmode {
+ c1 f:sus4 bes/f
+ }
+ <c e g>
+ <f bes c'>
+ <f bes d'>
+}
+
+<< \context ChordNames \twoWays
+ \context 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.
+
+@c this menu isn't needed.
+@ignore
+@menu
+* Chords mode::
+* Printing chord names::
+@end menu
+@end ignore
+
+@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,raggedright,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 `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.
+@cindex @code{aug}
+@cindex @code{dim}
+@cindex @code{maj}
+@cindex @code{sus}
+@cindex @code{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,raggedright,fragment,verbatim]
+\chordmode { c:13 c:13.11 c:m13 }
+@end lilypond
+
+@cindex @code{/}
+
+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,raggedright,fragment,verbatim]
+\chordmode { c1 c/g c/f }
+@end lilypond
+@cindex @code{/+}
+
+A bass note can be added instead transposed out of the chord,
+by using @code{/+}@var{pitch}.
+
+@lilypond[quote,raggedright,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,raggedright,verbatim,fragment]
+\chordmode { c:5.5-.5+ }
+@end lilypond
+
+
+@node Printing chord names
+@subsection Printing chord names
+
+@cindex printing chord names
+@cindex chord names
+@cindex chords
+
+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,raggedright]
+harmonies = {
+ \chordmode {a1 b c} <d' f' a'> <e' g' b'>
+}
+<<
+ \context ChordNames \harmonies
+ \context Staff \harmonies
+>>
+@end lilypond
+
+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
+
+@lilypond[quote,verbatim,raggedright]
+harmonies = \chordmode {
+ c1:m c:m \break c:m c:m d
+}
+<<
+ \context ChordNames {
+ \set chordChanges = ##t
+ \harmonies }
+ \context 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[raggedright,verbatim]
+\new ChordNames \with {
+ \override BarLine #'bar-size = #4
+ voltaOnThisStaff = ##t
+ \consists Bar_engraver
+ \consists "Volta_engraver"
+}
+\repeat volta 2 \chordmode {
+ f1:maj f:7 bes:7
+ c:maj
+} \alternative {
+ es e
+}
+@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
+@cindex @code{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.
+
+
+@cindex @code{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.
+
+@cindex @code{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,raggedright,fragment,verbatim]
+\context ChordNames \chordmode {
+ c:7sus4
+ \set chordNameSeparator
+ = \markup { \typewriter "|" }
+ c:7sus4
+}
+@end lilypond
+
+@cindex @code{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 ``H'' for a
+B-chord) can be produced by storing a new function in this property.
+
+@cindex @code{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.
+
+@end table
+
+The predefined variables @code{\germanChords},
+@code{\semiGermanChords} set these variables. The effect is
+demonstrated here,
+
+@lilypondfile[raggedright]{chord-names-german.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
+
+@cindex @code{\germanChords}
+@code{\germanChords},
+@cindex @code{\semiGermanChords}
+@code{\semiGermanChords}.
+
+
+
+
+@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 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, raggedright, quote]
+\context 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 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::
+* Figured bass::
+@end menu
+
+
+@node Ancient note heads
+@subsection Ancient note heads
+
+@cindex note heads
+
+
+For ancient notation, a note head style other than the @code{default}
+style may be chosen. This is accomplished by setting the @code{style}
+property of the @internalsref{NoteHead} object to @code{baroque},
+@code{neomensural} or @code{mensural}. 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 finally produces note
+heads that mimic the look of note heads in historic printings of the
+16th century.
+
+The following example demonstrates the @code{neomensural} style
+
+@lilypond[quote,fragment,raggedright,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{style} property of grob @internalsref{Accidental} to
+select ancient accidentals. Supported styles are
+@code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
+
+@lilypond[quote,raggedright,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"
+ minimumVerticalExtent = ##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{style} property of the
+@internalsref{KeySignature} grob.
+
+@seealso
+
+In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
+@ref{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
+
+
+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,raggedright,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" c
+@end lilypond
+
+@item
+petrucci style mensural F clef
+@tab
+@code{petrucci-f}
+@tab
+@lilypond[fragment,relative=1,notime]
+ \clef "petrucci-f" c
+@end lilypond
+
+@item
+petrucci style mensural G clef
+@tab
+@code{petrucci-g}
+@tab
+@lilypond[fragment,relative=1,notime]
+ \clef "petrucci-g" 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" c
+@end lilypond
+
+@item
+historic style mensural F clef
+@tab
+@code{mensural-f}
+@tab
+@lilypond[fragment,relative=1,notime]
+ \clef "mensural-f" c
+@end lilypond
+
+@item
+historic style mensural G clef
+@tab
+@code{mensural-g}
+@tab
+@lilypond[fragment,relative=1,notime]
+ \clef "mensural-g" 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
+ \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
+ \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
+ \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
+ \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
+ \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
+ \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]
+ \clef "hufnagel-do-fa" c
+@end lilypond
+@end multitable
+
+
+
+@emph{Modern style} means ``as is typeset in contemporary editions of
+transcribed mensural music''.
+
+@emph{Petrucci style} means ``inspired by printings published by the
+famous engraver Petrucci (1466-1539)''.
+
+@emph{Historic style} means ``as was typeset or written in historic
+editions (other than those of Petrucci)''.
+
+@emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
+
+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,raggedright,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,raggedright]
+\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[raggedright,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,raggedright,verbatim]
+\include "gregorian-init.ly"
+\score {
+ \context VaticanaVoice {
+ \override TextScript #'font-family = #'typewriter
+ \override TextScript #'font-shape = #'upright
+ \override Script #'padding = #-0.1
+ a4\ictus_"ictus" s1
+ a4\circulus_"circulus" s1
+ a4\semicirculus_"semicirculus" s1 s
+ a4\accentus_"accentus" s1
+ \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
+ }
+}
+@end lilypond
+
+@refbugs
+
+Some articulations are vertically placed too closely to the
+correpsonding note heads.
+
+@node Custodes
+@subsection Custodes
+
+@cindex custos
+@cindex custodes
+
+A @emph{custos} (plural: @emph{custodes}; Latin word for `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,raggedright]
+\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,raggedright,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
+`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,raggedright]{divisiones.ly}
+
+@refcommands
+
+@cindex @code{\virgula}
+@code{\virgula},
+@cindex @code{\caesura}
+@code{\caesura},
+@cindex @code{\divisioMinima}
+@code{\divisioMinima},
+@cindex @code{\divisioMaior}
+@code{\divisioMaior},
+@cindex @code{\divisioMaxima}
+@code{\divisioMaxima},
+@cindex @code{\finalis}
+@code{\finalis}.
+
+@seealso
+
+In this manual: @ref{Breath marks}.
+
+Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
+
+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,raggedright,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.
+
+Augmentum dots within ligatures are not handled correctly.
+
+
+@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"
+\[ g\longa c\breve a\breve f\breve d'\longa \]
+s4
+\[ e1 f1 a\breve g\longa \]
+@end example
+@lilypond[quote,raggedright]
+\score {
+ \transpose c c' {
+ \set Score.timing = ##f
+ \set Score.defaultBarType = "empty"
+ \override NoteHead #'style = #'neomensural
+ \override Staff.TimeSignature #'style = #'neomensural
+ \clef "petrucci-g"
+ \[ g\longa c\breve a\breve f\breve d'\longa \]
+ s4
+ \[ e1 f1 a\breve g\longa \]
+ }
+ \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,raggedright]
+\transpose c c' {
+ \set Score.timing = ##f
+ \set Score.defaultBarType = "empty"
+ \override NoteHead #'style = #'neomensural
+ \override Staff.TimeSignature #'style = #'neomensural
+ \clef "petrucci-g"
+ \[ g\longa c\breve a\breve f\breve d'\longa \]
+ s4
+ \[ e1 f1 a\breve g\longa \]
+}
+@end lilypond
+
+@refbugs
+
+The implementation is experimental. It may output strange warnings,
+incorrect results, and might even crash on more complex ligatures.
+
+@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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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,linewidth=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
+
+@refcommands
+
+The following head prefixes are supported
+
+@cindex @code{\virga}
+@code{\virga},
+@cindex @code{\stropha}
+@code{\stropha},
+@cindex @code{\inclinatum}
+@code{\inclinatum},
+@cindex @code{\auctum}
+@code{\auctum},
+@cindex @code{\descendens}
+@code{\descendens},
+@cindex @code{\ascendens}
+@code{\ascendens},
+@cindex @code{\oriscus}
+@code{\oriscus},
+@cindex @code{\quilisma}
+@code{\quilisma},
+@cindex @code{\deminutum}
+@code{\deminutum}.
+
+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.
+
+@cindex @code{\pes}
+@cindex @code{\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.
+
+
+
+@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,raggedright,verbatim]
+\include "gregorian-init.ly"
+\score {
+ <<
+ \context VaticanaVoice = "cantus" {
+ \override Score.BarNumber #'transparent = ##t {
+ \[ c'\melisma c' \flexa a \]
+ \[ a \flexa \deminutum g\melismaEnd \]
+ 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
+ }
+ }
+ \lyricsto "cantus" \new Lyrics {
+ 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,raggedright,verbatim]
+\score {
+ <<
+ \context 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
+ }
+ }
+ \lyricsto "discantus" \new Lyrics {
+ San -- ctus, San -- ctus, San -- ctus
+ }
+ >>
+}
+@end lilypond
+
+
+@node Figured bass
+@subsection Figured bass
+
+@cindex Basso continuo
+
+@c TODO: musicological blurb about FB
+
+
+LilyPond has limited support for figured bass
+
+@lilypond[quote,raggedright,verbatim,fragment]
+<<
+ \context Voice { \clef bass dis4 c d ais g fis}
+ \context FiguredBass \figuremode {
+ < 6 >4 < 7 >8 < 6+ [_!] >
+ < 6 >4 <6 5 [3+] >
+ < _ >4 < 6 >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,raggedright,fragment]
+\context FiguredBass
+\figuremode { <4 6> }
+@end lilypond
+
+Accidentals are added when you append @code{-}, @code{!}, and @code{+}
+to the numbers
+
+@example
+<4- 6+ 7!>
+@end example
+@lilypond[quote,raggedright,fragment]
+\context FiguredBass
+\figuremode { <4- 6+ 7!> }
+@end lilypond
+
+Spaces or dashes may be inserted by using @code{_}. Brackets are
+introduced with @code{[} and @code{]}
+
+@example
+< [4 6] 8 [_! 12] >
+@end example
+@lilypond[quote,raggedright,fragment]
+\context FiguredBass
+\figuremode { < [4 6] 8 [_! 12] > }
+@end lilypond
+
+Although the support for figured bass may superficially resemble chord
+support, it works 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}.
+
+@seealso
+
+Program reference: @internalsref{BassFigureEvent} music,
+@internalsref{BassFigure} object, and @internalsref{FiguredBass} context.
+
+@refbugs
+
+Slash notation for alterations is not supported.
+
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