@c -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond.tely
+@ignore
+ Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+ When revising a translation, copy the HEAD committish of the
+ version that you are working on. See TRANSLATION for details.
+@end ignore
+
-@c A menu is needed before every deeper *section nesting of @node's; run
+@c 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
@menu
* Automatic staff changes::
* Manual staff switches::
-* Laissez vibrer ties::
* Pedals::
* Staff switch lines::
* Cross staff stems::
@refbugs
Dynamics are not centered, but workarounds do exist. See the
-``piano centered dynamics'' template in @ref{Piano templates}.
+@q{piano centered dynamics} template in @ref{Piano templates}.
@cindex cross staff stem
@cindex stem, cross staff
@cindex distance between staves in piano music
-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
point), and it looks ahead skipping over rests to switch in
advance. Here is a practical example
-@lilypond[quote,verbatim,raggedright]
-\context PianoStaff
+@lilypond[quote,verbatim,ragged-right]
+\new PianoStaff
\autochange \relative c'
{
g4 a b c d r4 a g
@example
<<
- \context Staff = up @{
+ \new Staff = "up" @{
\skip 1 * 10 % @emph{keep staff alive}
@}
- \context Staff = down @{
+ \new Staff = "down" @{
\skip 1 * 10 % @emph{idem}
@}
>>
@end example
-@node Laissez vibrer ties
-@subsection Laissez vibrer ties
-@cindex Laissez vibrer
-@cindex Ties, laissez vibrer
-
-L.v. ties (laissez vibrer) indicate that notes must not be damped at the
-end. It is used in notation for piano, harp and other string and
-percussion instruments. They can be entered using @code{\laissezVibrer},
-
-@lilypond[fragment,raggedright,verbatim,relative=1]
-<c f g>\laissezVibrer
-@end lilypond
-
-@seealso
-
-Program reference:
-@internalsref{LaissezVibrerTie}
-@internalsref{LaissezVibrerTieColumn}
-
-Example files:
-@inputfileref{input/regression,laissez-vibrer-tie.ly}
-
@node Pedals
@subsection Pedals
@cindex Pedals
@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
note or chord
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
c'4\sustainDown c'4\sustainUp
@end lilypond
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]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\set Staff.pedalSustainStyle = #'bracket
c\sustainDown d e
b\sustainUp\sustainDown
obtained by setting the @code{pedalSustainStyle} property to
@code{mixed}
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\set Staff.pedalSustainStyle = #'mixed
c\sustainDown d e
b\sustainUp\sustainDown
b g \sustainUp a \sustainDown \bar "|."
@end lilypond
-The default `*Ped.' style for sustain and damper pedals corresponds to
+The default @q{*Ped.} style for sustain and damper pedals corresponds to
style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
default.
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
c\sostenutoDown d e c, f g a\sostenutoUp
@end lilypond
modified. For example, the bracket may be extended to the right edge
of the note head
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
c\sostenutoDown d e c, f g a\sostenutoUp
@end lilypond
@seealso
-In this manual: @ref{Laissez vibrer ties}
+In this manual: @ref{Laissez vibrer ties}.
@node Staff switch lines
@subsection Staff switch lines
@cindex staff switching
@cindex cross staff
-@cindex @code{followVoice}
+@funindex followVoice
Whenever a voice switches to another staff, a line connecting the notes
can be printed automatically. This is switched on by setting
@code{followVoice} to true
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
\new PianoStaff <<
- \context Staff=one {
+ \new Staff="one" {
\set followVoice = ##t
c1
\change Staff=two
b2 a
}
- \context Staff=two { \clef bass \skip 1*2 }
+ \new Staff="two" { \clef bass \skip 1*2 }
>>
@end lilypond
@refcommands
-@cindex @code{\showStaffSwitch}
+@funindex \showStaffSwitch
@code{\showStaffSwitch},
-@cindex @code{\hideStaffSwitch}
+@funindex \hideStaffSwitch
@code{\hideStaffSwitch}.
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
+@lilypond[ragged-right,verbatim,quote]
+stemExtend = {
+ \once \override Stem #'length = #10
+ \once \override Stem #'cross-staff = ##t
+}
noFlag = \once \override Stem #'flag-style = #'no-flag
-\context PianoStaff <<
+\new PianoStaff <<
\new Staff {
\stemDown \stemExtend
f'4
pitches, so they can be transposed
-@lilypond[quote,raggedright,verbatim,raggedright]
+@lilypond[quote,ragged-right,verbatim,ragged-right]
twoWays = \transpose c c' {
\chordmode {
c1 f:sus4 bes/f
<f bes d'>
}
-<< \context ChordNames \twoWays
- \context Voice \twoWays >>
+<< \new ChordNames \twoWays
+ \new Voice \twoWays >>
@end lilypond
This example also shows that the chord printing routines do not try to
names. A chord is entered by the root, which is entered like a
normal pitch
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\chordmode { es4. d8 c2 }
@end lilypond
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
+
+The first number following the root is taken to be the @q{type} of the
chord, thirds are added to the root until it reaches the specified
-number
+number. The exception is @code{c:13}, for which the 11 is omitted.
+
@lilypond[quote,fragment,verbatim]
-\chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
+\chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 c:13 }
@end lilypond
@cindex root of chord
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
@end lilypond
@cindex modifiers, in chords.
-@cindex @code{aug}
-@cindex @code{dim}
-@cindex @code{maj}
-@cindex @code{sus}
-@cindex @code{m}
+@funindex aug
+@funindex dim
+@funindex maj
+@funindex sus
+@funindex m
Since an unaltered 11 does not sound good when combined with an
-unaltered 3, the 11 is removed in this case (unless it is added
+unaltered 13, the 11 is removed in this case (unless it is added
explicitly)
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\chordmode { c:13 c:13.11 c:m13 }
@end lilypond
-@cindex @code{/}
+@funindex /
An inversion (putting one pitch of the chord on the bottom), as well
as bass notes, can be specified by appending
@code{/}@var{pitch} to the chord
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\chordmode { c1 c/g c/f }
@end lilypond
-@cindex @code{/+}
+@funindex /+
-A bass note can be added instead transposed out of the chord,
+A bass note can be added instead of transposed out of the chord,
by using @code{/+}@var{pitch}.
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\chordmode { c1 c/+g c/+f }
@end lilypond
simply produces the augmented chord, since @code{5+} is interpreted
last
@cindex clusters
-@lilypond[quote,raggedright,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment]
\chordmode { c:5.5-.5+ }
@end lilypond
The chords may be entered either using the notation
described above, or directly using @code{<} and @code{>}
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
harmonies = {
\chordmode {a1 b c} <d' f' a'> <e' g' b'>
}
<<
- \context ChordNames \harmonies
- \context Staff \harmonies
+ \new ChordNames \harmonies
+ \new Staff \harmonies
>>
@end lilypond
display chord names when there is a change in the chords scheme and at
the start of a new line
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
harmonies = \chordmode {
c1:m c:m \break c:m c:m d
}
<<
- \context ChordNames {
+ \new ChordNames {
\set chordChanges = ##t
\harmonies }
- \context Staff \transpose c c' \harmonies
+ \new Staff \transpose c c' \harmonies
>>
@end lilypond
to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
for showing repeats.
-@lilypond[raggedright,verbatim]
+@lilypond[ragged-right,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
+\chordmode { \repeat volta 2 {
+ f1:maj7 f:7 bes:7
+ c:maj7
} \alternative {
es e
}
+}
@end lilypond
following properties
@table @code
-@cindex @code{chordNameExceptions}
+@funindex chordNameExceptions
@item chordNameExceptions
This is a list that contains the chords that have special formatting.
@file{ly/@/chord@/-modifier@/-init@/.ly}.
For an example of tuning this property, see also
-@inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
+@lsr{chords,chord@/-name@/-exceptions@/.ly}
@cindex exceptions, chord names.
-@cindex @code{majorSevenSymbol}
+@funindex majorSevenSymbol
@item majorSevenSymbol
This property contains the markup object used for the 7th step, when
it is major. Predefined options are @code{whiteTriangleMarkup} and
@code{blackTriangleMarkup}. See
-@inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
+@lsr{chords,chord@/-name@/-major7@/.ly} for an example.
-@cindex @code{chordNameSeparator}
+@funindex chordNameSeparator
@item chordNameSeparator
Different parts of a chord name are normally separated by a
slash. By setting @code{chordNameSeparator}, you can specify other
separators, e.g.,
-@lilypond[quote,raggedright,fragment,verbatim]
-\context ChordNames \chordmode {
+@lilypond[quote,ragged-right,fragment,verbatim]
+\new ChordNames \chordmode {
c:7sus4
\set chordNameSeparator
= \markup { \typewriter "|" }
}
@end lilypond
-@cindex @code{chordRootNamer}
+@funindex chordRootNamer
@item chordRootNamer
The root of a chord is usually printed as a letter with an optional
alteration. The transformation from pitch to letter is done by this
-function. Special note names (for example, the German ``H'' for a
+function. Special note names (for example, the German @q{H} for a
B-chord) can be produced by storing a new function in this property.
-@cindex @code{chordNoteNamer}
+@funindex chordNoteNamer
@item chordNoteNamer
The default is to print single pitch, e.g., the bass note, using the
@code{chordRootNamer}. The @code{chordNoteNamer} property can be set
to a specialized function to change this behavior. For example, the
base can be printed in lower case.
-@cindex @code{chordPrefixSpacer}
+@funindex chordPrefixSpacer
@item chordPrefixSpacer
-The ``m'' for minor chords is usually printed right after the root of
-the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
-between the root and ``m''. The spacer is not used when the root
+The @q{m} for minor chords is usually printed right after the root of
+the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
+between the root and @q{m}. The spacer is not used when the root
is altered.
@end table
The predefined variables @code{\germanChords},
-@code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
+@code{\semiGermanChords}, @code{\italianChords} and @code{\frenchChords}
set these variables. The effect is
demonstrated here,
-@lilypondfile[raggedright]{chord-names-languages.ly}
+@lilypondfile[ragged-right]{chord-names-languages.ly}
There are also two other chord name schemes implemented: an alternate
Jazz chord notation, and a systematic scheme called Banter chords. The
alternate Jazz notation is also shown on the chart in @ref{Chord name
-chart}. Turning on these styles is described in the input file
-@inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
+chart}. Turning on these styles is demonstrated in
+@lsr{chords,chord-names-jazz.ly}.
@cindex Banter
@cindex jazz chords
@refcommands
-@cindex @code{\germanChords}
+@funindex \germanChords
@code{\germanChords},
-@cindex @code{\semiGermanChords}
+@funindex \semiGermanChords
@code{\semiGermanChords}.
-@cindex @code{\italianChords}
+@funindex \italianChords
@code{\italianChords}.
-@cindex @code{\frenchChords}
+@funindex \frenchChords
@code{\frenchChords}.
@seealso
-Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
-@inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
-@inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
-
+Examples:
+@lsrdir{chords}
Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
@file{scm/@/chord@/-entry@/.scm}.
@node Vocal music
@section Vocal music
-There are three different issues when printing vocal music
+Since LilyPond input files are text, there are two issues to
+consider when working with vocal music:
@itemize @bullet
@item
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.
-
+There are a few different ways to define lyrics; we shall begin
+by examining the simplest method, and gradually increase complexity.
@menu
* Setting simple songs::
* Entering lyrics::
-* Hyphens and extenders::
-* The Lyrics context::
-* Flexibility in alignment::
-* More stanzas::
+* Aligning lyrics to a melody::
+* Working with lyrics and identifiers::
+* Flexibility in placement::
+* Spacing lyrics::
+* More about stanzas::
* Ambitus::
* Other vocal issues::
@end menu
+
+@commonprop
+
+Checking to make sure that text scripts and lyrics are within the margins is
+a relatively large computational task. To speed up processing, lilypond does
+not perform such calculations by default; to enable it, use
+
+@example
+\override Score.PaperColumn #'keep-inside-line = ##t
+@end example
+
+To make lyrics avoid barlines as well, use
+@example
+\layout @{
+ \context @{
+ \Lyrics
+ \consists "Bar_engraver"
+ \consists "Separating_line_group_engraver"
+ \override BarLine #'transparent = ##t
+ @}
+@}
+@end example
+
+
@node Setting simple songs
@subsection Setting simple songs
-The easiest way to add lyrics to a melody is to append
@cindex \addlyrics
+
+The easiest way to add lyrics to a melody is to append
+
@example
\addlyrics @{ @var{the lyrics} @}
@end example
@noindent
to a melody. Here is an example,
-@lilypond[raggedright,verbatim,fragment,quote]
+@lilypond[ragged-right,verbatim,fragment,quote]
\time 3/4
\relative { c2 e4 g2. }
\addlyrics { play the game }
More stanzas can be added by adding more
@code{\addlyrics} sections
-@lilypond[raggedright,verbatim,fragment,quote]
+@lilypond[ragged-right,verbatim,fragment,quote]
\time 3/4
\relative { c2 e4 g2. }
\addlyrics { play the game }
\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
+The command @code{\addlyrics} cannot handle polyphony settings. For these
+cases you should use @code{\lyricsto} and @code{\lyricmode}, as will be
+introduced in @ref{Entering lyrics}.
-@code{\addlyrics} cannot handle polyphony.
@node Entering lyrics
@subsection Entering lyrics
@cindex lyrics
-@cindex @code{\lyricmode}
+@funindex \lyricmode
@cindex punctuation
+@cindex spaces, in lyrics
+@cindex quotes, in lyrics
-Lyrics are entered in a special input mode. This mode is introduced
+Lyrics are entered in a special input mode, which can be introduced
by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
@code{\lyricsto}. In this mode you can enter lyrics,
with punctuation and accents, and the input @code{d} is not parsed as
a pitch, but rather as a one letter syllable. Syllables are entered
like notes, but with pitches replaced by text. For example,
+
@example
\lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
@end example
-There is a difference between @code{\addlyrics} and
-@code{\lyricmode}. @code{\addlyrics} and @code{\lyricsto}
-ignore all durations and aligns syllables to notes; @code{\lyricmode}
-uses the durations specified.
+There are two main methods to specify the horizontal placement
+of the syllables, either by specifying the duration of each syllable
+explicitly, like in the example above, or by automatically aligning
+the lyrics to a melody or other voice of music, using @code{\addlyrics}
+or @code{\lyricsto}.
+@c TODO: broken
+@c For more details see @ref{The Lyrics context}.
-A word lyrics mode begins with an alphabetic character, and ends with
+A word or syllable of lyrics begins with an alphabetic character, and ends
+with
any space or digit. The following characters can be any character
-that is not a digit or white space. One important consequence of this
-is that a word can end with @code{@}}. The following example is
-usually a mistake in the input file. The syllable includes a @code{@}}, so the
-opening brace is not balanced
+that is not a digit or white space.
+
+Any character that is not a digit or white space will be regarded as
+part of the syllable; one important consequence of this is that a word
+can end with @code{@}}, which often leads to the following mistake:
+
@example
-\lyricmode @{ twinkle@}
+\lyricmode @{ lah- lah@}
@end example
-@cindex @code{\property}, in @code{\lyricmode}
+In this example, the @code{@}} is included in the final syllable, so the
+opening brace is not balanced and the input file will probably not
+compile.
+
+
+@funindex \property in \lyricmode
+
@noindent
Similarly, a period which follows an alphabetic sequence is included in
the resulting string. As a consequence, spaces must be inserted around
-property commands
+property commands: do @emph{not} write
+
+@example
+\override Score.LyricText #'font-shape = #'italic
+@end example
+
+@noindent
+but instead use
+
@example
\override Score . LyricText #'font-shape = #'italic
@end example
-@cindex @code{_}
+@funindex _
@cindex spaces, in lyrics
@cindex quotes, in lyrics
+@cindex ties, in lyrics
+
+In order to assign more than one syllable to a single note, you can
+surround them with quotes or use a @code{_} character, to get spaces
+between syllables, or use tilde symbol (@code{~}) to get a lyric tie.
+
+@lilypond[quote,relative=2,ragged-right,fragment,verbatim]
+\time 3/4
+\relative { c2 e4 g2 e4 }
+\addlyrics { gran- de_a- mi- go }
+\addlyrics { pu- "ro y ho-" nes- to }
+\addlyrics { pu- ro~y~ho- nes- to }
+@end lilypond
+
+The lyric tie is implemented with the Unicode character U+203F, so be
+sure to have a font (Like DejaVuLGC) installed that includes this
+glyph.
-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.
To enter lyrics with characters from non-English languages, or with
-non-ascii characters (such as the heart symbol or slanted quotes),
+accented and special characters (such as the heart symbol or slanted quotes),
simply insert the characters directly into the input file and save
-it with utf-8 encoding. See @ref{Text encoding} for more info.
+it with utf-8 encoding. See @ref{Text encoding}, for more info.
-@example
-\lyricmode @{ He said: “Let my peo ple go”. @}
-@end example
+@lilypond[quote,ragged-right,fragment,verbatim]
+\relative { e4 f e d e f e2 }
+\addlyrics { He said: “Let my peo ple go”. }
+@end lilypond
+
+To use normal quotes in lyrics, add a backslash before the
+quotes. For example,
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
+\addlyrics { "\"I" am so lone- "ly\"" said she }
+@end lilypond
The full definition of a word start in Lyrics mode is somewhat more
complex.
combination of a backslash followed by one of @code{`}, @code{'},
@code{"}, or @code{^}.
+To define identifiers containing lyrics, the function @code{lyricmode}
+must be used.
+@example
+verseOne = \lyricmode @{ Joy to the world the Lord is come @}
+\score @{
+ <<
+ \new Voice = "one" \relative c'' @{
+ \autoBeamOff
+ \time 2/4
+ c4 b8. a16 g4. f8 e4 d c2
+ @}
+ \addlyrics @{ \verseOne @}
+ >>
+@}
+@end example
-@seealso
-
-Program reference: @internalsref{LyricText}.
-
-@refbugs
-
-The definition of lyrics mode is too complex.
-@node Hyphens and extenders
-@subsection Hyphens and extenders
+@seealso
-@cindex hyphens
+Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
-Centered hyphens are entered as `@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{__}'.
+@node Aligning lyrics to a melody
+@subsection Aligning lyrics to a melody
-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.
+@funindex \lyricmode
+@funindex \addlyrics
+@funindex \lyricsto
-@lilypond[quote,verbatim,raggedright]
-\score {
- <<
- \new Staff \relative c'' {
- \time 1/4 c16 c c c c16 c c c c16 c c c
- }
- \lyricmode { \new Lyrics
- \with {
- \override SeparationItem #'padding = #0.0
- % Otherwise lyrics are so far apart that hyphens don't disappear
- }
- {
- An -- ti -- cons -- ti --
- tu -- tion -- nel -- le --
- \override LyricHyphen #'minimum-length = #0.7
- \override LyricHyphen #'springs-and-rods =
- #Hyphen_spanner::set_spacing_rods
- men -- taire -- ment. ouf~!
- }
- }
- >>
- \layout {
- indent = 0.0 \cm
- linewidth = 3.4 \cm
- \context {
- \Staff \remove "Time_signature_engraver"
- }
- }
-}
-@end lilypond
-@seealso
+Lyrics are printed by interpreting them in the context called
+@internalsref{Lyrics}.
-Program reference: @internalsref{LyricHyphen}, @internalsref{LyricExtender}.
+@example
+\new Lyrics \lyricmode @dots{}
+@end example
+There are two main methods to specify the horizontal placement
+of the syllables:
+@itemize @bullet
+@item
+by automatically aligning
+the lyrics to a melody or other voice of music, using @code{\addlyrics}
+or @code{\lyricsto}.
-@node The Lyrics context
-@subsection The Lyrics context
+@item
+or by specifying the duration of each syllable
+explicitly, using @code{\lyricmode}
+@end itemize
+@menu
+* Automatic syllable durations::
+* Another way of entering lyrics::
+* Assigning more than one syllable to a single note::
+* More than one note on a single syllable::
+* Extenders and hyphens::
+@end menu
-Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
-@example
-\context Lyrics \lyricmode @dots{}
-@end example
+@node Automatic syllable durations
+@subsubsection Automatic syllable durations
@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
+The lyrics can be aligned under a given melody
+automatically. This is achieved by combining the
melody and the lyrics with the @code{\lyricsto} expression
+
@example
-\lyricsto @var{name} \new Lyrics @dots{}
+\new Lyrics \lyricsto @var{name} @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
+notes of the @internalsref{Voice} context called @var{name}, which must
+already exist. Therefore normally the @code{Voice} is specified first, and
then the lyrics are specified with @code{\lyricsto}. The command
@code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
@code{\lyricmode} keyword may be omitted.
-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} @}
+The following example uses different commands for entering lyrics.
+
+@lilypond[quote,fragment,ragged-right,verbatim]
+<<
+ \new Voice = "one" \relative c'' {
+ \autoBeamOff
+ \time 2/4
+ c4 b8. a16 g4. f8 e4 d c2
+ }
+ \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
+ \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
+ \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
>>
-@end example
-and then combine the appropriate melodies and lyric lines
+@end lilypond
+
+The second stanza is not properly aligned because the durations
+were not specified. A solution for that would be to use @code{\lyricsto}.
+
+The @code{\addlyrics} command is actually just a convenient way
+to write a more complicated LilyPond structure that sets up the
+lyrics.
+
@example
-\lyricsto "soprano" \context Lyrics = sopranoLyrics
- @emph{the lyrics}
+@{ MUSIC @}
+\addlyrics @{ LYRICS @}
@end example
@noindent
-The final input would resemble
+is the same as
@example
-<<\context ChoirStaff << @emph{setup the music} >>
- \lyricsto "soprano" @emph{etc}
- \lyricsto "alto" @emph{etc}
- @emph{etc}
->>
+\new Voice = "blah" @{ music @}
+\new Lyrics \lyricsto "blah" @{ LYRICS @}
+@end example
+
+@node Another way of entering lyrics
+@subsubsection Another way of entering lyrics
+
+Lyrics can also be entered without @code{\addlyrics} or
+@code{\lyricsto}. In this case,
+syllables are entered like notes -- but with pitches replaced by text -- and the
+duration of each syllable must be entered explicitly. For example:
+
+@example
+play2 the4 game2.
+sink2 or4 swim2.
+@end example
+
+The alignment to a melody can be specified with the
+@code{associatedVoice} property,
+
+@example
+\set associatedVoice = #"lala"
@end example
+
+@noindent
+The value of the property (here: @code{"lala"}) should be the name of
+a @internalsref{Voice} context. Without this setting, extender lines
+will not be formatted properly.
+
+Here is an example demonstrating manual lyric durations,
+
+@lilypond[relative=1,ragged-right,verbatim,fragment,quote]
+<< \new Voice = "melody" {
+ \time 3/4
+ c2 e4 g2.
+ }
+ \new Lyrics \lyricmode {
+ \set associatedVoice = #"melody"
+ play2 the4 game2.
+ } >>
+@end lilypond
+
+@seealso
+
+Program reference: @internalsref{Lyrics}.
+
+
+@node Assigning more than one syllable to a single note
+@subsubsection Assigning more than one syllable to a single note
+
+
+@funindex _
+@cindex ties, in lyrics
+
+In order to assign more than one syllable to a single note, you can
+surround them with quotes or use a @code{_} character, to get spaces
+between syllables, or use tilde symbol (@code{~}) to get a lyric
+tie@footnote{The lyric ties is implemented with the Unicode character
+U+203F, so be
+sure to have a font (Like DejaVuLGC) installed that includes this
+glyph.}.
+
+@lilypond[quote,relative=2,ragged-right,fragment,verbatim]
+\time 3/4
+\relative { c2 e4 g2 e4 }
+\addlyrics { gran- de_a- mi- go }
+\addlyrics { pu- "ro y ho-" nes- to }
+\addlyrics { pu- ro~y~ho- nes- to }
+@end lilypond
+
+@seealso
+
+Program reference: @internalsref{LyricCombineMusic}.
+
+@c Here come the section which used to be "Melismata"
+@c the new title might be more self-explanatory
+
+@node More than one note on a single syllable
+@subsubsection More than one note on a single syllable
-The @code{\lyricsto} command detects melismata: it only puts one
+@cindex melisma
+@cindex melismata
+@cindex phrasing, in lyrics
+
+Sometimes, particularly in Medieval music, several notes are to be sung on one
+single syllable; such vocalises are called melismas, or melismata.
+
+@c this method seems to be the simplest; therefore
+@c it might be better to present it first - vv
+
+You can define melismata entirely in the lyrics, by entering @code{_}
+for every note
+that is part of the melisma.
+
+@lilypond[relative=1,verbatim,fragment,quote]
+{ \set melismaBusyProperties = #'()
+ c d( e) f f( e) e e }
+\addlyrics
+ { Ky -- _ _ ri __ _ _ _ e }
+@end lilypond
+
+In this case, you can also have ties and slurs in the melody if you
+set @code{melismaBusyProperties}, as is done in the example above.
+
+However, the @code{\lyricsto} command can also
+detect melismata automatically: 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]
+@lilypond[quote,relative=2,ragged-right,fragment,verbatim]
<<
- \context Voice = "lala" {
+ \new Voice = "lala" {
\time 3/4
f4 g8
\melisma
\melismaEnd
e2
}
- \lyricsto "lala" \new Lyrics {
+ \new Lyrics \lyricsto "lala" {
la di __ daah
}
>>
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
+@c TODO: there might be some more relevant place for
+@c the following link (?)
@cindex SATB
@cindex choral score
@refcommands
@code{\melisma}, @code{\melismaEnd}
-@cindex @code{\melismaEnd}
-@cindex @code{\melisma}
+@funindex \melismaEnd
+@funindex \melisma
@seealso
-Program reference: @internalsref{LyricCombineMusic},
-@internalsref{Lyrics}, @internalsref{Melisma_translator}.
-
+Program reference: @internalsref{Melisma_translator}.
-@inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
-@c TODO: make separate section for melismata
+@lsr{vocal,lyric@/-combine.ly}.
@refbugs
Melismata are not detected automatically, and extender lines must be
inserted by hand.
+@node Extenders and hyphens
+@subsubsection Extenders and hyphens
+
+@cindex melisma
+@cindex extender
+Melismata are indicated with a horizontal line centered between a syllable
+and the next one. Such a line is called an extender line, and it is entered
+as @samp{ __ } (note the spaces before and after the two underscore
+characters).
+
+@cindex hyphens
+
+Centered hyphens are entered as @samp{ -- } between syllables of a same word
+(note the spaces before and after the two hyphen characters). The hyphen
+will be centered between the syllables, and its length will be adjusted
+depending on the space between the syllables.
+
+In tighly engraved music, hyphens can be removed. Whether this
+happens can be controlled with the @code{minimum-distance} (minimum
+distance between two syllables) and the @code{minimum-length}
+(threshold below which hyphens are removed).
+
+@seealso
+
+Program reference: @internalsref{LyricExtender},
+@internalsref{LyricHyphen}
+
+
+@node Working with lyrics and identifiers
+@subsection Working with lyrics and identifiers
+@cindex lyrics, identifiers
+
+To define identifiers containing lyrics, the function @code{\lyricmode}
+must be used. You do not have to enter durations though, if you add
+@code{\addlyrics} or @code{\lyricsto}
+when invoking your identifier.
+
+@example
+verseOne = \lyricmode @{ Joy to the world the Lord is come @}
+\score @{
+ <<
+ \new Voice = "one" \relative c'' @{
+ \autoBeamOff
+ \time 2/4
+ c4 b8. a16 g4. f8 e4 d c2
+ @}
+ \addlyrics @{ \verseOne @}
+ >>
+@}
+@end example
+
+For different or more complex orderings, the best way is to setup the
+hierarchy of staves and lyrics first, e.g.,
+@example
+\new ChoirStaff <<
+ \new Voice = "soprano" @{ @emph{music} @}
+ \new Lyrics = "sopranoLyrics" @{ s1 @}
+ \new Lyrics = "tenorLyrics" @{ s1 @}
+ \new Voice = "tenor" @{ @emph{music} @}
+>>
+@end example
+
+and then combine the appropriate melodies and lyric lines
+
+@example
+\context Lyrics = sopranoLyrics \lyricsto "soprano"
+@emph{the lyrics}
+@end example
+
+@noindent
+
+The final input would resemble
+
+@example
+<<\new ChoirStaff << @emph{setup the music} >>
+ \lyricsto "soprano" @emph{etc}
+ \lyricsto "alto" @emph{etc}
+@emph{etc}
+>>
+@end example
+
+@seealso
+
@c TODO: document \new Staff << Voice \lyricsto >> bug
+Program reference: @internalsref{LyricCombineMusic},
+@internalsref{Lyrics}.
-@node Flexibility in alignment
-@subsection Flexibility in alignment
+
+@node Flexibility in placement
+@subsection Flexibility in placement
Often, different stanzas of one song are put to one melody in slightly
differing ways. Such variations can still be captured with
@code{\lyricsto}.
-@subsubsection Lyrics to multiple notes of a melisma
+@menu
+* Lyrics to multiple notes of a melisma::
+* Divisi lyrics::
+* Switching the melody associated with a lyrics line::
+* Lyrics independent of notes::
+@end menu
+
+@node Lyrics to multiple notes of a melisma
+@subsubsection Lyrics to multiple notes of a melisma
One possibility is that the text has a melisma in one stanza, but
multiple syllables in another one. One solution is to make the faster
voice ignore the melisma. This is done by setting
@code{ignoreMelismata} in the Lyrics context.
-There has one tricky aspect. The setting for @code{ignoreMelismata}
+There is one tricky aspect: the setting for @code{ignoreMelismata}
must be set one syllable @emph{before} the non-melismatic syllable
in the text, as shown here,
-@lilypond[verbatim,raggedright,quote]
+@c FIXME: breaks compile
+@lilypond[verbatim,ragged-right,quote]
+%{
<<
- \relative \context Voice = "lahlah" {
+ \relative \new Voice = "lahlah" {
\set Staff.autoBeaming = ##f
c4
\slurDotted
still
}
>>
+%}
@end lilypond
-The @code{ignoreMelismata} applies to the syllable ``fas'', so it
-should be entered before ``go''.
+The @code{ignoreMelismata} applies to the syllable @q{fas}, so it
+should be entered before @q{go}.
The reverse is also possible: making a lyric line slower than the
standard. This can be achieved by insert @code{\skip}s into the
lyrics. For every @code{\skip}, the text will be delayed another note.
For example,
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
\relative { c c g' }
\addlyrics {
twin -- \skip 4
@end lilypond
-@subsection Switching the melody associated with a lyrics line
+@node Divisi lyrics
+@subsubsection Divisi lyrics
+
+You can display alternate (or divisi) lyrics by naming voice
+contexts and attaching lyrics to those specific contexts.
+
+@lilypond[verbatim,ragged-right,quote]
+\score{ <<
+ \new Voice = "melody" {
+ \relative c' {
+ c4
+ <<
+ { \voiceOne c8 e }
+ \new Voice = "splitpart" { \voiceTwo c4 }
+ >>
+ \oneVoice c4 c | c
+ }
+ }
+ \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
+ \new Lyrics \lyricsto "splitpart" { will }
+>> }
+@end lilypond
+
+
+You can use this trick to display different lyrics for a repeated
+section.
+
+@lilypond[verbatim,ragged-right,quote]
+\score{ <<
+ \new Voice = "melody" \relative c' {
+ c2 e | g e | c1 |
+ \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
+ a2 b | c1}
+ \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
+ do mi sol mi do
+ la si do }
+ \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
+ do re mi fa sol }
+ \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
+ dodo rere mimi fafa solsol }
+>>
+}
+@end lilypond
+
+@node Switching the melody associated with a lyrics line
+@subsubsection Switching the melody associated with a lyrics line
More complex variations in text underlay are possible. It is possible
to switch the melody for a line of lyrics during the text. This is
done by setting the @code{associatedVoice} property. In the example
-@lilypond[raggedright,quote]
+@lilypond[ragged-right,quote]
<<
- \relative \context Voice = "lahlah" {
+ \relative \new Voice = "lahlah" {
\set Staff.autoBeaming = ##f
c4
<<
- \context Voice = alternative {
+ \new Voice = "alternative" {
\voiceOne
\times 2/3 {
% show associations clearly.
@end lilypond
@noindent
-the text for the first stanza is set to a melody called ``lahlah'',
+the text for the first stanza is set to a melody called @q{lahlah},
@example
\new Lyrics \lyricsto "lahlah" @{
The second stanza initially is set to the @code{lahlah} context, but
-for the syllable ``ran'', it switches to a different melody.
+for the syllable @q{ran}, it switches to a different melody.
This is achieved with
@example
\set associatedVoice = alternative
Here, @code{alternative} is the name of the @code{Voice} context
containing the triplet.
-Again, the command must be one syllable too early, before ``Ty'' in
+Again, the command must be one syllable too early, before @q{Ty} in
this case.
@example
@code{lahlah} to @code{associatedVoice}.
+@node Lyrics independent of notes
+@subsubsection Lyrics independent of notes
-@subsection Specifying melismata within the lyrics
-
-It is also possible to define melismata entirely in the lyrics. This
-can be done by entering @code{_} for every note that is part of the
-melisma.
+In some complex vocal music, it may be desirable to place
+lyrics completely independently of notes. Music defined
+inside @code{lyricrhythm} disappears into the
+@code{Devnull} context, but the rhythms can still be used
+to place the lyrics.
-@lilypond[relative=1,verbatim,fragment]
-{ \set melismaBusyProperties = #'()
- c d( e) f f( e) e e }
-\addlyrics
- { Ky -- _ _ ri __ _ _ _ e }
-@end lilypond
+@lilypond[quote,verbatim,ragged-right]
+voice = {
+ c''2
+ \tag #'music { c''2 }
+ \tag #'lyricrhythm { c''4. c''8 }
+ d''1
+}
-In this case, you can also have ties and slurs in the melody, if you
-set @code{melismaBusyProperties}, as is done in the example above.
+lyr = \lyricmode { I like my cat! }
-@lilypond[relative=1,verbatim,fragment]
-{
- \set melismaBusyProperties = #'()
- c d( e) f f( e) e e
-}
-\addlyrics
- { Ky -- _ _ ri __ _ _ _ e }
+<<
+ \new Staff \keepWithTag #'music \voice
+ \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
+ \new Lyrics \lyricsto "nowhere" \lyr
+ \new Staff { c'8 c' c' c' c' c' c' c'
+ c' c' c' c' c' c' c' c' }
+>>
@end lilypond
-@subsubsection Spacing lyrics
+
+@node Spacing lyrics
+@subsection Spacing lyrics
@cindex Spacing lyrics
@cindex Lyrics, increasing space between
-To increase the space between lyrics, use the @code{SeparationItem}
-property.
+To increase the spacing between lyrics, set the minimum-distance property of
+LyricSpace.
-@lilypond[relative,verbatim,fragment,quote,raggedright]
-{
+@lilypond[relative,verbatim,fragment,quote,ragged-right]
+{
c c c c
- \override Score.SeparationItem #'padding = #5
+ \override Lyrics.LyricSpace #'minimum-distance = #1.0
c c c c
}
\addlyrics {
}
@end lilypond
+To make this change for all lyrics in the score, set the property in the
+layout.
+@lilypond[relative,verbatim,quote,ragged-right]
+\score {
+ \relative c' {
+ c c c c
+ c c c c
+ }
+ \addlyrics {
+ longtext longtext longtext longtext
+ longtext longtext longtext longtext
+ }
+ \layout {
+ \context {
+ \Lyrics
+ \override LyricSpace #'minimum-distance = #1.0
+ }
+ }
+}
+@end lilypond
-@node More stanzas
-@subsection More stanzas
-
-@cindex phrasing, in lyrics
+@node More about stanzas
+@subsection More about stanzas
@cindex stanza number
-@cindex singer's names
-@cindex name of singer
+@subsubsection Adding stanza numbers
Stanza numbers can be added by setting @code{stanza}, e.g.,
-@lilypond[quote,raggedright,verbatim,relative=2,fragment]
+@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
\new Voice {
\time 3/4 g2 e4 a2 f4 g2.
} \addlyrics {
Hi, my name is Bert.
} \addlyrics {
\set stanza = "2. "
- Oh, che -- ri, je t'aime
+ Oh, ché -- ri, je t'aime
+}
+@end lilypond
+
+@noindent
+These numbers are put just before the start of the first syllable.
+
+
+@subsubsection Adding dynamics marks
+
+Stanzas differing in loudness may be indicated by putting a
+dynamics mark before each stanza. In Lilypond, everthing coming in
+front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
+are no different. For technical reasons, you have to set the stanza
+outside @code{\lyricmode}:
+
+@lilypond[quote,ragged-right,verbatim]
+text = {
+ \set stanza = \markup { \dynamic "ff" "1. " }
+ \lyricmode {
+ Big bang
+ }
}
+
+<<
+ \new Voice = "tune" {
+ \time 3/4
+ g'4 c'2
+ }
+\new Lyrics \lyricsto "tune" \text
+>>
@end lilypond
-These numbers are put just before the start of first syllable.
+@cindex singer name
+@cindex name of singer
+@subsubsection Adding singer names
Names of singers can also be added. They are printed at the start of
the line, just like instrument names. They are created by setting
-@code{vocalName}. A short version may be entered as @code{vocNam}.
+@code{vocalName}. A short version may be entered as @code{shortVocalName}.
-
-@lilypond[fragment,raggedright,quote,verbatim,relative=2]
+@lilypond[fragment,ragged-right,quote,verbatim,relative=2]
\new Voice {
\time 3/4 g2 e4 a2 f4 g2.
} \addlyrics {
}
@end lilypond
-You can display alternate (or divisi) lyrics by naming voice
-contexts and attaching lyrics to those specific contexts.
-@lilypond[verbatim,raggedright,quote]
+@subsubsection Printing stanzas at the end
+
+Sometimes it is appropriate to have one stanza set
+to the music, and the rest added in verse form at
+the end of the piece. This can be accomplished by adding
+the extra verses into a @code{\markup} section outside
+of the main score block. Notice that there are two
+different ways to force linebreaks when using
+@code{\markup}.
+
+@lilypond[ragged-right,verbatim,quote]
+melody = \relative c' {
+e d c d | e e e e |
+d d e d | c1 |
+}
+
+text = \lyricmode {
+\set stanza = "1." Ma- ry had a lit- tle lamb,
+its fleece was white as snow.
+}
+
\score{ <<
- \context Voice = "melody" {
- \relative c' {
- c4
- <<
- { \voiceOne c8 e }
- \context Voice = splitpart { \voiceTwo c4 }
- >>
- \oneVoice c4 c | c
- }
+ \new Voice = "one" { \melody }
+ \new Lyrics \lyricsto "one" \text
+>>
+ \layout { }
+}
+\markup { \column{
+ \line{ Verse 2. }
+ \line{ All the children laughed and played }
+ \line{ To see a lamb at school. }
}
- \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
- \new Lyrics \lyricsto "splitpart" { will }
->> }
+}
+\markup{
+ \wordwrap-string #"
+ Verse 3.
+
+ Mary took it home again,
+
+ It was against the rule."
+}
@end lilypond
-You can use this trick to display different lyrics for a repeated
-section.
+@subsubsection Printing stanzas at the end in multiple columns
+
+When a piece of music has many verses, they are often printed in
+multiple columns across the page. An outdented verse number often
+introduces each verse. The following example shows how to produce such
+output in Lilypond.
+
+@lilypond[ragged-right,quote,verbatim]
+melody = \relative c' {
+ c c c c | d d d d
+}
+
+text = \lyricmode {
+ \set stanza = "1." This is verse one.
+ It has two lines.
+}
-@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 }
->>
+ \new Voice = "one" { \melody }
+ \new Lyrics \lyricsto "one" \text
+ >>
+ \layout { }
+}
+
+\markup {
+ \fill-line {
+ \hspace #0.1 % moves the column off the left margin; can be removed if
+ % space on the page is tight
+ \column {
+ \line { \bold "2."
+ \column {
+ "This is verse two."
+ "It has two lines."
+ }
+ }
+ \hspace #0.1 % adds vertical spacing between verses
+ \line { \bold "3."
+ \column {
+ "This is verse three."
+ "It has two lines."
+ }
+ }
+ }
+ \hspace #0.1 % adds horizontal spacing between columns; if they are
+ % still too close, add more " " pairs until the result
+ % looks good
+ \column {
+ \line { \bold "4."
+ \column {
+ "This is verse four."
+ "It has two lines."
+ }
+ }
+ \hspace #0.1 % adds vertical spacing between verses
+ \line { \bold "5."
+ \column {
+ "This is verse five."
+ "It has two lines."
+ }
+ }
+ }
+ \hspace #0.1 % gives some extra space on the right margin; can
+ % be removed if page space is tight
+ }
}
@end lilypond
@seealso
-Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber}, @internalsref{VocalName}.
+Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber},
+@internalsref{VocalName}.
This results in the following output
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\layout {
\context {
\Staff
@internalsref{Ambitus_engraver} to the @internalsref{Staff} context
rather than to the @internalsref{Voice} context. Here is an example,
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,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))
+ \override Ambitus #'X-offset = #-1.0
\voiceOne
c4 a d e f2
}
This example uses one advanced feature,
@example
-\override Ambitus #'X-offset-callbacks
- = #(list (lambda (grob axis) -1.0))
+\override Ambitus #'X-offset = #-1.0
@end example
@noindent
@internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
@internalsref{AmbitusAccidental}.
-Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
+Examples:
+@lsr{vocal,ambitus@/.ly}.
@refbugs
examples, and that might get them more involved in the docs. -gp
@end ignore
-``Parlato'' is spoken without pitch but still with rhythm; it is
+@q{Parlato} is spoken without pitch but still with rhythm; it is
notated by cross noteheads. This is demonstrated in
@ref{Special noteheads}.
+
+
+
@node Rhythmic music
@section Rhythmic music
* Showing melody rhythms::
* Entering percussion::
* Percussion staves::
+* Ghost notes::
@end menu
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 {
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+\new RhythmicStaff {
\time 4/4
c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
}
Program reference: @internalsref{RhythmicStaff}.
-Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
-
@node Entering percussion
@subsection Entering percussion
percussion has a full name and an abbreviated name, and both can be used
in input files
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\drums {
hihat hh bassdrum bd
}
To typeset the music, the notes must be interpreted in a
@internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
down = \drummode { bassdrum4 snare8 bd r bd sn4 }
\new DrumStaff <<
@end lilypond
The above example shows verbose polyphonic notation. The short
-polyphonic notation, described in @ref{Polyphony}, can also be used if
+polyphonic notation, described in @ref{Basic polyphony}, can also be used if
the @internalsref{DrumVoice}s are instantiated by hand first. For example,
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\new DrumStaff <<
- \context DrumVoice = "1" { s1 *2 }
- \context DrumVoice = "2" { s1 *2 }
+ \new DrumVoice = "1" { s1 *2 }
+ \new DrumVoice = "2" { s1 *2 }
\drummode {
bd4 sn4 bd4 sn4
<<
@item drums-style
This is the default. It typesets a typical drum kit on a five-line staff
-@lilypond[quote,linewidth=10.0\cm]
+@lilypond[quote,line-width=10.0\cm]
nam = \lyricmode {
cymc cyms cymr hh hhc hho hhho hhp
cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
\override Stem #'Y-extent-callback = ##f
\override VerticalAxisGroup #'minimum-Y-extent = #'(-4.0 . 5.0)
} \mus
- \context Lyrics \nam
+ \new Lyrics \nam
>>
\layout {
\context {
@item timbales-style
This typesets timbales on a two line staff
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
nam = \lyricmode { timh ssh timl ssl cb }
mus = \drummode { timh ssh timl ssl cb s16 }
<<
- \context DrumStaff \with {
+ \new DrumStaff \with {
\remove Bar_engraver
\remove Time_signature_engraver
\override Stem #'transparent = ##t
\override VerticalAxisGroup #'minimum-Y-extent = #'(-3.0 . 4.0)
drumStyleTable = #timbales-style
} \mus
- \context Lyrics {
+ \new Lyrics {
\override LyricText #'font-family = #'typewriter
\nam
}
@item congas-style
This typesets congas on a two line staff
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
<<
- \context DrumStaff \with {
+ \new DrumStaff \with {
\remove Bar_engraver
\remove Time_signature_engraver
drumStyleTable = #congas-style
\override Stem #'transparent = ##t
\override Stem #'Y-extent-callback = ##f
} \mus
- \context Lyrics {
+ \new Lyrics {
\override LyricText #'font-family = #'typewriter
\nam
}
@item bongos-style
This typesets bongos on a two line staff
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
<<
- \context DrumStaff\with {
+ \new DrumStaff \with {
\remove Bar_engraver
\remove Time_signature_engraver
\override StaffSymbol #'line-count = #2
\override Stem #'transparent = ##t
\override Stem #'Y-extent-callback = ##f
} \mus
- \context Lyrics {
+ \new Lyrics {
\override LyricText #'font-family = #'typewriter
\nam
}
@item percussion-style
To typeset all kinds of simple percussion on one line staves.
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
<<
- \context DrumStaff\with{
+ \new DrumStaff \with{
\remove Bar_engraver
drumStyleTable = #percussion-style
\override StaffSymbol #'line-count = #1
\override Stem #'transparent = ##t
\override Stem #'Y-extent-callback = ##f
} \mus
- \context Lyrics {
+ \new Lyrics {
\override LyricText #'font-family = #'typewriter
\nam
}
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]
+@lilypond[quote,ragged-right,verbatim]
#(define mydrums '(
(bassdrum default #f -1)
(snare default #f 0)
for this purpose instead.
+@c FIXME: check name -gp
+@node Ghost notes
+@subsection Ghost notes
+
+Ghost notes for drums and percussion may be created using the
+@code{\parenthesize} command detailed in @ref{Parentheses}. However,
+the default @code{\drummode} does
+not include the @code{Parenthesis_engraver} plugin which allows
+this. You
+must add the plugin explicitly in the context definition as
+detailed in @ref{Changing context properties on the fly}.
+
+@lilypond[quote,ragged-right,verbatim,fragment]
+\new DrumStaff \with {
+ \consists "Parenthesis_engraver"
+} <<
+ \context DrumVoice = "1" { s1 *2 }
+ \context DrumVoice = "2" { s1 *2 }
+ \drummode {
+ <<
+ {
+ hh8[ hh] <hh sn> hh16
+ < \parenthesize sn > hh < \parenthesize
+ sn > hh8 <hh sn> hh
+ } \\ {
+ bd4 r4 bd8 bd r8 bd
+ }
+ >>
+ }
+>>
+@end lilypond
+
+@noindent
+Also note that you must add chords (@code{< >} brackets)
+around each @code{\parenthesize} statement.
+
@node Guitar
@section Guitar
* String number indications::
* Tablatures basic::
* Non-guitar tablatures::
+* Banjo tablatures::
* Fret diagrams::
+* Right hand fingerings::
* Other guitar issues::
@end menu
@cindex String numbers
String numbers can be added to chords, by indicating the string number
-with @code{\}@var{number},
+with @code{\}@var{number},
-@lilypond[relative,relative=1,raggedright,fragment]
+@lilypond[relative,relative=1,ragged-right,fragment]
<c\1 e\2 g\3>
@end lilypond
-See also @inputfileref{input/regression,string-number.ly}.
-
@seealso
-Program reference: @internalsref{StringNumber}.
+Program reference: @internalsref{StringNumber},
+@lsr{guitar/,string-number.ly}.
@node Tablatures basic
are printed as tablature, by using @internalsref{TabStaff} and
@internalsref{TabVoice} contexts
-@lilypond[quote,raggedright,fragment,verbatim]
-\context TabStaff {
+@lilypond[quote,ragged-right,fragment,verbatim]
+\new TabStaff {
a,4\5 c'\2 a\3 e'\1
e\4 c'\2 a\3 e'\1
}
@end lilypond
-@cindex @code{minimumFret}
+@funindex minimumFret
@cindex fret
When no string is specified, the first string that does not give a
\set TabStaff.minimumFret = #8
e16 fis gis a b4
@end example
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
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 }
+ \new StaffGroup <<
+ \new Staff { \clef "G_8" \frag }
+ \new TabStaff { \frag }
>>
@end lilypond
+
+@commonprop
+
+To print tablatures with stems down and horizontal beams,
+initialize the @code{TabStaff} with this code:
+
+@example
+\stemDown
+\override Beam #'damping = #100000
+@end example
+
@seealso
Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}.
string selector may easily select the same string to two notes in a
chord.
+In order to handle @code{\partcombine}, a @code{TabStaff} must use
+specially-created voices:
+
+@lilypond[quote,ragged-right,verbatim]
+melodia = \partcombine { e4 g g g }{ e4 e e e }
+<<
+ \new TabStaff <<
+ \new TabVoice = "one" s1
+ \new TabVoice = "two" s1
+ \new TabVoice = "shared" s1
+ \new TabVoice = "solo" s1
+ { \melodia }
+ >>
+>>
+@end lilypond
+
@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
+open string. The numbers specified for @code{stringTunings} are the
numbers of semitones to subtract or add, starting the specified pitch
-by default middle C, in string order. In the next example,
+by default middle C, in string order. LilyPond automatically calculates
+the number of strings by looking at @code{stringTunings}.
+
+In the next example,
@code{stringTunings} is set for the pitches e, a, d, and g
-@lilypond[quote,raggedright,fragment,verbatim]
-\context TabStaff <<
+@lilypond[quote,ragged-right,fragment,verbatim]
+\new TabStaff <<
\set TabStaff.stringTunings = #'(-5 -10 -15 -20)
{
a,4 c' a e' e c' a e'
>>
@end lilypond
+LilyPond comes with predefined string tunings for banjo, mandolin, guitar
+and bass guitar.
+
+@example
+\set TabStaff.stringTunings = #bass-tuning
+@end example
+
+The default string tuning is @code{guitar-tuning} (the standard EADGBE
+tuning).
+Some other predefined tunings are @code{guitar-open-g-tuning},
+@code{mandolin-tuning} and @code{banjo-open-g-tuning}.
+
+@seealso
+
+The file @file{scm/@/output@/-lib@/.scm} contains the predefined string
+tunings.
+Program reference: @internalsref{Tab_note_heads_engraver}.
+
@refbugs
No guitar special effects have been implemented.
+
+
+@node Banjo tablatures
+@subsection Banjo tablatures
+@cindex Banjo tablatures
+
+LilyPond has basic support for five stringed banjo. When making tablatures
+for five stringed banjo, use the banjo tablature format function to get
+correct
+fret numbers for the fifth string:
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\new TabStaff <<
+ \set TabStaff.tablatureFormat = #fret-number-tablature-format-banjo
+ \set TabStaff.stringTunings = #banjo-open-g-tuning
+ {
+ \stemDown
+ g8 d' g'\5 a b g e d' |
+ g4 d''8\5 b' a'\2 g'\5 e'\2 d' |
+ g4
+ }
+>>
+@end lilypond
+
+A number of common tunings for banjo are predefined in LilyPond:
+@code{banjo-c-tuning} (gCGBD), @code{banjo-modal-tuning} (gDGCD),
+@code{banjo-open-d-tuning} (aDF#AD) and @code{banjo-open-dm-tuning}
+(aDFAD).
+
+These tunings may be converted to four string banjo tunings using the
+@code{four-string-banjo} function:
+
+@example
+\set TabStaff.stringTunings = #(four-string-banjo banjo-c-tuning)
+@end example
+
@seealso
-Program reference: @internalsref{Tab_note_heads_engraver}.
+The file @file{scm/@/output@/-lib@/.scm} contains predefined banjo tunings.
@node Fret diagrams
markup contains information about the desired fret diagram, as shown in the
following example
-@lilypond[verbatim, raggedright, quote]
-\context Voice {
+@lilypond[verbatim, ragged-right, quote]
+\new Voice {
d'^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
d' d' d'
fis'^\markup \override #'(size . 0.75) {
@seealso
-Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
+Examples: @lsrdir{guitar}
+
+
+@node Right hand fingerings
+@subsection Right hand fingerings
+
+Right hand fingerings in chords can be entered using
+@code{@var{note}-\rightHandFinger @var{finger}}
+
+@lilypond[verbatim,fragment,relative=2]
+ <c-\rightHandFinger #1 e-\rightHandFinger #2 >
+@end lilypond
+
+for brevity, you can abbreviate @code{\rightHandFinger} to something
+short, for example @code{RH},
+
+@example
+#(define RH rightHandFinger)
+@end example
+
+@cindex fingerings, right hand, for guitar
+@cindex right hand fingerings for guitar
+
+@commonprop
+
+You may exercise greater control over right handing fingerings by
+setting @code{strokeFingerOrientations},
+
+@lilypond[quote,verbatim,ragged-right,fragment,relative=1]
+#(define RH rightHandFinger)
+{
+ \set strokeFingerOrientations = #'(up down)
+ <c-\RH #1 es-\RH #2 g-\RH #4 > 4
+ \set strokeFingerOrientations = #'(up right down)
+ <c-\RH #1 es-\RH #2 g-\RH #4 > 4
+}
+@end lilypond
+
+The letters used for the fingerings are contained in the property
+@code{digit-names}, but they can also be set individually by supplying
+@code{\rightHandFinger} with a string argument, as in the following example
+
+
+@lilypond[quote,verbatim,ragged-right,fragment,relative=1]
+#(define RH rightHandFinger)
+{
+ \set strokeFingerOrientations = #'(right)
+ \override StrokeFinger #'digit-names = ##("x" "y" "z" "!" "@")
+ <c-\RH #5 >4
+ <c-\RH "@">4
+}
+@end lilypond
+
+@seealso
+
+Program reference: @internalsref{StrokeFinger}
+
@node Other guitar issues
This example demonstrates how to include guitar position and
barring indications.
-@lilypond[quote,raggedright,fragment,verbatim,relative=0]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=0]
\clef "G_8"
b16 d16 g16 b16 e16
\textSpannerDown
-\override TextSpanner #'edge-text = #'("XII " . "")
+\override TextSpanner #'bound-details #'left #'text = #"XII "
g16\startTextSpan
b16 e16 g16 e16 b16 g16\stopTextSpan
e16 b16 g16 d16
@end lilypond
-Stopped (X) note heads are used in guitar music to signal a place where the
-guitarist must play a certain note or chord, with its fingers just
-touching the strings instead of fully pressing them. This gives the sound a
+Stopped (X) note heads are used in guitar music to signal a place where the
+guitarist must play a certain note or chord, with its fingers just
+touching the strings instead of fully pressing them. This gives the sound a
percussive noise-like sound that still maintains part of the original
pitch. It is notated with cross noteheads; this is
demonstrated in @ref{Special noteheads}.
@end example
@code{bagpipe.ly} also contains pitch definitions for the bagpipe
-notes in the appropiate octaves, so you do not need to worry about
+notes in the appropriate octaves, so you do not need to worry about
@code{\relative} or @code{\transpose}.
-@lilypond[raggedright,verbatim,quote,notime]
+@lilypond[ragged-right,verbatim,quote,notime]
\include "bagpipe.ly"
{ \grg G4 \grg a \grg b \grg c \grg d \grg e \grg f \grA g A }
@end lilypond
-Bagpipe music nominally uses the key of D Major (even though that
-isn't really true). However, since that is the only key that can be used,
-the key signature is normally not written out. To set this up correctly,
-always start your music with @code{\hideKeySignature}. If you for some
+Bagpipe music nominally uses the key of D Major (even though that
+isn't really true). However, since that is the only key that can be used,
+the key signature is normally not written out. To set this up correctly,
+always start your music with @code{\hideKeySignature}. If you for some
reason want to show the key signature, you can use @code{\showKeySignature}
instead.
Some modern music use cross fingering on c and f to flatten those notes.
This can be indicated by @code{cflat} or @code{fflat}. Similarly, the
-piobaireachd high g can be written @code{gflat} when it occurs in light
+piobaireachd high g can be written @code{gflat} when it occurs in light
music.
{
\hideKeySignature
\time 3/4
- \grg \partial 4 a8. d16
+ \grg \partial 4 a8. d16
\slurd d2 \grg f8[ e32 d16.]
\grg f2 \grg f8 e
\thrwd d2 \grg b4
@ref{Figured bass}
@end itemize
-Here are all suptopics at a glance:
+Here are all subtopics at a glance:
@menu
* Ancient note heads::
@node Ancient note heads
@subsection Ancient note heads
-@cindex note heads
-
+@cindex note heads, ancient
For ancient notation, a note head style other than the @code{default}
style may be chosen. This is accomplished by setting the @code{style}
The following example demonstrates the @code{neomensural} style
-@lilypond[quote,fragment,raggedright,verbatim]
+@lilypond[quote,fragment,ragged-right,verbatim]
\set Score.skipBars = ##t
\override NoteHead #'style = #'neomensural
a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
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
+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.
+@ref{Note head styles}, gives an overview over all available note head styles.
@node 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}.
+Use the @code{glyph-name-alist} property of grob
+@internalsref{Accidental} and @internalsref{KeySignature} to select
+ancient accidentals.
-@lilypond[quote,raggedright,staffsize=26]
+@lilypond[quote,ragged-right,staffsize=26]
\score {
{
\fatText
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}.
+@lsr{ancient,ancient-accidentals.ly}.
Similarly to local accidentals, the style of the key signature can be
-controlled by the @code{style} property of the
+controlled by the @code{glyph-name-alist} property of the
@internalsref{KeySignature} grob.
@seealso
-In this manual: @ref{Pitches}, @ref{Cautionary accidentals} and
-@ref{Automatic accidentals} give a general introduction of the use of
-accidentals. @ref{Key signature} gives a general introduction of
+In this manual: @ref{Pitches}, @ref{Cautionary accidentals}, and
+@ref{Automatic accidentals}, give a general introduction of the use of
+accidentals. @ref{Key signature}, gives a general introduction of
the use of key signatures.
Program reference: @internalsref{KeySignature}.
-Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
+Examples: @lsrdir{ancient}
@node Ancient rests
@subsection Ancient rests
The following example demonstrates the @code{neomensural} style
-@lilypond[quote,fragment,raggedright,verbatim]
+@lilypond[quote,fragment,ragged-right,verbatim]
\set Score.skipBars = ##t
\override Rest #'style = #'neomensural
r\longa r\breve r1 r2 r4 r8 r16
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.
+taken. See @lsr{pitches,rests} 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.
+In this manual: @ref{Rests}, gives a general introduction into the use of
+rests.
@node Ancient clefs
-@emph{Modern style} means ``as is typeset in contemporary editions of
-transcribed mensural music''.
+@emph{Modern style} means @qq{as is typeset in contemporary editions of
+transcribed mensural music.}
-@emph{Petrucci style} means ``inspired by printings published by the
-famous engraver Petrucci (1466-1539)''.
+@emph{Petrucci style} means @qq{inspired by printings published by the
+famous engraver Petrucci (1466-1539).}
-@emph{Historic style} means ``as was typeset or written in historic
-editions (other than those of Petrucci)''.
+@emph{Historic style} means @qq{as was typeset or written in historic
+editions (other than those of Petrucci).}
-@emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
+@emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}
Petrucci used C clefs with differently balanced left-side vertical
beams, depending on which staff line it is printed.
select ancient flags. Besides the @code{default} flag style,
only the @code{mensural} style is supported
-@lilypond[quote,fragment,raggedright,verbatim]
+@lilypond[quote,fragment,ragged-right,verbatim]
\override Stem #'flag-style = #'mensural
\override Stem #'thickness = #1.0
\override NoteHead #'style = #'mensural
command, @code{n} and @code{m} have to be chosen according to the
following table
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\layout {
indent = 0.0
\context {
{
\set Score.timing = ##f
\set Score.barAlways = ##t
- s_\markup { "\\time 4/4" }^\markup { " " \musicglyph #"timesig.neomensural44" }
+ s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
+#"timesig.neomensural44" }
s
- s_\markup { "\\time 2/2" }^\markup { " " \musicglyph #"timesig.neomensural22" }
+ s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
+#"timesig.neomensural22" }
s
- s_\markup { "\\time 6/4" }^\markup { " " \musicglyph #"timesig.neomensural64" }
+ s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
+#"timesig.neomensural64" }
s
- s_\markup { "\\time 6/8" }^\markup { " " \musicglyph #"timesig.neomensural68" }
+ s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
+#"timesig.neomensural68" }
\break
- s_\markup { "\\time 3/2" }^\markup { " " \musicglyph #"timesig.neomensural32" }
+ s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
+#"timesig.neomensural32" }
s
- s_\markup { "\\time 3/4" }^\markup { " " \musicglyph #"timesig.neomensural34" }
+ s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
+#"timesig.neomensural34" }
s
- s_\markup { "\\time 9/4" }^\markup { " " \musicglyph #"timesig.neomensural94" }
+ s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
+#"timesig.neomensural94" }
s
- s_\markup { "\\time 9/8" }^\markup { " " \musicglyph #"timesig.neomensural98" }
+ s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
+#"timesig.neomensural98" }
\break
- s_\markup { "\\time 4/8" }^\markup { " " \musicglyph #"timesig.neomensural48" }
+ s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
+#"timesig.neomensural48" }
s
- s_\markup { "\\time 2/4" }^\markup { " " \musicglyph #"timesig.neomensural24" }
+ s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
+#"timesig.neomensural24" }
}
@end lilypond
The following examples show the differences in style,
-@lilypond[raggedright,fragment,relative=1,quote]
+@lilypond[ragged-right,fragment,relative=1,quote]
{
\fatText
@seealso
-This manual: @ref{Time signature} gives a general introduction to
+This manual: @ref{Time signature}, gives a general introduction to
the use of time signatures.
@refbugs
provided. These are specifically designed for use with notation in
Editio Vaticana style.
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\include "gregorian-init.ly"
\score {
- \context VaticanaVoice {
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
+ \new 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
- \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
+ a\ictus_"ictus" \break
+ a\circulus_"circulus" \break
+ a\semicirculus_"semicirculus" \break
+ a\accentus_"accentus" \break
+ \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
}
}
@end lilypond
@refbugs
Some articulations are vertically placed too closely to the
-correpsonding note heads.
+corresponding note heads.
+
+The episem line is not displayed in many cases. If it is displayed,
+the right end of the episem line is often too far to the right.
@node Custodes
@subsection Custodes
@cindex custos
@cindex custodes
-A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
+A @emph{custos} (plural: @emph{custodes}; Latin word for @q{guard}) is a
symbol that appears at the end of a staff. It anticipates the pitch
of the first note(s) of the following line thus helping the performer
to manage line breaks during performance.
The result looks like this
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\score {
{
a'1
supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
@code{mensural}. They are demonstrated in the following fragment
-@lilypond[quote,raggedright,fragment]
+@lilypond[quote,ragged-right,fragment]
\new Lyrics \lyricmode {
\markup { \column {
\typewriter "vaticana"
Program reference: @internalsref{Custos}.
-Examples: @inputfileref{input/@/regression,custos@/.ly}.
+Examples:
+@lsr{ancient,custodes@/.ly}.
@node Divisiones
@cindex finalis
A @emph{divisio} (plural: @emph{divisiones}; Latin word for
-`division') is a staff context symbol that is used to structure
+@q{division}) is a staff context symbol that is used to structure
Gregorian music into phrases and sections. The musical meaning of
@emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
can be characterized as short, medium, and long pause, somewhat like
Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
@code{\caesura}
-@lilypondfile[quote,raggedright]{divisiones.ly}
+@lilypondfile[quote,ragged-right]{divisiones.ly}
@refcommands
-@cindex @code{\virgula}
+@funindex \virgula
@code{\virgula},
-@cindex @code{\caesura}
+@funindex \caesura
@code{\caesura},
-@cindex @code{\divisioMinima}
+@funindex \divisioMinima
@code{\divisioMinima},
-@cindex @code{\divisioMaior}
+@funindex \divisioMaior
@code{\divisioMaior},
-@cindex @code{\divisioMaxima}
+@funindex \divisioMaxima
@code{\divisioMaxima},
-@cindex @code{\finalis}
+@funindex \finalis
@code{\finalis}.
@seealso
Program reference: @internalsref{BreathingSign}.
-Examples: @inputfileref{input/@/test,divisiones@/.ly}.
+Examples: @lsr{expressive,breathing-sign.ly}.
+
@node Ligatures
@subsection Ligatures
@internalsref{LigatureBracket} engraver just puts a square bracket
above the ligature
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\transpose c c' {
\[ g c a f d' \]
a g f
Accidentals must not be printed within a ligature, but instead need to
be collected and printed in front of it.
-Augmentum dots within ligatures are not handled correctly.
-
The syntax still uses the deprecated infix style @code{\[ music expr
\]}. For consistency reasons, it will eventually be changed to
postfix style @code{note\[ ... note\]}. Alternatively, the file
\override Staff.TimeSignature #'style = #'neomensural
\clef "petrucci-g"
\[ c'\maxima g \]
-s4
\[ d\longa c\breve f e d \]
-s4
\[ c'\maxima d'\longa \]
-s4
\[ e'1 a g\breve \]
@end example
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\score {
\transpose c c' {
\set Score.timing = ##f
\override Staff.TimeSignature #'style = #'neomensural
\clef "petrucci-g"
\[ c'\maxima g \]
- s4
\[ d\longa c\breve f e d \]
- s4
\[ c'\maxima d'\longa \]
- s4
\[ e'1 a g\breve \]
}
\layout {
@internalsref{Mensural_ligature_engraver}, the same music transcribes
to the following
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\transpose c c' {
\set Score.timing = ##f
\set Score.defaultBarType = "empty"
\override Staff.TimeSignature #'style = #'neomensural
\clef "petrucci-g"
\[ c'\maxima g \]
- s4
\[ d\longa c\breve f e d \]
- s4
\[ c'\maxima d'\longa \]
- s4
\[ e'1 a g\breve \]
}
@end lilypond
@refbugs
-The invisible rests (@code{s4}) in the example are used to compensate
-for the poor horizontal spacing.
+Horizontal spacing is poor.
@node Gregorian square neumes ligatures
@subsubsection Gregorian square neumes ligatures
@item
@code{1. Punctum}
@tab
-@lilypond[staffsize=26,linewidth=1.5\cm]
+@lilypond[staffsize=26,line-width=1.5\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=2.5\cm]
+@lilypond[staffsize=26,line-width=2.5\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{2. Virga}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{3. Apostropha vel Stropha}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{4. Oriscus}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{5. Clivis vel Flexa}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=2.0\cm]
+@lilypond[staffsize=26,line-width=2.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{6. Podatus vel Pes}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=2.0\cm]
+@lilypond[staffsize=26,line-width=2.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{7. Pes Quassus}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{8. Quilisma Pes}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{9. Podatus Initio Debilis}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{10. Torculus}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{11. Torculus Initio Debilis}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{12. Porrectus}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{13. Climacus}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{14. Scandicus}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{15. Salicus}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@item
@code{16. Trigonus}
@tab
-@lilypond[staffsize=26,linewidth=1.0\cm]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian-init.ly"
\score {
\transpose c c' {
@code{\[ \stropha b \stropha b \stropha a \]}
@end multitable
+The ligatures listed above mainly serve as a limited, but still
+representative pool of Gregorian ligature examples. Virtually, within
+the ligature delimiters @code{\[} and @code{\]}, any number of heads
+may be accumulated to form a single ligature, and head prefixes like
+@code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
+etc. may be mixed in as desired. The use of the set of rules that
+underlies the construction of the ligatures in the above table is
+accordingly extrapolated. This way, infinitely many different
+ligatures can be created.
+
+Augmentum dots, also called @emph{morae}, are added with the music
+function @code{\augmentum}. Note that @code{\augmentum} is
+implemented as a unary music function rather than as head prefix. It
+applies to the immediately following music expression only. That is,
+@code{\augmentum \virga c} will have no visible effect. Instead, say
+@code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
+note that you can say @code{\augmentum @{a g@}} as a shortcut for
+@code{\augmentum a \augmentum g}.
+
+@lilypond[quote,ragged-right,verbatim]
+\include "gregorian-init.ly"
+\score {
+ \new VaticanaVoice {
+ \[ \augmentum a \flexa \augmentum g \]
+ \augmentum g
+ }
+}
+@end lilypond
+
@refcommands
The following head prefixes are supported
-@cindex @code{\virga}
+@funindex \virga
@code{\virga},
-@cindex @code{\stropha}
+@funindex \stropha
@code{\stropha},
-@cindex @code{\inclinatum}
+@funindex \inclinatum
@code{\inclinatum},
-@cindex @code{\auctum}
+@funindex \auctum
@code{\auctum},
-@cindex @code{\descendens}
+@funindex \descendens
@code{\descendens},
-@cindex @code{\ascendens}
+@funindex \ascendens
@code{\ascendens},
-@cindex @code{\oriscus}
+@funindex \oriscus
@code{\oriscus},
-@cindex @code{\quilisma}
+@funindex \quilisma
@code{\quilisma},
-@cindex @code{\deminutum}
-@code{\deminutum}.
+@funindex \deminutum
+@code{\deminutum},
+@funindex \cavum
+@code{\cavum},
+@funindex \linea
+@code{\linea}.
Head prefixes can be accumulated, though restrictions apply. For
example, either @code{\descendens} or @code{\ascendens} can be applied
to a head, but not both to the same head.
-@cindex @code{\pes}
-@cindex @code{\flexa}
+@funindex \pes
+@funindex \flexa
Two adjacent heads can be tied together with the @code{\pes} and
@code{\flexa} infix commands for a rising and falling line of melody,
respectively.
+@funindex \augmentum
+Use the unary music function @code{\augmentum} to add augmentum dots.
+
+@refbugs
+
+When an @code{\augmentum} dot appears at the end of the last staff
+within a ligature, it is sometimes vertically placed wrong. As a
+workaround, add an additional skip note (e.g. @code{s8}) as last note
+of the staff.
+@code{\augmentum} should be implemented as a head prefix rather than a
+unary music function, such that @code{\augmentum} can be intermixed
+with head prefixes in arbitrary order.
@node Gregorian Chant contexts
@subsection Gregorian Chant contexts
proper values, so you can immediately go ahead entering the chant, as
the following excerpt demonstrates
-@lilypond[quote,raggedright,packed,verbatim]
+@lilypond[quote,ragged-right,packed,verbatim]
\include "gregorian-init.ly"
\score {
<<
- \context VaticanaVoice = "cantus" {
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \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
- }
+ \new VaticanaVoice = "cantus" {
+ \[ c'\melisma c' \flexa a \]
+ \[ a \flexa \deminutum g\melismaEnd \]
+ f \divisioMinima
+ \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
+ c' \divisioMinima \break
+ \[ c'\melisma c' \flexa a \]
+ \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
}
- \lyricsto "cantus" \new Lyrics {
+ \new Lyrics \lyricsto "cantus" {
San- ctus, San- ctus, San- ctus
}
>>
grob properties to proper values, so you can immediately go ahead
entering the chant, as the following excerpt demonstrates
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\score {
<<
- \context MensuralVoice = "discantus" \transpose c c' {
+ \new MensuralVoice = "discantus" \transpose c c' {
\override Score.BarNumber #'transparent = ##t {
c'1\melisma bes a g\melismaEnd
f\breve
fis\longa^\signumcongruentiae
}
}
- \lyricsto "discantus" \new Lyrics {
+ \new Lyrics \lyricsto "discantus" {
San -- ctus, San -- ctus, San -- ctus
}
>>
In European music from before about 1600, singers were often expected
to chromatically alter notes at their own initiative. This is called
-``Musica Ficta''. In modern transcriptions, these accidentals are
+@q{Musica Ficta}. In modern transcriptions, these accidentals are
usually printed over the note.
+@cindex Accidental, musica ficta
@cindex Musica ficta
Support for such suggested accidentals is included, and can be
switched on by setting @code{suggestAccidentals} to true.
-@cindex @code{suggestAccidentals}
+@funindex suggestAccidentals
@lilypond[verbatim,fragment,relative=1]
fis gis
\set suggestAccidentals = ##t
ais bis
-@end lilypond
+@end lilypond
@seealso
LilyPond has support for figured bass
-@lilypond[quote,raggedright,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment]
<<
- \context Voice { \clef bass dis4 c d ais g fis}
- \context FiguredBass \figuremode {
+ \new Voice { \clef bass dis4 c d ais g fis}
+ \new FiguredBass \figuremode {
< 6 >4 < 7\+ >8 < 6+ [_!] >
< 6 >4 <6 5 [3+] >
< _ >4 < 6 5/>4
@example
<4 6>
@end example
-@lilypond[quote,raggedright,fragment]
-\context FiguredBass
+@lilypond[quote,ragged-right,fragment]
+\new FiguredBass
\figuremode { <4 6> }
@end lilypond
@example
<4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
@end example
-@lilypond[quote,raggedright,fragment]
+@lilypond[quote,ragged-right,fragment]
\figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
@end lilypond
@example
< [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
@end example
-@lilypond[quote,raggedright,fragment]
-\context FiguredBass
+@lilypond[quote,ragged-right,fragment]
+\new FiguredBass
\figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
@end lilypond
c4 c c
}
\figures {
- \set useBassFigureExtenders = ##t
+ \set useBassFigureExtenders = ##t
<4 6> <3 6> <3 7>
}
>>
@end lilypond
+@noindent
+In this case, the extender lines always replace existing figures.
+
The @code{FiguredBass} context doesn't pay attention to the actual
bass line. As a consequence, you may have to insert extra figures to
get extender lines below all notes, and you may have to add @code{\!}
-to avoid getting an extender line, eg.
+to avoid getting an extender line, e.g.
@lilypond[relative=1]
<<
- \new Voice
+ \new Voice
\figures {
- \set useBassFigureExtenders = ##t
+ \set useBassFigureExtenders = ##t
<6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
}
{
When using continuation lines, common figures are always put in the
same vertical position. When this is unwanted, you can insert a rest
with @code{r}. The rest will clear any previous alignment. For
-example, you can write
+example, you can write
@example
<4 6>8 r8
@end example
@noindent
-instead of
+instead of
@example
<4 6>4
@end example
Accidentals and plus signs can appear before or after the numbers,
-depending on the @code{figuredBassAlterationDirection} and @code{figuredBassPlusDirection}
+depending on the @code{figuredBassAlterationDirection} and
+@code{figuredBassPlusDirection}
properties
@lilypond
markup text properties to override formatting. For example, the
vertical spacing of the figures may be set with @code{baseline-skip}.
+
+Figured bass can also be added to @code{Staff} contexts
+directly. In this case, their vertical position is adjusted
+automatically.
+
+@lilypond[ragged-right,fragment,quote]
+<<
+ \new Staff = someUniqueName
+ \relative c'' {
+ c4 c'8 r8 c,4 c'
+ }
+
+ %% send to existing Staff.
+ \context Staff = someUniqueName
+ \figuremode {
+ <4>4 <6 10>8 s8
+
+ \set Staff.useBassFigureExtenders = ##t
+ <4 6>4 <4 6>
+ }
+>>
+@end lilypond
+
+
+@commonprop
+
+By default, this method produces figures above the notes. To get
+figures below the notes, use
+
+@example
+\override Staff.BassFigureAlignmentPositioning #'direction = #DOWN
+@end example
+
+
+@refbugs
+
+When using figured bass above the staff with extender lines and
+@code{implicitBassFigures} the lines may become swapped around.
+Maintaining order consistently will be impossible when multiple figures
+have overlapping extender lines. To avoid this problem, please
+use @code{stacking-dir} on @code{BassFigureAlignment}.
+
+
@seealso
Program reference: @internalsref{NewBassFigure},
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,relative=1]
+@lilypond[ragged-right,verbatim,quote,fragment,relative=1]
<c g'\harmonic>4
@end lilypond
projects / lilypond.git / blobdiff