@c -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond.tely
+@ignore
+ Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+ When revising a translation, copy the HEAD committish of the
+ version that you are working on. See TRANSLATION for details.
+@end ignore
+
@c A menu is needed before every deeper *section nesting of @node's; run
@c M-x texinfo-all-menus-update
@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
and the @context{Voice} is inserted afterwards
@example
-\new Staff = down
+\context Staff = down
\new Voice @{ @dots{} \change Staff = up @dots{} @}
@end example
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.
@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
@refcommands
-@cindex @code{\showStaffSwitch}
+@funindex \showStaffSwitch
@code{\showStaffSwitch},
-@cindex @code{\hideStaffSwitch}
+@funindex \hideStaffSwitch
@code{\hideStaffSwitch}.
staff, or vice versa.
@lilypond[ragged-right,verbatim,quote]
-stemExtend = \once \override Stem #'length = #22
+stemExtend = {
+ \once \override Stem #'length = #10
+ \once \override Stem #'cross-staff = ##t
+}
noFlag = \once \override Stem #'flag-style = #'no-flag
\new PianoStaff <<
\new Staff {
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,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
@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,ragged-right,fragment,verbatim]
@lilypond[ragged-right,verbatim]
\new ChordNames \with {
\override BarLine #'bar-size = #4
- voltaOnThisStaff = ##t
\consists Bar_engraver
\consists "Volta_engraver"
}
\chordmode { \repeat volta 2 {
- f1:maj f:7 bes:7
- c:maj
+ f1:maj7 f:7 bes:7
+ c:maj7
} \alternative {
es e
}
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
}
@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 @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 ``m''. The spacer is not used when the root
+between the root and @q{m}. The spacer is not used when the root
is altered.
@end table
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}.
Song texts must be aligned with the notes of their melody.
@end itemize
-There are a few different ways to define lyrics; the simplest
-way is to use the @code{\addlyrics} function.
+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::
-* Melismata::
-* Another way of entering lyrics::
+* Aligning lyrics to a melody::
+* Working with lyrics and identifiers::
* Flexibility in placement::
* Spacing lyrics::
* More about stanzas::
@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
@end lilypond
The command @code{\addlyrics} cannot handle polyphony settings. For these
-cases you should use @code{\lyricsto} and @code{\lyricmode}.
+cases you should use @code{\lyricsto} and @code{\lyricmode}, as will be
+introduced in @ref{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
of the syllables, either by specifying the duration of each syllable
explicitly, like in the example above, or by automatically aligning
the lyrics to a melody or other voice of music, using @code{\addlyrics}
-or @code{\lyricsto}. For more details see @ref{The Lyrics context}.
+or @code{\lyricsto}.
+@c TODO: broken
+@c For more details see @ref{The Lyrics context}.
A word or syllable of lyrics begins with an alphabetic character, and ends
with
any space or digit. The following characters can be any character
-that is not a digit or white space. One important consequence of this
-is that a word can end with @code{@}}. The following example is
-usually a mistake in the input file. The syllable includes a @code{@}}, so
-the
-opening brace is not balanced
+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 must
-surround them with quotes or use a @code{_} character between the syllables.
+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.
+
+
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,
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.
-@seealso
-
-Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
+@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
-@node Hyphens and extenders
-@subsection Hyphens and extenders
+Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}.
-@cindex hyphens
-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
+@node Aligning lyrics to a melody
+@subsection Aligning lyrics to a melody
-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{__}'.
+@funindex \lyricmode
+@funindex \addlyrics
+@funindex \lyricsto
-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
+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
-Lyrics are printed by interpreting them in the context caleld
-@internalsref{Lyrics}.
+@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
-@example
-\new 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
@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.
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 Sav -- our reigns. }
+ \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
\new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
>>
@end lilypond
The second stanza is not properly aligned because the durations
were not specified. A solution for that would be to use @code{\lyricsto}.
-
-
-
-
-
-To define indentifiers containing lyrics, the function @code{lyricmode}
-must be used.
-
-@example
-verseOne = \lyricmode @{ Joy to the world the Lord is come @}
-\score @{
- <<
- \new Voice = "one" \relative c'' @{
- \autoBeamOff
- \time 2/4
- c4 b8. a16 g4. f8 e4 d c2
- @}
- \addlyrics @{ \verseOne @}
- >>
-@}
-@end example
-
The @code{\addlyrics} command is actually just a convenient way
to write a more complicated LilyPond structure that sets up the
lyrics.
\new Lyrics \lyricsto "blah" @{ LYRICS @}
@end example
-For different or more complex orderings, the best way is to setup the
-hierarchy of staves and lyrics first, e.g.,
+@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
-\new ChoirStaff <<
- \new Voice = "soprano" @{ @emph{music} @}
- \new Lyrics = "sopranoLyrics" @{ s1 @}
- \new Lyrics = "tenorLyrics" @{ s1 @}
- \new Voice = "tenor" @{ @emph{music} @}
->>
+play2 the4 game2.
+sink2 or4 swim2.
@end example
-
-and then combine the appropriate melodies and lyric lines
-
+
+The alignment to a melody can be specified with the
+@code{associatedVoice} property,
+
@example
-\context Lyrics = sopranoLyrics \lyricsto "soprano"
- @emph{the lyrics}
+\set associatedVoice = #"lala"
@end example
-
+
@noindent
-The final input would resemble
+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
-@example
-<<\new ChoirStaff << @emph{setup the music} >>
- \lyricsto "soprano" @emph{etc}
- \lyricsto "alto" @emph{etc}
- @emph{etc}
->>
-@end example
+@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},
-@internalsref{Lyrics}.
+Program reference: @internalsref{LyricCombineMusic}.
+@c Here come the section which used to be "Melismata"
+@c the new title might be more self-explanatory
-@node Melismata
-@subsection Melismata
-The @code{\lyricsto} command detects melismata: it only puts one
+@node More than one note on a single syllable
+@subsubsection More than one note on a single syllable
+
+@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
beamed, and automatic beaming (see @ref{Setting automatic beam
behavior}) is switched off.
+@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{Melisma_translator}.
-
-@inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
+@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
-@node Another way of entering lyrics
-@subsection Another way of entering lyrics
+@cindex melisma
+@cindex extender
-Lyrics can also be entered without @code{\lyricsto}. In this case the
-duration of each syllable must be entered explicitly, for example,
+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).
-@example
-play2 the4 game2.
-sink2 or4 swim2.
-@end example
+@cindex hyphens
-The alignment to a melody can be specified with the
-@code{associatedVoice} property,
+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.
-@example
-\set associatedVoice = #"lala"
-@end example
+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).
-@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.
+@seealso
-Here is an example demonstrating manual lyric durations,
+Program reference: @internalsref{LyricExtender},
+@internalsref{LyricHyphen}
-@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
+@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 placement
@subsection Flexibility in placement
* Lyrics to multiple notes of a melisma::
* Divisi lyrics::
* Switching the melody associated with a lyrics line::
-* Specifying melismata within the lyrics::
+* Lyrics independent of notes::
@end menu
+
@node Lyrics to multiple notes of a melisma
@subsubsection Lyrics to multiple notes of a melisma
-
One possibility is that the text has a melisma in one stanza, but
multiple syllables in another one. One solution is to make the faster
voice ignore the melisma. This is done by setting
must be set one syllable @emph{before} the non-melismatic syllable
in the text, as shown here,
+@c FIXME: breaks compile
@lilypond[verbatim,ragged-right,quote]
+%{
<<
\relative \new Voice = "lahlah" {
\set Staff.autoBeaming = ##f
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
@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 Specifying melismata within the lyrics
-@subsubsection Specifying melismata within the lyrics
+@node Lyrics independent of notes
+@subsubsection Lyrics independent of notes
-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
@lilypond[relative,verbatim,quote,ragged-right]
\score {
- {
+ \relative c' {
c c c c
c c c c
}
@node More about stanzas
@subsection More about stanzas
-@cindex phrasing, in lyrics
-
-
@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.,
Hi, my name is Bert.
} \addlyrics {
\set stanza = "2. "
+ 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
+
+@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{shortVocalName}.
+
+@lilypond[fragment,ragged-right,quote,verbatim,relative=2]
+\new Voice {
+ \time 3/4 g2 e4 a2 f4 g2.
+} \addlyrics {
+ \set vocalName = "Bert "
+ Hi, my name is Bert.
+} \addlyrics {
+ \set vocalName = "Ernie "
Oh, che -- ri, je t'aime
}
@end lilypond
-These numbers are put just before the start of first syllable.
+
+@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
its fleece was white as snow.
}
-\book{
- \score{ <<
- \new Voice = "one" { \melody }
- \new Lyrics \lyricsto "one" \text
- >>
- \layout { }
- }
- \markup { \column{
- \line{ Verse 2. }
- \line{ All the children laughed and played }
- \line{ To see a lamb at school. }
- }
+\score{ <<
+ \new Voice = "one" { \melody }
+ \new Lyrics \lyricsto "one" \text
+>>
+ \layout { }
+}
+\markup { \column{
+ \line{ Verse 2. }
+ \line{ All the children laughed and played }
+ \line{ To see a lamb at school. }
}
- \markup{
- \wordwrap-string #"
- Verse 3.
+}
+\markup{
+ \wordwrap-string #"
+ Verse 3.
- Mary took it home again,
+ Mary took it home again,
- It was against the rule."
- }
+ It was against the rule."
}
@end lilypond
-Names of singers can also be added. They are printed at the start of
-the line, just like instrument names. They are created by setting
-@code{vocalName}. A short version may be entered as @code{vocNam}.
+@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[fragment,ragged-right,quote,verbatim,relative=2]
-\new Voice {
- \time 3/4 g2 e4 a2 f4 g2.
-} \addlyrics {
- \set vocalName = "Bert "
- Hi, my name is Bert.
-} \addlyrics {
- \set vocalName = "Ernie "
- Oh, che -- ri, je t'aime
+@lilypond[ragged-right,quote,verbatim]
+melody = \relative c' {
+ c c c c | d d d d
+}
+
+text = \lyricmode {
+ \set stanza = "1." This is verse one.
+ It has two lines.
+}
+
+\score{ <<
+ \new Voice = "one" { \melody }
+ \new Lyrics \lyricsto "one" \text
+ >>
+ \layout { }
+}
+
+\markup {
+ \fill-line {
+ \hspace #0.1 % moves the column off the left margin; can be removed if
+ % space on the page is tight
+ \column {
+ \line { \bold "2."
+ \column {
+ "This is verse two."
+ "It has two lines."
+ }
+ }
+ \hspace #0.1 % adds vertical spacing between verses
+ \line { \bold "3."
+ \column {
+ "This is verse three."
+ "It has two lines."
+ }
+ }
+ }
+ \hspace #0.1 % adds horizontal spacing between columns; if they are
+ % still too close, add more " " pairs until the result
+ % looks good
+ \column {
+ \line { \bold "4."
+ \column {
+ "This is verse four."
+ "It has two lines."
+ }
+ }
+ \hspace #0.1 % adds vertical spacing between verses
+ \line { \bold "5."
+ \column {
+ "This is verse five."
+ "It has two lines."
+ }
+ }
+ }
+ \hspace #0.1 % gives some extra space on the right margin; can
+ % be removed if page space is tight
+ }
}
@end lilypond
@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}.
* Showing melody rhythms::
* Entering percussion::
* Percussion staves::
+* Ghost notes::
@end menu
Program reference: @internalsref{RhythmicStaff}.
-Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
-
@node Entering percussion
@subsection Entering percussion
@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,ragged-right,fragment,verbatim]
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
* Non-guitar tablatures::
* Banjo tablatures::
* Fret diagrams::
+* Right hand fingerings::
* Other guitar issues::
@end menu
<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
}
@end lilypond
-@cindex @code{minimumFret}
+@funindex minimumFret
@cindex fret
When no string is specified, the first string that does not give a
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
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. LilyPond automatically calculates
-the number of strings by looking at @code{stringTuning}.
+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
@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
\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 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[ragged-right,verbatim,quote,notime]
@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}
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,ragged-right,staffsize=26]
\score {
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
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
+In this manual: @ref{Rests}, gives a general introduction into the use of
rests.
-@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.
@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
\include "gregorian-init.ly"
\score {
\new VaticanaVoice {
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
\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.
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
@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
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,ragged-right]
\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 {
\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
accordingly extrapolated. This way, infinitely many different
ligatures can be created.
-@c TODO: create a regression or tips & tricks example document with
-@c even more Gregorian ligatures, and add a link to this document
-@c here.
+Augmentum dots, also called @emph{morae}, are added with the music
+function @code{\augmentum}. Note that @code{\augmentum} is
+implemented as a unary music function rather than as head prefix. It
+applies to the immediately following music expression only. That is,
+@code{\augmentum \virga c} will have no visible effect. Instead, say
+@code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
+note that you can say @code{\augmentum @{a g@}} as a shortcut for
+@code{\augmentum a \augmentum g}.
+
+@lilypond[quote,ragged-right,verbatim]
+\include "gregorian-init.ly"
+\score {
+ \new VaticanaVoice {
+ \[ \augmentum a \flexa \augmentum g \]
+ \augmentum g
+ }
+}
+@end lilypond
@refcommands
The following head prefixes are supported
-@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}
+@funindex \deminutum
@code{\deminutum},
-@cindex @code{\cavum}
+@funindex \cavum
@code{\cavum},
-@cindex @code{\linea}
+@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
\score {
<<
\new 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
- }
+ \[ c'\melisma c' \flexa a \]
+ \[ a \flexa \deminutum g\melismaEnd \]
+ f \divisioMinima
+ \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
+ c' \divisioMinima \break
+ \[ c'\melisma c' \flexa a \]
+ \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
}
\new Lyrics \lyricsto "cantus" {
San- ctus, San- ctus, San- ctus
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
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},
projects / lilypond.git / blobdiff