@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
@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.
@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 {
@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
@lilypond[quote,fragment,verbatim]
@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
\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,
by using @code{/+}@var{pitch}.
\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.
@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.
-@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 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,
@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}.
@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
+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
+\override Score.PaperColumn #'keep-inside-line = ##t
@end example
To make lyrics avoid barlines as well, use
\addlyrics { joue le jeu }
@end lilypond
-The command @code{\addlyrics} cannot handle polyphony settings. For these
+The command @code{\addlyrics} cannot handle polyphony settings. For these
cases you should use @code{\lyricsto} and @code{\lyricmode}.
@subsection Entering lyrics
@cindex lyrics
-@cindex @code{\lyricmode}
+@funindex \lyricmode
@cindex punctuation
Lyrics are entered in a special input mode. This mode is introduced
the lyrics to a melody or other voice of music, using @code{\addlyrics}
or @code{\lyricsto}. For more details see @ref{The Lyrics context}.
-A word or syllable of lyrics begins with an alphabetic character, and ends
+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
+usually a mistake in the input file. The syllable includes a @code{@}}, so
the
opening brace is not balanced
@example
\lyricmode @{ twinkle@}
@end example
-@cindex @code{\property}, in @code{\lyricmode}
+@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
\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 ties is implemented with the Unicode character U+203F, so be
+sure to have a font (Like DejaVuLGC) installed that includes this
+glyph.
+
+
To enter lyrics with characters from non-English languages, or with
-non-ascii characters (such as the heart symbol or slanted quotes),
+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.
-@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 indentifiers containing lyrics, the function @code{lyricmode}
+must be used.
+
+@example
+verseOne = \lyricmode @{ Joy to the world the Lord is come @}
+\score @{
+ <<
+ \new Voice = "one" \relative c'' @{
+ \autoBeamOff
+ \time 2/4
+ c4 b8. a16 g4. f8 e4 d c2
+ @}
+ \addlyrics @{ \verseOne @}
+ >>
+@}
+@end example
+
@seealso
@cindex hyphens
-Centered hyphens are entered as `@code{--}' between syllables.
+Centered hyphens are entered as @samp{--} between syllables.
The hyphen will have variable length depending on the space between
the syllables and it will be centered between the syllables.
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{__}'.
+@samp{__}.
In tighly engraved music, hyphens can be removed. Whether this
happens can be controlled with the @code{minimum-distance} (minimum
@node The Lyrics context
@subsection The Lyrics context
-Lyrics are printed by interpreting them in the context caleld
+Lyrics are printed by interpreting them in the context called
@internalsref{Lyrics}.
@example
@end example
@cindex automatic syllable durations
-@cindex @code{\lyricsto}
+@funindex \lyricsto
@cindex lyrics and melodies
This will place the lyrics according to the durations that were
@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.
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
+ 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.
+lyrics.
@example
@{ MUSIC @}
@refcommands
@code{\melisma}, @code{\melismaEnd}
-@cindex @code{\melismaEnd}
-@cindex @code{\melisma}
+@funindex \melismaEnd
+@funindex \melisma
@seealso
* 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
+@subsubsection Lyrics to multiple notes of a melisma
One possibility is that the text has a melisma in one stanza, but
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
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.
+melisma.
-@lilypond[relative=1,verbatim,fragment]
+@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
+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.
-@lilypond[relative=1,verbatim,fragment]
-{
- \set melismaBusyProperties = #'()
- c d( e) f f( e) e e
+
+@node Lyrics independent of notes
+@subsubsection Lyrics independent of notes
+
+In some complex vocal music, it may be desirable to place
+lyrics completely independently of notes. Music defined
+inside @code{lyricrhythm} disappears into the
+@code{Devnull} context, but the rhythms can still be used
+to place the lyrics.
+
+@lilypond[quote,verbatim,ragged-right]
+voice = {
+ c''2
+ \tag #'music { c''2 }
+ \tag #'lyricrhythm { c''4. c''8 }
+ d''1
}
-\addlyrics
- { Ky -- _ _ ri __ _ _ _ e }
+
+lyr = \lyricmode { I like my cat! }
+
+<<
+ \new Staff \keepWithTag #'music \voice
+ \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
+ \new Lyrics \lyricsto "nowhere" \lyr
+ \new Staff { c'8 c' c' c' c' c' c' c'
+ c' c' c' c' c' c' c' c' }
+>>
@end lilypond
LyricSpace.
@lilypond[relative,verbatim,fragment,quote,ragged-right]
-{
+{
c c c c
\override Lyrics.LyricSpace #'minimum-distance = #1.0
c c c c
}
@end lilypond
-To make this change for all lyrics in the score, set the property in the
+To make this change for all lyrics in the score, set the property in the
layout.
@lilypond[relative,verbatim,quote,ragged-right]
@node More about stanzas
@subsection More about stanzas
+@c what's this doing here?
@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.,
}
@end lilypond
-These numbers are put just before the start of first syllable.
+@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
+
+
+@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
@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
@seealso
-Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber},
+Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber},
@internalsref{VocalName}.
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
@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
@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,ragged-right,fragment]
<c\1 e\2 g\3>
}
@end lilypond
-@cindex @code{minimumFret}
+@funindex minimumFret
@cindex fret
When no string is specified, the first string that does not give a
\set TabStaff.stringTunings = #bass-tuning
@end example
-The default string tuning is @code{guitar-tuning} (the standard EADGBE
+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
+The file @file{scm/@/output@/-lib@/.scm} contains the predefined string
tunings.
Program reference: @internalsref{Tab_note_heads_engraver}.
@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
+for five stringed banjo, use the banjo tablature format function to get
correct
fret numbers for the fifth string:
Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
+@node Right hand fingerings
+@subsection Right hand fingerings
+
+Right hand fingerings in chords can be entered using
+@code{@var{note}-\rightHandFinger @var{finger}}
+
+@lilypond[verbatim,fragment,relative=2]
+ <c-\rightHandFinger #1 e-\rightHandFinger #2 >
+@end lilypond
+
+for brevity, you can abbreviate @code{\rightHandFinger} to something
+short, for example @code{RH},
+
+@example
+#(define RH rightHandFinger)
+@end example
+
+@cindex fingerings, right hand, for guitar
+@cindex right hand fingerings for guitar
+
+@commonprop
+
+You may exercise greater control over right handing fingerings by
+setting @code{strokeFingerOrientations},
+
+@lilypond[quote,verbatim,ragged-right,fragment,relative=1]
+#(define RH rightHandFinger)
+{
+ \set strokeFingerOrientations = #'(up down)
+ <c-\RH #1 es-\RH #2 g-\RH #4 > 4
+ \set strokeFingerOrientations = #'(up right down)
+ <c-\RH #1 es-\RH #2 g-\RH #4 > 4
+}
+@end lilypond
+
+The letters used for the fingerings are contained in the property
+@code{digit-names}, but they can also be set individually by supplying
+@code{\rightHandFinger} with a string argument, as in the following example
+
+
+@lilypond[quote,verbatim,ragged-right,fragment,relative=1]
+#(define RH rightHandFinger)
+{
+ \set strokeFingerOrientations = #'(right)
+ \override StrokeFinger #'digit-names = ##("x" "y" "z" "!" "@")
+ <c-\RH #5 >4
+ <c-\RH "@">4
+}
+@end lilypond
+
+@seealso
+
+Internalls: @internalsref{StrokeFinger}
+
+
+
@node Other guitar issues
@subsection Other guitar issues
@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}.
{ \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
@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}
@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 {
@inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
Similarly to local accidentals, the style of the key signature can be
-controlled by the @code{style} property of the
+controlled by the @code{glyph-name-alist} property of the
@internalsref{KeySignature} grob.
@seealso
@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.
{
\set Score.timing = ##f
\set Score.barAlways = ##t
- s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
+ s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
#"timesig.neomensural44" }
s
- s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
+ s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
#"timesig.neomensural22" }
s
- s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
+ s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
#"timesig.neomensural64" }
s
- s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
+ s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
#"timesig.neomensural68" }
\break
- s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
+ s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
#"timesig.neomensural32" }
s
- s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
+ s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
#"timesig.neomensural34" }
s
- s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
+ s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
#"timesig.neomensural94" }
s
- s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
+ s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
#"timesig.neomensural98" }
\break
- s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
+ s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
#"timesig.neomensural48" }
s
- s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
+ s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
#"timesig.neomensural24" }
}
@end lilypond
\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
Some articulations are vertically placed too closely to the
correpsonding note heads.
+The episem line is not displayed in many cases. If it is displayed,
+the right end of the episem line is often too far to the right.
+
@node Custodes
@subsection Custodes
@cindex custos
@cindex custodes
-A @emph{custos} (plural: @emph{custodes}; Latin word for `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.
@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
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
@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
\set suggestAccidentals = ##t
ais bis
-@end lilypond
+@end lilypond
@seealso
c4 c c
}
\figures {
- \set useBassFigureExtenders = ##t
+ \set useBassFigureExtenders = ##t
<4 6> <3 6> <3 7>
}
>>
@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{\!}
@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
+depending on the @code{figuredBassAlterationDirection} and
@code{figuredBassPlusDirection}
properties
markup text properties to override formatting. For example, the
vertical spacing of the figures may be set with @code{baseline-skip}.
+
+Figured bass can also be added to @code{Staff} contexts
+directly. In this case, their vertical position is adjusted
+automatically.
+
+@lilypond[ragged-right,fragment,quote]
+<<
+ \new Staff = someUniqueName
+ \relative c'' {
+ c4 c'8 r8 c,4 c'
+ }
+
+ %% send to existing Staff.
+ \context Staff = someUniqueName
+ \figuremode {
+ <4>4 <6 10>8 s8
+
+ \set Staff.useBassFigureExtenders = ##t
+ <4 6>4 <4 6>
+ }
+>>
+@end lilypond
+
+
+@refbugs
+
+When using figured bass above the staff with extender lines and
+@code{implicitBassFigures} the lines may become swapped around.
+Maintaining order consistently will be impossible when multiple figures
+have overlapping extender lines. To avoid this problem, plese
+use @code{stacking-dir} on @code{BassFigureAlignment}.
+
+
@seealso
Program reference: @internalsref{NewBassFigure},
projects / lilypond.git / blobdiff