@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
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.
@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]
@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.
@funindex chordNoteNamer
@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
@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
@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
can be done by entering @code{_} for every note that is part of the
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,quote]
-{
- \set melismaBusyProperties = #'()
- c d( e) f f( e) e e
-}
-\addlyrics
- { Ky -- _ _ ri __ _ _ _ e }
-@end lilypond
-
@node Lyrics independent of notes
@subsubsection Lyrics independent of notes
@end lilypond
+When a piece of music has many verses, they are often printed in
+multiple columns across the page. An outdented verse number often
+introduces each verse. The following example shows how to produce such
+output in Lilypond.
+
+@lilypond[ragged-right,quote,verbatim]
+melody = \relative c' {
+ c c c c | d d d d
+}
+
+text = \lyricmode {
+ \set stanza = "1." This is verse one.
+ It has two lines.
+}
+
+\score{ <<
+ \new Voice = "one" { \melody }
+ \new Lyrics \lyricsto "one" \text
+ >>
+ \layout { }
+}
+
+\markup {
+ \fill-line {
+ \hspace #0.1 % moves the column off the left margin; can be removed if
+ % space on the page is tight
+ \column {
+ \line { \bold "2."
+ \column {
+ "This is verse two."
+ "It has two lines."
+ }
+ }
+ \hspace #0.1 % adds vertical spacing between verses
+ \line { \bold "3."
+ \column {
+ "This is verse three."
+ "It has two lines."
+ }
+ }
+ }
+ \hspace #0.1 % adds horizontal spacing between columns; if they are
+ % still too close, add more " " pairs until the result
+ % looks good
+ \column {
+ \line { \bold "4."
+ \column {
+ "This is verse four."
+ "It has two lines."
+ }
+ }
+ \hspace #0.1 % adds vertical spacing between verses
+ \line { \bold "5."
+ \column {
+ "This is verse five."
+ "It has two lines."
+ }
+ }
+ }
+ \hspace #0.1 % gives some extra space on the right margin; can
+ % be removed if page space is tight
+ }
+}
+@end lilypond
+
+
@seealso
Program reference: @internalsref{LyricText}, @internalsref{StanzaNumber},
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}.
@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
-@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.
Some articulations are vertically placed too closely to the
correpsonding note heads.
-The episem line is not displayed if its length is shorter than the
-width of roughly 4 note heads. The right end of the episem line is
-often too far to the right.
+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
@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
@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
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
@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