@chapter Notation manual
This chapter describes all the different types of notation supported
-by LilyPond. It is intended as a reference for users that are already
+by LilyPond. It is intended as a reference for users who are already
somewhat familiar with LilyPond.
@menu
-* Note entry::
-* Easier music entry::
-* Staff notation::
-* Polyphony::
-* Beaming::
-* Accidentals::
-* Expressive marks::
-* Repeats::
-* Rhythmic music::
-* Piano music::
-* Vocal music::
-* Other instrument specific notation::
-* Tablatures::
-* Popular music::
-* Orchestral music::
-* Ancient notation::
-* Contemporary notation::
-* Educational use::
+* Note entry::
+* Easier music entry::
+* Staff notation::
+* Polyphony::
+* Beaming::
+* Accidentals::
+* Expressive marks::
+* Repeats::
+* Rhythmic music::
+* Piano music::
+* Vocal music::
+* Other instrument specific notation::
+* Tablatures::
+* Popular music::
+* Orchestral music::
+* Ancient notation::
+* Contemporary notation::
+* Educational use::
@end menu
@c FIXME: Note entry vs Music entry at top level menu is confusing.
@section Note entry
@cindex Note entry
-This section is about basic notation elements notes, rests and
+This section is about basic notation elements like notes, rests, and
related constructs, such as stems, tuplets and ties.
@menu
-* Notes::
-* Pitches::
-* Chromatic alterations::
-* Micro tones::
-* Chords::
-* Rests::
-* Skips::
-* Durations::
-* Augmentation dots::
-* Scaling durations::
-* Stems::
-* Ties::
-* Tuplets::
+* Notes::
+* Pitches::
+* Chromatic alterations::
+* Micro tones::
+* Chords::
+* Rests::
+* Skips::
+* Durations::
+* Augmentation dots::
+* Scaling durations::
+* Stems::
+* Ties::
+* Tuplets::
@end menu
cisis
@end lilypond
+In accordance with standard typsetting rules, a natural sign is printed
+before a sharp or flat if a previous accidental needs to be
+cancelled. To change this behaviour, use
+@code{\set Staff.extraNatural = ##f}
+
+@lilypond[fragment,quote,raggedright,verbatim,relative=2]
+ceses4 ces cis c
+\set Staff.extraNatural = ##f
+ceses4 ces cis c
+@end lilypond
+
There are predefined sets of note names for various other languages.
To use them, include the language specific init file. For
example: @code{\include "english.ly"}. The available language files
@menu
-* Relative octaves::
-* Octave check::
-* Bar check::
-* Skipping corrected music::
-* Automatic note splitting::
+* Relative octaves::
+* Octave check::
+* Bar check::
+* Skipping corrected music::
+* Automatic note splitting::
@end menu
@cindex Staff notation
@menu
-* Staff symbol::
-* Key signature::
-* Clef::
-* Ottava brackets::
-* Time signature::
-* Partial measures::
-* Unmetered music::
-* Bar lines::
-* Time administration::
-* Controlling formatting of prefatory matter::
+* Staff symbol::
+* Key signature::
+* Clef::
+* Ottava brackets::
+* Time signature::
+* Partial measures::
+* Unmetered music::
+* Bar lines::
+* Time administration::
+* Controlling formatting of prefatory matter::
@end menu
@node Staff symbol
@internalsref{Staff}.@code{keySignature}. Non-standard key signatures
can be specified by setting this property directly.
+A natural sign is printed to cancel any previous accidentals. This
+can be suppressed by setting the @code{Staff.printKeyCancellation}
+property.
+
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+{
+ \key d \major
+ a b cis d
+ \key g \minor
+ a bes c d
+ \set Staff.printKeyCancellation = ##f
+ \key d \major
+ a b cis d
+ \key g \minor
+ a bes c d
+}
+@end lilypond
+
Accidentals and key signatures often confuse new users, because
unaltered notes get natural signs depending on the key signature. For
more information, see @ref{More about pitches}.
This command is equivalent to setting @code{clefGlyph},
@code{clefPosition} (which controls the Y position of the clef),
-@code{centralCPosition} and @code{clefOctavation}. A clef is printed
+@code{middleCPosition} and @code{clefOctavation}. A clef is printed
when any of these properties are changed. The following example shows
possibilities when setting properties manually.
+@ignore
+should to be fixed very quickly -gp
+
@lilypond[quote,raggedright,verbatim]
{
- \set Staff.clefGlyph = #"clefs-F"
+ \set Staff.clefGlyph = #"clefs.F"
\set Staff.clefPosition = #2
c'4
- \set Staff.clefGlyph = #"clefs-G"
+ \set Staff.clefGlyph = #"clefs.G"
c'4
- \set Staff.clefGlyph = #"clefs-C"
+ \set Staff.clefGlyph = #"clefs.C"
c'4
\set Staff.clefOctavation = #7
c'4
c'4
\clef "bass"
c'4
+ \set Staff.middleCPosition = #4
+ c'4
}
@end lilypond
+@end ignore
@seealso
Timing can be changed by setting any of these variables explicitly.
In the next example, the 4/4 time signature is printed, but
@code{measureLength} is set to 5/4. After a while, the measure is
-shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
-the measure, so the next bar line will fall at 2/4 + 3/8.
+shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
+in the measure, so the next bar line will fall at 2/4 + 3/8. The
+3/8 arises because 5/4 normally has 10/8, but we have manually
+set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
@lilypond[quote,raggedright,verbatim,relative,fragment]
\set Score.measureLength = #(ly:make-moment 5 4)
c1 c4
c1 c4
c4 c4
-\set Score.measurePosition = #(ly:make-moment -3 8)
+\set Score.measurePosition = #(ly:make-moment 7 8)
b8 b b
c4 c1
@end lilypond
@node Controlling formatting of prefatory matter
@subsection Controlling formatting of prefatory matter
-TODO: Somebody needs to explain this example, but I don't know what
-they're trying to do, so it won't be me. -gp
+@c This section will be moved to somewhere else soon. -gp
+This example demonstrates how to place prefatory matter
+(such as the clef and key signature) at the end of a line.
@lilypond[quote,verbatim]
\transpose c c' {
one voice on the same staff.
@menu
-* Writing polyphonic music::
+* Writing polyphonic music::
@end menu
@node Writing polyphonic music
@cindex layers
to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
each of these contexts, vertical direction of slurs, stems, etc., is set
-appropriately.
+appropriately. Specifically,
+
+@example
+<< \upper \\ \lower >>
+@end example
+
+@noindent
+is equivalent to
+
+@example
+<<
+ \context Voice = "1" @{ \voiceOne \upper @}
+ \context Voice = "2" @{ \voiceTwo \lower @}
+>>
+@end example
@cindex @code{\voiceOne}
@cindex @code{\voiceFour}
The command @code{\oneVoice} will revert back to the normal setting.
@cindex @code{\oneVoice}
+Defining voices (either with the separator @code{\\} or with
+@code{\voiceXXX}) will set the direction of stems, slurs, ties,
+articulations, text annotations, augmentation dots of dotted
+notes, and fingerings. @code{\voiceOne} makes these objects
+point upwards, while @code{\voiceTwo} makes them point down.
Normally, note heads with a different number of dots are not merged, but
when the object property @code{merge-differently-dotted} is set in
@cindex Automatic beams
@menu
-* Automatic beams::
-* Manual beams::
-* Setting automatic beam behavior::
-* Beam formatting::
+* Automatic beams::
+* Manual beams::
+* Setting automatic beam behavior::
+* Beam formatting::
@end menu
@node Automatic beams
@code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
are defined in @file{scm/@/auto@/-beam@/.scm}.
-The value of @code{autoBeamSettings} is changed with two functions,
+The value of @code{autoBeamSettings} is changed with three functions,
@example
#(override-auto-beam-setting
'(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
[@var{context}])
-#(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
+#(score-override-auto-beam-setting
+ '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b})
+#(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m})
+ [@var{context}])
@end example
Here, @var{be} is the symbol @code{begin} or @code{end}, and
@var{context} is an optional context (default: @code{'Voice}). It
designate all time signatures), @var{a}/@var{b} is a duration. By
default, this command changes settings for the current voice. It is
also possible to adjust settings at higher contexts, by adding a
-@var{context} argument.
+@var{context} argument. @code{score-override-auto-beam-setting} is
+equal to @code{override-auto-beam-setting} with the argument
+@var{context} set to @code{'Score}.
For example, if automatic beams should end on every quarter note, use
the following
inserted automatically before notes.
@menu
-* Automatic accidentals::
+* Automatic accidentals::
@end menu
@node Automatic accidentals
@subsection Automatic accidentals
@cindex Automatic accidentals
-Common rules for typesetting accidents have been placed in a
+Common rules for typesetting accidentals have been placed in a
function. This function is called as follows
@cindex @code{set-accidental-style}
@end example
The function can take two arguments: the name of the accidental style,
-and an optional argument that denotes the context which should be
+and an optional argument that denotes the context that should be
changed. If no context name is supplied, @code{Staff} is the default,
but you may wish to apply the accidental style to a single @code{Voice}
instead.
This rule is the same as @code{modern-voice}, but with the extra
accidentals (the ones not typeset by @code{voice}) typeset
as cautionaries. Even though all accidentals typeset by
-@code{default} @emph{are} typeset by this variable then
+@code{default} @emph{are} typeset by this variable,
some of them are typeset as cautionaries.
@item piano
@item piano-cautionary
@cindex @code{#(set-accidental-style 'piano-cautionary)}
-As @code{#(set-accidental-style 'piano)} but with the extra accidentals
-typeset as cautionaries.
+Same as @code{#(set-accidental-style 'piano)} but with the extra
+accidentals typeset as cautionaries.
@item no-reset
@cindex @code{no-reset} accidental style
notes and rhythms.
@menu
-* Slurs::
-* Phrasing slurs::
-* Breath marks::
-* Metronome marks::
-* Text scripts::
-* Text spanners::
-* Analysis brackets::
-* Articulations::
-* Running trills::
-* Fingering instructions::
-* Grace notes::
-* Glissando::
-* Dynamics::
+* Slurs::
+* Phrasing slurs::
+* Breath marks::
+* Metronome marks::
+* Text scripts::
+* Text spanners::
+* Analysis brackets::
+* Articulations::
+* Running trills::
+* Fingering instructions::
+* Grace notes::
+* Glissando::
+* Dynamics::
@end menu
@node Slurs
@code{c^"text"}. By default, these indications do not influence the
note spacing, but by using the command @code{\fatText}, the widths
will be taken into account
-@c
+
@lilypond[quote,fragment,raggedright,verbatim,relative=1]
c4^"longtext" \fatText c4_"longlongtext" c4
@end lilypond
Other symbols can be added using the syntax
@var{note}@code{\}@var{name}. Again, they
can be forced up or down using @code{^} and @code{_},
-e.g.
+e.g.,
@lilypond[quote,raggedright,verbatim,fragment,relative=2]
c\fermata c^\fermata c_\fermata
@cindex accent
@cindex marcato
@cindex staccatissimo
+@cindex espressivo
@cindex fermata
@cindex stopped
@cindex staccato
will be put to the note. In this example, the
@internalsref{TextScript} (the sharp symbol) first has the lowest
priority, so it is put lowest in the first example. In the second, the
-prall trill (the @internalsref{Script}) has the lowest, so it on the
+prall trill (the @internalsref{Script}) has the lowest, so it is on the
inside. When two objects have the same priority, the order in which
they are entered decides which one comes first.
@var{note}-@var{digit}
@end example
For finger changes, use markup texts
-@c
+
@lilypond[quote,verbatim,raggedright,fragment,relative=1]
c4-1 c-2 c-3 c-4
c^\markup { \finger "2-3" }
You can use the thumb-script to indicate that a note should be
played with the thumb (e.g., in cello music)
-
@lilypond[quote,verbatim,raggedright,fragment,relative=2]
<a_\thumb a'-3>8 <b_\thumb b'-3>
@end lilypond
@code{\grace} command does not start a slur.
Internally, timing for grace notes is done using a second, `grace'
-time. Every point in time consists of two rational numbers: one
+timing. Every point in time consists of two rational numbers: one
denotes the logical time, one denotes the grace timing. The above
example is shown here with timing tuples
The placement of grace notes is synchronized between different staves.
-In the following example, there are two sixteenth graces notes for
+In the following example, there are two sixteenth grace notes for
every eighth grace note
@lilypond[quote,raggedright,relative=2,verbatim,fragment]
-If you want to end a note with a grace, the standard trick is to put
-the grace notes after a ``space note''
+If you want to end a note with a grace, use the @code{\afterGrace}
+command. It takes two arguments: the main note, and the grace notes
+following the main note.
+
+@lilypond[raggedright, verbatim,relative=2,fragment]
+c1 \afterGrace d1 { c16[ d] } c4
+@end lilypond
+
+This will put the grace notes after a ``space'' lasting 3/4 of the
+length of the main note. The fraction 3/4 can be changed by setting
+@code{afterGraceFraction}, ie.
+
+@example
+afterGraceFraction = #(cons 7 8)
+@end example
+
+@noindent
+will put the grace note at 7/8 of the main note.
+
+
+The same effect can be achieved manually by doing
+
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\context Voice {
the space between the main-note and the grace is adjusted.
+
+
A @code{\grace} section will introduce special typesetting settings,
for example, to produce smaller type, and set directions. Hence, when
introducing layout tweaks, they should be inside the grace section,
@refbugs
A score that starts with a @code{\grace} section needs an explicit
-@code{\context Voice} declaration, otherwise the main note and grace
+@code{\context Voice} declaration, otherwise the main note and the grace
note end up on different staves.
Grace note synchronization can also lead to surprises. Staff notation,
A crescendo mark is started with @code{\<} and terminated with
@code{\!}. A decrescendo is started with @code{\>} and also terminated
-with @code{\!}. Because these marks are bound to notes, if you must
+with @code{\!}. Because these marks are bound to notes, you must
use spacer notes if multiple marks are needed during one note
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
@lilypond[quote,raggedright,fragment,relative=2,verbatim]
\setTextCresc
-c \< d e f\!
+c\< d e f\!
\setHairpinCresc
e\> d c b\!
+\setTextDecresc
+c\> d e f\!
+\setTextDim
+e\> d c b\!
@end lilypond
@cindex crescendo
@cindex diminuendo
+To create new dynamic marks or text that should be aligned
+with dynamics, see @ref{New dynamic marks}.
+
@refcommands
for repetitions.
@menu
-* Repeat types::
-* Repeat syntax::
-* Repeats and MIDI::
-* Manual repeat commands::
-* Tremolo repeats::
-* Tremolo subdivisions::
-* Measure repeats::
+* Repeat types::
+* Repeat syntax::
+* Repeats and MIDI::
+* Manual repeat commands::
+* Tremolo repeats::
+* Tremolo subdivisions::
+* Measure repeats::
@end menu
@node Repeat types
Make tremolo beams. These are not played in MIDI output by default.
@item percent
-Make beat or measure repeats. These look like percent signs. These are not played
-in MIDI output by default.
+Make beat or measure repeats. These look like percent signs. These
+are not played in MIDI output by default. Percent repeats must be
+declared within a Voice context.
@end table
Brackets for the repeat are normally only printed over the topmost
staff. This can be adjusted by setting the @code{voltaOnThisStaff}
-property @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly},
-@inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}
+property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
+
+@c not necessary
+@c @inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}.
@refbugs
In the @code{percent} style, a note pattern can be repeated. It is
printed once, and then the pattern is replaced with a special sign.
Patterns of one and two measures are replaced by percent-like signs,
-patterns that divide the measure length are replaced by slashes
+patterns that divide the measure length are replaced by slashes.
+Percent repeats must be declared within a @code{Voice} context.
@lilypond[quote,verbatim,raggedright]
\new Voice \relative c' {
also be used to show the rhythms of melodies.
@menu
-* Showing melody rhythms::
-* Entering percussion::
-* Percussion staves::
+* Showing melody rhythms::
+* Entering percussion::
+* Percussion staves::
@end menu
@cindex drums
A percussion part for more than one instrument typically uses a
-multi line staff where each position in the staff refers to one piece
+multiline staff where each position in the staff refers to one piece
of percussion.
To typeset the music, the notes must be interpreted in a
@internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
-@c
@lilypond[quote,raggedright,verbatim]
up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
down = \drummode { bassdrum4 snare8 bd r bd sn4 }
}
@end lilypond
-The drum scheme supports six different toms. When there fewer toms, simply
-select the toms that produce the desired result, i.e., to get toms on
-the three middle lines you use @code{tommh}, @code{tomml} and
+The drum scheme supports six different toms. When there are fewer toms,
+simply select the toms that produce the desired result, i.e., to get toms
+on the three middle lines you use @code{tommh}, @code{tomml}, and
@code{tomfh}.
@item timbales-style
Piano staves are two normal staves coupled with a brace. The staves
are largely independent, but sometimes voices can cross between the
two staves. The same notation is also used for harps and other key
+@c Is this `harp' or `harpsichord'?
instruments. The @internalsref{PianoStaff} is especially built to
handle this cross-staffing behavior. In this section we discuss the
@internalsref{PianoStaff} and some other pianistic peculiarities.
@menu
-* Automatic staff changes::
-* Manual staff switches::
-* Pedals::
-* Arpeggio::
-* Staff switch lines::
-* Cross staff stems::
+* Automatic staff changes::
+* Manual staff switches::
+* Pedals::
+* Arpeggio::
+* Staff switch lines::
+* Cross staff stems::
@end menu
@refbugs
@end quotation
-The autochanger switches on basis of pitch (middle C is the turning
+The autochanger switches on basis of the pitch (middle C is the turning
point), and it looks ahead skipping over rests to switch in
advance. Here is a practical example
@end lilypond
A third style of pedal notation is a mixture of text and brackets,
-obtained by setting the @code{pedalSustainStyle} style property to
+obtained by setting the @code{pedalSustainStyle} property to
@code{mixed}
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
c\sostenutoDown d e c, f g a\sostenutoUp
@end lilypond
-For fine-tuning of the appearance of a pedal bracket, the properties
+For fine-tuning the appearance of a pedal bracket, the properties
@code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
@code{PianoPedalBracket} objects (see
-@internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
-bracket may be extended to the right edge of the note head
+@internalsref{PianoPedalBracket} in the Program reference) can be
+modified. For example, the bracket may be extended to the right edge
+of the note head
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
\override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
@cindex @code{followVoice}
-Whenever a voice switches to another staff a line connecting the notes
+Whenever a voice switches to another staff, a line connecting the notes
can be printed automatically. This is switched on by setting
@code{PianoStaff.followVoice} to true
@node Cross staff stems
@subsection Cross staff stems
-The chords which cross staves may be produced by increasing the length
-of the stem in the lower stave, so it reaches the stem in the upper
-stave, or vice versa.
+Chords that cross staves may be produced by increasing the length
+of the stem in the lower staff, so it reaches the stem in the upper
+staff, or vice versa.
@lilypond[raggedright,verbatim,quote]
stemExtend = \once \override Stem #'length = #22
@itemize @bullet
@item
-Song texts must be entered as texts, not notes. For example, the
+Song texts must be entered as text, not notes. For example, the
input@tie{}@code{d} should be interpreted as a one letter syllable, not the
note@tie{}D.
Song texts must be printed as text, not as notes.
@item
-Song texts must be aligned with the notes of their melody
+Song texts must be aligned with the notes of their melody.
@end itemize
-The simplest solution to printing music uses the @code{\addlyrics}
+The simplest solution for printing music uses the @code{\addlyrics}
function to solve all these problems at once. However, these
three functions can be controlled separately, which is necessary
for complex vocal music.
@menu
-* Setting simple songs::
-* Entering lyrics::
-* Hyphens and extenders::
-* The Lyrics context::
-* Flexibility in alignment::
-* More stanzas::
-* Ambitus::
+* Setting simple songs::
+* Entering lyrics::
+* Hyphens and extenders::
+* The Lyrics context::
+* Flexibility in alignment::
+* More stanzas::
+* Ambitus::
+* Other vocal issues::
@end menu
@node Setting simple songs
The @code{\addlyrics} command is actually just a convienient way
to write a more complicated LilyPond structure that sets up the
-lyrics. You should use @code{\addlyrics} unless you need to
+lyrics. You should use @code{\addlyrics} unless you need to do
fancy things, in which case you should investigate
@code{\lyricsto} or @code{\lyricmode}.
@example
\context Voice = blah @{ music @}
-\lyricsto "blah" \lyricsmode \new lyrics @{ LYRICS @}
+\lyricsto "blah" \new lyrics @{ LYRICS @}
@end example
+@refbugs
+
+@code{\addlyrics} cannot handle polyphony.
+
@node Entering lyrics
@subsection Entering lyrics
@cindex @code{\lyricmode}
@cindex punctuation
-Lyrics are entered in a special input mode. This mode is is introduced
+Lyrics are entered in a special input mode. This mode is introduced
by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
@code{lyricsto}. In this mode you can enter lyrics,
with punctuation and accents, and the input @code{d} is not parsed as
usually a mistake in the input file. The syllable includes a @code{@}}, so the
opening brace is not balanced
@example
-\lyricmode @{ twinkle @}
+\lyricmode @{ twinkle@}
@end example
@cindex @code{\property}, in @code{\lyricmode}
@cindex spaces, in lyrics
@cindex quotes, in lyrics
-Any @code{_} character which appears in an unquoted word is converted
+Any @code{_} character that appears in an unquoted word is converted
to a space. This provides a mechanism for introducing spaces into words
without using quotes. Quoted words can also be used in Lyrics mode to
specify words that cannot be written with the above rules. The
@end example
This example is slightly academic, since it gives better looking
-results to use single quotes, @code{``} and @code{''}
+results using single quotes, @code{``} and @code{''}
@example
\lyricmode @{ He said: ``Let my peo ple go'' @}
@end example
next one. Such a line is called an extender line, and it is entered as
@code{__}.
+@ignore
+FIXME: check that this compiles and displays correctly. I don't want
+to commit this part blindly.
+
+In tighly engraved music, hyphens can be removed. In some languages
+(e.g. German and Hungarian), hyphens should not disappear, since
+spelling depends on hyphenation. For that purpose, hyphens can be
+forced to remain by overriding @code{minimum-length} of
+the @code{LyricHyphen} grob.
+
+(code from 2.2)
+\score {
+<< \notes \new Staff \relative c'' { \time 1/4 c16[ c c c]
+\time 1/4
+c16[ c c c]
+\time 1/4
+c16[ c c c]
+
+}
+ \lyrics \new Lyrics \with {
+ % Otherwise lyrics are so far apart that hyphens don't disappear
+ \override SeparationItem #'padding = #0.0
+ }{ bla -- bla -- bla -- bla --
+ bla -- bla -- bla -- bla --
+
+ \override LyricHyphen #'minimum-length = #0.7
+ \override LyricHyphen #'spacing-procedure =
+ #Hyphen_spanner::set_spacing_rods
+
+ bla -- bla -- bla -- bla
+ }>>
+ \paper {
+ indent = 0.0 \cm
+ linewidth = 3.4 \cm
+
+ \context {
+ \StaffContext \remove "Time_signature_engraver"
+ }
+
+ }
+
+}
+@end ignore
+
@seealso
@internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
@internalsref{LyricExtender}
-Examples: @inputfileref{input/@/test,lyric@/-hyphen@/-retain@/.ly}.
-
@node The Lyrics context
@end example
This aligns the lyrics to the
-@c
notes of the @internalsref{Voice} context called @var{name}, which has
to exist. Therefore, normally the @code{Voice} is specified first, and
then the lyrics are specified with @code{\lyricsto}. The command
@code{\lyricmode} keyword may be omitted.
For different or more complex orderings, the best way is to setup the
-hierarchy of staves and lyrics first, e.g.
+hierarchy of staves and lyrics first, e.g.,
@example
\context ChoirStaff <<
\context Lyrics = sopranoLyrics @{ s1 @}
syllable under a tied or slurred group of notes. If you want to force
an unslurred group of notes to be a melisma, insert @code{\melisma}
after the first note of the group, and @code{\melismaEnd} after the
-last one, e.g.
+last one, e.g.,
@lilypond[quote,relative=2,raggedright,fragment,verbatim]
<<
@end ignore
Lyrics can also be entered without @code{\lyricsto}. In this case the
-durations of each syllable must be entered explicitly, for example,
+duration of each syllable must be entered explicitly, for example,
@example
play2 the4 game2.
@cindex choral score
A complete example of a SATB score setup is in section
-@ref{Small ensembles}.
+@ref{Vocal ensembles}.
@refcommands
Program reference: @internalsref{LyricCombineMusic},
@internalsref{Lyrics}, @internalsref{Melisma_translator}.
-Examples: @ref{Small ensembles},
-@inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly},
+
+@inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
@c TODO: make separate section for melismata
-@inputfileref{input/@/test,lyrics@/-melisma@/-variants@/.ly}.
-@inputfileref{input/@/test,lyrics@/-melisma@/-faster@/.ly}.
+
+@c I can't find these examples in 2.0 or 2.2; remove. -gp
+@c @inputfileref{input/@/test,lyrics@/-melisma@/-variants@/.ly}.
+@c @inputfileref{input/@/test,lyrics@/-melisma@/-faster@/.ly}.
@refbugs
@cindex singer's names
@cindex name of singer
-Stanza numbers can be added by setting @code{stanza}, e.g.
+Stanza numbers can be added by setting @code{stanza}, e.g.,
@lilypond[quote,raggedright,verbatim,relative=2,fragment]
\new Voice {
@cindex ambitus
The term @emph{ambitus} denotes a range of pitches for a given voice
-in a part of music. It also may denote the pitch range that a musical
+in a part of music. It may also denote the pitch range that a musical
instrument is capable of playing. Ambits are printed on vocal parts,
so performers can easily determine it meets their capabilities.
-It denoted at the beginning of a piece near the initial clef. The
-range is graphically specified by two note heads, that represent the
+Ambits are denoted at the beginning of a piece near the initial clef.
+The range is graphically specified by two note heads that represent the
minimum and maximum pitch. To print such ambits, add the
@internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
for example,
}
@end lilypond
-If you have multiple voices in a single staff, and you want a single
+If you have multiple voices in a single staff and you want a single
ambitus per staff rather than per each voice, add the
@internalsref{Ambitus_engraver} to the @internalsref{Staff} context
rather than to the @internalsref{Voice} context. Here is an example,
@lilypond[verbatim,raggedright,quote]
-\new Staff <<
+\new Staff \with {
+ \consists "Ambitus_engraver"
+}
+<<
\new Voice \with {
- \consists "Ambitus_engraver"
+ \remove "Ambitus_engraver"
} \relative c'' {
\override Ambitus #'X-offset-callbacks
= #(list (lambda (grob axis) -1.0))
c4 a d e f2
}
\new Voice \with {
- \consists "Ambitus_engraver"
+ \remove "Ambitus_engraver"
} \relative c' {
\voiceTwo
es4 f g as b2
There is no collision handling in the case of multiple per-voice
ambitus.
+@node Other vocal issues
+@subsection Other vocal issue
+
+@ignore
+yeah, I'm giving up somewhat by stuffing a bunch of things in
+here. But at least they're in the manual now; it's easier to
+move them around in the manual once they're already here.
+
+Besides, if users complain about everything stuffed in here, I
+can ask them for specific instructions about where to move these
+examples, and that might get them more involved in the docs. -gp
+@end ignore
+
+You can display alternate (or divisi) lyrics by naming voice
+contexts and attaching lyrics to those specific contexts.
+
+@lilypond[verbatim,raggedright,quote]
+\score{ <<
+ \context Voice = "melody" {
+ \relative c' {
+ c4
+ <<
+ { \voiceOne c8 e }
+ \context Voice = splitpart { \voiceTwo c4 }
+ >>
+ \oneVoice c4 c | c
+ }
+ }
+ \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
+ \new Lyrics \lyricsto "splitpart" { shall }
+>> }
+@end lilypond
+
+
+You can use this trick to display different lyrics for a repeated
+section.
+
+@lilypond[verbatim,raggedright,quote]
+\score{ <<
+ \context Voice = melody \relative c' {
+ c2 e | g e | c1 |
+ \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
+ a2 b | c1}
+ \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
+ do mi sol mi do
+ la si do }
+ \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
+ do re mi fa sol }
+ \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
+ dodo rere mimi fafa solsol }
+>>
+}
+@end lilypond
+
+
@node Other instrument specific notation, Tablatures, Vocal music, Notation manual
@section Other instrument specific notation
include extra information for other instruments in the future.
@menu
-* Harmonic notes::
+* Harmonic notes::
@end menu
@node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
@cindex harmonics
Artificial harmonics are notated with a different notehead style. They
-are entered by
-marking the harmonic pitch with @code{\harmonic}.
+are entered by marking the harmonic pitch with @code{\harmonic}.
@lilypond[raggedright,verbatim,quote,fragment]
<c' g'\harmonic>4
offers limited support for tablature.
@menu
-* Tablatures basic::
-* Non-guitar tablatures::
+* Tablatures basic::
+* Non-guitar tablatures::
@end menu
@node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
This section discusses issues that arise when writing popular music.
@menu
-* Chord names::
-* Chords mode::
-* Printing chord names::
-* Fret diagrams::
-* Improvisation::
+* Chord names::
+* Chords mode::
+* Printing chord names::
+* Fret diagrams::
+* Improvisation::
@end menu
@node Chord names, Chords mode, Popular music, Popular music
Other chords may be entered by suffixing a colon and introducing a
modifier (which may include a number if desired)
-@c
@lilypond[quote,fragment,verbatim]
\chordmode { e1:m e1:7 e1:m7 }
@end lilypond
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
-@c
+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
@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
+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 }
Since an unaltered 11 does not sound good when combined with an
unaltered 3, the 11 is removed in this case (unless it is added
explicitly)
-@c
@lilypond[quote,raggedright,fragment,verbatim]
\chordmode { c:13 c:13.11 c:m13 }
@end lilypond
@end lilypond
@cindex @code{/+}
-A bass note can be added instead of transposed out of the chord,
+A bass note can be added instead transposed out of the chord,
by using @code{/+}@var{pitch}.
@lilypond[quote,raggedright,fragment,verbatim]
\chordmode { c1 c/+g c/+f }
@end lilypond
-Chords is a mode similar to @code{\lyricmode} etc. Most
+Chords is a mode similar to @code{\lyricmode}, etc. Most
of the commands continue to work, for example, @code{r} and
@code{\skip} can be used to insert rests and spaces, and property
commands may be used to change various settings.
@item chordNameSeparator
Different parts of a chord name are normally separated by a
slash. By setting @code{chordNameSeparator}, you can specify other
-separators, e.g.
+separators, e.g.,
@lilypond[quote,raggedright,fragment,verbatim]
\context ChordNames \chordmode {
c:7sus4
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
+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}.
Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
@inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
-@inputfileref{input/@/test,chord@/-names@/-jazz@/.ly},
-@inputfileref{input/@/test,chords@/-without@/-melody@/.ly}.
+@inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
@menu
-* System start delimiters::
-* Aligning to cadenzas::
-* Rehearsal marks::
-* Bar numbers::
-* Instrument names::
-* Transpose::
-* Instrument transpositions::
-* Multi measure rests::
-* Automatic part combining::
-* Hiding staves::
-* Different editions from one source::
-* Quoting other voices::
-* Formatting cue notes::
+* System start delimiters::
+* Aligning to cadenzas::
+* Rehearsal marks::
+* Bar numbers::
+* Instrument names::
+* Transpose::
+* Instrument transpositions::
+* Multi measure rests::
+* Automatic part combining::
+* Hiding staves::
+* Different editions from one source::
+* Quoting other voices::
+* Formatting cue notes::
@end menu
@node System start delimiters
@end lilypond
-@item The group is started with a bracket, and bar lines are connected. This is done with the
+@item The group is started with a bracket, and bar lines are connected.
+This is done with the
@internalsref{StaffGroup} context
@lilypond[verbatim,raggedright,quote]
cadenza, otherwise they will start too soon or too late.
A solution to this problem are the functions @code{mmrest-of-length}
-and @code{skip-of-length}. These Scheme functions take a piece music
-as argument, and generate a @code{\skip} or multi rest, exactly as
+and @code{skip-of-length}. These Scheme functions take a piece of music
+as argument, and generate a @code{\skip} or multi-rest, exactly as
long as the piece. The use of @code{mmrest-of-length} is demonstrated
in the following example.
\set Score.markFormatter = #format-mark-numbers
c1 \mark \default
c1 \mark \default
-\set Score.markFormatter
- = #(lambda (mark context)
- (make-bold-markup
- (make-box-markup (number->string mark))))
+\set Score.markFormatter = #format-mark-box-numbers
c1 \mark \default
c1 \mark \default
c1
@end lilypond
The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
-of @code{format-mark-numbers} (the default format) and
-@code{format-mark-letters}. These can be used as inspiration for other
-formatting functions.
+of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
+@code{format-mark-letters} and @code{format-mark-box-letters}.
+These can be used as inspiration for other formatting functions.
@cindex coda on bar line
@cindex bar lines, symbols on
The @code{\mark} command can also be used to put signs like coda,
-segno and fermatas on a bar line. Use @code{\markup} to
-to access the appropriate symbol
+segno, and fermata on a bar line. Use @code{\markup} to
+access the appropriate symbol
@lilypond[fragment,quote,raggedright,verbatim,relative=2]
c1 \mark \markup { \musicglyph #"scripts-ufermata" }
c1
@end lilypond
-In the case of a line break, marks must also be printed at the end of
-the line, and not at the beginning. Use the following to force that
-behavior
+If the mark occurs at a line break, the mark will be printed at the
+beginning of the next line.
+@c IMO this is a bug; hopefully it'll be fixed soon, so I can
+@c delete this sentence. -gp
+If there is no next line, then the mark will not be printed at all.
+To print the mark at the end of the current line, use
+
@example
\override Score.RehearsalMark
#'break-visibility = #begin-of-line-invisible
@subsection Bar numbers
-@cindex bar numbers
+@cindex Bar numbers
@cindex measure numbers
@cindex @code{currentBarNumber}
@lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
+Bar numbers can be typeset manually by tweaking the
+@code{markFormatter} property
+
+@lilypond[verbatim,raggedright,quote]
+\relative c' {
+ \set Score.markFormatter
+ = #(lambda (mark context)
+ (make-bold-markup
+ (make-box-markup
+ (number->string (ly:context-property context
+ 'currentBarNumber)))))
+
+ c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
+}
+@end lilypond
+
Bar numbers can be manually changed by setting the
@code{Staff.currentBarNumber} property
@node Instrument names
@subsection Instrument names
-In an orchestral score, instrument names are printed left side of the
-staves.
+In an orchestral score, instrument names are printed at the left side
+of the staves.
This can be achieved by setting @internalsref{Staff}.@code{instrument}
and @internalsref{Staff}.@code{instr}. This will print a string before
-the start of the staff. For the first start, @code{instrument} is
-used, for the next ones @code{instr} is used.
+the start of the staff. For the first staff, @code{instrument} is
+used, for the following ones, @code{instr} is used.
@lilypond[quote,verbatim,raggedright,relative=1,fragment]
\set Staff.instrument = "Ploink "
@lilypond[quote,fragment,verbatim,raggedright]
\set Staff.instrument = \markup {
- \column < "Clarinetti"
- { "in B" \smaller \flat } > }
+ \column { "Clarinetti"
+ \line { "in B" \smaller \flat } } }
c''1
@end lilypond
@refbugs
-When you put a name on a grand staff or piano staff the width of the
+When you put a name on a grand staff or piano staff, the width of the
brace is not taken into account. You must add extra spaces to the end of
the name to avoid a collision.
is changed to @code{to}.
-For example, consider a piece written in the key of D@tie{}major. If
+For example, consider a piece written in the key of D-major. If
this piece is a little too low for its performer, it can be
-transposed up to E major with
+transposed up to E-major with
@example
\transpose d e @dots{}
@end example
@subsection Instrument transpositions
The key of a transposing instrument can also be specified. This
-applies to many wind instruments, for example, clarinets (B-flat, A and
-E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
+applies to many wind instruments, for example, clarinets (B-flat, A, and
+E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
The transposition is entered after the keyword @code{\transposition}
entered from a (transposed) orchestral part. For example, in
classical horn parts, the tuning of the instrument is often changed
during a piece. When copying the notes from the part, use
-@code{\transposition}, e.g.
+@code{\transposition}, e.g.,
@example
\transposition d'
@cindex @code{R}
-Multi measure rests are entered using `@code{R}'. It is specifically
+Multi-measure rests are entered using `@code{R}'. It is specifically
meant for full bar rests and for entering parts: the rest can expand
to fill a score with rests, or it can be printed as a single
-multimeasure rest. This expansion is controlled by the property
+multi-measure rest. This expansion is controlled by the property
@code{Score.skipBars}. If this is set to true, empty measures will not
be expanded, and the appropriate number is added automatically
A variable (@code{\fermataMarkup}) is provided for
adding fermatas
-
@lilypond[quote,raggedright,verbatim,fragment]
\set Score.skipBars = ##t
\time 3/4
R2.^\fermataMarkup
@end lilypond
-If you want to have a text on the left end of a multi-measure rest,
-attach the text to a zero-length skip note, i.e.
+If you want to have text on the left end of a multi-measure rest,
+attach the text to a zero-length skip note, i.e.,
@example
s1*0^"Allegro"
@refbugs
It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
-over multi-measure rests.
+over multi-measure rests. And the pitch of multi-measure rests (or
+staff-centered rests) can not be influenced.
@cindex condensing rests
There is no way to automatically condense multiple rests into a single
-multimeasure rest. Multi measure rests do not take part in rest
+multi-measure rest. Multi-measure rests do not take part in rest
collisions.
-Be careful when entering multimeasure rests followed by whole
+Be careful when entering multi-measure rests followed by whole
notes. The following will enter two notes lasting four measures each
@example
R1*4 cis cis
@end lilypond
The first @code{g} appears only once, although it was
-specified twice (once in each part). Stem, slur and tie directions are
+specified twice (once in each part). Stem, slur, and tie directions are
set automatically, depending whether there is a solo or unisono. The
first part (with context called @code{one}) always gets up stems, and
-`solo', while the second (called @code{two}) always gets down stems and
+`Solo', while the second (called @code{two}) always gets down stems and
`Solo II'.
If you just want the merging parts, and not the textual markings, you
>>
@end lilypond
+To change the text that is printed for solos or merging, you may
+set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
+properties.
+
+@lilypond[quote,verbatim,raggedright,fragment,relative=2]
+\new Staff <<
+ \set Score.soloText = #"ichi"
+ \set Score.soloIIText = #"ni"
+ \set Score.aDueText = #"tachi"
+ \partcombine
+ \relative g' { g4 g a( b) r }
+ \relative g' { g4 g r r f }
+>>
+@end lilypond
Both arguments to @code{\partcombine} will be interpreted as
@internalsref{Voice} contexts. If using relative octaves,
-@code{\relative} should be specified for both music expressions, i.e.
+@code{\relative} should be specified for both music expressions, i.e.,
@example
\partcombine
removed. This saves some space. This style is called `French Score'.
For @internalsref{Lyrics},
@internalsref{ChordNames} and @internalsref{FiguredBass}, this is
-switched on by default. When these line of these contexts turn out
+switched on by default. When the lines of these contexts turn out
empty after the line-breaking process, they are removed.
For normal staves, a specialized @internalsref{Staff} context is
available, which does the same: staves containing nothing (or only
-multi measure rests) are removed. The context definition is stored in
+multi-measure rests) are removed. The context definition is stored in
@code{\RemoveEmptyStaffContext} variable. Observe how the second staff
in this example disappears in the second line
-
@lilypond[quote,raggedright,verbatim]
\layout {
\context { \RemoveEmptyStaffContext }
@node Different editions from one source
@subsection Different editions from one source
+@cindex tag
The @code{\tag} command marks music expressions with a name. These
tagged expressions can be filtered out later. With this mechanism it
is possible to make different versions of the same music source.
This defines a note with a conditional fingering indication.
+@cindex keepWithTag
+@cindex removeWithTag
By applying the @code{\keepWithTag} and @code{\removeWithTag}
commands, tagged expressions can be filtered. For example,
@example
With quotations, fragments of other parts can be inserted into a part
directly. Before a part can be quoted, it must be marked especially as
-quotable. This is done with code @code{\addquote} command.
+quotable. This is done with the @code{\addquote} command.
@example
\addquote @var{name} @var{music}
@noindent
Here, @var{name} is an identifying string. The @var{music} is any kind
-of music. This is an example of @code{\addquote}
+of music. Here is an example of @code{\addquote}
@example
\addquote clarinet \relative c' @{
@}
@end example
-This command must be entered at toplevel, i.e. outside any music
+This command must be entered at toplevel, i.e., outside any music
blocks.
After calling @code{\addquote}, the quotation may then be done with
The type of events that are present in cue notes can be trimmed with
the @code{quotedEventTypes} property. The default value is
-@code{(note-event rest-event)}, which means that only notes of and
+@code{(note-event rest-event)}, which means that only notes and
rests of the cued voice end up in the @code{\quoteDuring}.
Setting
By manipulating such a grob property, the typographical appearance of
the affected graphical objects can be accommodated for a specific
-notation flavor without need for introducing any new notational
+notation flavor without the need for introducing any new notational
concept.
In addition to the standard articulation signs described in section
@ref{Ancient articulations}
@end itemize
-Other aspects of ancient notation can not that easily be expressed as
+Other aspects of ancient notation can not that easily be expressed
in terms of just changing a style property of a graphical object or
adding articulation signs. Some notational concepts are introduced
specifically for ancient notation,
Here are all suptopics at a glance:
@menu
-* Ancient note heads::
-* Ancient accidentals::
-* Ancient rests::
-* Ancient clefs::
-* Ancient flags::
-* Ancient time signatures::
-* Ancient articulations::
-* Custodes::
-* Divisiones::
-* Ligatures::
-* Gregorian Chant contexts::
-* Mensural contexts::
-* Figured bass::
+* Ancient note heads::
+* Ancient accidentals::
+* Ancient rests::
+* Ancient clefs::
+* Ancient flags::
+* Ancient time signatures::
+* Ancient articulations::
+* Custodes::
+* Divisiones::
+* Ligatures::
+* Gregorian Chant contexts::
+* Mensural contexts::
+* Figured bass::
@end menu
For ancient notation, a note head style other than the @code{default}
style may be chosen. This is accomplished by setting the @code{style}
-property of the NoteHead object to @code{baroque}, @code{neomensural}
-or @code{mensural}. The @code{baroque} style differs from the
-@code{default} style only in using a square shape for @code{\breve}
-note heads. The @code{neomensural} style differs from the
-@code{baroque} style in that it uses rhomboidal heads for whole notes
+property of the @internalsref{NoteHead} object to @code{baroque},
+@code{neomensural} or @code{mensural}. The @code{baroque} style
+differs from the @code{default} style only in using a square shape
+for @code{\breve} note heads. The @code{neomensural} style differs from
+the @code{baroque} style in that it uses rhomboidal heads for whole notes
and all smaller durations. Stems are centered on the note heads.
-This style is in particular useful when transcribing mensural music,
+This style is particularly useful when transcribing mensural music,
e.g., for the incipit. The @code{mensural} style finally produces note
heads that mimic the look of note heads in historic printings of the
16th century.
When typesetting a piece in Gregorian Chant notation, the
@internalsref{Gregorian_ligature_engraver} will automatically select
-the proper note heads, such there is no need to explicitly set the
-note head style. Still, the note head style can be set e.g.@: to
+the proper note heads, so there is no need to explicitly set the
+note head style. Still, the note head style can be set, e.g., to
@code{vaticana_punctum} to produce punctum neumes. Similarly, a
@internalsref{Mensural_ligature_engraver} is used to automatically
assemble mensural ligatures. See @ref{Ligatures} for how ligature
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}.
+@code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
@lilypond[quote,raggedright,staffsize=26]
\score {
{
\fatText
s^\markup {
- \column <
+ \column {
"vaticana"
- { " " \musicglyph #"accidentals-vaticana-1"
- " " \musicglyph #"accidentals-vaticana0" }
- >
- \column <
+ \line { " " \musicglyph #"accidentals-vaticana-1"
+ " " \musicglyph #"accidentals-vaticana0" }
+ }
+ \column {
"medicaea"
- { " " \musicglyph #"accidentals-medicaea-1" }
- >
- \column <
+ \line { " " \musicglyph #"accidentals-medicaea-1" }
+ }
+ \column {
"hufnagel"
- { " " \musicglyph #"accidentals-hufnagel-1" }
- >
- \column <
+ \line { " " \musicglyph #"accidentals-hufnagel-1" }
+ }
+ \column {
"mensural"
- { " " \musicglyph #"accidentals-mensural-1"
- " " \musicglyph #"accidentals-mensural1" }
- >
+ \line { " " \musicglyph #"accidentals-mensural-1"
+ " " \musicglyph #"accidentals-mensural1" }
+ }
}
}
\layout {
@seealso
In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
-@ref{Accidentals} give a general introduction into the use of
-accidentals. @ref{Key signature} gives a general introduction into
+@ref{Accidentals} give a general introduction of the use of
+accidentals. @ref{Key signature} gives a general introduction of
the use of key signatures.
Program reference: @internalsref{KeySignature}.
Use the @code{style} property of grob @internalsref{Rest} to select
-ancient accidentals. Supported styles are @code{classical},
-@code{neomensural} and @code{mensural}. @code{classical} differs
+ancient rests. Supported styles are @code{classical},
+@code{neomensural}, and @code{mensural}. @code{classical} differs
from the @code{default} style only in that the quarter rest looks like
a horizontally mirrored 8th rest. The @code{neomensural} style suits
-well for e.g., the incipit of a transcribed mensural piece of music.
+well for, e.g., the incipit of a transcribed mensural piece of music.
The @code{mensural} style finally mimics the appearance of rests as
in historic prints of the 16th century.
@item
petrucci style mensural C clefs, for use on different staff lines
-(the examples shows the 2nd staff line C clef)
+(the examples show the 2nd staff line C clef)
@tab
@code{petrucci-c1}, @code{petrucci-c2},@*
@code{petrucci-c3}, @code{petrucci-c4},@*
Use the @code{flag-style} property of grob @internalsref{Stem} to
select ancient flags. Besides the @code{default} flag style,
- only @code{mensural} style is supported
+only the @code{mensural} style is supported
@lilypond[quote,fragment,raggedright,verbatim]
\override Stem #'flag-style = #'mensural
incipit of transcriptions of mensural pieces. The @code{mensural}
style mimics the look of historical printings of the 16th century.
-The following examples shows the differences in style,
+The following examples show the differences in style,
@lilypond[raggedright,fragment,relative=1,quote]
{
@seealso
-This manual: @ref{Time signature} gives a general introduction into
+This manual: @ref{Time signature} gives a general introduction to
the use of time signatures.
@refbugs
@end lilypond
The custos glyph is selected by the @code{style} property. The styles
-supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
+supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
@code{mensural}. They are demonstrated in the following fragment
@lilypond[quote,raggedright,fragment]
\new Lyrics \lyricmode {
- \markup { \column <
+ \markup { \column {
\typewriter "vaticana"
- { " " \musicglyph #"custodes-vaticana-u0" }
- > }
- \markup { \column <
+ \line { " " \musicglyph #"custodes-vaticana-u0" }
+ } }
+ \markup { \column {
\typewriter "medicaea"
- { " " \musicglyph #"custodes-medicaea-u0" }
- >}
- \markup { \column <
+ \line { " " \musicglyph #"custodes-medicaea-u0" }
+ }}
+ \markup { \column {
\typewriter "hufnagel"
- { " " \musicglyph #"custodes-hufnagel-u0" }
- >}
- \markup { \column <
+ \line { " " \musicglyph #"custodes-hufnagel-u0" }
+ }}
+ \markup { \column {
\typewriter "mensural"
- { " " \musicglyph #"custodes-mensural-u0" }
- >}
+ \line { " " \musicglyph #"custodes-mensural-u0" }
+ }}
}
@end lilypond
A @emph{divisio} (plural: @emph{divisiones}; Latin word for
`division') is a staff context symbol that is used to structure
Gregorian music into phrases and sections. The musical meaning of
-@emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
-can be characterized as short, medium and long pause, somewhat like
+@emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
+can be characterized as short, medium, and long pause, somewhat like
the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
only marks the end of a chant, but is also frequently used within a
single antiphonal/responsorial chant to mark the end of each section.
@menu
-* White mensural ligatures::
-* Gregorian square neumes ligatures::
+* White mensural ligatures::
+* Gregorian square neumes ligatures::
@end menu
@node White mensural ligatures
There is limited support for white mensural ligatures.
-To engrave white mensural ligatures, in the layout block the
-@internalsref{Mensural_ligature_engraver} has to be put into the
+To engrave white mensural ligatures, in the layout block put the
+@internalsref{Mensural_ligature_engraver} into the
@internalsref{Voice} context, and remove the
-@internalsref{Ligature_bracket_engraver}
+@internalsref{Ligature_bracket_engraver}, like this
@example
\layout @{
There is no additional input language to describe the shape of a
white mensural ligature. The shape is rather determined solely from
the pitch and duration of the enclosed notes. While this approach may
-take a new user a while to get accustomed, it has the great advantage
+take a new user a while to get accustomed to, it has the great advantage
that the full musical information of the ligature is known internally.
This is not only required for correct MIDI output, but also allows for
automatic transcription of the ligatures.
(following the style of the Editio Vaticana). Core ligatures can
already be typeset, but essential issues for serious typesetting are
still lacking, such as (among others) horizontal alignment of multiple
-ligatures, lyrics alignment and proper accidentals handling.
+ligatures, lyrics alignment and proper handling of accidentals.
The following table contains the extended neumes table of the 2nd
in each line of the below table indicates to which ligature in the
above table it refers. The second column gives the name of the
ligature. The third column shows the code fragment that produces this
-ligature, using @code{g}, @code{a} and @code{b} as example pitches.
+ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
@multitable @columnfractions .02 .31 .67
@item
@lilypond[quote,raggedright,verbatim,fragment]
<<
- \context Voice { \clef bass dis4 c d ais }
+ \context Voice { \clef bass dis4 c d ais g fis}
\context FiguredBass \figuremode {
< 6 >4 < 7 >8 < 6+ [_!] >
< 6 >4 <6 5 [3+] >
+ < _ >4 < 6 >4
}
>>
@end lilypond
\figuremode { <4 6> }
@end lilypond
-Accidentals are added when you append @code{-}, @code{!} and @code{+}
+Accidentals are added when you append @code{-}, @code{!}, and @code{+}
to the numbers
@example
Although the support for figured bass may superficially resemble chord
support, it works much simpler. The @code{\figuremode} mode simply
-stores the numbers , and @internalsref{FiguredBass} context prints
-them as entered. There is no conversion to pitches, and no
+stores the numbers and @internalsref{FiguredBass} context prints
+them as entered. There is no conversion to pitches and no
realizations of the bass are played in the MIDI file.
Internally, the code produces markup texts. You can use any of the
@seealso
-Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
-and @internalsref{FiguredBass} context.
+Program reference: @internalsref{BassFigureEvent} music,
+@internalsref{BassFigure} object, and @internalsref{FiguredBass} context.
@refbugs
@menu
-* Polymetric notation::
-* Clusters::
-* Special fermatas::
-* Feathered beams::
+* Polymetric notation::
+* Clusters::
+* Special fermatas::
+* Feathered beams::
@end menu
@node Polymetric notation
% create 2/4 + 5/8
tsMarkup =\markup {
\number {
- \column < "2" "4" >
+ \column { "2" "4" }
\musicglyph #"scripts-stopped"
- \bracket \column < "5" "8" >
+ \bracket \column { "5" "8" }
}
}
@end lilypond
Each staff can also have its own time signature. This is done by
-moving the @internalsref{Timing_engraver} to @internalsref{Staff}
+moving the @internalsref{Timing_engraver} to the @internalsref{Staff}
context.
@example
@code{\times}, but does not create a tuplet bracket.
-In this example, music with the time signatures of 3/4, 9/8 and 10/8 are
+In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
used in parallel. In the second staff, shown durations are multiplied by
2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
A cluster indicates a continuous range of pitches to be played. They
can be denoted as the envelope of a set of notes. They are entered by
applying the function @code{makeClusters} to a sequence of
-chords, e.g.
-@c
+chords, e.g.,
@lilypond[quote,raggedright,relative=2,fragment,verbatim]
\makeClusters { <c e > <b f'> }
@end lilypond
teaching tools in addition to great musical scores.
@menu
-* Balloon help::
-* Blank music sheet::
-* Hidden notes::
-* Easy Notation note heads::
+* Balloon help::
+* Blank music sheet::
+* Hidden notes::
+* Shaped note heads ::
+* Easy Notation note heads::
@end menu
@node Balloon help
@end lilypond
Hidden notes are also great for performing weird tricks. For example,
-slurs cannot be attached to rests or spacer rests, but you may with
+slurs cannot be attached to rests or spacer rests, but you may wish
to include that in your score -- string instruments use this notation
when doing pizzicato to indicate that the note should ring for as long
as possible.
@end lilypond
+@node Shaped note heads
+@subsection Shaped note heads
+
+In shaped note head notation, the shape of the note head corresponds
+to the harmonic function of a note in the scale. This notation was
+popular in the 19th century American song books.
+
+Shaped note heads can be produced by setting @code{\aikenHeads} or
+@code{\sacredHarpHeads}, depending on the style desired.
+
+@lilypond[verbatim,relative=1,fragment]
+ \aikenHeads
+ c8 d4 e8 a2 g1
+ \sacredHarpHeads
+ c8 d4. e8 a2 g1
+@end lilypond
+
+Shapes are determined on the step in the scale, where the base of the
+scale is determined by the @code{\key} command
+
+@findex \key
+@findex shapeNoteStyles
+@findex \aikenHeads
+@findex \sacredHarpHeads
+
+Shaped note heads are implemented through the @code{shapeNoteStyles}
+property. Its value is a vector of symbols. The k-th element indicates
+the style to use for the k-th step of the scale. Arbitrary
+combinations are possible, eg.,
+
+
+@lilypond[verbatim,relative=1,fragment]
+ \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
+ c8 d4. e8 a2 g1
+@end lilypond
+
+
@node Easy Notation note heads
@subsection Easy Notation note heads
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