-@c Note: -*-texinfo-*-
+q@c Note: -*-texinfo-*-
@c
@c A menu is needed before every deeper *section nesting of @node's; run
@c M-x texinfo-all-menus-update
@chapter Notation manual
@html
-<!--- @@WEB-TITLE@@=Reference Manual --->
+<!--- @@WEB-TITLE@@=Notation manual --->
@end html
* Beaming::
* Accidentals::
* Expressive marks::
-* Ornaments::
+* Articulations::
+* Fingering instructions::
* Repeats::
* Rhythmic music::
* Piano music::
* Vocal music::
-* More stanzas::
* Tablatures::
* Chord names::
-* Writing parts::
+* Orchestral music::
* Ancient notation ::
* Contemporary notation::
* Tuning output::
@section Note entry
@cindex Note entry
+This chapter describes all the different types of notation supported
+by LilyPond. It is intended as a reference for users that are already
+somewhat familiar with using LilyPond.
@menu
* Rests::
* Skips::
* Durations::
+* Stems::
* Ties::
-* Automatic note splitting ::
* Tuplets::
* Easy Notation note heads ::
@end menu
@subsection Notes
-A note is printed by specifying its pitch and then its duration.
+A note is printed by specifying its pitch and then its duration:
@footnote{Notes constitute the most basic elements of LilyPond input,
but they do not form valid input on their own without a @code{\score}
block. However, for the sake of brevity and simplicity we will
by names. The notes are specified by the letters @code{a} through
@code{g}, while the octave is formed with notes ranging from @code{c}
to @code{b}. The pitch @code{c} is an octave below middle C and the
-letters span the octave above that C.
+letters span the octave above that C:
@lilypond[fragment,verbatim]
\clef bass
@cindex note names, Dutch
-A sharp is formed by adding @code{-is} to the end of a pitch
-name and a flat is formed by adding @code{-es}. Double sharps and
-double flats are obtained by adding @code{-isis} or @code{-eses}.
-
-These default names are the Dutch note names. In Dutch, @code{aes} is
-contracted to @code{as} in Dutch, but both forms are
-accepted. Similarly, both @code{es} and @code{ees} are accepted.
+A sharp is formed by adding @code{-is} to the end of a pitch name and
+a flat is formed by adding @code{-es}. Double sharps and double flats
+are obtained by adding @code{-isis} or @code{-eses}. These
+names are the Dutch note names. In Dutch, @code{aes} is contracted to
+@code{as} in Dutch, but both forms are accepted. Similarly, both
+@code{es} and @code{ees} are accepted.
There are predefined sets of note names for various other languages.
To use them, include the language specific init file. For
The optional octave specification takes the form of a series of
single quote (`@code{'}') characters or a series of comma
(`@code{,}') characters. Each @code{'} raises the pitch by one
-octave; each @code{,} lowers the pitch by an octave.
+octave; each @code{,} lowers the pitch by an octave:
@lilypond[fragment,verbatim,center]
c' c'' es' g' as' gisis' ais'
@end lilypond
-The verbose syntax for pitch specification is
+There is also a verbose syntax for pitch specification:
+@c TODO: junk this?
@cindex @code{\pitch}
@example
\pitch @var{scmpitch}
@end example
+
where @var{scmpitch} is a Scheme object of the @code{Pitch} type.
+@refcommands
+
+Notes can be hidden and unhidden with the following commands:
+
+@cindex @code{\hideNotes }
+@code{\hideNotes},
+@cindex @code{\unHideNotes }
+@code{\unHideNotes}.
+
@seealso
+@noindent
@internalsref{NoteEvent}, @internalsref{NoteHead}
@node Chromatic alterations
@cindex cautionary accidental
@cindex parenthesized accidental
(an accidental within parentheses) can be obtained by adding the
-question mark `@code{?}' after the pitch.
+question mark `@code{?}' after the pitch:
@lilypond[fragment,verbatim]
cis' cis' cis'! cis'?
@subsection Chords
A chord is formed by a enclosing a set of pitches in @code{<<} and
-@code{>>}.
+@code{>>}. A chord may be followed by a duration, and a set of
+articulations, just like simple notes.
-TODO: accidental overides?
@node Rests
@subsection Rests
-Rests are entered like notes, with the note name @code{r}.
+Rests are entered like notes, with the note name @code{r}:
@lilypond[singleline,verbatim]
r1 r2 r4 r8
@end lilypond
-Whole bar rests, centered in middle of the bar, are specified using
-@code{R} (capital R); see @ref{Multi measure rests}. See also
-@seeinternals{Rest}.
+Whole bar rests, centered in middle of the bar,
+must be done with multi measure rests. They are discussed in
+@ref{Multi measure rests}.
+
-For some music, you may wish to explicitly specify the rest's vertical
-position. This can be achieved by entering a note with the @code{\rest}
-keyword appended. Rest collision testing will leave these rests alone.
+A rest's vertical position may be explicitly specified by entering a
+note with the @code{\rest} keyword appended. This makes manual
+formatting in polyphonic music easier. Rest collision testing will
+leave these rests alone:
@lilypond[singleline,verbatim]
a'4\rest d'4\rest
a2 s4 a4 \skip 1 a4
@end lilypond
- The @code{s} syntax is only available in Note mode and Chord
-mode. In other situations, you should use the @code{\skip} command,
-which will work outside of those two modes:
+The @code{s} syntax is only available in Note mode and Chord mode. In
+other situations, you should use the @code{\skip} command:
@lilypond[singleline,verbatim]
\score {
and dots: durations are entered as their reciprocal values. For example,
a quarter note is entered using a @code{4} (since it is a 1/4 note), while
a half note is entered using a @code{2} (since it is a 1/2 note). For notes
-longer than a whole you must use variables.
+longer than a whole you must use variables:
@c FIXME: what is an identifier? I do not think it's been introduced yet.
@c and if it has, I obviously skipped that part. - Graham
If the duration is omitted then it is set to the previously entered
-duration. Default for the first note is a quarter note. The duration
+duration. The default for the first note is a quarter note. The duration
can be followed by dots (`@code{.}') in order to obtain dotted note
lengths:
@cindex @code{.}
You can alter the length of duration by a fraction @var{N/M}
appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
will not affect the appearance of the notes or rests produced.
-
-@lilypond[fragment,verbatim]
- a'2*2 b'4*2 a'8*4 a'4*3/2 gis'4*3/2 a'4*3/2 a'4
+In the following example, the first three notes take up exactly two
+beats:
+@lilypond[fragment,relative 2,verbatim]
+ \time 2/4
+ a4*2/3 gis4*2/3 a4*2/3
+ a4
@end lilypond
-Durations can also be produced through GUILE extension mechanism.
+Durations can also be produced using the verbose syntax
+@code{\duration @var{Scheme object}}:
@lilypond[verbatim,fragment]
- c'\duration #(ly:make-duration 2 1)
+ c'\duration #(ly:make-duration 4 1)
@end lilypond
+
+@refcommands
+
+Dots are normally moved up to avoid staff lines, except in polyphonic
+situations. The following commands may be used to force a particular
+direction manually:
+
+@cindex @code{\dotsUp }
+@code{\dotsUp},
+@cindex @code{\dotsDown }
+@code{\dotsDown},
+@cindex @code{\dotsBoth}
+@code{\dotsBoth}.
+
+@seealso
+
+@internalsref{Dots}, @internalsref{DotColumn}.
+
@refbugs
-Dot placement for chords is not perfect. In some cases, dots overlap:
-@lilypond[]
- <<f, c'' d e f>>4.
-@end lilypond
+In dense chords, dots can overlap.
+
+@node Stems
+@subsection Stems
+
+Whenever a note is found, a
+@internalsref{Stem} object is created automatically. For whole notes
+and rests, stem objects are also created, but in those cases, the stem
+is invisible.
+
+@refcommands
+
+@cindex @code{\stemUp}
+@code{\stemUp},
+@cindex @code{\stemDown}
+@code{\stemDown},
+@cindex @code{\stemBoth}
+@code{\stemBoth}.
@node Ties
A tie connects two adjacent note heads of the same pitch. The tie in
effect extends the length of a note. Ties should not be confused with
slurs, which indicate articulation, or phrasing slurs, which indicate
-musical phrasing. A tie is entered using the tilde symbol `@code{~}'.
+musical phrasing. A tie is entered using the tilde symbol `@code{~}':
@lilypond[fragment,verbatim,center]
e' ~ e' <<c' e' g'>> ~ <<c' e' g'>>
are connected. When no note heads match, no ties will be created.
In its meaning a tie is just a way of extending a note duration, similar
-to the augmentation dot: the following example are two ways of notating
-exactly the same concept.
+to the augmentation dot; in the following example there are two ways of
+notating exactly the same concept:
@c
@lilypond[fragment, singleline,quote]
\time 3/4 c'2. c'2 ~ c'4
@end lilypond
-If you need to tie notes over bars, it may be easier to use automatic
+If you need to tie a lot of notes over bars, it may be easier to use automatic
note splitting (See @ref{Automatic note splitting}).
+@refcommands
+
+
+@cindex @code{\tieUp }
+@code{\tieUp},
+@cindex @code{\tieDown }
+@code{\tieDown},
+@cindex @code{\tieBoth }
+@code{\tieBoth},
+@cindex @code{\tieDotted }
+@code{\tieDotted},
+@cindex @code{\tieSolid}
+@code{\tieSolid}.
@seealso
tie-engraver into the @internalsref{Thread} context and turning on and
off ties per @internalsref{Thread}.
-Switching staves when a tie is active, will produce a horizontal tie
-on the first note.
+Switching staves when a tie is active, will not produce a slanted tie.
Formatting of ties is a difficult subject. The results are often not
-optimal results.
-
-
-
-@node Automatic note splitting
-@subsection Automatic note splitting
-@c FIXME: This subsection does not belong in @ref{Note entry}.
-
-Long notes can be converted automatically to tied notes. This is done
-by replacing the @internalsref{Note_heads_engraver} by the
-@internalsref{Completion_heads_engraver}.
-
-@example
- \paper @{ \translator @{
- \ThreadContext
- \remove "Note_heads_engraver"
- \consists "Completion_heads_engraver"
- @} @}
-@end example
-
-For example,
-@example
- \time 2/4
- c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
-@end example
-
-@lilypond[noindent]
-\score{
- \notes\relative c'{
- \time 2/4
- c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
- }
- \paper { \translator {
- \ThreadContext
- \remove "Note_heads_engraver"
- \consists "Completion_heads_engraver"
- } }
- }
-@end lilypond
+optimal.
-This engraver splits all running notes at the bar line, and inserts
-ties. One of its uses is to debug complex scores: if the measures are
-not entirely filled, then the ties exactly show how much each measure
-is off.
-@refbugs
-
-Not all durations (especially those containing tuplets) can be
-represented exactly; the engraver will not insert tuplets.
@node Tuplets
@subsection Tuplets
@cindex @code{\times}
Tuplets are made out of a music expression by multiplying all durations
-with a fraction.
+with a fraction:
@cindex @code{\times}
@example
g'4 \times 2/3 {c'4 c' c'} d'4 d'4
@end lilypond
-The property @code{tupletSpannerDuration} specifies how long each bracket
-should last. With this, you can make lots of tuplets while typing
-@code{\times} only once, saving lots of typing.
+The property @code{tupletSpannerDuration} specifies how long each
+bracket should last. With this, you can make lots of tuplets while
+typing @code{\times} only once, saving lots of typing. In the next
+example, there are two triplets shown, while @code{\times} was only
+used once:
@lilypond[fragment, relative, singleline, verbatim]
\property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
@cindex @code{tupletNumberFormatFunction}
@cindex tuplet formatting
+
+@refcommands
+
+@cindex @code{\tupletUp }
+@code{\tupletUp},
+@cindex @code{\tupletDown }
+@code{\tupletDown},
+@cindex @code{\tupletBoth}
+@code{\tupletBoth}.
+
@seealso
-@seeinternals{TupletBracket}, @seeinternals{TimeScaledMusic}.
+@internalsref{TupletBracket}, @internalsref{TimeScaledMusic}.
@refbugs
}
@end lilypond
-The @code{EasyNotation} variable overrides a @internalsref{Score}
-context. You probably will want to print it with magnification or a
+The @code{EasyNotation} variable overrides a @internalsref{Score} context.
+You probably will want to print it with magnification or a
large font size to make it more readable. To print with
magnification, you must create a DVI file (with @file{ly2dvi}) and
then enlarge it with something like @file{dvips -x 2000 file.dvi}.
-See @file{man dvips} for details. To print with a larger font, see
-@ref{Font Size}.
+See the @code{dvips} documentation for more details. To print with a
+larger font, see @ref{Font Size}.
@cindex Xdvi
@node Easier music entry
@section Easier music entry
@cindex Music entry
+
+When entering music it is easy to introduce errors. This section deals
+with tricks and features of the input language that help when entering
+music, and find and correct mistakes. Some features of the input
+language ease entering music, but also have other applications. They
+are not described in this section.
+
+It is also possible to use external programs, for example GUI
+interfaces, or MIDI transcription programs, to enter or edit
+music. Refer to the website for more information. Finally, there are
+tools make debugging easier, by linking the input file and the output
+shown on screen. See @ref{Point and click} for more information.
+
+
@menu
* Relative octaves::
* Bar check::
* Skipping corrected music::
+* Automatic note splitting ::
@end menu
-When entering music it is easy to introduce errors. This section deals
-with tricks and features that help entering music, and find and
-correct mistakes. It is also possible to use external programs, for
-example GUI interfaces, or MIDI transcription programs, to enter or
-edit music. Refer to the website for more information.
Octaves are specified by adding @code{'} and @code{,} to pitch names.
When you copy existing music, it is easy to accidentally put a pitch
in the wrong octave and hard to find such an error. The relative
-octave mode prevents these errors
+octave mode prevents these errors: a single error puts the rest of the
+piece off by one octave:
@cindex @code{\relative}
@example
The octave of notes that appear in @var{musicexpr} are calculated as
follows: If no octave changing marks are used, the basic interval
between this and the last note is always taken to be a fourth or less
-(This distance is determined without regarding alterations; a
+(; this distance is determined without regarding alterations: a
@code{fisis} following a @code{ceses} will be put above the
-@code{ceses})
+@code{ceses}).
-The octave changing marks @code{'} and @code{,} can be added to raise or
-lower the pitch by an extra octave. Upon entering relative mode, an
-absolute starting pitch must be specified that will act as the
+The octave changing marks @code{'} and @code{,} can be added to raise
+or lower the pitch by an extra octave. Upon entering relative mode,
+an absolute starting pitch must be specified that will act as the
predecessor of the first note of @var{musicexpr}.
-Entering music that changes octave frequently is easy in relative mode.
+Here is the relative mode shown in action:
@lilypond[fragment,singleline,verbatim,center]
\relative c'' {
b c d c b c bes a
}
@end lilypond
-And octave changing marks are used for intervals greater than a fourth.
+Octave changing marks are used for intervals greater than a fourth:
@lilypond[fragment,verbatim,center]
\relative c'' {
c g c f, c' a, e'' }
@end lilypond
If the preceding item is a chord, the first note of the chord is used
-to determine the first note of the next chord. However, other notes
-within the second chord are determined by looking at the immediately
-preceding note.
+to determine the first note of the next chord:
@lilypond[fragment,verbatim,center]
\relative c' {
@cindex @code{barCheckSynchronize}
@cindex @code{|}
-
-Whenever a bar check is encountered during interpretation, a warning
-message is issued if it does not fall at a measure boundary. This can
-help find errors in the input. Depending on the value of
+Bar checks help detect errors in the durations. A bar check is
+entered using the bar symbol, `@code{|}'. Whenever it is encountered
+during interpretation, it should fall on a measure boundary. If it
+does not, a warning is printed. Depending on the value of
@code{barCheckSynchronize}, the beginning of the measure will be
-relocated. A bar check is entered using the bar symbol, `@code{|}'.
+relocated.
+In the next example, the second bar check will signal an error:
@example
- \time 3/4 c2 e4 | g2.
+ \time 3/4 c2 e4 | g2 |
@end example
off typesetting completely during the interpretation phase. When
typesetting is switched off, the music is processed much more quickly.
This can be used to skip over the parts of a score that have already
-been checked for errors.
+been checked for errors:
@lilypond[fragment,singleline,verbatim]
\relative c'' { c8 d
c d b bes a g c2 }
@end lilypond
+@node Automatic note splitting
+@subsection Automatic note splitting
+
+Long notes can be converted automatically to tied notes. This is done
+by replacing the @internalsref{Note_heads_engraver} by the
+@internalsref{Completion_heads_engraver}:
+
+@example
+ \paper @{ \translator @{
+ \ThreadContext
+ \remove "Note_heads_engraver"
+ \consists "Completion_heads_engraver"
+ @} @}
+@end example
+
+which will make long notes tied in the following example:
+@example
+ \time 2/4
+ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
+@end example
+
+@lilypond[noindent]
+\score{
+ \notes\relative c'{
+ \time 2/4
+ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
+ }
+ \paper { \translator {
+ \ThreadContext
+ \remove "Note_heads_engraver"
+ \consists "Completion_heads_engraver"
+ } }
+ }
+@end lilypond
+
+This engraver splits all running notes at the bar line, and inserts
+ties. One of its uses is to debug complex scores: if the measures are
+not entirely filled, then the ties exactly show how much each measure
+is off.
+
+@refbugs
+
+Not all durations (especially those containing tuplets) can be
+represented exactly; the engraver will not insert tuplets.
+
@node Staff notation
@section Staff notation
-This section describes with music notation that occurs on staff level,
+This section describes music notation that occurs on staff level,
such as keys, clefs and time signatures.
@cindex Staff notation
* Clef::
* Ottava brackets::
* Time signature::
+* Partial measures::
* Unmetered music::
* Bar lines::
@end menu
Notes, dynamic signs, etc. are grouped
with a set of horizontal lines, into a staff (plural `staves'). In our
-system, these lines are drawn using a separate graphical object called
+system, these lines are drawn using a separate layout object called
staff symbol.
This object is created whenever a @internalsref{Staff} context is
@node Key signature
@subsection Key signature
-@cindex Key
+@cindex Key signature
@cindex @code{\key}
@syntax
Setting or changing the key signature is done with the @code{\key}
-command.
+command:
@example
@code{\key} @var{pitch} @var{type}
@end example
@refbugs
-The ordering of a key restoration (alterations that change back to
-natural) is wrong when combined with a repeat barline.
+The ordering of a key cancellation is wrong when it is combined with
+repeat bar lines. The cancellation is also printed after a line break.
@seealso
\key f\major c''2 \clef alto g'2
@end lilypond
-Supported clef-names include
+Supported clef-names include:
@c Moved standard clefs to the top /MB
@table @code
@item treble, violin, G, G2
@end table
By adding @code{_8} or @code{^8} to the clef name, the clef is
-transposed one octave down or up, respectively. @var{clefname} must
-be enclosed in quotes when it contains underscores or digits. For
+transposed one octave down or up, respectively. Argument @var{clefname}
+must be enclosed in quotes when it contains underscores or digits. For
example,
@example
\clef "G_8"
``Ottava'' brackets introduce an extra transposition of an octave for
the staff. They are created by invoking the function
-@code{set-octavation}
+@code{set-octavation}:
@cindex ottava
@cindex 15ma
a b }
@end lilypond
-Internally the @code{set-octavation} sets @code{ottavation} (eg. to
-@code{"8va"}) and @code{centralCPosition} properties.
+Internally the @code{set-octavation} function sets the properties
+@code{ottavation} (eg. to @code{"8va"}) and @code{centralCPosition}.
@seealso
@syntax
The time signature is set or changed by the @code{\time}
-command.
+command:
@lilypond[fragment,verbatim]
\time 2/4 c'2 \time 3/4 c'2.
@end lilypond
-The actual symbol that is printed can be customized with the
-@code{style} property. Setting it to @code{#'()} uses fraction style
-for 4/4 and 2/2 time. There are many more options for its layout.
-See @inputfileref{input/test,time.ly} for more examples.
+The symbol that is printed can be customized with the @code{style}
+property. Setting it to @code{#'()} uses fraction style for 4/4 and
+2/2 time. There are many more options for its layout. See
+@inputfileref{input/test,time.ly} for more examples.
This command sets the property @code{timeSignatureFraction},
@code{beatLength} and @code{measureLength} in the @code{Timing}
context, which is normally aliased to @internalsref{Score}. The
-property @code{timeSignatureFraction} determines where bar lines
-should be inserted, and how automatic beams should be generated.
-Changing the value of @code{timeSignatureFraction} also causes the
-symbol to be printed.
+property @code{measureLength} determines where bar lines should be
+inserted, and how automatic beams should be generated. Changing the
+value of @code{timeSignatureFraction} also causes the symbol to be
+printed.
More options are available through the Scheme function
@code{set-time-signature}. In combination with the
@internalsref{MeasureGrouping} signs. Such signs ease reading
rhythmically complex modern music. In the following example, the 9/8
measure is subdivided in 2, 2, 2 and 3. This is passed to
-@code{set-time-signature} as the third argument @code{(2 2 2 3)}.
+@code{set-time-signature} as the third argument @code{(2 2 2 3)}:
@lilypond[verbatim]
\score { \notes \relative c'' {
Automatic beaming does not use measure grouping specified with
@code{set-time-signature}.
-
-@subsection Partial
+@node Partial measures
+@subsection Partial measures
@cindex Partial
@cindex anacrusis
-@cindex upbeat
@cindex partial measure
@cindex measure, partial
@cindex shorten measures
@cindex @code{\partial}
-Partial measures, for example in upbeats, are entered using the
+Partial measures, for example in upsteps, are entered using the
@code{\partial} command:
@lilypond[fragment,verbatim]
-\partial 16*5 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
+\partial 16*5 c'16 c4 | a'2. ~ a'8. a'16 | g'1
@end lilypond
The syntax for this command is
@code{Score.timing} to false, this automatic timing can be switched
off.
+
+@refcommands
+
+@cindex @code{\cadenzaOn }
+@code{\cadenzaOn},
+@cindex @code{\cadenzaOff }
+@code{\cadenzaOff}.
+
@node Bar lines
@subsection Bar lines
@cindex Bar lines
@cindex repeat bars
-Bar lines delimit measures, but are also used to indicate
-repeats. Line breaks may only happen on barlines.
+Bar lines delimit measures, but are also used to indicate repeats.
+Normally, they are inserted automatically. Line breaks may only
+happen on barlines.
@syntax
-Bar lines are inserted automatically. Special types
+ Special types
of barlines can be forced with the @code{\bar} command:
@lilypond[relative=1,fragment,verbatim]
c4 \bar "|:" c4
@end lilypond
-The following bar types are available
+The following bar types are available:
@lilypond[fragment, relative, singleline, verbatim]
c4
\bar "|" c
\bar "|."
@end lilypond
-In scores with many staves, the barlines are automatically placed at
-top level, and they are connected between different staves of a
-@internalsref{StaffGroup}:
+In scores with many staves, a @code{\bar} command in one staff is
+automatically applied to all staffs. The resulting bar lines are
+connected between different staves of a @internalsref{StaffGroup}:
+@c
@lilypond[fragment, verbatim]
< \context StaffGroup <
\context Staff = up { e'4 d'
@end lilypond
-The command @code{\bar @var{bartype}} is a short cut for
-doing @code{\property Score.whichBar = @var{bartype}}
-Whenever @code{whichBar} is set to a string, a bar line of that type is
-created. @code{whichBar} is usually set automatically: at the start of
-a measure it is set to @code{defaultBarType}. The contents of
-@code{repeatCommands} is used to override default measure bars.
+The command @code{\bar @var{bartype}} is a short cut for doing
+@code{\property Score.whichBar = @var{bartype}} Whenever
+@code{whichBar} is set to a string, a bar line of that type is
+created. At the start of a measure it is set to
+@code{defaultBarType}. The contents of @code{repeatCommands} are used
+to override default measure bars.
-@code{whichBar} can also be set directly, using @code{\property} or
-@code{\bar }. These settings take precedence over the automatic
+Property @code{whichBar} can also be set directly, using @code{\property}
+or @code{\bar}. These settings take precedence over the automatic
@code{whichBar} settings.
@cindex whichBar
@lilypond[verbatim,fragment]
\context Voice = VA \relative c'' {
- c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f' \\ d' >
+ c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f' \\ d >
}
@end lilypond
-The separator causes @internalsref{Voice} contexts to be instantiated,
-bearing the names @code{"1"}, @code{"2"}, etc. In each of these
-contexts, vertical direction of slurs, stems, etc. are set
+The separator causes @internalsref{Voice} contexts 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.
This can also be done by instantiating @internalsref{Voice} contexts
by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
-a stem directions and horizontal shift for each part.
+a stem directions and horizontal shift for each part:
@c
@lilypond[singleline, verbatim]
Normally, note heads with a different number of dots are not merged, but
when the object property @code{merge-differently-dotted} is set in
-the @internalsref{NoteCollision} object, they are:
+the @internalsref{NoteCollision} object, they are merged:
@lilypond[verbatim,fragment,singleline]
-\relative c' \context Voice < {
+\relative c'' \context Voice < {
g8 g8
\property Staff.NoteCollision \override
#'merge-differently-dotted = ##t
c8 c4. } \\ { c2 c2 } >
@end lilypond
-LilyPond also vertically shifts rests that are opposite of a stem.
+LilyPond also vertically shifts rests that are opposite of a stem:
+
@lilypond[singleline,fragment,verbatim]
\context Voice < c''4 \\ r4 >
@end lilypond
+
+@refcommands
+
+
+
+@cindex @code{\oneVoice }
+@code{\oneVoice},
+@cindex @code{\voiceOne }
+@code{\voiceOne},
+@cindex @code{\voiceTwo }
+@code{\voiceTwo},
+@cindex @code{\voiceThree }
+@code{\voiceThree},
+@cindex @code{\voiceFour }
+@code{\voiceFour}.
+
+The following commands specify in what chords of the current voice
+should be shifted: the outer voice has @code{\shiftOff}, and the inner
+voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
+
+
+@cindex @code{\shiftOn}
+@code{\shiftOn},
+@cindex @code{\shiftOnn}
+@code{\shiftOnn},
+@cindex @code{\shiftOnnn}
+@code{\shiftOnnn},
+@cindex @code{\shiftOff}
+@code{\shiftOff}.
+
+
+
@seealso
The objects responsible for resolving collisions are
property of the @internalsref{NoteColumn} object and pitched rests can
be used to override typesetting decisions.
+When using @code{merge-differently-headed} with an upstem 8th or a shorter
+note, and a downstem half note, the 8th note gets the wrong offset.
+
@node Beaming
@section Beaming
Beams are used to group short notes into chunks that are aligned with
-the metrum. They are inserted automatically in most cases.
+the metrum. They are inserted automatically in most cases:
@lilypond[fragment,verbatim, relative=2]
\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
@cindex @code{[}
In some cases it may be necessary to override the automatic beaming
-algorithm. For example, the auto beamer will not beam over rests or
-bar lines, If you want that, specify the begin and end point manually
-using @code{[} and @code{]}.
+algorithm. For example, the auto beamer will not put beams over rests
+or bar lines. Such beams are specified by manually: the begin and end
+point are marked with @code{[} and @code{]}:
@lilypond[fragment,relative,verbatim]
\context Staff {
The property @code{subdivideBeams} can be set in order to subdivide
-all 16th or shorter beams at beat positions. This accomplishes the
-same effect as twiddling with @code{stemLeftBeamCount} and
-@code{stemRightBeamCount}, but it take less typing.
+all 16th or shorter beams at beat positions, as defined by the
+@code{beatLength} property . This accomplishes the same effect as
+twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
+but it take less typing:
@lilypond[relative=1,verbatim,noindent]
c16-[ c c c c c c c-]
\property Voice.subdivideBeams = ##t
c16-[ c c c c c c c-]
- c32-[ c c c c c c c c c c c c c c c-]
\property Score.beatLength = #(ly:make-moment 1 8)
- c32-[ c c c c c c c c c c c c c c c-]
+ c16-[ c c c c c c c-]
@end lilypond
@cindex subdivideBeams
@cindex automatic beams, tuning
@cindex tuning automatic beaming
-[TODO: use \applycontext]
+@c [TODO: use \applycontext]
In normal time signatures, automatic beams can start on any note but can
only end in a few positions within the measure: beams can end on a beat,
are defined in @file{scm/auto-beam.scm}.
The value of @code{autoBeamSettings} is changed using
-@code{\override} and unset using @code{\revert}:
+@code{\override} and restored with @code{\revert}:
@example
\property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
\property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
entered as @code{(ly:make-moment 1 4)}.
The same syntax can be used to specify beam starting points. In this
-example, automatic beams can only end on a dotted quarter note.
+example, automatic beams can only end on a dotted quarter note:
@example
\property Voice.autoBeamSettings \override
#'(end * * * *) = #(ly:make-moment 3 8)
automatic beaming. This is done by setting @code{Voice.autoBeaming} to
@code{#f}.
+@refcommands
+
+@cindex @code{\autoBeamOff }
+@code{\autoBeamOff},
+@cindex @code{\autoBeamOn }
+@code{\autoBeamOn}.
+
@refbugs
It is not possible to specify beaming parameters for beams with mixed
durations, that differ from the beaming parameters of all separate
-durations, i.e., you will have to specify manual beams to get:
+durations, i.e. you will have to specify manual beams to get:
@lilypond[singleline,fragment,relative,noverbatim,quote]
\property Voice.autoBeamSettings
@section Accidentals
@cindex Accidentals
-This section describes how to change the way that LilyPond automatically
-inserts accidentals before the running notes.
+This section describes how to change the way that accidentals are
+inserted automatically before the running notes.
@menu
defined in @file{ly/property-init.ly}.
@cindex @file{property-init.ly}
-The variables set properties in the ``Current'' context (see
+The variables set properties in the ``@code{Current}'' context (see
@ref{Context properties}). This means that the variables should
normally be added right after the creation of the context in which the
accidental typesetting described by the variable is to take
@end lilypond
Hence you should only use @code{\voiceAccidentals} if the voices
are to be read solely by individual musicians. If the staff is to be
-used by one musician (e.g., a conductor) then you use
+used by one musician (e.g. a conductor) then you use
@code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
instead.
century.
The rule is more complex than @code{\defaultAccidentals}.
You get all the same accidentals, but temporary
- accidentals also get cancelled in other octaves. Further more,
+ accidentals also get cancelled in other octaves. Furthermore,
in the same octave, they also get cancelled in the following measure:
@lilypond[singleline,fragment,verbatim]
\modernAccidentals
@cindex @code{\modernCautionaries}
This rule is similar to @code{\modernAccidentals}, but the
``extra'' accidentals (the ones not typeset by
- @code{\defaultAccidentals}) are typeset as cautionary accidentals
- (i.e. in reduced size):
+ @code{\defaultAccidentals}) are typeset as cautionary accidentals.
+ They are printed in reduced size or with parentheses:
@lilypond[singleline,fragment,verbatim]
\modernCautionaries
cis' c'' cis'2 | c'' c'
@item \forgetAccidentals
@cindex @code{\forgetAccidentals}
This is sort of the opposite of @code{\noResetKey}: Accidentals
- are not remembered at all - and hence all accidentals are
+ are not remembered at all---and hence all accidentals are
typeset relative to the key signature, regardless of what was
before in the music:
@lilypond[singleline,fragment,verbatim,relative]
immediately, and if @var{lazyness} is @code{#t} then the accidental
lasts forever.
-[TODO: should use +infinity for this case?]
+@c [TODO: should use +infinity for this case?]
@end table
+@refcommands
+
+@cindex @code{\defaultAccidentals }
+@code{\defaultAccidentals},
+@cindex @code{\voiceAccidentals }
+@code{\voiceAccidentals},
+@cindex @code{\modernAccidentals }
+@code{\modernAccidentals},
+@cindex @code{\modernCautionaries }
+@code{\modernCautionaries},
+@cindex @code{\modernVoiceAccidentals }
+@code{\modernVoiceAccidentals},
+@cindex @code{\modernVoiceCautionaries }
+@code{\modernVoiceCautionaries},
+@cindex @code{\pianoAccidentals }
+@code{\pianoAccidentals},
+@cindex @code{\pianoCautionaries }
+@code{\pianoCautionaries},
+@cindex @code{\noResetKey }
+@code{\noResetKey},
+@cindex @code{\forgetAccidentals }
+@code{\forgetAccidentals}.
+
@seealso
@internalsref{Accidental_engraver}, @internalsref{Accidental},
Currently the simultaneous notes are considered to be entered in
sequential mode. This means that in a chord the accidentals are
-typeset as if the notes in the chord happened one at a time - in the
+typeset as if the notes in the chord happened once at a time - in the
order in which they appear in the input file.
This is only a problem when there are simultaneous notes whose
@node Expressive marks
@section Expressive marks
-
@menu
* Slurs ::
* Phrasing slurs::
ends. If you want to override this layout you can do this through the
object property @code{attachment} of @internalsref{Slur} in
@internalsref{Voice} context. Its value is a pair of symbols, specifying
-the attachment type of the left and right end points.
+the attachment type of the left and right end points:
@lilypond[fragment,relative,verbatim]
\slurUp
d,32-( d'4 d8..-)
@end lilypond
+@refcommands
+
+
+@cindex @code{\slurUp }
+@code{\slurUp},
+@cindex @code{\slurDown }
+@code{\slurDown},
+@cindex @code{\slurBoth }
+@code{\slurBoth},
+@cindex @code{\slurDotted }
+@code{\slurDotted},
+@cindex @code{\slurSolid }
+@code{\slurSolid}.
+
@seealso
@seeinternals{Slur}, @internalsref{SlurEvent}.
@refbugs
Producing nice slurs is a difficult problem, and LilyPond currently
-uses a simple, empiric method to produce slurs. In some cases, the
-results of this method are ugly.
+uses a simple, empiric method to produce slurs. In some cases, its
+results are ugly.
@cindex Adjusting slurs
A phrasing slur (or phrasing mark) connects chords and is used to
indicate a musical sentence. It is started using @code{\(} and @code{\)}
-respectively.
+respectively:
@lilypond[fragment,verbatim,center,relative]
\time 6/4 c'-\( d-( e-) f-( e-) d-\)
The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
will only affect normal slurs and not phrasing slurs.
+@refcommands
+
+@cindex @code{\phrasingSlurUp }
+@code{\phrasingSlurUp},
+@cindex @code{\phrasingSlurDown }
+@code{\phrasingSlurDown},
+@cindex @code{\phrasingSlurBoth }
+@code{\phrasingSlurBoth},
+
@seealso
See also @internalsref{PhrasingSlur},
@refbugs
Phrasing slurs have the same limitations in their formatting as normal
-slurs.
+slurs. Putting phrasing slurs over rests leads to spurious warnings.
@node Breath marks
@subsection Breath marks
-Breath marks are entered using @code{\breathe}.
+Breath marks are entered using @code{\breathe}:
-@lilypond[fragment,relative]
+@lilypond[fragment,relative,verbatim]
c'4 \breathe d4
@end lilypond
The glyph of the breath mark can be tweaked by overriding the
-@code{text} property of the @code{BreathingSign} grob with the name of
+@code{text} property of the @code{BreathingSign} layout object with the name of
any glyph of @ref{The Feta font}. For example,
@lilypond[fragment,verbatim,relative]
c'4
@end example
In the MIDI output, they are interpreted as a tempo change, and in the
-paper output, a metronome marking is printed
+paper output, a metronome marking is printed:
@cindex @code{\tempo}
@lilypond[fragment,verbatim]
\tempo 8.=120 c''1
start and ending note of the spanner.
The string to be printed, as well as the style, is set through object
-properties.
+properties:
@lilypond[fragment,relative,verbatim]
\relative c' { c1
pieces. LilyPond supports a simple form of nested horizontal brackets.
To use this, add the @internalsref{Horizontal_bracket_engraver} to
@internalsref{Staff} context. A bracket is started with
-@code{\startGroup} and closed with @code{\stopGroup}.
+@code{\startGroup} and closed with @code{\stopGroup}:
@lilypond[singleline,verbatim]
\score { \notes \relative c'' {
@internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent},
@inputfileref{input/regression,note-group-bracket.ly}.
-@refbugs
-
-Bracket endings should be angled/slanted. (TODO)
-
-
-
-@node Ornaments
-@section Ornaments
-@cindex Ornaments
-
-[TODO: ornaments vs. expressive marks]
-
-@menu
-* Articulations::
-* Text scripts::
-* Grace notes::
-* Glissando ::
-* Dynamics::
-@end menu
-
@node Articulations
-@subsection Articulations
+@section Articulations
@cindex Articulations
@cindex articulations
A variety of symbols can appear above and below notes to indicate
different characteristics of the performance. They are added to a note
-by adding a dash and the the character signifying the
-articulation. They are demonstrated here.
+by adding a dash and the character signifying the
+articulation. They are demonstrated here:
@lilypondfile[notexidoc]{script-abbreviations.ly}
@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{_}.
+@var{note}@code{-\}@var{name}, e.g. @code{c4-\fermata}. Again, they
+can be forced up or down using @code{^} and @code{_}:
@cindex accent
@cindex marcato
@lilypondfile[notexidoc]{script-chart.ly}
+
+@refcommands
+
+@cindex @code{\scriptUp }
+@code{\scriptUp},
+@cindex @code{\scriptDown }
+@code{\scriptDown},
+@cindex @code{\scriptBoth}
+@code{\scriptBoth}.
+
@seealso
@internalsref{ScriptEvent}, @internalsref{Script}.
@cindex superscript
@cindex subscript
+You can use the thumb-script to indicate that a note should be
+played with your thumb (used in cello music):
+
+@lilypond[verbatim, singleline, fragmnt]
+ <<a' a''-3>>8-(_\thumb-[ <<b' b''-3>>-)_\thumb
+ <<c'' c'''-3>>-(_\thumb <<d'' d'''-3>>-)_\thumb-]
+@end lilypond
+
+Fingerings for chords can also be added to individual notes
+of the chord by adding them after the pitches:
@lilypond[verbatim,singleline,fragment,relative=1]
<< c-1 e-2 g-3 b-5 >> 4
+@end lilypond
+
+Setting @code{fingerHorizontalDirection} will put the fingerings next
+to the note head:
+
+@lilypond[verbatim,singleline,fragment,relative=1]
\property Voice.fingerHorizontalDirection = #LEFT
- << c-1 es-3 g-5 >> 4
+ << c-1 es-2 g-4 bes-5 >> 4
\property Voice.fingerHorizontalDirection = #RIGHT
- << c-1 e-2 g-3 b-5 >>4
- \property Voice.fingerHorizontalDirection = #LEFT
- << c_1 e-2 g-3 b^5 >>4
+ << c-1 es-2 g-4 bes-5 >> 4
@end lilypond
@seealso
@internalsref{FingerEvent} and @internalsref{Fingering}.
+@menu
+* Text scripts::
+* Grace notes::
+* Glissando ::
+* Dynamics::
+@end menu
+
@node Text scripts
@subsection Text scripts
@cindex Text scripts
@ref{Text markup}) above or below notes by using a string:
@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.
+will be taken into account:
@c
@lilypond[fragment,singleline,verbatim] \relative c' {
c4^"longtext" \fatText c4_"longlongtext" c4 }
@end lilypond
-It is possible to use @TeX{} commands in the strings, but this should be
-avoided because it makes it impossible for LilyPond to compute the
-exact length of the string, which may lead to collisions. Also, @TeX{}
-commands will not work with direct PostScript output.
+It is possible to use @TeX{} commands in the strings, but this should
+be avoided because the exact dimensions of the string can then no
+longer be computed.
@seealso
@node Grace notes
@subsection Grace notes
-
-
@cindex @code{\grace}
@cindex ornaments
@cindex grace notes
-Grace notes are ornaments that are written out
+Grace notes are ornaments that are written out:
@lilypond[relative=2,verbatim,fragment] c4 \grace c16 c4 \grace {
[c16 d16] } c4
Every point in musical 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.
+example is shown here with timing tuples:
@lilypond[]
\score { \notes \relative c''{
c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
c16_"(2/4,-1/8)"-[ d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
}
-\paper { linewidth = 8.\cm }
+\paper { linewidth = 12.\cm }
}
@end lilypond
-The placement of these grace notes is synchronized between different
-staves.
+The placement of grace notes is synchronized between different staves.
+In the following example, there are two sixteenth graces notes for
+every eighth grace note:
@lilypond[relative=2,verbatim,fragment]
< \context Staff = SA { e4 \grace { c16-[ d e f-] } e4 }
- \context Staff = SB { c'4 \grace { g8 b } c4 } >
+ \context Staff = SB { c'4 \grace { g8-[ b-] } c4 } >
@end lilypond
@internalsref{Stem}. For proper matching of override and reverts of
such properties, it is necessary to use a Scheme function.
-The following fragment overrides the default formatting Grace style stems.
+The following fragment overrides the default formatting Grace style stems:
@example
#(add-to-grace-init "Voice" 'Stem 'stroke-style '())
@end example
-The @code{\override} is carefully matched with a @code{\revert}.
+The @code{\override} is carefully matched with a @code{\revert}:
@cindex slash
@cindex grace slash
}
@end lilypond
+@noindent
+By adjusting the duration of the skip note (here it is a half-note),
+the space between the main-note and the grace is adjusted.
+
A @code{\grace} section has some default values, and LilyPond will
use those default values unless you specify otherwise inside the
@code{\grace} section. For example, if you specify \slurUp
@seealso
-@internalsref{GraceMusic}.
+@internalsref{GraceMusic}
@refbugs
Grace notes cannot be used in the smallest size (@file{paper11.ly}).
+A score that starts with an @code{\grace} section needs an explicit
+@code{\context Voice} declaration, otherwise the main note and grace
+note end up on different staffs.
+
Grace note synchronization can also lead to surprises. Staff notation,
such as key signatures, barlines, etc. are also synchronized. Take
-care when you mix staves with grace notes and staves without.
+care when you mix staves with grace notes and staves without, for example,
@lilypond[relative=2,verbatim,fragment]
< \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
@end lilypond
Grace sections should only be used within sequential music
-expressions. Nesting, juxtaposing, or ending sequential music with a
-grace section is not supported, and might produce crashes or other
-errors.
+expressions. Nesting or juxtaposing grace sections is not supported,
+and might produce crashes or other errors.
-Overriding settings for grace music using @code{add-to-grace-init}
-cannot be done in a modular way.
+Overriding settings for grace music globally cannot be done in a
+modular way. A kludge (@code{add-to-grace-init}) is defined in
+@file{ly/grace-init.ly}.
@node Glissando
@refbugs
-Printing of an additional text (such as @emph{gliss.}) must be done
-manually.
+Additional texts (such as @emph{gliss.}) is not supported.
@node Dynamics
Absolute dynamic marks are specified using an variable after a
-note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
+note: @code{c4-\ff}. The available dynamic marks are @code{\ppp},
@code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
@code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
-@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
+@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
@lilypond[verbatim,singleline,fragment,relative]
c'-\ppp c-\pp c -\p c-\mp c-\mf c-\f c-\ff c-\fff
-A crescendo mark is started with @code{\cr} and terminated with
-@code{\endcr}, and decrescendi similarly with @code{\decr} and
-@code{\enddecr}. There are also shorthands for these marks. A
-crescendo can be started with @code{\<} and a decrescendo can be
-started with @code{\>}. Either one can be terminated with @code{\!}.
-Because these marks are bound to notes, if you must use spacer notes
-if multiple marks during one note are needed.
+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
+use spacer notes if multiple marks during one note are needed:
@lilypond[fragment,verbatim,center,quote]
c''-\< c''-\! d''-\decr e''-\rced
is an example how to do it:
@lilypond[fragment,relative=2,verbatim]
- c4 \cresc c4 \endcresc c4
+ c4 \cresc c4 c c c \endcresc c4
@end lilypond
-
@cindex crescendo
@cindex decrescendo
You can also supply your own texts:
@lilypond[fragment,relative,verbatim]
\context Voice {
- \property Voice.crescendoText = "cresc. poco"
+ \property Voice.crescendoText = \markup { \italic "cresc. poco" }
\property Voice.crescendoSpanner = #'dashed-line
a'2-\mf-\< a a a-\!
}
@cindex diminuendo
+
+@refcommands
+
+@cindex @code{\dynamicUp }
+@code{\dynamicUp},
+@cindex @code{\dynamicDown }
+@code{\dynamicDown},
+@cindex @code{\dynamicBoth }
+@code{\dynamicBoth}.
+
+@cindex direction, of dynamics
+
@seealso
@internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent},
@internalsref{Hairpin}. Vertical positioning of these symbols is
handled by the @internalsref{DynamicLineSpanner} object.
-If you want to adjust padding or vertical direction of the dynamics,
-you must set properties for the @internalsref{DynamicLineSpanner}
-object. Predefined variables to set the vertical direction are
-@code{\dynamicUp} and @code{\dynamicDown}.
-
-@cindex direction, of dynamics
-@cindex @code{\dynamicDown}
-@cindex @code{\dynamicUp}
+If you want to adjust padding or vertical direction of the dynamics, you
+must set properties for the @internalsref{DynamicLineSpanner} object.
@node Repeats
@refbugs
- If you do a nested repeat like
+If you do a nested repeat like
@example
\repeat @dots{}
@refbugs
Timing information is not remembered at the start of an alternative,
-so you have to reset timing information after a repeat, e.g. using a
-bar-check (See @ref{Bar check}), setting @code{Score.measurePosition}
-or entering @code{\partial}. Slurs or ties are also not repeated.
+so after a repeat timing information must be reset by hand, for
+example by setting @code{Score.measurePosition} or entering
+@code{\partial}. Similarly, slurs or ties are also not repeated.
@node Manual repeat commands
repeats. Its value is a Scheme list of repeat commands, where each repeat
command can be
-@table @code
-@item 'start-repeat
- Print a |: bar line
-@item 'end-repeat
- Print a :| bar line
-@item (volta . @var{text})
- Print a volta bracket saying @var{text}. The text can be specified as
+@table @asis
+@item the symbol @code{start-repeat},
+ which prints a @code{|:} bar line,
+@item the symbol @code{end-repeat},
+ which prints a @code{:|} bar line,
+@item the list @code{(volta @var{text})},
+ which prints a volta bracket saying @var{text}: The text can be specified as
a text string or as a markup text, see @ref{Text markup}. Do not
forget to change the font, as the default number font does not contain
-alphabetic characters.
-@item (volta . #f)
- Stop a running volta bracket
+alphabetic characters. Or,
+@item the list @code{(volta #f)}, which
+ stops a running volta bracket:
@end table
@lilypond[verbatim, fragment]
@internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
@internalsref{VoltaRepeatedMusic},
-@internalsref{UnfoldedRepeatedMusic}
+@internalsref{UnfoldedRepeatedMusic},
@internalsref{FoldedRepeatedMusic}.
@node Tremolo repeats
@cindex tremolo beams
To place tremolo marks between notes, use @code{\repeat} with tremolo
-style.
+style:
@lilypond[verbatim,center,singleline]
\score {
\context Voice \notes\relative c' {
@seealso
-Tremolo beams are @internalsref{Beam} objects. Single stem tremolos are
-@internalsref{StemTremolo}. @internalsref{TremoloEvent}.
+Tremolo beams are @internalsref{Beam} objects. Single stem tremolos
+are @internalsref{StemTremolo}s. The music expression is
+@internalsref{TremoloEvent}.
@refbugs
-The single stem tremolo @emph{must} be entered without @code{@{} and
+The single stem tremolo must be entered without @code{@{} and
@code{@}}.
@node Tremolo subdivisions
`@code{:}[@var{length}]' after the note. The length must be at least 8.
A @var{length} value of 8 gives one line across the note stem. If the
length is omitted, then then the last value (stored in
-@code{Voice.tremoloFlags}) is used.
+@code{Voice.tremoloFlags}) is used:
@lilypond[verbatim,fragment,center]
c'2:8 c':32 | c': c': |
@end lilypond
-[TODO : stok is te kort bij 32en]
+@c [TODO : stok is te kort bij 32en]
@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 a 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:
@lilypond[verbatim,singleline]
\context Voice { \repeat "percent" 4 { c'4 }
@internalsref{DoublePercentRepeat}.
-@refbugs
-
-You cannot nest percent repeats, e.g. by filling in the first measure
-with slashes, and repeating that measure with percents.
@node Rhythmic music
@section Rhythmic music
-Sometimes you might want to show only the rhythm of a melody. This can
-be done with the rhythmic staff. All pitches of notes on such a staff
-are squashed, and the staff itself looks has a single staff line:
+Sometimes you might want to show only the rhythm of a melody. This
+can be done with the rhythmic staff. All pitches of notes on such a
+staff are squashed, and the staff itself has a single line:
@lilypond[fragment,relative,verbatim]
\context RhythmicStaff {
@menu
* Percussion staves::
-* Percussion midi output::
+* Percussion MIDI output::
@end menu
@node Percussion staves
@cindex percussion
@cindex drums
-To typeset more than one piece of percussion to be played by the same
-musician one typically uses a multiline staff where each staff
-position refers to a specific piece of percussion.
+A percussion part for more than one instrument typically uses a
+multiline staff where each position in the staff refers to one piece
+of percussion.
@syntax
-LilyPond is has a set of Scheme functions that can be used to typeset
-percussion staves. The system is based on the general MIDI
-drum-pitches. Include @file{ly/drumpitch-init.ly} to use drum
-pitches. This file defines the pitches from the Scheme variable
-@code{drum-pitch-names}, the definition of which can be read in
-@file{scm/drums.scm}. Each piece of percussion has a full name and an
-abbreviated name, and both the full name or the abbreviation may be
-used in input files.
+Percussion staves are typeset with help of a set of Scheme
+functions. The system is based on the general MIDI drum-pitches.
+Include @file{drumpitch-init.ly} to use drum pitches. This file
+defines the pitches from the Scheme variable @code{drum-pitch-names},
+the definition of which can be read in @file{scm/drums.scm}. Each
+piece of percussion has a full name and an abbreviated name, and both
+the full name or the abbreviation may be used in input files.
-To typeset the music on a staff apply the function @code{drums->paper}
+to typeset the music on a staff apply the function @code{drums->paper}
to the percussion music. This function takes a list of percussion
instrument names, notehead scripts and staff positions (that is:
pitches relative to the C-clef) and transforms the input
Currently the following lists are defined in @file{scm/drums.scm}:
@table @code
@item 'drums
-To typeset a typical drum kit on a five-line staff.
+to typeset a typical drum kit on a five-line staff:
@lilypond[noindent]
\include "drumpitch-init.ly"
}
@end lilypond
-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 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
@code{tomfh}.
Because general MIDI does not contain rimshots the sidestick is used
for this purpose instead.
@item 'timbales
-To typeset timbales on a two line staff.
+to typeset timbales on a two line staff:
+
@lilypond[singleline]
\include "drumpitch-init.ly"
nam = \lyrics { timh ssh timl ssl cb }
}
@end lilypond
@item 'congas
-To typeset congas on a two line staff.
+to typeset congas on a two line staff:
+
@lilypond[singleline]
\include "drumpitch-init.ly"
nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
}
@end lilypond
@item 'bongos
-To typeset bongos on a two line staff.
+to typeset bongos on a two line staff:
+
@lilypond[singleline]
\include "drumpitch-init.ly"
nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
}
@end lilypond
@item 'percussion
-To typeset all kinds of simple percussion on one line staves.
+to typeset all kinds of simple percussion on one line staves:
@lilypond[singleline]
\include "drumpitch-init.ly"
nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
list at the top of your file:
@lilypond[singleline, verbatim]
-#(define mydrums `(
+#(set-drum-kit 'mydrums `(
(bassdrum default #f ,(ly:make-pitch -1 2 0))
(snare default #f ,(ly:make-pitch 0 1 0))
(hihat cross #f ,(ly:make-pitch 0 5 0))
the existing list:
@example
-#(define mydrums (append `(
+#(set-drum-kit mydrums (append `(
(bassdrum default #f ,(ly:make-pitch -1 2 0))
(lowtom diamond #f ,(ly:make-pitch -1 6 0))
-) drums ))
+) (get-drum-kit 'drums)))
@end example
The file @file{drumpitch-init.ly} replaces the normal pitch names, so
you have to reinclude @file{nederlands.ly} after the
-drum-pattern-definitions to enter normal notes.
+drum-pattern-definitions to enter normal notes:
@c
@lilypond[singleline,verbatim]
\include "drumpitch-init.ly"
}
@end lilypond
-@node Percussion midi output
-@subsection Percussion midi output
+@node Percussion MIDI output
+@subsection Percussion MIDI output
-In order to produce correct midi output you need to produce two score
-blocks---one for the paper and one for the midi output. To use the
+In order to produce correct MIDI output you need to produce two score
+blocks---one for the paper and one for the MIDI output. To use the
percussion channel you set the property @code{instrument} to
-@code{'drums}. Because the drum-pitches themself are similar to the
-general midi pitches all you have to do is to insert the voices with
-none of the scheme functions to get the correct midi output:
+@code{'drums}. Because the drum-pitches themselves are similar to the
+general MIDI pitches all you have to do is to insert the voices with
+none of the scheme functions to get the correct MIDI output:
@example
\score @{
@refbugs
-This scheme is to be considered a temporary implementation.
+This scheme is a temporary implementation.
@node Piano music
* Manual staff switches::
* Pedals::
* Arpeggio::
-* Voice follower lines::
+* Staff switch lines::
@end menu
@refbugs
\autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
@end example
The autochanger switches on basis of pitch (central C is the turning
-point), and it looks ahead skipping over rests to switch rests in
+point), and it looks ahead skipping over rests to switch in
advance. Here is a practical example:
@lilypond[verbatim,singleline,quote]
s1*2
} > }
@end lilypond
-Spacer rests are used to prevent the bottom staff from
+
+@noindent
+In this example, spacer rests are used to prevent the bottom staff from
terminating too soon.
+@seealso
+
+@internalsref{AutoChangeMusic}
+
@refbugs
The staff switches often do not end up in optimal places. For high
@example
\translator Staff = @var{staffname} @var{music}
@end example
+
+@noindent
The string @var{staffname} is the name of the staff. It switches the
current voice from its current staff to the Staff called
@var{staffname}. Typically @var{staffname} is @code{"up"} or
Piano pedal instruction can be expressed by attaching
@code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
-note or chord.
+note or chord:
+
+@lilypond[fragment,verbatim]
+ c'4-\sustainDown c'4-\sustainUp
+@end lilypond
-The symbols that are printed can be modified by setting
-@code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
-Sustain, Sostenuto or UnaCorda. Refer to the generated documentation
-of @internalsref{SustainPedal} for more information.
+What is printed can be modified by setting @code{pedal@var{X}Strings},
+where @var{X} is one of the pedal types: @code{Sustain},
+@code{Sostenuto} or @code{UnaCorda}. Refer to the generated
+documentation of @internalsref{SustainPedal} for more information.
Pedals can also be indicated by a sequence of brackets, by setting the
-@code{pedal-type} property of @internalsref{SustainPedal} objects:
+@code{pedalSustainStyle} property to @code{bracket} objects:
@lilypond[fragment,verbatim]
-\property Staff.SustainPedal \override #'pedal-type = #'bracket
+ \property Staff.pedalSustainStyle = #'bracket
c''4-\sustainDown d''4 e''4
a'4-\sustainUp-\sustainDown
f'4 g'4 a'4-\sustainUp
obtained by setting @code{pedal-type} to @code{mixed}:
@lilypond[fragment,verbatim]
-\property Staff.SustainPedal \override #'pedal-type = #'mixed
+ \property Staff.pedalSustainStyle = #'mixed
c''4-\sustainDown d''4 e''4
c'4-\sustainUp-\sustainDown
f'4 g'4 a'4-\sustainUp
@end lilypond
-The default '*Ped' style for sustain and damper pedals corresponds to
+The default `*Ped' style for sustain and damper pedals corresponds to
@code{\pedal-type = #'text}. However, @code{mixed} is the default style
for a sostenuto pedal:
For fine-tuning of the appearance of a pedal bracket, the properties
@code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
-@code{PianoPedalBracket} objects (see the detailed documentation of
-@internalsref{PianoPedalBracket}) can be modified. For example, the bracket
-may be extended to the end of the note head.
+@code{PianoPedalBracket} objects (, see the detailed documentation of
+@internalsref{PianoPedalBracket},) can be modified. For example, the bracket
+may be extended to the end of the note head:
@lilypond[fragment,verbatim]
\property Staff.PianoPedalBracket \override
@cindex @code{\arpeggio}
You can specify an arpeggio sign on a chord by attaching an
-@code{\arpeggio} to a chord.
+@code{\arpeggio} to a chord:
@lilypond[fragment,relative,verbatim]
<<c e g c>>-\arpeggio
@end lilypond
-When an arpeggio crosses staves in piano music, you attach an arpeggio
-to the chords in both staves, and set
-@internalsref{PianoStaff}.@code{connectArpeggios}.
+When an arpeggio crosses staves, you attach an arpeggio to the chords
+in both staves, and set
+@internalsref{PianoStaff}.@code{connectArpeggios}:
@lilypond[fragment,relative,verbatim]
\context PianoStaff <
>
@end lilypond
-This command creates @internalsref{Arpeggio} objects. Cross staff
-arpeggios are @internalsref{PianoStaff}.@internalsref{Arpeggio}.
-
The direction of the arpeggio is sometimes denoted by adding an
arrowhead to the wiggly line. This can be typeset by setting
-@code{arpeggio-direction}.
+@code{arpeggio-direction}:
@lilypond[fragment,relative,verbatim]
\context Voice {
arpeggiate the chord. To draw these brackets, set the
@code{molecule-callback} property of @code{Arpeggio} or
@code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
-@code{\arpeggio} statements within the chords as before.
+@code{\arpeggio} statements within the chords as before:
@lilypond[fragment,relative,verbatim]
\property PianoStaff.Arpeggio \override
<<c' e g c>>-\arpeggio
@end lilypond
+@refcommands
+
+@cindex @code{\arpeggioBracket }
+@code{\arpeggioBracket},
+@cindex @code{\arpeggio}
+@code{\arpeggio}.
+
+@seealso
+
+@internalsref{ArpeggioEvent} expression lead to
+@internalsref{Arpeggio} objects. Cross staff arpeggios are
+@internalsref{PianoStaff}.@internalsref{Arpeggio}.
@refbugs
It is not possible to mix connected arpeggios and unconnected
arpeggios in one @internalsref{PianoStaff} at the same time.
-@node Voice follower lines
-@subsection Voice follower lines
+@node Staff switch lines
+@subsection Staff switch lines
-[TODO: invent better name]
-
@cindex follow voice
@cindex staff switching
@cindex cross staff
The associated object is @internalsref{VoiceFollower}.
+@refcommands
+
+@cindex @code{\showStaffSwitch }
+@code{\showStaffSwitch},
+@cindex @code{\hideStaffSwitch }
+@code{\hideStaffSwitch}.
+
@node Vocal music
@section Vocal music
-For a discussion of how to put lyrics into a score, see section
-@code{Printing lyrics} in the tutorial.
+This section discusses how to enter and print lyrics.
-@cindex context variables
-@cindex setting context variables
-An interpretation context has variables that tune its behavior. These
-variables are also called @emph{properties}. The @code{autoBeaming}
-variable in a @code{Staff} controls whether 8th and shorter notes are
-beamed automatically. Setting the variable to @code{##f}, which is the
-boolean value @var{false}, turns it off.
+@menu
+* Entering lyrics::
+* The Lyrics context::
+* More stanzas::
+* Ambitus::
+@end menu
+@node Entering lyrics
+@subsection Entering lyrics
-This will create an extender, which is a line
-that extends over the entire duration of the lyric. This line will
-run all the way to the start of the next lyric, so you may want to
-shorten it by using a blank lyric (using @code{_}).
-@cindex lyric mode
+@cindex lyrics
@cindex @code{\lyrics}
+@cindex punctuation
+
+Lyrics are entered in a special input mode. This mode is is introduced
+by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
+punctuation and accents without any hassle. Syllables are entered like
+notes, but with pitches replaced by text. For example,
+@example
+ \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
+@end example
- To get them printed, you must do two
-things: indicate that lyrics are entered with @code{\lyrics}, and
-indicate that this type of music must be interpreted as texts (and not
-notes). This is done with @code{\context Lyrics}.
+A word in Lyrics mode begins with: an alphabetic character, @code{_},
+@code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
+through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
+any 8-bit character with ASCII code over 127, or a two-character
+combination of a backslash followed by one of @code{`}, @code{'},
+@code{"}, or @code{^}.
+
+Subsequent characters of a word can be any character that is not a digit
+and not white space. One important consequence of this is that a word
+can end with @code{@}}. The following example is usually a bug. The
+syllable includes a @code{@}}, and hence the opening brace is not balanced:
+@example
+ \lyrics @{ twinkle@}
+@end example
-You can enter lyrics in a special input mode of LilyPond. This mode is
-called Lyrics mode, and it is introduced by the keyword
-@code{\lyrics}. In this mode you can enter lyrics, with punctuation
-and accents without any hassle. Syllables are entered like notes, but
-with pitches replaced by text. For example,
+@cindex @code{\property}, in @code{\lyrics}
+Similarly, a period following a alphabetic sequence, is included in the
+resulting string. As a consequence, spaces must be inserted around
+@code{\property} commands:
@example
- Twin- kle twin- kle
+ \property Lyrics . LyricText \set #'font-shape = #'italic
@end example
+@cindex @code{_}
+@cindex spaces, in lyrics
+@cindex quotes, in lyrics
+Any @code{_} character which 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:
+@example
+ \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
+@end example
-You can use ordinary hyphens at the end of a syllable, i.e.
+@cindex hyphens
+Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
@example
soft- ware
@end example
-but then the hyphen will be attached to the end of the first syllable.
-
-If you want them centered between syllables you can use the special
-`@code{-}@code{-}' lyric as a separate word between syllables. The
-hyphen will have variable length depending on the space between
-the syllables and it will be centered between the syllables.
+These will be attached to the end of the first syllable.
+Centered hyphens are entered using the special `@code{-}@code{-}' lyric
+as a separate word between syllables. The hyphen will have variable
+length depending on the space between the syllables and it will be
+centered between the syllables.
+@cindex melisma
+@cindex extender
-Normally the notes that you enter are transformed into note heads.
-Note heads alone make no sense. They need surrounding information: a
-key signature, a clef, staff lines, etc. They need @emph{context}.
-In LilyPond, these symbols are created by objects called
-`interpretation contexts'. Interpretation contexts exist for
-generating notation (`notation context') and for generating sound
-(`performance context'). These objects only exist while LilyPond is
-executing. For lyrics, the command
-@example
- \context Lyrics
-@end example
-must be used to interpret a set of syllables as lyrics.
+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{__}.
+@seealso
+@internalsref{LyricEvent}, @internalsref{HyphenEvent},
+@internalsref{ExtenderEvent}.
-@cindex context
-@cindex interpretation context
-@cindex notation context
+@refbugs
+The definition of lyrics mode is too complex.
+@node The Lyrics context
+@subsection The Lyrics context
-The melody and the lyrics can be combined with the @code{\addlyrics}:
+Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
@example
-\addlyrics
- \notes \relative c' @dots{}
- \context Lyrics \lyrics @dots{}
+ \context Lyrics \lyrics @dots{}
@end example
-[TODO: Move lyrics section from tutorial to here?]
+@cindex automatic syllable durations
+@cindex @code{\addlyrics}
+@cindex lyrics and melodies
-See also the sections on @ref{Slurs} and @ref{Breath marks}.
+This will place the lyrics according to the durations that were
+entered. The lyrics can also be aligned under a given melody
+automatically. In this case, it is no longer necessary to enter the
+correct duration for each syllable. This is achieved by combining the
+melody and the lyrics with the @code{\addlyrics} expression:
+@example
+\addlyrics
+ \notes @dots{}
+ \context Lyrics @dots{}
+@end example
-[TODO: Move slurs / breath marks section to here?]
+@cindex staff order, with @code{\addlyrics}
-[TODO: Write subsection upon usage of ChoirStaff.]
+Normally, this will put the lyrics below the staff. For different or
+more complex orderings, the best way is to setup the hierarchy of
+staffs and lyrics first, e.g.
+@example
+\context ChoirStaff \notes <
+ \context Lyrics = LA @{ s1 @}
+ \context Staff = SA @{ s1 @}
+ \context Lyrics = LB @{ s1 @}
+ \context Staff = SB @{ s1 @}
+>
+@end example
+and then combine the appropriate melodies and lyric lines:
+@example
+ \addlyrics
+ \context Staff = SA @emph{the music}
+ \context Lyrics = LA @emph{the lyrics}
+@end example
+putting both together, you would get
+@example
+\context ChoirStaff \notes <
+ \context Lyrics = LA @dots{}
+ \context Staff = SB @dots{}
+ \addlyrics @dots{}
+>
+@end example
+
+@cindex SATB
+@cindex choral score
+
+A complete example of a SATB score setup is in the file
+@inputfileref{input/template,satb}.
+
+@seealso
+
+@internalsref{LyricCombineMusic}, @internalsref{Lyrics},
+@inputfileref{input/template,satb}.
+
+@refbugs
+
+@code{\addlyrics} is not automatic enough: melismata are not detected
+automatically, and melismata are not stopped when they hit a rest. A
+melisma on the last note in a melody is not printed.
@node More stanzas
-@section More stanzas
+@subsection More stanzas
-@cindex phrasing
+@cindex phrasing, in lyrics
-If you have multiple stanzas printed underneath each other, the vertical
-groups of syllables should be aligned around punctuation. LilyPond can
-do this if you tell it which lyric lines belong to which melody.
-We show how you can do this by showing how you could print a frivolous
-fragment of a fictional Sesame Street duet.
+When multiple stanzas are printed underneath each other, the vertical
+groups of syllables should be aligned around punctuation. This can be
+done automatically when corresponding lyric lines and melodies are
+marked.
+
+To this end, give the @internalsref{Voice} context an identity:
+@example
+\context Voice = duet @{
+ \time 3/4
+ g2 e4 a2 f4 g2. @}
+@end example
+
+Then set the @internalsref{LyricsVoice} contexts to names starting with
+that identity followed by a dash. In the preceding example, the
+@internalsref{Voice} identity is @code{duet}, so the identities of the
+@internalsref{LyricsVoices} are marked @code{duet-1} and @code{duet-2}:
+@example
+ \context LyricsVoice = "duet-1" @{
+ Hi, my name is bert. @}
+ \context LyricsVoice = "duet-2" @{
+ Ooooo, ch\'e -- ri, je t'aime. @}
+@end example
+The convention for naming @internalsref{LyricsVoice} and
+@internalsref{Voice} must also be used to get melismata correct in
+conjunction with rests.
+The complete example is shown here:
@lilypond[singleline,verbatim]
\score {
\addlyrics
}
@end lilypond
-To this end, give the Voice context an identity, and set the
-LyricsVoice to a name starting with that identity followed by a dash.
-In the following example, the Voice identity is @code{duet},
-@example
-\context Voice = duet @{
- \time 3/4
- g2 e4 a2 f4 g2. @}
-@end example
-and the
-identities of the LyricsVoices are @code{duet-1} and @code{duet-2}.
-@example
- \context LyricsVoice = "duet-1" @{
- Hi, my name is bert. @}
- \context LyricsVoice = "duet-2" @{
- Ooooo, ch\'e -- ri, je t'aime. @}
-@end example
-The convention for naming @code{LyricsVoice} and @code{Voice} must
-also be used to get melismata on rests correct.
-
-
-We add the names of the singers. This can be done by setting
+Stanza numbers, or the names of the singers can be added by setting
@code{LyricsVoice.Stanza} (for the first system) and
-@code{LyricsVoice.stz} for the following systems. You must
-surround dots with spaces in @code{\lyrics} mode.
+@code{LyricsVoice.stz} for the following systems. Notice how dots are
+surrounded with spaces in @code{\lyrics} mode:
@example
\property LyricsVoice . stanza = "Bert"
\property LyricsVoice . stanza = "Ernie"
@end example
-
-
-
-For entering quotes in Lyrics mode, use the following
-@example
-"\"God\"" is "`King'"
-@end example
-
-You can use empty syllables, e.g. @code{_4} or @code{" "4} to enter
-lyrics. This can confuse the LilyPond -- for example, this might put
-(empty) lyrics under rests. To remedy this, use @code{\skip}.
+To make empty spaces in lyrics, use @code{\skip}.
making or a music identifier @code{\foo} containing the syllable
`bar'. The force the latter interpretation, use
@example
- foo = \lyrics bar
+ foo = \lyrics bar4
@end example
-@menu
-* Ambitus::
-@end menu
-
@node Ambitus
@subsection Ambitus
@cindex ambitus
string. By default, string 1 is the highest one, and the tuning
defaults to the standard guitar tuning (with 6 strings). The notes
are printed as tablature, by using @internalsref{TabStaff} and
-@internalsref{TabVoice} contexts.
+@internalsref{TabVoice} contexts:
@lilypond[fragment,verbatim]
\notes \context TabStaff {
}
@end lilypond
-If you do not specify a string number then one is selected
-automatically: the first string that does not give a fret number less
-than @code{minimumFret} is selected. The default value for
-@code{minimumFret} is 0.
+When no string is specified, the first string that does not give a
+fret number less than @code{minimumFret} is selected. The default
+value for @code{minimumFret} is 0:
@example
You can change the number of strings, by setting the number of lines
in the @internalsref{TabStaff} (the @code{line-count} property of
@internalsref{TabStaff} can only be changed using
-@code{\outputproperty}, for more information, see @ref{Tuning objects}.
+@code{\outputproperty}, for more information, see @ref{Tuning
+objects}).
You can change the tuning of the strings. A string tuning is given as
a Scheme list with one integer number for each string, the number
being the pitch (measured in semitones relative to central C) of an
open string. The numbers specified for @code{stringTuning} are the
numbers of semitones to subtract or add, starting the specified pitch
-by default middle C, in string order: thus the notes are e, a, d, and
-g.
+by default middle C, in string order. Thus, the notes are e, a, d, and
+g:
@lilypond[fragment,verbatim]
\context TabStaff <
>
@end lilypond
-Finally, it is possible to change the Scheme function to format the
-tablature note text. The default is
-@var{fret-number-tablature-format}, which uses the fret number. For
-some instruments that do not use this notation, you can create a
-special tablature formatting function. This function takes three
-argument: the string number, the string tuning and the note pitch.
+It is possible to change the Scheme function to format the tablature
+note text. The default is @code{fret-number-tablature-format}, which
+uses the fret number. For instruments that do not use this notation,
+you can create a special tablature formatting function. This function
+takes three argument: string number, string tuning and note pitch.
@refbugs
-As tablature is a recent feature, most of the guitar special effects
-such as bend are not yet supported.
+Most of the guitar special effects such as bend have not been
+implemented yet.
+
@node Chord names
-@section Chord namess
+@section Chord names
@cindex Chords
-LilyPond has support for both entering and printing chords.
+LilyPond has support for both printing chord names. Chords may be
+entered in musical chord notation, i.e. @code{<< .. >>}, but they can
+also be entered by name. Internally, the chords are represented as a
+set of pitches, so they can be transposed:
+
+
@lilypond[verbatim,singleline]
twoWays = \notes \transpose c c' {
\chords {
@end lilypond
This example also shows that the chord printing routines do not try to
-be intelligent. If you enter @code{f bes d}, it does not interpret
-this as an inversion.
+be intelligent. The last chord (@code{f bes d}) is not interpreted as
+an inversion.
-Chords are represented as a set of pitches. They are internally
-stored as simultaneous music expressions. This means you can enter
-chords by name and print them as notes, enter them as notes and print
-them as chord names, or (the most common case) enter them by name, and
-print them as name.
@menu
* Chords mode::
Chord mode is a mode where you can input sets of pitches using common
names. It is introduced by the keyword @code{\chords}.
In chords mode, a chord is entered by the root, which is entered
-like a common pitch, for example,
+like a common pitch:
@lilypond[fragment,verbatim,quote, relative=1]
\chords { es4. d8 c2 }
@end lilypond
@cindex chord mode
Other chords may be entered by suffixing a colon, and introducing a
-modifier, and optionally, a number, for example
+modifier, and optionally, a number:
@c
@lilypond[fragment,verbatim,quote]
\chords { e1:m e1:7 e1:m7 }
@end lilypond
The first number following the root is taken to be the `type' of the
chord, thirds are added to the root until it reaches the specified
-number, for example.
+number:
@lilypond[fragment,verbatim]
\chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
@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. For example
+the colon, and are separated by dots:
@c
@lilypond[verbatim,fragment,quote]
\chords { c:5.6 c:3.7.8 c:3.6.13 }
@end lilypond
Chord steps can be altered by suffixing a @code{-} or @code{+} sign
-to the number, for example:
+to the number:
@lilypond[verbatim,fragment,quote]
\chords { c:7+ c:5+.3- c:3-.5-.7- }
@end lilypond
Removals are specified similarly, and are introduced by a caret. They
-must come after the additions.
+must come after the additions:
@lilypond[verbatim,fragment]
\chords { c^3 c:7^5 c:9^3.5 }
@end lilypond
Modifiers can be used to change pitches. The following modifiers are
-supported
+supported:
@table @code
@item m
is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
@item dim
is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
- the 7th step
+ the 7th step.
@item aug
is the augmented chord. This modifier raises the 5th step.
@item maj
step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
the chord.
@end table
-Modifiers can be mixed with additions.
+Modifiers can be mixed with additions:
@lilypond[verbatim,fragment]
\chords { c:sus4 c:7sus4 c:dim7 c:m6 }
@end lilypond
@cindex @code{sus}
@cindex @code{m}
-Since the unaltered 11 does sound well when combined with the
-unaltered 3, the 11 is removed in this case, unless it is added
-explicitly). For example,
+Since an unaltered 11 does not sound good when combined with an
+unaltered 13, the 11 is removed in this case (, unless it is added
+explicitly):
@lilypond[fragment,verbatim]
\chords { c:13 c:13.11 c:m13 }
@end lilypond
An inversion (putting one pitch of the chord on the bottom), as well
as bass notes, can be specified by appending
-@code{/}@var{pitch} to the chord.
+@code{/}@var{pitch} to the chord:
@lilypond[fragment,verbatim,center]
\chords { c1 c/g c/f }
@end lilypond
@cindex @code{/+}
-If you do not want to remove the bass note from the chord, but rather
-add the note, then you can use @code{/+}@var{pitch}.
+
+A bass note can be added instead of transposed out of the chord,
+by using @code{/+}@var{pitch}.
@lilypond[fragment,verbatim,center]
\chords { c1 c/+g c/+f }
Each step can only be present in a chord once. The following
simply produces the augmented chord, since @code{5+} is interpreted
-last.
+last:
@cindex clusters
@lilypond[verbatim,fragment]
\chords { c:5.5-.5+ }
@end lilypond
-In chord mode, dashes and carets are used to indicate chord additions
-and subtractions, so articulation scripts cannot be entered.
-
@node Printing chord names
@subsection Printing chord names
@cindex chords
For displaying printed chord names, use the @internalsref{ChordNames} context.
-The chords may be entered either using the notation described above, or
-directly using simultaneous music.
+The chords may be entered either using the notation
+described above, or directly using @code{<<} and @code{>>}:
@lilypond[verbatim,singleline]
scheme = \notes {
- \chords {a1 b c} <<d f g>> <<e g b>>
+ \chords {a1 b c} <<d' f' a'>> <<e' g' b'>>
}
\score {
\notes<
\context ChordNames \scheme
- \context Staff \transpose c c' \scheme
+ \context Staff \scheme
>
}
@end lilypond
You can make the chord changes stand out by setting
@internalsref{ChordNames}.@code{chordChanges} to true. This will only
display chord names when there is a change in the chords scheme and at
-the start of a new line.
+the start of a new line:
-@lilypond[verbatim]
+@lilypond[verbatim, linewidth=9cm]
scheme = \chords {
c1:m c:m \break c:m c:m d
}
\scheme }
\context Staff \transpose c c' \scheme
>
-\paper{linewidth= 9.\cm}
}
@end lilypond
The default chord name layout is a system for Jazz music, proposed by
-Klaus Ignatzek (See @ref{Literature}).
-
-[TODO: add description for banter other jazz.]
+Klaus Ignatzek (see @ref{Literature}). It can be tuned through the
+following properties:
-The Ignatzek chord name formatting can be tuned in a number of ways
-through the following properties:
@table @code
+@cindex chordNameExceptions
@item chordNameExceptions
This is a list that contains the chords that have special formatting.
For an example, see
@inputfileref{input/regression,chord-name-exceptions.ly}.
+@cindex exceptions, chord names.
+
+@cindex majorSevenSymbol
@item majorSevenSymbol
This property contains the markup object used for the 7th step, when
-it is major. Predefined options are @code{whiteTriangleMarkup},
+it is major. Predefined options are @code{whiteTriangleMarkup} and
@code{blackTriangleMarkup}. See
@inputfileref{input/regression,chord-name-major7.ly} for an example.
+@cindex chordNameSeparator
@item chordNameSeparator
Different parts of a chord name are normally separated by a
slash. By setting @code{chordNameSeparator}, you can specify other
\context ChordNames \chords {
c:7sus4
\property ChordNames.chordNameSeparator
- = \markup { "|" }
+ = \markup { \typewriter "|" }
c:7sus4 }
@end lilypond
+@cindex 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. An application of setting this function, is providing chord
-names with german notation for the root.
+function. Special note names (for example, the German ``H'' for a
+B-chord) can be produced by storing a new function in this property.
+@cindex chordNoteNamer
@item chordNoteNamer
-The default is to print single notes (as for instance the bass note)
-using the chordRootNamer. However, by setting this function to a non-null
-value you can specify a different function. I.e. you could use letters
-in lower case for the base note.
+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.
@end table
+
+There are also two other chord name schemes implemented: an alternate
+Jazz chord notation, and a systematic scheme called Banter chords. The
+alternate jazz notation is also shown on the chart in @ref{Chord name
+chart}. Turning on these styles is described in the input file
+@inputfileref{input/test/,chord-names-jazz.ly}.
+
+@cindex Banter
+@cindex jazz chords
+@cindex chords, jazz
+
+
+@refcommands
+
+@cindex @code{\germanChords }
+@code{\germanChords},
+@cindex @code{\semiGermanChords }
+@code{\semiGermanChords}.
+
+
+
+
@seealso
@inputfileref{input/regression,chord-name-major7.ly},
@inputfileref{input/regression,chord-name-exceptions.ly},
+@inputfileref{input/test,chord-names-jazz.ly},
@inputfileref{input/test,chord-names-german.ly},
@file{scm/chords-ignatzek.scm}, @file{scm/chord-entry.scm}
-@node Writing parts
-@section Writing parts
+@node Orchestral music
+@section Orchestral music
-Orchestral music involves some special notation, both in the full score,
-as in the individual parts. This section explains how to tackle common
-problems in orchestral music.
+@cindex Writing parts
+
+Orchestral music involves some special notation, both in the full
+score and the individual parts. This section explains how to tackle
+some common problems in orchestral music.
@menu
+* Multiple staff contexts::
* Rehearsal marks::
* Bar numbers::
* Instrument names::
* Transpose::
* Multi measure rests::
* Automatic part combining::
-* Hara kiri staves::
+* Frenched scores::
* Sound output for transposing instruments::
@end menu
+@node Multiple staff contexts
+@subsection Multiple staff contexts
+
+Polyphonic scores consist of many staffs. These staffs can be
+constructed in three different ways:
+@itemize @bullet
+@item The group is started with a brace at the left. This is done with the
+@internalsref{GrandStaff} context.
+@item The group is started with a bracket. This is done with the
+@internalsref{StaffGroup} context
+@item The group is started with a vertical line. This is the default
+for the score.
+@end itemize
+
+@cindex Staff, multiple
+@cindex bracket, vertical
+@cindex brace, vertical
+@cindex grand staff
+@cindex staff group
+
+
+
@node Rehearsal marks
@subsection Rehearsal marks
Bar numbers can be typeset at regular intervals instead of at the
beginning of each line. This is illustrated in the following example,
whose source is available as
-@inputfileref{input/test,bar-number-every-fifth.ly}
-
-@lilypondfile[notexidoc]{bar-number-every-fifth.ly}
-
-The start of that numbering can also be reset, as demonstrated in
-@inputfileref{input/test,bar-number-every-5-reset.ly}.
+@inputfileref{input/test,bar-number-regular-interval.ly}
-@lilypondfile[notexidoc]{bar-number-every-5-reset.ly}
+@lilypondfile[notexidoc]{bar-number-regular-interval.ly}
@seealso
@internalsref{BarNumber}.
-@inputfileref{input/test,bar-number-every-5-reset.ly}.
-@inputfileref{input/test,bar-number-every-fifth.ly}
+@inputfileref{input/test,bar-number-every-five-reset.ly}.
+@inputfileref{input/test,bar-number-regular-interval.ly}
@refbugs
Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
-there is one at the top. To solve this, You have to twiddle with the
-@internalsref{padding} property of @internalsref{BarNumber} if your
-score starts with a @internalsref{StaffGroup}.
+there is one at the top. To solve this, In that case, the
+@internalsref{padding} property of @internalsref{BarNumber} can be
+used to position the number correctly.
@node Instrument names
@subsection Instrument names
@node Multi measure rests
@subsection Multi measure rests
-@cindex Multi measure rests
+@cindex multi measure rests
+@cindex Rests, multi measure
@cindex @code{R}
R1*13/8*12
@end lilypond
-A @code{R} spanning a single measure is printed as a whole rest
-centered in the measure (or a breve when the measure lasts longer than
-two whole notes), regardless of the time signature.
-
-
+A @code{R} spanning a single measure is printed as either a whole rest
+or a breve, centered in the measure regardless of the time signature.
@cindex text on multi-measure rest
@cindex script on multi-measure rest
@cindex fermata on multi-measure rest
Texts can be added to multi-measure rests by using the
-@var{note}-@code{markup} syntax. In this case, the number is
+@var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
replaced. If you need both texts and the number, you must add the
number by hand. A variable (@code{\fermataMarkup}) is provided for
adding fermatas.
@internalsref{MultiMeasureRestEvent},
@internalsref{MultiMeasureTextEvent},
@internalsref{MultiMeasureRestMusicGroup},
-@internalsref{MultiMeasureRest}.
+@internalsref{MultiMeasureRest},
-The graphical object @internalsref{MultiMeasureRestNumber} is for the
+The layout object @internalsref{MultiMeasureRestNumber} is for the
default number, and @internalsref{MultiMeasureRestText} for user
specified texts.
@example
R1*4 cis cis
@end example
-will enter two notes lasting four measures each. The result will look
-ok, but the bar numbering will be off.
+will enter two notes lasting four measures each. When @code{skipBars}
+is set, then the result will look OK, but the bar numbering will be
+off.
@node Automatic part combining
@subsection Automatic part combining
>
@end lilypond
-The part combiner is slated to be rewritten [TODO: explain why] .
+The part combiner is slated to be rewritten [TODO: explain why].
@cindex @code{Thread_devnull_engraver}
@cindex @code{Voice_engraver}
@cindex @code{A2_engraver}
-@node Hara kiri staves
-@subsection Hara kiri staves
+@node Frenched scores
+@subsection Frenched scores
-In orchestral scores, staff lines that only have rests are usually removed.
-This saves some space. This style is called `French Score'.
+In orchestral scores, staff lines that only have rests are usually
+removed. This saves some space. This style is called `French Score'.
+For @internalsref{Lyrics}, @internalsref{LyricsVoice},
+@internalsref{ChordNames} and @internalsref{FiguredBass}, this is
+switched on by default. When these line of these contexts turn out
+empty after the line-breaking process, they are removed.
-@syntax
-This is supported through the hara kiri@footnote{Hara kiri is the
-vulgar name for Seppuku, is the ritual suicide of the Japanese
-Samourai warriors.} staff. This staff commits suicide when it finds
-itself to be empty after the line-breaking process. It will not
-disappear when it contains normal rests, you must use multi measure
-rests.
+For normal staffs, a specialized @internalsref{Staff} context is
+available, which does the same: staffs containing nothing (or only
+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.
-For @internalsref{Lyrics}, @internalsref{LyricsVoice},
-@internalsref{ChordNames} and @internalsref{FiguredBass}, hara-kiri is
-switched on by default. For normal staffs, hara kiri is available as a
-specialized @internalsref{Staff} context, with the name variable
-@code{\HaraKiriStaffContext}. Observe how the second staff in this
-example disappears in the second line.
@lilypond[verbatim]
\score {
>
\paper {
linewidth = 6.\cm
- \translator { \HaraKiriStaffContext }
+ \translator { \RemoveEmptyStaffContext }
}
}
@end lilypond
@cindex Petrucci
@cindex mensural
-[TODO: write introduction on ancient notation]
+@c [TODO: write introduction on ancient notation]
@menu
* Ancient note heads::
to the right side of each clef in the example column denotes the
@code{c'} with respect to that clef.
-@c --- This should go somewhere else: ---
-@c @item modern style G clef (glyph: @code{clefs-G})
-@c
-@c Supported clefs:
-@c @code{treble}, @code{violin}, @code{G}, @code{G2}, @code{french}
-@c
-@c @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "G" c'}
-@c
-@c @item modern style F clef (glyph: @code{clefs-F})
-@c
-@c Supported clefs:
-@c @code{varbaritone}, @code{bass}, @code{F}, @code{subbass}
-@c
-@c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "F" c'}
-@c
-@c @item modern style C clef (glyph: @code{clefs-C})
-@c
-@c Supported clefs:
-@c @code{soprano}, @code{mezzosoprano}, @code{alto}, @code{C},
-@c @code{tenor}, @code{baritone}
-@c
-@c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "C" c'}
-
@multitable @columnfractions .3 .3 .3 .1
@item
@end lilypond
@item
-@code{clefs-petrucci_c1} @tab
-petrucci style mensural C clef (specifically for use on 1st staffline) @tab
-@code{petrucci_c1} @tab
-@lilypond[relative 0, notime]
-\property Staff.TimeSignature \set #'transparent = ##t
-\clef "petrucci_c1" c
-@end lilypond
-
-@item
-@code{clefs-petrucci_c2} @tab
-petrucci style mensural C clef (specifically for use on 2nd staffline) @tab
-@code{petrucci_c2} @tab
+@code{clefs-petrucci_c1}
+@code{clefs-petrucci_c2}
+@code{clefs-petrucci_c3}
+@code{clefs-petrucci_c4}
+@code{clefs-petrucci_c5}
+
+@tab
+petrucci style mensural C clefs, for use on different stafflines
+(the examples shows the 2nd staffline C clef).
+
+@tab
+@code{petrucci_c1}
+@code{petrucci_c2}
+@code{petrucci_c3}
+@code{petrucci_c4}
+@code{petrucci_c5}
+
+@tab
@lilypond[relative 0, notime]
\property Staff.TimeSignature \set #'transparent = ##t
\clef "petrucci_c2" c
@end lilypond
-@item
-@code{clefs-petrucci_c3} @tab
-petrucci style mensural C clef (specifically for use on 3rd staffline) @tab
-@code{petrucci_c3} @tab
-@lilypond[relative 0, notime]
-\property Staff.TimeSignature \set #'transparent = ##t
-\clef "petrucci_c3" c
-@end lilypond
-
-@item
-@code{clefs-petrucci_c4} @tab
-petrucci style mensural C clef (specifically for use on 4th staffline) @tab
-@code{petrucci_c4} @tab
-@lilypond[relative 0, notime]
-\property Staff.TimeSignature \set #'transparent = ##t
-\clef "petrucci_c4" c
-@end lilypond
-
-@item
-@code{clefs-petrucci_c5} @tab
-petrucci style mensural C clef (specifically for use on 5th staffline) @tab
-@code{petrucci_c5} @tab
-@lilypond[relative 0, notime]
-\property Staff.TimeSignature \set #'transparent = ##t
-\clef "petrucci_c5" c
-@end lilypond
-
@item
@code{clefs-petrucci_f} @tab
petrucci style mensural F clef @tab
If the boolean property @code{adjust-if-on-staffline} is set to
@code{#t} (which it is by default), lily typesets slightly different
variants of the custos glyph, depending on whether the custos, is
-typeset on or between stafflines. The idea is that the glyph will
+typeset on or between stafflines. The glyph will
optically fit well into the staff, with the appendage on the right of
the custos always ending at the same vertical position between two
stafflines regardless of the pitch. If you set
-@code{adjust-if-on-staffline} to @code{#f}, then lily takes regardless
-of the pitch always a glyph that is a compromise of the former two
-variants.
+@code{adjust-if-on-staffline} to @code{#f}, then
+a compromise between both forms is used.
Just like stems can be attached to noteheads in two directions
@emph{up} and @emph{down}, each custos glyph is available with its
}
@end lilypond
-To select a specific style of ligatures, a proper ligature engraver has
-to be added to the @internalsref{Voice} context, as explained in the
-following subsections. Currently, Lilypond only supports white mensural
-ligatures with certain limitations. Support for Editio Vaticana will be
-added in the future.
+To select a specific style of ligatures, a proper ligature engraver
+has to be added to the @internalsref{Voice} context, as explained in
+the following subsections. Currently, only white mensural ligatures
+are supported with certain limitations. Support for Editio Vaticana
+will be added in the future.
@menu
* White mensural ligatures::
+* Gregorian square neumes ligatures::
@end menu
@node White mensural ligatures
warnings or even crash in some cases or produce weird results on more
complex ligatures. To engrave white mensural ligatures, in the paper
block the @internalsref{Mensural_ligature_engraver} has to be put into
-the @internalsref{Voice} context (and you probably want to remove the
-@internalsref{Ligature_bracket_engraver}). 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 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.
+the @internalsref{Voice} context, and remove the
+@internalsref{Ligature_bracket_engraver}:
+
+@example
+ \paper @{
+ \translator @{
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Mensural_ligature_engraver
+ @}
+ @}
+@end example
+
+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
+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.
Example:
-@lilypond[singleline,verbatim]
+@example
+ \property Score.timing = ##f
+ \property Score.defaultBarType = "empty"
+ \property Voice.NoteHead \set #'style = #'neo_mensural
+ \property Staff.TimeSignature \set #'style = #'neo_mensural
+ \clef "petrucci_g"
+ \[ g\longa c\breve a\breve f\breve d'\longa \]
+ s4
+ \[ e1 f1 a\breve g\longa \]
+@end example
+@lilypond[singleline]
\score {
\notes \transpose c c' {
\property Score.timing = ##f
}
@end lilypond
-@node Figured bass
-@subsection Figured bass
-
-@cindex Basso continuo
+@node Gregorian square neumes ligatures
+@subsubsection Gregorian square neumes ligatures
-@c TODO: musicological blurb about FB
+@cindex Square neumes ligatures
+@cindex Gregorian square neumes ligatures
-@syntax
+Gregorian square neumes notation (following the style of the Editio
+Vaticana) is under heavy development, but not yet really usable for
+production purposes. Core ligatures can already be typeset, but
+essential issues for serious typesetting are still under development,
+such as (among others) horizontal alignment of multiple ligatures,
+lyrics alignment and proper accidentals handling. Still, this section
+gives a sneak preview of what Gregorian chant may look like once it
+will work.
-LilyPond has limited support for figured bass:
+The following table contains the extended neumes table of the 2nd
+volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
+1983 by the monks of Solesmes.
-@lilypond[verbatim,fragment]
-<
- \context Voice \notes { \clef bass dis4 c d ais}
- \context FiguredBass
- \figures {
- < 6 >4 < 7 >8 < 6+ [_!] >
- < 6 >4 <6 5 [3+] >
- }
- >
-@end lilypond
+@multitable @columnfractions .4 .2 .2 .2
-The support for figured bass consists of two parts: there is an input
-mode, introduced by @code{\figures}, where you can enter bass figures
-as numbers, and there is a context called @internalsref{FiguredBass}
-that takes care of making @internalsref{BassFigure} objects.
+@item
+@b{Neuma aut@*Neumarum Elementa} @tab
+@b{Figurae@*Rectae} @tab
+@b{Figurae@*Liquescentes Auctae} @tab
+@b{Figurae@*Liquescentes Deminutae}
-In figures input mode, a group of bass figures is delimited by
-@code{<} and @code{>}. The duration is entered after the @code{>}.
-@example
- <4 6>
-@end example
-@lilypond[fragment]
-\context FiguredBass
-\figures { <4 6> }
-@end lilypond
+@c TODO: \paper block is identical in all of the below examples.
+@c Therefore, it should somehow be included rather than duplicated all
+@c the time. --jr
-Accidentals are added to the numbers if you alterate them by
-appending @code{-}, @code{!} and @code{+}.
+@c why not make identifiers in ly/engraver-init.ly? --hwn
-@example
- <4- 6+ 7!>
-@end example
-@lilypond[fragment]
- \context FiguredBass
- \figures { <4- 6+ 7!> }
-@end lilypond
+@c Because it's just used to typeset plain notes without
+@c a staff for demonstration purposes rather than something
+@c special of Gregorian chant notation. --jr
-Spaces or dashes may be inserted by using @code{_}. Brackets are
-introduced with @code{[} and @code{]}.
+@item
+@code{1. Punctum}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Punctum
+ \[ b \]
+ \noBreak s^\markup {"a"} \noBreak
-@example
- < [4 6] 8 [_ 12]>
-@end example
-@lilypond[fragment]
- \context FiguredBass
-\figures { < [4 6] 8 [_ 12]> }
+ % Punctum Inclinatum
+ \[ \inclinatum b \]
+ \noBreak s^\markup {"b"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Punctum Auctum Ascendens
+ \[ \auctum \ascendens b \]
+ \noBreak s^\markup {"c"} \noBreak
-Although the support for figured bass may superficially resemble chord
-support, it works much simpler. The @code{\figures} mode simply
-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
-markup text properties to override formatting. For example, the
-vertical spacing of the figures may be set with @code{baseline-skip}.
-
-@seealso
-
-@internalsref{BassFigureEvent} music, @internalsref{BassFigure} grob,
-@internalsref{FiguredBass} context
-
-@refbugs
+ % Punctum Auctum Descendens
+ \[ \auctum \descendens b \]
+ \noBreak s^\markup {"d"} \noBreak
-Slash notation for alterations is not supported.
+ % Punctum Inclinatum Auctum
+ \[ \inclinatum \auctum b \]
+ \noBreak s^\markup {"e"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Punctum Inclinatum Parvum
+ \[ \inclinatum \deminutum b \]
+ \noBreak s^\markup {"f"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+
+@item
+@code{2. Virga}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Virga
+ \[ \virga b \]
+ \noBreak s^\markup {"g"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@tab
+
+@item
+@code{3. Apostropha vel Stropha}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Stropha
+ \[ \stropha b \]
+ \noBreak s^\markup {"h"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Stropha Aucta
+ \[ \stropha \auctum b \]
+ \noBreak s^\markup {"i"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+
+@item
+@code{4. Oriscus}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Oriscus
+ \[ \oriscus b \]
+ \noBreak s^\markup {"j"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@tab
+
+@item
+@code{5. Clivis vel Flexa}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Clivis vel Flexa
+ \[ b \flexa g \]
+ s^\markup {"k"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Clivis Aucta Descendens
+ \[ b \flexa \auctum \descendens g \]
+ \noBreak s^\markup {"l"} \noBreak
+
+ % Clivis Aucta Ascendens
+ \[ b \flexa \auctum \ascendens g \]
+ \noBreak s^\markup {"m"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Cephalicus
+ \[ b \flexa \deminutum g \]
+ s^\markup {"n"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+
+@item
+@code{6. Podatus vel Pes}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Podatus vel Pes
+ \[ g \pes b \]
+ s^\markup {"o"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Pes Auctus Descendens
+ \[ g \pes \auctum \descendens b \]
+ \noBreak s^\markup {"p"} \noBreak
+
+ % Pes Auctus Ascendens
+ \[ g \pes \auctum \ascendens b \]
+ \noBreak s^\markup {"q"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Epiphonus
+ \[ g \pes \deminutum b \]
+ s^\markup {"r"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+
+@item
+@code{7. Pes Quassus}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Pes Quassus
+ \[ \oriscus g \pes \virga b \]
+ s^\markup {"s"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Pes Quassus Auctus Descendens
+ \[ \oriscus g \pes \auctum \descendens b \]
+ s^\markup {"t"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+
+@item
+@code{8. Quilisma Pes}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Quilisma Pes
+ \[ \quilisma g \pes b \]
+ s^\markup {"u"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Quilisma Pes Auctus Descendens
+ \[ \quilisma g \pes \auctum \descendens b \]
+ s^\markup {"v"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+
+@item
+@code{9. Podatus Initio Debilis}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Pes Initio Debilis
+ \[ \deminutum g \pes b \]
+ s^\markup {"w"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Pes Auctus Descendens Initio Debilis
+ \[ \deminutum g \pes \auctum \descendens b \]
+ s^\markup {"x"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+
+@item
+@code{10. Torculus}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Torculus
+ \[ a \pes b \flexa g \]
+ s^\markup {"y"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Torculus Auctus Descendens
+ \[ a \pes b \flexa \auctum \descendens g \]
+ s^\markup {"z"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Torculus Deminutus
+ \[ a \pes b \flexa \deminutum g \]
+ s^\markup {"A"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+
+@item
+@code{11. Torculus Initio Debilis}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Torculus Initio Debilis
+ \[ \deminutum a \pes b \flexa g \]
+ s^\markup {"B"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Torculus Auctus Descendens Initio Debilis
+ \[ \deminutum a \pes b \flexa \auctum \descendens g \]
+ s^\markup {"C"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Torculus Deminutus Initio Debilis
+ \[ \deminutum a \pes b \flexa \deminutum g \]
+ s^\markup {"D"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+
+@item
+@code{12. Porrectus}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Porrectus
+ \[ a \flexa g \pes b \]
+ s^\markup {"E"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Porrectus Auctus Descendens
+ \[ a \flexa g \pes \auctum \descendens b \]
+ s^\markup {"F"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Porrectus Deminutus
+ \[ a \flexa g \pes \deminutum b \]
+ s^\markup {"G"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+
+@item
+@code{13. Climacus}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Climacus
+ \[ \virga b \inclinatum a \inclinatum g \]
+ s^\markup {"H"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Climacus Auctus
+ \[ \virga b \inclinatum a \inclinatum \auctum g \]
+ s^\markup {"I"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Climacus Deminutus
+ \[ \virga b \inclinatum a \inclinatum \deminutum g \]
+ s^\markup {"J"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+
+@item
+@code{14. Scandicus}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Scandicus
+ \[ g \pes a \virga b \]
+ s^\markup {"K"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Scandicus Auctus Descendens
+ \[ g \pes a \pes \auctum \descendens b \]
+ s^\markup {"L"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Scandicus Deminutus
+ \[ g \pes a \pes \deminutum b \]
+ s^\markup {"M"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+
+@item
+@code{15. Salicus}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Salicus
+ \[ g \oriscus a \pes \virga b \]
+ s^\markup {"N"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Salicus Auctus Descendens
+ \[ g \oriscus a \pes \auctum \descendens b \]
+ s^\markup {"O"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+
+@item
+@code{16. Trigonus}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Trigonus
+ \[ \stropha b \stropha b \stropha a \]
+ s^\markup {"P"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@tab
+
+@end multitable
+
+
+Unlike most other neumes notation systems, the input language for
+neumes does not necessarily reflect directly the typographical
+appearance, but is designed to solely focuse on musical meaning. For
+example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
+of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
+a torculus with a curved flexa shape and only a single Punctum head.
+There is no command to explicitly typeset the curved flexa shape; the
+decision of when to typeset a curved flexa shape is purely taken from
+the musical input. The idea of this approach is to separate the
+musical aspects of the input from the notation style of the output.
+This way, the same input can be reused to typeset the same music in a
+different style of Gregorian chant notation such as Hufnagel (also
+known as German gothic neumes) or Medicaea (kind of a very simple
+forerunner of the Editio Vaticana). As soon as Hufnagel ligature
+engraver and Medicaea ligature engraver will have been implemented, it
+will be as simple as replacing the ligature engraver in the
+@internalsref{Voice} context to get the desired notation style from
+the same input.
+
+The following table shows the code fragments that produce the
+ligatures in the above neumes table. The letter in the first column
+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.
+
+@multitable @columnfractions .1 .4 .5
+
+@item
+@b{#} @tab
+@b{Name} @tab
+@b{Input Language}
+
+@item
+a @tab
+Punctum @tab
+@code{\[ b \]}
+
+@item
+b @tab
+Punctum Inclinatum @tab
+@code{\[ \inclinatum b \]}
+
+@item
+c @tab
+Punctum Auctum Ascendens @tab
+@code{\[ \auctum \ascendens b \]}
+
+@item
+d @tab
+Punctum Auctum Descendens @tab
+@code{\[ \auctum \descendens b \]}
+
+@item
+e @tab
+Punctum Inclinatum Auctum @tab
+@code{\[ \inclinatum \auctum b \]}
+
+@item
+f @tab
+Punctum Inclinatum Parvum @tab
+@code{\[ \inclinatum \deminutum b \]}
+
+@item
+g @tab
+Virga @tab
+@code{\[ \virga b \]}
+
+@item
+h @tab
+Stropha @tab
+@code{\[ \stropha b \]}
+
+@item
+i @tab
+Stropha Aucta @tab
+@code{\[ \stropha \auctum b \]}
+
+@item
+j @tab
+Oriscus @tab
+@code{\[ \oriscus b \]}
+
+@item
+k @tab
+Clivis vel Flexa @tab
+@code{\[ b \flexa g \]}
+
+@item
+l @tab
+Clivis Aucta Descendens @tab
+@code{\[ b \flexa \auctum \descendens g \]}
+
+@item
+m @tab
+Clivis Aucta Ascendens @tab
+@code{\[ b \flexa \auctum \ascendens g \]}
+
+@item
+n @tab
+Cephalicus @tab
+@code{\[ b \flexa \deminutum g \]}
+
+@item
+o @tab
+Podatus vel Pes @tab
+@code{\[ g \pes b \]}
+
+@item
+p @tab
+Pes Auctus Descendens @tab
+@code{\[ g \pes \auctum \descendens b \]}
+
+@item
+q @tab
+Pes Auctus Ascendens @tab
+@code{\[ g \pes \auctum \ascendens b \]}
+
+@item
+r @tab
+Epiphonus @tab
+@code{\[ g \pes \deminutum b \]}
+
+@item
+s @tab
+Pes Quassus @tab
+@code{\[ \oriscus g \pes \virga b \]}
+
+@item
+t @tab
+Pes Quassus Auctus Descendens @tab
+@code{\[ \oriscus g \pes \auctum \descendens b \]}
+
+@item
+u @tab
+Quilisma Pes @tab
+@code{\[ \quilisma g \pes b \]}
+
+@item
+v @tab
+Quilisma Pes Auctus Descendens @tab
+@code{\[ \quilisma g \pes \auctum \descendens b \]}
+
+@item
+w @tab
+Pes Initio Debilis @tab
+@code{\[ \deminutum g \pes b \]}
+
+@item
+x @tab
+Pes Auctus Descendens Initio Debilis @tab
+@code{\[ \deminutum g \pes \auctum \descendens b \]}
+
+@item
+y @tab
+Torculus @tab
+@code{\[ a \pes b \flexa g \]}
+
+@item
+z @tab
+Torculus Auctus Descendens @tab
+@code{\[ a \pes b \flexa \auctum \descendens g \]}
+
+@item
+A @tab
+Torculus Deminutus @tab
+@code{\[ a \pes b \flexa \deminutum g \]}
+
+@item
+B @tab
+Torculus Initio Debilis @tab
+@code{\[ \deminutum a \pes b \flexa g \]}
+
+@item
+C @tab
+Torculus Auctus Descendens Initio Debilis @tab
+@code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
+
+@item
+D @tab
+Torculus Deminutus Initio Debilis @tab
+@code{\[ \deminutum a \pes b \flexa \deminutum g \]}
+
+@item
+E @tab
+Porrectus @tab
+@code{\[ a \flexa g \pes b \]}
+
+@item
+F @tab
+Porrectus Auctus Descendens @tab
+@code{\[ a \flexa g \pes \auctum \descendens b \]}
+
+@item
+G @tab
+Porrectus Deminutus @tab
+@code{\[ a \flexa g \pes \deminutum b \]}
+
+@item
+H @tab
+Climacus @tab
+@code{\[ \virga b \inclinatum a \inclinatum g \]}
+
+@item
+I @tab
+Climacus Auctus @tab
+@code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
+
+@item
+J @tab
+Climacus Deminutus @tab
+@code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
+
+@item
+K @tab
+Scandicus @tab
+@code{\[ g \pes a \virga b \]}
+
+@item
+L @tab
+Scandicus Auctus Descendens @tab
+@code{\[ g \pes a \pes \auctum \descendens b \]}
+
+@item
+M @tab
+Scandicus Deminutus @tab
+@code{\[ g \pes a \pes \deminutum b \]}
+
+@item
+N @tab
+Salicus @tab
+@code{\[ g \oriscus a \pes \virga b \]}
+
+@item
+O @tab
+Salicus Auctus Descendens @tab
+@code{\[ g \oriscus a \pes \auctum \descendens b \]}
+
+@item
+P @tab
+Trigonus @tab
+@code{\[ \stropha b \stropha b \stropha a \]}
+
+@end multitable
+
+@refbugs
+
+Scandicus Deminutus: Punctum Auctum Ascendens overlaps with
+Semivocalis head; this looks awful.
+
+Trigonus: apply equal spacing, regardless of pitch.
+
+@node Figured bass
+@subsection Figured bass
+
+@cindex Basso continuo
+
+@c TODO: musicological blurb about FB
+
+@syntax
+
+LilyPond has limited support for figured bass:
+
+@lilypond[verbatim,fragment]
+<
+ \context Voice \notes { \clef bass dis4 c d ais}
+ \context FiguredBass
+ \figures {
+ < 6 >4 < 7 >8 < 6+ [_!] >
+ < 6 >4 <6 5 [3+] >
+ }
+ >
+@end lilypond
+
+The support for figured bass consists of two parts: there is an input
+mode, introduced by @code{\figures}, where you can enter bass figures
+as numbers, and there is a context called @internalsref{FiguredBass}
+that takes care of making @internalsref{BassFigure} objects.
+
+In figures input mode, a group of bass figures is delimited by
+@code{<} and @code{>}. The duration is entered after the @code{>}.
+@example
+ <4 6>
+@end example
+@lilypond[fragment]
+\context FiguredBass
+\figures { <4 6> }
+@end lilypond
+
+Accidentals are added when you append @code{-}, @code{!} and @code{+}
+to the numbers.
+
+@example
+ <4- 6+ 7!>
+@end example
+@lilypond[fragment]
+ \context FiguredBass
+ \figures { <4- 6+ 7!> }
+@end lilypond
+
+Spaces or dashes may be inserted by using @code{_}. Brackets are
+introduced with @code{[} and @code{]}.
+
+@example
+ < [4 6] 8 [_! 12]>
+@end example
+@lilypond[fragment]
+ \context FiguredBass
+\figures { < [4 6] 8 [_! 12]> }
+@end lilypond
+
+Although the support for figured bass may superficially resemble chord
+support, it works much simpler. The @code{\figures} mode simply
+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
+markup text properties to override formatting. For example, the
+vertical spacing of the figures may be set with @code{baseline-skip}.
+
+@seealso
+
+@internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
+@internalsref{FiguredBass} context
+
+@refbugs
+
+Slash notation for alterations is not supported.
@node Contemporary notation
have been tried. For a comprehensive overview, refer to @cite{Stone
1980} (see @ref{Literature}). In general, the use of new, innovative
notation makes a piece harder to understand and perform and its use
-should be avoided if possible. For this reason, support for
+should therefore be avoided if possible. For this reason, support for
contemporary notation in LilyPond is limited.
@syntax
-A cluster is engraved as the envelope of a set of notes. The starting
-note is marked with @code{\startCluster}, and the ending note with
-@code{\stopCluster}, e.g.,
-
-@example
- c4-\startCluster
- ...
- f4-\stopCluster
-@end example
+A cluster is engraved as the envelope of a set of
+cluster-notes. Cluster notes are created by applying the function
+@code{notes-to-clusters} to a sequence of chords, eg.
+@c
+@lilypond[relative 1,verbatim]
+ \apply #notes-to-clusters { <<c e >> <<b f'>> }
+@end lilypond
The following example (from
@inputfileref{input/regression,cluster.ly}) shows what the result
@seealso
-@internalsref{Cluster}, @inputfileref{input/regression,cluster.ly},
-@internalsref{Cluster_engraver}, @internalsref{ClusterEvent}.
+@internalsref{ClusterSpanner}, @internalsref{ClusterSpannerBeacon},
+@inputfileref{input/regression,cluster.ly},
+@internalsref{Cluster_engraver}, @internalsref{ClusterNoteEvent}.
@refbugs
-When a cluster is active, note heads must be switched off manually using
-@code{\hideNotes}.
-
Music expressions like @code{< @{ g8 e8 @} a4 >} are not printed
accurately. Use @code{<<g a>>8 <<e a>>8} instead.
@lilypond[singleline]
\score {
- < \notes {
- \fatText
+ < \addlyrics \notes {
b'
^\shortfermata
_\shortfermata
@node Tuning output
@section Tuning output
-As much formatting as possible is performed
-automatically. Nevertheless, there are situations where LilyPond needs
-some help, or where you want to override its decisions. In this
-section we discuss ways to do just that.
+There are situations where default layout decisions are not
+sufficient. In this section we discuss ways to override these
+defaults.
-Formatting is internally done by manipulating so called objects (graphic
-objects). Each object carries with it a set of properties (object
-properties) specific to that object. For example, a stem object has
-properties that specify its direction, length and thickness.
+Formatting is internally done by manipulating so called objects
+(graphic objects). Each object carries with it a set of properties
+(object or layout properties) specific to that object. For example, a
+stem object has properties that specify its direction, length and
+thickness.
The most direct way of tuning the output is by altering the values of
these properties. There are two ways of doing that: first, you can
temporarily change the definition of one type of object, thus
affecting a whole set of objects. Second, you can select one specific
-object, and set a object property in that object.
+object, and set a layout property in that object.
+
+Do not confuse layout properties with translation
+properties. Translation properties always use a mixed caps style
+naming, and are manipulated using @code{\property}
+@example
+ \property Context.propertyName = @var{value}
+@end example
+Layout properties are use Scheme style variable naming, i.e. lower
+case words separated with dashes. They are symbols, and should always
+be quoted using @code{#'}. For example, this could be an imaginary
+layout property name:
+@example
+ #'layout-property-name
+@end example
@menu
* Tuning objects ::
+* Constructing a tweak::
* Applyoutput::
* Outputproperty::
* Font selection::
* Text markup::
@end menu
+
+
@node Tuning objects
@subsection Tuning objects
@cindex object description
-The definition of an object is actually a list of default object
+The definition of an object is a list of default object
properties. For example, the definition of the Stem object (available
-in @file{scm/grob-description.scm}), includes the following definitions for
-@internalsref{Stem}
+in @file{scm/define-grobs.scm}), includes the following definitions
+for @internalsref{Stem}
@example
- (thickness . 0.8)
+ (thickness . 1.3)
(beamed-lengths . (0.0 2.5 2.0 1.5))
(Y-extent-callback . ,Stem::height)
@var{...}
@end example
-By adding variables on top of these existing definitions, the system
-defaults is overriden, and the appearance of a graphical objects is
-altered.
+Adding variables on top of this existing definition overrides the
+system default, and alters the resulting appearance of the layout
+object.
@syntax
-Changing a variable for only one object is commonly achieved with
+Changing a variable for only one object is commonly achieved with
@code{\once}:
@example
-\once \property @var{context}.@var{grobname}
+\once \property @var{context}.@var{objectname}
\override @var{symbol} = @var{value}
@end example
Here @var{symbol} is a Scheme expression of symbol type, @var{context}
-and @var{grobname} is a string and @var{value} is a Scheme expression.
+and @var{objectname} is a string and @var{value} is a Scheme expression.
This command applies a setting only during one moment in the score.
In the following example, only one @internalsref{Stem} object is
For changing more objects, the same command, without @code{\once} can
be used.
@example
-\property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
+\property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
@end example
This command adds @code{@var{symbol} = @var{value}} to the definition
-of @var{grobname} in the context @var{context}, and this definition
+of @var{objectname} in the context @var{context}, and this definition
stays in place until it is removed.
An existing definition may be removed by the following command
@c
@example
-\property @var{context}.@var{grobname} \revert @var{symbol}
+\property @var{context}.@var{objectname} \revert @var{symbol}
@end example
@c
All @code{\override} and @code{\revert} commands should be balanced.
-The @code{\set} shorthand, performs a revert followed by an override,
+The @code{\set} shorthand performs a revert followed by an override,
and is often more convenient to use
@example
-\property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
+\property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
@end example
Some examples:
@end lilypond
The following example gives exactly the same result as the previous
-one (assuming the system default for stem thickness is 0.8).
+one (assuming the system default for stem thickness is 1.3).
@c
@lilypond[verbatim,quote]
c'4 \property Voice.Stem \set #'thickness = #4.0
c'4
- c'4 \property Voice.Stem \set #'thickness = #0.8
+ c'4 \property Voice.Stem \set #'thickness = #1.3
c'4
@end lilypond
-If you revert a setting which was not set in the first place, then it
-has no effect. However, if the setting was set as a system default, it
-may remove the default value, and this may give surprising results,
+Reverting a setting which was not set in the first place has no
+effect. However, if the setting was set as a system default, this may
+remove the default value, and this may give surprising results,
including crashes. In other words, @code{\override} and
-@code{\revert}, must be carefully balanced.
-
-These are examples of correct nesting of @code{\override}, @code{\set},
-@code{\revert}.
+@code{\revert} must be carefully balanced. The following are examples
+of correct nesting of @code{\override}, @code{\set}, @code{\revert}.
+@itemize @bullet
+@item
A clumsy but correct form:
@example
\override \revert \override \revert \override \revert
@end example
+@item
Shorter version of the same:
@example
\override \set \set \revert
@end example
+@item
A short form, using only @code{\set}. This requires you to know the
default value:
@example
\set \set \set \set @var{to default value}
@end example
+@item
If there is no default (i.e. by default, the object property is unset),
then you can use
@example
\set \set \set \revert
@end example
+@end itemize
For the digirati, the object description is an Scheme association
list. Since a Scheme list is a singly linked list, we can treat it as
@internalsref{OverrideProperty}, @internalsref{RevertProperty},
@internalsref{PropertySet}, @internalsref{backend properties},
-@internalsref{All Graphical Objects}.
+@internalsref{All layout objects}.
@refbugs
-LilyPond will hang or crash if @var{value} contains cyclic references.
-The backend is not very strict in type-checking object properties. If you
-@code{\revert} properties that are expected to be set by default,
-LilyPond may crash.
+The backend is not very strict in type-checking object properties.
+Cyclic references in @var{value} cause hangs and/or crashes.
+Similarly, reverting properties that are system defaults may also lead
+to crashes.
+
+@node Constructing a tweak
+@subsection Constructing a tweak
+
+
+@cindex internal documentation
+@cindex finding graphical objects
+@cindex graphical object descriptions
+@cindex tweaking
+@cindex @code{\override}
+@cindex @code{\set}
+@cindex internal documentation
+
+
+
+Three pieces of information are required to use @code{\override} and
+@code{\set}: the name of the layout object, the context and the name
+of the property. We demonstrate how to glean this information from
+the notation manual and the generated documentation.
+
+The generated documentation is a set of HTML pages which should be
+included if you installed a binary distribution, typically in
+@file{/usr/share/doc/lilypond}. They are also available on the web:
+go to the @uref{http://lilypond.org,LilyPond website}, click
+``Documentation'', and then ``Program reference'' on the side bar. It
+is advisable to bookmark either the local HTML files if possible. They
+will load faster than the ones on the web. If you use the version
+from the web, you must check whether the documentation matches the
+program version: the documentation is generated from the definitions
+that the program uses, and therefore it is strongly tied to the
+LilyPond version.
+
+
+@c [TODO: revise for new site.]
+
+Suppose we want to move the fingering indication in the fragment below
+
+@lilypond[relative=2,verbatim]
+c-2
+\stemUp
+f
+@end lilypond
+
+If you visit the documentation of @code{Fingering} (in @ref{Fingering
+instructions}), you will notice that it says
+
+@quotation
+@seealso
+
+@internalsref{FingerEvent} and @internalsref{Fingering}.
+@end quotation
+
+@noindent
+In other words, the fingerings once entered, are internally stored as
+@code{FingerEvent} music objects. When printed, a @code{Fingering}
+layout object is created for every @code{FingerEvent}.
+
+The Fingering object has a number of different functions, and each of
+those is captured in an interface. when we look up
+@internalsref{Fingering} in the generated documentation.
+
+
+
+The @code{Fingering} object has a fixed size
+(@internalsref{item-interface}), the symbol is a piece of text
+(@internalsref{text-interface}), whose font can be set
+(@internalsref{font-interface}). It is centered horizontally
+(@internalsref{self-alignment-interface}), it is placed next to other
+objects (@internalsref{side-position-interface}) vertically, and its
+placement is coordinated with other scripts
+(@internalsref{text-script-interface}). It also has the standard
+@internalsref{grob-interface} (grob stands for Graphical object)
+@cindex grob
+@cindex graphical object
+@cindex layout object
+@cindex object, layout
+with all the variables that come with
+it. Finally, it denotes a fingering instruction, so it has
+@internalsref{finger-interface}.
+
+For the vertical placement, we have to look under
+@code{side-position-interface}.
+@quotation
+@code{side-position-interface}
+
+ Position a victim object (this one) next to other objects (the
+ support). In this case, the direction signifies where to put the
+ victim object relative to the support (left or right, up or down?)
+@end quotation
+below this description, the variable @code{padding} is described as
+@quotation
+@table @code
+@item padding
+ (dimension, in staff space)
+
+ add this much extra space between objects that are next to each
+other. Default value: @code{0.6}
+@end table
+@end quotation
+
+By increasing the value of @code{padding}, we can move away the
+fingering. The following command inserts 3 staff spaces of white
+between the note and the fingering
+@example
+\once \property Voice.Fingering \set #'padding = #3
+@end example
+
+Inserting this command before the Fingering object is created,
+i.e. before @code{c2}, yields the following result.
+
+@lilypond[relative=2,fragment,verbatim]
+\once \property Voice.Fingering
+ \set #'padding = #3
+c-2
+\stemUp
+f
+@end lilypond
+
+The context name @code{Voice} in the example above can be determined
+as follows. In the documentation for @internalsref{Fingering}, it says
+@quotation
+Fingering grobs are created by: @internalsref{Fingering_engraver}
+@end quotation
+
+Clicking @code{Fingering_engraver} shows the documentation of
+the module responsible for interpreting the fingering instructions and
+translating them to a @code{Fingering} object. Such a module is called
+an @emph{engraver}. The documentation of the @code{Fingering_engraver}
+says
+@example
+Fingering_engraver is part of contexts: Voice
+@end example
+so tuning the settings for Fingering should be done with
+@example
+ \property Voice.Fingering \set @dots{}
+@end example
+
+Of course, the tweak may also done in a larger context than
+@code{Voice}, for example, @internalsref{Staff} or
+@internalsref{Score}.
+
+The internals document also contains alphabetical lists of
+@internalsref{All contexts}, @internalsref{All layout objects} and
+@internalsref{All music types}, so you can also find which objects to
+tweak by browsing the internals document.
@node Applyoutput
@subsection Applyoutput
-The most versatile way of tuning object is @code{\applyoutput}. Its
+The most versatile way of tuning an object is @code{\applyoutput}. Its
syntax is
@example
\applyoutput @var{proc}
@end example
+
+@noindent
where @var{proc} is a Scheme function, taking four arguments.
-When interpreted, the function @var{proc} is called for every grob found
+When interpreted, the function @var{proc} is called for every layout object found
in the context, with the following arguments:
@itemize @bullet
-@item the grob itself
-@item the context where the grob was created
+@item the layout object itself
+@item the context where the layout object was created
@item the context where @code{\applyoutput} is processed.
@end itemize
-In addition, the cause of the grob, i.e. the music expression or object
-that was responsible for creating the object, is in the object property
-@code{cause}. For example, for a note head, this is a
+In addition, the cause of the layout object, i.e. the music
+expression or object that was responsible for creating it, is in the
+object property @code{cause}. For example, for a note head, this is a
@internalsref{NoteHead} event, and for a @internalsref{Stem} object,
this is a @internalsref{NoteHead} object.
@node Outputproperty
@subsection Outputproperty
-@cindex \outputproperty
+@cindex @code{\outputproperty}
Another way of tuning objects is the more arcane @code{\outputproperty}
feature. The syntax is as follows:
@refbugs
-If possible, avoid this feature: the semantics are not very clean, and
-the syntax and semantics are up for rewrite.
+This command is slated for removal. Please use the
+@code{\applyoutput} command, see @ref{Applyoutput}.
@node Font selection
@subsection Font selection
-The most common thing to change about the appearance of fonts is
-their size. The font size of any context can be easily
-changed by setting the @code{fontSize} property for that context:
+The most common thing to change about the appearance of fonts is their
+size. The font size of any context can be easily changed by setting
+the @code{fontSize} property for that context. Its value is an
+integer: negative numbers make the font smaller, positive numbers
+larger. An example is given below.
@c
@lilypond[fragment,relative=1,verbatim,quote]
c4 c4 \property Voice.fontSize = #-1
f4 g4
@end lilypond
- This command will set @code{font-relative-size} (see below),
- and does not change the size of variable symbols, such as
-beams or slurs. You can use this command to get smaller symbol for
-cue notes, but that involves some more subtleties. An elaborate
-example of those is in @inputfileref{input/test,cue-notes.ly}.
+This command will set @code{font-relative-size} (see below), and does
+not change the size of variable symbols, such as beams or slurs.
+
+
+One of the uses of @code{fontSize} is to get smaller symbol for cue
+notes. An elaborate example of those is in
+@inputfileref{input/test,cue-notes.ly}.
@cindex magnification
\property Staff.TimeSignature
\set #'font-name = #"cmr17"
@end example
-You may use any font which is available to @TeX{}, such as foreign
-fonts or fonts that do not belong to the Computer Modern font family.
+
+@noindent
+Any font can be used, as long as it is available to @TeX{}. Possible
+fonts include foreign fonts or fonts that do not belong to the
+Computer Modern font family.
Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
can also be adjusted with a more fine-grained mechanism. By setting
@item font-family
A symbol indicating the general class of the typeface. Supported are
@code{roman} (Computer Modern), @code{braces} (for piano staff
-braces), @code{music} (the standard music font), @code{ancient} (the
-ancient notation font) @code{dynamic} (font for dynamic signs) and
-@code{typewriter}.
+braces), @code{music} (the standard music font, including ancient
+glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
@item font-shape
A symbol indicating the shape of the font, there are typically several
height, and relative size +1 corresponds to 23 pt staff height.
There are small differences in design between fonts designed for
-different sizes, hence font-relative-size is the preferred way to
-change a font size.
+different sizes, hence @code{font-relative-size} is preferred over
+@code{font-magnification} for changing font sizes.
@item font-design-size
@code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
to override default setting, which are always present. For example:
@example
- \property Lyrics.LyricText \override #'font-series = #'bold
- \property Lyrics.LyricText \override #'font-family = #'typewriter
- \property Lyrics.LyricText \override #'font-shape = #'*
+ \property Lyrics . LyricText \override #'font-series = #'bold
+ \property Lyrics . LyricText \override #'font-family = #'typewriter
+ \property Lyrics . LyricText \override #'font-shape = #'*
@end example
@cindex @code{font-style}
+@refcommands
+The following commands set @code{fontSize} for the current voice.
+
+@cindex @code{\tiny}
+@code{\tiny},
+@cindex @code{\small}
+@code{\small},
+@cindex @code{\normalsize}
+@code{\normalsize},
@refbugs
@cindex font switching
-The line of the example demonstrates font switching commands. The
-command only apply to the first following word; enclose a set of texts
-with braces to apply a command to more words.
+The markup in the example demonstrates font switching commands. The
+command @code{\bold} and @code{\italic} only apply to the first
+following word; enclose a set of texts with braces to apply a command
+to more words.
@example
\markup @{ \bold @{ hi there @} @}
@end example
+
+@noindent
For clarity, you can also do this for single arguments, e.g.
@example
\markup @{ is \italic @{ anyone @} home @}
The following size commands set abolute sizes
-@cindex \teeny
-@cindex \tiny
-@cindex \small
-@cindex \large
-@cindex \huge
+@cindex @code{\teeny}
+@cindex @code{\tiny}
+@cindex @code{\small}
+@cindex @code{\large}
+@cindex @code{\huge}
@table @code
@item \teeny
@cindex larger
@cindex font style, for texts
-@cindex \bold
-@cindex \dynamic
-@cindex \number
-@cindex \italic
+@cindex @code{\bold}
+@cindex @code{\dynamic}
+@cindex @code{\number}
+@cindex @code{\italic}
The following font change commands are defined:
@table @code
@cindex moving text
@cindex translating text
-@cindex \sub
-@cindex \super
+@cindex @code{\sub}
+@cindex @code{\super}
Raising and lowering texts can be done with @code{\super} and
@code{\sub}.
c1^\markup { E "=" mc \super "2" }
@end lilypond
-@cindex \raise
+@cindex @code{\raise}
If you want to give an explicit amount for lowering or raising, use
@code{\raise}. This command takes a Scheme valued first argument, and
respectively.
@item \musicglyph
-@cindex \musicglyph
+@cindex @code{\musicglyph}
This is converted to a musical symbol, e.g. @code{\musicglyph
#"accidentals-0"} will select the natural sign from the music font.
See @ref{The Feta font} for a complete listing of the possible glyphs.
This produces a single character, e.g. @code{\char #65} produces the
letter 'A'.
+@item \note @var{log} @var{dots} @var{dir}
+@cindex @code{\note}
+
+This produces a note with a stem pointing in @var{dir} direction, with
+duration log @var{log} and @var{dots} augmentation dots. The duration
+log is the negative 2-logarithm of the duration denominator. For
+example, a quarter note has log 2, an eighth note 3 and a breve has
+log -1.
+
@item \hspace #@var{amount}
-@cindex \hspace
+@cindex @code{\hspace}
This produces a invisible object taking horizontal space.
@example
\markup @{ A \hspace #2.0 B @}
normally inserted before elements on a line.
@item \fontsize #@var{size}
-@cindex \fontsize
+@cindex @code{\fontsize}
This sets the relative font size, eg.
@example
A \fontsize #2 @{ B C @} D
This moves `B C' 2 spaces to the right, and 3 down.
@item \magnify #@var{mag}
-@cindex \magnify
+@cindex @code{\magnify}
This sets the font magnification for the its argument. In the following
example, the middle A will be 10% larger.
@example
@item \override #(@var{key} . @var{value})
-@cindex \override
+@cindex @code{\override}
This overrides a formatting property for its argument. The argument
should be a key/value pair, e.g.
@example
-m \override #'(font-family . math) m m
+ m \override #'(font-family . math) m m
@end example
@end table
c1^\markup { \line << a b c >> }
@end lilypond
-The markup mechanism is very flexible and extensible. Refer to
+The markup mechanism is extensible. Refer to
@file{scm/new-markup.scm} for more information on extending the markup
mode.
line breaks and the spacing. These all influence each other. The
choice of spacing determines how densely each system of music is set,
which influences where line breaks breaks are chosen, and thus
-ultimately how many pages a piece of music takes. In this section we
-will explain how the lilypond spacing engine works, and how you can
-tune its results.
+ultimately how many pages a piece of music takes. In this section, the
+algorithm for spacing music is explained, and how spacing can be
+tuned.
Globally spoken, this procedure happens in three steps: first,
flexible distances (``springs'') are chosen, based on durations. All
possible line breaking combination are tried, and the one with the
best results---a layout that has uniform density and requires as
little stretching or cramping as possible---is chosen. When the score
-is processed by @TeX{}, page are filled with systems, and page breaks
+is processed by @TeX{}, each page is filled with systems, and page breaks
are chosen whenever the page gets full.
The piano staves are handled a little differently: to make cross-staff
beaming work correctly, it necessary that the distance between staves
-is fixed. This is also done with a @internalsref{VerticalAlignment}
-object, created in @internalsref{PianoStaff}. In this object the
-distance between the staves is fixed by setting
-@code{forced-distance}. If you want to override this, use a
-@code{\translator} block as follows:
+is fixed beforehand. This is also done with a
+@internalsref{VerticalAlignment} object, created in
+@internalsref{PianoStaff}. In this object the distance between the
+staves is fixed by setting @code{forced-distance}. If you want to
+override this, use a @code{\translator} block as follows:
@example
\translator @{
\PianoStaffContext
@code{spacing-increment}) of space to the note.
For example, the following piece contains lots of half, quarter and
-8th notes, the eighth note is followed by 1 note head width (NHW). The
+8th notes, the eighth note is followed by 1 note head width (NHW).
The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
@lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
c8 c4 c4 c4
property in @internalsref{NoteSpacing}, which are generated for every
@internalsref{Voice} context. The @code{StaffSpacing} object
(generated at @internalsref{Staff} context) contains the same property
-for controlling the stem/barline spacing. In the following example
+for controlling the stem/barline spacing. The following example
shows these corrections, once with default settings, and once with
exaggerated corrections.
@cindex SpacingSpanner, overriding properties
-Properties of the @internalsref{SpacingSpanner} must be overriden
+Properties of the @internalsref{SpacingSpanner} must be overridden
from the @code{\paper} block, since the @internalsref{SpacingSpanner}
is created before any @code{\property} statements are interpreted.
@example
@cindex @code{paper} file
The Feta font provides musical symbols at seven different sizes.
-These fonts are 11 point, 13 point, 16 point, 19 pt, 20 point, 23
-point, and 26 point. The point size of a font is the height of the
-five lines in a staff when displayed in the font.
+These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
+26 point. The point size of a font is the height of the corresponding
+staff (excluding line thicknesses).
Definitions for these sizes are the files @file{paperSZ.ly}, where
-@code{SZ} is one of 11, 13, 16, 19, 20, 23 and 26. If you include any
+@code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
of these files, the variables @code{paperEleven},
-@code{paperThirteen}, @code{paperSixteen}, @code{paperNineteen},
+@code{paperThirteen}, @code{paperSixteen},
@code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
are defined respectively. The default @code{\paper} block is also
set. These files should be imported at toplevel, i.e.
\score @{ ... @}
@end example
-The font definitions are generated using a Scheme function. For more
-details, see the file @file{scm/font.scm}.
-
+The default font size settings for each staff heights are generated
+from the 20pt style sheet. For more details, see the file
+@file{scm/font.scm}.
+l
@node Line breaking
@cindex regular line breaks
@cindex four bar music.
-If you want linebreaks at regular intervals, you can use the following:
+For linebreaks at regular intervals use @code{\break} separated by
+skips and repeated with @code{\repeat}:
@example
< \repeat unfold 7 @{ s1 * 4 \break @}
@emph{the real music}
>
@end example
+
+@noindent
This makes the following 28 measures (assuming 4/4 time) be broken every
4 measures.
@cindex page layout
@cindex vertical spacing
-The page layout process happens outside lilypond: variables
-controlling page layout are passed to the output, and are further
-interpreted by @code{ly2dvi}. @code{ly2dvi} responds to the following
-variables in the @code{\paper} block. The variable @code{textheight}
-sets the total height of the music on each page. The spacing between
-systems is controlled with @code{interscoreline}, its default is 16pt.
-The distance between the score lines will stretch in order to fill the
-full page @code{interscorelinefill} is set to a positive number. In
-that case @code{interscoreline} specifies the minimum spacing.
+The page layout process happens outside the LilyPond formatting
+engine: variables controlling page layout are passed to the output,
+and are further interpreted by @code{ly2dvi}. @code{ly2dvi} responds
+to the following variables in the @code{\paper} block. The variable
+@code{textheight} sets the total height of the music on each page.
+The spacing between systems is controlled with @code{interscoreline},
+its default is 16pt. The distance between the score lines will
+stretch in order to fill the full page @code{interscorelinefill} is
+set to a positive number. In that case @code{interscoreline}
+specifies the minimum spacing.
@cindex @code{textheight}
@cindex @code{interscoreline}
is done by setting the @code{between-systems-strings} on the
@internalsref{NonMusicalPaperColumn} where the system is broken.
An example is shown in @inputfileref{input/regression,between-systems.ly}.
+The predefined command @code{\newpage} also does this.
@cindex paper size
@cindex page size
Lilypond and @code{ly2dvi})
+@refcommands
+
+@cindex @code{\newpage}
+@code{\newpage},
+
+
@seealso
@ref{Invoking ly2dvi},
@refbugs
-There is no concept of page breaking, which makes it difficult to
-choose sensible page breaks in multi-page pieces.
+LilyPond has no concept of page layout, which makes it difficult to
+reliably choose page breaks in longer pieces.
Entered music can also be converted to MIDI output. The performance
is good enough for proof-hearing the music for errors.
-
Ties, dynamics and tempo changes are interpreted. Dynamic marks,
crescendi and decrescendi translate into MIDI volume levels. Dynamic
marks translate to a fixed fraction of the available MIDI volume
-range, crescendi and decrescendi make the the volume vary linearly
-between their two extremities. The fractions be adjusted by
+range, crescendi and decrescendi make the volume vary linearly between
+their two extremities. The fractions be adjusted by
@code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
-
-For each type of musical instrument (that MIDI supports), a volume range
-can be defined. This gives you basic equalizer control, which can
-enhance the quality of the MIDI output remarkably. The equalizer
-can be controlled by setting @code{instrumentEqualizer}.
-
-Both loudness controls are combined to produce the final MIDI volume.
+For each type of MIDI instrument, a volume range can be defined. This
+gives a basic equalizer control, which can enhance the quality of
+the MIDI output remarkably. The equalizer can be controlled by
+setting @code{instrumentEqualizer}.
@refbugs
Many musically interesting effects, such as swing, articulation,
-slurring, etc., are translated to MIDI.
+slurring, etc., are not translated to MIDI.
@menu
@cindex MIDI block
@itemize @bullet
- @item a @code{\tempo} definition
- @item context definitions
+ @item a @code{\tempo} definition
+ @item context definitions
@end itemize
Assignments in the @code{\midi} block are not allowed.
projects / lilypond.git / blobdiff