@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::
* Skips::
* Durations::
* Ties::
-* Automatic note splitting ::
* Tuplets::
* Easy Notation note heads ::
@end menu
@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.
+
+Additionally, fingerings and articulations may be attached to
+individual pitches of the chord:
+
+@lilypond[singleline,verbatim,relative 1]
+ <<f-1 a-^ c-5>>
+@end lilypond
+
-TODO: accidental overides?
@node Rests
@subsection Rests
-@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
-
-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
@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, for example
+the use of variables (for splitting up large pieces of music), and
+unfolded repeats for writing repetitive parts. They are described in
+other sections (see @ref{Repeats} and @ref{Assignments}), since they
+are not especially aimed at easing entry
+
+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.
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
+
+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
+
+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 Expressive marks
@section Expressive marks
-
@menu
* Slurs ::
* Phrasing slurs::
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
+by adding a dash and the character signifying the
articulation. They are demonstrated here.
@lilypondfile[notexidoc]{script-abbreviations.ly}
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.
+or entering @code{\partial}. Similarly, slurs or ties are also not
+repeated.
@node Manual repeat commands
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
@refbugs
-You cannot nest percent repeats, e.g. by filling in the first measure
-with slashes, and repeating that measure with percents.
+Single measure and double measure percent-repeats cannot be nested.
@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 {
@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{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.
To typeset the music on a staff apply the function @code{drums->paper}
to the percussion music. This function takes a list of percussion
}
@end lilypond
-Scheme supports six different toms. When there fewer toms, simply
+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}.
for this purpose instead.
@item 'timbales
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.
+
@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.
+
@lilypond[singleline]
\include "drumpitch-init.ly"
nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
* Manual staff switches::
* Pedals::
* Arpeggio::
-* Voice follower lines::
+* Staff switch lines::
@end menu
@refbugs
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:
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
@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
+which may be confusing.
-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}.
+
+@refbugs
+The definition of lyrics mode is too complex.
-@cindex context
-@cindex interpretation context
-@cindex notation context
+@node The Lyrics context
+@subsection The Lyrics context
+Lyrics are printed by interpreting them in @internalsref{Lyrics}
+context:
+@example
+ \context Lyrics \lyrics @dots{}
+@end example
+@cindex automatic syllable durations
+@cindex @code{\addlyrics}
+@cindex lyrics and melodies
-The melody and the lyrics can be combined with the @code{\addlyrics}:
+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 \relative c' @dots{}
- \context Lyrics \lyrics @dots{}
+ \notes @dots{}
+ \context Lyrics @dots{}
+@end example
+
+@cindex staff order, with @code{\addlyrics}
+
+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
-[TODO: Move lyrics section from tutorial to here?]
+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
+
+An example of a SATB score setup is in the file
+@inputfileref{input/template,satb}.
-See also the sections on @ref{Slurs} and @ref{Breath marks}.
+@seealso
-[TODO: Move slurs / breath marks section to here?]
+@internalsref{LyricCombineMusic}, @internalsref{Lyrics},
+@inputfileref{input/template,satb}.
-[TODO: Write subsection upon usage of ChoirStaff.]
+@refbugs
+@code{\addlyrics} is not automatic enough: melismata are not detected
+automatically, and melismata are not stopped when they hit a rest.
@node More stanzas
-@section More stanzas
+@subsection More stanzas
+
+
+@cindex phrasing, in lyrics
+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.
-@cindex phrasing
+To this end, give the @internalsref{Voice} context an identity,
+@example
+\context Voice = duet @{
+ \time 3/4
+ g2 e4 a2 f4 g2. @}
+@end example
-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.
+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 on rests
+correct.
+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}.
+(empty) lyrics under rests. To remedy this, use @code{\skip} instead.
@end example
-@menu
-* Ambitus::
-@end menu
-
@node Ambitus
@subsection Ambitus
@cindex ambitus
>
@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: the string number, the string tuning and the
+note pitch.
@refbugs
@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 entering and printing named chords.
+These chords are internally represented as a set of pitches. Therefore
+they can be entered by name and printed as notes, entered as notes and
+printed as chord names, or (the most common case) entered them by
+name, and print them as name. The following fragment shows these
+options:
+
@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 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::
@cindex 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.
+For displaying printed chord names, use the @internalsref{ChordNames}
+context. 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' g'>> <<e' g' b'>>
}
\score {
\notes<
\context ChordNames \scheme
- \context Staff \transpose c c' \scheme
+ \context Staff \scheme
>
}
@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.]
-
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
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
+using the @code{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.
@node Writing parts
@section Writing parts
-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.
+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.
* Transpose::
* Multi measure rests::
* Automatic part combining::
-* Hara kiri staves::
+* Frenched scores::
* Sound output for transposing instruments::
@end menu
@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-every-five-reset.ly}.
-@lilypondfile[notexidoc]{bar-number-every-5-reset.ly}
+@lilypondfile[notexidoc]{bar-number-every-five-reset.ly}
@seealso
@internalsref{BarNumber}.
-@inputfileref{input/test,bar-number-every-5-reset.ly}.
+@inputfileref{input/test,bar-number-every-five-reset.ly}.
@inputfileref{input/test,bar-number-every-fifth.ly}
@refbugs
@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 OK6, but the bar numbering will be
+off.
@node Automatic part combining
@subsection Automatic part combining
@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'.
@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.
+This is supported through the @code{RemoveEmptyStaff}. This staff is
+removed when it turns out empty (or containing multimeasure rests)
+after the line-breaking process.
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
+@internalsref{ChordNames} and @internalsref{FiguredBass}, this is
+switched on by default. For normal staffs, it is available as a
specialized @internalsref{Staff} context, with the name variable
-@code{\HaraKiriStaffContext}. Observe how the second staff in this
+@code{\RemoveEmptyStaffContext}. Observe how the second staff in this
example disappears in the second line.
@lilypond[verbatim]
>
\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
+@node Gregorian square neumes ligatures
+@subsubsection Gregorian square neumes ligatures
-@cindex Basso continuo
+@cindex Square neumes ligatures
+@cindex Gregorian square neumes ligatures
-@c TODO: musicological blurb about FB
+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.
-@syntax
+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 has limited support for figured bass:
+@multitable @columnfractions .4 .2 .2 .2
-@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
+@item
+@b{Neuma aut@*Neumarum Elementa} @tab
+@b{Figurae@*Rectae} @tab
+@b{Figurae@*Liquescentes Auctae} @tab
+@b{Figurae@*Liquescentes Deminutae}
-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}
+@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
+
+@c why not make identifiers in ly/engraver-init.ly? --hwn
+
+@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
+
+ % 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"
+ \remove "Staff_symbol_engraver"
+ \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
+
+ % Punctum Auctum Descendens
+ \[ \auctum \descendens b \]
+ \noBreak s^\markup {"d"} \noBreak
+
+ % 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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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"
+ \remove "Staff_symbol_engraver"
+ \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. Trigomus}
+@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"
+ \remove "Staff_symbol_engraver"
+ \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
+VoiceContext 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
+
+Use special heads for lower/upper head of Pes only when heads are
+stacked.
+
+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
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.
@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
@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 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.
+@code{\revert} must be carefully balanced.
These are examples of correct nesting of @code{\override}, @code{\set},
@code{\revert}.
@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 Applyoutput
@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
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 @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.
@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}
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 you 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