@c Note: -*-texinfo-*-
-@c
+@c This file is part of lilypond.tely
+
@c A menu is needed before every deeper *section nesting of @node's; run
@c M-x texinfo-all-menus-update
-@c to automagically fill in these menus before saving changes
+@c to automatically fill in these menus before saving changes
@c
@c FIXME: singular vs. plural: Beams/Beam
@node Notation manual
@chapter Notation manual
-@html
-<!--- @@WEB-TITLE@@=Notation manual --->
-@end html
-
+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
* Note entry::
* Beaming::
* Accidentals::
* Expressive marks::
-* Articulations::
-* Fingering instructions::
* Repeats::
* Rhythmic music::
* Piano music::
* Vocal music::
* Tablatures::
* Chord names::
-* Writing parts::
-* Ancient notation ::
+* Orchestral music::
+* Ancient notation::
* Contemporary notation::
-* Tuning output::
-* Global layout::
-* Sound::
+* Special notation::
@end menu
@c FIXME: Note entry vs Music entry at top level menu is confusing.
@section Note entry
@cindex Note entry
-
+The basic elements of any piece of music are the notes. This section
+is about basic notation elements notes, rests and related constructs,
+such as stems, tuplets and ties.
@menu
* Notes::
* 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}, but both forms are accepted. Similarly, both
+@code{es} and @code{ees} are accepted.
+
+Half-flats and half-sharps are formed by adding @code{-eh} and
+@code{-ih}; the following is a series of Cs with increasing pitches:
+
+@cindex quarter tones
+@cindex semi-flats, semi-sharps
+
+@lilypond[verbatim,relative=2]
+ ceses4
+ ceseh
+ ces
+ ceh
+ c
+ cih
+ cis
+ cisih
+ cisis
+@end lilypond
There are predefined sets of note names for various other languages.
To use them, include the language specific init file. For
Note Names sharp flat
nederlands.ly c d e f g a bes b -is -es
english.ly c d e f g a bf b -s/-sharp -f/-flat
+ -x (double)
deutsch.ly c d e f g a b h -is -es
norsk.ly c d e f g a b h -iss/-is -ess/-es
svenska.ly c d e f g a b h -iss -ess
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]
+@lilypond[fragment,verbatim]
c' c'' es' g' as' gisis' ais'
@end lilypond
-The verbose syntax for pitch specification is
+@refcommands
-@cindex @code{\pitch}
-@example
- \pitch @var{scmpitch}
-@end example
+Notes can be hidden and unhidden with the following commands:
-where @var{scmpitch} is a Scheme object of the @code{Pitch} type.
+@cindex @code{\hideNotes}
+@code{\hideNotes},
+@cindex @code{\unHideNotes}
+@code{\unHideNotes}.
@seealso
-@internalsref{NoteEvent}, @internalsref{NoteHead}
+Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
@node Chromatic alterations
@subsection Chromatic alterations
after the pitch. A cautionary accidental
@cindex cautionary accidental
@cindex parenthesized accidental
-(an accidental within parentheses) can be obtained by adding the
-question mark `@code{?}' after the pitch.
+(i.e. an accidental within parentheses) can be obtained by adding the
+question mark `@code{?}' after the pitch:
@lilypond[fragment,verbatim]
cis' cis' cis'! cis'?
@node Chords
@subsection Chords
-A chord is formed by a enclosing a set of pitches in @code{<<} and
-@code{>>}. A chord may be followed by a duration, and a set of
+A chord is formed by a enclosing a set of pitches in @code{<} and
+@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
-
-
-@node Rests
+@node Rests
@subsection Rests
@cindex 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]
+@lilypond[raggedright,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.
-@lilypond[singleline,verbatim]
+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[raggedright,verbatim]
a'4\rest d'4\rest
@end lilypond
@seealso
-@internalsref{RestEvent}, @internalsref{Rest}
+Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
@c FIXME: naming.
An invisible rest (also called a `skip') can be entered like a note
with note name `@code{s}' or with @code{\skip @var{duration}}:
-@lilypond[singleline,verbatim]
+@lilypond[raggedright,verbatim]
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]
+@lilypond[raggedright,verbatim]
\score {
- \context Staff <
+ \new Staff <<
{ \time 4/8 \skip 2 \time 4/4 }
\notes\relative c'' { a2 a1 }
- >
+ >>
}
@end lilypond
The skip command is merely an empty musical placeholder. It does not
produce any output, not even transparent output.
+The @code{s} skip command does create @internalsref{Staff} and
+@internalsref{Voice} when necessary, similar to note and rest
+commands. For example, the following results in an empty staff.
+
+@lilypond[raggedright,verbatim]
+\score { \notes { s4 } }
+@end lilypond
+
+The same fragment using @code{\skip} results in an empty page.
+
@seealso
-@internalsref{SkipEvent}
+Internals: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
@cindex duration
-@cindex @code{\duration}
In Note, Chord, and Lyrics mode, durations are designated by numbers
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.
-
-@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
+longer than a whole you must use variables:
@example
c'\breve
\translator {
\StaffContext
\remove "Clef_engraver"
- \remove "Staff_symbol_engraver"
- \remove "Time_signature_engraver"
+ \override StaffSymbol #'transparent = ##t
+ \override TimeSignature #'transparent = ##t
\consists "Pitch_squash_engraver"
}
}
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{.}
-@lilypond[fragment,verbatim,center]
+@lilypond[fragment,verbatim]
a' b' c''8 b' a'4 a'4. b'4.. c'8.
@end lilypond
@cindex @code{r}
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.
-@lilypond[verbatim,fragment]
- c'\duration #(ly:make-duration 2 1)
-@end lilypond
+@refcommands
-@refbugs
+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:
-Dot placement for chords is not perfect. In some cases, dots overlap:
-@lilypond[]
- <<f, c'' d e f>>4.
-@end lilypond
+@cindex @code{\dotsUp}
+@code{\dotsUp},
+@cindex @code{\dotsDown}
+@code{\dotsDown},
+@cindex @code{\dotsBoth}
+@code{\dotsBoth}.
+
+@seealso
+
+Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
+
+@node Stems
+@subsection Stems
+
+Whenever a note is found, a @internalsref{Stem} object is created
+automatically. For whole notes and rests, they are also created but
+made 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'>>
+@lilypond[fragment,verbatim]
+ e' ~ e' <c' e' g'> ~ <c' e' g'>
@end lilypond
When a tie is applied to a chord, all note heads whose pitches match
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]
+@lilypond[fragment,raggedright]
\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
-note splitting (See @ref{Automatic note splitting}).
+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
-@internalsref{TieEvent}, @internalsref{NewTieEvent},
-@internalsref{Tie}, @ref{Automatic note splitting}.
+In this manual: @ref{Automatic note splitting}.
+
+Internals: @internalsref{TieEvent}, @internalsref{Tie}.
-If you want less
-ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
+For tying only a subset of the note heads of a pair of chords, see
+@inputfileref{input/regression,tie-chord-partial.ly}.
@refbugs
-Tieing only a subset of the note heads of a pair of chords is not
-supported in a simple way. It can be achieved by moving the
-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.
+optimal.
@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
\times @var{fraction} @var{musicexpr}
@end example
-The duration of @var{musicexpr} will be multiplied by the fraction.
-In the sheet music, the fraction's denominator will be printed over
-the notes, optionally with a bracket. The most common tuplet is the
-triplet in which 3 notes have the length of 2, so the notes are 2/3
-of their written length:
+@noindent
+The duration of @var{musicexpr} will be multiplied by the fraction.
+The fraction's denominator will be printed over the notes, optionally
+with a bracket. The most common tuplet is the triplet in which 3
+notes have the length of 2, so the notes are 2/3 of their written
+length:
-@lilypond[fragment,verbatim,center]
+@lilypond[fragment,verbatim]
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)
+@lilypond[fragment,relative,raggedright,verbatim]
+\set tupletSpannerDuration = #(ly:make-moment 1 4)
\times 2/3 { c'8 c c c c c }
@end lilypond
@cindex @code{tupletNumberFormatFunction}
@cindex tuplet formatting
-@seealso
-
-@seeinternals{TupletBracket}, @seeinternals{TimeScaledMusic}.
-
-@refbugs
-
-Nested tuplets are not formatted automatically. In this case, outer
-tuplet brackets should be moved manually.
-@node Easy Notation note heads
-@subsection Easy Notation note heads
+@refcommands
-@cindex easy notation
-@cindex Hal Leonard
+@cindex @code{\tupletUp}
+@code{\tupletUp},
+@cindex @code{\tupletDown}
+@code{\tupletDown},
+@cindex @code{\tupletBoth}
+@code{\tupletBoth}.
-The `easyplay' note head includes a note name inside the head. It is
-used in music aimed at beginners.
+@seealso
-@lilypond[singleline,verbatim,26pt]
-\score {
- \notes { c'2 e'4 f' | g'1 }
- \paper { \translator { \EasyNotation } }
-}
-@end lilypond
+Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
-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}.
+Examples: @inputfileref{input/regression,tuplet-nest.ly}.
+@refbugs
-@cindex Xdvi
-@cindex ghostscript
+Nested tuplets are not formatted automatically. In this case, outer
+tuplet brackets should be moved manually, which is demonstrated in
+@inputfileref{input/regression,tuplet-nest.ly}.
-If you view the result with Xdvi, then staff lines will show through
-the letters. Printing the PostScript file obtained with ly2dvi does
-produce the correct result.
@node 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
+with tricks and features of the input language that were added solely
+to 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
@menu
* Relative octaves::
+* Octave check::
* Bar check::
* Skipping corrected music::
+* Automatic note splitting::
@end menu
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.
-@lilypond[fragment,singleline,verbatim,center]
+Here is the relative mode shown in action:
+@lilypond[fragment,raggedright,verbatim]
\relative c'' {
b c d c b c bes a
}
@end lilypond
-And octave changing marks are used for intervals greater than a fourth.
-@lilypond[fragment,verbatim,center]
+Octave changing marks are used for intervals greater than a fourth:
+@lilypond[fragment,verbatim]
\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]
+@lilypond[fragment,verbatim]
\relative c' {
- c <<c e g>>
- <<c' e g>>
- <<c, e' g>>
+ c <c e g>
+ <c' e g>
+ <c, e' g>
}
@end lilypond
@cindex @code{\notes}
want to use relative within transposed music, you must place an
additional @code{\relative} inside the @code{\transpose}.
+@node Octave check
+@subsection Octave check
+
+
+Octave checks make octave errors easier to correct: a note may be
+followed by @code{=}@var{quotes} which indicates what its absolute
+octave should be. In the following example,
+@example
+ \relative c'' @{ c='' b=' d,='' @}
+@end example
+
+@noindent
+@c take care with @code, adds confusing quotes.
+the d will generate a warning, because a d'' is expected, but a d' is
+found. In the output, the octave is corrected this and the following
+notes.
+
+
+
+There is also a syntax that is separate from the notes.
+@example
+ \octave @var{pitch}
+@end example
+
+This checks that @var{pitch} (without octave) yields @var{pitch} (with
+octave) in \relative mode. If not, a warning is printed, and the
+octave is corrected, for example, the first check is passed
+successfully. The second check fails with an error message. The
+octave is adjusted so the following notes are in the correct octave
+once again.
+@example
+ \relative c' @{
+ e
+ \octave a'
+ \octave b'
+ @}
+@end example
+
+
+The octave of a note following an octave check is determined with
+respect to the note preceding it. In the next fragment, the last note
+is a @code{a'}, above middle C. Hence, the @code{\octave} check may
+be deleted without changing the meaning of the piece.
+
+@lilypond[verbatim,fragment]
+ \relative c' {
+ e
+ \octave b
+ a
+ }
+@end lilypond
@node Bar check
@subsection Bar check
@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
+Bar checks can also be used in lyrics, for example
+
+@example
+ \lyrics @{
+ \time 2/4
+ Twin -- kle | Twin -- kle
+ @}
+@end example
@cindex skipTypesetting
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]
+@lilypond[fragment,raggedright,verbatim]
\relative c'' { c8 d
-\property Score.skipTypesetting = ##t
+\set Score.skipTypesetting = ##t
e f g a g c, f e d
-\property Score.skipTypesetting = ##f
+\set Score.skipTypesetting = ##f
c d b bes a g c2 }
@end lilypond
-@node Automatic note splitting
+@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}.
+In the following examples, notes crossing the bar line are split and tied.
-@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
+@lilypond[noindent,verbatim,relative=1]
+\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
- } }
- }
+} {
+ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
+}
@end lilypond
This engraver splits all running notes at the bar line, and inserts
Not all durations (especially those containing tuplets) can be
represented exactly; the engraver will not insert tuplets.
+@seealso
+
+Examples: @inputfileref{input/regression,completion-heads.ly}.
+Internals: @internalsref{Completion_heads_engraver}.
@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
@subsection Staff symbol
@cindex adjusting staff symbol
-@cindex StaffSymbol, using \property
-@cindex staff lines, setting number of
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
-created. The appearance of the staff symbol cannot be changed by
-using @code{\override} or @code{\set}. At the moment that
-@code{\property Staff} is interpreted, a @internalsref{Staff} context
-is made, and the @internalsref{StaffSymbol} is created before any
-@code{\override} is effective. Properties can be changed in a
-@code{\translator} definition, or by using @code{\outputproperty}.
+
+@cindex staff lines, setting number of
+@cindex staff lines, setting thickness of
+@cindex thickness of staff lines, setting
+@cindex number of staff lines, setting
+
+@seealso
+
+Internals: @internalsref{StaffSymbol}.
+
+Examples: @inputfileref{input/test,staff-lines.ly},
+@inputfileref{input/test,staff-size.ly}.
@refbugs
If a staff is ended halfway a piece, the staff symbol may not end
-exactly on the barline.
+exactly on the bar line.
@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
@internalsref{Staff}.@code{keySignature}. Non-standard key signatures
can be specified by setting this property directly.
+Accidentals and key signatures often confuse new users, because
+unaltered notes get natural signs depending on the key signature. The
+tutorial explains why this is so in @ref{More about pitches}.
+
@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
-@internalsref{KeyChangeEvent}, @internalsref{KeySignature}.
+Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
@cindex @code{keySignature}
\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
+@cindex treble clef
+@cindex violin clef
@item treble, violin, G, G2
G clef on 2nd line
@item alto, C
+@cindex alto clef
C clef on 3rd line
@item tenor
- C clef on 4th line
+@cindex tenor clef
+ C clef on 4th line.
@item bass, F
+@cindex bass clef
F clef on 4th line
@item french
+@cindex french clef
G clef on 1st line, so-called French violin clef
@item soprano
+@cindex soprano clef
C clef on 1st line
@item mezzosoprano
+@cindex mezzosoprano clef
C clef on 2nd line
@item baritone
+@cindex baritone clef
C clef on 5th line
@item varbaritone
+@cindex varbaritone clef
F clef on 3rd line
@item subbass
+@cindex subbass clef
F clef on 5th line
@item percussion
percussion clef
@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, and @code{_15} and
+@code{^15} transposes by two octaves. The argument @var{clefname}
+must be enclosed in quotes when it contains underscores or digits. For
example,
-@example
- \clef "G_8"
-@end example
+
+
+@cindex choral tenor clef
+@lilypond[verbatim,fragment,relative]
+ \clef "G_8" c4
+@end lilypond
This command is equivalent to setting @code{clefGlyph},
@code{clefPosition} (which controls the Y position of the clef),
@seealso
-The object for this symbol is @internalsref{Clef}.
+Internals: the object for this symbol is @internalsref{Clef}.
``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.
+The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
+(for 15ma) as arguments. Internally the function sets the properties
+@code{ottavation} (e.g. to @code{"8va"}) and
+@code{centralCPosition}. For overriding the text of the bracket, set
+@code{ottavation} after invoking @code{set-octavation}, i.e.,
+
+@example
+ #(set-octavation 1)
+ \set Staff.ottavation = #"8"
+@end example
@seealso
-@internalsref{OttavaBracket}
+Internals: @internalsref{OttavaBracket}.
+
+Examples: @inputfileref{input/regression,ottava.ly},
+@inputfileref{input/regression,ottava-broken.ly}.
@refbugs
@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'' {
#(set-time-signature 9 8 '(2 2 2 3))
- g8-[ g-] d-[ d-] g-[ g-] a8-[-( bes g-]-) |
+ g8[ g] d[ d] g[ g] a8[( bes g]) |
#(set-time-signature 5 8 '(3 2))
a4. g4
}
@seealso
-@internalsref{TimeSignature}, @internalsref{Timing_engraver}.
+Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
@refbugs
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
+@lilypond[fragment,verbatim,relative=1]
+\partial 16*5 c16 cis d dis e | a2. c,4 | b2
@end lilypond
The syntax for this command is
@end example
This is internally translated into
@example
- \property Timing.measurePosition = -@var{length of duration}
+ \set Timing.measurePosition = -@var{length of duration}
@end example
@cindex @code{|}
The property @code{measurePosition} contains a rational number
@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 bar lines.
@syntax
-Bar lines are inserted automatically. Special types
-of barlines can be forced with the @code{\bar} command:
+ Special types
+of bar lines can be forced with the @code{\bar} command:
+@c
@lilypond[relative=1,fragment,verbatim]
c4 \bar "|:" c4
@end lilypond
-The following bar types are available
-@lilypond[fragment, relative, singleline, verbatim]
+The following bar types are available:
+@lilypond[fragment,relative,raggedright,verbatim]
c4
\bar "|" c
\bar "" c
\bar ":|" c
\bar ".|" c
\bar ".|." c
-\bar "|."
+\bar ":|:" c
+\bar "|." c
+\bar ":" c
@end lilypond
+For allowing line breaks, there is a special command,
+@example
+ \bar "empty"
+@end example
+This will insert an invisible bar line, and allow line breaks at this
+point.
-In scores with many staves, the barlines are automatically placed at
-top level, and they are connected between different staves of a
-@internalsref{StaffGroup}:
-@lilypond[fragment, verbatim]
-< \context StaffGroup <
- \context Staff = up { e'4 d'
+In scores with many staves, a @code{\bar} command in one staff is
+automatically applied to all staves. The resulting bar lines are
+connected between different staves of a @internalsref{StaffGroup}:
+@c
+@lilypond[fragment,verbatim]
+<< \context StaffGroup <<
+ \new Staff { e'4 d'
\bar "||"
f' e' }
- \context Staff = down { \clef bass c4 g e g } >
-\context Staff = pedal { \clef bass c2 c2 } >
+ \new Staff { \clef bass c4 g e g } >>
+\new Staff { \clef bass c2 c2 } >>
@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{\set 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{\set}
+or @code{\bar}. These settings take precedence over the automatic
@code{whichBar} settings.
@cindex whichBar
@seealso
-@ref{Repeats}.
+In this manual: @ref{Repeats}.
+
+
+Internals: the bar line objects that are created at
+@internalsref{Staff} level are called @internalsref{BarLine}, the bar
+lines that span staves are @internalsref{SpanBar}s.
+@cindex bar lines at start of system
+@cindex start of system
-The bar line objects that are created at @internalsref{Staff} level
-are called @internalsref{BarLine}, the bar lines that span staffs are
-@internalsref{SpanBar}s.
+The bar lines at the start of each system are
+@internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
+@internalsref{SystemStartBracket}. Only one of these types is created
+in every context, and that type is determined by the property
+@code{systemStartDelimiter}.
+Examples: @inputfileref{input/test,bar-lines.ly},
@node Polyphony
@section Polyphony
small, short-lived voices or for single chords:
@lilypond[verbatim,fragment]
-\context Voice = VA \relative c'' {
- c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f' \\ d' >
+\context Staff \relative c'' {
+ 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@footnote{Polyphonic
+voices are sometimes called "layers" other notation packages}
+@cindex layers
+to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
+each of these contexts, vertical direction of slurs, stems, etc. is set
appropriately.
+@cindex @code{\voiceOne}
+@cindex @code{\voiceFour}
+
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]
+@lilypond[raggedright,verbatim]
\relative c''
-\context Staff < \context Voice = VA { \voiceOne cis2 b }
- \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
- \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
+\context Staff << \new Voice { \voiceOne cis2 b }
+ \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
+ \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
@end lilypond
+@noindent
+The command @code{\oneVoice} will revert back to the normal setting.
+@cindex @code{\oneVoice}
+
+
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:
-@lilypond[verbatim,fragment,singleline]
-\relative c' \context Voice < {
+the @internalsref{NoteCollision} object, they are merged:
+@lilypond[verbatim,fragment,raggedright]
+\relative c'' \context Voice << {
g8 g8
- \property Staff.NoteCollision \override
+ \override Staff.NoteCollision
#'merge-differently-dotted = ##t
g8 g8
- } \\ { g8.-[ f16-] g8.-[ f16-] }
- >
+ } \\ { g8.[ f16] g8.[ f16] }
+ >>
@end lilypond
Similarly, you can merge half note heads with eighth notes, by setting
@code{merge-differently-headed}:
-@lilypond[fragment, relative=2,verbatim]
-\context Voice < {
+@lilypond[fragment,relative=2,verbatim]
+\context Voice << {
c8 c4.
- \property Staff.NoteCollision
- \override #'merge-differently-headed = ##t
- c8 c4. } \\ { c2 c2 } >
+ \override Staff.NoteCollision
+ #'merge-differently-headed = ##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 >
+@lilypond[raggedright,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
-@internalsref{NoteCollision} and @internalsref{RestCollision}. See
-also example files @inputfileref{input/regression,collision-dots.ly},
+Internals: the objects responsible for resolving collisions are
+@internalsref{NoteCollision} and @internalsref{RestCollision}.
+
+Examples: See also example files
+@inputfileref{input/regression,collision-dots.ly},
@inputfileref{input/regression,collision-head-chords.ly},
@inputfileref{input/regression,collision-heads.ly},
@inputfileref{input/regression,collision-mesh.ly}, and
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.
+
+There is no support for clusters where the same note occurs with
+different accidentals in the same chord. In this case, it is
+recommended to use enharmonic transcription, or to use special cluster
+notation (see @ref{Clusters}).
+
@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]
+@lilypond[fragment,verbatim,relative=2]
\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
@end lilypond
entered explicitly. It is also possible to define beaming patterns
that differ from the defaults.
+Individual notes may be marked with @code{\noBeam}, to prevent them
+from being beamed:
+
+@lilypond[fragment,verbatim,relative=2]
+ \time 2/4 c8 c\noBeam c c
+@end lilypond
+
+
@seealso
-@internalsref{Beam}.
+Internals: @internalsref{Beam}.
@cindex Automatic beams
+@menu
+* Manual beams::
+* Setting automatic beam behavior::
+@end menu
+
+@node Manual beams
@subsection Manual beams
@cindex beams, manual
@cindex @code{]}
@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 autobeamer 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 {
- r4 r8-[ g' a r8-] r8 g-[ | a-] r8
+ r4 r8[ g' a r8] r8 g[ | a] r8
}
@end lilypond
Normally, beaming patterns within a beam are determined automatically.
When this mechanism fouls up, the properties
-@code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
+@code{stemLeftBeamCount} and @code{stemRightBeamCount} can
be used to control the beam subdivision on a stem. If either property
-is set, its value will be used only once, and then it is erased.
+is set, its value will be used only once, and then it is erased:
@lilypond[fragment,relative,verbatim]
\context Staff {
- f8-[ r16 f g a-]
- f8-[ r16 \property Voice.stemLeftBeamCount = #1 f g a-]
+ f8[ r16 f g a]
+ f8[ r16 \set stemLeftBeamCount = #1 f g a]
}
@end lilypond
@cindex @code{stemRightBeamCount}
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]
+ \set subdivideBeams = ##t
+ c16[ c c c c c c c]
+ \set Score.beatLength = #(ly:make-moment 1 8)
+ c16[ c c c c c c c]
@end lilypond
@cindex subdivideBeams
between the note heads. This behavior can be tuned through the object
property @code{auto-knee-gap}.
+Normally, line breaks are forbidden when beams cross bar lines. This
+behavior can be changed by setting @code{allowBeamBreak}.
+
+@cindex @code{allowBeamBreak}
+@cindex beams and line breaks
+
@cindex beams, kneed
@cindex kneed beams
@cindex auto-knee-gap
@refbugs
-@cindex hara kiri
-
-Automatically kneed beams cannot be used together with Hara Kiri
-staves.
-
-
-@menu
-* Setting automatic beam behavior ::
-@end menu
-
-@ignore
-@no de Beam typography
-@sub section Beam typography
-
-One of the strong points of LilyPond is how beams are formatted. Beams
-are quantized, meaning that the left and right endpoints beams start
-exactly on staff lines. Without quantization, small wedges of white
-space appear between the beam and staff line, and this looks untidy.
+@cindex Frenched staves
-Beams are also slope-damped: melodies that go up or down should also
-have beams that go up or down, but the slope of the beams should be
-less than the slope of the notes themselves.
+Automatically kneed beams cannot be used together with hidden staves.
-Some beams should be horizontal. These are so-called concave beams.
-[TODO: some pictures.]
-@end ignore
-@node Setting automatic beam behavior
+@node Setting automatic beam behavior
@subsection Setting automatic beam behavior
@cindex @code{autoBeamSettings}
@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,
or at durations specified by the properties in
-@code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
+@code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
are defined in @file{scm/auto-beam.scm}.
-The value of @code{autoBeamSettings} is changed using
-@code{\override} and unset using @code{\revert}:
+The value of @code{autoBeamSettings} is changed with two functions:
@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})
+ #(override-auto-beam-setting
+ '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
+ [@var{context}])
+ #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
@end example
-Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
+Here, @var{be} is the symbol @code{begin} or @code{end}. It determines
whether the rule applies to begin or end-points. The quantity
-@var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
-*}' designates notes of any length), @var{N}/@var{M} refers to a time
-signature (wildcards, `@code{* *}' may be entered to designate all time
-signatures).
+@var{p}/@var{q} refers to the length of the beamed notes (and `@code{*
+*}' designates notes of any length), @var{n}/@var{M} refers to a time
+signature (wildcards `@code{* *}' may be entered to designate all time
+signatures), @var{a}/@var{b} is a duration. By default, this command
+changes settings for the current voice. It is also possible to adjust
+settings at higher contexts, by adding a @var{context} argument.
For example, if automatic beams should end on every quarter note, use
the following:
@example
-\property Voice.autoBeamSettings \override
- #'(end * * * *) = #(ly:make-moment 1 4)
+ #(override-auto-beam-setting '(end * * * *) 1 4)
@end example
Since the duration of a quarter note is 1/4 of a whole note, it is
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)
+ #(override-auto-beam-setting '(end * * * *) 3 8)
@end example
In 4/4 time signature, this means that automatic beams could end only on
3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
-3/8 has passed within the measure).
+3/8, has passed within the measure).
Rules can also be restricted to specific time signatures. A rule that
should only be applied in @var{N}/@var{M} time signature is formed by
replacing the second asterisks by @var{N} and @var{M}. For example, a
rule for 6/8 time exclusively looks like
@example
-\property Voice.autoBeamSettings \override
- #'(begin * * 6 8) = ...
+ #(override-auto-beam-setting '(begin * * 6 8) @dots{})
@end example
If a rule should be to applied only to certain types of beams, use the
@cindex automatic beam generation
@cindex autobeam
-@cindex @code{Voice.autoBeaming}
+@cindex @code{autoBeaming}
@cindex lyrics
For melodies that have lyrics, you may want to switch off
-automatic beaming. This is done by setting @code{Voice.autoBeaming} to
+automatic beaming. This is done by setting @code{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:
+The rules for ending a beam depend on the shortest note in a beam.
+So, while it is possible to have different ending rules for eight
+beams and sixteenth beams, a beam that contains both eight and
+sixteenth notes will use the rules for the sixteenth beam.
+
+In the example below, the autobeamer makes eight beams and sixteenth
+end at 3 eights; the third beam can only be corrected by specifying
+manual beaming.
-@lilypond[singleline,fragment,relative,noverbatim,quote]
- \property Voice.autoBeamSettings
- \override #'(end * * * *) = #(ly:make-moment 3 8)
- \time 12/8 c'8 c c c16 c c c c c c-[ c c c-] c8 c c4
+@lilypond[raggedright,fragment,relative,noverbatim]
+ #(override-auto-beam-setting '(end * * * *) 3 8)
+ % rather show case where it goes wrong
+ %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
+ \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
@end lilypond
It is not possible to specify beaming parameters that act differently in
different parts of a measure. This means that it is not possible to use
@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
@node Using the predefined accidental variables
@subsection Using the predefined accidental variables
-The constructs for describing the accidental typesetting rules are
-quite hairy, so non-experts should stick to the variables
-defined in @file{ly/property-init.ly}.
-@cindex @file{property-init.ly}
-
-The variables set properties in the ``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
-effect. For example, if you want to use piano-accidentals in a piano
-staff then issue @code{\pianoAccidentals} first thing after the
-creation of the piano staff:
+
+Common rules for typesetting macros have been canned in a
+function. This function is called as follows:
+
+@cindex @code{set-accidental-style}
@example
-\score @{
- \notes \relative c'' <
- \context Staff = sa @{ cis4 d e2 @}
- \context GrandStaff <
- \pianoAccidentals
- \context Staff = sb @{ cis4 d e2 @}
- \context Staff = sc @{ es2 c @}
- >
- \context Staff = sd @{ es2 c @}
- >
-@}
+ #(set-accidental-style 'modern 'Voice)
@end example
-@lilypond[singleline]
-\score {
- \notes \relative c'' <
- \context Staff = sa { cis4 d e2 }
- \context GrandStaff <
- \pianoAccidentals
- \context Staff = sb { cis4 d e2 }
- \context Staff = sc { es2 c }
- >
- \context Staff = sd { es2 c }
- >
- \paper {
- \translator {
- \StaffContext
- minimumVerticalExtent = #'(-4.0 . 4.0)
- }
- }
-}
-@end lilypond
-The variables are:
+The function takes two arguments: a symbol that denotes the style (in
+the example, @code{modern}), and another symbol that denotes the
+context name (in this example, @code{Staff}). If no context name is
+supplied, @code{Staff} is the default.
+
+The following styles are supported:
@table @code
-@item \defaultAccidentals
- @cindex @code{\defaultAccidentals}
- This is the default typesetting behaviour. It should correspond
+@item default
+ This is the default typesetting behavior. It should correspond
to 18th century common practice: Accidentals are
remembered to the end of the measure in which they occur and
only on their own octave.
-@item \voiceAccidentals
- @cindex @code{\voiceAccidentals}
+@item voice
@c
- The normal behaviour is to
-remember the accidentals on Staff-level. This variable, however,
-typesets accidentals individually for each voice. Apart from that the
-rule is similar to @code{\defaultAccidentals}.
+ The normal behavior is to remember the accidentals on
+Staff-level. This variable, however, typesets accidentals
+individually for each voice. Apart from that, the rule is similar to
+@code{code}.
This leads to some weird and often unwanted results
- because accidentals from one voice do not get cancelled in other
+ because accidentals from one voice do not get canceled in other
voices:
-@lilypond[singleline,relative,fragment,verbatim,quote]
- \context Staff <
- \voiceAccidentals
- <
+@lilypond[raggedright,relative,fragment,verbatim]
+ \context Staff <<
+ #(set-accidental-style 'voice)
+ <<
{ es g } \\
{ c, e }
- > >
+ >> >>
@end lilypond
- Hence you should only use @code{\voiceAccidentals} if the voices
+ Hence you should only use @code{voice} 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
-@code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
+used by one musician (e.g. a conductor) then you use
+@code{modern} or @code{modern-cautionary}
instead.
-@item \modernAccidentals
- @cindex @code{\modernAccidentals}
+@item modern
+@cindex @code{modern} style accidentals
This rule corresponds to the common practice in the 20th
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,
- in the same octave, they also get cancelled in the following measure:
-@lilypond[singleline,fragment,verbatim]
- \modernAccidentals
+ This rule prints the same accidentals as @code{default}, but temporary
+ accidentals also are canceled in other octaves. Furthermore,
+ in the same octave, they also get canceled in the following
+ measure:
+
+@lilypond[raggedright,fragment,verbatim]
+ #(set-accidental-style 'modern)
cis' c'' cis'2 | c'' c'
@end lilypond
-@item \modernCautionaries
- @cindex @code{\modernCautionaries}
- This rule is similar to @code{\modernAccidentals}, but the
+@item @code{modern-cautionary}
+ @cindex @code{modern-cautionary}
+ This rule is similar to @code{modern}, but the
``extra'' accidentals (the ones not typeset by
- @code{\defaultAccidentals}) are typeset as cautionary accidentals
- (i.e. in reduced size):
-@lilypond[singleline,fragment,verbatim]
- \modernCautionaries
+ @code{default}) are typeset as cautionary accidentals.
+ They are printed in reduced size or with parentheses:
+@lilypond[raggedright,fragment,verbatim]
+ #(set-accidental-style 'modern-cautionary)
cis' c'' cis'2 | c'' c'
@end lilypond
- @cindex @code{\modernVoiceAccidentals}
-@item \modernVoiceAccidentals
+ @cindex @code{modern-voice}
+@item modern-voice
is used for multivoice accidentals to be read both by musicians
playing one voice and musicians playing all voices. Accidentals are
-typeset for each voice, but they @emph{are} cancelled across voices in
+typeset for each voice, but they @emph{are} canceled across voices in
the same @internalsref{Staff}.
- @cindex @code{\modernVoiceCautionaries}
-@item \modernVoiceCautionaries
-is the same as @code{\modernVoiceAccidentals}, but with the extra
-accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
+ @cindex @code{modern-voice-cautionary}
+@item modern-voice-cautionary
+is the same as @code{modern-voice}, but with the extra
+accidentals (the ones not typeset by @code{voice}) typeset
as cautionaries. Even though all accidentals typeset by
-@code{\defaultAccidentals} @emph{are} typeset by this variable then
+@code{default} @emph{are} typeset by this variable then
some of them are typeset as cautionaries.
-@item \pianoAccidentals
- @cindex @code{\pianoAccidentals}
+@item piano
+ @cindex @code{piano} accidentals
20th century practice for piano notation. Very similar to
- @code{\modernAccidentals} but accidentals also get cancelled
+ @code{modern} but accidentals also get canceled
across the staves in the same @internalsref{GrandStaff} or
@internalsref{PianoStaff}.
-@item \pianoCautionaries
- @cindex @code{\pianoCautionaries}
- As @code{\pianoAccidentals} but with the extra accidentals
+@item piano-cautionary
+ @cindex @code{#(set-accidental-style 'piano-cautionary)}
+ As @code{#(set-accidental-style 'piano)' , str)} but with the extra accidentals
typeset as cautionaries.
-@item \noResetKey
- @cindex @code{\noResetKey}
- Same as @code{\defaultAccidentals} but with accidentals lasting
+@item no-reset
+ @cindex @code{no-reset} accidental style
+ Same as @code{default} but with accidentals lasting
``forever'' and not only until the next measure:
-@lilypond[singleline,fragment,verbatim,relative]
- \noResetKey
+@lilypond[raggedright,fragment,verbatim,relative]
+ #(set-accidental-style 'no-reset)
c1 cis cis c
@end lilypond
-@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
+@item forget
+ This is sort of the opposite of @code{no-reset}: Accidentals
+ 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]
- \forgetAccidentals
+
+@lilypond[raggedright,fragment,verbatim,relative]
+ #(set-accidental-style 'forget)
\key d\major c4 c cis cis d d dis dis
@end lilypond
@end table
@node Customized accidental rules
-@subsection Customized accidental rules
-
-This section must be considered gurus-only, and hence it must be
-sufficient with a short description of the system and a reference to
-the internal documentation.
+@subsection Customized accidental rules
-The algorithm tries several different rules, and uses the rule
-that gives the highest number of accidentals. Each rule consists of
+For determining when to print an accidental, several different rules
+are tried. The rule that gives the highest number of accidentals is
+used. Each rule consists of
@table @var
@item context:
In which context is the rule applied. For example, if
@var{context} is @internalsref{Score} then all staves share
accidentals, and if @var{context} is @internalsref{Staff} then all
voices in the same staff share accidentals, but staves do not.
+
@item octavation:
Whether the accidental changes all octaves or only the current
- octave.
-@item lazyness:
- Over how many barlines the accidental lasts.
- If @var{lazyness} is @code{-1} then the accidental is forget
- immediately, and if @var{lazyness} is @code{#t} then the accidental
- lasts forever.
-
-[TODO: should use +infinity for this case?]
-
+ octave. Valid choices are
+
+ @table @samp
+ @item same-octave:
+ This is the default algorithm. Accidentals are typeset if the note changes
+ the accidental of that note in that octave. Accidentals lasts to the end of the measure
+ and then as many measures as specified in the value. I.e. 1 means to the end
+ of next measure, -1 means to the end of previous measure (that is: no duration at all), etc. #t means forever.
+ @item any-octave:
+ Accidentals are typeset if the note is different from
+ the previous note on the same pitch in any octave. The value has same meaning as in
+ same-octave.
+ @end table
+
+@item laziness
+
+ Over how many bar lines the accidental lasts.
+ If @var{laziness} is @code{-1} then the accidental is forget
+ immediately, and if @var{laziness} is @code{#t} then the accidental
+ lasts forever.
@end table
+
@seealso
-@internalsref{Accidental_engraver}, @internalsref{Accidental},
-@internalsref{AccidentalPlacement}.
+Internals: @internalsref{Accidental_engraver},
+@internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
@refbugs
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
accidentals depending on the order in which the notes occur in the
input file:
-@lilypond[singleline,fragment,verbatim]
-\property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
-cis'4 <<c'' c'>> r2 | cis'4 <<c' c''>> r2
-| <<cis' c''>> r | <<c'' cis'>> r |
+@lilypond[raggedright,fragment,verbatim]
+\set Staff.autoAccidentals = #'( Staff (any-octave . 0) )
+cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
+| <cis' c''> r | <c'' cis'> r |
@end lilypond
This problem can be solved by manually inserting @code{!} and @code{?}
@node Expressive marks
@section Expressive marks
+
+@c todo: should change ordering
+@c where to put text spanners, metronome marks,
+@c fingering?
+
@menu
-* Slurs ::
+* Slurs::
* Phrasing slurs::
* Breath marks::
* Metronome marks::
* Text spanners::
* Analysis brackets::
+* Articulations::
+* Fingering instructions::
+* Text scripts::
+* Grace notes::
+* Glissando::
+* Dynamics::
@end menu
-@node Slurs
+@node Slurs
@subsection Slurs
@cindex Slurs
@syntax
They are entered using parentheses:
-@lilypond[fragment,verbatim,center]
- f'-( g'-)-( a'-) a'8-[ b'-(-] a'4 g'2 f'4-)
- <<c' e'>>2-( <<b d'>>2-)
+@lilypond[relative=1,fragment,verbatim]
+ f( g)( a) a8 b( a4 g2 f4)
+ <c e>2( <b d>2)
@end lilypond
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
- \property Voice.Stem \set #'length = #5.5
- g'8-(g g4-)
- \property Voice.Slur \set #'attachment = #'(stem . stem)
- g8-( g g4-)
+ \override Stem #'length = #5.5
+ g'8(g g4)
+ \override Slur #'attachment = #'(stem . stem)
+ g8( g g4)
@end lilypond
If a slur would strike through a stem or beam, the slur will be moved
@lilypond[fragment,relative,verbatim]
\stemUp \slurUp
- d32-( d'4 d8..-)
- \property Voice.Slur \set #'attachment = #'(stem . stem)
- d,32-( d'4 d8..-)
+ d32( d'4 d8..)
+ \override Slur #'attachment = #'(stem . stem)
+ 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}.
+Internals: @seeinternals{Slur}, and @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'-\( d-( e-) f-( e-) d-\)
+@lilypond[fragment,verbatim,relative]
+ \time 6/4 c'\( d( e) f( e) d\)
@end lilypond
Typographically, the phrasing slur behaves almost exactly like a
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},
+Internals: see also @internalsref{PhrasingSlur}, and
@internalsref{PhrasingSlurEvent}.
@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
-any glyph of @ref{The Feta font}. For example,
+@code{text} property of the @code{BreathingSign} layout object with
+any markup text. For example,
@lilypond[fragment,verbatim,relative]
c'4
-\property Voice.BreathingSign \override #'text = #"scripts-rvarcomma"
+\override BreathingSign #'text
+ = #(make-musicglyph-markup "scripts-rvarcomma")
\breathe
d4
@end lilypond
@seealso
-@internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
-@inputfileref{input/regression,breathing-sign.ly}.
+Internals: @internalsref{BreathingSign},
+@internalsref{BreathingSignEvent}.
+
+Examples: @inputfileref{input/regression,breathing-sign.ly}.
@node Metronome marks
Metronome settings can be entered as follows:
@example
- \tempo @var{duration} = @var{perminute}
+ \tempo @var{duration} = @var{per-minute}
@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
@seealso
-@internalsref{TempoEvent}
+Internals: @internalsref{MetronomeChangeEvent}.
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
- \property Voice.TextSpanner \set #'direction = #-1
- \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
- c2-\startTextSpan b c-\stopTextSpan a }
+ \override TextSpanner #'direction = #-1
+ \override TextSpanner #'edge-text = #'("rall " . "")
+ c2\startTextSpan b c\stopTextSpan a }
@end lilypond
@seealso
-@internalsref{TextSpanEvent},
-@internalsref{TextSpanner}, @inputfileref{input/regression,text-spanner.ly}.
+Internals @internalsref{TextSpanEvent},
+@internalsref{TextSpanner}.
+
+Examples: @inputfileref{input/regression,text-spanner.ly}.
@node Analysis brackets
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]
+@lilypond[raggedright,verbatim]
\score { \notes \relative c'' {
- c4-\startGroup-\startGroup
- c4-\stopGroup
- c4-\startGroup
- c4-\stopGroup-\stopGroup
+ c4\startGroup\startGroup
+ c4\stopGroup
+ c4\startGroup
+ c4\stopGroup\stopGroup
}
\paper { \translator {
\StaffContext \consists "Horizontal_bracket_engraver"
@seealso
-@internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent},
-@inputfileref{input/regression,note-group-bracket.ly}.
-
-@refbugs
-
-Bracket endings should be angled/slanted. (TODO)
-
-
+Internals: @internalsref{HorizontalBracket},
+@internalsref{NoteGroupingEvent}.
+Examples: @inputfileref{input/regression,note-group-bracket.ly}.
@node Articulations
-@section Articulations
+@subsection 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 character signifying the
-articulation. They are demonstrated here.
+articulation. They are demonstrated here:
+
+@lilypondfile[]{script-abbreviations.ly}
+
+The meanings of these shorthands can be changed: see
+@file{ly/script-init.ly} for examples.
-@lilypondfile[notexidoc]{script-abbreviations.ly}
The script is automatically placed, but if you need to force
directions, you can use @code{_} to force them down, or @code{^} to
put them up:
-@lilypond[fragment, verbatim]
+@lilypond[fragment,verbatim]
c''4^^ c''4_^
@end lilypond
+Other symbols can be added using the syntax
+@var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
+can be forced up or down using @code{^} and @code{_},
+e.g.
+@lilypond[verbatim,fragment,relative=2]
+ c\fermata c^\fermata c_\fermata
+@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{_}.
@cindex accent
@cindex marcato
@cindex coda
@cindex varcoda
-@lilypondfile[notexidoc]{script-chart.ly}
+@lilypondfile[]{script-chart.ly}
+
+
+@refcommands
+
+@cindex @code{\scriptUp}
+@code{\scriptUp},
+@cindex @code{\scriptDown}
+@code{\scriptDown},
+@cindex @code{\scriptBoth}
+@code{\scriptBoth}.
@seealso
-@internalsref{ScriptEvent}, @internalsref{Script}.
+Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
@refbugs
-All of these note ornaments appear in the printed output but have no
+These note ornaments appear in the printed output but have no
effect on the MIDI rendering of the music.
@node Fingering instructions
-@section Fingering instructions
+@subsection Fingering instructions
@cindex fingering
@end example
For finger changes, use markup texts:
@c
-@lilypond[verbatim, singleline, fragment]
+@lilypond[verbatim,raggedright,fragment]
c'4-1 c'4-2 c'4-3 c'4-4
c'^\markup { \fontsize #-3 \number "2-3" }
@end lilypond
@cindex superscript
@cindex subscript
-@lilypond[verbatim,singleline,fragment,relative=1]
- << c-1 e-2 g-3 b-5 >> 4
- \property Voice.fingerHorizontalDirection = #LEFT
- << c-1 es-3 g-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
+You can use the thumb-script to indicate that a note should be
+played with the thumb (e.g. in cello music):
+
+@lilypond[verbatim,raggedright,fragment]
+ <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,raggedright,fragment,relative=1]
+ < c-1 e-2 g-3 b-5 > 4
+@end lilypond
+
+@noindent
+In this case, setting @code{fingeringOrientations} will put fingerings next
+to note heads:
+
+@lilypond[verbatim,raggedright,fragment,relative=1]
+ \set fingeringOrientations = #'(left down)
+ <c-1 es-2 g-4 bes-5 > 4
+ \set fingeringOrientations = #'(up right down)
+ <c-1 es-2 g-4 bes-5 > 4
@end lilypond
+
+By using single note chords, fingering instructions can be put close
+to note heads in monophonic music.
@seealso
-@internalsref{FingerEvent} and @internalsref{Fingering}.
-
+Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
-@menu
-* Text scripts::
-* Grace notes::
-* Glissando ::
-* Dynamics::
-@end menu
+Examples: @inputfileref{input/regression,finger-chords.ly}.
@node Text scripts
@subsection Text scripts
@cindex Text scripts
+@cindex text items, non-empty
+@cindex non-empty texts
+
It is possible to place arbitrary strings of text or markup text (see
@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' {
+@lilypond[fragment,raggedright,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.
+@refcommands
+
+@cindex @code{\fatText}
+@code{\fatText},
+@cindex @code{\emptyText}
+@code{\emptyText}.
@seealso
-@internalsref{TextScriptEvent}, @internalsref{TextScript},
-@ref{Text markup}.
+In this manual: @ref{Text markup}.
+
+Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
+
@subsection Grace notes
+@c should have blurb about accaciatura / appogiatura
@cindex @code{\grace}
@cindex ornaments
@cindex grace notes
-Grace notes are ornaments that are written out
+Grace notes are ornaments that are written out. The most common ones
+are acciaccatura, which should be played as very short. It is denoted
+by a slurred small note with a slashed stem. The appoggiatura is a
+grace note that takes a fixed fraction of the main note, is and
+denoted as a slurred note in small print without a slash.
+They are entered with the commands @code{\acciaccatura} and
+@code{\appoggiatura}, as demonstrated in the following example:
-@lilypond[relative=2,verbatim,fragment] c4 \grace c16 c4 \grace {
-[c16 d16] } c4
-@end lilypond
-In normal notation, grace notes take up no logical
-time in a measure. Such an idea is practical for normal notation, but
-is not strict enough to put it into a program. The model that LilyPond
-uses for grace notes internally is that all timing is done in two
-steps:
+@cindex appoggiatura
+@cindex acciaccatura
-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.
+@lilypond[relative=2,verbatim,fragment]
+b4 \acciaccatura d8 c4 \appoggiatura e8 d4
+\acciaccatura { g16[ f] } e4
+@end lilypond
-@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 }
-}
+Both are special forms of the @code{\grace} command. By prefixing this
+keyword to a music expression, a new one is formed, which will be
+printed in a smaller font and takes up no logical time in a measure.
+@lilypond[relative=2,verbatim,fragment]
+ c4 \grace c16 c4
+ \grace { c16[ d16] } c2 c4
@end lilypond
+@noindent
+Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
+@code{\grace} command does not start a slur.
-The placement of these grace notes is synchronized between different
-staves.
+Internally, timing for grace notes is done using a second, `grace'
+time. Every point in time consists of two rational numbers: one
+denotes the logical time, one denotes the grace timing. The above
+example is shown here with timing tuples:
-@lilypond[relative=2,verbatim,fragment]
-< \context Staff = SA { e4 \grace { c16-[ d e f-] } e4 }
- \context Staff = SB { c'4 \grace { g8 b } c4 } >
+@lilypond[raggedright]
+<<
+ \relative c''{
+ c4 \grace c16 c4 \grace {
+ c16[ d16] } c2 c4
+ }
+ \new Lyrics \lyrics {
+ \markup { (0,0) } 4
+ \grace { \markup {
+ ( \fraction 1 4 , \fraction -1 16 ) } 16 }
+ \markup { (\fraction 1 4 , 0 ) } 4
+ \grace {
+ \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
+ \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
+ }
+ \markup { ( \fraction 2 4 , 0 ) }
+ } >>
@end lilypond
-Unbeamed eighth notes and shorter by default have a slash through the
-stem. This can be controlled with object property @code{stroke-style} of
-@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.
-@example
- #(add-to-grace-init "Voice" 'Stem 'stroke-style '())
-@end example
+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:
-The @code{\override} is carefully matched with a @code{\revert}.
+@lilypond[relative=2,verbatim,fragment]
+<< \new Staff { e4 \grace { c16[ d e f] } e4 }
+ \new Staff { c'4 \grace { g8[ b] } c4 } >>
+@end lilypond
-@cindex slash
-@cindex grace slash
-@lilypond[fragment,verbatim]
-\relative c'' \context Voice {
- \grace c8 c4 \grace { c16-[ c16-] } c4
- \grace {
- \property Voice.Stem \override #'stroke-style = #'()
- c16
- \property Voice.Stem \revert #'stroke-style
- } c4
-}
-@end lilypond
-If you want to end a note with a grace note, then the standard trick
-is to put the grace notes before a phantom ``space note'', e.g.
-@lilypond[fragment,verbatim, relative=2]
+If you want to end a note with a grace, then the standard trick
+is to put the grace notes after a ``space note'', e.g.
+@lilypond[fragment,verbatim,relative=2]
\context Voice {
- < { d1^\trill ( }
- { s2 \grace { c16-[ d-] } } >
- )c4
+ << { d1^\trill ( }
+ { s2 \grace { c16[ d] } } >>
+ c4)
}
@end lilypond
-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
-@emph{before} your @code{\grace} section, a slur which starts inside
-the @code{\grace} will not be forced up, even if the slur ends outside
-of the @code{\grace}. Note the difference between the first and
-second bars in this example:
+@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.
+
-@lilypond[fragment,verbatim]
-\relative c'' \context Voice {
- \slurUp
- \grace {
- a4-( }
- ) a4 a4-( a2-)
- \slurBoth
-
- \grace {
- \slurUp
- a4-( }
- ) a4 a4-( a2-)
- \slurBoth
+A @code{\grace} section will introduce special typesetting settings,
+for example, to produce smaller type, and set directions. Hence, when
+introducing layout tweaks, they should be inside the grace section,
+for example,
+@lilypond[fragment,verbatim,relative=1]
+\new Voice {
+ \acciaccatura {
+ \override Stem #'direction = #-1
+ f16->
+ \revert Stem #'direction
+ }
+ g4
}
@end lilypond
+@noindent
+The overrides should also be reverted inside the grace section.
+
+If the layout of grace sections must be changed throughout the music,
+then this can be accomplished through the function
+@code{add-grace-property}. The following example
+undefines the Stem direction grace section, so stems do not always
+point up.
+
+@example
+ \new Staff @{
+ #(add-grace-property "Voice" Stem direction '())
+ @dots{}
+ @}
+@end example
+
+@noindent
+Another option is to change the variables @code{startGraceMusic},
+@code{stopGraceMusic}, @code{startAccacciaturaMusic},
+@code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
+@code{stopAppoggiaturaMusic}. More information is in the file
+@file{ly/grace-init.ly}.
+
@seealso
-@internalsref{GraceMusic}.
+Internals: @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 staves.
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.
+such as key signatures, bar lines, etc. are also synchronized. Take
+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 }
- \context Staff = SB { c4 \bar "|:" d4 } >
+<< \new Staff { e4 \bar "|:" \grace c16 d4 }
+ \new Staff { c4 \bar "|:" 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.
-
-Overriding settings for grace music using @code{add-to-grace-init}
-cannot be done in a modular way.
+expressions. Nesting or juxtaposing grace sections is not supported,
+and might produce crashes or other errors.
-@node Glissando
+@node Glissando
@subsection Glissando
@cindex Glissando
a note:
@lilypond[fragment,relative,verbatim]
- c'-\glissando c'
+ c'\glissando c'
@end lilypond
@seealso
-@internalsref{Glissando}, @internalsref{GlissandoEvent}.
+Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
@refbugs
-Printing of an additional text (such as @emph{gliss.}) must be done
-manually.
+Adding additional texts (such as @emph{gliss.}) is not supported.
@node Dynamics
@cindex @code{\rfz}
-Absolute dynamic marks are specified using an variable after a
-note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
+Absolute dynamic marks are specified using a command after a 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
- c2-\sf c-\rfz
+@lilypond[verbatim,raggedright,fragment,relative]
+ c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
+ c2\sf c\rfz
@end lilypond
@cindex @code{\cr}
-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
- < f''1 { s4 s4-\< s4-\! \> s4-\! } >
+@lilypond[fragment,verbatim]
+ c''\< c''\! d''\decr e''\rced
+ << f''1 { s4 s4\< s4\! \> s4\! } >>
@end lilypond
This may give rise to very short hairpins. Use @code{minimum-length}
-in @internalsref{Voice}.@internalsref{HairPin} to lengthen them, for
+in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
example:
@example
- \property Staff.Hairpin \override #'minimum-length = #5
+ \override Staff.Hairpin #'minimum-length = #5
@end example
You can also use a text saying @emph{cresc.} instead of hairpins. Here
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.crescendoSpanner = #'dashed-line
- a'2-\mf-\< a a a-\!
+ \set crescendoText = \markup { \italic "cresc. poco" }
+ \set crescendoSpanner = #'dashed-line
+ a'2\< a a a\!\mf
}
@end lilypond
@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},
+Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
@internalsref{AbsoluteDynamicEvent}.
Dynamics are objects of @internalsref{DynamicText} and
@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
Repetition is a central concept in music, and multiple notations exist
for repetitions. In LilyPond, most of these notations can be captured
-in a uniform syntax. One of the advantages is, all these repetitions
-can be rendered in MIDI accurately.
+in a uniform syntax. One of the advantages is that they can be
+rendered in MIDI accurately.
The following types of repetition are supported:
@item volta
This is the normal notation: Repeats are not written out, but
-alternative endings (voltas) are printed, left to right.
+alternative endings (volte) are printed, left to right.
@ignore
@item fold
@inputfileref{input,star-spangled-banner.ly}.
@end ignore
+@c tremolo, beamed
@item tremolo
Make tremolo beams.
alternative is assumed to be played more than once.
Normal notation repeats are used like this:
-@lilypond[fragment,verbatim]
- c'1
- \repeat volta 2 { c'4 d' e' f' }
- \repeat volta 2 { f' e' d' c' }
+@lilypond[fragment,verbatim,relative=1]
+ c1
+ \repeat volta 2 { c4 d e f }
+ \repeat volta 2 { f e d c }
@end lilypond
With alternative endings:
-@lilypond[fragment,verbatim]
- c'1
- \repeat volta 2 {c'4 d' e' f'}
- \alternative { {d'2 d'} {f' f} }
+@lilypond[fragment,verbatim,relative=1]
+ c1
+ \repeat volta 2 {c4 d e f}
+ \alternative { {d2 d} {f f,} }
@end lilypond
-@lilypond[fragment,verbatim]
+@lilypond[fragment,verbatim,relative=1]
\context Staff {
- \relative c' {
\partial 4
\repeat volta 4 { e | c2 d2 | e2 f2 | }
\alternative { { g4 g g } { a | a a a a | b2. } }
- }
}
@end lilypond
@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}. Similarly, 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]
- c''4
- \property Score.repeatCommands = #'((volta "93") end-repeat)
- c''4 c''4
- \property Score.repeatCommands = #'((volta #f))
- c''4 c''4
+@lilypond[verbatim,fragment,relative=2]
+ c4
+ \set Score.repeatCommands = #'((volta "93") end-repeat)
+ c4 c4
+ \set Score.repeatCommands = #'((volta #f))
+ c4 c4
@end lilypond
@seealso
-@internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
+Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
@internalsref{VoltaRepeatedMusic},
-@internalsref{UnfoldedRepeatedMusic}
+@internalsref{UnfoldedRepeatedMusic}, and
@internalsref{FoldedRepeatedMusic}.
@node Tremolo repeats
@cindex tremolo beams
To place tremolo marks between notes, use @code{\repeat} with tremolo
-style.
-@lilypond[verbatim,center,singleline]
+style:
+@lilypond[verbatim,raggedright]
\score {
\context Voice \notes\relative c' {
\repeat "tremolo" 8 { c16 d16 }
\repeat "tremolo" 4 { c16 d16 }
\repeat "tremolo" 2 { c16 d16 }
- \repeat "tremolo" 4 c16
}
}
@end lilypond
-@seealso
+Tremolo marks can also be put on a single note. In this case, the
+note should not be surrounded by braces.
+@lilypond[verbatim,raggedright]
+ \repeat "tremolo" 4 c16
+@end lilypond
-Tremolo beams are @internalsref{Beam} objects. Single stem tremolos are
-@internalsref{StemTremolo}. @internalsref{TremoloEvent}.
+A similar mechanism is the tremolo subdivision, described in
+@ref{Tremolo subdivisions}.
+@seealso
-@refbugs
+In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
-The single stem tremolo @emph{must} be entered without @code{@{} and
-@code{@}}.
+Internals: tremolo beams are @internalsref{Beam} objects. Single stem
+tremolos are @internalsref{StemTremolo} objects. The music expression is
+@internalsref{TremoloEvent}.
+
+Example files: @inputfileref{input/regression,chord-tremolo.ly},
+@inputfileref{input/regression,stem-tremolo.ly}.
@node Tremolo subdivisions
@subsection 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{tremoloFlags}) is used:
-@lilypond[verbatim,fragment,center]
+@lilypond[verbatim,fragment]
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
Tremolos in this style do not carry over into the MIDI output.
+@seealso
+
+In this manual: @ref{Tremolo repeats}.
+
+Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
@node Measure repeats
@subsection Measure repeats
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]
+@lilypond[verbatim,raggedright]
\context Voice { \repeat "percent" 4 { c'4 }
\repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
}
@seealso
-@internalsref{RepeatSlash}, @internalsref{PercentRepeat},
+Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
@internalsref{PercentRepeatedMusic}, and
@internalsref{DoublePercentRepeat}.
-@refbugs
-
-Single measure and double measure percent-repeats cannot be nested.
@node Rhythmic music
@section Rhythmic music
+
+@menu
+* Showing melody rhythms::
+* Entering percussion::
+* Percussion staves::
+@end menu
+
+
+@node Showing melody rhythms
+@subsection Showing melody rhythms
+
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:
}
@end lilypond
-@menu
-* Percussion staves::
-* Percussion midi output::
-@end menu
+@seealso
+
+Internals: @internalsref{RhythmicStaff}.
+
+Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
+
+
+@node Entering percussion
+@subsection Entering percussion
+
+@cindex percussion
+@cindex drums
+
+@syntax
+
+Percussion notes may be entered in @code{\drums} mode, which is
+similar to @code{notes}. Each piece of percussion has a full name and
+an abbreviated name, and both be used in input files:
+
+@lilypond[raggedright]
+ \drums { hihat4 hh4 }
+@end lilypond
+
+The complete list of drum names is in the init file
+@file{ly/drumpitch-init.ly}.
+@c TODO: properly document this.
+
+@seealso
+
+Internals: @internalsref{DrumNoteEvent}.
@node Percussion staves
@subsection 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
-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
-instrument names, notehead scripts and staff positions (that is:
-pitches relative to the C-clef) and transforms the input
-music by moving the pitch, changing the notehead and (optionally)
-adding a script:
+To typeset the music, the notes must be interpreted in a
+@internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
+
@c
-@lilypond[singleline,verbatim,quote]
-\include "drumpitch-init.ly"
-up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
-down = \notes { bassdrum4 snare8 bd r bd sn4 }
+@lilypond[raggedright,verbatim]
+up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
+down = \drums { bassdrum4 snare8 bd r bd sn4 }
\score {
- \apply #(drums->paper 'drums) \context Staff <
- \clef percussion
- \context Voice = up { \voiceOne \up }
- \context Voice = down { \voiceTwo \down }
- >
-}
+ \new DrumStaff
+ << \new DrumVoice { \voiceOne \up }
+ \new DrumVoice { \voiceTwo \down }
+>> }
+@end lilypond
+The above example shows verbose polyphonic notation. The short
+polyphonic notation, described in @ref{Polyphony}, can also be used if
+the @internalsref{DrumVoices} are instantiated by hand first. For example,
+
+@lilypond[fragment]
+\drums \new DrumStaff <<
+ \context DrumVoice = "1" { s1 *2 }
+ \context DrumVoice = "2" { s1 *2 }
+ {
+ bd4 sn4 bd4 sn4
+ <<
+ { \repeat unfold 16 hh16 }
+ \\
+ { bd4 sn4 bd4 sn4 }
+ >>
+ }
+>>
@end lilypond
-In the above example the music was transformed using the list @code{'drums}.
-Currently the following lists are defined in @file{scm/drums.scm}:
+
+
+There are also other layout possibilities. To use these, set the
+property @code{drumStyleTable} in context @internalsref{DrumVoice}.
+The following variables have been predefined:
+
@table @code
-@item 'drums
-To typeset a typical drum kit on a five-line staff.
+@item drums-style
+is the default. It typesets a typical drum kit on a five-line staff
@lilypond[noindent]
-\include "drumpitch-init.ly"
nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
bd sn ss tomh tommh tomml toml tomfh tomfl }
-mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
+mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
\score {
- <
- \apply #(drums->paper 'drums) \context Staff <
- \clef percussion
- \mus
- >
- \context Lyrics \nam
- >
- \paper {
- linewidth = 100.0\mm
- \translator {
- \StaffContext
+ << \new DrumStaff\with {
\remove Bar_engraver
\remove Time_signature_engraver
+ \override Stem #'transparent = ##t
+ \override Stem #'Y-extent-callback = ##f
minimumVerticalExtent = #'(-4.0 . 5.0)
- }
- \translator {
- \VoiceContext
- \remove Stem_engraver
- }
- }
-}
+ } \mus
+ \context Lyrics \nam
+ >>
+ \paper {
+ %% need to do this, because of indented @itemize
+ linewidth= 9 \cm
+ \translator { \ScoreContext
+ \override BarNumber #'transparent =##T
+}}}
@end lilypond
The drum scheme supports six different toms. When there fewer toms, simply
-select the toms that produce the desired result, i.e., to get toms on
+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.
+@item timbales-style
+to typeset timbales on a two line staff:
-@lilypond[singleline]
-\include "drumpitch-init.ly"
+@lilypond[raggedright]
nam = \lyrics { timh ssh timl ssl cb }
-mus = \notes { timh ssh timl ssl cb s16 }
+mus = \drums { timh ssh timl ssl cb s16 }
\score {
- <
- \apply #(drums->paper 'timbales) \context Staff <
- \clef percussion
- \mus
- >
- \context Lyrics \nam
- >
- \paper {
- \translator {
- \StaffContext
+ <<
+ \context DrumStaff \with {
\remove Bar_engraver
\remove Time_signature_engraver
- StaffSymbol \override #'line-count = #2
- StaffSymbol \override #'staff-space = #2
+ \override Stem #'transparent = ##t
+ \override Stem #'Y-extent-callback = ##f
+ \override StaffSymbol #'line-count = #2
+ \override StaffSymbol #'staff-space = #2
minimumVerticalExtent = #'(-3.0 . 4.0)
- }
- \translator {
- \VoiceContext
- \remove Stem_engraver
- }
-
- }
+ drumStyleTable = #timbales-style
+ } \mus
+ \context Lyrics \nam
+ >>
}
@end lilypond
-@item 'congas
-To typeset congas on a two line staff.
+@item congas-style
+to typeset congas on a two line staff:
-@lilypond[singleline]
-\include "drumpitch-init.ly"
+@lilypond[raggedright]
nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
-mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
+mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
\score {
- <
- \apply #(drums->paper 'congas) \context Staff <
- \clef percussion
- \mus
- >
- \context Lyrics \nam
- >
- \paper {
- \translator {
- \StaffContext
+ <<
+ \context DrumStaff\with {
\remove Bar_engraver
\remove Time_signature_engraver
- StaffSymbol \override #'line-count = #2
- StaffSymbol \override #'staff-space = #2
- minimumVerticalExtent = #'(-3.0 . 4.0)
- }
- \translator {
- \VoiceContext
- \remove Stem_engraver
- }
- }
+ drumStyleTable = #congas-style
+ \override StaffSymbol #'line-count = #2
+
+ %% this sucks; it will lengthen stems.
+ \override StaffSymbol #'staff-space = #2
+ \override Stem #'transparent = ##t
+ \override Stem #'Y-extent-callback = ##f
+ } \mus
+ \context Lyrics \nam
+ >>
}
@end lilypond
-@item 'bongos
-To typeset bongos on a two line staff.
+@item bongos-style
+to typeset bongos on a two line staff:
-@lilypond[singleline]
-\include "drumpitch-init.ly"
+@lilypond[raggedright]
nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
-mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
+mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
\score {
- <
- \apply #(drums->paper 'bongos) \context Staff <
- \clef percussion
- \mus
- >
- \context Lyrics \nam
- >
- \paper {
- \translator {
- \StaffContext
+ <<
+ \context DrumStaff\with {
\remove Bar_engraver
\remove Time_signature_engraver
- StaffSymbol \override #'line-count = #2
- StaffSymbol \override #'staff-space = #2
- minimumVerticalExtent = #'(-3.0 . 4.0)
- }
- \translator {
- \VoiceContext
- \remove Stem_engraver
- }
- }
+ \override StaffSymbol #'line-count = #2
+ drumStyleTable = #bongos-style
+
+ %% this sucks; it will lengthen stems.
+ \override StaffSymbol #'staff-space = #2
+ \override Stem #'transparent = ##t
+ \override Stem #'Y-extent-callback = ##f
+ } \mus
+ \context Lyrics \nam
+ >>
}
@end lilypond
-@item 'percussion
-To typeset all kinds of simple percussion on one line staves.
-@lilypond[singleline]
-\include "drumpitch-init.ly"
+
+@item percussion-style
+to typeset all kinds of simple percussion on one line staves:
+@lilypond[raggedright]
nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
-mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
+mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
\score {
- <
- \apply #(drums->paper 'percussion) \context Staff <
- \clef percussion
- \mus
- >
- \context Lyrics \nam
- >
- \paper {
- \translator {
- \StaffContext
+ <<
+ \context DrumStaff\with{
\remove Bar_engraver
+ drumStyleTable = #percussion-style
+ \override StaffSymbol #'line-count = #1
\remove Time_signature_engraver
- StaffSymbol \override #'line-count = #1
- minimumVerticalExtent = #'(-2.0 . 3.0)
- }
- \translator {
- \VoiceContext
- \remove Stem_engraver
- }
- }
+ \override Stem #'transparent = ##t
+ \override Stem #'Y-extent-callback = ##f
+ } \mus
+ \context Lyrics \nam
+ >>
}
@end lilypond
@end table
If you do not like any of the predefined lists you can define your own
list at the top of your file:
-@lilypond[singleline, verbatim]
-#(define 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))
- (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
- (lowtom diamond #f ,(ly:make-pitch -1 6 0))
+@lilypond[raggedright,verbatim]
+#(define mydrums '(
+ (bassdrum default #f -1)
+ (snare default #f 0)
+ (hihat cross #f 1)
+ (pedalhihat xcircle "stopped" 2)
+ (lowtom diamond #f 3)
))
-\include "drumpitch-init.ly"
-up = \notes { hh8 hh hh hh hhp4 hhp }
-down = \notes { bd4 sn bd toml8 toml }
-\score {
- \apply #(drums->paper 'mydrums) \context Staff <
- \clef percussion
- \context Voice = up { \voiceOne \up }
- \context Voice = down { \voiceTwo \down }
- >
-}
-@end lilypond
-
-To use a modified existing list, one can prepend modifications to the
-the existing list:
-
-@example
-#(define mydrums (append `(
- (bassdrum default #f ,(ly:make-pitch -1 2 0))
- (lowtom diamond #f ,(ly:make-pitch -1 6 0))
-) 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.
-@c
-@lilypond[singleline,verbatim]
-\include "drumpitch-init.ly"
-up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
-down = \notes { bassdrum4 snare8 bd r bd sn4 }
-\include "nederlands.ly"
-bass = \notes \transpose c c,, { a4. e8 r e g e }
+up = \drums { hh8 hh hh hh hhp4 hhp }
+down = \drums { bd4 sn bd toml8 toml }
\score {
- <
- \apply #(drums->paper 'drums) \context Staff = drums <
- \clef percussion
- \context Voice = up { \voiceOne \up }
- \context Voice = down { \voiceTwo \down }
- >
- \context Staff = bass { \clef "F_8" \bass }
- >
+ \new DrumStaff <<
+ \set DrumStaff.drumStyleTable
+ = #(alist->hash-table mydrums)
+ \new DrumVoice { \voiceOne \up }
+ \new DrumVoice { \voiceTwo \down }
+ >>
}
@end lilypond
-@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
-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:
+@seealso
-@example
-\score @{
- \apply #(drums->paper 'mydrums) \context Staff <
- \clef percussion
- @{ \up @} \\
- @{ \down @}
- >
- \paper@{@}
-@}
-\score @{
- \context Staff <
- \property Staff.instrument = #'drums
- \up \down
- >
- \midi@{@}
-@}
-@end example
+Init files: @file{ly/drumpitch-init.ly}.
+
+Internals: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
@refbugs
-This scheme is to be considered a temporary implementation.
+Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
+work for @internalsref{DrumVoices}.
+Because general MIDI does not contain rim shots, the sidestick is used
+for this purpose instead.
@node Piano music
@section Piano music
There is no support for putting chords across staves. You can get
this result by increasing the length of the stem in the lower stave so
it reaches the stem in the upper stave, or vice versa. An example is
-included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
+included with the distribution as
+@inputfileref{input/test,stem-cross-staff.ly}.
Dynamics are not centered, but kludges do exist. See
-@inputfileref{input/templates,piano-dynamics.ly}.
+@inputfileref{input/template,piano-dynamics.ly}.
@cindex cross staff stem
@cindex stem, cross staff
-
-@c fixme: should have hyperlinks as well.
+The distance between the two staves is normally fixed across the
+entire score. It is possible to tune this per system, but it does
+require arcane command incantations. See
+@inputfileref{input/test,piano-staff-distance.ly}.
+
Voices can switch automatically between the top and the bottom
staff. The syntax for this is
@example
- \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
+ \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
+@end example
+The two staffs of the piano staff must be named @code{up} and
+@code{down}.
+
+The autochanger switches on basis of pitch (middle C is the turning
+point), and it looks ahead skipping over rests to switch in
advance. Here is a practical example:
-@lilypond[verbatim,singleline,quote]
-\score { \notes \context PianoStaff <
+@lilypond[verbatim,raggedright]
+\score { \notes \context PianoStaff <<
\context Staff = "up" {
- \autochange Staff \context Voice = VA < \relative c' {
- g4 a b c d r4 a g } > }
+ \autochange \new Voice \relative c' {
+ g4 a b c d r4 a g } }
\context Staff = "down" {
\clef bass
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
+
+In this manual: @ref{Manual staff switches}.
+
+Internals: @internalsref{AutoChangeMusic}.
+
+
+
@refbugs
The staff switches often do not end up in optimal places. For high
-quality output staff switches should be specified manually.
+quality output, staff switches should be specified manually.
+
-
@node Manual staff switches
@subsection Manual staff switches
Voices can be switched between staves manually, using the following command:
@example
- \translator Staff = @var{staffname} @var{music}
+ \change 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
@code{"down"}.
+
@node Pedals
@subsection Pedals
@cindex Pedals
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
- c''4-\sustainDown d''4 e''4
- a'4-\sustainUp-\sustainDown
- f'4 g'4 a'4-\sustainUp
+ \set Staff.pedalSustainStyle = #'bracket
+ c''4\sustainDown d''4 e''4
+ a'4\sustainUp\sustainDown
+ f'4 g'4 a'4\sustainUp
@end lilypond
A third style of pedal notation is a mixture of text and brackets,
-obtained by setting @code{pedal-type} to @code{mixed}:
+obtained by setting the @code{pedalSustainStyle} style property to
+@code{mixed}:
@lilypond[fragment,verbatim]
-\property Staff.SustainPedal \override #'pedal-type = #'mixed
-c''4-\sustainDown d''4 e''4
-c'4-\sustainUp-\sustainDown
- f'4 g'4 a'4-\sustainUp
+ \set 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
-@code{\pedal-type = #'text}. However, @code{mixed} is the default style
-for a sostenuto pedal:
+The default `*Ped.' style for sustain and damper pedals corresponds to
+style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
+default.
@lilypond[fragment,verbatim]
-c''4-\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4-\sostenutoUp
+c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
@end lilypond
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
+@internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
+bracket may be extended to the end of the note head:
@lilypond[fragment,verbatim]
-\property Staff.PianoPedalBracket \override
+\override Staff.PianoPedalBracket
#'shorten-pair = #'(0 . -1.0)
-c''4-\sostenutoDown d''4 e''4 c'4
-f'4 g'4 a'4-\sostenutoUp
+c''4\sostenutoDown d''4 e''4 c'4
+f'4 g'4 a'4\sostenutoUp
@end lilypond
@node Arpeggio
@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
+ <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 <
- \property PianoStaff.connectArpeggios = ##t
- \context Voice = one { <<c' e g c>>-\arpeggio }
- \context Voice = other { \clef bass <<c,, e g>>-\arpeggio }
- >
+ \context PianoStaff <<
+ \set PianoStaff.connectArpeggios = ##t
+ \new Staff { <c' e g c>\arpeggio }
+ \new Staff { \clef bass <c,, e g>\arpeggio }
+ >>
@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}.
+arrowhead to the wiggly line:
@lilypond[fragment,relative,verbatim]
\context Voice {
- \property Voice.Arpeggio \set #'arpeggio-direction = #1
- <<c e g c>>-\arpeggio
- \property Voice.Arpeggio \set #'arpeggio-direction = #-1
- <<c e g c>>-\arpeggio
+ \arpeggioUp
+ <c e g c>\arpeggio
+ \arpeggioDown
+ <c e g c>\arpeggio
}
@end lilypond
A square bracket on the left indicates that the player should not
-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.
+arpeggiate the chord:
@lilypond[fragment,relative,verbatim]
- \property PianoStaff.Arpeggio \override
- #'molecule-callback = \arpeggioBracket
- <<c' e g c>>-\arpeggio
+ \arpeggioBracket
+ <c' e g c>\arpeggio
@end lilypond
+@refcommands
+
+@cindex @code{\arpeggio}
+@code{\arpeggio},
+@cindex @code{\arpeggioUp}
+@code{\arpeggioUp},
+@cindex @code{\arpeggioDown}
+@code{\arpeggioUp},
+@cindex @code{\arpeggioBoth}
+@code{\arpeggioBoth},
+@cindex @code{\arpeggioBracket}
+@code{\arpeggioBracket}.
+
+@seealso
+
+Internals: @internalsref{ArpeggioEvent} music expressions 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 Staff switch lines
+@node Staff switch lines
@subsection Staff switch lines
@code{PianoStaff.followVoice} is set to true:
@lilypond[fragment,relative,verbatim]
- \context PianoStaff <
- \property PianoStaff.followVoice = ##t
+ \context PianoStaff <<
+ \set PianoStaff.followVoice = ##t
\context Staff \context Voice {
c1
- \translator Staff=two
+ \change Staff=two
b2 a
}
\context Staff=two { \clef bass \skip 1*2 }
- >
+ >>
@end lilypond
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
- 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}.
-
-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,
+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
- Twin- kle twin- kle
+ \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
@end example
-
-
-
-You can use ordinary hyphens at the end of a syllable, i.e.
+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
- soft- ware
+ \lyrics @{ twinkle@}
@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.
+@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
+property commands:
+@example
+ \override Score . LyricText #'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:
-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
+ \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
@end example
-must be used to interpret a set of syllables as lyrics.
+@cindex hyphens
+Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
+@example
+ soft- ware
+@end example
+These will be attached to the end of the first syllable.
-@cindex context
-@cindex interpretation context
-@cindex notation context
+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
+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{__}.
-The melody and the lyrics can be combined with the @code{\addlyrics}:
-@example
-\addlyrics
- \notes \relative c' @dots{}
- \context Lyrics \lyrics @dots{}
-@end example
+@seealso
-[TODO: Move lyrics section from tutorial to here?]
+Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
+@internalsref{ExtenderEvent}.
-See also the sections on @ref{Slurs} and @ref{Breath marks}.
+Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
-[TODO: Move slurs / breath marks section to here?]
+@refbugs
-[TODO: Write subsection upon usage of ChoirStaff.]
+The definition of lyrics mode is too complex.
-@menu
-* More stanzas::
-* Ambitus::
-@end menu
-@node More stanzas
-@subsection More stanzas
+@node The Lyrics context
+@subsection The Lyrics context
+Lyrics are printed by interpreting them in a @internalsref{Lyrics} context:
+@example
+ \context Lyrics \lyrics @dots{}
+@end example
-@cindex phrasing
+@cindex automatic syllable durations
+@cindex @code{\lyricsto}
+@cindex lyrics and melodies
-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.
+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{\lyricsto} expression:
+@example
+\lyricsto @var{name} \new Lyrics @dots{}
+@end example
-@lilypond[singleline,verbatim]
-\score {
-\addlyrics
- \notes \relative c'' \context Voice = duet { \time 3/4
- g2 e4 a2 f4 g2. }
- \lyrics \context Lyrics <
- \context LyricsVoice = "duet-1" {
- \property LyricsVoice . stanza = "Bert"
- Hi, my name is bert. }
- \context LyricsVoice = "duet-2" {
- \property LyricsVoice . stanza = "Ernie"
- Ooooo, ch\'e -- ri, je t'aime. }
- >
-}
-@end lilypond
+This aligns the lyrics to the
+@c
+notes of the @internalsref{Voice} context called @var{name}, which has
+to exist. Therefore, normally the @code{Voice} is specified first, and
+then the lyrics are specified with @code{\lyricsto}.
-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},
+For different or more complex orderings, the best way is to setup the
+hierarchy of staves and lyrics first, e.g.
@example
-\context Voice = duet @{
- \time 3/4
- g2 e4 a2 f4 g2. @}
+\context ChoirStaff \notes <<
+ \context Lyrics = sopranoLyrics @{ s1 @}
+ \context Voice = soprano @{ @emph{music} @}
+ \context Lyrics = tenorLyrics @{ s1 @}
+ \context Voice = tenor @{ @emph{music} @}
+>>
@end example
-and the
-identities of the LyricsVoices are @code{duet-1} and @code{duet-2}.
+and then combine the appropriate melodies and lyric lines:
@example
- \context LyricsVoice = "duet-1" @{
- Hi, my name is bert. @}
- \context LyricsVoice = "duet-2" @{
- Ooooo, ch\'e -- ri, je t'aime. @}
+ \lyricsto "soprano" \new Lyrics @emph{the lyrics}
@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
-@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.
+@noindent
+The final input would resemble
@example
- \property LyricsVoice . stanza = "Bert"
- @dots{}
- \property LyricsVoice . stanza = "Ernie"
-@end example
+ << \context ChoirStaff \notes << @emph{setup the music} >>
+ \lyricsto "soprano" @emph{etc}
+ \lyricsto "alto" @emph{etc}
+ @emph{etc}
+ >>
+@end example
+The @code{\lyricsto} command detects melismata: it only puts one
+syllable under a tied or slurred group of notes. If you want to force
+an unslurred group of notes to be a melisma, then insert
+@code{\melisma} after the first note of the group, and
+@code{\melismaEnd} after the last one, e.g.
+@lilypond[relative=1,raggedright,fragment,verbatim]
+<< \context Voice = "lala" { \time 3/4
+ f4 g8
+ \melisma
+ f e f
+ \melismaEnd
+ e2 }
+ \lyricsto "lala" \new Lyrics \lyrics {
+ la di __ daah
+ } >>
+@end lilypond
-For entering quotes in Lyrics mode, use the following
-@example
-"\"God\"" is "`King'"
-@end example
+In addition, notes are considered a melisma if they are manually
+beamed, and automatic beaming (see @ref{Setting automatic beam
+behavior}) is switched off. The criteria for deciding melismata
+can be tuned with the property @code{melismaBusyProperties}. See
+@internalsref{Melisma_translator} for more information.
-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}.
+When multiple stanzas are put on the same melody, it can happen that
+two stanzas have melismata in different locations. This can be
+remedied by switching off melismata for one
+@internalsref{Lyrics}. This is achieved by setting
+the @code{ignoreMelismata} property to @code{#t}. An example is shown
+in @inputfileref{input/regression,lyric-combine-new.ly}.
+@cindex SATB
+@cindex choral score
+A complete example of a SATB score setup is in the file
+@inputfileref{input/template,satb.ly}.
-@refbugs
-@cindex ambiguity
+@refcommands
-Input for lyrics introduces a syntactical ambiguity:
+@code{\melisma}, @code{\melismaEnd}
+@cindex @code{\melismaEnd}
+@cindex @code{\melisma}
+
+@seealso
+
+Internals: Music expressions: @internalsref{LyricCombineMusic},
+Contexts: @internalsref{Lyrics}, @internalsref{Melisma_translator}.
+
+Examples: @inputfileref{input/template,satb.ly},
+@inputfileref{input/regression,lyric-combine-new.ly}.
-@example
-foo = bar
-@end example
+@refbugs
+
+Melismata are not detected automatically, and extender lines must be
+inserted by hand.
+
+
+For proper processing of extender lines, the
+@internalsref{Lyrics} and @internalsref{Voice} should be
+linked. This can be achieved either by using @code{\lyricsto} or by
+setting corresponding names for both contexts. The latter is explained
+in @ref{More stanzas}.
+
+@node More stanzas
+@subsection More stanzas
+
+@cindex phrasing, in lyrics
+
+
+The lyrics should be aligned with the note heads of the melody. To
+achieve this, each line of lyrics should be marked to correspond with
+the melodic line. This is done automatically when @code{\lyricsto},
+but it can also be done manually.
+
+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{Lyrics} 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{Lyrics}s are marked @code{duet-1} and @code{duet-2}:
+@example
+ \context Lyrics = "duet-1" @{
+ Hi, my name is bert. @}
+ \context Lyrics = "duet-2" @{
+ Ooooo, ch\'e -- ri, je t'aime. @}
+@end example
+
+The complete example is shown here:
+@lilypond[raggedright,verbatim]
+\score {
+ << \notes \relative c'' \context Voice = duet { \time 3/4
+ g2 e4 a2 f4 g2. }
+ \lyrics << \lyricsto "duet" \new Lyrics {
+ \set stanza = "B."
+ \set vocNam = "Bert"
+ Hi, my name is bert. }
+ \lyricsto "duet" \new Lyrics {
+ \set stanza = "E."
+ \set vocNam = "Ernie"
+ Ooooo, ch\'e -- ri, je t'aime.
+ }
+ >> >>
+}
+@end lilypond
+
+@cindex stanza number
+@cindex singer's names
+@cindex name of singer
+
+Stanza numbers can be added by setting @code{stanza}, e.g.
+
+@example
+ \set stanza = "B."
+ @dots{}
+ \set stanza = "E."
+@end example
+
+Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
+prevent @code{stanza} being interpreted as a single
+string.
+
+This example also demonstrates how names of the singers can be added
+using @code{vocalName} analogous to instrument annotations for staves.
+A short version may be entered as @code{vocNam}.
+
+To make empty spaces in lyrics, use @code{\skip}.
+
+
+@seealso
+
+Internals: Layout objects @internalsref{LyricText} and
+@internalsref{VocalName}. Music expressions:
+@internalsref{LyricEvent}.
+
+@refbugs
+
+@cindex ambiguity
+
+Input for lyrics introduces a syntactical ambiguity:
+
+@example
+foo = bar
+@end example
@noindent
is interpreted as assigning a string identifier @code{\foo} such that
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
@subsection Ambitus
@cindex ambitus
-The term @emph{ambitus} denotes a range of pitches for a given voice in
-a part of music. It also may denote the pitch range that a musical
-instrument is capable of playing. Most musical instruments have their
-ambitus standardized (or at least there is agreement upon the minimal
-ambitus of a particular type of instrument), such that a composer or
-arranger of a piece of music can easily meet the ambitus constraints of
-the targeted instrument. However, the ambitus of the human voice
-depends on individual physiological state, including education and
-training of the voice. Therefore, a singer potentially has to check for
-each piece of music if the ambitus of that piece meets his individual
-capabilities. This is why the ambitus of a piece may be of particular
-value to vocal performers.
+The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
+for a given voice in a part of music. It also may denote the pitch
+range that a musical instrument is capable of playing. Most musical
+instruments have their ambitus standardized (or at least there is
+agreement upon the minimal ambitus of a particular type of
+instrument), such that a composer or arranger of a piece of music can
+easily meet the ambitus constraints of the targeted instrument.
+However, the ambitus of the human voice depends on individual
+physiological state, including education and training of the voice.
+Therefore, a singer potentially has to check for each piece of music
+if the ambitus of that piece meets his individual capabilities. This
+is why the ambitus of a piece may be of particular value to vocal
+performers.
The ambitus is typically notated on a per-voice basis at the very
beginning of a piece, e.g. nearby the initial clef or time signature of
-each staff. The range is graphically specified by two noteheads, that
+each staff. The range is graphically specified by two note heads, that
represent the minimum and maximum pitch. Some publishers use a textual
notation: they put the range in words in front of the corresponding
-staff. Lilypond currently only supports the graphical ambitus notation.
+staff. LilyPond only supports the graphical ambitus notation.
To apply, add the @internalsref{Ambitus_engraver} to the
@internalsref{Voice} context, i.e.
@example
- \paper @{ \translator @{
+ \paper @{
+ \translator @{
\VoiceContext
\consists Ambitus_engraver
- @} @}
+ @}
+ @}
@end example
-For example,
+This results in the following output:
-@lilypond[singleline]
+@lilypond[raggedright]
upper = \notes \relative c {
\clef "treble"
\key c \minor
}
\score {
\context ChoirStaff {
- <
- \context Staff = one { \upper }
- \context Staff = three { \lower }
- >
+ <<
+ \new Staff { \upper }
+ \new Staff { \lower }
+ >>
}
\paper {
\translator {
- \VoiceContext
+ \StaffContext
\consists Ambitus_engraver
}
}
}
@end lilypond
+If you have multiple voices in a single staff, and you want a single
+ambitus per staff rather than per each voice, then add the
+@internalsref{Ambitus_engraver} to the @internalsref{Staff} context
+rather than to the @internalsref{Voice} context.
+
+It is possible to tune individual ambituses for multiple voices on a
+single staff, for example by erasing or shifting them horizontally. An
+example is in @inputfileref{input/test,ambitus-mixed.ly}.
@seealso
-@internalsref{Ambitus}, @inputfileref{input/regression,ambitus.ly}.
+Internals: @internalsref{Ambitus}.
+
+Examples: @inputfileref{input/regression,ambitus.ly},
+@inputfileref{input/test,ambitus-mixed.ly}.
+
+@refbugs
+
+There is no collision handling in the case of multiple per-voice
+ambitus.
@node Tablatures
@section Tablatures
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.
+@cindex minimumFret
+
+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
e8 fis gis a b cis' dis' e'
-\property TabStaff.minimumFret = #8
+\set TabStaff.minimumFret = #8
e8 fis gis a b cis' dis' e'
@end example
@lilypond[noindent]
frag = \notes {
\key e \major
e8 fis gis a b cis' dis' e'
- \property TabStaff.minimumFret = #8
+ \set TabStaff.minimumFret = #8
e8 fis gis a b cis' dis' e'
}
\score {
- \context StaffGroup <
+ \context StaffGroup <<
\context Staff { \clef "G_8" \frag }
\context TabStaff { \frag }
- >
+ >>
}
@end lilypond
@seealso
-@internalsref{TabStaff}, @internalsref{TabVoice}, and
+Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
@internalsref{StringNumberEvent}.
@refbugs
@cindex Non-guitar tablatures
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}.
+in the @internalsref{TabStaff}.
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
+being the pitch (measured in semitones relative to middle 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 <
-
- \outputproperty #(make-type-checker 'staff-symbol-interface)
- #'line-count = #4
- \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
+ \context TabStaff <<
+ \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
\notes {
a,4 c' a e' e c' a e'
}
- >
+ >>
@end lilypond
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.
+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.
+No guitar special effects have been implemented.
+
@node Chord names
@section Chord names
@cindex 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 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]
+
+@lilypond[verbatim,raggedright]
twoWays = \notes \transpose c c' {
\chords {
c1 f:sus4 bes/f
}
- <<c e g>>
- <<f bes c'>>
- <<f bes d'>>
+ <c e g>
+ <f bes c'>
+ <f bes d'>
}
\score {
- < \context ChordNames \twoWays
- \context Voice \twoWays > }
+ << \context ChordNames \twoWays
+ \context Voice \twoWays >> }
@end lilypond
This example also shows that the chord printing routines do not try to
-be intelligent. The chord @code{f bes d}, is not interpreted as an
-inversion.
+be intelligent. The last chord (@code{f bes d}) is not interpreted as
+an inversion.
@menu
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,
-@lilypond[fragment,verbatim,quote, relative=1]
+like a common pitch:
+@lilypond[fragment,verbatim,relative=1]
\chords { es4. d8 c2 }
@end lilypond
@cindex chord entry
@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]
+@lilypond[fragment,verbatim]
\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]
+@lilypond[verbatim,fragment]
\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:
-@lilypond[verbatim,fragment,quote]
+to the number:
+@lilypond[verbatim,fragment]
\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):
+@c
@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.
-@lilypond[fragment,verbatim,center]
+@code{/}@var{pitch} to the chord:
+@lilypond[fragment,verbatim]
\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}.
-@lilypond[fragment,verbatim,center]
+A bass note can be added instead of transposed out of the chord,
+by using @code{/+}@var{pitch}.
+
+@lilypond[fragment,verbatim]
\chords { c1 c/+g c/+f }
@end lilypond
Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
of the commands continue to work, for example, @code{r} and
-@code{\skip} can be used to insert rests and spaces, and
-@code{\property} may be used to change various settings.
+@code{\skip} can be used to insert rests and spaces, and property
+commands may be used to change various settings.
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 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 @code{<<} and @code{>>}.
+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]
+@lilypond[verbatim,raggedright]
scheme = \notes {
- \chords {a1 b c} <<d' f' g'>> <<e' g' b'>>
+ \chords {a1 b c} <d' f' a'> <e' g' b'>
}
\score {
- \notes<
+ \notes<<
\context ChordNames \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=9\cm]
scheme = \chords {
c1:m c:m \break c:m c:m d
}
\score {
- \notes <
+ \notes <<
\context ChordNames {
- \property ChordNames.chordChanges = ##t
+ \set chordChanges = ##t
\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}).
+Klaus Ignatzek (see @ref{Literature list}). 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.
@lilypond[fragment,verbatim]
\context ChordNames \chords {
c:7sus4
- \property ChordNames.chordNameSeparator
- = \markup { "|" }
+ \set chordNameSeparator
+ = \markup { \typewriter "|" }
c:7sus4 }
@end lilypond
function. Special note names (for example, the German ``H'' for a
B-chord) can be produced by storing a new function in this property.
+The predefined variables @code{\germanChords},
+@code{\semiGermanChords} set these variables.
+
+
@cindex chordNoteNamer
@item chordNoteNamer
-The default is to print single notes (as for instance the bass note)
-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.
+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},
+Examples: @inputfileref{input/regression,chord-name-major7.ly},
@inputfileref{input/regression,chord-name-exceptions.ly},
-@inputfileref{input/test,chord-names-german.ly},
-@file{scm/chords-ignatzek.scm}, @file{scm/chord-entry.scm}
+@inputfileref{input/test,chord-names-jazz.ly},
+@inputfileref{input/test,chord-names-german.ly}.
+
+Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
@refbugs
Chord names are determined solely from the list of pitches. Chord
inversions are not identified, and neither are added bass notes. This
may result in strange chord names when chords are entered with the
-@code{<< .. >>} syntax.
+@code{< .. >} syntax.
-@node Writing parts
-@section Writing parts
+@node Orchestral music
+@section 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
@menu
+* Multiple staff contexts::
* Rehearsal marks::
* Bar numbers::
* Instrument names::
* Transpose::
+* Instrument transpositions::
* Multi measure rests::
* Automatic part combining::
-* Frenched scores::
-* Sound output for transposing instruments::
+* Hiding staves::
+* Different editions from one source::
+* Quoting other voices::
@end menu
+@node Multiple staff contexts
+@subsection Multiple staff contexts
+
+Polyphonic scores consist of many staves. These staves 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
@cindex mark
@cindex @code{\mark}
-To print a rehearsal mark, use the @code{\mark} command.
+To print a rehearsal mark, use the @code{\mark} command:
@lilypond[fragment,verbatim]
\relative c'' {
- c1 \mark "A"
- c1 \mark "B"
- c1 \mark "12"
- c1 \mark "13"
- c1
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark #8
+ c1 \mark \default
+ c1 \mark \default
}
@end lilypond
+@noindent
+(The letter I is skipped in accordance with engraving traditions.)
+
The mark is incremented automatically if you use @code{\mark
-\default}. The value to use is stored in the property
-@code{rehearsalMark} is used and automatically incremented.
+\default}, but you can also use an integer argument to set the mark
+manually. The value to use is stored in the property
+@code{rehearsalMark}.
+
+The style is defined by the property @code{markFormatter}. It is a
+function taking the current mark (an integer) and the current context
+as argument. It should return a markup object. In the following
+example, @code{markFormatter} is set to a canned procedure. After a
+few measures, it is set to function that produces a boxed number.
+
+@lilypond[verbatim,fragment,relative=1]
+ \set Score.markFormatter = #format-mark-numbers
+ c1 \mark \default
+ c1 \mark \default
+ \set Score.markFormatter
+ = #(lambda (mark context)
+ (make-bold-markup (make-box-markup (number->string mark))))
+ c1 \mark \default
+ c1 \mark \default
+@end lilypond
+
+The file @file{scm/translation-functions.scm} contains the definitions
+of @code{format-mark-numbers} (the default format) and
+@code{format-mark-letters}. They can be used as inspiration for other
+formatting functions.
+
+
+@cindex coda on bar line
+@cindex segno on bar line
+@cindex fermata on bar line
+@cindex bar lines, symbols on
The @code{\mark} command can also be used to put signs like coda,
-segno and fermatas on a barline. Use @code{\markup} to
-to access the appropriate symbol.
+segno and fermatas on a bar line. Use @code{\markup} to
+to access the appropriate symbol:
@lilypond[fragment,verbatim,relative=1]
c1 \mark \markup { \musicglyph #"scripts-ufermata" }
c1
@end lilypond
-In this case, during line breaks,
-marks must also be printed at the end of the line, and not at the
-beginning. Use the following to force that behavior
+In this case, during line breaks, marks must also be printed at the
+end of the line, and not at the beginning. Use the following to force
+that behavior:
@example
-\property Score.RehearsalMark \override
+\override Score.RehearsalMark
#'break-visibility = #begin-of-line-invisible
@end example
-See @inputfileref{input/test,boxed-molecule.ly}. for putting boxes
-around the marks.
-
@cindex fermatas
@cindex coda
@cindex segno
-@cindex barlines, putting symbols on
+@cindex bar lines, putting symbols on
@seealso
-@internalsref{MarkEvent}, @internalsref{RehearsalMark},
-@inputfileref{input/test,boxed-molecule.ly}.
+Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
+
+Init files: @file{scm/translation-functions.scm} contains the
+definition of @code{format-mark-numbers} and
+@code{format-mark-letters}. They can be used as inspiration for other
+formatting functions.
+
+Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
+@inputfileref{input/regression,rehearsal-mark-number.ly}.
@node Bar numbers
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}
+@inputfileref{input/test,bar-number-regular-interval.ly}:
-The start of that numbering can also be reset, as demonstrated in
-@inputfileref{input/test,bar-number-every-5-reset.ly}.
-
-@lilypondfile[notexidoc]{bar-number-every-5-reset.ly}
+@lilypondfile[]{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}
+Internals: @internalsref{BarNumber}.
+
+Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
+and @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, the
+@code{padding} property of @internalsref{BarNumber} can be
+used to position the number correctly.
@node Instrument names
@subsection Instrument names
-In an orchestral score, instrument names are printed left of the
-staffs.
+In an orchestral score, instrument names are printed left side of the
+staves.
This can be achieved by setting @internalsref{Staff}.@code{instrument}
and @internalsref{Staff}.@code{instr}. This will print a string before
the start of the staff. For the first start, @code{instrument} is
-used, for the next ones @code{instr} is used.
+used, for the next ones @code{instr} is used:
-@lilypond[verbatim,singleline]
- \property Staff.instrument = "ploink " { c''4 }
+@quotation
+@lilypond[verbatim,raggedright]
+ \set Staff.instrument = "ploink " { c''4 }
@end lilypond
+@end quotation
You can also use markup texts to construct more complicated instrument
-names.
+names:
-@lilypond[fragment,verbatim,singleline]
- \notes \context Staff = treble {
- \property Staff.instrument = \markup {
- \column << "Clarinetti"
+@quotation
+@lilypond[fragment,verbatim,raggedright]
+ \notes {
+ \set Staff.instrument = \markup {
+ \column < "Clarinetti"
{ "in B"
- \smaller \musicglyph #"accidentals--1"
+ \smaller \flat
}
- >>
+ >
}
{ c''1 }
}
@end lilypond
-
+@end quotation
@seealso
-@internalsref{InstrumentName}
+Internals: @internalsref{InstrumentName}.
@refbugs
\transpose @var{from} @var{to} @var{musicexpr}
@end example
-This means that @var{musicexpr} is transposed by the interval
-between @var{from} and @var{to}.
+This means that @var{musicexpr} is transposed by the interval between
+the pitches @var{from} and @var{to}: any note with pitch @code{from}
+is changed to @code{to}.
-@code{\transpose} distinguishes between enharmonic pitches: both
-@code{\transpose c cis} or @code{\transpose c des} will transpose up
-half a tone. The first version will print sharps and the second
-version will print flats.
-@lilypond[singleline, verbatim]
+For example, consider a piece written in the key of D major. If
+this piece is a little too low for its performer, it can be
+transposed up to E major with
+@example
+ \transpose d e @dots{}
+@end example
+
+Consider a part written for violin (a C instrument). If
+this part is to be played on the A clarinet, the following
+transposition will produce the appropriate part
+
+@example
+ \transpose a c @dots{}
+@end example
+
+Since @var{from} and @var{to} are pitches, @code{\transpose} must be
+inside a @code{\notes} section. @code{\transpose} distinguishes
+between enharmonic pitches: both @code{\transpose c cis} or
+@code{\transpose c des} will transpose up half a tone. The first
+version will print sharps and the second version will print flats:
+
+@lilypond[raggedright,verbatim]
mus =\notes { \key d \major cis d fis g }
\score { \notes \context Staff {
\clef "F" \mus
}}
@end lilypond
+
@seealso
-@internalsref{TransposedMusic}, @internalsref{UntransposableMusic}.
+Internals: @internalsref{TransposedMusic}, and
+@internalsref{UntransposableMusic}.
@refbugs
@code{\relative} will have no effect music that appears inside a
@code{\transpose}.
+@node Instrument transpositions
+@subsection Instrument transpositions
+
+The key of a transposing instrument can also be specified. This
+applies to many wind instruments, for example, clarinets (B-flat, A and
+E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
+
+@syntax
+
+The transposition is entered after the keyword @code{\transposition}:
+
+@example
+ \transposition bes %% B-flat clarinet
+@end example
+
+This command sets the property @code{instrumentTuning}. The value of
+this property is used for MIDI output and quotations. It does not
+affect how notes are printed in the current staff.
+@cindex transposition, MIDI
+@cindex transposition, instrument
-@node Multi measure rests
+@node Multi measure rests
@subsection Multi measure rests
-@cindex Multi measure rests
+@cindex multi measure rests
+@cindex Rests, multi measure
@cindex @code{R}
Multi measure rests are entered using `@code{R}'. It is specifically
-meant for full bar rests and for entering parts: the rest can expand to
-fill a score with rests, or it can be printed as a single multimeasure
-rest. This expansion is controlled by the property
-@code{Score.skipBars}. If this is set to true, Lily will not expand
-empty measures, and the appropriate number is added automatically.
+meant for full bar rests and for entering parts: the rest can expand
+to fill a score with rests, or it can be printed as a single
+multimeasure rest. This expansion is controlled by the property
+@code{Score.skipBars}. If this is set to true, empty measures will not
+be expanded, and the appropriate number is added automatically:
@lilypond[fragment,verbatim]
\time 4/4 r1 | R1 | R1*2
- \property Score.skipBars = ##t R1*17 R1*4
+ \set Score.skipBars = ##t R1*17 R1*4
@end lilypond
The @code{1} in @code{R1} is similar to the duration notation used for
durations. This can be done with augmentation dots or fractions:
@lilypond[fragment,verbatim]
- \property Score.skipBars = ##t
+ \set Score.skipBars = ##t
\time 3/4
R2. | R2.*2
\time 13/8
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.
-
-
+An @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.
+adding fermatas:
@lilypond[verbatim,fragment]
R2.^\fermataMarkup
@end lilypond
+If you want to have a text on the left end of a multi-measure rest,
+attach the text to a zero-length skip note, i.e.
+
+@example
+ s1*0^"Allegro"
+ R1*4
+@end example
+
@cindex whole rests for a full measure
@seealso
-@internalsref{MultiMeasureRestEvent},
+Internals: @internalsref{MultiMeasureRestEvent},
@internalsref{MultiMeasureTextEvent},
-@internalsref{MultiMeasureRestMusicGroup},
+@internalsref{MultiMeasureRestMusicGroup}, and
@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.
multimeasure rest. Multi measure rests do not take part in rest
collisions.
-Be careful when entering multimeasure rests followed by whole notes,
+Be careful when entering multimeasure rests followed by whole
+notes. The following will enter two notes lasting four measures each:
@example
R1*4 cis cis
@end example
-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.
+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
The syntax for part combining is
@example
- \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
+ \partcombine @var{musicexpr1} @var{musicexpr2}
@end example
-where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
-combined into one context of type @var{context}. The music expressions
-must be interpreted by contexts whose names should start with @code{one}
-and @code{two}.
+
+The music expressions will be interpreted as @internalsref{Voice} contexts.
The following example demonstrates the basic functionality of the part
combiner: putting parts on one staff, and setting stem directions and
-polyphony.
+polyphony:
-@lilypond[verbatim,singleline,fragment]
- \context Staff <
- \context Voice=one \partcombine Voice
- \context Thread=one \relative c'' {
- g a-( b-) r
+@lilypond[verbatim,raggedright,fragment,relative=1]
+ \new Staff \partcombine
+ {
+ g a( b) r
}
- \context Thread=two \relative c'' {
+ {
g r4 r f
}
- >
@end lilypond
The first @code{g} appears only once, although it was
`Solo II'.
If you just want the merging parts, and not the textual markings, you
-may set the property @var{soloADue} to false.
-
-@lilypond[verbatim,singleline,fragment]
- \context Staff <
- \property Staff.soloADue = ##f
- \context Voice=one \partcombine Voice
- \context Thread=one \relative c'' {
- b4 a c g
+may set the property @var{soloADue} to false:
+
+@lilypond[verbatim,raggedright,fragment,relative=1]
+ \new Staff <<
+ \set Staff.soloADue = ##f
+ \partcombine
+ {
+ g a( b) r
}
- \context Thread=two \relative c'' {
- d,2 a4 g'
- }
- >
+ {
+ g r4 r f
+ } >>
@end lilypond
@seealso
-@internalsref{PartCombineMusic},
-@internalsref{Thread_devnull_engraver},
-@internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
+Internals: @internalsref{PartCombineMusic},
+@internalsref{SoloOneEvent}, and
+@internalsref{SoloTwoEvent}, and
+@internalsref{UnisonoEvent}.
@refbugs
-The syntax for naming contexts in inconsistent with the syntax for
-combining stanzas.
-
In @code{soloADue} mode, when the two voices play the same notes on and
off, the part combiner may typeset @code{a2} more than once in a
measure.
-@lilypond[fragment,singleline]
- \context Staff <
- \context Voice=one \partcombine Voice
- \context Thread=one \relative c'' {
- c b c b c a c a
- }
- \context Thread=two \relative c'' {
- b b b b f a f a
- }
- >
-@end lilypond
-
-The part combiner is slated to be rewritten [TODO: explain why] .
-
-@cindex @code{Thread_devnull_engraver}
-@cindex @code{Voice_engraver}
-@cindex @code{A2_engraver}
+@code{\partcombine} can not be inside @code{\times}.
-@node Frenched scores
-@subsection Frenched scores
+Internally, the @code{\partcombine} interprets both arguments as
+@code{Voice}s named @code{one} and @code{two}, and then decides when
+the parts can be combined. Consequently, if the arguments switch to
+differently named @internalsref{Voice} contexts, then the events in
+those will be ignored.
-In orchestral scores, staff lines that only have rests are usually removed.
-This saves some space. This style is called `French Score'.
+@node Hiding staves
+@subsection Hiding staves
-@syntax
+@cindex Frenched scores
+@cindex Hiding staves
-This is supported through the @code{FrenchStaff}. This staff is
-removed when it turns out empty (or containing multimeasure rests)
-after the line-breaking process.
+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{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.
+For normal staves, a specialized @internalsref{Staff} context is
+available, which does the same: staves containing nothing (or only
+multi measure rests) are removed. The context definition is stored in
+@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}, this is
-switched on by default. For normal staffs, it is available as a
-specialized @internalsref{Staff} context, with the name variable
-@code{\FrenchStaffContext}. Observe how the second staff in this
-example disappears in the second line.
@lilypond[verbatim]
\score {
- \notes \relative c' <
- \context Staff = SA { e4 f g a \break c1 }
- \context Staff = SB { c4 d e f \break R1 }
- >
+ \notes \relative c' <<
+ \new Staff { e4 f g a \break c1 }
+ \new Staff { c4 d e f \break R1 }
+ >>
\paper {
linewidth = 6.\cm
- \translator { \FrenchStaffContext }
+ \translator { \RemoveEmptyStaffContext }
}
}
@end lilypond
+The first page shows all staffs in full. If they should be removed
+from the first page too, set @code{remove-first} to false
+in @internalsref{RemoveEmptyVerticalGroup}.
+
+Another application is making ossia sections, i.e. alternative
+melodies on a separate piece of staff, with help of a Frenched
+staff. See @inputfileref{input/test,ossia.ly} for an example.
+
+
+@node Different editions from one source
+@subsection Different editions from one source
+
+The @code{\tag} command marks music expressions with a name. These
+tagged expressions can be filtered out later. With this mechanism it
+is possible to make different versions of the same music source.
+
+In the following example, we see two versions of a piece of music, one
+for the full score, and one with cue notes for the instrumental part:
+
+@example
+ c1
+ \relative c' <<
+ \tag #'part <<
+ R1 \\
+ @{
+ \set fontSize = #-1
+ c4_"cue" f2 g4 @}
+ >>
+ \tag #'score R1
+ >>
+ c1
+@end example
+
+The same can be applied to articulations, texts, etc.: they are
+made by prepending
+@example
+ -\tag #@var{your-tag}
+@end example
+to an articulation, for example,
+@example
+ c1-\tag #'part ^4
+@end example
+
+This defines a note with a conditional fingering indication.
+
+By applying the @code{remove-tag} function, tagged expressions can be
+filtered. For example,
+@example
+\simultaneous @{
+ @var{the music}
+ \apply #(remove-tag 'score) @var{the music}
+ \apply #(remove-tag 'part) @var{the music}
+@}
+@end example
+would yield
+
+@lilypondfile[]{tag-filter.ly}
+
+The argument of the @code{\tag} command should be a symbol, or a list
+of symbols, for example,
+@example
+ \tag #'(original-part transposed-part) @dots{}
+@end example
+
+@seealso
+
+Examples: @inputfileref{input/regression,tag-filter.ly}.
-@node Sound output for transposing instruments
-@subsection Sound output for transposing instruments
-When you want to make a MIDI file from a score containing transposed
-and untransposed instruments, you have to instruct LilyPond the pitch
-offset (in semitones) for the transposed instruments. This is done
-using the @code{transposing} property. It does not affect printed
-output.
+@node Quoting other voices
+@subsection Quoting other voices
-@cindex @code{transposing}
+With quotations, fragments of other parts can be inserted into a part
+directly. Before a part can be quoted, it must be marked especially as
+quotable. This is done with code @code{\addquote} command. The
+quotation may then be done with @code{\quote}
@example
- \property Staff.instrument = #"Cl. in B-flat"
- \property Staff.transposing = #-2
+ \addquote @var{name} @var{music}
+ \quote @var{name} @var{duration}
@end example
+@noindent
+
+Here, @var{name} is an identifying string. The @var{music} is any kind
+of music. This is an example of @code{\addquote}:
+
+@verbatim
+\addquote clarinet \notes\relative c' {
+ f4 fis g gis
+}
+@end verbatim
+
+During a part, a piece of music can be quoted with the @code{\quote}
+command.
+
+@verbatim
+ \quote clarinet 2.
+@end verbatim
+
+This would cite 3 quarter notes (a dotted half note) of the previously
+added clarinet voice.
+
+Quotations take into account the transposition both source and target
+instruments, if they are specified using the @code{\transposition} command.
+
+@lilypond[verbatim fragment]
+\addquote clarinet \notes\relative c' {
+ \transposition bes
+ f4 fis g gis
+}
+\score {
+ \notes {
+ e'8 f'8 \quote clarinet 2
+} }
+@end lilypond
+
+@refbugs
+
+Only the contents of the first @internalsref{Voice} occurring in an
+@code{\addquote} command will be considered for quotation, so
+@var{music} can not contain @code{\new} and @code{\context Voice}
+statements that would switch to a different Voice.
+
+
+@seealso
+
+In this manual: @ref{Instrument transpositions}.
+
+Examples: @inputfileref{input/regression,quote.ly}
+@inputfileref{input/regression,quote-transposition.ly}
-@node Ancient notation
+Internals: @internalsref{QuoteMusic}.
+
+
+
+
+
+@node Ancient notation
@section Ancient notation
@cindex Vaticana, Editio
@cindex Petrucci
@cindex mensural
-[TODO: write introduction on ancient notation]
+@c [TODO: write more comprehensive introduction on ancient notation]
+
+Support for ancient notation is still under heavy development.
+Regardless of all of the current limitations (see the bugs section
+below for details), it includes features for mensural
+notation and Gregorian Chant notation. There is also limited support
+for figured bass notation.
+
+Many graphical objects provide a @code{style} property, see
+@ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
+rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
+signatures}. By manipulating such a grob property, the typographical
+appearance of the affected graphical objects can be accommodated for a
+specific notation flavor without need for introducing any new
+notational concept.
+
+
+Other aspects of ancient notation can not that easily be expressed as
+in terms of just changing a style property of a graphical object.
+Therefore, some notational concepts are introduced specifically for
+ancient notation, see @ref{Custodes}, @ref{Divisiones},
+@ref{Ligatures}, and @ref{Figured bass}.
+
@menu
* Ancient note heads::
-* Ancient clefs ::
+* Ancient accidentals::
+* Ancient rests::
+* Ancient clefs::
+* Ancient flags::
+* Ancient time signatures::
* Custodes::
* Divisiones::
* Ligatures::
* Figured bass::
+* Vaticana style contexts::
@end menu
+If this all is way too much of documentation for you, and you just
+want to dive into typesetting without worrying too much about the
+details on how to customize a context, then you may have a look at the
+predefined contexts (see @ref{Vaticana style contexts}). Use them to
+set up predefined style-specific voice and staff contexts, and
+directly go ahead with the note entry.
-@node Ancient note heads
-@subsection Ancient note heads
+@refbugs
-To get a longa note head, you have to use mensural note heads. This
-is accomplished by setting the @code{style} property of the
-NoteHead object to @code{mensural}. There is also a note head style
-@code{baroque} which gives mensural note heads for @code{\longa} and
-@code{\breve} but standard note heads for shorter notes.
+Ligatures need special spacing that has not yet been implemented. As
+a result, there is too much space between ligatures most of the time,
+and line breaking often is unsatisfactory. Also, lyrics do not
+correctly align with ligatures.
-@lilypond[fragment,singleline,verbatim]
- \property Voice.NoteHead \set #'style = #'mensural
- a'\longa
-@end lilypond
+Accidentals must not be printed within a ligature, but instead need to
+be collected and printed in front of it.
-@node Ancient clefs
-@subsection Ancient clefs
+Augmentum dots within ligatures are not handled correctly.
-LilyPond supports a variety of clefs, many of them ancient.
-For modern clefs, see section @ref{Clef}. For the percussion clef, see
-section @ref{Percussion staves}. For the @code{TAB} clef, see section
-@ref{Tablatures}.
+@node Ancient note heads
+@subsection Ancient note heads
-The following table shows all ancient clefs that are supported via the
-@code{\clef} command. Some of the clefs use the same glyph, but
-differ only with respect to the line they are printed on. In such
-cases, a trailing number in the name is used to enumerate these clefs.
-Still, you can manually force a clef glyph to be typeset on an
-arbitrary line, as described in section @ref{Clef}. The note printed
-to the right side of each clef in the example column denotes the
-@code{c'} with respect to that clef.
+@cindex note heads
-@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'}
+@syntax
-@multitable @columnfractions .3 .3 .3 .1
+For ancient notation, a note head style other than the @code{default}
+style may be chosen. This is accomplished by setting the @code{style}
+property of the NoteHead object to the desired value (@code{baroque},
+@code{neo_mensural} or @code{mensural}). The @code{baroque} style
+differs from the @code{default} style only in using a square shape for
+@code{\breve} note heads. The @code{neo_mensural} style differs from
+the @code{baroque} style in that it uses rhomboidal heads for whole
+notes and all smaller durations. Stems are centered on the note
+heads. This style is in particular useful when transcribing mensural
+music, e.g. for the incipit. The @code{mensural} style finally
+produces note heads that mimic the look of note heads in historic
+printings of the 16th century.
+
+The following example demonstrates the @code{neo_mensural} style:
+
+@lilypond[fragment,raggedright,verbatim]
+ \override NoteHead #'style = #'neo_mensural
+ a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
+@end lilypond
+
+When typesetting a piece in Gregorian Chant notation, a Gregorian
+ligature engraver will automatically select the proper note heads,
+such there is no need to explicitly set the note head style. Still,
+the note head style can be set e.g. to @code{vaticana_punctum} to
+produce punctum neumes. Similarly, a mensural ligature engraver is
+used to automatically assemble mensural ligatures. See
+@ref{Ligatures} for how ligature engravers work.
-@item
-@b{Glyph Name} @tab
-@b{Description} @tab
-@b{Supported Clefs} @tab
-@b{Example}
+@seealso
-@item
-@code{clefs-neo_mensural_c} @tab
-modern style mensural C clef @tab
-@code{neo_mensural_c1}, @code{neo_mensural_c2},
-@code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
-@lilypond[relative 0, notime]
-\property Staff.TimeSignature \set #'transparent = ##t
-\clef "neo_mensural_c2" c
-@end lilypond
+In this manual:
+@ref{Percussion staves} use note head styles of their own that are
+frequently used in contemporary music notation.
-@item
-@code{clefs-petrucci_c1}
-@code{clefs-petrucci_c2}
-@code{clefs-petrucci_c3}
-@code{clefs-petrucci_c4}
-@code{clefs-petrucci_c5}
+Examples: @inputfileref{input/regression,note-head-style.ly} gives an
+overview over all available note head styles.
-@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}
+@node Ancient accidentals
+@subsection Ancient accidentals
-@tab
-@lilypond[relative 0, notime]
-\property Staff.TimeSignature \set #'transparent = ##t
+@cindex accidentals
+
+@syntax
+
+Use the @code{style} property of grob @internalsref{Accidental} to
+select ancient accidentals. Supported styles are
+@code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
+
+@lilypond[raggedright,staffsize=26]
+\score {
+ \notes {
+ \fatText
+ s
+ ^\markup {
+ \column <
+ "vaticana"
+ { " " \musicglyph #"accidentals-vaticana-1"
+ " " \musicglyph #"accidentals-vaticana0" }
+ >
+ \column <
+ "medicaea"
+ { " " \musicglyph #"accidentals-medicaea-1" }
+ >
+ \column <
+ "hufnagel"
+ { " " \musicglyph #"accidentals-hufnagel-1" }
+ >
+ \column <
+ "mensural"
+ { " " \musicglyph #"accidentals-mensural-1"
+ " " \musicglyph #"accidentals-mensural1" }
+ >
+ }
+ }
+ \paper {
+ raggedright = ##t
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator{
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ \remove "Time_signature_engraver"
+ \remove "Staff_symbol_engraver"
+ minimumVerticalExtent = ##f
+ }
+ }
+}
+@end lilypond
+
+As shown, not all accidentals are supported by each style. When
+trying to access an unsupported accidental, LilyPond will switch to a
+different style, as demonstrated in
+@inputfileref{input/test,ancient-accidentals.ly}.
+
+Similarly to local accidentals, the style of the key signature can be
+controlled by the @code{style} property of the
+@internalsref{KeySignature} grob.
+
+@seealso
+
+In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
+@ref{Accidentals} give a general introduction into the use of
+accidentals. @ref{Key signature} gives a general introduction into
+the use of key signatures.
+
+Internals: @internalsref{KeySignature}.
+
+Examples: @inputfileref{input/test,ancient-accidentals.ly}.
+
+@node Ancient rests
+@subsection Ancient rests
+
+@cindex rests
+
+@syntax
+
+Use the @code{style} property of grob @internalsref{Rest} to select
+ancient accidentals. Supported styles are @code{classical},
+@code{neo_mensural} and @code{mensural}. @code{classical} differs
+from the @code{default} style only in that the quarter rest looks like
+a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
+well for e.g. the incipit of a transcribed mensural piece of music.
+The @code{mensural} style finally mimics the appearance of rests as
+in historic prints of the 16th century.
+
+The following example demonstrates the @code{neo_mensural} style:
+
+@lilypond[fragment,raggedright,verbatim]
+ \override Rest #'style = #'neo_mensural
+ r\longa r\breve r1 r2 r4 r8 r16
+@end lilypond
+
+There are no 32th and 64th rests specifically for the mensural or
+neo-mensural style. Instead, the rests from the default style will be
+taken. See @inputfileref{input/test,rests.ly} for a chart of all
+rests.
+
+There are no rests in Gregorian Chant notation; instead, it uses
+@ref{Divisiones}.
+
+@seealso
+
+In this manual: @ref{Rests} gives a general introduction into the use of rests.
+
+
+@node Ancient clefs
+@subsection Ancient clefs
+
+@cindex clefs
+
+@syntax
+
+LilyPond supports a variety of clefs, many of them ancient.
+
+The following table shows all ancient clefs that are supported via the
+@code{\clef} command. Some of the clefs use the same glyph, but
+differ only with respect to the line they are printed on. In such
+cases, a trailing number in the name is used to enumerate these clefs.
+Still, you can manually force a clef glyph to be typeset on an
+arbitrary line, as described in @ref{Clef}. The note printed to the
+right side of each clef in the example column denotes the @code{c'}
+with respect to that clef.
+
+@multitable @columnfractions .3 .3 .3 .1
+
+@item
+@b{Glyph Name} @tab
+@b{Description} @tab
+@b{Supported Clefs} @tab
+@b{Example}
+
+@item
+@code{clefs-neo_mensural_c} @tab
+modern style mensural C clef @tab
+@code{neo_mensural_c1}, @code{neo_mensural_c2},
+@code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
+@lilypond[relative,notime]
+\override Staff.TimeSignature #'transparent = ##t
+\clef "neo_mensural_c2" c
+@end lilypond
+
+@item
+@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 staff lines
+(the examples shows the 2nd staff line C clef).
+
+@tab
+@code{petrucci_c1}
+@code{petrucci_c2}
+@code{petrucci_c3}
+@code{petrucci_c4}
+@code{petrucci_c5}
+
+@tab
+@lilypond[relative,notime]
+\override Staff.TimeSignature #'transparent = ##t
\clef "petrucci_c2" c
@end lilypond
@code{clefs-petrucci_f} @tab
petrucci style mensural F clef @tab
@code{petrucci_f} @tab
-@lilypond[relative 0, notime]
-\property Staff.TimeSignature \set #'transparent = ##t
+@lilypond[relative,notime]
+\override Staff.TimeSignature #'transparent = ##t
\clef "petrucci_f" c
@end lilypond
@code{clefs-petrucci_g} @tab
petrucci style mensural G clef @tab
@code{petrucci_g} @tab
-@lilypond[relative 0, notime]
-\property Staff.TimeSignature \set #'transparent = ##t
+@lilypond[relative,notime]
+\override Staff.TimeSignature #'transparent = ##t
\clef "petrucci_g" c
@end lilypond
@item
-@code{clefs-mensural_c'} @tab
+@code{clefs-mensural_c} @tab
historic style mensural C clef @tab
@code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
@code{mensural_c4} @tab
-@lilypond[relative 0, notime]
-\property Staff.TimeSignature \set #'transparent = ##t
+@lilypond[relative,notime]
+\override Staff.TimeSignature #'transparent = ##t
\clef "mensural_c2" c
@end lilypond
@code{clefs-mensural_f} @tab
historic style mensural F clef @tab
@code{mensural_f} @tab
-@lilypond[relative 0, notime]
-\property Staff.TimeSignature \set #'transparent = ##t
+@lilypond[relative,notime]
+\override Staff.TimeSignature #'transparent = ##t
\clef "mensural_f" c
@end lilypond
@code{clefs-mensural_g} @tab
historic style mensural G clef @tab
@code{mensural_g} @tab
-@lilypond[relative 0, notime]
-\property Staff.TimeSignature \set #'transparent = ##t
+@lilypond[relative,notime]
+\override Staff.TimeSignature #'transparent = ##t
\clef "mensural_g" c
@end lilypond
@code{clefs-vaticana_do} @tab
Editio Vaticana style do clef @tab
@code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
-@lilypond[relative 0, notime]
-\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
-\property Staff.TimeSignature \set #'transparent = ##t
+@lilypond[relative,notime]
+ \override Staff.StaffSymbol #'line-count = #4
+\override Staff.TimeSignature #'transparent = ##t
\clef "vaticana_do2" c
@end lilypond
@code{clefs-vaticana_fa} @tab
Editio Vaticana style fa clef @tab
@code{vaticana_fa1}, @code{vaticana_fa2} @tab
-@lilypond[relative 0, notime]
-\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
-\property Staff.TimeSignature \set #'transparent = ##t
+@lilypond[relative,notime]
+ \override Staff.StaffSymbol #'line-count = #4
+\override Staff.TimeSignature #'transparent = ##t
\clef "vaticana_fa2" c
@end lilypond
@code{clefs-medicaea_do} @tab
Editio Medicaea style do clef @tab
@code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
-@lilypond[relative 0, notime]
-\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
-\property Staff.TimeSignature \set #'transparent = ##t
+@lilypond[relative,notime]
+ \override Staff.StaffSymbol #'line-count = #4
+\override Staff.TimeSignature #'transparent = ##t
\clef "medicaea_do2" c
@end lilypond
@code{clefs-medicaea_fa} @tab
Editio Medicaea style fa clef @tab
@code{medicaea_fa1}, @code{medicaea_fa2} @tab
-@lilypond[relative 0, notime]
-\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
-\property Staff.TimeSignature \set #'transparent = ##t
+@lilypond[relative,notime]
+ \override Staff.StaffSymbol #'line-count = #4
+\override Staff.TimeSignature #'transparent = ##t
\clef "medicaea_fa2" c
@end lilypond
@code{clefs-hufnagel_do} @tab
historic style hufnagel do clef @tab
@code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
-@lilypond[relative 0, notime]
-\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
-\property Staff.TimeSignature \set #'transparent = ##t
+@lilypond[relative,notime]
+ \override Staff.StaffSymbol #'line-count = #4
+\override Staff.TimeSignature #'transparent = ##t
\clef "hufnagel_do2" c
@end lilypond
@code{clefs-hufnagel_fa} @tab
historic style hufnagel fa clef @tab
@code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
-@lilypond[relative 0, notime]
-\context Staff
-\outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
-\property Staff.TimeSignature \set #'transparent = ##t
+@lilypond[relative,notime]
+ \override Staff.StaffSymbol #'line-count = #4
+\override Staff.TimeSignature #'transparent = ##t
\clef "hufnagel_fa2" c
@end lilypond
@code{clefs-hufnagel_do_fa} @tab
historic style hufnagel combined do/fa clef @tab
@code{hufnagel_do_fa} @tab
-@lilypond[relative 0, notime]
-\property Staff.TimeSignature \set #'transparent = ##t
+@lilypond[relative,notime]
+\override Staff.TimeSignature #'transparent = ##t
\clef "hufnagel_do_fa" c
@end lilypond
@c Supported clefs:
@c @code{percussion}
@c
-@c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
+@c @lilypond{\override Staff.TimeSignature #'transparent = ##t \clef "percussion" c'}
@c
@c @item modern style tab clef (glyph: @code{clefs-tab})
@c
@c Supported clefs:
@c @code{tab}
@c
-@c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
+@c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \override Staff.TimeSignature #'transparent = ##t \clef "tab" c'}
@emph{Modern style} means ``as is typeset in contemporary editions of
transcribed mensural music''.
@emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
Petrucci used C clefs with differently balanced left-side vertical
-beams, depending on which staffline it is printed.
+beams, depending on which staff line it is printed.
+
+@seealso
+
+In this manual: for the percussion clef, see @ref{Percussion staves}.
+For the @code{TAB} clef, see @ref{Tablatures}.
+
+Internals: for modern clefs, see @ref{Clef}.
+
+@refbugs
+
+The mensural g clef is temporarily mapped to the Petrucci g clef,
+until a new mensural g clef will have been implemented.
+
+
+
+@node Ancient flags
+@subsection Ancient flags
+
+@cindex flags
+
+@syntax
+
+Use the @code{flag-style} property of grob @internalsref{Stem} to
+select ancient flags. Besides the @code{default} flag style,
+ only @code{mensural} style is supported:
+
+@lilypond[fragment,raggedright,verbatim]
+ \override Stem #'flag-style = #'mensural
+ \override Stem #'thickness = #1.0
+ \override NoteHead #'style = #'mensural
+ \autoBeamOff
+ c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
+ c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
+@end lilypond
+
+Note that the innermost flare of each mensural flag always is
+vertically aligned with a staff line. If you do not like this
+behavior, you can set the @code{adjust-if-on-staffline} property of
+grob @internalsref{Stem} to @code{##f}. Then, the vertical position
+of the end of each flare is different between notes on staff lines and
+notes between staff lines:
+
+@lilypond[fragment,raggedright]
+ \override Stem #'flag-style = #'mensural
+ \override Stem #'thickness = #1.0
+ \override Stem #'adjust-if-on-staffline = ##f
+ \override NoteHead #'style = #'mensural
+ \autoBeamOff
+ c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
+ c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
+@end lilypond
+
+There is no particular flag style for neo-mensural notation. Hence,
+when typesetting e.g. the incipit of a transcribed piece of mensural
+music, the default flag style should be used. There are no flags in
+Gregorian Chant notation.
+
+
+@node Ancient time signatures
+@subsection Ancient time signatures
+
+@cindex time signatures
+
+@syntax
+
+There is limited support for mensural time signatures. The
+glyphs are hard-wired to particular time fractions. In other words,
+to get a particular mensural signature glyph with the @code{\time n/m}
+command, @code{n} and @code{m} have to be chosen according to the
+following table:
+
+@lilypond
+\score {
+ \notes {
+ \set Score.timing = ##f
+ \set Score.barAlways = ##t
+ s_\markup { "$\\backslash$time 4/4" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
+ s
+ s_\markup { "$\\backslash$time 2/2" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
+ s
+ s_\markup { "$\\backslash$time 6/4" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
+ s
+ s_\markup { "$\\backslash$time 6/8" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
+ \break
+ s_\markup { "$\\backslash$time 3/2" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
+ s
+ s_\markup { "$\\backslash$time 3/4" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
+ s
+ s_\markup { "$\\backslash$time 9/4" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
+ s
+ s_\markup { "$\\backslash$time 9/8" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
+ \break
+ s_\markup { "$\\backslash$time 4/8" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
+ s
+ s_\markup { "$\\backslash$time 2/4" }
+ ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
+ \break
+ }
+ \paper {
+ indent = 0.0
+ raggedright = ##t
+ \translator {
+ \StaffContext
+ \remove Staff_symbol_engraver
+ \remove Clef_engraver
+ \remove Time_signature_engraver
+ }
+ }
+}
+@end lilypond
+
+Use the @code{style} property of grob @internalsref{TimeSignature} to
+select ancient time signatures. Supported styles are
+@code{neo_mensural} and @code{mensural}. The above table uses the
+@code{neo_mensural} style. This style is appropriate e.g. for the
+incipit of transcriptions of mensural pieces. The @code{mensural}
+style mimics the look of historical printings of the 16th century.
+
+@inputfileref{input/test,time.ly} gives an overview over all available
+ancient and modern styles.
+
+@seealso
+
+Internals: @ref{Time signature} gives a general introduction into the use of time
+signatures.
+
+@refbugs
+Mensural signature glyphs are mapped to time fractions in a
+hard-wired way. This mapping is sensible, but still arbitrary: given
+a mensural time signature, the time fraction represents a modern meter
+that usually will be a good choice when transcribing a mensural piece
+of music. For a particular piece of mensural music, however, the
+mapping may be unsatisfactory. In particular, the mapping assumes a
+fixed transcription of durations (e.g. brevis = half note in 2/2,
+i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
+are not at all accessible through the @code{\time} command.
+
+Mensural time signatures are supported typographically, but not yet
+musically. The internal representation of durations is
+based on a purely binary system; a ternary division such as 1 brevis =
+3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
+prolatione maiori) is not correctly handled: event times in ternary
+modes will be badly computed, resulting e.g. in horizontally
+misaligned note heads, and bar checks are likely to erroneously fail.
+
+The syntax and semantics of the @code{\time} command for mensural
+music is subject to change.
@node Custodes
@subsection Custodes
@cindex custos
@cindex custodes
-A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
+A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
symbol that appears at the end of a staff. It anticipates the pitch
of the first note(s) of the following line and thus helps the player
or singer to manage line breaks during performance, thus enhancing
century. Nowadays, they have survived only in a few particular forms
of musical notation such as contemporary editions of Gregorian chant
like the @emph{editio vaticana}. There are different custos glyphs
-used in different flavours of notational style.
+used in different flavors of notational style.
+
+@syntax
For typesetting custodes, just put a @internalsref{Custos_engraver} into the
@internalsref{Staff} context when declaring the @code{\paper} block,
-as shown in the following example.
+as shown in the following example:
@example
\paper @{
\score {
\notes {
a'1
- \property Staff.Custos \set #'style = #'mensural
+ \override Staff.Custos #'style = #'mensural
\break
g'
}
\fatText
s
^\markup {
- \column <<
+ \column <
"vaticana"
{ " " \musicglyph #"custodes-vaticana-u0" }
- >>
- \column <<
+ >
+ \column <
"medicaea"
{ " " \musicglyph #"custodes-medicaea-u0" }
- >>
- \column <<
+ >
+ \column <
"hufnagel"
{ " " \musicglyph #"custodes-hufnagel-u0" }
- >>
- \column <<
+ >
+ \column <
"mensural"
{ " " \musicglyph #"custodes-mensural-u0" }
- >>
+ >
}
}
\paper {
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 glyph will
+typeset on or between staff lines. 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
+staff lines regardless of the pitch. If you set
@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
+Just like stems can be attached to note heads in two directions
@emph{up} and @emph{down}, each custos glyph is available with its
appendage pointing either up or down. If the pitch of a custos is
above a selectable position, the appendage will point downwards; if
@seealso
+Internals: @internalsref{Custos}.
-@internalsref{Custos}, @inputfileref{input/test,custos-style.ly} and
-@inputfileref{input/regression,custos.ly}.
+Examples: @inputfileref{input/regression,custos.ly}.
@node Divisiones
@cindex divisiones
@cindex finalis
-A @emph{divisio} (plural: @emph{divisiones}; latin word for
+A @emph{divisio} (plural: @emph{divisiones}; Latin word for
`division') is a staff context symbol that is used to structure
Gregorian music into phrases and sections. The musical meaning of
@emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
and @code{\finalis} at proper places in the input. Some editions use
@emph{virgula} or @emph{caesura} instead of divisio minima.
Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
-@code{\caesura}.
+@code{\caesura}:
+@lilypondfile[]{divisiones.ly}
-@lilypondfile[notexidoc]{divisiones.ly}
+@refcommands
+
+@cindex @code{\virgula}
+@code{\virgula},
+@cindex @code{\caesura}
+@code{\caesura},
+@cindex @code{\divisioMinima}
+@code{\divisioMinima},
+@cindex @code{\divisioMaior}
+@code{\divisioMaior},
+@cindex @code{\divisioMaxima}
+@code{\divisioMaxima},
+@cindex @code{\finalis}
+@code{\finalis}.
@seealso
-@internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
-@inputfileref{input/test,divisiones.ly}, @ref{Breath marks}.
+In this manual: @ref{Breath marks}.
+
+Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
+
+Examples: @inputfileref{input/test,divisiones.ly}.
@node Ligatures
@subsection Ligatures
@c down the following paragraph by heart.
In musical terminology, a ligature is a coherent graphical symbol that
-represents at least two different notes. Ligatures originally appeared
+represents at least two distinct notes. Ligatures originally appeared
in the manuscripts of Gregorian chant notation roughly since the 9th
-century as an allusion to the accent symbols of greek lyric poetry to
-denote ascending or descending sequences of notes. Both, the shape and
-the exact meaning of ligatures changed tremendously during the following
-centuries: In early notation, ligatures where used for monophonic tunes
-(Gregorian chant) and very soon denoted also the way of performance in
-the sense of articulation. With upcoming multiphony, the need for a
-metric system arised, since multiple voices of a piece have to be
-synchronized some way. New notation systems were invented that used
-the manifold shapes of ligatures to now denote rhythmical patterns
-(e.g. black mensural notation, mannered notation, ars nova). With the
-invention of the metric system of the white mensural notation, the need
-for ligatures to denote such patterns disappeared. Nevertheless,
-ligatures were still in use in the mensural system for a couple of
-decades until they finally disappeared during the late 16th / early 17th
-century. Still, ligatures have survived in contemporary editions of
-Gregorian chant such as the Editio Vaticana from 1905/08.
+century as an allusion to the accent symbols of Greek lyric poetry to
+denote ascending or descending sequences of notes. Both, the shape
+and the exact meaning of ligatures changed tremendously during the
+following centuries: In early notation, ligatures were used for
+monophonic tunes (Gregorian chant) and very soon denoted also the way
+of performance in the sense of articulation. With upcoming
+multiphony, the need for a metric system arised, since multiple voices
+of a piece have to be synchronized some way. New notation systems
+were invented that used the manifold shapes of ligatures to now denote
+rhythmical patterns (e.g. black mensural notation, mannered notation,
+ars nova). With the invention of the metric system of the white
+mensural notation, the need for ligatures to denote such patterns
+disappeared. Nevertheless, ligatures were still in use in the
+mensural system for a couple of decades until they finally disappeared
+during the late 16th / early 17th century. Still, ligatures have
+survived in contemporary editions of Gregorian chant such as the
+Editio Vaticana from 1905/08.
@syntax
@code{\]}. Some ligature styles (such as Editio Vaticana) may need
additional input syntax specific for this particular type of ligature.
By default, the @internalsref{LigatureBracket} engraver just puts a
-square bracket above the ligature.
+square bracket above the ligature:
-@lilypond[singleline,verbatim]
+@lilypond[raggedright,verbatim]
\score {
\notes \transpose c c' {
- \[ g c a f d' \]
- a g f
- \[ e f a g \]
+ \[ g c a f d' \]
+ a g f
+ \[ e f a g \]
}
}
@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, only white mensural ligatures
+the following subsections. Only white mensural ligatures
are supported with certain limitations. Support for Editio Vaticana
will be added in the future.
@cindex White mensural ligatures
There is limited support for white mensural ligatures. The
-implementation is still experimental; it currently may output strange
+implementation is still experimental; it may output strange
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 remove the
+complex ligatures.
+
+@syntax
+
+To engrave white mensural ligatures, in the paper block the
+@internalsref{Mensural_ligature_engraver} has to be put into the
+@internalsref{Voice} context, and remove the
@internalsref{Ligature_bracket_engraver}:
@example
\paper @{
- \translator @{
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
- @}
+ \translator @{
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Mensural_ligature_engraver
+ @}
@}
@end example
This is not only required for correct MIDI output, but also allows for
automatic transcription of the ligatures.
-Example:
+For example,
@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
- \[ e1 f1 a\breve g\longa \]
+ \set Score.timing = ##f
+ \set Score.defaultBarType = "empty"
+ \override NoteHead #'style = #'neo_mensural
+ \override Staff.TimeSignature #'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]
+@lilypond[raggedright]
\score {
\notes \transpose c c' {
- \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
- \[ e1 f1 a\breve g\longa \]
+ \set Score.timing = ##f
+ \set Score.defaultBarType = "empty"
+ \override NoteHead #'style = #'neo_mensural
+ \override Staff.TimeSignature #'style = #'neo_mensural
+ \clef "petrucci_g"
+ \[ g\longa c\breve a\breve f\breve d'\longa \]
+ s4
+ \[ e1 f1 a\breve g\longa \]
}
\paper {
- \translator {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
- }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Mensural_ligature_engraver
+ }
}
}
@end lilypond
@internalsref{Mensural_ligature_engraver}, the same music transcribes
to the following:
-@lilypond[singleline]
+@lilypond[raggedright]
\score {
\notes \transpose c c' {
- \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
- \[ e1 f1 a\breve g\longa \]
+ \set Score.timing = ##f
+ \set Score.defaultBarType = "empty"
+ \override NoteHead #'style = #'neo_mensural
+ \override Staff.TimeSignature #'style = #'neo_mensural
+ \clef "petrucci_g"
+ \[ g\longa c\breve a\breve f\breve d'\longa \]
+ s4
+ \[ e1 f1 a\breve g\longa \]
}
}
@end lilypond
+
@node Gregorian square neumes ligatures
@subsubsection Gregorian square neumes ligatures
@c why not make identifiers in ly/engraver-init.ly? --hwn
+@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
+
@item
@code{1. Punctum}
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@end lilypond
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@end lilypond
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@item
@code{2. Virga}
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@item
@code{3. Apostropha vel Stropha}
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@end lilypond
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@item
@code{4. Oriscus}
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@item
@code{5. Clivis vel Flexa}
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@end lilypond
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@end lilypond
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@item
@code{6. Podatus vel Pes}
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@end lilypond
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@end lilypond
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@item
@code{7. Pes Quassus}
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@end lilypond
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@item
@code{8. Quilisma Pes}
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@end lilypond
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@item
@code{9. Podatus Initio Debilis}
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@end lilypond
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@item
@code{10. Torculus}
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@end lilypond
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@end lilypond
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@item
@code{11. Torculus Initio Debilis}
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@end lilypond
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@end lilypond
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@item
@code{12. Porrectus}
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@end lilypond
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@end lilypond
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@item
@code{13. Climacus}
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@end lilypond
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@end lilypond
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@item
@code{14. Scandicus}
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@end lilypond
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@end lilypond
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@item
@code{15. Salicus}
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@end lilypond
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@tab
@item
-@code{16. Trigomus}
+@code{16. Trigonus}
@tab
-@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+@lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
\include "gregorian-init.ly"
\score {
\notes \transpose c c' {
\StaffContext
\remove "Clef_engraver"
\remove "Key_engraver"
- \remove "Staff_symbol_engraver"
+ \override StaffSymbol #'transparent = ##t
\remove "Time_signature_engraver"
\remove "Bar_engraver"
minimumVerticalExtent = ##f
\VoiceContext
\remove Ligature_bracket_engraver
\consists Vaticana_ligature_engraver
- NoteHead \set #'style = #'vaticana_punctum
- Stem \set #'transparent = ##t
+ \override NoteHead #'style = #'vaticana_punctum
+ \override Stem #'transparent = ##t
}
}
}
@end multitable
+@syntax
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.
+a Porrectus 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
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.
+@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
@end multitable
-@refbugs
-
-Use special heads for lower/upper head of Pes only when heads are
-stacked.
+@refcommands
+
+The following head prefixes are supported:
+
+@cindex @code{\virga}
+@code{\virga},
+@cindex @code{\stropha}
+@code{\stropha},
+@cindex @code{\inclinatum}
+@code{\inclinatum},
+@cindex @code{\auctum}
+@code{\auctum},
+@cindex @code{\descendens}
+@code{\descendens},
+@cindex @code{\ascendens}
+@code{\ascendens},
+@cindex @code{\oriscus}
+@code{\oriscus},
+@cindex @code{\quilisma}
+@code{\quilisma},
+@cindex @code{\deminutum}
+@code{\deminutum}.
+
+Head prefixes can be accumulated, though restrictions apply. For
+example, either @code{\descendens} or @code{\ascendens} can be applied
+to a head, but not both to the same head.
+
+@cindex @code{\pes}
+@cindex @code{\flexa}
+Two adjacent heads can be tied together with the @code{\pes} and
+@code{\flexa} infix commands for a rising and falling line of melody,
+respectively.
-Scandicus Deminutus: Punctum Auctum Ascendens overlaps with
-Semivocalis head; this looks awful.
+@refbugs
Trigonus: apply equal spacing, regardless of pitch.
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 < 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.
+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{>}.
+@code{<} and @code{>}. The duration is entered after the @code{>>}:
@example
- <4 6>
+ <4 6>
@end example
@lilypond[fragment]
\context FiguredBass
\figures { <4 6> }
@end lilypond
-Accidentals are added to the numbers if you alterate them by
-appending @code{-}, @code{!} and @code{+}.
+Accidentals are added when you append @code{-}, @code{!} and @code{+}
+to the numbers:
@example
<4- 6+ 7!>
@end lilypond
Spaces or dashes may be inserted by using @code{_}. Brackets are
-introduced with @code{[} and @code{]}.
+introduced with @code{[} and @code{]}:
@example
- < [4 6] 8 [_ 12]>
+ < [4 6] 8 [_! 12]>
@end example
@lilypond[fragment]
\context FiguredBass
-\figures { < [4 6] 8 [_ 12]> }
+\figures { < [4 6] 8 [_! 12]> }
@end lilypond
Although the support for figured bass may superficially resemble chord
@seealso
-@internalsref{BassFigureEvent} music, @internalsref{BassFigure} grob,
-@internalsref{FiguredBass} context
+Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
+and @internalsref{FiguredBass} context.
@refbugs
Slash notation for alterations is not supported.
+@node Vaticana style contexts
+@subsection Vaticana style contexts
+
+@cindex VaticanaVoiceContext
+@cindex VaticanaStaffContext
+
+The predefined @code{VaticanaVoiceContext} and
+@code{VaticanaStaffContext} can be used to easily engrave a piece of
+Gregorian Chant in the style of the Editio Vaticana. These contexts
+initialize all relevant context properties and grob properties to
+proper values. With these contexts, you can immediately go ahead
+entering the chant, as the following short excerpt demonstrates:
+
+@lilypond[raggedright,verbatim,noindent]
+\include "gregorian-init.ly"
+\score {
+<<
+ \context VaticanaVoice = "cantus" {
+ \override Score.BarNumber #'transparent = ##t
+ \notes {
+ \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
+ \[ f\melisma \pes a c' c' \pes d'\melismaEnd \] c' \divisioMinima \break
+ \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
+ }
+ }
+ \lyricsto "cantus" \new Lyrics \lyrics {
+ San- ctus, San- ctus, San- ctus
+ } >>
+
+}
+@end lilypond
+
@node Contemporary notation
@section Contemporary notation
In the 20th century, composers have greatly expanded the musical
vocabulary. With this expansion, many innovations in musical 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
-contemporary notation in LilyPond is limited.
+have been tried. The book by Stone (1980) gives a comprehensive
+overview (see @ref{Literature list}). In general, the use of new,
+innovative notation makes a piece harder to understand and perform and
+its use should therefore be avoided if possible. For this reason,
+support for contemporary notation in LilyPond is limited.
@menu
In musical terminology, a @emph{cluster} denotes a range of
simultaneously sounding pitches that may change over time. The set of
-available pitches to apply usually depends on the accoustic source.
-Thus, in piano music, a cluster typically consists of a continous range
+available pitches to apply usually depends on the acoustic source.
+Thus, in piano music, a cluster typically consists of a continuous range
of the semitones as provided by the piano's fixed set of a chromatic
scale. In choral music, each singer of the choir typically may sing an
arbitrary pitch within the cluster's range that is not bound to any
diatonic, chromatic or other scale. In electronic music, a cluster
(theoretically) may even cover a continuous range of pitches, thus
-resulting in coloured noise, such as pink noise.
+resulting in colored noise, such as pink noise.
Clusters can be denoted in the context of ordinary staff notation by
engraving simple geometrical shapes that replace ordinary notation of
the note symbol. In contrast, the shape of a cluster geometrically
describes the development of a range of pitches (vertical extent) over
time (horizontal extent). Still, the geometrical shape of a cluster
-covers the area in wich any single pitch contained in the cluster would
+covers the area in which any single pitch contained in the cluster would
be notated as an ordinary note. From this point of view, it is
reasonable to specify a cluster as the envelope of a set of notes.
@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, e.g.
+@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
-looks like.
+looks like:
-@lilypondfile[notexidoc]{cluster.ly}
+@lilypondfile[]{cluster.ly}
-By default, @internalsref{Cluster_engraver} is in the
+By default, @internalsref{Cluster_spanner_engraver} is in the
@internalsref{Voice} context. This allows putting ordinary notes and
clusters together in the same staff, even simultaneously. In such a
case no attempt is made to automatically avoid collisions between
@seealso
-@internalsref{Cluster}, @inputfileref{input/regression,cluster.ly},
-@internalsref{Cluster_engraver}, @internalsref{ClusterEvent}.
+Internals: @internalsref{ClusterSpanner},
+@internalsref{ClusterSpannerBeacon},
+@internalsref{Cluster_spanner_engraver}, and
+@internalsref{ClusterNoteEvent}.
-@refbugs
+Examples: @inputfileref{input/regression,cluster.ly}.
-When a cluster is active, note heads must be switched off manually using
-@code{\hideNotes}.
+@refbugs
-Music expressions like @code{< @{ g8 e8 @} a4 >} are not printed
-accurately. Use @code{<<g a>>8 <<e a>>8} instead.
+Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
+accurately. Use @code{<g a>8 <e a>8} instead.
The following are supported
-@lilypond[singleline]
+@lilypond[raggedright]
\score {
- < \notes {
- \fatText
+ << \addlyrics \notes {
b'
^\shortfermata
_\shortfermata
}
\context Lyrics \lyrics {
"shortfermata" "fermata" "longfermata" "verylongfermata"
- } >
+ } >>
}
@end lilypond
See @ref{Articulations} for general instructions how to apply scripts
such as fermatas to a @code{\notes@{@}} block.
-@node Tuning output
-@section Tuning output
-
-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.
-
-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.
+@node Special notation
+@section Special notation
@menu
-* Tuning objects ::
-* Applyoutput::
-* Outputproperty::
-* Font selection::
-* Text markup::
+* Balloon help::
+* Easy Notation note heads::
@end menu
-@node Tuning objects
-@subsection Tuning objects
+@node Balloon help
+@subsection Balloon help
-@cindex object description
+Elements of notation can be marked and named with the help of a square
+balloon. The primary purpose of this feature is to explain notation.
-The definition of an object is actually 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}
+The following example demonstrates its use.
-@example
- (thickness . 1.3)
- (beamed-lengths . (0.0 2.5 2.0 1.5))
- (Y-extent-callback . ,Stem::height)
- @var{...}
-@end example
+@lilypond[verbatim,fragment,raggedright,relative=1]
+ \context Voice
+ \applyoutput
+ #(add-balloon-text 'NoteHead "heads, or tails?"
+ '(1 . -3))
+ c8
+@end lilypond
+@noindent
+The function @code{add-balloon-text} takes the name of a grob, the
+label to print and where to put the label relative to the object. In
+the above example, the text ``heads or tails?'' ends 3 spaces below
+the `balloon.'
-By adding variables on top of these existing definitions, the system
-defaults is overriden, and the appearance of a graphical objects is
-altered.
+@cindex balloon
+@cindex notation, explaining
-@syntax
+@seealso
+Internals: @internalsref{text-balloon-interface}.
-Changing a variable for only one object is commonly achieved with
-@code{\once}:
+Examples: @inputfileref{input/regression,balloon.ly}.
-@example
-\once \property @var{context}.@var{grobname}
- \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.
-This command applies a setting only during one moment in the score.
+@node Easy Notation note heads
+@subsection Easy Notation note heads
-In the following example, only one @internalsref{Stem} object is
-changed from its original setting:
+@cindex easy notation
+@cindex Hal Leonard
-@lilypond[verbatim, fragment, relative=1]
- c4
- \once \property Voice.Stem \set #'thickness = #4
- c4
- c4
-@end lilypond
-@cindex @code{\once}
+The `easy play' note head includes a note name inside the head. It is
+used in music aimed at beginners:
-For changing more objects, the same command, without @code{\once} can
-be used.
-@example
-\property @var{context}.@var{grobname} \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
-stays in place until it is removed.
+@lilypond[raggedright,verbatim,staffsize=26]
+\score {
+ \notes { c'2 e'4 f' | g'1 }
+ \paper { \translator { \EasyNotation } }
+}
+@end lilypond
-An existing definition may be removed by the following command
-@c
-@example
-\property @var{context}.@var{grobname} \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,
-and is often more convenient to use
+The @code{EasyNotation} variable overrides a @internalsref{Score} @c
+context. To make the letters readable, it has to be printed in a
+large font size. To print with a larger font, see @ref{Font Size}.
-@example
-\property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
-@end example
-
-Some examples:
-@lilypond[verbatim,quote]
-c'4 \property Voice.Stem \override #'thickness = #4.0
-c'4
-c'4 \property Voice.Stem \revert #'thickness
-c'4
-@end lilypond
-
-The following example gives exactly the same result as the previous
-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 = #1.3
- c'4
-@end lilypond
-
-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}.
-
-A clumsy but correct form:
-@example
- \override \revert \override \revert \override \revert
-@end example
-
-Shorter version of the same:
-@example
- \override \set \set \revert
-@end example
-
-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
-
-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
-
-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
-a stack, and @code{\override} and @code{\revert} are push and pop
-operations. The association list is stored in a normal context
-property, hence
-@example
- \property Voice.NoteHead = #'()
-@end example
-will effectively erase @internalsref{NoteHead}s from the current
-@internalsref{Voice}. However, this mechanism is not guaranteed to
-work, and may cause crashes or other anomalous behavior.
-
-@seealso
-
-@internalsref{OverrideProperty}, @internalsref{RevertProperty},
-@internalsref{PropertySet}, @internalsref{backend properties},
-@internalsref{All Graphical Objects}.
-
-
-@refbugs
-
-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
-@subsection Applyoutput
-
-The most versatile way of tuning object is @code{\applyoutput}. Its
-syntax is
-@example
-\applyoutput @var{proc}
-@end example
-where @var{proc} is a Scheme function, taking four arguments.
-
-When interpreted, the function @var{proc} is called for every grob found
-in the context, with the following arguments:
-@itemize @bullet
-@item the grob itself
-@item the context where the grob 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
-@internalsref{NoteHead} event, and for a @internalsref{Stem} object,
-this is a @internalsref{NoteHead} object.
-
-
-@node Outputproperty
-@subsection Outputproperty
-
-@cindex \outputproperty
-
-Another way of tuning objects is the more arcane @code{\outputproperty}
-feature. The syntax is as follows:
-@example
-\outputproperty @var{predicate} @var{symbol} = @var{value}
-@end example
-Here @code{predicate} is a Scheme function taking an object argument, and
-returning a boolean. This statement is processed by the
-@code{Output_property_engraver}. It instructs the engraver to feed all
-objects that it sees to @var{predicate}. Whenever the predicate returns
-true, the object property @var{symbol} will be set to @var{value}.
-
-You will need to combine this statement with @code{\context} to select
-the appropriate context to apply this to.
-@inputfileref{input/regression,output-property.ly} shows an example of
-the use of @code{\outputproperty}.
-
-@refbugs
-
-If possible, avoid this feature: the semantics are not very clean, and
-the syntax and semantics are up for rewrite.
-
-
-@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:
-@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}.
-
-@cindex magnification
-
-The size of the font may be scaled with the object property
-@code{font-magnification}. For example, @code{2.0} blows up all
-letters by a factor 2 in both directions.
-
-
-@cindex cue notes
-@cindex font size
-@cindex size
-@cindex symbol size
-@cindex glyph size
-
-The font used for printing a object can be selected by setting
-@code{font-name}, e.g.
-@example
- \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.
-
-Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
-can also be adjusted with a more fine-grained mechanism. By setting
-the object properties described below, you can select a different font.
-All three mechanisms work for every object that supports
-@code{font-interface}.
-
-@table @code
-@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, 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
- font shapes available for each font family. Choices are @code{italic},
- @code{caps} and @code{upright}
-
-@item font-series
-A symbol indicating the series of the font. There are typically several
-font series for each font family and shape. Choices are @code{medium}
-and @code{bold}.
-
-@item font-relative-size
- A number indicating the size relative the standard size. For example,
- with 20pt staff height, relative size -1 corresponds to 16pt staff
- height, and relative size +1 corresponds to 23 pt staff height.
-
- There are small differences in design between fonts designed for
-different sizes, hence @code{font-relative-size} is preferred over
-@code{font-magnification} for changing font sizes.
-
-
-@item font-design-size
-A number indicating the design size of the font.
-
-This is a feature of the Computer Modern Font: each point size has a
-slightly different design. Smaller design sizes are relatively wider,
-which enhances readability.
-@end table
-
-For any of these properties, the value @code{*} (i.e. the symbol
-@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 = #'*
-@end example
-
-@cindex @code{font-style}
-
-
-
-@refbugs
-
-Relative size is not linked to any real size.
-
-There is no style sheet provided for other fonts besides the @TeX{}
-family, and the style sheet cannot be modified easily.
-
-@cindex font selection
-@cindex font magnification
-@cindex @code{font-interface}
-
-
-@node Text markup
-@subsection Text markup
-@cindex text markup
-@cindex markup text
-
-
-@cindex typeset text
-
-LilyPond has an internal mechanism to typeset texts. You can access it
-with the keyword @code{\markup}. Within markup mode, you can enter texts
-similar to lyrics: simply enter them, surrounded by spaces.
-@cindex markup
-
-@lilypond[verbatim,fragment,relative=1]
- c1^\markup { hello }
- c1_\markup { hi there }
- c1^\markup { hi \bold there, is \italic anyone home? }
-@end lilypond
-
-@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.
-@example
- \markup @{ \bold @{ hi there @} @}
-@end example
-For clarity, you can also do this for single arguments, e.g.
-@example
- \markup @{ is \italic @{ anyone @} home @}
-@end example
-
-@cindex font size, texts
-
-The following size commands set abolute sizes
-
-@cindex \teeny
-@cindex \tiny
-@cindex \small
-@cindex \large
-@cindex \huge
-
-@table @code
-@item \teeny
-@item \tiny
-@item \small
-@item \large
-@item \huge
-@end table
-
-You can also make letter larger or smaller relative to their neighbors,
-with the commands @code{\larger} and @code{\smaller}.
-@cindex smaller
-@cindex larger
-
-@cindex font style, for texts
-@cindex \bold
-@cindex \dynamic
-@cindex \number
-@cindex \italic
-
-The following font change commands are defined:
-@table @code
-@item \dynamic
-This changes to the font used for dynamic signs. This font does not
-contain all characters of the alphabet, so when producing ``piu f'',
-the ``piu'' should be done in a different font.
-
-
-@item \number
-This changes to the font used for time signatures. It only contains
-numbers and a few punctuation marks.
-@item \italic
-Changes @code{font-shape} to @code{italic}
-@item \bold
-Changes @code{font-series} to @code{bold}
-@end table
-
-@cindex raising text
-@cindex lowering text
-@cindex moving text
-@cindex translating text
-
-@cindex \sub
-@cindex \super
-
-Raising and lowering texts can be done with @code{\super} and
-@code{\sub}.
-
-@lilypond[verbatim,fragment,relative=1]
- c1^\markup { E "=" mc \super "2" }
-@end lilypond
-
-@cindex \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
-a markup object as second argument
-@c
-@lilypond[verbatim,fragment,relative=1,quote]
- c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
-@end lilypond
-The argument to @code{\raise} is the vertical displacement amount,
-measured in (global) staff spaces.
-
-Other commands taking single arguments include
-@table @code
-
-@item \bracket, \hbracket
- Bracket the argument markup with normal and horizontal brackets
-respectively.
-
-@item \musicglyph
-@cindex \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.
-@item \char
-This produces a single character, e.g. @code{\char #65} produces the
-letter 'A'.
-
-@item \hspace #@var{amount}
-@cindex \hspace
-This produces a invisible object taking horizontal space.
-@example
-\markup @{ A \hspace #2.0 B @}
-@end example
-will put extra space between A and B, on top of the space that is
-normally inserted before elements on a line.
-
-@item \fontsize #@var{size}
-@cindex \fontsize
-This sets the relative font size, eg.
-@example
-A \fontsize #2 @{ B C @} D
-@end example
-
-
-This will enlarge the B and the C by two steps.
-@item \translate #(cons @var{x} @var{y})
-@cindex \translate
-This translates an object. Its first argument is a cons of numbers
-@example
-A \translate #(cons 2 -3) @{ B C @} D
-@end example
-This moves `B C' 2 spaces to the right, and 3 down.
-
-@item \magnify #@var{mag}
-@cindex \magnify
-This sets the font magnification for the its argument. In the following
-example, the middle A will be 10% larger.
-@example
-A \magnify #1.1 @{ A @} A
-@end example
-
-
-@item \override #(@var{key} . @var{value})
-@cindex \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
-@end example
-@end table
-
-In markup mode you can compose expressions, similar to mathematical
-expressions, XML documents and music expressions. The braces group
-notes into horizontal lines. Other types of lists also exist: you can
-stack expressions grouped with @code{<<}, and @code{>>} vertically with
-the command @code{\column}. Similarly, @code{\center} aligns texts by
-their center lines.
-
-@lilypond[verbatim,fragment,relative=1]
- c1^\markup { \column << a bbbb c >> }
- c1^\markup { \center << a bbbb c >> }
- c1^\markup { \line << a b c >> }
-@end lilypond
-
-The markup mechanism is extensible. Refer to
-@file{scm/new-markup.scm} for more information on extending the markup
-mode.
-
-
-
-@seealso
-
-@internalsref{Markup functions}, @file{scm/new-markup.scm}
-
-@refbugs
-
-@cindex kerning
-
-
-Text layout is ultimately done by @TeX{}, which does kerning of
-letters. LilyPond does not account for kerning, so texts will be
-spaced slightly too wide.
-
-Syntax errors for markup mode are confusing.
-
-
-@node Global layout
-@section Global layout
-
-The global layout determined by three factors: the page layout, the
-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, 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{}, each page is filled with systems, and page breaks
-are chosen whenever the page gets full.
-
-
-
-@menu
-* Vertical spacing::
-* Horizontal spacing::
-* Font Size::
-* Line breaking::
-* Page layout::
-@end menu
-
-
-@node Vertical spacing
-@subsection Vertical spacing
-
-@cindex vertical spacing
-@cindex distance between staves
-@cindex staff distance
-@cindex between staves, distance
-@cindex staffs per page
-
-
-The height of each system is determined automatically by lilypond, to
-keep systems from bumping into each other, some minimum distances are
-set. By changing these, you can put staves closer together, and thus
-put more systems onto one page.
-
-Normally staves are stacked vertically. To make
-staves maintain a distance, their vertical size is padded. This is
-done with the property @code{minimumVerticalExtent}. It takes a pair
-of numbers, so if you want to make it smaller from its, then you could
-set
-@example
- \property Staff.minimumVerticalExtent = #'(-4 . 4)
-@end example
-This sets the vertical size of the current staff to 4 staff-space on
-either side of the center staff line. The argument of
-@code{minimumVerticalExtent} is interpreted as an interval, where the
-center line is the 0, so the first number is generally negative. The
-staff can be made larger at the bottom by setting it to @code{(-6
-. 4)}.
-
-The piano staves are handled a little differently: to make cross-staff
-beaming work correctly, it necessary that the distance between staves
-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
- VerticalAlignment \override #'forced-distance = #9
- @}
-@end example
-This would bring the staves together at a distance of 9 staff spaces,
-measured from the center line of each staff.
-
-@seealso
-
-Vertical aligment of staves is handled by the
-@internalsref{VerticalAlignment} object.
-
-
-
-@node Horizontal spacing
-@subsection Horizontal Spacing
-
-The spacing engine translates differences in durations into
-stretchable distances (``springs'') of differing lengths. Longer
-durations get more space, shorter durations get less. The shortest
-durations get a fixed amount of space (which is controlled by
-@code{shortest-duration-space} in the @internalsref{SpacingSpanner}
-object). The longer the duration, the more space it gets: doubling a
-duration adds a fixed amount (this amount is controlled by
-@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 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
-@end lilypond
-
-Normally, @code{shortest-duration-space} is set to 1.2, which is the
-width of a note head, and @code{shortest-duration-space} is set to
-2.0, meaning that the shortest note gets 2 NHW (2 times
-@code{shortest-duration-space}) of space. For normal notes, this space
-is always counted from the left edge of the symbol, so the shortest
-notes are generally followed by one NHW of space.
-
-If one would follow the above procedure exactly, then adding a single
-32th note to a score that uses 8th and 16th notes, would widen up the
-entire score a lot. The shortest note is no longer a 16th, but a 32nd,
-thus adding 2 noteheads of space to every note. To prevent this, the
-shortest duration for spacing is not the shortest note in the score,
-but the most commonly found shortest note. Notes that are even
-shorter this are followed by a space that is proportonial to their
-duration relative to the common shortest note. So if we were to add
-only a few 16th notes to the example above, they would be followed by
-half a NHW:
-
-@lilypond[fragment, verbatim, relative=2]
- c2 c4. c8 c4. c16-[ c-] c4. c8 c8 c8 c4 c4 c4
-@end lilypond
-
-The most common shortest duration is determined as follows: in every
-measure, the shortest duration is determined. The most common short
-duration, is taken as the basis for the spacing, with the stipulation
-that this shortest duration should always be equal to or shorter than
-1/8th note. The shortest duration is printed when you run lilypond
-with @code{--verbose}. These durations may also be customized. If you
-set the @code{common-shortest-duration} in
-@internalsref{SpacingSpanner}, then this sets the base duration for
-spacing. The maximum duration for this base (normally 1/8th), is set
-through @code{base-shortest-duration}.
-
-@cindex @code{common-shortest-duration}
-@cindex @code{base-shortest-duration}
-@cindex @code{stem-spacing-correction}
-@cindex @code{spacing}
-
-In the introduction it was explained that stem directions influence
-spacing. This is controlled with @code{stem-spacing-correction}
-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. The following example
-shows these corrections, once with default settings, and once with
-exaggerated corrections.
-
-@lilypond
- \score { \notes {
- c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4|
- \property Staff.NoteSpacing \override #'stem-spacing-correction
- = #1.5
- \property Staff.StaffSpacing \override #'stem-spacing-correction
- = #1.5
- c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4|
- }
- \paper { raggedright = ##t } }
-@end lilypond
-
-@cindex SpacingSpanner, overriding properties
-
-Properties of the @internalsref{SpacingSpanner} must be overriden
-from the @code{\paper} block, since the @internalsref{SpacingSpanner}
-is created before any @code{\property} statements are interpreted.
-@example
-\paper @{ \translator @{
- \ScoreContext
- SpacingSpanner \override #'spacing-increment = #3.0
-@} @}
-@end example
-
-
-@seealso
-
-@internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
-@internalsref{StaffSpacing}, @internalsref{SeparationItem},
-@internalsref{SeparatingGroupSpanner}.
-
-@refbugs
-
-Spacing is determined on a score wide basis. If you have a score that
-changes its character (measured in durations) halfway during the
-score, the part containing the longer durations will be spaced too
-widely.
-
-There is no convenient mechanism to manually override spacing.
-
-
-
-@node Font Size
-@subsection Font size
-@cindex font size, setting
-@cindex staff size, setting
-@cindex @code{paper} file
-
-The Feta font provides musical symbols at seven different sizes.
-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, 20, 23 and 26. If you include any
-of these files, the variables @code{paperEleven},
-@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.
-@example
- \include "paper26.ly"
- \score @{ ... @}
-@end example
-
-The font definitions are generated using a Scheme function. For more
-details, see the file @file{scm/font.scm}.
-
-
-
-@node Line breaking
-@subsection Line breaking
-
-@cindex line breaks
-@cindex breaking lines
-
-Line breaks are normally computed automatically. They are chosen such
-that lines look neither cramped nor loose, and that consecutive lines
-have similar density.
-
-Occasionally you might want to override the automatic breaks; you can
-do this by specifying @code{\break}. This will force a line break at
-this point. Line breaks can only occur at places where there are bar
-lines. If you want to have a line break where there is no bar line,
-you can force an invisible bar line by entering @code{\bar
-""}. Similarly, @code{\noBreak} forbids a line break at a
-point.
-
-
-@cindex regular line breaks
-@cindex four bar music.
-
-If you want linebreaks at regular intervals, you can use the following:
-@example
-< \repeat unfold 7 @{ s1 * 4 \break @}
- @emph{the real music}
->
-@end example
-This makes the following 28 measures (assuming 4/4 time) be broken every
-4 measures.
-
-@seealso
-
-@internalsref{BreakEvent}
-
-
-@node Page layout
-@subsection Page layout
-
-@cindex page breaks
-@cindex breaking pages
-
-@cindex @code{indent}
-@cindex @code{linewidth}
-
-The most basic settings influencing the spacing are @code{indent} and
-@code{linewidth}. They are set in the @code{\paper} block. They
-control the indentation of the first line of music, and the lengths of
-the lines.
-
-If @code{raggedright} is set to true in the @code{\paper}
-block, then the lines are justified at their natural length. This
-useful for short fragments, and for checking how tight the natural
-spacing is.
-
-@cindex page layout
-@cindex vertical 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}
-@cindex @code{interscorelinefill}
-
-If the variable @code{lastpagefill} is defined,
-@c fixme: this should only be done if lastpagefill == #t
-systems are evenly distributed vertically on the last page. This
-might produce ugly results in case there are not enough systems on the
-last page. The @command{lilypond-book} command ignores
-@code{lastpagefill}. See @ref{lilypond-book manual} for more
-information.
-
-@cindex @code{lastpagefill}
-
-Page breaks are normally computed by @TeX{}, so they are not under
-direct control of LilyPond. However, you can insert a commands into
-the @file{.tex} output to instruct @TeX{} where to break pages. This
-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}.
-
-@cindex paper size
-@cindex page size
-@cindex @code{papersize}
-
-To change the paper size, you must first set the
-@code{papersize} paper variable variable. Set it to
-the strings @code{a4}, @code{letter}, or @code{legal}. After this
-specification, you must set the font as described above. If you want
-the default font, then use the 20 point font.
-
-@example
- \paper@{ papersize = "a4" @}
- \include "paper16.ly"
-@end example
-
-The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
-will set the paper variables @code{hsize} and @code{vsize} (used by
-Lilypond and @code{ly2dvi})
-
-
-@seealso
-
-@ref{Invoking ly2dvi},
-@inputfileref{input/regression,between-systems.ly},
-@internalsref{NonMusicalPaperColumn}.
-
-@refbugs
-
-There is no concept of page breaking, which makes it difficult to
-choose sensible page breaks in multi-page pieces.
-
-
-
-
-@node Sound
-@section Sound
-@cindex Sound
-
-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 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.
-
-@refbugs
-
-Many musically interesting effects, such as swing, articulation,
-slurring, etc., are translated to MIDI.
-
-
-@menu
-* MIDI block::
-* MIDI instrument names::
-@end menu
-
-
-@node MIDI block
-@subsection MIDI block
-@cindex MIDI block
-
-
-The MIDI block is analogous to the paper block, but it is somewhat
-simpler. The @code{\midi} block can contain:
-@cindex MIDI block
-
-@itemize @bullet
- @item a @code{\tempo} definition
- @item context definitions
-@end itemize
-
-Assignments in the @code{\midi} block are not allowed.
-
-
-
-@cindex context definition
-
-Context definitions follow precisely the same syntax as within the
-\paper block. Translation modules for sound are called performers.
-The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
-
-
-@node MIDI instrument names
-@subsection MIDI instrument names
-
-@cindex instrument names
-@cindex @code{Staff.midiInstrument}
-@cindex @code{Staff.instrument}
-
-The MIDI instrument name is set by the @code{Staff.midiInstrument}
-property or, if that property is not set, the @code{Staff.instrument}
-property. The instrument name should be chosen from the list in
-@ref{MIDI instruments}.
-
-@refbugs
-
-If the selected string does not exactly match, then LilyPond uses the
-default (Grand Piano). It is not possible to select an instrument by
-number.
+@cindex Xdvi
+@cindex ghostscript
+If you view the result with Xdvi, then staff lines may show through
+the letters. Printing the PostScript file obtained does produce the
+correct result.
projects / lilypond.git / blobdiff