@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
@c FIXME: singular vs. plural: Beams/Beam
-@macro refbugs
-@strong{BUGS}
-@end macro
-
-
-@c .{Reference Manual}
-
-@node Reference Manual
-@chapter Reference Manual
-
-@html
-<!--- @@WEB-TITLE@@=Reference Manual --->
-@end html
-
-This document describes GNU LilyPond and its input format. The last
-revision of this document was made for LilyPond 1.7.10. It assumes
-that you already know a little bit about LilyPond input (how to
-make an input file, how to create sheet music from that input file,
-etc). New users are encouraged to study the tutorial before reading
-this manual.
+@node Notation manual
+@chapter Notation manual
+This chapter describes all the different types of notation supported
+by LilyPond. It is intended as a reference for users that are already
+somewhat familiar with using LilyPond.
@menu
* Note entry::
* Beaming::
* Accidentals::
* Expressive marks::
-* Ornaments::
* Repeats::
* Rhythmic music::
* Piano music::
* Vocal music::
* Tablatures::
-* Chords::
-* Writing parts::
-* Ancient notation::
-* Contemporary notation::
+* Chord names::
+* Orchestral music::
+* Ancient notation ::
+* Contemporary notation::
* Tuning output::
* Global layout::
* Sound::
@end menu
@c FIXME: Note entry vs Music entry at top level menu is confusing.
-@c . {Note entry}
+
@node Note entry
@section Note entry
@cindex Note entry
-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 generally omit
-@code{\score} blocks and @code{\paper} declarations in this manual.
-
+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::
* Pitches::
* Chromatic alterations::
+* Chords::
* Rests::
* Skips::
* Durations::
+* Stems::
* Ties::
-* Automatic note splitting ::
* Tuplets::
* Easy Notation note heads ::
@end menu
-@c . {Notes}
+
@node Notes
@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
+generally omit @code{\score} blocks and @code{\paper} declarations in
+this manual.}
+
@lilypond[fragment,verbatim]
cis'4 d'8 e'16 c'16
@end lilypond
-@c . {Pitches}
+
@node Pitches
@subsection Pitches
@cindex pitches
@cindex entering notes
-The verbose syntax for pitch specification is
-
-@cindex @code{\pitch}
-@example
- \pitch @var{scmpitch}
-@end example
-
-where @var{scmpitch} is a pitch scheme object.
-
-In Note and Chord mode, pitches may be designated by names. The default
-names are the Dutch note 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. Here's an example
-which should make things more clear:
+The most common syntax for pitch entry is used in @code{\chords} and
+@code{\notes} mode. In Note and Chord mode, pitches may be designated
+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:
@lilypond[fragment,verbatim]
\clef bass
@cindex note names, Dutch
-In 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}. @code{aes}
-and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
-both forms are accepted.
-
-LilyPond has predefined sets of note names for various other languages.
-To use them, simply include the language specific init file. For
-example: @code{\include "english.ly"}. The available language files and
-the note names they define are:
+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
+example: @code{\include "english.ly"}. The available language files
+and the note names they define are:
@anchor{note name}
@anchor{note names}
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]
c' c'' es' g' as' gisis' ais'
@end lilypond
+
+@refcommands
+
+Notes can be hidden and unhidden with the following commands:
+
+@cindex @code{\hideNotes}
+@code{\hideNotes},
+@cindex @code{\unHideNotes}
+@code{\unHideNotes}.
+
+
+@seealso
+
+@noindent
+
+bla
+
+@internalsref{NoteEvent}, and @internalsref{NoteHead}.
+
@node Chromatic alterations
@subsection Chromatic alterations
@cindex cautionary accidental
@cindex parenthesized accidental
(an accidental within parentheses) can be obtained by adding the
-question mark `@code{?}' after the pitch.
+question mark `@code{?}' after the pitch:
@lilypond[fragment,verbatim]
cis' cis' cis'! cis'?
The automatic production of accidentals can be tuned in many
ways. For more information, refer to @ref{Accidentals}.
-@c . {Rests}
+@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
+articulations, just like simple notes.
+
+
@node Rests
@subsection Rests
@cindex Rests
-Rests are entered like notes, with a ``note name'' of `@code{r}':
+
+
+
+Rests are entered like notes, with the note name @code{r}:
@lilypond[singleline,verbatim]
r1 r2 r4 r8
@end lilypond
-Whole bar rests, centered in middle of the bar, are specified using
-@code{R} (capital R); see @ref{Multi measure rests}. See also
-@seeinternals{Rest}.
+Whole bar rests, centered in middle of the bar,
+must be done with multi measure rests. They are discussed in
+@ref{Multi measure rests}.
+
-For some music, you may wish to explicitly specify the rest's vertical
-position. This can be achieved by entering a note with the @code{\rest}
-keyword appended. Rest collision testing will leave these rests alone.
+A rest's vertical position may be explicitly specified by entering a
+note with the @code{\rest} keyword appended. This makes manual
+formatting in polyphonic music easier. Rest collision testing will
+leave these rests alone:
@lilypond[singleline,verbatim]
a'4\rest d'4\rest
@end lilypond
+@seealso
+
+@internalsref{RestEvent}, and @internalsref{Rest}.
+
-@c . {Skips}
@c FIXME: naming.
@node Skips
@subsection Skips
a2 s4 a4 \skip 1 a4
@end lilypond
-@c FIXME: in Lyrics mode, we have " " and _
-
-In Lyrics mode, you can make invisible syllables by entering `@code{" "}'
-or `@code{_}':
-@lilypond[singleline,verbatim]
-<
- \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di }
- \notes\relative c'' { a2 a4 a a2 a4 a }
->
-@end lilypond
-In this case, syllables containing a space will be printed. In the
-case that you really need an invisible space (i.e. something taking up
-time, but not space), you should use @code{\skip}.
-
-Note that the @code{s} syntax is only available in Note mode and Chord
-mode. In other situations, you should use the @code{\skip} command,
-which will work outside of those two modes:
+The @code{s} syntax is only available in Note mode and Chord mode. In
+other situations, you should use the @code{\skip} command:
@lilypond[singleline,verbatim]
\score {
- \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 doesn't
+The skip command is merely an empty musical placeholder. It does not
produce any output, not even transparent output.
+@seealso
+
+@internalsref{SkipEvent}.
+
-@c . {Durations}
@node Durations
@subsection Durations
@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's a 1/4 note), while
-a half note is entered using a @code{2} (since it's a 1/2 note). For notes
-longer than a whole you must use identifiers.
-@c FIXME: what's an identifier? I don't think it's been introduced yet.
+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
@example
r1 r2 r4 r8 r16 r32 r64 r64
@end example
-@lilypond[noindent,noquote]
+@lilypond[noindent]
\score {
\notes \relative c'' {
a\breve \autoBeamOff
If the duration is omitted then it is set to the previously entered
-duration. At the start of parsing, a quarter note is assumed. The
-duration can be followed by dots (`@code{.}') in order to obtain dotted
-note lengths:
+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]
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
-won't 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
+will not affect the appearance of the notes or rests produced.
+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
+
+Dots are normally moved up to avoid staff lines, except in polyphonic
+situations. The following commands may be used to force a particular
+direction manually:
+
+@cindex @code{\dotsUp}
+@code{\dotsUp},
+@cindex @code{\dotsDown}
+@code{\dotsDown},
+@cindex @code{\dotsBoth}
+@code{\dotsBoth}.
+
+@seealso
+
+@internalsref{Dots}, and @internalsref{DotColumn}.
@refbugs
-Dot placement for chords is not perfect. In some cases, dots overlap:
-@lilypond[]
- <<f, c'' d e f>>4.
-@end lilypond
+In dense chords, dots can overlap.
+
+@node Stems
+@subsection Stems
+
+Whenever a note is found, a @internalsref{Stem} object is created
+automatically. For whole notes and rests, 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'>>
+ 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. If you try to tie together chords that have no common pitches,
-no ties will be created.
-
-If you want less ties created for a chord, you can set
-@code{Voice.sparseTies} to true. In this case, a single tie is used
-for every tied chord.
-@lilypond[fragment,verbatim,center]
- \property Voice.sparseTies = ##t
- <<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]
+@lilypond[fragment, singleline,quote]
\time 3/4 c'2. c'2 ~ c'4
@end lilypond
-If you need to tie notes over bars, it may be easier to use
-@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}).
-See also @seeinternals{Tie}.
+@refcommands
-@refbugs
+@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}.
-At present, the tie is represented as a separate event, temporally
-located in between the notes. Tying only a subset of the note heads
-of a chord is not supported in a simple way. It can be achieved by
-moving the tie-engraver into the Thread context and turning on and off
-ties per Thread.
+@seealso
-Switching staves when a tie is active will not work.
+@internalsref{TieEvent}, @internalsref{NewTieEvent},
+@internalsref{Tie}, and @ref{Automatic note splitting}.
-@node Automatic note splitting
-@subsection Automatic note splitting
-@c FIXME: This subsection doesn't belong in @ref{Note entry}.
+If you want less
+ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
-LilyPond can automatically converting long notes to tied notes. This
-is done by replacing the @code{Note_heads_engraver} by the
-@code{Completion_heads_engraver}.
+@refbugs
-@lilypond[verbatim,noindent,noquote]
-\score{
- \notes\relative c'{ \time 2/4
- c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
- }
- \paper{ \translator{
- \ThreadContext
- \remove "Note_heads_engraver"
- \consists "Completion_heads_engraver"
- } } }
-@end lilypond
+Tieing only a subset of the note heads of a pair of chords is not
+supported in a simple way.
-This engraver splits all running notes at the bar line, and inserts
-ties. One of its uses is to debug complex scores: if the measures are
-not entirely filled, then the ties exactly show how much each measure
-is off.
+@ignore
+It can be achieved by moving the
+tie-engraver into the @internalsref{Thread} context and turning on and
+off ties per @internalsref{Thread}.
+@end ignore
+
+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.
-@refbugs
-Not all durations (especially those containing tuplets) can be
-represented exactly; the engraver will not insert tuplets.
@node Tuplets
@subsection Tuplets
@cindex @code{\times}
Tuplets are made out of a music expression by multiplying all durations
-with a fraction.
+with a fraction:
@cindex @code{\times}
@example
\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]
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 you 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)
The format of the number is determined by the property
@code{tupletNumberFormatFunction}. The default prints only the
-denominator, but if you set it to the Scheme function
-@code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
+denominator, but if it is set to the Scheme function
+@code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
instead.
@cindex @code{tupletNumberFormatFunction}
@cindex tuplet formatting
-See also @seeinternals{TupletBracket}.
+
+@refcommands
+
+@cindex @code{\tupletUp}
+@code{\tupletUp},
+@cindex @code{\tupletDown}
+@code{\tupletDown},
+@cindex @code{\tupletBoth}
+@code{\tupletBoth}.
+
+@seealso
+
+@internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
@refbugs
Nested tuplets are not formatted automatically. In this case, outer
-tuplet brackets should be moved automatically.
+tuplet brackets should be moved manually.
@node Easy Notation note heads
@subsection Easy Notation note heads
@cindex easy notation
@cindex Hal Leonard
-A entirely different type of note head is the "easyplay" note head: a
-note head that includes a note name. It is used in some publications by
-Hal-Leonard Inc. music publishers.
+The `easy play' note head includes a note name inside the head. It is
+used in music aimed at beginners:
@lilypond[singleline,verbatim,26pt]
\score {
}
@end lilypond
-Note that @code{EasyNotation} 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
-(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}.
+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{lilypond}) and
+then enlarge it with something like @file{dvips -x 2000 file.dvi}.
+See the @code{dvips} documentation for more details. To print with a
+larger font, see @ref{Font Size}.
@cindex Xdvi
@cindex ghostscript
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.
+the letters. Printing the PostScript file obtained does produce the
+correct result.
@node Easier music entry
@section Easier music entry
@cindex Music entry
+
+When entering music it is easy to introduce errors. This section deals
+with tricks and features of the input language that 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
+music. Refer to the website for more information. Finally, there are
+tools make debugging easier, by linking the input file and the output
+shown on screen. See @ref{Point and click} for more information.
+
+
@menu
-* Graphical interfaces::
* Relative octaves::
+* Octave check::
* Bar check::
-* Point and click::
* Skipping corrected music::
+* Automatic note splitting ::
@end menu
-When entering music with LilyPond, it is easy to introduce errors. This
-section deals with tricks and features that help you enter music, and
-find and correct mistakes.
-
-@node Graphical interfaces
-@subsection Graphical interfaces
-@cindex GUI
-@cindex graphical interface
-@cindex sequencer
-@cindex RoseGarden
-@cindex Denemo
-@cindex NoteEdit
-@cindex MIDI
-One way to avoid entering notes using the keyboard is to use a
-graphical user interface. The following programs are known to have
-a lilypond export option:
-@itemize @bullet
-@item
-Denemo was once intended as
-a LilyPond graphical user interface. It run on Gnome/GTK.
-
-@quotation
-@uref{http://denemo.sourceforge.net/}
-@end quotation
-
-@item
- Noteedit, a graphical score editor that runs under KDE/Qt.
-@quotation
-@uref{http://rnvs.informatik.tu-chemnitz.de/~jan/noteedit/noteedit.html,}
-@end quotation
-
-@item
-RoseGarden was once the inspiration for naming LilyPond. Nowadays it
-has been rewritten from scratch and supports LilyPond export as of
-version 0.1.6.
-
-@quotation
-@uref{http://rosegarden.sf.net/}
-@end quotation
-@end itemize
-
-Another option is to enter the music using your favorite
-sequencer/notation editor, and then export it as MIDI or MusicXML.
-You can then import it in lilypond by using either midi2ly or
-@cindex midi2ly
-xml2ly. midi2ly is described in @ref{Invoking midi2ly}. @code{xml2ly}
-@cindex xml2ly
-is a tool to convert from the MusicXML music representation format
-(@uref{http://www.musicxml.org}) to LilyPond format. @code{xml2ly} is
-described at @uref{http://www.nongnu.org/xml2ly/}.
-
-
-@c . {Relative}
@node Relative octaves
@subsection Relative octaves
@cindex Relative
@cindex relative octave specification
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. To prevent these
-errors, LilyPond features octave entry.
+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: a single error puts the rest of the
+piece off by one octave:
@cindex @code{\relative}
@example
The octave of notes that appear in @var{musicexpr} are calculated as
follows: If no octave changing marks are used, the basic interval
between this and the last note is always taken to be a fourth or less
-(This distance is determined without regarding alterations; a
+(; this distance is determined without regarding alterations: a
@code{fisis} following a @code{ceses} will be put above the
-@code{ceses})
+@code{ceses}).
-The octave changing marks @code{'} and @code{,} can be added to raise or
-lower the pitch by an extra octave. Upon entering relative mode, an
-absolute starting pitch must be specified that will act as the
+The octave changing marks @code{'} and @code{,} can be added to raise
+or lower the pitch by an extra octave. Upon entering relative mode,
+an absolute starting pitch must be specified that will act as the
predecessor of the first note of @var{musicexpr}.
-Entering music that changes octave frequently is easy in relative mode.
+Here is the relative mode shown in action:
@lilypond[fragment,singleline,verbatim,center]
\relative c'' {
b c d c b c bes a
}
@end lilypond
-And octave changing marks are used for intervals greater than a fourth.
+Octave changing marks are used for intervals greater than a fourth:
@lilypond[fragment,verbatim,center]
\relative c'' {
c g c f, c' a, e'' }
@end lilypond
If the preceding item is a chord, the first note of the chord is used
-to determine the first note of the next chord. However, other notes
-within the second chord are determined by looking at the immediately
-preceding note.
+to determine the first note of the next chord:
@lilypond[fragment,verbatim,center]
\relative c' {
- 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
-@c . {Bar check}
-@node Bar check
-@subsection Bar check
-@cindex Bar check
-
-@cindex bar check
-@cindex @code{barCheckSynchronize}
-@cindex @code{|}
-
-
-Whenever a bar check is encountered during interpretation, a warning
-message is issued if it doesn't fall at a measure boundary. This can
-help you find errors in the input. Depending on the value of
-@code{barCheckSynchronize}, the beginning of the measure will be
-relocated, so this can also be used to shorten measures.
-A bar check is entered using the bar symbol, @code{|}:
+Octave checks make octave errors easier to correct.
+The syntax is
@example
- \time 3/4 c2 e4 | g2.
+ \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
-@cindex skipTypesetting
-
-Failed bar checks are most often caused by entering incorrect
-durations. Incorrect durations often completely garble up the score,
-especially if it is polyphonic, so you should start correcting the score
-by scanning for failed bar checks and incorrect durations. To speed up
-this process, you can use @code{skipTypesetting} (See @ref{Skipping
-corrected music})).
-
-@c . {Point and click}
-@node Point and click
-@subsection Point and click
-@cindex poind and click
-
-Point and click lets you find notes in the input by clicking on them in
-the Xdvi window. This makes it very easy to find input that causes some
-error in the sheet music.
-
-To use it, you need the following software
-@itemize @bullet
-@item A dvi viewer that supports src specials.
-@itemize @bullet
-@item Xdvi, version 22.36 or newer. Available from
-@uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,ftp.math.berkeley.edu}.
-
- Note that most @TeX{} distributions ship with xdvik, which is always
- a few versions behind the official Xdvi. To find out which xdvi you
- are running, try @code{xdvi -version} or @code{xdvi.bin -version}.
-@item KDVI. A dvi viewer for KDE. You need KDVI from KDE 3.0 or
-newer. Enable option @emph{Inverse search} in the menu @emph{Settings}.
-
-@cindex Xdvi
-@cindex KDVI
-@cindex KDE
-
-
-
-@end itemize
-@item An editor with a client/server interface (or a lightweight GUI
-editor).
-
-@cindex editor
-
-@itemize @bullet
-@item Emacs. Emacs is an extensible text-editor. It is available from
-@uref{http://www.gnu.org/software/emacs/}. You need version 21 to use
-column location.
-
-@c move this elsewhere?
-
-LilyPond also comes with support files for emacs: lilypond-mode for
-emacs provides indentation, autocompletion, syntax coloring, handy
-compile short-cuts and reading Info documents of lilypond inside emacs.
-If lilypond-mode is not installed on your platform,
-then refer to the installation instructions for more information.
-
-@cindex emacs
-@cindex emacs mode
-@cindex lilypond-mode for emacs
-@cindex syntax coloring
-
-@item XEmacs. Xemacs is very similar to emacs.
-
-@cindex XEmacs
-
-@item NEdit. NEdit runs under Windows, and Unix.
- It is available from @uref{http://www.nedit.org}.
-
-@cindex NEdit
-
-@item GVim. GVim is a GUI variant of VIM, the popular VI
-clone. It is available from @uref{http://www.vim.org}.
-
-@cindex GVim
-@cindex Vim
-
-@end itemize
-@end itemize
+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 central 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
-Xdvi must be configured to find the @TeX{} fonts and music
-fonts. Refer to the Xdvi documentation for more information.
-To use point-and-click, add one of these lines to the top of your .ly
-file.
-@example
-#(ly:set-point-and-click 'line)
-@end example
-@cindex line-location
-When viewing, Control-Mousebutton 1 will take you to the originating
-spot in the @file{.ly} file. Control-Mousebutton 2 will show all
-clickable boxes.
+@node Bar check
+@subsection Bar check
+@cindex Bar check
-If you correct large files with point-and-click, be sure to start
-correcting at the end of the file. When you start at the top, and
-insert one line, all following locations will be off by a line.
+@cindex bar check
+@cindex @code{barCheckSynchronize}
+@cindex @code{|}
-@cindex Emacs
-For using point-and-click with emacs, add the following
-In your emacs startup file (usually @file{~/.emacs}),
-@example
-(server-start)
-@end example
+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.
-Make sure that the environment variable @var{XEDITOR} is set to
+In the next example, the second bar check will signal an error:
@example
-emacsclient --no-wait +%l %f
+ \time 3/4 c2 e4 | g2 |
@end example
-@cindex @var{XEDITOR}
-If you use xemacs instead of emacs, you use @code{(gnuserve-start)} in
-your @file{.emacs}, and set @code{XEDITOR} to @code{gnuclient -q +%l %f}
-
-For using Vim, set @code{XEDITOR} to @code{gvim --remote +%l %f}, or
-use this argument with xdvi's @code{-editor} option.
-
-@cindex NEdit
-For using NEdit, set @code{XEDITOR} to @code{nc -noask +%l %f}, or
-use this argument with xdvi's @code{-editor} option.
-
-If can also make your editor jump to the exact location of the note
-you clicked. This is only supported on Emacs and VIM. Users of Emacs version
-20 must apply the patch @file{emacsclient.patch}. Users of version 21
-must apply @file{server.el.patch} (version 21.2 and earlier). At the
-top of the @code{ly} file, replace the @code{set-point-and-click} line
-with the following line,
-@example
-#(ly:set-point-and-click 'line-column)
-@end example
-@cindex line-colomn-location
-and set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}. Vim
-users can set @var{XEDITOR} to @code{gvim --remote +:%l:norm%c| %f}.
-@refbugs
+@cindex skipTypesetting
-When you convert the @TeX{} file to PostScript using @code{dvips}, it
-will complain about not finding @code{src:X:Y} files. These complaints
-are harmless, and can be ignored.
+Failed bar checks are caused by entering incorrect
+durations. Incorrect durations often completely garble up the score,
+especially if it is polyphonic, so you should start correcting the
+score by scanning for failed bar checks and incorrect durations. To
+speed up this process, you can use @code{skipTypesetting}, described
+in the next section.
@node Skipping corrected music
@subsection Skipping corrected music
The property @code{Score.skipTypesetting} can be used to switch on and
off typesetting completely during the interpretation phase. When
typesetting is switched off, the music is processed much more quickly.
-You can use this to skip over the parts of a score that you have already
-checked for errors.
+This can be used to skip over the parts of a score that have already
+been checked for errors:
@lilypond[fragment,singleline,verbatim]
\relative c'' { c8 d
c d b bes a g c2 }
@end lilypond
+@node Automatic note splitting
+@subsection Automatic note splitting
+
+Long notes can be converted automatically to tied notes. This is done
+by replacing the @internalsref{Note_heads_engraver} by the
+@internalsref{Completion_heads_engraver}:
+
+@example
+ \paper @{ \translator @{
+ \ThreadContext
+ \remove "Note_heads_engraver"
+ \consists "Completion_heads_engraver"
+ @} @}
+@end example
+
+which will make long notes tied in the following example:
+@example
+ \time 2/4
+ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
+@end example
+
+@lilypond[noindent]
+\score{
+ \notes\relative c'{
+ \time 2/4
+ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
+ }
+ \paper { \translator {
+ \ThreadContext
+ \remove "Note_heads_engraver"
+ \consists "Completion_heads_engraver"
+ } }
+ }
+@end lilypond
+
+This engraver splits all running notes at the bar line, and inserts
+ties. One of its uses is to debug complex scores: if the measures are
+not entirely filled, then the ties exactly show how much each measure
+is off.
+
+@refbugs
+
+Not all durations (especially those containing tuplets) can be
+represented exactly; the engraver will not insert tuplets.
+
@node Staff notation
@section Staff notation
-This section deals 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
* Staff symbol::
* Key signature::
* Clef::
+* Ottava brackets::
* Time signature::
+* Partial measures::
* Unmetered music::
* Bar lines::
@end menu
@node Staff symbol
@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 layout object called
+staff symbol.
-The lines of the staff symbol are formed by the
-@internalsref{StaffSymbol} object. This object is created at the moment
-that their context is created. You can not change the appearance of
-the staff symbol by using @code{\override} or @code{\set}. At the
-moment that @code{\property Staff} is interpreted, a Staff context is
-made, and the StaffSymbol is created before any @code{\override} is
-effective. You can deal with this either overriding properties 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
+
+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{\applyoutput}.
@refbugs
-If you end a staff half way a piece, the staff symbol may not end
+If a staff is ended halfway a piece, the staff symbol may not end
exactly on the barline.
-@c . {Key}
@node Key signature
@subsection Key signature
-@cindex Key
+@cindex Key signature
@cindex @code{\key}
+The key signature indicates the scale in which a piece is played. It
+is denoted by a set of alterations (flats or sharps) at the start of
+the staff.
+
+@syntax
+
Setting or changing the key signature is done with the @code{\key}
-command.
+command:
@example
@code{\key} @var{pitch} @var{type}
@end example
@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
@code{\phrygian}, and @code{\dorian} are also defined.
-This command sets the context property @code{Staff.keySignature}.
-Non-standard key signatures can be specified by setting this property
-directly.
+This command sets the context property
+@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 keysignature. The
+tutorial explains why this is so in @ref{More about pitches}.
+
+@refbugs
+
+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
-The printed signature is a @internalsref{KeySignature} object, typically
-created in @internalsref{Staff} context.
+@internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
@cindex @code{keySignature}
-@c . {Clef}
+
@node Clef
@subsection Clef
@cindex @code{\clef}
+The clef indicates which lines of the staff correspond to which
+pitches.
+
+@syntax
+
The clef can be set or changed with the @code{\clef} command:
@lilypond[fragment,verbatim]
\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. Note that you have to
-enclose @var{clefname} in quotes if you use underscores or digits in the
-name. For example,
-@example
- \clef "G_8"
-@end example
+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,
-The object for this symbol is @internalsref{Clef}.
+@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),
-@code{centralCPosition} and @code{clefOctavation}. A clef is created
+@code{centralCPosition} and @code{clefOctavation}. A clef is printed
when any of these properties are changed.
+@seealso
+
+The object for this symbol is @internalsref{Clef}.
+
+
+
+@node Ottava brackets
+@subsection Ottava brackets
+
+``Ottava'' brackets introduce an extra transposition of an octave for
+the staff. They are created by invoking the function
+@code{set-octavation}:
+
+@cindex ottava
+@cindex 15ma
+@cindex octavation
+
+@lilypond[verbatim,fragment]
+\relative c''' {
+ a2 b
+ #(set-octavation 1)
+ a b
+ #(set-octavation 0)
+ a b }
+@end lilypond
+
+Internally the @code{set-octavation} function sets the properties
+@code{ottavation} (eg. to @code{"8va"}) and
+@code{centralCPosition}. The function also takes arguments -1 (for 8va
+bassa) and 2 (for 15ma).
+
+@internalsref{OttavaSpanner}.
+
+@refbugs
+
+@code{set-octavation} will get confused when clef changes happen
+during an octavation bracket.
-@c . {Time signature}
@node Time signature
@subsection Time signature
@cindex Time signature
@cindex meter
@cindex @code{\time}
+Time signature indicates the metrum of a piece: a regular pattern of
+strong and weak beats. It is denoted by a fraction at the start of the
+staff.
+
+@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's printed can be customized with the @code{style}
+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.
+2/2 time. There are many more options for its layout. See
+@inputfileref{input/test,time.ly} for more examples.
-The object for this symbol is @internalsref{TimeSignature}. There are
-many more options for its layout. They are selected through the
-@code{style} object property. See @file{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} determine where bar lines should be
+context, which is normally aliased to @internalsref{Score}. The
+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 a time signature
-symbol to be printed.
+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
}
\paper {
- linewidth = -1.0
+ raggedright = ##t
\translator { \StaffContext
\consists "Measure_grouping_engraver"
}}}
@end lilypond
-@c . {Partial}
-@subsection Partial
+@seealso
+
+@internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
+
+
+@refbugs
+
+Automatic beaming does not use measure grouping specified with
+@code{set-time-signature}.
+
+@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 4* 5/16 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
The property @code{measurePosition} contains a rational number
indicating how much of the measure has passed at this point.
-
@node Unmetered music
@subsection Unmetered music
Bar lines and bar numbers are calculated automatically. For unmetered
-music (e.g. cadenzas), this is not desirable. The commands
-@code{\cadenzaOn} and @code{\cadenzaOff} can be used to switch off the
-timing information:
+music (e.g. cadenzas), this is not desirable. By setting
+@code{Score.timing} to false, this automatic timing can be switched
+off.
-@lilypond[fragment,relative,singleline,verbatim]
-c'2.
-\cadenzaOn
-c2
-\cadenzaOff
-c4 c4 c4
-@end lilypond
-The property @code{Score.timing} can be used to switch off this
-automatic timing
+@refcommands
+
+@cindex @code{\cadenzaOn}
+@code{\cadenzaOn},
+@cindex @code{\cadenzaOff}
+@code{\cadenzaOff}.
-@c . {Bar lines}
@node Bar lines
@subsection Bar lines
@cindex Bar lines
@cindex measure lines
@cindex repeat bars
-Bar lines are inserted automatically, but if you need a special type
-of barline, you can force one using the @code{\bar} command:
-@lilypond[fragment,verbatim] c4 \bar "|:" c4
+
+Bar lines delimit measures, but are also used to indicate repeats.
+Normally, they are inserted automatically. Line breaks may only
+happen on barlines.
+
+@syntax
+
+ Special types
+of barlines 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
+The following bar types are available:
@lilypond[fragment, relative, singleline, verbatim]
c4
\bar "|" c
\bar ".|." c
\bar "|."
@end lilypond
+For allowing linebreaks, there is a special command,
+@example
+ \bar "empty"
+@end example
+This will insert an invisible barline, and allow linebreaks at this
+point.
-You are encouraged to use @code{\repeat} for repetitions. See
-@ref{Repeats}.
-
-In scores with many staves, the barlines are automatically placed at
-top level, and they are connected between different staves of a
-@internalsref{StaffGroup}:
+In scores with many staves, a @code{\bar} command in one staff is
+automatically applied to all staves. The resulting bar lines are
+connected between different staves of a @internalsref{StaffGroup}:
+@c
@lilypond[fragment, verbatim]
-< \context StaffGroup <
- \context Staff = up { e'4 d'
+<< \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 objects that are created at @internalsref{Staff} level. The name is
-@internalsref{BarLine}.
-The command @code{\bar @var{bartype}} is a short cut for
-doing @code{\property Score.whichBar = @var{bartype}}
-Whenever @code{whichBar} is set to a string, a bar line of that type is
-created. @code{whichBar} is usually set automatically: at the start of
-a measure it is set to @code{defaultBarType}. The contents of
-@code{repeatCommands} is used to override default measure bars.
+The command @code{\bar @var{bartype}} is a short cut for doing
+@code{\property Score.whichBar = @var{bartype}} Whenever
+@code{whichBar} is set to a string, a bar line of that type is
+created. At the start of a measure it is set to
+@code{defaultBarType}. The contents of @code{repeatCommands} are used
+to override default measure bars.
-@code{whichBar} can also be set directly, using @code{\property} or
-@code{\bar }. These settings take precedence over the automatic
+Property @code{whichBar} can also be set directly, using @code{\property}
+or @code{\bar}. These settings take precedence over the automatic
@code{whichBar} settings.
-
-@cindex Bar_line_engraver
@cindex whichBar
@cindex repeatCommands
@cindex defaultBarType
+You are encouraged to use @code{\repeat} for repetitions. See
+@ref{Repeats}.
+
+
+
+@seealso
+
+@ref{Repeats}.
+
+
+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 barlines at the start of each system are
+@internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
+@internalsref{SystemStartBracket}. They are spanner objects and
+typically must be tuned from a @code{\translator} block.
-@c . {Polyphony}
@node Polyphony
@section Polyphony
@cindex polyphony
-The easiest way to enter such fragments with more than one voice on a
-staff is to split chords using the separator @code{\\}. You can use
-it for small, short-lived voices (make a chord of voices) or for
-single chords:
+The easiest way to enter fragments with more than one voice on a staff
+is to split chords using the separator @code{\\}. You can use it for
+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.
+The separator causes @internalsref{Voice} contexts to be
+instantiated. They
+bear the names @code{"1"}, @code{"2"}, etc. In each of these
+contexts, vertical direction of slurs, stems, etc. is set
+appropriately.
-Sometimes, it is necessary to instantiate these contexts by hand: For
-Instantiate a separate Voice context for each part, and use
-@code{\voiceOne}, up to @code{\voiceFour} to assign a stem directions
-and horizontal shift for each part.
+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:
@c
@lilypond[singleline, 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 } >
-@end lilypond
-
-The identifiers @code{\voiceOne} to @code{\voiceFour} set directions
-ties, slurs and stems, and set shift directions.
-
-If you want more than four voices, you can also manually set
-horizontal shifts and stem directions, as is shown in the following example:
-@lilypond[fragment, verbatim]
- \context Staff \notes\relative c''<
- \context Voice=one {
- \shiftOff \stemUp e4
- }
- \context Voice=two {
- \shiftOn \stemUp cis
- }
- \context Voice=three {
- \shiftOnn \stemUp ais
- }
- \context Voice=four {
- \shiftOnnn \stemUp fis
- }
- >
+\context Staff << \new Voice { \voiceOne cis2 b }
+ \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
+ \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
@end lilypond
-
Normally, note heads with a different number of dots are not merged, but
-if you set the object property @code{merge-differently-dotted}, they are:
+when the object property @code{merge-differently-dotted} is set in
+the @internalsref{NoteCollision} object, they are merged:
@lilypond[verbatim,fragment,singleline]
-\context Voice < {
- g'8 g'8
+\relative c'' \context Voice << {
+ g8 g8
\property Staff.NoteCollision \override
#'merge-differently-dotted = ##t
- g'8 g'8
- } \\ { [g'8. f16] [g'8. f'16] }
- >
+ g8 g8
+ } \\ { 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 < {
+\context Voice << {
c8 c4.
\property Staff.NoteCollision
\override #'merge-differently-headed = ##t
- c8 c4. } \\ { c2 c2 } >
+ 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 >
+\context Voice << c''4 \\ r4 >>
@end lilypond
-See also @internalsref{NoteCollision} and @internalsref{RestCollision}
+
+@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},
+@inputfileref{input/regression,collision-head-chords.ly},
+@inputfileref{input/regression,collision-heads.ly},
+@inputfileref{input/regression,collision-mesh.ly}, and
+@inputfileref{input/regression,collisions.ly}.
+
@refbugs
-Resolving collisions is a very intricate subject, and LilyPond only
-handles a few situations. When it can not cope, you are advised to use
-@code{force-hshift} of the @internalsref{NoteColumn} object and pitched
-rests to override typesetting decisions.
+Resolving collisions is a intricate subject, and only a few situations
+are handled. When LilyPond cannot cope, the @code{force-hshift}
+property of the @internalsref{NoteColumn} object and pitched rests can
+be used to override typesetting decisions.
+
+When using @code{merge-differently-headed} with an upstem 8th or a shorter
+note, and a downstem half note, the 8th note gets the wrong offset.
@node Beaming
@section Beaming
Beams are used to group short notes into chunks that are aligned with
-the metrum. They are inserted automatically in most cases.
+the metrum. They are inserted automatically in most cases:
@lilypond[fragment,verbatim, relative=2]
\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
@end lilypond
-If you're not satisfied with the automatic beaming, you can enter the
-beams explicitly. If you have beaming patterns that differ from the
-defaults, you can also set the patterns for automatic beamer.
+When these automatic decisions are not good enough, beaming can be
+entered explicitly. It is also possible to define beaming patterns
+that differ from the defaults.
+
+@seealso
+
+@internalsref{Beam}.
-See also @internalsref{Beam}.
-@c . {Manual beams}
@cindex Automatic beams
@subsection Manual beams
@cindex beams, manual
@cindex @code{]}
@cindex @code{[}
-In some cases it may be necessary to override LilyPond's 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 a @code{[} before the first beamed note and a @code{]}
-after the last note:
+In some cases it may be necessary to override the automatic beaming
+algorithm. For example, the auto beamer will not put beams over rests
+or bar lines. Such beams are specified by manually: the begin and end
+point are marked with @code{[} and @code{]}:
@lilypond[fragment,relative,verbatim]
\context Staff {
- 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
-be used to control the beam subdivision on a stem. If you set either
-property, its value will be used only once, and then it is erased.
+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.
@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 \property Voice.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:
-@example
-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-]
-@end example
-@lilypond[noindent,noquote]
-\score {
- \notes \relative c' {
- c16-[ c c c c c c c-]
+@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-]
+ c16[ c c c c c c c]
\property Score.beatLength = #(ly:make-moment 1 8)
- c32-[ c c c c c c c c c c c c c c c-]
- }
-}
+ c16[ c c c c c c c]
@end lilypond
@cindex subdivideBeams
-Kneed beams are inserted automatically, when a large gap between two
-adjacent beamed notes is detected. This behavior can be tuned through
-the object property @code{auto-knee-gap}.
+Kneed beams are inserted automatically, when a large gap is detected
+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
-@cindex hara kiri
-@c TODO -> why this ref? Document?
-@cindex @code{neutral-direction}
@refbugs
-Auto knee beams can not be used together with hara kiri staves.
+@cindex Frenched staves
-[TODO from bugs]
+Automatically kneed beams cannot be used together with hidden staves.
-The Automatic beamer does not put @strong{unfinished} beams on the
-last notes of a score.
-Formatting of ties is a difficult subject. LilyPond often does not
-give optimal results.
@menu
* Setting automatic beam behavior ::
[TODO: some pictures.]
@end ignore
-@c . {Automatic beams}
+
@node Setting automatic beam behavior
@subsection Setting automatic beam behavior
@cindex automatic beams, tuning
@cindex tuning automatic beaming
+@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
are defined in @file{scm/auto-beam.scm}.
The value of @code{autoBeamSettings} is changed using
-@code{\override} and unset using @code{\revert}:
+@code{\override} and restored with @code{\revert}:
@example
\property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
\property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
signature (wildcards, `@code{* *}' may be entered to designate all time
signatures).
-For example, if you want automatic beams to end on every quarter note,
-you can use the following:
+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)
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)
3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
3/8 has passed within the measure).
-You can also restrict rules to specific time signatures. A rule that
+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
#'(begin * * 6 8) = ...
@end example
-If you want a rule to apply to certain types of beams, you can use the
-first pair of asterisks. Beams are classified according to the shortest
-note they contain. For a beam ending rule that only applies to beams
-with 32nd notes (and no shorter notes), you would use @code{(end 1
-32 * *)}.
-
-@c not true
-@c Automatic beams can not be put on the last note in a score.
+If a rule should be to applied only to certain types of beams, use the
+first pair of asterisks. Beams are classified according to the
+shortest note they contain. For a beam ending rule that only applies
+to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
+*)}.
If a score ends while an automatic beam has not been ended and is still
accepting notes, this last beam will not be typeset at all.
automatic beaming. This is done by setting @code{Voice.autoBeaming} to
@code{#f}.
+@refcommands
+
+@cindex @code{\autoBeamOff}
+@code{\autoBeamOff},
+@cindex @code{\autoBeamOn}
+@code{\autoBeamOn}.
+
@refbugs
-It is not possible to specify beaming parameters for beams with mixed
-durations, that differ from the beaming parameters of all separate
-durations, i.e., you'll 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]
+@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
+ % 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
@node Accidentals
@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
-* Using the predefined accidental macros::
-* Defining your own accidental typesettings::
+* Using the predefined accidental variables::
+* Customized accidental rules::
@end menu
-@node Using the predefined accidental macros
-@subsection Using the predefined accidental macros
+@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 macros defined in
-@file{ly/property-init.ly}.
+quite hairy, so non-experts should stick to the variables
+defined in @file{ly/property-init.ly}.
@cindex @file{property-init.ly}
-The macros operate on the ``Current'' context (see @ref{Context properties}). This
-means that the macros shuold normally be invoked right after the
-creation of the context in which the accidental typesetting described
-by the macro is to take effect. I.e. if you want to use
-piano-accidentals in a pianostaff then you issue
-@code{\pianoAccidentals} first thing after the creation of the piano
-staff:
+The variables set properties in the ``@code{Current}'' context (see
+@ref{Context properties}). This means that the variables should
+normally be added right after the creation of the context in which the
+accidental typesetting described by the variable is to take
+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:
@example
\score @{
- \notes \relative c'' <
- \context Staff = sa @{ cis4 d e2 @}
- \context GrandStaff <
+ \notes \relative c'' <<
+ \new Staff @{ cis4 d e2 @}
+ \context GrandStaff <<
\pianoAccidentals
- \context Staff = sb @{ cis4 d e2 @}
- \context Staff = sc @{ es2 c @}
- >
- \context Staff = sd @{ es2 c @}
- >
+ \new Staff @{ cis4 d e2 @}
+ \new Staff @{ es2 c @}
+ >>
+ \new Staff @{ es2 c @}
+ >>
@}
@end example
@lilypond[singleline]
\score {
- \notes \relative c'' <
- \context Staff = sa { cis4 d e2 }
- \context GrandStaff <
+ \notes \relative c'' <<
+ \new Staff { cis4 d e2 }
+ \context GrandStaff <<
\pianoAccidentals
- \context Staff = sb { cis4 d e2 }
- \context Staff = sc { es2 c }
- >
- \context Staff = sd { es2 c }
- >
+ \new Staff { cis4 d e2 }
+ \new Staff { es2 c }
+ >>
+ \new Staff { es2 c }
+ >>
\paper {
\translator {
\StaffContext
}
@end lilypond
-The macros are:
+The variables are:
@table @code
@item \defaultAccidentals
@cindex @code{\defaultAccidentals}
@item \voiceAccidentals
@cindex @code{\voiceAccidentals}
- The normal behaviour is to remember the accidentals on
- Staff-level.
- This macro, however, typesets accidentals individually for each
- voice.
- Apart from that the rule is similar to
- @code{\defaultAccidentals}.
-
- Warning: This leads to some weird and often unwanted results
- because accidentals from one voice DO NOT get cancelled in other
+@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}.
+
+ This leads to some weird and often unwanted results
+ because accidentals from one voice do not get cancelled in other
voices:
-@lilypond[singleline,relative,fragment,verbatim]
- \context Staff <
+@lilypond[singleline,relative,fragment,verbatim,quote]
+ \context Staff <<
\voiceAccidentals
- \context Voice=va { \voiceOne es g }
- \context Voice=vb { \voiceTwo c, e }
- >
-@end lilypond
- Hence you should only use @code{\voiceAccidentals}
- if the voices are to be read solely by
- individual musicians. if the staff should be readable also
- by one musician/conductor then you should use
- @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
- instead.
+ <<
+ { es g } \\
+ { c, e }
+ >> >>
+@end lilypond
+ Hence you should only use @code{\voiceAccidentals} if the voices
+are to be read solely by individual musicians. If the staff is to be
+used by one musician (e.g. a conductor) then you use
+@code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
+instead.
@item \modernAccidentals
@cindex @code{\modernAccidentals}
- This rule should correspond to the common practice in the 20th
+ This rule corresponds to the common practice in the 20th
century.
- The rule is a bit more complex than @code{\defaultAccidentals}:
+ The rule is more complex than @code{\defaultAccidentals}.
You get all the same accidentals, but temporary
- accidentals also get cancelled in other octaves. Further more,
+ accidentals also get cancelled in other octaves. Furthermore,
in the same octave, they also get cancelled in the following measure:
@lilypond[singleline,fragment,verbatim]
\modernAccidentals
@cindex @code{\modernCautionaries}
This rule is similar to @code{\modernAccidentals}, but the
``extra'' accidentals (the ones not typeset by
- @code{\defaultAccidentals}) are typeset as cautionary accidentals
- (i.e. in reduced size):
+ @code{\defaultAccidentals}) are typeset as cautionary accidentals.
+ They are printed in reduced size or with parentheses:
@lilypond[singleline,fragment,verbatim]
\modernCautionaries
cis' c'' cis'2 | c'' c'
@end lilypond
-@item \modernVoiceAccidentals
@cindex @code{\modernVoiceAccidentals}
- Multivoice accidentals to be read both by musicians playing one voice
- and musicians playing all voices.
-
- Accidentals are typeset for each voice, but they ARE cancelled
- across voices in the same @internalsref{Staff}.
+@item \modernVoiceAccidentals
+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
+the same @internalsref{Staff}.
-@item \modernVoiceCautionaries
@cindex @code{\modernVoiceCautionaries}
- The same as @code{\modernVoiceAccidentals}, but with the
- extra accidentals (the ones not typeset by
- @code{\voiceAccidentals}) typeset as cautionaries.
- Notice that even though all accidentals typeset by
- @code{\defaultAccidentals} ARE typeset by this macro then some
- of them are typeset as cautionaries.
+@item \modernVoiceCautionaries
+is the same as @code{\modernVoiceAccidentals}, but with the extra
+accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
+as cautionaries. Even though all accidentals typeset by
+@code{\defaultAccidentals} @emph{are} typeset by this variable then
+some of them are typeset as cautionaries.
@item \pianoAccidentals
@cindex @code{\pianoAccidentals}
@item \forgetAccidentals
@cindex @code{\forgetAccidentals}
This is sort of the opposite of @code{\noResetKey}: Accidentals
- are not remembered at all - and hence all accidentals are
+ are not remembered at all---and hence all accidentals are
typeset relative to the key signature, regardless of what was
before in the music:
@lilypond[singleline,fragment,verbatim,relative]
@end lilypond
@end table
-@node Defining your own accidental typesettings
-@subsection Defining your own accidental typesettings
-
-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.
-
-The idea of the algorithm is to try several different rules and then
-use the rule that gives the highest number of accidentals.
-Each rule cosists of
-@table @asis
-@item Context:
- In which context is the rule applied. I.e. if context is
- @internalsref{Score} then all staves share accidentals, and if
- context is @internalsref{Staff} then all voices in the same
- staff share accidentals, but staves don't - like normally.
-@item Octavation:
+@node Customized accidental rules
+@subsection Customized accidental rules
+
+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:
+@item lazyness:
Over how many barlines the accidental lasts.
- If lazyness is @code{-1} then the accidental is forget
- immidiately, and if lazyness is @code{#t} then the accidental
+ If @var{lazyness} is @code{-1} then the accidental is forget
+ immediately, and if @var{lazyness} is @code{#t} then the accidental
lasts forever.
+
+@c [TODO: should use +infinity for this case?]
+
@end table
-As described in the internal documentation of
-@reng{Accidental_engraver}, the properties @code{autoAccidentals} and
-@code{autoCautionaries} contain lists of rule descriptions. Notice
-that the contexts must be listed from in to out - that is
-@internalsref{Thread} before @internalsref{Voice},
-@internalsref{Voice} before @internalsref{Staff}, etc.
-see the macros in @file{ly/property-init.ly} for examples of how the
-properties are set.
+@refcommands
+
+@cindex @code{\defaultAccidentals}
+@code{\defaultAccidentals},
+@cindex @code{\voiceAccidentals}
+@code{\voiceAccidentals},
+@cindex @code{\modernAccidentals}
+@code{\modernAccidentals},
+@cindex @code{\modernCautionaries}
+@code{\modernCautionaries},
+@cindex @code{\modernVoiceAccidentals}
+@code{\modernVoiceAccidentals},
+@cindex @code{\modernVoiceCautionaries}
+@code{\modernVoiceCautionaries},
+@cindex @code{\pianoAccidentals}
+@code{\pianoAccidentals},
+@cindex @code{\pianoCautionaries}
+@code{\pianoCautionaries},
+@cindex @code{\noResetKey}
+@code{\noResetKey},
+@cindex @code{\forgetAccidentals}
+@code{\forgetAccidentals}.
+
+@seealso
+
+@internalsref{Accidental_engraver}, @internalsref{Accidental}, 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.
-Of course this is only a problem when you have simultainous notes
-which accidentals should depend on each other.
-Notice that the problem only occurs when using non-default accidentals
-- as the default accidentals only depend on other accidentals on the
-same staff and same pitch and hence cannot depend on other
-simultainous notes.
+This is only a problem when there are simultaneous notes whose
+accidentals depend on each other. The problem only occurs when using
+non-default accidentals. In the default scheme, accidentals only
+depend on other accidentals with the same pitch on the same staff, so
+no conflicts possible.
This example shows two examples of the same music giving different
accidentals depending on the order in which the notes occur in the
@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 |
+cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
+| <cis' c''> r | <c'' cis'> r |
@end lilypond
-The only solution is to manually insert the problematic
-accidentals using @code{!} and @code{?}.
+This problem can be solved by manually inserting @code{!} and @code{?}
+for the problematic notes.
@node Expressive marks
@section Expressive marks
-@c . {Slurs}
+
+@c todo: should change ordering
+@c where to put text spanners, metronome marks,
+@c fingering?
+
@menu
* Slurs ::
* Phrasing slurs::
* Breath marks::
-* Tempo::
+* Metronome marks::
* Text spanners::
* Analysis brackets::
+* Articulations::
+* Fingering instructions::
+* Text scripts::
+* Grace notes::
+* Glissando ::
+* Dynamics::
@end menu
@node Slurs
@cindex Slurs
A slur indicates that notes are to be played bound or @emph{legato}.
+
+@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,center]
+ f( g)( a) a8 b( a4 g2 f4)
+ <c e>2( <b d>2)
@end lilypond
-See also @seeinternals{Slur}.
+
+@c TODO: should explain that ^( and _( set directions
+@c should set attachments with ^ and _ ?
Slurs avoid crossing stems, and are generally attached to note heads.
However, in some situations with beams, slurs may be attached to stem
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 It's value is a pair of symbols, specifying
-the attachment type of the left and right end points.
+@internalsref{Voice} context. Its value is a pair of symbols, specifying
+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-)
+ g'8(g g4)
\property Voice.Slur \set #'attachment = #'(stem . stem)
- g8-( g g4-)
+ 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..-)
+ d32( d'4 d8..)
\property Voice.Slur \set #'attachment = #'(stem . stem)
- d,32-( d'4 d8..-)
+ d,32( d'4 d8..)
@end lilypond
-@ignore
-Similarly, the curvature of a slur is adjusted to stay clear of note
-heads and stems. When that would increase the curvature too much, the
-slur is reverted to its default shape. The threshold for this
-decision is in @internalsref{Slur}'s object property @code{beautiful}.
-It is loosely related to the enclosed area between the slur and the
-notes. Usually, the default setting works well, but in some cases you
-may prefer a curved slur when LilyPond decides for a vertically moved
-one. You can indicate this preference by increasing the
-@code{beautiful} value:
-
-@lilyp ond[verbatim,singleline,relative]
- \stemDown \slurUp
- c16-( a' f' a a f a, c,-)
- c-( a' f' a a f d, c-)
- \property Voice.Slur \override #'beautiful = #5.0
- c-( a' f' a a f d, c-)
-@end lilypond
-@end ignore
+@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}, 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.
-@ignore
-This is reflected by the
-@code{beautiful} property, which it is an arbitrary parameter in the
-slur formatter. Useful values can only be determined by trial and
-error.
-@end ignore
@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' \( d ( e-) f ( e-) d-\)
+ \time 6/4 c'\( d( e) f( e) d\)
@end lilypond
-Typographically, the phrasing slur behaves almost exactly like a normal
-slur. See also @seeinternals{PhrasingSlur}. But although they behave
-similarily to normal slurs, phrasing slurs count as different objects.
-A @code{\slurUp} will have no effect on a phrasing slur; instead, you
+Typographically, the phrasing slur behaves almost exactly like a
+normal slur. However, they are treated as different objects. A
+@code{\slurUp} will have no effect on a phrasing slur; instead, you
should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
@code{\phrasingSlurBoth}.
-Note that the commands
-@code{\slurUp}, @code{\slurDown}, and @code{\slurBoth} will only affect
-normal slurs and not phrasing slurs.
+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}, and
+@internalsref{PhrasingSlurEvent}.
+
+@refbugs
+
+Phrasing slurs have the same limitations in their formatting as normal
+slurs. Putting phrasing slurs over rests leads to spurious warnings.
@node Breath marks
@subsection Breath marks
-Breath marks are entered using @code{\breathe}. See also
-@seeinternals{BreathingSign}.
+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} layout object with
+any markup text. For example,
+@lilypond[fragment,verbatim,relative]
+c'4
+\property Voice.BreathingSign \override #'text
+ = #(make-musicglyph-markup "scripts-rvarcomma")
+\breathe
+d4
+@end lilypond
+
+@seealso
+
+@internalsref{BreathingSign}, @internalsref{BreathingSignEvent}, and
+@inputfileref{input/regression,breathing-sign.ly}.
+
+
+@node Metronome marks
+@subsection Metronome marks
-@c . {Tempo}
-@node Tempo
-@subsection Tempo
@cindex Tempo
@cindex beats per minute
@cindex metronome marking
Metronome settings can be entered as follows:
-
-@cindex @code{\tempo}
-@example
+@example
\tempo @var{duration} = @var{perminute}
@end example
-For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
-per minute.
-
-@refbugs
-
-The tempo setting is not printed, but is only used in the MIDI
-output. You can trick lily into producing a metronome mark,
-though. Details are in @ref{Text markup}.
+In the MIDI output, they are interpreted as a tempo change, and in the
+paper output, a metronome marking is printed:
+@cindex @code{\tempo}
+@lilypond[fragment,verbatim]
+ \tempo 8.=120 c''1
+@end lilypond
+
+@seealso
+
+@internalsref{MetronomeChangeEvent}.
@subsection Text spanners
@cindex Text spanners
-Some textual indications, e.g. rallentando or accelerando, often extend
-over many measures. This is indicated by following the text with a
-dotted line. You can create such texts using text spanners. The syntax
-is as follows:
-@example
- \startTextSpan
- \stopTextSpan
-@end example
-LilyPond will respond by creating a @internalsref{TextSpanner} object (typically
-in @internalsref{Voice} context). The string to be printed, as well as the
-style is set through object properties.
+Some performance indications, e.g. @i{rallentando} or @i{accelerando},
+are written as texts, and extended over many measures with dotted
+lines. You can create such texts using text spanners: attach
+@code{\startTextSpan} and @code{\stopTextSpan} to the
+start and ending note of the spanner.
+
+The string to be printed, as well as the style, is set through object
+properties:
-An application---or rather, a hack---is to fake octavation indications.
@lilypond[fragment,relative,verbatim]
- \relative c' { a''' b c a
- \property Voice.TextSpanner \set #'type = #'dotted-line
- \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
- \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
- \property Staff.centralCPosition = #-13
- a\startTextSpan b c a \stopTextSpan }
+ \relative c' { c1
+ \property Voice.TextSpanner \set #'direction = #-1
+ \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
+ c2\startTextSpan b c\stopTextSpan a }
@end lilypond
+@seealso
+
+@internalsref{TextSpanEvent},
+@internalsref{TextSpanner}, and
+@inputfileref{input/regression,text-spanner.ly}.
+
+
@node Analysis brackets
@subsection Analysis brackets
@cindex 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{\groupOpen} and closed with @code{\groupClose}. This produces
-@internalsref{HorizontalBracket} objects.
+@code{\startGroup} and closed with @code{\stopGroup}:
@lilypond[singleline,verbatim]
\score { \notes \relative c'' {
- c4-\groupOpen-\groupOpen
- c4-\groupClose
- c4-\groupOpen
- c4-\groupClose-\groupClose
+ c4\startGroup\startGroup
+ c4\stopGroup
+ c4\startGroup
+ c4\stopGroup\stopGroup
}
\paper { \translator {
\StaffContext \consists "Horizontal_bracket_engraver"
}}}
@end lilypond
-@c . {Ornaments}
-@node Ornaments
-@section Ornaments
-@cindex Ornaments
-@menu
-* Articulations::
-* Text scripts::
-* Grace notes::
-* Glissando ::
-* Dynamics::
-@end menu
+@seealso
+
+@internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent}, and
+@inputfileref{input/regression,note-group-bracket.ly}.
+
-@c . {Articulation}
@node Articulations
@subsection Articulations
@cindex Articulations
A variety of symbols can appear above and below notes to indicate
different characteristics of the performance. They are added to a note
-by adding a dash and the the character signifying the
-articulation. They are demonstrated here.
-@lilypond[singleline]
- \score {
- \notes \context Voice {
- \property Voice.TextScript \set #'font-family = #'typewriter
- \property Voice.TextScript \set #'font-shape = #'upright
- c''4-._"c-." s4
- c''4--_"c-{}-" s4
- c''4-+_"c-+" s4
- c''4-|_"c-|" s4
- c''4->_"c->" s4
- c''4-^_"c-\\^{ }" s4
- c''4-__"c-\_" s4
- }
- }
-@end lilypond
+by adding a dash and the character signifying the
+articulation. They are demonstrated here:
+
+@lilypondfile[notexidoc]{script-abbreviations.ly}
+
+The meanings of these shorthands can be changed: see
+@file{ly/script-init.ly} for examples.
+
The script is automatically placed, but if you need to force
directions, you can use @code{_} to force them down, or @code{^} to
c''4^^ c''4_^
@end lilypond
-
Other symbols can be added using the syntax
-@var{note}@code{-\}@var{name}. Again, they can be forced up or down
-using @code{^} and @code{_}.
+@var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
+can be forced up or down using @code{^} and @code{_},
+eg.
+
+@lilypond[verbatim,fragment,relative 2]
+ c\fermata c^\fermata c_\fermata
+@end lilypond
-@cindex accent
-@cindex marcato
+
+
+@cindex accent
+@cindex marcato
@cindex staccatissimo
-@cindex fermata
-@cindex stopped
+@cindex fermata
+@cindex stopped
@cindex staccato
@cindex portato
-@cindex tenuto
+@cindex tenuto
@cindex upbow
@cindex downbow
@cindex foot marks
@cindex organ pedal marks
-@cindex turn
-@cindex open
+@cindex turn
+@cindex open
@cindex flageolet
-@cindex reverseturn
-@cindex trill
-@cindex prall
+@cindex reverseturn
+@cindex trill
+@cindex prall
@cindex mordent
-@cindex prallprall
-@cindex prallmordent
+@cindex prallprall
+@cindex prallmordent
@cindex prall, up
@cindex prall, down
@cindex mordent
@cindex thumb marking
-@cindex segno
+@cindex segno
@cindex coda
+@cindex varcoda
-@lilypond[]
- \score {
- <
- \property Score.LyricText \override #'font-family =#'typewriter
- \property Score.LyricText \override #'font-shape = #'upright
- \context Staff \notes {
- c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
- c''-\stopped c''-\staccato c''-\tenuto c''-\portato
- c''-\upbow
- c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
- c''-\rtoe c''-\turn c''-\open c''-\flageolet
- c''-\reverseturn c''-\trill c''-\prall c''-\mordent
- c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
- c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
- c''-\lineprall c''-\thumb c''-\segno c''-\coda
- }
- \context Lyrics \lyrics {
- accent__ marcato__ staccatissimo__ fermata
- stopped__ staccato__ tenuto__ portato
- upbow
- downbow__ lheel__ rheel__ ltoe
- rtoe__ turn__ open__ flageolet
- reverseturn__ trill__ prall__ mordent
- prallprall__ prallmordent__ uprall__ downprall
- upmordent__ downmordent__ pralldown__ prallup__
- lineprall__ thumb__ segno__ coda
- }
- >
- \paper {
- linewidth = 5.1\in
- indent = 0.0\mm
- }
- }
-@end lilypond
+@lilypondfile[notexidoc]{script-chart.ly}
+
+
+@refcommands
+
+@cindex @code{\scriptUp}
+@code{\scriptUp},
+@cindex @code{\scriptDown}
+@code{\scriptDown},
+@cindex @code{\scriptBoth}
+@code{\scriptBoth}.
+
+@seealso
+
+@internalsref{ScriptEvent}, and @internalsref{Script}.
+
+@refbugs
+
+ These note ornaments appear in the printed output but have no
+effect on the MIDI rendering of the music.
+@node Fingering instructions
+@subsection Fingering instructions
+
@cindex fingering
-Fingering instructions can also be entered in this shorthand. For
-finger changes, use markup texts:
+Fingering instructions can be entered using
+@example
+ @var{note}-@var{digit}
+@end example
+For finger changes, use markup texts:
@c
@lilypond[verbatim, singleline, fragment]
c'4-1 c'4-2 c'4-3 c'4-4
- c^\markup { \fontsize #-3 \number "2-3" }
+ c'^\markup { \fontsize #-3 \number "2-3" }
@end lilypond
@cindex finger change
@cindex superscript
@cindex subscript
-See also @seeinternals{Script} and @seeinternals{Fingering}.
+You can use the thumb-script to indicate that a note should be
+played with your thumb (used in cello music):
-@refbugs
+@lilypond[verbatim, singleline, fragment]
+ <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
+ <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
+@end lilypond
-All of these note ornaments appear in the printed output but have no
-effect on the MIDI rendering of the music.
+Fingerings for chords can also be added to individual notes
+of the chord by adding them after the pitches:
+@lilypond[verbatim,singleline,fragment,relative=1]
+ < c-1 e-2 g-3 b-5 > 4
+@end lilypond
+
+Setting @code{fingeringOrientations} will put fingerings next
+to note heads:
+
+@lilypond[verbatim,singleline,fragment,relative=1]
+ \property Voice.fingeringOrientations = #'(left down)
+ <c-1 es-2 g-4 bes-5 > 4
+ \property Voice.fingeringOrientations = #'(up right down)
+ <c-1 es-2 g-4 bes-5 > 4
+@end lilypond
+
+@seealso
-Unfortunately, there is no support for adding fingering instructions or
-ornaments to individual note heads. Some hacks exist, though. See
-@file{input/test/script-horizontal.ly}.
+@internalsref{FingerEvent}, and @internalsref{Fingering}.
-@c . {Text scripts}
@node Text scripts
@subsection Text scripts
@cindex Text scripts
-In addition, 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.
+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:
@c
@lilypond[fragment,singleline,verbatim] \relative c' {
c4^"longtext" \fatText c4_"longlongtext" c4 }
@end lilypond
-It is possible to use @TeX{} commands in the strings, but this should be
-avoided because it makes it impossible for LilyPond to compute the
-exact length of the string, which may lead to collisions. Also, @TeX{}
-commands won't work with direct PostScript output.
-@c (see @ref{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.
+
-Text scripts are created in form of @internalsref{TextScript} objects, in
-@internalsref{Voice} context.
+@seealso
+
+@internalsref{TextScriptEvent}, @internalsref{TextScript}, and
+@ref{Text markup}.
-@ref{Text markup} describes how to change the font or access
-special symbols in text scripts.
-@c . {Grace notes}
@node Grace notes
@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
-@lilypond[relative=2,verbatim,ifragment] c4 \grace c16 c4 \grace {
-[c16 d16] } c4
+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:
+
+
+@cindex appoggiatura
+@cindex acciaccatura
+
+@lilypond[relative=2,verbatim,fragment]
+b4 \acciaccatura d8 c4 \appoggiatura e8 d4
+\acciaccatura { g16[ f] } e4
+@end lilypond
+
+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
-In normal notation, grace notes are supposed to 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:
+@noindent
+Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
+@code{\grace} command does not start a slur.
-Every point in musical time consists of two rational numbers: one
+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.
+example is shown here with timing tuples:
-@lilypond[]
-\score { \notes \relative c''{
- c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
- [c16_"(2/4,-1/8)" d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
+@lilypond[singleline]
+<<
+ \relative c''{
+ c4 \grace c16 c4 \grace {
+ c16[ d16] } c2 c4
}
-\paper { linewidth = 8.\cm }
-}
+ \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
-The advantage of this approach is that you can use almost any lilypond
-construction together with grace notes, for example slurs and clef
-changes may appear halfway in between grace notes:
-
-@lilypond[relative=2,verbatim,fragment]
- c4 \grace { [ c16 c, \clef bass c, b(] } )c4
-@end lilypond
-The placement of these grace notes is synchronized between different
-staves, using this grace timing.
+The placement of grace notes is synchronized between different staves.
+In the following example, there are two sixteenth graces notes for
+every eighth grace note:
@lilypond[relative=2,verbatim,fragment]
-< \context Staff = SA { e4 \grace { c16 d e f } e4 }
- \context Staff = SB { c4 \grace { g8 b } c4 } >
+<< \new Staff { e4 \grace { c16[ d e f] } e4 }
+ \new Staff { c'4 \grace { g8[ b] } c4 } >>
@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}. The change in formatting is accomplished by
-inserting @code{\startGraceMusic} before handling the grace notes, and
-@code{\stopGraceMusic} after finishing the grace notes.
-You can add to these definitions to globally change grace note
-formatting. The standard definitions are in @file{ly/grace-init.ly}.
-
-[TODO discuss Scheme functionality.]
+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)
+}
+@end lilypond
-Notice how the @code{\override} is carefully matched with a @code{\revert}.
+@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.
-@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
+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 {
+ \property Voice.Stem \override #'direction = #-1
+ f16->
+ \property Voice.Stem \revert #'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.
-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]
-\context Voice {
- < { d1^\trill ( }
- { s2 \grace { [c16 d] } } >
- )c4
-}
-@end lilypond
+@example
+ \new Staff @{
+ #(add-grace-property "Voice" Stem direction '())
+ @dots{}
+ @}
+@end example
-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} won't 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
+Another option is to change the variables @code{startGraceMusic},
+@code{stopGraceMusic}, @code{startAccacciaturaMusic},
+@code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
+@code{stopAppoggiaturaMstuic}. More information is in the file
+@file{ly/grace-init.ly}
-@lilypond[fragment,verbatim]
-\relative c'' \context Voice {
- \slurUp
- \grace {
- a4 ( }
- ) a4 a4 () a2
- \slurBoth
-
- \grace {
- \slurUp
- a4 ( }
- ) a4 a4 () a2
- \slurBoth
-}
-@end lilypond
+@seealso
+@internalsref{GraceMusic}.
@refbugs
-Grace notes can not be used in the smallest size (@file{paper11.ly}).
+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.
+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.
+expressions. Nesting or juxtaposing grace sections is not supported,
+and might produce crashes or other errors.
+
+Overriding settings cannot be done in separate styles for appoggiatura
+and acciaccatura.
@node Glissando
@cindex @code{\glissando}
+A glissando is a smooth change in pitch. It is denoted by a line or a
+wavy line between two notes.
+
+@syntax
+
A glissando line can be requested by attaching a @code{\glissando} to
a note:
@lilypond[fragment,relative,verbatim]
- c'-\glissando c'
+ c'\glissando c'
@end lilypond
-@refbugs
+@seealso
+
+@internalsref{Glissando}, and @internalsref{GlissandoEvent}.
-Printing of an additional text (such as @emph{gliss.}) must be done
-manually. See also @seeinternals{Glissando}.
+@refbugs
+
+Adding additional texts (such as @emph{gliss.}) is not supported.
-@c . {Dynamics}
@node Dynamics
@subsection Dynamics
@cindex Dynamics
@cindex @code{\rfz}
-Absolute dynamic marks are specified using an identifier after a
-note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
+Absolute dynamic marks are specified using an variable 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
@cindex @code{\"!}
-A crescendo mark is started with @code{\cr} and terminated with
-@code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
-started with @code{\decr} and terminated with @code{\rced}. 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{\!}. Note that @code{\!} must go before
-the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
-after the last note. Because these marks are bound to notes, if you
-want several marks during one note, you have to use spacer notes.
-@lilypond[fragment,verbatim,center]
- c'' \< \! c'' d'' \decr e'' \rced
- < f''1 { s4 s4 \< \! s4 \> \! s4 } >
+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\! } >>
@end lilypond
This may give rise to very short hairpins. Use @code{minimum-length}
-in Voice.HairPin to lengthen these, e.g.
+in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
+example:
@example
\property Staff.Hairpin \override #'minimum-length = #5
is an example how to do it:
@lilypond[fragment,relative=2,verbatim]
- c4 \cresc c4 \endcresc c4
+ c4 \cresc c4 c c c \endcresc c4
@end lilypond
-
@cindex crescendo
@cindex decrescendo
You can also supply your own texts:
@lilypond[fragment,relative,verbatim]
\context Voice {
- \property Voice.crescendoText = "cresc. poco"
+ \property Voice.crescendoText = \markup { \italic "cresc. poco" }
\property Voice.crescendoSpanner = #'dashed-line
- a'2\mf\< a a \!a
+ 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}, 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
-identifiers to set the vertical direction are \dynamicUp and
-\dynamicDown.
+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.
-@cindex direction, of dynamics
-@cindex @code{\dynamicDown}
-@cindex @code{\dynamicUp}
-@c . {Repeats}
@node Repeats
@section Repeats
@cindex repeats
@cindex @code{\repeat}
-To specify repeats, use the @code{\repeat} keyword. Since repeats
-should work differently when played or printed, there are a few
-different variants of 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 that they can be
+rendered in MIDI accurately.
+
+The following types of repetition are supported:
@table @code
@item unfold
This is the normal notation: Repeats are not written out, but
alternative endings (voltas) are printed, left to right.
+@ignore
@item fold
Alternative endings are written stacked. This has limited use but may be
used to typeset two lines of lyrics in songs with repeats, see
-@file{input/star-spangled-banner.ly}.
+@inputfileref{input,star-spangled-banner.ly}.
+@end ignore
@item tremolo
Make tremolo beams.
@node Repeat syntax
@subsection Repeat syntax
-The syntax for repeats is
+@syntax
+
+LilyPond has one syntactic construct for specifying different types of
+repeats. The syntax is
@example
\repeat @var{variant} @var{repeatcount} @var{repeatbody}
@var{alternative2}
@var{alternative3} @dots{} @code{@}}
@end example
-where each @var{alternative} is a music expression.
+where each @var{alternative} is a music expression. If you do not
+give enough alternatives for all of the repeats, then the first
+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} }
-@end lilypond
-
-Folded repeats look like this:
-
-
-@lilypond[fragment,verbatim]
- c'1
- \repeat fold 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
-If you don't give enough alternatives for all of the repeats, then
-the first alternative is assumed to be repeated often enough to equal
-the specified number of repeats.
-@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
+
+@example
+\repeat @dots{}
+\repeat @dots{}
+\alternative
+@end example
+
+@noindent
+then it is ambiguous to which @code{\repeat} the @code{\alternative}
+belongs. This ambiguity is resolved by always having the
+@code{\alternative} belong to the inner @code{\repeat}. For clarity,
+it is advisable to use braces in such situations.
+@cindex ambiguity
+
@node Repeats and MIDI
@subsection Repeats and MIDI
@cindex expanding repeats
-For instructions on how to unfoldi repeats for MIDI output, see
-the example file @file{input/test/unfold-all-repeats.ly}.
+For instructions on how to unfold repeats for MIDI output, see the
+example file @inputfileref{input/test,unfold-all-repeats.ly}.
@refbugs
-Notice that timing information is not remembered at the start of an
-alternative, so you have to reset timing information after a repeat,
-e.g. using a bar-check (See @ref{Bar check}), setting
-@code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
-are also not repeated.
-
-It is possible to nest @code{\repeat}s, although this probably is only
-meaningful for unfolded repeats.
+Timing information is not remembered at the start of an alternative,
+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.
-Folded repeats offer little more over simultaneous music.
@node Manual repeat commands
@subsection 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
+@lilypond[verbatim, fragment,relative 2]
+ c4
\property Score.repeatCommands = #'((volta "93") end-repeat)
- c''4 c''4
+ c4 c4
\property Score.repeatCommands = #'((volta #f))
- c''4 c''4
+ c4 c4
@end lilypond
-Repeats brackets are @internalsref{VoltaBracket} objects.
+@seealso
+
+@internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
+@internalsref{VoltaRepeatedMusic},
+@internalsref{UnfoldedRepeatedMusic}, and
+@internalsref{FoldedRepeatedMusic}.
@node Tremolo repeats
@subsection Tremolo repeats
@cindex tremolo beams
To place tremolo marks between notes, use @code{\repeat} with tremolo
-style.
+style:
@lilypond[verbatim,center,singleline]
\score {
\context Voice \notes\relative c' {
}
@end lilypond
-Tremolo beams are @internalsref{Beam} objects. Single stem tremolos are
-@internalsref{StemTremolo}. The single stem tremolo @emph{must} be
-entered without @code{@{} and @code{@}}.
+@seealso
+
+Tremolo beams are @internalsref{Beam} objects. Single stem tremolos
+are @internalsref{StemTremolo}s. The music expression is
+@internalsref{TremoloEvent}.
+
@refbugs
-Only powers of two and undotted notes are supported repeat counts.
+The single stem tremolo must be entered without @code{@{} and
+@code{@}}.
@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{Voice.tremoloFlags}) is used:
@lilypond[verbatim,fragment,center]
c'2:8 c':32 | c': c': |
@end lilypond
-@refbugs
+@c [TODO : stok is te kort bij 32en]
+@refbugs
Tremolos in this style do not carry over into the MIDI output.
In the @code{percent} style, a note pattern can be repeated. It is
printed once, and then the pattern is replaced with a special sign.
Patterns of a one and two measures are replaced by percent-like signs,
-patterns that divide the measure length are replaced by slashes.
+patterns that divide the measure length are replaced by slashes:
@lilypond[verbatim,singleline]
\context Voice { \repeat "percent" 4 { c'4 }
}
@end lilypond
-The signs are represented by these objects: @internalsref{RepeatSlash} and
-@internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
+@seealso
+
+@internalsref{RepeatSlash}, @internalsref{PercentRepeat},
+@internalsref{PercentRepeatedMusic}, and
+@internalsref{DoublePercentRepeat}.
-@refbugs
-You can not nest percent repeats, e.g. by filling in the first measure
-with slashes, and repeating that measure with percents.
@node Rhythmic music
@section Rhythmic music
-Sometimes you might want to show only the rhythm of a melody. This can
-be done with the rhythmic staff. All pitches of notes on such a staff
-are squashed, and the staff itself looks has a single staff line:
+Sometimes you might want to show only the rhythm of a melody. This
+can be done with the rhythmic staff. All pitches of notes on such a
+staff are squashed, and the staff itself has a single line:
@lilypond[fragment,relative,verbatim]
\context RhythmicStaff {
@menu
* Percussion staves::
+* Percussion MIDI output::
@end menu
@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.
-
-LilyPond is shipped with a bunch of scheme functions which allows you
-to do this fairly easily.
-
-The system is based on the general midi drum-pitches.
-In order to use the drum pitches you include
-@file{ly/drumpitch-init.ly}. This file defines the pitches from the scheme
-variable @code{drum-pitch-names} - which definition can be read in
-@file{scm/drums.scm}. You see that each piece of percussion has a full
-name and an abbreviated name - and you may freely select whether to
-refer to the full name or the abbreviation in your music definition.
-
-To typeset the music on a staff you apply the scheme 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 uses this to
-transform the input music by moving the pitch, changing the notehead
-and (optionally) adding a script:
-@lilypond[singleline,verbatim]
+
+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{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 either
+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:
+@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 }
\score {
- \apply #(drums->paper 'drums) \context Staff <
+ \apply #(drums->paper 'drums) \context Staff <<
\clef percussion
- \context Voice = up { \voiceOne \up }
- \context Voice = down { \voiceTwo \down }
- >
+ \new Voice { \voiceOne \up }
+ \new Voice { \voiceTwo \down }
+ >>
}
@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}:
+The following lists are defined in @file{scm/drums.scm}:
@table @code
@item 'drums
-To typeset a typical drum kit on a five-line staff.
+to typeset a typical drum kit on a five-line staff:
@lilypond[noindent]
\include "drumpitch-init.ly"
mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
\score {
- <
- \apply #(drums->paper 'drums) \context Staff <
+ <<
+ \apply #(drums->paper 'drums) \context Staff <<
\clef percussion
\mus
- >
+ >>
\context Lyrics \nam
- >
+ >>
\paper {
linewidth = 100.0\mm
\translator {
}
@end lilypond
-Notice that the scheme supports six different toms.
-If you are using fewer toms then you simply select the toms that produce
-the desired result - i.e. to get toms on the three middle lines you
-use @code{tommh}, @code{tomml} and @code{tomfh}.
+The drum scheme supports six different toms. When there fewer toms, simply
+select the toms that produce the desired result, i.e. to get toms on
+the three middle lines you use @code{tommh}, @code{tomml} and
+@code{tomfh}.
-Because the general midi contain no rimshots we use the sidestick for
-this purpose instead.
+Because general MIDI does not contain rimshots the sidestick is used
+for this purpose instead.
@item 'timbales
-To typeset timbales on a two line staff.
+to typeset timbales on a two line staff:
+
@lilypond[singleline]
\include "drumpitch-init.ly"
nam = \lyrics { timh ssh timl ssl cb }
mus = \notes { timh ssh timl ssl cb s16 }
\score {
- <
- \apply #(drums->paper 'timbales) \context Staff <
+ <<
+ \apply #(drums->paper 'timbales) \context Staff <<
\clef percussion
\mus
- >
+ >>
\context Lyrics \nam
- >
+ >>
\paper {
\translator {
\StaffContext
}
@end lilypond
@item 'congas
-To typeset congas on a two line staff.
+to typeset congas on a two line staff:
+
@lilypond[singleline]
\include "drumpitch-init.ly"
nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
\score {
- <
- \apply #(drums->paper 'congas) \context Staff <
+ <<
+ \apply #(drums->paper 'congas) \context Staff <<
\clef percussion
\mus
- >
+ >>
\context Lyrics \nam
- >
+ >>
\paper {
\translator {
\StaffContext
}
@end lilypond
@item 'bongos
-To typeset bongos on a two line staff.
+to typeset bongos on a two line staff:
+
@lilypond[singleline]
\include "drumpitch-init.ly"
nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
\score {
- <
- \apply #(drums->paper 'bongos) \context Staff <
+ <<
+ \apply #(drums->paper 'bongos) \context Staff <<
\clef percussion
\mus
- >
+ >>
\context Lyrics \nam
- >
+ >>
\paper {
\translator {
\StaffContext
}
@end lilypond
@item 'percussion
-To typeset all kinds of simple percussion on one line staves.
+to typeset all kinds of simple percussion on one line staves:
@lilypond[singleline]
\include "drumpitch-init.ly"
nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
\score {
- <
- \apply #(drums->paper 'percussion) \context Staff <
+ <<
+ \apply #(drums->paper 'percussion) \context Staff <<
\clef percussion
\mus
- >
+ >>
\context Lyrics \nam
- >
+ >>
\paper {
\translator {
\StaffContext
@end lilypond
@end table
-If you don't like any of the predefined lists you can define your own
+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 `(
+#(set-drum-kit 'mydrums `(
(bassdrum default #f ,(ly:make-pitch -1 2 0))
(snare default #f ,(ly:make-pitch 0 1 0))
(hihat cross #f ,(ly:make-pitch 0 5 0))
up = \notes { hh8 hh hh hh hhp4 hhp }
down = \notes { bd4 sn bd toml8 toml }
\score {
- \apply #(drums->paper 'mydrums) \context Staff <
+ \apply #(drums->paper 'mydrums) \context Staff <<
\clef percussion
- \context Voice = up { \voiceOne \up }
- \context Voice = down { \voiceTwo \down }
- >
+ \new Voice { \voiceOne \up }
+ \new Voice { \voiceTwo \down }
+ >>
}
@end lilypond
-To use a modified existing list instead of building your own from
-scratch you can append your modifications to the start of the existing
-list:
+To use a modified existing list, one can prepend modifications to the
+the existing list:
@example
-#(define mydrums (append `(
+#(set-drum-kit 'mydrums (append `(
(bassdrum default #f ,(ly:make-pitch -1 2 0))
(lowtom diamond #f ,(ly:make-pitch -1 6 0))
-) drums ))
+) (get-drum-kit 'drums)))
@end example
-@c FIXME: Too many levels of headers when using subsubsections.
-@c Perhaps junk subsection ``Percussion staves''
-@subsubsection Percussion staves with normal staves
-When you include @file{drumpitch-init.ly} then the default pitches
-are overridden so that you after the inclusion cannot use the common
-dutch pitch names anymore. Hence you might wan't to reinclude
-@file{nederlands.ly} after the drum-pattern-definitions:
+You can easily combine percussion notation with pitched notation.
+Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
+names, so you will 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 }
\include "nederlands.ly"
bass = \notes \transpose c c,, { a4. e8 r e g e }
\score {
- <
- \apply #(drums->paper 'drums) \context Staff = drums <
+ <<
+ \apply #(drums->paper 'drums) \new Staff <<
\clef percussion
- \context Voice = up { \voiceOne \up }
- \context Voice = down { \voiceTwo \down }
- >
- \context Staff = bass { \clef "F_8" \bass }
- >
+ \new Voice { \voiceOne \up }
+ \new Voice { \voiceTwo \down }
+ >>
+ \new Staff { \clef "F_8" \bass }
+ >>
}
@end lilypond
-@subsubsection 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.
-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:
+@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 themselves are similar to the
+general MIDI pitches all you have to do is to insert the voices with
+none of the scheme functions to get the correct MIDI output:
@example
\score @{
- \apply #(drums->paper 'mydrums) \context Staff <
+ \apply #(drums->paper 'mydrums) \context Staff <<
\clef percussion
- \context Voice = up @{ \voiceOne \up @}
- \context Voice = down @{ \voiceTwo \down @}
- >
+ @{ \up @} \\
+ @{ \down @}
+ >>
\paper@{@}
@}
\score @{
- \context Staff <
+ \context Staff <<
\property Staff.instrument = #'drums
\up \down
- >
+ >>
\midi@{@}
@}
@end example
@refbugs
-This scheme is to be considered a temporary implementation. Even
-though the scheme will probably keep on working then the future might
-bring some other way of typesetting drums, and probably
-there will be made no great efforts in keeping things downwards
-compatible.
+This scheme is a temporary implementation.
+
-@c . {Piano music}
@node Piano music
@section Piano music
-Piano music is an odd type of notation. Piano staves are two normal
-staves coupled with a brace. The staves are largely independent, but
-sometimes voices can cross between the two staves. The
-@internalsref{PianoStaff} is especially built to handle this cross-staffing
-behavior. In this section we discuss the @internalsref{PianoStaff} and some
-other pianistic peculiarities.
+Piano staves are two normal staves coupled with a brace. The staves
+are largely independent, but sometimes voices can cross between the
+two staves. The same notation is also used for harps and other key
+instruments. The @internalsref{PianoStaff} is especially built to
+handle this cross-staffing behavior. In this section we discuss the
+@internalsref{PianoStaff} and some other pianistic peculiarities.
@menu
* Manual staff switches::
* Pedals::
* Arpeggio::
-* Voice follower lines::
+* Staff switch lines::
@end menu
@refbugs
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 @file{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/template,piano-dynamics.ly}.
@cindex cross staff stem
@cindex stem, cross staff
-@c . {Automatic staff changes}
+
@node Automatic staff changes
@subsection Automatic staff changes
@cindex Automatic staff changes
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
+ \autochange Staff \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 (central C is the turning
-point), and it looks ahead skipping over rests to switch rests in
+point), and it looks ahead skipping over rests to switch in
advance. Here is a practical example:
-@lilypond[verbatim,singleline]
-\score { \notes \context PianoStaff <
+@lilypond[verbatim,singleline,quote]
+\score { \notes \context PianoStaff <<
\context Staff = "up" {
- \autochange Staff \context Voice = VA < \relative c' {
- g4 a b c d r4 a g } > }
+ \autochange Staff \context Voice = VA << \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
+
+@internalsref{AutoChangeMusic}.
+
+@refbugs
+
+The staff switches often do not end up in optimal places. For high
+quality output, staff switches should be specified manually.
+
+
+
@node Manual staff switches
@subsection Manual staff switches
@example
\translator Staff = @var{staffname} @var{music}
@end example
+
+@noindent
The string @var{staffname} is the name of the staff. It switches the
current voice from its current staff to the Staff called
@var{staffname}. Typically @var{staffname} is @code{"up"} or
@code{"down"}.
-@c . {Pedals}
+
@node Pedals
@subsection Pedals
@cindex Pedals
-Piano pedal instruction can be expressed using
+Pianos have pedals that alter the way sound are produced. Generally, a
+piano has three pedals, sustain, una corda, and sostenuto.
+
+@syntax
+
+Piano pedal instruction can be expressed by attaching
@code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
-@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
+@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
+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 example, 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 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
+ \property 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}:
@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
+ \property Staff.pedalSustainStyle = #'mixed
+c''4\sustainDown d''4 e''4
+c'4\sustainUp\sustainDown
+ f'4 g'4 a'4\sustainUp
@end lilypond
-The default '*Ped' style for sustain and damper pedals corresponds to
+The default `*Ped' style for sustain and damper pedals corresponds to
@code{\pedal-type = #'text}. However, @code{mixed} is the default style
for a sostenuto pedal:
@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
-@rgrob{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
#'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
-@code{PianoStaff.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 <
+ \context PianoStaff <<
\property PianoStaff.connectArpeggios = ##t
- \context Voice = one { <<c' e g c>>-\arpeggio }
- \context Voice = other { \clef bass <<c,, e g>>-\arpeggio}
- >
+ \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 @code{PianoStaff.Arpeggio}.
-
-To add an arrow head to explicitly specify the direction of the
-arpeggio, you should set the arpeggio object property
-@code{arpeggio-direction}.
+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}:
@lilypond[fragment,relative,verbatim]
\context Voice {
\property Voice.Arpeggio \set #'arpeggio-direction = #1
- <<c e g c>>-\arpeggio
+ <c e g c>\arpeggio
\property Voice.Arpeggio \set #'arpeggio-direction = #-1
- <<c e g c>>-\arpeggio
+ <c e g c>\arpeggio
}
@end lilypond
arpeggiate the chord. To draw these brackets, set the
@code{molecule-callback} property of @code{Arpeggio} or
@code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
-@code{\arpeggio} statements within the chords as before.
+@code{\arpeggio} statements within the chords as before:
@lilypond[fragment,relative,verbatim]
- \context PianoStaff <
- \property PianoStaff.connectArpeggios = ##t
\property PianoStaff.Arpeggio \override
#'molecule-callback = \arpeggioBracket
- \context Voice = one { <<c' e g c>>-\arpeggio }
- \context Voice = other { \clef bass <<c,, e g>>-\arpeggio }
- >
+ <c' e g c>\arpeggio
@end lilypond
+@refcommands
+
+@cindex @code{\arpeggioBracket}
+@code{\arpeggioBracket},
+@cindex @code{\arpeggio}
+@code{\arpeggio}.
+
+@seealso
+
+@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 PianoStaff at the same time.
+arpeggios in one @internalsref{PianoStaff} at the same time.
+@node Staff switch lines
+@subsection Staff switch lines
-@node Voice follower lines
-@subsection Voice follower lines
-
@cindex follow voice
@cindex staff switching
@cindex cross staff
@code{PianoStaff.followVoice} is set to true:
@lilypond[fragment,relative,verbatim]
- \context PianoStaff <
+ \context PianoStaff <<
\property PianoStaff.followVoice = ##t
\context Staff \context Voice {
c1
\translator Staff=two
b2 a
}
- \context Staff=two {\clef bass \skip 1*2 }
- >
+ \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.
+
+@menu
+* Entering lyrics::
+* The Lyrics context::
+* More stanzas::
+* Ambitus::
+@end menu
-[TODO: Move lyrics section from tutorial to here?]
+@node Entering lyrics
+@subsection Entering lyrics
-See also the sections on @ref{Slurs} and @ref{Breath marks}.
-[TODO: Move slurs / breath marks section to here?]
+@cindex lyrics
+@cindex @code{\lyrics}
+@cindex punctuation
-[TODO: Write subsection upon usage of ChoirStaff.]
+Lyrics are entered in a special input mode. This mode is is introduced
+by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
+punctuation and accents without any hassle. Syllables are entered like
+notes, but with pitches replaced by text. For example,
+@example
+ \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
+@end example
-For entering quotes in Lyrics mode, use the following
+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
-"\"God\"" is "`King'"
+ \lyrics @{ twinkle@}
@end example
+@cindex @code{\property}, in @code{\lyrics}
+Similarly, a period following a alphabetic sequence, is included in the
+resulting string. As a consequence, spaces must be inserted around
+@code{\property} commands:
+@example
+ \property Lyrics . LyricText \set #'font-shape = #'italic
+@end example
+@cindex @code{_}
+@cindex spaces, in lyrics
+@cindex quotes, in lyrics
+
+Any @code{_} character which appears in an unquoted word is converted
+to a space. This provides a mechanism for introducing spaces into words
+without using quotes. Quoted words can also be used in Lyrics mode to
+specify words that cannot be written with the above rules:
+
+@example
+ \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
+@end example
+
+@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.
+
+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{__}.
+
+@seealso
+
+@internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
+@internalsref{ExtenderEvent}.
+
+@refbugs
+
+The definition of lyrics mode is too complex.
+
+@node The Lyrics context
+@subsection The Lyrics context
+
+Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
+@example
+ \context Lyrics \lyrics @dots{}
+@end example
+
+@cindex automatic syllable durations
+@cindex @code{\addlyrics}
+@cindex lyrics and melodies
+
+This will place the lyrics according to the durations that were
+entered. The lyrics can also be aligned under a given melody
+automatically. In this case, it is no longer necessary to enter the
+correct duration for each syllable. This is achieved by combining the
+melody and the lyrics with the @code{\addlyrics} expression:
+@example
+\addlyrics
+ \notes @dots{}
+ \context Lyrics @dots{}
+@end example
+
+@cindex staff order, with @code{\addlyrics}
+
+Normally, this will put the lyrics below the staff. For different or
+more complex orderings, the best way is to setup the hierarchy of
+staves and lyrics first, e.g.
+@example
+\context ChoirStaff \notes <<
+ \context Lyrics = sopr @{ s1 @}
+ \context Staff = soprStaff @{ s1 @}
+ \context Lyrics = tenor @{ s1 @}
+ \context Staff = tenorStaff @{ s1 @}
+>>
+@end example
+and then combine the appropriate melodies and lyric lines:
+@example
+ \addlyrics
+ \context Staff = soprStaff @emph{the music}
+ \context Lyrics = sopr @emph{the lyrics}
+@end example
+
+putting both together, you would get
+@example
+\context ChoirStaff \notes <<
+ \context Lyrics = @dots{}
+ \context Staff = @dots{}
+ \addlyrics @dots{}
+>>
+@end example
+
+@cindex SATB
+@cindex choral score
+
+A complete example of a SATB score setup is in the file
+@inputfileref{input/template,satb.ly}.
+
+@seealso
+
+@internalsref{LyricCombineMusic}, @internalsref{Lyrics}, and
+@inputfileref{input/template,satb.ly}.
+
+@refbugs
+
+@code{\addlyrics} is not automatic enough: melismata are not detected
+automatically, and melismata are not stopped when they hit a rest. A
+melisma on the last note in a melody is not printed.
+
+
+@node More stanzas
+@subsection More stanzas
+
+
+@cindex phrasing, in lyrics
+
+When multiple stanzas are printed underneath each other, the vertical
+groups of syllables should be aligned around punctuation. This can be
+done automatically when corresponding lyric lines and melodies are
+marked.
+
+To this end, give the @internalsref{Voice} context an identity:
+@example
+\context Voice = duet @{
+ \time 3/4
+ g2 e4 a2 f4 g2. @}
+@end example
+
+Then set the @internalsref{LyricsVoice} contexts to names starting with
+that identity followed by a dash. In the preceding example, the
+@internalsref{Voice} identity is @code{duet}, so the identities of the
+@internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
+@example
+ \context LyricsVoice = "duet-1" @{
+ Hi, my name is bert. @}
+ \context LyricsVoice = "duet-2" @{
+ Ooooo, ch\'e -- ri, je t'aime. @}
+@end example
+The convention for naming @internalsref{LyricsVoice} and
+@internalsref{Voice} must also be used to get melismata correct in
+conjunction with rests.
+
+The complete example is shown here:
+@lilypond[singleline,verbatim]
+\score {
+\addlyrics
+ \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
+
+Stanza numbers, or the names of the singers can be added by setting
+@code{LyricsVoice.Stanza} (for the first system) and
+@code{LyricsVoice.stz} for the following systems. Notice how dots are
+surrounded with spaces in @code{\lyrics} mode:
+
+@example
+ \property LyricsVoice . stanza = "Bert"
+ @dots{}
+ \property LyricsVoice . stanza = "Ernie"
+@end example
+
+To make empty spaces in lyrics, use @code{\skip}.
+
+
+
+@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
+it contains @code{"bar"}. However, it could also be interpreted as
+making or a music identifier @code{\foo} containing the syllable
+`bar'. The force the latter interpretation, use
+@example
+ foo = \lyrics bar4
+@end example
-@menu
-* Ambitus::
-@end menu
@node Ambitus
@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
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, simply add the @internalsref{Ambitus_engraver} to the
-@internalsref{Voice} context, as shown in the below example:
+To apply, add the @internalsref{Ambitus_engraver} to the
+@internalsref{Voice} context, i.e.
-@lilypond[singleline,verbatim]
+@example
+ \paper @{
+ \translator @{
+ \VoiceContext
+ \consists Ambitus_engraver
+ @}
+ @}
+@end example
+
+This results in the following output:
+@lilypond[singleline]
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
-The shape of the note heads to use can be changed via the
-@code{note-head-style} property, which holds the glyph name of the note
-head (see also @ref{Ancient note heads}). The vertical line between the
-upper and lower head can be switched on or off via the @code{join-heads}
-property. Example:
+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.
-@example
-\translator @{
- \VoiceContext
- \consists Ambitus_engraver
- Ambitus \set #'note-head-style = #'noteheads-2mensural
- Ambitus \set #'join-heads = ##f
-@}
-@end example
+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}
-By default, the ambitus grob is put before the clef. You can control
-this behaviour through the @code{breakAlignOrder} property of the score
-context by redefining the order, e.g. with the following addition to the
-paper block:
+@seealso
-@example
-\translator @{
- \ScoreContext
- breakAlignOrder = #'(
- instrument-name
- left-edge
- span-bar
- breathing-sign
- clef
- ambitus
- key-signature
- staff-bar
- time-signature
- custos
- )
-@}
-@end example
+@internalsref{Ambitus}, @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
@menu
* Tablatures basic::
* Non-guitar tablatures::
-* Tablature in addition to normal staff::
@end menu
@node Tablatures basic
@subsection Tablatures basic
@cindex Tablatures basic
-Tablature can be typeset with Lilypond by using the
-@internalsref{TabStaff} and @internalsref{TabVoice} contexts. As
-tablature is a recent feature in Lilypond, most of the guitar special
-effects such as bend are not yet supported.
-
-With the @internalsref{TabStaff}, the string number associated to a note
-is given as a backslash followed by the string number, e.g. @code{c4\3} for a C
-quarter on the third string. By default, string 1 is the highest one, and the
-tuning defaults to the standard guitar tuning (with 6 strings).
+The string number associated to a note is given as a backslash
+followed by a number, e.g. @code{c4\3} for a C quarter on the third
+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:
@lilypond[fragment,verbatim]
- \context TabStaff <
- \notes {
- a,4\5 c'\2 a\3 e'\1
- e\4 c'\2 a\3 e'\1
- }
- >
+\notes \context TabStaff {
+ a,4\5 c'\2 a\3 e'\1
+ e\4 c'\2 a\3 e'\1
+}
@end lilypond
-If you do not specify a string number then lilypond automatically selects one.
-The selection is controlled by the translator property @code{minimumFret}. -- LilyPond
-simply selects the first string that does not give a fret number less than
-@code{minimumFret}. Default is 0.
+When no string is specified, the first string that does not give a
+fret number less than @code{minimumFret} is selected. The default
+value for @code{minimumFret} is 0:
-Notice that LilyPond does not handle chords in any special way, and hence
-the automatic string selector may easily select the same string to two notes in a chord.
@example
e8 fis gis a b cis' dis' e'
\property TabStaff.minimumFret = #8
e8 fis gis a b cis' dis' e'
@end example
-@lilypond[noindent,noquote]
+@lilypond[noindent]
frag = \notes {
\key e \major
e8 fis gis a b cis' dis' e'
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
+@internalsref{StringNumberEvent}.
+
+@refbugs
+
+Chords are not handled in a special way, and hence the automatic
+string selector may easily select the same string to two notes in a
+chord.
+
+
@node Non-guitar tablatures
@subsection Non-guitar tablatures
@cindex Non-guitar tablatures
-There are many ways to customize Lilypond tablatures.
-
-First you can change the number of strings, by setting the number of
-lines in the @internalsref{TabStaff} (the @code{line-count} property
-of TabStaff can only be changed using @code{\outputproperty}, for more
-information, see @ref{Tuning per object}. You can change the strings
-tuning. A string tuning is given as a Scheme list with one integer
-number for each string, the number being the pitch of an open string.
+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{\applyoutput}, for more information, see @ref{Tuning
+objects}).
-(The numbers specified for stringTuning are the numbers of semitons
-to subtract --- or add --- starting the specified pitch by default
-middle C, in string order: thus the notes are e, a, d & g)
+You can change the tuning of the strings. A string tuning is given as
+a Scheme list with one integer number for each string, the number
+being the pitch (measured in semitones relative to central C) of an
+open string. The numbers specified for @code{stringTuning} are the
+numbers of semitones to subtract or add, starting the specified pitch
+by default middle C, in string order. Thus, the notes are e, a, d, and
+g:
@lilypond[fragment,verbatim]
- \context TabStaff <
+ \context TabStaff <<
- \outputproperty #(make-type-checker 'staff-symbol-interface)
- #'line-count = #4
+ \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface)
+ 'line-count 4)
\property TabStaff.stringTunings = #'(-5 -10 -15 -20)
\notes {
a,4 c' a e' e c' a e'
}
- >
+ >>
@end lilypond
-Finally, it is possible to change the Scheme function to format the
-tablature note text. The default is @var{fret-number-tablature-format},
-which uses the fret number, but for some instruments that may not use
-this notation, just create your own tablature-format function. This
-function takes three argument: the string number, the string tuning and
-the note pitch.
+It is possible to change the Scheme function to format the tablature
+note text. The default is @code{fret-number-tablature-format}, which
+uses the fret number. For instruments that do not use this notation,
+you can create a special tablature formatting function. This function
+takes three argument: string number, string tuning and note pitch.
+@refbugs
-@node Tablature in addition to normal staff
-@subsection Tablature in addition to normal staff
-@cindex Tablature in addition to normal staff
-
-It is possible to typeset both tablature and a "normal" staff, as
-commonly done in many parts.
+No guitar special effects have been implemented.
-A common trick for that is to put the notes in a variables, and to hide
-the fingering information (which correspond to the string number) for
-the standard staff.
-@c FIXME
-@c @lily pond[verbatim]
-@example
- part = \notes @{
- a,4-2 c'-5 a-4 e'-6
- e-3 c'-5 a-4 e'-6
- @}
- \score @{
- \context StaffGroup <
- \context Staff <
- % Hide fingering number
- \property Staff.Fingering \override #'transparent = ##t
-
- \part
- >
- \context TabStaff <
- \property Staff.Stem \override #'direction = #1
-
- \part
- >
- >
- @}
-@end example
-@c @end lilypond
-@c . {Chords}
-@node Chords
-@section Chords
+@node Chord names
+@section Chord names
@cindex Chords
-LilyPond has support for both entering and printing chords.
+LilyPond has support for both printing chord names. Chords may be
+entered in musical chord notation, i.e. @code{< .. >}, but they can
+also be entered by name. Internally, the chords are represented as a
+set of pitches, so they can be transposed:
+
+
@lilypond[verbatim,singleline]
twoWays = \notes \transpose c c' {
\chords {
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. If you enter @code{f bes d}, it does not interpret
-this as an inversion.
+be intelligent. The last chord (@code{f bes d}) is not interpreted as
+an inversion.
-As you can see chords really are a set of pitches. They are internally
-stored as simultaneous music expressions. This means you can enter
-chords by name and print them as notes, enter them as notes and print
-them as chord names, or (the most common case) enter them by name, and
-print them as name.
@menu
* Chords mode::
-* Printing named chords::
+* Printing chord names::
@end menu
-@c . {Chords mode}
+
@node Chords mode
@subsection Chords mode
@cindex Chords mode
Chord mode is a mode where you can input sets of pitches using common
names. It is introduced by the keyword @code{\chords}.
In chords mode, a chord is entered by the root, which is entered
-like a common pitch, for example,
-@lilypond[fragment,verbatim]
- es4. d8 c2
+like a common pitch:
+@lilypond[fragment,verbatim,quote, relative=1]
+\chords { es4. d8 c2 }
@end lilypond
-is the notation for an E-flat major chord.
-
@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
-@lilypond[fragment,verbatim]
+Other chords may be entered by suffixing a colon, and introducing a
+modifier, and optionally, a number:
+@c
+@lilypond[fragment,verbatim,quote]
\chords { e1:m e1:7 e1:m7 }
@end lilypond
The first number following the root is taken to be the `type' of the
chord, thirds are added to the root until it reaches the specified
-number, for example.
+number:
@lilypond[fragment,verbatim]
\chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
@end lilypond
More complex chords may also be constructed adding separate steps
to a chord. Additions are added after the number following
-the colon, and are separated by dots. For example
+the colon, and are separated by dots:
@c
-@lilypond[verbatim,fragment]
+@lilypond[verbatim,fragment,quote]
\chords { c:5.6 c:3.7.8 c:3.6.13 }
@end lilypond
Chord steps can be altered by suffixing a @code{-} or @code{+} sign
-to the number, for example:
-@lilypond[verbatim,fragment]
+to the number:
+@lilypond[verbatim,fragment,quote]
\chords { c:7+ c:5+.3- c:3-.5-.7- }
@end lilypond
Removals are specified similarly, and are introduced by a caret. They
-must come after the additions.
+must come after the additions:
@lilypond[verbatim,fragment]
\chords { c^3 c:7^5 c:9^3.5 }
@end lilypond
Modifiers can be used to change pitches. The following modifiers are
-supported
+supported:
@table @code
@item m
- Minor chord. Lowers the 3rd and (if present) the 7th step.
+ is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
@item dim
- Diminished chord. Lowers the 3rd, 5th and (if present) the 7th step
+ is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
+ the 7th step.
@item aug
- Augmented chord. Raises the 5th step.
+ is the augmented chord. This modifier raises the 5th step.
@item maj
- Major 7th chord. Raises the 7th step, if present.
+ is the major 7th chord. This modifier raises the 7th step if present.
@item sus
- Suspended 4th or 2nd. This modifier removes the 3rd step. Append
- either @code{2} or @code{4} to add the 2nd or 4th step to the chord.
+ is the suspended 4th or 2nd. This modifier removes the 3rd
+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.
+@code{/}@var{pitch} to the chord:
@lilypond[fragment,verbatim,center]
\chords { c1 c/g c/f }
@end lilypond
@cindex @code{/+}
-If you do not want to remove the bass note from the chord, but rather
-add the note, then you can use @code{/+}@var{pitch}.
+
+A bass note can be added instead of transposed out of the chord,
+by using @code{/+}@var{pitch}.
@lilypond[fragment,verbatim,center]
\chords { c1 c/+g c/+f }
@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.
+
+
@refbugs
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 can not be entered.
-
-
-
-
-@c . {Printing named chords}
-@node Printing named chords
-@subsection Printing named chords
+@node Printing chord names
+@subsection Printing chord names
@cindex 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 simultaneous music.
+The chords may be entered either using the notation
+described above, or directly using @code{<} and @code{>}:
@lilypond[verbatim,singleline]
scheme = \notes {
- \chords {a1 b c} <<d f g>> <<e g b>>
+ \chords {a1 b c} <d' f' a'> <e' g' b'>
}
\score {
- \notes<
+ \notes<<
\context ChordNames \scheme
- \context Staff \transpose c c' \scheme
- >
+ \context Staff \scheme
+ >>
}
@end lilypond
You can make the chord changes stand out by setting
-@code{ChordNames.chordChanges} to true. This will only display chord
-names when there's a change in the chords scheme and at the start of a
-new line.
+@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:
-@lilypond[verbatim]
+@lilypond[verbatim, linewidth=9cm]
scheme = \chords {
c1:m c:m \break c:m c:m d
}
\score {
- \notes <
+ \notes <<
\context ChordNames {
\property ChordNames.chordChanges = ##t
\scheme }
\context Staff \transpose c c' \scheme
- >
-\paper{linewidth= 9.\cm}
-}
-@end lilypond
-
-LilyPond examines chords specified as lists of notes to determine a name
-to give the chord. LilyPond will not try to identify chord inversions or
-an added bass note, which may result in strange chord names when chords
-are entered as a list of pitches:
-
-@lilypond[verbatim,center,singleline]
-scheme = \notes {
- <<c' e' g'>>1
- <<e' g' c''>>
- <<e e' g' c''>>
-}
-
-\score {
- <
- \context ChordNames \scheme
- \context Staff \scheme
- >
+ >>
}
@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:
-[TODO: add description for banter other jazz.]
-
-The Ignatzek chord name formatting can be tuned in a number of ways
-through the following properties:
@table @code
+@cindex chordNameExceptions
@item chordNameExceptions
This is a list that contains the chords that have special formatting.
-For example.
-@lilypond[verbatim,singleline]
-chExceptionMusic = \notes { <<c f g bes>>1-\markup { \super "7" "wahh" }}
-chExceptions = #(append
- (sequential-music-to-chord-exceptions chExceptionMusic)
- ignatzekExceptions)
-
-\score { \context ChordNames
- \chords {
- c:7sus4 c:dim7
- \property ChordNames.chordNameExceptions = #chExceptions
- c:7sus4 c:dim7 } }
-@end lilypond
+For an example, see
+@inputfileref{input/regression,chord-name-exceptions.ly}.
+@cindex exceptions, chord names.
-Putting the exceptions list encoded as
-@example
- \notes @{ <<c f g bes>>1-\markup @{ \super "7" "wahh" @} @}
-@end example
-into the property takes a little manoeuvring. The following code
-transforms @code{chExceptionMusic} (which is a sequential music)
-into a list of exceptions.
-@example
- (sequential-music-to-chord-exceptions chExceptionMusic)
-@end example
-Then,
-@example
-#(append
- ... ignatzekExceptions)
-@end example
-adds the new exceptions to the default ones, which are defined in
-@file{ly/chord-modifier-init.ly}.
+@cindex majorSevenSymbol
@item majorSevenSymbol
This property contains the markup object used for the 7th step, when
-it is major. Predefined options are @code{whiteTriangleMarkup},
-@code{blackTriangleMarkup}. The following uses another popular shorthand.
-@lilypond[fragment,verbatim]
-\context ChordNames \chords {
- c:7
- \property ChordNames.majorSevenSymbol = \markup { "j7" }
- c:7 }
-@end lilypond
+it is major. Predefined options are @code{whiteTriangleMarkup} and
+@code{blackTriangleMarkup}. See
+@inputfileref{input/regression,chord-name-major7.ly} for an example.
+
+@cindex chordNameSeparator
@item chordNameSeparator
Different parts of a chord name are normally separated by a
slash. By setting @code{chordNameSeparator}, you can specify other
@lilypond[fragment,verbatim]
\context ChordNames \chords {
c:7sus4
- \property ChordNames.chordNameSeparator = \markup { "|" }
+ \property ChordNames.chordNameSeparator
+ = \markup { \typewriter "|" }
c:7sus4 }
@end lilypond
+
+@cindex chordRootNamer
+@item chordRootNamer
+The root of a chord is usually printed as a letter with an optional
+alteration. The transformation from pitch to letter is done by this
+function. Special note names (for example, the German ``H'' for a
+B-chord) can be produced by storing a new function in this property.
+
+The pre-defined variables @code{\germanChords},
+@code{\semiGermanChords} set these variables.
+
+
+@cindex chordNoteNamer
+@item chordNoteNamer
+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}.
+
-@node Writing parts
-@section Writing parts
+@seealso
+
+@inputfileref{input/regression,chord-name-major7.ly},
+@inputfileref{input/regression,chord-name-exceptions.ly},
+@inputfileref{input/test,chord-names-jazz.ly},
+@inputfileref{input/test,chord-names-german.ly},
+@file{scm/chords-ignatzek.scm}, 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.
+
+
+
+
+@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
+some common problems in orchestral music.
-Orchestral music involves some special notation, both in the full score,
-as in the individual parts. This section explains how to tackle common
-problems in orchestral music.
-@c . {Transpose}
@menu
+* Multiple staff contexts::
* Rehearsal marks::
* Bar numbers::
* Instrument names::
* Transpose::
* Multi measure rests::
* Automatic part combining::
-* Hara kiri staves::
+* Hiding staves::
+* Different editions from one source::
* Sound output for transposing instruments::
@end menu
-@c . {Rehearsal marks}
+@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 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 \default
- c1 \mark \default
+ c1 \mark "B"
c1 \mark "12"
- c1 \mark \default
+ c1 \mark "13"
c1
}
@end lilypond
-As you can see, 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. The object
-is @internalsref{RehearsalMark} in @internalsref{Score} context. See
-@code{input/test/boxed-molecule.ly} if you need boxes around the
-marks.
+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.
The @code{\mark} command can also be used to put signs like coda,
-segno and fermatas on a barline. The trick is to use the text markup
-mechanism to access the fermata symbol.
+segno and fermatas on a barline. Use @code{\markup} to
+to access the appropriate symbol:
+
@lilypond[fragment,verbatim,relative=1]
- c1 \mark #'(music "scripts-ufermata")
+ c1 \mark \markup { \musicglyph #"scripts-ufermata" }
c1
@end lilypond
-The problem is that marks that occur at a line break are typeset only
-at the beginning of the next line, opposite to what you want for the
-fermata. This can be corrected by the following property setting
+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
#'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
+@seealso
+
+@internalsref{MarkEvent}, @internalsref{RehearsalMark}, and
+@inputfileref{input/test,boxed-molecule.ly}.
+
@node Bar numbers
@subsection Bar numbers
@cindex currentBarNumber
Bar numbers are printed by default at the start of the line. The
-number itself is a property that can be set by modifying the
-@code{currentBarNumber} property, although that is usually not
-necessary, i.e.
-@example
- \property Score.currentBarNumber = #217
-@end example
+number itself is stored in the
+@code{currentBarNumber} property,
+which is normally updated automatically for every measure.
-To typeset Bar Numbers at regular intervals instead of at the beginning of each line,
-you need to change the grob property @code{break-visibility} as well as the translator
-property @code{barNumberVisibility}, as illustrated in the following example which also
-adds a box around the bar numbers:
-@example
-\property Score.BarNumber \override #'break-visibility =
- #end-of-line-invisible
-\property Score.barNumberVisibility = #(every-nth-bar-number-visible 5)
-\property Score.BarNumber \override #'molecule-callback =
- #(make-molecule-boxer 0.1 0.25 0.25 Text_item::brew_molecule)
-\property Score.BarNumber \override #'font-relative-size = #0
-@end example
-@lilypond[noindent,noquote]
-\score {
- \context Staff \notes \transpose c c'' {
- \property Score.BarNumber \override #'break-visibility = #end-of-line-invisible
- \property Score.barNumberVisibility = #(every-nth-bar-number-visible 5)
- \property Score.BarNumber \override #'molecule-callback =
- #(make-molecule-boxer 0.1 0.25 0.25 Text_item::brew_molecule)
- \property Score.BarNumber \override #'font-relative-size = #0
-
- \repeat unfold 16 c1 \bar "|."
- }
-}
-@end lilypond
+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-regular-interval.ly}:
-If you would like the bar numbers to appear at regular intervals, but
-not starting from measure zero, you can use the context function,
-@code{set-bar-number-visibility}, to automatically set
-@code{barNumberVisibility} so that the bar numbers appear at regular
-intervals, starting from the @code{\applycontext}:
+@lilypondfile[notexidoc]{bar-number-regular-interval.ly}
-@example
-resetBarnum = \context Score \applycontext
- #(set-bar-number-visibility 4)
-...
-\property Score.BarNumber \override #'break-visibility =
- #end-of-line-invisible
-\mark "A" \resetBarnum
-\repeat unfold 10 c1
-\mark \default \resetBarnum
-\repeat unfold 8 c
-@end example
-@lilypond[noindent,noquote]
-resetBarnum = \context Score \applycontext
- #(set-bar-number-visibility 4)
-\score {
- <
- \notes \transpose c c'' {
- \property Score.BarNumber \override #'break-visibility =#end-of-line-invisible
- \property Score.RehearsalMark \override #'padding = #2.5
- \mark "A" \resetBarnum
- \repeat unfold 10 c1
- \mark \default \resetBarnum
- \repeat unfold 8 c
- \bar "|."
- }
- >
-}
-@end lilypond
-See also @seeinternals{BarNumber}.
+@seealso
+
+@internalsref{BarNumber},
+@inputfileref{input/test,bar-number-every-five-reset.ly}, and
+@inputfileref{input/test,bar-number-regular-interval.ly}.
@refbugs
-Barnumbers can collide with the StaffGroup, 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}.
+Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
+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 scores, the instrument name is printed before the staff. This can
-be done by setting @code{Staff.instrument} and
-@code{Staff.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.
+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:
+@quotation
@lilypond[verbatim,singleline]
\property Staff.instrument = "ploink " { c''4 }
@end lilypond
+@end quotation
You can also use markup texts to construct more complicated instrument
names:
-
-@lilypond[verbatim,singleline]
-\score {
- \notes \context Staff = treble {
- \property Staff.instrument
- = \markup { \column << "Clarinetti" { "in B" \smaller \musicglyph #"accidentals--1" } >> }
- { c''1 }
+@quotation
+@lilypond[fragment,verbatim,singleline]
+ \notes {
+ \property Staff.instrument = \markup {
+ \column < "Clarinetti"
+ { "in B"
+ \smaller \musicglyph #"accidentals--1"
+ }
+ >
+ }
+ { c''1 }
}
- \paper { linewidth= 8.0\cm }
-}
@end lilypond
+@end quotation
+
+@seealso
+@internalsref{InstrumentName}.
@refbugs
\transpose @var{from} @var{to} @var{musicexpr}
@end example
-This means that @var{musicexpr} is transposed to by the interval
-between @var{from} is @var{to}.
+This means that @var{musicexpr} is transposed by the interval
+between @var{from} and @var{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.
+version will print flats:
@lilypond[singleline, verbatim]
mus =\notes { \key d \major cis d fis g }
}}
@end lilypond
+@seealso
+
+@internalsref{TransposedMusic}, and @internalsref{UntransposableMusic}.
+
+@refbugs
+
If you want to use both @code{\transpose} and @code{\relative}, then
-you must use @code{\transpose} first. @code{\relative} will have no
-effect music that appears inside a @code{\transpose}.
+you must put @code{\transpose} outside of @code{\relative}, since
+@code{\relative} will have no effect music that appears inside a
+@code{\transpose}.
+
+
+
-@c . {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
The @code{1} in @code{R1} is similar to the duration notation used for
notes. Hence, for time signatures other than 4/4, you must enter other
-durations. This can be done with augmentation dots, or with
-fractions:
+durations. This can be done with augmentation dots or fractions:
@lilypond[fragment,verbatim]
\property Score.skipBars = ##t
R1*13/8
R1*13/8*12
@end lilypond
-Notice that a @code{R} spanning a single measure is printed as a whole
-rest centered in the measure, regardless of the time signature.
-[ add note about breves.]
-
+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. An identifier
-is provided for a fermata.
+@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:
+
@lilypond[verbatim,fragment]
\time 3/4
- R2._\markup { \roman "Ad lib" }
+ R2._\markup { "Ad lib" }
R2.^\fermataMarkup
@end lilypond
+
@cindex whole rests for a full measure
-The object for this object is @internalsref{MultiMeasureRest}, and
-@internalsref{MultiMeasureRestNumber}.
+@seealso
-@refbugs
+@internalsref{MultiMeasureRestEvent},
+@internalsref{MultiMeasureTextEvent},
+@internalsref{MultiMeasureRestMusicGroup}, and
+@internalsref{MultiMeasureRest}.
+
+The layout object @internalsref{MultiMeasureRestNumber} is for the
+default number, and @internalsref{MultiMeasureRestText} for user
+specified texts.
-Only one text can be put on a multi-measure rest with
-@var{note}-@var{text} syntax, since this is internally converted to
-setting @code{#'text} in @internalsref{MultiMeasureRestNumber}. It is
-not possible to use fingerings (e.g. @code{R1-4}) to put numbers over
-multi-measure rests.
+@refbugs
+It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
+over multi-measure rests.
@cindex condensing rests
-Currently, there is no way to automatically condense multiple rests
-into a single multimeasure rest. Multi measure rests do not take part
-in rest collisions.
+There is no way to automatically condense multiple rests into a single
+multimeasure rest. Multi measure rests do not take part in rest
+collisions.
+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
+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
Automatic part combining is used to merge two parts of music onto a
-staff in an intelligent way. It is aimed primarily at typesetting
-orchestral scores. When the two parts are identical for a period of
-time, only one is shown. In places where the two parts differ, they
-are typeset as separate voices, and stem directions are set
-automatically. Also, solo and @emph{a due} parts can be identified
-and marked.
+staff. It is aimed at typesetting orchestral scores. When the two
+parts are identical for a period of time, only one is shown. In
+places where the two parts differ, they are typeset as separate
+voices, and stem directions are set automatically. Also, solo and
+@emph{a due} parts are identified and can be marked.
+
+@syntax
The syntax for part combining is
must be interpreted by contexts whose names should start with @code{one}
and @code{two}.
-The most useful function of the part combiner is to combine parts into
-one voice, as common for wind parts in orchestral scores:
+The following example demonstrates the basic functionality of the part
+combiner: putting parts on one staff, and setting stem directions and
+polyphony:
@lilypond[verbatim,singleline,fragment]
- \context Staff <
+ \context Staff <<
\context Voice=one \partcombine Voice
\context Thread=one \relative c'' {
- g a () b r
+ g a( b) r
}
\context Thread=two \relative c'' {
g r4 r f
}
- >
+ >>
@end lilypond
-Notice that the first @code{g} appears only once, although it was
+The first @code{g} appears only once, although it was
specified twice (once in each part). Stem, slur and tie directions are
set automatically, depending whether there is a solo or unisono. The
first part (with context called @code{one}) always gets up stems, and
`Solo II'.
If you just want the merging parts, and not the textual markings, you
-may set the property @var{soloADue} to false.
+may set the property @var{soloADue} to false:
@lilypond[verbatim,singleline,fragment]
- \context Staff <
+ \context Staff <<
\property Staff.soloADue = ##f
\context Voice=one \partcombine Voice
\context Thread=one \relative c'' {
\context Thread=two \relative c'' {
d,2 a4 g'
}
- >
+ >>
@end lilypond
-There are a number of other properties that you can use to tweak the
-behavior of part combining, refer to the automatically generated
-documentation of @reng{Thread_devnull_engraver} and
-@reng{Voice_devnull_engraver}. Look at the documentation of the
-responsible engravers, @code{Thread_devnull_engraver},
-@code{Voice_devnull_engraver} and @code{A2_engraver}.
+@seealso
+
+@internalsref{PartCombineMusic},
+@internalsref{Thread_devnull_engraver}, and
+@internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
@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.
+measure:
@lilypond[fragment,singleline]
- \context Staff <
+ \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 rather buggy, and it will be replaced by a better
+mechanism in the near future.
+
@cindex @code{Thread_devnull_engraver}
@cindex @code{Voice_engraver}
@cindex @code{A2_engraver}
-@node Hara kiri staves
-@subsection Hara kiri staves
+@node Hiding staves
+@subsection Hiding staves
-In orchestral scores, staff lines that only have rests are usually removed.
-This saves some space. LilyPond also supports this through the hara
-kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
-the Japanese Samourai warriors.} staff. This staff commits suicide when
-it finds itself to be empty after the line-breaking process. It will
-not disappear when it contains normal rests, you must use multi measure
-rests.
+@cindex Frenched scores
+@cindex Hiding staves
+
+In orchestral scores, staff lines that only have rests are usually
+removed. This saves some space. This style is called `French Score'.
+For @internalsref{Lyrics}, @internalsref{LyricsVoice},
+@internalsref{ChordNames} and @internalsref{FiguredBass}, this is
+switched on by default. When these line of these contexts turn out
+empty after the line-breaking process, they are removed.
+
+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:
-The hara kiri staff is specialized version of the @internalsref{Staff}
-context. It is available as the context identifier
-@code{\HaraKiriStaffContext}. 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 { \HaraKiriStaffContext }
+ \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}.
+
+@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 \\
+ @{
+ \property Voice.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[notexidoc]{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
+
+@inputfileref{input/regression,tag-filter.ly}
+
@node Sound output for transposing instruments
@subsection Sound output for transposing instruments
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.
+output:
@cindex @code{transposing}
@end example
-
-@c . {Custodes}
@node Ancient notation
@section Ancient notation
@cindex Petrucci
@cindex mensural
+@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 accomodated for a
+specific notation flavour 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
-
-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.
-
-@lilypond[fragment,singleline,verbatim]
- \property Voice.NoteHead \set #'style = #'mensural
- a'\longa
-@end lilypond
+@refbugs
-@node Ancient clefs
-@subsection Ancient clefs
+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 supports a variety of clefs, many of them ancient.
+Accidentals must not be printed within a ligature, but instead need to
+be collected and printed in front of it.
-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}.
+Augmentum dots within ligatures are not handled correctly.
-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 denotes the @code{c'} with respect to the clef.
-@table @code
+@node Ancient note heads
+@subsection Ancient 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[26pt]{\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[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "C" c'}
+@cindex note heads
-@item modern style mensural C clef (glyph: @code{clefs-neo_mensural_c'})
+@syntax
-Supported clefs:
-@code{neo_mensural_c1}, @code{neo_mensural_c2},
-@code{neo_mensural_c3}, @code{neo_mensural_c4}
+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 mimick the look of note heads in historic
+printings of the 16th century.
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "neo_mensural_c2" c'}
+The following example demonstrates the @code{neo_mensural} style:
-@item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c1})
+@lilypond[fragment,singleline,verbatim]
+ \property Voice.NoteHead \set #'style = #'neo_mensural
+ a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
+@end lilypond
-Supported clefs:
-@code{petrucci_c1}
-for 1st staffline
+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.
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c1" c'}
+@seealso
-@item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c2})
+@inputfileref{input/regression,note-head-style.ly} gives an overview
+over all available note head styles.
-Supported clefs:
-@code{petrucci_c2}
-for 2nd staffline
+@ref{Percussion staves} use note head styles of their own that are
+frequently used in contemporary music notation.
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c2" c'}
+@node Ancient accidentals
+@subsection Ancient accidentals
-@item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c3})
+@cindex accidentals
-Supported clefs:
-@code{petrucci_c3}
-for 3rd staffline
+@syntax
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c3" c'}
+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}.
-@item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c4})
+@lilypond[singleline,26pt]
+\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
-Supported clefs:
-@code{petrucci_c4}
-for 4th staffline
+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}.
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c4" c'}
+Similarly to local accidentals, the style of the key signature can be
+controlled by the @code{style} property of the
+@internalsref{KeySignature} grob.
-@item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c5})
+@seealso
-Supported clefs:
-@code{petrucci_c5}
-for 5th staffline
+@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.
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c5" c'}
-@item petrucci style mensural F clef (glyph: @code{clefs-petrucci_f})
+@node Ancient rests
+@subsection Ancient rests
-Supported clefs:
-@code{petrucci_f}
+@cindex rests
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_f" c'}
+@syntax
-@item petrucci style mensural G clef (glyph: @code{clefs-petrucci_g})
+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 mimicks the appearance of rests as
+in historic prints of the 16th century.
-Supported clefs:
-@code{petrucci_g}
+The following example demonstrates the @code{neo_mensural} style:
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_g" c'}
+@lilypond[fragment,singleline,verbatim]
+ \property Voice.Rest \set #'style = #'neo_mensural
+ r\longa r\breve r1 r2 r4 r8 r16
+@end lilypond
-@item historic style mensural C clef (glyph: @code{clefs-mensural_c'})
+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.
-Supported clefs:
-@code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
-@code{mensural_c4}
+There are no rests in Gregorian Chant notation; instead, it uses
+@ref{Divisiones}.
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "mensural_c2" c'}
+@seealso
-@item historic style mensural F clef (glyph: @code{clefs-mensural_f})
+@ref{Rests} gives a general introduction into the use of rests.
-Supported clefs:
-@code{mensural_f}
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "mensural_f" c'}
+@node Ancient clefs
+@subsection Ancient clefs
-@item historic style mensural G clef (glyph: @code{clefs-mensural_g})
+@cindex clefs
-Supported clefs:
-@code{mensural_g}
+@syntax
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "mensural_g" c'}
+LilyPond supports a variety of clefs, many of them ancient.
-@item Editio Vaticana style do clef (glyph: @code{clefs-vaticana_do})
+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.
-Supported clefs:
-@code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3}
+@multitable @columnfractions .3 .3 .3 .1
-@lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "vaticana_do2" c'}
+@item
+@b{Glyph Name} @tab
+@b{Description} @tab
+@b{Supported Clefs} @tab
+@b{Example}
-@item Editio Vaticana style fa clef (glyph: @code{clefs-vaticana_fa})
+@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
-Supported clefs:
-@code{vaticana_fa1}, @code{vaticana_fa2}
+@item
+@code{clefs-petrucci_c1}
+@code{clefs-petrucci_c2}
+@code{clefs-petrucci_c3}
+@code{clefs-petrucci_c4}
+@code{clefs-petrucci_c5}
-@lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "vaticana_fa2" c'}
+@tab
+petrucci style mensural C clefs, for use on different stafflines
+(the examples shows the 2nd staffline C clef).
-@item Editio Medicaea style do clef (glyph: @code{clefs-medicaea_do})
+@tab
+@code{petrucci_c1}
+@code{petrucci_c2}
+@code{petrucci_c3}
+@code{petrucci_c4}
+@code{petrucci_c5}
-Supported clefs:
-@code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3}
+@tab
+@lilypond[relative 0, notime]
+\property Staff.TimeSignature \set #'transparent = ##t
+\clef "petrucci_c2" c
+@end lilypond
-@lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "medicaea_do2" c'}
+@item
+@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
+\clef "petrucci_f" c
+@end lilypond
-@item Editio Medicaea style fa clef (glyph: @code{clefs-medicaea_fa})
+@item
+@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
+\clef "petrucci_g" c
+@end lilypond
-Supported clefs:
-@code{medicaea_fa1}, @code{medicaea_fa2}
+@item
+@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
+\clef "mensural_c2" c
+@end lilypond
-@lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "medicaea_fa2" c'}
+@item
+@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
+\clef "mensural_f" c
+@end lilypond
-@item historic style hufnagel do clef (glyph: @code{clefs-hufnagel_do})
+@item
+@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
+\clef "mensural_g" c
+@end lilypond
-Supported clefs:
-@code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3}
+@item
+@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
+\applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
+\property Staff.TimeSignature \set #'transparent = ##t
+\clef "vaticana_do2" c
+@end lilypond
-@lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "hufnagel_do2" c'}
+@item
+@code{clefs-vaticana_fa} @tab
+Editio Vaticana style fa clef @tab
+@code{vaticana_fa1}, @code{vaticana_fa2} @tab
+@lilypond[relative 0, notime]
+\context Staff
+\applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
+\property Staff.TimeSignature \set #'transparent = ##t
+\clef "vaticana_fa2" c
+@end lilypond
-@item historic style hufnagel fa clef (glyph: @code{clefs-hufnagel_fa})
+@item
+@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
+\applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
+\property Staff.TimeSignature \set #'transparent = ##t
+\clef "medicaea_do2" c
+@end lilypond
-Supported clefs:
-@code{hufnagel_fa1}, @code{hufnagel_fa2}
+@item
+@code{clefs-medicaea_fa} @tab
+Editio Medicaea style fa clef @tab
+@code{medicaea_fa1}, @code{medicaea_fa2} @tab
+@lilypond[relative 0, notime]
+\context Staff
+\applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
+\property Staff.TimeSignature \set #'transparent = ##t
+\clef "medicaea_fa2" c
+@end lilypond
-@lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "hufnagel_fa2" c'}
+@item
+@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
+\applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
+\property Staff.TimeSignature \set #'transparent = ##t
+\clef "hufnagel_do2" c
+@end lilypond
-@item historic style hufnagel combined do/fa clef (glyph: @code{clefs-hufnagel_do_fa})
+@item
+@code{clefs-hufnagel_fa} @tab
+historic style hufnagel fa clef @tab
+@code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
+@lilypond[relative 0, notime]
+\context Staff
+\applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
+\property Staff.TimeSignature \set #'transparent = ##t
+\clef "hufnagel_fa2" c
+@end lilypond
-Supported clefs:
-@code{hufnagel_do_fa}
+@item
+@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
+\clef "hufnagel_do_fa" c
+@end lilypond
-@lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "hufnagel_do_fa" c'}
+@end multitable
@c --- This should go somewhere else: ---
@c @item modern style percussion clef (glyph: @code{clefs-percussion})
@c Supported clefs:
@c @code{percussion}
@c
-@c @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
+@c @lilypond{\property Staff.TimeSignature \set #'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[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
-
-@end table
+@c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
-@emph{Modern style} means ``as is typeset in current editions of
+@emph{Modern style} means ``as is typeset in contemporary editions of
transcribed mensural music''.
@emph{Petrucci style} means ``inspired by printings published by the
famous engraver Petrucci (1466-1539)''.
-@emph{Historic style} means ``as was typeset or written in contemporary
-historic editions (other than those of Petrucci)''.
+@emph{Historic style} means ``as was typeset or written in historic
+editions (other than those of Petrucci)''.
@emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
Petrucci used C clefs with differently balanced left-side vertical
-beams, depending on which staffline it was printed.
+beams, depending on which staffline it is printed.
-@node Custodes
-@subsection Custodes
+@seealso
+
+For modern clefs, see @ref{Clef}. For the percussion clef, see
+@ref{Percussion staves}. For the @code{TAB} clef, see
+@ref{Tablatures}.
-@cindex Custos
-@cindex Custodes
-A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
-staff context symbol that appears at the end of a staff line. 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 readability of a score.
+@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,singleline,verbatim]
+ \property Voice.Stem \set #'flag-style = #'mensural
+ \property Voice.Stem \set #'thickness = #1.0
+ \property Voice.NoteHead \set #'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
+behaviour, 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,singleline]
+ \property Voice.Stem \set #'flag-style = #'mensural
+ \property Voice.Stem \set #'thickness = #1.0
+ \property Voice.Stem \set #'adjust-if-on-staffline = ##f
+ \property Voice.NoteHead \set #'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 transcibed piece of mensural
+music, the default flag style should be used. There are no flags in
+Gregorian Chant notation.
+
-@lilypond[verbatim,noquote]
+@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 { c'1 \break
- \property Staff.Custos \set #'style = #'mensural
- d' }
- \paper {
- \translator {
- \StaffContext
- \consists Custos_engraver
+ \notes {
+ \property Score.timing = ##f
+ \property 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
-Custodes were frequently used in music notation until the 17th century.
-There were different appearances for different notation styles.
-Nowadays, they have survived only in special forms of musical notation
-such as via the @emph{editio vaticana} dating back to the beginning of
-the 20th century.
+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 mimicks 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
-For typesetting custodes, just put a @code{Custos_engraver} into the
-@internalsref{Staff} context when declaring the @code{\paper} block. In this
-block, you can also globally control the appearance of the custos symbol
-by setting the custos @code{style} property. Currently supported styles
-are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
-@code{mensural}.
+@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
+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
+readability of a score.
+
+Custodes were frequently used in music notation until the 17th
+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.
+
+@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:
@example
\paper @{
\translator @{
- \StaffContext
- \consists Custos_engraver
- Custos \override #'style = #'mensural
+ \StaffContext
+ \consists Custos_engraver
+ Custos \override #'style = #'mensural
@}
@}
@end example
-The property can also be set locally, for example in a @code{\notes}
-block:
+The result looks like this:
-@example
-\notes @{
- \property Staff.Custos \override #'style = #'vaticana
- c'1 d' e' d' \break c' d' e' d'
-@}
-@end example
+@lilypond
+\score {
+ \notes {
+ a'1
+ \property Staff.Custos \set #'style = #'mensural
+ \break
+ g'
+ }
+ \paper {
+ \translator {
+ \StaffContext
+ \consists Custos_engraver
+ }
+ linewidth = 4.0\cm
+ }
+}
+@end lilypond
+
+The custos glyph is selected by the @code{style} property. The styles
+supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
+@code{mensural}. They are demonstrated in the following fragment:
+
+@lilypond
+\score {
+ \notes {
+ \fatText
+ s
+ ^\markup {
+ \column <
+ "vaticana"
+ { " " \musicglyph #"custodes-vaticana-u0" }
+ >
+ \column <
+ "medicaea"
+ { " " \musicglyph #"custodes-medicaea-u0" }
+ >
+ \column <
+ "hufnagel"
+ { " " \musicglyph #"custodes-hufnagel-u0" }
+ >
+ \column <
+ "mensural"
+ { " " \musicglyph #"custodes-mensural-u0" }
+ >
+ }
+ }
+ \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
+
+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
+optically fit well into the staff, with the appendage on the right of
+the custos always ending at the same vertical position between two
+stafflines regardless of the pitch. If you set
+@code{adjust-if-on-staffline} to @code{#f}, then
+a compromise between both forms is used.
+
+Just like stems can be attached to noteheads in two directions
+@emph{up} and @emph{down}, each custos glyph is available with its
+appendage pointing either up or down. If the pitch of a custos is
+above a selectable position, the appendage will point downwards; if
+the pitch is below this position, the appendage will point upwards.
+Use property @code{neutral-position} to select this position. By
+default, it is set to @code{0}, such that the neutral position is the
+center of the staff. Use property @code{neutral-direction} to control
+what happens if a custos is typeset on the neutral position itself.
+By default, this property is set to @code{-1}, such that the appendage
+will point downwards. If set to @code{1}, the appendage will point
+upwards. Other values such as @code{0} are reserved for future
+extensions and should not be used.
+
+@seealso
+
+@internalsref{Custos} and @inputfileref{input/regression,custos.ly}.
+
+
+@node Divisiones
+@subsection Divisiones
+
+@cindex divisio
+@cindex divisiones
+@cindex finalis
+
+A @emph{divisio} (plural: @emph{divisiones}; latin word for
+`division') is a staff context symbol that is used to structure
+Gregorian music into phrases and sections. The musical meaning of
+@emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
+can be characterized as short, medium and long pause, somewhat like
+@ref{Breath marks}. The @emph{finalis} sign not only marks the end of
+a chant, but is also frequently used within a single
+antiphonal/responsorial chant to mark the end of each section.
+
+@syntax
+
+To use divisiones, include the file @code{gregorian-init.ly}. It
+contains definitions that you can apply by just inserting
+@code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
+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}:
+
+@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}, and @ref{Breath marks}.
@node Ligatures
@subsection Ligatures
@c TODO: Should double check if I recalled things correctly when I wrote
@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.
-
-Syntactically, ligatures are simply enclosed by @code{\[} and @code{\]}.
-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 marks the start and end of
-a ligature by small square angles:
+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
+
+Syntactically, ligatures are simply enclosed by @code{\[} and
+@code{\]}. 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:
@lilypond[singleline,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, Lilypond only supports white mensural
-ligatures with certain limitations. Support for Editio Vaticana will be
-added in the future.
+To select a specific style of ligatures, a proper ligature engraver
+has to be added to the @internalsref{Voice} context, as explained in
+the following subsections. Only white mensural ligatures
+are supported with certain limitations. Support for Editio Vaticana
+will be added in the future.
@menu
* White mensural ligatures::
+* Gregorian square neumes ligatures::
@end menu
@node White mensural ligatures
@cindex Mensural ligatures
@cindex White mensural ligatures
-Lilypond has limited support for white mensural ligatures. The
-implementation is still experimental; it currently 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{MensuralLigature} engraver has to be put into
-the @internalsref{Voice} context (and you probably want to remove the
-@internalsref{LigatureBracket} engraver). There is no additional input
-language to describe the shape of a white mensural ligature. The shape
-is rather determined solely from the pitch and duration of the enclosed
-notes. While this approach may take a new user quite a while to get
-accustomed, it has a great advantage: this way, lily has full musical
-information about the ligature. This is not only required for correct
-MIDI output, but also allows for automatic transcription of the
-ligatures.
-
-Example:
+There is limited support for white mensural ligatures. The
+implementation is still experimental; it may output strange
+warnings or even crash in some cases or produce weird results on more
+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
+ @}
+ @}
+@end example
+
+There is no additional input language to describe the shape of a
+white mensural ligature. The shape is rather determined solely from
+the pitch and duration of the enclosed notes. While this approach may
+take a new user a while to get accustomed, it has the great advantage
+that the full musical information of the ligature is known internally.
+This is not only required for correct MIDI output, but also allows for
+automatic transcription of the ligatures.
+
+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
+ \[ e1 f1 a\breve g\longa \]
+@end example
+@lilypond[singleline]
+\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
+ \[ e1 f1 a\breve g\longa \]
+ }
+ \paper {
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Mensural_ligature_engraver
+ }
+ }
+}
+@end lilypond
+
+Without replacing @internalsref{Ligature_bracket_engraver} with
+@internalsref{Mensural_ligature_engraver}, the same music transcribes
+to the following:
+
+@lilypond[singleline]
+\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
+ \[ e1 f1 a\breve g\longa \]
+ }
+}
+@end lilypond
+
+
+@node Gregorian square neumes ligatures
+@subsubsection Gregorian square neumes ligatures
+
+@cindex Square neumes ligatures
+@cindex Gregorian square neumes ligatures
+
+Gregorian square neumes notation (following the style of the Editio
+Vaticana) is under heavy development, but not yet really usable for
+production purposes. Core ligatures can already be typeset, but
+essential issues for serious typesetting are still under development,
+such as (among others) horizontal alignment of multiple ligatures,
+lyrics alignment and proper accidentals handling. Still, this section
+gives a sneak preview of what Gregorian chant may look like once it
+will work.
+
+The following table contains the extended neumes table of the 2nd
+volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
+1983 by the monks of Solesmes.
+
+@multitable @columnfractions .4 .2 .2 .2
+
+@item
+@b{Neuma aut@*Neumarum Elementa} @tab
+@b{Figurae@*Rectae} @tab
+@b{Figurae@*Liquescentes Auctae} @tab
+@b{Figurae@*Liquescentes Deminutae}
+
+@c TODO: \paper block is identical in all of the below examples.
+@c Therefore, it should somehow be included rather than duplicated all
+@c the time. --jr
+
+@c why not make identifiers in ly/engraver-init.ly? --hwn
+
+@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]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Punctum
+ \[ b \]
+ \noBreak s^\markup {"a"} \noBreak
+
+ % Punctum Inclinatum
+ \[ \inclinatum b \]
+ \noBreak s^\markup {"b"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Punctum Auctum Ascendens
+ \[ \auctum \ascendens b \]
+ \noBreak s^\markup {"c"} \noBreak
+
+ % Punctum Auctum Descendens
+ \[ \auctum \descendens b \]
+ \noBreak s^\markup {"d"} \noBreak
+
+ % Punctum Inclinatum Auctum
+ \[ \inclinatum \auctum b \]
+ \noBreak s^\markup {"e"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Punctum Inclinatum Parvum
+ \[ \inclinatum \deminutum b \]
+ \noBreak s^\markup {"f"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+
+@item
+@code{2. Virga}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Virga
+ \[ \virga b \]
+ \noBreak s^\markup {"g"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@tab
+
+@item
+@code{3. Apostropha vel Stropha}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Stropha
+ \[ \stropha b \]
+ \noBreak s^\markup {"h"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Stropha Aucta
+ \[ \stropha \auctum b \]
+ \noBreak s^\markup {"i"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+
+@item
+@code{4. Oriscus}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Oriscus
+ \[ \oriscus b \]
+ \noBreak s^\markup {"j"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@tab
+
+@item
+@code{5. Clivis vel Flexa}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Clivis vel Flexa
+ \[ b \flexa g \]
+ s^\markup {"k"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Clivis Aucta Descendens
+ \[ b \flexa \auctum \descendens g \]
+ \noBreak s^\markup {"l"} \noBreak
+
+ % Clivis Aucta Ascendens
+ \[ b \flexa \auctum \ascendens g \]
+ \noBreak s^\markup {"m"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Cephalicus
+ \[ b \flexa \deminutum g \]
+ s^\markup {"n"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+
+@item
+@code{6. Podatus vel Pes}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Podatus vel Pes
+ \[ g \pes b \]
+ s^\markup {"o"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Pes Auctus Descendens
+ \[ g \pes \auctum \descendens b \]
+ \noBreak s^\markup {"p"} \noBreak
+
+ % Pes Auctus Ascendens
+ \[ g \pes \auctum \ascendens b \]
+ \noBreak s^\markup {"q"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Epiphonus
+ \[ g \pes \deminutum b \]
+ s^\markup {"r"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+
+@item
+@code{7. Pes Quassus}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Pes Quassus
+ \[ \oriscus g \pes \virga b \]
+ s^\markup {"s"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Pes Quassus Auctus Descendens
+ \[ \oriscus g \pes \auctum \descendens b \]
+ s^\markup {"t"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+
+@item
+@code{8. Quilisma Pes}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Quilisma Pes
+ \[ \quilisma g \pes b \]
+ s^\markup {"u"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Quilisma Pes Auctus Descendens
+ \[ \quilisma g \pes \auctum \descendens b \]
+ s^\markup {"v"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+
+@item
+@code{9. Podatus Initio Debilis}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Pes Initio Debilis
+ \[ \deminutum g \pes b \]
+ s^\markup {"w"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Pes Auctus Descendens Initio Debilis
+ \[ \deminutum g \pes \auctum \descendens b \]
+ s^\markup {"x"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+
+@item
+@code{10. Torculus}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Torculus
+ \[ a \pes b \flexa g \]
+ s^\markup {"y"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Torculus Auctus Descendens
+ \[ a \pes b \flexa \auctum \descendens g \]
+ s^\markup {"z"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Torculus Deminutus
+ \[ a \pes b \flexa \deminutum g \]
+ s^\markup {"A"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+
+@item
+@code{11. Torculus Initio Debilis}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Torculus Initio Debilis
+ \[ \deminutum a \pes b \flexa g \]
+ s^\markup {"B"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Torculus Auctus Descendens Initio Debilis
+ \[ \deminutum a \pes b \flexa \auctum \descendens g \]
+ s^\markup {"C"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Torculus Deminutus Initio Debilis
+ \[ \deminutum a \pes b \flexa \deminutum g \]
+ s^\markup {"D"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+
+@item
+@code{12. Porrectus}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Porrectus
+ \[ a \flexa g \pes b \]
+ s^\markup {"E"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Porrectus Auctus Descendens
+ \[ a \flexa g \pes \auctum \descendens b \]
+ s^\markup {"F"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Porrectus Deminutus
+ \[ a \flexa g \pes \deminutum b \]
+ s^\markup {"G"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+
+@item
+@code{13. Climacus}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Climacus
+ \[ \virga b \inclinatum a \inclinatum g \]
+ s^\markup {"H"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Climacus Auctus
+ \[ \virga b \inclinatum a \inclinatum \auctum g \]
+ s^\markup {"I"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Climacus Deminutus
+ \[ \virga b \inclinatum a \inclinatum \deminutum g \]
+ s^\markup {"J"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+
+@item
+@code{14. Scandicus}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Scandicus
+ \[ g \pes a \virga b \]
+ s^\markup {"K"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Scandicus Auctus Descendens
+ \[ g \pes a \pes \auctum \descendens b \]
+ s^\markup {"L"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Scandicus Deminutus
+ \[ g \pes a \pes \deminutum b \]
+ s^\markup {"M"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+
+@item
+@code{15. Salicus}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Salicus
+ \[ g \oriscus a \pes \virga b \]
+ s^\markup {"N"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Salicus Auctus Descendens
+ \[ g \oriscus a \pes \auctum \descendens b \]
+ s^\markup {"O"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+
+@item
+@code{16. Trigonus}
+@tab
+@lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
+\include "gregorian-init.ly"
+\score {
+ \notes \transpose c c' {
+ % Trigonus
+ \[ \stropha b \stropha b \stropha a \]
+ s^\markup {"P"}
+ }
+ \paper {
+ interscoreline = 1
+ \translator {
+ \ScoreContext
+ \remove "Bar_number_engraver"
+ }
+ \translator {
+ \StaffContext
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ StaffSymbol \set #'transparent = ##t
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ minimumVerticalExtent = ##f
+ }
+ \translator {
+ \VoiceContext
+ \remove Ligature_bracket_engraver
+ \consists Vaticana_ligature_engraver
+ NoteHead \set #'style = #'vaticana_punctum
+ Stem \set #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+@tab
+@tab
+
+@end multitable
+
+@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 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
+musical aspects of the input from the notation style of the output.
+This way, the same input can be reused to typeset the same music in a
+different style of Gregorian chant notation such as Hufnagel (also
+known as German gothic neumes) or Medicaea (kind of a very simple
+forerunner of the Editio Vaticana). As soon as Hufnagel ligature
+engraver and Medicaea ligature engraver will have been implemented, it
+will be as simple as replacing the ligature engraver in the
+@internalsref{Voice} context to get the desired notation style from
+the same input.
+
+The following table shows the code fragments that produce the
+ligatures in the above neumes table. The letter in the first column
+in each line of the below table indicates to which ligature in the
+above table it refers. The second column gives the name of the
+ligature. The third column shows the code fragment that produces this
+ligature, using @code{g}, @code{a} and @code{b} as example pitches.
+
+@multitable @columnfractions .1 .4 .5
+
+@item
+@b{#} @tab
+@b{Name} @tab
+@b{Input Language}
+
+@item
+a @tab
+Punctum @tab
+@code{\[ b \]}
+
+@item
+b @tab
+Punctum Inclinatum @tab
+@code{\[ \inclinatum b \]}
+
+@item
+c @tab
+Punctum Auctum Ascendens @tab
+@code{\[ \auctum \ascendens b \]}
+
+@item
+d @tab
+Punctum Auctum Descendens @tab
+@code{\[ \auctum \descendens b \]}
+
+@item
+e @tab
+Punctum Inclinatum Auctum @tab
+@code{\[ \inclinatum \auctum b \]}
+
+@item
+f @tab
+Punctum Inclinatum Parvum @tab
+@code{\[ \inclinatum \deminutum b \]}
+
+@item
+g @tab
+Virga @tab
+@code{\[ \virga b \]}
+
+@item
+h @tab
+Stropha @tab
+@code{\[ \stropha b \]}
+
+@item
+i @tab
+Stropha Aucta @tab
+@code{\[ \stropha \auctum b \]}
+
+@item
+j @tab
+Oriscus @tab
+@code{\[ \oriscus b \]}
+
+@item
+k @tab
+Clivis vel Flexa @tab
+@code{\[ b \flexa g \]}
+
+@item
+l @tab
+Clivis Aucta Descendens @tab
+@code{\[ b \flexa \auctum \descendens g \]}
+
+@item
+m @tab
+Clivis Aucta Ascendens @tab
+@code{\[ b \flexa \auctum \ascendens g \]}
+
+@item
+n @tab
+Cephalicus @tab
+@code{\[ b \flexa \deminutum g \]}
+
+@item
+o @tab
+Podatus vel Pes @tab
+@code{\[ g \pes b \]}
+
+@item
+p @tab
+Pes Auctus Descendens @tab
+@code{\[ g \pes \auctum \descendens b \]}
+
+@item
+q @tab
+Pes Auctus Ascendens @tab
+@code{\[ g \pes \auctum \ascendens b \]}
+
+@item
+r @tab
+Epiphonus @tab
+@code{\[ g \pes \deminutum b \]}
+
+@item
+s @tab
+Pes Quassus @tab
+@code{\[ \oriscus g \pes \virga b \]}
+
+@item
+t @tab
+Pes Quassus Auctus Descendens @tab
+@code{\[ \oriscus g \pes \auctum \descendens b \]}
+
+@item
+u @tab
+Quilisma Pes @tab
+@code{\[ \quilisma g \pes b \]}
+
+@item
+v @tab
+Quilisma Pes Auctus Descendens @tab
+@code{\[ \quilisma g \pes \auctum \descendens b \]}
+
+@item
+w @tab
+Pes Initio Debilis @tab
+@code{\[ \deminutum g \pes b \]}
+
+@item
+x @tab
+Pes Auctus Descendens Initio Debilis @tab
+@code{\[ \deminutum g \pes \auctum \descendens b \]}
+
+@item
+y @tab
+Torculus @tab
+@code{\[ a \pes b \flexa g \]}
+
+@item
+z @tab
+Torculus Auctus Descendens @tab
+@code{\[ a \pes b \flexa \auctum \descendens g \]}
+
+@item
+A @tab
+Torculus Deminutus @tab
+@code{\[ a \pes b \flexa \deminutum g \]}
+
+@item
+B @tab
+Torculus Initio Debilis @tab
+@code{\[ \deminutum a \pes b \flexa g \]}
+
+@item
+C @tab
+Torculus Auctus Descendens Initio Debilis @tab
+@code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
+
+@item
+D @tab
+Torculus Deminutus Initio Debilis @tab
+@code{\[ \deminutum a \pes b \flexa \deminutum g \]}
+
+@item
+E @tab
+Porrectus @tab
+@code{\[ a \flexa g \pes b \]}
+
+@item
+F @tab
+Porrectus Auctus Descendens @tab
+@code{\[ a \flexa g \pes \auctum \descendens b \]}
+
+@item
+G @tab
+Porrectus Deminutus @tab
+@code{\[ a \flexa g \pes \deminutum b \]}
+
+@item
+H @tab
+Climacus @tab
+@code{\[ \virga b \inclinatum a \inclinatum g \]}
+
+@item
+I @tab
+Climacus Auctus @tab
+@code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
+
+@item
+J @tab
+Climacus Deminutus @tab
+@code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
+
+@item
+K @tab
+Scandicus @tab
+@code{\[ g \pes a \virga b \]}
+
+@item
+L @tab
+Scandicus Auctus Descendens @tab
+@code{\[ g \pes a \pes \auctum \descendens b \]}
+
+@item
+M @tab
+Scandicus Deminutus @tab
+@code{\[ g \pes a \pes \deminutum b \]}
+
+@item
+N @tab
+Salicus @tab
+@code{\[ g \oriscus a \pes \virga b \]}
+
+@item
+O @tab
+Salicus Auctus Descendens @tab
+@code{\[ g \oriscus a \pes \auctum \descendens b \]}
-@lilypond[singleline,verbatim]
-\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
- \[ e1 f1 a\breve g\longa \]
- }
- \paper {
- \translator {
- \VoiceContext
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
- }
- }
-}
-@end lilypond
+@item
+P @tab
+Trigonus @tab
+@code{\[ \stropha b \stropha b \stropha a \]}
+
+@end multitable
+
+@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.
-Without replacing @code{Ligature_bracket_engraver} with
-@code{Mensural_ligature_engraver}, the same music transcribes to the
-following:
+@refbugs
-@lilypond[singleline,verbatim]
-\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
- \[ e1 f1 a\breve g\longa \]
- }
-}
-@end lilypond
+Trigonus: apply equal spacing, regardless of pitch.
@node Figured bass
@subsection Figured bass
@cindex Basso continuo
+@c TODO: musicological blurb about FB
+
+@syntax
+
LilyPond has limited support for figured bass:
@lilypond[verbatim,fragment]
-<
+<<
+ \context Voice \notes { \clef bass dis4 c d ais}
\context FiguredBass
\figures {
- <_! 3+ 5- >4
- < [4 6] 8 >
+ < 6 >4 < 7 >8 < 6+ [_!] >
+ < 6 >4 <6 5 [3+] >
}
- \context Voice { c4 g8 }
->
+ >>
@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 example
@lilypond[fragment]
\context FiguredBass
-\figures { <4- 6+ 7!> }
+ \figures { <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
-support, it works much simpler: in figured bass simply stores the
-numbers, and then prints the numbers you entered. There is no
-conversion to pitches, and no realizations of the bass are played in
-the MIDI file.
+support, it works much simpler. The @code{\figures} mode simply
+stores the numbers , and @internalsref{FiguredBass} context prints
+them as entered. There is no conversion to pitches, and no
+realizations of the bass are played in the MIDI file.
+
+Internally, the code produces markup texts. You can use any of the
+markup text properties to override formatting. For example, the
+vertical spacing of the figures may be set with @code{baseline-skip}.
+
+@seealso
+
+@internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
+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 {
+ \addlyrics
+ \context VaticanaVoice {
+ \property Score.BarNumber \set #'transparent = ##t
+ \notes {
+ \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
+ \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
+ \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
+ }
+ }
+ \context Lyrics \lyrics {
+ San- ctus, San- ctus, San- ctus
+ }
+}
+@end lilypond
-@c . {Contemporary notation}
@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. 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
-* Clusters::
+* Clusters::
+* Fermatas::
@end menu
@node Clusters
(theoretically) may even cover a continuous range of pitches, thus
resulting in coloured noise, such as pink noise.
-Clusters can be notated in the context of ordinary staff notation by
+Clusters can be denoted in the context of ordinary staff notation by
engraving simple geometrical shapes that replace ordinary notation of
notes. Ordinary notes as musical events specify starting time and
duration of pitches; however, the duration of a note is expressed by the
time (horizontal extent). Still, the geometrical shape of a cluster
covers the area in wich 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. This
-is exactly how to construct a cluster with lilypond.
+reasonable to specify a cluster as the envelope of a set of notes.
-@lilypond[singleline,verbatim]
+@syntax
+
+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:
+
+@lilypondfile[notexidoc]{cluster.ly}
+
+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
+ordinary notes and clusters.
+
+@seealso
+
+@internalsref{ClusterSpanner}, @internalsref{ClusterSpannerBeacon},
+@inputfileref{input/regression,cluster.ly},
+@internalsref{Cluster_spanner_engraver}, and @internalsref{ClusterNoteEvent}.
+
+@refbugs
+
+Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
+accurately. Use @code{<g a>8 <e a>8} instead.
+
+
+
+@node Fermatas
+@subsection Fermatas
+
+@cindex fermatas
+
+
+
+Contemporary music notation frequently uses special fermata symbols to
+indicate fermatas of differing lengths.
+
+@syntax
+
+The following are supported
+
+@lilypond[singleline]
\score {
- \context PianoStaff <
- \context Voice = voiceI { % same as voiceII, but with ordinary notes
- \notes \relative c' {
- c4 f4
- a4 <e4 d'4> | \break
- < g8 a8 > < e8 a8 > a4 c1 < d4 b4 > e4 |
- c4 a4 f4 g4 a4
- }
- }
- \context Voice = voiceII { % same as voiceI, but with cluster notation
- \notes \relative c' {
-
- % hide notes, accidentals, etc.
- \property Thread.NoteHead \set #'transparent = ##t
- \property Voice.Stem \set #'transparent = ##t
- \property Voice.Beam \set #'transparent = ##t
- \property Staff.Accidental \set #'transparent = ##t
-
- \property Voice.Cluster \set #'padding = #0.01
- \property Voice.Cluster \set #'shape = #'ramp
-
- c4 f4
- \startCluster
- a4 <e4 d'4> | \break
- < g8 a8 > < e8 a8 > a4 c1 < d4 b4 > e4 |
- c4 \stopCluster a4 f4 g4 a4
- }
- }
- >
+ << \addlyrics \notes {
+ b'
+ ^\shortfermata
+ _\shortfermata
+ r
+ b'
+ ^\fermata
+ _\fermata
+
+ r
+ b'
+ ^\longfermata
+ _\longfermata
+
+ r
+ b'
+ ^\verylongfermata
+ _\verylongfermata
+ r
+ }
+ \context Lyrics \lyrics {
+ "shortfermata" "fermata" "longfermata" "verylongfermata"
+ } >>
}
@end lilypond
-Note that the second voice differs from the first one only by the
-additional keywords @code{\startCluster} and @code{\stopCluster} and the
-fact that notes, accidentals, etc. are hidden. A future version of
-lilypond may automatically hide notes, accidentals, etc. within the
-scope of clusters.
-
-Also note that a music expression like @code{< @{ g8 e8 @} a4 >} is
-illegal; in such a case, you can instead use the expression @code{< g8
-a8 > < e8 a8 >}.
-
-By default, cluster engraver is in the voice context. This allows
-putting ordinary notes and clusters together in the same staff, even
-simultaneously. However, in such a case no attempt is made to
-automatically avoid collisions between ordinary notes and clusters.
-
-The geometrical shape can be further controlled with grob properties
-@code{padding} and @code{shape}. @code{padding} adds to the vertical
-extent of the shape (top and bottom) and is expressed in units of
-staffspace. Since the pitch range of a single pitch is infinitely
-small, if padding is set to @code{0.0}, this possibly results in an
-invisible shape, if you,for example, say @code{ \startCluster c d e
-\endCluster}. The default value for @code{padding} therefore is
-@code{0.25}, such that a single pitch roughly shows the same height as a
-note head. Property @code{shape} controls how the overall shape of the
-cluster is constructed from the set of notes. Currently supported
-values are @code{leftsided-stairs}, @code{rightsided-stairs},
-@code{centered-stairs}, and @code{ramp}.
-
-@c . {Tuning output}
+See @ref{Articulations} for general instructions how to apply scripts
+such as fermatas to a @code{\notes@{@}} block.
+
@node Tuning output
@section Tuning output
-LilyPond tries to take as much formatting as possible out of your
-hands. Nevertheless, there are situations where it needs some help, or
-where you want to override its decisions. In this section we discuss
-ways to do just that.
+There are situations where default layout decisions are not
+sufficient. In this section we discuss ways to override these
+defaults.
-Formatting is internally done by manipulating so called objects (graphic
-objects). Each object carries with it a set of properties (object
-properties) specific to that object. For example, a stem object has
-properties that specify its direction, length and thickness.
+Formatting is internally done by manipulating so called objects
+(graphic objects). Each object carries with it a set of properties
+(object or layout properties) specific to that object. For example, a
+stem object has properties that specify its direction, length and
+thickness.
The most direct way of tuning the output is by altering the values of
these properties. There are two ways of doing that: first, you can
-temporarily change the definition of a certain type of object, thus
+temporarily change the definition of one type of object, thus
affecting a whole set of objects. Second, you can select one specific
-object, and set a object property in that object.
+object, and set a layout property in that object.
+
+Do not confuse layout properties with translation
+properties. Translation properties always use a mixed caps style
+naming, and are manipulated using @code{\property}:
+@example
+ \property Context.propertyName = @var{value}
+@end example
+Layout properties are use Scheme style variable naming, i.e. lower
+case words separated with dashes. They are symbols, and should always
+be quoted using @code{#'}. For example, this could be an imaginary
+layout property name:
+@example
+ #'layout-property-name
+@end example
@menu
-* Tuning groups of objects ::
-* Tuning per object ::
+* Tuning objects ::
+* Constructing a tweak::
+* Applyoutput::
* Font selection::
* Text markup::
@end menu
-@node Tuning groups of objects
-@subsection Tuning groups of objects
-@cindex object description
-A object definition is a Scheme association list, that is stored in a
-context property. By assigning to that property (using plain
-@code{\property}), you can change the resulting objects.
+@node Tuning objects
+@subsection Tuning objects
-@lilypond[verbatim, fragment]
-c'4 \property Voice.NoteHead = #'() c'4
-@end lilypond
-This mechanism is fairly crude, since you can only set, but not modify,
-the definition of an object. Also, it will thoroughly confuse LilyPond.
+@cindex object description
-The definition of an object is actually a list of default object
+The definition of an object is a list of default object
properties. For example, the definition of the Stem object (available
-in @file{scm/grob-description.scm}), includes the following definitions for
-@internalsref{Stem}
+in @file{scm/define-grobs.scm}), includes the following definitions
+for @internalsref{Stem}:
@example
- (thickness . 0.8)
+ (thickness . 1.3)
(beamed-lengths . (0.0 2.5 2.0 1.5))
(Y-extent-callback . ,Stem::height)
@var{...}
@end example
-You can add a property on top of the existing definition, or remove a
-property, thus overriding the system defaults:
-@lilypond[verbatim]
-c'4 \property Voice.Stem \override #'thickness = #4.0
-c'4 \property Voice.Stem \revert #'thickness
-c'4
-@end lilypond
-You should balance @code{\override} and @code{\revert}. If that's too
-much work, you can use the @code{\set} shorthand. It performs a revert
-followed by an override. The following example gives exactly the same
-result as the previous one.
-@lilypond[verbatim]
-c'4 \property Voice.Stem \set #'thickness = #4.0
-c'4 \property Voice.Stem \set #'thickness = #0.8
-c'4
-@end lilypond
-If you use @code{\set}, you must explicitly restore the default.
+Adding variables on top of this existing definition overrides the
+system default, and alters the resulting appearance of the layout
+object.
+
+@syntax
+
+
+Changing a variable for only one object is commonly achieved with
+@code{\once}:
-Formally the syntax for these constructions is
@example
-\property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
-\property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
-\property @var{context}.@var{grobname} \revert @var{symbol}
+\once \property @var{context}.@var{objectname}
+ \override @var{symbol} = @var{value}
@end example
Here @var{symbol} is a Scheme expression of symbol type, @var{context}
-and @var{grobname} are strings and @var{value} is a Scheme expression.
+and @var{objectname} is a string and @var{value} is a Scheme expression.
+This command applies a setting only during one moment in the score.
+
+In the following example, only one @internalsref{Stem} object is
+changed from its original setting:
+
+@lilypond[verbatim, fragment, relative=1]
+ c4
+ \once \property Voice.Stem \set #'thickness = #4
+ c4
+ c4
+@end lilypond
+@cindex @code{\once}
+
+For changing more objects, the same command, without @code{\once} can
+be used:
+@example
+\property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
+@end example
+This command adds @code{@var{symbol} = @var{value}} to the definition
+of @var{objectname} in the context @var{context}, and this definition
+stays in place until it is removed.
+
+An existing definition may be removed by the following command:
+@c
+@example
+\property @var{context}.@var{objectname} \revert @var{symbol}
+@end example
+@c
+All @code{\override} and @code{\revert} commands should be balanced.
+The @code{\set} shorthand performs a revert followed by an override,
+and is often more convenient to use
+
+@example
+\property @var{context}.@var{objectname} \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
-If you revert a setting which was not set in the first place, then it
-has no effect. However, if the setting was set as a system default, it
-may remove the default value, and this may give surprising results,
-including crashes. In other words, @code{\override} and @code{\revert},
-must be carefully balanced.
+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
-These are examples of correct nesting of @code{\override}, @code{\set},
-@code{\revert}.
+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. The following are examples
+of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
-A clumsy but correct form:
+@itemize @bullet
+@item
+a clumsy but correct form:
@example
\override \revert \override \revert \override \revert
@end example
-Shorter version of the same:
+@item
+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
+@item
+a short form, using only @code{\set}. This requires you to know the
default value:
@example
\set \set \set \set @var{to default value}
@end example
-If there is no default (i.e. by default, the object property is unset),
+@item
+if there is no default (i.e. by default, the object property is unset),
then you can use
@example
\set \set \set \revert
@end example
+@end itemize
+
+ 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}. Typically, this will blank the object. However,
+this mechanism should not be used: it may cause crashes or other
+anomalous behavior.
+
+@seealso
+
+@internalsref{OverrideProperty}, @internalsref{RevertProperty},
+@internalsref{PropertySet}, @internalsref{All-backend-properties}, and
+@internalsref{All-layout-objects}.
-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 just push and pop
-operations. This pushing and popping is also used for overriding
-automatic beaming settings.
@refbugs
-LilyPond will hang or crash if @var{value} contains cyclic references.
-The backend is not very strict in type-checking object properties. If you
-@code{\revert} properties that are expected to be set by default,
-LilyPond may crash.
+The backend is not very strict in type-checking object properties.
+Cyclic references in Scheme values for properties cause hangs and/or
+crashes. Reverting properties that are system defaults may also lead
+to crashes.
+
+@node Constructing a tweak
+@subsection Constructing a tweak
+
+
+@cindex internal documentation
+@cindex finding graphical objects
+@cindex graphical object descriptions
+@cindex tweaking
+@cindex @code{\override}
+@cindex @code{\set}
+@cindex internal documentation
+
+Three pieces of information are required to use @code{\override} and
+@code{\set}: the name of the layout object, the context and the name
+of the property. We demonstrate how to glean this information from
+the notation manual and the generated documentation.
+The generated documentation is a set of HTML pages which should be
+included if you installed a binary distribution, typically in
+@file{/usr/share/doc/lilypond}. They are also available on the web:
+go to the @uref{http://lilypond.org,LilyPond website}, click
+``Documentation'', select the correct version, and click then
+``Program reference.'' It is advisable to bookmark the local HTML
+files. They will load faster than the ones on the web. If you use the
+version from the web, you must check whether the documentation matches
+the program version: it is generated from the definitions that the
+program uses, and therefore it is strongly tied to the LilyPond
+version.
-@node Tuning per object
-@subsection Tuning per object
-@cindex \once
-Tuning a single object is most often done with @code{\property}. The
-form,
+@c [TODO: revise for new site.]
+
+Suppose we want to move the fingering indication in the fragment below:
+
+@lilypond[relative=2,verbatim]
+c-2
+\stemUp
+f
+@end lilypond
+
+If you visit the documentation of @code{Fingering} (in @ref{Fingering
+instructions}), you will notice that there is written:
+
+@quotation
+@seealso
+
+@internalsref{FingerEvent} and @internalsref{Fingering}.
+
+@end quotation
+
+@separate
+
+@noindent
+In other words, the fingerings once entered, are internally stored as
+@code{FingerEvent} music objects. When printed, a @code{Fingering}
+layout object is created for every @code{FingerEvent}.
+
+The Fingering object has a number of different functions, and each of
+those is captured in an interface. The interfaces are listed under
+@internalsref{Fingering} in the program reference.
+
+
+
+The @code{Fingering} object has a fixed size
+(@internalsref{item-interface}), the symbol is a piece of text
+(@internalsref{text-interface}), whose font can be set
+(@internalsref{font-interface}). It is centered horizontally
+(@internalsref{self-alignment-interface}), it is placed next to other
+objects (@internalsref{side-position-interface}) vertically, and its
+placement is coordinated with other scripts
+(@internalsref{text-script-interface}). It also has the standard
+@internalsref{grob-interface} (grob stands for Graphical object)
+@cindex grob
+@cindex graphical object
+@cindex layout object
+@cindex object, layout
+with all the variables that come with
+it. Finally, it denotes a fingering instruction, so it has
+@internalsref{finger-interface}.
+
+For the vertical placement, we have to look under
+@code{side-position-interface}:
+@quotation
+@code{side-position-interface}
+
+ Position a victim object (this one) next to other objects (the
+ support). In this case, the property @code{direction} signifies where to put the
+ victim object relative to the support (left or right, up or down?)
+@end quotation
+
+@cindex padding
+@noindent
+below this description, the variable @code{padding} is described as
+@quotation
+@table @code
+@item padding
+ (dimension, in staff space)
+
+ add this much extra space between objects that are next to each
+other. Default value: @code{0.6}
+@end table
+@end quotation
+
+By increasing the value of @code{padding}, we can move away the
+fingering. The following command inserts 3 staff spaces of white
+between the note and the fingering:
@example
- \once \property @dots{}
+\once \property Voice.Fingering \set #'padding = #3
@end example
-@c
-applies a setting only during one moment in the score: notice how the
-original setting for stem thickness is restored automatically in the
-following example
-@c
-@lilypond[verbatim, fragment, relative=1]
- c4
- \once \property Voice.Stem \set #'thickness = #4
- c4
- c4
+
+Inserting this command before the Fingering object is created,
+i.e. before @code{c2}, yields the following result:
+
+@lilypond[relative=2,fragment,verbatim]
+\once \property Voice.Fingering
+ \set #'padding = #3
+c-2
+\stemUp
+f
@end lilypond
-@cindex \once
-@cindex \outputproperty
+The context name @code{Voice} in the example above can be determined
+as follows. In the documentation for @internalsref{Fingering}, it says
+@quotation
+Fingering grobs are created by: @internalsref{Fingering_engraver}
+@end quotation
-A second way of tuning objects is the more arcane @code{\outputproperty}
-feature. The syntax is as follows:
+Clicking @code{Fingering_engraver} shows the documentation of
+the module responsible for interpreting the fingering instructions and
+translating them to a @code{Fingering} object. Such a module is called
+an @emph{engraver}. The documentation of the @code{Fingering_engraver}
+says
+@example
+Fingering_engraver is part of contexts: Voice
+@end example
+so tuning the settings for Fingering should be done with
@example
-\outputproperty @var{predicate} @var{symbol} = @var{value}
+ \property Voice.Fingering \set @dots{}
@end example
-Here @code{predicate} is a Scheme function taking a 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}.
-This command is only single shot, in contrast to @code{\override} and
-@code{\set}.
+Of course, the tweak may also done in a larger context than
+@code{Voice}, for example, @internalsref{Staff} or
+@internalsref{Score}.
-You will need to combine this statement with @code{\context} to select
-the appropriate context to apply this to.
+@seealso
-In the following example, all note heads occurring at current staff
-level, are shifted up and right by setting their @code{extra-offset}
-property.
+The program reference also contains alphabetical lists of
+@internalsref{Contexts}, @internalsref{All-layout-objects} and
+@internalsref{Music-expressions}, so you can also find which objects to
+tweak by browsing the internals document.
-@lilypond[fragment,verbatim,singleline]
-\relative c'' { c4
- \context Staff \outputproperty
- #(make-type-checker 'note-head-interface)
- #'extra-offset = #'(0.5 . 0.75)
- <<c e g>>8 }
-@end lilypond
-@cindex @code{extra-offset}
+@node Applyoutput
+@subsection Applyoutput
-In this example, the predicate checks the @code{text} object property, to
-shift only the `m.d.' text, but not the fingering instruction "2".
-@lilypond[verbatim,singleline]
-#(define (make-text-checker text)
- (lambda (grob) (equal? text (ly:get-grob-property grob 'text))))
+The most versatile way of tuning an object is @code{\applyoutput}. Its
+syntax is
+@example
+\applyoutput @var{proc}
+@end example
-\score {
- \notes\relative c''' {
- \property Voice.Stem \set #'direction = #1
- \outputproperty #(make-text-checker "m.d.")
- #'extra-offset = #'(-3.5 . -4.5)
- a^2^"m.d."
- }
-}
-@end lilypond
+@noindent
+where @var{proc} is a Scheme function, taking three arguments.
+
+When interpreted, the function @var{proc} is called for every layout
+object found in the context, with the following arguments:
+@itemize @bullet
+@item the layout object itself,
+@item the context where the layout object was created, and
+@item the context where @code{\applyoutput} is processed.
+@end itemize
-@refbugs
-If possible, avoid this feature: the semantics are not very clean, and
-the syntax and semantics are up for rewrite.
+In addition, the cause of the layout object, i.e. the music
+expression or object that was responsible for creating it, is in the
+object property @code{cause}. For example, for a note head, this is a
+@internalsref{NoteHead} event, and for a @internalsref{Stem} object,
+this is a @internalsref{NoteHead} object.
+
+Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
+center-line:
+@example
+(define (blanker grob grob-origin context)
+ (if (and (memq (ly:get-grob-property grob 'interfaces)
+ note-head-interface)
+ (eq? (ly:get-grob-property grob 'staff-position) 0))
+ (ly:set-grob-property! grob 'transparent #t)))
+@end example
@node Font selection
@subsection Font selection
-The most common thing to change about the appearance of fonts is
-their size. The font size of a @internalsref{Voice},
-@internalsref{Staff} or @internalsref{Thread} context, can be easily
-changed by setting the @code{fontSize} property for that context:
-@lilypond[fragment,relative=1]
+The most common thing to change about the appearance of fonts is their
+size. The font size of any context can be easily changed by setting
+the @code{fontSize} property for that context. Its value is an
+integer: negative numbers make the font smaller, positive numbers
+larger. An example is given below:
+@c
+@lilypond[fragment,relative=1,verbatim,quote]
c4 c4 \property Voice.fontSize = #-1
f4 g4
@end lilypond
- This command will 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 @file{input/test/cue-notes.ly}.
+This command will set @code{font-relative-size} (see below), and does
+not change the size of variable symbols, such as beams or slurs.
+
+
+One of the uses of @code{fontSize} is to get smaller symbol for cue
+notes. An elaborate example of those is in
+@inputfileref{input/test,cue-notes.ly}.
+
+@cindex magnification
+
+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
\property Staff.TimeSignature
\set #'font-name = #"cmr17"
@end example
-You may use any font which is available to @TeX{}, such as foreign
-fonts or fonts that do not belong to the Computer Modern font family.
+
+@noindent
+Any font can be used, as long as it is available to @TeX{}. Possible
+fonts include foreign fonts or fonts that do not belong to the
+Computer Modern font family.
+
Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
can also be adjusted with a more fine-grained mechanism. By setting
-the object properties described below, you can select a different font.
-All three mechanisms work for every object that supports
-@code{font-interface}.
+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
+ is a symbol indicating the general class of the typeface. Supported are
@code{roman} (Computer Modern), @code{braces} (for piano staff
-braces), @code{music} (the standard music font), @code{ancient} (the
-ancient notation font) @code{dynamic} (font for dynamic signs) and
-@code{typewriter}.
+braces), @code{music} (the standard music font, including ancient
+glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
@item font-shape
- A symbol indicating the shape of the font, there are typically several
+ is 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}
+ @code{caps} and @code{upright}.
@item font-series
-A symbol indicating the series of the font. There are typically several
+is 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,
+ is 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.
+is 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 @emph{symbol},
+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 = #'*
+ \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}
-There are also pre-cooked font selection qualifiers. These are
-selected through the object property @code{font-style}. For example,
-the style @code{finger} selects family @code{number} and relative size
-@code{-3}. Styles available include @code{volta}, @code{finger},
-@code{tuplet}, @code{timesig}, @code{mmrest}, @code{script},
-@code{large}, @code{Large} and @code{dynamic}. The style sheets and
-tables for selecting fonts are located in @file{scm/font.scm}. Refer
-to this file for more information.
+@refcommands
-@cindex magnification
+The following commands set @code{fontSize} for the current voice.
-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 @code{\tiny}
+@code{\tiny},
+@cindex @code{\small}
+@code{\small},
+@cindex @code{\normalsize}
+@code{\normalsize},
@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 can not be modified easily.
+family, and the style sheet cannot be modified easily.
@cindex font selection
@cindex font magnification
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.
+similar to lyrics: simply enter them, surrounded by spaces:
@cindex markup
@lilypond[verbatim,fragment,relative=1]
@cindex font switching
-The line of the example demonstrates font switching commands. Notice
-that the command only apply to the first following word; enclose a set
-of texts with braces to apply a command to more words.
+The markup in the example demonstrates font switching commands. The
+command @code{\bold} and @code{\italic} only apply to the first
+following word; enclose a set of texts with braces to apply a command
+to more words:
@example
\markup @{ \bold @{ hi there @} @}
@end example
+
+@noindent
For clarity, you can also do this for single arguments, e.g.
@example
\markup @{ is \italic @{ anyone @} home @}
@cindex font size, texts
+The following size commands set absolute sizes:
-The following size commands set abolute sizes
-
-@cindex \teeny
-@cindex \tiny
-@cindex \small
-@cindex \large
-@cindex \huge
+@cindex @code{\teeny}
+@cindex @code{\tiny}
+@cindex @code{\small}
+@cindex @code{\large}
+@cindex @code{\huge}
@table @code
@item \teeny
@cindex larger
@cindex font style, for texts
-@cindex \bold
-@cindex \dynamic
-@cindex \number
-@cindex \italic
+@cindex @code{\bold}
+@cindex @code{\dynamic}
+@cindex @code{\number}
+@cindex @code{\italic}
The following font change commands are defined:
@table @code
@item \dynamic
-This changes to the font used for dynamic signs. Note that this font
-doesn't contain all characters of the alphabet.
+changes to the font used in 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
+changes to the font used in 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 moving text
@cindex translating text
-@cindex \sub
-@cindex \super
+@cindex @code{\sub}
+@cindex @code{\super}
Raising and lowering texts can be done with @code{\super} and
-@code{\sub}.
+@code{\sub}:
@lilypond[verbatim,fragment,relative=1]
c1^\markup { E "=" mc \super "2" }
@end lilypond
-@cindex \raise
+@cindex @code{\raise}
If you want to give an explicit amount for lowering or raising, use
-@code{\raise}. This command takes a Scheme valued argument,
-@lilypond[verbatim,fragment,relative=1]
- c1^\markup { C \small \raise #1.0 { "9/7+" }}
+@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.
+measured in (global) staff spaces. @code{\raise} and @code{\super}
+raise objects in relation to their surrounding markups. They cannot be
+used to move a single text up or down, when it is above or below a
+note, since the mechanism that positions it next to the note cancels
+any vertical shift. For vertical positioning, use the @code{padding}
+and/or @code{extra-offset} properties.
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
+@cindex @code{\musicglyph}
This is converted to a musical symbol, e.g. @code{\musicglyph
#"accidentals-0"} will select the natural sign from the music font.
See @ref{The Feta font} for a complete listing of the possible glyphs.
This produces a single character, e.g. @code{\char #65} produces the
letter 'A'.
+@item \note @var{log} @var{dots} @var{dir}
+@cindex @code{\note}
+
+This produces a note with a stem pointing in @var{dir} direction, with
+duration log @var{log} and @var{dots} augmentation dots. The duration
+log is the negative 2-logarithm of the duration denominator. For
+example, a quarter note has log 2, an eighth note 3 and a breve has
+log -1.
+
@item \hspace #@var{amount}
-@cindex \hspace
+@cindex @code{\hspace}
This produces a invisible object taking horizontal space.
@example
\markup @{ A \hspace #2.0 B @}
@end example
-will put extra space between A and B. Note that lilypond
-inserts space before and after @code{\hspace}.
+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
+@cindex @code{\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. It's first argument is a cons of numbers
+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
+@cindex @code{\magnify}
This sets the font magnification for the its argument. In the following
-example, the middle A will be 10% larger.
+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
+@cindex @code{\override}
This overrides a formatting property for its argument. The argument
should be a key/value pair, e.g.
@example
-m \override #'(font-family . math) m m
+ m \override #'(font-family . math) m m
@end example
@end table
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
+stack expressions grouped with @code{<}, and @code{>} vertically with
the command @code{\column}. Similarly, @code{\center} aligns texts by
-their center lines.
+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 >> }
+ 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.
-The markup mechanism is very flexible and extensible. Refer to
-@file{scm/new-markup.scm} for more information on extending the markup
-mode.
-
-
-@cindex metronome mark
-One practical application of complicated markup is to fake a metronome
-marking:
+@seealso
-@lilypond[verbatim]
-eighthStem = \markup \combine
- \musicglyph #"flags-stem"
- \translate #'(0.0 . 3.5) \musicglyph #"flags-u3"
-eighthNote = \markup
- \override #'(word-space . 0.0)
- { \musicglyph #"noteheads-2"
- \translate #'(-0.05 . 0.1) \eighthStem }
-
-\score {
- \notes\relative c'' {
- a1^\markup { \magnify #0.9 \eighthNote " = 64" }
- }
-}
-@end lilypond
+@internalsref{Markup-functions}, and @file{scm/new-markup.scm}.
@refbugs
@cindex kerning
-LilyPond does not account for kerning in its text formatting, so it
-spaces texts slightly too wide.
+
+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.
+Markup texts cannot be used in the titling of the @code{\header}
+field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
+for formatting.
+
+
+
@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
+line breaks and the spacing. These all influence each other. The
choice of spacing determines how densely each system of music is set,
-where line breaks breaks are chosen, and thus ultimately how many
-pages a piece of music takes. In this section we will explain how the
-lilypond spacing engine works, and how you can tune its results.
+which influences where line breaks breaks are chosen, and thus
+ultimately how many pages a piece of music takes. This section
+explains how to tune the algorithm for spacing.
Globally spoken, this procedure happens in three steps: first,
flexible distances (``springs'') are chosen, based on durations. All
possible line breaking combination are tried, and the one with the
best results---a layout that has uniform density and requires as
little stretching or cramping as possible---is chosen. When the score
-is processed by @TeX{}, page are filled with systems, and page breaks
+is processed by @TeX{}, each page is filled with systems, and page breaks
are chosen whenever the page gets full.
+
+
@menu
* Vertical spacing::
* Horizontal spacing::
@cindex staff distance
@cindex between staves, distance
@cindex staffs per page
+@cindex space between staves
-
-The height of each system is determined automatically by lilypond, to
+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.
@example
\property Staff.minimumVerticalExtent = #'(-4 . 4)
@end example
-This sets the vertical size of the current staff to 4 staff-space on
+This sets the vertical size of the current staff to 4 staff spaces 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. you
-could also make the staff larger at the bottom by setting it to
-@code{(-6 . 4)}. The default value is @code{(-6 . 6)}.
-
-Vertical aligment of staves is handled by the
-@internalsref{VerticalAlignment} object, which lives at
-@internalsref{Score} level.
+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. This is also done with a @internalsref{VerticalAlignment}
-object, created in @internalsref{PianoStaff}, but a forced distance is
-set. This is done with the object property #'forced-distance. If you
-want to override this, use a @code{\translator} block as follows:
+beaming work correctly, it is 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
@}
@end example
This would bring the staves together at a distance of 9 staff spaces,
-and again this is measured from the center line of each staff.
+measured from the center line of each staff.
+
+@seealso
+
+Vertical alignment of staves is handled by the
+@internalsref{VerticalAlignment} object.
The spacing engine translates differences in durations into
stretchable distances (``springs'') of differing lengths. Longer
-durations get more space, shorter durations get less. The basis for
-assigning spaces to durations, is that the shortest durations get a
-fixed amount of space, and the longer durations get more: doubling a
-duration adds a fixed amount of space to the note.
+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. The 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
+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
-These two amounts of space are @code{shortest-duration-space}
-@code{spacing-increment}, object properties of
-@internalsref{SpacingSpanner}. Normally @code{spacing-increment} 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 noteheads of space. For normal notes, this space
-is always counted from the left edge of the symbol, so the short notes
-in a score is generally followed by one note head width of space.
+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 64th,
-thus adding 2 noteheads of space to every note. To prevent this, the
+entire score a lot. The shortest note is no longer a 16th, but a 32nd,
+thus adding 1 NHW 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
+shorter this are followed by a space that is proportional 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=1]
- c2 c4. c8 c4. [c16 c] c4. c8 c8 c8 c4 c4 c4
+@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
@cindex @code{spacing}
In the introduction it was explained that stem directions influence
-spacing. This is controlled with @code{stem-spacing-correction} in
-@internalsref{NoteSpacing}. The @code{StaffSpacing} object contains the
-same property for controlling the stem/barline spacing. In the
-following example shows these corrections, once with default settings,
-and once with exaggerated corrections.
+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|
}
- \paper { linewidth = -1. } }
+ \paper { raggedright = ##t } }
@end lilypond
+@cindex SpacingSpanner, overriding properties
+
+Properties of the @internalsref{SpacingSpanner} must be overridden
+from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
+created before any @code{\property} statements are interpreted.
+@example
+\paper @{ \translator @{
+ \ScoreContext
+ SpacingSpanner \override #'spacing-increment = #3.0
+@} @}
+@end example
+@seealso
+
+@internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
+@internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
+@internalsref{SeparatingGroupSpanner}.
+
@refbugs
Spacing is determined on a score wide basis. If you have a score that
-changes its character (measured in durations) half way during the
+changes its character (measured in durations) halfway during the
score, the part containing the longer durations will be spaced too
widely.
-Generating optically pleasing spacing is black magic. LilyPond tries
-to deal with a number of frequent cases. Here is an example that is
-not handled correctly, due to the combination of chord collisions and
-kneed stems.
+There is no convenient mechanism to manually override spacing.
-@lilypond
-\score {
- \context PianoStaff \notes \transpose c c'' <
- \context Staff = up { s1 }
- \context Staff = down { [c8 c \translator Staff=up <<c d>> c
-\translator Staff=down c c c] }
- >
- \paper { linewidth = -1 }
-}
-@end lilypond
-@c . {Font size}
@node Font Size
@subsection Font size
@cindex font 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, 19 pt, 20 point, 23
-point, and 26 point. The point size of a font is the height of the
-five lines in a staff when displayed in the font.
+These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
+26 point. The point size of a font is the height of the corresponding
+staff (excluding line thicknesses).
Definitions for these sizes are the files @file{paperSZ.ly}, where
-@code{SZ} is one of 11, 13, 16, 19, 20, 23 and 26. If you include any
-of these files, the identifiers @code{paperEleven},
-@code{paperThirteen}, @code{paperSixteen}, @code{paperNineteen},
+@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 @{ ... @}
+ \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}.
+The default font size settings for each staff heights are generated
+from the 20pt style sheet. For more details, see the file
+@file{scm/font.scm}.
-@c . {Line break}
@node Line breaking
@subsection Line breaking
@cindex breaking lines
Line breaks are normally computed automatically. They are chosen such
-that it looks neither cramped nor loose, and that consecutive lines have
-similar density.
+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
+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 certain
+""}. 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:
+For linebreaks at regular intervals use @code{\break} separated by
+skips and repeated with @code{\repeat}:
@example
-< \repeat 7 unfold @{ s1 * 4 \break @}
- @emph{real music}
->
+<< \repeat unfold 7 @{ s1 * 4 \break @}
+ @emph{the real music}
+>>
@end example
+
+@noindent
This makes the following 28 measures (assuming 4/4 time) be broken every
4 measures.
+@seealso
+
+@internalsref{BreakEvent}.
+
+
@node Page layout
@subsection Page layout
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{linewidth} set to a negative value, a single
-unjustified line is produced. A similar effect for scores that are
-longer than one line, can be produced by setting @code{raggedright} to
-true in the @code{\paper} block.
+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 lilypond. Ly2dvi sets page
-layout instructions. Ly2dvi responds to the following variables in the
-@code{\paper} block. The variable @code{textheight} sets the total
-height of the music on each page. The spacing between systems is
-controlled with @code{interscoreline}, its default is 16pt.
-The distance between the score lines will stretch in order to fill the
-full page @code{interscorelinefill} is set to a positive number. In
-that case @code{interscoreline} specifies the minimum spacing.
+The page layout process happens outside the LilyPond formatting
+engine: variables controlling page layout are passed to the output,
+and are further interpreted by @code{lilypond} wrapper program. It
+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 (that is, it gets any
-value assigned in the @code{\paper} block), 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. Note
-that @command{lilypond-book} ignores @code{lastpagefill}. See
-@ref{Integrating text and music with lilypond-book} for
-more information.
+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. You
-can insert a @code{\newpage} from within lilypond. This is done by
-setting the @code{between-systems-strings} on the
+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}.
+The predefined command @code{\newpage} also does this.
@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
+To change the paper size, you must first set the @code{papersize} paper
+variable variable as in the example below. 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.
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})
+@code{lilypond-book} and @code{lilypond}).
+
+
+@refcommands
+
+@cindex @code{\newpage}
+@code{\newpage}.
+
+
+@seealso
+
+@ref{Invoking lilypond},
+@inputfileref{input/regression,between-systems.ly}, and
+@internalsref{NonMusicalPaperColumn}.
+
+@refbugs
+
+LilyPond has no concept of page layout, which makes it difficult to
+reliably choose page breaks in longer pieces.
-@c . {Sound}
@node Sound
@section Sound
@cindex Sound
-LilyPond can produce MIDI output. The performance lacks lots of
-interesting effects, such as swing, articulation, slurring, etc., but it
-is good enough for proof-hearing the music you have entered. Ties,
-dynamics and tempo changes are interpreted.
+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 can be adjusted by
+@code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
+For each type of MIDI instrument, a volume range can be defined. This
+gives a basic equalizer control, which can enhance the quality of
+the MIDI output remarkably. The equalizer can be controlled by
+setting @code{instrumentEqualizer}.
-Dynamic marks, crescendi and decrescendi translate into MIDI volume
-levels. Dynamic marks translate to a fixed fraction of the available
-MIDI volume range, crescendi and decrescendi make the the volume vary
-linearly between their two extremities. The fractions be adjusted by
-overriding the @code{absolute-volume-alist} defined in
-@file{scm/midi.scm}.
+@refbugs
-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. You can add
-instruments and ranges or change the default settings by overriding the
-@code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
+Many musically interesting effects, such as swing, articulation,
+slurring, etc., are not translated to MIDI.
-Both loudness controls are combined to produce the final MIDI volume.
@menu
* MIDI block::
* MIDI instrument names::
@end menu
-@c . {MIDI block}
+
@node MIDI block
@subsection MIDI block
@cindex MIDI block
@cindex MIDI block
@itemize @bullet
- @item a @code{\tempo} definition
- @item context definitions
+ @item a @code{\tempo} definition, and
+ @item context definitions.
@end itemize
Assignments in the @code{\midi} block are not allowed.
+A number followed by a period is interpreted as a real number, so
+for setting the tempo for dotted notes, an extra space should be
+inserted, for example:
+
+@example
+ \midi @{ \tempo 4 . = 120 @}
+@end example
@cindex context definition
@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.
-
+If the selected string does not exactly match, then the default is
+used, which is the Grand Piano.
projects / lilypond.git / blobdiff