-q@c Note: -*-texinfo-*-
+@c Note: -*-texinfo-*-
@c
@c A menu is needed before every deeper *section nesting of @node's; run
@c M-x texinfo-all-menus-update
@node Notation manual
@chapter Notation manual
-@html
-<!--- @@WEB-TITLE@@=Notation manual --->
-@end html
-
-
@menu
* Note entry::
* Easier music entry::
@cindex easy notation
@cindex Hal Leonard
-The `easyplay' note head includes a note name inside the head. It is
-used in music aimed at beginners.
+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
In scores with many staves, a @code{\bar} command in one staff is
-automatically applied to all staffs. The resulting bar lines are
+automatically applied to all staves. The resulting bar lines are
connected between different staves of a @internalsref{StaffGroup}:
@c
@lilypond[fragment, verbatim]
The bar line objects that are created at @internalsref{Staff} level
-are called @internalsref{BarLine}, the bar lines that span staffs are
+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.
+
@node Polyphony
@section Polyphony
@refbugs
-@cindex hara kiri
+@cindex Frenched staves
+
+Automatically kneed beams cannot be used together with hidden staves.
-Automatically kneed beams cannot be used together with Hara Kiri
-staves.
@menu
@refbugs
-It is not possible to specify beaming parameters for beams with mixed
-durations, that differ from the beaming parameters of all separate
-durations, i.e. you will have to specify manual beams to get:
+The rules for ending a beam depend on the shortest note in a beam.
+So, while it is possible to have different ending rules for eight
+beams and sixteenth beams, a beam that contains both eight and
+sixteenth notes will use the rules for the sixteenth beam.
+
+In the example below, the autobeamer makes eight beams and sixteenth
+end at 3 eights; the third beam can only be corrected by specifying
+manual beaming.
@lilypond[singleline,fragment,relative,noverbatim,quote]
\property Voice.autoBeamSettings
\override #'(end * * * *) = #(ly:make-moment 3 8)
- \time 12/8 c'8 c c c16 c c c c c c-[ c c c-] c8 c c4
+ % 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
You can use the thumb-script to indicate that a note should be
played with your thumb (used in cello music):
-@lilypond[verbatim, singleline, fragmnt]
+@lilypond[verbatim, singleline, fragment]
<<a' a''-3>>8-(_\thumb-[ <<b' b''-3>>-)_\thumb
<<c'' c'''-3>>-(_\thumb <<d'' d'''-3>>-)_\thumb-]
@end lilypond
A score that starts with an @code{\grace} section needs an explicit
@code{\context Voice} declaration, otherwise the main note and grace
-note end up on different staffs.
+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
Include @file{drumpitch-init.ly} to use drum pitches. This file
defines the pitches from the Scheme variable @code{drum-pitch-names},
the definition of which can be read in @file{scm/drums.scm}. Each
-piece of percussion has a full name and an abbreviated name, and both
+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 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
the existing list:
@example
-#(set-drum-kit 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))
) (get-drum-kit 'drums)))
@end example
-The file @file{drumpitch-init.ly} replaces the normal pitch names, so
-you have to reinclude @file{nederlands.ly} after the
+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]
Normally, this will put the lyrics below the staff. For different or
more complex orderings, the best way is to setup the hierarchy of
-staffs and lyrics first, e.g.
+staves and lyrics first, e.g.
@example
\context ChoirStaff \notes <
\context Lyrics = LA @{ s1 @}
* Transpose::
* Multi measure rests::
* Automatic part combining::
-* Frenched scores::
+* Hiding staves::
* Sound output for transposing instruments::
@end menu
@node Multiple staff contexts
@subsection Multiple staff contexts
-Polyphonic scores consist of many staffs. These staffs can be
+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
@subsection Instrument names
In an orchestral score, instrument names are printed left side of the
-staffs.
+staves.
This can be achieved by setting @internalsref{Staff}.@code{instrument}
and @internalsref{Staff}.@code{instr}. This will print a string before
@cindex @code{Voice_engraver}
@cindex @code{A2_engraver}
-@node Frenched scores
-@subsection Frenched scores
+@node Hiding staves
+@subsection Hiding staves
+
+@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'.
switched on by default. When these line of these contexts turn out
empty after the line-breaking process, they are removed.
-
-For normal staffs, a specialized @internalsref{Staff} context is
-available, which does the same: staffs containing nothing (or only
+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:
@cindex Petrucci
@cindex mensural
-@c [TODO: write introduction on ancient notation]
+@c [TODO: write more comprehensive introduction on ancient notation]
+
+Support for ancient notation is still under heavy development.
+Regardless of all of the current limitations (see the bugs section
+below for details), it currently 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.
@menu
* Ancient note heads::
-* Ancient clefs ::
+* Ancient accidentals::
+* Ancient rests::
+* Ancient clefs::
+* Ancient flags::
+* Ancient time signatures::
+@end menu
+
+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
* Custodes::
* Divisiones::
* Ligatures::
* Figured bass::
@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.
+
+@menu
+* Vaticana style contexts::
+@end menu
+
+@refbugs
+
+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.
+
+Accidentals must not be printed within a ligature, but instead need to
+be collected and printed in front of it.
+
+Augmentum dots within ligatures are currently not handled correctly.
+
@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:
+@cindex note heads
+
+@syntax
+
+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.
+
+The following example demonstrates the @code{neo_mensural} style:
+
+@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
+
+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.
+
+@seealso
+
+@inputfileref{input/regression,note-head-style.ly} gives an overview
+over all available note head styles.
+
+@ref{Percussion staves} use note head styles of their own that are
+frequently used in contemporary music notation.
+
+@node Ancient accidentals
+@subsection Ancient accidentals
+
+@cindex accidentals
+
+@syntax
+
+Use the @code{style} property of grob @internalsref{Accidental} to
+select ancient accidentals. Currently supported styles are
+@code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
+
+@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
+
+As shown, not all accidentals are supported by each style. When
+trying to access an unsupported accidental, LilyPond will switch to a
+different style, as demonstrated in
+@inputfileref{input/test,ancient-accidentals.ly}.
+
+Similarly to local accidentals, the style of the key signature can be
+controlled by the @code{style} property of the
+@internalsref{KeySignature} grob.
+
+@seealso
+
+@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.
+
+
+@node Ancient rests
+@subsection Ancient rests
+
+@cindex rests
+
+@syntax
+
+Use the @code{style} property of grob @internalsref{Rest} to select
+ancient accidentals. Currently 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.
+
+The following example demonstrates the @code{neo_mensural} style:
@lilypond[fragment,singleline,verbatim]
- \property Voice.NoteHead \set #'style = #'mensural
- a'\longa
+ \property Voice.Rest \set #'style = #'neo_mensural
+ r\longa r\breve r1 r2 r4 r8 r16
@end lilypond
-@node Ancient clefs
+There are no 32th and 64th rests specifically for the mensural or
+neo-mensural style. Instead, the rests from the default style will be
+taken. See @inputfileref{input/test,rests.ly} for a chart of all
+rests.
+
+There are no rests in Gregorian Chant notation; instead, it uses
+@ref{Divisiones}.
+
+@seealso
+
+@ref{Rests} gives a general introduction into the use of rests.
+
+
+@node Ancient clefs
@subsection Ancient clefs
-LilyPond supports a variety of clefs, many of them ancient.
+@cindex clefs
-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}.
+@syntax
+
+LilyPond supports a variety of clefs, many of them ancient.
The following table shows all ancient clefs that are supported via the
@code{\clef} command. Some of the clefs use the same glyph, but
differ only with respect to the line they are printed on. In such
cases, a trailing number in the name is used to enumerate these clefs.
Still, you can manually force a clef glyph to be typeset on an
-arbitrary line, as described in section @ref{Clef}. The note printed
-to the right side of each clef in the example column denotes the
-@code{c'} with respect to that clef.
+arbitrary line, as described in @ref{Clef}. The note printed to the
+right side of each clef in the example column denotes the @code{c'}
+with respect to that clef.
@multitable @columnfractions .3 .3 .3 .1
@end lilypond
@item
-@code{clefs-mensural_c'} @tab
+@code{clefs-mensural_c} @tab
historic style mensural C clef @tab
@code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
@code{mensural_c4} @tab
Petrucci used C clefs with differently balanced left-side vertical
beams, depending on which staffline it is printed.
+@seealso
+
+For modern clefs, see @ref{Clef}. For the percussion clef, see
+@ref{Percussion staves}. For the @code{TAB} clef, see
+@ref{Tablatures}.
+
+
+@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,
+currently 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.
+
+
+@node Ancient time signatures
+@subsection Ancient time signatures
+
+@cindex time signatures
+
+@syntax
+
+There is limited support for mensural time signatures. Currently, 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 {
+ \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
+
+Use the @code{style} property of grob @internalsref{TimeSignature} to
+select ancient time signatures. Currently 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
+
+@ref{Time signature} gives a general introduction into the use of time
+signatures.
+
+@refbugs
+
+Mensural signature glyphs are currently 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 currently 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 currently
+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
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:
@seealso
-
-@internalsref{Custos}, @inputfileref{input/test,custos-style.ly} and
-@inputfileref{input/regression,custos.ly}.
+@internalsref{Custos} and @inputfileref{input/regression,custos.ly}.
@node Divisiones
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},
@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 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.
+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
There is 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{Mensural_ligature_engraver} has to be put into
-the @internalsref{Voice} context, and remove the
+complex ligatures.
+
+@syntax
+
+To engrave white mensural ligatures, in the paper block the
+@internalsref{Mensural_ligature_engraver} has to be put into the
+@internalsref{Voice} context, and remove the
@internalsref{Ligature_bracket_engraver}:
@example
}
@end lilypond
+
@node Gregorian square neumes ligatures
@subsubsection Gregorian square neumes ligatures
@end multitable
+@syntax
Unlike most other neumes notation systems, the input language for
neumes does not necessarily reflect directly the typographical
appearance, but is designed to solely focuse on musical meaning. For
example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
-a torculus with a curved flexa shape and only a single Punctum head.
+a Porrectus with a curved flexa shape and only a single Punctum head.
There is no command to explicitly typeset the curved flexa shape; the
decision of when to typeset a curved flexa shape is purely taken from
the musical input. The idea of this approach is to separate the
@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.
+
@refbugs
Scandicus Deminutus: Punctum Auctum Ascendens overlaps with
Trigonus: apply equal spacing, regardless of pitch.
+Flexa and similar figurae: the left appendix should be adjusted with
+respect to the position of this head (on staffline or on staffspace)
+and the vertical position of the subsequent head.
+
@node Figured bass
@subsection Figured bass
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
+
@node Contemporary notation
@section Contemporary notation
@seealso
@internalsref{OverrideProperty}, @internalsref{RevertProperty},
-@internalsref{PropertySet}, @internalsref{backend properties}, and
-@internalsref{All layout objects}.
+@internalsref{PropertySet}, @internalsref{All-backend-properties}, and
+@internalsref{All-layout-objects}.
@refbugs
support). In this case, the direction signifies where to put the
victim object relative to the support (left or right, up or down?)
@end quotation
+
+@cindex padding
+@noindent
below this description, the variable @code{padding} is described as
@quotation
@table @code
@internalsref{Score}.
The internals document also contains alphabetical lists of
-@internalsref{All contexts}, @internalsref{All layout objects} and
-@internalsref{All music types}, so you can also find which objects to
+@internalsref{Contexts}, @internalsref{All-layout-objects} and
+@internalsref{Music-expressions}, so you can also find which objects to
tweak by browsing the internals document.
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
@end lilypond
The markup mechanism is extensible. Refer to
-@file{scm/new-markup.scm} for more information on extending the markup
-mode.
+@file{scm/new-markup.scm} for more information.
@seealso
-@internalsref{Markup functions}, and @file{scm/new-markup.scm}.
+@internalsref{Markup-functions}, and @file{scm/new-markup.scm}.
@refbugs
Syntax errors for markup mode are confusing.
+
+
@node Global layout
@section Global layout
projects / lilypond.git / blobdiff