X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Finstrument-notation.itely;h=af4c9ce9b684b2e32128ea6644f5452708fc413c;hb=a327a1212bd28d350e7648fbbcbe593d8ceaeb3e;hp=b6f89f7e6128aa2b7a7700d53f4bfa70f8826143;hpb=956ad1aae8cbf51546c43b3618c26db33ee1d7ee;p=lilypond.git diff --git a/Documentation/user/instrument-notation.itely b/Documentation/user/instrument-notation.itely index b6f89f7e61..af4c9ce9b6 100644 --- a/Documentation/user/instrument-notation.itely +++ b/Documentation/user/instrument-notation.itely @@ -1,5 +1,12 @@ @c -*- coding: utf-8; mode: texinfo; -*- @c This file is part of lilypond.tely +@ignore + Translation of GIT committish: FILL-IN-HEAD-COMMITTISH + + When revising a translation, copy the HEAD committish of the + version that you are working on. See TRANSLATION for details. +@end ignore + @c A menu is needed before every deeper *section nesting of @node's; run @c M-x texinfo-all-menus-update @@ -44,7 +51,7 @@ handle this cross-staffing behavior. In this section we discuss the @refbugs Dynamics are not centered, but workarounds do exist. See the -``piano centered dynamics'' template in @ref{Piano templates}. +@q{piano centered dynamics} template in @ref{Piano templates}. @cindex cross staff stem @cindex stem, cross staff @@ -148,7 +155,7 @@ usually the setup for a score will start with a setup of the staves, and the @context{Voice} is inserted afterwards @example -\new Staff = down +\context Staff = down \new Voice @{ @dots{} \change Staff = up @dots{} @} @end example @@ -197,7 +204,7 @@ b\sustainUp\sustainDown b g \sustainUp a \sustainDown \bar "|." @end lilypond -The default `*Ped.' style for sustain and damper pedals corresponds to +The default @q{*Ped.} style for sustain and damper pedals corresponds to style @code{#'text}. The sostenuto pedal uses @code{mixed} style by default. @@ -356,7 +363,7 @@ modifier (which may include a number if desired) @lilypond[quote,fragment,verbatim] \chordmode { e1:m e1:7 e1:m7 } @end lilypond -The first number following the root is taken to be the `type' of the +The first number following the root is taken to be the @q{type} of the chord, thirds are added to the root until it reaches the specified number @lilypond[quote,fragment,verbatim] @@ -512,8 +519,8 @@ for showing repeats. \consists "Volta_engraver" } \chordmode { \repeat volta 2 { - f1:maj f:7 bes:7 - c:maj + f1:maj7 f:7 bes:7 + c:maj7 } \alternative { es e } @@ -580,7 +587,7 @@ separators, e.g., @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 +function. Special note names (for example, the German @q{H} for a B-chord) can be produced by storing a new function in this property. @funindex chordNoteNamer @@ -592,9 +599,9 @@ base can be printed in lower case. @funindex chordPrefixSpacer @item chordPrefixSpacer -The ``m'' for minor chords is usually printed right after the root of +The @q{m} for minor chords is usually printed right after the root of the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer -between the root and ``m''. The spacer is not used when the root +between the root and @q{m}. The spacer is not used when the root is altered. @end table @@ -790,17 +797,25 @@ property commands @funindex _ @cindex spaces, in lyrics @cindex quotes, in lyrics +@cindex ties, in lyrics -In order to assign more than one syllable to a single note, you must -surround them with quotes or use a @code{_} character between the syllables. +In order to assign more than one syllable to a single note, you can +surround them with quotes or use a @code{_} character, to get spaces +between syllables, or use tilde symbol (@code{~}) to get a lyric tie. @lilypond[quote,relative=2,ragged-right,fragment,verbatim] \time 3/4 \relative { c2 e4 g2 e4 } \addlyrics { gran- de_a- mi- go } \addlyrics { pu- "ro y ho-" nes- to } +\addlyrics { pu- ro~yho- nes- to } @end lilypond +The lyric ties is implemented with the Unicode character U+203F, so be +sure to have a font (Like DejaVuLGC) installed that includes this +glyph. + + To enter lyrics with characters from non-English languages, or with non-ascii characters (such as the heart symbol or slanted quotes), simply insert the characters directly into the input file and save @@ -858,7 +873,7 @@ Program reference: @internalsref{LyricText}, @internalsref{LyricSpace}. @cindex hyphens -Centered hyphens are entered as `@code{--}' between syllables. +Centered hyphens are entered as @samp{--} between syllables. The hyphen will have variable length depending on the space between the syllables and it will be centered between the syllables. @@ -868,7 +883,7 @@ the syllables and it will be centered between the syllables. 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{__}'. +@samp{__}. In tighly engraved music, hyphens can be removed. Whether this happens can be controlled with the @code{minimum-distance} (minimum @@ -1126,8 +1141,8 @@ in the text, as shown here, @end lilypond -The @code{ignoreMelismata} applies to the syllable ``fas'', so it -should be entered before ``go''. +The @code{ignoreMelismata} applies to the syllable @q{fas}, so it +should be entered before @q{go}. The reverse is also possible: making a lyric line slower than the standard. This can be achieved by insert @code{\skip}s into the @@ -1233,7 +1248,7 @@ done by setting the @code{associatedVoice} property. In the example @end lilypond @noindent -the text for the first stanza is set to a melody called ``lahlah'', +the text for the first stanza is set to a melody called @q{lahlah}, @example \new Lyrics \lyricsto "lahlah" @{ @@ -1243,7 +1258,7 @@ the text for the first stanza is set to a melody called ``lahlah'', The second stanza initially is set to the @code{lahlah} context, but -for the syllable ``ran'', it switches to a different melody. +for the syllable @q{ran}, it switches to a different melody. This is achieved with @example \set associatedVoice = alternative @@ -1253,7 +1268,7 @@ This is achieved with Here, @code{alternative} is the name of the @code{Voice} context containing the triplet. -Again, the command must be one syllable too early, before ``Ty'' in +Again, the command must be one syllable too early, before @q{Ty} in this case. @example @@ -1279,25 +1294,16 @@ It is also possible to define melismata entirely in the lyrics. This can be done by entering @code{_} for every note that is part of the melisma. -@lilypond[relative=1,verbatim,fragment] +@lilypond[relative=1,verbatim,fragment,quote] { \set melismaBusyProperties = #'() c d( e) f f( e) e e } \addlyrics { Ky -- _ _ ri __ _ _ _ e } @end lilypond -In this case, you can also have ties and slurs in the melody, if you +In this case, you can also have ties and slurs in the melody if you set @code{melismaBusyProperties}, as is done in the example above. -@lilypond[relative=1,verbatim,fragment,quote] -{ - \set melismaBusyProperties = #'() - c d( e) f f( e) e e -} -\addlyrics - { Ky -- _ _ ri __ _ _ _ e } -@end lilypond - @node Lyrics independent of notes @subsubsection Lyrics independent of notes @@ -1375,12 +1381,11 @@ layout. @node More about stanzas @subsection More about stanzas +@c what's this doing here? @cindex phrasing, in lyrics - @cindex stanza number -@cindex singer's names -@cindex name of singer +@subsubsection Adding stanza numbers Stanza numbers can be added by setting @code{stanza}, e.g., @@ -1396,7 +1401,57 @@ Stanza numbers can be added by setting @code{stanza}, e.g., } @end lilypond -These numbers are put just before the start of first syllable. +@noindent +These numbers are put just before the start of the first syllable. + + +@subsubsection Adding dynamics marks + +Stanzas differing in loudness may be indicated by putting a +dynamics mark before each stanza. In Lilypond, everthing coming in +front of a stanza goes into the @code{StanzaNumber} object; dynamics marks +are no different. For technical reasons, you have to set the stanza +outside @code{\lyricmode}: + +@lilypond[quote,ragged-right,verbatim] +text = { + \set stanza = \markup { \dynamic "ff" "1. " } + \lyricmode { + Big bang + } +} + +<< + \new Voice = "tune" { + \time 3/4 + g'4 c'2 + } +\new Lyrics \lyricsto "tune" \text +>> +@end lilypond + +@cindex singer name +@cindex name of singer +@subsubsection Adding singer names + +Names of singers can also be added. They are printed at the start of +the line, just like instrument names. They are created by setting +@code{vocalName}. A short version may be entered as @code{shortVocalName}. + +@lilypond[fragment,ragged-right,quote,verbatim,relative=2] +\new Voice { + \time 3/4 g2 e4 a2 f4 g2. +} \addlyrics { + \set vocalName = "Bert " + Hi, my name is Bert. +} \addlyrics { + \set vocalName = "Ernie " + Oh, che -- ri, je t'aime +} +@end lilypond + + +@subsubsection Printing stanzas at the end Sometimes it is appropriate to have one stanza set to the music, and the rest added in verse form at @@ -1442,20 +1497,70 @@ its fleece was white as snow. @end lilypond -Names of singers can also be added. They are printed at the start of -the line, just like instrument names. They are created by setting -@code{vocalName}. A short version may be entered as @code{vocNam}. +@subsubsection Printing stanzas at the end in multiple columns +When a piece of music has many verses, they are often printed in +multiple columns across the page. An outdented verse number often +introduces each verse. The following example shows how to produce such +output in Lilypond. -@lilypond[fragment,ragged-right,quote,verbatim,relative=2] -\new Voice { - \time 3/4 g2 e4 a2 f4 g2. -} \addlyrics { - \set vocalName = "Bert " - Hi, my name is Bert. -} \addlyrics { - \set vocalName = "Ernie " - Oh, che -- ri, je t'aime +@lilypond[ragged-right,quote,verbatim] +melody = \relative c' { + c c c c | d d d d +} + +text = \lyricmode { + \set stanza = "1." This is verse one. + It has two lines. +} + +\score{ << + \new Voice = "one" { \melody } + \new Lyrics \lyricsto "one" \text + >> + \layout { } +} + +\markup { + \fill-line { + \hspace #0.1 % moves the column off the left margin; can be removed if + % space on the page is tight + \column { + \line { \bold "2." + \column { + "This is verse two." + "It has two lines." + } + } + \hspace #0.1 % adds vertical spacing between verses + \line { \bold "3." + \column { + "This is verse three." + "It has two lines." + } + } + } + \hspace #0.1 % adds horizontal spacing between columns; if they are + % still too close, add more " " pairs until the result + % looks good + \column { + \line { \bold "4." + \column { + "This is verse four." + "It has two lines." + } + } + \hspace #0.1 % adds vertical spacing between verses + \line { \bold "5." + \column { + "This is verse five." + "It has two lines." + } + } + } + \hspace #0.1 % gives some extra space on the right margin; can + % be removed if page space is tight + } } @end lilypond @@ -1571,7 +1676,7 @@ can ask them for specific instructions about where to move these examples, and that might get them more involved in the docs. -gp @end ignore -``Parlato'' is spoken without pitch but still with rhythm; it is +@q{Parlato} is spoken without pitch but still with rhythm; it is notated by cross noteheads. This is demonstrated in @ref{Special noteheads}. @@ -1905,6 +2010,7 @@ around each @code{\parenthesize} statement. * Non-guitar tablatures:: * Banjo tablatures:: * Fret diagrams:: +* Right hand fingerings:: * Other guitar issues:: @end menu @@ -2135,6 +2241,62 @@ Details about the property interface to fret diagrams are found at Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly} +@node Right hand fingerings +@subsection Right hand fingerings + +Right hand fingerings in chords can be entered using +@code{@var{note}-\rightHandFinger @var{finger}} + +@lilypond[verbatim,fragment,relative=2] + +@end lilypond + +for brevity, you can abbreviate @code{\rightHandFinger} to something +short, for example @code{RH}, + +@example +#(define RH rightHandFinger) +@end example + +@cindex fingerings, right hand, for guitar +@cindex right hand fingerings for guitar + +@commonprop + +You may exercise greater control over right handing fingerings by +setting @code{strokeFingerOrientations}, + +@lilypond[quote,verbatim,ragged-right,fragment,relative=1] +#(define RH rightHandFinger) +{ + \set strokeFingerOrientations = #'(up down) + 4 + \set strokeFingerOrientations = #'(up right down) + 4 +} +@end lilypond + +The letters used for the fingerings are contained in the property +@code{digit-names}, but they can also be set individually by supplying +@code{\rightHandFinger} with a string argument, as in the following example + + +@lilypond[quote,verbatim,ragged-right,fragment,relative=1] +#(define RH rightHandFinger) +{ + \set strokeFingerOrientations = #'(right) + \override StrokeFinger #'digit-names = ##("x" "y" "z" "!" "@") + 4 + 4 +} +@end lilypond + +@seealso + +Internalls: @internalsref{StrokeFinger} + + + @node Other guitar issues @subsection Other guitar issues @@ -2404,9 +2566,9 @@ overview over all available note head styles. @cindex accidentals -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}. +Use the @code{glyph-name-alist} property of grob +@internalsref{Accidental} and @internalsref{KeySignature} to select +ancient accidentals. @lilypond[quote,ragged-right,staffsize=26] \score { @@ -2453,7 +2615,7 @@ 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 +controlled by the @code{glyph-name-alist} property of the @internalsref{KeySignature} grob. @seealso @@ -2719,16 +2881,16 @@ historic style hufnagel combined do/fa clef -@emph{Modern style} means ``as is typeset in contemporary editions of -transcribed mensural music''. +@emph{Modern style} means @qq{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{Petrucci style} means @qq{inspired by printings published by the +famous engraver Petrucci (1466-1539).} -@emph{Historic style} means ``as was typeset or written in historic -editions (other than those of Petrucci)''. +@emph{Historic style} means @qq{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''. +@emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.} Petrucci used C clefs with differently balanced left-side vertical beams, depending on which staff line it is printed. @@ -2911,11 +3073,11 @@ Editio Vaticana style. \override TextScript #'font-family = #'typewriter \override TextScript #'font-shape = #'upright \override Script #'padding = #-0.1 - a4\ictus_"ictus" s1 - a4\circulus_"circulus" s1 - a4\semicirculus_"semicirculus" s1 s - a4\accentus_"accentus" s1 - \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \] + a\ictus_"ictus" \break + a\circulus_"circulus" \break + a\semicirculus_"semicirculus" \break + a\accentus_"accentus" \break + \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \] } } @end lilypond @@ -2925,13 +3087,16 @@ Editio Vaticana style. Some articulations are vertically placed too closely to the correpsonding note heads. +The episem line is not displayed in many cases. If it is displayed, +the right end of the episem line is often too far to the right. + @node Custodes @subsection Custodes @cindex custos @cindex custodes -A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a +A @emph{custos} (plural: @emph{custodes}; Latin word for @q{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 thus helping the performer to manage line breaks during performance. @@ -3012,7 +3177,7 @@ Examples: @inputfileref{input/@/regression,custos@/.ly}. @cindex finalis A @emph{divisio} (plural: @emph{divisiones}; Latin word for -`division') is a staff context symbol that is used to structure +@q{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 @@ -3097,8 +3262,6 @@ 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 not handled correctly. - The syntax still uses the deprecated infix style @code{\[ music expr \]}. For consistency reasons, it will eventually be changed to postfix style @code{note\[ ... note\]}. Alternatively, the file @@ -3154,11 +3317,8 @@ For example, \override Staff.TimeSignature #'style = #'neomensural \clef "petrucci-g" \[ c'\maxima g \] -s4 \[ d\longa c\breve f e d \] -s4 \[ c'\maxima d'\longa \] -s4 \[ e'1 a g\breve \] @end example @lilypond[quote,ragged-right] @@ -3170,11 +3330,8 @@ s4 \override Staff.TimeSignature #'style = #'neomensural \clef "petrucci-g" \[ c'\maxima g \] - s4 \[ d\longa c\breve f e d \] - s4 \[ c'\maxima d'\longa \] - s4 \[ e'1 a g\breve \] } \layout { @@ -3199,19 +3356,15 @@ to the following \override Staff.TimeSignature #'style = #'neomensural \clef "petrucci-g" \[ c'\maxima g \] - s4 \[ d\longa c\breve f e d \] - s4 \[ c'\maxima d'\longa \] - s4 \[ e'1 a g\breve \] } @end lilypond @refbugs -The invisible rests (@code{s4}) in the example are used to compensate -for the poor horizontal spacing. +Horizontal spacing is poor. @node Gregorian square neumes ligatures @subsubsection Gregorian square neumes ligatures @@ -4099,6 +4252,25 @@ ligatures can be created. @c even more Gregorian ligatures, and add a link to this document @c here. +Augmentum dots, also called @emph{morae}, are added with the music +function @code{\augmentum}. Note that @code{\augmentum} is +implemented as a unary music function rather than as head prefix. It +applies to the immediately following music expression only. That is, +@code{\augmentum \virga c} will have no visible effect. Instead, say +@code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also +note that you can say @code{\augmentum @{a g@}} as a shortcut for +@code{\augmentum a \augmentum g}. + +@lilypond[quote,ragged-right,verbatim] +\include "gregorian-init.ly" +\score { + \new VaticanaVoice { + \[ \augmentum a \flexa \augmentum g \] + \augmentum g + } +} +@end lilypond + @refcommands The following head prefixes are supported @@ -4136,7 +4308,19 @@ 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. +@funindex \augmentum +Use the unary music function @code{\augmentum} to add augmentum dots. +@refbugs + +When an @code{\augmentum} dot appears at the end of the last staff +within a ligature, it is sometimes vertically placed wrong. As a +workaround, add an additional skip note (e.g. @code{s8}) as last note +of the staff. + +@code{\augmentum} should be implemented as a head prefix rather than a +unary music function, such that @code{\augmentum} can be intermixed +with head prefixes in arbitrary order. @node Gregorian Chant contexts @subsection Gregorian Chant contexts @@ -4209,7 +4393,7 @@ entering the chant, as the following excerpt demonstrates In European music from before about 1600, singers were often expected to chromatically alter notes at their own initiative. This is called -``Musica Ficta''. In modern transcriptions, these accidentals are +@q{Musica Ficta}. In modern transcriptions, these accidentals are usually printed over the note. @cindex Accidental, musica ficta @@ -4371,6 +4555,39 @@ 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}. + +Figured bass can also be added to @code{Staff} contexts +directly. In this case, their vertical position is adjusted +automatically. + +@lilypond[ragged-right,fragment,quote] +<< + \new Staff = someUniqueName + \relative c'' { + c4 c'8 r8 c,4 c' + } + + %% send to existing Staff. + \context Staff = someUniqueName + \figuremode { + <4>4 <6 10>8 s8 + + \set Staff.useBassFigureExtenders = ##t + <4 6>4 <4 6> + } +>> +@end lilypond + + +@refbugs + +When using figured bass above the staff with extender lines and +@code{implicitBassFigures} the lines may become swapped around. +Maintaining order consistently will be impossible when multiple figures +have overlapping extender lines. To avoid this problem, plese +use @code{stacking-dir} on @code{BassFigureAlignment}. + + @seealso Program reference: @internalsref{NewBassFigure},