@refbugs
-When @code{soloADue} is set, when the two voices play the same notes
-on and off, the part combiner may typeset @code{a2} more than once in
-a measure.
+When @code{printPartCombineTexts} is set, when the two voices play the
+same notes on and off, the part combiner may typeset @code{a2} more
+than once in a measure.
@code{\partcombine} cannot be inside @code{\times}.
With quotations, fragments of other parts can be inserted into a part
directly. Before a part can be quoted, it must be marked especially as
-quotable. This is done with code @code{\addquote} command. The
-quotation may then be done with @code{\quote}
+quotable. This is done with code @code{\addquote} command.
@example
\addquote @var{name} @var{music}
-\quote @var{name} @var{duration}
@end example
-@noindent
+@noindent
Here, @var{name} is an identifying string. The @var{music} is any kind
of music. This is an example of @code{\addquote}
}
@end verbatim
+This command must be entered at toplevel, i.e. outside any music
+blocks.
+
+After calling @code{\addquote}, the quotation may then be done with
+@code{\quote},
+
+@example
+\quote @var{name} @var{duration}
+@end example
+
During a part, a piece of music can be quoted with the @code{\quote}
command.
\quote clarinet 2.
@end example
-This would cite 3 quarter notes (a dotted half note) of the previously
-added clarinet voice.
+This would cite three quarter notes (@code{2.} is a dotted half note)
+of the previously added @code{clarinet} voice.
-Quotations take into account the transposition both source and target
+More precisely, it takes the current time-step of the part being
+printed, and extracts the notes at the corresponding point of the
+@code{\addquote}d voice. Therefore, the argument to @code{\addquote}
+should be the entire part of the voice to be quoted, including any
+rests at the beginning.
+
+Quotations take into account the transposition of both source and target
instruments, if they are specified using the @code{\transposition} command.
@lilypond[quote,raggedright,verbatim]
figured bass notation.
Many graphical objects provide a @code{style} property, see
-@ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
-rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
-signatures}. By manipulating such a grob property, the typographical
-appearance of the affected graphical objects can be accommodated for a
-specific notation flavor without need for introducing any new
-notational concept.
+@itemize @bullet
+@item
+@ref{Ancient note heads},
+@item
+@ref{Ancient accidentals},
+@item
+@ref{Ancient
+rests},
+@item
+@ref{Ancient clefs},
+@item
+@ref{Ancient flags}
+@item
+@ref{Ancient time signatures}.
+@end itemize
+
+By manipulating such a grob property, the typographical appearance of
+the affected graphical objects can be accommodated for a specific
+notation flavor without need for introducing any new notational
+concept.
Other aspects of ancient notation can not that easily be expressed as
in terms of just changing a style property of a graphical object.
Therefore, some notational concepts are introduced specifically for
-ancient notation, see @ref{Custodes}, @ref{Divisiones},
-@ref{Ligatures}, and @ref{Figured bass}.
+ancient notation,
+@itemize @bullet
+@item
+@ref{Custodes},
+@item
+@ref{Divisiones},
+@item
+@ref{Ligatures},
+@item
+@ref{Figured bass}.
+@end itemize
@menu
* Ancient note heads::
* 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, 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.
-
-@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 not handled correctly.
-
+If this all is 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, 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
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{neomensural} 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{neomensural} style differs from
-the @code{baroque} style in that it uses rhomboidal heads for whole
-notes and all smaller durations. Stems are centered on the note
-heads. This style is in particular useful when transcribing mensural
-music, e.g. for the incipit. The @code{mensural} style finally
-produces note heads that mimic the look of note heads in historic
-printings of the 16th century.
+property of the NoteHead object to @code{baroque}, @code{neomensural}
+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{neomensural} style differs from the
+@code{baroque} style in that it uses rhomboidal heads for whole notes
+and all smaller durations. Stems are centered on the note heads.
+This style is in particular useful when transcribing mensural music,
+e.g. for the incipit. The @code{mensural} style finally produces note
+heads that mimic the look of note heads in historic printings of the
+16th century.
The following example demonstrates the @code{neomensural} style
-@lilypond[quote,fragment,raggedright,verbatim]
+@lilypond[quote,fragment,raggedright]
+\set Score.skipBars = ##T
\override NoteHead #'style = #'neomensural
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.
+When typesetting a piece in Gregorian Chant notation, the
+@internalsref{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
+@internalsref{Mensural_ligature_engraver} is used to automatically
+assemble mensural ligatures. See @ref{Ligatures} for how ligature
+engravers work.
@seealso
-In this manual
-@ref{Percussion staves} use note head styles of their own that are
-frequently used in contemporary music notation.
-
Examples: @inputfileref{input/regression,note-head-style.ly} gives an
overview over all available note head styles.
The following example demonstrates the @code{neomensural} style
-@lilypond[quote,fragment,raggedright,verbatim]
+@lilypond[quote,fragment,raggedright]
\override Rest #'style = #'neomensural
+\set Score.skipBars = ##t
r\longa r\breve r1 r2 r4 r8 r16
@end lilypond
@refbugs
-The mensural g clef is mapped to the Petrucci g clef, until a new
-mensural g clef is implemented.
+The mensural g clef is mapped to the Petrucci g clef.
@end lilypond
There is no particular flag style for neo-mensural notation. Hence,
-when typesetting e.g. the incipit of a transcribed piece of mensural
+when typesetting the incipit of a transcribed piece of mensural
music, the default flag style should be used. There are no flags in
Gregorian Chant notation.
Use the @code{style} property of grob @internalsref{TimeSignature} to
select ancient time signatures. Supported styles are
@code{neomensural} and @code{mensural}. The above table uses the
-@code{neomensural} style. This style is appropriate e.g. for the
+@code{neomensural} style. This style is appropriate for the
incipit of transcriptions of mensural pieces. The @code{mensural}
style mimics the look of historical printings of the 16th century.
@example
breveTP = #(ly:make-duration -1 0 3 2)
+ @dots{}
+ { c\breveTP f1 }
@end example
@noindent
-This sets breveTP to 3/2 times 2 = 3 times a whole note.
+This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
addressable with @code{\time}. Use a @code{\markup} instead
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.
+of the first note(s) of the following line thus helping the performer
+to manage line breaks during performance.
Custodes were frequently used in music notation until the 17th
century. Nowadays, they have survived only in a few particular forms
\new Lyrics \lyrics {
\markup {
\column <
- "vaticana"
+ \typewriter "vaticana"
{ " " \musicglyph #"custodes-vaticana-u0" }
> }
\markup { \column <
- "medicaea"
+ \typewriter "medicaea"
{ " " \musicglyph #"custodes-medicaea-u0" }
>}
\markup {
\column <
- "hufnagel"
+ \typewriter "hufnagel"
{ " " \musicglyph #"custodes-hufnagel-u0" }
>}
\markup {
\column <
- "mensural"
+ \typewriter "mensural"
{ " " \musicglyph #"custodes-mensural-u0" }
>}
}
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.
+the breathmarks from @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.
To use divisiones, include the file @code{gregorian-init.ly}. It
@c TODO: Should double check if I recalled things correctly when I wrote
@c down the following paragraph by heart.
-A ligature is a coherent graphical symbol that represents at least two
-distinct notes. Ligatures originally appeared in the manuscripts of
-Gregorian chant notation roughly since the 9th century to denote
-ascending or descending sequences of notes.
+A ligature is a graphical symbol that represents at least two distinct
+notes. Ligatures originally appeared in the manuscripts of Gregorian
+chant notation to denote ascending or descending sequences of notes.
Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
Some ligature styles may need additional input syntax specific for
the following subsections. Only white mensural ligatures
are supported with certain limitations.
+
+
+@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 not handled correctly.
+
+
@menu
* White mensural ligatures::
* Gregorian square neumes ligatures::
@refbugs
-The implementation is experimental; it may output strange warnings or
-even crash in some cases or produce weird results on more complex
-ligatures.
+The implementation is experimental. It may output strange warnings,
+incorrect results, and might even crash on more complex ligatures.
@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.
+There is limited support for Gregorian square neumes notation
+(following the style of the Editio Vaticana). Core ligatures can
+already be typeset, but essential issues for serious typesetting are
+still lacking, such as (among others) horizontal alignment of multiple
+ligatures, lyrics alignment and proper accidentals handling.
+
The following table contains the extended neumes table of the 2nd
volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
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.
+neumes does not reflect the typographical appearance, but is designed
+to focus 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 based on 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.
The following table shows the code fragments that produce the
ligatures in the above neumes table. The letter in the first column
@cindex VaticanaStaffContext
The predefined @code{VaticanaVoiceContext} and
-@code{VaticanaStaffContext} can be used to easily engrave a piece of
+@code{VaticanaStaffContext} can be used to 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
+proper values, so you can immediately go ahead entering the chant, as
+the following excerpt demonstrates
@lilypond[quote,raggedright,verbatim,noindent]
\include "gregorian-init.ly"
A cluster indicates a continuous range of pitches to be played. They
can be denoted as the envelope of a set of notes. They are entered by
-applying the function @code{notes-to-clusters} to a sequence of
+applying the function @code{makeClusters} to a sequence of
chords, e.g.
@c
@lilypond[quote,relative=2,verbatim]
-\applymusic #notes-to-clusters { <c e > <b f'> }
+\makeClusters { <c e > <b f'> }
@end lilypond
The following example (from
-@node Fermatas
-@subsection Fermatas
-
-@cindex fermatas
-
+@node Special fermatas
+@subsection Special Fermatas
+@cindex fermatas, special
-Contemporary music notation frequently uses special fermata symbols to
-indicate fermatas of differing lengths. The following fermatas are
-supported
+In contemporary music notation, special fermata symbols denote breaks
+of differing lengths. The following fermatas are supported
@lilypond[quote,raggedright]
<<
The function @code{add-balloon-text} takes the name of a grob, the
label to print, and the position where to put the label relative to
the object. In the above example, the text ``heads or tails?'' ends
-3 spaces below the `balloon.'
+3 spaces below and 1 space to the right of the marked head.
@cindex balloon
@cindex notation, explaining
to be printed in a large font size. To print with a larger font, see
@ref{Setting global staff size}.
-@cindex Xdvi
-@cindex ghostscript
-
-If you view the result with Xdvi, staff lines may show through the
-letters. Printing the PostScript file obtained does produce the
-correct result.
-
@refcommands
@cindex @code{\setEasyHeads}
projects / lilypond.git / commitdiff