-@c Note: -*-texinfo-*-
-@c This file is part of lilypond.tely
-
-@c A menu is needed before every deeper *section nesting of @node's; run
-@c M-x texinfo-all-menus-update
-@c to automatically fill in these menus before saving changes
-
-@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 LilyPond.
-
-@menu
-* Note entry::
-* Easier music entry::
-* Staff notation::
-* Polyphony::
-* Beaming::
-* Accidentals::
-* Expressive marks::
-* Repeats::
-* Rhythmic music::
-* Piano music::
-* Vocal music::
-* Other instrument specific notation::
-* Tablatures::
-* Popular music::
-* Orchestral music::
-* Ancient notation::
-* Contemporary notation::
-* Educational use::
-@end menu
-
-@c FIXME: Note entry vs Music entry at top level menu is confusing.
-
-@node Note entry
-@section Note entry
-@cindex Note entry
-
-This section is about basic notation elements notes, rests and
-related constructs, such as stems, tuplets and ties.
-
-@menu
-* Notes::
-* Pitches::
-* Chromatic alterations::
-* Micro tones::
-* Chords::
-* Rests::
-* Skips::
-* Durations::
-* Augmentation dots::
-* Scaling durations::
-* Stems::
-* Ties::
-* Tuplets::
-@end menu
-
-
-@node Notes
-@subsection Notes
-
-
-A note is printed by specifying its pitch and then its duration,
-
-@lilypond[quote,verbatim,raggedright]
-{ cis'4 d'8 e'16 c'16 }
-@end lilypond
-
-
-@node Pitches
-@subsection Pitches
-
-@cindex Pitch names
-@cindex Note specification
-@cindex pitches
-@cindex entering notes
-
-The most common syntax for pitch entry is used for standard notes and
-@code{\chordmode} modes. In these modes, pitches may be designated by
-names. The notes are specified by the letters @code{a} through
-@code{g}. 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,noindent]
-\clef bass
-a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
-@end lilypond
-
-@cindex note names, Dutch
-
-A sharp is formed by adding @code{-is} to the end of a pitch name and
-a flat is formed by adding @code{-es}. Double sharps and double flats
-are obtained by adding @code{-isis} or @code{-eses}. These
-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
-
-@lilypond[fragment,quote,raggedright,verbatim,relative=2]
-ceses4
-ces
-c
-cis
-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}
-@example
- 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
-italiano.ly do re mi fa sol la sib si -d -b
-catalan.ly do re mi fa sol la sib si -d/-s -b
-espanol.ly do re mi fa sol la sib si -s -b
-
-@end example
-
-@cindex @code{'}
-@cindex @code{,}
-
-
-
-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
-
-@lilypond[quote,raggedright,fragment,verbatim]
-c' c'' es' g' as' gisis' ais'
-@end lilypond
-
-@c FIXME: we need this info (hide/unhide) somewhere in the manual, but this ain't the place. -gp
-@refcommands
-Notes can be hidden and unhidden with the following commands
-
-@cindex @code{\hideNotes}
-@code{\hideNotes},
-@cindex @code{\unHideNotes}
-@code{\unHideNotes}.
-
-
-@seealso
-
-Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
-
-
-
-@node Chromatic alterations
-@subsection Chromatic alterations
-
-Normally accidentals are printed automatically, but you may also
-print them manually. A reminder accidental
-@cindex reminder accidental
-@cindex @code{?}
-can be forced by adding an exclamation mark @code{!}
-after the pitch. A cautionary accidental
-@cindex cautionary accidental
-@cindex parenthesized accidental
-(i.e. an accidental within parentheses) can be obtained by adding the
-question mark `@code{?}' after the pitch.
-
-@lilypond[quote,raggedright,fragment,verbatim]
-cis' cis' cis'! cis'?
-@end lilypond
-
-
-@seealso
-
-The automatic production of accidentals can be tuned in many
-ways. For more information, refer to @ref{Automatic accidentals}.
-
-
-
-@node Micro tones
-@subsection Micro tones
-
-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,raggedright,quote,relative=2,fragment]
-{ ceseh ceh cih cisih }
-@end lilypond
-
-Micro tones are also exported to the MIDI file
-
-
-@refbugs
-
-There are no generally accepted standards for denoting three quarter
-flats, so LilyPond's symbol does not conform to any standard.
-
-@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
-
-@lilypond[verbatim,raggedright,fragment,quote,relative=1]
-<c e g>4 <c>8
-@end lilypond
-
-@node Rests
-@subsection Rests
-@cindex Rests
-
-
-@cindex @code{\rest}
-@cindex @code{r}
-
-Rests are entered like notes, with the note name @code{r}
-
-@lilypond[fragment,quote,raggedright,verbatim]
-r1 r2 r4 r8
-@end lilypond
-
-Whole bar rests, centered in middle of the bar,
-must be done with multi-measure rests. They are discussed in
-@ref{Multi measure rests}.
-
-
-A rest's vertical position may be explicitly specified by entering a
-note with the @code{\rest} keyword appended, the rest will be placed at
-the note's place. This makes manual formatting in polyphonic music
-easier. Automatic rest collision formatting will leave these rests
-alone
-
-@lilypond[fragment,quote,raggedright,verbatim]
-a'4\rest d'4\rest
-@end lilypond
-
-@seealso
-
-Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
-
-
-@c FIXME: naming.
-@node Skips
-@subsection Skips
-@cindex Skip
-@cindex Invisible rest
-@cindex Space note
-
-@cindex @code{\skip}
-@cindex @code{s}
-An invisible rest (also called a `skip') can be entered like a note
-with note name `@code{s}' or with @code{\skip @var{duration}}
-
-@lilypond[fragment,quote,raggedright,verbatim,relative=2]
-a4 a4 s4 a4 \skip 1 a4
-@end lilypond
-
-The @code{s} syntax is only available in note mode and chord mode. In
-other situations, for example, when entering lyrics, you should use
-the @code{\skip} command
-
-@lilypond[quote,raggedright,verbatim]
-<<
- \relative { a'2 a1 }
- \new Lyrics \lyricmode { \skip 2 bla1 }
->>
-@end lilypond
-
-The skip command is merely an empty musical placeholder. It does not
-produce any output, not even transparent output.
-
-The @code{s} skip command does create @internalsref{Staff} and
-@internalsref{Voice} when necessary, similar to note and rest
-commands. For example, the following results in an empty staff.
-
-@lilypond[quote,raggedright,verbatim]
-{ s4 }
-@end lilypond
-
-The fragment @code{@{ \skip 4 @} } would produce an empty page.
-
-@seealso
-
-Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
-
-
-
-@node Durations
-@subsection Durations
-
-
-@cindex duration
-@cindex @code{\longa}
-@cindex @code{\breve}
-@cindex @code{\maxima}
-
-
-In Note, Chord, and Lyrics mode, durations are designated by numbers and
-dots: durations are entered as their reciprocal values. For example, a
-quarter note is entered using a @code{4} (since it is a 1/4 note), while
-a half note is entered using a @code{2} (since it is a 1/2 note). For
-notes longer than a whole you must use the variables @code{\longa} and
-@code{\breve}
-
-@example
-c'\breve
-c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
-r\longa r\breve
-r1 r2 r4 r8 r16 r32 r64 r64
-@end example
-
-@lilypond[quote,noindent]
-\score {
- \relative c'' {
- a\breve*1/2 \autoBeamOff
- a1 a2 a4 a8 a16 a32 a64 a64
- \bar "empty"
- \break
- r\longa*1/4 r\breve *1/2
- r1 r2 r4 r8 r16 r32 r64 r64
- }
- \layout {
- raggedright = ##t
- \context {
- \Staff
- \remove "Clef_engraver"
- \override StaffSymbol #'transparent = ##t
- \override TimeSignature #'transparent = ##t
- \override BarLine #'transparent = ##t
- \consists "Pitch_squash_engraver"
- }
- }
-}
-@end lilypond
-
-If the duration is omitted then it is set to the previously entered
-duration. The default for the first note is a quarter note.
-
-@lilypond[quote,raggedright,verbatim,fragment]
-{
-a a a2 a a4 a a1 a
-}
-@end lilypond
-
-
-
-@node Augmentation dots
-@subsection Augmentation dots
-
-@cindex @code{.}
-To obtain dotted note lenghts, simply add a dot (`@code{.}') to
-the number. Double-dotted notes are produced in a similar way.
-
-@lilypond[quote,raggedright,fragment,verbatim]
-a'4 b' c''4. b'8 a'4. b'4.. c''8.
-@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{\dotsNeutral}
-@code{\dotsNeutral}.
-
-@seealso
-
-Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
-
-@node Scaling durations
-@subsection Scaling durations
-
-You can alter the length of duration by a fraction @var{N/M}
-appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
-will not affect the appearance of the notes or rests produced.
-
-In the following example, the first three notes take up exactly two
-beats, but no triplet bracket is printed.
-@lilypond[quote,raggedright,fragment,relative=2,verbatim]
-\time 2/4
-a4*2/3 gis4*2/3 a4*2/3
-a4 a4 a4*2
-b16*4 c4
-@end lilypond
-
-
-@seealso
-
-This manual: @ref{Tuplets}
-
-
-@c TODO: I'm not certain that Stems belong here in the manual. -gp
-@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{\stemNeutral}
-@code{\stemNeutral}.
-
-
-@node Ties
-@subsection Ties
-
-@cindex Tie
-@cindex ties
-@cindex @code{~}
-
-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{~}'
-
-@lilypond[quote,raggedright,fragment,verbatim]
-e' ~ e' <c' e' g'> ~ <c' e' g'>
-@end lilypond
-
-When a tie is applied to a chord, all note heads whose pitches match
-are connected. When no note heads match, no ties will be created.
-
-A tie is just a way of extending a note duration, similar to the
-augmentation dot. The following example shows two ways of notating
-exactly the same concept
-@c
-@lilypond[quote,fragment,raggedright]
-\time 3/4 c'2. c'2 ~ c'4
-@end lilypond
-
-@noindent
-Ties are used either when the note crosses a bar line, or when dots
-cannot be used to denote the rhythm. When using ties, larger note
-values should be aligned to subdivisions of the measure, eg.
-
-@lilypond[fragment,quote,raggedright]
-\relative {
- r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
-}
-@end lilypond
-
-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}). This
-mechanism automatically splits long notes, and ties them across bar
-lines.
-
-@refcommands
-
-
-@cindex @code{\tieUp}
-@code{\tieUp},
-@cindex @code{\tieDown}
-@code{\tieDown},
-@cindex @code{\tieNeutral}
-@code{\tieNeutral},
-@cindex @code{\tieDotted}
-@code{\tieDotted},
-@cindex @code{\tieSolid}
-@code{\tieSolid}.
-
-@seealso
-
-In this manual: @ref{Automatic note splitting}.
-
-Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
-
-@refbugs
-
-
-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.
-
-@node Tuplets
-@subsection Tuplets
-
-@cindex tuplets
-@cindex triplets
-@cindex @code{\times}
-
-Tuplets are made out of a music expression by multiplying all durations
-with a fraction
-
-@cindex @code{\times}
-@example
-\times @var{fraction} @var{musicexpr}
-@end example
-
-@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[quote,raggedright,fragment,verbatim]
-g'4 \times 2/3 {c'4 c' c'} d'4 d'4
-@end lilypond
-
-The property @code{tupletSpannerDuration} specifies how long each
-bracket should last. With this, you can make lots of tuplets while
-typing @code{\times} only once, thus saving lots of typing. In the next
-example, there are two triplets shown, while @code{\times} was only
-used once
-
-@lilypond[quote,fragment,relative=1,raggedright,verbatim]
-\set tupletSpannerDuration = #(ly:make-moment 1 4)
-\times 2/3 { c'8 c c c c c }
-@end lilypond
-
-The format of the number is determined by the property
-@code{tupletNumberFormatFunction}. The default prints only the
-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
-
-
-@refcommands
-
-@cindex @code{\tupletUp}
-@code{\tupletUp},
-@cindex @code{\tupletDown}
-@code{\tupletDown},
-@cindex @code{\tupletNeutral}
-@code{\tupletNeutral}.
-
-@seealso
-
-User manual: @ref{Changing context properties on the fly} for the
-@code{\set} command.
-
-
-Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
-
-Examples: @inputfileref{input/regression,tuplet-nest.ly}.
-
-@refbugs
-
-Nested tuplets are not formatted automatically. In this case, outer
-tuplet brackets should be moved manually, which is demonstrated in
-@inputfileref{input/regression,tuplet-nest.ly}.
-
-
-
-@node Easier music entry
-@section Easier music entry
-@cindex Music entry
-
-This section deals with tricks and features of the input language that
-were added solely to help entering music and finding and correcting
-mistakes. There are also external tools that make debugging easier.
-See @ref{Point and click} for more information.
-
-It is also possible to enter and edit music using other programs, such as
-GUI interfaces or MIDI sequencers. Refer to the LilyPond
-website for more information.
-
-
-@menu
-* Relative octaves::
-* Octave check::
-* Bar check::
-* Skipping corrected music::
-* Automatic note splitting::
-@end menu
-
-
-
-
-@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. The relative
-octave mode prevents these errors by making the mistakes much
-larger: a single error puts the rest of the piece off by one octave
-
-@cindex @code{\relative}
-@example
- \relative @var{startpitch} @var{musicexpr}
-@end example
-or
-@example
- \relative @var{musicexpr}
-@end 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
-@code{fisis} following a @code{ceses} will be put above the
-@code{ceses}. In other words, a doubly-augmented fourth is considered
-a smaller interval than a diminshed fifth, even though the fourth is
-seven semitones while the fifth is only six semitones.
-
-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 can be specified that will act as the
-predecessor of the first note of @var{musicexpr}. If no starting pitch
-is specified, then middle C is used as a start.
-
-Here is the relative mode shown in action
-@lilypond[quote,fragment,raggedright,verbatim]
-\relative c'' {
- b c d c b c bes a
-}
-@end lilypond
-
-Octave changing marks are used for intervals greater than a fourth
-@lilypond[quote,raggedright,fragment,verbatim]
-\relative c'' {
- c g c f, c' a, e''
-}
-@end lilypond
-
-If the preceding item is a chord, the first note of the chord is used
-to determine the first note of the next chord
-
-@lilypond[quote,raggedright,fragment,verbatim]
-\relative c' {
- c <c e g>
- <c' e g>
- <c, e' g>
-}
-@end lilypond
-
-The pitch after the @code{\relative} contains a note name.
-
-
-The relative conversion will not affect @code{\transpose},
-@code{\chordmode} or @code{\relative} sections in its argument. To use
-relative within transposed music, an additional @code{\relative} must
-be placed inside @code{\transpose}.
-
-@node Octave check
-@subsection Octave check
-
-
-Octave checks make octave errors easier to correct: a note may be
-followed by @code{=}@var{quotes} which indicates what its absolute
-octave should be. In the following example,
-@example
-\relative c'' @{ c='' b=' d,='' @}
-@end example
-
-@noindent
-@c take care with @code, adds confusing quotes.
-the @code{d} will generate a warning, because a @code{d''} is expected
-(because @code{b'} to @code{d''} is only a third), but a @code{d}' is
-found. In the output, the octave is corrected to be a @code{d''} and
-the next note is calculated relative to @code{d''} instead of @code{d'}.
-
-
-
-There is also a syntax that is separate from the notes. The syntax
-
-@example
-\octave @var{pitch}
-@end example
-
-This checks that @var{pitch} (without quotes) yields @var{pitch} (with
-quotes) in \relative mode. If not, a warning is printed, and the
-octave is corrected.
-
-In the example below, the first check passes without incident, since
-the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
-the second check produces a warning, since the @code{e} is not within
-a fifth of @code{b'}. The warning message is printed, and the octave
-is adjusted so that the following notes are in the correct octave
-once again.
-
-@example
-\relative c' @{
- e
- \octave a'
- \octave b'
-@}
-@end example
-
-
-The octave of a note following an octave check is determined with
-respect to the note preceding it. In the next fragment, the last note
-is a @code{a'}, above middle C. That means that the @code{\octave}
-check passes successfully, so the check could be deleted without changing
-the output of the piece.
-
-@lilypond[quote,raggedright,verbatim,fragment]
-\relative c' {
- e
- \octave b
- a
-}
-@end lilypond
-
-@node Bar check
-@subsection Bar check
-@cindex Bar check
-
-@cindex bar check
-@cindex @code{barCheckSynchronize}
-@cindex @code{|}
-
-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. In the next example, the second bar
-check will signal an error
-@example
-\time 3/4 c2 e4 | g2 |
-@end example
-
-Bar checks can also be used in lyrics, for example
-
-@example
-\lyricmode @{
- \time 2/4
- Twin -- kle | Twin -- kle
-@}
-@end example
-
-
-@cindex @code{skipTypesetting}
-
-Failed bar checks are caused by entering incorrect
-durations. Incorrect durations often completely garble up the score,
-especially if the score is polyphonic, so a good place to start correcting
-input is by scanning for failed bar checks and incorrect durations. To
-speed up this process, the @code{skipTypesetting} feature may be
-used. It is described in the next section.
-
-@cindex @code{|}
-@cindex @code{pipeSymbol}
-
-It is also possible to redefine the meaning of @code{|}. This is done
-by assigning a music expression to @code{pipeSymbol},
-
-@lilypond[quote,raggedright,verbatim]
-pipeSymbol = \bar "||"
-
-{ c'2 c' | c'2 c }
-@end lilypond
-
-
-@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. This can be used to skip over the parts of a score that
-have already been checked for errors
-
-@lilypond[quote,fragment,raggedright,verbatim]
-\relative c'' {
- c8 d
- \set Score.skipTypesetting = ##t
- e e e e e e e e
- \set Score.skipTypesetting = ##f
- c d b bes a g c2 }
-@end lilypond
-
-In polyphonic music, @code{Score.skipTypesetting} will affect all
-voices and staves, saving even more time.
-
-@node Automatic note splitting
-@subsection Automatic note splitting
-
-Long notes can be converted automatically to tied notes. This is done
-by replacing the @internalsref{Note_heads_engraver} by the
-@internalsref{Completion_heads_engraver}.
-In the following examples, notes crossing the bar line are split and tied.
-
-
-@lilypond[quote,fragment,verbatim,relative=1,raggedright]
-\new Voice \with {
- \remove "Note_heads_engraver"
- \consists "Completion_heads_engraver"
-} {
- c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
-}
-@end lilypond
-
-This engraver splits all running notes at the bar line, and inserts
-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 with normal notes and dots, but the engraver will
-not insert tuplets.
-
-@seealso
-
-Examples: @inputfileref{input/regression,completion-heads.ly}.
-
-@noindent
-
-Program reference: @internalsref{Completion_heads_engraver}.
-
-
-@node Staff notation
-@section Staff notation
-
-This section describes music notation that occurs on staff level,
-such as key signatures, clefs and time signatures.
-
-@cindex Staff notation
-
-@menu
-* Staff symbol::
-* Key signature::
-* Clef::
-* Ottava brackets::
-* Time signature::
-* Partial measures::
-* Unmetered music::
-* Bar lines::
-* Time administration::
-* Controlling formatting of prefatory matter::
-@end menu
-
-@node Staff symbol
-@subsection Staff symbol
-
-@cindex adjusting staff symbol
-
-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.
-
-
-@cindex staff lines, setting number of
-@cindex staff lines, setting thickness of
-@cindex thickness of staff lines, setting
-@cindex number of staff lines, setting
-
-@seealso
-
-Program reference: @internalsref{StaffSymbol}.
-
-Examples: @inputfileref{input/test,staff-lines.ly},
-@inputfileref{input/test,staff-size.ly}.
-
-@refbugs
-
-If a staff is ended halfway a piece, the staff symbol may not end
-exactly on the bar line.
-
-
-@node Key signature
-@subsection Key signature
-@cindex Key signature
-
-@cindex @code{\key}
-
-The key signature indicates the tonality in which a piece is played. It
-is denoted by a set of alterations (flats or sharps) at the start of the
-staff.
-
-
-Setting or changing the key signature is done with the @code{\key}
-command
-@example
- @code{\key} @var{pitch} @var{type}
-@end example
-
-@cindex @code{\minor}
-@cindex @code{\major}
-@cindex @code{\minor}
-@cindex @code{\ionian}
-@cindex @code{\locrian}
-@cindex @code{\aeolian}
-@cindex @code{\mixolydian}
-@cindex @code{\lydian}
-@cindex @code{\phrygian}
-@cindex @code{\dorian}
-
-Here, @var{type} should be @code{\major} or @code{\minor} to get
-@var{pitch}-major or @var{pitch}-minor, respectively.
-The standard mode names @code{\ionian},
-@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
-@code{\phrygian}, and @code{\dorian} are also defined.
-
-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 key signature. For
-more information, see @ref{More about pitches}.
-
-@seealso
-
-Program reference: @internalsref{KeyChangeEvent},
-@internalsref{KeyCancellation} and @internalsref{KeySignature}.
-
-@cindex @code{keySignature}
-
-
-@node Clef
-@subsection Clef
-@cindex @code{\clef}
-
-The clef indicates which lines of the staff correspond to which
-pitches.
-
-
-The clef can be set with the @code{\clef} command
-@lilypond[quote,raggedright,fragment,verbatim]
-{ c''2 \clef alto g'2 }
-@end lilypond
-
-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
-@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
-@item tab
- tablature clef
-@end table
-
-By adding @code{_8} or @code{^8} to the clef name, the clef is
-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,
-
-
-@cindex choral tenor clef
-@lilypond[quote,raggedright,verbatim,fragment,relative=1]
-\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 printed
-when any of these properties are changed. The following example shows
-possibilities when setting properties manually.
-
-@lilypond[raggedright,verbatim]
-{
- \set Staff.clefGlyph = #"clefs-F"
- \set Staff.clefPosition = #2
- c'4
- \set Staff.clefGlyph = #"clefs-G"
- c'4
- \set Staff.clefGlyph = #"clefs-C"
- c'4
- \set Staff.clefOctavation = #7
- c'4
- \set Staff.clefOctavation = #0
- \set Staff.clefPosition = #0
- c'4
- \clef "bass"
- c'4
-}
-@end lilypond
-
-
-@seealso
-
-Program reference: @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[quote,raggedright,verbatim,fragment]
-\relative c''' {
- a2 b
- #(set-octavation 1)
- a b
- #(set-octavation 0)
- a b
-}
-@end lilypond
-
-The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
-(for 15ma) as arguments. Internally the function sets the properties
-@code{ottavation} (e.g. to @code{"8va"}) and
-@code{centralCPosition}. For overriding the text of the bracket, set
-@code{ottavation} after invoking @code{set-octavation}, i.e.,
-
-@lilypond[quote,raggedright,verbatim]
-{
- #(set-octavation 1)
- \set Staff.ottavation = #"8"
- c'''
-}
-@end lilypond
-
-@seealso
-
-Program reference: @internalsref{OttavaBracket}.
-
-Examples: @inputfileref{input/regression,ottava.ly},
-@inputfileref{input/regression,ottava-broken.ly}.
-
-@refbugs
-
-@code{set-octavation} will get confused when clef changes happen
-during an octavation bracket.
-
-
-
-
-@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.
-
-
-The time signature is set or changed by the @code{\time}
-command
-@lilypond[quote,raggedright,fragment,verbatim]
-\time 2/4 c'2 \time 3/4 c'2.
-@end lilypond
-
-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,
-
-@lilypond[fragment,quote,raggedright,verbatim]
-\time 4/4 c'1
-\time 2/2 c'1
-\override Staff.TimeSignature #'style = #'()
-\time 4/4 c'1
-\time 2/2 c'1
-@end lilypond
-
-
-
-There are many more options for its layout. See @ref{Ancient time
-signatures} 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{measureLength} determines where bar lines should be
-inserted, and how automatic beams should be generated. Changing the
-value of @code{timeSignatureFraction} also causes the symbol to be
-printed.
-
-More options are available through the Scheme function
-@code{set-time-signature}. In combination with the
-@internalsref{Measure_grouping_engraver}, it will create
-@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)}
-
-@lilypond[quote,raggedright,verbatim]
-\score {
- \relative c'' {
- #(set-time-signature 9 8 '(2 2 2 3))
- g8[ g] d[ d] g[ g] a8[( bes g]) |
- #(set-time-signature 5 8 '(3 2))
- a4. g4
- }
- \layout {
- \context {
- \Staff
- \consists "Measure_grouping_engraver"
- }
- }
-}
-@end lilypond
-
-@seealso
-
-Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
-
-
-@refbugs
-
-Automatic beaming does not use the measure grouping specified with
-@code{set-time-signature}.
-
-@node Partial measures
-@subsection Partial measures
-@cindex Partial
-@cindex anacrusis
-@cindex partial measure
-@cindex measure, partial
-@cindex shorten measures
-@cindex @code{\partial}
-
-Partial measures, for example in upsteps, are entered using the
-@code{\partial} command
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
-\partial 16*5 c16 cis d dis e | a2. c,4 | b2
-@end lilypond
-
-The syntax for this command is
-@example
- \partial @var{duration}
-@end example
-This is internally translated into
-@example
- \set Timing.measurePosition = -@var{length of duration}
-@end example
-@cindex @code{|}
-The property @code{measurePosition} contains a rational number
-indicating how much of the measure has passed at this point.
-
-@refbugs
-
-This command does not take into account grace notes at the start of
-the music. When a piece starts with graces notes in the pickup, then
-the @code{\partial} should follow the grace notes
-
-@lilypond[verbatim,quote,raggedright,relative,fragment]
-{
- \grace f16
- \partial 4
- g4
- a2 g2
-}
-@end lilypond
-
-
-@node Unmetered music
-@subsection Unmetered music
-
-@cindex @code{\bar}
-
-Bar lines and bar numbers are calculated automatically. For unmetered
-music (e.g. cadenzas), this is not desirable. By setting
-@code{Score.timing} to false, this automatic timing can be switched
-off. Empty bar lines,
-
-@example
- \bar ""
-@end example
-
-@noindent
-indicate where line breaks can occur.
-
-@refcommands
-
-@cindex @code{\cadenzaOn}
-@code{\cadenzaOn},
-@cindex @code{\cadenzaOff}
-@code{\cadenzaOff}.
-
-
-
-
-@node Bar lines
-@subsection Bar lines
-@cindex Bar lines
-
-@cindex @code{\bar}
-@cindex measure lines
-@cindex repeat bars
-
-
-Bar lines delimit measures, but are also used to indicate repeats.
-Normally, they are inserted automatically. Line breaks may only
-happen on bar lines.
-
-Special types of bar lines can be forced with the @code{\bar} command
-@c
-@lilypond[quote,raggedright,relative=2,fragment,verbatim]
-c4 \bar "|:" c4
-@end lilypond
-
-The following bar types are available
-@lilypondfile[raggedright,quote]{bar-lines.ly}
-
-For allowing line breaks, there is a special command,
-@example
- \bar ""
-@end example
-This will insert an invisible bar line, and allow line breaks at this
-point.
-
-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[quote,raggedright,fragment,verbatim]
-<<
- \context StaffGroup <<
- \new Staff {
- e'4 d'
- \bar "||"
- f' e'
- }
- \new Staff { \clef bass c4 g e g }
- >>
- \new Staff { \clef bass c2 c2 }
->>
-@end lilypond
-
-
-The command @code{\bar }@var{bartype} is a short cut for doing
-@code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
-is set to a string, a bar line of that type is created.
-
-A bar line is created whenever the @code{whichBar} property is set.
-At the start of a measure it is set to the contents of
-@code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
-to override default measure bars.
-
-@cindex @code{whichBar}
-@cindex @code{repeatCommands}
-@cindex @code{defaultBarType}
-
-You are encouraged to use @code{\repeat} for repetitions. See
-@ref{Repeats}.
-
-
-
-@seealso
-
-In this manual: @ref{Repeats}, @ref{System start delimiters}
-
-
-Program reference: @internalsref{BarLine} (created at
-@internalsref{Staff} level), @internalsref{SpanBar} (across staves).
-
-@cindex bar lines at start of system
-@cindex start of system
-
-
-
-Examples: @inputfileref{input/test,bar-lines.ly},
-
-
-@node Time administration
-@subsection Time administration
-
-Time is administered by the @internalsref{Time_signature_engraver},
-which usually lives in the @internalsref{Score} context.
-The bookkeeping deals with the following variables
-
-@table @code
-@item currentBarNumber
- the measure number
-@item measureLength
- the length of the measures in the current time signature. For a 4/4
- time this is 1, and for 6/8 it is 3/4.
-@item measurePosition
- the point within the measure where we currently are. This quantity
- is reset to 0 whenever it exceeds @code{measureLength}. When that happens,
- @code{currentBarNumber} is incremented.
-@item timing
- if set to true, the above variables are updated for every time
- step. When set to false, the engraver stays in the current measure
- indefinitely.
-@end table
-
-Timing can be changed by setting any of these variables explicitly.
-In the next example, the 4/4 time signature is printed, but
-@code{measureLength} is set to 5/4. After a while, the measure is
-shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
-the measure, so the next bar line will fall at 2/4 + 3/8.
-
-@lilypond[raggedright,verbatim,relative,fragment]
- \set Score.measureLength = #(ly:make-moment 5 4)
- c1 c4
- c1 c4
- c4 c4
- \set Score.measurePosition = #(ly:make-moment -3 8)
- b8 b b
- c4 c1
-@end lilypond
-
-
-@node Controlling formatting of prefatory matter
-@subsection Controlling formatting of prefatory matter
-
-TODO Somebody needs to explain this example, but I don't know what
-they're trying to do, so it won't be me. -gp
-
-@lilypond[verbatim]
-\transpose c c' {
- \override Staff.Clef #'break-visibility = #end-of-line-visible
- \override Staff.KeySignature #'break-visibility = #end-of-line-visible
- \set Staff.explicitClefVisibility = #end-of-line-visible
- \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
-
- % We want the time sig to take space, otherwise there is not
- % enough white at the start of the line.
- %
-
- \override Staff.TimeSignature #'transparent = ##t
- \set Score.defaultBarType = #"empty"
-
- c1 d e f g a b c
- \key d \major
- \break
-
- % see above.
- \time 4/4
-
- d e fis g a b cis d
- \key g \major
- \break
- \time 4/4
-}
-@end lilypond
-
-
-@node Polyphony
-@section Polyphony
-
-Polyphony in music refers to having more than one voice occuring in
-a piece of music. Polyphony in LilyPond refers to having more than
-one voice on the same staff.
-
-@menu
-* Writing polyphonic music::
-@end menu
-
-@node Writing polyphonic music
-@subsection Writing polyphonic music
-@cindex polyphony
-
-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
-
-@cindex @code{\\}
-
-@lilypond[quote,raggedright,verbatim,fragment]
-\context Staff \relative c'' {
- c4 << { f d e } \\ { b c2 } >>
- c4 << g' \\ b, \\ f' \\ d >>
-}
-@end lilypond
-
-The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
-voices are sometimes called ``layers'' in other notation packages}
-@cindex layers
-to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
-each of these contexts, vertical direction of slurs, stems, etc. is set
-appropriately.
-
-@cindex @code{\voiceOne}
-@cindex @code{\voiceFour}
-
-This can also be done by instantiating @internalsref{Voice} contexts
-by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
-a stem directions and horizontal shift for each part
-@c
-
-@lilypond[quote,raggedright,verbatim]
-\relative c''
-\context Staff <<
- \new Voice { \voiceOne cis2 b }
- \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
- \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
-@end lilypond
-
-@noindent
-The command @code{\oneVoice} will revert back to the normal setting.
-@cindex @code{\oneVoice}
-
-
-Normally, note heads with a different number of dots are not merged, but
-when the object property @code{merge-differently-dotted} is set in
-the @internalsref{NoteCollision} object, they are merged
-@lilypond[quote,verbatim,fragment,raggedright,relative=2]
-\context Voice << {
- g8 g8
- \override Staff.NoteCollision
- #'merge-differently-dotted = ##t
- 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[quote,raggedright,fragment,relative=2,verbatim]
-\context Voice << {
- c8 c4.
- \override Staff.NoteCollision
- #'merge-differently-headed = ##t
-c8 c4. } \\ { c2 c2 } >>
-@end lilypond
-
-LilyPond also vertically shifts rests that are opposite of a stem,
-for example
-
-@lilypond[quote,raggedright,fragment,verbatim]
-\context Voice << c''4 \\ r4 >>
-@end lilypond
-
-
-@refcommands
-
-
-
-@cindex @code{\oneVoice}
-@code{\oneVoice},
-@cindex @code{\voiceOne}
-@code{\voiceOne},
-@cindex @code{\voiceTwo}
-@code{\voiceTwo},
-@cindex @code{\voiceThree}
-@code{\voiceThree},
-@cindex @code{\voiceFour}
-@code{\voiceFour}.
-
-
-
-@cindex @code{\shiftOn}
-@code{\shiftOn},
-@cindex @code{\shiftOnn}
-@code{\shiftOnn},
-@cindex @code{\shiftOnnn}
-@code{\shiftOnnn},
-@cindex @code{\shiftOff}
-@code{\shiftOff}: these commands specify in what chords of the current
-voice should be shifted. The outer voices (normally: voice one and
-two) have @code{\shiftOff}, while the inner voices (three and four)
-have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
-further shift levels.
-
-
-When LilyPond cannot cope, the @code{force-hshift}
-property of the @internalsref{NoteColumn} object and pitched rests can
-be used to override typesetting decisions.
-
-@lilypond[verbatim,raggedright]
-\relative <<
-{
- <d g>
- <d g>
-} \\ {
- <b f'>
- \once \override NoteColumn #'force-hshift = #1.7
- <b f'>
-} >>
-@end lilypond
-
-
-
-@seealso
-
-Program reference: the objects responsible for resolving collisions are
-@internalsref{NoteCollision} and @internalsref{RestCollision}.
-
-Examples:
-@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
-
-
-When using @code{merge-differently-headed} with an upstem eighth or a
-shorter note, and a downstem half note, the eighth note gets the wrong
-offset.
-
-There is no support for clusters where the same note occurs with
-different accidentals in the same chord. In this case, it is
-recommended to use enharmonic transcription, or to use special cluster
-notation (see @ref{Clusters}).
-
-@node Beaming
-@section Beaming
-
-Beams are used to group short notes into chunks that are aligned with
-the metrum. LilyPond normally inserts beams automatically, but if you
-wish you may control them manually or changed how beams are automatically
-grouped.
-
-@cindex Automatic beams
-@menu
-* Automatic beams::
-* Manual beams::
-* Setting automatic beam behavior::
-* Beam formatting::
-@end menu
-
-@node Automatic beams
-@subsection Automatic beams
-
-LilyPond inserts beams automatically
-
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
-\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
-@end lilypond
-
-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.
-
-Individual notes may be marked with @code{\noBeam}, to prevent them
-from being beamed
-
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
-\time 2/4 c8 c\noBeam c c
-@end lilypond
-
-
-@seealso
-
-Program reference: @internalsref{Beam}.
-
-
-@node Manual beams
-@subsection Manual beams
-@cindex beams, manual
-@cindex @code{]}
-@cindex @code{[}
-
-In some cases it may be necessary to override the automatic beaming
-algorithm. For example, the autobeamer will not put beams over rests
-or bar lines. Such beams are specified manually by marking the begin
-and end point with @code{[} and @code{]}
-
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
-{
- r4 r8[ g' a r8] r8 g[ | a] r8
-}
-@end lilypond
-
-@cindex @code{stemLeftBeamCount}
-
-Normally, beaming patterns within a beam are determined automatically.
-If necessary, the properties @code{stemLeftBeamCount} and
-@code{stemRightBeamCount} can be used to override the defaults. If
-either property is set, its value will be used only once, and then it
-is erased
-
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
-{
- f8[ r16
- f g a]
- f8[ r16
- \set stemLeftBeamCount = #1
- f g a]
-}
-@end lilypond
-@cindex @code{stemRightBeamCount}
-
-
-The property @code{subdivideBeams} can be set in order to subdivide
-all 16th or shorter beams at beat positions, as defined by the
-@code{beatLength} property.
-
-
-@lilypond[fragment,raggedright,quote,relative=2,verbatim,noindent]
-c16[ c c c c c c c]
-\set subdivideBeams = ##t
-c16[ c c c c c c c]
-\set Score.beatLength = #(ly:make-moment 1 8)
-c16[ c c c c c c c]
-@end lilypond
-@cindex @code{subdivideBeams}
-
-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
-
-
-@seealso
-
-User manual: @ref{Changing context properties on the fly} for the
-@code{\set} command
-
-
-@refbugs
-
-@cindex Frenched staves
-Kneed beams are inserted automatically, when a large gap is detected
-between the note heads. This behavior can be tuned through the object.
-
-
-Automatically kneed cross-staff beams cannot be used together with
-hidden staves. See @ref{Hiding staves}.
-
-Beams do not avoid collisions with symbols around the notes, such as
-texts and accidentals.
-
-@c FIXME.
-
-
-@node Setting automatic beam behavior
-@subsection Setting automatic beam behavior
-
-@cindex @code{autoBeamSettings}
-@cindex @code{(end * * * *)}
-@cindex @code{(begin * * * *)}
-@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
-@code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
-are defined in @file{scm/auto-beam.scm}.
-
-The value of @code{autoBeamSettings} is changed with two functions,
-@example
- #(override-auto-beam-setting
- '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
- [@var{context}])
- #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
-@end example
-Here, @var{be} is the symbol @code{begin} or @code{end}, and
-@var{context} is an optional context (default: @code{'Voice}). It
-determines whether the rule applies to begin or end-points. The
-quantity @var{p}/@var{q} refers to the length of the beamed notes (and
-`@code{* *}' designates notes of any length), @var{n}/@var{M} refers
-to a time signature (wildcards `@code{* *}' may be entered to
-designate all time signatures), @var{a}/@var{b} is a duration. By
-default, this command changes settings for the current voice. It is
-also possible to adjust settings at higher contexts, by adding a
-@var{context} argument.
-
-For example, if automatic beams should end on every quarter note, use
-the following
-@example
- #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
-@end example
-Since the duration of a quarter note is 1/4 of a whole note, it is
-entered as @code{(ly:make-moment 1 4)}.
-
-The same syntax can be used to specify beam starting points. In this
-example, automatic beams can only end on a dotted quarter note
-@example
- #(override-auto-beam-setting '(end * * * *) 3 8)
-@end example
-In 4/4 time signature, this means that automatic beams could end only on
-3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
-3/8, has passed within the measure).
-
-Rules can also be restricted to specific time signatures. A rule that
-should only be applied in @var{N}/@var{M} time signature is formed by
-replacing the second asterisks by @var{N} and @var{M}. For example, a
-rule for 6/8 time exclusively looks like
-@example
- #(override-auto-beam-setting '(begin * * 6 8) @dots{})
-@end example
-
-If a rule should be to applied only to certain types of beams, use the
-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 *
-*)}.
-
-@cindex automatic beam generation
-@cindex autobeam
-@cindex @code{autoBeaming}
-@cindex lyrics
-
-If beams are used to indicate melismata in songs, then automatic
-beaming should be switched off. This is done by setting
-@code{autoBeaming} to @code{#f}.
-
-@refcommands
-
-@cindex @code{\autoBeamOff}
-@code{\autoBeamOff},
-@cindex @code{\autoBeamOn}
-@code{\autoBeamOn}.
-
-
-@refbugs
-
-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. The
-same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
->>}. If a polyphonic voice ends while an automatic beam is still
-accepting notes, it is not typeset.
-
-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 eighth beams and sixteenth
-end at three eighths. The third beam can only be corrected by
-specifying manual beaming.
-
-@lilypond[quote,raggedright,fragment,relative=1]
-#(override-auto-beam-setting '(end * * * *) 3 8)
-% rather show case where it goes wrong
-%\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
-\time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
-@end lilypond
-It is not possible to specify beaming parameters that act differently in
-different parts of a measure. This means that it is not possible to use
-automatic beaming in irregular meters such as @code{5/8}.
-
-@node Beam formatting
-@subsection Beam formatting
-
-
-When a beam falls in the middle of the staff, the beams point normally
-down. However, this behaviour can be altered with the
-@code{neutral-direction} property.
-
-
-@lilypond[quote,raggedright,relative=2,fragment,verbatim]
-{
- b8[ b]
- \override Beam #'neutral-direction = #-1
- b[ b]
- \override Beam #'neutral-direction = #1
- b[ b]
-}
-@end lilypond
-
-@node Accidentals
-@section Accidentals
-
-This section describes how to change the way that accidentals are
-inserted automatically before notes.
-
-@menu
-* Automatic accidentals::
-@end menu
-
-@node Automatic accidentals
-@subsection Automatic accidentals
-@cindex Automatic accidentals
-
-Common rules for typesetting accidents have been placed in a
-function. This function is called as follows
-
-@cindex @code{set-accidental-style}
-@example
-#(set-accidental-style 'STYLE #('CONTEXT#))
-@end example
-
-The function can take two arguments: the name of the accidental style,
-and an optional argument that denotes the context which should be
-changed. If no context name is supplied, @code{Staff} is the default,
-but you may wish to apply the accidental style to a single @code{Voice}
-instead.
-
-The following accidental styles are supported
-@table @code
-@item default
-This is the default typesetting behavior. It corresponds
-to 18th century common practice: Accidentals are
-remembered to the end of the measure in which they occur and
-only on their own octave.
-
-@item voice
-The normal behavior is to remember the accidentals on
-Staff-level. This variable, however, typesets accidentals
-individually for each voice. Apart from that, the rule is similar to
-@code{default}.
-
-As a result, accidentals from one voice do not get canceled in other
-voices, which is often an unwanted result
-
-@lilypond[quote,raggedright,relative=1,fragment,verbatim]
-\context Staff <<
- #(set-accidental-style 'voice)
- <<
- { es g } \\
- { c, e }
->> >>
-@end lilypond
-
-The @code{voice} option should be used 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
-@code{modern} or @code{modern-cautionary}
-should be used instead.
-
-@item modern
-@cindex @code{modern} style accidentals
-This rule corresponds to the common practice in the 20th century. This rule
-prints the same accidentals as @code{default}, but temporary
-accidentals also are canceled in other octaves. Furthermore,
-in the same octave, they also get canceled in the following
-measure
-
-@lilypond[quote,raggedright,fragment,verbatim]
-#(set-accidental-style 'modern)
-cis' c'' cis'2 | c'' c'
-@end lilypond
-
-@item @code{modern-cautionary}
-@cindex @code{modern-cautionary}
-This rule is similar to @code{modern}, but the ``extra'' accidentals
-(the ones not typeset by @code{default}) are typeset as cautionary
-accidentals. They are printed in reduced size or with parentheses
-@lilypond[quote,raggedright,fragment,verbatim]
-#(set-accidental-style 'modern-cautionary)
-cis' c'' cis'2 | c'' c'
-@end lilypond
-
-@cindex @code{modern-voice}
-@item modern-voice
-This rule 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} canceled across voices in
-the same @internalsref{Staff}.
-
-@cindex @code{modern-voice-cautionary}
-@item modern-voice-cautionary
-This rule is the same as @code{modern-voice}, but with the extra
-accidentals (the ones not typeset by @code{voice}) typeset
-as cautionaries. Even though all accidentals typeset by
-@code{default} @emph{are} typeset by this variable then
-some of them are typeset as cautionaries.
-
-@item piano
-@cindex @code{piano} accidentals
-This rule reflects 20th century practice for piano notation. Very similar to
-@code{modern} but accidentals also get canceled
-across the staves in the same @internalsref{GrandStaff} or
-@internalsref{PianoStaff}.
-
-@item piano-cautionary
-@cindex @code{#(set-accidental-style 'piano-cautionary)}
-As @code{#(set-accidental-style 'piano)} but with the extra accidentals
-typeset as cautionaries.
-
-@item no-reset
-@cindex @code{no-reset} accidental style
-This is the same as @code{default} but with accidentals lasting
-``forever'' and not only until the next measure
-@lilypond[quote,raggedright,fragment,verbatim,relative=1]
-#(set-accidental-style 'no-reset)
-c1 cis cis c
-@end lilypond
-
-@item forget
-This is sort of the opposite of @code{no-reset}: Accidentals
-are not remembered at all---and hence all accidentals are
-typeset relative to the key signature, regardless of what was
-before in the music
-
-@lilypond[quote,raggedright,fragment,verbatim,relative=1]
-#(set-accidental-style 'forget)
-\key d\major c4 c cis cis d d dis dis
-@end lilypond
-@end table
-
-
-@seealso
-
-Program reference: @internalsref{Accidental_engraver},
-@internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
-
-
-@refbugs
-
-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 once at a time - in the order in which
-they appear in the input file.
-
-This is a problem when accidentals in a chord depend on each other,
-which does not happen for the default accidental style. The problem
-can be solved by manually inserting @code{!} and @code{?} for the
-problematic notes.
-
-
-@node Expressive marks
-@section Expressive marks
-
-
-@c todo: should change ordering
-@c where to put text spanners, metronome marks,
-@c fingering?
-
-Expressive marks help musicians to bring more to the music than simple
-notes and rhythms.
-
-@menu
-* Slurs::
-* Phrasing slurs::
-* Breath marks::
-* Metronome marks::
-* Text scripts::
-* Text spanners::
-* Analysis brackets::
-* Articulations::
-* Running trills::
-* Fingering instructions::
-* Grace notes::
-* Glissando::
-* Dynamics::
-@end menu
-
-@node Slurs
-@subsection Slurs
-@cindex Slurs
-
-A slur indicates that notes are to be played bound or @emph{legato}.
-
-They are entered using parentheses
-@lilypond[quote,raggedright,relative=2,fragment,verbatim]
- f( g a) a8 b( a4 g2 f4)
- <c e>2( <b d>2)
-@end lilypond
-
-The direction of a slur can be set with the
-generic commands
-
-@example
- \override Slur #'direction = #UP
- \slurUp % shortcut for the previous line
-@end example
-
-@noindent
-However, there is a convenient shorthand for forcing slur
-directions. By adding @code{_} or @code{^} before the opening
-parentheses, the direction is also set. For example,
-
-@lilypond[relative=2,raggedright,quote,verbatim,fragment]
- c4_( c) c^( c)
-@end lilypond
-
-Some composers write two slurs when they want legato chords. This can
-be achieved in LilyPond by setting @code{doubleSlurs},
-
-@lilypond[verbatim,raggedright,relative,fragment,quote]
- \set doubleSlurs = ##t
- <c e>4 ( <d f> <c e> <d f> )
-@end lilypond
-
-
-@refcommands
-
-
-@cindex @code{\slurUp}
-@code{\slurUp},
-@cindex @code{\slurDown}
-@code{\slurDown},
-@cindex @code{\slurNeutral}
-@code{\slurNeutral},
-@cindex @code{\slurDotted}
-@code{\slurDotted},
-@cindex @code{\slurSolid}
-@code{\slurSolid}.
-
-@seealso
-
-Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
-
-
-@node Phrasing slurs
-@subsection Phrasing slurs
-
-@cindex phrasing slurs
-@cindex phrasing marks
-
-A phrasing slur (or phrasing mark) connects chords and is used to
-indicate a musical sentence. It is written using @code{\(} and @code{\)}
-respectively
-
-@lilypond[quote,raggedright,fragment,verbatim,relative=1]
- \time 6/4 c'\( d( e) f( e) d\)
-@end lilypond
-
-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, use
-@code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
-@code{\phrasingSlurNeutral}.
-
-The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurNeutral}
-will only affect normal slurs and not phrasing slurs.
-
-@refcommands
-
-@cindex @code{\phrasingSlurUp}
-@code{\phrasingSlurUp},
-@cindex @code{\phrasingSlurDown}
-@code{\phrasingSlurDown},
-@cindex @code{\phrasingSlurNeutral}
-@code{\phrasingSlurNeutral}.
-
-@seealso
-
-Program reference: see also @internalsref{PhrasingSlur}, and
-@internalsref{PhrasingSlurEvent}.
-
-@refbugs
-
-Putting phrasing slurs over rests leads to spurious warnings.
-
-@node Breath marks
-@subsection Breath marks
-
-Breath marks are entered using @code{\breathe}
-
-
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
- c'4 \breathe d4
-@end lilypond
-
-The glyph of the breath mark can be tuned by overriding the
-@code{text} property of the @code{BreathingSign} layout object with
-any markup text. For example,
-@lilypond[quote,raggedright,fragment,verbatim,relative=1]
- c'4
- \override BreathingSign #'text
- = #(make-musicglyph-markup "scripts-rvarcomma")
- \breathe
- d4
-@end lilypond
-
-@seealso
-
-Program reference: @internalsref{BreathingSign},
-@internalsref{BreathingSignEvent}.
-
-Examples: @inputfileref{input/regression,breathing-sign.ly}.
-
-
-@node Metronome marks
-@subsection Metronome marks
-
-@cindex Tempo
-@cindex beats per minute
-@cindex metronome marking
-
-Metronome settings can be entered as follows
-@example
- \tempo @var{duration} = @var{per-minute}
-@end example
-
-In the MIDI output, they are interpreted as a tempo change. In the
-layout output, a metronome marking is printed
-@cindex @code{\tempo}
-@lilypond[quote,raggedright,verbatim,fragment]
- \tempo 8.=120 c''1
-@end lilypond
-
-@seealso
-
-Program reference: @internalsref{MetronomeChangeEvent}.
-
-
-@node Text scripts
-@subsection Text scripts
-@cindex Text scripts
-
-@cindex text items, non-empty
-@cindex non-empty texts
-
-It is possible to place arbitrary strings of text or markup text (see
-@ref{Text markup}) above or below notes by using a string
-@code{c^"text"}. By default, these indications do not influence the
-note spacing, but by using the command @code{\fatText}, the widths
-will be taken into account
-@c
-@lilypond[quote,fragment,raggedright,verbatim,relative=1]
- c4^"longtext" \fatText c4_"longlongtext" c4
-@end lilypond
-
-More complex formatting may also be added to a note by using the
-markup command,
-@lilypond[fragment,raggedright,verbatim,quote]
- c'4^\markup { bla \bold bla }
-@end lilypond
-
-The @code{\markup} is described in more detail in
-@ref{Text markup}.
-
-
-@refcommands
-
-@cindex @code{\fatText}
-@code{\fatText},
-@cindex @code{\emptyText}
-@code{\emptyText}.
-
-@seealso
-
-In this manual: @ref{Text markup}.
-
-Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
-
-
-@node Text spanners
-@subsection Text spanners
-@cindex Text spanners
-
-Some performance indications, e.g. @i{rallentando} or @i{accelerando},
-are written as text and are extended over many measures with dotted
-lines. Such texts are created using text spanners; attach
-@code{\startTextSpan} and @code{\stopTextSpan} to the first and last
-notes of the spanner.
-
-The string to be printed, as well as the style, is set through object
-properties
-
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
- c1
- \override TextSpanner #'direction = #-1
- \override TextSpanner #'edge-text = #'("rall " . "")
- c2\startTextSpan b c\stopTextSpan a
-@end lilypond
-
-
-@seealso
-
-Internals @internalsref{TextSpanEvent},
-@internalsref{TextSpanner}.
-
-Examples: @inputfileref{input/regression,text-spanner.ly}.
-
-
-@node Analysis brackets
-@subsection Analysis brackets
-@cindex brackets
-@cindex phrasing brackets
-@cindex musicological analysis
-@cindex note grouping bracket
-
-Brackets are used in musical analysis to indicate structure in musical
-pieces. LilyPond supports a simple form of nested horizontal
-brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
-to @internalsref{Staff} context. A bracket is started with
-@code{\startGroup} and closed with @code{\stopGroup}
-
-@lilypond[quote,raggedright,verbatim]
-\score {
- \relative c'' {
- c4\startGroup\startGroup
- c4\stopGroup
- c4\startGroup
- c4\stopGroup\stopGroup
- }
- \layout {
- \context {
- \Staff \consists "Horizontal_bracket_engraver"
-}}}
-@end lilypond
-
-@seealso
-
-Program reference: @internalsref{HorizontalBracket},
-@internalsref{NoteGroupingEvent}.
-
-Examples: @inputfileref{input/regression,note-group-bracket.ly}.
-
-
-@node Articulations
-@subsection Articulations
-@cindex Articulations
-
-@cindex articulations
-@cindex scripts
-@cindex ornaments
-
-A variety of symbols can appear above and below notes to indicate
-different characteristics of the performance. They are added to a note
-by adding a dash and the character signifying the
-articulation. They are demonstrated here
-
-@lilypondfile[quote,raggedright]{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 the direction can be forced as
-well. Like other pieces of LilyPond code, @code{_} will place them
-below the staff, and @code{^} will place them above.
-
-
-@lilypond[quote,raggedright,fragment,verbatim]
- 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{_},
-e.g.
-
-@lilypond[quote,raggedright,verbatim,fragment,relative=2]
- c\fermata c^\fermata c_\fermata
-@end lilypond
-
-
-
-@cindex accent
-@cindex marcato
-@cindex staccatissimo
-@cindex fermata
-@cindex stopped
-@cindex staccato
-@cindex portato
-@cindex tenuto
-@cindex upbow
-@cindex downbow
-@cindex foot marks
-@cindex organ pedal marks
-@cindex turn
-@cindex open
-@cindex flageolet
-@cindex reverseturn
-@cindex trill
-@cindex prall
-@cindex mordent
-@cindex prallprall
-@cindex prallmordent
-@cindex prall, up
-@cindex prall, down
-@cindex mordent
-@cindex thumb marking
-@cindex segno
-@cindex coda
-@cindex varcoda
-
-Here is a chart showing all scripts available,
-
-@lilypondfile[raggedright,quote]{script-chart.ly}
-
-
-The vertical ordering of scripts is controlled with the
-@code{script-priority} property. The lower this number, the closer it
-will be put to the note. In this example, the
-@internalsref{TextScript} (the sharp symbol) first has the lowest
-priority, so it is put lowest in the first example. In the second, the
-prall trill (the @internalsref{Script}) has the lowest, so it on the
-inside. When two objects have the same priority, the order in which
-they are entered decides which one comes first.
-
-
-@lilypond[verbatim,relative=3,raggedright,fragment,quote]
- \once \override TextScript #'script-priority = #-100
- a4^\prall^\markup { \sharp }
-
- \once \override Script #'script-priority = #-100
- a4^\prall^\markup { \sharp }
-@end lilypond
-
-
-
-
-@seealso
-
-Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
-
-@refbugs
-
-These signs appear in the printed output but have no effect on the
-MIDI rendering of the music.
-
-
-
-@node Running trills
-@subsection Running trills
-
-Long running trills are made with @code{\startTrillSpan} and
-@code{\stopTrillSpan},
-
-
-@lilypond[verbatim,raggedright,relative=2,quote,fragment]
-\new Voice {
- << { c1 \startTrillSpan }
- { s2. \grace { d16[\stopTrillSpan e] } } >>
- c4 }
-@end lilypond
-
-@refcommands
-
-@code{\startTrillSpan},
-@cindex @code{\startTrillSpan}
-@code{\stopTrillSpan}.
-@cindex @code{\stopTrillSpan}
-
-@seealso
-
-Program reference: @internalsref{TrillSpanner},
-@internalsref{TrillSpanEvent}.
-
-@node Fingering instructions
-@subsection Fingering instructions
-
-@cindex fingering
-
-Fingering instructions can be entered using
-@example
- @var{note}-@var{digit}
-@end example
-For finger changes, use markup texts
-@c
-@lilypond[quote,verbatim,raggedright,fragment,relative=1]
- c4-1 c-2 c-3 c-4
- c^\markup { \finger "2-3" }
-@end lilypond
-
-@cindex finger change
-@cindex scripts
-@cindex superscript
-@cindex subscript
-
-You can use the thumb-script to indicate that a note should be
-played with the thumb (e.g. in cello music)
-
-@lilypond[quote,verbatim,raggedright,fragment,relative=2]
- <a_\thumb a'-3>8 <b_\thumb b'-3>
-@end lilypond
-
-Fingerings for chords can also be added to individual notes
-of the chord by adding them after the pitches
-@lilypond[quote,verbatim,raggedright,fragment,relative=2]
- < c-1 e-2 g-3 b-5 >4
-@end lilypond
-
-@noindent
-In this case, setting @code{fingeringOrientations} will put fingerings next
-to note heads
-
-@lilypond[quote,verbatim,raggedright,fragment,relative=1]
- \set fingeringOrientations = #'(left down)
- <c-1 es-2 g-4 bes-5 > 4
- \set fingeringOrientations = #'(up right down)
- <c-1 es-2 g-4 bes-5 > 4
-@end lilypond
-
-Using this feature, it is also possible to put fingering instructions
-very close to note heads in monophonic music,
-
-@lilypond[verbatim,raggedright,quote,fragment]
- \set fingeringOrientations = #'(right)
- <es'-2>4
-@end lilypond
-
-
-@seealso
-
-Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
-
-Examples: @inputfileref{input/regression,finger-chords.ly}.
-
-
-
-
-@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. 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, and is
-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[quote,raggedright,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[quote,raggedright,relative=2,verbatim,fragment]
- c4 \grace c16 c4
- \grace { c16[ d16] } c2 c4
-@end lilypond
-
-@noindent
-Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
-@code{\grace} command does not start a slur.
-
-Internally, timing for grace notes is done using a second, `grace'
-time. Every point in time consists of two rational numbers: one
-denotes the logical time, one denotes the grace timing. The above
-example is shown here with timing tuples
-
-@lilypond[quote,raggedright]
-<<
- \relative c''{
- c4 \grace c16 c4 \grace {
- c16[ d16] } c2 c4
- }
- \new Lyrics \lyricmode {
- \override LyricText #'font-family = #'typewriter
-
- \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 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[quote,raggedright,relative=2,verbatim,fragment]
-<< \new Staff { e4 \grace { c16[ d e f] } e4 }
- \new Staff { c4 \grace { g8[ b] } c4 } >>
-@end lilypond
-
-
-
-If you want to end a note with a grace, the standard trick is to put
-the grace notes after a ``space note''
-
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
-\context Voice {
- << { d1^\trill_( }
- { s2 \grace { c16[ d] } } >>
- c4)
-}
-@end lilypond
-
-@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.
-
-
-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[quote,raggedright,fragment,verbatim,relative=2]
-\new Voice {
- \acciaccatura {
- \stemDown
- f16->
- \stemNeutral
- }
- g4
-}
-@end lilypond
-
-@noindent
-The overrides should also be reverted inside the grace section.
-
-The layout of grace sections can be changed throughout the music using
-the function @code{add-grace-property}. The following example
-undefines the Stem direction for this grace, so stems do not always
-point up.
-
-@example
-\new Staff @{
- #(add-grace-property 'Voice 'Stem 'direction '())
- @dots{}
-@}
-@end example
-
-@noindent
-Another option is to change the variables @code{startGraceMusic},
-@code{stopGraceMusic}, @code{startAcciaccaturaMusic},
-@code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
-@code{stopAppoggiaturaMusic}. More information is in the file
-@file{ly/grace-init.ly}.
-
-
-@seealso
-
-Program reference: @internalsref{GraceMusic}.
-
-@refbugs
-
-A score that starts with a @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, bar lines, etc. are also synchronized. Take
-care when you mix staves with grace notes and staves without, for example,
-
-@lilypond[quote,raggedright,relative=2,verbatim,fragment]
-<< \new Staff { e4 \bar "|:" \grace c16 d4 }
- \new Staff { c4 \bar "|:" d4 } >>
-@end lilypond
-
-@noindent
-This can be remedied by inserting grace skips, for the above example
-
-@example
-\new Staff @{ c4 \bar "|:" \grace s16 d4 @}
-@end example
-
-Grace sections should only be used within sequential music
-expressions. Nesting or juxtaposing grace sections is not supported,
-and might produce crashes or other errors.
-
-
-@node Glissando
-@subsection Glissando
-@cindex 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. It is requested by attaching
-@code{\glissando} to a note
-
-@lilypond[quote,raggedright,fragment,relative=2,verbatim]
-c\glissando c'
-@end lilypond
-
-@seealso
-
-Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
-
-Example files: @file{input/regression/glissando.ly}.
-
-
-
-@refbugs
-
-Printing text over the line (such as @emph{gliss.}) is not supported.
-
-
-@node Dynamics
-@subsection Dynamics
-@cindex Dynamics
-
-
-
-@cindex @code{\ppp}
-@cindex @code{\pp}
-@cindex @code{\p}
-@cindex @code{\mp}
-@cindex @code{\mf}
-@cindex @code{\f}
-@cindex @code{\ff}
-@cindex @code{\fff}
-@cindex @code{\ffff}
-@cindex @code{\fp}
-@cindex @code{\sf}
-@cindex @code{\sff}
-@cindex @code{\sp}
-@cindex @code{\spp}
-@cindex @code{\sfz}
-@cindex @code{\rfz}
-
-
-Absolute dynamic marks are specified using a command after a note
-@code{c4\ff}. The available dynamic marks are @code{\ppp},
-@code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
-@code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
-@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
-
-@lilypond[quote,verbatim,raggedright,fragment,relative=2]
- c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
- c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
-@end lilypond
-
-@cindex @code{\<}
-@cindex @code{\>}
-@cindex @code{\"!}
-
-
-
-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 are needed during one note
-
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
- c\< c\! d\> e\!
- << f1 { s4 s4\< s4\! \> s4\! } >>
-@end lilypond
-This may give rise to very short hairpins. Use @code{minimum-length}
-in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
-example
-
-@example
- \override Staff.Hairpin #'minimum-length = #5
-@end example
-
-You can also use a text saying @emph{cresc.} instead of hairpins. Here
-is an example how to do it
-
-@lilypond[quote,raggedright,fragment,relative=2,verbatim]
- \setTextCresc
- c \< d e f\!
- \setHairpinCresc
- e\> d c b\!
-@end lilypond
-
-@cindex crescendo
-@cindex decrescendo
-
-You can also supply your own texts
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
- \set crescendoText = \markup { \italic "cresc. poco" }
- \set crescendoSpanner = #'dashed-line
- a'2\< a a a\!\mf
-@end lilypond
-
-@cindex diminuendo
-
-
-@refcommands
-
-@cindex @code{\dynamicUp}
-@code{\dynamicUp},
-@cindex @code{\dynamicDown}
-@code{\dynamicDown},
-@cindex @code{\dynamicNeutral}
-@code{\dynamicNeutral}.
-
-@cindex direction, of dynamics
-
-@seealso
-
-Program reference: @internalsref{CrescendoEvent},
-@internalsref{DecrescendoEvent}, and
-@internalsref{AbsoluteDynamicEvent}.
-
-Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
-objects. Vertical positioning of these symbols is handled by the
-@internalsref{DynamicLineSpanner} object.
-
-
-@node Repeats
-@section Repeats
-
-Repetition is a central concept in music, and multiple notations exist
-for repetitions.
-
-@menu
-* Repeat types::
-* Repeat syntax::
-* Repeats and MIDI::
-* Manual repeat commands::
-* Tremolo repeats::
-* Tremolo subdivisions::
-* Measure repeats::
-@end menu
-
-@node Repeat types
-@subsection Repeat types
-
-@cindex repeats
-@cindex @code{\repeat}
-
-The following types of repetition are supported
-
-@table @code
-@item unfold
-Repeated music is fully written (played) out. This is useful when
-entering repetitious music. This is the only kind of repeat that
-is included in MIDI output.
-
-@item volta
-Repeats are not written out, but alternative endings (volte) are
-printed, left to right with brackets. This is the standard notation
-for repeats with alternatives. These are not played in MIDI output by default.
-
-@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
-@inputfileref{input,star-spangled-banner.ly}.
-@end ignore
-
-@c tremolo, beamed
-@item tremolo
-Make tremolo beams. These are not played in MIDI output by default.
-
-@item percent
-Make beat or measure repeats. These look like percent signs. These are not played
-in MIDI output by default.
-
-@end table
-
-@node Repeat syntax
-@subsection Repeat syntax
-
-
-LilyPond has one syntactic construct for specifying different types of
-repeats. The syntax is
-
-@example
- \repeat @var{variant} @var{repeatcount} @var{repeatbody}
-@end example
-
-If you have alternative endings, you may add
-@cindex @code{\alternative}
-@example
- \alternative @code{@{} @var{alternative1}
- @var{alternative2}
- @var{alternative3} @dots{} @code{@}}
-@end example
-where each @var{alternative} is a music expression. If you do not
-give enough alternatives for all of the repeats, the first alternative
-is assumed to be played more than once.
-
-Standard repeats are used like this
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
-c1
-\repeat volta 2 { c4 d e f }
-\repeat volta 2 { f e d c }
-@end lilypond
-
-With alternative endings
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
-c1
-\repeat volta 2 {c4 d e f}
-\alternative { {d2 d} {f f,} }
-@end lilypond
-
-
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
-\context Staff {
- \partial 4
- \repeat volta 4 { e | c2 d2 | e2 f2 | }
- \alternative { { g4 g g } { a | a a a a | b2. } }
-}
-@end lilypond
-
-It is possible to shorten volta brackets
-by setting @code{voltaSpannerDuration}. In the next example, the
-bracket only lasts one measure, which is a duration of 3/4.
-
-
-
-@lilypond[verbatim,raggedright,quote]
-\relative c''{
- \time 3/4
- c c c
- \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
- \repeat "volta" 5 { d d d }
- \alternative { { e e e f f f }
- { g g g } }
-}
-@end lilypond
-
-
-@seealso
-
-Examples:
-
-Brackets for the repeat are normally only printed over the topmost
-staff. This can be adjusted by setting the @code{voltaOnThisStaff}
-property @inputfileref{input/regression,volta-multi-staff.ly},
-@inputfileref{input/regression,volta-chord-names.ly}
-
-
-@refbugs
-
-A nested repeat like
-
-@example
-\repeat @dots{}
-\repeat @dots{}
-\alternative
-@end example
-
-@noindent
-is ambiguous, since it is is not clear 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
-
-
-
-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.
-
-
-
-
-@node Repeats and MIDI
-@subsection Repeats and MIDI
-
-@cindex expanding repeats
-
-With a little bit of tweaking, all types of repeats can be present
-in the MIDI output. This is achieved by applying the
-@code{\unfoldrepeats} music function. This functions changes all
-repeats to unfold repeats.
-
-@lilypond[verbatim,raggedright,fragment]
-\unfoldrepeats {
- \repeat tremolo 8 {c'32 e' }
- \repeat percent 2 { c''8 d'' }
- \repeat volta 2 {c'4 d' e' f'}
- \alternative {
- { g' a' a' g' }
- {f' e' d' c' }
- }
-}
-\bar "|."
-@end lilypond
-
-When creating a score file using @code{\unfoldrepeats} for midi, then
-it is necessary to make two @code{\score} blocks. One for MIDI (with
-unfolded repeats) and one for notation (with volta, tremolo, and
-percent repeats). For example,
-
-@example
- \score @{
- @var{..music..}
- \layout @{ .. @}
- @}
- \score @{
- \unfoldrepeats @var{..music..}
- \midi @{ .. @}
- @}
-@end example
-
-@node Manual repeat commands
-@subsection Manual repeat commands
-
-@cindex @code{repeatCommands}
-
-The property @code{repeatCommands} can be used to control the layout of
-repeats. Its value is a Scheme list of repeat commands, where each repeat
-command can be
-
-@table @asis
-@item @code{start-repeat},
- which prints a @code{|:} bar line;
-@item @code{end-repeat},
- which prints a @code{:|} bar line;
-@item @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 @code{(volta #f)}, which
- stops a running volta bracket.
-@end table
-
-@lilypond[quote,raggedright,verbatim,fragment,relative=2]
-c4
- \set Score.repeatCommands = #'((volta "93") end-repeat)
-c4 c4
- \set Score.repeatCommands = #'((volta #f))
-c4 c4
-@end lilypond
-
-
-
-@seealso
-
-Program reference: @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
-@lilypond[quote,verbatim,raggedright]
-\new Voice \relative c' {
- \repeat "tremolo" 8 { c16 d16 }
- \repeat "tremolo" 4 { c16 d16 }
- \repeat "tremolo" 2 { c16 d16 }
-}
-@end lilypond
-
-Tremolo marks can also be put on a single note. In this case, the
-note should not be surrounded by braces.
-@lilypond[quote,verbatim,raggedright]
- \repeat "tremolo" 4 c'16
-@end lilypond
-
-Similar output is obtained using the tremolo subdivision, described in
-@ref{Tremolo subdivisions}.
-
-@seealso
-
-In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
-
-Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
-tremolos are @internalsref{StemTremolo} objects. The music expression is
-@internalsref{TremoloEvent}.
-
-Example files: @inputfileref{input/regression,chord-tremolo.ly},
-@inputfileref{input/regression,stem-tremolo.ly}.
-
-@node Tremolo subdivisions
-@subsection Tremolo subdivisions
-@cindex tremolo marks
-@cindex @code{tremoloFlags}
-
-Tremolo marks can be printed on a single note by adding
-`@code{:}[@var{number}]' after the note. The number indicates the
-duration of the subdivision, and it must be at least 8. A
-@var{length} value of 8 gives one line across the note stem. If the
-length is omitted, the last value (stored in @code{tremoloFlags}) is
-used
-
-@lilypond[quote,raggedright,verbatim,fragment]
- c'2:8 c':32 | c': c': |
-@end lilypond
-
-@c [TODO : stok is te kort bij 32en]
-@c somebody want to translate that into English? :)
-
-@refbugs
-
-Tremolos entered in this way do not carry over into the MIDI output.
-
-@seealso
-
-In this manual: @ref{Tremolo repeats}.
-
-Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
-
-@node Measure repeats
-@subsection Measure repeats
-
-@cindex percent repeats
-@cindex measure repeats
-
-In the @code{percent} style, a note pattern can be repeated. It is
-printed once, and then the pattern is replaced with a special sign.
-Patterns of one and two measures are replaced by percent-like signs,
-patterns that divide the measure length are replaced by slashes
-
-@lilypond[quote,verbatim,raggedright]
-\new Voice \relative c' {
- \repeat "percent" 4 { c4 }
- \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
-}
-@end lilypond
-
-@seealso
-
-Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
-@internalsref{PercentRepeatedMusic}, and
-@internalsref{DoublePercentRepeat}.
-
-
-
-@node Rhythmic music
-@section Rhythmic music
-
-Rhythmic music is primarily used for percussion and drum notation, but it can
-also be used to show the rhythms of melodies.
-
-@menu
-* Showing melody rhythms::
-* Entering percussion::
-* Percussion staves::
-@end menu
-
-
-@node Showing melody rhythms
-@subsection Showing melody rhythms
-
-Sometimes you might want to show only the rhythm of a melody. This
-can be done with the rhythmic staff. All pitches of notes on such a
-staff are squashed, and the staff itself has a single line
-
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
-\context RhythmicStaff {
- \time 4/4
- c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
-}
-@end lilypond
-
-@seealso
-
-Program reference: @internalsref{RhythmicStaff}.
-
-Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
-
-
-@node Entering percussion
-@subsection Entering percussion
-
-@cindex percussion
-@cindex drums
-
-
-Percussion notes may be entered in @code{\drummode} mode, which is
-similar to the standard mode for entering notes. Each piece of
-percussion has a full name and an abbreviated name, and both can be used
-in input files
-
-@lilypond[quote,raggedright,verbatim]
-\drums {
- hihat hh bassdrum bd
-}
-@end lilypond
-
-The complete list of drum names is in the init file
-@file{ly/drumpitch-init.ly}.
-@c TODO: properly document this.
-
-@seealso
-
-Program reference: @internalsref{DrumNoteEvent}.
-
-@node Percussion staves
-@subsection Percussion staves
-@cindex percussion
-@cindex drums
-
-A percussion part for more than one instrument typically uses a
-multi line staff where each position in the staff refers to one piece
-of percussion.
-
-
-To typeset the music, the notes must be interpreted in a
-@internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
-
-@c
-@lilypond[quote,raggedright,verbatim]
-up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
-down = \drummode { bassdrum4 snare8 bd r bd sn4 }
- \new DrumStaff <<
- \new DrumVoice { \voiceOne \up }
- \new DrumVoice { \voiceTwo \down }
- >>
-@end lilypond
-
-The above example shows verbose polyphonic notation. The short
-polyphonic notation, described in @ref{Polyphony}, can also be used if
-the @internalsref{DrumVoices} are instantiated by hand first. For example,
-
-@lilypond[quote,raggedright,fragment,verbatim]
-\new DrumStaff <<
- \context DrumVoice = "1" { s1 *2 }
- \context DrumVoice = "2" { s1 *2 }
- \drummode {
- bd4 sn4 bd4 sn4
- <<
- { \repeat unfold 16 hh16 }
- \\
- { bd4 sn4 bd4 sn4 }
- >>
- }
->>
-@end lilypond
-
-
-There are also other layout possibilities. To use these, set the
-property @code{drumStyleTable} in context @internalsref{DrumVoice}.
-The following variables have been predefined
-
-@table @code
-@item drums-style
-This is the default. It typesets a typical drum kit on a five-line staff
-
-@lilypond[quote,raggedright,noindent]
-nam = \lyricmode { cymc cyms cymr hh hhc hho hhho hhp cb hc
- bd sn ss tomh tommh tomml toml tomfh tomfl }
-mus = \drummode { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
- bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
-\score {
- << \new DrumStaff\with {
- \remove Bar_engraver
- \remove Time_signature_engraver
- \override Stem #'transparent = ##t
- \override Stem #'Y-extent-callback = ##f
- minimumVerticalExtent = #'(-4.0 . 5.0)
- } \mus
- \context Lyrics \nam
- >>
- \layout {
- %% need to do this, because of indented @itemize
- linewidth= 9 \cm
- \context { \Score
- \override LyricText #'font-family = #'typewriter
- \override BarNumber #'transparent =##T
-}}}
-@end lilypond
-
-The drum scheme supports six different toms. When there fewer toms, simply
-select the toms that produce the desired result, i.e. to get toms on
-the three middle lines you use @code{tommh}, @code{tomml} and
-@code{tomfh}.
-
-@item timbales-style
-This typesets timbales on a two line staff
-
-@lilypond[quote,raggedright]
-nam = \lyricmode { timh ssh timl ssl cb }
-mus = \drummode { timh ssh timl ssl cb s16 }
-
-<<
- \context DrumStaff \with {
- \remove Bar_engraver
- \remove Time_signature_engraver
- \override Stem #'transparent = ##t
- \override Stem #'Y-extent-callback = ##f
- \override StaffSymbol #'line-count = #2
- \override StaffSymbol #'staff-space = #2
- minimumVerticalExtent = #'(-3.0 . 4.0)
- drumStyleTable = #timbales-style
- } \mus
- \context Lyrics {
- \override LyricText #'font-family = #'typewriter
-
- \nam }
->>
-@end lilypond
-@item congas-style
-This typesets congas on a two line staff
-
-@lilypond[quote,raggedright]
-nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
-mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
-<<
- \context DrumStaff\with {
- \remove Bar_engraver
- \remove Time_signature_engraver
- drumStyleTable = #congas-style
- \override StaffSymbol #'line-count = #2
-
- %% this sucks; it will lengthen stems.
- \override StaffSymbol #'staff-space = #2
- \override Stem #'transparent = ##t
- \override Stem #'Y-extent-callback = ##f
- } \mus
- \context Lyrics {
- \override LyricText #'font-family = #'typewriter
-\nam }
->>
-@end lilypond
-@item bongos-style
-This typesets bongos on a two line staff
-
-@lilypond[quote,raggedright]
-nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
-mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
-<<
- \context DrumStaff\with {
- \remove Bar_engraver
- \remove Time_signature_engraver
- \override StaffSymbol #'line-count = #2
- drumStyleTable = #bongos-style
-
- %% this sucks; it will lengthen stems.
- \override StaffSymbol #'staff-space = #2
- \override Stem #'transparent = ##t
- \override Stem #'Y-extent-callback = ##f
- } \mus
- \context Lyrics {
- \override LyricText #'font-family = #'typewriter
-\nam }
->>
-@end lilypond
-
-@item percussion-style
-to typeset all kinds of simple percussion on one line staves
-@lilypond[quote,raggedright]
-nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
-mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
-<<
- \context DrumStaff\with{
- \remove Bar_engraver
- drumStyleTable = #percussion-style
- \override StaffSymbol #'line-count = #1
- \remove Time_signature_engraver
- \override Stem #'transparent = ##t
- \override Stem #'Y-extent-callback = ##f
- } \mus
- \context Lyrics {
- \override LyricText #'font-family = #'typewriter
- \nam
- }
->>
-@end lilypond
-@end table
-
-If you do not like any of the predefined lists you can define your own
-list at the top of your file
-
-@lilypond[quote,raggedright,verbatim]
-#(define mydrums '(
- (bassdrum default #f -1)
- (snare default #f 0)
- (hihat cross #f 1)
- (pedalhihat xcircle "stopped" 2)
- (lowtom diamond #f 3)))
-up = \drummode { hh8 hh hh hh hhp4 hhp }
-down = \drummode { bd4 sn bd toml8 toml }
-
-\new DrumStaff <<
- \set DrumStaff.drumStyleTable
- = #(alist->hash-table mydrums)
- \new DrumVoice { \voiceOne \up }
- \new DrumVoice { \voiceTwo \down }
->>
-@end lilypond
-
-
-@seealso
-
-Init files: @file{ly/drumpitch-init.ly}.
-
-Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
-
-@refbugs
-
-Because general MIDI does not contain rim shots, the sidestick is used
-for this purpose instead.
-
-@node Piano music
-@section Piano music
-
-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
-* Automatic staff changes::
-* Manual staff switches::
-* Pedals::
-* Arpeggio::
-* Staff switch lines::
-* Cross staff stems::
-@end menu
-
-@refbugs
-
-Dynamics are not centered, but workarounds do exist. See the
-``piano centered dynamics'' template in @ref{Piano templates}.
-
-@cindex cross staff stem
-@cindex stem, cross staff
-@cindex distance between staves in piano music
-
-The distance between the two staves is the same for all systems in the
-score. It is possible to override this per system, but it does require
-an arcane command incantation. See
-@inputfileref{input/test,piano-staff-distance.ly}.
-
-
-@node Automatic staff changes
-@subsection Automatic staff changes
-@cindex Automatic staff changes
-
-Voices can be made to switch automatically between the top and the bottom
-staff. The syntax for this is
-
-@quotation
-@example
- \autochange @dots{}@var{music}@dots{}
-@end example
-@end quotation
-
-@noindent
-This will create two staves inside the current PianoStaff, called
-@code{up} and @code{down}. The lower staff will be in bass clef by
-default.
-
-A @code{\relative} section that is outside of @code{\autochange} has
-no effect on the pitches of @var{music}, so, if necessary, put
-@code{\relative} inside @code{\autochange} like
-
-@quotation
-@example
-\autochange \relative @dots{} @dots{}
-@end example
-@end quotation
-
-
-The autochanger switches on basis of pitch (middle C is the turning
-point), and it looks ahead skipping over rests to switch in
-advance. Here is a practical example
-
-@lilypond[quote,verbatim,raggedright]
-\context PianoStaff
- \autochange \relative c'
- {
- g4 a b c d r4 a g
- }
-@end lilypond
-
-
-@seealso
-
-In this manual: @ref{Manual staff switches}.
-
-Program reference: @internalsref{AutoChangeMusic}.
-
-
-
-@refbugs
-
-The staff switches may not end up in optimal places. For high
-quality output, staff switches should be specified manually.
-
-
-@code{\autochange} cannot be inside @code{\times}.
-
-Internally, the @code{\partcombine} interprets both arguments as
-@code{Voice}s named @code{one} and @code{two}, and then decides when
-the parts can be combined. Consequently, if the arguments switch to
-differently named @internalsref{Voice} contexts, the events in those
-will be ignored.
-
-
-@node Manual staff switches
-@subsection Manual staff switches
-
-@cindex manual staff switches
-@cindex staff switch, manual
-
-Voices can be switched between staves manually, using the command
-@example
-\change Staff = @var{staffname} @var{music}
-@end example
-
-@noindent
-The string @var{staffname} is the name of the staff. It switches the
-current voice from its current staff to the Staff called
-@var{staffname}. Typically @var{staffname} is @code{"up"} or
-@code{"down"}. The @context{Staff} referred to must already exist, so
-usually the setup for a score will start with a setup of the staves,
-
-@example
-<<
- \context Staff = up @{
- \skip 1 * 10 %@emph{ keep staff alive}
- @}
- \context Staff = down @{
- \skip 1 * 10 %@emph{idem}
- @}
->>
-@end example
-
-
-and the @context{Voice} is inserted afterwards
-
-@example
-\context Staff = down
- \new Voice @{ @dots{} \change Staff = up @dots{} @}
-@end example
-
-
-@node Pedals
-@subsection Pedals
-@cindex Pedals
-
-Pianos have pedals that alter the way sound is produced. Generally, a
-piano has three pedals, sustain, una corda, and sostenuto.
-
-
-Piano pedal instruction can be expressed by attaching
-@code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
-@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
-note or chord
-
-@lilypond[quote,raggedright,fragment,verbatim]
- c'4\sustainDown c'4\sustainUp
-@end lilypond
-
-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
-@internalsref{SustainPedal} in the program reference for more
-information.
-
-Pedals can also be indicated by a sequence of brackets, by setting the
-@code{pedalSustainStyle} property to bracket objects
-
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
- \set Staff.pedalSustainStyle = #'bracket
- c\sustainDown d e
- b\sustainUp\sustainDown
- b g \sustainUp a \sustainDown \bar "|."
-@end lilypond
-
-A third style of pedal notation is a mixture of text and brackets,
-obtained by setting the @code{pedalSustainStyle} style property to
-@code{mixed}
-
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
- \set Staff.pedalSustainStyle = #'mixed
- c\sustainDown d e
- b\sustainUp\sustainDown
- b g \sustainUp a \sustainDown \bar "|."
-@end lilypond
-
-The default `*Ped.' style for sustain and damper pedals corresponds to
-style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
-default.
-
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
- c\sostenutoDown d e c, f g a\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
-@internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
-bracket may be extended to the right edge of the note head
-
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
- \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
- c\sostenutoDown d e c, f g a\sostenutoUp
-@end lilypond
-
-@node Arpeggio
-@subsection Arpeggio
-@cindex Arpeggio
-
-@cindex broken arpeggio
-@cindex @code{\arpeggio}
-
-You can specify an arpeggio sign on a chord by attaching an
-@code{\arpeggio} to a chord
-
-
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
- <c e g c>\arpeggio
-@end lilypond
-
-When an arpeggio crosses staves, you attach an arpeggio to the chords
-in both staves, and set
-@internalsref{PianoStaff}.@code{connectArpeggios}
-
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
-\context PianoStaff <<
- \set PianoStaff.connectArpeggios = ##t
- \new Staff { <c' e g c>\arpeggio }
- \new Staff { \clef bass <c,, e g>\arpeggio }
->>
-@end lilypond
-
-The direction of the arpeggio is sometimes denoted by adding an
-arrowhead to the wiggly line
-
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
-\context Voice {
- \arpeggioUp
- <c e g c>\arpeggio
- \arpeggioDown
- <c e g c>\arpeggio
-}
-@end lilypond
-
-A square bracket on the left indicates that the player should not
-arpeggiate the chord
-
-@c todo: ugh, lousy typography. Look for real example. --hwn
-
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
- \arpeggioBracket
- <c' e g c>\arpeggio
-@end lilypond
-
-@refcommands
-
-@cindex @code{\arpeggio}
-@code{\arpeggio},
-@cindex @code{\arpeggioUp}
-@code{\arpeggioUp},
-@cindex @code{\arpeggioDown}
-@code{\arpeggioDown},
-@cindex @code{\arpeggioNeutral}
-@code{\arpeggioNeutral},
-@cindex @code{\arpeggioBracket}
-@code{\arpeggioBracket}.
-
-@seealso
-
-Program reference: @internalsref{ArpeggioEvent},
-@internalsref{Arpeggio}.
-
-@refbugs
-
-It is not possible to mix connected arpeggios and unconnected
-arpeggios in one @internalsref{PianoStaff} at the same point in time.
-
-@node Staff switch lines
-@subsection Staff switch lines
-
-
-@cindex follow voice
-@cindex staff switching
-@cindex cross staff
-
-@cindex @code{followVoice}
-
-Whenever a voice switches to another staff a line connecting the notes
-can be printed automatically. This is switched on by setting
-@code{PianoStaff.followVoice} to true
-
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
-\context PianoStaff <<
- \set PianoStaff.followVoice = ##t
- \context Staff \context Voice {
- c1
- \change Staff=two
- b2 a
- }
- \context Staff=two { \clef bass \skip 1*2 }
->>
-@end lilypond
-
-@seealso
-
-Program reference: @internalsref{VoiceFollower}.
-
-@refcommands
-
-@cindex @code{\showStaffSwitch}
-@code{\showStaffSwitch},
-@cindex @code{\hideStaffSwitch}
-@code{\hideStaffSwitch}.
-
-
-@node Cross staff stems
-@subsection Cross staff stems
-
-The chords which cross staves may be produced by increasing the length
-of the stem in the lower stave, so it reaches the stem in the upper
-stave, or vice versa.
-
-@lilypond[raggedright,verbatim,quote]
-stemExtend = \once \override Stem #'length = #22
-noFlag = \once \override Stem #'flag-style = #'no-flag
-\context PianoStaff <<
- \new Staff {
- \stemDown \stemExtend
- f'4
- \stemExtend \noFlag
- f'8
- }
- \new Staff {
- \clef bass
- a4 a8
- }
->>
-@end lilypond
-
-
-@node Vocal music
-@section Vocal music
-
-There are three different issues when printing vocal music
-
-@itemize @bullet
-@item
- Song texts must be entered as texts, not notes. For example, the
-input @code{d} should be interpreted as a one letter syllable, not the note D.
-@item
- Song texts must be printed as text, not as notes.
-@item
- Song texts must be aligned with the notes of their melody
-@end itemize
-
-The simplest solution to printing music uses the @code{\addlyrics}
-function to solve all these problems at once. However, these
-three functions can be controlled separately, which is necessary
-for complex vocal music.
-
-
-@menu
-* Setting simple songs::
-* Entering lyrics::
-* Hyphens and extenders::
-* The Lyrics context::
-* Flexibility in alignment::
-* More stanzas::
-* Ambitus::
-@end menu
-
-@node Setting simple songs
-@subsection Setting simple songs
-
-The easiest way to add lyrics to a melody is to append
-@cindex \addlyrics
-@example
- \addlyrics @{ @var{the lyrics} @}
-@end example
-
-@noindent
-to a melody. Here is an example,
-
-@lilypond[raggedright,verbatim,fragment,quote]
- \time 3/4
- \relative { c2 e4 g2. }
- \addlyrics { play the game }
-@end lilypond
-
-More stanzas can be added by adding more
-@code{\addlyrics} sections
-
-@lilypond[raggedright,verbatim,fragment,quote]
- \time 3/4
- \relative { c2 e4 g2. }
- \addlyrics { play the game }
- \addlyrics { speel het spel }
- \addlyrics { joue le jeu }
-@end lilypond
-
-@c TODO - this isn't such a great place for this note, but I can't
-@c find a better place without rearranging a lot of lyric stuff.
-@c It's yet another thing to look at post-3.0.
-
-The @code{\addlyrics} command is actually just a convienient way
-to write a more complicated LilyPond structure that sets up the
-lyrics. You should use @code{\addlyrics} unless you need to
-fancy things, in which case you should investigate
-@code{\lyricsto} or @code{\lyricmode}.
-
-@example
- @{ MUSIC @}
- \addlyrics @{ LYRICS @}
-@end example
-
-is the same as
-
-@example
- \context Voice = blah @{ music @}
- \lyricsto "blah" \lyricsmode \new lyrics @{ LYRICS @}
-@end example
-
-
-@node Entering lyrics
-@subsection Entering lyrics
-
-
-@cindex lyrics
-@cindex @code{\lyricmode}
-@cindex punctuation
-
-Lyrics are entered in a special input mode. This mode is is introduced
-by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
-@code{lyricsto}. In this mode you can enter lyrics,
-with punctuation and accents, and the input @code{d} is not parsed as
-a pitch, but rather as a one letter syllable. Syllables are entered
-like notes, but with pitches replaced by text. For example,
-@example
- \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
-@end example
-
-
-A word lyrics mode begins with an alphabetic character, and ends with
-any space or digit. The following characters can be any character
-that is not a digit or white space. One important consequence of this
-is that a word can end with @code{@}}. The following example is
-usually a mistake in the input file. The syllable includes a @code{@}}, so the
-opening brace is not balanced
-@example
- \lyricmode @{ twinkle@}
-@end example
-
-@cindex @code{\property}, in @code{\lyricmode}
-@noindent
-Similarly, a period which follows an alphabetic sequence is included in
-the resulting string. As a consequence, spaces must be inserted around
-property commands
-@example
- \override Score . LyricText #'font-shape = #'italic
-@end example
-
-@cindex @code{_}
-@cindex spaces, in lyrics
-@cindex quotes, in lyrics
-
-Any @code{_} character which appears in an unquoted word is converted
-to a space. This provides a mechanism for introducing spaces into words
-without using quotes. Quoted words can also be used in Lyrics mode to
-specify words that cannot be written with the above rules. The
-following example incorporates double quotes
-
-@example
- \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
-@end example
-
-This example is slightly academic, since it gives better looking
-results to use single quotes, @code{``} and @code{''}
-@example
- \lyricmode @{ He said: ``Let my peo ple go'' @}
-@end example
-
-
-The full definition of a word start in Lyrics mode is somewhat more
-complex.
-
-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{^}.
-
-
-
-@seealso
-
-Program reference: events @internalsref{LyricEvent}, and
-@internalsref{LyricText}.
-
-@refbugs
-
-The definition of lyrics mode is too complex.
-
-@node Hyphens and extenders
-@subsection Hyphens and extenders
-
-@cindex hyphens
-
-Centered hyphens are entered as `@code{-}@code{-}' 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
-
-Program reference: @internalsref{HyphenEvent},
-@internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
-@internalsref{LyricExtender}
-
-Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
-
-
-
-@node The Lyrics context
-@subsection The Lyrics context
-
-
-Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
-@example
- \context Lyrics \lyricmode @dots{}
-@end example
-
-@cindex automatic syllable durations
-@cindex @code{\lyricsto}
-@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{\lyricsto} expression
-@example
-\lyricsto @var{name} \new Lyrics @dots{}
-@end example
-
-This aligns the lyrics to the
-@c
-notes of the @internalsref{Voice} context called @var{name}, which has
-to exist. Therefore, normally the @code{Voice} is specified first, and
-then the lyrics are specified with @code{\lyricsto}. The command
-@code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
-@code{\lyricmode} keyword may be omitted.
-
-For different or more complex orderings, the best way is to setup the
-hierarchy of staves and lyrics first, e.g.
-@example
-\context ChoirStaff <<
- \context Lyrics = sopranoLyrics @{ s1 @}
- \context Voice = soprano @{ @emph{music} @}
- \context Lyrics = tenorLyrics @{ s1 @}
- \context Voice = tenor @{ @emph{music} @}
->>
-@end example
-and then combine the appropriate melodies and lyric lines
-@example
- \lyricsto "soprano" \context Lyrics = sopranoLyrics
- @emph{the lyrics}
-@end example
-
-@noindent
-The final input would resemble
-
-@example
-<<\context ChoirStaff << @emph{setup the music} >>
- \lyricsto "soprano" @emph{etc}
- \lyricsto "alto" @emph{etc}
- @emph{etc}
->>
-@end example
-
-
-The @code{\lyricsto} command detects melismata: it only puts one
-syllable under a tied or slurred group of notes. If you want to force
-an unslurred group of notes to be a melisma, insert @code{\melisma}
-after the first note of the group, and @code{\melismaEnd} after the
-last one, e.g.
-
-@lilypond[quote,relative=2,raggedright,fragment,verbatim]
-<<
- \context Voice = "lala" {
- \time 3/4
- f4 g8
- \melisma
- f e f
- \melismaEnd
- e2
- }
- \lyricsto "lala" \new Lyrics {
- la di __ daah
- }
->>
-@end lilypond
-
-In addition, notes are considered a melisma if they are manually
-beamed, and automatic beaming (see @ref{Setting automatic beam
-behavior}) is switched off.
-
-@ignore
-
-@c nonformation:
-
-The criteria for deciding melismata can
-be tuned with the property @code{melismaBusyProperties}. See
-@internalsref{Melisma_translator} in the program reference for more
-information.
-
-@end ignore
-
-Lyrics can also be entered without @code{\lyricsto}. In this case the
-durations of each syllable must be entered explicitly, for example,
-
-@verbatim
- play2 the4 game2.
- sink2 or4 swim2.
-@end verbatim
-
-The alignment to a melody can be specified with the
-@code{associatedVoice} property,
-
-@verbatim
- \set associatedVoice = #"lala"
-@end verbatim
-
-@noindent
-The value of the property (here: @code{"lala"}) should be the name of
-a @internalsref{Voice} context. Without this setting, extender lines
-will not be formatted properly.
-
-Here is an example demonstrating manual lyric durations,
-
-@lilypond[relative=1,raggedright,verbatim,fragment,quote]
-<< \context Voice = melody {
- \time 3/4
- c2 e4 g2.
- }
- \new Lyrics \lyricmode {
- \set associatedVoice = #"melody"
- play2 the4 game2.
- } >>
-@end lilypond
-
-@cindex SATB
-@cindex choral score
-
-A complete example of a SATB score setup is in section
-@ref{Small ensembles}.
-
-
-@refcommands
-
-@code{\melisma}, @code{\melismaEnd}
-@cindex @code{\melismaEnd}
-@cindex @code{\melisma}
-
-@seealso
-
-Program reference: @internalsref{LyricCombineMusic},
-@internalsref{Lyrics}, @internalsref{Melisma_translator}.
-
-Examples: @ref{Small ensembles},
-@inputfileref{input/regression,lyric-combine-new.ly},
-@c TODO: make separate section for melismata
-@inputfileref{input/test,lyrics-melisma-variants.ly}.
-@inputfileref{input/test,lyrics-melisma-faster.ly}.
-
-@refbugs
-
-Melismata are not detected automatically, and extender lines must be
-inserted by hand.
-
-
-@c TODO: document \new Staff << Voice \lyricsto >> bug
-
-@node Flexibility in alignment
-@subsection Flexibility in alignment
-
-
-Often, different stanzas of one song are put to one melody in slightly
-differing ways. Such variations can still be captured with
-@code{\lyricsto}.
-
-One possibility is that the text has a melisma in one stanza, but
-multiple syllables in another one. One solution is to make the faster
-voice ignore the melisma. This is done by setting
-@code{ignoreMelismata} in the Lyrics context.
-
-There has one tricky aspect. The setting for @code{ignoreMelismata}
-must be set one syllable @emph{before} the non-melismatic syllable
-in the text, as shown here,
-
-@lilypond[verbatim,raggedright,quote]
-<<
- \relative \context Voice = "lahlah" {
- \set Staff.autoBeaming = ##f
- c4
- \slurDotted
- f8.[( g16])
- a4
- }
- \new Lyrics \lyricsto "lahlah" {
- more slow -- ly
- }
- \new Lyrics \lyricsto "lahlah" {
- \set ignoreMelismata = ##t % applies to "fas"
- go fas -- ter
- \unset ignoreMelismata
- still
- }
->>
-@end lilypond
-
-
-The @code{ignoreMelismata} applies to the syllable ``fas'', so it
-should be entered before ``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
-lyrics. For every @code{\skip}, the text will be delayed another note.
-For example,
-
-@lilypond[verbatim,raggedright,quote]
-\relative { c c g' }
-\addlyrics {
- twin -- \skip 4
- kle
-}
-@end lilypond
-
-More complex variations in text underlay are possible. It is possible
-to switch the melody for a line of lyrics during the text. This is
-done by setting the @code{associatedVoice} property. In the example
-
-@lilypond[raggedright,quote]
-
-<<
- \relative \context Voice = "lahlah" {
- \set Staff.autoBeaming = ##f
- c4
- <<
- \context Voice = alternative {
- \voiceOne
- \times 2/3 {
- % show associations clearly.
- \override NoteColumn #'force-hshift = #-3
- f8 f g
- }
- }
- {
- \voiceTwo
- f8.[ g16]
- \oneVoice
- } >>
- a8( b) c
- }
- \new Lyrics \lyricsto "lahlah" {
- Ju -- ras -- sic Park
- }
- \new Lyrics \lyricsto "lahlah" {
- % Tricky: need to set associatedVoice
- % one syllable too soon!
- \set associatedVoice = alternative % applies to "ran"
- Ty --
- ran --
- no --
- \set associatedVoice = lahlah % applies to "rus"
- sau -- rus Rex
- } >>
-@end lilypond
-
-@noindent
-the text for the first stanza is set to a melody called ``lahlah'',
-
-@verbatim
-\new Lyrics \lyricsto "lahlah" {
- Ju -- ras -- sic Park
-}
-@end verbatim
-
-
-The second stanza initially is set to the @code{lahlah} context, but
-for the syllable ``ran'', it switches to a different melody.
-This is achieved with
-@example
- \set associatedVoice = alternative
-@end example
-
-@noindent
-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
-this case.
-
-@verbatim
-\new Lyrics \lyricsto "lahlah" {
- \set associatedVoice = alternative % applies to "ran"
- Ty --
- ran --
- no --
- \set associatedVoice = lahlah % applies to "rus"
- sau -- rus Rex
-}
-@end verbatim
-
-@noindent
-The underlay is switched back to the starting situation by assigning
-@code{lahlah} to @code{associatedVoice}.
-
-
-
-
-@node More stanzas
-@subsection More stanzas
-
-@cindex phrasing, in lyrics
-
-
-@cindex stanza number
-@cindex singer's names
-@cindex name of singer
-
-Stanza numbers can be added by setting @code{stanza}, e.g.
-
-@lilypond[quote,raggedright,verbatim,relative=2,fragment]
-\new Voice {
- \time 3/4 g2 e4 a2 f4 g2.
-} \addlyrics {
- \set stanza = "1. "
- Hi, my name is Bert.
-} \addlyrics {
- \set stanza = "2. "
- Oh, che -- ri, je t'aime
-}
-@end lilypond
-
-These numbers are put just before the start of first syllable.
-
-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}.
-
-
-@lilypond[fragment,raggedright,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
-
-@seealso
-
-Program reference: Layout objects @internalsref{LyricText} and
-@internalsref{VocalName}. Music expressions
-@internalsref{LyricEvent}.
-
-
-
-@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. Ambits are printed on vocal parts,
-so performers can easily determine it meets their capabilities.
-
-It denoted at the beginning of a piece near the initial clef. The
-range is graphically specified by two note heads, that represent the
-minimum and maximum pitch. To print such ambits, add the
-@internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
-for example,
-
-@example
- \layout @{
- \context @{
- \Voice
- \consists Ambitus_engraver
- @}
- @}
-@end example
-
-This results in the following output
-
-@lilypond[quote,raggedright]
-\layout {
- \context {
- \Staff
- \consists Ambitus_engraver
- }
-}
-
-\relative \new Staff {
- as'' c e2 cis,2
-}
-@end lilypond
-
-If you have multiple voices in a single staff, and you want a single
-ambitus per staff rather than per each voice, add the
-@internalsref{Ambitus_engraver} to the @internalsref{Staff} context
-rather than to the @internalsref{Voice} context. Here is an example,
-
-@lilypond[verbatim,raggedright,quote]
-\new Staff <<
- \new Voice \with {
- \consists "Ambitus_engraver"
- } \relative c'' {
- \override Ambitus #'X-offset-callbacks
- = #(list (lambda (grob axis) -1.0))
- \voiceOne
- c4 a d e f2
- }
- \new Voice \with {
- \consists "Ambitus_engraver"
- } \relative c' {
- \voiceTwo
- es4 f g as b2
- }
->>
-@end lilypond
-
-@noindent
-This example uses one advanced feature,
-
-@example
- \override Ambitus #'X-offset-callbacks
- = #(list (lambda (grob axis) -1.0))
-@end example
-
-@noindent
-This code moves the ambitus to the left. The same effect could have
-been achieved with @code{extra-offset}, but then the formatting system
-would not reserve space for the moved object.
-
-@seealso
-
-Program reference: @internalsref{Ambitus},
-@internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
-@internalsref{AmbitusAccidental}.
-
-Examples: @inputfileref{input/regression,ambitus.ly}.
-
-@refbugs
-
-There is no collision handling in the case of multiple per-voice
-ambitus.
-
-@node Other instrument specific notation, Tablatures, Vocal music, Notation manual
-@section Other instrument specific notation
-
-This section includes extra information for writing string music, and may
-include extra information for other instruments in the future.
-
-@menu
-* Harmonic notes::
-@end menu
-
-@node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
-@subsection Harmonic notes
-
-@cindex artificial harmonics
-@cindex harmonics
-
-Artificial harmonics are notated with a different notehead style. They
-are entered by
-marking the harmonic pitch with @code{\harmonic}.
-
-@lilypond[raggedright,verbatim,quote,fragment]
- <c' g'\harmonic>4
-@end lilypond
-
-
-@node Tablatures, Popular music, Other instrument specific notation, Notation manual
-@section Tablatures
-
-@cindex tablature
-@cindex guitar tablature
-
-Tablature notation is used for notating music for plucked string
-instruments. Pitches are not denoted with note heads, but by
-indicating on which string and fret a note must be played. LilyPond
-offers limited support for tablature.
-
-@menu
-* Tablatures basic::
-* Non-guitar tablatures::
-@end menu
-
-@node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
-@subsection Tablatures basic
-@cindex Tablatures basic
-
-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[quote,raggedright,fragment,verbatim]
- \context TabStaff {
- a,4\5 c'\2 a\3 e'\1
- e\4 c'\2 a\3 e'\1
-}
-@end lilypond
-
-@cindex @code{minimumFret}
-@cindex fret
-
-When no string is specified, the first string that does not give a
-fret number less than @code{minimumFret} is selected. The default
-value for @code{minimumFret} is 0
-
-
-@example
-e16 fis gis a b4
-\set TabStaff.minimumFret = #8
-e16 fis gis a b4
-@end example
-@lilypond[quote,noindent,raggedright]
-frag = {
- \key e \major
- e16 fis gis a b4
- \set TabStaff.minimumFret = #8
- e16 fis gis a b4
-}
- \context StaffGroup <<
- \context Staff { \clef "G_8" \frag }
- \context TabStaff { \frag }
- >>
-@end lilypond
-
-@seealso
-
-Program reference: @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, , Tablatures basic, Tablatures
-@subsection Non-guitar tablatures
-@cindex Non-guitar tablatures
-
-You can change the number of strings, by setting the number of lines
-in the @internalsref{TabStaff}.
-
-You can change the tuning of the strings. A string tuning is given as
-a Scheme list with one integer number for each string, the number
-being the pitch (measured in semitones relative to middle C) of an
-open string. The numbers specified for @code{stringTuning} are the
-numbers of semitones to subtract or add, starting the specified pitch
-by default middle C, in string order. In the next example,
-@code{stringTunings} is set for the pitches e, a, d, and g
-
-@lilypond[quote,raggedright,fragment,verbatim]
- \context TabStaff <<
- \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
-
- {
- a,4 c' a e' e c' a e'
- }
- >>
-@end lilypond
-
-@refbugs
-
-No guitar special effects have been implemented.
-
-@seealso
-
-Program reference: @internalsref{Tab_note_heads_engraver}.
-
-
-@node Popular music, Orchestral music, Tablatures, Notation manual
-@section Popular music
-
-This section discusses issues that arise when writing popular music.
-
-@menu
-* Chord names::
-* Chords mode::
-* Printing chord names::
-* Fret diagrams::
-* Improvisation::
-@end menu
-
-@node Chord names, Chords mode, Popular music, Popular music
-@subsection Chord names
-@cindex Chords
-
-LilyPond has support for 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[quote,raggedright,verbatim,raggedright]
-twoWays = \transpose c c' {
- \chordmode {
- c1 f:sus4 bes/f
- }
- <c e g>
- <f bes c'>
- <f bes d'>
-}
-
- << \context ChordNames \twoWays
- \context Voice \twoWays >>
-@end lilypond
-
-This example also shows that the chord printing routines do not try to
-be intelligent. The last chord (@code{f bes d}) is not interpreted as
-an inversion.
-
-@c this menu isn't needed.
-@ignore
-@menu
-* Chords mode::
-* Printing chord names::
-@end menu
-@end ignore
-
-@node Chords mode
-@subsection Chords mode
-@cindex Chords mode
-
-In chord mode sets of pitches (chords) are entered with normal note
-names. A chord is entered by the root, which is entered like a
-normal pitch
-
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
- \chordmode { es4. d8 c2 }
-@end lilypond
-
-@noindent
-The mode is introduced by the keyword @code{\chordmode}.
-
-@cindex chord entry
-@cindex chord mode
-
-Other chords may be entered by suffixing a colon and introducing a
-modifier (which may include a number if desired)
-@c
-@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
-chord, thirds are added to the root until it reaches the specified
-number
-@lilypond[quote,fragment,verbatim]
- \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
-@end lilypond
-
-@cindex root of chord
-@cindex additions, in chords
-@cindex removals, in chords
-
-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
-@c
-@lilypond[quote,verbatim,fragment]
- \chordmode { 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
-@lilypond[quote,verbatim,fragment]
- \chordmode { 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
-@lilypond[quote,verbatim,fragment]
- \chordmode { c^3 c:7^5 c:9^3.5 }
-@end lilypond
-
-Modifiers can be used to change pitches. The following modifiers are
-supported
-@table @code
-@item m
- is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
-@item dim
- is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
- the 7th step.
-@item aug
- is the augmented chord. This modifier raises the 5th step.
-@item maj
- is the major 7th chord. This modifier raises the 7th step if present.
-@item sus
- 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
-@lilypond[quote,verbatim,fragment]
- \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
-@end lilypond
-
-@cindex modifiers, in chords.
-@cindex @code{aug}
-@cindex @code{dim}
-@cindex @code{maj}
-@cindex @code{sus}
-@cindex @code{m}
-
-Since an unaltered 11 does not sound good when combined with an
-unaltered 3, the 11 is removed in this case (unless it is added
-explicitly)
-@c
-@lilypond[quote,raggedright,fragment,verbatim]
- \chordmode { c:13 c:13.11 c:m13 }
-@end lilypond
-
-@cindex @code{/}
-
-An inversion (putting one pitch of the chord on the bottom), as well
-as bass notes, can be specified by appending
-@code{/}@var{pitch} to the chord
-@lilypond[quote,raggedright,fragment,verbatim]
- \chordmode { c1 c/g c/f }
-@end lilypond
-@cindex @code{/+}
-
-A bass note can be added instead of transposed out of the chord,
-by using @code{/+}@var{pitch}.
-
-@lilypond[quote,raggedright,fragment,verbatim]
-\chordmode { c1 c/+g c/+f }
-@end lilypond
-
-Chords is a mode similar to @code{\lyricmode} etc. Most
-of the commands continue to work, for example, @code{r} and
-@code{\skip} can be used to insert rests and spaces, and property
-commands 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
-@cindex clusters
-@lilypond[quote,raggedright,verbatim,fragment]
-\chordmode { c:5.5-.5+ }
-@end lilypond
-
-
-@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 @code{<} and @code{>}
-
-@lilypond[quote,verbatim,raggedright]
-harmonies = {
- \chordmode {a1 b c} <d' f' a'> <e' g' b'>
-}
-<<
- \context ChordNames \harmonies
- \context Staff \harmonies
->>
-@end lilypond
-
-You can make the chord changes stand out by setting
-@internalsref{ChordNames}.@code{chordChanges} to true. This will only
-display chord names when there is a change in the chords scheme and at
-the start of a new line
-
-@c originally this had linewidth=9\cm, but I though that raggedright would be better
-@lilypond[quote,verbatim,raggedright]
-harmonies = \chordmode {
- c1:m c:m \break c:m c:m d
-}
-<<
- \context ChordNames {
- \set chordChanges = ##t
- \harmonies }
- \context Staff \transpose c c' \harmonies
->>
-@end lilypond
-
-The previous examples all show chords over a staff. This is not
-necessary. Chords may also be printed separately. It may be necessary
-to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
-for showing repeats.
-
-@lilypond[raggedright,verbatim]
-\new ChordNames \with {
- \override BarLine #'bar-size = #4
- voltaOnThisStaff = ##t
- \consists Bar_engraver
- \consists "Volta_engraver"
-}
-\repeat volta 2 \chordmode {
- f1:maj f:7 bes:7
- c:maj
-} \alternative {
- es e
-}
-@end lilypond
-
-
-The default chord name layout is a system for Jazz music, proposed by
-Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
-following properties
-
-@table @code
-@cindex @code{chordNameExceptions}
-@item chordNameExceptions
-This is a list that contains the chords that have special formatting.
-For an example of tuning this property, see
-@inputfileref{input/regression,chord-name-exceptions.ly}.
-@cindex exceptions, chord names.
-
-
-@cindex @code{majorSevenSymbol}
-@item majorSevenSymbol
-This property contains the markup object used for the 7th step, when
-it is major. Predefined options are @code{whiteTriangleMarkup} and
-@code{blackTriangleMarkup}. See
-@inputfileref{input/regression,chord-name-major7.ly} for an example.
-
-@cindex @code{chordNameSeparator}
-@item chordNameSeparator
-Different parts of a chord name are normally separated by a
-slash. By setting @code{chordNameSeparator}, you can specify other
-separators, e.g.
-@lilypond[quote,raggedright,fragment,verbatim]
-\context ChordNames \chordmode {
- c:7sus4
- \set chordNameSeparator
- = \markup { \typewriter "|" }
- c:7sus4
-}
-@end lilypond
-
-@cindex @code{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.
-
-@cindex @code{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
-
-The predefined variables @code{\germanChords},
-@code{\semiGermanChords} set these variables. The effect is
-demonstrated here,
-
-@lilypondfile[raggedright,]{chord-names-german.ly}
-
-There are also two other chord name schemes implemented: an alternate
-Jazz chord notation, and a systematic scheme called Banter chords. The
-alternate jazz notation is also shown on the chart in @ref{Chord name
-chart}. Turning on these styles is described in the input file
-@inputfileref{input/test,chord-names-jazz.ly}.
-
-@cindex Banter
-@cindex jazz chords
-@cindex chords, jazz
-
-
-@refcommands
-
-@cindex @code{\germanChords}
-@code{\germanChords},
-@cindex @code{\semiGermanChords}
-@code{\semiGermanChords}.
-
-
-
-
-@seealso
-
-Examples: @inputfileref{input/regression,chord-name-major7.ly},
-@inputfileref{input/regression,chord-name-exceptions.ly},
-@inputfileref{input/test,chord-names-jazz.ly},
-@inputfileref{input/test,chords-without-melody.ly}.
-
-
-Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
-
-
-@refbugs
-
-Chord names are determined solely from the list of pitches. Chord
-inversions are not identified, and neither are added bass notes. This
-may result in strange chord names when chords are entered with the
-@code{< .. >} syntax.
-
-
-@node Fret diagrams
-@subsection Fret diagrams
-@cindex fret diagrams
-@cindex chord diagrams
-
-Fret diagrams can be added to music as a markup to the desired note. The
-markup contains information about the desired fret diagram, as shown in the
-following example
-
-@lilypond[verbatim, raggetright, quote]
-\context Voice {
- d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
- fis' ^\markup \override #'(size . 0.75) {
- \override #'(finger-code . below-string) {
- \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
- (place-fret 5 4 3) (place-fret 4 4 4)
- (place-fret 3 3 2) (place-fret 2 2 1)
- (place-fret 1 2 1))
- }
- }
- c' ^\markup \override #'(dot-radius . 0.35) {
- \override #'(finger-code . in-dot) {
- \override #'(dot-color . white) {
- \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
- }
- }
- }
-}
-@end lilypond
-
-
-There are three different fret-diagram markup interfaces: standard, terse,
-and verbose. The three interfaces produce equivalent markups, but have
-varying amounts of information in the markup string. Details about the
-markup interfaces are found at @ref{Overview of text markup commands}.
-
-You can set a number of graphical properties according to your preference.
-Details about the property interface to fret diagrams are found at
-@internalsref{fret-diagram-interface}.
-
-
-@seealso
-
-Examples: @inputfileref{input/test,fret-diagram.ly}
-
-
-@node Improvisation
-@subsection Improvisation
-
-Improvisation is sometimes denoted with slashed note heads. Such note
-heads can be created by adding a @internalsref{Pitch_squash_engraver}
-to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
-following command
-
-@example
- \set squashedPosition = #0
- \override NoteHead #'style = #'slash
-@end example
-
-@noindent
-switches on the slashes.
-
-There are shortcuts @code{\improvisationOn} (and an accompanying
-@code{\improvisationOff}) for this command sequence. They are used in
-the following example
-
-@lilypond[verbatim,raggedright,quote]
-\new Staff \with {
- \consists Pitch_squash_engraver
-} \transpose c c' {
- e8 e g a a16(bes)(a8) g \improvisationOn
- e8
- ~e2~e8 f4 fis8
- ~fis2 \improvisationOff a16(bes) a8 g e
-}
-@end lilypond
-
-
-
-@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.
-
-
-
-@menu
-* System start delimiters::
-* Aligning to cadenzas::
-* Rehearsal marks::
-* Bar numbers::
-* Instrument names::
-* Transpose::
-* Instrument transpositions::
-* Multi measure rests::
-* Automatic part combining::
-* Hiding staves::
-* Different editions from one source::
-* Quoting other voices::
-* Formatting cue notes::
-@end menu
-
-@node System start delimiters
-@subsection System start delimiters
-
-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, and bar lines are
-connected. This is done with the @internalsref{GrandStaff} context.
-
-@lilypond[verbatim,raggedright,quote]
-\new GrandStaff
-\relative <<
- \new Staff { c1 c }
- \new Staff { c c }
->>
-@end lilypond
-
-
-@item The group is started with a bracket, and bar lines are connected. This is done with the
-@internalsref{StaffGroup} context
-
-@lilypond[verbatim,raggedright,quote]
-\new StaffGroup
-\relative <<
- \new Staff { c1 c }
- \new Staff { c c }
->>
-@end lilypond
-
-
-@item The group is started with a vertical line. Bar lines are not
-connected. This is the default for the score.
-
-@lilypond[verbatim,raggedright,quote]
-\relative <<
- \new Staff { c1 c }
- \new Staff { c c }
->>
-@end lilypond
-
-@end itemize
-
-@cindex Staff, multiple
-@cindex bracket, vertical
-@cindex brace, vertical
-@cindex grand staff
-@cindex staff group
-
-
-@seealso
-
-The bar lines at the start of each system are
-@internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
-@internalsref{SystemStartBracket}. Only one of these types is created
-in every context, and that type is determined by the property
-@code{systemStartDelimiter}.
-
-@node Aligning to cadenzas
-@subsection Aligning to cadenzas
-
-
-In an orchestral context, cadenzas present a special problem:
-when constructing a score that includes a cadenza, all other
-instruments should skip just as many notes as the length of the
-cadenza, otherwise they will start too soon or too late.
-
-A solution to this problem are the functions @code{mmrest-of-length}
-and @code{skip-of-length}. These Scheme functions take a piece music
-as argument, and generate a @code{\skip} or multi rest, exactly as
-long as the piece. The use of @code{mmrest-of-length} is demonstrated
-in the following example.
-
-@lilypond[verbatim,raggedright,quote]
-cadenza = \relative c' {
- c4 d8 << { e f g } \\ { d4. } >>
- g4 f2 g4 g
-}
-
-\new GrandStaff <<
- \new Staff { \cadenza c'4 }
- \new Staff {
- #(ly:export (mmrest-of-length cadenza))
- c'4
- }
->>
-@end lilypond
-
-
-
-
-
-@node Rehearsal marks
-@subsection Rehearsal marks
-@cindex Rehearsal marks
-@cindex mark
-@cindex @code{\mark}
-
-To print a rehearsal mark, use the @code{\mark} command
-
-@lilypond[quote,raggedright,fragment,verbatim,relative=1]
- c1 \mark \default
- c1 \mark \default
- c1 \mark #8
- c1 \mark \default
- c1 \mark \default
-@end lilypond
-
-@noindent
-(The letter I is skipped in accordance with engraving traditions.)
-@c umm, is the manual the right place for feature requests? :) -gp
-@c FIXME - should make that tunable.
-
-The mark is incremented automatically if you use @code{\mark
-\default}, but you can also use an integer argument to set the mark
-manually. The value to use is stored in the property
-@code{rehearsalMark}.
-
-The style is defined by the property @code{markFormatter}. It is a
-function taking the current mark (an integer) and the current context
-as argument. It should return a markup object. In the following
-example, @code{markFormatter} is set to a canned procedure. After a
-few measures, it is set to function that produces a boxed number.
-
-@c fragproblem? -gp
-@lilypond[quote,raggedright,verbatim,relative=2]
-{
- \set Score.markFormatter = #format-mark-numbers
- c1 \mark \default
- c1 \mark \default
- \set Score.markFormatter
- = #(lambda (mark context)
- (make-bold-markup
- (make-box-markup (number->string mark))))
- c1 \mark \default
- c1 \mark \default
-}
-@end lilypond
-
-The file @file{scm/translation-functions.scm} contains the definitions
-of @code{format-mark-numbers} (the default format) and
-@code{format-mark-letters}. These can be used as inspiration for other
-formatting functions.
-
-
-@cindex coda on bar line
-@cindex segno on bar line
-@cindex fermata on bar line
-@cindex bar lines, symbols on
-
-The @code{\mark} command can also be used to put signs like coda,
-segno and fermatas on a bar line. Use @code{\markup} to
-to access the appropriate symbol
-
-@c fragproblem? -gp
-@lilypond[quote,raggedright,verbatim,relative=2]
-{
- c1 \mark \markup { \musicglyph #"scripts-ufermata" }
- c1
-}
-@end lilypond
-
-In the case of a line break, marks must also be printed at the end of
-the line, and not at the beginning. Use the following to force that
-behavior
-@example
- \override Score.RehearsalMark
- #'break-visibility = #begin-of-line-invisible
-@end example
-
-@cindex fermatas
-@cindex coda
-@cindex segno
-@cindex bar lines, putting symbols on
-
-@seealso
-
-Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
-
-Init files: @file{scm/translation-functions.scm} contains the
-definition of @code{format-mark-numbers} and
-@code{format-mark-letters}. They can be used as inspiration for other
-formatting functions.
-
-Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
-
-@inputfileref{input/regression,rehearsal-mark-number.ly}.
-
-
-@node Bar numbers
-@subsection Bar numbers
-
-
-@cindex bar numbers
-@cindex measure numbers
-@cindex @code{currentBarNumber}
-
-Bar numbers are printed by default at the start of the line. The
-number itself is stored in the @code{currentBarNumber} property, which
-is normally updated automatically for every measure.
-
-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}
-
-@lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
-
-@seealso
-
-Program reference: @internalsref{BarNumber}.
-
-Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
-and @inputfileref{input/test,bar-number-regular-interval.ly}.
-
-@refbugs
-
-Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
-there is one at the top. To solve this, the
-@code{padding} property of @internalsref{BarNumber} can be
-used to position the number correctly.
-
-@node Instrument names
-@subsection Instrument names
-
-In an orchestral score, instrument names are printed left 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.
-
-@lilypond[quote,verbatim,raggedright,relative=1,fragment]
- \set Staff.instrument = "Ploink "
- \set Staff.instr = "Plk "
- c1
- \break
- c''
-@end lilypond
-
-You can also use markup texts to construct more complicated instrument
-names, for example
-
-@lilypond[quote,fragment,verbatim,raggedright]
- \set Staff.instrument = \markup {
- \column < "Clarinetti" { "in B"
- \smaller \flat } > }
-{ c''1 }
-@end lilypond
-
-For longer instrument names, it may be useful to increase the
-@code{indent} setting in the @code{\layout} block.
-
-@seealso
-
-Program reference: @internalsref{InstrumentName}.
-
-@refbugs
-
-When you put a name on a grand staff or piano staff the width of the
-brace is not taken into account. You must add extra spaces to the end of
-the name to avoid a collision.
-
-@node Transpose
-@subsection Transpose
-@cindex Transpose
-@cindex transposition of pitches
-@cindex @code{\transpose}
-
-A music expression can be transposed with @code{\transpose}. The
-syntax is
-@example
- \transpose @var{from} @var{to} @var{musicexpr}
-@end example
-
-This means that @var{musicexpr} is transposed by the interval between
-the pitches @var{from} and @var{to}: any note with pitch @code{from}
-is changed to @code{to}.
-
-
-For example, consider a piece written in the key of D major. If
-this piece is a little too low for its performer, it can be
-transposed up to E major with
-@example
- \transpose d e @dots{}
-@end example
-
-Consider a part written for violin (a C instrument). If
-this part is to be played on the A clarinet, the following
-transposition will produce the appropriate part
-
-@example
- \transpose a c @dots{}
-@end example
-
-@code{\transpose} distinguishes between enharmonic pitches: both
-@code{\transpose c cis} or @code{\transpose c des} will transpose up
-half a tone. The first version will print sharps and the second
-version will print flats
-
-@lilypond[quote,raggedright,verbatim]
-mus = { \key d \major cis d fis g }
-\context Staff {
- \clef "F" \mus
- \clef "G"
- \transpose c g' \mus
- \transpose c f' \mus
-}
-@end lilypond
-
-
-@seealso
-
-Program reference: @internalsref{TransposedMusic}, and
-@internalsref{UntransposableMusic}.
-
-@refbugs
-
-If you want to use both @code{\transpose} and @code{\relative},
-you must put @code{\transpose} outside of @code{\relative}, since
-@code{\relative} will have no effect music that appears inside a
-@code{\transpose}.
-
-@node Instrument transpositions
-@subsection Instrument transpositions
-
-The key of a transposing instrument can also be specified. This
-applies to many wind instruments, for example, clarinets (B-flat, A and
-E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
-
-The transposition is entered after the keyword @code{\transposition}
-
-@example
- \transposition bes %% B-flat clarinet
-@end example
-
-@noindent
-This command sets the property @code{instrumentTransposition}. The value of
-this property is used for MIDI output and quotations. It does not
-affect how notes are printed in the current staff.
-
-The pitch to use for @code{\transposition} should correspond to the
-transposition of the notes. For example, when entering a score in
-concert pitch, typically all voices are entered in C, so
-they should be entered as
-
-@example
- clarinet = @{
- \transposition c'
- ...
- @}
- saxophone = @{
- \transposition c'
- ..
- @}
-@end example
-
-The command @code{\transposition} should be used when the music is
-entered from a (transposed) orchestral part. For example, in
-classical horn parts, the tuning of the instrument is often changed
-during a piece. When copying the notes from the part, use
-@code{\transposition}, e.g.
-
-@example
- \transposition d'
- c'4^"in D"
- ...
- \transposition g'
- c'4^"in G"
- ...
-@end example
-
-
-
-@cindex transposition, MIDI
-@cindex transposition, instrument
-
-
-@node Multi measure rests
-@subsection 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, empty measures will not
-be expanded, and the appropriate number is added automatically
-
-@lilypond[quote,raggedright,fragment,verbatim]
- \time 4/4 r1 | R1 | R1*2
- \set Score.skipBars = ##t R1*17 R1*4
-@end lilypond
-
-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 fractions
-
-@lilypond[quote,raggedright,fragment,verbatim]
- \set Score.skipBars = ##t
- \time 3/4
- R2. | R2.*2
- \time 13/8
- R1*13/8
- R1*13/8*12 |
- \time 10/8 R4*5*4 |
-@end lilypond
-
-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.
-
-If there are only a few measures of rest, LilyPond prints ``church rests''
-(a series of rectangles) in the staff. To replace that with a simple
-rest, use @code{MultiMeasureRest.expand-limit}.
-
-@lilypond[quote,raggedright,fragment,verbatim]
- \set Score.skipBars = ##t
- R1*2 | R1*5 | R1*9
- \override MultiMeasureRest #'expand-limit = 1
- R1*2 | R1*5 | R1*9
-@end lilypond
-
-
-@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 (see @ref{Text markup}).
-A variable (@code{\fermataMarkup}) is provided for
-adding fermatas
-
-
-@lilypond[quote,raggedright,verbatim,fragment]
- \set Score.skipBars = ##t
- \time 3/4
- R2.*10^\markup { "Ad lib" }
- R2.^\fermataMarkup
-@end lilypond
-
-If you want to have a text on the left end of a multi-measure rest,
-attach the text to a zero-length skip note, i.e.
-
-@example
- s1*0^"Allegro"
- R1*4
-@end example
-
-
-@cindex whole rests for a full measure
-
-@seealso
-
-Program reference: @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.
-
-@refbugs
-
-It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
-over multi-measure rests.
-
-@cindex condensing rests
-
-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, the result will look OK, but the bar
-numbering will be off.
-
-@node Automatic part combining
-@subsection Automatic part combining
-@cindex automatic part combining
-@cindex part combiner
-
-
-Automatic part combining is used to merge two parts of music onto a
-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.
-
-The syntax for part combining is
-
-@example
- \partcombine @var{musicexpr1} @var{musicexpr2}
-@end example
-
-
-
-The following example demonstrates the basic functionality of the part
-combiner: putting parts on one staff, and setting stem directions and
-polyphony
-
-@lilypond[quote,verbatim,raggedright,fragment]
-\new Staff \partcombine
- \relative g' { g g a( b) c c r r }
- \relative g' { g g r4 r e e g g }
-@end lilypond
-
-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', while the second (called @code{two}) always gets down stems and
-`Solo II'.
-
-If you just want the merging parts, and not the textual markings, you
-may set the property @code{printPartCombineTexts} to false
-
-@lilypond[quote,verbatim,raggedright,fragment,relative=2]
-\new Staff <<
- \set Staff.printPartCombineTexts = ##f
- \partcombine
- \relative g' { g a( b) r }
- \relative g' { g r4 r f }
->>
-@end lilypond
-
-
-Both arguments to @code{\partcombine} will be interpreted as
-@internalsref{Voice} contexts. If using relative octaves,
-@code{\relative} should be specified for both music expressions, i.e.
-
-@example
-\partcombine
- \relative @dots{} @var{musicexpr1}
- \relative @dots{} @var{musicexpr2}
-@end example
-
-@noindent
-A @code{\relative} section that is outside of @code{\partcombine} has
-no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
-
-@seealso
-
-Program reference: @internalsref{PartCombineMusic},
-@internalsref{SoloOneEvent}, and
-@internalsref{SoloTwoEvent}, and
-@internalsref{UnisonoEvent}.
-
-@refbugs
-
-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}.
-
-@code{\partcombine} cannot be inside @code{\relative}.
-
-Internally, the @code{\partcombine} interprets both arguments as
-@code{Voice}s named @code{one} and @code{two}, and then decides when
-the parts can be combined. Consequently, if the arguments switch to
-differently named @internalsref{Voice} contexts, the events in those
-will be ignored.
-
-@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'.
-For @internalsref{Lyrics},
-@internalsref{ChordNames} and @internalsref{FiguredBass}, this is
-switched on by default. When these line of these contexts turn out
-empty after the line-breaking process, they are removed.
-
-For normal staves, a specialized @internalsref{Staff} context is
-available, which does the same: staves containing nothing (or only
-multi measure rests) are removed. The context definition is stored in
-@code{\RemoveEmptyStaffContext} variable. Observe how the second staff
-in this example disappears in the second line
-
-
-@lilypond[quote,raggedright,verbatim]
-\layout {
- \context { \RemoveEmptyStaffContext }
-}
-
-{
- \relative c' <<
- \new Staff { e4 f g a \break c1 }
- \new Staff { c4 d e f \break R1 }
- >>
-}
-@end lilypond
-
-The first system shows all staves in full. If empty staves should be
-removed from the first system too, set @code{remove-first} to false in
-@internalsref{RemoveEmptyVerticalGroup}.
-
-Another application is making ossia sections, i.e. alternative
-melodies on a separate piece of staff, with help of a Frenched
-staff. See @inputfileref{input/test,ossia.ly} for an example.
-
-
-@node Different editions from one source
-@subsection Different editions from one source
-
-The @code{\tag} command marks music expressions with a name. These
-tagged expressions can be filtered out later. With this mechanism it
-is possible to make different versions of the same music source.
-
-In the following example, we see two versions of a piece of music, one
-for the full score, and one with cue notes for the instrumental part
-
-@example
- c1
- <<
- \tag #'part <<
- R1 \\
- @{
- \set fontSize = #-1
- c4_"cue" f2 g4 @}
- >>
- \tag #'score R1
- >>
- c1
-@end example
-
-The same can be applied to articulations, texts, etc.: they are
-made by prepending
-@example
- -\tag #@var{your-tag}
-@end example
-to an articulation, for example,
-@example
- c1-\tag #'part ^4
-@end example
-
-This defines a note with a conditional fingering indication.
-
-By applying the @code{\keepWithTag} command, tagged expressions
-can be filtered. For example,
-@example
-<<
- @var{the music}
- \keepWithTag #'score @var{the music}
- \keepWithTag #'part @var{the music}
->>
-@end example
-would yield
-
-@lilypondfile[raggedright,quote]{tag-filter.ly}
-
-
-The argument of the @code{\tag} command should be a symbol, or a list
-of symbols, for example,
-@example
- \tag #'(original-part transposed-part) @dots{}
-@end example
-
-@seealso
-
-Examples: @inputfileref{input/regression,tag-filter.ly}.
-
-@refbugs
-
-Multiple rests are not merged if you create the score with both tagged
-sections.
-
-@node Quoting other voices
-@subsection Quoting other voices
-
-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.
-
-@example
- \addquote @var{name} @var{music}
-@end example
-
-
-@noindent
-Here, @var{name} is an identifying string. The @var{music} is any kind
-of music. This is an example of @code{\addquote}
-
-@verbatim
-\addquote clarinet \relative c' {
- f4 fis g gis
-}
-@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.
-
-@example
-\quote clarinet 2.
-@end example
-
-This would cite three quarter notes (@code{2.} is a dotted half note)
-of the previously added @code{clarinet} voice.
-
-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]
-\addquote clarinet \relative c' {
- \transposition bes
- f4 fis g gis
-}
-
-{
- e'8 f'8 \quote clarinet 2
-}
-@end lilypond
-
-The type of events that are present in cue notes can be trimmed with
-the @code{quotedEventTypes} property. The default value is
-@code{(note-event rest-event)}, which means that only notes of and
-rests of the cued voice end up in the @code{\quote}.
-Setting
-
-@example
- \set Staff.quotedEventTypes = #'(note-event articulation-event dynamic-event)
-@end example
-
-@noindent
-will quote notes (but no rests), together with scripts and dynamics.
-
-@refbugs
-
-Only the contents of the first @internalsref{Voice} occurring in an
-@code{\addquote} command will be considered for quotation, so
-@var{music} can not contain @code{\new} and @code{\context Voice}
-statements that would switch to a different Voice.
-
-
-@seealso
-
-In this manual: @ref{Instrument transpositions}.
-
-Examples: @inputfileref{input/regression,quote.ly}
-@inputfileref{input/regression,quote-transposition.ly}
-
-Program reference: @internalsref{QuoteMusic}.
-
-@node Formatting cue notes
-@subsection Formatting cue notes
-
-
-The previous section deals with inserting notes from another
-voice. When making a part, these notes need to be specially formatted.
-Here is an example of formatted cue notes
-
-@c TODO: This should be done with \quote stuff, not manually.
-
-@lilypond[raggedright,verbatim]
-smaller = {
- \set fontSize = #-1
- \override Stem #'length = #5.5
- \override Beam #'thickness = #0.384
- \override Beam #'space-function =
- #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
-}
-
-{
- \set Staff.instrument = #"Horn in F"
- \set Score.skipBars = ##t
- R1*21
- << {
- \once \override Staff.MultiMeasureRest #'staff-position = #-6
- R1
- }
- \new Voice {
- s2
- \clef tenor
- \smaller
- r8^"Bsn." c'8 f'8[ f'8]
- \clef treble
- }
- >>
- c'8^"Horn" cis'
- eis'4 fis'4
-}
-@end lilypond
-
-
-There are a couple of points to take care of:
-
-@itemize @bullet
-@item
-The multi rest of the original part should be moved up or down during
-the cue.
-@item
-Cue notes have smaller font sizes.
-@item
-When cued notes have a clef change relative to the original part, the
-clef should be restored after the cue section. This minimizes
-confusion for the reader,
-@item
-When the original part starts, this should be marked with the name of
-the instrument, in this case ``Horn.'' Of course, the cue part is
-marked with the instrument playing the cue.
-@end itemize
-
-@c really? Are you sure about that last point? I'll check after 3.0 -gp
-
-
-@node Ancient notation
-@section Ancient notation
-
-@cindex Vaticana, Editio
-@cindex Medicaea, Editio
-@cindex hufnagel
-@cindex Petrucci
-@cindex mensural
-
-Support for ancient notation 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
-@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.
-
-In addition to the standard articulation signs described in section
-@ref{Articulations}, specific articulation signs for ancient notation
-are provided.
-
-@itemize @bullet
-@item
-@ref{Ancient articulations}
-@end itemize
-
-Other aspects of ancient notation can not that easily be expressed as
-in terms of just changing a style property of a graphical object or
-adding articulation signs. Some notational concepts are introduced
-specifically for ancient notation,
-
-@itemize @bullet
-@item
-@ref{Custodes},
-@item
-@ref{Divisiones},
-@item
-@ref{Ligatures}.
-@end itemize
-
-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. Use them to set up predefined style-specific voice and
-staff contexts, and directly go ahead with the note entry,
-
-@itemize @bullet
-@item
-@ref{Gregorian Chant contexts},
-@item
-@ref{Mensural contexts}.
-@end itemize
-
-There is limited support for figured bass notation which came
-up during the baroque period.
-
-@itemize @bullet
-@item
-@ref{Figured bass}
-@end itemize
-
-Here are all suptopics at a glance:
-
-@menu
-* Ancient note heads::
-* Ancient accidentals::
-* Ancient rests::
-* Ancient clefs::
-* Ancient flags::
-* Ancient time signatures::
-* Ancient articulations::
-* Custodes::
-* Divisiones::
-* Ligatures::
-* Gregorian Chant contexts::
-* Mensural contexts::
-* Figured bass::
-@end menu
-
-
-@node Ancient note heads
-@subsection Ancient note heads
-
-@cindex 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 @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]
- \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, 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
-
-Examples: @inputfileref{input/regression,note-head-style.ly} gives an
-overview over all available note head styles.
-
-
-@node Ancient accidentals
-@subsection Ancient accidentals
-
-@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}.
-
-@lilypond[quote,raggedright,staffsize=26]
-\score {
-{
- \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" }
- >
- }
-}
-\layout {
- interscoreline = 1
- \context { \Score \remove "Bar_number_engraver" }
- \context { \Staff
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \remove "Time_signature_engraver"
- \remove "Staff_symbol_engraver"
- minimumVerticalExtent = ##f
- }
- }
-}
-@end lilypond
-
-As shown, not all accidentals are supported by each style. When
-trying to access an unsupported accidental, LilyPond will switch to a
-different style, as demonstrated in
-@inputfileref{input/test,ancient-accidentals.ly}.
-
-Similarly to local accidentals, the style of the key signature can be
-controlled by the @code{style} property of the
-@internalsref{KeySignature} grob.
-
-@seealso
-
-In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
-@ref{Accidentals} give a general introduction into the use of
-accidentals. @ref{Key signature} gives a general introduction into
-the use of key signatures.
-
-Program reference: @internalsref{KeySignature}.
-
-Examples: @inputfileref{input/test,ancient-accidentals.ly}.
-
-@node Ancient rests
-@subsection Ancient rests
-
-@cindex rests
-
-
-Use the @code{style} property of grob @internalsref{Rest} to select
-ancient accidentals. Supported styles are @code{classical},
-@code{neomensural} 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{neomensural} style suits
-well for e.g. the incipit of a transcribed mensural piece of music.
-The @code{mensural} style finally mimics the appearance of rests as
-in historic prints of the 16th century.
-
-The following example demonstrates the @code{neomensural} style
-
-@lilypond[quote,fragment,raggedright,verbatim]
- \set Score.skipBars = ##t
- \override Rest #'style = #'neomensural
- r\longa r\breve r1 r2 r4 r8 r16
-@end lilypond
-
-There are no 32th and 64th rests specifically for the mensural or
-neo-mensural style. Instead, the rests from the default style will be
-taken. See @inputfileref{input/test,rests.ly} for a chart of all
-rests.
-
-There are no rests in Gregorian Chant notation; instead, it uses
-@ref{Divisiones}.
-
-@seealso
-
-In this manual: @ref{Rests} gives a general introduction into the use of rests.
-
-
-@node Ancient clefs
-@subsection Ancient clefs
-
-@cindex clefs
-
-
-LilyPond supports a variety of clefs, many of them ancient.
-
-The following table shows all ancient clefs that are supported via the
-@code{\clef} command. Some of the clefs use the same glyph, but
-differ only with respect to the line they are printed on. In such
-cases, a trailing number in the name is used to enumerate these clefs.
-Still, you can manually force a clef glyph to be typeset on an
-arbitrary line, as described in @ref{Clef}. The note printed to the
-right side of each clef in the example column denotes the @code{c'}
-with respect to that clef.
-
-@multitable @columnfractions .4 .4 .2
-
-@item
-@b{Description} @tab
-@b{Supported Clefs} @tab
-@b{Example}
-
-@item
-modern style mensural C clef @tab
-@code{neomensural-c1}, @code{neomensural-c2},
-@code{neomensural-c3}, @code{neomensural-c4} @tab
-@lilypond[fragment,raggedright,quote,relative=1,notime]
- \clef "neomensural-c2" c
-@end lilypond
-
-@item
-petrucci style mensural C clefs, for use on different staff lines
-(the examples shows the 2nd staff line C clef).
-
-@tab
-@code{petrucci-c1}
-@code{petrucci-c2}
-@code{petrucci-c3}
-@code{petrucci-c4}
-@code{petrucci-c5}
-
-@tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
- \clef "petrucci-c2" c
-@end lilypond
-
-@item
-petrucci style mensural F clef @tab
-@code{petrucci-f} @tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
- \clef "petrucci-f" c
-@end lilypond
-
-@item
-petrucci style mensural G clef @tab
-@code{petrucci-g} @tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
- \clef "petrucci-g" c
-@end lilypond
-
-@item
-historic style mensural C clef @tab
-@code{mensural-c1}, @code{mensural-c2}, @code{mensural-c3},
-@code{mensural-c4} @tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
- \clef "mensural-c2" c
-@end lilypond
-
-@item
-historic style mensural F clef @tab
-@code{mensural-f} @tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
- \clef "mensural-f" c
-@end lilypond
-
-@item
-historic style mensural G clef @tab
-@code{mensural-g} @tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
- \clef "mensural-g" c
-@end lilypond
-
-@item
-Editio Vaticana style do clef @tab
-@code{vaticana-do1}, @code{vaticana-do2}, @code{vaticana-do3} @tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
- \override Staff.StaffSymbol #'line-count = #4
- \clef "vaticana-do2" c
-@end lilypond
-
-@item
-Editio Vaticana style fa clef @tab
-@code{vaticana-fa1}, @code{vaticana-fa2} @tab
-@lilypond[quote,relative=1,notime,indent=0.0\mm,fragment]
- \override Staff.StaffSymbol #'line-count = #4
- \clef "vaticana-fa2" c
-@end lilypond
-
-@item
-Editio Medicaea style do clef @tab
-@code{medicaea-do1}, @code{medicaea-do2}, @code{medicaea-do3} @tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
- \override Staff.StaffSymbol #'line-count = #4
- \clef "medicaea-do2" c
-@end lilypond
-
-@item
-Editio Medicaea style fa clef @tab
-@code{medicaea-fa1}, @code{medicaea-fa2} @tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
- \override Staff.StaffSymbol #'line-count = #4
- \clef "medicaea-fa2" c
-@end lilypond
-
-@item
-historic style hufnagel do clef @tab
-@code{hufnagel-do1}, @code{hufnagel-do2}, @code{hufnagel-do3} @tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
- \override Staff.StaffSymbol #'line-count = #4
- \clef "hufnagel-do2" c
-@end lilypond
-
-@item
-historic style hufnagel fa clef @tab
-@code{hufnagel-fa1}, @code{hufnagel-fa2} @tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
- \override Staff.StaffSymbol #'line-count = #4
- \clef "hufnagel-fa2" c
-@end lilypond
-
-@item
-historic style hufnagel combined do/fa clef @tab
-@code{hufnagel-do-fa} @tab
-@lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
- \clef "hufnagel-do-fa" c
-@end lilypond
-
-@end multitable
-
-
-
-@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 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 staff line it is printed.
-
-@seealso
-
-In this manual: see @ref{Clef}.
-
-@refbugs
-
-The mensural g clef is mapped to the Petrucci g clef.
-
-
-
-@node Ancient flags
-@subsection Ancient flags
-
-@cindex flags
-
-
-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[quote,fragment,raggedright,verbatim]
- \override Stem #'flag-style = #'mensural
- \override Stem #'thickness = #1.0
- \override NoteHead #'style = #'mensural
- \autoBeamOff
- c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
- c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
-@end lilypond
-
-Note that the innermost flare of each mensural flag always is
-vertically aligned with a staff line.
-
-There is no particular flag style for neo-mensural notation. Hence,
-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.
-
-@refbugs
-
-The attachment of ancient flags to stems is slightly off due to a
-change in early 2.3.x.
-
-Vertically aligning each flag with a staff line assumes that stems
-always end either exactly on or exactly in the middle between two
-staff lines. This may not always be true when using advanced layout
-features of classical notation (which however are typically out of
-scope for mensural notation).
-
-@node Ancient time signatures
-@subsection Ancient time signatures
-
-@cindex time signatures
-
-
-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[quote,raggedright]
-\layout {
- indent = 0.0
- \context { \Staff
- \remove Staff_symbol_engraver
- \remove Clef_engraver
- \remove Time_signature_engraver
- }
-} {
- \set Score.timing = ##f
- \set Score.barAlways = ##t
- s_\markup { "$\\backslash$time 4/4" }
- ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
- s
- s_\markup { "$\\backslash$time 2/2" }
- ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
- s
- s_\markup { "$\\backslash$time 6/4" }
- ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
- s
- s_\markup { "$\\backslash$time 6/8" }
- ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
- \break
- s_\markup { "$\\backslash$time 3/2" }
- ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
- s
- s_\markup { "$\\backslash$time 3/4" }
- ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
- s
- s_\markup { "$\\backslash$time 9/4" }
- ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
- s
- s_\markup { "$\\backslash$time 9/8" }
- ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
- \break
- s_\markup { "$\\backslash$time 4/8" }
- ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
- s
- s_\markup { "$\\backslash$time 2/4" }
- ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
-}
-@end lilypond
-
-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 for the
-incipit of transcriptions of mensural pieces. The @code{mensural}
-style mimics the look of historical printings of the 16th century.
-
-The following examples shows the differences in style,
-
-@lilypond[raggedright,fragment,relative=1,quote]
-{
- \fatText
- \time 2/2
- c1^\markup { \hspace #-2.0 \typewriter default }
-
- \override Staff.TimeSignature #'style = #'numbered
- \time 2/2
- c1^\markup { \hspace #-2.0 \typewriter numbered }
-
- \override Staff.TimeSignature #'style = #'mensural
- \time 2/2
- c1^\markup { \hspace #-2.0 \typewriter mensural }
-
- \override Staff.TimeSignature #'style = #'neomensural
- \time 2/2
- c1^\markup { \hspace #-2.0 \typewriter neomensural }
- \override Staff.TimeSignature #'style = #'single-digit
- \time 2/2
- c1^\markup { \hspace #-2.0 \typewriter single-digit }
-}
-@end lilypond
-
-@seealso
-
-This manual: @ref{Time signature} gives a general introduction into
-the use of time signatures.
-
-@refbugs
-
-Ratios of note durations do not change with the time signature. For
-example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
-be made by hand, by setting
-
-@example
- breveTP = #(ly:make-duration -1 0 3 2)
- @dots{}
- @{ c\breveTP f1 @}
-@end example
-
-@noindent
-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
-
-@node Ancient articulations
-@subsection Ancient articulations
-
-@cindex articulations
-
-In addition to the standard articulation signs described in section
-@ref{Articulations}, articulation signs for ancient notation are
-provided. These are specifically designed for use with notation in
-Editio Vaticana style.
-
-@lilypond[quote,raggedright,verbatim,noindent]
-\include "gregorian-init.ly"
-\score {
- \context VaticanaVoice {
- \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
- \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
- }
-}
-@end lilypond
-
-@refbugs
-
-Some articulations are vertically placed too closely to the
-correpsonding note heads.
-
-@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 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
-of musical notation such as contemporary editions of Gregorian chant
-like the @emph{editio vaticana}. There are different custos glyphs
-used in different flavors of notational style.
-
-For typesetting custodes, just put a @internalsref{Custos_engraver} into the
-@internalsref{Staff} context when declaring the @code{\layout} block,
-as shown in the following example
-
-@example
-\layout @{
- \context @{
- \Staff
- \consists Custos_engraver
- Custos \override #'style = #'mensural
- @}
-@}
-@end example
-
-The result looks like this
-
-@lilypond[quote,raggedright]
-\score {
-{
- a'1
- \override Staff.Custos #'style = #'mensural
- \break
- g'
-}
-\layout {
- \context { \Staff \consists Custos_engraver }
- }
-}
-@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[quote,raggedright,fragment]
-\new Lyrics \lyricmode {
- \markup { \column <
- \typewriter "vaticana"
- { " " \musicglyph #"custodes-vaticana-u0" }
- > }
- \markup { \column <
- \typewriter "medicaea"
- { " " \musicglyph #"custodes-medicaea-u0" }
- >}
- \markup { \column <
- \typewriter "hufnagel"
- { " " \musicglyph #"custodes-hufnagel-u0" }
- >}
- \markup { \column <
- \typewriter "mensural"
- { " " \musicglyph #"custodes-mensural-u0" }
- >}
-}
-
-@end lilypond
-
-@seealso
-
-Program reference: @internalsref{Custos}.
-
-Examples: @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
-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
-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[quote,raggedright]{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
-
-In this manual: @ref{Breath marks}.
-
-Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
-
-Examples: @inputfileref{input/test,divisiones.ly}.
-
-@node Ligatures
-@subsection Ligatures
-
-@cindex Ligatures
-
-@c TODO: Should double check if I recalled things correctly when I wrote
-@c down the following paragraph by heart.
-
-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
-this particular type of ligature. By default, the
-@internalsref{LigatureBracket} engraver just puts a square bracket
-above the ligature
-
-@lilypond[quote,raggedright,verbatim]
-\transpose c c' {
- \[ g c a f d' \]
- 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. 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::
-@end menu
-
-@node White mensural ligatures
-@subsubsection White mensural ligatures
-
-@cindex Mensural ligatures
-@cindex White mensural ligatures
-
-There is limited support for white mensural ligatures.
-
-To engrave white mensural ligatures, in the layout block the
-@internalsref{Mensural_ligature_engraver} has to be put into the
-@internalsref{Voice} context, and remove the
-@internalsref{Ligature_bracket_engraver}
-
-@example
-\layout @{
- \context @{
- \Voice
- \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
- \set Score.timing = ##f
- \set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
- \clef "petrucci-g"
- \[ g\longa c\breve a\breve f\breve d'\longa \]
- s4
- \[ e1 f1 a\breve g\longa \]
-@end example
-@lilypond[quote,raggedright]
-\score {
- \transpose c c' {
- \set Score.timing = ##f
- \set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
- \clef "petrucci-g"
- \[ g\longa c\breve a\breve f\breve d'\longa \]
- s4
- \[ e1 f1 a\breve g\longa \]
- }
- \layout {
- \context {
- \Voice
- \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[quote,raggedright]
-\transpose c c' {
- \set Score.timing = ##f
- \set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
- \clef "petrucci-g"
- \[ g\longa c\breve a\breve f\breve d'\longa \]
- s4
- \[ e1 f1 a\breve g\longa \]
-}
-@end lilypond
-
-@refbugs
-
-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
-
-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
-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: \layout 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[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Punctum
- \[ b \]
- \noBreak s^\markup {"a"} \noBreak
-
- % Punctum Inclinatum
- \[ \inclinatum b \]
- \noBreak s^\markup {"b"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
-\include "gregorian-init.ly"
-\score {
- \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"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Punctum Inclinatum Parvum
- \[ \inclinatum \deminutum b \]
- \noBreak s^\markup {"f"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-
-@item
-@code{2. Virga}
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Virga
- \[ \virga b \]
- \noBreak s^\markup {"g"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@tab
-
-@item
-@code{3. Apostropha vel Stropha}
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Stropha
- \[ \stropha b \]
- \noBreak s^\markup {"h"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Stropha Aucta
- \[ \stropha \auctum b \]
- \noBreak s^\markup {"i"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-
-@item
-@code{4. Oriscus}
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Oriscus
- \[ \oriscus b \]
- \noBreak s^\markup {"j"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@tab
-
-@item
-@code{5. Clivis vel Flexa}
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Clivis vel Flexa
- \[ b \flexa g \]
- s^\markup {"k"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
-\include "gregorian-init.ly"
-\score {
- \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"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Cephalicus
- \[ b \flexa \deminutum g \]
- s^\markup {"n"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-
-@item
-@code{6. Podatus vel Pes}
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Podatus vel Pes
- \[ g \pes b \]
- s^\markup {"o"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
-\include "gregorian-init.ly"
-\score {
- \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"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Epiphonus
- \[ g \pes \deminutum b \]
- s^\markup {"r"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-
-@item
-@code{7. Pes Quassus}
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Pes Quassus
- \[ \oriscus g \pes \virga b \]
- s^\markup {"s"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Pes Quassus Auctus Descendens
- \[ \oriscus g \pes \auctum \descendens b \]
- s^\markup {"t"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-
-@item
-@code{8. Quilisma Pes}
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Quilisma Pes
- \[ \quilisma g \pes b \]
- s^\markup {"u"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Quilisma Pes Auctus Descendens
- \[ \quilisma g \pes \auctum \descendens b \]
- s^\markup {"v"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-
-@item
-@code{9. Podatus Initio Debilis}
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Pes Initio Debilis
- \[ \deminutum g \pes b \]
- s^\markup {"w"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Pes Auctus Descendens Initio Debilis
- \[ \deminutum g \pes \auctum \descendens b \]
- s^\markup {"x"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-
-@item
-@code{10. Torculus}
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Torculus
- \[ a \pes b \flexa g \]
- s^\markup {"y"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Torculus Auctus Descendens
- \[ a \pes b \flexa \auctum \descendens g \]
- s^\markup {"z"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Torculus Deminutus
- \[ a \pes b \flexa \deminutum g \]
- s^\markup {"A"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-
-@item
-@code{11. Torculus Initio Debilis}
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Torculus Initio Debilis
- \[ \deminutum a \pes b \flexa g \]
- s^\markup {"B"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Torculus Auctus Descendens Initio Debilis
- \[ \deminutum a \pes b \flexa \auctum \descendens g \]
- s^\markup {"C"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Torculus Deminutus Initio Debilis
- \[ \deminutum a \pes b \flexa \deminutum g \]
- s^\markup {"D"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-
-@item
-@code{12. Porrectus}
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Porrectus
- \[ a \flexa g \pes b \]
- s^\markup {"E"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Porrectus Auctus Descendens
- \[ a \flexa g \pes \auctum \descendens b \]
- s^\markup {"F"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Porrectus Deminutus
- \[ a \flexa g \pes \deminutum b \]
- s^\markup {"G"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-
-@item
-@code{13. Climacus}
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Climacus
- \[ \virga b \inclinatum a \inclinatum g \]
- s^\markup {"H"}
- }
- \layout { \neumeDemoLayout }
-}
-@end lilypond
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Climacus Auctus
- \[ \virga b \inclinatum a \inclinatum \auctum g \]
- s^\markup {"I"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Climacus Deminutus
- \[ \virga b \inclinatum a \inclinatum \deminutum g \]
- s^\markup {"J"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-
-@item
-@code{14. Scandicus}
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Scandicus
- \[ g \pes a \virga b \]
- s^\markup {"K"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Scandicus Auctus Descendens
- \[ g \pes a \pes \auctum \descendens b \]
- s^\markup {"L"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Scandicus Deminutus
- \[ g \pes a \pes \deminutum b \]
- s^\markup {"M"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-
-@item
-@code{15. Salicus}
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Salicus
- \[ g \oriscus a \pes \virga b \]
- s^\markup {"N"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Salicus Auctus Descendens
- \[ g \oriscus a \pes \auctum \descendens b \]
- s^\markup {"O"}
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-
-@item
-@code{16. Trigonus}
-@tab
-@lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
-\include "gregorian-init.ly"
-\score {
- \transpose c c' {
- % Trigonus
- \[ \stropha b \stropha b \stropha a \]
- s^\markup {"P"}
- }
- \layout { \neumeDemoLayout }
-}
-@end lilypond
-@tab
-@tab
-
-@end multitable
-
-
-Unlike most other neumes notation systems, the input language for
-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
-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{\[ g \oriscus a \pes \auctum \descendens b \]}
-
-@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.
-
-
-
-@node Gregorian Chant contexts
-@subsection Gregorian Chant contexts
-
-@cindex VaticanaVoiceContext
-@cindex VaticanaStaffContext
-
-The predefined @code{VaticanaVoiceContext} and
-@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, so you can immediately go ahead entering the chant, as
-the following excerpt demonstrates
-
-@lilypond[quote,raggedright,verbatim,noindent]
-\include "gregorian-init.ly"
-\score {
- <<
- \context VaticanaVoice = "cantus" {
- \override Score.BarNumber #'transparent = ##t {
- \[ c'\melisma c' \flexa a \]
- \[ a \flexa \deminutum g\melismaEnd \]
- f \divisioMinima
- \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
- c' \divisioMinima \break
- \[ c'\melisma c' \flexa a \]
- \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
- }
- }
- \lyricsto "cantus" \new Lyrics {
- San- ctus, San- ctus, San- ctus
- }
- >>
-}
-@end lilypond
-
-
-@node Mensural contexts
-@subsection Mensural contexts
-
-@cindex MensuralVoiceContext
-@cindex MensuralStaffContext
-
-The predefined @code{MensuralVoiceContext} and
-@code{MensuralStaffContext} can be used to engrave a piece in mensural
-style. These contexts initialize all relevant context properties and
-grob properties to proper values, so you can immediately go ahead
-entering the chant, as the following excerpt demonstrates
-
-@lilypond[quote,raggedright,verbatim,noindent]
-\score {
- <<
- \context MensuralVoice = "discantus" \transpose c c' {
- \override Score.BarNumber #'transparent = ##t {
- c'1\melisma bes a g\melismaEnd
- f\breve
- \[ f1\melisma a c'\breve d'\melismaEnd \]
- c'\longa
- c'\breve\melisma a1 g1\melismaEnd
- fis\longa^\signumcongruentiae
- }
- }
- \lyricsto "discantus" \new Lyrics {
- San -- ctus, San -- ctus, San -- ctus
- }
- >>
-}
-@end lilypond
-
-
-@node Figured bass
-@subsection Figured bass
-
-@cindex Basso continuo
-
-@c TODO: musicological blurb about FB
-
-
-LilyPond has limited support for figured bass
-
-@lilypond[quote,raggedright,verbatim,fragment]
-<<
- \context Voice { \clef bass dis4 c d ais }
- \context FiguredBass \figuremode {
- < 6 >4 < 7 >8 < 6+ [_!] >
- < 6 >4 <6 5 [3+] >
- }
->>
-@end lilypond
-
-The support for figured bass consists of two parts: there is an input
-mode, introduced by @code{\figuremode}, where you can enter bass figures
-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{>}
-@example
-<4 6>
-@end example
-@lilypond[quote,raggedright,fragment]
-\context FiguredBass
-\figuremode { <4 6> }
-@end lilypond
-
-Accidentals are added when you append @code{-}, @code{!} and @code{+}
-to the numbers
-
-@example
-<4- 6+ 7!>
-@end example
-@lilypond[quote,raggedright,fragment]
- \context FiguredBass
- \figuremode { <4- 6+ 7!> }
-@end lilypond
-
-Spaces or dashes may be inserted by using @code{_}. Brackets are
-introduced with @code{[} and @code{]}
-
-@example
-< [4 6] 8 [_! 12]>
-@end example
-@lilypond[quote,raggedright,fragment]
- \context FiguredBass
- \figuremode { < [4 6] 8 [_! 12]> }
-@end lilypond
-
-Although the support for figured bass may superficially resemble chord
-support, it works much simpler. The @code{\figuremode} 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
-
-Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
-and @internalsref{FiguredBass} context.
-
-@refbugs
-
-Slash notation for alterations is not supported.
-
-@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 ``Music Notation in the 20th century'' by
-Kurt Stone 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. For this reason, support for contemporary notation in
-LilyPond is limited.
-
-
-@menu
-* Polymetric notation::
-* Clusters::
-* Special fermatas::
-* Feathered beams::
-@end menu
-
-@node Polymetric notation
-@subsection Polymetric notation
-
-Double time signatures are not supported explicitly, but they can be
-faked. In the next example, the markup for the time signature is
-created with a markup text. This markup text is inserted in the
-@internalsref{TimeSignature} grob.
-
-@lilypond[verbatim,raggedright]
-
-% create 2/4 + 5/8
-tsMarkup =\markup {
- \number {
- \column < "2" "4" >
- \musicglyph #"scripts-stopped"
- \bracket \column < "5" "8" >
- }
-}
-
-{
- \override Staff.TimeSignature #'print-function = #Text_interface::print
- \override Staff.TimeSignature #'text = #tsMarkup
- \time 3/2
- c'2 \bar ":" c'4 c'4.
-}
-@end lilypond
-
-Each staff can also have its own time signature. This is done by
-moving the @internalsref{Timing_engraver} to @internalsref{Staff}
-context.
-
-@verbatim
-\layout{
- \context{ \Score \remove "Timing_engraver" }
- \context{ \Staff \consists "Timing_engraver" }
-}
-@end verbatim
-
-
-Now, each staff has its own time signature.
-@verbatim
-<<
- \new Staff {
- \time 3/4
- c4 c c | c c c |
- }
- \new Staff {
- \time 2/4
- c4 c | c c | c c
- }
- \new Staff {
- \time 3/8
- c4. c8 c c c4. c8 c c
- }
->>
-@end verbatim
-
-@lilypond[quote,raggedright]
-\layout{
- \context{ \Score \remove "Timing_engraver" }
- \context{ \Staff \consists "Timing_engraver" }
-}
-
-\relative c' <<
- \new Staff {
- \time 3/4
- c4 c c | c c c |
- }
- \new Staff {
- \time 2/4
- c4 c | c c | c c
- }
- \new Staff {
- \time 3/8
- c4. c8 c c c4. c8 c c
- }
->>
-@end lilypond
-
-
-A different form of polymetric notation is where note lengths have
-different values across staves.
-
-This notation can be created by setting a common time signature for
-each staff but replacing it manually using
-@code{timeSignatureFraction} to the desired fraction. Then the printed
-durations in each staff are scaled to the common time signature.
-The latter is done with @code{\compressmusic}, which is similar to
-@code{\times}, but does not create a tuplet bracket.
-
-
-In this example, music with the time signatures of 3/4, 9/8 and 10/8 are
-used in parallel. In the second staff, shown durations are multiplied by
-2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
-multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
-
-@lilypond[raggedright,verbatim,fragment]
-\relative c' { <<
- \new Staff {
- \time 3/4
- c4 c c | c c c |
- }
- \new Staff {
- \time 3/4
- \set Staff.timeSignatureFraction = #'(9 . 8)
- \compressmusic #'(2 . 3)
- \repeat unfold 6 { c8[ c c] }
- }
- \new Staff {
- \time 3/4
- \set Staff.timeSignatureFraction = #'(10 . 8)
- \compressmusic #'(3 . 5) {
- \repeat unfold 2 { c8[ c c] }
- \repeat unfold 2 { c8[ c] }
- | c4. c4. \times 2/3 { c8 c c } c4
- }
- }
->> }
-@end lilypond
-
-
-
-
-@refbugs
-
-When using different time signatures in parallel, the spacing is
-aligned vertically, but bar lines distort the regular spacing.
-
-
-
-@node Clusters
-@subsection Clusters
-
-@cindex cluster
-
-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{makeClusters} to a sequence of
-chords, e.g.
-@c
-@lilypond[quote,raggedright,relative=2,fragment,verbatim]
- \makeClusters { <c e > <b f'> }
-@end lilypond
-
-The following example (from
-@inputfileref{input/regression,cluster.ly}) shows what the result
-looks like
-
-@lilypondfile[raggedright,quote]{cluster.ly}
-
-Ordinary notes and clusters can be put 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
-
-Program reference: @internalsref{ClusterSpanner},
-@internalsref{ClusterSpannerBeacon},
-@internalsref{Cluster_spanner_engraver}, and
-@internalsref{ClusterNoteEvent}.
-
-Examples: @inputfileref{input/regression,cluster.ly}.
-
-@refbugs
-
-Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
-accurately. Use @code{<g a>8 <e a>8} instead.
-
-
-
-@node Special fermatas
-@subsection Special fermatas
-
-@cindex fermatas, special
-
-In contemporary music notation, special fermata symbols denote breaks
-of differing lengths. The following fermatas are supported
-
-@lilypond[quote,raggedright]
-<<
- \oldaddlyrics {
- b'2
- ^\shortfermata
- _\shortfermata
- r
-
- b'
- ^\fermata
- _\fermata
- r
-
- b'
- ^\longfermata
- _\longfermata
- r
-
- b'
- ^\verylongfermata
- _\verylongfermata
- r
- }
- \context Lyrics \lyricmode {
- \override LyricText #'font-family = #'typewriter
- "shortfermata" "fermata" "longfermata" "verylongfermata"
- }
->>
-@end lilypond
-
-See @ref{Articulations} for general instructions how to apply scripts
-such as fermatas to notes.
-
-@node Feathered beams
-@subsection Feathered beams
-
-Feathered beams are not supported natively, but they can be faked by
-forcing two beams to overlap. Here is an example,
-
-@c don't change relative setting witout changing positions!
-@lilypond[raggedright,relative=1,fragment,verbatim]
-\new Staff <<
- \new Voice
- {
- \stemUp
- \once \override Voice.Beam #'positions = #'(0 . 0.5)
- c8[ c c c c ]
- }
- \new Voice {
- \stemUp
- \once \override Voice.Beam #'positions = #'(0 . -0.5)
- c[ c c c c]
- }
->>
-@end lilypond
+@c -*- coding: utf-8; mode: texinfo; -*-
+@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 \version "2.11.61"
-@node Educational use
-@section Educational use
+@node Musical notation
+@chapter Musical notation
-With the amount of control that LilyPond offers, one can make great
-teaching tools in addition to great musical scores.
+This chapter explains how to create musical notation.
@menu
-* Balloon help::
-* Blank music sheet::
-* Hidden notes::
-* Easy Notation note heads::
+* Pitches:: Writing and display the pitches of notes.
+* Rhythms:: Writing and displaying the durations of notes.
+* Expressive marks:: Adding expression to notes.
+* Repeats:: Repeat music.
+* Simultaneous notes:: More than one note at once.
+* Staff notation:: Displaying staves.
+* Editorial annotations:: Special notation to increase legibility.
+* Text:: Adding text to scores.
@end menu
-@node Balloon help
-@subsection Balloon help
-
-Elements of notation can be marked and named with the help of a square
-balloon. The primary purpose of this feature is to explain notation.
-
-The following example demonstrates its use.
-
-@lilypond[quote,verbatim,fragment,raggedright,relative=2]
-\context Voice {
- \applyoutput
- #(add-balloon-text 'NoteHead "heads, or tails?"
- '(1 . -3))
- c8
-}
-@end lilypond
-
-@noindent
-The function @code{add-balloon-text} takes the name of a grob, the
-label to print, and the position where to put the label relative to
-the object. In the above example, the text ``heads or tails?'' ends
-3 spaces below and 1 space to the right of the marked head.
-
-@cindex balloon
-@cindex notation, explaining
-
-@seealso
-
-Program reference: @internalsref{text-balloon-interface}.
-
-Examples: @inputfileref{input/regression,balloon.ly}.
-
-
-
-
-@node Blank music sheet
-@subsection Blank music sheet
-
-A blank music sheet can be produced also by using invisible notes, and
-removing @code{Bar_number_engraver}.
-
-
-@lilypond[]
-emptymusic = {
- \repeat unfold 2 % Change this for more lines.
- { s1\break }
- \bar "|."
-}
-\new Score \with {
- \override TimeSignature #'transparent = ##t
- defaultBarType = #""
- \remove Bar_number_engraver
-} <<
- \context Staff \emptymusic
- \context TabStaff \emptymusic
->>
-@end lilypond
-
-
-@node Hidden notes
-@subsection Hidden notes
-
-@cindex Hidden notes
-@cindex Invisible notes
-@cindex Transparent notes
-
-Hidden (or invisible or transparent) notes can be useful in preparing theory
-or composition exercises.
-
-@lilypond[quote,raggedright,verbatim,relative=2,fragment]
- c4 d4
- \hideNotes
- e4 f4
- \unHideNotes
- g4 a
-@end lilypond
-
-Hidden notes are also great for performing weird tricks. For example,
-slurs cannot be attached to rests or spacer rests, but you may with
-to include that in your score -- string instruments use this notation
-when doing pizzicato to indicate that the note should ring for as long
-as possible.
-
-@lilypond[quote,raggedright,verbatim,relative=0,fragment]
- \clef bass
- << {
- c4^"pizz"( \hideNotes c)
- \unHideNotes c( \hideNotes c)
- } {
- s4 r s r
- } >>
-@end lilypond
-
-
-@node Easy Notation note heads
-@subsection Easy Notation note heads
-
-@cindex easy notation
-@cindex Hal Leonard
-
-The `easy play' note head includes a note name inside the head. It is
-used in music for beginners
-
-@lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
- \setEasyHeads
- c'2 e'4 f' | g'1
-@end lilypond
-
-The command @code{\setEasyHeads} overrides settings for the
-@internalsref{NoteHead} object. To make the letters readable, it has
-to be printed in a large font size. To print with a larger font, see
-@ref{Setting global staff size}.
-
-@refcommands
-
-@cindex @code{\setEasyHeads}
-@code{\setEasyHeads}
+@include pitches.itely
+@include rhythms.itely
+@include expressive.itely
+@include repeats.itely
+@include simultaneous.itely
+@include staff.itely
+@include editorial.itely
+@include text.itely
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