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14 @node Ancient notation
15 @section Ancient notation
17 @lilypondfile[quote]{ancient-headword.ly}
19 @cindex Vaticana, Editio
20 @cindex Medicaea, Editio
27 * Overview of the supported styles::
28 * Ancient notation---common features::
29 * Typesetting mensural music::
30 * Typesetting Gregorian chant::
31 * Typesetting Kievan square notation::
32 * Working with ancient music---scenarios and solutions::
36 Support for ancient notation includes features for mensural
37 notation, Gregorian chant notation, and Kievan square notation.
38 These features can be accessed either by modifying style
39 properties of graphical objects such as note heads and rests,
40 or by using one of the pre-defined contexts for these styles.
42 Many graphical objects, such as note heads and flags, accidentals,
43 time signatures, and rests, provide a @code{style} property, which
44 can be changed to emulate several different styles of ancient
48 @item @ref{Mensural note heads},
49 @item @ref{Mensural accidentals and key signatures},
50 @item @ref{Mensural rests},
51 @item @ref{Mensural clefs},
52 @item @ref{Gregorian clefs},
53 @item @ref{Mensural flags},
54 @item @ref{Mensural time signatures}.
57 Some notational concepts are introduced specifically for ancient
62 @item @ref{Divisiones},
63 @item @ref{Ligatures}.
70 @rglos{mensural notation}.
73 @ref{Mensural note heads},
74 @ref{Mensural accidentals and key signatures},
76 @ref{Gregorian clefs},
78 @ref{Mensural time signatures},
84 @node Overview of the supported styles
85 @subsection Overview of the supported styles
87 Three styles are available for typesetting Gregorian chant:
90 @item @emph{Editio Vaticana} is a complete style for
91 Gregorian chant, following the appearance of the Solesmes
92 editions, the official chant books of the Vatican since 1904.
93 LilyPond has support for all the notational signs used in this
94 style, including ligatures, @emph{custodes}, and special signs
95 such as the quilisma and the oriscus.
98 @cindex Vaticana, Editio
100 @item The @emph{Editio Medicaea} style offers certain features
101 used in the Medicaea (or Ratisbona) editions which were used prior
102 to the Solesmes editions. The most significant differences from
103 the @emph{Vaticana} style are the clefs, which have
104 downward-slanted strokes, and the note heads, which are square and
107 @cindex Ratisbona, Editio
108 @cindex Medicaea, Editio
110 @item The @emph{Hufnagel} (@qq{horseshoe nail}) or @emph{Gothic}
111 style mimics the writing style in chant manuscripts from Germany
112 and Central Europe during the middle ages. It is named after the
113 basic note shape (the @emph{virga}), which looks like a small
118 Three styles emulate the appearance of late-medieval and
119 renaissance manuscripts and prints of mensural music:
122 @item The @emph{Mensural} style most closely resembles the
123 writing style used in late-medieval and early renaissance
124 manuscripts, with its small and narrow, diamond-shaped note heads
125 and its rests which approach a hand-drawn style.
129 @item The @emph{Neomensural} style is a modernized and
130 stylized version of the former: the note heads are broader and the
131 rests are made up of straight lines. This style is particularly
132 suited, e.g., for incipits of transcribed pieces of mensural
137 @item The @emph{Petrucci} style is named after Ottaviano Petrucci
138 (1466-1539), the first printer to use movable type for music (in
139 his @emph{Harmonice musices odhecaton}, 1501). The style uses
140 larger note heads than the other mensural styles.
146 @emph{Baroque} and @emph{Classical} are not complete styles
147 but differ from the default style only in some details: certain
148 note heads (Baroque) and the quarter rest (Classical).
150 Only the mensural style has alternatives for all aspects of the
151 notation. Thus, there are no rests or flags in the Gregorian
152 styles, since these signs are not used in plainchant notation, and
153 the Petrucci style has no flags or accidentals of its own.
155 Each element of the notation can be changed independently of the
156 others, so that one can use mensural flags, petrucci note heads,
157 classical rests and vaticana clefs in the same piece, if one
162 @rglos{mensural notation},
166 @node Ancient notation---common features
167 @subsection Ancient notation---common features
170 * Pre-defined contexts::
176 @node Pre-defined contexts
177 @unnumberedsubsubsec Pre-defined contexts
179 For Gregorian chant and mensural notation, there are pre-defined
180 voice and staff contexts available, which set all the various
181 notation signs to values suitable for these styles. If one is
182 satisfied with these defaults, one can proceed directly with note
183 entry without worrying about the details on how to customize a
184 context. See one of the pre-defined contexts
185 @code{VaticanaVoice}, @code{VaticanaStaff}, @code{MensuralVoice},
186 and @code{MensuralStaff}. See further
189 @item @ref{Gregorian chant contexts},
190 @item @ref{Mensural contexts}.
195 @rglos{mensural notation}.
198 @ref{Gregorian chant contexts},
199 @ref{Mensural contexts}.
203 @unnumberedsubsubsec Ligatures
207 @c TODO: Should double check if I recalled things correctly when I wrote
208 @c down the following paragraph by heart.
210 A ligature is a graphical symbol that represents at least two
211 distinct notes. Ligatures originally appeared in the manuscripts
212 of Gregorian chant notation to denote ascending or descending
213 sequences of notes on the same syllable. They are also used in
216 Ligatures are entered by @emph{enclosing} them in @code{\[} and
217 @code{\]}. Some ligature styles may need additional input syntax
218 specific for this particular type of ligature. By default, the
219 @code{LigatureBracket} engraver just puts a square bracket
222 @lilypond[quote,ragged-right,verbatim]
230 Two other ligature styles are available: the Vaticana for
231 Gregorian chant, and the Mensural for mensural music (only white
232 mensural ligatures are supported for mensural music, and with
233 certain limitations). To use any of these styles, the default
234 @code{Ligature_bracket_engraver} has to be replaced with one of the
235 specialized ligature engravers in the @code{Voice} context,
236 as explained in @ref{White mensural ligatures} and
237 @ref{Gregorian square neume ligatures}.
244 @ref{White mensural ligatures},
245 @ref{Gregorian square neume ligatures}.
248 Ligatures need special spacing that has not yet been implemented. As
249 a result, there is too much space between ligatures most of the time,
250 and line breaking often is unsatisfactory. Also, lyrics do not
251 correctly align with ligatures.
253 Accidentals must not be printed within a ligature, but instead need to
254 be collected and printed in front of it.
256 The syntax still uses the deprecated infix style
257 @code{\[ music expr \]}. For consistency reasons, it will eventually
258 be changed to postfix style @code{note\[ @dots{} note\]}.
260 @c Alternatively, the file
261 @c @file{gregorian-init.ly} can be included; it provides a scheme
264 @c \ligature @var{music expr}
266 @c with the same effect and is believed to be stable.
268 @c TODO: this does not seem to work at the moment.
273 @unnumberedsubsubsec Custodes
278 A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard})
279 is a symbol that appears at the end of a staff. It anticipates the
280 pitch of the first note of the following line, thus helping the performer
281 to manage line breaks during performance.
283 Custodes were frequently used in music notation until the
284 seventeenth century. Nowadays, they have survived only in a few
285 particular forms of musical notation such as contemporary editions
286 of Gregorian chant like the @emph{Editio Vaticana}. There are
287 different custos glyphs used in different flavors of notational
290 For typesetting custodes, just put a @code{Custos_engraver} into the
291 @code{Staff} context when declaring the @code{\layout} block,
292 and change the style of the custos with an @code{\override} if
293 desired, as shown in the following example:
295 @lilypond[quote,ragged-right]
305 \consists "Custos_engraver"
306 \override Custos.style = #'mensural
312 The custos glyph is selected by the @code{style} property. The styles
313 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
314 @code{mensural}. They are demonstrated in the following fragment.
316 @lilypond[quote,ragged-right,fragment]
317 \new Lyrics \lyricmode {
319 \typewriter "vaticana "
320 \line { " " \musicglyph #"custodes.vaticana.u0" }
323 \typewriter "medicaea "
324 \line { " " \musicglyph #"custodes.medicaea.u0" }
327 \typewriter "hufnagel "
328 \line { " " \musicglyph #"custodes.hufnagel.u0" }
331 \typewriter "mensural "
332 \line { " " \musicglyph #"custodes.mensural.u0" }
342 @rlsr{Ancient notation}.
347 @node Typesetting mensural music
348 @subsection Typesetting mensural music
351 * Mensural contexts::
353 * Mensural time signatures::
354 * Mensural note heads::
357 * Mensural accidentals and key signatures::
358 * Annotational accidentals (musica ficta)::
359 * White mensural ligatures::
363 @node Mensural contexts
364 @unnumberedsubsubsec Mensural contexts
366 @cindex MensuralVoiceContext
367 @cindex MensuralStaffContext
369 The predefined @code{MensuralVoice} and @code{MensuralStaff}
370 contexts can be used to engrave a piece in mensural style. These
371 contexts initialize all relevant context properties and grob
372 properties to proper values, so you can immediately go ahead
373 entering the chant, as the following excerpt demonstrates:
375 @lilypond[quote,ragged-right,verbatim]
378 \new MensuralVoice = "discantus" \relative c'' {
379 \override Score.BarNumber.transparent = ##t {
380 c1\melisma bes a g\melismaEnd
382 \[ f1\melisma a c\breve d\melismaEnd \]
384 c\breve\melisma a1 g1\melismaEnd
385 fis\longa^\signumcongruentiae
388 \new Lyrics \lyricsto "discantus" {
389 San -- ctus, San -- ctus, San -- ctus
397 @rglos{mensural notation}.
401 @unnumberedsubsubsec Mensural clefs
405 The following table shows all mensural clefs that are supported via
406 the @code{\clef} command. Some of the clefs use the same glyph,
407 but differ only with respect to the line they are printed on. In
408 such cases, a trailing number in the name is used to enumerate
409 these clefs, numbered from the lowest to the highest line.
410 You can manually force a clef glyph to be typeset on an arbitrary
411 line, as described in @ref{Clef}. The note printed to the right
412 side of each clef in the example column denotes the @code{c'} with
413 respect to that clef.
415 Petrucci used C clefs with differently balanced left-side vertical
416 beams, depending on which staff line it is printed.
418 @multitable @columnfractions .4 .4 .2
429 @code{mensural-c1}, @code{mensural-c2},@*
430 @code{mensural-c3}, @code{mensural-c4},@*
433 @lilypond[relative=1,notime]
435 \override NoteHead.style = #'mensural
444 @lilypond[relative=1,notime]
446 \override NoteHead.style = #'mensural
455 @lilypond[relative=1,notime]
457 \override NoteHead.style = #'mensural
462 black mensural C clef
464 @code{blackmensural-c1}, @code{blackmensural-c2},@*
465 @code{blackmensural-c3}, @code{blackmensural-c4},@*
466 @code{blackmensural-c5}
468 @lilypond[relative=1,notime]
469 \clef "blackmensural-c2"
470 \override NoteHead.style = #'mensural
477 @code{neomensural-c1}, @code{neomensural-c2},@*
478 @code{neomensural-c3}, @code{neomensural-c4}
480 @lilypond[relative=1,notime]
481 \clef "neomensural-c2" c1
485 petrucci style C clefs, for use on different staff lines
486 (the example shows the 2nd staff line C clef)
488 @code{petrucci-c1}, @code{petrucci-c2},@*
489 @code{petrucci-c3}, @code{petrucci-c4},@*
492 @lilypond[relative=1,notime]
494 \override NoteHead.style = #'mensural
499 petrucci style F clefs, for use on different staff lines
500 (the example shows the 3rd staff line F clef)
502 @code{petrucci-f3}, @code{petrucci-f4},@*
505 @lilypond[relative=1,notime]
507 \override NoteHead.style = #'mensural
512 petrucci style G clef
516 @lilypond[relative=1,notime]
518 \override NoteHead.style = #'mensural
525 @rglos{mensural notation},
532 The mensural g clef is mapped to the Petrucci g clef.
535 @node Mensural time signatures
536 @unnumberedsubsubsec Mensural time signatures
538 @cindex mensuration sign
539 @cindex time signatures
541 There is limited support for mensuration signs (which are similar to,
542 but not exactly the same as time signatures). The glyphs are hard-wired
543 to particular time fractions. In other words, to get a particular mensuration sign with the @code{\time n/m} command, @code{n} and
544 @code{m} have to be chosen according to the following table
546 @lilypond[quote,ragged-right]
551 \remove "Staff_symbol_engraver"
552 \remove "Clef_engraver"
553 \remove "Time_signature_engraver"
557 \set Score.timing = ##f
558 \set Score.barAlways = ##t
559 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
560 #"timesig.neomensural44" }
562 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
563 #"timesig.neomensural22" }
565 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
566 #"timesig.neomensural64" }
568 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
569 #"timesig.neomensural68" }
571 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
572 #"timesig.neomensural32" }
574 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
575 #"timesig.neomensural34" }
577 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
578 #"timesig.neomensural94" }
580 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
581 #"timesig.neomensural98" }
583 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
584 #"timesig.neomensural48" }
586 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
587 #"timesig.neomensural24" }
591 Use the @code{style} property of grob @code{TimeSignature}
592 to select ancient time signatures. Supported styles are
593 @code{neomensural} and @code{mensural}. The above table uses the
594 @code{neomensural} style. The following examples show the
595 differences in style:
597 @lilypond[ragged-right,relative=1,quote]
602 c1^\markup { \hspace #-2.0 \typewriter default }
604 \override Staff.TimeSignature.style = #'numbered
606 c1^\markup { \hspace #-2.0 \typewriter numbered }
608 \override Staff.TimeSignature.style = #'mensural
610 c1^\markup { \hspace #-2.0 \typewriter mensural }
612 \override Staff.TimeSignature.style = #'neomensural
614 c1^\markup { \hspace #-2.0 \typewriter neomensural }
615 \override Staff.TimeSignature.style = #'single-digit
617 c1^\markup { \hspace #-2.0 \typewriter single-digit }
621 @ref{Time signature}, gives a general introduction to
622 the use of time signatures.
626 @rglos{mensural notation}.
629 @ref{Time signature}.
632 Ratios of note durations cannot change with the time signature,
633 as those are not constant. For
634 example, the ratio of 1@tie{}breve = 3@tie{}semibreves
635 (@emph{tempus perfectum}) can be made by hand, by setting
638 breveTP = #(ly:make-duration -1 0 3/2)
644 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
646 The @code{mensural68alt} and @code{neomensural68alt} symbols
647 (alternate symbols for 6/8) are not addressable with @code{\time}.
648 Use @code{\markup @{\musicglyph #"timesig.mensural68alt" @}} instead.
651 @node Mensural note heads
652 @unnumberedsubsubsec Mensural note heads
654 @cindex note heads, ancient
656 For ancient notation, a note head style other than the
657 @code{default} style may be chosen. This is accomplished by setting
658 the @code{style} property of the @code{NoteHead} object to
659 @code{baroque}, @code{neomensural}, @code{mensural},
660 @code{petrucci}, @code{blackpetrucci} or @code{semipetrucci}.
662 The @code{baroque} style differs from the @code{default} style by:
665 @item Providing a @code{maxima} note head, and
666 @item Using a square shape for @code{\breve} note heads.
669 The @code{neomensural}, @code{mensural}, and @code{petrucci} styles
670 differ from the @code{baroque} style by:
673 @item Using rhomboidal heads for semibreves and all smaller durations,
675 @item Centering the stems on the note heads.
678 The @code{blackpetrucci} style produces note heads usable in black
679 mensural notation or coloratio sections in white mensural notation.
680 Because note head style does not influence flag count, in
681 this style a semiminima should be notated as @code{a8*2}, not
682 @code{a4}, otherwise it will look like a minima.
683 The multiplyer can be different if coloratio is used e.g. to notate
686 Use @code{semipetrucci} style to draw half-colored
687 note heads (breves, longas and maximas).
690 The following example demonstrates the @code{petrucci} style:
692 @c Renaissance music doesn't use bar lines ... but they do help to
693 @c separate the notes for easier identification.
695 @lilypond[quote,fragment,ragged-right,verbatim]
696 \set Score.skipBars = ##t
698 \override NoteHead.style = #'petrucci
699 a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
700 \override NoteHead.style = #'semipetrucci
702 \override NoteHead.style = #'blackpetrucci
704 \override NoteHead.style = #'petrucci
709 @ref{Note head styles}, gives an overview of all available note head
714 @rglos{mensural notation},
718 @ref{Note head styles}.
722 @unnumberedsubsubsec Mensural flags
726 Use the @code{flag-style} property of grob @code{Stem} to
727 select ancient flags. Besides the @code{default} flag style,
728 only the @code{mensural} style is supported.
730 @lilypond[quote,fragment,ragged-right,verbatim]
731 \override Flag.style = #'mensural
732 \override Stem.thickness = #1.0
733 \override NoteHead.style = #'mensural
735 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
736 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
739 Note that the innermost flare of each mensural flag always is
740 vertically aligned with a staff line.
742 There is no particular flag style for neo-mensural or Petrucci notation.
744 @c when typesetting the incipit of a transcribed piece of mensural
745 @c music, the default flag style should be used.
746 There are no flags in Gregorian chant notation.
750 @rglos{mensural notation},
754 The attachment of ancient flags to stems is slightly off.
755 @c due to a change in early 2.3.x.
757 Vertically aligning each flag with a staff line assumes that stems
758 always end either exactly on or exactly in the middle between two
759 staff lines. This may not always be true when using advanced layout
760 features of classical notation (which however are typically out of
761 scope for mensural notation).
765 @unnumberedsubsubsec Mensural rests
767 @cindex rests, ancient
769 Use the @code{style} property of grob @code{Rest} to select
770 ancient rests. Supported styles are @code{classical},
771 @code{neomensural}, and @code{mensural}. @code{classical} differs
772 from the @code{default} style only in that the quarter rest looks
773 like a horizontally mirrored 8th rest. The @code{mensural} and
774 the @code{neomensural} styles mimic the appearance of rests in
775 manuscripts and prints up to the 16th century.
777 The following example demonstrates the @code{mensural} and
778 @code{neomensural} styles:
780 @lilypond[quote,fragment,ragged-right,verbatim]
781 \set Score.skipBars = ##t
782 \override Rest.style = #'classical
783 r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
784 \override Rest.style = #'mensural
785 r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
786 \override Rest.style = #'neomensural
787 r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
790 There are no 32th and 64th rests specifically for the mensural or
791 neo-mensural style. Instead, the rests from the default style will be
796 @rglos{mensural notation}.
802 @rlsr{Ancient notation}.
805 The glyph for the maxima rest in mensural style is actually a perfect
806 longa rest; use two (or three) longa rests to print a maxima rest.
807 Longa rests are not grouped automatically, so have to be done manually by
811 @node Mensural accidentals and key signatures
812 @unnumberedsubsubsec Mensural accidentals and key signatures
815 @cindex key signature
817 The @code{mensural} style provides a sharp and a flat sign
818 different from the default style. If called for, the natural sign
819 will be taken from the @code{vaticana} style.
821 @lilypond[quote,ragged-right,staffsize=26]
825 \line { " " \musicglyph #"accidentals.mensural-1"
826 " " \musicglyph #"accidentals.mensural1" }
831 The style for accidentals and key signatures is controlled by the
832 @code{glyph-name-alist} property of the grobs @code{Accidental} and
833 @code{KeySignature}, respectively; e.g.:
836 \override Staff.Accidental.glyph-name-alist =
837 #alteration-mensural-glyph-name-alist
842 @rglos{mensural notation},
845 @rglos{key signature}.
850 @ref{Automatic accidentals},
854 @rinternals{KeySignature}.
857 @node Annotational accidentals (musica ficta)
858 @unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
860 In European music from before about 1600, singers were expected to
861 chromatically alter notes at their own initiative according to
862 certain rules. This is called @notation{musica ficta}. In modern
863 transcriptions, these accidentals are usually printed over the
866 @cindex Accidental, musica ficta
869 Support for such suggested accidentals is included, and can be
870 switched on by setting @code{suggestAccidentals} to true.
872 @funindex suggestAccidentals
874 @lilypond[verbatim,relative=1]
876 \set suggestAccidentals = ##t
880 This will treat @emph{every} subsequent accidental as
881 @emph{musica ficta} until it is unset with
882 @code{\set suggestAccidentals = ##f}. A more practical way is to
883 use @code{\once \set suggestAccidentals = ##t}, which can even be
884 defined as a convenient shorthand:
886 @lilypond[quote,verbatim]
887 ficta = { \once \set suggestAccidentals = ##t }
888 \score { \relative c''
890 \once \set suggestAccidentals = ##t
891 bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
898 @rinternals{Accidental_engraver},
899 @rinternals{AccidentalSuggestion}.
902 @node White mensural ligatures
903 @unnumberedsubsubsec White mensural ligatures
905 @cindex Mensural ligatures
906 @cindex White mensural ligatures
908 There is limited support for white mensural ligatures.
910 To engrave white mensural ligatures, in the layout block, replace
911 the @code{Ligature_bracket_engraver} with the
912 @code{Mensural_ligature_engraver} in the @code{Voice}
919 \remove "Ligature_bracket_engraver"
920 \consists "Mensural_ligature_engraver"
925 There is no additional input language to describe the shape of a
926 white mensural ligature. The shape is rather determined solely from
927 the pitch and duration of the enclosed notes. While this approach may
928 take a new user a while to get accustomed to, it has the great advantage
929 that the full musical information of the ligature is known internally.
930 This is not only required for correct MIDI output, but also allows for
931 automatic transcription of the ligatures.
933 At certain places two consecutive notes can be represented either as
934 two squares or as an oblique parallelogram (flexa shape). In such
935 cases the default is the two squares, but a flexa can be required by
936 setting the @code{ligature-flexa} property of the @emph{second} note
937 head. The length of a flexa can be set by the note head property
943 @c \set Score.timing = ##f
944 @c \set Score.defaultBarType = "-"
945 @c \override NoteHead.style = #'neomensural
946 @c \override Staff.TimeSignature.style = #'neomensural
947 @c \clef "petrucci-g"
949 @c \[ d\longa c\breve f e d \]
950 @c \[ c'\maxima d'\longa \]
951 @c \[ e'1 a g\breve \]
953 @lilypond[quote,ragged-right,verbatim]
956 \set Score.timing = ##f
957 \set Score.defaultBarType = "-"
958 \override NoteHead.style = #'petrucci
959 \override Staff.TimeSignature.style = #'mensural
963 \override NoteHead.ligature-flexa = ##t
964 \once \override NoteHead.flexa-width = #3.2
966 \[ c'\maxima d\longa \]
972 \remove "Ligature_bracket_engraver"
973 \consists "Mensural_ligature_engraver"
979 Without replacing @code{Ligature_bracket_engraver} with
980 @code{Mensural_ligature_engraver}, the same music transcribes
983 @lilypond[quote,ragged-right]
985 \set Score.timing = ##f
986 \set Score.defaultBarType = "-"
987 \override NoteHead.style = #'petrucci
988 \override Staff.TimeSignature.style = #'mensural
992 \override NoteHead.ligature-flexa = ##t
993 \once \override NoteHead.flexa-width = #3.2
995 \[ c'\maxima d\longa \]
1005 @ref{Gregorian square neume ligatures},
1009 Horizontal spacing of ligatures is poor.
1010 Accidentals may collide with previous notes.
1013 @node Typesetting Gregorian chant
1014 @subsection Typesetting Gregorian chant
1017 * Gregorian chant contexts::
1019 * Gregorian accidentals and key signatures::
1021 * Gregorian articulation signs::
1022 * Augmentum dots (morae)::
1023 * Gregorian square neume ligatures::
1026 When typesetting a piece in Gregorian chant notation, the
1027 @code{Vaticana_ligature_engraver} automatically selects the
1028 proper note heads, so there is no need to explicitly set the note
1029 head style. Still, the note head style can be set, e.g., to
1030 @code{vaticana_punctum} to produce punctum neumes. Similarly, the
1031 @code{Mensural_ligature_engraver} automatically assembles
1039 @ref{White mensural ligatures},
1043 @node Gregorian chant contexts
1044 @unnumberedsubsubsec Gregorian chant contexts
1046 @cindex VaticanaVoiceContext
1047 @cindex VaticanaStaffContext
1049 The predefined @code{VaticanaVoiceContext} and
1050 @code{VaticanaStaffContext} can be used to engrave a piece of
1051 Gregorian chant in the style of the Editio Vaticana. These contexts
1052 initialize all relevant context properties and grob properties to
1053 proper values, so you can immediately go ahead entering the chant, as
1054 the following excerpt demonstrates:
1056 @lilypond[quote,ragged-right,verbatim]
1057 \include "gregorian.ly"
1060 \new VaticanaVoice = "cantus" {
1061 \[ c'\melisma c' \flexa a \]
1062 \[ a \flexa \deminutum g\melismaEnd \]
1064 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
1065 c' \divisioMinima \break
1066 \[ c'\melisma c' \flexa a \]
1067 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
1069 \new Lyrics \lyricsto "cantus" {
1070 San- ctus, San- ctus, San- ctus
1078 @c TODO: nothing here yet ...
1081 @node Gregorian clefs
1082 @unnumberedsubsubsec Gregorian clefs
1086 The following table shows all Gregorian clefs that are supported via
1087 the @code{\clef} command. Some of the clefs use the same glyph,
1088 but differ only with respect to the line they are printed on. In
1089 such cases, a trailing number in the name is used to enumerate
1090 these clefs, numbered from the lowest to the highest line. Still,
1091 you can manually force a clef glyph to be typeset on an arbitrary
1092 line, as described in @ref{Clef}. The note printed to the right
1093 side of each clef in the example column denotes the @code{c'} with
1094 respect to that clef.
1096 @multitable @columnfractions .4 .4 .2
1105 Editio Vaticana style do clef
1107 @code{vaticana-do1}, @code{vaticana-do2},@*
1110 @lilypond[relative=1,notime]
1111 \override Staff.StaffSymbol.line-count = #4
1112 \override Staff.StaffSymbol.color = #red
1113 \override Staff.LedgerLineSpanner.color = #red
1114 \override Voice.Stem.transparent = ##t
1115 \override NoteHead.style = #'vaticana.punctum
1116 \clef "vaticana-do2"
1121 Editio Vaticana style fa clef
1123 @code{vaticana-fa1}, @code{vaticana-fa2}
1125 @lilypond[relative=1,notime]
1126 \override Staff.StaffSymbol.line-count = #4
1127 \override Staff.StaffSymbol.color = #red
1128 \override Staff.LedgerLineSpanner.color = #red
1129 \override Voice.Stem.transparent = ##t
1130 \override NoteHead.style = #'vaticana.punctum
1131 \clef "vaticana-fa2"
1136 Editio Medicaea style do clef
1138 @code{medicaea-do1}, @code{medicaea-do2},@*
1141 @lilypond[relative=1,notime]
1142 \override Staff.StaffSymbol.line-count = #4
1143 \override Staff.StaffSymbol.color = #red
1144 \override Staff.LedgerLineSpanner.color = #red
1145 \override Voice.Stem.transparent = ##t
1146 \override NoteHead.style = #'medicaea.punctum
1147 \clef "medicaea-do2"
1152 Editio Medicaea style fa clef
1154 @code{medicaea-fa1}, @code{medicaea-fa2}
1156 @lilypond[relative=1,notime]
1157 \override Staff.StaffSymbol.line-count = #4
1158 \override Staff.StaffSymbol.color = #red
1159 \override Staff.LedgerLineSpanner.color = #red
1160 \override Voice.Stem.transparent = ##t
1161 \override NoteHead.style = #'medicaea.punctum
1162 \clef "medicaea-fa2"
1167 hufnagel style do clef
1169 @code{hufnagel-do1}, @code{hufnagel-do2},@*
1172 @lilypond[relative=1,notime]
1173 \override Staff.StaffSymbol.line-count = #4
1174 \override Staff.StaffSymbol.color = #red
1175 \override Staff.LedgerLineSpanner.color = #red
1176 \override Voice.Stem.transparent = ##t
1177 \override NoteHead.style = #'hufnagel.punctum
1178 \clef "hufnagel-do2"
1183 hufnagel style fa clef
1185 @code{hufnagel-fa1}, @code{hufnagel-fa2}
1187 @lilypond[relative=1,notime]
1188 \override Staff.StaffSymbol.line-count = #4
1189 \override Staff.StaffSymbol.color = #red
1190 \override Staff.LedgerLineSpanner.color = #red
1191 \override Voice.Stem.transparent = ##t
1192 \override NoteHead.style = #'hufnagel.punctum
1193 \clef "hufnagel-fa2"
1198 hufnagel style combined do/fa clef
1200 @code{hufnagel-do-fa}
1202 @lilypond[relative=1,notime]
1203 \override Staff.StaffSymbol.color = #red
1204 \override Staff.LedgerLineSpanner.color = #red
1205 \override Voice.Stem.transparent = ##t
1206 \override NoteHead.style = #'hufnagel.punctum
1207 \clef "hufnagel-do-fa"
1220 @node Gregorian accidentals and key signatures
1221 @unnumberedsubsubsec Gregorian accidentals and key signatures
1224 @cindex key signature
1226 Accidentals for the three different Gregorian styles are available:
1228 @lilypond[quote,ragged-right,staffsize=26]
1232 \line { " " \musicglyph #"accidentals.vaticana-1"
1233 " " \musicglyph #"accidentals.vaticana0" }
1237 \line { " " \musicglyph #"accidentals.medicaea-1" }
1241 \line { " " \musicglyph #"accidentals.hufnagel-1" }
1246 As shown, not all accidentals are supported by each style. When
1247 trying to access an unsupported accidental, LilyPond will switch to a
1250 @c @lilypondfile[verbatim,quote,texidoc,doctitle]
1251 @c {ancient-accidentals.ly}
1253 The style for accidentals and key signatures is controlled by the
1254 @code{glyph-name-alist} property of the grobs @code{Accidental} and
1255 @code{KeySignature}, respectively; e.g.:
1258 \override Staff.Accidental.glyph-name-alist =
1259 #alteration-mensural-glyph-name-alist
1265 @rglos{key signature}.
1270 @ref{Automatic accidentals},
1271 @ref{Key signature}.
1273 Internals Reference:
1274 @rinternals{KeySignature}.
1278 @unnumberedsubsubsec Divisiones
1284 There are no rests in Gregorian chant notation; instead, it uses
1287 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
1288 @q{division}) is a staff context symbol that is used to indicate
1289 the phrase and section structure of Gregorian music. The musical
1290 meaning of @emph{divisio minima}, @emph{divisio maior}, and
1291 @emph{divisio maxima} can be characterized as short, medium, and
1292 long pause, somewhat like the breath marks from @ref{Breath marks}.
1293 The @emph{finalis} sign not only marks the end of a chant, but is
1294 also frequently used within a single antiphonal/responsorial chant
1295 to mark the end of each section.
1297 To use divisiones, include the file @file{gregorian.ly}. It
1298 contains definitions that you can apply by just inserting
1299 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
1300 and @code{\finalis} at proper places in the input. Some editions use
1301 @emph{virgula} or @emph{caesura} instead of divisio minima.
1302 Therefore, @file{gregorian.ly} also defines @code{\virgula} and
1305 @lilypond[quote,ragged-right]
1306 \include "gregorian.ly"
1309 \context VaticanaVoice {
1310 \override TextScript.padding = #3
1312 s^\markup { "divisio minima" }
1315 s^\markup { "divisio maior" }
1318 s^\markup { "divisio maxima" }
1322 s^\markup { "finalis" }
1325 s^\markup { "virgula" }
1328 s^\markup { "caesura" }
1342 @funindex \divisioMinima
1343 @code{\divisioMinima},
1344 @funindex \divisioMaior
1345 @code{\divisioMaior},
1346 @funindex \divisioMaxima
1347 @code{\divisioMaxima},
1361 @file{ly/gregorian.ly}.
1364 @node Gregorian articulation signs
1365 @unnumberedsubsubsec Gregorian articulation signs
1367 @cindex articulations
1369 In addition to the standard articulation signs described in
1370 section @ref{Articulations and ornamentations}, articulation signs
1371 specifically designed for use with notation in
1372 @emph{Editio Vaticana} style are provided.
1374 @lilypond[quote,ragged-right,verbatim]
1375 \include "gregorian.ly"
1377 \new VaticanaVoice {
1378 \override TextScript.font-family = #'typewriter
1379 \override TextScript.font-shape = #'upright
1380 \override Script.padding = #-0.1
1381 a\ictus_"ictus " \bar "" \break
1382 a\circulus_"circulus " \bar "" \break
1383 a\semicirculus_"semicirculus " \bar "" \break
1384 a\accentus_"accentus " \bar "" \break
1385 \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
1392 @ref{Articulations and ornamentations}.
1395 @rlsr{Ancient notation}.
1397 Internals Reference:
1398 @rinternals{Episema},
1399 @rinternals{EpisemaEvent},
1400 @rinternals{Episema_engraver},
1401 @rinternals{Script},
1402 @rinternals{ScriptEvent},
1403 @rinternals{Script_engraver}.
1406 Some articulations are vertically placed too closely to the
1407 corresponding note heads.
1410 @node Augmentum dots (morae)
1411 @unnumberedsubsubsec Augmentum dots (@emph{morae})
1413 Augmentum dots, also called @emph{morae}, are added with the music
1414 function @code{\augmentum}. Note that @code{\augmentum} is
1415 implemented as a unary music function rather than as head prefix. It
1416 applies to the immediately following music expression only. That is,
1417 @code{\augmentum \virga c} will have no visible effect. Instead, say
1418 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1419 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1420 @code{\augmentum a \augmentum g}.
1422 @lilypond[quote,ragged-right,verbatim]
1423 \include "gregorian.ly"
1425 \new VaticanaVoice {
1426 \[ \augmentum a \flexa \augmentum g \]
1436 Internals Reference:
1437 @rinternals{BreathingSign}.
1440 @rlsr{Ancient notation}.
1443 @node Gregorian square neume ligatures
1444 @unnumberedsubsubsec Gregorian square neume ligatures
1446 @cindex Square neumes ligatures
1447 @cindex Gregorian square neumes ligatures
1449 There is limited support for Gregorian square neumes notation
1450 (following the style of the Editio Vaticana). Core ligatures can
1451 already be typeset, but essential issues for serious typesetting are
1452 still lacking, such as (among others) horizontal alignment of multiple
1453 ligatures, lyrics alignment, and proper handling of accidentals.
1455 The support for Gregorian neumes is enabled by @code{\include}ing
1456 @file{gregorian.ly} at the beginning of the file. This makes available
1457 a number of extra commands to produce the neume symbols used in
1458 plainchant notation.
1462 Note heads can be @emph{modified} and/or @emph{joined}.
1466 the note head can be modified by @emph{prefixing} the note name
1467 with any of the following commands:
1472 @funindex \inclinatum
1476 @funindex \descendens
1478 @funindex \ascendens
1484 @funindex \deminutum
1491 @item Ligatures, properly speaking (i.e. notes joined together), are
1492 produced by placing one of the joining commands @code{\pes} or
1493 @code{\flexa}, for upwards and downwards movement, respectively,
1494 @emph{between} the notes to be joined.
1497 A note name without any qualifiers will produce a @emph{punctum}.
1498 All other neumes, including the single-note neumes with a
1499 different shape such as the @emph{virga}, are in principle
1500 considered as ligatures and should therefore be placed
1501 between @code{\[@dots{}\]}.
1502 @c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
1509 @item The @emph{punctum} is the basic note shape (in the
1510 @emph{Vaticana} style: a square with some curvation for
1511 typographical finesse). In addition to the regular
1512 @emph{punctum}, there is also the oblique @emph{punctum
1513 inclinatum}, produced with the prefix @code{\inclinatum}. The
1514 regular @emph{punctum} can be modified with @code{\cavum}, which
1515 produces a hollow note, and @code{\linea}, which draws vertical
1516 lines on either side of the note.
1518 @item The @emph{virga} has a descending stem on the right side. It is
1519 produced by the modifier @code{\virga}.
1525 Unlike most other neumes notation systems, the typographical
1526 appearance of ligatures is not directly dictated by the input
1527 commands, but follows certain conventions dependent on musical
1528 meaning. For example, a three-note ligature with the musical shape
1529 low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
1530 Torculus consisting of three Punctum heads, while the shape
1531 high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
1532 Porrectus with a curved flexa shape and only a single Punctum
1533 head. There is no command to explicitly typeset the curved flexa
1534 shape; the decision of when to typeset a curved flexa shape is
1535 based on the musical input. The idea of this approach is to
1536 separate the musical aspects of the input from the notation style
1537 of the output. This way, the same input can be reused to typeset
1538 the same music in a different style of Gregorian chant notation.
1543 Another main category of notes in Gregorian chant is the so-called
1544 liquescent neumes. They are used under certain circumstances at
1545 the end of a syllable which ends in a @q{liquescent} letter, i.e.
1546 the sounding consonants that can hold a tone (the nasals, l, r, v,
1547 j, and their diphthong equivalents). Thus, the liquescent neumes
1548 are never used alone (although some of them can be produced), and
1549 they always fall at the end of a ligature.
1551 Liquescent neumes are represented graphically in two different,
1552 more or less interchangeable ways: with a smaller note or by
1553 @q{twisting} the main note upwards or downwards. The first is
1554 produced by making a regular @code{pes} or @code{flexa} and
1555 modifying the shape of the second note:
1556 @code{\[ a \pes \deminutum b \] }, the second by modifying the shape
1557 of a single-note neume with @code{\auctum} and one of the direction
1558 markers @code{\descendens} or @code{\ascendens}, e.g.,
1559 @code{ \[ \auctum \descendens a \] }.
1564 A third category of signs is made up of a small number of signs
1565 with a special meaning (which, incidentally, in most cases is only
1566 vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
1567 @emph{strophicus}. These are all produced by prefixing a note name
1568 with the corresponding modifier, @code{\quilisma},
1569 @code{\oriscus}, or @code{\stropha}.
1571 Virtually, within the ligature delimiters @code{\[} and @code{\]},
1572 any number of heads may be accumulated to form a single ligature,
1573 and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
1574 @code{\inclinatum}, etc. may be mixed in as desired. The use of
1575 the set of rules that underlies the construction of the ligatures
1576 in the above table is accordingly extrapolated. This way,
1577 infinitely many different ligatures can be created.
1579 Note that the use of these signs in the music itself follows
1580 certain rules, which are not checked by LilyPond. E.g., the
1581 @emph{quilisma} is always the middle note of an ascending
1582 ligature, and usually falls on a half-tone step, but it is
1583 perfectly possible, although incorrect, to make a single-note
1586 In addition to the note signs, @file{gregorian.ly} also defines the
1587 commands @code{\versus}, @code{\responsum}, @code{\ij},
1588 @code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
1589 corresponding characters, e.g., for use in lyrics, as section
1590 markers, etc. These commands use special Unicode characters and
1591 will only work if a font is used which supports them.
1596 The following table shows a limited, but still representative pool
1597 of Gregorian ligatures, together with the code fragments that
1598 produce the ligatures. The table is based on the extended neumes
1599 table of the 2nd volume of the Antiphonale Romanum
1600 (@emph{Liber Hymnarius}), published 1983 by the monks of Solesmes.
1601 The first column gives the name of the ligature, with the main form in
1602 boldface and the liquescent forms in italics. The third column
1603 shows the code fragment that produces this ligature, using
1604 @code{g}, @code{a}, and @code{b} as example pitches.
1607 @b{Single-note neums}
1609 @multitable @columnfractions .4 .2 .4
1612 @b{Basic} and @emph{Liquescent} forms
1619 @c TODO: \layout block is identical in all of the below examples.
1620 @c Therefore, it should somehow be included rather than duplicated all
1623 @c why not make variables in ly/engraver-init.ly? --hwn
1625 @c Because it's just used to typeset plain notes without
1626 @c a staff for demonstration purposes rather than something
1627 @c special of Gregorian chant notation. --jr
1633 @lilypond[staffsize=26,line-width=1.5\cm]
1634 \include "gregorian.ly"
1640 \layout { \neumeDemoLayout }}
1647 @lilypond[staffsize=26,line-width=1.5\cm]
1648 \include "gregorian.ly"
1654 \layout { \neumeDemoLayout }}
1657 @code{\[ \cavum b \]}
1661 @lilypond[staffsize=26,line-width=1.5\cm]
1662 \include "gregorian.ly"
1668 \layout { \neumeDemoLayout }}
1671 @code{\[ \linea b \]}
1674 @emph{Punctum Auctum Ascendens}
1676 @lilypond[staffsize=26,line-width=2.5\cm]
1677 \include "gregorian.ly"
1680 % Punctum Auctum Ascendens
1681 \[ \auctum \ascendens b \]
1683 \layout { \neumeDemoLayout }}
1686 @code{\[ \auctum \ascendens b \]}
1689 @emph{Punctum Auctum Descendens}
1691 @lilypond[staffsize=26,line-width=2.5\cm]
1692 \include "gregorian.ly"
1695 % Punctum Auctum Descendens
1696 \[ \auctum \descendens b \]
1698 \layout { \neumeDemoLayout }}
1701 @code{\[ \auctum \descendens b \]}
1704 @b{Punctum inclinatum}
1706 @lilypond[staffsize=26,line-width=1.5\cm]
1707 \include "gregorian.ly"
1710 % Punctum Inclinatum
1713 \layout { \neumeDemoLayout }}
1716 @code{\[ \inclinatum b \]}
1719 @emph{Punctum Inclinatum Auctum}
1721 @lilypond[staffsize=26,line-width=2.5\cm]
1722 \include "gregorian.ly"
1725 % Punctum Inclinatum Auctum
1726 \[ \inclinatum \auctum b \]
1728 \layout { \neumeDemoLayout }}
1731 @code{\[ \inclinatum \auctum b \]}
1734 @emph{Punctum Inclinatum Parvum}
1736 @lilypond[staffsize=26,line-width=1.0\cm]
1737 \include "gregorian.ly"
1740 % Punctum Inclinatum Parvum
1741 \[ \inclinatum \deminutum b \]
1743 \layout { \neumeDemoLayout }}
1746 @code{\[ \inclinatum \deminutum b \]}
1751 @lilypond[staffsize=26,line-width=1.0\cm]
1752 \include "gregorian.ly"
1758 \layout { \neumeDemoLayout }}
1765 @b{Two-note ligatures}
1767 @multitable @columnfractions .4 .2 .4
1770 @b{Clivis vel Flexa}
1772 @lilypond[staffsize=26,line-width=1.0\cm]
1773 \include "gregorian.ly"
1779 \layout { \neumeDemoLayout }}
1782 @code{\[ b \flexa g \]}
1786 @emph{Clivis Aucta Descendens}
1788 @lilypond[staffsize=26,line-width=2.0\cm]
1789 \include "gregorian.ly"
1792 % Clivis Aucta Descendens
1793 \[ b \flexa \auctum \descendens g \]
1795 \layout { \neumeDemoLayout }}
1798 @code{\[ b \flexa \auctum \descendens g \]}
1801 @emph{Clivis Aucta Ascendens}
1803 @lilypond[staffsize=26,line-width=2.0\cm]
1804 \include "gregorian.ly"
1807 % Clivis Aucta Ascendens
1808 \[ b \flexa \auctum \ascendens g \]
1810 \layout { \neumeDemoLayout }}
1813 @code{\[ b \flexa \auctum \ascendens g \]}
1818 @lilypond[staffsize=26,line-width=2.0\cm]
1819 \include "gregorian.ly"
1823 \[ b \flexa \deminutum g \]
1825 \layout { \neumeDemoLayout }}
1828 @code{\[ b \flexa \deminutum g \]}
1833 @lilypond[staffsize=26,line-width=1.0\cm]
1834 \include "gregorian.ly"
1840 \layout { \neumeDemoLayout }}
1843 @code{\[ g \pes b \]}
1846 @emph{Pes Auctus Descendens}
1848 @lilypond[staffsize=26,line-width=1.0\cm]
1849 \include "gregorian.ly"
1852 % Pes Auctus Descendens
1853 \[ g \pes \auctum \descendens b \]
1855 \layout { \neumeDemoLayout }}
1858 @code{\[ g \pes \auctum \descendens b \]}
1861 @emph{Pes Auctus Ascendens}
1863 @lilypond[staffsize=26,line-width=1.0\cm]
1864 \include "gregorian.ly"
1867 % Pes Auctus Ascendens
1868 \[ g \pes \auctum \ascendens b \]
1870 \layout { \neumeDemoLayout }}
1873 @code{\[ g \pes \auctum \ascendens b \]}
1878 @lilypond[staffsize=26,line-width=1.0\cm]
1879 \include "gregorian.ly"
1883 \[ g \pes \deminutum b \]
1885 \layout { \neumeDemoLayout }}
1888 @code{\[ g \pes \deminutum b \]}
1891 @emph{Pes Initio Debilis}
1893 @lilypond[staffsize=26,line-width=1.0\cm]
1894 \include "gregorian.ly"
1897 % Pes Initio Debilis
1898 \[ \deminutum g \pes b \]
1900 \layout { \neumeDemoLayout }}
1903 @code{\[ \deminutum g \pes b \]}
1906 @emph{Pes Auctus Descendens Initio Debilis}
1908 @lilypond[staffsize=26,line-width=1.0\cm]
1909 \include "gregorian.ly"
1912 % Pes Auctus Descendens Initio Debilis
1913 \[ \deminutum g \pes \auctum \descendens b \]
1915 \layout { \neumeDemoLayout }}
1918 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1923 @b{Multi-note ligatures}
1925 @multitable @columnfractions .4 .2 .4
1930 @lilypond[staffsize=26,line-width=1.0\cm]
1931 \include "gregorian.ly"
1935 \[ a \pes b \flexa g \]
1937 \layout { \neumeDemoLayout }}
1940 @code{\[ a \pes b \flexa g \]}
1943 @emph{Torculus Auctus Descendens}
1945 @lilypond[staffsize=26,line-width=1.0\cm]
1946 \include "gregorian.ly"
1949 % Torculus Auctus Descendens
1950 \[ a \pes b \flexa \auctum \descendens g \]
1952 \layout { \neumeDemoLayout }}
1955 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1958 @emph{Torculus Deminutus}
1960 @lilypond[staffsize=26,line-width=1.0\cm]
1961 \include "gregorian.ly"
1964 % Torculus Deminutus
1965 \[ a \pes b \flexa \deminutum g \]
1967 \layout { \neumeDemoLayout }}
1970 @code{\[ a \pes b \flexa \deminutum g \]}
1973 @emph{Torculus Initio Debilis}
1975 @lilypond[staffsize=26,line-width=1.0\cm]
1976 \include "gregorian.ly"
1979 % Torculus Initio Debilis
1980 \[ \deminutum a \pes b \flexa g \]
1982 \layout { \neumeDemoLayout }}
1985 @code{\[ \deminutum a \pes b \flexa g \]}
1988 @emph{Torculus Auctus Descendens Initio Debilis}
1990 @lilypond[staffsize=26,line-width=1.0\cm]
1991 \include "gregorian.ly"
1994 % Torculus Auctus Descendens Initio Debilis
1995 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1997 \layout { \neumeDemoLayout }}
2000 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
2003 @emph{Torculus Deminutus Initio Debilis}
2005 @lilypond[staffsize=26,line-width=1.0\cm]
2006 \include "gregorian.ly"
2009 % Torculus Deminutus Initio Debilis
2010 \[ \deminutum a \pes b \flexa \deminutum g \]
2012 \layout { \neumeDemoLayout }}
2015 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
2020 @lilypond[staffsize=26,line-width=1.0\cm]
2021 \include "gregorian.ly"
2025 \[ a \flexa g \pes b \]
2027 \layout { \neumeDemoLayout }}
2030 @code{\[ a \flexa g \pes b \]}
2033 @emph{Porrectus Auctus Descendens}
2035 @lilypond[staffsize=26,line-width=1.0\cm]
2036 \include "gregorian.ly"
2039 % Porrectus Auctus Descendens
2040 \[ a \flexa g \pes \auctum \descendens b \]
2042 \layout { \neumeDemoLayout }}
2045 @code{\[ a \flexa g \pes \auctum \descendens b \]}
2048 @emph{Porrectus Deminutus}
2050 @lilypond[staffsize=26,line-width=1.0\cm]
2051 \include "gregorian.ly"
2054 % Porrectus Deminutus
2055 \[ a \flexa g \pes \deminutum b \]
2057 \layout { \neumeDemoLayout }}
2060 @code{\[ a \flexa g \pes \deminutum b \]}
2065 @lilypond[staffsize=26,line-width=1.0\cm]
2066 \include "gregorian.ly"
2070 \[ \virga b \inclinatum a \inclinatum g \]
2072 \layout { \neumeDemoLayout }}
2075 @code{\[ \virga b \inclinatum a \inclinatum g \]}
2078 @emph{Climacus Auctus}
2080 @lilypond[staffsize=26,line-width=1.0\cm]
2081 \include "gregorian.ly"
2085 \[ \virga b \inclinatum a \inclinatum \auctum g \]
2087 \layout { \neumeDemoLayout }}
2090 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
2093 @emph{Climacus Deminutus}
2095 @lilypond[staffsize=26,line-width=1.0\cm]
2096 \include "gregorian.ly"
2099 % Climacus Deminutus
2100 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
2102 \layout { \neumeDemoLayout }}
2105 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
2110 @lilypond[staffsize=26,line-width=1.0\cm]
2111 \include "gregorian.ly"
2115 \[ g \pes a \virga b \]
2117 \layout { \neumeDemoLayout }}
2120 @code{\[ g \pes a \virga b \]}
2123 @emph{Scandicus Auctus Descendens}
2125 @lilypond[staffsize=26,line-width=1.0\cm]
2126 \include "gregorian.ly"
2129 % Scandicus Auctus Descendens
2130 \[ g \pes a \pes \auctum \descendens b \]
2132 \layout { \neumeDemoLayout }}
2135 @code{\[ g \pes a \pes \auctum \descendens b \]}
2138 @emph{Scandicus Deminutus}
2140 @lilypond[staffsize=26,line-width=1.0\cm]
2141 \include "gregorian.ly"
2144 % Scandicus Deminutus
2145 \[ g \pes a \pes \deminutum b \]
2147 \layout { \neumeDemoLayout }}
2150 @code{\[ g \pes a \pes \deminutum b \]}
2157 @multitable @columnfractions .4 .2 .4
2162 @lilypond[staffsize=26,line-width=1.0\cm]
2163 \include "gregorian.ly"
2167 \[ g \pes \quilisma a \pes b \]
2169 \layout { \neumeDemoLayout }}
2172 @code{\[ g \pes \quilisma a \pes b \]}
2175 @emph{Quilisma Pes Auctus Descendens}
2177 @lilypond[staffsize=26,line-width=1.0\cm]
2178 \include "gregorian.ly"
2181 % Quilisma Pes Auctus Descendens
2182 \[ g \quilisma a \pes \auctum \descendens b \]
2184 \layout { \neumeDemoLayout }}
2187 @code{\[ \quilisma g \pes \auctum \descendens b \]}
2192 @lilypond[staffsize=26,line-width=1.0\cm]
2193 \include "gregorian.ly"
2199 \layout { \neumeDemoLayout }}
2202 @code{\[ \oriscus b \]}
2207 @lilypond[staffsize=26,line-width=1.0\cm]
2208 \include "gregorian.ly"
2212 \[ \oriscus g \pes \virga b \]
2214 \layout { \neumeDemoLayout }}
2217 @code{\[ \oriscus g \pes \virga b \]}
2220 @emph{Pes Quassus Auctus Descendens}
2222 @lilypond[staffsize=26,line-width=1.0\cm]
2223 \include "gregorian.ly"
2226 % Pes Quassus Auctus Descendens
2227 \[ \oriscus g \pes \auctum \descendens b \]
2229 \layout { \neumeDemoLayout }}
2232 @code{\[ \oriscus g \pes \auctum \descendens b \]}
2237 @lilypond[staffsize=26,line-width=1.0\cm]
2238 \include "gregorian.ly"
2242 \[ g \oriscus a \pes \virga b \]
2244 \layout { \neumeDemoLayout }}
2247 @code{\[ g \oriscus a \pes \virga b \]}
2250 @emph{Salicus Auctus Descendens}
2252 @lilypond[staffsize=26,line-width=1.0\cm]
2253 \include "gregorian.ly"
2256 % Salicus Auctus Descendens
2257 \[ g \oriscus a \pes \auctum \descendens b \]
2259 \layout { \neumeDemoLayout }}
2262 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
2267 @lilypond[staffsize=26,line-width=1.0\cm]
2268 \include "gregorian.ly"
2274 \layout { \neumeDemoLayout }}
2277 @code{\[ \stropha b \]}
2280 @emph{Stropha Aucta}
2282 @lilypond[staffsize=26,line-width=1.0\cm]
2283 \include "gregorian.ly"
2287 \[ \stropha \auctum b \]
2289 \layout { \neumeDemoLayout }}
2292 @code{\[ \stropha \auctum b \]}
2297 @lilypond[staffsize=26,line-width=1.0\cm]
2298 \include "gregorian.ly"
2302 \[ \stropha b \stropha b \]
2304 \layout { \neumeDemoLayout }}
2307 @code{\[ \stropha b \stropha b \]}
2312 @lilypond[staffsize=26,line-width=1.0\cm]
2313 \include "gregorian.ly"
2317 \[ \stropha b \stropha b \stropha b \]
2319 \layout { \neumeDemoLayout }}
2322 @code{\[ \stropha b \stropha b \stropha b \]}
2327 @lilypond[staffsize=26,line-width=1.0\cm]
2328 \include "gregorian.ly"
2332 \[ \stropha b \stropha b \stropha a \]
2334 \layout { \neumeDemoLayout }
2338 @code{\[ \stropha b \stropha b \stropha a \]}
2344 The following head prefixes are supported:
2349 @funindex \inclinatum
2353 @funindex \descendens
2355 @funindex \ascendens
2361 @funindex \deminutum
2369 Head prefixes can be accumulated, though restrictions apply. For
2370 example, either @code{\descendens} or @code{\ascendens} can be applied
2371 to a head, but not both to the same head.
2376 Two adjacent heads can be tied together with the @code{\pes} and
2377 @code{\flexa} infix commands for a rising and falling line of melody,
2380 @funindex \augmentum
2382 Use the unary music function @code{\augmentum} to add augmentum dots.
2389 @ref{Gregorian square neume ligatures},
2390 @ref{White mensural ligatures},
2394 When an @code{\augmentum} dot appears at the end of the last staff
2395 within a ligature, it is sometimes vertically placed wrong. As a
2396 workaround, add an additional skip note (e.g., @code{s8}) as last note
2399 @code{\augmentum} should be implemented as a head prefix rather than a
2400 unary music function, such that @code{\augmentum} can be intermixed
2401 with head prefixes in arbitrary order.
2403 @node Typesetting Kievan square notation
2404 @subsection Typesetting Kievan square notation
2410 * Kievan accidentals::
2412 * Kievan melismata::
2415 @node Kievan contexts
2416 @unnumberedsubsubsec Kievan contexts
2418 @cindex KievanVoiceContext
2419 @cindex KievanStaffContext
2421 As with Mensural and Gregorian notation, the predefined
2422 @code{KievanVoice} and @code{KievanStaff} contexts can be used
2423 to engrave a piece in square notation. These contexts initialize
2424 all relevant context properties and grob properties to proper
2425 values, so you can immediately go ahead entering the chant:
2427 @lilypond[quote,ragged-right,verbatim]
2430 \new KievanVoice = "melody" \relative c' {
2435 \new Lyrics \lyricsto "melody" {
2436 Го -- спо -- ди по -- ми -- луй.
2444 @rglos{kievan notation}.
2447 LilyPond supports Kievan notation of the Synodal style, as used in
2448 the corpus of chantbooks printed by the Russian Holy Synod in the
2449 1910's and recently reprinted by the Moscow Patriarchate Publishing
2450 House. LilyPond does not support the older (less common) forms of
2451 Kievan notation that were used in Galicia to notate Rusyn plainchant.
2454 @unnumberedsubsubsec Kievan clefs
2458 There is only one clef used in Kievan notation (the Tse-fa-ut Clef).
2459 It is used to indicate the position of @code{c}:
2461 @lilypond[quote,relative=1,notime,verbatim]
2469 @rglos{kievan notation},
2476 @unnumberedsubsubsec Kievan notes
2478 @cindex note heads, ancient
2480 For Kievan square notation, the appropriate note head style needs
2481 to be chosen and the flags and stems need to be turned off.
2482 This is accomplished by calling the @code{\kievanOn} function,
2483 which sets the appropriate properties of the note head, stems,
2484 and flags. Once Kievan note heads are not needed, these
2485 properties can be reverted by calling the @code{\kievanOff}
2488 The Kievan final note, which usually comes at the end of a piece
2489 of music, may be selected by setting the duration to
2490 @code{\longa}. The Kievan recitative mark, used to indicate
2491 the chanting of several syllables on one note, may be selected by
2492 setting the duration to @code{\breve}. The following example
2493 demonstrates the various Kievan note heads:
2495 @lilypond[quote,fragment,ragged-right,verbatim]
2499 b'1 b'2 b'4 b'8 b'\breve b'\longa
2506 @rglos{kievan notation},
2510 @ref{Note head styles}.
2513 LilyPond automatically determines if the stem up or stem down
2514 form of a note is drawn. When setting chant in square notation,
2515 however, it is customary to have the stems point in the same
2516 direction within a single melisma. This can be done manually by
2517 setting the @code{direction} property of the @code{Stem} object.
2519 @node Kievan accidentals
2520 @unnumberedsubsubsec Kievan accidentals
2524 The @code{kievan} style for accidentals is selected with the
2525 @code{glyph-name-alist} property of the grob @code{Accidental}.
2526 The @code{kievan} style provides a sharp and a flat sign
2527 different from the default style. There is no natural sign
2528 in Kievan notation. The sharp sign is not used in Synodal music
2529 but may occur in earlier manuscripts. It has been included
2530 primarily for the sake of compatibility.
2532 @lilypond[quote,relative=1,notime,verbatim]
2534 \override Accidental.glyph-name-alist =
2535 #alteration-kievan-glyph-name-alist
2541 @rglos{kievan notation},
2546 @ref{Automatic accidentals},
2549 @node Kievan bar line
2550 @unnumberedsubsubsec Kievan bar line
2552 A decorative figure is commonly placed at the end of a piece of
2553 Kievan notation, which may be called the Kievan final bar line.
2554 It can be invoked as @code{\bar "k"}.
2556 @lilypond[quote,relative=1,notime,verbatim]
2566 @node Kievan melismata
2567 @unnumberedsubsubsec Kievan melismata
2571 Notes within a Kievan melisma are usually placed close to each other
2572 and the melismata separated by whitespace. This is done to allow
2573 the chanter to quickly identify the melodic structures of Znamenny
2574 chant. In LilyPond, melismata are treated as ligatures and the
2575 spacing is implemented by the @code{Kievan_ligature_engraver}.
2577 When the @code{KievanVoice} and @code{KievanStaff} contexts are used,
2578 the @code{Kievan_ligature_engraver} is enabled by default. In other
2579 contexts, it can be invoked by replacing the @code{Ligature_bracket_engraver}
2580 with the @code{Kievan_ligature_engraver} in the layout block:
2586 \remove "Ligature_bracket_engraver"
2587 \consists "Kievan_ligature_engraver"
2592 The spacing between the notes within a Kievan ligature can be controlled
2593 by setting the @code{padding} property of the @code{KievanLigature}.
2595 The following example demonstrates the use of Kievan ligatures:
2597 @lilypond[quote,ragged-right,verbatim]
2600 \new KievanVoice = "melody" \relative c' {
2602 e2 \[ e4( d4 ) \] \[ c4( d e d ) \] e1 \bar "k"
2604 \new Lyrics \lyricsto "melody" {
2605 Га -- врі -- и -- лу
2616 @ref{White mensural ligatures},
2617 @ref{Gregorian square neume ligatures},
2621 Horizontal spacing of ligatures is poor.
2623 @node Working with ancient music---scenarios and solutions
2624 @subsection Working with ancient music---scenarios and solutions
2628 * Mensurstriche layout::
2629 * Transcribing Gregorian chant::
2630 * Ancient and modern from one source::
2631 * Editorial markings::
2634 Working with ancient music frequently involves particular tasks
2635 which differ considerably from the modern notation for which
2636 LilyPond is designed. In the rest of this section, a number of
2637 typical scenarios are outlined, with suggestions of solutions.
2641 @item how to make incipits (i.e. prefatory material to indicate
2642 what the original has looked like) to modern transcriptions of
2644 @item how to achieve the @emph{Mensurstriche} layout frequently
2645 used for modern transcriptions of polyphonic music;
2646 @item how to transcribe Gregorian chant in modern notation;
2647 @item how to generate both ancient and modern notation from the
2653 @unnumberedsubsubsec Incipits
2656 @c clefs, mensuration signs etc from lsr and -user
2657 @c use snippet Transcription-of-ancient-music-with-incipit
2661 @c ... and reference to other sections ...
2664 @node Mensurstriche layout
2665 @unnumberedsubsubsec Mensurstriche layout
2667 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
2668 for bar lines that are drawn between the staves of a system but
2669 not through the staves themselves. It is a common way to preserve
2670 the rhythmic appearance of the original, i.e. not having to break
2671 syncopated notes at bar lines, while still providing the
2672 orientation aids that bar lines give.
2675 @lilypondfile[verbatim,quote,texidoc]
2676 {mensurstriche-layout-bar-lines-between-the-staves.ly}
2678 @c This simple setup will take care of the
2679 @c TODO Add text about lyrics to the lowest line, to be placed
2680 @c outside the StaffGroup.
2681 @c from lsr and -user
2685 @c ... and reference to other sections ...
2688 @node Transcribing Gregorian chant
2689 @unnumberedsubsubsec Transcribing Gregorian chant
2691 Gregorian chant can be transcribed into modern notation with a
2692 number of simple tweaks.
2694 @b{Stems}. Stems can be left out altogether by @code{\remove}-ing
2695 the @code{Stem_engraver} from the Voice context:
2702 \remove "Stem_engraver"
2707 However, in some transcription styles, stems are used
2708 occasionally, for example to indicate the transition from a
2709 single-tone recitative to a fixed melodic gesture. In these cases,
2710 one can use either @code{\override Stem.transparent = ##t} or
2711 @code{\override Stem.length = #0} instead, and restore the stem
2712 when needed with the corresponding @code{\once \override Stem.transparent = ##f} (see example below). When using stems that
2713 carry flags, make sure to set @code{\override Flag.transparent
2716 @b{Timing.} For unmetered chant, there are several alternatives.
2718 The Time_signature_engraver can be removed from the Staff context
2719 without any negative side effects. The alternative, to make it
2720 transparent, will leave an empty space in the score, since the
2721 invisible signature will still take up space.
2723 In many cases, @code{\set Score.timing = ##f} will give good
2724 results. Another alternative is to use @code{\CadenzaOn} and
2727 To remove the bar lines, the radical approach is to @code{\remove}
2728 the Bar_engraver from the Staff context. Again, one may want to
2729 use @code{\override BarLine.transparent = ##t} instead, if an
2730 occasional barline is wanted.
2732 A common type of transcription is recitativic chant where the
2733 repeated notes are indicated with a single breve. The text to
2734 the recitation tone can be dealt with in two different ways:
2735 either set as a single, left-aligned syllable:
2737 @lilypond[verbatim,ragged-right]
2738 \include "gregorian.ly"
2739 chant = \relative c' {
2741 c\breve c4 b4 a c2 c4 \divisioMaior
2742 c\breve c4 c f, f \finalis
2745 verba = \lyricmode {
2746 \once \override LyricText.self-alignment-X = #-1
2747 "Noctem quietam et" fi -- nem per -- fec -- tum
2748 \once \override LyricText.self-alignment-X = #-1
2749 "concedat nobis Dominus" om -- ni -- po -- tens.
2753 \new Voice = "melody" \chant
2754 \new Lyrics = "one" \lyricsto melody \verba
2759 \remove "Time_signature_engraver"
2760 \remove "Bar_engraver"
2761 \override Stem.transparent = ##t
2767 This works fine, as long as the text doesn't span a line break. If
2768 that is the case, an alternative is to add hidden notes to the
2769 score, here in combination with changing stem visibility:
2772 @lilypond[verbatim,ragged-right]
2773 \include "gregorian.ly"
2774 chant = \relative c' {
2776 \set Score.timing = ##f
2777 c\breve \override NoteHead.transparent = ##t c c c c c
2778 \revert NoteHead.transparent
2779 \override Stem.transparent = ##f \stemUp c4 b4 a
2780 \override Stem.transparent = ##t c2 c4 \divisioMaior
2781 c\breve \override NoteHead.transparent = ##t c c c c c c c
2782 \revert NoteHead.transparent c4 c f, f \finalis
2785 verba = \lyricmode {
2786 No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum
2787 con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens.
2792 \new Voice = "melody" \chant
2793 \new Lyrics \lyricsto "melody" \verba
2798 \remove "Time_signature_engraver"
2799 \override BarLine.transparent = ##t
2800 \override Stem.transparent = ##t
2806 Another common situation is transcription of neumatic or
2807 melismatic chants, i.e. chants with a varying number of notes
2808 to each syllable. In this case, one would want to set the
2809 syllable groups clearly apart, usually also the subdivisions of a
2810 longer melisma. One way to achieve this is to use a fixed
2811 @code{\time}, e.g., 1/4, and let each syllable or note group fill
2812 one of these measures, with the help of tuplets or shorter
2813 durations. If the bar lines and all other rhythmical indications
2814 are made transparent, and the space around the bar lines is
2815 increased, this will give a fairly good representation in modern
2816 notation of the original.
2818 To avoid that syllables of different width (such as @qq{-ri} and
2819 @qq{-rum}) spread the syllable note groups unevenly apart, the
2820 @code{'X-extent} property of the @code{LyricText} object may be
2821 set to a fixed value. Another, more cumbersome way would be to
2822 add the syllables as @code{\markup} elements. If further
2823 adjustments are necessary, this can be easily done with
2826 @lilypond[verbatim,quote]
2827 spiritus = \relative c' {
2829 \override Lyrics.LyricText.X-extent = #'(0 . 3)
2830 d4 \tuplet 3/2 { f8 a g } g a a4 g f8 e
2831 d4 f8 g g8 d f g a g f4 g8 a a4 s
2832 \tuplet 3/2 { g8 f d } e f g a g4
2835 spirLyr = \lyricmode {
2836 Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _
2837 or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu
2842 \new Voice = "chant" \spiritus
2843 \new Lyrics = "one" \lyricsto "chant" \spirLyr
2848 \remove "Time_signature_engraver"
2849 \override BarLine.X-extent = #'(-1 . 1)
2850 \override Stem.transparent = ##t
2851 \override Beam.transparent = ##t
2852 \override BarLine.transparent = ##t
2853 \override TupletNumber.transparent = ##t
2859 @c extract from 1.6.1.1
2862 @c ... and reference to other sections ...
2865 @node Ancient and modern from one source
2866 @unnumberedsubsubsec Ancient and modern from one source
2869 @c Here among others the snippets about reducing note length
2873 @c ... and reference to other sections ...
2876 @node Editorial markings
2877 @unnumberedsubsubsec Editorial markings
2880 @c @node Baroque rhythmic notation
2881 @c @unnumberedsubsubsec Baroque rhythmic notation
2885 @c Add example of white note heads:
2886 @c In the french baroque some composers used white note heads in slow pieces,
2887 @c mainly in 3/2-time. A quarter looks there like a eighth with a white
2888 @c note head. (Franz-Rudolf Kuhnen)
2890 @c TODO Add example of this:
2891 @c I was referring to e.g. notated a8. a16, which should, if I
2892 @c remember correctly, be interpreted more like a8.. a32 (in the french
2893 @c style). The editor might want to show that rythmic figure above the
2894 @c staff as an hint to performers. (Karl Hammer)
2901 @c ... and reference to other sections ...