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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::
173 * Figured bass support::
177 @node Pre-defined contexts
178 @unnumberedsubsubsec Pre-defined contexts
180 For Gregorian chant and mensural notation, there are pre-defined
181 voice and staff contexts available, which set all the various
182 notation signs to values suitable for these styles. If one is
183 satisfied with these defaults, one can proceed directly with note
184 entry without worrying about the details on how to customize a
185 context. See one of the pre-defined contexts
186 @code{VaticanaVoice}, @code{VaticanaStaff}, @code{MensuralVoice},
187 and @code{MensuralStaff}. See further
190 @item @ref{Gregorian chant contexts},
191 @item @ref{Mensural contexts}.
196 @rglos{mensural notation}.
199 @ref{Gregorian chant contexts},
200 @ref{Mensural contexts}.
204 @unnumberedsubsubsec Ligatures
208 @c TODO: Should double check if I recalled things correctly when I wrote
209 @c down the following paragraph by heart.
211 A ligature is a graphical symbol that represents at least two
212 distinct notes. Ligatures originally appeared in the manuscripts
213 of Gregorian chant notation to denote ascending or descending
214 sequences of notes on the same syllable. They are also used in
217 Ligatures are entered by @emph{enclosing} them in @code{\[} and
218 @code{\]}. Some ligature styles may need additional input syntax
219 specific for this particular type of ligature. By default, the
220 @code{LigatureBracket} engraver just puts a square bracket
223 @lilypond[quote,ragged-right,verbatim]
231 Two other ligature styles are available: the Vaticana for
232 Gregorian chant, and the Mensural for mensural music (only white
233 mensural ligatures are supported for mensural music, and with
234 certain limitations). To use any of these styles, the default
235 @code{Ligature_bracket_engraver} has to be replaced with one of the
236 specialized ligature engravers in the @code{Voice} context,
237 as explained in @ref{White mensural ligatures} and
238 @ref{Gregorian square neume ligatures}.
245 @ref{White mensural ligatures},
246 @ref{Gregorian square neume ligatures}.
249 Ligatures need special spacing that has not yet been implemented. As
250 a result, there is too much space between ligatures most of the time,
251 and line breaking often is unsatisfactory. Also, lyrics do not
252 correctly align with ligatures.
254 Accidentals must not be printed within a ligature, but instead need to
255 be collected and printed in front of it.
257 The syntax still uses the deprecated infix style
258 @code{\[ music expr \]}. For consistency reasons, it will eventually
259 be changed to postfix style @code{note\[ ... note\]}.
261 @c Alternatively, the file
262 @c @file{gregorian-init.ly} can be included; it provides a scheme
265 @c \ligature @var{music expr}
267 @c with the same effect and is believed to be stable.
269 @c TODO: this does not seem to work at the moment.
274 @unnumberedsubsubsec Custodes
279 A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard})
280 is a symbol that appears at the end of a staff. It anticipates the
281 pitch of the first note of the following line, thus helping the performer
282 to manage line breaks during performance.
284 Custodes were frequently used in music notation until the
285 seventeenth century. Nowadays, they have survived only in a few
286 particular forms of musical notation such as contemporary editions
287 of Gregorian chant like the @emph{Editio Vaticana}. There are
288 different custos glyphs used in different flavors of notational
291 For typesetting custodes, just put a @code{Custos_engraver} into the
292 @code{Staff} context when declaring the @code{\layout} block,
293 and change the style of the custos with an @code{\override} if
294 desired, as shown in the following example:
296 @lilypond[quote,ragged-right]
306 \consists Custos_engraver
307 \override Custos #'style = #'mensural
313 The custos glyph is selected by the @code{style} property. The styles
314 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
315 @code{mensural}. They are demonstrated in the following fragment.
317 @lilypond[quote,ragged-right,fragment]
318 \new Lyrics \lyricmode {
320 \typewriter "vaticana "
321 \line { " " \musicglyph #"custodes.vaticana.u0" }
324 \typewriter "medicaea "
325 \line { " " \musicglyph #"custodes.medicaea.u0" }
328 \typewriter "hufnagel "
329 \line { " " \musicglyph #"custodes.hufnagel.u0" }
332 \typewriter "mensural "
333 \line { " " \musicglyph #"custodes.mensural.u0" }
343 @rlsr{Ancient notation}.
349 @node Figured bass support
350 @unnumberedsubsubsec Figured bass support
352 There is limited support for figured bass notation from the
353 Baroque period; see @ref{Figured bass}.
357 @rglos{figured bass}.
363 @node Typesetting mensural music
364 @subsection Typesetting mensural music
367 * Mensural contexts::
369 * Mensural time signatures::
370 * Mensural note heads::
373 * Mensural accidentals and key signatures::
374 * Annotational accidentals (musica ficta)::
375 * White mensural ligatures::
379 @node Mensural contexts
380 @unnumberedsubsubsec Mensural contexts
382 @cindex MensuralVoiceContext
383 @cindex MensuralStaffContext
385 The predefined @code{MensuralVoice} and @code{MensuralStaff}
386 contexts can be used to engrave a piece in mensural style. These
387 contexts initialize all relevant context properties and grob
388 properties to proper values, so you can immediately go ahead
389 entering the chant, as the following excerpt demonstrates:
391 @lilypond[quote,ragged-right,verbatim]
394 \new MensuralVoice = "discantus" \transpose c c' {
395 \override Score.BarNumber #'transparent = ##t {
396 c'1\melisma bes a g\melismaEnd
398 \[ f1\melisma a c'\breve d'\melismaEnd \]
400 c'\breve\melisma a1 g1\melismaEnd
401 fis\longa^\signumcongruentiae
404 \new Lyrics \lyricsto "discantus" {
405 San -- ctus, San -- ctus, San -- ctus
413 @rglos{mensural notation}.
417 @unnumberedsubsubsec Mensural clefs
421 The following table shows all mensural clefs that are supported via
422 the @code{\clef} command. Some of the clefs use the same glyph,
423 but differ only with respect to the line they are printed on. In
424 such cases, a trailing number in the name is used to enumerate
425 these clefs, numbered from the lowest to the highest line. Still,
426 you can manually force a clef glyph to be typeset on an arbitrary
427 line, as described in @ref{Clef}. The note printed to the right
428 side of each clef in the example column denotes the @code{c'} with
429 respect to that clef.
431 Petrucci used C clefs with differently balanced left-side vertical
432 beams, depending on which staff line it is printed.
434 @multitable @columnfractions .4 .4 .2
445 @code{mensural-c1}, @code{mensural-c2},@*
446 @code{mensural-c3}, @code{mensural-c4}
448 @lilypond[relative=1,notime]
450 \override NoteHead #'style = #'mensural
459 @lilypond[relative=1,notime]
461 \override NoteHead #'style = #'mensural
470 @lilypond[relative=1,notime]
472 \override NoteHead #'style = #'mensural
479 @code{neomensural-c1}, @code{neomensural-c2},@*
480 @code{neomensural-c3}, @code{neomensural-c4}
482 @lilypond[relative=1,notime]
483 \clef "neomensural-c2" c
487 petrucci style C clefs, for use on different staff lines
488 (the example shows the 2nd staff line C clef)
490 @code{petrucci-c1}, @code{petrucci-c2},@*
491 @code{petrucci-c3}, @code{petrucci-c4},@*
494 @lilypond[relative=1,notime]
496 \override NoteHead #'style = #'mensural
501 petrucci style F clefs, for use on different staff lines
502 (the example shows the 3rd staff line F clef)
504 @code{petrucci-f3}, @code{petrucci-f4},@*
507 @lilypond[relative=1,notime]
509 \override NoteHead #'style = #'mensural
514 petrucci style G clef
518 @lilypond[relative=1,notime]
520 \override NoteHead #'style = #'mensural
527 @rglos{mensural notation},
534 The mensural g clef is mapped to the Petrucci g clef.
537 @node Mensural time signatures
538 @unnumberedsubsubsec Mensural time signatures
540 @cindex mensuration sign
541 @cindex time signatures
543 There is limited support for mensuration signs (which are similar to,
544 but not exactly the same as time signatures). The glyphs are hard-wired
545 to particular time fractions. In other words, to get a particular mensuration sign with the @code{\time n/m} command, @code{n} and
546 @code{m} have to be chosen according to the following table
548 @lilypond[quote,ragged-right]
553 \remove Staff_symbol_engraver
554 \remove Clef_engraver
555 \remove Time_signature_engraver
559 \set Score.timing = ##f
560 \set Score.barAlways = ##t
561 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
562 #"timesig.neomensural44" }
564 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
565 #"timesig.neomensural22" }
567 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
568 #"timesig.neomensural64" }
570 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
571 #"timesig.neomensural68" }
573 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
574 #"timesig.neomensural32" }
576 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
577 #"timesig.neomensural34" }
579 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
580 #"timesig.neomensural94" }
582 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
583 #"timesig.neomensural98" }
585 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
586 #"timesig.neomensural48" }
588 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
589 #"timesig.neomensural24" }
593 Use the @code{style} property of grob @code{TimeSignature}
594 to select ancient time signatures. Supported styles are
595 @code{neomensural} and @code{mensural}. The above table uses the
596 @code{neomensural} style. The following examples show the
597 differences in style:
599 @lilypond[ragged-right,relative=1,quote]
604 c1^\markup { \hspace #-2.0 \typewriter default }
606 \override Staff.TimeSignature #'style = #'numbered
608 c1^\markup { \hspace #-2.0 \typewriter numbered }
610 \override Staff.TimeSignature #'style = #'mensural
612 c1^\markup { \hspace #-2.0 \typewriter mensural }
614 \override Staff.TimeSignature #'style = #'neomensural
616 c1^\markup { \hspace #-2.0 \typewriter neomensural }
617 \override Staff.TimeSignature #'style = #'single-digit
619 c1^\markup { \hspace #-2.0 \typewriter single-digit }
623 @ref{Time signature}, gives a general introduction to
624 the use of time signatures.
628 @rglos{mensural notation}.
631 @ref{Time signature}.
634 Ratios of note durations cannot change with the time signature,
635 as those are not constant. For
636 example, the ratio of 1@tie{}breve = 3@tie{}semibreves
637 (@emph{tempus perfectum}) can be made by hand, by setting
640 breveTP = #(ly:make-duration -1 0 3 2)
646 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
648 The @code{mensural68alt} and @code{neomensural68alt} symbols
649 (alternate symbols for 6/8) are not addressable with @code{\time}.
650 Use @code{\markup @{\musicglyph #"timesig.mensural68alt" @}} instead.
653 @node Mensural note heads
654 @unnumberedsubsubsec Mensural note heads
656 @cindex note heads, ancient
658 For ancient notation, a note head style other than the
659 @code{default} style may be chosen. This is accomplished by setting
660 the @code{style} property of the @code{NoteHead} object to
661 @code{baroque}, @code{neomensural}, @code{mensural},
662 @code{petrucci}, @code{blackpetrucci} or @code{semipetrucci}.
664 The @code{baroque} style differs from the @code{default} style by:
667 @item Providing a @code{maxima} note head, and
668 @item Using a square shape for @code{\breve} note heads.
671 The @code{neomensural}, @code{mensural}, and @code{petrucci} styles
672 differ from the @code{baroque} style by:
675 @item Using rhomboidal heads for semibreves and all smaller durations,
677 @item Centering the stems on the note heads.
680 The @code{blackpetrucci} style produces note heads usable in black
681 mensural notation or coloratio sections in white mensural notation.
682 Because note head style does not influence flag count, in
683 this style a semiminima should be notated as @code{a8*2}, not
684 @code{a4}, otherwise it will look like a minima.
685 The multiplyer can be different if coloratio is used e.g. to notate
688 Use @code{semipetrucci} style to draw half-colored
689 note heads (breves, longas and maximas).
692 The following example demonstrates the @code{petrucci} style:
694 @c Renaissance music doesn't use bar lines ... but they do help to
695 @c separate the notes for easier identification.
697 @lilypond[quote,fragment,ragged-right,verbatim]
698 \set Score.skipBars = ##t
700 \override NoteHead #'style = #'petrucci
701 a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
702 \override NoteHead #'style = #'semipetrucci
704 \override NoteHead #'style = #'blackpetrucci
706 \override NoteHead #'style = #'petrucci
711 @ref{Note head styles}, gives an overview of all available note head
716 @rglos{mensural notation},
720 @ref{Note head styles}.
724 @unnumberedsubsubsec Mensural flags
728 Use the @code{flag-style} property of grob @code{Stem} to
729 select ancient flags. Besides the @code{default} flag style,
730 only the @code{mensural} style is supported.
732 @lilypond[quote,fragment,ragged-right,verbatim]
733 \override Flag #'style = #'mensural
734 \override Stem #'thickness = #1.0
735 \override NoteHead #'style = #'mensural
737 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
738 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
741 Note that the innermost flare of each mensural flag always is
742 vertically aligned with a staff line.
744 There is no particular flag style for neo-mensural or Petrucci notation.
746 @c when typesetting the incipit of a transcribed piece of mensural
747 @c music, the default flag style should be used.
748 There are no flags in Gregorian chant notation.
752 @rglos{mensural notation},
756 The attachment of ancient flags to stems is slightly off.
757 @c due to a change in early 2.3.x.
759 Vertically aligning each flag with a staff line assumes that stems
760 always end either exactly on or exactly in the middle between two
761 staff lines. This may not always be true when using advanced layout
762 features of classical notation (which however are typically out of
763 scope for mensural notation).
767 @unnumberedsubsubsec Mensural rests
769 @cindex rests, ancient
771 Use the @code{style} property of grob @code{Rest} to select
772 ancient rests. Supported styles are @code{classical},
773 @code{neomensural}, and @code{mensural}. @code{classical} differs
774 from the @code{default} style only in that the quarter rest looks
775 like a horizontally mirrored 8th rest. The @code{mensural} and
776 the @code{neomensural} styles mimic the appearance of rests in
777 manuscripts and prints up to the 16th century.
779 The following example demonstrates the @code{mensural} and
780 @code{neomensural} styles:
782 @lilypond[quote,fragment,ragged-right,verbatim]
783 \set Score.skipBars = ##t
784 \override Rest #'style = #'classical
785 r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
786 \override Rest #'style = #'mensural
787 r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
788 \override Rest #'style = #'neomensural
789 r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
792 There are no 32th and 64th rests specifically for the mensural or
793 neo-mensural style. Instead, the rests from the default style will be
798 @rglos{mensural notation}.
804 @rlsr{Ancient notation}.
807 The glyph for the maxima rest in mensural style is actually a perfect
808 longa rest; use two (or three) longa rests to print a maxima rest.
809 Longa rests are not grouped automatically, so have to be done manually by
813 @node Mensural accidentals and key signatures
814 @unnumberedsubsubsec Mensural accidentals and key signatures
817 @cindex key signature
819 The @code{mensural} style provides a sharp and a flat sign
820 different from the default style. If called for, the natural sign
821 will be taken from the @code{vaticana} style.
823 @lilypond[quote,ragged-right,staffsize=26]
827 \line { " " \musicglyph #"accidentals.mensural-1"
828 " " \musicglyph #"accidentals.mensural1" }
833 The style for accidentals and key signatures is controlled by the
834 @code{glyph-name-alist} property of the grobs @code{Accidental} and
835 @code{KeySignature}, respectively; e.g.:
837 @code{\override Staff.Accidental #'glyph-name-alist =
838 #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 = "empty"
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 = "empty"
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 = "empty"
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 Voice.Flag #'transparent = ##t
1116 \override NoteHead #'style = #'vaticana.punctum
1117 \clef "vaticana-do2"
1122 Editio Vaticana style fa clef
1124 @code{vaticana-fa1}, @code{vaticana-fa2}
1126 @lilypond[relative=1,notime]
1127 \override Staff.StaffSymbol #'line-count = #4
1128 \override Staff.StaffSymbol #'color = #red
1129 \override Staff.LedgerLineSpanner #'color = #red
1130 \override Voice.Stem #'transparent = ##t
1131 \override Voice.Flag #'transparent = ##t
1132 \override NoteHead #'style = #'vaticana.punctum
1133 \clef "vaticana-fa2"
1138 Editio Medicaea style do clef
1140 @code{medicaea-do1}, @code{medicaea-do2},@*
1143 @lilypond[relative=1,notime]
1144 \override Staff.StaffSymbol #'line-count = #4
1145 \override Staff.StaffSymbol #'color = #red
1146 \override Staff.LedgerLineSpanner #'color = #red
1147 \override Voice.Stem #'transparent = ##t
1148 \override Voice.Flag #'transparent = ##t
1149 \override NoteHead #'style = #'medicaea.punctum
1150 \clef "medicaea-do2"
1155 Editio Medicaea style fa clef
1157 @code{medicaea-fa1}, @code{medicaea-fa2}
1159 @lilypond[relative=1,notime]
1160 \override Staff.StaffSymbol #'line-count = #4
1161 \override Staff.StaffSymbol #'color = #red
1162 \override Staff.LedgerLineSpanner #'color = #red
1163 \override Voice.Stem #'transparent = ##t
1164 \override Voice.Flag #'transparent = ##t
1165 \override NoteHead #'style = #'medicaea.punctum
1166 \clef "medicaea-fa2"
1171 hufnagel style do clef
1173 @code{hufnagel-do1}, @code{hufnagel-do2},@*
1176 @lilypond[relative=1,notime]
1177 \override Staff.StaffSymbol #'line-count = #4
1178 \override Staff.StaffSymbol #'color = #red
1179 \override Staff.LedgerLineSpanner #'color = #red
1180 \override Voice.Stem #'transparent = ##t
1181 \override Voice.Flag #'transparent = ##t
1182 \override NoteHead #'style = #'hufnagel.punctum
1183 \clef "hufnagel-do2"
1188 hufnagel style fa clef
1190 @code{hufnagel-fa1}, @code{hufnagel-fa2}
1192 @lilypond[relative=1,notime]
1193 \override Staff.StaffSymbol #'line-count = #4
1194 \override Staff.StaffSymbol #'color = #red
1195 \override Staff.LedgerLineSpanner #'color = #red
1196 \override Voice.Stem #'transparent = ##t
1197 \override Voice.Flag #'transparent = ##t
1198 \override NoteHead #'style = #'hufnagel.punctum
1199 \clef "hufnagel-fa2"
1204 hufnagel style combined do/fa clef
1206 @code{hufnagel-do-fa}
1208 @lilypond[relative=1,notime]
1209 \override Staff.StaffSymbol #'color = #red
1210 \override Staff.LedgerLineSpanner #'color = #red
1211 \override Voice.Stem #'transparent = ##t
1212 \override Voice.Flag #'transparent = ##t
1213 \override NoteHead #'style = #'hufnagel.punctum
1214 \clef "hufnagel-do-fa"
1227 @node Gregorian accidentals and key signatures
1228 @unnumberedsubsubsec Gregorian accidentals and key signatures
1231 @cindex key signature
1233 Accidentals for the three different Gregorian styles are available:
1235 @lilypond[quote,ragged-right,staffsize=26]
1239 \line { " " \musicglyph #"accidentals.vaticana-1"
1240 " " \musicglyph #"accidentals.vaticana0" }
1244 \line { " " \musicglyph #"accidentals.medicaea-1" }
1248 \line { " " \musicglyph #"accidentals.hufnagel-1" }
1253 As shown, not all accidentals are supported by each style. When
1254 trying to access an unsupported accidental, LilyPond will switch to a
1257 @c @lilypondfile[verbatim,quote,texidoc,doctitle]
1258 @c {ancient-accidentals.ly}
1260 The style for accidentals and key signatures is controlled by the
1261 @code{glyph-name-alist} property of the grobs @code{Accidental} and
1262 @code{KeySignature}, respectively; e.g.:
1264 @code{\override Staff.Accidental #'glyph-name-alist =
1265 #alteration-mensural-glyph-name-alist}
1270 @rglos{key signature}.
1275 @ref{Automatic accidentals},
1276 @ref{Key signature}.
1278 Internals Reference:
1279 @rinternals{KeySignature}.
1283 @unnumberedsubsubsec Divisiones
1289 There are no rests in Gregorian chant notation; instead, it uses
1292 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
1293 @q{division}) is a staff context symbol that is used to indicate
1294 the phrase and section structure of Gregorian music. The musical
1295 meaning of @emph{divisio minima}, @emph{divisio maior}, and
1296 @emph{divisio maxima} can be characterized as short, medium, and
1297 long pause, somewhat like the breath marks from @ref{Breath marks}.
1298 The @emph{finalis} sign not only marks the end of a chant, but is
1299 also frequently used within a single antiphonal/responsorial chant
1300 to mark the end of each section.
1302 To use divisiones, include the file @file{gregorian.ly}. It
1303 contains definitions that you can apply by just inserting
1304 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
1305 and @code{\finalis} at proper places in the input. Some editions use
1306 @emph{virgula} or @emph{caesura} instead of divisio minima.
1307 Therefore, @file{gregorian.ly} also defines @code{\virgula} and
1310 @lilypond[quote,ragged-right]
1311 \include "gregorian.ly"
1314 \context VaticanaVoice {
1315 \override TextScript #'padding = #3
1317 s^\markup { "divisio minima" }
1320 s^\markup { "divisio maior" }
1323 s^\markup { "divisio maxima" }
1327 s^\markup { "finalis" }
1330 s^\markup { "virgula" }
1333 s^\markup { "caesura" }
1347 @funindex \divisioMinima
1348 @code{\divisioMinima},
1349 @funindex \divisioMaior
1350 @code{\divisioMaior},
1351 @funindex \divisioMaxima
1352 @code{\divisioMaxima},
1366 @file{ly/gregorian.ly}.
1369 @node Gregorian articulation signs
1370 @unnumberedsubsubsec Gregorian articulation signs
1372 @cindex articulations
1374 In addition to the standard articulation signs described in
1375 section @ref{Articulations and ornamentations}, articulation signs
1376 specifically designed for use with notation in
1377 @emph{Editio Vaticana} style are provided.
1379 @lilypond[quote,ragged-right,verbatim]
1380 \include "gregorian.ly"
1382 \new VaticanaVoice {
1383 \override TextScript #'font-family = #'typewriter
1384 \override TextScript #'font-shape = #'upright
1385 \override Script #'padding = #-0.1
1386 a\ictus_"ictus " \bar "" \break
1387 a\circulus_"circulus " \bar "" \break
1388 a\semicirculus_"semicirculus " \bar "" \break
1389 a\accentus_"accentus " \bar "" \break
1390 \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
1397 @ref{Articulations and ornamentations}.
1400 @rlsr{Ancient notation}.
1402 Internals Reference:
1403 @rinternals{Episema},
1404 @rinternals{EpisemaEvent},
1405 @rinternals{Episema_engraver},
1406 @rinternals{Script},
1407 @rinternals{ScriptEvent},
1408 @rinternals{Script_engraver}.
1411 Some articulations are vertically placed too closely to the
1412 corresponding note heads.
1415 @node Augmentum dots (morae)
1416 @unnumberedsubsubsec Augmentum dots (@emph{morae})
1418 Augmentum dots, also called @emph{morae}, are added with the music
1419 function @code{\augmentum}. Note that @code{\augmentum} is
1420 implemented as a unary music function rather than as head prefix. It
1421 applies to the immediately following music expression only. That is,
1422 @code{\augmentum \virga c} will have no visible effect. Instead, say
1423 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1424 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1425 @code{\augmentum a \augmentum g}.
1427 @lilypond[quote,ragged-right,verbatim]
1428 \include "gregorian.ly"
1430 \new VaticanaVoice {
1431 \[ \augmentum a \flexa \augmentum g \]
1441 Internals Reference:
1442 @rinternals{BreathingSign}.
1445 @rlsr{Ancient notation}.
1448 @node Gregorian square neume ligatures
1449 @unnumberedsubsubsec Gregorian square neume ligatures
1451 @cindex Square neumes ligatures
1452 @cindex Gregorian square neumes ligatures
1454 There is limited support for Gregorian square neumes notation
1455 (following the style of the Editio Vaticana). Core ligatures can
1456 already be typeset, but essential issues for serious typesetting are
1457 still lacking, such as (among others) horizontal alignment of multiple
1458 ligatures, lyrics alignment, and proper handling of accidentals.
1460 The support for Gregorian neumes is enabled by @code{\include}ing
1461 @file{gregorian.ly} at the beginning of the file. This makes available
1462 a number of extra commands to produce the neume symbols used in
1463 plainchant notation.
1467 Note heads can be @emph{modified} and/or @emph{joined}.
1471 the note head can be modified by @emph{prefixing} the note name
1472 with any of the following commands:
1477 @funindex \inclinatum
1481 @funindex \descendens
1483 @funindex \ascendens
1489 @funindex \deminutum
1496 @item Ligatures, properly speaking (i.e. notes joined together), are
1497 produced by placing one of the joining commands @code{\pes} or
1498 @code{\flexa}, for upwards and downwards movement, respectively,
1499 @emph{between} the notes to be joined.
1502 A note name without any qualifiers will produce a @emph{punctum}.
1503 All other neumes, including the single-note neumes with a
1504 different shape such as the @emph{virga}, are in principle
1505 considered as ligatures and should therefore be placed
1506 between @code{\[...\]}.
1507 @c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
1514 @item The @emph{punctum} is the basic note shape (in the
1515 @emph{Vaticana} style: a square with some curvation for
1516 typographical finesse). In addition to the regular
1517 @emph{punctum}, there is also the oblique @emph{punctum
1518 inclinatum}, produced with the prefix @code{\inclinatum}. The
1519 regular @emph{punctum} can be modified with @code{\cavum}, which
1520 produces a hollow note, and @code{\linea}, which draws vertical
1521 lines on either side of the note.
1523 @item The @emph{virga} has a descending stem on the right side. It is
1524 produced by the modifier @code{\virga}.
1530 Unlike most other neumes notation systems, the typographical
1531 appearance of ligatures is not directly dictated by the input
1532 commands, but follows certain conventions dependent on musical
1533 meaning. For example, a three-note ligature with the musical shape
1534 low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
1535 Torculus consisting of three Punctum heads, while the shape
1536 high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
1537 Porrectus with a curved flexa shape and only a single Punctum
1538 head. There is no command to explicitly typeset the curved flexa
1539 shape; the decision of when to typeset a curved flexa shape is
1540 based on the musical input. The idea of this approach is to
1541 separate the musical aspects of the input from the notation style
1542 of the output. This way, the same input can be reused to typeset
1543 the same music in a different style of Gregorian chant notation.
1548 Another main category of notes in Gregorian chant is the so-called
1549 liquescent neumes. They are used under certain circumstances at
1550 the end of a syllable which ends in a @q{liquescent} letter, i.e.
1551 the sounding consonants that can hold a tone (the nasals, l, r, v,
1552 j, and their diphthong equivalents). Thus, the liquescent neumes
1553 are never used alone (although some of them can be produced), and
1554 they always fall at the end of a ligature.
1556 Liquescent neumes are represented graphically in two different,
1557 more or less interchangeable ways: with a smaller note or by
1558 @q{twisting} the main note upwards or downwards. The first is
1559 produced by making a regular @code{pes} or @code{flexa} and
1560 modifying the shape of the second note:
1561 @code{\[ a \pes \deminutum b \] }, the second by modifying the shape
1562 of a single-note neume with @code{\auctum} and one of the direction
1563 markers @code{\descendens} or @code{\ascendens}, e.g.,
1564 @code{ \[ \auctum \descendens a \] }.
1569 A third category of signs is made up of a small number of signs
1570 with a special meaning (which, incidentally, in most cases is only
1571 vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
1572 @emph{strophicus}. These are all produced by prefixing a note name
1573 with the corresponding modifier, @code{\quilisma},
1574 @code{\oriscus}, or @code{\stropha}.
1576 Virtually, within the ligature delimiters @code{\[} and @code{\]},
1577 any number of heads may be accumulated to form a single ligature,
1578 and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
1579 @code{\inclinatum}, etc. may be mixed in as desired. The use of
1580 the set of rules that underlies the construction of the ligatures
1581 in the above table is accordingly extrapolated. This way,
1582 infinitely many different ligatures can be created.
1584 Note that the use of these signs in the music itself follows
1585 certain rules, which are not checked by LilyPond. E.g., the
1586 @emph{quilisma} is always the middle note of an ascending
1587 ligature, and usually falls on a half-tone step, but it is
1588 perfectly possible, although incorrect, to make a single-note
1591 In addition to the note signs, @file{gregorian.ly} also defines the
1592 commands @code{\versus}, @code{\responsum}, @code{\ij},
1593 @code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
1594 corresponding characters, e.g., for use in lyrics, as section
1595 markers, etc. These commands use special Unicode characters and
1596 will only work if a font is used which supports them.
1601 The following table shows a limited, but still representative pool
1602 of Gregorian ligatures, together with the code fragments that
1603 produce the ligatures. The table is based on the extended neumes
1604 table of the 2nd volume of the Antiphonale Romanum
1605 (@emph{Liber Hymnarius}), published 1983 by the monks of Solesmes.
1606 The first column gives the name of the ligature, with the main form in
1607 boldface and the liquescent forms in italics. The third column
1608 shows the code fragment that produces this ligature, using
1609 @code{g}, @code{a}, and @code{b} as example pitches.
1612 @b{Single-note neums}
1614 @multitable @columnfractions .4 .2 .4
1617 @b{Basic} and @emph{Liquescent} forms
1624 @c TODO: \layout block is identical in all of the below examples.
1625 @c Therefore, it should somehow be included rather than duplicated all
1628 @c why not make variables in ly/engraver-init.ly? --hwn
1630 @c Because it's just used to typeset plain notes without
1631 @c a staff for demonstration purposes rather than something
1632 @c special of Gregorian chant notation. --jr
1638 @lilypond[staffsize=26,line-width=1.5\cm]
1639 \include "gregorian.ly"
1645 \layout { \neumeDemoLayout }}
1652 @lilypond[staffsize=26,line-width=1.5\cm]
1653 \include "gregorian.ly"
1659 \layout { \neumeDemoLayout }}
1662 @code{\[ \cavum b \]}
1666 @lilypond[staffsize=26,line-width=1.5\cm]
1667 \include "gregorian.ly"
1673 \layout { \neumeDemoLayout }}
1676 @code{\[ \linea b \]}
1679 @emph{Punctum Auctum Ascendens}
1681 @lilypond[staffsize=26,line-width=2.5\cm]
1682 \include "gregorian.ly"
1685 % Punctum Auctum Ascendens
1686 \[ \auctum \ascendens b \]
1688 \layout { \neumeDemoLayout }}
1691 @code{\[ \auctum \ascendens b \]}
1694 @emph{Punctum Auctum Descendens}
1696 @lilypond[staffsize=26,line-width=2.5\cm]
1697 \include "gregorian.ly"
1700 % Punctum Auctum Descendens
1701 \[ \auctum \descendens b \]
1703 \layout { \neumeDemoLayout }}
1706 @code{\[ \auctum \descendens b \]}
1709 @b{Punctum inclinatum}
1711 @lilypond[staffsize=26,line-width=1.5\cm]
1712 \include "gregorian.ly"
1715 % Punctum Inclinatum
1718 \layout { \neumeDemoLayout }}
1721 @code{\[ \inclinatum b \]}
1724 @emph{Punctum Inclinatum Auctum}
1726 @lilypond[staffsize=26,line-width=2.5\cm]
1727 \include "gregorian.ly"
1730 % Punctum Inclinatum Auctum
1731 \[ \inclinatum \auctum b \]
1733 \layout { \neumeDemoLayout }}
1736 @code{\[ \inclinatum \auctum b \]}
1739 @emph{Punctum Inclinatum Parvum}
1741 @lilypond[staffsize=26,line-width=1.0\cm]
1742 \include "gregorian.ly"
1745 % Punctum Inclinatum Parvum
1746 \[ \inclinatum \deminutum b \]
1748 \layout { \neumeDemoLayout }}
1751 @code{\[ \inclinatum \deminutum b \]}
1756 @lilypond[staffsize=26,line-width=1.0\cm]
1757 \include "gregorian.ly"
1763 \layout { \neumeDemoLayout }}
1770 @b{Two-note ligatures}
1772 @multitable @columnfractions .4 .2 .4
1775 @b{Clivis vel Flexa}
1777 @lilypond[staffsize=26,line-width=1.0\cm]
1778 \include "gregorian.ly"
1784 \layout { \neumeDemoLayout }}
1787 @code{\[ b \flexa g \]}
1791 @emph{Clivis Aucta Descendens}
1793 @lilypond[staffsize=26,line-width=2.0\cm]
1794 \include "gregorian.ly"
1797 % Clivis Aucta Descendens
1798 \[ b \flexa \auctum \descendens g \]
1800 \layout { \neumeDemoLayout }}
1803 @code{\[ b \flexa \auctum \descendens g \]}
1806 @emph{Clivis Aucta Ascendens}
1808 @lilypond[staffsize=26,line-width=2.0\cm]
1809 \include "gregorian.ly"
1812 % Clivis Aucta Ascendens
1813 \[ b \flexa \auctum \ascendens g \]
1815 \layout { \neumeDemoLayout }}
1818 @code{\[ b \flexa \auctum \ascendens g \]}
1823 @lilypond[staffsize=26,line-width=2.0\cm]
1824 \include "gregorian.ly"
1828 \[ b \flexa \deminutum g \]
1830 \layout { \neumeDemoLayout }}
1833 @code{\[ b \flexa \deminutum g \]}
1838 @lilypond[staffsize=26,line-width=1.0\cm]
1839 \include "gregorian.ly"
1845 \layout { \neumeDemoLayout }}
1848 @code{\[ g \pes b \]}
1851 @emph{Pes Auctus Descendens}
1853 @lilypond[staffsize=26,line-width=1.0\cm]
1854 \include "gregorian.ly"
1857 % Pes Auctus Descendens
1858 \[ g \pes \auctum \descendens b \]
1860 \layout { \neumeDemoLayout }}
1863 @code{\[ g \pes \auctum \descendens b \]}
1866 @emph{Pes Auctus Ascendens}
1868 @lilypond[staffsize=26,line-width=1.0\cm]
1869 \include "gregorian.ly"
1872 % Pes Auctus Ascendens
1873 \[ g \pes \auctum \ascendens b \]
1875 \layout { \neumeDemoLayout }}
1878 @code{\[ g \pes \auctum \ascendens b \]}
1883 @lilypond[staffsize=26,line-width=1.0\cm]
1884 \include "gregorian.ly"
1888 \[ g \pes \deminutum b \]
1890 \layout { \neumeDemoLayout }}
1893 @code{\[ g \pes \deminutum b \]}
1896 @emph{Pes Initio Debilis}
1898 @lilypond[staffsize=26,line-width=1.0\cm]
1899 \include "gregorian.ly"
1902 % Pes Initio Debilis
1903 \[ \deminutum g \pes b \]
1905 \layout { \neumeDemoLayout }}
1908 @code{\[ \deminutum g \pes b \]}
1911 @emph{Pes Auctus Descendens Initio Debilis}
1913 @lilypond[staffsize=26,line-width=1.0\cm]
1914 \include "gregorian.ly"
1917 % Pes Auctus Descendens Initio Debilis
1918 \[ \deminutum g \pes \auctum \descendens b \]
1920 \layout { \neumeDemoLayout }}
1923 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1928 @b{Multi-note ligatures}
1930 @multitable @columnfractions .4 .2 .4
1935 @lilypond[staffsize=26,line-width=1.0\cm]
1936 \include "gregorian.ly"
1940 \[ a \pes b \flexa g \]
1942 \layout { \neumeDemoLayout }}
1945 @code{\[ a \pes b \flexa g \]}
1948 @emph{Torculus Auctus Descendens}
1950 @lilypond[staffsize=26,line-width=1.0\cm]
1951 \include "gregorian.ly"
1954 % Torculus Auctus Descendens
1955 \[ a \pes b \flexa \auctum \descendens g \]
1957 \layout { \neumeDemoLayout }}
1960 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1963 @emph{Torculus Deminutus}
1965 @lilypond[staffsize=26,line-width=1.0\cm]
1966 \include "gregorian.ly"
1969 % Torculus Deminutus
1970 \[ a \pes b \flexa \deminutum g \]
1972 \layout { \neumeDemoLayout }}
1975 @code{\[ a \pes b \flexa \deminutum g \]}
1978 @emph{Torculus Initio Debilis}
1980 @lilypond[staffsize=26,line-width=1.0\cm]
1981 \include "gregorian.ly"
1984 % Torculus Initio Debilis
1985 \[ \deminutum a \pes b \flexa g \]
1987 \layout { \neumeDemoLayout }}
1990 @code{\[ \deminutum a \pes b \flexa g \]}
1993 @emph{Torculus Auctus Descendens Initio Debilis}
1995 @lilypond[staffsize=26,line-width=1.0\cm]
1996 \include "gregorian.ly"
1999 % Torculus Auctus Descendens Initio Debilis
2000 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
2002 \layout { \neumeDemoLayout }}
2005 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
2008 @emph{Torculus Deminutus Initio Debilis}
2010 @lilypond[staffsize=26,line-width=1.0\cm]
2011 \include "gregorian.ly"
2014 % Torculus Deminutus Initio Debilis
2015 \[ \deminutum a \pes b \flexa \deminutum g \]
2017 \layout { \neumeDemoLayout }}
2020 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
2025 @lilypond[staffsize=26,line-width=1.0\cm]
2026 \include "gregorian.ly"
2030 \[ a \flexa g \pes b \]
2032 \layout { \neumeDemoLayout }}
2035 @code{\[ a \flexa g \pes b \]}
2038 @emph{Porrectus Auctus Descendens}
2040 @lilypond[staffsize=26,line-width=1.0\cm]
2041 \include "gregorian.ly"
2044 % Porrectus Auctus Descendens
2045 \[ a \flexa g \pes \auctum \descendens b \]
2047 \layout { \neumeDemoLayout }}
2050 @code{\[ a \flexa g \pes \auctum \descendens b \]}
2053 @emph{Porrectus Deminutus}
2055 @lilypond[staffsize=26,line-width=1.0\cm]
2056 \include "gregorian.ly"
2059 % Porrectus Deminutus
2060 \[ a \flexa g \pes \deminutum b \]
2062 \layout { \neumeDemoLayout }}
2065 @code{\[ a \flexa g \pes \deminutum b \]}
2070 @lilypond[staffsize=26,line-width=1.0\cm]
2071 \include "gregorian.ly"
2075 \[ \virga b \inclinatum a \inclinatum g \]
2077 \layout { \neumeDemoLayout }}
2080 @code{\[ \virga b \inclinatum a \inclinatum g \]}
2083 @emph{Climacus Auctus}
2085 @lilypond[staffsize=26,line-width=1.0\cm]
2086 \include "gregorian.ly"
2090 \[ \virga b \inclinatum a \inclinatum \auctum g \]
2092 \layout { \neumeDemoLayout }}
2095 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
2098 @emph{Climacus Deminutus}
2100 @lilypond[staffsize=26,line-width=1.0\cm]
2101 \include "gregorian.ly"
2104 % Climacus Deminutus
2105 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
2107 \layout { \neumeDemoLayout }}
2110 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
2115 @lilypond[staffsize=26,line-width=1.0\cm]
2116 \include "gregorian.ly"
2120 \[ g \pes a \virga b \]
2122 \layout { \neumeDemoLayout }}
2125 @code{\[ g \pes a \virga b \]}
2128 @emph{Scandicus Auctus Descendens}
2130 @lilypond[staffsize=26,line-width=1.0\cm]
2131 \include "gregorian.ly"
2134 % Scandicus Auctus Descendens
2135 \[ g \pes a \pes \auctum \descendens b \]
2137 \layout { \neumeDemoLayout }}
2140 @code{\[ g \pes a \pes \auctum \descendens b \]}
2143 @emph{Scandicus Deminutus}
2145 @lilypond[staffsize=26,line-width=1.0\cm]
2146 \include "gregorian.ly"
2149 % Scandicus Deminutus
2150 \[ g \pes a \pes \deminutum b \]
2152 \layout { \neumeDemoLayout }}
2155 @code{\[ g \pes a \pes \deminutum b \]}
2162 @multitable @columnfractions .4 .2 .4
2167 @lilypond[staffsize=26,line-width=1.0\cm]
2168 \include "gregorian.ly"
2172 \[ g \pes \quilisma a \pes b \]
2174 \layout { \neumeDemoLayout }}
2177 @code{\[ g \pes \quilisma a \pes b \]}
2180 @emph{Quilisma Pes Auctus Descendens}
2182 @lilypond[staffsize=26,line-width=1.0\cm]
2183 \include "gregorian.ly"
2186 % Quilisma Pes Auctus Descendens
2187 \[ g \quilisma a \pes \auctum \descendens b \]
2189 \layout { \neumeDemoLayout }}
2192 @code{\[ \quilisma g \pes \auctum \descendens b \]}
2197 @lilypond[staffsize=26,line-width=1.0\cm]
2198 \include "gregorian.ly"
2204 \layout { \neumeDemoLayout }}
2207 @code{\[ \oriscus b \]}
2212 @lilypond[staffsize=26,line-width=1.0\cm]
2213 \include "gregorian.ly"
2217 \[ \oriscus g \pes \virga b \]
2219 \layout { \neumeDemoLayout }}
2222 @code{\[ \oriscus g \pes \virga b \]}
2225 @emph{Pes Quassus Auctus Descendens}
2227 @lilypond[staffsize=26,line-width=1.0\cm]
2228 \include "gregorian.ly"
2231 % Pes Quassus Auctus Descendens
2232 \[ \oriscus g \pes \auctum \descendens b \]
2234 \layout { \neumeDemoLayout }}
2237 @code{\[ \oriscus g \pes \auctum \descendens b \]}
2242 @lilypond[staffsize=26,line-width=1.0\cm]
2243 \include "gregorian.ly"
2247 \[ g \oriscus a \pes \virga b \]
2249 \layout { \neumeDemoLayout }}
2252 @code{\[ g \oriscus a \pes \virga b \]}
2255 @emph{Salicus Auctus Descendens}
2257 @lilypond[staffsize=26,line-width=1.0\cm]
2258 \include "gregorian.ly"
2261 % Salicus Auctus Descendens
2262 \[ g \oriscus a \pes \auctum \descendens b \]
2264 \layout { \neumeDemoLayout }}
2267 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
2272 @lilypond[staffsize=26,line-width=1.0\cm]
2273 \include "gregorian.ly"
2279 \layout { \neumeDemoLayout }}
2282 @code{\[ \stropha b \]}
2285 @emph{Stropha Aucta}
2287 @lilypond[staffsize=26,line-width=1.0\cm]
2288 \include "gregorian.ly"
2292 \[ \stropha \auctum b \]
2294 \layout { \neumeDemoLayout }}
2297 @code{\[ \stropha \auctum b \]}
2302 @lilypond[staffsize=26,line-width=1.0\cm]
2303 \include "gregorian.ly"
2307 \[ \stropha b \stropha b \]
2309 \layout { \neumeDemoLayout }}
2312 @code{\[ \stropha b \stropha b \]}
2317 @lilypond[staffsize=26,line-width=1.0\cm]
2318 \include "gregorian.ly"
2322 \[ \stropha b \stropha b \stropha b \]
2324 \layout { \neumeDemoLayout }}
2327 @code{\[ \stropha b \stropha b \stropha b \]}
2332 @lilypond[staffsize=26,line-width=1.0\cm]
2333 \include "gregorian.ly"
2337 \[ \stropha b \stropha b \stropha a \]
2339 \layout { \neumeDemoLayout }
2343 @code{\[ \stropha b \stropha b \stropha a \]}
2349 The following head prefixes are supported:
2354 @funindex \inclinatum
2358 @funindex \descendens
2360 @funindex \ascendens
2366 @funindex \deminutum
2374 Head prefixes can be accumulated, though restrictions apply. For
2375 example, either @code{\descendens} or @code{\ascendens} can be applied
2376 to a head, but not both to the same head.
2381 Two adjacent heads can be tied together with the @code{\pes} and
2382 @code{\flexa} infix commands for a rising and falling line of melody,
2385 @funindex \augmentum
2387 Use the unary music function @code{\augmentum} to add augmentum dots.
2394 @ref{Gregorian square neume ligatures},
2395 @ref{White mensural ligatures},
2399 When an @code{\augmentum} dot appears at the end of the last staff
2400 within a ligature, it is sometimes vertically placed wrong. As a
2401 workaround, add an additional skip note (e.g., @code{s8}) as last note
2404 @code{\augmentum} should be implemented as a head prefix rather than a
2405 unary music function, such that @code{\augmentum} can be intermixed
2406 with head prefixes in arbitrary order.
2408 @node Typesetting Kievan square notation
2409 @subsection Typesetting Kievan square notation
2414 * Kievan note heads::
2415 * Kievan accidentals::
2419 @node Kievan contexts
2420 @unnumberedsubsubsec Kievan contexts
2422 @cindex KievanVoiceContext
2423 @cindex KievanStaffContext
2425 As with Mensural and Gregorian notation, the predefined
2426 @code{KievanVoice} and @code{KievanStaff} contexts can be used
2427 to engrave a piece in square notation. These contexts initialize
2428 all relevant context properties and grob properties to proper
2429 values, so you can immediately go ahead entering the chant:
2431 @lilypond[quote,ragged-right,verbatim]
2434 \new KievanVoice = "melody" \transpose c c' {
2436 c4 c c c c2 b,\longa
2439 \new Lyrics \lyricsto "melody" {
2440 Го -- спо -- ди по -- ми -- луй.
2448 @rglos{kievan notation}.
2451 LilyPond supports Kievan notation of the Synodal style, as used in
2452 the corpus of chantbooks printed by the Russian Holy Synod in the
2453 1910's and recently reprinted by the Moscow Patriarchate Publishing
2454 House. LilyPond does not support the older (less common) forms of
2455 Kievan notation that were used in Galicia to notate Rusyn plainchant.
2458 @unnumberedsubsubsec Kievan clefs
2462 There is only one clef used in Kievan notation (the Tse-fa-ut Clef).
2463 It is used to indicate the position of @code{c}:
2465 @lilypond[quote,relative=1,notime,verbatim]
2467 \override NoteHead #'style = #'kievan
2473 @rglos{kievan notation},
2479 @node Kievan note heads
2480 @unnumberedsubsubsec Kievan note heads
2482 @cindex note heads, ancient
2484 For Kievan square notation, the appropriate note head style needs
2485 to be chosen. This is accomplished by setting the @code{style}
2486 property of the @code{NoteHead} object to @code{kievan}.
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]
2498 \override NoteHead #'style = #'kievan
2499 b'1 b'2 b'4 b'8 b'\breve b'\longa
2504 @rglos{kievan notation},
2508 @ref{Note head styles}.
2511 LilyPond automatically determines if the stem up or stem down
2512 form of a note is drawn. When setting chant in square notation,
2513 however, it is customary to have the stems point in the same
2514 direction within a single melisma. This can be done manually by
2515 setting the @code{direction} property of the @code{Stem} object.
2517 @node Kievan accidentals
2518 @unnumberedsubsubsec Kievan accidentals
2522 The @code{kievan} style for accidentals is selected with the
2523 @code{glyph-name-alist} property of the grob @code{Accidental}.
2524 The @code{kievan} style provides a sharp and a flat sign
2525 different from the default style. There is no natural sign
2526 in Kievan notation. The sharp sign is not used in Synodal music
2527 but may occur in earlier manuscripts. It has been included
2528 primarily for the sake of compatibility.
2530 @lilypond[quote,relative=1,notime,verbatim]
2532 \override NoteHead #'style = #'kievan
2533 \override Accidental #'glyph-name-alist =
2534 #alteration-kievan-glyph-name-alist
2540 @rglos{kievan notation},
2545 @ref{Automatic accidentals},
2548 @node Kievan bar line
2549 @unnumberedsubsubsec Kievan bar line
2551 A decorative figure is commonly placed at the end of a piece of
2552 Kievan notation, which may be called the Kievan final bar line.
2553 It can be invoked as @code{\bar "kievan"}.
2555 @lilypond[quote,relative=1,notime,verbatim]
2557 \override NoteHead #'style = #'kievan
2565 @node Working with ancient music---scenarios and solutions
2566 @subsection Working with ancient music---scenarios and solutions
2570 * Mensurstriche layout::
2571 * Transcribing Gregorian chant::
2572 * Ancient and modern from one source::
2573 * Editorial markings::
2576 Working with ancient music frequently involves particular tasks
2577 which differ considerably from the modern notation for which
2578 LilyPond is designed. In the rest of this section, a number of
2579 typical scenarios are outlined, with suggestions of solutions.
2583 @item how to make incipits (i.e. prefatory material to indicate
2584 what the original has looked like) to modern transcriptions of
2586 @item how to achieve the @emph{Mensurstriche} layout frequently
2587 used for modern transcriptions of polyphonic music;
2588 @item how to transcribe Gregorian chant in modern notation;
2589 @item how to generate both ancient and modern notation from the
2595 @unnumberedsubsubsec Incipits
2598 @c clefs, mensuration signs etc from lsr and -user
2599 @c use snippet Transcription-of-ancient-music-with-incipit
2603 @c ... and reference to other sections ...
2606 @node Mensurstriche layout
2607 @unnumberedsubsubsec Mensurstriche layout
2609 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
2610 for bar lines that are drawn between the staves of a system but
2611 not through the staves themselves. It is a common way to preserve
2612 the rhythmic appearance of the original, i.e. not having to break
2613 syncopated notes at bar lines, while still providing the
2614 orientation aids that bar lines give.
2617 @lilypondfile[verbatim,quote,texidoc]
2618 {mensurstriche-layout-bar-lines-between-the-staves.ly}
2620 @c This simple setup will take care of the
2621 @c TODO Add text about lyrics to the lowest line, to be placed
2622 @c outside the StaffGroup.
2623 @c from lsr and -user
2627 @c ... and reference to other sections ...
2630 @node Transcribing Gregorian chant
2631 @unnumberedsubsubsec Transcribing Gregorian chant
2633 Gregorian chant can be transcribed into modern notation with a
2634 number of simple tweaks.
2636 @b{Stems}. Stems can be left out altogether by @code{\remove}-ing
2637 the @code{Stem_engraver} from the Voice context:
2644 \remove "Stem_engraver"
2649 However, in some transcription styles, stems are used
2650 occasionally, for example to indicate the transition from a
2651 single-tone recitative to a fixed melodic gesture. In these cases,
2652 one can use either @code{\override Stem #'transparent = ##t} or
2653 @code{\override Stem #'length = #0} instead, and restore the stem
2654 when needed with the corresponding @code{\once \override Stem
2655 #'transparent = ##f} (see example below). When using stems that
2656 carry flags, make sure to set @code{\override Flag #'transparent
2659 @b{Timing.} For unmetered chant, there are several alternatives.
2661 The Time_signature_engraver can be removed from the Staff context
2662 without any negative side effects. The alternative, to make it
2663 transparent, will leave an empty space in the score, since the
2664 invisible signature will still take up space.
2666 In many cases, @code{\set Score.timing = ##f} will give good
2667 results. Another alternative is to use @code{\CadenzaOn} and
2670 To remove the bar lines, the radical approach is to @code{\remove}
2671 the Bar_engraver from the Staff context. Again, one may want to
2672 use @code{\override BarLine #'transparent = ##t} instead, if an
2673 occasional barline is wanted.
2675 A common type of transcription is recitativic chant where the
2676 repeated notes are indicated with a single breve. The text to
2677 the recitation tone can be dealt with in two different ways:
2678 either set as a single, left-aligned syllable:
2680 @lilypond[verbatim,ragged-right]
2681 \include "gregorian.ly"
2682 chant = \relative c' {
2684 c\breve c4 b4 a c2 c4 \divisioMaior
2685 c\breve c4 c f, f \finalis
2688 verba = \lyricmode {
2689 \once \override LyricText #'self-alignment-X = #-1
2690 "Noctem quietam et" fi -- nem per -- fec -- tum
2691 \once \override LyricText #'self-alignment-X = #-1
2692 "concedat nobis Dominus" om -- ni -- po -- tens.
2696 \new Voice = "melody" \chant
2697 \new Lyrics = "one" \lyricsto melody \verba
2702 \remove "Time_signature_engraver"
2703 \remove "Bar_engraver"
2704 \override Stem #'transparent = ##t
2705 \override Flag #'transparent = ##t
2711 This works fine, as long as the text doesn't span a line break. If
2712 that is the case, an alternative is to add hidden notes to the
2713 score, here in combination with changing stem visibility:
2716 @lilypond[verbatim,ragged-right]
2717 \include "gregorian.ly"
2718 chant = \relative c' {
2720 \set Score.timing = ##f
2721 c\breve \override NoteHead #'transparent = ##t c c c c c
2722 \revert NoteHead #'transparent
2723 \override Stem #'transparent = ##f \stemUp c4 b4 a
2724 \override Stem #'transparent = ##t
2725 \override Flag #'transparent = ##t c2 c4 \divisioMaior
2726 c\breve \override NoteHead #'transparent = ##t c c c c c c c
2727 \revert NoteHead #'transparent c4 c f, f \finalis
2730 verba = \lyricmode {
2731 No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum
2732 con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens.
2737 \new Voice = "melody" \chant
2738 \new Lyrics \lyricsto "melody" \verba
2743 \remove "Time_signature_engraver"
2744 \override BarLine #'transparent = ##t
2745 \override Stem #'transparent = ##t
2746 \override Flag #'transparent = ##t
2752 Another common situation is transcription of neumatic or
2753 melismatic chants, i.e. chants with a varying number of notes
2754 to each syllable. In this case, one would want to set the
2755 syllable groups clearly apart, usually also the subdivisions of a
2756 longer melisma. One way to achieve this is to use a fixed
2757 @code{\time}, e.g., 1/4, and let each syllable or note group fill
2758 one of these measures, with the help of tuplets or shorter
2759 durations. If the bar lines and all other rhythmical indications
2760 are made transparent, and the space around the bar lines is
2761 increased, this will give a fairly good representation in modern
2762 notation of the original.
2764 To avoid that syllables of different width (such as @qq{-ri} and
2765 @qq{-rum}) spread the syllable note groups unevenly apart, the
2766 @code{'X-extent} property of the @code{LyricText} object may be
2767 set to a fixed value. Another, more cumbersome way would be to
2768 add the syllables as @code{\markup} elements. If further
2769 adjustments are necessary, this can be easily done with
2772 @lilypond[verbatim,quote]
2773 spiritus = \relative c' {
2775 \override Lyrics.LyricText #'X-extent = #'(0 . 3)
2776 d4 \times 2/3 { f8 a g } g a a4 g f8 e
2777 d4 f8 g g8 d f g a g f4 g8 a a4 s
2778 \times 2/3 { g8 f d } e f g a g4
2781 spirLyr = \lyricmode {
2782 Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _
2783 or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu
2788 \new Voice = "chant" \spiritus
2789 \new Lyrics = "one" \lyricsto "chant" \spirLyr
2794 \remove "Time_signature_engraver"
2795 \override BarLine #'X-extent = #'(-1 . 1)
2796 \override Stem #'transparent = ##t
2797 \override Flag #'transparent = ##t
2798 \override Beam #'transparent = ##t
2799 \override BarLine #'transparent = ##t
2800 \override TupletNumber #'transparent = ##t
2806 @c extract from 1.6.1.1
2809 @c ... and reference to other sections ...
2812 @node Ancient and modern from one source
2813 @unnumberedsubsubsec Ancient and modern from one source
2816 @c Here among others the snippets about reducing note length
2820 @c ... and reference to other sections ...
2823 @node Editorial markings
2824 @unnumberedsubsubsec Editorial markings
2827 @c @node Baroque rhythmic notation
2828 @c @unnumberedsubsubsec Baroque rhythmic notation
2832 @c Add example of white note heads:
2833 @c In the french baroque some composers used white note heads in slow pieces,
2834 @c mainly in 3/2-time. A quarter looks there like a eighth with a white
2835 @c note head. (Franz-Rudolf Kuhnen)
2837 @c TODO Add example of this:
2838 @c I was referring to e.g. notated a8. a16, which should, if I
2839 @c remember correctly, be interpreted more like a8.. a32 (in the french
2840 @c style). The editor might want to show that rythmic figure above the
2841 @c staff as an hint to performers. (Karl Hammer)
2848 @c ... and reference to other sections ...