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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 * Working with ancient music---scenarios and solutions::
35 Support for ancient notation includes features for mensural
36 notation and Gregorian chant notation. These features can be
37 accessed either by modifying style properties of graphical objects
38 such as note heads and rests, or by using one of the pre-defined
39 contexts for mensural or Gregorian notation.
41 Many graphical objects, such as note heads and flags, accidentals,
42 time signatures, and rests, provide a @code{style} property, which
43 can be changed to emulate several different styles of ancient
47 @item @ref{Mensural note heads},
48 @item @ref{Mensural accidentals and key signatures},
49 @item @ref{Mensural rests},
50 @item @ref{Mensural clefs},
51 @item @ref{Gregorian clefs},
52 @item @ref{Mensural flags},
53 @item @ref{Mensural time signatures}.
56 Some notational concepts are introduced specifically for ancient
61 @item @ref{Divisiones},
62 @item @ref{Ligatures}.
69 @rglos{mensural notation}.
72 @ref{Mensural note heads},
73 @ref{Mensural accidentals and key signatures},
75 @ref{Gregorian clefs},
77 @ref{Mensural time signatures},
83 @node Overview of the supported styles
84 @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 noteheads, 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 noteheads
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 noteheads 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 noteheads (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 noteheads,
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 @ref{Gregorian
238 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 @code{\[ music expr
258 \]}. For consistency reasons, it will eventually be changed to
259 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}) is a
280 symbol that appears at the end of a staff. It anticipates the pitch
281 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" }
346 @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
414 @rglos{mensural notation}.
418 @unnumberedsubsubsec Mensural clefs
422 The following table shows all mensural clefs that are supported via
423 the @code{\clef} command. Some of the clefs use the same glyph,
424 but differ only with respect to the line they are printed on. In
425 such cases, a trailing number in the name is used to enumerate
426 these clefs, numbered from the lowest to the highest line. Still,
427 you can manually force a clef glyph to be typeset on an arbitrary
428 line, as described in @ref{Clef}. The note printed to the right
429 side of each clef in the example column denotes the @code{c'} with
430 respect to that clef.
432 Petrucci used C clefs with differently balanced left-side vertical
433 beams, depending on which staff line it is printed.
435 @multitable @columnfractions .4 .4 .2
446 @code{mensural-c1}, @code{mensural-c2},@*
447 @code{mensural-c3}, @code{mensural-c4}
449 @lilypond[fragment,relative=1,notime]
451 \override NoteHead #'style = #'mensural
460 @lilypond[fragment,relative=1,notime]
462 \override NoteHead #'style = #'mensural
471 @lilypond[fragment,relative=1,notime]
473 \override NoteHead #'style = #'mensural
480 @code{neomensural-c1}, @code{neomensural-c2},@*
481 @code{neomensural-c3}, @code{neomensural-c4}
483 @lilypond[fragment,relative=1,notime]
484 \clef "neomensural-c2" c
488 petrucci style C clefs, for use on different staff lines
489 (the example shows the 2nd staff line C clef)
491 @code{petrucci-c1}, @code{petrucci-c2},@*
492 @code{petrucci-c3}, @code{petrucci-c4},@*
495 @lilypond[fragment,relative=1,notime]
497 \override NoteHead #'style = #'mensural
502 petrucci style F clef
506 @lilypond[fragment,relative=1,notime]
508 \override NoteHead #'style = #'mensural
513 petrucci style G clef
517 @lilypond[fragment,relative=1,notime]
519 \override NoteHead #'style = #'mensural
526 @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, but
544 not exactly the same as time signatures). The glyphs are hard-wired to
545 particular time fractions. In other words, to get a particular mensuration
546 sign with the @code{\time n/m} command, @code{n} and @code{m} have to be
547 chosen according to the following table
549 @lilypond[quote,ragged-right]
554 \remove Staff_symbol_engraver
555 \remove Clef_engraver
556 \remove Time_signature_engraver
560 \set Score.timing = ##f
561 \set Score.barAlways = ##t
562 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
563 #"timesig.neomensural44" }
565 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
566 #"timesig.neomensural22" }
568 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
569 #"timesig.neomensural64" }
571 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
572 #"timesig.neomensural68" }
574 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
575 #"timesig.neomensural32" }
577 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
578 #"timesig.neomensural34" }
580 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
581 #"timesig.neomensural94" }
583 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
584 #"timesig.neomensural98" }
586 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
587 #"timesig.neomensural48" }
589 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
590 #"timesig.neomensural24" }
594 Use the @code{style} property of grob @code{TimeSignature}
595 to select ancient time signatures. Supported styles are
596 @code{neomensural} and @code{mensural}. The above table uses the
597 @code{neomensural} style. The following examples show the
598 differences in style:
600 @lilypond[ragged-right,fragment,relative=1,quote]
605 c1^\markup { \hspace #-2.0 \typewriter default }
607 \override Staff.TimeSignature #'style = #'numbered
609 c1^\markup { \hspace #-2.0 \typewriter numbered }
611 \override Staff.TimeSignature #'style = #'mensural
613 c1^\markup { \hspace #-2.0 \typewriter mensural }
615 \override Staff.TimeSignature #'style = #'neomensural
617 c1^\markup { \hspace #-2.0 \typewriter neomensural }
618 \override Staff.TimeSignature #'style = #'single-digit
620 c1^\markup { \hspace #-2.0 \typewriter single-digit }
624 @ref{Time signature}, gives a general introduction to
625 the use of time signatures.
629 @rglos{mensural notation}.
632 @ref{Time signature}.
635 Ratios of note durations do not change with the time signature. For
636 example, the ratio of 1@tie{}breve = 3@tie{}semibreves (@emph{tempus
637 perfectum}) must 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 @code{default} style
659 may be chosen. This is accomplished by setting the @code{style} property of
660 the @code{NoteHead} object to @code{baroque}, @code{neomensural},
661 @code{mensural} or @code{petrucci}.
663 The @code{baroque} style differs from the @code{default} style by:
666 @item Providing a @code{maxima} notehead, and
667 @item Using a square shape for @code{\breve} note heads.
670 The @code{neomensural}, @code{mensural}, and @code{petrucci} styles differ from
671 the @code{baroque} style by:
674 @item Using rhomboidal heads for semibreves and all smaller durations, and
675 @item Centering the stems on the note heads.
679 The following example demonstrates the @code{petrucci} style:
681 @c Renaissance music doesn't use bar lines ... but they do help to
682 @c separate the notes for easier identification.
684 @lilypond[quote,fragment,ragged-right,verbatim]
685 \set Score.skipBars = ##t
687 \override NoteHead #'style = #'petrucci
688 a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
693 @ref{Note head styles}, gives an overview of all available note head styles.
697 @rglos{mensural notation},
701 @ref{Note head styles}.
705 @unnumberedsubsubsec Mensural flags
709 Use the @code{flag-style} property of grob @code{Stem} to
710 select ancient flags. Besides the @code{default} flag style,
711 only the @code{mensural} style is supported.
713 @lilypond[quote,fragment,ragged-right,verbatim]
714 \override Stem #'flag-style = #'mensural
715 \override Stem #'thickness = #1.0
716 \override NoteHead #'style = #'mensural
718 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
719 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
722 Note that the innermost flare of each mensural flag always is
723 vertically aligned with a staff line.
725 There is no particular flag style for neo-mensural or Petrucci notation.
727 @c when typesetting the incipit of a transcribed piece of mensural
728 @c music, the default flag style should be used.
729 There are no flags in Gregorian chant notation.
734 @rglos{mensural notation},
739 The attachment of ancient flags to stems is slightly off.
740 @c due to a change in early 2.3.x.
742 Vertically aligning each flag with a staff line assumes that stems
743 always end either exactly on or exactly in the middle between two
744 staff lines. This may not always be true when using advanced layout
745 features of classical notation (which however are typically out of
746 scope for mensural notation).
750 @unnumberedsubsubsec Mensural rests
752 @cindex rests, ancient
754 Use the @code{style} property of grob @code{Rest} to select
755 ancient rests. Supported styles are @code{classical},
756 @code{neomensural}, and @code{mensural}. @code{classical} differs
757 from the @code{default} style only in that the quarter rest looks
758 like a horizontally mirrored 8th rest. The @code{mensural} and
759 the @code{neomensural} styles mimic the appearance of rests in
760 manuscripts and prints up to the 16th century.
762 The following example demonstrates the @code{mensural} and
763 @code{neomensural} styles:
765 @lilypond[quote,fragment,ragged-right,verbatim]
766 \set Score.skipBars = ##t
767 \override Rest #'style = #'classical
768 r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
769 \override Rest #'style = #'mensural
770 r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
771 \override Rest #'style = #'neomensural
772 r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
775 There are no 32th and 64th rests specifically for the mensural or
776 neo-mensural style. Instead, the rests from the default style will be
781 @rglos{mensural notation}.
787 @rlsr{Ancient notation}.
790 @node Mensural accidentals and key signatures
791 @unnumberedsubsubsec Mensural accidentals and key signatures
794 @cindex key signature
796 The @code{mensural} style provides a sharp and a flat sign
797 different from the default style. If called for, the natural sign
798 will be taken from the @code{vaticana} style.
800 @lilypond[quote,ragged-right,staffsize=26]
804 \line { " " \musicglyph #"accidentals.mensural-1"
805 " " \musicglyph #"accidentals.mensural1" }
810 The style for accidentals and key signatures is controlled by the
811 @code{glyph-name-alist} property of the grobs @code{Accidental} and
812 @code{KeySignature}, respectively; e.g.:
814 @code{\override Staff.Accidental #'glyph-name-alist =
815 #alteration-mensural-glyph-name-alist}
819 @rglos{mensural notation},
822 @rglos{key signature}.
827 @ref{Automatic accidentals},
831 @rinternals{KeySignature}.
834 @node Annotational accidentals (musica ficta)
835 @unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
837 In European music from before about 1600, singers were expected to
838 chromatically alter notes at their own initiative according to
839 certain rules. This is called @notation{musica ficta}. In modern
840 transcriptions, these accidentals are usually printed over the
843 @cindex Accidental, musica ficta
846 Support for such suggested accidentals is included, and can be
847 switched on by setting @code{suggestAccidentals} to true.
849 @funindex suggestAccidentals
851 @lilypond[verbatim,fragment,relative=1]
853 \set suggestAccidentals = ##t
857 This will treat @emph{every} subsequent accidental as @emph{musica
858 ficta} until it is unset with @code{\set suggestAccidentals =
859 ##f}. A more practical way is to use @code{\once \set
860 suggestAccidentals = ##t}, which can even be defined as a
861 convenient shorthand:
863 @lilypond[quote,verbatim]
864 ficta = { \once \set suggestAccidentals = ##t }
865 \score { \relative c''
867 \once \set suggestAccidentals = ##t
868 bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
876 @rinternals{Accidental_engraver},
877 @rinternals{AccidentalSuggestion}.
880 @node White mensural ligatures
881 @unnumberedsubsubsec White mensural ligatures
883 @cindex Mensural ligatures
884 @cindex White mensural ligatures
886 There is limited support for white mensural ligatures.
888 To engrave white mensural ligatures, in the layout block, replace
889 the @code{Ligature_bracket_engraver} with the
890 @code{Mensural_ligature_engraver} in the @code{Voice}
897 \remove Ligature_bracket_engraver
898 \consists Mensural_ligature_engraver
903 There is no additional input language to describe the shape of a
904 white mensural ligature. The shape is rather determined solely from
905 the pitch and duration of the enclosed notes. While this approach may
906 take a new user a while to get accustomed to, it has the great advantage
907 that the full musical information of the ligature is known internally.
908 This is not only required for correct MIDI output, but also allows for
909 automatic transcription of the ligatures.
914 @c \set Score.timing = ##f
915 @c \set Score.defaultBarType = "empty"
916 @c \override NoteHead #'style = #'neomensural
917 @c \override Staff.TimeSignature #'style = #'neomensural
918 @c \clef "petrucci-g"
920 @c \[ d\longa c\breve f e d \]
921 @c \[ c'\maxima d'\longa \]
922 @c \[ e'1 a g\breve \]
924 @lilypond[quote,ragged-right,verbatim]
927 \set Score.timing = ##f
928 \set Score.defaultBarType = "empty"
929 \override NoteHead #'style = #'neomensural
930 \override Staff.TimeSignature #'style = #'neomensural
933 \[ d\longa c\breve f e d \]
934 \[ c'\maxima d'\longa \]
940 \remove Ligature_bracket_engraver
941 \consists Mensural_ligature_engraver
947 Without replacing @code{Ligature_bracket_engraver} with
948 @code{Mensural_ligature_engraver}, the same music transcribes
951 @lilypond[quote,ragged-right]
953 \set Score.timing = ##f
954 \set Score.defaultBarType = "empty"
955 \override NoteHead #'style = #'neomensural
956 \override Staff.TimeSignature #'style = #'neomensural
959 \[ d\longa c\breve f e d \]
960 \[ c'\maxima d'\longa \]
967 @c TODO: nothing here yet ...
972 Horizontal spacing of ligatures is poor.
975 @node Typesetting Gregorian chant
976 @subsection Typesetting Gregorian chant
979 * Gregorian chant contexts::
981 * Gregorian accidentals and key signatures::
983 * Gregorian articulation signs::
984 * Augmentum dots (morae)::
985 * Gregorian square neume ligatures::
988 When typesetting a piece in Gregorian chant notation, the
989 @code{Vaticana_ligature_engraver} automatically selects the
990 proper note heads, so there is no need to explicitly set the note
991 head style. Still, the note head style can be set, e.g., to
992 @code{vaticana_punctum} to produce punctum neumes. Similarly, the
993 @code{Mensural_ligature_engraver} automatically assembles
994 mensural ligatures. See @ref{Ligatures}, for how ligature
998 @node Gregorian chant contexts
999 @unnumberedsubsubsec Gregorian chant contexts
1001 @cindex VaticanaVoiceContext
1002 @cindex VaticanaStaffContext
1004 The predefined @code{VaticanaVoiceContext} and
1005 @code{VaticanaStaffContext} can be used to engrave a piece of
1006 Gregorian chant in the style of the Editio Vaticana. These contexts
1007 initialize all relevant context properties and grob properties to
1008 proper values, so you can immediately go ahead entering the chant, as
1009 the following excerpt demonstrates:
1011 @lilypond[quote,ragged-right,verbatim]
1012 \include "gregorian.ly"
1015 \new VaticanaVoice = "cantus" {
1016 \[ c'\melisma c' \flexa a \]
1017 \[ a \flexa \deminutum g\melismaEnd \]
1019 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
1020 c' \divisioMinima \break
1021 \[ c'\melisma c' \flexa a \]
1022 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
1024 \new Lyrics \lyricsto "cantus" {
1025 San- ctus, San- ctus, San- ctus
1033 @c TODO: nothing here yet ...
1036 @node Gregorian clefs
1037 @unnumberedsubsubsec Gregorian clefs
1041 The following table shows all Gregorian clefs that are supported via
1042 the @code{\clef} command. Some of the clefs use the same glyph,
1043 but differ only with respect to the line they are printed on. In
1044 such cases, a trailing number in the name is used to enumerate
1045 these clefs, numbered from the lowest to the highest line. Still,
1046 you can manually force a clef glyph to be typeset on an arbitrary
1047 line, as described in @ref{Clef}. The note printed to the right
1048 side of each clef in the example column denotes the @code{c'} with
1049 respect to that clef.
1051 @multitable @columnfractions .4 .4 .2
1060 Editio Vaticana style do clef
1062 @code{vaticana-do1}, @code{vaticana-do2},@*
1065 @lilypond[fragment,relative=1,notime]
1066 \override Staff.StaffSymbol #'line-count = #4
1067 \override Staff.StaffSymbol #'color = #red
1068 \override Staff.LedgerLineSpanner #'color = #red
1069 \override Voice.Stem #'transparent = ##t
1070 \override NoteHead #'style = #'vaticana.punctum
1071 \clef "vaticana-do2"
1076 Editio Vaticana style fa clef
1078 @code{vaticana-fa1}, @code{vaticana-fa2}
1080 @lilypond[fragment,relative=1,notime]
1081 \override Staff.StaffSymbol #'line-count = #4
1082 \override Staff.StaffSymbol #'color = #red
1083 \override Staff.LedgerLineSpanner #'color = #red
1084 \override Voice.Stem #'transparent = ##t
1085 \override NoteHead #'style = #'vaticana.punctum
1086 \clef "vaticana-fa2"
1091 Editio Medicaea style do clef
1093 @code{medicaea-do1}, @code{medicaea-do2},@*
1096 @lilypond[fragment,relative=1,notime]
1097 \override Staff.StaffSymbol #'line-count = #4
1098 \override Staff.StaffSymbol #'color = #red
1099 \override Staff.LedgerLineSpanner #'color = #red
1100 \override Voice.Stem #'transparent = ##t
1101 \override NoteHead #'style = #'medicaea.punctum
1102 \clef "medicaea-do2"
1107 Editio Medicaea style fa clef
1109 @code{medicaea-fa1}, @code{medicaea-fa2}
1111 @lilypond[fragment,relative=1,notime]
1112 \override Staff.StaffSymbol #'line-count = #4
1113 \override Staff.StaffSymbol #'color = #red
1114 \override Staff.LedgerLineSpanner #'color = #red
1115 \override Voice.Stem #'transparent = ##t
1116 \override NoteHead #'style = #'medicaea.punctum
1117 \clef "medicaea-fa2"
1122 hufnagel style do clef
1124 @code{hufnagel-do1}, @code{hufnagel-do2},@*
1127 @lilypond[fragment,relative=1,notime]
1128 \override Staff.StaffSymbol #'line-count = #4
1129 \override Staff.StaffSymbol #'color = #red
1130 \override Staff.LedgerLineSpanner #'color = #red
1131 \override Voice.Stem #'transparent = ##t
1132 \override NoteHead #'style = #'hufnagel.punctum
1133 \clef "hufnagel-do2"
1138 hufnagel style fa clef
1140 @code{hufnagel-fa1}, @code{hufnagel-fa2}
1142 @lilypond[fragment,relative=1,notime]
1143 \override Staff.StaffSymbol #'line-count = #4
1144 \override Staff.StaffSymbol #'color = #red
1145 \override Staff.LedgerLineSpanner #'color = #red
1146 \override Voice.Stem #'transparent = ##t
1147 \override NoteHead #'style = #'hufnagel.punctum
1148 \clef "hufnagel-fa2"
1153 hufnagel style combined do/fa clef
1155 @code{hufnagel-do-fa}
1157 @lilypond[fragment,relative=1,notime]
1158 \override Staff.StaffSymbol #'color = #red
1159 \override Staff.LedgerLineSpanner #'color = #red
1160 \override Voice.Stem #'transparent = ##t
1161 \override NoteHead #'style = #'hufnagel.punctum
1162 \clef "hufnagel-do-fa"
1173 @node Gregorian accidentals and key signatures
1174 @unnumberedsubsubsec Gregorian accidentals and key signatures
1177 @cindex key signature
1179 Accidentals for the three different Gregorian styles are available:
1181 @lilypond[quote,ragged-right,staffsize=26]
1185 \line { " " \musicglyph #"accidentals.vaticana-1"
1186 " " \musicglyph #"accidentals.vaticana0" }
1190 \line { " " \musicglyph #"accidentals.medicaea-1" }
1194 \line { " " \musicglyph #"accidentals.hufnagel-1" }
1199 As shown, not all accidentals are supported by each style. When
1200 trying to access an unsupported accidental, LilyPond will switch to a
1203 @c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1204 @c {ancient-accidentals.ly}
1206 The style for accidentals and key signatures is controlled by the
1207 @code{glyph-name-alist} property of the grobs @code{Accidental} and
1208 @code{KeySignature}, respectively; e.g.:
1210 @code{\override Staff.Accidental #'glyph-name-alist =
1211 #alteration-mensural-glyph-name-alist}
1216 @ref{Pitches}, @ref{Accidentals}, and @ref{Automatic accidentals}, give a
1217 general introduction of the use of accidentals. @ref{Key signature}, gives
1218 a general introduction of the use of key signatures.
1220 Internals Reference:
1221 @rinternals{KeySignature}.
1225 @unnumberedsubsubsec Divisiones
1231 There are no rests in Gregorian chant notation; instead, it uses
1234 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
1235 @q{division}) is a staff context symbol that is used to indicate
1236 the phrase and section structure of Gregorian music. The musical meaning of
1237 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
1238 can be characterized as short, medium, and long pause, somewhat like
1239 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
1240 only marks the end of a chant, but is also frequently used within a
1241 single antiphonal/responsorial chant to mark the end of each section.
1243 To use divisiones, include the file @file{gregorian.ly}. It
1244 contains definitions that you can apply by just inserting
1245 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
1246 and @code{\finalis} at proper places in the input. Some editions use
1247 @emph{virgula} or @emph{caesura} instead of divisio minima.
1248 Therefore, @file{gregorian.ly} also defines @code{\virgula} and
1251 @lilypond[quote,ragged-right]
1252 \include "gregorian.ly"
1255 \context VaticanaVoice {
1256 \override TextScript #'padding = #3
1258 s^\markup { "divisio minima" }
1261 s^\markup { "divisio maior" }
1264 s^\markup { "divisio maxima" }
1268 s^\markup { "finalis" }
1271 s^\markup { "virgula" }
1274 s^\markup { "caesura" }
1288 @funindex \divisioMinima
1289 @code{\divisioMinima},
1290 @funindex \divisioMaior
1291 @code{\divisioMaior},
1292 @funindex \divisioMaxima
1293 @code{\divisioMaxima},
1299 @node Gregorian articulation signs
1300 @unnumberedsubsubsec Gregorian articulation signs
1302 @cindex articulations
1304 In addition to the standard articulation signs described in
1305 section @ref{Articulations and ornamentations}, articulation signs
1306 specifically designed for use with notation in @emph{Editio
1307 Vaticana} style are provided.
1309 @lilypond[quote,ragged-right,verbatim]
1310 \include "gregorian.ly"
1312 \new VaticanaVoice {
1313 \override TextScript #'font-family = #'typewriter
1314 \override TextScript #'font-shape = #'upright
1315 \override Script #'padding = #-0.1
1316 a\ictus_"ictus " \bar "" \break
1317 a\circulus_"circulus " \bar "" \break
1318 a\semicirculus_"semicirculus " \bar "" \break
1319 a\accentus_"accentus " \bar "" \break
1320 \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
1327 @rlsr{Ancient notation}.
1329 Internals Reference:
1330 @rinternals{Episema},
1331 @rinternals{EpisemaEvent},
1332 @rinternals{Episema_engraver},
1333 @rinternals{Script},
1334 @rinternals{ScriptEvent},
1335 @rinternals{Script_engraver}.
1340 Some articulations are vertically placed too closely to the
1341 corresponding note heads.
1344 @node Augmentum dots (morae)
1345 @unnumberedsubsubsec Augmentum dots (@emph{morae})
1347 Augmentum dots, also called @emph{morae}, are added with the music
1348 function @code{\augmentum}. Note that @code{\augmentum} is
1349 implemented as a unary music function rather than as head prefix. It
1350 applies to the immediately following music expression only. That is,
1351 @code{\augmentum \virga c} will have no visible effect. Instead, say
1352 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1353 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1354 @code{\augmentum a \augmentum g}.
1356 @lilypond[quote,ragged-right,verbatim]
1357 \include "gregorian.ly"
1359 \new VaticanaVoice {
1360 \[ \augmentum a \flexa \augmentum g \]
1371 Internals Reference:
1372 @rinternals{BreathingSign}.
1375 @rlsr{Ancient notation}.
1378 @node Gregorian square neume ligatures
1379 @unnumberedsubsubsec Gregorian square neume ligatures
1381 @cindex Square neumes ligatures
1382 @cindex Gregorian square neumes ligatures
1384 There is limited support for Gregorian square neumes notation
1385 (following the style of the Editio Vaticana). Core ligatures can
1386 already be typeset, but essential issues for serious typesetting are
1387 still lacking, such as (among others) horizontal alignment of multiple
1388 ligatures, lyrics alignment, and proper handling of accidentals.
1390 The support for Gregorian neumes is enabled by @code{\include}ing
1391 @file{gregorian.ly} at the beginning of the file. This makes available
1392 a number of extra commands to produce the neume symbols used in
1393 plainchant notation.
1397 Note heads can be @emph{modified} and/or @emph{joined}.
1401 the note head can be modified by @emph{prefixing} the note name
1402 with any of the following commands:
1407 @funindex \inclinatum
1411 @funindex \descendens
1413 @funindex \ascendens
1419 @funindex \deminutum
1426 @item Ligatures, properly speaking (i.e. notes joined together), are
1427 produced by placing one of the joining commands @code{\pes} or
1428 @code{\flexa}, for upwards and downwards movement, respectively,
1429 @emph{between} the notes to be joined.
1432 A note name without any qualifiers will produce a @emph{punctum}.
1433 All other neumes, including the single-note neumes with a
1434 different shape such as the @emph{virga}, are in principle
1435 considered as ligatures and should therefore be placed
1436 between @code{\[...\]}.
1437 @c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
1444 @item The @emph{punctum} is the basic note shape (in the
1445 @emph{Vaticana} style: a square with some curvation for
1446 typographical finesse). In addition to the regular
1447 @emph{punctum}, there is also the oblique @emph{punctum
1448 inclinatum}, produced with the prefix @code{\inclinatum}. The
1449 regular @emph{punctum} can be modified with @code{\cavum}, which
1450 produces a hollow note, and @code{\linea}, which draws vertical
1451 lines on either side of the note.
1453 @item The @emph{virga} has a descending stem on the right side. It is
1454 produced by the modifier @code{\virga}.
1460 Unlike most other neumes notation systems, the typographical
1461 appearance of ligatures is not directly dictated by the input
1462 commands, but follows certain conventions dependent on musical
1463 meaning. For example, a three-note ligature with the musical shape
1464 low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
1465 Torculus consisting of three Punctum heads, while the shape
1466 high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
1467 Porrectus with a curved flexa shape and only a single Punctum
1468 head. There is no command to explicitly typeset the curved flexa
1469 shape; the decision of when to typeset a curved flexa shape is
1470 based on the musical input. The idea of this approach is to
1471 separate the musical aspects of the input from the notation style
1472 of the output. This way, the same input can be reused to typeset
1473 the same music in a different style of Gregorian chant notation.
1478 Another main category of notes in Gregorian chant is the so-called
1479 liquescent neumes. They are used under certain circumstances at
1480 the end of a syllable which ends in a @q{liquescent} letter, i.e.
1481 the sounding consonants that can hold a tone (the nasals, l, r, v,
1482 j, and their diphtong equivalents). Thus, the liquescent neumes
1483 are never used alone (although some of them can be produced), and
1484 they always fall at the end of a ligature.
1486 Liquescent neumes are represented graphically in two different,
1487 more or less interchangeable ways: with a smaller note or by
1488 @q{twisting} the main note upwards or downwards. The first is
1489 produced by making a regular @code{pes} or @code{flexa} and
1490 modifying the shape of the second note: @code{\[ a \pes \deminutum
1491 b \] }, the second by modifying the shape of a single-note neume
1492 with @code{\auctum} and one of the direction markers
1493 @code{\descendens} or @code{\ascendens}, e.g., @code{ \[ \auctum
1499 A third category of signs is made up of a small number of signs
1500 with a special meaning (which, incidentally, in most cases is only
1501 vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
1502 @emph{strophicus}. These are all produced by prefixing a note name
1503 with the corresponding modifier, @code{\quilisma},
1504 @code{\oriscus}, or @code{\stropha}.
1506 Virtually, within the ligature delimiters @code{\[} and @code{\]},
1507 any number of heads may be accumulated to form a single ligature,
1508 and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
1509 @code{\inclinatum}, etc. may be mixed in as desired. The use of
1510 the set of rules that underlies the construction of the ligatures
1511 in the above table is accordingly extrapolated. This way,
1512 infinitely many different ligatures can be created.
1514 Note that the use of these signs in the music itself follows
1515 certain rules, which are not checked by LilyPond. E.g., the
1516 @emph{quilisma} is always the middle note of an ascending
1517 ligature, and usually falls on a half-tone step, but it is
1518 perfectly possible, although incorrect, to make a single-note
1521 In addition to the note signs, @file{gregorian.ly} also defines the
1522 commands @code{\versus}, @code{\responsum}, @code{\ij},
1523 @code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
1524 corresponding characters, e.g., for use in lyrics, as section
1525 markers, etc. These commands use special unicode characters and
1526 will only work if a font is used which supports them.
1531 The following table shows a limited, but still representative pool
1532 of Gregorian ligatures, together with the code fragments that
1533 produce the ligatures. The table is based on the extended neumes
1534 table of the 2nd volume of the Antiphonale Romanum (@emph{Liber
1535 Hymnarius}), published 1983 by the monks of Solesmes. The first
1536 column gives the name of the ligature, with the main form in
1537 boldface and the liquescent forms in italics. The third column
1538 shows the code fragment that produces this ligature, using
1539 @code{g}, @code{a}, and @code{b} as example pitches.
1542 @b{Single-note neums}
1544 @multitable @columnfractions .4 .2 .4
1547 @b{Basic} and @emph{Liquescent} forms
1554 @c TODO: \layout block is identical in all of the below examples.
1555 @c Therefore, it should somehow be included rather than duplicated all
1558 @c why not make variables in ly/engraver-init.ly? --hwn
1560 @c Because it's just used to typeset plain notes without
1561 @c a staff for demonstration purposes rather than something
1562 @c special of Gregorian chant notation. --jr
1568 @lilypond[staffsize=26,line-width=1.5\cm]
1569 \include "gregorian.ly"
1575 \layout { \neumeDemoLayout }}
1582 @lilypond[staffsize=26,line-width=1.5\cm]
1583 \include "gregorian.ly"
1589 \layout { \neumeDemoLayout }}
1592 @code{\[ \cavum b \]}
1596 @lilypond[staffsize=26,line-width=1.5\cm]
1597 \include "gregorian.ly"
1603 \layout { \neumeDemoLayout }}
1606 @code{\[ \linea b \]}
1609 @emph{Punctum Auctum Ascendens}
1611 @lilypond[staffsize=26,line-width=2.5\cm]
1612 \include "gregorian.ly"
1615 % Punctum Auctum Ascendens
1616 \[ \auctum \ascendens b \]
1618 \layout { \neumeDemoLayout }}
1621 @code{\[ \auctum \ascendens b \]}
1624 @emph{Punctum Auctum Descendens}
1626 @lilypond[staffsize=26,line-width=2.5\cm]
1627 \include "gregorian.ly"
1630 % Punctum Auctum Descendens
1631 \[ \auctum \descendens b \]
1633 \layout { \neumeDemoLayout }}
1636 @code{\[ \auctum \descendens b \]}
1639 @b{Punctum inclinatum}
1641 @lilypond[staffsize=26,line-width=1.5\cm]
1642 \include "gregorian.ly"
1645 % Punctum Inclinatum
1648 \layout { \neumeDemoLayout }}
1651 @code{\[ \inclinatum b \]}
1654 @emph{Punctum Inclinatum Auctum}
1656 @lilypond[staffsize=26,line-width=2.5\cm]
1657 \include "gregorian.ly"
1660 % Punctum Inclinatum Auctum
1661 \[ \inclinatum \auctum b \]
1663 \layout { \neumeDemoLayout }}
1666 @code{\[ \inclinatum \auctum b \]}
1669 @emph{Punctum Inclinatum Parvum}
1671 @lilypond[staffsize=26,line-width=1.0\cm]
1672 \include "gregorian.ly"
1675 % Punctum Inclinatum Parvum
1676 \[ \inclinatum \deminutum b \]
1678 \layout { \neumeDemoLayout }}
1681 @code{\[ \inclinatum \deminutum b \]}
1686 @lilypond[staffsize=26,line-width=1.0\cm]
1687 \include "gregorian.ly"
1693 \layout { \neumeDemoLayout }}
1700 @b{Two-note ligatures}
1702 @multitable @columnfractions .4 .2 .4
1705 @b{Clivis vel Flexa}
1707 @lilypond[staffsize=26,line-width=1.0\cm]
1708 \include "gregorian.ly"
1714 \layout { \neumeDemoLayout }}
1717 @code{\[ b \flexa g \]}
1721 @emph{Clivis Aucta Descendens}
1723 @lilypond[staffsize=26,line-width=2.0\cm]
1724 \include "gregorian.ly"
1727 % Clivis Aucta Descendens
1728 \[ b \flexa \auctum \descendens g \]
1730 \layout { \neumeDemoLayout }}
1733 @code{\[ b \flexa \auctum \descendens g \]}
1736 @emph{Clivis Aucta Ascendens}
1738 @lilypond[staffsize=26,line-width=2.0\cm]
1739 \include "gregorian.ly"
1742 % Clivis Aucta Ascendens
1743 \[ b \flexa \auctum \ascendens g \]
1745 \layout { \neumeDemoLayout }}
1748 @code{\[ b \flexa \auctum \ascendens g \]}
1753 @lilypond[staffsize=26,line-width=2.0\cm]
1754 \include "gregorian.ly"
1758 \[ b \flexa \deminutum g \]
1760 \layout { \neumeDemoLayout }}
1763 @code{\[ b \flexa \deminutum g \]}
1768 @lilypond[staffsize=26,line-width=1.0\cm]
1769 \include "gregorian.ly"
1775 \layout { \neumeDemoLayout }}
1778 @code{\[ g \pes b \]}
1781 @emph{Pes Auctus Descendens}
1783 @lilypond[staffsize=26,line-width=1.0\cm]
1784 \include "gregorian.ly"
1787 % Pes Auctus Descendens
1788 \[ g \pes \auctum \descendens b \]
1790 \layout { \neumeDemoLayout }}
1793 @code{\[ g \pes \auctum \descendens b \]}
1796 @emph{Pes Auctus Ascendens}
1798 @lilypond[staffsize=26,line-width=1.0\cm]
1799 \include "gregorian.ly"
1802 % Pes Auctus Ascendens
1803 \[ g \pes \auctum \ascendens b \]
1805 \layout { \neumeDemoLayout }}
1808 @code{\[ g \pes \auctum \ascendens b \]}
1813 @lilypond[staffsize=26,line-width=1.0\cm]
1814 \include "gregorian.ly"
1818 \[ g \pes \deminutum b \]
1820 \layout { \neumeDemoLayout }}
1823 @code{\[ g \pes \deminutum b \]}
1826 @emph{Pes Initio Debilis}
1828 @lilypond[staffsize=26,line-width=1.0\cm]
1829 \include "gregorian.ly"
1832 % Pes Initio Debilis
1833 \[ \deminutum g \pes b \]
1835 \layout { \neumeDemoLayout }}
1838 @code{\[ \deminutum g \pes b \]}
1841 @emph{Pes Auctus Descendens Initio Debilis}
1843 @lilypond[staffsize=26,line-width=1.0\cm]
1844 \include "gregorian.ly"
1847 % Pes Auctus Descendens Initio Debilis
1848 \[ \deminutum g \pes \auctum \descendens b \]
1850 \layout { \neumeDemoLayout }}
1853 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1858 @b{Multi-note ligatures}
1860 @multitable @columnfractions .4 .2 .4
1865 @lilypond[staffsize=26,line-width=1.0\cm]
1866 \include "gregorian.ly"
1870 \[ a \pes b \flexa g \]
1872 \layout { \neumeDemoLayout }}
1875 @code{\[ a \pes b \flexa g \]}
1878 @emph{Torculus Auctus Descendens}
1880 @lilypond[staffsize=26,line-width=1.0\cm]
1881 \include "gregorian.ly"
1884 % Torculus Auctus Descendens
1885 \[ a \pes b \flexa \auctum \descendens g \]
1887 \layout { \neumeDemoLayout }}
1890 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1893 @emph{Torculus Deminutus}
1895 @lilypond[staffsize=26,line-width=1.0\cm]
1896 \include "gregorian.ly"
1899 % Torculus Deminutus
1900 \[ a \pes b \flexa \deminutum g \]
1902 \layout { \neumeDemoLayout }}
1905 @code{\[ a \pes b \flexa \deminutum g \]}
1908 @emph{Torculus Initio Debilis}
1910 @lilypond[staffsize=26,line-width=1.0\cm]
1911 \include "gregorian.ly"
1914 % Torculus Initio Debilis
1915 \[ \deminutum a \pes b \flexa g \]
1917 \layout { \neumeDemoLayout }}
1920 @code{\[ \deminutum a \pes b \flexa g \]}
1923 @emph{Torculus Auctus Descendens Initio Debilis}
1925 @lilypond[staffsize=26,line-width=1.0\cm]
1926 \include "gregorian.ly"
1929 % Torculus Auctus Descendens Initio Debilis
1930 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1932 \layout { \neumeDemoLayout }}
1935 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
1938 @emph{Torculus Deminutus Initio Debilis}
1940 @lilypond[staffsize=26,line-width=1.0\cm]
1941 \include "gregorian.ly"
1944 % Torculus Deminutus Initio Debilis
1945 \[ \deminutum a \pes b \flexa \deminutum g \]
1947 \layout { \neumeDemoLayout }}
1950 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
1955 @lilypond[staffsize=26,line-width=1.0\cm]
1956 \include "gregorian.ly"
1960 \[ a \flexa g \pes b \]
1962 \layout { \neumeDemoLayout }}
1965 @code{\[ a \flexa g \pes b \]}
1968 @emph{Porrectus Auctus Descendens}
1970 @lilypond[staffsize=26,line-width=1.0\cm]
1971 \include "gregorian.ly"
1974 % Porrectus Auctus Descendens
1975 \[ a \flexa g \pes \auctum \descendens b \]
1977 \layout { \neumeDemoLayout }}
1980 @code{\[ a \flexa g \pes \auctum \descendens b \]}
1983 @emph{Porrectus Deminutus}
1985 @lilypond[staffsize=26,line-width=1.0\cm]
1986 \include "gregorian.ly"
1989 % Porrectus Deminutus
1990 \[ a \flexa g \pes \deminutum b \]
1992 \layout { \neumeDemoLayout }}
1995 @code{\[ a \flexa g \pes \deminutum b \]}
2000 @lilypond[staffsize=26,line-width=1.0\cm]
2001 \include "gregorian.ly"
2005 \[ \virga b \inclinatum a \inclinatum g \]
2007 \layout { \neumeDemoLayout }}
2010 @code{\[ \virga b \inclinatum a \inclinatum g \]}
2013 @emph{Climacus Auctus}
2015 @lilypond[staffsize=26,line-width=1.0\cm]
2016 \include "gregorian.ly"
2020 \[ \virga b \inclinatum a \inclinatum \auctum g \]
2022 \layout { \neumeDemoLayout }}
2025 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
2028 @emph{Climacus Deminutus}
2030 @lilypond[staffsize=26,line-width=1.0\cm]
2031 \include "gregorian.ly"
2034 % Climacus Deminutus
2035 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
2037 \layout { \neumeDemoLayout }}
2040 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
2045 @lilypond[staffsize=26,line-width=1.0\cm]
2046 \include "gregorian.ly"
2050 \[ g \pes a \virga b \]
2052 \layout { \neumeDemoLayout }}
2055 @code{\[ g \pes a \virga b \]}
2058 @emph{Scandicus Auctus Descendens}
2060 @lilypond[staffsize=26,line-width=1.0\cm]
2061 \include "gregorian.ly"
2064 % Scandicus Auctus Descendens
2065 \[ g \pes a \pes \auctum \descendens b \]
2067 \layout { \neumeDemoLayout }}
2070 @code{\[ g \pes a \pes \auctum \descendens b \]}
2073 @emph{Scandicus Deminutus}
2075 @lilypond[staffsize=26,line-width=1.0\cm]
2076 \include "gregorian.ly"
2079 % Scandicus Deminutus
2080 \[ g \pes a \pes \deminutum b \]
2082 \layout { \neumeDemoLayout }}
2085 @code{\[ g \pes a \pes \deminutum b \]}
2092 @multitable @columnfractions .4 .2 .4
2097 @lilypond[staffsize=26,line-width=1.0\cm]
2098 \include "gregorian.ly"
2102 \[ g \pes \quilisma a \pes b \]
2104 \layout { \neumeDemoLayout }}
2107 @code{\[ g \pes \quilisma a \pes b \]}
2110 @emph{Quilisma Pes Auctus Descendens}
2112 @lilypond[staffsize=26,line-width=1.0\cm]
2113 \include "gregorian.ly"
2116 % Quilisma Pes Auctus Descendens
2117 \[ g \quilisma a \pes \auctum \descendens b \]
2119 \layout { \neumeDemoLayout }}
2122 @code{\[ \quilisma g \pes \auctum \descendens b \]}
2127 @lilypond[staffsize=26,line-width=1.0\cm]
2128 \include "gregorian.ly"
2134 \layout { \neumeDemoLayout }}
2137 @code{\[ \oriscus b \]}
2142 @lilypond[staffsize=26,line-width=1.0\cm]
2143 \include "gregorian.ly"
2147 \[ \oriscus g \pes \virga b \]
2149 \layout { \neumeDemoLayout }}
2152 @code{\[ \oriscus g \pes \virga b \]}
2155 @emph{Pes Quassus Auctus Descendens}
2157 @lilypond[staffsize=26,line-width=1.0\cm]
2158 \include "gregorian.ly"
2161 % Pes Quassus Auctus Descendens
2162 \[ \oriscus g \pes \auctum \descendens b \]
2164 \layout { \neumeDemoLayout }}
2167 @code{\[ \oriscus g \pes \auctum \descendens b \]}
2172 @lilypond[staffsize=26,line-width=1.0\cm]
2173 \include "gregorian.ly"
2177 \[ g \oriscus a \pes \virga b \]
2179 \layout { \neumeDemoLayout }}
2182 @code{\[ g \oriscus a \pes \virga b \]}
2185 @emph{Salicus Auctus Descendens}
2187 @lilypond[staffsize=26,line-width=1.0\cm]
2188 \include "gregorian.ly"
2191 % Salicus Auctus Descendens
2192 \[ g \oriscus a \pes \auctum \descendens b \]
2194 \layout { \neumeDemoLayout }}
2197 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
2202 @lilypond[staffsize=26,line-width=1.0\cm]
2203 \include "gregorian.ly"
2209 \layout { \neumeDemoLayout }}
2212 @code{\[ \stropha b \]}
2215 @emph{Stropha Aucta}
2217 @lilypond[staffsize=26,line-width=1.0\cm]
2218 \include "gregorian.ly"
2222 \[ \stropha \auctum b \]
2224 \layout { \neumeDemoLayout }}
2227 @code{\[ \stropha \auctum b \]}
2232 @lilypond[staffsize=26,line-width=1.0\cm]
2233 \include "gregorian.ly"
2237 \[ \stropha b \stropha b \]
2239 \layout { \neumeDemoLayout }}
2242 @code{\[ \stropha b \stropha b \]}
2247 @lilypond[staffsize=26,line-width=1.0\cm]
2248 \include "gregorian.ly"
2252 \[ \stropha b \stropha b \stropha b \]
2254 \layout { \neumeDemoLayout }}
2257 @code{\[ \stropha b \stropha b \stropha b \]}
2262 @lilypond[staffsize=26,line-width=1.0\cm]
2263 \include "gregorian.ly"
2267 \[ \stropha b \stropha b \stropha a \]
2269 \layout { \neumeDemoLayout }
2273 @code{\[ \stropha b \stropha b \stropha a \]}
2279 The following head prefixes are supported:
2284 @funindex \inclinatum
2288 @funindex \descendens
2290 @funindex \ascendens
2296 @funindex \deminutum
2304 Head prefixes can be accumulated, though restrictions apply. For
2305 example, either @code{\descendens} or @code{\ascendens} can be applied
2306 to a head, but not both to the same head.
2310 Two adjacent heads can be tied together with the @code{\pes} and
2311 @code{\flexa} infix commands for a rising and falling line of melody,
2314 @funindex \augmentum
2315 Use the unary music function @code{\augmentum} to add augmentum dots.
2319 @c TODO: nothing here yet ...
2324 When an @code{\augmentum} dot appears at the end of the last staff
2325 within a ligature, it is sometimes vertically placed wrong. As a
2326 workaround, add an additional skip note (e.g., @code{s8}) as last note
2329 @code{\augmentum} should be implemented as a head prefix rather than a
2330 unary music function, such that @code{\augmentum} can be intermixed
2331 with head prefixes in arbitrary order.
2334 @node Working with ancient music---scenarios and solutions
2335 @subsection Working with ancient music---scenarios and solutions
2339 * Mensurstriche layout::
2340 * Transcribing Gregorian chant::
2341 * Ancient and modern from one source::
2342 * Editorial markings::
2345 Working with ancient music frequently involves particular tasks
2346 which differ considerably from the modern notation for which
2347 LilyPond is designed. In the rest of this section, a number of
2348 typical scenarios are outlined, with suggestions of solutions.
2352 @item how to make incipits (i.e. prefatory material to indicate
2353 what the original has looked like) to modern transcriptions of
2355 @item how to achieve the @emph{Mensurstriche} layout frequently
2356 used for modern transcriptions of polyphonic music;
2357 @item how to transcribe Gregorian chant in modern notation;
2358 @item how to generate both ancient and modern notation from the
2364 @unnumberedsubsubsec Incipits
2367 @c clefs, mensuration signs etc from lsr and -user
2368 @c use snippet Transcription-of-ancient-music-with-incipit
2373 @c ... and reference to other sections ...
2376 @node Mensurstriche layout
2377 @unnumberedsubsubsec Mensurstriche layout
2379 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
2380 for bar lines that are drawn between the staves of a system but
2381 not through the staves themselves. It is a common way to preserve
2382 the rhythmic appearance of the original, i.e. not having to break
2383 syncopated notes at bar lines, while still providing the
2384 orientation aids that bar lines give.
2387 @lilypondfile[verbatim,lilyquote,texidoc]
2388 {mensurstriche-layout-bar-lines-between-the-staves.ly}
2390 @c This simple setup will take care of the
2391 @c TODO Add text about lyrics to the lowest line, to be placed
2392 @c outside the StaffGroup.
2393 @c from lsr and -user
2398 @c ... and reference to other sections ...
2401 @node Transcribing Gregorian chant
2402 @unnumberedsubsubsec Transcribing Gregorian chant
2404 Gregorian chant can be transcribed into modern notation with a
2405 number of simple tweaks.
2407 @b{Stems}. Stems can be left out altogether by @code{\remove}-ing
2408 the @code{Stem_engraver} from the Voice context:
2415 \remove "Stem_engraver"
2420 However, in some transcription styles, stems are used
2421 occasionally, for example to indicate the transition from a
2422 single-tone recitative to a fixed melodic gesture. In these cases,
2423 one can use either @code{\override Stem #'transparent = ##t} or
2424 @code{\override Stem #'length = #0} instead, and restore the stem
2425 when needed with the corresponding @code{\once \override Stem
2426 #'transparent = ##f} (see example below).
2428 @b{Timing.} For unmetered chant, there are several alternatives.
2430 The Time_signature_engraver can be removed from the Staff context
2431 without any negative side effects. The alternative, to make it
2432 transparent, will leave an empty space in the score, since the
2433 invisible signature will still take up space.
2435 In many cases, @code{\set Score.timing = ##f} will give good
2436 results. Another alternative is to use @code{\CadenzaOn} and
2439 To remove the barlines, the radical approach is to @code{\remove}
2440 the Bar_engraver from the Staff context. Again, one may want to
2441 use @code{\override BarLine #'transparent = ##t} instead, if an
2442 occasional barline is wanted.
2444 A common type of transcription is recitativic chant where the
2445 repeated notes are indicated with a single breve. The text to
2446 the recitation tone can be dealt with in two different ways:
2447 either set as a single, left-aligned syllable:
2449 @lilypond[verbatim,ragged-right]
2450 \include "gregorian.ly"
2451 chant = \relative c' {
2453 c\breve c4 b4 a c2 c4 \divisioMaior
2454 c\breve c4 c f, f \finalis
2457 verba = \lyricmode {
2458 \once \override LyricText #'self-alignment-X = #-1
2459 "Noctem quietam et" fi -- nem per -- fec -- tum
2460 \once \override LyricText #'self-alignment-X = #-1
2461 "concedat nobis Dominus" om -- ni -- po -- tens.
2465 \new Voice = "melody" \chant
2466 \new Lyrics = "one" \lyricsto melody \verba
2471 \remove "Time_signature_engraver"
2472 \remove "Bar_engraver"
2473 \override Stem #'transparent = ##t
2479 This works fine, as long as the text doesn't span a line break. If
2480 that is the case, an alternative is to add hidden notes to the
2481 score, here in combination with changing stem visibility:
2484 @lilypond[verbatim,ragged-right]
2485 \include "gregorian.ly"
2486 chant = \relative c' {
2488 \set Score.timing = ##f
2489 c\breve \override NoteHead #'transparent = ##t c c c c c
2490 \revert NoteHead #'transparent
2491 \override Stem #'transparent = ##f \stemUp c4 b4 a
2492 \override Stem #'transparent = ##t c2 c4 \divisioMaior
2493 c\breve \override NoteHead #'transparent = ##t c c c c c c c
2494 \revert NoteHead #'transparent c4 c f, f \finalis
2497 verba = \lyricmode {
2498 No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum
2499 con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens.
2504 \new Voice = "melody" \chant
2505 \new Lyrics \lyricsto "melody" \verba
2510 \remove "Time_signature_engraver"
2511 \override BarLine #'transparent = ##t
2512 \override Stem #'transparent = ##t
2518 Another common situation is transcription of neumatic or
2519 melismatic chants, i.e. chants with a varying number of notes
2520 to each syllable. In this case, one would want to set the
2521 syllable groups clearly apart, usually also the subdivisions of a
2522 longer melisma. One way to achieve this is to use a fixed
2523 @code{\time}, e.g., 1/4, and let each syllable or note group fill
2524 one of these measures, with the help of tuplets or shorter
2525 durations. If the barlines and all other rhythmical indications
2526 are made transparent, and the space around the barlines is
2527 increased, this will give a fairly good representation in modern
2528 notation of the original.
2530 To avoid that syllables of different width (such as @qq{-ri} and
2531 @qq{-rum}) spread the syllable note groups unevenly apart, the
2532 @code{#'X-extent} property of the @code{LyricText} object may be
2533 set to a fixed value. Another, more cumbersome way would be to
2534 add the syllables as @code{\markup} elements. If further
2535 adjustments are necessary, this can be easily done with
2538 @lilypond[verbatim,quote]
2539 spiritus = \relative c' {
2541 \override Lyrics.LyricText #'X-extent = #'(0 . 3)
2542 d4 \times 2/3 { f8 a g } g a a4 g f8 e
2543 d4 f8 g g8 d f g a g f4 g8 a a4 s
2544 \times 2/3 { g8 f d } e f g a g4
2547 spirLyr = \lyricmode {
2548 Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _
2549 or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu
2554 \new Voice = "chant" \spiritus
2555 \new Lyrics = "one" \lyricsto "chant" \spirLyr
2560 \remove "Time_signature_engraver"
2561 \override BarLine #'X-extent = #'(-1 . 1)
2562 \override Stem #'transparent = ##t
2563 \override Beam #'transparent = ##t
2564 \override BarLine #'transparent = ##t
2565 \override TupletNumber #'transparent = ##t
2571 @c extract from 1.6.1.1
2574 @c ... and reference to other sections ...
2577 @node Ancient and modern from one source
2578 @unnumberedsubsubsec Ancient and modern from one source
2581 @c Here among others the snippets about reducing note length
2585 @c ... and reference to other sections ...
2588 @node Editorial markings
2589 @unnumberedsubsubsec Editorial markings
2592 @c @node Baroque rhythmic notation
2593 @c @unnumberedsubsubsec Baroque rhythmic notation
2597 @c Add example of white noteheads:
2598 @c In the french baroque some composers used white noteheads in slow pieces,
2599 @c mainly in 3/2-time. A quarter looks there like a eighth with a white
2600 @c notehead. (Franz-Rudolf Kuhnen)
2602 @c TODO Add example of this:
2603 @c I was referring to e.g. notated a8. a16, which should, if I
2604 @c remember correctly, be interpreted more like a8.. a32 (in the french
2605 @c style). The editor might want to show that rythmic figure above the
2606 @c staff as an hint to performers. (Karl Hammer)
2613 @c ... and reference to other sections ...