1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c vim: foldmethod=marker
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
12 @node Ancient notation
13 @section Ancient notation
15 @lilypondfile[quote]{ancient-headword.ly}
17 @cindex Vaticana, Editio
18 @cindex Medicaea, Editio
25 * Overview of the supported styles::
26 * Ancient notation---common features::
27 * Typesetting mensural music::
28 * Typesetting Gregorian chant::
29 * Working with ancient music---scenarios and solutions::
33 Support for ancient notation includes features for mensural
34 notation and Gregorian chant notation. These features can be
35 accessed either by modifying style properties of graphical objects
36 such as note heads and rests, or by using one of the pre-defined
37 contexts for mensural or Gregorian notation.
39 Many graphical objects, such as note heads and flags, accidentals,
40 time signatures, and rests, provide a @code{style} property, which
41 can be changed to emulate several different styles of ancient
45 @item @ref{Mensural note heads},
46 @item @ref{Mensural accidentals and key signatures},
47 @item @ref{Mensural rests},
48 @item @ref{Mensural clefs},
49 @item @ref{Gregorian clefs},
50 @item @ref{Mensural flags},
51 @item @ref{Mensural time signatures}.
54 Some notational concepts are introduced specifically for ancient
59 @item @ref{Divisiones},
60 @item @ref{Ligatures}.
63 @c {{{1 Overview of the supported styles
64 @node Overview of the supported styles
65 @subsection Overview of the supported styles
68 Three styles are available for typesetting Gregorian chant:
71 @item @emph{Editio Vaticana} is a complete style for
72 Gregorian chant, following the appearance of the Solesmes
73 editions, the official chant books of the Vatican since 1904.
74 Lilypond has support for all the notational signs used in this
75 style, including ligatures, @emph{custodes}, and special signs
76 such as the quilisma and the oriscus.
79 @cindex Vaticana, Editio
81 @item The @emph{Editio Medicaea} style offers certain features
82 used in the Medicaea (or Ratisbona) editions which were used prior
83 to the Solesmes editions. The most significant differences from
84 the @emph{Vaticana} style are the clefs, which have
85 downward-slanted strokes, and the noteheads, which are square and
88 @cindex Ratisbona, Editio
89 @cindex Medicaea, Editio
91 @item The @emph{Hufnagel} (@qq{horseshoe nail}) or @emph{Gothic}
92 style mimics the writing style in chant manuscripts from Germany
93 and Central Europe during the middle ages. It is named after the
94 basic note shape (the @emph{virga}), which looks like a small
99 Three styles emulate the appearance of late-medieval and
100 renaissance manuscripts and prints of mensural music:
103 @item The @emph{Mensural} style most closely resembles the
104 writing style used in late-medieval and early renaissance
105 manuscripts, with its small and narrow, diamond-shaped noteheads
106 and its rests which approach a hand-drawn style.
110 @item The @emph{Neomensural} style is a modernized and
111 stylized version of the former: the noteheads are broader and the
112 rests are made up of straight lines. This style is particularly
113 suited, e.g., for incipits of transcribed pieces of mensural
118 @item The @emph{Petrucci} style is named after Ottaviano Petrucci
119 (1466-1539), the first printer to use movable type for music (in
120 his @emph{Harmonice musices odhecaton}, 1501). The style uses
121 larger note heads than the other mensural styles.
127 @emph{Baroque} and @emph{Classical} are not complete styles
128 but differ from the default style only in some details: certain
129 noteheads (Baroque) and the quarter rest (Classical).
131 Only the mensural style has alternatives for all aspects of the
132 notation. Thus, there are no rests or flags in the Gregorian
133 styles, since these signs are not used in plainchant notation, and
134 the Petrucci style has no flags or accidentals of its own.
136 Each element of the notation can be changed independently of the
137 others, so that one can use mensural flags, petrucci noteheads,
138 classical rests and vaticana clefs in the same piece, if one
141 @c {{{1 Ancient notation, general
142 @node Ancient notation---common features
143 @subsection Ancient notation---common features
146 * Pre-defined contexts::
149 * Figured bass support::
152 @c {{{2 Pre-defined contexts
153 @node Pre-defined contexts
154 @unnumberedsubsubsec Pre-defined contexts
156 For Gregorian chant and mensural notation, there are pre-defined
157 voice and staff contexts available, which set all the various
158 notation signs to values suitable for these styles. If one is
159 satisfied with these defaults, one can proceed directly with note
160 entry without worrying about the details on how to customize a
161 context. See one of the pre-defined contexts
162 @code{VaticanaVoice}, @code{VaticanaStaff}, @code{MensuralVoice},
163 and @code{MensuralStaff}. See further
166 @item @ref{Gregorian chant contexts},
167 @item @ref{Mensural contexts}.
173 @unnumberedsubsubsec Ligatures
177 @c TODO: Should double check if I recalled things correctly when I wrote
178 @c down the following paragraph by heart.
180 A ligature is a graphical symbol that represents at least two
181 distinct notes. Ligatures originally appeared in the manuscripts
182 of Gregorian chant notation to denote ascending or descending
183 sequences of notes on the same syllable. They are also used in
186 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
187 Some ligature styles may need additional input syntax specific for
188 this particular type of ligature. By default, the
189 @rinternals{LigatureBracket} engraver just puts a square bracket
192 @lilypond[quote,ragged-right,verbatim]
200 Two other ligature styles are available: the Vaticana for
201 Gregorian chant, and the Mensural for mensural music (only white
202 mensural ligatures are supported for mensural music, and with
203 certain limitations). To use any of these styles, the default
204 @code{Ligature_bracket_engraver} has to be replaced with one of the
205 specialized ligature engravers in the @rinternals{Voice} context,
206 as explained in @ref{White mensural ligatures} and @ref{Gregorian
207 square neume ligatures}.
211 @c TODO: nothing here yet ...
215 Ligatures need special spacing that has not yet been implemented. As
216 a result, there is too much space between ligatures most of the time,
217 and line breaking often is unsatisfactory. Also, lyrics do not
218 correctly align with ligatures.
220 Accidentals must not be printed within a ligature, but instead need to
221 be collected and printed in front of it.
223 The syntax still uses the deprecated infix style @code{\[ music expr
224 \]}. For consistency reasons, it will eventually be changed to
225 postfix style @code{note\[ ... note\]}.
227 @c Alternatively, the file
228 @c @file{gregorian@/-init@/.ly} can be included; it provides a scheme
231 @c \ligature @var{music expr}
233 @c with the same effect and is believed to be stable.
235 @c TODO: this does not seem to work at the moment.
242 @unnumberedsubsubsec Custodes
247 A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard}) is a
248 symbol that appears at the end of a staff. It anticipates the pitch
249 of the first note of the following line, thus helping the performer
250 to manage line breaks during performance.
252 Custodes were frequently used in music notation until the
253 seventeenth century. Nowadays, they have survived only in a few
254 particular forms of musical notation such as contemporary editions
255 of Gregorian chant like the @emph{Editio Vaticana}. There are
256 different custos glyphs used in different flavors of notational
259 For typesetting custodes, just put a @rinternals{Custos_engraver} into the
260 @rinternals{Staff} context when declaring the @code{\layout} block,
261 and change the style of the custos with an @code{\override} if
262 desired, as shown in the following example:
268 \consists Custos_engraver
269 Custos \override #'style = #'mensural
274 The result looks like this
276 @lilypond[quote,ragged-right]
280 \override Staff.Custos #'style = #'mensural
285 \context { \Staff \consists Custos_engraver }
290 The custos glyph is selected by the @code{style} property. The styles
291 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
292 @code{mensural}. They are demonstrated in the following fragment
294 @lilypond[quote,ragged-right,fragment]
295 \new Lyrics \lyricmode {
297 \typewriter "vaticana"
298 \line { " " \musicglyph #"custodes.vaticana.u0" }
301 \typewriter "medicaea"
302 \line { " " \musicglyph #"custodes.medicaea.u0" }
305 \typewriter "hufnagel"
306 \line { " " \musicglyph #"custodes.hufnagel.u0" }
309 \typewriter "mensural"
310 \line { " " \musicglyph #"custodes.mensural.u0" }
317 Internals Reference: @rinternals{Custos}.
320 @rlsr{Ancient notation}.
322 @c {{{2 Figured bass support
323 @node Figured bass support
324 @unnumberedsubsubsec Figured bass support
326 There is limited support for figured bass notation from the
327 Baroque period; see @ref{Figured bass}.
330 @c {{{1 Typesetting mensural music
331 @node Typesetting mensural music
332 @subsection Typesetting mensural music
335 * Mensural contexts::
337 * Mensural time signatures::
338 * Mensural note heads::
341 * Mensural accidentals and key signatures::
342 * Annotational accidentals (musica ficta)::
343 * White mensural ligatures::
348 @c {{{2Mensural contexts
349 @node Mensural contexts
350 @unnumberedsubsubsec Mensural contexts
352 @cindex MensuralVoiceContext
353 @cindex MensuralStaffContext
355 The predefined @code{MensuralVoice} and @code{MensuralStaff}
356 contexts can be used to engrave a piece in mensural style. These
357 contexts initialize all relevant context properties and grob
358 properties to proper values, so you can immediately go ahead
359 entering the chant, as the following excerpt demonstrates:
361 @lilypond[quote,ragged-right,verbatim]
364 \new MensuralVoice = "discantus" \transpose c c' {
365 \override Score.BarNumber #'transparent = ##t {
366 c'1\melisma bes a g\melismaEnd
368 \[ f1\melisma a c'\breve d'\melismaEnd \]
370 c'\breve\melisma a1 g1\melismaEnd
371 fis\longa^\signumcongruentiae
374 \new Lyrics \lyricsto "discantus" {
375 San -- ctus, San -- ctus, San -- ctus
383 TODO: nothing here yet ...
386 @c {{{2 Mensural clefs
388 @unnumberedsubsubsec Mensural clefs
392 The following table shows all mensural clefs that are supported via
393 the @code{\clef} command. Some of the clefs use the same glyph,
394 but differ only with respect to the line they are printed on. In
395 such cases, a trailing number in the name is used to enumerate
396 these clefs, numbered from the lowest to the highest line. Still,
397 you can manually force a clef glyph to be typeset on an arbitrary
398 line, as described in @ref{Clef}. The note printed to the right
399 side of each clef in the example column denotes the @code{c'} with
400 respect to that clef.
402 Petrucci used C clefs with differently balanced left-side vertical
403 beams, depending on which staff line it is printed.
405 @multitable @columnfractions .4 .4 .2
416 @code{mensural-c1}, @code{mensural-c2},@*
417 @code{mensural-c3}, @code{mensural-c4}
419 @lilypond[fragment,relative=1,notime]
421 \override NoteHead #'style = #'mensural
430 @lilypond[fragment,relative=1,notime]
432 \override NoteHead #'style = #'mensural
441 @lilypond[fragment,relative=1,notime]
443 \override NoteHead #'style = #'mensural
450 @code{neomensural-c1}, @code{neomensural-c2},@*
451 @code{neomensural-c3}, @code{neomensural-c4}
453 @lilypond[fragment,relative=1,notime]
454 \clef "neomensural-c2" c
458 petrucci style C clefs, for use on different staff lines
459 (the example shows the 2nd staff line C clef)
461 @code{petrucci-c1}, @code{petrucci-c2},@*
462 @code{petrucci-c3}, @code{petrucci-c4},@*
465 @lilypond[fragment,relative=1,notime]
467 \override NoteHead #'style = #'mensural
472 petrucci style F clef
476 @lilypond[fragment,relative=1,notime]
478 \override NoteHead #'style = #'mensural
483 petrucci style G clef
487 @lilypond[fragment,relative=1,notime]
489 \override NoteHead #'style = #'mensural
496 Notation Reference: see @ref{Clef}.
500 The mensural g clef is mapped to the Petrucci g clef.
503 @c {{{2Mensural time signatures
504 @node Mensural time signatures
505 @unnumberedsubsubsec Mensural time signatures
507 @cindex mensuration sign
508 @cindex time signatures
510 There is limited support for mensuration signs (which are similar to, but
511 not exactly the same as time signatures). The glyphs are hard-wired to
512 particular time fractions. In other words, to get a particular mensuration
513 sign with the @code{\time n/m} command, @code{n} and @code{m} have to be
514 chosen according to the following table
516 @lilypond[quote,ragged-right]
521 \remove Staff_symbol_engraver
522 \remove Clef_engraver
523 \remove Time_signature_engraver
527 \set Score.timing = ##f
528 \set Score.barAlways = ##t
529 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
530 #"timesig.neomensural44" }
532 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
533 #"timesig.neomensural22" }
535 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
536 #"timesig.neomensural64" }
538 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
539 #"timesig.neomensural68" }
541 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
542 #"timesig.neomensural32" }
544 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
545 #"timesig.neomensural34" }
547 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
548 #"timesig.neomensural94" }
550 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
551 #"timesig.neomensural98" }
553 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
554 #"timesig.neomensural48" }
556 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
557 #"timesig.neomensural24" }
561 Use the @code{style} property of grob @rinternals{TimeSignature}
562 to select ancient time signatures. Supported styles are
563 @code{neomensural} and @code{mensural}. The above table uses the
564 @code{neomensural} style. The following examples show the
565 differences in style:
567 @lilypond[ragged-right,fragment,relative=1,quote]
572 c1^\markup { \hspace #-2.0 \typewriter default }
574 \override Staff.TimeSignature #'style = #'numbered
576 c1^\markup { \hspace #-2.0 \typewriter numbered }
578 \override Staff.TimeSignature #'style = #'mensural
580 c1^\markup { \hspace #-2.0 \typewriter mensural }
582 \override Staff.TimeSignature #'style = #'neomensural
584 c1^\markup { \hspace #-2.0 \typewriter neomensural }
585 \override Staff.TimeSignature #'style = #'single-digit
587 c1^\markup { \hspace #-2.0 \typewriter single-digit }
593 Notation Reference: @ref{Time signature}, gives a general introduction to
594 the use of time signatures.
598 Ratios of note durations do not change with the time signature. For
599 example, the ratio of 1 breve = 3 semibreves (@emph{tempus perfectum}) must
600 be made by hand, by setting
603 breveTP = #(ly:make-duration -1 0 3 2)
609 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
611 The @code{mensural68alt} and @code{neomensural68alt} symbols
612 (alternate symbols for 6/8) are not addressable with @code{\time}.
613 Use @code{\markup @{\musicglyph #"timesig.mensural68alt" @}} instead.
616 @c {{{2Mensural note heads
617 @node Mensural note heads
618 @unnumberedsubsubsec Mensural note heads
620 @cindex note heads, ancient
622 For ancient notation, a note head style other than the @code{default} style
623 may be chosen. This is accomplished by setting the @code{style} property of
624 the @rinternals{NoteHead} object to @code{baroque}, @code{neomensural},
625 @code{mensural} or @code{petrucci}.
627 The @code{baroque} style differs from the @code{default} style by:
630 @item Providing a @code{maxima} notehead, and
631 @item Using a square shape for @code{\breve} note heads.
634 The @code{neomensural}, @code{mensural}, and @code{petrucci} styles differ from
635 the @code{baroque} style by:
638 @item Using rhomboidal heads for semibreves and all smaller durations, and
639 @item Centering the stems on the note heads.
643 The following example demonstrates the @code{petrucci} style:
645 @c Renaissance music doesn't use bar lines ... but they do help to
646 @c separate the notes for easier identification.
648 @lilypond[quote,fragment,ragged-right,verbatim]
649 \set Score.skipBars = ##t
651 \override NoteHead #'style = #'petrucci
652 a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
658 @ref{Note head styles} gives an overview of all available note head styles.
661 @c {{{2Mensural flags
663 @unnumberedsubsubsec Mensural flags
667 Use the @code{flag-style} property of grob @rinternals{Stem} to
668 select ancient flags. Besides the @code{default} flag style,
669 only the @code{mensural} style is supported.
671 @lilypond[quote,fragment,ragged-right,verbatim]
672 \override Stem #'flag-style = #'mensural
673 \override Stem #'thickness = #1.0
674 \override NoteHead #'style = #'mensural
676 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
677 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
680 Note that the innermost flare of each mensural flag always is
681 vertically aligned with a staff line.
683 There is no particular flag style for neo-mensural or Petrucci notation.
685 @c when typesetting the incipit of a transcribed piece of mensural
686 @c music, the default flag style should be used.
687 There are no flags in Gregorian chant notation.
691 TODO: nothing here yet ...
695 The attachment of ancient flags to stems is slightly off.
696 @c due to a change in early 2.3.x.
698 Vertically aligning each flag with a staff line assumes that stems
699 always end either exactly on or exactly in the middle between two
700 staff lines. This may not always be true when using advanced layout
701 features of classical notation (which however are typically out of
702 scope for mensural notation).
704 @c {{{2Mensural rests
706 @unnumberedsubsubsec Mensural rests
708 @cindex rests, ancient
710 Use the @code{style} property of grob @rinternals{Rest} to select
711 ancient rests. Supported styles are @code{classical},
712 @code{neomensural}, and @code{mensural}. @code{classical} differs
713 from the @code{default} style only in that the quarter rest looks
714 like a horizontally mirrored 8th rest. The @code{mensural} and
715 the @code{neomensural} styles mimic the appearance of rests in
716 manuscripts and prints up to the 16th century.
718 The following example demonstrates the @code{mensural} and
719 @code{neomensural} styles:
721 @lilypond[quote,fragment,ragged-right,verbatim]
722 \set Score.skipBars = ##t
723 \override Rest #'style = #'classical
724 r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
725 \override Rest #'style = #'mensural
726 r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
727 \override Rest #'style = #'neomensural
728 r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
731 There are no 32th and 64th rests specifically for the mensural or
732 neo-mensural style. Instead, the rests from the default style will be
735 See @rlsr{Pitches,rests} for a chart of all rests.
737 There are no rests in Gregorian chant notation; instead, it uses
742 Notation Reference: @ref{Rests}, gives a general introduction into the use of
746 @c {{{2Mensural accidentals and key signatures
747 @node Mensural accidentals and key signatures
748 @unnumberedsubsubsec Mensural accidentals and key signatures
751 @cindex key signature
753 The @code{mensural} style provides a sharp and a flat sign
754 different from the default style. If called for, the natural sign
755 will be taken from the @code{vaticana} style.
757 @lilypond[quote,ragged-right,staffsize=26]
764 \line { " " \musicglyph #"accidentals.mensural-1"
765 " " \musicglyph #"accidentals.mensural1" }
771 \context { \Score \remove "Bar_number_engraver" }
773 \remove "Clef_engraver"
774 \remove "Key_engraver"
775 \remove "Time_signature_engraver"
776 \remove "Staff_symbol_engraver"
777 \override VerticalAxisGroup #'minimum-Y-extent = ##f
783 The style for accidentals and key signatures is controlled by the
784 @code{glyph-name-alist} property of the grobs @rinternals{Accidental} and
785 @rinternals{KeySignature}, respectively; e.g.:
787 @code{\override Staff.Accidental #'glyph-name-alist =
788 #alteration-mensural-glyph-name-alist}
792 Notation Reference: @ref{Pitches}, @ref{Accidentals}, and
793 @ref{Automatic accidentals} give a general introduction of the use of
794 accidentals. @ref{Key signature} gives a general introduction of
795 the use of key signatures.
797 Internals Reference: @rinternals{KeySignature}.
799 @c {{{2 Annotational accidentals (musica ficta)
800 @node Annotational accidentals (musica ficta)
801 @unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
803 In European music from before about 1600, singers were expected to
804 chromatically alter notes at their own initiative according to
805 certain rules. This is called @notation{musica ficta}. In modern
806 transcriptions, these accidentals are usually printed over the
809 @cindex Accidental, musica ficta
812 Support for such suggested accidentals is included, and can be
813 switched on by setting @code{suggestAccidentals} to true.
815 @funindex suggestAccidentals
817 @lilypond[verbatim,fragment,relative=1]
819 \set suggestAccidentals = ##t
823 This will treat @emph{every} subsequent accidental as @emph{musica
824 ficta} until it is unset with @code{\set suggestAccidentals =
825 ##f}. A more practical way is to use @code{\once \set
826 suggestAccidentals = ##t}, which can even be defined as a
827 convenient shorthand:
829 @lilypond[quote,verbatim]
830 ficta = { \once \set suggestAccidentals = ##t }
831 \score { \relative c''
833 \once \set suggestAccidentals = ##t
834 bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
841 Internals Reference: @rinternals{Accidental_engraver} engraver and
842 the @rinternals{AccidentalSuggestion} object.
845 @c {{{2White mensural ligatures
846 @node White mensural ligatures
847 @unnumberedsubsubsec White mensural ligatures
849 @cindex Mensural ligatures
850 @cindex White mensural ligatures
852 There is limited support for white mensural ligatures.
854 To engrave white mensural ligatures, in the layout block, replace
855 the @rinternals{Ligature_bracket_engraver} with the
856 @rinternals{Mensural_ligature_engraver} in the @rinternals{Voice}
863 \remove Ligature_bracket_engraver
864 \consists Mensural_ligature_engraver
869 There is no additional input language to describe the shape of a
870 white mensural ligature. The shape is rather determined solely from
871 the pitch and duration of the enclosed notes. While this approach may
872 take a new user a while to get accustomed to, it has the great advantage
873 that the full musical information of the ligature is known internally.
874 This is not only required for correct MIDI output, but also allows for
875 automatic transcription of the ligatures.
880 @c \set Score.timing = ##f
881 @c \set Score.defaultBarType = "empty"
882 @c \override NoteHead #'style = #'neomensural
883 @c \override Staff.TimeSignature #'style = #'neomensural
884 @c \clef "petrucci-g"
886 @c \[ d\longa c\breve f e d \]
887 @c \[ c'\maxima d'\longa \]
888 @c \[ e'1 a g\breve \]
890 @lilypond[quote,ragged-right,verbatim]
893 \set Score.timing = ##f
894 \set Score.defaultBarType = "empty"
895 \override NoteHead #'style = #'neomensural
896 \override Staff.TimeSignature #'style = #'neomensural
899 \[ d\longa c\breve f e d \]
900 \[ c'\maxima d'\longa \]
906 \remove Ligature_bracket_engraver
907 \consists Mensural_ligature_engraver
913 Without replacing @rinternals{Ligature_bracket_engraver} with
914 @rinternals{Mensural_ligature_engraver}, the same music transcribes
917 @lilypond[quote,ragged-right]
919 \set Score.timing = ##f
920 \set Score.defaultBarType = "empty"
921 \override NoteHead #'style = #'neomensural
922 \override Staff.TimeSignature #'style = #'neomensural
925 \[ d\longa c\breve f e d \]
926 \[ c'\maxima d'\longa \]
933 TODO: nothing here yet ...
937 Horizontal spacing is poor.
940 @c {{{1 Typesetting Gregorian chant
941 @node Typesetting Gregorian chant
942 @subsection Typesetting Gregorian chant
945 * Gregorian chant contexts::
947 * Gregorian accidentals and key signatures::
949 * Gregorian articulation signs::
950 * Augmentum dots (@emph{morae})::
951 * Gregorian square neume ligatures::
954 When typesetting a piece in Gregorian chant notation, the
955 @rinternals{Vaticana_ligature_engraver} automatically selects the
956 proper note heads, so there is no need to explicitly set the note
957 head style. Still, the note head style can be set, e.g., to
958 @code{vaticana_punctum} to produce punctum neumes. Similarly, the
959 @rinternals{Mensural_ligature_engraver} automatically assembles
960 mensural ligatures. See @ref{Ligatures}, for how ligature
964 @c {{{2Gregorian chant contexts
965 @node Gregorian chant contexts
966 @unnumberedsubsubsec Gregorian chant contexts
968 @cindex VaticanaVoiceContext
969 @cindex VaticanaStaffContext
971 The predefined @code{VaticanaVoiceContext} and
972 @code{VaticanaStaffContext} can be used to engrave a piece of
973 Gregorian chant in the style of the Editio Vaticana. These contexts
974 initialize all relevant context properties and grob properties to
975 proper values, so you can immediately go ahead entering the chant, as
976 the following excerpt demonstrates:
978 @lilypond[quote,ragged-right,packed,verbatim]
979 \include "gregorian.ly"
982 \new VaticanaVoice = "cantus" {
983 \[ c'\melisma c' \flexa a \]
984 \[ a \flexa \deminutum g\melismaEnd \]
986 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
987 c' \divisioMinima \break
988 \[ c'\melisma c' \flexa a \]
989 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
991 \new Lyrics \lyricsto "cantus" {
992 San- ctus, San- ctus, San- ctus
1000 TODO: nothing here yet ...
1002 @c {{{2 Gregorian clefs
1003 @node Gregorian clefs
1004 @unnumberedsubsubsec Gregorian clefs
1008 The following table shows all Gregorian clefs that are supported via
1009 the @code{\clef} command. Some of the clefs use the same glyph,
1010 but differ only with respect to the line they are printed on. In
1011 such cases, a trailing number in the name is used to enumerate
1012 these clefs, numbered from the lowest to the highest line. Still,
1013 you can manually force a clef glyph to be typeset on an arbitrary
1014 line, as described in @ref{Clef}. The note printed to the right
1015 side of each clef in the example column denotes the @code{c'} with
1016 respect to that clef.
1018 @multitable @columnfractions .4 .4 .2
1027 Editio Vaticana style do clef
1029 @code{vaticana-do1}, @code{vaticana-do2},@*
1032 @lilypond[fragment,relative=1,notime]
1033 \override Staff.StaffSymbol #'line-count = #4
1034 \override Staff.StaffSymbol #'color = #red
1035 \override Staff.LedgerLineSpanner #'color = #red
1036 \override Voice.Stem #'transparent = ##t
1037 \override NoteHead #'style = #'vaticana.punctum
1038 \clef "vaticana-do2"
1043 Editio Vaticana style fa clef
1045 @code{vaticana-fa1}, @code{vaticana-fa2}
1047 @lilypond[fragment,relative=1,notime]
1048 \override Staff.StaffSymbol #'line-count = #4
1049 \override Staff.StaffSymbol #'color = #red
1050 \override Staff.LedgerLineSpanner #'color = #red
1051 \override Voice.Stem #'transparent = ##t
1052 \override NoteHead #'style = #'vaticana.punctum
1053 \clef "vaticana-fa2"
1058 Editio Medicaea style do clef
1060 @code{medicaea-do1}, @code{medicaea-do2},@*
1063 @lilypond[fragment,relative=1,notime]
1064 \override Staff.StaffSymbol #'line-count = #4
1065 \override Staff.StaffSymbol #'color = #red
1066 \override Staff.LedgerLineSpanner #'color = #red
1067 \override Voice.Stem #'transparent = ##t
1068 \override NoteHead #'style = #'medicaea.punctum
1069 \clef "medicaea-do2"
1074 Editio Medicaea style fa clef
1076 @code{medicaea-fa1}, @code{medicaea-fa2}
1078 @lilypond[fragment,relative=1,notime]
1079 \override Staff.StaffSymbol #'line-count = #4
1080 \override Staff.StaffSymbol #'color = #red
1081 \override Staff.LedgerLineSpanner #'color = #red
1082 \override Voice.Stem #'transparent = ##t
1083 \override NoteHead #'style = #'medicaea.punctum
1084 \clef "medicaea-fa2"
1089 hufnagel style do clef
1091 @code{hufnagel-do1}, @code{hufnagel-do2},@*
1094 @lilypond[fragment,relative=1,notime]
1095 \override Staff.StaffSymbol #'line-count = #4
1096 \override Staff.StaffSymbol #'color = #red
1097 \override Staff.LedgerLineSpanner #'color = #red
1098 \override Voice.Stem #'transparent = ##t
1099 \override NoteHead #'style = #'hufnagel.punctum
1100 \clef "hufnagel-do2"
1105 hufnagel style fa clef
1107 @code{hufnagel-fa1}, @code{hufnagel-fa2}
1109 @lilypond[fragment,relative=1,notime]
1110 \override Staff.StaffSymbol #'line-count = #4
1111 \override Staff.StaffSymbol #'color = #red
1112 \override Staff.LedgerLineSpanner #'color = #red
1113 \override Voice.Stem #'transparent = ##t
1114 \override NoteHead #'style = #'hufnagel.punctum
1115 \clef "hufnagel-fa2"
1120 hufnagel style combined do/fa clef
1122 @code{hufnagel-do-fa}
1124 @lilypond[fragment,relative=1,notime]
1125 \override Staff.StaffSymbol #'color = #red
1126 \override Staff.LedgerLineSpanner #'color = #red
1127 \override Voice.Stem #'transparent = ##t
1128 \override NoteHead #'style = #'hufnagel.punctum
1129 \clef "hufnagel-do-fa"
1136 Notation Reference: see @ref{Clef}.
1138 @c {{{2 Gregorian accidentals and key signatures
1139 @node Gregorian accidentals and key signatures
1140 @unnumberedsubsubsec Gregorian accidentals and key signatures
1143 @cindex key signature
1145 Accidentals for the three different Gregorian styles are available:
1147 @lilypond[quote,ragged-right,staffsize=26]
1154 \line { " " \musicglyph #"accidentals.vaticana-1"
1155 " " \musicglyph #"accidentals.vaticana0" }
1159 \line { " " \musicglyph #"accidentals.medicaea-1" }
1163 \line { " " \musicglyph #"accidentals.hufnagel-1" }
1169 \context { \Score \remove "Bar_number_engraver" }
1171 \remove "Clef_engraver"
1172 \remove "Key_engraver"
1173 \remove "Time_signature_engraver"
1174 \remove "Staff_symbol_engraver"
1175 \override VerticalAxisGroup #'minimum-Y-extent = ##f
1181 As shown, not all accidentals are supported by each style. When
1182 trying to access an unsupported accidental, LilyPond will switch to a
1185 @c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1186 @c {ancient-accidentals.ly}
1188 The style for accidentals and key signatures is controlled by the
1189 @code{glyph-name-alist} property of the grobs @rinternals{Accidental} and
1190 @rinternals{KeySignature}, respectively; e.g.:
1192 @code{\override Staff.Accidental #'glyph-name-alist =
1193 #alteration-mensural-glyph-name-alist}
1197 Notation Reference: @ref{Pitches}, @ref{Accidentals}, and
1198 @ref{Automatic accidentals} give a general introduction of the use of
1199 accidentals. @ref{Key signature} gives a general introduction of
1200 the use of key signatures.
1202 Internals Reference: @rinternals{KeySignature}.
1206 @unnumberedsubsubsec Divisiones
1212 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
1213 @q{division}) is a staff context symbol that is used to indicate
1214 the phrase and section structure of Gregorian music. The musical meaning of
1215 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
1216 can be characterized as short, medium, and long pause, somewhat like
1217 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
1218 only marks the end of a chant, but is also frequently used within a
1219 single antiphonal/responsorial chant to mark the end of each section.
1221 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
1222 contains definitions that you can apply by just inserting
1223 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
1224 and @code{\finalis} at proper places in the input. Some editions use
1225 @emph{virgula} or @emph{caesura} instead of divisio minima.
1226 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
1229 @lilypondfile[quote,ragged-right]{divisiones.ly}
1237 @funindex \divisioMinima
1238 @code{\divisioMinima},
1239 @funindex \divisioMaior
1240 @code{\divisioMaior},
1241 @funindex \divisioMaxima
1242 @code{\divisioMaxima},
1247 @c {{{2Gregorian articulations
1248 @node Gregorian articulation signs
1249 @unnumberedsubsubsec Gregorian articulation signs
1251 @cindex articulations
1253 In addition to the standard articulation signs described in
1254 section @ref{Articulations and ornamentations}, articulation signs
1255 specifically designed for use with notation in @emph{Editio
1256 Vaticana} style are provided.
1258 @lilypond[quote,ragged-right,verbatim]
1259 \include "gregorian.ly"
1261 \new VaticanaVoice {
1262 \override TextScript #'font-family = #'typewriter
1263 \override TextScript #'font-shape = #'upright
1264 \override Script #'padding = #-0.1
1265 a\ictus_"ictus " \break
1266 a\circulus_"circulus " \break
1267 a\semicirculus_"semicirculus " \break
1268 a\accentus_"accentus " \break
1269 \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
1276 TODO: nothing here yet ...
1280 Some articulations are vertically placed too closely to the
1281 corresponding note heads.
1283 The episema line is not displayed in many cases. If it is displayed,
1284 the right end of the episema line is often too far to the right.
1287 @c {{{2Augmentum dots (@emph{morae})
1288 @node Augmentum dots (@emph{morae})
1289 @unnumberedsubsubsec Augmentum dots (@emph{morae})
1291 Augmentum dots, also called @emph{morae}, are added with the music
1292 function @code{\augmentum}. Note that @code{\augmentum} is
1293 implemented as a unary music function rather than as head prefix. It
1294 applies to the immediately following music expression only. That is,
1295 @code{\augmentum \virga c} will have no visible effect. Instead, say
1296 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1297 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1298 @code{\augmentum a \augmentum g}.
1300 @lilypond[quote,ragged-right,verbatim]
1301 \include "gregorian.ly"
1303 \new VaticanaVoice {
1304 \[ \augmentum a \flexa \augmentum g \]
1313 Notation Reference: @ref{Breath marks}.
1315 Internals Reference: @rinternals{BreathingSign}.
1317 Examples: @rlsr{Ancient notation}.
1321 @c {{{2Gregorian square neumes ligatures
1322 @node Gregorian square neume ligatures
1323 @unnumberedsubsubsec Gregorian square neume ligatures
1325 @cindex Square neumes ligatures
1326 @cindex Gregorian square neumes ligatures
1328 There is limited support for Gregorian square neumes notation
1329 (following the style of the Editio Vaticana). Core ligatures can
1330 already be typeset, but essential issues for serious typesetting are
1331 still lacking, such as (among others) horizontal alignment of multiple
1332 ligatures, lyrics alignment, and proper handling of accidentals.
1334 The support for Gregorian neumes is enabled by @code{\include}ing
1335 "gregorian.ly" at the beginning of the file. This makes available
1336 a number of extra commands to produce the neume symbols used in
1337 plainchant notation.
1341 Note heads can be @emph{modified} and/or @emph{joined}.
1345 the note head can be modified by @emph{prefixing} the note name
1346 with any of the following commands:
1351 @funindex \inclinatum
1355 @funindex \descendens
1357 @funindex \ascendens
1363 @funindex \deminutum
1370 @item Ligatures, properly speaking (i.e. notes joined together), are
1371 produced by placing one of the joining commands @code{pes} or
1372 @code{flexa}, for upwards and downwards movement, respectively,
1373 @emph{between} the notes to be joined.
1376 A note name without any qualifiers will produce a @emph{punctum}.
1377 All other neumes, including the single-note neumes with a
1378 different shape such as the @emph{virga}, are in principle
1379 considered as ligatures and should therefore be placed
1380 between @code{\[...\]}.
1381 @c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
1388 @item The @emph{punctum} is the basic note shape (in the
1389 @emph{Vaticana} style: a square with some curvation for
1390 typographical finesse). In addition to the regular
1391 @emph{punctum}, there is also the oblique @emph{punctum
1392 inclinatum}, produced with the prefix @code{\inclinatum}. The
1393 regular @emph{punctum} can be modified with @code{\cavum}, which
1394 produces a hollow note, and @code{\linea}, which draws vertical
1395 lines on either side of the note.
1397 @item The @emph{virga} has a descending stem on the right side. It is
1398 produced by the modifier @code{\virga}.
1404 Unlike most other neumes notation systems, the typographical
1405 appearance of ligatures is not directly dictated by the input
1406 commands, but follows certain conventions dependent on musical
1407 meaning. For example, a three-note ligature with the musical shape
1408 low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
1409 Torculus consisting of three Punctum heads, while the shape
1410 high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
1411 Porrectus with a curved flexa shape and only a single Punctum
1412 head. There is no command to explicitly typeset the curved flexa
1413 shape; the decision of when to typeset a curved flexa shape is
1414 based on the musical input. The idea of this approach is to
1415 separate the musical aspects of the input from the notation style
1416 of the output. This way, the same input can be reused to typeset
1417 the same music in a different style of Gregorian chant notation.
1422 Another main category of notes in Gregorian chant is the so-called
1423 liquescent neumes. They are used under certain circumstances at
1424 the end of a syllable which ends in a @q{liquescent} letter, i.e.
1425 the sounding consonants that can hold a tone (the nasals, l, r, v,
1426 j, and their diphtong equivalents). Thus, the liquescent neumes
1427 are never used alone (although some of them can be produced), and
1428 they always fall at the end of a ligature.
1430 Liquescent neumes are represented graphically in two different,
1431 more or less interchangeable ways: with a smaller note or by
1432 @q{twisting} the main note upwards or downwards. The first is
1433 produced by making a regular @code{pes} or @code{flexa} and
1434 modifying the shape of the second note: @code{\[ a \pes \deminutum
1435 b \] }, the second by modifying the shape of a single-note neume
1436 with @code{\auctus} and one of the direction markers
1437 @code{\descendens} or @code{\ascendens}, e.g. @code{ \[ \auctus
1443 A third category of signs is made up of a small number of signs
1444 with a special meaning (which, incidentally, in most cases is only
1445 vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
1446 @emph{strophicus}. These are all produced by prefixing a note name
1447 with the corresponding modifier, @code{\quilisma},
1448 @code{\oriscus}, or @code{\stropha}.
1450 Virtually, within the ligature delimiters @code{\[} and @code{\]},
1451 any number of heads may be accumulated to form a single ligature,
1452 and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
1453 @code{\inclinatum}, etc. may be mixed in as desired. The use of
1454 the set of rules that underlies the construction of the ligatures
1455 in the above table is accordingly extrapolated. This way,
1456 infinitely many different ligatures can be created.
1458 Note that the use of these signs in the music itself follows
1459 certain rules, which are not checked by Lilypond. E.g., the
1460 @emph{quilisma} is always the middle note of an ascending
1461 ligature, and usually falls on a half-tone step, but it is
1462 perfectly possible to make a single-note quilisma.
1467 The following table shows a limited, but still representative pool
1468 of Gregorian ligatures, together with the code fragments that
1469 produce the ligatures. The table is based on the extended neumes
1470 table of the 2nd volume of the Antiphonale Romanum (@emph{Liber
1471 Hymnarius}), published 1983 by the monks of Solesmes. The first
1472 column gives the name of the ligature, with the main form in
1473 boldface and the liquescent forms in italics. The third column
1474 shows the code fragment that produces this ligature, using
1475 @code{g}, @code{a}, and @code{b} as example pitches.
1478 @b{Single-note neums}
1480 @multitable @columnfractions .4 .2 .4
1483 @b{Basic} and @emph{Liquescent} forms
1490 @c TODO: \layout block is identical in all of the below examples.
1491 @c Therefore, it should somehow be included rather than duplicated all
1494 @c why not make variables in ly/engraver-init.ly? --hwn
1496 @c Because it's just used to typeset plain notes without
1497 @c a staff for demonstration purposes rather than something
1498 @c special of Gregorian chant notation. --jr
1504 @lilypond[staffsize=26,line-width=1.5\cm]
1505 \include "gregorian.ly"
1511 \layout { \neumeDemoLayout }}
1518 @lilypond[staffsize=26,line-width=1.5\cm]
1519 \include "gregorian.ly"
1525 \layout { \neumeDemoLayout }}
1528 @code{\[ \cavum b \]}
1532 @lilypond[staffsize=26,line-width=1.5\cm]
1533 \include "gregorian.ly"
1539 \layout { \neumeDemoLayout }}
1542 @code{\[ \linea b \]}
1545 @emph{Punctum Auctum Ascendens}
1547 @lilypond[staffsize=26,line-width=2.5\cm]
1548 \include "gregorian.ly"
1551 % Punctum Auctum Ascendens
1552 \[ \auctum \ascendens b \]
1554 \layout { \neumeDemoLayout }}
1557 @code{\[ \auctum \ascendens b \]}
1560 @emph{Punctum Auctum Descendens}
1562 @lilypond[staffsize=26,line-width=2.5\cm]
1563 \include "gregorian.ly"
1566 % Punctum Auctum Descendens
1567 \[ \auctum \descendens b \]
1569 \layout { \neumeDemoLayout }}
1572 @code{\[ \auctum \descendens b \]}
1575 @b{Punctum inclinatum}
1577 @lilypond[staffsize=26,line-width=1.5\cm]
1578 \include "gregorian.ly"
1581 % Punctum Inclinatum
1584 \layout { \neumeDemoLayout }}
1587 @code{\[ \inclinatum b \]}
1590 @emph{Punctum Inclinatum Auctum}
1592 @lilypond[staffsize=26,line-width=2.5\cm]
1593 \include "gregorian.ly"
1596 % Punctum Inclinatum Auctum
1597 \[ \inclinatum \auctum b \]
1599 \layout { \neumeDemoLayout }}
1602 @code{\[ \inclinatum \auctum b \]}
1605 @emph{Punctum Inclinatum Parvum}
1607 @lilypond[staffsize=26,line-width=1.0\cm]
1608 \include "gregorian.ly"
1611 % Punctum Inclinatum Parvum
1612 \[ \inclinatum \deminutum b \]
1614 \layout { \neumeDemoLayout }}
1617 @code{\[ \inclinatum \deminutum b \]}
1622 @lilypond[staffsize=26,line-width=1.0\cm]
1623 \include "gregorian.ly"
1629 \layout { \neumeDemoLayout }}
1636 @b{Two-note ligatures}
1638 @multitable @columnfractions .4 .2 .4
1641 @b{Clivis vel Flexa}
1643 @lilypond[staffsize=26,line-width=1.0\cm]
1644 \include "gregorian.ly"
1650 \layout { \neumeDemoLayout }}
1653 @code{\[ b \flexa g \]}
1657 @emph{Clivis Aucta Descendens}
1659 @lilypond[staffsize=26,line-width=2.0\cm]
1660 \include "gregorian.ly"
1663 % Clivis Aucta Descendens
1664 \[ b \flexa \auctum \descendens g \]
1666 \layout { \neumeDemoLayout }}
1669 @code{\[ b \flexa \auctum \descendens g \]}
1672 @emph{Clivis Aucta Ascendens}
1674 @lilypond[staffsize=26,line-width=2.0\cm]
1675 \include "gregorian.ly"
1678 % Clivis Aucta Ascendens
1679 \[ b \flexa \auctum \ascendens g \]
1681 \layout { \neumeDemoLayout }}
1684 @code{\[ b \flexa \auctum \ascendens g \]}
1689 @lilypond[staffsize=26,line-width=2.0\cm]
1690 \include "gregorian.ly"
1694 \[ b \flexa \deminutum g \]
1696 \layout { \neumeDemoLayout }}
1699 @code{\[ b \flexa \deminutum g \]}
1704 @lilypond[staffsize=26,line-width=1.0\cm]
1705 \include "gregorian.ly"
1711 \layout { \neumeDemoLayout }}
1714 @code{\[ g \pes b \]}
1717 @emph{Pes Auctus Descendens}
1719 @lilypond[staffsize=26,line-width=1.0\cm]
1720 \include "gregorian.ly"
1723 % Pes Auctus Descendens
1724 \[ g \pes \auctum \descendens b \]
1726 \layout { \neumeDemoLayout }}
1729 @code{\[ g \pes \auctum \descendens b \]}
1732 @emph{Pes Auctus Ascendens}
1734 @lilypond[staffsize=26,line-width=1.0\cm]
1735 \include "gregorian.ly"
1738 % Pes Auctus Ascendens
1739 \[ g \pes \auctum \ascendens b \]
1741 \layout { \neumeDemoLayout }}
1744 @code{\[ g \pes \auctum \ascendens b \]}
1749 @lilypond[staffsize=26,line-width=1.0\cm]
1750 \include "gregorian.ly"
1754 \[ g \pes \deminutum b \]
1756 \layout { \neumeDemoLayout }}
1759 @code{\[ g \pes \deminutum b \]}
1762 @emph{Pes Initio Debilis}
1764 @lilypond[staffsize=26,line-width=1.0\cm]
1765 \include "gregorian.ly"
1768 % Pes Initio Debilis
1769 \[ \deminutum g \pes b \]
1771 \layout { \neumeDemoLayout }}
1774 @code{\[ \deminutum g \pes b \]}
1777 @emph{Pes Auctus Descendens Initio Debilis}
1779 @lilypond[staffsize=26,line-width=1.0\cm]
1780 \include "gregorian.ly"
1783 % Pes Auctus Descendens Initio Debilis
1784 \[ \deminutum g \pes \auctum \descendens b \]
1786 \layout { \neumeDemoLayout }}
1789 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1794 @b{Multi-note ligatures}
1796 @multitable @columnfractions .4 .2 .4
1801 @lilypond[staffsize=26,line-width=1.0\cm]
1802 \include "gregorian.ly"
1806 \[ a \pes b \flexa g \]
1808 \layout { \neumeDemoLayout }}
1811 @code{\[ a \pes b \flexa g \]}
1814 @emph{Torculus Auctus Descendens}
1816 @lilypond[staffsize=26,line-width=1.0\cm]
1817 \include "gregorian.ly"
1820 % Torculus Auctus Descendens
1821 \[ a \pes b \flexa \auctum \descendens g \]
1823 \layout { \neumeDemoLayout }}
1826 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1829 @emph{Torculus Deminutus}
1831 @lilypond[staffsize=26,line-width=1.0\cm]
1832 \include "gregorian.ly"
1835 % Torculus Deminutus
1836 \[ a \pes b \flexa \deminutum g \]
1838 \layout { \neumeDemoLayout }}
1841 @code{\[ a \pes b \flexa \deminutum g \]}
1844 @emph{Torculus Initio Debilis}
1846 @lilypond[staffsize=26,line-width=1.0\cm]
1847 \include "gregorian.ly"
1850 % Torculus Initio Debilis
1851 \[ \deminutum a \pes b \flexa g \]
1853 \layout { \neumeDemoLayout }}
1856 @code{\[ \deminutum a \pes b \flexa g \]}
1859 @emph{Torculus Auctus Descendens Initio Debilis}
1861 @lilypond[staffsize=26,line-width=1.0\cm]
1862 \include "gregorian.ly"
1865 % Torculus Auctus Descendens Initio Debilis
1866 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1868 \layout { \neumeDemoLayout }}
1871 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
1874 @emph{Torculus Deminutus Initio Debilis}
1876 @lilypond[staffsize=26,line-width=1.0\cm]
1877 \include "gregorian.ly"
1880 % Torculus Deminutus Initio Debilis
1881 \[ \deminutum a \pes b \flexa \deminutum g \]
1883 \layout { \neumeDemoLayout }}
1886 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
1891 @lilypond[staffsize=26,line-width=1.0\cm]
1892 \include "gregorian.ly"
1896 \[ a \flexa g \pes b \]
1898 \layout { \neumeDemoLayout }}
1901 @code{\[ a \flexa g \pes b \]}
1904 @emph{Porrectus Auctus Descendens}
1906 @lilypond[staffsize=26,line-width=1.0\cm]
1907 \include "gregorian.ly"
1910 % Porrectus Auctus Descendens
1911 \[ a \flexa g \pes \auctum \descendens b \]
1913 \layout { \neumeDemoLayout }}
1916 @code{\[ a \flexa g \pes \auctum \descendens b \]}
1919 @emph{Porrectus Deminutus}
1921 @lilypond[staffsize=26,line-width=1.0\cm]
1922 \include "gregorian.ly"
1925 % Porrectus Deminutus
1926 \[ a \flexa g \pes \deminutum b \]
1928 \layout { \neumeDemoLayout }}
1931 @code{\[ a \flexa g \pes \deminutum b \]}
1936 @lilypond[staffsize=26,line-width=1.0\cm]
1937 \include "gregorian.ly"
1941 \[ \virga b \inclinatum a \inclinatum g \]
1943 \layout { \neumeDemoLayout }}
1946 @code{\[ \virga b \inclinatum a \inclinatum g \]}
1949 @emph{Climacus Auctus}
1951 @lilypond[staffsize=26,line-width=1.0\cm]
1952 \include "gregorian.ly"
1956 \[ \virga b \inclinatum a \inclinatum \auctum g \]
1958 \layout { \neumeDemoLayout }}
1961 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
1964 @emph{Climacus Deminutus}
1966 @lilypond[staffsize=26,line-width=1.0\cm]
1967 \include "gregorian.ly"
1970 % Climacus Deminutus
1971 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
1973 \layout { \neumeDemoLayout }}
1976 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
1981 @lilypond[staffsize=26,line-width=1.0\cm]
1982 \include "gregorian.ly"
1986 \[ g \pes a \virga b \]
1988 \layout { \neumeDemoLayout }}
1991 @code{\[ g \pes a \virga b \]}
1994 @emph{Scandicus Auctus Descendens}
1996 @lilypond[staffsize=26,line-width=1.0\cm]
1997 \include "gregorian.ly"
2000 % Scandicus Auctus Descendens
2001 \[ g \pes a \pes \auctum \descendens b \]
2003 \layout { \neumeDemoLayout }}
2006 @code{\[ g \pes a \pes \auctum \descendens b \]}
2009 @emph{Scandicus Deminutus}
2011 @lilypond[staffsize=26,line-width=1.0\cm]
2012 \include "gregorian.ly"
2015 % Scandicus Deminutus
2016 \[ g \pes a \pes \deminutum b \]
2018 \layout { \neumeDemoLayout }}
2021 @code{\[ g \pes a \pes \deminutum b \]}
2028 @multitable @columnfractions .4 .2 .4
2033 @lilypond[staffsize=26,line-width=1.0\cm]
2034 \include "gregorian.ly"
2038 \[ g \pes \quilisma a \pes b \]
2040 \layout { \neumeDemoLayout }}
2043 @code{\[ g \pes \quilisma a \pes b \]}
2046 @emph{Quilisma Pes Auctus Descendens}
2048 @lilypond[staffsize=26,line-width=1.0\cm]
2049 \include "gregorian.ly"
2052 % Quilisma Pes Auctus Descendens
2053 \[ g \quilisma a \pes \auctum \descendens b \]
2055 \layout { \neumeDemoLayout }}
2058 @code{\[ \quilisma g \pes \auctum \descendens b \]}
2063 @lilypond[staffsize=26,line-width=1.0\cm]
2064 \include "gregorian.ly"
2070 \layout { \neumeDemoLayout }}
2073 @code{\[ \oriscus b \]}
2078 @lilypond[staffsize=26,line-width=1.0\cm]
2079 \include "gregorian.ly"
2083 \[ \oriscus g \pes \virga b \]
2085 \layout { \neumeDemoLayout }}
2088 @code{\[ \oriscus g \pes \virga b \]}
2091 @emph{Pes Quassus Auctus Descendens}
2093 @lilypond[staffsize=26,line-width=1.0\cm]
2094 \include "gregorian.ly"
2097 % Pes Quassus Auctus Descendens
2098 \[ \oriscus g \pes \auctum \descendens b \]
2100 \layout { \neumeDemoLayout }}
2103 @code{\[ \oriscus g \pes \auctum \descendens b \]}
2108 @lilypond[staffsize=26,line-width=1.0\cm]
2109 \include "gregorian.ly"
2113 \[ g \oriscus a \pes \virga b \]
2115 \layout { \neumeDemoLayout }}
2118 @code{\[ g \oriscus a \pes \virga b \]}
2121 @emph{Salicus Auctus Descendens}
2123 @lilypond[staffsize=26,line-width=1.0\cm]
2124 \include "gregorian.ly"
2127 % Salicus Auctus Descendens
2128 \[ g \oriscus a \pes \auctum \descendens b \]
2130 \layout { \neumeDemoLayout }}
2133 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
2138 @lilypond[staffsize=26,line-width=1.0\cm]
2139 \include "gregorian.ly"
2145 \layout { \neumeDemoLayout }}
2148 @code{\[ \stropha b \]}
2151 @emph{Stropha Aucta}
2153 @lilypond[staffsize=26,line-width=1.0\cm]
2154 \include "gregorian.ly"
2158 \[ \stropha \auctum b \]
2160 \layout { \neumeDemoLayout }}
2163 @code{\[ \stropha \auctum b \]}
2168 @lilypond[staffsize=26,line-width=1.0\cm]
2169 \include "gregorian.ly"
2173 \[ \stropha b \stropha b \]
2175 \layout { \neumeDemoLayout }}
2178 @code{\[ \stropha b \stropha b \]}
2183 @lilypond[staffsize=26,line-width=1.0\cm]
2184 \include "gregorian.ly"
2188 \[ \stropha b \stropha b \stropha b \]
2190 \layout { \neumeDemoLayout }}
2193 @code{\[ \stropha b \stropha b \stropha b \]}
2198 @lilypond[staffsize=26,line-width=1.0\cm]
2199 \include "gregorian.ly"
2203 \[ \stropha b \stropha b \stropha a \]
2205 \layout { \neumeDemoLayout }
2209 @code{\[ \stropha b \stropha b \stropha a \]}
2215 The following head prefixes are supported
2221 @funindex \inclinatum
2225 @funindex \descendens
2227 @funindex \ascendens
2233 @funindex \deminutum
2240 Head prefixes can be accumulated, though restrictions apply. For
2241 example, either @code{\descendens} or @code{\ascendens} can be applied
2242 to a head, but not both to the same head.
2246 Two adjacent heads can be tied together with the @code{\pes} and
2247 @code{\flexa} infix commands for a rising and falling line of melody,
2250 @funindex \augmentum
2251 Use the unary music function @code{\augmentum} to add augmentum dots.
2255 TODO: nothing here yet ...
2259 When an @code{\augmentum} dot appears at the end of the last staff
2260 within a ligature, it is sometimes vertically placed wrong. As a
2261 workaround, add an additional skip note (e.g. @code{s8}) as last note
2264 @code{\augmentum} should be implemented as a head prefix rather than a
2265 unary music function, such that @code{\augmentum} can be intermixed
2266 with head prefixes in arbitrary order.
2270 @c Working with ancient music: scenarios and solutions:: {{{1
2271 @node Working with ancient music---scenarios and solutions
2272 @subsection Working with ancient music---scenarios and solutions
2276 * Mensurstriche layout::
2277 * Transcribing Gregorian chant::
2278 * Ancient and modern from one source::
2279 * Editorial markings::
2282 Working with ancient music frequently involves particular tasks
2283 which differ considerably from the modern notation for which
2284 Lilypond is designed. In the rest of this section, a number of
2285 typical scenarios are outlined, with suggestions of solutions.
2289 @item how to make incipits (i.e. prefatory material to indicate
2290 what the original has looked like) to modern transcriptions of
2292 @item how to achieve the @emph{Mensurstriche} layout frequently
2293 used for modern transcriptions of polyphonic music;
2294 @item how to transcribe Gregorian chant in modern notation;
2295 @item how to generate both ancient and modern notation from the
2301 @unnumberedsubsubsec Incipits
2304 @c clefs, mensuration signs etc from lsr and -user
2305 @c use snippet Transcription-of-ancient-music-with-incipit
2310 @c ... and reference to other sections ...
2312 @c {{{2Mensurstriche layout
2313 @node Mensurstriche layout
2314 @unnumberedsubsubsec Mensurstriche layout
2316 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
2317 for bar lines that are drawn between the staves of a system but
2318 not through the staves themselves. It is a common way to preserve
2319 the rhythmic appearance of the original, i.e. not having to break
2320 syncopated notes at bar lines, while still providing the
2321 orientation aids that bar lines give.
2324 @lilypondfile[verbatim,lilyquote,texidoc]
2325 {mensurstriche-layout-bar-lines-between-the-staves.ly}
2327 @c This simple setup will take care of the
2328 @c TODO Add text about lyrics to the lowest line, to be placed
2329 @c outside the StaffGroup.
2330 @c from lsr and -user
2335 @c ... and reference to other sections ...
2338 @c {{{2Transcribing Gregorian chant
2339 @node Transcribing Gregorian chant
2340 @unnumberedsubsubsec Transcribing Gregorian chant
2343 @c extract from 1.6.1.1
2348 @c ... and reference to other sections ...
2351 @c {{{2Ancient and modern from one source
2352 @node Ancient and modern from one source
2353 @unnumberedsubsubsec Ancient and modern from one source
2356 @c Here among others the snippets about reducing note length
2361 @c ... and reference to other sections ...
2364 @c {{{2Editorial markings
2365 @node Editorial markings
2366 @unnumberedsubsubsec Editorial markings
2368 @c {{{2Baroque rhythmic notation
2369 @c @node Baroque rhythmic notation
2370 @c @unnumberedsubsubsec Baroque rhythmic notation
2374 @c Add example of white noteheads:
2375 @c In the french baroque some composers used white noteheads in slow pieces,
2376 @c mainly in 3/2-time. A quarter looks there like a eighth with a white
2377 @c notehead. (Franz-Rudolf Kuhnen)
2379 @c TODO Add example of this:
2380 @c I was referring to e.g. notated a8. a16, which should, if I
2381 @c remember correctly, be interpreted more like a8.. a32 (in the french
2382 @c style). The editor might want to show that rythmic figure above the
2383 @c staff as an hint to performers. (Karl Hammer)
2390 @c ... and reference to other sections ...