Guide, node Updating translation committishes..
@end ignore
-@c \version "2.14.0"
+@c \version "2.17.30"
@node Ancient notation
* Ancient notation---common features::
* Typesetting mensural music::
* Typesetting Gregorian chant::
+* Typesetting Kievan square notation::
* Working with ancient music---scenarios and solutions::
@end menu
Support for ancient notation includes features for mensural
-notation and Gregorian chant notation. These features can be
-accessed either by modifying style properties of graphical objects
-such as note heads and rests, or by using one of the pre-defined
-contexts for mensural or Gregorian notation.
+notation, Gregorian chant notation, and Kievan square notation.
+These features can be accessed either by modifying style
+properties of graphical objects such as note heads and rests,
+or by using one of the pre-defined contexts for these styles.
Many graphical objects, such as note heads and flags, accidentals,
time signatures, and rests, provide a @code{style} property, which
@node Overview of the supported styles
@subsection Overview of the supported styles
-
Three styles are available for typesetting Gregorian chant:
@itemize
* Pre-defined contexts::
* Ligatures::
* Custodes::
-* Figured bass support::
@end menu
above the ligature.
@lilypond[quote,ragged-right,verbatim]
-\transpose c c' {
- \[ g c a f d' \]
+\relative c'' {
+ \[ g c, a' f d' \]
a g f
\[ e f a g \]
}
The syntax still uses the deprecated infix style
@code{\[ music expr \]}. For consistency reasons, it will eventually
-be changed to postfix style @code{note\[ ... note\]}.
+be changed to postfix style @code{note\[ @dots{} note\]}.
@c Alternatively, the file
@c @file{gregorian-init.ly} can be included; it provides a scheme
\layout {
\context {
\Staff
- \consists Custos_engraver
- \override Custos #'style = #'mensural
+ \consists "Custos_engraver"
+ \override Custos.style = #'mensural
}
}
}
Music Glossary:
@rglos{custos}.
-Internals Reference:
-@rinternals{Custos}.
-
Snippets:
@rlsr{Ancient notation}.
-
-@node Figured bass support
-@unnumberedsubsubsec Figured bass support
-
-There is limited support for figured bass notation from the
-Baroque period; see @ref{Figured bass}.
-
-@seealso
-Music Glossary:
-@rglos{figured bass}.
-
-Notation Reference:
-@ref{Figured bass}.
-
+Internals Reference:
+@rinternals{Custos}.
@node Typesetting mensural music
@subsection Typesetting mensural music
@lilypond[quote,ragged-right,verbatim]
\score {
<<
- \new MensuralVoice = "discantus" \transpose c c' {
- \override Score.BarNumber #'transparent = ##t {
- c'1\melisma bes a g\melismaEnd
+ \new MensuralVoice = "discantus" \relative c'' {
+ \hide Score.BarNumber {
+ c1\melisma bes a g\melismaEnd
f\breve
- \[ f1\melisma a c'\breve d'\melismaEnd \]
- c'\longa
- c'\breve\melisma a1 g1\melismaEnd
+ \[ f1\melisma a c\breve d\melismaEnd \]
+ c\longa
+ c\breve\melisma a1 g1\melismaEnd
fis\longa^\signumcongruentiae
}
}
}
@end lilypond
-
@seealso
Music Glossary:
@rglos{mensural notation}.
the @code{\clef} command. Some of the clefs use the same glyph,
but differ only with respect to the line they are printed on. In
such cases, a trailing number in the name is used to enumerate
-these clefs, numbered from the lowest to the highest line. Still,
-you can manually force a clef glyph to be typeset on an arbitrary
+these clefs, numbered from the lowest to the highest line.
+You can manually force a clef glyph to be typeset on an arbitrary
line, as described in @ref{Clef}. The note printed to the right
side of each clef in the example column denotes the @code{c'} with
respect to that clef.
mensural C clef
@tab
@code{mensural-c1}, @code{mensural-c2},@*
-@code{mensural-c3}, @code{mensural-c4}
+@code{mensural-c3}, @code{mensural-c4},@*
+@code{mensural-c5}
@tab
-@lilypond[fragment,relative=1,notime]
+@lilypond[relative=1,notime]
\clef "mensural-c2"
- \override NoteHead #'style = #'mensural
- c
+ \override NoteHead.style = #'mensural
+ c1
@end lilypond
@item
@tab
@code{mensural-f}
@tab
-@lilypond[fragment,relative=1,notime]
+@lilypond[relative=1,notime]
\clef "mensural-f"
- \override NoteHead #'style = #'mensural
- c
+ \override NoteHead.style = #'mensural
+ c1
@end lilypond
@item
@tab
@code{mensural-g}
@tab
-@lilypond[fragment,relative=1,notime]
+@lilypond[relative=1,notime]
\clef "mensural-g"
- \override NoteHead #'style = #'mensural
- c
+ \override NoteHead.style = #'mensural
+ c1
+@end lilypond
+
+@item
+black mensural C clef
+@tab
+@code{blackmensural-c1}, @code{blackmensural-c2},@*
+@code{blackmensural-c3}, @code{blackmensural-c4},@*
+@code{blackmensural-c5}
+@tab
+@lilypond[relative=1,notime]
+ \clef "blackmensural-c2"
+ \override NoteHead.style = #'mensural
+ c1
@end lilypond
@item
@code{neomensural-c1}, @code{neomensural-c2},@*
@code{neomensural-c3}, @code{neomensural-c4}
@tab
-@lilypond[fragment,relative=1,notime]
- \clef "neomensural-c2" c
+@lilypond[relative=1,notime]
+ \clef "neomensural-c2" c1
@end lilypond
@item
@code{petrucci-c3}, @code{petrucci-c4},@*
@code{petrucci-c5}
@tab
-@lilypond[fragment,relative=1,notime]
+@lilypond[relative=1,notime]
\clef "petrucci-c2"
- \override NoteHead #'style = #'mensural
- c
+ \override NoteHead.style = #'mensural
+ c1
@end lilypond
@item
@code{petrucci-f3}, @code{petrucci-f4},@*
@code{petrucci-f5}
@tab
-@lilypond[fragment,relative=1,notime]
+@lilypond[relative=1,notime]
\clef "petrucci-f3"
- \override NoteHead #'style = #'mensural
- c
+ \override NoteHead.style = #'mensural
+ c1
@end lilypond
@item
@tab
@code{petrucci-g}
@tab
-@lilypond[fragment,relative=1,notime]
+@lilypond[relative=1,notime]
\clef "petrucci-g"
- \override NoteHead #'style = #'mensural
- c
+ \override NoteHead.style = #'mensural
+ c1
@end lilypond
@end multitable
Notation Reference:
@ref{Clef}.
-
@knownissues
The mensural g clef is mapped to the Petrucci g clef.
indent = 0.0
\context {
\Staff
- \remove Staff_symbol_engraver
- \remove Clef_engraver
- \remove Time_signature_engraver
+ \remove "Staff_symbol_engraver"
+ \remove "Clef_engraver"
+ \remove "Time_signature_engraver"
}
}
{
\set Score.timing = ##f
\set Score.barAlways = ##t
- s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
+ \textLengthOn
+ s^\markup { "\\time 4/4" }_\markup { " " \musicglyph
#"timesig.neomensural44" }
s
- s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
+ s^\markup { "\\time 2/2" }_\markup { " " \musicglyph
#"timesig.neomensural22" }
s
- s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
+ s^\markup { "\\time 6/4" }_\markup { " " \musicglyph
#"timesig.neomensural64" }
s
- s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
+ s^\markup { "\\time 6/8" }_\markup { " " \musicglyph
#"timesig.neomensural68" }
\break
- s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
+ s^\markup { "\\time 3/2" }_\markup { " " \musicglyph
#"timesig.neomensural32" }
s
- s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
+ s^\markup { "\\time 3/4" }_\markup { " " \musicglyph
#"timesig.neomensural34" }
s
- s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
+ s^\markup { "\\time 9/4" }_\markup { " " \musicglyph
#"timesig.neomensural94" }
s
- s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
+ s^\markup { "\\time 9/8" }_\markup { " " \musicglyph
#"timesig.neomensural98" }
\break
- s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
+ s^\markup { "\\time 4/8" }_\markup { " " \musicglyph
#"timesig.neomensural48" }
s
- s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
+ s^\markup { "\\time 2/4" }_\markup { " " \musicglyph
#"timesig.neomensural24" }
}
@end lilypond
@code{neomensural} style. The following examples show the
differences in style:
-@lilypond[ragged-right,fragment,relative=1,quote]
+@lilypond[ragged-right,relative=1,quote]
{
\textLengthOn
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter default }
- \override Staff.TimeSignature #'style = #'numbered
+ \override Staff.TimeSignature.style = #'numbered
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter numbered }
- \override Staff.TimeSignature #'style = #'mensural
+ \override Staff.TimeSignature.style = #'mensural
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter mensural }
- \override Staff.TimeSignature #'style = #'neomensural
+ \override Staff.TimeSignature.style = #'neomensural
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter neomensural }
- \override Staff.TimeSignature #'style = #'single-digit
+ \override Staff.TimeSignature.style = #'single-digit
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter single-digit }
}
(@emph{tempus perfectum}) can be made by hand, by setting
@example
-breveTP = #(ly:make-duration -1 0 3 2)
+breveTP = #(ly:make-duration -1 0 3/2)
@dots{}
@{ c\breveTP f1 @}
@end example
@lilypond[quote,fragment,ragged-right,verbatim]
\set Score.skipBars = ##t
\autoBeamOff
-\override NoteHead #'style = #'petrucci
+\override NoteHead.style = #'petrucci
a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
-\override NoteHead #'style = #'semipetrucci
+\override NoteHead.style = #'semipetrucci
a'\breve*5/6
-\override NoteHead #'style = #'blackpetrucci
+\override NoteHead.style = #'blackpetrucci
a'8*4/3 a'
-\override NoteHead #'style = #'petrucci
+\override NoteHead.style = #'petrucci
a'\longa
@end lilypond
select ancient flags. Besides the @code{default} flag style,
only the @code{mensural} style is supported.
-@lilypond[quote,fragment,ragged-right,verbatim]
-\override Stem #'flag-style = #'mensural
-\override Stem #'thickness = #1.0
-\override NoteHead #'style = #'mensural
+@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
+\override Flag.style = #'mensural
+\override Stem.thickness = #1.0
+\override NoteHead.style = #'mensural
\autoBeamOff
-c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
-c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
+c8 d e f c16 d e f c32 d e f s8
+c'8 d e f c16 d e f c32 d e f
@end lilypond
-Note that the innermost flare of each mensural flag always is
+Note that the innermost flare of each mensural flag is
vertically aligned with a staff line.
There is no particular flag style for neo-mensural or Petrucci notation.
-@c Hence,
-@c when typesetting the incipit of a transcribed piece of mensural
-@c music, the default flag style should be used.
There are no flags in Gregorian chant notation.
-
@seealso
Music Glossary:
@rglos{mensural notation},
@rglos{flag}.
-
@knownissues
-The attachment of ancient flags to stems is slightly off.
-@c due to a change in early 2.3.x.
-
Vertically aligning each flag with a staff line assumes that stems
-always end either exactly on or exactly in the middle between two
+always end either exactly on or exactly in the middle of two
staff lines. This may not always be true when using advanced layout
features of classical notation (which however are typically out of
scope for mensural notation).
@lilypond[quote,fragment,ragged-right,verbatim]
\set Score.skipBars = ##t
-\override Rest #'style = #'classical
+\override Rest.style = #'classical
r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
-\override Rest #'style = #'mensural
+\override Rest.style = #'mensural
r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
-\override Rest #'style = #'neomensural
+\override Rest.style = #'neomensural
r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
@end lilypond
Snippets:
@rlsr{Ancient notation}.
-
@knownissues
The glyph for the maxima rest in mensural style is actually a perfect
longa rest; use two (or three) longa rests to print a maxima rest.
@code{glyph-name-alist} property of the grobs @code{Accidental} and
@code{KeySignature}, respectively; e.g.:
-@code{\override Staff.Accidental #'glyph-name-alist =
-#alteration-mensural-glyph-name-alist}
+@example
+\override Staff.Accidental.glyph-name-alist =
+ #alteration-mensural-glyph-name-alist
+@end example
@seealso
Music Glossary:
@funindex suggestAccidentals
-@lilypond[verbatim,fragment,relative=1]
+@lilypond[verbatim,relative=1]
fis gis
\set suggestAccidentals = ##t
ais bis
ficta = { \once \set suggestAccidentals = ##t }
\score { \relative c''
\new MensuralVoice {
- \once \set suggestAccidentals = ##t
- bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
+ \once \set suggestAccidentals = ##t
+ bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
}
}
@end lilypond
-
@seealso
Internals Reference:
@rinternals{Accidental_engraver},
\layout @{
\context @{
\Voice
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
+ \remove "Ligature_bracket_engraver"
+ \consists "Mensural_ligature_engraver"
@}
@}
@end example
@c @example
@c \set Score.timing = ##f
-@c \set Score.defaultBarType = "empty"
-@c \override NoteHead #'style = #'neomensural
-@c \override Staff.TimeSignature #'style = #'neomensural
+@c \set Score.defaultBarType = "-"
+@c \override NoteHead.style = #'neomensural
+@c \override Staff.TimeSignature.style = #'neomensural
@c \clef "petrucci-g"
@c \[ c'\maxima g \]
@c \[ d\longa c\breve f e d \]
@c @end example
@lilypond[quote,ragged-right,verbatim]
\score {
- \transpose c c' {
+ \relative c' {
\set Score.timing = ##f
- \set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'petrucci
- \override Staff.TimeSignature #'style = #'mensural
+ \set Score.defaultBarType = "-"
+ \override NoteHead.style = #'petrucci
+ \override Staff.TimeSignature.style = #'mensural
\clef "petrucci-g"
\[ c'\maxima g \]
\[ d\longa
- \override NoteHead #'ligature-flexa = ##t
- \once \override NoteHead #'flexa-width = #3.2
+ \override NoteHead.ligature-flexa = ##t
+ \once \override NoteHead.flexa-width = #3.2
c\breve f e d \]
- \[ c'\maxima d'\longa \]
- \[ e'1 a g\breve \]
+ \[ c'\maxima d\longa \]
+ \[ e1 a, g\breve \]
}
\layout {
\context {
\Voice
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
+ \remove "Ligature_bracket_engraver"
+ \consists "Mensural_ligature_engraver"
}
}
}
to the following
@lilypond[quote,ragged-right]
-\transpose c c' {
+\relative c' {
\set Score.timing = ##f
- \set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'petrucci
- \override Staff.TimeSignature #'style = #'mensural
+ \set Score.defaultBarType = "-"
+ \override NoteHead.style = #'petrucci
+ \override Staff.TimeSignature.style = #'mensural
\clef "petrucci-g"
\[ c'\maxima g \]
\[ d\longa
- \override NoteHead #'ligature-flexa = ##t
- \once \override NoteHead #'flexa-width = #3.2
+ \override NoteHead.ligature-flexa = ##t
+ \once \override NoteHead.flexa-width = #3.2
c\breve f e d \]
- \[ c'\maxima d'\longa \]
- \[ e'1 a g\breve \]
+ \[ c'\maxima d\longa \]
+ \[ e1 a, g\breve \]
}
@end lilypond
Horizontal spacing of ligatures is poor.
Accidentals may collide with previous notes.
+
@node Typesetting Gregorian chant
@subsection Typesetting Gregorian chant
@ref{White mensural ligatures},
@ref{Ligatures}.
+
@node Gregorian chant contexts
@unnumberedsubsubsec Gregorian chant contexts
@code{vaticana-do1}, @code{vaticana-do2},@*
@code{vaticana-do3}
@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'vaticana.punctum
+@lilypond[relative=1,notime]
+ \override Staff.StaffSymbol.line-count = #4
+ \override Staff.StaffSymbol.color = #red
+ \override Staff.LedgerLineSpanner.color = #red
+ \hide Voice.Stem
+ \override NoteHead.style = #'vaticana.punctum
\clef "vaticana-do2"
c
@end lilypond
@tab
@code{vaticana-fa1}, @code{vaticana-fa2}
@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'vaticana.punctum
+@lilypond[relative=1,notime]
+ \override Staff.StaffSymbol.line-count = #4
+ \override Staff.StaffSymbol.color = #red
+ \override Staff.LedgerLineSpanner.color = #red
+ \hide Voice.Stem
+ \override NoteHead.style = #'vaticana.punctum
\clef "vaticana-fa2"
c
@end lilypond
@code{medicaea-do1}, @code{medicaea-do2},@*
@code{medicaea-do3}
@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'medicaea.punctum
+@lilypond[relative=1,notime]
+ \override Staff.StaffSymbol.line-count = #4
+ \override Staff.StaffSymbol.color = #red
+ \override Staff.LedgerLineSpanner.color = #red
+ \hide Voice.Stem
+ \override NoteHead.style = #'medicaea.punctum
\clef "medicaea-do2"
c
@end lilypond
@tab
@code{medicaea-fa1}, @code{medicaea-fa2}
@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'medicaea.punctum
+@lilypond[relative=1,notime]
+ \override Staff.StaffSymbol.line-count = #4
+ \override Staff.StaffSymbol.color = #red
+ \override Staff.LedgerLineSpanner.color = #red
+ \hide Voice.Stem
+ \override NoteHead.style = #'medicaea.punctum
\clef "medicaea-fa2"
c
@end lilypond
@code{hufnagel-do1}, @code{hufnagel-do2},@*
@code{hufnagel-do3}
@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'hufnagel.punctum
+@lilypond[relative=1,notime]
+ \override Staff.StaffSymbol.line-count = #4
+ \override Staff.StaffSymbol.color = #red
+ \override Staff.LedgerLineSpanner.color = #red
+ \hide Voice.Stem
+ \override NoteHead.style = #'hufnagel.punctum
\clef "hufnagel-do2"
c
@end lilypond
@tab
@code{hufnagel-fa1}, @code{hufnagel-fa2}
@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'hufnagel.punctum
+@lilypond[relative=1,notime]
+ \override Staff.StaffSymbol.line-count = #4
+ \override Staff.StaffSymbol.color = #red
+ \override Staff.LedgerLineSpanner.color = #red
+ \hide Voice.Stem
+ \override NoteHead.style = #'hufnagel.punctum
\clef "hufnagel-fa2"
c
@end lilypond
@tab
@code{hufnagel-do-fa}
@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'hufnagel.punctum
+@lilypond[relative=1,notime]
+ \override Staff.StaffSymbol.color = #red
+ \override Staff.LedgerLineSpanner.color = #red
+ \hide Voice.Stem
+ \override NoteHead.style = #'hufnagel.punctum
\clef "hufnagel-do-fa"
c
@end lilypond
@end multitable
-
@seealso
Music Glossary:
@rglos{clef}.
trying to access an unsupported accidental, LilyPond will switch to a
different style.
-@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@c @lilypondfile[verbatim,quote,texidoc,doctitle]
@c {ancient-accidentals.ly}
The style for accidentals and key signatures is controlled by the
@code{glyph-name-alist} property of the grobs @code{Accidental} and
@code{KeySignature}, respectively; e.g.:
-@code{\override Staff.Accidental #'glyph-name-alist =
-#alteration-mensural-glyph-name-alist}
-
+@example
+\override Staff.Accidental.glyph-name-alist =
+ #alteration-mensural-glyph-name-alist
+@end example
@seealso
Music Glossary:
\score {
<<
\context VaticanaVoice {
- \override TextScript #'padding = #3
+ \override TextScript.padding = #3
g a g
s^\markup { "divisio minima" }
\divisioMinima
@ref{Breath marks}.
Installed Files:
-@file{gregorian.ly}.
+@file{ly/gregorian.ly}.
@node Gregorian articulation signs
\include "gregorian.ly"
\score {
\new VaticanaVoice {
- \override TextScript #'font-family = #'typewriter
- \override TextScript #'font-shape = #'upright
- \override Script #'padding = #-0.1
+ \override TextScript.font-family = #'typewriter
+ \override TextScript.font-shape = #'upright
+ \override Script.padding = #-0.1
a\ictus_"ictus " \bar "" \break
a\circulus_"circulus " \bar "" \break
a\semicirculus_"semicirculus " \bar "" \break
}
@end lilypond
-
@seealso
Notation Reference:
@ref{Articulations and ornamentations}.
@rinternals{ScriptEvent},
@rinternals{Script_engraver}.
-
@knownissues
Some articulations are vertically placed too closely to the
corresponding note heads.
}
@end lilypond
-
@seealso
Notation Reference:
@ref{Breath marks}.
All other neumes, including the single-note neumes with a
different shape such as the @emph{virga}, are in principle
considered as ligatures and should therefore be placed
-between @code{\[...\]}.
+between @code{\[@dots{}\]}.
@c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
@c equivalent.
@lilypond[staffsize=26,line-width=1.5\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Punctum
\[ b \]
}
@lilypond[staffsize=26,line-width=1.5\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Punctum
\[ \cavum b \]
}
@lilypond[staffsize=26,line-width=1.5\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Punctum
\[ \linea b \]
}
@lilypond[staffsize=26,line-width=2.5\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Punctum Auctum Ascendens
\[ \auctum \ascendens b \]
}
@lilypond[staffsize=26,line-width=2.5\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Punctum Auctum Descendens
\[ \auctum \descendens b \]
}
@lilypond[staffsize=26,line-width=1.5\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Punctum Inclinatum
\[ \inclinatum b \]
}
@lilypond[staffsize=26,line-width=2.5\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Punctum Inclinatum Auctum
\[ \inclinatum \auctum b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Punctum Inclinatum Parvum
\[ \inclinatum \deminutum b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Virga
\[ \virga b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Clivis vel Flexa
\[ b \flexa g \]
}
@lilypond[staffsize=26,line-width=2.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Clivis Aucta Descendens
\[ b \flexa \auctum \descendens g \]
}
@lilypond[staffsize=26,line-width=2.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Clivis Aucta Ascendens
\[ b \flexa \auctum \ascendens g \]
}
@lilypond[staffsize=26,line-width=2.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Cephalicus
\[ b \flexa \deminutum g \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Podatus vel Pes
\[ g \pes b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Pes Auctus Descendens
+ \relative c'' {
+ % Pes Auctus Descendens
\[ g \pes \auctum \descendens b \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Pes Auctus Ascendens
\[ g \pes \auctum \ascendens b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Epiphonus
+ \relative c'' {
+ % Epiphonus
\[ g \pes \deminutum b \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Pes Initio Debilis
\[ \deminutum g \pes b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Pes Auctus Descendens Initio Debilis
\[ \deminutum g \pes \auctum \descendens b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Torculus
\[ a \pes b \flexa g \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Torculus Auctus Descendens
+ \relative c'' {
+ % Torculus Auctus Descendens
\[ a \pes b \flexa \auctum \descendens g \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Torculus Deminutus
+ \relative c'' {
+ % Torculus Deminutus
\[ a \pes b \flexa \deminutum g \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Torculus Initio Debilis
+ \relative c'' {
+ % Torculus Initio Debilis
\[ \deminutum a \pes b \flexa g \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Torculus Auctus Descendens Initio Debilis
+ \relative c'' {
+ % Torculus Auctus Descendens Initio Debilis
\[ \deminutum a \pes b \flexa \auctum \descendens g \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Torculus Deminutus Initio Debilis
+ \relative c'' {
+ % Torculus Deminutus Initio Debilis
\[ \deminutum a \pes b \flexa \deminutum g \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Porrectus
\[ a \flexa g \pes b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Porrectus Auctus Descendens
+ \relative c'' {
+ % Porrectus Auctus Descendens
\[ a \flexa g \pes \auctum \descendens b \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Porrectus Deminutus
+ \relative c'' {
+ % Porrectus Deminutus
\[ a \flexa g \pes \deminutum b \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Climacus
\[ \virga b \inclinatum a \inclinatum g \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Climacus Auctus
+ \relative c'' {
+ % Climacus Auctus
\[ \virga b \inclinatum a \inclinatum \auctum g \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Climacus Deminutus
+ \relative c'' {
+ % Climacus Deminutus
\[ \virga b \inclinatum a \inclinatum \deminutum g \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Scandicus
\[ g \pes a \virga b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Scandicus Auctus Descendens
+ \relative c'' {
+ % Scandicus Auctus Descendens
\[ g \pes a \pes \auctum \descendens b \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Scandicus Deminutus
+ \relative c'' {
+ % Scandicus Deminutus
\[ g \pes a \pes \deminutum b \]
}
\layout { \neumeDemoLayout }}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Quilisma
\[ g \pes \quilisma a \pes b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Quilisma Pes Auctus Descendens
\[ g \quilisma a \pes \auctum \descendens b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Oriscus
\[ \oriscus b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Pes Quassus
\[ \oriscus g \pes \virga b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Pes Quassus Auctus Descendens
\[ \oriscus g \pes \auctum \descendens b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Salicus
\[ g \oriscus a \pes \virga b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Salicus Auctus Descendens
\[ g \oriscus a \pes \auctum \descendens b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Stropha
\[ \stropha b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Stropha Aucta
\[ \stropha \auctum b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Bistropha
\[ \stropha b \stropha b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Tristropha
\[ \stropha b \stropha b \stropha b \]
}
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative c'' {
% Trigonus
\[ \stropha b \stropha b \stropha a \]
}
@ref{White mensural ligatures},
@ref{Ligatures}.
-
@knownissues
When an @code{\augmentum} dot appears at the end of the last staff
within a ligature, it is sometimes vertically placed wrong. As a
unary music function, such that @code{\augmentum} can be intermixed
with head prefixes in arbitrary order.
+@node Typesetting Kievan square notation
+@subsection Typesetting Kievan square notation
+
+@menu
+* Kievan contexts::
+* Kievan clefs::
+* Kievan notes::
+* Kievan accidentals::
+* Kievan bar line::
+* Kievan melismata::
+@end menu
+
+@node Kievan contexts
+@unnumberedsubsubsec Kievan contexts
+
+@cindex KievanVoiceContext
+@cindex KievanStaffContext
+
+As with Mensural and Gregorian notation, the predefined
+@code{KievanVoice} and @code{KievanStaff} contexts can be used
+to engrave a piece in square notation. These contexts initialize
+all relevant context properties and grob properties to proper
+values, so you can immediately go ahead entering the chant:
+
+@lilypond[quote,ragged-right,verbatim]
+\score {
+ <<
+ \new KievanVoice = "melody" \relative c' {
+ \cadenzaOn
+ c4 c c c c2 b\longa
+ \bar "k"
+ }
+ \new Lyrics \lyricsto "melody" {
+ Го -- спо -- ди по -- ми -- луй.
+ }
+ >>
+}
+@end lilypond
+
+@seealso
+Music Glossary:
+@rglos{kievan notation}.
+
+@knownissues
+LilyPond supports Kievan notation of the Synodal style, as used in
+the corpus of chantbooks printed by the Russian Holy Synod in the
+1910's and recently reprinted by the Moscow Patriarchate Publishing
+House. LilyPond does not support the older (less common) forms of
+Kievan notation that were used in Galicia to notate Rusyn plainchant.
+
+@node Kievan clefs
+@unnumberedsubsubsec Kievan clefs
+
+@cindex clefs
+
+There is only one clef used in Kievan notation (the Tse-fa-ut Clef).
+It is used to indicate the position of @code{c}:
+
+@lilypond[quote,relative=1,notime,verbatim]
+ \clef "kievan-do"
+ \kievanOn
+ c
+@end lilypond
+
+@seealso
+Music Glossary:
+@rglos{kievan notation},
+@rglos{clef}.
+
+Notation Reference:
+@ref{Clef}.
+
+@node Kievan notes
+@unnumberedsubsubsec Kievan notes
+
+@cindex note heads, ancient
+
+For Kievan square notation, the appropriate note head style needs
+to be chosen and the flags and stems need to be turned off.
+This is accomplished by calling the @code{\kievanOn} function,
+which sets the appropriate properties of the note head, stems,
+and flags. Once Kievan note heads are not needed, these
+properties can be reverted by calling the @code{\kievanOff}
+function.
+
+The Kievan final note, which usually comes at the end of a piece
+of music, may be selected by setting the duration to
+@code{\longa}. The Kievan recitative mark, used to indicate
+the chanting of several syllables on one note, may be selected by
+setting the duration to @code{\breve}. The following example
+demonstrates the various Kievan note heads:
+
+@lilypond[quote,fragment,ragged-right,verbatim]
+\autoBeamOff
+\cadenzaOn
+\kievanOn
+b'1 b'2 b'4 b'8 b'\breve b'\longa
+\kievanOff
+b'2
+@end lilypond
+
+@seealso
+Music Glossary:
+@rglos{kievan notation},
+@rglos{note head}.
+
+Notation Reference:
+@ref{Note head styles}.
+
+@knownissues
+LilyPond automatically determines if the stem up or stem down
+form of a note is drawn. When setting chant in square notation,
+however, it is customary to have the stems point in the same
+direction within a single melisma. This can be done manually by
+setting the @code{direction} property of the @code{Stem} object.
+
+@node Kievan accidentals
+@unnumberedsubsubsec Kievan accidentals
+
+@cindex accidentals
+
+The @code{kievan} style for accidentals is selected with the
+@code{glyph-name-alist} property of the grob @code{Accidental}.
+The @code{kievan} style provides a sharp and a flat sign
+different from the default style. There is no natural sign
+in Kievan notation. The sharp sign is not used in Synodal music
+but may occur in earlier manuscripts. It has been included
+primarily for the sake of compatibility.
+
+@lilypond[quote,relative=1,notime,verbatim]
+\clef "kievan-do"
+\override Accidental.glyph-name-alist =
+ #alteration-kievan-glyph-name-alist
+bes' dis,
+@end lilypond
+
+@seealso
+Music Glossary:
+@rglos{kievan notation},
+@rglos{accidental}.
+
+Notation Reference:
+@ref{Accidentals},
+@ref{Automatic accidentals},
+@ref{The Feta font}
+
+@node Kievan bar line
+@unnumberedsubsubsec Kievan bar line
+
+A decorative figure is commonly placed at the end of a piece of
+Kievan notation, which may be called the Kievan final bar line.
+It can be invoked as @code{\bar "k"}.
+
+@lilypond[quote,relative=1,notime,verbatim]
+ \kievanOn
+ \clef "kievan-do"
+ c \bar "k"
+@end lilypond
+
+@seealso
+@ref{Bars},
+@ref{The Feta font}
+
+@node Kievan melismata
+@unnumberedsubsubsec Kievan melismata
+
+@cindex Ligatures
+
+Notes within a Kievan melisma are usually placed close to each other
+and the melismata separated by whitespace. This is done to allow
+the chanter to quickly identify the melodic structures of Znamenny
+chant. In LilyPond, melismata are treated as ligatures and the
+spacing is implemented by the @code{Kievan_ligature_engraver}.
+
+When the @code{KievanVoice} and @code{KievanStaff} contexts are used,
+the @code{Kievan_ligature_engraver} is enabled by default. In other
+contexts, it can be invoked by replacing the @code{Ligature_bracket_engraver}
+with the @code{Kievan_ligature_engraver} in the layout block:
+
+@example
+\layout @{
+ \context @{
+ \Voice
+ \remove "Ligature_bracket_engraver"
+ \consists "Kievan_ligature_engraver"
+ @}
+@}
+@end example
+
+The spacing between the notes within a Kievan ligature can be controlled
+by setting the @code{padding} property of the @code{KievanLigature}.
+
+The following example demonstrates the use of Kievan ligatures:
+
+@lilypond[quote,ragged-right,verbatim]
+\score {
+ <<
+ \new KievanVoice = "melody" \relative c' {
+ \cadenzaOn
+ e2 \[ e4( d4 ) \] \[ c4( d e d ) \] e1 \bar "k"
+ }
+ \new Lyrics \lyricsto "melody" {
+ Га -- врі -- и -- лу
+ }
+ >>
+}
+@end lilypond
+
+@seealso
+Music Glossary:
+@rglos{ligature}.
+
+Notation Reference:
+@ref{White mensural ligatures},
+@ref{Gregorian square neume ligatures},
+@ref{Ligatures}.
+
+@knownissues
+Horizontal spacing of ligatures is poor.
@node Working with ancient music---scenarios and solutions
@subsection Working with ancient music---scenarios and solutions
@c use snippet Transcription-of-ancient-music-with-incipit
TBC
-
@c @seealso
@c ... and reference to other sections ...
orientation aids that bar lines give.
-@lilypondfile[verbatim,lilyquote,texidoc]
+@lilypondfile[verbatim,quote,texidoc]
{mensurstriche-layout-bar-lines-between-the-staves.ly}
@c This simple setup will take care of the
@c from lsr and -user
@c TBC
-
@c @seealso
@c ... and reference to other sections ...
@example
\layout @{
- ...
+ @dots{}
\context @{
\Voice
\remove "Stem_engraver"
However, in some transcription styles, stems are used
occasionally, for example to indicate the transition from a
single-tone recitative to a fixed melodic gesture. In these cases,
-one can use either @code{\override Stem #'transparent = ##t} or
-@code{\override Stem #'length = #0} instead, and restore the stem
-when needed with the corresponding @code{\once \override Stem
-#'transparent = ##f} (see example below).
+one can use either @code{\hide Stem} or
+@code{\override Stem.length = #0} instead, and restore the stem
+when needed with the corresponding @code{\once \override Stem.transparent = ##f} (see example below).
@b{Timing.} For unmetered chant, there are several alternatives.
invisible signature will still take up space.
In many cases, @code{\set Score.timing = ##f} will give good
-results. Another alternative is to use @code{\CadenzaOn} and
-@code{\CadenzaOff}.
+results. Another alternative is to use @code{\cadenzaOn} and
+@code{\cadenzaOff}.
To remove the bar lines, the radical approach is to @code{\remove}
the Bar_engraver from the Staff context. Again, one may want to
-use @code{\override BarLine #'transparent = ##t} instead, if an
+use @code{\hide BarLine} instead, if an
occasional barline is wanted.
A common type of transcription is recitativic chant where the
}
verba = \lyricmode {
- \once \override LyricText #'self-alignment-X = #-1
+ \once \override LyricText.self-alignment-X = #-1
"Noctem quietam et" fi -- nem per -- fec -- tum
- \once \override LyricText #'self-alignment-X = #-1
+ \once \override LyricText.self-alignment-X = #-1
"concedat nobis Dominus" om -- ni -- po -- tens.
}
\score {
\Staff
\remove "Time_signature_engraver"
\remove "Bar_engraver"
- \override Stem #'transparent = ##t
+ \hide Stem
}
}
}
chant = \relative c' {
\clef "G_8"
\set Score.timing = ##f
- c\breve \override NoteHead #'transparent = ##t c c c c c
- \revert NoteHead #'transparent
- \override Stem #'transparent = ##f \stemUp c4 b4 a
- \override Stem #'transparent = ##t c2 c4 \divisioMaior
- c\breve \override NoteHead #'transparent = ##t c c c c c c c
- \revert NoteHead #'transparent c4 c f, f \finalis
+ c\breve \hide NoteHead c c c c c
+ \undo \hide NoteHead
+ \override Stem.transparent = ##f \stemUp c4 b4 a
+ \hide Stem c2 c4 \divisioMaior
+ c\breve \hide NoteHead c c c c c c c
+ \undo \hide NoteHead c4 c f, f \finalis
}
verba = \lyricmode {
\context {
\Staff
\remove "Time_signature_engraver"
- \override BarLine #'transparent = ##t
- \override Stem #'transparent = ##t
+ \hide BarLine
+ \hide Stem
}
}
}
To avoid that syllables of different width (such as @qq{-ri} and
@qq{-rum}) spread the syllable note groups unevenly apart, the
-@code{#'X-extent} property of the @code{LyricText} object may be
+@code{'X-extent} property of the @code{LyricText} object may be
set to a fixed value. Another, more cumbersome way would be to
add the syllables as @code{\markup} elements. If further
adjustments are necessary, this can be easily done with
@lilypond[verbatim,quote]
spiritus = \relative c' {
\time 1/4
- \override Lyrics.LyricText #'X-extent = #'(0 . 3)
- d4 \times 2/3 { f8 a g } g a a4 g f8 e
+ \override Lyrics.LyricText.X-extent = #'(0 . 3)
+ d4 \tuplet 3/2 { f8 a g } g a a4 g f8 e
d4 f8 g g8 d f g a g f4 g8 a a4 s
- \times 2/3 { g8 f d } e f g a g4
+ \tuplet 3/2 { g8 f d } e f g a g4
}
spirLyr = \lyricmode {
\context {
\Staff
\remove "Time_signature_engraver"
- \override BarLine #'X-extent = #'(-1 . 1)
- \override Stem #'transparent = ##t
- \override Beam #'transparent = ##t
- \override BarLine #'transparent = ##t
- \override TupletNumber #'transparent = ##t
+ \override BarLine.X-extent = #'(-1 . 1)
+ \hide Stem
+ \hide Beam
+ \hide BarLine
+ \hide TupletNumber
}
}
}
@c try Till Rettig
@c Add example of white note heads:
@c In the french baroque some composers used white note heads in slow pieces,
-@c mainly in 3/2-time. A quarter looks there like a eighth with a white
+@c mainly in 3/2-time. A quarter looks there like an eighth with a white
@c note head. (Franz-Rudolf Kuhnen)
@c TODO Add example of this:
@c @seealso
@c ... and reference to other sections ...
-
projects / lilypond.git / blobdiff