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14 @node Ancient notation
15 @section Ancient notation
17 @lilypondfile[quote]{ancient-headword.ly}
19 @cindex Vaticana, Editio
20 @cindex Medicaea, Editio
27 * Overview of the supported styles::
28 * Ancient notation---common features::
29 * Typesetting mensural music::
30 * Typesetting Gregorian chant::
31 * Working with ancient music---scenarios and solutions::
35 Support for ancient notation includes features for mensural
36 notation and Gregorian chant notation. These features can be
37 accessed either by modifying style properties of graphical objects
38 such as note heads and rests, or by using one of the pre-defined
39 contexts for mensural or Gregorian notation.
41 Many graphical objects, such as note heads and flags, accidentals,
42 time signatures, and rests, provide a @code{style} property, which
43 can be changed to emulate several different styles of ancient
47 @item @ref{Mensural note heads},
48 @item @ref{Mensural accidentals and key signatures},
49 @item @ref{Mensural rests},
50 @item @ref{Mensural clefs},
51 @item @ref{Gregorian clefs},
52 @item @ref{Mensural flags},
53 @item @ref{Mensural time signatures}.
56 Some notational concepts are introduced specifically for ancient
61 @item @ref{Divisiones},
62 @item @ref{Ligatures}.
69 @rglos{mensural notation}.
72 @ref{Mensural note heads},
73 @ref{Mensural accidentals and key signatures},
75 @ref{Gregorian clefs},
77 @ref{Mensural time signatures},
83 @node Overview of the supported styles
84 @subsection Overview of the supported styles
86 Three styles are available for typesetting Gregorian chant:
89 @item @emph{Editio Vaticana} is a complete style for
90 Gregorian chant, following the appearance of the Solesmes
91 editions, the official chant books of the Vatican since 1904.
92 LilyPond has support for all the notational signs used in this
93 style, including ligatures, @emph{custodes}, and special signs
94 such as the quilisma and the oriscus.
97 @cindex Vaticana, Editio
99 @item The @emph{Editio Medicaea} style offers certain features
100 used in the Medicaea (or Ratisbona) editions which were used prior
101 to the Solesmes editions. The most significant differences from
102 the @emph{Vaticana} style are the clefs, which have
103 downward-slanted strokes, and the note heads, which are square and
106 @cindex Ratisbona, Editio
107 @cindex Medicaea, Editio
109 @item The @emph{Hufnagel} (@qq{horseshoe nail}) or @emph{Gothic}
110 style mimics the writing style in chant manuscripts from Germany
111 and Central Europe during the middle ages. It is named after the
112 basic note shape (the @emph{virga}), which looks like a small
117 Three styles emulate the appearance of late-medieval and
118 renaissance manuscripts and prints of mensural music:
121 @item The @emph{Mensural} style most closely resembles the
122 writing style used in late-medieval and early renaissance
123 manuscripts, with its small and narrow, diamond-shaped note heads
124 and its rests which approach a hand-drawn style.
128 @item The @emph{Neomensural} style is a modernized and
129 stylized version of the former: the note heads are broader and the
130 rests are made up of straight lines. This style is particularly
131 suited, e.g., for incipits of transcribed pieces of mensural
136 @item The @emph{Petrucci} style is named after Ottaviano Petrucci
137 (1466-1539), the first printer to use movable type for music (in
138 his @emph{Harmonice musices odhecaton}, 1501). The style uses
139 larger note heads than the other mensural styles.
145 @emph{Baroque} and @emph{Classical} are not complete styles
146 but differ from the default style only in some details: certain
147 note heads (Baroque) and the quarter rest (Classical).
149 Only the mensural style has alternatives for all aspects of the
150 notation. Thus, there are no rests or flags in the Gregorian
151 styles, since these signs are not used in plainchant notation, and
152 the Petrucci style has no flags or accidentals of its own.
154 Each element of the notation can be changed independently of the
155 others, so that one can use mensural flags, petrucci note heads,
156 classical rests and vaticana clefs in the same piece, if one
161 @rglos{mensural notation},
165 @node Ancient notation---common features
166 @subsection Ancient notation---common features
169 * Pre-defined contexts::
172 * Figured bass support::
176 @node Pre-defined contexts
177 @unnumberedsubsubsec Pre-defined contexts
179 For Gregorian chant and mensural notation, there are pre-defined
180 voice and staff contexts available, which set all the various
181 notation signs to values suitable for these styles. If one is
182 satisfied with these defaults, one can proceed directly with note
183 entry without worrying about the details on how to customize a
184 context. See one of the pre-defined contexts
185 @code{VaticanaVoice}, @code{VaticanaStaff}, @code{MensuralVoice},
186 and @code{MensuralStaff}. See further
189 @item @ref{Gregorian chant contexts},
190 @item @ref{Mensural contexts}.
195 @rglos{mensural notation}.
198 @ref{Gregorian chant contexts},
199 @ref{Mensural contexts}.
203 @unnumberedsubsubsec Ligatures
207 @c TODO: Should double check if I recalled things correctly when I wrote
208 @c down the following paragraph by heart.
210 A ligature is a graphical symbol that represents at least two
211 distinct notes. Ligatures originally appeared in the manuscripts
212 of Gregorian chant notation to denote ascending or descending
213 sequences of notes on the same syllable. They are also used in
216 Ligatures are entered by @emph{enclosing} them in @code{\[} and
217 @code{\]}. Some ligature styles may need additional input syntax
218 specific for this particular type of ligature. By default, the
219 @code{LigatureBracket} engraver just puts a square bracket
222 @lilypond[quote,ragged-right,verbatim]
230 Two other ligature styles are available: the Vaticana for
231 Gregorian chant, and the Mensural for mensural music (only white
232 mensural ligatures are supported for mensural music, and with
233 certain limitations). To use any of these styles, the default
234 @code{Ligature_bracket_engraver} has to be replaced with one of the
235 specialized ligature engravers in the @code{Voice} context,
236 as explained in @ref{White mensural ligatures} and
237 @ref{Gregorian square neume ligatures}.
244 @ref{White mensural ligatures},
245 @ref{Gregorian square neume ligatures}.
248 Ligatures need special spacing that has not yet been implemented. As
249 a result, there is too much space between ligatures most of the time,
250 and line breaking often is unsatisfactory. Also, lyrics do not
251 correctly align with ligatures.
253 Accidentals must not be printed within a ligature, but instead need to
254 be collected and printed in front of it.
256 The syntax still uses the deprecated infix style
257 @code{\[ music expr \]}. For consistency reasons, it will eventually
258 be changed to postfix style @code{note\[ ... note\]}.
260 @c Alternatively, the file
261 @c @file{gregorian-init.ly} can be included; it provides a scheme
264 @c \ligature @var{music expr}
266 @c with the same effect and is believed to be stable.
268 @c TODO: this does not seem to work at the moment.
273 @unnumberedsubsubsec Custodes
278 A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard})
279 is a symbol that appears at the end of a staff. It anticipates the
280 pitch of the first note of the following line, thus helping the performer
281 to manage line breaks during performance.
283 Custodes were frequently used in music notation until the
284 seventeenth century. Nowadays, they have survived only in a few
285 particular forms of musical notation such as contemporary editions
286 of Gregorian chant like the @emph{Editio Vaticana}. There are
287 different custos glyphs used in different flavors of notational
290 For typesetting custodes, just put a @code{Custos_engraver} into the
291 @code{Staff} context when declaring the @code{\layout} block,
292 and change the style of the custos with an @code{\override} if
293 desired, as shown in the following example:
295 @lilypond[quote,ragged-right]
305 \consists Custos_engraver
306 \override Custos #'style = #'mensural
312 The custos glyph is selected by the @code{style} property. The styles
313 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
314 @code{mensural}. They are demonstrated in the following fragment.
316 @lilypond[quote,ragged-right,fragment]
317 \new Lyrics \lyricmode {
319 \typewriter "vaticana "
320 \line { " " \musicglyph #"custodes.vaticana.u0" }
323 \typewriter "medicaea "
324 \line { " " \musicglyph #"custodes.medicaea.u0" }
327 \typewriter "hufnagel "
328 \line { " " \musicglyph #"custodes.hufnagel.u0" }
331 \typewriter "mensural "
332 \line { " " \musicglyph #"custodes.mensural.u0" }
342 @rlsr{Ancient notation}.
348 @node Figured bass support
349 @unnumberedsubsubsec Figured bass support
351 There is limited support for figured bass notation from the
352 Baroque period; see @ref{Figured bass}.
356 @rglos{figured bass}.
362 @node Typesetting mensural music
363 @subsection Typesetting mensural music
366 * Mensural contexts::
368 * Mensural time signatures::
369 * Mensural note heads::
372 * Mensural accidentals and key signatures::
373 * Annotational accidentals (musica ficta)::
374 * White mensural ligatures::
378 @node Mensural contexts
379 @unnumberedsubsubsec Mensural contexts
381 @cindex MensuralVoiceContext
382 @cindex MensuralStaffContext
384 The predefined @code{MensuralVoice} and @code{MensuralStaff}
385 contexts can be used to engrave a piece in mensural style. These
386 contexts initialize all relevant context properties and grob
387 properties to proper values, so you can immediately go ahead
388 entering the chant, as the following excerpt demonstrates:
390 @lilypond[quote,ragged-right,verbatim]
393 \new MensuralVoice = "discantus" \transpose c c' {
394 \override Score.BarNumber #'transparent = ##t {
395 c'1\melisma bes a g\melismaEnd
397 \[ f1\melisma a c'\breve d'\melismaEnd \]
399 c'\breve\melisma a1 g1\melismaEnd
400 fis\longa^\signumcongruentiae
403 \new Lyrics \lyricsto "discantus" {
404 San -- ctus, San -- ctus, San -- ctus
412 @rglos{mensural notation}.
416 @unnumberedsubsubsec Mensural clefs
420 The following table shows all mensural clefs that are supported via
421 the @code{\clef} command. Some of the clefs use the same glyph,
422 but differ only with respect to the line they are printed on. In
423 such cases, a trailing number in the name is used to enumerate
424 these clefs, numbered from the lowest to the highest line. Still,
425 you can manually force a clef glyph to be typeset on an arbitrary
426 line, as described in @ref{Clef}. The note printed to the right
427 side of each clef in the example column denotes the @code{c'} with
428 respect to that clef.
430 Petrucci used C clefs with differently balanced left-side vertical
431 beams, depending on which staff line it is printed.
433 @multitable @columnfractions .4 .4 .2
444 @code{mensural-c1}, @code{mensural-c2},@*
445 @code{mensural-c3}, @code{mensural-c4}
447 @lilypond[fragment,relative=1,notime]
449 \override NoteHead #'style = #'mensural
458 @lilypond[fragment,relative=1,notime]
460 \override NoteHead #'style = #'mensural
469 @lilypond[fragment,relative=1,notime]
471 \override NoteHead #'style = #'mensural
478 @code{neomensural-c1}, @code{neomensural-c2},@*
479 @code{neomensural-c3}, @code{neomensural-c4}
481 @lilypond[fragment,relative=1,notime]
482 \clef "neomensural-c2" c
486 petrucci style C clefs, for use on different staff lines
487 (the example shows the 2nd staff line C clef)
489 @code{petrucci-c1}, @code{petrucci-c2},@*
490 @code{petrucci-c3}, @code{petrucci-c4},@*
493 @lilypond[fragment,relative=1,notime]
495 \override NoteHead #'style = #'mensural
500 petrucci style F clefs, for use on different staff lines
501 (the example shows the 3rd staff line F clef)
503 @code{petrucci-f3}, @code{petrucci-f4},@*
506 @lilypond[fragment,relative=1,notime]
508 \override NoteHead #'style = #'mensural
513 petrucci style G clef
517 @lilypond[fragment,relative=1,notime]
519 \override NoteHead #'style = #'mensural
526 @rglos{mensural notation},
533 The mensural g clef is mapped to the Petrucci g clef.
536 @node Mensural time signatures
537 @unnumberedsubsubsec Mensural time signatures
539 @cindex mensuration sign
540 @cindex time signatures
542 There is limited support for mensuration signs (which are similar to,
543 but not exactly the same as time signatures). The glyphs are hard-wired
544 to particular time fractions. In other words, to get a particular mensuration sign with the @code{\time n/m} command, @code{n} and
545 @code{m} have to be chosen according to the following table
547 @lilypond[quote,ragged-right]
552 \remove Staff_symbol_engraver
553 \remove Clef_engraver
554 \remove Time_signature_engraver
558 \set Score.timing = ##f
559 \set Score.barAlways = ##t
560 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
561 #"timesig.neomensural44" }
563 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
564 #"timesig.neomensural22" }
566 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
567 #"timesig.neomensural64" }
569 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
570 #"timesig.neomensural68" }
572 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
573 #"timesig.neomensural32" }
575 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
576 #"timesig.neomensural34" }
578 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
579 #"timesig.neomensural94" }
581 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
582 #"timesig.neomensural98" }
584 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
585 #"timesig.neomensural48" }
587 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
588 #"timesig.neomensural24" }
592 Use the @code{style} property of grob @code{TimeSignature}
593 to select ancient time signatures. Supported styles are
594 @code{neomensural} and @code{mensural}. The above table uses the
595 @code{neomensural} style. The following examples show the
596 differences in style:
598 @lilypond[ragged-right,fragment,relative=1,quote]
603 c1^\markup { \hspace #-2.0 \typewriter default }
605 \override Staff.TimeSignature #'style = #'numbered
607 c1^\markup { \hspace #-2.0 \typewriter numbered }
609 \override Staff.TimeSignature #'style = #'mensural
611 c1^\markup { \hspace #-2.0 \typewriter mensural }
613 \override Staff.TimeSignature #'style = #'neomensural
615 c1^\markup { \hspace #-2.0 \typewriter neomensural }
616 \override Staff.TimeSignature #'style = #'single-digit
618 c1^\markup { \hspace #-2.0 \typewriter single-digit }
622 @ref{Time signature}, gives a general introduction to
623 the use of time signatures.
627 @rglos{mensural notation}.
630 @ref{Time signature}.
633 Ratios of note durations cannot change with the time signature,
634 as those are not constant. For
635 example, the ratio of 1@tie{}breve = 3@tie{}semibreves
636 (@emph{tempus perfectum}) can be made by hand, by setting
639 breveTP = #(ly:make-duration -1 0 3 2)
645 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
647 The @code{mensural68alt} and @code{neomensural68alt} symbols
648 (alternate symbols for 6/8) are not addressable with @code{\time}.
649 Use @code{\markup @{\musicglyph #"timesig.mensural68alt" @}} instead.
652 @node Mensural note heads
653 @unnumberedsubsubsec Mensural note heads
655 @cindex note heads, ancient
657 For ancient notation, a note head style other than the
658 @code{default} style may be chosen. This is accomplished by setting
659 the @code{style} property of the @code{NoteHead} object to
660 @code{baroque}, @code{neomensural}, @code{mensural},
661 @code{petrucci}, @code{blackpetrucci} or @code{semipetrucci}.
663 The @code{baroque} style differs from the @code{default} style by:
666 @item Providing a @code{maxima} note head, and
667 @item Using a square shape for @code{\breve} note heads.
670 The @code{neomensural}, @code{mensural}, and @code{petrucci} styles
671 differ from the @code{baroque} style by:
674 @item Using rhomboidal heads for semibreves and all smaller durations,
676 @item Centering the stems on the note heads.
679 The @code{blackpetrucci} style produces note heads usable in black
680 mensural notation or coloratio sections in white mensural notation.
681 Because note head style does not influence flag count, in
682 this style a semiminima should be notated as @code{a8*2}, not
683 @code{a4}, otherwise it will look like a minima.
684 The multiplyer can be different if coloratio is used e.g. to notate
687 Use @code{semipetrucci} style to draw half-colored
688 note heads (breves, longas and maximas).
691 The following example demonstrates the @code{petrucci} style:
693 @c Renaissance music doesn't use bar lines ... but they do help to
694 @c separate the notes for easier identification.
696 @lilypond[quote,fragment,ragged-right,verbatim]
697 \set Score.skipBars = ##t
699 \override NoteHead #'style = #'petrucci
700 a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
701 \override NoteHead #'style = #'semipetrucci
703 \override NoteHead #'style = #'blackpetrucci
705 \override NoteHead #'style = #'petrucci
710 @ref{Note head styles}, gives an overview of all available note head
715 @rglos{mensural notation},
719 @ref{Note head styles}.
723 @unnumberedsubsubsec Mensural flags
727 Use the @code{flag-style} property of grob @code{Stem} to
728 select ancient flags. Besides the @code{default} flag style,
729 only the @code{mensural} style is supported.
731 @lilypond[quote,fragment,ragged-right,verbatim]
732 \override Flag #'style = #'mensural
733 \override Stem #'thickness = #1.0
734 \override NoteHead #'style = #'mensural
736 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
737 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
740 Note that the innermost flare of each mensural flag always is
741 vertically aligned with a staff line.
743 There is no particular flag style for neo-mensural or Petrucci notation.
745 @c when typesetting the incipit of a transcribed piece of mensural
746 @c music, the default flag style should be used.
747 There are no flags in Gregorian chant notation.
751 @rglos{mensural notation},
755 The attachment of ancient flags to stems is slightly off.
756 @c due to a change in early 2.3.x.
758 Vertically aligning each flag with a staff line assumes that stems
759 always end either exactly on or exactly in the middle between two
760 staff lines. This may not always be true when using advanced layout
761 features of classical notation (which however are typically out of
762 scope for mensural notation).
766 @unnumberedsubsubsec Mensural rests
768 @cindex rests, ancient
770 Use the @code{style} property of grob @code{Rest} to select
771 ancient rests. Supported styles are @code{classical},
772 @code{neomensural}, and @code{mensural}. @code{classical} differs
773 from the @code{default} style only in that the quarter rest looks
774 like a horizontally mirrored 8th rest. The @code{mensural} and
775 the @code{neomensural} styles mimic the appearance of rests in
776 manuscripts and prints up to the 16th century.
778 The following example demonstrates the @code{mensural} and
779 @code{neomensural} styles:
781 @lilypond[quote,fragment,ragged-right,verbatim]
782 \set Score.skipBars = ##t
783 \override Rest #'style = #'classical
784 r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
785 \override Rest #'style = #'mensural
786 r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
787 \override Rest #'style = #'neomensural
788 r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
791 There are no 32th and 64th rests specifically for the mensural or
792 neo-mensural style. Instead, the rests from the default style will be
797 @rglos{mensural notation}.
803 @rlsr{Ancient notation}.
806 The glyph for the maxima rest in mensural style is actually a perfect
807 longa rest; use two (or three) longa rests to print a maxima rest.
808 Longa rests are not grouped automatically, so have to be done manually by
812 @node Mensural accidentals and key signatures
813 @unnumberedsubsubsec Mensural accidentals and key signatures
816 @cindex key signature
818 The @code{mensural} style provides a sharp and a flat sign
819 different from the default style. If called for, the natural sign
820 will be taken from the @code{vaticana} style.
822 @lilypond[quote,ragged-right,staffsize=26]
826 \line { " " \musicglyph #"accidentals.mensural-1"
827 " " \musicglyph #"accidentals.mensural1" }
832 The style for accidentals and key signatures is controlled by the
833 @code{glyph-name-alist} property of the grobs @code{Accidental} and
834 @code{KeySignature}, respectively; e.g.:
836 @code{\override Staff.Accidental #'glyph-name-alist =
837 #alteration-mensural-glyph-name-alist}
841 @rglos{mensural notation},
844 @rglos{key signature}.
849 @ref{Automatic accidentals},
853 @rinternals{KeySignature}.
856 @node Annotational accidentals (musica ficta)
857 @unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
859 In European music from before about 1600, singers were expected to
860 chromatically alter notes at their own initiative according to
861 certain rules. This is called @notation{musica ficta}. In modern
862 transcriptions, these accidentals are usually printed over the
865 @cindex Accidental, musica ficta
868 Support for such suggested accidentals is included, and can be
869 switched on by setting @code{suggestAccidentals} to true.
871 @funindex suggestAccidentals
873 @lilypond[verbatim,fragment,relative=1]
875 \set suggestAccidentals = ##t
879 This will treat @emph{every} subsequent accidental as
880 @emph{musica ficta} until it is unset with
881 @code{\set suggestAccidentals = ##f}. A more practical way is to
882 use @code{\once \set suggestAccidentals = ##t}, which can even be
883 defined as a convenient shorthand:
885 @lilypond[quote,verbatim]
886 ficta = { \once \set suggestAccidentals = ##t }
887 \score { \relative c''
889 \once \set suggestAccidentals = ##t
890 bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
897 @rinternals{Accidental_engraver},
898 @rinternals{AccidentalSuggestion}.
901 @node White mensural ligatures
902 @unnumberedsubsubsec White mensural ligatures
904 @cindex Mensural ligatures
905 @cindex White mensural ligatures
907 There is limited support for white mensural ligatures.
909 To engrave white mensural ligatures, in the layout block, replace
910 the @code{Ligature_bracket_engraver} with the
911 @code{Mensural_ligature_engraver} in the @code{Voice}
918 \remove Ligature_bracket_engraver
919 \consists Mensural_ligature_engraver
924 There is no additional input language to describe the shape of a
925 white mensural ligature. The shape is rather determined solely from
926 the pitch and duration of the enclosed notes. While this approach may
927 take a new user a while to get accustomed to, it has the great advantage
928 that the full musical information of the ligature is known internally.
929 This is not only required for correct MIDI output, but also allows for
930 automatic transcription of the ligatures.
932 At certain places two consecutive notes can be represented either as
933 two squares or as an oblique parallelogram (flexa shape). In such
934 cases the default is the two squares, but a flexa can be required by
935 setting the @code{ligature-flexa} property of the @emph{second} note
936 head. The length of a flexa can be set by the note head property
942 @c \set Score.timing = ##f
943 @c \set Score.defaultBarType = "empty"
944 @c \override NoteHead #'style = #'neomensural
945 @c \override Staff.TimeSignature #'style = #'neomensural
946 @c \clef "petrucci-g"
948 @c \[ d\longa c\breve f e d \]
949 @c \[ c'\maxima d'\longa \]
950 @c \[ e'1 a g\breve \]
952 @lilypond[quote,ragged-right,verbatim]
955 \set Score.timing = ##f
956 \set Score.defaultBarType = "empty"
957 \override NoteHead #'style = #'petrucci
958 \override Staff.TimeSignature #'style = #'mensural
962 \override NoteHead #'ligature-flexa = ##t
963 \once \override NoteHead #'flexa-width = #3.2
965 \[ c'\maxima d'\longa \]
971 \remove Ligature_bracket_engraver
972 \consists Mensural_ligature_engraver
978 Without replacing @code{Ligature_bracket_engraver} with
979 @code{Mensural_ligature_engraver}, the same music transcribes
982 @lilypond[quote,ragged-right]
984 \set Score.timing = ##f
985 \set Score.defaultBarType = "empty"
986 \override NoteHead #'style = #'petrucci
987 \override Staff.TimeSignature #'style = #'mensural
991 \override NoteHead #'ligature-flexa = ##t
992 \once \override NoteHead #'flexa-width = #3.2
994 \[ c'\maxima d'\longa \]
1004 @ref{Gregorian square neume ligatures},
1008 Horizontal spacing of ligatures is poor.
1009 Accidentals may collide with previous notes.
1012 @node Typesetting Gregorian chant
1013 @subsection Typesetting Gregorian chant
1016 * Gregorian chant contexts::
1018 * Gregorian accidentals and key signatures::
1020 * Gregorian articulation signs::
1021 * Augmentum dots (morae)::
1022 * Gregorian square neume ligatures::
1025 When typesetting a piece in Gregorian chant notation, the
1026 @code{Vaticana_ligature_engraver} automatically selects the
1027 proper note heads, so there is no need to explicitly set the note
1028 head style. Still, the note head style can be set, e.g., to
1029 @code{vaticana_punctum} to produce punctum neumes. Similarly, the
1030 @code{Mensural_ligature_engraver} automatically assembles
1038 @ref{White mensural ligatures},
1042 @node Gregorian chant contexts
1043 @unnumberedsubsubsec Gregorian chant contexts
1045 @cindex VaticanaVoiceContext
1046 @cindex VaticanaStaffContext
1048 The predefined @code{VaticanaVoiceContext} and
1049 @code{VaticanaStaffContext} can be used to engrave a piece of
1050 Gregorian chant in the style of the Editio Vaticana. These contexts
1051 initialize all relevant context properties and grob properties to
1052 proper values, so you can immediately go ahead entering the chant, as
1053 the following excerpt demonstrates:
1055 @lilypond[quote,ragged-right,verbatim]
1056 \include "gregorian.ly"
1059 \new VaticanaVoice = "cantus" {
1060 \[ c'\melisma c' \flexa a \]
1061 \[ a \flexa \deminutum g\melismaEnd \]
1063 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
1064 c' \divisioMinima \break
1065 \[ c'\melisma c' \flexa a \]
1066 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
1068 \new Lyrics \lyricsto "cantus" {
1069 San- ctus, San- ctus, San- ctus
1077 @c TODO: nothing here yet ...
1080 @node Gregorian clefs
1081 @unnumberedsubsubsec Gregorian clefs
1085 The following table shows all Gregorian clefs that are supported via
1086 the @code{\clef} command. Some of the clefs use the same glyph,
1087 but differ only with respect to the line they are printed on. In
1088 such cases, a trailing number in the name is used to enumerate
1089 these clefs, numbered from the lowest to the highest line. Still,
1090 you can manually force a clef glyph to be typeset on an arbitrary
1091 line, as described in @ref{Clef}. The note printed to the right
1092 side of each clef in the example column denotes the @code{c'} with
1093 respect to that clef.
1095 @multitable @columnfractions .4 .4 .2
1104 Editio Vaticana style do clef
1106 @code{vaticana-do1}, @code{vaticana-do2},@*
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 Voice.Flag #'transparent = ##t
1115 \override NoteHead #'style = #'vaticana.punctum
1116 \clef "vaticana-do2"
1121 Editio Vaticana style fa clef
1123 @code{vaticana-fa1}, @code{vaticana-fa2}
1125 @lilypond[fragment,relative=1,notime]
1126 \override Staff.StaffSymbol #'line-count = #4
1127 \override Staff.StaffSymbol #'color = #red
1128 \override Staff.LedgerLineSpanner #'color = #red
1129 \override Voice.Stem #'transparent = ##t
1130 \override Voice.Flag #'transparent = ##t
1131 \override NoteHead #'style = #'vaticana.punctum
1132 \clef "vaticana-fa2"
1137 Editio Medicaea style do clef
1139 @code{medicaea-do1}, @code{medicaea-do2},@*
1142 @lilypond[fragment,relative=1,notime]
1143 \override Staff.StaffSymbol #'line-count = #4
1144 \override Staff.StaffSymbol #'color = #red
1145 \override Staff.LedgerLineSpanner #'color = #red
1146 \override Voice.Stem #'transparent = ##t
1147 \override Voice.Flag #'transparent = ##t
1148 \override NoteHead #'style = #'medicaea.punctum
1149 \clef "medicaea-do2"
1154 Editio Medicaea style fa clef
1156 @code{medicaea-fa1}, @code{medicaea-fa2}
1158 @lilypond[fragment,relative=1,notime]
1159 \override Staff.StaffSymbol #'line-count = #4
1160 \override Staff.StaffSymbol #'color = #red
1161 \override Staff.LedgerLineSpanner #'color = #red
1162 \override Voice.Stem #'transparent = ##t
1163 \override Voice.Flag #'transparent = ##t
1164 \override NoteHead #'style = #'medicaea.punctum
1165 \clef "medicaea-fa2"
1170 hufnagel style do clef
1172 @code{hufnagel-do1}, @code{hufnagel-do2},@*
1175 @lilypond[fragment,relative=1,notime]
1176 \override Staff.StaffSymbol #'line-count = #4
1177 \override Staff.StaffSymbol #'color = #red
1178 \override Staff.LedgerLineSpanner #'color = #red
1179 \override Voice.Stem #'transparent = ##t
1180 \override Voice.Flag #'transparent = ##t
1181 \override NoteHead #'style = #'hufnagel.punctum
1182 \clef "hufnagel-do2"
1187 hufnagel style fa clef
1189 @code{hufnagel-fa1}, @code{hufnagel-fa2}
1191 @lilypond[fragment,relative=1,notime]
1192 \override Staff.StaffSymbol #'line-count = #4
1193 \override Staff.StaffSymbol #'color = #red
1194 \override Staff.LedgerLineSpanner #'color = #red
1195 \override Voice.Stem #'transparent = ##t
1196 \override Voice.Flag #'transparent = ##t
1197 \override NoteHead #'style = #'hufnagel.punctum
1198 \clef "hufnagel-fa2"
1203 hufnagel style combined do/fa clef
1205 @code{hufnagel-do-fa}
1207 @lilypond[fragment,relative=1,notime]
1208 \override Staff.StaffSymbol #'color = #red
1209 \override Staff.LedgerLineSpanner #'color = #red
1210 \override Voice.Stem #'transparent = ##t
1211 \override Voice.Flag #'transparent = ##t
1212 \override NoteHead #'style = #'hufnagel.punctum
1213 \clef "hufnagel-do-fa"
1226 @node Gregorian accidentals and key signatures
1227 @unnumberedsubsubsec Gregorian accidentals and key signatures
1230 @cindex key signature
1232 Accidentals for the three different Gregorian styles are available:
1234 @lilypond[quote,ragged-right,staffsize=26]
1238 \line { " " \musicglyph #"accidentals.vaticana-1"
1239 " " \musicglyph #"accidentals.vaticana0" }
1243 \line { " " \musicglyph #"accidentals.medicaea-1" }
1247 \line { " " \musicglyph #"accidentals.hufnagel-1" }
1252 As shown, not all accidentals are supported by each style. When
1253 trying to access an unsupported accidental, LilyPond will switch to a
1256 @c @lilypondfile[verbatim,quote,texidoc,doctitle]
1257 @c {ancient-accidentals.ly}
1259 The style for accidentals and key signatures is controlled by the
1260 @code{glyph-name-alist} property of the grobs @code{Accidental} and
1261 @code{KeySignature}, respectively; e.g.:
1263 @code{\override Staff.Accidental #'glyph-name-alist =
1264 #alteration-mensural-glyph-name-alist}
1269 @rglos{key signature}.
1274 @ref{Automatic accidentals},
1275 @ref{Key signature}.
1277 Internals Reference:
1278 @rinternals{KeySignature}.
1282 @unnumberedsubsubsec Divisiones
1288 There are no rests in Gregorian chant notation; instead, it uses
1291 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
1292 @q{division}) is a staff context symbol that is used to indicate
1293 the phrase and section structure of Gregorian music. The musical
1294 meaning of @emph{divisio minima}, @emph{divisio maior}, and
1295 @emph{divisio maxima} can be characterized as short, medium, and
1296 long pause, somewhat like the breath marks from @ref{Breath marks}.
1297 The @emph{finalis} sign not only marks the end of a chant, but is
1298 also frequently used within a single antiphonal/responsorial chant
1299 to mark the end of each section.
1301 To use divisiones, include the file @file{gregorian.ly}. It
1302 contains definitions that you can apply by just inserting
1303 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
1304 and @code{\finalis} at proper places in the input. Some editions use
1305 @emph{virgula} or @emph{caesura} instead of divisio minima.
1306 Therefore, @file{gregorian.ly} also defines @code{\virgula} and
1309 @lilypond[quote,ragged-right]
1310 \include "gregorian.ly"
1313 \context VaticanaVoice {
1314 \override TextScript #'padding = #3
1316 s^\markup { "divisio minima" }
1319 s^\markup { "divisio maior" }
1322 s^\markup { "divisio maxima" }
1326 s^\markup { "finalis" }
1329 s^\markup { "virgula" }
1332 s^\markup { "caesura" }
1346 @funindex \divisioMinima
1347 @code{\divisioMinima},
1348 @funindex \divisioMaior
1349 @code{\divisioMaior},
1350 @funindex \divisioMaxima
1351 @code{\divisioMaxima},
1365 @file{ly/gregorian.ly}.
1368 @node Gregorian articulation signs
1369 @unnumberedsubsubsec Gregorian articulation signs
1371 @cindex articulations
1373 In addition to the standard articulation signs described in
1374 section @ref{Articulations and ornamentations}, articulation signs
1375 specifically designed for use with notation in
1376 @emph{Editio Vaticana} style are provided.
1378 @lilypond[quote,ragged-right,verbatim]
1379 \include "gregorian.ly"
1381 \new VaticanaVoice {
1382 \override TextScript #'font-family = #'typewriter
1383 \override TextScript #'font-shape = #'upright
1384 \override Script #'padding = #-0.1
1385 a\ictus_"ictus " \bar "" \break
1386 a\circulus_"circulus " \bar "" \break
1387 a\semicirculus_"semicirculus " \bar "" \break
1388 a\accentus_"accentus " \bar "" \break
1389 \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
1396 @ref{Articulations and ornamentations}.
1399 @rlsr{Ancient notation}.
1401 Internals Reference:
1402 @rinternals{Episema},
1403 @rinternals{EpisemaEvent},
1404 @rinternals{Episema_engraver},
1405 @rinternals{Script},
1406 @rinternals{ScriptEvent},
1407 @rinternals{Script_engraver}.
1410 Some articulations are vertically placed too closely to the
1411 corresponding note heads.
1414 @node Augmentum dots (morae)
1415 @unnumberedsubsubsec Augmentum dots (@emph{morae})
1417 Augmentum dots, also called @emph{morae}, are added with the music
1418 function @code{\augmentum}. Note that @code{\augmentum} is
1419 implemented as a unary music function rather than as head prefix. It
1420 applies to the immediately following music expression only. That is,
1421 @code{\augmentum \virga c} will have no visible effect. Instead, say
1422 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1423 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1424 @code{\augmentum a \augmentum g}.
1426 @lilypond[quote,ragged-right,verbatim]
1427 \include "gregorian.ly"
1429 \new VaticanaVoice {
1430 \[ \augmentum a \flexa \augmentum g \]
1440 Internals Reference:
1441 @rinternals{BreathingSign}.
1444 @rlsr{Ancient notation}.
1447 @node Gregorian square neume ligatures
1448 @unnumberedsubsubsec Gregorian square neume ligatures
1450 @cindex Square neumes ligatures
1451 @cindex Gregorian square neumes ligatures
1453 There is limited support for Gregorian square neumes notation
1454 (following the style of the Editio Vaticana). Core ligatures can
1455 already be typeset, but essential issues for serious typesetting are
1456 still lacking, such as (among others) horizontal alignment of multiple
1457 ligatures, lyrics alignment, and proper handling of accidentals.
1459 The support for Gregorian neumes is enabled by @code{\include}ing
1460 @file{gregorian.ly} at the beginning of the file. This makes available
1461 a number of extra commands to produce the neume symbols used in
1462 plainchant notation.
1466 Note heads can be @emph{modified} and/or @emph{joined}.
1470 the note head can be modified by @emph{prefixing} the note name
1471 with any of the following commands:
1476 @funindex \inclinatum
1480 @funindex \descendens
1482 @funindex \ascendens
1488 @funindex \deminutum
1495 @item Ligatures, properly speaking (i.e. notes joined together), are
1496 produced by placing one of the joining commands @code{\pes} or
1497 @code{\flexa}, for upwards and downwards movement, respectively,
1498 @emph{between} the notes to be joined.
1501 A note name without any qualifiers will produce a @emph{punctum}.
1502 All other neumes, including the single-note neumes with a
1503 different shape such as the @emph{virga}, are in principle
1504 considered as ligatures and should therefore be placed
1505 between @code{\[...\]}.
1506 @c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
1513 @item The @emph{punctum} is the basic note shape (in the
1514 @emph{Vaticana} style: a square with some curvation for
1515 typographical finesse). In addition to the regular
1516 @emph{punctum}, there is also the oblique @emph{punctum
1517 inclinatum}, produced with the prefix @code{\inclinatum}. The
1518 regular @emph{punctum} can be modified with @code{\cavum}, which
1519 produces a hollow note, and @code{\linea}, which draws vertical
1520 lines on either side of the note.
1522 @item The @emph{virga} has a descending stem on the right side. It is
1523 produced by the modifier @code{\virga}.
1529 Unlike most other neumes notation systems, the typographical
1530 appearance of ligatures is not directly dictated by the input
1531 commands, but follows certain conventions dependent on musical
1532 meaning. For example, a three-note ligature with the musical shape
1533 low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
1534 Torculus consisting of three Punctum heads, while the shape
1535 high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
1536 Porrectus with a curved flexa shape and only a single Punctum
1537 head. There is no command to explicitly typeset the curved flexa
1538 shape; the decision of when to typeset a curved flexa shape is
1539 based on the musical input. The idea of this approach is to
1540 separate the musical aspects of the input from the notation style
1541 of the output. This way, the same input can be reused to typeset
1542 the same music in a different style of Gregorian chant notation.
1547 Another main category of notes in Gregorian chant is the so-called
1548 liquescent neumes. They are used under certain circumstances at
1549 the end of a syllable which ends in a @q{liquescent} letter, i.e.
1550 the sounding consonants that can hold a tone (the nasals, l, r, v,
1551 j, and their diphthong equivalents). Thus, the liquescent neumes
1552 are never used alone (although some of them can be produced), and
1553 they always fall at the end of a ligature.
1555 Liquescent neumes are represented graphically in two different,
1556 more or less interchangeable ways: with a smaller note or by
1557 @q{twisting} the main note upwards or downwards. The first is
1558 produced by making a regular @code{pes} or @code{flexa} and
1559 modifying the shape of the second note:
1560 @code{\[ a \pes \deminutum b \] }, the second by modifying the shape
1561 of a single-note neume with @code{\auctum} and one of the direction
1562 markers @code{\descendens} or @code{\ascendens}, e.g.,
1563 @code{ \[ \auctum \descendens a \] }.
1568 A third category of signs is made up of a small number of signs
1569 with a special meaning (which, incidentally, in most cases is only
1570 vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
1571 @emph{strophicus}. These are all produced by prefixing a note name
1572 with the corresponding modifier, @code{\quilisma},
1573 @code{\oriscus}, or @code{\stropha}.
1575 Virtually, within the ligature delimiters @code{\[} and @code{\]},
1576 any number of heads may be accumulated to form a single ligature,
1577 and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
1578 @code{\inclinatum}, etc. may be mixed in as desired. The use of
1579 the set of rules that underlies the construction of the ligatures
1580 in the above table is accordingly extrapolated. This way,
1581 infinitely many different ligatures can be created.
1583 Note that the use of these signs in the music itself follows
1584 certain rules, which are not checked by LilyPond. E.g., the
1585 @emph{quilisma} is always the middle note of an ascending
1586 ligature, and usually falls on a half-tone step, but it is
1587 perfectly possible, although incorrect, to make a single-note
1590 In addition to the note signs, @file{gregorian.ly} also defines the
1591 commands @code{\versus}, @code{\responsum}, @code{\ij},
1592 @code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
1593 corresponding characters, e.g., for use in lyrics, as section
1594 markers, etc. These commands use special Unicode characters and
1595 will only work if a font is used which supports them.
1600 The following table shows a limited, but still representative pool
1601 of Gregorian ligatures, together with the code fragments that
1602 produce the ligatures. The table is based on the extended neumes
1603 table of the 2nd volume of the Antiphonale Romanum
1604 (@emph{Liber Hymnarius}), published 1983 by the monks of Solesmes.
1605 The first column gives the name of the ligature, with the main form in
1606 boldface and the liquescent forms in italics. The third column
1607 shows the code fragment that produces this ligature, using
1608 @code{g}, @code{a}, and @code{b} as example pitches.
1611 @b{Single-note neums}
1613 @multitable @columnfractions .4 .2 .4
1616 @b{Basic} and @emph{Liquescent} forms
1623 @c TODO: \layout block is identical in all of the below examples.
1624 @c Therefore, it should somehow be included rather than duplicated all
1627 @c why not make variables in ly/engraver-init.ly? --hwn
1629 @c Because it's just used to typeset plain notes without
1630 @c a staff for demonstration purposes rather than something
1631 @c special of Gregorian chant notation. --jr
1637 @lilypond[staffsize=26,line-width=1.5\cm]
1638 \include "gregorian.ly"
1644 \layout { \neumeDemoLayout }}
1651 @lilypond[staffsize=26,line-width=1.5\cm]
1652 \include "gregorian.ly"
1658 \layout { \neumeDemoLayout }}
1661 @code{\[ \cavum b \]}
1665 @lilypond[staffsize=26,line-width=1.5\cm]
1666 \include "gregorian.ly"
1672 \layout { \neumeDemoLayout }}
1675 @code{\[ \linea b \]}
1678 @emph{Punctum Auctum Ascendens}
1680 @lilypond[staffsize=26,line-width=2.5\cm]
1681 \include "gregorian.ly"
1684 % Punctum Auctum Ascendens
1685 \[ \auctum \ascendens b \]
1687 \layout { \neumeDemoLayout }}
1690 @code{\[ \auctum \ascendens b \]}
1693 @emph{Punctum Auctum Descendens}
1695 @lilypond[staffsize=26,line-width=2.5\cm]
1696 \include "gregorian.ly"
1699 % Punctum Auctum Descendens
1700 \[ \auctum \descendens b \]
1702 \layout { \neumeDemoLayout }}
1705 @code{\[ \auctum \descendens b \]}
1708 @b{Punctum inclinatum}
1710 @lilypond[staffsize=26,line-width=1.5\cm]
1711 \include "gregorian.ly"
1714 % Punctum Inclinatum
1717 \layout { \neumeDemoLayout }}
1720 @code{\[ \inclinatum b \]}
1723 @emph{Punctum Inclinatum Auctum}
1725 @lilypond[staffsize=26,line-width=2.5\cm]
1726 \include "gregorian.ly"
1729 % Punctum Inclinatum Auctum
1730 \[ \inclinatum \auctum b \]
1732 \layout { \neumeDemoLayout }}
1735 @code{\[ \inclinatum \auctum b \]}
1738 @emph{Punctum Inclinatum Parvum}
1740 @lilypond[staffsize=26,line-width=1.0\cm]
1741 \include "gregorian.ly"
1744 % Punctum Inclinatum Parvum
1745 \[ \inclinatum \deminutum b \]
1747 \layout { \neumeDemoLayout }}
1750 @code{\[ \inclinatum \deminutum b \]}
1755 @lilypond[staffsize=26,line-width=1.0\cm]
1756 \include "gregorian.ly"
1762 \layout { \neumeDemoLayout }}
1769 @b{Two-note ligatures}
1771 @multitable @columnfractions .4 .2 .4
1774 @b{Clivis vel Flexa}
1776 @lilypond[staffsize=26,line-width=1.0\cm]
1777 \include "gregorian.ly"
1783 \layout { \neumeDemoLayout }}
1786 @code{\[ b \flexa g \]}
1790 @emph{Clivis Aucta Descendens}
1792 @lilypond[staffsize=26,line-width=2.0\cm]
1793 \include "gregorian.ly"
1796 % Clivis Aucta Descendens
1797 \[ b \flexa \auctum \descendens g \]
1799 \layout { \neumeDemoLayout }}
1802 @code{\[ b \flexa \auctum \descendens g \]}
1805 @emph{Clivis Aucta Ascendens}
1807 @lilypond[staffsize=26,line-width=2.0\cm]
1808 \include "gregorian.ly"
1811 % Clivis Aucta Ascendens
1812 \[ b \flexa \auctum \ascendens g \]
1814 \layout { \neumeDemoLayout }}
1817 @code{\[ b \flexa \auctum \ascendens g \]}
1822 @lilypond[staffsize=26,line-width=2.0\cm]
1823 \include "gregorian.ly"
1827 \[ b \flexa \deminutum g \]
1829 \layout { \neumeDemoLayout }}
1832 @code{\[ b \flexa \deminutum g \]}
1837 @lilypond[staffsize=26,line-width=1.0\cm]
1838 \include "gregorian.ly"
1844 \layout { \neumeDemoLayout }}
1847 @code{\[ g \pes b \]}
1850 @emph{Pes Auctus Descendens}
1852 @lilypond[staffsize=26,line-width=1.0\cm]
1853 \include "gregorian.ly"
1856 % Pes Auctus Descendens
1857 \[ g \pes \auctum \descendens b \]
1859 \layout { \neumeDemoLayout }}
1862 @code{\[ g \pes \auctum \descendens b \]}
1865 @emph{Pes Auctus Ascendens}
1867 @lilypond[staffsize=26,line-width=1.0\cm]
1868 \include "gregorian.ly"
1871 % Pes Auctus Ascendens
1872 \[ g \pes \auctum \ascendens b \]
1874 \layout { \neumeDemoLayout }}
1877 @code{\[ g \pes \auctum \ascendens b \]}
1882 @lilypond[staffsize=26,line-width=1.0\cm]
1883 \include "gregorian.ly"
1887 \[ g \pes \deminutum b \]
1889 \layout { \neumeDemoLayout }}
1892 @code{\[ g \pes \deminutum b \]}
1895 @emph{Pes Initio Debilis}
1897 @lilypond[staffsize=26,line-width=1.0\cm]
1898 \include "gregorian.ly"
1901 % Pes Initio Debilis
1902 \[ \deminutum g \pes b \]
1904 \layout { \neumeDemoLayout }}
1907 @code{\[ \deminutum g \pes b \]}
1910 @emph{Pes Auctus Descendens Initio Debilis}
1912 @lilypond[staffsize=26,line-width=1.0\cm]
1913 \include "gregorian.ly"
1916 % Pes Auctus Descendens Initio Debilis
1917 \[ \deminutum g \pes \auctum \descendens b \]
1919 \layout { \neumeDemoLayout }}
1922 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1927 @b{Multi-note ligatures}
1929 @multitable @columnfractions .4 .2 .4
1934 @lilypond[staffsize=26,line-width=1.0\cm]
1935 \include "gregorian.ly"
1939 \[ a \pes b \flexa g \]
1941 \layout { \neumeDemoLayout }}
1944 @code{\[ a \pes b \flexa g \]}
1947 @emph{Torculus Auctus Descendens}
1949 @lilypond[staffsize=26,line-width=1.0\cm]
1950 \include "gregorian.ly"
1953 % Torculus Auctus Descendens
1954 \[ a \pes b \flexa \auctum \descendens g \]
1956 \layout { \neumeDemoLayout }}
1959 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1962 @emph{Torculus Deminutus}
1964 @lilypond[staffsize=26,line-width=1.0\cm]
1965 \include "gregorian.ly"
1968 % Torculus Deminutus
1969 \[ a \pes b \flexa \deminutum g \]
1971 \layout { \neumeDemoLayout }}
1974 @code{\[ a \pes b \flexa \deminutum g \]}
1977 @emph{Torculus Initio Debilis}
1979 @lilypond[staffsize=26,line-width=1.0\cm]
1980 \include "gregorian.ly"
1983 % Torculus Initio Debilis
1984 \[ \deminutum a \pes b \flexa g \]
1986 \layout { \neumeDemoLayout }}
1989 @code{\[ \deminutum a \pes b \flexa g \]}
1992 @emph{Torculus Auctus Descendens Initio Debilis}
1994 @lilypond[staffsize=26,line-width=1.0\cm]
1995 \include "gregorian.ly"
1998 % Torculus Auctus Descendens Initio Debilis
1999 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
2001 \layout { \neumeDemoLayout }}
2004 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
2007 @emph{Torculus Deminutus Initio Debilis}
2009 @lilypond[staffsize=26,line-width=1.0\cm]
2010 \include "gregorian.ly"
2013 % Torculus Deminutus Initio Debilis
2014 \[ \deminutum a \pes b \flexa \deminutum g \]
2016 \layout { \neumeDemoLayout }}
2019 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
2024 @lilypond[staffsize=26,line-width=1.0\cm]
2025 \include "gregorian.ly"
2029 \[ a \flexa g \pes b \]
2031 \layout { \neumeDemoLayout }}
2034 @code{\[ a \flexa g \pes b \]}
2037 @emph{Porrectus Auctus Descendens}
2039 @lilypond[staffsize=26,line-width=1.0\cm]
2040 \include "gregorian.ly"
2043 % Porrectus Auctus Descendens
2044 \[ a \flexa g \pes \auctum \descendens b \]
2046 \layout { \neumeDemoLayout }}
2049 @code{\[ a \flexa g \pes \auctum \descendens b \]}
2052 @emph{Porrectus Deminutus}
2054 @lilypond[staffsize=26,line-width=1.0\cm]
2055 \include "gregorian.ly"
2058 % Porrectus Deminutus
2059 \[ a \flexa g \pes \deminutum b \]
2061 \layout { \neumeDemoLayout }}
2064 @code{\[ a \flexa g \pes \deminutum b \]}
2069 @lilypond[staffsize=26,line-width=1.0\cm]
2070 \include "gregorian.ly"
2074 \[ \virga b \inclinatum a \inclinatum g \]
2076 \layout { \neumeDemoLayout }}
2079 @code{\[ \virga b \inclinatum a \inclinatum g \]}
2082 @emph{Climacus Auctus}
2084 @lilypond[staffsize=26,line-width=1.0\cm]
2085 \include "gregorian.ly"
2089 \[ \virga b \inclinatum a \inclinatum \auctum g \]
2091 \layout { \neumeDemoLayout }}
2094 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
2097 @emph{Climacus Deminutus}
2099 @lilypond[staffsize=26,line-width=1.0\cm]
2100 \include "gregorian.ly"
2103 % Climacus Deminutus
2104 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
2106 \layout { \neumeDemoLayout }}
2109 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
2114 @lilypond[staffsize=26,line-width=1.0\cm]
2115 \include "gregorian.ly"
2119 \[ g \pes a \virga b \]
2121 \layout { \neumeDemoLayout }}
2124 @code{\[ g \pes a \virga b \]}
2127 @emph{Scandicus Auctus Descendens}
2129 @lilypond[staffsize=26,line-width=1.0\cm]
2130 \include "gregorian.ly"
2133 % Scandicus Auctus Descendens
2134 \[ g \pes a \pes \auctum \descendens b \]
2136 \layout { \neumeDemoLayout }}
2139 @code{\[ g \pes a \pes \auctum \descendens b \]}
2142 @emph{Scandicus Deminutus}
2144 @lilypond[staffsize=26,line-width=1.0\cm]
2145 \include "gregorian.ly"
2148 % Scandicus Deminutus
2149 \[ g \pes a \pes \deminutum b \]
2151 \layout { \neumeDemoLayout }}
2154 @code{\[ g \pes a \pes \deminutum b \]}
2161 @multitable @columnfractions .4 .2 .4
2166 @lilypond[staffsize=26,line-width=1.0\cm]
2167 \include "gregorian.ly"
2171 \[ g \pes \quilisma a \pes b \]
2173 \layout { \neumeDemoLayout }}
2176 @code{\[ g \pes \quilisma a \pes b \]}
2179 @emph{Quilisma Pes Auctus Descendens}
2181 @lilypond[staffsize=26,line-width=1.0\cm]
2182 \include "gregorian.ly"
2185 % Quilisma Pes Auctus Descendens
2186 \[ g \quilisma a \pes \auctum \descendens b \]
2188 \layout { \neumeDemoLayout }}
2191 @code{\[ \quilisma g \pes \auctum \descendens b \]}
2196 @lilypond[staffsize=26,line-width=1.0\cm]
2197 \include "gregorian.ly"
2203 \layout { \neumeDemoLayout }}
2206 @code{\[ \oriscus b \]}
2211 @lilypond[staffsize=26,line-width=1.0\cm]
2212 \include "gregorian.ly"
2216 \[ \oriscus g \pes \virga b \]
2218 \layout { \neumeDemoLayout }}
2221 @code{\[ \oriscus g \pes \virga b \]}
2224 @emph{Pes Quassus Auctus Descendens}
2226 @lilypond[staffsize=26,line-width=1.0\cm]
2227 \include "gregorian.ly"
2230 % Pes Quassus Auctus Descendens
2231 \[ \oriscus g \pes \auctum \descendens b \]
2233 \layout { \neumeDemoLayout }}
2236 @code{\[ \oriscus g \pes \auctum \descendens b \]}
2241 @lilypond[staffsize=26,line-width=1.0\cm]
2242 \include "gregorian.ly"
2246 \[ g \oriscus a \pes \virga b \]
2248 \layout { \neumeDemoLayout }}
2251 @code{\[ g \oriscus a \pes \virga b \]}
2254 @emph{Salicus Auctus Descendens}
2256 @lilypond[staffsize=26,line-width=1.0\cm]
2257 \include "gregorian.ly"
2260 % Salicus Auctus Descendens
2261 \[ g \oriscus a \pes \auctum \descendens b \]
2263 \layout { \neumeDemoLayout }}
2266 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
2271 @lilypond[staffsize=26,line-width=1.0\cm]
2272 \include "gregorian.ly"
2278 \layout { \neumeDemoLayout }}
2281 @code{\[ \stropha b \]}
2284 @emph{Stropha Aucta}
2286 @lilypond[staffsize=26,line-width=1.0\cm]
2287 \include "gregorian.ly"
2291 \[ \stropha \auctum b \]
2293 \layout { \neumeDemoLayout }}
2296 @code{\[ \stropha \auctum b \]}
2301 @lilypond[staffsize=26,line-width=1.0\cm]
2302 \include "gregorian.ly"
2306 \[ \stropha b \stropha b \]
2308 \layout { \neumeDemoLayout }}
2311 @code{\[ \stropha b \stropha b \]}
2316 @lilypond[staffsize=26,line-width=1.0\cm]
2317 \include "gregorian.ly"
2321 \[ \stropha b \stropha b \stropha b \]
2323 \layout { \neumeDemoLayout }}
2326 @code{\[ \stropha b \stropha b \stropha b \]}
2331 @lilypond[staffsize=26,line-width=1.0\cm]
2332 \include "gregorian.ly"
2336 \[ \stropha b \stropha b \stropha a \]
2338 \layout { \neumeDemoLayout }
2342 @code{\[ \stropha b \stropha b \stropha a \]}
2348 The following head prefixes are supported:
2353 @funindex \inclinatum
2357 @funindex \descendens
2359 @funindex \ascendens
2365 @funindex \deminutum
2373 Head prefixes can be accumulated, though restrictions apply. For
2374 example, either @code{\descendens} or @code{\ascendens} can be applied
2375 to a head, but not both to the same head.
2380 Two adjacent heads can be tied together with the @code{\pes} and
2381 @code{\flexa} infix commands for a rising and falling line of melody,
2384 @funindex \augmentum
2386 Use the unary music function @code{\augmentum} to add augmentum dots.
2393 @ref{Gregorian square neume ligatures},
2394 @ref{White mensural ligatures},
2398 When an @code{\augmentum} dot appears at the end of the last staff
2399 within a ligature, it is sometimes vertically placed wrong. As a
2400 workaround, add an additional skip note (e.g., @code{s8}) as last note
2403 @code{\augmentum} should be implemented as a head prefix rather than a
2404 unary music function, such that @code{\augmentum} can be intermixed
2405 with head prefixes in arbitrary order.
2408 @node Working with ancient music---scenarios and solutions
2409 @subsection Working with ancient music---scenarios and solutions
2413 * Mensurstriche layout::
2414 * Transcribing Gregorian chant::
2415 * Ancient and modern from one source::
2416 * Editorial markings::
2419 Working with ancient music frequently involves particular tasks
2420 which differ considerably from the modern notation for which
2421 LilyPond is designed. In the rest of this section, a number of
2422 typical scenarios are outlined, with suggestions of solutions.
2426 @item how to make incipits (i.e. prefatory material to indicate
2427 what the original has looked like) to modern transcriptions of
2429 @item how to achieve the @emph{Mensurstriche} layout frequently
2430 used for modern transcriptions of polyphonic music;
2431 @item how to transcribe Gregorian chant in modern notation;
2432 @item how to generate both ancient and modern notation from the
2438 @unnumberedsubsubsec Incipits
2441 @c clefs, mensuration signs etc from lsr and -user
2442 @c use snippet Transcription-of-ancient-music-with-incipit
2446 @c ... and reference to other sections ...
2449 @node Mensurstriche layout
2450 @unnumberedsubsubsec Mensurstriche layout
2452 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
2453 for bar lines that are drawn between the staves of a system but
2454 not through the staves themselves. It is a common way to preserve
2455 the rhythmic appearance of the original, i.e. not having to break
2456 syncopated notes at bar lines, while still providing the
2457 orientation aids that bar lines give.
2460 @lilypondfile[verbatim,quote,texidoc]
2461 {mensurstriche-layout-bar-lines-between-the-staves.ly}
2463 @c This simple setup will take care of the
2464 @c TODO Add text about lyrics to the lowest line, to be placed
2465 @c outside the StaffGroup.
2466 @c from lsr and -user
2470 @c ... and reference to other sections ...
2473 @node Transcribing Gregorian chant
2474 @unnumberedsubsubsec Transcribing Gregorian chant
2476 Gregorian chant can be transcribed into modern notation with a
2477 number of simple tweaks.
2479 @b{Stems}. Stems can be left out altogether by @code{\remove}-ing
2480 the @code{Stem_engraver} from the Voice context:
2487 \remove "Stem_engraver"
2492 However, in some transcription styles, stems are used
2493 occasionally, for example to indicate the transition from a
2494 single-tone recitative to a fixed melodic gesture. In these cases,
2495 one can use either @code{\override Stem #'transparent = ##t} or
2496 @code{\override Stem #'length = #0} instead, and restore the stem
2497 when needed with the corresponding @code{\once \override Stem
2498 #'transparent = ##f} (see example below). When using stems that
2499 carry flags, make sure to set @code{\override Flag #'transparent
2502 @b{Timing.} For unmetered chant, there are several alternatives.
2504 The Time_signature_engraver can be removed from the Staff context
2505 without any negative side effects. The alternative, to make it
2506 transparent, will leave an empty space in the score, since the
2507 invisible signature will still take up space.
2509 In many cases, @code{\set Score.timing = ##f} will give good
2510 results. Another alternative is to use @code{\CadenzaOn} and
2513 To remove the bar lines, the radical approach is to @code{\remove}
2514 the Bar_engraver from the Staff context. Again, one may want to
2515 use @code{\override BarLine #'transparent = ##t} instead, if an
2516 occasional barline is wanted.
2518 A common type of transcription is recitativic chant where the
2519 repeated notes are indicated with a single breve. The text to
2520 the recitation tone can be dealt with in two different ways:
2521 either set as a single, left-aligned syllable:
2523 @lilypond[verbatim,ragged-right]
2524 \include "gregorian.ly"
2525 chant = \relative c' {
2527 c\breve c4 b4 a c2 c4 \divisioMaior
2528 c\breve c4 c f, f \finalis
2531 verba = \lyricmode {
2532 \once \override LyricText #'self-alignment-X = #-1
2533 "Noctem quietam et" fi -- nem per -- fec -- tum
2534 \once \override LyricText #'self-alignment-X = #-1
2535 "concedat nobis Dominus" om -- ni -- po -- tens.
2539 \new Voice = "melody" \chant
2540 \new Lyrics = "one" \lyricsto melody \verba
2545 \remove "Time_signature_engraver"
2546 \remove "Bar_engraver"
2547 \override Stem #'transparent = ##t
2548 \override Flag #'transparent = ##t
2554 This works fine, as long as the text doesn't span a line break. If
2555 that is the case, an alternative is to add hidden notes to the
2556 score, here in combination with changing stem visibility:
2559 @lilypond[verbatim,ragged-right]
2560 \include "gregorian.ly"
2561 chant = \relative c' {
2563 \set Score.timing = ##f
2564 c\breve \override NoteHead #'transparent = ##t c c c c c
2565 \revert NoteHead #'transparent
2566 \override Stem #'transparent = ##f \stemUp c4 b4 a
2567 \override Stem #'transparent = ##t
2568 \override Flag #'transparent = ##t c2 c4 \divisioMaior
2569 c\breve \override NoteHead #'transparent = ##t c c c c c c c
2570 \revert NoteHead #'transparent c4 c f, f \finalis
2573 verba = \lyricmode {
2574 No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum
2575 con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens.
2580 \new Voice = "melody" \chant
2581 \new Lyrics \lyricsto "melody" \verba
2586 \remove "Time_signature_engraver"
2587 \override BarLine #'transparent = ##t
2588 \override Stem #'transparent = ##t
2589 \override Flag #'transparent = ##t
2595 Another common situation is transcription of neumatic or
2596 melismatic chants, i.e. chants with a varying number of notes
2597 to each syllable. In this case, one would want to set the
2598 syllable groups clearly apart, usually also the subdivisions of a
2599 longer melisma. One way to achieve this is to use a fixed
2600 @code{\time}, e.g., 1/4, and let each syllable or note group fill
2601 one of these measures, with the help of tuplets or shorter
2602 durations. If the bar lines and all other rhythmical indications
2603 are made transparent, and the space around the bar lines is
2604 increased, this will give a fairly good representation in modern
2605 notation of the original.
2607 To avoid that syllables of different width (such as @qq{-ri} and
2608 @qq{-rum}) spread the syllable note groups unevenly apart, the
2609 @code{'X-extent} property of the @code{LyricText} object may be
2610 set to a fixed value. Another, more cumbersome way would be to
2611 add the syllables as @code{\markup} elements. If further
2612 adjustments are necessary, this can be easily done with
2615 @lilypond[verbatim,quote]
2616 spiritus = \relative c' {
2618 \override Lyrics.LyricText #'X-extent = #'(0 . 3)
2619 d4 \times 2/3 { f8 a g } g a a4 g f8 e
2620 d4 f8 g g8 d f g a g f4 g8 a a4 s
2621 \times 2/3 { g8 f d } e f g a g4
2624 spirLyr = \lyricmode {
2625 Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _
2626 or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu
2631 \new Voice = "chant" \spiritus
2632 \new Lyrics = "one" \lyricsto "chant" \spirLyr
2637 \remove "Time_signature_engraver"
2638 \override BarLine #'X-extent = #'(-1 . 1)
2639 \override Stem #'transparent = ##t
2640 \override Flag #'transparent = ##t
2641 \override Beam #'transparent = ##t
2642 \override BarLine #'transparent = ##t
2643 \override TupletNumber #'transparent = ##t
2649 @c extract from 1.6.1.1
2652 @c ... and reference to other sections ...
2655 @node Ancient and modern from one source
2656 @unnumberedsubsubsec Ancient and modern from one source
2659 @c Here among others the snippets about reducing note length
2663 @c ... and reference to other sections ...
2666 @node Editorial markings
2667 @unnumberedsubsubsec Editorial markings
2670 @c @node Baroque rhythmic notation
2671 @c @unnumberedsubsubsec Baroque rhythmic notation
2675 @c Add example of white note heads:
2676 @c In the french baroque some composers used white note heads in slow pieces,
2677 @c mainly in 3/2-time. A quarter looks there like a eighth with a white
2678 @c note head. (Franz-Rudolf Kuhnen)
2680 @c TODO Add example of this:
2681 @c I was referring to e.g. notated a8. a16, which should, if I
2682 @c remember correctly, be interpreted more like a8.. a32 (in the french
2683 @c style). The editor might want to show that rythmic figure above the
2684 @c staff as an hint to performers. (Karl Hammer)
2691 @c ... and reference to other sections ...