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13 @node Ancient notation
14 @section Ancient notation
16 @lilypondfile[quote]{ancient-headword.ly}
18 @cindex Vaticana, Editio
19 @cindex Medicaea, Editio
26 * Overview of the supported styles::
27 * Ancient notation---common features::
28 * Typesetting mensural music::
29 * Typesetting Gregorian chant::
30 * Working with ancient music---scenarios and solutions::
34 Support for ancient notation includes features for mensural
35 notation and Gregorian chant notation. These features can be
36 accessed either by modifying style properties of graphical objects
37 such as note heads and rests, or by using one of the pre-defined
38 contexts for mensural or Gregorian notation.
40 Many graphical objects, such as note heads and flags, accidentals,
41 time signatures, and rests, provide a @code{style} property, which
42 can be changed to emulate several different styles of ancient
46 @item @ref{Mensural note heads},
47 @item @ref{Mensural accidentals and key signatures},
48 @item @ref{Mensural rests},
49 @item @ref{Mensural clefs},
50 @item @ref{Gregorian clefs},
51 @item @ref{Mensural flags},
52 @item @ref{Mensural time signatures}.
55 Some notational concepts are introduced specifically for ancient
60 @item @ref{Divisiones},
61 @item @ref{Ligatures}.
64 @c {{{1 Overview of the supported styles
65 @node Overview of the supported styles
66 @subsection Overview of the supported styles
69 Three styles are available for typesetting Gregorian chant:
72 @item @emph{Editio Vaticana} is a complete style for
73 Gregorian chant, following the appearance of the Solesmes
74 editions, the official chant books of the Vatican since 1904.
75 LilyPond has support for all the notational signs used in this
76 style, including ligatures, @emph{custodes}, and special signs
77 such as the quilisma and the oriscus.
80 @cindex Vaticana, Editio
82 @item The @emph{Editio Medicaea} style offers certain features
83 used in the Medicaea (or Ratisbona) editions which were used prior
84 to the Solesmes editions. The most significant differences from
85 the @emph{Vaticana} style are the clefs, which have
86 downward-slanted strokes, and the noteheads, which are square and
89 @cindex Ratisbona, Editio
90 @cindex Medicaea, Editio
92 @item The @emph{Hufnagel} (@qq{horseshoe nail}) or @emph{Gothic}
93 style mimics the writing style in chant manuscripts from Germany
94 and Central Europe during the middle ages. It is named after the
95 basic note shape (the @emph{virga}), which looks like a small
100 Three styles emulate the appearance of late-medieval and
101 renaissance manuscripts and prints of mensural music:
104 @item The @emph{Mensural} style most closely resembles the
105 writing style used in late-medieval and early renaissance
106 manuscripts, with its small and narrow, diamond-shaped noteheads
107 and its rests which approach a hand-drawn style.
111 @item The @emph{Neomensural} style is a modernized and
112 stylized version of the former: the noteheads are broader and the
113 rests are made up of straight lines. This style is particularly
114 suited, e.g., for incipits of transcribed pieces of mensural
119 @item The @emph{Petrucci} style is named after Ottaviano Petrucci
120 (1466-1539), the first printer to use movable type for music (in
121 his @emph{Harmonice musices odhecaton}, 1501). The style uses
122 larger note heads than the other mensural styles.
128 @emph{Baroque} and @emph{Classical} are not complete styles
129 but differ from the default style only in some details: certain
130 noteheads (Baroque) and the quarter rest (Classical).
132 Only the mensural style has alternatives for all aspects of the
133 notation. Thus, there are no rests or flags in the Gregorian
134 styles, since these signs are not used in plainchant notation, and
135 the Petrucci style has no flags or accidentals of its own.
137 Each element of the notation can be changed independently of the
138 others, so that one can use mensural flags, petrucci noteheads,
139 classical rests and vaticana clefs in the same piece, if one
142 @c {{{1 Ancient notation, general
143 @node Ancient notation---common features
144 @subsection Ancient notation---common features
147 * Pre-defined contexts::
150 * Figured bass support::
153 @c {{{2 Pre-defined contexts
154 @node Pre-defined contexts
155 @unnumberedsubsubsec Pre-defined contexts
157 For Gregorian chant and mensural notation, there are pre-defined
158 voice and staff contexts available, which set all the various
159 notation signs to values suitable for these styles. If one is
160 satisfied with these defaults, one can proceed directly with note
161 entry without worrying about the details on how to customize a
162 context. See one of the pre-defined contexts
163 @code{VaticanaVoice}, @code{VaticanaStaff}, @code{MensuralVoice},
164 and @code{MensuralStaff}. See further
167 @item @ref{Gregorian chant contexts},
168 @item @ref{Mensural contexts}.
174 @unnumberedsubsubsec Ligatures
178 @c TODO: Should double check if I recalled things correctly when I wrote
179 @c down the following paragraph by heart.
181 A ligature is a graphical symbol that represents at least two
182 distinct notes. Ligatures originally appeared in the manuscripts
183 of Gregorian chant notation to denote ascending or descending
184 sequences of notes on the same syllable. They are also used in
187 Ligatures are entered by @emph{enclosing} them in @code{\[} and
188 @code{\]}. Some ligature styles may need additional input syntax
189 specific for this particular type of ligature. By default, the
190 @code{LigatureBracket} engraver just puts a square bracket
193 @lilypond[quote,ragged-right,verbatim]
201 Two other ligature styles are available: the Vaticana for
202 Gregorian chant, and the Mensural for mensural music (only white
203 mensural ligatures are supported for mensural music, and with
204 certain limitations). To use any of these styles, the default
205 @code{Ligature_bracket_engraver} has to be replaced with one of the
206 specialized ligature engravers in the @code{Voice} context,
207 as explained in @ref{White mensural ligatures} and @ref{Gregorian
208 square neume ligatures}.
212 @c TODO: nothing here yet ...
217 Ligatures need special spacing that has not yet been implemented. As
218 a result, there is too much space between ligatures most of the time,
219 and line breaking often is unsatisfactory. Also, lyrics do not
220 correctly align with ligatures.
222 Accidentals must not be printed within a ligature, but instead need to
223 be collected and printed in front of it.
225 The syntax still uses the deprecated infix style @code{\[ music expr
226 \]}. For consistency reasons, it will eventually be changed to
227 postfix style @code{note\[ ... note\]}.
229 @c Alternatively, the file
230 @c @file{gregorian@/-init@/.ly} can be included; it provides a scheme
233 @c \ligature @var{music expr}
235 @c with the same effect and is believed to be stable.
237 @c TODO: this does not seem to work at the moment.
244 @unnumberedsubsubsec Custodes
249 A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard}) is a
250 symbol that appears at the end of a staff. It anticipates the pitch
251 of the first note of the following line, thus helping the performer
252 to manage line breaks during performance.
254 Custodes were frequently used in music notation until the
255 seventeenth century. Nowadays, they have survived only in a few
256 particular forms of musical notation such as contemporary editions
257 of Gregorian chant like the @emph{Editio Vaticana}. There are
258 different custos glyphs used in different flavors of notational
261 For typesetting custodes, just put a @code{Custos_engraver} into the
262 @code{Staff} context when declaring the @code{\layout} block,
263 and change the style of the custos with an @code{\override} if
264 desired, as shown in the following example:
266 @lilypond[quote,ragged-right]
276 \consists Custos_engraver
277 \override Custos #'style = #'mensural
283 The custos glyph is selected by the @code{style} property. The styles
284 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
285 @code{mensural}. They are demonstrated in the following fragment.
287 @lilypond[quote,ragged-right,fragment]
288 \new Lyrics \lyricmode {
290 \typewriter "vaticana "
291 \line { " " \musicglyph #"custodes.vaticana.u0" }
294 \typewriter "medicaea "
295 \line { " " \musicglyph #"custodes.medicaea.u0" }
298 \typewriter "hufnagel "
299 \line { " " \musicglyph #"custodes.hufnagel.u0" }
302 \typewriter "mensural "
303 \line { " " \musicglyph #"custodes.mensural.u0" }
314 @rlsr{Ancient notation}.
317 @c {{{2 Figured bass support
318 @node Figured bass support
319 @unnumberedsubsubsec Figured bass support
321 There is limited support for figured bass notation from the
322 Baroque period; see @ref{Figured bass}.
325 @c {{{1 Typesetting mensural music
326 @node Typesetting mensural music
327 @subsection Typesetting mensural music
330 * Mensural contexts::
332 * Mensural time signatures::
333 * Mensural note heads::
336 * Mensural accidentals and key signatures::
337 * Annotational accidentals (musica ficta)::
338 * White mensural ligatures::
343 @c {{{2Mensural contexts
344 @node Mensural contexts
345 @unnumberedsubsubsec Mensural contexts
347 @cindex MensuralVoiceContext
348 @cindex MensuralStaffContext
350 The predefined @code{MensuralVoice} and @code{MensuralStaff}
351 contexts can be used to engrave a piece in mensural style. These
352 contexts initialize all relevant context properties and grob
353 properties to proper values, so you can immediately go ahead
354 entering the chant, as the following excerpt demonstrates:
356 @lilypond[quote,ragged-right,verbatim]
359 \new MensuralVoice = "discantus" \transpose c c' {
360 \override Score.BarNumber #'transparent = ##t {
361 c'1\melisma bes a g\melismaEnd
363 \[ f1\melisma a c'\breve d'\melismaEnd \]
365 c'\breve\melisma a1 g1\melismaEnd
366 fis\longa^\signumcongruentiae
369 \new Lyrics \lyricsto "discantus" {
370 San -- ctus, San -- ctus, San -- ctus
378 @c TODO: nothing here yet ...
381 @c {{{2 Mensural clefs
383 @unnumberedsubsubsec Mensural clefs
387 The following table shows all mensural clefs that are supported via
388 the @code{\clef} command. Some of the clefs use the same glyph,
389 but differ only with respect to the line they are printed on. In
390 such cases, a trailing number in the name is used to enumerate
391 these clefs, numbered from the lowest to the highest line. Still,
392 you can manually force a clef glyph to be typeset on an arbitrary
393 line, as described in @ref{Clef}. The note printed to the right
394 side of each clef in the example column denotes the @code{c'} with
395 respect to that clef.
397 Petrucci used C clefs with differently balanced left-side vertical
398 beams, depending on which staff line it is printed.
400 @multitable @columnfractions .4 .4 .2
411 @code{mensural-c1}, @code{mensural-c2},@*
412 @code{mensural-c3}, @code{mensural-c4}
414 @lilypond[fragment,relative=1,notime]
416 \override NoteHead #'style = #'mensural
425 @lilypond[fragment,relative=1,notime]
427 \override NoteHead #'style = #'mensural
436 @lilypond[fragment,relative=1,notime]
438 \override NoteHead #'style = #'mensural
445 @code{neomensural-c1}, @code{neomensural-c2},@*
446 @code{neomensural-c3}, @code{neomensural-c4}
448 @lilypond[fragment,relative=1,notime]
449 \clef "neomensural-c2" c
453 petrucci style C clefs, for use on different staff lines
454 (the example shows the 2nd staff line C clef)
456 @code{petrucci-c1}, @code{petrucci-c2},@*
457 @code{petrucci-c3}, @code{petrucci-c4},@*
460 @lilypond[fragment,relative=1,notime]
462 \override NoteHead #'style = #'mensural
467 petrucci style F clef
471 @lilypond[fragment,relative=1,notime]
473 \override NoteHead #'style = #'mensural
478 petrucci style G clef
482 @lilypond[fragment,relative=1,notime]
484 \override NoteHead #'style = #'mensural
497 The mensural g clef is mapped to the Petrucci g clef.
500 @c {{{2Mensural time signatures
501 @node Mensural time signatures
502 @unnumberedsubsubsec Mensural time signatures
504 @cindex mensuration sign
505 @cindex time signatures
507 There is limited support for mensuration signs (which are similar to, but
508 not exactly the same as time signatures). The glyphs are hard-wired to
509 particular time fractions. In other words, to get a particular mensuration
510 sign with the @code{\time n/m} command, @code{n} and @code{m} have to be
511 chosen according to the following table
513 @lilypond[quote,ragged-right]
518 \remove Staff_symbol_engraver
519 \remove Clef_engraver
520 \remove Time_signature_engraver
524 \set Score.timing = ##f
525 \set Score.barAlways = ##t
526 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
527 #"timesig.neomensural44" }
529 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
530 #"timesig.neomensural22" }
532 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
533 #"timesig.neomensural64" }
535 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
536 #"timesig.neomensural68" }
538 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
539 #"timesig.neomensural32" }
541 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
542 #"timesig.neomensural34" }
544 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
545 #"timesig.neomensural94" }
547 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
548 #"timesig.neomensural98" }
550 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
551 #"timesig.neomensural48" }
553 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
554 #"timesig.neomensural24" }
558 Use the @code{style} property of grob @code{TimeSignature}
559 to select ancient time signatures. Supported styles are
560 @code{neomensural} and @code{mensural}. The above table uses the
561 @code{neomensural} style. The following examples show the
562 differences in style:
564 @lilypond[ragged-right,fragment,relative=1,quote]
569 c1^\markup { \hspace #-2.0 \typewriter default }
571 \override Staff.TimeSignature #'style = #'numbered
573 c1^\markup { \hspace #-2.0 \typewriter numbered }
575 \override Staff.TimeSignature #'style = #'mensural
577 c1^\markup { \hspace #-2.0 \typewriter mensural }
579 \override Staff.TimeSignature #'style = #'neomensural
581 c1^\markup { \hspace #-2.0 \typewriter neomensural }
582 \override Staff.TimeSignature #'style = #'single-digit
584 c1^\markup { \hspace #-2.0 \typewriter single-digit }
591 @ref{Time signature}, gives a general introduction to
592 the use of time signatures.
597 Ratios of note durations do not change with the time signature. For
598 example, the ratio of 1@tie{}breve = 3@tie{}semibreves (@emph{tempus
599 perfectum}) must be made by hand, by setting
602 breveTP = #(ly:make-duration -1 0 3 2)
608 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
610 The @code{mensural68alt} and @code{neomensural68alt} symbols
611 (alternate symbols for 6/8) are not addressable with @code{\time}.
612 Use @code{\markup @{\musicglyph #"timesig.mensural68alt" @}} instead.
615 @c {{{2Mensural note heads
616 @node Mensural note heads
617 @unnumberedsubsubsec Mensural note heads
619 @cindex note heads, ancient
621 For ancient notation, a note head style other than the @code{default} style
622 may be chosen. This is accomplished by setting the @code{style} property of
623 the @code{NoteHead} object to @code{baroque}, @code{neomensural},
624 @code{mensural} or @code{petrucci}.
626 The @code{baroque} style differs from the @code{default} style by:
629 @item Providing a @code{maxima} notehead, and
630 @item Using a square shape for @code{\breve} note heads.
633 The @code{neomensural}, @code{mensural}, and @code{petrucci} styles differ from
634 the @code{baroque} style by:
637 @item Using rhomboidal heads for semibreves and all smaller durations, and
638 @item Centering the stems on the note heads.
642 The following example demonstrates the @code{petrucci} style:
644 @c Renaissance music doesn't use bar lines ... but they do help to
645 @c separate the notes for easier identification.
647 @lilypond[quote,fragment,ragged-right,verbatim]
648 \set Score.skipBars = ##t
650 \override NoteHead #'style = #'petrucci
651 a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
658 @ref{Note head styles}, gives an overview of all available note head styles.
661 @c {{{2Mensural flags
663 @unnumberedsubsubsec Mensural flags
667 Use the @code{flag-style} property of grob @code{Stem} to
668 select ancient flags. Besides the @code{default} flag style,
669 only the @code{mensural} style is supported.
671 @lilypond[quote,fragment,ragged-right,verbatim]
672 \override Stem #'flag-style = #'mensural
673 \override Stem #'thickness = #1.0
674 \override NoteHead #'style = #'mensural
676 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
677 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
680 Note that the innermost flare of each mensural flag always is
681 vertically aligned with a staff line.
683 There is no particular flag style for neo-mensural or Petrucci notation.
685 @c when typesetting the incipit of a transcribed piece of mensural
686 @c music, the default flag style should be used.
687 There are no flags in Gregorian chant notation.
691 @c TODO: nothing here yet ...
696 The attachment of ancient flags to stems is slightly off.
697 @c due to a change in early 2.3.x.
699 Vertically aligning each flag with a staff line assumes that stems
700 always end either exactly on or exactly in the middle between two
701 staff lines. This may not always be true when using advanced layout
702 features of classical notation (which however are typically out of
703 scope for mensural notation).
705 @c {{{2Mensural rests
707 @unnumberedsubsubsec Mensural rests
709 @cindex rests, ancient
711 Use the @code{style} property of grob @code{Rest} to select
712 ancient rests. Supported styles are @code{classical},
713 @code{neomensural}, and @code{mensural}. @code{classical} differs
714 from the @code{default} style only in that the quarter rest looks
715 like a horizontally mirrored 8th rest. The @code{mensural} and
716 the @code{neomensural} styles mimic the appearance of rests in
717 manuscripts and prints up to the 16th century.
719 The following example demonstrates the @code{mensural} and
720 @code{neomensural} styles:
722 @lilypond[quote,fragment,ragged-right,verbatim]
723 \set Score.skipBars = ##t
724 \override Rest #'style = #'classical
725 r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
726 \override Rest #'style = #'mensural
727 r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
728 \override Rest #'style = #'neomensural
729 r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
732 There are no 32th and 64th rests specifically for the mensural or
733 neo-mensural style. Instead, the rests from the default style will be
736 See @rlsr{Ancient notation} for a chart of all rests.
740 @ref{Rests}, gives a general introduction into the use of
744 @c {{{2Mensural accidentals and key signatures
745 @node Mensural accidentals and key signatures
746 @unnumberedsubsubsec Mensural accidentals and key signatures
749 @cindex key signature
751 The @code{mensural} style provides a sharp and a flat sign
752 different from the default style. If called for, the natural sign
753 will be taken from the @code{vaticana} style.
755 @lilypond[quote,ragged-right,staffsize=26]
762 \line { " " \musicglyph #"accidentals.mensural-1"
763 " " \musicglyph #"accidentals.mensural1" }
769 \context { \Score \remove "Bar_number_engraver" }
771 \remove "Clef_engraver"
772 \remove "Key_engraver"
773 \remove "Time_signature_engraver"
774 \remove "Staff_symbol_engraver"
775 \override VerticalAxisGroup #'minimum-Y-extent = ##f
781 The style for accidentals and key signatures is controlled by the
782 @code{glyph-name-alist} property of the grobs @code{Accidental} and
783 @code{KeySignature}, respectively; e.g.:
785 @code{\override Staff.Accidental #'glyph-name-alist =
786 #alteration-mensural-glyph-name-alist}
791 @ref{Pitches}, @ref{Accidentals}, and @ref{Automatic accidentals}, give a
792 general introduction of the use of accidentals. @ref{Key signature}, gives
793 a general introduction of the use of key signatures.
796 @rinternals{KeySignature}.
799 @c {{{2 Annotational accidentals (musica ficta)
800 @node Annotational accidentals (musica ficta)
801 @unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
803 In European music from before about 1600, singers were expected to
804 chromatically alter notes at their own initiative according to
805 certain rules. This is called @notation{musica ficta}. In modern
806 transcriptions, these accidentals are usually printed over the
809 @cindex Accidental, musica ficta
812 Support for such suggested accidentals is included, and can be
813 switched on by setting @code{suggestAccidentals} to true.
815 @funindex suggestAccidentals
817 @lilypond[verbatim,fragment,relative=1]
819 \set suggestAccidentals = ##t
823 This will treat @emph{every} subsequent accidental as @emph{musica
824 ficta} until it is unset with @code{\set suggestAccidentals =
825 ##f}. A more practical way is to use @code{\once \set
826 suggestAccidentals = ##t}, which can even be defined as a
827 convenient shorthand:
829 @lilypond[quote,verbatim]
830 ficta = { \once \set suggestAccidentals = ##t }
831 \score { \relative c''
833 \once \set suggestAccidentals = ##t
834 bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
842 @rinternals{Accidental_engraver},
843 @rinternals{AccidentalSuggestion}.
846 @c {{{2White mensural ligatures
847 @node White mensural ligatures
848 @unnumberedsubsubsec White mensural ligatures
850 @cindex Mensural ligatures
851 @cindex White mensural ligatures
853 There is limited support for white mensural ligatures.
855 To engrave white mensural ligatures, in the layout block, replace
856 the @code{Ligature_bracket_engraver} with the
857 @code{Mensural_ligature_engraver} in the @code{Voice}
864 \remove Ligature_bracket_engraver
865 \consists Mensural_ligature_engraver
870 There is no additional input language to describe the shape of a
871 white mensural ligature. The shape is rather determined solely from
872 the pitch and duration of the enclosed notes. While this approach may
873 take a new user a while to get accustomed to, it has the great advantage
874 that the full musical information of the ligature is known internally.
875 This is not only required for correct MIDI output, but also allows for
876 automatic transcription of the ligatures.
881 @c \set Score.timing = ##f
882 @c \set Score.defaultBarType = "empty"
883 @c \override NoteHead #'style = #'neomensural
884 @c \override Staff.TimeSignature #'style = #'neomensural
885 @c \clef "petrucci-g"
887 @c \[ d\longa c\breve f e d \]
888 @c \[ c'\maxima d'\longa \]
889 @c \[ e'1 a g\breve \]
891 @lilypond[quote,ragged-right,verbatim]
894 \set Score.timing = ##f
895 \set Score.defaultBarType = "empty"
896 \override NoteHead #'style = #'neomensural
897 \override Staff.TimeSignature #'style = #'neomensural
900 \[ d\longa c\breve f e d \]
901 \[ c'\maxima d'\longa \]
907 \remove Ligature_bracket_engraver
908 \consists Mensural_ligature_engraver
914 Without replacing @code{Ligature_bracket_engraver} with
915 @code{Mensural_ligature_engraver}, the same music transcribes
918 @lilypond[quote,ragged-right]
920 \set Score.timing = ##f
921 \set Score.defaultBarType = "empty"
922 \override NoteHead #'style = #'neomensural
923 \override Staff.TimeSignature #'style = #'neomensural
926 \[ d\longa c\breve f e d \]
927 \[ c'\maxima d'\longa \]
934 @c TODO: nothing here yet ...
939 Horizontal spacing of ligatures is poor.
942 @c {{{1 Typesetting Gregorian chant
943 @node Typesetting Gregorian chant
944 @subsection Typesetting Gregorian chant
947 * Gregorian chant contexts::
949 * Gregorian accidentals and key signatures::
951 * Gregorian articulation signs::
952 * Augmentum dots (@emph{morae})::
953 * Gregorian square neume ligatures::
956 When typesetting a piece in Gregorian chant notation, the
957 @code{Vaticana_ligature_engraver} automatically selects the
958 proper note heads, so there is no need to explicitly set the note
959 head style. Still, the note head style can be set, e.g., to
960 @code{vaticana_punctum} to produce punctum neumes. Similarly, the
961 @code{Mensural_ligature_engraver} automatically assembles
962 mensural ligatures. See @ref{Ligatures}, for how ligature
966 @c {{{2Gregorian chant contexts
967 @node Gregorian chant contexts
968 @unnumberedsubsubsec Gregorian chant contexts
970 @cindex VaticanaVoiceContext
971 @cindex VaticanaStaffContext
973 The predefined @code{VaticanaVoiceContext} and
974 @code{VaticanaStaffContext} can be used to engrave a piece of
975 Gregorian chant in the style of the Editio Vaticana. These contexts
976 initialize all relevant context properties and grob properties to
977 proper values, so you can immediately go ahead entering the chant, as
978 the following excerpt demonstrates:
980 @lilypond[quote,ragged-right,verbatim]
981 \include "gregorian.ly"
984 \new VaticanaVoice = "cantus" {
985 \[ c'\melisma c' \flexa a \]
986 \[ a \flexa \deminutum g\melismaEnd \]
988 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
989 c' \divisioMinima \break
990 \[ c'\melisma c' \flexa a \]
991 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
993 \new Lyrics \lyricsto "cantus" {
994 San- ctus, San- ctus, San- ctus
1002 @c TODO: nothing here yet ...
1005 @c {{{2 Gregorian clefs
1006 @node Gregorian clefs
1007 @unnumberedsubsubsec Gregorian clefs
1011 The following table shows all Gregorian clefs that are supported via
1012 the @code{\clef} command. Some of the clefs use the same glyph,
1013 but differ only with respect to the line they are printed on. In
1014 such cases, a trailing number in the name is used to enumerate
1015 these clefs, numbered from the lowest to the highest line. Still,
1016 you can manually force a clef glyph to be typeset on an arbitrary
1017 line, as described in @ref{Clef}. The note printed to the right
1018 side of each clef in the example column denotes the @code{c'} with
1019 respect to that clef.
1021 @multitable @columnfractions .4 .4 .2
1030 Editio Vaticana style do clef
1032 @code{vaticana-do1}, @code{vaticana-do2},@*
1035 @lilypond[fragment,relative=1,notime]
1036 \override Staff.StaffSymbol #'line-count = #4
1037 \override Staff.StaffSymbol #'color = #red
1038 \override Staff.LedgerLineSpanner #'color = #red
1039 \override Voice.Stem #'transparent = ##t
1040 \override NoteHead #'style = #'vaticana.punctum
1041 \clef "vaticana-do2"
1046 Editio Vaticana style fa clef
1048 @code{vaticana-fa1}, @code{vaticana-fa2}
1050 @lilypond[fragment,relative=1,notime]
1051 \override Staff.StaffSymbol #'line-count = #4
1052 \override Staff.StaffSymbol #'color = #red
1053 \override Staff.LedgerLineSpanner #'color = #red
1054 \override Voice.Stem #'transparent = ##t
1055 \override NoteHead #'style = #'vaticana.punctum
1056 \clef "vaticana-fa2"
1061 Editio Medicaea style do clef
1063 @code{medicaea-do1}, @code{medicaea-do2},@*
1066 @lilypond[fragment,relative=1,notime]
1067 \override Staff.StaffSymbol #'line-count = #4
1068 \override Staff.StaffSymbol #'color = #red
1069 \override Staff.LedgerLineSpanner #'color = #red
1070 \override Voice.Stem #'transparent = ##t
1071 \override NoteHead #'style = #'medicaea.punctum
1072 \clef "medicaea-do2"
1077 Editio Medicaea style fa clef
1079 @code{medicaea-fa1}, @code{medicaea-fa2}
1081 @lilypond[fragment,relative=1,notime]
1082 \override Staff.StaffSymbol #'line-count = #4
1083 \override Staff.StaffSymbol #'color = #red
1084 \override Staff.LedgerLineSpanner #'color = #red
1085 \override Voice.Stem #'transparent = ##t
1086 \override NoteHead #'style = #'medicaea.punctum
1087 \clef "medicaea-fa2"
1092 hufnagel style do clef
1094 @code{hufnagel-do1}, @code{hufnagel-do2},@*
1097 @lilypond[fragment,relative=1,notime]
1098 \override Staff.StaffSymbol #'line-count = #4
1099 \override Staff.StaffSymbol #'color = #red
1100 \override Staff.LedgerLineSpanner #'color = #red
1101 \override Voice.Stem #'transparent = ##t
1102 \override NoteHead #'style = #'hufnagel.punctum
1103 \clef "hufnagel-do2"
1108 hufnagel style fa clef
1110 @code{hufnagel-fa1}, @code{hufnagel-fa2}
1112 @lilypond[fragment,relative=1,notime]
1113 \override Staff.StaffSymbol #'line-count = #4
1114 \override Staff.StaffSymbol #'color = #red
1115 \override Staff.LedgerLineSpanner #'color = #red
1116 \override Voice.Stem #'transparent = ##t
1117 \override NoteHead #'style = #'hufnagel.punctum
1118 \clef "hufnagel-fa2"
1123 hufnagel style combined do/fa clef
1125 @code{hufnagel-do-fa}
1127 @lilypond[fragment,relative=1,notime]
1128 \override Staff.StaffSymbol #'color = #red
1129 \override Staff.LedgerLineSpanner #'color = #red
1130 \override Voice.Stem #'transparent = ##t
1131 \override NoteHead #'style = #'hufnagel.punctum
1132 \clef "hufnagel-do-fa"
1143 @c {{{2 Gregorian accidentals and key signatures
1144 @node Gregorian accidentals and key signatures
1145 @unnumberedsubsubsec Gregorian accidentals and key signatures
1148 @cindex key signature
1150 Accidentals for the three different Gregorian styles are available:
1152 @lilypond[quote,ragged-right,staffsize=26]
1159 \line { " " \musicglyph #"accidentals.vaticana-1"
1160 " " \musicglyph #"accidentals.vaticana0" }
1164 \line { " " \musicglyph #"accidentals.medicaea-1" }
1168 \line { " " \musicglyph #"accidentals.hufnagel-1" }
1174 \context { \Score \remove "Bar_number_engraver" }
1176 \remove "Clef_engraver"
1177 \remove "Key_engraver"
1178 \remove "Time_signature_engraver"
1179 \remove "Staff_symbol_engraver"
1180 \override VerticalAxisGroup #'minimum-Y-extent = ##f
1186 As shown, not all accidentals are supported by each style. When
1187 trying to access an unsupported accidental, LilyPond will switch to a
1190 @c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1191 @c {ancient-accidentals.ly}
1193 The style for accidentals and key signatures is controlled by the
1194 @code{glyph-name-alist} property of the grobs @code{Accidental} and
1195 @code{KeySignature}, respectively; e.g.:
1197 @code{\override Staff.Accidental #'glyph-name-alist =
1198 #alteration-mensural-glyph-name-alist}
1203 @ref{Pitches}, @ref{Accidentals}, and @ref{Automatic accidentals}, give a
1204 general introduction of the use of accidentals. @ref{Key signature}, gives
1205 a general introduction of the use of key signatures.
1207 Internals Reference:
1208 @rinternals{KeySignature}.
1213 @unnumberedsubsubsec Divisiones
1219 There are no rests in Gregorian chant notation; instead, it uses
1222 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
1223 @q{division}) is a staff context symbol that is used to indicate
1224 the phrase and section structure of Gregorian music. The musical meaning of
1225 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
1226 can be characterized as short, medium, and long pause, somewhat like
1227 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
1228 only marks the end of a chant, but is also frequently used within a
1229 single antiphonal/responsorial chant to mark the end of each section.
1231 To use divisiones, include the file @file{gregorian@/.ly}. It
1232 contains definitions that you can apply by just inserting
1233 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
1234 and @code{\finalis} at proper places in the input. Some editions use
1235 @emph{virgula} or @emph{caesura} instead of divisio minima.
1236 Therefore, @file{gregorian@/.ly} also defines @code{\virgula} and
1239 @lilypondfile[quote,ragged-right]{divisiones.ly}
1247 @funindex \divisioMinima
1248 @code{\divisioMinima},
1249 @funindex \divisioMaior
1250 @code{\divisioMaior},
1251 @funindex \divisioMaxima
1252 @code{\divisioMaxima},
1258 @c {{{2Gregorian articulations
1259 @node Gregorian articulation signs
1260 @unnumberedsubsubsec Gregorian articulation signs
1262 @cindex articulations
1264 In addition to the standard articulation signs described in
1265 section @ref{Articulations and ornamentations}, articulation signs
1266 specifically designed for use with notation in @emph{Editio
1267 Vaticana} style are provided.
1269 @lilypond[quote,ragged-right,verbatim]
1270 \include "gregorian.ly"
1272 \new VaticanaVoice {
1273 \override TextScript #'font-family = #'typewriter
1274 \override TextScript #'font-shape = #'upright
1275 \override Script #'padding = #-0.1
1276 a\ictus_"ictus " \break
1277 a\circulus_"circulus " \break
1278 a\semicirculus_"semicirculus " \break
1279 a\accentus_"accentus " \break
1280 \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
1287 @c TODO: nothing here yet ...
1292 Some articulations are vertically placed too closely to the
1293 corresponding note heads.
1295 The episema line is not displayed in many cases. If it is displayed,
1296 the right end of the episema line is often too far to the right.
1299 @c {{{2Augmentum dots (@emph{morae})
1300 @node Augmentum dots (@emph{morae})
1301 @unnumberedsubsubsec Augmentum dots (@emph{morae})
1303 Augmentum dots, also called @emph{morae}, are added with the music
1304 function @code{\augmentum}. Note that @code{\augmentum} is
1305 implemented as a unary music function rather than as head prefix. It
1306 applies to the immediately following music expression only. That is,
1307 @code{\augmentum \virga c} will have no visible effect. Instead, say
1308 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1309 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1310 @code{\augmentum a \augmentum g}.
1312 @lilypond[quote,ragged-right,verbatim]
1313 \include "gregorian.ly"
1315 \new VaticanaVoice {
1316 \[ \augmentum a \flexa \augmentum g \]
1327 Internals Reference:
1328 @rinternals{BreathingSign}.
1331 @rlsr{Ancient notation}.
1334 @c {{{2Gregorian square neumes ligatures
1335 @node Gregorian square neume ligatures
1336 @unnumberedsubsubsec Gregorian square neume ligatures
1338 @cindex Square neumes ligatures
1339 @cindex Gregorian square neumes ligatures
1341 There is limited support for Gregorian square neumes notation
1342 (following the style of the Editio Vaticana). Core ligatures can
1343 already be typeset, but essential issues for serious typesetting are
1344 still lacking, such as (among others) horizontal alignment of multiple
1345 ligatures, lyrics alignment, and proper handling of accidentals.
1347 The support for Gregorian neumes is enabled by @code{\include}ing
1348 "gregorian.ly" at the beginning of the file. This makes available
1349 a number of extra commands to produce the neume symbols used in
1350 plainchant notation.
1354 Note heads can be @emph{modified} and/or @emph{joined}.
1358 the note head can be modified by @emph{prefixing} the note name
1359 with any of the following commands:
1364 @funindex \inclinatum
1368 @funindex \descendens
1370 @funindex \ascendens
1376 @funindex \deminutum
1383 @item Ligatures, properly speaking (i.e. notes joined together), are
1384 produced by placing one of the joining commands @code{\pes} or
1385 @code{\flexa}, for upwards and downwards movement, respectively,
1386 @emph{between} the notes to be joined.
1389 A note name without any qualifiers will produce a @emph{punctum}.
1390 All other neumes, including the single-note neumes with a
1391 different shape such as the @emph{virga}, are in principle
1392 considered as ligatures and should therefore be placed
1393 between @code{\[...\]}.
1394 @c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
1401 @item The @emph{punctum} is the basic note shape (in the
1402 @emph{Vaticana} style: a square with some curvation for
1403 typographical finesse). In addition to the regular
1404 @emph{punctum}, there is also the oblique @emph{punctum
1405 inclinatum}, produced with the prefix @code{\inclinatum}. The
1406 regular @emph{punctum} can be modified with @code{\cavum}, which
1407 produces a hollow note, and @code{\linea}, which draws vertical
1408 lines on either side of the note.
1410 @item The @emph{virga} has a descending stem on the right side. It is
1411 produced by the modifier @code{\virga}.
1417 Unlike most other neumes notation systems, the typographical
1418 appearance of ligatures is not directly dictated by the input
1419 commands, but follows certain conventions dependent on musical
1420 meaning. For example, a three-note ligature with the musical shape
1421 low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
1422 Torculus consisting of three Punctum heads, while the shape
1423 high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
1424 Porrectus with a curved flexa shape and only a single Punctum
1425 head. There is no command to explicitly typeset the curved flexa
1426 shape; the decision of when to typeset a curved flexa shape is
1427 based on the musical input. The idea of this approach is to
1428 separate the musical aspects of the input from the notation style
1429 of the output. This way, the same input can be reused to typeset
1430 the same music in a different style of Gregorian chant notation.
1435 Another main category of notes in Gregorian chant is the so-called
1436 liquescent neumes. They are used under certain circumstances at
1437 the end of a syllable which ends in a @q{liquescent} letter, i.e.
1438 the sounding consonants that can hold a tone (the nasals, l, r, v,
1439 j, and their diphtong equivalents). Thus, the liquescent neumes
1440 are never used alone (although some of them can be produced), and
1441 they always fall at the end of a ligature.
1443 Liquescent neumes are represented graphically in two different,
1444 more or less interchangeable ways: with a smaller note or by
1445 @q{twisting} the main note upwards or downwards. The first is
1446 produced by making a regular @code{pes} or @code{flexa} and
1447 modifying the shape of the second note: @code{\[ a \pes \deminutum
1448 b \] }, the second by modifying the shape of a single-note neume
1449 with @code{\auctum} and one of the direction markers
1450 @code{\descendens} or @code{\ascendens}, e.g., @code{ \[ \auctum
1456 A third category of signs is made up of a small number of signs
1457 with a special meaning (which, incidentally, in most cases is only
1458 vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
1459 @emph{strophicus}. These are all produced by prefixing a note name
1460 with the corresponding modifier, @code{\quilisma},
1461 @code{\oriscus}, or @code{\stropha}.
1463 Virtually, within the ligature delimiters @code{\[} and @code{\]},
1464 any number of heads may be accumulated to form a single ligature,
1465 and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
1466 @code{\inclinatum}, etc. may be mixed in as desired. The use of
1467 the set of rules that underlies the construction of the ligatures
1468 in the above table is accordingly extrapolated. This way,
1469 infinitely many different ligatures can be created.
1471 Note that the use of these signs in the music itself follows
1472 certain rules, which are not checked by LilyPond. E.g., the
1473 @emph{quilisma} is always the middle note of an ascending
1474 ligature, and usually falls on a half-tone step, but it is
1475 perfectly possible, although incorrect, to make a single-note
1478 In addition to the note signs, gregorian.ly also defines the
1479 commands @code{\versus}, @code{\responsum}, @code{\ij},
1480 @code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
1481 corresponding characters, e.g., for use in lyrics, as section
1482 markers, etc. These commands use special unicode characters and
1483 will only work if a font is used which supports them.
1488 The following table shows a limited, but still representative pool
1489 of Gregorian ligatures, together with the code fragments that
1490 produce the ligatures. The table is based on the extended neumes
1491 table of the 2nd volume of the Antiphonale Romanum (@emph{Liber
1492 Hymnarius}), published 1983 by the monks of Solesmes. The first
1493 column gives the name of the ligature, with the main form in
1494 boldface and the liquescent forms in italics. The third column
1495 shows the code fragment that produces this ligature, using
1496 @code{g}, @code{a}, and @code{b} as example pitches.
1499 @b{Single-note neums}
1501 @multitable @columnfractions .4 .2 .4
1504 @b{Basic} and @emph{Liquescent} forms
1511 @c TODO: \layout block is identical in all of the below examples.
1512 @c Therefore, it should somehow be included rather than duplicated all
1515 @c why not make variables in ly/engraver-init.ly? --hwn
1517 @c Because it's just used to typeset plain notes without
1518 @c a staff for demonstration purposes rather than something
1519 @c special of Gregorian chant notation. --jr
1525 @lilypond[staffsize=26,line-width=1.5\cm]
1526 \include "gregorian.ly"
1532 \layout { \neumeDemoLayout }}
1539 @lilypond[staffsize=26,line-width=1.5\cm]
1540 \include "gregorian.ly"
1546 \layout { \neumeDemoLayout }}
1549 @code{\[ \cavum b \]}
1553 @lilypond[staffsize=26,line-width=1.5\cm]
1554 \include "gregorian.ly"
1560 \layout { \neumeDemoLayout }}
1563 @code{\[ \linea b \]}
1566 @emph{Punctum Auctum Ascendens}
1568 @lilypond[staffsize=26,line-width=2.5\cm]
1569 \include "gregorian.ly"
1572 % Punctum Auctum Ascendens
1573 \[ \auctum \ascendens b \]
1575 \layout { \neumeDemoLayout }}
1578 @code{\[ \auctum \ascendens b \]}
1581 @emph{Punctum Auctum Descendens}
1583 @lilypond[staffsize=26,line-width=2.5\cm]
1584 \include "gregorian.ly"
1587 % Punctum Auctum Descendens
1588 \[ \auctum \descendens b \]
1590 \layout { \neumeDemoLayout }}
1593 @code{\[ \auctum \descendens b \]}
1596 @b{Punctum inclinatum}
1598 @lilypond[staffsize=26,line-width=1.5\cm]
1599 \include "gregorian.ly"
1602 % Punctum Inclinatum
1605 \layout { \neumeDemoLayout }}
1608 @code{\[ \inclinatum b \]}
1611 @emph{Punctum Inclinatum Auctum}
1613 @lilypond[staffsize=26,line-width=2.5\cm]
1614 \include "gregorian.ly"
1617 % Punctum Inclinatum Auctum
1618 \[ \inclinatum \auctum b \]
1620 \layout { \neumeDemoLayout }}
1623 @code{\[ \inclinatum \auctum b \]}
1626 @emph{Punctum Inclinatum Parvum}
1628 @lilypond[staffsize=26,line-width=1.0\cm]
1629 \include "gregorian.ly"
1632 % Punctum Inclinatum Parvum
1633 \[ \inclinatum \deminutum b \]
1635 \layout { \neumeDemoLayout }}
1638 @code{\[ \inclinatum \deminutum b \]}
1643 @lilypond[staffsize=26,line-width=1.0\cm]
1644 \include "gregorian.ly"
1650 \layout { \neumeDemoLayout }}
1657 @b{Two-note ligatures}
1659 @multitable @columnfractions .4 .2 .4
1662 @b{Clivis vel Flexa}
1664 @lilypond[staffsize=26,line-width=1.0\cm]
1665 \include "gregorian.ly"
1671 \layout { \neumeDemoLayout }}
1674 @code{\[ b \flexa g \]}
1678 @emph{Clivis Aucta Descendens}
1680 @lilypond[staffsize=26,line-width=2.0\cm]
1681 \include "gregorian.ly"
1684 % Clivis Aucta Descendens
1685 \[ b \flexa \auctum \descendens g \]
1687 \layout { \neumeDemoLayout }}
1690 @code{\[ b \flexa \auctum \descendens g \]}
1693 @emph{Clivis Aucta Ascendens}
1695 @lilypond[staffsize=26,line-width=2.0\cm]
1696 \include "gregorian.ly"
1699 % Clivis Aucta Ascendens
1700 \[ b \flexa \auctum \ascendens g \]
1702 \layout { \neumeDemoLayout }}
1705 @code{\[ b \flexa \auctum \ascendens g \]}
1710 @lilypond[staffsize=26,line-width=2.0\cm]
1711 \include "gregorian.ly"
1715 \[ b \flexa \deminutum g \]
1717 \layout { \neumeDemoLayout }}
1720 @code{\[ b \flexa \deminutum g \]}
1725 @lilypond[staffsize=26,line-width=1.0\cm]
1726 \include "gregorian.ly"
1732 \layout { \neumeDemoLayout }}
1735 @code{\[ g \pes b \]}
1738 @emph{Pes Auctus Descendens}
1740 @lilypond[staffsize=26,line-width=1.0\cm]
1741 \include "gregorian.ly"
1744 % Pes Auctus Descendens
1745 \[ g \pes \auctum \descendens b \]
1747 \layout { \neumeDemoLayout }}
1750 @code{\[ g \pes \auctum \descendens b \]}
1753 @emph{Pes Auctus Ascendens}
1755 @lilypond[staffsize=26,line-width=1.0\cm]
1756 \include "gregorian.ly"
1759 % Pes Auctus Ascendens
1760 \[ g \pes \auctum \ascendens b \]
1762 \layout { \neumeDemoLayout }}
1765 @code{\[ g \pes \auctum \ascendens b \]}
1770 @lilypond[staffsize=26,line-width=1.0\cm]
1771 \include "gregorian.ly"
1775 \[ g \pes \deminutum b \]
1777 \layout { \neumeDemoLayout }}
1780 @code{\[ g \pes \deminutum b \]}
1783 @emph{Pes Initio Debilis}
1785 @lilypond[staffsize=26,line-width=1.0\cm]
1786 \include "gregorian.ly"
1789 % Pes Initio Debilis
1790 \[ \deminutum g \pes b \]
1792 \layout { \neumeDemoLayout }}
1795 @code{\[ \deminutum g \pes b \]}
1798 @emph{Pes Auctus Descendens Initio Debilis}
1800 @lilypond[staffsize=26,line-width=1.0\cm]
1801 \include "gregorian.ly"
1804 % Pes Auctus Descendens Initio Debilis
1805 \[ \deminutum g \pes \auctum \descendens b \]
1807 \layout { \neumeDemoLayout }}
1810 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1815 @b{Multi-note ligatures}
1817 @multitable @columnfractions .4 .2 .4
1822 @lilypond[staffsize=26,line-width=1.0\cm]
1823 \include "gregorian.ly"
1827 \[ a \pes b \flexa g \]
1829 \layout { \neumeDemoLayout }}
1832 @code{\[ a \pes b \flexa g \]}
1835 @emph{Torculus Auctus Descendens}
1837 @lilypond[staffsize=26,line-width=1.0\cm]
1838 \include "gregorian.ly"
1841 % Torculus Auctus Descendens
1842 \[ a \pes b \flexa \auctum \descendens g \]
1844 \layout { \neumeDemoLayout }}
1847 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1850 @emph{Torculus Deminutus}
1852 @lilypond[staffsize=26,line-width=1.0\cm]
1853 \include "gregorian.ly"
1856 % Torculus Deminutus
1857 \[ a \pes b \flexa \deminutum g \]
1859 \layout { \neumeDemoLayout }}
1862 @code{\[ a \pes b \flexa \deminutum g \]}
1865 @emph{Torculus Initio Debilis}
1867 @lilypond[staffsize=26,line-width=1.0\cm]
1868 \include "gregorian.ly"
1871 % Torculus Initio Debilis
1872 \[ \deminutum a \pes b \flexa g \]
1874 \layout { \neumeDemoLayout }}
1877 @code{\[ \deminutum a \pes b \flexa g \]}
1880 @emph{Torculus Auctus Descendens Initio Debilis}
1882 @lilypond[staffsize=26,line-width=1.0\cm]
1883 \include "gregorian.ly"
1886 % Torculus Auctus Descendens Initio Debilis
1887 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1889 \layout { \neumeDemoLayout }}
1892 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
1895 @emph{Torculus Deminutus Initio Debilis}
1897 @lilypond[staffsize=26,line-width=1.0\cm]
1898 \include "gregorian.ly"
1901 % Torculus Deminutus Initio Debilis
1902 \[ \deminutum a \pes b \flexa \deminutum g \]
1904 \layout { \neumeDemoLayout }}
1907 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
1912 @lilypond[staffsize=26,line-width=1.0\cm]
1913 \include "gregorian.ly"
1917 \[ a \flexa g \pes b \]
1919 \layout { \neumeDemoLayout }}
1922 @code{\[ a \flexa g \pes b \]}
1925 @emph{Porrectus Auctus Descendens}
1927 @lilypond[staffsize=26,line-width=1.0\cm]
1928 \include "gregorian.ly"
1931 % Porrectus Auctus Descendens
1932 \[ a \flexa g \pes \auctum \descendens b \]
1934 \layout { \neumeDemoLayout }}
1937 @code{\[ a \flexa g \pes \auctum \descendens b \]}
1940 @emph{Porrectus Deminutus}
1942 @lilypond[staffsize=26,line-width=1.0\cm]
1943 \include "gregorian.ly"
1946 % Porrectus Deminutus
1947 \[ a \flexa g \pes \deminutum b \]
1949 \layout { \neumeDemoLayout }}
1952 @code{\[ a \flexa g \pes \deminutum b \]}
1957 @lilypond[staffsize=26,line-width=1.0\cm]
1958 \include "gregorian.ly"
1962 \[ \virga b \inclinatum a \inclinatum g \]
1964 \layout { \neumeDemoLayout }}
1967 @code{\[ \virga b \inclinatum a \inclinatum g \]}
1970 @emph{Climacus Auctus}
1972 @lilypond[staffsize=26,line-width=1.0\cm]
1973 \include "gregorian.ly"
1977 \[ \virga b \inclinatum a \inclinatum \auctum g \]
1979 \layout { \neumeDemoLayout }}
1982 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
1985 @emph{Climacus Deminutus}
1987 @lilypond[staffsize=26,line-width=1.0\cm]
1988 \include "gregorian.ly"
1991 % Climacus Deminutus
1992 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
1994 \layout { \neumeDemoLayout }}
1997 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
2002 @lilypond[staffsize=26,line-width=1.0\cm]
2003 \include "gregorian.ly"
2007 \[ g \pes a \virga b \]
2009 \layout { \neumeDemoLayout }}
2012 @code{\[ g \pes a \virga b \]}
2015 @emph{Scandicus Auctus Descendens}
2017 @lilypond[staffsize=26,line-width=1.0\cm]
2018 \include "gregorian.ly"
2021 % Scandicus Auctus Descendens
2022 \[ g \pes a \pes \auctum \descendens b \]
2024 \layout { \neumeDemoLayout }}
2027 @code{\[ g \pes a \pes \auctum \descendens b \]}
2030 @emph{Scandicus Deminutus}
2032 @lilypond[staffsize=26,line-width=1.0\cm]
2033 \include "gregorian.ly"
2036 % Scandicus Deminutus
2037 \[ g \pes a \pes \deminutum b \]
2039 \layout { \neumeDemoLayout }}
2042 @code{\[ g \pes a \pes \deminutum b \]}
2049 @multitable @columnfractions .4 .2 .4
2054 @lilypond[staffsize=26,line-width=1.0\cm]
2055 \include "gregorian.ly"
2059 \[ g \pes \quilisma a \pes b \]
2061 \layout { \neumeDemoLayout }}
2064 @code{\[ g \pes \quilisma a \pes b \]}
2067 @emph{Quilisma Pes Auctus Descendens}
2069 @lilypond[staffsize=26,line-width=1.0\cm]
2070 \include "gregorian.ly"
2073 % Quilisma Pes Auctus Descendens
2074 \[ g \quilisma a \pes \auctum \descendens b \]
2076 \layout { \neumeDemoLayout }}
2079 @code{\[ \quilisma g \pes \auctum \descendens b \]}
2084 @lilypond[staffsize=26,line-width=1.0\cm]
2085 \include "gregorian.ly"
2091 \layout { \neumeDemoLayout }}
2094 @code{\[ \oriscus b \]}
2099 @lilypond[staffsize=26,line-width=1.0\cm]
2100 \include "gregorian.ly"
2104 \[ \oriscus g \pes \virga b \]
2106 \layout { \neumeDemoLayout }}
2109 @code{\[ \oriscus g \pes \virga b \]}
2112 @emph{Pes Quassus Auctus Descendens}
2114 @lilypond[staffsize=26,line-width=1.0\cm]
2115 \include "gregorian.ly"
2118 % Pes Quassus Auctus Descendens
2119 \[ \oriscus g \pes \auctum \descendens b \]
2121 \layout { \neumeDemoLayout }}
2124 @code{\[ \oriscus g \pes \auctum \descendens b \]}
2129 @lilypond[staffsize=26,line-width=1.0\cm]
2130 \include "gregorian.ly"
2134 \[ g \oriscus a \pes \virga b \]
2136 \layout { \neumeDemoLayout }}
2139 @code{\[ g \oriscus a \pes \virga b \]}
2142 @emph{Salicus Auctus Descendens}
2144 @lilypond[staffsize=26,line-width=1.0\cm]
2145 \include "gregorian.ly"
2148 % Salicus Auctus Descendens
2149 \[ g \oriscus a \pes \auctum \descendens b \]
2151 \layout { \neumeDemoLayout }}
2154 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
2159 @lilypond[staffsize=26,line-width=1.0\cm]
2160 \include "gregorian.ly"
2166 \layout { \neumeDemoLayout }}
2169 @code{\[ \stropha b \]}
2172 @emph{Stropha Aucta}
2174 @lilypond[staffsize=26,line-width=1.0\cm]
2175 \include "gregorian.ly"
2179 \[ \stropha \auctum b \]
2181 \layout { \neumeDemoLayout }}
2184 @code{\[ \stropha \auctum b \]}
2189 @lilypond[staffsize=26,line-width=1.0\cm]
2190 \include "gregorian.ly"
2194 \[ \stropha b \stropha b \]
2196 \layout { \neumeDemoLayout }}
2199 @code{\[ \stropha b \stropha b \]}
2204 @lilypond[staffsize=26,line-width=1.0\cm]
2205 \include "gregorian.ly"
2209 \[ \stropha b \stropha b \stropha b \]
2211 \layout { \neumeDemoLayout }}
2214 @code{\[ \stropha b \stropha b \stropha b \]}
2219 @lilypond[staffsize=26,line-width=1.0\cm]
2220 \include "gregorian.ly"
2224 \[ \stropha b \stropha b \stropha a \]
2226 \layout { \neumeDemoLayout }
2230 @code{\[ \stropha b \stropha b \stropha a \]}
2236 The following head prefixes are supported:
2241 @funindex \inclinatum
2245 @funindex \descendens
2247 @funindex \ascendens
2253 @funindex \deminutum
2261 Head prefixes can be accumulated, though restrictions apply. For
2262 example, either @code{\descendens} or @code{\ascendens} can be applied
2263 to a head, but not both to the same head.
2267 Two adjacent heads can be tied together with the @code{\pes} and
2268 @code{\flexa} infix commands for a rising and falling line of melody,
2271 @funindex \augmentum
2272 Use the unary music function @code{\augmentum} to add augmentum dots.
2276 @c TODO: nothing here yet ...
2281 When an @code{\augmentum} dot appears at the end of the last staff
2282 within a ligature, it is sometimes vertically placed wrong. As a
2283 workaround, add an additional skip note (e.g., @code{s8}) as last note
2286 @code{\augmentum} should be implemented as a head prefix rather than a
2287 unary music function, such that @code{\augmentum} can be intermixed
2288 with head prefixes in arbitrary order.
2292 @c Working with ancient music: scenarios and solutions:: {{{1
2293 @node Working with ancient music---scenarios and solutions
2294 @subsection Working with ancient music---scenarios and solutions
2298 * Mensurstriche layout::
2299 * Transcribing Gregorian chant::
2300 * Ancient and modern from one source::
2301 * Editorial markings::
2304 Working with ancient music frequently involves particular tasks
2305 which differ considerably from the modern notation for which
2306 LilyPond is designed. In the rest of this section, a number of
2307 typical scenarios are outlined, with suggestions of solutions.
2311 @item how to make incipits (i.e. prefatory material to indicate
2312 what the original has looked like) to modern transcriptions of
2314 @item how to achieve the @emph{Mensurstriche} layout frequently
2315 used for modern transcriptions of polyphonic music;
2316 @item how to transcribe Gregorian chant in modern notation;
2317 @item how to generate both ancient and modern notation from the
2323 @unnumberedsubsubsec Incipits
2326 @c clefs, mensuration signs etc from lsr and -user
2327 @c use snippet Transcription-of-ancient-music-with-incipit
2332 @c ... and reference to other sections ...
2335 @c {{{2Mensurstriche layout
2336 @node Mensurstriche layout
2337 @unnumberedsubsubsec Mensurstriche layout
2339 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
2340 for bar lines that are drawn between the staves of a system but
2341 not through the staves themselves. It is a common way to preserve
2342 the rhythmic appearance of the original, i.e. not having to break
2343 syncopated notes at bar lines, while still providing the
2344 orientation aids that bar lines give.
2347 @lilypondfile[verbatim,lilyquote,texidoc]
2348 {mensurstriche-layout-bar-lines-between-the-staves.ly}
2350 @c This simple setup will take care of the
2351 @c TODO Add text about lyrics to the lowest line, to be placed
2352 @c outside the StaffGroup.
2353 @c from lsr and -user
2358 @c ... and reference to other sections ...
2361 @c {{{2Transcribing Gregorian chant
2362 @node Transcribing Gregorian chant
2363 @unnumberedsubsubsec Transcribing Gregorian chant
2365 Gregorian chant can be transcribed into modern notation with a
2366 number of simple tweaks.
2368 @b{Stems}. Stems can be left out altogether by @code{\remove}-ing
2369 the @code{Stem_engraver} from the Voice context:
2376 \remove "Stem_engraver"
2381 However, in some transcription styles, stems are used
2382 occasionally, for example to indicate the transition from a
2383 single-tone recitative to a fixed melodic gesture. In these cases,
2384 one can use either @code{\override Stem #'transparent = ##t} or
2385 @code{\override Stem #'length = #0} instead, and restore the stem
2386 when needed with the corresponding @code{\once \override Stem
2387 #'transparent = ##f} (see example below).
2389 @b{Timing.} For unmetered chant, there are several alternatives.
2391 The Time_signature_engraver can be removed from the Staff context
2392 without any negative side effects. The alternative, to make it
2393 transparent, will leave an empty space in the score, since the
2394 invisible signature will still take up space.
2396 In many cases, @code{\set Score.timing = ##f} will give good
2397 results. Another alternative is to use @code{\CadenzaOn} and
2400 To remove the barlines, the radical approach is to @code{\remove}
2401 the Bar_engraver from the Staff context. Again, one may want to
2402 use @code{\override BarLine #'transparent = ##t} instead, if an
2403 occasional barline is wanted.
2405 A common type of transcription is recitativic chant where the
2406 repeated notes are indicated with a single breve. The text to
2407 the recitation tone can be dealt with in two different ways:
2408 either set as a single, left-aligned syllable:
2410 @lilypond[verbatim,ragged-right]
2411 \include "gregorian.ly"
2412 chant = \relative c' {
2414 c\breve c4 b4 a c2 c4 \divisioMaior
2415 c\breve c4 c f, f \finalis
2418 verba = \lyricmode {
2419 \once \override LyricText #'self-alignment-X = #-1
2420 "Noctem quietam et" fi -- nem per -- fec -- tum
2421 \once \override LyricText #'self-alignment-X = #-1
2422 "concedat nobis Dominus" om -- ni -- po -- tens.
2426 \new Voice = "melody" \chant
2427 \new Lyrics = "one" \lyricsto melody \verba
2432 \remove "Time_signature_engraver"
2433 \remove "Bar_engraver"
2434 \override Stem #'transparent = ##t
2440 This works fine, as long as the text doesn't span a line break. If
2441 that is the case, an alternative is to add hidden notes to the
2442 score, here in combination with changing stem visibility:
2445 @lilypond[verbatim,ragged-right]
2446 \include "gregorian.ly"
2447 chant = \relative c' {
2449 \set Score.timing = ##f
2450 c\breve \override NoteHead #'transparent = ##t c c c c c
2451 \revert NoteHead #'transparent
2452 \override Stem #'transparent = ##f \stemUp c4 b4 a
2453 \override Stem #'transparent = ##t c2 c4 \divisioMaior
2454 c\breve \override NoteHead #'transparent = ##t c c c c c c c
2455 \revert NoteHead #'transparent c4 c f, f \finalis
2458 verba = \lyricmode {
2459 No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum
2460 con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens.
2465 \new Voice = "melody" \chant
2466 \new Lyrics \lyricsto "melody" \verba
2471 \remove "Time_signature_engraver"
2472 \override BarLine #'transparent = ##t
2473 \override Stem #'transparent = ##t
2479 Another common situation is transcription of neumatic or
2480 melismatic chants, i.e. chants with a varying number of notes
2481 to each syllable. In this case, one would want to set the
2482 syllable groups clearly apart, usually also the subdivisions of a
2483 longer melisma. One way to achieve this is to use a fixed
2484 @code{\time}, e.g., 1/4, and let each syllable or note group fill
2485 one of these measures, with the help of tuplets or shorter
2486 durations. If the barlines and all other rhythmical indications
2487 are made transparent, and the space around the barlines is
2488 increased, this will give a fairly good representation in modern
2489 notation of the original.
2491 To avoid that syllables of different width (such as @qq{-ri} and
2492 @qq{-rum}) spread the syllable note groups unevenly apart, the
2493 @code{#'X-extent} property of the @code{LyricText} object may be
2494 set to a fixed value. Another, more cumbersome way would be to
2495 add the syllables as @code{\markup} elements. If further
2496 adjustments are necessary, this can be easily done with
2499 @lilypond[verbatim,quote]
2500 spiritus = \relative c' {
2502 \override Lyrics.LyricText #'X-extent = #'(0 . 3)
2503 d4 \times 2/3 { f8 a g } g a a4 g f8 e
2504 d4 f8 g g8 d f g a g f4 g8 a a4 s
2505 \times 2/3 { g8 f d } e f g a g4
2508 spirLyr = \lyricmode {
2509 Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _
2510 or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu
2515 \new Voice = "chant" \spiritus
2516 \new Lyrics = "one" \lyricsto "chant" \spirLyr
2521 \remove "Time_signature_engraver"
2522 \override BarLine #'X-extent = #'(-1 . 1)
2523 \override Stem #'transparent = ##t
2524 \override Beam #'transparent = ##t
2525 \override BarLine #'transparent = ##t
2526 \override TupletNumber #'transparent = ##t
2532 @c extract from 1.6.1.1
2535 @c ... and reference to other sections ...
2537 @c {{{2Ancient and modern from one source
2538 @node Ancient and modern from one source
2539 @unnumberedsubsubsec Ancient and modern from one source
2542 @c Here among others the snippets about reducing note length
2546 @c ... and reference to other sections ...
2548 @c {{{2Editorial markings
2549 @node Editorial markings
2550 @unnumberedsubsubsec Editorial markings
2552 @c {{{2Baroque rhythmic notation
2553 @c @node Baroque rhythmic notation
2554 @c @unnumberedsubsubsec Baroque rhythmic notation
2558 @c Add example of white noteheads:
2559 @c In the french baroque some composers used white noteheads in slow pieces,
2560 @c mainly in 3/2-time. A quarter looks there like a eighth with a white
2561 @c notehead. (Franz-Rudolf Kuhnen)
2563 @c TODO Add example of this:
2564 @c I was referring to e.g. notated a8. a16, which should, if I
2565 @c remember correctly, be interpreted more like a8.. a32 (in the french
2566 @c style). The editor might want to show that rythmic figure above the
2567 @c staff as an hint to performers. (Karl Hammer)
2574 @c ... and reference to other sections ...