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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 * Typesetting Kievan square notation::
32 * Working with ancient music---scenarios and solutions::
36 Support for ancient notation includes features for mensural
37 notation, Gregorian chant notation, and Kievan square notation.
38 These features can be accessed either by modifying style
39 properties of graphical objects such as note heads and rests,
40 or by using one of the pre-defined contexts for these styles.
42 Many graphical objects, such as note heads and flags, accidentals,
43 time signatures, and rests, provide a @code{style} property, which
44 can be changed to emulate several different styles of ancient
48 @item @ref{Mensural note heads},
49 @item @ref{Mensural accidentals and key signatures},
50 @item @ref{Mensural rests},
51 @item @ref{Mensural clefs},
52 @item @ref{Gregorian clefs},
53 @item @ref{Mensural flags},
54 @item @ref{Mensural time signatures}.
57 Some notational concepts are introduced specifically for ancient
62 @item @ref{Divisiones},
63 @item @ref{Ligatures}.
70 @rglos{mensural notation}.
73 @ref{Mensural note heads},
74 @ref{Mensural accidentals and key signatures},
76 @ref{Gregorian clefs},
78 @ref{Mensural time signatures},
84 @node Overview of the supported styles
85 @subsection Overview of the supported styles
87 Three styles are available for typesetting Gregorian chant:
90 @item @emph{Editio Vaticana} is a complete style for
91 Gregorian chant, following the appearance of the Solesmes
92 editions, the official chant books of the Vatican since 1904.
93 LilyPond has support for all the notational signs used in this
94 style, including ligatures, @emph{custodes}, and special signs
95 such as the quilisma and the oriscus.
98 @cindex Vaticana, Editio
100 @item The @emph{Editio Medicaea} style offers certain features
101 used in the Medicaea (or Ratisbona) editions which were used prior
102 to the Solesmes editions. The most significant differences from
103 the @emph{Vaticana} style are the clefs, which have
104 downward-slanted strokes, and the note heads, which are square and
107 @cindex Ratisbona, Editio
108 @cindex Medicaea, Editio
110 @item The @emph{Hufnagel} (@qq{horseshoe nail}) or @emph{Gothic}
111 style mimics the writing style in chant manuscripts from Germany
112 and Central Europe during the middle ages. It is named after the
113 basic note shape (the @emph{virga}), which looks like a small
118 Three styles emulate the appearance of late-medieval and
119 renaissance manuscripts and prints of mensural music:
122 @item The @emph{Mensural} style most closely resembles the
123 writing style used in late-medieval and early renaissance
124 manuscripts, with its small and narrow, diamond-shaped note heads
125 and its rests which approach a hand-drawn style.
129 @item The @emph{Neomensural} style is a modernized and
130 stylized version of the former: the note heads are broader and the
131 rests are made up of straight lines. This style is particularly
132 suited, e.g., for incipits of transcribed pieces of mensural
137 @item The @emph{Petrucci} style is named after Ottaviano Petrucci
138 (1466-1539), the first printer to use movable type for music (in
139 his @emph{Harmonice musices odhecaton}, 1501). The style uses
140 larger note heads than the other mensural styles.
146 @emph{Baroque} and @emph{Classical} are not complete styles
147 but differ from the default style only in some details: certain
148 note heads (Baroque) and the quarter rest (Classical).
150 Only the mensural style has alternatives for all aspects of the
151 notation. Thus, there are no rests or flags in the Gregorian
152 styles, since these signs are not used in plainchant notation, and
153 the Petrucci style has no flags or accidentals of its own.
155 Each element of the notation can be changed independently of the
156 others, so that one can use mensural flags, petrucci note heads,
157 classical rests and vaticana clefs in the same piece, if one
162 @rglos{mensural notation},
166 @node Ancient notation---common features
167 @subsection Ancient notation---common features
170 * Pre-defined contexts::
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\[ @dots{} note\]}.
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}.
347 @node Typesetting mensural music
348 @subsection Typesetting mensural music
351 * Mensural contexts::
353 * Mensural time signatures::
354 * Mensural note heads::
357 * Mensural accidentals and key signatures::
358 * Annotational accidentals (musica ficta)::
359 * White mensural ligatures::
363 @node Mensural contexts
364 @unnumberedsubsubsec Mensural contexts
366 @cindex MensuralVoiceContext
367 @cindex MensuralStaffContext
369 The predefined @code{MensuralVoice} and @code{MensuralStaff}
370 contexts can be used to engrave a piece in mensural style. These
371 contexts initialize all relevant context properties and grob
372 properties to proper values, so you can immediately go ahead
373 entering the chant, as the following excerpt demonstrates:
375 @lilypond[quote,ragged-right,verbatim]
378 \new MensuralVoice = "discantus" \relative c'' {
379 \override Score.BarNumber.transparent = ##t {
380 c1\melisma bes a g\melismaEnd
382 \[ f1\melisma a c\breve d\melismaEnd \]
384 c\breve\melisma a1 g1\melismaEnd
385 fis\longa^\signumcongruentiae
388 \new Lyrics \lyricsto "discantus" {
389 San -- ctus, San -- ctus, San -- ctus
397 @rglos{mensural notation}.
401 @unnumberedsubsubsec Mensural clefs
405 The following table shows all mensural clefs that are supported via
406 the @code{\clef} command. Some of the clefs use the same glyph,
407 but differ only with respect to the line they are printed on. In
408 such cases, a trailing number in the name is used to enumerate
409 these clefs, numbered from the lowest to the highest line.
410 You can manually force a clef glyph to be typeset on an arbitrary
411 line, as described in @ref{Clef}. The note printed to the right
412 side of each clef in the example column denotes the @code{c'} with
413 respect to that clef.
415 Petrucci used C clefs with differently balanced left-side vertical
416 beams, depending on which staff line it is printed.
418 @multitable @columnfractions .4 .4 .2
429 @code{mensural-c1}, @code{mensural-c2},@*
430 @code{mensural-c3}, @code{mensural-c4},@*
433 @lilypond[relative=1,notime]
435 \override NoteHead.style = #'mensural
444 @lilypond[relative=1,notime]
446 \override NoteHead.style = #'mensural
455 @lilypond[relative=1,notime]
457 \override NoteHead.style = #'mensural
462 black mensural C clef
464 @code{blackmensural-c1}, @code{blackmensural-c2},@*
465 @code{blackmensural-c3}, @code{blackmensural-c4},@*
466 @code{blackmensural-c5}
468 @lilypond[relative=1,notime]
469 \clef "blackmensural-c2"
470 \override NoteHead.style = #'mensural
477 @code{neomensural-c1}, @code{neomensural-c2},@*
478 @code{neomensural-c3}, @code{neomensural-c4}
480 @lilypond[relative=1,notime]
481 \clef "neomensural-c2" c1
485 petrucci style C clefs, for use on different staff lines
486 (the example shows the 2nd staff line C clef)
488 @code{petrucci-c1}, @code{petrucci-c2},@*
489 @code{petrucci-c3}, @code{petrucci-c4},@*
492 @lilypond[relative=1,notime]
494 \override NoteHead.style = #'mensural
499 petrucci style F clefs, for use on different staff lines
500 (the example shows the 3rd staff line F clef)
502 @code{petrucci-f3}, @code{petrucci-f4},@*
505 @lilypond[relative=1,notime]
507 \override NoteHead.style = #'mensural
512 petrucci style G clef
516 @lilypond[relative=1,notime]
518 \override NoteHead.style = #'mensural
525 @rglos{mensural notation},
532 The mensural g clef is mapped to the Petrucci g clef.
535 @node Mensural time signatures
536 @unnumberedsubsubsec Mensural time signatures
538 @cindex mensuration sign
539 @cindex time signatures
541 There is limited support for mensuration signs (which are similar to,
542 but not exactly the same as time signatures). The glyphs are hard-wired
543 to particular time fractions. In other words, to get a particular mensuration sign with the @code{\time n/m} command, @code{n} and
544 @code{m} have to be chosen according to the following table
546 @lilypond[quote,ragged-right]
551 \remove "Staff_symbol_engraver"
552 \remove "Clef_engraver"
553 \remove "Time_signature_engraver"
557 \set Score.timing = ##f
558 \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,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.:
837 \override Staff.Accidental.glyph-name-alist =
838 #alteration-mensural-glyph-name-alist
843 @rglos{mensural notation},
846 @rglos{key signature}.
851 @ref{Automatic accidentals},
855 @rinternals{KeySignature}.
858 @node Annotational accidentals (musica ficta)
859 @unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
861 In European music from before about 1600, singers were expected to
862 chromatically alter notes at their own initiative according to
863 certain rules. This is called @notation{musica ficta}. In modern
864 transcriptions, these accidentals are usually printed over the
867 @cindex Accidental, musica ficta
870 Support for such suggested accidentals is included, and can be
871 switched on by setting @code{suggestAccidentals} to true.
873 @funindex suggestAccidentals
875 @lilypond[verbatim,relative=1]
877 \set suggestAccidentals = ##t
881 This will treat @emph{every} subsequent accidental as
882 @emph{musica ficta} until it is unset with
883 @code{\set suggestAccidentals = ##f}. A more practical way is to
884 use @code{\once \set suggestAccidentals = ##t}, which can even be
885 defined as a convenient shorthand:
887 @lilypond[quote,verbatim]
888 ficta = { \once \set suggestAccidentals = ##t }
889 \score { \relative c''
891 \once \set suggestAccidentals = ##t
892 bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
899 @rinternals{Accidental_engraver},
900 @rinternals{AccidentalSuggestion}.
903 @node White mensural ligatures
904 @unnumberedsubsubsec White mensural ligatures
906 @cindex Mensural ligatures
907 @cindex White mensural ligatures
909 There is limited support for white mensural ligatures.
911 To engrave white mensural ligatures, in the layout block, replace
912 the @code{Ligature_bracket_engraver} with the
913 @code{Mensural_ligature_engraver} in the @code{Voice}
920 \remove "Ligature_bracket_engraver"
921 \consists "Mensural_ligature_engraver"
926 There is no additional input language to describe the shape of a
927 white mensural ligature. The shape is rather determined solely from
928 the pitch and duration of the enclosed notes. While this approach may
929 take a new user a while to get accustomed to, it has the great advantage
930 that the full musical information of the ligature is known internally.
931 This is not only required for correct MIDI output, but also allows for
932 automatic transcription of the ligatures.
934 At certain places two consecutive notes can be represented either as
935 two squares or as an oblique parallelogram (flexa shape). In such
936 cases the default is the two squares, but a flexa can be required by
937 setting the @code{ligature-flexa} property of the @emph{second} note
938 head. The length of a flexa can be set by the note head property
944 @c \set Score.timing = ##f
945 @c \set Score.defaultBarType = "-"
946 @c \override NoteHead.style = #'neomensural
947 @c \override Staff.TimeSignature.style = #'neomensural
948 @c \clef "petrucci-g"
950 @c \[ d\longa c\breve f e d \]
951 @c \[ c'\maxima d'\longa \]
952 @c \[ e'1 a g\breve \]
954 @lilypond[quote,ragged-right,verbatim]
957 \set Score.timing = ##f
958 \set Score.defaultBarType = "-"
959 \override NoteHead.style = #'petrucci
960 \override Staff.TimeSignature.style = #'mensural
964 \override NoteHead.ligature-flexa = ##t
965 \once \override NoteHead.flexa-width = #3.2
967 \[ c'\maxima d\longa \]
973 \remove "Ligature_bracket_engraver"
974 \consists "Mensural_ligature_engraver"
980 Without replacing @code{Ligature_bracket_engraver} with
981 @code{Mensural_ligature_engraver}, the same music transcribes
984 @lilypond[quote,ragged-right]
986 \set Score.timing = ##f
987 \set Score.defaultBarType = "-"
988 \override NoteHead.style = #'petrucci
989 \override Staff.TimeSignature.style = #'mensural
993 \override NoteHead.ligature-flexa = ##t
994 \once \override NoteHead.flexa-width = #3.2
996 \[ c'\maxima d\longa \]
1006 @ref{Gregorian square neume ligatures},
1010 Horizontal spacing of ligatures is poor.
1011 Accidentals may collide with previous notes.
1014 @node Typesetting Gregorian chant
1015 @subsection Typesetting Gregorian chant
1018 * Gregorian chant contexts::
1020 * Gregorian accidentals and key signatures::
1022 * Gregorian articulation signs::
1023 * Augmentum dots (morae)::
1024 * Gregorian square neume ligatures::
1027 When typesetting a piece in Gregorian chant notation, the
1028 @code{Vaticana_ligature_engraver} automatically selects the
1029 proper note heads, so there is no need to explicitly set the note
1030 head style. Still, the note head style can be set, e.g., to
1031 @code{vaticana_punctum} to produce punctum neumes. Similarly, the
1032 @code{Mensural_ligature_engraver} automatically assembles
1040 @ref{White mensural ligatures},
1044 @node Gregorian chant contexts
1045 @unnumberedsubsubsec Gregorian chant contexts
1047 @cindex VaticanaVoiceContext
1048 @cindex VaticanaStaffContext
1050 The predefined @code{VaticanaVoiceContext} and
1051 @code{VaticanaStaffContext} can be used to engrave a piece of
1052 Gregorian chant in the style of the Editio Vaticana. These contexts
1053 initialize all relevant context properties and grob properties to
1054 proper values, so you can immediately go ahead entering the chant, as
1055 the following excerpt demonstrates:
1057 @lilypond[quote,ragged-right,verbatim]
1058 \include "gregorian.ly"
1061 \new VaticanaVoice = "cantus" {
1062 \[ c'\melisma c' \flexa a \]
1063 \[ a \flexa \deminutum g\melismaEnd \]
1065 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
1066 c' \divisioMinima \break
1067 \[ c'\melisma c' \flexa a \]
1068 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
1070 \new Lyrics \lyricsto "cantus" {
1071 San- ctus, San- ctus, San- ctus
1079 @c TODO: nothing here yet ...
1082 @node Gregorian clefs
1083 @unnumberedsubsubsec Gregorian clefs
1087 The following table shows all Gregorian clefs that are supported via
1088 the @code{\clef} command. Some of the clefs use the same glyph,
1089 but differ only with respect to the line they are printed on. In
1090 such cases, a trailing number in the name is used to enumerate
1091 these clefs, numbered from the lowest to the highest line. Still,
1092 you can manually force a clef glyph to be typeset on an arbitrary
1093 line, as described in @ref{Clef}. The note printed to the right
1094 side of each clef in the example column denotes the @code{c'} with
1095 respect to that clef.
1097 @multitable @columnfractions .4 .4 .2
1106 Editio Vaticana style do clef
1108 @code{vaticana-do1}, @code{vaticana-do2},@*
1111 @lilypond[relative=1,notime]
1112 \override Staff.StaffSymbol.line-count = #4
1113 \override Staff.StaffSymbol.color = #red
1114 \override Staff.LedgerLineSpanner.color = #red
1115 \override Voice.Stem.transparent = ##t
1116 \override NoteHead.style = #'vaticana.punctum
1117 \clef "vaticana-do2"
1122 Editio Vaticana style fa clef
1124 @code{vaticana-fa1}, @code{vaticana-fa2}
1126 @lilypond[relative=1,notime]
1127 \override Staff.StaffSymbol.line-count = #4
1128 \override Staff.StaffSymbol.color = #red
1129 \override Staff.LedgerLineSpanner.color = #red
1130 \override Voice.Stem.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[relative=1,notime]
1143 \override Staff.StaffSymbol.line-count = #4
1144 \override Staff.StaffSymbol.color = #red
1145 \override Staff.LedgerLineSpanner.color = #red
1146 \override Voice.Stem.transparent = ##t
1147 \override NoteHead.style = #'medicaea.punctum
1148 \clef "medicaea-do2"
1153 Editio Medicaea style fa clef
1155 @code{medicaea-fa1}, @code{medicaea-fa2}
1157 @lilypond[relative=1,notime]
1158 \override Staff.StaffSymbol.line-count = #4
1159 \override Staff.StaffSymbol.color = #red
1160 \override Staff.LedgerLineSpanner.color = #red
1161 \override Voice.Stem.transparent = ##t
1162 \override NoteHead.style = #'medicaea.punctum
1163 \clef "medicaea-fa2"
1168 hufnagel style do clef
1170 @code{hufnagel-do1}, @code{hufnagel-do2},@*
1173 @lilypond[relative=1,notime]
1174 \override Staff.StaffSymbol.line-count = #4
1175 \override Staff.StaffSymbol.color = #red
1176 \override Staff.LedgerLineSpanner.color = #red
1177 \override Voice.Stem.transparent = ##t
1178 \override NoteHead.style = #'hufnagel.punctum
1179 \clef "hufnagel-do2"
1184 hufnagel style fa clef
1186 @code{hufnagel-fa1}, @code{hufnagel-fa2}
1188 @lilypond[relative=1,notime]
1189 \override Staff.StaffSymbol.line-count = #4
1190 \override Staff.StaffSymbol.color = #red
1191 \override Staff.LedgerLineSpanner.color = #red
1192 \override Voice.Stem.transparent = ##t
1193 \override NoteHead.style = #'hufnagel.punctum
1194 \clef "hufnagel-fa2"
1199 hufnagel style combined do/fa clef
1201 @code{hufnagel-do-fa}
1203 @lilypond[relative=1,notime]
1204 \override Staff.StaffSymbol.color = #red
1205 \override Staff.LedgerLineSpanner.color = #red
1206 \override Voice.Stem.transparent = ##t
1207 \override NoteHead.style = #'hufnagel.punctum
1208 \clef "hufnagel-do-fa"
1221 @node Gregorian accidentals and key signatures
1222 @unnumberedsubsubsec Gregorian accidentals and key signatures
1225 @cindex key signature
1227 Accidentals for the three different Gregorian styles are available:
1229 @lilypond[quote,ragged-right,staffsize=26]
1233 \line { " " \musicglyph #"accidentals.vaticana-1"
1234 " " \musicglyph #"accidentals.vaticana0" }
1238 \line { " " \musicglyph #"accidentals.medicaea-1" }
1242 \line { " " \musicglyph #"accidentals.hufnagel-1" }
1247 As shown, not all accidentals are supported by each style. When
1248 trying to access an unsupported accidental, LilyPond will switch to a
1251 @c @lilypondfile[verbatim,quote,texidoc,doctitle]
1252 @c {ancient-accidentals.ly}
1254 The style for accidentals and key signatures is controlled by the
1255 @code{glyph-name-alist} property of the grobs @code{Accidental} and
1256 @code{KeySignature}, respectively; e.g.:
1259 \override Staff.Accidental.glyph-name-alist =
1260 #alteration-mensural-glyph-name-alist
1266 @rglos{key signature}.
1271 @ref{Automatic accidentals},
1272 @ref{Key signature}.
1274 Internals Reference:
1275 @rinternals{KeySignature}.
1279 @unnumberedsubsubsec Divisiones
1285 There are no rests in Gregorian chant notation; instead, it uses
1288 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
1289 @q{division}) is a staff context symbol that is used to indicate
1290 the phrase and section structure of Gregorian music. The musical
1291 meaning of @emph{divisio minima}, @emph{divisio maior}, and
1292 @emph{divisio maxima} can be characterized as short, medium, and
1293 long pause, somewhat like the breath marks from @ref{Breath marks}.
1294 The @emph{finalis} sign not only marks the end of a chant, but is
1295 also frequently used within a single antiphonal/responsorial chant
1296 to mark the end of each section.
1298 To use divisiones, include the file @file{gregorian.ly}. It
1299 contains definitions that you can apply by just inserting
1300 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
1301 and @code{\finalis} at proper places in the input. Some editions use
1302 @emph{virgula} or @emph{caesura} instead of divisio minima.
1303 Therefore, @file{gregorian.ly} also defines @code{\virgula} and
1306 @lilypond[quote,ragged-right]
1307 \include "gregorian.ly"
1310 \context VaticanaVoice {
1311 \override TextScript.padding = #3
1313 s^\markup { "divisio minima" }
1316 s^\markup { "divisio maior" }
1319 s^\markup { "divisio maxima" }
1323 s^\markup { "finalis" }
1326 s^\markup { "virgula" }
1329 s^\markup { "caesura" }
1343 @funindex \divisioMinima
1344 @code{\divisioMinima},
1345 @funindex \divisioMaior
1346 @code{\divisioMaior},
1347 @funindex \divisioMaxima
1348 @code{\divisioMaxima},
1362 @file{ly/gregorian.ly}.
1365 @node Gregorian articulation signs
1366 @unnumberedsubsubsec Gregorian articulation signs
1368 @cindex articulations
1370 In addition to the standard articulation signs described in
1371 section @ref{Articulations and ornamentations}, articulation signs
1372 specifically designed for use with notation in
1373 @emph{Editio Vaticana} style are provided.
1375 @lilypond[quote,ragged-right,verbatim]
1376 \include "gregorian.ly"
1378 \new VaticanaVoice {
1379 \override TextScript.font-family = #'typewriter
1380 \override TextScript.font-shape = #'upright
1381 \override Script.padding = #-0.1
1382 a\ictus_"ictus " \bar "" \break
1383 a\circulus_"circulus " \bar "" \break
1384 a\semicirculus_"semicirculus " \bar "" \break
1385 a\accentus_"accentus " \bar "" \break
1386 \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
1393 @ref{Articulations and ornamentations}.
1396 @rlsr{Ancient notation}.
1398 Internals Reference:
1399 @rinternals{Episema},
1400 @rinternals{EpisemaEvent},
1401 @rinternals{Episema_engraver},
1402 @rinternals{Script},
1403 @rinternals{ScriptEvent},
1404 @rinternals{Script_engraver}.
1407 Some articulations are vertically placed too closely to the
1408 corresponding note heads.
1411 @node Augmentum dots (morae)
1412 @unnumberedsubsubsec Augmentum dots (@emph{morae})
1414 Augmentum dots, also called @emph{morae}, are added with the music
1415 function @code{\augmentum}. Note that @code{\augmentum} is
1416 implemented as a unary music function rather than as head prefix. It
1417 applies to the immediately following music expression only. That is,
1418 @code{\augmentum \virga c} will have no visible effect. Instead, say
1419 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1420 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1421 @code{\augmentum a \augmentum g}.
1423 @lilypond[quote,ragged-right,verbatim]
1424 \include "gregorian.ly"
1426 \new VaticanaVoice {
1427 \[ \augmentum a \flexa \augmentum g \]
1437 Internals Reference:
1438 @rinternals{BreathingSign}.
1441 @rlsr{Ancient notation}.
1444 @node Gregorian square neume ligatures
1445 @unnumberedsubsubsec Gregorian square neume ligatures
1447 @cindex Square neumes ligatures
1448 @cindex Gregorian square neumes ligatures
1450 There is limited support for Gregorian square neumes notation
1451 (following the style of the Editio Vaticana). Core ligatures can
1452 already be typeset, but essential issues for serious typesetting are
1453 still lacking, such as (among others) horizontal alignment of multiple
1454 ligatures, lyrics alignment, and proper handling of accidentals.
1456 The support for Gregorian neumes is enabled by @code{\include}ing
1457 @file{gregorian.ly} at the beginning of the file. This makes available
1458 a number of extra commands to produce the neume symbols used in
1459 plainchant notation.
1463 Note heads can be @emph{modified} and/or @emph{joined}.
1467 the note head can be modified by @emph{prefixing} the note name
1468 with any of the following commands:
1473 @funindex \inclinatum
1477 @funindex \descendens
1479 @funindex \ascendens
1485 @funindex \deminutum
1492 @item Ligatures, properly speaking (i.e. notes joined together), are
1493 produced by placing one of the joining commands @code{\pes} or
1494 @code{\flexa}, for upwards and downwards movement, respectively,
1495 @emph{between} the notes to be joined.
1498 A note name without any qualifiers will produce a @emph{punctum}.
1499 All other neumes, including the single-note neumes with a
1500 different shape such as the @emph{virga}, are in principle
1501 considered as ligatures and should therefore be placed
1502 between @code{\[@dots{}\]}.
1503 @c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
1510 @item The @emph{punctum} is the basic note shape (in the
1511 @emph{Vaticana} style: a square with some curvation for
1512 typographical finesse). In addition to the regular
1513 @emph{punctum}, there is also the oblique @emph{punctum
1514 inclinatum}, produced with the prefix @code{\inclinatum}. The
1515 regular @emph{punctum} can be modified with @code{\cavum}, which
1516 produces a hollow note, and @code{\linea}, which draws vertical
1517 lines on either side of the note.
1519 @item The @emph{virga} has a descending stem on the right side. It is
1520 produced by the modifier @code{\virga}.
1526 Unlike most other neumes notation systems, the typographical
1527 appearance of ligatures is not directly dictated by the input
1528 commands, but follows certain conventions dependent on musical
1529 meaning. For example, a three-note ligature with the musical shape
1530 low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
1531 Torculus consisting of three Punctum heads, while the shape
1532 high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
1533 Porrectus with a curved flexa shape and only a single Punctum
1534 head. There is no command to explicitly typeset the curved flexa
1535 shape; the decision of when to typeset a curved flexa shape is
1536 based on the musical input. The idea of this approach is to
1537 separate the musical aspects of the input from the notation style
1538 of the output. This way, the same input can be reused to typeset
1539 the same music in a different style of Gregorian chant notation.
1544 Another main category of notes in Gregorian chant is the so-called
1545 liquescent neumes. They are used under certain circumstances at
1546 the end of a syllable which ends in a @q{liquescent} letter, i.e.
1547 the sounding consonants that can hold a tone (the nasals, l, r, v,
1548 j, and their diphthong equivalents). Thus, the liquescent neumes
1549 are never used alone (although some of them can be produced), and
1550 they always fall at the end of a ligature.
1552 Liquescent neumes are represented graphically in two different,
1553 more or less interchangeable ways: with a smaller note or by
1554 @q{twisting} the main note upwards or downwards. The first is
1555 produced by making a regular @code{pes} or @code{flexa} and
1556 modifying the shape of the second note:
1557 @code{\[ a \pes \deminutum b \] }, the second by modifying the shape
1558 of a single-note neume with @code{\auctum} and one of the direction
1559 markers @code{\descendens} or @code{\ascendens}, e.g.,
1560 @code{ \[ \auctum \descendens a \] }.
1565 A third category of signs is made up of a small number of signs
1566 with a special meaning (which, incidentally, in most cases is only
1567 vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
1568 @emph{strophicus}. These are all produced by prefixing a note name
1569 with the corresponding modifier, @code{\quilisma},
1570 @code{\oriscus}, or @code{\stropha}.
1572 Virtually, within the ligature delimiters @code{\[} and @code{\]},
1573 any number of heads may be accumulated to form a single ligature,
1574 and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
1575 @code{\inclinatum}, etc. may be mixed in as desired. The use of
1576 the set of rules that underlies the construction of the ligatures
1577 in the above table is accordingly extrapolated. This way,
1578 infinitely many different ligatures can be created.
1580 Note that the use of these signs in the music itself follows
1581 certain rules, which are not checked by LilyPond. E.g., the
1582 @emph{quilisma} is always the middle note of an ascending
1583 ligature, and usually falls on a half-tone step, but it is
1584 perfectly possible, although incorrect, to make a single-note
1587 In addition to the note signs, @file{gregorian.ly} also defines the
1588 commands @code{\versus}, @code{\responsum}, @code{\ij},
1589 @code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
1590 corresponding characters, e.g., for use in lyrics, as section
1591 markers, etc. These commands use special Unicode characters and
1592 will only work if a font is used which supports them.
1597 The following table shows a limited, but still representative pool
1598 of Gregorian ligatures, together with the code fragments that
1599 produce the ligatures. The table is based on the extended neumes
1600 table of the 2nd volume of the Antiphonale Romanum
1601 (@emph{Liber Hymnarius}), published 1983 by the monks of Solesmes.
1602 The first column gives the name of the ligature, with the main form in
1603 boldface and the liquescent forms in italics. The third column
1604 shows the code fragment that produces this ligature, using
1605 @code{g}, @code{a}, and @code{b} as example pitches.
1608 @b{Single-note neums}
1610 @multitable @columnfractions .4 .2 .4
1613 @b{Basic} and @emph{Liquescent} forms
1620 @c TODO: \layout block is identical in all of the below examples.
1621 @c Therefore, it should somehow be included rather than duplicated all
1624 @c why not make variables in ly/engraver-init.ly? --hwn
1626 @c Because it's just used to typeset plain notes without
1627 @c a staff for demonstration purposes rather than something
1628 @c special of Gregorian chant notation. --jr
1634 @lilypond[staffsize=26,line-width=1.5\cm]
1635 \include "gregorian.ly"
1641 \layout { \neumeDemoLayout }}
1648 @lilypond[staffsize=26,line-width=1.5\cm]
1649 \include "gregorian.ly"
1655 \layout { \neumeDemoLayout }}
1658 @code{\[ \cavum b \]}
1662 @lilypond[staffsize=26,line-width=1.5\cm]
1663 \include "gregorian.ly"
1669 \layout { \neumeDemoLayout }}
1672 @code{\[ \linea b \]}
1675 @emph{Punctum Auctum Ascendens}
1677 @lilypond[staffsize=26,line-width=2.5\cm]
1678 \include "gregorian.ly"
1681 % Punctum Auctum Ascendens
1682 \[ \auctum \ascendens b \]
1684 \layout { \neumeDemoLayout }}
1687 @code{\[ \auctum \ascendens b \]}
1690 @emph{Punctum Auctum Descendens}
1692 @lilypond[staffsize=26,line-width=2.5\cm]
1693 \include "gregorian.ly"
1696 % Punctum Auctum Descendens
1697 \[ \auctum \descendens b \]
1699 \layout { \neumeDemoLayout }}
1702 @code{\[ \auctum \descendens b \]}
1705 @b{Punctum inclinatum}
1707 @lilypond[staffsize=26,line-width=1.5\cm]
1708 \include "gregorian.ly"
1711 % Punctum Inclinatum
1714 \layout { \neumeDemoLayout }}
1717 @code{\[ \inclinatum b \]}
1720 @emph{Punctum Inclinatum Auctum}
1722 @lilypond[staffsize=26,line-width=2.5\cm]
1723 \include "gregorian.ly"
1726 % Punctum Inclinatum Auctum
1727 \[ \inclinatum \auctum b \]
1729 \layout { \neumeDemoLayout }}
1732 @code{\[ \inclinatum \auctum b \]}
1735 @emph{Punctum Inclinatum Parvum}
1737 @lilypond[staffsize=26,line-width=1.0\cm]
1738 \include "gregorian.ly"
1741 % Punctum Inclinatum Parvum
1742 \[ \inclinatum \deminutum b \]
1744 \layout { \neumeDemoLayout }}
1747 @code{\[ \inclinatum \deminutum b \]}
1752 @lilypond[staffsize=26,line-width=1.0\cm]
1753 \include "gregorian.ly"
1759 \layout { \neumeDemoLayout }}
1766 @b{Two-note ligatures}
1768 @multitable @columnfractions .4 .2 .4
1771 @b{Clivis vel Flexa}
1773 @lilypond[staffsize=26,line-width=1.0\cm]
1774 \include "gregorian.ly"
1780 \layout { \neumeDemoLayout }}
1783 @code{\[ b \flexa g \]}
1787 @emph{Clivis Aucta Descendens}
1789 @lilypond[staffsize=26,line-width=2.0\cm]
1790 \include "gregorian.ly"
1793 % Clivis Aucta Descendens
1794 \[ b \flexa \auctum \descendens g \]
1796 \layout { \neumeDemoLayout }}
1799 @code{\[ b \flexa \auctum \descendens g \]}
1802 @emph{Clivis Aucta Ascendens}
1804 @lilypond[staffsize=26,line-width=2.0\cm]
1805 \include "gregorian.ly"
1808 % Clivis Aucta Ascendens
1809 \[ b \flexa \auctum \ascendens g \]
1811 \layout { \neumeDemoLayout }}
1814 @code{\[ b \flexa \auctum \ascendens g \]}
1819 @lilypond[staffsize=26,line-width=2.0\cm]
1820 \include "gregorian.ly"
1824 \[ b \flexa \deminutum g \]
1826 \layout { \neumeDemoLayout }}
1829 @code{\[ b \flexa \deminutum g \]}
1834 @lilypond[staffsize=26,line-width=1.0\cm]
1835 \include "gregorian.ly"
1841 \layout { \neumeDemoLayout }}
1844 @code{\[ g \pes b \]}
1847 @emph{Pes Auctus Descendens}
1849 @lilypond[staffsize=26,line-width=1.0\cm]
1850 \include "gregorian.ly"
1853 % Pes Auctus Descendens
1854 \[ g \pes \auctum \descendens b \]
1856 \layout { \neumeDemoLayout }}
1859 @code{\[ g \pes \auctum \descendens b \]}
1862 @emph{Pes Auctus Ascendens}
1864 @lilypond[staffsize=26,line-width=1.0\cm]
1865 \include "gregorian.ly"
1868 % Pes Auctus Ascendens
1869 \[ g \pes \auctum \ascendens b \]
1871 \layout { \neumeDemoLayout }}
1874 @code{\[ g \pes \auctum \ascendens b \]}
1879 @lilypond[staffsize=26,line-width=1.0\cm]
1880 \include "gregorian.ly"
1884 \[ g \pes \deminutum b \]
1886 \layout { \neumeDemoLayout }}
1889 @code{\[ g \pes \deminutum b \]}
1892 @emph{Pes Initio Debilis}
1894 @lilypond[staffsize=26,line-width=1.0\cm]
1895 \include "gregorian.ly"
1898 % Pes Initio Debilis
1899 \[ \deminutum g \pes b \]
1901 \layout { \neumeDemoLayout }}
1904 @code{\[ \deminutum g \pes b \]}
1907 @emph{Pes Auctus Descendens Initio Debilis}
1909 @lilypond[staffsize=26,line-width=1.0\cm]
1910 \include "gregorian.ly"
1913 % Pes Auctus Descendens Initio Debilis
1914 \[ \deminutum g \pes \auctum \descendens b \]
1916 \layout { \neumeDemoLayout }}
1919 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1924 @b{Multi-note ligatures}
1926 @multitable @columnfractions .4 .2 .4
1931 @lilypond[staffsize=26,line-width=1.0\cm]
1932 \include "gregorian.ly"
1936 \[ a \pes b \flexa g \]
1938 \layout { \neumeDemoLayout }}
1941 @code{\[ a \pes b \flexa g \]}
1944 @emph{Torculus Auctus Descendens}
1946 @lilypond[staffsize=26,line-width=1.0\cm]
1947 \include "gregorian.ly"
1950 % Torculus Auctus Descendens
1951 \[ a \pes b \flexa \auctum \descendens g \]
1953 \layout { \neumeDemoLayout }}
1956 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1959 @emph{Torculus Deminutus}
1961 @lilypond[staffsize=26,line-width=1.0\cm]
1962 \include "gregorian.ly"
1965 % Torculus Deminutus
1966 \[ a \pes b \flexa \deminutum g \]
1968 \layout { \neumeDemoLayout }}
1971 @code{\[ a \pes b \flexa \deminutum g \]}
1974 @emph{Torculus Initio Debilis}
1976 @lilypond[staffsize=26,line-width=1.0\cm]
1977 \include "gregorian.ly"
1980 % Torculus Initio Debilis
1981 \[ \deminutum a \pes b \flexa g \]
1983 \layout { \neumeDemoLayout }}
1986 @code{\[ \deminutum a \pes b \flexa g \]}
1989 @emph{Torculus Auctus Descendens Initio Debilis}
1991 @lilypond[staffsize=26,line-width=1.0\cm]
1992 \include "gregorian.ly"
1995 % Torculus Auctus Descendens Initio Debilis
1996 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1998 \layout { \neumeDemoLayout }}
2001 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
2004 @emph{Torculus Deminutus Initio Debilis}
2006 @lilypond[staffsize=26,line-width=1.0\cm]
2007 \include "gregorian.ly"
2010 % Torculus Deminutus Initio Debilis
2011 \[ \deminutum a \pes b \flexa \deminutum g \]
2013 \layout { \neumeDemoLayout }}
2016 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
2021 @lilypond[staffsize=26,line-width=1.0\cm]
2022 \include "gregorian.ly"
2026 \[ a \flexa g \pes b \]
2028 \layout { \neumeDemoLayout }}
2031 @code{\[ a \flexa g \pes b \]}
2034 @emph{Porrectus Auctus Descendens}
2036 @lilypond[staffsize=26,line-width=1.0\cm]
2037 \include "gregorian.ly"
2040 % Porrectus Auctus Descendens
2041 \[ a \flexa g \pes \auctum \descendens b \]
2043 \layout { \neumeDemoLayout }}
2046 @code{\[ a \flexa g \pes \auctum \descendens b \]}
2049 @emph{Porrectus Deminutus}
2051 @lilypond[staffsize=26,line-width=1.0\cm]
2052 \include "gregorian.ly"
2055 % Porrectus Deminutus
2056 \[ a \flexa g \pes \deminutum b \]
2058 \layout { \neumeDemoLayout }}
2061 @code{\[ a \flexa g \pes \deminutum b \]}
2066 @lilypond[staffsize=26,line-width=1.0\cm]
2067 \include "gregorian.ly"
2071 \[ \virga b \inclinatum a \inclinatum g \]
2073 \layout { \neumeDemoLayout }}
2076 @code{\[ \virga b \inclinatum a \inclinatum g \]}
2079 @emph{Climacus Auctus}
2081 @lilypond[staffsize=26,line-width=1.0\cm]
2082 \include "gregorian.ly"
2086 \[ \virga b \inclinatum a \inclinatum \auctum g \]
2088 \layout { \neumeDemoLayout }}
2091 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
2094 @emph{Climacus Deminutus}
2096 @lilypond[staffsize=26,line-width=1.0\cm]
2097 \include "gregorian.ly"
2100 % Climacus Deminutus
2101 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
2103 \layout { \neumeDemoLayout }}
2106 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
2111 @lilypond[staffsize=26,line-width=1.0\cm]
2112 \include "gregorian.ly"
2116 \[ g \pes a \virga b \]
2118 \layout { \neumeDemoLayout }}
2121 @code{\[ g \pes a \virga b \]}
2124 @emph{Scandicus Auctus Descendens}
2126 @lilypond[staffsize=26,line-width=1.0\cm]
2127 \include "gregorian.ly"
2130 % Scandicus Auctus Descendens
2131 \[ g \pes a \pes \auctum \descendens b \]
2133 \layout { \neumeDemoLayout }}
2136 @code{\[ g \pes a \pes \auctum \descendens b \]}
2139 @emph{Scandicus Deminutus}
2141 @lilypond[staffsize=26,line-width=1.0\cm]
2142 \include "gregorian.ly"
2145 % Scandicus Deminutus
2146 \[ g \pes a \pes \deminutum b \]
2148 \layout { \neumeDemoLayout }}
2151 @code{\[ g \pes a \pes \deminutum b \]}
2158 @multitable @columnfractions .4 .2 .4
2163 @lilypond[staffsize=26,line-width=1.0\cm]
2164 \include "gregorian.ly"
2168 \[ g \pes \quilisma a \pes b \]
2170 \layout { \neumeDemoLayout }}
2173 @code{\[ g \pes \quilisma a \pes b \]}
2176 @emph{Quilisma Pes Auctus Descendens}
2178 @lilypond[staffsize=26,line-width=1.0\cm]
2179 \include "gregorian.ly"
2182 % Quilisma Pes Auctus Descendens
2183 \[ g \quilisma a \pes \auctum \descendens b \]
2185 \layout { \neumeDemoLayout }}
2188 @code{\[ \quilisma g \pes \auctum \descendens b \]}
2193 @lilypond[staffsize=26,line-width=1.0\cm]
2194 \include "gregorian.ly"
2200 \layout { \neumeDemoLayout }}
2203 @code{\[ \oriscus b \]}
2208 @lilypond[staffsize=26,line-width=1.0\cm]
2209 \include "gregorian.ly"
2213 \[ \oriscus g \pes \virga b \]
2215 \layout { \neumeDemoLayout }}
2218 @code{\[ \oriscus g \pes \virga b \]}
2221 @emph{Pes Quassus Auctus Descendens}
2223 @lilypond[staffsize=26,line-width=1.0\cm]
2224 \include "gregorian.ly"
2227 % Pes Quassus Auctus Descendens
2228 \[ \oriscus g \pes \auctum \descendens b \]
2230 \layout { \neumeDemoLayout }}
2233 @code{\[ \oriscus g \pes \auctum \descendens b \]}
2238 @lilypond[staffsize=26,line-width=1.0\cm]
2239 \include "gregorian.ly"
2243 \[ g \oriscus a \pes \virga b \]
2245 \layout { \neumeDemoLayout }}
2248 @code{\[ g \oriscus a \pes \virga b \]}
2251 @emph{Salicus Auctus Descendens}
2253 @lilypond[staffsize=26,line-width=1.0\cm]
2254 \include "gregorian.ly"
2257 % Salicus Auctus Descendens
2258 \[ g \oriscus a \pes \auctum \descendens b \]
2260 \layout { \neumeDemoLayout }}
2263 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
2268 @lilypond[staffsize=26,line-width=1.0\cm]
2269 \include "gregorian.ly"
2275 \layout { \neumeDemoLayout }}
2278 @code{\[ \stropha b \]}
2281 @emph{Stropha Aucta}
2283 @lilypond[staffsize=26,line-width=1.0\cm]
2284 \include "gregorian.ly"
2288 \[ \stropha \auctum b \]
2290 \layout { \neumeDemoLayout }}
2293 @code{\[ \stropha \auctum b \]}
2298 @lilypond[staffsize=26,line-width=1.0\cm]
2299 \include "gregorian.ly"
2303 \[ \stropha b \stropha b \]
2305 \layout { \neumeDemoLayout }}
2308 @code{\[ \stropha b \stropha b \]}
2313 @lilypond[staffsize=26,line-width=1.0\cm]
2314 \include "gregorian.ly"
2318 \[ \stropha b \stropha b \stropha b \]
2320 \layout { \neumeDemoLayout }}
2323 @code{\[ \stropha b \stropha b \stropha b \]}
2328 @lilypond[staffsize=26,line-width=1.0\cm]
2329 \include "gregorian.ly"
2333 \[ \stropha b \stropha b \stropha a \]
2335 \layout { \neumeDemoLayout }
2339 @code{\[ \stropha b \stropha b \stropha a \]}
2345 The following head prefixes are supported:
2350 @funindex \inclinatum
2354 @funindex \descendens
2356 @funindex \ascendens
2362 @funindex \deminutum
2370 Head prefixes can be accumulated, though restrictions apply. For
2371 example, either @code{\descendens} or @code{\ascendens} can be applied
2372 to a head, but not both to the same head.
2377 Two adjacent heads can be tied together with the @code{\pes} and
2378 @code{\flexa} infix commands for a rising and falling line of melody,
2381 @funindex \augmentum
2383 Use the unary music function @code{\augmentum} to add augmentum dots.
2390 @ref{Gregorian square neume ligatures},
2391 @ref{White mensural ligatures},
2395 When an @code{\augmentum} dot appears at the end of the last staff
2396 within a ligature, it is sometimes vertically placed wrong. As a
2397 workaround, add an additional skip note (e.g., @code{s8}) as last note
2400 @code{\augmentum} should be implemented as a head prefix rather than a
2401 unary music function, such that @code{\augmentum} can be intermixed
2402 with head prefixes in arbitrary order.
2404 @node Typesetting Kievan square notation
2405 @subsection Typesetting Kievan square notation
2411 * Kievan accidentals::
2413 * Kievan melismata::
2416 @node Kievan contexts
2417 @unnumberedsubsubsec Kievan contexts
2419 @cindex KievanVoiceContext
2420 @cindex KievanStaffContext
2422 As with Mensural and Gregorian notation, the predefined
2423 @code{KievanVoice} and @code{KievanStaff} contexts can be used
2424 to engrave a piece in square notation. These contexts initialize
2425 all relevant context properties and grob properties to proper
2426 values, so you can immediately go ahead entering the chant:
2428 @lilypond[quote,ragged-right,verbatim]
2431 \new KievanVoice = "melody" \relative c' {
2436 \new Lyrics \lyricsto "melody" {
2437 Го -- спо -- ди по -- ми -- луй.
2445 @rglos{kievan notation}.
2448 LilyPond supports Kievan notation of the Synodal style, as used in
2449 the corpus of chantbooks printed by the Russian Holy Synod in the
2450 1910's and recently reprinted by the Moscow Patriarchate Publishing
2451 House. LilyPond does not support the older (less common) forms of
2452 Kievan notation that were used in Galicia to notate Rusyn plainchant.
2455 @unnumberedsubsubsec Kievan clefs
2459 There is only one clef used in Kievan notation (the Tse-fa-ut Clef).
2460 It is used to indicate the position of @code{c}:
2462 @lilypond[quote,relative=1,notime,verbatim]
2470 @rglos{kievan notation},
2477 @unnumberedsubsubsec Kievan notes
2479 @cindex note heads, ancient
2481 For Kievan square notation, the appropriate note head style needs
2482 to be chosen and the flags and stems need to be turned off.
2483 This is accomplished by calling the @code{\kievanOn} function,
2484 which sets the appropriate properties of the note head, stems,
2485 and flags. Once Kievan note heads are not needed, these
2486 properties can be reverted by calling the @code{\kievanOff}
2489 The Kievan final note, which usually comes at the end of a piece
2490 of music, may be selected by setting the duration to
2491 @code{\longa}. The Kievan recitative mark, used to indicate
2492 the chanting of several syllables on one note, may be selected by
2493 setting the duration to @code{\breve}. The following example
2494 demonstrates the various Kievan note heads:
2496 @lilypond[quote,fragment,ragged-right,verbatim]
2500 b'1 b'2 b'4 b'8 b'\breve b'\longa
2507 @rglos{kievan notation},
2511 @ref{Note head styles}.
2514 LilyPond automatically determines if the stem up or stem down
2515 form of a note is drawn. When setting chant in square notation,
2516 however, it is customary to have the stems point in the same
2517 direction within a single melisma. This can be done manually by
2518 setting the @code{direction} property of the @code{Stem} object.
2520 @node Kievan accidentals
2521 @unnumberedsubsubsec Kievan accidentals
2525 The @code{kievan} style for accidentals is selected with the
2526 @code{glyph-name-alist} property of the grob @code{Accidental}.
2527 The @code{kievan} style provides a sharp and a flat sign
2528 different from the default style. There is no natural sign
2529 in Kievan notation. The sharp sign is not used in Synodal music
2530 but may occur in earlier manuscripts. It has been included
2531 primarily for the sake of compatibility.
2533 @lilypond[quote,relative=1,notime,verbatim]
2535 \override Accidental.glyph-name-alist =
2536 #alteration-kievan-glyph-name-alist
2542 @rglos{kievan notation},
2547 @ref{Automatic accidentals},
2550 @node Kievan bar line
2551 @unnumberedsubsubsec Kievan bar line
2553 A decorative figure is commonly placed at the end of a piece of
2554 Kievan notation, which may be called the Kievan final bar line.
2555 It can be invoked as @code{\bar "k"}.
2557 @lilypond[quote,relative=1,notime,verbatim]
2567 @node Kievan melismata
2568 @unnumberedsubsubsec Kievan melismata
2572 Notes within a Kievan melisma are usually placed close to each other
2573 and the melismata separated by whitespace. This is done to allow
2574 the chanter to quickly identify the melodic structures of Znamenny
2575 chant. In LilyPond, melismata are treated as ligatures and the
2576 spacing is implemented by the @code{Kievan_ligature_engraver}.
2578 When the @code{KievanVoice} and @code{KievanStaff} contexts are used,
2579 the @code{Kievan_ligature_engraver} is enabled by default. In other
2580 contexts, it can be invoked by replacing the @code{Ligature_bracket_engraver}
2581 with the @code{Kievan_ligature_engraver} in the layout block:
2587 \remove "Ligature_bracket_engraver"
2588 \consists "Kievan_ligature_engraver"
2593 The spacing between the notes within a Kievan ligature can be controlled
2594 by setting the @code{padding} property of the @code{KievanLigature}.
2596 The following example demonstrates the use of Kievan ligatures:
2598 @lilypond[quote,ragged-right,verbatim]
2601 \new KievanVoice = "melody" \relative c' {
2603 e2 \[ e4( d4 ) \] \[ c4( d e d ) \] e1 \bar "k"
2605 \new Lyrics \lyricsto "melody" {
2606 Га -- врі -- и -- лу
2617 @ref{White mensural ligatures},
2618 @ref{Gregorian square neume ligatures},
2622 Horizontal spacing of ligatures is poor.
2624 @node Working with ancient music---scenarios and solutions
2625 @subsection Working with ancient music---scenarios and solutions
2629 * Mensurstriche layout::
2630 * Transcribing Gregorian chant::
2631 * Ancient and modern from one source::
2632 * Editorial markings::
2635 Working with ancient music frequently involves particular tasks
2636 which differ considerably from the modern notation for which
2637 LilyPond is designed. In the rest of this section, a number of
2638 typical scenarios are outlined, with suggestions of solutions.
2642 @item how to make incipits (i.e. prefatory material to indicate
2643 what the original has looked like) to modern transcriptions of
2645 @item how to achieve the @emph{Mensurstriche} layout frequently
2646 used for modern transcriptions of polyphonic music;
2647 @item how to transcribe Gregorian chant in modern notation;
2648 @item how to generate both ancient and modern notation from the
2654 @unnumberedsubsubsec Incipits
2657 @c clefs, mensuration signs etc from lsr and -user
2658 @c use snippet Transcription-of-ancient-music-with-incipit
2662 @c ... and reference to other sections ...
2665 @node Mensurstriche layout
2666 @unnumberedsubsubsec Mensurstriche layout
2668 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
2669 for bar lines that are drawn between the staves of a system but
2670 not through the staves themselves. It is a common way to preserve
2671 the rhythmic appearance of the original, i.e. not having to break
2672 syncopated notes at bar lines, while still providing the
2673 orientation aids that bar lines give.
2676 @lilypondfile[verbatim,quote,texidoc]
2677 {mensurstriche-layout-bar-lines-between-the-staves.ly}
2679 @c This simple setup will take care of the
2680 @c TODO Add text about lyrics to the lowest line, to be placed
2681 @c outside the StaffGroup.
2682 @c from lsr and -user
2686 @c ... and reference to other sections ...
2689 @node Transcribing Gregorian chant
2690 @unnumberedsubsubsec Transcribing Gregorian chant
2692 Gregorian chant can be transcribed into modern notation with a
2693 number of simple tweaks.
2695 @b{Stems}. Stems can be left out altogether by @code{\remove}-ing
2696 the @code{Stem_engraver} from the Voice context:
2703 \remove "Stem_engraver"
2708 However, in some transcription styles, stems are used
2709 occasionally, for example to indicate the transition from a
2710 single-tone recitative to a fixed melodic gesture. In these cases,
2711 one can use either @code{\override Stem.transparent = ##t} or
2712 @code{\override Stem.length = #0} instead, and restore the stem
2713 when needed with the corresponding @code{\once \override Stem.transparent = ##f} (see example below). When using stems that
2714 carry flags, make sure to set @code{\override Flag.transparent
2717 @b{Timing.} For unmetered chant, there are several alternatives.
2719 The Time_signature_engraver can be removed from the Staff context
2720 without any negative side effects. The alternative, to make it
2721 transparent, will leave an empty space in the score, since the
2722 invisible signature will still take up space.
2724 In many cases, @code{\set Score.timing = ##f} will give good
2725 results. Another alternative is to use @code{\CadenzaOn} and
2728 To remove the bar lines, the radical approach is to @code{\remove}
2729 the Bar_engraver from the Staff context. Again, one may want to
2730 use @code{\override BarLine.transparent = ##t} instead, if an
2731 occasional barline is wanted.
2733 A common type of transcription is recitativic chant where the
2734 repeated notes are indicated with a single breve. The text to
2735 the recitation tone can be dealt with in two different ways:
2736 either set as a single, left-aligned syllable:
2738 @lilypond[verbatim,ragged-right]
2739 \include "gregorian.ly"
2740 chant = \relative c' {
2742 c\breve c4 b4 a c2 c4 \divisioMaior
2743 c\breve c4 c f, f \finalis
2746 verba = \lyricmode {
2747 \once \override LyricText.self-alignment-X = #-1
2748 "Noctem quietam et" fi -- nem per -- fec -- tum
2749 \once \override LyricText.self-alignment-X = #-1
2750 "concedat nobis Dominus" om -- ni -- po -- tens.
2754 \new Voice = "melody" \chant
2755 \new Lyrics = "one" \lyricsto melody \verba
2760 \remove "Time_signature_engraver"
2761 \remove "Bar_engraver"
2762 \override Stem.transparent = ##t
2768 This works fine, as long as the text doesn't span a line break. If
2769 that is the case, an alternative is to add hidden notes to the
2770 score, here in combination with changing stem visibility:
2773 @lilypond[verbatim,ragged-right]
2774 \include "gregorian.ly"
2775 chant = \relative c' {
2777 \set Score.timing = ##f
2778 c\breve \override NoteHead.transparent = ##t c c c c c
2779 \revert NoteHead.transparent
2780 \override Stem.transparent = ##f \stemUp c4 b4 a
2781 \override Stem.transparent = ##t c2 c4 \divisioMaior
2782 c\breve \override NoteHead.transparent = ##t c c c c c c c
2783 \revert NoteHead.transparent c4 c f, f \finalis
2786 verba = \lyricmode {
2787 No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum
2788 con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens.
2793 \new Voice = "melody" \chant
2794 \new Lyrics \lyricsto "melody" \verba
2799 \remove "Time_signature_engraver"
2800 \override BarLine.transparent = ##t
2801 \override Stem.transparent = ##t
2807 Another common situation is transcription of neumatic or
2808 melismatic chants, i.e. chants with a varying number of notes
2809 to each syllable. In this case, one would want to set the
2810 syllable groups clearly apart, usually also the subdivisions of a
2811 longer melisma. One way to achieve this is to use a fixed
2812 @code{\time}, e.g., 1/4, and let each syllable or note group fill
2813 one of these measures, with the help of tuplets or shorter
2814 durations. If the bar lines and all other rhythmical indications
2815 are made transparent, and the space around the bar lines is
2816 increased, this will give a fairly good representation in modern
2817 notation of the original.
2819 To avoid that syllables of different width (such as @qq{-ri} and
2820 @qq{-rum}) spread the syllable note groups unevenly apart, the
2821 @code{'X-extent} property of the @code{LyricText} object may be
2822 set to a fixed value. Another, more cumbersome way would be to
2823 add the syllables as @code{\markup} elements. If further
2824 adjustments are necessary, this can be easily done with
2827 @lilypond[verbatim,quote]
2828 spiritus = \relative c' {
2830 \override Lyrics.LyricText.X-extent = #'(0 . 3)
2831 d4 \tuplet 3/2 { f8 a g } g a a4 g f8 e
2832 d4 f8 g g8 d f g a g f4 g8 a a4 s
2833 \tuplet 3/2 { g8 f d } e f g a g4
2836 spirLyr = \lyricmode {
2837 Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _
2838 or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu
2843 \new Voice = "chant" \spiritus
2844 \new Lyrics = "one" \lyricsto "chant" \spirLyr
2849 \remove "Time_signature_engraver"
2850 \override BarLine.X-extent = #'(-1 . 1)
2851 \override Stem.transparent = ##t
2852 \override Beam.transparent = ##t
2853 \override BarLine.transparent = ##t
2854 \override TupletNumber.transparent = ##t
2860 @c extract from 1.6.1.1
2863 @c ... and reference to other sections ...
2866 @node Ancient and modern from one source
2867 @unnumberedsubsubsec Ancient and modern from one source
2870 @c Here among others the snippets about reducing note length
2874 @c ... and reference to other sections ...
2877 @node Editorial markings
2878 @unnumberedsubsubsec Editorial markings
2881 @c @node Baroque rhythmic notation
2882 @c @unnumberedsubsubsec Baroque rhythmic notation
2886 @c Add example of white note heads:
2887 @c In the french baroque some composers used white note heads in slow pieces,
2888 @c mainly in 3/2-time. A quarter looks there like a eighth with a white
2889 @c note head. (Franz-Rudolf Kuhnen)
2891 @c TODO Add example of this:
2892 @c I was referring to e.g. notated a8. a16, which should, if I
2893 @c remember correctly, be interpreted more like a8.. a32 (in the french
2894 @c style). The editor might want to show that rythmic figure above the
2895 @c staff as an hint to performers. (Karl Hammer)
2902 @c ... and reference to other sections ...