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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 \hide Score.BarNumber {
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,relative=1]
732 \override Flag.style = #'mensural
733 \override Stem.thickness = #1.0
734 \override NoteHead.style = #'mensural
736 c8 d e f c16 d e f c32 d e f s8
737 c'8 d e f c16 d e f c32 d e f
740 Note that the innermost flare of each mensural flag is
741 vertically aligned with a staff line.
743 There is no particular flag style for neo-mensural or Petrucci notation.
744 There are no flags in Gregorian chant notation.
748 @rglos{mensural notation},
752 Vertically aligning each flag with a staff line assumes that stems
753 always end either exactly on or exactly in the middle of two
754 staff lines. This may not always be true when using advanced layout
755 features of classical notation (which however are typically out of
756 scope for mensural notation).
760 @unnumberedsubsubsec Mensural rests
762 @cindex rests, ancient
764 Use the @code{style} property of grob @code{Rest} to select
765 ancient rests. Supported styles are @code{classical},
766 @code{neomensural}, and @code{mensural}. @code{classical} differs
767 from the @code{default} style only in that the quarter rest looks
768 like a horizontally mirrored 8th rest. The @code{mensural} and
769 the @code{neomensural} styles mimic the appearance of rests in
770 manuscripts and prints up to the 16th century.
772 The following example demonstrates the @code{mensural} and
773 @code{neomensural} styles:
775 @lilypond[quote,fragment,ragged-right,verbatim]
776 \set Score.skipBars = ##t
777 \override Rest.style = #'classical
778 r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
779 \override Rest.style = #'mensural
780 r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
781 \override Rest.style = #'neomensural
782 r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
785 There are no 32th and 64th rests specifically for the mensural or
786 neo-mensural style. Instead, the rests from the default style will be
791 @rglos{mensural notation}.
797 @rlsr{Ancient notation}.
800 The glyph for the maxima rest in mensural style is actually a perfect
801 longa rest; use two (or three) longa rests to print a maxima rest.
802 Longa rests are not grouped automatically, so have to be done manually by
806 @node Mensural accidentals and key signatures
807 @unnumberedsubsubsec Mensural accidentals and key signatures
810 @cindex key signature
812 The @code{mensural} style provides a sharp and a flat sign
813 different from the default style. If called for, the natural sign
814 will be taken from the @code{vaticana} style.
816 @lilypond[quote,ragged-right,staffsize=26]
820 \line { " " \musicglyph #"accidentals.mensural-1"
821 " " \musicglyph #"accidentals.mensural1" }
826 The style for accidentals and key signatures is controlled by the
827 @code{glyph-name-alist} property of the grobs @code{Accidental} and
828 @code{KeySignature}, respectively; e.g.:
831 \override Staff.Accidental.glyph-name-alist =
832 #alteration-mensural-glyph-name-alist
837 @rglos{mensural notation},
840 @rglos{key signature}.
845 @ref{Automatic accidentals},
849 @rinternals{KeySignature}.
852 @node Annotational accidentals (musica ficta)
853 @unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
855 In European music from before about 1600, singers were expected to
856 chromatically alter notes at their own initiative according to
857 certain rules. This is called @notation{musica ficta}. In modern
858 transcriptions, these accidentals are usually printed over the
861 @cindex Accidental, musica ficta
864 Support for such suggested accidentals is included, and can be
865 switched on by setting @code{suggestAccidentals} to true.
867 @funindex suggestAccidentals
869 @lilypond[verbatim,relative=1]
871 \set suggestAccidentals = ##t
875 This will treat @emph{every} subsequent accidental as
876 @emph{musica ficta} until it is unset with
877 @code{\set suggestAccidentals = ##f}. A more practical way is to
878 use @code{\once \set suggestAccidentals = ##t}, which can even be
879 defined as a convenient shorthand:
881 @lilypond[quote,verbatim]
882 ficta = { \once \set suggestAccidentals = ##t }
883 \score { \relative c''
885 \once \set suggestAccidentals = ##t
886 bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
893 @rinternals{Accidental_engraver},
894 @rinternals{AccidentalSuggestion}.
897 @node White mensural ligatures
898 @unnumberedsubsubsec White mensural ligatures
900 @cindex Mensural ligatures
901 @cindex White mensural ligatures
903 There is limited support for white mensural ligatures.
905 To engrave white mensural ligatures, in the layout block, replace
906 the @code{Ligature_bracket_engraver} with the
907 @code{Mensural_ligature_engraver} in the @code{Voice}
914 \remove "Ligature_bracket_engraver"
915 \consists "Mensural_ligature_engraver"
920 There is no additional input language to describe the shape of a
921 white mensural ligature. The shape is rather determined solely from
922 the pitch and duration of the enclosed notes. While this approach may
923 take a new user a while to get accustomed to, it has the great advantage
924 that the full musical information of the ligature is known internally.
925 This is not only required for correct MIDI output, but also allows for
926 automatic transcription of the ligatures.
928 At certain places two consecutive notes can be represented either as
929 two squares or as an oblique parallelogram (flexa shape). In such
930 cases the default is the two squares, but a flexa can be required by
931 setting the @code{ligature-flexa} property of the @emph{second} note
932 head. The length of a flexa can be set by the note head property
938 @c \set Score.timing = ##f
939 @c \set Score.defaultBarType = "-"
940 @c \override NoteHead.style = #'neomensural
941 @c \override Staff.TimeSignature.style = #'neomensural
942 @c \clef "petrucci-g"
944 @c \[ d\longa c\breve f e d \]
945 @c \[ c'\maxima d'\longa \]
946 @c \[ e'1 a g\breve \]
948 @lilypond[quote,ragged-right,verbatim]
951 \set Score.timing = ##f
952 \set Score.defaultBarType = "-"
953 \override NoteHead.style = #'petrucci
954 \override Staff.TimeSignature.style = #'mensural
958 \override NoteHead.ligature-flexa = ##t
959 \once \override NoteHead.flexa-width = #3.2
961 \[ c'\maxima d\longa \]
967 \remove "Ligature_bracket_engraver"
968 \consists "Mensural_ligature_engraver"
974 Without replacing @code{Ligature_bracket_engraver} with
975 @code{Mensural_ligature_engraver}, the same music transcribes
978 @lilypond[quote,ragged-right]
980 \set Score.timing = ##f
981 \set Score.defaultBarType = "-"
982 \override NoteHead.style = #'petrucci
983 \override Staff.TimeSignature.style = #'mensural
987 \override NoteHead.ligature-flexa = ##t
988 \once \override NoteHead.flexa-width = #3.2
990 \[ c'\maxima d\longa \]
1000 @ref{Gregorian square neume ligatures},
1004 Horizontal spacing of ligatures is poor.
1005 Accidentals may collide with previous notes.
1008 @node Typesetting Gregorian chant
1009 @subsection Typesetting Gregorian chant
1012 * Gregorian chant contexts::
1014 * Gregorian accidentals and key signatures::
1016 * Gregorian articulation signs::
1017 * Augmentum dots (morae)::
1018 * Gregorian square neume ligatures::
1021 When typesetting a piece in Gregorian chant notation, the
1022 @code{Vaticana_ligature_engraver} automatically selects the
1023 proper note heads, so there is no need to explicitly set the note
1024 head style. Still, the note head style can be set, e.g., to
1025 @code{vaticana_punctum} to produce punctum neumes. Similarly, the
1026 @code{Mensural_ligature_engraver} automatically assembles
1034 @ref{White mensural ligatures},
1038 @node Gregorian chant contexts
1039 @unnumberedsubsubsec Gregorian chant contexts
1041 @cindex VaticanaVoiceContext
1042 @cindex VaticanaStaffContext
1044 The predefined @code{VaticanaVoiceContext} and
1045 @code{VaticanaStaffContext} can be used to engrave a piece of
1046 Gregorian chant in the style of the Editio Vaticana. These contexts
1047 initialize all relevant context properties and grob properties to
1048 proper values, so you can immediately go ahead entering the chant, as
1049 the following excerpt demonstrates:
1051 @lilypond[quote,ragged-right,verbatim]
1052 \include "gregorian.ly"
1055 \new VaticanaVoice = "cantus" {
1056 \[ c'\melisma c' \flexa a \]
1057 \[ a \flexa \deminutum g\melismaEnd \]
1059 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
1060 c' \divisioMinima \break
1061 \[ c'\melisma c' \flexa a \]
1062 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
1064 \new Lyrics \lyricsto "cantus" {
1065 San- ctus, San- ctus, San- ctus
1073 @c TODO: nothing here yet ...
1076 @node Gregorian clefs
1077 @unnumberedsubsubsec Gregorian clefs
1081 The following table shows all Gregorian clefs that are supported via
1082 the @code{\clef} command. Some of the clefs use the same glyph,
1083 but differ only with respect to the line they are printed on. In
1084 such cases, a trailing number in the name is used to enumerate
1085 these clefs, numbered from the lowest to the highest line. Still,
1086 you can manually force a clef glyph to be typeset on an arbitrary
1087 line, as described in @ref{Clef}. The note printed to the right
1088 side of each clef in the example column denotes the @code{c'} with
1089 respect to that clef.
1091 @multitable @columnfractions .4 .4 .2
1100 Editio Vaticana style do clef
1102 @code{vaticana-do1}, @code{vaticana-do2},@*
1105 @lilypond[relative=1,notime]
1106 \override Staff.StaffSymbol.line-count = #4
1107 \override Staff.StaffSymbol.color = #red
1108 \override Staff.LedgerLineSpanner.color = #red
1110 \override NoteHead.style = #'vaticana.punctum
1111 \clef "vaticana-do2"
1116 Editio Vaticana style fa clef
1118 @code{vaticana-fa1}, @code{vaticana-fa2}
1120 @lilypond[relative=1,notime]
1121 \override Staff.StaffSymbol.line-count = #4
1122 \override Staff.StaffSymbol.color = #red
1123 \override Staff.LedgerLineSpanner.color = #red
1125 \override NoteHead.style = #'vaticana.punctum
1126 \clef "vaticana-fa2"
1131 Editio Medicaea style do clef
1133 @code{medicaea-do1}, @code{medicaea-do2},@*
1136 @lilypond[relative=1,notime]
1137 \override Staff.StaffSymbol.line-count = #4
1138 \override Staff.StaffSymbol.color = #red
1139 \override Staff.LedgerLineSpanner.color = #red
1141 \override NoteHead.style = #'medicaea.punctum
1142 \clef "medicaea-do2"
1147 Editio Medicaea style fa clef
1149 @code{medicaea-fa1}, @code{medicaea-fa2}
1151 @lilypond[relative=1,notime]
1152 \override Staff.StaffSymbol.line-count = #4
1153 \override Staff.StaffSymbol.color = #red
1154 \override Staff.LedgerLineSpanner.color = #red
1156 \override NoteHead.style = #'medicaea.punctum
1157 \clef "medicaea-fa2"
1162 hufnagel style do clef
1164 @code{hufnagel-do1}, @code{hufnagel-do2},@*
1167 @lilypond[relative=1,notime]
1168 \override Staff.StaffSymbol.line-count = #4
1169 \override Staff.StaffSymbol.color = #red
1170 \override Staff.LedgerLineSpanner.color = #red
1172 \override NoteHead.style = #'hufnagel.punctum
1173 \clef "hufnagel-do2"
1178 hufnagel style fa clef
1180 @code{hufnagel-fa1}, @code{hufnagel-fa2}
1182 @lilypond[relative=1,notime]
1183 \override Staff.StaffSymbol.line-count = #4
1184 \override Staff.StaffSymbol.color = #red
1185 \override Staff.LedgerLineSpanner.color = #red
1187 \override NoteHead.style = #'hufnagel.punctum
1188 \clef "hufnagel-fa2"
1193 hufnagel style combined do/fa clef
1195 @code{hufnagel-do-fa}
1197 @lilypond[relative=1,notime]
1198 \override Staff.StaffSymbol.color = #red
1199 \override Staff.LedgerLineSpanner.color = #red
1201 \override NoteHead.style = #'hufnagel.punctum
1202 \clef "hufnagel-do-fa"
1215 @node Gregorian accidentals and key signatures
1216 @unnumberedsubsubsec Gregorian accidentals and key signatures
1219 @cindex key signature
1221 Accidentals for the three different Gregorian styles are available:
1223 @lilypond[quote,ragged-right,staffsize=26]
1227 \line { " " \musicglyph #"accidentals.vaticana-1"
1228 " " \musicglyph #"accidentals.vaticana0" }
1232 \line { " " \musicglyph #"accidentals.medicaea-1" }
1236 \line { " " \musicglyph #"accidentals.hufnagel-1" }
1241 As shown, not all accidentals are supported by each style. When
1242 trying to access an unsupported accidental, LilyPond will switch to a
1245 @c @lilypondfile[verbatim,quote,texidoc,doctitle]
1246 @c {ancient-accidentals.ly}
1248 The style for accidentals and key signatures is controlled by the
1249 @code{glyph-name-alist} property of the grobs @code{Accidental} and
1250 @code{KeySignature}, respectively; e.g.:
1253 \override Staff.Accidental.glyph-name-alist =
1254 #alteration-mensural-glyph-name-alist
1260 @rglos{key signature}.
1265 @ref{Automatic accidentals},
1266 @ref{Key signature}.
1268 Internals Reference:
1269 @rinternals{KeySignature}.
1273 @unnumberedsubsubsec Divisiones
1279 There are no rests in Gregorian chant notation; instead, it uses
1282 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
1283 @q{division}) is a staff context symbol that is used to indicate
1284 the phrase and section structure of Gregorian music. The musical
1285 meaning of @emph{divisio minima}, @emph{divisio maior}, and
1286 @emph{divisio maxima} can be characterized as short, medium, and
1287 long pause, somewhat like the breath marks from @ref{Breath marks}.
1288 The @emph{finalis} sign not only marks the end of a chant, but is
1289 also frequently used within a single antiphonal/responsorial chant
1290 to mark the end of each section.
1292 To use divisiones, include the file @file{gregorian.ly}. It
1293 contains definitions that you can apply by just inserting
1294 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
1295 and @code{\finalis} at proper places in the input. Some editions use
1296 @emph{virgula} or @emph{caesura} instead of divisio minima.
1297 Therefore, @file{gregorian.ly} also defines @code{\virgula} and
1300 @lilypond[quote,ragged-right]
1301 \include "gregorian.ly"
1304 \context VaticanaVoice {
1305 \override TextScript.padding = #3
1307 s^\markup { "divisio minima" }
1310 s^\markup { "divisio maior" }
1313 s^\markup { "divisio maxima" }
1317 s^\markup { "finalis" }
1320 s^\markup { "virgula" }
1323 s^\markup { "caesura" }
1337 @funindex \divisioMinima
1338 @code{\divisioMinima},
1339 @funindex \divisioMaior
1340 @code{\divisioMaior},
1341 @funindex \divisioMaxima
1342 @code{\divisioMaxima},
1356 @file{ly/gregorian.ly}.
1359 @node Gregorian articulation signs
1360 @unnumberedsubsubsec Gregorian articulation signs
1362 @cindex articulations
1364 In addition to the standard articulation signs described in
1365 section @ref{Articulations and ornamentations}, articulation signs
1366 specifically designed for use with notation in
1367 @emph{Editio Vaticana} style are provided.
1369 @lilypond[quote,ragged-right,verbatim]
1370 \include "gregorian.ly"
1372 \new VaticanaVoice {
1373 \override TextScript.font-family = #'typewriter
1374 \override TextScript.font-shape = #'upright
1375 \override Script.padding = #-0.1
1376 a\ictus_"ictus " \bar "" \break
1377 a\circulus_"circulus " \bar "" \break
1378 a\semicirculus_"semicirculus " \bar "" \break
1379 a\accentus_"accentus " \bar "" \break
1380 \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
1387 @ref{Articulations and ornamentations}.
1390 @rlsr{Ancient notation}.
1392 Internals Reference:
1393 @rinternals{Episema},
1394 @rinternals{EpisemaEvent},
1395 @rinternals{Episema_engraver},
1396 @rinternals{Script},
1397 @rinternals{ScriptEvent},
1398 @rinternals{Script_engraver}.
1401 Some articulations are vertically placed too closely to the
1402 corresponding note heads.
1405 @node Augmentum dots (morae)
1406 @unnumberedsubsubsec Augmentum dots (@emph{morae})
1408 Augmentum dots, also called @emph{morae}, are added with the music
1409 function @code{\augmentum}. Note that @code{\augmentum} is
1410 implemented as a unary music function rather than as head prefix. It
1411 applies to the immediately following music expression only. That is,
1412 @code{\augmentum \virga c} will have no visible effect. Instead, say
1413 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1414 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1415 @code{\augmentum a \augmentum g}.
1417 @lilypond[quote,ragged-right,verbatim]
1418 \include "gregorian.ly"
1420 \new VaticanaVoice {
1421 \[ \augmentum a \flexa \augmentum g \]
1431 Internals Reference:
1432 @rinternals{BreathingSign}.
1435 @rlsr{Ancient notation}.
1438 @node Gregorian square neume ligatures
1439 @unnumberedsubsubsec Gregorian square neume ligatures
1441 @cindex Square neumes ligatures
1442 @cindex Gregorian square neumes ligatures
1444 There is limited support for Gregorian square neumes notation
1445 (following the style of the Editio Vaticana). Core ligatures can
1446 already be typeset, but essential issues for serious typesetting are
1447 still lacking, such as (among others) horizontal alignment of multiple
1448 ligatures, lyrics alignment, and proper handling of accidentals.
1450 The support for Gregorian neumes is enabled by @code{\include}ing
1451 @file{gregorian.ly} at the beginning of the file. This makes available
1452 a number of extra commands to produce the neume symbols used in
1453 plainchant notation.
1457 Note heads can be @emph{modified} and/or @emph{joined}.
1461 the note head can be modified by @emph{prefixing} the note name
1462 with any of the following commands:
1467 @funindex \inclinatum
1471 @funindex \descendens
1473 @funindex \ascendens
1479 @funindex \deminutum
1486 @item Ligatures, properly speaking (i.e. notes joined together), are
1487 produced by placing one of the joining commands @code{\pes} or
1488 @code{\flexa}, for upwards and downwards movement, respectively,
1489 @emph{between} the notes to be joined.
1492 A note name without any qualifiers will produce a @emph{punctum}.
1493 All other neumes, including the single-note neumes with a
1494 different shape such as the @emph{virga}, are in principle
1495 considered as ligatures and should therefore be placed
1496 between @code{\[@dots{}\]}.
1497 @c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
1504 @item The @emph{punctum} is the basic note shape (in the
1505 @emph{Vaticana} style: a square with some curvation for
1506 typographical finesse). In addition to the regular
1507 @emph{punctum}, there is also the oblique @emph{punctum
1508 inclinatum}, produced with the prefix @code{\inclinatum}. The
1509 regular @emph{punctum} can be modified with @code{\cavum}, which
1510 produces a hollow note, and @code{\linea}, which draws vertical
1511 lines on either side of the note.
1513 @item The @emph{virga} has a descending stem on the right side. It is
1514 produced by the modifier @code{\virga}.
1520 Unlike most other neumes notation systems, the typographical
1521 appearance of ligatures is not directly dictated by the input
1522 commands, but follows certain conventions dependent on musical
1523 meaning. For example, a three-note ligature with the musical shape
1524 low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
1525 Torculus consisting of three Punctum heads, while the shape
1526 high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
1527 Porrectus with a curved flexa shape and only a single Punctum
1528 head. There is no command to explicitly typeset the curved flexa
1529 shape; the decision of when to typeset a curved flexa shape is
1530 based on the musical input. The idea of this approach is to
1531 separate the musical aspects of the input from the notation style
1532 of the output. This way, the same input can be reused to typeset
1533 the same music in a different style of Gregorian chant notation.
1538 Another main category of notes in Gregorian chant is the so-called
1539 liquescent neumes. They are used under certain circumstances at
1540 the end of a syllable which ends in a @q{liquescent} letter, i.e.
1541 the sounding consonants that can hold a tone (the nasals, l, r, v,
1542 j, and their diphthong equivalents). Thus, the liquescent neumes
1543 are never used alone (although some of them can be produced), and
1544 they always fall at the end of a ligature.
1546 Liquescent neumes are represented graphically in two different,
1547 more or less interchangeable ways: with a smaller note or by
1548 @q{twisting} the main note upwards or downwards. The first is
1549 produced by making a regular @code{pes} or @code{flexa} and
1550 modifying the shape of the second note:
1551 @code{\[ a \pes \deminutum b \] }, the second by modifying the shape
1552 of a single-note neume with @code{\auctum} and one of the direction
1553 markers @code{\descendens} or @code{\ascendens}, e.g.,
1554 @code{ \[ \auctum \descendens a \] }.
1559 A third category of signs is made up of a small number of signs
1560 with a special meaning (which, incidentally, in most cases is only
1561 vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
1562 @emph{strophicus}. These are all produced by prefixing a note name
1563 with the corresponding modifier, @code{\quilisma},
1564 @code{\oriscus}, or @code{\stropha}.
1566 Virtually, within the ligature delimiters @code{\[} and @code{\]},
1567 any number of heads may be accumulated to form a single ligature,
1568 and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
1569 @code{\inclinatum}, etc. may be mixed in as desired. The use of
1570 the set of rules that underlies the construction of the ligatures
1571 in the above table is accordingly extrapolated. This way,
1572 infinitely many different ligatures can be created.
1574 Note that the use of these signs in the music itself follows
1575 certain rules, which are not checked by LilyPond. E.g., the
1576 @emph{quilisma} is always the middle note of an ascending
1577 ligature, and usually falls on a half-tone step, but it is
1578 perfectly possible, although incorrect, to make a single-note
1581 In addition to the note signs, @file{gregorian.ly} also defines the
1582 commands @code{\versus}, @code{\responsum}, @code{\ij},
1583 @code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
1584 corresponding characters, e.g., for use in lyrics, as section
1585 markers, etc. These commands use special Unicode characters and
1586 will only work if a font is used which supports them.
1591 The following table shows a limited, but still representative pool
1592 of Gregorian ligatures, together with the code fragments that
1593 produce the ligatures. The table is based on the extended neumes
1594 table of the 2nd volume of the Antiphonale Romanum
1595 (@emph{Liber Hymnarius}), published 1983 by the monks of Solesmes.
1596 The first column gives the name of the ligature, with the main form in
1597 boldface and the liquescent forms in italics. The third column
1598 shows the code fragment that produces this ligature, using
1599 @code{g}, @code{a}, and @code{b} as example pitches.
1602 @b{Single-note neums}
1604 @multitable @columnfractions .4 .2 .4
1607 @b{Basic} and @emph{Liquescent} forms
1614 @c TODO: \layout block is identical in all of the below examples.
1615 @c Therefore, it should somehow be included rather than duplicated all
1618 @c why not make variables in ly/engraver-init.ly? --hwn
1620 @c Because it's just used to typeset plain notes without
1621 @c a staff for demonstration purposes rather than something
1622 @c special of Gregorian chant notation. --jr
1628 @lilypond[staffsize=26,line-width=1.5\cm]
1629 \include "gregorian.ly"
1635 \layout { \neumeDemoLayout }}
1642 @lilypond[staffsize=26,line-width=1.5\cm]
1643 \include "gregorian.ly"
1649 \layout { \neumeDemoLayout }}
1652 @code{\[ \cavum b \]}
1656 @lilypond[staffsize=26,line-width=1.5\cm]
1657 \include "gregorian.ly"
1663 \layout { \neumeDemoLayout }}
1666 @code{\[ \linea b \]}
1669 @emph{Punctum Auctum Ascendens}
1671 @lilypond[staffsize=26,line-width=2.5\cm]
1672 \include "gregorian.ly"
1675 % Punctum Auctum Ascendens
1676 \[ \auctum \ascendens b \]
1678 \layout { \neumeDemoLayout }}
1681 @code{\[ \auctum \ascendens b \]}
1684 @emph{Punctum Auctum Descendens}
1686 @lilypond[staffsize=26,line-width=2.5\cm]
1687 \include "gregorian.ly"
1690 % Punctum Auctum Descendens
1691 \[ \auctum \descendens b \]
1693 \layout { \neumeDemoLayout }}
1696 @code{\[ \auctum \descendens b \]}
1699 @b{Punctum inclinatum}
1701 @lilypond[staffsize=26,line-width=1.5\cm]
1702 \include "gregorian.ly"
1705 % Punctum Inclinatum
1708 \layout { \neumeDemoLayout }}
1711 @code{\[ \inclinatum b \]}
1714 @emph{Punctum Inclinatum Auctum}
1716 @lilypond[staffsize=26,line-width=2.5\cm]
1717 \include "gregorian.ly"
1720 % Punctum Inclinatum Auctum
1721 \[ \inclinatum \auctum b \]
1723 \layout { \neumeDemoLayout }}
1726 @code{\[ \inclinatum \auctum b \]}
1729 @emph{Punctum Inclinatum Parvum}
1731 @lilypond[staffsize=26,line-width=1.0\cm]
1732 \include "gregorian.ly"
1735 % Punctum Inclinatum Parvum
1736 \[ \inclinatum \deminutum b \]
1738 \layout { \neumeDemoLayout }}
1741 @code{\[ \inclinatum \deminutum b \]}
1746 @lilypond[staffsize=26,line-width=1.0\cm]
1747 \include "gregorian.ly"
1753 \layout { \neumeDemoLayout }}
1760 @b{Two-note ligatures}
1762 @multitable @columnfractions .4 .2 .4
1765 @b{Clivis vel Flexa}
1767 @lilypond[staffsize=26,line-width=1.0\cm]
1768 \include "gregorian.ly"
1774 \layout { \neumeDemoLayout }}
1777 @code{\[ b \flexa g \]}
1781 @emph{Clivis Aucta Descendens}
1783 @lilypond[staffsize=26,line-width=2.0\cm]
1784 \include "gregorian.ly"
1787 % Clivis Aucta Descendens
1788 \[ b \flexa \auctum \descendens g \]
1790 \layout { \neumeDemoLayout }}
1793 @code{\[ b \flexa \auctum \descendens g \]}
1796 @emph{Clivis Aucta Ascendens}
1798 @lilypond[staffsize=26,line-width=2.0\cm]
1799 \include "gregorian.ly"
1802 % Clivis Aucta Ascendens
1803 \[ b \flexa \auctum \ascendens g \]
1805 \layout { \neumeDemoLayout }}
1808 @code{\[ b \flexa \auctum \ascendens g \]}
1813 @lilypond[staffsize=26,line-width=2.0\cm]
1814 \include "gregorian.ly"
1818 \[ b \flexa \deminutum g \]
1820 \layout { \neumeDemoLayout }}
1823 @code{\[ b \flexa \deminutum g \]}
1828 @lilypond[staffsize=26,line-width=1.0\cm]
1829 \include "gregorian.ly"
1835 \layout { \neumeDemoLayout }}
1838 @code{\[ g \pes b \]}
1841 @emph{Pes Auctus Descendens}
1843 @lilypond[staffsize=26,line-width=1.0\cm]
1844 \include "gregorian.ly"
1847 % Pes Auctus Descendens
1848 \[ g \pes \auctum \descendens b \]
1850 \layout { \neumeDemoLayout }}
1853 @code{\[ g \pes \auctum \descendens b \]}
1856 @emph{Pes Auctus Ascendens}
1858 @lilypond[staffsize=26,line-width=1.0\cm]
1859 \include "gregorian.ly"
1862 % Pes Auctus Ascendens
1863 \[ g \pes \auctum \ascendens b \]
1865 \layout { \neumeDemoLayout }}
1868 @code{\[ g \pes \auctum \ascendens b \]}
1873 @lilypond[staffsize=26,line-width=1.0\cm]
1874 \include "gregorian.ly"
1878 \[ g \pes \deminutum b \]
1880 \layout { \neumeDemoLayout }}
1883 @code{\[ g \pes \deminutum b \]}
1886 @emph{Pes Initio Debilis}
1888 @lilypond[staffsize=26,line-width=1.0\cm]
1889 \include "gregorian.ly"
1892 % Pes Initio Debilis
1893 \[ \deminutum g \pes b \]
1895 \layout { \neumeDemoLayout }}
1898 @code{\[ \deminutum g \pes b \]}
1901 @emph{Pes Auctus Descendens Initio Debilis}
1903 @lilypond[staffsize=26,line-width=1.0\cm]
1904 \include "gregorian.ly"
1907 % Pes Auctus Descendens Initio Debilis
1908 \[ \deminutum g \pes \auctum \descendens b \]
1910 \layout { \neumeDemoLayout }}
1913 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1918 @b{Multi-note ligatures}
1920 @multitable @columnfractions .4 .2 .4
1925 @lilypond[staffsize=26,line-width=1.0\cm]
1926 \include "gregorian.ly"
1930 \[ a \pes b \flexa g \]
1932 \layout { \neumeDemoLayout }}
1935 @code{\[ a \pes b \flexa g \]}
1938 @emph{Torculus Auctus Descendens}
1940 @lilypond[staffsize=26,line-width=1.0\cm]
1941 \include "gregorian.ly"
1944 % Torculus Auctus Descendens
1945 \[ a \pes b \flexa \auctum \descendens g \]
1947 \layout { \neumeDemoLayout }}
1950 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1953 @emph{Torculus Deminutus}
1955 @lilypond[staffsize=26,line-width=1.0\cm]
1956 \include "gregorian.ly"
1959 % Torculus Deminutus
1960 \[ a \pes b \flexa \deminutum g \]
1962 \layout { \neumeDemoLayout }}
1965 @code{\[ a \pes b \flexa \deminutum g \]}
1968 @emph{Torculus Initio Debilis}
1970 @lilypond[staffsize=26,line-width=1.0\cm]
1971 \include "gregorian.ly"
1974 % Torculus Initio Debilis
1975 \[ \deminutum a \pes b \flexa g \]
1977 \layout { \neumeDemoLayout }}
1980 @code{\[ \deminutum a \pes b \flexa g \]}
1983 @emph{Torculus Auctus Descendens Initio Debilis}
1985 @lilypond[staffsize=26,line-width=1.0\cm]
1986 \include "gregorian.ly"
1989 % Torculus Auctus Descendens Initio Debilis
1990 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1992 \layout { \neumeDemoLayout }}
1995 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
1998 @emph{Torculus Deminutus Initio Debilis}
2000 @lilypond[staffsize=26,line-width=1.0\cm]
2001 \include "gregorian.ly"
2004 % Torculus Deminutus Initio Debilis
2005 \[ \deminutum a \pes b \flexa \deminutum g \]
2007 \layout { \neumeDemoLayout }}
2010 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
2015 @lilypond[staffsize=26,line-width=1.0\cm]
2016 \include "gregorian.ly"
2020 \[ a \flexa g \pes b \]
2022 \layout { \neumeDemoLayout }}
2025 @code{\[ a \flexa g \pes b \]}
2028 @emph{Porrectus Auctus Descendens}
2030 @lilypond[staffsize=26,line-width=1.0\cm]
2031 \include "gregorian.ly"
2034 % Porrectus Auctus Descendens
2035 \[ a \flexa g \pes \auctum \descendens b \]
2037 \layout { \neumeDemoLayout }}
2040 @code{\[ a \flexa g \pes \auctum \descendens b \]}
2043 @emph{Porrectus Deminutus}
2045 @lilypond[staffsize=26,line-width=1.0\cm]
2046 \include "gregorian.ly"
2049 % Porrectus Deminutus
2050 \[ a \flexa g \pes \deminutum b \]
2052 \layout { \neumeDemoLayout }}
2055 @code{\[ a \flexa g \pes \deminutum b \]}
2060 @lilypond[staffsize=26,line-width=1.0\cm]
2061 \include "gregorian.ly"
2065 \[ \virga b \inclinatum a \inclinatum g \]
2067 \layout { \neumeDemoLayout }}
2070 @code{\[ \virga b \inclinatum a \inclinatum g \]}
2073 @emph{Climacus Auctus}
2075 @lilypond[staffsize=26,line-width=1.0\cm]
2076 \include "gregorian.ly"
2080 \[ \virga b \inclinatum a \inclinatum \auctum g \]
2082 \layout { \neumeDemoLayout }}
2085 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
2088 @emph{Climacus Deminutus}
2090 @lilypond[staffsize=26,line-width=1.0\cm]
2091 \include "gregorian.ly"
2094 % Climacus Deminutus
2095 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
2097 \layout { \neumeDemoLayout }}
2100 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
2105 @lilypond[staffsize=26,line-width=1.0\cm]
2106 \include "gregorian.ly"
2110 \[ g \pes a \virga b \]
2112 \layout { \neumeDemoLayout }}
2115 @code{\[ g \pes a \virga b \]}
2118 @emph{Scandicus Auctus Descendens}
2120 @lilypond[staffsize=26,line-width=1.0\cm]
2121 \include "gregorian.ly"
2124 % Scandicus Auctus Descendens
2125 \[ g \pes a \pes \auctum \descendens b \]
2127 \layout { \neumeDemoLayout }}
2130 @code{\[ g \pes a \pes \auctum \descendens b \]}
2133 @emph{Scandicus Deminutus}
2135 @lilypond[staffsize=26,line-width=1.0\cm]
2136 \include "gregorian.ly"
2139 % Scandicus Deminutus
2140 \[ g \pes a \pes \deminutum b \]
2142 \layout { \neumeDemoLayout }}
2145 @code{\[ g \pes a \pes \deminutum b \]}
2152 @multitable @columnfractions .4 .2 .4
2157 @lilypond[staffsize=26,line-width=1.0\cm]
2158 \include "gregorian.ly"
2162 \[ g \pes \quilisma a \pes b \]
2164 \layout { \neumeDemoLayout }}
2167 @code{\[ g \pes \quilisma a \pes b \]}
2170 @emph{Quilisma Pes Auctus Descendens}
2172 @lilypond[staffsize=26,line-width=1.0\cm]
2173 \include "gregorian.ly"
2176 % Quilisma Pes Auctus Descendens
2177 \[ g \quilisma a \pes \auctum \descendens b \]
2179 \layout { \neumeDemoLayout }}
2182 @code{\[ \quilisma g \pes \auctum \descendens b \]}
2187 @lilypond[staffsize=26,line-width=1.0\cm]
2188 \include "gregorian.ly"
2194 \layout { \neumeDemoLayout }}
2197 @code{\[ \oriscus b \]}
2202 @lilypond[staffsize=26,line-width=1.0\cm]
2203 \include "gregorian.ly"
2207 \[ \oriscus g \pes \virga b \]
2209 \layout { \neumeDemoLayout }}
2212 @code{\[ \oriscus g \pes \virga b \]}
2215 @emph{Pes Quassus Auctus Descendens}
2217 @lilypond[staffsize=26,line-width=1.0\cm]
2218 \include "gregorian.ly"
2221 % Pes Quassus Auctus Descendens
2222 \[ \oriscus g \pes \auctum \descendens b \]
2224 \layout { \neumeDemoLayout }}
2227 @code{\[ \oriscus g \pes \auctum \descendens b \]}
2232 @lilypond[staffsize=26,line-width=1.0\cm]
2233 \include "gregorian.ly"
2237 \[ g \oriscus a \pes \virga b \]
2239 \layout { \neumeDemoLayout }}
2242 @code{\[ g \oriscus a \pes \virga b \]}
2245 @emph{Salicus Auctus Descendens}
2247 @lilypond[staffsize=26,line-width=1.0\cm]
2248 \include "gregorian.ly"
2251 % Salicus Auctus Descendens
2252 \[ g \oriscus a \pes \auctum \descendens b \]
2254 \layout { \neumeDemoLayout }}
2257 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
2262 @lilypond[staffsize=26,line-width=1.0\cm]
2263 \include "gregorian.ly"
2269 \layout { \neumeDemoLayout }}
2272 @code{\[ \stropha b \]}
2275 @emph{Stropha Aucta}
2277 @lilypond[staffsize=26,line-width=1.0\cm]
2278 \include "gregorian.ly"
2282 \[ \stropha \auctum b \]
2284 \layout { \neumeDemoLayout }}
2287 @code{\[ \stropha \auctum b \]}
2292 @lilypond[staffsize=26,line-width=1.0\cm]
2293 \include "gregorian.ly"
2297 \[ \stropha b \stropha b \]
2299 \layout { \neumeDemoLayout }}
2302 @code{\[ \stropha b \stropha b \]}
2307 @lilypond[staffsize=26,line-width=1.0\cm]
2308 \include "gregorian.ly"
2312 \[ \stropha b \stropha b \stropha b \]
2314 \layout { \neumeDemoLayout }}
2317 @code{\[ \stropha b \stropha b \stropha b \]}
2322 @lilypond[staffsize=26,line-width=1.0\cm]
2323 \include "gregorian.ly"
2327 \[ \stropha b \stropha b \stropha a \]
2329 \layout { \neumeDemoLayout }
2333 @code{\[ \stropha b \stropha b \stropha a \]}
2339 The following head prefixes are supported:
2344 @funindex \inclinatum
2348 @funindex \descendens
2350 @funindex \ascendens
2356 @funindex \deminutum
2364 Head prefixes can be accumulated, though restrictions apply. For
2365 example, either @code{\descendens} or @code{\ascendens} can be applied
2366 to a head, but not both to the same head.
2371 Two adjacent heads can be tied together with the @code{\pes} and
2372 @code{\flexa} infix commands for a rising and falling line of melody,
2375 @funindex \augmentum
2377 Use the unary music function @code{\augmentum} to add augmentum dots.
2384 @ref{Gregorian square neume ligatures},
2385 @ref{White mensural ligatures},
2389 When an @code{\augmentum} dot appears at the end of the last staff
2390 within a ligature, it is sometimes vertically placed wrong. As a
2391 workaround, add an additional skip note (e.g., @code{s8}) as last note
2394 @code{\augmentum} should be implemented as a head prefix rather than a
2395 unary music function, such that @code{\augmentum} can be intermixed
2396 with head prefixes in arbitrary order.
2398 @node Typesetting Kievan square notation
2399 @subsection Typesetting Kievan square notation
2405 * Kievan accidentals::
2407 * Kievan melismata::
2410 @node Kievan contexts
2411 @unnumberedsubsubsec Kievan contexts
2413 @cindex KievanVoiceContext
2414 @cindex KievanStaffContext
2416 As with Mensural and Gregorian notation, the predefined
2417 @code{KievanVoice} and @code{KievanStaff} contexts can be used
2418 to engrave a piece in square notation. These contexts initialize
2419 all relevant context properties and grob properties to proper
2420 values, so you can immediately go ahead entering the chant:
2422 @lilypond[quote,ragged-right,verbatim]
2425 \new KievanVoice = "melody" \relative c' {
2430 \new Lyrics \lyricsto "melody" {
2431 Го -- спо -- ди по -- ми -- луй.
2439 @rglos{kievan notation}.
2442 LilyPond supports Kievan notation of the Synodal style, as used in
2443 the corpus of chantbooks printed by the Russian Holy Synod in the
2444 1910's and recently reprinted by the Moscow Patriarchate Publishing
2445 House. LilyPond does not support the older (less common) forms of
2446 Kievan notation that were used in Galicia to notate Rusyn plainchant.
2449 @unnumberedsubsubsec Kievan clefs
2453 There is only one clef used in Kievan notation (the Tse-fa-ut Clef).
2454 It is used to indicate the position of @code{c}:
2456 @lilypond[quote,relative=1,notime,verbatim]
2464 @rglos{kievan notation},
2471 @unnumberedsubsubsec Kievan notes
2473 @cindex note heads, ancient
2475 For Kievan square notation, the appropriate note head style needs
2476 to be chosen and the flags and stems need to be turned off.
2477 This is accomplished by calling the @code{\kievanOn} function,
2478 which sets the appropriate properties of the note head, stems,
2479 and flags. Once Kievan note heads are not needed, these
2480 properties can be reverted by calling the @code{\kievanOff}
2483 The Kievan final note, which usually comes at the end of a piece
2484 of music, may be selected by setting the duration to
2485 @code{\longa}. The Kievan recitative mark, used to indicate
2486 the chanting of several syllables on one note, may be selected by
2487 setting the duration to @code{\breve}. The following example
2488 demonstrates the various Kievan note heads:
2490 @lilypond[quote,fragment,ragged-right,verbatim]
2494 b'1 b'2 b'4 b'8 b'\breve b'\longa
2501 @rglos{kievan notation},
2505 @ref{Note head styles}.
2508 LilyPond automatically determines if the stem up or stem down
2509 form of a note is drawn. When setting chant in square notation,
2510 however, it is customary to have the stems point in the same
2511 direction within a single melisma. This can be done manually by
2512 setting the @code{direction} property of the @code{Stem} object.
2514 @node Kievan accidentals
2515 @unnumberedsubsubsec Kievan accidentals
2519 The @code{kievan} style for accidentals is selected with the
2520 @code{glyph-name-alist} property of the grob @code{Accidental}.
2521 The @code{kievan} style provides a sharp and a flat sign
2522 different from the default style. There is no natural sign
2523 in Kievan notation. The sharp sign is not used in Synodal music
2524 but may occur in earlier manuscripts. It has been included
2525 primarily for the sake of compatibility.
2527 @lilypond[quote,relative=1,notime,verbatim]
2529 \override Accidental.glyph-name-alist =
2530 #alteration-kievan-glyph-name-alist
2536 @rglos{kievan notation},
2541 @ref{Automatic accidentals},
2544 @node Kievan bar line
2545 @unnumberedsubsubsec Kievan bar line
2547 A decorative figure is commonly placed at the end of a piece of
2548 Kievan notation, which may be called the Kievan final bar line.
2549 It can be invoked as @code{\bar "k"}.
2551 @lilypond[quote,relative=1,notime,verbatim]
2561 @node Kievan melismata
2562 @unnumberedsubsubsec Kievan melismata
2566 Notes within a Kievan melisma are usually placed close to each other
2567 and the melismata separated by whitespace. This is done to allow
2568 the chanter to quickly identify the melodic structures of Znamenny
2569 chant. In LilyPond, melismata are treated as ligatures and the
2570 spacing is implemented by the @code{Kievan_ligature_engraver}.
2572 When the @code{KievanVoice} and @code{KievanStaff} contexts are used,
2573 the @code{Kievan_ligature_engraver} is enabled by default. In other
2574 contexts, it can be invoked by replacing the @code{Ligature_bracket_engraver}
2575 with the @code{Kievan_ligature_engraver} in the layout block:
2581 \remove "Ligature_bracket_engraver"
2582 \consists "Kievan_ligature_engraver"
2587 The spacing between the notes within a Kievan ligature can be controlled
2588 by setting the @code{padding} property of the @code{KievanLigature}.
2590 The following example demonstrates the use of Kievan ligatures:
2592 @lilypond[quote,ragged-right,verbatim]
2595 \new KievanVoice = "melody" \relative c' {
2597 e2 \[ e4( d4 ) \] \[ c4( d e d ) \] e1 \bar "k"
2599 \new Lyrics \lyricsto "melody" {
2600 Га -- врі -- и -- лу
2611 @ref{White mensural ligatures},
2612 @ref{Gregorian square neume ligatures},
2616 Horizontal spacing of ligatures is poor.
2618 @node Working with ancient music---scenarios and solutions
2619 @subsection Working with ancient music---scenarios and solutions
2623 * Mensurstriche layout::
2624 * Transcribing Gregorian chant::
2625 * Ancient and modern from one source::
2626 * Editorial markings::
2629 Working with ancient music frequently involves particular tasks
2630 which differ considerably from the modern notation for which
2631 LilyPond is designed. In the rest of this section, a number of
2632 typical scenarios are outlined, with suggestions of solutions.
2636 @item how to make incipits (i.e. prefatory material to indicate
2637 what the original has looked like) to modern transcriptions of
2639 @item how to achieve the @emph{Mensurstriche} layout frequently
2640 used for modern transcriptions of polyphonic music;
2641 @item how to transcribe Gregorian chant in modern notation;
2642 @item how to generate both ancient and modern notation from the
2648 @unnumberedsubsubsec Incipits
2651 @c clefs, mensuration signs etc from lsr and -user
2652 @c use snippet Transcription-of-ancient-music-with-incipit
2656 @c ... and reference to other sections ...
2659 @node Mensurstriche layout
2660 @unnumberedsubsubsec Mensurstriche layout
2662 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
2663 for bar lines that are drawn between the staves of a system but
2664 not through the staves themselves. It is a common way to preserve
2665 the rhythmic appearance of the original, i.e. not having to break
2666 syncopated notes at bar lines, while still providing the
2667 orientation aids that bar lines give.
2670 @lilypondfile[verbatim,quote,texidoc]
2671 {mensurstriche-layout-bar-lines-between-the-staves.ly}
2673 @c This simple setup will take care of the
2674 @c TODO Add text about lyrics to the lowest line, to be placed
2675 @c outside the StaffGroup.
2676 @c from lsr and -user
2680 @c ... and reference to other sections ...
2683 @node Transcribing Gregorian chant
2684 @unnumberedsubsubsec Transcribing Gregorian chant
2686 Gregorian chant can be transcribed into modern notation with a
2687 number of simple tweaks.
2689 @b{Stems}. Stems can be left out altogether by @code{\remove}-ing
2690 the @code{Stem_engraver} from the Voice context:
2697 \remove "Stem_engraver"
2702 However, in some transcription styles, stems are used
2703 occasionally, for example to indicate the transition from a
2704 single-tone recitative to a fixed melodic gesture. In these cases,
2705 one can use either @code{\hide Stem} or
2706 @code{\override Stem.length = #0} instead, and restore the stem
2707 when needed with the corresponding @code{\once \override Stem.transparent = ##f} (see example below).
2709 @b{Timing.} For unmetered chant, there are several alternatives.
2711 The Time_signature_engraver can be removed from the Staff context
2712 without any negative side effects. The alternative, to make it
2713 transparent, will leave an empty space in the score, since the
2714 invisible signature will still take up space.
2716 In many cases, @code{\set Score.timing = ##f} will give good
2717 results. Another alternative is to use @code{\cadenzaOn} and
2720 To remove the bar lines, the radical approach is to @code{\remove}
2721 the Bar_engraver from the Staff context. Again, one may want to
2722 use @code{\hide BarLine} instead, if an
2723 occasional barline is wanted.
2725 A common type of transcription is recitativic chant where the
2726 repeated notes are indicated with a single breve. The text to
2727 the recitation tone can be dealt with in two different ways:
2728 either set as a single, left-aligned syllable:
2730 @lilypond[verbatim,ragged-right]
2731 \include "gregorian.ly"
2732 chant = \relative c' {
2734 c\breve c4 b4 a c2 c4 \divisioMaior
2735 c\breve c4 c f, f \finalis
2738 verba = \lyricmode {
2739 \once \override LyricText.self-alignment-X = #-1
2740 "Noctem quietam et" fi -- nem per -- fec -- tum
2741 \once \override LyricText.self-alignment-X = #-1
2742 "concedat nobis Dominus" om -- ni -- po -- tens.
2746 \new Voice = "melody" \chant
2747 \new Lyrics = "one" \lyricsto melody \verba
2752 \remove "Time_signature_engraver"
2753 \remove "Bar_engraver"
2760 This works fine, as long as the text doesn't span a line break. If
2761 that is the case, an alternative is to add hidden notes to the
2762 score, here in combination with changing stem visibility:
2765 @lilypond[verbatim,ragged-right]
2766 \include "gregorian.ly"
2767 chant = \relative c' {
2769 \set Score.timing = ##f
2770 c\breve \hide NoteHead c c c c c
2771 \undo \hide NoteHead
2772 \override Stem.transparent = ##f \stemUp c4 b4 a
2773 \hide Stem c2 c4 \divisioMaior
2774 c\breve \hide NoteHead c c c c c c c
2775 \undo \hide NoteHead c4 c f, f \finalis
2778 verba = \lyricmode {
2779 No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum
2780 con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens.
2785 \new Voice = "melody" \chant
2786 \new Lyrics \lyricsto "melody" \verba
2791 \remove "Time_signature_engraver"
2799 Another common situation is transcription of neumatic or
2800 melismatic chants, i.e. chants with a varying number of notes
2801 to each syllable. In this case, one would want to set the
2802 syllable groups clearly apart, usually also the subdivisions of a
2803 longer melisma. One way to achieve this is to use a fixed
2804 @code{\time}, e.g., 1/4, and let each syllable or note group fill
2805 one of these measures, with the help of tuplets or shorter
2806 durations. If the bar lines and all other rhythmical indications
2807 are made transparent, and the space around the bar lines is
2808 increased, this will give a fairly good representation in modern
2809 notation of the original.
2811 To avoid that syllables of different width (such as @qq{-ri} and
2812 @qq{-rum}) spread the syllable note groups unevenly apart, the
2813 @code{'X-extent} property of the @code{LyricText} object may be
2814 set to a fixed value. Another, more cumbersome way would be to
2815 add the syllables as @code{\markup} elements. If further
2816 adjustments are necessary, this can be easily done with
2819 @lilypond[verbatim,quote]
2820 spiritus = \relative c' {
2822 \override Lyrics.LyricText.X-extent = #'(0 . 3)
2823 d4 \tuplet 3/2 { f8 a g } g a a4 g f8 e
2824 d4 f8 g g8 d f g a g f4 g8 a a4 s
2825 \tuplet 3/2 { g8 f d } e f g a g4
2828 spirLyr = \lyricmode {
2829 Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _
2830 or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu
2835 \new Voice = "chant" \spiritus
2836 \new Lyrics = "one" \lyricsto "chant" \spirLyr
2841 \remove "Time_signature_engraver"
2842 \override BarLine.X-extent = #'(-1 . 1)
2852 @c extract from 1.6.1.1
2855 @c ... and reference to other sections ...
2858 @node Ancient and modern from one source
2859 @unnumberedsubsubsec Ancient and modern from one source
2862 @c Here among others the snippets about reducing note length
2866 @c ... and reference to other sections ...
2869 @node Editorial markings
2870 @unnumberedsubsubsec Editorial markings
2873 @c @node Baroque rhythmic notation
2874 @c @unnumberedsubsubsec Baroque rhythmic notation
2878 @c Add example of white note heads:
2879 @c In the french baroque some composers used white note heads in slow pieces,
2880 @c mainly in 3/2-time. A quarter looks there like an eighth with a white
2881 @c note head. (Franz-Rudolf Kuhnen)
2883 @c TODO Add example of this:
2884 @c I was referring to e.g. notated a8. a16, which should, if I
2885 @c remember correctly, be interpreted more like a8.. a32 (in the french
2886 @c style). The editor might want to show that rythmic figure above the
2887 @c staff as an hint to performers. (Karl Hammer)
2894 @c ... and reference to other sections ...