1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c vim: foldmethod=marker
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. For details, see the Contributors'
8 Guide, node Updating translation committishes..
14 @node Ancient notation
15 @section Ancient notation
17 @lilypondfile[quote]{ancient-headword.ly}
19 @cindex Vaticana, Editio
20 @cindex Medicaea, Editio
27 * Overview of the supported styles::
28 * Ancient notation---common features::
29 * Typesetting mensural music::
30 * Typesetting Gregorian chant::
31 * Working with ancient music---scenarios and solutions::
35 Support for ancient notation includes features for mensural
36 notation and Gregorian chant notation. These features can be
37 accessed either by modifying style properties of graphical objects
38 such as note heads and rests, or by using one of the pre-defined
39 contexts for mensural or Gregorian notation.
41 Many graphical objects, such as note heads and flags, accidentals,
42 time signatures, and rests, provide a @code{style} property, which
43 can be changed to emulate several different styles of ancient
47 @item @ref{Mensural note heads},
48 @item @ref{Mensural accidentals and key signatures},
49 @item @ref{Mensural rests},
50 @item @ref{Mensural clefs},
51 @item @ref{Gregorian clefs},
52 @item @ref{Mensural flags},
53 @item @ref{Mensural time signatures}.
56 Some notational concepts are introduced specifically for ancient
61 @item @ref{Divisiones},
62 @item @ref{Ligatures}.
66 @node Overview of the supported styles
67 @subsection Overview of the supported styles
70 Three styles are available for typesetting Gregorian chant:
73 @item @emph{Editio Vaticana} is a complete style for
74 Gregorian chant, following the appearance of the Solesmes
75 editions, the official chant books of the Vatican since 1904.
76 LilyPond has support for all the notational signs used in this
77 style, including ligatures, @emph{custodes}, and special signs
78 such as the quilisma and the oriscus.
81 @cindex Vaticana, Editio
83 @item The @emph{Editio Medicaea} style offers certain features
84 used in the Medicaea (or Ratisbona) editions which were used prior
85 to the Solesmes editions. The most significant differences from
86 the @emph{Vaticana} style are the clefs, which have
87 downward-slanted strokes, and the noteheads, which are square and
90 @cindex Ratisbona, Editio
91 @cindex Medicaea, Editio
93 @item The @emph{Hufnagel} (@qq{horseshoe nail}) or @emph{Gothic}
94 style mimics the writing style in chant manuscripts from Germany
95 and Central Europe during the middle ages. It is named after the
96 basic note shape (the @emph{virga}), which looks like a small
101 Three styles emulate the appearance of late-medieval and
102 renaissance manuscripts and prints of mensural music:
105 @item The @emph{Mensural} style most closely resembles the
106 writing style used in late-medieval and early renaissance
107 manuscripts, with its small and narrow, diamond-shaped noteheads
108 and its rests which approach a hand-drawn style.
112 @item The @emph{Neomensural} style is a modernized and
113 stylized version of the former: the noteheads are broader and the
114 rests are made up of straight lines. This style is particularly
115 suited, e.g., for incipits of transcribed pieces of mensural
120 @item The @emph{Petrucci} style is named after Ottaviano Petrucci
121 (1466-1539), the first printer to use movable type for music (in
122 his @emph{Harmonice musices odhecaton}, 1501). The style uses
123 larger note heads than the other mensural styles.
129 @emph{Baroque} and @emph{Classical} are not complete styles
130 but differ from the default style only in some details: certain
131 noteheads (Baroque) and the quarter rest (Classical).
133 Only the mensural style has alternatives for all aspects of the
134 notation. Thus, there are no rests or flags in the Gregorian
135 styles, since these signs are not used in plainchant notation, and
136 the Petrucci style has no flags or accidentals of its own.
138 Each element of the notation can be changed independently of the
139 others, so that one can use mensural flags, petrucci noteheads,
140 classical rests and vaticana clefs in the same piece, if one
144 @node Ancient notation---common features
145 @subsection Ancient notation---common features
148 * Pre-defined contexts::
151 * Figured bass support::
155 @node Pre-defined contexts
156 @unnumberedsubsubsec Pre-defined contexts
158 For Gregorian chant and mensural notation, there are pre-defined
159 voice and staff contexts available, which set all the various
160 notation signs to values suitable for these styles. If one is
161 satisfied with these defaults, one can proceed directly with note
162 entry without worrying about the details on how to customize a
163 context. See one of the pre-defined contexts
164 @code{VaticanaVoice}, @code{VaticanaStaff}, @code{MensuralVoice},
165 and @code{MensuralStaff}. See further
168 @item @ref{Gregorian chant contexts},
169 @item @ref{Mensural contexts}.
174 @unnumberedsubsubsec Ligatures
178 @c TODO: Should double check if I recalled things correctly when I wrote
179 @c down the following paragraph by heart.
181 A ligature is a graphical symbol that represents at least two
182 distinct notes. Ligatures originally appeared in the manuscripts
183 of Gregorian chant notation to denote ascending or descending
184 sequences of notes on the same syllable. They are also used in
187 Ligatures are entered by @emph{enclosing} them in @code{\[} and
188 @code{\]}. Some ligature styles may need additional input syntax
189 specific for this particular type of ligature. By default, the
190 @code{LigatureBracket} engraver just puts a square bracket
193 @lilypond[quote,ragged-right,verbatim]
201 Two other ligature styles are available: the Vaticana for
202 Gregorian chant, and the Mensural for mensural music (only white
203 mensural ligatures are supported for mensural music, and with
204 certain limitations). To use any of these styles, the default
205 @code{Ligature_bracket_engraver} has to be replaced with one of the
206 specialized ligature engravers in the @code{Voice} context,
207 as explained in @ref{White mensural ligatures} and @ref{Gregorian
208 square neume ligatures}.
212 @c TODO: nothing here yet ...
217 Ligatures need special spacing that has not yet been implemented. As
218 a result, there is too much space between ligatures most of the time,
219 and line breaking often is unsatisfactory. Also, lyrics do not
220 correctly align with ligatures.
222 Accidentals must not be printed within a ligature, but instead need to
223 be collected and printed in front of it.
225 The syntax still uses the deprecated infix style @code{\[ music expr
226 \]}. For consistency reasons, it will eventually be changed to
227 postfix style @code{note\[ ... note\]}.
229 @c Alternatively, the file
230 @c @file{gregorian-init.ly} can be included; it provides a scheme
233 @c \ligature @var{music expr}
235 @c with the same effect and is believed to be stable.
237 @c TODO: this does not seem to work at the moment.
242 @unnumberedsubsubsec Custodes
247 A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard}) is a
248 symbol that appears at the end of a staff. It anticipates the pitch
249 of the first note of the following line, thus helping the performer
250 to manage line breaks during performance.
252 Custodes were frequently used in music notation until the
253 seventeenth century. Nowadays, they have survived only in a few
254 particular forms of musical notation such as contemporary editions
255 of Gregorian chant like the @emph{Editio Vaticana}. There are
256 different custos glyphs used in different flavors of notational
259 For typesetting custodes, just put a @code{Custos_engraver} into the
260 @code{Staff} context when declaring the @code{\layout} block,
261 and change the style of the custos with an @code{\override} if
262 desired, as shown in the following example:
264 @lilypond[quote,ragged-right]
274 \consists Custos_engraver
275 \override Custos #'style = #'mensural
281 The custos glyph is selected by the @code{style} property. The styles
282 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
283 @code{mensural}. They are demonstrated in the following fragment.
285 @lilypond[quote,ragged-right,fragment]
286 \new Lyrics \lyricmode {
288 \typewriter "vaticana "
289 \line { " " \musicglyph #"custodes.vaticana.u0" }
292 \typewriter "medicaea "
293 \line { " " \musicglyph #"custodes.medicaea.u0" }
296 \typewriter "hufnagel "
297 \line { " " \musicglyph #"custodes.hufnagel.u0" }
300 \typewriter "mensural "
301 \line { " " \musicglyph #"custodes.mensural.u0" }
312 @rlsr{Ancient notation}.
315 @node Figured bass support
316 @unnumberedsubsubsec Figured bass support
318 There is limited support for figured bass notation from the
319 Baroque period; see @ref{Figured bass}.
322 @node Typesetting mensural music
323 @subsection Typesetting mensural music
326 * Mensural contexts::
328 * Mensural time signatures::
329 * Mensural note heads::
332 * Mensural accidentals and key signatures::
333 * Annotational accidentals (musica ficta)::
334 * White mensural ligatures::
338 @node Mensural contexts
339 @unnumberedsubsubsec Mensural contexts
341 @cindex MensuralVoiceContext
342 @cindex MensuralStaffContext
344 The predefined @code{MensuralVoice} and @code{MensuralStaff}
345 contexts can be used to engrave a piece in mensural style. These
346 contexts initialize all relevant context properties and grob
347 properties to proper values, so you can immediately go ahead
348 entering the chant, as the following excerpt demonstrates:
350 @lilypond[quote,ragged-right,verbatim]
353 \new MensuralVoice = "discantus" \transpose c c' {
354 \override Score.BarNumber #'transparent = ##t {
355 c'1\melisma bes a g\melismaEnd
357 \[ f1\melisma a c'\breve d'\melismaEnd \]
359 c'\breve\melisma a1 g1\melismaEnd
360 fis\longa^\signumcongruentiae
363 \new Lyrics \lyricsto "discantus" {
364 San -- ctus, San -- ctus, San -- ctus
372 @c TODO: nothing here yet ...
376 @unnumberedsubsubsec Mensural clefs
380 The following table shows all mensural clefs that are supported via
381 the @code{\clef} command. Some of the clefs use the same glyph,
382 but differ only with respect to the line they are printed on. In
383 such cases, a trailing number in the name is used to enumerate
384 these clefs, numbered from the lowest to the highest line. Still,
385 you can manually force a clef glyph to be typeset on an arbitrary
386 line, as described in @ref{Clef}. The note printed to the right
387 side of each clef in the example column denotes the @code{c'} with
388 respect to that clef.
390 Petrucci used C clefs with differently balanced left-side vertical
391 beams, depending on which staff line it is printed.
393 @multitable @columnfractions .4 .4 .2
404 @code{mensural-c1}, @code{mensural-c2},@*
405 @code{mensural-c3}, @code{mensural-c4}
407 @lilypond[fragment,relative=1,notime]
409 \override NoteHead #'style = #'mensural
418 @lilypond[fragment,relative=1,notime]
420 \override NoteHead #'style = #'mensural
429 @lilypond[fragment,relative=1,notime]
431 \override NoteHead #'style = #'mensural
438 @code{neomensural-c1}, @code{neomensural-c2},@*
439 @code{neomensural-c3}, @code{neomensural-c4}
441 @lilypond[fragment,relative=1,notime]
442 \clef "neomensural-c2" c
446 petrucci style C clefs, for use on different staff lines
447 (the example shows the 2nd staff line C clef)
449 @code{petrucci-c1}, @code{petrucci-c2},@*
450 @code{petrucci-c3}, @code{petrucci-c4},@*
453 @lilypond[fragment,relative=1,notime]
455 \override NoteHead #'style = #'mensural
460 petrucci style F clef
464 @lilypond[fragment,relative=1,notime]
466 \override NoteHead #'style = #'mensural
471 petrucci style G clef
475 @lilypond[fragment,relative=1,notime]
477 \override NoteHead #'style = #'mensural
490 The mensural g clef is mapped to the Petrucci g clef.
493 @node Mensural time signatures
494 @unnumberedsubsubsec Mensural time signatures
496 @cindex mensuration sign
497 @cindex time signatures
499 There is limited support for mensuration signs (which are similar to, but
500 not exactly the same as time signatures). The glyphs are hard-wired to
501 particular time fractions. In other words, to get a particular mensuration
502 sign with the @code{\time n/m} command, @code{n} and @code{m} have to be
503 chosen according to the following table
505 @lilypond[quote,ragged-right]
510 \remove Staff_symbol_engraver
511 \remove Clef_engraver
512 \remove Time_signature_engraver
516 \set Score.timing = ##f
517 \set Score.barAlways = ##t
518 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
519 #"timesig.neomensural44" }
521 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
522 #"timesig.neomensural22" }
524 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
525 #"timesig.neomensural64" }
527 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
528 #"timesig.neomensural68" }
530 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
531 #"timesig.neomensural32" }
533 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
534 #"timesig.neomensural34" }
536 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
537 #"timesig.neomensural94" }
539 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
540 #"timesig.neomensural98" }
542 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
543 #"timesig.neomensural48" }
545 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
546 #"timesig.neomensural24" }
550 Use the @code{style} property of grob @code{TimeSignature}
551 to select ancient time signatures. Supported styles are
552 @code{neomensural} and @code{mensural}. The above table uses the
553 @code{neomensural} style. The following examples show the
554 differences in style:
556 @lilypond[ragged-right,fragment,relative=1,quote]
561 c1^\markup { \hspace #-2.0 \typewriter default }
563 \override Staff.TimeSignature #'style = #'numbered
565 c1^\markup { \hspace #-2.0 \typewriter numbered }
567 \override Staff.TimeSignature #'style = #'mensural
569 c1^\markup { \hspace #-2.0 \typewriter mensural }
571 \override Staff.TimeSignature #'style = #'neomensural
573 c1^\markup { \hspace #-2.0 \typewriter neomensural }
574 \override Staff.TimeSignature #'style = #'single-digit
576 c1^\markup { \hspace #-2.0 \typewriter single-digit }
583 @ref{Time signature}, gives a general introduction to
584 the use of time signatures.
589 Ratios of note durations do not change with the time signature. For
590 example, the ratio of 1@tie{}breve = 3@tie{}semibreves (@emph{tempus
591 perfectum}) must be made by hand, by setting
594 breveTP = #(ly:make-duration -1 0 3 2)
600 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
602 The @code{mensural68alt} and @code{neomensural68alt} symbols
603 (alternate symbols for 6/8) are not addressable with @code{\time}.
604 Use @code{\markup @{\musicglyph #"timesig.mensural68alt" @}} instead.
607 @node Mensural note heads
608 @unnumberedsubsubsec Mensural note heads
610 @cindex note heads, ancient
612 For ancient notation, a note head style other than the @code{default} style
613 may be chosen. This is accomplished by setting the @code{style} property of
614 the @code{NoteHead} object to @code{baroque}, @code{neomensural},
615 @code{mensural} or @code{petrucci}.
617 The @code{baroque} style differs from the @code{default} style by:
620 @item Providing a @code{maxima} notehead, and
621 @item Using a square shape for @code{\breve} note heads.
624 The @code{neomensural}, @code{mensural}, and @code{petrucci} styles differ from
625 the @code{baroque} style by:
628 @item Using rhomboidal heads for semibreves and all smaller durations, and
629 @item Centering the stems on the note heads.
633 The following example demonstrates the @code{petrucci} style:
635 @c Renaissance music doesn't use bar lines ... but they do help to
636 @c separate the notes for easier identification.
638 @lilypond[quote,fragment,ragged-right,verbatim]
639 \set Score.skipBars = ##t
641 \override NoteHead #'style = #'petrucci
642 a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
649 @ref{Note head styles}, gives an overview of all available note head styles.
653 @unnumberedsubsubsec Mensural flags
657 Use the @code{flag-style} property of grob @code{Stem} to
658 select ancient flags. Besides the @code{default} flag style,
659 only the @code{mensural} style is supported.
661 @lilypond[quote,fragment,ragged-right,verbatim]
662 \override Stem #'flag-style = #'mensural
663 \override Stem #'thickness = #1.0
664 \override NoteHead #'style = #'mensural
666 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
667 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
670 Note that the innermost flare of each mensural flag always is
671 vertically aligned with a staff line.
673 There is no particular flag style for neo-mensural or Petrucci notation.
675 @c when typesetting the incipit of a transcribed piece of mensural
676 @c music, the default flag style should be used.
677 There are no flags in Gregorian chant notation.
681 @c TODO: nothing here yet ...
686 The attachment of ancient flags to stems is slightly off.
687 @c due to a change in early 2.3.x.
689 Vertically aligning each flag with a staff line assumes that stems
690 always end either exactly on or exactly in the middle between two
691 staff lines. This may not always be true when using advanced layout
692 features of classical notation (which however are typically out of
693 scope for mensural notation).
697 @unnumberedsubsubsec Mensural rests
699 @cindex rests, ancient
701 Use the @code{style} property of grob @code{Rest} to select
702 ancient rests. Supported styles are @code{classical},
703 @code{neomensural}, and @code{mensural}. @code{classical} differs
704 from the @code{default} style only in that the quarter rest looks
705 like a horizontally mirrored 8th rest. The @code{mensural} and
706 the @code{neomensural} styles mimic the appearance of rests in
707 manuscripts and prints up to the 16th century.
709 The following example demonstrates the @code{mensural} and
710 @code{neomensural} styles:
712 @lilypond[quote,fragment,ragged-right,verbatim]
713 \set Score.skipBars = ##t
714 \override Rest #'style = #'classical
715 r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
716 \override Rest #'style = #'mensural
717 r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
718 \override Rest #'style = #'neomensural
719 r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
722 There are no 32th and 64th rests specifically for the mensural or
723 neo-mensural style. Instead, the rests from the default style will be
726 See @rlsr{Ancient notation} for a chart of all rests.
730 @ref{Rests}, gives a general introduction into the use of
734 @node Mensural accidentals and key signatures
735 @unnumberedsubsubsec Mensural accidentals and key signatures
738 @cindex key signature
740 The @code{mensural} style provides a sharp and a flat sign
741 different from the default style. If called for, the natural sign
742 will be taken from the @code{vaticana} style.
744 @lilypond[quote,ragged-right,staffsize=26]
748 \line { " " \musicglyph #"accidentals.mensural-1"
749 " " \musicglyph #"accidentals.mensural1" }
754 The style for accidentals and key signatures is controlled by the
755 @code{glyph-name-alist} property of the grobs @code{Accidental} and
756 @code{KeySignature}, respectively; e.g.:
758 @code{\override Staff.Accidental #'glyph-name-alist =
759 #alteration-mensural-glyph-name-alist}
764 @ref{Pitches}, @ref{Accidentals}, and @ref{Automatic accidentals}, give a
765 general introduction of the use of accidentals. @ref{Key signature}, gives
766 a general introduction of the use of key signatures.
769 @rinternals{KeySignature}.
772 @node Annotational accidentals (musica ficta)
773 @unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
775 In European music from before about 1600, singers were expected to
776 chromatically alter notes at their own initiative according to
777 certain rules. This is called @notation{musica ficta}. In modern
778 transcriptions, these accidentals are usually printed over the
781 @cindex Accidental, musica ficta
784 Support for such suggested accidentals is included, and can be
785 switched on by setting @code{suggestAccidentals} to true.
787 @funindex suggestAccidentals
789 @lilypond[verbatim,fragment,relative=1]
791 \set suggestAccidentals = ##t
795 This will treat @emph{every} subsequent accidental as @emph{musica
796 ficta} until it is unset with @code{\set suggestAccidentals =
797 ##f}. A more practical way is to use @code{\once \set
798 suggestAccidentals = ##t}, which can even be defined as a
799 convenient shorthand:
801 @lilypond[quote,verbatim]
802 ficta = { \once \set suggestAccidentals = ##t }
803 \score { \relative c''
805 \once \set suggestAccidentals = ##t
806 bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
814 @rinternals{Accidental_engraver},
815 @rinternals{AccidentalSuggestion}.
818 @node White mensural ligatures
819 @unnumberedsubsubsec White mensural ligatures
821 @cindex Mensural ligatures
822 @cindex White mensural ligatures
824 There is limited support for white mensural ligatures.
826 To engrave white mensural ligatures, in the layout block, replace
827 the @code{Ligature_bracket_engraver} with the
828 @code{Mensural_ligature_engraver} in the @code{Voice}
835 \remove Ligature_bracket_engraver
836 \consists Mensural_ligature_engraver
841 There is no additional input language to describe the shape of a
842 white mensural ligature. The shape is rather determined solely from
843 the pitch and duration of the enclosed notes. While this approach may
844 take a new user a while to get accustomed to, it has the great advantage
845 that the full musical information of the ligature is known internally.
846 This is not only required for correct MIDI output, but also allows for
847 automatic transcription of the ligatures.
852 @c \set Score.timing = ##f
853 @c \set Score.defaultBarType = "empty"
854 @c \override NoteHead #'style = #'neomensural
855 @c \override Staff.TimeSignature #'style = #'neomensural
856 @c \clef "petrucci-g"
858 @c \[ d\longa c\breve f e d \]
859 @c \[ c'\maxima d'\longa \]
860 @c \[ e'1 a g\breve \]
862 @lilypond[quote,ragged-right,verbatim]
865 \set Score.timing = ##f
866 \set Score.defaultBarType = "empty"
867 \override NoteHead #'style = #'neomensural
868 \override Staff.TimeSignature #'style = #'neomensural
871 \[ d\longa c\breve f e d \]
872 \[ c'\maxima d'\longa \]
878 \remove Ligature_bracket_engraver
879 \consists Mensural_ligature_engraver
885 Without replacing @code{Ligature_bracket_engraver} with
886 @code{Mensural_ligature_engraver}, the same music transcribes
889 @lilypond[quote,ragged-right]
891 \set Score.timing = ##f
892 \set Score.defaultBarType = "empty"
893 \override NoteHead #'style = #'neomensural
894 \override Staff.TimeSignature #'style = #'neomensural
897 \[ d\longa c\breve f e d \]
898 \[ c'\maxima d'\longa \]
905 @c TODO: nothing here yet ...
910 Horizontal spacing of ligatures is poor.
913 @node Typesetting Gregorian chant
914 @subsection Typesetting Gregorian chant
917 * Gregorian chant contexts::
919 * Gregorian accidentals and key signatures::
921 * Gregorian articulation signs::
922 * Augmentum dots (morae)::
923 * Gregorian square neume ligatures::
926 When typesetting a piece in Gregorian chant notation, the
927 @code{Vaticana_ligature_engraver} automatically selects the
928 proper note heads, so there is no need to explicitly set the note
929 head style. Still, the note head style can be set, e.g., to
930 @code{vaticana_punctum} to produce punctum neumes. Similarly, the
931 @code{Mensural_ligature_engraver} automatically assembles
932 mensural ligatures. See @ref{Ligatures}, for how ligature
936 @node Gregorian chant contexts
937 @unnumberedsubsubsec Gregorian chant contexts
939 @cindex VaticanaVoiceContext
940 @cindex VaticanaStaffContext
942 The predefined @code{VaticanaVoiceContext} and
943 @code{VaticanaStaffContext} can be used to engrave a piece of
944 Gregorian chant in the style of the Editio Vaticana. These contexts
945 initialize all relevant context properties and grob properties to
946 proper values, so you can immediately go ahead entering the chant, as
947 the following excerpt demonstrates:
949 @lilypond[quote,ragged-right,verbatim]
950 \include "gregorian.ly"
953 \new VaticanaVoice = "cantus" {
954 \[ c'\melisma c' \flexa a \]
955 \[ a \flexa \deminutum g\melismaEnd \]
957 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
958 c' \divisioMinima \break
959 \[ c'\melisma c' \flexa a \]
960 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
962 \new Lyrics \lyricsto "cantus" {
963 San- ctus, San- ctus, San- ctus
971 @c TODO: nothing here yet ...
974 @node Gregorian clefs
975 @unnumberedsubsubsec Gregorian clefs
979 The following table shows all Gregorian clefs that are supported via
980 the @code{\clef} command. Some of the clefs use the same glyph,
981 but differ only with respect to the line they are printed on. In
982 such cases, a trailing number in the name is used to enumerate
983 these clefs, numbered from the lowest to the highest line. Still,
984 you can manually force a clef glyph to be typeset on an arbitrary
985 line, as described in @ref{Clef}. The note printed to the right
986 side of each clef in the example column denotes the @code{c'} with
987 respect to that clef.
989 @multitable @columnfractions .4 .4 .2
998 Editio Vaticana style do clef
1000 @code{vaticana-do1}, @code{vaticana-do2},@*
1003 @lilypond[fragment,relative=1,notime]
1004 \override Staff.StaffSymbol #'line-count = #4
1005 \override Staff.StaffSymbol #'color = #red
1006 \override Staff.LedgerLineSpanner #'color = #red
1007 \override Voice.Stem #'transparent = ##t
1008 \override NoteHead #'style = #'vaticana.punctum
1009 \clef "vaticana-do2"
1014 Editio Vaticana style fa clef
1016 @code{vaticana-fa1}, @code{vaticana-fa2}
1018 @lilypond[fragment,relative=1,notime]
1019 \override Staff.StaffSymbol #'line-count = #4
1020 \override Staff.StaffSymbol #'color = #red
1021 \override Staff.LedgerLineSpanner #'color = #red
1022 \override Voice.Stem #'transparent = ##t
1023 \override NoteHead #'style = #'vaticana.punctum
1024 \clef "vaticana-fa2"
1029 Editio Medicaea style do clef
1031 @code{medicaea-do1}, @code{medicaea-do2},@*
1034 @lilypond[fragment,relative=1,notime]
1035 \override Staff.StaffSymbol #'line-count = #4
1036 \override Staff.StaffSymbol #'color = #red
1037 \override Staff.LedgerLineSpanner #'color = #red
1038 \override Voice.Stem #'transparent = ##t
1039 \override NoteHead #'style = #'medicaea.punctum
1040 \clef "medicaea-do2"
1045 Editio Medicaea style fa clef
1047 @code{medicaea-fa1}, @code{medicaea-fa2}
1049 @lilypond[fragment,relative=1,notime]
1050 \override Staff.StaffSymbol #'line-count = #4
1051 \override Staff.StaffSymbol #'color = #red
1052 \override Staff.LedgerLineSpanner #'color = #red
1053 \override Voice.Stem #'transparent = ##t
1054 \override NoteHead #'style = #'medicaea.punctum
1055 \clef "medicaea-fa2"
1060 hufnagel style do clef
1062 @code{hufnagel-do1}, @code{hufnagel-do2},@*
1065 @lilypond[fragment,relative=1,notime]
1066 \override Staff.StaffSymbol #'line-count = #4
1067 \override Staff.StaffSymbol #'color = #red
1068 \override Staff.LedgerLineSpanner #'color = #red
1069 \override Voice.Stem #'transparent = ##t
1070 \override NoteHead #'style = #'hufnagel.punctum
1071 \clef "hufnagel-do2"
1076 hufnagel style fa clef
1078 @code{hufnagel-fa1}, @code{hufnagel-fa2}
1080 @lilypond[fragment,relative=1,notime]
1081 \override Staff.StaffSymbol #'line-count = #4
1082 \override Staff.StaffSymbol #'color = #red
1083 \override Staff.LedgerLineSpanner #'color = #red
1084 \override Voice.Stem #'transparent = ##t
1085 \override NoteHead #'style = #'hufnagel.punctum
1086 \clef "hufnagel-fa2"
1091 hufnagel style combined do/fa clef
1093 @code{hufnagel-do-fa}
1095 @lilypond[fragment,relative=1,notime]
1096 \override Staff.StaffSymbol #'color = #red
1097 \override Staff.LedgerLineSpanner #'color = #red
1098 \override Voice.Stem #'transparent = ##t
1099 \override NoteHead #'style = #'hufnagel.punctum
1100 \clef "hufnagel-do-fa"
1111 @node Gregorian accidentals and key signatures
1112 @unnumberedsubsubsec Gregorian accidentals and key signatures
1115 @cindex key signature
1117 Accidentals for the three different Gregorian styles are available:
1119 @lilypond[quote,ragged-right,staffsize=26]
1123 \line { " " \musicglyph #"accidentals.vaticana-1"
1124 " " \musicglyph #"accidentals.vaticana0" }
1128 \line { " " \musicglyph #"accidentals.medicaea-1" }
1132 \line { " " \musicglyph #"accidentals.hufnagel-1" }
1137 As shown, not all accidentals are supported by each style. When
1138 trying to access an unsupported accidental, LilyPond will switch to a
1141 @c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1142 @c {ancient-accidentals.ly}
1144 The style for accidentals and key signatures is controlled by the
1145 @code{glyph-name-alist} property of the grobs @code{Accidental} and
1146 @code{KeySignature}, respectively; e.g.:
1148 @code{\override Staff.Accidental #'glyph-name-alist =
1149 #alteration-mensural-glyph-name-alist}
1154 @ref{Pitches}, @ref{Accidentals}, and @ref{Automatic accidentals}, give a
1155 general introduction of the use of accidentals. @ref{Key signature}, gives
1156 a general introduction of the use of key signatures.
1158 Internals Reference:
1159 @rinternals{KeySignature}.
1163 @unnumberedsubsubsec Divisiones
1169 There are no rests in Gregorian chant notation; instead, it uses
1172 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
1173 @q{division}) is a staff context symbol that is used to indicate
1174 the phrase and section structure of Gregorian music. The musical meaning of
1175 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
1176 can be characterized as short, medium, and long pause, somewhat like
1177 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
1178 only marks the end of a chant, but is also frequently used within a
1179 single antiphonal/responsorial chant to mark the end of each section.
1181 To use divisiones, include the file @file{gregorian.ly}. It
1182 contains definitions that you can apply by just inserting
1183 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
1184 and @code{\finalis} at proper places in the input. Some editions use
1185 @emph{virgula} or @emph{caesura} instead of divisio minima.
1186 Therefore, @file{gregorian.ly} also defines @code{\virgula} and
1189 @lilypond[quote,ragged-right]
1190 \include "gregorian.ly"
1193 \context VaticanaVoice {
1194 \override TextScript #'padding = #3
1196 s^\markup { "divisio minima" }
1199 s^\markup { "divisio maior" }
1202 s^\markup { "divisio maxima" }
1206 s^\markup { "finalis" }
1209 s^\markup { "virgula" }
1212 s^\markup { "caesura" }
1226 @funindex \divisioMinima
1227 @code{\divisioMinima},
1228 @funindex \divisioMaior
1229 @code{\divisioMaior},
1230 @funindex \divisioMaxima
1231 @code{\divisioMaxima},
1237 @node Gregorian articulation signs
1238 @unnumberedsubsubsec Gregorian articulation signs
1240 @cindex articulations
1242 In addition to the standard articulation signs described in
1243 section @ref{Articulations and ornamentations}, articulation signs
1244 specifically designed for use with notation in @emph{Editio
1245 Vaticana} style are provided.
1247 @lilypond[quote,ragged-right,verbatim]
1248 \include "gregorian.ly"
1250 \new VaticanaVoice {
1251 \override TextScript #'font-family = #'typewriter
1252 \override TextScript #'font-shape = #'upright
1253 \override Script #'padding = #-0.1
1254 a\ictus_"ictus " \bar "" \break
1255 a\circulus_"circulus " \bar "" \break
1256 a\semicirculus_"semicirculus " \bar "" \break
1257 a\accentus_"accentus " \bar "" \break
1258 \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
1265 @rlsr{Ancient notation}.
1267 Internals Reference:
1268 @rinternals{Episema},
1269 @rinternals{EpisemaEvent},
1270 @rinternals{Episema_engraver},
1271 @rinternals{Script},
1272 @rinternals{ScriptEvent},
1273 @rinternals{Script_engraver}.
1278 Some articulations are vertically placed too closely to the
1279 corresponding note heads.
1282 @node Augmentum dots (morae)
1283 @unnumberedsubsubsec Augmentum dots (@emph{morae})
1285 Augmentum dots, also called @emph{morae}, are added with the music
1286 function @code{\augmentum}. Note that @code{\augmentum} is
1287 implemented as a unary music function rather than as head prefix. It
1288 applies to the immediately following music expression only. That is,
1289 @code{\augmentum \virga c} will have no visible effect. Instead, say
1290 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1291 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1292 @code{\augmentum a \augmentum g}.
1294 @lilypond[quote,ragged-right,verbatim]
1295 \include "gregorian.ly"
1297 \new VaticanaVoice {
1298 \[ \augmentum a \flexa \augmentum g \]
1309 Internals Reference:
1310 @rinternals{BreathingSign}.
1313 @rlsr{Ancient notation}.
1316 @node Gregorian square neume ligatures
1317 @unnumberedsubsubsec Gregorian square neume ligatures
1319 @cindex Square neumes ligatures
1320 @cindex Gregorian square neumes ligatures
1322 There is limited support for Gregorian square neumes notation
1323 (following the style of the Editio Vaticana). Core ligatures can
1324 already be typeset, but essential issues for serious typesetting are
1325 still lacking, such as (among others) horizontal alignment of multiple
1326 ligatures, lyrics alignment, and proper handling of accidentals.
1328 The support for Gregorian neumes is enabled by @code{\include}ing
1329 @file{gregorian.ly} at the beginning of the file. This makes available
1330 a number of extra commands to produce the neume symbols used in
1331 plainchant notation.
1335 Note heads can be @emph{modified} and/or @emph{joined}.
1339 the note head can be modified by @emph{prefixing} the note name
1340 with any of the following commands:
1345 @funindex \inclinatum
1349 @funindex \descendens
1351 @funindex \ascendens
1357 @funindex \deminutum
1364 @item Ligatures, properly speaking (i.e. notes joined together), are
1365 produced by placing one of the joining commands @code{\pes} or
1366 @code{\flexa}, for upwards and downwards movement, respectively,
1367 @emph{between} the notes to be joined.
1370 A note name without any qualifiers will produce a @emph{punctum}.
1371 All other neumes, including the single-note neumes with a
1372 different shape such as the @emph{virga}, are in principle
1373 considered as ligatures and should therefore be placed
1374 between @code{\[...\]}.
1375 @c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
1382 @item The @emph{punctum} is the basic note shape (in the
1383 @emph{Vaticana} style: a square with some curvation for
1384 typographical finesse). In addition to the regular
1385 @emph{punctum}, there is also the oblique @emph{punctum
1386 inclinatum}, produced with the prefix @code{\inclinatum}. The
1387 regular @emph{punctum} can be modified with @code{\cavum}, which
1388 produces a hollow note, and @code{\linea}, which draws vertical
1389 lines on either side of the note.
1391 @item The @emph{virga} has a descending stem on the right side. It is
1392 produced by the modifier @code{\virga}.
1398 Unlike most other neumes notation systems, the typographical
1399 appearance of ligatures is not directly dictated by the input
1400 commands, but follows certain conventions dependent on musical
1401 meaning. For example, a three-note ligature with the musical shape
1402 low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
1403 Torculus consisting of three Punctum heads, while the shape
1404 high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
1405 Porrectus with a curved flexa shape and only a single Punctum
1406 head. There is no command to explicitly typeset the curved flexa
1407 shape; the decision of when to typeset a curved flexa shape is
1408 based on the musical input. The idea of this approach is to
1409 separate the musical aspects of the input from the notation style
1410 of the output. This way, the same input can be reused to typeset
1411 the same music in a different style of Gregorian chant notation.
1416 Another main category of notes in Gregorian chant is the so-called
1417 liquescent neumes. They are used under certain circumstances at
1418 the end of a syllable which ends in a @q{liquescent} letter, i.e.
1419 the sounding consonants that can hold a tone (the nasals, l, r, v,
1420 j, and their diphtong equivalents). Thus, the liquescent neumes
1421 are never used alone (although some of them can be produced), and
1422 they always fall at the end of a ligature.
1424 Liquescent neumes are represented graphically in two different,
1425 more or less interchangeable ways: with a smaller note or by
1426 @q{twisting} the main note upwards or downwards. The first is
1427 produced by making a regular @code{pes} or @code{flexa} and
1428 modifying the shape of the second note: @code{\[ a \pes \deminutum
1429 b \] }, the second by modifying the shape of a single-note neume
1430 with @code{\auctum} and one of the direction markers
1431 @code{\descendens} or @code{\ascendens}, e.g., @code{ \[ \auctum
1437 A third category of signs is made up of a small number of signs
1438 with a special meaning (which, incidentally, in most cases is only
1439 vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
1440 @emph{strophicus}. These are all produced by prefixing a note name
1441 with the corresponding modifier, @code{\quilisma},
1442 @code{\oriscus}, or @code{\stropha}.
1444 Virtually, within the ligature delimiters @code{\[} and @code{\]},
1445 any number of heads may be accumulated to form a single ligature,
1446 and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
1447 @code{\inclinatum}, etc. may be mixed in as desired. The use of
1448 the set of rules that underlies the construction of the ligatures
1449 in the above table is accordingly extrapolated. This way,
1450 infinitely many different ligatures can be created.
1452 Note that the use of these signs in the music itself follows
1453 certain rules, which are not checked by LilyPond. E.g., the
1454 @emph{quilisma} is always the middle note of an ascending
1455 ligature, and usually falls on a half-tone step, but it is
1456 perfectly possible, although incorrect, to make a single-note
1459 In addition to the note signs, @file{gregorian.ly} also defines the
1460 commands @code{\versus}, @code{\responsum}, @code{\ij},
1461 @code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
1462 corresponding characters, e.g., for use in lyrics, as section
1463 markers, etc. These commands use special unicode characters and
1464 will only work if a font is used which supports them.
1469 The following table shows a limited, but still representative pool
1470 of Gregorian ligatures, together with the code fragments that
1471 produce the ligatures. The table is based on the extended neumes
1472 table of the 2nd volume of the Antiphonale Romanum (@emph{Liber
1473 Hymnarius}), published 1983 by the monks of Solesmes. The first
1474 column gives the name of the ligature, with the main form in
1475 boldface and the liquescent forms in italics. The third column
1476 shows the code fragment that produces this ligature, using
1477 @code{g}, @code{a}, and @code{b} as example pitches.
1480 @b{Single-note neums}
1482 @multitable @columnfractions .4 .2 .4
1485 @b{Basic} and @emph{Liquescent} forms
1492 @c TODO: \layout block is identical in all of the below examples.
1493 @c Therefore, it should somehow be included rather than duplicated all
1496 @c why not make variables in ly/engraver-init.ly? --hwn
1498 @c Because it's just used to typeset plain notes without
1499 @c a staff for demonstration purposes rather than something
1500 @c special of Gregorian chant notation. --jr
1506 @lilypond[staffsize=26,line-width=1.5\cm]
1507 \include "gregorian.ly"
1513 \layout { \neumeDemoLayout }}
1520 @lilypond[staffsize=26,line-width=1.5\cm]
1521 \include "gregorian.ly"
1527 \layout { \neumeDemoLayout }}
1530 @code{\[ \cavum b \]}
1534 @lilypond[staffsize=26,line-width=1.5\cm]
1535 \include "gregorian.ly"
1541 \layout { \neumeDemoLayout }}
1544 @code{\[ \linea b \]}
1547 @emph{Punctum Auctum Ascendens}
1549 @lilypond[staffsize=26,line-width=2.5\cm]
1550 \include "gregorian.ly"
1553 % Punctum Auctum Ascendens
1554 \[ \auctum \ascendens b \]
1556 \layout { \neumeDemoLayout }}
1559 @code{\[ \auctum \ascendens b \]}
1562 @emph{Punctum Auctum Descendens}
1564 @lilypond[staffsize=26,line-width=2.5\cm]
1565 \include "gregorian.ly"
1568 % Punctum Auctum Descendens
1569 \[ \auctum \descendens b \]
1571 \layout { \neumeDemoLayout }}
1574 @code{\[ \auctum \descendens b \]}
1577 @b{Punctum inclinatum}
1579 @lilypond[staffsize=26,line-width=1.5\cm]
1580 \include "gregorian.ly"
1583 % Punctum Inclinatum
1586 \layout { \neumeDemoLayout }}
1589 @code{\[ \inclinatum b \]}
1592 @emph{Punctum Inclinatum Auctum}
1594 @lilypond[staffsize=26,line-width=2.5\cm]
1595 \include "gregorian.ly"
1598 % Punctum Inclinatum Auctum
1599 \[ \inclinatum \auctum b \]
1601 \layout { \neumeDemoLayout }}
1604 @code{\[ \inclinatum \auctum b \]}
1607 @emph{Punctum Inclinatum Parvum}
1609 @lilypond[staffsize=26,line-width=1.0\cm]
1610 \include "gregorian.ly"
1613 % Punctum Inclinatum Parvum
1614 \[ \inclinatum \deminutum b \]
1616 \layout { \neumeDemoLayout }}
1619 @code{\[ \inclinatum \deminutum b \]}
1624 @lilypond[staffsize=26,line-width=1.0\cm]
1625 \include "gregorian.ly"
1631 \layout { \neumeDemoLayout }}
1638 @b{Two-note ligatures}
1640 @multitable @columnfractions .4 .2 .4
1643 @b{Clivis vel Flexa}
1645 @lilypond[staffsize=26,line-width=1.0\cm]
1646 \include "gregorian.ly"
1652 \layout { \neumeDemoLayout }}
1655 @code{\[ b \flexa g \]}
1659 @emph{Clivis Aucta Descendens}
1661 @lilypond[staffsize=26,line-width=2.0\cm]
1662 \include "gregorian.ly"
1665 % Clivis Aucta Descendens
1666 \[ b \flexa \auctum \descendens g \]
1668 \layout { \neumeDemoLayout }}
1671 @code{\[ b \flexa \auctum \descendens g \]}
1674 @emph{Clivis Aucta Ascendens}
1676 @lilypond[staffsize=26,line-width=2.0\cm]
1677 \include "gregorian.ly"
1680 % Clivis Aucta Ascendens
1681 \[ b \flexa \auctum \ascendens g \]
1683 \layout { \neumeDemoLayout }}
1686 @code{\[ b \flexa \auctum \ascendens g \]}
1691 @lilypond[staffsize=26,line-width=2.0\cm]
1692 \include "gregorian.ly"
1696 \[ b \flexa \deminutum g \]
1698 \layout { \neumeDemoLayout }}
1701 @code{\[ b \flexa \deminutum g \]}
1706 @lilypond[staffsize=26,line-width=1.0\cm]
1707 \include "gregorian.ly"
1713 \layout { \neumeDemoLayout }}
1716 @code{\[ g \pes b \]}
1719 @emph{Pes Auctus Descendens}
1721 @lilypond[staffsize=26,line-width=1.0\cm]
1722 \include "gregorian.ly"
1725 % Pes Auctus Descendens
1726 \[ g \pes \auctum \descendens b \]
1728 \layout { \neumeDemoLayout }}
1731 @code{\[ g \pes \auctum \descendens b \]}
1734 @emph{Pes Auctus Ascendens}
1736 @lilypond[staffsize=26,line-width=1.0\cm]
1737 \include "gregorian.ly"
1740 % Pes Auctus Ascendens
1741 \[ g \pes \auctum \ascendens b \]
1743 \layout { \neumeDemoLayout }}
1746 @code{\[ g \pes \auctum \ascendens b \]}
1751 @lilypond[staffsize=26,line-width=1.0\cm]
1752 \include "gregorian.ly"
1756 \[ g \pes \deminutum b \]
1758 \layout { \neumeDemoLayout }}
1761 @code{\[ g \pes \deminutum b \]}
1764 @emph{Pes Initio Debilis}
1766 @lilypond[staffsize=26,line-width=1.0\cm]
1767 \include "gregorian.ly"
1770 % Pes Initio Debilis
1771 \[ \deminutum g \pes b \]
1773 \layout { \neumeDemoLayout }}
1776 @code{\[ \deminutum g \pes b \]}
1779 @emph{Pes Auctus Descendens Initio Debilis}
1781 @lilypond[staffsize=26,line-width=1.0\cm]
1782 \include "gregorian.ly"
1785 % Pes Auctus Descendens Initio Debilis
1786 \[ \deminutum g \pes \auctum \descendens b \]
1788 \layout { \neumeDemoLayout }}
1791 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1796 @b{Multi-note ligatures}
1798 @multitable @columnfractions .4 .2 .4
1803 @lilypond[staffsize=26,line-width=1.0\cm]
1804 \include "gregorian.ly"
1808 \[ a \pes b \flexa g \]
1810 \layout { \neumeDemoLayout }}
1813 @code{\[ a \pes b \flexa g \]}
1816 @emph{Torculus Auctus Descendens}
1818 @lilypond[staffsize=26,line-width=1.0\cm]
1819 \include "gregorian.ly"
1822 % Torculus Auctus Descendens
1823 \[ a \pes b \flexa \auctum \descendens g \]
1825 \layout { \neumeDemoLayout }}
1828 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1831 @emph{Torculus Deminutus}
1833 @lilypond[staffsize=26,line-width=1.0\cm]
1834 \include "gregorian.ly"
1837 % Torculus Deminutus
1838 \[ a \pes b \flexa \deminutum g \]
1840 \layout { \neumeDemoLayout }}
1843 @code{\[ a \pes b \flexa \deminutum g \]}
1846 @emph{Torculus Initio Debilis}
1848 @lilypond[staffsize=26,line-width=1.0\cm]
1849 \include "gregorian.ly"
1852 % Torculus Initio Debilis
1853 \[ \deminutum a \pes b \flexa g \]
1855 \layout { \neumeDemoLayout }}
1858 @code{\[ \deminutum a \pes b \flexa g \]}
1861 @emph{Torculus Auctus Descendens Initio Debilis}
1863 @lilypond[staffsize=26,line-width=1.0\cm]
1864 \include "gregorian.ly"
1867 % Torculus Auctus Descendens Initio Debilis
1868 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1870 \layout { \neumeDemoLayout }}
1873 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
1876 @emph{Torculus Deminutus Initio Debilis}
1878 @lilypond[staffsize=26,line-width=1.0\cm]
1879 \include "gregorian.ly"
1882 % Torculus Deminutus Initio Debilis
1883 \[ \deminutum a \pes b \flexa \deminutum g \]
1885 \layout { \neumeDemoLayout }}
1888 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
1893 @lilypond[staffsize=26,line-width=1.0\cm]
1894 \include "gregorian.ly"
1898 \[ a \flexa g \pes b \]
1900 \layout { \neumeDemoLayout }}
1903 @code{\[ a \flexa g \pes b \]}
1906 @emph{Porrectus Auctus Descendens}
1908 @lilypond[staffsize=26,line-width=1.0\cm]
1909 \include "gregorian.ly"
1912 % Porrectus Auctus Descendens
1913 \[ a \flexa g \pes \auctum \descendens b \]
1915 \layout { \neumeDemoLayout }}
1918 @code{\[ a \flexa g \pes \auctum \descendens b \]}
1921 @emph{Porrectus Deminutus}
1923 @lilypond[staffsize=26,line-width=1.0\cm]
1924 \include "gregorian.ly"
1927 % Porrectus Deminutus
1928 \[ a \flexa g \pes \deminutum b \]
1930 \layout { \neumeDemoLayout }}
1933 @code{\[ a \flexa g \pes \deminutum b \]}
1938 @lilypond[staffsize=26,line-width=1.0\cm]
1939 \include "gregorian.ly"
1943 \[ \virga b \inclinatum a \inclinatum g \]
1945 \layout { \neumeDemoLayout }}
1948 @code{\[ \virga b \inclinatum a \inclinatum g \]}
1951 @emph{Climacus Auctus}
1953 @lilypond[staffsize=26,line-width=1.0\cm]
1954 \include "gregorian.ly"
1958 \[ \virga b \inclinatum a \inclinatum \auctum g \]
1960 \layout { \neumeDemoLayout }}
1963 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
1966 @emph{Climacus Deminutus}
1968 @lilypond[staffsize=26,line-width=1.0\cm]
1969 \include "gregorian.ly"
1972 % Climacus Deminutus
1973 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
1975 \layout { \neumeDemoLayout }}
1978 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
1983 @lilypond[staffsize=26,line-width=1.0\cm]
1984 \include "gregorian.ly"
1988 \[ g \pes a \virga b \]
1990 \layout { \neumeDemoLayout }}
1993 @code{\[ g \pes a \virga b \]}
1996 @emph{Scandicus Auctus Descendens}
1998 @lilypond[staffsize=26,line-width=1.0\cm]
1999 \include "gregorian.ly"
2002 % Scandicus Auctus Descendens
2003 \[ g \pes a \pes \auctum \descendens b \]
2005 \layout { \neumeDemoLayout }}
2008 @code{\[ g \pes a \pes \auctum \descendens b \]}
2011 @emph{Scandicus Deminutus}
2013 @lilypond[staffsize=26,line-width=1.0\cm]
2014 \include "gregorian.ly"
2017 % Scandicus Deminutus
2018 \[ g \pes a \pes \deminutum b \]
2020 \layout { \neumeDemoLayout }}
2023 @code{\[ g \pes a \pes \deminutum b \]}
2030 @multitable @columnfractions .4 .2 .4
2035 @lilypond[staffsize=26,line-width=1.0\cm]
2036 \include "gregorian.ly"
2040 \[ g \pes \quilisma a \pes b \]
2042 \layout { \neumeDemoLayout }}
2045 @code{\[ g \pes \quilisma a \pes b \]}
2048 @emph{Quilisma Pes Auctus Descendens}
2050 @lilypond[staffsize=26,line-width=1.0\cm]
2051 \include "gregorian.ly"
2054 % Quilisma Pes Auctus Descendens
2055 \[ g \quilisma a \pes \auctum \descendens b \]
2057 \layout { \neumeDemoLayout }}
2060 @code{\[ \quilisma g \pes \auctum \descendens b \]}
2065 @lilypond[staffsize=26,line-width=1.0\cm]
2066 \include "gregorian.ly"
2072 \layout { \neumeDemoLayout }}
2075 @code{\[ \oriscus b \]}
2080 @lilypond[staffsize=26,line-width=1.0\cm]
2081 \include "gregorian.ly"
2085 \[ \oriscus g \pes \virga b \]
2087 \layout { \neumeDemoLayout }}
2090 @code{\[ \oriscus g \pes \virga b \]}
2093 @emph{Pes Quassus Auctus Descendens}
2095 @lilypond[staffsize=26,line-width=1.0\cm]
2096 \include "gregorian.ly"
2099 % Pes Quassus Auctus Descendens
2100 \[ \oriscus g \pes \auctum \descendens b \]
2102 \layout { \neumeDemoLayout }}
2105 @code{\[ \oriscus g \pes \auctum \descendens b \]}
2110 @lilypond[staffsize=26,line-width=1.0\cm]
2111 \include "gregorian.ly"
2115 \[ g \oriscus a \pes \virga b \]
2117 \layout { \neumeDemoLayout }}
2120 @code{\[ g \oriscus a \pes \virga b \]}
2123 @emph{Salicus Auctus Descendens}
2125 @lilypond[staffsize=26,line-width=1.0\cm]
2126 \include "gregorian.ly"
2129 % Salicus Auctus Descendens
2130 \[ g \oriscus a \pes \auctum \descendens b \]
2132 \layout { \neumeDemoLayout }}
2135 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
2140 @lilypond[staffsize=26,line-width=1.0\cm]
2141 \include "gregorian.ly"
2147 \layout { \neumeDemoLayout }}
2150 @code{\[ \stropha b \]}
2153 @emph{Stropha Aucta}
2155 @lilypond[staffsize=26,line-width=1.0\cm]
2156 \include "gregorian.ly"
2160 \[ \stropha \auctum b \]
2162 \layout { \neumeDemoLayout }}
2165 @code{\[ \stropha \auctum b \]}
2170 @lilypond[staffsize=26,line-width=1.0\cm]
2171 \include "gregorian.ly"
2175 \[ \stropha b \stropha b \]
2177 \layout { \neumeDemoLayout }}
2180 @code{\[ \stropha b \stropha b \]}
2185 @lilypond[staffsize=26,line-width=1.0\cm]
2186 \include "gregorian.ly"
2190 \[ \stropha b \stropha b \stropha b \]
2192 \layout { \neumeDemoLayout }}
2195 @code{\[ \stropha b \stropha b \stropha b \]}
2200 @lilypond[staffsize=26,line-width=1.0\cm]
2201 \include "gregorian.ly"
2205 \[ \stropha b \stropha b \stropha a \]
2207 \layout { \neumeDemoLayout }
2211 @code{\[ \stropha b \stropha b \stropha a \]}
2217 The following head prefixes are supported:
2222 @funindex \inclinatum
2226 @funindex \descendens
2228 @funindex \ascendens
2234 @funindex \deminutum
2242 Head prefixes can be accumulated, though restrictions apply. For
2243 example, either @code{\descendens} or @code{\ascendens} can be applied
2244 to a head, but not both to the same head.
2248 Two adjacent heads can be tied together with the @code{\pes} and
2249 @code{\flexa} infix commands for a rising and falling line of melody,
2252 @funindex \augmentum
2253 Use the unary music function @code{\augmentum} to add augmentum dots.
2257 @c TODO: nothing here yet ...
2262 When an @code{\augmentum} dot appears at the end of the last staff
2263 within a ligature, it is sometimes vertically placed wrong. As a
2264 workaround, add an additional skip note (e.g., @code{s8}) as last note
2267 @code{\augmentum} should be implemented as a head prefix rather than a
2268 unary music function, such that @code{\augmentum} can be intermixed
2269 with head prefixes in arbitrary order.
2272 @node Working with ancient music---scenarios and solutions
2273 @subsection Working with ancient music---scenarios and solutions
2277 * Mensurstriche layout::
2278 * Transcribing Gregorian chant::
2279 * Ancient and modern from one source::
2280 * Editorial markings::
2283 Working with ancient music frequently involves particular tasks
2284 which differ considerably from the modern notation for which
2285 LilyPond is designed. In the rest of this section, a number of
2286 typical scenarios are outlined, with suggestions of solutions.
2290 @item how to make incipits (i.e. prefatory material to indicate
2291 what the original has looked like) to modern transcriptions of
2293 @item how to achieve the @emph{Mensurstriche} layout frequently
2294 used for modern transcriptions of polyphonic music;
2295 @item how to transcribe Gregorian chant in modern notation;
2296 @item how to generate both ancient and modern notation from the
2302 @unnumberedsubsubsec Incipits
2305 @c clefs, mensuration signs etc from lsr and -user
2306 @c use snippet Transcription-of-ancient-music-with-incipit
2311 @c ... and reference to other sections ...
2314 @node Mensurstriche layout
2315 @unnumberedsubsubsec Mensurstriche layout
2317 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
2318 for bar lines that are drawn between the staves of a system but
2319 not through the staves themselves. It is a common way to preserve
2320 the rhythmic appearance of the original, i.e. not having to break
2321 syncopated notes at bar lines, while still providing the
2322 orientation aids that bar lines give.
2325 @lilypondfile[verbatim,lilyquote,texidoc]
2326 {mensurstriche-layout-bar-lines-between-the-staves.ly}
2328 @c This simple setup will take care of the
2329 @c TODO Add text about lyrics to the lowest line, to be placed
2330 @c outside the StaffGroup.
2331 @c from lsr and -user
2336 @c ... and reference to other sections ...
2339 @node Transcribing Gregorian chant
2340 @unnumberedsubsubsec Transcribing Gregorian chant
2342 Gregorian chant can be transcribed into modern notation with a
2343 number of simple tweaks.
2345 @b{Stems}. Stems can be left out altogether by @code{\remove}-ing
2346 the @code{Stem_engraver} from the Voice context:
2353 \remove "Stem_engraver"
2358 However, in some transcription styles, stems are used
2359 occasionally, for example to indicate the transition from a
2360 single-tone recitative to a fixed melodic gesture. In these cases,
2361 one can use either @code{\override Stem #'transparent = ##t} or
2362 @code{\override Stem #'length = #0} instead, and restore the stem
2363 when needed with the corresponding @code{\once \override Stem
2364 #'transparent = ##f} (see example below).
2366 @b{Timing.} For unmetered chant, there are several alternatives.
2368 The Time_signature_engraver can be removed from the Staff context
2369 without any negative side effects. The alternative, to make it
2370 transparent, will leave an empty space in the score, since the
2371 invisible signature will still take up space.
2373 In many cases, @code{\set Score.timing = ##f} will give good
2374 results. Another alternative is to use @code{\CadenzaOn} and
2377 To remove the barlines, the radical approach is to @code{\remove}
2378 the Bar_engraver from the Staff context. Again, one may want to
2379 use @code{\override BarLine #'transparent = ##t} instead, if an
2380 occasional barline is wanted.
2382 A common type of transcription is recitativic chant where the
2383 repeated notes are indicated with a single breve. The text to
2384 the recitation tone can be dealt with in two different ways:
2385 either set as a single, left-aligned syllable:
2387 @lilypond[verbatim,ragged-right]
2388 \include "gregorian.ly"
2389 chant = \relative c' {
2391 c\breve c4 b4 a c2 c4 \divisioMaior
2392 c\breve c4 c f, f \finalis
2395 verba = \lyricmode {
2396 \once \override LyricText #'self-alignment-X = #-1
2397 "Noctem quietam et" fi -- nem per -- fec -- tum
2398 \once \override LyricText #'self-alignment-X = #-1
2399 "concedat nobis Dominus" om -- ni -- po -- tens.
2403 \new Voice = "melody" \chant
2404 \new Lyrics = "one" \lyricsto melody \verba
2409 \remove "Time_signature_engraver"
2410 \remove "Bar_engraver"
2411 \override Stem #'transparent = ##t
2417 This works fine, as long as the text doesn't span a line break. If
2418 that is the case, an alternative is to add hidden notes to the
2419 score, here in combination with changing stem visibility:
2422 @lilypond[verbatim,ragged-right]
2423 \include "gregorian.ly"
2424 chant = \relative c' {
2426 \set Score.timing = ##f
2427 c\breve \override NoteHead #'transparent = ##t c c c c c
2428 \revert NoteHead #'transparent
2429 \override Stem #'transparent = ##f \stemUp c4 b4 a
2430 \override Stem #'transparent = ##t c2 c4 \divisioMaior
2431 c\breve \override NoteHead #'transparent = ##t c c c c c c c
2432 \revert NoteHead #'transparent c4 c f, f \finalis
2435 verba = \lyricmode {
2436 No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum
2437 con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens.
2442 \new Voice = "melody" \chant
2443 \new Lyrics \lyricsto "melody" \verba
2448 \remove "Time_signature_engraver"
2449 \override BarLine #'transparent = ##t
2450 \override Stem #'transparent = ##t
2456 Another common situation is transcription of neumatic or
2457 melismatic chants, i.e. chants with a varying number of notes
2458 to each syllable. In this case, one would want to set the
2459 syllable groups clearly apart, usually also the subdivisions of a
2460 longer melisma. One way to achieve this is to use a fixed
2461 @code{\time}, e.g., 1/4, and let each syllable or note group fill
2462 one of these measures, with the help of tuplets or shorter
2463 durations. If the barlines and all other rhythmical indications
2464 are made transparent, and the space around the barlines is
2465 increased, this will give a fairly good representation in modern
2466 notation of the original.
2468 To avoid that syllables of different width (such as @qq{-ri} and
2469 @qq{-rum}) spread the syllable note groups unevenly apart, the
2470 @code{#'X-extent} property of the @code{LyricText} object may be
2471 set to a fixed value. Another, more cumbersome way would be to
2472 add the syllables as @code{\markup} elements. If further
2473 adjustments are necessary, this can be easily done with
2476 @lilypond[verbatim,quote]
2477 spiritus = \relative c' {
2479 \override Lyrics.LyricText #'X-extent = #'(0 . 3)
2480 d4 \times 2/3 { f8 a g } g a a4 g f8 e
2481 d4 f8 g g8 d f g a g f4 g8 a a4 s
2482 \times 2/3 { g8 f d } e f g a g4
2485 spirLyr = \lyricmode {
2486 Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _
2487 or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu
2492 \new Voice = "chant" \spiritus
2493 \new Lyrics = "one" \lyricsto "chant" \spirLyr
2498 \remove "Time_signature_engraver"
2499 \override BarLine #'X-extent = #'(-1 . 1)
2500 \override Stem #'transparent = ##t
2501 \override Beam #'transparent = ##t
2502 \override BarLine #'transparent = ##t
2503 \override TupletNumber #'transparent = ##t
2509 @c extract from 1.6.1.1
2512 @c ... and reference to other sections ...
2515 @node Ancient and modern from one source
2516 @unnumberedsubsubsec Ancient and modern from one source
2519 @c Here among others the snippets about reducing note length
2523 @c ... and reference to other sections ...
2526 @node Editorial markings
2527 @unnumberedsubsubsec Editorial markings
2530 @c @node Baroque rhythmic notation
2531 @c @unnumberedsubsubsec Baroque rhythmic notation
2535 @c Add example of white noteheads:
2536 @c In the french baroque some composers used white noteheads in slow pieces,
2537 @c mainly in 3/2-time. A quarter looks there like a eighth with a white
2538 @c notehead. (Franz-Rudolf Kuhnen)
2540 @c TODO Add example of this:
2541 @c I was referring to e.g. notated a8. a16, which should, if I
2542 @c remember correctly, be interpreted more like a8.. a32 (in the french
2543 @c style). The editor might want to show that rythmic figure above the
2544 @c staff as an hint to performers. (Karl Hammer)
2551 @c ... and reference to other sections ...