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14 @node Ancient notation
15 @section Ancient notation
17 @lilypondfile[quote]{ancient-headword.ly}
19 @cindex Vaticana, Editio
20 @cindex Medicaea, Editio
27 * Overview of the supported styles::
28 * Ancient notation---common features::
29 * Typesetting mensural music::
30 * Typesetting Gregorian chant::
31 * Working with ancient music---scenarios and solutions::
35 Support for ancient notation includes features for mensural
36 notation and Gregorian chant notation. These features can be
37 accessed either by modifying style properties of graphical objects
38 such as note heads and rests, or by using one of the pre-defined
39 contexts for mensural or Gregorian notation.
41 Many graphical objects, such as note heads and flags, accidentals,
42 time signatures, and rests, provide a @code{style} property, which
43 can be changed to emulate several different styles of ancient
47 @item @ref{Mensural note heads},
48 @item @ref{Mensural accidentals and key signatures},
49 @item @ref{Mensural rests},
50 @item @ref{Mensural clefs},
51 @item @ref{Gregorian clefs},
52 @item @ref{Mensural flags},
53 @item @ref{Mensural time signatures}.
56 Some notational concepts are introduced specifically for ancient
61 @item @ref{Divisiones},
62 @item @ref{Ligatures}.
69 @rglos{mensural notation}.
72 @ref{Mensural note heads},
73 @ref{Mensural accidentals and key signatures},
75 @ref{Gregorian clefs},
77 @ref{Mensural time signatures},
83 @node Overview of the supported styles
84 @subsection Overview of the supported styles
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::
173 * Figured bass support::
177 @node Pre-defined contexts
178 @unnumberedsubsubsec Pre-defined contexts
180 For Gregorian chant and mensural notation, there are pre-defined
181 voice and staff contexts available, which set all the various
182 notation signs to values suitable for these styles. If one is
183 satisfied with these defaults, one can proceed directly with note
184 entry without worrying about the details on how to customize a
185 context. See one of the pre-defined contexts
186 @code{VaticanaVoice}, @code{VaticanaStaff}, @code{MensuralVoice},
187 and @code{MensuralStaff}. See further
190 @item @ref{Gregorian chant contexts},
191 @item @ref{Mensural contexts}.
196 @rglos{mensural notation}.
199 @ref{Gregorian chant contexts},
200 @ref{Mensural contexts}.
204 @unnumberedsubsubsec Ligatures
208 @c TODO: Should double check if I recalled things correctly when I wrote
209 @c down the following paragraph by heart.
211 A ligature is a graphical symbol that represents at least two
212 distinct notes. Ligatures originally appeared in the manuscripts
213 of Gregorian chant notation to denote ascending or descending
214 sequences of notes on the same syllable. They are also used in
217 Ligatures are entered by @emph{enclosing} them in @code{\[} and
218 @code{\]}. Some ligature styles may need additional input syntax
219 specific for this particular type of ligature. By default, the
220 @code{LigatureBracket} engraver just puts a square bracket
223 @lilypond[quote,ragged-right,verbatim]
231 Two other ligature styles are available: the Vaticana for
232 Gregorian chant, and the Mensural for mensural music (only white
233 mensural ligatures are supported for mensural music, and with
234 certain limitations). To use any of these styles, the default
235 @code{Ligature_bracket_engraver} has to be replaced with one of the
236 specialized ligature engravers in the @code{Voice} context,
237 as explained in @ref{White mensural ligatures} and
238 @ref{Gregorian square neume ligatures}.
245 @ref{White mensural ligatures},
246 @ref{Gregorian square neume ligatures}.
249 Ligatures need special spacing that has not yet been implemented. As
250 a result, there is too much space between ligatures most of the time,
251 and line breaking often is unsatisfactory. Also, lyrics do not
252 correctly align with ligatures.
254 Accidentals must not be printed within a ligature, but instead need to
255 be collected and printed in front of it.
257 The syntax still uses the deprecated infix style
258 @code{\[ music expr \]}. For consistency reasons, it will eventually
259 be changed to postfix style @code{note\[ ... note\]}.
261 @c Alternatively, the file
262 @c @file{gregorian-init.ly} can be included; it provides a scheme
265 @c \ligature @var{music expr}
267 @c with the same effect and is believed to be stable.
269 @c TODO: this does not seem to work at the moment.
274 @unnumberedsubsubsec Custodes
279 A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard})
280 is a symbol that appears at the end of a staff. It anticipates the
281 pitch of the first note of the following line, thus helping the performer
282 to manage line breaks during performance.
284 Custodes were frequently used in music notation until the
285 seventeenth century. Nowadays, they have survived only in a few
286 particular forms of musical notation such as contemporary editions
287 of Gregorian chant like the @emph{Editio Vaticana}. There are
288 different custos glyphs used in different flavors of notational
291 For typesetting custodes, just put a @code{Custos_engraver} into the
292 @code{Staff} context when declaring the @code{\layout} block,
293 and change the style of the custos with an @code{\override} if
294 desired, as shown in the following example:
296 @lilypond[quote,ragged-right]
306 \consists Custos_engraver
307 \override Custos #'style = #'mensural
313 The custos glyph is selected by the @code{style} property. The styles
314 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
315 @code{mensural}. They are demonstrated in the following fragment.
317 @lilypond[quote,ragged-right,fragment]
318 \new Lyrics \lyricmode {
320 \typewriter "vaticana "
321 \line { " " \musicglyph #"custodes.vaticana.u0" }
324 \typewriter "medicaea "
325 \line { " " \musicglyph #"custodes.medicaea.u0" }
328 \typewriter "hufnagel "
329 \line { " " \musicglyph #"custodes.hufnagel.u0" }
332 \typewriter "mensural "
333 \line { " " \musicglyph #"custodes.mensural.u0" }
346 @rlsr{Ancient notation}.
349 @node Figured bass support
350 @unnumberedsubsubsec Figured bass support
352 There is limited support for figured bass notation from the
353 Baroque period; see @ref{Figured bass}.
357 @rglos{figured bass}.
363 @node Typesetting mensural music
364 @subsection Typesetting mensural music
367 * Mensural contexts::
369 * Mensural time signatures::
370 * Mensural note heads::
373 * Mensural accidentals and key signatures::
374 * Annotational accidentals (musica ficta)::
375 * White mensural ligatures::
379 @node Mensural contexts
380 @unnumberedsubsubsec Mensural contexts
382 @cindex MensuralVoiceContext
383 @cindex MensuralStaffContext
385 The predefined @code{MensuralVoice} and @code{MensuralStaff}
386 contexts can be used to engrave a piece in mensural style. These
387 contexts initialize all relevant context properties and grob
388 properties to proper values, so you can immediately go ahead
389 entering the chant, as the following excerpt demonstrates:
391 @lilypond[quote,ragged-right,verbatim]
394 \new MensuralVoice = "discantus" \transpose c c' {
395 \override Score.BarNumber #'transparent = ##t {
396 c'1\melisma bes a g\melismaEnd
398 \[ f1\melisma a c'\breve d'\melismaEnd \]
400 c'\breve\melisma a1 g1\melismaEnd
401 fis\longa^\signumcongruentiae
404 \new Lyrics \lyricsto "discantus" {
405 San -- ctus, San -- ctus, San -- ctus
414 @rglos{mensural notation}.
418 @unnumberedsubsubsec Mensural clefs
422 The following table shows all mensural clefs that are supported via
423 the @code{\clef} command. Some of the clefs use the same glyph,
424 but differ only with respect to the line they are printed on. In
425 such cases, a trailing number in the name is used to enumerate
426 these clefs, numbered from the lowest to the highest line. Still,
427 you can manually force a clef glyph to be typeset on an arbitrary
428 line, as described in @ref{Clef}. The note printed to the right
429 side of each clef in the example column denotes the @code{c'} with
430 respect to that clef.
432 Petrucci used C clefs with differently balanced left-side vertical
433 beams, depending on which staff line it is printed.
435 @multitable @columnfractions .4 .4 .2
446 @code{mensural-c1}, @code{mensural-c2},@*
447 @code{mensural-c3}, @code{mensural-c4}
449 @lilypond[fragment,relative=1,notime]
451 \override NoteHead #'style = #'mensural
460 @lilypond[fragment,relative=1,notime]
462 \override NoteHead #'style = #'mensural
471 @lilypond[fragment,relative=1,notime]
473 \override NoteHead #'style = #'mensural
480 @code{neomensural-c1}, @code{neomensural-c2},@*
481 @code{neomensural-c3}, @code{neomensural-c4}
483 @lilypond[fragment,relative=1,notime]
484 \clef "neomensural-c2" c
488 petrucci style C clefs, for use on different staff lines
489 (the example shows the 2nd staff line C clef)
491 @code{petrucci-c1}, @code{petrucci-c2},@*
492 @code{petrucci-c3}, @code{petrucci-c4},@*
495 @lilypond[fragment,relative=1,notime]
497 \override NoteHead #'style = #'mensural
502 petrucci style F clef
506 @lilypond[fragment,relative=1,notime]
508 \override NoteHead #'style = #'mensural
513 petrucci style G clef
517 @lilypond[fragment,relative=1,notime]
519 \override NoteHead #'style = #'mensural
526 @rglos{mensural notation},
534 The mensural g clef is mapped to the Petrucci g clef.
537 @node Mensural time signatures
538 @unnumberedsubsubsec Mensural time signatures
540 @cindex mensuration sign
541 @cindex time signatures
543 There is limited support for mensuration signs (which are similar to,
544 but not exactly the same as time signatures). The glyphs are hard-wired
545 to particular time fractions. In other words, to get a particular mensuration sign with the @code{\time n/m} command, @code{n} and
546 @code{m} have to be chosen according to the following table
548 @lilypond[quote,ragged-right]
553 \remove Staff_symbol_engraver
554 \remove Clef_engraver
555 \remove Time_signature_engraver
559 \set Score.timing = ##f
560 \set Score.barAlways = ##t
561 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
562 #"timesig.neomensural44" }
564 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
565 #"timesig.neomensural22" }
567 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
568 #"timesig.neomensural64" }
570 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
571 #"timesig.neomensural68" }
573 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
574 #"timesig.neomensural32" }
576 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
577 #"timesig.neomensural34" }
579 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
580 #"timesig.neomensural94" }
582 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
583 #"timesig.neomensural98" }
585 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
586 #"timesig.neomensural48" }
588 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
589 #"timesig.neomensural24" }
593 Use the @code{style} property of grob @code{TimeSignature}
594 to select ancient time signatures. Supported styles are
595 @code{neomensural} and @code{mensural}. The above table uses the
596 @code{neomensural} style. The following examples show the
597 differences in style:
599 @lilypond[ragged-right,fragment,relative=1,quote]
604 c1^\markup { \hspace #-2.0 \typewriter default }
606 \override Staff.TimeSignature #'style = #'numbered
608 c1^\markup { \hspace #-2.0 \typewriter numbered }
610 \override Staff.TimeSignature #'style = #'mensural
612 c1^\markup { \hspace #-2.0 \typewriter mensural }
614 \override Staff.TimeSignature #'style = #'neomensural
616 c1^\markup { \hspace #-2.0 \typewriter neomensural }
617 \override Staff.TimeSignature #'style = #'single-digit
619 c1^\markup { \hspace #-2.0 \typewriter single-digit }
623 @ref{Time signature}, gives a general introduction to
624 the use of time signatures.
628 @rglos{mensural notation}.
631 @ref{Time signature}.
634 Ratios of note durations do not change with the time signature. For
635 example, the ratio of 1@tie{}breve = 3@tie{}semibreves
636 (@emph{tempus perfectum}) must 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} or
663 The @code{baroque} style differs from the @code{default} style by:
666 @item Providing a @code{maxima} notehead, 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.
680 The following example demonstrates the @code{petrucci} style:
682 @c Renaissance music doesn't use bar lines ... but they do help to
683 @c separate the notes for easier identification.
685 @lilypond[quote,fragment,ragged-right,verbatim]
686 \set Score.skipBars = ##t
688 \override NoteHead #'style = #'petrucci
689 a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
694 @ref{Note head styles}, gives an overview of all available note head
699 @rglos{mensural notation},
703 @ref{Note head styles}.
707 @unnumberedsubsubsec Mensural flags
711 Use the @code{flag-style} property of grob @code{Stem} to
712 select ancient flags. Besides the @code{default} flag style,
713 only the @code{mensural} style is supported.
715 @lilypond[quote,fragment,ragged-right,verbatim]
716 \override Stem #'flag-style = #'mensural
717 \override Stem #'thickness = #1.0
718 \override NoteHead #'style = #'mensural
720 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
721 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
724 Note that the innermost flare of each mensural flag always is
725 vertically aligned with a staff line.
727 There is no particular flag style for neo-mensural or Petrucci notation.
729 @c when typesetting the incipit of a transcribed piece of mensural
730 @c music, the default flag style should be used.
731 There are no flags in Gregorian chant notation.
736 @rglos{mensural notation},
741 The attachment of ancient flags to stems is slightly off.
742 @c due to a change in early 2.3.x.
744 Vertically aligning each flag with a staff line assumes that stems
745 always end either exactly on or exactly in the middle between two
746 staff lines. This may not always be true when using advanced layout
747 features of classical notation (which however are typically out of
748 scope for mensural notation).
752 @unnumberedsubsubsec Mensural rests
754 @cindex rests, ancient
756 Use the @code{style} property of grob @code{Rest} to select
757 ancient rests. Supported styles are @code{classical},
758 @code{neomensural}, and @code{mensural}. @code{classical} differs
759 from the @code{default} style only in that the quarter rest looks
760 like a horizontally mirrored 8th rest. The @code{mensural} and
761 the @code{neomensural} styles mimic the appearance of rests in
762 manuscripts and prints up to the 16th century.
764 The following example demonstrates the @code{mensural} and
765 @code{neomensural} styles:
767 @lilypond[quote,fragment,ragged-right,verbatim]
768 \set Score.skipBars = ##t
769 \override Rest #'style = #'classical
770 r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
771 \override Rest #'style = #'mensural
772 r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
773 \override Rest #'style = #'neomensural
774 r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
777 There are no 32th and 64th rests specifically for the mensural or
778 neo-mensural style. Instead, the rests from the default style will be
783 @rglos{mensural notation}.
789 @rlsr{Ancient notation}.
792 @node Mensural accidentals and key signatures
793 @unnumberedsubsubsec Mensural accidentals and key signatures
796 @cindex key signature
798 The @code{mensural} style provides a sharp and a flat sign
799 different from the default style. If called for, the natural sign
800 will be taken from the @code{vaticana} style.
802 @lilypond[quote,ragged-right,staffsize=26]
806 \line { " " \musicglyph #"accidentals.mensural-1"
807 " " \musicglyph #"accidentals.mensural1" }
812 The style for accidentals and key signatures is controlled by the
813 @code{glyph-name-alist} property of the grobs @code{Accidental} and
814 @code{KeySignature}, respectively; e.g.:
816 @code{\override Staff.Accidental #'glyph-name-alist =
817 #alteration-mensural-glyph-name-alist}
821 @rglos{mensural notation},
824 @rglos{key signature}.
829 @ref{Automatic accidentals},
833 @rinternals{KeySignature}.
836 @node Annotational accidentals (musica ficta)
837 @unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
839 In European music from before about 1600, singers were expected to
840 chromatically alter notes at their own initiative according to
841 certain rules. This is called @notation{musica ficta}. In modern
842 transcriptions, these accidentals are usually printed over the
845 @cindex Accidental, musica ficta
848 Support for such suggested accidentals is included, and can be
849 switched on by setting @code{suggestAccidentals} to true.
851 @funindex suggestAccidentals
853 @lilypond[verbatim,fragment,relative=1]
855 \set suggestAccidentals = ##t
859 This will treat @emph{every} subsequent accidental as
860 @emph{musica ficta} until it is unset with
861 @code{\set suggestAccidentals = ##f}. A more practical way is to
862 use @code{\once \set suggestAccidentals = ##t}, which can even be
863 defined as a convenient shorthand:
865 @lilypond[quote,verbatim]
866 ficta = { \once \set suggestAccidentals = ##t }
867 \score { \relative c''
869 \once \set suggestAccidentals = ##t
870 bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
878 @rinternals{Accidental_engraver},
879 @rinternals{AccidentalSuggestion}.
882 @node White mensural ligatures
883 @unnumberedsubsubsec White mensural ligatures
885 @cindex Mensural ligatures
886 @cindex White mensural ligatures
888 There is limited support for white mensural ligatures.
890 To engrave white mensural ligatures, in the layout block, replace
891 the @code{Ligature_bracket_engraver} with the
892 @code{Mensural_ligature_engraver} in the @code{Voice}
899 \remove Ligature_bracket_engraver
900 \consists Mensural_ligature_engraver
905 There is no additional input language to describe the shape of a
906 white mensural ligature. The shape is rather determined solely from
907 the pitch and duration of the enclosed notes. While this approach may
908 take a new user a while to get accustomed to, it has the great advantage
909 that the full musical information of the ligature is known internally.
910 This is not only required for correct MIDI output, but also allows for
911 automatic transcription of the ligatures.
916 @c \set Score.timing = ##f
917 @c \set Score.defaultBarType = "empty"
918 @c \override NoteHead #'style = #'neomensural
919 @c \override Staff.TimeSignature #'style = #'neomensural
920 @c \clef "petrucci-g"
922 @c \[ d\longa c\breve f e d \]
923 @c \[ c'\maxima d'\longa \]
924 @c \[ e'1 a g\breve \]
926 @lilypond[quote,ragged-right,verbatim]
929 \set Score.timing = ##f
930 \set Score.defaultBarType = "empty"
931 \override NoteHead #'style = #'neomensural
932 \override Staff.TimeSignature #'style = #'neomensural
935 \[ d\longa c\breve f e d \]
936 \[ c'\maxima d'\longa \]
942 \remove Ligature_bracket_engraver
943 \consists Mensural_ligature_engraver
949 Without replacing @code{Ligature_bracket_engraver} with
950 @code{Mensural_ligature_engraver}, the same music transcribes
953 @lilypond[quote,ragged-right]
955 \set Score.timing = ##f
956 \set Score.defaultBarType = "empty"
957 \override NoteHead #'style = #'neomensural
958 \override Staff.TimeSignature #'style = #'neomensural
961 \[ d\longa c\breve f e d \]
962 \[ c'\maxima d'\longa \]
972 @ref{Gregorian square neume ligatures},
976 Horizontal spacing of ligatures is poor.
979 @node Typesetting Gregorian chant
980 @subsection Typesetting Gregorian chant
983 * Gregorian chant contexts::
985 * Gregorian accidentals and key signatures::
987 * Gregorian articulation signs::
988 * Augmentum dots (morae)::
989 * Gregorian square neume ligatures::
992 When typesetting a piece in Gregorian chant notation, the
993 @code{Vaticana_ligature_engraver} automatically selects the
994 proper note heads, so there is no need to explicitly set the note
995 head style. Still, the note head style can be set, e.g., to
996 @code{vaticana_punctum} to produce punctum neumes. Similarly, the
997 @code{Mensural_ligature_engraver} automatically assembles
1005 @ref{White mensural ligatures},
1008 @node Gregorian chant contexts
1009 @unnumberedsubsubsec Gregorian chant contexts
1011 @cindex VaticanaVoiceContext
1012 @cindex VaticanaStaffContext
1014 The predefined @code{VaticanaVoiceContext} and
1015 @code{VaticanaStaffContext} can be used to engrave a piece of
1016 Gregorian chant in the style of the Editio Vaticana. These contexts
1017 initialize all relevant context properties and grob properties to
1018 proper values, so you can immediately go ahead entering the chant, as
1019 the following excerpt demonstrates:
1021 @lilypond[quote,ragged-right,verbatim]
1022 \include "gregorian.ly"
1025 \new VaticanaVoice = "cantus" {
1026 \[ c'\melisma c' \flexa a \]
1027 \[ a \flexa \deminutum g\melismaEnd \]
1029 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
1030 c' \divisioMinima \break
1031 \[ c'\melisma c' \flexa a \]
1032 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
1034 \new Lyrics \lyricsto "cantus" {
1035 San- ctus, San- ctus, San- ctus
1043 @c TODO: nothing here yet ...
1046 @node Gregorian clefs
1047 @unnumberedsubsubsec Gregorian clefs
1051 The following table shows all Gregorian clefs that are supported via
1052 the @code{\clef} command. Some of the clefs use the same glyph,
1053 but differ only with respect to the line they are printed on. In
1054 such cases, a trailing number in the name is used to enumerate
1055 these clefs, numbered from the lowest to the highest line. Still,
1056 you can manually force a clef glyph to be typeset on an arbitrary
1057 line, as described in @ref{Clef}. The note printed to the right
1058 side of each clef in the example column denotes the @code{c'} with
1059 respect to that clef.
1061 @multitable @columnfractions .4 .4 .2
1070 Editio Vaticana style do clef
1072 @code{vaticana-do1}, @code{vaticana-do2},@*
1075 @lilypond[fragment,relative=1,notime]
1076 \override Staff.StaffSymbol #'line-count = #4
1077 \override Staff.StaffSymbol #'color = #red
1078 \override Staff.LedgerLineSpanner #'color = #red
1079 \override Voice.Stem #'transparent = ##t
1080 \override NoteHead #'style = #'vaticana.punctum
1081 \clef "vaticana-do2"
1086 Editio Vaticana style fa clef
1088 @code{vaticana-fa1}, @code{vaticana-fa2}
1090 @lilypond[fragment,relative=1,notime]
1091 \override Staff.StaffSymbol #'line-count = #4
1092 \override Staff.StaffSymbol #'color = #red
1093 \override Staff.LedgerLineSpanner #'color = #red
1094 \override Voice.Stem #'transparent = ##t
1095 \override NoteHead #'style = #'vaticana.punctum
1096 \clef "vaticana-fa2"
1101 Editio Medicaea style do clef
1103 @code{medicaea-do1}, @code{medicaea-do2},@*
1106 @lilypond[fragment,relative=1,notime]
1107 \override Staff.StaffSymbol #'line-count = #4
1108 \override Staff.StaffSymbol #'color = #red
1109 \override Staff.LedgerLineSpanner #'color = #red
1110 \override Voice.Stem #'transparent = ##t
1111 \override NoteHead #'style = #'medicaea.punctum
1112 \clef "medicaea-do2"
1117 Editio Medicaea style fa clef
1119 @code{medicaea-fa1}, @code{medicaea-fa2}
1121 @lilypond[fragment,relative=1,notime]
1122 \override Staff.StaffSymbol #'line-count = #4
1123 \override Staff.StaffSymbol #'color = #red
1124 \override Staff.LedgerLineSpanner #'color = #red
1125 \override Voice.Stem #'transparent = ##t
1126 \override NoteHead #'style = #'medicaea.punctum
1127 \clef "medicaea-fa2"
1132 hufnagel style do clef
1134 @code{hufnagel-do1}, @code{hufnagel-do2},@*
1137 @lilypond[fragment,relative=1,notime]
1138 \override Staff.StaffSymbol #'line-count = #4
1139 \override Staff.StaffSymbol #'color = #red
1140 \override Staff.LedgerLineSpanner #'color = #red
1141 \override Voice.Stem #'transparent = ##t
1142 \override NoteHead #'style = #'hufnagel.punctum
1143 \clef "hufnagel-do2"
1148 hufnagel style fa clef
1150 @code{hufnagel-fa1}, @code{hufnagel-fa2}
1152 @lilypond[fragment,relative=1,notime]
1153 \override Staff.StaffSymbol #'line-count = #4
1154 \override Staff.StaffSymbol #'color = #red
1155 \override Staff.LedgerLineSpanner #'color = #red
1156 \override Voice.Stem #'transparent = ##t
1157 \override NoteHead #'style = #'hufnagel.punctum
1158 \clef "hufnagel-fa2"
1163 hufnagel style combined do/fa clef
1165 @code{hufnagel-do-fa}
1167 @lilypond[fragment,relative=1,notime]
1168 \override Staff.StaffSymbol #'color = #red
1169 \override Staff.LedgerLineSpanner #'color = #red
1170 \override Voice.Stem #'transparent = ##t
1171 \override NoteHead #'style = #'hufnagel.punctum
1172 \clef "hufnagel-do-fa"
1186 @node Gregorian accidentals and key signatures
1187 @unnumberedsubsubsec Gregorian accidentals and key signatures
1190 @cindex key signature
1192 Accidentals for the three different Gregorian styles are available:
1194 @lilypond[quote,ragged-right,staffsize=26]
1198 \line { " " \musicglyph #"accidentals.vaticana-1"
1199 " " \musicglyph #"accidentals.vaticana0" }
1203 \line { " " \musicglyph #"accidentals.medicaea-1" }
1207 \line { " " \musicglyph #"accidentals.hufnagel-1" }
1212 As shown, not all accidentals are supported by each style. When
1213 trying to access an unsupported accidental, LilyPond will switch to a
1216 @c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1217 @c {ancient-accidentals.ly}
1219 The style for accidentals and key signatures is controlled by the
1220 @code{glyph-name-alist} property of the grobs @code{Accidental} and
1221 @code{KeySignature}, respectively; e.g.:
1223 @code{\override Staff.Accidental #'glyph-name-alist =
1224 #alteration-mensural-glyph-name-alist}
1230 @rglos{key signature}.
1235 @ref{Automatic accidentals},
1236 @ref{Key signature}.
1238 Internals Reference:
1239 @rinternals{KeySignature}.
1243 @unnumberedsubsubsec Divisiones
1249 There are no rests in Gregorian chant notation; instead, it uses
1252 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
1253 @q{division}) is a staff context symbol that is used to indicate
1254 the phrase and section structure of Gregorian music. The musical
1255 meaning of @emph{divisio minima}, @emph{divisio maior}, and
1256 @emph{divisio maxima} can be characterized as short, medium, and
1257 long pause, somewhat like the breath marks from @ref{Breath marks}.
1258 The @emph{finalis} sign not only marks the end of a chant, but is
1259 also frequently used within a single antiphonal/responsorial chant
1260 to mark the end of each section.
1262 To use divisiones, include the file @file{gregorian.ly}. It
1263 contains definitions that you can apply by just inserting
1264 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
1265 and @code{\finalis} at proper places in the input. Some editions use
1266 @emph{virgula} or @emph{caesura} instead of divisio minima.
1267 Therefore, @file{gregorian.ly} also defines @code{\virgula} and
1270 @lilypond[quote,ragged-right]
1271 \include "gregorian.ly"
1274 \context VaticanaVoice {
1275 \override TextScript #'padding = #3
1277 s^\markup { "divisio minima" }
1280 s^\markup { "divisio maior" }
1283 s^\markup { "divisio maxima" }
1287 s^\markup { "finalis" }
1290 s^\markup { "virgula" }
1293 s^\markup { "caesura" }
1307 @funindex \divisioMinima
1308 @code{\divisioMinima},
1309 @funindex \divisioMaior
1310 @code{\divisioMaior},
1311 @funindex \divisioMaxima
1312 @code{\divisioMaxima},
1326 @file{gregorian.ly}.
1329 @node Gregorian articulation signs
1330 @unnumberedsubsubsec Gregorian articulation signs
1332 @cindex articulations
1334 In addition to the standard articulation signs described in
1335 section @ref{Articulations and ornamentations}, articulation signs
1336 specifically designed for use with notation in
1337 @emph{Editio Vaticana} style are provided.
1339 @lilypond[quote,ragged-right,verbatim]
1340 \include "gregorian.ly"
1342 \new VaticanaVoice {
1343 \override TextScript #'font-family = #'typewriter
1344 \override TextScript #'font-shape = #'upright
1345 \override Script #'padding = #-0.1
1346 a\ictus_"ictus " \bar "" \break
1347 a\circulus_"circulus " \bar "" \break
1348 a\semicirculus_"semicirculus " \bar "" \break
1349 a\accentus_"accentus " \bar "" \break
1350 \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
1358 @ref{Articulations and ornamentations}.
1361 @rlsr{Ancient notation}.
1363 Internals Reference:
1364 @rinternals{Episema},
1365 @rinternals{EpisemaEvent},
1366 @rinternals{Episema_engraver},
1367 @rinternals{Script},
1368 @rinternals{ScriptEvent},
1369 @rinternals{Script_engraver}.
1373 Some articulations are vertically placed too closely to the
1374 corresponding note heads.
1377 @node Augmentum dots (morae)
1378 @unnumberedsubsubsec Augmentum dots (@emph{morae})
1380 Augmentum dots, also called @emph{morae}, are added with the music
1381 function @code{\augmentum}. Note that @code{\augmentum} is
1382 implemented as a unary music function rather than as head prefix. It
1383 applies to the immediately following music expression only. That is,
1384 @code{\augmentum \virga c} will have no visible effect. Instead, say
1385 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1386 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1387 @code{\augmentum a \augmentum g}.
1389 @lilypond[quote,ragged-right,verbatim]
1390 \include "gregorian.ly"
1392 \new VaticanaVoice {
1393 \[ \augmentum a \flexa \augmentum g \]
1404 Internals Reference:
1405 @rinternals{BreathingSign}.
1408 @rlsr{Ancient notation}.
1411 @node Gregorian square neume ligatures
1412 @unnumberedsubsubsec Gregorian square neume ligatures
1414 @cindex Square neumes ligatures
1415 @cindex Gregorian square neumes ligatures
1417 There is limited support for Gregorian square neumes notation
1418 (following the style of the Editio Vaticana). Core ligatures can
1419 already be typeset, but essential issues for serious typesetting are
1420 still lacking, such as (among others) horizontal alignment of multiple
1421 ligatures, lyrics alignment, and proper handling of accidentals.
1423 The support for Gregorian neumes is enabled by @code{\include}ing
1424 @file{gregorian.ly} at the beginning of the file. This makes available
1425 a number of extra commands to produce the neume symbols used in
1426 plainchant notation.
1430 Note heads can be @emph{modified} and/or @emph{joined}.
1434 the note head can be modified by @emph{prefixing} the note name
1435 with any of the following commands:
1440 @funindex \inclinatum
1444 @funindex \descendens
1446 @funindex \ascendens
1452 @funindex \deminutum
1459 @item Ligatures, properly speaking (i.e. notes joined together), are
1460 produced by placing one of the joining commands @code{\pes} or
1461 @code{\flexa}, for upwards and downwards movement, respectively,
1462 @emph{between} the notes to be joined.
1465 A note name without any qualifiers will produce a @emph{punctum}.
1466 All other neumes, including the single-note neumes with a
1467 different shape such as the @emph{virga}, are in principle
1468 considered as ligatures and should therefore be placed
1469 between @code{\[...\]}.
1470 @c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
1477 @item The @emph{punctum} is the basic note shape (in the
1478 @emph{Vaticana} style: a square with some curvation for
1479 typographical finesse). In addition to the regular
1480 @emph{punctum}, there is also the oblique @emph{punctum
1481 inclinatum}, produced with the prefix @code{\inclinatum}. The
1482 regular @emph{punctum} can be modified with @code{\cavum}, which
1483 produces a hollow note, and @code{\linea}, which draws vertical
1484 lines on either side of the note.
1486 @item The @emph{virga} has a descending stem on the right side. It is
1487 produced by the modifier @code{\virga}.
1493 Unlike most other neumes notation systems, the typographical
1494 appearance of ligatures is not directly dictated by the input
1495 commands, but follows certain conventions dependent on musical
1496 meaning. For example, a three-note ligature with the musical shape
1497 low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
1498 Torculus consisting of three Punctum heads, while the shape
1499 high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
1500 Porrectus with a curved flexa shape and only a single Punctum
1501 head. There is no command to explicitly typeset the curved flexa
1502 shape; the decision of when to typeset a curved flexa shape is
1503 based on the musical input. The idea of this approach is to
1504 separate the musical aspects of the input from the notation style
1505 of the output. This way, the same input can be reused to typeset
1506 the same music in a different style of Gregorian chant notation.
1511 Another main category of notes in Gregorian chant is the so-called
1512 liquescent neumes. They are used under certain circumstances at
1513 the end of a syllable which ends in a @q{liquescent} letter, i.e.
1514 the sounding consonants that can hold a tone (the nasals, l, r, v,
1515 j, and their diphthong equivalents). Thus, the liquescent neumes
1516 are never used alone (although some of them can be produced), and
1517 they always fall at the end of a ligature.
1519 Liquescent neumes are represented graphically in two different,
1520 more or less interchangeable ways: with a smaller note or by
1521 @q{twisting} the main note upwards or downwards. The first is
1522 produced by making a regular @code{pes} or @code{flexa} and
1523 modifying the shape of the second note:
1524 @code{\[ a \pes \deminutum b \] }, the second by modifying the shape
1525 of a single-note neume with @code{\auctum} and one of the direction
1526 markers @code{\descendens} or @code{\ascendens}, e.g.,
1527 @code{ \[ \auctum \descendens a \] }.
1532 A third category of signs is made up of a small number of signs
1533 with a special meaning (which, incidentally, in most cases is only
1534 vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
1535 @emph{strophicus}. These are all produced by prefixing a note name
1536 with the corresponding modifier, @code{\quilisma},
1537 @code{\oriscus}, or @code{\stropha}.
1539 Virtually, within the ligature delimiters @code{\[} and @code{\]},
1540 any number of heads may be accumulated to form a single ligature,
1541 and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
1542 @code{\inclinatum}, etc. may be mixed in as desired. The use of
1543 the set of rules that underlies the construction of the ligatures
1544 in the above table is accordingly extrapolated. This way,
1545 infinitely many different ligatures can be created.
1547 Note that the use of these signs in the music itself follows
1548 certain rules, which are not checked by LilyPond. E.g., the
1549 @emph{quilisma} is always the middle note of an ascending
1550 ligature, and usually falls on a half-tone step, but it is
1551 perfectly possible, although incorrect, to make a single-note
1554 In addition to the note signs, @file{gregorian.ly} also defines the
1555 commands @code{\versus}, @code{\responsum}, @code{\ij},
1556 @code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
1557 corresponding characters, e.g., for use in lyrics, as section
1558 markers, etc. These commands use special Unicode characters and
1559 will only work if a font is used which supports them.
1564 The following table shows a limited, but still representative pool
1565 of Gregorian ligatures, together with the code fragments that
1566 produce the ligatures. The table is based on the extended neumes
1567 table of the 2nd volume of the Antiphonale Romanum
1568 (@emph{Liber Hymnarius}), published 1983 by the monks of Solesmes.
1569 The first column gives the name of the ligature, with the main form in
1570 boldface and the liquescent forms in italics. The third column
1571 shows the code fragment that produces this ligature, using
1572 @code{g}, @code{a}, and @code{b} as example pitches.
1575 @b{Single-note neums}
1577 @multitable @columnfractions .4 .2 .4
1580 @b{Basic} and @emph{Liquescent} forms
1587 @c TODO: \layout block is identical in all of the below examples.
1588 @c Therefore, it should somehow be included rather than duplicated all
1591 @c why not make variables in ly/engraver-init.ly? --hwn
1593 @c Because it's just used to typeset plain notes without
1594 @c a staff for demonstration purposes rather than something
1595 @c special of Gregorian chant notation. --jr
1601 @lilypond[staffsize=26,line-width=1.5\cm]
1602 \include "gregorian.ly"
1608 \layout { \neumeDemoLayout }}
1615 @lilypond[staffsize=26,line-width=1.5\cm]
1616 \include "gregorian.ly"
1622 \layout { \neumeDemoLayout }}
1625 @code{\[ \cavum b \]}
1629 @lilypond[staffsize=26,line-width=1.5\cm]
1630 \include "gregorian.ly"
1636 \layout { \neumeDemoLayout }}
1639 @code{\[ \linea b \]}
1642 @emph{Punctum Auctum Ascendens}
1644 @lilypond[staffsize=26,line-width=2.5\cm]
1645 \include "gregorian.ly"
1648 % Punctum Auctum Ascendens
1649 \[ \auctum \ascendens b \]
1651 \layout { \neumeDemoLayout }}
1654 @code{\[ \auctum \ascendens b \]}
1657 @emph{Punctum Auctum Descendens}
1659 @lilypond[staffsize=26,line-width=2.5\cm]
1660 \include "gregorian.ly"
1663 % Punctum Auctum Descendens
1664 \[ \auctum \descendens b \]
1666 \layout { \neumeDemoLayout }}
1669 @code{\[ \auctum \descendens b \]}
1672 @b{Punctum inclinatum}
1674 @lilypond[staffsize=26,line-width=1.5\cm]
1675 \include "gregorian.ly"
1678 % Punctum Inclinatum
1681 \layout { \neumeDemoLayout }}
1684 @code{\[ \inclinatum b \]}
1687 @emph{Punctum Inclinatum Auctum}
1689 @lilypond[staffsize=26,line-width=2.5\cm]
1690 \include "gregorian.ly"
1693 % Punctum Inclinatum Auctum
1694 \[ \inclinatum \auctum b \]
1696 \layout { \neumeDemoLayout }}
1699 @code{\[ \inclinatum \auctum b \]}
1702 @emph{Punctum Inclinatum Parvum}
1704 @lilypond[staffsize=26,line-width=1.0\cm]
1705 \include "gregorian.ly"
1708 % Punctum Inclinatum Parvum
1709 \[ \inclinatum \deminutum b \]
1711 \layout { \neumeDemoLayout }}
1714 @code{\[ \inclinatum \deminutum b \]}
1719 @lilypond[staffsize=26,line-width=1.0\cm]
1720 \include "gregorian.ly"
1726 \layout { \neumeDemoLayout }}
1733 @b{Two-note ligatures}
1735 @multitable @columnfractions .4 .2 .4
1738 @b{Clivis vel Flexa}
1740 @lilypond[staffsize=26,line-width=1.0\cm]
1741 \include "gregorian.ly"
1747 \layout { \neumeDemoLayout }}
1750 @code{\[ b \flexa g \]}
1754 @emph{Clivis Aucta Descendens}
1756 @lilypond[staffsize=26,line-width=2.0\cm]
1757 \include "gregorian.ly"
1760 % Clivis Aucta Descendens
1761 \[ b \flexa \auctum \descendens g \]
1763 \layout { \neumeDemoLayout }}
1766 @code{\[ b \flexa \auctum \descendens g \]}
1769 @emph{Clivis Aucta Ascendens}
1771 @lilypond[staffsize=26,line-width=2.0\cm]
1772 \include "gregorian.ly"
1775 % Clivis Aucta Ascendens
1776 \[ b \flexa \auctum \ascendens g \]
1778 \layout { \neumeDemoLayout }}
1781 @code{\[ b \flexa \auctum \ascendens g \]}
1786 @lilypond[staffsize=26,line-width=2.0\cm]
1787 \include "gregorian.ly"
1791 \[ b \flexa \deminutum g \]
1793 \layout { \neumeDemoLayout }}
1796 @code{\[ b \flexa \deminutum g \]}
1801 @lilypond[staffsize=26,line-width=1.0\cm]
1802 \include "gregorian.ly"
1808 \layout { \neumeDemoLayout }}
1811 @code{\[ g \pes b \]}
1814 @emph{Pes Auctus Descendens}
1816 @lilypond[staffsize=26,line-width=1.0\cm]
1817 \include "gregorian.ly"
1820 % Pes Auctus Descendens
1821 \[ g \pes \auctum \descendens b \]
1823 \layout { \neumeDemoLayout }}
1826 @code{\[ g \pes \auctum \descendens b \]}
1829 @emph{Pes Auctus Ascendens}
1831 @lilypond[staffsize=26,line-width=1.0\cm]
1832 \include "gregorian.ly"
1835 % Pes Auctus Ascendens
1836 \[ g \pes \auctum \ascendens b \]
1838 \layout { \neumeDemoLayout }}
1841 @code{\[ g \pes \auctum \ascendens b \]}
1846 @lilypond[staffsize=26,line-width=1.0\cm]
1847 \include "gregorian.ly"
1851 \[ g \pes \deminutum b \]
1853 \layout { \neumeDemoLayout }}
1856 @code{\[ g \pes \deminutum b \]}
1859 @emph{Pes Initio Debilis}
1861 @lilypond[staffsize=26,line-width=1.0\cm]
1862 \include "gregorian.ly"
1865 % Pes Initio Debilis
1866 \[ \deminutum g \pes b \]
1868 \layout { \neumeDemoLayout }}
1871 @code{\[ \deminutum g \pes b \]}
1874 @emph{Pes Auctus Descendens Initio Debilis}
1876 @lilypond[staffsize=26,line-width=1.0\cm]
1877 \include "gregorian.ly"
1880 % Pes Auctus Descendens Initio Debilis
1881 \[ \deminutum g \pes \auctum \descendens b \]
1883 \layout { \neumeDemoLayout }}
1886 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1891 @b{Multi-note ligatures}
1893 @multitable @columnfractions .4 .2 .4
1898 @lilypond[staffsize=26,line-width=1.0\cm]
1899 \include "gregorian.ly"
1903 \[ a \pes b \flexa g \]
1905 \layout { \neumeDemoLayout }}
1908 @code{\[ a \pes b \flexa g \]}
1911 @emph{Torculus Auctus Descendens}
1913 @lilypond[staffsize=26,line-width=1.0\cm]
1914 \include "gregorian.ly"
1917 % Torculus Auctus Descendens
1918 \[ a \pes b \flexa \auctum \descendens g \]
1920 \layout { \neumeDemoLayout }}
1923 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1926 @emph{Torculus Deminutus}
1928 @lilypond[staffsize=26,line-width=1.0\cm]
1929 \include "gregorian.ly"
1932 % Torculus Deminutus
1933 \[ a \pes b \flexa \deminutum g \]
1935 \layout { \neumeDemoLayout }}
1938 @code{\[ a \pes b \flexa \deminutum g \]}
1941 @emph{Torculus Initio Debilis}
1943 @lilypond[staffsize=26,line-width=1.0\cm]
1944 \include "gregorian.ly"
1947 % Torculus Initio Debilis
1948 \[ \deminutum a \pes b \flexa g \]
1950 \layout { \neumeDemoLayout }}
1953 @code{\[ \deminutum a \pes b \flexa g \]}
1956 @emph{Torculus Auctus Descendens Initio Debilis}
1958 @lilypond[staffsize=26,line-width=1.0\cm]
1959 \include "gregorian.ly"
1962 % Torculus Auctus Descendens Initio Debilis
1963 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1965 \layout { \neumeDemoLayout }}
1968 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
1971 @emph{Torculus Deminutus Initio Debilis}
1973 @lilypond[staffsize=26,line-width=1.0\cm]
1974 \include "gregorian.ly"
1977 % Torculus Deminutus Initio Debilis
1978 \[ \deminutum a \pes b \flexa \deminutum g \]
1980 \layout { \neumeDemoLayout }}
1983 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
1988 @lilypond[staffsize=26,line-width=1.0\cm]
1989 \include "gregorian.ly"
1993 \[ a \flexa g \pes b \]
1995 \layout { \neumeDemoLayout }}
1998 @code{\[ a \flexa g \pes b \]}
2001 @emph{Porrectus Auctus Descendens}
2003 @lilypond[staffsize=26,line-width=1.0\cm]
2004 \include "gregorian.ly"
2007 % Porrectus Auctus Descendens
2008 \[ a \flexa g \pes \auctum \descendens b \]
2010 \layout { \neumeDemoLayout }}
2013 @code{\[ a \flexa g \pes \auctum \descendens b \]}
2016 @emph{Porrectus Deminutus}
2018 @lilypond[staffsize=26,line-width=1.0\cm]
2019 \include "gregorian.ly"
2022 % Porrectus Deminutus
2023 \[ a \flexa g \pes \deminutum b \]
2025 \layout { \neumeDemoLayout }}
2028 @code{\[ a \flexa g \pes \deminutum b \]}
2033 @lilypond[staffsize=26,line-width=1.0\cm]
2034 \include "gregorian.ly"
2038 \[ \virga b \inclinatum a \inclinatum g \]
2040 \layout { \neumeDemoLayout }}
2043 @code{\[ \virga b \inclinatum a \inclinatum g \]}
2046 @emph{Climacus Auctus}
2048 @lilypond[staffsize=26,line-width=1.0\cm]
2049 \include "gregorian.ly"
2053 \[ \virga b \inclinatum a \inclinatum \auctum g \]
2055 \layout { \neumeDemoLayout }}
2058 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
2061 @emph{Climacus Deminutus}
2063 @lilypond[staffsize=26,line-width=1.0\cm]
2064 \include "gregorian.ly"
2067 % Climacus Deminutus
2068 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
2070 \layout { \neumeDemoLayout }}
2073 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
2078 @lilypond[staffsize=26,line-width=1.0\cm]
2079 \include "gregorian.ly"
2083 \[ g \pes a \virga b \]
2085 \layout { \neumeDemoLayout }}
2088 @code{\[ g \pes a \virga b \]}
2091 @emph{Scandicus Auctus Descendens}
2093 @lilypond[staffsize=26,line-width=1.0\cm]
2094 \include "gregorian.ly"
2097 % Scandicus Auctus Descendens
2098 \[ g \pes a \pes \auctum \descendens b \]
2100 \layout { \neumeDemoLayout }}
2103 @code{\[ g \pes a \pes \auctum \descendens b \]}
2106 @emph{Scandicus Deminutus}
2108 @lilypond[staffsize=26,line-width=1.0\cm]
2109 \include "gregorian.ly"
2112 % Scandicus Deminutus
2113 \[ g \pes a \pes \deminutum b \]
2115 \layout { \neumeDemoLayout }}
2118 @code{\[ g \pes a \pes \deminutum b \]}
2125 @multitable @columnfractions .4 .2 .4
2130 @lilypond[staffsize=26,line-width=1.0\cm]
2131 \include "gregorian.ly"
2135 \[ g \pes \quilisma a \pes b \]
2137 \layout { \neumeDemoLayout }}
2140 @code{\[ g \pes \quilisma a \pes b \]}
2143 @emph{Quilisma Pes Auctus Descendens}
2145 @lilypond[staffsize=26,line-width=1.0\cm]
2146 \include "gregorian.ly"
2149 % Quilisma Pes Auctus Descendens
2150 \[ g \quilisma a \pes \auctum \descendens b \]
2152 \layout { \neumeDemoLayout }}
2155 @code{\[ \quilisma g \pes \auctum \descendens b \]}
2160 @lilypond[staffsize=26,line-width=1.0\cm]
2161 \include "gregorian.ly"
2167 \layout { \neumeDemoLayout }}
2170 @code{\[ \oriscus b \]}
2175 @lilypond[staffsize=26,line-width=1.0\cm]
2176 \include "gregorian.ly"
2180 \[ \oriscus g \pes \virga b \]
2182 \layout { \neumeDemoLayout }}
2185 @code{\[ \oriscus g \pes \virga b \]}
2188 @emph{Pes Quassus Auctus Descendens}
2190 @lilypond[staffsize=26,line-width=1.0\cm]
2191 \include "gregorian.ly"
2194 % Pes Quassus Auctus Descendens
2195 \[ \oriscus g \pes \auctum \descendens b \]
2197 \layout { \neumeDemoLayout }}
2200 @code{\[ \oriscus g \pes \auctum \descendens b \]}
2205 @lilypond[staffsize=26,line-width=1.0\cm]
2206 \include "gregorian.ly"
2210 \[ g \oriscus a \pes \virga b \]
2212 \layout { \neumeDemoLayout }}
2215 @code{\[ g \oriscus a \pes \virga b \]}
2218 @emph{Salicus Auctus Descendens}
2220 @lilypond[staffsize=26,line-width=1.0\cm]
2221 \include "gregorian.ly"
2224 % Salicus Auctus Descendens
2225 \[ g \oriscus a \pes \auctum \descendens b \]
2227 \layout { \neumeDemoLayout }}
2230 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
2235 @lilypond[staffsize=26,line-width=1.0\cm]
2236 \include "gregorian.ly"
2242 \layout { \neumeDemoLayout }}
2245 @code{\[ \stropha b \]}
2248 @emph{Stropha Aucta}
2250 @lilypond[staffsize=26,line-width=1.0\cm]
2251 \include "gregorian.ly"
2255 \[ \stropha \auctum b \]
2257 \layout { \neumeDemoLayout }}
2260 @code{\[ \stropha \auctum b \]}
2265 @lilypond[staffsize=26,line-width=1.0\cm]
2266 \include "gregorian.ly"
2270 \[ \stropha b \stropha b \]
2272 \layout { \neumeDemoLayout }}
2275 @code{\[ \stropha b \stropha b \]}
2280 @lilypond[staffsize=26,line-width=1.0\cm]
2281 \include "gregorian.ly"
2285 \[ \stropha b \stropha b \stropha b \]
2287 \layout { \neumeDemoLayout }}
2290 @code{\[ \stropha b \stropha b \stropha b \]}
2295 @lilypond[staffsize=26,line-width=1.0\cm]
2296 \include "gregorian.ly"
2300 \[ \stropha b \stropha b \stropha a \]
2302 \layout { \neumeDemoLayout }
2306 @code{\[ \stropha b \stropha b \stropha a \]}
2312 The following head prefixes are supported:
2317 @funindex \inclinatum
2321 @funindex \descendens
2323 @funindex \ascendens
2329 @funindex \deminutum
2337 Head prefixes can be accumulated, though restrictions apply. For
2338 example, either @code{\descendens} or @code{\ascendens} can be applied
2339 to a head, but not both to the same head.
2344 Two adjacent heads can be tied together with the @code{\pes} and
2345 @code{\flexa} infix commands for a rising and falling line of melody,
2348 @funindex \augmentum
2350 Use the unary music function @code{\augmentum} to add augmentum dots.
2357 @ref{Gregorian square neume ligatures},
2358 @ref{White mensural ligatures},
2363 When an @code{\augmentum} dot appears at the end of the last staff
2364 within a ligature, it is sometimes vertically placed wrong. As a
2365 workaround, add an additional skip note (e.g., @code{s8}) as last note
2368 @code{\augmentum} should be implemented as a head prefix rather than a
2369 unary music function, such that @code{\augmentum} can be intermixed
2370 with head prefixes in arbitrary order.
2373 @node Working with ancient music---scenarios and solutions
2374 @subsection Working with ancient music---scenarios and solutions
2378 * Mensurstriche layout::
2379 * Transcribing Gregorian chant::
2380 * Ancient and modern from one source::
2381 * Editorial markings::
2384 Working with ancient music frequently involves particular tasks
2385 which differ considerably from the modern notation for which
2386 LilyPond is designed. In the rest of this section, a number of
2387 typical scenarios are outlined, with suggestions of solutions.
2391 @item how to make incipits (i.e. prefatory material to indicate
2392 what the original has looked like) to modern transcriptions of
2394 @item how to achieve the @emph{Mensurstriche} layout frequently
2395 used for modern transcriptions of polyphonic music;
2396 @item how to transcribe Gregorian chant in modern notation;
2397 @item how to generate both ancient and modern notation from the
2403 @unnumberedsubsubsec Incipits
2406 @c clefs, mensuration signs etc from lsr and -user
2407 @c use snippet Transcription-of-ancient-music-with-incipit
2412 @c ... and reference to other sections ...
2415 @node Mensurstriche layout
2416 @unnumberedsubsubsec Mensurstriche layout
2418 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
2419 for bar lines that are drawn between the staves of a system but
2420 not through the staves themselves. It is a common way to preserve
2421 the rhythmic appearance of the original, i.e. not having to break
2422 syncopated notes at bar lines, while still providing the
2423 orientation aids that bar lines give.
2426 @lilypondfile[verbatim,lilyquote,texidoc]
2427 {mensurstriche-layout-bar-lines-between-the-staves.ly}
2429 @c This simple setup will take care of the
2430 @c TODO Add text about lyrics to the lowest line, to be placed
2431 @c outside the StaffGroup.
2432 @c from lsr and -user
2437 @c ... and reference to other sections ...
2440 @node Transcribing Gregorian chant
2441 @unnumberedsubsubsec Transcribing Gregorian chant
2443 Gregorian chant can be transcribed into modern notation with a
2444 number of simple tweaks.
2446 @b{Stems}. Stems can be left out altogether by @code{\remove}-ing
2447 the @code{Stem_engraver} from the Voice context:
2454 \remove "Stem_engraver"
2459 However, in some transcription styles, stems are used
2460 occasionally, for example to indicate the transition from a
2461 single-tone recitative to a fixed melodic gesture. In these cases,
2462 one can use either @code{\override Stem #'transparent = ##t} or
2463 @code{\override Stem #'length = #0} instead, and restore the stem
2464 when needed with the corresponding @code{\once \override Stem
2465 #'transparent = ##f} (see example below).
2467 @b{Timing.} For unmetered chant, there are several alternatives.
2469 The Time_signature_engraver can be removed from the Staff context
2470 without any negative side effects. The alternative, to make it
2471 transparent, will leave an empty space in the score, since the
2472 invisible signature will still take up space.
2474 In many cases, @code{\set Score.timing = ##f} will give good
2475 results. Another alternative is to use @code{\CadenzaOn} and
2478 To remove the bar lines, the radical approach is to @code{\remove}
2479 the Bar_engraver from the Staff context. Again, one may want to
2480 use @code{\override BarLine #'transparent = ##t} instead, if an
2481 occasional barline is wanted.
2483 A common type of transcription is recitativic chant where the
2484 repeated notes are indicated with a single breve. The text to
2485 the recitation tone can be dealt with in two different ways:
2486 either set as a single, left-aligned syllable:
2488 @lilypond[verbatim,ragged-right]
2489 \include "gregorian.ly"
2490 chant = \relative c' {
2492 c\breve c4 b4 a c2 c4 \divisioMaior
2493 c\breve c4 c f, f \finalis
2496 verba = \lyricmode {
2497 \once \override LyricText #'self-alignment-X = #-1
2498 "Noctem quietam et" fi -- nem per -- fec -- tum
2499 \once \override LyricText #'self-alignment-X = #-1
2500 "concedat nobis Dominus" om -- ni -- po -- tens.
2504 \new Voice = "melody" \chant
2505 \new Lyrics = "one" \lyricsto melody \verba
2510 \remove "Time_signature_engraver"
2511 \remove "Bar_engraver"
2512 \override Stem #'transparent = ##t
2518 This works fine, as long as the text doesn't span a line break. If
2519 that is the case, an alternative is to add hidden notes to the
2520 score, here in combination with changing stem visibility:
2523 @lilypond[verbatim,ragged-right]
2524 \include "gregorian.ly"
2525 chant = \relative c' {
2527 \set Score.timing = ##f
2528 c\breve \override NoteHead #'transparent = ##t c c c c c
2529 \revert NoteHead #'transparent
2530 \override Stem #'transparent = ##f \stemUp c4 b4 a
2531 \override Stem #'transparent = ##t c2 c4 \divisioMaior
2532 c\breve \override NoteHead #'transparent = ##t c c c c c c c
2533 \revert NoteHead #'transparent c4 c f, f \finalis
2536 verba = \lyricmode {
2537 No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum
2538 con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens.
2543 \new Voice = "melody" \chant
2544 \new Lyrics \lyricsto "melody" \verba
2549 \remove "Time_signature_engraver"
2550 \override BarLine #'transparent = ##t
2551 \override Stem #'transparent = ##t
2557 Another common situation is transcription of neumatic or
2558 melismatic chants, i.e. chants with a varying number of notes
2559 to each syllable. In this case, one would want to set the
2560 syllable groups clearly apart, usually also the subdivisions of a
2561 longer melisma. One way to achieve this is to use a fixed
2562 @code{\time}, e.g., 1/4, and let each syllable or note group fill
2563 one of these measures, with the help of tuplets or shorter
2564 durations. If the bar lines and all other rhythmical indications
2565 are made transparent, and the space around the bar lines is
2566 increased, this will give a fairly good representation in modern
2567 notation of the original.
2569 To avoid that syllables of different width (such as @qq{-ri} and
2570 @qq{-rum}) spread the syllable note groups unevenly apart, the
2571 @code{#'X-extent} property of the @code{LyricText} object may be
2572 set to a fixed value. Another, more cumbersome way would be to
2573 add the syllables as @code{\markup} elements. If further
2574 adjustments are necessary, this can be easily done with
2577 @lilypond[verbatim,quote]
2578 spiritus = \relative c' {
2580 \override Lyrics.LyricText #'X-extent = #'(0 . 3)
2581 d4 \times 2/3 { f8 a g } g a a4 g f8 e
2582 d4 f8 g g8 d f g a g f4 g8 a a4 s
2583 \times 2/3 { g8 f d } e f g a g4
2586 spirLyr = \lyricmode {
2587 Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _
2588 or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu
2593 \new Voice = "chant" \spiritus
2594 \new Lyrics = "one" \lyricsto "chant" \spirLyr
2599 \remove "Time_signature_engraver"
2600 \override BarLine #'X-extent = #'(-1 . 1)
2601 \override Stem #'transparent = ##t
2602 \override Beam #'transparent = ##t
2603 \override BarLine #'transparent = ##t
2604 \override TupletNumber #'transparent = ##t
2610 @c extract from 1.6.1.1
2613 @c ... and reference to other sections ...
2616 @node Ancient and modern from one source
2617 @unnumberedsubsubsec Ancient and modern from one source
2620 @c Here among others the snippets about reducing note length
2624 @c ... and reference to other sections ...
2627 @node Editorial markings
2628 @unnumberedsubsubsec Editorial markings
2631 @c @node Baroque rhythmic notation
2632 @c @unnumberedsubsubsec Baroque rhythmic notation
2636 @c Add example of white note heads:
2637 @c In the french baroque some composers used white note heads in slow pieces,
2638 @c mainly in 3/2-time. A quarter looks there like a eighth with a white
2639 @c notehead. (Franz-Rudolf Kuhnen)
2641 @c TODO Add example of this:
2642 @c I was referring to e.g. notated a8. a16, which should, if I
2643 @c remember correctly, be interpreted more like a8.. a32 (in the french
2644 @c style). The editor might want to show that rythmic figure above the
2645 @c staff as an hint to performers. (Karl Hammer)
2652 @c ... and reference to other sections ...