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14 @node Ancient notation
15 @section Ancient notation
17 @lilypondfile[quote]{ancient-headword.ly}
19 @cindex Vaticana, Editio
20 @cindex Medicaea, Editio
27 * Overview of the supported styles::
28 * Ancient notation---common features::
29 * Typesetting mensural music::
30 * Typesetting Gregorian chant::
31 * Typesetting Kievan square notation::
32 * Working with ancient music---scenarios and solutions::
36 Support for ancient notation includes features for mensural
37 notation, Gregorian chant notation, and Kievan square notation.
38 These features can be accessed either by modifying style
39 properties of graphical objects such as note heads and rests,
40 or by using one of the pre-defined contexts for these styles.
42 Many graphical objects, such as note heads and flags, accidentals,
43 time signatures, and rests, provide a @code{style} property, which
44 can be changed to emulate several different styles of ancient
48 @item @ref{Mensural note heads},
49 @item @ref{Mensural accidentals and key signatures},
50 @item @ref{Mensural rests},
51 @item @ref{Mensural clefs},
52 @item @ref{Gregorian clefs},
53 @item @ref{Mensural flags},
54 @item @ref{Mensural time signatures}.
57 Some notational concepts are introduced specifically for ancient
62 @item @ref{Divisiones},
63 @item @ref{Ligatures}.
70 @rglos{mensural notation}.
73 @ref{Mensural note heads},
74 @ref{Mensural accidentals and key signatures},
76 @ref{Gregorian clefs},
78 @ref{Mensural time signatures},
84 @node Overview of the supported styles
85 @subsection Overview of the supported styles
87 Three styles are available for typesetting Gregorian chant:
90 @item @emph{Editio Vaticana} is a complete style for
91 Gregorian chant, following the appearance of the Solesmes
92 editions, the official chant books of the Vatican since 1904.
93 LilyPond has support for all the notational signs used in this
94 style, including ligatures, @emph{custodes}, and special signs
95 such as the quilisma and the oriscus.
98 @cindex Vaticana, Editio
100 @item The @emph{Editio Medicaea} style offers certain features
101 used in the Medicaea (or Ratisbona) editions which were used prior
102 to the Solesmes editions. The most significant differences from
103 the @emph{Vaticana} style are the clefs, which have
104 downward-slanted strokes, and the note heads, which are square and
107 @cindex Ratisbona, Editio
108 @cindex Medicaea, Editio
110 @item The @emph{Hufnagel} (@qq{horseshoe nail}) or @emph{Gothic}
111 style mimics the writing style in chant manuscripts from Germany
112 and Central Europe during the middle ages. It is named after the
113 basic note shape (the @emph{virga}), which looks like a small
118 Three styles emulate the appearance of late-medieval and
119 renaissance manuscripts and prints of mensural music:
122 @item The @emph{Mensural} style most closely resembles the
123 writing style used in late-medieval and early renaissance
124 manuscripts, with its small and narrow, diamond-shaped note heads
125 and its rests which approach a hand-drawn style.
129 @item The @emph{Neomensural} style is a modernized and
130 stylized version of the former: the note heads are broader and the
131 rests are made up of straight lines. This style is particularly
132 suited, e.g., for incipits of transcribed pieces of mensural
137 @item The @emph{Petrucci} style is named after Ottaviano Petrucci
138 (1466-1539), the first printer to use movable type for music (in
139 his @emph{Harmonice musices odhecaton}, 1501). The style uses
140 larger note heads than the other mensural styles.
146 @emph{Baroque} and @emph{Classical} are not complete styles
147 but differ from the default style only in some details: certain
148 note heads (Baroque) and the quarter rest (Classical).
150 Only the mensural style has alternatives for all aspects of the
151 notation. Thus, there are no rests or flags in the Gregorian
152 styles, since these signs are not used in plainchant notation, and
153 the Petrucci style has no flags or accidentals of its own.
155 Each element of the notation can be changed independently of the
156 others, so that one can use mensural flags, petrucci note heads,
157 classical rests and vaticana clefs in the same piece, if one
162 @rglos{mensural notation},
166 @node Ancient notation---common features
167 @subsection Ancient notation---common features
170 * Pre-defined contexts::
176 @node Pre-defined contexts
177 @unnumberedsubsubsec Pre-defined contexts
179 For Gregorian chant and mensural notation, there are pre-defined
180 voice and staff contexts available, which set all the various
181 notation signs to values suitable for these styles. If one is
182 satisfied with these defaults, one can proceed directly with note
183 entry without worrying about the details on how to customize a
184 context. See one of the pre-defined contexts
185 @code{VaticanaVoice}, @code{VaticanaStaff}, @code{MensuralVoice},
186 and @code{MensuralStaff}. See further
189 @item @ref{Gregorian chant contexts},
190 @item @ref{Mensural contexts}.
195 @rglos{mensural notation}.
198 @ref{Gregorian chant contexts},
199 @ref{Mensural contexts}.
203 @unnumberedsubsubsec Ligatures
207 @c TODO: Should double check if I recalled things correctly when I wrote
208 @c down the following paragraph by heart.
210 A ligature is a graphical symbol that represents at least two
211 distinct notes. Ligatures originally appeared in the manuscripts
212 of Gregorian chant notation to denote ascending or descending
213 sequences of notes on the same syllable. They are also used in
216 Ligatures are entered by @emph{enclosing} them in @code{\[} and
217 @code{\]}. Some ligature styles may need additional input syntax
218 specific for this particular type of ligature. By default, the
219 @code{LigatureBracket} engraver just puts a square bracket
222 @lilypond[quote,ragged-right,verbatim]
230 Two other ligature styles are available: the Vaticana for
231 Gregorian chant, and the Mensural for mensural music (only white
232 mensural ligatures are supported for mensural music, and with
233 certain limitations). To use any of these styles, the default
234 @code{Ligature_bracket_engraver} has to be replaced with one of the
235 specialized ligature engravers in the @code{Voice} context,
236 as explained in @ref{White mensural ligatures} and
237 @ref{Gregorian square neume ligatures}.
244 @ref{White mensural ligatures},
245 @ref{Gregorian square neume ligatures}.
248 Ligatures need special spacing that has not yet been implemented. As
249 a result, there is too much space between ligatures most of the time,
250 and line breaking often is unsatisfactory. Also, lyrics do not
251 correctly align with ligatures.
253 Accidentals must not be printed within a ligature, but instead need to
254 be collected and printed in front of it.
256 The syntax still uses the deprecated infix style
257 @code{\[ music expr \]}. For consistency reasons, it will eventually
258 be changed to postfix style @code{note\[ @dots{} note\]}.
260 @c Alternatively, the file
261 @c @file{gregorian-init.ly} can be included; it provides a scheme
264 @c \ligature @var{music expr}
266 @c with the same effect and is believed to be stable.
268 @c TODO: this does not seem to work at the moment.
273 @unnumberedsubsubsec Custodes
278 A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard})
279 is a symbol that appears at the end of a staff. It anticipates the
280 pitch of the first note of the following line, thus helping the performer
281 to manage line breaks during performance.
283 Custodes were frequently used in music notation until the
284 seventeenth century. Nowadays, they have survived only in a few
285 particular forms of musical notation such as contemporary editions
286 of Gregorian chant like the @emph{Editio Vaticana}. There are
287 different custos glyphs used in different flavors of notational
290 For typesetting custodes, just put a @code{Custos_engraver} into the
291 @code{Staff} context when declaring the @code{\layout} block,
292 and change the style of the custos with an @code{\override} if
293 desired, as shown in the following example:
295 @lilypond[quote,ragged-right]
305 \consists "Custos_engraver"
306 \override Custos.style = #'mensural
312 The custos glyph is selected by the @code{style} property. The styles
313 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
314 @code{mensural}. They are demonstrated in the following fragment.
316 @lilypond[quote,ragged-right,fragment]
317 \new Lyrics \lyricmode {
319 \typewriter "vaticana "
320 \line { " " \musicglyph #"custodes.vaticana.u0" }
323 \typewriter "medicaea "
324 \line { " " \musicglyph #"custodes.medicaea.u0" }
327 \typewriter "hufnagel "
328 \line { " " \musicglyph #"custodes.hufnagel.u0" }
331 \typewriter "mensural "
332 \line { " " \musicglyph #"custodes.mensural.u0" }
342 @rlsr{Ancient notation}.
347 @node Typesetting mensural music
348 @subsection Typesetting mensural music
351 * Mensural contexts::
353 * Mensural time signatures::
354 * Mensural note heads::
357 * Mensural accidentals and key signatures::
358 * Annotational accidentals (musica ficta)::
359 * White mensural ligatures::
363 @node Mensural contexts
364 @unnumberedsubsubsec Mensural contexts
366 @cindex MensuralVoiceContext
367 @cindex MensuralStaffContext
369 The predefined @code{MensuralVoice} and @code{MensuralStaff}
370 contexts can be used to engrave a piece in mensural style. These
371 contexts initialize all relevant context properties and grob
372 properties to proper values, so you can immediately go ahead
373 entering the chant, as the following excerpt demonstrates:
375 @lilypond[quote,ragged-right,verbatim]
378 \new MensuralVoice = "discantus" \relative c'' {
379 \hide Score.BarNumber {
380 c1\melisma bes a g\melismaEnd
382 \[ f1\melisma a c\breve d\melismaEnd \]
384 c\breve\melisma a1 g1\melismaEnd
385 fis\longa^\signumcongruentiae
388 \new Lyrics \lyricsto "discantus" {
389 San -- ctus, San -- ctus, San -- ctus
397 @rglos{mensural notation}.
401 @unnumberedsubsubsec Mensural clefs
405 The following table shows all mensural clefs that are supported via
406 the @code{\clef} command. Some of the clefs use the same glyph,
407 but differ only with respect to the line they are printed on. In
408 such cases, a trailing number in the name is used to enumerate
409 these clefs, numbered from the lowest to the highest line.
410 You can manually force a clef glyph to be typeset on an arbitrary
411 line, as described in @ref{Clef}. The note printed to the right
412 side of each clef in the example column denotes the @code{c'} with
413 respect to that clef.
415 Petrucci used C clefs with differently balanced left-side vertical
416 beams, depending on which staff line it is printed.
418 @multitable @columnfractions .4 .4 .2
429 @code{mensural-c1}, @code{mensural-c2},@*
430 @code{mensural-c3}, @code{mensural-c4},@*
433 @lilypond[relative=1,notime]
435 \override NoteHead.style = #'mensural
444 @lilypond[relative=1,notime]
446 \override NoteHead.style = #'mensural
455 @lilypond[relative=1,notime]
457 \override NoteHead.style = #'mensural
462 black mensural C clef
464 @code{blackmensural-c1}, @code{blackmensural-c2},@*
465 @code{blackmensural-c3}, @code{blackmensural-c4},@*
466 @code{blackmensural-c5}
468 @lilypond[relative=1,notime]
469 \clef "blackmensural-c2"
470 \override NoteHead.style = #'mensural
477 @code{neomensural-c1}, @code{neomensural-c2},@*
478 @code{neomensural-c3}, @code{neomensural-c4}
480 @lilypond[relative=1,notime]
481 \clef "neomensural-c2" c1
485 petrucci style C clefs, for use on different staff lines
486 (the example shows the 2nd staff line C clef)
488 @code{petrucci-c1}, @code{petrucci-c2},@*
489 @code{petrucci-c3}, @code{petrucci-c4},@*
492 @lilypond[relative=1,notime]
494 \override NoteHead.style = #'mensural
499 petrucci style F clefs, for use on different staff lines
500 (the example shows the 3rd staff line F clef)
502 @code{petrucci-f3}, @code{petrucci-f4},@*
505 @lilypond[relative=1,notime]
507 \override NoteHead.style = #'mensural
512 petrucci style G clef
516 @lilypond[relative=1,notime]
518 \override NoteHead.style = #'mensural
525 @rglos{mensural notation},
532 The mensural g clef is mapped to the Petrucci g clef.
535 @node Mensural time signatures
536 @unnumberedsubsubsec Mensural time signatures
538 @cindex mensuration sign
539 @cindex time signature, mensural
540 @cindex time signature style
542 There is limited support for mensuration signs (which are similar to,
543 but not exactly the same as time signatures). The glyphs are hard-wired
544 to particular time fractions. In other words, to get a particular mensuration sign with the @code{\time n/m} command, @code{n} and
545 @code{m} have to be chosen according to the following table
547 @lilypond[quote,ragged-right]
552 \remove "Staff_symbol_engraver"
553 \remove "Clef_engraver"
554 \remove "Time_signature_engraver"
558 \set Score.timing = ##f
559 \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,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 cannot change with the time signature,
635 as those are not constant. For
636 example, the ratio of 1@tie{}breve = 3@tie{}semibreves
637 (@emph{tempus perfectum}) can be made by hand, by setting
640 breveTP = #(ly:make-duration -1 0 3/2)
646 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
648 The @code{mensural68alt} and @code{neomensural68alt} symbols
649 (alternate symbols for 6/8) are not addressable with @code{\time}.
650 Use @code{\markup @{\musicglyph #"timesig.mensural68alt" @}} instead.
653 @node Mensural note heads
654 @unnumberedsubsubsec Mensural note heads
656 @cindex note heads, ancient
658 For ancient notation, a note head style other than the
659 @code{default} style may be chosen. This is accomplished by setting
660 the @code{style} property of the @code{NoteHead} object to
661 @code{baroque}, @code{neomensural}, @code{mensural},
662 @code{petrucci}, @code{blackpetrucci} or @code{semipetrucci}.
664 The @code{baroque} style differs from the @code{default} style by:
667 @item Providing a @code{maxima} note head, and
668 @item Using a square shape for @code{\breve} note heads.
671 The @code{neomensural}, @code{mensural}, and @code{petrucci} styles
672 differ from the @code{baroque} style by:
675 @item Using rhomboidal heads for semibreves and all smaller durations,
677 @item Centering the stems on the note heads.
680 The @code{blackpetrucci} style produces note heads usable in black
681 mensural notation or coloratio sections in white mensural notation.
682 Because note head style does not influence flag count, in
683 this style a semiminima should be notated as @code{a8*2}, not
684 @code{a4}, otherwise it will look like a minima.
685 The multiplyer can be different if coloratio is used e.g. to notate
688 Use @code{semipetrucci} style to draw half-colored
689 note heads (breves, longas and maximas).
692 The following example demonstrates the @code{petrucci} style:
694 @c Renaissance music doesn't use bar lines ... but they do help to
695 @c separate the notes for easier identification.
697 @lilypond[quote,fragment,ragged-right,verbatim]
698 \set Score.skipBars = ##t
700 \override NoteHead.style = #'petrucci
701 a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
702 \override NoteHead.style = #'semipetrucci
704 \override NoteHead.style = #'blackpetrucci
706 \override NoteHead.style = #'petrucci
711 @ref{Note head styles}, gives an overview of all available note head
716 @rglos{mensural notation},
720 @ref{Note head styles}.
724 @unnumberedsubsubsec Mensural flags
728 Use the @code{flag-style} property of grob @code{Stem} to
729 select ancient flags. Besides the @code{default} flag style,
730 only the @code{mensural} style is supported.
732 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
733 \override Flag.style = #'mensural
734 \override Stem.thickness = #1.0
735 \override NoteHead.style = #'mensural
737 c8 d e f c16 d e f c32 d e f s8
738 c'8 d e f c16 d e f c32 d e f
741 Note that the innermost flare of each mensural flag is
742 vertically aligned with a staff line.
744 There is no particular flag style for neo-mensural or Petrucci notation.
745 There are no flags in Gregorian chant notation.
749 @rglos{mensural notation},
753 Vertically aligning each flag with a staff line assumes that stems
754 always end either exactly on or exactly in the middle of two
755 staff lines. This may not always be true when using advanced layout
756 features of classical notation (which however are typically out of
757 scope for mensural notation).
761 @unnumberedsubsubsec Mensural rests
763 @cindex rests, ancient
765 Use the @code{style} property of grob @code{Rest} to select
766 ancient rests. Supported styles are @code{classical},
767 @code{neomensural}, and @code{mensural}. @code{classical} differs
768 from the @code{default} style only in that the quarter rest looks
769 like a horizontally mirrored 8th rest. The @code{mensural} and
770 the @code{neomensural} styles mimic the appearance of rests in
771 manuscripts and prints up to the 16th century.
773 The following example demonstrates the @code{mensural} and
774 @code{neomensural} styles:
776 @lilypond[quote,fragment,ragged-right,verbatim]
777 \set Score.skipBars = ##t
778 \override Rest.style = #'classical
779 r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
780 \override Rest.style = #'mensural
781 r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
782 \override Rest.style = #'neomensural
783 r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
786 There are no 32th and 64th rests specifically for the mensural or
787 neo-mensural style. Instead, the rests from the default style will be
792 @rglos{mensural notation}.
798 @rlsr{Ancient notation}.
801 The glyph for the maxima rest in mensural style is actually a perfect
802 longa rest; use two (or three) longa rests to print a maxima rest.
803 Longa rests are not grouped automatically, so have to be done manually by
807 @node Mensural accidentals and key signatures
808 @unnumberedsubsubsec Mensural accidentals and key signatures
811 @cindex key signature
813 The @code{mensural} style provides a sharp and a flat sign
814 different from the default style. If called for, the natural sign
815 will be taken from the @code{vaticana} style.
817 @lilypond[quote,ragged-right,staffsize=26]
821 \line { " " \musicglyph #"accidentals.mensural-1"
822 " " \musicglyph #"accidentals.mensural1" }
827 The style for accidentals and key signatures is controlled by the
828 @code{glyph-name-alist} property of the grobs @code{Accidental} and
829 @code{KeySignature}, respectively; e.g.:
832 \override Staff.Accidental.glyph-name-alist =
833 #alteration-mensural-glyph-name-alist
838 @rglos{mensural notation},
841 @rglos{key signature}.
846 @ref{Automatic accidentals},
850 @rinternals{KeySignature}.
853 @node Annotational accidentals (musica ficta)
854 @unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
856 In European music from before about 1600, singers were expected to
857 chromatically alter notes at their own initiative according to
858 certain rules. This is called @notation{musica ficta}. In modern
859 transcriptions, these accidentals are usually printed over the
862 @cindex Accidental, musica ficta
865 Support for such suggested accidentals is included, and can be
866 switched on by setting @code{suggestAccidentals} to true.
868 @funindex suggestAccidentals
870 @lilypond[verbatim,relative=1]
872 \set suggestAccidentals = ##t
876 This will treat @emph{every} subsequent accidental as
877 @emph{musica ficta} until it is unset with
878 @code{\set suggestAccidentals = ##f}. A more practical way is to
879 use @code{\once \set suggestAccidentals = ##t}, which can even be
880 defined as a convenient shorthand:
882 @lilypond[quote,verbatim]
883 ficta = { \once \set suggestAccidentals = ##t }
884 \score { \relative c''
886 \once \set suggestAccidentals = ##t
887 bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
894 @rinternals{Accidental_engraver},
895 @rinternals{AccidentalSuggestion}.
898 @node White mensural ligatures
899 @unnumberedsubsubsec White mensural ligatures
901 @cindex Mensural ligatures
902 @cindex White mensural ligatures
904 There is limited support for white mensural ligatures.
906 To engrave white mensural ligatures, in the layout block, replace
907 the @code{Ligature_bracket_engraver} with the
908 @code{Mensural_ligature_engraver} in the @code{Voice}
915 \remove "Ligature_bracket_engraver"
916 \consists "Mensural_ligature_engraver"
921 There is no additional input language to describe the shape of a
922 white mensural ligature. The shape is rather determined solely from
923 the pitch and duration of the enclosed notes. While this approach may
924 take a new user a while to get accustomed to, it has the great advantage
925 that the full musical information of the ligature is known internally.
926 This is not only required for correct MIDI output, but also allows for
927 automatic transcription of the ligatures.
929 At certain places two consecutive notes can be represented either as
930 two squares or as an oblique parallelogram (flexa shape). In such
931 cases the default is the two squares, but a flexa can be required by
932 setting the @code{ligature-flexa} property of the @emph{second} note
933 head. The length of a flexa can be set by the note head property
939 @c \set Score.timing = ##f
940 @c \set Score.defaultBarType = "-"
941 @c \override NoteHead.style = #'neomensural
942 @c \override Staff.TimeSignature.style = #'neomensural
943 @c \clef "petrucci-g"
945 @c \[ d\longa c\breve f e d \]
946 @c \[ c'\maxima d'\longa \]
947 @c \[ e'1 a g\breve \]
949 @lilypond[quote,ragged-right,verbatim]
952 \set Score.timing = ##f
953 \set Score.defaultBarType = "-"
954 \override NoteHead.style = #'petrucci
955 \override Staff.TimeSignature.style = #'mensural
959 \override NoteHead.ligature-flexa = ##t
960 \once \override NoteHead.flexa-width = #3.2
962 \[ c'\maxima d\longa \]
968 \remove "Ligature_bracket_engraver"
969 \consists "Mensural_ligature_engraver"
975 Without replacing @code{Ligature_bracket_engraver} with
976 @code{Mensural_ligature_engraver}, the same music transcribes
979 @lilypond[quote,ragged-right]
981 \set Score.timing = ##f
982 \set Score.defaultBarType = "-"
983 \override NoteHead.style = #'petrucci
984 \override Staff.TimeSignature.style = #'mensural
988 \override NoteHead.ligature-flexa = ##t
989 \once \override NoteHead.flexa-width = #3.2
991 \[ c'\maxima d\longa \]
1001 @ref{Gregorian square neume ligatures},
1005 Horizontal spacing of ligatures is poor.
1006 Accidentals may collide with previous notes.
1009 @node Typesetting Gregorian chant
1010 @subsection Typesetting Gregorian chant
1013 * Gregorian chant contexts::
1015 * Gregorian accidentals and key signatures::
1017 * Gregorian articulation signs::
1018 * Augmentum dots (morae)::
1019 * Gregorian square neume ligatures::
1022 When typesetting a piece in Gregorian chant notation, the
1023 @code{Vaticana_ligature_engraver} automatically selects the
1024 proper note heads, so there is no need to explicitly set the note
1025 head style. Still, the note head style can be set, e.g., to
1026 @code{vaticana_punctum} to produce punctum neumes. Similarly, the
1027 @code{Mensural_ligature_engraver} automatically assembles
1035 @ref{White mensural ligatures},
1039 @node Gregorian chant contexts
1040 @unnumberedsubsubsec Gregorian chant contexts
1042 @cindex VaticanaVoiceContext
1043 @cindex VaticanaStaffContext
1045 The predefined @code{VaticanaVoiceContext} and
1046 @code{VaticanaStaffContext} can be used to engrave a piece of
1047 Gregorian chant in the style of the Editio Vaticana. These contexts
1048 initialize all relevant context properties and grob properties to
1049 proper values, so you can immediately go ahead entering the chant, as
1050 the following excerpt demonstrates:
1052 @lilypond[quote,ragged-right,verbatim]
1053 \include "gregorian.ly"
1056 \new VaticanaVoice = "cantus" {
1057 \[ c'\melisma c' \flexa a \]
1058 \[ a \flexa \deminutum g\melismaEnd \]
1060 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
1061 c' \divisioMinima \break
1062 \[ c'\melisma c' \flexa a \]
1063 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
1065 \new Lyrics \lyricsto "cantus" {
1066 San- ctus, San- ctus, San- ctus
1074 @c TODO: nothing here yet ...
1077 @node Gregorian clefs
1078 @unnumberedsubsubsec Gregorian clefs
1082 The following table shows all Gregorian clefs that are supported via
1083 the @code{\clef} command. Some of the clefs use the same glyph,
1084 but differ only with respect to the line they are printed on. In
1085 such cases, a trailing number in the name is used to enumerate
1086 these clefs, numbered from the lowest to the highest line. Still,
1087 you can manually force a clef glyph to be typeset on an arbitrary
1088 line, as described in @ref{Clef}. The note printed to the right
1089 side of each clef in the example column denotes the @code{c'} with
1090 respect to that clef.
1092 @multitable @columnfractions .4 .4 .2
1101 Editio Vaticana style do clef
1103 @code{vaticana-do1}, @code{vaticana-do2},@*
1106 @lilypond[relative=1,notime]
1107 \override Staff.StaffSymbol.line-count = #4
1108 \override Staff.StaffSymbol.color = #red
1109 \override Staff.LedgerLineSpanner.color = #red
1111 \override NoteHead.style = #'vaticana.punctum
1112 \clef "vaticana-do2"
1117 Editio Vaticana style fa clef
1119 @code{vaticana-fa1}, @code{vaticana-fa2}
1121 @lilypond[relative=1,notime]
1122 \override Staff.StaffSymbol.line-count = #4
1123 \override Staff.StaffSymbol.color = #red
1124 \override Staff.LedgerLineSpanner.color = #red
1126 \override NoteHead.style = #'vaticana.punctum
1127 \clef "vaticana-fa2"
1132 Editio Medicaea style do clef
1134 @code{medicaea-do1}, @code{medicaea-do2},@*
1137 @lilypond[relative=1,notime]
1138 \override Staff.StaffSymbol.line-count = #4
1139 \override Staff.StaffSymbol.color = #red
1140 \override Staff.LedgerLineSpanner.color = #red
1142 \override NoteHead.style = #'medicaea.punctum
1143 \clef "medicaea-do2"
1148 Editio Medicaea style fa clef
1150 @code{medicaea-fa1}, @code{medicaea-fa2}
1152 @lilypond[relative=1,notime]
1153 \override Staff.StaffSymbol.line-count = #4
1154 \override Staff.StaffSymbol.color = #red
1155 \override Staff.LedgerLineSpanner.color = #red
1157 \override NoteHead.style = #'medicaea.punctum
1158 \clef "medicaea-fa2"
1163 hufnagel style do clef
1165 @code{hufnagel-do1}, @code{hufnagel-do2},@*
1168 @lilypond[relative=1,notime]
1169 \override Staff.StaffSymbol.line-count = #4
1170 \override Staff.StaffSymbol.color = #red
1171 \override Staff.LedgerLineSpanner.color = #red
1173 \override NoteHead.style = #'hufnagel.punctum
1174 \clef "hufnagel-do2"
1179 hufnagel style fa clef
1181 @code{hufnagel-fa1}, @code{hufnagel-fa2}
1183 @lilypond[relative=1,notime]
1184 \override Staff.StaffSymbol.line-count = #4
1185 \override Staff.StaffSymbol.color = #red
1186 \override Staff.LedgerLineSpanner.color = #red
1188 \override NoteHead.style = #'hufnagel.punctum
1189 \clef "hufnagel-fa2"
1194 hufnagel style combined do/fa clef
1196 @code{hufnagel-do-fa}
1198 @lilypond[relative=1,notime]
1199 \override Staff.StaffSymbol.color = #red
1200 \override Staff.LedgerLineSpanner.color = #red
1202 \override NoteHead.style = #'hufnagel.punctum
1203 \clef "hufnagel-do-fa"
1216 @node Gregorian accidentals and key signatures
1217 @unnumberedsubsubsec Gregorian accidentals and key signatures
1220 @cindex key signature
1222 Accidentals for the three different Gregorian styles are available:
1224 @lilypond[quote,ragged-right,staffsize=26]
1228 \line { " " \musicglyph #"accidentals.vaticana-1"
1229 " " \musicglyph #"accidentals.vaticana0" }
1233 \line { " " \musicglyph #"accidentals.medicaea-1" }
1237 \line { " " \musicglyph #"accidentals.hufnagel-1" }
1242 As shown, not all accidentals are supported by each style. When
1243 trying to access an unsupported accidental, LilyPond will switch to a
1246 @c @lilypondfile[verbatim,quote,texidoc,doctitle]
1247 @c {ancient-accidentals.ly}
1249 The style for accidentals and key signatures is controlled by the
1250 @code{glyph-name-alist} property of the grobs @code{Accidental} and
1251 @code{KeySignature}, respectively; e.g.:
1254 \override Staff.Accidental.glyph-name-alist =
1255 #alteration-mensural-glyph-name-alist
1261 @rglos{key signature}.
1266 @ref{Automatic accidentals},
1267 @ref{Key signature}.
1269 Internals Reference:
1270 @rinternals{KeySignature}.
1274 @unnumberedsubsubsec Divisiones
1280 There are no rests in Gregorian chant notation; instead, it uses
1283 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
1284 @q{division}) is a staff context symbol that is used to indicate
1285 the phrase and section structure of Gregorian music. The musical
1286 meaning of @emph{divisio minima}, @emph{divisio maior}, and
1287 @emph{divisio maxima} can be characterized as short, medium, and
1288 long pause, somewhat like the breath marks from @ref{Breath marks}.
1289 The @emph{finalis} sign not only marks the end of a chant, but is
1290 also frequently used within a single antiphonal/responsorial chant
1291 to mark the end of each section.
1293 To use divisiones, include the file @file{gregorian.ly}. It
1294 contains definitions that you can apply by just inserting
1295 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
1296 and @code{\finalis} at proper places in the input. Some editions use
1297 @emph{virgula} or @emph{caesura} instead of divisio minima.
1298 Therefore, @file{gregorian.ly} also defines @code{\virgula} and
1301 @lilypond[quote,ragged-right]
1302 \include "gregorian.ly"
1305 \context VaticanaVoice {
1306 \override TextScript.padding = #3
1308 s^\markup { "divisio minima" }
1311 s^\markup { "divisio maior" }
1314 s^\markup { "divisio maxima" }
1318 s^\markup { "finalis" }
1321 s^\markup { "virgula" }
1324 s^\markup { "caesura" }
1338 @funindex \divisioMinima
1339 @code{\divisioMinima},
1340 @funindex \divisioMaior
1341 @code{\divisioMaior},
1342 @funindex \divisioMaxima
1343 @code{\divisioMaxima},
1357 @file{ly/gregorian.ly}.
1360 @node Gregorian articulation signs
1361 @unnumberedsubsubsec Gregorian articulation signs
1363 @cindex articulations
1365 In addition to the standard articulation signs described in
1366 section @ref{Articulations and ornamentations}, articulation signs
1367 specifically designed for use with notation in
1368 @emph{Editio Vaticana} style are provided.
1370 @lilypond[quote,ragged-right,verbatim]
1371 \include "gregorian.ly"
1373 \new VaticanaVoice {
1374 \override TextScript.font-family = #'typewriter
1375 \override TextScript.font-shape = #'upright
1376 \override Script.padding = #-0.1
1377 a\ictus_"ictus " \bar "" \break
1378 a\circulus_"circulus " \bar "" \break
1379 a\semicirculus_"semicirculus " \bar "" \break
1380 a\accentus_"accentus " \bar "" \break
1381 \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
1388 @ref{Articulations and ornamentations}.
1391 @rlsr{Ancient notation}.
1393 Internals Reference:
1394 @rinternals{Episema},
1395 @rinternals{EpisemaEvent},
1396 @rinternals{Episema_engraver},
1397 @rinternals{Script},
1398 @rinternals{ScriptEvent},
1399 @rinternals{Script_engraver}.
1402 Some articulations are vertically placed too closely to the
1403 corresponding note heads.
1406 @node Augmentum dots (morae)
1407 @unnumberedsubsubsec Augmentum dots (@emph{morae})
1409 Augmentum dots, also called @emph{morae}, are added with the music
1410 function @code{\augmentum}. Note that @code{\augmentum} is
1411 implemented as a unary music function rather than as head prefix. It
1412 applies to the immediately following music expression only. That is,
1413 @code{\augmentum \virga c} will have no visible effect. Instead, say
1414 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1415 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1416 @code{\augmentum a \augmentum g}.
1418 @lilypond[quote,ragged-right,verbatim]
1419 \include "gregorian.ly"
1421 \new VaticanaVoice {
1422 \[ \augmentum a \flexa \augmentum g \]
1432 Internals Reference:
1433 @rinternals{BreathingSign}.
1436 @rlsr{Ancient notation}.
1439 @node Gregorian square neume ligatures
1440 @unnumberedsubsubsec Gregorian square neume ligatures
1442 @cindex Square neumes ligatures
1443 @cindex Gregorian square neumes ligatures
1445 There is limited support for Gregorian square neumes notation
1446 (following the style of the Editio Vaticana). Core ligatures can
1447 already be typeset, but essential issues for serious typesetting are
1448 still lacking, such as (among others) horizontal alignment of multiple
1449 ligatures, lyrics alignment, and proper handling of accidentals.
1451 The support for Gregorian neumes is enabled by @code{\include}ing
1452 @file{gregorian.ly} at the beginning of the file. This makes available
1453 a number of extra commands to produce the neume symbols used in
1454 plainchant notation.
1458 Note heads can be @emph{modified} and/or @emph{joined}.
1462 the note head can be modified by @emph{prefixing} the note name
1463 with any of the following commands:
1468 @funindex \inclinatum
1472 @funindex \descendens
1474 @funindex \ascendens
1480 @funindex \deminutum
1487 @item Ligatures, properly speaking (i.e. notes joined together), are
1488 produced by placing one of the joining commands @code{\pes} or
1489 @code{\flexa}, for upwards and downwards movement, respectively,
1490 @emph{between} the notes to be joined.
1493 A note name without any qualifiers will produce a @emph{punctum}.
1494 All other neumes, including the single-note neumes with a
1495 different shape such as the @emph{virga}, are in principle
1496 considered as ligatures and should therefore be placed
1497 between @code{\[@dots{}\]}.
1498 @c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
1505 @item The @emph{punctum} is the basic note shape (in the
1506 @emph{Vaticana} style: a square with some curvation for
1507 typographical finesse). In addition to the regular
1508 @emph{punctum}, there is also the oblique @emph{punctum
1509 inclinatum}, produced with the prefix @code{\inclinatum}. The
1510 regular @emph{punctum} can be modified with @code{\cavum}, which
1511 produces a hollow note, and @code{\linea}, which draws vertical
1512 lines on either side of the note.
1514 @item The @emph{virga} has a descending stem on the right side. It is
1515 produced by the modifier @code{\virga}.
1521 Unlike most other neumes notation systems, the typographical
1522 appearance of ligatures is not directly dictated by the input
1523 commands, but follows certain conventions dependent on musical
1524 meaning. For example, a three-note ligature with the musical shape
1525 low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
1526 Torculus consisting of three Punctum heads, while the shape
1527 high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
1528 Porrectus with a curved flexa shape and only a single Punctum
1529 head. There is no command to explicitly typeset the curved flexa
1530 shape; the decision of when to typeset a curved flexa shape is
1531 based on the musical input. The idea of this approach is to
1532 separate the musical aspects of the input from the notation style
1533 of the output. This way, the same input can be reused to typeset
1534 the same music in a different style of Gregorian chant notation.
1539 Another main category of notes in Gregorian chant is the so-called
1540 liquescent neumes. They are used under certain circumstances at
1541 the end of a syllable which ends in a @q{liquescent} letter, i.e.
1542 the sounding consonants that can hold a tone (the nasals, l, r, v,
1543 j, and their diphthong equivalents). Thus, the liquescent neumes
1544 are never used alone (although some of them can be produced), and
1545 they always fall at the end of a ligature.
1547 Liquescent neumes are represented graphically in two different,
1548 more or less interchangeable ways: with a smaller note or by
1549 @q{twisting} the main note upwards or downwards. The first is
1550 produced by making a regular @code{pes} or @code{flexa} and
1551 modifying the shape of the second note:
1552 @code{\[ a \pes \deminutum b \] }, the second by modifying the shape
1553 of a single-note neume with @code{\auctum} and one of the direction
1554 markers @code{\descendens} or @code{\ascendens}, e.g.,
1555 @code{ \[ \auctum \descendens a \] }.
1560 A third category of signs is made up of a small number of signs
1561 with a special meaning (which, incidentally, in most cases is only
1562 vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
1563 @emph{strophicus}. These are all produced by prefixing a note name
1564 with the corresponding modifier, @code{\quilisma},
1565 @code{\oriscus}, or @code{\stropha}.
1567 Virtually, within the ligature delimiters @code{\[} and @code{\]},
1568 any number of heads may be accumulated to form a single ligature,
1569 and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
1570 @code{\inclinatum}, etc. may be mixed in as desired. The use of
1571 the set of rules that underlies the construction of the ligatures
1572 in the above table is accordingly extrapolated. This way,
1573 infinitely many different ligatures can be created.
1575 Note that the use of these signs in the music itself follows
1576 certain rules, which are not checked by LilyPond. E.g., the
1577 @emph{quilisma} is always the middle note of an ascending
1578 ligature, and usually falls on a half-tone step, but it is
1579 perfectly possible, although incorrect, to make a single-note
1582 In addition to the note signs, @file{gregorian.ly} also defines the
1583 commands @code{\versus}, @code{\responsum}, @code{\ij},
1584 @code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
1585 corresponding characters, e.g., for use in lyrics, as section
1586 markers, etc. These commands use special Unicode characters and
1587 will only work if a font is used which supports them.
1592 The following table shows a limited, but still representative pool
1593 of Gregorian ligatures, together with the code fragments that
1594 produce the ligatures. The table is based on the extended neumes
1595 table of the 2nd volume of the Antiphonale Romanum
1596 (@emph{Liber Hymnarius}), published 1983 by the monks of Solesmes.
1597 The first column gives the name of the ligature, with the main form in
1598 boldface and the liquescent forms in italics. The third column
1599 shows the code fragment that produces this ligature, using
1600 @code{g}, @code{a}, and @code{b} as example pitches.
1603 @b{Single-note neums}
1605 @multitable @columnfractions .4 .2 .4
1608 @b{Basic} and @emph{Liquescent} forms
1615 @c TODO: \layout block is identical in all of the below examples.
1616 @c Therefore, it should somehow be included rather than duplicated all
1619 @c why not make variables in ly/engraver-init.ly? --hwn
1621 @c Because it's just used to typeset plain notes without
1622 @c a staff for demonstration purposes rather than something
1623 @c special of Gregorian chant notation. --jr
1629 @lilypond[staffsize=26,line-width=1.5\cm]
1630 \include "gregorian.ly"
1636 \layout { \neumeDemoLayout }}
1643 @lilypond[staffsize=26,line-width=1.5\cm]
1644 \include "gregorian.ly"
1650 \layout { \neumeDemoLayout }}
1653 @code{\[ \cavum b \]}
1657 @lilypond[staffsize=26,line-width=1.5\cm]
1658 \include "gregorian.ly"
1664 \layout { \neumeDemoLayout }}
1667 @code{\[ \linea b \]}
1670 @emph{Punctum Auctum Ascendens}
1672 @lilypond[staffsize=26,line-width=2.5\cm]
1673 \include "gregorian.ly"
1676 % Punctum Auctum Ascendens
1677 \[ \auctum \ascendens b \]
1679 \layout { \neumeDemoLayout }}
1682 @code{\[ \auctum \ascendens b \]}
1685 @emph{Punctum Auctum Descendens}
1687 @lilypond[staffsize=26,line-width=2.5\cm]
1688 \include "gregorian.ly"
1691 % Punctum Auctum Descendens
1692 \[ \auctum \descendens b \]
1694 \layout { \neumeDemoLayout }}
1697 @code{\[ \auctum \descendens b \]}
1700 @b{Punctum inclinatum}
1702 @lilypond[staffsize=26,line-width=1.5\cm]
1703 \include "gregorian.ly"
1706 % Punctum Inclinatum
1709 \layout { \neumeDemoLayout }}
1712 @code{\[ \inclinatum b \]}
1715 @emph{Punctum Inclinatum Auctum}
1717 @lilypond[staffsize=26,line-width=2.5\cm]
1718 \include "gregorian.ly"
1721 % Punctum Inclinatum Auctum
1722 \[ \inclinatum \auctum b \]
1724 \layout { \neumeDemoLayout }}
1727 @code{\[ \inclinatum \auctum b \]}
1730 @emph{Punctum Inclinatum Parvum}
1732 @lilypond[staffsize=26,line-width=1.0\cm]
1733 \include "gregorian.ly"
1736 % Punctum Inclinatum Parvum
1737 \[ \inclinatum \deminutum b \]
1739 \layout { \neumeDemoLayout }}
1742 @code{\[ \inclinatum \deminutum b \]}
1747 @lilypond[staffsize=26,line-width=1.0\cm]
1748 \include "gregorian.ly"
1754 \layout { \neumeDemoLayout }}
1761 @b{Two-note ligatures}
1763 @multitable @columnfractions .4 .2 .4
1766 @b{Clivis vel Flexa}
1768 @lilypond[staffsize=26,line-width=1.0\cm]
1769 \include "gregorian.ly"
1775 \layout { \neumeDemoLayout }}
1778 @code{\[ b \flexa g \]}
1782 @emph{Clivis Aucta Descendens}
1784 @lilypond[staffsize=26,line-width=2.0\cm]
1785 \include "gregorian.ly"
1788 % Clivis Aucta Descendens
1789 \[ b \flexa \auctum \descendens g \]
1791 \layout { \neumeDemoLayout }}
1794 @code{\[ b \flexa \auctum \descendens g \]}
1797 @emph{Clivis Aucta Ascendens}
1799 @lilypond[staffsize=26,line-width=2.0\cm]
1800 \include "gregorian.ly"
1803 % Clivis Aucta Ascendens
1804 \[ b \flexa \auctum \ascendens g \]
1806 \layout { \neumeDemoLayout }}
1809 @code{\[ b \flexa \auctum \ascendens g \]}
1814 @lilypond[staffsize=26,line-width=2.0\cm]
1815 \include "gregorian.ly"
1819 \[ b \flexa \deminutum g \]
1821 \layout { \neumeDemoLayout }}
1824 @code{\[ b \flexa \deminutum g \]}
1829 @lilypond[staffsize=26,line-width=1.0\cm]
1830 \include "gregorian.ly"
1836 \layout { \neumeDemoLayout }}
1839 @code{\[ g \pes b \]}
1842 @emph{Pes Auctus Descendens}
1844 @lilypond[staffsize=26,line-width=1.0\cm]
1845 \include "gregorian.ly"
1848 % Pes Auctus Descendens
1849 \[ g \pes \auctum \descendens b \]
1851 \layout { \neumeDemoLayout }}
1854 @code{\[ g \pes \auctum \descendens b \]}
1857 @emph{Pes Auctus Ascendens}
1859 @lilypond[staffsize=26,line-width=1.0\cm]
1860 \include "gregorian.ly"
1863 % Pes Auctus Ascendens
1864 \[ g \pes \auctum \ascendens b \]
1866 \layout { \neumeDemoLayout }}
1869 @code{\[ g \pes \auctum \ascendens b \]}
1874 @lilypond[staffsize=26,line-width=1.0\cm]
1875 \include "gregorian.ly"
1879 \[ g \pes \deminutum b \]
1881 \layout { \neumeDemoLayout }}
1884 @code{\[ g \pes \deminutum b \]}
1887 @emph{Pes Initio Debilis}
1889 @lilypond[staffsize=26,line-width=1.0\cm]
1890 \include "gregorian.ly"
1893 % Pes Initio Debilis
1894 \[ \deminutum g \pes b \]
1896 \layout { \neumeDemoLayout }}
1899 @code{\[ \deminutum g \pes b \]}
1902 @emph{Pes Auctus Descendens Initio Debilis}
1904 @lilypond[staffsize=26,line-width=1.0\cm]
1905 \include "gregorian.ly"
1908 % Pes Auctus Descendens Initio Debilis
1909 \[ \deminutum g \pes \auctum \descendens b \]
1911 \layout { \neumeDemoLayout }}
1914 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1919 @b{Multi-note ligatures}
1921 @multitable @columnfractions .4 .2 .4
1926 @lilypond[staffsize=26,line-width=1.0\cm]
1927 \include "gregorian.ly"
1931 \[ a \pes b \flexa g \]
1933 \layout { \neumeDemoLayout }}
1936 @code{\[ a \pes b \flexa g \]}
1939 @emph{Torculus Auctus Descendens}
1941 @lilypond[staffsize=26,line-width=1.0\cm]
1942 \include "gregorian.ly"
1945 % Torculus Auctus Descendens
1946 \[ a \pes b \flexa \auctum \descendens g \]
1948 \layout { \neumeDemoLayout }}
1951 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1954 @emph{Torculus Deminutus}
1956 @lilypond[staffsize=26,line-width=1.0\cm]
1957 \include "gregorian.ly"
1960 % Torculus Deminutus
1961 \[ a \pes b \flexa \deminutum g \]
1963 \layout { \neumeDemoLayout }}
1966 @code{\[ a \pes b \flexa \deminutum g \]}
1969 @emph{Torculus Initio Debilis}
1971 @lilypond[staffsize=26,line-width=1.0\cm]
1972 \include "gregorian.ly"
1975 % Torculus Initio Debilis
1976 \[ \deminutum a \pes b \flexa g \]
1978 \layout { \neumeDemoLayout }}
1981 @code{\[ \deminutum a \pes b \flexa g \]}
1984 @emph{Torculus Auctus Descendens Initio Debilis}
1986 @lilypond[staffsize=26,line-width=1.0\cm]
1987 \include "gregorian.ly"
1990 % Torculus Auctus Descendens Initio Debilis
1991 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1993 \layout { \neumeDemoLayout }}
1996 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
1999 @emph{Torculus Deminutus Initio Debilis}
2001 @lilypond[staffsize=26,line-width=1.0\cm]
2002 \include "gregorian.ly"
2005 % Torculus Deminutus Initio Debilis
2006 \[ \deminutum a \pes b \flexa \deminutum g \]
2008 \layout { \neumeDemoLayout }}
2011 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
2016 @lilypond[staffsize=26,line-width=1.0\cm]
2017 \include "gregorian.ly"
2021 \[ a \flexa g \pes b \]
2023 \layout { \neumeDemoLayout }}
2026 @code{\[ a \flexa g \pes b \]}
2029 @emph{Porrectus Auctus Descendens}
2031 @lilypond[staffsize=26,line-width=1.0\cm]
2032 \include "gregorian.ly"
2035 % Porrectus Auctus Descendens
2036 \[ a \flexa g \pes \auctum \descendens b \]
2038 \layout { \neumeDemoLayout }}
2041 @code{\[ a \flexa g \pes \auctum \descendens b \]}
2044 @emph{Porrectus Deminutus}
2046 @lilypond[staffsize=26,line-width=1.0\cm]
2047 \include "gregorian.ly"
2050 % Porrectus Deminutus
2051 \[ a \flexa g \pes \deminutum b \]
2053 \layout { \neumeDemoLayout }}
2056 @code{\[ a \flexa g \pes \deminutum b \]}
2061 @lilypond[staffsize=26,line-width=1.0\cm]
2062 \include "gregorian.ly"
2066 \[ \virga b \inclinatum a \inclinatum g \]
2068 \layout { \neumeDemoLayout }}
2071 @code{\[ \virga b \inclinatum a \inclinatum g \]}
2074 @emph{Climacus Auctus}
2076 @lilypond[staffsize=26,line-width=1.0\cm]
2077 \include "gregorian.ly"
2081 \[ \virga b \inclinatum a \inclinatum \auctum g \]
2083 \layout { \neumeDemoLayout }}
2086 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
2089 @emph{Climacus Deminutus}
2091 @lilypond[staffsize=26,line-width=1.0\cm]
2092 \include "gregorian.ly"
2095 % Climacus Deminutus
2096 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
2098 \layout { \neumeDemoLayout }}
2101 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
2106 @lilypond[staffsize=26,line-width=1.0\cm]
2107 \include "gregorian.ly"
2111 \[ g \pes a \virga b \]
2113 \layout { \neumeDemoLayout }}
2116 @code{\[ g \pes a \virga b \]}
2119 @emph{Scandicus Auctus Descendens}
2121 @lilypond[staffsize=26,line-width=1.0\cm]
2122 \include "gregorian.ly"
2125 % Scandicus Auctus Descendens
2126 \[ g \pes a \pes \auctum \descendens b \]
2128 \layout { \neumeDemoLayout }}
2131 @code{\[ g \pes a \pes \auctum \descendens b \]}
2134 @emph{Scandicus Deminutus}
2136 @lilypond[staffsize=26,line-width=1.0\cm]
2137 \include "gregorian.ly"
2140 % Scandicus Deminutus
2141 \[ g \pes a \pes \deminutum b \]
2143 \layout { \neumeDemoLayout }}
2146 @code{\[ g \pes a \pes \deminutum b \]}
2153 @multitable @columnfractions .4 .2 .4
2158 @lilypond[staffsize=26,line-width=1.0\cm]
2159 \include "gregorian.ly"
2163 \[ g \pes \quilisma a \pes b \]
2165 \layout { \neumeDemoLayout }}
2168 @code{\[ g \pes \quilisma a \pes b \]}
2171 @emph{Quilisma Pes Auctus Descendens}
2173 @lilypond[staffsize=26,line-width=1.0\cm]
2174 \include "gregorian.ly"
2177 % Quilisma Pes Auctus Descendens
2178 \[ g \quilisma a \pes \auctum \descendens b \]
2180 \layout { \neumeDemoLayout }}
2183 @code{\[ \quilisma g \pes \auctum \descendens b \]}
2188 @lilypond[staffsize=26,line-width=1.0\cm]
2189 \include "gregorian.ly"
2195 \layout { \neumeDemoLayout }}
2198 @code{\[ \oriscus b \]}
2203 @lilypond[staffsize=26,line-width=1.0\cm]
2204 \include "gregorian.ly"
2208 \[ \oriscus g \pes \virga b \]
2210 \layout { \neumeDemoLayout }}
2213 @code{\[ \oriscus g \pes \virga b \]}
2216 @emph{Pes Quassus Auctus Descendens}
2218 @lilypond[staffsize=26,line-width=1.0\cm]
2219 \include "gregorian.ly"
2222 % Pes Quassus Auctus Descendens
2223 \[ \oriscus g \pes \auctum \descendens b \]
2225 \layout { \neumeDemoLayout }}
2228 @code{\[ \oriscus g \pes \auctum \descendens b \]}
2233 @lilypond[staffsize=26,line-width=1.0\cm]
2234 \include "gregorian.ly"
2238 \[ g \oriscus a \pes \virga b \]
2240 \layout { \neumeDemoLayout }}
2243 @code{\[ g \oriscus a \pes \virga b \]}
2246 @emph{Salicus Auctus Descendens}
2248 @lilypond[staffsize=26,line-width=1.0\cm]
2249 \include "gregorian.ly"
2252 % Salicus Auctus Descendens
2253 \[ g \oriscus a \pes \auctum \descendens b \]
2255 \layout { \neumeDemoLayout }}
2258 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
2263 @lilypond[staffsize=26,line-width=1.0\cm]
2264 \include "gregorian.ly"
2270 \layout { \neumeDemoLayout }}
2273 @code{\[ \stropha b \]}
2276 @emph{Stropha Aucta}
2278 @lilypond[staffsize=26,line-width=1.0\cm]
2279 \include "gregorian.ly"
2283 \[ \stropha \auctum b \]
2285 \layout { \neumeDemoLayout }}
2288 @code{\[ \stropha \auctum b \]}
2293 @lilypond[staffsize=26,line-width=1.0\cm]
2294 \include "gregorian.ly"
2298 \[ \stropha b \stropha b \]
2300 \layout { \neumeDemoLayout }}
2303 @code{\[ \stropha b \stropha b \]}
2308 @lilypond[staffsize=26,line-width=1.0\cm]
2309 \include "gregorian.ly"
2313 \[ \stropha b \stropha b \stropha b \]
2315 \layout { \neumeDemoLayout }}
2318 @code{\[ \stropha b \stropha b \stropha b \]}
2323 @lilypond[staffsize=26,line-width=1.0\cm]
2324 \include "gregorian.ly"
2328 \[ \stropha b \stropha b \stropha a \]
2330 \layout { \neumeDemoLayout }
2334 @code{\[ \stropha b \stropha b \stropha a \]}
2340 The following head prefixes are supported:
2345 @funindex \inclinatum
2349 @funindex \descendens
2351 @funindex \ascendens
2357 @funindex \deminutum
2365 Head prefixes can be accumulated, though restrictions apply. For
2366 example, either @code{\descendens} or @code{\ascendens} can be applied
2367 to a head, but not both to the same head.
2372 Two adjacent heads can be tied together with the @code{\pes} and
2373 @code{\flexa} infix commands for a rising and falling line of melody,
2376 @funindex \augmentum
2378 Use the unary music function @code{\augmentum} to add augmentum dots.
2385 @ref{Gregorian square neume ligatures},
2386 @ref{White mensural ligatures},
2390 When an @code{\augmentum} dot appears at the end of the last staff
2391 within a ligature, it is sometimes vertically placed wrong. As a
2392 workaround, add an additional skip note (e.g., @code{s8}) as last note
2395 @code{\augmentum} should be implemented as a head prefix rather than a
2396 unary music function, such that @code{\augmentum} can be intermixed
2397 with head prefixes in arbitrary order.
2399 @node Typesetting Kievan square notation
2400 @subsection Typesetting Kievan square notation
2406 * Kievan accidentals::
2408 * Kievan melismata::
2411 @node Kievan contexts
2412 @unnumberedsubsubsec Kievan contexts
2414 @cindex KievanVoiceContext
2415 @cindex KievanStaffContext
2417 As with Mensural and Gregorian notation, the predefined
2418 @code{KievanVoice} and @code{KievanStaff} contexts can be used
2419 to engrave a piece in square notation. These contexts initialize
2420 all relevant context properties and grob properties to proper
2421 values, so you can immediately go ahead entering the chant:
2423 @lilypond[quote,ragged-right,verbatim]
2426 \new KievanVoice = "melody" \relative c' {
2431 \new Lyrics \lyricsto "melody" {
2432 Го -- спо -- ди по -- ми -- луй.
2440 @rglos{kievan notation}.
2443 LilyPond supports Kievan notation of the Synodal style, as used in
2444 the corpus of chantbooks printed by the Russian Holy Synod in the
2445 1910's and recently reprinted by the Moscow Patriarchate Publishing
2446 House. LilyPond does not support the older (less common) forms of
2447 Kievan notation that were used in Galicia to notate Rusyn plainchant.
2450 @unnumberedsubsubsec Kievan clefs
2454 There is only one clef used in Kievan notation (the Tse-fa-ut Clef).
2455 It is used to indicate the position of @code{c}:
2457 @lilypond[quote,relative=1,notime,verbatim]
2465 @rglos{kievan notation},
2472 @unnumberedsubsubsec Kievan notes
2474 @cindex note heads, ancient
2476 For Kievan square notation, the appropriate note head style needs
2477 to be chosen and the flags and stems need to be turned off.
2478 This is accomplished by calling the @code{\kievanOn} function,
2479 which sets the appropriate properties of the note head, stems,
2480 and flags. Once Kievan note heads are not needed, these
2481 properties can be reverted by calling the @code{\kievanOff}
2484 The Kievan final note, which usually comes at the end of a piece
2485 of music, may be selected by setting the duration to
2486 @code{\longa}. The Kievan recitative mark, used to indicate
2487 the chanting of several syllables on one note, may be selected by
2488 setting the duration to @code{\breve}. The following example
2489 demonstrates the various Kievan note heads:
2491 @lilypond[quote,fragment,ragged-right,verbatim]
2495 b'1 b'2 b'4 b'8 b'\breve b'\longa
2502 @rglos{kievan notation},
2506 @ref{Note head styles}.
2509 LilyPond automatically determines if the stem up or stem down
2510 form of a note is drawn. When setting chant in square notation,
2511 however, it is customary to have the stems point in the same
2512 direction within a single melisma. This can be done manually by
2513 setting the @code{direction} property of the @code{Stem} object.
2515 @node Kievan accidentals
2516 @unnumberedsubsubsec Kievan accidentals
2520 The @code{kievan} style for accidentals is selected with the
2521 @code{glyph-name-alist} property of the grob @code{Accidental}.
2522 The @code{kievan} style provides a sharp and a flat sign
2523 different from the default style. There is no natural sign
2524 in Kievan notation. The sharp sign is not used in Synodal music
2525 but may occur in earlier manuscripts. It has been included
2526 primarily for the sake of compatibility.
2528 @lilypond[quote,relative=1,notime,verbatim]
2530 \override Accidental.glyph-name-alist =
2531 #alteration-kievan-glyph-name-alist
2537 @rglos{kievan notation},
2542 @ref{Automatic accidentals},
2545 @node Kievan bar line
2546 @unnumberedsubsubsec Kievan bar line
2548 A decorative figure is commonly placed at the end of a piece of
2549 Kievan notation, which may be called the Kievan final bar line.
2550 It can be invoked as @code{\bar "k"}.
2552 @lilypond[quote,relative=1,notime,verbatim]
2562 @node Kievan melismata
2563 @unnumberedsubsubsec Kievan melismata
2567 Notes within a Kievan melisma are usually placed close to each other
2568 and the melismata separated by whitespace. This is done to allow
2569 the chanter to quickly identify the melodic structures of Znamenny
2570 chant. In LilyPond, melismata are treated as ligatures and the
2571 spacing is implemented by the @code{Kievan_ligature_engraver}.
2573 When the @code{KievanVoice} and @code{KievanStaff} contexts are used,
2574 the @code{Kievan_ligature_engraver} is enabled by default. In other
2575 contexts, it can be invoked by replacing the @code{Ligature_bracket_engraver}
2576 with the @code{Kievan_ligature_engraver} in the layout block:
2582 \remove "Ligature_bracket_engraver"
2583 \consists "Kievan_ligature_engraver"
2588 The spacing between the notes within a Kievan ligature can be controlled
2589 by setting the @code{padding} property of the @code{KievanLigature}.
2591 The following example demonstrates the use of Kievan ligatures:
2593 @lilypond[quote,ragged-right,verbatim]
2596 \new KievanVoice = "melody" \relative c' {
2598 e2 \[ e4( d4 ) \] \[ c4( d e d ) \] e1 \bar "k"
2600 \new Lyrics \lyricsto "melody" {
2601 Га -- врі -- и -- лу
2612 @ref{White mensural ligatures},
2613 @ref{Gregorian square neume ligatures},
2617 Horizontal spacing of ligatures is poor.
2619 @node Working with ancient music---scenarios and solutions
2620 @subsection Working with ancient music---scenarios and solutions
2624 * Mensurstriche layout::
2625 * Transcribing Gregorian chant::
2626 * Ancient and modern from one source::
2627 * Editorial markings::
2630 Working with ancient music frequently involves particular tasks
2631 which differ considerably from the modern notation for which
2632 LilyPond is designed. In the rest of this section, a number of
2633 typical scenarios are outlined, with suggestions of solutions.
2637 @item how to make incipits (i.e. prefatory material to indicate
2638 what the original has looked like) to modern transcriptions of
2640 @item how to achieve the @emph{Mensurstriche} layout frequently
2641 used for modern transcriptions of polyphonic music;
2642 @item how to transcribe Gregorian chant in modern notation;
2643 @item how to generate both ancient and modern notation from the
2649 @unnumberedsubsubsec Incipits
2651 It is customary when transcribing mensural music into modern notation to place
2652 an indication of how the initial rests and note or notes of the original version
2653 appeared - including the original clefs. This is called an @emph{incipit}. The
2654 @code{\incipit} command uses the @code{indent} of the main staff to set the
2655 width occupied by the incipit, and @code{incipit-width} to set the width of the
2658 @lilypond[verbatim,quote,ragged-right]
2661 \new Voice = Tenor {
2662 \set Staff.instrumentName = #"Tenor"
2663 \override Staff.InstrumentName.self-alignment-X = #RIGHT
2664 \incipit { \clef "mensural-c4" \key f \major r\breve r1 c'1 }
2670 \new Lyrics \lyricsto Tenor { Cyn -- thia your }
2675 incipit-width = 3\cm
2681 Note that instrumentName must be set in the music for the incipit to be
2682 produced. If no instrument name is required then use
2683 @code{\set Staff.instrumentName = #""}.
2686 @c ... and reference to other sections ...
2689 @node Mensurstriche layout
2690 @unnumberedsubsubsec Mensurstriche layout
2692 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
2693 for bar lines that are drawn between the staves of a system but
2694 not through the staves themselves. It is a common way to preserve
2695 the rhythmic appearance of the original, i.e. not having to break
2696 syncopated notes at bar lines, while still providing the
2697 orientation aids that bar lines give.
2700 @lilypondfile[verbatim,quote,texidoc]
2701 {mensurstriche-layout-bar-lines-between-the-staves.ly}
2703 @c This simple setup will take care of the
2704 @c TODO Add text about lyrics to the lowest line, to be placed
2705 @c outside the StaffGroup.
2706 @c from lsr and -user
2710 @c ... and reference to other sections ...
2713 @node Transcribing Gregorian chant
2714 @unnumberedsubsubsec Transcribing Gregorian chant
2716 Gregorian chant can be transcribed into modern notation with a
2717 number of simple tweaks.
2719 @b{Stems}. Stems can be left out altogether by @code{\remove}-ing
2720 the @code{Stem_engraver} from the Voice context:
2727 \remove "Stem_engraver"
2732 @b{Timing.} For unmetered chant, there are several alternatives.
2734 The Time_signature_engraver can be removed from the Staff context
2735 without any negative side effects. The alternative, to make it
2736 transparent, will leave an empty space in the score, since the
2737 invisible signature will still take up space.
2739 In many cases, @code{\set Score.timing = ##f} will give good
2740 results. Another alternative is to use @code{\cadenzaOn} and
2743 To remove the bar lines, the radical approach is to @code{\remove}
2744 the Bar_engraver from the Staff context. Again, one may want to
2745 use @code{\hide BarLine} instead, if an
2746 occasional barline is wanted.
2748 A common type of transcription is recitativic chant where the
2749 repeated notes are indicated with a single breve. The text to
2750 the recitation tone can be dealt with in two different ways:
2751 either set as a single, left-aligned syllable:
2753 @lilypond[verbatim,ragged-right]
2754 \include "gregorian.ly"
2755 chant = \relative c' {
2757 c\breve c4 b4 a c2 c4 \divisioMaior
2758 c\breve c4 c f, f \finalis
2761 verba = \lyricmode {
2762 \once \override LyricText.self-alignment-X = #-1
2763 "Noctem quietam et" fi -- nem per -- fec -- tum
2764 \once \override LyricText.self-alignment-X = #-1
2765 "concedat nobis Dominus" om -- ni -- po -- tens.
2769 \new Voice = "melody" \chant
2770 \new Lyrics = "one" \lyricsto melody \verba
2775 \remove "Time_signature_engraver"
2776 \remove "Bar_engraver"
2780 \remove "Stem_engraver"
2786 This works fine, as long as the text doesn't span a line break. If
2787 that is the case, an alternative is to add hidden notes to the
2790 In some transcription styles, stems are used
2791 occasionally, for example to indicate the transition from a
2792 single-tone recitative to a fixed melodic gesture. In these cases,
2793 one can use either @code{\hide Stem} or
2794 @code{\override Stem.length = #0} instead of @code{\remove}-ing
2795 the @code{Stem_engraver} and restore the stem
2796 when needed with the corresponding @code{\undo \hide Stem}.
2798 @lilypond[verbatim,ragged-right]
2799 \include "gregorian.ly"
2800 chant = \relative c' {
2802 \set Score.timing = ##f
2804 c\breve \hide NoteHead c c c c c
2805 \undo \hide NoteHead
2806 \undo \hide Stem \stemUp c4 b4 a
2807 \hide Stem c2 c4 \divisioMaior
2808 c\breve \hide NoteHead c c c c c c c
2809 \undo \hide NoteHead c4 c f, f \finalis
2812 verba = \lyricmode {
2813 No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum
2814 con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens.
2819 \new Voice = "melody" \chant
2820 \new Lyrics \lyricsto "melody" \verba
2825 \remove "Time_signature_engraver"
2832 Another common situation is transcription of neumatic or
2833 melismatic chants, i.e. chants with a varying number of notes
2834 to each syllable. In this case, one would want to set the
2835 syllable groups clearly apart, usually also the subdivisions of a
2836 longer melisma. One way to achieve this is to use a fixed
2837 @code{\time}, e.g., 1/4, and let each syllable or note group fill
2838 one of these measures, with the help of tuplets or shorter
2839 durations. If the bar lines and all other rhythmical indications
2840 are made transparent, and the space around the bar lines is
2841 increased, this will give a fairly good representation in modern
2842 notation of the original.
2844 To avoid that syllables of different width (such as @qq{-ri} and
2845 @qq{-rum}) spread the syllable note groups unevenly apart, the
2846 @code{'X-extent} property of the @code{LyricText} object may be
2847 set to a fixed value. Another, more cumbersome way would be to
2848 add the syllables as @code{\markup} elements. If further
2849 adjustments are necessary, this can be easily done with
2852 @lilypond[verbatim,quote]
2853 spiritus = \relative c' {
2855 \override Lyrics.LyricText.X-extent = #'(0 . 3)
2856 d4 \tuplet 3/2 { f8 a g } g a a4 g f8 e
2857 d4 f8 g g8 d f g a g f4 g8 a a4 s
2858 \tuplet 3/2 { g8 f d } e f g a g4
2861 spirLyr = \lyricmode {
2862 Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _
2863 or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu
2868 \new Voice = "chant" \spiritus
2869 \new Lyrics = "one" \lyricsto "chant" \spirLyr
2874 \remove "Time_signature_engraver"
2875 \override BarLine.X-extent = #'(-1 . 1)
2885 @c extract from 1.6.1.1
2888 @c ... and reference to other sections ...
2891 @node Ancient and modern from one source
2892 @unnumberedsubsubsec Ancient and modern from one source
2895 @c Here among others the snippets about reducing note length
2899 @c ... and reference to other sections ...
2902 @node Editorial markings
2903 @unnumberedsubsubsec Editorial markings
2906 @c @node Baroque rhythmic notation
2907 @c @unnumberedsubsubsec Baroque rhythmic notation
2911 @c Add example of white note heads:
2912 @c In the french baroque some composers used white note heads in slow pieces,
2913 @c mainly in 3/2-time. A quarter looks there like an eighth with a white
2914 @c note head. (Franz-Rudolf Kuhnen)
2916 @c TODO Add example of this:
2917 @c I was referring to e.g. notated a8. a16, which should, if I
2918 @c remember correctly, be interpreted more like a8.. a32 (in the french
2919 @c style). The editor might want to show that rythmic figure above the
2920 @c staff as an hint to performers. (Karl Hammer)
2927 @c ... and reference to other sections ...