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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::
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" }
343 @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
413 @rglos{mensural notation}.
417 @unnumberedsubsubsec Mensural clefs
421 The following table shows all mensural clefs that are supported via
422 the @code{\clef} command. Some of the clefs use the same glyph,
423 but differ only with respect to the line they are printed on. In
424 such cases, a trailing number in the name is used to enumerate
425 these clefs, numbered from the lowest to the highest line. Still,
426 you can manually force a clef glyph to be typeset on an arbitrary
427 line, as described in @ref{Clef}. The note printed to the right
428 side of each clef in the example column denotes the @code{c'} with
429 respect to that clef.
431 Petrucci used C clefs with differently balanced left-side vertical
432 beams, depending on which staff line it is printed.
434 @multitable @columnfractions .4 .4 .2
445 @code{mensural-c1}, @code{mensural-c2},@*
446 @code{mensural-c3}, @code{mensural-c4}
448 @lilypond[relative=1,notime]
450 \override NoteHead #'style = #'mensural
459 @lilypond[relative=1,notime]
461 \override NoteHead #'style = #'mensural
470 @lilypond[relative=1,notime]
472 \override NoteHead #'style = #'mensural
479 @code{neomensural-c1}, @code{neomensural-c2},@*
480 @code{neomensural-c3}, @code{neomensural-c4}
482 @lilypond[relative=1,notime]
483 \clef "neomensural-c2" c
487 petrucci style C clefs, for use on different staff lines
488 (the example shows the 2nd staff line C clef)
490 @code{petrucci-c1}, @code{petrucci-c2},@*
491 @code{petrucci-c3}, @code{petrucci-c4},@*
494 @lilypond[relative=1,notime]
496 \override NoteHead #'style = #'mensural
501 petrucci style F clefs, for use on different staff lines
502 (the example shows the 3rd staff line F clef)
504 @code{petrucci-f3}, @code{petrucci-f4},@*
507 @lilypond[relative=1,notime]
509 \override NoteHead #'style = #'mensural
514 petrucci style G clef
518 @lilypond[relative=1,notime]
520 \override NoteHead #'style = #'mensural
527 @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,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]
733 \override Flag #'style = #'mensural
734 \override Stem #'thickness = #1.0
735 \override NoteHead #'style = #'mensural
737 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
738 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
741 Note that the innermost flare of each mensural flag always is
742 vertically aligned with a staff line.
744 There is no particular flag style for neo-mensural or Petrucci notation.
746 @c when typesetting the incipit of a transcribed piece of mensural
747 @c music, the default flag style should be used.
748 There are no flags in Gregorian chant notation.
752 @rglos{mensural notation},
756 The attachment of ancient flags to stems is slightly off.
757 @c due to a change in early 2.3.x.
759 Vertically aligning each flag with a staff line assumes that stems
760 always end either exactly on or exactly in the middle between two
761 staff lines. This may not always be true when using advanced layout
762 features of classical notation (which however are typically out of
763 scope for mensural notation).
767 @unnumberedsubsubsec Mensural rests
769 @cindex rests, ancient
771 Use the @code{style} property of grob @code{Rest} to select
772 ancient rests. Supported styles are @code{classical},
773 @code{neomensural}, and @code{mensural}. @code{classical} differs
774 from the @code{default} style only in that the quarter rest looks
775 like a horizontally mirrored 8th rest. The @code{mensural} and
776 the @code{neomensural} styles mimic the appearance of rests in
777 manuscripts and prints up to the 16th century.
779 The following example demonstrates the @code{mensural} and
780 @code{neomensural} styles:
782 @lilypond[quote,fragment,ragged-right,verbatim]
783 \set Score.skipBars = ##t
784 \override Rest #'style = #'classical
785 r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
786 \override Rest #'style = #'mensural
787 r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
788 \override Rest #'style = #'neomensural
789 r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
792 There are no 32th and 64th rests specifically for the mensural or
793 neo-mensural style. Instead, the rests from the default style will be
798 @rglos{mensural notation}.
804 @rlsr{Ancient notation}.
807 The glyph for the maxima rest in mensural style is actually a perfect
808 longa rest; use two (or three) longa rests to print a maxima rest.
809 Longa rests are not grouped automatically, so have to be done manually by
813 @node Mensural accidentals and key signatures
814 @unnumberedsubsubsec Mensural accidentals and key signatures
817 @cindex key signature
819 The @code{mensural} style provides a sharp and a flat sign
820 different from the default style. If called for, the natural sign
821 will be taken from the @code{vaticana} style.
823 @lilypond[quote,ragged-right,staffsize=26]
827 \line { " " \musicglyph #"accidentals.mensural-1"
828 " " \musicglyph #"accidentals.mensural1" }
833 The style for accidentals and key signatures is controlled by the
834 @code{glyph-name-alist} property of the grobs @code{Accidental} and
835 @code{KeySignature}, respectively; e.g.:
838 \override Staff.Accidental #'glyph-name-alist =
839 #alteration-mensural-glyph-name-alist
844 @rglos{mensural notation},
847 @rglos{key signature}.
852 @ref{Automatic accidentals},
856 @rinternals{KeySignature}.
859 @node Annotational accidentals (musica ficta)
860 @unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
862 In European music from before about 1600, singers were expected to
863 chromatically alter notes at their own initiative according to
864 certain rules. This is called @notation{musica ficta}. In modern
865 transcriptions, these accidentals are usually printed over the
868 @cindex Accidental, musica ficta
871 Support for such suggested accidentals is included, and can be
872 switched on by setting @code{suggestAccidentals} to true.
874 @funindex suggestAccidentals
876 @lilypond[verbatim,relative=1]
878 \set suggestAccidentals = ##t
882 This will treat @emph{every} subsequent accidental as
883 @emph{musica ficta} until it is unset with
884 @code{\set suggestAccidentals = ##f}. A more practical way is to
885 use @code{\once \set suggestAccidentals = ##t}, which can even be
886 defined as a convenient shorthand:
888 @lilypond[quote,verbatim]
889 ficta = { \once \set suggestAccidentals = ##t }
890 \score { \relative c''
892 \once \set suggestAccidentals = ##t
893 bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
900 @rinternals{Accidental_engraver},
901 @rinternals{AccidentalSuggestion}.
904 @node White mensural ligatures
905 @unnumberedsubsubsec White mensural ligatures
907 @cindex Mensural ligatures
908 @cindex White mensural ligatures
910 There is limited support for white mensural ligatures.
912 To engrave white mensural ligatures, in the layout block, replace
913 the @code{Ligature_bracket_engraver} with the
914 @code{Mensural_ligature_engraver} in the @code{Voice}
921 \remove Ligature_bracket_engraver
922 \consists Mensural_ligature_engraver
927 There is no additional input language to describe the shape of a
928 white mensural ligature. The shape is rather determined solely from
929 the pitch and duration of the enclosed notes. While this approach may
930 take a new user a while to get accustomed to, it has the great advantage
931 that the full musical information of the ligature is known internally.
932 This is not only required for correct MIDI output, but also allows for
933 automatic transcription of the ligatures.
935 At certain places two consecutive notes can be represented either as
936 two squares or as an oblique parallelogram (flexa shape). In such
937 cases the default is the two squares, but a flexa can be required by
938 setting the @code{ligature-flexa} property of the @emph{second} note
939 head. The length of a flexa can be set by the note head property
945 @c \set Score.timing = ##f
946 @c \set Score.defaultBarType = "empty"
947 @c \override NoteHead #'style = #'neomensural
948 @c \override Staff.TimeSignature #'style = #'neomensural
949 @c \clef "petrucci-g"
951 @c \[ d\longa c\breve f e d \]
952 @c \[ c'\maxima d'\longa \]
953 @c \[ e'1 a g\breve \]
955 @lilypond[quote,ragged-right,verbatim]
958 \set Score.timing = ##f
959 \set Score.defaultBarType = "empty"
960 \override NoteHead #'style = #'petrucci
961 \override Staff.TimeSignature #'style = #'mensural
965 \override NoteHead #'ligature-flexa = ##t
966 \once \override NoteHead #'flexa-width = #3.2
968 \[ c'\maxima d'\longa \]
974 \remove Ligature_bracket_engraver
975 \consists Mensural_ligature_engraver
981 Without replacing @code{Ligature_bracket_engraver} with
982 @code{Mensural_ligature_engraver}, the same music transcribes
985 @lilypond[quote,ragged-right]
987 \set Score.timing = ##f
988 \set Score.defaultBarType = "empty"
989 \override NoteHead #'style = #'petrucci
990 \override Staff.TimeSignature #'style = #'mensural
994 \override NoteHead #'ligature-flexa = ##t
995 \once \override NoteHead #'flexa-width = #3.2
997 \[ c'\maxima d'\longa \]
1007 @ref{Gregorian square neume ligatures},
1011 Horizontal spacing of ligatures is poor.
1012 Accidentals may collide with previous notes.
1015 @node Typesetting Gregorian chant
1016 @subsection Typesetting Gregorian chant
1019 * Gregorian chant contexts::
1021 * Gregorian accidentals and key signatures::
1023 * Gregorian articulation signs::
1024 * Augmentum dots (morae)::
1025 * Gregorian square neume ligatures::
1028 When typesetting a piece in Gregorian chant notation, the
1029 @code{Vaticana_ligature_engraver} automatically selects the
1030 proper note heads, so there is no need to explicitly set the note
1031 head style. Still, the note head style can be set, e.g., to
1032 @code{vaticana_punctum} to produce punctum neumes. Similarly, the
1033 @code{Mensural_ligature_engraver} automatically assembles
1041 @ref{White mensural ligatures},
1045 @node Gregorian chant contexts
1046 @unnumberedsubsubsec Gregorian chant contexts
1048 @cindex VaticanaVoiceContext
1049 @cindex VaticanaStaffContext
1051 The predefined @code{VaticanaVoiceContext} and
1052 @code{VaticanaStaffContext} can be used to engrave a piece of
1053 Gregorian chant in the style of the Editio Vaticana. These contexts
1054 initialize all relevant context properties and grob properties to
1055 proper values, so you can immediately go ahead entering the chant, as
1056 the following excerpt demonstrates:
1058 @lilypond[quote,ragged-right,verbatim]
1059 \include "gregorian.ly"
1062 \new VaticanaVoice = "cantus" {
1063 \[ c'\melisma c' \flexa a \]
1064 \[ a \flexa \deminutum g\melismaEnd \]
1066 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
1067 c' \divisioMinima \break
1068 \[ c'\melisma c' \flexa a \]
1069 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
1071 \new Lyrics \lyricsto "cantus" {
1072 San- ctus, San- ctus, San- ctus
1080 @c TODO: nothing here yet ...
1083 @node Gregorian clefs
1084 @unnumberedsubsubsec Gregorian clefs
1088 The following table shows all Gregorian clefs that are supported via
1089 the @code{\clef} command. Some of the clefs use the same glyph,
1090 but differ only with respect to the line they are printed on. In
1091 such cases, a trailing number in the name is used to enumerate
1092 these clefs, numbered from the lowest to the highest line. Still,
1093 you can manually force a clef glyph to be typeset on an arbitrary
1094 line, as described in @ref{Clef}. The note printed to the right
1095 side of each clef in the example column denotes the @code{c'} with
1096 respect to that clef.
1098 @multitable @columnfractions .4 .4 .2
1107 Editio Vaticana style do clef
1109 @code{vaticana-do1}, @code{vaticana-do2},@*
1112 @lilypond[relative=1,notime]
1113 \override Staff.StaffSymbol #'line-count = #4
1114 \override Staff.StaffSymbol #'color = #red
1115 \override Staff.LedgerLineSpanner #'color = #red
1116 \override Voice.Stem #'transparent = ##t
1117 \override Voice.Flag #'transparent = ##t
1118 \override NoteHead #'style = #'vaticana.punctum
1119 \clef "vaticana-do2"
1124 Editio Vaticana style fa clef
1126 @code{vaticana-fa1}, @code{vaticana-fa2}
1128 @lilypond[relative=1,notime]
1129 \override Staff.StaffSymbol #'line-count = #4
1130 \override Staff.StaffSymbol #'color = #red
1131 \override Staff.LedgerLineSpanner #'color = #red
1132 \override Voice.Stem #'transparent = ##t
1133 \override Voice.Flag #'transparent = ##t
1134 \override NoteHead #'style = #'vaticana.punctum
1135 \clef "vaticana-fa2"
1140 Editio Medicaea style do clef
1142 @code{medicaea-do1}, @code{medicaea-do2},@*
1145 @lilypond[relative=1,notime]
1146 \override Staff.StaffSymbol #'line-count = #4
1147 \override Staff.StaffSymbol #'color = #red
1148 \override Staff.LedgerLineSpanner #'color = #red
1149 \override Voice.Stem #'transparent = ##t
1150 \override Voice.Flag #'transparent = ##t
1151 \override NoteHead #'style = #'medicaea.punctum
1152 \clef "medicaea-do2"
1157 Editio Medicaea style fa clef
1159 @code{medicaea-fa1}, @code{medicaea-fa2}
1161 @lilypond[relative=1,notime]
1162 \override Staff.StaffSymbol #'line-count = #4
1163 \override Staff.StaffSymbol #'color = #red
1164 \override Staff.LedgerLineSpanner #'color = #red
1165 \override Voice.Stem #'transparent = ##t
1166 \override Voice.Flag #'transparent = ##t
1167 \override NoteHead #'style = #'medicaea.punctum
1168 \clef "medicaea-fa2"
1173 hufnagel style do clef
1175 @code{hufnagel-do1}, @code{hufnagel-do2},@*
1178 @lilypond[relative=1,notime]
1179 \override Staff.StaffSymbol #'line-count = #4
1180 \override Staff.StaffSymbol #'color = #red
1181 \override Staff.LedgerLineSpanner #'color = #red
1182 \override Voice.Stem #'transparent = ##t
1183 \override Voice.Flag #'transparent = ##t
1184 \override NoteHead #'style = #'hufnagel.punctum
1185 \clef "hufnagel-do2"
1190 hufnagel style fa clef
1192 @code{hufnagel-fa1}, @code{hufnagel-fa2}
1194 @lilypond[relative=1,notime]
1195 \override Staff.StaffSymbol #'line-count = #4
1196 \override Staff.StaffSymbol #'color = #red
1197 \override Staff.LedgerLineSpanner #'color = #red
1198 \override Voice.Stem #'transparent = ##t
1199 \override Voice.Flag #'transparent = ##t
1200 \override NoteHead #'style = #'hufnagel.punctum
1201 \clef "hufnagel-fa2"
1206 hufnagel style combined do/fa clef
1208 @code{hufnagel-do-fa}
1210 @lilypond[relative=1,notime]
1211 \override Staff.StaffSymbol #'color = #red
1212 \override Staff.LedgerLineSpanner #'color = #red
1213 \override Voice.Stem #'transparent = ##t
1214 \override Voice.Flag #'transparent = ##t
1215 \override NoteHead #'style = #'hufnagel.punctum
1216 \clef "hufnagel-do-fa"
1229 @node Gregorian accidentals and key signatures
1230 @unnumberedsubsubsec Gregorian accidentals and key signatures
1233 @cindex key signature
1235 Accidentals for the three different Gregorian styles are available:
1237 @lilypond[quote,ragged-right,staffsize=26]
1241 \line { " " \musicglyph #"accidentals.vaticana-1"
1242 " " \musicglyph #"accidentals.vaticana0" }
1246 \line { " " \musicglyph #"accidentals.medicaea-1" }
1250 \line { " " \musicglyph #"accidentals.hufnagel-1" }
1255 As shown, not all accidentals are supported by each style. When
1256 trying to access an unsupported accidental, LilyPond will switch to a
1259 @c @lilypondfile[verbatim,quote,texidoc,doctitle]
1260 @c {ancient-accidentals.ly}
1262 The style for accidentals and key signatures is controlled by the
1263 @code{glyph-name-alist} property of the grobs @code{Accidental} and
1264 @code{KeySignature}, respectively; e.g.:
1267 \override Staff.Accidental #'glyph-name-alist =
1268 #alteration-mensural-glyph-name-alist
1274 @rglos{key signature}.
1279 @ref{Automatic accidentals},
1280 @ref{Key signature}.
1282 Internals Reference:
1283 @rinternals{KeySignature}.
1287 @unnumberedsubsubsec Divisiones
1293 There are no rests in Gregorian chant notation; instead, it uses
1296 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
1297 @q{division}) is a staff context symbol that is used to indicate
1298 the phrase and section structure of Gregorian music. The musical
1299 meaning of @emph{divisio minima}, @emph{divisio maior}, and
1300 @emph{divisio maxima} can be characterized as short, medium, and
1301 long pause, somewhat like the breath marks from @ref{Breath marks}.
1302 The @emph{finalis} sign not only marks the end of a chant, but is
1303 also frequently used within a single antiphonal/responsorial chant
1304 to mark the end of each section.
1306 To use divisiones, include the file @file{gregorian.ly}. It
1307 contains definitions that you can apply by just inserting
1308 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
1309 and @code{\finalis} at proper places in the input. Some editions use
1310 @emph{virgula} or @emph{caesura} instead of divisio minima.
1311 Therefore, @file{gregorian.ly} also defines @code{\virgula} and
1314 @lilypond[quote,ragged-right]
1315 \include "gregorian.ly"
1318 \context VaticanaVoice {
1319 \override TextScript #'padding = #3
1321 s^\markup { "divisio minima" }
1324 s^\markup { "divisio maior" }
1327 s^\markup { "divisio maxima" }
1331 s^\markup { "finalis" }
1334 s^\markup { "virgula" }
1337 s^\markup { "caesura" }
1351 @funindex \divisioMinima
1352 @code{\divisioMinima},
1353 @funindex \divisioMaior
1354 @code{\divisioMaior},
1355 @funindex \divisioMaxima
1356 @code{\divisioMaxima},
1370 @file{ly/gregorian.ly}.
1373 @node Gregorian articulation signs
1374 @unnumberedsubsubsec Gregorian articulation signs
1376 @cindex articulations
1378 In addition to the standard articulation signs described in
1379 section @ref{Articulations and ornamentations}, articulation signs
1380 specifically designed for use with notation in
1381 @emph{Editio Vaticana} style are provided.
1383 @lilypond[quote,ragged-right,verbatim]
1384 \include "gregorian.ly"
1386 \new VaticanaVoice {
1387 \override TextScript #'font-family = #'typewriter
1388 \override TextScript #'font-shape = #'upright
1389 \override Script #'padding = #-0.1
1390 a\ictus_"ictus " \bar "" \break
1391 a\circulus_"circulus " \bar "" \break
1392 a\semicirculus_"semicirculus " \bar "" \break
1393 a\accentus_"accentus " \bar "" \break
1394 \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
1401 @ref{Articulations and ornamentations}.
1404 @rlsr{Ancient notation}.
1406 Internals Reference:
1407 @rinternals{Episema},
1408 @rinternals{EpisemaEvent},
1409 @rinternals{Episema_engraver},
1410 @rinternals{Script},
1411 @rinternals{ScriptEvent},
1412 @rinternals{Script_engraver}.
1415 Some articulations are vertically placed too closely to the
1416 corresponding note heads.
1419 @node Augmentum dots (morae)
1420 @unnumberedsubsubsec Augmentum dots (@emph{morae})
1422 Augmentum dots, also called @emph{morae}, are added with the music
1423 function @code{\augmentum}. Note that @code{\augmentum} is
1424 implemented as a unary music function rather than as head prefix. It
1425 applies to the immediately following music expression only. That is,
1426 @code{\augmentum \virga c} will have no visible effect. Instead, say
1427 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1428 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1429 @code{\augmentum a \augmentum g}.
1431 @lilypond[quote,ragged-right,verbatim]
1432 \include "gregorian.ly"
1434 \new VaticanaVoice {
1435 \[ \augmentum a \flexa \augmentum g \]
1445 Internals Reference:
1446 @rinternals{BreathingSign}.
1449 @rlsr{Ancient notation}.
1452 @node Gregorian square neume ligatures
1453 @unnumberedsubsubsec Gregorian square neume ligatures
1455 @cindex Square neumes ligatures
1456 @cindex Gregorian square neumes ligatures
1458 There is limited support for Gregorian square neumes notation
1459 (following the style of the Editio Vaticana). Core ligatures can
1460 already be typeset, but essential issues for serious typesetting are
1461 still lacking, such as (among others) horizontal alignment of multiple
1462 ligatures, lyrics alignment, and proper handling of accidentals.
1464 The support for Gregorian neumes is enabled by @code{\include}ing
1465 @file{gregorian.ly} at the beginning of the file. This makes available
1466 a number of extra commands to produce the neume symbols used in
1467 plainchant notation.
1471 Note heads can be @emph{modified} and/or @emph{joined}.
1475 the note head can be modified by @emph{prefixing} the note name
1476 with any of the following commands:
1481 @funindex \inclinatum
1485 @funindex \descendens
1487 @funindex \ascendens
1493 @funindex \deminutum
1500 @item Ligatures, properly speaking (i.e. notes joined together), are
1501 produced by placing one of the joining commands @code{\pes} or
1502 @code{\flexa}, for upwards and downwards movement, respectively,
1503 @emph{between} the notes to be joined.
1506 A note name without any qualifiers will produce a @emph{punctum}.
1507 All other neumes, including the single-note neumes with a
1508 different shape such as the @emph{virga}, are in principle
1509 considered as ligatures and should therefore be placed
1510 between @code{\[...\]}.
1511 @c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
1518 @item The @emph{punctum} is the basic note shape (in the
1519 @emph{Vaticana} style: a square with some curvation for
1520 typographical finesse). In addition to the regular
1521 @emph{punctum}, there is also the oblique @emph{punctum
1522 inclinatum}, produced with the prefix @code{\inclinatum}. The
1523 regular @emph{punctum} can be modified with @code{\cavum}, which
1524 produces a hollow note, and @code{\linea}, which draws vertical
1525 lines on either side of the note.
1527 @item The @emph{virga} has a descending stem on the right side. It is
1528 produced by the modifier @code{\virga}.
1534 Unlike most other neumes notation systems, the typographical
1535 appearance of ligatures is not directly dictated by the input
1536 commands, but follows certain conventions dependent on musical
1537 meaning. For example, a three-note ligature with the musical shape
1538 low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
1539 Torculus consisting of three Punctum heads, while the shape
1540 high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
1541 Porrectus with a curved flexa shape and only a single Punctum
1542 head. There is no command to explicitly typeset the curved flexa
1543 shape; the decision of when to typeset a curved flexa shape is
1544 based on the musical input. The idea of this approach is to
1545 separate the musical aspects of the input from the notation style
1546 of the output. This way, the same input can be reused to typeset
1547 the same music in a different style of Gregorian chant notation.
1552 Another main category of notes in Gregorian chant is the so-called
1553 liquescent neumes. They are used under certain circumstances at
1554 the end of a syllable which ends in a @q{liquescent} letter, i.e.
1555 the sounding consonants that can hold a tone (the nasals, l, r, v,
1556 j, and their diphthong equivalents). Thus, the liquescent neumes
1557 are never used alone (although some of them can be produced), and
1558 they always fall at the end of a ligature.
1560 Liquescent neumes are represented graphically in two different,
1561 more or less interchangeable ways: with a smaller note or by
1562 @q{twisting} the main note upwards or downwards. The first is
1563 produced by making a regular @code{pes} or @code{flexa} and
1564 modifying the shape of the second note:
1565 @code{\[ a \pes \deminutum b \] }, the second by modifying the shape
1566 of a single-note neume with @code{\auctum} and one of the direction
1567 markers @code{\descendens} or @code{\ascendens}, e.g.,
1568 @code{ \[ \auctum \descendens a \] }.
1573 A third category of signs is made up of a small number of signs
1574 with a special meaning (which, incidentally, in most cases is only
1575 vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
1576 @emph{strophicus}. These are all produced by prefixing a note name
1577 with the corresponding modifier, @code{\quilisma},
1578 @code{\oriscus}, or @code{\stropha}.
1580 Virtually, within the ligature delimiters @code{\[} and @code{\]},
1581 any number of heads may be accumulated to form a single ligature,
1582 and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
1583 @code{\inclinatum}, etc. may be mixed in as desired. The use of
1584 the set of rules that underlies the construction of the ligatures
1585 in the above table is accordingly extrapolated. This way,
1586 infinitely many different ligatures can be created.
1588 Note that the use of these signs in the music itself follows
1589 certain rules, which are not checked by LilyPond. E.g., the
1590 @emph{quilisma} is always the middle note of an ascending
1591 ligature, and usually falls on a half-tone step, but it is
1592 perfectly possible, although incorrect, to make a single-note
1595 In addition to the note signs, @file{gregorian.ly} also defines the
1596 commands @code{\versus}, @code{\responsum}, @code{\ij},
1597 @code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
1598 corresponding characters, e.g., for use in lyrics, as section
1599 markers, etc. These commands use special Unicode characters and
1600 will only work if a font is used which supports them.
1605 The following table shows a limited, but still representative pool
1606 of Gregorian ligatures, together with the code fragments that
1607 produce the ligatures. The table is based on the extended neumes
1608 table of the 2nd volume of the Antiphonale Romanum
1609 (@emph{Liber Hymnarius}), published 1983 by the monks of Solesmes.
1610 The first column gives the name of the ligature, with the main form in
1611 boldface and the liquescent forms in italics. The third column
1612 shows the code fragment that produces this ligature, using
1613 @code{g}, @code{a}, and @code{b} as example pitches.
1616 @b{Single-note neums}
1618 @multitable @columnfractions .4 .2 .4
1621 @b{Basic} and @emph{Liquescent} forms
1628 @c TODO: \layout block is identical in all of the below examples.
1629 @c Therefore, it should somehow be included rather than duplicated all
1632 @c why not make variables in ly/engraver-init.ly? --hwn
1634 @c Because it's just used to typeset plain notes without
1635 @c a staff for demonstration purposes rather than something
1636 @c special of Gregorian chant notation. --jr
1642 @lilypond[staffsize=26,line-width=1.5\cm]
1643 \include "gregorian.ly"
1649 \layout { \neumeDemoLayout }}
1656 @lilypond[staffsize=26,line-width=1.5\cm]
1657 \include "gregorian.ly"
1663 \layout { \neumeDemoLayout }}
1666 @code{\[ \cavum b \]}
1670 @lilypond[staffsize=26,line-width=1.5\cm]
1671 \include "gregorian.ly"
1677 \layout { \neumeDemoLayout }}
1680 @code{\[ \linea b \]}
1683 @emph{Punctum Auctum Ascendens}
1685 @lilypond[staffsize=26,line-width=2.5\cm]
1686 \include "gregorian.ly"
1689 % Punctum Auctum Ascendens
1690 \[ \auctum \ascendens b \]
1692 \layout { \neumeDemoLayout }}
1695 @code{\[ \auctum \ascendens b \]}
1698 @emph{Punctum Auctum Descendens}
1700 @lilypond[staffsize=26,line-width=2.5\cm]
1701 \include "gregorian.ly"
1704 % Punctum Auctum Descendens
1705 \[ \auctum \descendens b \]
1707 \layout { \neumeDemoLayout }}
1710 @code{\[ \auctum \descendens b \]}
1713 @b{Punctum inclinatum}
1715 @lilypond[staffsize=26,line-width=1.5\cm]
1716 \include "gregorian.ly"
1719 % Punctum Inclinatum
1722 \layout { \neumeDemoLayout }}
1725 @code{\[ \inclinatum b \]}
1728 @emph{Punctum Inclinatum Auctum}
1730 @lilypond[staffsize=26,line-width=2.5\cm]
1731 \include "gregorian.ly"
1734 % Punctum Inclinatum Auctum
1735 \[ \inclinatum \auctum b \]
1737 \layout { \neumeDemoLayout }}
1740 @code{\[ \inclinatum \auctum b \]}
1743 @emph{Punctum Inclinatum Parvum}
1745 @lilypond[staffsize=26,line-width=1.0\cm]
1746 \include "gregorian.ly"
1749 % Punctum Inclinatum Parvum
1750 \[ \inclinatum \deminutum b \]
1752 \layout { \neumeDemoLayout }}
1755 @code{\[ \inclinatum \deminutum b \]}
1760 @lilypond[staffsize=26,line-width=1.0\cm]
1761 \include "gregorian.ly"
1767 \layout { \neumeDemoLayout }}
1774 @b{Two-note ligatures}
1776 @multitable @columnfractions .4 .2 .4
1779 @b{Clivis vel Flexa}
1781 @lilypond[staffsize=26,line-width=1.0\cm]
1782 \include "gregorian.ly"
1788 \layout { \neumeDemoLayout }}
1791 @code{\[ b \flexa g \]}
1795 @emph{Clivis Aucta Descendens}
1797 @lilypond[staffsize=26,line-width=2.0\cm]
1798 \include "gregorian.ly"
1801 % Clivis Aucta Descendens
1802 \[ b \flexa \auctum \descendens g \]
1804 \layout { \neumeDemoLayout }}
1807 @code{\[ b \flexa \auctum \descendens g \]}
1810 @emph{Clivis Aucta Ascendens}
1812 @lilypond[staffsize=26,line-width=2.0\cm]
1813 \include "gregorian.ly"
1816 % Clivis Aucta Ascendens
1817 \[ b \flexa \auctum \ascendens g \]
1819 \layout { \neumeDemoLayout }}
1822 @code{\[ b \flexa \auctum \ascendens g \]}
1827 @lilypond[staffsize=26,line-width=2.0\cm]
1828 \include "gregorian.ly"
1832 \[ b \flexa \deminutum g \]
1834 \layout { \neumeDemoLayout }}
1837 @code{\[ b \flexa \deminutum g \]}
1842 @lilypond[staffsize=26,line-width=1.0\cm]
1843 \include "gregorian.ly"
1849 \layout { \neumeDemoLayout }}
1852 @code{\[ g \pes b \]}
1855 @emph{Pes Auctus Descendens}
1857 @lilypond[staffsize=26,line-width=1.0\cm]
1858 \include "gregorian.ly"
1861 % Pes Auctus Descendens
1862 \[ g \pes \auctum \descendens b \]
1864 \layout { \neumeDemoLayout }}
1867 @code{\[ g \pes \auctum \descendens b \]}
1870 @emph{Pes Auctus Ascendens}
1872 @lilypond[staffsize=26,line-width=1.0\cm]
1873 \include "gregorian.ly"
1876 % Pes Auctus Ascendens
1877 \[ g \pes \auctum \ascendens b \]
1879 \layout { \neumeDemoLayout }}
1882 @code{\[ g \pes \auctum \ascendens b \]}
1887 @lilypond[staffsize=26,line-width=1.0\cm]
1888 \include "gregorian.ly"
1892 \[ g \pes \deminutum b \]
1894 \layout { \neumeDemoLayout }}
1897 @code{\[ g \pes \deminutum b \]}
1900 @emph{Pes Initio Debilis}
1902 @lilypond[staffsize=26,line-width=1.0\cm]
1903 \include "gregorian.ly"
1906 % Pes Initio Debilis
1907 \[ \deminutum g \pes b \]
1909 \layout { \neumeDemoLayout }}
1912 @code{\[ \deminutum g \pes b \]}
1915 @emph{Pes Auctus Descendens Initio Debilis}
1917 @lilypond[staffsize=26,line-width=1.0\cm]
1918 \include "gregorian.ly"
1921 % Pes Auctus Descendens Initio Debilis
1922 \[ \deminutum g \pes \auctum \descendens b \]
1924 \layout { \neumeDemoLayout }}
1927 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1932 @b{Multi-note ligatures}
1934 @multitable @columnfractions .4 .2 .4
1939 @lilypond[staffsize=26,line-width=1.0\cm]
1940 \include "gregorian.ly"
1944 \[ a \pes b \flexa g \]
1946 \layout { \neumeDemoLayout }}
1949 @code{\[ a \pes b \flexa g \]}
1952 @emph{Torculus Auctus Descendens}
1954 @lilypond[staffsize=26,line-width=1.0\cm]
1955 \include "gregorian.ly"
1958 % Torculus Auctus Descendens
1959 \[ a \pes b \flexa \auctum \descendens g \]
1961 \layout { \neumeDemoLayout }}
1964 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1967 @emph{Torculus Deminutus}
1969 @lilypond[staffsize=26,line-width=1.0\cm]
1970 \include "gregorian.ly"
1973 % Torculus Deminutus
1974 \[ a \pes b \flexa \deminutum g \]
1976 \layout { \neumeDemoLayout }}
1979 @code{\[ a \pes b \flexa \deminutum g \]}
1982 @emph{Torculus Initio Debilis}
1984 @lilypond[staffsize=26,line-width=1.0\cm]
1985 \include "gregorian.ly"
1988 % Torculus Initio Debilis
1989 \[ \deminutum a \pes b \flexa g \]
1991 \layout { \neumeDemoLayout }}
1994 @code{\[ \deminutum a \pes b \flexa g \]}
1997 @emph{Torculus Auctus Descendens Initio Debilis}
1999 @lilypond[staffsize=26,line-width=1.0\cm]
2000 \include "gregorian.ly"
2003 % Torculus Auctus Descendens Initio Debilis
2004 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
2006 \layout { \neumeDemoLayout }}
2009 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
2012 @emph{Torculus Deminutus Initio Debilis}
2014 @lilypond[staffsize=26,line-width=1.0\cm]
2015 \include "gregorian.ly"
2018 % Torculus Deminutus Initio Debilis
2019 \[ \deminutum a \pes b \flexa \deminutum g \]
2021 \layout { \neumeDemoLayout }}
2024 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
2029 @lilypond[staffsize=26,line-width=1.0\cm]
2030 \include "gregorian.ly"
2034 \[ a \flexa g \pes b \]
2036 \layout { \neumeDemoLayout }}
2039 @code{\[ a \flexa g \pes b \]}
2042 @emph{Porrectus Auctus Descendens}
2044 @lilypond[staffsize=26,line-width=1.0\cm]
2045 \include "gregorian.ly"
2048 % Porrectus Auctus Descendens
2049 \[ a \flexa g \pes \auctum \descendens b \]
2051 \layout { \neumeDemoLayout }}
2054 @code{\[ a \flexa g \pes \auctum \descendens b \]}
2057 @emph{Porrectus Deminutus}
2059 @lilypond[staffsize=26,line-width=1.0\cm]
2060 \include "gregorian.ly"
2063 % Porrectus Deminutus
2064 \[ a \flexa g \pes \deminutum b \]
2066 \layout { \neumeDemoLayout }}
2069 @code{\[ a \flexa g \pes \deminutum b \]}
2074 @lilypond[staffsize=26,line-width=1.0\cm]
2075 \include "gregorian.ly"
2079 \[ \virga b \inclinatum a \inclinatum g \]
2081 \layout { \neumeDemoLayout }}
2084 @code{\[ \virga b \inclinatum a \inclinatum g \]}
2087 @emph{Climacus Auctus}
2089 @lilypond[staffsize=26,line-width=1.0\cm]
2090 \include "gregorian.ly"
2094 \[ \virga b \inclinatum a \inclinatum \auctum g \]
2096 \layout { \neumeDemoLayout }}
2099 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
2102 @emph{Climacus Deminutus}
2104 @lilypond[staffsize=26,line-width=1.0\cm]
2105 \include "gregorian.ly"
2108 % Climacus Deminutus
2109 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
2111 \layout { \neumeDemoLayout }}
2114 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
2119 @lilypond[staffsize=26,line-width=1.0\cm]
2120 \include "gregorian.ly"
2124 \[ g \pes a \virga b \]
2126 \layout { \neumeDemoLayout }}
2129 @code{\[ g \pes a \virga b \]}
2132 @emph{Scandicus Auctus Descendens}
2134 @lilypond[staffsize=26,line-width=1.0\cm]
2135 \include "gregorian.ly"
2138 % Scandicus Auctus Descendens
2139 \[ g \pes a \pes \auctum \descendens b \]
2141 \layout { \neumeDemoLayout }}
2144 @code{\[ g \pes a \pes \auctum \descendens b \]}
2147 @emph{Scandicus Deminutus}
2149 @lilypond[staffsize=26,line-width=1.0\cm]
2150 \include "gregorian.ly"
2153 % Scandicus Deminutus
2154 \[ g \pes a \pes \deminutum b \]
2156 \layout { \neumeDemoLayout }}
2159 @code{\[ g \pes a \pes \deminutum b \]}
2166 @multitable @columnfractions .4 .2 .4
2171 @lilypond[staffsize=26,line-width=1.0\cm]
2172 \include "gregorian.ly"
2176 \[ g \pes \quilisma a \pes b \]
2178 \layout { \neumeDemoLayout }}
2181 @code{\[ g \pes \quilisma a \pes b \]}
2184 @emph{Quilisma Pes Auctus Descendens}
2186 @lilypond[staffsize=26,line-width=1.0\cm]
2187 \include "gregorian.ly"
2190 % Quilisma Pes Auctus Descendens
2191 \[ g \quilisma a \pes \auctum \descendens b \]
2193 \layout { \neumeDemoLayout }}
2196 @code{\[ \quilisma g \pes \auctum \descendens b \]}
2201 @lilypond[staffsize=26,line-width=1.0\cm]
2202 \include "gregorian.ly"
2208 \layout { \neumeDemoLayout }}
2211 @code{\[ \oriscus b \]}
2216 @lilypond[staffsize=26,line-width=1.0\cm]
2217 \include "gregorian.ly"
2221 \[ \oriscus g \pes \virga b \]
2223 \layout { \neumeDemoLayout }}
2226 @code{\[ \oriscus g \pes \virga b \]}
2229 @emph{Pes Quassus Auctus Descendens}
2231 @lilypond[staffsize=26,line-width=1.0\cm]
2232 \include "gregorian.ly"
2235 % Pes Quassus Auctus Descendens
2236 \[ \oriscus g \pes \auctum \descendens b \]
2238 \layout { \neumeDemoLayout }}
2241 @code{\[ \oriscus g \pes \auctum \descendens b \]}
2246 @lilypond[staffsize=26,line-width=1.0\cm]
2247 \include "gregorian.ly"
2251 \[ g \oriscus a \pes \virga b \]
2253 \layout { \neumeDemoLayout }}
2256 @code{\[ g \oriscus a \pes \virga b \]}
2259 @emph{Salicus Auctus Descendens}
2261 @lilypond[staffsize=26,line-width=1.0\cm]
2262 \include "gregorian.ly"
2265 % Salicus Auctus Descendens
2266 \[ g \oriscus a \pes \auctum \descendens b \]
2268 \layout { \neumeDemoLayout }}
2271 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
2276 @lilypond[staffsize=26,line-width=1.0\cm]
2277 \include "gregorian.ly"
2283 \layout { \neumeDemoLayout }}
2286 @code{\[ \stropha b \]}
2289 @emph{Stropha Aucta}
2291 @lilypond[staffsize=26,line-width=1.0\cm]
2292 \include "gregorian.ly"
2296 \[ \stropha \auctum b \]
2298 \layout { \neumeDemoLayout }}
2301 @code{\[ \stropha \auctum b \]}
2306 @lilypond[staffsize=26,line-width=1.0\cm]
2307 \include "gregorian.ly"
2311 \[ \stropha b \stropha b \]
2313 \layout { \neumeDemoLayout }}
2316 @code{\[ \stropha b \stropha b \]}
2321 @lilypond[staffsize=26,line-width=1.0\cm]
2322 \include "gregorian.ly"
2326 \[ \stropha b \stropha b \stropha b \]
2328 \layout { \neumeDemoLayout }}
2331 @code{\[ \stropha b \stropha b \stropha b \]}
2336 @lilypond[staffsize=26,line-width=1.0\cm]
2337 \include "gregorian.ly"
2341 \[ \stropha b \stropha b \stropha a \]
2343 \layout { \neumeDemoLayout }
2347 @code{\[ \stropha b \stropha b \stropha a \]}
2353 The following head prefixes are supported:
2358 @funindex \inclinatum
2362 @funindex \descendens
2364 @funindex \ascendens
2370 @funindex \deminutum
2378 Head prefixes can be accumulated, though restrictions apply. For
2379 example, either @code{\descendens} or @code{\ascendens} can be applied
2380 to a head, but not both to the same head.
2385 Two adjacent heads can be tied together with the @code{\pes} and
2386 @code{\flexa} infix commands for a rising and falling line of melody,
2389 @funindex \augmentum
2391 Use the unary music function @code{\augmentum} to add augmentum dots.
2398 @ref{Gregorian square neume ligatures},
2399 @ref{White mensural ligatures},
2403 When an @code{\augmentum} dot appears at the end of the last staff
2404 within a ligature, it is sometimes vertically placed wrong. As a
2405 workaround, add an additional skip note (e.g., @code{s8}) as last note
2408 @code{\augmentum} should be implemented as a head prefix rather than a
2409 unary music function, such that @code{\augmentum} can be intermixed
2410 with head prefixes in arbitrary order.
2412 @node Typesetting Kievan square notation
2413 @subsection Typesetting Kievan square notation
2418 * Kievan note heads::
2419 * Kievan accidentals::
2423 @node Kievan contexts
2424 @unnumberedsubsubsec Kievan contexts
2426 @cindex KievanVoiceContext
2427 @cindex KievanStaffContext
2429 As with Mensural and Gregorian notation, the predefined
2430 @code{KievanVoice} and @code{KievanStaff} contexts can be used
2431 to engrave a piece in square notation. These contexts initialize
2432 all relevant context properties and grob properties to proper
2433 values, so you can immediately go ahead entering the chant:
2435 @lilypond[quote,ragged-right,verbatim]
2438 \new KievanVoice = "melody" \transpose c c' {
2440 c4 c c c c2 b,\longa
2443 \new Lyrics \lyricsto "melody" {
2444 Го -- спо -- ди по -- ми -- луй.
2452 @rglos{kievan notation}.
2455 LilyPond supports Kievan notation of the Synodal style, as used in
2456 the corpus of chantbooks printed by the Russian Holy Synod in the
2457 1910's and recently reprinted by the Moscow Patriarchate Publishing
2458 House. LilyPond does not support the older (less common) forms of
2459 Kievan notation that were used in Galicia to notate Rusyn plainchant.
2462 @unnumberedsubsubsec Kievan clefs
2466 There is only one clef used in Kievan notation (the Tse-fa-ut Clef).
2467 It is used to indicate the position of @code{c}:
2469 @lilypond[quote,relative=1,notime,verbatim]
2471 \override NoteHead #'style = #'kievan
2477 @rglos{kievan notation},
2483 @node Kievan note heads
2484 @unnumberedsubsubsec Kievan note heads
2486 @cindex note heads, ancient
2488 For Kievan square notation, the appropriate note head style needs
2489 to be chosen. This is accomplished by setting the @code{style}
2490 property of the @code{NoteHead} object to @code{kievan}.
2492 The Kievan final note, which usually comes at the end of a piece
2493 of music, may be selected by setting the duration to
2494 @code{\longa}. The Kievan recitative mark, used to indicate
2495 the chanting of several syllables on one note, may be selected by
2496 setting the duration to @code{\breve}. The following example
2497 demonstrates the various Kievan note heads:
2499 @lilypond[quote,fragment,ragged-right,verbatim]
2502 \override NoteHead #'style = #'kievan
2503 b'1 b'2 b'4 b'8 b'\breve b'\longa
2508 @rglos{kievan notation},
2512 @ref{Note head styles}.
2515 LilyPond automatically determines if the stem up or stem down
2516 form of a note is drawn. When setting chant in square notation,
2517 however, it is customary to have the stems point in the same
2518 direction within a single melisma. This can be done manually by
2519 setting the @code{direction} property of the @code{Stem} object.
2521 @node Kievan accidentals
2522 @unnumberedsubsubsec Kievan accidentals
2526 The @code{kievan} style for accidentals is selected with the
2527 @code{glyph-name-alist} property of the grob @code{Accidental}.
2528 The @code{kievan} style provides a sharp and a flat sign
2529 different from the default style. There is no natural sign
2530 in Kievan notation. The sharp sign is not used in Synodal music
2531 but may occur in earlier manuscripts. It has been included
2532 primarily for the sake of compatibility.
2534 @lilypond[quote,relative=1,notime,verbatim]
2536 \override NoteHead #'style = #'kievan
2537 \override Accidental #'glyph-name-alist =
2538 #alteration-kievan-glyph-name-alist
2544 @rglos{kievan notation},
2549 @ref{Automatic accidentals},
2552 @node Kievan bar line
2553 @unnumberedsubsubsec Kievan bar line
2555 A decorative figure is commonly placed at the end of a piece of
2556 Kievan notation, which may be called the Kievan final bar line.
2557 It can be invoked as @code{\bar "kievan"}.
2559 @lilypond[quote,relative=1,notime,verbatim]
2561 \override NoteHead #'style = #'kievan
2569 @node Working with ancient music---scenarios and solutions
2570 @subsection Working with ancient music---scenarios and solutions
2574 * Mensurstriche layout::
2575 * Transcribing Gregorian chant::
2576 * Ancient and modern from one source::
2577 * Editorial markings::
2580 Working with ancient music frequently involves particular tasks
2581 which differ considerably from the modern notation for which
2582 LilyPond is designed. In the rest of this section, a number of
2583 typical scenarios are outlined, with suggestions of solutions.
2587 @item how to make incipits (i.e. prefatory material to indicate
2588 what the original has looked like) to modern transcriptions of
2590 @item how to achieve the @emph{Mensurstriche} layout frequently
2591 used for modern transcriptions of polyphonic music;
2592 @item how to transcribe Gregorian chant in modern notation;
2593 @item how to generate both ancient and modern notation from the
2599 @unnumberedsubsubsec Incipits
2602 @c clefs, mensuration signs etc from lsr and -user
2603 @c use snippet Transcription-of-ancient-music-with-incipit
2607 @c ... and reference to other sections ...
2610 @node Mensurstriche layout
2611 @unnumberedsubsubsec Mensurstriche layout
2613 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
2614 for bar lines that are drawn between the staves of a system but
2615 not through the staves themselves. It is a common way to preserve
2616 the rhythmic appearance of the original, i.e. not having to break
2617 syncopated notes at bar lines, while still providing the
2618 orientation aids that bar lines give.
2621 @lilypondfile[verbatim,quote,texidoc]
2622 {mensurstriche-layout-bar-lines-between-the-staves.ly}
2624 @c This simple setup will take care of the
2625 @c TODO Add text about lyrics to the lowest line, to be placed
2626 @c outside the StaffGroup.
2627 @c from lsr and -user
2631 @c ... and reference to other sections ...
2634 @node Transcribing Gregorian chant
2635 @unnumberedsubsubsec Transcribing Gregorian chant
2637 Gregorian chant can be transcribed into modern notation with a
2638 number of simple tweaks.
2640 @b{Stems}. Stems can be left out altogether by @code{\remove}-ing
2641 the @code{Stem_engraver} from the Voice context:
2648 \remove "Stem_engraver"
2653 However, in some transcription styles, stems are used
2654 occasionally, for example to indicate the transition from a
2655 single-tone recitative to a fixed melodic gesture. In these cases,
2656 one can use either @code{\override Stem #'transparent = ##t} or
2657 @code{\override Stem #'length = #0} instead, and restore the stem
2658 when needed with the corresponding @code{\once \override Stem
2659 #'transparent = ##f} (see example below). When using stems that
2660 carry flags, make sure to set @code{\override Flag #'transparent
2663 @b{Timing.} For unmetered chant, there are several alternatives.
2665 The Time_signature_engraver can be removed from the Staff context
2666 without any negative side effects. The alternative, to make it
2667 transparent, will leave an empty space in the score, since the
2668 invisible signature will still take up space.
2670 In many cases, @code{\set Score.timing = ##f} will give good
2671 results. Another alternative is to use @code{\CadenzaOn} and
2674 To remove the bar lines, the radical approach is to @code{\remove}
2675 the Bar_engraver from the Staff context. Again, one may want to
2676 use @code{\override BarLine #'transparent = ##t} instead, if an
2677 occasional barline is wanted.
2679 A common type of transcription is recitativic chant where the
2680 repeated notes are indicated with a single breve. The text to
2681 the recitation tone can be dealt with in two different ways:
2682 either set as a single, left-aligned syllable:
2684 @lilypond[verbatim,ragged-right]
2685 \include "gregorian.ly"
2686 chant = \relative c' {
2688 c\breve c4 b4 a c2 c4 \divisioMaior
2689 c\breve c4 c f, f \finalis
2692 verba = \lyricmode {
2693 \once \override LyricText #'self-alignment-X = #-1
2694 "Noctem quietam et" fi -- nem per -- fec -- tum
2695 \once \override LyricText #'self-alignment-X = #-1
2696 "concedat nobis Dominus" om -- ni -- po -- tens.
2700 \new Voice = "melody" \chant
2701 \new Lyrics = "one" \lyricsto melody \verba
2706 \remove "Time_signature_engraver"
2707 \remove "Bar_engraver"
2708 \override Stem #'transparent = ##t
2709 \override Flag #'transparent = ##t
2715 This works fine, as long as the text doesn't span a line break. If
2716 that is the case, an alternative is to add hidden notes to the
2717 score, here in combination with changing stem visibility:
2720 @lilypond[verbatim,ragged-right]
2721 \include "gregorian.ly"
2722 chant = \relative c' {
2724 \set Score.timing = ##f
2725 c\breve \override NoteHead #'transparent = ##t c c c c c
2726 \revert NoteHead #'transparent
2727 \override Stem #'transparent = ##f \stemUp c4 b4 a
2728 \override Stem #'transparent = ##t
2729 \override Flag #'transparent = ##t c2 c4 \divisioMaior
2730 c\breve \override NoteHead #'transparent = ##t c c c c c c c
2731 \revert NoteHead #'transparent c4 c f, f \finalis
2734 verba = \lyricmode {
2735 No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum
2736 con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens.
2741 \new Voice = "melody" \chant
2742 \new Lyrics \lyricsto "melody" \verba
2747 \remove "Time_signature_engraver"
2748 \override BarLine #'transparent = ##t
2749 \override Stem #'transparent = ##t
2750 \override Flag #'transparent = ##t
2756 Another common situation is transcription of neumatic or
2757 melismatic chants, i.e. chants with a varying number of notes
2758 to each syllable. In this case, one would want to set the
2759 syllable groups clearly apart, usually also the subdivisions of a
2760 longer melisma. One way to achieve this is to use a fixed
2761 @code{\time}, e.g., 1/4, and let each syllable or note group fill
2762 one of these measures, with the help of tuplets or shorter
2763 durations. If the bar lines and all other rhythmical indications
2764 are made transparent, and the space around the bar lines is
2765 increased, this will give a fairly good representation in modern
2766 notation of the original.
2768 To avoid that syllables of different width (such as @qq{-ri} and
2769 @qq{-rum}) spread the syllable note groups unevenly apart, the
2770 @code{'X-extent} property of the @code{LyricText} object may be
2771 set to a fixed value. Another, more cumbersome way would be to
2772 add the syllables as @code{\markup} elements. If further
2773 adjustments are necessary, this can be easily done with
2776 @lilypond[verbatim,quote]
2777 spiritus = \relative c' {
2779 \override Lyrics.LyricText #'X-extent = #'(0 . 3)
2780 d4 \times 2/3 { f8 a g } g a a4 g f8 e
2781 d4 f8 g g8 d f g a g f4 g8 a a4 s
2782 \times 2/3 { g8 f d } e f g a g4
2785 spirLyr = \lyricmode {
2786 Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _
2787 or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu
2792 \new Voice = "chant" \spiritus
2793 \new Lyrics = "one" \lyricsto "chant" \spirLyr
2798 \remove "Time_signature_engraver"
2799 \override BarLine #'X-extent = #'(-1 . 1)
2800 \override Stem #'transparent = ##t
2801 \override Flag #'transparent = ##t
2802 \override Beam #'transparent = ##t
2803 \override BarLine #'transparent = ##t
2804 \override TupletNumber #'transparent = ##t
2810 @c extract from 1.6.1.1
2813 @c ... and reference to other sections ...
2816 @node Ancient and modern from one source
2817 @unnumberedsubsubsec Ancient and modern from one source
2820 @c Here among others the snippets about reducing note length
2824 @c ... and reference to other sections ...
2827 @node Editorial markings
2828 @unnumberedsubsubsec Editorial markings
2831 @c @node Baroque rhythmic notation
2832 @c @unnumberedsubsubsec Baroque rhythmic notation
2836 @c Add example of white note heads:
2837 @c In the french baroque some composers used white note heads in slow pieces,
2838 @c mainly in 3/2-time. A quarter looks there like a eighth with a white
2839 @c note head. (Franz-Rudolf Kuhnen)
2841 @c TODO Add example of this:
2842 @c I was referring to e.g. notated a8. a16, which should, if I
2843 @c remember correctly, be interpreted more like a8.. a32 (in the french
2844 @c style). The editor might want to show that rythmic figure above the
2845 @c staff as an hint to performers. (Karl Hammer)
2852 @c ... and reference to other sections ...