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14 @node Ancient notation
15 @section Ancient notation
17 @lilypondfile[quote]{ancient-headword.ly}
19 @cindex Vaticana, Editio
20 @cindex Medicaea, Editio
27 * Overview of the supported styles::
28 * Ancient notation---common features::
29 * Typesetting mensural music::
30 * Typesetting Gregorian chant::
31 * Working with ancient music---scenarios and solutions::
35 Support for ancient notation includes features for mensural
36 notation and Gregorian chant notation. These features can be
37 accessed either by modifying style properties of graphical objects
38 such as note heads and rests, or by using one of the pre-defined
39 contexts for mensural or Gregorian notation.
41 Many graphical objects, such as note heads and flags, accidentals,
42 time signatures, and rests, provide a @code{style} property, which
43 can be changed to emulate several different styles of ancient
47 @item @ref{Mensural note heads},
48 @item @ref{Mensural accidentals and key signatures},
49 @item @ref{Mensural rests},
50 @item @ref{Mensural clefs},
51 @item @ref{Gregorian clefs},
52 @item @ref{Mensural flags},
53 @item @ref{Mensural time signatures}.
56 Some notational concepts are introduced specifically for ancient
61 @item @ref{Divisiones},
62 @item @ref{Ligatures}.
69 @rglos{mensural notation}.
72 @ref{Mensural note heads},
73 @ref{Mensural accidentals and key signatures},
75 @ref{Gregorian clefs},
77 @ref{Mensural time signatures},
83 @node Overview of the supported styles
84 @subsection Overview of the supported styles
87 Three styles are available for typesetting Gregorian chant:
90 @item @emph{Editio Vaticana} is a complete style for
91 Gregorian chant, following the appearance of the Solesmes
92 editions, the official chant books of the Vatican since 1904.
93 LilyPond has support for all the notational signs used in this
94 style, including ligatures, @emph{custodes}, and special signs
95 such as the quilisma and the oriscus.
98 @cindex Vaticana, Editio
100 @item The @emph{Editio Medicaea} style offers certain features
101 used in the Medicaea (or Ratisbona) editions which were used prior
102 to the Solesmes editions. The most significant differences from
103 the @emph{Vaticana} style are the clefs, which have
104 downward-slanted strokes, and the note heads, which are square and
107 @cindex Ratisbona, Editio
108 @cindex Medicaea, Editio
110 @item The @emph{Hufnagel} (@qq{horseshoe nail}) or @emph{Gothic}
111 style mimics the writing style in chant manuscripts from Germany
112 and Central Europe during the middle ages. It is named after the
113 basic note shape (the @emph{virga}), which looks like a small
118 Three styles emulate the appearance of late-medieval and
119 renaissance manuscripts and prints of mensural music:
122 @item The @emph{Mensural} style most closely resembles the
123 writing style used in late-medieval and early renaissance
124 manuscripts, with its small and narrow, diamond-shaped note heads
125 and its rests which approach a hand-drawn style.
129 @item The @emph{Neomensural} style is a modernized and
130 stylized version of the former: the note heads are broader and the
131 rests are made up of straight lines. This style is particularly
132 suited, e.g., for incipits of transcribed pieces of mensural
137 @item The @emph{Petrucci} style is named after Ottaviano Petrucci
138 (1466-1539), the first printer to use movable type for music (in
139 his @emph{Harmonice musices odhecaton}, 1501). The style uses
140 larger note heads than the other mensural styles.
146 @emph{Baroque} and @emph{Classical} are not complete styles
147 but differ from the default style only in some details: certain
148 note heads (Baroque) and the quarter rest (Classical).
150 Only the mensural style has alternatives for all aspects of the
151 notation. Thus, there are no rests or flags in the Gregorian
152 styles, since these signs are not used in plainchant notation, and
153 the Petrucci style has no flags or accidentals of its own.
155 Each element of the notation can be changed independently of the
156 others, so that one can use mensural flags, petrucci note heads,
157 classical rests and vaticana clefs in the same piece, if one
162 @rglos{mensural notation},
166 @node Ancient notation---common features
167 @subsection Ancient notation---common features
170 * Pre-defined contexts::
173 * Figured bass support::
177 @node Pre-defined contexts
178 @unnumberedsubsubsec Pre-defined contexts
180 For Gregorian chant and mensural notation, there are pre-defined
181 voice and staff contexts available, which set all the various
182 notation signs to values suitable for these styles. If one is
183 satisfied with these defaults, one can proceed directly with note
184 entry without worrying about the details on how to customize a
185 context. See one of the pre-defined contexts
186 @code{VaticanaVoice}, @code{VaticanaStaff}, @code{MensuralVoice},
187 and @code{MensuralStaff}. See further
190 @item @ref{Gregorian chant contexts},
191 @item @ref{Mensural contexts}.
196 @rglos{mensural notation}.
199 @ref{Gregorian chant contexts},
200 @ref{Mensural contexts}.
204 @unnumberedsubsubsec Ligatures
208 @c TODO: Should double check if I recalled things correctly when I wrote
209 @c down the following paragraph by heart.
211 A ligature is a graphical symbol that represents at least two
212 distinct notes. Ligatures originally appeared in the manuscripts
213 of Gregorian chant notation to denote ascending or descending
214 sequences of notes on the same syllable. They are also used in
217 Ligatures are entered by @emph{enclosing} them in @code{\[} and
218 @code{\]}. Some ligature styles may need additional input syntax
219 specific for this particular type of ligature. By default, the
220 @code{LigatureBracket} engraver just puts a square bracket
223 @lilypond[quote,ragged-right,verbatim]
231 Two other ligature styles are available: the Vaticana for
232 Gregorian chant, and the Mensural for mensural music (only white
233 mensural ligatures are supported for mensural music, and with
234 certain limitations). To use any of these styles, the default
235 @code{Ligature_bracket_engraver} has to be replaced with one of the
236 specialized ligature engravers in the @code{Voice} context,
237 as explained in @ref{White mensural ligatures} and
238 @ref{Gregorian square neume ligatures}.
245 @ref{White mensural ligatures},
246 @ref{Gregorian square neume ligatures}.
249 Ligatures need special spacing that has not yet been implemented. As
250 a result, there is too much space between ligatures most of the time,
251 and line breaking often is unsatisfactory. Also, lyrics do not
252 correctly align with ligatures.
254 Accidentals must not be printed within a ligature, but instead need to
255 be collected and printed in front of it.
257 The syntax still uses the deprecated infix style
258 @code{\[ music expr \]}. For consistency reasons, it will eventually
259 be changed to postfix style @code{note\[ ... note\]}.
261 @c Alternatively, the file
262 @c @file{gregorian-init.ly} can be included; it provides a scheme
265 @c \ligature @var{music expr}
267 @c with the same effect and is believed to be stable.
269 @c TODO: this does not seem to work at the moment.
274 @unnumberedsubsubsec Custodes
279 A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard})
280 is a symbol that appears at the end of a staff. It anticipates the
281 pitch of the first note of the following line, thus helping the performer
282 to manage line breaks during performance.
284 Custodes were frequently used in music notation until the
285 seventeenth century. Nowadays, they have survived only in a few
286 particular forms of musical notation such as contemporary editions
287 of Gregorian chant like the @emph{Editio Vaticana}. There are
288 different custos glyphs used in different flavors of notational
291 For typesetting custodes, just put a @code{Custos_engraver} into the
292 @code{Staff} context when declaring the @code{\layout} block,
293 and change the style of the custos with an @code{\override} if
294 desired, as shown in the following example:
296 @lilypond[quote,ragged-right]
306 \consists Custos_engraver
307 \override Custos #'style = #'mensural
313 The custos glyph is selected by the @code{style} property. The styles
314 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
315 @code{mensural}. They are demonstrated in the following fragment.
317 @lilypond[quote,ragged-right,fragment]
318 \new Lyrics \lyricmode {
320 \typewriter "vaticana "
321 \line { " " \musicglyph #"custodes.vaticana.u0" }
324 \typewriter "medicaea "
325 \line { " " \musicglyph #"custodes.medicaea.u0" }
328 \typewriter "hufnagel "
329 \line { " " \musicglyph #"custodes.hufnagel.u0" }
332 \typewriter "mensural "
333 \line { " " \musicglyph #"custodes.mensural.u0" }
346 @rlsr{Ancient notation}.
349 @node Figured bass support
350 @unnumberedsubsubsec Figured bass support
352 There is limited support for figured bass notation from the
353 Baroque period; see @ref{Figured bass}.
357 @rglos{figured bass}.
363 @node Typesetting mensural music
364 @subsection Typesetting mensural music
367 * Mensural contexts::
369 * Mensural time signatures::
370 * Mensural note heads::
373 * Mensural accidentals and key signatures::
374 * Annotational accidentals (musica ficta)::
375 * White mensural ligatures::
379 @node Mensural contexts
380 @unnumberedsubsubsec Mensural contexts
382 @cindex MensuralVoiceContext
383 @cindex MensuralStaffContext
385 The predefined @code{MensuralVoice} and @code{MensuralStaff}
386 contexts can be used to engrave a piece in mensural style. These
387 contexts initialize all relevant context properties and grob
388 properties to proper values, so you can immediately go ahead
389 entering the chant, as the following excerpt demonstrates:
391 @lilypond[quote,ragged-right,verbatim]
394 \new MensuralVoice = "discantus" \transpose c c' {
395 \override Score.BarNumber #'transparent = ##t {
396 c'1\melisma bes a g\melismaEnd
398 \[ f1\melisma a c'\breve d'\melismaEnd \]
400 c'\breve\melisma a1 g1\melismaEnd
401 fis\longa^\signumcongruentiae
404 \new Lyrics \lyricsto "discantus" {
405 San -- ctus, San -- ctus, San -- ctus
414 @rglos{mensural notation}.
418 @unnumberedsubsubsec Mensural clefs
422 The following table shows all mensural clefs that are supported via
423 the @code{\clef} command. Some of the clefs use the same glyph,
424 but differ only with respect to the line they are printed on. In
425 such cases, a trailing number in the name is used to enumerate
426 these clefs, numbered from the lowest to the highest line. Still,
427 you can manually force a clef glyph to be typeset on an arbitrary
428 line, as described in @ref{Clef}. The note printed to the right
429 side of each clef in the example column denotes the @code{c'} with
430 respect to that clef.
432 Petrucci used C clefs with differently balanced left-side vertical
433 beams, depending on which staff line it is printed.
435 @multitable @columnfractions .4 .4 .2
446 @code{mensural-c1}, @code{mensural-c2},@*
447 @code{mensural-c3}, @code{mensural-c4}
449 @lilypond[fragment,relative=1,notime]
451 \override NoteHead #'style = #'mensural
460 @lilypond[fragment,relative=1,notime]
462 \override NoteHead #'style = #'mensural
471 @lilypond[fragment,relative=1,notime]
473 \override NoteHead #'style = #'mensural
480 @code{neomensural-c1}, @code{neomensural-c2},@*
481 @code{neomensural-c3}, @code{neomensural-c4}
483 @lilypond[fragment,relative=1,notime]
484 \clef "neomensural-c2" c
488 petrucci style C clefs, for use on different staff lines
489 (the example shows the 2nd staff line C clef)
491 @code{petrucci-c1}, @code{petrucci-c2},@*
492 @code{petrucci-c3}, @code{petrucci-c4},@*
495 @lilypond[fragment,relative=1,notime]
497 \override NoteHead #'style = #'mensural
502 petrucci style F clefs, for use on different staff lines
503 (the example shows the 3rd staff line F clef)
505 @code{petrucci-f3}, @code{petrucci-f4},@*
508 @lilypond[fragment,relative=1,notime]
510 \override NoteHead #'style = #'mensural
515 petrucci style G clef
519 @lilypond[fragment,relative=1,notime]
521 \override NoteHead #'style = #'mensural
528 @rglos{mensural notation},
536 The mensural g clef is mapped to the Petrucci g clef.
539 @node Mensural time signatures
540 @unnumberedsubsubsec Mensural time signatures
542 @cindex mensuration sign
543 @cindex time signatures
545 There is limited support for mensuration signs (which are similar to,
546 but not exactly the same as time signatures). The glyphs are hard-wired
547 to particular time fractions. In other words, to get a particular mensuration sign with the @code{\time n/m} command, @code{n} and
548 @code{m} have to be chosen according to the following table
550 @lilypond[quote,ragged-right]
555 \remove Staff_symbol_engraver
556 \remove Clef_engraver
557 \remove Time_signature_engraver
561 \set Score.timing = ##f
562 \set Score.barAlways = ##t
563 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
564 #"timesig.neomensural44" }
566 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
567 #"timesig.neomensural22" }
569 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
570 #"timesig.neomensural64" }
572 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
573 #"timesig.neomensural68" }
575 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
576 #"timesig.neomensural32" }
578 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
579 #"timesig.neomensural34" }
581 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
582 #"timesig.neomensural94" }
584 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
585 #"timesig.neomensural98" }
587 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
588 #"timesig.neomensural48" }
590 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
591 #"timesig.neomensural24" }
595 Use the @code{style} property of grob @code{TimeSignature}
596 to select ancient time signatures. Supported styles are
597 @code{neomensural} and @code{mensural}. The above table uses the
598 @code{neomensural} style. The following examples show the
599 differences in style:
601 @lilypond[ragged-right,fragment,relative=1,quote]
606 c1^\markup { \hspace #-2.0 \typewriter default }
608 \override Staff.TimeSignature #'style = #'numbered
610 c1^\markup { \hspace #-2.0 \typewriter numbered }
612 \override Staff.TimeSignature #'style = #'mensural
614 c1^\markup { \hspace #-2.0 \typewriter mensural }
616 \override Staff.TimeSignature #'style = #'neomensural
618 c1^\markup { \hspace #-2.0 \typewriter neomensural }
619 \override Staff.TimeSignature #'style = #'single-digit
621 c1^\markup { \hspace #-2.0 \typewriter single-digit }
625 @ref{Time signature}, gives a general introduction to
626 the use of time signatures.
630 @rglos{mensural notation}.
633 @ref{Time signature}.
636 Ratios of note durations cannot change with the time signature,
637 as those are not constant. For
638 example, the ratio of 1@tie{}breve = 3@tie{}semibreves
639 (@emph{tempus perfectum}) can be made by hand, by setting
642 breveTP = #(ly:make-duration -1 0 3 2)
648 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
650 The @code{mensural68alt} and @code{neomensural68alt} symbols
651 (alternate symbols for 6/8) are not addressable with @code{\time}.
652 Use @code{\markup @{\musicglyph #"timesig.mensural68alt" @}} instead.
655 @node Mensural note heads
656 @unnumberedsubsubsec Mensural note heads
658 @cindex note heads, ancient
660 For ancient notation, a note head style other than the
661 @code{default} style may be chosen. This is accomplished by setting
662 the @code{style} property of the @code{NoteHead} object to
663 @code{baroque}, @code{neomensural}, @code{mensural},
664 @code{petrucci}, @code{blackpetrucci} or @code{semipetrucci}.
666 The @code{baroque} style differs from the @code{default} style by:
669 @item Providing a @code{maxima} note head, and
670 @item Using a square shape for @code{\breve} note heads.
673 The @code{neomensural}, @code{mensural}, and @code{petrucci} styles
674 differ from the @code{baroque} style by:
677 @item Using rhomboidal heads for semibreves and all smaller durations,
679 @item Centering the stems on the note heads.
682 The @code{blackpetrucci} style produces note heads usable in black
683 mensural notation or coloratio sections in white mensural notation.
684 Because note head style does not influence flag count, in
685 this style a semiminima should be notated as @code{a8*2}, not
686 @code{a4}, otherwise it will look like a minima.
687 The multiplyer can be different if coloratio is used e.g. to notate
690 Use @code{semipetrucci} style to draw half-colored
691 note heads (breves, longas and maximas).
694 The following example demonstrates the @code{petrucci} style:
696 @c Renaissance music doesn't use bar lines ... but they do help to
697 @c separate the notes for easier identification.
699 @lilypond[quote,fragment,ragged-right,verbatim]
700 \set Score.skipBars = ##t
702 \override NoteHead #'style = #'petrucci
703 a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
704 \override NoteHead #'style = #'semipetrucci
706 \override NoteHead #'style = #'blackpetrucci
708 \override NoteHead #'style = #'petrucci
713 @ref{Note head styles}, gives an overview of all available note head
718 @rglos{mensural notation},
722 @ref{Note head styles}.
726 @unnumberedsubsubsec Mensural flags
730 Use the @code{flag-style} property of grob @code{Stem} to
731 select ancient flags. Besides the @code{default} flag style,
732 only the @code{mensural} style is supported.
734 @lilypond[quote,fragment,ragged-right,verbatim]
735 \override Stem #'flag-style = #'mensural
736 \override Stem #'thickness = #1.0
737 \override NoteHead #'style = #'mensural
739 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
740 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
743 Note that the innermost flare of each mensural flag always is
744 vertically aligned with a staff line.
746 There is no particular flag style for neo-mensural or Petrucci notation.
748 @c when typesetting the incipit of a transcribed piece of mensural
749 @c music, the default flag style should be used.
750 There are no flags in Gregorian chant notation.
755 @rglos{mensural notation},
760 The attachment of ancient flags to stems is slightly off.
761 @c due to a change in early 2.3.x.
763 Vertically aligning each flag with a staff line assumes that stems
764 always end either exactly on or exactly in the middle between two
765 staff lines. This may not always be true when using advanced layout
766 features of classical notation (which however are typically out of
767 scope for mensural notation).
771 @unnumberedsubsubsec Mensural rests
773 @cindex rests, ancient
775 Use the @code{style} property of grob @code{Rest} to select
776 ancient rests. Supported styles are @code{classical},
777 @code{neomensural}, and @code{mensural}. @code{classical} differs
778 from the @code{default} style only in that the quarter rest looks
779 like a horizontally mirrored 8th rest. The @code{mensural} and
780 the @code{neomensural} styles mimic the appearance of rests in
781 manuscripts and prints up to the 16th century.
783 The following example demonstrates the @code{mensural} and
784 @code{neomensural} styles:
786 @lilypond[quote,fragment,ragged-right,verbatim]
787 \set Score.skipBars = ##t
788 \override Rest #'style = #'classical
789 r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
790 \override Rest #'style = #'mensural
791 r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
792 \override Rest #'style = #'neomensural
793 r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
796 There are no 32th and 64th rests specifically for the mensural or
797 neo-mensural style. Instead, the rests from the default style will be
802 @rglos{mensural notation}.
808 @rlsr{Ancient notation}.
812 The glyph for the maxima rest in mensural style is actually a perfect
813 longa rest; use two (or three) longa rests to print a maxima rest.
814 Longa rests are not grouped automatically, so have to be done manually by
818 @node Mensural accidentals and key signatures
819 @unnumberedsubsubsec Mensural accidentals and key signatures
822 @cindex key signature
824 The @code{mensural} style provides a sharp and a flat sign
825 different from the default style. If called for, the natural sign
826 will be taken from the @code{vaticana} style.
828 @lilypond[quote,ragged-right,staffsize=26]
832 \line { " " \musicglyph #"accidentals.mensural-1"
833 " " \musicglyph #"accidentals.mensural1" }
838 The style for accidentals and key signatures is controlled by the
839 @code{glyph-name-alist} property of the grobs @code{Accidental} and
840 @code{KeySignature}, respectively; e.g.:
842 @code{\override Staff.Accidental #'glyph-name-alist =
843 #alteration-mensural-glyph-name-alist}
847 @rglos{mensural notation},
850 @rglos{key signature}.
855 @ref{Automatic accidentals},
859 @rinternals{KeySignature}.
862 @node Annotational accidentals (musica ficta)
863 @unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
865 In European music from before about 1600, singers were expected to
866 chromatically alter notes at their own initiative according to
867 certain rules. This is called @notation{musica ficta}. In modern
868 transcriptions, these accidentals are usually printed over the
871 @cindex Accidental, musica ficta
874 Support for such suggested accidentals is included, and can be
875 switched on by setting @code{suggestAccidentals} to true.
877 @funindex suggestAccidentals
879 @lilypond[verbatim,fragment,relative=1]
881 \set suggestAccidentals = ##t
885 This will treat @emph{every} subsequent accidental as
886 @emph{musica ficta} until it is unset with
887 @code{\set suggestAccidentals = ##f}. A more practical way is to
888 use @code{\once \set suggestAccidentals = ##t}, which can even be
889 defined as a convenient shorthand:
891 @lilypond[quote,verbatim]
892 ficta = { \once \set suggestAccidentals = ##t }
893 \score { \relative c''
895 \once \set suggestAccidentals = ##t
896 bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
904 @rinternals{Accidental_engraver},
905 @rinternals{AccidentalSuggestion}.
908 @node White mensural ligatures
909 @unnumberedsubsubsec White mensural ligatures
911 @cindex Mensural ligatures
912 @cindex White mensural ligatures
914 There is limited support for white mensural ligatures.
916 To engrave white mensural ligatures, in the layout block, replace
917 the @code{Ligature_bracket_engraver} with the
918 @code{Mensural_ligature_engraver} in the @code{Voice}
925 \remove Ligature_bracket_engraver
926 \consists Mensural_ligature_engraver
931 There is no additional input language to describe the shape of a
932 white mensural ligature. The shape is rather determined solely from
933 the pitch and duration of the enclosed notes. While this approach may
934 take a new user a while to get accustomed to, it has the great advantage
935 that the full musical information of the ligature is known internally.
936 This is not only required for correct MIDI output, but also allows for
937 automatic transcription of the ligatures.
939 At certain places two consecutive notes can be represented either as
940 two squares or as an oblique parallelogram (flexa shape). In such
941 cases the default is the two squares, but a flexa can be required by
942 setting the @code{ligature-flexa} property of the @emph{second} note
943 head. The length of a flexa can be set by the note head property
949 @c \set Score.timing = ##f
950 @c \set Score.defaultBarType = "empty"
951 @c \override NoteHead #'style = #'neomensural
952 @c \override Staff.TimeSignature #'style = #'neomensural
953 @c \clef "petrucci-g"
955 @c \[ d\longa c\breve f e d \]
956 @c \[ c'\maxima d'\longa \]
957 @c \[ e'1 a g\breve \]
959 @lilypond[quote,ragged-right,verbatim]
962 \set Score.timing = ##f
963 \set Score.defaultBarType = "empty"
964 \override NoteHead #'style = #'petrucci
965 \override Staff.TimeSignature #'style = #'mensural
969 \override NoteHead #'ligature-flexa = ##t
970 \once \override NoteHead #'flexa-width = #3.2
972 \[ c'\maxima d'\longa \]
978 \remove Ligature_bracket_engraver
979 \consists Mensural_ligature_engraver
985 Without replacing @code{Ligature_bracket_engraver} with
986 @code{Mensural_ligature_engraver}, the same music transcribes
989 @lilypond[quote,ragged-right]
991 \set Score.timing = ##f
992 \set Score.defaultBarType = "empty"
993 \override NoteHead #'style = #'petrucci
994 \override Staff.TimeSignature #'style = #'mensural
998 \override NoteHead #'ligature-flexa = ##t
999 \once \override NoteHead #'flexa-width = #3.2
1001 \[ c'\maxima d'\longa \]
1011 @ref{Gregorian square neume ligatures},
1015 Horizontal spacing of ligatures is poor.
1016 Accidentals may collide with previous notes.
1018 @node Typesetting Gregorian chant
1019 @subsection Typesetting Gregorian chant
1022 * Gregorian chant contexts::
1024 * Gregorian accidentals and key signatures::
1026 * Gregorian articulation signs::
1027 * Augmentum dots (morae)::
1028 * Gregorian square neume ligatures::
1031 When typesetting a piece in Gregorian chant notation, the
1032 @code{Vaticana_ligature_engraver} automatically selects the
1033 proper note heads, so there is no need to explicitly set the note
1034 head style. Still, the note head style can be set, e.g., to
1035 @code{vaticana_punctum} to produce punctum neumes. Similarly, the
1036 @code{Mensural_ligature_engraver} automatically assembles
1044 @ref{White mensural ligatures},
1047 @node Gregorian chant contexts
1048 @unnumberedsubsubsec Gregorian chant contexts
1050 @cindex VaticanaVoiceContext
1051 @cindex VaticanaStaffContext
1053 The predefined @code{VaticanaVoiceContext} and
1054 @code{VaticanaStaffContext} can be used to engrave a piece of
1055 Gregorian chant in the style of the Editio Vaticana. These contexts
1056 initialize all relevant context properties and grob properties to
1057 proper values, so you can immediately go ahead entering the chant, as
1058 the following excerpt demonstrates:
1060 @lilypond[quote,ragged-right,verbatim]
1061 \include "gregorian.ly"
1064 \new VaticanaVoice = "cantus" {
1065 \[ c'\melisma c' \flexa a \]
1066 \[ a \flexa \deminutum g\melismaEnd \]
1068 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
1069 c' \divisioMinima \break
1070 \[ c'\melisma c' \flexa a \]
1071 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
1073 \new Lyrics \lyricsto "cantus" {
1074 San- ctus, San- ctus, San- ctus
1082 @c TODO: nothing here yet ...
1085 @node Gregorian clefs
1086 @unnumberedsubsubsec Gregorian clefs
1090 The following table shows all Gregorian clefs that are supported via
1091 the @code{\clef} command. Some of the clefs use the same glyph,
1092 but differ only with respect to the line they are printed on. In
1093 such cases, a trailing number in the name is used to enumerate
1094 these clefs, numbered from the lowest to the highest line. Still,
1095 you can manually force a clef glyph to be typeset on an arbitrary
1096 line, as described in @ref{Clef}. The note printed to the right
1097 side of each clef in the example column denotes the @code{c'} with
1098 respect to that clef.
1100 @multitable @columnfractions .4 .4 .2
1109 Editio Vaticana style do clef
1111 @code{vaticana-do1}, @code{vaticana-do2},@*
1114 @lilypond[fragment,relative=1,notime]
1115 \override Staff.StaffSymbol #'line-count = #4
1116 \override Staff.StaffSymbol #'color = #red
1117 \override Staff.LedgerLineSpanner #'color = #red
1118 \override Voice.Stem #'transparent = ##t
1119 \override NoteHead #'style = #'vaticana.punctum
1120 \clef "vaticana-do2"
1125 Editio Vaticana style fa clef
1127 @code{vaticana-fa1}, @code{vaticana-fa2}
1129 @lilypond[fragment,relative=1,notime]
1130 \override Staff.StaffSymbol #'line-count = #4
1131 \override Staff.StaffSymbol #'color = #red
1132 \override Staff.LedgerLineSpanner #'color = #red
1133 \override Voice.Stem #'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[fragment,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 NoteHead #'style = #'medicaea.punctum
1151 \clef "medicaea-do2"
1156 Editio Medicaea style fa clef
1158 @code{medicaea-fa1}, @code{medicaea-fa2}
1160 @lilypond[fragment,relative=1,notime]
1161 \override Staff.StaffSymbol #'line-count = #4
1162 \override Staff.StaffSymbol #'color = #red
1163 \override Staff.LedgerLineSpanner #'color = #red
1164 \override Voice.Stem #'transparent = ##t
1165 \override NoteHead #'style = #'medicaea.punctum
1166 \clef "medicaea-fa2"
1171 hufnagel style do clef
1173 @code{hufnagel-do1}, @code{hufnagel-do2},@*
1176 @lilypond[fragment,relative=1,notime]
1177 \override Staff.StaffSymbol #'line-count = #4
1178 \override Staff.StaffSymbol #'color = #red
1179 \override Staff.LedgerLineSpanner #'color = #red
1180 \override Voice.Stem #'transparent = ##t
1181 \override NoteHead #'style = #'hufnagel.punctum
1182 \clef "hufnagel-do2"
1187 hufnagel style fa clef
1189 @code{hufnagel-fa1}, @code{hufnagel-fa2}
1191 @lilypond[fragment,relative=1,notime]
1192 \override Staff.StaffSymbol #'line-count = #4
1193 \override Staff.StaffSymbol #'color = #red
1194 \override Staff.LedgerLineSpanner #'color = #red
1195 \override Voice.Stem #'transparent = ##t
1196 \override NoteHead #'style = #'hufnagel.punctum
1197 \clef "hufnagel-fa2"
1202 hufnagel style combined do/fa clef
1204 @code{hufnagel-do-fa}
1206 @lilypond[fragment,relative=1,notime]
1207 \override Staff.StaffSymbol #'color = #red
1208 \override Staff.LedgerLineSpanner #'color = #red
1209 \override Voice.Stem #'transparent = ##t
1210 \override NoteHead #'style = #'hufnagel.punctum
1211 \clef "hufnagel-do-fa"
1225 @node Gregorian accidentals and key signatures
1226 @unnumberedsubsubsec Gregorian accidentals and key signatures
1229 @cindex key signature
1231 Accidentals for the three different Gregorian styles are available:
1233 @lilypond[quote,ragged-right,staffsize=26]
1237 \line { " " \musicglyph #"accidentals.vaticana-1"
1238 " " \musicglyph #"accidentals.vaticana0" }
1242 \line { " " \musicglyph #"accidentals.medicaea-1" }
1246 \line { " " \musicglyph #"accidentals.hufnagel-1" }
1251 As shown, not all accidentals are supported by each style. When
1252 trying to access an unsupported accidental, LilyPond will switch to a
1255 @c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1256 @c {ancient-accidentals.ly}
1258 The style for accidentals and key signatures is controlled by the
1259 @code{glyph-name-alist} property of the grobs @code{Accidental} and
1260 @code{KeySignature}, respectively; e.g.:
1262 @code{\override Staff.Accidental #'glyph-name-alist =
1263 #alteration-mensural-glyph-name-alist}
1269 @rglos{key signature}.
1274 @ref{Automatic accidentals},
1275 @ref{Key signature}.
1277 Internals Reference:
1278 @rinternals{KeySignature}.
1282 @unnumberedsubsubsec Divisiones
1288 There are no rests in Gregorian chant notation; instead, it uses
1291 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
1292 @q{division}) is a staff context symbol that is used to indicate
1293 the phrase and section structure of Gregorian music. The musical
1294 meaning of @emph{divisio minima}, @emph{divisio maior}, and
1295 @emph{divisio maxima} can be characterized as short, medium, and
1296 long pause, somewhat like the breath marks from @ref{Breath marks}.
1297 The @emph{finalis} sign not only marks the end of a chant, but is
1298 also frequently used within a single antiphonal/responsorial chant
1299 to mark the end of each section.
1301 To use divisiones, include the file @file{gregorian.ly}. It
1302 contains definitions that you can apply by just inserting
1303 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
1304 and @code{\finalis} at proper places in the input. Some editions use
1305 @emph{virgula} or @emph{caesura} instead of divisio minima.
1306 Therefore, @file{gregorian.ly} also defines @code{\virgula} and
1309 @lilypond[quote,ragged-right]
1310 \include "gregorian.ly"
1313 \context VaticanaVoice {
1314 \override TextScript #'padding = #3
1316 s^\markup { "divisio minima" }
1319 s^\markup { "divisio maior" }
1322 s^\markup { "divisio maxima" }
1326 s^\markup { "finalis" }
1329 s^\markup { "virgula" }
1332 s^\markup { "caesura" }
1346 @funindex \divisioMinima
1347 @code{\divisioMinima},
1348 @funindex \divisioMaior
1349 @code{\divisioMaior},
1350 @funindex \divisioMaxima
1351 @code{\divisioMaxima},
1365 @file{gregorian.ly}.
1368 @node Gregorian articulation signs
1369 @unnumberedsubsubsec Gregorian articulation signs
1371 @cindex articulations
1373 In addition to the standard articulation signs described in
1374 section @ref{Articulations and ornamentations}, articulation signs
1375 specifically designed for use with notation in
1376 @emph{Editio Vaticana} style are provided.
1378 @lilypond[quote,ragged-right,verbatim]
1379 \include "gregorian.ly"
1381 \new VaticanaVoice {
1382 \override TextScript #'font-family = #'typewriter
1383 \override TextScript #'font-shape = #'upright
1384 \override Script #'padding = #-0.1
1385 a\ictus_"ictus " \bar "" \break
1386 a\circulus_"circulus " \bar "" \break
1387 a\semicirculus_"semicirculus " \bar "" \break
1388 a\accentus_"accentus " \bar "" \break
1389 \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
1397 @ref{Articulations and ornamentations}.
1400 @rlsr{Ancient notation}.
1402 Internals Reference:
1403 @rinternals{Episema},
1404 @rinternals{EpisemaEvent},
1405 @rinternals{Episema_engraver},
1406 @rinternals{Script},
1407 @rinternals{ScriptEvent},
1408 @rinternals{Script_engraver}.
1412 Some articulations are vertically placed too closely to the
1413 corresponding note heads.
1416 @node Augmentum dots (morae)
1417 @unnumberedsubsubsec Augmentum dots (@emph{morae})
1419 Augmentum dots, also called @emph{morae}, are added with the music
1420 function @code{\augmentum}. Note that @code{\augmentum} is
1421 implemented as a unary music function rather than as head prefix. It
1422 applies to the immediately following music expression only. That is,
1423 @code{\augmentum \virga c} will have no visible effect. Instead, say
1424 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1425 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1426 @code{\augmentum a \augmentum g}.
1428 @lilypond[quote,ragged-right,verbatim]
1429 \include "gregorian.ly"
1431 \new VaticanaVoice {
1432 \[ \augmentum a \flexa \augmentum g \]
1443 Internals Reference:
1444 @rinternals{BreathingSign}.
1447 @rlsr{Ancient notation}.
1450 @node Gregorian square neume ligatures
1451 @unnumberedsubsubsec Gregorian square neume ligatures
1453 @cindex Square neumes ligatures
1454 @cindex Gregorian square neumes ligatures
1456 There is limited support for Gregorian square neumes notation
1457 (following the style of the Editio Vaticana). Core ligatures can
1458 already be typeset, but essential issues for serious typesetting are
1459 still lacking, such as (among others) horizontal alignment of multiple
1460 ligatures, lyrics alignment, and proper handling of accidentals.
1462 The support for Gregorian neumes is enabled by @code{\include}ing
1463 @file{gregorian.ly} at the beginning of the file. This makes available
1464 a number of extra commands to produce the neume symbols used in
1465 plainchant notation.
1469 Note heads can be @emph{modified} and/or @emph{joined}.
1473 the note head can be modified by @emph{prefixing} the note name
1474 with any of the following commands:
1479 @funindex \inclinatum
1483 @funindex \descendens
1485 @funindex \ascendens
1491 @funindex \deminutum
1498 @item Ligatures, properly speaking (i.e. notes joined together), are
1499 produced by placing one of the joining commands @code{\pes} or
1500 @code{\flexa}, for upwards and downwards movement, respectively,
1501 @emph{between} the notes to be joined.
1504 A note name without any qualifiers will produce a @emph{punctum}.
1505 All other neumes, including the single-note neumes with a
1506 different shape such as the @emph{virga}, are in principle
1507 considered as ligatures and should therefore be placed
1508 between @code{\[...\]}.
1509 @c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
1516 @item The @emph{punctum} is the basic note shape (in the
1517 @emph{Vaticana} style: a square with some curvation for
1518 typographical finesse). In addition to the regular
1519 @emph{punctum}, there is also the oblique @emph{punctum
1520 inclinatum}, produced with the prefix @code{\inclinatum}. The
1521 regular @emph{punctum} can be modified with @code{\cavum}, which
1522 produces a hollow note, and @code{\linea}, which draws vertical
1523 lines on either side of the note.
1525 @item The @emph{virga} has a descending stem on the right side. It is
1526 produced by the modifier @code{\virga}.
1532 Unlike most other neumes notation systems, the typographical
1533 appearance of ligatures is not directly dictated by the input
1534 commands, but follows certain conventions dependent on musical
1535 meaning. For example, a three-note ligature with the musical shape
1536 low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
1537 Torculus consisting of three Punctum heads, while the shape
1538 high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
1539 Porrectus with a curved flexa shape and only a single Punctum
1540 head. There is no command to explicitly typeset the curved flexa
1541 shape; the decision of when to typeset a curved flexa shape is
1542 based on the musical input. The idea of this approach is to
1543 separate the musical aspects of the input from the notation style
1544 of the output. This way, the same input can be reused to typeset
1545 the same music in a different style of Gregorian chant notation.
1550 Another main category of notes in Gregorian chant is the so-called
1551 liquescent neumes. They are used under certain circumstances at
1552 the end of a syllable which ends in a @q{liquescent} letter, i.e.
1553 the sounding consonants that can hold a tone (the nasals, l, r, v,
1554 j, and their diphthong equivalents). Thus, the liquescent neumes
1555 are never used alone (although some of them can be produced), and
1556 they always fall at the end of a ligature.
1558 Liquescent neumes are represented graphically in two different,
1559 more or less interchangeable ways: with a smaller note or by
1560 @q{twisting} the main note upwards or downwards. The first is
1561 produced by making a regular @code{pes} or @code{flexa} and
1562 modifying the shape of the second note:
1563 @code{\[ a \pes \deminutum b \] }, the second by modifying the shape
1564 of a single-note neume with @code{\auctum} and one of the direction
1565 markers @code{\descendens} or @code{\ascendens}, e.g.,
1566 @code{ \[ \auctum \descendens a \] }.
1571 A third category of signs is made up of a small number of signs
1572 with a special meaning (which, incidentally, in most cases is only
1573 vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
1574 @emph{strophicus}. These are all produced by prefixing a note name
1575 with the corresponding modifier, @code{\quilisma},
1576 @code{\oriscus}, or @code{\stropha}.
1578 Virtually, within the ligature delimiters @code{\[} and @code{\]},
1579 any number of heads may be accumulated to form a single ligature,
1580 and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
1581 @code{\inclinatum}, etc. may be mixed in as desired. The use of
1582 the set of rules that underlies the construction of the ligatures
1583 in the above table is accordingly extrapolated. This way,
1584 infinitely many different ligatures can be created.
1586 Note that the use of these signs in the music itself follows
1587 certain rules, which are not checked by LilyPond. E.g., the
1588 @emph{quilisma} is always the middle note of an ascending
1589 ligature, and usually falls on a half-tone step, but it is
1590 perfectly possible, although incorrect, to make a single-note
1593 In addition to the note signs, @file{gregorian.ly} also defines the
1594 commands @code{\versus}, @code{\responsum}, @code{\ij},
1595 @code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
1596 corresponding characters, e.g., for use in lyrics, as section
1597 markers, etc. These commands use special Unicode characters and
1598 will only work if a font is used which supports them.
1603 The following table shows a limited, but still representative pool
1604 of Gregorian ligatures, together with the code fragments that
1605 produce the ligatures. The table is based on the extended neumes
1606 table of the 2nd volume of the Antiphonale Romanum
1607 (@emph{Liber Hymnarius}), published 1983 by the monks of Solesmes.
1608 The first column gives the name of the ligature, with the main form in
1609 boldface and the liquescent forms in italics. The third column
1610 shows the code fragment that produces this ligature, using
1611 @code{g}, @code{a}, and @code{b} as example pitches.
1614 @b{Single-note neums}
1616 @multitable @columnfractions .4 .2 .4
1619 @b{Basic} and @emph{Liquescent} forms
1626 @c TODO: \layout block is identical in all of the below examples.
1627 @c Therefore, it should somehow be included rather than duplicated all
1630 @c why not make variables in ly/engraver-init.ly? --hwn
1632 @c Because it's just used to typeset plain notes without
1633 @c a staff for demonstration purposes rather than something
1634 @c special of Gregorian chant notation. --jr
1640 @lilypond[staffsize=26,line-width=1.5\cm]
1641 \include "gregorian.ly"
1647 \layout { \neumeDemoLayout }}
1654 @lilypond[staffsize=26,line-width=1.5\cm]
1655 \include "gregorian.ly"
1661 \layout { \neumeDemoLayout }}
1664 @code{\[ \cavum b \]}
1668 @lilypond[staffsize=26,line-width=1.5\cm]
1669 \include "gregorian.ly"
1675 \layout { \neumeDemoLayout }}
1678 @code{\[ \linea b \]}
1681 @emph{Punctum Auctum Ascendens}
1683 @lilypond[staffsize=26,line-width=2.5\cm]
1684 \include "gregorian.ly"
1687 % Punctum Auctum Ascendens
1688 \[ \auctum \ascendens b \]
1690 \layout { \neumeDemoLayout }}
1693 @code{\[ \auctum \ascendens b \]}
1696 @emph{Punctum Auctum Descendens}
1698 @lilypond[staffsize=26,line-width=2.5\cm]
1699 \include "gregorian.ly"
1702 % Punctum Auctum Descendens
1703 \[ \auctum \descendens b \]
1705 \layout { \neumeDemoLayout }}
1708 @code{\[ \auctum \descendens b \]}
1711 @b{Punctum inclinatum}
1713 @lilypond[staffsize=26,line-width=1.5\cm]
1714 \include "gregorian.ly"
1717 % Punctum Inclinatum
1720 \layout { \neumeDemoLayout }}
1723 @code{\[ \inclinatum b \]}
1726 @emph{Punctum Inclinatum Auctum}
1728 @lilypond[staffsize=26,line-width=2.5\cm]
1729 \include "gregorian.ly"
1732 % Punctum Inclinatum Auctum
1733 \[ \inclinatum \auctum b \]
1735 \layout { \neumeDemoLayout }}
1738 @code{\[ \inclinatum \auctum b \]}
1741 @emph{Punctum Inclinatum Parvum}
1743 @lilypond[staffsize=26,line-width=1.0\cm]
1744 \include "gregorian.ly"
1747 % Punctum Inclinatum Parvum
1748 \[ \inclinatum \deminutum b \]
1750 \layout { \neumeDemoLayout }}
1753 @code{\[ \inclinatum \deminutum b \]}
1758 @lilypond[staffsize=26,line-width=1.0\cm]
1759 \include "gregorian.ly"
1765 \layout { \neumeDemoLayout }}
1772 @b{Two-note ligatures}
1774 @multitable @columnfractions .4 .2 .4
1777 @b{Clivis vel Flexa}
1779 @lilypond[staffsize=26,line-width=1.0\cm]
1780 \include "gregorian.ly"
1786 \layout { \neumeDemoLayout }}
1789 @code{\[ b \flexa g \]}
1793 @emph{Clivis Aucta Descendens}
1795 @lilypond[staffsize=26,line-width=2.0\cm]
1796 \include "gregorian.ly"
1799 % Clivis Aucta Descendens
1800 \[ b \flexa \auctum \descendens g \]
1802 \layout { \neumeDemoLayout }}
1805 @code{\[ b \flexa \auctum \descendens g \]}
1808 @emph{Clivis Aucta Ascendens}
1810 @lilypond[staffsize=26,line-width=2.0\cm]
1811 \include "gregorian.ly"
1814 % Clivis Aucta Ascendens
1815 \[ b \flexa \auctum \ascendens g \]
1817 \layout { \neumeDemoLayout }}
1820 @code{\[ b \flexa \auctum \ascendens g \]}
1825 @lilypond[staffsize=26,line-width=2.0\cm]
1826 \include "gregorian.ly"
1830 \[ b \flexa \deminutum g \]
1832 \layout { \neumeDemoLayout }}
1835 @code{\[ b \flexa \deminutum g \]}
1840 @lilypond[staffsize=26,line-width=1.0\cm]
1841 \include "gregorian.ly"
1847 \layout { \neumeDemoLayout }}
1850 @code{\[ g \pes b \]}
1853 @emph{Pes Auctus Descendens}
1855 @lilypond[staffsize=26,line-width=1.0\cm]
1856 \include "gregorian.ly"
1859 % Pes Auctus Descendens
1860 \[ g \pes \auctum \descendens b \]
1862 \layout { \neumeDemoLayout }}
1865 @code{\[ g \pes \auctum \descendens b \]}
1868 @emph{Pes Auctus Ascendens}
1870 @lilypond[staffsize=26,line-width=1.0\cm]
1871 \include "gregorian.ly"
1874 % Pes Auctus Ascendens
1875 \[ g \pes \auctum \ascendens b \]
1877 \layout { \neumeDemoLayout }}
1880 @code{\[ g \pes \auctum \ascendens b \]}
1885 @lilypond[staffsize=26,line-width=1.0\cm]
1886 \include "gregorian.ly"
1890 \[ g \pes \deminutum b \]
1892 \layout { \neumeDemoLayout }}
1895 @code{\[ g \pes \deminutum b \]}
1898 @emph{Pes Initio Debilis}
1900 @lilypond[staffsize=26,line-width=1.0\cm]
1901 \include "gregorian.ly"
1904 % Pes Initio Debilis
1905 \[ \deminutum g \pes b \]
1907 \layout { \neumeDemoLayout }}
1910 @code{\[ \deminutum g \pes b \]}
1913 @emph{Pes Auctus Descendens Initio Debilis}
1915 @lilypond[staffsize=26,line-width=1.0\cm]
1916 \include "gregorian.ly"
1919 % Pes Auctus Descendens Initio Debilis
1920 \[ \deminutum g \pes \auctum \descendens b \]
1922 \layout { \neumeDemoLayout }}
1925 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1930 @b{Multi-note ligatures}
1932 @multitable @columnfractions .4 .2 .4
1937 @lilypond[staffsize=26,line-width=1.0\cm]
1938 \include "gregorian.ly"
1942 \[ a \pes b \flexa g \]
1944 \layout { \neumeDemoLayout }}
1947 @code{\[ a \pes b \flexa g \]}
1950 @emph{Torculus Auctus Descendens}
1952 @lilypond[staffsize=26,line-width=1.0\cm]
1953 \include "gregorian.ly"
1956 % Torculus Auctus Descendens
1957 \[ a \pes b \flexa \auctum \descendens g \]
1959 \layout { \neumeDemoLayout }}
1962 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1965 @emph{Torculus Deminutus}
1967 @lilypond[staffsize=26,line-width=1.0\cm]
1968 \include "gregorian.ly"
1971 % Torculus Deminutus
1972 \[ a \pes b \flexa \deminutum g \]
1974 \layout { \neumeDemoLayout }}
1977 @code{\[ a \pes b \flexa \deminutum g \]}
1980 @emph{Torculus Initio Debilis}
1982 @lilypond[staffsize=26,line-width=1.0\cm]
1983 \include "gregorian.ly"
1986 % Torculus Initio Debilis
1987 \[ \deminutum a \pes b \flexa g \]
1989 \layout { \neumeDemoLayout }}
1992 @code{\[ \deminutum a \pes b \flexa g \]}
1995 @emph{Torculus Auctus Descendens Initio Debilis}
1997 @lilypond[staffsize=26,line-width=1.0\cm]
1998 \include "gregorian.ly"
2001 % Torculus Auctus Descendens Initio Debilis
2002 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
2004 \layout { \neumeDemoLayout }}
2007 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
2010 @emph{Torculus Deminutus Initio Debilis}
2012 @lilypond[staffsize=26,line-width=1.0\cm]
2013 \include "gregorian.ly"
2016 % Torculus Deminutus Initio Debilis
2017 \[ \deminutum a \pes b \flexa \deminutum g \]
2019 \layout { \neumeDemoLayout }}
2022 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
2027 @lilypond[staffsize=26,line-width=1.0\cm]
2028 \include "gregorian.ly"
2032 \[ a \flexa g \pes b \]
2034 \layout { \neumeDemoLayout }}
2037 @code{\[ a \flexa g \pes b \]}
2040 @emph{Porrectus Auctus Descendens}
2042 @lilypond[staffsize=26,line-width=1.0\cm]
2043 \include "gregorian.ly"
2046 % Porrectus Auctus Descendens
2047 \[ a \flexa g \pes \auctum \descendens b \]
2049 \layout { \neumeDemoLayout }}
2052 @code{\[ a \flexa g \pes \auctum \descendens b \]}
2055 @emph{Porrectus Deminutus}
2057 @lilypond[staffsize=26,line-width=1.0\cm]
2058 \include "gregorian.ly"
2061 % Porrectus Deminutus
2062 \[ a \flexa g \pes \deminutum b \]
2064 \layout { \neumeDemoLayout }}
2067 @code{\[ a \flexa g \pes \deminutum b \]}
2072 @lilypond[staffsize=26,line-width=1.0\cm]
2073 \include "gregorian.ly"
2077 \[ \virga b \inclinatum a \inclinatum g \]
2079 \layout { \neumeDemoLayout }}
2082 @code{\[ \virga b \inclinatum a \inclinatum g \]}
2085 @emph{Climacus Auctus}
2087 @lilypond[staffsize=26,line-width=1.0\cm]
2088 \include "gregorian.ly"
2092 \[ \virga b \inclinatum a \inclinatum \auctum g \]
2094 \layout { \neumeDemoLayout }}
2097 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
2100 @emph{Climacus Deminutus}
2102 @lilypond[staffsize=26,line-width=1.0\cm]
2103 \include "gregorian.ly"
2106 % Climacus Deminutus
2107 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
2109 \layout { \neumeDemoLayout }}
2112 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
2117 @lilypond[staffsize=26,line-width=1.0\cm]
2118 \include "gregorian.ly"
2122 \[ g \pes a \virga b \]
2124 \layout { \neumeDemoLayout }}
2127 @code{\[ g \pes a \virga b \]}
2130 @emph{Scandicus Auctus Descendens}
2132 @lilypond[staffsize=26,line-width=1.0\cm]
2133 \include "gregorian.ly"
2136 % Scandicus Auctus Descendens
2137 \[ g \pes a \pes \auctum \descendens b \]
2139 \layout { \neumeDemoLayout }}
2142 @code{\[ g \pes a \pes \auctum \descendens b \]}
2145 @emph{Scandicus Deminutus}
2147 @lilypond[staffsize=26,line-width=1.0\cm]
2148 \include "gregorian.ly"
2151 % Scandicus Deminutus
2152 \[ g \pes a \pes \deminutum b \]
2154 \layout { \neumeDemoLayout }}
2157 @code{\[ g \pes a \pes \deminutum b \]}
2164 @multitable @columnfractions .4 .2 .4
2169 @lilypond[staffsize=26,line-width=1.0\cm]
2170 \include "gregorian.ly"
2174 \[ g \pes \quilisma a \pes b \]
2176 \layout { \neumeDemoLayout }}
2179 @code{\[ g \pes \quilisma a \pes b \]}
2182 @emph{Quilisma Pes Auctus Descendens}
2184 @lilypond[staffsize=26,line-width=1.0\cm]
2185 \include "gregorian.ly"
2188 % Quilisma Pes Auctus Descendens
2189 \[ g \quilisma a \pes \auctum \descendens b \]
2191 \layout { \neumeDemoLayout }}
2194 @code{\[ \quilisma g \pes \auctum \descendens b \]}
2199 @lilypond[staffsize=26,line-width=1.0\cm]
2200 \include "gregorian.ly"
2206 \layout { \neumeDemoLayout }}
2209 @code{\[ \oriscus b \]}
2214 @lilypond[staffsize=26,line-width=1.0\cm]
2215 \include "gregorian.ly"
2219 \[ \oriscus g \pes \virga b \]
2221 \layout { \neumeDemoLayout }}
2224 @code{\[ \oriscus g \pes \virga b \]}
2227 @emph{Pes Quassus Auctus Descendens}
2229 @lilypond[staffsize=26,line-width=1.0\cm]
2230 \include "gregorian.ly"
2233 % Pes Quassus Auctus Descendens
2234 \[ \oriscus g \pes \auctum \descendens b \]
2236 \layout { \neumeDemoLayout }}
2239 @code{\[ \oriscus g \pes \auctum \descendens b \]}
2244 @lilypond[staffsize=26,line-width=1.0\cm]
2245 \include "gregorian.ly"
2249 \[ g \oriscus a \pes \virga b \]
2251 \layout { \neumeDemoLayout }}
2254 @code{\[ g \oriscus a \pes \virga b \]}
2257 @emph{Salicus Auctus Descendens}
2259 @lilypond[staffsize=26,line-width=1.0\cm]
2260 \include "gregorian.ly"
2263 % Salicus Auctus Descendens
2264 \[ g \oriscus a \pes \auctum \descendens b \]
2266 \layout { \neumeDemoLayout }}
2269 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
2274 @lilypond[staffsize=26,line-width=1.0\cm]
2275 \include "gregorian.ly"
2281 \layout { \neumeDemoLayout }}
2284 @code{\[ \stropha b \]}
2287 @emph{Stropha Aucta}
2289 @lilypond[staffsize=26,line-width=1.0\cm]
2290 \include "gregorian.ly"
2294 \[ \stropha \auctum b \]
2296 \layout { \neumeDemoLayout }}
2299 @code{\[ \stropha \auctum b \]}
2304 @lilypond[staffsize=26,line-width=1.0\cm]
2305 \include "gregorian.ly"
2309 \[ \stropha b \stropha b \]
2311 \layout { \neumeDemoLayout }}
2314 @code{\[ \stropha b \stropha b \]}
2319 @lilypond[staffsize=26,line-width=1.0\cm]
2320 \include "gregorian.ly"
2324 \[ \stropha b \stropha b \stropha b \]
2326 \layout { \neumeDemoLayout }}
2329 @code{\[ \stropha b \stropha b \stropha b \]}
2334 @lilypond[staffsize=26,line-width=1.0\cm]
2335 \include "gregorian.ly"
2339 \[ \stropha b \stropha b \stropha a \]
2341 \layout { \neumeDemoLayout }
2345 @code{\[ \stropha b \stropha b \stropha a \]}
2351 The following head prefixes are supported:
2356 @funindex \inclinatum
2360 @funindex \descendens
2362 @funindex \ascendens
2368 @funindex \deminutum
2376 Head prefixes can be accumulated, though restrictions apply. For
2377 example, either @code{\descendens} or @code{\ascendens} can be applied
2378 to a head, but not both to the same head.
2383 Two adjacent heads can be tied together with the @code{\pes} and
2384 @code{\flexa} infix commands for a rising and falling line of melody,
2387 @funindex \augmentum
2389 Use the unary music function @code{\augmentum} to add augmentum dots.
2396 @ref{Gregorian square neume ligatures},
2397 @ref{White mensural ligatures},
2402 When an @code{\augmentum} dot appears at the end of the last staff
2403 within a ligature, it is sometimes vertically placed wrong. As a
2404 workaround, add an additional skip note (e.g., @code{s8}) as last note
2407 @code{\augmentum} should be implemented as a head prefix rather than a
2408 unary music function, such that @code{\augmentum} can be intermixed
2409 with head prefixes in arbitrary order.
2412 @node Working with ancient music---scenarios and solutions
2413 @subsection Working with ancient music---scenarios and solutions
2417 * Mensurstriche layout::
2418 * Transcribing Gregorian chant::
2419 * Ancient and modern from one source::
2420 * Editorial markings::
2423 Working with ancient music frequently involves particular tasks
2424 which differ considerably from the modern notation for which
2425 LilyPond is designed. In the rest of this section, a number of
2426 typical scenarios are outlined, with suggestions of solutions.
2430 @item how to make incipits (i.e. prefatory material to indicate
2431 what the original has looked like) to modern transcriptions of
2433 @item how to achieve the @emph{Mensurstriche} layout frequently
2434 used for modern transcriptions of polyphonic music;
2435 @item how to transcribe Gregorian chant in modern notation;
2436 @item how to generate both ancient and modern notation from the
2442 @unnumberedsubsubsec Incipits
2445 @c clefs, mensuration signs etc from lsr and -user
2446 @c use snippet Transcription-of-ancient-music-with-incipit
2451 @c ... and reference to other sections ...
2454 @node Mensurstriche layout
2455 @unnumberedsubsubsec Mensurstriche layout
2457 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
2458 for bar lines that are drawn between the staves of a system but
2459 not through the staves themselves. It is a common way to preserve
2460 the rhythmic appearance of the original, i.e. not having to break
2461 syncopated notes at bar lines, while still providing the
2462 orientation aids that bar lines give.
2465 @lilypondfile[verbatim,lilyquote,texidoc]
2466 {mensurstriche-layout-bar-lines-between-the-staves.ly}
2468 @c This simple setup will take care of the
2469 @c TODO Add text about lyrics to the lowest line, to be placed
2470 @c outside the StaffGroup.
2471 @c from lsr and -user
2476 @c ... and reference to other sections ...
2479 @node Transcribing Gregorian chant
2480 @unnumberedsubsubsec Transcribing Gregorian chant
2482 Gregorian chant can be transcribed into modern notation with a
2483 number of simple tweaks.
2485 @b{Stems}. Stems can be left out altogether by @code{\remove}-ing
2486 the @code{Stem_engraver} from the Voice context:
2493 \remove "Stem_engraver"
2498 However, in some transcription styles, stems are used
2499 occasionally, for example to indicate the transition from a
2500 single-tone recitative to a fixed melodic gesture. In these cases,
2501 one can use either @code{\override Stem #'transparent = ##t} or
2502 @code{\override Stem #'length = #0} instead, and restore the stem
2503 when needed with the corresponding @code{\once \override Stem
2504 #'transparent = ##f} (see example below).
2506 @b{Timing.} For unmetered chant, there are several alternatives.
2508 The Time_signature_engraver can be removed from the Staff context
2509 without any negative side effects. The alternative, to make it
2510 transparent, will leave an empty space in the score, since the
2511 invisible signature will still take up space.
2513 In many cases, @code{\set Score.timing = ##f} will give good
2514 results. Another alternative is to use @code{\CadenzaOn} and
2517 To remove the bar lines, the radical approach is to @code{\remove}
2518 the Bar_engraver from the Staff context. Again, one may want to
2519 use @code{\override BarLine #'transparent = ##t} instead, if an
2520 occasional barline is wanted.
2522 A common type of transcription is recitativic chant where the
2523 repeated notes are indicated with a single breve. The text to
2524 the recitation tone can be dealt with in two different ways:
2525 either set as a single, left-aligned syllable:
2527 @lilypond[verbatim,ragged-right]
2528 \include "gregorian.ly"
2529 chant = \relative c' {
2531 c\breve c4 b4 a c2 c4 \divisioMaior
2532 c\breve c4 c f, f \finalis
2535 verba = \lyricmode {
2536 \once \override LyricText #'self-alignment-X = #-1
2537 "Noctem quietam et" fi -- nem per -- fec -- tum
2538 \once \override LyricText #'self-alignment-X = #-1
2539 "concedat nobis Dominus" om -- ni -- po -- tens.
2543 \new Voice = "melody" \chant
2544 \new Lyrics = "one" \lyricsto melody \verba
2549 \remove "Time_signature_engraver"
2550 \remove "Bar_engraver"
2551 \override Stem #'transparent = ##t
2557 This works fine, as long as the text doesn't span a line break. If
2558 that is the case, an alternative is to add hidden notes to the
2559 score, here in combination with changing stem visibility:
2562 @lilypond[verbatim,ragged-right]
2563 \include "gregorian.ly"
2564 chant = \relative c' {
2566 \set Score.timing = ##f
2567 c\breve \override NoteHead #'transparent = ##t c c c c c
2568 \revert NoteHead #'transparent
2569 \override Stem #'transparent = ##f \stemUp c4 b4 a
2570 \override Stem #'transparent = ##t c2 c4 \divisioMaior
2571 c\breve \override NoteHead #'transparent = ##t c c c c c c c
2572 \revert NoteHead #'transparent c4 c f, f \finalis
2575 verba = \lyricmode {
2576 No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum
2577 con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens.
2582 \new Voice = "melody" \chant
2583 \new Lyrics \lyricsto "melody" \verba
2588 \remove "Time_signature_engraver"
2589 \override BarLine #'transparent = ##t
2590 \override Stem #'transparent = ##t
2596 Another common situation is transcription of neumatic or
2597 melismatic chants, i.e. chants with a varying number of notes
2598 to each syllable. In this case, one would want to set the
2599 syllable groups clearly apart, usually also the subdivisions of a
2600 longer melisma. One way to achieve this is to use a fixed
2601 @code{\time}, e.g., 1/4, and let each syllable or note group fill
2602 one of these measures, with the help of tuplets or shorter
2603 durations. If the bar lines and all other rhythmical indications
2604 are made transparent, and the space around the bar lines is
2605 increased, this will give a fairly good representation in modern
2606 notation of the original.
2608 To avoid that syllables of different width (such as @qq{-ri} and
2609 @qq{-rum}) spread the syllable note groups unevenly apart, the
2610 @code{#'X-extent} property of the @code{LyricText} object may be
2611 set to a fixed value. Another, more cumbersome way would be to
2612 add the syllables as @code{\markup} elements. If further
2613 adjustments are necessary, this can be easily done with
2616 @lilypond[verbatim,quote]
2617 spiritus = \relative c' {
2619 \override Lyrics.LyricText #'X-extent = #'(0 . 3)
2620 d4 \times 2/3 { f8 a g } g a a4 g f8 e
2621 d4 f8 g g8 d f g a g f4 g8 a a4 s
2622 \times 2/3 { g8 f d } e f g a g4
2625 spirLyr = \lyricmode {
2626 Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _
2627 or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu
2632 \new Voice = "chant" \spiritus
2633 \new Lyrics = "one" \lyricsto "chant" \spirLyr
2638 \remove "Time_signature_engraver"
2639 \override BarLine #'X-extent = #'(-1 . 1)
2640 \override Stem #'transparent = ##t
2641 \override Beam #'transparent = ##t
2642 \override BarLine #'transparent = ##t
2643 \override TupletNumber #'transparent = ##t
2649 @c extract from 1.6.1.1
2652 @c ... and reference to other sections ...
2655 @node Ancient and modern from one source
2656 @unnumberedsubsubsec Ancient and modern from one source
2659 @c Here among others the snippets about reducing note length
2663 @c ... and reference to other sections ...
2666 @node Editorial markings
2667 @unnumberedsubsubsec Editorial markings
2670 @c @node Baroque rhythmic notation
2671 @c @unnumberedsubsubsec Baroque rhythmic notation
2675 @c Add example of white note heads:
2676 @c In the french baroque some composers used white note heads in slow pieces,
2677 @c mainly in 3/2-time. A quarter looks there like a eighth with a white
2678 @c note head. (Franz-Rudolf Kuhnen)
2680 @c TODO Add example of this:
2681 @c I was referring to e.g. notated a8. a16, which should, if I
2682 @c remember correctly, be interpreted more like a8.. a32 (in the french
2683 @c style). The editor might want to show that rythmic figure above the
2684 @c staff as an hint to performers. (Karl Hammer)
2691 @c ... and reference to other sections ...