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2 @c vim: foldmethod=marker
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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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.
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},@*
449 @lilypond[relative=1,notime]
451 \override NoteHead.style = #'mensural
460 @lilypond[relative=1,notime]
462 \override NoteHead.style = #'mensural
471 @lilypond[relative=1,notime]
473 \override NoteHead.style = #'mensural
478 black mensural C clef
480 @code{blackmensural-c1}, @code{blackmensural-c2},@*
481 @code{blackmensural-c3}, @code{blackmensural-c4},@*
482 @code{blackmensural-c5}
484 @lilypond[relative=1,notime]
485 \clef "blackmensural-c2"
486 \override NoteHead.style = #'mensural
493 @code{neomensural-c1}, @code{neomensural-c2},@*
494 @code{neomensural-c3}, @code{neomensural-c4}
496 @lilypond[relative=1,notime]
497 \clef "neomensural-c2" c1
501 petrucci style C clefs, for use on different staff lines
502 (the example shows the 2nd staff line C clef)
504 @code{petrucci-c1}, @code{petrucci-c2},@*
505 @code{petrucci-c3}, @code{petrucci-c4},@*
508 @lilypond[relative=1,notime]
510 \override NoteHead.style = #'mensural
515 petrucci style F clefs, for use on different staff lines
516 (the example shows the 3rd staff line F clef)
518 @code{petrucci-f3}, @code{petrucci-f4},@*
521 @lilypond[relative=1,notime]
523 \override NoteHead.style = #'mensural
528 petrucci style G clef
532 @lilypond[relative=1,notime]
534 \override NoteHead.style = #'mensural
541 @rglos{mensural notation},
548 The mensural g clef is mapped to the Petrucci g clef.
551 @node Mensural time signatures
552 @unnumberedsubsubsec Mensural time signatures
554 @cindex mensuration sign
555 @cindex time signatures
557 There is limited support for mensuration signs (which are similar to,
558 but not exactly the same as time signatures). The glyphs are hard-wired
559 to particular time fractions. In other words, to get a particular mensuration sign with the @code{\time n/m} command, @code{n} and
560 @code{m} have to be chosen according to the following table
562 @lilypond[quote,ragged-right]
567 \remove "Staff_symbol_engraver"
568 \remove "Clef_engraver"
569 \remove "Time_signature_engraver"
573 \set Score.timing = ##f
574 \set Score.barAlways = ##t
575 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
576 #"timesig.neomensural44" }
578 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
579 #"timesig.neomensural22" }
581 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
582 #"timesig.neomensural64" }
584 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
585 #"timesig.neomensural68" }
587 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
588 #"timesig.neomensural32" }
590 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
591 #"timesig.neomensural34" }
593 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
594 #"timesig.neomensural94" }
596 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
597 #"timesig.neomensural98" }
599 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
600 #"timesig.neomensural48" }
602 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
603 #"timesig.neomensural24" }
607 Use the @code{style} property of grob @code{TimeSignature}
608 to select ancient time signatures. Supported styles are
609 @code{neomensural} and @code{mensural}. The above table uses the
610 @code{neomensural} style. The following examples show the
611 differences in style:
613 @lilypond[ragged-right,relative=1,quote]
618 c1^\markup { \hspace #-2.0 \typewriter default }
620 \override Staff.TimeSignature.style = #'numbered
622 c1^\markup { \hspace #-2.0 \typewriter numbered }
624 \override Staff.TimeSignature.style = #'mensural
626 c1^\markup { \hspace #-2.0 \typewriter mensural }
628 \override Staff.TimeSignature.style = #'neomensural
630 c1^\markup { \hspace #-2.0 \typewriter neomensural }
631 \override Staff.TimeSignature.style = #'single-digit
633 c1^\markup { \hspace #-2.0 \typewriter single-digit }
637 @ref{Time signature}, gives a general introduction to
638 the use of time signatures.
642 @rglos{mensural notation}.
645 @ref{Time signature}.
648 Ratios of note durations cannot change with the time signature,
649 as those are not constant. For
650 example, the ratio of 1@tie{}breve = 3@tie{}semibreves
651 (@emph{tempus perfectum}) can be made by hand, by setting
654 breveTP = #(ly:make-duration -1 0 3 2)
660 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
662 The @code{mensural68alt} and @code{neomensural68alt} symbols
663 (alternate symbols for 6/8) are not addressable with @code{\time}.
664 Use @code{\markup @{\musicglyph #"timesig.mensural68alt" @}} instead.
667 @node Mensural note heads
668 @unnumberedsubsubsec Mensural note heads
670 @cindex note heads, ancient
672 For ancient notation, a note head style other than the
673 @code{default} style may be chosen. This is accomplished by setting
674 the @code{style} property of the @code{NoteHead} object to
675 @code{baroque}, @code{neomensural}, @code{mensural},
676 @code{petrucci}, @code{blackpetrucci} or @code{semipetrucci}.
678 The @code{baroque} style differs from the @code{default} style by:
681 @item Providing a @code{maxima} note head, and
682 @item Using a square shape for @code{\breve} note heads.
685 The @code{neomensural}, @code{mensural}, and @code{petrucci} styles
686 differ from the @code{baroque} style by:
689 @item Using rhomboidal heads for semibreves and all smaller durations,
691 @item Centering the stems on the note heads.
694 The @code{blackpetrucci} style produces note heads usable in black
695 mensural notation or coloratio sections in white mensural notation.
696 Because note head style does not influence flag count, in
697 this style a semiminima should be notated as @code{a8*2}, not
698 @code{a4}, otherwise it will look like a minima.
699 The multiplyer can be different if coloratio is used e.g. to notate
702 Use @code{semipetrucci} style to draw half-colored
703 note heads (breves, longas and maximas).
706 The following example demonstrates the @code{petrucci} style:
708 @c Renaissance music doesn't use bar lines ... but they do help to
709 @c separate the notes for easier identification.
711 @lilypond[quote,fragment,ragged-right,verbatim]
712 \set Score.skipBars = ##t
714 \override NoteHead.style = #'petrucci
715 a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
716 \override NoteHead.style = #'semipetrucci
718 \override NoteHead.style = #'blackpetrucci
720 \override NoteHead.style = #'petrucci
725 @ref{Note head styles}, gives an overview of all available note head
730 @rglos{mensural notation},
734 @ref{Note head styles}.
738 @unnumberedsubsubsec Mensural flags
742 Use the @code{flag-style} property of grob @code{Stem} to
743 select ancient flags. Besides the @code{default} flag style,
744 only the @code{mensural} style is supported.
746 @lilypond[quote,fragment,ragged-right,verbatim]
747 \override Flag.style = #'mensural
748 \override Stem.thickness = #1.0
749 \override NoteHead.style = #'mensural
751 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
752 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
755 Note that the innermost flare of each mensural flag always is
756 vertically aligned with a staff line.
758 There is no particular flag style for neo-mensural or Petrucci notation.
760 @c when typesetting the incipit of a transcribed piece of mensural
761 @c music, the default flag style should be used.
762 There are no flags in Gregorian chant notation.
766 @rglos{mensural notation},
770 The attachment of ancient flags to stems is slightly off.
771 @c due to a change in early 2.3.x.
773 Vertically aligning each flag with a staff line assumes that stems
774 always end either exactly on or exactly in the middle between two
775 staff lines. This may not always be true when using advanced layout
776 features of classical notation (which however are typically out of
777 scope for mensural notation).
781 @unnumberedsubsubsec Mensural rests
783 @cindex rests, ancient
785 Use the @code{style} property of grob @code{Rest} to select
786 ancient rests. Supported styles are @code{classical},
787 @code{neomensural}, and @code{mensural}. @code{classical} differs
788 from the @code{default} style only in that the quarter rest looks
789 like a horizontally mirrored 8th rest. The @code{mensural} and
790 the @code{neomensural} styles mimic the appearance of rests in
791 manuscripts and prints up to the 16th century.
793 The following example demonstrates the @code{mensural} and
794 @code{neomensural} styles:
796 @lilypond[quote,fragment,ragged-right,verbatim]
797 \set Score.skipBars = ##t
798 \override Rest.style = #'classical
799 r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
800 \override Rest.style = #'mensural
801 r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
802 \override Rest.style = #'neomensural
803 r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
806 There are no 32th and 64th rests specifically for the mensural or
807 neo-mensural style. Instead, the rests from the default style will be
812 @rglos{mensural notation}.
818 @rlsr{Ancient notation}.
821 The glyph for the maxima rest in mensural style is actually a perfect
822 longa rest; use two (or three) longa rests to print a maxima rest.
823 Longa rests are not grouped automatically, so have to be done manually by
827 @node Mensural accidentals and key signatures
828 @unnumberedsubsubsec Mensural accidentals and key signatures
831 @cindex key signature
833 The @code{mensural} style provides a sharp and a flat sign
834 different from the default style. If called for, the natural sign
835 will be taken from the @code{vaticana} style.
837 @lilypond[quote,ragged-right,staffsize=26]
841 \line { " " \musicglyph #"accidentals.mensural-1"
842 " " \musicglyph #"accidentals.mensural1" }
847 The style for accidentals and key signatures is controlled by the
848 @code{glyph-name-alist} property of the grobs @code{Accidental} and
849 @code{KeySignature}, respectively; e.g.:
852 \override Staff.Accidental.glyph-name-alist =
853 #alteration-mensural-glyph-name-alist
858 @rglos{mensural notation},
861 @rglos{key signature}.
866 @ref{Automatic accidentals},
870 @rinternals{KeySignature}.
873 @node Annotational accidentals (musica ficta)
874 @unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
876 In European music from before about 1600, singers were expected to
877 chromatically alter notes at their own initiative according to
878 certain rules. This is called @notation{musica ficta}. In modern
879 transcriptions, these accidentals are usually printed over the
882 @cindex Accidental, musica ficta
885 Support for such suggested accidentals is included, and can be
886 switched on by setting @code{suggestAccidentals} to true.
888 @funindex suggestAccidentals
890 @lilypond[verbatim,relative=1]
892 \set suggestAccidentals = ##t
896 This will treat @emph{every} subsequent accidental as
897 @emph{musica ficta} until it is unset with
898 @code{\set suggestAccidentals = ##f}. A more practical way is to
899 use @code{\once \set suggestAccidentals = ##t}, which can even be
900 defined as a convenient shorthand:
902 @lilypond[quote,verbatim]
903 ficta = { \once \set suggestAccidentals = ##t }
904 \score { \relative c''
906 \once \set suggestAccidentals = ##t
907 bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
914 @rinternals{Accidental_engraver},
915 @rinternals{AccidentalSuggestion}.
918 @node White mensural ligatures
919 @unnumberedsubsubsec White mensural ligatures
921 @cindex Mensural ligatures
922 @cindex White mensural ligatures
924 There is limited support for white mensural ligatures.
926 To engrave white mensural ligatures, in the layout block, replace
927 the @code{Ligature_bracket_engraver} with the
928 @code{Mensural_ligature_engraver} in the @code{Voice}
935 \remove "Ligature_bracket_engraver"
936 \consists "Mensural_ligature_engraver"
941 There is no additional input language to describe the shape of a
942 white mensural ligature. The shape is rather determined solely from
943 the pitch and duration of the enclosed notes. While this approach may
944 take a new user a while to get accustomed to, it has the great advantage
945 that the full musical information of the ligature is known internally.
946 This is not only required for correct MIDI output, but also allows for
947 automatic transcription of the ligatures.
949 At certain places two consecutive notes can be represented either as
950 two squares or as an oblique parallelogram (flexa shape). In such
951 cases the default is the two squares, but a flexa can be required by
952 setting the @code{ligature-flexa} property of the @emph{second} note
953 head. The length of a flexa can be set by the note head property
959 @c \set Score.timing = ##f
960 @c \set Score.defaultBarType = "-"
961 @c \override NoteHead.style = #'neomensural
962 @c \override Staff.TimeSignature.style = #'neomensural
963 @c \clef "petrucci-g"
965 @c \[ d\longa c\breve f e d \]
966 @c \[ c'\maxima d'\longa \]
967 @c \[ e'1 a g\breve \]
969 @lilypond[quote,ragged-right,verbatim]
972 \set Score.timing = ##f
973 \set Score.defaultBarType = "-"
974 \override NoteHead.style = #'petrucci
975 \override Staff.TimeSignature.style = #'mensural
979 \override NoteHead.ligature-flexa = ##t
980 \once \override NoteHead.flexa-width = #3.2
982 \[ c'\maxima d'\longa \]
988 \remove "Ligature_bracket_engraver"
989 \consists "Mensural_ligature_engraver"
995 Without replacing @code{Ligature_bracket_engraver} with
996 @code{Mensural_ligature_engraver}, the same music transcribes
999 @lilypond[quote,ragged-right]
1001 \set Score.timing = ##f
1002 \set Score.defaultBarType = "-"
1003 \override NoteHead.style = #'petrucci
1004 \override Staff.TimeSignature.style = #'mensural
1008 \override NoteHead.ligature-flexa = ##t
1009 \once \override NoteHead.flexa-width = #3.2
1011 \[ c'\maxima d'\longa \]
1021 @ref{Gregorian square neume ligatures},
1025 Horizontal spacing of ligatures is poor.
1026 Accidentals may collide with previous notes.
1029 @node Typesetting Gregorian chant
1030 @subsection Typesetting Gregorian chant
1033 * Gregorian chant contexts::
1035 * Gregorian accidentals and key signatures::
1037 * Gregorian articulation signs::
1038 * Augmentum dots (morae)::
1039 * Gregorian square neume ligatures::
1042 When typesetting a piece in Gregorian chant notation, the
1043 @code{Vaticana_ligature_engraver} automatically selects the
1044 proper note heads, so there is no need to explicitly set the note
1045 head style. Still, the note head style can be set, e.g., to
1046 @code{vaticana_punctum} to produce punctum neumes. Similarly, the
1047 @code{Mensural_ligature_engraver} automatically assembles
1055 @ref{White mensural ligatures},
1059 @node Gregorian chant contexts
1060 @unnumberedsubsubsec Gregorian chant contexts
1062 @cindex VaticanaVoiceContext
1063 @cindex VaticanaStaffContext
1065 The predefined @code{VaticanaVoiceContext} and
1066 @code{VaticanaStaffContext} can be used to engrave a piece of
1067 Gregorian chant in the style of the Editio Vaticana. These contexts
1068 initialize all relevant context properties and grob properties to
1069 proper values, so you can immediately go ahead entering the chant, as
1070 the following excerpt demonstrates:
1072 @lilypond[quote,ragged-right,verbatim]
1073 \include "gregorian.ly"
1076 \new VaticanaVoice = "cantus" {
1077 \[ c'\melisma c' \flexa a \]
1078 \[ a \flexa \deminutum g\melismaEnd \]
1080 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
1081 c' \divisioMinima \break
1082 \[ c'\melisma c' \flexa a \]
1083 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
1085 \new Lyrics \lyricsto "cantus" {
1086 San- ctus, San- ctus, San- ctus
1094 @c TODO: nothing here yet ...
1097 @node Gregorian clefs
1098 @unnumberedsubsubsec Gregorian clefs
1102 The following table shows all Gregorian clefs that are supported via
1103 the @code{\clef} command. Some of the clefs use the same glyph,
1104 but differ only with respect to the line they are printed on. In
1105 such cases, a trailing number in the name is used to enumerate
1106 these clefs, numbered from the lowest to the highest line. Still,
1107 you can manually force a clef glyph to be typeset on an arbitrary
1108 line, as described in @ref{Clef}. The note printed to the right
1109 side of each clef in the example column denotes the @code{c'} with
1110 respect to that clef.
1112 @multitable @columnfractions .4 .4 .2
1121 Editio Vaticana style do clef
1123 @code{vaticana-do1}, @code{vaticana-do2},@*
1126 @lilypond[relative=1,notime]
1127 \override Staff.StaffSymbol.line-count = #4
1128 \override Staff.StaffSymbol.color = #red
1129 \override Staff.LedgerLineSpanner.color = #red
1130 \override Voice.Stem.transparent = ##t
1131 \override Voice.Flag.transparent = ##t
1132 \override NoteHead.style = #'vaticana.punctum
1133 \clef "vaticana-do2"
1138 Editio Vaticana style fa clef
1140 @code{vaticana-fa1}, @code{vaticana-fa2}
1142 @lilypond[relative=1,notime]
1143 \override Staff.StaffSymbol.line-count = #4
1144 \override Staff.StaffSymbol.color = #red
1145 \override Staff.LedgerLineSpanner.color = #red
1146 \override Voice.Stem.transparent = ##t
1147 \override Voice.Flag.transparent = ##t
1148 \override NoteHead.style = #'vaticana.punctum
1149 \clef "vaticana-fa2"
1154 Editio Medicaea style do clef
1156 @code{medicaea-do1}, @code{medicaea-do2},@*
1159 @lilypond[relative=1,notime]
1160 \override Staff.StaffSymbol.line-count = #4
1161 \override Staff.StaffSymbol.color = #red
1162 \override Staff.LedgerLineSpanner.color = #red
1163 \override Voice.Stem.transparent = ##t
1164 \override Voice.Flag.transparent = ##t
1165 \override NoteHead.style = #'medicaea.punctum
1166 \clef "medicaea-do2"
1171 Editio Medicaea style fa clef
1173 @code{medicaea-fa1}, @code{medicaea-fa2}
1175 @lilypond[relative=1,notime]
1176 \override Staff.StaffSymbol.line-count = #4
1177 \override Staff.StaffSymbol.color = #red
1178 \override Staff.LedgerLineSpanner.color = #red
1179 \override Voice.Stem.transparent = ##t
1180 \override Voice.Flag.transparent = ##t
1181 \override NoteHead.style = #'medicaea.punctum
1182 \clef "medicaea-fa2"
1187 hufnagel style do clef
1189 @code{hufnagel-do1}, @code{hufnagel-do2},@*
1192 @lilypond[relative=1,notime]
1193 \override Staff.StaffSymbol.line-count = #4
1194 \override Staff.StaffSymbol.color = #red
1195 \override Staff.LedgerLineSpanner.color = #red
1196 \override Voice.Stem.transparent = ##t
1197 \override Voice.Flag.transparent = ##t
1198 \override NoteHead.style = #'hufnagel.punctum
1199 \clef "hufnagel-do2"
1204 hufnagel style fa clef
1206 @code{hufnagel-fa1}, @code{hufnagel-fa2}
1208 @lilypond[relative=1,notime]
1209 \override Staff.StaffSymbol.line-count = #4
1210 \override Staff.StaffSymbol.color = #red
1211 \override Staff.LedgerLineSpanner.color = #red
1212 \override Voice.Stem.transparent = ##t
1213 \override Voice.Flag.transparent = ##t
1214 \override NoteHead.style = #'hufnagel.punctum
1215 \clef "hufnagel-fa2"
1220 hufnagel style combined do/fa clef
1222 @code{hufnagel-do-fa}
1224 @lilypond[relative=1,notime]
1225 \override Staff.StaffSymbol.color = #red
1226 \override Staff.LedgerLineSpanner.color = #red
1227 \override Voice.Stem.transparent = ##t
1228 \override Voice.Flag.transparent = ##t
1229 \override NoteHead.style = #'hufnagel.punctum
1230 \clef "hufnagel-do-fa"
1243 @node Gregorian accidentals and key signatures
1244 @unnumberedsubsubsec Gregorian accidentals and key signatures
1247 @cindex key signature
1249 Accidentals for the three different Gregorian styles are available:
1251 @lilypond[quote,ragged-right,staffsize=26]
1255 \line { " " \musicglyph #"accidentals.vaticana-1"
1256 " " \musicglyph #"accidentals.vaticana0" }
1260 \line { " " \musicglyph #"accidentals.medicaea-1" }
1264 \line { " " \musicglyph #"accidentals.hufnagel-1" }
1269 As shown, not all accidentals are supported by each style. When
1270 trying to access an unsupported accidental, LilyPond will switch to a
1273 @c @lilypondfile[verbatim,quote,texidoc,doctitle]
1274 @c {ancient-accidentals.ly}
1276 The style for accidentals and key signatures is controlled by the
1277 @code{glyph-name-alist} property of the grobs @code{Accidental} and
1278 @code{KeySignature}, respectively; e.g.:
1281 \override Staff.Accidental.glyph-name-alist =
1282 #alteration-mensural-glyph-name-alist
1288 @rglos{key signature}.
1293 @ref{Automatic accidentals},
1294 @ref{Key signature}.
1296 Internals Reference:
1297 @rinternals{KeySignature}.
1301 @unnumberedsubsubsec Divisiones
1307 There are no rests in Gregorian chant notation; instead, it uses
1310 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
1311 @q{division}) is a staff context symbol that is used to indicate
1312 the phrase and section structure of Gregorian music. The musical
1313 meaning of @emph{divisio minima}, @emph{divisio maior}, and
1314 @emph{divisio maxima} can be characterized as short, medium, and
1315 long pause, somewhat like the breath marks from @ref{Breath marks}.
1316 The @emph{finalis} sign not only marks the end of a chant, but is
1317 also frequently used within a single antiphonal/responsorial chant
1318 to mark the end of each section.
1320 To use divisiones, include the file @file{gregorian.ly}. It
1321 contains definitions that you can apply by just inserting
1322 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
1323 and @code{\finalis} at proper places in the input. Some editions use
1324 @emph{virgula} or @emph{caesura} instead of divisio minima.
1325 Therefore, @file{gregorian.ly} also defines @code{\virgula} and
1328 @lilypond[quote,ragged-right]
1329 \include "gregorian.ly"
1332 \context VaticanaVoice {
1333 \override TextScript.padding = #3
1335 s^\markup { "divisio minima" }
1338 s^\markup { "divisio maior" }
1341 s^\markup { "divisio maxima" }
1345 s^\markup { "finalis" }
1348 s^\markup { "virgula" }
1351 s^\markup { "caesura" }
1365 @funindex \divisioMinima
1366 @code{\divisioMinima},
1367 @funindex \divisioMaior
1368 @code{\divisioMaior},
1369 @funindex \divisioMaxima
1370 @code{\divisioMaxima},
1384 @file{ly/gregorian.ly}.
1387 @node Gregorian articulation signs
1388 @unnumberedsubsubsec Gregorian articulation signs
1390 @cindex articulations
1392 In addition to the standard articulation signs described in
1393 section @ref{Articulations and ornamentations}, articulation signs
1394 specifically designed for use with notation in
1395 @emph{Editio Vaticana} style are provided.
1397 @lilypond[quote,ragged-right,verbatim]
1398 \include "gregorian.ly"
1400 \new VaticanaVoice {
1401 \override TextScript.font-family = #'typewriter
1402 \override TextScript.font-shape = #'upright
1403 \override Script.padding = #-0.1
1404 a\ictus_"ictus " \bar "" \break
1405 a\circulus_"circulus " \bar "" \break
1406 a\semicirculus_"semicirculus " \bar "" \break
1407 a\accentus_"accentus " \bar "" \break
1408 \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
1415 @ref{Articulations and ornamentations}.
1418 @rlsr{Ancient notation}.
1420 Internals Reference:
1421 @rinternals{Episema},
1422 @rinternals{EpisemaEvent},
1423 @rinternals{Episema_engraver},
1424 @rinternals{Script},
1425 @rinternals{ScriptEvent},
1426 @rinternals{Script_engraver}.
1429 Some articulations are vertically placed too closely to the
1430 corresponding note heads.
1433 @node Augmentum dots (morae)
1434 @unnumberedsubsubsec Augmentum dots (@emph{morae})
1436 Augmentum dots, also called @emph{morae}, are added with the music
1437 function @code{\augmentum}. Note that @code{\augmentum} is
1438 implemented as a unary music function rather than as head prefix. It
1439 applies to the immediately following music expression only. That is,
1440 @code{\augmentum \virga c} will have no visible effect. Instead, say
1441 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1442 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1443 @code{\augmentum a \augmentum g}.
1445 @lilypond[quote,ragged-right,verbatim]
1446 \include "gregorian.ly"
1448 \new VaticanaVoice {
1449 \[ \augmentum a \flexa \augmentum g \]
1459 Internals Reference:
1460 @rinternals{BreathingSign}.
1463 @rlsr{Ancient notation}.
1466 @node Gregorian square neume ligatures
1467 @unnumberedsubsubsec Gregorian square neume ligatures
1469 @cindex Square neumes ligatures
1470 @cindex Gregorian square neumes ligatures
1472 There is limited support for Gregorian square neumes notation
1473 (following the style of the Editio Vaticana). Core ligatures can
1474 already be typeset, but essential issues for serious typesetting are
1475 still lacking, such as (among others) horizontal alignment of multiple
1476 ligatures, lyrics alignment, and proper handling of accidentals.
1478 The support for Gregorian neumes is enabled by @code{\include}ing
1479 @file{gregorian.ly} at the beginning of the file. This makes available
1480 a number of extra commands to produce the neume symbols used in
1481 plainchant notation.
1485 Note heads can be @emph{modified} and/or @emph{joined}.
1489 the note head can be modified by @emph{prefixing} the note name
1490 with any of the following commands:
1495 @funindex \inclinatum
1499 @funindex \descendens
1501 @funindex \ascendens
1507 @funindex \deminutum
1514 @item Ligatures, properly speaking (i.e. notes joined together), are
1515 produced by placing one of the joining commands @code{\pes} or
1516 @code{\flexa}, for upwards and downwards movement, respectively,
1517 @emph{between} the notes to be joined.
1520 A note name without any qualifiers will produce a @emph{punctum}.
1521 All other neumes, including the single-note neumes with a
1522 different shape such as the @emph{virga}, are in principle
1523 considered as ligatures and should therefore be placed
1524 between @code{\[...\]}.
1525 @c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
1532 @item The @emph{punctum} is the basic note shape (in the
1533 @emph{Vaticana} style: a square with some curvation for
1534 typographical finesse). In addition to the regular
1535 @emph{punctum}, there is also the oblique @emph{punctum
1536 inclinatum}, produced with the prefix @code{\inclinatum}. The
1537 regular @emph{punctum} can be modified with @code{\cavum}, which
1538 produces a hollow note, and @code{\linea}, which draws vertical
1539 lines on either side of the note.
1541 @item The @emph{virga} has a descending stem on the right side. It is
1542 produced by the modifier @code{\virga}.
1548 Unlike most other neumes notation systems, the typographical
1549 appearance of ligatures is not directly dictated by the input
1550 commands, but follows certain conventions dependent on musical
1551 meaning. For example, a three-note ligature with the musical shape
1552 low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
1553 Torculus consisting of three Punctum heads, while the shape
1554 high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
1555 Porrectus with a curved flexa shape and only a single Punctum
1556 head. There is no command to explicitly typeset the curved flexa
1557 shape; the decision of when to typeset a curved flexa shape is
1558 based on the musical input. The idea of this approach is to
1559 separate the musical aspects of the input from the notation style
1560 of the output. This way, the same input can be reused to typeset
1561 the same music in a different style of Gregorian chant notation.
1566 Another main category of notes in Gregorian chant is the so-called
1567 liquescent neumes. They are used under certain circumstances at
1568 the end of a syllable which ends in a @q{liquescent} letter, i.e.
1569 the sounding consonants that can hold a tone (the nasals, l, r, v,
1570 j, and their diphthong equivalents). Thus, the liquescent neumes
1571 are never used alone (although some of them can be produced), and
1572 they always fall at the end of a ligature.
1574 Liquescent neumes are represented graphically in two different,
1575 more or less interchangeable ways: with a smaller note or by
1576 @q{twisting} the main note upwards or downwards. The first is
1577 produced by making a regular @code{pes} or @code{flexa} and
1578 modifying the shape of the second note:
1579 @code{\[ a \pes \deminutum b \] }, the second by modifying the shape
1580 of a single-note neume with @code{\auctum} and one of the direction
1581 markers @code{\descendens} or @code{\ascendens}, e.g.,
1582 @code{ \[ \auctum \descendens a \] }.
1587 A third category of signs is made up of a small number of signs
1588 with a special meaning (which, incidentally, in most cases is only
1589 vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
1590 @emph{strophicus}. These are all produced by prefixing a note name
1591 with the corresponding modifier, @code{\quilisma},
1592 @code{\oriscus}, or @code{\stropha}.
1594 Virtually, within the ligature delimiters @code{\[} and @code{\]},
1595 any number of heads may be accumulated to form a single ligature,
1596 and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
1597 @code{\inclinatum}, etc. may be mixed in as desired. The use of
1598 the set of rules that underlies the construction of the ligatures
1599 in the above table is accordingly extrapolated. This way,
1600 infinitely many different ligatures can be created.
1602 Note that the use of these signs in the music itself follows
1603 certain rules, which are not checked by LilyPond. E.g., the
1604 @emph{quilisma} is always the middle note of an ascending
1605 ligature, and usually falls on a half-tone step, but it is
1606 perfectly possible, although incorrect, to make a single-note
1609 In addition to the note signs, @file{gregorian.ly} also defines the
1610 commands @code{\versus}, @code{\responsum}, @code{\ij},
1611 @code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
1612 corresponding characters, e.g., for use in lyrics, as section
1613 markers, etc. These commands use special Unicode characters and
1614 will only work if a font is used which supports them.
1619 The following table shows a limited, but still representative pool
1620 of Gregorian ligatures, together with the code fragments that
1621 produce the ligatures. The table is based on the extended neumes
1622 table of the 2nd volume of the Antiphonale Romanum
1623 (@emph{Liber Hymnarius}), published 1983 by the monks of Solesmes.
1624 The first column gives the name of the ligature, with the main form in
1625 boldface and the liquescent forms in italics. The third column
1626 shows the code fragment that produces this ligature, using
1627 @code{g}, @code{a}, and @code{b} as example pitches.
1630 @b{Single-note neums}
1632 @multitable @columnfractions .4 .2 .4
1635 @b{Basic} and @emph{Liquescent} forms
1642 @c TODO: \layout block is identical in all of the below examples.
1643 @c Therefore, it should somehow be included rather than duplicated all
1646 @c why not make variables in ly/engraver-init.ly? --hwn
1648 @c Because it's just used to typeset plain notes without
1649 @c a staff for demonstration purposes rather than something
1650 @c special of Gregorian chant notation. --jr
1656 @lilypond[staffsize=26,line-width=1.5\cm]
1657 \include "gregorian.ly"
1663 \layout { \neumeDemoLayout }}
1670 @lilypond[staffsize=26,line-width=1.5\cm]
1671 \include "gregorian.ly"
1677 \layout { \neumeDemoLayout }}
1680 @code{\[ \cavum b \]}
1684 @lilypond[staffsize=26,line-width=1.5\cm]
1685 \include "gregorian.ly"
1691 \layout { \neumeDemoLayout }}
1694 @code{\[ \linea b \]}
1697 @emph{Punctum Auctum Ascendens}
1699 @lilypond[staffsize=26,line-width=2.5\cm]
1700 \include "gregorian.ly"
1703 % Punctum Auctum Ascendens
1704 \[ \auctum \ascendens b \]
1706 \layout { \neumeDemoLayout }}
1709 @code{\[ \auctum \ascendens b \]}
1712 @emph{Punctum Auctum Descendens}
1714 @lilypond[staffsize=26,line-width=2.5\cm]
1715 \include "gregorian.ly"
1718 % Punctum Auctum Descendens
1719 \[ \auctum \descendens b \]
1721 \layout { \neumeDemoLayout }}
1724 @code{\[ \auctum \descendens b \]}
1727 @b{Punctum inclinatum}
1729 @lilypond[staffsize=26,line-width=1.5\cm]
1730 \include "gregorian.ly"
1733 % Punctum Inclinatum
1736 \layout { \neumeDemoLayout }}
1739 @code{\[ \inclinatum b \]}
1742 @emph{Punctum Inclinatum Auctum}
1744 @lilypond[staffsize=26,line-width=2.5\cm]
1745 \include "gregorian.ly"
1748 % Punctum Inclinatum Auctum
1749 \[ \inclinatum \auctum b \]
1751 \layout { \neumeDemoLayout }}
1754 @code{\[ \inclinatum \auctum b \]}
1757 @emph{Punctum Inclinatum Parvum}
1759 @lilypond[staffsize=26,line-width=1.0\cm]
1760 \include "gregorian.ly"
1763 % Punctum Inclinatum Parvum
1764 \[ \inclinatum \deminutum b \]
1766 \layout { \neumeDemoLayout }}
1769 @code{\[ \inclinatum \deminutum b \]}
1774 @lilypond[staffsize=26,line-width=1.0\cm]
1775 \include "gregorian.ly"
1781 \layout { \neumeDemoLayout }}
1788 @b{Two-note ligatures}
1790 @multitable @columnfractions .4 .2 .4
1793 @b{Clivis vel Flexa}
1795 @lilypond[staffsize=26,line-width=1.0\cm]
1796 \include "gregorian.ly"
1802 \layout { \neumeDemoLayout }}
1805 @code{\[ b \flexa g \]}
1809 @emph{Clivis Aucta Descendens}
1811 @lilypond[staffsize=26,line-width=2.0\cm]
1812 \include "gregorian.ly"
1815 % Clivis Aucta Descendens
1816 \[ b \flexa \auctum \descendens g \]
1818 \layout { \neumeDemoLayout }}
1821 @code{\[ b \flexa \auctum \descendens g \]}
1824 @emph{Clivis Aucta Ascendens}
1826 @lilypond[staffsize=26,line-width=2.0\cm]
1827 \include "gregorian.ly"
1830 % Clivis Aucta Ascendens
1831 \[ b \flexa \auctum \ascendens g \]
1833 \layout { \neumeDemoLayout }}
1836 @code{\[ b \flexa \auctum \ascendens g \]}
1841 @lilypond[staffsize=26,line-width=2.0\cm]
1842 \include "gregorian.ly"
1846 \[ b \flexa \deminutum g \]
1848 \layout { \neumeDemoLayout }}
1851 @code{\[ b \flexa \deminutum g \]}
1856 @lilypond[staffsize=26,line-width=1.0\cm]
1857 \include "gregorian.ly"
1863 \layout { \neumeDemoLayout }}
1866 @code{\[ g \pes b \]}
1869 @emph{Pes Auctus Descendens}
1871 @lilypond[staffsize=26,line-width=1.0\cm]
1872 \include "gregorian.ly"
1875 % Pes Auctus Descendens
1876 \[ g \pes \auctum \descendens b \]
1878 \layout { \neumeDemoLayout }}
1881 @code{\[ g \pes \auctum \descendens b \]}
1884 @emph{Pes Auctus Ascendens}
1886 @lilypond[staffsize=26,line-width=1.0\cm]
1887 \include "gregorian.ly"
1890 % Pes Auctus Ascendens
1891 \[ g \pes \auctum \ascendens b \]
1893 \layout { \neumeDemoLayout }}
1896 @code{\[ g \pes \auctum \ascendens b \]}
1901 @lilypond[staffsize=26,line-width=1.0\cm]
1902 \include "gregorian.ly"
1906 \[ g \pes \deminutum b \]
1908 \layout { \neumeDemoLayout }}
1911 @code{\[ g \pes \deminutum b \]}
1914 @emph{Pes Initio Debilis}
1916 @lilypond[staffsize=26,line-width=1.0\cm]
1917 \include "gregorian.ly"
1920 % Pes Initio Debilis
1921 \[ \deminutum g \pes b \]
1923 \layout { \neumeDemoLayout }}
1926 @code{\[ \deminutum g \pes b \]}
1929 @emph{Pes Auctus Descendens Initio Debilis}
1931 @lilypond[staffsize=26,line-width=1.0\cm]
1932 \include "gregorian.ly"
1935 % Pes Auctus Descendens Initio Debilis
1936 \[ \deminutum g \pes \auctum \descendens b \]
1938 \layout { \neumeDemoLayout }}
1941 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1946 @b{Multi-note ligatures}
1948 @multitable @columnfractions .4 .2 .4
1953 @lilypond[staffsize=26,line-width=1.0\cm]
1954 \include "gregorian.ly"
1958 \[ a \pes b \flexa g \]
1960 \layout { \neumeDemoLayout }}
1963 @code{\[ a \pes b \flexa g \]}
1966 @emph{Torculus Auctus Descendens}
1968 @lilypond[staffsize=26,line-width=1.0\cm]
1969 \include "gregorian.ly"
1972 % Torculus Auctus Descendens
1973 \[ a \pes b \flexa \auctum \descendens g \]
1975 \layout { \neumeDemoLayout }}
1978 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1981 @emph{Torculus Deminutus}
1983 @lilypond[staffsize=26,line-width=1.0\cm]
1984 \include "gregorian.ly"
1987 % Torculus Deminutus
1988 \[ a \pes b \flexa \deminutum g \]
1990 \layout { \neumeDemoLayout }}
1993 @code{\[ a \pes b \flexa \deminutum g \]}
1996 @emph{Torculus Initio Debilis}
1998 @lilypond[staffsize=26,line-width=1.0\cm]
1999 \include "gregorian.ly"
2002 % Torculus Initio Debilis
2003 \[ \deminutum a \pes b \flexa g \]
2005 \layout { \neumeDemoLayout }}
2008 @code{\[ \deminutum a \pes b \flexa g \]}
2011 @emph{Torculus Auctus Descendens Initio Debilis}
2013 @lilypond[staffsize=26,line-width=1.0\cm]
2014 \include "gregorian.ly"
2017 % Torculus Auctus Descendens Initio Debilis
2018 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
2020 \layout { \neumeDemoLayout }}
2023 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
2026 @emph{Torculus Deminutus Initio Debilis}
2028 @lilypond[staffsize=26,line-width=1.0\cm]
2029 \include "gregorian.ly"
2032 % Torculus Deminutus Initio Debilis
2033 \[ \deminutum a \pes b \flexa \deminutum g \]
2035 \layout { \neumeDemoLayout }}
2038 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
2043 @lilypond[staffsize=26,line-width=1.0\cm]
2044 \include "gregorian.ly"
2048 \[ a \flexa g \pes b \]
2050 \layout { \neumeDemoLayout }}
2053 @code{\[ a \flexa g \pes b \]}
2056 @emph{Porrectus Auctus Descendens}
2058 @lilypond[staffsize=26,line-width=1.0\cm]
2059 \include "gregorian.ly"
2062 % Porrectus Auctus Descendens
2063 \[ a \flexa g \pes \auctum \descendens b \]
2065 \layout { \neumeDemoLayout }}
2068 @code{\[ a \flexa g \pes \auctum \descendens b \]}
2071 @emph{Porrectus Deminutus}
2073 @lilypond[staffsize=26,line-width=1.0\cm]
2074 \include "gregorian.ly"
2077 % Porrectus Deminutus
2078 \[ a \flexa g \pes \deminutum b \]
2080 \layout { \neumeDemoLayout }}
2083 @code{\[ a \flexa g \pes \deminutum b \]}
2088 @lilypond[staffsize=26,line-width=1.0\cm]
2089 \include "gregorian.ly"
2093 \[ \virga b \inclinatum a \inclinatum g \]
2095 \layout { \neumeDemoLayout }}
2098 @code{\[ \virga b \inclinatum a \inclinatum g \]}
2101 @emph{Climacus Auctus}
2103 @lilypond[staffsize=26,line-width=1.0\cm]
2104 \include "gregorian.ly"
2108 \[ \virga b \inclinatum a \inclinatum \auctum g \]
2110 \layout { \neumeDemoLayout }}
2113 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
2116 @emph{Climacus Deminutus}
2118 @lilypond[staffsize=26,line-width=1.0\cm]
2119 \include "gregorian.ly"
2122 % Climacus Deminutus
2123 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
2125 \layout { \neumeDemoLayout }}
2128 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
2133 @lilypond[staffsize=26,line-width=1.0\cm]
2134 \include "gregorian.ly"
2138 \[ g \pes a \virga b \]
2140 \layout { \neumeDemoLayout }}
2143 @code{\[ g \pes a \virga b \]}
2146 @emph{Scandicus Auctus Descendens}
2148 @lilypond[staffsize=26,line-width=1.0\cm]
2149 \include "gregorian.ly"
2152 % Scandicus Auctus Descendens
2153 \[ g \pes a \pes \auctum \descendens b \]
2155 \layout { \neumeDemoLayout }}
2158 @code{\[ g \pes a \pes \auctum \descendens b \]}
2161 @emph{Scandicus Deminutus}
2163 @lilypond[staffsize=26,line-width=1.0\cm]
2164 \include "gregorian.ly"
2167 % Scandicus Deminutus
2168 \[ g \pes a \pes \deminutum b \]
2170 \layout { \neumeDemoLayout }}
2173 @code{\[ g \pes a \pes \deminutum b \]}
2180 @multitable @columnfractions .4 .2 .4
2185 @lilypond[staffsize=26,line-width=1.0\cm]
2186 \include "gregorian.ly"
2190 \[ g \pes \quilisma a \pes b \]
2192 \layout { \neumeDemoLayout }}
2195 @code{\[ g \pes \quilisma a \pes b \]}
2198 @emph{Quilisma Pes Auctus Descendens}
2200 @lilypond[staffsize=26,line-width=1.0\cm]
2201 \include "gregorian.ly"
2204 % Quilisma Pes Auctus Descendens
2205 \[ g \quilisma a \pes \auctum \descendens b \]
2207 \layout { \neumeDemoLayout }}
2210 @code{\[ \quilisma g \pes \auctum \descendens b \]}
2215 @lilypond[staffsize=26,line-width=1.0\cm]
2216 \include "gregorian.ly"
2222 \layout { \neumeDemoLayout }}
2225 @code{\[ \oriscus b \]}
2230 @lilypond[staffsize=26,line-width=1.0\cm]
2231 \include "gregorian.ly"
2235 \[ \oriscus g \pes \virga b \]
2237 \layout { \neumeDemoLayout }}
2240 @code{\[ \oriscus g \pes \virga b \]}
2243 @emph{Pes Quassus Auctus Descendens}
2245 @lilypond[staffsize=26,line-width=1.0\cm]
2246 \include "gregorian.ly"
2249 % Pes Quassus Auctus Descendens
2250 \[ \oriscus g \pes \auctum \descendens b \]
2252 \layout { \neumeDemoLayout }}
2255 @code{\[ \oriscus g \pes \auctum \descendens b \]}
2260 @lilypond[staffsize=26,line-width=1.0\cm]
2261 \include "gregorian.ly"
2265 \[ g \oriscus a \pes \virga b \]
2267 \layout { \neumeDemoLayout }}
2270 @code{\[ g \oriscus a \pes \virga b \]}
2273 @emph{Salicus Auctus Descendens}
2275 @lilypond[staffsize=26,line-width=1.0\cm]
2276 \include "gregorian.ly"
2279 % Salicus Auctus Descendens
2280 \[ g \oriscus a \pes \auctum \descendens b \]
2282 \layout { \neumeDemoLayout }}
2285 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
2290 @lilypond[staffsize=26,line-width=1.0\cm]
2291 \include "gregorian.ly"
2297 \layout { \neumeDemoLayout }}
2300 @code{\[ \stropha b \]}
2303 @emph{Stropha Aucta}
2305 @lilypond[staffsize=26,line-width=1.0\cm]
2306 \include "gregorian.ly"
2310 \[ \stropha \auctum b \]
2312 \layout { \neumeDemoLayout }}
2315 @code{\[ \stropha \auctum b \]}
2320 @lilypond[staffsize=26,line-width=1.0\cm]
2321 \include "gregorian.ly"
2325 \[ \stropha b \stropha b \]
2327 \layout { \neumeDemoLayout }}
2330 @code{\[ \stropha b \stropha b \]}
2335 @lilypond[staffsize=26,line-width=1.0\cm]
2336 \include "gregorian.ly"
2340 \[ \stropha b \stropha b \stropha b \]
2342 \layout { \neumeDemoLayout }}
2345 @code{\[ \stropha b \stropha b \stropha b \]}
2350 @lilypond[staffsize=26,line-width=1.0\cm]
2351 \include "gregorian.ly"
2355 \[ \stropha b \stropha b \stropha a \]
2357 \layout { \neumeDemoLayout }
2361 @code{\[ \stropha b \stropha b \stropha a \]}
2367 The following head prefixes are supported:
2372 @funindex \inclinatum
2376 @funindex \descendens
2378 @funindex \ascendens
2384 @funindex \deminutum
2392 Head prefixes can be accumulated, though restrictions apply. For
2393 example, either @code{\descendens} or @code{\ascendens} can be applied
2394 to a head, but not both to the same head.
2399 Two adjacent heads can be tied together with the @code{\pes} and
2400 @code{\flexa} infix commands for a rising and falling line of melody,
2403 @funindex \augmentum
2405 Use the unary music function @code{\augmentum} to add augmentum dots.
2412 @ref{Gregorian square neume ligatures},
2413 @ref{White mensural ligatures},
2417 When an @code{\augmentum} dot appears at the end of the last staff
2418 within a ligature, it is sometimes vertically placed wrong. As a
2419 workaround, add an additional skip note (e.g., @code{s8}) as last note
2422 @code{\augmentum} should be implemented as a head prefix rather than a
2423 unary music function, such that @code{\augmentum} can be intermixed
2424 with head prefixes in arbitrary order.
2426 @node Typesetting Kievan square notation
2427 @subsection Typesetting Kievan square notation
2433 * Kievan accidentals::
2437 @node Kievan contexts
2438 @unnumberedsubsubsec Kievan contexts
2440 @cindex KievanVoiceContext
2441 @cindex KievanStaffContext
2443 As with Mensural and Gregorian notation, the predefined
2444 @code{KievanVoice} and @code{KievanStaff} contexts can be used
2445 to engrave a piece in square notation. These contexts initialize
2446 all relevant context properties and grob properties to proper
2447 values, so you can immediately go ahead entering the chant:
2449 @lilypond[quote,ragged-right,verbatim]
2452 \new KievanVoice = "melody" \transpose c c' {
2454 c4 c c c c2 b,\longa
2457 \new Lyrics \lyricsto "melody" {
2458 Го -- спо -- ди по -- ми -- луй.
2466 @rglos{kievan notation}.
2469 LilyPond supports Kievan notation of the Synodal style, as used in
2470 the corpus of chantbooks printed by the Russian Holy Synod in the
2471 1910's and recently reprinted by the Moscow Patriarchate Publishing
2472 House. LilyPond does not support the older (less common) forms of
2473 Kievan notation that were used in Galicia to notate Rusyn plainchant.
2476 @unnumberedsubsubsec Kievan clefs
2480 There is only one clef used in Kievan notation (the Tse-fa-ut Clef).
2481 It is used to indicate the position of @code{c}:
2483 @lilypond[quote,relative=1,notime,verbatim]
2491 @rglos{kievan notation},
2498 @unnumberedsubsubsec Kievan notes
2500 @cindex note heads, ancient
2502 For Kievan square notation, the appropriate note head style needs
2503 to be chosen and the flags and stems need to be turned off.
2504 This is accomplished by calling the @code{\kievanOn} function,
2505 which sets the appropriate properties of the note head, stems,
2506 and flags. Once Kievan note heads are not needed, these
2507 properties can be reverted by calling the @code{\kievanOff}
2510 The Kievan final note, which usually comes at the end of a piece
2511 of music, may be selected by setting the duration to
2512 @code{\longa}. The Kievan recitative mark, used to indicate
2513 the chanting of several syllables on one note, may be selected by
2514 setting the duration to @code{\breve}. The following example
2515 demonstrates the various Kievan note heads:
2517 @lilypond[quote,fragment,ragged-right,verbatim]
2521 b'1 b'2 b'4 b'8 b'\breve b'\longa
2528 @rglos{kievan notation},
2532 @ref{Note head styles}.
2535 LilyPond automatically determines if the stem up or stem down
2536 form of a note is drawn. When setting chant in square notation,
2537 however, it is customary to have the stems point in the same
2538 direction within a single melisma. This can be done manually by
2539 setting the @code{direction} property of the @code{Stem} object.
2541 @node Kievan accidentals
2542 @unnumberedsubsubsec Kievan accidentals
2546 The @code{kievan} style for accidentals is selected with the
2547 @code{glyph-name-alist} property of the grob @code{Accidental}.
2548 The @code{kievan} style provides a sharp and a flat sign
2549 different from the default style. There is no natural sign
2550 in Kievan notation. The sharp sign is not used in Synodal music
2551 but may occur in earlier manuscripts. It has been included
2552 primarily for the sake of compatibility.
2554 @lilypond[quote,relative=1,notime,verbatim]
2556 \override Accidental.glyph-name-alist =
2557 #alteration-kievan-glyph-name-alist
2563 @rglos{kievan notation},
2568 @ref{Automatic accidentals},
2571 @node Kievan bar line
2572 @unnumberedsubsubsec Kievan bar line
2574 A decorative figure is commonly placed at the end of a piece of
2575 Kievan notation, which may be called the Kievan final bar line.
2576 It can be invoked as @code{\bar "k"}.
2578 @lilypond[quote,relative=1,notime,verbatim]
2588 @node Working with ancient music---scenarios and solutions
2589 @subsection Working with ancient music---scenarios and solutions
2593 * Mensurstriche layout::
2594 * Transcribing Gregorian chant::
2595 * Ancient and modern from one source::
2596 * Editorial markings::
2599 Working with ancient music frequently involves particular tasks
2600 which differ considerably from the modern notation for which
2601 LilyPond is designed. In the rest of this section, a number of
2602 typical scenarios are outlined, with suggestions of solutions.
2606 @item how to make incipits (i.e. prefatory material to indicate
2607 what the original has looked like) to modern transcriptions of
2609 @item how to achieve the @emph{Mensurstriche} layout frequently
2610 used for modern transcriptions of polyphonic music;
2611 @item how to transcribe Gregorian chant in modern notation;
2612 @item how to generate both ancient and modern notation from the
2618 @unnumberedsubsubsec Incipits
2621 @c clefs, mensuration signs etc from lsr and -user
2622 @c use snippet Transcription-of-ancient-music-with-incipit
2626 @c ... and reference to other sections ...
2629 @node Mensurstriche layout
2630 @unnumberedsubsubsec Mensurstriche layout
2632 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
2633 for bar lines that are drawn between the staves of a system but
2634 not through the staves themselves. It is a common way to preserve
2635 the rhythmic appearance of the original, i.e. not having to break
2636 syncopated notes at bar lines, while still providing the
2637 orientation aids that bar lines give.
2640 @lilypondfile[verbatim,quote,texidoc]
2641 {mensurstriche-layout-bar-lines-between-the-staves.ly}
2643 @c This simple setup will take care of the
2644 @c TODO Add text about lyrics to the lowest line, to be placed
2645 @c outside the StaffGroup.
2646 @c from lsr and -user
2650 @c ... and reference to other sections ...
2653 @node Transcribing Gregorian chant
2654 @unnumberedsubsubsec Transcribing Gregorian chant
2656 Gregorian chant can be transcribed into modern notation with a
2657 number of simple tweaks.
2659 @b{Stems}. Stems can be left out altogether by @code{\remove}-ing
2660 the @code{Stem_engraver} from the Voice context:
2667 \remove "Stem_engraver"
2672 However, in some transcription styles, stems are used
2673 occasionally, for example to indicate the transition from a
2674 single-tone recitative to a fixed melodic gesture. In these cases,
2675 one can use either @code{\override Stem.transparent = ##t} or
2676 @code{\override Stem.length = #0} instead, and restore the stem
2677 when needed with the corresponding @code{\once \override Stem.transparent = ##f} (see example below). When using stems that
2678 carry flags, make sure to set @code{\override Flag.transparent
2681 @b{Timing.} For unmetered chant, there are several alternatives.
2683 The Time_signature_engraver can be removed from the Staff context
2684 without any negative side effects. The alternative, to make it
2685 transparent, will leave an empty space in the score, since the
2686 invisible signature will still take up space.
2688 In many cases, @code{\set Score.timing = ##f} will give good
2689 results. Another alternative is to use @code{\CadenzaOn} and
2692 To remove the bar lines, the radical approach is to @code{\remove}
2693 the Bar_engraver from the Staff context. Again, one may want to
2694 use @code{\override BarLine.transparent = ##t} instead, if an
2695 occasional barline is wanted.
2697 A common type of transcription is recitativic chant where the
2698 repeated notes are indicated with a single breve. The text to
2699 the recitation tone can be dealt with in two different ways:
2700 either set as a single, left-aligned syllable:
2702 @lilypond[verbatim,ragged-right]
2703 \include "gregorian.ly"
2704 chant = \relative c' {
2706 c\breve c4 b4 a c2 c4 \divisioMaior
2707 c\breve c4 c f, f \finalis
2710 verba = \lyricmode {
2711 \once \override LyricText.self-alignment-X = #-1
2712 "Noctem quietam et" fi -- nem per -- fec -- tum
2713 \once \override LyricText.self-alignment-X = #-1
2714 "concedat nobis Dominus" om -- ni -- po -- tens.
2718 \new Voice = "melody" \chant
2719 \new Lyrics = "one" \lyricsto melody \verba
2724 \remove "Time_signature_engraver"
2725 \remove "Bar_engraver"
2726 \override Stem.transparent = ##t
2727 \override Flag.transparent = ##t
2733 This works fine, as long as the text doesn't span a line break. If
2734 that is the case, an alternative is to add hidden notes to the
2735 score, here in combination with changing stem visibility:
2738 @lilypond[verbatim,ragged-right]
2739 \include "gregorian.ly"
2740 chant = \relative c' {
2742 \set Score.timing = ##f
2743 c\breve \override NoteHead.transparent = ##t c c c c c
2744 \revert NoteHead.transparent
2745 \override Stem.transparent = ##f \stemUp c4 b4 a
2746 \override Stem.transparent = ##t
2747 \override Flag.transparent = ##t c2 c4 \divisioMaior
2748 c\breve \override NoteHead.transparent = ##t c c c c c c c
2749 \revert NoteHead.transparent c4 c f, f \finalis
2752 verba = \lyricmode {
2753 No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum
2754 con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens.
2759 \new Voice = "melody" \chant
2760 \new Lyrics \lyricsto "melody" \verba
2765 \remove "Time_signature_engraver"
2766 \override BarLine.transparent = ##t
2767 \override Stem.transparent = ##t
2768 \override Flag.transparent = ##t
2774 Another common situation is transcription of neumatic or
2775 melismatic chants, i.e. chants with a varying number of notes
2776 to each syllable. In this case, one would want to set the
2777 syllable groups clearly apart, usually also the subdivisions of a
2778 longer melisma. One way to achieve this is to use a fixed
2779 @code{\time}, e.g., 1/4, and let each syllable or note group fill
2780 one of these measures, with the help of tuplets or shorter
2781 durations. If the bar lines and all other rhythmical indications
2782 are made transparent, and the space around the bar lines is
2783 increased, this will give a fairly good representation in modern
2784 notation of the original.
2786 To avoid that syllables of different width (such as @qq{-ri} and
2787 @qq{-rum}) spread the syllable note groups unevenly apart, the
2788 @code{'X-extent} property of the @code{LyricText} object may be
2789 set to a fixed value. Another, more cumbersome way would be to
2790 add the syllables as @code{\markup} elements. If further
2791 adjustments are necessary, this can be easily done with
2794 @lilypond[verbatim,quote]
2795 spiritus = \relative c' {
2797 \override Lyrics.LyricText.X-extent = #'(0 . 3)
2798 d4 \times 2/3 { f8 a g } g a a4 g f8 e
2799 d4 f8 g g8 d f g a g f4 g8 a a4 s
2800 \times 2/3 { g8 f d } e f g a g4
2803 spirLyr = \lyricmode {
2804 Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _
2805 or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu
2810 \new Voice = "chant" \spiritus
2811 \new Lyrics = "one" \lyricsto "chant" \spirLyr
2816 \remove "Time_signature_engraver"
2817 \override BarLine.X-extent = #'(-1 . 1)
2818 \override Stem.transparent = ##t
2819 \override Flag.transparent = ##t
2820 \override Beam.transparent = ##t
2821 \override BarLine.transparent = ##t
2822 \override TupletNumber.transparent = ##t
2828 @c extract from 1.6.1.1
2831 @c ... and reference to other sections ...
2834 @node Ancient and modern from one source
2835 @unnumberedsubsubsec Ancient and modern from one source
2838 @c Here among others the snippets about reducing note length
2842 @c ... and reference to other sections ...
2845 @node Editorial markings
2846 @unnumberedsubsubsec Editorial markings
2849 @c @node Baroque rhythmic notation
2850 @c @unnumberedsubsubsec Baroque rhythmic notation
2854 @c Add example of white note heads:
2855 @c In the french baroque some composers used white note heads in slow pieces,
2856 @c mainly in 3/2-time. A quarter looks there like a eighth with a white
2857 @c note head. (Franz-Rudolf Kuhnen)
2859 @c TODO Add example of this:
2860 @c I was referring to e.g. notated a8. a16, which should, if I
2861 @c remember correctly, be interpreted more like a8.. a32 (in the french
2862 @c style). The editor might want to show that rythmic figure above the
2863 @c staff as an hint to performers. (Karl Hammer)
2870 @c ... and reference to other sections ...