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14 @node Ancient notation
15 @section Ancient notation
17 @lilypondfile[quote]{ancient-headword.ly}
19 @cindex Vaticana, Editio
20 @cindex Medicaea, Editio
27 * Overview of the supported styles::
28 * Ancient notation---common features::
29 * Typesetting mensural music::
30 * Typesetting Gregorian chant::
31 * Typesetting Kievan square notation::
32 * Working with ancient music---scenarios and solutions::
36 Support for ancient notation includes features for mensural
37 notation, Gregorian chant notation, and Kievan square notation.
38 These features can be accessed either by modifying style
39 properties of graphical objects such as note heads and rests,
40 or by using one of the pre-defined contexts for these styles.
42 Many graphical objects, such as note heads and flags, accidentals,
43 time signatures, and rests, provide a @code{style} property, which
44 can be changed to emulate several different styles of ancient
48 @item @ref{Mensural note heads},
49 @item @ref{Mensural accidentals and key signatures},
50 @item @ref{Mensural rests},
51 @item @ref{Mensural clefs},
52 @item @ref{Gregorian clefs},
53 @item @ref{Mensural flags},
54 @item @ref{Mensural time signatures}.
57 Some notational concepts are introduced specifically for ancient
62 @item @ref{Divisiones},
63 @item @ref{Ligatures}.
70 @rglos{mensural notation}.
73 @ref{Mensural note heads},
74 @ref{Mensural accidentals and key signatures},
76 @ref{Gregorian clefs},
78 @ref{Mensural time signatures},
84 @node Overview of the supported styles
85 @subsection Overview of the supported styles
87 Three styles are available for typesetting Gregorian chant:
90 @item @emph{Editio Vaticana} is a complete style for
91 Gregorian chant, following the appearance of the Solesmes
92 editions, the official chant books of the Vatican since 1904.
93 LilyPond has support for all the notational signs used in this
94 style, including ligatures, @emph{custodes}, and special signs
95 such as the quilisma and the oriscus.
98 @cindex Vaticana, Editio
100 @item The @emph{Editio Medicaea} style offers certain features
101 used in the Medicaea (or Ratisbona) editions which were used prior
102 to the Solesmes editions. The most significant differences from
103 the @emph{Vaticana} style are the clefs, which have
104 downward-slanted strokes, and the note heads, which are square and
107 @cindex Ratisbona, Editio
108 @cindex Medicaea, Editio
110 @item The @emph{Hufnagel} (@qq{horseshoe nail}) or @emph{Gothic}
111 style mimics the writing style in chant manuscripts from Germany
112 and Central Europe during the middle ages. It is named after the
113 basic note shape (the @emph{virga}), which looks like a small
118 Three styles emulate the appearance of late-medieval and
119 renaissance manuscripts and prints of mensural music:
122 @item The @emph{Mensural} style most closely resembles the
123 writing style used in late-medieval and early renaissance
124 manuscripts, with its small and narrow, diamond-shaped note heads
125 and its rests which approach a hand-drawn style.
129 @item The @emph{Neomensural} style is a modernized and
130 stylized version of the former: the note heads are broader and the
131 rests are made up of straight lines. This style is particularly
132 suited, e.g., for incipits of transcribed pieces of mensural
137 @item The @emph{Petrucci} style is named after Ottaviano Petrucci
138 (1466-1539), the first printer to use movable type for music (in
139 his @emph{Harmonice musices odhecaton}, 1501). The style uses
140 larger note heads than the other mensural styles.
146 @emph{Baroque} and @emph{Classical} are not complete styles
147 but differ from the default style only in some details: certain
148 note heads (Baroque) and the quarter rest (Classical).
150 Only the mensural style has alternatives for all aspects of the
151 notation. Thus, there are no rests or flags in the Gregorian
152 styles, since these signs are not used in plainchant notation, and
153 the Petrucci style has no flags or accidentals of its own.
155 Each element of the notation can be changed independently of the
156 others, so that one can use mensural flags, petrucci note heads,
157 classical rests and vaticana clefs in the same piece, if one
162 @rglos{mensural notation},
166 @node Ancient notation---common features
167 @subsection Ancient notation---common features
170 * Pre-defined contexts::
176 @node Pre-defined contexts
177 @unnumberedsubsubsec Pre-defined contexts
179 For Gregorian chant and mensural notation, there are pre-defined
180 voice and staff contexts available, which set all the various
181 notation signs to values suitable for these styles. If one is
182 satisfied with these defaults, one can proceed directly with note
183 entry without worrying about the details on how to customize a
184 context. See one of the pre-defined contexts
185 @code{VaticanaVoice}, @code{VaticanaStaff}, @code{MensuralVoice},
186 and @code{MensuralStaff}. See further
189 @item @ref{Gregorian chant contexts},
190 @item @ref{Mensural contexts}.
195 @rglos{mensural notation}.
198 @ref{Gregorian chant contexts},
199 @ref{Mensural contexts}.
203 @unnumberedsubsubsec Ligatures
207 @c TODO: Should double check if I recalled things correctly when I wrote
208 @c down the following paragraph by heart.
210 A ligature is a graphical symbol that represents at least two
211 distinct notes. Ligatures originally appeared in the manuscripts
212 of Gregorian chant notation to denote ascending or descending
213 sequences of notes on the same syllable. They are also used in
216 Ligatures are entered by @emph{enclosing} them in @code{\[} and
217 @code{\]}. Some ligature styles may need additional input syntax
218 specific for this particular type of ligature. By default, the
219 @code{LigatureBracket} engraver just puts a square bracket
222 @lilypond[quote,ragged-right,verbatim]
230 Two other ligature styles are available: the Vaticana for
231 Gregorian chant, and the Mensural for mensural music (only white
232 mensural ligatures are supported for mensural music, and with
233 certain limitations). To use any of these styles, the default
234 @code{Ligature_bracket_engraver} has to be replaced with one of the
235 specialized ligature engravers in the @code{Voice} context,
236 as explained in @ref{White mensural ligatures} and
237 @ref{Gregorian square neume ligatures}.
244 @ref{White mensural ligatures},
245 @ref{Gregorian square neume ligatures}.
248 Ligatures need special spacing that has not yet been implemented. As
249 a result, there is too much space between ligatures most of the time,
250 and line breaking often is unsatisfactory. Also, lyrics do not
251 correctly align with ligatures.
253 Accidentals must not be printed within a ligature, but instead need to
254 be collected and printed in front of it.
256 The syntax still uses the deprecated infix style
257 @code{\[ music expr \]}. For consistency reasons, it will eventually
258 be changed to postfix style @code{note\[ @dots{} note\]}.
260 @c Alternatively, the file
261 @c @file{gregorian-init.ly} can be included; it provides a scheme
264 @c \ligature @var{music expr}
266 @c with the same effect and is believed to be stable.
268 @c TODO: this does not seem to work at the moment.
273 @unnumberedsubsubsec Custodes
278 A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard})
279 is a symbol that appears at the end of a staff. It anticipates the
280 pitch of the first note of the following line, thus helping the performer
281 to manage line breaks during performance.
283 Custodes were frequently used in music notation until the
284 seventeenth century. Nowadays, they have survived only in a few
285 particular forms of musical notation such as contemporary editions
286 of Gregorian chant like the @emph{Editio Vaticana}. There are
287 different custos glyphs used in different flavors of notational
290 For typesetting custodes, just put a @code{Custos_engraver} into the
291 @code{Staff} context when declaring the @code{\layout} block,
292 and change the style of the custos with an @code{\override} if
293 desired, as shown in the following example:
295 @lilypond[quote,ragged-right]
305 \consists "Custos_engraver"
306 \override Custos.style = #'mensural
312 The custos glyph is selected by the @code{style} property. The styles
313 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
314 @code{mensural}. They are demonstrated in the following fragment.
316 @lilypond[quote,ragged-right,fragment]
317 \new Lyrics \lyricmode {
319 \typewriter "vaticana "
320 \line { " " \musicglyph #"custodes.vaticana.u0" }
323 \typewriter "medicaea "
324 \line { " " \musicglyph #"custodes.medicaea.u0" }
327 \typewriter "hufnagel "
328 \line { " " \musicglyph #"custodes.hufnagel.u0" }
331 \typewriter "mensural "
332 \line { " " \musicglyph #"custodes.mensural.u0" }
342 @rlsr{Ancient notation}.
347 @node Typesetting mensural music
348 @subsection Typesetting mensural music
351 * Mensural contexts::
353 * Mensural time signatures::
354 * Mensural note heads::
357 * Mensural accidentals and key signatures::
358 * Annotational accidentals (musica ficta)::
359 * White mensural ligatures::
363 @node Mensural contexts
364 @unnumberedsubsubsec Mensural contexts
366 @cindex MensuralVoiceContext
367 @cindex MensuralStaffContext
369 The predefined @code{MensuralVoice} and @code{MensuralStaff}
370 contexts can be used to engrave a piece in mensural style. These
371 contexts initialize all relevant context properties and grob
372 properties to proper values, so you can immediately go ahead
373 entering the chant, as the following excerpt demonstrates:
375 @lilypond[quote,ragged-right,verbatim]
378 \new MensuralVoice = "discantus" \relative c'' {
379 \hide Score.BarNumber {
380 c1\melisma bes a g\melismaEnd
382 \[ f1\melisma a c\breve d\melismaEnd \]
384 c\breve\melisma a1 g1\melismaEnd
385 fis\longa^\signumcongruentiae
388 \new Lyrics \lyricsto "discantus" {
389 San -- ctus, San -- ctus, San -- ctus
397 @rglos{mensural notation}.
401 @unnumberedsubsubsec Mensural clefs
405 The following table shows all mensural clefs that are supported via
406 the @code{\clef} command. Some of the clefs use the same glyph,
407 but differ only with respect to the line they are printed on. In
408 such cases, a trailing number in the name is used to enumerate
409 these clefs, numbered from the lowest to the highest line.
410 You can manually force a clef glyph to be typeset on an arbitrary
411 line, as described in @ref{Clef}. The note printed to the right
412 side of each clef in the example column denotes the @code{c'} with
413 respect to that clef.
415 Petrucci used C clefs with differently balanced left-side vertical
416 beams, depending on which staff line it is printed.
418 @multitable @columnfractions .4 .4 .2
429 @code{mensural-c1}, @code{mensural-c2},@*
430 @code{mensural-c3}, @code{mensural-c4},@*
433 @lilypond[relative=1,notime]
435 \override NoteHead.style = #'mensural
444 @lilypond[relative=1,notime]
446 \override NoteHead.style = #'mensural
455 @lilypond[relative=1,notime]
457 \override NoteHead.style = #'mensural
462 black mensural C clef
464 @code{blackmensural-c1}, @code{blackmensural-c2},@*
465 @code{blackmensural-c3}, @code{blackmensural-c4},@*
466 @code{blackmensural-c5}
468 @lilypond[relative=1,notime]
469 \clef "blackmensural-c2"
470 \override NoteHead.style = #'mensural
477 @code{neomensural-c1}, @code{neomensural-c2},@*
478 @code{neomensural-c3}, @code{neomensural-c4}
480 @lilypond[relative=1,notime]
481 \clef "neomensural-c2" c1
485 petrucci style C clefs, for use on different staff lines
486 (the example shows the 2nd staff line C clef)
488 @code{petrucci-c1}, @code{petrucci-c2},@*
489 @code{petrucci-c3}, @code{petrucci-c4},@*
492 @lilypond[relative=1,notime]
494 \override NoteHead.style = #'mensural
499 petrucci style F clefs, for use on different staff lines
500 (the example shows the 3rd staff line F clef)
502 @code{petrucci-f3}, @code{petrucci-f4},@*
505 @lilypond[relative=1,notime]
507 \override NoteHead.style = #'mensural
512 petrucci style G clef
516 @lilypond[relative=1,notime]
518 \override NoteHead.style = #'mensural
525 @rglos{mensural notation},
532 The mensural g clef is mapped to the Petrucci g clef.
535 @node Mensural time signatures
536 @unnumberedsubsubsec Mensural time signatures
538 @cindex mensuration sign
539 @cindex time signature, mensural
540 @cindex time signature style
542 There is limited support for mensuration signs (which are similar to,
543 but not exactly the same as time signatures). The glyphs are hard-wired
544 to particular time fractions. In other words, to get a particular mensuration sign with the @code{\time n/m} command, @code{n} and
545 @code{m} have to be chosen according to the following table
547 @lilypond[quote,ragged-right]
552 \remove "Staff_symbol_engraver"
553 \remove "Clef_engraver"
554 \remove "Time_signature_engraver"
558 \set Score.timing = ##f
559 \set Score.barAlways = ##t
561 s^\markup { "\\time 4/4" }_\markup { " " \musicglyph
562 #"timesig.neomensural44" }
564 s^\markup { "\\time 2/2" }_\markup { " " \musicglyph
565 #"timesig.neomensural22" }
567 s^\markup { "\\time 6/4" }_\markup { " " \musicglyph
568 #"timesig.neomensural64" }
570 s^\markup { "\\time 6/8" }_\markup { " " \musicglyph
571 #"timesig.neomensural68" }
573 s^\markup { "\\time 3/2" }_\markup { " " \musicglyph
574 #"timesig.neomensural32" }
576 s^\markup { "\\time 3/4" }_\markup { " " \musicglyph
577 #"timesig.neomensural34" }
579 s^\markup { "\\time 9/4" }_\markup { " " \musicglyph
580 #"timesig.neomensural94" }
582 s^\markup { "\\time 9/8" }_\markup { " " \musicglyph
583 #"timesig.neomensural98" }
585 s^\markup { "\\time 4/8" }_\markup { " " \musicglyph
586 #"timesig.neomensural48" }
588 s^\markup { "\\time 2/4" }_\markup { " " \musicglyph
589 #"timesig.neomensural24" }
593 Use the @code{style} property of grob @code{TimeSignature}
594 to select ancient time signatures. Supported styles are
595 @code{neomensural} and @code{mensural}. The above table uses the
596 @code{neomensural} style. The following examples show the
597 differences in style:
599 @lilypond[ragged-right,relative=1,quote]
604 c1^\markup { \hspace #-2.0 \typewriter default }
606 \override Staff.TimeSignature.style = #'numbered
608 c1^\markup { \hspace #-2.0 \typewriter numbered }
610 \override Staff.TimeSignature.style = #'mensural
612 c1^\markup { \hspace #-2.0 \typewriter mensural }
614 \override Staff.TimeSignature.style = #'neomensural
616 c1^\markup { \hspace #-2.0 \typewriter neomensural }
617 \override Staff.TimeSignature.style = #'single-digit
619 c1^\markup { \hspace #-2.0 \typewriter single-digit }
623 @ref{Time signature}, gives a general introduction to
624 the use of time signatures.
628 @rglos{mensural notation}.
631 @ref{Time signature}.
634 Ratios of note durations cannot change with the time signature,
635 as those are not constant. For
636 example, the ratio of 1@tie{}breve = 3@tie{}semibreves
637 (@emph{tempus perfectum}) can be made by hand, by setting
640 breveTP = #(ly:make-duration -1 0 3/2)
646 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
648 The @code{mensural68alt} and @code{neomensural68alt} symbols
649 (alternate symbols for 6/8) are not addressable with @code{\time}.
650 Use @code{\markup @{\musicglyph #"timesig.mensural68alt" @}} instead.
653 @node Mensural note heads
654 @unnumberedsubsubsec Mensural note heads
656 @cindex note heads, ancient
658 For ancient notation, a note head style other than the
659 @code{default} style may be chosen. This is accomplished by setting
660 the @code{style} property of the @code{NoteHead} object to
661 @code{baroque}, @code{neomensural}, @code{mensural},
662 @code{petrucci}, @code{blackpetrucci} or @code{semipetrucci}.
664 The @code{baroque} style differs from the @code{default} style by:
667 @item Providing a @code{maxima} note head, and
668 @item Using a square shape for @code{\breve} note heads.
671 The @code{neomensural}, @code{mensural}, and @code{petrucci} styles
672 differ from the @code{baroque} style by:
675 @item Using rhomboidal heads for semibreves and all smaller durations,
677 @item Centering the stems on the note heads.
680 The @code{blackpetrucci} style produces note heads usable in black
681 mensural notation or coloratio sections in white mensural notation.
682 Because note head style does not influence flag count, in
683 this style a semiminima should be notated as @code{a8*2}, not
684 @code{a4}, otherwise it will look like a minima.
685 The multiplier can be different if coloratio is used e.g. to notate
688 Use @code{semipetrucci} style to draw half-colored
689 note heads (breves, longas and maximas).
692 The following example demonstrates the @code{petrucci} style:
694 @c Renaissance music doesn't use bar lines ... but they do help to
695 @c separate the notes for easier identification.
697 @lilypond[quote,fragment,ragged-right,verbatim]
698 \set Score.skipBars = ##t
700 \override NoteHead.style = #'petrucci
701 a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
702 \override NoteHead.style = #'semipetrucci
704 \override NoteHead.style = #'blackpetrucci
706 \override NoteHead.style = #'petrucci
711 @ref{Note head styles}, gives an overview of all available note head
716 @rglos{mensural notation},
720 @ref{Note head styles}.
724 @unnumberedsubsubsec Mensural flags
728 Use the @code{flag-style} property of grob @code{Stem} to
729 select ancient flags. Besides the @code{default} flag style,
730 only the @code{mensural} style is supported.
732 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
733 \override Flag.style = #'mensural
734 \override Stem.thickness = #1.0
735 \override NoteHead.style = #'mensural
737 c8 d e f c16 d e f c32 d e f s8
738 c'8 d e f c16 d e f c32 d e f
741 Note that the innermost flare of each mensural flag is
742 vertically aligned with a staff line.
744 There is no particular flag style for neo-mensural or Petrucci notation.
745 There are no flags in Gregorian chant notation.
749 @rglos{mensural notation},
753 Vertically aligning each flag with a staff line assumes that stems
754 always end either exactly on or exactly in the middle of two
755 staff lines. This may not always be true when using advanced layout
756 features of classical notation (which however are typically out of
757 scope for mensural notation).
761 @unnumberedsubsubsec Mensural rests
763 @cindex rests, ancient
765 Use the @code{style} property of grob @code{Rest} to select
766 ancient rests. Supported ancient styles are
767 @code{neomensural}, and @code{mensural}.
769 The following example demonstrates these styles:
771 @lilypond[quote,fragment,ragged-right,verbatim]
772 \set Score.skipBars = ##t
773 \override Rest.style = #'mensural
774 r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
775 \override Rest.style = #'neomensural
776 r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
779 There are no 32nd and 64th rests specifically for the mensural or
780 neo-mensural styles. Rests from the default style are used.
784 @rglos{mensural notation}.
790 @rlsr{Ancient notation}.
793 The glyph for the maxima rest in mensural style is actually a perfect
794 longa rest; use two (or three) longa rests to print a maxima rest.
795 Longa rests are not grouped automatically, so have to be done manually by
799 @node Mensural accidentals and key signatures
800 @unnumberedsubsubsec Mensural accidentals and key signatures
803 @cindex key signature
805 The @code{mensural} style provides a sharp and a flat sign
806 different from the default style. Mensural notation rarely used a natural
807 sign: instead the appropriate sharp or flat is used. For example, a B
808 natural in the key of F major would be indicated with a sharp. However,
809 if specifically called for, the natural sign is taken from the @code{vaticana}
812 @lilypond[quote,ragged-right,staffsize=26]
816 \line { " " \musicglyph #"accidentals.mensural-1"
817 " " \musicglyph #"accidentals.mensural1" }
822 The style for accidentals and key signatures is controlled by the
823 @code{glyph-name-alist} property of the grobs @code{Accidental} and
824 @code{KeySignature}, respectively; e.g.:
827 \override Staff.Accidental.glyph-name-alist =
828 #alteration-mensural-glyph-name-alist
833 @rglos{mensural notation},
836 @rglos{key signature}.
841 @ref{Automatic accidentals},
845 @rinternals{KeySignature}.
848 @node Annotational accidentals (musica ficta)
849 @unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
851 In European music from before about 1600, singers were expected to
852 chromatically alter notes at their own initiative according to
853 certain rules. This is called @notation{musica ficta}. In modern
854 transcriptions, these accidentals are usually printed over the
857 @cindex Accidental, musica ficta
860 Support for such suggested accidentals is included, and can be
861 switched on by setting @code{suggestAccidentals} to true.
863 @funindex suggestAccidentals
865 @lilypond[verbatim,relative=1]
867 \set suggestAccidentals = ##t
871 This will treat @emph{every} subsequent accidental as
872 @emph{musica ficta} until it is unset with
873 @code{\set suggestAccidentals = ##f}. A more practical way is to
874 use @code{\once \set suggestAccidentals = ##t}, which can even be
875 defined as a convenient shorthand:
877 @lilypond[quote,verbatim]
878 ficta = { \once \set suggestAccidentals = ##t }
879 \score { \relative c''
881 \once \set suggestAccidentals = ##t
882 bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
889 @rinternals{Accidental_engraver},
890 @rinternals{AccidentalSuggestion}.
893 @node White mensural ligatures
894 @unnumberedsubsubsec White mensural ligatures
896 @cindex Mensural ligatures
897 @cindex White mensural ligatures
899 There is limited support for white mensural ligatures.
901 To engrave white mensural ligatures, in the layout block, replace
902 the @code{Ligature_bracket_engraver} with the
903 @code{Mensural_ligature_engraver} in the @code{Voice}
910 \remove "Ligature_bracket_engraver"
911 \consists "Mensural_ligature_engraver"
916 There is no additional input language to describe the shape of a
917 white mensural ligature. The shape is rather determined solely from
918 the pitch and duration of the enclosed notes. While this approach may
919 take a new user a while to get accustomed to, it has the great advantage
920 that the full musical information of the ligature is known internally.
921 This is not only required for correct MIDI output, but also allows for
922 automatic transcription of the ligatures.
924 At certain places two consecutive notes can be represented either as
925 two squares or as an oblique parallelogram (flexa shape). In such
926 cases the default is the two squares, but a flexa can be required by
927 setting the @code{ligature-flexa} property of the @emph{second} note
928 head. The length of a flexa can be set by the note head property
933 @lilypond[quote,ragged-right,verbatim]
936 \set Score.timing = ##f
937 \set Score.defaultBarType = "-"
938 \override NoteHead.style = #'petrucci
939 \override Staff.TimeSignature.style = #'mensural
943 \override NoteHead.ligature-flexa = ##t
944 \once \override NoteHead.flexa-width = #3.2
946 \[ c\maxima d\longa \]
952 \remove "Ligature_bracket_engraver"
953 \consists "Mensural_ligature_engraver"
959 Without replacing @code{Ligature_bracket_engraver} with
960 @code{Mensural_ligature_engraver}, the same music looks as follows:
962 @lilypond[quote,ragged-right]
964 \set Score.timing = ##f
965 \set Score.defaultBarType = "-"
966 \override NoteHead.style = #'petrucci
967 \override Staff.TimeSignature.style = #'mensural
971 \override NoteHead.ligature-flexa = ##t
972 \once \override NoteHead.flexa-width = #3.2
974 \[ c\maxima d\longa \]
984 @ref{Gregorian square neume ligatures},
988 Horizontal spacing of ligatures may be poor.
989 Accidentals may collide with previous notes.
992 @node Typesetting Gregorian chant
993 @subsection Typesetting Gregorian chant
996 * Gregorian chant contexts::
998 * Gregorian accidentals and key signatures::
1000 * Gregorian articulation signs::
1001 * Augmentum dots (morae)::
1002 * Gregorian square neume ligatures::
1005 When typesetting a piece in Gregorian chant notation, the
1006 @code{Vaticana_ligature_engraver} automatically selects the
1007 proper note heads, so there is no need to explicitly set the note
1008 head style. Still, the note head style can be set, e.g., to
1009 @code{vaticana_punctum} to produce punctum neumes. Similarly, the
1010 @code{Mensural_ligature_engraver} automatically assembles
1018 @ref{White mensural ligatures},
1022 @node Gregorian chant contexts
1023 @unnumberedsubsubsec Gregorian chant contexts
1025 @cindex VaticanaVoiceContext
1026 @cindex VaticanaStaffContext
1028 The predefined @code{VaticanaVoiceContext} and
1029 @code{VaticanaStaffContext} can be used to engrave a piece of
1030 Gregorian chant in the style of the Editio Vaticana. These contexts
1031 initialize all relevant context properties and grob properties to
1032 proper values, so you can immediately go ahead entering the chant, as
1033 the following excerpt demonstrates:
1035 @lilypond[quote,ragged-right,verbatim]
1036 \include "gregorian.ly"
1039 \new VaticanaVoice = "cantus" {
1040 \[ c'\melisma c' \flexa a \]
1041 \[ a \flexa \deminutum g\melismaEnd \]
1043 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
1044 c' \divisioMinima \break
1045 \[ c'\melisma c' \flexa a \]
1046 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
1048 \new Lyrics \lyricsto "cantus" {
1049 San- ctus, San- ctus, San- ctus
1057 @c TODO: nothing here yet ...
1060 @node Gregorian clefs
1061 @unnumberedsubsubsec Gregorian clefs
1065 The following table shows all Gregorian clefs that are supported via
1066 the @code{\clef} command. Some of the clefs use the same glyph,
1067 but differ only with respect to the line they are printed on. In
1068 such cases, a trailing number in the name is used to enumerate
1069 these clefs, numbered from the lowest to the highest line. Still,
1070 you can manually force a clef glyph to be typeset on an arbitrary
1071 line, as described in @ref{Clef}. The note printed to the right
1072 side of each clef in the example column denotes the @code{c'} with
1073 respect to that clef.
1075 @multitable @columnfractions .4 .4 .2
1084 Editio Vaticana style do clef
1086 @code{vaticana-do1}, @code{vaticana-do2},@*
1089 @lilypond[relative=1,notime]
1090 \override Staff.StaffSymbol.line-count = #4
1091 \override Staff.StaffSymbol.color = #red
1092 \override Staff.LedgerLineSpanner.color = #red
1094 \override NoteHead.style = #'vaticana.punctum
1095 \clef "vaticana-do2"
1100 Editio Vaticana style fa clef
1102 @code{vaticana-fa1}, @code{vaticana-fa2}
1104 @lilypond[relative=1,notime]
1105 \override Staff.StaffSymbol.line-count = #4
1106 \override Staff.StaffSymbol.color = #red
1107 \override Staff.LedgerLineSpanner.color = #red
1109 \override NoteHead.style = #'vaticana.punctum
1110 \clef "vaticana-fa2"
1115 Editio Medicaea style do clef
1117 @code{medicaea-do1}, @code{medicaea-do2},@*
1120 @lilypond[relative=1,notime]
1121 \override Staff.StaffSymbol.line-count = #4
1122 \override Staff.StaffSymbol.color = #red
1123 \override Staff.LedgerLineSpanner.color = #red
1125 \override NoteHead.style = #'medicaea.punctum
1126 \clef "medicaea-do2"
1131 Editio Medicaea style fa clef
1133 @code{medicaea-fa1}, @code{medicaea-fa2}
1135 @lilypond[relative=1,notime]
1136 \override Staff.StaffSymbol.line-count = #4
1137 \override Staff.StaffSymbol.color = #red
1138 \override Staff.LedgerLineSpanner.color = #red
1140 \override NoteHead.style = #'medicaea.punctum
1141 \clef "medicaea-fa2"
1146 hufnagel style do clef
1148 @code{hufnagel-do1}, @code{hufnagel-do2},@*
1151 @lilypond[relative=1,notime]
1152 \override Staff.StaffSymbol.line-count = #4
1153 \override Staff.StaffSymbol.color = #red
1154 \override Staff.LedgerLineSpanner.color = #red
1156 \override NoteHead.style = #'hufnagel.punctum
1157 \clef "hufnagel-do2"
1162 hufnagel style fa clef
1164 @code{hufnagel-fa1}, @code{hufnagel-fa2}
1166 @lilypond[relative=1,notime]
1167 \override Staff.StaffSymbol.line-count = #4
1168 \override Staff.StaffSymbol.color = #red
1169 \override Staff.LedgerLineSpanner.color = #red
1171 \override NoteHead.style = #'hufnagel.punctum
1172 \clef "hufnagel-fa2"
1177 hufnagel style combined do/fa clef
1179 @code{hufnagel-do-fa}
1181 @lilypond[relative=1,notime]
1182 \override Staff.StaffSymbol.color = #red
1183 \override Staff.LedgerLineSpanner.color = #red
1185 \override NoteHead.style = #'hufnagel.punctum
1186 \clef "hufnagel-do-fa"
1199 @node Gregorian accidentals and key signatures
1200 @unnumberedsubsubsec Gregorian accidentals and key signatures
1203 @cindex key signature
1205 Accidentals for the three different Gregorian styles are available:
1207 @lilypond[quote,ragged-right,staffsize=26]
1211 \line { " " \musicglyph #"accidentals.vaticana-1"
1212 " " \musicglyph #"accidentals.vaticana0" }
1216 \line { " " \musicglyph #"accidentals.medicaea-1" }
1220 \line { " " \musicglyph #"accidentals.hufnagel-1" }
1225 As shown, not all accidentals are supported by each style. When
1226 trying to access an unsupported accidental, LilyPond will switch to a
1229 @c @lilypondfile[verbatim,quote,texidoc,doctitle]
1230 @c {ancient-accidentals.ly}
1232 The style for accidentals and key signatures is controlled by the
1233 @code{glyph-name-alist} property of the grobs @code{Accidental} and
1234 @code{KeySignature}, respectively; e.g.:
1237 \override Staff.Accidental.glyph-name-alist =
1238 #alteration-mensural-glyph-name-alist
1244 @rglos{key signature}.
1249 @ref{Automatic accidentals},
1250 @ref{Key signature}.
1252 Internals Reference:
1253 @rinternals{KeySignature}.
1257 @unnumberedsubsubsec Divisiones
1263 There are no rests in Gregorian chant notation; instead, it uses
1266 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
1267 @q{division}) is a staff context symbol that is used to indicate
1268 the phrase and section structure of Gregorian music. The musical
1269 meaning of @emph{divisio minima}, @emph{divisio maior}, and
1270 @emph{divisio maxima} can be characterized as short, medium, and
1271 long pause, somewhat like the breath marks from @ref{Breath marks}.
1272 The @emph{finalis} sign not only marks the end of a chant, but is
1273 also frequently used within a single antiphonal/responsorial chant
1274 to mark the end of each section.
1276 To use divisiones, include the file @file{gregorian.ly}. It
1277 contains definitions that you can apply by just inserting
1278 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
1279 and @code{\finalis} at proper places in the input. Some editions use
1280 @emph{virgula} or @emph{caesura} instead of divisio minima.
1281 Therefore, @file{gregorian.ly} also defines @code{\virgula} and
1284 @lilypond[quote,ragged-right]
1285 \include "gregorian.ly"
1288 \context VaticanaVoice {
1289 \override TextScript.padding = #3
1291 s^\markup { "divisio minima" }
1294 s^\markup { "divisio maior" }
1297 s^\markup { "divisio maxima" }
1301 s^\markup { "finalis" }
1304 s^\markup { "virgula" }
1307 s^\markup { "caesura" }
1321 @funindex \divisioMinima
1322 @code{\divisioMinima},
1323 @funindex \divisioMaior
1324 @code{\divisioMaior},
1325 @funindex \divisioMaxima
1326 @code{\divisioMaxima},
1340 @file{ly/gregorian.ly}.
1343 @node Gregorian articulation signs
1344 @unnumberedsubsubsec Gregorian articulation signs
1346 @cindex articulations
1348 In addition to the standard articulation signs described in
1349 section @ref{Articulations and ornamentations}, articulation signs
1350 specifically designed for use with notation in
1351 @emph{Editio Vaticana} style are provided.
1353 @lilypond[quote,ragged-right,verbatim]
1354 \include "gregorian.ly"
1356 \new VaticanaVoice {
1357 \override TextScript.font-family = #'typewriter
1358 \override TextScript.font-shape = #'upright
1359 \override Script.padding = #-0.1
1360 a\ictus_"ictus " \bar "" \break
1361 a\circulus_"circulus " \bar "" \break
1362 a\semicirculus_"semicirculus " \bar "" \break
1363 a\accentus_"accentus " \bar "" \break
1364 \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
1371 @ref{Articulations and ornamentations}.
1374 @rlsr{Ancient notation}.
1376 Internals Reference:
1377 @rinternals{Episema},
1378 @rinternals{EpisemaEvent},
1379 @rinternals{Episema_engraver},
1380 @rinternals{Script},
1381 @rinternals{ScriptEvent},
1382 @rinternals{Script_engraver}.
1385 Some articulations are vertically placed too closely to the
1386 corresponding note heads.
1389 @node Augmentum dots (morae)
1390 @unnumberedsubsubsec Augmentum dots (@emph{morae})
1392 Augmentum dots, also called @emph{morae}, are added with the music
1393 function @code{\augmentum}. Note that @code{\augmentum} is
1394 implemented as a unary music function rather than as head prefix. It
1395 applies to the immediately following music expression only. That is,
1396 @code{\augmentum \virga c} will have no visible effect. Instead, say
1397 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1398 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1399 @code{\augmentum a \augmentum g}.
1401 @lilypond[quote,ragged-right,verbatim]
1402 \include "gregorian.ly"
1404 \new VaticanaVoice {
1405 \[ \augmentum a \flexa \augmentum g \]
1415 Internals Reference:
1416 @rinternals{BreathingSign}.
1419 @rlsr{Ancient notation}.
1422 @node Gregorian square neume ligatures
1423 @unnumberedsubsubsec Gregorian square neume ligatures
1425 @cindex Square neumes ligatures
1426 @cindex Gregorian square neumes ligatures
1428 There is limited support for Gregorian square neumes notation
1429 (following the style of the Editio Vaticana). Core ligatures can
1430 already be typeset, but essential issues for serious typesetting are
1431 still lacking, such as (among others) horizontal alignment of multiple
1432 ligatures, lyrics alignment, and proper handling of accidentals.
1434 The support for Gregorian neumes is enabled by @code{\include}ing
1435 @file{gregorian.ly} at the beginning of the file. This makes available
1436 a number of extra commands to produce the neume symbols used in
1437 plainchant notation.
1441 Note heads can be @emph{modified} and/or @emph{joined}.
1445 the note head can be modified by @emph{prefixing} the note name
1446 with any of the following commands:
1451 @funindex \inclinatum
1455 @funindex \descendens
1457 @funindex \ascendens
1463 @funindex \deminutum
1470 @item Ligatures, properly speaking (i.e. notes joined together), are
1471 produced by placing one of the joining commands @code{\pes} or
1472 @code{\flexa}, for upwards and downwards movement, respectively,
1473 @emph{between} the notes to be joined.
1476 A note name without any qualifiers will produce a @emph{punctum}.
1477 All other neumes, including the single-note neumes with a
1478 different shape such as the @emph{virga}, are in principle
1479 considered as ligatures and should therefore be placed
1480 between @code{\[@dots{}\]}.
1481 @c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
1488 @item The @emph{punctum} is the basic note shape (in the
1489 @emph{Vaticana} style: a square with some curvation for
1490 typographical finesse). In addition to the regular
1491 @emph{punctum}, there is also the oblique @emph{punctum
1492 inclinatum}, produced with the prefix @code{\inclinatum}. The
1493 regular @emph{punctum} can be modified with @code{\cavum}, which
1494 produces a hollow note, and @code{\linea}, which draws vertical
1495 lines on either side of the note.
1497 @item The @emph{virga} has a descending stem on the right side. It is
1498 produced by the modifier @code{\virga}.
1504 Unlike most other neumes notation systems, the typographical
1505 appearance of ligatures is not directly dictated by the input
1506 commands, but follows certain conventions dependent on musical
1507 meaning. For example, a three-note ligature with the musical shape
1508 low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
1509 Torculus consisting of three Punctum heads, while the shape
1510 high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
1511 Porrectus with a curved flexa shape and only a single Punctum
1512 head. There is no command to explicitly typeset the curved flexa
1513 shape; the decision of when to typeset a curved flexa shape is
1514 based on the musical input. The idea of this approach is to
1515 separate the musical aspects of the input from the notation style
1516 of the output. This way, the same input can be reused to typeset
1517 the same music in a different style of Gregorian chant notation.
1522 Another main category of notes in Gregorian chant is the so-called
1523 liquescent neumes. They are used under certain circumstances at
1524 the end of a syllable which ends in a @q{liquescent} letter, i.e.
1525 the sounding consonants that can hold a tone (the nasals, l, r, v,
1526 j, and their diphthong equivalents). Thus, the liquescent neumes
1527 are never used alone (although some of them can be produced), and
1528 they always fall at the end of a ligature.
1530 Liquescent neumes are represented graphically in two different,
1531 more or less interchangeable ways: with a smaller note or by
1532 @q{twisting} the main note upwards or downwards. The first is
1533 produced by making a regular @code{pes} or @code{flexa} and
1534 modifying the shape of the second note:
1535 @code{\[ a \pes \deminutum b \] }, the second by modifying the shape
1536 of a single-note neume with @code{\auctum} and one of the direction
1537 markers @code{\descendens} or @code{\ascendens}, e.g.,
1538 @code{ \[ \auctum \descendens a \] }.
1543 A third category of signs is made up of a small number of signs
1544 with a special meaning (which, incidentally, in most cases is only
1545 vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
1546 @emph{strophicus}. These are all produced by prefixing a note name
1547 with the corresponding modifier, @code{\quilisma},
1548 @code{\oriscus}, or @code{\stropha}.
1550 Virtually, within the ligature delimiters @code{\[} and @code{\]},
1551 any number of heads may be accumulated to form a single ligature,
1552 and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
1553 @code{\inclinatum}, etc. may be mixed in as desired. The use of
1554 the set of rules that underlies the construction of the ligatures
1555 in the above table is accordingly extrapolated. This way,
1556 infinitely many different ligatures can be created.
1558 Note that the use of these signs in the music itself follows
1559 certain rules, which are not checked by LilyPond. E.g., the
1560 @emph{quilisma} is always the middle note of an ascending
1561 ligature, and usually falls on a half-tone step, but it is
1562 perfectly possible, although incorrect, to make a single-note
1565 In addition to the note signs, @file{gregorian.ly} also defines the
1566 commands @code{\versus}, @code{\responsum}, @code{\ij},
1567 @code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
1568 corresponding characters, e.g., for use in lyrics, as section
1569 markers, etc. These commands use special Unicode characters and
1570 will only work if a font is used which supports them.
1575 The following table shows a limited, but still representative pool
1576 of Gregorian ligatures, together with the code fragments that
1577 produce the ligatures. The table is based on the extended neumes
1578 table of the 2nd volume of the Antiphonale Romanum
1579 (@emph{Liber Hymnarius}), published 1983 by the monks of Solesmes.
1580 The first column gives the name of the ligature, with the main form in
1581 boldface and the liquescent forms in italics. The third column
1582 shows the code fragment that produces this ligature, using
1583 @code{g}, @code{a}, and @code{b} as example pitches.
1586 @b{Single-note neums}
1588 @multitable @columnfractions .4 .2 .4
1591 @b{Basic} and @emph{Liquescent} forms
1598 @c TODO: \layout block is identical in all of the below examples.
1599 @c Therefore, it should somehow be included rather than duplicated all
1602 @c why not make variables in ly/engraver-init.ly? --hwn
1604 @c Because it's just used to typeset plain notes without
1605 @c a staff for demonstration purposes rather than something
1606 @c special of Gregorian chant notation. --jr
1612 @lilypond[staffsize=26,line-width=1.5\cm]
1613 \include "gregorian.ly"
1619 \layout { \neumeDemoLayout }}
1626 @lilypond[staffsize=26,line-width=1.5\cm]
1627 \include "gregorian.ly"
1633 \layout { \neumeDemoLayout }}
1636 @code{\[ \cavum b \]}
1640 @lilypond[staffsize=26,line-width=1.5\cm]
1641 \include "gregorian.ly"
1647 \layout { \neumeDemoLayout }}
1650 @code{\[ \linea b \]}
1653 @emph{Punctum Auctum Ascendens}
1655 @lilypond[staffsize=26,line-width=2.5\cm]
1656 \include "gregorian.ly"
1659 % Punctum Auctum Ascendens
1660 \[ \auctum \ascendens b \]
1662 \layout { \neumeDemoLayout }}
1665 @code{\[ \auctum \ascendens b \]}
1668 @emph{Punctum Auctum Descendens}
1670 @lilypond[staffsize=26,line-width=2.5\cm]
1671 \include "gregorian.ly"
1674 % Punctum Auctum Descendens
1675 \[ \auctum \descendens b \]
1677 \layout { \neumeDemoLayout }}
1680 @code{\[ \auctum \descendens b \]}
1683 @b{Punctum inclinatum}
1685 @lilypond[staffsize=26,line-width=1.5\cm]
1686 \include "gregorian.ly"
1689 % Punctum Inclinatum
1692 \layout { \neumeDemoLayout }}
1695 @code{\[ \inclinatum b \]}
1698 @emph{Punctum Inclinatum Auctum}
1700 @lilypond[staffsize=26,line-width=2.5\cm]
1701 \include "gregorian.ly"
1704 % Punctum Inclinatum Auctum
1705 \[ \inclinatum \auctum b \]
1707 \layout { \neumeDemoLayout }}
1710 @code{\[ \inclinatum \auctum b \]}
1713 @emph{Punctum Inclinatum Parvum}
1715 @lilypond[staffsize=26,line-width=1.0\cm]
1716 \include "gregorian.ly"
1719 % Punctum Inclinatum Parvum
1720 \[ \inclinatum \deminutum b \]
1722 \layout { \neumeDemoLayout }}
1725 @code{\[ \inclinatum \deminutum b \]}
1730 @lilypond[staffsize=26,line-width=1.0\cm]
1731 \include "gregorian.ly"
1737 \layout { \neumeDemoLayout }}
1744 @b{Two-note ligatures}
1746 @multitable @columnfractions .4 .2 .4
1749 @b{Clivis vel Flexa}
1751 @lilypond[staffsize=26,line-width=1.0\cm]
1752 \include "gregorian.ly"
1758 \layout { \neumeDemoLayout }}
1761 @code{\[ b \flexa g \]}
1765 @emph{Clivis Aucta Descendens}
1767 @lilypond[staffsize=26,line-width=2.0\cm]
1768 \include "gregorian.ly"
1771 % Clivis Aucta Descendens
1772 \[ b \flexa \auctum \descendens g \]
1774 \layout { \neumeDemoLayout }}
1777 @code{\[ b \flexa \auctum \descendens g \]}
1780 @emph{Clivis Aucta Ascendens}
1782 @lilypond[staffsize=26,line-width=2.0\cm]
1783 \include "gregorian.ly"
1786 % Clivis Aucta Ascendens
1787 \[ b \flexa \auctum \ascendens g \]
1789 \layout { \neumeDemoLayout }}
1792 @code{\[ b \flexa \auctum \ascendens g \]}
1797 @lilypond[staffsize=26,line-width=2.0\cm]
1798 \include "gregorian.ly"
1802 \[ b \flexa \deminutum g \]
1804 \layout { \neumeDemoLayout }}
1807 @code{\[ b \flexa \deminutum g \]}
1812 @lilypond[staffsize=26,line-width=1.0\cm]
1813 \include "gregorian.ly"
1819 \layout { \neumeDemoLayout }}
1822 @code{\[ g \pes b \]}
1825 @emph{Pes Auctus Descendens}
1827 @lilypond[staffsize=26,line-width=1.0\cm]
1828 \include "gregorian.ly"
1831 % Pes Auctus Descendens
1832 \[ g \pes \auctum \descendens b \]
1834 \layout { \neumeDemoLayout }}
1837 @code{\[ g \pes \auctum \descendens b \]}
1840 @emph{Pes Auctus Ascendens}
1842 @lilypond[staffsize=26,line-width=1.0\cm]
1843 \include "gregorian.ly"
1846 % Pes Auctus Ascendens
1847 \[ g \pes \auctum \ascendens b \]
1849 \layout { \neumeDemoLayout }}
1852 @code{\[ g \pes \auctum \ascendens b \]}
1857 @lilypond[staffsize=26,line-width=1.0\cm]
1858 \include "gregorian.ly"
1862 \[ g \pes \deminutum b \]
1864 \layout { \neumeDemoLayout }}
1867 @code{\[ g \pes \deminutum b \]}
1870 @emph{Pes Initio Debilis}
1872 @lilypond[staffsize=26,line-width=1.0\cm]
1873 \include "gregorian.ly"
1876 % Pes Initio Debilis
1877 \[ \deminutum g \pes b \]
1879 \layout { \neumeDemoLayout }}
1882 @code{\[ \deminutum g \pes b \]}
1885 @emph{Pes Auctus Descendens Initio Debilis}
1887 @lilypond[staffsize=26,line-width=1.0\cm]
1888 \include "gregorian.ly"
1891 % Pes Auctus Descendens Initio Debilis
1892 \[ \deminutum g \pes \auctum \descendens b \]
1894 \layout { \neumeDemoLayout }}
1897 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1902 @b{Multi-note ligatures}
1904 @multitable @columnfractions .4 .2 .4
1909 @lilypond[staffsize=26,line-width=1.0\cm]
1910 \include "gregorian.ly"
1914 \[ a \pes b \flexa g \]
1916 \layout { \neumeDemoLayout }}
1919 @code{\[ a \pes b \flexa g \]}
1922 @emph{Torculus Auctus Descendens}
1924 @lilypond[staffsize=26,line-width=1.0\cm]
1925 \include "gregorian.ly"
1928 % Torculus Auctus Descendens
1929 \[ a \pes b \flexa \auctum \descendens g \]
1931 \layout { \neumeDemoLayout }}
1934 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1937 @emph{Torculus Deminutus}
1939 @lilypond[staffsize=26,line-width=1.0\cm]
1940 \include "gregorian.ly"
1943 % Torculus Deminutus
1944 \[ a \pes b \flexa \deminutum g \]
1946 \layout { \neumeDemoLayout }}
1949 @code{\[ a \pes b \flexa \deminutum g \]}
1952 @emph{Torculus Initio Debilis}
1954 @lilypond[staffsize=26,line-width=1.0\cm]
1955 \include "gregorian.ly"
1958 % Torculus Initio Debilis
1959 \[ \deminutum a \pes b \flexa g \]
1961 \layout { \neumeDemoLayout }}
1964 @code{\[ \deminutum a \pes b \flexa g \]}
1967 @emph{Torculus Auctus Descendens Initio Debilis}
1969 @lilypond[staffsize=26,line-width=1.0\cm]
1970 \include "gregorian.ly"
1973 % Torculus Auctus Descendens Initio Debilis
1974 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1976 \layout { \neumeDemoLayout }}
1979 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
1982 @emph{Torculus Deminutus Initio Debilis}
1984 @lilypond[staffsize=26,line-width=1.0\cm]
1985 \include "gregorian.ly"
1988 % Torculus Deminutus Initio Debilis
1989 \[ \deminutum a \pes b \flexa \deminutum g \]
1991 \layout { \neumeDemoLayout }}
1994 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
1999 @lilypond[staffsize=26,line-width=1.0\cm]
2000 \include "gregorian.ly"
2004 \[ a \flexa g \pes b \]
2006 \layout { \neumeDemoLayout }}
2009 @code{\[ a \flexa g \pes b \]}
2012 @emph{Porrectus Auctus Descendens}
2014 @lilypond[staffsize=26,line-width=1.0\cm]
2015 \include "gregorian.ly"
2018 % Porrectus Auctus Descendens
2019 \[ a \flexa g \pes \auctum \descendens b \]
2021 \layout { \neumeDemoLayout }}
2024 @code{\[ a \flexa g \pes \auctum \descendens b \]}
2027 @emph{Porrectus Deminutus}
2029 @lilypond[staffsize=26,line-width=1.0\cm]
2030 \include "gregorian.ly"
2033 % Porrectus Deminutus
2034 \[ a \flexa g \pes \deminutum b \]
2036 \layout { \neumeDemoLayout }}
2039 @code{\[ a \flexa g \pes \deminutum b \]}
2044 @lilypond[staffsize=26,line-width=1.0\cm]
2045 \include "gregorian.ly"
2049 \[ \virga b \inclinatum a \inclinatum g \]
2051 \layout { \neumeDemoLayout }}
2054 @code{\[ \virga b \inclinatum a \inclinatum g \]}
2057 @emph{Climacus Auctus}
2059 @lilypond[staffsize=26,line-width=1.0\cm]
2060 \include "gregorian.ly"
2064 \[ \virga b \inclinatum a \inclinatum \auctum g \]
2066 \layout { \neumeDemoLayout }}
2069 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
2072 @emph{Climacus Deminutus}
2074 @lilypond[staffsize=26,line-width=1.0\cm]
2075 \include "gregorian.ly"
2078 % Climacus Deminutus
2079 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
2081 \layout { \neumeDemoLayout }}
2084 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
2089 @lilypond[staffsize=26,line-width=1.0\cm]
2090 \include "gregorian.ly"
2094 \[ g \pes a \virga b \]
2096 \layout { \neumeDemoLayout }}
2099 @code{\[ g \pes a \virga b \]}
2102 @emph{Scandicus Auctus Descendens}
2104 @lilypond[staffsize=26,line-width=1.0\cm]
2105 \include "gregorian.ly"
2108 % Scandicus Auctus Descendens
2109 \[ g \pes a \pes \auctum \descendens b \]
2111 \layout { \neumeDemoLayout }}
2114 @code{\[ g \pes a \pes \auctum \descendens b \]}
2117 @emph{Scandicus Deminutus}
2119 @lilypond[staffsize=26,line-width=1.0\cm]
2120 \include "gregorian.ly"
2123 % Scandicus Deminutus
2124 \[ g \pes a \pes \deminutum b \]
2126 \layout { \neumeDemoLayout }}
2129 @code{\[ g \pes a \pes \deminutum b \]}
2136 @multitable @columnfractions .4 .2 .4
2141 @lilypond[staffsize=26,line-width=1.0\cm]
2142 \include "gregorian.ly"
2146 \[ g \pes \quilisma a \pes b \]
2148 \layout { \neumeDemoLayout }}
2151 @code{\[ g \pes \quilisma a \pes b \]}
2154 @emph{Quilisma Pes Auctus Descendens}
2156 @lilypond[staffsize=26,line-width=1.0\cm]
2157 \include "gregorian.ly"
2160 % Quilisma Pes Auctus Descendens
2161 \[ g \quilisma a \pes \auctum \descendens b \]
2163 \layout { \neumeDemoLayout }}
2166 @code{\[ \quilisma g \pes \auctum \descendens b \]}
2171 @lilypond[staffsize=26,line-width=1.0\cm]
2172 \include "gregorian.ly"
2178 \layout { \neumeDemoLayout }}
2181 @code{\[ \oriscus b \]}
2186 @lilypond[staffsize=26,line-width=1.0\cm]
2187 \include "gregorian.ly"
2191 \[ \oriscus g \pes \virga b \]
2193 \layout { \neumeDemoLayout }}
2196 @code{\[ \oriscus g \pes \virga b \]}
2199 @emph{Pes Quassus Auctus Descendens}
2201 @lilypond[staffsize=26,line-width=1.0\cm]
2202 \include "gregorian.ly"
2205 % Pes Quassus Auctus Descendens
2206 \[ \oriscus g \pes \auctum \descendens b \]
2208 \layout { \neumeDemoLayout }}
2211 @code{\[ \oriscus g \pes \auctum \descendens b \]}
2216 @lilypond[staffsize=26,line-width=1.0\cm]
2217 \include "gregorian.ly"
2221 \[ g \oriscus a \pes \virga b \]
2223 \layout { \neumeDemoLayout }}
2226 @code{\[ g \oriscus a \pes \virga b \]}
2229 @emph{Salicus Auctus Descendens}
2231 @lilypond[staffsize=26,line-width=1.0\cm]
2232 \include "gregorian.ly"
2235 % Salicus Auctus Descendens
2236 \[ g \oriscus a \pes \auctum \descendens b \]
2238 \layout { \neumeDemoLayout }}
2241 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
2246 @lilypond[staffsize=26,line-width=1.0\cm]
2247 \include "gregorian.ly"
2253 \layout { \neumeDemoLayout }}
2256 @code{\[ \stropha b \]}
2259 @emph{Stropha Aucta}
2261 @lilypond[staffsize=26,line-width=1.0\cm]
2262 \include "gregorian.ly"
2266 \[ \stropha \auctum b \]
2268 \layout { \neumeDemoLayout }}
2271 @code{\[ \stropha \auctum b \]}
2276 @lilypond[staffsize=26,line-width=1.0\cm]
2277 \include "gregorian.ly"
2281 \[ \stropha b \stropha b \]
2283 \layout { \neumeDemoLayout }}
2286 @code{\[ \stropha b \stropha b \]}
2291 @lilypond[staffsize=26,line-width=1.0\cm]
2292 \include "gregorian.ly"
2296 \[ \stropha b \stropha b \stropha b \]
2298 \layout { \neumeDemoLayout }}
2301 @code{\[ \stropha b \stropha b \stropha b \]}
2306 @lilypond[staffsize=26,line-width=1.0\cm]
2307 \include "gregorian.ly"
2311 \[ \stropha b \stropha b \stropha a \]
2313 \layout { \neumeDemoLayout }
2317 @code{\[ \stropha b \stropha b \stropha a \]}
2323 The following head prefixes are supported:
2328 @funindex \inclinatum
2332 @funindex \descendens
2334 @funindex \ascendens
2340 @funindex \deminutum
2348 Head prefixes can be accumulated, though restrictions apply. For
2349 example, either @code{\descendens} or @code{\ascendens} can be applied
2350 to a head, but not both to the same head.
2355 Two adjacent heads can be tied together with the @code{\pes} and
2356 @code{\flexa} infix commands for a rising and falling line of melody,
2359 @funindex \augmentum
2361 Use the unary music function @code{\augmentum} to add augmentum dots.
2368 @ref{Gregorian square neume ligatures},
2369 @ref{White mensural ligatures},
2373 When an @code{\augmentum} dot appears at the end of the last staff
2374 within a ligature, it is sometimes vertically placed wrong. As a
2375 workaround, add an additional skip note (e.g., @code{s8}) as last note
2378 @code{\augmentum} should be implemented as a head prefix rather than a
2379 unary music function, such that @code{\augmentum} can be intermixed
2380 with head prefixes in arbitrary order.
2382 @node Typesetting Kievan square notation
2383 @subsection Typesetting Kievan square notation
2389 * Kievan accidentals::
2391 * Kievan melismata::
2394 @node Kievan contexts
2395 @unnumberedsubsubsec Kievan contexts
2397 @cindex KievanVoiceContext
2398 @cindex KievanStaffContext
2400 As with Mensural and Gregorian notation, the predefined
2401 @code{KievanVoice} and @code{KievanStaff} contexts can be used
2402 to engrave a piece in square notation. These contexts initialize
2403 all relevant context properties and grob properties to proper
2404 values, so you can immediately go ahead entering the chant:
2406 @lilypond[quote,ragged-right,verbatim]
2409 \new KievanVoice = "melody" \relative c' {
2414 \new Lyrics \lyricsto "melody" {
2415 Го -- спо -- ди по -- ми -- луй.
2423 @rglos{kievan notation}.
2426 LilyPond supports Kievan notation of the Synodal style, as used in
2427 the corpus of chantbooks printed by the Russian Holy Synod in the
2428 1910's and recently reprinted by the Moscow Patriarchate Publishing
2429 House. LilyPond does not support the older (less common) forms of
2430 Kievan notation that were used in Galicia to notate Rusyn plainchant.
2433 @unnumberedsubsubsec Kievan clefs
2437 There is only one clef used in Kievan notation (the Tse-fa-ut Clef).
2438 It is used to indicate the position of @code{c}:
2440 @lilypond[quote,relative=1,notime,verbatim]
2448 @rglos{kievan notation},
2455 @unnumberedsubsubsec Kievan notes
2457 @cindex note heads, ancient
2459 For Kievan square notation, the appropriate note head style needs
2460 to be chosen and the flags and stems need to be turned off.
2461 This is accomplished by calling the @code{\kievanOn} function,
2462 which sets the appropriate properties of the note head, stems,
2463 and flags. Once Kievan note heads are not needed, these
2464 properties can be reverted by calling the @code{\kievanOff}
2467 The Kievan final note, which usually comes at the end of a piece
2468 of music, may be selected by setting the duration to
2469 @code{\longa}. The Kievan recitative mark, used to indicate
2470 the chanting of several syllables on one note, may be selected by
2471 setting the duration to @code{\breve}. The following example
2472 demonstrates the various Kievan note heads:
2474 @lilypond[quote,fragment,ragged-right,verbatim]
2478 b'1 b'2 b'4 b'8 b'\breve b'\longa
2485 @rglos{kievan notation},
2489 @ref{Note head styles}.
2492 LilyPond automatically determines if the stem up or stem down
2493 form of a note is drawn. When setting chant in square notation,
2494 however, it is customary to have the stems point in the same
2495 direction within a single melisma. This can be done manually by
2496 setting the @code{direction} property of the @code{Stem} object.
2498 @node Kievan accidentals
2499 @unnumberedsubsubsec Kievan accidentals
2503 The @code{kievan} style for accidentals is selected with the
2504 @code{glyph-name-alist} property of the grob @code{Accidental}.
2505 The @code{kievan} style provides a sharp and a flat sign
2506 different from the default style. There is no natural sign
2507 in Kievan notation. The sharp sign is not used in Synodal music
2508 but may occur in earlier manuscripts. It has been included
2509 primarily for the sake of compatibility.
2511 @lilypond[quote,relative=1,notime,verbatim]
2513 \override Accidental.glyph-name-alist =
2514 #alteration-kievan-glyph-name-alist
2520 @rglos{kievan notation},
2525 @ref{Automatic accidentals},
2528 @node Kievan bar line
2529 @unnumberedsubsubsec Kievan bar line
2531 A decorative figure is commonly placed at the end of a piece of
2532 Kievan notation, which may be called the Kievan final bar line.
2533 It can be invoked as @code{\bar "k"}.
2535 @lilypond[quote,relative=1,notime,verbatim]
2545 @node Kievan melismata
2546 @unnumberedsubsubsec Kievan melismata
2550 Notes within a Kievan melisma are usually placed close to each other
2551 and the melismata separated by whitespace. This is done to allow
2552 the chanter to quickly identify the melodic structures of Znamenny
2553 chant. In LilyPond, melismata are treated as ligatures and the
2554 spacing is implemented by the @code{Kievan_ligature_engraver}.
2556 When the @code{KievanVoice} and @code{KievanStaff} contexts are used,
2557 the @code{Kievan_ligature_engraver} is enabled by default. In other
2558 contexts, it can be invoked by replacing the @code{Ligature_bracket_engraver}
2559 with the @code{Kievan_ligature_engraver} in the layout block:
2565 \remove "Ligature_bracket_engraver"
2566 \consists "Kievan_ligature_engraver"
2571 The spacing between the notes within a Kievan ligature can be controlled
2572 by setting the @code{padding} property of the @code{KievanLigature}.
2574 The following example demonstrates the use of Kievan ligatures:
2576 @lilypond[quote,ragged-right,verbatim]
2579 \new KievanVoice = "melody" \relative c' {
2581 e2 \[ e4( d4 ) \] \[ c4( d e d ) \] e1 \bar "k"
2583 \new Lyrics \lyricsto "melody" {
2584 Га -- врі -- и -- лу
2595 @ref{White mensural ligatures},
2596 @ref{Gregorian square neume ligatures},
2600 Horizontal spacing of ligatures is poor.
2602 @node Working with ancient music---scenarios and solutions
2603 @subsection Working with ancient music---scenarios and solutions
2607 * Mensurstriche layout::
2608 * Transcribing Gregorian chant::
2609 * Ancient and modern from one source::
2610 * Editorial markings::
2613 Working with ancient music frequently involves particular tasks
2614 which differ considerably from the modern notation for which
2615 LilyPond is designed. In the rest of this section, a number of
2616 typical scenarios are outlined, with suggestions of solutions.
2620 @item how to make incipits (i.e. prefatory material to indicate
2621 what the original has looked like) to modern transcriptions of
2623 @item how to achieve the @emph{Mensurstriche} layout frequently
2624 used for modern transcriptions of polyphonic music;
2625 @item how to transcribe Gregorian chant in modern notation;
2626 @item how to generate both ancient and modern notation from the
2632 @unnumberedsubsubsec Incipits
2635 @cindex incipits, adding
2637 It is customary when transcribing mensural music into modern notation to place
2638 an indication of how the initial rests and note or notes of the original version
2639 appeared - including the original clefs. This is called an @emph{incipit}. The
2640 @code{\incipit} command uses the @code{indent} of the main staff to set the
2641 width occupied by the incipit, and @code{incipit-width} to set the width of the
2644 @lilypond[verbatim,quote,ragged-right]
2647 \new Voice = Tenor {
2648 \set Staff.instrumentName = #"Tenor"
2649 \override Staff.InstrumentName.self-alignment-X = #RIGHT
2650 \incipit { \clef "mensural-c4" \key f \major r\breve r1 c'1 }
2656 \new Lyrics \lyricsto Tenor { Cyn -- thia your }
2661 incipit-width = 3\cm
2667 Note that instrumentName must be set in the music for the incipit to be
2668 produced. If no instrument name is required then use
2669 @code{\set Staff.instrumentName = #""}.
2672 @c ... and reference to other sections ...
2675 @node Mensurstriche layout
2676 @unnumberedsubsubsec Mensurstriche layout
2678 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
2679 for bar lines that are drawn between the staves of a system but
2680 not through the staves themselves. It is a common way to preserve
2681 the rhythmic appearance of the original, i.e. not having to break
2682 syncopated notes at bar lines, while still providing the
2683 orientation aids that bar lines give.
2686 @lilypondfile[verbatim,quote,texidoc]
2687 {mensurstriche-layout-bar-lines-between-the-staves.ly}
2689 @c This simple setup will take care of the
2690 @c TODO Add text about lyrics to the lowest line, to be placed
2691 @c outside the StaffGroup.
2692 @c from lsr and -user
2696 @c ... and reference to other sections ...
2699 @node Transcribing Gregorian chant
2700 @unnumberedsubsubsec Transcribing Gregorian chant
2702 Gregorian chant can be transcribed into modern notation with a
2703 number of simple tweaks.
2705 @b{Stems}. Stems can be left out altogether by @code{\remove}-ing
2706 the @code{Stem_engraver} from the Voice context:
2713 \remove "Stem_engraver"
2718 @b{Timing.} For unmetered chant, there are several alternatives.
2720 The Time_signature_engraver can be removed from the Staff context
2721 without any negative side effects. The alternative, to make it
2722 transparent, will leave an empty space in the score, since the
2723 invisible signature will still take up space.
2725 In many cases, @code{\set Score.timing = ##f} will give good
2726 results. Another alternative is to use @code{\cadenzaOn} and
2729 To remove the bar lines, the radical approach is to @code{\remove}
2730 the Bar_engraver from the Staff context. Again, one may want to
2731 use @code{\hide BarLine} instead, if an
2732 occasional barline is wanted.
2734 A common type of transcription is recitativic chant where the
2735 repeated notes are indicated with a single breve. The text to
2736 the recitation tone can be dealt with in two different ways:
2737 either set as a single, left-aligned syllable:
2739 @lilypond[verbatim,ragged-right]
2740 \include "gregorian.ly"
2743 c'\breve c4 b4 a c2 c4 \divisioMaior
2744 c\breve c4 c f, f \finalis
2747 verba = \lyricmode {
2748 \once \override LyricText.self-alignment-X = #-1
2749 "Noctem quietam et" fi -- nem per -- fec -- tum
2750 \once \override LyricText.self-alignment-X = #-1
2751 "concedat nobis Dominus" om -- ni -- po -- tens.
2755 \new Voice = "melody" \chant
2756 \new Lyrics = "one" \lyricsto melody \verba
2761 \remove "Time_signature_engraver"
2762 \remove "Bar_engraver"
2766 \remove "Stem_engraver"
2772 This works fine, as long as the text doesn't span a line break. If
2773 that is the case, an alternative is to add hidden notes to the
2776 In some transcription styles, stems are used
2777 occasionally, for example to indicate the transition from a
2778 single-tone recitative to a fixed melodic gesture. In these cases,
2779 one can use either @code{\hide Stem} or
2780 @code{\override Stem.length = #0} instead of @code{\remove}-ing
2781 the @code{Stem_engraver} and restore the stem
2782 when needed with the corresponding @code{\undo \hide Stem}.
2784 @lilypond[verbatim,ragged-right]
2785 \include "gregorian.ly"
2786 chant = \relative c' {
2788 \set Score.timing = ##f
2790 c\breve \hide NoteHead c c c c c
2791 \undo \hide NoteHead
2792 \undo \hide Stem \stemUp c4 b4 a
2793 \hide Stem c2 c4 \divisioMaior
2794 c\breve \hide NoteHead c c c c c c c
2795 \undo \hide NoteHead c4 c f, f \finalis
2798 verba = \lyricmode {
2799 No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum
2800 con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens.
2805 \new Voice = "melody" \chant
2806 \new Lyrics \lyricsto "melody" \verba
2811 \remove "Time_signature_engraver"
2818 Another common situation is transcription of neumatic or
2819 melismatic chants, i.e. chants with a varying number of notes
2820 to each syllable. In this case, one would want to set the
2821 syllable groups clearly apart, usually also the subdivisions of a
2822 longer melisma. One way to achieve this is to use a fixed
2823 @code{\time}, e.g., 1/4, and let each syllable or note group fill
2824 one of these measures, with the help of tuplets or shorter
2825 durations. If the bar lines and all other rhythmical indications
2826 are made transparent, and the space around the bar lines is
2827 increased, this will give a fairly good representation in modern
2828 notation of the original.
2830 To avoid that syllables of different width (such as @qq{-ri} and
2831 @qq{-rum}) spread the syllable note groups unevenly apart, the
2832 @code{'X-extent} property of the @code{LyricText} object may be
2833 set to a fixed value. Another, more cumbersome way would be to
2834 add the syllables as @code{\markup} elements. If further
2835 adjustments are necessary, this can be easily done with
2838 @lilypond[verbatim,quote]
2839 spiritus = \relative c' {
2841 \override Lyrics.LyricText.X-extent = #'(0 . 3)
2842 d4 \tuplet 3/2 { f8 a g } g a a4 g f8 e
2843 d4 f8 g g8 d f g a g f4 g8 a a4 s
2844 \tuplet 3/2 { g8 f d } e f g a g4
2847 spirLyr = \lyricmode {
2848 Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _
2849 or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu
2854 \new Voice = "chant" \spiritus
2855 \new Lyrics = "one" \lyricsto "chant" \spirLyr
2860 \remove "Time_signature_engraver"
2861 \override BarLine.X-extent = #'(-1 . 1)
2871 @c extract from 1.6.1.1
2874 @c ... and reference to other sections ...
2877 @node Ancient and modern from one source
2878 @unnumberedsubsubsec Ancient and modern from one source
2880 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2881 {using-tags-to-produce-mensural-and-modern-music-from-the-same-source.ly}
2884 @c ... and reference to other sections ...
2887 @node Editorial markings
2888 @unnumberedsubsubsec Editorial markings
2891 @c @node Baroque rhythmic notation
2892 @c @unnumberedsubsubsec Baroque rhythmic notation
2896 @c Add example of white note heads:
2897 @c In the french baroque some composers used white note heads in slow pieces,
2898 @c mainly in 3/2-time. A quarter looks there like an eighth with a white
2899 @c note head. (Franz-Rudolf Kuhnen)
2901 @c TODO Add example of this:
2902 @c I was referring to e.g. notated a8. a16, which should, if I
2903 @c remember correctly, be interpreted more like a8.. a32 (in the french
2904 @c style). The editor might want to show that rythmic figure above the
2905 @c staff as an hint to performers. (Karl Hammer)
2912 @c ... and reference to other sections ...