1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c vim: foldmethod=marker
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
12 @node Ancient notation
13 @section Ancient notation
15 @lilypondfile[quote]{ancient-headword.ly}
17 @cindex Vaticana, Editio
18 @cindex Medicaea, Editio
25 * Overview of the supported styles::
26 * Ancient notation---common features::
27 * Typesetting mensural music::
28 * Typesetting Gregorian chant::
29 * Working with ancient music---scenarios and solutions::
33 Support for ancient notation includes features for mensural
34 notation and Gregorian chant notation. These features can be
35 accessed either by modifying style properties of graphical objects
36 such as note heads and rests, or by using one of the pre-defined
37 contexts for mensural or Gregorian notation.
39 Many graphical objects, such as note heads and flags, accidentals,
40 time signatures, and rests, provide a @code{style} property, which
41 can be changed to emulate several different styles of ancient
45 @item @ref{Mensural note heads},
46 @item @ref{Mensural accidentals and key signatures},
47 @item @ref{Mensural rests},
48 @item @ref{Mensural clefs},
49 @item @ref{Gregorian clefs},
50 @item @ref{Mensural flags},
51 @item @ref{Mensural time signatures}.
54 Some notational concepts are introduced specifically for ancient
59 @item @ref{Divisiones},
60 @item @ref{Ligatures}.
63 @c {{{1 Overview of the supported styles
64 @node Overview of the supported styles
65 @subsection Overview of the supported styles
68 Three styles are available for typesetting Gregorian chant:
71 @item @emph{Editio Vaticana} is a complete style for
72 Gregorian chant, following the appearance of the Solesmes
73 editions, the official chant books of the Vatican since 1904.
74 LilyPond has support for all the notational signs used in this
75 style, including ligatures, @emph{custodes}, and special signs
76 such as the quilisma and the oriscus.
79 @cindex Vaticana, Editio
81 @item The @emph{Editio Medicaea} style offers certain features
82 used in the Medicaea (or Ratisbona) editions which were used prior
83 to the Solesmes editions. The most significant differences from
84 the @emph{Vaticana} style are the clefs, which have
85 downward-slanted strokes, and the noteheads, which are square and
88 @cindex Ratisbona, Editio
89 @cindex Medicaea, Editio
91 @item The @emph{Hufnagel} (@qq{horseshoe nail}) or @emph{Gothic}
92 style mimics the writing style in chant manuscripts from Germany
93 and Central Europe during the middle ages. It is named after the
94 basic note shape (the @emph{virga}), which looks like a small
99 Three styles emulate the appearance of late-medieval and
100 renaissance manuscripts and prints of mensural music:
103 @item The @emph{Mensural} style most closely resembles the
104 writing style used in late-medieval and early renaissance
105 manuscripts, with its small and narrow, diamond-shaped noteheads
106 and its rests which approach a hand-drawn style.
110 @item The @emph{Neomensural} style is a modernized and
111 stylized version of the former: the noteheads are broader and the
112 rests are made up of straight lines. This style is particularly
113 suited, e.g., for incipits of transcribed pieces of mensural
118 @item The @emph{Petrucci} style is named after Ottaviano Petrucci
119 (1466-1539), the first printer to use movable type for music (in
120 his @emph{Harmonice musices odhecaton}, 1501). The style uses
121 larger note heads than the other mensural styles.
127 @emph{Baroque} and @emph{Classical} are not complete styles
128 but differ from the default style only in some details: certain
129 noteheads (Baroque) and the quarter rest (Classical).
131 Only the mensural style has alternatives for all aspects of the
132 notation. Thus, there are no rests or flags in the Gregorian
133 styles, since these signs are not used in plainchant notation, and
134 the Petrucci style has no flags or accidentals of its own.
136 Each element of the notation can be changed independently of the
137 others, so that one can use mensural flags, petrucci noteheads,
138 classical rests and vaticana clefs in the same piece, if one
141 @c {{{1 Ancient notation, general
142 @node Ancient notation---common features
143 @subsection Ancient notation---common features
146 * Pre-defined contexts::
149 * Figured bass support::
152 @c {{{2 Pre-defined contexts
153 @node Pre-defined contexts
154 @unnumberedsubsubsec Pre-defined contexts
156 For Gregorian chant and mensural notation, there are pre-defined
157 voice and staff contexts available, which set all the various
158 notation signs to values suitable for these styles. If one is
159 satisfied with these defaults, one can proceed directly with note
160 entry without worrying about the details on how to customize a
161 context. See one of the pre-defined contexts
162 @code{VaticanaVoice}, @code{VaticanaStaff}, @code{MensuralVoice},
163 and @code{MensuralStaff}. See further
166 @item @ref{Gregorian chant contexts},
167 @item @ref{Mensural contexts}.
173 @unnumberedsubsubsec Ligatures
177 @c TODO: Should double check if I recalled things correctly when I wrote
178 @c down the following paragraph by heart.
180 A ligature is a graphical symbol that represents at least two
181 distinct notes. Ligatures originally appeared in the manuscripts
182 of Gregorian chant notation to denote ascending or descending
183 sequences of notes on the same syllable. They are also used in
186 Ligatures are entered by @emph{enclosing} them in @code{\[} and
187 @code{\]}. Some ligature styles may need additional input syntax
188 specific for this particular type of ligature. By default, the
189 @code{LigatureBracket} engraver just puts a square bracket
192 @lilypond[quote,ragged-right,verbatim]
200 Two other ligature styles are available: the Vaticana for
201 Gregorian chant, and the Mensural for mensural music (only white
202 mensural ligatures are supported for mensural music, and with
203 certain limitations). To use any of these styles, the default
204 @code{Ligature_bracket_engraver} has to be replaced with one of the
205 specialized ligature engravers in the @code{Voice} context,
206 as explained in @ref{White mensural ligatures} and @ref{Gregorian
207 square neume ligatures}.
211 @c TODO: nothing here yet ...
216 Ligatures need special spacing that has not yet been implemented. As
217 a result, there is too much space between ligatures most of the time,
218 and line breaking often is unsatisfactory. Also, lyrics do not
219 correctly align with ligatures.
221 Accidentals must not be printed within a ligature, but instead need to
222 be collected and printed in front of it.
224 The syntax still uses the deprecated infix style @code{\[ music expr
225 \]}. For consistency reasons, it will eventually be changed to
226 postfix style @code{note\[ ... note\]}.
228 @c Alternatively, the file
229 @c @file{gregorian@/-init@/.ly} can be included; it provides a scheme
232 @c \ligature @var{music expr}
234 @c with the same effect and is believed to be stable.
236 @c TODO: this does not seem to work at the moment.
243 @unnumberedsubsubsec Custodes
248 A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard}) is a
249 symbol that appears at the end of a staff. It anticipates the pitch
250 of the first note of the following line, thus helping the performer
251 to manage line breaks during performance.
253 Custodes were frequently used in music notation until the
254 seventeenth century. Nowadays, they have survived only in a few
255 particular forms of musical notation such as contemporary editions
256 of Gregorian chant like the @emph{Editio Vaticana}. There are
257 different custos glyphs used in different flavors of notational
260 For typesetting custodes, just put a @code{Custos_engraver} into the
261 @code{Staff} context when declaring the @code{\layout} block,
262 and change the style of the custos with an @code{\override} if
263 desired, as shown in the following example:
265 @lilypond[quote,ragged-right]
275 \consists Custos_engraver
276 \override Custos #'style = #'mensural
282 The custos glyph is selected by the @code{style} property. The styles
283 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
284 @code{mensural}. They are demonstrated in the following fragment.
286 @lilypond[quote,ragged-right,fragment]
287 \new Lyrics \lyricmode {
289 \typewriter "vaticana "
290 \line { " " \musicglyph #"custodes.vaticana.u0" }
293 \typewriter "medicaea "
294 \line { " " \musicglyph #"custodes.medicaea.u0" }
297 \typewriter "hufnagel "
298 \line { " " \musicglyph #"custodes.hufnagel.u0" }
301 \typewriter "mensural "
302 \line { " " \musicglyph #"custodes.mensural.u0" }
313 @rlsr{Ancient notation}.
316 @c {{{2 Figured bass support
317 @node Figured bass support
318 @unnumberedsubsubsec Figured bass support
320 There is limited support for figured bass notation from the
321 Baroque period; see @ref{Figured bass}.
324 @c {{{1 Typesetting mensural music
325 @node Typesetting mensural music
326 @subsection Typesetting mensural music
329 * Mensural contexts::
331 * Mensural time signatures::
332 * Mensural note heads::
335 * Mensural accidentals and key signatures::
336 * Annotational accidentals (musica ficta)::
337 * White mensural ligatures::
342 @c {{{2Mensural contexts
343 @node Mensural contexts
344 @unnumberedsubsubsec Mensural contexts
346 @cindex MensuralVoiceContext
347 @cindex MensuralStaffContext
349 The predefined @code{MensuralVoice} and @code{MensuralStaff}
350 contexts can be used to engrave a piece in mensural style. These
351 contexts initialize all relevant context properties and grob
352 properties to proper values, so you can immediately go ahead
353 entering the chant, as the following excerpt demonstrates:
355 @lilypond[quote,ragged-right,verbatim]
358 \new MensuralVoice = "discantus" \transpose c c' {
359 \override Score.BarNumber #'transparent = ##t {
360 c'1\melisma bes a g\melismaEnd
362 \[ f1\melisma a c'\breve d'\melismaEnd \]
364 c'\breve\melisma a1 g1\melismaEnd
365 fis\longa^\signumcongruentiae
368 \new Lyrics \lyricsto "discantus" {
369 San -- ctus, San -- ctus, San -- ctus
377 @c TODO: nothing here yet ...
380 @c {{{2 Mensural clefs
382 @unnumberedsubsubsec Mensural clefs
386 The following table shows all mensural clefs that are supported via
387 the @code{\clef} command. Some of the clefs use the same glyph,
388 but differ only with respect to the line they are printed on. In
389 such cases, a trailing number in the name is used to enumerate
390 these clefs, numbered from the lowest to the highest line. Still,
391 you can manually force a clef glyph to be typeset on an arbitrary
392 line, as described in @ref{Clef}. The note printed to the right
393 side of each clef in the example column denotes the @code{c'} with
394 respect to that clef.
396 Petrucci used C clefs with differently balanced left-side vertical
397 beams, depending on which staff line it is printed.
399 @multitable @columnfractions .4 .4 .2
410 @code{mensural-c1}, @code{mensural-c2},@*
411 @code{mensural-c3}, @code{mensural-c4}
413 @lilypond[fragment,relative=1,notime]
415 \override NoteHead #'style = #'mensural
424 @lilypond[fragment,relative=1,notime]
426 \override NoteHead #'style = #'mensural
435 @lilypond[fragment,relative=1,notime]
437 \override NoteHead #'style = #'mensural
444 @code{neomensural-c1}, @code{neomensural-c2},@*
445 @code{neomensural-c3}, @code{neomensural-c4}
447 @lilypond[fragment,relative=1,notime]
448 \clef "neomensural-c2" c
452 petrucci style C clefs, for use on different staff lines
453 (the example shows the 2nd staff line C clef)
455 @code{petrucci-c1}, @code{petrucci-c2},@*
456 @code{petrucci-c3}, @code{petrucci-c4},@*
459 @lilypond[fragment,relative=1,notime]
461 \override NoteHead #'style = #'mensural
466 petrucci style F clef
470 @lilypond[fragment,relative=1,notime]
472 \override NoteHead #'style = #'mensural
477 petrucci style G clef
481 @lilypond[fragment,relative=1,notime]
483 \override NoteHead #'style = #'mensural
496 The mensural g clef is mapped to the Petrucci g clef.
499 @c {{{2Mensural time signatures
500 @node Mensural time signatures
501 @unnumberedsubsubsec Mensural time signatures
503 @cindex mensuration sign
504 @cindex time signatures
506 There is limited support for mensuration signs (which are similar to, but
507 not exactly the same as time signatures). The glyphs are hard-wired to
508 particular time fractions. In other words, to get a particular mensuration
509 sign with the @code{\time n/m} command, @code{n} and @code{m} have to be
510 chosen according to the following table
512 @lilypond[quote,ragged-right]
517 \remove Staff_symbol_engraver
518 \remove Clef_engraver
519 \remove Time_signature_engraver
523 \set Score.timing = ##f
524 \set Score.barAlways = ##t
525 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
526 #"timesig.neomensural44" }
528 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
529 #"timesig.neomensural22" }
531 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
532 #"timesig.neomensural64" }
534 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
535 #"timesig.neomensural68" }
537 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
538 #"timesig.neomensural32" }
540 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
541 #"timesig.neomensural34" }
543 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
544 #"timesig.neomensural94" }
546 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
547 #"timesig.neomensural98" }
549 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
550 #"timesig.neomensural48" }
552 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
553 #"timesig.neomensural24" }
557 Use the @code{style} property of grob @code{TimeSignature}
558 to select ancient time signatures. Supported styles are
559 @code{neomensural} and @code{mensural}. The above table uses the
560 @code{neomensural} style. The following examples show the
561 differences in style:
563 @lilypond[ragged-right,fragment,relative=1,quote]
568 c1^\markup { \hspace #-2.0 \typewriter default }
570 \override Staff.TimeSignature #'style = #'numbered
572 c1^\markup { \hspace #-2.0 \typewriter numbered }
574 \override Staff.TimeSignature #'style = #'mensural
576 c1^\markup { \hspace #-2.0 \typewriter mensural }
578 \override Staff.TimeSignature #'style = #'neomensural
580 c1^\markup { \hspace #-2.0 \typewriter neomensural }
581 \override Staff.TimeSignature #'style = #'single-digit
583 c1^\markup { \hspace #-2.0 \typewriter single-digit }
590 @ref{Time signature}, gives a general introduction to
591 the use of time signatures.
596 Ratios of note durations do not change with the time signature. For
597 example, the ratio of 1@tie{}breve = 3@tie{}semibreves (@emph{tempus
598 perfectum}) must be made by hand, by setting
601 breveTP = #(ly:make-duration -1 0 3 2)
607 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
609 The @code{mensural68alt} and @code{neomensural68alt} symbols
610 (alternate symbols for 6/8) are not addressable with @code{\time}.
611 Use @code{\markup @{\musicglyph #"timesig.mensural68alt" @}} instead.
614 @c {{{2Mensural note heads
615 @node Mensural note heads
616 @unnumberedsubsubsec Mensural note heads
618 @cindex note heads, ancient
620 For ancient notation, a note head style other than the @code{default} style
621 may be chosen. This is accomplished by setting the @code{style} property of
622 the @code{NoteHead} object to @code{baroque}, @code{neomensural},
623 @code{mensural} or @code{petrucci}.
625 The @code{baroque} style differs from the @code{default} style by:
628 @item Providing a @code{maxima} notehead, and
629 @item Using a square shape for @code{\breve} note heads.
632 The @code{neomensural}, @code{mensural}, and @code{petrucci} styles differ from
633 the @code{baroque} style by:
636 @item Using rhomboidal heads for semibreves and all smaller durations, and
637 @item Centering the stems on the note heads.
641 The following example demonstrates the @code{petrucci} style:
643 @c Renaissance music doesn't use bar lines ... but they do help to
644 @c separate the notes for easier identification.
646 @lilypond[quote,fragment,ragged-right,verbatim]
647 \set Score.skipBars = ##t
649 \override NoteHead #'style = #'petrucci
650 a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
657 @ref{Note head styles}, gives an overview of all available note head styles.
660 @c {{{2Mensural flags
662 @unnumberedsubsubsec Mensural flags
666 Use the @code{flag-style} property of grob @code{Stem} to
667 select ancient flags. Besides the @code{default} flag style,
668 only the @code{mensural} style is supported.
670 @lilypond[quote,fragment,ragged-right,verbatim]
671 \override Stem #'flag-style = #'mensural
672 \override Stem #'thickness = #1.0
673 \override NoteHead #'style = #'mensural
675 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
676 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
679 Note that the innermost flare of each mensural flag always is
680 vertically aligned with a staff line.
682 There is no particular flag style for neo-mensural or Petrucci notation.
684 @c when typesetting the incipit of a transcribed piece of mensural
685 @c music, the default flag style should be used.
686 There are no flags in Gregorian chant notation.
690 @c TODO: nothing here yet ...
695 The attachment of ancient flags to stems is slightly off.
696 @c due to a change in early 2.3.x.
698 Vertically aligning each flag with a staff line assumes that stems
699 always end either exactly on or exactly in the middle between two
700 staff lines. This may not always be true when using advanced layout
701 features of classical notation (which however are typically out of
702 scope for mensural notation).
704 @c {{{2Mensural rests
706 @unnumberedsubsubsec Mensural rests
708 @cindex rests, ancient
710 Use the @code{style} property of grob @code{Rest} to select
711 ancient rests. Supported styles are @code{classical},
712 @code{neomensural}, and @code{mensural}. @code{classical} differs
713 from the @code{default} style only in that the quarter rest looks
714 like a horizontally mirrored 8th rest. The @code{mensural} and
715 the @code{neomensural} styles mimic the appearance of rests in
716 manuscripts and prints up to the 16th century.
718 The following example demonstrates the @code{mensural} and
719 @code{neomensural} styles:
721 @lilypond[quote,fragment,ragged-right,verbatim]
722 \set Score.skipBars = ##t
723 \override Rest #'style = #'classical
724 r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
725 \override Rest #'style = #'mensural
726 r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
727 \override Rest #'style = #'neomensural
728 r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
731 There are no 32th and 64th rests specifically for the mensural or
732 neo-mensural style. Instead, the rests from the default style will be
735 See @rlsr{Ancient notation} for a chart of all rests.
739 @ref{Rests}, gives a general introduction into the use of
743 @c {{{2Mensural accidentals and key signatures
744 @node Mensural accidentals and key signatures
745 @unnumberedsubsubsec Mensural accidentals and key signatures
748 @cindex key signature
750 The @code{mensural} style provides a sharp and a flat sign
751 different from the default style. If called for, the natural sign
752 will be taken from the @code{vaticana} style.
754 @lilypond[quote,ragged-right,staffsize=26]
761 \line { " " \musicglyph #"accidentals.mensural-1"
762 " " \musicglyph #"accidentals.mensural1" }
768 \context { \Score \remove "Bar_number_engraver" }
770 \remove "Clef_engraver"
771 \remove "Key_engraver"
772 \remove "Time_signature_engraver"
773 \remove "Staff_symbol_engraver"
774 \override VerticalAxisGroup #'minimum-Y-extent = ##f
780 The style for accidentals and key signatures is controlled by the
781 @code{glyph-name-alist} property of the grobs @code{Accidental} and
782 @code{KeySignature}, respectively; e.g.:
784 @code{\override Staff.Accidental #'glyph-name-alist =
785 #alteration-mensural-glyph-name-alist}
790 @ref{Pitches}, @ref{Accidentals}, and @ref{Automatic accidentals}, give a
791 general introduction of the use of accidentals. @ref{Key signature}, gives
792 a general introduction of the use of key signatures.
795 @rinternals{KeySignature}.
798 @c {{{2 Annotational accidentals (musica ficta)
799 @node Annotational accidentals (musica ficta)
800 @unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
802 In European music from before about 1600, singers were expected to
803 chromatically alter notes at their own initiative according to
804 certain rules. This is called @notation{musica ficta}. In modern
805 transcriptions, these accidentals are usually printed over the
808 @cindex Accidental, musica ficta
811 Support for such suggested accidentals is included, and can be
812 switched on by setting @code{suggestAccidentals} to true.
814 @funindex suggestAccidentals
816 @lilypond[verbatim,fragment,relative=1]
818 \set suggestAccidentals = ##t
822 This will treat @emph{every} subsequent accidental as @emph{musica
823 ficta} until it is unset with @code{\set suggestAccidentals =
824 ##f}. A more practical way is to use @code{\once \set
825 suggestAccidentals = ##t}, which can even be defined as a
826 convenient shorthand:
828 @lilypond[quote,verbatim]
829 ficta = { \once \set suggestAccidentals = ##t }
830 \score { \relative c''
832 \once \set suggestAccidentals = ##t
833 bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
841 @rinternals{Accidental_engraver},
842 @rinternals{AccidentalSuggestion}.
845 @c {{{2White mensural ligatures
846 @node White mensural ligatures
847 @unnumberedsubsubsec White mensural ligatures
849 @cindex Mensural ligatures
850 @cindex White mensural ligatures
852 There is limited support for white mensural ligatures.
854 To engrave white mensural ligatures, in the layout block, replace
855 the @code{Ligature_bracket_engraver} with the
856 @code{Mensural_ligature_engraver} in the @code{Voice}
863 \remove Ligature_bracket_engraver
864 \consists Mensural_ligature_engraver
869 There is no additional input language to describe the shape of a
870 white mensural ligature. The shape is rather determined solely from
871 the pitch and duration of the enclosed notes. While this approach may
872 take a new user a while to get accustomed to, it has the great advantage
873 that the full musical information of the ligature is known internally.
874 This is not only required for correct MIDI output, but also allows for
875 automatic transcription of the ligatures.
880 @c \set Score.timing = ##f
881 @c \set Score.defaultBarType = "empty"
882 @c \override NoteHead #'style = #'neomensural
883 @c \override Staff.TimeSignature #'style = #'neomensural
884 @c \clef "petrucci-g"
886 @c \[ d\longa c\breve f e d \]
887 @c \[ c'\maxima d'\longa \]
888 @c \[ e'1 a g\breve \]
890 @lilypond[quote,ragged-right,verbatim]
893 \set Score.timing = ##f
894 \set Score.defaultBarType = "empty"
895 \override NoteHead #'style = #'neomensural
896 \override Staff.TimeSignature #'style = #'neomensural
899 \[ d\longa c\breve f e d \]
900 \[ c'\maxima d'\longa \]
906 \remove Ligature_bracket_engraver
907 \consists Mensural_ligature_engraver
913 Without replacing @code{Ligature_bracket_engraver} with
914 @code{Mensural_ligature_engraver}, the same music transcribes
917 @lilypond[quote,ragged-right]
919 \set Score.timing = ##f
920 \set Score.defaultBarType = "empty"
921 \override NoteHead #'style = #'neomensural
922 \override Staff.TimeSignature #'style = #'neomensural
925 \[ d\longa c\breve f e d \]
926 \[ c'\maxima d'\longa \]
933 @c TODO: nothing here yet ...
938 Horizontal spacing of ligatures is poor.
941 @c {{{1 Typesetting Gregorian chant
942 @node Typesetting Gregorian chant
943 @subsection Typesetting Gregorian chant
946 * Gregorian chant contexts::
948 * Gregorian accidentals and key signatures::
950 * Gregorian articulation signs::
951 * Augmentum dots (@emph{morae})::
952 * Gregorian square neume ligatures::
955 When typesetting a piece in Gregorian chant notation, the
956 @code{Vaticana_ligature_engraver} automatically selects the
957 proper note heads, so there is no need to explicitly set the note
958 head style. Still, the note head style can be set, e.g., to
959 @code{vaticana_punctum} to produce punctum neumes. Similarly, the
960 @code{Mensural_ligature_engraver} automatically assembles
961 mensural ligatures. See @ref{Ligatures}, for how ligature
965 @c {{{2Gregorian chant contexts
966 @node Gregorian chant contexts
967 @unnumberedsubsubsec Gregorian chant contexts
969 @cindex VaticanaVoiceContext
970 @cindex VaticanaStaffContext
972 The predefined @code{VaticanaVoiceContext} and
973 @code{VaticanaStaffContext} can be used to engrave a piece of
974 Gregorian chant in the style of the Editio Vaticana. These contexts
975 initialize all relevant context properties and grob properties to
976 proper values, so you can immediately go ahead entering the chant, as
977 the following excerpt demonstrates:
979 @lilypond[quote,ragged-right,verbatim]
980 \include "gregorian.ly"
983 \new VaticanaVoice = "cantus" {
984 \[ c'\melisma c' \flexa a \]
985 \[ a \flexa \deminutum g\melismaEnd \]
987 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
988 c' \divisioMinima \break
989 \[ c'\melisma c' \flexa a \]
990 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
992 \new Lyrics \lyricsto "cantus" {
993 San- ctus, San- ctus, San- ctus
1001 @c TODO: nothing here yet ...
1004 @c {{{2 Gregorian clefs
1005 @node Gregorian clefs
1006 @unnumberedsubsubsec Gregorian clefs
1010 The following table shows all Gregorian clefs that are supported via
1011 the @code{\clef} command. Some of the clefs use the same glyph,
1012 but differ only with respect to the line they are printed on. In
1013 such cases, a trailing number in the name is used to enumerate
1014 these clefs, numbered from the lowest to the highest line. Still,
1015 you can manually force a clef glyph to be typeset on an arbitrary
1016 line, as described in @ref{Clef}. The note printed to the right
1017 side of each clef in the example column denotes the @code{c'} with
1018 respect to that clef.
1020 @multitable @columnfractions .4 .4 .2
1029 Editio Vaticana style do clef
1031 @code{vaticana-do1}, @code{vaticana-do2},@*
1034 @lilypond[fragment,relative=1,notime]
1035 \override Staff.StaffSymbol #'line-count = #4
1036 \override Staff.StaffSymbol #'color = #red
1037 \override Staff.LedgerLineSpanner #'color = #red
1038 \override Voice.Stem #'transparent = ##t
1039 \override NoteHead #'style = #'vaticana.punctum
1040 \clef "vaticana-do2"
1045 Editio Vaticana style fa clef
1047 @code{vaticana-fa1}, @code{vaticana-fa2}
1049 @lilypond[fragment,relative=1,notime]
1050 \override Staff.StaffSymbol #'line-count = #4
1051 \override Staff.StaffSymbol #'color = #red
1052 \override Staff.LedgerLineSpanner #'color = #red
1053 \override Voice.Stem #'transparent = ##t
1054 \override NoteHead #'style = #'vaticana.punctum
1055 \clef "vaticana-fa2"
1060 Editio Medicaea style do clef
1062 @code{medicaea-do1}, @code{medicaea-do2},@*
1065 @lilypond[fragment,relative=1,notime]
1066 \override Staff.StaffSymbol #'line-count = #4
1067 \override Staff.StaffSymbol #'color = #red
1068 \override Staff.LedgerLineSpanner #'color = #red
1069 \override Voice.Stem #'transparent = ##t
1070 \override NoteHead #'style = #'medicaea.punctum
1071 \clef "medicaea-do2"
1076 Editio Medicaea style fa clef
1078 @code{medicaea-fa1}, @code{medicaea-fa2}
1080 @lilypond[fragment,relative=1,notime]
1081 \override Staff.StaffSymbol #'line-count = #4
1082 \override Staff.StaffSymbol #'color = #red
1083 \override Staff.LedgerLineSpanner #'color = #red
1084 \override Voice.Stem #'transparent = ##t
1085 \override NoteHead #'style = #'medicaea.punctum
1086 \clef "medicaea-fa2"
1091 hufnagel style do clef
1093 @code{hufnagel-do1}, @code{hufnagel-do2},@*
1096 @lilypond[fragment,relative=1,notime]
1097 \override Staff.StaffSymbol #'line-count = #4
1098 \override Staff.StaffSymbol #'color = #red
1099 \override Staff.LedgerLineSpanner #'color = #red
1100 \override Voice.Stem #'transparent = ##t
1101 \override NoteHead #'style = #'hufnagel.punctum
1102 \clef "hufnagel-do2"
1107 hufnagel style fa clef
1109 @code{hufnagel-fa1}, @code{hufnagel-fa2}
1111 @lilypond[fragment,relative=1,notime]
1112 \override Staff.StaffSymbol #'line-count = #4
1113 \override Staff.StaffSymbol #'color = #red
1114 \override Staff.LedgerLineSpanner #'color = #red
1115 \override Voice.Stem #'transparent = ##t
1116 \override NoteHead #'style = #'hufnagel.punctum
1117 \clef "hufnagel-fa2"
1122 hufnagel style combined do/fa clef
1124 @code{hufnagel-do-fa}
1126 @lilypond[fragment,relative=1,notime]
1127 \override Staff.StaffSymbol #'color = #red
1128 \override Staff.LedgerLineSpanner #'color = #red
1129 \override Voice.Stem #'transparent = ##t
1130 \override NoteHead #'style = #'hufnagel.punctum
1131 \clef "hufnagel-do-fa"
1142 @c {{{2 Gregorian accidentals and key signatures
1143 @node Gregorian accidentals and key signatures
1144 @unnumberedsubsubsec Gregorian accidentals and key signatures
1147 @cindex key signature
1149 Accidentals for the three different Gregorian styles are available:
1151 @lilypond[quote,ragged-right,staffsize=26]
1158 \line { " " \musicglyph #"accidentals.vaticana-1"
1159 " " \musicglyph #"accidentals.vaticana0" }
1163 \line { " " \musicglyph #"accidentals.medicaea-1" }
1167 \line { " " \musicglyph #"accidentals.hufnagel-1" }
1173 \context { \Score \remove "Bar_number_engraver" }
1175 \remove "Clef_engraver"
1176 \remove "Key_engraver"
1177 \remove "Time_signature_engraver"
1178 \remove "Staff_symbol_engraver"
1179 \override VerticalAxisGroup #'minimum-Y-extent = ##f
1185 As shown, not all accidentals are supported by each style. When
1186 trying to access an unsupported accidental, LilyPond will switch to a
1189 @c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1190 @c {ancient-accidentals.ly}
1192 The style for accidentals and key signatures is controlled by the
1193 @code{glyph-name-alist} property of the grobs @code{Accidental} and
1194 @code{KeySignature}, respectively; e.g.:
1196 @code{\override Staff.Accidental #'glyph-name-alist =
1197 #alteration-mensural-glyph-name-alist}
1202 @ref{Pitches}, @ref{Accidentals}, and @ref{Automatic accidentals}, give a
1203 general introduction of the use of accidentals. @ref{Key signature}, gives
1204 a general introduction of the use of key signatures.
1206 Internals Reference:
1207 @rinternals{KeySignature}.
1212 @unnumberedsubsubsec Divisiones
1218 There are no rests in Gregorian chant notation; instead, it uses
1221 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
1222 @q{division}) is a staff context symbol that is used to indicate
1223 the phrase and section structure of Gregorian music. The musical meaning of
1224 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
1225 can be characterized as short, medium, and long pause, somewhat like
1226 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
1227 only marks the end of a chant, but is also frequently used within a
1228 single antiphonal/responsorial chant to mark the end of each section.
1230 To use divisiones, include the file @file{gregorian@/.ly}. It
1231 contains definitions that you can apply by just inserting
1232 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
1233 and @code{\finalis} at proper places in the input. Some editions use
1234 @emph{virgula} or @emph{caesura} instead of divisio minima.
1235 Therefore, @file{gregorian@/.ly} also defines @code{\virgula} and
1238 @lilypondfile[quote,ragged-right]{divisiones.ly}
1246 @funindex \divisioMinima
1247 @code{\divisioMinima},
1248 @funindex \divisioMaior
1249 @code{\divisioMaior},
1250 @funindex \divisioMaxima
1251 @code{\divisioMaxima},
1257 @c {{{2Gregorian articulations
1258 @node Gregorian articulation signs
1259 @unnumberedsubsubsec Gregorian articulation signs
1261 @cindex articulations
1263 In addition to the standard articulation signs described in
1264 section @ref{Articulations and ornamentations}, articulation signs
1265 specifically designed for use with notation in @emph{Editio
1266 Vaticana} style are provided.
1268 @lilypond[quote,ragged-right,verbatim]
1269 \include "gregorian.ly"
1271 \new VaticanaVoice {
1272 \override TextScript #'font-family = #'typewriter
1273 \override TextScript #'font-shape = #'upright
1274 \override Script #'padding = #-0.1
1275 a\ictus_"ictus " \break
1276 a\circulus_"circulus " \break
1277 a\semicirculus_"semicirculus " \break
1278 a\accentus_"accentus " \break
1279 \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
1286 @c TODO: nothing here yet ...
1291 Some articulations are vertically placed too closely to the
1292 corresponding note heads.
1294 The episema line is not displayed in many cases. If it is displayed,
1295 the right end of the episema line is often too far to the right.
1298 @c {{{2Augmentum dots (@emph{morae})
1299 @node Augmentum dots (@emph{morae})
1300 @unnumberedsubsubsec Augmentum dots (@emph{morae})
1302 Augmentum dots, also called @emph{morae}, are added with the music
1303 function @code{\augmentum}. Note that @code{\augmentum} is
1304 implemented as a unary music function rather than as head prefix. It
1305 applies to the immediately following music expression only. That is,
1306 @code{\augmentum \virga c} will have no visible effect. Instead, say
1307 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1308 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1309 @code{\augmentum a \augmentum g}.
1311 @lilypond[quote,ragged-right,verbatim]
1312 \include "gregorian.ly"
1314 \new VaticanaVoice {
1315 \[ \augmentum a \flexa \augmentum g \]
1326 Internals Reference:
1327 @rinternals{BreathingSign}.
1330 @rlsr{Ancient notation}.
1333 @c {{{2Gregorian square neumes ligatures
1334 @node Gregorian square neume ligatures
1335 @unnumberedsubsubsec Gregorian square neume ligatures
1337 @cindex Square neumes ligatures
1338 @cindex Gregorian square neumes ligatures
1340 There is limited support for Gregorian square neumes notation
1341 (following the style of the Editio Vaticana). Core ligatures can
1342 already be typeset, but essential issues for serious typesetting are
1343 still lacking, such as (among others) horizontal alignment of multiple
1344 ligatures, lyrics alignment, and proper handling of accidentals.
1346 The support for Gregorian neumes is enabled by @code{\include}ing
1347 "gregorian.ly" at the beginning of the file. This makes available
1348 a number of extra commands to produce the neume symbols used in
1349 plainchant notation.
1353 Note heads can be @emph{modified} and/or @emph{joined}.
1357 the note head can be modified by @emph{prefixing} the note name
1358 with any of the following commands:
1363 @funindex \inclinatum
1367 @funindex \descendens
1369 @funindex \ascendens
1375 @funindex \deminutum
1382 @item Ligatures, properly speaking (i.e. notes joined together), are
1383 produced by placing one of the joining commands @code{\pes} or
1384 @code{\flexa}, for upwards and downwards movement, respectively,
1385 @emph{between} the notes to be joined.
1388 A note name without any qualifiers will produce a @emph{punctum}.
1389 All other neumes, including the single-note neumes with a
1390 different shape such as the @emph{virga}, are in principle
1391 considered as ligatures and should therefore be placed
1392 between @code{\[...\]}.
1393 @c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
1400 @item The @emph{punctum} is the basic note shape (in the
1401 @emph{Vaticana} style: a square with some curvation for
1402 typographical finesse). In addition to the regular
1403 @emph{punctum}, there is also the oblique @emph{punctum
1404 inclinatum}, produced with the prefix @code{\inclinatum}. The
1405 regular @emph{punctum} can be modified with @code{\cavum}, which
1406 produces a hollow note, and @code{\linea}, which draws vertical
1407 lines on either side of the note.
1409 @item The @emph{virga} has a descending stem on the right side. It is
1410 produced by the modifier @code{\virga}.
1416 Unlike most other neumes notation systems, the typographical
1417 appearance of ligatures is not directly dictated by the input
1418 commands, but follows certain conventions dependent on musical
1419 meaning. For example, a three-note ligature with the musical shape
1420 low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
1421 Torculus consisting of three Punctum heads, while the shape
1422 high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
1423 Porrectus with a curved flexa shape and only a single Punctum
1424 head. There is no command to explicitly typeset the curved flexa
1425 shape; the decision of when to typeset a curved flexa shape is
1426 based on the musical input. The idea of this approach is to
1427 separate the musical aspects of the input from the notation style
1428 of the output. This way, the same input can be reused to typeset
1429 the same music in a different style of Gregorian chant notation.
1434 Another main category of notes in Gregorian chant is the so-called
1435 liquescent neumes. They are used under certain circumstances at
1436 the end of a syllable which ends in a @q{liquescent} letter, i.e.
1437 the sounding consonants that can hold a tone (the nasals, l, r, v,
1438 j, and their diphtong equivalents). Thus, the liquescent neumes
1439 are never used alone (although some of them can be produced), and
1440 they always fall at the end of a ligature.
1442 Liquescent neumes are represented graphically in two different,
1443 more or less interchangeable ways: with a smaller note or by
1444 @q{twisting} the main note upwards or downwards. The first is
1445 produced by making a regular @code{pes} or @code{flexa} and
1446 modifying the shape of the second note: @code{\[ a \pes \deminutum
1447 b \] }, the second by modifying the shape of a single-note neume
1448 with @code{\auctum} and one of the direction markers
1449 @code{\descendens} or @code{\ascendens}, e.g., @code{ \[ \auctum
1455 A third category of signs is made up of a small number of signs
1456 with a special meaning (which, incidentally, in most cases is only
1457 vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
1458 @emph{strophicus}. These are all produced by prefixing a note name
1459 with the corresponding modifier, @code{\quilisma},
1460 @code{\oriscus}, or @code{\stropha}.
1462 Virtually, within the ligature delimiters @code{\[} and @code{\]},
1463 any number of heads may be accumulated to form a single ligature,
1464 and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
1465 @code{\inclinatum}, etc. may be mixed in as desired. The use of
1466 the set of rules that underlies the construction of the ligatures
1467 in the above table is accordingly extrapolated. This way,
1468 infinitely many different ligatures can be created.
1470 Note that the use of these signs in the music itself follows
1471 certain rules, which are not checked by LilyPond. E.g., the
1472 @emph{quilisma} is always the middle note of an ascending
1473 ligature, and usually falls on a half-tone step, but it is
1474 perfectly possible, although incorrect, to make a single-note
1477 In addition to the note signs, gregorian.ly also defines the
1478 commands @code{\versus}, @code{\responsum}, @code{\ij},
1479 @code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
1480 corresponding characters, e.g., for use in lyrics, as section
1481 markers, etc. These commands use special unicode characters and
1482 will only work if a font is used which supports them.
1487 The following table shows a limited, but still representative pool
1488 of Gregorian ligatures, together with the code fragments that
1489 produce the ligatures. The table is based on the extended neumes
1490 table of the 2nd volume of the Antiphonale Romanum (@emph{Liber
1491 Hymnarius}), published 1983 by the monks of Solesmes. The first
1492 column gives the name of the ligature, with the main form in
1493 boldface and the liquescent forms in italics. The third column
1494 shows the code fragment that produces this ligature, using
1495 @code{g}, @code{a}, and @code{b} as example pitches.
1498 @b{Single-note neums}
1500 @multitable @columnfractions .4 .2 .4
1503 @b{Basic} and @emph{Liquescent} forms
1510 @c TODO: \layout block is identical in all of the below examples.
1511 @c Therefore, it should somehow be included rather than duplicated all
1514 @c why not make variables in ly/engraver-init.ly? --hwn
1516 @c Because it's just used to typeset plain notes without
1517 @c a staff for demonstration purposes rather than something
1518 @c special of Gregorian chant notation. --jr
1524 @lilypond[staffsize=26,line-width=1.5\cm]
1525 \include "gregorian.ly"
1531 \layout { \neumeDemoLayout }}
1538 @lilypond[staffsize=26,line-width=1.5\cm]
1539 \include "gregorian.ly"
1545 \layout { \neumeDemoLayout }}
1548 @code{\[ \cavum b \]}
1552 @lilypond[staffsize=26,line-width=1.5\cm]
1553 \include "gregorian.ly"
1559 \layout { \neumeDemoLayout }}
1562 @code{\[ \linea b \]}
1565 @emph{Punctum Auctum Ascendens}
1567 @lilypond[staffsize=26,line-width=2.5\cm]
1568 \include "gregorian.ly"
1571 % Punctum Auctum Ascendens
1572 \[ \auctum \ascendens b \]
1574 \layout { \neumeDemoLayout }}
1577 @code{\[ \auctum \ascendens b \]}
1580 @emph{Punctum Auctum Descendens}
1582 @lilypond[staffsize=26,line-width=2.5\cm]
1583 \include "gregorian.ly"
1586 % Punctum Auctum Descendens
1587 \[ \auctum \descendens b \]
1589 \layout { \neumeDemoLayout }}
1592 @code{\[ \auctum \descendens b \]}
1595 @b{Punctum inclinatum}
1597 @lilypond[staffsize=26,line-width=1.5\cm]
1598 \include "gregorian.ly"
1601 % Punctum Inclinatum
1604 \layout { \neumeDemoLayout }}
1607 @code{\[ \inclinatum b \]}
1610 @emph{Punctum Inclinatum Auctum}
1612 @lilypond[staffsize=26,line-width=2.5\cm]
1613 \include "gregorian.ly"
1616 % Punctum Inclinatum Auctum
1617 \[ \inclinatum \auctum b \]
1619 \layout { \neumeDemoLayout }}
1622 @code{\[ \inclinatum \auctum b \]}
1625 @emph{Punctum Inclinatum Parvum}
1627 @lilypond[staffsize=26,line-width=1.0\cm]
1628 \include "gregorian.ly"
1631 % Punctum Inclinatum Parvum
1632 \[ \inclinatum \deminutum b \]
1634 \layout { \neumeDemoLayout }}
1637 @code{\[ \inclinatum \deminutum b \]}
1642 @lilypond[staffsize=26,line-width=1.0\cm]
1643 \include "gregorian.ly"
1649 \layout { \neumeDemoLayout }}
1656 @b{Two-note ligatures}
1658 @multitable @columnfractions .4 .2 .4
1661 @b{Clivis vel Flexa}
1663 @lilypond[staffsize=26,line-width=1.0\cm]
1664 \include "gregorian.ly"
1670 \layout { \neumeDemoLayout }}
1673 @code{\[ b \flexa g \]}
1677 @emph{Clivis Aucta Descendens}
1679 @lilypond[staffsize=26,line-width=2.0\cm]
1680 \include "gregorian.ly"
1683 % Clivis Aucta Descendens
1684 \[ b \flexa \auctum \descendens g \]
1686 \layout { \neumeDemoLayout }}
1689 @code{\[ b \flexa \auctum \descendens g \]}
1692 @emph{Clivis Aucta Ascendens}
1694 @lilypond[staffsize=26,line-width=2.0\cm]
1695 \include "gregorian.ly"
1698 % Clivis Aucta Ascendens
1699 \[ b \flexa \auctum \ascendens g \]
1701 \layout { \neumeDemoLayout }}
1704 @code{\[ b \flexa \auctum \ascendens g \]}
1709 @lilypond[staffsize=26,line-width=2.0\cm]
1710 \include "gregorian.ly"
1714 \[ b \flexa \deminutum g \]
1716 \layout { \neumeDemoLayout }}
1719 @code{\[ b \flexa \deminutum g \]}
1724 @lilypond[staffsize=26,line-width=1.0\cm]
1725 \include "gregorian.ly"
1731 \layout { \neumeDemoLayout }}
1734 @code{\[ g \pes b \]}
1737 @emph{Pes Auctus Descendens}
1739 @lilypond[staffsize=26,line-width=1.0\cm]
1740 \include "gregorian.ly"
1743 % Pes Auctus Descendens
1744 \[ g \pes \auctum \descendens b \]
1746 \layout { \neumeDemoLayout }}
1749 @code{\[ g \pes \auctum \descendens b \]}
1752 @emph{Pes Auctus Ascendens}
1754 @lilypond[staffsize=26,line-width=1.0\cm]
1755 \include "gregorian.ly"
1758 % Pes Auctus Ascendens
1759 \[ g \pes \auctum \ascendens b \]
1761 \layout { \neumeDemoLayout }}
1764 @code{\[ g \pes \auctum \ascendens b \]}
1769 @lilypond[staffsize=26,line-width=1.0\cm]
1770 \include "gregorian.ly"
1774 \[ g \pes \deminutum b \]
1776 \layout { \neumeDemoLayout }}
1779 @code{\[ g \pes \deminutum b \]}
1782 @emph{Pes Initio Debilis}
1784 @lilypond[staffsize=26,line-width=1.0\cm]
1785 \include "gregorian.ly"
1788 % Pes Initio Debilis
1789 \[ \deminutum g \pes b \]
1791 \layout { \neumeDemoLayout }}
1794 @code{\[ \deminutum g \pes b \]}
1797 @emph{Pes Auctus Descendens Initio Debilis}
1799 @lilypond[staffsize=26,line-width=1.0\cm]
1800 \include "gregorian.ly"
1803 % Pes Auctus Descendens Initio Debilis
1804 \[ \deminutum g \pes \auctum \descendens b \]
1806 \layout { \neumeDemoLayout }}
1809 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1814 @b{Multi-note ligatures}
1816 @multitable @columnfractions .4 .2 .4
1821 @lilypond[staffsize=26,line-width=1.0\cm]
1822 \include "gregorian.ly"
1826 \[ a \pes b \flexa g \]
1828 \layout { \neumeDemoLayout }}
1831 @code{\[ a \pes b \flexa g \]}
1834 @emph{Torculus Auctus Descendens}
1836 @lilypond[staffsize=26,line-width=1.0\cm]
1837 \include "gregorian.ly"
1840 % Torculus Auctus Descendens
1841 \[ a \pes b \flexa \auctum \descendens g \]
1843 \layout { \neumeDemoLayout }}
1846 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1849 @emph{Torculus Deminutus}
1851 @lilypond[staffsize=26,line-width=1.0\cm]
1852 \include "gregorian.ly"
1855 % Torculus Deminutus
1856 \[ a \pes b \flexa \deminutum g \]
1858 \layout { \neumeDemoLayout }}
1861 @code{\[ a \pes b \flexa \deminutum g \]}
1864 @emph{Torculus Initio Debilis}
1866 @lilypond[staffsize=26,line-width=1.0\cm]
1867 \include "gregorian.ly"
1870 % Torculus Initio Debilis
1871 \[ \deminutum a \pes b \flexa g \]
1873 \layout { \neumeDemoLayout }}
1876 @code{\[ \deminutum a \pes b \flexa g \]}
1879 @emph{Torculus Auctus Descendens Initio Debilis}
1881 @lilypond[staffsize=26,line-width=1.0\cm]
1882 \include "gregorian.ly"
1885 % Torculus Auctus Descendens Initio Debilis
1886 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1888 \layout { \neumeDemoLayout }}
1891 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
1894 @emph{Torculus Deminutus Initio Debilis}
1896 @lilypond[staffsize=26,line-width=1.0\cm]
1897 \include "gregorian.ly"
1900 % Torculus Deminutus Initio Debilis
1901 \[ \deminutum a \pes b \flexa \deminutum g \]
1903 \layout { \neumeDemoLayout }}
1906 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
1911 @lilypond[staffsize=26,line-width=1.0\cm]
1912 \include "gregorian.ly"
1916 \[ a \flexa g \pes b \]
1918 \layout { \neumeDemoLayout }}
1921 @code{\[ a \flexa g \pes b \]}
1924 @emph{Porrectus Auctus Descendens}
1926 @lilypond[staffsize=26,line-width=1.0\cm]
1927 \include "gregorian.ly"
1930 % Porrectus Auctus Descendens
1931 \[ a \flexa g \pes \auctum \descendens b \]
1933 \layout { \neumeDemoLayout }}
1936 @code{\[ a \flexa g \pes \auctum \descendens b \]}
1939 @emph{Porrectus Deminutus}
1941 @lilypond[staffsize=26,line-width=1.0\cm]
1942 \include "gregorian.ly"
1945 % Porrectus Deminutus
1946 \[ a \flexa g \pes \deminutum b \]
1948 \layout { \neumeDemoLayout }}
1951 @code{\[ a \flexa g \pes \deminutum b \]}
1956 @lilypond[staffsize=26,line-width=1.0\cm]
1957 \include "gregorian.ly"
1961 \[ \virga b \inclinatum a \inclinatum g \]
1963 \layout { \neumeDemoLayout }}
1966 @code{\[ \virga b \inclinatum a \inclinatum g \]}
1969 @emph{Climacus Auctus}
1971 @lilypond[staffsize=26,line-width=1.0\cm]
1972 \include "gregorian.ly"
1976 \[ \virga b \inclinatum a \inclinatum \auctum g \]
1978 \layout { \neumeDemoLayout }}
1981 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
1984 @emph{Climacus Deminutus}
1986 @lilypond[staffsize=26,line-width=1.0\cm]
1987 \include "gregorian.ly"
1990 % Climacus Deminutus
1991 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
1993 \layout { \neumeDemoLayout }}
1996 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
2001 @lilypond[staffsize=26,line-width=1.0\cm]
2002 \include "gregorian.ly"
2006 \[ g \pes a \virga b \]
2008 \layout { \neumeDemoLayout }}
2011 @code{\[ g \pes a \virga b \]}
2014 @emph{Scandicus Auctus Descendens}
2016 @lilypond[staffsize=26,line-width=1.0\cm]
2017 \include "gregorian.ly"
2020 % Scandicus Auctus Descendens
2021 \[ g \pes a \pes \auctum \descendens b \]
2023 \layout { \neumeDemoLayout }}
2026 @code{\[ g \pes a \pes \auctum \descendens b \]}
2029 @emph{Scandicus Deminutus}
2031 @lilypond[staffsize=26,line-width=1.0\cm]
2032 \include "gregorian.ly"
2035 % Scandicus Deminutus
2036 \[ g \pes a \pes \deminutum b \]
2038 \layout { \neumeDemoLayout }}
2041 @code{\[ g \pes a \pes \deminutum b \]}
2048 @multitable @columnfractions .4 .2 .4
2053 @lilypond[staffsize=26,line-width=1.0\cm]
2054 \include "gregorian.ly"
2058 \[ g \pes \quilisma a \pes b \]
2060 \layout { \neumeDemoLayout }}
2063 @code{\[ g \pes \quilisma a \pes b \]}
2066 @emph{Quilisma Pes Auctus Descendens}
2068 @lilypond[staffsize=26,line-width=1.0\cm]
2069 \include "gregorian.ly"
2072 % Quilisma Pes Auctus Descendens
2073 \[ g \quilisma a \pes \auctum \descendens b \]
2075 \layout { \neumeDemoLayout }}
2078 @code{\[ \quilisma g \pes \auctum \descendens b \]}
2083 @lilypond[staffsize=26,line-width=1.0\cm]
2084 \include "gregorian.ly"
2090 \layout { \neumeDemoLayout }}
2093 @code{\[ \oriscus b \]}
2098 @lilypond[staffsize=26,line-width=1.0\cm]
2099 \include "gregorian.ly"
2103 \[ \oriscus g \pes \virga b \]
2105 \layout { \neumeDemoLayout }}
2108 @code{\[ \oriscus g \pes \virga b \]}
2111 @emph{Pes Quassus Auctus Descendens}
2113 @lilypond[staffsize=26,line-width=1.0\cm]
2114 \include "gregorian.ly"
2117 % Pes Quassus Auctus Descendens
2118 \[ \oriscus g \pes \auctum \descendens b \]
2120 \layout { \neumeDemoLayout }}
2123 @code{\[ \oriscus g \pes \auctum \descendens b \]}
2128 @lilypond[staffsize=26,line-width=1.0\cm]
2129 \include "gregorian.ly"
2133 \[ g \oriscus a \pes \virga b \]
2135 \layout { \neumeDemoLayout }}
2138 @code{\[ g \oriscus a \pes \virga b \]}
2141 @emph{Salicus Auctus Descendens}
2143 @lilypond[staffsize=26,line-width=1.0\cm]
2144 \include "gregorian.ly"
2147 % Salicus Auctus Descendens
2148 \[ g \oriscus a \pes \auctum \descendens b \]
2150 \layout { \neumeDemoLayout }}
2153 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
2158 @lilypond[staffsize=26,line-width=1.0\cm]
2159 \include "gregorian.ly"
2165 \layout { \neumeDemoLayout }}
2168 @code{\[ \stropha b \]}
2171 @emph{Stropha Aucta}
2173 @lilypond[staffsize=26,line-width=1.0\cm]
2174 \include "gregorian.ly"
2178 \[ \stropha \auctum b \]
2180 \layout { \neumeDemoLayout }}
2183 @code{\[ \stropha \auctum b \]}
2188 @lilypond[staffsize=26,line-width=1.0\cm]
2189 \include "gregorian.ly"
2193 \[ \stropha b \stropha b \]
2195 \layout { \neumeDemoLayout }}
2198 @code{\[ \stropha b \stropha b \]}
2203 @lilypond[staffsize=26,line-width=1.0\cm]
2204 \include "gregorian.ly"
2208 \[ \stropha b \stropha b \stropha b \]
2210 \layout { \neumeDemoLayout }}
2213 @code{\[ \stropha b \stropha b \stropha b \]}
2218 @lilypond[staffsize=26,line-width=1.0\cm]
2219 \include "gregorian.ly"
2223 \[ \stropha b \stropha b \stropha a \]
2225 \layout { \neumeDemoLayout }
2229 @code{\[ \stropha b \stropha b \stropha a \]}
2235 The following head prefixes are supported:
2240 @funindex \inclinatum
2244 @funindex \descendens
2246 @funindex \ascendens
2252 @funindex \deminutum
2260 Head prefixes can be accumulated, though restrictions apply. For
2261 example, either @code{\descendens} or @code{\ascendens} can be applied
2262 to a head, but not both to the same head.
2266 Two adjacent heads can be tied together with the @code{\pes} and
2267 @code{\flexa} infix commands for a rising and falling line of melody,
2270 @funindex \augmentum
2271 Use the unary music function @code{\augmentum} to add augmentum dots.
2275 @c TODO: nothing here yet ...
2280 When an @code{\augmentum} dot appears at the end of the last staff
2281 within a ligature, it is sometimes vertically placed wrong. As a
2282 workaround, add an additional skip note (e.g., @code{s8}) as last note
2285 @code{\augmentum} should be implemented as a head prefix rather than a
2286 unary music function, such that @code{\augmentum} can be intermixed
2287 with head prefixes in arbitrary order.
2291 @c Working with ancient music: scenarios and solutions:: {{{1
2292 @node Working with ancient music---scenarios and solutions
2293 @subsection Working with ancient music---scenarios and solutions
2297 * Mensurstriche layout::
2298 * Transcribing Gregorian chant::
2299 * Ancient and modern from one source::
2300 * Editorial markings::
2303 Working with ancient music frequently involves particular tasks
2304 which differ considerably from the modern notation for which
2305 LilyPond is designed. In the rest of this section, a number of
2306 typical scenarios are outlined, with suggestions of solutions.
2310 @item how to make incipits (i.e. prefatory material to indicate
2311 what the original has looked like) to modern transcriptions of
2313 @item how to achieve the @emph{Mensurstriche} layout frequently
2314 used for modern transcriptions of polyphonic music;
2315 @item how to transcribe Gregorian chant in modern notation;
2316 @item how to generate both ancient and modern notation from the
2322 @unnumberedsubsubsec Incipits
2325 @c clefs, mensuration signs etc from lsr and -user
2326 @c use snippet Transcription-of-ancient-music-with-incipit
2331 @c ... and reference to other sections ...
2334 @c {{{2Mensurstriche layout
2335 @node Mensurstriche layout
2336 @unnumberedsubsubsec Mensurstriche layout
2338 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
2339 for bar lines that are drawn between the staves of a system but
2340 not through the staves themselves. It is a common way to preserve
2341 the rhythmic appearance of the original, i.e. not having to break
2342 syncopated notes at bar lines, while still providing the
2343 orientation aids that bar lines give.
2346 @lilypondfile[verbatim,lilyquote,texidoc]
2347 {mensurstriche-layout-bar-lines-between-the-staves.ly}
2349 @c This simple setup will take care of the
2350 @c TODO Add text about lyrics to the lowest line, to be placed
2351 @c outside the StaffGroup.
2352 @c from lsr and -user
2357 @c ... and reference to other sections ...
2360 @c {{{2Transcribing Gregorian chant
2361 @node Transcribing Gregorian chant
2362 @unnumberedsubsubsec Transcribing Gregorian chant
2364 Gregorian chant can be transcribed into modern notation with a
2365 number of simple tweaks.
2367 @b{Stems}. Stems can be left out altogether by @code{\remove}-ing
2368 the @code{Stem_engraver} from the Voice context:
2375 \remove "Stem_engraver"
2380 However, in some transcription styles, stems are used
2381 occasionally, for example to indicate the transition from a
2382 single-tone recitative to a fixed melodic gesture. In these cases,
2383 one can use either @code{\override Stem #'transparent = ##t} or
2384 @code{\override Stem #'length = #0} instead, and restore the stem
2385 when needed with the corresponding @code{\once \override Stem
2386 #'transparent = ##f} (see example below).
2388 @b{Timing.} For unmetered chant, there are several alternatives.
2390 The Time_signature_engraver can be removed from the Staff context
2391 without any negative side effects. The alternative, to make it
2392 transparent, will leave an empty space in the score, since the
2393 invisible signature will still take up space.
2395 In many cases, @code{\set Score.timing = ##f} will give good
2396 results. Another alternative is to use @code{\CadenzaOn} and
2399 To remove the barlines, the radical approach is to @code{\remove}
2400 the Bar_engraver from the Staff context. Again, one may want to
2401 use @code{\override BarLine #'transparent = ##t} instead, if an
2402 occasional barline is wanted.
2404 A common type of transcription is recitativic chant where the
2405 repeated notes are indicated with a single breve. The text to
2406 the recitation tone can be dealt with in two different ways:
2407 either set as a single, left-aligned syllable:
2409 @lilypond[verbatim,ragged-right]
2410 \include "gregorian.ly"
2411 chant = \relative c' {
2413 c\breve c4 b4 a c2 c4 \divisioMaior
2414 c\breve c4 c f, f \finalis
2417 verba = \lyricmode {
2418 \once \override LyricText #'self-alignment-X = #-1
2419 "Noctem quietam et" fi -- nem per -- fec -- tum
2420 \once \override LyricText #'self-alignment-X = #-1
2421 "concedat nobis Dominus" om -- ni -- po -- tens.
2425 \new Voice = "melody" \chant
2426 \new Lyrics = "one" \lyricsto melody \verba
2431 \remove "Time_signature_engraver"
2432 \remove "Bar_engraver"
2433 \override Stem #'transparent = ##t
2439 This works fine, as long as the text doesn't span a line break. If
2440 that is the case, an alternative is to add hidden notes to the
2441 score, here in combination with changing stem visibility:
2444 @lilypond[verbatim,ragged-right]
2445 \include "gregorian.ly"
2446 chant = \relative c' {
2448 \set Score.timing = ##f
2449 c\breve \override NoteHead #'transparent = ##t c c c c c
2450 \revert NoteHead #'transparent
2451 \override Stem #'transparent = ##f \stemUp c4 b4 a
2452 \override Stem #'transparent = ##t c2 c4 \divisioMaior
2453 c\breve \override NoteHead #'transparent = ##t c c c c c c c
2454 \revert NoteHead #'transparent c4 c f, f \finalis
2457 verba = \lyricmode {
2458 No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum
2459 con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens.
2464 \new Voice = "melody" \chant
2465 \new Lyrics \lyricsto "melody" \verba
2470 \remove "Time_signature_engraver"
2471 \override BarLine #'transparent = ##t
2472 \override Stem #'transparent = ##t
2478 Another common situation is transcription of neumatic or
2479 melismatic chants, i.e. chants with a varying number of notes
2480 to each syllable. In this case, one would want to set the
2481 syllable groups clearly apart, usually also the subdivisions of a
2482 longer melisma. One way to achieve this is to use a fixed
2483 @code{\time}, e.g., 1/4, and let each syllable or note group fill
2484 one of these measures, with the help of tuplets or shorter
2485 durations. If the barlines and all other rhythmical indications
2486 are made transparent, and the space around the barlines is
2487 increased, this will give a fairly good representation in modern
2488 notation of the original.
2490 To avoid that syllables of different width (such as @qq{-ri} and
2491 @qq{-rum}) spread the syllable note groups unevenly apart, the
2492 @code{#'X-extent} property of the @code{LyricText} object may be
2493 set to a fixed value. Another, more cumbersome way would be to
2494 add the syllables as @code{\markup} elements. If further
2495 adjustments are necessary, this can be easily done with
2498 @lilypond[verbatim,quote]
2499 spiritus = \relative c' {
2501 \override Lyrics.LyricText #'X-extent = #'(0 . 3)
2502 d4 \times 2/3 { f8 a g } g a a4 g f8 e
2503 d4 f8 g g8 d f g a g f4 g8 a a4 s
2504 \times 2/3 { g8 f d } e f g a g4
2507 spirLyr = \lyricmode {
2508 Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _
2509 or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu
2514 \new Voice = "chant" \spiritus
2515 \new Lyrics = "one" \lyricsto "chant" \spirLyr
2520 \remove "Time_signature_engraver"
2521 \override BarLine #'X-extent = #'(-1 . 1)
2522 \override Stem #'transparent = ##t
2523 \override Beam #'transparent = ##t
2524 \override BarLine #'transparent = ##t
2525 \override TupletNumber #'transparent = ##t
2531 @c extract from 1.6.1.1
2534 @c ... and reference to other sections ...
2536 @c {{{2Ancient and modern from one source
2537 @node Ancient and modern from one source
2538 @unnumberedsubsubsec Ancient and modern from one source
2541 @c Here among others the snippets about reducing note length
2545 @c ... and reference to other sections ...
2547 @c {{{2Editorial markings
2548 @node Editorial markings
2549 @unnumberedsubsubsec Editorial markings
2551 @c {{{2Baroque rhythmic notation
2552 @c @node Baroque rhythmic notation
2553 @c @unnumberedsubsubsec Baroque rhythmic notation
2557 @c Add example of white noteheads:
2558 @c In the french baroque some composers used white noteheads in slow pieces,
2559 @c mainly in 3/2-time. A quarter looks there like a eighth with a white
2560 @c notehead. (Franz-Rudolf Kuhnen)
2562 @c TODO Add example of this:
2563 @c I was referring to e.g. notated a8. a16, which should, if I
2564 @c remember correctly, be interpreted more like a8.. a32 (in the french
2565 @c style). The editor might want to show that rythmic figure above the
2566 @c staff as an hint to performers. (Karl Hammer)
2573 @c ... and reference to other sections ...